A60475	----	A short introduction to the art of painting and varnishing Smith, John, fl. 1673-1680. 1685 Approx. 12 KB of XML-encoded text transcribed from 9 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A60475 Wing S4108 ESTC R219106 99830631 99830631 35084 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60475) Transcribed from: (Early English Books Online ; image set 35084) Images scanned from microfilm: (Early English books, 1641-1700 ; 2078:17) A short introduction to the art of painting and varnishing Smith, John, fl. 1673-1680. [2], 14 p. printed for George Dawes, over against Lincolns-Inn-Gate, in Chancery-Lane, London : 1685. By John Smith. Reproduction of the original in the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Early works to 1800. Varnish and varnishing -- Early works to 1800. 2005-04 TCP Assigned for keying and markup 2005-06 SPi Global Keyed and coded from ProQuest page images 2005-07 Andrew Kuster Sampled and proofread 2005-07 Andrew Kuster Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion A Short Introduction TO THE ART OF PAINTING AND Varnishing , LONDON , Printed for George Dawes , over against Lincolns-Inn-Gate , in Chancery-Lane , 1685. THE NAMES OF COLOURS FOR PAINTING , WHite Lead , Flake , Ceru's , White . Kirmine , Vermillion , Red lead , Spanish Brown , Indian Red , Red Ocker . Red. Ultramarine , Bice , Smalt , Verditer , Indigo , Blew . Distill'd Verdigrass , Green. Three sorts of Masticote , Yellow ocker , light pinck , Ortmeut two sorts , Yellow . Ivory Black , Black. Brown pinck , Brown ocker , Umber , Brown. Venice Lake , a sort of Red or Blome . To Mix your Colours . WHite Umber and Black , Hair Colour White and a little Black , Grey Hair. White , little Black , little Yellow ocker and very little Lake , Dead Body or Face . Black and little Umber Dark part of the Eye . Lake and Vermillion , Scarlet . White , Black a little Smalt , Armour . Yellow ocker and little Vermillion , Gold. Lake and little White , Pale Purple . Lake White and little Indigo , Deep Purple Light Masticote , Lemmon . Verdigrass , and very little White , Willow Green. Verdigrass brown pink and very little white , Grass green Verdigrass & light pink Bright green . Verdigrass and light Masticote another , Green. Smalt and light Masticote , Moss green . And for Variety you may put together any of the Blewes to any of the Yellowes . Smalt and White , Skie or Pearl . Vermillion and Umber Brick . Indigo , White & Lake , Violet . Light Masticote and Vermillion , Flaming Fire . Lake and Bice , Blome . Indigo and White , Lead . White , Black , and little Yellow Ocker , Stone . Deep Masticote Buff. Deep Masticote and little Vermillion , Orange . Lake and little Black Sables . White and little Verdigrass , Grass Window . Verdigrass and White , Sea. White , Black , and Vmber for grounding . When you have laid on your Cut and Rub'd it , you are to do it over with Oyl of Turpentine , with a soft Brush , & in an hour after , to do it again with Nutt Oyl , and then to close it well to the Glass with your fingers , to disperse those little hollownesses that then will appear , and if after there shall appear any little glissinings or bright places , you are to repeat the last oyl upon the places , & close it well as before , & they will disappear or if they happen after Painting , then lay your Nutt oyl upon the back of the Colours against the place and it will in a little time pierce through and cure it , but at the first in laying on of your Oyls , use of neither sort more then what will just wet your Cutt through . You are to grinde all your Colours in Nutt Oyl , and that extremely Fine . To make the Varnish . Take half a pound of Gum Sandrock four ounces of Gum Animy , two ounces of Gum Copal , one ounce of Mastick and half an ounce of Tackamahacka , steep your Gumlack twenty four hours in water in a course bag , then put to it a Lump of hard Soap , the bigness of an Egg and chafe it well about half an hour to beget a lather to take as much of the Red Tincture from it as you can , then clean the Soap from it with water , then make it very dry either in the Sun or before the Fire , then bruise all your other Gums , that is , your Gum Animy , very small , and the other but as gross Pepper , then divide all your Gums into two equal quantities , and put them severally into 2 glass bottles that hold 3 quarts a piece , then into each bottle put two quarts of Spirit of Wine , stop them close & keep them in a moderate heat before the fire for six or seven days , shaking 'em once an hour to prevent the Gums for setling to the botom , then take it from the fire and let it rest twenty four hours , then through a cloth into a clean Bottle , pour as much off as will run perfectly clear and let the remainder settle again , and as it becomes clear pour it off as before . To do black Work. TO some of your Varnish put a little Ivory black in a little pot of a thin consistance , and do your work over nine times , letting it dry two hours betwixt each time before a fire , then let it dry a day , then smooth it a little with polishing Rushes either wet in water or dry . If you wet your Rushes , then when you have done , wash your work clean , and dry it with a cloth by the fire , then do it over ten times with clear Varnish , without Colour , allowing the same space for drying as before , then let it dry three days , then pollish it with Tripola made fine upon a wet cloth until you have brought it to an exact eveness , then wash it as before , and dry it , then take a little oyl upon a clean soft rag , and just touch it over to take off the dulness given it by washing , but use not so much oyl as to leave your work greasie . Tortoise-shell upon Red Ground . FIrst do your Work over four or five times with Vermillion mixt with Varnish of a like thin consistance until you see your Wood be perfectly covered , then do it twice with clear Varnish , then cloud it with Dragons Blood and Ivory black mixt together , then let it dry a day , then varnish it ten times with clear Varnish , then let it dry three days , and pollish and finish as in your black work . Tortoise upon Yellow Ground . INstead of Vermillion mentioned in the last , use white Lead and very little yellow ocker and Cover your wood as in the Red Tortoise , then proceed and finish as in that , only in this you must observe , that your cloudings must be more Ruddy then on the Red Ground . Tortoise upon Gold Ground . WHen you have silvered your work let it dry a day , then with a Camels hair brush do it twice or thrice over with the mixture next mentioned then let it dry another day , then cloud it with the clouding directed in your Yellow Tortoise and go on and finish as in the other . To turn Silvered work to a Gold Colour . TO half a pint of varnish put as much gam bouge as will lie upon a large shilling , and as much Dragons blood as will lye upon a groat , both beaten small and let it dissolve two or three days , sometimes shaking it , then run it through a fine rag into a clean bottle , and this laid twice or thrice upon silvered work , 't will bring it to an Exact gold Colour . To Gild. TAke Parchment shreds and boyl them in water that when the Liquor is cold , it may be as stiff as jelly , then to some of that put some Spanish White to make it somewhat thicker than Cream and keep it warm upon a few Coales , and do your work four or five times , that your wood be throughly Covered , then smooth it with Rushes , and then do it twice over with the Size alone , then smooth it again a little more , then lay on your Gold Size thin and even and let it dry until it be of such a temper that when you touch it with your finger , you may perceive it stick and yet none of the Size to come off upon your finger , then lay on your mettle and press it down with a Hares seutt . To do the Red work that appears to have Black to be sprinckled on in little specles . FIrst Ground your work with Vermillion , as in the Red Tortoise , then with the clouding directed for that taking very little in your brush , and holding it upright in your hand , strike it down pretty quick and hard , and take no greater compass at a time than you can well attend ( before the Varnish dries ) to disperse the little black eyes and froth occasioned by the quick motion of your brush , and then begin again at the edges where you left off , after that proceed as in your Tortoise . To make Gold Size . TO a quart of Linseed Oyle put White Copperis , Honey , razen and Littridge of Gold , each one ounce , and boyl it four or five hours upon a gentle fire , sometimes stirring it , that it burn not to the bottom , and let it cool , & pour off all the thin part into a pot or bottle , and as you have occasion to use it , grind a small quantity of it at a time upon your stone , with a little white Lead , yellow Ocker , and a little boul Almanick , to be of a thinner consistance than you make your Colours for Painting , but you must be careful to grinde it extremely Fine , otherwise your mettle will not lye even . White Varnish . TAke four ounces of the Largest Lumps of Gum Sandrock four ounces of Gum Animy , one ounce of Mastick , and one ounce of Camphier , scrape off the outsides of your Gums that they be very clean , and bruise them all as in your other Varnish , and slice the Camphier thin , and put them altogether into a quart of Spirit of Wine , and manage it at the fire after the same method , and for the same time as you do the other Varnish and when it has stood twenty four hours , let it through a cloth into another bottle , and it will at once all run off clear . This is to be used with Blew and White Colours after the same Manner as you use your other Varnish , with other Colours ( it likewise being twice laid on ) preserves anything silvered from ever tarnishing and is most used for this . To Enammel . DIssolve some Gum Arabick in fair water and mix with it some of your Shell Gold or Shell Silver , and with a small Pencil , draw upon your work either before your work be fit to pollish or after it be done , but I conceive it best before you Varnish it the last ten times , so that Varnishing and pollishing upon it will both secure it from tarnishing and rubbing off . You must observe , that all the wood you intend to Varnish , that is of an open grain , as Oak , Firr or such like , you must first white and smooth it just as you do for Gilding , otherwise the Varnish will not fill it up though you repeat it never so often . To lay on your Mettle Speckles . FIrst wet your work with Varnish , with a soft brush , then while 't is wet dust your speckles upon it thro' a piece of Tiffany , and then Varnish it twice , to keep 'em from rubbing off 't is enough . You are to grinde all your Colours dry and very small ▪ FINIS . 
A65827	----	Urania, or A description of the painting of the top of the theater at Oxon as the artist lay'd his design. By Ro. Whitehall, fellow of Merton Colledge. Licensed and entred according to order. Whitehall, Robert, 1625-1685. 1669 Approx. 12 KB of XML-encoded text transcribed from 6 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-11 (EEBO-TCP Phase 1). A65827 Wing W1878 ESTC R218518 99830103 99830103 34553 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A65827) Transcribed from: (Early English Books Online ; image set 34553) Images scanned from microfilm: (Early English books, 1641-1700 ; 1942:5) Urania, or A description of the painting of the top of the theater at Oxon as the artist lay'd his design. By Ro. Whitehall, fellow of Merton Colledge. Licensed and entred according to order. Whitehall, Robert, 1625-1685. [2], 9, [1] p. printed by Thomas Ratcliffe and Thomas Daniel, and are to be sold by them at their house in Newstreet betwixt Shooe-lane and Fetter-lane, London : 1669. In verse. With a dedication to the Chancellor of Oxford, James, Duke of Ormond, on pp. 8-9. Reproduction of the original in the Bodleian Library, Oxford. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Streater, Robert, 1624-1680 -- Early works to 1800. Ormonde, James Butler, -- Duke of, 1610-1688 -- Poetry -- Early works to 1800. Sheldonian Theatre -- Poetry -- Early works to 1800. Painting, English -- Poetry -- Early works to 1800. 2003-07 TCP Assigned for keying and markup 2003-07 Aptara Keyed and coded from ProQuest page images 2003-08 Mona Logarbo Sampled and proofread 2003-08 Mona Logarbo Text and markup reviewed and edited 2003-10 pfs Batch review (QC) and XML conversion IHS URANIA , OR A DESCRIPTION OF THE PAINTING Of the TOP of the Theater at OXON , As the ARTIST lay'd his Design . By RO. WHITEHALL , Fellow of Merton Colledge . — Pictoribus atque poetis Quidlibet , &c. — Licensed and Entred according to Order . DIEV ET MON DROIT HONI SOIT QVI MAL Y PENSE royal blazon or coat of arms LONDON , Printed by Thomas Ratcliffe and Thomas Daniel , and are to be sold by them at their House in Newstreet betwixt Shooe-lane and Fetter-lane . 1669. URANIA , OR A DESCRIPTION of the PAINTING Of the TOP of the THEATER at OXON , As the ARTIST lay'd his Design . THe day 's our own ! though some might seem to doubt ▪ Whether Augustus Caesar's days are out ; Had not the Lion , Bull , and savage Beare Contended in his Amphitheater With Bore , Rhinoceros and Elephant , That did at once Spectators please , and daunt . Or Creatures cruell and more fierce than these , When Man to Man became a Sacrifice ; While acclamations with a grand applause Endanger'd all to crown the Victors brows : And the defeated Champion took his death , Not from the Foe , but their unkinder breath : Bleeding afresh , and groveling in his gore , More deeply wounded than he was before : And all this heat , and all this noyse , to tell The World , This Day did Pilades prize well . NO ROMAN Foyl here , nor Olympick Game , Nor Table hang'd up to Nemaean fame : The Graces and the Muses more befit A Patron both to Reason and to Wit : Whose benefaction , whose munificence Might upon Earth immortalize a Prince . Immense as th' Ocean , rich as th' Indian Fleet , Were Tagus and Pactolus sands in it ; Admir'd more than those Argonauts of Greece When they brought home their weighty golden fleece . None but a Noble and Heroick breast Bestow's Gifts out-live Baggs condemn'd to th' Chest. Death-bed Donations are but cold and faint , The Living onely give without constraint . Such Actions when they shall be scan'd and read Merit beyond th' Aegyptian Pyramid . DRaw back the curtain then , and let 's behold A sight more welcome than Ben's misers gold ▪ Where first th' ingenious Artist makes it known He treads in no mans tract , his path's his own . For though Antiquity be venerable , Yet whereas anciently they had a cable Or cordage from this pilaster to that To knit together and keep tight the sheet , For 't is presum'd their theater so large ( Though sooner built perhaps and at lesse charge ) That they knew not th' expence of tile or lead 'Gainst th' injuries of weather over head : So here a cord-mould gilded which doth reach In length and breadth cross to prevent a breach , Supports a red large drapery , suppos'd To cover all the roof where it is hous'd . But now 't is furld up by the Genii round About the roof , by th' walls , that those 'o th ground May deem 't is open aire above , a way For th' Arts and Sciences ' i th' clouds to stray . At whose sollicitation Truth descend's To their assembly , as unto her Friends : And at this Festival observe eftsoones How th' other Genii sport with their festoones Of bayes and lawrel , out of which they make Ever green Garlands for their Lovers sake . Which hieroglyphically seems to say Rewards and Honor too attend this day . TO make this Convents happiness compleat Their grand Disturbers must have a defeat : Envy with Rapine and Brutality By th' Genii opposing them are made to fly . Thrown headlong from the Clouds , and driven thence By Prudence , Fortitude , and Eloquence . This conquest to proclaim as Omen good The Trumpet sound 's and they disperse abroad . THe day still ours , 't will now be requisite ( As 't is with Muster-masters after fight ) To rally up our force , and as by th' pole , Distinctly in order to run o're the Role . Where , lest we should by th' Heathen be out-done And such as deifie the Sun and Moon Theologie in reason must begin As Spur to Vertue , and as Curb to Sinne. SEe then a Book with seven seals in her hand , While she implores Truth on her part to stand . On one side is the Law Moysaicall Veil'd , and the Tables we the Decalogue call , Which lest we should neglect as slighting God Truth poynts out to us with her iron Rod. NExt ( as inseparable ) doth appear The Gospel with a Crosse and Chalice , near Her , History is holding up her Pen , And dedicating it to truth , as men Old writings left , and fragments which respect Her Stories whence a Book she might collect . VIew Poesie divine at th' other end With Harp like Davids tun'd to what he pen'd . THen come the Mathematick Sciences , Grounded on Demonstration , not on guesse . Astronomy with her Coelestiall globe Adorn'd ( as are the rest ) with decent Robe . With her terrestriall Orbe Geography , With Square and Plum-line stands Geometry . Arithmetique and Architecture passe Neighbours , and Perspective with Optick glasse . ON th' other side Law seated like a Queen , With Scepter and Records that long have been , Patents and Evidences sure and strong , With whom goe's Rhetorique hand in hand along With an attending Genius to produce The scales of Iustice to prevent abuse : A palm branch as an Emblem of Reward For vertuous Actions , and as to regard Of power to punish vice , or to remit The Roman Fasces are the mark of it . PHysick by Aesculapiu's staffe is known , And Serpent twisted , ( 't is a subtle one ) By her an Herbarist doth Truth implore To teach her Plants for every grief and sore . A Chymist , with a bolt head , and before Is placed a Chyrurgion , with his store Of Instruments , all to dissect a brain , Layd open , ( O Minerva don't disdain ! ) SOme more there are ; see Logick taking hold On Argument ; and if she 's baffl'd , scould . MVsick , with a note-paper , and a Lute A little Boy playing upon a Flute . These two are Emblems ( known t' Apollo more ) Of the most antique Musick heretofore . PRinting is with a Box of letters , and A Form that 's ready set ' i th' other hand : Where lest the Printing-presse should vacant lie Are several damp sheets hanging up to dry . i Th' middle , as descending from above Truth in a cloud sits ; ( harmless as a Dove ) One hand a palm branch hold's for Victory : In th' other is the Sun in 's radiancy . So bright Truth seem's obscur'd to us below , But every figure yield's the brighter shew . And those three Prodigies we nam'd before Now weary of the place , are got to th' door . ENvy with snaky haire , hags breasts , squint eyes , Pale venomous colour , strong , but ugly thighs : ( Of which one disappear's , as if the beast Had fed upon her self , to make a Feast ) With rivell'd skin , confounded at the sight Of Pallas shield with Gorgon's head t' affright . To which she would oppose her angry snakes But by precipitation downward make's . THe same Fate Ignorance attend's Arts hater Best represented to us by a Satyr Scoffing at what she cannot understand , But quell'd by Hermes Caducean wand . WIth grinning teeth , sharp fangs , and fiery eyes , Besmear'd with blood of Friends and Enemies , Rapine appears : a flambeau and dagger are His weapons of delight , with arm stript bare . Wolf-like devouring , lying still in wait , Unseen 'till now , ( except in 48. ) He Magistracy hate's , abhor's the Gown , But an Herculean Genius strikes him down . THese to the life are drawn so curiously That the Beholder would become all Eye : Or at the least an Argus ; so sublime A phant'sie makes essayes to Heaven to climb . That future ages must confess they owe To STREETER more than Michael Angelo . To the Most Honourable JAMES Duke of ORMOND His Grace , our most Renowned Lord , and CHANCELLOR . ILLUSTRIOUS SIR , WHile Arms and Arts contend Which of them most stands poor Urania's friend , The Graces at a meeting all conclude They own , with thanks , this fair vicissitude ; That what the Crosier and the Miter deign'd May by the sword and helmet be maintain'd . So we successively have our Commander , An Aristotle , and an Alexander . OVr Theater though 't is beautifull , in you Alone it lies to make it vocall , now : And things inanimate so to inspire As Orhpeus did with his enchanting Lyre . Your various tongues may teach youth how to please More than Quintilian or Demosthenes . And when the Sophister is at a stand Your Genius brings fresh topicks to his hand . TIme was when that same Antichristian word Mecaenas sounded some outlandish Lord ; When half a dram of learning at one time Was Language of the Beast ( and no small crime ) Who then expected Exile and restraint Should right the Muses when they made complaint ? Indulgent Providence ! thou for their good Hast one at home preserv'd , and one abroad . 
A28779	----	A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand. This text is an enriched version of the TCP digital transcription A28779 of text R17980 in the English Short Title Catalog (Wing B3705AB). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 93 KB of XML-encoded text transcribed from 22 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A28779 Wing B3705AB ESTC R17980 99825051 99825051 29421 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A28779) Transcribed from: (Early English Books Online ; image set 29421) Images scanned from microfilm: (Early English books, 1641-1700 ; 423:2 or 1754:1) A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand. Dürer, Albrecht, 1471-1528. Jenner, Thomas, fl. 1631-1656. [2], 40 p. : ill. (plates) printed by M. Simmons, for Thomas Jenner; and are to be sold at his shop, at the south entrance of the Royal Exchange, London : 1652. Recto of titlepage has a portrait of Dürer engraved by Francis Delarame, and the title: A booke of the art of drawing according to ye order of Albert Durer, Jean Cozijn, etc. Compiled by Thomas Jenner. Later editions under title: Albert Dürer revived, or, A book of drawing. Item at reel 1754:1 incorrectly identified as Wing A875A. Reproduction of the original in the Henry E. Huntington Library and Art Gallery. eng Drawing -- Study and teaching -- 17th century. Painting -- Technique -- Early works to 1800. Glass painting and staining -- Early works to 1800. A28779 R17980 (Wing B3705AB). civilwar no A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used [no entry] 1652 16423 11 0 0 0 0 0 7 B The rate of 7 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words. 2000-00 TCP Assigned for keying and markup 2001-09 Apex CoVantage Keyed and coded from ProQuest page images 2002-06 Mona Logarbo Sampled and proofread 2002-06 Mona Logarbo Text and markup reviewed and edited 2002-07 pfs Batch review (QC) and XML conversion A BOOK OF Dravving , Limning , Washing Or Colouring of MAPS and PRINTS : AND THE Art of Painting , with the Names and Mixtures of Colours used by the Picture-Drawers . OR , The Young-mans Time well Spent . In which , He hath the Ground-work to make him fit for doing any thing by hand , when he is able to draw well . By the Use of this work , you may Draw all parts of a Man , Leggs , Armes , Hands and Feet , severally , and together . And Directions for Birds , Beasts , Landskips , Ships , and the like . Moreover You may learn by this Tract , to make all sorts of Colours ; and to Grinde and Lay them : and to make Colours out of Colours : and to make Gold and Silver to write with . How also To Diaper and Shadow things , and to heighthen them , to stand off : to Deepen them , and make them Glister . In this BOOK You have the necessary Instruments for Drawing , and the use of them , and how to make Artificiall Pastels to draw withall . Very Usefull for all Handicrafts , and Ingenuous Gentlemen and Youths . By Hammer and Hand all Arts doe stand . Infoelix qui Pauca Sapit , spernit que Doceri . LONDON . Printed by M. Simmons , for Thomas Ienner ; and are to be sold at his Shop , at the South Enterance of the Royal Exchange . 1652. THE TRVE PORTRAITVRE OF ALBERTVS DVRER ▪ THE VERIE PRIME PAINTER AND GRAVER OF GERMANY 〈…〉 〈…〉 R 〈…〉 mer ▪ pinxit ▪ Francis 〈…〉 DeLa 〈…〉 sculpsit A Book of the Art of Drawing according to ye order of Albert Durer ▪ Iean CoziIn and ▪ other Excellent Picture-makers describing ye true proportions of Men , women & Children . Are to bee sould by Thoma 〈…〉 Of necessary Instruments for Drawing . FOr Implements these are the onely necessary ones ; Pens made of Ravens quils because they are the best to draw faire , and shadow fine , and smal Charcoals , black-lead , white-lead , red-lead , a feather , and a pair of Compasses . The use of these Instruments . FOr your Charcoals , They must be slit into small 〈◊〉 peeces , and then sharpned at the point : You may chuse your Charcoals thus , they are finer grain'd then others , and smooth when they are broken , and soft , and they have a pith in the middle of them , which is the best token to know them by : The use of them is to draw over your drafts first withall , because if you should draw it false at first , you may easily wipe it out , which you cannot so well doe with any other thing . Your black-lead is to draw over that againe which you drew before in Char-coal , because this will not wipe out under your hands when you come to draw it with your pen ; and if you shall draw it with your pen before this , you Charcoal would furry your pen that you could not write with it , and besides you cannot so well mend your faults with a pen as with a black-lead , for what you doe with your pen you cannot alter , but wherein you erre with your black-lead , you mend it with your pen . The pen is the finisher of your work , with which you must be most exact , knowing it is unalterable , therefore you must be sure your worke is right before you draw it with your pen . Black-chalk is to draw on blew-paper with , which is not to be used till you be pretty perfect in drawing . White lead is to doe the lightest parts of that you draw before with black Chalk . Your Compasses are not to be used constantly , for they will spoyle you that you cannot draw without them , but onely when you have 〈◊〉 your drawing with Char-coal , you may measure if it be every 〈◊〉 right , before you draw it with your black-lead . The Fether is to wipe out the Char-coal where it is drawne false , before you draw it again , and this you must be sure to doe , or else you will be confounded with variety of stroakes , so that you shall not know which is the right stroake . Having these Implements in readinesse , The 〈◊〉 practise of a Drawer must be readily to Draw Circles , Ovals , Squares , Piramids , &c. And the reason of exercising you first in these , is , because in these you will be fitted for the performance of other bodies ; as for example , your Circle will teach you to draw Sphericall bodies , as the Sun , Moon and Stars , and the most Flowers , as the Rose , Dazy , &c. the most Vessels , as Cups , Basons , Boles , Bottles , &c. the Square will fit you for all manner of comportliments , plots , buildings , &c. your Piramids for sharpe Steeples and Turrets , &c. your Ovall for Faces , Shields , &c. for it is impossible to draw the body of a Picture before you can draw the Abstract . When you can do these , practise to draw Pots , Bals , Candlesticks , Pillars , a Cherry with a leafe , &c. but be sure you be perfect in the out-stroake , before you goe to draw the shadows within . How to make Artificiall Pastiles to draw withall . TAke a great Chalk-stone , and make deep furrows , or holes in them , two of three inches long , and so wide that you may lay in each a quill , then take white Chalk ground very fine , temper it with oyl or wort , and a little new milk , and to make pap thereof , then poure it into the furrows of Chalk , and in a short time you may take them out and roul them up , or let them lye in them till they are quite dry , and then take them and scrape them into a handsom form ; you may temper lake with burnt Alablaster for a red , and so for others ; having regard to some colours that will binde over-hard , which must have a little water put to them in their grinding . Directions in Drawing of a Face . FOr the better assisting you in the drawing of a face , you may make use of this direction ; when you have drawn the circle of the Face ( which you must doe at first with a plain 〈◊〉 line , without making any bendings in or out , till you come towards the finishing of it ) you may make a stroak downe from that place of the forehead which is even with the chin , coming down where you should place the middle of the Nose , and the middle of the mouth ; observe that this stroak must be struck that way which the Face should turne , either to one side , or strait right , and then this stroak will exceedingly helpe you to place the features rightly , that they may not stand all awry , but directly one under another ; when you have made this stroak , you may make another stroake acrosse to guide you for the even placing of the eyes ; that one be not higher then another . Now if the face turne downwards , the stroake must be so struck that the eyes may turne answerable with the face downward , when you have done that make anòther stroake for the length of the Nose , where the end of the Nose should come , and another stroak for the mouth , that it be not made crooked , still observing to make all the stroakes to turne one way , either up or downe , according as the face turns ; for if the face turne up or downe , the Eyes , Nose , and Mouth must turne with it : when you have made these stroakes rightly , proceed to the placing of the features as in the rules before . There is this three-fold equall proportion usually observed in a Face ; 1 From the top of the fore-head to the eye-brows ; 2 From the 〈◊〉 - brows to the bottome of the nose ; 3 From thence to the bottom of the chin : but this proportion is not constant , for sometimes the fore-head is lower then at other times , and some 〈◊〉 noses longer , other shorter , and therefore this rule is not alwayes to be observed , but onely in a well proportioned Face . The distance between the two eyes is Iust the length of one eye , if it be a full face , but if it turne any thing aside then that distance is lesned accordingly ; the nostrill ought not to come out further then the 〈◊〉 of the eye in any face , and the mouth must be placed alwayes between the eyes and the chin , Iust under the mouth . Further Directions about a Face . BEcause the greatest difficulty , and principall part of this Art lies in the 〈◊〉 〈◊〉 of a Face , I thought good to adde these further Directions to make 〈◊〉 the more perfect in the drawing of it . 1 If you would rightly draw a Face , that it may resemble the patterne you draw 〈◊〉 〈◊〉 : you must in the first place take notice of the Visiognomy or 〈◊〉 of 〈◊〉 〈◊〉 , 〈◊〉 it be long or round , fat , or lean , big , or little , that so you may be 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 , to draw the right visiognomy , or bignesse of the Face , which 〈◊〉 〈◊〉 〈◊〉 〈◊〉 face you shall perceive the cheeks to make the side of the face to swell out , 〈◊〉 〈◊〉 make the face look as if it were square ; if a lean face the Iaw bones will 〈◊〉 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 in , and the face will look long and 〈◊〉 ; if it be neither 〈◊〉 〈◊〉 , nor too 〈◊〉 , the face will be round for the most part . 〈◊〉 you draw the utmost Circumference of a face , you must take in the head and all with 〈◊〉 , otherwise you may be deceived in drawing the true bignesse of a face . Generall Rules for the Practise of Drawing . 1. HAving your charcoal neatly sharpned , you must at the first in drawing of a face , lightly draw the out-stroak , or circumference of the face Iust according to the bignes of your pattern , making it to stand fore-right , or to turn upvvards or dovvnvvards according to your patterne , then make some little touches vvhere the features as the Eyes , Nose , Mouth , Chinne , should be placed , not drawing them exactly at the 〈◊〉 , and having thus exactly pointed out the places where the features should bee : begin to draw them more exactly , and so proceed , till the face be finished , and then make the hair , beard , and other things about it ; In making of a side face you need not at first exactly draw the nose , mouth and chin that stand in the outmost line , but onely make it at first but a bare circumference , turning this way , or that way , according as the pattern doth , and then make the mouth , nose and chin to come out afterwards , in the right places and Iust proportion . 2 The Circles , Squares and Triangles that are made in the Print , about a face , are to guide your apprehensions the more readily to the framing of one , that being as it were led by a line , you may the more easily know where abouts to place the features , as eyes , nose , mouth , &c. which when you are able to doe without them ; these are of no use at all , but onely to guide you at the first to the placing of them . 3 In the third place you must be sure to place the musles in their right and proper places ; by the musles I meane all the shadows that are caused by some dents , or swellings in the face , and be able to find out the reason of every musle , that so you may proceed to work with the more Iudgement ; you shall perceive the musles most in an old and withered face , and you must first draw the principall of them , and then you may the more easily draw the lesser within ; you must be very exact in the right placing of them , or else you spoyle your draft be it never so good . 4 Observe to make the shadows rightly , and be sure not to make them to darke , where they should be faint , for if you doe you can never recover it to make it light again , and 〈◊〉 the whole face will be mar'd , and appear unhandsome ; the shadows are generally fainter and lighter in a faire face then in a swarthy complexion : when you have finisht your draft , you will do very well to give here and there some hard touches with your pen where the shadows are darkest , which will adde a great life and grace to your drawing . When you have finisht the face , then come to the ears and haire , wherein you must observe this rule , having drawne the out-line of it , you must first draw the principal Curles , or master-strokes in the haire , which will guide you with ease to doe the 〈◊〉 curls which have their dependance on them ; always make your curle to bend , and 〈◊〉 exactly according to the patterne , that they may lye loose and safte , and not look as if they were stiffe , stubborne and unplyable : When you have drawne the curls rightly you must in the last place strike in the loose haires which hang carelesly out of the curls . When you can draw a face ( which is the principall thing in the Art ) then goe to hands and arms , legs and feet , and so to full bodies of men and women , which are the most difficult things , which if you can attaine to performe , with a well grounded 〈◊〉 , nothing then will be difficult to you , but will be most easie as flowers , birds , beasts , 〈◊〉 , or any other thing that is to be drawne by hand . Of Drawing Hands and Feet . To foreshorten the Hands . You must draw the perpendicular lynes from the Hands seene slopewise or a syde marked with their proportions and measures 1. 2. 3. 4. upon which the shining would so cast them downe vnto the Dyagonall marked at the ende with O. and then carry the reflexion of them levelly from the intersections of those perpendicular lynes in the Dyagonall aforesaid untill you come vnder the place of the foreshortened Hands therby to gett the shaddowe from which shaddow you must perpendicularly rayse perpendicular lines vntill then may meete or intersect levell lines drawne also from the first hand seene asyde , so will the intersections of the said lase named levell lines and raysed perpendiculars give the foreshortened Hands A. B. C. D. E. Even as the Eye would see the Sydewise or sloping Hande , So shall the workman see the Hand foreshortened by meanes of the said shaddow . The actions and postures of the hand are so various , that I can give you no certain rule for the drawing of them , onely take this for a generall , when you first draw it with charcoal , you must not draw it exactly , that is to say , to make all the Ioynts or 〈◊〉 , or other things , to appear but onely lightly and faintly ; to touch out the bignes of the hand , and the manner of the turning of it with faint touches , and 〈◊〉 with hard stroakes ; then if you have done that right , part the fingers asunder , or close , according to your pattern , with the like faint stroake ; then marke that place where any of the fingers do stand out from the others , and make a faint resemblance of it : having so done , if you perceive your draft to be 〈◊〉 , proceed to draw it more perfectly , and make the bending of the Ioynts , the rist-bone , and other principal things , somewhat exactly . And lastly goe over it again , and draw every small bending or swelling of the fingers , and make the nails , knuckles and veins , so many of them as appear , and every thing else that you can discerne . Observe this rule in all your drawings , that before you come to draw your draft with Black-lead , or other thing , you must blow off the loose dust of the coal off from your drawing , or faintly to whiske over your drawing with a fether , that so you may leave it faint , so that you must but Iust perceive your stroakes , and by this means you will the better see how to draw it againe with your black-lead , otherwise you would not be able to discern your stroaks . For the proportions of a hand , you have it sufficiently set downe in the print , by lines and figures , which shews the equalities of proportion in a hand , and how many equall measures there are in it , which you should endeavour to be acquainted with , that so you might know when a hand is well proportioned , with Iust and equall distances ; but I would you should take notice of this rule , or exception , according as the hand turns one way or other , the proportions must be shortned , according as they appear to the eye , as you shall see in the fore-shortning of the hand in the print ; so much as the hand turns away from our sight , so much it looses of its ordinary proportion , and is made to shorten unto that proportion that the eye Iudges of it , nay sometimes a whole finger , sometimes two or three , or more , is lost to our sight , by the turning of the hand another way from us , and so they must be holy left out , and not made . For feet there is not so much difficulty in the making of them , as in hands ; and in drawing of them , you must proceed to the same way that was shewed for the making of hands . When you can draw hands and feet pretty well , then goe to arms and legs , wherein is little difficulty ; when you can draw the hands and feet , afterwards proceed to whole bodies . Of Drawing the whole body rules to be observed . 1 IN all your drawings you must draw it at first with your coal , but very lightly and faintly , for then you may the easier mend it if you draw amisse . 2 In the drawing of a body , you must begin with the head , and be sure to give a Iust proportion and bignesse to that , because all the body must be proportioned according to the head . 3 At the first drawing of the body with your coal , you must draw nothing perfect or exact before you see that the whole draft is good , and then you may finish one thing after another as curiously as you can . The proportion of a Man to be seene standing forward . In this figure is to be observed that from the top of the head to the sole of the feete , is 8. measures of the head , and the head 4 lengthes of the nose , the which measures are upon a perpendicular line . 〈◊〉 the head figured with 1. the second to the breasts . 2. the 3d. to the navel 3. the 4th . to the privities . 4. the 5th . to the midle of that thigh 5. the 6th . to the lower part of the knee 6. the 7th . to the small of the leg. 7. the eight reaching to the heele & sole of the feet . 8. Likewise the same 8. measures are to be observed from the end of the fingers of the right hand , to the end of the left hand fingers : the breadth of the shoulders containeth 2 measures of the head , & the breadth of the hips 2 measures of the face as appeareth in the vnshadowed figure . 5 In your drawing be sure you place the paralel Ioynts , sinews and musles , directly opposite in a strait even line one against the other , as the shoulders , the arme-pits , the wast , the hips , the knees , and so every thing else , that one may not be higher or lower then the other , that the body may not seem crooked or deformed , but every paralel Ioynt bend &c. may directly answer the other that is opposite thereunto ; and to this end you may strike a strait stroak directly crosse the shoulders to direct you to place them even and strait one against the other , so also you may do in other places , as the arm-pits , wast , hips , thighes , or any other place , where you should place one thing even with the other ; for you must have the same care in all parts of the body , as you have in one place where any bendings or members of the body have , or do require a direct opposition one against the other , you may make use of this help and direction . 6 Observe that if the body turne one way or other , then this stroake must be so struck , so that it may answer the bowing of the body , as if the body stoop a little downwards , the stroak must be struck sloaping or sideways , and so you must then make the shoulders and other things which should stand strait against one another , to be somewhat higher then one another , so that that side that the body turns upon the shoulders and other things that otherwise should be placed even one against the other must be made somewhat lower the other side , more or lesse , according as the body stoops more or lesse . 7 As you are to be carefull in the right placing of all level or paralel Ioynts , bendings , sinews and 〈◊〉 , so you must look exactly to all perpendicular Ioynts , musles , &c. that is when you have drawn the outmost draft , and are come to draw the Ioynts and musles that are contained within the body , you must be as exact in placing them , that are directly Iust under one another , as you are in placing them even , that are opposite one to the other ; and to this end that you may place things exactly perpendicular , that is in a strait line under one another ; you may strike a strait perpendicular line from the throat pit downe to the privities , Iust in the middle or seam of the body , where you may discerne the parting of the ribs , and so from thence strait downe to the feet , as you shall see in the print of the man , the line will direct you to place things evenly perpendicular , that the body may stand strait upright , and not appear crooked and awry . 8 Take notice of the bowings and bendings that are in the body , to make that part that is opposite to that which bends to answer to it in bending with it , as if one side of the body bend in , the other side must stand out answerable to the bending in of the other side , if the back bend out the belly must bend in , if the belly come in , the back must stick out , if the breech stick out , the thigh that answers to it in opposition , must come in : so also , in any other part of the body ; as if the knee bend out , the hams that answer to it must come in , and so for any other Ioynts in the body this rule must be exactly observed , otherwise the body will be made grosly and absurdly , and will be very gowty without any proportion . 9 Indeavour to make all things of an equall proportion and bignes , not to make one arme bigger then the other , or one leg bigger then the other , or one breast bigger then the other , or any one part of the body in an unIust proportion , but as every thing must answer to the bignes of the face , so one member must answer to another in bignes , that so there may be a sweet harmony in the parts of the body , that it may not have broad shoulders , and a thin slender waste , a raw-bone arme , and a thick gowty leg , or any part disproportionable from the other , unlesse it be so that any part of the body doth turne awry from our eye , as if the one arme should be seen side-wayes , and the other fore-right then the one arme must be made so much less then the other by how much it turns away from our sight , and appears lesse to our eyes , and so if one legg be seen full or fore-right , and the other legg be seen side-wayes , then it must be made so much lesse then the other , by how much it turnes away from your sight . The proportion of a woman to be seene afore . The Proportion & measure of a woman to be seene afore , is like the 〈◊〉 , excepting that that measure of the breadth betwene the shoulders of the woman 〈◊〉 but 2 lengths of thē face , as appeares by that pricked line athwart the breasts and from that Hippes to the 〈◊〉 . 2 lengths of the head , marked with an other crosse pricked line ; which maketh the difference betwene the man & that Woman and you must make the Armes Thighes & Legges fatter and plumper then that mans , euen to that wrists & 〈◊〉 Allso you must not make that muscles as of that man . The Whole figure of Mans body foreshortened a litle & seene by the Sole of the Foot , the Back upwards . Having 〈◊〉 〈◊〉 〈◊〉 〈◊〉 at length by the Syde , the back upwards You must also observe the measures as 〈◊〉 in the levell 〈◊〉 〈◊〉 . 23. 4. 5. 6. 7. 8. and 〈◊〉 up the 〈◊〉 〈◊〉 and proportions by the 〈◊〉 lynes vpon the perpendicular which 〈◊〉 the 〈◊〉 figure and the Shadow , of the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . 〈◊〉 to make the figure of the Shadow you 〈◊〉 draw a Lyne 〈◊〉 in 〈◊〉 midse of 〈◊〉 〈◊〉 therin 〈◊〉 〈◊〉 〈◊〉 & measures marked 1. 2. 3. 4. 5. 6. 7. 8. The 〈◊〉 〈◊〉 〈◊〉 for 〈◊〉 〈◊〉 the second 2 for 〈◊〉 Shoulders and so consequently of the rest unto 〈◊〉 〈◊〉 measure . And to make 〈◊〉 shadow as 〈◊〉 Sonne 〈◊〉 〈◊〉 upon the Back . And to make the 〈◊〉 you must 〈◊〉 perpendicular lynes . proceeding from the figure stretched at length . & seene a syde by the coresponding 〈◊〉 of which and 〈◊〉 levell 〈◊〉 me for shortened lynes and 〈◊〉 of the same seene by 〈◊〉 〈◊〉 of the feet , the back upwards is described as appeareth in the 〈◊〉 of this present 〈◊〉 . 11 Observe the exact distance of one thing from another , how far distant they are , that you may be exact in your draft , and perfectly imitate your patterne . 12 Observe how much one part of the body sticks out beyond the other , or falls in within the other , or whether it stands even with the other , and to this end you may strike a small stroake downe from the top of the shoulder along by the out-side of the body strait down to the feet , and this will direct you how farre one part of the body should stand out beyond the other , and how far other parts should come in ; let nothing be done without a rule and Iudgement . 13 Let nothing be done hard , sharpe or cutty , that is , let not the bendings that are either in the body , or in the Ioynts be made as if they were 〈◊〉 or cuts in the flesh , with sharpe corner stroakes , but finely round and sloaping , like bendings , and not like cuts in the body : this is a common fault among learners which they cannot chuse but commit & 〈◊〉 you should be the more careful of it by imitating your patterne exactly , in the 〈◊〉 manner of making every stroake and touch , and indeavour to find out the ground and reason of every small stroak and touch that is given , for nothing must be done without Iudgement . Now I have given you directions for the drawing of the body ; I would in the next place give some instructions , wherby you might have some Iudgement in a good draft . Of Perspective Proportion . PErspective Proportion differeth much from the former , for according to the 〈◊〉 of the eye from a thing it Iudgeth what proportion it hath , as if one part 〈◊〉 the body come neerer to the eye , then the other , it is made so much begger then the other part of the body , which turns away from the eye , as if one legg stand behind another ; the formost legg that comes first to the eye must be made somewhat bigger , and longer 〈◊〉 the other , because the eye Iudgeth so of it ; and so it is for any other part of the body , the 〈◊〉 must be lessened , according to the distance that it is from the eye . The second thing in good drafts , is gracefull posture , and proper action , that is , that the true naturall motion of every thing be exprest in the life and spirit of it , that is , to quicken the life by art , as in a King to expresse the greatest 〈◊〉 , by putting him in such a gracefull posture , as may move the spectators with reverence to behold him ; and so to make a Souldier , to draw him in such a posture , as may betoken the greatest courage , boldnes and valour ; and so to make a Clowne in the most detestable and clownish posture ; and so for every thing , that the inward affection and disposition of the mind be most lively exprest in the outward action and gesture of the body . Now that you might attaine to a skill herein ; I would counsell you diligently to observe the works of famous Masters , who doe use to delight themselves in seeing those that fight at cuffs , to observe the eyes of privy murtherers , the courage of 〈◊〉 , the actions of Stage-players , the intising allurements of Courtesans , and those who are led to execution , to mark the contracting of their brows , the motions of 〈◊〉 〈◊〉 , and the carriage of their whole body , to the end they might 〈◊〉 them to the life in their drawings and works . The third thing in good drast is , loosnesse , that is , that the body be not made 〈◊〉 in any part , but that every Ioynt may have its proper and naturall bending , so as it may with greatest life express your intention , that the figure may not seem lame , and the Ioynts stiffe , as if they were not plyable or capable of bending , but every Ioynt and limbe may have its proper and natural moisture , according as it may best suite with , and become the posture in which the figure is sett The fourth thing in drawing is fore . shortning , which is to take things as they appeare to our eye , and not to draw the full length and proportion of every part , but to make it shorter , by reason the full length and bignes is hid from our fight ; as if I would draw a ship standing fore-right , there can appear but onely her fore-part , the rest is hid from our sight , and therefore cannot be exprest ; or if I would draw a horse standing fore-right , looking full in my face , I must of necessity foreshorten him behind , because his sides and flanks appear not unto me , wherefore observe this rule ; That you ought rather to imitate the visible proportion of things , then the proper and naturall proportion of them , for the eye and the understanding together being directed by the perspective art , ought to be the guide , measure and Iudge of drawing and painting . The fifth thing in good drawing is , That every thing be done by the guidance of nature , that is , that nothing be exprest , but what doth accord and agree with nature in every point ; as if I would make a man turning his head over his shoulder , I must not make him to turne more then nature will permit , not any thing must be foarst beyond the limits of nature , neither must any thing be made to come short of nature , but nature though it is not to be strained beyond its centure , yet it must be quickned to the highest pitch of it , as if I would expresse a King , I must expresse him in the most MaIestick posture that I can invent ; and if I would draw a Clown , I must draw him in the most clownish action that can be , yet must neither the one nor the other be drawne in such a posture as will not agree with the motion of nature , that is , to draw such a posture which a man cannot imitate with his naturall body , and so for any thing else whatsoever nature must be the patterne of all kind of drafts . Of Drawing Garments . WHen you are able to draw naked drafts well , you will finde a matter of no great difficulty to doe bodies with garments upon them , yet neverthelesse it will not be amiste to give you some directions about the same . 1 First , you must draw the outmost lines of your garments lightly , and in this you must be very carefull , for the whole grace of a picture lies in the outmost draft , and not in the curious work within . Now that you might performe this exactly , you must suite your garments to the body , and make them bend with the body , and not to make them strait there where the body should bend ; if you would rightly fit the garments to the body , you must observe which part of the body bends in or out , that the garment may answer to the body upon the least turning one way or oother the garment may turne with it ; you must also observe where the body should come if it were naked , and there draw your garments in the right place , making it bend according as the Ioynts and limbs of the body should bend : Excellent workmen doe make the body appeare plainly thorow the garments , especially where the garment lyes close and flat upon the body , and indeed where ever the body bends in or sticks 〈◊〉 in any one part more then other , it should be showne in a plaine and vifible manner through the garments , which thing you must take notice of in your drawing , either by a patterne , or by the life . The proportion and measure of a Childe standing forward containeth but fine measures of the head , to 〈◊〉 3 from the 〈◊〉 of the head to the priuities , 〈◊〉 two more in the 〈◊〉 and legges , as 〈◊〉 in this figure , and the breadtis 〈◊〉 the 〈◊〉 is the lonath of a head and a halfe , as apeares by a 〈◊〉 pricked line marked 〈◊〉 and the 〈◊〉 of the body aboue the 〈◊〉 marked also with a crosse pricked line is the 〈◊〉 of one head . the breadth of the vpper part of the 〈◊〉 marked with a priked line oposite to the 〈◊〉 , is the third part of two lengths of the head . the knee marked with a small 〈◊〉 pricked line and a little † at both ends is of the Iust length as betweene the eye and chin , the small of that leg and the brawne of the arme are of the thicknes of the 〈◊〉 . 2 You must draw the greatest folds first , and so stroake your greater folds into lesse , and be sure you let one fold crosse another . Directions for the bestowing of your lights . 1 LEt all your lights be placed one way in the whole work , as if the light fals side-wayes on your picture , you must make the other side which is furthest from the light , darkest , and so let your lights be placed altogether , on one side , and not confusedly to make both sides alike lightned , as if it stood in the midst of many lights , for the body 〈◊〉 otherwise be lightned equall in all places . 1 Because the light doth not with all its brightnesse illuminate any more then that part that is directly opposite unto it . 2 The second reason is taken from the nature of our eye , for the first part of the body coming unto the eye with a bigger angle is seen more distinctly ; but the second part 〈◊〉 further off comes to the eye in a lesser angle , and being lesser lightned 〈◊〉 not so plainly seen as the first . By this rule if you are to draw two or three men standing together , one behind another , though all of them receive equally the light , yet the second being further from the eye must be made darker , and the third more darke . 2 That part of the body must be made lightest , which hath the light most directly opposite to it , as if the light be placed above the head , then the top of the head must be made lightest , the shoulders next lightest , and so it must loose by degrees . 3 That part of the body that stands furthest out , must be made lightest , because it comes neerer to the light , and the light looseth so 〈◊〉 of its brightnesse , by how much any part of the body bends inward , because those parts that 〈◊〉 out doe hinder the lustre and sull brightness of the light from those parts that fall any thing more inward , therefore by how much one part of the body sticks out beyond the other it must 〈◊〉 〈◊〉 so much lighter then the other , or if it fal more inward , it must be made 〈◊〉 〈◊〉 . Sattins and Silks , and all other bright-shining stuffs , have certain bright 〈◊〉 , exceeding light with sudden bright glances , especially where the light falls brightest , and so the reflections are lesse bright , by how much the garment fals more inward from the light . The like is seen in armour , 〈◊〉 pots , or any glittering mettals , you shall see a sudden brightnesse in the middle or centure of the light , which discovers the shining nature of such things . Of Landskips . LAndskip is expressing of land by hils , woods , castels , seas , valleys , ruines , rocks , Cities , towns , &c. and there is not so much difficulty in 〈◊〉 , as in drawing figures therefore take onely these rules for it . 1 The best way of making Landskips is to make them shoot away one 〈◊〉 lower then another , which hath been practised by our best workmen of 〈◊〉 , but 〈◊〉 have run into a contrary error , by making the Landskip mount up higher and 〈◊〉 , till it reach up a great heigth , that it appears to touch the clouds , as if they had stood at the bottome of a 〈◊〉 , when they took the Landskip which is altogether improper , for we can discerne no prospect at the bottom of an hill , but the most proper way of making a Landskip , is to make the neerest hill highest , and so to make the rest that are further off , to shoot away under that , that the Landskip may appear to be taken from the top of an hill . 2 You must be very carefull to lessen every thing proportionable to their distance , expressing them bigger or lesse according to the distance they are from the eye . 3 You must make all your lights fal one way , both upon the ground and trees , and all things else , and all the 〈◊〉 must be cast one way . So likewise you must observe the motions of the Sea , by representing the 〈◊〉 agitations of the waters , as likewise in rivers , the flashings of the waters upon boats and ships floating up and downe the waters , you must also represent the motions of waters falling downe from an high place , but especially when they fall upon some rock or stones , where you shall see them spiriting up in the aire and sprinkling all about . Also clouds in the aire require to have their motions now gathered together with the winds , now violently condensated into haile , thunder-bolts , lightning , rain , and such like ; finally , you can make nothing which requireth not his proper motions , according unto which it ought to be represented : observe this rule that all your motions which are caused by the wind must be made to move one way , because the wind can blow but one way at once . Thus much for directions to those who are contented to take some pains to attain so noble a science ; Now there follow certain directions for those that are unskilful , and have not spare time sufficient to spend in the practise of those directions , yet are desirous upon occasions , & for certain ends to take the copies of some lesser prints or pictures which they oftentimes may meet withall , the which are very facile and easie to be performed . How to take the perfect Draft of any picture . TAke a sheet of the finest white paper you can get , Venice paper is the best , 〈◊〉 it all over with cleane linsed oyle on one side of the paper , then wipe the oyle off from the paper as clean as you can , then let the paper stand and dry , otherwise it will spoyl a printed picture , by the soaking thorow of the oyle ; having thus prepared your paper , lay it on any printed or painted picture , and you may see perfectly thorow and so with black lead pen , you may draw it over with ease : after you have thus drawne the picture on the oyled paper , put it upon a sheet of cleane white paper , and with a little sticke pointed , or which is better 〈◊〉 a feather , taken out of a Swallows wing , draw over your stroakes which you drew upon the oyled paper , and so you shall have the same very prettily and neatly , and exactly drawne upon the white paper which you may set out with colours at your own pleasure . Another way . HAving drawn the Picture , take the oyled paper , and put it upon a sheet of clean white paper , and 〈◊〉 over the drawing with a pen , then from the clean sheet that was pricked , pownse 〈◊〉 upon another , that it take some small coal , powder it fine , and wrap it in a 〈◊〉 of some fine linnen , and binde it up therein loosly , and clap it lightly over all the 〈◊〉 line by little and little , and afterwards draw it over againe by little and little , and afterwards draw it over againe with a pen or pensell , or what you please . Another way . TAke a sheet of fine white paper , and rub it all over on one side with black-lead , or else with vermilion tempered with a little fresh butter , then lay this coloured side upon a sheet of white paper , then lay the picture you would copy out upon the other side of the coloured paper , and with a small pointed sticke , or with a Swallows quill goe over all the 〈◊〉 of your picture , and then you shall have your stroakes very prettily drawn on the white paper . Another way . TAke a piece of white Lanthorne horne , and lay it upon your picture , then with a hard nipt pen made with a Ravens quill draw the stroake of your picture upon the horne , and when it is dry , breath upon the horne twice or thrice , and presse it hard upon a peice of white paper a little wetted , and the picture you drew upon the horn , will stick fast upon the paper . Another way . TAke 〈◊〉 sheet of white paper , rub it all over with fresh butter , and dry it in by 〈◊〉 fire ; then rub one side of it all over with lamp-black or lake , or any other colour finely ground : lay this paper upon a sheet of 〈◊〉 paper with the coloured sid downwards , and upon it lay the picture you would copy out , and trace the stroak over with a fether of a Swallows wing , and you shall have your desire . Another way . TAke some lake , and grinde it fine , and temper it with lin-seed oyle , and afterwards with a pen draw with this mixture , instead of inke , all the out-stroake of any paper picture , also the musles , then wet the contrary side of the picture , and presse it hard upon a sheet of cleane white paper , and it will leave behind it all 〈◊〉 〈◊〉 of the said picture that you drew over it . Another way . TAke Printers blacke , grinde it fine , and temper it with faire water , and with a pen dipt therein draw over the master stroakes , and out-lines of the musles , wet then a faire paper with a spunge , or other thing , and clap the paper upon it , pressing it very hard thereupon , and you shall finde the stroakes you drew left upon the faire paper . Another most easie way . LAy a paper print upon a bright glasse window , or paper window that is oyled with the back-side of the print upon the window , then lay a clean paper upon the print , and draw the out-stroaks upon the paper , which may visibly see you , it being sett up against the light , and if you wil shadow it siner you may . An easie way to lessen any Picture that is to draw a picture from another in a lesser Compasse . 〈◊〉 take a ruler and a black-lead plummet made an even square ; now , you must divide 〈◊〉 〈◊〉 into divers equal parts with a pair of compasses , and draw lines with a 〈◊〉 and black lead plummet quite over the picture , make also other lines acrosse , so that 〈◊〉 picture may be divided into equall squares , then take a faire paper and make 〈◊〉 〈◊〉 〈◊〉 upon it as there is in the picture ; you may make them as little as 〈◊〉 will , but be sure they are equall in number with those in the Picture , having 〈◊〉 drawne 〈◊〉 the picture and paper into squares ; take a black-lead pen and draw the picture by little and little , passing from square to square , and in what part of the 〈◊〉 〈◊〉 picture lies , in that same square put the drawing , and in the same place of 〈◊〉 〈◊〉 upon the paper untill you have finished the whole , then draw it over with a pen , in which second drawing of it over you may easily mend any fault ; when it is 〈◊〉 it over with the crumme of white bread , and it will take off all the black - 〈◊〉 stroakes , and your draft onely will remaine faire upon the paper . An easie way to take the naturall and lively shape of the leafe , of any hearbe or tree , which thing passeth the art of man to imitate with Pen or Pensell . FIrst take the leafe that you would have , and gently bruise the ribs and veines on the back-side of it , afterwards wet that side with linsed oyle , and then presse it hard upon a peice of cleane white paper , and so you shall have the perfect figure of the said leafe with every veine thereof so exactly exprest , as being lively colored , it would seem to be truly naturall . Of Washing Maps or Prints . WAshing Pictures is nothing else but the setting them out with colours , and for the effecting hereof you must be provided with store of pensels , some smaller The 3. whole Anatomique figures Before Behind & Sydewise . In these three whole Anatomiques are represented the Muscles aswell Before and Behynde as Sydewyse . And the sayd Figures are made by such observations and measures as is before herein declared . And you may note that the draught of the Figure for before serueth also for the Figure 〈◊〉 So as in such 〈◊〉 that in the makeing of the one you also 〈◊〉 made the other taking the opposyte of the 〈◊〉 and the 〈◊〉 spaces which are betweene the 〈◊〉 are the 〈◊〉 measures and 〈◊〉 of the Head which are to be obserued in Humane 〈◊〉 . 〈◊〉 〈◊〉 , Allum-water , Gum-water , Water made of Sope ashes , size , varnish , 〈◊〉 〈◊〉 of good colours well prepared . How to make Allum Water , and the 〈◊〉 of it . TAke a quart of faire water , and boyle it in a quarter of a pound of Allum , seeth it untill the Allum be desolved , then let it stand a day , and so make use of it . With this water you must wet over your pictures that you intend to colour , for it will keep the colours from sinking into the paper , also it will adde a lustre unto the colours , and make them shew fairer , and it will also make them continue the longer without fading ; you must let the paper dry of it selfe after you have once wetted it , before you either lay on your colours , or before you wet it againe , for some paper will need to be wet foure or five times . If you intend to varnish your pictures , after you have coloured them you must first size them , that is , rub them over with white starch with a brush , instead of doing them with Allum water , but be sure you size it in every place , or else the varnish will sinke thorow : Note , if your varnish be too thick you must put into it so much Turpentine oyle as will make it thinner . How to make Gum-water . TAke cleane water a pint , and put it into three ounces of the clearest and whitest Gum araback , and let it stand untill the gum be desolved , and so mix all your colours with it ; if the gum water be very thick it will make your colours shine , but then your colours will not work so easily , therefore the best is , that the water be not 〈◊〉 too thick nor too thin . How to make Lime water . TAke unsack't lime , and cover it with water , an inch thick , let it stand so one night , in the 〈◊〉 power off the clear water and reserve it in a cleane thing for your use ; with this water you must temper your sap green when you would have a blew colour of it . How to make water of Soap-Ashes . STeep Soap-ashes a night in rain-water , in the morning powre off the clearest . This water is to temper you Brazil withall . How to make Size TAke a quantity of blew , and let it steep a night in water , to make it the readier to melt in the morning , then set it on a coal of fire to melt , which done , to try whether it be neither too stiffe nor too weak , for the meanest is best , take a spoonfull thereof and set it in the aire to cool , or fill a musle shell with it , and let it swim in cold water , to cool the sooner if it be too stiffe when it is cold put more water to it , if too weake then put more glew into it , and when you would use it , make it lukewarme , and so use it . This is to wet your cloaths in if you intend to paist your maps or pictures upon cloath , or you may take white starch and wet your sheet , and wring it out , and so straine it upon a frame , or nail it stretched upon a wall or 〈◊〉 , and so paist your maps or pictures thereon . The Names of all the Colours Pertaining to Washing . Blews . Blew-bice . Indico . Blew-verditer . Reds . Vermillion . Lake . Red-lead . Whites . Ceruse . White-lead . pickt . Blacks . Printers Black . Ivory Burnt . Greens . Verdigreece . Varditer-green . Sap-green . Copper-green . Yellows . Yellow-berries . Saffron . Light-Masticote . Browns . Spanish Brown . Umber or Haire Colour . Of the tempering your Colours . SOme colours must be grownd , and some washt : such colours as are to be grownd you must first grind very fine , in faire water , and so let them stand and dry , and afterwards grind them again in Gum-water . Those that are to be washt must be thus used . TAke a quantity of the colour you would have washt , and put it into a shell , or earthen dish , then cover it all over with pure faire water , and so stir up and downe for a while together with your hand , or a wooden spoon till the water be all coloured , then let the colour sinke a little to the bottome , and before it be quite setled , pour out the top into another dish , and so fling the bottome away , and let the other stand till it be quite setled , and then powre off the water , and mixe it with gum-water , and so use it . What Colours must be Grownd , and what washt . Grownd . Indico . Lake . Ceruse . White-lead . Spanish-Browne . Vmber . Printers Black . Ivory Burnt . Washt . Blew-Bice . Blew-Verditer . Green-Verditer . Red-lead . Light-Masticoat . Steept . These must be steept only till the water be sufficiently coloured . Verdigreece in Vineger . Sap-green in Vineger . Yellow-berries in Allum water . Saffron in faire water . Copper-green is made of Copper . How to make Copper-Green . TAke Copper plates , or any shreds of Copper , and put distilled Vineger to them , set them in a warme place untill the Vinegar become blew , then powre that 〈◊〉 into another pot , well leaded , and poure more Vineger upon the Copper plates againe , letting that also stand untill it be of a blew colour , then poure it unto the former liquor , this may you doe so often untill you have liquor enough , then let that liquor stand in the Sun , or upon a slow fire till it be thick enough , and it will be an excellent green . The use and nature of every particular Colour . 1 BLew-Bice is the most excellent Blew next to Ultermarine , which is too good to wash withall , and therefore I leave it out here , and put in Blew-bice , which will very well 〈◊〉 in the steed of it , and indeed you may leave out both and use Smelt in the 〈◊〉 of them , but that it will not worke so well as Bise ; no Bise is too good to use upon all occasions , but onely when you intend to bestow some cost and pains upon a piece , otherwise you may use no other blew in your worke then blew Verditer , with which you may make a pretty good shift without any other blew , I meane in ordinary worke . 2 Indico is a dark blew , and is used principally to shadow with upon your other blew Indico , and yellow berries mixed together make a dark green to shadow other greens with in the darkest places . 3 Blew Verditer is a very bright pleasant blew , and the easiest to worke with in water : it is somewhat inclining to a green , and being mixed with yellow-berries it makes a good green : this blew is most used . 4 Verdigreece is a good green , but subIect to decay : when it is 〈◊〉 upon the paper it wil be of a lighter colour then it is when you lay it 〈◊〉 on , therefore to preserve it from that fault , put some sap green amongst it to dissolve in it , and it will make it keep its colour ; this colour is of a poysonous nature , and therefore you must be carefull how you use it , that it come not neer your mouth . There is distilled Verdigreece to be bought at the Coller-shops , that is a far better green then the other , but it is somewhat dear , and the other will serve insteed of it . 5 Verditer-Green is a light green , seldome used in any thing but in colouring of I andskips , those places that should show a far off , and it is good for such a purpose , because it is somewhat inclining to a blew , but you may make a shift to doe any thing well enough without it ; for a little blew Verditer mixt with Copper green and 〈◊〉 little white , will make Iust such another colour . 6 Sap-green is a darke durty green , and never used but to shadow other greens in the darkest places , or else to lay upon some darke ground , behind a picture , which requires to be coloured with a darke green , but you may make shift well enough without this green , for Indico and Yellow-berries make Iust such another Colour . 7 Copper-green , it is an excellent transparent green , of a shining nature if it be thickned in the Sun , or upon a softly fire , and it is most used of any green in washing of 〈◊〉 , especially in colouring of the grasse ground or trees , for it is a most perfect grasse-green . 8 Vermillion it is the perfectest Scarlet colour , you need not grinde it , no nor wash it , it is fine enough of it selfe , onely temper it with your finger in a gally pot or oyster shell , with gum-water , and it will be ready for your use , if you put a little yellow-berries amongst it , it vvill make it the brighter colour , this is principally used for garments . 9 Lake , It is an excellent Crimson colour , vvith it you may shadovv Vermilion , or your yellovv garments in the darkest places ; vvith it you make a skie colour , being mixed onely vvith vvhite ; vvith it you make flesh colour , sometimes mixed together vvith vvhite and a little red-lead , it is an excellent colour of it selfe to colour garments , or the like Indian lake is the best lake , but too good to be used to wash prints with , unlesse you intend to bestow great curiosity upon your worke ; but the 〈◊〉 sort of ordinary lake will serve well enough for ordinary uses , but that also will be somewhat costly . Therefore instead thereof you may use Red-Inke thickned upon the fire , and it will 〈◊〉 very well for your purpose , and better then Lake , unlesse it be very good . Note if you would make a light skie colour of your red-inke , you must not thicken it , or if you would mix it among your 〈◊〉 - colour you must not thicken it , you should rather chuse to shadow your Vermillion with Spanish browne then thick red Inke , which will serve well for that purpose , and is much cheaper , but it is not altogether so bright a colour and cleare . 10 Red - 〈◊〉 is the nearest to an Orange colour , and putting a little yellow 〈◊〉 into some of it , will make it a perfect Orange colour , but if you mean to make flesh-colour of it , you must put no yellow , but onely then when you would make 〈◊〉 Orange colour . This colour is used for the colouring of buildings or high-wayes in Landskip , being mixed with a little white . Also it is the onely bright colour to shadow yellow garments with , to make them show like changeable 〈◊〉 ; it is good also to colour any light ground in a picture , taking only the thin water of it , and so for severall other uses as you shall see occasion for it . To foreshorten feete seene forwards , you must make the foote 〈◊〉 〈◊〉 his proportions and measures seene on the insyde of the foote marked A. and from those prepertions and measures marked 1234. drawe downe 〈◊〉 vntill they cutt the Diagonall , and conuey thence lines Paralell , to make the 〈◊〉 foote vnder the place of the foreshortned foote and from the said shadowed you must rayse perpendiculars vnto the place of the saide foote to be shortened which there meeting with the 〈◊〉 lines that proceede from the first foote by intersections of them there , giueth vs the said foote Gēometrically 〈◊〉 as 〈◊〉 heere represented wherein the toes of the feete are marked A , B , C , D , E , and the lyke is to be observed for the foote seene by the heele marked B , and also for the foote marked with C. seene on the foreparte , and lastly in like 〈◊〉 for the foote marked D 〈◊〉 are foreshortned by the same rules as the former . 11 Yellow berries , it is most used in washing of all other yellows , it is bright , and transparent , fit for all uses , and is sufficient without the use of any other yellow , 12 Saffron is a deep yellow if you let it stand a pretty while ; it is good principally to shadow yellow-berries with , instead of Red-lead : and it is somewhat a brighter shadow , but you may make shift well enough without this colour , for red-lead , and yellow-berries make Iust such another colour . 13 Light Masticote ; It is a light yellow , Iust like yellow berries and white , 〈◊〉 therefore you may shift well enough without it , only for the saving you a 〈◊〉 to mixe your yellow berries with white when you have occasion for a light yellow , which you may sometimes make use of to colour a light ground in a picture , and then shadow it with the water of burnt umber , or red-lead , that is the 〈◊〉 part of the colour . 14. 15. Ceruse , It is the best white , if it be good and finely ground ready to your hand , as you may have it at some colour shops , or for want of it buy white-lead pickt to your hand , either of them will serve well enough ; any of these being minled with another colour , they make it lighter , and the more you put the lighter they will be , as you shall finde in the using of them . 16 Spanish Browne is a dirty browne colour , yet of great use , not to colour any garment with , unlesse it be an old mans gowne , but to shadow Vermillion , or to lay upon any darke ground behind a Picture , or to shadow yellow berries in the darkest places , when you want Lake , or thick red 〈◊〉 . 17 It is the best and brightest colour whrn it is burnt in the fire till it be red-hot , but if you would colour any hare , horse , dog , or the like , you must not burne it , but for other uses it is best when it is burnt ; as to colour any wooden post , bodies of trees , or any thing else of wood , or any darke ground in a picture ; it is not to be used about any garments , unlesse you would colour many old mens 〈◊〉 , or caps standing together , because they must not be all of one colour of black , therefore for distinction and varieties sake you may use Umber un-burnt for some of them . 18 Printers blacke is most used , because it is easiest to be had , and serves very well in washing : Note , You must never put any black amongst your colours to make them dark , for it will make them dirty , neither should you shadow any colour with black , unlesse it be Spanish browne , when you would colour an old mans gowne , that requires to be 〈◊〉 of a sad colour ; for whatsoever is shadowed with black will look dirtily , and not bright faire and beautifull . 19 Ivory burnt or want of that bone burnt , it is the blackest black that is , and it is thus made ; Take 〈◊〉 , or for want of it some white bone , and put it into the fire till it be thorowly burned , then take it out and let it cool , and so slit it in the middle , and take out the lackest of it in the middle and grinde it for your use . Directions for the mixing of your colours . IN mixing of any colour , you must be very carefull you make it not too sad ; if one colour be sadder then the other that you mixe with it , put in but a little and a little of the sad colour , till you see it be sad enough for your purpose , 〈◊〉 if you make your colour too sad , you will very hardly recover it in mixing , and if you lay it so on your picture , you can never recover , but if it be too light you may make it darker at your pleasure . 2 In mixing your colours you must be very carefull that you put not your pensell out of one colour into another , for that will spoyle and dirty all your colours unlesse you wash your pensell cleane and then wipe the water out of them . 3 Black is not to be mingled with any colour but white , for it will dirty all other colours , and make them look unpleasant . Particular Directions for the compounding of Colours or mingling one Colour with another How to make a Purple Colour . TAke Logg-wood , and seeth it in Vinegar and small beer , in an earthen pot , and put a little Allum therein , untill you taste it to be strong on your tongue , and when it is boyled , straine the Log-wood through a clout , cleane from the water , and so let the water stand and cool for your use . OR , YOu may make purple colour with mixing bise and lake together , or if you want bise , you may use blew Verditer , but it will not serve your purpose so well as blew bise , but thick red-Inke will serve at all times as wel as lake in washing . How to make Red Inke . BOyle Brazill as you doe the Log-wood , and straine the brazill through a clout as before . A Flesh Colour . IT is made of white and a little lake , and a little red-lead mixed , a very small quantity of each ; you may make it as light , or as red as you please , by putting more or lesse white in it shadow in the cheeks and other places , by putting in a little more lake and red-lead into it , if you would have it a swarthy complexion to distinguish the mans flesh from the womans , put a little yellow Oker among your flesh , and for your shadow put a little more lake , and a smal quantity of burnt umber . An Ash colour is compounded of black and white . You may make your greens lighter by mingling it well with yellow berries or white . Colours for Buildings . IN washing we doe not observe the natural colours of every thinh , as to expresse variety of colours and pleasantnesse to the sight , that the things coloured may appear beautiful to the eye , yet so as they may not be contrary to reason , and be accounted 〈◊〉 ; but that we doe somewhat imitate natural things , and here and there adde some beauty by pleasant colours , more then doth usually and commonly appeare in the natural things themselves , so that although the naturall things themselves doe very rarely appear in such beauty or with such kind of colours , yet it may be imagined that it is possible that at some times they doe or may be made ( without derogating from the rule of nature and reason ) to appear in such colours as you have exprest them in , by this rule , you may guide yur selfe in colouring of any thing , and principally in buildings , and in Landskips , therefore when you would colour any buildings , you must do it with as much variety of pleasant colours as the utmost extent of nature and reason will permit , yet not without reason , or beyond the limits of nature . In colouring buildings you may sometimes use black and white for the wals , conduits or other things , where you think fit sometimes , you may use red-lead and white for brick houses or others , when many houses stand together you must colour them with as many various colours as you can well use about buildings ; sometimes you may use umber and white , and sometimes lake and white , or red-inke and white , for varieties sake , and if you want more variety , you may put here and there in some places Varditer and white , all these you must shadow after you have laid them on . Colours for Landskips . FOr the neerest and darkest saddest hils lay burnt Umber , and for the light places you must put some yellow to your burnt Umber , for the next hils lay Copper The Whole figure of Mans body 〈◊〉 a 〈◊〉 on the Syde and 〈◊〉 by the 〈◊〉 of the head the back 〈◊〉 The 〈◊〉 〈◊〉 shall 〈◊〉 vs in this figure 〈◊〉 〈◊〉 by the 〈◊〉 of the head , 〈◊〉 〈◊〉 〈◊〉 of any 〈◊〉 for the 〈◊〉 that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the figure of the 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 of the first figure 〈◊〉 A their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 our figure 〈◊〉 , 〈◊〉 by the 〈◊〉 of the Head , green well thickned with the fire , or in the Sun ; in the next hils further off , 〈◊〉 some yellow berries with your copper green , and let the fourth degree be done with green verditer , and the furthest and faintest places with blew Bice , or for want of that with blew verditer mingled with white for the lightest places , and shadowed with blew verditer in the shadows , somewhat thick : the high-wayes must be done commonly with red-lead and white , and for variety you may use sometimes yellow Oker , and shadow it with burnt Umber , which colour you may use also for sandy rocks and hils ; the rocks must be done with various colours , in some places with black and white , in some , places with red-lead and white , and some must be done with umber and white , and some with blew and white , and other colours , such as you think do neerest resemble rocks , but alwayes endeavour to do them with pleasant colors as much as you can ; the water must be done wth black varditer and white , sometimes shadowed with copper green , a little verditer blew , when the banks cast a green shade upon the water , at other times it must be shadowed with blew verditer alone , and where the water is very darke in the shadows , it must be shadowed with a little 〈◊〉 , some copper green thickned , and some blew verditer : the bodies of trees must be done with burnt umber , and the leaves must be done with such greens as the ground is , and the whole Landskip must be shadowed after you have laid on the first colours , the darker greens must shadow the lighter , Spanish brown then must shadow red lead and white , and so the others as before . Colours for the skie . LIght Masticote , or yellow berries and white , for the lowest and lightest places , red-inke not thickned , and white for the next degree , blew bice and white for the next degree and blew bice alone for the highest of all : insteed of bice you may use verditer , all these must be so laid on and wrought one into another , that you may not receive any sharpnesse in the edge of your colour , but that they may be so layd on , that you cannot perceive where you began to lay them on , they must be so drownded one into another . For Cloud-colours , you may use sometimes blew verditer , and white shadowed with blew verditer , sometimes light Masticote shadowed with blew verditer , and sometimes Lake and white or red inke , and white shadowed with blew varditer . What Shadows must be used for every colour in Garments . TAke this generall rule , That every colour is made to shadow it self , either if you mingle it with white , for the light and so shadow it with the same colour , unmingled with white , or else take off the thinnest water of the colour for the light , and so shadow it with the thickest bottome of the colour ; but if you would have your shadow of a darker colour , then the colour it self is to shadow the deepest places with , then follow these directions . 1 Blew bice is shadowed with Indico in the darkest shadows . 2 Indico is darke enough to make the darkest shadow , therefore needs no other colour to shadow it withal . 3 Blew verditer is shadowed with thin Indico . 4 Verdigreece with sap-green . Verditer with copper green , and in the darkest places of all with sap-green . 5 Sap-green is used only to shadow other greens , and not to lay for a ground in any garment . 6 Copper green is shadowed either with sapgreen or Indico and yellow berries . 7 〈◊〉 million with lake , or thick red inke , or Spanish browne . 8 Lake must not be shadowed with any other colour , for it is the darkest red of it 〈◊〉 , but for variety you may shadow it sometimes with bice , or blew verditer , which 〈◊〉 it shew like a changeable Taffity . 9 Red-lead is shadowed with Spanish browne in the darkest places . 11 Saffron is shadovved vvith thick red Inke or Lake . 12 Light Masticote , vvith the thin vvater of Red-lead . 13 , 14. White Ceruse , and vvhite lead vvith a little black amongst some of it 〈◊〉 . 15 Spanish brovvn vvith black , but that is not used in any bright garment . 16 Umber vvith black mingled vvith some of it . 17 Black cannot be shadovved vvith any colour darker then it selfe . Directions for the laying on of your Colours . 1 YOu must lay your colours on of such a thicknesse , I meane your body'd colours that you may see how to shadow them to perceive where the shadows are , and not lay on your colours so thick that you cannot perteive the print , nor how and where to shadow it , 2 You must always lay on your lightest colours first , and then shadow them afterwards 3 You must lay on your colours very smooth with your pensel , that the colour may not lye thicker in some places then in others , and to that end you should take your pensell pretty 〈◊〉 of colour when you should cover a garment all over ( otherwise not ) that so you may lay the colour smooth before it dry , for you cannot well smooth them afterwards when they are once dry ; therefore when you lay them on be as quick as you can in covering the garment , that you may have covered it all over before your colour be dry in any part , for by this means you shall be the better able to lay it smooth ; some colours are harder to lay then others ; those that are the most sandy colours , as varditer , bice , red-lead , &c. are hardest to lay smooth on , and therefore you must be the more carefull in them . What Colours set off best together . 1 BLews set off well enough with red , yellows , whites , browns and blacks . They set of best with reds , whites and browns . They set not off well with greens and purples . 2 Greens set off well with purples , reds yellows or browns . They set off best with purples and reds . They 〈◊〉 not off well with blews or blacks , nor whites , unlesse it be a sad green . 3 Reds set off well with yellows , blews , greens and whites . They set off best with yellows and blews . 〈◊〉 set not off with purples browns or blacks . 4 Yellows set off well with reds , sad blews , greens , browns purples . 〈◊〉 〈◊〉 off best with reds and blews . They set not off well with light greens or blacks or whites . 5 Whites set off with all colours . They set off best with black and blew . 6 Browns set off very well with no colour , but are used sometimes upon necessity , they set off worst of all with black , because they are so neer alike . 7 Blacks are not used but upon necessary occasions in some things that doe needfully require ; it and so it 〈◊〉 off well enough with almost any colour , because it is not like any , but differs somewhat from all . How to write Gold with Pen or Pensell . TAke a shell of Gold , and put a little Gum-water into it , and so stir it about with 〈◊〉 pensel , but you must put very little Gum-water , and then you may use it as you doe other colours . ' The proportion of the Hand 〈◊〉 of 3 measures of the Nose , of 〈◊〉 : you are to make the three equall pricked squares , marked perpendicularly 1. 3. 2. the lowest of which 〈◊〉 is 〈◊〉 into 2 〈◊〉 parts therby to adIoyne a halfe making a third part unto that base marked also 〈◊〉 . which we give 〈◊〉 the Balle of the Thumb and 〈◊〉 〈◊〉 neare unto 〈◊〉 . 〈◊〉 , 〈◊〉 a pricked line perpendicularly vp unto the topp of the right hand angle of the square marked above with 1 making a pricked quill , within the which the said Forefinger is 〈◊〉 , the length and toppe therof exceeding the vpper 〈◊〉 of the Middle finger : That being divided into 3 equall partes the two equall Ioynts 〈◊〉 the two upper parts shallbe of equall hight vnto the vpper Ioynt of 〈◊〉 〈◊〉 finger . as appeareth in the figure of 〈◊〉 Hand represented at B And the Thumbe shall not 〈◊〉 〈◊〉 second or midle 〈◊〉 of the 〈◊〉 . ' Then 〈◊〉 a 4th 〈◊〉 for 〈◊〉 〈◊〉 which is the measure of 〈◊〉 Nose the base or lower part of which is divided into 4 parts , which shall serve us for Hands 〈◊〉 on the syde The same measures are observed aswell in the hand 〈◊〉 without or on the back 〈◊〉 〈◊〉 〈◊〉 〈◊〉 seene or 〈◊〉 〈◊〉 〈◊〉 & 〈◊〉 marked 〈◊〉 〈◊〉 & C but that that 〈◊〉 seene sydewise 〈◊〉 but 3 measures of that base of that Wrist Appeareth 〈◊〉 that figures of that said 〈◊〉 marked in that 〈◊〉 page in that 〈◊〉 or 〈◊〉 lines marked in the ovall formes marked 1. 2. 3. 4. under that wrists 〈◊〉 make that 〈◊〉 plane of that said Wrist . Thus by a little practise you may become perfect in this Art , and learne the full perfection 〈◊〉 it . How to lay Gold or Silver on Gum-water . TAke five or six leaves of Gold or Silver , and grinde them with a stiffe gum-water ; and a pretty quantity of Salt , as fine as possibly you can , then put them into a 〈◊〉 glasse , and fill the glasse almost ful of faire water , to the end the stiffe water may dissolve , and so the Gold goe to the bottom , let it stand three or foure houres , then 〈◊〉 away the liquor from the gold , and put in more cleane water , and stir it about , and let it settle again , and then poure the same water to this so often untill you see your gold or silver clean washed : then take a clean water , and put thereto a little 〈◊〉 of Sal Almoniack , and great Salt , and let it stand the space of three days in a box made of wax , or in some close space : then take a piece of Glovers leather , and pick away the skin-side and put the gold and the water therein , tye it up , then hang it on a pin , and the salt will fret through , and the Gold will remain , which you shall temper with the glayr of an egge , and so use it with pen or pensel . You 〈◊〉 diaper on gold with lake and yellow Oker , but on silver with Cerese . Let your Gum-water be made good and stiffe , and lay it on with your pensel where you would guild , then take a Cushion that hath a smooth Leather , and turn the bottom 〈◊〉 , upon that cut your gold with a sharpe knife , in what quantity you will , and to take it up draw the edge of your knife finely upon your tongue , that it may be onely wet , with which do but touch the edge of your gold , and it will come up , and you may 〈◊〉 it as you list , but before you lay it on let your Gum be almost dry , and being 〈◊〉 presse it down , hard with the scut of an hair , afterwards burnish it with a dogs tooth . Of Limming . LImming consisteth not only in the true proportioning of a picture , but also in the 〈◊〉 and lively colouring of the same , whereby the worke is exceedingly graced , and most lively set out in proper colours , most neerly resembling the life . How to chuse your Pensels . LEt them be clean and sharpe pointed , not cleaving in too in the hair , they must be full and thick , next the quill , and so descending into a round and sharp point ; if you finde any one haire longer then other , take it away with the flame of a Candle , passing the pensel through the flame , you must have severall pensels for severall colours . Gum-Araback . AMongst all your colours you must mingle gum Araback , the best and whitest , which you should have alwayes ready , finely poudred ( or dissolved in fair water ) and so with a few drops of pure water , mingle it with your colour , and temper them together til the gum be dissolved and incorporated with the colours . How to grinde your Colours YOu must grind your colours either upon a perphire Serpentine , or pibble stone , which are the hardest , and therefore the best to grind upon ; grind then with faire water onely , without gum , and when you have ground them very fine , put them upon a chalk stone , and there let them dry , and when they are dry take them off from the chalke and reserve them for your use , in papers or boxes . The proportion of a woman standing backe ; The same maner as you make the former figure , you must use in this backward of the woman , without altering any thing of the measure , except in observing the muscles , which are marked behinde must be made sweeter & smoother then the mans , as appeares in this figure . The Names of your Colours . Whites . Ceruse . White-lead . Yellows . Masticote . Yellow-Oker . English Oker . Greens . Sap-green . Pink & blew bice Green bice . Cedar-green . Verditure . Blews . Indico . Vltermarine . Blew bice . Smalt . Browns . Umber . Spanish-browne . Cullins-earth , Reds . India Lake . Red-lead . Red-Oker . Blacks . Cheristone-burnt . Ivory burnt . Lamblacke . What Colours must be Washt , and what ground . Ground . Ceruse . White-lead . Indian-Lake . English Oker . Pink . Indico . Umber . Spanish-brown . Colens-earth . Cheristone-black . Ivory-blacke . Washt . Red-lead . Masticote . Green-bice . Coedar-green . Ultermarine . Blew bice . Smalt . Verditer . Sap-green . Is to be steept in water . How to wash your colours . TAke some blew bice or other colour you would wash and put it into a dish full of pure water , stir it for a while together , till the water be all coloured , then let it stand a while , and the corruption will fleet upon the water , then poure away the water , and fill the dish with fresh water , and stir it as before till the water be troubled and thick ; which done , before it be halfe setled , poure it out into another dish , leaving the dregs and seethings of your colour in the former dish , which you must cast away , the troubled and coloured water being poured into your second dish , put more water to it , and wash it as before , then let it settle till it be clear , and so poure off the water , washing it againe , and again , if any scum arise , which may make foure or five sorts , still pouring halfe the thin water into another dish , and washing it as aforesaid ; when you have washed it often , and finde it well clensed , poure away the water , then set the colour in the Sun to dry , and when it is dry , strike off the faintest part of the colour , lying about the sides of the dish with a feather , and so use it for your finest work , the rest will serve well for courser worke . When you would use your colour , take of it as much as you can well spread about the sides of a shell , somewhat thin , and not on heaps , and so temper it finely with your gum as before . To avoid the cracking of your colour , and flying from the shell , to which some colours are subIect ; take a little fine pouder of white Sugar-candy , and with it and a little faire water temper the colour over againe with your finger till the candy be dissolved . Colours for Garments . To make a Grasse-green is made of Pink and Bice , it is shadovved vvith Indico and Pink . Popinia-greeen , of Indico and more Pink , shadovved vvith Indico . French-green of Pink and Indico — Indico Sea-green , of Bice , pink and vvhite — Indico The proportion of a Childe behinde . The former rule without changing any thing , must be observed in this present figure standing backward , and all the proportions and measures which are observed in the former , serve to this likewise . Carnation of Lake and vvhite — Lake Crimson , of Vermillion Lake and vvhite — Lake Scarlet Vermilion — Lake Purple : Bice Lake and white — Lake and Indico Violet : Bice and Lake — Indico Yellow made of Masticote , pink and saffron shadow with lake and Saffron Straw-colour : most pink , Saffron , white and Vermillion — Lake Orange-tauny : Vermillion , pink and masticote — Lake Ash-colour : Lam-black and white — Black Skie-colour : Bice and white — Bice Light hair-colour : Umber , yellow-Oker and white — Umber Sad haire-colour : Umber , oker and black — Umber and black Thus by a little practising you may learne to mingle and compound all other colours whatsoever . The manner of Working . 1 THe manner of working in Limming , is by little smal pricks with a sharp pointed pensel . 2 You must lay your colours on very faint at first , and so make them deeper and deeper by degrees , for if you lay it on too sad at the first , it is impossible you should well recover it to make it lighter , but if it be too light you may make it darker at your pleasure . 3 When you would worke , you must first lay on flat primer , which must be of the lightest part of the complexion 〈◊〉 〈◊〉 〈◊〉 make , so that you may not need to heigthen ; or lay a lighter upon it , you may make a 〈◊〉 complexion of white lake , and red-lead 〈◊〉 together in a shell , if it be a 〈◊〉 complexion , mingle a little fine Masticote or English Oker , or both with the 〈◊〉 ; having laid on the primer which you must doe very quick and smooth , 〈◊〉 〈◊〉 the 〈◊〉 after the primer is dry with lake and white very faintly , and so proceed 〈◊〉 the perfecting of it by degrees . Colours For the Face . FOr the red in the cheeks , lips , &c. temper lake , red-lead and a little white together , for the faint shadows that are blewish , 〈◊〉 〈◊〉 white together , for bice is not used in a face , nor any black ; for the deeper shadows take white English Oker and Umber , and for darke and hard shadows in many pictures , use 〈◊〉 and Pinke mixt with Umber . When you are come to the close of your , and have almost finisht your face , you 〈◊〉 in the last place doe all the 〈◊〉 〈◊〉 , smilings and glansings of the eye , descending and contracting of the mouth , all which you must be sudden to expresse with a bold quick and constant hand , or 〈◊〉 alwayes not to depend to fast . Thus by a constant practise Ioyned with these 〈◊〉 and your own industry , 〈◊〉 may in time attaine to a great measure of perfection in this art of limming . Be patient , thou that seekest for this skill , By grace and art : so mayst thou have thy will . FINIS . Notes, typically marginal, from the original text Notes for div A28779e-360 Char-coal . Black-lead . Pen . Black-chalk . White-lead . Compasses . Fether . Perspective 〈◊〉 . 2 Gracefull posture . 〈◊〉 . 〈◊〉 . Fore-shortning . 5 Naturalnesse . Note . Ash-colour . Orange . Light-green 
A60467	----	The art of painting wherein is included the whole art of vulgar painting, according to the best and most approved rules for preparing an [sic] laying on of oyl colours : the whole treatise being so full, compleat, and so exactly fitted to the meanest capacity, that all persons whatsoever may by the directions contained therein be sufficiently able to paint in oyl colours, not only sun-dials, but also all manner of timber work ... / composed by John Smith, philomath. Smith, John, b. 1648? 1676 Approx. 64 KB of XML-encoded text transcribed from 50 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A60467 Wing S4099 ESTC R37566 16974146 ocm 16974146 105578 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60467) Transcribed from: (Early English Books Online ; image set 105578) Images scanned from microfilm: (Early English books, 1641-1700 ; 1159:17) The art of painting wherein is included the whole art of vulgar painting, according to the best and most approved rules for preparing an [sic] laying on of oyl colours : the whole treatise being so full, compleat, and so exactly fitted to the meanest capacity, that all persons whatsoever may by the directions contained therein be sufficiently able to paint in oyl colours, not only sun-dials, but also all manner of timber work ... / composed by John Smith, philomath. Smith, John, b. 1648? [15], 82, [2] p. Printed for Samuel Crouch ..., London : 1676. "Licensed May 10, 1676. Roger L'Estrange": p. [1] Running title: The art of painting sun-dials. Reproduction of original in the Bodleian Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. 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Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting, Industrial -- Early works to 1800. Sundials. Decoration and ornament -- Early works to 1800. 2005-04 TCP Assigned for keying and markup 2005-07 SPi Global Keyed and coded from ProQuest page images 2005-08 John Cords Sampled and proofread 2005-08 John Cords Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion Licensed , May 10. 1676. Roger L'Estrange . THE Art of Painting . Wherein is included The whole ART of Vulgar Painting , according to the best and most approved Rules for preparing , an laying on of Oyl Colours . The whole TREATISE being so Full , Compleat , and so Exactly fitted to the meanest Capacity , that all Persons whatsover may by the Directions contained therein be sufficiently able to Paint in Oyl colours not only Sun-Dials , but also all manner of TIMBER WORK , whether Posts , Pales , Pallisadoes , Gates , Doors , Windows , Wainscotting , Border Boards for Gardens , or what ever else requires either Use , Beauty , or Preservation from the Violence or Injury of Weather . Composed by John Smith , Philomath . LONDON , Printed for Samuel Crouch , at the Corner Shop of Pope's Head Ally , on the right hand next Cornhill , 1676. TO The Reader . IT is well known to all persons , that understand the Mathematicks , that Dialling ( one excellent part thereof ) hath with much Care and Industry been improved of late years , and abundance of Treatises have been written thereof , wherein several wayes have been delivered , for delineating the Hour Lines on Dial Playns , some more speedy , as the Instrumental way ; some for more exactness , as the Arithmetical , and the Geometrical way good in it self , and in some cases serving , where the other two cannot conveniently be made use of . Dialling being thus plainly and familiarly communicated to the world , it 's easie for an Industrious and Ingenious spirit to attain the knowledge of it , so far as to be able to draw his draught ; but then wanting the knowledg of Painting it on the Playn , he is fain to sit down and satisfie himself with having taken much pains , to attain that , which in the end will not profit him , by reason that he hath learnt but half his Art. Just like a Surveyor , that can hardly draw the draught , and give the proportions , or dimensions for the building of an house , but cannot rear the Fabrick thereof , of , without the help of Carpenters and Masons ; So here , our Dialist can only draw the draught , but must be beholding to the Painter to finish his Dial. The Consideration of which hath made me adventure in the ensuing Work , to lay down such Rules for preparing , mixing , and laying on of Oyl-Colours , as that the meanest Capacity may thereby attain to the knowledg of Vulgar Painting , and may render our Ingenious Artist a Compleat Diallist ; n●t able onely to draw his Draught , but , also to finish his work , and make it sit for use ; which I have observed , not one in twenty , that are otherwise knowing in this Art , can do . I am not ignorant of the lightness and vanity of the Times wherein we live , and therefore expect to be censured by a sort of people so vain , that they are apt to Condemn all , before they Understand any ; Yet let the Ingenious know , That the Rules herein delivered , are the same , which I my self have alwayes practiced , and that with as good Applause as any Professor in this kind whatsoever ; and I doubt not , but he that industriously practiseth what he finds here delivered , will soon become my Champion to defend my Rules , which he finds so true , against all opposers whatsoever . The truth is , the meanness of my style may perhaps not a little detract from the Reader 's pleasure ; for which I hope the subject will plead my excuse , which requires to be delivered , rather in demonstrative , than Elegant Expressions ; and 't is the Profit of my Reader that I more aym at than his Pleasure : however , if he chance to fail of his expectation in both , through Sloth or Ignorance , yet he cannot accuse me for being prodigal of his time , the Discourse being so brief , which I desire may be as kindly accepted , as freely imparted . Farewel . A TABLE of the Contents of the several Chapters . CHAP. I. THE Description and Use of the several Tools used in and about the Art of Painting . Page 1 CHAP. II. A Catalogue of several Colours used in the Art of Painting ; their Nature and Use. p. 11 CHAP. III. How to order such Colours as require to be burnt in the fire , to make them the more sit for some uses . p. 24. CHAP. IV. How to wash such Colours as by their grittiness are not otherwise to be made fine enough for certain Uses . pag. 32 CHAP. V. How to grind Colours with Oyl . p. 29 CHAP. VI. How to order Colours for working after they are ground . p. 32 CHAP. VII . How to make Gold size to lay Gold on when you would guild . p. 36 CHAP. VIII . What Colours set off best one with another . p. 40 CHAP. IX . What Colours are sufficient for Painting Sun-Dials . pag. 42 CHAP. X. Some Instructions for making of Plains and Boards to draw Dials on . p. 44 CHAP. XI . How to make the best Glew for glewing the Joynts of Dial-Boards . p. 49 CHAP. XII . A Catalogue of such Books as are necessary for him that would be a Compleat Dialist . CHAP. XIII . The Practice of Painting Sun-Dials . pag. 56 CHAP. XIV . How to guild the Figures of Sun-Dials with Gold. pag. 63 CHAP. XV. How to lay Smalt , the only Colour that requires strowing . p. 67 CHAP. XVI . The Practice of Vulgar Painting . pa. 69 CHAP. XVII . How to scowr , refresh and preserve all manner of Oyl Paintings . 72 CHAP. XVIII . Some Improvements in Painting to resist weather , and preserve Timber or woodden works from rotting . p. 79 THE Art of Painting SVN-DIALS . CHAP. I. The Description and Use of the several Tools used in and about the Art of Painting . 2. A Grinding stone and Mulier ; the stone it self ought to be of a Porphyrie , which is the best ; but for want thereof , any stone will serve , whose hardness will not suffer a Knife to wear it away , and withal sound and free from small pores : for if your stone be full of small holes , as some are , the colour that you first grind thereon cannot be so cleansed off , but there will remain some of it in those small holes , which will stain and spoyl the next different colour that is ground after it . This Grinding-stone ought to be a foot and a half square , and so thick as may make its weight sufficient to keep it firm from moving when you are grinding on it . When at any time you have done using of your Stone , you must be sure to cleanse it well from all the colour that shall remain , by scowring it with a Cloath and fine dry ashes or other dust ; for if you set up your Stone foul with colour , it will put you to great trouble when it is dry to make it clean when you come next to use it . The Mulier must be a pebble stone of the fashion of an Egg , with one end broken off flat , three inches Diameter is sufficient on the flat end , and five inches in height is convenient , that you may with more ease command it in the time of grinding . 2. You must have a piece of Lanthorn horn about three inches square , this piece of horn is used to keep the colour together in the grinding , and to take the colour of the stone when it 's ground sufficient . 3. You must have Galley-pots , Pans or Pipkins to put your colours in when you have ground them ; and these Pots or Pans ought to be proportionable to the colour you grind : for if it be but little , and your Vessel great , your colour will be lost and spent in daubing about the sides of it ; therefore for a little quantity of colour , have a small Vessel ; and for a larger quantity , a larger Vessel : however , let the largest hold not above two quarts , lest it prove too cumbersome and troublesom to you . 4. You must have Brushes and Pencils of all sorts , some for priming and laying on of colours ; others for drawing Lines , Figures , Letters , and the like ; Brushes are made with bristles , and are of several sizes , as from two inches and an half diameter , to a quarter of an inch : their goodness consists in the bristles lying close and even at the ends , and being well bound to the frame . Pencils are made of finer hair , as of Colaber tayls , &c. They are of several sorts , as of Swan , Goose , and Ducks quill fitht and pointed ; their goodness consists in their being well bound , and that the hair lyes close , and that the pointed ones draw very sharp , being wetted with your tongue , and drawn through your lips . When you have done using of your Pencils or Brushes , you must wash the colour clean out with Sope and warm water ; else the drying of the colour will so mat them , that they will never be fit for use afterwards : however , take notice you need not wash them every time you have done using them , but only when it will be a considerable time before you use them again ; otherwise putting them into a pan of water , or letting them remain covered with colour or Oyl , will preserve them sufficiently when you use them often together . 5. You must have an Easel for the painting of Dials , easie to be made by your self or by a Joyner ; it must be almost of the fashion of a Ladder about 7 foot high , having the uppermost round moveable with a stay in it on the back-side of the Easel to stay it in what posture you please ; the sides of it must be boared full of holes at equal and opposite distances , wherein two pins are to be put on which your Dial board is to be set , and may be let lower or set higher at pleasure according as occasion shall require . 6. You must have Black-Lead Pencils , which you may buy at the Colour-Shops , or at the Stationers ; good Pencils have of late been very scarce in London , till just upon the writing hereof there came Advertisements abroad of good ones to be sold at the Prince's Arms over against the King on Horse-back in the Stocks-Market . Which Pencils I have since tryed , and find excellent good ; they are marked thus , R. ♥ F. so that you may easily know them : however , the best way to be sure is to try them on Paper ; if they shed their Colour freely , and draw a black line oft-times together , they are good ; else not . The Use of these Pencils are to draw the draught of your Dial on paper , and afterwards to draw it on the Plain it self , as hereafter is taught . 7. You must have Guilding Cushion to cut your leaf-Gold upon when you guild ; the bottom is a Board about 6 inches broad , and about 12 inches long ; one which is fastened to the Cover , which should be a piece of fine tanned Calves-Leather , the flesh side outward : This must be stuffed extraordinary hard , and as flat on the top as may be ; for want of this , the leathern bottom of an ordinary Cushion will serve at a pinch , if you have not much to do . 8. You must have a Knife of Cane to cut your Gold on the Cushion ; you must form or shape it with a very sharp edged Knife , that the edge of your Cane may be the sharper and clearer . If you want a Cane Knife , and know not well how to make it , an ordinary pocket Knife will do the business ; provided its edge be very sharp , and free from notches . You must wipe it very dry on your sleeve or some dry Cloath ; for if the edge be never so little moist , the leaf-gold will stick to it , and spoyl all . 9. You must have a tuft of Cotton , or the hinder foot of a Hare or Coney to press down your gold after it 's laid on the size , to make it take well and lye smooth . 10. You ought to have several pieces of wood about 3 inches long , some one inch broad , some half an inch broad , and some not above a quarter ; These must have fine pieces of Cloath glewed on the bottom , with a small button or handle on the top to hold it by , this is to take your leaf-gold from the Cushion when it is cut in shape , and lay it on such figures , letters or mouldings of a Sun-Dial as you intend to guild ( as hereafter is taught ) if your work be hollow or protuberant that you are to guild , then the gold is commonly taken up on a bunch of Cotton , and laid on , pressing it down with the same . 11. You must have Brass Compasses , which will be useful to you on all occasions ; indeed you cannot be well without them : The best places to buy them at , are the Mathematical Instrument-makers . 12. You must have Rulers of several lengths to draw your lines with ; these must be footed upon one side with little wier pegs to stand from the wood about a quarter of an inch ; this is to keep your Ruler up from the board , that when you lay it across lines newly drawn , it may not blot them . 13. Fine neat squares are also necessary , they will be useful at every turn to draw perpendicular lines , or what else requires to be true and square . 14. You must have Crusiples or Melting-pots to burn such Colours in that require it : The best places to buy them at , are the Iron-mongers in Foster-Lane . 15. You must have also large Earthen Vessels to wash such Colours in that require washing to be fit for use . 16. You must have also Cane-plyers to take your Leaf-gold out of the Book , and lay it on the guilding Cushion to be cut . CHAP. II. A Catalogue of several Colours used in the Art of Painting ; their Nature and Use. White-Lead and Cerus , these two Colours are much of a nature , Cerus being only White-Lead more refined ; which advanceth its price , and renders it something more esteemed among Picture-Drawers ; but the White-Lead is every way as useful : This Colour is naturally apt to be ground very fine , and is the onely White colour used in Painting with Oyl : With this Colour the Playns of Dials are laid for the last Colour to draw thereon the Hour Lines , that they may be the more visible . With this Colour Posts , Payls , Palisadoes , Gates , Doors , Windows , divers Wainscottings , and other Carpentary and Joynary work are often coloured both for beauty and preservation . It resists the weather well , but within doors it 's apt to tawnish and grow rusty . This Colour dries of it self indifferently well , especially if it be wrought pretty stiff ; however , to make it dry speedily , some put Oyl of Turpentine to it , in the tempering , which makes it dry much more speedily ; but then without doors it will not resist the weather so well : Therefore the best way to make it dry speedily , and yet last long , is to put drying Oyl to it , which is made by steeping Red-Lead in Linseed Oyl for about a fortnight , stirring it every day once or twice , and afterwards let it settle clear before you use it . Lampe-Black , Is a Colour that of it self is very fine , and may be tempered with Linseed Oyl , and used without grinding , after it hath soaked two or three daies in the Oyl ; but when it is thus laid on , it will be a long-time a drying , by reason of a certain greasiness that is inherent to it ; to remedy which , it must be burnt as hereafter is taught , which consumes the fatty substance , and then it dries well . But note , That after it 's burnt , it must be ground on a stone ; otherwise it will not work well by reason of its being hardned or crusted in the fire . This Colour is used in the Margins of some Dials that have their Figures guilt ; A little of this Colour and much white , make the Ash Colour ; and according to the quantity of either more or less , it gives several delightful varieties . Willow Charcoal and Sea-coal ; These two are a good Black for ordinary uses , only they are something coarse , and require good labour in the grinding to make them fine ; they dry well , especially the Charcoal . Spanish Brown. This Colour is a certain Earth brought out of Spain ; the best is that which is of a deep bright colour , and free from stones ; indeed I think there is little of it free from grittiness more or less : This Colour will grind well , notwithstanding its grittiness , if you take pains with it . This is the only Colour used in priming of all manner of Timber-work , being fittest for that purpose for divers reasons : As first , for its Cheapness , it being but of small price . Secondly , it dries kindly for that purpose , not so soon but that it gives the Oyl sufficient time to pierce into wood ; nor is it so long as to make the time over-tedious . Thirdly , it kindly receives all other Colours that are laid on it . Some are of such a nature , that when they are dry no other will take on them but with great difficulty . For Example , White-Lead when it 's throughly dry is so greasie , that if you would either draw Lines on it , or lay other Colours upon it , they will run together just as Ink will when you write on greasie paper . This Colour of it self is a perfect Horse-flesh colour ; it 's the natural shadow for Vermillion , and being mixt with White , gives several varieties , according as the quantity of each is predominant . Red-Lead , Is a Sandy colour , not to be ground very fine on a stone : The onely way to make it fine is by washing ( which shall be shewed afterwards ) : This Colour is an exceeding great dryer and binder , for which purpose it 's many times mixed with other Colours ( such as will bear it ) to make them dry speedily : 'T is a Colour that resists the weather as well as any colour whatsoever , if it have the same advantage in working . It 's of it self an Orange colour , and is the onely Colour used in making of drying and fat Oyls . Vermillion . This is a very rich Colour , and of a good body ; and if pains and time be bestowed , it will be ground as fine as is possible for a Colour to be ground : which it must be , or else it works as bad as any Colour whatsoever ; but if it be ground fine even as Oyl it self , no Colour works better . This Colour is used to draw the Hour Lines on Sun-Dials , and for divers other not common uses : it drys well if you work it stiff . The best way to buy it is in the stone ; for otherwise it may be sophisticated & spoyled with Red-Lead if bought in the powder . This Colour is a perfect Scarlet , mixed with White it gives Scarlet Carnation in divers varieties , according to the quantity of each Colour mixed . The natural shadow for Vermillion it self , is Spanish Brown. Lake , Is also a rich Colour , and may be ground very fine ; it 's often used in Ornaments of Dials , and a Margin of it sets off well with gold figures , especially if a little white be added to it . It 's excellent in divers kinds of Flowrages . Lake and Bice make a Purple of divers varieties according to the Blew that is mixed with it . Lake of it self is an excellent Crimson colour . Lake and White make an excellent Crimson Carnation in divers varieties according to the quantity that is mixed of each . Lake and White , and a little Red Lead make a Flesh colour . Smalt , Is a lovely Blew at a distance , if strewed on ; if you will work it in Oyl , it must be made fine with washing : The truth is , when it 's at the finest , it works but badly in Oyl , by reason of its harshness ; It must also have White-Lead added to it if wrought in Oyl , or else it 's too dark , and shews not its self ; and when all is done , time is apt to turn it Black : Therefore the best way is to strew it ( as shall be shewed hereafter ) and then there is not a more glorious Blew to be made . This is an Excellent Colour for the Margin of a Dial , if the Figures are guilt , and for several other purposes , as it may by an ingenious spirit be made use of : If you buy it to work in Oyl , the finest is best , which they call Oyl Smalt ; but if it be for strewing , the coarsest you can get is the best , both for Colour and Continuance . Blew Bice , Is a Colour fine enough for almost any use ; it is but a pale colour , and in Dial-Painting is used for a Margin ground to guild figures in small playns or stacks of Dials that are near the eye : This Colour works well , though it be a little sandy ; Bice and Pink make a Green ; Bice and Lake make a Purple ; Bice and White make a light Blew , of each several varieties according to the quantity of each . Blew Verditer , Is a Colour something sandy ; it 's subject to change and turn greenish , and makes a good Green , mixed with Yellows , this Colour may serve in Dial-Painting , where Bice and Smalt are wanting ; but not so good as either of them mixt with Whites and Yellows ; or both , giveth variety of Colours for divers uses . Indico , Is a very dark Blew , and seldom used without a mixture of White , unless to shadow other Colours ; it grinds fine , and works well , and is much used in vulgar Painting for the last Colours of Windowes , Doors , Pales , Posts , Rails , Pallisadoes , or any other Timber-work . It resists the Weather well , onely it 's something dear , and yet not very chargeable for work , by reason much White must be mixed with it , which makes a little of it go a great way : Vulgar Painters instead thereof use Blew Balls , which they buy at the Colour-Shops which nearly imitates it , but is not so good a Colour neither for Beauty nor Lasting . Indico and White make a Lead Colour ; 't is a pleasant colour to Marble White withal , or to shadow it . Amber , Is a colour that will be ground very fine , but must have labour and time bestowed on it : it 's very apt to furr the Mulier , and difficult to be drawn under it , without sleight of hand in the grinding this Colour ; dryes and binds exceedingly , and therefore resists Weather well : It 's much used in Painting , for the many pleasant Varieties it giveth . This Colour of it self is a perfect Hair colour , and being mixed with White , giveth variety of pleasant colours . This colour burnt in a Crusipple is the natural shadow for Gold ; It likewise shadows divers other colours , and in great varieties . Verdigrease , Is a good Green , something inclining to a Blew ; therefore for divers uses it 's Willowish colour must be corrected with Yellows : This colour is commonly very foul , and requires time and pains to pick and cleanse it : It requires also labour to grind it fine . This colour dryes speedily , and is a Green that is used on most occasions that require that colour . It is of it self a perfect Willow green ; and being mixed with Pink Yellow , it makes a pure lively Grass-green : and these being mixed with White , gives several varieties of Light Greens , according to the quantity of each . Yellow Daker , Is of two sorts ; the one gotten in England , the other brought from beyond the Seas : the one is a light Yellow , much like the colour of Wheat straw ; the other is somewhat of a deeper colour . This Colour may with labour be ground very fine , but something troublesom by reason of its Clamminess : This colour is used to make Gold size , and is also much used in vulgar Painting . Pink Yellow , Is a colour something inclining to a Green ; 't is a good Yellow for some uses , and grinds well . It 's chiefly used to mix with other Colours to make Green. Besides these Colours , a Dial-Painter must furnish himself with Leaf-Gold for Guilding , Linseed Oyl to temper his Colours with , and Oyl of Turpentine to make his Colours dry the more speedily , by mixing a little of it among his Colours . CHAP. III. How to order such Colours as require to be burnt in the fire , to make them the more fit for some uses . COlours that commonly use to be burnt , are Lamp-Black , Umber , Yellow Oaker , and Spanish Brown. Lamp-Black must alwayes be burnt , otherwise it will never dry kindly . Umber works and dryes well enough without burning for many uses : But when you would colour either Hair , Horse , Dogg , or the Bodies of some Trees , then it must be burnt , which makes it of a deeper and brighter colour ; So likewise for some particular uses the others are burnt , else not : The manner thus , Take a Crusipple or Melting-Pot of bigness sufficient to hold the quantity of Colour you desire to burn , set it in the midst of a Charcoal or other clear fire , and let it continue therein till it be all like a coal ; then take it out , and let it cool of it self ; then grind it and make it fit for use . CHAP. IV. How to wash such Colours as by their grittiness are not otherwise to be made fine enough for certain Uses . SOme Colours are of such a gritty sandy nature , that it 's impossible to grind them so fine as some Curious Works do require ; therefore to get forth the flower and fineness of the colour , you must do thus ; Take what quantity of Colour you please to wash , and put it into a Vessel of fair Water , and stirr it about till the water be all coloured therewith ; then if any filth swim on the top of the water , scum it clean off , and when you think the grossest of the colour is settled to the bottom , then pour off that water into a second Earthen Vessel that is large enough to contain the first Vessel full of water four or five times ; then pour more water into the first Vessel , and stir the colour that remains till the water be thick ; and after it is a little settled , pour that water also into the second vessel , and fill the first vessel again with water , stirring it as before : do thus so often till you find all the finest of the colour drawn forth , and that none but course gritty stuff remains in the bottom ; then let this water in the second Vessel stand to settle till it be perfectly clear , and that all the colour be sunk to the bottom ; which when you perceive , then pour the water clear from it , and reserve the colour in the bottom for use , which must be perfectly dryed before you mix it with oyl to work . The Colours thus ordered , are Red-Lead , Blew and Green Bice , Verditor Blew and Green , Smalt , and many times Spanish Brown , when you would cleanse it well for some fine work , as also yellow Oaker , when you intend to make Gold size of it . Take Notice also , That unless you intend to bestow some cost on a piece , you need not be at the trouble to wash your Colours , but use them for coarse ordinary work as you buy them at the Shops . CHAP. V. How to grind Colours with Oyl . WHen you come to grind Colours , let your grinding-stone be placed about the heighth of your middle ; let it stand firm and fast so that it soggle not up and down ; then take a small quantity of the Colour you intend to grind ( two spoonfuls is enough ) for the less you grind at a time , the easier and finer will your colour be ground : lay this two spoonfuls of Colour on the middest of your stone , and put a little of your Linseed Oyl to it , ( but be sure you put not too much at first ) then with your Mulier mix it together a little , and turn your Mulier three or four times about , and if you find there be not Oyl enough , put a little more to it , till it come to the consistence of an Oyntment ; for then it grinds much better and sooner then when it 's so thin as to run about the stone : You must oftentimes in the grinding bring your Colour together with your piece of Lanthorn horn , and with the same keep it together in the middle of your stone ; when you find you have ground it fine enough ( by the continual motion of your Mulier about the stone , holding it down as hard as your strength will permit , which you must also move with such a sleight , as to gather the Colour under it ) and that no knots nor grittiness remains ; then with your Horn cleanse it off the stone into a Gally-Pot , Pan , or what ever else you design to put it into : and then lay more colour on your stone , and proceed to grinding as before : do so thus often till you have ground as much of this same Colour as shall serve your occasions ; and if you grind other Colours after it , let the stone be well cleansed from the first colour with a cloath and fine dry Ashes . CHAP. VI. How to order Colours for working after they are ground . WHen you have ground your Colours ( if you observe my Directions in grinding ) they will be too thick for use without the addition of more Oyl ; therefore when you have ground those Colours you desire , and intend to use them either simply by themselves , or compounded with others , according as your fancy or occasions require , you must then add more Oyl unto them , till they be so thin as not to let the ground on which they are laid be seen through them ; for if it be so thin as to let the ground be seen through them , or to run about when it be laid on , it is not good , and will require to be coloured the oftner before your work be perfect and substantial ; whereas if your Colour be as stiff as it can well be wrought , your work will be done with more speed ; once doing being more substantial then three times doing with thin Colour . Here by the way take notice of the fraud and deceit of Common Painters , who commonly agree to do work by the Yard at a certain price , and the work to be coloured three times over , which they commonly paint with such thin colour , ( to avoid the labour of grinding , a little Colour serving a great deal of Oyl , and besides it works with less pains , and takes up less stuff ) that all three times doing over is not so substantial as one time would be , if the Colour had a thick and substantial body : and I 'le maintain , that three times colouring with substantial and well bodied Colour , shall last ten times as long as that which is wrought thus sleightly by common Painters . In mixing Oyl with your Colours , take this further Note , That if the colour to be mixt be your priming Colour , ( that is the first colour you lay on ) it ought to be made very thin , that it may have Oyl enough to pierce into the Wood , which is much for its preservation ; but after your first colour is laid , let your next be thicker as before is taught . But if your Colour to be mixt be for the drawing of the Hour Lines , or making the Figures in a Sun-Dial , then let it be tempered as stiff as is possible to work it , that it may not presently decay , but may be capable by the quantity laid on , to last as long as any Colour on the Dial ; to which purpose its being wrought in fat Oyl will much conduce to its lasting : How this fat Oyl is made , see Chap. 7. where you have the manner of it taught at large . CHAP. VII . How to make Gold size to lay Gold on when you guild . GOld size is made of fat Oyl , and Yellow Oaker ; the Oyl is no other than Linseed Oyl thus ordered ; Take what quantity of Linseed Oyl you judge will serve your turn , put it in a Brazen or other Vessel that will endure the fire ; when it is in the Vessel , put to it a certain quantity of Red-Lead ; the more you put in , the better will your Oyl be ( provided you put not in so much as to hinder its boyling ) for this Red-Lead adds a drying quality to the Oyl , which otherwise being thus ordered , would not dry in any time : when the Oyl and Lead are thus mingled together , let them gently boyl over a fire of coals without flame a pretty while ; when it 's boyled enough , ( which you may know by taking a little of it , and let it cool , and if it roape like thin Treacle , then it is enough ) then with a lighted paper set it on fire , ( which fireing will burn away much of the greasiness of it ) which let burn about a minute or two , or more or less , according as your quantity of Oyl is ; and then let it be extinguished ( by clapping a Cloath over it ) afterwards let it stand to cool and settle ; and when all the Lead be sunk to the bottom , and the Oyl be clear , then pour it off , and reserve it in a Bladder for use . Your Yellow Oaker must also be thus ordered before it be made into size ; Take Yellow Oaker and grind it on a stone with water till it be very fine , and afterwards lay it on a Chalk stone to dry ; this is the common way : but a better , is to wash it as is taught in the Fourth Chapter . For when it is washed , to be sure nothing but the purest of the Colour will be used ; and besides , it 's done with more ease , and less daubing . When your Oyl and Oaker are thus prepared , you must grind them together , as you do other Oyl-Colours ; but it 's something more laborious work , and must be ground very fine , even as Oyl it self : for the finer it is , the greater Lustre will your Gold carry that is laid on it . Here Note , That you must give it such a quantity of your fat Oyl , that it may not be so weak as to run when you have laid it on ; nor so stiff , that it may not work well ; but of such a competent body , that after it is laid on , it may settle it self smooth and glasie , which is a chief property of good size . CHAP. VIII . What Colours set off best one with another . YEllowes set off best with Blacks , Blews and Reds . They set off indifferently well with Greens , Purples , and Whites . Blews set off best with Yellowes and Whites . They-set off indifferently with Blacks and Reds . But they set not off with Greens , Purples , and Browns . Greens-set off best with Whites and Yellows . They set not off with Blacks , Blews , or Reds . Reds set off best with Whites , and Yellows . They set off indifferently with Blews and Blacks . Blacks and Whites set off well with all Colours , because they differ so much from all . CHAP. IX . What Colours are sufficient for Painting Sun-Dials . IF you are to Paint a plain Sun-Dial , these four Colours serve , viz. Spanish Brown , White Lead , Vermillion , and Lamp-Black : The Spanish Brown is for the priming Colour , the VVhite Lead is for the last colour of ●●e plain ; the Vermillion is for drawing the Lines , and the Lamp-Black is for drawing the Figures . But if your Dial be more rich , you must have ( besides the four fore-mentioned Colours ) Gold size to make the Figures to lay Gold on , and Smalt or Blew Bice for the Margin and inner Table ; and if you intend to bestow Curiosity , then you may use such other Colours as your fancy shall direct you may be most suitable to your design ; for which purpose your care must be to observe the Ornament and Fashion of whatsoever good Dial you meet with , and to register your Observations : This will be a great help to your fancy on all occasions . CHAP. X. Some Instructions for making of Plains and Boards to draw Dials on . DIal Playns are of two sorts ; first , such as are of the Wall of a Building it self : or secondly , such as are drawn on Tables . The first sort if they are made on Brick-work , is done with Lime and Hair plaistered on the Wall , of what bigness the Owner pleaseth ; This is the Common way . But a better and more durable way , is to temper Lime and Sand with Linseed Oyl ; 't is not very chargeable , but exceeding profitable : for this substance will harden to the hardness of a stone , and not decay in many Ages . If you cannot have Oyl enough to temper a quantity of Plaister sufficient for your Playn , then temper your Lime and Sand with scummed Milk ; this you will find to last six times as long as your Common plaister . Now for Tables of Wood , they being the most Common , I shall give such Directions for the making of them , as I have alwayes found most profitable and fit for this purpose . The Woods that I find best for this use are the clearest Oak , and the reddest Firr , provided it be not Turpentiney ; between these two Woods I find little difference as to their alteration by the weather , both being subject to split in case they are bound , and have not free liberty to shrink with dry weather , and swell with wet ; but as to their lasting , I judge Oak to be the better : and how long Firr will last thus secured and defended with Oyl Colours , I have not yet experienced ; but we may judge that good red Firr that is very Roseny , will last the age of any man whatsoever , if it be secured as things of this nature ought to be . In working any of these woods , I advise , that first your Boards be cut to such a length as you intend your Dial Board shall be of , and so many of them as may make up the breadth designed ; then let them be Joynted and plained on both sides , and afterwards set to dry ( for 't is observed , That though Boards have layn in an house never so long , and are never so dry , yet when they are thus shot and playned , they will shrink afterwards beyond belief , if kept dry ) : when you think they are dry enough and will shrink no more , let them be again shot with good Joynts , and every Joynt in the glewing doubled together with Pins , as Coppers do the bottoms of their Tubs ; after it is thus glewed , and the Joynts be sufficiently dry , then let the face of the Board be very well playned and tryed every way , that it may be both smooth and true , and the edges shot true , and all of a thickness , as panels of Wainscot are commonly wrought , the edges must be thus true and even , that it may sit into the rabet of a moulding put round it ; Just as a panel of Wainscot doth in its frame : This will give liberty to the Board to shrink and swell without tearing ; whereas Mouldings that are nayled round the edge as the common way is , doth so restrain the motion of the wood , that it cannot shrink without tearing : but Boards made this way will last a long time without either parting in the Joynts , or splitting in the wood . Dials are sometimes drawn on Playns lined with Copper or Lead , that they may be free from splitting or tearing ; but I prefer a Board ( if it be made as above is directed ) before them in many respects : As first , it is much Cheaper : Secondly , Lead ( and Copper too a little ) will swell with the heat of the Sun , and grow in time so hollow , and as it were swelled outwards , that the truth of its shadow will be much injured . Thirdly , the Colours will be apt to peel from the metal , and the Dial will be that way more defaced than on woodden Playns . CHAP. XI . How to make the best Glew for glewing the Joynts of Dial-Boards . TAke a quantity of Milk that hath stood so long to Cream that no more will arise from it ; scum it very clean , and set it over the fire in a Leaden Pot , and let it boyl a little ; and if any Cream arise , take it off , then put in your Glew first divided into small pieces , and it will soon melt ; and when you have boyled it to a good body , that it be neither too thick nor too thin ( for in the right observance of this lyes much of the Art ) then use it as you do other Glew : This binds beyond belief , and will not be subject to resolve with any Competent moisture of the weather . 'T is certain , that when any sort of Glew is burnt to the sides of the pot , the whole is spoiled of its former strength ; to prevent this , let your Glew be alwaies melted in Balneo Maria , which is thus ; Take a large Skillet , or a little Kettle full of water , into which put your Glew-pot with a wispe of Hay or Straw under it , to keep it from the bottom of the Vessel ; and as the water in the Vessel heats , so will your Glew melt : And thus you may do at the first making of your Glew , by which means you may boyl it to what body you please , without danger of burning to the sides of the pot . CHAP. XII . A Catalogue of such Books as are necessary for him that would be a Compleat Dialist . DR . Record's Castle of Knowledge . This Book ( though something scarce ) is an Excellent Book for those that would attain the Knowledg of the Sphere , or motion of the Heavens ; which every one that would be a Compleat Dialist ought perfectly to understand . Stirrup's Compleat Dialist . In this Book is contained a Brief Explanation of the Sphere ; as likewise three several wayes to draw Dials , two of them Geometrically , and the third Instrumentally ; All of them as Expeditious and True as most . To this Book is added an Appendix by Mr. Leybourne , shewing the best wayes for furnishing Dials with such Lines as shew the Suns place in the 12 Signs , his declination , right ascension , length of the Day and Night , the rising and setting of the Sun , his Azimuth and Circles of altitude , with the Jewish , Babylonish , and Italian hours . Collins Sector on a Quadrant . In this Book , among other things , are Excellent Scales and Instruments for Dialling . To which is added an Appendix by John Lyon , shewing the way of drawing all manner of Dials on the Seelings Floors , and Walls of Rooms , to receive the reflection of a small glass . Collins Dialling . This Book among several good Geometrical ways for drawing Dials , shews also wayes to draw Dials from a Gnomen stuck into a Wall at random , without knowing the declination ; a good Book throughout . Leybourne's Art of Dialling . A very Ingenious Piece , where you will find ( among many other good Conceits ) a very Easie , Exact , and Speedy way for drawing fair upright Decliners ; and also an Instrument the most Compendious of all others , especially in drawing small Dials . Leybourn's Introduction to Astronomie ; Sold by Robert Mordant at the Atlas in Cornhill . In this Book is shewed how to draw all manner of Dials by the Globe ; And among the rest , he shews a way to draw an East or West Dial Geometrically , the best of any extant . The Use of Sutton 's large Quadrant , Sold at the Atlas in Cornhill ; which together with the Instrument is very useful for a Dialist . Phillips's Mathematical Manual ; Wherein are the Tables of Signs and Tangents for Calculating the hour distances the Arithmetical way . The Works of Mr. Edmund Gunter : or , The Use of his Sector . An Excellent Piece . Foster's Azimuth Dialling . An Ingenious Work. Oughtred's Circles of Proportion : In which ( among many other Ingenious Conceits ) you have the way and manner of drawing the double Horozontal Dial. Blagrave's Dialling : A good Piece , wherein you have several Choyce Conceits and Explanations of the nature of Dials , with the way of drawing the hour Lines belonging to , or shewing the hour in any Countrey whatsoever . These are the Books of greatest Note that are yet extant . There is one more yet expected from Mr. Leybourn , which will be the Whole Body of Dialling , after several most New and Easie wayes , which without doubt will be an Excellent Piece . CHAP. XIII . The Practice of Painting Sun-Dials . WHen according to the Rules given in the Books aforementioned , you have drawn on Paper the draught of your Dial ; and that your Board be ready , and your Colours prepared according to the Directions before given , you must in the Painting of your Dial proceed thus ; Take Spanish Brown that is well ground and mixed somewhat thin , and with a large Bristle Brush dipt therein colour your Board or Playn all over on every side , so that you leave no part uncoloured ; this is called the Priming of your Dial : When this first Colour is dry , do it over again with more of the same Colour tempered somewhat thicker ; and when this is also dry , you may if you please do it over again with the same Colour , your Work will be the substantialler , and last longer . When this last time of Colouring with your Red Lead be dry , then with White Lead colour the face of your Playn over , and when it is dry work it over again three or four times more successively after each drying , so shall the face of your Playn be sufficiently defended against the many years fury and violence of weather . When the last Colouring of your White be dry , you must draw on your Playn ( with a Black-Lead Pencil ) a Horozontal Line so far distance from the upmost edge of your Dial , as your discretion shall think fit , or your Experience finds to be most becoming your Playn ; then set out the Margin of your Dial with boundary Lines for the hour , half hour , and quarter divisions of your Dial ( as in most Dials you see is done ) : when you have thus set out the Margin and Boundary Lines of your Dial , then take your Paper draught fairly drawn , and place the Horozontal Line which you before drew on your Playn ; in doing of which observe to place the Center according as the situation of your Playn for Convenience sake requires : thus ; If your Dial be a full South Dial , then let the Center be exactly in the middle of your Playn : but if your Dial decline from the South either East or West , then place not the Center of your Draught in the Center of your Playn , but nearer to one side or other of it , according as it declines , having also respect to the quantity of its declination . For Example : If your Dial decline Eastwards , then let the Center of your Draught be plac't between the Center and the Eastern side of your Playn , the quantity thereof must be according as your Dial declines ; if it decline but a little , then place the Center of your Draught but a little from the Center of your Playn ; and if it declines much , place the Center of your Draught the more out of the Center of your Playn : The reason of my advising this , is , that by so doing you may gain a greater distance for those hour-Lines , which in declining Playns fall nearer together on one side then they are on the other ; for which reason I alwaies use it in all declining Playns , except they decline far , as between 80 and 90 degrees ; for then we commonly draw them without Centers , to gain the more distance for the hour Lines . When your Paper Draught is thus Artificially placed on the Playn , and fastened with pins or small tacks ; then let the draught thereof be transferred to the Playn , by laying a Ruler over every hour , half hour , and quarter division : and where your Ruler shall cut or intersect the boundary lines of your Margin , there make marks by drawing Lines with a Black-Lead Pencil , of such a length as each division requires ( or is designed by your boundary lines ) observing alwaies to draw the hour , and half hour lines quite through your Margin , that they may be guides for the right placing the Figures , and for a small spot that is usually placed in the Margin , right against the half hour . When your Dial Draught is thus transferred to the Playn it self , you must not forget to draw the substill Line according as it lyeth in your Draught , to be your guide for the right placing your Still or Cock ; for you must in every particular be very exact , or else your Dial cannot be good . When you have taken every thing that is required from your draught , and have transferred it to the Playn , then take your draught off , and with Vermillion very well ground and prepared , as before is taught , let the boundary Lines of your Dial , as also the hour , half hour , and quarter divisions be drawn therewith ; let your Colour be as thick and stiff as you can possible work it , so as to draw a clear and smooth line . When your Vermillion Lines are drawn , then with Lamp-Black let the Figures be drawn , a spot in the middle of the Margin right against the half hour line ; and if you please in the Margin at the top of your Playn you may put the date of the Year , your Name , or some divine sentence , as is usual in things of this nature : then fit in your Cock so as to make right Angles with the Playn , so shall your Dial be drawn and finished in all respects as a plain Dial ought to be . CHAP. XIV . How to guild the Figures of Sun-Dials with Gold. IF you intend to bestow more Cost on a Dial then what is expressed in the last Chapter , by guilding the Figures or other Ornaments , you must proceed thus ; Whatsoever you would guild must first be drawn with Gold size ( of the making of which , see Chap. 7. ) according to the true proportion of what you would have guilt , whether figure , letter , or what ever else it be ; when you have thus drawn the true proportion of what you would have guilt , let it remain till it be sufficiently dry to guild upon , which you shall know by touching it with the end of your finger ; for if your finger stick a little to it , and yet the Colour come not off , then is it dry enough : but if the Colour come off on your finger , then is it not dry enough , and must be let alone longer ; for if you should then lay your Gold on , it would so drown it , that it would be worth nothing : but if your size should be so dry as not to hold your finger as it were to it , then is it too dry , and the Gold will not take ; for which there is no remedy but new sizing ; therefore you must watch the true time that it be not too wet or too dry ; both extreams being not at all convenient . When your size is ready for guilding , take your Book of Leaf Gold , and opening a leaf of it , take it out with your Cane-plyers , and lay it on your guilding Cushion , and if it lye not smooth , blow on it with your breath which will lay it flat and plain , then with a Knife of Cane , or for want of it , an ordinary pocket Knife that hath a smooth and sharp edge ; with this ( being wiped very dry on your sleeve that the Gold stick not to it ) let your leaf-gold be cut into such pieces or forms as your Judgment shall think most suitable to your work . When you have thus cut your Gold into convenient forms , then take your tool that was before described in num . 10. of Chap. 1. and draw the Cloath side of it across your tongue , or breath upon it to make it dampish that the gold may stick to it ; with this tool take your Gold up ( by clapping it down on the several pieces you had before cut into forms ) and transfer it to your size , upon which clap it down according to discretion , & your gold will leave your tool , and cleave to your size ; which you must afterwards press down smooth with a bunch of Cotton , or a Hares foot : and thus you must do piece by piece till you have covered all your size with gold ; and after it is fully dryed , then with your Hares foot brush off all the loose Gold , so will your guilding remain fair and beautiful . Note , That after your guilding is thus perfectly laid on , you may if you please diaper or flourish on it with thin Umber whatsoever shall be suitable to your design ; the form and order of which take from Examples which are abundant , where Painting and Gilding are to be seen . CHAP. XV. How to lay on Smalt , the only Colour that requires strewing . IF you make the Margin of your Dial Blew with strowing Smalt , it must be done after the Figures are guilt ; thus : Take White Lead stiffly tempered ( if with fat Oyl it will be much the better ) and therewith colour over your whole Margin , repairing therein the Figures as you come to them ; when you have thus done your Margin all over with thick colour , take your Smalt , and with a Goose-quill-feather cover all your Margin with it , and with a piece of Cotton dab it down close that it may well take upon the ground laid under it ; and when you imagine the ground to be throughly dry , then wipe off the loose colour with a feather , and blow the remainder of it off with a pair of Bellows , so is your work finished . And thus you have a Method for Colouring any thing else with this Colour besides the Margins of Sun-Dials . CHAP. XVI . The Practice of Vulgar Painting . THat which I call Vulgar Painting , is only the way and manner of Colouring Wainscot , Doors , Windows , Posts , Rayls , Pales , Gates , and the like ; the method of doing which differs not at all from that of Painting Sun-Dials , that is , in the preparation , mixing and laying on of Colours ; and one Example I know will be sufficient to direct you in any business of this kind : Suppose you have a pair of Gates or the like to paint , you must proceed thus ; first prime it with Spanish Brown ( as you did your Dial-Board ) twice or three times , when this is dry take White Lead well tempered ( as before was taught ) or Umber and White , or Blew Balls , or Indico and White , or any other Colour you intend your work shall be laid in , and with that Colour ( whatsoever it be ) let your Gate be coloured four or five times over successively after each drying ( for the oftner you Colour any thing without doors , the longer will it last ; Wainscotting indeed you need not do over above twice with the last Colour , because it 's within doors ) listing , quartering or panelling it as your fancy shall please ; or else letting it go plain , and all of one Colour as you shall best like ; so shall your work be finished ; and thus may you do for any other : and if you are minded to gild or the like , repair to the 7. and 14. Chapters , where you are sufficiently taught in that also : So that you may see that in this Method of Painting Sun-Dials , I have also delivered the whole Art of Vulgar Painting , because they are indeed but one and the same thing . CHAP. XVII . How to scour , refresh and preserve all manner of Oyl Paintings . THe Oyl Paintings that I here intend , are only such as are kept from the injuries of weather ; for such paintings as endure the fury of rain and storms ( such as Sun-Dials , Posts , Pales , &c. ) are not any waies to be renewed or refreshed , but by being new coloured with the same Colour in which it was at first wrought , because that the body and strength of the Colour is worn out by the continual assaults of wasting time . But as for such Paintings that are sheltered from weather , as all in-door Paintings are , they still keep their Body and Colour , although their beauty may be much impaired by dust , smoak , fly-shits , humid vapors , and the like , which will in time soyl and tawnish them ; To remedy which , take these few Rules : If your Painting be Wainscotting or any other Joynary or Carpentary work that is painted in Oyl , take Wood ashes well sifted , which mix with water somewhat thickly , then take a stubbed bristle brush ( like those we call shooe-brushes ) and dip it in the moystened ashes , and therewith rub and scour your painting all over in all places alike , and when you find that all the soyl is taken off , then wash it clean with fair water , and let it dry ; after which take common Varnish and therewith varnish your work all over alike , and you will find your painting to be near as fresh as when first laid on . Note , That if your Varnish be too thick , you must put Oyl of Turpentine to it , which will make it as thin as you please . But if your Painting be more Curious , whether Figures of Men , Beasts , Landskip , Frutage , Florage , or the like , then take Smalt , ( a sandy Colour , to be bought at the Colour-Shops ) with which and a spunge wet in water , let your Picture be gently scowred , and then cleanly washed off with fair water : after it is well dry , let it be run over with Varnish , and you will find the beauty and lustre of your Picture much recovered . But Note , That this scowring ought not to be practised but very seldom ( as when your Picture is very much soyled ) because often and too frequent operations in this kind must needs wear off a little of the Colours ; therefore strive what you can to preserve their first beauty , by keeping them free from smoak , and by often striking off the dust with a Fox tail ; as likewise preserving them from Flies , by dressing up your Rooms with green boughes , to which the Flyes will gather themselves , and so not hurt your Pictures . Sir Hugh Platt in the First Part of his Garden of Eden , and 17 page , tells us of an Italian Fancy for this purpose , by hanging in the roof and sides of the Room small Pompions or Cow combers stuck full of Barley , which will sprout into green spiers on which the Flyes will lodge . Querie , Whether Vessels of Tin made round about full of holes filled with Earth , and every hole planted with a sprig of Orpen , Penyroyal , Mints , &c. and watered as need requires , would not be more beautiful and useful for this purpose . Another Note worth Observation is , That all Pictures ( especially those that are wrought with mixtures of White Lead ) are apt to tawnish and grow rusty , as is seen in all ancient Pieces ; To prevent which , in the Moneths of May and June let your Pictures be exposed to the hot Sun three or four dayes ; this will draw off much of the tawnish , and make the Colours more fresh and beautiful : and thus doing from year to year will preserve them wonderfully . Although in the beginning of this Chapter I mentioned Dials among those things that are not to be refreshed but by new painting ; yet here take notice , That I think it not convenient at all to lay new Colouring upon the old ground of a Sun-Dial ( that is , to draw the old Lines and Figures over again in the same posture wherein they were drawn before ) but rather to take the declination anew , and according thereunto make a new draught of your Dial , and proceed in the painting of it in all respects as if it were a new Dial : For it is observed , That Dials which were made many years ago ( which we believe went true when first made ) will not give the true hour now , but go very false and unequal , which is caused by some secret motion of the Earth not hitherto taken notice of , which apparently alters the declination of all Playns whatsoever . If any one requires more satisfaction herein , let him repair to some old Dial that was made many years ago , and according to the distance of the Substile from the Meridian , let him find out the declination when first made , as any man that is an Artist can easily do ; then let him take the declination of the Plain by the Sun , and he shall find these two declinations to differ considerably according to the number of years contained between your observation and the time of the Dials first making ; so that a Plain that stood full South 30 , 40 , or 60 years ago , shall now decline some degrees either to the East or West , according to the nature of the Earths motion . CHAP. XVIII . Some Improvements in Painting to resist weather , and preserve Timber or woodden works from rotting . TAke the hardest Rosin you can get , clarifie it well ; to which Rosin add Linseed Oyl so much as you find by experience to be sufficient ; let them be well melted and incorporated together on the fire , then take either Umber , Verdigrease , or Red Lead ( these being extraordinary drying Colours ) first ground fine , which put into the Oyl and Rosin ; and when they are well mixed together , you may use them in Colouring Timber as you do with other Colours : it 's best alwayes to be used hot , least it be too stiff . This is a most excellent thing to preserve Timber , it lyeth like the China Varnish , and will endure 10 times as long as other Painting ( if rightly wrought ) ; this is a most excellent way to preserve the Border Boards in Gardens , and any other thing that we would have last long in wet and moysture ; this Colour spread on Cloath with a Trowel , is a most excellent Covering for Tents , Huts , Turrets , Houses of Pleasure , and the like . And let me add one Experiment more that will much commend the use of this mixture ; which is this : Let those woodden Vessels ( whether Hogsheads , Barrels , Kilderkins , or any other Vessel whether upright or decumbent ) that you design to keep any drinkable Liquors in , be well and intirely painted on the outside therewith ; which Vessel so painted shall keep and preserve all manner of Liquors equally to the best Bottles whatsoever , by reason that the sponginess and porusness of the wood is intirely closed and shut up by this tough rosinious varnish , thereby keeping the spirits of the liquor from flying away , and so consequently preserving the whole body thereof in its strength and vigour . The best way to make the Varnish ( or Colour ) for this purpose , is to put no more Oyl to the Rosin than what shall just serve to toughen it ; nor to mix any Colour with it , but burnt Umber , because Verdigrease and Red Lead may be objected against by reason of their corroding quality : The best way to lay this Colour on , is to heat it hot before you work it , which will make it close the firmer to the wood . Postscript . ONe thing I had forgot when I spake of Pencils in the First Chapter ; that is , whereas I told you that Pencils or Brushes were to be cleansed from their colour by washing them with Sope and warm water , it is to be understood that this is most convenient in large Brushes ; but for smaller Pencils , the better way were to dip them in clean Sallet Oyl , and draw them between your fingers divers times till they are clean ; and when you come to use them again , dip them in a little Linseed Oyl , and squeeze it out again , and then use them . FINIS . 
A41260	----	The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ... Fialetti, Odoardo, 1573-1638. This text is an enriched version of the TCP digital transcription A41260 of text R6823 in the English Short Title Catalog (Wing F844). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 96 KB of XML-encoded text transcribed from 31 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A41260 Wing F844 ESTC R6823 12251462 ocm 12251462 57103 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A41260) Transcribed from: (Early English Books Online ; image set 57103) Images scanned from microfilm: (Early English books, 1641-1700 ; 143:6) The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ... Fialetti, Odoardo, 1573-1638. Browne, Alexander, fl. 1660-1677. [8], 54 p. : ill. Printed for Peter Stint ... and Simon Miller ..., London : 1660. Translation of an unidentified work probably written in Italian. Reproduction of original in British Library. eng Drawing -- Technique. Painting -- Technique. Etching -- Technique. A41260 R6823 (Wing F844). civilwar no The whole art of drawing, painting, limning, and etching. Collected out of the choicest Italian and German authors. To which is added exact Fialetti, Odoardo 1660 17852 14 0 0 0 0 0 8 B The rate of 8 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words. 2006-05 TCP Assigned for keying and markup 2006-05 Apex CoVantage Keyed and coded from ProQuest page images 2006-08 Judith Siefring Sampled and proofread 2006-08 Judith Siefring Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion VARIETY OF EXCELLENT SYMMETRICALL RULES of Drawing Limning &c. Invented by Odoardo Fialet and others THE Whole Art OF DRAWING , PAINTING , LIMNING , AND ETCHING . Collected out of the Choicest Italian and German Authors . To which is added Exact Rules of Proportion for Drawing the Heads of Men , Women and Children , of what Bigness soever . Originally invented and written by the famous Italian Painter Odoardo Fialetti , Painter of Boloign . Published for the Benefit of all Ingenuous Gentlemen and Artists , by Alexander Brown Practitioner . London , Printed for Peter Stint at the Signe of the white Horse in Giltspurre-Street , and Simon Miller at the Starre in St Pauls Church-yard , M. D C. LX . TO THE Great Cherisher of all Ingenuous Artists . Sr WILLIAM PASTON Baronet , &c. Honoured Sir , IT was a Fate as happy as accidental , threw this ensuing Treatise into my hands , ready instructed at the charge of a Person of Honour in the English Tongue , and by him preserv'd as a Jewel ( bound up together with the Original Prints and Italian Comment ) for private use . There hath been no Parallel it'h same Species ever publick in this our native dress , which put me to a pause , till the remembrance of your un●●served favour ( despairing of any thing of my own , worthy your acceptance ) prompted me to communicate . And the rather , because I find my Author both precedent and warrant , first unlocking this treasure in his Mother tongue . Let therefore the genuine propensity , your disposition bears to Arts of this nature , pardon my presumption ; and your wonted candor , not only curteously entertain this Stranger ( whose noble extract shines through all disguises ) but also vindicate him against incident injuries ; from which , the inscription of no Name I know , can better protect , then your own . Sir , I may not longer detain you here , since I dare hope you will take some delight in the Garden , though this passage be wholly unpleasant , were it not an Inlet , and the only conveyance of the duty and observance of Your Honours most humble and obliged Servant , Alexander Brown . THE CONTENTS . SEverall Observations and Directions in the Art of Drawing , page 1. 7 The Manner of Drawing a Head by the Life , 1. 45 How to Draw a naked man by the Life , 2 , 3 How to perfect the out-Lines of any Point or Figure 6 How to decline any Print in a small compass , ibid Observations in the Art of Limning , and Painting , and Tempering Colours , 8 , 9 , 10 , 11 How to prepare a Tablet to work on , 12 Rules for Shadows in the Face , 13 How to begin a Face by the Life , 14 Concerning dead-Colouring , 15 The second work of Painting observed in the second Sitting , 15 , 16 The Manner of finishing at the third Sitting , 17 Ornaments in setting forth a Picture , 18 A Receipt to make liquid Gold , 19 Rules for Landskips , ibid Secrets for preserving Colours , 20 Generall Observations in Painting , ibid Instruments to draw with , 21 To make Wax-work or Moulding , 22 , 23 To counterfeit Sweet Meats , 24 To counterfeit Pearl , ibid Grounds and Rules of Etching , 25 Instruments used in Etching , 25 , 26 How to make the Ground , 27 How to lay the Ground on the Plate , 28 ▪ 33 How to draw the outmost Lines of any Print on the Plate , ibid Severall Observations in Hatching , 29 Necessary Observations in Etching Landskips , 30 How to make the Wax-wall round about the Plate , to keep the Aqua fortis from running off , ib How to use the Aqua fortis , ibid How to know when it is eaten deep enough , 31 To lay a white or red Ground on a black , 32 How to preserve the work in frosty Weather , 34 To keep the Aqua fortis from injuring the Plate , ibid To Etch soft or hard according to Nature or Art , ibid Observations in Etching Prospective , 35 How to Grave any Hand or Letter on Copper , ibid How to Polish the Plate , 36 Fit Instruments to be used ; and their use , ibid Rules of Proportion for Drawing of the Ear , 38 Nose , Mouth , and Beard , 40 The Head upright , or with a Triangle , 41 , 42 The Foreright , and other Positions of the Face , 48 The Inclining or Foreshortning of the Face , 46 A more perfect Foreshortning , 44 The upright or side-Face without any Measure , 50 The Manner how to describe a Head every way without Measure , 52 Of Childrens Heads , 54 THE ART OF DRAVVING . Severall Instructions and Observations directing to the Art of Drawing . BEcause the greatest difficulties and principall parts of this Art consist in some part in Drawing the lively Resemblance of a Face , therefore I thought it very necessary to add this as a further direction to Draw any Face after the Life . Severall Observations in Drawing a Head after the Life . Therefore if you will draw any Face after the Life , that it may resemble the Party you Draw it after ; take notice in the first place of the Physiognomy or circumference of the Face , whither it be round or long , fat or leane , big or little ; so that in the first place you must be sure to take the right Physiognomy and bigness of the Face , and in case it be a fat Face you will perceive the Cheeks to make the side of the Face swell out , add so make the Face look as if it were square ; and if it be neither too fat nor too leane , it will be round for the most part ; but if it be a leane Face the Jaw-bones will stick out , and the Cheeks fall in , and the Face will be long and slender . Observe when you Draw the outmost circumferences of a Face , to take the Head and all with it , or otherwise you may be deceived in Drawing the true bigness of a Face , then you must diligently and judiciously observe and discerne all the Gentlemaster touches , which gives the spirit and life to a Face , and discovers the graces or disposition of the mind , wherein lyeth the whole grace of the work , and the credit of the Artist , you may easily discerne a smiling countenance in the corners of the mouth when they turn up alittle ; you may best discerne a staid and sober countenance in the eye , when the upper eye-lid comes somewhat over the Ball of the Eye ; but a frowning countenance is easily discerned in the Forehead by the bending of the Eyebrowes , and some few wrinckles about the top of the Nose between the two Eyebrowes ▪ and a laughing Countenance is easily discerned all over the Face ; but an angry Countenance is discerned by extraordinary frownings ; there are also some touches about the Eye and Mouth which you must diligently observe , which gives the spirit and life to a Face . Some generall Rules to be Observed in Drawing the Figure of a Naked Man after the Life . A standing Figure from the top of the head to the bottome of the feet is eight times the length of the Head , and because you ought to be most exact in Drawing the Head , because the whole body must be proportioned correspondently to the Head ; therefore I shall give you in short some severall Rules and Observations to Draw a foreright Head . First , Draw an Ovale , then devide that Ovale into four equall parts ; the first is for the Hair , the second for the Forehead and Browes ; the third for the Nose , the fourth for the Mouth and Chin , as afore written in the Book of Fielettoe . But when you Draw after the life , you are not to follow this Rule exactly , because some Men have a long Nose , and another a short ; one a high forehead , another a low forehead ; Therefore if you look upon a hundred Mens Faces that they all differ one from another , the eyes must be placed just the length of one eye the one from the other . Then having Drawn the Head , you measure out eight times the length of the Head , then the Head is reckoned one of the eight parts ; then you must Draw a straight Line from the top of the Head to the sole of the Foote , one Heads length from the Chin , you must Draw the Brests the third length reacheth to the Navell , the fourth to the privities , the fifth reacheth just to the middle of the Thigh , and the sixt to the lower part of the Knee , the seaventh to the small of the Legg , and the eighth to the Heel and sole of the Foot : But observe as you Draw downwards from the Head to place the Muscles in their right places according to nature ; and because there are no certain Rules for Drawing the Muscles but only to observe them exactly as they are in the Life . The breadth of the Shoulders containeth two measures of the Head , the breadth of the Hipps two measures of the Face , and the Armes stretched out are eight measures of the Head , and if the Brests be reckoned unto them , so the Armes without the Brests are but six measures . And note that when an Arme hangeth straight down it reacheth within a span of the Knee : a Hand must be no longer then the length of the Face , that when the Hand is spread abroad , it must as it were cover the Face and no more ; It is very necessary for one that intends to practise to Draw Naked Figures to Draw after good Anatomies of Plaister , and when you have practised a while , it will learn you to place all your Muscles according to Nature or Art . There are also good Books of Anatomies with Prints and instructions to them , which are very usefull for one that intends to draw a good Naked Figure , which you can never be eminent at , without you understand the Anatomy and use to Draw after the Life very much . Some further Observations in Drawing a Naked Figure . Whatsoever you Draw , Draw it at first very lightly with a Cole , because if it be out of proportion you can the easier mend it , and rub it out , and Draw it again anew : but note , that you must finish nothing with your Cole , before you see every thing is placed right according to Art and proportion and then finish it the one after the other as exactly and curiously as you can possibly in the Drawing a Naked Figure . Observe first that you draw the Head very exactly , and next the Shoulders in their just breadth , as before mentioned , containing two measures of the Head ; Then you Draw the Trunck of the Body beginning just at the Arm-pits , and you may leave the Armes to finish till afterwards , and then you proceed to Draw down to the Hipps on both sides , but be sure that you exactly observe the breadth of the Wast ; and when you have done this , then Draw that Leg first which the Body standeth firmest upon , then Draw the other which standeth looser of the two , but be sure to place that Leg which the Figure stands upon firmely and right , upon the straight Line which cometh down from the Head , or else the Figure may seem to yield one way or the other , and as it were fall ; and lastly you must proceed to Draw the Armes and Hands . A further Observation . When you Draw a Naked Figure you must judiciously and exactly observe to place the Joynts and Sinews and Muscles in their naturall places , according to their proportion , and observe that one Joynt be not higher or lower then the other ; otherwise the Figure will seem to be crooked and deformed and out of proportion to the judicious eye ; see that every parallel Joynt must bend moderately according to Nature , and answer the other which is opposite to it ; and note that the straight stroake must be struck according to the bending of the Body , so that if the Body bowe , the stroke must bowe also , and if the body stoope downwards a little , you must strike your stroake sloping accordingly ; then make the Shoulder , which ought to stand straight over one another , the one to be a little higher then the other , on that side which the body turns upon the Shoulders and the other Joynts , which otherwise ought to be placed one even against another ; you must make them to yield something lower then that side the Figure stands firmest upon , more or less , answerable to the stooping of the Body ; and be sure to be very exact and carefull in the Drawing your outmost circumferences , and to be very carefull in Drawing your Muscles and Joynts which are in the body ; therefore because you should place things in their right and natural places , you strike the straight Line from the Pit of the Throat straight down , just in the middle of the Body , where you can discern the parting of the Ribs . From thence you must proceed with your Line quite down to the Feet , and be sure to observe the bowing and bendings of the Body , and to draw that part which is opposite to that which bendeth , to yield and bend accordingly with it : As for example , if one side of the Body doth yield or bend inwards , then you must make the other side for to stand out answerable , and according to the bending in of the otherside ; and observe whensoever you draw the Back bending in , you must make the Belly to yield in according to it , so that when the Belly yields in , the Back must stick out according to proportion ; and also if the Buttocks stick out , then that which is over in opposition to it must yield in equally . This is not only to be observed in these parts of the Body , but in all the other also ; as when the Knees bend out , then the Hammes which answer to it must yield in accordingly , and therefore this Rule is very necessary to be observed very exactly in all the other Joynts ; or else peradventure the Body will not have all the natural windings and yieldings , which give the greatest looseness to any Figure whatsoever . Withall be sure to use your utmost endeavour to make things of an answerable and equall proportion and bigness according to Art , that is to say , not to make a Leg or an Arm or any other Joynt , not of an equall and suitable bigness , but to make one bigger then the other ; therefore observe to make all the Joynts of an equall bigness , both of bigness , length , and breadth , but according to proportion . But in case any part of the Body yield or turn something away from the Eye , then you must decline that part which turneth according to proportion ; and likewise if any part of the Body do appear to the Eye to foreshorten , as when it doth hinder the sight of the full Latitude of that part of the Body : Therefore I say upon such occasions , the Body or part of the Body must be made to decline and foreshorten , according to that proportion that the Eye doth guess of it ; therefore be sure to observe your exact distances one from another , how farre the one is distant from the other ; you must observe also how much one part of the Body sticks out beyond the other ; be carefull when you draw a naked Figure to draw nothing hard , but to shadow it fine and soft as possible you can , and not to draw the out-Circumferences sharp or stiff , but as loose as possible . A way to take the perfect out-Lines or Circumferences of any Painting or Print whatsoever . Take a sheet of Venice Paper , and dip it in Oyl ; or take a Feather , and wet the Paper all over with Oyl of Turpentine , then take a clean linnen Rag , and after the Oyl is soaked into the Paper a while , rub the Oyl clean off from the Paper as clean as you can , for if the Paper be Oyly it will spoil any Print , because that the Oyl will soak through . Then having prepared the Oyl-Paper , take it and lay it upon the Painting or Print which you intend to draw after , and you shall perceive all the Painting very clearly through the Oyl-Paper . Then you take a black lead Pensil , and ▪ draw upon the Oyl-Paper all the out-Lines and Circumferences thereof , then take a piece of Charcole , or a piece of black Lead , and scrape it upon the backside of the Oyl-Paper , then take a Feather and rub it all over , and shake off the rest ; this being done take a sheet of clean Paper , and lay under the Oyl-Paper ; then take a Stift , and draw all the same stroaks which you drew before upon the Oyl-Paper over again , then take the Oyl-Paper off from the other , and all the same out-Lines will be upon the clean Paper ; then if you think good , you may finish it up according to the Painting or Print you draw it after . A way to decline or bring any Painting or Print into a lesser compass . If it be a Painting that you intend to decline , then you take a pair of Compasses , and divide the length of it into so many equall parts as you think convenient , and the breadth also with the very same distances , then you must take a piece of Packthread and chalk it , then take that Line , and strike upon all the parts which you divided with your Compasses , so many strait Lines as there are parts in the length , then strike them Lines that go in the breadth , quite across them in the length , so that it may be all uniformed ; so the like with that as you would have smaller or greater , according to your intention ; and by the distances in the Chequers you guess to draw it smaller accordingly . A further direction for Drawing . Be sure to place all the Muscles in their right and proper places : By the Muscles I mean the shadows that are caused by some dents or swellings in the face or body ; therefore labour to find out the reason of every Muscle , that so you may proceed to work with the more judgement ; you shall perceive the most Muscles in old and withered faces . First you must draw the principle of them , and then place the features exactly in their right places ; observe to shadow them rightly , and be sure not to make them too dark where they should be faint , for if you should , you can never recover it to make them light again ; the shadowes are generally fainter and lighter in a fair face , then in a swarthy complexion . And when you have finished your draught , you must give it here and there a hard touch where it is darkest shadowed , which will adde a great life and grace to it . Certain choice Observations concerning Miniture or Limning ▪ ERe you begin to paint , you must be exact at Design or Draught , so as to be able to Copy any Picture in black and white , with Cole-black , Chalk , Black Lead , or the like . The Colours to be painted with are thus termed . White Cereus . White Lead . Red India lake . Red Lead . Mynne . Yellow Masticot . Yellow Ocur . English Ocur . Green Sap green . Pink . Blew Verdure . Green Bice . Terra Vert. Blew Indico . Vltra marine . Blew Bice . Smalt . Brown Spanish Brown . Collins earth , or Terra de Coloma . Vmber . Black Cherri-stone . Ivory black . Lamblack . As for Vermillion , Verdigrease , Orpiment , &c. they are too course and gritty to paint in Water-colours ; Turnsoil , Litmus blew , Rosset , Brasill , Logwood , Saffron , are more fit for washing Prints , then curious Limning . Grisatrice . Faint shade for the Face ] Mingle together white English Ocur , Indico , a little Masticot . Deep shade ] White English Ocur , Umber . Dark shades in mens Faces ] India-Lake and Pink mixt . Ruddy Compl. ] Mine , Vermilion , Lake , Cereus , Ana q. s. Mingle white Lead with all the shades . Bise . To Wash Bise ] Grinde the Bise first very purely , then fill a shell with clean water , put the Bise therein , stir it , and let it settle an hour , then reserve the bottome and blow oft the top . To deepen this use Litmus Water . Deepest shade ] Umber , Cullins earth , Pink , Lake , Ana q. s. Observation in Grindeing ] Leave not your Colour too moist , but thick and clammy ; if after your Colour be dry , you rubbing your finger thereon finde any to come off , it must be better bound with Gum . Black ] Cherystone burnt good for Drapery . Cereus . White ] To make your Cereus or white Lead that it shall neither rust nor shine ( both which are no small inconveniences ) go this way to work before you begin to grinde either of them ; lay them in the Sun to dry two or three dayes , which will exhale those greasie and salt humors that poyson and starve the Colours ; besides you must scrape away the superficies of the white Lead , and only reserve the middle of it ; grinde it with fair water or Rosemary water with a Pebble on a Porphir . When 't is ground , have in readiness a Chalk stone with Furrows in it , into which put the Colour while 't is wet , and it will be exceedingly cleansed thereby . After it is through dry , reserve it in clean papers , and when you would use it , put it in a Muscle shell with Gum water made of the whitest Gum Arabick . Colours to be ground are these . Cereus , white Lead , India Lake , English Ocur , Pink , Indico , Umber , Spanish Brown , Cullins Earth , Cheristone Ivory . Colours to be washt are these . Red Lead , Minne , Masticot , green Bise , Cedar green , Ultra Marine , blew Bise , Smalt , Verdure , Sap green . India Lake . Purple ] Grinde this with Gum water ; when 't is ground fine before you put it in a shell , mix a little powder of white Sugar Candy with it , which will make it not crack ; after this Temperature , you may spread it with your finger thinly about the shell . English Ocur . Yellow ] This Colour lies even in the shell of it self , and is of great use , especially if well ground ▪ Pink . Green ] The fairest Pink is best , wherewith well ground and tempered with blew Bise , makes an excellent green ; to deepen this Colour in Landskip or Drapery , use Indico very finely ground . Vmber . Brown ] This Colour is somewhat greasie , to cleanse which burn it in a Crucible , afterwards grinde it and it will be good . Spanish Brown . Dark Red ] Because this Colour is very course , you may use Umber and a little Lake tempered instead thereof , which is as good . Black . Black ] Cherristone and Ivory are both to be burnt in a Crucible and so ground . Cherristone is good for Drapery ; for a black Sattin , temper with it a little white , India , Lake , and Indico ; heighten it with a lighter mixture ; deepen it with Ivory black : This was Hilliards way . Ivory . Ivory ] Grinde Ivory with Sugarcandy . Colours to be washt and how . Red Lead ] One Instance may serve for all , and that shall be of red Lead , whereof take as much as you will an Ounce or two , put it into a Bason or earthen Dish full of fair water , stir it a while together till the water be all coloured , let it stand , and you will soon perceive a greasie scum to arise , which with all the water cast away , put fresh water to it , and do as before a second time ; but before the water be half setled , pour all the water into a clean Dish to this water in your second Bason , you must adde more clean water , and mingle both together , then let it settle , afterwards pour out the water , and that small pittance at the bottome is only good , which after 't is dry must be taken off with a Feather , and put up in papers for use . To use it , spread a little of it about the sides of a shell , and with your finger temper it with Gum water . Pencils ] Choose such Pencils as are clear , 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 Miniature for Pictures by the life . Take an ordinary playing Card , pollish 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 paste fast on the Card , temper the Starch before you paste it on in the Palm of your hand , that it may be free from knots ; let the Card thus pasted dry , then making your Grindeing stone as clean as may be , lay the Card thereon with the Parchment side downward ; then with a tooth burnish or pollish the backside as hard as you can . Note that the outside of the skin is best to paint upon , and must therefore be outmost . To Prime 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 daubes of your great Pencil , lay it on in an instant , the nimbler it is laid on , the evener the Colour will lie . Note ] Note that you ought to cover rather too much then too little with this Prime ; cover 〈◊〉 what more of the Card with the Ground Colour , then you shall use for the Face . This done , take a pretty large shell of Mother-pearl , or another shell , and before you 〈◊〉 work , temper certain little heaps of several Shadowes for the Face , which you may dispose about the edges of the shell . The Order of Shadowes for the Face . Shadows ] In all your Shadows , remember to mix some white , exempli gratiâ ; for the red in the Cheeks , Lips , &c. temper Lake , red Lead ; and a little white for the blew , as the Veines , &c. a little Indico and white , for blew Bise is never used in a Face ; for the faintest and weakest Colour or Shades , Lake-white , a little Ocur , and a little Indico , adding thereto if you will a small pittance of Pink , or Masticot ; for the deeper Shadows , white English Ocur , Umber ; for the darkest and hardest Shadows , use Lake , and Pink mixt with Umber . Note that black must not by any means be used in a Face : for other Shadows your own observation must direct you , for it is impossible to give a general Rule for the Shadows in all Faces , unless we could force Nature to observe the same method in Composeing and Modelling them , so that one in every Punctilio should resemble the other . Light ] For your Light to draw by a Northern is accounted best , which if it fall sloping down from an high window , is best of all . Position ] Place your self so to your Desk , that the Light may strike in sidelong from the left hand to the right ; and observe that in all your work it will shew to the best advantage , when 't is turned and seen by the same Light it was drawn by . Necessaries in Painting ] Let a Saucer or clean shell of fair water be ever on your right hand , wherewith you may temper your Colours and wash your Pencils , which you must have on your right hand too ; together with a brush-Pencil dry , to brush and cleanse your work from dust ; also a sharp Pen-knife , wherewith to take away such spots 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 . The first Draught ] Having these accommodations , draw the Lines of Porphile ( i. e. the outmost stroaks ) 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 Shadows , and with the same faint Crimson Colour of Lake and white , give some slight touches and marks somewhat roughly of these Shadows , which afterwards you 'l finish . The Order to be observed in drawing by the Life . The Order of Drawing ▪ First Sitting ] First you must only dead-Colour the Face , as the oyl-Painters do , and not meddle with the rest , and this first Sitting commonly takes up two hours . Second Sitting ] The second Sitting will require four or five hours , in that time you are to go over the Face very curiously , observing whatever may conduce either to likeness , or judicious Colouring , and observation of the several graces , beauties , or deformities , as they appear in Nature , or else in smoothness of Shadows , or close and sweet Couching the Colours . Third Sitting ] The third Sitting is two or three hours work , and is spent in closeing what was before left imperfect and rough ; but principally in diveing to every deep Shadow , the strong touches and deepenings as well in the dark Shadows in the Face , as in the Eyes , Eyebrows , Hair , and Ears , and these touches are ever the last part of this business , and are never to be done till all the Hair and Drapery be finisht ; these touches ( if well done ) adde exceedingly to the life . Concerning dead-Colouring . The dead-Colouring of a Face is to be done the roughest and boldest of all ; having drawn your Face with Lake and white ( as before ) you must take to the said Colour a little red Lead , tempering it to the Colour of the Cheeks , Lips , &c. but very faintly , because you cannot lighten a deep Colour , without hazard of spoiling the Picture . To begin to Paint ] The first Colour to begin the Face with is the red of the Cheeks , and Lips , somewhat strongly , the bottome of the Chin , if the Party be beardless ; over under and about the Eyes , you will perceive a delicate and faint redness , and underneath the Eyes , inclineing to purple Colour , which in fair and beautifull Faces is usuall , and must be observed ; the tip of the Ear and the roots of the Hair are commonly of the same Colour . All this you must do after the manner of Hatching , with faint and gentle Stroaks , washing it all along . In short , in your dead-Colouring you must cover your ground with the aforesaid red , and the subsequent Shadows . Note ] Be not too curious in your first working , but regard a good bold following of Nature , rather then smooth Curiosity , the roughness of the Colour you may end at another Sitting . The second Work of Painting . The second Procedure ] The red being done , the next is the faint blewes about the corners and balls of the Eyes , and the gray and blewish under the Eyes , the Temples , &c. which you are also to work from the uppermost part of the Face almost all over , but exceeding sweet and faint , by degrees sweetening and heightening your Shadows , as the Light falls . And in going over the Face , be sure to mark out the hard Shadows in the dark side of the Face , under the Nose , Chin , Eyebrows , &c. as the Light falls , and somewhat strong touches in those places . Bring up your work together in an equall roundness , not giving perfection to any particular part of the Face , but visiting all the parts curiously , and in a kinde of randome , by which meanes you will better observe the likeness , roundness , postures , Colouring , or whatever else is requisite to the perfection of your work . The third Procedure ] Having done the fainter or slighter Shades , and somewhat smoothed and wrought them into the red , you may go over the Hair , disposing into such Forms , Folds , or Tramels , as may become your Picture best . You must at first only draw them with Colour as near as you can sutable to the life , and after wash them lightly at the first , and then once more peruse your work , being carefull to fill up the void empty and bare places which are uncovered with Colour , and at last deepen it somewhat more strongly then before in the deepest shady places , still carefully observing the life . Thus much for the first Sitting . The Order of Painting in the second Sitting . The Party being set just in his former seat , you must most exactly observe and curiously delineate with your Pencil , those several varieties of Nature , which you did rudely score out before . To do this you must use the same Colour in the same places you did before , working , driving , and sweetening the same Colours one into another , to the end that nothing be left in your work with a hard edge , uneven , or a lump together , but all so swept and driven one into another , with the point of somewhat a sharper Pencil then you used at first as that your Shadows may lie soft and smooth , being dispersed and gently extended into all , and towards the lighter parts of the Face , like air or a vapoury smoak ; but before this you must carefully observe all the Shadows and Colours . The ground behind the Picture ] For the ground behind the Picture , it is commonly blew or crimson , somewhat like a Satin or red Velvet Curtain : If blew you must lay it thus ; your Bise being pure and clear washt , temper as much in a shell as will cover a Card , let it be all throughly moist and well bound with Gum , then with a small Pencil go about with the same Colour the Porphile , that is the utmost Stroak , and ambient Superficies of the Picture ; this done take a greater Pencil , and therewith wash over somewhat carefully the whole ground that you mean to cover with a blew , somewhat thin and watrish , and then with a reasonable big Pencil full of Colour and flowing , lay over that place with a thick and substantial body of Colour , which before you had only washt over . In the doing of this you must be very swift , keeping the Colour moist that you have laid , not permitting any part to dry till the whole be covered . A Crimson Ground ] If you would have your ground Crimson like Satin , you must with India-Lake mark out where and in what places you will have these strong and hard Lights and Reflections to fall , which is seen in Satin or Velvet , there lay your Lights with a thin and watrish Lake , and while it is yet wet with a stronger and darker Colour of Lake thick ground , lay the deepning and hard strong Shadows close by the other lights ; your best way is to have a piece of Satin before you to imitate . For Method in the Touches ] After this lay your linnen with a flat white , and the Drapery likewise flat , then go over your Face again , endeavouring to reduce each Shadow to its true perfection , then draw the Lines of the Eye-lids , expressing the red dark Nostril , the shadowy entrance into the Ears , the deepness of the Eye-brows , and those more perspicuous notes and marks in the Face , with a Pencil somewhat more curious and sharp then before ; you may darken your ground as you see it will be most advantagious to the setting out the Picture . The Hair ] Next go over your Hair , heightning and deepning it as you shall see by the life , drawing some Locks loosely over the ground , which would otherwise seem unpleasant . Linnen Shade ] To shadow Linnen use black , white , a little yellow , and less blew ; the black must be deepned with Ivory-black , with which mix a little Lake , and Indico , or Litmus-blew . Thus much for the second Sitting . The Manner of Finishing at the third Sitting . Third Sitting ] The third will be wholly spent in giving the strong Touches and Observations necessary for the rounding of a Face , which you will now better see to do , the Apparel , Hair , and Ground , being already finished . In this Sitting curiously observe whatever may conduce to similitude , which is the chiefest thing , as Scars , Moles , &c. glances of the Eyes , descending and circumflexions of the Mouth ; never make your deepest Shadows so deep as they appear in the life . Thus much of the Face and three Sittings : For Ornaments thus . Ornament . Armour-Silver ] For Colouring Armour , first lay liquid Silver flat and even , which dryed and burnisht with a Tooth , temper the Shadows with Silver , Indico , Litmus , and a little Umber , work these Shadows on the Silver as directed by the life . Gold Armour ] For the Gold Armour , lay Gold as you did Silver , for the Shadow , Lake , English Ocur , tempered with a little Gold . Pearls ] To express the roundness and lustre of Pearls , your ground must be white , and Indico , your Shadow black , and Pink . Diamonds ] Diamonds are exprest with a ground of flat liquid Silver , the deepening is Cherristone , black , and Ivory ; the deeper the Shadow , the fairer the Diamond . Rubies ] Lay a ground of Silver , burnish it to the bigness of the Rubie , then take Turpentine of the best and purest , and temper with it very neat a little India-Lake , then taking a Needle or some small iron Instrument heated in a Candle , lay or drop a little of the Composition upon the Silver , fashioning the Stone in a round or square , or what fashion you please with the point of your Instruments , you must let it lye a day or two to dry ; if it be too long in drying , adde to your other Composition a little powder of clarified Mastick ; this Receipt is not commonly known . Emeraulds ] For any green Stone , temper your Turpentine with Verdigrease , and a little Turmerick root first scraped with Vinegar , then let it dry , then grinde it to fine powder and temper it . Saphires ] Mix Turpentine with Ultra Marine , &c. Note that the ground to all must be liquid Silver polisht . A true Receipt to make liquid Gold . Liquid Gold ] Take of fine leaf Gold the value of 2s — 6d , grinde this Gold with a strong and thick Gum water upon a reasonable large stone , which you must grinde very fine and painfully ; as you grinde it still adde more of your strong Gum water , and though the Gold look never so black and dirty , 't is never the worse ; having brought it to a competent fineness , wash it in a great shell as you did Bise , &c. being very clean adde to it a little quantity of Mercury sublimate , with the point of your Knife which you must temper with it , and a very little Gum to binde it in the shell , and as it settles and begins to dry in the shell , shake it together , and remove and spread the Gold about the sides of the shell , that it may be altogether of one Colour and fineness , use it with fair water as you do the other Colours . Note ] So for liquid Silver , only observe ( and 't is a Secret ) that when your Silver either with long keeping or moistness of the air becomes starvd and rusty , you must to prevent this inconveniency , before you lay the Silver Cover over the place with a little juice of Garlick , which will preserve it . Landskip . Landskip ] In painting Landskip ever begin with the Skie , and if there be any Sun-beams , do them first . Purple Clouds ] For the purple Clouds , only mingle Lake and white . Yellow ] The yellow Sun-beams , Masticot and white . Note 1. ] Work your blew Skie with Smalt only . Note 2. ] At your first working dead-Colour all the Piece over , leave nothing uncovered , lay the Colour smooth and even . Note 3. ] Work the Sky down in the Horizon fainter and fainter as you Draw near the Earth , except in tempestuous Skies , work your further Mountaines so that they should seem to be lost in the Aire . Note 4. ] Your first Ground must be of the colour of the earth and dark ; yellowish , brown , green , the next successively as they loose in their distance must also faint and abate in their colours . Note 5. ] Beware of perfection at a distance . Note 6. ] Ever place light against dark , and dark against light [ that is ] that the only way to extend the Prospect far off , is by opposing light to shadows , yet so as ever they must loose their force and vigor in proportion as they remove from the eye , and the strongest shadow ever nearest hand . Dark green For a dark green for Trees , mingle blew Verdure , Pink , and Indico ; the deepest shadowes of all in green are made with sap green and Indico . A rare Secret to preserve colours . Take Rosemary Water distilled , and with a few drops of it , temper your shell of White , and you shall see it become instantly perfect White , how ever dead and faded it was before . Besides this Water allayes the bubbles in White and Umber , which are usually very troublesome in the Grounding them . Some generall Observations in Miniature . 1. If your Colours peel or by reason of the greasiness of your Parchment will not lye on ; mix with them a very little Ear-Wax , and 't will help them . 2. Sit not above two yards from him you Draw by . 3. Draw not any part in the Face of a Picture exactly at first , neither finish a Mouth , Eye , or Nose , till the rest of your work come up , and be wrought together with it . 4. When you have finished the Face , make the Party stand up to Draw the Drapery by him . 5. Let the Party you Draw be set in an higher Seat then your self that Draw . To make Crayons or Pastils and Draw with them . Pastils . ] To instance one for all , if you were to make a Pastill for a brown Complexion , grind on your Stone , Cereus , red Lead , or Virmilion , English Ocre , and a little Pink , to this add a proportionable quantity of Plaister of Paris burnt and finely sifted , mix this with the other Colours and you may role it up . Note . ] Mix white Cereus with all your other colours . To use these Pastils , Colour the Paper whereon you mean to Draw with a Carnation or flesh Colour , with a wet Spunge Draw the out-lines faintly with red Chalk , then rub in the Pastils , finish and fill up all with black Chalk as you shall see occasion . To make white . Cereus . ] Take two parts of ordinary Chalk , and one part of Allum , grind these together fine , make them up in a lump , burn them in a Crucible and use them . To make white Lead . White Lead . ] Take a Gallypot , whereinto put severall small plates of clean Lead , cover them with white Wine Vinegar , cover the Pot , and dig an hole in a Cellar , where let it abide for the space of six Weeks ; take it up , and scrape off the White Lead from the plates . To prepare a Card for a Picture . Wet a Card all over with a great Pencill so soon as the water is sunk in burnish it smooth on the backside , having beaten some Starch with a Knife in your hands palme 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 backside . To preserve Colours fresh , some grind them with the Gall of a Neate . To prepare White excellently . White . ] Take some Cereus which being grosly bruised and put into a fine earthen Basen , put to it a good quantity of running Water distilled , wherein wash the Cereus till it be throughly clean and purged , which you shall know by the taste of the Water which is drained from thence . Vernish . ] Vernish is made thus , Take of Oyl of Turpentine one pound , Sandrake one pound , Oyl of Spike one pound , mix the Oyles together , and let all stand over the fire till the Sandrake be ●esolved : if the fire should chance to catch hold of this , clap a Pewter Dish over it . Concerning Wax work or Moulding . To make the Moulds . The Mould . ] Take a good big lump of Plaister of Paris and burne it in a Crucible till it be red hot , let it coole , 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 tempred keep it wrapt up in a cleane 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 Ragg round it like a Cord in a wreath long wayes on the fruite : then take some Linseed Oyl , or ( which is the more cleanly ) Oyl of sweet Almonds , with which in a Pencill besmeare the Lemmon or ( what other fruit it be ) on one side , which lay upermost : your Lemmon thus prepared , take up some of your sifted Plaister of Paris and temper it in the forementioned 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 spoile the work , when 't is hardned ( which will be in a small time ) take away your Ragg , leaving the Linnen still fast in its half Mould ; Which done , turne the hardned side downward , then Oyl the other half of the Lemmon together , with the edges of the Mould , which the Ragg did cover ; then wash your Poringer 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 . To Cast . ] Use the whitest and purest Virgins Wax . To colour the Wax answerable to the things you Mould . To colour . ] For a Raddish your Ground is Cereus , which must 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 , Disolve a lump of clear Gum Arabick about the bigness of a Wallnut in two spoonfuls 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 Pare , Paremaine , &c. Now such as are of one colour may be easily cast all of the same colour ; but such as are variegated must be kept out afterwards by colours tempered with Gum-Water , ( as above , ) you colour your Wax by putting into it whilst it is hot and melted in a Gallypot , 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 , Peares , or Grapes , Turmerick and a little Verdigrease ; mixt Wallnuts and Figs , Turmerick and English Ocre , and Umber all in a bag together ; Cucumbers , or Hartichoakes , Peasecods , or Filbirds , Turmerick , Verdigrease , Eggs , and Cereus , all put in severall Bagges , and steept in the Virgin Wax when 't is melting as before mentioned ; for Damsons , bruise Charchoale , Indico , and blew Starch in a Bag together ; for flesh colour , White Lead , and Vermilion mixt , &c. To counterfit Rochcand'd Sweetmeates . Rochcandy . ] Disolve the quantity of a Wallnut of Gum Arabick in two spoonfuls of clear Water , let it be very thick , then take any piece of broken Venice Glass , the thicker the better , beat it in a Mortar so small as you please ; that it may serve your occasion , daub over some cast Sweetmeats with the forementioned Gum-Water , strew this Pouder on them , and 't will with much delight satisfie the expectation . Additionall Observations out of a Manuscript of Mr. Hilliards touching Miniature . When you begin to Paint temper all your colours a fresh with your finger , in your shell , or on your pallat . Pearle . Your Pearl must be laid with a White mixture , with a little black , a little Indico and Mastick , but very little in comparison of the White , not to the hundredth part ; that dry , give the light of the Pearle with a little Silver , somewhat more to the light then the shadowed side , then take a White allaid with Masticot , and underneath the shadowed side give it a compassing stroake , which shews a reflection , then without that a small shadow of Sea Cole undermost of all . But Note , your Silver must be laid round and full . 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 designe ; Therefore if you intend to practise 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 out-lines or circumferences , and then take notice how the shadow falls , then shadow it very faint and soft , where need requires accordingly . The Prints which I recommend unto you as absolutely the best to learne to Etch after , be the Prints of Henry Goldshis and Hermon Muller . Therefore it is very convenient to learn to hatch with 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 out-lines 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 Taffety , 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 Sticks , and a Pencill 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 halfe a pound , of single Aqua fortis stopped 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 Object 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 Pencill 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 stroake 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 Wax is used to make a Wall round about the edges of your Plate , to keep the Aqua fortis from runing off from the Plate . The Aqua fortis is the finisher of the work , when you have Hatched the designe upon the Plate with your Needles . The white Lead is used to scrape upon the backside of the Drawing or Print that you Etch after . The Stift is used to Draw thorow all the outmost Lines or circumferences of the Print or Drawing which you Etch after . The Oyl stone is to whet your Gravers upon . Having these things in readiness , Note , that if it be a black Ground that lies upon the Plate , then you must take white Lead and rub it upon the backside of the Print or Drawing which you intend to Etch after ; but if it be a white Ground , then you must take black Lead , or a piece of Charchoale , 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 till it be just melted ; then take the Mastick and the Expoltum and shake them in by degrees , stirring the Wax about till they be throughly mingled with the Wax ; but let it not stand too long over the fire , nor let 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 poure 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 Taffity or Silk , and use it as hereafter . Etching . A red Ground . Grind red Lead very well tempered with Vernix ▪ A white Ground . Take of Wax one ounce , Rosin two ounces , melt them together , add thereto a quarter of an ounce of Venice Cereus finely ground ▪ A black Ground . Spaltum . ] Asphaltum two parts , Bees Wax one part , melt them together , being warme , lay it thinly on with a Lawne ragg ▪ Another Ground . Grind red Lead with Linseed Oyl ; Note , your Ground must be laid very thin . The manner and way to lay the Ground upon the Plate . Take some Charcole and kindle them , this being done , take the hand and screw it fast to one of the corners of the Plate , as near to the edge as you can , because you must lay the Ground all over the Plate ; then take the Plate and hold it over the fire , till it be so warme to melt the Ground , then take the Ground which is bound up , and rub it to and fro upon the Plate till it be covered all over alike ; then take one of the stiffest Feathers out of a Ducks Wing that is not ruffled , and spread the Ground very thin , and smooth every where alike upon the Plate ; but have a speciall care you heate not the Plate too hot , least you burne the Ground ; which if it be , the Ground will break up when you put on the Aqua fortis and spoile the Plate ; you may discover when it is burnt , by its rising sandy , which if you perceive , you must take a clean Linnen ragg , and warming the Plate , wipe the Ground cleane off , and lay a new as aforesaid . But if you perceive the Ground to be smooth and not sandy , take it off from the fire , and when it is cold , take a piece of Link and hold under the Ground till you have smoaked it very black , but let not the flame touch the Ground , least you burn it ; this being done , if the Plate be cold hold it over the fire again till it be just warme , to let the smoake melt into the Ground , that it may not rub off under your hand ; then hold it off from the fire with the Ground-side of the Plate downwards for to preserve it from the dust , otherwise when the Ground is warme , dust will flye therein and spoile it , therefore you must hold it with the Ground-side downwards untill the Ground is cold . The way to Draw the outmost Lines of any Print or Drawing upon the Ground of the Plate . First take the Drawing or Print which you intend to Etch after , and scrape a little white Lead upon the backside of it , then take a Feather and rub it over every where alike , and shake off that which remaines , then take the Print and lay it upon the Plate on that side the Ground is , then fasten the four corners of the Print to the Plate with a little soft Wax ; this being done , take the Stift and Draw upon the Print all the outmost circumferences and Lines exactly , and when you have so done , take off the Print from the Plate , and all the same out-lines and circumferences which you Drew upon the Print with the Stift , will be exactly and unfailably upon the Ground . Severall Observations in Hatching . First observe exactly and judiciously how your principle is shadowed , and how close the Hatches joyn , and how they are laid , and which way the light falleth or cometh ; the light must fall all one way , for if the light fall side wayes in your Print , you must Hatch the other side which is furthest from the light darkest , and so place your lights altogether on the one side , and not confusedly to have the light come on both sides alike , as if it stood in the midst of many lights ; for neither doth the light with all its brightness illuminate any more then that part that is directly opposite unto it . Then observe exactly how close all the Hatches joyn , and how they are laid , and which way they twist and wind : then follow them as exactly as possibly you can , but before that you begin to Hatch or Shadow , you must Draw all the outmost Lines with a Needle upon the Ground , as Artificially as you can , and then you must Shadow it with your Needles of severall sorts according to your principle ; and when you will make a broad stroake , then break off the point of a great Needle and whet it upon an Oyl stone four square untill it comes to a point ; and if you will Hatch five stroakes , then you must use five pointed Needles ; and if middle size , then break off the point of a middle size Needle and whett it as beforesaid , and so according to all sizes . But some Masters when they make a bold stroake Hatch it fine at first , and so by degrees make them broader . Necessary Observations in Etching Landskips . Observe when you Etch Landskips , to make or hatch that which is nearest to the Eye darkest , and so let it lose or decline its Shadows by degrees , and that which is furthest off must be faintest , and so lose equally by degrees ; the same observation must be in making the Skie , for that which is nearest to the Eye must be the darkest shadowed , but in general as faint and soft as possible ; and so also let it lose by degrees as before is mentioned , and the nearer the Skie cometh to the ground , the more it must lose and be fainter ; but when they as it were meet together , the Skie must quite be lost ; and when you have hatched it as exactly as you can possibly with your Needles , according to the print of Drawing that you do it after ; this being done , compare them exactly and judicially together , and if you finde it like the original , take some green soft Wax and make a wall round about the edges of the Plate . How to make the Wax wall round about the Plate , to keep the Aqua fortis from running off from it . Take some green soft Wax and temper it till it be warm , then draw it into a long slender role as long as will reach about the Plate , then flat it and fasten it about the edges of the Plate , and let it be about half an inch high ; then take an old Knife and heat it in the fire , and sear the Wax round about under the Plate very close , otherwise the Aqua fortis will run out ; but be sure to fasten the wall as near to the edges of the Plate as you can conveniently ; then pour the Aqua fortis upon the Plate , letting it lie till it be deep enough . How to use the Aqua fortis on the Plate . You must use single Aqua fortis . Take a quantity of Aqua fortis and pour it into a Glass , and mingle it with a little Vinegar to weaken it , if it be too strong , or a little Aqua fortis which hath been used before ; for in case the Aqua fortis work too strong , it will make the work very hard , and sometimes make the ground to break up ; and when you have tempered it very well , pour it upon the Plate almost as high as the Wax wall ; the deeper the Aqua fortis lieth , the harder it will eat , and when you perceive it to be deep enough , pour off the Aqua fortis from the Plate into a Glass , and preserve it to mingle with other as aforesaid ; this being done , take some fair water and wash the Plate , and then take off the Wax wall and preserve it for the same use again ; then warm the Plate , and take a clean linnen Rag when it is indifferent warm , and rub off the ground 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 layn 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 other ; 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 fair water , 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 to be deep enough ; warm the Plate and rub the ground off as before-written ; but if you finde it not deep enough , take a little Candle-tallow and melt it in a Spoon , and while it is warm take a Pensil and cover the place with it where you scraped the ground off , then pour the Aqua fortis upon it again , and let it lie till you guesse 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 have been shewed before , 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 perceive it not deep enough , cover the place again with some warm Candle-tallow , and then pour the Aqua fortis upon it again till you guesse it to 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 Surice , as much as you think will cover the Plate , and grinde it very fine with Gum water , and temper it very thinne , then take a Pencil and wash the Plate all over very thinne and even . The way to lay a red Ground upon a black Ground . Take red Chalk and grinde it very fine with Gum water , then take a pretty big Pencil , and wash the Plate all over with the red ground very thinne and smooth , as before is 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 Expoltum 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 weather , 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 wax 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 throughy mingled and melted , take the Pot off from the fire and pour it out in a clean Pot of fair water , and work 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 binde 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 Wax 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 Charcolefire , then put the Virgins Wax 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 water 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 woollen Cloth , and lay it in the warmest place you can convenient ; for if the Frost is got 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 place 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 in stead of Tallow : and when you have covered the place that is broken , pour on the Aqua fortis again , and let it lie 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 broke up in , it must be helped with a Graver ; therefore it will be necessary for one that desireth to learn this Art , to practise Graveing a little , so much as to help a stroak where you think convenient . A way to make the Aqua fortis eat soft or hard according to nature or Art . First take Candle-tallow , and melt it in a Spoon , then with a Pencil cover that place so far as you will have it to be faint , but note it to be after the Aqua fortis hath lain upon your Plate an indifferent while ; and so by degrees you must use the Tallow as you would have it fainter ; this is very necessary when you Etch Landskips , which must lose and stand at a distance by degrees ; therefore when you Etch Landskips , observe to stop off that place first which must be faintest , and so by degrees stop it off , and make it lose equally ; and note the nearer you come to the Eye , it must be strongest and darkest shaded , but not on that side from whence the light cometh , for that side must be preserved as faint as may be ; but according to Art . Observations in Etching Prospective . Prospective is a thing that is one of the difficultest Arts to be rightly understood , that is practised ; because it is not rightly understood , but by a good Arithmetick ; otherwise you can never understand Prospective , because you can never guess rightly how much a Pillar , or a Figure , or the like must decline , or lose at their several distances , according to Art and proportion : therefore when you Etch a piece of Prospective after a Drawing or a Print , observe these Rules ; beware of perfection at a distance ; and be sure to shadow that , which is nearest to the Eye , perfectest and strongest ; and the further from the Eye , it must decline in length , and breadth , and heighth , according to Art and proportion ; observe also to let it lose and be fainter by equall degrees . A way to grave any Hand or Letter upon a Copper Plate . Take some Charcole and kindle them ; then take a Hand-vice and screw it to the corner of the Plate , and hold it over the fire till it be warm ; then take a piece of Virgins Wax , and rub it all over the Plate , untill it is covered every where alike : this being done , take a stiff Feather of a Ducks wing that is not ruffled , and drive it even and smooth every where alike , and let it cool ; then write the Hand or Letter which you intend to grave upon the Plate , on a piece of Paper , with ungum'd Ink ; then take the Paper which you have written , and lay that side which is written , downwards next to the Wax , and fasten the four corners with a little soft Wax ; but be sure to place the writings so , that the Lines may run straight ; then you must take a Calves Tooth , and rub the Paper all over which is fastened , and not miss any place : this being done , take off the Paper from the Plate , and you shall see the very same Letters which you wrote on the Paper , hath left their perfect impression upon the Wax ; then take a Stift , and draw all the Letters through the Wax upon the Plate ; and when you have done that , warm the Plate , and take a linnen Rag and rub the Wax clean off , and you shall see all the Letters drawn upon the Copper ; then get some good French Gravers , and grinde them as they should be , very sharp towards the points upon a Grindestone ; and afterwards whet them very smooth and sharp upon a good Oyl-stone ; then grave the Letters with them . The way to polish a Copper Plate . At first you buy the Copper rough , then you have it plenished , if you cannot do it your self ; and when it is plenished , then you polish it with these following Instruments . The Names of the Instruments or Tooles which are used to polish a Copper Plate . A Plain which cuts very well , and of an indifferent bigness , but not broad ; some pieces of Pumice-stones ; some pieces of Sand-stones ; and some Moulton-stones ; a soft blew stone ; and a Burnisher and Scraper ; and some Charcole . The use of every particular Tool or Instrument . First fasten your Plate with some small Nails , to a place that is as high as your middle ; then make use of the Plain to shave all the roughness off from it , and make it very even in all places alike ; and if you perceive any crackles or little holes upon that side which you shave , then you must shave them all clean out ; and wheh you have shaved it even and smooth with the Plain , then take a piece of Sand-stone , and wet the Plate with some water , and rub to and fro with the stone upon the Plate , till you have worn it very smooth and even every where alike ; but be sure to choose the so ftest stones , because they make the least scratches : and when you have worn it even and smooth with this stone , wash off the Sand from the Plate , and take a piece of Pumice-stone and rub to and fro upon the Plate , quite across the grain of the former stone , because it is of a hard sandy nature , and will therefore leave some scratches ; therefore the Pumice-stone is of a more softer and spungy nature , and is alwayes used to wear out the former scratches : and when you have worn out all the former scratches , you will perceive the Plate to be worked into a finer grain ; then wash the Sand very clean off from the Plate : and then make use of the Moulton-stone , and work with it quite across the grain of the Pumice-stone , untill you have worn it quite out ; withall be sure you supply this and all the other stones with water , when you work with them upon the Plate : and when you have worn out all the scratches of the Pumice-stone clean out ; then for the fourth , make use of the soft blew stone , it being of a very soft grain , and softer then any of the former ; then work with that quite across the grain of the Moulton-stone , till all the grain is worn out ; but if you perceive any scratches in the Plate here or there , rub them over with your Burnisher , till you have worked them out ; but in case they are very deep , you must make use of your Scraper , and scrape them out , and burnish it afterwards : this being done , in the fifth place you must burnish it all over . Sixthly and lastly , take a Charcole which is throughly burnt , and scrape off the Rine ; then put it in the fire till it is throughly kindled ; then take it out and quench it in Chamber-lee , and make use of it as of the former , till you have glazed the Plate ; then wash it very clean with fair water , and let it dry . Rules of Proportion . Of the Ear . CHAP. I. I Have observed this Rule , First to treat of the Ear , in a manner of my self invented , and not by any other discovered . Being then desirous to forme the Ear by this way ; you are first to describe an Ovall , in such manner as I have represented in this Figure , at the Number 1. but to forme that in more perfection , and as easily as possible may be therein , with such Method and Order as I design . Proceed lightly joyning Stroak to Stroak , in that manner as in each of the sequent Ovalls they are encreased , even unto the 8. Number . So imitate every Stroak of each Ovall , that the Ear may entirely be formed without digressing from the bounds , and reasonable termes of the Art . This Rule serveth not only to forme the Ear in correspondent proportion to Nature , but also with due proportion and perfection for every greater Head , without any reprehensible Error ; that is , without making that with too great length or breadth , hetrogeneal or disproportioned . For Observing then the Rule , there will be no occasion for the Spectator to say ( as often it hapneth ) that that was beyond reason , exorbitantly traced , and made without the bounds of reason . Of the Nose , Mouth , and Beard . CHAP. II. FOrasmuch as I think that necessary , to make a brief Discourse upon this next Figure , in which the Nose , the Mouth , and the Beard is described , to give thereof certain general advertisements ; and that I may further define all the difficulties from point to point ; the Nose being known to be the most eminent part of the Face , and therefore first seen ; and then the Eye which resteth in the judgement , the next form of the Face : therefore I will demonstrate two of the most easie wayes hath hitherto been invented , which may serve reasonable capacities from Stroke to Stroke , to make the same well . Make then first a Stroke like that in the 1. Number , which hath the beginning of the hollowness of the Nose : and then proceed to the 2. Stroke of the whole Nose , with the roundness thereof : in the 3. the hole of the Nostrills : in the 4. the Nostrills themselves : in the 5. the place of the upper Lip : in the 6. the upper Lip : in the 7. the form of the Mouth : in the 8. the roundness of the Beard : in the 9. the under-Throat : in the 10. the uniting of them all , with the Stroke of the finishing of the Nose , the Mouth , and the Beard . Describe a semi-Circle downwards , which is in the 1. in the 2. make the holes of the Nose , with the two Points on each side , and how each are placed : in the 3. the addition of the Nostrills : in the 4. the forming of all the upper Lip : in the 5. the form of all the Mouth : in the 6. the finishing of all the Strokes of the Beard and Chin . This for frameing the Nose is necessary to be explained , being of importance to describe the same well ; because be the Head never so well done , the Mouth and it being not correspondent , that will be but disgracefull , and give great distast to any judicious beholder ; be the other parts never so well and fairly done , that will rest without grace and unworthy of commendations . Of the Head upright , or with a Triangle . CHAP. III. THe manner to make the upright Head by just and safe Rules without errour , is thus : First form a perfect equall Triangle so as you see , in what position you will , having a respect to the Draughts I have presented with the Lines that form with the Compasses a just Equilaterall Triangle , which is with 3. Lines just and equall every way , turning the Triangle to make the Face upon one of the 3. sides , be it which you will , either upwards , downwards , higher or lower , dividing that side into 3. equall parts , as in the sequent Figure . The 1. to serve from the lower part of the Hair , to the lower part of the Forehead : The 2. thence , to the under part of the Nostrills : The 3. to the lower part of the Chin . Now having framed these 3. Lines , as I have shewed Number 2d draw a little crooked Stroke with a Cole or Chalk out of the right Line , that that may reach to the other point , and that will form the Forehead , From whence draw a waved slope Line bending at the end , to form the Nose either long , short , gross , or thin , as you would have that ; ending that at the 2d point , where the Nostrills end . Then subdivide the remaining 3d part in the midst , where the Mouth shall be placed , for the parting of the upper and under-Lips . Then frame the Chin , having a respect to the perpendicular Line , that that fall not out of the middle of the Chin ; adjoyning thereto the under-Chin down to the Throat-pit . So with the other two dividing Lines , the one from the top of the Forehead downwards ( and ends in the midst of the back part of the Ear ; ) the other proceedeth upwards from the Chin , ascending till that meet with the superior descending Line , whose intersection directeth the Ear , that the Circumference thereof stretch not too far ; which in the first Chapter I formed by the Rule of the Circle . Thus with your judgement take the upper part of the Forehead , and come to describe a great Circular Line about , to form with that the roundness of the Head , unto the Nape of the Neck , keeping the proportion that Nature teacheth ; and from thence downwards frame the rest of the Neck , remembring that the tip of the Ear doth not exceed the lower part of the Nostrill . So you may have the Head in what position you will , so this abandon not the two other Lines ; each concurring in their due points . Of the Foreright , and other Positions of the Face . CHAP. IV. HAving demonstrated an easie way how to draw the upright Head ; it will be also necessary to shew the manner how to draw the foreright Face , and in other Positions . Being then desirous to draw the foreright Face , it will be necessary to form a perfect Ovall , as I shewed in the Rule for drawing the Ear ; which being made , divide in the midst with a Line the longest way , which must from the lower part of the Hair be divided into 3. equall parts , by 2. Lines as you see . In the 1. is the Eyes to be placed ; in the 2d the Nostrils : then the lower part divided ; in the midst thereof must the Mouth be formed , as by the Figure may be conceived : alwayes remembring that the Eyes must be in the 1. Line ; and each of them distant from the other , the length of one of them : and that their inner Corners be perpendicularly over the outside of the Nostrils punctually . But to make the Ears in a foreright Face , the Ovall must be exceeding narrow , yet proportional ; that is , that the Ears be drawn in , and be in height from the Nostrils to the Eye-brows : and then adjoyn the Neck with the Hair , in such sort as may seem most pleasing to the judicious Eye . Of the Inclining or Foreshortning of the Face . CHAP. V. IN this Figure I will make a brief Declaration concerning the scituation or posture ; and being respective of the bigness , to give easie wayes to observe in framing the altitude of the Head in any inclination , as well in Foreshortning or other postures . This then requireth small labour ; and yet I have explained the same , that the manner thereof may be plainly seen ; and the path infallible by the Lines , as they turn and concord together . Imitating the like , you may with facility draw in their places the Nose , the Mouth , and all the parts in good order , agreeing correspondently without much labour ; as I will shew with these simple Lines ; which with a little practice to prepare the hand and judgement thereto ; all which may be absolutely well effected thereby . Of a more perfect Foreshortning . CHAP. VI . HItherto have I treated of the Head , both foreright , and in other positions ; but that you might know all that is needfull for the perfect understanding of this profession , it is necessary that I specifie the Manner how to draw the Face by an easie , absolute , and fair way . Treating thus , I propound to you Methodicall meanes therein ; because my intent is to facilitate the matter in that manner , that without writing thereupon it may be intelligible : For a Draught well made hath that power , that it makes itself understood without any Discourse of the Author thereon . But I alwayes observe both the one and the other also ; instructing by the Draught the intelligence first , and afterward by Discourse thereupon . I say then that the Foreshortning which is made only with Frets , Grates , Squares , or with Geometricall instruments , breed only a confusion of Lines , which is not the best principle of expert ingenuity ; the reason whereof is , that it can hardly be measured by any Rule , unless the whole Body be framed together . Therefore I will shew an easie Rule , very like to that of the foreright Face ; that is , to make a Circular Draught with aspect upwards , or downwards , as in the foreright Head , where the Traverse Lines are straight ; but these go Circularly , as in the Figures in the last Chapter going before may be seen . For if the Heads flye upwards , the Trace , Strokes , and the Divisions , must be raised as I have shewed ; with Caution that the Ears and Eyes fall not without their due points . Of the upright or side-Face without any Measure . CHAP. VII . BEing desirous to make an upright Head or side-Face , without any Triangle or other Measure ; you shall not need alwayes to make the Triangle , but with a little care and practice to form the Eye , which will serve for direction sufficiently ; because the Head and other parts of the Body are to be proportionals , and made from Measures , it will easily follow , framing many with one and the same Stroke , you may not only facilitate it by the Eye and Judgement , but also accommodate the Hand to trace and draw all things right ; for it is true that the Eye will have his place . And I have proved , that having drawn certain Strokes and Draughts from the life of Nature , and reduced it with the Pen and Pencil into Oyl-Colours , I have found it to come off punctually right of a correspondent bigness to that which I have imitated . So that having finished my work , and measured it part by part , I have not found any thing disproportioned , but have alwayes found it fall out right , as I would have it . Therefore I say that this Rule and Measure which I have set down , is not any hinderance to the excellency of the Art , nor will weaken your worth ; but will serve as a general Advertisement , being once possest therewith ; and also become prevalent when occasion will require , to make a Head ten times as big as the natural ; for that with this Measure you shall readily frame it right by any great Head ; and that because the Understanding therein is equally extended ; but the more the Capacity is wanting , the more my labour will further , when need requireth . These then I give as principal for the first Strokes , as in the next Figure may be perceived , which is from the Forehead , as I have already said , for the beginning of the Nose ; that is from the lower part of the Hair , to the hollowness of the Nose and the Nostrils , and from thence to the Chin . It will afterwards be necessary to proceed accordingly from Stroke to Stroke , by encreasing the Strokes until you come to the Head , Number 10. and so make it to be divided into 3. parts by the Eye justly , without the help of Compasses or other Measures ; and in so doing , you may easily accustome your hand , in such sort that you may draw all you would , without any labour at all . The Manner how to describe a Head every way without Measure . CHAP. VIII . IT will not be needfull alwayes to set down the Measures which I have before prescribed , because it will be too troublesome : But my intent is to shew how by an unusuall manner by me invented , you may form in the Idea , the just Measures and Distances of all sorts of Heads ; and in all Positions , having the knowledge of this Rule ; and afterwards making some Heads without any Triangle , or other manner of Demonstration , knowing the errors of heights , lengths , and divisions , into which you may otherwise run . Therefore I shew in this Figure an easie manner that must be held ; and how with those few Lines , to make the Head in what manner you will . Of Childrens Heads . CHAP. IX . IT resteth only for me to treat of the manner how to draw the Heads of Children , with a Rule , invented by me , and not yet by any put forth in writing . Being then desirous to form the Heads of Children perfectly , and of what imaginable bigness you will ; take a pair of Compasses , and make a perfect equilater-triangular Triangle , and upon each point thereof by turning the Compasses round , make a Circle as you see , of that bigness that they may touch each other : The like done on each , you shall so have described 3. Circles , whereof 2. shall be even upon one side , and the 3d behind them , joyned to them both . And this is the 1. demonstration : In the 2d , upon that side which the two even Rounds are , the one of them shall serve for the Forehead , and the other for the Throat ; and behind both where there is a space , you shall make the Nose , the Mouth , and some part of the Chin , with a Stroke near the Throat ; afterwards adjoyning the Ear in the place which I shew , where we conclude the Triangle , and under those two Circles , joyn a little of the Nape and the Neck ; and so will the Childes Head be finished in the side Face porfill , with the Crown , as you see Number 3rd. In Number 4. I represent what force a real Rule and Reason hath in designing , as if in these 3. Circles I should open the excellency of the Art ; because as you see , there is no point nor Circle but performeth his office , with that convenience that is possible ; I make you 3. Heads in one Demonstration , of which at your pleasure you may leave away 2. and take the 3d , without danger of committing any error therein . But as I use the Triangle in the upright or side-Head , so do I use the Square or Quadrangle in the foreright Face ; which being first described , will be a guide to place the Circles in their places ; as in the 1. Draught I shew : In the 2d falleth the Eye , the Nose , and the Mouth : In the 3d I finish all together , with the under-Chin , Hair , and other Circumstances . But be alwayes advised in this Face , where and how to place the points and bigness of the Ear ; and to situate the Eye , which I have made to avoid confusion , observing the Measures in practice by the precedent Demonstration : And so your work will come off with the greater life and judgement . FINIS . 
A31044	----	The painters voyage of Italy in which all the famous paintings of the most eminent masters are particularised, as they are preserved in the several cities of Italy ... / written originally in Italian by Giacomo Barri ... ; Englished by W.L. of Lincolns-Inne, Gent. Viaggio pittoresco d'Italia. English Barri, Giacomo, ca. 1630-ca. 1690. 1679 Approx. 178 KB of XML-encoded text transcribed from 94 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-01 (EEBO-TCP Phase 1). A31044 Wing B916 ESTC R7752 11902230 ocm 11902230 50592 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A31044) Transcribed from: (Early English Books Online ; image set 50592) Images scanned from microfilm: (Early English books, 1641-1700 ; 52:10) The painters voyage of Italy in which all the famous paintings of the most eminent masters are particularised, as they are preserved in the several cities of Italy ... / written originally in Italian by Giacomo Barri ... ; Englished by W.L. of Lincolns-Inne, Gent. Viaggio pittoresco d'Italia. English Barri, Giacomo, ca. 1630-ca. 1690. Lodge, William, 1649-1689. [16], 159 p. : map, ports. Printed for Tho. Flesher ..., London : 1679. A rare and interesting little work, being an early guide to the works of art preserved in the churches of Italy. Translation of: Viaggio piottoresco d'Italia. Reproduction of original in University of Chicago Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. 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Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Italy -- Early works to 1800. Painting, Italian -- Early works to 1800. Italy -- Description and travel -- Guidebooks. 2006-03 TCP Assigned for keying and markup 2006-03 Aptara Keyed and coded from ProQuest page images 2006-04 Andrew Kuster Sampled and proofread 2006-04 Andrew Kuster Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion Directions to place the Sculptures . 1. The Frontispiece before the Title . 2. The Map of Italy before the Table . 3. Michael Angelo . Pag. 17. 4. Titian . p. 50. 5. Paulo Veronese . p. 112. 6. Pietro de Cortona . p. 117. 7. Raphael Urbin . p. 159. Licensed , Roger L'Estrange . Decemb. 6. 1678. PICTVRA The Painters Voyage of ITALY Roma W : Lodge 〈◊〉 et fecit . THE PAINTERS VOYAGE OF ITALY . IN WHICH All the famous Paintings of the most eminent Masters are particularised , as they are preserved in the several Cities of ITALY . Chiefly relating to Their Altar-pieces , and such other Paintings as are Ornamental in their Churches . And Also Many choice Pictures , kept as Jewels , in the Palaces of particular persons . Whereunto is added That excellent Collection of Signior SEPTALE , in his Closet at MILAN . Illustrated with The Heads of some of the most renowned Painters . Written Originally in Italian by Giacomo Barri a Venetian Painter . Englished by W. L. of Lincolus-Inme , Gent. LONDON , Printed for Tho. Flesher , at the Angel and Crown in S. Pauls Church-yard . 1679. TO The Right Honourable THOMAS , Lord BELLASIS , Viscount FAVLCONBERG . My Lord , WHen I had the honour to attend your Lordship in your Embassy to the States of Venice , it was my fortune there to meet with a small Piece , entituled Viaggio Pittoresco d'Italia , the Task being of no very great difficulty , and altogether agreeable to my own inclination , I have gratified my self ; and I hope not disobliged ingenious Artists in a faithful rendition of it into English ; which I have done the rather because the Book is rarely to be found in Italy , and I cannot remember I have seen any Original in England but that which is in my own hands . I have taken courage to prefix your Lordships honourable name to this Translation to render it acceptable to the world , under the Patronage of an acurate Judge , and a zealous lover and encourager of the noble Art of Painting . If it may serve to put your Lordship in mind of the pleasure you received by a personal view and admiration of those great Masters elaborate Pieces when your Lordship was abroad ; and in any measure testifie my desires to serve your Lordship , 't is the greatest Honour and satisfaction can be wished for , or is attainable by , My LORD , Your Lordship 's most obliged and most obedient Servant W. L. To the ingenious READERS . HAving , not many years since , given my self the satisfaction of personally viewing the most principal Places and Rarities of Rome , and other the beautiful Cities of Italy ; I thought my self obliged to make my Countreymen some accompt of my Observations , those especially who are lovers of the Noble Art of Painting ; if not to assure our young Nobility and Gentry that 't is worth their while , and curiosity to Travel ; yet at least to inflame their minds , and excite their industry , to imitate those great Masters whose Employment made their Lives easie , their Persons Venerable , and their Names Immortal : On these considerations I had attempted , my self , a Collection of what I had seen , but for want of opportunities , and admission into several Places of remark , I was about to have desisted from that Design , which I foresaw was like to be but very imperfect : At last , lighting upon the ensuing Treatise , I found the work critically done to my hand ; wherein there is a faithful accompt of the Names and Performances of most of the greatest Masters , as well Antient as Modern , whose curious and elaborate Pieces are at this day the fairest Ornament , and Pride , o● all the places of Devotion , Pleasure ▪ and Magnificence throughout all Italy . The Author Giacomo Barr● was a Venetian Painter of good esteem , and had the good hap to please his Countreymen by letting them know in this Book what Treasures they were Masters of : and I dare hope this my Translation ( mean as it is ) has not rendred it altogether unacceptable at home , to those at least who have any passion for an Art so worthily esteemed by the most Ingenious Spirits of all Ages . I have added onely two things of my own to this work , One is a view of Signior Septale's Closet in Milan , not inferiour to any of the Italian Princes Collections ( inaccessible it seems to our Author ; ) The other a few Heads of some of the most renowned Masters . I shall compass the ends of all my Travels and pains , if my Countreymen , by these my endeavours , may take encouragement to emulate what they see there so highly valued and admired ; and undoubtedly the English Genius is as capable of arriving at the highest pitch of Perfection and Glory in This and all other Liberal Sciences , as that of old Athens , or of modern Rome . W. L. ITALIA by Robert Morden at the Atlas in Cornhil London map of Italy THE TABLE . A. ANcona . Pag. 27 Asolo . 105 B. Bolognia . 33 Burano . 91 Bassano . 106 Br●scia . 113 C. Citta di Castello . 24 Cividall . Conegliano . 100 Coneda . 103 Castello di S. Salvatore , 101 Castell Franco . 106 Cittadella . 107 Cremona . 114 , 154 Corte Maggiore nel Piacentina . 135 Carpi . 140 F. Fuori di Roma . 23 Fuligno . 24 Fano . 29 Furli . 29 Faenza . 32 Ferrara . 33 Fiorenza . 115 Finale di Modena . 139 G. Genoa . 114 , 154 I. Imola . 30 Isola dì S. Elena . 92 Isola della Gudiecha . 94 Isola di S. Giorgio . 93 L. Loretto . 26 Lucca . 155 M. Macerata . 26 Murano 88 Mazorbo . 90 Montanagna . 109 Modena . 136 Mantua . 141 Milano . 143 N. Napoli . 159 P. Perugia . 25 Pesaro . 28 Pordenon . 98 Padua . 108 Parma . 118 Piacenza . 132 Pescia . 157 Piere di Lamari . 158 R. Roma . 1 Rimini . 30 Ravenna . 31 Reggio . 138 S. Senegaglia . 31 Seravall . 104 Sirinalta . 113 Sassvoli . 140 T. Torcello . 91 Treviso . 96 V. Vrbino . 32 Venetia . 45 Vdine . 99 Villa di Marens . 101 Villa di Fontanelle . 101 Villa di Castello . 104 Villa di Mazen . 105 Vicenza . 110 Verona . 112 The State or Territory OF THE CHURCH , Within the City of Rome . The Church of S. Peter . AS you enter at the great Door , the first Chappel on the right hand of the Crucifix is all painted by the hand of Lanfranco . Then follows in the same part of the Church the great Altar-piece of the Martyrdom of S. Sebastian , a singular work of Dominichino . The Cuppola over this Altar is Mosaick work , and the Design of Pietro da Cortona . In like manner follows the Chappel of the Sacrament , where is a Piece of the same Pietro da Cortona representing the Coronation of our B. Lady . The Cuppola of this Chappel is also Mosaick , and the Design of the same Authour . Walking under this Chappel , on the front there is a Square of Mutiano . Following on , in the cross Isle on the right hand there is a Side of one of the Altars , which is the work of Monsieur Possine , representing the Miracle of S. Erasomus , a very beautifull piece . Being gone a little farther , you see the famous little Bark of S. Peter , a singular good work of Lanfranco . The Square right over against this is the hand of Camassei , and denotes the Miracle done by the Apostle S. Peter , when he caused the water to spring up in the Prison for baptizing withall . Then follows directly in view the speciall Picture which demonstrates when S. Petronilla was laid in the Sepulchre : it is the work of Guercin da Cento . Turning towards the Chair at the head of the Church , and having passed the said Chair , you see on your left hand a stately Picture which represents S. Peter going to the Temple with S. John , and doing the Miracle of curing the lame : a most superb work of Chivoli . Advancing a little forward along the cross Isle , and being past the Sacristie , there is a Picture which denotes the Miracle of S. Gregory holding a bloudy Handkerchief in his hand : a most beautiful work of Andrea Sacchi . Those Pictures of the four Altars under the Pilasters of the great Cuppola are by the hand of the same Sacchi . The Church of S. Martha behind S. Peter's . Entring this Church at the great Door you see the Picture of S. Vrsilla , and on the left hand is a Picture of two * Eremits , the work of Lanfranco . The Church of S. Peter in Montorio . Here you will admire the most famous great Altar-piece , and , as I may say , the unparallel'd Picture of great Raphael . It signifies the Transfiguration of our Saviour . The Church of S. Onofrio . Before you enter this Church , there is a little Lodgment wherein are painted three Half-moons , by the hand of Dominichino . Within this Church on the right hand there is a Picture which represents the Holy House as it was transported into Italy by the Angels , the work of Hannibal Carache . The Church of S. Mary in Transtevere . Upon the Roof of this Church is a Square , wherein you find represented the Assumption of our B. Lady ; a beautifull work of Dominichino . The Church of S. Francis on the Bank. Entring at the great Gate , there stands a Picture within a Chappel on the left hand , which signifies the Lady of Pietie , the work of Hannibal Carache . The Church of S. Bartholomew in the Island . In this Church there are four Chappels painted by Anthony Carache , one on the right hand as you enter the great Door , the other three on the left , all very fair works . The Church of S. Trinity de ponte Sisto . That Piece of the Trinity of the great Altar done by Guido Reno is a work worth great admiration . The Church of S. Charles de Catenari . The four Angles of the Cuppola do demonstrate the four Cardinal Vertues , by the hand of Dominichino . The Tribunal of this Church is the hand of Lanfranco . The great Picture is of Pietro da Cortona . Another Picture of the Pilgrimage of S. Joseph is by Andrea Sacci . The Church of S. Bridget in Piazza furnete . You will find in this Church an Altar-piece of our Lady with the Child Jesus and S. John , by Hannibal Carache . The Church of S. Petronio Bolognesi near unto the Farnese . The Piece of the great Altar with our Lady and other Saints is the work of Dominichino . The Church of Girolamo della Carità . At the great Altar you see most rare Pictures by Dominichino , representing the Communion of the above-named Saint . The Church of S. Catharina de Funari . Entring at the great Door , the Piece of the first Altar on the right hand , with a S. Margaret and a Christ over the said Altar , is the work of Hannibal Carache . The two Histories on the sides of the great Altar are the works of Frederico Zucchari . The Church of S. Paul without the Walls . In a Chappel near to the great Altar there are two Squares with the Histories of Moses , and in the Sacristie there are divers other Squares ; all the works of Lanfranco . The Church called the Baptism of Constantine near to S. John in the Laterane . Here you see two great Histories : one represents the Battel of the Emperour Constantine the Great ; the other is the Triumph of the second Battel : both by the hand of Camassei . All those Squares around the little Cuppola , as also divers Boys , are the work of Andrea Sacchi . The Church of S. Paul at the Three Fountains . There is a Table which demonstrates the Crucifixion of S. Peter , a most fair work , by Guido Reno . The Church of S. Luke in Campo Vaccino . The great Altar-piece denotes S. Luke as he is painting the Picture of our Blessed Lady ; the work of * divine Raphael . The Church of S. Lorenzo de Spetiali in Campo Vaccino . The high Altar with the forenamed Saint is the hand of Pietro da Cortona : and entring the same Church , the first Picture on your left hand is the work of Dominichino . The Church of S. Sebastian above the Pulveriere . Here is the Piece of the great Altar with the Martyrdome of the said Saint , done by the hand of Camassei . The Church of S. Gregory . In the Chappel of this Saint is a singular good Piece by Hannibal Carache . The Chappel of S. Andrew adjoyning to the foresaid Church of S. Gregory . As you enter this Church , on your right hand you see a History painted in * fresco , which represents this Saint when he was buffeted ; a stupendious work of Dominichino : on the left hand is , when the said Saint was conducted to his Martyrdome ; a singular work of Guido Reno . In another little Chappel adjoyning to this , you see the little Tribunal , where are divers Boys playing upon variety of Instruments . The Round Church of S. Stephano . The Picture of the first Chappel as you enter on your left hand with a Madonna and the Child Jesus , S. Elizabeth , a S. John and a Joseph , is the work of divine Raphael . The Church of S. Bibbiana . Where you may see divers Pictures concerning the life of this Saint , by Pietro de Cortona . The Church of S. Maria Maggiore . In the Chappel of our B. Lady are divers Saints , beautifull Pieces , of Guido Reno : the Cuppola of this Chappel is by the hand of Civoli . The Picture aloft and near to this Chappel signifies a Madonna , by Guido Reno . That Square near to the Crucifix represents when Christ rais'd Lazarus from the dead ; 't is the work of Mutiano . The Church of Madonna della Victoria . Entring the great Door , the second Chappel on the right hand is all painted with the History of S. Francis , by the hand of Dominichino . There is another Table of the Trinity , by Guercin da Cento . The Church of S. Bernard , having passed the Four Fountains . The great Altar-piece is the hand of Andrea Sacchi . In the same Church there is a Picture of S. Bernard , by Camassei . The Church of the Fathers Capuchines . As you enter at the great Door , the first Altar on the right hand , representing S. Michael the Arch-angel , is a rare work of Guido Reno : and on the left hand is demonstrated the Conversion of S. Paul ; a very fair Piece of Pietro da Cortona . A little onward you see the Picture of the Lady of Piety , by the hand of Camassei . Then follows a Picture on which is painted the Nativity of our Saviour , by the hand of Lanfranco . After that is another Picture of the B. Virgin , and an holy Bishop , by Andrea Sacchi . Afterwards is the high Altar-piece with the Conception of the B. Virgin , the work of Lanfranco . Let us turn off to the other part of the Church , and we shall see the Picture which demonstrates St. Anthony of Padua raising a man from the dead . An excellent work of Andrea Sacchi . The Church of S. Isodoro . The great Altar-piece with this Saint praying , is the work of Andrea Sacchi . The Church of S. Joseph . The great Altar-piece represents a Dream of this Saint , by the hand of Andrea Sacchi . And at your entrance , you distinctly see a piece done by the hand of Lanfranco . The Church of St. Trinity on the Mount. Here are seen two Chapells , one demonstrates when our Saviour was taken from the Cross ; and the other the Assumption of the B. Virgin , both marvellous works of Daniel da Voltera . The Church of Madonna del Popolo . In the Chapell of the Chigi are several figures of divine Raphaell . And in the Chapell on the right hand of the great Altar is seen a Piece of the Assumption of the B. Virgin , and above this are several histories , to be reckoned amongst the best works of Hanniball Carache . The Church of S. Lorenzo in Lucciná . Here is seen a very fair Piece of our Saviour upon the Cross , by the hand of Guido Reno . The Church of S. Maria Inviolata . The Tribunall demonstrates the Assumption of the B. Virgin , an excellent piece , by Camassei . The Church of S. Romualdo . The Piece of the High-Altar with this Saint , is a most stately work of Andrea Sacchi . The Church of S. Sylvester upon Monte Cavallo . Being entred the great Door , you may observe in the second Chapell on your left hand , two Freezes of Boyes in * Chiaro Scuro , by Polidoro . Then follows the Chapell on the right hand of the great Altar , and there are on the four Angles of the little Cuppola , four Histories of the Old Testament . The First is Queen Esther falling before the King her Husband . The Second , as they are discoursing together . The Third is King David , playing on the Harp , before the Ark. The Fourth is Judith , when she shews the Head of Holofernes , all by the hand of Dominichino . The Palace on Monte Cavallo . That Chapell where the Pope sayes Mass is all excellently painted , by Guido Reno . The Church of Jesus . Entering the great door , on your left hand , you may see many Saints , done by Guiacome Bassano . The high Altar-piece demonstrates the Presentation of the B. Virgin at the Temple , by the hand of Mutiano . The Church of S. Andrew in the Valley . The Tribunall , with the four Angles are marvellously well done , by Dominichino . The Cuppola also is a stately work of Lanfranco . The Picture of the Blessed Caëtano , is by the hand of Camassei . And that of the Blessed Andrea Avelino , is the hand of Lanfranco . The Church of S. Lorenzo in D●maso . Here is seen the high Altar-piece , being the work of Frederico Zurthari . The Chapell on the right hand of the great Altar is the work of Pietro da Cartona . The Spanish Church of S. Giacomo . The Chapell of S. Diego is all painted by Albano . The design of Carache . The French Church of S. Lewis . Entering at the great door , the second Chapell an the right hand is all excellently painted , by Dominichino , with the History of the life of S. Cecilia . Onely excepting the Altar-piece which is a copy after Raphael , copied by Guido Reno from the Original , which they preserve at Bolognia . The great Altar-piece is the work of Giacomo Bassano , representing the Assumption of the B. Virgin. The Church of the Madonna del Anima . The Altar-piece of one of the Chapells , on the right hand as you enter , is a Madonna , and the work of Julio Romano . The Church of the Madonna della Pace . Entering at the great door , there are over the first Chapell on your right hand , diverse Prophets and Sibylls , and are some of the choicest things that ever Raphael painted . The great Tribunall is all painted by Albano . The Church of S. Augustino . As you enter at the great door , you may see on your left hand , over a Pilaster , a Prophet and two Boyes , an admirable work of Raphael . In the Front of the Chapel of S. Tomaso da Villa nova , is to be seen a Picture of Guercin da Cento . The Chapell on the right hand of the great Altar in the corner of the Church , is all singularly well painted by Lanfranco . The Church of Salvatore in Lauro . The Picture of the Nativity of our Saviour is a fair work of Pietro da Cortona . There is another Picture of the B. Virgin , with another Saint below ; by Albano . The Florentine Church of S. John. Here you will admire a most beautiful Chapell , with the History of the Passion of our Saviour , by Lanfranco . The new Church of the Fathers of S. Philippo Neri . The Roof of the Church , and the Cuppola , the four Angles , as also the Tribunall , are stately works of Pietro da Cortona . You may also plainly see two Pieces of Barocci , one represents the Presentation of our B. Lady , the other the Visitation of S. Elizabeth . The Altar-piece on the Chapell of S. Philip is by the hand of Guido Reno . And behind the same Altar is another painting , by the hand of Guercin da Centa . S. Lorenzo alla Sobara , being the Church of the Curtezans . The great Altar-piece is done by Camassei . MICHAEL ANGILO Nat. Aº 147● portrait of Michaelangelo S. Lucia in celsis near to S. Maria Maggiore . There is a Square by Lanfranco , and another by Camassei of S. John Communicating the B. Lady . The Nunns Church near to S. Mary in Trastevere . The great Altar-piece here is the work o● Camassei . The Palace of the Vatican . In the great Hall here , called the Sala Reggia , you see a Battle , with other large Histories , most beautiful works of Frederico and Tadeo Zuccharo . After you have seen the aforesaid Hall , you enter into S. Paul's Chapell , which is all painted by Michael Angelo Bonarota ; and here you will admire that famous painting of the Vniversall Judgement . Let us walk above in the second Gallery , which is all painted by Raphael , with the Histories of the Old , and several of the New Testament ; The Rabeschi or the Ornaments are painted by John of Raphael's Scholar ; but the design of Raphael . Being afterwards come within the Chambers , the first Chamber , all beneath the Cornice , is painted with the * Cortoni of Raphael . The first History as you enter on your left hand signifies when Constantine the great saw the Holy Cross in the Sky , when he was making an Oration to his Souldiers : Painted by Giulio Romano , a famous Scholar to the abovesaid Raphael . Then follows the great Battle of Constantine ; rarely Painted by the said Giulio . Then continues the third Picture , which represents how Pope S. Silvester Baptized the aforesaid Emperour . The fourth being a Chimney-piece , demonstrates the Baptisme of Fattor Bono , by the hand of Raphael Bergo , a Scholar also of the above named Raphael . Now follows the second Chamber , the which is all Painted by Raphael's own hand , excepting those Histories in Chiaro Scuro , * which are Painted by his Scholars . The first History over the door where you enter , represents the Pope hearing of Mass , and a Miracle succeeds . The third History is when Attila coming with his Army to besiege Rome , against the Pope , there appeared in the Sky S. Peter , and S. Paul. The fourth demonstrates S. Peter in Prison . After this there are severall Histories of the Old Testament painted on the Roof . Then follows the third Chamber , and over the door where you enter , you see represented the Antient School of Athens . Over against this is an History denoting a disputation concerning the Holy Sacrament . Over a Window is represented Mount Parnassus . A little below , on the sides of the Windows , is a representation of the Pope and the Emperour giving out the Laws . There are also divers significations painted on the Roof . The fourth and last great Chamber is all rarely painted by the same Raphael , onely excepting the Roof , which is painted by Raphael's Master . The four Histories about this Room are these ; First , That over the door where you enter represents the Pope in a Ship. The Second signifies the Burning of the City of Rome . The Third is when the Pope Crowned the Emperour Charles the Great . And in the Fourth are many Bishops . The Palace of the Chigi in the street of Lungara . In a Ground-room of this Palace you see the Study of Painting , and in a little Garden-room is the famous Galatea ; the works of great Raphael . The Garden of the Duke Atlanti , as you go to Lungara . Here you will find many Pieces , both by Raphael and Giulio Romano . The Palace of Farnese . Here you see a Gallery all painted in Fresco , by the most excellent hand of Hanniball Carache . In the Wardrobe of the said Palace , there are preserved a great many rare Pictures , by diverse Masters , which I forbear to nominate one by one , for brevity sake . Within the Garden of the Palace of Chiavica dal Buffolo , you see very fair works of Polidoro and Frederico Zuccharo . At the Common Store-house over against S. Eustachio , you see a House painted by Frederico Zuccharo . Vpon the Mount Cittorio . Here is a Front of a House , by the hand of Polidoro . The Palace of the Verospi . Here is a Chamber painted by Lanfranco , and a Gallery by Albano . The Palace of the Mancini on Monte Cavallo . The Gallery of this Palace is the work of Camassei . You also see on this Palace that beautifull Aurora ; by Guido Reno . The Garden of the Mattei in Campo Vaccino . Here is a little Chamber with several naked Women and other ornaments ; by the hand of Raphael . The Palace of Pamphylio in Piazzo Navona . Here you see a Gallery all painted by the hand of Pietro da Cortona . And in the Hall is a Freeze , by Camassei . The Front of the middle part of the Palace of the Duke d'Acqua Sparta . This being called La Marchesa d'Oro , is all painted with various resemblances , by the hand of Polidoro . Coming from the Bridge of S. Angelo , and entering the Street De Coronari . Here is a Front of a House in * Chiaro Scuro , the work of Polidoro . Near to the Chiavica of S. Lucia . You see here upon a House divers Histories in Chiaro Scuro , by Polidoro . The Palace of Barbarini at the Four Fountains . Here you see the great and famous Hall , painted by Pietro da Cortona , being some of the choicest of his works . Within one of the Chambers there is painted on the Roof , the Divine Wisdom . A choice work of Andrea Sacchi . On the side of another Chamber is plainly represented the Creation of Angels , by Camassei . Then follows another of Camassei , with the History of the Nine Muses on Mount Parnassus . Just without the Porto di Castello there is a little House painted by Polidoro . The State or Territory OF THE CHURCH , Without the City of Rome . Grotta Ferrata , being a Monastery of Benedictines , two miles distant from Frescati . THe famous works that you will find in the above mentioned Monastery , are worth any ones coming a long journey to see , for they are the choicest things that ever were painted . By the studious hand of Dominichino . The City of Fuligno . In the Nuns Church , called Le Countesse . HEre you will admire an extraordinary fair Picture of our Blessed Lady upon the Clouds , and diverse Saints below , by the hand of divine Raphael . No Curious person ( without a dissatisfaction to himself ) passes through this City without a sight of this Picture . The City of Castello . In the Church of S. Dominico . THere is to be admired a Picture of the Espousal of the Blessed Virgin with S. Joseph ; there needs no other commendation , than that it is the hand of Divine Raphael . The City of Perugia . The Domo , or Great Church . ON the right hand of the great Altar there is a Picture of the taking our Saviour from the Cross . The work of Frederico Barocci . The new Church of S. Philippo Neri . There is seen a most noble square , of Guido Reno . The Church of S. Francis. Here you will find the Assumption of the Blessed Virgin with the Apostles , by the hand of incomparable Raphael . S. Severo being the Church of the Fathers Camaldolesi . Here is an admirable Piece of Christ on high , above the Clouds , and below there are diverse Monks kneeling on the Ground ; the work of Raphael . The Church of the Nunns of Monte Lucce . Where there are diverse fair Pieces of the aforesaid Raphael , and of Giulio Romano . The City of Macerata . The Church of the Fathers Capuchines . THe great Altar-piece represents Paradise , a truly divine work of Barocci ; and deserves to be seen by every one . The holy House at Loretto . The Church of the B. Virgin. IN this Church you meet with a Picture of the Nativity of the B. Virgin , an admirable work of Hanniball Carache . And another in the far end of the Church , which demonstrates an Annunciation ; a singular work of Barocci . After this is the Apothecaries Shop belonging to the holy House , where the Pots and Vessels are all painted by the most excellent hand of Raphael . The City of Ancona . The Church of S. Dominico . IN this Church you will find an admirable Picture , by the hand of great Titian . The Church of the Fathers Franciscans Zoccolanti . Here is seen another Picture of the above named Titian . None that are Curious should deceive themselves so much , as to pass by this City and neglect a sight of this Piece . The City of Pesaro . The Domo . THere is a great Piece towards the middle of the Church , on the right hand as you enter , which is a most beautiful work of Guido Reno . The Church of the Fathers Franciscans . Here is a little S. Michael , by the hand of Barocci . The Confraternity of S. Andrew . Here you will see a Picture with the History of that Saint when he came ( being called by our Redeemer ) to the Apostleship ; the work of the aforesaid Barocci . The Church of the Fraternity of S. Anthony . Here you will admire a most beautiful Piece , by Paulo Veronese . The City of Fano . The New Church . HEre are seen several small Pictures , done by Guido Reno . The City of Furli . S. Girolamo , the Church of the Fathers Zoccolanti . IN the Chapell of the Conception of the B. Virgin , you may observe a representation of this Mystery , with Angels round about , by Guido Reno . The Church of Madonna del Popolo . There is a Picture , done by Guercin da Cento . The New Church of S. Philippo Neri . Where is seen a Picture of the Annunciation of the B. Virgin , by the hand of Guercin da Cento . The Church of the Fathers Capuchins . The Piece at the great Altar is the work of Gúercin da Cento . The City of Imola . The Church of S. Dominico . AT the farther end of the Quire you will see a Picture with the History of S. Vrsula , by the hand of Ludovico Caracci . The City of Rimini . The Church of S. Vitale . HEre is seen a Picture with the Martyrdom of this Saint , by Paulo Veronese . The Church of the Oratory of S. Girolamo . Here is the Picture of this Saint , the work of Guercin da Cento . The City of Senegalia . IN this City is a little Church joyning to the Piazza , where you may see a Picture which represents Christ as he was carried to his Burial , by the hand of Barocci . The City of Ravenna . The Domo . IN the Chapell of Cardinal Aldrobandini is an admirable Picture , which demonstrates when it rained Manna . And at the same time you ●ee an half Figure of our Redeemer compassed about with Angels ; 't is the work of Guido Reno . The Church of S. Vitale . There is a Picture of the Martyrdom of this Saint , by Barocci . The City of Faenza . The Church of the Fathers Capuchines . HEre is a large Piece of our B. Virgin , with the Child Jesus , St. Francis , and S. Christina ; by the hand of Guido Reno . The City of Vrbino . The Domo . HEre are diverse Singular good works of Barocci . The City of Ferrara . The Church of S. Francesca Romana . AT the high Altar is a most beautiful Piece , by Ludovico Caracci . And in a Friery joining to this Church is a History , by the same Ludovico . The City of Bolognia . The Church of S. John on the Mount. I Should do wrong if I did not instruct you where to find that divine Picture of S. Cecilia , by the hand of eminent Raphael : it is preserved in this Church as a precious Treasure of so great a Master : all the Virtuosi which travel by the way of Bolognia cannot depart this City without a sight of such a marvellous Piece . There is likewise another Picture with the History of the most holy S. Rosario , a rare work of Dominichino . The Church of S. Petronio . In which is seen a famous Picture of S. Rocco , by the hand of Parmegianino . The Church of the Nunns of S. Margaret . Here is seen a Picture of the B. Virgin , and Christ a Child , as also S. Margaret , with other figures : by the hand of Parmegianino . The Church of the Monks of S. Michael in Bosco . In the Cloyster of this Church you will admire divers great Histories , which represent the works of S. Benedetto ; they are divided into partitions , in Chiaro Scuro , with other pretty conceited ornaments by the hand of the most * excellent Carache . There is also another large and beautiful History by the hand of Guido Reno . The Church of Certosa . In this Church is seen a Picture which demonstrates S. John Baptist preaching , with two other Histories of the Passion of Christ , by Ludovico Caracci . There is also another famous Picture of the Communion of S. Girolamo , one of the best pieces that ever was painted , by the Excellent Carache . Without the Gate of the great Street in the Church of the Scalsi , you may see a Picture , by Ludovico Caracci . The Church of S. Dominico . Here you will admire a Picture of S. Giacinto , and over against it is another of S. Raimondo , and in the Chapell of the Martyrdom of S. Andrew there is the figure of Charity , S. Francis , and S. Dominico , with other things , by the hand of Carache . You also see on the front over the Tombe in the Chapell of this Saint , a Piece which demonstrates the said Saint as he Ascends with Christ into Heaven . There is also the B. Virgin and a glory of Angels ; by the hand of Guido Reno . Behind the Pulpit you may see a Picture of the Innocents , by Guido Reno . The Church of S. Francis. Here is an admirable Piece of the Assumption of the B. Virgin and the Apostles , rarely done , by Hannibal Carache . There is also another Picture with the Conversion of S. Paul , by the hand of Lodovico Caracci . S. George , being the Church of the Fathers Serviti . Where is seen a Picture of the B. Virgin and Christ a Child , and other two Saints besides them , painted by Hannibal Carache . There is also another rare Piece of the Baptisme of Christ , by the hand of Albano . The Church of S. Gregory . In this Church is seen a Picture of S. John Baptist Baptizing of Christ , by the hand of Ludovico Caracci . And as you enter on your left hand you see a Picture , by Guercin da Cento . The Church of S. Nicolo in the Street of S. Felice . In which is a Picture to be reckoned amongst the Choicest works of Hannibal Carache . The little Church of S. Bartolomeo di Reno . Where is a Chapel with a Picture , wholly painted by Augustino Caracci . The Church of S. Salvatore . In this Church you meet with a Picture of the Assumption of the B. Virgin and the Apostles , by the hand of Augustin Caracci . And that Square of our Saviour in the farther end of the Quire , is by the hand of Guido Reno . The Church of S. Bernard near the Street of Castiglione . As you enter , on your left hand , in the first Chapell there is a Picture by Ludovico Caracci . On the left hand of the great Altar is a Square above upon the Wall , by the hand of Guido Reno . The Church of the Augustine Friars , called S. Giacomo . Here is the Picture of S. Rocco , by Ludovico Caracci . The little Church of S. Rocco , called the Pratello . Where is seen a Picture of this Saint , by Lodovico Caracci . S. Paul , being the Church of the Fathers Teatini . The Picture at the second Chapel as you enter on the right hand , is by Lodovico . The Sagrestie of the Domo . Where is also a Square of the aforesaid Lodovico . The Church of the Nunns of S. John Baptist . On Your left hand as you enter , the Picture at the second Chapell , as also the great Altar-piece are the works of the same Lodovico . The Church of the Nuns of Corpo di Christo . On each side of the great Door you will see a Picture , of the aforesaid Lodovico . The Church of S. Ursula . The Piece at the great Altar represents the Martyrdome of this Saint ; there is another on the right hand of this Altar , both by the hand of Lodovico . The Church of the Nunns of S. Christina . The great Altar-piece of this Church , is by the same Lodovico . The Church of the Nunns Convertite . Here is an admirable Piece on the right hand of the great Altar , rarely done by Lodovico . The Church of the Mendicanti . Here they preserve a Picture of S. Matthew as he was called by Christ to the Apostleship , by the hand of Hannibal Carache . After this is the great Altar-piece , and a singular good work of Noble Guido Reno . The Church of S. Bartholomew in Piazza Ravegnana . Here is a Picture of S. Charles , by Lodovico Carache . And another of the Annunciation , by the hand of Albano . S. Martin , being the Church of the Fathers Carmelites . On the left side of the great Chapell you may observe the Picture of S. Girolamo , by the hand of Albano . The Parochial Church of S. Tomaso , in the great street . In this Church you see a Christ aloft , and on the Ground below is S. Andrew , and S. Francis , by the hand of Guido Reno . The Church of the Fathers Capuchines . In this you see a Divine Picture with Christ upon the Cross , with the B. Virgin , S. John , and a Magdalen , all embracing the Cross , a singular work of Guido Reno . The Church of the Nunns of S. Agnes . The great Altar piece is the work of Dominichino . The Church of S. Sebastian behind the Gabella . In This Church you find a Piece done by Albano . S. Columbano . Here is to be seen a Picture of S. Peter , in Fresco , by the hand of Albano . Madonna di G●●iera , being the Church of the Fathers of the Order of S. Philippo Neri . Here are to be admired several beautiful works of Albano . The Church of Madonna di Reggio . Over against our most holy Lady , there is seen a Picture , done by Guercin da Cento . S. Antonio of the College of Mont-Alto . Here is a Picture on the right hand of the great Chapel , done by Guercin da Cento . The Piece at the great Altar is the work of Lodovico Carache . The Houses of Particular Persons . The House of the Favi . IN this House is seen divers Freezes with the History of Aeneas out of Virgil , by the above-named Lodovico . There are also divers works of Albano . The House of the Magnani , near to S. Giacomo Maggiore . Here is to be seen a large Freeze , the which represents the Acts of Romulus and Remus , the Frames which contain them are painted with diversity of Garlands and wreaths of Flowers in Chiaro Scuro ; the work is of Excellent Carache . And in a Room below there is a Chimney-piece of an Apollo , in Fresco , with other Figures , by Lodovico Carache . The House of S. Pieri , in the great Street . In this House we see divers works of Augustino , and Lodovico Carache , and of Guercino , all in Fresco . Vpon the Front of the publick Palace of the Piazza . Here are three beautiful Figures of naked Women , by the hand of Guido Reno , in Fresco . Vnderneath that Portico which is over against S. Maria Maggiore . Here you see a History which represents when Pilat washed his hands at the presence of Christ , by Lodovico Carache , in Fresco . The State or Territory OF VENICE . The City of Venice . The Palace of S. Mark. AS you walk above to the College Chamber , you see four Squares in the four corners . In one of these is represented Vulcan and Cyclops as they are working at the Anvil . In another is Mercury with the three Graces . In the third is Pallas compelling Mars to keep the Peace , with the Picture of Plenty . In the fourth is Ariana Crowned by Venus , with a Crown of Stars . As also a Bacchus with other Figures . Upon the Roof is a Square of S. Luke the Evangelist , and a * Venetia conferring together , as also a Picture of Justice , and a † Doge . There are likewise divers little Histories in Chiaro Scuro , with little Boys , painted by the hand of Tintoret , very fair works . Let us enter another Chamber , and we shall find on our right hand , a great Square of Titian , which represents the Picture of Faith upon the Clouds , with three little Ange's , and below is S. Mark , and an armed Doge kneeling . All the Roof is to be reckoned amongst the master-pieces of Tintoret . After this Chamber you go into that of the College , and in the Anti-Chamber you see upon the Roof a most beautiful Square of Paulo Veronese , in some compartements it is Azured in Chiaro Scuro ; where are other Figures of the same Author . Then follows the Royal Chamber of the College , where you will admire upon the Roof the * Thundering of Jupiter , by the most noble hand of Paulo Veronese . The Square which is in Front , is of the same Paulo , and all the other about are of Tintoret . We go out of the College and enter into the Chamber of the Pregadi , where will be admired the great Square which is above the Tribunall , with the Dead Redeemer upheld by Angels , with many Saints , and other Figures And two Figures in Chiaro Scuro , about the entrance at the great Door . On the left hand is found a Figure in Chiaro Scuro , which represents Peace . And there is near to that a Square of the Blessed Virgin in the Sky . S. Mark , S. Peter , and S. Lewis , and a Doge kneeling . And that great Square on the middle of the Roof with a Venetia upon the Clouds , compassed about with a multitude of Gods , and other Figures , is the work of furious Tintoret . After this we go into the Chapell behind the College-Chamber , and before your entrance you see over the Door , Christ risen from the dead , by the aforesaid Tintoret . And within this Chapell you see a Christ in Emaus at Table with the two Disciples ; this is the work of great Titian . Let us enter into the Chambers of the Council of Ten , and we shall see in the first of them , on the middle of the Roof , a great Oval of naked Figures ; some of the fairest works , done by Paulo Veronese . Upon the same Roof you see several Vani ( or Compartments ) in one of which you see a Juno pouring from Heaven great quantities of Jewels and Crowns , and below stands a Venetia , in a posture receiving those gifts . In another Square is to be admired a beautiful Juno , holding her hands on her breast , together with an old Man holding his right arm under his chin , both which are the works of Paulo . There are also four Figures around the middle Ovall , in Chiaro Scuro , three of these are done by Paulo . After this first great Chamber , you enter into a lesser , where in the middle compartment is a most beautiful Square , with six Histories , every one painted in Chiaro Scuro , by Paulo Veronese . Rare things . In the uppermost Chamber of the said Council you see upon the Roof , several fair works , by Paulo . Afterwards you go into another Chamber , the Roof of which is all painted by Tintoret . And in this same Chamber , over the Tribunal is a Madonna with Christ , and an Angel , by the hand of Raphael . In this Chamber over a Door , you see a Madonna with the Child , S. Magdalen , S. John Baptist , S. Catherine , and another Figure kneeling , the work of old Palma . The Chamber of the Grand Council . Here every one is amazed to see the great Square which represents Paradise ; a large Square , and by the hand of Tintoret . Over against this great work , on the other side of the Chamber , is an History of the Venetians warring against the Genoese , by Paulo Veronese . The Roof is divided into three Orders . In the Order of S. Giorgio Maggiore , the first Square towards the Throne is the work of Paulo Veronese , the third and the fourth are by Tintoret . In the second Order , on the right side of the Throne , are in like manner works of Paulo , and Tintoret . In the third Order there is a large Square , a mighty work of furious Tintoret . The great ovall towards the Throne , is a noble work of Paulo Veronese . That Chamber called the Sala del Scrutinio near to that of the Grand Council . In this Chamber is to be seen a great Square of a Battle , by Tintoret . It is the first Picture on the right hand of the Tribunall , near unto the Door , as you go to the Chamber of the Grand Council . The Magistrato delle Biade . All the Roof here is painted by Paulo Veronése . In this Magistracy there are Three Chambers , in one of which you see a Square of the Resurrection of Christ , by Tintoret . The little Church of S. Nicholas in the Palace of S. Mark. In this little Church there are the Four Evangelists , on each side the Altar two . And at a distance in a Half-moon is the Madonna with the Child Jesus , S. Nicholas , and a Doge , the works of Titian . Over the Door there is another Half-moon , with a S. Mark sitting upon a Lion ; rarely well done by Titian . Over a Door of the Stair-case , by which the Doge goes into the College , you may observe a S. Christopher with the Child Jesus on his shoulders , a fair work of Titian . Here you may observe upon the Roof , a Lady with a little Boy in her hand ; by Titian . Let us enter the Library , and on the left hand we shall see seven Philosophers ; the two first , as also the fourth , the fifth , and the sixth are done by Tintoret . The seventh with a Globe in his hand , is by Sciavone . On that side towards Mark 's Steeple , there are four other Philosophers , by Tintoret . On that side towards the Piazza , there are seven Philosophers . The second is by Sciavone , and the third laying his hand upon his breast , is by Paulo Veronese . Afterwards upon the Roof there are three Rounds by Paulo Veronese , and other three by Sciavone . TITIANO Nat An o 1480 portrait of Titian After these , in a Chamber called the Procuratie , there are great quantities of * Ritrati , by Tintoret . The Magistrato delle Legne . Upon the Roof you see a Square by Paulo Veronese . And over the Tribunal you see five Retratti of Senators , by Tintoret . The Church of S. Giminiano Preti . That Picture on your left hand as you enter this Church at the great Door , with a S. Catherine , and the Angel which Annunciates her Martyrdome , is by Tintoret . The Portalls of the Organ are by Paulo Veronese . On the outside of which are two holy Bishops , and within is a S. John Baptist , and S. Menna Cavaliere . S. Gallo Abbazia . There is a Square of our Saviour in the middle , and two Saints , by the hand of Tintoret . The Church of S. Moise Preti . In the Chapell of the Most Holy , there is on the right hand , a Christ washing the Feet of the Apostles , by Tintoret . In the Chapell on the left hand near the Sacristie , the Piece at the Altar is a Madonna with her Son ; by the hand of Tintoret . The Church of Santa Maria Gibenigo . Here you see a Picture of our Saviour in the Sky , accompanied with Angels , and below is a S. Justina , and a S. Francisco di Paula ; by Tintoret . There is afterwards the Organ painted by the same Tintoret . On the outside of the Portall you see the Conversion of S. Paul ; and within there are the four Evangelists ; and under the Roof , going out of the great Door , there is a Madonna with her Son ; by the same Author . And upon a front of a House near to the house of the Pisani , and the Palace of the Flangini , in S. Maria Gibenigo , there are painted by the hand of Giorgone , many Freezes in Chiaro Scuro , in Yellow , Red , and Green , with rare fancies of Boys , in the middle of which are four Half-figures , viz. A Bacchus , a Venus , a Mars , and a Mercury , coloured after the * usual manner of the Author . S. Mauritio . Here is a Palace of the Family of the Soranfa all painted by Paulo Veronese , with four Histories of the Romans , adorned with many Boys with Garlands , all in Chiaro Scuro , and below are two Figures finished in Bronzo . The Church of S. Samuel . Here you will admire a great Picture of our Lord , the Blessed Virgin , and a St. John Baptist , by the hand of Tintoret . The first Cloyster of the Convent of S. Stephano . Augustin Friers . In this Cloyster there are twelve Histories which represent part of the Old , and part of the New Testament : all singular work of Pordenon . The first is , Christ discoursing with the Samaritan Woman . The second is , The Judgement of Solomon , concerning the dead Child . The third is , The Adultress brought before our Saviour . The fourth is , David cutting off Goliah's head . The fifth is , Our Saviour put into the Tomb. The sixth is , The Sacrifice of Abraham . The seventh is , S. Paul Converted at the voice of Christ . The eighth is , Noah being Drunk , is found naked by his Sons . The ninth is , The Martyrdom of S. Stephen . The tenth is , The Murthering of Abel . The eleventh is , Our Saviour as he appeared to Magdalen after his Resurrection . The twelfth is , Adam and Eve scourged by the Angel out of the Terrestial Paradise . Above the aforesaid Histories there is the Angel Annunciating Mary ; and on every side there are divers Saints , with their corresponding significations . The Church of S. Benedette Preti . The Portals of the Organ are painted by Tintoret , on the outside of them you may see Christ at the Well with the Samaritan Woman ; and within is the Annunciation . The School of S. Girolamo , near to the Church of S. Fantino . Look down upon a Bench , and you will see a Square of Tintoret's , with the Miracle of S. Girolamo . You also see four Squares of Paulo Veronese . One is the coming of the Wise men . Another is the Disputation with the Doctors . The third is the Assumption of the B. Virgin. And a fourth follows . There is above , a most beautiful Picture of the B. Virgin , and S. Girolamo , by the hand of Tintoret . The Church of S. Luke Preti . The high Altar-piece represents the B. Virgin in the Sky with our Saviour , and Angels , and below on the Ground S. Luke sitting upon the Bull ; they are precious works of Paulo Veronese . The Church of S. Salvatore . There the High Altar-piece , of the Transfiguration of Christ , by the hand of great Titian , is a singular work . And in the Chapell on the right hand of the great Altar , you see Christ in Emaus , with the two Disciples , by old Palma . The Picture of the Annunciation by Titian , a most fair work . Fontico de Todeschi . On the Front over the Canalle there are many Figures painted by Giorgone . That Front towards the Land is by Titian . Stately Pieces . Afterwards in the German Merchants Dining-room there are many beautiful Histories , by Paulo Veronese . There is also a little work of Tintoret : where you see a Cynthia in the Sky , followed by the Hours . The Church of S. Guliano Preti . In this Church you see a Supper of Christ with the Apostles , by Paulo Veronese . As also a Dead Christ in the Sky upheld by Angels , and below on the Ground is S. Mark , S. James , and S. Girolamo , the work of the abovesaid Paulo . The Church of S. Paul. Entring at the great Door , that Square which is in the corner of the Church , with the Supper of our Saviour with his Disciples , is a singular good work of Tintoret . In the field , or place before S. Pauls , you plainly see upon the Front of the House of Soranzo several Figures of Giorgone , most beautiful things . In this same Parish of S. Paul you see the Palace of the Zane , all painted by Andrea Schiavone , with many Fables and Histories , the which look very gloriously over the Grand Canalle . The Church of S. Apollinare . Here you see the Picture with the five Coronati , by Schiavone . The Church of S. Silvestre . As you enter at the great Door , you see on your left hand the famous Visit of the Wise men , by Paulo Veronese . You also plainly see a Square with our Saviour in the Garden , by Tintoret . There is another rare Picture of S. John Baptizing Christ , by Tintoret . The Church of S. John di Rialto . The great Altar-piece is the work of great Titian , signifying this same Saint giving Almes to the Poor . And in the Chapell on the left hand of the said Altar , is a work of Pordenon , with the Saints Catherine , Sebastian , and S. Rocco , with a little Angel. The Cuppola is all painted by the same Pordenon , in Fresco , and in the Angles of the Cuppola there are the Four Evangelists , by the same hand . Behind the great Altar , on the outside of the Church , upon the Wall , you see this Saint giving Almes to the Poor ; Rarely well done by Pordenon . The Church of S. Augustino Preti . Here is placed a Square over a side door of the Church , of our Lord shewn unto the People by Pilate ; by Paris Bordone . The Church of S. Stin Preti . That Picture with the Assumption of the Blessed Mary , is the hand of Tintoret . The School of S. John the Evangelist . The Roof of the Albergo is to be admired ; by the hand of great Titian . In the middle part you see the holy Evangelist contemplating upon Heaven , with other little Angels , and in four compartiments there are the four Symbols of the Evangelists , with several little Angels heads in divers other compartiments . The Church called the Frari de padri Conventuali . That Picture of the Conception of the B. Virgin , is a marvellous fair work of Titian . In the great Chapell there is the great and famous Picture of Titian , where is represented Mary ascending into Heaven with the Eternal Father above , and below are the Apostles in admiration . The School of S. Francisco purè à Frari . The Roof is all painted by Pordenon , where are divers Saints ; singular works . The Church of S. Rocco . Entring this Church , on the left hand , there is a great Square , with S. Martin on Horseback , dividing his Cloak , with many other Figures ; the work of Pordenon . An the other side of the Church , right over against this , there is another great Square representing Christ curing one sick of the Palsie ; a work worthy of Tintoret . Afterwards is the great Chapell , all painted by Tintoret , excepting the Cuppola , and the four Evangelists , which are of Pordenon ; both one and the other are marvellous works . In a Chapell on the left hand above the Altar , there is a Square with our Saviour carrying the Cross , by the hand of Titian . The Organ is painted both within and without by Tintoret . The School of S. Rocco . Now here it is that I know not where to begin , because of the quantity of Squares , where are seen infinite works of Tintoret . In the first Ground Room , there are six great Squares . The first on the left hand , there is an Angel which Annunciates Mary . The second is the Visitation of the Three wise men . The third is Mary going into Egypt . The fourth is the Slaughter of the Innocents . In the fifth is the Conception of our Lord. In the sixth is Mary ascending into Heaven . Over the first Stairs , you see an Annunciation , by Titian . There is another in front of this Annunciation , where there is a Visitation of Mary , with S. Elizabeth , by Tintoret . Then above that , the first Square is the Nativity of our Lord. And after , is S. John Baptizing Christ . After that is the Resurrection of Christ . Behind that , is the Supper with the Apostles . And after , is the Altar-piece with S. Rocco in the Sky , with many Figures . Then follows on the other side , Christ multiplying the Loaves and the Fishes . After that , is the Messias raising Lazarus from the Dead . In another , is Christ Ascending into Heaven , with the Apostles below . Then follows the Miracle done at the Pool in the Sheep-market in Jerusalem . In a corner behind the door of the Albergo , there is a Devil speaking to Christ , that he would convert the Stones into Bread. In the head end of the Hall there is between the Windows S. Rocco , and S. Sebastian . Let us turn our eyes towards the Roof , and we shall see Adam and Eve , as they stand eating the Apple . Afterwards , is the Pillar of fire which guided the Hebrews through the Desert . Jacobs Dream when he saw the Angels Ascending , and descending from Heaven . Jonas cast ashore , out of the Whales belly . Elias flying from the wrath of Jezebel . In the middle Square there is the Rod of Serpents . The Sacrifice of Abraham . The Manna in the Desert . The Hebrews eating the Paschal Lamb , and many other Histories of the Old Testament . There is afterwards in the Albergo , Christ before Pilate . Christ , with the Reed in his hand . Christ , going to Mount Calvary . And again , that famous Crucifixion , one of the fairest works that ever was done , by * furious Tintoret . On the Roof you see St. Rocco in the Sky , with all the other compartiments . All the above named works in this School , are by Tintoret . The Church of S. Nichola de Frari . The high Altar-piece with the B. Virgin in the Sky , and many Saints below , viz. S. Nicholas , S. Katherine , S. Francis , S. Anthony of Paduae , and S. Sebastian , is a most singular work of divine Titian . On the right hand of the said Altar , you see a S. John Baptizing Christ , the work of Paulo Veronese . We also see two Prophets and two Sibyls in Chiaro Scuro , by the same Paulo . There is a Square with Christ upon the Cross , by Paulo . The Roof likewise is all painted by the aforesaid Paulo : and they are stately works , particularly that of the Adoration of the Wise men , which is in the middle . Quartier de Castello . The Nuns Church of S. Joseph . ON the Piece of the first Altar on your right hand ( entring by the great door ) there is S. Michael the Archangel , and a Senator , by the hand of Tintoret . On the same side , at the third Altar , you see the Transfiguration of our Lord on Mount Tabor , painted by Paulo Veronese . The great Altar-piece represents the Nativity of our Saviour , by Paulo , a most admirable thing . The Nuns Church of S. Daniel . As you enter this Church at the great Door , the first Picture is a S. Katherine disputing with the Doctors , by Tintoret . Then follows the Piece at the great Altar , which demonstrates Daniel in the Lions denn , the work of Pietro da Cortona . The Church of S. John in Bragora . Entring this Church at the great Door , there is the Supper of our Lord with the Apostles ; by Paris Bordone . The Church of S. Severo Preti . Where you see a Square with the Crucifixion of our Lord , joining to the Chapell on the right hand of the great Altar , by the hand of Tintoret . The Church of S. Maria Formosa Preti . The great Altar-piece represents the Assumption of the Blessed Virgin , the work of Tintoret . On the left hand beside the great Altar , and near to the Door , there is a little Chapell , where you see a Picture divided into five parts , a marvellous work of old Palma . The Church of S. Leone called S. Lio Preti . The first Picture as you enter at the great Door , on your left hand , with S. James the Apostle , is by the hand of Titian . The Church of Santa Maria Preti . Entring at the great Door , you see on your left hand a little Picture with S. Daniel in the Lions denn , with an Angel , a Prophet , and a S. Andrew , by the hand of Paris Bordone . The Nunns Church of Celestia . In the Chapell on the right hand of the great Altar ▪ there is an admirable Picture of two holy Bishops , and S. Dominico , the work of Paris Bordone . The Church of S. Francisco della Vigne , Padre Zoccolanti . Entring the Church at the great Door , in the fourth Chapell on your right hand , there is a Picture with the Resurrection of Christ , by Paulo Veronese . On the other side of the said Church , in the fifth Chapel there is a Picture , by Paulo , with a Madonna and her Son , S. John , S. Joseph , S. Katherine , and S. Anthony the Abbot . Let us enter into the Sacristie of the said Church , and the first Altar as you enter on your right hand , is by Paulo . The Church of S. John è Paulo , Padre Dominicani . At your entrance at the great Door on your left hand there is a large Square of S. Peter Martyr , by divine Titian . After followes , underneath the foot of the Crucifix , in the middle of the Church , a little Oblong , containing three Histories , viz. Cain murthering his Brother Abel . The Serpent exalted by Moses . The third is Abraham offering Isaac . The Chapell of Rosario , in the above said Church . On that Front which is over against the Altar of our Lady , there is to be seen a large Square in the middle between two Windows , which demonstrates the Crucifixion of our Lord , and on the Roof you see an Oval , on each side of the Oval , is an Oblong , by the hand of Tintoret . The School of S. Mark. Here are four great Squares , they may truly be called four wonders in painting ; but in particular that which is at the head of the School , with S. Mark flying through the Sky ; all the four represent the Miracles of the abovesaid Saint , the work of furious Tintoret . The Albergo of the said School . As you enter , the first Square on your left hand is by Giorgone . Then follows a second , which represents old Barcarole , as he presents the Ring given by S. Mark to the Screne Prince . A singular work of Paris Bordone . The Church of the Hospitall of the Mendicanti . On your left hand as you enter the great Door , at the second Altar there is a Picture of S. Elena worshipping the found Cross , with other Figures , the work of Guercin da Cento . Sestier di Canall Reggio . The Church of S. Maria nova Preti . ENtring this Church by the great Door , the first Picture on the left hand with S. Girolamo in the Wilderness , is the work of Titian . The Church of S. Apostoli Preti . The Square on the right hand of the great Altar , where it rains Manna in the Desert , is by Paulo Veronese . The Church of the Fathers Jesuites . As you enter at the great Door , at the second Altar on the right hand is a Piece of the Martyrdome of S. Lorens ; a rare thing of Titian . At the farther Altar is a Christopher , by old Palma . Afterwards is the great Altar-piece , with the Assumption of the Madonna , so delicate a piece , that I doubt not to say , it is absolutely the most superb work that ever Tintoret painted . And on the right hand of the said Altar , there is a Square of S. Mary visited by S. Elizabeth , the work of Andrea Sciavone . And on the other side of the Altar , there is the Crucifixion of our Lord , painted in the wonted manner of Tintoret . In a Chapell on the right hand of the great Altar , there is a most beautifull Picture of the Naetivity of our Lord , by Paulo Veronese . The Nunns Church of S. Catherine . As you enter this Church by the great Door , the first Altar on your right hand does demonstrate to you the Angel Raphael with Tobias : some say this piece was done by a Scholar of Titian's , others say by Titian's own hand , but most say 't is the Masters hand , and so I am apt to believe . Afterwards at the high Altar , you see a Piece of the Espousall of this Saint with the Child Jesus , and it is a really divine work of the for ever famous Paulo Veronese . Around this Altar there are six Squares containing the Life of S. Katherine , done by Tintoret when he was a young man. The Church of Santa Sophia Preti . Over the great Door , there is a little Piece of a Supper of our Saviour with the Apostles , by Paulo Veronese . The Church of S. Felice Preti . Entring this Church at the great Door , you see a Piece at the second Altar on the left hand , by Tintoret . And on the right side of the great Altar there are two Squares one above another ; one is our Lord in the Garden . The other , The Supper with the Apostles , both by Tintoret . Going a little below the aforesaid Altar , there is plainly to be seen upon the first Altar on the left hand an armed Saint , with a * Ritratto . The Church of the Madonna del Orto Frati . As you enter at the great Door , you see on your left hand , the first Altar-piece , consisting of five Saints , viz. S. Lorenz , S. Gregory , S. Dominico , the Blessed Lorenzo , Justiniano , and S. Elena ; a rare work of old Palma . Then follows the fourth Chapell , with a most beautiful Picture , where you find S. Agnese , and many other Saints , with Angels in the Sky , by Tintoret . A little forward at the sixth Altar , there is a Piece of the B. Lorenzo , Giustiniano , S. John Baptist , S. Francis , and others , a work greatly worthy of the praise of Pordenon . On each side of the high Altar there is a very large Square . That on the right hand represents the Hebrews worshipping the Golden Calf . And that on the left hand is the Vniversal Judgement . Above the Altar there are four Figures in Chiaro Scuro . Then are the Doors of the Organ painted on the outside with the Purification of the Blessed Virgin . And within on the right hand is S. Peter admiring the Cross in the Sky . On the other hand is the Beheading of S. Christopher , all these are the works of great Tintoret , and infinitely admirable . The School of Merchants , near to Madonna del Orto . In a low Room there is a Picture with S. Christopher and Mary in the Sky , with Angels round about them , by Tintoret . Above upon the Cieling , there is another Picture of the Nativity of S. Mary , by Tintoret . Afterwards is seen an Annunciation , with many pieces of Architecture , on each side is a Figure in Chiaro Scuro , rare things , and worthy of Paulo Veronese . The Church of S. Marcelliano Preti . The first Picture on your left hand as you enter at the great Door , with an Angel and Tobias , as also an holy Hermit , and a Dog , is the work of famous Titian . The great Altar-piece with three Saints , viz. S. Marcelliano in the middle between S. Peter and S. Paul , is by Tintoret . The Church of the Fathers Serviti . You see here the Organ , by the hand of Tintoret , on the inside is the Annunciation , on the outside is an holy Bishop and a Prophet . Below these is Cain Murthering his Brother Abel , and the Father Eternal speaking unto Cain . The Church of Magdalena Preti . On the left hand of the great Altar , there is a S. Mary Magdalen accompanied with many other Figures , by Tintoret . Afterwards upon the outside of the Doors of the Organ , there is a Christ as he appears to S. Mary Magdalen after the Resurrection , and within is an Annunciation . On the top of the said Organ you see the Coming of the Wise men , in small , by Tintoret . The Church of S. Emagora è Fortunato , called S. Marcuola Preti . Entring at the great Door , on the right hand under a little window you see a square with the Child Jesus , and on each side is S. Andrew and S. Katherine , by Titian . Then follows the second Altar with the Picture of S. Elena , by Tintoret . And on the left hand of the great Altar is a Supper , by Tintoret . The Church of S. Giobbe Frati Zoccolanti . As you enter at the great Door , the Piece of the fourth Altar on your right hand , does demonstrate three Saints and an Angel , viz. S. Andrew , S. Peter , and S. Nicholas , it is a most beautiful work of Paris Bordone , though a more inferiour hand has the credit of it . The Church of S. Jeremia Preti . All the Organ , excepting the little Doors , is painted in Chiaro Scuro , together with the four corners ; within there are the four Evangelists , a work of great esteem , by the hand of Andrea Sciavone . The Nuns Church of S. Girolamo . The first Picture on your left hand as you enter the great Door , is the work of Tintoret . Quartier della Croce . The Nuns Church of the Cross Franciscans . LEt us enter at the great Door , and we shall find the first Altar on the right hand , with a dead Christ and an Angel which supports him , as also a S Katherine , and a Pope ; by the hand of Tintoret . The Nuns Church of S. Andrew . That Altar-piece on the right hand of the great Altar with S. Augustine clothed in a white Garment , likewise two Boys , one of them holding his Pastoral Staff , the other his Mytre , is one of the best works of Paris Bordone . At the other Altar on the left hand of the great Altar there is S. Girolamo in the Hermitage , by the hand of Paulo Veronese . The Church of S. Simeon Grande Preti . As you enter at the great Door on the right hand , over a Bench , there is a Supper of our Lord with the Apostles , by Tintoret . The Church of S. Giacomo dall Ovio Preti . The Picture of the Chapel of S. Lorens , is by Paulo Veronese ; in it you find this Saint , with S. Girolamo , and S. Nicholas , and a little Boy in the Sky . Below the said Picture there is an oblong Picture with the Martyrdom of the aforesaid Saint , a most graceful work of Paulo . And near to a side Door of the said Church , on the left hand of the great Altar , you see upon the Roof an Ovall with Faith , Hope , and Charity , and many Angels . And the four Round with four Doctors , are rarely done after the usuall manner of Paulo Veronese . The Church of S. Maria , Mater Domini Preti . Being entred the great Door , and past the second Altar on the left hand , you see a beautiful small Piece of a Supper , by old Palma . And over a side Door of the Church there is a most famous Square of the Invention of the Cross , by the hand of Tintoret . The Church of S. Cassiano , called S. Cassiano Preti . Let us enter at the great Door , and we shall find on the right hand of the first Altar , a Picture with the Saints , Girolamo , S. Mark , S. Peter , and S. Paul , a marvellous work , by the hand of old Palma . The great Chapell is all by Tintoret . One Picture repres●nts the Redeemer risen from the dead , and S. Cassiano preaching unto many Nations . On the right hand is Christ Crucified , and on the left is our Lord when he delivers the holy Fathers out of Hell , beautiful pieces . There are also three little Histories , upon the top of the Organ , concerning the life of Cassiano , by Tintoret . Quartier di Dorso Durro . The Church of S. Pantaleon Preti . ON the left hand of the Organ there is a large Square with S. Bernard curing many sick of the Plague ; a rare work of Paulo Veronese . Another Picture of S. Bernard , is by Paulo Veronese . The great Altar-piece with S. Pantaleon curing a Sick man , and a Priest , by Paulo Veronese . The Church of the Carmine Frati . On the top of the Organ you see two oblong Pieces , in one is the Annunciation , the other is the Nativity of Christ , by the hand of Andrea Schiavone . In like manner upon the top of the little Quire , right against the aforesaid Organ , you see two other oblong pieces , one is the coming of the Magi ; the other is the Circumcision of our Lord , by the hand of the aforesaid Schiavone . There is another Picture of the Circumcision of our Lord , by the hand of Tintoret . The Nuns Church of S. Maria Maggiore . The great Altar-piece represents the Assumption of the B. Virgin , with the Apostles , by the hand of Paulo Veronese : a singular thing . Afterwards on the sides of the aforesaid Altar there are three great Squares . One represents when the Priest scourges Joachin out of the Temple for having no offspring . In another is the Espousal of the B. Virgin with Joseph , In the third is the Visitation of the three Magi ; all three by the hand of bold Tintoret . In a Chapell on the left hand of the great Altar you see the Picture with the famous S. John Baptist , by Titian . Entring this Church at the great Door , and being past the first Altar on the right hand , there is a Square which represents the Ark of Noah , by the hand of Giacomo Bassano : it contains all the several kinds of living Creatures and is reckoned to be one of the finest Pictures in the world . After this there are four Squares placed on four Pillars of the Church ; they signifie the four Seasons of the Year , by the hand of the same Bassano . There are also two Squares on the sides of that Door which opens to the Canalle . One represents the Adultress before Christ . In the other is the Centurion prostrated before the Redeemer . And in a lesser Square upon a Pillar , there is Christ in the Garden upheld by an Angel , they are all three by Paulo Veronese . In the Sacristie there is an Ecce Homo , by Paris Bordone . The Nuns Church of Terrese . The Round which is in the middle of the Roof , with the Madonna in the Sky and Angels round about , with three Saints below , and the four compartements adjoyning the abovesaid Round , containing the four Evangelists ; all this is a singular good work of Andrea Schiavone . The Church of S. Nicholas Preti . Upon the Roof over the great Altar , there is a Round , where S. Nicholas is carried into Heaven by the Angels , with the Picture of Faith , and a multitude of Angels and Cherubins , by the hand of Paulo Veronese . Entring this Church at the great Door , on the left hand over a side Door of the Church , upon the Roof there is a Round , and a lesser Round on each side of the great one . In the great one is the Eternal Father with many Angels . In one of the lesser is the B. Virgin , in the other is the Angel Annunciating , with other four Rounds containing the four Evangelists . The Church of S. Sebastian . Joining to the little Door which is not far from the great one , you see the Picture of S. Nicholas , a Bishop , and an Angel , the work of Titian . At the farthest Altar on the same side you see a Picture with Christ upon the Cross , by Paulo Veronese . On the other side of the Church there is a Picture of St. John Baptizing of Christ , by Paulo . Then follows another Picture of Christ when he appeared to the two Disciples going into Emaus , by Andrea Schiavone . The Walls of the Church are all painted in Fresco with Pillars , Statues , and other ornaments of Architecture , by Paulo Veronese . All the great Chapell is by the same Paulo , the Cuppola and the Tribunal are painted in Fresco . The great Altar-piece represents the B. Virgin with her Son , and Angels in the Sky ; and below are the Saints Sebastian , S. Katherine , S. John Baptist , S. Francis , and S. Peter . The great Square on the right hand of the great Altar represents S. Mark and S. Marcellin● going with S. Sebastian ( who is in Armour ) and comforting him to his Martydom . In another Square on the left hand you see the above-named Saint bound to a Machine of wood , coming to be Martyred , and the false Priests perswading him to worship their Idols , with many standers by : all the aforesaid works are the fairest that ever were done by the most noble hand of Paulo Veronese . Afterwards are the Doors of the Organ , on the outside is painted the Circumcision of our Lord , and within is Christ curing one sick of the Palsie , works so fair that they stand in no need of commendation . Upon the top of the Organ you may observe a little Square with the Nativity of Christ , one as well as the other are most graceful pieces of great Paulo . Let us cast our eyes upon the Roof , which is all painted by the aforesaid Paulo . The first Square demonstrates Queen Esther going into the presence of King Ahasuerus , accompanied with many Waiting-maids . In the middle Square is the King Ahasuerus frowning on Queen Esther . In the third you see Mordecai conducted to Haman , by the order of the King. As you goe into the Sacristie on the left hand over the Door of a little Chapell you may see a little Square with S. Girolamo in the Hermitage . In the Sacristie , the middle partition of the Coronation of the B. Virgin , and the four other partitions of the four Evangelists , one as well as the other are of Paulo . There is also another Square of the Chastising of the Serpents , by Tintoret . Let us goe into the Quire , and right against the Door we shall see a Square , which represents S. Sebastian before the god Cletiano , confessing himself to be a Christian . In front of this Square there is painted over the Door , the same Saint beaten with Clubs , a work in Fresco . Above these Squares there are the four Evangelists , two on either side in Fresco , all these are of Paulo Veronese . In the Refectory there is the great Feast of Christ in the House of the Pharisee's , 't is enough , that it is of Paulo Veronese . The Nuns Church of All-Saints . The great Altar-piece represents Paradise ; and on a little Door of the Tabernacle of the said Altar there is a Christ rising again . Afterwards are the Doors of the Organ , on the outside of which you see the most noble Visitation of the Magi ; and within are four Doctors of the Church , with Angels playing upon variety of Instruments . On the Roof is the Father Eternal , and round about the top of it are divers little Figures , and Histories in Chiaro Scuro , all of them by the most noble hand of Paulo Veronese . The Church of S. Gervaso & Protaso , called S. Trovaso Preti . The Picture of the Chapell on the right hand of the great Altar , contains S. Anthony the Abbot tempted by Devils , with our Saviour in the Sky succouring the Abbot , the work of Tintoret . Then follows the other Chapell , on the right hand of it you see the Supper of our Lord with the Apostles , and on the left our Saviour washing the feet of the Apostles , both of them by Tintoret . The Church of the Fathers Dominicans , formerly the Jesuites . Entring at the great Door , at the third Altar on your right hand you may observe a Picture of our Lord upon the Cross , and both the Maries , by the hand of Tintoret . And upon the Doors of the Organ there is painted Pope Vrban the fifth giving of habits to the Fathers Jesuites , by the hand of Titian . The Church of the Hospital of the Incurabili . In which is seen a Picture with S. Vrsula accompanied with her Virgins , and an Holy Bishop , with an Angel in the Sky , the work of Tintoret . And over a side Door of the Church you may observe a little Square of our Saviour carrying the Cross , and an Executioner drawing him along , by the hand of Giorgone . The Nuns Church of Spirito Santo . As you enter on your left hand there is a Round of the Image of the B. Virgin , and two little Angels holding a Crown , with S. Girolamo and S. Sebastian in the Clouds , and below is S. Evangelist and S. Augustine . There is also a Picture of the Visitation of the Magi , both of them are by Tintoret . The Nuns Church of the Humiltá . Entring the great Door , at the second Altar on your right hand you will admire a Picture o● S. Peter , and S. Paul , a most fair work of Gi●como Bassano . Upon the Arch of this Chapell you may observe a Square of Christ taken from the Cross , with the two Marys , a rare work of Tintoret . At the High Altar on the upper part of the Tabernacle there is a Nativity of our Lord , by Giacomo Bassano . A little lower upon the frontispiece is a Father Eternal , by Paulo Veronese . And a little lower in the third piece there are two Angels , by Paulo . On the Portall is the Redeemer with the Globe in his hand , and several Cherubins , by Paulo . On each side of the abovesaid Portall there is two little Squares . In one there is S. John preaching in the Desert ; in the other is the Centurion before Christ , both by Paulo . Afterwards is the Roof done likewise by Paulo , with three great Histories , and many pieces in Chiaro Scuro . The first Square over the Quire represents the B. Virgin Annunciated by the Angel. And in an Ovall in the middle , there is Mary Ascending into Heaven , with the Apostles below . Then follows the third , which is the Nativity of Christ ; all these are marvellous good pieces . The Church of the Salute . There is in this Church two Pictures by the hand of great Titian . In one you will admire the Coming of the Holy Ghost upon the Apostles . In the other is S. Mark sitting on high , and below are the Saints Sebastian , S. Rocco , S. Cosmo , and S. Damiano . Upon the Roof over the Quire you see eight Heads by Titian , in a round form . Let us go into the Sacristie and cast our eyes upon the Roof , and we shall see three Squares by Titian . In the first is David cutting off the Head of Goliab . In the second is the Sacrifice of Abraham and Isaae . In the third is Cain slaying his Brother Abel . All singular works of the Author . And below is a great Square of the Marriage in Cana in Galilee , by furious Tintoret . The Church of the Most holy Trinity , near to the Saluté . There are thirteen Squares of Tintores , viz. The Eternall Father creating the World. The Forming of Adam and Eve. The Tempting of Adam . Cane slaying Abel . The four Evangelists , in four Squares . Two Apostles , in two Squares . The Annunciation in two Squres . In the Sacristie there is a little Square of the Most Holy Trinity . All singular works of the same Author . The School of Charity . Here is a very large Square of the Blessed Virgin ascending the Stairs of the Temple , with many other Figures , a divine work of great Titian . The ISLANDS Adjacent to VENICE . The Island of Murano . The Church of S. Peter Martyr , Fathers Dominicans . ENtring this Church , on your left hand you see a Square near unto the Picture of Rosario , where you find A Victory against the Turks , with the Blessed Virgin in the Sky , and other Saints , by the hand of Paulo Veronese . The Nuns Church of the Madonna de gli Angeli . BElow the Organ there is an Ovall with four Angels singing ; a most fair work of Paulo Veronese . There is also a Square with S. Girolamo , by Paulo Veronese . After that is the great Altar-piece , where you find the Annunciation , a superb work of Pordenon . The Church of the Des Messe . In which are to be seen three Squares , by Tintoret . In one is The coming of the Magi. In another is the Presentation at the Temple . The third is the Adultery . The Nuns Church of S. James . Here are seen three Pictures by Paulo Veronese . That of the great Altar represents divers Saints , with a most beautiful Glory of Angels . The second on the right hand of the great Altar represents the Visitation of S. Eliz●beth . That on the left hand demonstrates Christs resurrection . The Organ is rarely painted , by Paulo Veronese . The Church of S. John. The great Altar-piece represents S. John Baptizing of Christ , the work of Tintoret . Before we part from Murano let us go see the Palace of the Trevisano , and we shall see some of the beautifullest works that ever were painted by the singular pencil of Paulo Veronese . The Island of Mazorbo . The Nuns Church of S. Katherine . THe great Altar-piece is a singular work of Paulo Veronese . The Island of Burano . The Nuns Church of S. Mauro . THe great Altar-piece of this Church , is the work of Paulo Veronese . The Island of Torcello . The Nuns Church of S. Anthony . THere are such beautiful pieces in this Church , that they are worth coming a long journey to see , and they are of the most noble pencil of Paulo Veronese . The great Altar-piece with the two Prophets on the Angels of the said Altar , are by the aforesaid Author . On the left side of the great Altar , and on the sides of the Organ you see ten Squares , which represent the life of S. Christina , both inside and outside of the said Organ is adorned with precious Histories , by the hand of the same Paulo . Over the Altar of Christ there are two Figures in Chiaro Scuro , by the same hand . The Island of S. Elena . The Church . IN the Church here you will admire that most superb piece at the great Altar , where is painted the coming of the Magi , by the hand of Palma . The Island of S. Giorgio Maggiore . The Church . ENtring the Church at the great Door , the first Picture on the right hand demonstrates the Nativity of Christ , by Giacomo Bassano . Then follows a Picture of the Martyrs , by the hand of Tintoret . After this is a Picture on the right side of the Church , where you find the Most holy Trinity crowning the Blessed Virgin , and below are several Saints , by Tintoret . There is in like manner on the left side of the Church , right against to that aforesaid , with the Martyrdom of S. Stephen by Tintoret . Then follows on the same side , the Resurrection of Christ , with the Pictures of divers Senators , by Tintoret . Now follow the two great Squares which are on the sides of the great Altar , one of which represents the Supper of our Lord with the Apostles , in the other is Manna falling in the Desert , by the same Tintoret . After this you go into the Chapell of the Defonti , where you see a Picture of Christ taken from the Cross , by the aforesaid Author . Afterwards in the Refectory is that most marvellous and large Square which represents the Marriage of Cana in Galilee ; this , if I may so say , is a wonder of the World , and whosoever comes to Venice and departs without a sight of this Picture , may by said to have seen nothing , and it is done by the most excellent and noble hand of Paulo Veronese . The Island of the Giudecha . The Church of the Redentore . IN this Church you see two Pictures of Tintoret . One demonstrates the Ascension of our Lord with the Apostles . The other is the Scourging of Christ at a Pillar . Afterwards as you enter the Monastery , you see a Square over the Oratory with Christ sitting , with the Apostles kneeling , and other Saints , by the aforesaid Tintoret . The Refectory of S. James , Fathers Serviti . The Roof of this is painted by Paulo Veronese divided into three Partitions . One demonstrates the Annunciation . That in the middle , the Assumption of the B. Virgin , with the Father Eternal in the Crystalline Heaven surrounded with Legions of Angels . The third is the Visitation of S. Elizabeth , and are works really beautiful . The Nuns Church of S. Cosmo and S. Damiano . As you enter , you see on your left hand the B. Virgin in the Sky , and the two Saints , S. Cecilia , S. Theodoro , and a S. Marina . In a Chapell on the right hand of the great Altar there is another Picture with Christ on the Cross , and the Maries , both one and the other are by Tintoret . The City of Treviso . The Domo . HEre you see the Histories of the Nativity , and Resurrection of Christ , singular works of Paris Bordone . There is another rare Picture of the Annunciation , by the hand of Titian . The Church of S. Francis. Here you may observe a Picture , by Paris Bordone . The Church of S. Girolamo . Where you admire another Picture , by the aforesaid Paris Bordone . The Church of All-Saints . There are also divers works of the abovesaid Master . As likewise one Piece of Giacomo Bassano . The Church of S. Paul. Here in like manner are singular works , and worthy of all admiration , by the same Paris Bordone . The Church of S. Magdalen . The great Altar-piece represents Christ as he appeared to Mary Magdalen , the work of Paulo Veronese . The Church of S. Augustine . Here is an admirable Picture of S. Giachino , S. Anne , S. James , and S. George , the work of Paulo Veronese . In the Refertory of the Nunnery there is a a Square which demonstrates the Marriage of Cana in Galilee , by the hand of the aforesaid Paulo Veronese . The Mountaine of Piety in the aforesaid City . Here they preserve a Christ with a little Angel , a most singular work , by the hand of Giergone . The Villa of Zerman Trevisano . The Domo . HEre you will find a most beautiful Picture of old Palma . Pordenon . The Castle of Friuli . The Domo . HEre you see the Organ painted by its own Countrey-man , Pordenone . You also see works in Fresco upon the Wall , by the same Author , as there is likewise in other places , all singular works . The City of Vdine . The Domo . HEre yon will admire some beautiful Histories upon the ledge of the Organ by the hand of Pordenone . The Church of S. Peter Martyr . In which you way observe a famous Picture of the Annunciation , by Pordenone . The City of Belluno . HEre are preserved two very fair Pieces , by Paris Bordone . Compagnia del Croce . Here you will find two singular Squares , by Tintoret . THE TERRITORY OF CONEGLIANO . Conegliano . The Church of the Reformati . HEre is a very fair Picture , by old Palma . The Villa of Marens . In the same Territory . HEre you will see a faire Picture , by the hand of Titian . The Villa of Fontanelle . HEre is an admirable Picture , by the hand of Pordenone . The Castle of S. Salvatore . The Jurisdiction of the Conti Colalto . HEre is a Church all painted by the hand of Pordenone . And all the Roofs of the said Conti are painted by Andrea Schiavone . Below the said Castle . The Church of S. John. THere are two Pictures , by Pordenone . One of the Virgin fleeing into Egypt . The other of divers Saints . And under them is the Picture of Piety . Further below the said Castle . The Villa of Sasigano . HEre is preserved a Picture , by the hand of Pordenone . Another Castle of the Colalti . IN this Castle you see a great Square , by Pordenone . The City of Ceneda . The Domo . THere is a Picture , by Titian , of the B. Virgin , S. Rocco , and S. Sebastian . Upon the Organ of this Church is represented the life of San. Titian , the work of Paris Bordone . In the Piazza . In this same there is a House side painted by Pordenone . Villa di Castello below Ceneda . The Church . HEre are three Niches at the great Altar , in the middle you will admire the B. Virgin , and a Saint on each side , by the hand of Titian , a singular work . The Castle of Saravall . The Domo . THe great Altar-piece with the B. Virgin , and a Glory of Angels , and below are two Saints , with a Landskip , and within it you find a Ship , it is a most precious thing , but by an uncertain Author . The Church of the Capuchines . Here they preserve a Square of a Madonna , a stupendious work of Guido Reno . Villa di Mazer in Trevisano , near to Asolo . IN the said Villa there is a Palace all painted with divers operations of the most excellent hand of Paulo Veronese , singular works of the Author . Asolo in Trevisano . The Church of the Reformati . HEre you see a Square with the Conception of the Blessed Virgin , by Giacomo Bassano . The Domo . In which you see an Assumption of the Blessed Virgin , with numbers of Angels , and two Saints , by Giacomo Bassano . Castel Franco . HEre is an admirable Picture of the Blessed Virgin with her Son , the work of Giorgone . There are likewise divers Palaces near adjacent , where you will find works of the same Giorgone , as also of Paulo Veronese . The Castle of Bassano . The high Church of the Castle . IN this Church you will admire the marvellous Nativity of the Child Jesus , a work to be admired by every one , and one of the fairest that ever was painted , by Giacomo Bassano . In the Town-house , as also in the Churches , and upon the Houses of particular persons , there are works of divers sorts , by the said Giacomo Bassano . Being this was the Countrey of this famous man , I look upon it as superfluous to nominate place after place where paintings are , because of the great quantities of them , and very little of other Masters . Cittadella . The Parochial Church . THe great Altar-piece is by Giacomo Bassano , and on the sides of the Chapel there is our Lord upon Mount Tabor , the work of the same Giacomo . The Street which leads from Venice to Padua , viz. upon the bank of the River Brenta . Upon this Road you see many superb Palaces , painted both within aud without , with various operatious , viz. Histories , Freezes , Architecture , Garlands of all sorts , stupendious works , by the most singular and excellent hand of Paulo Veronese . The City of Padua . The Church of S. Justina . THe great Altar-piece is a most singular work of noble Paulo Veronese , the which represents the Martyrdome of this Saint , and is most excellently imbellished by the hand of Augustino Carache . The School of the said Saint . In which you will admire the Saint , marvellously beautiful , 't is enough that they are done by the incomparable pencil of great Titian . The Church of the Hermits . In the Sacristie of this Church they preserve a S. John Baptist preaching , by the hand of the most noble Guido Reno . The Church of S. Maria in Vanzo . Here stands a Picture of the Dead Redeemer , the work of Giacomo Bassano . Montagnana near to Este . The Domo . HEre you will see the great Altar-piece , which represents the Transfiguration of Christ upon Mount Tabor , a singular work of Paulo Veronese . The City of Vicenza . The Church of S. Rocco . THe great Altar-piece is a most fair work of Giacomo Bassano . The Church of S. Leuterio . In like manner you see the great Altar-piece , by the same Bassano . The Church of S. Croce . Where there is another Picture by the aforesaid Giacomo . Vnder the publick House of the Piazza . There is an History of Noah with his Daughters , by Paris Bordone . The Refectory of Madonna di Monte , Frati . In this you see a great Square which represents a Feast , in which is the Redeemer , a most fair work of the most excellent hand of Paulo Veronese . All that are curious omit not the seeing of this piece . The Church of the Fathers Teatini . Here you may observe in a Chapell a most fair piece , by old Palma . The Church of S. Corona , Fathers Dominicans . The Altar-piece here with the three Magi , is by Paulo Veronese . There are also in this same City several works upon the Walls in Fresco , by Pordenone . The City of Verona . The Domo . HEre you may observe a Picture of the Assumption of the B. Virgin , the work of great Titian . The Church of S. George . In this Church you see two Pictures , of which I may say nothing can exceed them , by the most noble pencil of Paulo Veronese . The Church called La Vittoria . In the Sacristie of this Church you must observe a Square of no great size , but extraordinary fine , by the aforesaid Paulo . PAVLO : Veronese Nat. Aº 1490 portrait of Paulo Veronese The City of Brescia . The Church of S. Afra . HEre is kept a most beautifull Standard , by Paulo Veronese . There is also a Square of the Transfiguration of our Lord , a singular work of great Tintoret . The Church of S. Nazaro . Here are several fair Pictures by Titian . Sitinalta in the Territory of Bergamasco . The Parochial Church . IN this Church you see two singular Pictures , by old Palma , that Country-man . The City of Cremona . HEre is a Picture of S. Sehastian and two Angels , by the hand of Giorgone . The City of Genoua . The Church of S. Francis. HEre is to be seen a Square with S. John , Baptizing Christ , by the hand of Tintoret . The STATE OF FLORENCE . The City of Florence . S. Mark , Fathers Dominicans . HEre are three Pictures by the hand of Fra Bartolomeo . The Church of S. Croce . Here is a Picture representing the Lady of Piety , a singular work of Civoli . In the Church-yard of the Nuntiata . There are divers works in Fresco , by Andrea del Sarto . In the Cloyster , over a Door , you see a famous Piece , called the Madonna del Saccho , by the abovesaid Andrea . The Confraternity of S. John Baptist . In the Cloyster upon the Wall there are the Histories of the life of this Saint , by the same Andrea . The Gallery of the Great Duke . In which you see a Square with the History of the Fall of Phaëton , by the hand of Leonardo da Vinci . There is drawn a Ritratto of Pope Leo the X. by the hand of great Raphael . There is also a little Square of a Madonna , the work of the abovesaid Raphael . Then follow divers Squares of Andrea del Sarto , particularly in the more private Chambers there are most beautiful works , not omitting a sight of that great Square of the Assumption of the B. Virgin , and the Apostles . PIETRO d' : Cortona Nat Aº 1593 portrait of Pietro d'Cortona There are likewise two Squares of Naked Women , by great Titian . Then follow several Pieces , of Giacomo Bassano . You also see a Square with little Figures of the B. Virgin , with the Child Jesus in her arms , and a Saint on each side , the work of Corregio . You see another Square of Naked Women , by Hannibal Carache . The Palace of Pitti , being the habitation of the Great Duke . Where are seen four most stately Chambers , excellently painted with variety of Histories , by Pietro da Cortona . The STATE OF PARMA . The City of Parma . The Church of the Nuntiatata . IN the Quire of the said Church you see a Picture with a Madonna and her Son , and four Saints by her side , by the hand of Parmeggiano , his first manner of painting . In the Sacristie of the said Covent , there is a Square of S. John Baptizing Christ , by Parmeggiano , his first manner . Santa Cecilia . As you enter this Church , on your right hand there is a Picture with a Madonna on high with her Son , on each side a Saint , by the hand of Lanfranco , a rare work . The Church of the Capuchines . Entring this Church , on your left hand you see a Square with the Blessed Felice holding the Child Jesus on his shoulders , with the B. Virgin in a posture of receiving them , and a Glory of Boys , the work of Guercin da Cento . Right against this you see another great Picture , with Christ on the Cross , by his side is a S. Katherine , and the Ritratto of a Capuchine , with many Angels lamenting , a most beautiful work of Guercin da Cento . In a Chapell you see a S. Anthony of Padua , by Tadeo Zuccharo . At the high Altar is a great Piece , the top whereof is half round , with a dead Christ in the lap of the B. Virgin half dead , upheld by Angels , with S. Francis pointing at our dead Lord , as also a S. Magdalen , and S. Chiara , with a Glory of Angels carrying the Cross , painted by the most excellent hand of Hannibal Carache . On the side of the said Altar there is a S. Lewis King of France , and a S. Chiara , the work of the said Hannibal . Within the Covent , over a Door there is a Madonna with the Child , and a little S. John , by the same Hannibal . The Church of All Saints . At the High Altar there is a Square which represents our Saviour sitting and giving benediction , with many Saints on his right hand , and a S. Stephen praying , with other Pictures of holy Virgins , by the hand of Lanfranco . The Church of the Fathers Jesuites . Over a place of Confession you see a Square with our Saviour bound to the Pillar with two Angels lamenting , and many little Angels , by the hand of Tadeo Zucch●ro . The great Altar-piece is a most singular work of Paulo Veronese . On the two Pedestals of the said Altar there are two Heads , with the B. Virgin , and the Angel , the work of Tadeo Zuccharo . The Church of S. Sepulchre . As you enter at the great Door in the first Chapell on your left hand you will admire a Square , the top of it is half round ; where is a Madonna and the Child Christ , and S. Joseph , a divine work , after the usual manner of great Correggio . At the Madonna della Scala , over the Door of S. Michael . There is a Madonna with her Son in her arms , by the hand of the aforesaid Correggio . The Church of the Fathers Serviti . There is a Square upon which is a Madonna with the Child in her lap , and many Angels , by the hand of Parmeggianino . At the Battesimo . There is a Square with S. Ottavio , and a Madonna , the work of Lanfranco . The Nuns Church of S. Paul. Entring at the great Door , at the second Chapell , there is a Square with the B. Virgin and her Son in her lap , with S. Cecilia , S. Margaret , and a little S. John shewing our Lord , a most fair work of Augustine Carache . At the great Altar there is a little Square , upon which is Our Lord on the Judgement seat , and on the right hand of the Square is S. Paul at his feet , and S. Katherine kneeling , the work of divine Raphael . In the said Covent there is a Chamber painted in Fresco , with many Figures , by the hand of Correggio , a most fair work . The Church of S. Anthony . As you enter at the great Door in a Chapell on your right hand is seen a Square with a Madonna , and her Son sitting reading , and on the right hand of this Square is a S. Girolamo kissing their feet . On the other side of it is a S. Mary Magdalen kissing our Saviours feet , a singular work of divine Corregio . Then follows at the great Altar a Square with the Madonna and the Child Jesus , giving Benediction to the two Saints , S. Francis , and S. Chiara , by the hand of Guercin da Cento . The Domo . In which you will admire the marvellous Cuppola , with the four Angles , one of the finest works in the world , by the most excellent hand of great Correggio . The Church of Madonna della Steccata . Over the Cross-Isle of the Church there is a Madonna aloft , the rest of the Roof is likewise painted by Parmeggianino . In another Isle of this Church , over against the Image of the Blessed Virgin is seen a Square with the Adoration of the Magi , the work of Carravagio . On the inside of the Organ you see a David and a Sibyll , with other Figures , by the hand of Parmeggianino : all of them singular works . The Church of S. John , Fathers Benedictines . In this Church you see a Cuppola with its four Angles , and other marvellous works according to the usual manner of great Correggio . On the Roof of the Quire are works copied from Correggio , by the hand of Baglioue , but re-toucht by Correggio himself . In the two Cross-Isles there are two Chapels where you will see works of Carravagio in Fresco . Coming out of the Church , at the second Chapell on your left hand , there are two Squraes . On one you will admire a Piety . In the other the Martyrdom of several Benedictine Saints , by the hand of great Correggio . There are the Roofs of some little Chapells painted in Fresco , by Parmeggianino . There is also in this Church over a little Door , as you go into the Covent , a S. John the Evangelist , painted in Fresco , by the hand of Correggio . In the first Cloyster of the Covent of the abovesaid Fathers , there are many paintings in Chiaro Scuro , being Histories of the Old Testament , by the hand of Carravagio . The Palace of the Fontana adjoyning the Garden of the Most Serene Duke . In a low Apartement you see a great Square Chamber with the Roof painted in Fresco , by the hand of Augustine Carache , singular works , and the last of the Author . There is a beautifull Inscription in the praise of Picture . In the Apartement of Squares there is in one Chamber a Square with Venus and Adonis , by the hand of Paulo Veronese . There is also a Figure representing a River , by Carrache . Then follow the Heads of the twelve Emperours in Chiaro Scuro , by the hand of Titian . There is also another Square of many Animals , by the hand of Bassano . You also see two Figures in two Squares but not finished , by the hand of Augustine Carrache . There is seen likewise a little Square of two Ritrattos fixing a Crab-fish to the ears of a Cat and laughing , the work of Carache . There is another Square , with a Psyche aloft , two little Figures , and the work of Tadeo Zuccharo . Now follows the Famous Chamber of the Ritratti . Over a Door is a Square of a beautiful Boy , by the hand of Hannibal Carache . Then follow two Ritrattos , of a Senator and another composing of Musick , the work of Hannibal Carache . Next is a Lady ordering her Locks , or Tresses , by the hand of Titian . Over these is a Ritratto of P. Paul the third when he was Cardinal ; the work of excellent Raphael . Next is a Ritratto of Diogenes with a writing pen in his hand ; a fine thing . You also see the Ritratto of that Amorous Lady , called L. Antea del Parmeggiano , by his own hand . Beneath these Squares is a Ritratto of Duke Ranuccio the first ▪ by the hand of Carache . And beneath this again , there is the Picture of a little Girl with a Turbant on her head , the work of Giulio Romano . Next is the Picture of Cardinal Farnese , by the hand of Carache . Below the said Cardinal is anether Ritratto of Duke Pietro Alovigi , the work of Raphael Vrbin . Then follow on the third Front two Ritrattos , by Parmeggianino . In the middle between these two Ritrattos is another Picture of the abovesaid Duke Pietro Alovigi Farnese , by the hand of Titian . There are two little Ritrattos by the hand of Parmeggianino . Next is the Picture of a Souldier , by the same hand . There is also another Souldier in Armour , by the hand of Giulio Romano . Over the Door you may see the Ritratto of Alexander the Great , the work of Titian . Behind a Window is a Ritratto of a Philosopher , by Andrea del Sarto . Over the Window are two Ritrattos , one of which is the Duke of Ferrara , the works of Titian . In another Piece is the Picture of a Priest , by Parmeggianino . Then follows the Picture of Paul the third , in little , the work of Titian . Next to this follow two Ladies , by the hand of Parmeggianino . On the other side of the Window are three Heads , by Titian . There is also the Picture of Frà Sebastian● del Piambo , a Painter , the work of Giorgione . And over this same is a Picture of a Shagged Spaniel , by Parmeggianino . Here follows another Chamber . Where you will admire the marvellous * Cingarina , by the hand of Correggio . There is also a S. Chiara , with a S. Anthony of Padua , by the hand of Caravagio . You may likewise observe four Squares in half Figures . In one is S. Mary Magdalen , in the other are S. Peter , S. Girolamo , and Prophet David , by Guercin da Cento . You may observe near unto these , a Madonna with the Child , and a S. Joseph , by Raphael de Vrbino . Beneath this is a S. John , by the hand of Leonardo da Vinci . Then follows a Magdalen weeping , the work of Hannibal Carache . Here are two Saints by Guercino , viz. S. Peter and S. Girolamo . There is a S. Nicholas de Tolentino , by the hand of Pordenon . Here is also a Head of S. Girolamo by the hand of Carache . Next is a Madonna , with her eyes lifted up towards Heaven , by the hand of Carache . You may observe likewise , a Nativity of our Lord , by Hannibal Carache . Over a Chimney you may observe a Christ carrying the Cross , by the hand of Andrea del Sarto . Then follow two Copies of S. John , Copied from the works of Correggio , by an able Master . Now follows the Chamber of Audience . Where are two Squares hung aloft , of two Figures at length , by the hand of Correggio . There are also two other Squares which represent two Elements , viz. The Earth and the Water , by the hand of Bassano . After these is another Square which represents Lucretia Romano killing her self , by the hand of Parmeggianino . Underneath this Square there is another of the Espousal of S. Katherine , one of the fairest works that ever Correggio painted . On each side of this Piece is a Ritratto , one is the effigies of Martin Luther , done by Raphael , the other by Parmeggianino . Next is a Christ in a half-figure , by the hand of Correggio . On the other front you see a S. Girolamo , a half-figure , by the hand of Leonardo da Vinci . Near unto this is a Madonna with our Saviour asleep , and a little S. John , by the hand of Hanniball Carache . Then follow two Ritrattos in little , one is the Picture of Hanniball Carache ; the other the Picture of a Lady ; both done by her own hand . Then follows another Chamber , which they call the Chamber of Sivetta . In which you will find a Madonna with her Son at her feet , and a little S. John , by the hand of great Raphael . There is also a Square only in rough draught , by Correggio . You may see the Nativity of our Lord , by the hand of Carrache , a little Square . Here follow three little Madonnas , by Raphael , very fair works . Then follows a Madonna and her Son , and S. Joseph , by the hand of Augustine Carache , a rare work . There is also a little Square of the head of a Madonna , by the hand of Frederico Zuccharo . Next is a S. Rocco , in little , the work of Parmeggianino . There is likewise a head of our Saviour , by the hand of Carache . Then follows a half-figure as large as nature , of our Saviour , the work of Andrea del Sarto . There is a head of a Priest after the life , by the hand of Hanniball Carache . Then follows a Madonna with her Son in her armes , with a S. John , S. Joseph , and S. Margaret , the work of Augustine Carache . You may plainly observe a Christ dead carried to his Sepulchre , with many Figures , painted upon Copper , a singular work of Hanniball Carache . After this follows a little Square with a S. Francis in a Trance , upheld by an Angel , and a Glory of Angels about , a most fair work of Hannibal Carache . Then follows a S. John Baptist , by Hannibal Carache . There is also a Madonna with her Son , by the hand of Parmeggianino . Beneath this Madonna you see a Head of Pordenon . Then follows another Chamber , which they call the Chamber of the Amoretti . In which you first observe a Lucretia Romana , and another Square of a Leda with a Swan , both of them by Dossi Ferrarese . Adjoining to these is another Lucretia Romana , by the hand of Parmeggianino . You also see The Passion of our Lord , the work of Hanniball Carache . There follows a little Madonna with her Son in her Armes , and a S. John , by Hanniball Carache ; a very fine piece . Another Square a the Madonna , S. Joseph , and several Angels , is the work of Dossi Ferrarese . There is also a S. Paul snatched up into the third Heaven , the work of Lanfranco . As also another little Madonna , by the hand of Guercino da Cento . Then Follows the last Chamber , which they call the Emperour's Chamber . In this Chamber you see three Squares . In the first is represented Judith cutting off the Head of Holofernes . The second does demonstrate Tarquin ravishing Lucretia Romana . The third is Bathsheba discovered by David out of his Palace window , Painted by a Lady called Artemisia , and very fair works . You may also observe a Venus sleeping , by Hannibal Carache . Over the Chimney there is a Square of St. Augustino , and other Figures , the work of Pordenon . You likewise observe twelve Emperours finely done , by Hanniball Carache . The great Hall in the middle of the said Apartement . Over the Chimney you will admire an Annunciation , the Figure is bigger than the life , a singular work of great Correggio . In this Hall you likewise see the Ritratto of Charles the fifth on Horse-back , a most singular work of Titian . There follows in the same Hall , an Angel flying , with many other Angels which accompany him : the Figures are bigger than the life , by Hannibal Carache . Then follow two other Squares , of S. John Baptist , and S. John the Evangelist , with many Heads of Angels , by the abovesaid Carache . Next are two Squares of S. Benedetto and S. Mauro , with many Angels , by the same Hanniball . All these works are much bigger than the life . On the other side of the Hall there is the Nativity of our Lord , with many Figures , 't is a Night-piece , and the work of Bassano . Right over against the Ritratto of Charles the fifth , There is another Ritratto of Duke Alexander Farnese on Horse-back , by the hand of Augustine Carache . In the Dukes Apartement there are Pictures of all sorts , of which I can give no good relation , because of the great quantity there is of them , it also being difficult to get liberty of seeing them . The City of Piacenza . The Domo . AS you enter at the great Door , on your left hand , you see the Chapell of S. Corrado , by the hand of Lanfranco . Higher up near to the Quire , behind the Altar , and on your right hand as you go into the Sacristie , there is an Altar with S. Alessio , by the same Lanfranco . You also see in this Church a Picture which represents S. Martin giving part of his Cloake for Alms , the work of Ludovico Carache . The Church of S. Sisto , Fathers Benedictines . The Picture in the Quire which represents the B. Virgin and her Son , in the middle of the Picture , and by her side is S. Barbary , S. Sisto , and two Boys , a marvellous fair work , as it was the usual manner of divine Raphael . S. Nazario , a Parochial Church . Going in at the great Door , you will find on your left hand , at the first Altar near the said Door , a painting which represents S. Michael the Archangel holding Lucifer in Chains , with these words under-written Johannes Lanfrancus fecit . S. Andrew , a Parochial Church . On your left hand as you enter the great Door , and in the first Chapell near the said Door , you will find an Altar-piece with the Image of the Madonna di Reggio , with S. Francis de Assisi , and S. Rustico a Martyr ; the work of Lanfranco . The Church of the Fathers Serviti , called Madonna di Piazza . As you enter at the great Door , the third Chapell on your left hand is all painted by Lanfranco . The Altar-piece is S. Luke the Evangelist in a posture of writing , with his head lifted up towards a Troop of Angels . The Chapell about the Altar , where there is a little Cuppola with the B. Virgin in glory , and around the said Virgin are twelve Persons which are believed to be the twelve Patriarchs , from whence she is derived . After this there is another little Cuppola with small windows , and on the Top is the Father Eternal . The Church of Madonna di Campagnia . Where you see several works around the inside of the Cuppola , by the hand of Giorgone . In this Church you likewise see two Chapells , one with the History of S. Katherine . In the other is the Picture of Christ : also the Altar of S. Augustine , all the works of Pordenon . Then follows the Tribunal , by the same Authour . In like manner you see a Picture with the Blessed Virgin , S. Peter , and S. Paul , the work of most noble Paulo Veronese . Corte Maggiore , in the Territory of Piacenza . The Domo . HEre you will see a Picture , and a little Cuppola , singlar works of Pordenon . There is also a Picture by Carache . The STATE OF MODENA . The City of Modena . The Gallery of the most Serene Duke . IN this famous Treasury you see a half-figure , and a Head , by the most ingenious Leonarda da Vinci . In the same you see a Ritratto of Raphael , and two Heads , by Andrea del Sarto . And a great Square of Abraham's Sacrifice , by the same Sarto . There are ten pieces , or there-abouts , by Giulio Romano . You likewise see a Head , by Giorgone . In this same Gallery there are four Squares by Titian . The first represents the B. Virgin and S. Joseph travelling into Egypt . The second is the Blessed Virgin and her Son , and S. Paul. The third is the Child Jesus in the Manger . Then follows the fourth called the Quadro della Moneta , viz. When the Hebrews shewed money to the Redeemer , singular works of the Author . There are also seen some little pieces of Heads , by Pordenon . Then follows the Picture of our Saviour , with another beautiful Square of old Palma . Next are two great Squares of noble Paulo Veronese . In one you will admire the Marriage of Cana in Galilee . In the other the Coming of the Magi , with two other Squares , some of the fairest works of the Author . The next you see is a famous Night-piece , by Correggio ; one of his most admirable works , the Lights of the Picture darting out miraculously . In like manner you will admire two Squares of bold Tintoret . Also two of Giacomo Bassano . One does demonstrate the History of the Samaritan . The other is a Piece of Animals , both of them singular works , after his usual manner . After these there are great Quantities of Squares , by Correggio , which I do forbear to name particularly for brevity sake . You will see a Picture , and a Ritratto , by Parmeggianino . There are likewise divers works of the three excellent Caraches . There are also works of Guido Reno , and diverse other Authors , which would fill a Book alone to write of all such Jewels as are contained in this Gallery . I have onely named the most principal , I leave the rest to the Virtuoso's and most curious , to observe them particularly at their own leisure . The Domo . There are two singular good Pictures by Guido Reno . The City of Reggio . The Church of S. Prospero . WHere you see a Picture with the Blessed Virgin and the Child Jesus , and S. Girolamo , with S. Crispin and Crispianino , the works of Guido Reno . The Picture in the Quire is by Hanniball Carache . The little Church of S. Joseph . There is a Picture which does demonstrate a living Christ , by Guido Reno . The Confraternity of S. Rocco . The Picture in the Quire is the work of Hanniball Carache . Finale di Modena . The Church of S. Nicholas . HEre you will find a Picture of the B. Virgin with her Son , and S. Lorenz , the work of Guercin da Cento . The House of Count Zuccati . The Front of this House is all painted by the abovesaid Guercin da Cento . The Castle of Carpi . The Domo . HEre is a marvellous Picture of S. Rocco , by the hand of Guido Reno . Sassuoli ten miles distant from Modena . The Church of the Capuchines . IN which you will admire that most beautiful Piece at the great Altar , by the hand of Ludovico Carache . The City of Mirandola . IN this City ( especially in the Duke's Gallery ) they preserve variety of singular good works of diverse principal Authors , before-mentioned in this little work . The City of Mantua . The Domo . HEre you see a Picture representing the Redeemer when he called James and John to the Apostleship , by Giulio Romano . There is likewise seen another Picture with S. Anthony the Abbot , by Paulo Veronese . The Church of S. Andrew . There are two Pieces , one demonstrates the Crucifixion of Christ ; the other the finding of his Blood , by Giulio Romano . The Church of S. Dominico . Here is seen a Picture of the abovesaid Giulio . The Palace of T. There are the most famous works of Giulio Romano , in diverse Halls , Galleries , Chambers , &c. with Histories , and Freezes of all sorts , the works of this Palace deserve coming from a far Countrey to see . In the Delitie di Marmirolo , there are also various works of the same Giulio . The STATE OF MILAN . The City of Milan . The Church of the Madonna della Gratie , Fathers Dominicans . HEre is the famous Picture , by Titian , representing the Crowning of the Redeemer with a Crown of Thorns , one of the fairest works of the Author . The Domo . Here you see a most beautiful Picture of a Dead Christ , by the hand of Barocci . The Church of S. Celso Preti . In the second Sacristie you see a Square of Raphael . In the Church you will admire the Altar-piece of S. Girolamo , the work of Paris Bordone . The Church of the Fathers Teatini . As you enter at the great Door , on your right hand you may observe a Square by the side of the furthermost Altar , by the hand of Ludovico Carache . In the most famous Library called the Libraria Ambrosiana . There are four Squares by Titian , singular ones . You see moreover , many works by Leonardo da Vinci . In the same you see upon two Squares the dispute concerning the Sacrament , by Raphael ; painted in Rome in the Palace of the Vatican . There are also divers designs of the most singulars Painters named in this Book . THE FAMOUS CLOSET OF Signior Manfredo Septale . THis Closet abounds with variety of Rarities , in Nature as well as Art , I shall only take notice of the best Paintings , being only proper to the thing in hand . 1. There is the Effigies of Galeazzo Septale , Captain of the Germans , and Great-unkle to Manfredo Septale . This Picture needs no other commendation than that it was the work of Titian . 2. The Picture of Ludovico Septale , Father to the same Manfredo , this is the work of Fide Gallitia , the most celebrated Paintress in the world . 3. The Annunciation of the B. Virgin Mary , the work of a certain Hollander eminent in the Court of Rome . 4. The Picture of Senator Septale , Brother to Manfredo , the work of Daniel Crispi a Painter of great repute . 5. There is a large Picture of the aforesaid , Daniel Crispi , relating to the Temptation of S. Anthony , a singular invention . 6. Another Picture of the most Illustrious and Reverend Bishop Charles Septale , Brother to Manfredo , the work of a Flemming , eminent in the City of Rome . 7. The Picture of Manfredo himself , the work of the above-named Daniel Crispi . 8. A small Picture of the B. Virgin Mary with S. Joseph and Christ an Infant taking of Fruits from S. Joseph , a work of singular beauty , and the work of that famous Woman Gallitia . 9. Another small Effigies of Ludovico Septale when he was a youth . 10. The Picture of the B. Virgin , with Christ , and S. John , being little Boyes , painted in a large Picture by great Raphael , the Prince of Painters . 11. A most Elegant Picture of a grave Matron , by Leonardo da Vinci . 12. A small , but most noble Picture , by Bernardino Luini , a famous Painter , in which is represented the Picture of the B. Virgin Mary , and Christ giving a Flower to S. John Baptist . 13. The Picture of Nontio Gallitii a famous Limner , and Father of Fide Gallitia , who painted this piece . 14. The Picture of Fide Gallitia in the flower of her age , done by her own hand . 15. The Picture of a Little Boy , the work of Fide Gallitia . 16. The Picture of the Duke of Ferrara , a singular work of Juliano . 17. Another Picture of Septale , the work of Bronzino , a Florentine . 18. The Picture of Gustavus Adolphus King of the Swedes , by an unknown hand . 19. The Picture of Christina Queen of the Swedes , and Daughter to Gustavus . 20. The Picture of Oliver Cromwell , by an unknown hand . 21. The Picture of the most Serene John Duke of Austria , the work of Paini . 22. The Picture of Pope Innocent the tenth . 23. The Picture of Pope Julius the second in the middle between two young Cardinals , viz. Cardinal Medici ( who was chosen Pope when he was but thirty three years of age , and called Leo the tenth ) and Cardinal Sixtus , the work of one of Raphael Vrbines Scholars . 24. A Woman of tall Stature with her Face hairy all over , every hair as long as ones hand , an egregious work of Paini . 25. The Picture of a Monster by an unknown hand . 26. The Picture of Two Virgins in Hunting habits . 27. A great Picture of Bassano , representing our Redeemer Crowned with Thorns , a Night-piece . 28. A Picture upon which two Painters of no mean Rank ( to wit Grosso and Duchino ) did vie with each other , in it there is expressed the B. Virgin with the Child Jesus , and B. Elizabeth , and a little S. John. 29. A Picture expressing the sad Accident which befell Lucretia Romana sheathing a Dagger in her Bowels , as an eternal signification of her inviolated Chastity , the work of Cerani . 30. S. James sitting on his Horse , and brandishing his Sword amongst his dispersed Souldiers , this is likewise a Picture of Cerani . 31. A S. Joseph , by Cerani . 32. A Busto , with the head of S. James , the work of Cerani . 33. The Woman believed to be a Whore , the work of that famous Painter Leonardo da Vinci . 34. David carrying in his hands the formidable head of the Giant Goliah , a singular work of Julius Caesar Procani , when he was young . 35. S. Francis with a Parrot , the work of Cerani's Sister . 36. A Lucretia , the work of Leone Aretini . 37. Another Lucretia , the work of Sardini . 38. S. Jerome accompanied with an Angelical Minstrel , the work of Vermilii . 39. The Picture of S. John , the work of Hercules Procacini . 40. An Anatomy naturally expressed by Daniel Crispo that eminent Painter , who painted most part of the great Carthusian Church at Tiacin . 41. The Picture of the most celebrated Jucunda , an Ornament in the King of France's Bed-chamber , a Copy from Leonardo da Vinci . 42. An Egyptian Woman , by Fide Gallitia , from an Original of Leonardo da Vinci . 43. A great Piece in which the Martyrdom of S. Cecilia is expressed , by Salimbono from an Original of Micerini . 44. Three large Pictures , Copied from the Paintings of Andrea del Sarto . 45. Two Pictures more of the same hand , in one is S. Agnes and S. Christina , in the other is S. Peter , and S. John. 46. The Picture of a Woman , a Natural work of Tintoret . 47. Herodias with S. John Baptist's head , the Head is the work of Cerani , Herodias the work of a Daughter of Cerani , and Wife to the Painter Melchiore Gherardino . 48. S. Jerome , and S. Lucia , the works of Metchiore Gherardino . 49. S. Jerome praying , a Night-piece , the work of Bassano . 50. A Picture containing the B. Virgin with h●r Son , and two Angels worshipping , the work of Soliano . 51. The B. Virgin with Jesus and S. John , a Copy from Raphael Vrbin , the Original of which is reckoned amongst the precious pieces that the King of France preserves . 52. An Emulous work of Luino , after Raphael Vrbino , expressing the B. Virgin , with her Son and a Pilgrim . 53. The B. Virgin with her Son and S. Joseph , Copied from Correggio , by Fide Gallitia . 54. The Blessed Virgin Mary habited after the Egyptian mode , likewise Copied from Correggio , by Fide Gallitia . 55. A Heifer , painted by Fide Gallitia . 56. The Virgin , with Jesus , S. Elizabeth , and S. John , the work of Leo Aresini . 57. Another Virgin with Christ an Infant sleeping , the work of Camillo Procacini . 58. Two singular Pictures , one of which is illustrated with S. Katherine , in the other is the B. Virgin Crowned with a Glory of Angels , the works of Bernardino Luini , and his Brother . 59. A great Picture in which is expressed the first Murther , viz. Cain giving the fatal stroke to his Brother Abel , an original of Guido Reno . There are also four other Pictures , Copied from the Originals of the same Guido Reno . 60. A Magdalen , by Hercules Procacino . 61. An Annunciation brought from Rome , a piece of singular beauty . 62. Three Pictures famous for three Heads , that of Homer , another of S. Jerome , the third of Moses , having in his hands the Tables of the Law ; the works of Tiroli . 63. Two Birds painted by Fide Gallitia . 64. A Porrot of the most beautiful sort , as also another Egyptian Bird , which were formerly live Ornaments in the House of Septale . 65. Daniel in the Lions Den , the Lions are the works of Daniel Crispi , after Brugora , but Daniel is the work of Melchiore Gherardino . 66. The Pictures of Exotick Animals , formerly familiar Ornaments in the House of Septale , now only beautifie two Squares , the chief of these is a Japan Bird called Micous , not so much famous for its diversity of colours , as for its Docibility , for when the Arch-Duke of Inspruck and the Arch-Dutchess of Austria were admiring , and praising of it , it answered scornfully , that Septale had given it them as a present to their most Serene Highnesses . 67. An Indian Crow . 68. Two large Landskips by the diligent hand of Pietro Florentino . 69. Two other Landskips of a lesser size , by the same Author . 70. A Tempest at Sea. 71. Another Prospect at Sea. 72. A Battle , by Carolo Battavo . 73. A Calm Sea , with many Sails displayed within the Haven , the work of a Fleming , after Brugora . 74. A great Landskip expressing a large Country , by Carolo a Sole . 75. King Priam's Palace in Flames , by Rudolpho . 76. Another Landskip after the life . 77. Another fair Prospect of a Countrey , the work of Pietro Flandro . 78. A great Picture representing Armed Women , and other Types of War. 79. The Picture of the Great Colossus , or the Amphitheatre at Rome , together with Constantine's Arch , done at Rome , by one Philipp . 80. Other small Landskips , expressed in six Pictures . 81. A most perfect piece of Brugora . 82. The Picture of K. Philip the fourth , the most potent Monarch of Spain , by Paint . 83. A small Picture in Limning , which represents Jesus going to Emaus , done at Rome . 84. Another small Picture , by Leonardo da Vinci . 85. Other two Pictures which represent the B. Virgin and Christ Crowned with Flowers . The City of Cremona . The Domo . ON the inside of the Front of this Domo there is a large History representing Christ Crucified between the Thieves , with many other Figures , a superb work of Pordenon . The City of Genoua . The Church of S. Stephen . HEre is to be admired the History of the Stoning of this Saint , a stately work of Giulio Romano . In divers places where the Gentlemen of Genoua assemble ( but chiefly that called the Imperial Assembly ) are seen divers Squares of great Titian . The publick Palace . Here is to be seen in a Hall , a Freeze of most beautifull Boyes , by the hand of Pordenon . The City of Lucca . The Domo . AT the third Altar on the right hand as you enter , you will find a Picture of our Redeemer's last Supper with the Apostles , the work of Tintoret . Near the Sepulchre of Cardinal Giudiccioni you see another Picture of the B. Virgin aud her Son Christ , Crowned by two Angels , at their Feet is an Angel playing upon the Lute , and on each side is S. John Baptist and S. Stephen , by Frae . Bartolomeo . In the Church of S. Romano , Fathers Dominicans . At the first Altar on your left hand as you enter , is another admirable Picture , wherein is expressed an Ecstasie of S. Katherine of Siena , and S. Magdalen with the Father Eternal in Glory . At the second Chapell on your right hand is a Picture of the abovesaid Fra. Bartolomeo , wherein is expressed the Virgin Mother of Mercy , blessing great numbers of people with her Garment , and above is the B Virgin with the Redeemer with his armes spread abroad , and shewing . Santa Maria , called Corte Landini . Here are two Pictures by Guido Reno , one is on the right hand of the great Altar representing the Virgin in the Snow , with Christ in her arms , and an Angel shaking off the Snow , with a S. Mary Magdalen , and S. Lucia . The other is on the left hand , with Christ on the Cross , at his Feet is S. Katherine a Virgin Martys , and S. Giulio a Martyr . The Church of S. Piero Samaldi . As you enter at the great Door , the first Altar on the left hand is by old Palma , where you find S. Anthony the Abbot in the middle of four other Saints . In S. Pietro Civoli . The third Altar on your left hand as you enter , is the work of Lanfranco , signifying the Martyrdom of S. Lorenzo . Near to the side Door , is likewise seen a Picture with Christ Crowning of S. Teresa , and over them are two Saints . In S. Maria without the Gates . Here are seen two Pictures by Guercin da Cento , both of them near the great Altar ; in one is S Lucia , in the other is the Assumption , with S. Sylvester Pope , and S. Francis of Asisi below . Pescia , ten miles distant from Lucca . In the Church called La Piere . ENtring this Church , in the utmost Chapell on your right hand , you see a stately Picture of the B. Virgin upon a Throne with her Son in her Armes , and two little Angels , with divers Saints on each side , an admirable work of incomparable Raphael . Alla Piere de Lamari two miles distant from Lucca . The Church . HEre is seen a Picture of the abovesaid Raphael , with the B. Virgin , S. Anthony , S. Bartholomew , and S. Bernardino of Siena , an admirable work . In this same Church , and in the first Chapell on your right hand as you enter , you see a Bishop and an holy Martyr , with two Ritrattos on their knees , and above the Altar is the Father Eternal , it is the work of an unknown Author , but a piece so beautiful that it does not give place to any Master whatsoever . RAPHAEL d' Vrbina Nat : Aº 1483. portrait of Raphael The City of Naples . The Chapell of Tesoro . IN divers parts of this Chapell you see Histories relating to several Saints , singular works of Dominichino . In the same Chapell are likewise seen divers stupendious works by the hand of Giovanni Lanfranco . The Church of S. Dominico . In this Church you see a most stately Picture of divers Saints , by the hand of great Raphael . FINIS . Notes, typically marginal, from the original text Notes for div A31044-e1940 * Or Hermits . * So termed amongst the Italians . * A particular manner different from painting in Oyle . * Black and white . * Differing from other manners of Painting ▪ * A terme of art for Black amd White . * Being the usual manner of Polidoro's painting . Notes for div A31044-e9370 * Frequently so called amongst the Italians . Notes for div A31044-e11960 * Represented by a Crowned Virgin holding a Scepter in one hand , and a pair of Scales in the other . † Or Duke of Venice . * Represented by flinging Thunderbolts from Heaven . * Or Pictures by the life . * Which was not to paint in above two or three colours . * So called from his bold manner of painting . * Or face after the life . Notes for div A31044-e30740 * Or Gypsy . 
A47168	----	Art's master-piece, or, A companion for the ingenious of either sex ... by C.K. C. K. 1697 Approx. 117 KB of XML-encoded text transcribed from 87 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-01 (EEBO-TCP Phase 1). A47168 Wing K2 ESTC R20096 12354023 ocm 12354023 60074 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A47168) Transcribed from: (Early English Books Online ; image set 60074) Images scanned from microfilm: (Early English books, 1641-1700 ; 212:9) Art's master-piece, or, A companion for the ingenious of either sex ... by C.K. C. K. [7], 160 p. Printed for G. Conyers ... and J. Sprint ..., London : 1697. Reproduction of original in British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Technique. Decoration and ornament. 2006-06 TCP Assigned for keying and markup 2006-07 Apex CoVantage Keyed and coded from ProQuest page images 2006-08 Jason Colman Sampled and proofread 2006-08 Jason Colman Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion Art's Master-piece . OR , A Companion for the Ingenious of either Sex. CONTAINING , I. The Art of Limning and Painting in Oil , &c. In all particulars , viz. Drawing and Painting Faces ; Bodies , Garments , Landskip , Preparing and Laying on Colours ; also colouring Mazzotinto Prints , Gilding on Wood , Mettals and Leather . II. The newest Experiment in Japaning , to immitate the Indian way , Plain and in Speckles , Rock-work , Figures , &c. Receipts for making the several sorts of Varnishes , Colours , &c : III. To make Artificial Tortoiseshel ; to Dye or Stain-Ivory , Horn , Bone , Bristles , Feathers , and sundry sorts of VVoods for Cabinets . IV. The Mystery of Dying Silks , Stuffs , VVoollen and Linnen Cloth. V. To take Spots , Stains , Pitch , Tar and Iron Moulds out of Silks , Stuffs , Linnen , and VVoollen , and to recover faded Silks , Linnen , &c. VI. The Art of Perfuming and Beautifying . VII . Divers Physical and Chirurgical Receipts . VIII . To make London Powder-Ink , other Powder Inks , and the shining Japan Ink. With many other Notable things . By C. K London , Printed for G. Conyers at the Golden Ring , and J. Sprint at the Blue Bell in Little Britain . 1697. THE EPISTLE TO THE READER . Kind Reader , I Think I need make no long Apology for this Book , since the Title is sufficient to recommend it to the perusal of the Ingenious , though it contains but hints of what in larger variety of curious things , are more copiously incerted for the Accommodation of Young Gentlemen , Gentlewomen , and others , done with that Care and Exactness , in all the many particulars , that without vain glory , I may presume to say , that this , nor former Ages have not produced of these kinds any thing so curious and compact . It carries with it all along as linked in a Chain , Pleasure and Profit , and cannot but be grateful to the Fancies , especially of the younger sort , who putting in practice what best suits their Minds , may much please others and accomplish themselves . As for Limning or Painting , it has always been in high Esteem with the greatest and most Honourable Persons in the World , and is an Innocent and Diverting Recreation . Japanning I confess is not so Antient , especially in these parts of the Globe , therefore to be esteemed as ( indeed it is ) the more Rare and Considerable , as for the rest too tedious to enumerate in a short Epistle , though some of them have been long in use , Time and Industry have better Improved them to advantage , such as are Industrious to Imploy their Talents for the good of themselves and others : And so the whole Work not comprehending many Sheets , I shall omit what more I justly might say , and submitting to the Censure of the Candid and Ingenious Reader , take leave to subscribe my self , Your most Humble Servant C. K. THE Curious Art OF DRAWING , AND Preparing for Limning or Painting in Oil , &c. The Introduction to the Practice , in some things necessary to be provided for the proceeding in this Art. THE curious Art of Limning or Painting in Oil , has in all Ages been wonderfully admited and approved , as the Master-piece of other Arts and Sciences , wherein Art so exactly imitates Nature , that Motion only seems to be wanting ; and many such rare Pieces have been Drawn , that they have at the first blush deceived the Eyes of the Curious , who have taken them for real Living Beings , and though the Eye and Hand are mainly required herein , the one to direct , and the other to operate , yet the Mind or Imagination must furnish out a great part of the curiosity , having Ideas , or the true shape of things always in a readiness . This cannot be done hastily , but must be done by a steady practice and curious Observations , and the first in this undertaking , is to prepare your self with suitable materials , and amongst others French Chalk Red and White , that it may be cut into curious taper Pencils , to Draw the out strokes of any Figure you design , Sallow wood so burnt that you may do the like by it , and if these strokes hit not at first to due proportion , they may be rubbed out with the Feather of a Mallard's Wing , and so till you find them right , then go over your strokes with a strong well pointed Pencil , either of Red or Black Lead : To make the Impression more Even and Regular , it will be proper to have Pens made of Raven or Crow Quills to finish the finer strokes , also a Rule and Compass with three feet , to take in and out at the points as you have occasion , the one of White or Red Chalk , the other of Black Lead , and a third of any other Pastile , and these in most Drawings are proper to mark out equal distances after ; the drawing of the out-strokes ; there are other things required , which in their proper place I shall speak of . Being thus far entred , come a little nearer to the Practice , and make your entrance on it with plain Geometrical Figures , such as are the Circle , Square , Oval , Cone , Triangle , Cylinder , which at first use your self to mark out with your Rule and Compass , till you can readily do it with your Hand , and these will much assist you in the beginning of this curious undertaking , the Circle well made will direct you in Orbicular forms , as the Globe of the Earth , Spherical World , Moon Sun , and the like ; is very proper in confining the Picture you are to Copy ; the Oval gives you directions for the Mouth and Face , the Foot of a Wine-glass , the Mouth of a Well , and the like ; The Cone assists in Drawing Columns , Spires , top of Towers , Steeples , &c. The Triangle is of admirable use in making the half Face ; the Cylinder gives you assistance in drawing Columns , Pillars , Pilasters , and other things belonging to Architecture ; the Poligon may be also used for Ground-Plats , Fortifications , &c. and Angles and Arches in Prospective . These things premised , try to Draw several sorts of Fruits and Flowers , as Grapes , Cherries , Peaches , Apples , Apricots , Tulips , Pinks , &c. also Insects , Trees , Branches , and the like , and from these proceed to practice on Birds , Beasts , &c consider well their proportion , colour , slowness , swistness , fierceness , and many other things natural to them , and the better at first , till your Mind can well frame such Ideas , it will be proper to have good Drawings to imitate , and so go on by degrees to other things , as Fish , Melions , Roots , Oranges , &c. and by no means mistake their sutable lively colours , not proper form ; and then you may venture on Humane Faces and Bodies , wherein lyes the excellency of this Art. Of Drawing Faces , &c. When you come to Draw a Face you must well weigh and consider in what posture it must be done , whether side-ways , upward , forward , or downward , touching lightly the Features , where the Nose , Eyes , Mouth and Chin ought to stand , then go more perfectly over them , for the Circles , Squares , and Triangles used in this matter , may sufficiently guide you where the Nose , Eyes , Mouth and Chin should stand ; but in taking the Features , observe with a stedfast Eye , the principal Muscles in the Face , which in persons of years appear very much , and there is usually to be observed a threefold proportion in a Face , as in the ●●● place , from the top of the Forehead to the Eye-brows , in the second place from thence to the bottom of the Nose , and lastly from thence to the bottom of the Chin , observing in this case a due proportion in the length of the Forehead and Nose . In a full Face , the distance between the Eyebrows , consists of the length of one Eye , but where there is a side , or three quarters Face , the distance must be lessened answerable to the proportion , the Nostrils must be placed directly against the nether corner of the Eyes , and if the Face you Draw be Plump or Fat , the Cheeks must swell ; but consider , in a Lean Face the Jaw-bones stick out , and the Cheeks fall somewhat in . In a smiling countenance , the Corners of the Mouth turn somewhat upwards , and in a sour frowning countenance , the Forehead is bending , and Wrinkles appear on the upper part of the Nose . In Drawing a fore-right Face , you must make a perfect Oval , divided by two Lines into three equal proportions , in the first part place the Eyes , in the second the Nostrils , and in the third the Mouth , keeping the Eyes an equal distance from each other . In Drawing an upright Head , you must make it in equal divisions , with three lines every way , either upwards , downwards , higher or lower , divided as the former . To Draw the shortened or enclining Face , observe how the Lines agree , and so in their proper places you may Draw the Mouth and Nose , and the rest of the parts after you have brought your hand a little into practice ; and note , whatsoever proportion the Face bears , your out-strokes must be formed accordingly . As for the Nose , you must among other things , particularly observe the roundness , hollowness , and Indentings of the Nostrils . As for the Hands , their Po●ures are various , but a true measure must be observed in it , according to the proportion you Draw , as likewise the Arms as far as they appear bare , then proceed to Draw the Feet with measure and without , but for these it will be requisite to get Drawings to practice on at first , then practice Drawing Feet and Legs conjunct or separate , and proceeding from the Members , draw the other parts of the Body , and practice first on a Child , wherein there is more case , because they are of a Fatter and Plumper Face and Body , the Sinews , Lines and Muscles , not appearing as in Men and Women . In Drawing , begin at the Head , and so proceed by degrees to the Feet , running it lightly over at the first , and as you see occasion , encrease the fulness , let the parallel Joints and Sinews be equally proportioned , as also the Muscles , and their Attendants , and exactly opposite , and the Motions of the Body be answerable to each other , and the Limbs a true Symetry , one not being larger than the other , nor longer where Nature requires it not . In Shaddowing , observe to cast them ever one way , as in the figure of a Woman , if you begin the Shaddow at the left Cheek , you must continue the like on the left side the Neck , Body , and all other parts , unless the Light side of it requires to be Dark , by reason some other Body standing between the light and it , as put the case three Men stand together , the middle Figure must be darkened by the foremost , unless the light by facing it comes between them . Observe that all Shaddows , the further off they are , grow fainter , and circular Bodies must have a circular Shadow , according to the light that makes it . In Drawing a Figure standing , Draw that Leg the Body stands firm upon strait and steady , or else the Figure will seem to decline , as if it were falling . As in naked Figures , the out-lines are required to be Drawn first , so do it in Drapery or Clothing , leaving spaces within for your greater or lesser Folds , and break them into lesser , that may be contained within them , and the closer the Garment sits to the Body , the smaller and narrower must be the Folds , and in Shadowing the Innermost , it must be the harder , and the outermost the softer , continue the great Folds , but as for the lesser , break them off where occasion requires it ; and the finer the Drapery is , the finer and sharper must the Folds be , and the Shadow the stronger and finer to the Eye , always observing that the Garment that sits close , as the Body Coat of a Man , or Breasts of a Woman and the like , require no Folding , but rather with a sweet Shadow represent that part of the Body , that the Garment appears to cover , as Womens Breasts with a sweet round Shadow , and the like . Of Colours useful in Limning or Painting , and other matters . The next thing to be considered , the Cloth primed , and the Drawing put on , is the preparing your Colours , which in Oil Painting must be with Linseed Oil , unless for Linnen , and then Walnut Oil is a great deal better , for it will not turn yellow as the other in time will , when mixed with curious white . You must Grind your Colours on a Stone with a Muller , till they are as fine as Butter , &c. The Colours proper to be used in Limning are , The Blacks ; Sea-cole black , Ivory black , Lamp black , and Earth of Collen ; the White , White Lead ; the Green ; Terravet , Verditer and Verdigreace ; the Yellow , Spruce Oaker , Pink or Piment , and Masticot ; the Blues , Smalt , Biss , Indico , and Ultramarine ; the Reds , Red-Lead , Vermillion , Lake , Indian-red , and Ornatto ; the colours indisserent are Umber , Spanish-brown , burnt Spruce . These are the chief to be laid in Oil , but Ivory , Spruce-Oaker and Umber must be burnt before they are ground ; and as for Masticot , Ultramarine , Masticot , Vermillion , Smalt and Orpiment , you may temper them on your Pallate without grinding , though grinding is better , because it mixes them the better with the Oil , and makes them dilate and spread more easily : And what of these are to be burnt , perform it in a Crucible , taking care they be not overburnt , to lose their Tincture . Take care in the next place to get good Pencils of all sizes , proportionable to your Work , a Palate or Board to lay Colours ●● whilst you are using them , ●● Easle to place your Cloth upon or against , and a straining Frame , to which it must be nailed , a Mollstick or Stay , made of Brasil , or some ponderous Wood , not subject to bend , about a yard long , at one end tye a ball of ravelled Cotton , with a Leather over it , so that with your Left-hand , holding it against the Work , you may support your right Arm with it , whilst you are Working . Of Mixing or Tempering of Colours . To make a Violet colour , take Indico , White Lead and Lake , mix them well , and the more or less of each quantity , will make it deeper or lighter . A Lead colour make of White and Indico , well mixed and tempered together . For a Scarlet colour , take Lake , Red-Lead , and a small quantity of Vermillion . For a Flame colour , take Red-Lead and Masticot heightened with white . For a Light-green , take Pink and Smalt , and as you see occasion lighten it with white . For a Purple colour , take Spanish brown , Indico , and white , well tempered together . For a Bay colour , mix Spanish brown and white . For a Murrey colour , mix Lake and White ; and so by often tempering Colours , and Practice , you may find out the rest . Of the first Operation or Sitting . Having thus far proceeded , it will be time to begin your Work , and having laid your Ground for the general Complexion , and Drawn the Out-Lines , which you must do with Lake and White mingled , Drawing very faintly , that if there be any fault it may be rubbed out and amended ; the proportion of the Face Drawn , add to the former colour a small proportion of Red-Lead , tempering it faintly to the colour of the Cheeks and Lips , the tip of the Chin and Ears , about the Eyes and Roots of the Hair , placing red shadows , and the shadows must not be put in with the flat of the Pencil , but with small touches , after the manner of hatching , and in this wise go over the Face , and cover the Ground-work , with these and the like shadows , but in the dead colours your curiosity need not be great , only strive as near as you can to immitate Nature , for the roughness of the colours may be mended at the second operation . Having duly placed and proportioned your red Shadows , proceed to put your faint blue ●hadows about the Corners of ●he Eyes , and Balls , &c. and the greyish blue under the Eyes , and about the Temples , working them sweetly and faintly over by degrees , beginning the Shadow as the Light falls , as likewise the hard Shadows on the dark side of the Face , under the Eye-brows , Chin , Nose and Neck , with strong touches or those places , so pass to the light side of the Face , and bring all your Work together to an equal roundness ; yet at this time give not perfection to any particular part , but well view the Work , and consider how near you come to the Life , not only in likeness , but posture , colouring , &c. Having now wrought the faint Shadows into the red Shadows , you may take a touch ●● the Hair , disposing it in such Curls , Folds , &c. as best contribute to Grace and Ornament , only drawing it with Colours sutable to the Life , and deepen it somewhat more strongly in the deepest shadowed places , and so desist from your first Operation . Of the second Sitting or Operation . The Party to be drawn in this second Sitting , must take the place and posture as before , and now you must take a more curious survey of the Lines and Features , and as you drew them over roughly before , now is the proper time to sweeten them with the same Colours , by Working and Drawing them one into another , so that no rough edge or lump of Colour may appear , and you must do this with a Pencil sharper than the former , to render the shadow smooth and soft . This done , proceed to the Back-side of your Picture , and if there be a Curtain required , and it be supposed of Blue Satten , then temper Bice with your Oil , and draw the out-lines of the Curtain , as also your Picture , and lay it over very thin and airy with a large Pencil , that it may be the whole ground , intended to be done with Blue , and then lay it over again with a substantial Body , with the same colour , doing it swiftly that no part of the Colour may dry before it be all finished , and in the same manner you may lay the backside with any colour . This done , lay your Linnen of a fair white , and your Drapery flat , with the Colour you intend it , then view the Face again well , noting what shadows are too light or too deep , and labour to reduce the several shadows to their perfection , then draw the Lines out of the Eye-lids , and Shadow the entrance into the Ears , the deepness of the Eye-brows , and all the most material marks and notes in the Face , do this with a curious sharp Pencil , then heighten the Hair , deepening it as it appears in the Life , casting over the ground some loose Hairs , which will not only make it look airy , but seem as if the Picture stood a distance from the Curtain . In shadowing the Lines , which must be done curiously , use black , white , and a little blue , deepen the black with Ivory-black , and put to it a little quantity of Indico or Lake , and so the second Operation is finished . The third Sitting or Operation . Herein where you find any defect , or judge it reasonable , you must give strong touches , taking curious heed for the rounding of the Face , which will now be better accomplished than before , observing diligently what yet may conduce to similitude , as Moles , Scars , Casts with the Eyes , drawing of the Mouth , and the like . For Garments or Ornaments , the Ground for Blue being laid with Bice , the deepening must be Indico , and a little Lake , the Lightening white , very fine , faint and fair , and for the greater ornament , the Light may be mixed with Silver or Gold , but of Drapery more particularly in Mezzatinto Painting , for Pearl colour the Ground must be White and Indico , and the Shadow Pink and Black ; if the Body requires to be in Armour , let Leaf Silver be the Ground , and when it is well dried and burnished , work the shadow with Silver , Umber and Indico , and the shadow on the Silver as the Life directs . For Gold Armour , lay Shell-Gold for the Ground , or Liquid Gold , and shaddow it with Lake , English-Oaker , and a mixture of Gold. For Drawing a Fair Complexion . To do this , make a mixture of a small quantity of White , and twice as much Lake and Vermillion , temper them well with the flat of a Knife upon the Pallat , and let it be used as the deepest Carnation in the Face , then adding a little part more of White , reserve that for a lighter Carnation , and yet a third part being reserved , add more White to it till it comes to the lightest colour in the Face , and so proceed to prepare the faint shadows . In doing this , take Smalt , and mix it with a little White , which may conveniently serve for the Eyes , then separate the greatest quantity , and add to the rest a little Pink , and these well tempered will be sufficient for the greenish shadows in the Face , then proceed to prepare your deep shadows , do it with Pink , Ivory-black and Lake , a like quantity of each , temper them well together , and if the Complexion you Draw , requires redder shadows , add more Lake ; if bluer or greyer , more black , if yellower , more Pink. Having prepared your Palat with sutable Colours for a fair Face , consider again what other Colours are required ; if the Complexion be more Brown or Swarthy , and in such cases temper the Colours as before , putting a little quantity of burnt Oaker amongst the Lake , and Vermillion and White , that it may amongst your heightened Colours appear Tawny ; and in this case , temper so much Oaker as will just turn it ; and for your very deep , and very faint Shadows , use the same as for the former Complexion . For a Tawny Complexion use the same as before , however , prepare the Shadows , of burnt Oaker and Umber . For a very black or dark Complexion , prepare the Shadows as the foregoing , but as for your lightening , take Lake , Burnt-Oaker , with White and Black , however , but a little of the White must be put in at first , that by degrees it may be the better worked up , and observe that the single Shadows laid at first upon your Palate , and well tempered according to the foregoing directions , serve as Shadows for all Complexions . Further Directions for Colouring Garments , &c. These Garments , or Drapery , require to be made sutable in their Colours ; for Red therefore , lay the Ground with Vermillion , glaze it over with Lake , and heighten it with White . For Scarlet , let Vermillion be the lightest , deepened with Lake , and heightened with Indian red . For Crimson Velvet , lay a Ground of burnt Oaker , Vermillion and Indian Red , glaze it with Lake , and touch it up with Vermillion . For a sad Red , heighten Indian Red with White , and deepen with Black , Pink and Lake , well mixed together . For Green , heighten Bice and Pink with Masticot , and deepen it with Pink and Indico . For Green Velvet , lay the dead colour with a little White and Lamp-black , glaze it with Verdigrease , deepen with Pink and Indico , and heighten with White and Pink. For Yellow , use Masticot , Umber and Yellow Oaker , lay the dead colour with Masticot and White in the highest places , and with Oaker in the meanest , in the darkest with Umber , glazing when dry with Pink. For Blue Garments , take Indico and White , first laying the White in its due place , and then your mean colour , viz. Indico and White , well tempered in their proper places , then deepen with Indico , and when dry , glaze it with Ultramarine . For Black Garments , let the dead colour be Lamp-black and a little Verdigrease . and go over it when dry with a little Ivory-black , and when you have heightened it with White , go over the Work with Verdigrease and Ivory-black . For Orange colour , mix Lake and Red-Lead , laying the lightest part with Red-Lead and White , the mean part only with Red-Lead , and the deeper with Lake , and if it be necessary you may heighten with White . For a Cloth colour , let the Ground be Umber and White , and for the deeper Shadows Black and Umber , for the mean Oaker and Umber , and heighten it with Oaker and White , and so much for colouring Garments . Instructions how to Frame and Paint Landskips . In this Work of Painting with Oil , begin with the Sky and Sun beams , and the lighter parts , and then the Yellow , which must be done with Masticot and White , the next your Blue Sky with Smalt , leaving no part of the Ground uncovered , but lay the Colours smooth ●ll over , working the Sky downwards , towards the Hori●on , still suffering it to grow fainter as it enclines nearer to the Earth , and work the tops of Mountains and other Objects very remote , so faint as they may appear lost in Mist or Air , and as for the nearest and lowest Ground , it must be a dark brown Earth colour , enclining a little to Yellowish and Green , as the nature of it requires , the next a light Green , and so proceed gradually as they lose in their distance you must lessen their Colour , observing not to make any thing that is to be seen at a great distance , perfect or really , because you must imagine it is at such a distance that you cannot well discern it , but express it in Colours weakly and faintly ; as your Eye Judges it may be , always taking notice to place the Light opposite to the Dark , which will very much extend the prospect , and do it so that the Shadows may lose in their proportion of distance , their force by little and little , as they remove from the Eye , observing always to put in the strongest Shadows nearest ; put no Moon nor Stars but in a Night-piece , for they are not otherways naturally proper , because they cannot be well seen in the day ; if you imitate an over-cast Sky , where black Clouds threaten a Storm , the Shadows may be on the meeting parts of the Clouds , this may be also done with Colours mixed with Water wherein Gum-Arabick has been dissolved . If in any fair ▪ Landskip you express the Light of the Sun , always observe throughout the whole piece , that you cast the lights of your Trees , Rocks , Hills , Buildings , Ruines , and all other things expressed in it that way ; observe also to lessen your Bodies proportionable , as they are nearer or farther distant , and carry it off so far that the Earth and Sky , or Water seem to meet , Rivers as they run to a distance must lessen their Streams , so Ships or Boats , and the like . As for Living Creatures , Beasts , Fowls and Serpents , or Insects you must consider their proportion , shape and colour , and get Draughts or Patterns , which will be better than Printed Directions , and these kinds being numerous , for brevities sake I must omit to treat of them . To lay on Mezzatinto Prints on Glass . In undertaking this curiously lay the Prints flat ways in warm water , of the finest and thine : Paper , for that which is rough and thick will not do near so well , if at all , let them soa● well , and your Glass being very white and thin , go over it with Venice Turpentine spread thi● with a pliable Knife , and dab i● all over with your Finger , tha● the Turpentine may seem rough . This done , take the soaked Print and lay it on a clean cloth even , then press it with another ; to take out the Water then lay it on a Glass , the Prin● next it , beginning at one end stroaking outwards the part already fixed to the Glass , that neither Wind nor Water may ●e retained between , to wrinkle ●● , then with a little Spunge , or ●our Fingers , wet the backside , and lightly by degrees roll off ●he Paper carefully , without making holes , especially in the Lights , which are the tender●st , and when the Print appears very transparent on the backside , let it dry about two hours , then varnish it over with Turpentine or Mastick varnish , till you can see through it , and ● nights drying will prepare it to be worked on with Colours . If you would have all the Paper off , so that nothing but the Print should remain , lay it as before , with Oil of Mastick , and a little Turpentine , and a Brush will fetch off all the Paper . To Paint Landskips of Mezzatinto . As for the Posture to do any of this Work , the best is sitting to a true light , your Pencils must be fine , and in the first place glaze all the places that require , and if you would have them thin as they should be , and soon dry , mix varnish as they are laid on , and in four hours you may venture other Colours . In this Work glaze the nearest and greatest Trees , Ground them with brown Pink , or if you fancy them greener , use distilled Verdigrease , and where the Leaves and Weeds that appear in some Landskips very sprightly and extraordinary green , must be glazed with distilled Verdigrease , and Dutch Pink , the Trees appearing farther off with only the former ; the Hills , Rocks , Mountains and Trees at the greatest distance , glaze with Smalt , a little Lake , and Verdigrease thinly mixed with Varnish ; as for the Skies , use Ultramarine or fine Smalt , mixed with thin varnish , glaze it over two or three times with a large clean Pencil , and nimble strokes , if Buildings or Ruines of Buildings appear in it , finish them first , and the mixture of Colours , for these consist of Yellow , Black , White , and now and then a tincture of Red. To finish Ground Trees and Skies , begin with the nearest and largest Trees , do over the lightest Leaves with white Pink and a little Smalt , and neatly do over the darkest and nearest Leaves , with a little Pencil diped in Varnish , and those Tree ▪ you would have very beautiful , Paint with a mixture of Verdigrease , Yellow Masticot and White , the darker parts with white Verdigrease and Pink , as also those Trees you glaze with Verdigrease only , they being very light mixed with White . As for the Skies and Foreskips , if any Clouds appear , let them be touched with Varnish , and a light colour mad of White Lake and Yellow Oaker ; touch also with these the light parts of Hills , likewise Towns , and the remotest distance ; then mix White ar● Smalt , as light as conveniently may be , and Paint over the Sky add a tincture of Lake for the dark Clouds ; let the Colours lye even and thin , and where finished , give it time to dry , to make it look more lively , set ●he Picture against the light , that the Shadows may appear . Of Painting Figures this way , as Men , Women , &c. In Painting a Face , where there are deep Shadows , glaze and touch them thinly with crown Pink , Lake and Varnish , also the black Ball , and white Speck of the Eye , as you will be directed by the Print , the round white Ball must likewise be of a convenient colour ; if the Lips are to be of a curious Red , glaze them with Lake or Cazamine , and then begin with the dark side of the Face , and Paint the Shadows with the Colour more Red than usual , to do this , Yellow Pink , Vermillion and White are most proper and note , no Varnish must be used in Painting Flesh colours except in glazing the Shadows for the Varnish drys so fast that you cannot sweeten the Shadows of the Flesh . After this give a few touches on the strongest light of the Face , as the Forehead , top of the Nose by the Eyes , Chin and Mouth , which colour must be made white with pale Masticot , or Yellow-Oaker , and a little Vermillion mixed , according to the Complexion intended , then mix that colour a little darker , and lay it on all the Face that before you had not very carefully painted , yet that for the Mouth and Cheeks must be somewhat redder . Now with a fine clean Pencil that has been worn a little , hatch and sweeten the Flesh colours and Shadows sweetly together , taking care to cleanse ●our Pencil as often as it is re●uisite , so that whilst the piece ●s moist and wet , you may regulate Cheeks too pale , or any other defect . If the Complexion be Swar●hy , mix the Flesh-colour with White , Brown , or Yellow Oaker and light Red , with agreeable ●hadows ; and by this means ●ou may Paint naked Breasts , Bodies or Hands , always being ●areful that your Pencil be steadily guided , for the least slip mars the Feature , and trespass ●ot on Features and Lines of a ●isagreeing Colour . How to Paint the Hair. In this Painting you have no occasion to use Colours or Varnish near so dark as the Life , for the Print contributes to the darkening of it , as suppose yo● was to Paint Black Hair , you mix black Red-Oaker with a touch of light Red or Lake , and these may well produce an Ash-colour , and the Hair coloured with it , will show you a natural Black ; if you would make the Curls stronger , with a lighter colour , touch the lightest part and the darkest with the contrary , which you may well see through , if the Colours ar● not laid too thick . Of Painting Garments or Drapery . If you are to Paint Cloth or Drapery , in a broken colour , observe carefully its mixture , however you must make three degrees of that colour , one the proper colour , another more light , and the last darker , for it must be for the darkest folds , and the lightest for the lightest pleats , and that between both for the other parts . With a worn Pencil sweeten the Colour , so that the Folds may lye hard , and if you intend to make a Fringe , Imbroidery or the like , and to them with Shell or Powdered Gold or Silver , mix your Minerals with Gum-water , having a fine Pencil to Hatch or Imbroider the Flowers , and touch the Fringes and other Imbroderies before you glaze , after this manner . viz. I imagine the changeable Draperies Ground to be Purple , and the light Yellow , then must I take a fine Pencil dipped in Varnish , and thinly touch all the lightest parts of the Folds with Yellow Masticot , if there be occasion to repeat it , for it must be granted the Colour must be very thin with Varnish . When dry I must glaze all over with Lake , Smalt , or Ultramarine , once or twice with Varnish , and so it must dry , and then I mix three degrees of Purple colour , of Smalt , Lake and White , and lay them on as directed , and by these measures fitting your Colours sutable to your intention , you may Paint any other coloured Drapery , which in this little Book I want room to particularize . The Curious Art and Mystery of Japanning . To be a Proficient in this Art , several matters are required , and these you must consider as sutable , not only in property but goodness , that your Cost and Labour may not prove in vain . As , two Strainers made of Flanel , moderately fine , or of course Linnen , in the nature of a Tunnel , for to strain your Lac Varnish , and the other for your White Varnish , and the first of these may serve for Laccers , when your occasion requires you to make them ; besides these , there are required two Tunnels of Tin for the same Purpose as before , Glass Bottles and Vials small and great , must be in a readiness , as to suit with the quantities of Varnish your business requires you to use , and Gally Pots to put it in when you design to work , as also to mix your Blacks in , when they come to be ordered with other things . As for Tools , they are no less requisite , for without them , this Art would be insignificant , and therefore to furnish your self with them , you must have Pencils according to the greatness or smallness of the things intended to Work on ; those for the Varnish must be made of Cammels Hair very soft , and are of various prices as to the largeness or fineness ; like wise drawing Pencils , placed in Swallow , Duck , or Goose Quills , as the finess or largeness of the stroke requires , and the longest haired Pencils are accounted the best in this business , you must have in a readiness a considerable number of Muscle-shells to mix Colours and Minerals in , as the occasion shall require it , Dutch Rushes are another material useful in this matter , to smooth the Work before it is Varnished , or take off the knobs or grittiness from the Ground , or when it is Varnished . Tripoly is proper to Pollish this Work with when Varnished , being reduced into fine powder and sifced , as for Linnen Rags you must be provided with them , both fine and course , to clear and pollish this Work , also Olive Oil for a clearing ; as many of these things shall be directed hereafter , as they occur in due place , in the Work. Several things necessary to be used in this Art , &c. Of Spirit of Wine . This is of main use in Varnishing , and if it be not properly qualified , it will spoil the Varnish , and not be capable , for want of strength to dissolve your Gums , or make them spread , and so consequently lye uneven upon the Work , and to know when this Spirit is sufficiently rectified , put some of it in a Spoon , and put a little Gunpowder in , and if it burns out , blows up the Gun-powder , and leaves the Spoon dry , then it is a good Spirit , but failing in this , and leaving the Spoon moist when the flame extinguishes , it is not fit for your use . Of Gum Animae , Gum Lac , and Gum Sandarack . To chuse these well , as for the first , take the most transparent , clearest and whitest , which is the best . The second also called Seed Lac , chuse that free from dross , sticks or dust , large grained and bright . As for the third , take that which is large and very white , casting the least yellow , free from dust and dross . Of Shell Lac , White Rosin , Bo'e-Armeni●ck , and Venice Turpentine . As for the first , that is best which is most perspicuously transparent , will easily melt , and draw out with your Fingers as fine as a hair . As for the second , chuse for your use that which is he whitest and clearest . As for the third , that is most fit for your purpose , that is free from grittiness or gravel , and is of a blackish red colour , commonly called French-bole . Of Gum Elemi , Gum Arabick , and Gum Capal . As for the first , chuse the hardest , and freest from dirt and dr●ss . Chuse the second white and transparent . As for the third that is best for your use that is whitest , free from dross , and the thick dark stuff incorporated with it . Of Gambogium , Isinglass , Benjamin or Benzoin , Dragons Blood , &c. These are other things necessary in this Art , and ought to be well chosen As for the first , the best is that of a bright yellow , free from dirty thickness and dross . Chuse as to the second , that which is whitest and clearest , free from yellowness . As for the third , the best is that of a bright red colour , much like to clarified black Rosin , free from all dross and filth . The fourth , when the best , is of a bright red , free from dross , it may be had as the others at the Drugists , but the prices I set not down , because they generally rise and fall . Of Silver Dust , Brass Dust , Green Gold , Dirty Gold , Coppers , Powder , Tin , &c. The Silver Dust , the best is brought from beyond the Seas , and is known from the Counterfeit by being squeezed between your Finger and Thumb , giving a glorious Lustre , as indeed it does in the Work. Brass Dust , by Artists called Dust Gold , is the best made in Germany , the best is of a fine bright colour , nearest resembling Gold , try it as the Silver Dust ; as for the course sort , though it will work pretty well with Gold Size , yet it will not do so with Gum-water . Green Gold , a corrupt Mettal so called , is very good in this Work , for casting a fading Green colour . Dirty Gold is a corrupt Metal , casting a dark , dull , though Silverish colour , bearing pretty well a resemblance to dirty drossy Gold. Coppers are three sorts , Natural , Adulterate and Artificial ; as for the Natural , being cleansed it may be ground without any mixture . The Adulterate is most fit for a Ground , and serves commonly to lay other Metals on , as in hetching or heightening Gold or Silver on ; but the Artificial is of a higher and brighter colour than either : There are also used in this Art , those called Speckles of Copper Gold and Silver , and divers other colours differing in fineness , which may be worked as the Artist fancies , either on the outsides of Boxes or Drawers , or on Mouldings , and may be purchased ready done . Of Colours proper in Japaning . Some of these are called transparent , on which Gold and Silver are to be laid , or some light colour , so that by this means they appear in their proper colours , lively and beautiful . Of these , for a Green are Distilled Verdigrise , for a Red , fine Lake , for a Blue , Smalt , have to Grind these on , a Porphiry or Marble Stone , Grind with a Muller what quantity you please , with Smalt or Verdigrise , with Nut Oil , as much as will moisten the Colours , and grind them till they are as fine as Butter , put then the Colours into Shells , and mix them with Oil of Turpentine till they become thin for use , lay them on Silver , Gold , or any other light colour , and they will then become transparent , altering their lightness or darkness , according to that of the Metal or Colours that are placed under them ; this for a curious Red may be done with Lake , but then use drying Oil to grind them with . If you design Figures on the black of your Table or Boxes , as Trees , Birds , or Flowers , those may be done for White , with White Lead ; for Blue , Smalt , mixing it with Gum Arabick Water , and mingle them as you please , to make them lighter or deeper ; Flake white is a very pure White , but the other will do for ordinary Work , and you must use either of these with Smalt , or all other Colours that have not a Body of their own ; you may for a Purple use Russet , fine Lake , and Sea-green , and it may be done with other sorts of Reds and Greens , and except transparent Colours , all must be laid with Gum-water . Seed Lac Varnish how to make it . Your Ground Work is good rectified Spirits , of which you may take a Gallon , put it into a wide a necked Bottle as you can get , that the Gums may the better come out , then of the best Seed Lac add a pound and a half , let it Macerate twenty four hours , or till the Gums are well dissolved , with often shaking , to keep them from cloging together , then with Flannel Strainers strain it into a Tin Tunnel , placed in the Mouth of the empty Bottle , the Strainer may be made as before directed , and squeeze the Dross in the Bag , and throw it away as of no use ; then let the Varnish settle , and pour it off into other Bottles , till it rises thick , and no longer , then strain the thick part and settle that again , and keep the fine Varnish for your use , and this does as well , without the danger of attempting to boil it , which endangers firing the House , and the Party's Life . Shell Lac-Varnish , how to make it . This in curious glossy pieces of Work is not of value , but in Varnisht Woods it succeeds , to make , put to a Gallon of Spirit ● pound and a half of the best Shell Lac , order it as the former , and though it has no Sediment , it is proper however it should be strained , to take away the sticks or straws that may be in the Gum , nor will it ever be fine and clear as the former , but turns in a few days to cloudiness , yet is it fit for course work , and much used . White Varnish , how to make it . Take an ounce of White Gum Mastick , and an ounce of White Gum Sandarach , three ounces of the best and clearest Venice Turpentine , Gum Elemi half an ounce , Gum Capal an ounce and a half , Gum Benjamin or Benzoin of the clearest , half an ounce , and half an ounce of White Rosin , and the Gums being separated in their quantities provided , put the Rosin and ( Capal in a glass Vial , with half a pint of Spirits , that they may be dissolved , and to the same end , in a Glass Bottle of three quarts of Spirits put the Venice Turpentine , Animae and Benjamine , and in another Bottle the Gum Mastick and Sandarack , in a pint and a half of Spirits , then dissolve the Gum Elemi in a quarter of a pint of Spirits , powder very finely the Animae and Benjamin the better to dissolve in the Spirit , and then pour them off into one large Bottle , let them stand to fine as the former , and then strain them through a Linnen cloth gently , not hardly pressing the Sediment , lest you carry the grittiness of the Gums along with you , to injure the Varnish . General Rules for Varnishing . This is a point nicely to be observed , or your labour and cost may be in vain . 1. If you chuse Wood that requires to be Varnished , let it be exempted from knots , very close grained , smooth , clean , well rushed , and free from greasiness . 2. As for your Colours and Blacks , lay them even and exquisitely smooth , sweep all roughness off with your rush . 3. Keep your Work ever warm , but not hot to raise blisters or crack it , which no thing but scraping off all the Varnish can amend . 4. After every distinct wash , let your work be thoroughly dry , for neglect in this point introduces the fault of roughness . 5. After it is Varnished , let it lye by and rest as long as your conveniency will admit , and it will be the better . 6. Ever take care to begin your Varnish strokes in the middle of the Table , or what you do it on , and not from one end to the other , and your Brush being planted in the middle , strike it to one end , then take it off , and fix it to the place you began at , so draw , or extend it to the other end , and so continue it till the whole plain be Varnished over , and beware you overlap not the Edges , which is , when the Varnish hangs in splashes or drops on them ; therefore to prevent it , draw your Brush gently once or twice against your Gally-pot side . 7. When you have proceeded so far as to come to pollish , let your Tripoly be very fine , and the finer the Work , let it be still the finer , and use fine Rags , keeping your hand moderately hard upon it , and brighten or pollish one place as much as you intend , e're you leave it and pass to another , and always have regard , that you pollish your Work as smooth as you intend at one time , but if your conveniency will admit , let it rest two or three days before you give the finishing strokes after you have pollished it , but come not too near the Wood to make it thin and hungry , for then it will require another Varnish , or remain to your discredit . 8. Take a sufficient quantity of Tripoly at the first pollishing , till it begins to come smooth , and so lessen by degrees , and carefully observe there be no scratches or grating in it . 9. When you have a mind to clear up the Work , wash off the Tripoly with a Spunge , and soak up the wet with a fair Linnen Cloth , and with Lamp-black mixed with Oil , gently smeer the whole face of it , let no corner nor moulding of it escape , that the whole Piece may be freed , then with other Linnen , and a hard hand cleanse it of that , and these things done there will be an admirable gloss . For white work , let your pollishing be gentle and easie , do it nimbly , and clear it with Oil and fine Flower , and in exactly observing these Rules you will prove an Artist . Of Black Varnishing , or Japan . Provide for this imatation of Japan , a close grained Wood , well wrought off , Rush it smooth and keep it warm by a Fire , but never so near as to burn , scorch or blister your work , then add to Seed-Lac-Varnish , as much Lamp black as will at the first strokes colour the Wood ; do it three times , permitting it to dry well between every doing , and also Rush it well , then with a quarter of a pint of the thickest Seed-Lac , mixed with an ounce of Venice Turpentine , put in more Lamp-black , so much as may well colour it , and with this wash it six times , leting it stand twelve hours between the three first and the three last washings ; then with the finest Seed Lac just tinctured with the Black , do it over twelve times , leting it dry between every time doing , after which let it remain for five or six days before you pollish it . At the end of that time , take Water and Tripole and Pollish it , having first dipped your Cloth in Water , and rub it till it gains a very fine smoothness and gloss , but do not rub so as may any ways wear off the Varnish , which cannot be easily repaired , then use a Rag wetted without Tripole , and clear it up with Oil and Lamp-black , yet Pollish it not all at once , but let it have some days respite between the first and last Pollishing , and at least three or four days . White Varnishing or Japan . This must be curiously done without any soiling , and therefore you must be cautious of letting any dirty thing come near , whilst you are doing it . To begin this Work , scrape as much Isinglass as will make it of a reasonable thickness , or when dipping your Pencil into it , it will with a stroke whiten the Body which has been passed over with a Brush , but let it be in neither of the extreams , too thick or too thin , then mix it with your Size , whiten your Work over with it , and when dry , repeat the same , covering it from all manner of Dust before it is Varnished ; it must be whited three times , and dried between every one of them , smooth , and lay it as close as you can to the Wood with your Rushes ; then mix White Flake with your Size , only so that it may lye with a full and fair body on the Piece , and whiten your Work three several times , with this drying between each , then make it with your Rushes very smooth , but keep your distance from the Wood. In the next place , take white Starch boiled in fair Water till it come to be somewhat thick , and when it is luke-warm , wash over your Work with it once or twice , drying between whiles , and let it then stand twenty four hours , then take the finest of the white Varnish I have directed you to make , wash your Pencil in Spirits , and wash or anoint your Work six or seven times , and after thirty or forty hours , do the like again , and if done with a dexterous hand , a better gloss will be set on it than if it had been Pollished ; but if it miss of that gloss , it is requisite that you Pollish it ; and in order thereto , you must accommodate it with five or six washes of Varnish more than the former , and it must continue to settle well about a Week before you Pollish it . In Pollishing , your Linnen and Tripolee must be of the finest , being neat and careful in all this operation , your hand carried light and gentle , having your cloth neither too dry nor too wet , and clear it up with fine Flower and Oil. Isinglass Size , how to make it . Break and divide an ounce of Isinglass into little pieces , put it into a glazed , clean , and well covered Pipkin , and let it for twelve hours soak in a pint and a half of fair Water , then place it over a gentle fire , till it boil well at leasure , and when the Water is consumed to a pint , let it stand to cool leisurely , and then it will be a Gelly , and may be used in the White Varnish and other Works , but make no more at a time than you will use , for in two or three days it will prove naught . Red Japan , to make it . The Reds are properly three , viz. the Common Red , the Deep dark Red , and the Lightpale Red. In the first Vermillion is proper , mixed with the thickest of Seed Lac , warm the work and mix your Vermillion with the Varnish in a Medium , carry it over it four times , permitting it to dry as the former ; and if your Reds be in a good body and full , Rush it smooth , then with the ordinary Seed Lac-Varnish wash eight times , and after twelve hours Rush it again ; and then for a curious outward covering , give it eight or ten washes with Seed Lac-Varnish , and after five days Pollish it , and clear it with Lamp-black and Oil. Of the Dark-red . The Common Red laid as before directed , deepen it with Dragon's-Blood mixed with your Varnish , and when it has pretty good colour , go over it with Lac-Varnish , which will much deepen and strengthen the Colour , and in all things else , as to Pollishing and Clearing , do as in the former Red. Of the Pale-red . To do this , grind white Lead with a Muller on a Stone , and when it is finely done , mix it with so much Vermillion as will make it a Pale-red , mix Varnish with them , and give the Work four washes , and follow the prescription of the Common Red , considering well , that the after-Varnish will heighten the Colour . An Olive coloured Japan . Take English Pink colour , grind it with common Size , and when it is like Pap mix with it a proportion of Lamp-black and White Lead , and work it as in other Japanning . Chesnut coloured Japan . To do this , take Indian Red , or else Brown-red Oker , grind it well , and mix it with ordinary Size , then grind a little white Lead extraordinary well with the small Size , mix with it Lamp-black , and so both with the Indian Red-Oker , stir , and well incorporate them together , if the Colour be too bright , darken it with the Lamp-black , if too dark , lighten it with white Lead , and so bring the Colour to your Mind ; considering always that your Varnish will heighten it . With this wash over your Work , let it dry , and repeat it till your Colour lye , full and fair , Rush it smooth , but not close to the Wood , unless you design anew to begin your Work , and give it a second Varnish . After it has stood three or four days , give it a Lustre with Seed-Lac , and when dry fit it for Pollishing with white Lac-Varnish , and clear it with Oil and Lamp-black . Blue Japan . To do this , grind white Lead very fine , add Smalt as finely ground , mix them with Isinglass Size , the white Lead grind with Gum-water , let there be a proportion of White and Blue , and mix them well to the thickness of common Paint , go over your Work with it , and when it is well dry , proceed so three or four times , till the Blue lyes with a fair body , Rush it smooth , and go over it again with stronger Blue , and when dry wash it with the clearest Isinglass Size , having a new Pencil for that purpose , then when it is dry , warm it by the fire , and go over it with a Pencil dipped in white Varnish seven or eight times , and so let it continue for a day or two , then wash it as often as before , and so continue many operations at intermitted times ; for a week at least must pass , before you can well venture to Pollish it , and when it is Pollished , Clear it with Oil and Lamp-black . Note , that in no wise you mix your Colours with Isinglass Colours too strong , lest when dried , they be apt to crack , fly , and spoil the Piece , but when you lay your Wash of clear Isinglass , to keep your Varnish from tarnishing , or soaking into your Colours , then it is proper that it be of a full and strong body . And thus much may very well suffice the Learner , to give him an insight into this excellent Art , from whence I shall proceed to other things , useful and profitable . Of Speckles , for the Adorning Japan'd Work. Mix so many Speckles as you have occasion for , with ordinary Lac Gum-Varnish , so much , as when they are put into a Gally-pot , will fit them for working with a convenient Pencil , but not so thick as Colours , keep them stirring very well with a Brush , and generally warm by the fire : This continue till you perceive the Speckles lye thick and even to your mind , so beautifie them with three or four washes of Varnish , mixed with Turpentine , and this , unless you intend to Pollish , will be sufficient , but then you must give it after all this eight or ten washings with the Prime Lac-Varnish , drying between whiles , and then Pollish ; and on this manner you may lay on all coloured Speckles ; but Silver requires Seed Lac-Varnish , and the best White Varnish e're it can be brought to a good Pollish , but if not to be Pollished , you may spare your Varnish . To lay on Speckles in Japan Work , &c. If you design to Adorn your Work with Flowers , Rocks , or Garments , &c. Varnish the places intended with a fine Pencil , and through any small Sieve shake the Colours you design , whilst the Varnish is wet , and sweep up in Rock-Work all Speckles that straggle on the edges , with a new dry Pencil lodge them on the sides and top of the Rock , which sticking , will render the Work more beautiful , and give it a Shadow or Reflection . This must be done with all diligence , and no intermission had till finished , till once covered , and being once dry , operate again , and so one upon another successively , to shape it to your mind ; and in sweeping the Speckles , intermix not one portion of scattered parts with the other , that are of a different colour , but every parcel in the proper station , to beautifie the better : At first when laid , it will look dull and heavy , but the securing Varnish in a little time will add to it a pleasant , beautiful colour ; and so you may do Flowers , Trees , Garments , and many pleasant things to Adorn your Work. Wood , how to overlay with Gold or Silver . To prepare this Work , yea must be furnished with Parchment-Size , that is , the cuttings of Parchment boiled in fair water to a gelly , and when strained and cooled , it will prove a strong Size . When you are to use it , put as much as you shall want into an Earthen Pot , and make it hot , then as it is cooling , scrape as much fine Whiting into it as will colour it , mix them well with a clean Brush , and with this mixture white your Wood or Frame , striking or jobbing your Brush against it , that it may the better enter in the hollownesses of carved work , then give it rest , that it may dry . This done , melt the Size again , and put in more Whiting to render it some degrees thicker , and with this , do over the Frames seven or eight times , or as you see there is a necessity , and when it is dry , open with a Gouge no bigger than a Wheat-straw , the Veins in the Carved Work , that the Whiting has stopped up , then with a fine wet Rag and your Finger , carefully smooth and water , plain it over , and Rush it smooth when dry , if necessity require it ; and in this condition it will well receive your Gold or Silver Size ; but before I proceed , I shall teach you to make these Sizes . The best Gold-Size at present in use . Take an equal quantity of the best French and English Bole-Armoniack , grind these fine on a Marble stone with fair water , then scrape into it a little Candle grease , incorporate and grind all these well together , then mix a little quantity of Parchment-Size , with a double proportion of Water , and the business is done . The best Silver-Size in use . Grind fine Tobacco-pipe Clay very small , mix with it as much Lamp-black , as will turn it of a light Ash-colour , and to these add bits of Candle grease , grind them very fine together , a mixture of Size and Water , and try these on the corner of the Frame , if it be rough in burnishing , put more Oil or Grease , and as near as you can bring it to a due temper , that it may work well . To Size your Frames , or other matters . To do this , make the Size Wood-warm , and with a fine Brush stir it very well , till it is somewhat thin , go over the Frames with it twice or thrice , yet touch not the hollow parts of the deepest Carvings , where the Gold cannot conveniently be laid , for the yellow colour nearly resembling first laid on , the fault will not soon be discovered ; let it dry four or five hours , and then try the Gold if it will Burnish on it , if not , alter the Size , and do it over again . To lay on the Gold , in order to Burnishing . Let your Frame or other matter intended , be set on a Hazle , place the Leaf Gold o● a Cushion to be held in your left hand with the Pallat and Pencil , you must for this work have a Swans-Quill Pencil , or a larger of Camels hair , if the Work require it , dip it in Water , and wet no more of your Frame at a time than will take up three or four Leaves , make your beginning at the lower end , and so proceed upwards , laying on whole leaves or half ones , as it requires , then wet such another part of your work , and lay on the Gold with your Pencil or Cotton , gently pressing it very close ; and having Gilded the upright sides , turn the Frame , and proceed the same way with the ends , then survey the spots and places that are omitted , and cut small parts of Gold to cover them , when wetted with a smaller Pencil than before , when it is so finished let it stand till the next day that time you leave off . To Burnish the Gold-Work . Take a Wolf or Dogs Tooth , if you cannot get Aggats or Pebles formed into the same shapes , and Burnish so much of the Work as you design , leaving the Ground of the Carving untouched , and some other parts as you see best convenient , which in respect of the Burnishing being rough , the better sets it off : That which is omitted to be Burnished , must be Matted , or secured with Seed Lac-Varnish or Lacker , if you design it a deeper colour , then must your Work be repossest or set off with Lacker , mixed with Saffron and Dragons-Blood , or the colour called Ornator , and with a fine Pencil dipped herein , touch the hollownesses of the Carving , and the Veins of the Foldages or Leaves ; if you fancy it is not deep enough , you may by a repetition make it so , and the Work is done . To lay on Silver-Size . Warm the Silver Size that is newly ground and mingled well with weak Size , as you did the Gold Size , do it once or twice , and let it dry , and try the Leaf Silver , if it will Burnish on it , it is prepared for the Work , but if it will not make an alteration in the Size , and for the rest , lay on the Leaf-Silver , and do as you did by the Gold , and it will answer . Note , as farther Rules , and ever observe them . 1. Let your Parchment Size be somewhat strong , keep it not long , least it spoils . 2. Grind no more Silver or Gold Size than just you have present occasion for . 3. Ever keep your Work clean from Dust , after it is Sized and Gilded , or else in the Burnishing it will be full of scratches . 4. Do not Whiten or Burnish Gold Size in hard Frosty Weather , for then the Whiten will be apt to peel off , and the Gold flaw . The Art of Gilding Mettals . To Prepare the Gold. Take Ducket , or Leaf Gold , what quantity you desire , observe to beat the Ducket very thin , and put this Gold with as much Quick-silver as will just cover it into a Gally-Pot , where let them continue half an hour , where immediately after the mixture stir them with a stick , then strain them through a piece of Leather , squeezing with your hand till you have forced out as much Quick-silver as you can industriously do , so that what remains in the Leather , looks more like Silver than Gold , yet this only must be employed in Gilding after the following manner . To Gild with Gold , Silver , Copper , Brass , Princes Mettal , &c. Brush first your Mettal well , with a Wire Brush , wet it with Water or Beer , and brush on till the dirtiness or filth be quite removed , that the Gold may more closely join it , prepare then your Quick-silver , by mixing it with a little Aquafortis in a Vial , three or four drops of the Aquafortis to an ounce of the Quick-silver , quicken your Work with it , viz. rub it over with a Rag or your Finger , till it appears all Silvered , or touched . This done , Take your prepared Gold , and with a small Knife , or Iron Tool proper to the purpose , spread , or overlay the whole piece , omitting no part , give it two or three little heats , before you give it a thorough heat , so that with a Hair Brush like a Comb Brush , you may dab and spread your Gold , these little heats making the Quick-silver more ready to comply ; then give it the thorough-heat , which will compel the Mercury or Quick-silver to evaporate or fly away , then take it from the Fire , and with a scrub Brush , untouched with Quick-silver , cleanse it as at first ; if you perceive any untouched spot of Quick-silver , the Gold must be laid on it again , when it is cleansed with a scratch Brush , and after this manner you may heighten its colour if you see it necessary . To heighten the colour of Gold. Take an equal quantity of Salt Argal and Brimstone , mix them with as much fair Water as will cover the gilded Mettal when put into it , boil them well , and tying your Gilded Mettal in a string , plunge it in for a little space , often plunging , and looking as often on it as you draw it out , and when the colour is heightened to your expectation , dip it in cold water , and the work is done ; you may in the foregoing manner double or treble Gild , till the Gold enriches it to a lasting thickness and colour . To Counterfeit Tortoiseshell . To do this well , let the Wood you intend to work on , be very close grained , clean and smooth wrought off , as Pear-tree , or the like ; but if rough grained , you must Prime it with Whiting , as you are taught in Black Japaning , for coarse grained Woods , Rush it smooth and go over it with Seed Lac-Varnish , the breadth of a Silver Leaf , which take up with Cotton , and lay on it moist , as close as may be ; then wash again , and place on another Leaf of Silver , and so continue till the Wood is over-spread with Silver , and when dry sweep off all the loose Silver with a hair brush , then finely grind Collins Earth , and m●● it with Gum Water or Common Size , and with this , havit , added more Size or Gum Wat●● than it was ground withal , S●● or Cloud the Ground-Wor● having a fine , true , natural Shell by you to imitate , and when this is done , you will perceive several Reds , lighter and and darker , appear on the edges of the Black , and many times lye in streaks on the transparent part of the Shell ; to imitate this finely , grind Sanguis Draconis with Gum water , and with a fine Pencil draw those warm Reds , flushing it in about the dark places more thick , but fainter , thinner , and lesser of colour towards the lighter parts , so sweetening it , that it may in a manner lose the Red , being sunk in , in the Silver , or more transparent parts . VVhen it is done and dried , give at least six washes of Seed Lac-Varnish , and when it has continued twenty four hours , Rush it gently , and when it is smooth , and fit for the second operation , grind Gambogium very finely in an equal small quantity , put these into as much Seed Lac-Varnish , as will serve to wash it another six times , then let it stand twelve hours , and give it the third Varnishing , and with the last mixture wash it so often , that the Silver is changed to a Golden colour , and the work is done . To Dye Wood a curious Red. The VVood that takes this colour must be very white , and to begin it put a handful of Allom in a moderate Kettle of water , and cast your wood into it , and when well soaked , take it out , and put in two handfuls of Rasped Brasil-wood , and when that has boiled well , put the wood in again for a quarter of an hours boiling , and it will take the colour . To Stain a curious Yellow . In this case , take the knotty Ash or Bur , that is very white , knotty and curled , Smooth and Rush it very well , and when it is well warmed , wash it over with a Brush dipped in Aqua-fortis , then hold it to the fire till it desists to smoke , Rush it again when dry , then Pollish it , and Varnish it with Seed-Lac , and it will be of a curious colour , not inferiour to any Outlandish Yellow wood , and if you put filings or bits of Metal , as Copper , Brass , &c. each Metal will produce a different tincture . To Stain or Dye Wood Black. Boil Logwood in Water or Vinegar , and two or three times Brush or Stain your Wood with it when very hot , then take Nut-Galls and Copperas , bruise them well , and boil them in Water , and with it Wash or Stain your Wood so often till it be a perfect Black , or rather steep it in the hot Liquor if you can put it in , and the Dye will penetrate the better . To Dye or Stain Wood for Inlaying of Flowers or other things in Cabinets . Get moist new Horse-Dung , and squeeze out the moisture through a Cloth , put it into several small Vessels fit for your purpose , and dissolve Gum Arabick , and Roach Allom , each the quantity of a Walnut , and with these mix Reds , Greens , Blues , or any Colour that is sutable to the work , stir them often three or four 〈…〉 then take your Wood , particularly Pear-tree for VVhite , cut into the thickness of half-crowns , or so much as will suffice any Inlayed work , and in a square or length , according to your desire , boil up the Liquors or Colours very hot , and put in the VVood till the Colour has well taken ; some indeed you may take out sooner , that the Colour being less strong , may the better agree with your particoloured Flowers , Shading and the like . To Dye or Stain , Ivory , Bone or Horn Red. Soak fine Lime about twelve hours in fair Rain VVater , then pour off the VVater well from the settling through a Linnen Cloth , and to each Pint put half an ounce of Rasped Brasil wood , and having boiled your materials in Allom water , boil it in this , and it will give a curious tincture . To Stain Horn , Bone , Wood or Ivory Green. Prepare your materials , by first boiling in Allom-water , then grind the common thick Verdigrise , or Spanish Green , a moderate quantity , adding half as much Sal-Armoniack , and put them into the sharpest VVine Vinegar , as also the materials you intend to Stain , and keep them there hot till they have taken a good tincture . To Stain or Dye , Horn , Box or Ivory a curious Black. To do this , put small pieces of Brasil VVood into Aqua-fortis , and so continue them , till they appear green , then wash well your materials in them , and boil Logwood in VVater , into which put them whilst they are warm , and in a little time the Ivory , &c. will be of a curious Black , so that being Pollished it will look like Ebony or Japan , and if you would have any part for Flowers , or the like remain white , draw them before staining with Turpentine Varnish , and the black will not touch them , and afterward you may hetch them , and clear up with Oil and Lamp-black . To Stain Skins Green. Bruise a good quantity of the Leaves of Night-shade very well , dissolve in the Juice well strained out about two ounces of Allom , then put in half an ounce of Verdigrise , suffer them to stand over a very gentle fire twenty four hours , then warm , dip in a Brush , and strike over your Skins , let it dry , and repeat it till it has taken a pleasant Green. An approved way to colour White Leather . These Skins must be hung in Lime or Chalk VVater , that the VVool or Hair may be entirely stripped off , and they become supple , stretch them smooth on Tenters , brush them over with Allom-water very warm , and so tincture them with the Colours you design , sutable to your purpose . To put a curious Black on Leather . Take two pound of the inward Bark of an Old Elder , the like quantity of the Rust or Filings of Iron , put these into two gallons of Rain-Water , and close them right up in a Vessel , and when they have stood about six weeks , put in a pound of Nut galls well bruised , a quarter of a pound of Copperas , let them simper a considerable time over a fire , and after twenty four hours standing , and often stirring , pour out the Liquid part , and go over your Leather with it warm , and it produces a curious German Black. To colour Leather a Bright Red. Dip your Leather first in Allom water , and rub it well therein , then take stale Urin , boil it till it is half consumed , scum it well , and put to it an ounce of the best Lake , Rasped Brazil wood two ounces , and an ounce of Allom , add to these half an ounce of Sal Armoniack , stir them well-over a moderate fire two hours , pour off the Liquid part , and brush over your Skins with it , till it takes a good tincture , remembring ever to let the Skins in all Colours dry well , between each going over with your brush , and your expectation will be answered to a very considerable advantage . A curious French Yellow for Skins . Take Wood-Ashes and Chalk , of each a like quantity , and then you have made a good Ley with Rain water , strain out the finest part , and set it over the fire , then put in a sufficient quantity of Turmerick well bruised or beaten to Powder , and as much Saffron as may give a lively Tincture , let it stand over a moderate fire , but not boil , till it becomes pretty thick , and being warm colour the Skins with it . For a deep Blue , or Purple . Strain out the Juice of Elder-Berries , put to two quarts , an ounce of Allom , half an ounce of Smalt or Indico , set these over a gentle fire , and when warm , brush your Leather over with this composition . For a Crimson Colour . Dissolve Cake-Soap in Fair Water and Bole Armoniack , each three ounces , place them over a gentle fire till the Liquor grows clammy , then put in a little handful of Grains of Cochineal , two ounces of Red-Lead , an ounce of Lake , and a quarter of an ounce of Vermillion , a little piece of Indico , mix these well over a gentle fire , till they are the thickness of the glear of an Egg , then go over the Skins with a soft brush dipped into it , till the Colour arises to your mind . To Imitate the Turkey-Blue . Take two ounces of Smalt , a quarter of a pint of Red Wine , half a pint of Vinegar , an ounce of White Starch , incorporate these over a gentle fire , till they come to a moderate thickness , then soak the Skins with Allom Water ; add to the composition a pint of Water , wherein Gum Arabick has been dissolved , and stir it well , go over the Skins three times , drying them between whiles , and when well dryed , Pollish them over to render them glossy . For a Light Green. Take the Juice of the Herb called Horse-tail , add to it a little Allom , Verdigrise and Copperas . To Cover or Dress-Skins with Gold or Silver . Grind Brown-red with a Muller , on a Marble Stone , add to liquidate it a little Water wherein Chalk has been dissolved , and lightly go over the Skins , till they look whitish , and before they are dry lay on the Leaf Gold or Silver , a little lapped over one another , that no space be found wanting , and when they stick well to the Leather , and are dry , Pollish them over with smooth Ivory , or a Horses Tooth , and it will give a very glorious Lustre ; the Silver you may Lacker over with Lacker Varnish , and change it into a Golden Colour . Or another way , take Gleer of Eggs , or Gum-water , brush the Skins over with it , and lay on your Leaf Gold or Silver , doing as before . To make Skins look Shining ; without Silver or Gold. Take Gum water , the Gleer of Eggs , and the Powder of Antimony , grind and mix them well together , and the Skins ●eing dry , lay it on them with a Brush three or four times , letting them dry every time between ; then burnish them over , and they will have a curious gloss like Silver , which tinctured with Lacker Varnish will produce a Fading Gold Colour . To Dye Bristles a Red Colour . To Dye Bristles a Red Colour . Take half an ounce of Allom , a quarter of an onnce of Vermillion , and an ounce of Raspe Brasil-wood , put these into pint of Vinegar , and boil the moderately thick , and dip the Bristles when it is very ho● and continuing there a time they will be a fine Red ; you ma● make larger quantities of the Liquor , with ingredients proportionable ; and thus Dye Feather . Feathers or Bristles Green. Take Verditur and Verdi grise , each an ounce , put them into a pint of water , soak the Feathers or Bristles in hot water , and then put them into this Liquor boiling-hot , and let them remain till they have taken a good colour , and so according to the complexion of your Dyes , you may Colour them this way any Colour . For Blue , let your Dyes be Indico and Bise . For Black , Galls and Log●ood , with a little Copperas . For Purple , Lake and Indico . For Carnation , Smalt , and Vermillion . For Yellow , Yellow-Berries and Saffron , dissolving a little Tartar in your water . For Orange , Turmerick and Red Lead , and so of any other Colours you fancy . Or Dying Silks , Stuffs , Cloths , Thread , and other things , of divers curious Colours . To Dye Silk a Sanguine Colour . Take a pound of Green-weed , as much Allom , bruise them and pour on them fair water , add half a pound of Rasped Brasil , set them over a gentle fire , well to mix them , then put in the Silk , suffering it to seeth therein then , and so continue it , by strengthening your Dye and dipping till you perceive the Colour has taken well ; after that rinse it in Leys , Wood-Ashes , or Oak-Bark , and so clear it with fair water , dry it , and press it . To Dye Silk a deep Carnation . Take Whitegall and Allom , the Herb called Foli well dried , to the quantity of a pound , two ounces of Spanish-red , four of Indian Lake , boil them in fair water over a gentle fire , and when they come to a height of tincture , dip your Silks into them , and let them have ●ood dippings three or four tim●● and the Colour will take very well . To Dye Silk Quoins Red. Let these be steeped well in ●llom-water , then give them a gentle heat , adding in the heat●ng Bran-water , a pound and a half of Green-weed , so heat it up , and put the Silk into it , but let it not seeth , then rinse ●●in Leys of Wood-Ashes , after that in Water , then put in ●our Logwood Rasped or in Powder , and so heat it up a second time , and so in thrice well dipping , the business will be accomplished . To Dye a curious Yellow . Take Wood , the Stalks , Seeds and Leaves , and lay them to soak in Wood-Ashes Leys three hours , then feeth it till it is sufficiently sodden , and put it into a mixture of ho● water and Urine , so heat it up and strain the Liquid par● through a Sieve or Strainer adding Verdigrise , and so boi● it up with the Ley already sod , stirring and well mixing the Liquor about three hours , and when it is very hot , dip three times . To Dye Silk a Rose-red . Take to every four yards an a half you intend to Dye , a pound and a half of Nutgalls , boil them in fair water unbruised two hours , shift the water , then put in the Silk or Linnen , letting it soak four hours , then wring it dry , and heat it in fair water , wherein Allom has been dissolved , then put in half a pound of Brasil Powder , and a pound of Green-weed , and so by dipping in gentle heats , the Colour will heighten . A good Black Water , for Silk or Cloth. Take an ounce of Lamp-black , half a pound of Nutgalls , bruise the latter , and put them into a Pottle of Water , with a handful of the Filings , or Rust of Iron , heat them up , adding a quarter of a pound of Copperas , seeth it to a third part consumption , then add half a hint of Gum-water , and it will not only be for present use , but keep long , and be a very good black . To Dye Purple . In this case if you Dye Silk , you must take to each pound of an ounce of Allom , and a gallon of water , dissolving the Allom therein over a gentle fire , then put in the Silk , and let it continue there about four hours , then take Lake and Indico , each a quarter of a pound , a quart of Urine , then adding a little handful of Cochineel , heat them up into a Dye , and dip your Silks or fine Stuffs into it as usual . To Dye a very fair Blue . Take any Silk , Stuff , or Cloth white , and soak it in water , that done , wring out the water very well , and add two pound of Would , a pound of Indico , and three ounces of Allom , give a gentle heat in fair water , and so dip till you perceive the Colour take well . Carnation . To make this a curious right Colour , take dried Purper , soak it in Man's Urine for a Night , then take what you have to Dye , and soak in Allom water twice , seeth the Purper in fair water , and then set another Vessel to receive the Liquor , and dip therein . For a Pleasant light Red. Boil two gallons of Wheat , and an ounce of Allom in four gallons of Water , strain it through a fine Sieve , dissolve more Allom , half a pound , and as much of white Tartar ; add three pound of Madder , to perfect the Colour , and put in your Stuff , Cloth , &c. at a moderate heat . Black for Velvet , &c. Take half a pound of Copperas , a gallon of Smiths-water , two pound of Galls , burne Ivory , Oak Bark , and Shoemakers Black , each an ounce , well ground , two gallous of fair water , mix them well , and set them in the Sun , or other warm place a Month , often stir it , and at a moderate warmth dip your Vesvet , or other things designed for deep blacks . To make Red Water for Silk or Woollen , Violet , Green , Azure or Yellow . Take two gallons of fair Water , four ounces of Brasil , and being half consumed in heating up , remove it from the fire , put in an ounce of Grains , a quarter of an ounce of Gum Arabick , with a quarter of a pound of Allom well bruised , and having stood all Night , it may be well used in the Morning . To Dye Woollen , Yarn , or Wool. Take two pound of Wood , to every four pound of Yarn , &c. and two gallons of Water ; put more , two handfuls of Wood Ashes , and when it seeths , put in the Yarn or Wool , and let it continue half an hour , or somewhat more , then wring it , and put it in again , and let it seeth as long as before , and if it were a brown Blue , it will be a dark Green , or of a white Yellow colour . To make Bran-water . This is very necessary in Dying , and therefore you ought to know how to prepare it ; do it with half a peck of Wheat-Bran , to two gallons of Fair water , over a gentle fire , and half a pound of bruised Allom ; suffer it to stand about a week , with often stirring before you use it . To make Grey Florrey . Let the Florrey be soaked twenty four hours , then wring it through a Cloth , and take Ashes of Vine-Sprays , and with them make a Ley , and upon a Table spread the Florrey , about two hours , put the Ley into three Vessels , and shift the Florrey out of one into another , and before you dip , put Vinegar in , and the Florrey will be well ordered , and your Colour good . To Dye Linnen with Crampenade . To three Ells of your Linnen , use a pound of the Crampenade , and a gallon and a half of water , and so to a greater quantity proportionable ; let it stand over a fire till it begins to seeth , put in at that time two ounces of Galls , and then your Linnen , and when you take it out , which must be often , wring it , and put it into Allom water ; but if you would have the Colour darker , it is requisite to have a Ley of unslacked Lime , or Chalk Stones . To Dye a good Red in Linnen , Thread , or Cloth. Soak a pound of Sam-fleure twenty four hours in two gallons of water , suffering it to heat over a gentle fire , add two ounces of Vermillion , half a pound of Rasped Brasil , and an ounce of Allom , dissolved in a pint of fair water , and dip , and order your materials as in other things . Thus Reader , have I given you a good Insight into the Mystery of Dying Silks , Stuffs , Cloths , and other things relating thereto , which may by Practice prove advantageous . The Art of Perfuming . To make Essence of Hypocras . Take a strong Glass Bottle , and put half a pint of Spirit of Wine into it , add an ounce of Cinnamon , half an ounce of Cloves , a gross of Ginger , and as much Coriander as you can hold with your Fore-Finger and Thumb well beaten , three or four grains of black Amber , or Ambergrise beaten in a Stone Mortar , stop the Bottle very fast , and set it on Sand , exposing it to the Sun for a Month : the Bottle in this case must not be full , nor stand out in the Rain ; This is a curious and wholesome Perfume . Essence of Amber . Put a pint of Spirits of Wine into a strong Glass Bottle , and beat in a very small Stone Mortar , a gross , or the eighth part of an ounce of black Amber , or Ambergrise , put it into the Spirits , with half a gross of the Bladder of Musk very small , so stop it close , and set it for a fortnight as the former , shaking it two or three times a day , when the Sun shines hot upon it , but fill not the Bottle full , left the Spirits break it ; and then let it stand still another fortnight , and it is done . Rosa-Solis , or perfumed Liquor . Put two pints of Water , and two pounds of Sugar in a Copper Pan over a gentle fire , and let them boil to the consumption of a fourth part , then put in two Spoonfuls of Orange-Flower Water , then throw in the White and Shell of an Egg , well beaten with a whisk , and stir the Egg well in the Liquor with it , take it off when it boils , and strain it through a bag several times , and when you perceive it well clarified , pour in of the best Brandy , and then Essence of Hypocras or Amber , and you will have excellent perfumed Solis . Angel-Water . Put into an Earthen Pot a quart of Orange-Flower Water , a quarter of a pound of Benjamine , two ounces of Storax , a quarter of an ounce of Cloves , half an ounce of Cinnamon , two or three bits of Calamus , set the Pot on a gentle fire , to the consumption of a fourth part , add a Bladder of Musk , then let it cool , strain it well from the Dross , and put it up for use . Millefleur , or the Water of several Flowers . To do this , put in a strong Glass Bottle , a pint of Angel-Water , then in a little Mortar beat twelve grains of Musk , then put several Flowers of various scents , more of the weaker than of the stronger , that there may be a temperature , and allay them with that Water , and when well infused , pour it off into a Bottle , and keep it well closed for use . Orange-Flower Water . To make this well , infuse t●o pound of Orange-Flowers , and quart of Water three or four hours , and so Distil them in a cold Still ; This Water is good for cleansing Spuff , making Angel-Water , or Perfuming Wash-Balls , or Skins . The Queen of Hungary's-Water . But a quart of the best Spirit of Wine into a strong Glass-Bottle , and two large handfuls of Rosemary-Flowers , a handful of Tyme , and half a handful of Sweet Marjorum , the leaves only , and as much of Sage , keep the Bottle close stopped , and expose it to the Sun a month , and then you may dissolve the bigness of a Bean of Orcanat , bruising it with a little Spirit of Wine , and put it into the Bottle ; then expose it four or five days more to the Sun , and it will be of a fine Red Colour , and a curious Scent . Pastils or Perfumes , of divers kinds . Pastils of Roses made into Wax-Candles . Take a pound of the Dregs of Angel-Water , beat them when dried very fine , and searce them through a Hair Sieve , then put to them a handful of the Leaves of Roses , newly gathered , dissolve Gum Adragant in Rose-Water , and beat the whole long together , to well Incorporate it , then rowl up pieces as big as your Finger taperwise , and when they are dry they will burn like a Candle , and give a very curious scent . Perfumed Pastils for Beads or Medals . Dissolve Gum-Adragant and Arabick in Millefleur-Water , and put into it Marchal-pouder is much as will stiffen it into a Paste , rub the Moulds you cast them in with Essence of Flowers , and the Beads or Medals will be of a curious Brown or Coffee colour . Another . Take of Frangipan and Cyprus pouders , each a like quantity , put them in Gum , wherein Millefleur-Water is the greater part , and make them into Pastils . To make Liquid Snuff , excellent for the Cure of the Head-ach , or against Apoplectick Fits ; a rare Secret. Take Distilled Betony-Water a pint , half a pint of Rosemary-Flower-Water , infuse in these four ounces of the best Virginia-Tobacco , finely sifted into pouder ; let them stand warm by the Fire , or in the Sun twenty four hours , then squeze out through a very fine clean Cloth the liquid part , Scent it with a little Ambergrise , and a very small quantity of Musk , drop into it three or four drops of Chimical Oil of Nutmeg , or Cinnamon , shake it well when the Settlings are taken off , and keep it in small , close Vials for use , snuffing or spirting up a very small quantity at a time into your Nostrils ; the Scent of it without snuffing up , remedies an ordinary Head-ach . ●osmeticks , or Curious Receipts for Beautifying the Face , Hands , or any part of the Body . Benjamin-Water , an excellent Beautifier . Take a pint of good strong Brandy , a pint of Spirit of Wine , half a pound of Benjamine , and a quarter of a pound of Storax , on ounce of Cinnamon , and half an ounce of Cloves , and four Nutmegs ; beat the Spices and Benjamine , and putting them into the liquids , stop them up close in a strong Glass-Bottle , and let it stand upon Sand in the Sun , in the heat of Summer a month , and then pour it off , and clarifie it . This cleanses the Skin of Morphew , Tandness or Sun-burning , and causes a delicate complexion , as does the Queen of Hungary's Water , which I have already taught you to make . To prepare Spunges for the Face . Having chose the best and smoothest Spunge , and cut off what is superfluous , soak it , changing the Water till it looks clear , then dry it , and dip it in Orange-Flower or Angel-Water , pour over it a little Essence of Amber , then squeeze it but a little and let it dry , and it will be for your purpose , in Cleansing and Beautifying the Skin , far beyond the use of Linnen . To cause a Fair , Clear Complexion . Distil Fumitory Rosemary-Flowers , and Scabious , each two good handfuls in a Pottle of White-Wine , and a quart of Dew , gathered off the Grass or Corn , with clean Napkens and Handkerchiefs , and so wrung out ; keep it close stopped in Glass Bottles , and wash the Face and Hands with it , as there is occasion . To cause a Fresh-coloured Complexion . Take Oil of Myrrh an ounce , three drops of Oil of Sulphur , an ounce of the Oil of Sweet Almonds , mingle them well , and anoint the Face going to Bed , and the next Morning take it off with Benjamine-Water . To make a Clear-Pale Complexion ▪ Distill the Blossoms of Pease Beans and Peaches , each a good handful , in two quarts of Whey , and wash the Face with it . A Pomatum to Refresh the Complexion , and take off Pimples and Redness . Take half a pound of the leaf of Hogs Fat , work it well in Fair-Water till it is very white , then put it into a new earthen Pan , put in a quarter of an ounce of Copperas , two Pippins cut in pieces without paring , mix an ounce of the Oil of Sweet Almonds , and strain it through a Linnen Cloth into clean Water , and make it into a Pomatum , and with it anoint the Face . To take away Freckles . Take the Gaul of a Cock , an ●unce of Rye-Meal , a quarter of an ounce of the Juice of Hem●ock , an ounce of Oil of Turpentine , make them into an Ointment , and anoint the freckles with it , and in a little t●me they will disappear . A Pomatum , to Plump the Lips and Cheeks . Take an ounce of Fresh Butter , and as much Virgins-Wax , set them over a gentle Fire , and throw in black Grapes , bruise them with a Ladle ; then put in two ounces of Orange-Flower-Water ; bruise in a Porringer , the bigness of a Rean of Orcanet , allay it with a little Orange-Flower-Water , put them into the Pomatum , and work them up together with a Spoon , and put it up for your use . A Liquid Past , to Wash the Hands without Water . Take of bitter Almonds a pound , bruise them well in a Stone Mortar , till no Lumps remain , wet it with a little Milk , and make it into a Paste , beat the Crumbs of Whitebread with a little Milk , and put these with the Yolks of Eggs without a Tread into the Morter to the Paste ; beat them up yet more , and then boil them till thick , and keep them for use . of white Lead , and as much of burnt Bone , mix them over a gentle fire , to a thickness , lay them on the Strainer . To make a Soap that will take Greace , Spots , or Stains out of Cloth , Silks or Stuffs . Burn a pound of Roach-Allom , and finely pouder it , add to it half a pound of the Root of an Herb called Florence-flame , then a new-laid Egg , and two pound and a half of Cake Soap , bruise and mix them well together that they may be made up with Fair Water into Balls ; then first wash the place Stained or Spotted with Fair warm Water , scrape the Soap moist on it , and wash it out , and in three or four times thus doing , the blemishes will disappear . To take Spots out of Linnen . Take two spoonfuls of the Juice of an Onion , and as much of Lime-Juice , wet it two or three times , as often drying it by a Fire , wash-it immediately in a good Laver , and it is done . A good Ley , to take out Spots or Stains . Put half a pound of Soap-boilers Ashes , into two pints of Water ; let them remain three days with often stirring , then pour off the clear Ley , and mix it with Fullers-Earth , and lay it thick on the place , drying it in the Sun , or by a Fire , and in two or three times doing , it will effect your desire . To take Spots or Stains out of Coloured Silks , Stuffs , Linnen or Woollen . Take Pumice-Stone and grind it to pounder , put to it sharp Vinegar and Fullers-Earth , let it lye on and dry , then wash it out with Milk and the Flower of Almonds . A way to take out Tar , Pitch , or Rosin . Dab on this Oil of Turpentine , let that dry , and put on more , and the third time when it is dried you may rub out the Pitch , &c. for it will crumble like Dirt. To take out Oil , or Greace . Mix burnt Bone and Fullers-Earth with a little White-Wine , and Plaister them on the Spot , dry it by the Sun or Fire , and it will suck out all the Greace in once or twice doing . Sweet Pouders or Perfumes , &c. To make gross Pouder Ala-Marchale . Take of Iris sixteen ounces , dried Orange-Flowers twelve ounces , Coriander four ounces , a pound of Provence Roses , two ounces of Angel-Water dregs , an ounce of Calamus , two ounces of Souchet , half an ounce of Cloves , beat them well one after another in a Mortar , mix them , and finely sift them into one incorporated Pouder . Pouder of Jessimines To make this , mix about a thousand sprigs and flowers of Jessimine , amongst twenty pound of fine Starch , in a close Box , lay them even , making a Bed of Flowers , and a Bed of Pouder , and let them lye twenty four hours without touching , then shift the Flowers , and put fresh ones the same quantity for three days , and the Pouder will be well scented . Pouder of Musked Roses . To do this well , you must put the Musked Roses into the Pouder , and leave them there twenty four hours , in a close Box , so shift them three times , and they will give an excellent scent . Pouder of Orange-Flowers . Mix a pound of good scented Flowers with twenty pound of Starch , or Rice grounds , mingle them , and sift them twice a day at least , for these are subject to heat , and in twenty four hours you must shift the Flowers , and put the same quantity of fresh ones in , and so till there is a good scent , keeping it always close , unless when you use it . Pouder of Violets , or Iris. In this case , beat the Iris , and pass it through a Sieve , mingle it with the Pouder , and it gives the natural scent of a Violet . Pouder of Amber . Mix Jessimine , Rose , and Musk-Pouder together , each a like quantity , then mix with them the eighth part of an ounce of the Essence of Amber ; then sift the Pouder , but break not the Lumps made by the Essence till dried , then sift them in , and mingle them well ; and in this manner with Flowers , Essences , &c. you may make what Scent you please , Starch being the Ground of these Hair-Pouders , which sucks the Scents , and contains it a very considerable time for use . Wash-balls Perfumed , &c. Common Wash-Balls , to make them . Take a pound of white Cake-Soap , scrape it , and beat it well in a Morter ; take out the Crumbles that are not well incorporated , and put in a pound of Starch well poudered , an ounce of the Essence of Orange , half a pint of Macanet-Water prepared , stir them gently with a Pestle , then beat till they are an well mixed , make the Paste up into Balls , and let them dry . Wash-Balls of Neroly . Take eight pound of Cake-Soap well cleansed , put to it when scraped , as much of Rose or Orange-Flower , as will well temper it , stirring it twice a day , the better to soak ; then having beaten it well , put in a pound of Labdanum in Pouder , and two ounces of Neroly , mix them into a Paste , and so make them into Balls . Bologna Wash-Balls . Take three Bundles or Boxes of these Balls , beat them , and dip them in Angel-Water , as much as will well wet them , add half a pint of Benjamine-Water , make two equal Cakes of the Paste , by well beating , then beat very small two drams of Musk or Civet , with two ounces of Balm of Peru , dropped in by degrees ; add to these the gross Essence of Amber , and some Essence of Cloves , and some Cinnamon , mix these with the Paste , make it into Balls , and keep it for a very curious Perfume ; and in this nature other Wash-Balls , or Paste may be made , and perfumed with various scents . Sweet-Bags , to make . Take of Common-Rose-Leaves twelve ounces , Lavender-Flowers a pound and a half , Sweet Marjoram-Leaves twelve ounces , four ounces of the Leaves of Myrrh , six ounces of Tyme-Leaves , four ounces of Mellilot-Leaves , one of Rosemary , two of Cloves , one of Musk-Roses , a good handful of Citron and Orange-Flowers ; put these in a Pot , making a Ley of Leaves and Flowers , and another of Salt , then stop it well , yet every other day , stir it with a stick , exposing it to the heat of the Sun in Summer , but not in the Rain , and fill your Sweet-Bags with these , and pouder . To perfume Gloves , Fans , or Skins , with Flowers , &c. Grind on a smooth clean Marble Stone , two drams of Civet , add three drops of the Essence Orange-Flowers , and other Flowers , made with Ben-Oil , add more , a few drops of Millefleur-Water , grind by it self Gum Adragam , about the bigness of a Hazle-Nut mixed with Orange-Flower-Water ; after that , mix your Civet , dropping a little of the Millefleur-Water ; so do till all is well mixed , then put your composition into a Mortar , and pour more Water , stir it till it comes to a quarter of a pint , lay it very even on your Gloves , Skins , &c. dry them in the Air , open , and order them for Colouring , and by this Rule , you may Perfume them with any Scents . Roman-Gloves , how to Perfume . Grind on a fine Marble , a dram of Civet , with a few drops of Essence of Orange-Flower-Water , then mix Gum-Adragant of the bigness of a Hazle-Nut , in other Orange-Flower Water , then warm a little Mortar , and infuse in it a dram of Amber , with a few drops of Orange-Flower-Water , pouring more to it by degrees , till all come to about a quarter of a pint , then mix again the Civet , with some drops of the same Water , adding , till the whole comes to half a pint , and then Perfume your Gloves , Skins , or Fans with it . How to Colour and Perfume Gloves , at once . Chuse what Colours you like best , and grind them on a flat Stone , with a little Ben-Oil , or the Essence of Orange-Flowers or Jess●min , pour Orange-flower-water by degrees , still grinding , then put to the Colours Gum-Adragant , dissolved in Orange-Water , then being well ground , pour all into an Earthen Pan with more Water , taking the Colours , being not too thick , and then dip a soft Brush into it , and rub over Gloves , Skins , or Fans ; let them dry in the Air , then smooth and order them as is requisite ; grind a bit of your Colour with a little piece of Gum Adragant , infused in Orange-Flower , and very clear , rub them over with this , and it will keep the Scene a long time . Several sorts of Snuff , Solid and Liquid , how to Make and Perfume them . To Prepare and Cleanse Snuff . The Ground of it is Tobacco dried into Pouder , that it will sift curiously through a fine Sieve , and then it requires briefly to be washed and cleansed in the following manner . Soak it in Fair Water twenty four hours , then take it out , and squeeze it very well in a Cloth , dry it in the Sun on Wicker Hurdles , over which a fine Linnen Cloth is laid , keeping it turning , and stirring almost continually ; being dried , sprinkle Sweet-Water on it , as Orange , Jessimine , Angel , or the like , then dry it again , and wet and dry it three times , by which means it will be capable to take the impression of any Scent , by being sprinkled on it , or infused ; but if you design to colour it Red or Yellow , it must be done before it is scented , especially for Flower-scents , it may be coloured with Red or Yellow-Oker . To Perfume Snuff with Flowers . The Flowers most used in this are Jessimine , Orange , Musk , Roses , Common-Roses , Turbe-Roses , &c. But these if used naturally , must be helped with the Essence of other Flowers , or the same ; to do this , get a wooden Box large enough for your purpose , lined within with dry White-Paper , lay a laying of Snuff , and a laying of Flowers , and let them stand twenty four hours , then searce or sift the Snuff , to take out the Flowers , and renew them with other Flowers ; continue it four or five days , then separate it , and keep , it in close Boxes in a dry place for use . Snuff , with Spanish-Perfume . Take a pound of Snuff that has been Perfumed with any sort of Flowers , beat in a Mortar twenty grains of Musk , with a little lump of Sugar , so put in your Snuff by degrees , gently stirring it about , and when the Mortar is full , empty it gently , and cover it to keep in the Scent as much as may be , then put in ten grains of Civet , put in the Snuff again , and mingle them well , and so keep it dry for use . How to take Spots or Stains out of Scarlet or Velvet . To do this , take Soap-wort , a Herb of that name , bruise it , and strain out the Juice , add a little Black-Soap , mix them well to a moderate thickness , daub over the stained or spotted place , wash it out with warm water , and suffering it to dry , do it again twice or thrice , and it will effect your desire . To take Iron-moulds , or Spots , out of Linnen . Dissolve the Pouder of Burnt-Allom , in the Juice of Limon , wet the place with it , and dry it with the back of a Spoon , in the fore-part of which is a live Coal , and in doing it five or six times , the Iron-mould , or Spot will wash out . To Recover Faded Linnen . Heat a gallon of New-Milk over the Fire , and scrape a pound of Cake-Soap into it , and when the Soap is well dissolved , boil the Linnen well therein , and then clap it into a hot Laver of Water and other Soap , wash it out well , and it will recover its Strength and Colour . To make Pouder-Inks , as the London-Pouder-Ink , &c. and Liquid Shining Japan-Ink . To make that which is called the London-Pouder-Ink . Take ten ounces of the clearest Nut-galls , bruise them and sift the Pouder very fine , then White Copperas two ounces , Roman Vitriol three ounces , Gum-Arabick or Sandriack an ounce , bruise and sift them very fine , so that though they appear White , a little being put into Water , will in a little time turn it , and an ounce of the Pouder , will make a pint of very Black Ink. To make Japan , or Shining-Ink . Take Gum-Arabick and Roman-Vitriol , of each an ounce , Galls well bruised a pound , put them into Rape-Vinegar , or Vinegar made of clear Small-Beer ; let them remain in a warm place , often stirring , till the Liquor becomes black , then add to a gallon an ounce of Ivory-Black , and a quarter of a pint of Seed-Lac-Varnish , and it will be a curious Black-Shining Ink. A Pouder-Ink to rub on Paper , and Write on . Bruise about twenty Nut-galls and half an ounce of Roman Vitriol , as much Gum-Arabick , and Gum-Sandriack , mingle these finely together , when well bruised and sifted , to a pouder , rub the Paper hard with it with Cotton Wool , and polishing it with a piece of Ivory , write with Water , and in a little time , the Letters you write will appear a Fair-black , as if written with the best Ink. Receipts for the Cures of sundry Diseases and Grievances , Incident to Men , Women and Children . For the Ague . Take a little handful of the Tops of Rue , boil them in a quart of White-Wine , give the party half a pint , four times successively , upon four Coldsits approaching , if the Ague last so long , and put the party into a warm Bed , this must be drank as hot as the Patient can drink it . To Ease , and Remove the Pains of the Gout . Take two ounces of Sarsaparilla , cut it small , and boil it in a quart of Small-Beer , till a third part be consumed , drink it as hot as may be , and about a quarter of an hour after , bathe in with your warm hands a mixture equally of the Spirit of Wine , and the finest Oil of Turpentine , where the afflicting Pain is , and it gives present ease , and in a short time makes it cease . For Pains of Teeth . Take Henbane-Seed , and Hisop-Seed , bruise them finely together , mix them that they may stick well , with a little Oil of Spikenard , if hollow , stop the Tooth with these , and a piece of Lint dipped in the Oil if not , tye up the quantity of a large Pea , in a fine thin Rag , and lay it to the Root of the Tooth , and the Pain will soon cease . To take away Corns . Cut well and close , take out as much of the Coat as you can then take Burnt-Allom , and the Pith of an Oister that sticks to the Shell , dried and poudered , incorporate these with a little Venice-Turpentine , put into the hollowness , if there be any , a little Tent of Lint dipped in Oil of Cloves , and lay on the other as a Plaster , and it in a weeks time with thrice renewing , takes away the Corn , making Flesh arise , to fill the hollowness . For Blasts , Burns , or Scalds . Take Ointment of Tobacco a quarter of an ounce , Pidgeons , or Pullets Dung half an ounce , Sallad Oil two spoonfuls , Snow-Water the like quantity , Cream a quarter of a pint , and the White of a New-laid Egg , beat and bruise these till they become a pliable Ointment over a gentle fire , spread them on a fair Cloth , and lay it to the afflicted Part , and in three or four times renewing , it will take out the fire , and put the party in an easie way of Recovery . For the Stone or Gravel , in the Reins or Bladder . Take green Parsley , if it can be got , that is running to Seed , if not , other Parsley , stamp it , and squeeze out an ounce of the Juice , and as much of that of a very hard Onion ; take a little handful of Sloes , bruise them that the Stones may break , mix these with a pint of White-Wine and boil it well , then add to the strained Liquor , a quarter of an ounce of calcined Crabs-Eyes or Claws , and let the Patient drink fasting half of it , and move up and down swiftly , and within a quarter of an hour the rest , and it will speedily afford ease , and bring away Sand and Gravel , if it remain in the Ureters , or Neck of the Bladder or Yard . Thus Reader have I made good my Promise in this crouded VVork , full of variety , and must conclude , because there remains not room for any more to be inserted in this little Book . 
A31652	----	An idea of the perfection of painting demonstrated from the principles of art, and by examples conformable to the observations which Pliny and Quintilian have made upon the most celebrated pieces of the antient painters, parallel'd with some works of the most famous modern painters, Leonardo da Vinci, Raphael, Julio Romano, and N. Poussin / written in French by Roland Freart, sieur de Cambray ; and rendred English by J.E., Esquire, Fellow of the Royal Society. Idée de la perfection de la peinture. English Fréart, Roland, sieur de Chambray, 1606-1676. 1668 Approx. 223 KB of XML-encoded text transcribed from 90 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A31652 Wing C1922 ESTC R8804 12273978 ocm 12273978 58393 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A31652) Transcribed from: (Early English Books Online ; image set 58393) Images scanned from microfilm: (Early English books, 1641-1700 ; 134:16) An idea of the perfection of painting demonstrated from the principles of art, and by examples conformable to the observations which Pliny and Quintilian have made upon the most celebrated pieces of the antient painters, parallel'd with some works of the most famous modern painters, Leonardo da Vinci, Raphael, Julio Romano, and N. Poussin / written in French by Roland Freart, sieur de Cambray ; and rendred English by J.E., Esquire, Fellow of the Royal Society. Idée de la perfection de la peinture. English Fréart, Roland, sieur de Chambray, 1606-1676. Evelyn, John, 1620-1706. [41], 136 p. Printed for Henry Herringman ..., In the Savoy : 1668. Translation of: Idée de la perfection de la peinture. Errata: p. [41]. Reproduction of original in Huntington Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Early works to 1800. 2002-05 TCP Assigned for keying and markup 2002-06 SPi Global Keyed and coded from ProQuest page images 2002-07 Judith Siefring Sampled and proofread 2002-07 Judith Siefring Text and markup reviewed and edited 2002-08 pfs Batch review (QC) and XML conversion AN IDEA Of the Perfection OF PAINTING : DEMONSTRATED From the Principles of Art , and by Examples conformable to the Observations , which Pliny and Quintilian have made upon the most celebrated Pieces of the Antient PAINTERS , Parallel'd with some Works of the most famous Modern Painters , LEONARDO da VINCI , RAPHAEL , JULIO ROMANO , and N. POUSSIN . Written in French By Roland Freart , Sienr de Cambray , And rendred English By I. E. Esquire , Fellow of the ROYAL SOCIETY . In the SAVOY : Printed for Henry Herringman at the Sign of the Anchor in the Lower-walk of the New-Exchange . 1668. THE PREFACE . THere is hardly that Man living , but has some inclination for PAINTING , and that does not even pretend sufficient Abilities to controll the Works which it produces : for not only Learned men , and persons of Condition , who are ever probably the most rational , are emulous of this Knowledge ; but the very Common-People will adventure to spend their Judgements too ; so as it seems , this Art is in some sort , the Vniversal Mystery . Neither is this presumption a Vice peculiar to the French alone , or of this Age of ours only ; 't is as old as Painting it selfe , and sprung from her very Cradle in Greece . This is evident by that which Pliny has recorded of Apelles ; who before he gave the last touches to his Pieces , was wont to expose them in Publique to the Censure of all the Passengers , whilst he conceal'd himselfe behind them , that he might hear what every one said , and make use of it accordingly ; whence the Proverb , Apelles post Tabulam . Most of our Painters do to this day observe something of this very Custome , or at least , something like it , but which they have turn'd into a kind of Complement : For they usually request such as have the Curiosity to visit their Works , freely to tell them what they think of them ; and whether they observe any thing which needs reforming . But as Complements are but vain and insignificant words , they seldom produce any real Effects upon these encounters ; and to speak sincerely , these Painters would be but justly punish'd , should one really take the liberty of effectually rendring them this friendly Office , which they ask but in Ceremony , and that instead of those ordinary compliances with which they usually flatter them , they did ingeniously discover to them their miserable failings . But instead of receiving this Instruction in good part , and gratifying the Censure as becomes them , they would certainly be offended at the freedom , and we should see them rather Confounded than Reform'd by it ; because they do not so much seek to be Able men , as they desire to appear so . The days of Apelles are now past , and our Modern Painters are quite of another strain from these Old Masters , who never came to be Considerable in their Professions , but by the study of Geometrie and Perspective , the Anatomy of Bodies , the assiduous Observation of those Characters which expres'd the Passions and Emotions of the Soul ; by the Lecture of the Poets and good Historians ; and in fine , by a continual re-search of whatever might best contribute to their Instruction . They were in those days so Docile and Humble , that they not only would submit their Works to the Criticismes and Animadversion of Scholars and Philosophers , but even to the Common People also , and to Artificers of all Trades , who did frequently and sometimes judiciously reprehend them . This was ( I confess ) something a tedious way , and is indeed inaccessible to a great part of our Painters in this Age , who have neither the Genius of these illustrious Antients , nor the same Object in their working . In effect , those Painters propos'd to themselves , above all other things , the Glory and Immortality of their Names , for the sole , and principal Recompense of their Labours ; whereas , most of our Moderns , regard only the emergent Profit , and therefore they hold a quite different Method , and strive as much as they can to compass only their proposed aime . To this purpose , they have introduc'd into their Cabals I know not what kind of licencious Painting , totally differing from those pretended subjections , which heretofore rendred this Art so incomparable and so difficult , whilst this incapacity of theirs makes them imagine , that this rare Painting of the Antients , was but an old Dotaress , who had only slaves in her service . Under this pretext , they have dress'd themselves up a new Mistriss , trifling , and full of tattle , who requires nothing of them but Fard and Colour to take at first sight , without being at all concern'd whether she pleas'd long or not . See then , this Idol of the present Age , to which most of our Painters sacrifice all their Pains , whilst those of more sublime and noble Spirits , and that find themselves capable of this excellent Profession , run generously in the same path , by which those renowned Antients arriv'd to the perfection of their Skill ; and leaving those lazy Ignorants behind , pronounce it with as much compassion as disdain , Aulaedus sit , qui Citharaedus esse non possit , compassionating those whom Nature having deny'd those necessary Endowments of being capable to attain the Principles of the Art , are compell'd by that weakness and want of Talent , to acquiesce in the single Practise of doing Things as Mechanically as they first learn'd them from their ignorant Masters . But how despicable are those poor-spirited men , who are so affrighted at the study , that to avoid the trouble of it , they chose rather to oppose with the revolted Cabalists , and to pull on the same hypocritical Vizor , than give themselves the trouble of acquiring , and effectually possessing the Thing it self , which they so unjustly affect the reputation of ? What 's now become of the Glory with which those antient Greeks , those Gallant souls had Crowned Painting , when they pronounc'd her Queen of all the Arts , and permitted only the most noble and renowned of men to be of her Retinues ? what regard , think you , would they have to this Age of ours , which has so unworthily abandon'd her ? and to these abject spirits who daily dishonour her by the contempt and disrespect which they put upon her Laws , and who by a yet more insufferable attempt , have resign'd her sacred Name to this fantastick Idol which they have establish'd in her place ? with what indignation may we suppose do true and able Painters look on the temerity of these insolent Rivals , whom they behold so gay and jovial in this present Age , by the Capriciousness of Fortune , and the favour of an ignorant conjuncture ? I must confess , I am strangely surpriz'd at it ; and though I know there is nothing less permanent , or more Caduque than this false esteem , I cannot but be sensibly toucht , and even altogether impatient of seeing once a period to this odious Abuse , so reproachful to an Age , that is otherwise extraordinarily flourishing in the knowledge of Letters , and of all other Sciences , which we find every day entertain'd , and more perfection'd than ever , maugre the importunate jarrs and hostilities which have uncessantly molested them for so many years past ; nay , even Painting it self , whose deminution and decadency we so much deplore , and which seems not to have been born for times of Peace and Tranquility , was happily never in higher esteem amongst us , nor more sought after , than it is at present ; which may partly be the occasion of its Corruption and decay : For as Arts flourish , and are cherished by the Honors which are conferr'd upon excellent Artists ; so , on the contrary , a blind Affection , and indiscreet flattery ruines and destroys them . To recover then its pristine Lustre , and restore her to original Purity , we must of necessity recall that Primitive severity , by which they were wont to examine the Productions of those renowned Painters , who were of old so esteemed ; and whose Works have surviv'd their Authors so many Ages , and rendred their own Names Immortal . To accomplish this , there is nothing more expedient , than the exact observation of those Fundamental Principles , which consummate its Perfection , and without which 't is imposible she should subsist . But forasmuch as the long neglect hereo● has almost banish'd the Science , to the infinite loss and prejudice of those who are curious of Painting ; and since , without this succour , they can never enjoy the satisfaction which a cleer and perfect understanding will present them ; I have made it here my particular enquiry ; that laying before them in this Dissertation the same Compass by which the Antients steer'd their Course , they may sail by the same Route themselves , and discover those things to the very bottom , which they had never attain'd to without it , but superficially , and with much imperfection . And since I consider how extreamly difficult it is to disabuse those who are already infected with so common , and pernicious an abuse , under the pretence of a specious Liberty : I could not think it sufficient to talk of things only , and to prove them from pure and undeniable Reasons ; had I not also made it appear , of what importance it is by authentique Demonstrations and examples . For this effect , I have made choice of some amongst the Works of our most celebrated Painters ; to which , having apply'd all those Principles which I have produced , there remains no more cause for us to suspect their Fidelity . And that I may the better and more generally comprehend the good and bad effects which result from them , by either observing or neglecting these Rules , I shall here present them in Order . Raphael Vrbino , the most excellent of the Modern Painters , and universally so reputed by those of the Profession , is the Person whose Works I shall propose as so many Demonstrations of the absolute necessity of exactly observing the Principles which we have establish'd in this Treatise . And on the contrary , Michael Angelo , superior in Fame , but far inferior to him in Merits , shall by his extravagant Compositions , amply furnish us to discover the Ignorance and Temerity of those Libertines , who trampling all the Rules and Maximes of Art under their feet , persue only their own Caprices . It is in this part chiefly , that the disinteress'd Reader may possibly find my Animadversions most agreeable : But to enjoy the diversion more intirely , it were requisite he laid before him those Prints of Raphael which I pretend to examine and propose , as just , and regular Works , conformable to my Principles : These are the designs of the Iudgement of Paris ; That of the slaughter of the Innocents , and our B. Saviours taking down from the Cross. These three first Stamps , were Engraven by Marc. Antonio , and are indeed very rare and curious pieces . The Fourth is a most noble Composition , usually call'd The School of Athens . The Graving is one of the best hands , nor in truth so good as the other ; but the Ordonance of the Figures is much more magnificent and stately . As for Michael Angelo , wee 'l content our selves with that representation of the Vniversal Iudgement , which has rendered him so famous amongst the Vulgar , and this Work is possibly the most Numerous of Figures that was ever painted ; as it is likewise in my opinion , the most copious subject that can be propos'd to disabuse those who have the Name of this Painter in so great veneration , that they commonly admire whatsoever is his , with so strange a preoccupation of their Iudgements , as to preferr even the very Abuse which is in Vouge , before Reason her self , and dare not examine , that with Candor and Iustice , to which they manifestly incline without her . For my own part , I am not altogether so blind , nor scrupulous ; as having no other design then to investigate and find out the Truth ; and I hope that the Research's which I have endeavoured to make after her in the following discourse , may be accordingly received of all who are real Lovers of Painting ; as for the approbation of the Cabalists , despise them perfectly . AN ADVERTISEMENT TO THE READER . A Friend of mine , who Fortun'd to see this Treatise of Painting , whilst I was writing it , understanding that it was my intention to Publish it , and that my principal design was to expose it to the view of the Court ; advertis'd me of certain obscure Italian Terms , which I had made use of in my Discourse ; the understanding of which would doubtless be very difficult to many , who were not acquainted with that Tongue ; and that one should strive to render things as clear and intelligible to the Reader as was possible . And truly , though I conceiv'd the Counsel was but reasonable , it gave me a great deal of trouble ; nor was I able to find out words which were purely ours , capable to express those Barbarismes , which Custome has as it were naturaliz'd amongst our Painters : And therefore I was resolv'd to retrench as many of them as I could , especially , the least necessary . But for the rest which really are proper Tearms of Art , I believ'd it would be sufficient to make an explanation of them for the introduction of those who are Lovers of Painting , and that would discourse of the Art like Knowing Persons with those of the Profession . STAMPI , or Prints . THe most remarkable in my Opinion , because most of all mention'd in this Discourse , and which gives Title to many Sections of this Book , is that of Stampo or Print : There is not one Designer or Curious man in this Art but knows that it signifies an Engraven or Printed designe , which the Vulgar and such as Vend them commonly call by the names of Taille-Douces , Cutts and Pictures : There is yet this difference between them , that Stampi , Prints , consist of more considerable things , and Designes of more reputation : And of these there are great variety ; for some are graven on Copper with the Burine , some with Aqua fortis , and others are cutt in Wood. Albert Durer , a German Painter , and a most incomparable Workman , has publish'd some things in all these kinds . The Original of the word is in Italian , Stampare , and signifies in our Language , to Print or make Impression . TRAMONTANO . I Make use of this Tearm , when ever I mention Albert Durer , whom I maintain to have been the greatest Master of the Tramontani : For so do the Italians call almost all Painters that are Strangers to them ; especially , the Germans , and those of Flanders , who inhabit the Northern parts ; because that Quarter , and the Wind which spires from thence , is nam'd in the Italian tongue La Tramontana . ELEVATO . THis Tearm is particularly attributed to the Learners and Disciples of the most renowned Painters . Thus Raphael had for his Scholar or Elevato IVLIO ROMANO : HANNIBAL CARACIO was GVIDO and DOMINIQVINO'S Master , and so of others . The Italians call them Allievi , and in France they familiarly say , such a young man has been bien essleve , that is , well Instructed . SCHIZZO . THis Tearm is intirely Italian , though it be now universally understood : 'T is as it were , the first draught , or light touch , and attempt of a Work yet under meditation . The Italian calls it Schizzo . ATTITUDO . I Have made use of this Tearm in several places of my discourse , though we retain the Words , Action and Posture , which are in a manner the same thing ; however , methinks , upon some encounters , the tearm Aptitude is more expressive ; for besides , that 't is more general , 't is also more significative on many occasions , than either that of Posture or Action : For Instance , the Word Action is not applicable to a dead person who is depriv'd of Action ; and it were better to say the Disposition of a Dead Corps , than the Posture of it , which seems a Tearm too gross , nor were it too speak like a Painter , to say , this Figure is in an handsome Posture , but in a graceful Disposition and Aptitude . The Italians says Attudine . PELLEGRINO . THis Tearm the Italians familiarly use when they would express some Rare thing , excellent and singular in its kind ; but they more particularly apply it to Witt , and say Ingegno Pellerino . I conceive , there is nothing more which needs any great Explication , and it would be but a kind of Pedantry to make any farther Glosses . I shall therefore conclude this with a Remark , which is , in my opinion , a great deal more important ; and that is , an Objection which several Persons have made to me concerning the Reputation of Michael Angelo , whom they conceive I ought not to have attaq'd so boldly : But upon my Request , that for their own satisfaction , they would themselves take the pains to examine not only That Work of his which I produce in this Dissertation , but likewise several other Pieces of the same hand , which I have addres'd them to ; they in fine assented , that I had reason for what I said ; and are now as much astonish'd as my self , that the World has been so long abused , and his Reputation so extravagantly asserted ; which could certainly proceed from no other cause , but that pitiful Juncto , the Witts of Michaelo's standard , who are ever in greater Numbers than the others : But 't is as the Proverb has it , Afinus Afino Pulcher , Every one loves his Like . To the Illustrious HENRY HOWARD OF NORFOLK Heir-apparent to that DUKEDOM . Sir , THere is no man who has heard of the House of Norfolk , and especially of that of Arundel and Surrey , but will justifie the resolution I have taken to Inscribe Your Name in the Front of this Piece ; since the names of Painting , and Sculpture ( two of the most celebrated and renowned Arts that ever appear'd in the world ) had scarce been known amongst us in England , but for your Illustrious Grandfather , who brought into , and adorn'd this Nation with more polite and useful things , than it had received for some Ages before , and who continu'd a Mecoenas and Protector of all the sublimer Spirits , as long as this Island was Worthy of him , which was as long as it remained Loyal . I have great reason to Consecrate thus his Memory , of whose more particular Favours I have so frequently tasted both at Home and Abroad ; especially in Italy , where I had the honor to be cherish'd by him , and from whence I afterwards receiv'd one of the last Letters that ever he Writ , which I reserve by me amongst the choicest of my Treasures . From Him , through a most Illustrious Father , this Affection to great and noble things is derived to You : Witness , the Asylum which the ROYAL-SOCIETY found in your own Palace , when the most fierce and merciless of the Elements subverted her first Abodes ; and now ( besides other Accumulations ) your free and glorious Donation of a fonds upon your own Ground , to establish her on for ever , and fix her at your very Threshold , by which you not only oblige the most grateful and useful Assembly , that any Age has produc'd , but do honor likewise to His Majesty our Founder , by signifying your respect so eminently to his Royal Institution . But , Sir , I have something yet to add , and the very Stones would even exclaim against me , should I omit your never-to-be-forgotten Munificence to the University of Oxford ; because it was upon my First and Sole Suggestion ( for Instigation , the Generosity of your Nature needs not ) that You were pleas'd to inrich that renowned Seat of the Muses , with a greater Gift , than all the World can present it ; because the World cannot shew such a Collection of Antiquities : And this Great Thing You did , when You plac'd the MARMORA ARVNDELIANA There . First , the Greek , and then , the Latine Inscriptions ; by which You not only nobly Consulted the most Lasting way to perpetuate Your Name in the Learned World , and gave Eternity to those ( almost ) obliterated Titles , by transferring them to a less Corrosive Ayr ; but did likewise a piece of Justice , and Piety too , in Restoring that to the Daughter , which came from the Mother , and Consigning those Antiquities to Oxford , which were taken away from Athens . Sir , in my Letter to You into Surrey , ( now about a Year since ) concerning this Largesse , I cannot forbear to repeat a line or two , which was to move your Honor in one particular more ; and that is , that you would one day , cause the choicest of your Statues , Basse relievos , and other noble pieces of Sculpture , standing in you Galleries at Arundel-House , to be exquisitely design'd by some sure hand , and engraven in Copper , as the late Justiniano set forth those of Rome , and since him ( and several others ) Monsieur de Lion-Court by the Draughts of Perier ; as formerly that incomparable Historical-Columne of the Emperor Trajan , was cut by Villamena with the Notes of divers Learned men upon them : Because by this means , the World might be inform'd in whose Possession those Rarities are ; and that it would so much contribute to the Glory of the Countrey , their Illustrious Owner , and his Family ; as it has formerly , and yet does , to those noble Italians , and great Persons beyond the Alps , who have not been able to produce such a Collection as You are furnish'd with , but who are honor'd , and celebrated for it , all the World over , by this virtuous , and yet no very expenseful Stratagem . I was the rather incited to mention This here , because I understand there are some Learned Persons now at Oxford , adorning a new Impression of the Marmora , in which , such a Work could not pass without due veneration , and would prove a considerable ornament to the designe ; and indeed , because the Argument of the Discourse I am entertaining your Honor with , ( dedicated lately to the French Kings onely Brother ) does prompt me to it , as my very great Obligations , to subscribe my selfe . Illustrious Sir , Your most obedient and most humble Servant . J. EVELYN Says-Court , Iune 24. 1668. TO THE READER . I did once think , and absolutely resolve , that I had for ever done with the drudgery of Translating of Books , ( though I am still of the opinion , that it were a far better , and more profitable Work to be still digging in that Mine , than to multiply the number of ill Ones , by productions of my Own ) But this small piece coming casually to my hands and from an Author whose knowledge of the most polite and useful Arts has celebrated him Abroad ; and upon a Subject I had formerly bestowed some Reflections on ; partly , in that Paralel of Architecture ( which from the same hand , I not long since publish'd for the Assistance and Encouragement of Builders ) and partly my History of Sculpture ; I did believe I might do some service not only to Architects and Sculptors , but to our Painters also , by presenting them with this curious Treatise , which does , I think , perfectly consummate that designe of mine , of recommending to our Countrey , and especially to the Nobless , those Three Illustrious and magnificent Arts , which are so dependent upon each other ; that they can no more be separated , than the very Graces themselves , who are always represented to us holding hand in hand , and mutually regarding one another . The Reader will find in this discourse ( though somewhat verbose , according to the stile of this overflowing Nation ) divers useful Remarks ; especially , where he Treats of Costúme which we have interpreted decorum , as the neerest expression , our Language will bear to it ; and I was glad our Author had reprov'd it in so many instances ; because it not only grows daily more licentious , but even ridiculous and intollerable : But it is hop'd this may universally be reform'd , when 〈…〉 dern Workmen shall consider , that neither the exactness of their designe , nor skilfulness in Colouring has been able to defend their greatest Predecessors from just reproaches , who have been faulty in this particular : I could exemplifie in many others whom our Author has omitted ; and there is none but takes notice what injury it has done the fame of some of our best reputed Painters ; and how indecorous it is to introduce Circumstances wholly improper to the usages and Genius of the Places , where our Histories are suppos'd to have been acted : This was not only the fault of Bassano , who would be ever bringing in his Wife , Children , and Servants , his Dog and his Cat and very Kitchin-stuff , after the Paduan mode ; but of the Great Titian himselfe ; Georgion , Tintoret and the rest ; as Paulo Veronese is observ'd also to have done in his story of Pharaohs Daughter drawing Moses out of the River , attended with a Guard of Swisses ; this puts me in mind of that piece of Malvogius in His Majesties Gallery at Whitehall , who not only represents our first Parents with Navils upon their bellys , but has plac'd an Artificial stone-Fountain carv'd with imagerys in the midst of his Paradise . Nor does that excellent and learned Painter Rubens escape without being perstring'd , not onely for making most of his Figures of the shapes of brawny Flemings , but for other sphalmata and circumstances of the like nature ; though in some he has acquitted himself to admiration in the due observation of Costúme , particularly in his Crucifixes , &c. as I might largely exemplifie : Raphael Urbino was doubtless one of the first who reform'd these inadvertency's ; but it was more conspicuous in his latter , than in his former piece . As for Michael Angelo , though I heartily consent with our Critic in reproving that almost idolatrous veneration of his Works , who had certainly prodigiously abus'd the Art , not only in the Table this Discourse Arraigns him for ; but several more which I have seen ; Yet I conceive he might have omitted some of those imbitter'd reproaches he has revil'd him with , who doubtless was one of the greatest Masters of his time : and ( however he might succeed as to the decorum ) was hardly exceeded for what he perform'd in Sculpture and the Statuary Art by many even of the Antients themselves , and happ'ly by none of the Moderns , witness his Moses , Christo in gremio , and several other Figures at Rome ; to say nothing of his Talent in Architecture , and the obligation the world has to his memory , for recovering many of its most useful Ornaments and Members , out of the neglected Fragments which lay so long buried ; and for vindicating that Antique and Magnificent manner of Building , from the trifling of Goths and Barbarians . The next usual reproach of Painting , has been the want of judgement in perspective , and bringing more into History , then is justifiable upon one Aspect , without turning the Eye to each Figure in particular , and multiplying the points of Sight ; which is an error into which our very Author ( for all the pains he has taken to magnifie that celebrated decision of Paris ) has fail'd in : For the knowing in that Art do easily perceive , that even Raphael himself has not so exactly observ'd it ; since instead of One ( as Monsieur de Cambray takes it to be , and as indeed it ought to have been ) there are no less than four or five , as du Bosse has well consider'd in his late Treatise of the Converted Painter ; where by the way also , he judiciously numbers amongst the faults against Costúme , those Landskips , Grotesq●s , Figures , &c. which we frequently find ( Abroad especially , for in our Countrey we have few or none of those graceful supplements of Steeples ) painted Horizontaly , or Verticaly on the Vaults and Ceilings of Cupolas ; since we have no examples for it from the Antients , who allow'd no more than a Frett to the most magnificent and costly ones which they erected . But would you know from whence this universal Caution in most of their works proceeded , and that the best of our Modern Painters and Architects have succeeded better than others of that Profession : It must be consider'd that they were Learned men , good Historians , and generally skill'd in the best Antiquities : Such were Raphael , and doubtless his Scholar Iulio ; and if Polydore arriv'd not to the glory of Letters , he yet attain'd to a rare habit of the antient Gusto , as may be interpreted from most of his Designs and Paintings : Leon Baptist Alberti was skill'd in all the politer parts of Learning to a prodigy , and has written divers curious things in the Latine-tongue : We know that of later times , Rubens was a Person universally studied , as may be seen in several Latine Epistles of his to the most famous Scholars of his Age : And Nicholas Poussin the French man , who is so much celebrated , and so deservedly ; did , it seems , arrive to this Culture , by his indefatigable indust●y : as the present famous Statuary Bernini , now living , has done to so universal a Mastry ; that not many years since , he is reported to have built a Theater at Rome , for the adornment whereof he not only cut the Pigures and Painted the Scenes , but writ the Play , and Compos'd the Musick which was all in Recitativo : And I am perswaded that all this is not yet by farre so much , as that Miracle and Ornament of our Age and Countrey Dr. Christopher Wren were able to perform if he were so dispos'd , and so encourag'd ; because he is Master of so many admirable Advantages beyond Them. I alledge these Examples partly to incite , and partly to shew the Dignity and vast Comprehension of this rare Art ; and that for a Man to arrive to its utmost perfection , He should be almost as universal as the Orator in Cicero , and the Architect in Vitruvius : But certainly some tincture in History , the Optics , and Anatomy are absolutely requisite , and more ( in the Opinion of our Author ) than to be a steady Designer , and skill'd in the tempering and applying of Colours , which amongst most of our Modern Workmen , go now for the onely Accomplishments of a Painter . I had once thoughts to have added the Stamps and Prints themselves , which our Author does so critically discourse upon ; but then considering , that as this Piece is of most use to the Virtousi , and that such as are Curious , must needs already be furnish'd with them ; and that it had been doubtless impossible to have procur'd Originals sufficient to adorn this Impression , and would have immensly exalted its price ( I my self having been offer'd Twenty shillings but for one of them ) I soon laid those intentions aside : Besides that our Author has also publish'd his Book without them , and to have gotten them well Copied , had been equally difficult . J. EVELYN . ERRATA To the READER . PAge 1. line 15 r. parallel . p. 4. 17. r. former pieces . ADVERTISEMENT . Sub tit . Attitudo , l. ult . r. the Italian says Atitudine . PREFACE . P. 3. l. 9. r ingenuously . 7.3 . put on . 14. Retinue . 8. penult . r. diminution . 9. l. 1. add , but for times . 13.6 . none of the best . ibid. 16. add , numerous Assembly . 14. l. ult . r. I despise it . In the BOOK : Page . 4. line . 15. r. Worthiest . p. 19 l. 11. dele as . ibid. 20. add , and regular . 36 14. dele by . 43. 1. r situated . 44.17 . situation . 49.14 . for Piew r. Piece . 59.12 . r. Which we . ibid. r. their own Nature . 82.12 . School . 84.1 . Timantes . 85. ult . r. Memoires . 86.14 . Price . 90.8 . r. drole and fantastic . ibid. l. antepenult . r. gentileness , and so in p. 115. l. 1. pag. 116.18 . for where , r. were . 126.5 . dele the. 129.22 . r. Noblest . l. 27. Oevure . 130.7 . r. these Works . &c. The rest are litteral , and pardon'd with less violation to the Sense . AN IDEA of the Perfection OF PAINTING . T Is a very subtle and curious Enquiry , to know , from whence it should come to pass , that the Art of Painting is so much degenerated from that perfection , which it once obtain'd , and how it happens , that considering the weakness of its productions , compared with those admirable Master-pieces of the Antients , it seems of late to present the World with nothing but the meer shadow and phantosmes of it ? For my own part , I conceive , the principal cause of its decadence to have proceeded from that little esteem which it preserv'd , during the ignorance and barbarity of the Lower Empire , which did so far ignoble and debase it of its pristine Honour ; that instead of that preheminence which it then held amongst the Sciences , it is now reduc'd and reckon'd amongst the most vulgar Trades ; sufficient to let us see , how much the spirit and Genius of these latter Ages , have declined , in which the rare Inventions and Lights of this Divine Art are , for want of encouragement , almost totally extinguish'd . However yet , that good Genius , which by a certain providence of Nature does still preside over Noble things , has always furnish'd us with some excellent Men , preserving , as it were , some Seeds of them from time to time : But as we find it in Trees , and even in the most perfect Bodies , that they attain not to their consummate forme upon the suddain , and till after many years ; notwithstanding which they are yet obnoxious to destruction every instant , without any means of restauration , but the same from whence first they sprung : even so it is in the productions of Wit , which coming once , through negligence , to be lost , or opprest under the Tyranny of evil Government , never recover themselves but by a long and laborious re-search ; so , as 't is realy prodigious ; that in the Age of Leonardo da Vinci , and Raphael ( who were the Protogenes and Apelles's of the Modern Painters ) we should see the Art revive again with so much vigour , and flourish in so short a space . For Painting is none of those simple Arts , which Chance does now and then present us with , without any disquisition , and which every one may light on without an extraordinary Talent , or study to attain them . There is happ'ly nothing of Ingenious amongst Men of more sublime , and whose Perfection is more difficult to attain , than that of Painting , the Noblest Instance which humane wit can boast of : 'T is therefore plainly an insupportable abuse , to obscure and confound her amongst the Mechanical Arts ; since she is established upon a demonstrative Science , infinitely more inlightned and reasonable , than that Pedantick Philosophy , which produces us nothing but frivolous Questions and uncertainties , whence some have styl'd it , The Art of Doubting , a steril and idle speculation ; whereas Paynting , founded upon the real Principles of Geometrie , makes at once a double demonstration of what she represents : But it will indeed require different Eyes to contemplate and enjoy her Beauty intirely : For the Eye of the Understanding , is the first and principal Iudge of what she undertakes . It will , in my opinion , be necessary therefore , in order to the restauration of her Honour , to evince by undeniable reasons , that she is still as worthy of the rank and dignity , which she formerly possest amongst the Greeks , the worthies of Genius's that ever Nature form'd , and that the shameful desertion , which has since arriv'd her , could proceed from no other cause but an universal depravation . She has moreover had this particular misfortune , that all the Writings and Works which should contribute to her Instruction , and that divers excellent Painters had long since publish'd for the better intelligence of their Art , have been buried and lost by tract of time . Nor is it strange , that this accident has more concern'd them , than all that has happen'd to the Books of Orators , Philosophers , Historians , and divers others ; since 't was sufficient for them to find out People that could transcribe them again , and by that means continually replenish their Libraries ; whereas , for the Writings of our great Master-Painters , the Copists were of necessity to be good Designers , and knowing in the Matter , which they transcribed , to be able but to accomplish a very few Volumes in a great deal of time ; so as one could hope for no better event than what is come to pass , by reason of those tedious and very difficult Figurations , which go to the composure of its principal , and most essential Parts , as may easily be deduc'd from that Treatise of Leonardo da Vinci , which it had been impossible to have explain'd , without the advantages of the Art of Graving , and of Printing , which this latter Age of ours has produc'd . The same unhappiness arriv'd to Architecture : All the Antient Books of it being utterly lost , that single work of Vitruvius being only excepted , which is very defective too , for want of its Profiles and lineal Demonstrations , which this Author set forth in a particular Volume that is perished ; but which was to have been the Crown of all his labours ; though we may yet affirm , that the Moderns ; persueing his steps , have made that Glorious and Magnificent Art to flourish and revive again . In my opinion , one might render the same service to that of Painting ; since we have a Philostratus to our guide in so worthy a designe : But as Architecture is more gross and material in what it undertakes ; the Solidity of it , which constitutes one of its very Principles , has honour'd it with some preheminence , even above Painting it selfe . It stands firm , and has continu'd many of its productions , which wonderfully supply the defect of those Books that are lost ; whereas Painting , which is , as it were , altogether spiritual , has not been able to furnish us with such permanent monuments . And yet for all this , she has within these two Ages reviv'd with so much vigor , as if she had receiv'd the very same assistances . And truely , she seems to me to have been the Restauratrix of Architecture ; since we find , that almost all the first Masters of that Profession were also great Painters ; such as Bramante , Baldassar Petrucci , Raphaelo , Iulio Romano , and several more , which is no other then the result of being able to designe well , which is in truth the veritable Principle and only Basis , not of Painting alone ; but , as one may well affirm , the universal Organ and Instrument of all the politer Arts. 'T was a singular felicity and advantage to the re-establishment of this rare Profession , that its Mechanical part did preserve it selfe so intire ; in which particular I conceive we have nothing more to desire of the Antients . On the contrary , the very use of Oyl only , which the Moderns have discover'd , does infinitely advance it . Add to this , its refining on Colours ; and their improvements to that multiplicity of different kinds , as even superabound , and are more than necessary ; so as now a man needs only to understand , and be well vers'd in what this excellent Talent of the great Masters of Antiquity consists , and the prodigious Effects , which Historians report of them in their Works . Nor is this a thing so difficult to resolve ; since by that only Treatise of Leonardo da Vinci , one may easily make it out , that a Painter well instructed from his Youth in all the necessary Precepts so methodically prescrib'd in the first Chapter of his Book , cannot fail of proving to be an able Man in the Profession : but if to this , Nature likewise favour him with the Genius of the Art , which consists in a certain vivacity and flowing of Invention and Grace ( which all the study in the World will never attain ) he must then of necessity be excellent . And if his Works perfectly conform to the Rules of the rest of that exact Dissertation ; one may safely pronounce as much of his Pieces as of those of Apelles himselfe , Zeuxis , or Parrhasius . But forasmuch as our Author put not the last hand to his Book , but left it us imperfect ; or the Project rather of a more finished Composure , which he had under contemplation ; I shall here adventure to set down some general Notions and Observations for the supply of what seems most defective . Supposing then , that all Arts whatsoever have their Fundamental Principles , the knowledge whereof is absolutely necessary for those who intend the Profession , and that This of Painting is superior to the rest , and consequently more difficult : It is not to be expected , there should any considerable progress be made without a due and perfect cognisance of those Principles ; and they consist of no mean speculations , Perspective and Geometry ; without which , a Painter can never emerge good Artist . Seeing now , it is not enough , that to the forming an able Painter , he be learned in these two Points alone ( which study will soon accomplish ) without three or four other more curious Qualities , which he ought to be Master of ; but which are not usually attain'd to without a singular favour of Nature ; it happens that there appear so very few good Workmen amongst the multitudes of this Profession , that it may well be verified of Them , which was said of the Poets ; That a Painter is so born , not made ; and really their Genius is so conform , as it became Proverbial ; That Picture was mute Poesie , and Poesie vocal Painting . The reason of which will appear very obvious in the ensueing periods , where we shall Treat of the different Talents , which necessarily concurr to the production of an acomplisht Painter . Those renowned Antients who exalted the Art to its utmost perfection , and rendred it so famous , observ'd in their Works five particulars exactly , as so many Fundamental Principles , without which , Painting is nothing but a meer Chymaera and confusion of Colours . But before I proceed to the parts , I must first deferr the honour of this Observation to that Learned Hollander , Francis Iunius , who about Five and twenty years since , publish'd a Noble Treatise of the Painting of the Antients , wherein the intire History of this Art , from the original to its utmost perfection , is rarely deduc'd ; and were not the Book in Latine , and by that means much conceal'd from most of our Painters , I should satisfie my self to referr them to the Author . See what he writes at the beginning of his Third Book . The Antients , says He , constantly observ'd these Five Parts in all their Works . 1. Invention , or the History . 2. Proportion , or Symmetrie . 3. Colour , ( wherein is also contain'd the just dispensation of the Lights and Shades . ) 4. Motion , in which are expressed the Actions and Passions . 5. And lastly , the Collocation or regular Position of the Figures of the whole Work. But these four being Treated of in so general Terms , that it were almost impossible , our Workmen should derive the Fruit and Instruction which is so necessary for them to practise ; I will here explain them in Order , and more at large , and endeavour to render them intelligible , both by Reasons and Examples . Of INVENTION . 1. PART . INvention , or the Genius of Historizing and framing a Noble Idea upon the Subject one would Paint , is a particular Talent , not to be acquir'd by Study or Labour ; but is properly a certain ardor exciting the Imagination , prompting and enabling it to Act. And as this part of Invention has Naturally the preheminence in the Nature of things ( since it would be ridiculous in a Painter to prepare his Colours and his Pencils , without resolving before hand , what to Paint ) so does it more than any other , discover the quality and force of the Spirit ; as whether it be pregnant , judicious , and exalted ; or , on the contrary , barren , confus'd , abject , and plainly repent . Of PROPORTION . 2. PART . AS touching Proportion , ( i.e. ) the Symmetrie and Congruity of the whole to its parts ; 't is sufficiently easie to attain , there is no great difficulty in it , and therefore the ignorant are without all excuse ; since it may be gain'd with very little pains , and by operations purely Mechanical : but the only way to arrive at its perfection , and be perfectly acquainted with it , is to pass through that of Geometrie , which is indeed the sourse and original of all the Arts. Now amongst the Painters and Sculptors of the Antients who have most excell'd in this , Pliny and Quintilian , and others , principally instance in Parrhasius , Praxiteles and the famous Asclepiodorus , to the exactness of whose Proportions , the most celebrated Apelles would always subscribe . Of COLOURING . 3. PART . BY this third Particular , which is that of Colouring , you are not only to understand the Painting ; since this Talent ( though truly very important ) must yield to the Science of Lights and Shades , which is a certain Branch of Perspective , in which the Center of the Luminous body represented to the Eye , and the Section , which the beams make upon the Plan , or any other superficies , precisely expresses the Contours and exact form of the body so illuminated ; and therefore , whoever is Master of this remark , furnishes himself with several commodious ways , how to put any thing into Perspective , even the most capricious and conceited , such as we sometimes encounter upon irregular Surfaces , and that appear so surprising and difficult to those , who comprehend not the secret of it . Of MOTION and EXPRESSION . 4. PART . BUt as the three first Parts are highly necessary for all Painters in general ; this Fourth , which concerns the Expression and Motion of the spirit , excells them all , and is indeed admirable ; for it gives not only life to Figures , by representing their Gestures and Passions ; but seems likewise to make them vocal and to reason with you . It is from hence , a Man is enabl'd to judge of the worth and abilities of a Painter ; for such an Artist paints Himselfe in his Tables , and represents , as in so many Mirrours and Glasses , the temper of his own humour and Genius . There is none but easily perceives , by paralleling the Compositions and Figures of Raphael , with those of Michael Angelo ; that the First was the very sweetness of Grace it self ; whereas , on the contrary , Mic. Angelo was so rude and unpleasing , that he retain'd not so much as any regard to Good-manners . This is evident in that great Work of his in the Chappel of the Vaticane ; where , being to represent the Final Iudgement over the very Altar it selfe , he introduces certain Figures in Actions extreamly undecent ; whereas Raphael observes a Modesty , even in the most licencious of Subjects . From hence it is , we may conjecture , how highly important this Talent of Expression is in a Painter ; 't is really his greatest Excellency , and should accordingly be accompanied with a peculiar Iudgement and Circumspection ; since by that alone , one may conjecture at the force of his understanding , which being far from ever acquiring any renown by his Works , whilst he violates the forms of Civility , will doubtless , be the scorn and reproach of every Man ; seeing the greatest Libertines amongst Persons of Condition , generally abstain from lewd and impure expressions ; which , though but in passing , as we say ( which makes not so lasting impressions as what affects the eye ) are taken up only by the dregs and vilest of the People . And therefore , a Painter who makes profession of so noble and excellent and Art , is extreamly obliged to Modesty and good Manners in all his productions , and should never pollute his Pensil with any Subject , but what may endure the chastest eyes to behold it ; for as he endeavours to render his Works famous , and worthy to be sought of all the World ; it oftentimes fortunes , that those pieces , which are express'd with too much Liberty , happ'ning to fall into the hands of scrupulous persons , never appear in the light , by which means those Workmen are deservedly depriv'd of what they most of all affected . I do not inferr from hence , that one should be so precise , as not to endure any kind of Nudities whatsoever , and be so peevish and moross , as altogether to neglect both the excellency of a Work , and the History which they often represent so ; or in case they do retain some of them , that they should cloath and cover them , by the hand of some wretched Dauber , which not only more defiles the Picture , but renders it more ridiculous : But I would shew our Painters , what are the Rocks and Shelves they ought to avoid in that which concerns Expression : For though this Animadversion may at first seem but impertinent ; since commonly our Wits and Actions are more vigorous and inventive upon such occasions ; yet when men shall seriously reflect upon the indignity and vileness of the Liberty which some of them assume ; and consider , how much more easie it is to succeed in those wanton representations , than in more worthy and Heroic Subjects ; ( as 't is easier to make one Laugh , than to make one Admire ) Men will but despise their extravagance and brutality : And in effect , they are never seen but in obscure Corners , as asham'd to behold the Light ; or in the houses of lewd and abandon'd Persons , who feed themselves with such impurities . If therefore a Painter would consult the honour of his Profession , let him endeavour to pursue more Noble Ideas , and hold it for an assured Maxime , that there is nothing praise-worthy which is dishonest . Be this then spoken for prevention , and , but by the way , till I come to the more particular applications , and examine exactly what may farther concern this Advice . Of the Regular Position of Figures 5. PART . BUt in the first place , let us dispatch what we have to offer , touching the due Collocation and Position of Figures in a Piece ; since it is the Base and Foundation of the whole Edifice of Painting ; or , as I may term it better , the Ligature of all those four Parts we have hitherto discours'd upon ; which without this , have neither Form , nor indeed , subsistence . For as it is not sufficient in an Architect , to have amass'd together , and made a vast provision of Materials , nor even to have assign'd each Member of his Building its particular form , unless he also skill how to dispose of them all in their proper places ; Nor that a Sculptor should carve out each Member of a Statue with just and due Proportion , without he know how to unite them in their natural Postures , and not place an Arm where a Leg should stand , nor the Foot where should be the Hand ; but he must not so much as take one hand for another , nor the left Leg for the right , which would be to form a Monster instead of a Man. In like sort , a Painter would be found to work in vain , and loose his time , if when he has laudably pass'd through the first four Parts , he should fall short of this last , in which the whole Eurithmie and perfection of the Art consists . It were the same folly to Invent and Compose a Subject , to have studied the Beauty , and just proportion of every Figure ; to emerge as an able Colourist , and know how to give the Lights and the Shadows to each Body ; their taints and natural Lustre , nay , and withal possess that Divine Talent of expressing the very Motions and Passions in his History , ( which is the soul of Painting ) if after all these noble accomplishments , he be ignorant , how to give his Figures their due regular Positions . We do therefore conclude , that if those other , or all of them united , or asunder , are advantagious to a Painter ; this last which we have spoken of , is absolutely necessary . For though a piece may possibly not answer in every part , some one of the former requisites be weak , nay , in some measure , defective in all of them ; yet , if this last be well perform'd , the Work will always deserve esteem , and credit the Painter . Order is the sourse and Principle of Science , and as it concerns the Arts , has this of peculiar , and to be admired , that it is the parent of all Beauty , imparting its graces to the meanest productions which it renders considerable . Let us then consider a while , in what this so important , and indeed accomplisht part consists , which not only compleats a Painter , but comprehends in it whatsoever the whole Art has of Scientific , and emancipates from the indignity of the Mechanicks , to give it place even amongst the Sciences themselves . Our Geometricians , who are the genuine Masters of this Question , and can best explain it , have nam'd it Optica , by which term they would signifie , that 't is an Art of seeing by our Reasons and Eyes intellectual ; for 't were impertinent to imagine , that our corporal Eyes alone should be capable of so sublime an operation as to pretend themselves judges of the Beauty and perfections of a good Picture , whence a thousand absurdities would ensue . And should the Workman think to imitate things according to their external appearance ; 't is certain , that if he place them ill , he represents them so , and will form but an ill resemblance of them ; so as before he takes the Crayon and the Pensils in his hand , he should first adjust his Eye with his Reason by the Principles of Art , which teaches us to behold things , not as they appear in themselves only , but as they ought to be ; and it were a fault unpardonable to paint them precisely as they are seen , how Paradoxical soever the assertion seems . Now this so necessary Art , which the learn'd call Optical , Painters and Designers Perspective , prescribes us infallible Rules of exactly representing upon any surface ( be it Cloth or Table , a Wall , sheet of Paper , or the like ) whatsoever is visible at one view or aperture of the Eye , without changing our place . I shall not here insist upon the Principles , and various Methods , which the Masters of the Art have invented for the execution of it , which were to digress from my present Institution : But presupposing my Reader competently knowing in it , shall shew him here by divers Instances , and a Critical examen of sundry Pieces engraven after Raphael ( the most renowned certainly of our Modern Painters , and most accurate in his Works ) of what importance this Perspective , or regular Collocation of Figures is ; since by that , a man may precisely determine , and pronounce definitively what is well or ill done in a Picture . Nor let any impute it a presumption , if in this survey , which I pretend to make of Prints , I spare not even Raphael himself , where I find him defective ; since , it is neither my purpose to injure or flatter any man ; besides , many of the errors , which I take notice of , may possibly proceed from the impertinence and ignorance of the Graver , who perhaps have abus'd , or altered the Original Drawing ; as I have frequently observ'd , that the Prints of Andrea Mantegna , and Albert Durer , which were cut by their own hands , appear'd a great deal more regular and just , than those of Raphael , which had not the same advantage . And if the manner of those two great Painters designs , had been as pleasant , and noble , as they were accurate , their stamps had been without comparison ; those only excepted , which Marc. Antonio executed by the direction of Raphael , who took extraordinary care , not only to furnish him with Drawings , extreamly finish'd , but instructed him likewise in the very Graving of them ; so as one would esteem those Papers of Marc. Anthony , amongst the greatest curiosities that Painting has produc'd of the kind . And it were to be wish'd , for the Virtuosi's sakes , that the same hand had Grav'd all that are to be found after this great Master ; at least , those larger Compositions of his which are painted in the Vaticane , the Capitol , and divers other places at Rome , as the Battails of Constantine against Maxentius ; the School at Athens ; the Assembly of the Fathers and Doctors of the Church about the Sacrament , with several more , which ill-Gravers have wretchedly abused . To fix our Critic then on a favourable Augure , I suppose , it will redound both to the Glory of Raphael , and our own satisfaction ; to begin with good Examples , and to propose Four or Five of the best of Marc. Antonios-pieces , as Antipasts of the rest ; that from what we shall observe from those which follow , we may the better judge , how great a misfortune it is for a Painter to fall into the hands of ill Gravers , and how infinitely our loss has been , that so many excellent Works of the same Genius , have been so vilely lamed under their tools . The First Stamp . The JUDGEMENT of PARIS . THe very First sheets which carried the name of Raphael out of Italy , and that shewed all the Painters of his Age , who was their Coripheus and Captain , was that noble and famous Print of the Iudgement of Paris ; in which , Raphael made so happy an Essay , both for his own , and his Scholar Marc. Antonios reputation , that from thence forward he continu'd him in the same Employment ; and for that end , expresly design'd him several other rare things , which probably we had never seen , but upon this occasion , because he never did paint them . Let us now examine in the Figures of this Stamp , whether our Painter have sufficiently acquitted himself in our five Fundamental points ; and that we may proceed orderly in the research , commence at the First , which is the Invention : But forasmuch , as it is absolutely necessary , e're we can rationally discuss it , to understand the circumstances of this Poetique-History , we shall briefly repeat it . Paris , Son to King Priamus , being soon after his Birth expos'd on Mount Ida , and there abandon'd to the wild Beasts ( by reason of the funest dream , fatal indeed to his Country , which his Mother Hecuba had of him , during her great belly ) happen'd to be taken up by one of the Country Shepheards , who bred him up as his Son. This young Prince ( unknown of his Foster-Father , and indeed to himselfe ) by a strange and secret virtue of the Royal-bloud in him , became so accomplish'd in his Youth , as to surpass all his other Contemporaries in Strength , Beauty and Address , and in summe , in whatsoever was esteem'd most qualified amongst them . Hitherto , it holds some resemblance of a true History ; but the Poets , who are somewhat neer of kin to the Painters , have refin'd upon all this , and mingled it with several capricious fansies ; and pretend , that once upon a time , as all the Deities were invited together to the Nuptials of Peleus and Thetis , the Goddess Discordia only excepted ; this malicious Lady , in revenge of the affront , secretly convey'd amongst the Crowd that were at the wedding , a Golden-Ball , upon which there was engraven , Be it given to the Fairest . Mercury , the busiest of all the rest , perceiving the Ball , catches it up , and reads the words aloud ; which inflam'd all the Goddesses ( emulous , who should be counted fairest ) with so burning a jealousie , that Iupiter himself refus'd to decide the controversie , fearing to displease his Wife Iuno , should he pronounce in favour of any of the rest ; or at least , be suspected of Interest . The only Rivals of Iuno , were the fierce Minerva , and the lovely Venus ; so as the difference being by mutual consent of the Competitors , referr'd to the decision of the Royal-Shepherd , ( who was in those days himself a handsome Youth ) Mercury was immediately dispatcht from Iupiter with the Apple or Ball , with order to deliver it to Her , who of the Three , Paris should judge to be the Fairest . You have here , what Raphael intended to represent by this Designe , wherein , for a general consideration , and almost ever a necessary one ; he has plac'd the principal Figures of his Story in the Center of his Ordonance ; and that with admirable variety both of Aspect and Expression . There , you may behold Minerva , fill'd with disdain for missing the Prize she pretended to , turn her back upon her Iudge with a malicious regard : Venus , in whose favour the Sentence was pronunc'd , stands in the middle of her two Rivals , and receiving the Symbol of her Victory with a Modesty , accompanied with a marvelous Grace : The Painter has made her be seen by a side Profile , as the most advantagious to discover the shape and regularity of each part of a beautiful face . Iuno , the haughtiest of all the rest , inraged with despite , that she had not the preference , seems altogether transported with rage at poor Paris , who appears not for all this the least concern'd , but continues sitting as becomes a Iudge , pronouncing Sentence with the Fatal-Apple that soon after occasion'd those tragical dissasters amongst the Greeks , and concluded in the total subversion of Troy , which was the place of his Birth . This last Goddess presents her self in front , as the most confident of the Three ; and Raphael has expresly design'd them all with different aspects , to make as great an emulation , even between his own very Figures , as possibly he was able . I observe likewise in that of the Shepheard Paris , a certain variety in the Profile from that of Venus ; for where this fair Deesse discovers a little of her breast , Paris on the other hand , shews a part of his shoulders side-long ; so extraordinary a care our Painter took , that each part of his piece , should have something diversified . Besides these Four , by which indeed the whole History had been sufficiently illustrated , he has yet introduced Mercury ( having finish'd his Commission ) in a posture of returning to carry back the news of the event to Iupiter , who that happy person was , that obtained the Victory . After this , the rest of the Composition is nothing but a Poetique expression of the Genius of the Painter , to enrich the Ordonance of his Table : For the Nymphs with their Cruses , and the two naked Men , who sit neer them with Bull-rushes in their hands so unconcern'd with what passes , relates only to Mount Ida , which abounds in Rivers and Springs of Water ; and 't is evident , that he whom you see leaning upon the Bank , is the River Xanthus , which washes the very walls of Troy ; next to him , is the River Simois , both whose Sourses rising in the same Hill , with their frequent Meanders refresh the large and irriguous Campanias of the Troada , and at last unite themselves at the mouth of the Hellespontic sea , neer the Sigean Promontory . Now , as there is not the least particular , in this whole Composure , which our Painter has not mannag'd with admirable , address to shew that Mount Ida was of an exceeding height , and abundantly fertile ; he discovers a part of it only , which successively ascending towards one of the Angles of his piece , and being not only already parallel with , but even piercing some of the very Clouds , makes one thence easily to conjecture its prodigious altitude . The plenty of Trees and Cattel which adorn it , speaks also its great fertility : But of all this Representation , the most difficult to interpret , is that which passes amongst the Gods in the Clouds : For at one hand you have Iupiter sitting on his Eagle , arm'd with Thunder , born up of one of the Winds , and accompanied by Diana , and two other Deesses ; and on the other part , Apollo , ( the brother of Diana ) inviron'd with his Zodiac , and attended by two young Cavaliers ( whom I suppose to be Castor and Pollux , the Brothers of Hellena ) hastning to meet Iupiter , and seeming to be plac'd there as a kind of Prognostick of the Catastrophe which this jealous contention produc'd , and which soon after kindled so dire a Flame against the unfortunate Umpire , that it reduc'd both his House , his whole Race , and his City into ashes ; and made so strange a discord , even amongst the Deities themselves , that every one of them siding with his own passion , banded such a League in Heaven , as was not ended till ten years after . The rest of the Fable , for containing little that concerns our Piece in it , I need not explain here ; and haply , I may already be thought over tedious ; but I have expresly enlarg'd , that after we have well consider'd in the Print all these observations ; and that there is nothing in the entire Composition but what is essential to the Subject ; the Idea and freedom of our Painters invention , may appear with the more lustre and advantage ; for seeing , that in so small a space , at one view , and with so few Figures , he has shew'd us such a consequence of varieties , we must needs the more admire the force of his Invention , which is the Talent we so much celebrate , and the first Member of our present disquisition . The Second , which concerns the Proportion of the Figures , will not require any large discussion ; 't is too apparent to those who look with Painters eyes : we may only observe in passing , what a judicious difference Raphael has assign'd to every one whom he Personates , as their particular qualities distinguish them : for the three Goddesses , being the most illustrious and principal ones of his Piece , he makes of a more august and stately Mine than the rest . The Shepherd Paris , Mercury and Apollo , discover a more light and Airy proportion , such as the Italians would call Svelta . The two Rivers are made more robust and heavy ; and the Fountain Nymphs fatter than usual , to denote their fertility and abundance . The Third Division , which imports the projection and disposure of the Shades and Lights upon the Objects , needs as little particular enquiry into , as the former ; since it is generally very regular . We shall only take notice of a certain licence , familiar amongst Painters upon such occasions ; which is , that Apollo ( who signifies the Sun , and consequently the Fountain and Center of the universal Light ) appearing here in humane shape but as a particular Figure of the story , does not only impart no light to the rest of the Figures , but receives both light and shadow with the other , as the point requires , which our Painter has given to his Table . Touching the Fourth Part , which is the Expression , that admirable and peculiar Talent of Painting , which not only discovers what every Figure does , and speaks , but even what it thinks also , a thing almost incredible ; I shall likewise pass it over without much enlargeing my discourse , as having sufficienly examin'd it in the narrative of this History ; and in particular , where I treat of the Invention , and Intention of the Painter ; where I observe no less than three distinct passions most judiciously express'd in the Contentions of the Goddesses ; as first Disdain in Minerva , who turning her back towards her Iudge , casts a sleer over her shoulder , and lifts up her arme after a very disrespectful manner . In the second , which is Venus ( receiving the Prize of her glorious Conquest ) I remark a certain secret , and bashful complacency , accompanied with all the grace that Beauty is capable of . As for Iuno , she is sufficiently conspicuous , according to the Poets description of her , full of Choler , Revenge and Arrogancy , threatning her Iudge with her very looks , and extending her arme towards him after an extream audacious and haughty manner . The next is Mercury , in a Posture perfectly describing his sedulity and diligence , since he seems both to speak and to move forwards at the same instant , and that with an address and Meene , which sufficiently denotes his agility , and how proper he is for his Employment . The Royal Shepheard in the interim , who is here one of the Principal Personages , though encompassed with Divinities , preserves still a settled Countenance , as becomes a Iudge ; nay the very Dog by his side , neither sleeps , nor importunately barks as Currs use to do ; but seems as it were to bear some part , and give attention to his Masters Sentence . All the other Figures of Rivers , and Springs seem very little concern'd at what passes , as I have already noted . I confess yet , at first , I once imagin'd , that the Nymph who sits so neer the two Rivers , and seems so extreamly melancholy , might have been Oenane the Mistris of Paris ; and he might well be jealous at what he saw ; but her tresses of hearbs about her head , and the Water-pot which she holds , do not quadrate with this conjecture : Above in the Clouds the two young Harbingers full of heat , and precipitancy , appear as augures of the ensuing Warr , which soon overflowed all Greece , by the furious resentment of the angry Godesses , enraged at their Iudge , and by that direful revenge which they espress'd against all his Posterity , sufficiently cautioning us , how perillous a thing it is , to intermeddle with the affairs and contentions of Great Persons . Those who are knowing in the Principles of Iudiciary Astrology , will find also by the position of the Figures about the Zodiack , that our Painter was not only expert in placing them in their right order ; but that he was likewise skilfull in what concerns the Figuration of Horoscops , and erecting of Schemes : For , pretending to represent those great disasters which were to proceed from this fatal Contestation , he turn'd it to the place of Aries , which is the House of Mars , in which Thunders and Coruscations are ingendred : the next is Taurus , the Domicile of Venus , who is fortunate in that Sign ; Then succeed the lucky Twins , signifying to the History , and representing the two young Cavaliers who ride before Apollo . From these Particulars so accurately research'd , we may inferr with how great judgment and art he has compos'd this Piece . There is little else considerable ; save the Figure of Iupiter riding upon Eolus in an extraordinary garb , accompanied with three or four Divinities , the Lightning in his hand , and an Eagle near him in a menacing posture , as being interested in the Difference , which also presages a Tempest to ensue . Let us now proceed to examine how our first and principal part , which concerns the position of the Figures in true Perspective , have been observ'd in this Ordonance . Our common Painters imagine Perspective to be no more than a certain particular manner of representing things in Architecture , as they call it ; never conceiving that it signifies any thing in Histories which are composed of Figures , so as this may be : and I confess it does not appear so perspicuous to the eyes of our half - Paynters , who do not comprehend it any farther than they are Mechanically taught by by a certain concourse of Lines , tending to a poynt of sight , which is the uttermost limit of their skill : But those grand Masters who own it for the Universal foundation of their Science , are curious to observe it in every the minutest touches of a Piece , as I pretend to demonstrate by this Instance , which is so much the more commodious for my purpose , as at first sight it seems as if Raphael had thought of nothing less in the Composition than of Perspective : so free and disengag'd it appears from any kind of constraint imaginable ; there being neither any degradation of the Plan , Buildings , or other form of Horizon , from whence those simple practisers of Lineal Perspective , can derive the least conjecture how to proceed by in their Mechanical way : But these men are to know , that 't is a most subtile , and refin'd address in Painting , to work things exactly regular and precise , and yet to conceal the Art. Let us begin then first to determine the point of sight ; since it is as it were , the very Center , to which every part of the Table has reference ; and for that we have in this Piece , no lineal guides to conduct us ; our Reason must supply that defect . The Subject of this History being chiefly about Sight , and Paris the Person principally concern'd in it ; the Paynter could not have plac'd the Visive point more judiciously , than in the Eye of Paris , which , for this very cause , he has represented in Profile , to shew that there ought to be but One only , as Geometricians teach us in their Optics , where they represent Vision , or the function of Seeing , by a radiated Pyramis with an Eye fixt upon it . This establish'd , and rightly understood , we proceed to observe in the Ordonance of this Composition , that the Plan on which the three rival Goddesses stand , has its degradation towards the Eye of their Iudge , towards which likewise all the rest of the Piece is converted . Now Perspective being an Art compos'd of reciprocal proportions , it follows , that from the knowledge of one part , one may easily pass to that of another ; and by this alternative , arrive in fine , to the knowledge of them altogether : so as from this first point of Sight , and the consequent diminution of the three prime Figures , we likewise inferr another essential point , exceedingly necessary for such as practise Designing ; and this they usually call the point of Distance ; because it determines the Interval between the Object or Table , and the Eye of the Spectator . As for the right-line , compris'd between the point of Distance , and that of the Eye , it denotes the Axis of the visual Pyramis , which is alwayes to remain fix't , and parallel to the surface of the Plan , and the height of the Horizon . This point of Distance has certain regular and constant limits , beyond which it works no effect ; for approaching too neer , it causes the Plan to be so far elevated , and the Diminutions of the Figures come so suddenly upon us , that it surprises the eye ; and , on the contrary , if it be too remote , it renders things as much confus'd ; so as there is that mediocrity to be observ'd , which the skilful in Optics have agreed upon in the opening of the Angles of Equilateral Triangles . By this general Maxime , one may immediately discover , where the precise term of Distance resides , which we are seeking : And therefore I will dwell no longer upon it ; the particulars being also so absolutely important to those who are already vers'd in the practise , though something difficult , I confess , to be conceiv'd by those who never heard any thing of it before . Presupposing then these first Operations dispos'd according to the Rules of Art ; You are only to consider , whither the Figures ( as well those which stand after the usual manner upon the Ground , as those who are elevated in the Air , and amongst the Clouds ) be plac'd in an aspect agreeable to their Situations , with regard to the visual point ; and whether they diminish , proportionably to the degradation of the Plan which they should observe ; since it is only in these two particulars , that the whole intention and effect of Perspective in a Painting does consist . And though they are now adayes much neglected by those of the Profession ; Yet is the Consequence of such weight , that whosoever observes , or knows them not , is unworthy the name of a Paynter ; all Pictures defective in this part , being both contemptible , and ridiculous in the eyes of intelligent Persons , who instead of Bodies , look on them but as so many Chymaera's , represented without any possibility of Nature . The importance of this Remark will be better understood by Instances of Ill-pieces , than by that of which we are now discoursing , wherein all is so regular and conformable to the Rules of Art : for if we shall examine the first effect of perspective in Figures , which consists in making them appear lesser , or greater , according as they are more or less advanc'd in the depth of the Plan ; 't will be manifest , that they successively dimimish ; so as from the very first , which is that of Minerva , compar'd with that of Mercury ( the farthest off in the piece ) there is a considerable difference in the height : And that of Venus and Iuno is yet more remarkable , though the diminution be mediocre , and but just to the distance which they mutually observe between each other . Easie it were to pursue the examen through the rest of the Figures ; and therefore I shall now pass to the last , and most important part , which concerns their Aspect and Position in reference to the Point of Sight ; and that I may proceed methodically , and usefully in this enquiry , we shall first make some reflections upon these Axiomes of Perspective . I. AXIOME . THe Point of Sight represents the Eye of him who beholds the Picture ; and this Point is the first , and principal thing to be sought for in a Piece , to enable one rightly how to discern , whither it be the Work of an able , and knowing Painter , or of a simple Practitioner onely . II. AXIOME . THe Point of Sight is constantly , and precisely the height of the Horizontal-line . III. AXIOME . WHatever appears above the Horizontal-line , is seen in the nether part ; and whatever is plac'd below it , is seen in the upper , seeming to ascend and mount as it were towards the Horizon . IV. AXIOME . FIgures of equal Altitude , being on the same Line parallel to the Base of a Table or Picture , are always equal . V. AXIOME FIgures , more or less advancing in the depth of the Plan in Picture , diminish proportionably to the degradation or distance of the same Plan : For example ; suppose the Plan be graduated in a scale of Squares ; the Figures shall observe the same Proportion one to another , as the graduated Squares do , upon which they are placed . VI. AXIOME . FIgures , scituated Parallel to the Base of the Table or Picture , appear of the same Aspect in Perspective , with the Squares of the graduated Plan , upon which they have their position . Now let us apply these Axiomes to every Figure of our Stamp . The Point of Sight ( which is the first thing observable , as being indeed , the very Compass and Guide to all the rest ) being precisely in Paris's Eye ; the Figures which are aloft in the Ayr , as the Victoria putting the Garland on Venus ; Apollo in his Zodiaque ; Eolus , who seems to support and fore-run Iupiter , and other of the Deities of his retinue ; shew altogether their Nether-Parts , according to the Third Axiome . Descending then to the Earth , towards the right side , and most distant from the Point of Sight ; You have the Figures of the River Xanthus , sitting , and halfe lying-along the Base of the Picture ; so as by our last Axiome , this Figure must appear in the same Aspect in Perspective with the graduated Square of that particular place ; and therefore as it regards the Point of Sight ( which is here at a considerable distance from it ) that part of the Breast ( which according to the Position of the Body , could not be discover'd , if it stood directly opposite to the Perpendicular of the Point of sight ) shews it-self almost as fully at this interval , as if really the Figure had been design'd to stand fronting ; Whereas now , in relation to the Plan , it stands altogether in Profile ; the traverse line of the Shoulders ascending also somewhat towards the Horizon , according to our Third Axiome . The same may be observed of the Nymph sitting neer this River , whose Aspect ( though different as to Faces ) is yet upon the same Parallel , and scituation on the Plan ; both the one and the other being seen in Profile also . For , presupposing one should advance the Plan of their Position parallel to the Visual point ; you would find , that as the Figures approach'd it , the Contours and out-lines of each of their parts , would diversifie successively , without any alteration or change in their disposition and aptitude ; and so coming at last to be perpendicularly opposite to the point of sight , would appear exactly in Profile , which is in truth , their proper and genuine Position in this admirable piece of Painting . Would you now proceed to place them on the other side , or beyond the point of Sight ; the more they incline towards the left-hand of the piece , the more they alter the apparent Forme , and will come in fine , to an Aspect so contrary to their First ; that the Figure which here discovers part of the Breast , will there turn its back to you , and so would the other also . The knowledge of this Practical Demonstration will be no difficulty to those that possess the Genius of this Art , and that are any thing conversant in Geometry ; but 't is of such universal importance to all Painters , that whoever do not rightly comprehend it , will be found to work but like a Blind-man in his Profession , and especially those , who would accommodate to their designes , Figures which they borrow , and Copy after Prints of several Masters ; or indeed their own Academic studies , who , above all , should take especial care , so to place them in their Works , as may the most regularly adjust , and punctually answer the point of sight , under which they were first of all designed . For 't is a Principle in perspective ; that whatever Figure is once fixt upon a Plan , can never be transported from thence to another , without violating the present aspect ; since ( as we have sufficiently show'd ) the point of sight , is a thing stated , and immoveable , so as 't is absolutely impossible to place such a Theft out of another Painters Works , with any tollerable certitude , or handsomness in another Composition , without this assistance of perspective . I could inlarge these Remarks on the rest of the Figures of this particular Print , but to avoid repetition ; and therefore I think it better to make choice of another Subject , in the examination whereof , and of those which follow it , I shall only insist upon what is most important , and worthy of observation ; referring the rest to the diligence of particular students , who by the Plan , I have already trac'd out to them , may happ'ly be curious to make the same disquisitions upon every one of our five Fundamentals , as I have establish'd them in this Treatise . The second Print . The MASSACRE of the INNOCENTS . THe Second Stamp which Raphael caus'd Marc. Antonio to grave , was the Slaughter of the Innocents . The History is too well known to require Repetition : nor shall I need to examine the proportion of each particular Figure ; it may suffice to say in general , that the judicious Painter has even laden the good Women with their swelling Duggs , like so many Nurses ; and on the contrary , made the Executioners extreamly meagre , and lean , resembling those ragged Cut-throats , whom he has also left naked , and without clothes on their backs , to render them the more terrible . For this Painter did always observe an extraordinary Modesty in all his pieces ; and doubtless , had not this impudent garb been the most proper to express this Subject , he had certainly clad them like Soldiers in their Arms. As to the Third part , which imports the Shades and the Lights ; I find nothing that requires any particular observation ; every thing appearing so regular : But in examining the fourth ( which we call the Expression ) I must confess , that I expected more from Raphael upon so advantagious an Argument ; for to speak truth , he has handled those violent Passions with very little force ; whence one may easily conclude , how averse his spirit and Genius was from such tragical and furious representations . I should have made those cruel assassines of fierce and extravagant Countenances ; with fear , rage , and dispair in the faces and actions of the unfortunate Mothers ; their tresses dischevel'd , and their limbs bruised with the strokes and blows in defending their innocent Sucklings against the savage and merciless Soldiers : That the ground should have been cover'd with Arms , Legs , Heads , cut off from their mangled and lacerated Trunks ; that all about should have been nothing seen , save an horrible butchery , with the dreadful confusion of an affrighted People ; some running up and down , others crying , and the tender Mothers even expiring for sorrow upon their dead and massacred Babes ; others again , endeavouring by flight to save their Children : In summe , that on all parts , there should nothing have appear'd but desolation , bloud and Carnage : But our Painters Idea was not , it seems , so warm , and would certainly have succeeded much better , in a less violent Composition , more conformable to his Genius . Let us now consider how punctually he has observed all the Rules of Perspective , which is the last proof of our Examen ; and this we shall discuss with much less difficulty in this designe , than in the precedent Piew ; the Plan descending here in such manner , as that the point of sight , and all that depends upon it , salutes the Eye , without troubling it to search for it by conjectures , which are never so accurate and precise . Those who would be curious to observe critically the proportionable diminutions of each Figure , according to the degradation of the Plan which comprehends them ( as formerly directed in the foregoing examples ) will soon perceive , how just he has every where been . And for the second effect ( which is yet more considerable , and indeed the principal part of Perspective ) relating to the Aspect of the Bodys and to their situation upon the same Plan , and visual point ; there is nothing but what is most exactly regular : For , albeit the Figure of the Woman , whom we behold in front of the Table , with one of her knees upon the ground , holding her Child under her right arme , and protecting it with the other against a Soldier , who seems to deal a back-stroak with his sword at its head ; and that the Figure of the Villain appear also at first , as if they should rather be seen by the side of the shoulders , than by that of the Breast ; Yet , upon due and mature consideration of the line of their position , which is directly turn'd towards the Diagonal of the squares , and divisions of the Plan ; one shall perfectly discover , that their Aspect ought to differ from those , whose situation is parallel to the Base of the Picture : Besides , that in the contention of those two Figures , one may perceive a great and violent contorsion in their Bodies , towards the parts which they discover to us . There is no more difficulty in what remains of this Composition , and therefore I shall pass to the Third Stamp ; whilst of this , I shall have said in general ; that omitting only the Passions ; should we consider it by the exactness of the Designe in the Figures , the Regularity of the Perspective , the graceful Contoures of each individual member , judgement , and softness in the Graving ; we must be forc'd to acknowledge it for an incomparable piece of Art. The Third Print . Our Lords DESCENT from the CROSSE . BEhold here another Piece of the same hand , but infinitely more estimable for the subject it represents , and the greatness of its Idea , full of rare Invention , and of an admirable Expression : It is a descent from the Cross , at the foot whereof stands the B. Virgin , overwhelmed even with sorrow , and fainting between the arms of the other Maries , whiles Ioseph of Arimathea , and Nicodemus un-nail our Lord , and are working with St. Iohn , his beloved Disciple , in taking him down from the Cross , to bear him to the Sepulchre which they had prepared for him . 'T is almost impossible to imagine , that this History should be represented with more devotion , more affection , more sorrow , or with expressions more sensibly touching , and better distributed Devotion , in Ioseph of Arimathea ; Love in St. Iohn ; Grief in the Virgins and the Maries ; and even the Land-skip it self does infuse as it were a kind of Melancholy , by its seeming sterility and the asperity of its situation . These are general considerations only : But that we may not confound our establish'd Order , which we have already observ'd in the Compositions that went before ; let us commence with the first part ; namely , the Invention , or Ordonance of the Figure in this designe ; one of the most considerable Maximes whereof it is , to place them so discreetly , that the principal Figure of the subject may be set towards the middle of the Table , or most conspicuous and eminent place , as we have already touch'd in the Iudgement of Paris . This I repeat here a second time , because it is seldom well observed but by the most judicious Painters ; and the rather , that the example of Raphael may incite others to be exact in all our five Fundamental points ; since there is no other expedient , whereby they can arrive to the perfection of the Art. But ' ere we speak of the Situation of the Figures in this Design , we must first consider , that the Square of this Table is very different from the two precedent ones , where the Extent of the Ground-plot exceeded that of the height ; when as in this Piece , the height is superiour to the bredth , by a great space , and as was meet , considering the form of the Cross , which is the principal Figure , and as it were the Scale of the Table ; which I therefore observe , and mention beforehand , that when I shall hereafter come to discourse of the Site or Collocation which each Body has in Perspective , we may the better comprehend the Particular difficulty which is usually met withal in such Histories as these , where the greatest part of the Figures are up in the Ayre , and suspended above the Plan and Terrace . This being established , let us consider , with what circumspection our judicious Painter placed his Figure of Christ , not onely in the midst of his Piece , but as he has turn'd him also towards the right side , whence he receives the Light ; and so makes him to descend between the armes of his beloved Disciple , who receives him with a Compassion , and a Love , better perceived by the Figure , then possibly to be described . Now the Composition of this Piece has this singularity remarkable , that it comprehends as it were two several Ordonances of Figures ; the one of Men , and the other of Women ; the first of which being all in the ayre , represent those who are working to un-naile our B. Lord , and take down his Body from the Cross ; and those are Men ; as being of the most vigorous and active Sex , and therefore fittest to set their hands to this painfull enterprise : The other Ordonance , which is disposed after the usual manner upon the Plan , consists of four Women , amongst whom the B. Virgin is the onely considerable , and therefore has assign'd her the most eminent place at the foot of the Cross , where the Maries , about her , do as it were , render her the same devoires , which Ioseph of Arimathea and his Companinions do to her Son. These judicious Observations you shall ever find in the Works of Raphaels Scholars ; but since they are in very small number , and that Raphael sufficiently shews himself to have been their Master , as may easily be seen in comparing his Compositions with that of others , by some transcendent markes of his Invention above them , I will onely touch one of them in passing , as being of that Mode which the Italians usually call ill Costume . Explication of Costume . SInce this Word is not a Term particularly affected to Painting onely , but common both to Poets and Historians , who write but the same things , which Painters are us'd to represent ; I will not reproach the Workmen of our Nation , for not having yet imposed any name on this rare piece of Art ; which may happ'ly inferr , that it is not yet arriv'd either to their knowledg , or Practise . It shall therefore suffice us to explain the meaning of it , and to shew wherein the force and intelligence of this Term does consist . Costume , is properly as much to say , as a knowing style , a judicious expression , a peculiar and specifique agreement suitable to every Figure of the subject in hand ; so as this word rightly understood , comprehends , and would signifie so many things essential to the purpose , that it can hardly be well explain'd ; and therefore I shall yet endeavour to unfold it more demonstrably by some general Maximes and Examples , before I pass to any farther applications upon our Design . Suppose one were to paint the History of Adam and Eve in the terrestrial Paradise , when upon the suggestion of the Serpent they tasted of the prohibited Fruit : A Painter is here to be wary , that he introduce no other Figures of Men , or any Buildings in the Land-skip , which would be a fault unpardonable , and repugnant to that Costume and Decorum of which we speak : And yet even this strange inadvertency has been committed by our famous Artist , in one of his best Pieces graven by Marc. Antonio ; so important a thing it is we see , carefully to avoid those strange absurdities . But we have yet found a more unpardonable Error in a Piece of that great Tramontan Master , Albert Durer ; where painting the Nativity of our Lord , with all the devotion he could imagine , fitted to each Figure , as well in the B. Virgin , as the Shepherds , who came to adore him ; he makes the good old Ioseph on his knees , at prayers with a Chaplett of Beads , or Pater-noster in his hands , by a strange impropriety , and altogether Gotick . One may observe a world of the like in divers of his Prints , of a meaner Idea , and if possible , more impertinent : Of this sort is , his tying an Ape ( the most ridiculous , filthy and vitious Animal in Nature ) close by the Virgin Mary , with Christ in her Armes ; which is , in my opinion , the most sottish , and extravagant vision that could come into a Painters fancy upon this subject , as not only against the Decorum we mention , but even common sence . These few Instances may suffice to demonstrate the importance of this piece of Art , without which a Painter , be he never so great a Designer , knowing in Perspective , good Colorist , and excellent a Practitioner : I say , if with all these , he be not well skill'd in the Decorum , men will take exceptions at his work . And though these kind of faults are not so visible to others , as to the eyes of the judicious ; they are nevertheless reproachable : On the contrary as they are frequently the most obvious to them , and subject to the Censures of Learned Persons ; they prove the more unexcusable , and of worse Consequence ; as it were a greater shame for an Historian to insert some false passage in his Relation , or talk extravagantly , and to no purpose , then to have us'd an obsolete Word , or un-usual Phrase . A Painter therefore who would aspire to some degree of reputation in his Profession , should be exceedingly exact in this Decorum , and make it indeed one of his principal studies , as being universally agreeable to all our Five Fundamental Maximes , and so far perfecting its harmony , that one may well esteem it for the crown of all the rest : But when all this is done , we are not yet to imagine , that to comply with these Essentials , 't is enough we avoid the Impertinences , and grosser Mistakes which we have mention'd ; but we must also endeavour to appear Ingenious , and knowing , how to express the subjects which we take in hand . For supposing a Painter , being to represent a Battle of Amazons , or Parthians ; or the Triumph of the great Caesar ; should content himself to observe onely the general Considerations which usually accompany the Expression and Ordonance of Fights and Triumphs , without particularizing any thing more proper and singular to each of those Historick Actions ; such a Painter would by no means reach that which he would signifie by our Costume and Decorum , which requires that the Parthians should be totally differenc'd from other Nations , as well by their Armes and Weapons as by their manner of Combate , which is to fight backward , and draw their Bowes retyring . No less ought he to observe in the Amazons ; for though he may imagine it sufficient to paint them Women , ( since among the people of the Earth , there were never any of this timerous and delicate Sex , who had so far revolted against its own Nature , and that were so fierce and couragious as to invade the profession of the bravest Captains ) yet will it be absolutely necessary , to add to them likewise some more peculiar markes , to shew that the Workman knew how to have describ'd them to be Amazons , though they had not been Fighting and in Conflict ; even by their very garb and Cloths ; which are not to cover their left shoulders , but expose it naked , as far as under the paps ; and for the right Breast , which they us'd to cut off , and seare , when they were very young , to the end they might with less impediment draw their Bowes ; the Painter should leave it without any swelling or appearance under their Garments on that part of the Body ; Besides , we do not read they us'd any Swords , but Battle-axes , Darts , and Iavelins , &c. with a small Buckler in shape of a Crescent , which covered their Armes . As for Iulius Caesar , we are to understand he was very bald , and that his manner was to raze his Chin close ; and therefore it were out of all Decorum to paint him with an effeminate Perrucque , spruce head of Hair , or a prolix Beard , as they frequently do Pompy , and some other of the Roman Emperours ; since it would offend the eyes of judicious Persons , and were not to paint the Man we would represent . And thus I have laid before you a specimen of all our Three examples , enough to guide a Workman in the path he ought to tread , and lead him to the perfection of his Art. For it is really in this , that the very Magistry and prime of the Science consists ; and perhaps it was in This chiefly , that those famous Artists of old , Apelles , Timanthus , Protogenes , , Zeuxis , and others , so far surpass'd our modern Workmen ; since neither the Colouring , nor the regularity of the Perspective , nor the symmetry and proportion of Bodyes , nor the different manners of Painting , or indeed any Mechanical advantage amongst them , discovers them to have had the least superiority above ours : It was doubtless for this alone , and that super-excellent Genius which shin'd through all their Productions and Works , that Philostratus , Quintilian , Pliny , and other grave Authours , have immortaliz'd them in their Writings ; as we may judg by what they have said concerning that noble Master-piece , the Sacrifice of Iphigenia ; where the ingenious Timantes having painted , and with wonderful Iudgement expressed all the marks of sorrow and pity in the Spectators faces of that funest story ; when he had spent , the utmost Efforts of his Pencill , and Art , before he came to the Father of this innocent and deplorable Victime , and there now remaining no more for him sufficiently to express his unexpressable Grief , as he had done the others , in this sad and lugubrous Consternation ; he drew a vail upon the good mans face , leaving that to Imagination which he was not able to express with his Colours . This is the summe of what Pliny has said in the 10th Chap. of his Thirty first Book ; to which he a little after adds , in commendation of this great Master , that in all his Works he ever left something more for men to conjecture , than to see ; and , that though Painting were both an excellent and sublime Art ; yet this Spirit and Ingenuity of the Painter was infinitely superior to it . 'T were greatly to be wish'd , that one could but shew this rare and ancient Piece to some of our Modern Workmen , and expose it to their Examen I cannot believe but they would infinitely value it upon the high reputation which it has obtained amongst those famous men of Antiquity ; But happly they would scarcely yet discern these new beauties , and Mode of the present Age , in which they now a-dayes place all the excellencies and curiosity of Painting , and have therefore invented a kind of Iargon and magnifical Gibbrish , to set forth and exaggerate what they would make men admire : As the Freshness and Grace of the Colouring ; the Freeness of the Pencill ; The Bold touches , The Colours well impasted and nourish'd ; the separation of the Masses ; the Draperies well cast ; the rare Folds ; the Master-strokes ; the Grand Maniere ; the Muscles throughly felt ; the noble Contours ; Sweet Complexion , Tender Carnations ; Handsome Groupes and Morcells , and a thousand other Chymaerical beauties of this Nature , which were never so much as once heard of amongst the Works of the old Painters , who doubtless propos'd to themselves as great Perfections in what they represented : For certain it is after all these superficial , or rather imaginary Beauties , if the Invention of the Subject be not well , and properly apply'd ; unless the Figures be judiciously disposs'd , and appositely express'd ; if the History be not amply furnish'd with all the necessary Circumstances ; if the regularity of the Perspective be not exactly and throughly observed in the Position , and Aspects of the Figures , and consequently , even in the very shades and Lights ; In fine , unless that Costume and Decorum ( which we lately so fully explain'd for the importance of it ) be not accurately observed ; the Work shall never pay its Author with Reputation amongst knowing Persons . For even of all the old vulgar Painters , who had nothing to recommend them to Posterity , save the ordinary Mechanical talent , and that through the dryness and sterility of their low and empty Genius , went no farther then this shell and outside of Painting ; there is not one of them to be found whose name has been transmitted to Posterity ; the Criticks of that Age being so nice and curious in their Examen of all those Pieces , that though they were indeed never so exactly wrought , according to the Rules of Art ; if the Subject which they represented observ'd not a fit decorum to the places where they were painted , That alone was sufficient to decry them ; so exceedingly did the Painters want of Judgement , vilifie and debase his Workmanship . Vitruvius in the fifth Chapter of his seventh Book , relates a story very pat upon this occasion of a certain Workman nam'd Apaturius ; and the instance is so express , that we shall need go no further to recover our eyes , and be freed from that fond preoccupation of esteem , which the fortune and luck of some Painters has procur'd them , and that with so absolute and tyrannical a Title , that one hardly dares to censure any thing they do , as passing universally for the very Originals of Perfection in the Cabal of the Curious , who content themselves in knowing the Names of the old Masters , and so as they can but distinguish of their Hands and Manners , pass for most profound and able Men. But since 't is just that Reason should prevail over Custome , Let us examine the real truth of it , according to such Principles as are the most infallible and assured Guides . And to render a profitable and demonstrative Proof of what I affirm , we shall begin with that so renowned and incomparable Master-piece , the greatest and most stupendious subject that could ever enter into the Idea of a Painter ; namely the History of the most dreadful day , the final Iudgment and Catastrophe o● the World ; as 't is extant at Rome in the Vaticane-Chappel belonging to the Pope , over the Altar of that venerable place , and painted by the famous Michael Angelo Buonaroti , that Paragon , or rather indeed , that Antagonist of the Ancient Painters , and Coriphaeus of the Modern . What would one not have promis'd ones self of so important a Subject , in a Concourse so universally advantagious on all sides , from whence he might expect all imaginable assistance to perfect it with success . But Horace has in his Art of Poetry , ( which is properly but the brother - Twin of Painting ) express'd in two Verses , what these great Attempts do usually produce : Quid dignum tanto feret hic Promissor hiatu ? Parturient Montes , nascetur ridiculus Mus. I should do but a very ill Office to the Author of this Prodigious Composition , should I make the same review here , which I have begun upon some of Raphaels pieces , and according to the Principles of this Treatise ; since these two Genius's have so universal an Antipathy to one another , that what makes for Raphael is totally repugnant to Michael ; and one may truely affirm , that one of them is the good - Angel of Painting , and the other the evill : For as we may observe in most of Raphaels Compositions a generous and free Invention , noble and Poetick ; so in those of his Antagonist , a dull and rustical heaviness ; and if Gracefulness were one of the prime and shining talents of the First ; the other seems to have delighted in appearing rude and displeasing , by a certain affected hardness as it were in his very designing , musculous , and notch'd in the Contoures of his Figures , and by the extravagant and unnatural Contorsions which he generally gives them without any variety of Proportions ; so as he seems never to have made use but of some Porter or sturdy Booby for his Modell : When on the contrary , our Raphael wrought after a sweeter manner , and more conform to Nature , who alwayes takes pleasure in varying her Productions . He had this also singularly recommendable in him , never to paint any thing of Licentious , or which might give the least offence to modest eyes , or good manners ; whilst the other , on the contrary , made it his glory , publickly , to be asham'd of nothing ; no , not to prophane either the most holy Places or Histories by the infamous freedome which he assumed ; as does but too evidently appear in this Piece of his , which represents one of the most important Articles of our Faith , which was Figur'd , or to say better , plainly disfigur'd , by this Fanfaron of Painting Michael Angelo ; and that with so impious a temerity , as if he had design'd to render it but a pure Fable , and altogether Chymerical , by the sottish and ridiculous Grimaces which he gives to several of his Figures , with such odious and mis-becomming actions , as were not supportable even in places the most profane and abandon'd . I shall leave the particulars to the examination of those who have the curiosity , and the leisure to divert themselves , when I shall have in general onely said something to what concerns the Decorum , which is our present Theme , and the principal Guide for us to define whether a Painter be Iudicious or knowing in his Art ; Qualities absolutely necessary , and without which he is never to be reputed for an Able-man . Let us in the first place then consider what the Evangelist teaches us of this History , that we may the better see , whether the Idea which this great Wit Mich. Angelo forsooth had conceiv'd , do afford us any tollerable representation and Image of it . We read in many passages of Holy Writ , particularly towards the end of St. Matthews Gospel , That at the last Iudgment day , the Sun shall be darkned , and the Moon shall not give her light . That the Starrs of Heaven shall fall ; and the Sign of the Son of Man shall be displayed before all the Nations of the Earth , who shall then be surprised with horrid consternation , when they shall see this terrible Iudg appearing in the Clowds , accompanied , and environ'd with all the Celestial Court , and sitting upon a dreadful Tribunal , with unexpressable Majesty ; the twelve Apostles being at his right hand as Iudges and Assessors , with a most glorious assembly of Saints following in goodly Order ; whilest there stands beneath at his left hand , an innumerable multitude of Reprobate and wicked Persons , in fearful and unimaginable Confusion . What shall we now say of this Piece of Mich. Angelos , if we find nothing of all this in it ! Is it to be conceiv'd he should not think of what he was to do , before he took Pencil in hand ? Or that he should engage himself in a story so considerable without knowing of it , and a story of Iudgment ! This modern Painter had been very unhappy to have lived in the dayes of those Ancient Criticks , who used to be so rigorous and exact , as never to pardon any thing ; no , not even in the greatest Masters , who by the excellency of their Pensils , and sublime Genius's , had so much exalted the Art , and born the renown of their Profession to that pitch , as had been altogether inaccessible to this Scrabler . I deny not but he might have pass'd among them , for the Mechanical part of Painting ( as being one who well enough design'd the Contours , out-strokes and Proportions of his Figures ) but his strange impertinencies in what concern'd Invention ; his fanatical Ideas , full of filthy and ridiculous Expressions , had for ever rendred him uncapable of being admitted into the Society of good Painters ; nor would he ever have been numbred amongst them but as a Sophist amongst true Philosophers , or as a Stone-cutter , or inferior Mason in the equipage of a good Architect . Examen Of the JUDGEMENT of MICHAEL ANGELO . TO make a pleasant and yet a demonstrable Instance of this , Let us suppose he had been present at the Examen of the Works of Timantes , representing the sacrifice of Iphigenia , of which we have already spoken ; and that in the presence of the very same Iudges who gave their award for him against Colotes his Competitor on this occasion , our Michael should present himselfe in this honourable Contest , and there produce before them that his great Master-piece of the Vatican-Chappel , with all those necessary Circumstances for the better comprehending of this Divine History , namely , the Last Iudgement ; that so these Soveraign Arbiters of Painting may judiciously consider it ; with this supposal in the mean time , that they pronounce it for an estastablish'd and fundamental Principle ; Never to introduce any thing Fabulous , suspected , or Dissolute into any of the Mysteries of the Christian Religion , or mingle things profane , with Sacred . This being granted , Let us now enter into the Consistory , and see the preference divided between our Modern Painters , and the Antient by the examination of this piece of Mich. Angelos which is in Controversie before us . But how will our new Artist be able to answer all those Objections which lie against almost every part of his Work , and which will be found to contradict those Maximes of their Examen , of which I shall present you with Four the most General and Essential ? I. That in Historical Composures , the pure and rigid Truth be always religiously observed . II. That there be great Consideration had of the place where 't is to be represented . III. That one never discover those Parts and Members of the Body which cannot honestly be expos'd : This Maxime has ever been so solemnly observ'd amongst them , that they have frequently left the History defective , rather than transgress the limits of Modesty . IV. Lastly , for the fourth degree of perfection . That they strive to represent things after the most noble , ingenious manner , great and magnificent . These are the principal of the Consort , or as we may term them , the Harmony of Painting , as they are the result of a mutual Consent and relation to each other ; and such as our Criticks will so rigorously require in the Work which we are presenting them ; but in which , I much fear they will hardly find what they expect to the advantage of our Modern Pretender . For to take things in Order : How shall they come to discover the Truth of this dreadful Story , when they shall see a young Iudge standing with so little Majesty on tip-toes as it were , and in a menacing posture , tumultuarily inviron'd with several unmannerly Figures , without the least attention to what he is pronouncing , and without any regard of his presence ; some turning their backs towards him , others confus'dly talking to him , and to one another , of which the greater part are shamefully discover'd ; some sitting down before him , without any occasion and in most undecent postures ? Then we have the B. Virgin all alone , and without any of the Sex to accomp●ny her ; incompass'd with so many v●ll●●nous Nudities , and without the least deference or honour to her Quality , which in my opinion is very unbecoming , and almost insupportable . And after all this , what are we to expect of tollerable in this famous piece ? there being so many strange and extravagant things , totally repugnant to the verity of the Gospels . For first , he paints the Iudge in a naked and uncouth posture , standing upon his feet ; whereas the Sacred Text tells us expresly , That our Lord shall appear sitting upon a Majestical Tribunal , circled about with all his celestial Attendants : Then he makes him Young , and like a Beardless Boy , at the age of more than three and thirty years . Besides , he has omitted the Session of the Twelve Apostles about him , as Counsellors and Assistants as it were , in this Universal and mighty Act of Iustice ; but we find them so dispers'd and mingled in the Crowd , that they are hardly to be known . The same Evangelist tells us , That the Faithful shall stand on the right hand of our Lord , the Reprobate on the left ; whilst this Libertine confounds them here , and there , without the least regard to this so essential a Circumstance . Moreover he represents the Iudge with a furious , and inraged Countenance , fulminating that dreadful Arrest , and Sentence , which will cause even the very Angels , and Nature her self to quake and tremble ; when in the interim , and that we may well imagime all to be in the profoundest silence , and consternation imaginable , You have here the Trumpets sounding , and making all the noise they can ; which must needs be extreamly improper upon this occasion , were not the intire piece a composition of yet greater and less pardonable Impertinences . For in all this bustle and tintamarre , and the horrible dread which this irreversable Sentance must needs produce , and which does so infinitely concern every individual Soul ; you scarcely find One who seems to give any attention to it ; but for the most part , they are talking and entertaining one another , as if they had no interest or concernment in what was doing ; and some there are embracing and Bussing each other , with a world of very apish and foolish postures . What would Timanthes now , and his Associates have said d' ye think , to this rash and ridiculous Composition ! who really has not the least true talent of Painting ; and yet has the face to intrude himselfe amongst Iudges so equitable and clear-sighted , and who must needs confound him with abashment and exile him from their Assembly ; as neither finding in all his senseless Composure , the verity of the Story , nor the suitableness of the Figures to the Subject , or the Place ; nor that decent modesty , which he ought to have observed , nor that grand and free manner of expression ; nor , in summe , the least degree of that important decorum , which we have so much insisted upon in the former periods : so as in all this vast and tumultuary Army as it were of Figures , there is not to be found a grain of pure Invention , but the effects of a mean and barren Genius . Could he have told us , why he made his Angels without Wings ( which is their inseparable character in all Paintings , and had been almost indispensably necessary ) amongst such a Chaos of Figures ; where those of Souls and Bodies , Angels and Demons , Elect and Reprobate are so jumbled together , as they cannot be distinguish'd ? For he makes no difference in his painting of an Angel , and a Man , whom he forms so gross and material , and in postures so litle agreeable to the function , he employs them in , that one can hardly behold them without aversion , by reason of the contorsions of their Bodies , and extravagant Grimaces which he causes them to make , be it in the mouthing of their Trumpets , supporting of the Cross in the Ayre , with those other Instruments of our Lords Passion ; as if he had studied in derision to render them the most deformed , and more ugly than the very Devils themselves . That which gives me occasion to suspect him of so insolent a Libertinage , is , that I find him prophaning his Works with yet a greater impiety , by his bold introduction into this sacred and serious History of the sottish Fable of the Ferry-man of Hell , whom the Ethnical Poets name Charon , and faigne plying with his Barke upon the Banks of the Rivers Styx , Cocytus and Acheron , to transport the souls of the Dead into the other World ; which I take to be ( the Place and Subject consider'd ) a more criminal , and abominable piece of Sacriledge , than all his other forgeries , which would never be excus'd by Timanthes , and the rest of his Iudges , though meer Pagans , who would certainly have detested the impiety of this hypocritical Christian. But I insensibly loose my self in the Labyrinth of this exorbitant Piece , in which , to speak sincerely , there is nothing but what is diametrically opposite to the Laws of that decorum which we so lately discours'd of , and establish'd for the very Center and Perfection of this Art , to which , all that is Reasonable , Iudicious , Knowing and Spiritual in Painting , ought to resigne and submit it self . Had I not thought it expedient , or at least , extreamly advantagious , in reference to the demonstration of the Principles of this Treatise , to instance in divers examples ; and that after those excellent ones which we have observ'd in some of Raphaels , I would yet endeavour to render them more conspicuous , by producing their Contraries , to the end they might leave a deeper impression of their Effects . I would likewise willingly have spared this tedious dissertation , which I foresee will be but ill resented of those Workmen who have learn'd , and consider this noble Art but as a Trade , without endeavouring to arrive at any more skill in it , then to Design , and draw the Contours of what they see like a Workman , and to paint their things with the greatest Relievo they can devise , as in what they think consists the whole excellency of their Profession ; though in this they sometimes succeed so well , that their Works are commonly much the worse for it ; especially if you bring them to the Test of the Rules of Opticks , and good Perspective ; which I here repeat , for the sake of those that are Iudicious , whom this advertisement may suffice for the full comprehension of this Paradox . But 't is now more then time we should resume our first Discourse , and bring Raphael into Michael Angelo's place , that so we may come again into that good way of Painting from whence we have so long been deviating : Let us therefore return to where we brake off , and finish the Examen of that ingenious and devout Idea , which that noble Painter Raphael has form'd in his Picture of Christs descent from the Cross , and in which , we have already observed all those Points which give Excellency , and consummate Perfection to a Work ; the Decorum of Expression onely excepted , in relation to which , we have lengthned this Digression upon the Iudgment of Michael Angelo . The Examen reassum'd Of the Descent of our LORD from the Cross. SInce I have sufficiently explain'd , by variety of Examples , what this Costume or Decorum imports and signifies in Painting ; it will be needless to make so exact a re-search in what remains , and concerns this Print of Raphaels , in which every individual Figure does amply testifie , how circumspect our excellent Workman has been ; This will soon appear , when we shall consider that of Nine Figures ( of which this Ordonance is composs'd , ) That single One , which at first blush seems to be the least active , in a subject so full of Activity ; and by consequent , to be the least studied in it too , is Mary Magdalens . But upon second thoughts , reflecting how she is describ'd in the twentieth Chapter of St. Luke ; where her sister Martha is complaining to our Lord , that she took so little care in the Menage , and was so little assistant in the service of the House , She will doubtless appear more ingeniously decipher'd by that meer Compassion onely , and interiour grief which we behold in her countenance , then if Raphael had plac'd her also busie about the B. Virgin with the other two Maries who sustain her in their armes ; or that he had represented her in those transports of inconsolable affliction , which vulgar Painters use to do , who conceive , that to make her known in their Pieces , she must be made to lie prostate upon the ground , or embrace the foot of the Cross , in the most deplorable manner imaginable , with her hair loose about her Shoulders like a mad Woman , and the Box of Oyntment in her hands ; without all which , she would , they think , be in danger never to be known : But our noble Artist had far other Ideas , and more conformable to the sacred Text. I remit the rest of this Composure to the examen of the curious and intelligent , who by the application of our Costùme to all the rest of the Figures , will find them so well pois'd and judiciously consider'd , that after a little thought , they will doubtless have but a very ordinary opinion of M. Angelo's Rhapsodies , and of the rest of his Disciples ; and ingeniously confess , how far the Schooll of Raphael has surpass'd this Mechanick Designer , in the spirit and excellency of his Invention . But before I pass to the next Print , I would willingly resolve a Quoere , which may happly appear difficult to some , Why so near the Cross , upon a barren and rocky piece of ground , he should plant that single great Tree , furnish'd with leaves , and flourishing as in the height of Summer ; the H. Gospel mentioning nothing of any such circumstance ? Upon consideration of our learned and judicious Workmans intention , I perceiv'd that it was a Cedar ; tall , strait , and without any fruit : And in truth this Mystical Introduction is highly ingenious ; the Cedar being the real Symbol of Iesus Christ who is styled the Spouse in so many places of the Old-Testament , particularly the Canticles ; where he is so curiously depainted for his ravishing beauty , by a comparison of the Cedars of Mount Libanus , Species ejus ut Libani , electus ut Cedri , &c. from the extraordinary pulchritude , incorruptibility , Odor , strength , use in Building , and salutary shade of this goodly Tree : so as from this assembly of so many transcendent Qualities , it does most fitly ( of all other Trees ) represent the Church , and those principal Heads that compose her ; namely , the Apostles , Prophets , and holy Fathers : Besides , mystically apply'd , it may farther be taken for the Cross of our B. Saviour ; since the Oyl of Cedar is esteemed so soveraign a Remedy against Leprosie , which , 't is reported , it both cleanses and heals . In summe , it most visibly appears , that it was placed in this Composition with so much reason and judgment , as from hence alone we may safely pronounce in favour of this rare , though modern Painter , worthy in truth of all that glory which has been attributed to the most renowned of the Ancients , since his Works discover to us the same Genius that they so much admir'd in their Trimantes : For even the least things to appearance are esteem'd great and considerable , by the mysterious intention of the Painter , apply'd to the Circumstances of his Subject , and minister as much to the Contemplations of the Learned , as the most principal Figures of an History : This is the Talent which Pliny so singularly admires in all the Works of Timantes , and where he takes occasion to say of him , that In omnibus ejus operibus intelligitur plus semper quam pingitur , & cum ars summa sit , Ingenium tamen ultra artem est . Lib. 35. cap. 10. Words , worthy to be applied to this excellent Artist , and which I had already repeated upon occasion of that his incomparable Master-piece , the Sacrifice of Iphigenia . I produce them here again on purpose that I may apply them to Raphael : However , as I foresee , that those amongst our knowing men , who have not the eyes of their mind so sharp as those in their head , and who are more taken with Pictures for their mechanick exactness ( that is , the delineation of the Figures ) then the Intention of the Painter , will be apt to judge this consequence of mine to the advantage of our modern Workman , somewhat bold and over-confident , as it concerns his foundation ( not to judge of the greatness and strength of the Lyon by one of his Claws ; ) I shall prevent their objections ; if taking the sense of my Proposition rigorously , they conceive my intentions were to render the Merits of these two Painters so equal , as to assign them the same rank : I must then explain my meaning , That whatever my esteem for Raphael may be , my resolution is to render all just deference to those illustrious Ancients , and such as were like Timantes , and do cheerfully acknowledg , that the Painters of the latter Age are inferiour to them ; from whence I infer , in favour of Raphael , that he having best of all succeded in discovering the path which those great Masters trod , and being born with a Genius equal to them , did not onely arrive to the first degree of the Moderns , but seems to have even been incorporated of their Company , and of the same Sect with those ancient Originals themselves , who have transmitted to us such glorious Ideas of their excellency in the Memories of Historians . Now if we consider in what Language they speak of them , and what it was that we find so highly celebrated in their Works , we shall perceive , they esteem'd nothing in them so much , as the Novelty , and ( as I may call it ) the arguteness and ingenuity of their Invention ; by which they discover'd , that Painting was an Art purely spiritual : For that which consists onely in the Mechanical address , is so material and heavy , that they hardly made any account of it . Neither did they regulate the Prise of their Tables either by the number or largeness of the Figures ; for it frequently happen'd , that the straitness and inconveniencies of the Place , and barrenness of the subject , gave occasion to those great Genius's to derive advantage from it ; and to produce something which surmounted the reputation and renown of the more exuberant Compositions . This Pliny tells us also in the same Chapter , where he has made so handsome a recital , and elegant description of the Sacrifice of Iphigenia painted by Timantes , in which were assembled a very great number of Figures . For he afterwards speaks of another Work of the same hand , which represented a Polyphemus sleeping ; but in so narrow a compass , that the streightness of the Table hindred the Painter to design so Gigantick a body , as that prodigious Cyclops requir'd . But this distress gave Timantes occasion to shew the World , that his Wit and Invention was superiour to all the other rules of Art : He resolves therefore to supply this defect of Matter , and discover to the eye of the mind what he could not do to the eyes of the body . The Ingenious Representation OF A Vast CYCLOP in a narrow Table , Painted by TIMANTHES . UPon this Occasion then he introduc'd a most gentile Parergon into this Subject , being in it self too simple , as having onely one Sleeping heavy Figure to represent a hideous and enormous bulk . Now this addition was an assembly of Satyres , whom he placed round about his snoring Cyclop ; some of them seeming to be affrighted as it were at the unexpected encounter , were taking their flight , and running away ; Others considering him at greater distance , had their countenances mingled with fear and admiration : some again more hardy then the rest , approaching nearer to him , endeavour'd to take the dimensions of one of his Thumbs , as his Armes lay extended a good way off from the rest of his Body ; and this they did with their Thyrses ; but with extraordinary caution , and without so much as touching him , for fear least they should rouse him up ; so as by the comparison which one might make of these Satyres to the Cyclop ( to whom they appear'd less then one of his Fingers ) one would immediately conclude , how monstrously vast the Giant was ; and this Invention of our Painter was thought so ingenious and new , that it prov'd a great reputation to his Piece , which was else but very indifferent of it self , and of an inconsiderable Subject . Imitation of the same kind By JULIO ROMANO . I Remember to have seen at Rome in the Palace di Vigna Madama , the same Subject treated after another manner , yet very noble , though the Invention were in truth , but in imitation of This ; but it had something which I cannot so well express , of particular in it , which seem'd to refine even upon the original . 'T is a Work of the ablest Scholar that ever Raphael bred , and One whom indeed we may call his Master-Disciple , IULIO ROMANO , of the most singular spirit and fancy that this later Age has produc'd for Painting , and in whom Raphael seem'd , as 't were , to have transfus'd his own Genius , when he quitted the World ; and indeed he constituted him for his principal Heyre by his last Will and Testament . This Piece is painted a Fresco upon a Wall , which was larger than might well serve to designe a Cyclop at his full extent , without obliging our Painter to any shifts , to represent his enormous stature : However , as the Hyperbole has sometimes as much Grace in Painting , as it has in Poetry ; and indeed , that this Workmans Pensil was extreamly poetical , he thought very pleasantly of introducing other Satyres into his Composition , more drols and fantasticks than those of Timantes , playing their Apish tricks about the Cyclop whilst he was asleep ; some of which had seiz'd on his Bag-pipe , and carrying it some distance from him , were sliding one after another upon the Pipes , as Boys would do upon long Poles , the thyrses between their leggs to make them more slippery , with an hundred other capricious and munky-tricks , that would make one smile , and yet serv'd to shew how wide and monstrous a throat this stupendious Musitian must needs have , to be able to mouth and inspire this Instrument of his . This is a kind of Imitation so rare and excellent , that it may well be compar'd to the original it self ; and I am perswaded , that had Timanthes seen it , instead of his being jealous of this gallant emulation , he would highly have esteem'd the gentleness of our Modern Painters invention , and made great account of the Piece . This single example of Iulio Romano , may serve for a guide to those , who having already attain'd to some habitude in Designe , and Colouring , have no more to do but put themselves into the right path of the Art , and to awaken their Genius for Invention , as having then only to contemplate the Composures of those Masters whom they most affect , and study in general , what their Thoughts and Inventions were , without amusing themselves to take every piece of a work apart , and in severals , as the guise of our Copists is , who discerning only the rinde and outside of Painting , haue alwayes this misfortune in their Works , that they can never come to equal their original ; whereas , by these more spiritual and inventive Operations , Nature is so unconfin'd , that the Imitator has almost ever the advantage of the Inventor . By this means it is , that Raphael , and Iulio Romano have not only exceeded all other Painters of their Age , but have in some degree rendred themselves comparable to the most renowned of the Antients . That we may now make some useful reflexions upon those two several Compositions of the same subject , viz. the sleeping Polyphemus's : The first , which is that of Timanthes , will shew us , that a small Piece may sometimes emerge a great and noble Master-piece , according as the Idea of the Painter is qualified and heightned , whence one may judge , that there is no Argument so poor and barren , but what may be inrich'd by an ingenious and fruitful Invention ; and that 't is now and then more advantagious to the glory and reputation of the Work to be oblig'd to adorn and Cultivate a mean and sterile subject , than to be overwhelmed under the abundance of a more ample History , from which one should rather retrench , and abate something of Essential , than presume to add any thing of our own . For the other Composition of our modern Iulio Romano , it does in effect shew us , that an ingenious Imitation , may equal , and even exceed the original ; and that by consequent , it is not less glorious so to imitate by a certain concurrence of Wit and Invention the Thoughts of another , and refine upon them , as he has done , than it is reproachful in a Painter mechanicaly to Copy a whole Piece , Figure for Figure , without any thing of his own , but the pains he has taken , and the servile subjection of a simple Workman : Seeing this kind of Labour is not so much esteem'd the work of a Painter , as the study of an Apprentise only . Hence we find , that those Copiers , who are so poorly spirited as to aspire no higher than to make that their aime , have never been reputed among the rank of Painters , but as Eunuches are among Men , uncapable of production , and defective in their particular species . This digression has a little deverted us again from Raphael , our first and principal Object , though we still kept sight of him , and pursu'd his footsteps , by the guidance and signal of Iulio . But 't is now high time to rejoyn again , and make no more such sallies from him , who has hitherto furnish'd us with all our matter , by his excellent productions , the examen whereof has greatly aided us in forming that visible and demonstrable Truth ; namely , the necessity of those Principles which we have establish'd , to attain the perfection of Painting . Let us therefore return to this first School of Raphael , and conclude our discourse in the same stile and spirit we began with . Now this incomparable Painter , whose Works are so many exemplars from whence we may deduce the Rules of the Art , has produc'd such variety of them , that amidst such Plenty and abundance , 't is hard to resolve upon the choice of one before another , that which we saw last , always seeming to be the best . But since it is not our intention to Criticise his Compositions piece by piece , to judge decisively which of them to preferre , ( which were an odious , and a rash undertaking ) it shall suffice us to elect one of the most remarkable which is in Print , that the curious setting it before them , and studying it at leasure , may together with us , pass their opinions upon it . The First Print . The GYMNASIUM or ACADEMY of the Athenian Philosophers . IN this liberty of Election , I am resolv'd to seek for no other than that which I have at present in my hands ; since occasion has offer'd it to me with so much advantage and satisfaction : verily it seems to me to be one of the noblest Ordonances that ever he Painted , and of a great , and magnificent Idea It is the Representation of one of those famous Gymnasiums of Greece , where we may behold a general Assembly of all the knowing persons of Antiquity , as well Philosophers as Geometricians , Astrologers and others . But before we proceed to the particulars of this Composition , I shall advertise the curious , that the Graver who design'd and publish'd it , was not so well acquainted with the Subject which it signifies , as may appear by the Subscription in these words . Paulus Athenis per Epicureos & Stoicos quosdam , &c. as it seems , taking it from the Preaching of St. Paul in the Areopago , upon occasion of an Altar which he there espied , dedicated by the Athenians TO THE UNKNOWN GOD. The History you have in the 17th of the Acts of the Apostles . That which makes me take notice of the Inscription is , the importance there is of knowing the truth of the History which lies before us : for if this great Doctor speak truth , Raphaels Composition will prove very extravagant ; whereas , being rightly understood , and according to the Authors intention , 't is both admirable and excellent , as we shall demonstrate in what we are going to add farther . As to what imports the Graver ( whose Mistery , as well as that of all other simple Copists , does not consist in over much spirit ) his Ignorance had been the more excusable , had he been more just and accurate in the preciseness of his Designe ; but there are so many gross mistakes slip'd in , in that which concerns the Perspective of the Architecture , and delineation of the Figures , that Raphael had certainly paid him some ill turn for it , had he but seen in what a manner he has altered and disfigur'd his Workmanship . But what shall we say to one of our modern Painters , as famous for his Pen , as his Pensils ; that Historiographer of the Art , and Panegyrist of all his contemporary Painters and Predecessors for two or three Ages ? Author of no less than three great Volumes upon this Subject , George Vasari by name ; who in each of their Lives , has summ'd up , as in an Inventory , not only , all their Works , but the interpretation of them also ; in which he has discovered the force of his quaint Genius . This Gallant Talker undertaking to explain the Piece which we are describing , after he has in general tearms told us upon what occasion he was call'd to the Service of Pope Iulius the II. begins in this manner . La onde Raphaelo nella sua arrivata havendo riceuute molte carezze da Papa Giulio , comminció nella camera della Segnatura vna storia , Quando i Theologi accordano la Philosofia & l' Astrologia con la Theologia ; dove sono ritratti tutti saui del mondo , ch● disputano in vari modi . Sonui in disparte , alcuni Astrologi che hanno fatto figure sopra certe tavolette & carratteri in vari modi di Geomanzia & d' Astrologia , & a i Vangelisti le mandano per certi angeli bellissimi , i quali Vangelisti le dichiarano . Frà costoro , è vn Diogene con la sua Tazza a giacere in sù le Scale ; Figura molto considerata & astratta ; cheper la sua bellezza , & per lo suo abito cosí accaso , é degna essere lodata . Similmente vi é Aristotile & Platone , l'vno col Timeo in mano , l' altro con l' Etica ; dove intorno , li fanno cerchio vna grande Scola di Filosofi : ne si puó esprimere la bellezza di quelli Astrologi , & Geometri , che desegnano con le seste in sù le tauole moltissime figure & caratteri . Fra i medesimi nella figura d'vn giouane di formosa bellezza , il quale apre le braccia per marauiglia , & china la testa , è il ritratto di Fredrigo II. duca di Mantoua , che si trouaua allora in Roma . E'uvi similmente vna figura , che chinata a terra con vn paio di seste in mano , le gira sopra le tavole , laquale dicono essere Bramante Architettore , che egli non é men desso , che se fusse viuo , tanto è ben ' ritratto . E allato a vna figura , che volta il didietro , & ha vna palla del cielo in mano , è il ritratto di Zoroastro , & allato a esso , è Raffaello Maestro di questa opera , ritrattosi da se medessimo nello spechio : Questo è vna testa giouane , & d' aspetto molto modesto , acompagnato da vna piaceuole & buona grazia con la berretta nera in capo . Ne si pu ò esprimere la bellezza , & la bonta , che si vede nelle teste , & figure de' Vangelisti , a quali ha fatto nel viso vna certa attenzione , & accuratezza molto naturale , & massimamente a quelli che scriuono . Et cosi fece dietro ad vn san Matteo , mentre che egli caua di quelle tauole doue sono le figure , i caratteri tenuteli da vn Angelo , & che le distende in sù vn libro , vn vecchio , che messosi vna carta in su'l ginocchio , copia tanto quanto San Matteo distende . Et mentre che stà attento in quel disagio , pare che egli torca la mascella & la testa , secondo che egli allarga & allonga la penna . Et oltra le minuzie delle considerazioni , che sono pure assai , vi é il componimento di tutta la storia , che certo è spartito tanto con ordine & misura , che egli mostrò veramente vn si fatto saggio di se , che fece conoscere che egli voleva frá coloro , che toccano i pennelli , tenere il campo senza contrasto . Adornò ancora questa opera di vna prospettira , & di molte figure , finite con tanto delicato & dolce maniera , che fù cagione che Papa Giulio facesse butt are a terra tutte le storie de gli altri maestri & vecchi , & moderni , &c. But since the Italian tongue is not universal , I shall interpret this tedious Passage . Whereupon Raphael having at his arrival received divers caresses from Pope Iulio , began to paint in the Chamber della Segnatura , the History of the Agreement made by the Divines , between Philosophy , Astrology and Theology , in which Table are represented all the Sages of the World , variously disputing with one another : At a little distance farther , stand certain Astrologers , drawing Figures upon little Tables with strange Geomantique Characters , which they send by the hand of certain beautiful Angels to the Evangelists for their explication . Amongst these , is Diogenes with his Dish , who lies along upon the Stairs , a wonderful abstracted and considerable Figure , that for its comliness and garb is worthy admiration . There are also Aristotle and Plato , the one with his Timaeo in his hands , the other , his Ethicks , compass'd about with a whole Circle and School of Philosophers : The beauty of these Astrologers and Geometricians who are there making Diagrams and Figures with their Compasses upon the Tables , is almost inexplicable . Amidst these persons , in forme of a most lovely young man extending his Arme in the posture of admiration , and a little inclining of his head , is the Portract of Fredric the second , Duke of Mantua , who was then , it seems , at Rome . There is moreover , a Figure stooping down with a pair of Compasses in his hand , which he sweeps about a board , who they say , is the Architect Bramante , breathingly like him ; Neer this is a man with his back towards you , and holding the Celestial Globe in one of his hands , who represents Zoroaster ; and close by his side , stands Raphael , the Author of this famous Piece , who , it seems , drew himself by the help of a Looking-glass . 'T is the head of a young man , of a very modest aspect and extraordinary m●ld and graceful Meene , with a black Bonnet upon his head . It is not to be imagin'd the beauty , and excellency express'd in the heads and pictures of the Evangelists , to whose Countenances he has given a certain attention and liveliness extreamly natural ; especially , those who are writing . The same he has done behind St. Matthew , whilst he is copying of those Characters out of the Tablets full of Figures , which are held up to him by an Angel , and transcrib'd into a Book . In the mean time , an aged Person , having a sheet of Paper on his knee , copies all that St. Mark writ , and as he is intent upon his work , one would imagine he mov'd his very jaws , and turn'd his head as his Pen , runs farther or neer on the Paper . Besides several other minute Particulars and Considerations , which are in great number , there is a Composition of the intire History which is in truth , ranged in such accurate Order and Measure , as discovers his extraordinary ability , and makes it appear , that amongst all that handled the Pensil , the Works of this Master had no Competitors . Moreover , he has adorn'd this Piece with a Perspective , and divers Figures , finish'd with so sweet and delicate a grace , as made Pope Iulio beat down and demolish all the Histories of other Masters , as well the Antient as Modern , which were painted there before , &c. The Recital is somewhat prolix , but it was very necessary to discover to the bottom , the quality and spirit of this ample Historian ; since by a lesser Instance , I should never have disabus'd the world , and shew'd them the weak and trifling reasonings of their great hablador ; his Books and Writings having been , till now , in such esteem with the Lovers of Painting , and who in effect , have some reason for it ; because generally you find in them the principal Circumstances of the Lives of the Painters , and a Catalogue of their most considerable Works : besides , the Author being a pretty tollerable designer , and ( as indeed it appears sufficiently ) had more wit in his fingers-ends , than in his head , he has inrich'd his discourse with their Pictures , which compose the best , and most curious part of his Books . But though from this quality of designes , one might reasonably conclude him a good Painter ; yet the extravagance of his Idea ( which has made him to fancy such strange Chymaeras in this Composure of Raphael , and render him strangely impertinent ) appears to me an indubitable proof , not only of his Ignorance of any real knowledge in Painting , but of the weakness also and incapacity of his Genius , as to those two prime Talents of this incomparable and most judicious Profession , namely , Invention and Decorum , of which by his ridiculous admirations , he discovers that he had not so much as the least tincture , nor indeed any natural disposition of acquiring them ; so as it has prov'd a kind of misfortune to Raphael , that he fell into the hands of so miserable a Panegyrist , who instead of celebrating him and his works , does miserably disgrace them by his wretched and ignorant descriptions . But As of old , it was not lawful for every one that had a mind to 't , to go to Corinth ; so , nor is it for every Painter to examine and discourse upon the works of this admirable Painter . It had far beter become Vasari to have mention'd him as a simple Historian onely , without presuming to the Interpretation of his Thoughts in his Composures : for if what he here describes after his guise , and which he endeavors to magnifie by so many wild exaggerations , were no more visible than his Writings have rendred it ; what can we tollerably judge or conclude of them ? Verily , these fond Encomiums do more prejudice than honour to them ; and we may well apply it upon this occasion , Pessimum inimicorum genus Laudantes ; since impertinent Flatterers create us more mischief , than our cruelest Enemies . I would willingly demand of our new Philostratus , where he learn'd , that the Divines had ever any such designe , of according Philosophy , Astrology and Geometry with the Holy Gospel , to accommodate this fantastique Vision of his , to one of the most ingenious of Raphaels Composures , so natural , and so easily understood ? But presupposing it so ; what made Diogenes amongst these learned persons ? Diogenes , I say , who never pretended to any Science , led the life of a Dog , that eternally barks at all Mankind , without minding any other object in all his Morality , but to despise and trample upon all those honours , which were usually and justly attributed to Men of Parts ; so as in this brutal affectation he rather chose to resemble a ragamuffian Vagabond , than a Philosopher , and had never declar'd himself of any Party upon such an Encounter , of which he plainly understood nothing ; However , in the judgement of our profound Panegyrist , 't is a Figure which seems highly considerable , amongst the rest of this famous Assembly . For 't is one of the first he takes notice of , with this glorious Elogy , There is amongst them ( says he ) a Diogenes with his Dish , lying along upon the stairs , &c. doubtless , a very honorable place , and posture well becoming a Philosopher , as well as the pretty moveable , which he would have him known by , of main concernment , upon this celebrious occasion . Me thinks he should rather have been with his Lantern than his treen-dish , considering the employment Vasari has assign'd him , and all his Companions appear so dark and obscure , as might well require a Candle . But to engage the Reader with greater Admiration yet , at this rare Representation of his Cynic , he adds this sage reflection ; that 't is a Figure full of deep and abstracted Considerations , and worthy to be admired for its beauty and habit , &c. In good earnest , the style is so abstracted and Chymerical , that one would swear , Vasari rather playd the part of a Mountebank or Harlequin , than of a sober Historian ; at least , he discovers himself a very ill Physiognomist ; and that he had yet less skill in the nature of this humerous and surly Cynic , who was so little abstracted , or endow'd with any tollerable sense ; his wretched manner of l●ving making him so despicable and altogether uncapable of those Qualities . Nor does Raphael vouchsafe him any such expression either in Countenance , Habit , or Looks , from whence one can deduce the least thing to his advantage ; but on the contrary , to discover the base rusticity of this Savage Philosopher in the midst of a general Assembly of the most illustrious Persons of Antiquity , he has plac'd him in an obscure corner by himself , as unworthy their Conversation , abandon'd of them all , and lying , like a Brute , as he was , upon the stairs of this Academic-Gymnasium , with his scowling looks , and an equipage sutable to his snarling and sottish Profession . But it is not my intention to gloss upon all this tedious Rhapsody of Vasari's , Enemy , as I profess my self , to the Critical disposition of some . However , I confess , I am not able to contain , when I see poor Raphael abus'd thus by the hands of so dangerous a Friend , who whilst he thinks to flatter , most insupportably abuses him , by his sensless undertaking to explain his Work , and be the Interpreter of his Intentions . This little Instance is so demonstrative a proof of it , that one must be stark Blind not to discern it ; there being nothing so glorious , and without reproach , but what may be rendred ugly and deformed by such empty Pretenders , whose folly infects all things they undertake ; because they do it always prepostrously , and by the wrong handle . But what I find unsufferably ridiculous in this here , is , that he is not contented to decifer in the Historical-Ordonance of our Painter , the Figures which realy are visible to every body , but forsooth , he would fancy to have detected and found out Others , that never any body saw besides himself , and which Raphael , I am confident , never so much as dreamt of . These , you must know , are the pretty Angels , by whom he tells us , the Astrologers sent their Geomantique Characters to the Evangelists for Explication . Had this babler understood what such Characters meant , he would never have employ'd Angels to propose them to the Evangelists , and would have known , that Astrologers never meddle with this kind of subterraneous and diabolical divination . But , I perceive that I insensibly engage my self in pursuit of these Dreams , which are meer Labyrinths , out of which it is difficult to extricate ones self , when one is once entred : we will therefore quit the Fabulist , and proceed to the consideration of the Thing it self in the design of Raphael : For albeit the stamp which they have publish'd be defective enough in some parts of the Delineation , it will a great deal better serve to give us the Idea of this excellent Composition , than all that can be said in words ; because the productions of Painting would be seen , and consider'd with ones eyes . And if these great Masters of An●iquity , whose workes are no where visible , ( save in the writings and records of History ) had had the assistances , which we now enjoy by Graving of Prints , ( which is realy an inestimable Treasure of this present Age , but which of old they never so much as heard of , to our immense loss ) the precise Designes of those Tables which Philostratus describes to us , had certainly told their stories far better , than he has been able to do , and his Book had been exceedingly more estimable and useful , could he have thus transmitted them , as we are now able to do . Let Us then use the advantage of our own Eyes to contemplate this noble and magnificent stamp , which we shall certainly find much more intelligible and reasonable , than the amphibological discourses of Vasari , of which one may justly affirm Asinus portans mysteria ; for he renders this Print so sottishly Emblematique by his extravagant imaginations , that instead of making wise men admire , ( should one believe all he says ) he renders both the Workman and the Work alike ridiculous ; seek we no farther then for any thing in this Painting but what we shall behold with our own eyes ; and rest most assur'd of it , that Raphael thought of nothing less , than the proposing of an Embleme in this Subject , which is in truth , nothing else but a natural and free Representation of one of those famous Gymnasiums of Greece , where the Philosophers and all sorts of Academicians us'd to Assemble themselves for their respective studies , and to exercise their learned Talents . Vitruvius describes the forme of these publick Edifices in the 5th Book , Cap. 11. of his Works , and calls them Xysti , Palestrae , Exedrae , according to their particular uses , as he there explains them ; and Palladio , in his Treatise of Architecture , lib. 3. cap. 21. discourses of them more clearly , because he gives us an ocular demonstration , by an ample and very exact designe ; so as there is no need for me to speak any farther concerning it . But as the most celebrated and noble of them , was that of Athens ; 't is likely Raphael took his Pattern from it , and those who are curious in Prints , do frequently stile this Piece the School of Athens . We may boldly say that Vasari did not regard this structure , but as a meer fragment of Perspective drawn at adventure , and without other intention , then to enrich the Ground of his Table ; though in effect , it be one of the most principal parts of the History . He adorn'd ( says Vasari ) this Work with a Perspective : But 't is an usual thing for those , as well as for him , who see things which are not , that they oftentimes perceive not the things which realy are ; so deprav'd and revers'd are the Optics of these mens Iudgement . Presupposing then that we have attain'd to some reasonable knowledge of the Forme , and Use of these Gymnasiums , it may suffice that we here consider a little the several Appartments and Divisions of these Students and Philosophers ; there being nothing to be seen in this designe of any other corporeal exercises , which we must imagine to be done in certain places abroad , to prevent the noise and tumult which the Wrestlers and Fencers , and such as practis'd casting the Dart , Running and the like violent applications , made in that quarter , which would certainly have much disturbed the Conferences of these Learned persons , which required Silence and Repose . It is towards These that our Painter has intic'd our eyes , to behold those two illustrious Chiefs of the Sciences that the World ever produc'd ; namely , the Divine Plato , and his knowing Scholar Aristotle ; though he were but little conformable to the sentiments and Genius of his Master , whose Rival he afterwards proved , out of an ungrateful malignity and jealousie , which procur'd him the extream hatred of all Athens , from whence he was forc'd to flie till after Platos decease . This I the more expressly consider , that we may take notice how naturaly Raphael has in this Piece shew'd as much in their very Countenances , and by which he has describ'd as 't were , the difference of their Genius's : For the first , and doubtless the most considerable ( since he merited the Title of Divine amongst the greatest Persons , ) sufficiently shews by the action of his Arm and Hand , which he holds up to the Heavens , that he entertain'd his Auditors with the most sublime and transcendent speculations ; whilst the Other ( who was more vers'd in the Scholastic ) has rather the meene of a severe and dogmatizing Pedant ; as indeed he still dwelt in the Schols amongst them ; whiles Plato's more generous Conversation has ever been with the great and most illustrious persons . Truly Raphael seems to Triumph in this Expression , which he has also accompanied with an air and countenance exceedingly conformable to the spirit and disposi●ion both of the One and the Other , making Plato to discover a certain sweetness and noble affability in this aspect , which renders him extreamly venerable ; as on the contrary , Aristotle , with a frowning and contentious look . Having then , as he ought , plac'd these two principal Champions of Philosophy , in the midle , and most conspicuous part of his Table ( for there were also other famous Men , celebrated for their Wisdom , and exemplary Morals , such as Socrates &c. ) our Painter has not much apply'd himself to the rest of the Figures , of which the greater number are but Auditors of the two first : For though these appear to be several Classes of them , viz. Geometricians , Astrologers , Cosmographers &c. Plato yet so far excell'd , even in all those Arts , that the rest seem'd to be but his Disciples : not that we might not well take them for such as Ptolemy , Archimedes , or Euclid , or imagine them of some other Principal Sects , since we have found Diogenes amongst them , who was neither profound Astrologer nor Sophist , but one we may rather conceive , intruded himself to jeer and scoff at them . For Painters have realy as much priviledge in these things as the Poets themselves , and are not so precisely obliged to the Laws of Truth , but that they do as frequently introduce Fiction into their Representations , to adorn and enrich their Histories ; And 't is chiefly upon this occasion , that a Painter does best discover the ingenuity and gentleness of his Conceptions ; besides , that such vague and incompos'd Subjects as this is , leave ample field to Invention ; so as 't is sufficient , they do not exceed the limits of verisimilitude , without captiuating their Genius to the rigor of precise Truth . Beholding our Table then in this Prospect , one may allow a much more ingenious application to each Figure , than by contenting our selves in general , to pass them all for simple Academicians , Sectators of our two great Gymnasiarch's : And 't is probable enough , that Raphael did propose to himself something more refin'd in this ample and magnifical Composition . For wherefore should he else set a Crown upon the head of the Astrologer or Geographer ( take Him for either ) who holds a Globe in his hand , had it not been to shew us by it , that he meant Ptolomie whom he would dignifie with that Character ; and for that he is call'd , by way of eminency , the Prince of Astrologers and Geographers ? Notwithstanding yet , since he was neither Contemporary , nor so much as Compatriot with any of the former , it might well create some scruple amongst Critics to meet them here together . But this Licence is familiar amongst Poets , and consequently Painters too : Instance , the incomparable Virgil , who has so dexterously adjusted Queen - Dido with his Aeneas , that at last he puts them in bed together , though there was a very considerable interval of time between the one and the other , and that Dido was the younger by at the least three whole Ages . One might farther believe , and that with greater probability , ( with respect to the Synchronisme ) that this Figure situated in the middle of the piece , and just before the Plan , in so pensive and melancholy a posture , leaning his head upon his arme , and reposing his elbow on the corner of a Table , where the Philosopher Epicurus , who wrote his Testament in a Letter which he address'd to Idomenaeus his intimate friend , as Diogenes Laertius reports ; because it was the very last of his Actions , and , indeed , the most stupendious ; since being then attacq'd with a Paroxysme of that most inconceivable torment of the Stone ( of which he soon after dyed ) he remitted nothing of his accustom'd Tranquillity of Spirit , but reason'd , and discours'd to the last minute , in the same manner as he was wont to do , when he enjoy'd the greatest health ; which abundantly testifies , that the Sentiments , and Precepts of this great man , were not such as the vulgar reported , or that the Pleasure which he styl'd the Soveraign-Good , consisted in that shameful and voluptuous satisfaction which some have described . 'T were easie to forme the like Remarks upon the rest of the Figures of this Table , which would furnish abundant matter to the studious , who had a mind to divert themselves : For in this universal-School , open to all sorts of Learning , they did not only treat of the speculative Sciences , but of the Art Military and Tactics ; of Polity , Oeconomie , Medicine and the Mechanics ; as appears by the Writings of Aristotle ; so as in this so great variety , there stands not a single Figure in the whole Gymnasium , how extravagant soever it may seem , but for what we may find a sufficient and laudable pretence : And yet is not this altogether so unconfin'd , but that the bounds may be transgress'd , as appears by our Historiograph Vasari , who without any Wit or Discretion , and against all shadow of possibilily , has so confounded the order of Times , and Things in that Chimaerical application he has made upon this Table , that it were enough to astonish a credulous Reader , who should seek for any Fruit from his fantastick dreams ; For out of I know not what itch to appear Learned , he brings us in there by head and shoulders , a certain King , call'd Zoroaster , of whom I dare say , Raphael never had heard a word in his life ; and who came into the World some two thousand years before Plato was born , in a Countrey also far distant from Greece : Besides , this old Scythian Prince was never famous for any thing but Magic , of which Pliny affirms him to be the Inventor , which is a st●●y they never made any Profession of in those Schools : but see the admirable address of our perspicacious Italian , who could espy him out amongst such a crowd of others . There is a Figure ( says he ) with his back turn'd towards you , which is the Picture of Zoroaster . Another than Vasari would doubtless have been much put to it , to divine whose that Picture was , that had his back in that posture . I dare not pursue to examine the rest of what this Rhapsodist says , for fear of importuning both my Reader and my selfe , and therefore , I shall here close this dissertation , which I confess to have protracted a great deal beyond what I had propos'd to my self at first , when I intended nothing more than to give a general Idea of the perfection of Painting , conformable to the Maximes of the most antient Masters , and to derive from thence a kind of ocular demonstration from some Instances of the most regular works of Raphael , that I might awaken thereby , and open the eyes of some of the Painters of our times , who realy have great dispositions of emerging , and becoming excellent in their Profession , and that have need only to be advertis'd in some Fundamentals , relating to the perfection of the Art , which yet are easily attainable ; but , without which , like to Blind men , they will always be groping in the spiny and delicate ways of Painting . This is a verity so firmly establish'd upon the Principles which we propos'd at the entrance of this discourse , that it can never be so much as call'd in question by any rational person : It may yet possibly happen , that the preoccupation of those whom Fortune has elevated with a false reputation ( as before their days , St. Martin of Boulognia , Rosso , Tintoret , Paulo-Veroneze , Parmesano , Freminet , Iosepin , and a number of such designers , Practitioners of the same forme ) may render them so remiss and stupid , that they will rather choose to remain and dwell in the possession of this deceitful good , than take the pains which the sedulous study and application of these knowing Masters do necessarily exact of them : For certain it is , that Things which are excellent , cost in their Production , and are attain'd with difficulty ; the second-Thoughts of Wise-men are commonly the more judicious and advis'd than the first ; whence 't is just to conclude , that those Painters to whom all subjects seem'd alike , who find no more difficulty in one , than in another , and who after the first Idea which they form of a Table , set down , and excogitate no farther , by either changing or adding any thing in their Pieces ; I say , such Painters have but superficial endowments , whose productions will never gratify Intelligent men , who finding nothing of rare and well studied in their Works extraordinary , will be soon wearied with a transitory view of their Labors . Now I call nothing studied , but that which concerns the operations of the Mind , and those judicious Observations upon that part of decorum , which is the very ligament and band of Invention and Expression , the noblest of our Five Principles , and in which all that 's ingenious and sublime in Painting does consist . The other Three , namely , Proportion , Colouring and Perspective , import rather the Mechanical part of the Art , than the more spiritual and refined , and are , as one may say , the Instruments of the Science of Painting , so as those who bend all their studies only upon them , work rather like Men of a Trade or Mysterie ; and therefore have never obtain'd other name amongst the universally knowing , than Practitioners in designing , who would never have been considerable amongst the Antient-Painters : Howbeit , seeing they far exceed the rest in multitude , the current Abuse , and a certain presumptuous Ignorance , which at present tyrannises over this Art , has so abandon'd the Possession of the Name of Painters to them , and added so many fortunate advantages above Those who are truly the Sons of Art ; that the last we speak of , come seldom to enjoy the fruit , and glory which is due to them , till it be very late ; continuing for the most part opprest as long as they live , by the Numbers and Cabals of the Ignorant , amongst whom , Painting is at this day but a material and gross Idol , whereas heretofore she was consider'd as a Deity altogether spiritual . The poor Dominiquin , who was questionless the most able of all Caraces Scholars , and happ'ly , the most worthy the name of Painter , had long succumbed under this disgrace ; though almost all his Competitors were inferior to him , and not worthy to be nam'd in the day with him ; excepting Guido , who was indeed by Nature more favour'd than the other for a Gracefulness which rendred him singular in his time ; but who was no ways comparable to him for Expression , and less yet in the skill of Regular Perspective : What shall we say then of the blindness and stupidity of the Painters of our days ; who prefer a Iosepin , a Lanfranc , and such Manierists before him , whose Works containing nothing save the false dazle of I know not what Novelty , which they stile , forsooth , a Fury of Designe , and Freedom of Pensil , that their ignorance of the native Beauty , and true Principles of Art makes them admire , never preserv'd their Reputation any longer , than this transitory favour and partiality of Fortune continued to indulge them ; so as they are now banish'd out of the Cabinets and Collections of the Virtuosi , who being at last dis-abus'd , are grown quite weary of them . The same perversion of Iudgement , seconded with the natural jealousie of the Italians ( who will by no means endure , that Painting should smile upon any other Nation but their own ) had begun to exercise the like Injustice towards that illustrious Frenchman , Nicolas Poussin , the worthiest certainly , that has appear'd since the days of those renowned Antient Painters , Apelles Timantes , Protogenes , and the rest of those famous men . But since it were difficult for me to render this Testimony of him without suspicion of flattery , speaking of a person ( so lately ) living , and born a French man ; yet as his Works have already gain'd so many Triumphs over all their Envy , and that his merit has been so powerful ( though in a strange Countrey ) to produce , and elevate it self with so much Luster , above its Rivals , at no less than four hundred Leagues distance from the Court of France , and in the Reign of the greatest Favourer , that the Virtuosi must ever hope for , since the King himself ( who has so far honor'd him as to call him to his service ) is an excellent Designer , and universally knowing in all good Arts : It has proved a conjuncture infinitely advantagious to our Painter , and a Iustice which Fortune owed him ; so as it seems , she is not always blinded , nor envious at the merits of deserving-men . Since that time , all the reputation of his Competitors has rather serv'd to establish his Glory , than be an obstacle to it ; and now we see visibly , by comparing their Works together , that this Poussin is in effect a great Eagle in his Profession , or to say better , and without a Trope , the most perfect and accomplish'd Painter of all the Moderns . There is no difficulty in making this appear to knowing-men , who examine and judge things like Geometritians , that is to say , rigorously , and as they ought , by pure demonstration , and the Analyses of its Principles , without gratifying Opinion , or Favour ; which are the very bane and peste of Truth : But those who are Masters onely of superficial knowledge , and will yet be presuming upon their Iudgements , may happ'ly take this for a Paradox , and thereby render themselves uncapable of being inlightned : I shall therefore quit this discussion , and content my self to have in this Treatise establish'd the Fundamental Maximes and Method which we make use of in examining the Works of Painters , without any farther interesting my self in this Controversie : Onely , I would add by way of Advise , that those who have the Curiosity to come to the decisive Proof of what I affirm , will find it sufficiently demonstrated in that Work of his of the Seven Sacraments , which are to be seen at Paris , in the Possession of Monsieur de Chantelou , Master of the Houshold in Ordinary to the King , an intimate and dear Friend of this incomparable Painter . 'T is a Consequence of Seven Uniform Tables , of a midling size , but consisting of an extraordinary study , where this noble Artist , seems to have given us the utmost proof , not only of the regularity of the Art , according to all the Parts explicated in the Discourse , but of its supremest excellency likewise , by the Novelty of his Invention ; the greatness of his Idea upon every Argument , by the profound and judicious observation of the decorum , ( in which he is almost singular ) by the vigor of his the Expressions , and in a word , by all the very Qualities of those illustrious Genius's of the Antients , amongst whom ( I perswade my self ) he had obtain'd one of the most eminent ranks ; since we generally find in his Works , the same excellencies which Pliny and others have observ'd of their Apelles , Zeuxis , Timantes , Protogenes , and the rest of that first Class of Painters : For if Apelles appear'd so rare a Person amongst them for his knowing how to represent the noise of Thunder ; one may see in the subject I am speaking of , that our Poussin has even painted the very Voice ; which is so much the more difficult to express , as in effect it is less sensible : I have remark'd this ingenious stroke in his first Piece of the Seven Sacraments , where St. Iohn , conferring Baptisme on our B. Saviour , the Standers-by who were present , and ready to receive him for their Lord and Master , do visibly discover it by the surprise and astonishment in which they appear looking up to Heaven , and on every side about them , from whence the Voice seem'd to descend , This is my Beloved Son , &c. The same Author who propos'd ( as altogether miraculous in Painting ) this expression of Thunder , adds farther , that this great Master Apelles , took delight to represent the Histories of Agonizing and dying Persons ; And we here meet with ( by I know not what fortuitous encounter ) that the Sacrament of extream Unction presented the same Subject to our Painter ; who being about to handle this holy Mysterie , under a noble and magnificent Idea , suitable to his Genius , has expresly chosen the Person of a Roman Captain in his last Agony , environ'd by all his Relations ; Mother , Wife and Children , and a number more of his Domestics , every one of them severally afflicted with regret or compassion ; amongst whom , and in the most conspicuous place , he has painted the Priest assisting the poor Dying-man , and administring the Holy Oyls with a devotion full of Piety . I should be over tedious to undertake here the description of all those other Considerations , and judicious Circumstances to be seen in this admirable Composition : I should sooner have said in a word , that 't is the real Parallel of that famous Master-piece of Timanthes upon the Sacrifice of Iphigenia , which I have already mention'd , and which Pliny and Quintilian describe to us as the rarest , most ingenious and accomplish'd Table of Antiquity . But to determine whether of the Two ; their Old , or our Modern has express'd his Subject with greater Art , and more Pathetically , is a Question I cannot resolve ; contenting my self in affirming this , that amongst all our Modern Painters , our Poussin appears another Timantes . The same reason which restrains me from any farther engaging in the Examen of this excellent Composition , obliges me to pass over the rest of this great Work , which makes up but its Seventh part ; besides , that the Enterprise would prove too vast for me , who have already transgress'd the limits which I proposed to myself at my first setting out . I will only add one thing in general , which seems very considerable to me , and worthy of remark , with which I shall conclude . That every one of these Pieces are so admirable in their kind , that 't is Impossible to particularise in any single one of the whole Seven , which appears to have the least advantage of the other , as to what concerns the Artist : For though the story of the respective Mysteries which they represent , were not always equally redundant , and fit for expression ; yet this puissant Genius knew so well how to proportion each part of his Subject to the tearms of their mutual equalities , and give so relative a perfection to the whole , that he has left us no place for our choice , or that we could wish for any one of them , preferable to another : For though each Table , consider'd by it self , and separated from this Vnion , or , as one may say , this Encyclopedia of Sacraments , be usually look'd on as a compleat and independent History from the rest ; yet our Painters original Intention , being to form of them One particular mystical body , compos'd of these seven holy Members ( which is the oblest Idea could be conceiv'd in the Mind of a Christian Painter , and which is so peculiar , that it seems not to have been ever thought of by any before him ) striv'd to render it a Chef d' Oeure , in which he has discover'd himself such a Master of the Subjects he undertakes , that we may easily conclude , he knew how to have done as much , even in the most barren and simple Argument , as in the most rich and magnificent ; the fecundity of his spirit having no need of any aids from Matter , which at first appears as incredible to be affirm'd of him , as it is realy true , and visible in the Works of his , by the equality which he has introduc'd with so much Art in each particular , that there is nothing which domineers above the rest ; And this uniformity of Perfection is an Effect of the most Consummate Excellency which is to be attain'd . I thought to finish this demonstration , which certainly had been very glorious to him , in setting one of these seven Compositions in Parallel with a subject resembling it , treated of either by Leonardo da Vinci , or Raphael ; for after these two Soveraigne Painters , we need seek no more of the Moderns capable of this noble Contestation . But when I had well consider'd , that those kinds of Comparisons are almost always odious , I resolv'd to refer the Decision to all the World , without a syllable more , and content my self to affirm , that I had for this reason cast mine eyes upon the principal work of Leonardo , that renowned Supper of our B. Saviour , which he painted at Milan , in the time of our great King Francis the First ; which succeeded so well for the fortunate Artist , that it purchas'd him the good Grace of their illustrious Monarch , who did him the honour to invite him to his Court , and retain him ever after in his particular Service . We have in the Royal Parish of St. Germains at Paris , an excellent good Copy of this Supper , which many believe to be of the very hand of Leonardo himself . But the same History has been frequently treated of by Raphael , and are all to be seen in Stamp , which is a most commodious expedient by which to paragon them , with that which we have in our Poussins Work of the Seven Sacraments . But to arrive to this accurate Criticisme with the requisite circumspection , and follow the guidance of our Principles ; we must above all things remember , with what importance we have there establish'd the diligent observation of decorum , in which consists the principal Magistry of Painting , and which is indeed ( as we may say ) the very Rational Soul of it , as the rest of the Mechanical supplements , Colour and the delineation of Figures compose the Body only with its Organical members : so as without the intelligence of this first part , nothing can be acceptable to the eyes of knowing men , who are always more offended with errors in Iudgement , the most essential and necessary Circumstances in an History , than in what may possibly be defective in the Mechanical part . Behold here the very knot of the Question , which yet will not prove so difficult to unravel , when we shall be fully instructed in the Ceremonial of this Supper , and above all in the posture which they us'd at Table in those days , which is here a very important consideration , and without which it is impossible to conceive , how St. Iohn could decently repose his head upon the bosom of our Lord ; since in that which we may observe in some representations of it , there is expres'd a most unpardonable indecorum . In pursuit of this grand remark ( the fame whereof is totally due to our knowing and most judicious Poussin ; since before him we find it scarce consider'd by other Painters ) it must visibly appear , that as this Action past at Night , the Figures could not be conspicuous , but from an artificial light ; for what other circumstance could represent it to be a Supper , and not a Dinner as well ? Now these two are points so essential and necessary , that they are not to be dispenc'd withall without an inexcusable fault , and against all decorum . After these two rigorous observations , one may make other less important recherches ; which yet would be attended with certain obvious and remarkable Circumstances , without which something will still be defective : As suppose upon that suddain emotion amongst the Apostles , when our B. Lord had advertis'd them , that One of them should that very night betray him ; one should see St. Iohn not only leaning , but asleep upon his dear Masters bosome , without so much as taking any notice with the rest , of what was said : This would certainly be a most unseasonable and altogether disadvantagious Posture in this Instance . I purposely take notice of this Absurdity amongst others , because it is realy so usual amongst our common Painters , and did once escape even Albert Durer himself , as is to be seen by one of his stamps , though this great Master had few equals in his Profession ; but it seems he was not much acquainted with decorum . It would in like manner be a notable mistake to set St. Iohn in any other place than by the side of our Saviour ; because then he could not have inclin'd on his Masters Breast , as the Gospel does expresly observe it to us . By the sedulous examination of such like Particulars , we should soon be qualified to determine concerning the Spirit and Iudgement of a Painter , and after that , give Sentence boldly in favour of the most Ingenious and correct in this observation of Decorum ; thereby imitating the example of those celebrated Arbiters of Antiquity , whom we have brought upon the Theater , and to whom we are no less oblig'd , than are those whom they have immortaliz'd by their Writings ; seeing by the descriptions which they have left us of their Pieces and Works , with those excellent Reflections of theirs upon the merits and quality of the different Genius's of those renowned Painters of Greece , they have preserved that Idea of the Perfection of the Art , which would never have descended to us without them . 'T was from these incomparable Books that our illustrious Modern N. Poussin has been so well instructed , emulating even the most renowned of the Antients , by the extraordinary Advantage which he gain'd by studying Humane-Letters , before he so much as ever took Pensil in hand ; which is a thing at present as rare amongst Painters , as it is in truth absolutely necessary in those who aspire to its perfection : For since Poetry and Painting are but one and the same form of Genius ; and that to emerge a good Poet , 't is not held sufficient to be able to compose a well-measur'd Verse , with numbers agreeable to the Ear , unless what you write be sublime and ingenious also ; it follows that in the School of Painting , he who applies not himself but to the designing of a Model , and relies upon his Pensil onely , shall never prove other than a Mechanical Workman ; unworthy the Character of a Painter , as our Poetaster would pass but for a simple Versificator . From all which we deduce , that in the service of this noble and glorious Princess of Arts , Painting , which is altogether compos'd of Spirit , One had need be endow'd with Talents and Notices extraordinary , to pretend only to the honor of her good-Graces : And Those who by the meaness and dulness of their Nature , arrive no farther than the Mechanical part , resemble those ill-Courtiers of Penelope , who not having the Wit to insinuate themselves into her particular Esteem and Conversation , nor address enough , or Merit to render themselves considerable with the Lady , were forc'd to stay behind the more sprightly Gallants , and make Love to her waiting-women . FINIS . 
A94194	----	Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. This text is an enriched version of the TCP digital transcription A94194 of text R208648 in the English Short Title Catalog (Thomason E1077_2). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 272 KB of XML-encoded text transcribed from 54 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A94194 Wing S648 Thomason E1077_2 ESTC R208648 99867576 99867576 119892 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A94194) Transcribed from: (Early English Books Online ; image set 119892) Images scanned from microfilm: (Thomason Tracts ; 160:E1077[2]) Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. [16], 87, [1] p., [3] plates : port. Printed for Robert Crofts, at the signe of the Crown in Chancery-Lane, under Serjeant's Inne, London : 1658. Annotation on Thomason copy: "June 14". Reproduction of the original in the British Library. eng Drawing -- Study and teaching -- Early works to 1800. Painting -- Study and teaching -- Early works to 1800. A94194 R208648 (Thomason E1077_2). civilwar no Graphice. The use of the pen and pensil.: Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir 1658 43581 276 0 0 0 0 0 63 D The rate of 63 defects per 10,000 words puts this text in the D category of texts with between 35 and 100 defects per 10,000 words. 2007-02 TCP Assigned for keying and markup 2007-02 Apex CoVantage Keyed and coded from ProQuest page images 2007-03 Emma (Leeson) Huber Sampled and proofread 2007-03 Emma (Leeson) Huber Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion portrait of William Sanderson Souse pinxit W. Faithorne sculp ▪ Gulielmus Sandersonus . Aetat : suae . 68 Etsi Se nescit quod senescit tamen cupit diss●●●i . 1658 GRAPHICE . The use of the Pen and Pensil . OR , THE MOST EXCELLENT ART OF PAINTING : In Two PARTS . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. On the Picture of the Author , Mr SANDERSON . LEt others style this Page a Chronicle ; Others , Arts Mystery ; let a third sort dwell Upon the curious neat Artifice , and swear , The Sun near saw a Shaddow half so rare . He outsaies All , who lets you understand , The Head is Sanderson's , Fathern's the Hand . THO. FLATMAN , Inn. Temp. Lond. PREFACE . I MAY be censured by some persons , who have known me busie the most part of my life , to find me at leasure now in my last daies , ( under the discipline of Providence ) to set out this subject of Painting . It is an Art I never professed : These Readings are gathered at my Study , accompanied with observations which I met with beyond Seas , and other Notions , pickt up from excellent Artizans abroad , and here at home ; not without some experience by my own private practise , and altogether suiting my Genius . Which gave me occasion to say somewhat to our Painters , with their approbation , and desire , to reduce that discourse into a Method , legible to all , and so to render it profitable to the Publick ; it being as well delightfull to be read , as usefull for practice , ( I speak to Lovers of this Art , not to Masters ) : Yet , not altogether uncocerning the ordinary Artizan , whose former Instructions ( hitherto ) not reaching unto knowledge , rather hinders his progression from ever being excellent ; himself ( perhaps ) unacquainted with his own spirit , cannot so readily rise to estimation , though he labour much to make it his profession : For , the invention or election of the means , may be more effectual , than any inforcement or accumulation of endeavours . Not that I desire to derogate from the worthy intentions of any , that have deserved well in the condition of this elaborate Art But I observe , that their Pieces are rather works of labour , and alike to what hath been done , than of progression and proficiency ; the same things multiplied , not new , nor rare , taking them the ordinary way , without advancing to the former , in manner or matter . For , all works are mastered either by 1. Amplitude of Reward . 2. By soundness of Direction ; or , 3. By conjunction of Labour . And therefore I could wish , that the excellency of Painting , were higher prized , better taught , and more workmen . The first multiplieth endeavours , the second preventeth errour , and the third supplieth the frailty of man . But the chiefest of these , is Direction in Painting . I have therefore endeavoured to enlighten him , into the Theory of the first Book , distinguished from the profitable practise , which descends to the second Book ; and the Heads of all contained in an Index , prefixed to the whole , fitted with Cuts and P rints , proper to their Sections , for the apt apprehension of the Punie , by which he cannot easily misconceive my meaning . Such as they are , I send abroad to your judgments , who are the best Proficients , and merit the Mastery ; that so , the mystery of this wonderous Art , and your artificiall working , ( a secret inconsisting with common capacities ) may hereby be so far revealed to mens admirations , as to be first understood , and then how to be valued . Not unproperly for use , to those ingenious spirits , who have no will to be ignorant in any Art , that does not mis-become the Student's wit , nor mis-beseem the quality of a Gentleman , that intends to entertain Attendants , Handmaids to the Sciences of Liberall ▪ Learning . W. SANDERSON . READER , WIth much Cost and Art , orderly to this Impression ; I laboured to be furnished from beyond ▪ seas , with Cuts and Prints , proper for severall Sections ; But the watchful Pirate plundered the passengers , and that Cargasoon of Papers , which makes them failing in this Work , and crave excuse ▪ till the next Edition , with such other , and 〈◊〉 further enlarg●●●●● . In the mean time , the Practitioner may be furnished at Mr. Fatherns , ( a Graver , without Temple-bar ) and at other Print-sellers , with such Cuts and Prints , as may serve his own private use for this whole Book , which could not be gotten by me in England , for so many thousands of Prints , as the Presse of this Edition would contain ; onely three or four Plates I have met with , which are here inserted for Example . And for the Art of Painting in Glasse , as also the excellency of Graving and Etching , in Copper or Wood , with the manner of Printing those Pieces in severall colours , may soon be made publick , as this Book finds acceptance . W. Sanderson . To Mr. Sanderson , the Author of this Book , The Art of Painting . VEnus , scarce finish'd by Apelles death , Was by her Painter ( just ) depriv'd of Breath . Painters nor Pictures were there any such , Distinguishable onely by the Touch . None could compleat It , when that He was gone ; This Book was wanting , else it had been done ; Which teacheth Intellectualls , Hands , and Eyes , To value , work , and view their faculties . Prometheus by his sar-setch'd sained Fire , Into his mouldings ( once ) did life inspire . Your Rules direct us to avoid that toile , And to give life by Water , and by Oyle . Your Pen excells the Pensil , whilst you write , You finish Venus in your Black and White . R. P. Upon our English Zeuxis , W. Sanderson , Esquire . POets and Painters dare do much , and can Fancy a Man a Beast , a Beast a Man . But when themselves are subjects , and the Quil Describes the Pensil , there 's the tryall o th' Skill . When that fierce Ovid must a Zeuxis shew , And Verse to Shapes give enterview : 'T is not one Muse will serve , but the whole Nine , And father Phoebus too must prompt a line . As he , that pourtraicting the Horses foam , Despairing , that to life it e're would come : Threw his fam'd Pensill at the very Bitt O' th' Bruite , and so a casuall froth did hit , In such an exact figure , that lookers on Fear'd , that the drops , themselves would fall upon . So it must be some Providentiall strein , And an exstatick fancy , and rap't vein , Betwixt Despair and Inspiration , That fits the Zeuxis of our Nation . What Colours in our Rhetorick , can show Thine , which more various are , than those 'i th Bow ? If in Grotesco , or in Landskip thow Expresse thy skill , wee 're in a wood I vow , And lose our selves in thy feign'd Groves , and view , And wish the Milk-wench , and her sine leg too : Such lively streams her snowy hand doth stroke From the milk'd Cow , that Calves they do provoke To louw for painted Teats , and Sheep do gaze On the deluding Commons , and would graze . Then since thou canst deceive all subtlest sense , And art a Zeuxis of such excellence , I will admire thy parts , and cosen'd be : But for to write thee , let 't alone for me . EDMOND GAYTON . On the noble Art of PAINTING . STrike a bold stroke ( my Muse ! ) and let me see , Thou fear'st no colours in thy Poetry , For Pictures are dumb Poems ; they that write Best Poems , do but paint in Black and White . The Pensill's Amulets forbid to die , And vest us with a fair Eternity . What think ye of the gods , to whose huge name The Pagans bow'd their humble knees ? Whence came Their immortalities , but from a Shade , But from those Pourtraictures the Painter made ? They saddled Jove's fierce Eagle like a Colt , And made him grasp in 's fist a Thunderbolt . Painters did all : Jove had ( at their command ) Spur'd a Jackdaw , and held a Switch in 's hand . The demi-gods , and all their glories , be Apelles debtours , for their deity . O how the Catholicks crosse themselves , and throng Around a Crucifix ! when all along That 's but a Picture . How the spruce trim Lasse , Dotes on a Picture in the Looking-glasse ? And how ineffable 's the Peasant's joy , When he has drawn his Picture in his Boy . Bright Angels condescend to share a part , And borrow glorious Plumes from our rare Art . Kings triumph in our sackcloth , Monarchs bear Reverence t' our Canvase 'bove the Robes they wear . Great Fortunes , large Estates , ( for all their noise ) Are nothing in the world but painted toies . Th' Aegyptian Hieroglyphicks , Pictures be , And Painting taught them all their A. B. C. The Presbyterian , th' Independent too , All would a colour have for what they do . And who so just , that does not sometimes try , To turn pure Painter , and deceive the eye ? Our honest sleight of hand prevailes with all ; Hence springs an emulation generall . Mark how the pretty female-artists try , To shame poor Nature with an Indian die . Mark how the Snail with 's grave majestick pace , Paints earth's green Wastcoat with a silver lace . But ( since all Rhymthes are dark , and seldom go Without the Sun ) the Sun 's a Painter too ; ( Heavn's fam'd Vandyke ) the Sun , he paints ( 't is clear ) Twelve signes throughout the Zodiack every year : 'T is He , that at the spicy Spring 's gay birth Makes Pensils of his Beames , and paints the Earth ; He Limn's the Rainbow , when it strutt's so proud Upon the Dusky surface of a Cloud ; He daubes the Moors , and when they sweat with toil 'T is the● He paints them All at length in oile ; The blushing fruits , the glosse of flowr's so pure Owe their varieties to his Miniature . Yet , what 's the Sun ? each thing where e're we go Would be a Rubens , or an Angelo . Gaze up , some winter-night , and you 'l confesse , Heaven 's a large Gallery of Images . Then stoop down to the Earth , wonder , and scan , The Master-piece of th'whole Creation , Man : Man , that exact Originall in each limb , And Woman , that fair Copy drawn from him . What e're we see's one Bracelet , whose each Bead Is cemented , and hangs by Painting's thread . Thus ( like the soul oth'world ) our subtle Art , Insinuates it self through every part . Strange Rarity ! which canst the Body save , From the coorse usage in a sullen grave , Yet never make it Mummie ! Strange , that hand , That spans and circumscribes the Sea and Land : That drawes from death to th'life , without a Spell , As Orpheus did Eurydice from Hell . But all my Lines are rude , and all such praise Dead colour'd nonsense . Painters scorn slight Baies . Let the great Art commend it self , and then You 'l praise the Pensill , and deride the Pen . T. FLATMAN , lately Fellow of New Coll. Oxon ; now Inn-Temp . Lond. To the exquisitely Ingenious , W. SANDERSON Esq On his Book of Painting in Water-Colours . Great Artist , VVHen I saw thy ROYAL STORY , ( That Theater erected for thy glory ) I stood amaz'd at each Majestick line , And deem'd each syllable therein Divine , Thinking Thee All-Historian : But now , Thy Protean Pen constrains me to allow , The Diadem of Arts and Sciences to Thee ; Their vanquish'd depths confesse Thy Soveraignty : Whose absolute Dominion can dethrone The Rest , and fix supremacy in One ( Rare MINIATURE ) whose glitt'ring Trophies stand , Rear'd by the learn'd endeavours of Thine hand . Thy Water-Colours shall out-brave the Fire , And dare couragiously confront Jove's ire . Your fame shall ( spite of Proverbs ) make it plain , To write in Water 's not to write in vain . Clarissimo viro Guilielmo Sandersono , Artis Zoographicae excultori Celeberrimo . OUis precor hic ? iterúmne Orbi comparet Apelles ? Anne magis radio Pictor Apollo suo ? Neuter adest ; sed uterque tamen : sed major utroque Sive homines lubeat pingere sive Deos ? Pingendi heic stupido prostent cum viscera mundo Viscera , Primaevis impenetranda Sophis . Forma , & Norma recens ; Artique Ars addita priscae ; Et pictura Ostro nobiliore nitens Cuncta suis speciosa notis , renovata Colorum Temperies , Radii Daedala forma novi , Authoris Genium , si non depingere , saltem Fas Vati aeternis pangere Carminibus . Plaudite Pictores ! Patremque agnoscite ; vobis Ludus erit , priscis quod fuit antè labor . Obruat expositas nè fortè litura Fabellas , Picturae Archetypon nobile , Pictor , habe . Amicissimè scripsit amicus charissimus , GUILIELMUS MOORHEAD . A tam laudato laudari laus erit vera . GRAPHICE . OR , The use of the Pen and Pensill , in Designing , Drawing , and Painting ; with an exact Discourse of each of them . AS ALSO , Concerning Miniature or Limning , in Water-Colours : The Names , Natures , and Properties of Colours : The ordering , preparing , washing , and using them , for Pictures of Life , Landskip , and History . AS ALSO , Of Croyons , or Dry-Colours , by Pastills or Powders ; The way of making them , and working with them : With rare Receipts and Observations , of the best Masters of this Art . In two Parts . With some Cuts and Prints , proper to each Section . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. portrait of Charles I G Faithorne Excud . Carolus Primus D. G. Ang●iae Sc●●iae Franciae et Hiberniae Rex . ●● . In Effigiem Caroli , Nuper-Regis . INdiges heic quorsum prostat Tibi Carolus ! Ann● Hunc quòd ames ? vel quòd te redamârit , erat ? Anne quòd Essigiem subrepti Martyris , Orbis Quà patet , indomito more & honore colat ? Anne , quòd hanc reliquis ( dum vixerat ) Artibus Artem Praetuleri● Genio discure , Mome , tuo Cuncta simul num vera sient , non dirimit Author , Cui satis est Sphyngem solvere posse suam . G. M. GRAPHICE : OR The use of the Pen and Pensil ; In the most Excellent Art of PAINTING . THe most excellent use of the Penn , and Pensil , is illustrated by the admirable Art of Drawing , and Painting ; and perfectly defined , to be the Imitation of the Surface of Nature , in Proportion and Colour . By Mathematicall Demonstration of Globes , Spheres , Charts , Mapps , Cosmographicall , Geographicall , Chorographicall , and Hydrographicall . Or , by particular description of Plotts , Fortifications , Formes of Batalia's , Scituation of Townes , Castles , Forts , Lands , Rocks , Mountaines , Seas , Ilands , Rivers . Or , by shapes of Creatures ; Men , and Beasts ; Birds , and Fishes . Or , by Vegetables ; Fruits , Flowers , Hearbs . In all , it preferrs likenesse to the Life , and conserves it , after Death ; and altogether by the Sense of Seeing . Of the Five Senses . THe number of Senses , in this Microcosm , or little world of Man , do correspond to the first Bodies , in the great World , as Sight , to the Heavens . Smelling , to the Fire . Hearing , to the Ayre . Tasting to the VVater . Touching , to the Earth . I have lamented the defect , that most Men mis-understand the true use and perfections of the senses ; when the advantage of our Reason prefers us before ordinary Creatures , that enjoy them in common . How many men that have Organs , and de hear , yet cannot distinguish the Excellency of Musicall sounds , and find not the defect ? As many , who have the sense of Touching , that labour not their hands to the things that are good . Those that can smell , yet professe their ignorance in the delicacy of sweet Odours ; and conceive no more benefit thereby , than others , who are satisfied with a stinck . To cram the Belly , & fill the gutt , diseaseth Nature , without apprehension of health in a choyce diet , or , in difference of Tasts And there are severall notorious degrees of sin depending on the extream fruition of those Fower , which taints both body and mind with impurity . But in my Opinion , the whole World , and all the formes of Nature may be safely comprehended , by the royalty of externall sight , ( There being a Lordship of the Eye , which as it is a rangeing , impetuous , and usurping Sense , can indure no narrow circumscription , but must be fed with extent and variety to the glory of the Creatour , ) and yet without prejudice to the reasonable Creature ) except in the mis-use of looking with Lust , after that , wch is none of his , Lasci●iously , Covetuously , Superstitiously ; To which possibilitie of Mis-application , not onely , those Semiliberall Arts , but the highest perfections , and endowments of Nature , are subject ; Nay Religion it selfe . Therefore Ab Abuti , ad non-Uti , negatur consequentia . Of the Excellency of Sight . BUt , Sight deserves , a higher , and a more mysterious consideration , and therefore , let us compare the difference , with other Senses . The State of sense may be devided into two parts ; Inward , and outward ; commodity , and necessity ; Soul , and Body : but , as the soul is more excellent , then the body , so the sense that profits the soul , is to be more esteemed then those , that are needfull for the body ; because it is better to be well , then simply to be . The Soul of man , ( that most perfect forme of the Creator ) not consisting of matter , or subject to division , and so by consequence , whole in all the body , and wholly in every part : Yet , in every respect , the noblest powers thereof are more eminent , in distinct places ; some have lodg'd and bounded the limits within the compasse of One Member of the Brain , ( the magnificent stately Turret of the soul , ) wherein is placed Reason , the Soveraign power of the Soul , ) as the Messengers of understanding . The Eyes , Ears , Nose , Tongue , ( Guards and Servants to Reason ) placed in the head , as ne●r att●ndants . The externall Senses are but five because of the five sorts of Objects , either unto Colour , Sound , Smell , Taste ; or to those Qualities whereabout Touching is conversant . Seeing and Hearing are the most pleasurable ; Sensus Jucunditatis ▪ The other more Practicall ; these more contemplative : Those , Sensus Disciplinae ; these are Mentis , Noeticall . The excellency of Sight , is especially , in four things . 1. Variety of objects ; which it presents to the Soul . 2. It's meanes of Operation ; altogether Spirituall . 3. In respect of its particular object , Light ; the most Noble Quality that God hath created . 4. In respect of the certainty , of his Action . ( In a word ; all things , under the first Moveable Orbe , are subject to the power of sight . ) For the first ; all Naturall Bodies , are Visible ; but all are not effectuall , to other Senses . Heaven , ( the World's Ornament ) is not to be touched ; Harmony of the Spheres , not to be Heard ; No taste in the Earth , or Fire ; All these may be Seen . Sight , besides his own proper Object ( Colour ) , hath infinite others , as Magnitude , Number , Proportion , Motion , Rest , Scituation , Distance : And therefore called , the sense of Invention of all Arts , and Sciences . And all the skill in deep Astronomie , Is to the Soul derived by the eye . Philosophie was begot , by admiring of Things ; Admiration , from Sight of excellent things ; the Mind , raised up and ravished , with the consideration thereof , desirous to know the cause , began to play the Philosopher . Secondly , Sight is the Sense of our Blessednesse , as it brings us , to the knowledge of God . The Invisible things of God , are manifested to us , by the visible . Infinity cannot be known , but by his effects . Set on work this Noble Sense , to view and consider the Excellencie of the Workmanship , of the Great Creatour ; the Heavens , and the glory thereof , in Proportion , and Colour ; the Beauty of the Surface of the Earth , and the Creatures thereon . Consider Man , the Wonder , and utmost indevour of Nature . so that the Prophet-Singer cryed out ; How secret and wonderfull am I made ! Thirdly , it is endowed with the goodliest qualitie in the World , Light , The Heavens off-spring , the eldect daughter of God , Fiat Lux the first dayes creation . Common , as indifferent to all ; best known of us , ( for other Naturall Bodies consist of mixt Colours . It discovers it selfe in the modesty of a morning Blush , and opens it's fair and virgin eye-lids in the dawning of the day , shine out in its Noon-daye's glory . It twinckles in a Star ; Blazes and glares out in a Comet ; frisks and dances in a Jewell ; dissembles in a Glow-worm ; Epitomises and abbreviates its self in a spark ; Ruddy in the yolke of the Fire , pale and consuming in a Candle . Thus described in old Rime . Light , the Grand-child to the Glorious Sun , Opens the Casement of the Rosie Morn ; Makes the abashed Heavens , soon to shun The ugly darknesse , it imbrace'd beforn . This , a true Looking-glass , impartiall , Where Beauties-self , her self doth beautifie , With Native hue , not Artificiall ; Discovering falsehood , opens verity . The day's bright-eye ; Colour 's distinction ; Best judge , of measure and proportion ; The only means , by which , each mortall eye , Sends Messengers to the wide firmament : That to the longing Soul brings presently High contemplation , and deep wonderment : By which aspiring , she , her wings displayes , And , her-self thither , whence she came , Up-rayes . It performeth his Office , at an instant , though far distant , without moving it self . And as the understanding part of the mind , receiveth from the Imagination , the forms of Things naked , and void of substance ; So the sight is the subject of Forms without a Body ; which are called , Intentionalls . It comprehends Universality , without pestering any room or place contained : the largest Mountains , enter at once undiminished , through the Apple of the Eye , without straitness of entrance . It judgeth , at one instant of two Contraries , White and Black , and distinguisheth them ; the knowledge of the one , No impeachment to the knowledge of the other ; being that , of what the other Senses are not capable . It receives at One instant , the circumference of the World ; But the other Senses move by entercourse of Time ; the reason why we see Lightning , before we hear the Thunder ; being neither of them made before or after another . It hath a kind of liberty , which Nature hath denyed to the other Senses ; The eares are alwaies open ; so is the Nose ; the skinne alwayes subject to cold and heat , and other injuries of the aire : but the eye , opens and shuts , at pleasure . Fourthly , it is the most infallible Sense ; which least deceives being ten times of more certainty , than hear-say ; as between truth and falshood . According to the French Proverb . Ce qu' on voit est plus certain que cequ ' on oit . Horace saith , Oculis potiùs credendum , quàm auribus . The Prophets confirm their Sayings , by the Sight ( Visions ) as most true ; It is the form , and perfection of man : by it , we draw neer to the divine Nature , seeming that we are born , only to see ▪ The Eyes , the Looking-glasses of Nature : Consider the beauty , and excellency thereof , from severall Objects : Behold the spangled Canopie of Heaven by Night : the watry Clouds , by day , with excellent Colours , and Shadows of the Sun's reflection : The wonderfull painted Rainbow : The glorious appearing of the Morning Lamp of Light : the golden rayes , round about him , spreading a faint and trembling Light , upon the stickering and gilden waves : How , his shadows lessen at Noon-tide ; and how they increase towards evening , and at the burning ruddy Sun-set . To view , the Towring tops of Mountains , unaccessable Rocks , with ridgie extents , or suddain fractions , by some steepy abruptnesse : Here a vally , so large , that at the end of the plain , it seems to meet Heaven ; there a Grove , and here a Green pleasant Arbours ; rows of Trees , spreading their clasping arms , like gentle lovers imbracing each , with intricate weavings ; gently swelling Hillocks ; high delightfull plaines ; flowry meddows , pleasant streams ; naturall fountains , gushing waters down the rocks . Stately Cities ; famous Towers ; large Bridges ; spiring Steeples ; intermixed with Orchards , Gardens , Walks ; and what not of these kinds , that delights the mind of Man ? Consider the shapes of each severall Creatures ; from the Elephant to the Emet : the admirable and absolute perfections of each Limb ; the beautifull Colours of Birds ; silver skaled-fishes ; wonderfull forms of worms , and creeping things . And all these to praise the Lord , for his mercy endures for ever . Of the Excellency of Sight , in the Art of Painting . HAving said thus much in generall : Let us draw down to our particular use of this Sense , first to be apprehended by speculative knowledge , in the Art of Designing , Drawing , and Painting , which comprehends It : when lights and shadows , ( set out by Art , to counterfeite Nature ) give the workman the excellency of representing in proportion and Colour , what ere Nature hath produced . Nay more , described into form , what ere can be uttered by speech of another , or to be imagined , by his own fancy . Of a Landskip . VVHat a large scope of severall objects , are dayly offered to delight the wearied travailler , when with true judgment , he beholds the variety of Nature , and the Artifice thereof , within the Landskip of his Horizon in a well chosen Prospect ? Give me leave to describe unto you , a Landskip ; by which , and many such like you may apprehend with delight , the excellency , of a journy by land , or voyage by Sea , Which commonly , are either not observed with judgment , or soon lost to memory , for lack of Art to put them into form , and Colour . For example ; An English Gentleman , of singular ingenuity , came to Naples by Sea , at the instant , of a strange accident without the Citty : The report whereof amazed the people , into suddain fear ; Yet curious they were , to behold that , which they apprehended , horrid : Each one , crouding forward , to pull back his Neighbour ; disorderly Number , stopt their haste , so that , they stuck fast in the Gate . Only this Stranger , whose single discretion taught him , alwayes , to avoid a Tumult ; and now shewed him the way , to creep out at a Wicket . He soon discovered the cause ; casting his eyes up to the view , of the Towring Hill , Vesuvius , from whose Base , the fruitfull vallyes , trend down to the Strond of a River , refreshing this Citty . This double topp'd Mountain , had one Speer burnt , in time of Pliny , by which meanes , ( that Rocky part dissevered into fractions ) there appeared , rare reflections of Lights , and shadows , occasioned from a fearfull Fire of the other Speer , now flaming up into the Clouds . Sometimes , with blazing flash to frighten Heaven , instantly quencht by a crouding vapour , as darke as Hell : And yet each raging quality stinted by Him , that in a bounded measure , preserves all from destruction . These objects ( unequally mixt ) expressed such glaring variety of Colours , as two contraryes , Light , and Darke in opposition , usually doe produce . So had he seen ( he said ) , a sight at Sea ; a Ship so gallant never plow'd the waves , but she , and our brave Soveraign ; when in the moment of a twinckling eye , the Wretchlesse Swabber , with a Lintstock-match , tin'ds but some powder for his knavish crack , which kindled all on fire ; So q●i●k is Sulphur , that the sound and sight Soon into Air dissolv'd the fabrick quite . But now his sight , dim'd with much gazing , and his Eye-lids wearied , wi●h force of long looking up-wards , of them selves took ease , to descend . ( So did his thoughts , in an humble consideration , of the Naturall Cause , Sulphurous matter , many ages past , pent in for a time , and now ( fired with heat ) burst out into this fury . Which , though not seldom hapning in hot Conntries , yet to his sense , the more rare , that never saw the like . ) When suddainly he seemed ravished , with the most pleasing Prospect of Nature , and Art , mixt with accidents of divers manner , such as possibly might delight him ; It took its Scite , at the entrance of Naples , from the Vallyes ; where the coole streams of — gently pass ; seeming then , a preservative Element , of powerfull contrariety to quench the raging Fire with turnings and windings , on the right hand , so far as the Countries of Apulia , six Leagues off . Over this River is raised a stone-Bridge of antiquity , more then splendor , yet fair enough , with sixe locks , or vaults , through which , the water runns , not too quick on purpose to delight you ; but murmuring down on the left hand , to a single Pile of Red-marble ; partly ruined , more by Warre , then time ; and yet of some Antiquity , by the remnant of Pillars , Pedestalls , Cornices , and such like , of old Tuscan , and Dorique Sculpture . Neer unto an Orchard of Palms , and Sicamours , where , under an ample Arch , the River seems convayed to utter losse of all , but imagination . A world of people , from far , filled the Bridge , with haste ; being come to secure themselves , their goods and cattell : Those of Quality rod , pranzing on their Gennets ; not too fast , being fettered , within a flock of Sheep . The good Man and his VVife , load their own backs , to save their Bedds , leading their Infants , frightned with the Fire . The poor Asse now beares his Burthen , not in vain , being driven from danger , as concern'd in the Interest , as well as the wiser sort , who govern'd the Beast . The Wagoner , whips on his wearied Jades , who yet , huye so fast , that they tread , on Horses heels . Fearfull apprehensions scare them all , that follow in a Train , beyond the comprehension of Sight ; and untill from severall degrees of dimensions , each Creature seems contracted into Shapes , almost of Atomes . These Multitudes , fled from Torre , del Greco , and Nunciato , two pleasant Towns , seated upon this River , appearing so far distant from the eye , as usually , the Judgment assists the Sight , to distinguish them into Buildings . Before these Towns , anchored two Neapolitan Gallyes , sent thither to receive the people , and their goods aboard , from the destruction of stones and ashes , disgorged by force of the fire , and which the violence of the Rock-water stream , hurried down from the top of the Hill , overwhelming these Villages , almost as a Cover ; the suffocating heat of this rubbish , more fearfull then any Fire . Behind these you might discern , the rising sallow-fields , here and there , mixt with trees , and hedge-rows . Beyond them , the proud Hills , covered with whitenesse of S●ow , which the Sun-beams exprest , like Silver Towrs , that reached up , to the next Region . Then on the left hand view , you might behold , ( Sun a●d wind cleering that side ) the whole Vale grac'd with severall structures , and buildings , heer and farther off . Here , and there , the stately Pines , overtopping their Tops , naturally intermingled with Cedars , and Citrons . From these , your sight ( ascending the rise of the Hill ) becomes ravished , with pleasant Gardens , and Orchards ; beautifull rowes and walkes of Trees , gracefully high and large ; Here vineyards of Grapes ; there Groves of Granadoes , Citrons , Pomegranes , Figges , and Olives , and other Fruits without Number . These reach so farre , untill your sight is lost , into the Edge and Circle of an Horison , where Heaven and Earth , beget a wonder , This in contemplation covets to mount , That , in affection , willingly descends , untill with joynt imbraces ( like two reconciled Lovers ) kisse each other into everlasting kindness , Terram Coelo miscere . Neer hand , a Loader , following the heels of his Horse ; and to spare his overmuch burthen , the good old man , in charity to his Beast , takes part of the paines , and stoops his own bended Back , with the remaine of the carriage . Not farre before him , trots another , ready to climb the mounting ground , and to ease himself , the poor Jade , spares his pace ; but two rustique Swains , hard hearted drivers , ( or else in more ha●te , than good speed ) both of them beate him . Beyond them , you may perceive two more ; one hastning forward , the other returning ; their businesse belike , of more concernment , than to salute ; though the narrownesse of the way , necessitates them to meet . And thus the Traveller , having long time looked over these objects ; he turnes his back from all , with religious Contemplation : That in such varieties of Prospect ; contrarieties in Nature and affection ; Fire and Water ; Hills and Vales , barren and fruitfull ; Trees , and Medows ; Heaven , and Earth ; all should concurre in beautifull Objects , and Ornaments of delight , to Gods glory , and content to the Creature . VVhen loe , he espies a Neopolitan gallant , caressing his Curtizan ; she was handsome , he was not so ; and yet the custome of the Country , taught him boldness , to court her , into more then ordinary kindness ; which no doubt , in dependence thereto , was soon after , put into practice , when the opening of the Gates , received them into the Citty . The Stranger being entred : He tells this Story , unto other Guests , to one of them , that for a Wager ( The Table taken away ) described this Tale , into the form of a Picture ; and Painted it to the Life from the others report ; which being done , became such a Miracle of Art to everlasting Memory , that deservedly , might adorn the Vice-roy's Gallery . The papers of this print were lost at ▪ Sea . But any other print of a Prospective , may serve the practitioner to discourse thereupon ; and ●it this example . Another , of the Sea , a storm and ship-wracks . It was so fair a Morn as midling-June , which invited tender virgins , to the brinck of the Ocean : where they beheld , a Fleet of gallant Ships , such as ne're grac'd the Floud before . Each distinct Squadron attending their Admirals , in an orderly course , to the very Bay of a secure Haven ; the Seas as smooth as glass . When , for Novelty ; ( the various desire of change ) one of the virgins , wisht to see the Waves . The stormy-Fiend obeyed , and vexed the Ayr with wind which volved the Waves , till they on end do stand ; ranging their race with mighty furrows ; wave shoveth wave , and Billow beateth Billow . Twixt Ridge , and Ridge ; the engulphing space was hollow , Much like infernall Jawes , whole Fleets of Ships , to swallow , In those devouring , liquid Graves . The Marriner by often tryalls , becomes fearlesse ; Yet his Sailes takes in , and stoops to an ill , he cannot master . A monstrous showre of rain , thickned the face of Heaven ; peale after peale . " So dark as Hell ; and yet the Stars are seen , " And dreadfull terrours , had bin ▪ lost to sight , " But that , ( these ) dire Lightnings turn " To me●● horrid fears . " The Seas ▪ like quenchlesse flames , do burn : " Sad ●louds , sinck into showry teares : " You would have thought , " The high swoln Seas , to Heaven had wrought , " And Heaven , to Seas descended . Away goes steerage , Lead , and all adiew ; The Card and Compass too : Of two and thirty winds , not one of safety shewes ; All point to death . The Load-stone uselesse ; The Needls-North , drunk with the waves Turns round , and reeling too : so did the Ship . And disengorged the Sea , into the Sea again . The Jacob-staff , no farther sight could reach , Then second surge . The dancing Beak-head , dives into the deep , Then bounding up again , then down amain , Which cracks her massie ribbs . " So have you seen a fierce strong Bear , " Stand bolt upright , to paw the Mastive Dogge , " VVhich in his Clutch , once got , he gripes to death . No place for Art , or force , yet all are try'd : For now ▪ the waves must have their will , " Obedienc● ▪ best to follow , and that was ill . The Ship sides crack , and tackle tare like Twine , The six-fold Buck from sheet , is rent to ragg● " Nor left so much to wipe a tear " From the distressed Passengers , that weeping were . A bucksome-bully Boy , up to the Top-mast climbs To cleer a Haulfer , or lesse waightier course ; Like Crow on May-pole ●ane , a wondrous height , Yet he obeyes , and chearly cryes , Done , done , Sir : VVhen in the moment , of a twinckling eye ; Not half way down , a blast of mighty force , " Darts him as farre " As Davids pibble from his sling of war . Upon the Decks two stand , but bind themselves , Yet both are blown away : Another , on his hands , into a corner creeps ; But bounding Hatches , band him to the deeps . Some trust to Haliards , others to their holds , But cardage cracks , and they o're-board , are roul'd . The giddy Ship turns Saylor's brains , Though bound his browes ; And as from flint , so sparkles Fire , from both his eyes ; The sickly Soul was worse , weary of Life , he dyes . Those on the shore ( by prospective ) that saw , were giddy grown . And whilst I tell this tale , I 'me not mine own . My brains turn round , so does the Reader's too , No wonder then , the Mariners did so : The stresse of horrid storm , none but by feeling know . Some seeming wiser , hear the Long-boat's out , and leap therein ; Which soon like froth are spew'd upon the sands : And with the stroake are torn to smallest chips . The aged father strides the lusty Lad , Some swim , others wade , till many footing find ; VVhen by degrees , the swallowing tide , steales on them , First to the feet , the anckles , knees , and waste . Then to the rising ground they all retire , And down they kneel ; Their Sacrificing hands , above their heads , they heave , and hold them there : Till brinish Seas , up to the Chin comes in , and choakes them all : A dozen of such , by severall scapes , got thither , Freed from the Sea ; on sands are drown'd together . Those in the Ships see this , and on their knees they fall , This sad example , makes them , one , and all : for now , The Rudder 's torn away , the wracks begin , And trayterous leakes , the dryving Seas drink in , No Master , Mate , nor steer's-man , now ; Nor Plummet guide or Watch can shew ; No standing on the decks ; The unbridled beast , the Master casts , And shakes off the Saylor , griping close the Mast , The rest shrink into Cabines , as their gravy rooms . The main Mast , by the Board is cut , The goods thrown o're the Hull to save . Then gaping comes the fatall wave . VVhich into watry womb , at one suck d●●ws down all . Yet as a Load too heavy to disgest , One s●rge , plaies it over to the rest , Some pieces of the wrack , on sands are cast , Some on the ragged Rocks : The Timber plancks , start out ; the Ribbs in pieces crack ▪ And these , thus yeelding , breaks her massie back . Here , barrells flote , there packs , not yet through-wet , And chests of mighty wealth ; Men and boyes , bestride them , whilst they can , Then shrink , and cry , Farewel , from boy to man . The Hog sheads , full of Claret VVine , The curled Foame , doth mixe with brines Both being dipt , in dies of red ; and seem to blush with shame , For swallowing down , the Merchant's gain . The Factors , Saylors , Children , Wives and Friends , In wretched losse , the whole adventure ends . A world of scattered goods , on Billows green , ( As at a Mart on grasse ) you might have seen . The shore , more cruell , then the Seas , devoures . For they , who claime the wrack , crye , All is ours . The sunck ships fall , and beaten waters roare , VVhich mightaiy affrights them , on the shore . VVho scapes the greedy waves of Seas , are cast on land , Find buriall there ; the people , weeping stand : You might behold , one Man , ne're stoop'd To basenesse , though to brine In swimming sincks , but up again he gets ; Now strides a Mast , layes hold , on yard , and planck , And though amongst the lost , himself doth vault . Yet strives with arms , and leggs , and ( often so ) Death favour'd him , and lets him go . God unto Man , gives gifts of such a mind , Above the power of Fortune , Seas , or Wind. The Maidens wept when they came in ; and it was her taske to tell this story , whose beauty , ( shadowed only by her teares , ) gave grace to the relation , and pitty to the distressed . But afterwards , being put into a Draught and coloured , it is accompted no lesse than a singular dignity to Cardinall — Cabinet , his most admired Piece . And the Prints of this are likewise lost at Sea . Which you may supply with any other such storm . Of Painting and Poetry compared . THus have I adventured the challenge , in the name of Apollo , to the Art of Apelles ; by comparing Wit , and Words , by the Poem , with Draught and Colour by the Pensil ; in these two distiall discriptions , of the Fiery Mountain , and Prospect at Land , and of the horrid tempest and Ship ▪ wrack at Sea ▪ the like may be conceived of many other millions of change . There being such Harmony in them , that may not be separate ; and when Eloquence flourished , Painting was esteemed . For Poesie is a speaking Picture , and Picture is a silent Poesie , the first , as if alwayes a doing ; the other , as if done already . In both , an astonishment of wonder ; by Painting to stare upon smitation of Nature , leading and guiding our Passions , by that beguiling power , which we see exprest ; and to ravish the mind most , when they are drunke in by the eyes . Yet Painting was before Poetry ; for Pictures were made before Letters were read . For before that the Aegyptians had Letters , they signified their conceptions by Hieroglyphicks of Figures , Characters , and Cyphers , of divers things : as Birds , Beasts , Trees , Plants , and by tradition to their Children were readily understood . As by the Earth , the Oxe , a beast of the Tillage ; by the Faulcon , diligence and swiftness ; By the Bee , a King , mildness and justice , by hony and a sting ; by the Eagle , Envy , not accompanying other Birds ; by a Serpent his taile in his mouth , the revolution of the yeare ; for hearing , a Hare listning ; and such like numberlesse . And fram'd their gods also of such Creatures , and things ; as that ancient piece of Antiquity , a carved Stone in Rome in the Garden of the House of Julius , the form of a Man with an Apes face and Doggs eares , holding a Sphere of the Heavenly Circles in one hand , a Mercury-Staff in the left , standing upon the back of a Crocodile , according to these verses . Templa Paretoniis onerâsse Altaria Monstris Quis negat ? inter quae Simia et Ibis erant ; Et Canis et Vasto frendens Croc●dilus hiatu , Herbae etiam cultu , non caruêre suo . Dij Aegyptiorum . Romae in Hortis Julij . III. P. M. The Greeks adventured on this Art , meerly in the first Elements of Black and White ; which afterwards were put into Colour by the Romanes , with whom Painting was much in esteem , and had the honour of a liberall Art . In Rome the fabij were surnamed Pictor , and the Temple Salus circumscribed . Quintus Fabius pinxi : from whence the Italians , of excellent spirits and best designers , gave examples . The Germanes more laborious , followed their fashion ; and the English , Dutch , and French , become Imitators of them all . The Art of Painting hath been valued , from Antiquity ; yet rarely arrived to its perfection , in any age : partly by ignorance , of most men in this Art , seldom encouraging the Professor : Besides , in truth , it is a gift in the Artist peculiar ; more naturall to a single fancy , then common to all . The difficulty therefore to attain it , is not to be laboured out by ordinary paines , and industry ; yet requiring indefatigable assistance , to bring the work to become a wonder . Picture insinuates into our most inward affections : Things by the Eare , doe but faintly stirre the mind , but captivate the Eyes ; as being the more accurate witnesses of the two : Gods may be conceived by Poesie , but are madeby Painters . So did they well ; who , to enforce a more horrid reception of the Dutch-cruelty upon our English at Amboyna in the East Indies , described it into Picture ( after that it had been , most eloquently urged , by Sr. Dudly Digs and imprinted , ) to incense the Passions , by sight thereof ; which truly ( I remember well ) appeared to me so monstrous , as I then wished it to be burnt . And so belike it seemed prudentiall to those in power , who soon defac'd it ; lest , had it come forth in common , might have incited us then , to a nationall quarrell and revenge ; though we have not wanted other just provocations since to make them our enemies . However , at the time before , it wrought this strange effect upon the widow of one of the Martyrs ; who , upon former relations , prosecuted her complaint ; but when she saw the Picture , lively describing her Husband's horrid execution , she sunck down , in a dead swound . Wee read , of Kings and Nations , that have valued Painters ; so have they sought their Paintings , for their weight in Gold ; for 100 Talents ; for 6000. testers ; 12000. testers Nay some Pieces were preserved with so much safety , that their Keepers lives , have been responsable for their security . An example of that nature , we had in Abraham van-Dort , Supervisor of the late King CHARLES his Repository of Rarities ; with especiall command and care of one most excellent piece of Miniture ; which therefore he lodged ( more secure then safe ) so farre out of the way , as not to be found by himself , when it was missing , to his own memory , at the KINGS demand ; till after his death , the Executors brought it home . This chance , fitted the story ; which was [ of the lost Sheep found ] The designe of the Limner , A shepheard bearing upon his shoulder a strai'd sheep to the fold . The Doctrine ; Christ reclaimes the sinner . But miserable it was to the poor man who at the first , for fear of his Masters Van Dorts displeasure , or perhaps his own love to the excellency of that Art , in sad regret , went home and hanged himself . Severall Pieces have been presented to Citties , Common-wealths , Nations , and Kingdomes , as overvaluable for any private person . Our late King CHARLES , had many most rare Originalls , Collections , both of Painting and Sculpture . He being the most of fame , for his incouragement , and Patronage of Arts and Honour . His love to this Art , begat three Knight-Painters ; Rubens , Vandick , and Gerbier , the last had little of Art , or merit ; a common Pen ▪ man , who Pensil'd the Dialogue in the Dutch Church LONDON ; his first rise of preferment . The Vse and Ornament of Pictures . TO give a Picture its value , in respect of the use : We may consider , that God hath created the whole universe for Man ; the Microcosm whereof , is contracted into each Mans Mansion House , or Home , wherein he enjoyes the usus-fructus of himself , and leaves it so , to his Son , as an Inheritage of strength , Profit , Pleasure . The great Oeconomistes of all Ages ( and so other men from noble examples ) have indevoured , to magnifie their own Memories , with Princely Pallaces of structure , and afterwards to adorne them distinct and gracefully , with Pictures within , and Sculpture without . And both these witty Arts , have contended for Supremacie , whether Imagery imbossed , which pretends ( as indeed it is to ordinary Capacities ) more naturall , and so easier to be apprehended , whose excellency is only in the soft Sculpt of the Chizell , as if it were Painted ; Or the other , Painting , being the more rare by enforceing shadows upon a Flat , as if Carved ; and yet the shadows themselves , not grossely apparant . Certainly , this latter , must be the more excellent Artifice , by forcing this to seem so , upon a Flat , which Nature makes rising and hollow ; and indeed , the truth is wonderfully concluded by one A. B. He is a blind man , yet by feeling the form and lineaments of Nature in the Life , doth mould by the hand in Clay , rare figures exceeding like in shape , which is impossible to be don by him , in Painting . But of this , more hereafter when we come to working in Colours . A Picture in truth , must stand off Naturall , as if it were Carved , gracefull and pleasant at the first blush , or sight thereof ; which are the excellencies of ancient Painters : of whose Originalls many , even pretenders to this Art , are deceived with Copies . Of Originall Pieces and of Copies . GEnerally , in Originalls , the Colours become often vaded , and , in many , much changed ; the Piece in time grown crusty , and often peeles by ill usage . Yet you shall find the Lightnings bold strong , and high ; the shadowes deep and gracefull . Their Copies , if well counterfeit , the workeman must alter the manner of his Colours by a mixt tempering ; otherwayes then the Modern Naturall way of Painting admits . To do this well , he may be lesse excellent in the Precepts of Painting , and yet in this way of working , out Master , a better Artizan ; I knew but one , that herein ( La Croix ) who out-went all ; and copied many of the Kings Originalls , from severall rarities in this kind . It is said that Laniere in Paris , by a cunning way of tempering his Colours with Chimney Soote , the Painting becoms duskish , and seems ancient ; which done , he roules up and thereby it crackls , and so mistaken for an old Principall , it being well copied from a good hand . To judge of them with facility ; Originalls have a Natural force of Grace Rising ; Copies seem to have , only an imperfect , and borrowed comlinesse ; and if you stay to judge of them , though they seem so , to the sight of Imitation , yet it proceeds not out of a Naturall Genius in the Workeman . An Imitator , does never come neer the first Author , ( unless by excellent modern Masters own working ) a similitude ever more , comes short of that truth , which is in the Things themselves : The Copier being forced to accommodate himself , to another mans intent . Authority gives Pictures repute by age , which no Art can well imitate . Garish Colours , in new Pieces , take the eye at first ; But in old Pictures we are delighted , with their decayings , horridnesse of the Colours . Old PICTURES in a wonderfull simplicity of Colours , draw their chief Commendations , from a more accurate , and gracefull designe . New Pieces , on the contrary , being but carelessely designed , stand most of all on their garish Colours , and some affectation of Light and shadows , strained with over-daring . It is the opinion of many Masters of this Art concerning Ancient Originalls ; that the ayre , by time and age works so much upon the Colours , that the Oilynesse thereof , being vaded , the Colour becomes more fleshy , more Naturall than at the first . So they say of Tytians , and of Jurgiones being his Master . In Copies you shall not find such freeness of the hand and Pensill ; It will discover it self to skilfull observators , not to be Naturall , but forced : Painters express the difference ; they judge of old pieces and their decayes from what they were at the first , by viewing them through their fingers as through a Lettice or Vale , by a secret Mystery in that Art . Like as to a good Judgment we usually may guesse of the Beauty of her Youth in an ancient well formed Matron . Choyce of Pictures . AFter the first view of a Picture you may limit the understanding ( without more difficulty ) in few observations ; as first . 1. The Artizans care and paines must be visible , 2. It must appeare that he had knowledge and understanding in the Art , and followed it in every particular throughout ; Not as if done by severall hands , good and indifferent . 3. Then observe if he have expressed his Naturall Genius , with delight , upon some special fancy , as more proper to himself , than any other . For Example , some . In Historie and Figures . Others in Prospective . Some in Shipwrack and Seas . In designe . In likenesse to th' Life . In Landskip , not many . In Flowers . In Huntings and Beasts . Cattle and Neat-heards . The Prints of these were also lost but you may meet with others for Example . And in each of these severall Artists have been ( properly ) more rare . The ancient Italians , who first began in Figures were Cimubes , and he was farre surpassed by Gotto , famous untill the time of Peter Perugino , who was infinitely out-done , by his excellent Scholler Raphaell Urbino ; In his time flourished the most admired Artizans for Architecture , for Paintings , for Sculpture , as Bramon● for Architecture ; &c. Then came the World's wonder Michael Angelo ; Bona R●tto ; Georgeon del Castelfranco ; Coregio Dannielle ; Macerino ▪ Andrea del Certo , Julio Romano . These all excellent History Painters , whose works ( for the most part ) they throughly finished . To these , succeeded Titian , and Jacobus Palma , whose Paintings were Inferior to none ; but as to the Invention and Design they mastered it in another manner . After them , we find Lu●hetta , Tenteret●a , Paulo Vern●s , who for Noble Inventions , quantity of make , excellent designe , beauty of Colouring exceeding all before , are different in Painting from all the rest . The late age produced many brave Masters , but somewhat inferior to the former ; viz. Anniball and Lodowick Carosier ( two brothers ) . And another Michael Angelo ( called Corrowageo● ) Joseph d' Arpi●as , Guido● Paleneza and many other their equalls ; at present , Peter de Cordova . That famous Albert Durex , who never learned of any , yet he is known of all . He never travelled abroad , nor had the light of study after the Antique Marbles , wherein he was deficient ; otherwise no doubt he had infinitely surpassed all the former , as it may appear by his admirable works in Oyle , Limning , in water , Etching ; and Graving in Copper and Wood . His works of Graving were the first that were ever seen in Italy , which set that Nation Imitators of him therein , for his Master Marta ( 20 years before ) found out that Art , but never performed any matter therein prayseworthy . We find only this Albert Durex ( of a Painter ) that writ methodically of the Art of Perspective & Geometry : No modern hath writ better . And his Symmetry , so exact , both of truth and diligence ; that none other hath adventured to imitate . This defect he had , that all his designes were disgraced by his Gothick way of Architect , which he followed , after the gross building of his owne Country , alwayes living at home . Hans Hobben and Antonio More , in that curious smooth Painting specially after the Life , have not been exampled by any . About the same time lived Martin Hemskerke , So●oclere , and divers others , good Masters . Since these ; we find Blewmart , Seagers , Ruberus ▪ and Antonia Vandike , who exceeded these , especially after the Life . The ancient French Masters were Le petit Barnard , Voget , Lehere , Blancher . And at present , the most excellent Nicholas Posen for History . Foquere and Claud Delaverne , for Landskip . Particular Masterie● . FOr excellent designes of Noble History , vve may be amazed to behold the aforesaid Urbin , Angelo , Vernes , and Tinteret . For Life , Titian , Holben , Antonio More ▪ but now it becomes the bold adventure of all , as the ordina ry practice that most men apprehend , of common Use and Sale . In which Vandik was excellent ; and now in England the most Painters profess it . Albert Durex was the first in Landskips whose errors are now amended by late observation . He usually wrought , his Horison to the top or edge of the Piece ; which may be true to nature and Art , but nothing gracefull ( as hereafter is observed when we come to working . ) The best indeed in this kind , were Paulus ●rill , Claud de Laniere , and Vanbots : The French were well affected to this way , Troquere for one ; for of that Nation , their Spirits are seldom so well setled , as to be excellent . And for the Dutch , Vangore was the best ▪ but pretenders not a few . Of our own Nation I know none ▪ more excellent but Streter who indeed is a compleat Master therein , as also in other Arts of Etching , Graving , and his worke of Archi●ecture and Perspective : not a line but is true to the Rules of A●t and Symmetry . For Flower-pots and Paintings of that kind , Brugel and Dehem were excellent : but now Paulus Seagers is best of all , a rare Artizan , and Van Thewlin of Antwerpe , his Imitator . And in dead-standing-things , Little-House , a Dutchman . Stenwick in Prospective . Porsellus in Sea Pieces and Shipwracks . For Hunting and Beasts of Prey , Snider ▪ and in little , Ellsamere , Rohen , Hames , Tambots , who led the way to sundry others that practise after his excellent hand in this kind , and for Horses ; Woverman for Cattle and Neat-heard , both the ●assances ; the Elder , more exact . And in an excellent Master , you may meet with all these Eminencies compleat ; Raphael Urbin , and Titian the best that this Art can boast of . All these had their severall ages of Fame , and decay ; their Growths and Wanes ; Perfections and Weakenesses . These now in England are not less worthy of fame then any forraigner ; and although some of them be strangers born , yet for their affection to our Nation we may mixe them together . Our Modern Masters comparable with any now beyond Seas : Not to take upon me to enroll them in order and degree of merit ; each one hath his deserts . In the Life , walker Zowst , Wright , Lillie , Hales , Shepheard , de Grange , rare Artizans . Fuller for story . Stone and Croix ingenious Painters in the incomparable way of Copying after the Antient Masters . Barlo for Fowl and Fish , and Streter in all Paintings . Then have we Marshall for Flowers and Fruits . Flesher for Sea-Pi●ces . Reurie for most Paintings , usually in little , and John Baptista ; also Cleve his excellent designes for those rare Tapstry work , wrought at Moretlake , and otherwise , which will eternize his aged body . For Miniture or Limning , in water-Colours , Hoskins and his Son , the next modern since the Hilliards , father and son ; those Pieces of the father ( if my judgment faile not ) incomparable . The like of Coopers and Cary : And let me say it with submission , Gibsons great piece of the Queen of England's head to the Life , done with that elaborate and yet accurate neatness as may be a Master-piece to posterity . And to make good that Maxime , that the ground of all excellencies in this Art is the Naturall fancie bon-esprite , quick wit , and ingenuity , which adds and enables the elaborate part , pick me out one equall to Madam Caris , a Brabanne ; Judgment and Art mixed together in her rare pieces of Limning , since they came into England . And in Oyl Colours we have a virtuous example in that worthy Artist Mrs. Carlile : and of others Mr. Beale , Mrs. Brooman , and to Mrs. Weimes . And to give honour to this Art of Painting many worthy Gentlemen , ingenious in their private delight , are become Juditious practitioners herein ; Namely Sr ▪ John Holland , Mr. Guies , Mr. Parker , Mr. Sprignall , and others ; I need not name the rest ; their works will better their worths and estimations in this and other excellent sciences of Art and Learning . Quaere , Haines and Thorne . Of Abilities in Painters . HIstory informs us , that in Warre , all Arts dissolve into that action ; but when the Roman Sword had bounded the Empire , then the peacefull endevours of cunning Artizans out-went former excellencie of the Graecian instructions ; from whom , these derived their Learning . And yet of all Arts , this of Painting is least beholden , to the Gramaticall Pen , for any knowledge of the Theory by their deficiency in the Practicall : and so not doubly qualified in both , Pen and Pensil , Rule and Example , the perfection becomes less communicable to posterity ; being rarely conjoyned in one , a Learned Painter . This observation leads me into an ingenuous Confession of my self , to be neither ; but as a Lover of Arts , I am an intruder upon either . The Liberty of these latter loose times prevailing over my former imployments , ( heretofore of somewhat more concernment ) have now resolved me into the harmlesse simplicity of doing any thing , that may be aequè bonum to divert me , ( even my thoughts ) from Malignity . You may desire many Abilities of an Artist in his Piece , but the Italians observe each single prayse to deserve merit , in any one Master . Some , are noted for one of these , viz. Diligence and Proportion , ●ith a free hand . Fancie , and conceiving of Passions . Invention . Grace . Of all these , we shall discourse hereafter . But in a word , there may not be wanting these two , First , to be well drawn , or ( as Artizans term it ) well designed ; and herein without exceptions , let there be truth and Grace . Secondly , well Coloured , with Force and Affection . Well Designed . FOr the first ; there must be truth in every part , and Proportion of the figure , just and Naturall with the Life . Some artizans , strain Limbs into extream . Albert Durar , Golties , Spranger , did so , in that which was ; and Michael Angelo , in that which should be ; and thereby in truth , loose the gracefulness . But then , if an Artizan adventure on a Fiction , it will appeare lesse pleasing , unless it be done boldly ; not only to exceed the worke , ( but also the possibility ) of Nature ; as in Centaurs , Satyrs , Sirenes , Flying-Horses . And therefore I say . Pictur a fit ejus , et quod est , et quod non pote st esse . Which are easily figured , by those that dare adventure , with Judgment . And so the beauty of such a fiction , may consist in Exorbitance , and the fancie of the Painter to be without Limitation . And yet the Philosophers have writ of wonderfull intermixed shapes , that have been seen of severall kinds , in one Creature . Earthly , as Satyrs , Centaurs , Flying-Horses , Waterish , Fishes Flying , Sea-Horses , Tritons the Male , Nereïdes the female . Th●odore Gaza caught one of these Nereïdes in Grece ; and in Zeland , was another taught to spinne ; so sayes Alexander of Alexan●●ia , and some others that have seen Monsters , Chimeraes Hippotames , and others such , which Heraulds undertake , to bestow upon Gentlemans Buryings . Beyond the actuall works of Nature , a Painter may describe , but not to exceed the conceived possibilities of Nature in the same Culture . St. Austin affirmes , that in Utica , a Town in Affrica , he saw the Jaw-bone of a man , as great and weighty , as of 100. men of that age . The descriptions of men in great actions , were the constant designes of Poets , to afford the● large and ample Limbs . The Statuaries of Roman Gods , and men of fame , were so imitated ; and being well drawn , ( that is Proportionate to Disproportion ) in Picture , are excellent Ornaments : for though I confess a Painters profession , may be , the imitation of Nature , yet to exceed her kind , shews his own store and provision of fancie , without borrowing of her example ; and does well in Picture , if not ill done by the Painter . Since it discovers no suspition of ignorance in him , having his liberty allowed , that what he could not master , he might have left undone . The Naturall figures indeed , shew property and decencie to delight common Judgement ; and the forced figures , may be the sign of the Novelty in expression , and pleasing the Excitation of the mind ; for Novelty causeth admiration , and admiration enforces curiosity , the delightfull appetite of the mind . And certainely from an Artizan's excellencies , proceed those extravagant varieties , or admirable Novelties , which are not the issues of an idle brain , or to be found within the compass of a narrow conception , but please the Eyes , like new straines of Musick to the Eares , when common ayres become insipid . Grace , is the bold and free disposing of the hand in the whole draught of the designe . You have the pattern to the Life , in an unaffected freedome , La mode , or Bon mene of fashion in Man or Woman ; which sets out , or supplyes beauty ; the French have devised that phrase , to commend a Madam , whose behaviour mends Natures defects , and thereby the Courtisie of Court allows her , not unhandsome . Well Coloured . SEcondly , for well Colouring , you may observe , that in all darkness there is deepness ; but then the sight must be sweetly deceived , by degrees , in breaking the Colours , by insensible passage , from higher Colours , to more dimme , better expressed in the sight of the Rain-bow ; where severall Colours intermixt with soft and gentle distinction , as if two Colours were blended together . Force , is the rounding , and rising of the work , in truth of Nature , as the Limbs require it ; without sharpnesse in out lines , or flatnesse within the body of the Piece ; and both these are visible errors . Affection , is to express Passion in the figure ; Gladnesse , Grief , Fear , Anger , with motion and gesture of any Action . And this is a ticklish skill of the hand , for Passions of contrary Nature , with a touch of the Pensil , alter the Countenance , from Mirth to Mourning , as a coincident extream . We have done with our Picture of Choyc not to trouble you with more , or other Notes of perfection , for the present untill afterward , that we treat of Working . Indeed Perfections of these kinds , are so various , and mysterious , that chief Masters themselves , in the right censure of their worke , have undergon , severall characters of defect . Grecians the first Painters . WE have it rendred from an old Author , that the first of Antiquity , that drew Proportions , were Grecians ( as aforesaid ) in Black and white ; who have begotten others , that in time became Masters in Painting also . And afterwards , many added to this Art . The first inventing the due disposition of Lights in the draught , and evermore , with ampler Limbs then the Life . Homer set out so his gods 〈◊〉 goddesses with large formes and features , as aforesaid . Then they came to limit Proportions exactly , as Law-makers ; whom others followed as decrees . About the time of Philip , Painting began to flourish ; and so to the successors of Alexander ; for we have severall of those antient Artizans , set out to us , for their excellencies , in sundry of those Abilities , which we have named , as , Pictegenes , in Diligence . Pamphilus & Melanchius in Proportion . Antiphylus , in Facility . Theon , in Fantasie and Passions . Apelles , in Invention and Grace . Euphranor , a rare Artizan as in Generall , so in Painting . How to dispose of Pictures and Paintings . ANd now ; supposing that you have purchased the most costly Pieces , we must next consider , how to dispose them properly , with Conveniencie and Grace , for the adornment of your House . We shall not doubt the Question , whether Painting becomes out-sides of walls of the House ; In imitation of the Germain ; Caecill Viscount Wimbleton ( sometime generall of the English in the Dutch Warrs ) seems to intend the beautifying pleasant Scite , and gracefull Edifice at Wimbleton , with large and ample figures without doors ; in Fresco and Stoke parke in Northampton , they are done by claine . And Carew House at Parsons Green , large and bold , but almost decayed , though but lately done . Some Towns are done so amongst the Germains , but then , not with glaring Colours ; that were to please common judgments . I have observed other Pieces in England , not many ; for indeed the worke is soon lost upon a moist Wall ; which in our Clime necessarily follows . That excellent Painting of the two Kings , Henry the seaventh and eighth , with their Queens , done upon the Wall in the Privy Chamber of the late KING at White-Hall in Oyle only , by the rare hand of Holben , hath been preserved with continuall warmth within doors , and benefit of fire , even till now . But withall , I observe the Wall , prim'd with a very thick Compost of Playster , and some other mixture fixed , to preserve the worke . Therefore I admit of no Colouring upon Walls ; If any Draugh●●●●en let them be Black and White , or of one Colour hightn●● 〈◊〉 Figures of Life , Men and Women : Or otherwise Nakeds , as large as the place will afford . If without Personages , I wish it of Counterfeits , or imitations of Marbles , Aquae-ducts , Arches , Columns , Ruines , Cataracts , in large proportions , bold and high , and to be well done ; for fear of Lamenesse , which is soon discerned . Of Grotesco . AS for Grotesco or ( as we say ) Antique-worke ; It takes my fancy , though in forms of different Natures , or Sexes , Sirenes , Centaures , and such like , as the outward walls of White-Hall , observes this kind ; as running-trale ▪ worke , and not ill mastered : But when all is done ( now a dayes ) it looks like an Ale-house ; Citizen painting , being too common ; and usually else-vvhere , were very ill wrought . Excellent prints of this kind were lost at Sea , of Steven de Labella . And if Poets devise these double Natur'd-Creatures , why , not the Painters ; who can do what the other but bespeake ? But in true Judgment I would confine Grotesco , only to Borders and Freezes : then it may become the Wall , within or , without doores . Here a Print of Grotesco should have been inserted . Of Fresco . THere is a Painting upon Walls called Fresco : It was the ancient Graecians Noble way of Painting , and since much used by the Romans . Plutarch tells us : That Aratus the great Commander under Ptolemie of Aegypt , ( being curious to satisfie his Soveraign's delight in Pictures ) presented him with such Rarities , as his Victories made him Master of ; or , that he could purchase at any price , and ( in a Complement to the Emperour's affection that way ) spared the sacking of a wealthy Citty ▪ meerly for the Excellency of Fresco-Painting , upon the Wall , and out ▪ side of Houses ; lest the unruly Souldier , by Fire , or otherwayes , should ruine the raritie . There have been PAINTINGS of this worke , in severall Towns of GERMANY , rarely done ; but now ruined by Warre . At Rome ; there are three Chambers , in the Popes Pallace , of Frescoe ; done by Raphael Urbin , and Julio Romano , ( his disciple , ) who finished his Master's vvorke , and are yet called , Raphaells designes . Other places , done by Andrea dél sexto , and Michael Angelo , and some other Artists . At Fountain-bleau in France , is most excellent worke of this kind ; they are the continued Travails of Ulysses in 60. Pieces , done by Bollameo , Martin Rouse a Florentine , and others . But more of this hereafter ; when we shew the manner and order of this worke , in the second Book . To place the Pictures within Doors . LEt us therefore contrive our Pictures within doors ; spare your purse and pains , not to Clutter the Room with too many Pieces , unlesse in Galleries and Repositories , as rarityes of severall Artizans intermingled ; otherwise it becomes only a Painters-Shop , for choyce of sale . Place your best Pieces , to be seen with single lights : Thorough Lights on both sides , or double windows at each end , are Enemies to the view of Painting ; for then the shadows fall not naturall , being alwayes made to answer one Light . Observe in their placing , as you may see how the Painter stood in his working , the light of the windows to fall upon the right side of the worke from whence their Shadows alwayes fall backward . The Italian's evermore , stand low beneath their high windows ; so then , the shadows in his figures , have that respect , as a descending light , best for mens faces , and shews them lively , and generally low Lights to large Pieces , do prejudice Paintings . Then bestow them orderly , and in their Qualities properly , and fitly , for Ornaments ; lest your cost and discretion , be cast away at once . In the entrance of your house , or Porch ; with some Rustique figures , or things rurall . The Hall with Paintings of Neat-heards , Pesants , Shep-heards , Milke-maides attending Cattle , in proper degrees , some other also , of Kitchenry ; severall sorts of Foul and Fish , sitted for the Cooking . Pictures becomes the sides of your Staire-case ; when the grace of a Painting invites your guest to breathe , and stop at the ease-pace ; and to delight him , with some Ruine or Building which may at a view , as he passes up , be observed . And a Piece over-head , to cover the Sieling , at the top-landing , to be fore-shortned , in figures looking downward , out of the Clouds with Garlands or Cornu-Copia's , to bid wellcome . The Great Chamber with Landskips , Huntings , Fishing , Fowling ; or , History of Notable actions . The Dyning-Roome ; with the most eminent ; a King and Queen , if possibly to be purchased at any rate , ( I mean their Pictures ) rarely done ; the want whereof in former times , were supplyed onely , with the Court-Arms of their Majesties ; few good subjects then , but conceived it expedient , to express their Love and Loyalty , by some such Embleme , or note of remembrance . But then in reverence to their Persons , forbear to place any other Pictures of Life , as not worthy their Companions ; being , themselves , Ornament sufficient , for any Room : unless ( as some will have it ) at the nether end , two or three , of their own bloud : Or of chiefe Nobility , ( Favourits ) to waite upon their princely Persons . Inward with drawing Chambers ; place others of the Life , whether of Honour , friendship or of Art only . Your own and your wives or Children , best become your discretion , and her modesty , ( if she be faire ) to furnish the most private , or Bed-Chamber ; lest , ( being too publique ) an Italian ▪ minded Guest , gaze too long on them , and commend the worke for your wive's sake . We had an arrant Knight , notorious in this error , who was so mistaken with the love of his wife and handsome daughters , that in each hole ( of his house I mean ) you might salute them ; As for which , they became the more common here , and after beyond Seas , to his and their ruine . Cheerfull Paintings , In Banquetting Rooms : but here , as anywhere , forbear Obseene Pictures ; those Centaures , Satyrs Ravishings , Jupiter-scapes in severall Shapes , though often done by rare Artists : unless you mean to publish the sign , because you delight in the sinn . Graver stories ; Histories your best figures , and rarest worke becomes Galleries ; here you Walk , Judge , Examine , Censure . Landskips become Chimney-pieces , Boscage , and VVildworke , in Tarraces or open places ; Summer-Houses , Stone-walks some Church Prospect , or Buildings , set out well , at the end of the Walke . One Rule for all , and every pieces ; If they hang high above reach , set them somewhat bending forward , at the Top from the wall ; because ( as one observes ) the visuall beames of the eye , extend to the top of the Picture , appeare farther off , then the foot ; to reduce it , allow the advantage of stooping forward above . And thus much of Pictures their Choyce and Use , there being five kinds of Paintings . Distemper or Sise-colour ; Frescoe ; Oyle-Colours ; Miniture or VVater-Colours ; Croyons , or dry Colours . By this time having told you thus much , to make you in Love with the VVorke , let me say somewhat to teach you the ART ; and so to save your purse , and delight your practice . Which to do , I must begin , with the beginning of the Practise of the Pen ; and then , to the Pensil . Of Drawing , and Designing in generall . I Have marvailed , at the negligence of Parents in generall ; they not to enforce a Necessity , in the Education of their youth , to this Art of Drawing and Designing , being so proper for any course of Life whatsoever . Since the use thereof for expressing the Conceptions of the Mind , seems little inferiour , to that of Writing ; which in no man , ought to be deficient . And in many Cases , Drawing and Designing performs , what by words are impossible ; and ( to boot ) perf●cts the hand , for all manner of writing . And , if it be the generall Rule , ( or should be ) that Children be taught some gentle Manu-facture ; then , doth this of Drawing , apt them for those . For almost , nay in any Art , we must respect Rule , and Proportion , which this makes perfect . And such as will not make it up to a trade , yet , the Idea thereof , renders a man very usefull , As for Navarchy ; Modells for building Ships , and Rigging them . Architecture ; Modells for Houses . Anatomie ; forming Skeletons . Magneticks ; Compasses , Globes , Instruments , Dialls . Batonicks ; Gardning . Astronomicalls . Graving , Etching , Carving , Embling , Moulding , &c. Thus much in generall , for the Excellencie of this Art . But to our particular purpose of Painting , it is the only Consequence . And therefore to draw well with the Pen , after a Copy , or the Life , is the most difficult to begin , and the only pains , for the present ; but when mastered , the whole worke of Designing ( which leads you into Painting ) will become the greatest pleasure ; and of more variety , then any Manuall Profession what ever . Being the singular delight , rather to be doing , then to have done . The Spirits evermore refreshed , with new fancies , and unexpected success in the end , are never wearied . The livelin●sse of the fancie , cannot be contained within the compass of ordinary practice , readily expressing the inward Motions of a forward mind . The Practice of Drawing or Designing . I Would prepare you with Rule and Compasse , and other Instruments , necessary for you to lye by you at hand ; but advise you to practise without them ; It is your eye must judge , without artificiall Measuring . And when you have past my first directions , and are perfect to draw by the Life , you may afterwards , in large Proportions and dimensions , use your Instruments , both for perfection , ease , and speed . So then you may have large and lesse paires of Compasses , the one foot shorter , to put therein a Pen for Inke , or Black lead ; a strait Ruler and a squire . Of Box , Holly , Sallow , and Prick-wood . Provide your self necessarily of Cole-Pensils , split into shivers , from a Charcoale of Sallow wood , soft with a pith running through it , well burnt , the grain , and Colour like Black Satten . Other Pensills , of Black-lead , Black and white Chalke , and Pastills also of severall Colours ; the making and use is hereafter taught you in the second book . Get a booke in Folio , of a double Quire of fine Paper , ( as also some sheets of Blew Papers and other Colours ) to avoid loose leaves , soon lost ; that by overlooking your first draughts thereon , you may with incouragement , delight in your proficiency . The foundation of Proportion consists in severall particular figures , by which , I would have you enter your Drawings ; as the Circle , Ovail , Square , Trangle , Cilinder : Each of these have their effects . Ovall , is a direction for the Face Square , for Platforms , buildings , fortifications ; Circle , for all Orbicular Shapes ; Triangle , for three-side lines ; Cilinder for Pillars , Columns ; and these with small practice , you will Master : they do , but , make your hand . Begin your Example , by a Copie or Print , of those severall forms of figures ; a the Sun , ●ull-Moon , Orbicular Flowers , or other Circular shapes , and so of the rest , by the outside line only , without shadows . These I propose as most easie , to win your affection , to more difficulties ; to bring your hand , to hold your Cole , to draw lightly , to wipe it out , with a feather and to practice it , over again , untill you master these formes , as your first worke . Then , practise by severall members of the body ; in some Print ; as the Eare , Eye , Nose , Hand , Foot , Legg , by themselves in severall Postures , all which are particularly designed for this Art . The next is , by a Print , or Copy of a Head and shoulders of a Man or Woman , frame the out dimension or Table , which comprehends your Sample with equall lines , whether Square , Circle ▪ or Ovall ; by help of Rule and Compass . Observing the distance from the lines of your Table , by your eye ; then take your Cole , made very fine and sharpe , with a Pen-knife , or smooth File . Begin from the top of the Brow or Forehead ; trace the out line of the face down to the tip of the chin with a soft and gentle hand , hardly discernable , wiping it out with a feather , or piece of Spanish Leather with sharp Corners so oft , until your practice comes like your Pattern . Then gently draw Orbicular , the out side line of the Head , from the Brow where you began , to the Crown ; and so backwards , down to the Neck , compassing it to the Throat and Chin , vvhere you left ; all which becomes Ovall . Then guesse at the Eye-browes ; marke out the place of the Eyes ; between them , draw down the Nose and Nostrills , score out the Line , and length of the Mouth and Lipps ; lastly , the Eare , and the Haire , falling upon the Face ; wipe it out all with a feather ; leaving the Lines discernable only , by which you may discover the errors and amend them . Then draw it all again as before ; overlooking each part , untill it becomes reasonable ; then perfect the Eyes , Nose , Lips , Eares , Hair , go on boldly ; adventure a stroke or Line , down from the Chin , for the Throate ; the Back-stroake , alike , from the Eare , to the Neck , and Shoulder ; and so proceed to the Breast , or further down , as your Print is in length , which commonly is not deep , for a Head ▪ Looke over this worke ; be not discouraged , though deformed ; wipe it out as before ; and by the Errors , amend it so oft till it become reasonable handsome . Let this draught remain in your Book ; begin another of the same , and so a third , or more ; perfecting each with courage , and confidence , for 2 or three severall dayes practice , that you may find delight in your proficiencie . When you can Master a single head of severall postures ; as side-face , three gutters and full ; looking upward , downward , fore-shortned ; Then adventure on a whole figure at length , Man , VVoman , or Child ; Then some Skeletons , forward , back , and side , and after all , cloathed with Garments ; Lastly , shadow each one of those severally , as a true Copy from the Principall ; drawing over the Lines of the Charcoale , and then over that , with a Ravens quill pen , for to remain in your book , and hatch it . I had prepared Prints for all these directions but they are lost at Sea . Black Chalke Pensils draws handsomely ( without the Cole ) upon Blew-paper , and shadowed neatly ; being heightned with VVhite-lead Pastils , you may practice upon severall coloured papers , as the ground and shadow ; and heighten it with other Colour Pastils , as your fancy affects . By Copies of Prints ; first drawings of good masters , by Paintings or by Sculptures of round ; and then by Observation of nature , in the Life , learn to understand ( before you shall perfectly draw them ) the reason and cause of true shadows of Bodies , as they appear heightned , outward , or deepned , in their Concave or hollow . Which are caused by neernesse , as farther distance , from the light ; and therefore , those Prints which duely observe them , express much judgment , and the true Spirit of a Picture . Drapery-garments ; of severall Stuffs , coorse or fine , Silke , VVollen , or Linnen , have their ▪ different and naturall folds ; So as in the Lines , of greater , or softer shadows , ( well done by an Artist ) you may ( though in black and white ) easily discerne the meaning of the draught ; to be of such a Stuffe , or Cloathing . In shadowing , with hatches , or small strokes ( as in your print ) use the pen of a Ravens-quill ; and be sure not to cross any stroake , before the former be dry ; lest they runne into each other . After some practice with the Pen ( which follows the use of the Cole ) proceed to shadow , with black and white Chalks , in stroakes , or sweetning ( as in Painting . ) For your better directions herein , get some Designes or draughts , done in Chalke , Red-oaker , dry Colours , Croyons , or Pastills , for your patterns . The best Prints , for true proportion ; take Raphael of other Old Artizans well graven . Coltius , ( a Hollander of Harlem , ) varies his postures , very much ; large and bold hatches ; but curious and true , in all his shadows ; Michael Angelo , his Pieces are not common , a famous Italian ; Hans Holben , a perfect Master ; his bold hand appeares in severall Ornaments of Painting , at VVhitehall Chappell , and Palace ; at Greenwich , Hampton Court : but mostly defaced by the injurie of time . He was imployed by King Henry the Eighth against the entertainment of the Emperour Charles the 5th , his Prints are not common . Shadan , VVierin , Spranga , Michaell-Jans of Delph , Raphael and John Sadler , and other Masters sans , Number . Now , though we name these , as other Artizans , for draughts , and to be met with in Prints ; you must know that they were Painters , and for the most part , wrought their Pieces first , by designe , and draught , with blacke and white Chalkes in little ; and so in Oyl-Colours , to the Life or History : from which other Masters , Gravers in Copper , or Etching with Strong-water , have preserved them in Prints , for more publick use , and eternall memory of the first Authors , either after their first Draughts , or Paintings . So shall you have , two or three , or more , severall Names oft-times , set to the Print ; the Designer , the Painter , the Graver , and sometime the Printer . Our excellent Artists in Graving are , Father Lambert , Hollar , Vaughan , Trevethen , Gay-wood , Crosse . By this time , and Practice , you expect that I should put you into Painting , the usuall longing desire of the Practitioner ; but forbear , by any means , untill you be excellent in Copying of draughts , according to the foresaid Rules ; nay , untill you can boldly and truly , adventure upon your own fancie , and designe a Pattern for others . And believe it for truth ; hasty Colouring , undoes the Painter . He shall never be excellent , that is not ready , in his own Draughts ; Nor be able to paint ( and be esteemed ) till he understand a Picture as it should be made . And therefore , give me leave to read a Lecture of the powers of a Painter . Of the powers of a Painter and Painting . PHilosophers , divide the universe ( which is their subject ) into three Regions ; Caelestiall , Aeriall , Terrestriall . So the POETS , ( who imitate humain Life , in measured lines , ) have lodged themselves , in three Regions of Mankind ; Court , Citty , and Country . So , the PAINTERS , ( whose Art is to imitate Nature ) performe it in three severall Qualities ; Design , Proportion , and Colour . And these , into three sorts of Painting ; Prospective , ( or Landskip , ) Historicall , and Life . Prospective ; a wonderfull freedome , and liberty , to draw , even , what you list ; so various is Nature in that . Historicall ; respects due Proportions and figures . Life ; only the Colour . In each of these ; you must have dependency upon all the other , but necessarily , on each in particular . The powers of a Painter , is expressed , by Imitation of Naturall things , whereof the most excellent , are ever , the most difficult ; easie to paint deformity . In your Imitations of Art or Copying , observe to hit the virtues of the Piece , and to refuse the vices ; for all Masters have somewhat , of them both . For , Paintings ▪ may be puft-up , but not stately ; starved in Colour , not delicate ; rash ▪ not Confident ; Negligent , not Plain . Severall men , severall excellencies : Some in Grace , Boldness , Diligence , Subtility , Magnificence , &c. ( as aforesaid ) . In all , do not imitate outward Ornaments , but express inward force ? Yet in some Pieces I have found these vertues not pleasing , and , even vices ( themselves ) gracefull ; but then , it hath been by a Master , that boldly did it , to shew , that he was able , to make his conceite a pattern , ( as before said . ) Generally , follow best Masters , lest an indifferent choyce bring you to an evill habite . Proficiencie of Painting , is purchased , not ( altogether ) by Imitation , ( the common drole-way of ordinary Painters ) if you neglect the amendment , by your own generous fancie ; ( Estautem proprie Imago rerum animo insidentium ) . For , he that only follows another's steps , must ( needs ) be the last in the race : Lazy Painters study not , the brain : Nature can do much with Doctrine ; but not Doctrine , without Nature : Nature , is of greater Moment : Every Artificer hath a peculiar Grace , in his own worke , agreeing to his Nature ; though many ( of the other sort , ) owe most to Doctrine . The force , of Imitation of Nature , is in the Fancie ; which worketh with the more Wisdome . It being an imaginative faculty , or Wit , and is set on worke to imagine , what we have seen ( or at least made up with some other Sense ) being the Print or foot ▪ steps of Sense . It is the treasury of the mind , The darkness of night awakes our Speculations of the day ; when sleep failes , the Mind does , then , digest the conceived things into Order ; that so , the whole invention wants nothing , but the hand of the Artificer , to effect the worke ; and , without Art , to do , Imagination is uselesse ; Fancie supplyes Imitation's weakness ; the property and Office whereof , is to retain those images , and figures , which the Common Sense receives : First , from the exterior sense ; and then transmits it to the judgment ; from thence , to the fancie ; and there looked up , and covered in the memory ; and we may alter and move with the re-presentation of things , although it have them not present , which the common Sense cannot have , unlesse present . Herein appears the marvailous force of Imagination ; A man sleeps , his Senses are at rest , yet his Imagination is at worke ; and offers things to him , as if present , and awake . Imagination moves the passion and affections of the Soul ; and can provoke the body , to change the Accidents ; as to make a man sick , or well ; sorrow , joy , sear . We may paint a conceived , or intelligible thing , Perfect , by the Idea of Fancie : but , by Imitation , we may faile of Perfection . Hence it was , that the Antients intending to excell in the forms and figures of their Jupiters , would not imitate , or take a pattern , generated , but rather , by a conceived description of Him , out of Homer , or other Poets . There is in the form and shape of things , a certain perfection and excellencie ; unto whose conceived figures , such things by Imitation , are referred , that cannot be seen . To amend fancie , we must lodge up such rarities , as are administred to sight , to encrease the meditation of fancie ; as in your dayly view of forms and shadows , made by lights and darknesses ; such as in the Clouds neer summer Sun-setting ; which soon alter change and vanish , and cannot remain for Copying , but must be lodged in the fancie so that it is no difficulty , to study this Art walking by day or night . In your bed , waking or sleeping , or what dr●ams and fancie possesses your sleep . You have Lessons in all , and Paintings there are of either . In a draught of designe , the Artist must fancie every circumstance of his matter in hand ; as usually Rubens would ( with his Arms a cross ) fit mu●ing upon his work for some time ; and in an instant in the livelinesse of spirit , with a nimble hand would force out , his over-charged brain into description , as not to be contained in the Compass of ordinary practice , but by a violent driving on of the passion . The Commotions of the mind , are not to be cooled by slow performance : discreet diligence , brings forth Excellence : Care , and Exercise , are the chiefest precepts of Art . But , diligence is not to stagger , and stay at unnecessary Experiments ; and therefore I have observed in excellent Pieces a willing neglect , which hath added singular grace unto it . Be not so over-curious that the grace of your worke be abated by the over-diligence ; as never to tell , when you have done well : therein you will be maximus tuî Calumniator , your owne worst detractor . Not to dwell upon every line ; nor to alter what is well ; It wants true judgment and makes it worse ; and so to love every thing we do , whilst a doing , though too much . Not being able in the exercise of designing , to overtake the quicknesse of fancie ; we must therefore unbend the intention of our thoughts ; breathing , and reviewing what is done , by which we make a handsome connexion of things . To adde or detract , to allay those things which swell too much , to raise things that sinck , to ty things that flow , to digest or compose what is without order , to restrain what is superfluous , require double paines ; to lay it by for a time , and as it were to give it new birth ; festina lente . Admit of censure ; What others justly reprehend , amend : Apelles did so ; great wisdome in a confessed ignorance ; and be content with every ones opinion , for you shall lye open , unto two exceptions ; the Incompetent , and the corrupt witnesse ; the first , if not a Painter ; the second , if no Poet . But if your Piece deserve it , a man of knowledge should say in general termes . That you have chosen a good Argument , Story or History . That the Parts are excellently disposed . The Maintenance of the severall characters , of the Persons , properly . The dignity and vigour of the expression , in Forme and Colour . A good Spirit , boldly done , &c. And so , it may seem to have in it performed , all the parts of various experience , cleer judgment , ready memory , swift and well govern'd fancie , and this being enough for truth , and the weight and credit , of a singular testimony . But if your understanding be call'd to councell , you may please both parties , and speake like a stranger in this or the like manner , viz. Of a Picture . I Know nother Person for the Life ; Yet I like the Picture of this Lady . A lively Spirit and good Grace . Well wrought ; Round , and Neatly painted . The Lady becomes a Limner's Art . He takes the lesse pains , when Nature makes her so , to his hand . Comely Tall . If she designed her own posture , it was done with discretion . Bon-Mene adds to Nature , and yet to yield her the due , a Handsome Lady , A beautious blushing Browne . Her haire proper to the complexion ; neatly put into Curles and folds . I believe she did direct her own Dresse , and so saves the labour of his fancie ; for if I mistake not , the Lady wants no will , nor judgement to set her self forward . The face made up of excellent parts . A quick Eye and full , amends the defect in the Colour ; and yet the circled brows gracefully big and black Her Nose not over-Romane , with Nostrils fair enough . A sull mouth : the largenesse of the Lipps commendable , because plump and Red . I like well the deepned shadow stroak , which parts them , and almost shews her Ivory teeth , as if to appear ; and altogether seems to be speaking . The very dimple by the Cheek , with a wanton touch of the Pensil , singly sets out her looks , most lovely : Somewhat long visage ; and it may be in true measure to the Life , and sufficient Symmetry . But see the Painter hath done his part and me●ded Nature by round shadows , whichdeceives the Eye to the better . He did well to make her face not too full , the features had been lesse becomming . The Head is w●ll set on , supported by her Noble Neck : roundrising full and fat . Ample Brests interlined with River'et Vaues See , see ; the swelling Papps like fair Pome-waters . The Nipples too , like Rasberry fountains , in true center to their circles . Her brawny Arms of good flesh , and pure colour . A Hand well drawn ; the singers spread , and yet not forced . Her Body well fed , not too fat . An Italian Dou's delight . Her Drapery of good fashion , true Mode ; the very Colour not improper for her complexion ; well chafen Colours become the countenance . Certainly , the Painter was well paid ; or sel●pleased in his owne worke , for it must be valued a Master-piece of Lilly and might shew with more advantage , by a better light . This way and manner to commend , does not a misse for the Painter , nor to the Person if the worke deserve merit . Yet judgment will be the more true , when your eye dwells not upon particulars , but views the Limbs apart , and skips from severall Objects , to a full Close , and Censure of all . It is pitty that a Piece well done , should hang like an offender in Chaines , as if set up only , to be seen a far off not to be valued neer hand . I could wish that the Ladies would read their own Lectures this way , and though not so becomming to commend themselves , ( which the man does too much , to their faces ) yet they may cunningly informe underhand , and set out the worke to the full view of their own excellencie . To teach the Gallant by such Artificiall Patterns , how to ascribe due praise to a deserving person and so in sooth with modesty and truth , to commend both as in particular upon the Lady Vandikes Picture in England . I marry Sir , Vandick's rare Mistresse , and his Master-piece , she needed not of his Art to help her forward . A goodly Plump , Fat , well Favoured , well formed Figure . A lovely looke . How she leers out her inticeing Italianated eyes , able to confound a Saint . Her Habit put into a Garment , call it a Petty-coate , and Wast-coate , or morning dresse . ( an Alphabet of Titles , serves not sufficient to number the names of Ladies coverings . ) But I le say so much for this Piece , not overcurious ( it seems ) to set out her self . A delicate Isabella sarsnet ; the Bodies tackt together before , with sour Jewells set into buttons of Diamonds ; on each side thereof an Orient Pearle , and a fift Jewel more faire , the pendant to the other four , in fashion alike ; only , the lowest pure Pearle , so large , ( such is the Painters Art to make it ) inestimable . These but untacked , ( with little paines , but much passion ) you come to the smock , which peeps out between them ; and at the hand-wrest carelessely purfled of purest Holland ( the Nunns ne're spun neater twine ) which needs no Flanders-lace to come neer it . Indeed the Nations are at Odds , we know , their Ware may not mingle . What a stately head she has ! wel set on ! A goodly Rope of Pearle surrounding her firm , fair , and noble Neck ; full and fat fleshed shoulders , plump breasts , well coloured skin , and altogether , able to indure a mans handling . Her haire of a well chosen mingled Colour , ( as you may say ) of all into one . Not brown , nor black , and too too gracefull she was , to produce a flaxen . I can tell that the Painter was put to it , upon two ●allats full , to mixe them into a Colour , which made it as you see a lovely pure bright Aburn ; with which the darkned folds , set out each Circle , sufficient to enchant a man into those Mazes . But that her looks were so neer , which hooked yours into her eye-balls , full black and rouling , and when she had you , she held you there . Only , you might have leave to steal to her Cheek and Lippe , and there to dine and sup , and sip . The whole frame of her face a very Miracle of Nature . Her counte●ance double , for though she seems to invite you , yet with so much majesty , as to command your distance , only to admire , not to meddle . And what 's her fancie , would you think ? Somewhat she must have of ●ashion to set her out . Surely , Nolshe needs none Yet she goes not farre to fetch it . A Sap green and golden coloured Oken-branch tackt to her head . The Embleme , Strong and lasling . So was she ; a bounsing Bona-Roba , to indure for ever . Hold Sir ! Her self gives you the Ensigne of Religion ; for having done her devotion , she wraps her Row of Beads about her Arm , lifting up the pendant crosse , as who should say : At the end of all . Look upon this Sir , and you shall never sinne . 'T is Vandick's . The first Painter that e're put Ladies dresse into a careless Romance . This way suits well to most fancies , and not improperly befits the various modes , that alter with the time , and which our vine-folkes call a New-fashion . But if we looke upon Paintings of late ages , how ill doth the apparrell in use then , become the Picture now ? A Noble Custome of the antients , to be so divers in their dresse , as not seriously to settle upon any ; and so of this and other his Pieces of different devised dress . This figure ( you see ) side-way ; perhaps her body would not otherwise beare it out forward , with so much advantage as to the pleasing humour of Plumpnesse . She seems flatbreasted ; and therefore the Painter has done what he can by Art , to hide defects of Nature , and sets her out in such a posture best becomming her parts . Yet hath he given her Grace to her good Face , which she turns from the bodies posture and shews it at the best , three-quarter . She is fair and full , not fat ; plump enough , and with good features to her length ; Not over-tall , nor too slender . See , see , how pretily she is busied to wreath her Lilly ▪ flowr'd branch into a Chapelet which signifies her innocent mind intent to Nature , not Art , holding it forth as an Embleme , that Solomon in all his Loyalty came short of Nature's purity . A light brown hair ; handsomely curl'd ; not too forward upon the face . Her fair cheeks and pure complexion need not her locks , for shadow , themselves will bear out all censure ; and the better , for she used no Art to make them Red , nor hath the Artizan painted them at all . Look behind , how her Tresses roule up with ropes of Pearle ; rich and pretty , without so much as a knot of fancie to be seen , or any strain of dress about her ; her mind seems to be more serious . Her eyes somewhat sad . A Cherry lip and full , which does invite you . Her neck , something too long ; and therefore , the rope of pearl does well to help nature which cannot promise plumpnesse . Take her together , she 's better for a brave Wife , than a compleat Mistress ; her mantle rich for Winter-covering . A deep Ruby velvet , lin'd with Aurora sarsnet with excellent true shadows well folded , & ●ackt up backwards , with an equall pair of Collets ▪ pure Ovall Emralds , large and fair , well set , between four Pearles ( quarterly ) round and great . Over all , a tippit of Sables rich and deep ; Certainly , the great Tartar sent it a present to salute her . It sets off the colour of her skinne , Pine Lilly w●ite ; smooth as unspotted Marble ( if it were proper , or possibly comparative in any degree , to pattern lively flesh , to be like a stone . ) Her linnen not seen at all , unless her smock-sleeves , cuffed with a Neat-new-fashion-Flanders lace , rich and deep . Her Arms and hands well formed by nature , and may not be ill done by the Artizan . Altogether , framed equally to an eeven feature . No parts strain'd , to make her other than she should be . A handsome Piece , well worth the Painter's fame , that hath not left his fellow . Maria Ruten Vxor D. Antoni van Dyck Eq : W Faithorne excud ▪ portrait of Mary Ruthven, wife of van Dyck A Picture of the Husband and his Wife . IT is a painting of figures , inseparably two , and so made up into one Picture ; nor needs there any more addition , themselves are grace sufficient , to fill up a story ▪ The designe sets it out , as after Mid-Noon Summer , when heat hath influence on hearty affections . A new Bed-Bridall went out a walking , led by the way into a well-grown Wood , where , under the branched boughes of an ample Oak they two sat billing : and after all , in the close of the Even , the Married Man starts up , and looketh wishly on Her. His Aspect cheerfull ; a silent testimony of a cleer Soul and an eeven Conscience at peace with it self . His Countenance not more nor less than Manly ; His Constitution Sanguine , complexion ruddie . His hair of good grace , and proper colour , a darkned brown fitted for length and curling ; eye-brows , more sad , full ey'd and quick . The Nose somewhat rising , not Roman : His youthfull chin but thin , for Nature was in doubt , whether a Beard were better , or without : I might read a Lecture of his out-side Limbs , but better what 's within . His looks not unlovely , shew him Manlymild ; a tender heart full of Noble pitty . Of a Spirit too brave to offer injuries to any , and so much a Christian as to pardon them from an other ; rather willing to suffer , than to disturbe the temper of his well-composed mind into a degree of Anger . His Apparrell of Silke , and ( like civility it self ) the Colour Black . His Mantle-Cloake cast on his Arme . He looketh long upon her , and having twined his hand in hers , He seem● to speak unto Her. But She sat still ; for having found his Eye-balls fierce , an● fixed on her , and hers the like on him , and they thus imprisoned ; both of them blusht , and she looks backe : he would have done so too , had not her modesty began first . Had you but seen her thus upon the suddain , you would have said she did so , as not to undoe him , with over-looking . Her beauty was of brown : Her hair of Aburn-black ; and though she sits down , her dimension shew'd her Symmetry of personagetall , not thin . Her years beneath his , yet at such a desired distance as made eithers age equally matchlesse . Her beauty , in this blush , caused her to look the more lovely . A full eye and piercing ; the circled brows gracefully big and black ; Her forehead high , her cheeks so well complexion'd , as never till non ) she could indure ( or need they ) Painting ; some-what long visage , in true measure of the Life ; yet the Painter did his part by artificiall shadows and roundings , that you could not easily distinguish it , to be any defect of Nature . Her hair curled in wreaths and folds , as if she had a mind to enchant the Man into those fetters , and hold him there . Her ear came under all , round and small , such as men say belong to witty Women ; the tippe rather graced a Pearl than that It : In form it was most like a Pear ( no doubt there was a paire , the other though unseen ) but of such Value that a single one might be sent a Present to a Princesse ; the pattern sampled a Rope of them so round , that they were enobled into her Neck-lace . Her dress , her own direction , surpassing the Painters design ; so then , she might teach him that Art , for ever after . Her Knots of choyce Riband sap-green and silver , fancied into witty fashions , twining her hair like mazes made up into round Rouls , that lodged in the Crown and center of her Head behind . Her Head was well set on ( as Artists use to say ) supported by a round necke , down behind to her rising shoulder , full and plump , and meeting before with a fair breast , well proportion'd , interlaced with Riveret-azur-veines . See , see , the swelling paps like ripe Pome ▪ waters , well grown and fit for her Husband 's gathering . The ruddy nipples , two if seen , would seem Rasbery fountaines in true Center to their Globy-Orbs . Her brawny Arms ▪ of good flesh , and pure colour . A hand well drawn , holding a sprig of Gesmine , the other shadowed in his . Her body well fed not fat , sitted onely for his delight . Her Apparrell right Mode . I dare say , therein she learns of none , being her self a sample to all . Her Drapery well fashioned of Aurora Silke . Her Skarfe of Azure skye , opened with the wind to let in Aire , or to uncover her beautious breasts toher Husbands beholding . In a word ; She appeares a Lady of a high Fancie , and an equall Wit ; both of them made up , by a commanding Judgment . The Grove was deepned dark , which set out all like a Sun-setting ; so seem'd the skie , in the view of a farr fetched Horison . When loe , ( a distance off , ) you might discern her pretty Dogge ( Sable ) came running in ; Love to his Mistresse's looks , made him hasten his diligence , seeming to consent to her desire , as being now time to returne home . Certainly , the Painter was well paid for his paines , or well pleased to see them while they sat to his elaborate work . A comely Piece , rather with dignity of presence than beauty of aspect . The Artist rather busie not to erre from his pattern , than in labour to produce greater excellencie than their own deserving . And thus , in summe , it must be valued an Ornament to the Dyning-Roome ; being besides well known to be the Art of Sowst's handy-worke , and he a Master of sufficiencie . A Promontory of Land , like a Mans head . A Promontory which bears it self into the Sea and makes a Cape of Land ( formed by Nature ) in fashion of a Mans Head . The face ( as it were ) lying upwards , Necke and Shoulders fixed ; like to St. JOHN's Head in a Platter of bloud . The Grove of Trees rising thick and round , shagging themselves in shew downwards , like curled locks . The Brow-part forceth outwards , ( with Hills ) leaving a Valley towards the rising Nose , a Rocky Clift so formed by Nature as needs no Art to modell it , to be the same . Between that and the Lips , a tust of bushes of an eeven length , makes the tuske of hair as it were the upper Lip : only a little Lodge-House raised ( per chance ) for necessary use , appeares , as if by consent of Art and Nature , to answer for the nether Lip . The place for the Chin is right set , round with bushes for the beard , proportionably thick and short , alongst the cheeke , breaking off , before you come to the eare , and bearing a space of sallow ground , being the usefull way up to the Mount . For the Eare , indeed a convenient plat is left by Nature to raise a worke of safety to the place ; the inner Contrivers , made up with Stone , answer to the Eare in all parts ; and the Eye at some distance , shews it selfe to be such in truth , being yet no more than a Rift in the Rocky part , equally formed to the rest , and in proportion to all . Then comes the Throate and Neck ; a large Valley with small Hedge-rows in breadth and length orderly in frame , for the rising and falling of Veines , to make up the whole fabrick a compleat Head-piece . So we see , Art or Nature can counterfeit each other . Of the Parts of a Piece . IN a PICTURE from Nature , there are five Principall parts . ▪ 1. Invention or Historicall Argument . 2. Proportion , Symmetry . 3. Colour , with Light or Darknesse . 4. Motion , or Life ▪ and their Action and Passion . 5. Disposition , or oeconomicall placing , or disposing , or ordering the work . The four first , are observed in all sorts of Pieces . Disposition only in those Pictures , that have many figures ; not to appear mingle-mangle ; but , in all and every part of the Piece , to observe a decent comlinesse , or grace , in a mutuall accord , of all five . Of Invention . IT must flow easily ; to force and strain it , marrs the Life and Spirit of the work ; perfect Invention flowes from generall knowledge ; Antiquity must be familiar to the workman ; most of all , multitude of Historicall and Poeticall Narrations ; Geometry ; Obtieks ; and so to order your Piece , as to be valued neer or farther off . Observe to expresse , proper and fit things , agreeing in Circumstance to the Time , Place , and Person : Habits , according to the fashion of such a people or Nation , ancient or Moderne . Of Proportion . IT 's called Symmetry , Analogie , Harmony . Proportion is of any part ; a Hand fitted to the bigness of a body . Symmetry is the proportion of each finger to that bigness ; Analogie or Harmonie . All together in one ; a Concinnity of Harmonie ; A congruence , or equality of parts and members ; or , due connexion , in reference of all parts , one to the other , and all to the whole , which produceth a perfect Nature , or beauty . Whatsoever is made , after a conceived or Intelligible thing , is Fair . Whatsoever is made , after a thing generated , is not faire . Beauty , may be perfectly conceived . True beauty in any Creature , i● not to be found ; being full of deformed disproportions , far remote from truth ; for sinne is the cause of informity . Beauty in truth , is , where Joynts and severally every part with the whole , hath its due proportion and measure ; and therefore hard to describe . Beauty should consist but of One at the most ; and deformity contrariwise , measured by many : for the eeven Lineaments and due proportion of fair and goodly Persons , seem to be created and framed , by the judgement and sight , of one form alone , which cannot be in deformed persons ; as wit●blub cheeks , bigg eyes , little nose , flat mouth , out chin , and brown skin , as it were moulded from many ill faces ; and yet some one part considered about , to be hand some , but altogether become ugly ; not for any other cause , but that they may be Lineaments of many fair women , and not of One . The Painter did well , to procure all the fair maides naked , to judge of each severall and single perfection ; and so from the Idea of fancie , to shape a Venus . And thus , by often exercise from severall beauties , you shall fix● a conceived Idea i● your mind of accomplished Pulchrit●de grace or comlinesse ▪ according to the true rule of Symmetry . So like the Life , ( if done by Lilly . ) that by the Lines and Colour , a skilfull Physiognomer ( another Lilly ) may by the Picture foretell her fortune . A Beauty may be expressed by a comely body , though not of delicate features ; rather dignity of presence , than beauty of aspect . It is seen at the first sight . Favour more than Colour ; and yet that of decent and gratious motion , more than that of favour . There is no excellent beauty without some strangeness in the proportion , and both Apelles and Albert Durer , doe but trifles out the time and trouble us ; The One to compose a Personage by Geometricall proportion ; and Apelles by collecting the best parts from severall faces , to make one excellent . Indeed a Painter may make a better personage than ever was seen since the first Creation ; which he does by a kind of felicity , not by Rule ; as a Musitian doth his French Aires , not by true Method of setting . Some faces examined by Piece ▪ meale do not well , and yet put together make a good one . If then beauty may be had in a comely decent motion , it is no wonder if Persons in some years , oft ▪ times , seem more lovely then youth ; Pulchrorum autumus Pulcher . Such is she , N. B. T. For no youth can be comely but by excuse , and considering the youth to make up the handsomnesse . Beautie being a Summer Fruit , easie to corrupt and cannot last . But the worke of Art , is not singly in the Similitude or likenesse to the Life , ( as common judgement will have it ) but in the Symmetry ; which in truth , proceeds from someskill in the Artizan's surpassing Art . It was distinguished by that excellent Painter . A Boy holding a cluster of Grapes so like , that deceived the Birds , and yet not deterred by the shape of the Lad ; which therefore being an exception to the excellencie of the Pie●e , the Painter put out the Grapes , ( though most like , ) but reserved the Boy ( for his Symmetry , ) as the better esteem of the Art ; not understood by ordinary capacities . You shall hardly find an Artist , very excellent in a naked body , where true Symmetry is expected ; and therefore the ancient skill of the Graecians , sildome apparelled any . A timorous Painter , excuses his weaknesse , by covering the body , with a muffled Mantle . The Artizans call this proportion , the designing lines ▪ Scatches , the first draught , and so a second and third , before you Paint them ; which stroaks , by those that have in●ight in Art , are esteemed of high value ; for by these first draughts , the true force and undisguised Lineaments of Nature , do ravish the contemplation ; wherein the thought of a studious Artificer is perfectly evidenced . And lineall designes or proportions , draugh●d , Scatches , may be called Picture ; which rarely done , shew not only the shape , but also the partie 's mind and intent , for we may draw in white-lines , the Symmetry of a Black More , and to be like him ; there may be beauty and force in a proportionable designe , naked and undisguised Lineaments . After design and proportion , we come to Colouring . Of Colouring . COrruption composition or mixing of Colours , we call Painting ; which is , to express shadows in Colours ; thereby , to resemble , what we do desire to imitate , by a moderate confusion , or tempering , discordant Colours ; as white , black , red , blew , green , &c. To mixe them accurately : To shadow conveniently . To apply them seasonably . Observe herein Light and Shadows , Obscurity and Brightnesse . Contrary things are more apparant , being placed neer their Contraries ; Light and Shadows forward , set out any Painting outwards ; as if you might take hold of any part . Obscurity or Darknesse , is the duskishness of a deeper shadow ; as brightness is the Intension of Light : white appears sooner , or neerer to the Eye ; and the black seems farther off , any thing that should seem hollow ( as in a Well , or Cave , ) must be coloured blackish ; more deep , more black . On the contrary , to lighten or rise forward , with white . Tonus or brightnesse ; as it is of necessary use , so of excellent ornament in a Picture , it is that which is above light ; sparkling as in the glory of Angels , twinckling of precious stones ; Armory , Gold and silver vessells ; Flame , Gold ; a burning glittering Lustre : the variety of these Ornaments , must be expressed excellently ; but avoid satiety , not cloy your Picture with it . Harmoge in Colours , is an unperceivable way of Art ; stealing to pass from one Colour to another , as in the sea and skie meeting in one thin misty Horizontall stroake , both are lost and confounded in sight ; water and ayre become one in their meeting . The Rainbow's sundry Colours , seeming one mixture , not distinct ; and consisting of one Colour , shews excellent ; but considered of severalls , becomes a wonder . So also in Art ; to paint the line or meeting of a Centaur in his two Natures , which must seem to unite and joyn insensibly , as not to distinguish where they meet ; deceiveing the Eye with a stealth of change ; a pleasant confusion of differing Colours . It is hard to be expressed , and difficult to be done , the very excellencie of an Artist ; when the extream or utmost lines , the unrestrained extent of the figure , lightly and smoothly coosin the Eye , as if something were behind the figure , more to be then the Eye sees , when the Lineaments , that do circumscribe , or include the figure , are so thin , as to vanish by little and little ; the highest subtility of a piece , like spirits and souls painted . You may call it a Geometricall Line ; which is , without breadth : Observe the parting of the Sun-shadow , upon the Wall , the line parting the light , and that is thus . In Painting of a Man consider his dignity , stout and uncorrupt ; ( in effeminate smoothness ) the Limbs moderately swelling-grac'd with true and lively Colour ; of pure and wholesome bloud : Bloud and strength makes it goodly fair ; the black exquisite black , pure white , with the flower of redness intermixt : Ivory died in Purple . As for the beauty of a Woman , possibly so rare and pure ; not to be imitated with Colour of Painting . Her naturall gracefulnesse not yielding unto an Art , which does but counterfeit . No hand , in truth , knows the temper , for such a countenance . Confound Lillies with Roses , and what reflection the Ayre takes of them , that 's her complexion . N. B. T. Never to be well done , but by an Ingenious , Excellent Artizan , and a faithfull admirer of his beautious Mistress . Of Action and Passion . THe next observation , is out of which , Life and Motion doth result : It shews no Action or Passion in a Piece , barely , upright , looking forward , the Armes hanging down , the feet close together , and so seems unmoveable , and stift . In lineall Pieces , there may be a deceitfull similitude of Life and Motion , and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects , and properties of Life and spir●t . To be well acquainted with Nature , Manner , guize and behaviour ; as to paint a Man , angry or sad ; joyfull earnest ; or id●●iall passions to be proper to the figure : for every commotion of the mind , alters the countenance into severall passions of fear , hope , love , joy ; so does a touch of the Pensill from mirth to mourning . The head cast down , seemeth humbleness ; cast back , Arogancie or scorn ; hanging on the Neck languishing stiff and sturdy , morosity of the mind . Indeed the severall postures of the head , describe the Numbers of passions ; the countenance as many ; the Eyes , the like . So excellent must the Art be , to counterfeit Nature . In a word , each severall member or part of the body , either of themselves , or in reference of some other part , expresses the passions of the mind , as you may easily observe in the Life . The Arms abroad ; the Hands expansed ; the Fingers spread ; all motions of the parts of the body assist whilst we speak ; but the hands seem to speak themselves , in severall actions , and postures The Poets in their descriptions of their gods and great men , do rarely express the passions of their minds , and I would have an Artizan to observe so much in each Picture of the Life ( which indeed they only aim at , but do not take the pains to express ) this being effected more by the Master's thoughtfulness , then by diligence and labour . Study therefore to your self , that affectation in your thoughts , which you intend to express . So shall your indeavours be assisted by a vertue , which the Greeks called Energia , effectuall operation , evidence or perspicuity , wonderfully studied by them . I have seen a piece of Tytian's : A Child in the Mothers Lap playing with a Bird ; so round and pleasing , it seem'd a doubt whether a Sculpture or Painting ; whether Nature or Art , made it ; the mother smiles and speaks to : the child starts , and answers . Another of Palma's ; a speaking Piece indeed . The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty , others in examining her features , which so please the good Old Man , that in some Extasie of passion , he imbraces her , which her humility admits , yet with a silen● modesty a● best became her , only to be dumb and to suffer . Another ; the Picture of an Infant , in a Surprised C●tty , creeps to the Mothers breast gr●velling on the ground , amongst other Captives and dying of a wound : seeming to have only so much sense , as f●aring lest the Child finding no Milke , should suck her Bloud , and so be ●●oakt ; she stri●es with death to prevent the Infant so distruction . In an●ient Excellent Pieces , you may at a view under●ake to read the mind of the Artizan , in his intent of the Story . We are gone through all , but the last . Of the disposition of the Parts . A Picture of many figures , must needs express some Historicall part in it ; Every figure ought to represent therein , by a speechless discourse , the connexion in them . Assigne therefore the principall place , to the principall figures , next to hand : Other figures , farther off . Finish the Principall figures , whilst your Spirits are fresh . Frame not your Historicall Piece , rude , loose , and scattered , but rather , in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most ; but to be judged , only , by the learned . Neglects in disposition , are soon discovered . Pourtray in your excellent Pieces , not only the dainty Lineaments of Beauty , but shadow round about , rude thickets , rocks ; and so it yields more grace to the Picture , and sets it out : this discord ( as in musicke ) makes a comely concordance ; a disorderly order of counterfeit rudeness , pleaseth : so much grace , doe mean and ordinary things , receive from a good and orderly connexion . All these together , make that perspicuous disposition in a Piece of History ; and is the effectuall expression in Posture and Action ; the very Passion of each Figure ; the Soul of the PICTURE ; the Grace and Ayr of the Piece ; or the sweet Consent of all manner of perfections heaped together , in one Picture . And so have we done with an Example of all in One : For Invention allures the mind . Proportion , attracts the Eyes . Colour , delights the Fancie . Lively Motion , stirs up our Soul . Orderly Disposition , charmes our Senses . These prodnce gracefull Combiness , which makes one fairer then fair ; and all together , confirme us into Rupture . N. B. T. This Grace is the close of all , effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too m●ch double dilig●nce , or over doing ; a careless shew , hath much of Art . For additions ▪ to your Piece to adorn it , or Parergia to your worke . Some by Paintings are not amiss ; pretty draughts upon sheilds ; Sword , hilts ; Pots , brakes of Vines , Ivy , Cypress , and such like devices : we call them sweet seasonings of the Picture . But then , these do but adorn , and must be dimme and carelesly drawn , rather seemingly with a light ayre , then actually done . And these conclude the worke . That all sorts of people , wise and weak , ignorant and Learned , Men and Women , one and all , may find in it , to be delighted , which comes now to be a Wonder . Our Antient Painters , famous for Art , Immortalized their works with all excellencies , and thereby consecrated the Wisdomes of their hands , as Donaries unto Delphis , a sacrifice to Deityes . Our late Painters strive for wealth , by sale of Ordinary and quick work , ( the bane of all Arts ) rather than labour for Fame , and Glory ; the cause of many Pieces , so common and few of Art . For , upon enjoying of Glory , follows a confident boldness of Art , incredibly advanced by success and repute . Success , is that veneration of Art , by Kings and Nations . In such a Man , shamefastness is a vice , causing our Wits to rust with too much secrecie . The shunning of vice , when it wants Art , leads us into vice . Be bold and know your merit , and in Gods Name when you do well , make others pay for it . Art cannot be over-valued . Conclusion of this first Part. TO reduce & discipline my scattered Notes and Papers ; & such indigested Collections , as require a more formal Method and a better Pen , hath been my pains and desire to effect ; Wherein , perhaps , I have been over prolix ; A fault pardonable , and excusable from such , as are any thing acquainted with the profoundness of this Art , and Artificiall Mysteries . The consideration enlightens my understanding , and sits my mind , with such a treasure of discourse , as that with great difficulty , I cannot be brief ; to distinguish , or to devide . This subject , being so fruitfull , that store makes me penurious . And now , with no more adoe , I represent you with the Second Part. The Art of Limn●ngton Water Colours , differing somewhat from Oyl-Colou●s ; In both , the practice will easily distinguish . The way and manner , those directions before and what does follow will serve for either . And so , I put you forward , to your Pallet and Colours . The Use of the PENSIL : In the most Excellent Art of LIMNING , In WATER-COLOURS . Part II. Of Limning in Water-Colours . The True Order and Names of Colours , the means to prepare them for the Pensill and to clense them from their corrupt mixtures , wherewith they are Sophisticate . We name them Seaven ( though in truth the first and last White and Black are no Colours ; but Elements . ) Whites , Ceruse ; White-Lead . Greens , Sap-green . Pinck . Bise-green . Cedar-green . Reds , India-lake . Read-Lead , or Mene. Blews , Indico . Ultramanue . Bise-blew . Smalt . Yellows , Masticoate . Oker of England . Browns , Umber . Spanish-brown . Terra lemnia or ▪ Cullins earth . Blacks , Cherry ▪ stones burnt . Ivory burnt . Lamp-blacke . In this account or number of Colours , I name not Vermilion ; Verdigreece ; Ver●iters blew and green ; and severall other Colours , frequent with Painter-stainers , but in our work unnecessary , useless , & dangerous ; both for their Minerall qualyties , coorse and gross bodies , not to be mixt with our Colours , of a more fine subtile , and transparent Quality . We do not admit of divers others ; as Saffron , Litmus , Russet , Brasill , Log-wood ; nor of Colours , extracted from Flowers , juice of Herbs or Roots ; more proper , for washing , or Colourring , Prints , Cards , Maps . Of Whites . FIrst in order , the most excellent pure Virgin Colours , are Ceruse and White leade : the latter is the better for use , and less subject to mixture ; yet both have these Inconveniences , and thus to be prevented . Ceruse , after it is wrought will starve , lavish , and dye ; and being laid on with a Pensill , a fair white wil , in a few months , become Russet , Reddish , or Yellowish . White-lead , If you grind it fine ( as all our Colours must be ) it will glister and shine , both in the Shell , and after it is wrought ; and if not ground , it will not work , nor be serviceable . To prevent these Inconveniences of both Colours ; This is the only remedy . Before you grind either of them , lay them ( especially White-lead ) in the Sun for two or three dayes to dry , which will exhale and draw away , the Salt , greasie com-mixtures , that starve and poyson the Colour . Besides , you must scrape off the superficies of the White-lead , reserving only the middle as the cleanest and purest . Be carefull of your white , being the ground and foundation of all your other Colours , and if faulty , all the work is marred . The effect you may see at Rome in the Vatican Library , and in the Silla of Cardinall Burgesse , and in the Porta ▪ setimiane , there where many excellent Pieces heightned with White-Lead unprepared , are spoyled , Russet , and dead . Being thus prepared , grind it ( upon a Porphire , Serpentine , or Pebble-stone ; any of these are excellent : some use Marble , thick Glasse , or Crystall . But the first two are too soft , and in grinding , mixe with the Colour and spoyle them ; the latter is very good , but hard to be got large enough . I say grind it very fine , and a good quantity together in water , without Gum ; then have in readiness , a piece of thick white chalk ; make therein certain furrows or troughs , in which instantly put the White-lead ground from the stone wet ; let it remain there , till it be very dry : the chalk will suck and drain up the filth , salt , and grease in the Colour . Preserve it for use in a paper , or clean Boxes . When you intend to worke with it . Take as much as conveniently will lye in a shell , of Mother of Pearle , neatly cleaned and burnisht wherein ( as in all Colours ) be curious and neat , not to have the Room troubled with company , where you grind , for avoiding dust or Atomes which you will find troublesome in your working . Put to this ( as to all Colours ) a little Gum-Arabick the best and whitest ; which you must have ready in powder , very fine , in a box ( or else dissolved in water ) and with a few drops of running water temper it with your finger to dissolve and mixe with your Colour . Discretion and Practice will direct you . Leave not your Colours too dry and liquid in your shell : but somewhat thick and clammie , cover them from dust till it be dry in the shell , then draw your finger gently upon the Colour ; if none come off , it is well ; if it do , add a little more Gum-water , if it be too much it will glister and shine in the shell ; then wash off the gumme with fair water or temper a new shell . Observe ( in each particular ) what is directed in this Colour of washing , grinding , tempering . A Rule for all the other Colours , that are to be ground . Some Colours are to be washt and ground , and they are these . Ceruse . White-Lead . India-Lake . English-Oker . Pinke . Indico . Umber . Spanish-brown . Colens-Earth . Cherry-stone and Ivory black . Other to be washt only , are these . Red-Lead , or Mene. Masticote . Blew-Bise . Green-Bise . Cedar-Green . Smalt . Ultra-marine . Only Sap-green to be steeped in fair water . The reason why these Colours are not to be ground , as the others are , because of a sandy substance , loose , gravelly , and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art : for if you think to make them fine by grinding , they instantly loose their beauty , starve , and dye . Besides , some of them as Masticote and Red-Lead , become of a greasie and clammye thicknesse , by reason of the agitation and tampering upon the stone , and so utterly unserviceable to refine them , therefore they must be washed . There are but five perfect Colours ( white and black being none ) like the five precious stones perfect and transparent severall Colours . The hard Topas for Yellow , the Amethyst orient for Murray , the Rubie for Red , Saphire for Blew , Emrauld for Green . All which Colours are perfect different from mixture of white and are thus distinguished by Heraulds in blazoning of Arms of Princes Bearings . And although what hath been said for grinding Ceruse and VVhite-Lead ; may serve for a direct order in all other grinding Colours : Yet I shall for full satisfaction speak of them severally ; before I come to those that are to be washed . Colours , to be grinded . THe next in order is India-Lake , the dearest and most beautifull ; grinde it as the VVhites with the help of the Sun , and with your finger spread it about the shel sides . After it is dry , you will find this Colour , and some other as Amber , subject to crackle and fall from the shell in pieces ; take care that this an● all others be fast , smooth and firme , which to effect take a little quantity of VVhite-Suger-candy with a few drops of fair water , temper the Colour againe as it is in the shell with your finger , till the Colour and Sugar-candy be throughly dissolved , which being dry will lye fast and eeven . English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life , for Haires and Drapery , Rocks , High-wayes in Land-skips , and commonly lye eeven and fast in the shell , and works beyond any other , being well ground . Get the fairest ; because with it and Blew you make the fastest Greens for Land-skips or Drapery : for the Green-Bise and Sap-Green , though good in their kind , the first is of so coorse and gross a body , and the other so transparent and thinne , that in many things they will be unserviecable ; espetially where you have occasion to use a beautifull fair Green by mixing a little Indico , with Bise and Pinke : this Colour being ground fine , worketh very sharp and neat ; of exceeding use , if ground as the rest . The next in Order is Umber , a Colour greasie and foule , hard to work with : you must burn it in a Crusible or Goldsmiths Po● ▪ and being ground as the rest , it works sharp and neat . It is exceeding coorse and full of gravell of no great use ; for a little Umber , Red-Lead or Mene mixed , makes the same Colour . Is easie to work when it is new ground very good to close up the last and deepest touches , in the shadowed places of Pictures by Life ; and also very usefull in Landskips : Are both to be burnt in a Crusible and so ground : the first is very good especially for Drapery and black Apparrell , but but if you make Sattin , temper it with a little Indico : only to make it appear beautifull ▪ glassshining , lightned with a little mixture of more white . In strong touches and deep , hard reflections deepned with Ivory will shew marvellous fair ; this was the way of that famous Hilliard the English Limner in Queen Elizabeth's dayes . Serves only for a deep Ivory black , nor is it easie to worke without well tempering with Sugar Candy to prevent crackling and peeling . And so much for Colours to be ground . Colours to be washed , and not to be ground . I Shall follow the former ▪ Order by shewing how one Colour is to be prepared ; which will demonstrate all the rest . Put an ounce thereof into a Bason or clean earthen dish , full of fair water , stir it sometime together with your hand or spoon till it be coloured , then let it stand till the greasie scumme arise upon the superficies , which with the water pour out : fill it again with fresh water , stir it often untill it be thick and troubled , which presently pour out into another clean Bason or Vessell : reserving behind in the first Bason the dreggs of the Colours , which haply will be the greatest part , and to be cast away ; for you are to seek the best not the most . A little good Colour goes far in Limning , and if a handfull of Red-Lead yield a shell or two in goodness it is enough , so it be fine . The troubled water being in the second Bason , add more water , wash them well together , as before , let it settle till it become almost clear ; but if you ▪ perceive a scumme to arise again upon the water , pour it out and put in fresh till the Colour be clearer ; for the skumme is Chalk and other filth , which washes out by stirring all the Colour together . Then let it settle , and so when the skum arises , pour it away till it be perfect . It will not be amisse when you have washed your Colours a while , if you stir the water till it become thick ; then pour out half that thickned water , into a third Bason , and washing both the second and third water , you will find your Colour of a coorser or else finer quality . In so much that the third ( and if you please ) fourth and fift sort , will be very fine and fair being often washed ; and so by often changing and shifting the Colour and Water , you will find it perfectly cleansed . You must by little and little gently drain away the remainder of the water , not suffering any or very little of the Colour to pour out ; so that setting your Basons in the Sun and shelving them , you will find your Colours drying and lodging about the ●ide● of the Bason o●dishes like drift land , some places ●air and clean , others more coor●e and soul : which when it is all dryed , take away with your finger or feather ; the finest part like flower will fall away , with the least touch : Reserve this for your prime use , the rest for ordinary or coorse work . When you will use this Colour , ●ake so much as will lye about the sides of your shell , somewhat thinne , that you may handsom●ly take it o●● with your Pensill ; which you cannot conveniently do , if you fill the shell , or to let it lye thick or in heapes , and so with Gum-water ( or Gum-powder and a few drops of water as before said ) temper it finely with your finger , letting it spread about the sides of the shell , as in ground Colours . Thus are your Colours prepared . Of Pensils . YOUR Pensills must be chosen clean and sharp poynted , the hairs not divided into parts ( as many of them do , being drawn gently out of your mouth between your Lips ) let them be full and thick next the Quill , and so descending in a round sharp poynt . This fashion I prefer before those that are long and slender , which retain the Colours longer time , and then deliver it out , too free and full . If you find one hair longer then the other , cut it away with a sharp Pen-knife or pass it through the flame of a Candle . Take the Tailes of Chalibes , and breaking an ordinary Pensill assunder , observe how they are tyed up and fastned ; they being now made here in England by an old Workman to the Painters , the best of any here or beyond the Seas . Bind your haires ( much or little ) somewhat loose , fashion them round to an eeven poynt , rubbing or turning it upon a clean paper or Table ; Marke how the haires scatter or spread , and ever with a Pen-knife take them away ; easily to be done . When it is prepared to your mind , tye it fast about and fit it to your Quill : according to the size of your Pensil , disposed upon some neat stick of Brasill or such like Wood : the length of an ordinary writing Pen . Having sixe or seaven for the severall shadows of your work . And remember that those Pensills which you use in Gold or Silver Work , be reserved only for that purpose ▪ not to be mixt or tempered with Colours . Being thus settled with these Tools , you want a Tablet whereon to express your Art , which must be made severally , as you are disposed to work either for a Picture of Life , Landskip , or History . The first Division , by Life . The Tablet . THe Tablets for the Life are commonly wrought in an Ovall form not very great nor little , as I have seen many in France no bigger then a Penny ; an indifferent size is best . Take an ordinary playing Card , polish it smooth with a Bores-tooth or such like , as possibly slicke as may be , the VVhite side every where eeven , and cleane from Spots or Knobs ; then chuse the best abortive Parchment , cutting out a piece ▪ size with the Carde , pasteing them fine and firme together ; let them drye , and making your Grinding-stone exceeding cleane , lay the Parchment side of the Card downward ; and holding it fast , polish and rub the Card as hard as you can upon the backside , that so the other may be smooth , whereon you are to work : When you paste the Parchment , let the outside of the skinne be outward , it being the smoother and better to worke upon . Lay your ground or Prime therein of flesh-Colour , tempering it a●cording to the Complexion you are to paint . If fair ; White-Lead and Red-Lead mixed together , a pretty quantity , indifferent thicknesse , in a shell somewhat bigger then ordinary . If Swarthy or Brown ; mingle White , Red , and a little fine Masticote or English-Oker , or both . Evermore ▪ observing , as a sure Maxime that your ground be fairer than the Party painted : for being over-faire you may in working Darken or Shadow it as you please ; but if too sad you shal never heighthen it higher . In Limning of Pictures , you must never heighthen , but work them down to their just Colour . Your ground or Complexion thus mixed in , upon the shell ; lay it on the Card with a greater Pensil then ordinary ; and very carefully , couch and spread your Colour , as smooth and eeven as is possible , clean from spots , haires of your Pensill , or dust . In doing this , fill your Pensill full of Colour rather thin and waterish , then too thick and gross . And with two or three dashes , or sweeps of your long Pensil , lay it on at an instant , the quicker the better , and the eevener will your Colours lye ; Not forgetting to cover so much of your Card , as shall be larger or broader , then you intend to make your face , for you cannot adde any more largness to it ; being to be done at once and speedily . Otherwise the Card or rather the Parchment will become rough and rise in bubbles , and come off from the Card. This done , you are to take a pretty large shell of Mother of Pearle or such like , and before you begin to work , temper certain little heapes of severall shadows for the face , and ( as Oyl-Painters lay them upon their Pallet ) so place them severally about your shell . There are some that temper or mixe them as they worke them in the shadows , without more adoe ; but I esteem this other way , the better . First then , in all your shadows mingle some White with every one , and white by it self . Then for the Red in the Cheeks and Lipps , temper Lake , Red lead and a little Vermilion together . For blews ; use Indico and white ( for Blew-bise is never used in the face . ) Then for those sweet and fine blewish and grayish Colours called in french Grisatrie ( which are the weak and faintest shadows ) take white , a little English oker and as much Indico , and ( if you will ) adde a little Masticote , it will give the shadow a good grace , so that it be not too Greene . For the deep shadow , take White English Oker and Umber ; for the darke shadows in mens faces , mingle Lake and Pinke , which makes an excellent f●eshy shadow . But to prescribe an absolute and generall Rule is impossible ; Nature is so infinite various in the Colours and shadows of the face , differing one from the other ; that , what e're can be said , your own discretion and practice by the Life , will be the best direction . Yet this , and what I say hereafter , will be a great furtherance to your ingenious Indeavours . To Order your Light . AND now , notwithstanding the former preparations very necessary , yet take this Observation of your Light , being of the greatest importance ; and therein I advise you to be curious ▪ Make your Light with a Curtain or windowshutters somewhat cleer , with soft and gentle reflecting upon the Person to be drawn ; for a glaring bright light makes hard , and unpleasant reflections and shadows . And because the Sunne is an enemy to this work , choose your Light Northwards towards the East , one single Light only , great and fair , without any reflection of Trees or Walls : let it be high , and so your shadows will fall downward● , rather then traverse-wise , and the work will be the fa●rer and rounder . Place your self to your Deske , that your Light may strike inside-long from the left hand to the right ; your work will shew with more advantage being turned and viewed to the same light that it was wrought unto . Have a clean Sawcer or Shell of Water , to wash your Pensils , and another of Water to temper your Colours ; Have a dry brush-Pensill to clean your work from dust . A neat and large Penknife to take away such spots or haires that may mixe with your Colours , or fall upon your Card ▪ Place all these on your Right hand : You may likewise cover your Piece with a small paper , whereon to try your Pensills and Colours , before you begin to work . Thus setled ; Draw your Lines purfle , of the face with Lake and White mingled together very fine ; so that if haply you mistake your Draught at the first , yet you may with a strong Stroke , draw it true , and the other Line be no hinderance to the Worke , it being faint and not easily discernable . The Lines thus truly drawn of the face , somewhat sharp and neate ( wherein you are to be very exact , ●bove any other directions ) observe the deep and most remarkable shadows for your better memory and help , when you come to go over them more exactly . And now you may if you please , draw out also the fashion and portraicture , and that part of the body which you will joyn to the face , commonly not much beneath the Shoulders ; wherein observe the Life so much as possibly you can : that part you may draw with a strong and darke Colour ; it being easie to change or deface , in case you mistake in the just proportion . The Generall manner of working in Limning . IT is ano Art so curious and difficult to describe by my Pen , that many Prac●it●one●s , with much Industry and the help of Demonstra●ion ▪ have not easily proved Proficients , as in these populous Nations of England , France , and others ; which draw but few famous Masters out of thousands Practitioners . In England at this day are the most and best famous in Christendome ; Yet according to the Italian Proverb A buen Indentore poch● parola basta , so I doubt not ▪ but your ingenious capacity and knowledge , ( I● speak to a Gentleman ) having already rendred you Master in Studies , ( very likely much above this either in Honour or Profit ) will by the same industry easily conceive me : and with ordinary diligence and practice , you may likewise attain to express the Life with the Pensil ; by what I shall deliver in this dead GODOUR Observations . The order you are to follow to the Life ▪ is to observe somewhat ▪ the manner of Oyl Painters ▪ The first sitting , to ●●ad-Colord●he face only . ● ( not troubling your self at all with the 〈◊〉 of Hairs , ●pparrell &c. ) Which commonly takes up the time of two houres ▪ or , if very exact , three or foure houres . The next s●●ting requires four or five hours ▪ for in that time you are to goe over the face very curiously ; observing whatsoever may conduce either to the Likeness which is the Principal● ; or to the judicious Colouring and observation of the severall graces , ●eauties or deformities as they appear in Nature ; or else in close , sharp , neat workmanship , and sweetnesse of the 〈◊〉 and smooth touching of the Colours . The third sitting , is commonly the work of two or three hours , and is spent in cloathing what was before left imperfect and rough ; but principally in giving to every deep shadows , their strong and deep●ing touches , as well in dark shadows of the Eye and Face , Eye-brow , Haire , Eares , &c. And these Observations and touches , are ever the last part of the businesse , and are never done till all the Haire , Apparrell &c. be finished , for this being wrought with judgment and discretion , adds exceedingly to the Life likenesse and roundnesse of the Picture . It is like to a Consort of Mu●icke which is relished in the Close . Colours to the Complexion . AND first to speak of dead-Colours , the manner of working is sutable to the Name , to be done rough and boldest of all ; Having drawn the face with Lake and White ( as before said ) you may take to this Colour a little Red-lead tempering them to the Colour of the Cheeks , Lipps , &c. but very faintly : for you must remember , that in this and all other Colours in Limning , you may adde when you please to make your Colour deeper or stronger : but be sure not to make it too deep or too strong , for you can hardly help it without defacing or spoyling the Picture . Because , ( as I have told you before ) you can never heighthen in this Art ▪ except the two bright lights of the eyes and touches of the Haires . Thus much in generall . And now we come to the particular Working . The first sitting to worke in particular . THe comlinesse of the face consists in three abilities , Beautifull ▪ Colour , or Complexion ; true Proportion and Favour ; and Grace in the Countenance ; The curious Artist must watch and catch the lovely graces , witty smilings , short and suddain , which pass like Lightning . In smiling how the eye changeth and narroweth , holding the sight between the Lidds , as a Cen●er ; ●ow the Mouth extendeth little , at both ends of the Line upwards ; the Cheeks raise themselves to the Eye wards . The first Coloer to begin the face , are the Redds of the Cheeks and Lipps somewhat strongly in the bottome of the Chin ( if the man be beardless ) as also over , under , and about the Eyes , you will perceive a delicate and faint ▪ Redness ; and underneath the Eyes somewhat inclining to a Purple Colour ; which in fair and beautifull faces , are very ordinary , and must be diligently observed . The 〈◊〉 commonly is Reddi●● and a little Crimson and sometimes the Roots of the ha●re also . All these you must work after the manner of 〈◊〉 Ha●ching or Drawing your Pensill along , and with faint and gentle stroakes ; rather washing then wipeing it , with stroaks and pricks as some do affect . But the manner of working must be the fruit of your industry and practice , and as you find your inclination , ease and dexterity of hand ; Wherein to prescribe a certaine Rules is impossible , above that of your own Nature and experience . The summe of all . That in your dead Colouring , you must wash over your Ground or Complexion , with this Red and the following shadows , indeavouring not only to be exact and curious , but also bold and judicious : for I have seen Pictures by a good Master begun , and dead-coloured only , that neer at hand they seemed exceeded Rough , Uneven , and unpleasant ; yet being viewed at a distance from your Eye , they appear very smooth , neat , and delicate : therefore I shall perswade you in this first worke , not to study or regard curiosity , or neatness of your Colours ; but a bold and judicious manner of expressing , what you see in the Life . Which though you worke never so Rough at the first , yet in the finishing , it will be in your power to sweeten and close it , neat and curious as you please . The Red being done , the next is your faint blews about the Corners & balls of the eyes and temples , which you must work from the uttermost part to the face , and so along , but exceeding sweet and faint ; by degrees , sweetning your shadow and deepning , according as the light falls , with hard or gentle touches ; and in going over the face , be sure to marke out the hard shadows , in the dark● side of the face , under the Nose , Chin , Eye-browes as the light falls , and somewhat strong touches , in those places , bring up the work in an equall roundnesse ; giving perfections to every particular part , by visiting all the face curiously , and in a kind of random● ; by which meanes you will better observe the likeness , roundnesse , postures , or colouring , whatsoever is remarkable , to make your work compleat and exquisite . The faint and lighter shadows being done and somewhat smoothed , and wrought into the Red , you may work over the Haire disposing it into such formes , folds , and turnings , as may best become the Picture . You must at first only draw them with Colours as neate as you can , sutabl● to the Life ; and after wash them roughly as the rest , and then once more , perfect the work ; and be sure to fill up the void empty bare places with Colour which are uncovered , and for the parting blew ; deepning it somewhat more strougly then before , in the places of the darkest shadowes , still carefully observing the Life , which must be your Load starre . And ever remembring most needfull , first to work your Colours and shadows , as deep and strong as you see them , but by degrees ; beginning faintly , increasing the strength of the shadows , as the rest of the work comes up unto it , and suits for it . And for this , no Rule can be given better , then that of your owne judgement . And so here we have done our face alone and that in dead COLOURS only . Second sitting . YOUR next worke will be longer in time , but not so long in description : for this will take up five or sixe or more houres , as you will bestow more or lesse paines in the worke . And now the Person being set just in the former posture , you are more exactly to observe and curiously to express Nature ; which you did but rudely score out before . For direction therein , this is all that can be said . You must use gain the same Colours , in the same places , you did before in the first sitting ; working , driving and sweetning them one into another ; to the end that nothing be left in your worke , with an hard edge , or uneven heap , or patch of Colours ; but altogether mixed and driven one into another , with the poynt of ( somewhat ) a sharper Pensill then you used at first , that your shadows may lye soft and smooth , beinga dispersed and gently extended into , and towards , the light and part● of the face , like aire , smoake , or vapour , But before you proceed thus far , you are carefully to observe all the aforesaid shadows and Colours , and by little and little to work them , over , & into one another ; and when you have wrought an houre or two , it will be time to lay your ground behind your Picture . It is commonly blew or Crimson , somewhat like a satten or velvet Curtaine , much in use with old Hilliard . If blew , you must lay it thus , ( being not easie to do it well and eeven . ) The Bise being pure and clean washed , temper of it as much in a shell , as will cover a Card. Let it be all thorough moyst , and well bound with the Sun ; Then with a small Pensill draw ( with the same Colour ) the outside or Purfle , I mean the outmost line of the head and body of the Picture . That done with a larger Pensill , wash over carefully the whole ground , that you mean to cover , with somewhat a thinne and waterish blew ; and after with a reasonable great Pensill , full of Colour and flowings , lay over that very place , with thick and substantiall Colour , which before you had only washt over . In doing of this , be very swift , keeping your Colour moyst , that you have laid , not suffering any part thereof to dry , untill all be covered : by this meanes , it will lye as smooth as glass , and the watering over the Card before , with a thinne Colour , makes the rest , that you lay after , to settle eeven and handsome , which otherwise would lye in heaps , like unto drift sand : It is a troublesome Colour . If you will have the ground as Crimson Satten , you must worke with India-Lake , where , and in what places , you will have those strong and high lights , and reflections to fall , which are seen in satten and velvet . Lay your light with thinne and waterish Lake , and in deepning and strong shadows , close by the other lights , with thicker Colour . It cannot be better expressed possibly , than to take a piece of satten , of any Colour , being laid before you ▪ you will presently see , what an excellent president the life is for light and shadow : no instruction , being like to this experiment . When your back-ground is laid and dry , you will find the Picture strangely changed , the beauty of these grounds will so darken and dead the Picture : The apparrell with fitting Colour , being also done only flat with heigthning or deepning ; Then go over the face again , reducing your shadows , to much neatnesse , drawing the eyes and lines of the lids , expressing the nostrils rednesse , the shadowy entrance into the eares , the deepnesse of the eye-brows , and those more perspicuous markes of the face , with somewhat a more sharpe and curious Pensill . But to particular line every thing , would seem to be a plot upon your patience . And therefore to finish this second sitting ; I only wish you not to leave your ground , to rest upon the face too hard , with an edge ; but with your Pensill so to sweeten and drive-in your Colours into the Enstroake , or outline of the face that when the work is done , the ground may stand as it were a great deale distant from the face behind the Picture , and the face seeme to stand forward off from the ground ; by darkning both the ground above , from the light-●ide of the Picture , and below , on the dark-side of the Picture . Then go over the haire , lightning and deepning it by the Life , and gently drawing the lines of those locks of haire upper most , and behind over the ground , which else would seem hard and unpleasant . Now when you have done this sitting , and the Person gone and weary ( as usually they are ) and yet your work be rough ( as indeed it will be , as yet , impossible to bring so curious work to absolute perfection ) you must spend somegood time by your self , in polishing & working your Piece to perfection ; filling up the empty places , and sweetning the shadows , that as yet may lie uneeven , hard , and unpleasant . Then go on in your linnen dressings and apparrell , to make out the severall folds , and deepning as you shall find in the Life : for in perfecting the worke , lay the linnen , apparrell , jewells , pearles , and ( what else is to be imitated , ) in the same fold and forme as you have drawn it in your first drought , and then finish it by the life as you shall see the shadows and light fall ; lightning the lines , with the purest white , a little yellow , and less blew . The black must be deepned with Ivory-black , and if you worke in heighthning and light reflections , you must mingle with the ordinary black a little Lake or Indico , or rather bileing in stead of Indico ; you will find the black to render a curious and admirable reflection like to well dryed satten ; especially if your light be strong and hard . The matter whereof , if you please to see imitably exprest , you will find it aboundantly in severall rare pieces done by that incomparable Master Hans Holbin who in all his differing and various manner of Painting either in Oyle , Distemper , or Limning was so generall an Artist , as never to follow any man , nor any one able to imitate him . Third Sitting . THe third sitting will be only spent in giving the strong touches necessary for rounding the face , which now will appear better for observation , the apparrell , hair , and ground , being already finished . In this sitting therefore observe , what ever may conduce to the likeness and resemblance , which above all is the principal aime : viz. skin-molds , smiling , or glanceing of the eye , descending or contracting the mouth , narrowing the eyes , with smiling ▪ to which purpose , find occasion of discours● , or cause the party to be in action , or to regard you wit● a Joviall merry and discoursive aspect . Wherein you must be ready and apprehensive to steal observations , and to express them with a quick bold and constant hand , ever remembring not to make the deeper shadows too darke and obscure , as happily you may think they appear in the Life , which in Painting ( as deep as the Life ) is no good Rule to follow , and in Limning is a note of very necessary consequence ; conclude your face with these observations , that the eye gives the life ; the nose , the favour ; the mouth , the likeness . If there happen any Armour or Gold-work to observe this Rule . First , lay Liquid Silver , flat , and eeven , dried and burnisht with a small Weesels-tooth , ( handsomely fitted into a Pensill-stick ; ) then temper the shadow of Armour , with Silver , Indico , Li●mus and a little Umber ; work your shadows upon , and over , according to the Life ; the heighthnings are to be left , bearing the bright burnish . Then deepning the depth of the shadow ( the thinnest part thereof ) with some store of Silver which must be sweetly wrought into Silver , and laid all flat as before . As for the Gold , you may lay your ground flat with English Oker , tempered with liquid Gold . Yet there is a stone in the Gall of an Oxe , called the Gall-stone , which being ground and mixt with Gold , is good for all Gold ▪ works , and gives an excellent lustre in the shadowing . When the deepest darkest places are to be mixed with black ; your lightning must be purest and finest liquid Gold . The manner of working whereof was taught by Old Hiliard thus : If in your work , there be any carving or Imb●ssing , and that in the light part , it must be sparing ; and you must very finely expresse it by raising ( in the high and round places ) a little pile or heape of this Gall-stone or English Oker , by taking your Pensill full of Colour , and resting the point in one and the same place til your heighth , or touch , be raised above your other worke . That done , cover over your raised worke with Gold , and you will see it exceeding fair and bright . The like you must do with Silver . To expresse the roundnesse and lustre of Pearl ; do it with a little Pinck . Diamonds are exprest flat with liquid Silver , laid round and high , the deepning must be Cherry-stone black , and the deepest Ivory-black , the Silver dryed and burnisht is for heighthning ; the strong and darker the shadowes are , the fairer the DIAMOND ; which if you could set off , as I could wish , would equall that in the Grand-Sultans Cap. The secret of Rubies , is of maine consequence ; vix à visu temperanda . It is delivered in the same Hieroglyphical ▪ Cabalisticall Character . Having therefore laid the ground of silver burnisht , the bignesse of the Rubie , take gheereaguar , of the best and purest wagron mixt ; then take a needle or small pointed Instrument , heated in a Candle & lay a drop or a little of this composition upon the burnisht Silver as aforesaid , fashioning the stone , round or square , or other forme with the poynt of your Instrument ; Let it lye a day or two to drye , and it will be very fair and transplendent , it being long a drying ; And to the other composition a little powder of Tunie . For an Emrauld or Green-stone , temper your gheereaguar with verdigreece and a little turmerick root , ( first scraped ) with vinegar ; then let it dry , then grind it to fine powder , and so temper it with gheereaguar , as you did for the Rubie . For a Saphire , and all kind of blew stones the same Gheereaguar tempered with Ultra-marine is excellent , especially if your Colour be fai●e . For an Amethist the same Gheereaguar mixed with Waycoriant and way wick ; and so the other colours as you please to mixe them ; though I conceive I have already told you the fairest . Thus having inriched you with a Mine of Precious stones , and pearles , with Gold to inset them ; I will conclude this first part of Picture by the Life , with the manner of making liquid Gold . To make Liquid-Gold most Excellent . TAke of the fine lease-Gold about the quantity of halfe a Crown or rather of the cutting of the same , to the like quantity ( at the Gold-beaters ) ; grind this with a thicke and strong Gum-water , upon a reasonable large stone , very fine and painfully ; you cannot make it fine enough , being rather opus Laboris , quam Ingenii . As you grind it , adde more Gum-water , and though the Gold look never so dirty and black esteem it not the lesse worth : and having wrought it to a competent finenesse , take it off from the stone ; putting in more Gum-water wash it as cleane as you were told before , and in the same manner as you did your Bise , Smalt , &c. Being very clean , adde to it a little Mercury sublimate , on the poynt of a Knife , with which you must temper with it , a very little Gum , to bind it in the shell , and as it settles and begins to dry in the shell , shake it together ; remove , and spread the Gold about the sides thereof , that it may be altogether one Colour and finenesse , which when it is dry and fair , as it will be , if you carefully wash it clean . Use it with fair water , as you do your other Colours : and this way you shall find your Gold fairer and more in quantity , then you can buy , for much more money . To make Liquid-Silver . THe same course take with Silver , which you must use in the same manner . Only with this observation ▪ that seeing the Silver , either with long keeping , or the moysture of ayre , will become starved and rusty , you must prevent this Inconvenience before you lay your Silver , by covering over the place with a little juice of Garlicke . It will keep it very faire and bright : this secret I had from Mr. Hiliard . Thus have I done with my first Division . The second Division by Landskip : The Tablet . TAke some Vellome , shave it upon a thinne frame ; fastning it with Starch , Paste , or Glue , and pasting it upon a board ; which manner of making , for Landskip or History , is altogether used in Italy . I mean thin Parchment with any Pastboard for your Tablet , large or less size , you intend for your Picture . Green , of all Colours is most delightfull to the Eye . Not in all the Art of Painting such variety of Colour , more pleasing then is the Prospect of a well-wrought Landskip ; espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation . If you draw a Prospect from the Life ; Take your Station upon the rize of ground , or top of an Hill , where you shall have a large Horizon ; And skore your Tablet into three divisions downwards , from the top to the bottome , set your face directly opposite to the midst of your Horizon , and keeping your body fixed , Observe what is comprehended directly before your eyes , and draw that into forme upon your Tablet in the middle-Division . Then turning your Head only , ( not your body ) to the right hand , draw likewise what is presented to your sight , adjoyning it to your former Draught and frame it into the same . And so also removing your sight to the left hand , take that observation , which will make a compleate PROSPECT . And as all things appear in Distance and Truth , Proportion and Colour , so be carefull to express them ; Most Countrie● Southward , Spaine and Italy , afford wonderfull strange objects in Landskip , Hills , Dales , Rocks , Mountains , Ca●aracts , Ruines , Aquaeducts , and alwayes a fair skie to discover far off , which are rarely done there to the Life . You cannot miss of many examples every where , though less pleasing ; but in Holland , none at all ▪ So then , the Dutch in composing a Piece of Prospect , of their own Fancie and Invention , for want of the Life most grosly erre in Proportion , Distance , and Colour . Now for the want of the Life and Nature , if you will adventure on your fancie ; Go to work this way . I cannot prescribe , how to order your light , in a piece of Landskip by the Life ; for according to the place , as you look North , or Southward , East , or West-ward , as the time of the day and the Sun's declination , so must you order your shadows as they appear . But in all working of Painting by Fancie , let your light descend from your left , to your right hand : So will it appear upon the work , from the right to the left , the more gracefull . ( But when you paint a face to the life , you must observe the parties face , which differs , some more perfect , either to the right or left . In making it ; First , beginne with a large skie or Element and if there be any shining or reflection of the Sunne , ( in which only the Dutch are neat and curious , ) then you must be carefull , by no meanes to mixe Red-lead , or Mene , in the purple of the skie , or Clouds , but only with Lake and White ; the Yellow and Whitish beams of the Sunne , must be wrought with Masticoate and White , which as soon as you have done , lay by that Pensil ; For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate ; it will make the skie Greenish and discoloured . Make up the blewish skie and Clouds with Smalt and not with Bise , for it is too green and blew ; and nothing so proper for the purpose . At the first working , dead all your Piece over , full and flowing with Colours suitable to the Aire , and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth . Be not curious in your firs●dead-Colours ; do it slightly and hastily . Leave a large skie , which work-down in the Horizon ; faint and fair : as you draw neer the Earth , let the remote and far off Mountains appeare sweet and misty , undiscoverable , and almost indistinguishable , mixing into the Clowds , as it were lost in the Ayre . Your next ground-Colour downwards , must increase in bigness of proportions as neerer the sight , and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish , otherwise into a Popinjay-green . Your last ground Colour must be neerest the Colour of Earth , a dark-yellow , brown & green , easier to be done with the Pensil then described by the Pen . The same Colour ( or neere the same , ) must be your first Trees , and alwayes as they come down neerest in distance , they must increase towards their Naturall Colour , in largeness , and perfection , somewhat suiting the Earth . By any means , let passengers & people by the ways encrease neerer hand and be made bigger in their forme and Colour ; and evermore let every thing , from left to the right hand in a Line , be of the same equall bigness . You might have seen Passengers in some Landskip ( who should be imagined four or five miles in distance from the Eye ) to be expressed neerer , and as at hand which is a grosse errour . The Trees must be made with great judgment , the leaves flowing or filling one with the other , some sticking forward , others lost in shadows . Let not your Landskip of land , rise high , and lift it self into the top of your Piece , as hath been noted in the Prints of Albert Durar , ( otherwise , in his way , an excellent Master ; ) rather let them lye low , and under the eye , which is most gracefull , and more Naturall , with a full skie . The most generall and absolute Rule in Landskip , was observed by that excellent Master at Rome , Paul Brell , whose delightfull ▪ works many of them extant in Prints , are set out by Raphael and John Sadler . Besides many Paintings of his own hand both in Frescoe and Oyle , in the Pallace of Cardinal Montaltre , by St. Maria Mahgior , Bentoglia in Mount Gaballo , and in the Church of St. Cecillia ; His observation i● onely this , That an Artist must be sure to make all his shadows fall one way ; that is , to place light against dark , and dark against light . His meaning is , that to oppose Light to shadows , is only to remove and extend the Prospect , and to make it shew far off , yet so as ever they must lose their force of vigour as they remove from the eye , and if strongest alwaies neerest at hand , and as they fall on the first ground . Besides all this second working , you are to touch up the Trees , boughs , and branches of them , putting all the dark shadows first , and raising the lighter leaves above the darker , by mixing some Masticoate with the dark green , which you may make with Bise , Pinke , and Indico . The uppermost of all , you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves , with a little green Masticoate , and white . If deeper , darkest shadows , you may well set off with sap-green and Indico . Only remember , that both in the leaves and trees , Rivers , and far distant Mountains , you must affect , to express certain reall Morrice-dello ( as Paul Brell calls it ) , or soft delicateness , which is the very next remarkable in the worke . There is great Art in making Cataracts , and terrible falls of waters ( such as you see at Bruolli neer Rome ) and fearfull Rocks . Wherein Montpert of Antwerp is excellent ; no Pieces pass his hand without them . They are rather made with sleight of hand , and a little dramme of discretion with judgment , then by study and diligence . A good full ground must be first laid neer the Colour ; then with stronger , in the dark places ; and sl●ight and easie heighning in the light ; ever observing those dis-proportions , Cracks and ruptures of various over-wannie colours ; the manner whereof , you see abundantly exprest by most mens Pensils , almost in every Landskip . I should have proceeded in a formall discourse of the second manner of working , according to the second sitting after the Life : But I spare your troub le referring you to those observations heretofore directed : for curiosity in this work is not so much required , as in a Picture . The greatest cunning herein is to cosen your own eyes ; which yet , you cannot do , without their consent in assisting , by an apt accommodation of rarity of Colours , in their due places , In such manner , that many times in a Tablet of a span long , a man's Imagination , may be carried quite out of the Country , Seas , and Citties , by a sure Piece of his own making . See Streeter's most exact and rare Landskips in Oyl . The Third Division of History . YOu shall rarely see History in Limning to be done in any largeness . Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato , a Florentine . In the same place there is a very antient Greek Martyrologie , sometime belonging to the Emperour Basilius about a thousand years since . Wherein were Limned upon Parchment 463 good large Histories out of the Martyrdome of Antient holy people in the primitive Church ; and these pieces were done by severall Gretians dwelling at Constantinople . Other Books exceedingly wel limm'd in that Library , done by Albert Durar . Another , done by Don Clavio very neat and curious , and al these upon Parchment , only the fleshy Colour wrought in , with the poynt of a Pensill , without any Primere or ground at all . Which certainly ●is an error , or rather Heresie in the Italian , who wil by no meanes admit of Limning with a ground . But that which i●Instar omnium , is an History of the Buriall of a Gretian Monarch , done upon a large Tablet of sine abortive Parchment , polished on a smooth and well seasoned board of Pear-tree . It was in the hands of Mr. Endymion Porter & begun by that in comparable Master , Isaack Olyver , almost to the end , but it had finishing from his Sonne . It was a piece of the greatest beauty and perfection ( for so much ) as I think all Europe or the World can produce . And I believe if Carlovan Mandras in his Dutch History of the famous Painters had seen this Picture , his book might have encreased to a Tome with this worthy description . The difference in Painting of Pictures and History are infinite , though the Colours be the same ; and to particularise but in part , what may be said of this subject would be endlesse . The most remarkable difference certainely is in the variety of Colours which according to their several Complexions , Sex , and Ages may be represented , and many times according to the humour , judgment and affection of the Workman ; And we see ordinarily , the practice of the best and most famous Painters , ( those that follow the Life , ) doe tye themselves straightly and precisely , to what they see in their patternes ( the designes and drawings of Bloomart and Spranger . ) Yet in the Invention they assume unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring , as that many times extravagancies , and impossibilities , ( if not ridiculous ) , do appear . Hence comes it , that the rare Raphael Urbine affecting a delicate pleasing liberty in Colouring of his Na●ea's , is so pittifully imitated by some of the Dutch Masters . And so , the Dutch pester their work with greenish , bl●● and purple Colour , in their Na●e●s , as would rather serve for a reasonable Landskip , and set out the flesh as if bastinado'd into black and blew . The Naturall Basano , an old and excellent Master ; yet so affected to Pots and Dripping-pannes , to blew cotes and Doggs , that his History of the Deluge sometimes in the Gallery at St. Jame's by White●all , seemes to be rather a disordered and confused Kichin ; then Noah's floud . So Ruben in his affected Colouring sometimes in the privy Gallery at Whitehall , and Cornelius of Harlem in his loose & untrussed figures , like old and beaten Gladiatry ; seem exceedigly to abuse that gentle and modest licence , which alwayes graced the worke of that admirable Italian Michael Angelo , that therefore it is not safe to go beyond the Life rather then so much to exceed the patterne by the Chimeraes of their own brain and fancy ▪ and yet what I have touched before concerning him also , is accounted a fault . Four severall sorts of Colouring . INdeed and briefly there are four severall kinds of Colouring to be observed in History . Of young Infants , of faire virgins , of young women , of old women , in every of these severally . It is in the power of a judicious Artist , to vary and change their manner of colouring , according to his discretion , or as the occasion and subject of his intention shall require . Infants and yo●ng children are to be of a soft , airy , and tender complexion , crimson and delicate colloured blood upon the ear and skin , almost transparent ; which you will expresse with White , Lake , and a little Red-lead ; the shaddowes are to be thin , faint , and tender ; the cheeks , lips , chin , fingers , knees , and toes , more reddish than the other parts of the body . The Linnen and Laune about these tender bodies , are to be made thin , and very transparent ; onely strongly touched up in the thickest foldings . The complexions of Virgins and fair young women , are not so much different from the other colouring , as in the perfe●tion and shapenesse of the work ; those few and soft Muscles are to be done gently and easily , to expresse the shaddowes of white-yellow , blewish , in some places purple . And if you seek perfection in this , or any of the rest , the nearest , and most certain , and infallible direction , is , by the Life ; which you may follow with best assurance ; since alwaies , we suppose , you know all colours , and how to mix them at pleasure . Mens bodies naked , are to be made strong , robustious , and vigorous ; the Muscles and Sinewes strongly and exactly fellowed , allotting to every Artery his right and due place ; which to do with understanding , is a study and practise of your whole life ; and yet an Artist otherwise , may not be deficient in this . So exceedingly doth Nature transcend Art , and her Idol●ters ; not easily to be courted , or so much as to be followed afar off . And though these observations are carefully to be exampled , yet is it in the power and judgment of the Painter , to vary the colours and severall complexions of bodies ; onely , if the postures be either reposed , or otherwise in violent action , they are to be more or lesse expressed . An excellent shadow for an old man's body , is Pinck , Lake , and Ivory-black ; it will be a glowing shadow , like the expression of the wrinckles and furrowes of the face and hands , of people extreamly aged , dark eyes , melancholly aspect . Subject enough , to show the riches of invention and spirit , especially if it be suitable to the History . To order many persons in one Tablet , of the same sex and age , apparelling and clothing their persona●es ; I do not find , that the best Painters have been very carefull , to present figures with colours of apparell , fitting their years ; as to an old man , sad and dark colours , and such like ; but rather quite contrary , bending their noble study to cloth their figures , with what may best adorn their workmanship . The Eastern Nations were never clothed in black or sad colours . The Virgin Mary is universally ( as it were by common consent ) represented in Purple and Azure ; St. John the Evangelist in Scarlet , the Apostles ( though most reverend ) are vested in Green , Crimson , Blew , as pleaseth the Painter . Of Drapery in Limning . FOr Drapery , I find but two waies in Limning ; the one by Italians and French , to work-in their Aparrel , in manner of washing ; working it with the point of a Pensill , with slips and little pricks , and engraving it all over , somewhat like the nap of Frisado ; yet so , that when all is done , you may see the parchment quite through your work ; which , in my opinion , is a very sleight single-sol'd device , and rather like a Wash-drawing , than a Master's work . The bett●r way is , to lay a good , flat , and full ground , all over , whose Drapery you mean to make ; and if it must be Blew , then all over with Bise , smoothly laid . The deepening Lake and Indico , the lightning White , very fine , faint , and fair ; and that onely in extreamest light . The same order you are to observe , in all your Draperies whatsoever . And this was the way of Isaac Oliver , in my observation . There is to be seen in the Palace of Don Julio Clovis , Crimson-velvet Curtains , and Clothe● of Gold , excellently expressed by lightning , with fine shell-gold : but it must be hatched and washed ; and your gold must be of your own making , for you can buy none fine enough for this purpose . You cannot believe , what an ornament this lightning with Gold is , and what a lustre it gives to fair coloured Drapery ; as , crimson-velvet , red , green , and blew : And if you mix gold with the very ground it self , you will find the apparell much fairer . And in the same manner , you are to work the Building and Architecture , especially in rich stately Edifices ; And so far was Albert Durar in love with this manner of working , that I have seen the very dirty earth , the dead stocks of rotten trees , and stakes of hedges , in Landskips , all lightned with this manner of working in gold , which shew very pleasant , and affect the eye exceedingly . Other remarkable observations there are , which you shall better master by your own practise , than my relation : And yet those that follow will not be amisse . Observations in Limning . WHen you begin to work , temper the Colours in a shell with your finger , dipt in water , a little before you begin ; if your colour will not take , or your parchment be greasie , temper with the colour a little ear-wax , as little as may be ; it is good to mix with those colours that do peel from your work , as hath been before noted . Sit not above two yards at the most ( for the face ) from the person , whose picture you take ; and six yards distance for the whole body , levell with them ; unlesse they are tall , then somewhat above them , for so they appear to most men , who are not so tall . Mark when he removes , though never so little , from his first station or placing ; recall him to the former sitting , for a little change of the site of the body or face , causeth errour in the work . Draw not any part of the face , in story or picture , exactly , or perfectly at the first , neither finish the eye , mouth , or nose ; but let all the work be made and concluded together . All the art and judgment is in the touch of Proportion , and the exact drawing ; yet , neatnesse of work , and curiosity in beautifull colours , do indeed many times grace the Picture in such manner , that the defects of drawing are not easily discovered , but unto very judicious observers . Never change your light , if you can possible , but rather finish the work by the first light : And therefore not many excellent Artists in this kind , will work abroad from their own light . A dishonour to transport his Easel , Pallat , Collours , and Pensills from home . When you have finished the face , and are to draw the posture , let the Person rise and stand , when you draw the lines of posture , and not sit by any means ; for though never so true sitting , yet you will find your self deceived in the draught , which will lose the grace and sprightfulnesse , and will be rewarded with a dull and livelesse aspect . Of Pastills , or Croyons . THe Pastill for Croyon , or dry colour : take three ounces of Lint-seed oyle , six ounces of yellow Wax , two ounces of white Mastick , four ounces of Colophonia , four ounces of Rosin-Depino Greaseo , one ounce of Turpentine : Melt all these together in a fair earthen pot or pan , well leaded ; put not all in together , but one quantity after another , as they melt ; cut the waxe in pieces , it will melt the sooner ; stamp the Rosin , and Caliphonia ; this done , let it be luke-warme , in any wise not hot ▪ mingle there with ( as best you may with your hand ) the Lapis Loculi ; ground and work it up in a lumpe , and so let it rest a day or two , then take a faire earthen pan or a dry smooth Bason almost full of water , so warme , as you may well indure your hand in it . Then take the massy Lumpe and work it between your hands , so long as you can see it sweate out a cleer water of a blew Colour , and the longer it is before the drops come forth the better . When the water is well blewed , set it away , and take another Bason or Panne of clean water and worke it as before , then take another Panne ▪ a fourth , and a fift ; till no more drops will sweat out , letting the ground remain and dry throughly : then with a feather wipe it off the panne , upon a paper ; and so put it up the first blew that sweateth is best , and so the rest in degrees . You may put the worser sort into the like new Pastill again , and work it over as before . It will be the fairer but less in quantity . There are other wayes pretended . Note also , that the Pastill can never serve but once : and afterwards , to make Lincks , and Torches . You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO , the deepest colour the best . To work in Croyons or Pastills , I observe three manners of wayes . The first and worst , is that of Monsieur de Mousters of Paris , whose custome is to ●ub-in several Colours , ▪ being first reduced into powder , and set in severall small boxes , ) upon the paper , which commonly is the whitest ; and this he doth with severall stubbed Pensils , the ends fitted with Cotton or Bumbaste . His work is reasonable neate , but not lasting , there being nothing to bind on the Colours , which commonly fall off , and the work lost or defective . The second is with Pastills the length of a finger or thereabout , composed of severall Colours , mixt and ground together , of a good consistence and stiffnesse , and so rouled up and laid to dry . They have used to make them up with Milk , Beer , or Ale , or new Wort ; others with old rotten size , to bind the Colours together . The last and best ( as I conceive ) is to Colour the pa●er , whereon you intend to draw the Picture , with Carnation or flesh Colour , neer the Person's Complexion you mean to draw . Cover the whole paper ( for some complexion ) with Ceruse , Mene , and a little yellow-Oaker , ground with Gum ; When you prepare one paper , do so with many other papers to save labour , and those with different complexions , untill you have use of them . Lay the Complexion with a sponge wet , but let it be so bound , as it may not come off with rubbing ; this done & dry , draw your outward lines with red-Chalke faintly . Then with your several Pastills rubbe in the Colours , & , with your fingers-end , sweeten and mixe them together , driving them , one within another , after the manner of the Oyl-Painters ; and because you cannot sharpen your Pastills as shall be needful , you must remember to close up all the worke with Red-Chalke and black-Chalke , which ( with your Pen-knife ) sharpen at your pleasure . I have seen a book of Pictures in this last manner of Croyon , done by the hand of that incomparable Artist Hans Holben , who was servant in Ordinary to KING Henry the Eighth . They were Paintings of the most ENGLISH LORDS , and LADIES then living ; and the patternes whereby he drew their Pictures in Oyle . Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody . Yet there appear'd in those ruines and remaines , an admirable hand , and a rare manner of working in few lines , with much diligence and labour in expressing the Life and Likenesse . Many of them equalling his own Oyl-Pictures , and alwayes excelling any other Artizan . After a long time of Peregrination , this Book fell into the hands of the late Earle of Arundell , Earle Marshall of ENGLAND , an eminent Patron to all PAINTERS , and who understood the ART ; and therefore preserved this BOOK with his Life , till both were lost together . The Ordinary working in Croyon is upon blew-paper , the Colour rubbed-in , first with the Pensill ; and afterwards , either with a stubbe-Pensill with your finger , or with a little piece of paper , or with a sponge , or otherwise . You may also work in Croyon upon Parchment exceeding neat and curious in that manner , as these small Pieces to the Life done upon Velome , Parchment , and white Paper also , by the admirable Artist and Gra●er in Brass , Henricus Jessius at Harlem in Holland . The faces no bigger than a Jacobus in Gold coine . His Pastills of the shape and bigness of a tackpoynt , but longer : they might compare with Limning and seemed so , to the suddain view . They were rubbed-in , with small Cotten-pensills , and were finished with sharp poynted Red-chalke and Black-chalk . The true way of making the Pastill , is the secret of the Art ; and so you may remember that I said , some make them of Ale-wort and such trash , to tell you the difference not to teach you those wayes : for either they bind so hard , that they will not mark nor score at all , or else so loose and brittle , that you cannot bring them to finenesse . For tempering so many Pastills for change of Colours in the Face . I Shall onely direct you in one COLOUR , for example of all the other . For a Brown Complexion . Grind upon the stone , Ceruse , Red-leade ( or Vermillion , for this is a more useful colour in this kind of work then in Limning ) English Oaker and a little Pinke ; you need not grind them very fine but onely to bruise and mixe them well together . To these , adde a reasonable quantity of Plaister of Paris burnt and finely sifted , mixe and incorporate this , with the other Colours , thick and stiff , like moyst clay ; then take it off the stone , and roule it betwixt the palmes of your hand , as long , or as little as you list ; then lay it to dry , in the Sun or Wind , but not by the Fire . In this manner , and with mixture of Playster of Paris , temper all the other shadows , and Colours whatsoever ; the quality of this plaister of Paris , is to binde the Colours together , and to make them durable , which otherwise would be loose and brittle . With your Pen-knife scrape them being dry , to a fine poynt , so sharpe , that you may with it draw a haires breadth , and this Plaister makes the Colour so hard and drye , that you may draw lines upon Parchment or paper . The Colour Crimson is most difficult to worke ; It is made of Lake , which of it self is light and hard : therefore instead of that , use India Lake or Russet , observing alwayes to mixe white Ceruse with all the other Colours , or shadows , whatsoever . And when you are to mixe a Colour that is hard to worke as this Crimson , ( which commonly you shall find brittle and hard ) then temper it with another Colour , neer the same in Colour , but more soft and gentle . As if you mixe a little Vermillion with a good quantity of Lake , it will take , not much from the Colour , and make it work very well . In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks , Waters , Skyes , and tempering the Greens with white Pinck , Bise , Masticoate , Smalt , Indico , and to make them high , deep , or light , as you please ; remembring where you are to temper fast and firm colours , as Umber , Oke , Indico , take the less plaister of Paris . But where your colours are loose and sandy , they bind the stronger and faster , by adding more plaister . And when your colours are dry , before you begin your work , sharpen them with a pen-knife , according to the large or little proportion of your designe . Having ground the white-lead to a sufficient finenesse , put it together with the water with the which you ground it , ( being sweet water distilled ) into a Silver or China-dish , wherein hath been dissolved a good quantity of Gum-Arabick , and strained : The water becoming clear , and the colour become setled ; poure the water away , and let it dry inthe dishes , and so receive it to your use . The second washing will serve well to work withall , and temper and mix with the shadowes . The third and last is good for heightnings , lights , and high touches , and strong reflections . But the first and coorsest in the bottom , reserved in the first dish , must be ground again , and tempered with gum-water , and is very good for laying grounds , and carnations , and complexions for Picture by the life . It is good to mix Spanish White with your white-lead , for it will bind it together ; and it is good to be heightned upon . If you have no Spanish White , make this mixture : Take two parts of ordinary Chalk , and one part of Allom ; grind these together to a good finenesse , which being made up to a lump , burn it in the fire , and reserve it for use . And so much for the work , by Croyons , or Pastills . Of Frescoe . THe way of Painting upon walls , to endure weather , the Colours must be ground with lime-water , or milk , or whey , tempered and mix'd in pots , as in Size-colouring . Take the powder of old rubbish stones , mixed with well-burnt flint-stones , ( or lime ) and water ; wash out the saltnesse of the lime , by often pouring out the water , and put in fresh , the oftner the better , which makes the plaister or compost : Avoid moist weather , which hath influence upon the walls . ( To do the work lasting , strike into the brick or stone-wall , stumps of head-nails , about six inches assunder , which will keep the plaister firm from peeling . ) Then with this compost , plaister the wall a good thicknesse , letting it dry ; and your colours prepared ready and mingled , plaister again over the former , the thicknesse of half a crown of silver , very fine and thin , so much as you intend presently to work upon , whilst it is wet : Work your colours therein , which will co-operate and corrob o rate into the plaister , and so dry together as a perfect compost . Work your painting quick with a free hand , for there cannot be any alteration after the first painting ; and therefore make your painting high enough at the first : You may deepen , but not easily heighten . Avoid Min●rall colours ; Earth colours are best , as all Oker s , Brown of Spain , Terre-vert , Spanish-white , and such like . Your Brushes and Pensills must be long and soft ; otherwise they will ●ake the work , and raise the painting . Your Colours must be full , and flowing from the Brush ; your Designe , perfect in the Image , or paper-copy ; for in this work , you cannot alter or add upon any colour . To make excellent pur● White-Lead . PUt into a gallon pot certain plaits of clean fine le●d , cover them with white-wine vinegar , glewing the pot with clean Lome ; bury it in a Cellar a months space , or six weeks , then you shall find very good white-lead upon the plates , which take off for use . To make severall Colours . BReak the best Verdigree●e into fine powder in a mortar , then having laid the ground with liquid silver and burnisht , temper the Verdigreece with Varnish , it makes an Emerauld ; as also with Florence-Lake , it makes a fair Ruby ; and with ultra-Marine , it makes a Saphire . Let it rest a while upon your hand , that the varnish thereof may di●solve the stone . Make it little , eeven , and smooth upon the Card , and it will dry ●n a day . A Crimson-Velv●t . TAke Indico-Lake , well ground , and strongly bound with G●m , and a little white-Sugar-candy . Temper these with a little Turnsoil , then lay it full ; and when it is wet , with a dry Pensill , wipe away the colour , where you will have the heightning of the Crimson-velvet appear , and the strong reflections will this way expresse it . Excellent Receipts from Mr. Hilliard , that old famous English Limner . PEarl must be laid with a white , mixed with a little black , and a little India blew Mastick , but ye ta very little , in comparison of the white , not the hundred part ; which being dry , give the light of the Pearl with silver , somewhat more to the light side , than to the shaddow . Then take White allayed with Mastick , and underneath the shadow-side , give it a compassing stroak , which shewes the reflection ; then without that , a small shadow of sea-coal , undermost of all . But note , that the silver must be laid round and full . Note , that all Stones , ( besides the Diamond ) must be glazed upon silver , with their proper colours , with a varnish . An excellent Black . THe best Black is black-Ivory , burnt in a Cr●cible , well stopt with a tyle-shard , or iron-plate , and luted , that the aire enter not : Mix therefore the luting with a little salt , heat it red h●r a quarter of an hour , then being set by , let it cool of it self , the pot still close ; then open it , grind it with Gum-water , onely wash it in this manner from the Gum ; pouring water into it by little and little , in some deep glasse , stirring it with a feather ; and when it is as thin , or thinner than Inck , let it settle an afternoon ; then poure it from the uppermost of the matter , which is but the sc●m and foulnesse , ( good to put into Inck ) the rest being very dry , take it out of the glasse and keep it in paper or boxes for use . But you must soft grinde it again , or temper it again upon the stone with water , adding Gum beaten fine , into it , with discretion , for by use , you will find the fault ; if too little , it worketh ill , and dries too fast ; if too much , it will be bright , and glister like oyl-colour , which by any means avoid . The five perfect Colours , with their Lights and Shaddowes . THe best for Limning , is a Lake of it self , of a Murray colour , which is best made , and to be had at Venice , or in Flenders at Antwerp ; for if you make shift with other Lake , adding blew , to make it Murray , it can never be good . The former Lake is to be ground with Gum-Arabick water onely , although when it is once dry in the shel , it is hardly reduced into a condition to work well again . Then grinde more and fresh . 2. Red , or Ruby . IF you will make a fair Red for Limning , take India-Lake , ( with breaks of a Scarlet , or Stammell-colour ) there are sundry Lakes , which will shadow one upon another , and some ●o black , that they must be ground generally with Sugar-candy , amongst the Gum , and others with Sugar onely . You cannot grind them too much , nor need they washing . Vermilion also is another Red , which must be ground and wash'd . 3. Blew , or Saphire ▪ THe darkest and richest is of Ultra Marine of Venice ; but that is very dear , in the place thereof we use Smalt , of the best Blew ; Bises also of severall sorts , paler then other of five or six degrees . They may be ground ; but better to be beaten in a Morter of flint , like Ammel , very smooth , with a Pestill likewise of flint , or Aggat , well stirred , till it be fine , with gum-water onely , and well wash'd . So have you many sorts , and all good ; shaddowing Blewes , or Litmus , Indico blew , Flory . These need no washing , nor Litmus any grinding , but steeped in the lees of Soap-ashes . Use Gum with discretion , as aforesaid . 4. Green , or Emrauld . GReen ; the best is Cedar-green , in the place thereof , take Tripall , to draw with : Pink is also needfull for Landskips , mixed with Bise-ashes , makes another Green ; so likewise with Mastico●e and Ceruse , as you see cause . For light-greens , sap-greens , flour d● Bise , tauny-green , needs nothing but steeped in water , which is best . 5. Yellow , or Topas . YEllow the best is Masticote , whereof there are divers forts , paler or deeper ; yellow Oker , for want of better , is another also ; and these wash'd , not ground , do best ; and must have a little Sugar amongst the Gum , in tempering them . Shadowing Yellowes ▪ are of the stone , found in an Ox-gall , ground with Gum-water , not washed . And yellow Oker , made with white Roses , bruised with a little Allom , and strained ; neither of them needs grinding , nor washing , nor Gum . You may make shift with fair Oker de rouse , and Sa●●ron water . Shadow your Masticote with yellow Oker , deepen it with Oker de rouse . And so have we done with the five perfect Colours . An excellent Receipt to make Vltra-Marine . TAke the broken pieces of Lapis Lazarilli , the deeper blew , or between black and blew , with as little grains of gold upon them as may be ; put it into a Goldsmith's meltingpot , covering it with a potsheard ; heat it hot about an hour , upon a fire of charcoal ; then quench it with urine , vinegar , or water , in some pot , well leaded : dry it in a fire-shovell upon coals , the moisture quite dry ; then lay it upon a table , and with pinsers , nip off the hard part from it , being gray and whitish : Then boyl two spoonfulls of Honey in a pot of clean water , and take the Lapis Lazarilli , and grind it out with this water , as fine as may be , and so let it dry for use . To make a Varnish . TAke a pound and half of oyle Aspeck , the best ; five ounces of Mastick , as many of Sandrose : put these together in a glasse , boyling them in a pottle of water , and putting a cloth in the bottom ; stir it often for three hours , the longer the better ; and after it is cool , let it stand in the Scum for ten daies . An excellent Water , for the preserving white-Colours , and recovering them , being dead or starved ; and generally for all Colours . TAke Rosemary-water distilled , and with a few drops thereof temper a shell of White , so starved or dead , and it shall instantly become perfect ; for a truth , try one half of the colour , and see the difference . It hath also this quality of goodnesse , that whereas all colours ( especially Whites and Umber ) in the grinding and tempering , arise in bubbles , very troublesome to an Artist , a little of this water clenseth the colour , and disperseth the bubbles ; and being tempered with your colour in the shell , makes it flow , and to work exceeding sharp . The draught of a Landskip Mathematicall ; they that have leasure and desire thereto , may make experiment . SEt up a little black Tent in a field , made easie , portable , and convertible , as a Wind-mill , to all quarters at pleasure , capable of no more then one man with little ease , exactly close and dark , save at one hole , an inch and half diameter ; to which , apply a long prospective Trunck , with a convex glasse , fitted to the said hole , and the concave taken out at the other end , which extendeth unto ( about ) the middle of this erected Tent ; through which , the visible radiations of all the objects without , are intermitted , falling upon a paper which is accommodated to receive them , and so trace them with your pen in their naturall appearance , turning this your little Tent round by degrees , till you have design'd the whole aspect of the place . There is good use hereof in Chorography ; but to make Landskips hereby , were too illiberall . Surely no Painter could exceed the precisenesse of these . To make clean a fonl , or old Picture , in Oyle . MAke clean the Picture with a spunge , dipt in warm beer , and then let it dry ; and afterwards wash it over with the liquor of the whitest Gum-dragon , steeped or dissolved in water , which will set a glare or freshnesse upon the Picture . If you use blew starch , or glare of eggs , or other such trash , as is very common , it will take off the heightning , and spoil the grace of the work . Light , bad for the eyes . LEt not the aire be too lightsome ; excessive light scatters the spirits , and causeth the sight to be lost . Xenophons souldiers passing a long time in the snow , became almost blind . Dionysius the Tyrant , shut up his prisoners in dark holes , and sodainly bringing them to sun-shine took away their sight . Some colours are not profitable for the sight , which diffuseth the spirits , drawing them to it ; Black makes them too grosse : Not any colour does much comfort the eyes , but Green , Blew , Viol●t , Saphir , and Emerauld . Flowers of Burrage , and leaves of Burnet , put into French-wine , the colours comfort the eyes , the property of the Herbs represse the vapour of the Wine ; and this Wine is most due to be drunk by an excellent Painter ; in which , other persons may have leave to taste onely , unlesse to drink his health , unto The END . Notes, typically marginal, from the original text Notes for div A94194e-5800 Pen and Pensill described . Of the five Senses . Sight the best sense . Sight compared with other senses . Excellency of sight . 1. Variety of Objects . 2. In spiritual operation . 3. In Light the Noblest Quality . 4 ▪ In infallibility . Eyes their exlency and effects . In the descrption of a Landskip . By an English Gentleman . The Mountain Vesuvius burning . Simile ▪ Prospect of the Vale . River . Bridge . And Orchards . People flye from the Fire . And from the mixt Villages . Hills a farr off . The left hand Prospect of the Vallye . Foot of the Hill . Horison . Travalers . A Curtezan Courted . The Tale put into a Picture . Description of a storm at Sea . Storm begin● with wind and waves . Lowers the Sayle . ●orridnesse . Ships Instruments useless . In sundry ships severall distresses . Sheets rent and Tackling tare . Boy blown away . Mariners miseries . Spectators frighted . Passengers in a long-boate , cast away upon Sands , And They are drowned . The Wrack described . Goods thrown over-board . Ship sincks . The lading flotes , and men upon them . And men drowned . Wrack on shore . Only one man saves himself . Harmony of Poetry and Painting . Painting before Poetry by Hieroglyphicks . Graecians the first Painters . Paintinghighly valued . Excellency and Effects by massacre at Amboyna . Pictures valued at a mighty Price . Van Dorts death by losse of a Picture . Mr. Gibson , the Marquisate Picture . Three Knight-Painters . Use of Paintings . Ornaments to Houses . Whether Sculpture or Painting , be supream . Decided by a Blind Man . 1. The first Grace of a Picture . A Cut hereof . To distinguish Principall from Copies . Mr. Croix . Of Laniere . How to judge of them By distinction Of Old and New Pictures . In History . Antient Italians and their successors . Dutch Masters . French Masters . Designs . Life . Landskip● Flowers . Prospective Sea Pieces . Beasts . Neat heards . English Modern Masters . Limning in Water Colours . War destroyes all Arts . Abilities of Painters . Confined . Of Factions . The Painter's freedom . Difference of Naturall and seigned Figures . And with Grace . Well Coloured . 1. With Force , what it is ? 2. And Affection , what ? The first ordering of Painting by Grecians . Their Names and Qualities . How to dispose of Pictures . Not upon out-side of Houses . Grotesco work , what it is . Of Fresco what it is ▪ Whole Towns of this worke . Three Chambers in Rome . And in France . ●o dispose Pictures within doors . How for light ? Orderly for grace In the Hall , Staire-Case . Great Chamber . Dyning-Roome . Drawing-Chambers . Bed-Chamber . Banquetting-Rooms . Galleries : Tarraces . ● Note . Five sorts of Paintings . Drawing and Designing , their excellent use . The Cuts of these , all lost ●● Sea . The practice of Drawing and Designing . How to draw by Copyes . Of severall members o● the body . Head and shoulders . Nakeds . Skeletons . Pensils . Drapery what ? Of hatching . The best Prints . Shadan and others . Most Pictures are Copied by Gravings . With severall Names to them . Not to Paintere you can Draw well . In reference to Philosophy and Poetry And Painting . Into three sorts . Of Imitation . In severall graces and abilities . Of Fancie . Surpassing Imitation . Fancy in sleep . It changes passions and affections . Mr. May . To encrease fancie . And order it in a Picture . Not to dwell upon d●signing . To correct what is amisse . And to submit to Censure . being wisely judged . Five Principa parts in a Picture . Invention . Proportion . Of true beauty . Naturall or conceived . By the Idea . His brave and unpattern'd and unparallel'd Piece of Artime●ia . Likenesse , not to be compared To Symmetry And therefore Naked Bodies hard to Paint . Designing Lines , what ? A Cut . Colouring , what ? With Light and shadows . Tonus , what ? A Brightness . Harmogia what ? As the Rainbow in Colours . Of Spirits and Souls Painted ●● A Geometricall Line . Colouring of a Man . And beauty of a Woman . Action and Passion . How to be expressed And to be improved In severall postures of the Head . Hands and Arms . Energia what ? By example of Titian ' Pieces . And of Palma's Piece . And of another . Of Disposition . In order to perfection , Soon discovered . But altogether excellens . By exampl● in brief Conclude a rare Picture . Parergia what ? With pretty adornments gracefull . And to conclude it a wonder . Dedicate to the gods . Painter's faults . Conclusion of all Sets you forward to the Second Book . Notes for div A94194e-32640 Colours not usefull . Ceruse . White-Lead . Note . How to grind it Upon what stone To use it ▪ Gum-atrabick . Note a generall rule ▪ Colours to be washt and ground ▪ To be washt only . Why to be washt . But five perfect Colours . India-Lake . To ●ixe all Colours . Oker , Pinke . Blew and yellow makes green . Umber . Brown of Spaine . Terra-Colen . Cherry-stone and Ivory black . Ivory . Red-Lead to be washed . How to use it . Pensils how to choose them . To make Pensils . Some onely for Gold . Tablet for the Life . The Prime for severall Complexions . Faire . Brown . How to lay on the ground . To prepare Colours upon your shell . Of Whites , Reds . Blews , Grisatrie . Your Light . And sitting . First lines . Manner of Limning . To the Life . First ●itting . Second . Third . Dead-Colour Note . Particular directions of the Picture , Blew-Colour-working . Eyes . Haire . Note . Second sitting . Observation . The Ground-Colour behind . Curtaine of Blew , How to lay it Remarkable . Crimson Satten ground . Over-view , and add to the face , And Haire . The Dressings Blackish reflections . Third sitting . Likenesse , Resemblance , Countenance , Marks , Moles . Note . Remarkable . Armour to Colour Silver . Gold Colour . ●all-stone of an Oxe . The manner of working liquid Gold , Or Silver . Pearle . Diamonds . Rubies . Emrauld or Green-stone . Saphire . Amethist , Liquid Gold , to make it . Liquid Silver , to make it . Silver larnish Tablet for Landskip . Landskip after the Life , the way to draw it . To make a Landskip . Dead Colour . Next ground ▪ And neere● . Note . Trees . Note ▪ Paul Brell's observations . Light against dark , et ● contrario . Heightning the touches of the Trees . Cataracts and falls of water-Rock● . Second working . History of rare pieces by Salmiato . By Graetians , By Albert D●rar , Don Clavio ▪ Error in the Italians . Isaack Oliver . The difference in Painting History and Picture . Variety of Colours in the Life . Bloomart and Spranger . Liberty affected in Colouring . By Raphael Vrbine . And Bassano , Ruben and Cornelius of Harlem , Angelo . Four severall wayes of Colonring . 1. Of Infant● . 2. Virgins and fair-Women . 3. Men naked ▪ 4. Aged bodies . Severall persons of one age and sex , in one Tablet . Colours of their Apparel . Drapery two waies . Blew Drapery Isaac Oliver . Lightning with Gold , upon all Colours , by Albert Durar . Observations in Limning . The Sitting , Proportion , Light , and Posture ▪ Pastills for Croyons . To make them Lapis Loculi , Lapis Lazarilli . To make Ultramarine . 1. With Powders . 2. Pa●tills ▪ 3. Colour'd paper . Croyons of Holben , a rare Book . Ordinary working in Croyon . Brown Complexion . Plaister of Paris . For Crimson ▪ Greens , And Other Colours . White-Lead . To counterfeit Spanish White . Frescoe . Painting upon Walls . Without any Mineral colours . What Brushes White-Lead . Emrauld . Ruby . Saphire . Crimson-velvet . Pearl . Note . Black . Murray , or Amethyst . 2. Fair Red , or Ruby . 3. Blew , or Saphire . 4. Green , or Emrauld . 5. Yellow , or Topas . To make Ultra-Marine . To make a Varnish . An excellent Water . A Landskip . To clean old Pictures . Light , bad for the eyes . Colours good and bad for sight . 
A26548	----	Painting illustrated in three diallogues containing some choice observations upon the art together with the lives of the most eminent painters from Cimabue to the time of Raphael and Michael Angelo : with an explanation of the difficult terms. Aglionby, William, d. 1705. 1686 Approx. 413 KB of XML-encoded text transcribed from 213 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-03 (EEBO-TCP Phase 1). A26548 Wing A765 ESTC R27095 09649090 ocm 09649090 43902 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A26548) Transcribed from: (Early English Books Online ; image set 43902) Images scanned from microfilm: (Early English books, 1641-1700 ; 1347:4) Painting illustrated in three diallogues containing some choice observations upon the art together with the lives of the most eminent painters from Cimabue to the time of Raphael and Michael Angelo : with an explanation of the difficult terms. Aglionby, William, d. 1705. [34], 375 p. Printed by John Gain for the author and are to be sold by Walter Kettilby and Jacob Tonson, London : 1686. "Epistle dedicatory" signed: William Aglionby. Reproduction of original in the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. 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Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting. Painters -- Italy. 2004-11 TCP Assigned for keying and markup 2004-11 Aptara Keyed and coded from ProQuest page images 2004-12 Andrew Kuster Sampled and proofread 2004-12 Andrew Kuster Text and markup reviewed and edited 2005-01 pfs Batch review (QC) and XML conversion Imprimatur , December the 8 th . 1685. Robert Midgley . Painting Illustrated IN Three DIALLOGUES , Containing some Choise Observations upon the ART . Together with THE LIVES Of the Most Eminent Painters , FROM CIMABUE , to the time of RAPHAEL and MICHAEL ANGELO . With an EXPLANATION of the Difficult Terms . London , Printed by John Gain , for the Author , And are to be Sold by Walter Kettilby , at the Bishop's Head , in St. Paul's Church-Yard . And Jacob Tonson at the Judges-Head in Chancery-Lane : M.DC.LXXXVI . Imprimatur , December the 8 th . 1685. Robert Midgley . And Entred according to Order . ERRATA . EPistle Dedicatory , pag. 2. line 6. for Aliana , read Alliance . Preface , p. 2. l. ult . f. Mary , r. Mark. p. 3. l. 2. f. Mary , r. Mark. p. 4. l. 3. f. Inspiring , r. Aspiring . p. 19. l. 11. f. audici , r. & dici . In the Dialogues , p. 8. l. 8. f. Centeres , r. Contours . p. 13. l. 2. f. sence , r. Sex. p. 19. l. 19. f. Centours , r. Contours . p. 60. l. 7. f. Pranitelles , r. Praxiteles . p. 120. l. 6. f. Anachronisaie's , r. Anachronisms . p. 153. f. Slanders by , r. Standers by . p. 169. l. 16. f. Neptune , r. Neptunum . p. 228. f. Pearch , r. Petrarch . p. 261. l. 7. f. Pictor , r. Pictori . Ib. l. 9. f. Artes , r. Artis . l. ult . f. onoriente , r. moriente . p. 272. l. 20. f. Centers , r. Contours . p. 281. l. 9. f. Centers , r. Contours . p. 312. l 2. & 4. f. St. Mary , r. St. Mark. p. 326. l. 22. f. Hands , r. Heads . Advertisment . THe Whole Art of the STAGE , written by the Abbot Hedelin , at the Command of Cardinal Richlieu , and newly Translated by the Author of this Book ; is to be Sold by Samuel Smith , at the Princes Arms in St. Paul's Church-Yard . TO THE RIGHT HONOURABLE WILLIAM EARL OF DEVON , BARON CAVENDISH OF HARDWICK , &c. THE EPISTLE DEDICATORY . MY LORD , THE Liberal ARTS ( amongst which , with the Greeks and Romans , I place Painting ) do so naturally depend upon the Countenance of Great Men , that without their Protection , they seldom take Root enough to defend themselves against Envy and Ignorance : Nor , on the other side , does Greatness it self , though never so Luxuriant , either sit Easie in its present Enjoyments , or live Kindly in the Memory of Posterity , without those Ornaments of its Power , the Arts and Sciences . But this Aliana of Knowledge and Greatness , is always more Conspicuous , where the Maecenas is not only a Lover , but a Judge of the Beauties of Ingenious Productions : This being , where could I have sought a Patron , but in your Lordship , for the Improvement of an Art , which makes one of your chiefest Delights ; and in the Knowledge of which , you show as much Skill as the Artists themselves do in the Execution . Secret Beauties are the great Charm of Life to Dilicate Souls ; but they want nice Observers to be enjoyed ; and Pictures have that singular Priviledge , that though they seem Legible Books , yet they are perfect Hieroglyphicks to the Vulgar , and are all alike to them . 'T is to remedy in some measure , this Misfortune of so noble an Art , that I have taken the pains ; your Lordship will see if you daign to look into this Volume , which is Humbly Dedicated to you : The World , I am sure , will justifie my choice of a Patron , whatever they may do for the Book it self ; for in your Lordship , besides Nobleness of Birth , and Eminency of Fortune and Dignity , there is an Innate Sweetness and Candour , accompanied with a Serenity of Temper , and Firmness of Courage ; which draw to you the Vows and Respects of Mankind , and make Offerings of this Nature to be but just Tributes to so known a Merit . I should hardly , after this , dare to mention my particular Obligations to your Noble Family , could I hope for a more favourable Occasion of Expressing that Gratitude which I owe : They were laid upon me , not only in my Infancy , but even some days after my Birth ; and so Generously contrived , that they are like to last as long as I live : And therefore I reckon my Dependance to be a part of my Being ; and shall as soon forfeit the one as the other : I am only sorry that Fortune concurs so little with my Wishes , as to have made me hitherto an Useless Servant to your Lordship , whose particular Merit I have always as much Admired , as others may do the Splendour of your Fortune ; the Influence of both will , I hope , be felt by this Noble Art of Painting ; and I in my particular , shall be continually studying how to express my Devotion to your Lordship's Service , in a better Manner than by barely assuring , as I do now , that I am , My Lord , Your Lordship 's most Humble , Obedient , and Obliged Servant , William Aglionby . The Preface . IF the desire of perpetuating our Memorys to posterity , be one of the noblest of our Affections here below , certainly those ARTS by which we attain that kind of Immortality , do best deserve to be Cultivated by us . Therefore Historians and Poets , who keep , as it were , the Registers of Fame , have always been Courted by the Great and by the Good , as knowing that the Merit of their Actions depended upon their Pens ; but because those very Men through whose Hands such Glorious Atchievements were to pass , might either be led away with Passion , or swayed with Prejudice , to make a false Representation of them to the World. Providence yet kinder , gave us two Arts , which might express the very Lines of the Face , the Air of the Countenance , and in it a great part of the Mind of all those whom they should undertake to Represent ; and these are , Sculpture and Painting . Michael Angelo , the famousest Sculptor of these Modern Ages , looking one day earnestly upon a Statue of St. Mark made by Donatello , after having long admired it , said at last , That if Saint . Mark were like that Statue , he would have believed his Gospel upon his Physionomy , for it was the honestest Face that ever was made . 'T is hard to say , whether he commended the Artist , the Saint , or the Art it self most by this Expression : But this Inference we may make from it , That if the Faces of Heroes do express the Greatness of their Minds , those Arts which perpetuate their Memory that way , are the truest of all Records . This made Alexander so sollicitous , that none but Apelles should draw his Picture : and caused Charles the Fifth to value himself , upon having sat three times to Titian , as if he had obtained three Victories over Death and Mortality . But there is in these Arts a Charm for the Survivours as well as for the Dead : And who is there of a Vertuous MIND , or an Inspiring SOUL , who is not infinitely pleased to contemplate the Looks , the Meen , the Air of those who have done great things amongst Men : the Majesty of Alexander ; the sharp Quickness and piercing Selerity of Caesar ; the Tranquil Magnanimity of Scipio ; the Beauty of Cleopatra , are still extant in their Statues and Medals to such a degree , that none of the Curious would ever go about to give them another Countenance than those that have been transmitted to us this way . I shall not undertake to determine here , which of these two Arts deserves our Admiration most : The one , makes Marble-Stone and Brass soft and tender : the other , by a strange sort of Inchantment , makes a little Cloth and Colours show Living Figures , that upon a flat Superficies seem Round , and deceives the Eye into a Belief of Solids , while there is nothing but Lights and Shadows there : But this I may say in favour of the Art of Painting , whose praises I am now to Celebrate , That it certainly is of a greater Extent than Sculpture , and has an Infiniter Latitude to delight us withal . To see in one Piece the Beauty of the Heavens , the Verdant Glory of the Earth , the Order and Symmetry of Pallaces and Temples ; the Softness , Warmth , Strength , and Tenderness of Naked Figures , the Glorious Colours of Draperies and Dresses of all kinds , the Liveliness of Animals ; and above all , the Expression of our Passions , Customs , Manners , Rites , Ceremonies , Sacred and Prophane : All this , I say , upon a piece of portative Cloth , easily carried , and as easily placed , is a Charm ; which no other Art can equal . And from this Idaea of the Art , we may naturally derive a Consequence of the Admiration and Esteem due by us to the Artist ; he who at the same time is both Painter , Poet , Historian , Architect , Anatomist , Mathematician , and Naturalist ; he Records the Truth , Adorns the Fable , Pleases the Fancy , Recreates the Eye , Touches the Soul ; and in a word , entertains you with Silent Instructions , which are neither guilty of Flattery , nor Satyr ; and which you may either give over , or repeat with new Delight as often as you please . If these Qualities do not sufficiently recommend the Owner of them to our Esteem , I know not what can ; and yet by a strange Fatality , we name the word Painter , without reflecting upon his Art , and most dis-ingeniously , seem to place him among the Mechanicks , who has the best Title to all the Liberal Arts. Antiquity did not so ; and whoever shall read the Tenth Chapter of the Thirty-fifth Book of Pliny ; which is nothing else but an Encomium of this Art and its Artists , will find , that Great Princes , and the most Digninified Magistrates , thought Painters fit to be their Companions . Alexander was as often found to be in Apelles's Painting-Room , as in his Pallace ; and to Oblige him , parted with the Beautifullest of all his Mistresses , because he saw she had Wounded Apelles's Heart : Demetrius chose rather to Raise the Siege of Rhodes , than to ruine a Piece of Protogenes's , which was painted upon the place where he could have best Annoyed the Town ; and while his Camp was before it , would often go to see Protogenes at Work , in a little Countrey-House he had within the Precinct of the Camp : And to show the Breeding and Wit of the Painter , as well as the Politeness of the Prince , I cannot omit the Answer Protogenes gave Demetrius , when he asked how he durst continue to Work with so much Tranquility in the midst of the noise of Arms , and the Disorders of a Camp ? He Civilly replyed , That the knew Demetrius had War with the Rhodians , but he was sure he had none with the Liberal Arts. But to come nearer our own Times ; Francis the First , was so in Love with Painters , that he got Italian Painters at any Rates , and obtained of Andrea del Sarto , and Lionardo da Vinci , to Honour his Court with their Presence and Works ; as he did the latter , with visiting him when he lay a dying , and suffering him to expire in his Arms. Charles the Fifth was so fond of Titian , that he gave his very Courtiers some Jealousie about him ; but he Cured them of it , by telling them , That the Moments he gave to Titian , were to be well managed , because he was not sure to have his Company always ; whereas he was sure of theirs , who were more the Attendants of his Fortune , than of his Person . When he sent him any Present , which he did often and nobly , he always accompanied it with this Compliment , That his Design was not to pay him for his Work , which could have no Price : Which agrees very well with what Pliny says of the Princes and Great Men of Antiquity , That they did not pay Pictures by Summs , but by Heaps of Gold and Silver . In nummo Aureo mensura accepit , non numero ; says Pliny of Apelles : Ridolfi in the Life of Titian , reports , That one day the same Emperour sitting for his Picture , it happened , that Titian let fall one of his Pencils ; which the Emperour presently took up , and gave him again ; which putting the Painter to the blush , and obliging him to make Excuses for the trouble the Prince had taken ; he was answered by him , That Titian deserved to be Served by Caesar. Raphael del Urbin was so Acceptable to Pope Leo the Tenth , who was a most Magnificent , Accomplished Prince , that he not only made him of his Bed-Chamber , that he might have his Company the oftner ; but likewise had resolved to Create him Cardinal at his next Promotion ; not thinking the Sacred Purple it self a Reward above the Merits of Raphael's Pencil : But the Death of Raphael prevented so Glorious an Acknowledgment of his Deserts . Rubens , in our days , after having been in Favour with most of the Great Princes in Christendom , was at last chosen by the Infant Albert , and the Infanta Isabella , to be their Ambassador at London ; where his Talent for the Great Affairs of State was no less admired than his Pencil , which has so richly Adorned the Ceiling of one of the best Rooms in Europe , I mean , the Banquetting-House . And indeed , he could never have fallen into a Court that was more disposed to acknowledge his Skill , than Ours was at that Time : King Charles the First , of Sacred Memory , was not only the greatest Favourer , but the truest Knower of all those Arts ; and by his Countenance , the whole Court gave themselves to those Refined Pleasures ; there being hardly a Man of Great Quality , that had not a Collection , either of Pictures or Antiques : Artists flowed in upon us from all parts : And had not the Bloody-Principled Zealots , who are Enemies to all the Innocent Pleasures of Life , under the pretext of a Reformed Sanctity , destroyed both the Best of Kings , and the Noblest of Courts , we might to this day have seen these Arts flourish amongst us ; and particularly , this of Painting , which was the Darling of that Vertuous Monarch : He had once Enrich'd our Island with the noblest Collection that any Prince out of Italy could boast of : but those Barbarous Rebels , whose Quarrel was as much to Politeness and the Liberal Arts , as to Monarchy and Prelacy , dissipated and destroyed the best part of it . But with our late Blessed Monarch , King Charles the Second , all Arts seemed to return from their Exile ; and to his Sacred Memory we owe whatever Incouragement they have received since ; and it may be reckoned among his Faelicities and ours , which were not few , that he did so ; for by that means we have him , as it were , yet Living among us , by that noble Statue of his , made by the best of Modern Sculptors now living , I mean Mr. Grialin Gibbons . I have often wondred , considering how much all Arts and Sciences are Improved in these Northern Parts , and particularly with us , that we have never produced an Historical Painter , Native of our own Soyl ; we have had a rare Architect , who was Inigo Jones : the Banquetting-House , the Portico of St. Pauls Church , and the Piazza of Covent-Garden , are three Pieces of his Doing , which in their kind are hardly to be matched in Europe : We have likewise a Sculptor , who , if he goes on as he has begun , will be a Northern Michael Angelo : But for a Painter , we never had , as yet , any of Note , that was an English Man , that pretended to History-Painting . I cannot attribute this to any thing but the little Incouragement it meets with in this Nation ; whose Genius more particularly leads them to affect Face-Painting ; and in that part we have had some who have proved most Excellent Artists ; as , Mr. Oliver , and Mr. Cooper , the most Correct in Miniature ; and in Oyl , Dobson and Walker : And even at this time , Mr. Riley , who undoubtedly deserves his Character of the first and best Painter for Portraicts in our Age. But our Nobility and Gentry , except some few , who have eminently showed their Kindness for this noble Art , they are generally speaking , no Judges , and therefore can be no Promoters of an Art that lies all in nice Observations . To Remedy this therefore , I have undertaken this Work ; which I have so composed , as it may be read vvith Delight by any vvho are but Conversant vvith Books or Pictures : The Design is , to make Painting Familiar and Easie to the Nobility and Gentry of this Nation , and to enter them so far in the Knowledge and Acquaintance of the Italian Painters , that they may converse vvith their Works , and understand their different Characters . This I have done in three Familiar Dialogues ; in vvhich I never make use of a hard Term of Art , but I first explain it : and that nothing might be vvanting to make it easie , I have also placed at the end of the Book an Alphabetical Explanation of all the hard Words used in the Lives of those Painters that are here Sub-joyned . The Lives are all taken out of Vasari : and for the Choice of them , I followed the Course of the Arts Improvement , beginning with Cimabue , and going on with all those who were , as it were , the Inventers and Perfecters of it by degrees , till I came to the Age of Raphael and Michael Angelo . I design a Second Part ; which , besides some more refined Observations upon the Art it self , will contain the Lives of all the Modern Painters of any Note , from the Time of the Caraches to our Days , and an Account of its present State all Europe over . After this , I hope our People of Quality will be sufficiently inflamed with the Love of an Art which Rewards its Admirers with the greatest Pleasures imaginable , Pleasures so Innocent and Irreproachable , that the severest Morals cannot forbid the Enjoyment of them ; Pleasures so Solid and Abounding , that they are new every time they are repeated ; and in a word , Pleasures that may be made Useful even to the Covetous ; for Pictures well bought , are Money put out to Use. I might here have a great Scope to Inveigh against those other Pleasures in which this Nation places their greatest Felicity ; whil'st under the specious names of Society and Hospitality , we Countenance the most Profuse Gluttony and Exorbitant Drunkenness that the Sun sees : I might tell Gentlemen , That the Loss of Time , the Ruine of their Fortunes , the Destruction of their Health , the Various Tragical Accidents that attend Men who once a day loose their Reason , are all things worthy their serious Reflection ; and from which , the Love of the Politer Arts would reclaim them . But I shall leave that Theam to our Divines , and only sadly say with the Poet ; Pudet haec Opprobia Nobis , Audici potuisse , & non potuisse refelli . I cannot forbear adding to this little Reproof , an Observation that I have made abroad ; which is , That of all the Civilized Nations in Europe , we are the only that want Curiosity for Artists ; the Dutch in the midst of their Boggs and ill Air , have their Houses full of Pictures , from the Highest to the Lowest ; the Germans are also Curious in their Collections ; the French have as good as can be had for Money ; and that Art seems now to take Sanctuary there ; and shall we , while we have a Prince who has declared himself an Enemy to all our Excesses , and a Patron of all Vertuous Undertakings , be the only People that shall follow Gross Delights ! I hope better of us ; and that the Charm of these Arts once well Comprehended , will , like Moses's Rod , eat up all the other , though never so well Counterfited to be like Pleasures ; while they are , indeed , but so many Pains and Plagues . The CONTENTS of this WORK . FIrst Dialogue , Explaining the Art of Painting . Second Dialogue , Relating the History of it , both Antient and Modern . Third Dialogue , How to know Good Pictures . The LIVES are These . Cimabue . Ghiotto . Lionardo da Vinci . Andrea del Sarto . Raphael D'Urbin . Giorgione . Michael Angelo . Giulio Romano . Perino del Vaga . Titian . Donato , a Sculptor . An Explanation OF Some Terms of the ART of PAINTING . Air. IS properly taken for the Look of a Figure , and is used in this Manner , The Air of the Heads of Young Women , or Grave Men , &c. Antique . This word Comprehends all the Works of Painting , Sculpture , and Architecture that have been made in the Time of the Antient Greeks and Romans , from Alexander the Great , to the Emperour Phocas ; under whom the Goths Ravaged Italy . Aptitude . It comes from the Italian word Attitudine , and means the posture and action that any Figure is represented in . Cartoon . It is taken for a Design made of many Sheets of Paper pasted together ; in which the whole Story to be painted in Fresco , is all drawn exactly , as it must be upon the Wall in Colours : Great Painters never painting in Fresco , but they make Cartoons first . Colouring . 'T is one of the parts of Painting , by which the Objects to be painted receive their Complexion , together with their True Lights and Shadows . Chiaro-Scuro . It is taken in two Senses : first , Painting in Chiaro-Scuro , is meant , when there are only two Colours employed . Secondly , It is taken for the disposing of the Lights and Shadows Skilfully ; as when we say , A Painter understands well the Chiaro-Scuro . Contour . The Contours of a Body , are the Lines that environ it , and make the Superficies of it . Design . Has two Significations : First , As a part of Painting , it signifies the just Measures , Proportions , and Outvvard Forms that a Body , imitated from Nature , ought to havt . Secondly , It signifies the whole Composition of a piece of Painting ; as when we say , There is great Design in such a Piece . Distemper . A sort of Painting that implys the Colours mingled with Gumm . And the difference between that and Miniature , is , that the one only uses the Point of the Pencil , the other gives the Pencil its whole Liberty . Drapery . Is a General Word for all sorts of Cloathing , with which Figures are Adorned : So we say , Such a Painter disposes well the Foldings of his Drapery . Figure . Though this word be very General , and may be taken for any painted Object ; yet it is in Painting , generally taken for Humane Figures . Fresco. A sort of Painting , where the Colours are applyed upon fresh Mortar , that they may Incorporate with the Lime and Sand. Festoon . Is an Ornament of Flowers , employed in Borders and Decorations . Grotesk . Is properly the Painting that is found under Ground in the Ruines of Rome ; but it signifies more commonly a sort of Painting that expresses odd Figures of Animals , Birds , Flowers , Leaves , or such like , mingled together in one Ornament or Border . Gruppo . Is a Knot of Figures together , either in the middle or sides of a piece of Painting . So Carache would not allow above three Gruppos , nor above twelve Figures for any Piece . History . History-Painting is an Assembling of many Figures in one Piece , to Represent any Action of Life , whether True or Fabulous , accompanied with all its Ornaments of Landskip and Perspective . Manner . We call Manner the Habit of a Painter , not only of his Hand , but of his Mind ; that is , his way of expressing himself in the three principal Parts of Painting , Design , Colouring , and Invention ; it answers to Stile in Authors ; for a Painter is known by his Manner , as an Author by his Stile , or a Man's Hand by his Writing . Model . Is any Object that a Painter works by , either after Nature , or otherwise ; but most commonly it signifies that which Sculptors , Painters , and Architects make to Govern themselves by in their Design . Nudity . Signifies properly any Naked Figure of Man or Woman ; but most commonly of Woman ; as when we say , 'T is a Nudity , we mean the Figure of a Naked Woman . Print . Is the Impression of a Graven or Wooden Plate upon Paper or Silk , Representing some Piece that it has been Graved after . Relievo . Is properly any Embossed Sculpture that rises from a flat Superficies . It is said likewise of Painting , that it has a great Relievo , when it is strong , and that the Figures appear round , and as it were , out of the Piece . Mezzo-Relievo . Is where the Figures rise , but not above half of them is seen , the rest being supposed in the Marble or Wood. Basso-Relievo , Is , when the Figures are little more than Designed , and do rise but very little above the Plain : Such are the Figures of the Antients about their Cups and other Vessels . Shortning . Is , when a Figure seems of greater quantity than really it is ; as , if it seems to be three foot long , when it is but one : Some call it Fore-Shortning . Stucco-Work . Is Figures of all sorts , made in a kind of Plaister , and employed to Adorn a Room , either under the Cornishes , or round the Ceiling , or in Compartiments , or Divisions . Schizzo . Is the first Design or Attempt of a Painter to Express his Thoughts upon any Subject . The Schizzos are ordinarily reduced into Cartoons in Fresco Painting , or Copyed and Enlarged in Oyl-Painting . Tinto . Is , when a thing is done only with one Colour , and that generally Black. DIALOGUES About PAINTING : Between a Traveller and his Friend . Friend , THE extream delight you take in Pictures , is a Pleasure you have acquired abroad , for I remember before you travelled , all Pictures were alike to you , and you used to laugh at the distinction that some of your Friends did use to make of the Pieces of this and the other Master , saying , it was nothing but Humor in them . Traveller , What you say is very true , and when I reflect upon it , I cannot but blush at my own Ignorance , or rather willful Stupidity , that deprived me of one of the most Refined Pleasures of Life , a Pleasure as Lasting as Life it self , full of Innocency and Variety , and so Entertaining , that , alone , it often supplies the place of Company and Books ; and when enjoyed in the company of others , it improves by being shared , and growes greater by the number of its Enjoyers , every one making some Observation , according to his Genius and Inclination , which still Illustrates the whole . Friend , I must confess I envy you this Pleasure extreamly , for living , as we do , in a Country where the severity of our Climate obliges us to be much within Doors : Such a Pleasure as this ought to be Cherished , by all those who do not place their Felicity , as too many of us do , in a Glass of Claret : And I own , I would willingly be of your Society , but that there goes such a deal of knowledg to judg of a good Picture , that I dispair of ever being qualified that way , being naturally not much given to take pains for any Pleasure . Traveller , You are very much mistaken , every one naturally is so far judg of Painting , as to observe something in a Picture , that is like to somewhat they have observed in Nature , and that alone is capable of giving them delight , if the thing be well represented ; but those indeed who joyn to that Delight , the particular knowledg of the manner how the Painter has mannaged his Lines , his Colours , his Lights and Shades , and how he has disposed his Figures , and with what Invention he has adorned his Story . They indeed , have more Pleasure , as having in all this a greater scope for their Observations ; and yet this , though infinitely hard for the Painter to Execute , is but moderately difficult for the Spectator to judg of it , requiring only a Superficial Knowledg of the first Principles of the Art , and a constant Observation of the Manners of the Different Artists , which is acquired by viewing their Works often , and Conversing much amongst them . Friend , That Superficial Knowledg of the Principles which you speak of , is wrapt up in such a company of hard Words , and crabed Terms of Art , that a Man must have a Dictionary to understand them , and a good Memory to retain them , or else he will be at a loss . Traveller , If he undertake this Task with Order and Method , it will prove extream easie ; for by following each part of Painting in its proper Division , he will come to the knowledg of the Terms of the Art insensibly . Friend , Pray in the first place , give me a Definition of the Art of Painting , that I may at once see what is aimed at by it , and performed . Traveller , The Art of Painting , is the Art of Representing any Object by Lines drawn upon a flat Superficies , which Lines are afterwards covered with Colours , and those Colours applied with a certain just distribution of Lights and Shades , with a regard to the Rules of Symetry and Perspective ; the whole producing a Likeness , or true Idaea of the Subject intended . Friend , This seems to embrace a great deal ; for the words Symetry and Perspective , imply a knowledg in Proportions and Distances , and that supposes Geometry , in some measure , and Opticks , all which require much Time to Study them , and so I am still involved in perplexities of Art. Traveller , It is true , that those Words seem to require some Knowledg of those Arts in the Painter , but much less in the Spectator ; for we may easily guess , whether Symetry be observed , if , for Example , in a Humane Body , we see nothing out of Proportion ; as if an Arm or a Leg be not too long or short for its Posture , or if the Posture its self be such as Nature allows of : And for Perspective , we have only to observe whether the Objects represented to be at a distance , do lessen in the Picture , as they would do naturally to the Eye , at such and such distances ; thus you see these are but small Difficulties . Friend . Pray , would you not allow him to be a Painter , who should only Draw the Objects he intended to represent in Black and White , or with bare Lines upon Paper . Traveller . Yes without doubt , if what he did were well Designed , for that is the Ground-work of all Painting , and perhaps the most difficult thing in it . Friend , What is it you call Design ? Traveller , Design is the Expressing with a Pen , or Pencil , or other Instrument , the Likeness of any Object by its out Lines , or Contors ; and he that Understands and Mannages well these first Lines , working after Nature still , and using extream Diligence , and skill may with Practice and Judgment , arrive to an Excellency in the Art. Friend , Me thinks that should be no difficult Matter , for we see many whose Inclination carys them to Draw any thing they see , and they perform it with ease . Traveller . I grant you , Inclination goes a great way in disposing the Hand , but a strong Imagination only , will not carry a Painter through ; For when he compares his Work to Nature , he will soon find , that great Judgment is requisite , as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story , which are all to have a just relation to one another . There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were , spent more time in Designing after the Life , and after the Statues of the Antients , then ever they did in learning how to colour their Works ; that so they might be Masters of Design , and be able to place readily every Object in its true situation . Friend , Now you talk of Nature and Statues , I have heard Painters blam'd for working after both . Traveller . It is very true , and justly ; but less for working after Nature than otherwise . Caravaggio a famous Painter is blam'd for having meerly imitated Nature as he found her , without any correction of Forms . And Perugin , another Painter is blam'd for having wrought so much after Statues , that his Works never had that lively easiness which accompanies Nature ; and of this fault Raphael his Scholar was a long time guilty , till he Reform'd it by imitating Nature . Friend , How is it possible to erre in imitating Nature ? Traveller , Though Nature be the Rule , yet Art has the Priviledge of Perfecting it ; for you must know that there are few Objects made naturally so entirely Beautiful as they might be , no one Man or Woman possesses all the Advantages of Feature , Proportion and Colour due to each Sence . Therefore the Antients , when they had any Great Work to do , upon which they would Value themselves did use to take several of the Beautifullest Objects they designed to Paint , and out of each of them , Draw what was most Perfect to make up One exquisite Figure ; Thus Zeuxis being imployed by the Inhabitants of Crotona , a City of Calabria , to make for their Temple of Juno , a Female Figure , Naked ; He desired the Liberty of seeing their Hansomest Virgins , out of whom he chose Five , from whose several Excellencies he fram'd a most Perfect Figure , both in Features , Shape and Colouring , calling it Helena . At last in the time of Alexander the Great , all the Artists , both Painters and Sculptors , met and considered how to give such Infallible Rules to their Art , as no Artist should be able to depart from them without Erring ; and to that end having examined all the Beauties of Nature , and how each Part of a Humane Body ought to be , to make one accomplished Model for Posterity to Govern themselves by : A Statue was made according to those Rules by Polycletus , a famous Sculptor of that Age ; and it proved so admirable in all its Parts , that it was called , The Rule , and all those that wrought afterwards , imitated as near as they could the Proportions of that Figure , and the Graces of it , as believing it was impossible for Art to go beyond it . Friend . Pray for which Sence was this Figure made ? Traveller . Tradition has not told us that , but 't is very probable that the thing having so well succeeded for one , was done for both , and carryed on for Children too , for we see the Antients admirable in them all ; witness the Venus of Medicis at Rome , and the Hercules Aventinus . Friend . Then you would have a Painter study these Figures of the Antients to use himself to those Proportions and Graces which are there Expressed , but how can that be here with us where there are few such or none at all ? Traveller . I confess the want of them is a great hinderance to our Painters , but we have so many Prints and Casts , the Best things of that kind , and those so well done , that they may in a great measure supply the want of the Originals ; and this added to the study of Nature it self , will be a sufficient Help to any one . Friend , Would you have a Painter study nothing but Humane Figures ? Traveller , That being the most difficult in his Art , he must cheifly Study it : But because no Story can be well Represented without Circumstances , therefore he must Learn to Design every thing , as Trees , Houses , Water , Clothes , Animals , and in short , all that falls under the notion of Visible Objects ; so that by that , you may guess how much Time he must spend in this one part of Painting , to acquire that Readiness , Boldness , and Strength , to his Designs ; that must be , as it were , the Ground-work of all he does . Friend , I have heard much of a difficulty in Designing , called , Shortning , for which I have seen Painters much admired by those who pretend to understand Painting : Pray what is Shortning ? Traveller . The Shortning of a Figure , is the making it appear of more Quantity , than really it is ; the Figure having neither the Length nor Depth that it shows , but by the help of the Lights and Shades , and judicious mannaging of the Out-lines , it appears what it is not ; and this is much used in Painting of Ceelings and Roofs , where the Figures being above the Eye , must be most of them Shortned , to appear in their natural Situation . And it is a thing , upon which great Painters have Valued themselves , as supposing a great Knowledg of the Muscles and Bones of the Humane Body , and a great Skill in Designing . Michael Angelo , amongst the Modern Painters , is the greatest Master in that kind . Friend , When a Painter has acquired any Excellency in Desinging , readily and strongly ; What has he to do next ? Traveller , That is not half his Work , for then he must begin to mannage his Colours , it being particularly by them , that he is to express the greatness of his Art. 'T is they that give , as it were , Life and Soul to all that he does ; without them , his Lines will be but Lines that are flat , and without a Body , but the addition of Colours makes that appear round ; and as it were out of the Picture , which else would be plain and dull . 'T is they that must deceive the Eye , to the degree , to make Flesh appear warm and soft , and to give an Air of Life , so as his Picture may seem almost to Breath and Move . Friend , Did ever any Painter arrive to that Perfection you mention ? Traveller , Yes , several , both of the Antient and Modern Painters . Zeuxis Painted Grapes , so that the Birds flew at them to eat them . Apelles drew Horses to such a likeness , that upon setting them before live Horses , the Live ones Neighed , and began to kick at them , as being of their own kind . And amongst the Modern Painters , Hannibal Carache , relates of himself , That going to see Bassano at Venice , he went to take a Book off a Shelf , and found it to be the Picture of one , so lively done , that he who was a Great Painter , was deceived by it . The Flesh of Raphael's Picture is so Natural , that it seems to be Alive . And so do Titians Pictures , who was the Greatest Master for Colouring that ever was , having attained to imitate Humane Bodies in all the softness of Flesh , and beauty of Skin and Complexion . Friend , Wherein particularly lies the Art of Colouring ? Traveller . Beside the Mixture of Colours , such as may answer the Painter's Aim , it lies in a certain Contention , as I may call it , between the Light and the Shades , which by the means of Colours , are brought to Unite with each other ; and so to give that Roundness to the Figures , which the Italians call Relievo , and for which we have no other Name : In this , if the Shadows are too strong , the Piece is harsh and hard , if too weak , and there be too much Light , 't is flat . I , for my part , should like a Colouring rather something Brown , but clear , than a bright gay one : But particularly , I think , that those fine Coral Lips , and Cherry Cheeks , are to be Banished , as being far from Flesh and Blood. 'T is true , the Skins , or Complexions must vary , according to the Age and Sex of the Person : An Old Woman requiring another Colouring than a fresh Young one . But the Painter must particularly take Care , that there be nothing harsh to offend the Eye , as that neither the Contours , or Out-Lines , be too strongly Terminated , nor the Shadows too hard , nor such Colours placed by one another as do not agree . Friend , Is there any Rule for that ? Traveller , Some Observations there are , as those Figures which are placed on the foremost Ground , or next the Eye , ought to have the greatest Strength , both in their Lights and Shadows , and Cloathed with a lively Drapery ; Observing , that as they lessen by distance , and are behind , to give both the Flesh and the Drapery more faint and obscure Colouring . And this is called an Union in Painting , which makes up an Harmony to the Eye , and causes the Whole to appear one , and not two or three Pictures . Friend . Then you think , the chiefest difficulty of Colouring , consists in the Imitation of Humane Flesh , and giving the Tints or Complexions to each Age. Traveller . There is a thing which the Italians call Morbidezza ; The meaning of which word , is to Express the Softness , and tender Liveliness of Flesh and Blood , so as the Eye may almost invite the Hand to touch and feel it , as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting . And 't is in this particular , that Titian , Corregio , and amongst the more Modern , Rubens , and Vandike , do Excel . Friend . I have heard , that in some Pictures of Raphael , the very Gloss of Damask , and the Softness of Velvet , with the Lustre of Gold , are so Expressed , that you would take them to be Real , and not Painted : Is not that as hard to do , as to imitate Flesh ? Traveller . No : Because those things are but the still Life , whereas there is a Spirit in Flesh and Blood , which is hard to Represent . But a good Painter must know how to do those Things you mention , and many more : As for Example , He must know how to Imitate the Darkness of Night , the Brightness of Day , the Shining and Glittering of Armour ; the Greenness of Trees , the Dryness of Rocks . In a word , All Fruits , Flowers , Animals , Buildings , so as that they all appear Natural and Pleasing to the Eye . And he must not think as some do , that the force of Colouring consists in imploying of fine Colours , as fine lacks Ultra Marine Greens , &c. For these indeed , are fine before they are wrought , but the Painter's Skill is to work them judiciously , and with convenience to his Subject . Friend , I have heard Painters blamed for Finishing their Pieces too much : How can that be ? Traveller . Very well : For an over Diligence in that kind , may come to make the Picture look too like a Picture , and loose the freedom of Nature . And it was in this , that Protogenes , who was , it may be , Superiour to Apelles , in every part of Painting ; besides , was nevertheless Outdone by him , because Protogenes could hardly ever give over Finishing a Piece . Whereas Apelles knew , when he had wrought so much as would answer the Eye of the Spectator , and preserve the Natural . This the Italians call , Working A la pittoresk , that is Boldly , and according to the first Incitation of a Painters Genius . But this requires a strong Judgment , or else it will appear to the Judicious , meer Dawbing . Friend , I hear , you Travellers talk of Painting in Fresco , in Distemper , in Oyl , in Chiaro Scuro : pray , What is the meaning of all those Words ? Traveller , You must know , that the Italians have a Way of Painting their Pallaces , both within and without , upon the bear Walls ; and before Oyl Painting came up , most Masters wrought that Way ; and it is the most Masterly of all the ways of Painting , because it is done upon a Wall newly Plaistered , and you must Plaister no more , than what you can do in a Day ; the Colours being to Incorporate with the Mortar , and dry with it , and it cannot be Touched over again , as all other Ways of Painting may : This is that they call Painting in Fresco. Friend , This must require a very Dexterous and quick Hand . Traveller . Yes , and a good Judgment too ; for the Colours will show otherwise when they are Dry , than they did when they were Wet : Therefore there is great Practice required in Mannaging them , but then this Way makes amends for its Difficulties ; for the longer it stands , it acquires still more Beauty and Union , it resisting both Wind and Rain . Friend , Pray what is Painting in Distemper ? Traveller , Painting in Distemper , is when either the Wall or Board you Paint upon , is prepared with a certain Paste or Plaister , and then as you Work , you temper your Colours still with a Liquor made of the Yolk of an Egg , beaten with the Milk of a Figg Sprout , well ground together . This is a way of Painting , used by Antient Masters very much ; and it is a very lasting Way , there being yet things of Ghiotto's doing upon Boards , that have lasted upwards of Two Hundred Years , and are still fresh and Beautiful . But since Oyl Painting came in , most have given over the way of Working in Distemper . Your Colours in this way are all Minerals , whereas in Working in Fresco , they must be all Earths . Friend , What is Oyl Painting ? Traveller , The Secret of Oyl Painting , consists in using Colours that are Ground with Oyl of Nut , or Linseed , and with these you paint upon a Cloth , which has first been primed with drying Colours , such as Cerus , Red Oaker , and Ombre , mingled together . This manner of painting , makes the Colours show more Lively than any other , and seems to give your Picture more Vivacity and Softness . Friend , Can you Paint in Oyl upon a Wall ? Traveller , Yes , you may upon a dry Wall , having first Evened it ; and washed it over with Boyled Oyls , as long as it will drink any in , and when it is dry , prime it as you do a Cloth. There is another Way of doing it too , by applying a Paste or Plaister of a particular Composition , all over the Wall , then Washing it over with Linseed Oyl , then putting over that a Mixture of Pitch , Mastick , and Varnish , boyled together , and applyed with a great Brush , till it make a Couch , fit to receive your priming , and afterwards your Colours . Vassari gives the Receipt of a particular Composition , which he used in the Great Dukes Palace at Florence , and which is very lasting . Friend , Did the Antients use Oyl Painting ? Traveller , It does not appear by any that have Writ upon that Subject , that they did ; And the Moderns were a great while , before they found it out . It was Discovered by the Industry of a Flemish Painter , called , John of Bruges , who being Vexed at the Suns ungluing some Pictures of his made upon Boards , resolved to find out a Way of Painting upon Cloth ; which he did Compass , and was much Admired for it , in so much , that Antonio de Messina , a famous Painter of his Time , came on purpose into Flanders , and Lived many Years with John of Bruges , to learn the Secret. He afterwards Settled at Venice , and there Taught it several of his Friends ; amongst the rest , to one Dominico Vinitiano , who coming to Florence , to Paint the Chappel of the Portinari , brought this secret with him ; and had for chief Schollar , Andrea del Castagno . It has been the greatest help to Painting imaginable . For before , it was hard to carry Pictures from place to place , but now being done upon Cloth , they may be carefully Rolled up , and carried all the World over . Friend , Pray what is painting in Chiaro Scuro ? Traveller . It is a manner of Painting that comes nearer Design than Colouring , it being first taken from the Imitation of the Statues of Marble , or of Bronze , or other Stones , and it is much used upon the Outside , and Fronts of Great Houses and Palaces , in Stories which seem to be of Marble , or Porphire , or any other Stone the Painter thinks fit to Imitate . This Way of Painting , which seldom employs above two Colours , may be done in Fresco upon a Wall , which is the best Way ; or upon Cloth , and then it is most commonly employed for Designs of Triumphal Arches , and in Decorations of the Stage for Plays , and other such Entertainments Vassary , gives the secret of doing it either Way . Friend , I find that by little and little , I shall penetrate into the secret of this Art , if sometimes you will be as kind as you have been now ; for what you have Taught me already , is so clear , and easie , that I think I shall hardly forget it ; but I believe the Hardest is yet to come . But before I engage any deeper in this Mystery , I would gladly be Informed of the History of Painting , that is , of its Rise , Progress , Perfection , and Decay , both among the Antient Greeks and Romans , and amongst us Moderns . Traveller . If you please , it shall be the Subject of our next Meeting ; and I do assure you , it will be very Instructive , and Diverting , and dispose you very much to the Understanding the most refined Secrets of the Art , as well as the Beauty of the several Pieces of the best Artists . Friend . Pray let it be so , for I do expect great Variety , in a Narration , which must run through so many Ages , and Discourse of so many Admirable Men. THE HISTORY Of the ART of PAINTING . DIALOGUE II. Friend , I Am come to Summon you of your Promise ; and you may see by my Impatience , that you have already made me a Lover of the Art. Traveller , I am glad to see it ; for it is no small Pleasure to think , that we are capable of procuring Pleasure to others , as I am sure I shall do to you , when I have made you thorowly capable of understanding the Beauty of an Art that has been the Admiration of Antiquity , and is still the greatest Charm of the most polite part of Mankind . Friend , Pray who do you mean by that glorious Epithete . Traveller , I mean chiefly the Italians , to whom none can deny the Priviledge of having been the Civilisers of Europe , since Painting , Sculpture , Architecture , Musick , Gardening , polite Conversation , and prudent Behaviour are , as I may call it , all of the Growth of their Countrey ; and I mean , besides all those in France , Spain , Germany , Low-Countreys , and England , who are Lovers of those Arts , and endeavour to promote them in their own Nation . Friend , I confess , they are all ravishing Entertainments , and infinitely to be preferr'd before our other sensual Delights , which destroy our Health , and dull our Minds ; and I hope they are travelling apace this way . But now pray satisfie my Curiosity about this Art of Painting , and let me know its whole History . Traveller . To do that , I should begin with Adam , and so search down all along throughly in Antiquity ; but for want of Guides in such a Journey , I must set forth at some more known Stage , and that I think must be Graece ; though there is great reason to suspect that the Aegyptians had the Art long before them , as they had most other Arts and Sciences since : Most of the great Philosophers of Graece travelled to Aegypt for their Learning , witness Thales , Pythagoras , Democritus , Plato , and many others ; and it is likely that the Artists might do the same : but however the place where Painting first settled , was Corinth , or Sicyone ; there being some Dispute about those two Towns , because there happened to be Eminent Masters at them both much about the same time , to wit , Cleanthes at Corinth , and Telephanes at Sicyone ; but the Art in both these places was but in its Infancy ; those Painters contenting themselves with drawing the out lines of one Colour , and shaddowing them within : Some time after , Cleophantus of Corinth Invented Variety of Colouring ; and that same Master came into Italy with Demaratus , the Father of Tarquinius Priscus , King of the Romans . Friend , Did Painting get so early into Italy ? Traveller . 'T is a Dispute , whether it were not there first ; for there was a Temple in Ardea , a City near Rome , on which were Paintings , which were yet to be seen in the Time of the Emperour Vespatian ; which Tradition affirm'd to be Antienter than the Foundation of Rome ; and by consequence , of an older Date than the Time of Tarquinius Priscus , or his Father ; and yet these Paintings were so fresh and lively , that they seemed to have been Painted but the other day . But to return to the Greeks ; it is probable , that Painting remained with them a great while in its Infancy , since the first Painter of any Note , was above three hundred Years after the Foundation of Rome , and that was Polygrotus of Tasus , who first begun to draw Draperies in the Women's Pictures , and to dress their Heads in different Fashions ; he was likewise the first that ventured upon Historical Pieces , having Painted the Temple at Delphos , and the great Portico at Athens ; which from the Variety of Pictures in it , was called , the Various . Both these Pieces he did Gratis ; which gain'd him the Love of all Graece to that degree , that in a Publick Assembly of the Amphictions , it was decreed , that where ever he Travell'd all over Graece , his Charges should be born by the Publick . About thirty Years after him came Apollodorus the Athenian , who was Admirable for the Beauty and Strength of his Figures ; he was the Master of Zeuxis , who carried Painting to its highest Perfection , and acquired to himself great Riches , though he never sold any of his Pieces , but gave them all for nothing , saying , That if they were to be duly valued , whole Kingdoms and Provinces could not pay for them . He was besides so Magnificent in his Humour , that being at the Olympian Games , which was the noblest Assembly of all Graece ; he wore his Name in Gold Letters upon his Cloak , that all might take notice of him . He drew many Pieces , but his chief was an Athlete , or Champion of the Olympick Games ; with which he was so satisfied , that he wrote under it these words ; It may be Envyed , But not Imitated . His Concurrents in the Art were never the less great Masters ; amongst them were Timantes and Parrhasius ; and with this last Zeuxis had many Contests , in one of which he owned himself overdone ; for having agreed each of them to draw something for Mastery , Zeuxis drew Grapes so rarely done , that the Birds flew and peck't at them ; and thereupon he bidding Parrhasius show his Piece ; was by him presented with a Picture , with a Curtain before it ; which Zeuxis going hastily to draw , found that it was nothing but a Painted One , so well done , that it had deceiv'd him . Parrhasius out did him likewise in Vanity , and boasting of his own Abilities , pretending amongst other things , to be descended from Apollo , and to have Conversation with the Gods ; saying , that the Hercules he drew at Lindus , was the same that us'd to appear to him in his Dreams ; he was nevertheless overcome publickly by Timantes at Samos , to his great Affliction ; his particular Character was , Well Finishing his Pieces . Timantes , on the contrary , was of a sweet , modest Temper , and was Admirable in the Expression of Passions ; as appear'd by his Famous Picture of the Sacrifice of Iphigenia ; where he drew so many different sorts of Sorrow upon the Faces of the Spectators , according to the Concerns they had in that Tragical Piece of Religion , that being at last come to Represent Agamemnon's Face , who was Father to the Virgin , he found himself Exhausted , and not able to reach the Excess of Grief that naturally must have been showed in his Countenance upon that Occasion ; and therefore he covered his Face with a part of his Garment ; saving thereby the Honour of his Art , and yet giving some Idea of the greatness of the Father's Sorrow . His particular Talent lay , in giving more to understand by his Pictures , than was really express'd in them ; as he shewed in the Picture of a Polyphemus a sleep , in little ; where to Intimate his Gigantick Proportion , he feigned some Satyrs who were measuring the bigness of his Thumb . Friend . Were all these Masters Graecians ? Traveller , No , some of them were Asiaticks ; whence it came that Painting was divided into two Schools , the Asiatick and the Greek ; and I believe they differ'd as much in their Manners as the Roman and the Lombard Schools do at this day : But the Greek was likewise Subdivided into two Schools more , which were called the Sycionian and the Attick ; which I suppose , might differ as the Florentine and the Roman . Eupompus , who was Contemporary to Zeuxis , was the Author of this last Subdivision , and was a very Eminent Painter ; his Chief Schollar was Pamphilus the Macedonian , the first of that Nation who applyed himself to the Liberal Arts ; having studied Geometry , without which , he used to say , no Painter could Excell : He drew the Victory of the Athenians at Phliante , and several other Excellent Pieces . He was likewise the first that taught his Art for a Set Price ; which was , a Talent in Ten Years for every one of his Schollars . Friend , How much was a Talent ? Traveller , There were Talents of several Countrys , and several Values ; but Authors , when they mention Talents , do mean the Attick Talent ; and that , according to the best Calculation , was 190 l. English ; which in Ten Years , was not quite twenty Pound a Year . But this Custom which he brought up , was of great Improvement to Painting ; for after his Example , many Masters Set Up , to Teach Young Gentlemen to Design . Friend , Did the Gentry and Nobility Learn to Design ? Traveller , The Art it self was of that high Value among the Graecians , that they thought it an Imployment fit for none but Ingenious Minds and free Spirits ; and to that end , Slaves and Inferiour Persons were forbid by the Laws to apply themselves to it ; insomuch , that it has been observ'd , that in the whole Course of these Arts of Painting and Statuary , never any Slave was known to Practise them . But to return to our History : Pamphilus was the Master of the Famous Apelles , who surpass'd all that ever went before him , and was outdone by none that came after him ; he flourish'd about the hundred and twelfth Olympiad ; which answers pritty well to the three hundred and twenty first Year of the Foundation of Rome ; he Painted more , as well as better than all his Contemporaries ; and wrote also divers Volumes about the Secrets of the Art ; which were of exceeding Advantage to Posterity : His particular Talent lay in hidden Graces , and in a certain taking pleasingness , which resulted from the Whole ; valuing himself particularly , upon knowing when to give over working upon a Picture . Protogenes was his Contemporary , and chief Concurrent in the Art ; he liv'd in the Island of Rhodes ; and the Fame of his Works was such , that it drew Apelles from Home , to go and see the Author of them . Their first Interview was Remarkable , and past in this manner : Apelles being Landed at Rhodes , went straight to Protogenes his Shop , or Painting-Room ; where , finding none but an Old Woman , and a Board newly Prim'd , and Prepared for Painting , he , without saying any thing , drew a Line of Admirable Fineness of one Colour , and so went his way : Protogenes being come Home , the Old Woman shewed him the Line ; which he guess'd to be Apelles his Work ; and taking his Pencil , drew another over that , finer than Apelles's and of another Colour ; telling the Old Woman , that if the Man came back that drew the first Line , she should tell him , that he that drew the second , was the Man he look'd for . In a little time Apelles came , and seeing what Protogenes had done , took the Pencil again , and with a Stroke of a third Colour , divided those two Lines so Subtlely , that they were perfectly distinguishable , and so went his way . Protogenes coming Home a little after , and seeing what he had done , confess'd himself Vanquish't ; and presently ran to find out Apelles , whom he brought to his own House . This very Piece , with these three Lines , and nothing else in it , was afterwards carried to Rome , and long Preserved among the Rarities of the Imperial Pallace . Friend , This was a true Meeting of two great Artists , where Skill and Ingeniousness were equally Eminent , and not Envy and Ill Manners , as our Artists show one another . Traveller . They were both of them well Bred , and us'd to the Company of Persons of the best Quality : Apelles particularly , had his House always full of them : Alexander the Great going often to see him Work , and not disdaining to enter into Discourse with him . This Great Prince was so fond of his Works , and so perswaded of their Immortality , that he Publish't an Edict , forbidding any other Painter to attempt the Drawing of his Picture , as being desirous that the Idea of his Person should be transmitted to Posterity by the most Skilful Hand of his Age : How much he lov'd Apelles , may be guess'd by the Nobleness of the Present he made him ; for having , by Alexander's Command , drawn the Naked Picture of Campaspe , one of the most Beautiful Women of her Time , and Mistriss to that Great Prince , could not defend his Heart against such Charms , but fell desperately in Love with her ; which Alexander perceiving , very Generously presented him with the Lady , thinking a Picture of his Hand to be a sufficient Exchange for so great a Beauty : And 't is to be presumed , that Apelles himself was of no ordinary Merit , since the Lady went willingly to his Bed , and liv'd with him all his Life in great Felicity . 'T is thought , that a famous Piece of his , call'd , the Venus Dionaea , was the Picture of that Lady . Friend , I observe , great Painters have generally , either Handsome Wives , or Beautiful Mistrisses , and they are for the most part , extreamly sensible to Beauty . Travellour . How can they be otherwise ? being such Judges as they are , of Feature and Proportion ; and having besides , so strong an Imagination , as they must have , to excell in their Art. And Apelles did so strongly take the Idea of those he Painted , that Physonomists and Fortune-Tellers have often Practised their Art upon his Pictures with Success , foretelling what should befall the Persons for whom they were made ; and to add to the Excellency of his Art , he had a Varnish , the Secret of which dyed with him , by which , he not only made his Colours appear more lively , but also preserv'd his Pieces from all Injuries of Time. Friend , What were his most Famous Works ? Traveller , 'T is hard to say ; but if we may Judge by the Judgment of Augustus Caesar , we must give the Prize to that Famous Venus coming out of the Sea ; which he Consecrated in the Temple of his Father Julius ; and which , from her Action , was call'd by the Greeks , Anadiomene , and was extreamly Celebrated by their Poets ; a part of it being spoil'd by Time , there was no Painter found that would offer to mend it ; so great was the Skill of Apelles , and the Veneration that all Artists had for his Works . Friend , Was there many of them preserved to the Time of the Romans ? Traveller . A great many ; and for ought we know , might have lasted to our days , if they could have escaped the Barbarity of those Nations that Ruined the Roman Empire ; for there were at Rome of his doing , Castor and Pollux , and the Picture of Alexander , Triumphing with the Image of War , tyed by the Hands to his Chariot : and these were Consecrated in the Forum of Augustus . He had made many Pictures of Alexander , and other Great Men , which were all preserved and valued at a vast Rate by the Greeks and Romans . Friend , Was there any thing left of Protogenes's doing ? Traveller . Very little , except at Athens , where he painted the Propyleum , or Antiporch of the Temple of Minerva : but his most famous Piece was his Jalyssus , which was Consecrated in the Temple of Peace in Rome : 't is said , he spent Seven Years about it , and Coloured it over four times , that it might the better resist the Injuries of Time. Friend . What was Represented in this Picture ? Traveller , There has been great Dispute about that in Antiquity , and since ; some being of Opinion , that therein was Represented the City of Jalyssus , with its Territory belonging to the Rhodians : But that seems improbable , because that Cicero always compares the Jalyssus of Protogenes with the Venus of Apelles ; which would be very improper ; if it were only a Town : 't is therefore more probable , that it was the Picture of the Hero Jalyssus , Founder of the Town , and who was said to be Son to Apollo . Whatsoever it was , the Piece was so Admired , that it Sav'd the City of Rhodes , when it was Besieg'd by Demetrius , who could have Carried it , if he would have Fired a part of the Town where this Picture was ; but be chose rather to Raise the Siege , than to destroy so fine a thing : Some say , that Protogenes was yet alive , and working in his Countrey-House in the Suburbs of Rhodes , which were all Possest by the Army of Demetrius ; who hearing that he work'd on quietly , sent to him to know the reason of so much Security amidst so much Danger : Protogenes made Answer , That he knew his War was with the Rhodians , and not with the Arts : Which Answer so pleased Demetrius , that he gave him a Guard , and went often , during the Siege , to see him work . And thus you see , Art can protect its own Sons in the midst of the greatest Dangers . Friend , I think , I have read somewhere , that Protogenes was a great while before his Pictures were understood by his Countrymen , insomuch that he was very Poor , and his Works Sold for little or nothing . Traveller , 'T is very true , and he was beholding to the Generosity of Apelles for his Fortune ; for he seeing how little he was valued at Home , bought up a good many of his Pieces ; giving out , he intended to sell them again for his own , and gave him a great Price for them ; which the Rhodians hearing , intreated him to let them have them ; which he did , but made them pay well for them . These four , Zeuxis , Parrhasius , Apelles , and Protogenes , were the four Famous Painters of Graece , which has made me the more particular in speaking of their Works , they having carried the Art to the highest pitch it was possible to arrive to . Friend . Then after their Time it Decayed , and grew every day less Famous . Traveller . It remained in great Perfection for several Centuries ; these great Masters having made so many good Schollars , and left such Admirable Precepts for the Art , that it was impossible it could be lost for a great while ; nay , some Improvements were made by Succeeding Masters in the Art of Colouring , and making their Pictures of a greater Relievo than those Antient Masters did . But it will not be amiss , to name you succinctly some of the great Masters that were , as it were , of the School of these Antients ; as likewise , to mention some of their Works . First , then Pausias of Sicione , was a Schollar of Pamphilus , as well as Apelles , and seems to have been the first that began to Paint Walls and Ceilings ; for Apelles never Painted upon a Wall , but upon a Board , or some portable Matter , that his Works might be less subject to Fire , and other Injuries of Time : There were likewise several good Pieces of this Master preserved at Rome ; Lucullus gave two Talents for a Piece of his , of a Young Woman making a Garland of Flowers ; and there was likewise in Pompey's Theatre a Piece of his , of a Sacrifice of Oxen , much esteemed . This Town of Sicione Furnished Rome with its greatest Rarities ; for the Common Town-House being run in Debt , Pawned their Pictures ; which were all , or most of them carried to Rome by Scaurus the Edile , to Adorn the Magnificent Entertainment he made for the People in the Forum Romanum , during his Magistracy . Euphranor of Corinth was another Famous Master , who lived about the four hundred and tenth Year of the Foundation of Rome ; he gave a great Majesty to his Figures , and was admirable in his Proportions ; there was a Piece of his in the Temple of Ephesus , Representing the Counterfeit Folly of Ulyssus , in which he was Yoaking a Horse and an Ox together . About the same time was Cyelias , whose Fame was such , that long after his Death , a Piece of his , containing the Story of the Argonantes , was bought by Hortensius , the Famous Roman Orator , Contemporary with Cicero ; and he paid forty four Talents for it ; which is about eight thousand pound Sterling : He built a Chappel on purpose for this Picture in his Villa at Tusculum . Out of Euphranor's School came Nicias , who painted Women so rarely ; Rome was full of his Works , brought from Graece : his most Famous Piece was Homers Hell ; which he painted with such great Attention , that he would often ask his Servants , during that Labour , whether he had Din'd , or no ? He was offered seventy Talents by King Ptolomeus , which is above ten thousand pounds , for this Piece ; but he chose rather to Honour his own Countrey with it , and presented it freely to the Town of Corinth . It seems , he was also an Admirable Statuary ; for Praniteles being asked , which of all his Statues he valued the most ? made answer , those which Nicias finished for him : so great a value he had for his Skill and Judgment . Not long after , there flourished in Athens one Metrodorus , a rare Philosopher , and most excellent Painter ; after that Paulus Emilius had Conquered Perseus King of Macedon ; being in Athens , he desired the Athenians to give him some one of their most Learned Men to Breed up his Son ; and they by one Accord named Metrodorus for that Employment ; with whom Paulus Emilius was Infinitely Satisfied . Friend . All this while , these are all Greek Masters ; had the Romans none of their own ? Traveller . Yes , and very famous Ones ; witness that Fabius , who was Sirnamed Pictor , of one of the greatest Families in Rome ; he painted the Templum Salutis in Rome : they had likewise Paunius , who was both Poet and Painter , and painted the Temple of Hercules in the Forum Boarium . Turpilius , a Roman Knight , painted many things at Verona ; and that which was very singular , and never practised but by himself , was , that he painted with his Left Hand . Atterius Labeo , who had been Pretor , was famous for his Works in this kind . But to say the truth , the Romans being a War-like Nation , were most taken up that way , and the great Men amongst them contented themselves with being able to Judge of Arts , and to incourage them by their Riches , which they profusely layed out in Pieces of Painting and Statuary : Thus Julius Caesar Consecrated in the Temple of Venus , from whom his Family was deriv'd , two Pieces , one an Ajax , another a Medaea ; both Admirable Figures . Augustus did the same ; and in Imitation of him , all the Great Men purchased the Works of the Greek Painters and Statuaries at any Rate ; insomuch that Graecia and Asia were almost deprived of all the best Originals , which were brought to Rome , and there preserved , till several Accidents of Fire , and the Invasion of Rome by the Barbarous Nations , consumed them ; insomuch that now there are but a few Pieces of antient painting left . But I hope we need not much regret that loss , when we shall reflect upon the Admirable Works of our Modern Painters , who have arriv'd to that perfection in the Art , which perhaps would astonish those Antient Artists themselves , if they could revive and see them . Friend , Before you undertake to tell me the progress of the Art in these Modern Times , pray inform me how long it lay buryed in Oblivion ? Traveller . From the decay of the Roman Empire , and the Invasion of the Goths , & other Barbarous Nations , it continued decaying , and was in a manner quite lost , till within these four hundred Years , that it first revived in Tuscany . Friend , Pray , what was the great reason of that Decay ? Traveller . Besides the Barbarity of the Times , in which Men were continually imployed in Wars , Rapines and Murders ; the Zeal likewise of Christian Religion , did not a little contribute to stifle the Ingenuity of the best Artists ; for after a long Contest with the Religion of the Gentiles , the Christian having prevailed at last , the Bishops and Pastours of the Christian Assemblies laboured all they could to extinguish the very Memory of the Heathen Gods ; and therefore threw down all those wonderful Statues , Sculptures , Paintings , and other Ornaments of their Temples ; which they did not out of any hatred they had to those Arts , but out of a Blind Zeal , to extinguish their Superstitious Worship ; by which , they nevertheless so crushed those Arts themselves , that for many hundreds of Years they lay buryed and neglected . Friend , How came they at last to recover themselves ? Traveller , There remained in Graece some little footsteps of the Art ; and from thence it was , that about the Year 1250 , there came some Painters , who could hardly be called Masters , having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy , was at Florence , and was called Cimabue ; who being helped by Nature , soon out did his Masters , and began to give some strength to his Drawings , but still without any great Skill , as not understanding how to manage his Lights . and Shadows , or indeed , how to Design truely ; it being in those days an unusual and unattempted thing to Draw after the Life . His chief Schollar was Ghiotto , who was very Famous for his Time ; he freed Painting from that first Stiffness of the Greek Masters , and began to give some Air to the Heads , and some Softness to the Colouring , with better Aptitudes to his Figures , as also , some Loosness in his Drapery ; nay , he attempted something of Shortning and Perspective , though but imperfectly ; he likewise began to show in his Pieces some effects of the Passions of the Mind , such as Fear , Love , Anger , Pity , &c. But he still was far from expressing the Liveliness of the Eyes , the softness of Flesh , and the strength of the Muscles in Naked Figures , as having seen nothing of that kind to direct him , or help him in this first beginning of the Art. After him Thaddeo Gaddi had something a better Colouring , and more Liveliness in his Figures . Simon Sanese began to understand the Decorum of Composition : and Stephano Scimmia with his Son Tomaso added some strength to their Drawings , and perfected themselves in Perspective , but still keeping to the Manner of Ghiotto ; which was continued by Spinello , Arctino , Jacopo , Casentino , Antonio , Venitiano , Andrea , Pisano , Nino , and several others , who still got ground a little , but could not fall into that free manner of the Imitation of Nature which Masaccio first attained to both in Sculpture and Painting , having quite layed aside Ghiotto's way . Friend , How long was it from the time of Cimabue to the time of Masaccio ? Traveller . About two hundred Years ; all which time we may call the Infancy of Painting ; but Masaccio , by great Study and Application , having found out the true way of placing his Figures upon a plain Superficies , with due Shortnings ; which all the other Masters before him had not understood ; invented likewise an easier way of drawing the Draperies with loose and natural Foldings ; he also attempted Naked Figures , and succeeded in them better than any before him ; but in Perspective he was admirable ; there being yet extant in Florence a Piece of his , where there are Houses drawn in Perspective , with so much Skill , as to show both the Inside and Outside of them . In his Time Sculpture was come to a great Improvement , chiefly by the prodigious Genius of that great Architect and Sculptor , Philippo di Ser Brunelesci ; as also by his other Contemporaries , Donatello , Lorenzo , Ghiberti , and several others ; who having discovered some of the best Roman Antiquities , and studied them carefully , had attained to a rare Boldness in Design , and opened the way to the Painters to draw with more Exactness and Truth , as also , to give more Sweetness to the Naked Figures of Women and Children ; so that with the help of several other Eminent Artists , Painting was come , as it were , to its Adolescence or Youth , every thing being extreamly mended ; their Invention being more Copious and Richer in Ornaments ; their Drawings truer & nearer Nature ; their Colouring more Delightful ; and in a word , the whole Manner of Painting being altered from what it was in the Time of Ghiotto . Friend . Pray , who were the great Painters of this Second AGE , as one may call it ? Traveller . There were many , but chiefly these , Pietro della Francia , Lazaro Vasari , Antonello da Messina , Andrea del Castagno , Dominico , Ghirlandaio , Sandro , Botticello , Francesco , Francia , Andrea Mantegna ; and many others . Friend . These were all Florentines , as I take it ; or at least , bred in the Florentine Schoole : Was there no other place in Italy that produced Artists of the same kind at that time ? Traveller . Yes , at Venice , and all over Lombardy , there were several Painters of Repute ; at Venice particularly , the two Bellini were deservedly Famous ; and at Ferrara , Lorenza Costa , and Hercole Ferrarese ; but still Painting kept , as it were , in its Youth , alike in all places ; and most of the Masters then living , thought they had attained the Ne plus Ultra ; whereas they were infinitely short of that Skill which those of the Third Age , or , as I may call it , the Virility or Manhood of Painting did arrive to . Friend . Pray , what was wanting in their Works ; for methinks , you have said already , that they were truely Designed , and finely Coloured ; that they understood Invention , and Composition ; that they were not Ignorant in Perspective , and the Art of Shortning their Figures : all which are the hardest things in Painting . Traveller . There wanted a Spirit and Life , which their Successors gave to their Works ; and particularly , an Easiness ; which hides the pains and labour that the Artist has been at ; it being with Painting as with Poetry ; where , the greatest Art , is to conceal Art ; that is , that the Spectator may think that easie , which cost the Painter infinite Toyl and Labour : They had not likewise , that sweet Union of their Colours which was afterwards found out , and first attempted by Francia Bolognese , and Pietro Perugino ; and so pleasing it was to the Eye , that the People came in flocks to stair upon their Works , thinking it impossible to do better ; but they were soon undeceived by Leonardo da Vinci ; whom we must own as the Father of the Third Age of Painting , which we call the Modern ; and in him nothing was wanting ; for besides strength of Design , and true Drawing , he gave better Rules , more exact Measures , and was more profound in the Art than any before him . Friend , About what time did Leonardo da Vinci live ? And who were his Contemporaries ? Traveller . He flourished about two hundred Years ago , and had for Contemporaries most of the rare Painters that the World has produced ; which were , Giorgione di Castel , Franco , Andrea del Sarto , Raphael del Urbino , Antonio di Correggio , H. Parmigiano , Polidoro , Julio Romano , Perino del Vaga , and Michael Angelo Buonaroti . Friend . These are all famous Names , and known to all those who have ever heard of Painting ; therefore , I would fain be informed more particularly of their Excellences . Traveller . The best way for that , will be , to read their Lives , done by Vasari ; but in the mean time , to satisfie your Curiosity , I will say a little of every one of them . Giorgione was of the School of Venice , and the first that followed the Modern Tuscan way ; for having by chance seen some things of Leonardo da Vinci , with that new way of strong Shadows , it pleased him so much , that he followed it all his Life time , and imitated it prefectly in all his Oyl Paintings : he drew all after the Life , and had an excellent Colouring ; by which means he gave a Spirit to all he did ; which had not been seen in any Lombard Painter before him ; and that was his particular Character ; he was as great a Musitian as he was a Painter , and played admirably upon the Lute ; he dyed Young , having got the Plague of his Mistress , who having it upon her , admitted of his Embraces ; of which they both dyed . Andrea del Sarto wrought with wonderful Diligence and Care , insomuch that his Works are highly valued , and his Colouring was the sweetest in the World , but there wants Strength and Spirit , which Andrea had not himself , being of a mild timerous Nature , and distrustful of his own Capacity , as also setting very little Value upon what he did ; which made him live and die Poor and Contemptible , not having got in all his life time much Money , except when he was in France , in the Service of that King. Raphael del Urbin was the greatest Painter that ever was ; having made himself a Manner out of the Study of the Antients and the Moderns , and taken the best out of both ; he was admirable for the easiness of Invention , Richness , and Order in his Composition , Nature herself was overcome by his Colouring , he was Judicious beyond measure , and proper to his Aptitudes ; in a word , he carried Painting in its greatest Perfection , and has been outdone by none : His particular Talent lay in Secret Graces , as Apelles's did among the Antients . Antonio di Correggio , among the Lombards , was an exquisite Artist ; for without ever having been out of his own Countrey , he attained to the greatest difficulties of the Art ; never did any Body handle Colours better , nor Paint with a greater Relievo ; but particularly , the tender Softness he gave his Naked Figures , surpasses all Masters of his Time , and perhaps , all that ever were ; he worked most at Parma , retir'd , and little taken notice of , having a great Family , and working hard to maintain them : Painting ows much to him ; and particularly , the manner of drawing Hair loose and natural ; which no Painter before him had attained to . Francesco Muzzuoli , otherwise called , Il Parmigiano , was one of the rarest among the Lombard Painters ; Sweetness , Neatness , and Grace in his Figures , were his Character , together with an art of making Landskips , and other Ornaments , beyond any of his Time : and if he had not taken a Humour of Studying Chymistry , and seeking the Philosopher's Stone , he would have been , perhaps . the most excellent Painter of his Age. Polidoro , from carrying Stone and Mortar in the Pope's Buildings , came to try his Genius for Designing ; and having made an Intimate Friendship with Maturino , a Florentine , who was then working upon the new Lodgings in Fresco ; he followed his study so close , that they two undertook several Frontispeeces , and Outsides of Pallaces in Rome ; and their Genius was so conformable , that their Work seemed to proceed from the same Hand , though both of them work'd together upon the same Piece ; their Invention was the richest , and Design the easiest that it was possible to see ; and to this day , they are the best School for Painters , they having contributed to the Art as much as any ; they painted most of the best Roman Stories up and down Rome ; but did them all with that great Judgment , that to those who are conversant with the Customes and Dress of that Nation , all seemed mighty proper and easie . Julio Romano , was Raphael's Schollar , and his Beloved Schollar , none having so well Imitated him either in Manner , Invention , Design , or Colouring ; and he was besides , pleasant in his Conversation , of a jovial , merry Humour , and infinitely suiting with the sweetness of Raphael's Temper ; no Body understood Antiquity better , for he had extreamly studied Trajan's Pillar , where all the Roman Habits , Engines of War , Ensigns , Arms , &c. are rarely well Represented : He was besides , an admirable Medallist , and spent much Money and Time in that Study : his chief Works are at Mantua ; where he liv'd the best part of his Life , and dyed Rich , and in great Favour with the Duke of that Place . Perino del Vaga came to Rome in Raphael's Time , and grew excellent by studying his and Angelo's Works ; he was a bold and strong Designer , having understood the Muscles in Naked Bodies as well as any of his time ; he had a particular Talent for Grottesk ; of which kind there are many Pieces of his in Rome ; but his chief Works are at Genova in the Pallace of Principe Doria ; he was a very universal Painter both in Fresco , Oyl and Distemper , and first taught the true working of Grottesks and Stucco Work. Michael Angelo Buonaroti was the greatest Designer that ever was , having studied Naked Bodies with great Care ; but he aiming always at showing the most difficult things of the Art , in the Contorsions of Members , and Convulsions of the Muscles , Contractions of the Nerves , &c. His Painting is not so agreeable , though much more profound and difficult than any other ; his Manner was Fierce , and almost Savage , having nothing of the Graces of Raphael , whose Naked Figures are dilicate and tender , and more like Flesh and Blood , whereas Michael Angelo doth not distinguish the Sexes nor the Ages so well , but makes all alike Musculous and Strong ; and who sees one Naked Figure of his doing , may reckon he has seen them all ; his Colouring is nothing near so Natural as Raphael's ; and in a word , for all Vassari commends him above the Skies , he was a better Sculptor than a Painter : One may say of Raphael and of him , that their Characters were opposite , and both great Designers ; the one endeavouring to show the Difficulties of the Art , and the other aiming at Easiness ; in which , perhaps , there is as much Difficulty . Friend . You have touched very handsomly upon the Characters of all these great Artists , and have thereby raised a desire in me to read their Lives . But pray Inform me yet a little further : Did Painting after their Time decay ? Or , has it since been Improved by more Modern Painters ? For all those whom you have mentioned , lived almost two hundred Years ago . Traveller . I cannot say , it has Decayed , but it has rather Improved , till within these few Years that it seems to be at a stand ; and I fear , must Decay , both for want of Encouragement , and because all things that have attained their utmost Period , do generally decline , after they have been at a stand for some time . Friend . Pray , who were those that Succeeded Raphael and Michael Angelo , and those other great Painters which you have mentioned . Traveller . After the Death of Raphael and his Schollars ( for , as for Michael Angelo he made no School ) Painting seemed to be Decaying ; and for some Years , there was hardly a Master of any Repute all over Italy . The two best at Rome were Joseph Arpino and Michael Angelo da Caravaggio , but both guilty of great Mistakes in their Art : the first followed purely his Fancy , or rather Humour , which was neither founded upon Nature nor Art , but had for Ground a certain Practical , Fantastical Idea which he had framed to himself . The other was a pure Naturalist , Copying Nature without distinction or discretion ; he understood little of Composition or Decorum , but was an admirable Colourer . But much about the same time , the Caraches of Bologna came to Rome , and the two Brothers Painted together the famous Gallery of the Pallazzo Farneze : Hannibal the Youngest , was much the greatest Master ; though his Eldest Brother Augustin was likewise admirable ; they renewed Raphael's Manner ; and Hannibal particularly , had an admirable Genius to make proper to himself any Manner he saw , as he did by Correggio , both as to his Colouring , Tenderness , and Motions of the Figures ; in a word , he was a most Accomplish'd Painter , both for Design , Invention , Compofition , Colouring , and all parts of Painting ; having a Soveraign Genius , which made him Master of a great School of the best Painters Italy has had . Augustin his Elder Brother was an excellent Painter , and a rare Ingraver ; He far surpassed Hannibal himself in the Accomplishments of the Mind ; for besides his knowledge in Mathematicks and Philosophy , he was an admirable Musitian , and a very good Poet in his own Language : He Founded the Academy of Design in Bologna ; in which , besides Designing after the Life , there was Taught Simmetry , Perspective , the reason of the disposing the Shadows and Lights , Anatomy and Architecture ; and Discourses were made upon Stories and Fables , and the Manner of Placing them , and the Art of Colouring them ; insomuch that Painting was much Improved by him . He left a Natural Son , whose Name was Anthony , and who dyed about twenty four Years Old ; 't was thought he would have gone beyond Hannibal himself , the little that he has left behind him being of a bolder flight than any of the Carraches . Lodovico Carrache , the Uncle , was he that first Instructed Hannibal , and was an Eminent Painter , having studied the Manner of Correggio ; he excelled in Design and Colouring , and was chiefly Imitated by Guido Rheni ; who , though a Schollar of Hannibal's , yet thought the Sweetness and Colouring of Lodovico to be preferr'd to Hannibal's ; and indeed the Heads of Guido are not inferiour to those of Raphael himself . Friend , Pray , who were the chief Schollars of this School of the Caraches ? Traveller . The most Remarkable were Guido Rheni , of whom I was speaking , Sixto Badalocchi , Albano , Dominichino , Lanfranc . Guido Rheni acquired both more Reputation and Riches than any of the School of the Caraches , there being hardly a Prince in Europe that has not endeavoured to get some of his Pieces , which he sold at what Rates he pleased . Sixto Badalocchi dyed Young , but was the best Designer of the whole School of the Caraches . Albano work'd most in Little , but with a great Genius , and an admirable Sweetness , having besides , all the Parts of an Excellent Painter . Dominichino was one that took much Pains , and had not that happy Facility which his other Contemporaries had , but he was very Profound in all the Parts of Painting ; insomuch , that bating the inimitable Graces of Guido , he seems to out-do him in every thing else ; and particularly , in greatness of Invention . Cavaliero Lanfranc was another of the famous Disciples of Carache , and Painted in Rome several things in Concurrence with Guido and Domenichino ; he had a great Fire , and a noble Manner of Design and Colouring , but not always so Correct as he should be . There was likewise one about the same time , or a little after , who seems to have been his own Master , and to have been the Head of a School ; and that is , Pietro Berettini di Cortona , who was a most Accomplished Painter , and a great Composer , much Facility in his Inventions , and a particular way of Cloathing his Figures , were his distinguishing Characters ; but besides , he was Universal ; Painting all his Ornaments himself , and that to a great Perfection , as well in Landskip as in Fruits , Flowers , Animals , &c. His Forms are very Correct , as having studied all the Antiques of Rome better than any Painter of his Age , there being scarce an Old Fragment left Un-Designed by him ; his Drapery is a little stiff , and that is his only fault . Friend . Methinks , all this while , you have said nothing of some of the most Famous Painters in the World , to wit , Titian , Tintoret , Paul Veronese , and the Bassans . Traveller . They are all of the Lombard School , and I designed to treat of them by themselves , as indeed , they deserve ; but in the mean time , since you have mentioned them , I will give you a short Character of each of them . Titian was the best Colourer , perhaps , that ever was ; he Designed likewise very well , but not very exactly ; the Airs of his Heads for Women and Children are admirable , and his Drapery loose and noble ; his Portraits are all Master-pieces , no man having ever carried Face-Painting so far ; the Persons that he has drawn having all the Life and Spirit as if they were alive ; his Landskips are the Truest , best Coloured , and Strongest that ever were : He was very Laborious , Copying with his own Hand all that he did for ten Years ; that he might thereby acquire a Facility : He lived to be a hundred Years Old within one Year , and Painted to the last ; but what he did at first and at last , is easily distinguished from his other Works which he did in his Prime . Paul Veronese , Disciple of Titian , Painted with grert Grace , and adorned his Figures with Beautiful Draperies , but his Composition was gross , and Invention poor , neither did he Design Correctly , his Colouring it exquisite . Tintoret had a great Genius ; & if he had had as much Patience as he had Fire and Vivacity , he would have Excell'd ; but he is faulty in his Design , and his Composition and Ornaments are mean , his Colouring is very good . The two Bassans had but a poor Genius , confined to one Manner , and with little Variety ; but their Colouring is Admirable , and their Animals Designed Truely , and with great Relievo ; as for other Painting , they had neither Invention nor Correction of Design . And with them , I think , I may shut up my Account of the Italian Painters of any great Fame . Friend , Has there been no Painters of the first Rank out of Italy ? Traveller . Few or none , but some there have been , that had they seen Italy , would certainly have been of the very first Rate ; Others there are too , who having seen that Countrey , have brought out of it a Manner and Colouring little Inferiour to the best Masters there ; the first were Albert Durer and Holbins , who were both Profound in the Art ; they were Contemporaries to Raphael , and would have puzzled him if they had lived at Rome , to shake off their Gothick Manner ; Raphael had Albert Durer in great Admiration , and used to hang his Prints in his Chamber , and study them : Amongst those who have been in ITALY , the two best are Rubens and Vandike . Rubens had a great Genius , much Fire , and yet great Softness ; he was Learned in the Art , but without Correction in Design ; his Colouring is equal to Titian's , whose Works he chiefly Studyed , and like him , followed Nature more than the Antique ; he has more Facility than Titian , more Truth and Profoundness than Paul Veronese , and more Majesty and Repose than Tintoret : His Chief Study was upon these three ; out of whom he made himself a Manner beyond them all ; and such an one as has not been out-done by any . The best of his Schollars was Vandike ; who seems to have best understood his Masters Rules and General Maxims ; nay , he has even surpassed him in the Dilicacy of Expressing true Flesh and Blood ; particularly , in some small Cabinet Pieces : Had he not spent so much time in Portraits , he might have been a great History Painter ; though he did not Design with great Correction . THE HISTORY Of the ART of PAINTING . DIALOGUE III. Teaching How to know Good Pictures . Friend . I Have read with great pleasure the Lives of most of those Painters whom we discoursed of at our last Meeting ; and that Study has given me so muuh Insight into the Art , that I must needs own , that a General Painter , such as Raphael and some others were , is a most extraordinary sort of Man ; it being necessary he should not only have a Genius and Spirit infused from above , but also , that he be fraught with all the best part of acquired Knowledg here below ; and I do no longer wonder now , that we have so few of such Transcendent Artists . Traveller . The World here in our Northern Climates has a Notion of Painters little nobler than of Joyners and Carpenters , or any other Mechanick , thinking that their Art is nothing but the daubing a few Colours upon a Cloth , and believing that nothing more ought to be expected from them at best , but the making a like Picture of any Bodys Face . Which the most Ingenious amongst them perceiving , stop there ; and though their Genius would lead them further into the noble part of History Painting , they check it , as useless to their Fortune , since they should have no Judges of their Abilities , nor any proportionable Reward of their Undertakings . So that till the Gentry of this Nation are better Judges of the Art , 't is impossible we should ever have an Historical Painter of our own , nor that any excellent Forreigner should stay amongst us . Friend , What you say is very true , and therefore I think it would be a good work to inform us how we should Judge of Paintings , and distinguish the Good from the Bad ; as also , to teach us how to know the different Hands and Manners of those great Masters already extant . Traveller . To do that perfectly , would be a Work of great length , and perhaps , ingage me in the Secrets of the Art it self , to such a degree , as my Discourse would be fit for none but Painters to read ; therefore I shall not do that ; but if a few Rules of Common Sense and Obvious Notions will suffice , as I believe they will , to make any one a Judge of Painting , I am content to give you that sort of Observations . Friend . Pray do , and in as easie Terms as you can , that I may Communicate what I Learn , to those whom I design to gain over to this diverting Knowledge . Traveller . I must then repeat to you what I told you at our first Meeting ; which is , That the Art of Painting has three Parts ; which are , Design , Colouring , and Invention ; and under this third , is that which we call Disposition ; which is properly the Order in which all the Parts of the Story are disposed , so as to produce one effect according to the Design of the Painter ; and that is the first Effect which a good Piece of History is to produce in the Spectator ; that is , if it be a Picture of a joyful Event , that all that is in it be Gay and Smiling , to the very Landskips , Houses , Heavens , Cloaths , &c. And that all the Aptitudes tend to Mirth . The fame , if the Story be Sad , or Solemn ; and so for the rest . And a Piece that does not do this at first sight , is most certainly faulty , though it be never so well Designed , or never so well Coloured ; nay , though there be Learning and Invention in it ; for as a Play that is designed to make me Laugh , is most certainly an ill one if it makes me Cry. So an Historical Piece that doth not produce the Effect it is designed for , cannot pretend to an Excellency , though it be never so finely Painted . Friend . But as one may be delighted with the Verses and Composition of an Ill Play , so we may be pleased with the Design and Colouring of a Picture that is ill Disposed . Traveller , 'T is true , but that is but an Imperfect Joy , and such an one as reflects more upon the Artist , than if he had made an Attempt to please us by Order , and had failed in his Design and Colouring . Such was the fault of one , who being to draw the Story of Moses striking the Rock in the Desert to get Water for the People of Israel , made a Rock indeed , and the People about it , but drew the Landskip of a Countrey full of Pasture , and Beautifully Green and Fertile ; not considering that such Countreys have no need of Miracles to produce Water in them ; without which they cannot be supposed Fertile : whereas he should have drawn a Countrey , as indeed it was , Burnt up , Sandy , and Barren , that the Miracle might have been both more necessary and greater : and though this Countrey were never so finely done by him , yet that Errour of Judgment made the Piece Intollerable , and not to be looked upon without Indignation . The next thing to be considered in an Historical Piece , is the Truth of the Drawings , and the Correction of the Design , as Painters call it ; that is , whether they have chosen to imitate Nature in her most Beautiful Part ; for though a Painter be the Coppist of Nature , yet he must not take her promiscuously . as he finds her , but have an Idea of all that is Fine and Beautiful in an Object , and choose to Represent that , as the Antients have done so admirably in their Paintings and Statues : And 't is in this part that most of the Flemish Painters , even Rubens himself , have miscarryed , by making an ill Choice of Nature ; either because the Beautiful Natural is not the Product of their Countrey , or because they have not seen the Antique , which is the Correction of Nature by Art ; for we may say that the Antique is but the best of Nature ; and therefore all that resembles the Antique , will carry that Character along with it . Friend , I remember , you reckoned it to me among the Faults of some Painters , that they had studied too long upon the Statues of the Antients ; and that they had indeed thereby acquired the Correction of Design you speak of ; but they had by the same means lost that Vivacity and Life which is in Nature , and which is the true Grace of Painting . Traveller . 'T is very true , that a Painter may fall into that Errour , by giving himself up too much to the Antique ; therefore he must know , that his Profession is not tyed up to that exact Imitation of it as the Sculptor's is , who must never depart from that exact Regularity of Proportion which the Antients have settled in their Statues ; but Painters Figures must be such as may seem rather to have been Models for the Antique , than drawn from it ; and a Painter that never has studied it at all , will never arrive at that as Raphael , and the best of the Lombard Painters have done ; who seem to have made no other Use of the Antique , than by that means to choose the most Beautiful of Nature . There is another Caution to be observed too in this Choice of Forms , which is , to keep a Judicious Aptitude to the Story ; for if the Painter , for Example , is to draw Sampson , he must not give him the Softness and Tenderness he would give to Ganimedes ; nay , there is a difference to be made in the very same Figure at different times : and Hercules himself is to be made more Robust , fighting with Anteus , than when he sits in Dejanira's Lap. But above all , the Painter must observe an equal Air , so as not to make one part Musculous and Strong , and the other Soft and Tender . There is another thing to be considered likewise upon the viewing of any Story ; which is , whether the Painter has used that Variety which Nature her self sets us a Pattern for , in not having made any one Face exactly like another , nor hardly any one Shape or Make of either Man or Woman . Therefore the Painter must also vary his Heads , his Bodies , his Aptitudes , and in a word , all the Members of the Humane Body , or else his Piece will Cloy , and Satiate the Eye . As for the Remainder of what belongs properly to that part called Design ; we must consider if every Figure moves properly ; as , if a Figure be to strike , whether the Arm and all the Body show the vigour of such a Motion ; and the same if he is to Run or Dance ; and therein consists one of the greatest Masteries of the Art , and which requires some Knowledge in Anatomy , that the Muscles be rightly express'd . As for Shortnings , they are things of great Difficulty , and few understand the Beauty of them ; which is , so to cheat the Eye , that a Figure that in reality is not a Foot in length , shall seem to be five or six Foot long ; and this depends upon Opticks , and is most in use in Ceilings and Vaults . Friend . These are good Observations for Naked Figures ; but few Pieces are all of that sort , most being Cloathed ; and they say , that the Effect of Draperies is of great Consequence to the Piece , and therefore to be managed with great Art. Traveller , T is very true , 't is one of the most difficult parts of Painting ; and the best Rule is , that your Drapery be in large Foldings , Noble and Simple , not repeated too often , but following the Order of the Parts ; and let them be of Stuffs and Silks that are commonly worn , of beautiful Colours , but sweet , and such as do not trench upon the Naked too harshly , and by that means they will be of great Use for the Union of the Whole ; either by reflecting the Light , or giving such a Fund as is wanting for the other Colours to appear better . They serve also to fill up any empty place in the Picture . There is also a Judicious Choice to be made of Draperies , according to the Quality of the Persons : Magistrates and Grave People must have Ample and Long Robes ; Countrey People and Souldiers must have Close , Short Draperies ; Young Maids and Women must have them Light , Thin , and Tender . They that follow the Drapery of the Antients in Statues , will always be Stiff , as Raphael was at first , because that they used little Foldings , often repeated ; which do best in Marble or Brass . But Painters who have the Command of Colours , Lights , and Shadows , may extend their Draperies , and let them fly as they please . Titian , Paul Veronese , Tintoret , Rubens , and Vandike , have painted Drapery admirably ; and indeed the Lombard School have excell'd in that and Colouring , as the Roman and Florentine in Design and Nudity . Friend . What is properly the Colouring of a Piece of Painting ? Traveller . It is the Art of employing the Colours proper to the Subject , with a regard to the Lights and Shadows that are incident to the Story , either according to the Truth of it , or to the Painter's Invention : and out of the Management of these comes all the Strength , Relievo , and Roundness that the Figures have : 't is hard to give Positive Rules here , it depending much on Practice ; but the most General is , so to manage your Colours , Lights , and Shadows , that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also , that there be an imperceptible passage from your Shadows to your Lights . 'T is generally observed likewise to make the greatest Light fall upon the middle of the Piece , where the principal Figures ought to be , and to lessen it by degrees towards the sides till it loose it self . In gentle Shadows , avoid strong Shadowings upon the Naked Members , least the black that is in them seems to be part of the Flesh. But above all , there is a thing called by the Italians , Il degra demento de Colori ; which in English may be termed , The diminishing of Colours : And it consists in making an Union and Concord between the Colours in the formost part of your Piece , and those that are behind , so that they be all of one tenour , and not broke ; and by this means every part corresponds with another in your Picture , and makes up one Harmony to the Eye . As for Face-Painting alone , it is to be managed another way , for there you must do precisely what Nature shows you . 'T is true , that Beautiful Colours may be employed , but they must be such as make not your Piece like a Picture , rather than like Nature it self ; and particularly , you must observe to express the true Temper as well as the true Phisionomy of the Persoms that are Drawn ; for it would be very absurd to give a Smiling , Airy Countenance to a Melancholly Person ; or , to make a Young , Lively Woman , Heavy and Grave . 'T is said of Apelles , that he expressed the Countenance and true Air of the Persons he Drew , to so great a degree , that several Physionomists did predict Events upon his Pictures to the Persons Drawn by him , and that with true Success . If after that , you can give your Picture a great Relievo , and make your Colours Represent the true Vivacity of Nature , you have done your Work as to that part of Painting , which is no small one , being , next to History , the most difficult to obtain ; for though there be but little Invention required , yet 't is necessary to have a Solid Judgment and Lively Fancy . Friend . Pray , what is properly Invention in a Picture ? Traveller . Invention is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum . By the first , the Painter places the parts of his Subject properly , so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story , though it imbrace never so many Figures , make but one BODY , Agreeing with its self in all its Parts . For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it , that the Persons employed in the Piece do all do the same thing , though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides , he must Represent a Countrey proper , and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed , that part of Invention was so great in him , that he seldom Designed a Story in his first SCHIZZOS , that he did not do it four or five several ways , to choose at last the best . But to do this , a Painter , besides a Fanciful , Flourishing Genius of his own , must help himself by reading both History and Fable , and Conversing with Poets and Men of Learning ; but above all , the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform . Some Observations there are about the Number of Figures fit to be employed in an Historical Piece . Hannibal Carrache was of Opinion , that a Piece that contained above twelve Figures , could never be free from Confusion ; and the Reason that he used to give , was ; first , That he thought that no Piece could be well with more than three great Gruppos , or Knots of Figures : And Secondly , That that Silence and Majesty which is necessary in Painting , is lost in that Multitude and Croud of Figures . But if your Subject be such as constrains you to a Multitude , such as the Representation of a Battle , or of the Last Day of Judgment , then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union , and the disposing of your Lights and Shadows . The Painter must also take Care , that his Scene be known by his Piece at first view , by some Ingenious Invention to express the Countrey : Such wos that of Nealces a Greek Painter , who having Drawn a Sea-Fight between the Aegyptians and the Persians ; to express , that the Action happened at the Mouth of the Nile , made an Ass drinking by the side of the River , and a Crocodile ready to devour him ; that being the proper Animal of that River . The second part of Invention is Decorum ; that is , that there be nothing Absurd nor Discordant in the Piece : and in this part , the Lombard Painters are very faulty ; taking Liberties that move one almost to Laughter ; Witness Titian himself , who Drew Saint Margaret a Stride upon the Dragon : and most of the Lombard Painters are subject to a certain Absurdity of Anachronisaie's Drawing . For Example , our Saviour upon the Cross , and Saint Francis and Saint Benedict looking on , though they did not live till eight hundred Years after our Saviour's Passion . All Indecencies are likewise to be avoided : and Michael Angelo doth justly deserve to be Censured , in his great Picture of the Day of Judgment , for having exposed to view in the Church it self , the secret parts of Men and Women , and made Figures among the Blessed that kiss one another most tenderly . Raphael on the contrary , was so great an Observer of Decorum , that though his Subject led him to any Liberties of that kind , he would find a way to keep to the Rules of Modesty : and indeed , he seems to have been Inspired for the Heads of his Madonna 's and Saints , it being impossible to imagine more Noble Physionomies than he gives them ; and withal , on Air of Pudour and Sanctity that strikes the Spectator with Respect . Friend , This puts me in mind of the moving part of Painting ; which is , the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting . Traveller . It is Comprehended under that of Invention ; and is indeed the most difficult part of it , as depending intirely upon the Spirit and Genius of the Painter , who can express things no otherwise than as he conceives them ; and from thence come the different Manners ; or , as one may call them , Stiles of Painting ; some Soft and Pleasing , others Terrible and Fierce , others Majestick , others Low and Humble , as we see in the STILE of POETS ; and yet all Excellent in their Kinds . Friend . Pray , if you were to give your Judgment about those Painters whom you esteem most universal , and whose Works were fittest to be Studied , whom would you choose . Traveller . I should begin with Raphael , whose Graces and Skill are beyond Imitation , and can only be Admired till Heaven sends such another Genius down to Advance the ART beyond what he brought it to : after him , I think that Giulio Romano and Polidoro , with Perino del Vaga , may carry the Bell for Design and Invention . For Beauty of Colouring , Correggio , Titian , and Parmigiano are , without Contest , the most Inimitable Masters : Paul Veronese had a most Rapid Genius , full of Fire and Invention , an Admirable Colourer , but not an exact Designer , nor true Chooser of the best Forms for a Dark , Strong Manner , somewhat Smoked , but very Learned : I think that Giorgione Pordenone and Caravagio are Admirable : And in these Latter Times the Carraches seem to have had all the Qualities together , being Excellent Designers , Admirable Colourists , full of Graces , and of Great Skill in Managing their Lights and Shadows . Insomuch that there is little Amendment to be expected in Painting , after such ARTISTS . Friend . You say nothing of Michael Angelo , Lionardo da Vinci , Poussin , and a great many others . Traveller . I have else where given their Characters ; which because they are not Universal , I do not here propose them for Patterns : Michael Angelo was a mighty Designer , and that was all : Of Lionardo , who was Equal to him in every thing , we have nothing left , or very little : As for Poussin , the so much Admired Frenchman ; his way was in Little for the most part ; and some are of Opinion he could not do in Great ; or at least , he did not delight in it , having done but two Pieces in all his Life time , that were as big as the Natural ; his Figures were generally of two or three Foot long ; his Composition Orderly , his Invention Florid ; but particularly , he had a Talent for Expressing the PASSIONS : which was most Admirable : His Colouring inclines more to the Antique than to Nature . And he has left many Pieces unfinished . But take him altogether in his Way , he is a Great MAN , but not of that first Rank of PAINTERS , whom all ARTISTS must look upon as the Great Originals that Heaven hath given to Mankind to Imitate ; and whose WORKS will not only be the SCHOOL , but the DELIGHT and ADMIRATION of all After Ages , as long as Painting shall retain any Esteem amongst Mankind . The End of the Dialogues . The LIFE of CIMABUE : A Florentin Painter . THAT Deluge of Calamities which , for divers hundreds of Years , had overwhelm'd Italy , had not only ruin'd all the publick Fabricks and the product of the Industry of the Antients , but likewise so extinguished the Arts themselves that there was not an Artificer in any kind left : when it pleased God that about the year 1240 , there was Born in Florence , Jean Cimabue who first Revived the Art of Painting . He was of the Family of the CIMABVE , in those dayes reputed Noble ; and being a promising Child , his Father sent him to Schoole to the Monestry of Sancta Maria Novella , where one of his Relations was professor of Grammer to the Novices of that Convent . But he instead of minding his Book , used to spend all his time in Drawing of Figures of Men , or Horses , or the like , upon Paper , or the backside of his Books : Following thus the powerful dictates of Nature , which design'd him for another Profession , much about this time , those who Governed in Florence , invited some Painters out of Greece , that the Art of Painting which was totally Lost , might be Restored among the Italians ; and the first work they undertook , was the Chappel of the Gondi in Sancta Maria Novella , which they Painted ; the Front and Vault of it is now so Ruin'd by time , that the Work is hardly to be discerned . Here Cimabue following his secret Inclination , used to get from School and pass all day with those Painters , to see them work . So that at last , his Father perceiving how fond he was of that Art , agreed with the Greek Painters to take him to their Care , they judging that he was very likely to succeed in the Profession . Accordingly in a short time he was so help'd by Nature , that he surpassed his Masters , both in Design and Colouring ; for they not at all attentive to Improve their Art , had contented themselves with a plain flat manner ; as we may see in those of their Works that have been preserved to our time ; but Cimabue though he imitated them , yet he had a much freer way , as appears by his Works that remain . The chief of which are the back of the great Altar in Santa Cecilia , and in Sancta Croce a Madonna , which is yet fastned to a Pillar on the right hand of the Quire : After which he drew a Saint Francis upon a Field of Gold ; and which was new in those days , he drew the Figure after the Life as well as he could , and round about in the Borders all the Story of his Life in twenty Squares , full of little Figures , all upon a Field of Gold. After this , having undertaken a great Picture for the Monks of the Order of Val-Ombrosa , in the Abby of the Trinity in Florence , he shewed in that Work much more Diligence and Invention , and particularly in the Aptitude of a Madonna , with her Son in her Arms , adorned by a number of Angels round about , the whole upon a Field of Gold ; which Piece was by the Monks , placed upon the great Altar of the said Church , from whence being in process of time taken away to make room for one of Alisso Baldovinetti , it was placed in one of the Chappels on the left side of the Church . After this , Working in Fresco at the Hospital of the Porcellana , in the middle of the great Gate , he Drew on one side , the Figure of the Virgin Mary , and the Angel Gabriel , and on the other our Saviour , with Cleophas and Lucas , all of them whole lengths ; and in the Cloathing he shewed much more freedom and strength than had yet been seen , leaving the old Fashioned way , which was full of Lines and Porfils , and giving a softness not before known ; for this hard flat manner , was all that at first those Painters had attained to , and that not by any Rules or Science , but by a certain Tradition , with which they contented themselves , leaving it to one another , without ever dreaming of mending their way of Designing , or that of their Colouring , or gracing their Pieces with any sort of Invention . By this time the Fame of Cimabue began to be so spread , that he was sent for to many Remote places , and amongst the rest to Ascesi , a City of Vmbria , and the place of the Birth of Saint Francis ; there in the lower Church in company of some of those Greek Painters , he Painted some of the Ceiling and the sides of the Church , with the Stories of the Lives of our Saviour and Saint Francis , in all which he so far outdid the Greeks his Concurrents , that taking courage he resolv'd to Paint by himself , and undertook the upper Church in Fresco : There over the Quire , he Painted in four places divers Stories of our Lady , that is her Death , when her Soul is carried by Christ into Heaven upon a Throne of Clouds , and when in the middle of a Quire of Angels , he puts the Crown upon her Head , there being at her Feet great numbers of Saints of both Sexes ; all which now are almost consum'd by Time. Then in the Five Partitions of the Vault , or Ceiling , he Painted likewise many Stories . In the first over the Quire , he Drew the four Evangelists bigger than the Life , and that so well , that even to this day , the Skilful do acknowledg a good Manner in them ; the freshness of the colouring of the Flesh , shewing still how much Painting was beholding to Cimabue . The second Partition , he filled with Golden Stars , upon a Field of Azure Ultramarine . In the third , He made in every Square , a Round , and in that a Figure , which were in all four , to wit , Jesus Christ , the Blessed Virgin , Saint John Baptist , and Saint Francis. The fourth , He filled with Stars , as before . And in the fifth , He Painted the four Doctors of the Church , and by each of them , one of the first Founders of the Monastical Orders ; a Work certainly , that required great Pains and Diligence . Having finished the Ceilings , he Painted the left side of the Church with sixteen Stories ; Eight out of the Old Testament , and Eight out of the New. Then over against them , again he Drew sixteen Stories more , which were the chief Actions of our Saviour , and of the Blessed Virgin , ending with the Assumption of our Lady , and the coming down of the Holy Ghost upon the Apostles . All which works besides , that they were of so great an Extent , were excellently well Disposed , and with Judgment and Invention carried on ; so that without doubt , they must raise a great Admiration in the Men of those Times , who had never seen any thing like them , and even in me , who saw them in the Year 1563 , that is above Two Hundred Years after they were made . They produced that Effect , that I could not but wonder , how Cimabue , in so much Obscurity of the Art , had been able to see so clear . Having finished these , he began to Paint the remainder of the Church , from the Windows downwards , but being called away to Florence , about some private Concerns , they were afterwards Finished by Ghiotto . One Observation I cannot omit , which is , That of all these Paintings , those that have best preserved themselves are those of the Vaults and Ceilings , as being least injured by the Dust , and other Accidents . Being come back to Florence , he Painted for the Church of Sancta Maria Novella , where he first went to School , a great piece of our Lady , which is still to be seen between the Chappel of the Rucillai , and that of the Bardi di Vernia , and was the biggest Picture that had yet been seen in those days . One may perceive by the Angels that are drawn in it , that he had still the Greek way of his first Masters , though bettered , and endeavouring at the Modern way of Painting . It produced nevertheless , so much Wonder , in the people of those Times , that it was carried from Cimabues House to the Church with Trumpets before it , and in a solemn Procession , and he was highly Rewarded and Honoured by the City for it . There is a Tradition , that while Cimabue was doing this Piece in a Garden , he had near the Gate of Saint Peter , that Charles of Anjou King of Naples , came through Florence , where being Received with all possible demonstrations of Honour , amongst other Entertainments , the Magistrates carried him to see this Piece ; and because no Body had yet seen it , all the Gentry of Florence , both Men and Ladies , waited upon him thither , with so much extraordinary Joy and Feasting , that the people changed the Name of the place , and called it Borgo Allegry , as much as to say , the Merry Suburb ; which Name it has retained to this day , though it has since been enclosed in the City . There are some Works of his likewise in Pisa , and amongst the rest one in the Cloyster of Sancta Francesco , near the Church Door in a corner . T is a Story of our Saviour upon the Cross , with some Angels round about him , who seem to carry certain Words with their Hands to the eare of a Madonna , who is all in Tears on one side , and to Saint John the Evangelist on the other side ; the words to the Virgin are these , Mulier Ecce filius tuus : And to Saint John , Ecce Mater tua . And then another Angel holds in his Hands these other Words , Ex illa hora accepit eam Discipulus in suam . In all which we may observe , That Cimabue begun to open the way to Invention by the means of Words , which though they were but a poor contrivance , yet they shewed that his Fancy was stirring and endeavouring to express its self . Having thus by means of his Works acquired to himself great Fame , and a good Estate , he was at last joyned in company with Arnolfo Lapi , a Man in those days famons for Architecture . In the Fabrick of Sancta Maria del . Fior in Florence , in which Employment , being arrived to the Age of Sixty Years , he Died in the Year 1300. having Resuscitated Painting as it were from the Dead . He left many Disciples , and amongst the rest , Ghiotto , who proved an Excellent Master , and Lived in the same House that his Master Cimabue had done in the Strada Dellocomero . Cimabue was Buried in Sancta Maria del Fiore . And we may say , That if he had not been followed so close , and so much Out-done by his Schollar Ghiotto , his Fame would have been much greater ; as appears by these Verses of Dante : Credette Simabue nella Pittura , Tener lo campo e hora ha Ghiotto il Grido , Si che la Fama di colui oscura . Cimabue his Picture is yet to be seen , done by the Hand of Simon Sanese , in the Chappel house of Sancta Maria Novella , made in Porfil , in the History of Faith ; in a Figure which has a Lean Face , a little Red Beard , in point with a Capuche , or Monks Hood , upon his Head , after the fashion of those Times : And the Figure next to him , is Simon Senese himself , who Drew his own Picture by the means of two Looking Glasses . I have nothing more to say of Cimabue , but only that in a little Book of Designs , where I have some of all the Masters , since his time . I have likewise two or three little Things of his in Red Minium , by which , though now a-days they may appear somewhat stiff , yet one may perceive by them , how much Painting was beholden to him . The LIFE of GHIOTTO A FLORENTINE : Both Painter , Sculptor , and Architect . GHIOTTO was Born in the Year 1276. within Fourteen Miles of the City of Florence , in the little Village of Vespignano , his Father's name was Bondone , a plain Country Man. When he was about Ten years Old , his Father used to send him out to keep Sheep , and while they were Feeding , he used to Draw something or another upon the Sand : Finding in himself a strong Inclination for Design , one day Cimabue , going for some Occasions of his own , from Florence to Vespignano , found Ghiotto , who while his Sheep were Feeding , was drawing one of them after the Life , upon a plain flat Stone , with another Stone , somewhat sharpned at both ends ; having never Learned the way of doing it from any , but from Nature . Cimabue astonished , stood still , and having considered the Child and his Work , he ask'd him , If he would go and Live with him at Florence ? To which the Child answered , That if his Father was willing , he would go with all his heart . Whereupon he went to Bondone his Father , who was easily persuaded to give him Ghiotto , as thinking it a preferment for the Child ; so Cimabue took him along with him to Florence , there being well Instructed by Cimabue , and helped by Nature . He had not long applied himself to Designing , but he quite put down that old flat Greek way , and becoming a strong Imitator of Nature , began to revive that which has been since called the Modern Way of Painting : For he used often to draw Men and Women by the Life ; a thing that had not been Practised in Two hundred Years before , or at least , not with that Success and Skill that Ghiotto had ; as appears by some Things of that kind , which we have preserved to this day . Amongst the rest , he Drew Dante Alighieri , the famous Poet of those Times , and his Intimate Friend , as may be seen in that Chappel of the Palace of the Podesta of Florence : In the same Chappel , is likewise the Picture of Ser Brunetto Latini , Dante 's Master , and of M. Coriso Donati , a noble Citizen , and of great Renown in those Times . Ghiotto's first publick Works , were in the Chappel of the High Altar . In the Abby at Florence , in which he did many good things , but particularly , an Annunciation of our Lady , by the Angel Gabriel , in which the Fear and Surprise of the Virgin Mary , is expressed , she being so frighted , that she is ready almost to run away . The Picture of the great Altar , is likewise of Ghiotto's hand , and is preserved there , for the respect they bear to the Memory of so great a Man. In Sancta Croce , there are likewise four Chappels , painted by him ; three between the Sacristy , and the great Chappel , and one on the other side over against : The first is the Chappel of M. Ridolpho de Bardi , which is that where the Bell-ropes are , and the Life of Saint Francis ; at whose death , many of his Moncks seem to express very much Grief . In the other Chappel , which belongs to the Beruzzi , there are two Stories of the Life of Saint John Baptist , to whom the Chappel is dedicated ; and in them the dancing of Herodias , with all the other Apparatus of a great Feast , which is very well and lively designed : As likewise two other Stories of Saint John the Evangelist , are Incomparable ; to wit , that where he Resuscitates Drusiana , and when he is himself , carried up to Heaven . In the third Chappel , which belongs to the Family of the Giugni , and is likewise called , The Chappel of the Apostles ; he has Painted many Stories of their Martyrdom . And in the fourth , which is on the other side of the Church , towards the North , which belongs to the Tolinghi , and the Spinelli , and is Dedicated to our Lady ; he painted the Story of her Birth , her Marriage to Joseph , the Annunciation , the Adoration of the Magi , and when our Lady offers her little Son to Simeon ; which is one of the finest Things in the whole Work. For besides the great Affection with which the Old Man seems to receive our Saviour , the Action of the Child is admirable ; for being half afraid , he turns to his Mother , and takes her about the Neck , as Children use to do , at the sight of any new Object that frights them . In the Chappel of the Baroncelli , in the same Church , there is a piece in Distemper , of the Hand of Ghiotto , where the Crowning of our Lady in Heaven , is expressed with infinite Labour , there being a very great number of several Figures , and a Choire of Angels and Saints , most Elaborately done ; and because that in this Piece , he has written his Name and the Year , in Letters of Gold. All Artists must needs have Ghiotto in the highest esteem , considering the Beginnings he gave so long ago , to true Designing , and good Colouring . In the same Church of Sancta Croce , are many other of his Works , and in the Refectory Sacristy , and other places . He Worked likewise in the Church Del Carmine , in the Chappel of Saint John Baptist , the whole Life of that Saint divided in different pieces . In the Pallace of the Guelfes Party in Florence , there is likewise of his Hand , a History of Faith in Fresco , most exceeding well Painted ; and in it amongst the rest , is the Picture of Pope Clement the 4th . who created the Magistrates of the Guelfe Party , giving them his own Coat of Arms , which they keep to this day . Having done these things in Florence , he was Invited to Astisa , a City in Vmbria , where Cimabue had Painted before , by the then General of the Franciscans , Fra. Gioranni Di Muro della Marca ; there he undertook the upper Church , and painted in it Sixteen Stories , of the Life and Gests of Saint Francis , of each side of the Church ; and to say truth , in this Work , he acquired great Fame : For there is in it great Variety , not only of the Postures and Aptitudes of the Figures , but likewise in the whole Composition ; in which he has showed himself a great Observer of Nature , as well as of the Dress and Customs of those Times . And among the rest , there is a Story , where one being very Thirsty , in whose Looks , the longing for Water shows it self , drinks stooping at a Fountain , with wonderful Affection , in so much that one would think it were a Live Figure . And indeed , in this whole Work , Ghiotto followed Nature so close , that he deserves to be called Nature's Disciple ; for the great Order , Proportion , and Facility , that he has showed in it all along . He painted likewise in the Church below , many things of the Life and Glorification of Saint Francis ; in all which he showed great Variety of Invention , and amongst other things , drew his own Picture , rarely well , in one of those Stories : And over the Door of the Sacristy , is a Saint Francis in Fresco , who recieves the Stigmats upon his Knees , which is so Devout , and full of Affection , that I take it to be the best thing that Ghiotto ever did . Having finished his Painting at Astisa , he returned to Florence , where as soon as he was Arrived ; he undertook a piece to send to Pisa ; it was the Story of Saint Francis , in that horrible Desert of Vernia , where besides the Landskip of Rocks and Trees , proper to that place ; the Saint himself was placed in that Rapture , of receiving the Stigmats , and in it showed a most fervent desire of them , and a most zealous Love towards our Saviour , who appears in the Air , environed with Angels ; and in the lower part of the Piece , are three Stories of the same Saints Life most admirable ! This Picture , which to this day , is kept with great Veneration , in the Church Saint Francisco di Pisa , upon a Pilaster near the great Altar : Was the occasion that the Pisans , having finished their Fabrick of the Campo Sancto , according to the design of Giovanni di Nicola , one of their own Citizens , sent for Ghiotto , to Paint one part of the Inside of it ; That as on the Outside , it it was adorned with Marble and Sculpture , performed with great Expence ; covered with Lead on the Top , and within full of Statues and Tombs of the Antient , brought from many parts of the World , so that it might be Adorned with the best Modern Painting on the Inside , by the best Painter then Extant . Ghiotto therefore painted on one of the sides within , six Stories of the Life of Job in Fresco ; and because he considered , that on that side where he was to Work , the Sea Wind did chiefly blow , which being moist , was apt to make the Marble sweat , as it does in most of the Houses in Pisa , which being mingled with a Salt , that comes out of the Stones , was apt to eat up the Colours : He caused a Coat of Lime plaister and beaten Brick , mingled together , to be laid on pettry thick every where , where he was to Work ; and by that means he has so well obtained his end , that the Pictures he made there , are preserved to this day , and might have been much better kept , if the negligence of those who should have taken care of them , had not let the wet come to them in some places , which has made them scale and look black : Besides , that it is the nature of Plaister , when mingled with Quicklime , to mould and grow moist with time , and by consequence , must of necessity spoil the Colours , though at first it seems to take well with them . In those Stories of his , besides the Picture M. Farinata de Gliuberti , there are many very fine Figures : As particularly , Some Country people , who bring Job the ill news of the loss of some of his Flocks , and have the Countenance of Men truly Afflicted for so great a Calamity : Likewise , there is the Figure of a Servant , who stands by Job , as he is all full of Sores , and is forsaken by every one , with a Fan in his Hand , to give him the comfort of a cool Air , and drive away the Flies from his Sores , while with the other Hand he stops his Nose because of the stench . This Figure has a marvellous Aptitude in all its parts ; and indeed , all the Figures of these Stories , both Men and Women , have excellent Heads , and the Drapery is wrought with great Beauty and Softness . It is no wonder therefore , if this Work spread his Fame far and near , in so much that Pope Benedict the 9th . of Trevisi , sent into Tuscany , a Gentleman of his Court , to see what sort of Man Ghiotto was , and to give him an account of his Painting , having design to Employ him in Saint Peter's Church at Rome . This Gentleman having staid some time at Sienna , and there informed himself what Excellent Masters there were at Florence , in Painting and Musick , came at last to Florence ; and going streight to Ghiotto's House , he found him at Work in his Painting Rome . Having told him the Popes Intention , and how he designed to Employ him : He desired of him , to send some piece of Design by him to his Holiness . Ghiotto , who was a pleasant ready Man , took a sheet of White-paper , and setting his Arm close to his Hip , to keep it steady , he with one stroke of a Red-lead Pencil , drew a Circle so round , and so equal , that it was wonderful to see it : Then presenting it to the Gentleman , he told him smiling , That there was a piece of Design , which he might carry to his Holiness . Says the Courtier , half angry , Shall I have nothing but this to show the Pope ? That 's more than enough , said Ghiotto , put it among the other Designs you have from other Painters , and see whether it will not make it self known . The Gentleman seeing he could get nothing else from him , left him in discontent , being half afraid he had put a Jear upon him , and that he should be Laughed at , at his return to Rome . However , being come , and showing the Pope all the other Designs , he shewed this also of Ghiotto's , telling the Pope how he had done it without Compasses , or so much as stirring his Arm from his Side . The Pope , who understood something of the Art , easily comprehended by this , how much Ghiotto in strength of Design , did Excel all the other Painters of his Time ; he therefore sent for him to Rome , and there being extreamly satisfied with his Skill , he made him Paint Five Stories of the Life of Christ our Saviour , in Saint Peter's , and in the Sacristy the chief piece , all which were done by Ghiotto , with so much diligence and care , that a more finished Work in Distemper , never was performed by him . And the Pope rewarded him accordingly , for besides many Favours he bestowed upon him , he presented him with Five hundred Ducats of Gold , which for those days , was a Noble present . While Ghiotto stayed at Rome , he contracted a great Friendship with Oderici de Agobbio , an Excellent Master in Miniature , who was then Employed by the Pope to paint a great many of Books , of the Library of the Popes Pallace , in Miniature ; most which have since been lost , or have otherwise perished by Time. I have in my Book of Collections of Antient Designs , some pieces of this Oderico , who indeed , was an Excellent Master , but yet Franco Bolognese , who Worked at the same time for the Pope , was much beyond him ; as may be seen likewise in my Book of Collections , where there is amongst the rest , an admirable Eagle and a Lion , that breaks a delicate Tree , all in Miniature . The Pope having liked Ghiotto's Painting , ordered him to paint Stories of the Old and New Testament , all round Saint Peters : Whereupon to begin , he made the Angel that is over the Organ , of Seven Palms high , as also many others , most of which have been Ruined , when the Old Church of Saint Peters came to receive New Walls , and some likewise have been carried from the Old Church , and placed under the Organ ; as particularly a Modonna , which being painted upon the Wall , was by the means of Irons and other Fastnings , taken out of the Wall entire , and placed in a handsome conspicuous part of the House of Doctor Nicolo Acciaivoli , a Florentine , and a great Lover of all the excellent pieces of Art : He adorned this piece of Ghiotto's with rich Carvings , and Modern Pictures round about it . Of Ghiotto's Hand , is likewise the Ship of Musaick Work , which is over the three Gates of the Portico , in the entrance to Saint Peters : For besides the strength of the Design , the Aptitude of the Apostles in different postures of working against the Storm , is remarkable , and particularly the Sail of their Ship , seems so fill'd with Wind , and has so much Relievo , that a true Sail can scarce have more ; and yet it is mighty difficult to make up of pieces of Glass such an union of Lights and Shadows as is there , and which could hardly be Equalled by the Skilfulest Pencil . There is besides upon a Rock , one that Fishes with a Line , in whose looks the patience of that Sport is rarely well Represented , together with the hopes of taking something at last . Pope Benedict the 9th . being dead , Clement the 5tb . Succeeded him , and Transferred the Papal Court to Avignon , whither likewise Ghiotto was obliged to go : And being there , he not only did many things in Avignon , but in many places in France , as well in Fresco , as Distemper . After some stay there , having perfectly satisfied the Pope's Inclination , he was by him largely Rewarded , and he returned to Florence full of Honour and Riches , carrying with him that Pope's Picture , which he gave afterwards to Taddeo Gaddi , his Schollar . This Return of Ghiottos to his own Country , was in the Year 1316. but he was soon called away again : For at the Instance of the Signori della Scala , he went to Padoua , where in the Church , called the Sancto , newly built in those days , he painted a Chappel most curiously . From thence he went to Verona , and painted divers Things in the Palace of Messer Cane della Scala ; amongst the rest , the Picture of that Lord. In his Return to Florence , he was obliged to take Ferrara in his way , to obey the commands of the Lords of Este , for whom he did many Things in that City : At the same time , Dante the famous Poet , hearing that Ghiotto was at Ferrara , and being himself at Ravenna , where he was then in Exile , wrought so with him , that he got him to Ravenna , where he painted in Sancta Francisco , some Stories in Fresco , for the Signori di Polenta , and from thence he went to Vrbino Arezzo , in both which places he wrought divers Things , and so Returned to Florence . In the Year 1322. he was again Invited abroad by Castruccio Castrucani , Lord of Luca , where in the Church of Saint Martin , he painted a Christ in the Air , and with him the four Protectors of that City , Saint Peter , Saint Regolo , Saint Martin , and Saint Paulin , who seem to recommend to our Saviour a Pope and an Emperour , which 't is thought were Frederick of Bavaria , and Nicolas the 5th . Antipope : At the same time , 't is thought that Ghiotto gave the Design of the Castle of Saint Fridiano , in the City of Luca , which is a most Impregnable Fortress , it is otherwise called the Fortress Della Giusta . After this , Robert King of Naples , writ to his Son , the King of Calabria , who was then at Florence , that he should by all means send him Ghiotto to Naples , because that having just then made an end of Building the Royal Nunnery of Sancta Chiara , he desired the Church might be adorned with Pictures of Ghiotto's Hand . He obeyed with joy the Summons of so great a Prince , and painted divers of the Chappels with Stories of the Old Testament , and some of the New ; particularly those out of the Revelations , are thought to be the Invention of the Poet Dante , as also those very well Invented Stories of the Church of Assisa , they having been Intimate Friends : And though 't is true , Dante died the Year before , yet 't is possible that they might have Talked together of those Stories of the Apocalyps . But to return to Naples , Ghiotto painted in the Castello del Novo , many Things , and chiefly the Chappel , where he so pleased the King , that very often he used to go and sit by him when he was at Work ; for Ghiotto was as pleasant in his Conversation , and as ready in his Wit , as with his Pencil . One day , it being very hot , the King said to him , If I were as you , Ghiotto , I would leave off Working this hot Weather : And so would I , Sir , said Ghiotto , if I were as you . Another time the King desired him to paint the people of his Kingdome Emblematically ; he drew an Ass with an old pack Saddle upon his Back , and another new one before him , to which he was smelling , as liking it very well , and upon both the Saddles , the Crown and Scepter . The King having desired him to Explain what that Picture meant , he said , It was the Condition of his people , who were alway desirous of Novelty , and ready to change their old Master for any new one . He painted likewise for the King a Hall , which was afterwards ruined by King Alphonso , in which were the Pictures of most of the great Men of that Age , and amongst the rest his own . In his Return from Naples to Rome , he stoped at Gaeta , and painted in the Annuntiata , some Stories of the New Testament , which are now much spoil'd by Time ; but yet not so , but that Ghiotto's own Picture is very distinguishable , being near a very fine Crucifix of his doing . Having staid some time at Rome , he was prevailed with by Signor Malatesta , who was then Lord of Rimini , to go with him to Rimini , where in the Church of Saint Francis , he Drew many Stories ; all which were lost when the Church was new Built by Sigismond Malatesta , but in the Cloister there remains yet the Story of Beata Michellina , which for many Reasons , is one of the best Things that Ghiotto ever did ; for besides the Liveliness of the Heads , which are all Miraculous , and the strength and force of the Drapery , which is Incomparable : There is a young Woman as Beautiful as 't is possible for a Woman to be , who to free her self from the Calumny of Adultery , Swears upon a Book with a stupendious Aptitude , having her Eyes fixed upon her Husband , who put her to her Oath , because of a Black Child she was brought to Bed of , which he could not believe was his ; and as the Husband shows Distrust and Anger in his Countenance , so does the Innocent Lady show Truth and Simplicity in hers , with so much Piety in her Looks , as was enough to convince all the Slanders ; by that she was no Adulteress . The shortnings likewise that are in another piece of this Story , where there are a great number of poor People , are very Commendable , and much to be valued by all Artists , since it is from them that we have the first Principles and Manner of doing them , though they are not in that perfection which they have since attained to . But above all the other Things that are in this Work , is the Aptitude of the Saint her self , while she receives , from the Usurers she had sold her Land too , the Money , which she orders immediately to be disbursed to the poor ; for in her there appears so much scorn ad unconcernment for Riches , that the very sight of them seems to offend her ; while on the other hand , the very picture of Covetousness seems to be Represented in a Figure of one , who looking towards a Notary , to make him sign the Writings , has at the same time both his Hands upon the Money , expressing both his Greediness and Distrust : And in the three Figures , that hold the Habit of Saint Francis in the Air , there is much to be commended , particularly in the Drapery , the Foldings of which are so easie and natural , that it must be confessed , that Ghiotto was Born to bring Light to the Art , in all its parts . He drew in a Ship , which makes a piece of this Work , Signor Malatesta , most wonderfully strong and lively , with many other Figures of Seamen , all in proper Aptitudes ; and there is a Figure particularly remarkable in its action , for seeming to Talk with others , he puts one Hand to his Face to spit into the Sea , and not offend those he Talks with ; and indeed this is altogether one of the best Things done by Ghiotto , who accordingly received both great Rewards , and infinite Commendations from Signor Malatesta . Being Returned to Florence with great Riches , he wrought a Crucifix in a field of Gold in Sancto Marco , and another of the same nature in Sancta Maria Novella , in which last , Paccio Campana his Servant , wrought with him . After this , in the Year 1327. Guido Tarlati da Pieta Mala , Bishop of Arezzo being Dead , his Relations having a mind to Erect a sumpteous Monument for him , as for one who in his time , had been the Head of the Gibeline Faction in Tuscany : They writ to Ghiotto to make them the most Magnificent Design that he could , and at the same time desired him to provide them a Sculpture of his own chusing , of the best that were then in Italy : Ghiotto made the Design and sent it them very courteously , and the Monument was Finished by it afterwards . The number of his Works is so great , that it is very hard to Enumerate them all , but we cannot but mention a piece of his , in the Church of the Fratri Humilianti of all Saints of Florence , 't is in Distemper , and represents the Death of our Lady , with the Apostles about her . Michael Angelo Bonaronti , used to say , That the Aptitudes of this Story could not be better : And indeed , it is Wonderful , that one who Learned the Art of himself , and without a Master , almost , should have attained to such Excellency , as to be Admired by the greatest Masters , Two hundred Years after . In the Year 1334. on the 9th . of June , he undertook the Steeple of Sancta Maria del Fiore , and having laid the Foundation very strong , Twenty Yards deep , and of great Stones ; the Work was continued according to his Design , which was after the Gothick Manner of those days . All the Stories that were for the Ornament of it , were designed by himself , the compass of the Tower at the bottom , was a Hundred Yards , that is Twenty five Yards for every side , and it was a Hundred and forty four Yards high ; it was to have on the top a Pyramid Fifty Yards high , but that being a piece of old Artichecture , all Modern Architects have still been against the Finishing of it . Lorenzo of Lione Ghiberti , has Writ , that Ghiotto did not only make the Model for the Tower , but also made Models for the Sculpture , where divers of the Stories were done in Relievo , which Lorinzo says he saw : And it is not Incredible , since Design and Invention are the parents of Sculpture as well as Painting . For this Work Ghiotto was made a Citizen of Florence , and Endowed with a Hundred Florins of Gold yearly from the Publick ; which in those days was considerable . He Lived not to see it Finished , and it was after his Death pursued by Taddeo Gaddi . His death was in the Year 1336. and was much lamented by his Countrymen , having had in his Life-time the Esteem of all , and the Friendship of most of the Excellent Men of the Age he Lived in : And amongst the rest of Dante and Petrarch , who makes mention of him in his Will , and in a Latin Epistle in the sixth Book of his Familiar ones , in these Words : Atque ( ut a veteribus ad nova ab Internis ad nostra transgrediar ) duos ego Novi Pictores egregios , nec formosos Jottum Florentinum Cirem . Cujus inter Modernos Fama est , ingens & Simonem Senensem . He was Buried in Sancta Maria del Fiore , on the Left Hand as you come into the Church , where there is a White Marble Stone in Memory of him . His Disciples were Taddeo Gaddi , who was his Godson , and Puciodi Capanna , both Florentines ; and we have many Works of the last , who had Extreamly well attained to Ghiotto's Manner . The LIFE of LEONARDO DA VINCI , A Florentine Painter , and Sculptor . IT may be seen by Leonardo Da Vinci , as much as by any other Example , that the Coelestial Influences do sometimes so Unite in one Subject , as to make all that 's performed by that Person , to seem almost Divine , and not acquired by any Humane Industry : And indeed , the admirable Beauty of Leonardo's Body , the infinite Graces of his Mind , and the exquisite Penitration with which in all Sciences and Arts , he attained to the most difficult part of them with ease , do show that he had from above , most extraordinary Gifts . The strength of his Mind was always accompanied with a Dexterity , which alone would have made its Way through the World ; and he had besides , a Greatness and Magnanimity in him , more befitting a Prince than a private Man. All which made him not only Beloved and Esteemed in his Life time , but highly Renowned and Honoured after his Death to all Posterity . He was Son of Piero da Vinci , and in the first beginning of his Education , shewed so strong an Inclination to all sorts of Learning , that had he constantly pursued any one , he must have have been a Prodigie in that kind , but he was so various , that that did very much hinder his Excelling . At his first learning to cast Account , he used to puzzle his Master with Questions about Arithmatick , and that in a few Months after he had first applyed himself to it . He next gave himself to Musick , and particularly to play upon the Lute , in which he grew so Excellent , which he would play Extempore , things that would Charm all that heard him ; and yet though he was so variously addicted , he still followed Designing , and making of things in Relievo , as two Arts , that above all others did please his Fancy , and fix his Application . His Father taking more particular notice of this last Inclination , took one day some of his Designs , and carrying them to Andrea del Verochio , a famous Painter , and his intimate Friend , desired him to tell him Ingeniously , whether his Son Leonardo was ever like to succeed in that Way ? Andrea was astonished at the sight of such bold Beginning , and exhorted his Father to give him all sort of Encouragement in that Way : Upon which , his Father ordered him to go constantly to Andrea's Painting-House , there to Improve himself . Leonardo obeyed with joy , and not content with Designing alone , he Exercised himself in all those Arts which are any ways depending upon it , or useful to a Painter , or Statuary , such as Geometry , Architecture , Perspective , &c. in all which he attained to a great perfection . He was besides , the first that had thoughts of putting the River of Arno into a Chanel from Pisa to Florence , Inventing all sorts of Mills , and other Machines , useful for so great a Design . But because his chief profession was Painting , he spent much time in Drawing by the Life , and often likewise in making Models of Earth , and then Clothing them with fine Linnen wet , with the greatest patience in the World : He would Draw them upon Silk , or fine Linnen , in Black and White , with the point of his Pencil , that it was a most admirable thing to see them ; some of which I have in my Book of Designs . What he did upon Paper , was with so much diligence and delicacy , that no Man ever came near him . I have a Head of his in Chiaro Scuro , which is Divine , and shows with what singular strength he Conceived , and with what admirable Dexterity he executed his Thoughts with the Pencil . When he was weary of Painting , or Statuary , he used to busie himself in finding out Ways how to Level Mountains with ease , or make Passages through them , from one Valley to another ; as also by Leavers , Strings , Pulleys , to raise great Weights , and by other Machines to drain the Water from low places ; so that his Brains were perpetually employed , and of all these Things he made Designs , many of which I have seen . And in them , he was so Curious , as sometimes to Draw the whole Lying , or Coiling of a Cable , or other Ropes , so as you might see the Winding of it from one end to the other ; there is one of these in a Print , and in the middle are these Words , Leonardo Vinci Academia . He was so extream diverting in Conversation , that he drew every Body after him ; and having , as we may say in comparison of others , Wrought but very little , yet he Lived Splendidly , having always many Servants , and Horses ; for which last , he had a great Passion , and used to Draw them by the Life . He loved all sorts of Animals indeed , and would often buy Birds alive out of their Cages , only to let them go , and restore to them their lost Liberty . So great was his native Bounty , and the sweetness of his Temper ; in a word , no Man in his Time , ever acted with so much Readiness , Vivacity , and Grace , which gave a particular Character to all that he did ; though in his Art he begun many Things , but hardly Finished any , having conceived them with so much Perfection , that his Hand afterwards , could not follow the Idaea of his Mind . After having Worked some time with Andrea del Verocchio , his Master employed him in a piece of his Undertaking , of the Story of Saint John's Baptizing of our Saviour Christ , and in it Leonardo drew an Angel , that held some Clothes of our Saviour , which he Finished so well , that he put down all the other Figures of Andrea , in so much , that scarce any thing but Leonardo's Angel , was taken notice of . This so angered his Master , to be out-done by his own Schollar , and a Young Man , that he never more would handle a Pencil , or Colours . There being a very rich Tent of Gold and Silk of Tapistry Work to be made in Flanders , for the King of Portugal ; the Undertakers agreed with Leonardo , to make the Cartoon . The Story being that of Adam and Eve , when they eat the forbidden Fruit in Paradise . There he Drew in Charo Scuro , a delicious Meadow of Plants and Flowers , full of variety of Animals , done with so much diligence and patience , and so Natural , that none but so divine a Genius , could ever do the like . Amongst the rest there is a Fig-Tree , which besides the admirable shortnings of its Leaves and Branches , is painted with such Care , that it would astonish any one to consider , how 't was possible for a Man to do a Thing with so much patience . There is likewise a Palm-Tree , which has its Branches so Lively , and their Situation , and exact Simmetry so expressed , that none but Leonardo's Genius , could ever compass it . The Cartoon being finished , was left upon his Hands , the Tapistry Work not being gone on with , as was first designed ; and it is at this time in the House of Saint Octaviano de Medici , it being presented to him not long ago , by Leonardo's Uncle . One day , his Father , Ser Piero da Vinci , being at his Country House , was desired by one of his Tenents , to get him a Buckler painted , which he had made out of a Figg-Tree , cut down in the Ground ; Ser Piero took the Buckler , and the fellow being very useful to him , in Fishing , Fowling , and other Country Sports , he carried it to his Son , and desired him to Draw something or another upon it . Leonardo seeing the Buckler ill shaped and crooked , streightned it and Polished it , and then having carefully plaistered it over , he began to consider what he should Draw there , that might Fright any one at first sight , like Medusas Shield . To this end , he got together in a Room , where no Body came but himself , a Collection of Serpents , Lizards , Crickets , Butterflies , Grashoppers , and such like Animals ; from the assemblage of all which , strangely put together , he made up an Animal most horrible to look too , who seemed to poyson the Air with his Breath ; for he placed him in a kind of a dark Grotto , sending Fire out of his Mouth , and Smoke out of his Nostrils , in so strange a manner , that it would fright any one to see it . He took so much pains about it , that the stink of those dead Creatures was intollerable in the Room , though not at all perceived by Leonardo , so attentive he was upon his Work. The thing being finished , he told his Father , that he might have the Buckler when he pleased . One Morning then , Ser Pierc , his Father , came and knocked at the Door , and desired the Buckler : Leonardo opened the Door , but desired him to stay a little : So returning into the Room , and having placed the Buckler in an obscure Light , upon his Painting Desk , he called in his Father ; who not expecting any such thing , was of a sudden struck with the Apparition of such a Monster , and retired two or three steps back . Leonardo stopped him , and said , This Work I see will answer its end , take it and carry it to whom you have promised it . The thing appeared wonderful to his Father , who was extreamly pleased with it , and having secretly bought another Buckler , which he caused to be Painted with some ordinary Invention , he kept Leonardo's , and gave the other to his Servant , who took it so kindly , that he served him faithfully ever after . Some Months after , Ser Piero , sold Leonardo's Buckler secretly in Florence , to some forreign Merchants , for the Sum of a Hundred Ducats , who sold it to the Duke of Milan for Three hundred . Leonardo made likewise a most delicate Madonna , which Pope Clement the 7th . used to keep in his Chamber ; and amongst other Ornaments , of it , he had drawn a Glass full of Water , with Flowers in it , where besides the lovelyness of the Flowers , he had counterfeited drops of Water upon them , as delicate as the Natural ones . He made also for Antonio Segni , his Intimate friend , a Neptune upon a Stormy Sea , carried in his Chair , drawn by Sea Horses , with Whales , and other Sea Monsters about him , and the Heads of some Sea Gods , most delicately designed ; and this Piece was by Fabio Segni , Son to Antonio , given to Messer Gioranni Gaddi , with this Epygram , Pinxit Virgilius Neptune ▪ pinxit Homerus , Dum Maris undisoni per vada flectit equos , Mente quidem vates illum conspexit uterque , Vincius ast Oculis jureque vincit eos . He took a fancy once to draw in Oyl , a Head of a Medusa , with the strangest dress of Serpents and Snakes , that 't is possible to Imagine : But it being a Work that required great time to Finish it , it had the fate of many of his Things , and remained Imperfect ; but as it is , it holds its place amongst the chiefest Raritys of our Duke Cosimo ; as also that of an Angel , who holding one of his Arms in the Air , shows a shortning from the Shoulder to the Elbow ; that is most Masterly and strong . For Leonardo sought chiefly to give a great Relievo to his Things , and for that Reason , made his Grounds and Shadows as dark as possibly he could , seeking out the strongest Blacks of all kinds ; so that his Manner seemed almost a Night , rather than a Shadow made by the Light of the Day . When ever he saw any one of an odd Phisiognomy , either with strange Hair , or Beard , he would have followed him a whole Day till he had so got the Idea of him ; that being come Home , he would Draw him as like , as if he sat to him . And of this sort , there are many Heads , both of Men and Women ; many of which , I have in my Book of Designs : And amongst the rest , the Head of Americo Vespuci , designed with a Coal , and is the Head of a fine Old Man. There is likewise , that of Scaramuccia , Captain of the Gypsies . He begun likewise , the Story of the Adoration of the Three Kings , where there are very good Heads ; it remains Imperfect , in the House of Signor Amerigo Benci . It happened , that Lodovico Forta , being made Duke of Milan , in the Year 1494. and he being a Prince that delighted extreamly in Musick , Leonardo was sent for , to play upon the Lute before him . He was received with great Honour by the Duke , and there in his Presence , he overcame all the Musitians that were come from all parts to play before him . The Instrument he plaid upon , being likewise the Work of his own Hands , and framed in the shape of a Horses Head , the best part of it of Silver ; but so shaped , that it yielded a sweeter and lowder Sound , than the ordinary Lutes . The Duke having relished his Conversation , and found him most extreamly Agreeable , and of so ready a Wit , that amongst other things , he was the best maker of Extempore Verses , of any of his Time , was pleased with him beyond Measure . The first Work he did for the Duke in Painting , was a Nativity of our Saviour ; which the Duke presented to the Emperor . Then he undertook the Story of the last Supper , in the Convent of the Dominicans , called , Sancta Maria delle Gratie , in Milan : In it he gave so much Majesty and Gravity to the Heads of the Apostles , that he was forced to leave our Saviour's Unfinished ; not being able to attain to the Expression of that divine Greatness , which ought to be in the Image of the Son of God. But one thing most Admirable was by him performed in this Piece , which was to express in the Countenance of the Apostles , that Concern and Trouble which they were in , to know which of them it was that should betray our Saviour : And one may discern in their different Looks , Love , Fear , and Anger , which were the Passions naturally rising in their Breasts , upon the doubt raised in them by our Saviour's Words : And on the other side , in Jadas's Countenance , there appears so much Falseness , Hatred , and Treachery , that it is wonderful . The whole Work besides , is in all its parts , a Masterpiece of Incredible diligence ; for the very Cloth of the Table , is done with such Exactness , that Linnen it self , shows not better nor finer . 'T is said , that while Leonardo was Painting this piece , the Prior of the Convent used to be very troublesome to him , in pressing him too Indiscreetly , to make an end of it . For it seemed very strange to him , to see Leonardo come sometimes , and be half a day together , doing nothing but look upon his Work , in the posture of a Man in a Rapture ; whereas he thought the Work might have gone on all that while , as well as digging the Garden , or any other Labour used to do . And finding Leonardo minded but little what he said to him , he made his Complaints to the Duke , and that with so much heat , that the Duke sent for Leonardo ; and very Gently and Discreetly , put him in mind what the Prior's Importunity had so often Solicited for in vain . Leonardo knowing the Duke to be a Man of Judgment , and capable of hearing a Rational Account , was content to Discourse with him about his Art ( which he never had done with the Prior. ) And told him , that without doubt , his Highness could not but understand , that Men of a great and extraordinary Genius in many Professions , but particularly in his , did take more pains while they were Conceiving their Idaeas , than while they were Executing of them : And that so it was with him , for he had yet two Heads to Finish , the one of our Saviour , for the Model of which , he had none upon Earth , nor could hardly Imagine any that should represent all that Beauty , Divine Graces , which were to appear in Divinity Incarnated . The other of Judas , which gave him likewise great Trouble , it being hard for him to create in his Mind , a Form that should express the Face of one , who after so many favours received from his Lord and Creator , should yet have so wicked a mind as to Betray him . But that for this last , he would endeavour to find some ill looked fellow or another ; and that however , when all things failed , he could take the Prior's face , who had disturbed him so Impertinently . The Duke extreamly pleased with his Humour , fell a Laughing heartily , and told him , He was in the right . And the Jest being come to the Prior's Ears , he was glad to let Leonardo alone , and mind the other Affairs of his Convent . And Leonardo on his side , finished Judas's Head so , as it appears , the Picture of Treachery it self ; but for our Saviours , it remains to this day Imperfect . The Excellency of this Piece , struck the King of France with so much Admiration , when he had taken Milan , that he resolved to have it Transported into France ; and sending for the ablest Ingeneers , he promised them a noble Reward , and bid them spare for no Cost , that should be necessary to that Effect . But it being painted upon a Stone Wall , the thing was thought Impracticable by any Machine , or Contrivance whatsoever ; and so Milan remained in possession of this Noble piece of Work. Leonardo Drew likewise in the same Refectory , the Pictures of the said Lodovico , Duke of Milan , and Maximilian , his Eldest Son , and of Francis the Second Son , who were since , both of them , Dukes of that place ; and indeed , they are most admirable Things . Amongst other Projects , which Leonardo's Working Head put the Duke upon : One was to make a Horse of Bronse , of prodigious Bigness , and upon it , to place the Dukes Statue , of the same Mettle . And accordingly he begun it , but by reason of its Vastness , found such difficulty in Casting it , that it remained Unfinished . And some do Imagine , that his first design was never to bring it to Perfection , as they say , he used to do with most of his Undertakings . But I think that they wrong him , and that the Reason of his frequent Interruptions , and not Finishing what he had begun , proceeded more from the unlimitted greatness of his Mind , which conceived things above Humane performance , than from any unsteadiness of his Resolutions in the pursuance of them : And indeed , they that have seen the Model of Clay , made by him for this Statue , do own , that there could be nothing more Great and Glorious . It remained to be seen , till Francis the 1st . took Milan , and then among other disorders committed in the City , the Souldiers broke it all to pieces . He applyed himself amongst other things , to a most particular Knowledg of the Anatomy of Humane Bodies , being helped in this Study , by Marc-Antonio de la Torre , an Excellent Phisitian , and professor of Philosophy in Padoua : Who likewise made admirable use of the Hand of Leonardo , having got him to Design a whole Book of Anatomy in Red Chalk . And there he first Drew all the Bones and Joynts , then added the Tendons and Muscles , having also made for each a particular Discourse , in Letters written upside-down , with his Left Hand , so as they cannot be Read any otherwise , but by a Glass . A great part of these papers about Anatomy , do remain in the Hands of Francisco da Melzo , a Gentleman of Milan , who in Leonardo's time , was a most delicate Youth , and was much beloved by him ; he keeps them as Sacred as Relicks , as he does Leonardo's Picture likewise . There are yet in a Milaness Painter's hands , some Writings of Leonardo , which Treat of Painting , and of the Way of Designing and Colouring ; but Written as the rest , in Characters made with his Left Hand , upside-down . This Painter came , not long ago , to Florence to see me , being desirous to print this Work of Leonardo's , and afterwards he went upon this design to Rome ; but I have had no account how the thing succeeded . But to return to Leonardo : In his Time , the King of France came to Milan , where Leonardo for his Reception , being desired to do something Extraordinary , made a great Lion , which by Springs , Walked of its self a good many paces to meet the King , and then opening his Breast , shewed it full of Flower-de-Luces . Having during his stay at Milan , made some Schollars , amongst whom , was Salai , whom he chose for his Beauty , and Taught him many Secrets of the Art , he returned to Florence ; there he found that Philippino , a famous Painter of that place , had undertaken the Picture for the Great Altar of the Nuntiata , in the Convent of the Frati de Servi ; whereupon he declared , that he would willingly do such a piece too : which Phillippino hearing , and being a very Gentile Man , yielded his place to Leonardo . And the Monks desired Leonardo , that he might the better attend the Work , to Lodg in their Convent , where they Entertained him with his Family . He was a great while with them , before he could be prevailed with to Work a stroke , but at last he made a Cartoon , and in it a Madonna , a Saint Ann , and Christ ; all which Figures being Finished , raised so much Admiration in the whole City , that during the time of two or three days , there was a continual Procession of Men and Women , to go and see them ; every one returning astonished , at the Marvellous Skill of Leonardo . For in the Madonna 's Face , there was all that Beautiful Innocence , that might become a Virgin Mother of Christ ; who having her Child in her Lap , showed an humble Joy , for the Felicity she enjoyed in so Lovely an Infant , whom while she regarded with Tenderness , a little Saint John Baptist , who was playing with a Lamb , drew the Looks of his Mother Saint Ann , who with a Smile , expressed the joy of her Heart , to see she had at last a Son , that was in his Infancy , a Companion to the Saviour of the World. But the Cartoon being made , Leonardo forsook the Work , and the Monks entertained Philippino again , who died likewise , before he could Finish his ; and then the Cartoon was sent into France . Leonardo likewise undertook the Picture of Mona Lisa , Wife to Francesco Giocondo , and having Worked upon it four Years together , left it nevertheless Unfinished . It is now in the King of France ▪ his Pallace in Fontainbleau ; whoever had a mind to see how well Art could imitate Nature , might have been satisfied in looking upon this Head , for there were all the Minutest Things represented to a Miracle . The Eyes had that Brightness and Water , that is naturally in them ; and the Hairs of the Eyebrows , which are extream hard to do , was so exactly painted , that one might see the Artist had made them to rise from the Flesh , just as they do through the Pores ; sometimes thicker , and sometimes thinner . The Nose had all those little pits , which we see in plump fresh Faces ; and the Mouth was represented with all its finishings ; the Rose Colour of the Lips ending by little and little , and uniting with the Flesh Colour of the Cheeks and Chin : The Neck was so strong and lively , that through its delicate Whiteness , one would think , one saw the Veins , and beating of the Arteries . In a word , this Piece was finished at a Rate , to make any Artist afraid of ever attempting any thing like it . 'T is said besides , That he never made this lovely Lady sit for her Picture , but he had always some Body to Sing , or play upon some Instrument , with some Buffoons to make Sport , and keep her in good Humour , that the Picture might have nothing of that Pensiveness , which very often spoils the Painters whole Design ; and accordingly this had an Air of Joy and Pleasantness , that rejoyced every one that saw it . The Excellency of this , and other Works of this Noble Artist , made the whole City at last , desirous to have some Considerable Piece of his doing , which might Adorn the Publick , and preserve the Memory of so great a Genius . Therefore the Great Council-Hall being newly Rebuilt , and the Architecture of it having been ordered by the Three famous Architects of those Days , Giulian of Saint Gallo , Simon Pollaivoli , called Chronaca , and Michel Angelo Buonarotti . It was by publick Decree of the Council , Ordered , that Leonardo Da Vinci should Paint it . Whereupon Piero Soderini , the then Gonfalaniero di Sustitia , agreed with him about it . Leonardo having chosen for his Painting-Room , a Hall of Sancta Maria Novella , called , La Sala del Papa , begun a Cartoon there , and in it the Story of Niccolo Pinccinino , General to Philip , Duke of Milan ; there amongst other things , he Drew a Troop of Horse , that Attacked a Foot Company , and put them to the Rout ; where you might see the Rage and Fury of the Combatants in their Faces , and all their Actions : As also in the Horses themselves , two of which Rising an end , had fastned upon the Pikes , and Foot Soldiers , one of which endeavouring with his Back , to shove off a Horse that presses upon him , lays hold of the Ensign , to get it out of the Hands of two others , who having each of them their Swords drawn in one Hand , and their other upon the Ensign , try to defend it , against that first ; and another Old Soldier in a Red Cap , who seems to threaten with a back blow , to cut off the Hands of those two , who had laid hold of the Ensign's Staff , and who with the fiercest Aptitude imaginable , try to keep their hold . There is besides , underneath the Horses Feet , two Figures shortned , who being closed , and one upon another , do all that is possible , the one with his Arm raised on high , and a Dagger in it , threatning present Death ; and the other striving with his Arms and Legs , to avoid it . Great also is the Variety of dress , in which he has put his Figures with different Helmets , and other Arms ; but chiefly his Mastery is great in the forms and Colours of his Horses , which Leonardo always made more Beautiful and Musculous , than any other Painter . The only Fault of this piece was , that thinking to Work in Oyl upon the Wall , he made so gross a Mixture for his first Couch , that his Colours began to sink in , which made him forsake the Work in that place . Leonardo was of a very great Soul , and most Generous in all his Actions , not capable of suffering himself to be lessened , as appeared . When going once , as he used to do every Month , to receive his Allowance from the State , at the House of the Gonfaloniero Piero Soderini ; the Treasurer would have made him take some of it in Rowls of Brass Farthings , and other such Money , which he refused : Telling the Treasurer , who took it ill , That he was no Farthing Painter . And when afterwards , Piero Soderini himself , let fall some Words , as if Leonardo had not dealt well with the State in his Bargain ; he hearing of it , got together by the means of his Friends , all the Money he had ever received from the Publick , and carried it to Soderini , who nevertheless , refused to accept it . At the Creation of Pope Leo , the 10th . he went to Rome with Duke Julian , of Medici , who was very much delighted with all Philosophical Entertainments , particularly those of Chimistry ; in which kind , Leonardo likewise had many fancyful Experiments . Such as to make a thin Composition of Wax , out of which he made little Animals , into which Blowing , they flew through the Air , as long as the Wind within them lasted . Among other Capricious Amusements of his own Art , he bestowed the pains to fit Wings to a live Lizard , found in the Garden of Belvedere , by the Gardener : The Wings were made of the Scales of other Lizards , mingled with Quick-silver , which made a strange Glittering and Shaking when the Lizard moved ; then having made him Horns , and a Beard , he kept him Tame in a Box , and used to fright his Friends , with showing him of a sudden . He used often likewise , to take Sheeps Guts , and cleanse them to that Thinness , that they would lie in the palm of his Hand : In another Room hard by his , he had placed a pair of Smiths Bellows , which putting into one end of the Sheeps Gut , he would blow them up to that Bigness , that they who were in the same Room , would be fained to get up into a Corner , the Guts appearing as Transparent as Glass . And this Leonardo used to say , was the best Emblem of Virtue , which while hid , lies in a little Room , but being once blowed up by Fame , would fill the whole World. He had a Hundred of these Tricks . He busied himself in the Knowledg of Perspective , and Looking Glasses : He endeavoured likewise , by Mixtures and Distillings , to find out the best Oyls and Varnish , to preserve Pictures after they were made , but in that he often succeeded ill ; as he did particularly in a Picture of a Madonna , with her Child in her Arms , upon which he had bestowed infinite pains , to present it to Signor Baldassari Turini , Datary to Leo the Tenth ; it is now much spoiled . 'T is said , that being at Rome , and having undertaken a Piece for the Pope , he began presently to fall a Distilling of Herbs and Oyls for the Vernish : Which being told to Leo the Tenth , he cried out , alas , This Man will do nothing , for he begins at the wrong end . There was a great Fewd between him and Michel Angelo Bonarti , in so much that Michel Angelo left Florence upon it , and went to Rome ; and Leonardo then also went to France , where he was extreamly well received by the King , who had divers things of his Doing , and amongst the rest , the Cartoon of the Saint Anna , which he much desired might be Coloured by him . Leonardo , according to his Custom , amused the King with promises a great while , till at last he fell Sick , and after many Months Indisposition , finding Death to draw near , he desired to be Informed of the Duties of a Good Christian ; after which , with much show of Repentance for his Sins , he would needs rise out of his Bed to receive the Eucharist ; and while he was in that attempt , the King , who often used to visit him , came in : Whereupon straining to shew his Respect to the King , he was taken with a fainting Fit , the forerunner of Death . In which , the King himself held his Head , while he Expired in the Arms of so Great a Prince , as the best time and place to give up a Soul so Divine as his was . The Loss of Leonardo , was sensibly Regretted by all that knew him , no Artist ever having Honoured a Profession more than he did the Art of Painting . He added to the manner of Colouring in Oyl , which was found out before his Time , a certain Darkness of Shadows , from whence the Moderns have learned to give great Relievo to their Figures . We have of him likewise , a most perfect Anatomy of Men and Horses . He would have Excelled in Statuary likewise , if he had pleased , for the Three fine Statues made by Francesco Rustici , and placed upon the Gate of Saint John's Church , are of Leonardo's Ordering , and as good for Design and Casting , as any Modern ones we have . He had for Disciple , Givoan Antonio Boltraffio , a Milaness , a Person very understanding in the Art , who in the Year 1500. Painted in the Church of the Misericordia at Bologna , a piece in Oyl ; where was our Lady , with her Son in her Arms , Saint John Baptist , and Saint Sebastian , naked , and he that Caused it to be made , Drawn after the Life , upon his Knees . In it he Writ his Name , and added to it , Disciple of Leonardo Da Vinci ; it is a fine Piece . Marco Vgioni , was likewise his Schollar , who in Sancta Maria della Pace , Drew the Death of the Virgin Mary , and the Wedding of Cana in Galilee . The LIFE of ANDREA DEL SARTO , A Famous Florentine Painter . AFter having Writ the Lives of divers Great Painters , who Excelled , some in Colouring , some in Design , and some in Invention , we are at last arrived to the Life of Andrea del Sarto , a most Excellent Artist , in whom Nature and Art Concurred , to show all that Painting can do , either in Design , Colouring , or Invention . And to say truth , if Andrea had been of a Temper as bold as his Judgment was profound , he would have been without any Equal in his Profession ; but a certain natural Timidity and Simplicity , with which he was endowed , deprived him and his Works of that Strength and Boldness , which added to his other Qualities in Painting , would have made him Sublime in every kind . Andrea was Born in Florence , in the Year 1478. his Father was a Taylor , and exercised that Calling to his Dying day , from whence Andrea took his Name , and was called Del Sarte . He was first bound Prentice to a Goldsmith , and in that profession , his chief delight was Designing of something or another of his Trade , being much more pleased to do that , than to handle either the Hammer , or the other Tools belonging to it : Which being observed by John Barile , a Florentine Painter , but an Ordinary one , he took the Child home with him , to Teach him the Art of Painting . It is wonderful with what Application and Pleasure , Andrea followed his Designing , though under so mean a Master , particularly in managing of his Colours , which he did with so much Art , that all the Painters of the Town were Surprised at it . Having stay'd Three Years with John Barile , he seeing how great an Artist Andrea was like to prove , talked of him with Pietro di Cosimo , who at that time , was reputed one of the best Painters that Florence had . Pietro took Andrea to be his Prentice , and he had not had him long , but he conceived a great Kindness for him , seeing him so Ardent and Industrious , to advance his Skill . For Andrea spent all his Hours of Leasure , and the Holy-days , which other young Men gave to their Recreation , in Designing in the Great Hall , called La Sala del Papa , where were the Cartoons of Michel Angelo , and Leonardo da Vinci , and did Out-do all the other young Men , both Florentines and Strangers , who were used to come to the same place . Amongst all those who in great Numbers used to frequent that Hall , Andrea made a particular Friendship with Francis Bigia , called Jl. Francia , and Andrea being weary of Living with his Master , who was grown very Old , told Francia , that he had a mind to take a Chamber to himself . Francia , who had the same Design , because his Master , Mariotto Albertinelli , had given over the Trade , Concurred with him , and they took a Room in the Piazza del Grano , dividing equally the Profit of what they undertook , and each putting his Hand to the Work , while they stayed there . Andrea painted in the Cloister of Saint John Baptist , Twelve Stories of the Life of Saint John , which he acquired so much Reputation and Fame by , that now beginning to be better known , he and his Friend , took a new Lodging by the Convent of the Anuntiata . While they were there , an Old Fryar of the House hearing of Andrea's Commendations , which were in every Bodies Mouth , he considered how to have his Ends of him , without any great Charge ; and by this time , Jl. Francia and he , being , of Friends , become Rivals in their Profession . The Monk told Andrea , that he had now an Opportunity to make himself known to the World , and gaining such Esteem , as he needed never after to want Work ; that his friend Francia had offered to do the thing , but that he had so much kindness for him , that he should have the preference ; and that he counselled him not to stand upon any Price , for the Honour he would acquire in so great a Work , would be Reward enough . Andrea , who was but poor Spirited , and Simple , hearing that Francia was mentioned for the Work , presently closed with the Fryar , and agreed with him for Ten Crowns a Story , provided no Body else should be concerned in the Work. In a little time , he finished Three Stories of the Life of Saint Philip , the Founder of the Order of the Servites ; and in one of them he Drew some Gamesters under a Tree . Who being reproved by Saint Philip , for Swearing and Blaspheming , did but Laugh at his Admonitions , when on a sudden , a Thunder-clap Killed two of them , and frighted the others . In this piece , Andrea showed what Variety of Invention he was capable of , for besides the frighted postures of the Gamesters , he drew a Woman , who running out of her House , at the Noise of the Thunder , appears so out of her self , that nothing can be more Natural . And he also feigned a Horse broke loose at the same Noise , who Leaping and Bounding in an extraordinary manner , expresses the disorder of the Whole , with much Strength . Having finished one side of the Cloister , and finding the Work too Laborious for the price , he desired to be released of his Bargain , which the Fryar was loath to do ; but at last did consent , provided Andrea painted two Stories more at his Conveniency , and he would allow him something a better Rate . The Reputation he acquired by these Stories , presently brought him as much Work as he could desire . And he made many Stories and Pictures of all kinds , both for publick , and for private Persons ; which it would be too long to Enumerate here . The profit and advantage he made by them , would have made him Live very plentifully , had he not changed his Condition , by falling in Love with a young Woman , who was then Married to another ; but whose Husband dying soon after , she became Andrea's Wife . From that time forward , he was very uneasie , both in his Fortune and Humour , for besides the Encumbrance of a Married Life , he was often disturbed with Jealousie , and his Wifes ill Humours ; but to return to his Works . The Company of the Scalzo , for whom he had made his first Work , of the Story of Saint John Baptist , being desirous to have him finish the whole Life , engaged him a new : He therefore made them two Stories more of the same Subject . In the first , Saint John is Preaching to the Multitude , and shows in the Burnt hew of his person , the Austerity of his Life , but particularly , the Air of his Countenance , is full of Spirit and Zeal , the Variety of the Auditorys attention , is no less well Expressed , by the astonishment at his Doctrine . But he showed much more Skill in the second Story , where Saint John is Baptizing a great Multitude of People , some whereof are putting off their Clothes , others Naked in the Water , and all showing in their Aptitudes , a marvellous desire of being cleansed from their Sins ; every Figure being most perfectly mannaged , so that though it be in Chiaro Scuro , they seem to be of Marble . 'T is not to be omitted , that while Andrea was about this piece , there came some prints of Albert Durer , out of which Andrea took some Figures , and fitted them for his manner ; which though it is often done by good Masters , yet some took occasion to think , that Andrea was wanting in the point of Invention . He made likewise for a Merchant , a Friend of his , who often Traded into France with Pictures ; one of our Saviour , Dead , and some Angels about him , in sad compassionate Postures ; and this piece did so generally please every Body , that Andrea was prevailed upon to have it Cut , and Printed at Rome , by Agostino Vinctiano , a good Graver : But the thing having miscarried in his Hands , so as to lose much of its Beauty , he could never be persuaded afterwards , to suffer any of his Pictures to be Graved . The Original its self ; was Sold to the King of France , who was so pleased with it , that he Bespoke many things besides , of his Doing ; which with the persuasion of some Friends , made Andrea resolve to go for France . The King , Francis the First , having taken Order for his Journey , and advanced Money to him at Florence ; He was no sooner arrived at Court , but he Experienced that Princes Liberality , before ever he began to Work. The first Picture he made , was of the Dophin , who was then in Swadling Clothes , being not above two Months Old ; the King liked it so well , that he presented him Three Hundred Crowns in Gold. Next , he made the Picture of Charity , which was by that Prince so Valued , that he Ordered a pension for Andrea , promising him any thing , provided he would stay at Court ; being much taken with the Quickness of his Work , and the Easiness of his Humour . He went on therefore , doing many pieces for the King and Court. When one day as he was Working upon a St. Jerom , for the Queen Mother , he received Letters from his Wife from Florence , which made him resolve upon his Return thither ; pretending some Domestick Affairs , and promising the King not only to come back , but also to bring his Wife with him , and a choice Collection of Pictures and Sculptures . The King trusting him , gave him Money for all those things , and Andrea took his Oath upon the Bible , to Return in a few Months . Being arrived at Florence , he enjoyed his fine Wife and his Friends , and for several Months gave himself up wholly to pleasure : At last , having spent his own Money , and the Kings too , he was nevertheless resolved to go back for France ; but the Entreaties and Tears of his Wife , had more power over him , than his Honour or Oath , and so he Settled a new in Florence , being fallen from a very Flourishing Condition , to a very Mean one . The King finding himself Deceived , grew extream Angry , and for many Years , would not look upon a Florentine Painter with a good Eye ; Threatning , that if ever Andrea del Sarto fell into his Hands , he would use him as his Fault deserved . While he was away , the Company of the Scalzo , had hired to Francia their Cloister , and he had Finished in it , two Stories : But now hearing Andrea was come back , they set him to Work again , and he painted four Stories more . In the first , is Saint John taken Prisoner , and brought before Herod . In the second , is the Supper , and Dancing of Herodias . In the third , is the Decolation of Saint John , in which , the figure of the Hangman half Naked , is admirably Designed . In the fourth , Herodias presents the Head of Saint John Baptist to her Mother ; and in this , there are some Figures in posture of Admiration , which are Excellent . And these four Stories have been a long time the Study , and as I may say , the School of the young Painters in Florence , both Natives and Strangers . In the Year 1523. the Plague being in Florence , and near it Andrea , by the help of Antonio Brancacci , retired to Mugello , and there was set to Work by the Nuns , of the Order of the Camaldoli , in their Church of Saint Peter . He had carried his Wife and Children with him , and the Nuns made so much of his Wife , that Andrea resolved to do his best to Oblige them : He therefore painted a Piece of our Saviour , Dead , and the Virgin Mary , Saint John the Evangelist , and Mary Magdalen , Lamenting about the Dead Body : As also Saint Peter , and Saint Paul , looking on . In all which , the Aptitudes are strangely well Executed , and the whole finished to a Wonderful degree . And indeed , this Picture has made that Nunnery more Famous , than all its other Ornaments , though it be a very Magnificent Monastry . The Plague being over , and Andrea returned to Florence , it happened that Frederick the Second , Duke of Montova , passed through Florence , and saw there in the Palace of Medicis , the Picture of Pope Leo the Tenth , in the middle of Cardinal Gulian Medicis , who was then Clement the Seventh , and Cardinal Rosti . The piece was done by Raphael , and an Admirable thing in its kind : Whereupon the Duke took his time while he was at Rome , and Begged it of Pope Clement the 7th . who very graciously granted it to him , and sent Order to Octavian of Medicis , to deliver it to the Duke's Order . Octavian , who was a great Lover of all things of Art , was much troubled , that Florence should lose such a Rarity , but however not daring to disobey the Pope's Commands , he made Answer , that the Duke should have it ; but desired he would be pleased to give him time to make a New Frame to it , the Frame being Old , and out of Fashion . But he immediately sent for Andrea , and telling him how the Case stood , said , He knew no Remedy , but to Copy most diligently that of Raphael , and send the Copy to the Duke ; and that too , must be done with all the Secresie imaginable . Andrea fell presently to Work , and was to Exact and Careful in his Copy , that Octavian himself , who understood Painting very well , could hardly tell one from the other . The Painter having Counterfeited some Mould Spots , which were in the Original , to the greatest Exactness that was possible : Having therefore hid the Original , the Copy was sent to the Duke , who was extreamly satisfied with it , and so far from discovering the Cheat , that Gulio Romano , who was Raphael's Schollar , and then Working for the Duke , was Deceived as well as himself ; and would have persisted in that Opinion , to his Dying day , if some Years after , Georgio Vassari , who was a Creature of Octavian of Medicis , and had seen Andrea del Sarto copy the Picture : Going to Mantua , and being there courteously Entertained by Giulio , had not undeceived him . For amongst other Pictures , Giulio showing him this as a piece of Raphael's , he told him he was mistaken : To which Giulio replyed , How , mistaken ! As if I did not remember the very Strokes that I my self Wrought in some part of it . To which Vasari replied , He was still mistaken ; and to convince him , shewed him a little Mark on the Back , which was made there on purpose by Andrea ; because when the two Pictures were together , they were apt to be mistaken one for the other . Giulio having seen the Mark , was Astonished , but said at the same time , I Value it nevertheless , but rather the more ; it being a much rarer thing , to have a Great Painter imitate the manner of another so Exactly , than to do great Things of his own . About this time , Messer Baldo Magni of Prato , having a mind to have a good Picture for the Church of the Madonna del Carcere : Amongst other Painters who were mentioned to him , Andrea was the Man he most inclined too , but one Nicolo Soggi Santonino , having many Friends , Messer Baldo was over persuaded to let him have the Doing of it , though he had sent for Andrea : Who being arrived , this Nicolo was so Impudent , as to offer to lay a Wager , that he would out-do Andrea in any Subject . Andrea provoked beyond Measure , though naturally poor Spirited enough , Replied , That he had a Prentice with him , who had not been long a Painter , but he would lay of his side against Nicolo , scorning to Engage himself in the Contest , as being like to reap little Honour by the Victory ; and so returned to Florence . In the mean time , one of the Servile Fathers , in giving leave to a Lady , to permute a Vow she had made , had obliged her to cause a Madonna to be made , in a part of their Convent : And the Father having the disposing of the Money , spoke to Andrea to undertake it , though the price was but small . He , who never stood for Money , said , he would . And Drew our Lady , with her Son in her Arms , and a Saint Joseph , who leaning upon a Sack , looks upon a Book , that is open before him . This Work , both for Design , Grace , Colouring , and Relievo , shows him to have surpassed all former Painters to this day ; and is now visited by Strangers , under the famous Name of the Madonna del Sacco , 't is upon the Door of the Cloister of the Annuntiata , as you go into the Church . There wanted one Story to the Cloister , of the Company of the Scalzo , therefore Andrea , who had much greatned his Manner , by observing the Figures that Michel Angelo had begun , and almost Finished , for the Sacristi of Saint Laurence , put a Hand to this last Story , which was the Birth of Saint John Baptist ; the Figures in it are of a greater Relievo , than any he ever made before . And particularly , there is the figure of a Woman , who carries the New Born Babe to the Bed-side , where Saint Elizabeth receives it ; that is an Admirable figure . The figure of Zachariah likewise , who Writes his Sons Name upon a piece of Paper , which he holds upon his Knee ; is a most Lively thing . As likewise , the figure of an Old Woman , who sitting by , seems to Laugh at the Child-bearing of Elizabeth , who was also an Old Woman . About this time , John Baptista della Palla , having made an excellent Collection of Sculptures and Pictures , to Adorn an Appartment for Francis the first , which should be the Richest of that kind , that could be had , spared no Cost to get the best things that were in Florence ; and amongst the rest , he set Andrea to Work , giving him hopes , that it would be a means to make him recover the Kings favour , and return to his Service . Andrea therefore made two Pictures , the one the Sacrifice of Abraham , the Aptitudes and Colouring of which are Admirable ; and particularly a Passage , or Landskip , most exquisitely done , and proper to the Story . The other , the Picture of Charity , with Three little Boys about her ; but neither of these Pictures came to the King's Hands , for Baptista della Palla , being taken prisoner . Philippo Strozzi bought the first , and presented it to Alphonso Davalos , Marquis Del Guasto , who placed it in the Isle of Sicilia , hard by Naples , in a Pallace that he had there . And the other was Bought of Andrea's Wife , after her Husband's Death , by Dominico Conti , a Painter ; who Sold it again to Nicolo Antenori , who keeps it as a Rare piece , as indeed it is . About this time , Octavian of Medicis , seeing how much Andrea had mended his Manner of late , was desirous to have a piece of his Doing . And Andrea who was much Obliged to him for many Favours , made him a Madonna , with her little Son upon her Knees , who turns his Head towards a Saint John Baptist , who is held by his Mother Saint Elizabeth ; the whole Wrought with Incredible Art and Diligence . The Picture being finished , and brought to Octavian of Medicis , he liked it extreamly ; but it Being the time of the Siege of Florence , and he being taken up with other Thoughts , desired Andrea to dispose of it to whom he would : To which Andrea made no other Answer , then that it was made for him , and that it should be his , or no Bodies ; and accordingly refused all the Offers , and Entreaties that were made to him by other people , though Octavian had desired him to Sell it , and keep the Money for himself . The Siege being over , and the Family of Medicis Settled in the Government , Andrea carried his Picture once more to Signior Octaviano , who then took it with Joy ; and having given him twice the Value of it , thanked him over and above : And this Picture is still in the Hands of his Lady . During the Siege of Florence , some of the chief Commanders that were in the Cities pay , having run away with the Moneys they had received , Order was given , to have them Painted upon the Front of the Pallace of the Podesta , and Andrea was spoke to do it : He excused himself in publick , and gave the doing of it to one of his Prentices , called , Bernardo del Buda ; but he privately every day went in at a Hole made in the Wall , and came out again by Night , so that the Work was by him so Finished , that the Persons designed to be Represented , seemed to be there Alive . But afterwards , by Order of the Government , they were Wiped out , as well as some Eminent Citizens , who in that time had been declared Rebels , and painted in the same manner by Andrea . After the Siege , the Plague was discovered in the City , and Andrea , whether out of Apprehension of it , or by some other Irregularity of Life , fell Sick ; where being forsaken by his own Wife , for fear of the plague , he Died no Body knows how , and was Buried with little Ceremony , in the Church of the Serviles , hard by his House . He was but Two and Forty Years Old , and he continually had so Improved himself to that Time , that it is to be thought , if he had Lived longer , he had still added some new Improvement to the Art. He wanted nothing , but to have Worked some time in Rome , to have made his Manner , which was Sweet and Free , Noble and Great , by the viewing of the Antiquities that are there ; the Study of which alone , is that which gives Richness of Invention in Story , and Exactness in Figures . But the Reason why he wanted that Accomplishment , was , because while he was there , it was when Raphael had already made many Excellent Schollars , young Men , of a fresher Date than Andrea , who found that it would cost him a terrible deal of pains , to keep pace with them ; therefore being naturally poor Spirited , he thought it best to go back to Florence , where his Works were already Admired , and Valued , as indeed they deserved , though he in his Life-time took so little for them ; that they who have since Sold any of them , have had three times the Value of their first Cost . After his death , his Designs were in the Hands of Dominico Conti , one of his Schollars , though none of the best ; he had a great many , but all did not attain to so great a degree of Skill , as some did . The best were Jacopo da Puntormo , Andrea Ignazzella , who has painted a Country House , some where by Paris , much after Andrea's manner . Il solos meo Pier Francisco di Jacopi di Sandro , Francesco Salviati , and Georgio Vasari , the Author of these Lives , though he Lived but a very little while with him : Jacopo del Conte Nannoccio , who is still in France . Dominico Conti , out of Gratitude , caused a Marble Effigies of his Master , to be set up against a Pillar , in the Church of the Serviles , with this Inscription : ANDREA SARTIO , Admirabilis Ingenii Pictori ac veteribus illis Omnium judicio Comparando , Dominicus Contes Discipulos pro Laboribus in se Instituendo susceptis grati animo posuit . Vixit Annos XLIII . Ob. A. MDXXX . The LIFE of RAPHAEL DEL URBIN , A Painter and Architect . RAphael was Born in Vrbino , a known City of Italy , upon a Good-Friday , in the Year 1483. his Father's Name was Giovanni de Santi , a Painter of no very great Reputation , but a Judicious and Discreet Man : And , who having himself been Entred in an ill Way , and by a Master of the Old Manner , had yet so much Knowledg , as to direct his Son in a better ; finding him a very forward Child , and much enclined to the Art , in so much , that even under his Institution , he had so far profited , as to be very useful to his Father , in divers pieces that he Wrought in the State of Vrbin . But he as a kind Father , being very sensible that Raphael could never attain to any great Skill by his Teaching , resolved to find him out a better Master ; and pitched upon Pietro Perugino , who had then the Reputation of one of the most Excellent Masters of his Time. Pietro accepted the offer made him of Raphael for his Schollar : And as soon as he saw the great Beginnings he had already in the Art of Designing , and withal , observed the sweetness of his Temper , and the modesty of his Behaviour , he made that Judgment of him , which since has been confirmed by Effects 'T is a thing worth Observing , that Raphael studying the Manner of Pietro Perugino , imitated it so well in every thing , that his pieces could not be known from his Masters ; as appears to this day , by a piece in Oyl , which he did for Madonna Magdalena de Glioddi . In Saint Francesco of Perugia . 't is an Assumption of our Lady , and our Saviour putting the Crown upon her Head ; the Twelve Apostles are round about the Sepulcher , admiring the Coelestial Glory she is Adorned with . 'T is done with great Diligence , and they who are not very Skilful in knowing of Manners , would easily believe , it were of Perugino's doing ; and yet without doubt , it is of Raphael's . Who painted likewise , two pieces in Citta di Castello , the one a Crucifix , in the Dominican Church ; in which , if he had not Writ his Name , there is no Body that would believe it Raphael's , but rather Perugino's . The other a Marriage of our Ladies , in which one may particularly observe , how Raphael gains upon Perugino , and begins to Surpass him . In this Piece , there is a Temple drawn with so delicate a Prospective , that it is Wonderful to observe , what Difficulties and Niceties of Art , he showed in it . Having by this time , attained to some Reputation , he was called by his Friend Pinturichio , who had undertaken the Painting of the Library of the Domo , at Sienna , at the desire of Pope Pius the Second , who was Native of that place ; and Pinturichio , knowing Raphael to be a most Excellent Designer , was glad of his Assistance , who accordingly made divers of the Cartoons for that Work , but did not continue , because he had a mind to go to Florence , to see the Cartoon of Leonardo da Vinci , which he had made for the great Pallace Hall ; which had made such a Noise in the World , that all the Lovers of Art , came far and near to admire it . Particularly , Michel Angelo , having also at the same time , made some Naked Figures in Competition with Leonardo , which were no less admirable . Being come to Florence , and having admired those Works as Divine , the City pleased him likewise so well , that he resolved to Live in it for some time . There he presently contracted Friendship , not only with all the young Painters of his Time , but also with many of the most Eminent Citizens , by whom he was highly Honoured and Caressed , particularly by Taddeo Taddei , who Lodged him in his House , and made him constantly Eat at his Table : And Raphael , who was not to be overcome in Courtesie , made two pieces for him , which have something more of the Way of Perugino , than of that which he Studied since . He was Intimate likewise with Lorenzo Nasi , for whom he made an Excellent Madonna ; but it , in the Fall of his House , which was Overthrown by an Earthquake , was all broken to pieces ; nevertheless , the pieces being Raked out of the Ruines , were put together as well as might be , and are yet preserved by Baptista Nasi , a great Lover of the Art , and Son and Heir to the said Lorenzo . After this , Raphael's Father and Mother being both Dead , he was forced to go to Vrbino , to look after his Domestick Affairs ; and there he did some pieces for Guidobaldo da Montefeltro , who was then Captain General of the Florentines ; and amongst the rest , a Picture of our Saviour in the Garden , and the three Apostles asleep at a distance : This piece is so perfectly Finished , that no Miniature can be better . It was given by Signora Leonora , the Duke of Vrbin's Wife , to Don Petro Quirini , and Don Paulo Justiniani , Venetians and Hermites of the Camaldoli , and was by them placed as a Relick in the chief Room of the said Hermitage . From Vrbin he went to Perugia , where he Worked for the Nuns of Saint Antonino , and made them a Picture , where according to the Simplicity of those Ladies , he made our Saviour Cloathed , sitting in his Mothers Lap ; and on one side of our Lady , Saint Peter , Saint Paul , Saint Cecily , and Saint Katherine ; to those two Virgins , he gave the sweetest Countenances , with the finest Dress for their Heads , a thing Rare in those Days . The whole Work is very much Esteemed , it being one of the first in which Raphael began to change his Manner , since his being at Florence , , so that now it differed as much from his Master Perugino's , as if it had been two distinct Hands . After some stay at Perugia , he returned to Florence again , and there fell to Studying very hard , both by the Old Paintings of Mosaccio , and by the New ones of Leonardo , and Michel Angelo . He Contracted a most particular Friendship with Fra. Bartholomeo di San Marco , having his Colouring in great Esteem , and endeavouring to Imitate it ; and in Exchange , he Taught Fra. Bartholomeo , the manner of Working things in Prospective , to which the Good Father was an absolute Stranger : But his Study was again Interrupted , by the Importunity of some great Persons of Perugia , so that he was forced to return to that place . He carried with him a Cartoon , which he had done at Florence , at the Solicitation of the Signora Atalanta Baglioni . The Story was the Burial of our Saviour . In this piece , Raphael has admirably Expressed the Grief of our Lady , who is fallen in a Swound , by the Dead Corps ; and that of Saint John , who with his Hands crossed in each other , and looks down with the saddest Countenance imaginable . And indeed , who ever shall well consider the Diligence , Care , and Affection , with which this piece is Finished , must be in a kind of Ravishment at the Air of the Figures , the Beauty of the Drapery ; and above all , a certain Sweetness that is spread all through the Work. There being about this time , many Artists of all kinds Employed at Rome , by Pope Giulio the Second , Bramanto of Vrbino , amongst the rest being there , Writ to Raphael , to whom he was something a Kin , to come to Rome , for that he had spoke to the Pope of him . At his arrival , being very well received by the Pope , he found him busied in Embellishing his Palace , and particularly , in Painting his best Rooms in Fresco , by the Hands of the most famous Masters of that Time ; there was one Room quite finished by Pietro della Francesca ; Luca di Cortona , had very much forwarded a Facciata , or Frontice-piece of another . And Don Pietro della Gasta , Abbot of Saint Clement of Arezzo , had begun another Story . Likewise Bramantino of Milan , had made some Figures , which being done after the Life , were extreamly Valued . Raphael therefore took to himself the Chamber of the Segnatura , and there begun a Story of the Divines agreeing , Philosophy and Astrologie , with Divinity ; and in it are drawn all the Antient Wise Men and Philosophers , disputing in different Manners . By themselves there are some Astrologers , who have made Figures upon Tables , and send them to the four Evangelists , by certain Angels . But amongst the rest , is the Figure of Diogenes , lying all along upon the Stairs , with his Dish in his Hand ; which is a very Contemplative figure , and much to be Commended , as well as the figures of the Astrologers , whose Aptitude in Working , with their Compasses upon Tables , is admirable . There is among other Figures , one of a Young Man , who opening his Arms , and bending his Head on one side , seems to be in the act of admiring ; it is the Picture of Frederick the Second , Duke of Mantoua , who was then in Raphael's own Picture is also there , next to Zoroaster's , who holds a Caelestial Globe in his Hand ; and the Mathematician , who seems so attentive with his Compasses , is the Picture of Bramante , and so like him , that he seems alive . He adorned his Work with a most delicate Prospective , and such Variety of fine Figures , of so delicate a Manner , that Pope Julio caused all that had been done by other Masters , both Old and Modern , to be quite Demolished , to make room for more of his . But Raphael spared some of the Work of Giovan , Antonio Sodoma , of Vercelli , and made use of the Compartiments and Grotesks of it : And in the four Rounds , he made four Figures , of some Signification to the Stories under them , and turned each of them to its proper Story . In the first , is a Woman , which is made to represent Knowledg , and on each Hand a Goddess Cybele ; she sits in a Chair , and is Represented with many Breasts , with which the Antients painted their Diana Polimasta . Her Clothes are of four Colours , to Represent the four Elements ; from her Head to her Waste , is the Fire-Colour , and from her Waste downwards , the three others , the Water being the last ; and there are by her some young Children , very finely done . In another Round towards the Window , which looks upon Belvedere , is Represented Poesie , in the person of Polyhimnia , Crowned with Laurel , and with an Air more than Mortal : She directs her Looks to Heaven , having two Youths by her , who by their Vivacity , seem ready to receive her Commands ; underneath this , was the Story of Parnassus . In the third Round , which is over the Story , where the Doctors of the Church are ordering the Mass ; there is represented Divinity with Books , and other Ornaments about her , and likewise two Boys . In the fourth Round , is Justice with her Ballances , and a Sword , with two Boys , as all the others . He made likewise in the four Corners of the Vault , or Ceiling , four Stories , but of lesser Figures , yet extreamly well Designed , and delicately Coloured ; and they are Adam's Eating the forbidden Fruit , which looks towards the Story of Divinity underneath ; near that of Astrologie , there is that Art , which places the fixed Stars and Planets , all in their proper Situation . Over the Picture of Poesie , there is the Story of Marsias , who is tied to a Tree , and Flead by Apollo ; and over , the History of the giving the Civil and Canonical Laws , there is the Story of Solomon's Judgment , when he Ordered the Child to be cut in two . Having finished the Vault , or Ceiling , we must now say , what were the Stories painted underneath . In that part which looks towards Belvedere , he drew the Mount Parnassus , with the Fountain Helicon , and upon the Mountain made a Wood of Laurels , so Green and Lively , that the very trembling of the Leaves by the gentle breath of Air stirring about them , is almost perceptible ; and in the Air , there flie about an infinite number of Cupids , who gather Branches of Laurel , and having formed them into Garlands and Wreaths , scatter them all about the Hill , which is filled with Poets in different postures ; some Sitting , some Standing , some Writing , some Singing , and others Talking together by pairs , or more , as the Painter thought fit to sort them . But the Figures are all so Lively and their Actions so proper and Natural , that one would really think , the Workman Inspired with some of that Divinity which the Poets lay claim too . These Figures were all done after some Antient Statues , or Models ; and the Modern Poets , who are there Represented , and were then Alive , and are all done after the Life . There on one Side , you see Ovid , Virgil , Emius , Tibullus , Catullus , Propertius , and Homer by himself , Singing of Verses , and having one at his Feet , who Writes them down . Then in a Gruppo by themselves , are Apollo , and the Nine Muses , with such Beauty in the Air of their Heads , that one may easily know them to be the Divinities of Verse . On the other Side , is the Learned Sappio , the most Divine Dante , Gentle Pearch , and Amarous Boccaccio , with a great many more of the Moderns ; the whole Work being extreamly well finished . On another Wall in the same Room , he drew our Saviour and the Virgin Mary , Saint John Baptist , the Apostles , the Evangelists and Martyrs , all upon Clouds in the Air , and above over them , God the Father , who sends the Holy Ghost over a great number of Saints of all sorts . There are likewise , the four Doctors of the Church , with Domenick Francis , Thomas Aquinas , Bonaventure Scotus , Nicolas di Lira Savanarola , and a great many Divines drawn , many after the Life : In the Air are four Boys , who hold the four Evangelists . The Excellency of this Picture is great , for as the Figures are all Sitting , and in the Air the Shortnings are very Artificial ; so as they slide away from the Eye by degrees , just as if they were of true Relievo . Their Drapery likewise is very Curious , both in the Foldings and Liveliness of Colours : The Air of our Saviour's Head is admirable , having in it all that Mildness and Pity , which was proper to the Divinity , made Man. And indeed , it was Raphael's particular Talent , to give the proper Air to his Heads , as he has done here all along ; making our Ladies Countenance Sweet and Gentle , the Apostles Grave , but Honest and Plain , the Martyrs Zealous , and full of Faith : But particularly , he showed great Art in the Heads of the Doctors of the Church , who disputing two by two , or three by three , show in their Countenances great Curiosity , and in their Actions an endeavour of discovering the truth of all their Doubts . On the other side of the Room by the Windows , he drew Justinian , giving his Laws to the Doctors , who correct them ; and over him , Temperance , Force , and Prudence ; and on the other hand he drew the Pope , giving the Decretals , or Cannon Law ; and in the person of the Pope , he drew Pope Julio , after the Life ; as also Jean , Cardinal of Medicis , who was afterwards Pope Leo the Tenth ; Anthony Cardinal Dimonte , and Cardinal Alexander Farneze , who was also Pope , by the Name of Paul the Third . The Pope remained extreamly satisfied with this Work ; and that nothing might be wanting to set it out , he sent for Francis Giovanni di Verona , who was famous for Carving in Wood , to make the Frames ; who not only did that , but also adorn'd the Room with most dilicate Doors and Seats , which gave him great Favour with the Pope ; and indeed , in that sort of Work , there was never any that exceeded this Fra. Giovanni ; as may be seen to this day in a Sacrista in Verona , the place of his Birth , in the Church of Sancta Maria in Organo . But to return to Raphael : His Skill and Reputation increased so together , that the Pope would needs have him undertake a second Chamber towards the Sala Grande ; but first , he drew the Pope's own Picture at length , so strong and lively , that it astonished all those who saw it ; and it is to this day preserv'd in Sancta Maria del Popolo , together with a Nativity of his doing ; both these Pictures are showed only upon Holy-days . All this while , though Raphael had acquir'd very great fame , and though he was continually studying the best pieces of Antiquity in Rome , yet he had not hitherto given any Greatness or Majesty to his Figures ; his Manner , though soft , yet being mean and low in expressing great things . But it happened about this time , that Michael Angelo , who was painting the Pope's Chappel , was forced to fly to Florence , for an Occasion that shall be mentioned in his Life , and left with Bramante the Key of the Chappel ; who being an Intimate Friend of Raphael's , showed him the whole Work , that he might comprehend Angelo's Manner ; which he did so strongly , that immediately he went and did over again the Figure of the Prophet Isaiah , which he had already finished in the Church of Saint Austin , and gave it that noble , great Manner which most of the Works of Michael Angelo have ; who being come back to Rome , and having seen this Alteration of Raphael's Manner , imagined presently , that Bramante had been false to him in his absence , to oblige his Friend Raphael . About this time , Augustin Chigi , a very Rich Merchant of Sienna , but Living in Rome , and a great Admirer and Encourager of Artists , made Raphael draw that famous Galataea in a Sea-Char , environed with Tritons and Sea-Nymphs , and Gods ; as is yet to be seen in his Pallace of Transtevere : and being extreamly satisfied with that Work , which has an unimitable sweetness and nobleness in it , he got him to undertake a Chappel for him in the Church of Sancta Maria della Pace , on the Right Hand ; and in it Raphael drew some Prophets and Sybils ; which are particularly esteemed among all the things he ever did ; but he had then seen Angelo's Chappel , and had taken to that magnificent new way ; and in it likewise he showed a most dilicate and perfect Colouring , as appears in the Women and Children ; all which concurring together , made this Work be valued for the best he ever did , and that from which he drew his greatest Fame , both Dead and Alive . After this , he went on with the Rooms of the Pope's Pallace ; where he painted the Story of a Miracle that happened at Orvieto to a Priest , who being Incredulous in the point of Transubstantiation , had the Host dissolved into Blood before him , as he Celebrated Mass : In the person of the Priest , whose Face is all red with Shame and Confusion , you may see the fright so strange an Accident put him in , and the very trembling of his Hands is sensible to the Lookers on ; round about him , Raphael drew many Figures , some Serving Mass , others at a distance , in different Postures and Aptitudes upon the hearing the strangeness of the thing ; and amongst the rest , there is a Woman with a Child in her Arms , who being told the thing by another , expresses great wonder in her Looks and Action , with a singular Womanish Behaviour and Grace : On the other hand he feigned Pope Julius to be present at this Miracle , and drew him , and Cardinal St. Georgio , with many others of his Court ; and in the empty part of a Window , which was in his way , he painted a Stair-Case , with different Figures upon it ; so that it united with the rest of the Story , and made it one intire piece . And in truth , it must be said of Raphael , that in the Invention and Composition of any Story whatsoever , he exceeded all the Painters of his Time , and had a clear and strong Imagination , as he showed in the same Room , in a Story over against this : it is , when Saint Peter is kept by Herod's Souldiers in the Prison ; where the Architecture is so judicious and various , and yet so proper for the place , that one must confess his Genius to be admirable , in adapting his Inventions to the truth of the History , according to what is delivered us in Writing ; as here , the darkness and horrour of the Prison , the deep Sleep that oppresses the Souldiers , the splendour of the Angel at his appearance , by which the Prison is so enlightned , that all that is in it is distinguishable ; there are all Beauties proper to the Story ; as also , when Saint Peter , freed from his Chains , goes out of the Prison in the company of the Angel ; for Saint Peters Countenance , is that of a Man in a Dream ; and in the Guards without , there is a Surprize betwixt Sleeping and Waking , while one of them with a Torch in his hand , endeavours to waken the rest ; and by that means , gives the necessary Light to the Piece , to see the Armour and Posture of the Souldiers ; and where that Light doth not fall , the Painter hath most ingeniously made use of the Moon : all which being likewise painted within a Window , th● Facciata is still the more obscure ; and the●● by it happens , that when any one looks upon the Picture , the Light strikes him in the Face , and the true Light from without makes , as it were , a contest with the painted Light within , and makes you see the very smoak of the Torch , and the splendour of the Angel's Appearance so strong , that you can hardly perswade your self it is a thing painted ; the shadows of the Armour , the reflexion and warmth of the other Lights being painted with such a proper Gloominess , that it must be owned , he is the Master of Masters in Colouring and Invention . He drew likewise another Story about the attempt that Heliodorus made to Rob the Temple of the Jews , in the Time of the High Priest Onias ; where the furious action of an invisible Horseman , waited upon by two on Foot ; and striking Heliodorus from his Horse , is remarkable ; for his Followers not seeing those that strike him , and wondering at his fall , are so surprized , that they let slip out of their hands the Treasures and Riches of the Temple , which they had already begun to plunder ▪ at a distance , is the holy Priest Onias upon his knees , with his Eyes and Hands lifted up to Heaven , expressing in his Countenance the Joy , mingled with Grief and Compassion , that that action of Violence , and the sudden Relief sent from Heaven , had produced in him ; there are besides , many of the multitude , who being got upon the Bases of the Pillars , and holding by them , are in very uneasie postures , strongly attentive to the Event of the Business , with various Expressions of Astonishment and Fear in their Countenances . This Work was so wonderful in all its parts , that to this day , the Cartoons are had in the greatest esteem imaginable : and Signior Francisco Massini , a Gentleman of Cesena , who without any Master , by his own Industry , has attained to a great perfection in Painting ; has amongst his rare Collection of Designs and Relievoes , some Pieces of this Cartoon , and keeps them with the true Veneration due to such Relicks . While Raphael was thus incouraged by the Pope , and astonishing on his side the whole World with the noble productions of his Pencil , Death took away Giulius the Second , the great Patron of all Arts : but Fortune , though envious in that , yet was kind in his Successor Leo the Tenth ; who ordered all the projects of his Predecessor to be continued , being himself , both by Birth and Inclination , a most Magnificent Prince : accordingly , Raphael pursuing his work , drew on another side of the same Room , the coming of Attila to Rome , and his being met at the foot of Monte Mario by Leo the Third , then Pope , who oblig'd him to return back again only by the Gravity of his Aspect . In this place Raphael drew Saint Peter and Saint Paul in the Air , with Swords drawn in their hands to defend the Church , and they have in their Countenances and Actions that Coelestial Ardour with which Heaven inspires its Saints in defending the true Religion : Attila , who is upon a dilicate black Horse , with white Feet , and a Star in his Forehead , lifts up his Eyes , as frighted with the Vision , and seems to turn away from it , and desire to be gone ; in his Company are many Horsemen , whose Horses are most rarely done , particularly , a Spotted Gennet , which is mounted by a Figure , who shows all the Naked that may be , being Armed in some places with Armour that resembles the Scales of Fishes , which he took from Trajan's Column , where there are people Armed after this Fashion . He drew likewise , after the Life , some Mace-Bearers that wait upon the Pope ; and with them , the whole Court of the Cardinals , and the Grooms that lead the Pope's Horse , upon which he is Cloathed in his Pontifical Habits ; and under the person of the Pope , he has Represented the then present Pontife Leo the Tenth , with many of his Courtiers ; all after the Life . And indeed , we may say of all other Pictures , that they are Pictures ; but of Raphael's , that they are Alive ; the very Flesh seems to be soft and tremble at the touch , and is full of spirit and feeling : so that his Reputation in this particular , is beyond that of all that ever were before , or since . There is a Picture of the same Pope , with Cardinal Giulian of Medicis , and Cardinal Rossi , where the Figures seem to be absolutely round ; and out of the Piece , the Velvet and Damask which the Pope wears , have both the softness and shining which is proper to them , and the Ermines so natural , that they seem real ; in a word , there seems to be no Colours there , but all real Silk and Gold ; there is upon the Table a Parchment painted in Miniature , and a Silver Bell ; which are both finished beyond expression : but amongst the rest , there is one of the Balls of the Pope's Chair , which being guilded , reflects the Light upon the Pope's Shoulders and the Room , as if it were the real Sun Beams : In a word , 't is impossible for any Master to go beyond this . For this Piece the Pope presented him richly ; and it is yet to be seen in Florence , amongst that Duke's Collections . Raphael finding himself thus highly Rewarded and Esteemed , and having a generous Spirit of his own , built a Pallace to preserve his Memory to Posterity , it is in Borgo a Novo ; and Bramante , one of the best Architects in his Time , made the Model of it in Cast Work. About this time Albert Durer , a famous Flemish Painter , and an admirable Ingraver of Prints , sent his Picture to Raphael ; it was wove upon a Cloth , so as to be seen alike on both sides the Cloth , he having taken the Lights from the Cloth , and the Shadows from some Water Colours which that Cloth was wrought with . The Picture was very much admired by Raphael ; who in Return , sent Albert several of his best Drawings ; and being desirous to try Albert's way of Graving in plates of Brass , he made Marc Antonio of Bologna apply himself entirely to that Art ; in which he proved so excellent , that afterwards he was Raphael's chief Graver ; and most of the things we have of that kind , of Raphael's , are done by him ; who indeed surpassed Albert Durer himself ; as appear'd , when he counterfeited the Story of the Passion of Christ , done by Albert , and put Albert's Name to it , and it sold so well for the true one , that Albert Durer , to prevent the Cheat , was fain to make a Journey from Flanders to Venice , and there complain to the Government , Mark Antonio being at that time Resident there ; and yet he only obtained , that his Mark should not be counterfeited ; leaving liberty for any body to Imitate the rest , that could . Antonio's best things after Raphael , are , Lucretia killing her self , the Judgment of Paris , the Massacre of the Innocents the Rape of Hellen , Sancta Felicita boyl'd in Oyl , and her Children Beheaded about her ; Neptune , with little Stories out of the Enerde about him ; a Venus Imbrac'd by a Cupid ; God Blessing the Seed of Abraham , where is a Maid with the two Children ; the famous Galataea of Ghigi ; and in a word , most of the things painted by him in the Pope's Pallace . There were likewise two other famous Gravers that did many of his things ; to wit , Marco di Ravenna , & Agostiano Vinetiano , who marked his Prints with this Mark ▪ A. V. as the other did with Raphael's , thus , R. S. After this , Raphael made for the Monks of Sancta Maria della Spasmo , in Palermo , a Picture of our Saviour's carrying his Cross ; which is held as a most miraculous piece : in it the Rage of his Crucifiers is exprest in their Actions and Countenances , and our Saviour lying under the Load of his Cross , all bath'd in Sweat and Blood , looks most passionately upon the three Maries , who are in Tears by him ; there is likewise Saint Veronica , who with much Charity and Compassion hold out her hands to wipe his Face with a clean Linnen Cloth ; and behind , the Work is filled with Men on Horseback , and on Foot , who croud out of the Gates of Jerusalem to go and see the Execution . This piece was like to have miscarryed , going home ; for a most horrid Storm having broke the Ship in which it was , upon a Rock , and all the Men and Goods perishing , this Picture being in a Case , was carried by the Winds & Seas as far as the Coast of Genoa , and there taken up and opened , and being admired , was by publick Order dispos'd of , it having not at all been spoil'd , though it had lain so long in Salt Water ; the noise of this Accident came at last to the Ears of the Monks for whom the Picture was made ; and with much ado , by the Pope's Intercession , they obtained from the State of Genoa an Order to have it restored , paying first the Charges of those that had taken it up ; which they did largely , and so sent it to Sea a second time ; where it had better Fortune , and arrived safe in Palermo , and is no less famous there than Mount Aetna is in that Kingdom . Amidst these Works for private persons , Raphael neglected not to carry on the painting of the Pope's Pallace , and in a little time he finished the Chamber call'd , Di Torce Borgia ; in which he had made on every side a Story : in one was the burning of the Borgo Vecchio , in the Time of Saint Leo the Fourth ; where he puts it out with his Blessing alone , though all means had been tryed to quench it before , but in vain . In this Story the Painter has drawn all the Horrour of a Fire surprizing people unprepar'd ; some Women there are , who while they are carrying Water to quench the Fire , are , by the Storm of Wind which then blew , all disordered in their Hair and Cloths , and many of them blinded with Smoak , so as not to know one another , or see what they are doing . In another place , there is drawn an Old Decrepit Man upon the Back of a Young Man his Son , just as Virgil describes Aenaeas and Anchises ; and in the Figure of the Young Man , is to be seen the Strength of his Body as well as the Courage of his Mind , & the difficulty with which he struggles in holding the Old , Helpless Sick Man , and avoiding at the same time the Flames and Ruine that are about him ; on the other side , upon the top of a House all on Fire , is a Lady naked in her Smock , and holding a Child in her Arms , which she is trying to throw it to one below , who holds out his Arms and a Blanket to receive the Child ; and in both these Figures , the fear of the Flames , mingled with that concern for their tender Infant , are rarely expressed ; nor is less admirable the Figure of a Woman , who being all in an undress and disorder , frighted in her looks , drives before her two or three little Children , whom she beats , to make them make hast to avoid the fury of the fire : there are some other Women , who falling down on their knees before St. Leo , seem to begg of him to stop the fury of the fire ; as he doth . The other Story is of the same St. Leo ; where the Painter has drawn the Port of Othia , surpriz'd by a Navy of Turks , who had a design to make the Pope Prisoner : there you may see the Christians assailing the Turk's Fleet , now got to Sea , and taking several Ships , the Captives of which are Landed and set a Shore , being dragg'd by their Beards into the presence of St. Leo , who is represented by Leo the Tenth in his Pontifical Habits , between Cardinal Bibiena and Cardinal Julian of Medicis , who was afterwards Clement the Seventh . The other two Stories are , the Sacred Inunction of King Francis the First , of France , by this Pope Leo the Tenth , and the Crowning of him by the same ; and in them Raphael has drawn most of the Courtiers of both Princes , after the Life , and according to the Dress they were then in ; just by the King is a Child upon his Knees , holding the Regal Crown , which is Hyppolito of Medicis ; who was since Cardinal , and Vicechancellour of the Church . The Coeling of this Room was already painted by the hand of Pietro Perugino , Raphael's Master ; he forbore therefore , out of respect to him , to make any Alterations in it , but suffered it to remain entire as it was . 'T was hard for Raphael to do all these things by his own hands ; and therefore he was forced to imploy divers excellent Workmen in all kinds ; and he had Designers , not only over all Italy , but as far as Graece ; that nothing might be wanting that was any ways useful or Ornamental to his Profession . After this , he painted a Hall for the Pope ; where having drawn in Terresta some Figures of Saints and Apostles , he caused the rest of the Room to be painted by Giovanni di Vdine his Schollar ; whose Genius lay particularly in drawing all sorts of Animals , beyond any Painter of his Time ; he therefore drew all those the Pope had at that time ; as , a Cameleon , a Civet-Cat , an Elephant , some Lyons , Monkeys , Parrots , adorning the Intervals with Grottesks of all kinds . He adorned the Pope's Pallace , not only with Painting , but also with Architecture ; having , after the death of Bramante , given a noble Design for the great Stair-Case and Chambers , with much more Order and Ornament than Bramante had invented , following in that the Magnificent Humour of that Pope , who spared no Cost of that kind ; therefore Raphael chose out divers able Men in most Professions , and assign'd them their Tasks , setting Guiovanni di Vdine over the Grotesks and Stucco Work ; Giulio Romano had the overseeing of the Figures , which were made most of them by Giovan Francesco il Bologna , Perino del Vaga , Pellegrino da Modona , Vincensio da San Gimiano , Polidoro Caravagio , and many others ; and for the Carvings , he made Gian Barile do all those over the Doors , and on the Ceiling . He made many Pictures for Forreigners , and particularly , some for the King of France ; amongst which , that of the Battle of Saint Michael and the Devil , is esteemed a most wonderful piece : in it he drew a great burnt Rock for the Center of the Earth , out of the cleft of which came flashes of Fire and Brimstone ; and in the person of Lucifer , all scorch'd in his Members , you might perceive all the Rage , Pride , and Spight that could be in a Soul that had lost Empire and Peace , and was condemned to eternal pains and anguish : the Figure of St. Michael , on the contray , is made with a Coelestial Air , which expresses the force with which he has overthrown Lucifer at his feet ; the King of France sent Raphael a noble Reward for this piece . Raphael was in his Nature of a very amorous Complexion ; for which reason , he took much pleasure in drawing some of his Mistresses , and other handsome Women , being always at the Ladies Command ; which made many of his Friends likewise have Complacency's for him in that kind something extraordinary ; as that of Signior Augustin Chighi , his great Friend ; who having obtain'd of Raphael to paint the Lodge in his Pallace , he found that he did not much mind the Work , by reason of a Mistress he there had , to whom he was continually going ; whereupon he made means to the Lady , and with much ado , obtain'd of her to come and stay at his Pallace , and keep Raphael company whil'st he work'd : by which means the Lodge was finished to his Mind : he made all the Cartoons with his own hand , and coloured himself the best part of the Figures ; in the Vault or Ceiling he drew a Banquet of the Gods and Goddesses ; and in them one may see many Habits taken from the Antients ; and he made Giovanni da Vdine make a Border of Flowers , Leaves , and Fruits in Festoons , most extreamly fine . After this , the Pope gave order for the richest Hangings of Silk and Gold that it was possible to make , and ordered them to be made at Antwerp ; to which place the Cartoons were sent by Raphael , all drawn and coloured by his own hand ; and by the Artists there so exquisitely imitated , that the Silk and Gold seem Colours , and not Weaving ; and indeed , it is an astonishing thing to see how the very Hair and Beards of the Figures are as distinct and fine as the Life it self ; and the Houses , Landskips , Prospectives , all as Natural and Regular as any Painter can make them : this Work cost the Pope seventy thousand Crowns , and is still preserved in the Papal Chappel . Much about this time likewise he began the great Hall above Stairs , where the Victories of Constantine are painted . Having thus described most of the Works of this excellent Painter ; before I come to other particulars of his Life or Death , I think it may not be amiss , to say something of his manner in painting . At first , he imitated the manner of his Master Pietro Perugino , and mended it much , both for Colouring , Invention , and Design ; but coming afterwards to see the manner of Leonardo da Vinci , whose Heads , both of Men and Women had all the Life and Spirit imaginable , and whose Figures had a particular Grace and Motion , not expressed by any before him ; Raphael became astonished , and resolved to study Leonardo's manner ; which he did with infinite pains and diligence ; and yet , in some things , was forc't to come short of Leonardo ; for though in the Opinion of many , he out did him in a certain Sweetness and Natural Facility , yet in strong Conceit , and a certain greatness of Design , he could not reach him ; nor indeed , hardly any Painter could come up to Leonardo in that point ; but Raphael came nearest him , particularly in the Graces of his Colouring . This first manner of his , which he learn'd from his Master Pietro Perugino , being little , mean , and of small Design , became in time a great trouble to him ; for it hindered him from Learning to draw Naked Figures , and gave him great difficulty in all Shortenings , and such like Excellencies of the Art , which he saw so rarely performed by Michael Angelo Buonaroti ; and indeed , any one besides himself would almost have despaired , as perceiving , that all this while he had thrown away his time , and must now turn Schollar again , as he did with admirable Patience and Ingenuity , studying Night and Day to arrive to Angelo's way ; which was full of difficulty in all its parts , and this in a time when his Hand and Head were almost settled upon another way , which he had learn't in his Youth , when Impressions are strongest . When Raphael began first to change his manner , he had never studied Nudities any otherwise than just to do them a little by the Life , which with the grace he gave his Pictures , did pritty well ; but he was an utter Stranger to Anatomy , which teaches the lying of the Muscles under the Skin , and how they swell and shorten in action , according to the different postures of the person ; also , the manner of their Insertion , and the Concatenation of the Bones and Joynts ; all which he studied with great application , and became excellent in the knowledge of whatever might make a rare Painter ; yet perceiving too , that in this part of painting , he should be forc't to come short of Michael Angelo ; and knowing , that it is not Naked Figures alone , that give Reputation to a great Painter ; but , that Invention and Disposition were things that did enoble the Art as much as any thing , he applyed himself to them with great success , enriching his Compositions with great variety of Prospectives , and new ways of dressing his Figures ; adding to this , most beautiful Heads of Men , Women , and Children ; and in a word , not being able to come up to Michael Angelo in one thing , he resolved to be so universal in all the other parts of Painting , that few , or none should be able to compare with him : he was not a little beholding to Fra. Bartholomeo di San Marco ; who having a good way of Painting , well founded in Design , and accompanied with a pleasant Colouring ; though sometimes he used too strong Shadows to give his Figures a greater Relievo ; Raphael took of his manner so much , both for Design and Colouring , as he thought fit ; and out of it , and some other select Observations upon other Masters , he made to himself a Manner ; which was ever after call'd , Raphael's Manner ▪ and the perfection of which appear'd in those Sybils and Prophets which he made in the Church of La Pace : and if Raphael had stuck to this Manner of his , and had not still sought to make it appear greater by the strength of Naked Figures , it had been often more agreeable , and of greater Reputation to him ; for even those Nudities of his in the Chamber of Torre Borgia , are not exact ; nor do those which were made by him in the Pallace of Augustin Chigi in Transtevere , please and satisfie a Judicious Eye , because they want that Grace and Sweetness which was the proper Character of Raphael ; and besides , he only Designed them , but left the Colouring to others ; which Errour of his he at last perceiving , resolved to do something that should be all his own ; and accordingly , did the Transfiguration of Christ in the Church of S. Pietro Montorio ; in which are all the parts of good painting ; and if he had not , out of a Humour , made use of Printers Black in the Shadowings , which of its own Nature , becomes still blacker and blacker , and spoiles the other Colours with which it is mingled , I believe that Piece would have been fresh and fine to this day ; but that has so blackened it , that it seems as it were Tinto . I have made this Discourse at the end of Raphael's Life , to show how much Care , Study , and Diligence he us'd , to attain to an Excellency ; and likewise , to give , as it were , an Advertisement to other Painters , that they should not go about to force Nature in those things to which it doth not strongly incline them , least they loose their Labour , and be forc't at last to desist with shame . Now to return to the Life of Raphael . He had a great Intimacy with Cardinal Bibiena ; who was continually solliciting of him to Marry , and had a Niece of his ready to bestow upon him : Raphael at first put him off gently , taking three or four Years time to consider of it ; at the end of which , the Cardinal still solliciting him about it , and claiming , as it were , a promise from him ; he finding himself ingaged in some measure , and loath to disoblige the Cardinal , accepted of his proffered Neece ; but so still , as not to come to an absolute Conclusion ; for besides the aversion he had naturally to a Married Life , he had besides , another design , which made him seek all delays possible from entring into so strong an Ingagement : The thing was this ; he having Serv'd the Pope a great while , and having a very considerable Summ due to him from the COURT , he had divers hints given him , that as soon as the Sala Grande he was now painting should be Finished , the Pope would recompence his Pains and extraordinary Capacity with a Cardinal's CAP : It being certain , that the Pope designed a numerous Creation of Cardinals : amongst whom were some of less Merit than Raphael . In this hope therefore , keeping Marriage at a distance , and following secretly other amorous Delights , it happenened , that he committed once such an Excess that way , that he came Home with a pritty high Feaver ; the Physitians being called , and he concealing the true Cause of his Distemper , which they feared , was an Inflammation , they ordered him to be Let Blood ; whereas they should have given him Cordials and Restauratives ; the effect was , that he sounded away ; and immediately finding himself decay , he took care to send away his Mistress out of his House , and provided handsomely for her ; and then making his WILL , he left all he had to Giulio Romano his Schollar , and to Gian Francesco Florentino , otherwise called Il Fattor , together with a certain Priest of Vrbino , who was A-kin to him ; making Signior Baltasar da Pescia the Pope's Datary Executor of this his last Will and Testament : after this , having Confessed himself very Penitently , and received the Sacrament , he yielded up the Ghost on a Good Fryday , in the Seven and Thirtieth Year of his Age , the same day he was Born on . The Pope , and all the Court were much concerned for his Loss ; and indeed , we may say , that it was the greatest that the Art of Painting ever received ; it having been ever since at a Stand , and rather in danger of declining , than in hopes of advancing to a greater Perfection : He was so Courteous and Obliging to all those of his Art , that if at any time any one had begg'd a Design of him , whether he were his Acquaintance or no , he would leave all to serve him ; which made him be so Beloved , that when he went to Court , he was ordinarily attended by fifty , or threescore of the best Artists of all kinds who followed him , to show their Respects . And one thing he brought to pass , which I think , was never done before nor since ; which was , that all those Painters , and other Artists in great Number , who worked under him , and in concurrence with one another , laid aside all Envy and Jealousie , and lived in the greatest Union and Concord imaginable ; which proceeded from nothing so much as from that admirable Example of Sweetness and Mildness that Raphael set them . In a word , he was not only the Wonder , but the Delight of all Rome , who thought his Vertue beyond Reward , as it was above all Imitation . He lived Great , died Bewailed , and Regretted by every one . The Famous Cardinal Bembo made this Epitaph for him . Raphaeli sanctio Vrbinati Pictor ; eminentissimo veterumque Aemulo , cujus spirantes prope Imagines , si contemplere naturae , atque Artes faedus facile inspexeris . Julii secundi , & Leonis decimi Pontificatus maximis Picturae & Architecturae Operibus gloriam auxit . A. XXXVII Integer integros , quo die natus est , eo esse desiit , Octavo Idii Aprilis , Anno MDXX . Ille hic est Raphael timuit quo sospite vinci , Rerum magna Parens & onoriente mori . The LIFE of GIORGIONE DA CASELFRANCO . A VENETIAN PAINTER . ABout the same time that Florence grew so Famous by the Works of Leonardo Da Vinci , Venice received no small Ornament from a Native of that Countrey , to wit , Giorgio of Castelfranco , who had the Sir-Name of Giorgione given him . He was Bred up in Venice , and first applyed himself to Musick ; for which he had so rare a Talent , that both for Singing and Playing upon the Lute , he was Famous , and always invited to all Consorts , and Publick Musick-Meetings . After this , he applyed himself to learn to Design ; in which Nature gave him a great Facility ; and he in requital , studied her most , Designing every thing after the Life it self ; which made him not only out-do the two Bellini's then in Vogue , but stand in Competition with those Tuscan Painters , that were the Authors of the Modern way of Painting ; some things of Vinci's doing being come to his Hands , wherein there was a great Strength , particularly , an admirable Management of the Shadowings ; he was extreamly delighted with that manner , never forsaking it , but endeavouring to imitate and improve it in all his Oyl-Paintings ; from whence it proceeded , that all his Pieces had a Spirit and Life , never expressed before in that Countrey ; and adding to that a Beautiful Colouring , he he was far beyond all the Lombard Painters . His first Application was to Portraits , in which he succeeded admirably ; and particularly in that of the Great Gonsalvo , whom he drew by the Life , in Armour , when he came to make a Visit to Agostino Barberigo , the Doge of Venice ; this Picture so pleased the Great Gonsalvo , that he took it with him into Spain . Many more of his Pictures are spread over all Italy . He was no less excellent in Painting in Fresco ; and amongst the rest , there is the Front of the Pallace of Soranzo in the Piazza of San Baolo ; in which , besides many Stories done after the ordinary manner of Fresco Painting , there is one done in Oyl upon the Wall after the Fresco manner , which is very singular ; it has preserved it self against all the Wind and Rain , and is fresh to this day , though it be exposed to the South Winds ; which in moist Countries , such as Venice is , are the most terrible Destroyers of Fresco Work , that can be . About the Year 1504 , there happened a great Fire near the Rialto , in which , amongst other Buildings , the Fondaco , or Trading-House of the German Nation , was quite burnt to the Ground : the Senate in a short time Rebuilt it more Magnificent and Convenient than before ; and Giorgione's Fame being great , he was ordered to paint it in Fresco on the Outside . This Building standing in the most frequented and populous part of the City , Giorgione thought he could not choose a better place to show the Excellency of his Art ; and therefore without confining himself to any Set Story , he drew such Figures as should best sute with that Design ; therefore you see in some places the Figures of Women , in others , those of Youths in various Aptitudes , with Lyons Heads , Angels , Cupids , and other such things by them ; the meaning of which , none to this day could ever understand , but the Figures are admirable in their kind . The best piece of Oyl-painting of his doing , is of our Saviour carrying his Cross ; where there is a Jew that pulls him ; that is a most singular Figure : this Piece is in the Church of San Rovo ; and by the great Devotion that People show to it , it is thought to do Miracles . He worked much out of Venice ; as , at Castelfranco , and in the Trivisano ; and many Pieces of his were bought up , and carried abroad to Forraign Parts , to show that Tuscany alone had not the prize of Painting , but that other parts near the Alps , had their Share in that noble Art. About this time , Andrea di Verrochio being employed to make the Famous Horse of Bronve , some Sculptors took occasion to praise Sculpture beyond Painting , because that one might walk round a piece of Sculpture , and view it on all sides with delight , whereas a piece of Painting could never represent but one side of a Body at once : Giorgione having heard them out , said , that they were extreamly mistaken , and that he would undertake to do a Figure in Painting , which should show the Fore and Hind Parts , and the two sides , without being put to the trouble of going round about it , as Sculptors are to view a Statue . This seem'd an Undertaking beyond belief ; but he thus brought it to pass . He drew the Picture of a Young Man naked , showing his Back and Shoulders , and having at his Feet a Fountain of clear Water , in which there appeared by reflection , all his fore parts ; on the left side of him he placed a bright shining Armour , which he seemed to have put off , and in the glistering of that , all the left Side was seen in Porfile ; on his right Side he plac'd a great Looking-Glass , which represented his right flam by its reflexion , This Piece was look'd upon as a thing of a rare Invention , and seems to give the prize to Painting , which can in one view represent much more than Sculpture can . He drew , amongst other Pictures , that of the famous Catharina Cornaro , Queen of Cyprus , by whom the State of Venice long enjoyed , and do to this day lay claim to that Crown . That Piece is in the Pallace of Cornaro . Giorgione being so rare a Painter , and so great a Musitian , could not choose but be Amorous ; he fell most extreamly in Love with a Young Beauty , who was no less charmed with him ; and while they were in the heat of their Enjoyments , the Plague being then at Venice , she fell ill of it , but not thinking it was that Disease , admitted Giorgione to her Bed , where the Infection seizing him , they both died ; he was but thirty four years old , when this fatal Accident took him from his Friends , who could hardly comfort themselves for his loss . He left two excellent Scollars , to wit , Sebastiano Vinetiano , who was afterwards Frate del Piombo at Rome ; and Titian da Ladore ; who not only equalled his Master , but surpassed him infinitely . The LIFE of Michael Angelo BUONAROTTI , A Painter , Sculptor , and Architect . LOdovico di Lionardo Buonarotti Simone , was a Gentleman of the Countrey about Florence , and the Father of Michael Angelo , who was born in the Year 1474 ; being not very rich , and his other Children being put out Apprentices to Trades , he designed his Eldest for a Schollar , and accordinly , sent him to School ; but the Child used to play Truant often , and spend his time in Designing , finding in himself a most powerful Inclination that way ; which his Father endeavoured to oppose , as thinking it below the dignity of his Family ( which was descended from the Earls of Canosu ) to have one of his Children a Painter : but at last , the strength of Nature prevailing against the Rules of Prudence , he put Michael Angelo to Domenico Ghirlandai , who was then reputed the best Painter in Florence . He was then about fourteen , and in less than two years time , he followed the Art with so great application , that his Master said , he was astonished at the progress he made , as also at the boldness of his Pencil ; for one day , a Schollar of Ghirlandio's having drawn some Women cloathed , out of a Work of the said Master , and succeeded pretty well , according to the Design ; Michael Angelo took the paper , and making with a pen new Centers to the Figure that his Fellow Schollar had drawn , not only mended his Drawing , but showed thereby some Faults that were in his Master 's Original ; which boldness of a Youth of his Age , argued a prodigious Genius for the Art. Much about that time Lorenzo of Medicis , who was a mighty lover of Sculpture , and used to lament , that there was not then one young promising Sculptor in Florence , set up a kind of Academy in his Pallace , for the Improvement of Youth that way , and desired Guirlandaio , that if he had any of his Apprentices that were hopeful Young Men , he would send them to him ; accordingly , he sent him Michael Angelo and Francesco Granaccio , as the most hopeful of his School . There was an old Head of a Faun , or Satyr , which was made Laughing ; and it struck Angelo's fancy so , that taking the Instruments that Sculptors use , which he had never handled in his Life before , he fell to trying to imitate that Head , and at last did it so perfectly well , that Lorenzo astonished at the greatness of his Genius , commended him extraordinarily ; and observing , that he had added of his own Invention , to make the Faun show his Teeth and part of his Tongue ; he told him laughing , and with a Design to make sport , that that was improper , for that Old Men , as that was , never had all their Teeth ; Michael Angelo thinking he was much in the right , went next day , and broke a Tooth of the Satyr's , ordering the Gums likewise to look as if it were fallen out , and then showed it to Lorenzo of Medicis , who laughed heartily at Angelo's Simplicity , but resoved to cherish his Talent , and therefore sending for his Father , desired he would let him stay in his Family , and he would take care of him ; which his Father very readily granted . He stayed there four Years , during which time , by the advice of Politian , a great Virtuoso and Lover of Art , he undertook to Carve in Marble the Battle of Hercules with the Centaurs ; which he did so rarely , that to those who shall consider it now , it will appear rather the Work of an intelligent well practised Master , than of a Young Student , as he was then . There is likewise a Nostra Donna of Basso Relievo in Marble , done by him much about the same time , with a design to imitate the Manner of Donatello ; which he has done to a Miracle ; and this is the only Piece of Basso Relievo that ever he did , and is therefore preserved with great Care in the Pallace of Medicis . Lorenzo being dead , and his Son Peter carrying himself Insolently in the Government , great Revolutions followed , and the Family of Medicis was quite driven out of Florence ; which Michael Angelo foreseeing , and being afraid , least his Dependance on that Family might be of fatal Consequence to him , had withdrawn himself some Weeks before to Bologna , and thence to Venice ; where finding no Work , he returned to Bologna , in order to approach Florence , but having forgot to take a Pass at his coming in , he was seized going out , and Fin'd more Money than he was then worth , not being able to pay it , just as he was going to Prison , one Signior Giovan Francesco Aldrovandi took pity of him , payed the Money , and carried him home to his own house , where he staid a whole Twelve-Month with him ; during his stay he did but one piece of Work , which was , to add to an old piece of Sculpture in MARBLE of the Sculpture of St. Dominick ; there being an Angel holding a Candlestick wanting , and another Figure of about a Yard long ; both which he supplyed so well , that they are the two best Figures in the whole Work , though it was done by Giovan Pisano and Nicolo de Larta , Sculptors of great Fame . After this he returned to Florence , and there made for Pier Francesco of Medicis a Saint John ; and a little after , for Baltaser del Milanese , a Cupid sleeping ; which being showed to Pier Francesco , he told Baltasar , that it might pass for Autique , if it were buried under Ground a while , and made to look old ; Baltasar took the hint , and carryed it to Rome , where he buryed it in a Vigna , having first broke the Arm of it ; and so after some time had it dug up , and sold it for Antique to the Cardinal San Giorgio for two hundred Crowns , sending Michael Angelo only thirty for his pains . Others relate the thing otherwise ; but all agree , it was taken for Antique , and fell at last into the hands of Duke Valentino , and he gave it the Marchioness of Montsua , where it still remains . The Reputation that Michael Angelo got by it , was so great , that he was sent for to Rome , and placed in the Family of Cardinal San Giorgio , where nevertheless , he was a whole Year without Imployment , the Cardinal understanding but little of either Painting or Sculpture , but a Roman Gentleman called Jacopo Galli understood his Merit better , and got him to make him a Cupid of Marble , and by it a Figure of a Bacchus , who holds a Cup in his Right Hand , and in his Left , a Tyger's Skin and a Bunch of Grapes , which a Young Satyr trys to eat some of ; in which Figures , Michael Angelo made , as it were , a mixture of the Beauty of both Sexes , having given it the Cleanness of Limbs , and Strength of the Men , and withal , the roundness and fleshiness of the Women , which gave him the Bell above all Modern Artists of Rome and elsewhere . His fame increasing every day with his Skill , the Cardinal of Rouen , who was then Chief Minister of France , desiring to leave something at Rome that should preserve his Memory there , bespoke Michael Angelo to make him a Picta , as it is called in Italian ; that is , our Lady with our Saviour's Dead Body in her Lap : he did it with so much Care , and finished it with such admirable Diligence , that 't is impossible to see any thing better in Marble ; particularly , the Dead Body of our Saviour is so exquisitely formed , with all the Muscles , Veins , and Nerves , and yet made so truly dead , that no Art in the World can go beyond it ; some blame him for having made the Virgin 's Face too Young ; but they do not consider , that Virgins unspotted preserve their Freshness a great vvhile ; the Drapery is the noblest and loosest in the World ; vvhich is one of the hardest things in Sculpture . In Summ , he showed so much Art in this Piece , that , contrary to his Custom , he put his Name to it ; some say , he was provoked so to do by some Lombard Artists , who being come to look upon it , one of them asked the other whose Work it was , and the other made answer , that it was done by Il Gobbo , a great Sculptor then living at Milan ; which Michael Angelo over-hearing , Carv'd his Name in a Girdle that goes about the Madonna 's Breast . About this time his Friends at Florence invited him back to undertake an odd piece of Work , which was thus ; a piece of Marble of about nine Yards high , had been given to one Simon da Fiesola , who had begun a Gyant in it , but with such ill Success , that those that were to pay for it had layed it by as a thing spoiled ; but it being a fine piece of Marble , the Gonfaloniero Soderini had proposed to Lionardo da Vinci and to Andrea Sansovini , an excellent Sculptor , to do something with it ; Andrea was willing , but said , they could not make a Figure out of it without adding some pieces ; which Michael Angelo hearing , undertook to do it without putting any piece to it , whereupon it was delivered to him . He therefore began , and made a Model of Wax , and fram'd the Statue of David , with a Sling in his hand ; and then , having enclosed a place with Boards , he fell to work upon the Marble , and would not suffer any Body to see what he did ; he had much ado to make it serve for his design , the first Sculptor having spoiled it , so that he was forc'd to leave in the Extremities of his Figure , some strokes of the former Chizzel ; which nevertheless , did not any ways deform it ; after much Labour , having miraculously Created a new thing out of an old deformed Carcase , there was much Contention among the Ingeneers of the City , how to transport it to the place where it was to be set up ; but at last , Giulian of St. Gallo , and his Brother Antonio , were the Contrivers of a Machine , in which it was carried suspended by Cables , and then raised by degrees with Leavers , to the place it was to stand in ; as soon as it was uncovered , all the Town flocked to see it ; and to say truth , it not only surpasses all Modern Statues , but may come in competition with the Antient Greek and Roman ones ; for as to exactness of Measure , Beauty of Shape and Proportion , and dilicate Centers of the Legs , with a cleanness of all the Limbs , nothing can out-do it ; the Aptitude of its Posture , and the Air of the Head are Divine : and in a word , after it ▪ we may never desire to see any , either Modern or Antient , for there is all the Beauty in it that Art can give ; and yet to show how Artists must sometimes humour Great Men , who pretend to be Judges , and are not ; the Gonfaloniero Soderini found fault with the Nose , and said it was too big ; whereupon Michael Angelo , to please him , took a Chizzel in one hand , and in the other a little Marble dust that lay upon the Scaffold by him , and pretending to mend the Nose , struck three of four blows with the wrong end of his Chizzel , and let the Dust fall by little and little , and then called to the Gonfaloniero to ask him how he liked it ; who told him , that that little alteration had quite made it another thing ; at which Michael Angelo laughed in himself , for he had not touch'd it any ways to alter it . The Gonfaloniero paid him four hundred Crowns down . Having succeeded thus rarely in Sculpture , he nevertheless would not omit to show his Excellency in Painting ; and therefore , at the Request of Agnolo Doni , a Florentine Citizen , and his Friend , he made him a Madonna upon her Knees , holding of her little Son upon her Hands , and lifting of him to St. Joseph , who seems to receive him : He has particularly expressed in the Eyes of the Madonna , the tenderness of a Mother admiring the Beauty of her Child ; and in the Looks of Old Joseph , all the Respect and Devotion which he must have for a Child which he knew to be Divinely Born : And in the Piece , at a distance , to show his Art the more , he made several Naked Figures , some standing , others sitting , all admirably Finish'd ; and indeed , it is one of the best Oyl-Paintings he ever did , he having worked but little that way . The Picture being Finished , he sent it covered to Agnolo Doni , and withal , a Note for seventy Crowns , to be paid down immediately ; Agnolo thought it too much to lay out in a Picture , and therefore sent him but forty ; upon which Michael Angelo sent back the Messenger , and required a hundred Crowns or the Picture ; Agnolo then was content to give him the other thirty , and sent them by the Man that demanded a hundred ; but Michael Angelo , to punish him for Bargaining for so rare a Piece , sent the Money back , and demanded a hundred and forty , which was the double of his first Price , or else the Picture : Agnolo , who knew the true Value of it , immediately sent him all he desired , and glad he had it so . About that time , Lionardo da Vinci having done some Stories in the Chamber of the Great Council , in the publick Pallace , the Gonfaloniero Piero Soderini bargained with Michael Angelo to do one side of the same Room , and gave him for his Subject the War with Pisa. Michael Angelo being to Paint in concurrence with Lionardo , who was one of the greatest Artists of the World , shut himself up , as his Manner was , and made a Cartoon , in which he drew a world of Naked Figures , which he supposed to be bathing themselves in the River Arno , and to belong to the Camp , which was hard by ; and at the same time there was an Allarm given , which made these Figures all endeavour to get on their Cloaths and Armour , in various postures ; amongst the rest , there was an Old Fellow who had a Garland of Ivy about his Head , and was just come out of the Water , and trying to put on his Stockings , which by reason of the Wetness of his Legs , were hard to pull on , and he being besides , frighted with the noise of the Drums and Allarm , seemed to use all the Strength of his Muscles and Nerves to make haste , making such a Face at the same time , as showed that he was all over in action from the Head to the Toe ; there were besides , Gruppos of Horseman beginning the Fight , and others of Foot at a distance coming on , some in the Shade lost , others in the Light strong and vigorous , and all in great variety of Aptitudes : So that nothing could be either better Designed , or more ingeniously Invented ; and particularly , the Shortnings were admirable and strong , beyond all that had yet appeared . This Cartoon being afterwards carried to a Room in the Pallace called La Sala del Papa has there been the Study of all the Painters of that Age , both Natives of Florence and Forreigners ; for Raphael del Vrbin , Francesco Granaccio , Andrea del Sarto , Jacobo da Puntormo , Perin del Vaga , and several others , made their Study of it : for which reason , it was at last removed to the Pallace of Medicis ; and the great Liberty Strangers had to come to it , making it be less watched , it was in the end , in the Sickness of the Duke Giulian of Medicis , stole away by pieces ; and some of it is yet to be seen in the House of S. Vberto Strozzi at Mantoua . About the Year 1504 , Pope Julius the Second having suceeded Alexander the Sixth , he sent to Florence for Michael Angelo , with a design to make him erect a Stately Sepulchral Monument for himself : Accordingly , having sent him Money for his Journey , he ordered him to go to the Quarries of Marble at Carrara , and there to see the Stones cut out as he would have them . Michael Angelo spent eight Months intire in that Employment , and sent so much Marble to Rome , as filled half the great place before Saint Peters . The whole design of the Monument was to contain above forty Statues of Marble , besides little Boys , Ornaments , and other Carvings ; about the Corniches it was to be , as it were , an I le in the middle of a Chappel , so as it might be walked all round , and considered from the Out-side . Of this Work he finished four Statues , and began eight more ; which were never Finished , by reason of the Pope's Death . Of all these , his Moses is the most Excellent ; it is about five Palms , of white Marble , in a sitting posture , leaning one hand upon the Tables of the Law , and with the other stroking his Beard ; the very Hairs of which are expressed as if they were living Hairs ; the rest of his Countenance is of the greatest Majesty and Sweetness imaginable , the Drapery is Loose , Long , and Noble ; and in a word , the whole Figure is Exquisite beyond Imagination ; the Sculptor having expressed something of that Divinity which was in a Man that conversed so familiarly with the DEITY it self . 'T is said , that while he was doing this Work , the rest of the Marble he had bespoke at Carrata , came to Town , and that Michael Angelo being gone to acquaint the Pope with it , and finding him busie , payed for the bringing the Marble , out of his own Pocket , that the Workmen might be gone home who had brought it ; some time after he went again to the Pallace to acquaint the Pope , to whom he used to have very free access , that the Marble was come , and to desire his Holiness to take order about the paying for it : it happened that day , that the Pope was otherwise employed ; and the Porter told him , he must have Patience , for he had Orders not to let him in : a Courtier that stood by , ask'd him if he knew him ; to whom the Porter replyed , that he knew him very well , but must obay his Orders . This Answer , and the Affront angred Michael Angelo so , that he told the Porter , that he should tell his Holiness , when he asked for him next , he was gone about some other Affairs ; and so without further delay went home , and ordering his Servants to sell all his Furniture to the Jews , and follow him to Florence ; he took Post two hours after Sun-set , and rode that night to Poggi Bonzi , out of the Pope's Territories . There five Courriers overtook him with LETTERS from the Pope , desiring his Return ; to all which he only made answer by a little Note , That he desired his Holiness to excuse him , that he had driven him away from his Presence , and that the faithful Service he had payed him did not deserve such Vsage ; and that therefore his Holiness might provide himself of some other Artist in his room , for he was resolved to Serve him no longer . But he was no sooner arrived in Florence , but there came Letters from the Pope to the Government of Florence , commanding them to send him back Michael Angelo to Rome : which perseverance of the Pope in his Design , so frighted Michael Angelo , that to avoid his Resentment , he began to hearken to some Franciscan Fryars , who had Commission from the Great Turk to entertain him in his Service , he having at that time thoughts of making a Bridge over the Hellespont , from Constantinople to Pera : but at last being over perswaded by the Gonfaloniero Soderini , he resolved to go to the Pope , who was then at Bologna , and to ask his Pardon ; the Cardinal Soderini undertook to present him ; but being Indispos'd , he delivered him to a Bishop of his Friends , who brought him to the Pope . Michael Angelo fell upon his Knees ; but the Pope looking scurvivily upon him , said , Instead of coming to Vs at Rome , We have been fain to meet you here at Bologna . To which Michal Angelo replied , that he did humbly beg his Pardon , and acknowledge his Errour : the Bishop interposing , told his Holiness , that such Fellows as he were not much to be minded , being ignorant in every thing of the World but their own Art , and therefore might the sooner be excused . The Pope grew angry at such an impertinent Intercession , and with a Switch he had in his hand , touch'd the Bishop scornfully , and told him , he was more Ignorant , and had less Manners than Michael Angelo , since he said that to him which he , the Pope had not said : upon which the poor Bishop was turned out of the Room by the Officers ; and the Pope having passed his anger upon the Bishop , gave Michael Angelo his Blessing , and bid him attend the Court. After a little while the Pope commanded him to make a Statue of himself , of about five Palms high , of Bronze ; while he was doing it , the Pope came one day as it was almost Finished , and considering the posture ; which was , with one hand up in a Commanding Manner , the Pope asked him whether he was Blessing , or Cursing in that posture ? And Michael Angelo answered , that he was intimating to the people of Bologna , that they should persist in their Duty : then he asked the Pope , whether he would have a Book in his Left Hand ? To which he answered , put a Sword there , for I understand but little of Books . The Pope left a thousand Crowns behind him for the Finishing of it ; which Michael Angelo did in about sixteen Months ; and it was set up over the Frontispiece of the Church of San Petronio ; but not long after , the City revolting to the Bentevoglio's , they sold this Statue to the Duke of Ferrara , who Cast it into a great Gun , & called it La Giulia ; only the Head was saved , and kept in that Duke's Wardrobe . Michael Angelo after this , being returned to Rome , found that the Pope by the perswasion of Bramante , had laid aside the thoughts of continuing his Sepulchral-Monument , as a thing of ill Omen ; and was perswaded to have the Vault of the Chappel painted by Michael Angelo ; which Bramante did maliciously , as knowing that it would prove a Work of great difficulty , and that Michael Angelo was not very well practised in the way of painting in Fresco ; indeed , he used all means possible to avoid the thing , and to ingage Raphael del Vrbin in it ; but the Pope would take no Excuse : So he was fain to undertake it , and agreed for the price of fiveteen thousand Crowns to finish it all ; he sent to Florence for several Workmen who were well practised in the Manner of Fresco ; and having made the Cartoons , they began to paint them upon his Design : but their Work not answering his Expectation , one day he shut the Door upon himself , he put out all they had done , refusing to let them in , and likewise keeping so close at home , that he could not be spoke with by them ; whereupon finding themselves abused , they returned to Florence . He being thus alone , took infinite pains , and with great attention and labour , brought about half of it to perfection , taking great care that none should see what he was doing ; then it was , that the Pope , who was naturally impatient , commanded it to be uncovered , and all Rome flocked to see it ; amongst the rest , Raphael del Vrbin , admiring the Greatness of Angelo's Manner , changed his own upon the sight of it , and being an admirable Imitator of any thing he saw , drew those Prophets and Sybils in the Church of La Pace ; which are the best things he ever did ; Bramante upon that would fain have had the Pope have given the other half of the Work to Raphael to finish ; but the Pope would not injure Michael Angelo ; who therefore went on , and in about twenty Months brought the whole to perfection , not having had any help of any kind , not so much as of a Boy to grind his Colours for him . There are in it many Stories , beginning from the Creation of the World to the Flood ; and then following on to most of the remarkable Stories of the Old Testament , adorned besides with Sybils and Prophets , according to the Compartments of the Vault . The Work in general is the extreamest perfection of the Art for Shortnings , diversity of Dresses , Airs of the Heads , and noble Invention . Giulio being dead , the Sepulchre was intermitted ; though by his WILL he had ordered his Executors to see it finished : However Michael Angelo went on working upon some of the Statues at Florence ; where he retired , and lived during all the Pontificates of Leo the Tenth , and Adrian the Sixth , till Clement the Seventh was made Pope , who being desirous to leave as much Fame behind him as any of his Predecessors , sent for Michael Angelo to Rome , and there contracted with him for finishing the Library of San Lorenzo at Florence , together with the Sacristy of that Convent ; it being the proper Foundation of the Family of Medicis , and their Burying-place . Philippo Brundleschi had already made the old Sacristy ; therefore Michael Angelo made his of a new Composite Order , full of Novelty and Variety , such as neither Antient nor Modern Architects never saw the like ; for till then , they had gone on in a slavish Manner of observing exactly Set Rules , which Michael Angelo broke through ; for which the Artists are beholding to him , he having , as it were , broke their Chains though : Some have abused that Liberty , and too much followed their own Capricio . He made likewise in the same place , four Sepultures for four of the Family of Medicis ; two of which were the first Dukes , to wit , Giuliano and Lorenzo ; about their Sepulture he made four Statues , representing the Night , the Day , Aurora and Crepusculum ; which are such in their Aptitudes , and the Artifice of their Centers , that if the Art of Sculpture were lost , it might be restored by the sight of them ; the Aurora particularly is the softest thing in the World. The terrible Accident of the taking of Rome by Bourbon's Army , having come to pass in Clement's Time , the Florentines took that Occasion to Revolt from the Medici's again , and drive them out of the City ; whereupon a War ensuing , the Government oblig'd Michael Angelo to Fortifie a place called Mount Saint Miniato , which Commanded the whole Town ; but the Armies of the Pope and Emperour having at last close Beleagured it , and no hopes of Succours appearing , Michael Angelo began to consider of his Danger , and without any further delay , stole out incognito by the way of that Mount San Miniato , accompanyed with Antonio Mini his Schollar , and Il Piloto a Gold-Smith , an Intimate Friend of his , and what ready Money he had , and so got to Ferrara in order to go to Venice . Being there , he made for the Doge Andrea Griti , the Design of the great Bridge called , The Rialto , which passes over the great Canal . He had not stayed long at Venice , but he received most importunate and kind Letters from his Friends at Florence , lamenting his absence , and begging of him , if he had any Tenderness for his dear Countrey , to return , and help to defend it . Which Letters so touched him , that with great danger of his Life , he returned to Florence , and there by the help of his Art in defending the Place , made it hold out some Months longer : But the Town being Surrendred , he was in greater danger than before ; for by the Pope's Order , he was sought for among the Enemies of the House of Medicis . But having been concealed by a very good Friend of his for several days , the Pope's Anger being over , he commanded that no hurt should be done to him ; but on the contrary , took him into his Service , and gave him the usual Salary and Appointments he had before . About this time the Pope having resolved to paint the sides of the Chappel of Sixtus ; of which Michael Angelo had already painted the Vault , he sent for him to Rome , and ordered him to paint the Representation of the Last Day of Judgment , that he might show in so great a Subject , all that it was possible for him to do in the Excellency of Design . In Obedience to the Pope's Commands , he began the Cartoon of the Judgment , but was much interrupted by the Agents of the Duke of Vrbin , who charged him with sixteen thousand Crowns received for the finishing of the Monument of Julius the Second , whose Nephew the Duke of Vrbin was ; and this business was a mighty trouble to Michael Angelo ; for the Duke , who was a high Spirited Prince , threatned no less than Death , if he failed to perform his Contract . At last , by the Pope's Mediation the thing was made up , and a new Agreement Signed ; by which it was required of Michael Angelo , to make only one of the four Sides which at first were to have Composed this Monument , and that in it he should place six Statues of his own hand ; giving him leave withal , to work four Months in the Year for the Pope , either at Florence or Rome , according as he should please to employ him . About this time died Pope Clement , and Paul the Third , of the Family of the Farneses , was chosen to Succeed him ; and then it was that Michael Angelo conceived hopes of being more Master of his Time , and resolved to finish the Statues of the Monument of Julius the Second . But the Pope had no sooner taken possession of his new Dignity , but he Courted Michael Angelo both with good Words and Presents , to be his Servant , as he had been under the former Pontificates . It was with great Reluctancy that Michael Angelo yielded to these Sollicitations , and not till he had angred the Pope , by telling him , that he was by Contract obliged to the Duke of Vrbin , and could not attend any other Work till he had finished that ; the Pope told him again , that for the Contract , he would break it by his Authority ; adding , that he had had above thirty years a longing to have Michael Angelo in his Service , and that now that he was Pope , he was resolved not to loose it ; and accordingly , he prevailed with the Duke , to submit to a new Agreement with Michael Angelo ; by which he was obliged to finish only three Statues with his own Hand , which were those of Rachel , Lea , and Moses , and the others were to be made upon his Models by the best Sculptors of the Age. This Agreement was performed on all sides ; and Michael Angelo ingaged himself voluntarily to pay for the three Statues , consigning to that purpose 1580. Crowns to the Bank of the Strozzi in Florence : and thus ended that troublesome Affair . The Monument is to be seen in San Pietro in Vincola . After this , he applyed himself to the painting of the Chappel , according to the Cartoons made in Pope Clement's Time. It will not be necessary to describe here the Invention or Composition of this Story , because there are so many Cutts , both great and small , of it in the World ; but it will suffice to say , that he chose that Subject as the hardest to succeed in , since it consists most in showing the true proportions of the hardest of Subjects ; which is , the Humane Body Naked , and that in the most difficult Aptitudes , with the strongest affections and passions in the World , full of the greatest variety imaginable . In all which he has showed himself to be the greatest Master in the World , and the true Inventer of that Great Manner ; he has indeed , not so much minded the beauty of the Colours , and other little Ornaments , but has kept to the profoundness of the Art : to which none since have ever been able to arrive . 'T is said , that when he had almost finished this Work , that Pope , Paul the Third , came one day to see it , and in his Company was , Messer Biagio di Cesena , his Master of Ceremonies , whose Opinion the Pope having asked about the thing , he being a Bigot , answered , that it was a most shameful thing , that in so Sacred a place as a Chappel , there should be exposed to view such a number of Naked Figures , some of them in most undecent postures ; showing in both Sexes those parts that ought to be concealed ; and in a word , that it was a Work fitter for a Bawdy-House than for a Pope's Chappel . This displeased Michael Angelo most extreamly ; and being resolved to be revenged as soon as ever the Pope was gone , he fell to work , and drew this Messer Biagio by Memory , placing him in Hell Naked , with a great Serpent fastened to his Natural Parts , and invironed with a Troop of Devils : The Picture was so like , that the Master of the Ceremonies complained to the Pope ; and finding there but small Redress , applyed himself to Michael Angelo , intreating him to reform that part of his Piece : but all would not do , for he there remains to this day . This Piece being finished , was the Admiration of all Rome , and is to this day the great Master-piece of the Art of Painting . Pope Paul the Third having built a Chappel which was called by his Name , La Paulina , ordered Michael Angelo to do the painting there : He painted two Stories , one of the Conversion of Saint Paul ; and another , of the Crucifixion of Saint Peter : In both which his chief Intention was , to show the perfection of the Art , there being neither Landskip , Trees , nor Houses , nor any other of those Additional Ornaments , which he seemed to contemn , leaving them for meaner Genius's than his own . These two Works were the last he performed in Painting , being now seventy five years old , and complaining extreamly of the Fatigue he had indured in doing them ; owning withal , that Painting , and particularly , in Fresco , was not an Art for Old Men. About this time Antonio di San Gallo , who was the Architect for the Church of Saint Peters , being dead , those that had the Care of that Fabrick , resolved to put it into the Hands of Michael Angelo ; who having considered Gallo's Model , said , that there might be made one of greater Majesty , Order , and Conveniency , and yet the Execution of it should cost three hundred thousand Crowns less , and be done fifty years sooner ; and accordingly , in a Fortnight , he caused a New Model to be made , which cost but twenty five Crowns ; whereas Gallo's had cost four thousand ; whereby it appeared , that what he said , was very true . But it was not without great Opposition and Contradiction that he went through with his Design ; for having discharged all the Workmen concerned in Gallo's Time , they were continually finding fault with all that he did : Insomuch , that at last he obtained an Order called a Motu Proprio from the Pope ; by which he was constituted absolute Master of that Fabrick , with power to do and undo as he thought fit , and commanded all Inferiour Workmen and Officers to obey him in every thing ; and he , not to be behind hand with the Pope , had it inserted in the Order , that he Served the Fabrick for God's Sake , and without any Temporal Advantage or Profit to himself , often refusing Money that the Pope sent him upon that Account . His chief aim in carrying on that Noble Pile , was to secure it from the Designs of future Architects , that his own might not by envy or Presumption be destroyed ; therefore he was more careful to carry on the Foundations to a certain height and length , such as could not well afterwards , without vast Charge and Danger to the whole Fabrike , be altered , than to finish exactly what he might have done in his Time , if he could have been content to leave the rest to the Management of those who were to come after him : Which has been a great Happiness for that Fabrick ; which else would hardly ever have been finished , the one still pulling down what the others had Erected ; therefore he Dedicated , as it were , the rest of his Life to this Work , doing nothing in Painting , and but very little in Sculpture for ever after . The Architect San Gallo had begun , and far advanced the Work of a Pallace for the Family of the Farneses ; after his Death Michael Angelo took care of it , and made that Noble Corniche without , so beautiful and various , that nothing , either Antient or Modern can out-do it : the rest of the Pallace he enlarged and beautified both within and without , to that degree , that it now passes for the most Accomplished piece of Architecture that is in that kind . Pope Paul the Third being dead , he was Succeeded by Julius the Third , who continued Michael Angelo in the Business of Saint Peters : but his Enemies thinking that now , in a New Pontificate they might better Injure him , had possessed the whole Congregation of Deputies concerned to Manage that Fabrick , that the Church would be so dark , that it would be useless : among these , the Chief were the Cardinal Salviati , and Marcello Cervino , who was afterwards Pope , though but a few days ; the Pope himself being something possessed against him , was present at a great Meeting , in which he was ordered to appear ; and there his Holiness told him , that the Opinion of the Deputies was , that the Church was likely to be very Dark , and without sufficient Light. Michael Angelo said , he should be glad to hear the Deputies themselves upon that Subject ; upon which Cardinal Marcello spoke , and said , we are the Deputies , and are all of Opinion , that by what appears of the Fabrick , the Church must be obscure : My Lord , said Michael Angelo , there are three Windows more contrived in the Vault of the Church , which will make it light enough : You never told us that before , replyed the Cardinal : I confess I did not , said Michael Angelo , neither do I intend , for the future , to acquaint your Lordship , or any of the Deputies with any designs ; 't is enough , that I am trusted with the Fabrick , as your Lordships are with the Management of the Money ; which is your Business to provide , and mine to employ : then turning to the Pope , he said , Holy Father , you see what I get by all my Care : if the pains I take do not help me in the other World , I do but loose my Time in this . The Pope was well pleased to see that he had baffled all his Adversaries , layed his hand upon his Shoulder , and said , make no doubt but that you work for your SOUL and BODY too , and pray go on . The next day he sent for him and Giorgio Vasari , who was his Schollar , and then in that Pope's Service , to his Retirement , called , the Vigna Julia ; where he found the Pope sitting in the midst of twelve Cardinals , and was by him , though much against his Will , forced to sit down amongst them , and talk with them about his Vigna ; the Care of which he also undertook , and brought it to that Perfection it now has . After this , being very old , and not able to stir much abroad , he did little but continue the Fabrick of San Peters , of which he took care almost to his dying day , for seventeen years together ; having been employed by seven Popes , and Courted by all the Great Princes of Christendom , for his Judgment and rare Skill in those three Noble Arts of Painting , Sculpture , and Architecture . On the 17th . of February , in the Year 1563 , having been for some time before without stirring abroad , he payed the Tribute to Nature , being very sensible to the last . His Will contained but three Lines , leaving his Soul to God , his Body to the Earth , and all that he had to his nearest Relations . He was ninety years of Age when he dyed , and preserved his Judgment and Memory to the last . Few have Censured his Works with any success ; but some more malicious , have endeavoured to blemish his Memory by the Imputation of Ill Nature , and Covetuousness . Of both which it is easie to clear him . For the first , it must be owned , he gave some Grounds for it by his Morosness to other Artists , his Contemporaries , and to such whom he found impertinently pretending to Judge of his Works : But I think , that might be very excusable in one of such extraordinary Abilities , that he saw nothing that could contend with him , reasonably in any of the things he excell'd in : And yet there are Infinite Designs of his which he freely gave away , and made for several Artists , at the very first Request they made to him . And as for his Covetuousness , the very things he gave away in his Life time , of his Working , might have been sold for thousands of Crowns ; which , considering what pains he took to acquire what he had , may be sufficient to clear him of that Imputation : But he was , besides , very Charitable , relieving many poor people , and Marrying privately some poor Maids . But here we must not omit his Generosity to Vrbino his Schollar and Servant ; to whom one day he said , If I die , Vrbino , what will become of thee ? And Vrbino answered him , That he would Serve some other Master . Alas ! poor Wretch , said Michael Angelo , that shall not be as long as I can help thee out , and immediately gave him two thousand Crowns . Which was a Liberality more becoming a Great Prince than a private Man , who got his Estate by the Sweat of his Brows . He was pleasant enough in Conversation where he was free : and there are some of his Sayings that deserve to be remembred . One day at Florence , some body having asked his Opinion of the Statue of Saint Mary , made by Donatello ; he said , That if Saint Mary were like that Figure , he would easily have believed all he said , for he never saw any Figure that had a more honest Look . Being asked also , what he thought of the Brass Gates in Sculpture , made by Lorenzo Ghiberti , at Saint Jean's Church ; he said , They deserved to be the Gates of Heaven . Going one day by Modena , and seeing some Statues of Earth Coloured like Marble , made by Antonio Bigarino , a Modenese Sculptor , he was charmed with the Beauty of them , and said , If this Earth should become Marble , wo be to all the Antient Statues of Rome and Graece . He was carried to Florence after his Death , and there Buryed in San Piero Maggiore , with a great Concourse of People ; though without any precedent Preparation , being Interred the very next day after the Body came to Town ; but all the Artists of the City waited upon him to his Grave : Some Months after he had most Magnificent Obsequies performed for him in the Church of San Lorenzo . He had for Schollars Jacobo Sansovino , Il Rosso , Il Puntormo , Daniel di Volterra , and Giorgio Vasari , of Arezzo . He had no luck with those who lived with him as Domesticks ; for Piero Vrbano of Pistoia , would never take any pains , though he had a good Disposition towards the Art : And Antonio Mini took pains , but had no Genius . The LIFE of Giulio Romano ; A PAINTER . AMong all Raphael's Disciples , most of vvhich proved great Artists , there was none of them imitated him so perfectly both in Design , Invention , and Colouring , as Giulio Romano ; being universal and profoundly Learned in the Art , and having acquired besides , a mighty Knowledg of Antiquity ; his Genius moreover was so conformable to Raphael's Humour , being always merry and pleasant , without Offence , that Raphael loved him as if he had been his own Son , and employed him above all his other Schollars in his Works of greatest Importance ; as , in the Pope's Appartments ; the paintings of which are many of them painted by Giulio after Raphael's Design ; and particularly , the Stories of the Creation of Adam ; that of the Building the Ark ; the Story of Pharaoh's Daughter finding Moses by the River-side ; in which there is a most admirable Landskip of Giulio's own Invention : he finished likewise good part of the Stories that are painted in the Pallace of Agostin Chigi ; as likewise he drew all but the Head of a Picture of the Vice-Queen of Naples , which Raphael sent to Francis the First , and is yet kept at Fontainebleau . Raphael being an admirable Architect , as well as Painter , Giulio took such delight in drawing many of his Plots for Pallaces and Churches , and other Buildings , that he at last became a great Master that way : and Raphael being dead , and having made Giulio Romano his Heir , together with Giovan Francesco , called , Il Fattor , upon Condition , that they two should finish the Works that he left unfinished ; they very honourably performed his Will , and perfected the best part of them . After this Cardinal Giulian Medicis , who was afterwards Pope Clement the Seventh , having pitched upon a Spot of Ground in Rome , under the Monte Mario ; where , besides a dilicate Prospect , there were Fountains and Wood , and a Plain , which reaching all along the Tyber as far as Ponte Molle , had on both sides an extent of Meadows almost as far as the Gate of Saint Peter ; he resolved to build a Pallace on the top of this Ground , and to adorn it with most exquisite Gardens , Woods , Fountains , Statues , &c. And gave Giulio Romano the Direction of the whole Work ; which he did with great Care , and built that Pallace which is now called La Vigna de Medici ; the Front of it is Amphitheater-wise , with a division of Nicks and Windows of the Jonick Order ; so well understood , that many believe it to have been first Designed by Raphael . The Inside is painted by Giulio in many places . Adrian Succeeded Leo the Tenth , who valuing neither Pictures , Statues , nor Architecture , all the Artists of Rome were at their wits-end how to dispose of themselves ; but his Pontificate proved but short ; and in his room , the same Cardinal Giulian of Medicis was chosen , and took the Name of Clement the Seventh : Giulio Romano , and all the Artists of Rome were overjoyed at his Exaltation ; which they took to be the Exaltation of all the fine Arts : and accordingly , by this Pope's Order , they fell to work with Joy , to finish the Hall of Constantine : in one of the sides Giulio drew Constantine , making a Speech to his Souldiers ; and in the Air there appears the Sign of the Cross , with these words , In hoc Signo vinces . In the greatest side of the Room is a Battle fought near Ponte Molle , where Constantine Routed Maxentius . Which Work , by reason of the Dying and Wounded , and of the various and strange Aptitudes of the Horse and Foot , who fight all in a Troop , is wonderful for Design , but the Colouring is somewhat Faded , by reason of the Black ; which Giulio used much in his way of painting , and which has taken away the Beauty of many of his Pieces . In the same Piece he chose for Landskip all that Countrey that is under Monte Mario ; and drew Maxentius drowning in the Tyber upon a dilicate Horse . In a word , this Battle has been as it were the Model for most Works of that kind , and have been done since ; and in it Giulio showed how well he had studied Trajan and Antonius's Pillars in Rome ; for out of them he took the Habits , Arms , Ensigns , and other things of War proper to the Romans . The other side of the Room was adorned with the Story of Saint Sylvester's Baptizing Constantine ; and under the Figure of Pope Sylvester , he drew Clement the Seventh ; as also , among the Assistants he drew Il Cavalierino , who was then his Favourite ; and also Nicolo Vespucci , Knight of Rhodes . Over the Chimney he drew the Church of Saint Peter in prospective , and the Pope singing high Mass Pontifically ; that is , with the Assistants of all the Cardinals and Prelates of the Court. At the Pope's Feet is figured Constantine upon his Knees , presenting of the City of Rome : Showing thereby , that Constantine gave that City to the Church of Rome . In this piece there are several Women upon their Knees , that look upon the Ceremony : which are admirable Figures ; he drew also in this piece his own picture , and Count Castiglione's , the Author of Il perfecto Cortigiano , who was an Intimate Friend of Giulio's : And it happening at that time , that the said Count was Ambassadour from Frederick , Marquess of Mantoua ; he received Orders from the Marquess his Master to provide him the best Architect he could for his New Pallace ; and particularly , recommended to him to get Giulio Romano , if possible ; the Count so plyed Giulio with promises and entreaties , that at last he consented to go , if he might have the Pope's leave ; which being obtained , they set out together , and Giulio was presented to the Marquess by the Count himself ; he was received with all demonstrations of Favour , and had immediately a House provided for him , and a Table for himself , and Benedetto Pagni his Schollar , as also for a Servant ; the Marquess besides sent him several Ells of Velvet , Damask , and fine Cloth , to make himself Cloaths to his mind . A little after , hearing that Giulio had no Horses , he presented him with a Favourite Horse of his , and bid him get up upon him , took him out of Town with him to a certain place called Il Te , where he had some Lodgings and Stables in the middle of a fine Meddow , where he bred his best Horses ; there he showed him the place , and told him that he would willingly have an Addition made to the Building without spoiling the old Walls , intending it only for a place of Recreation , to go now and then and Supp in . Giulio having heard the Marquess's Design , fell immediately to work ; and making use of the old Walls , he made the great Hall which we see now at the Entrance , and the Chambers on each side of it ; all which he adorned with Pillars and Capitals of a Rustick Order : which so pleased the Marquess , that he resolved to make it intirely of one Model ; which Giulio did in this Form. The Pallace is square , and has within it a great green Court , in which are four Entries cross-wise : the Appartments within are all variously painted ; the Ceiling of the great Hall is done in Fresco , with several Stories ; and on the Walls are drawn all the Marquesses best Horses , and his Dogs of the same colour , and the marks as the Horses ; all which were Designed after the Life by Giulio , but Coloured by Benedetto Pagni his Schollar , and Rinaldo Mantonano a painter ; and indeed they are so well done , that they seem alive . From this you come into a Room on one side of the Pallace , the Ceiling of which is divided into Compartments of Stucco-work , guilded in some places , which make a square place ; in which Giulio has drawn Cupid espousing Psyche in the presence of Jupiter and all the other Gods ; and in this piece he has showed his utmost Skill , the Shortnings being all di Sorto intu , or from below , so exquisite , that a Figure that is not a foot long , seems to be above three in looking upon it from the ground . In the Octangles which inviron the Ceiling , are drawn Stories of Psyche's Adversity while she was persecuted by Venus : the Colouring is all of the same Hands , and in Oyl . Below on the sides of the Room , the remaining Stories of Psyche are in Fresco : and are , Psyche in a Bath Bathed , and tended by little Cupids , who with most proper Gestures wash her and wipe her dry . On the other Wall is a Banquet prepared by Mercury , where the Graces adorn the Table with Flowers , while Bacchus Silenus and the Bacchantes are by , singing and playing upon Instruments ; there is a Side-Board covered with Vines and Flowers in Festoons , and on it three rows of drinking-Vessels of all sorts , so bright and shining that they seem perfect Gold and Silver ; not far from this Table is seen Psyche her self waited upon by Women of great Beauty ; while at a distance , Phaebus in his Charr drawn by four Horses , comes to enlighten the Day ; and Zephyrus naked upon certain Clouds , blows in a Horn to make the Air sweet and pleasant round about Psyche . In another Corner of the Pallace which answers to the Room where the Stories of Psyche are painted , Giulio resolved to build an Apartment that should correspond with the paintings he designed for it ; and to that purpose , having layed a very strong Foundation , because the place was Marshy , and made Walls capable of bearing a double Vault ; he made the In-side of gross Rustick Work , the Stones whereof seemed to be put together by chance , and ready to fall out of their places ; and then he painted it with one of the oddest Fancies that it was possible to imagine ; and that is , the Story of Jupiter destroying the Giants with Thunder and Lightning : In the middle of the Vault he drew Heaven , and in it Jupiter in his Throne above the Clouds . A little below he drew Jupiter again , thundering of the Gyants , assisted by Juno ; the other Gods in various Aptitudes , most of them astonished , seem to fly away , to avoid the Ruine and Disorder which is threatned from above ; on the sides of the Room are the Gyants , some of which have whole Mountains and Rocks whelmed over them , others seem to fly at a distance through a Grotto that is made hollow , and others are struck down with the Ruines of Temples and Pillars that fall upon them , making a great Slaughter of them ; and upon the Chimney , which is near these Walls that seem to hang as if they would fall , he drew Pluto , with his Char drawn by fiery Horses , accompanied by Infernal Furies , and seeming to fly to the Center of the Earth . By which Invention Giulio did not depart from his Subject , and yet alluded to Fire ; which was the properest Ornament for the Chimney . 'T is impossible to see a Story , either more boldly Designed , or more capriciously Invented , the whole Composition hanging all together without either Beginning or End ; and being adorned with variety of odd Landskips to such an Advantage , that the Room , which is not fifteen yards in length , seems to be a vast Compass . All which shews the admirable Judgment of Giulio ; the Colouring is all of Rinaldo Montouano , and admirable ; for in this Piece he attained to a great perfection ; insomuch , that had he lived , and not dyed Young , he would have proved a most exquisite Painter . While Giulio was thus employing his Talent for the Marquess's Service , the River Po one year broke its Banks , and overflowed a good part of the City ; whereupon Giulio by the Command of the Marquess , caused all that low part of the Town to be pulled down , and upon those Ruines be raised New Buildings , vvhose Foundations vvere higher than the Water : But in so doing , he could not but disoblige some Owners of Houses ; who threatned Revenge : which coming to the Prince's Ear , he declared , that whatsoever should be done to Giulio , he would take as done to himself , and punish it accordingly . And indeed the Duke was so in Love with the Vertues of Giulio , that he could hardly live without him ; which made him likewise love the place so well , that he built himself a House , which he adorned with Stucco Work , and Antiquities he had brought from Rome : And before he died , he had almost built the whole City a new , having inlarged the Streets , and given the Design of most of the best Houses and Pallaces , as also of the Churches and other publick Aedifices . In the Duke's Pallace within the City he made two noble Stair-Cases , a Lumaca ; and built nevv Appartments ; in vvhich he painted all the History of the Wars of Troy : and in another Room , under the hands of the Tvvelve Roman Emperours , painted by Titian , he made twelve Stories in Oyl ; he built likewise another Pallace for the Duke about five Miles from Mantua , called Marmirolo ; which was most commodiously contrived , and adorned with Paintings , not inferiour to those of the Pallaces above mentioned . Several of his best things have been published in prints by Giovan Baptista Mantouano : the chief of which are these ; A Chirurgion putting Cupping-Glasses upon a Woman's Shoulders : a Madonna Travailing to Aegypt , where Joseph has the Ass by the Halter , and some Angels pull down the Bows of a Date-Tree , that Christ may gather the Fruit : a She-Wolf giving Suck to Romulus and Remus : Four Stories of Pluto , Jupiter , and Neptune , dividing Heaven , Earth , and the Sea ; a great Design of a Prison ; in which a number of Prisoners are put to the Rack in several manners : The Meeting that Scipio and Hannibal had in the presence of both their Armies upon the Banks of a River ; and the Nativity of Saint John Graved by Sebastiano da Reggio . Several other of his Designs have been Graved in France and Flanders by good hands . Giulio was so great a Designer , and did it with so much Ease , that none ever Designed so much ; he having made Horse-loads of Designs of one sort or other ; for being a most Universal Painter , and an Admirable Architect , no sort of Design , came amiss to him ; but he was particularly Learned in Antiquity , understanding Medals most perfectly , and having a rare Collection of them . After the Death of the Marquess Frederick , who had been made Duke by the Emperour Charles the Fifth : Giulio was so concerned for the loss of so good a Master , that he would have left Mantoua , if the Cardinal , Brother to the late Duke , and who by reason of the young Age of his Nephews , had the Government of that State , had not used all sorts of courteous ways to perswade him to stay ; and considering besides , that he was Married there , and had Houses , and all sorts of Conveniencies both in the Town and Country , fit for a Gentleman to live in , resolved to yield to the Cardinals intreaties , and was by him imployed in the Re-building the Duomo of the Great Church , which he carried on a great way . Not long after Michael Angelo published his Judgment at Rome ; and Vasari sent to Giulio three Designs of the seven Mortal Sins , taken out of that Story of the Judgment : which he receiving , it revived in him a desire of doing something that should be as strong as that way of Michael Angelo ; and for that reason he chose the Story of our Saviour's calling Peter and Andrew , and bidding them leave their Nets , and turn Fishers of Men : Which Cartoon he finished with so much diligence and force , that it was absolutely the best of all the things he ever did ; it was placed in a Chappel in the Pallace , and painted by the Hand of Ferino Guisoni , an excellent Painter , and one of Giulio's best Schollars . About this time Antonio Sangallo , the chief Architect of Saint Peters Church in Rome , being dead , and the Super-Intendants of that Work being much puzzled to find out a Man fit to carry it on according to the Order already begun ; at last they pitched upon Giulio Romano , and sent some of his Friends to him to tempt him with great Offers ; but all in vain : for though he of himself could willingly have accepted such an Opportunity of returning so gloriously to his own Countrey , yet two things hindred him ; first , the Respect of the Cardinal of Mantoua , who was no ways willing to let him go : and then the Consideration of his Wife and Family , who were much against it : and yet 't is thought he would have struggled with these two Impediments , if at the same time he had not fallen sick ; of which Distemper , what with the Anxiety of seeing his desire of returning to Rome frustrated , and the Strength of his Disease together , he dyed in few days , being just fifty four years old , and leaving a Son and a Daughter , and a good Estate to his Son , whom in honour of his Master he had named , Raphael . He was Buryed in the Church of Saint Barnabe , without any Monument at present , but a Resolution to have one made for him ; but his Son dying not long after , and his Wife not being careful of the thing , it was never begun . His Onely Daughter and Heir Virginia , was Married in Mantoua to Signior Hercole Malatesta . Giulio was of a middle Stature , black Hair , an open jovial Countenance , with black Eyes , Amorous in his Complexion , very well bred , Sober in his Dyet , but Sumptuous in his Cloaths and way of Living . This Epitaph is upon his Tomb-Stone . Romanus moriens , secum tres Julius Artes , Abstulit ( haud mirum ) quatuor unus erat . The LIFE of PERINO DEL VAGA , A Florentine Painter . THere was in the City of Florence , one Giovanni Buonacorsi , who in the Wars of Charles the Eighth , King of France , engaged in his Service in Italy , and not only spent his Fortune , but his Life in his Ingagement with that Court. He had had by a first Wife a Son ; whose Mother dying of the Plague when the Child was not above two Months Old , it was brought up for a while by a She-Goat ; till the Father going to Bologna , there Married a second Wife , who had lost her Husband and Children by the Plague too ; this Mother-in-Law took compassion of this little Creature , and having Milk of her own , made an end of bringing it up . It was called Piero , and by Diminutive , Pierino ; and was by the Father , who went into France to sollicite some Reward for his Services , left in the Hands of some Relations of his ; who being weary of keeping it , did , after some years , put it to serve an Apothecary ; but the Child not liking that Trade , he was taken for Apprentice by a certain ordinary Painter called Andrea de Ceri , from his way of painting the Wax-Candles and Torches that used to be carried in Procession upon certain days : But at last knowing that he was not able to instruct the Child , who seemed Ingenious in any good Method of Painting , he put him to Ridolfe , the Son of Domenico Ghirlandaio , one of the best Painters in Italy ; and there he so improved himself , that he out-stripped all the Young Men , his Fellow-Apprentices . About that time there came to Florence a Countrey-Painter called Il Vaga , and having seen the Manner of Perino , who was already well founded in Design , which he himself wanted , he began to tempt him to go along with him into the Countrey ; promising him , that after a little working there , he would carry him to Rome : at the mentioning of Rome , the Young Man opened his Ears , knowing that place to be the true School of all Artists ; and therefore told Il Vaga , that if his two Masters would give him leave , he would go along with him ; they both consented , and Il Vaga with his new Companion went together to Tuscanella , where Il Vaga had a great deal of Work to do ; which he not only finished to the content of those that employed him , but was still going on upon new work , till Perino began to complain of Breach of Promise from him , for his not earrying him to Rome : Il Vaga , though loath to leave his Business , which by the means of Perino , grew considerable ; yet considering that Perino might go without him , resolved to be as good as his word ; and accordingly , they both arrived at Rome , where Il Vaga very honestly recommended him to all the Friends he had , and so returned to Tuscanella . Perino , who from this time forward , was called no otherwise than Perino del Vaga , found himself nevertheless at no small loss how to prosecute his Studies ; for seeing every day the Works of the Antients in Sculpture , and of those famous Moderns , Raphael and Michael Angelo in Painting , he was inflamed with an incredible desire of imitating them : but withal , considering his own Poverty and mean condition , and how that to get Bread , he must work for the Shops of ordinary Painters , sometimes for one , and sometimes for another , according as they would imploy him ; he saw that would be a great hinderance to his desires of growing . Eminent in his Art : but at last he found out the Expedient of dividing his Week , and working three days for Bread , and three others for Improvement , adding to these last the Holy-days and Sundays ; all which he spent in Designing all Remarkable things of both Antient and Modern Artists : His chief Study amongst the Modern , was the Chappel of Pope Sixtus , done by Michael Angelo ; and in a short time he grew the boldest Designer of all Rome , understanding the Muscles and the difficulty of the Art in Naked Figures , better than any of his Contemporaries . This made him be taken notice of by Giulio Romano and Giovan Francesco , called Il Fattore , and both together commended him to Raphael their Master , who having seen his Designing , pronounced that he would one day be excellent in the Art : and as Raphael never let slip the Occasion of retaining and helping forward any ingenious young Artist ; particularly when his humour & behaviour was gentle and modest , as Vaga's was , he presently imployed him in the Appartments of the Pope's Pallace , which he was then adorning for Leo the Tenth : He had constituted Master of the Stucco-Work and Grottesks one Giovanni da Vdine , the rarest in that kind of any that hath been either before or since , particular in Animals , Fruits , & such like small Ornaments ; and under him he employed several Young Men , and according as they excell'd and grew able , they were advanced to greater Salaries ; which proved a mighty School for Artists of all kinds : Among these he placed Perino del Vaga , recommending him to Giovanni da Vdine . Perino seeing himself Master of that Opportunity he had so long sought , fell to work with such diligence , that in a few Months he was reputed clearly the best of all those Young Men who worked under Giovanni da Vdine , and may easily this day be distinguished from the others at first Sight ; for though the Designs were all Raphael's , yet the manner of putting them in execution was very different , according to the Genius and Skill of each Artist ; and besides Perino has a Beauty of Colouring which distinguishes him from all the rest . What he did in the Pope's Pallace , gave him great Reputation ; but that was so far from laying him asleep , and making him presumptiously rely upon the Skill he had acquired , that on the contrary , he grew thereby more ardent and desirous to attain to the great perfection he saw before his Eyes in his Master Raphael ; to whom he carried himself so submissively and respectfully , that Raphael , won by his Behaviour , loved him as if he had been his own Child . The Great Hall called La Sala de Pontifici being ordered to be painted and adorned with Stucco-Work , the doing of the Vault and Celing was committed equally to Giovanni da Vdine , and Perino del Vaga ; they divided the Ceiling into seven Ovals , in which they painted the Seven Planets , drawn each of them by the Animal that is appropriated to them by the Poets ; as , Jupiter by his Eagle , Venus by her Doves , &c. To which they added the Signs of the Zodiack , with several others of the Heavenly Constellations ; the most of which Figures are of the hand of Perino . In the middle of the Vault or Ceiling is a Round , in which are four Figures like four Victories , which hold the Pope's Crown and Keys ; which Figures being shortned most Masterly , are besides adorned with a most beautiful , light Drapery , which discovers most gracefully so much of their Naked Arms and Legs as is decent . This work was extreamly liked by the Pope , and the Contrivers of it rewarded according to the Magnificent Humour of that Prince : But his Successour Adrian the Sixth being shortly after come to Rome , all the Artists found themselves not only neglected and laid aside , but despised and scorned ; for he being a Flemming , and a Man of Severity , and pedantick Learning , thought those more Refined Arts little better than Mortal Sins : whereupon Raphael being dead , and all the other Artists dispersed , Perino went to Florence , where he did several things , till the Plague drove him from thence , and forced him to wander from place to place , and shift as well as he could . But in the Year 1523 , Clement the Seventh , of the House of Medicis , being Created Pope , he recalled all the Artists that were left to Rome ; and amongst the first , Perino del Vaga ; whose Reputation was so great , that the Pope having cast his Eye on Giulio Romano and Giovan Francesco Il Fattore , as Heirs of Raphael's Designs and Skill , to make them the chief Directors of all that he should think fit to have done ; they wisely foreseeing that Perino would prove a shroad Competitor in their Art and Business , resolved to take him in ; and to that end they gave him Catherine , the Sister of Giovan Francesco for Wife ; tying him by this Bond of Affinity , to pursue the common Interest the better . But they had not long work'd together , when that great Calamity of the Sack of Rome confounded all their Designs afresh . In that Mis-fortune Perino was fain to run up and down with his Wife and a Child , carrying them from place to place to save them from the Fury and Insolence of the Souldiers ; and at last , he himself was taken Prisoner , and forced to pay a Ransom , with such ill usage into the bargain , that he had like to have run mad ; at last the fury of the Sack being a little over , he fell to working some odd little things ; which he sold as well as he could to the Spanish Commanders and Souldiers , living but poorly : but it happening luckily , that Il Baviera , who had the managing of the Prints of Raphael , escaped pritty well , and lost but little in the Storm ; he out of his Friendship to Perino , set him to work , to Design a good part of the Stories , where the Gods transform themselves into other shapes to obtain the end of their Amours : and these were Graved in Copper by Jacobo Caralgio , an excellent Graver of that time , and one who has admirably followed the beauty of the Contours of Perino's Figures . But all this did but just keep Perino from starving , with little hopes of better Times , the Pope and most of the Inhabitants of Rome being fled ; when Providence sent thither Nicolo Venitiano , a Servant of Prince Dorias , and a rare Workman in Tapestry-work , who being an old Acquaintance of Perino's , and seeing him in that misery , perswaded him to go with him to Genoa , promising him to endeavour to bring him into Employment for his Master ; who , he said , had a design to have his whole Pallace altered , and painted by some good hand . It was not difficult for him to prevail with Perino , who having placed his Wife with her Relations in Rome , set forward for Genoa with his Friend Nicolo . At his Arrival he was most kindly entertained by the Prince , who thought himself beholding to Fortune for driving such an Artist into his Arms. After some Discourses had together about the Prince's Design , they resolved to make a New Pallace , which should be adorned with Stucco-Work paintings in Fresco , and Oyl-paintings of all kinds ; and because it was the Master-piece of Perino del Vaga , I will here describe the whole thing . The Entrance into the Prince's Pallace is a Marble Gate of the Dorick Order , having on each side the Figures of two Women in Marble , who hold up the Arms of the Dorias ; the Figures are done by Sylvio of Fiesole , a bold and excellent Sculptor ; but the Gate and Pallace are according to the Design and Models of Perino del Vaga . Having passed the Entrance , you come into a kind of Hall , or Landing-place , the Vault or Ceiling of which is adorned with Stucco-work , mingled with paintings that represent several Men fighting in different postures ; all wrought with great Art and diligence . On the Left-hand is the Stair-Case ; than the which , nothing can be more Beautiful , for Grottesks , Antiques , little Figures of Boys , Animals , and other things ; all made with that Richness of Invention and Judgment that his things used to be . On the top of the Stair-Case you land in a dilicate Room , which has on each side a Marble Door , and over the Door on each hand , two Figures of a Man and Woman turn'd differently , to show the Fore and hind parts ; the Vault divided into five Arches , is wrought with Stucco-Work , mingled with Ovals of paintings ; the sides of the Room are painted down to the very ground with the pictures of the famous Men of the House of Doria , some after the Antique , some after the Modern Dress , all Armed , and over them is written in Letters of Gold these words ; Magni Viri , Maximi Duces , Optima fecere pro Patria . In the first Room , which answers to one of the Marble Doors on the Left-Hand , the Ceiling is painted with the Story of the Storm that Aeneas was in at Sea , in which there are Naked Figures , both dead and alive in various Aptitudes , great numbers of Gallies and Vessels broken and over-set , the Sea most terribly raging , in high billows , the Heavens obscured , and in a word , all the Aptitudes of a Storm . This was the first Story that Perino did for the Prince ; and 't is said , that while he was making his Cartoon , which he did at leisure , viewing Genoa in the mean while , and diverting himself sometimes with his Friends , a painter of Bologna , called Girolomo da Frevisi , who worked likewise in the Prince's Pallace , used to laugh at Perino's Delays , and making of Cartoons , saying , that without all that ado , he had the perfection of the Art at his Pencil's end : This being told Perino , he all of a sudden clap'd his Cartoon to the Ceiling , and opened the Room , that every body might come to see it ; which all Genoa did , and among the rest , this painter , who having view'd it , and seen the strength of Design and greatness of the Manner , was so surprized , that without saying a word , next day , he packed up all he had , and retired to Bologna , leaving Perino to serve the Prince by himself . In the other Room on the Right Hand , he made also pictures in Fresco in the Ceiling , and in Stucco-Work he Represented the Story of Jupiter's destroying the Giants by Thunder ; where there are many fine Figures Naked , and bigger than the Life ; he made four Rooms more , all the Ceilings of which are adorned with Stucco-Work , and mingled with paintings in Fresco , expressing the finest of Ovids Fables ; and indeed , one cannot imagine any thing better invented , nor better Coloured ; for Perino was a great Master of Colouring in Fresco. The four Rooms that answer to these on the other side the Pallace , are likewise adorned and painted in the same Manner , but done by his Men upon the Designs he gave them , where many good painters have wrought ; and particularly , one Lucio Romano , who excelled in Grottesks and Stucco-Work . In a word , the whole Pallace , to the very Closets , is intirely adorned by his hand and Designs . Having finished this Pallace , the Prince was so extreamly pleased with him , that he made him make Designs for his Hangings , in which were represented the Loves of Dido and Aeneas , and the best part of the Stories of the Eneides of Virgil ; likewise the Ornaments for the Poops of his Gallies , his Standards , or Flags , his Cloths of State which he adorned his Gallies withal , were all Designed by the same Hand . And now Perino might have reckoned upon being settled in Genoa , if a Fancy had not taken him to choose Pisa rather for the place to spend his Old Age in , that City pleasing him better ; he therefore took a House there , and sent for his Wife from Rome ; but he had not been long there , and begun some Work for the Duomo , which he was to have painted all with new Designs ; when on a sudden , the Remembrance of some Amours he had left at Genoa , coming into his head , he left all , and returned thither : Prince Doria entertained him with the same good Reception he had found before , and set him to work ; as many others of the Chief Citizens of Genoa did also ; but the Capricio to which Perino , as most great painters , was now and then subject , took him again , and having some proposals made to him of returning to Rome , the Memory of that place under the Glorious Pontificate of Leo the Tenth , running likewise in his head , he accepted the proposal of his Friends , and went thither ; but he had soon reason to repent of his Folly ; for he was not only neglected by the Pope and Cardinal Farneze his Nephew , for many Months , but likewise , he had like to have lost his Arm by a Humour that fell upon it , and which cost him many hundreds of Crowns before it was Cured . At last , Signior Pietro Massioni , having purchased a Chappel in the Church of the Trinity ; the Ceiling of which , and the chief-Altar piece were already done by Giulio Romano ; he agreed with Perino to paint the rest of the Chappel . Having contrived an Ornament part of Grottesks , part painted , and part in Basso Relievo : He drew two Stories ; the one of the Piscina Probatica , with good prospective in it ; and the other , of the Resurrection of Lazarus ; to these he added the Stories of our Saviour's Curing the Centurion's Daughter ; his driving the Changers out of the Temple ; his Transfiguration , and another Story ; and upon the Pilasters , he drew four Figures of the four Prophets ; which really are as beautiful as 't is possible for Figures to be ; being most admirably proportioned , and thorowly finished ; for he did all this Work with his own Hand . After this , he did little in Rome : but the Pope took such notice of this Work , that he ordered him a Pension of about six or seven pound a Month , only to look after the Pallace of the Pope , and that of the Casa Farneze : He being now much subject to a Catarrhe , or Fluxion upon his Lungs , was forced to employ others to carry on his Designs ; which has very much injured them ; as appears by what he did in CASTEL Saint ANGELO , and other places . It was Vaga's Misfortune , to have dissipated in Women and good Chear , the best part of what should have maintained him in his Old Age ; of which Errour being now grown sensible , he to repair it , fell into another ; which was , to make himself cheap , by undertaking any little piece of Work for a small Summ of ready Money ; nay , often doing a world of things for the Pope's Officers , only that they might not molest him in the little payments he now and then got from Court ; and they having found out his blind side , never let him want Employment ; besides which , his Time being continually taken up by Sculptors , Gravers , Joyners , Embroiderers , Guilders , and such like Artists ; all which he was to oversee , and he being besides Infirm , he had no other Comfort , but as often as he could , to get to the Tavern with a good Companion , and there drown his Sorrows in a Glass of good Wine , that being a place he had much frequented all his Life time ; which , with some Disorders of Venus , brought him to his end , at the Age of forty seven years : He was Buried in the Rotonda at Rome , in the Chappel of Saint Joseph ; where Josepho Lincio a Physitian , and his Intimate Friend and Son in Law , caused this Epitaph to be Graved . Perino Bonacurtio Vagae , Florentino , qui Ingenio & Arte singulari egregios cum pictores multos tum plastas facile omnes superavit . Catherina Perini , Conjugi ; Lavina Bonacurtia , Parenti ; Josephus Lincius , Socero charissimo & optimo fecere . Vixit Annos quadraginti septem , Menses tres , Dies viginti unum : Mortuus est Caland. Novembris , Anno Christi , 1547. The LIFE of TITIANO DA LADORE , A PAINTER . TItian was Born at Ladore , a little Town upon the River Piave , in the Year 1480 ; the Name of his Family was Vecelli , of the best of the place ; about ten years old , he was sent to an Uncle he had at Venice ; who seeing him much inclined to painting , placed him with Gian Bellino , a famous painter of those days : The painters of Lombardy and those parts , had not any Statues or Works of the Antients to draw by ; therefore to help themselves , they used to Design after the Life , but in a Manner so flat and stiff , that their Works had little or no Grace ; and Titian learned this Manner first , and was a great Proficient in it . But about the Year 1507 , Giorgione being come to Venice , Titian admiring his Manner , full of Strength , left his old Master's way , and imitated this new one with so much success , that his pictures were often taken for Giorgione's ; which caused no small Emulation between them ; particularly , when Giorgione having undertaken one Front of the Fondaco di Tedeschi , the other was given to Titian ; for there he behaved himself so admirably , that one day , some Genlemen of Venice meeting with Giorgione , and not knowing that any but himself was employed in that work , they gave him joy of his good success , particularly on that side towards the Merceria , telling him , that he had out-done that which was towards the Canal Grande : which so vexed Giorgione , that before the work was quite finished , he hid himself for several days in his House , and from that time forwards renounced all Friendship and Acquaintance with Titian . Such beginnings could promise no less than an extraordinary Success in the Art ; particularly , if Titian had added that great Skill of managing Colours , the Study of Designing after the Antique ; for want of which , his Works are often defective in Correctness of Design : but however , the beauty of his Colouring is unimitable , no Painter having ever been so rare a Colourer of the Beauties of Nature in all kinds . About this time Titian's Master , being dead , and having left a Story unfinished in the Sala del gran Concilio ; which is that , where the Emperour Frederick Barbarossa is upon his Knees before Pope Alexander , who puts his Foot upon his Neck : Titian undertook to finish it ; and having changed a great deal of his Master's Design , he drew there by the Life many Senators , and others of his Friends then living , using in that the Liberty of a Lombard Painter ; for it was not probable those Persons there drawn , could be present at the passage of the Story there represented . This piece was so well liked , that the Senate for a Reward , bestowed upon him an Office called La Senseria , of about three hundred Crowns a year : which Office they always used to bestow upon the best Painter of their City , upon condition , that he shall make the Doge's Picture for the price of eight Crowns , to be payed by the Doge himself : Which Picture is to be placed afterwards in the Pallace of St. Mary . About the year 1514 , Alphonso , Duke of Ferrara , sent for Titian to finish likewise a Room which had been begun , and pritty well advanced by Gian Bellino : there remained two pieces to be done ; which Titian showed all the Skill he could in : the one was a kind of Baccanat , or Dance , of Men and Women drunk and singing , amongst which is one naked Woman asleep , of such exquisite Beauty , that she seems to be alive : and in this piece Titian wrote his Name : the other contains a great many Cupids and Boys in different Aptitudes , about an Altar that has the Statue of Venus upon it . Upon the Door of an Armory Titian drew likewise the picture of our Saviour , to whom a Jew is showing the piece of Caesar's Coyn ; which Head , and the pictures mentioned before , are reputed by all Artists the best things that ever Titian did ; and he was accordingly , most liberally rewarded by the Duke of Ferrara . Being returned to Venice , he drew his famous piece of Saint Peter Martyr in the Church of S. Giovanni Epolo ; there you may see the Saint something bigger than the Life , fallen upon the Ground in a Wood , and attacked by a Souldier , who has so wounded him in the Head , that the horrour of Death is painted upon his Face ; while his Companion flying , shows as much Apprehension in his ; in the Air are two Angels invironed with sudden Glory , which enlightens the Landskip ; which is most admirable : and indeed , this piece is the most Celebrated of any he ever did , as being the best understood of all his Works . In the Year 1530 , Charles the Fifth , Emperour of Germany , being come to Bologna , Titian by the means of Pietro Aretino , his good Friend , was sent far to draw the Emperour ; of whom he made an Admirable picture , all in Armour , and was rewarded with a present of a thousand Crowns : and not long after , being returned to Venice , and having made there a most excellen piece of the Annuntiation ; for which Titian demanded five hundred Crowns ; they for whom it was made , refusing to come up to his price , he , by the advice of Aretin , sent it as a Present to the Emperour , who sent him two thousand Crowns in Return . Not long after , the same Emperour coming from Hungary , met Pope Clement the Seventh at Bologna , and there he again sent for Titian , who again made his picture , and that of Cardinal Hyppolito of Medicis : both which are preserved among the Duke of Florence his Rarities . He drew likewise at the same time , Davalo's , Marquess Del Guasto , and his Friend Pietro Aretino : and here he was brought to the presence of Frederick Gonzaga , Duke of Mantoua , whose picture , and his Brother the Cardinal 's he likewise made ; the Duke carried him to Mantoua ; where he made the Heads of the Twelve Caesars ; under every one of which Giulio Romano made afterwards a Story . In the Year 1546 , he was invited to Rome by Cardinal Farnese ; whose picture and the Pope's , with that of Duke Octavio of Parma , he drew at length ; and they are admirable pieces . While he was at Rome , being one day visited by Michaeel Angelo and Vassari , he showed them a Danae , a most dilicate Naked Figure for Colouring and Tenderness , but not perfectly well Designed ; which made Michael Angelo say afterwards , that if Titian had had his Beginning in the School of Rome , he would have proved the greatest Painter of his Age ; having a great Genius , and much Spirit and Vivacity , but he wanted Correctness . He was highly rewarded by the Pope for his pains , and returned well satisfied to Venice ; but something astonished at the Works he had seen of the Roman and Florentine Painters . He was now called upon once more to draw the Emperour , who was grown Old ; and he did it admirably , insomuch that the Emperour Knighted him , and assigned him a Pension of two hundred Crowns a Year upon the Chamber of Naples . He made some alteration in his Manner about this time , it being very different from what he did when he was Young ; for his first pictures are done with most incredible diligence , so as they will bear being looked upon near , and yet show well at a distance too ; but the Works he did about this time , are so full of Strokes and Spots , after a certain bold Manner , that they seem nothing near , but look very well at a distance . Which Manner of his several Painters endeavouring to imitate , have made very gross , course pieces . This way , though it seems easie , is the most laborious of all ; but it is made to hide the pains of the Artist . To enumerate here all his Works , were endless ; for there was hardly a person of any Eminence in Italy , whose picture he did not do : he also made many pieces for the King of Spain , Philip the Second : the chief of which is a Cena Domini with the twelve Apostles , being a great piece of seven yards long , and most extraordinary Beauty . He worked with Vigour and Spirit till he was about threescore and six years Old : but it is to be wished that he had given over then ; for what he did afterwards was far short of those done before . He was of a most admirable Constitution , having never been sick in all his Life time , and he never knew any Disgraces of Fortune , but was always healthy , pleasant , and happy : his House was the resort of all the Ingenious , and of the people of the best Quality , he himself being extreamly well Bred , and Courteous . His pictures were payed at what Rates he pleased ; so that he lived Easie and Rich : he has adorned all Italy , and many other parts of Europe with his Works , which are innumerable ; and which was more singular , never had any Competitor in Venice , either to give him Jealousie or Disturbance ; and those few that pretended to it , he easily overcame , having all the Nobility and Wits on his side ; to some of whom he taught his Art ; as particularly , to a very fine Gentleman called Gian Maria Verde Zotti , who had learned to do Landskips admirably under him ; and he has two of the best pieces of Titian's doing , to wit , an Apollo and a Danae . Though a great many did work under Titian , yet there were but few that attained to any great Perfection : he that best imitated his Manner , was one Paris Bondone , whom Titian was most afraid of , and turned him out of Doors when he was but eighteen years Old , seeing how likely he was to Supplant him : He nevertheless continued in Venice , and imitated , not ot only Titian's , but Giorgione's way perfectly . The best piece of his doing , is a Story in the School of Saint Mary , at St. Gian y Polos : it is , when a Fisherman presents the Signoria of Venice with Saint Mary's Ring ; there are very fine Buildings in Prospective , round about which sits the whole Senate , with the Doge ; and among the Senators , there are a great many of them done by the Life , of extraordinary Beauty : the piece is in Fresco , and got Paris Bondone great Reputation . The LIFE of DONATO , A Florentine Sculptor . DOnato , who was likewise called Donatello , and subscribed himself so in some of his Works , was Born at Florence , in the Year 1303 , and applying himself to the Art of Designing , proved , not only a most excellent Sculptor and Statuary , but likewise was very intelligent in Perspective , Architecture , and all manner of Stucco-Work : His Works have so much Design , Truth , and Grace in them , that they seem with reason , to be liker the best things of the Greeks and Romans , than of any others : Which without difficuly , gives him the first Rank among the Sculptors ; he was the first that understood how to put Story in Use in Basso Relievos ; in which he showed so much Ease and Mastery , that he may be said to have had the true understanding of that part of Sculpture . So that not only in his Life time , but even in our Age , none have come near him in that kind . Donato was brought up from a Child in the House of Ruberto Martelli , and for the sweetness of his Temper , and the excellency of his Genius , was not only always beloved by him , but also , by all that Noble Family . He wrought many things while he was Young ; but that vvhich first made him knovvn , vvas the Annuntiation of the Angel to the Virgin Mary , all of Grey Stone ; vvhich is upon the Altar in the Chappel of the Cavalcanti in Sancta Croce in Florence . This he adorned vvith a Border of Grottesk-Work , adding to it six boys , vvho hold Festoons of Flovvers , and seem to hang together out of fear of falling from so high a place ; but particularly , he shovved great Art in the Figure of the Virgin , vvho something frighted vvith the sudden apparition of the Angel , turns herself tovvards him vvith a fearful Modesty , and in her Countenance is all that Humility and Gratitude vvhich so great a Favour must needs fill her vvith . The Drapery both of our Lady and the Angel , is made in Masterly Foldings ; in vvhich Donato vvas already aiming at the great Art of the Antients , vvhose Foldings are so Skilful , that though they are made to hide the Naked , yet they seem to discover it . In the same Church ; near the Story painted by Taddeo Gaddi , he made a Crucifix of Wood , in vvhich having taken an infinite deal of pains , and being pleased vvith it as a rare thing , he shovved it to Philippo Bruneleschi , an Architect , his Intimate Friend , desiring his Opinion of it ; Philippo , vvhose Expectation had been raised by the vvords of Donato , smiled a little at the sight of it , finding it much below the Excellency Donato had given it ; which being observed by Donato , he begg'd of him , that he would , according to the Friendship that was between them , tell him truly his Opinion of it : to which Philip , who was very frank in his Nature , answered , that his Opinion was , that he had put upon the Cross the Body of some Peasant , and not one like our Saviours , who 't is probable , was the most perfect , and finest shaped and proportioned of any that ever was Born. Donato seeing himself smartly touched instead of Commendations , which he expected , could not forbear replying , that it was not so easie to make a Crucifix as to Judge of one ; and that if Philippo had tryed , he would then think his Christ a Christ , and not a Peasant ; therefore , said he , take a piece of Wood , Philip , and try . Philip , vvithout replying , let the Discourse fall ; and being come home , betook himself secretly to vvork a Crucifix , and in some Months finished it , having strove to surpass Donato , that he might justifie the Judgment he had made of his . This done , one Morning he invited Donato to Dine with him , who accepted the Invitation ; and as they were going together , being come to the old Market-place , Philip bought some little things for Dinner , and giving them to Donato , desired him to go before , and he would follow as soon as had dispatched a little Business , which would be presently done : Donato did so , and being come into the House , the first thing he saw in a low Room , was a Crucifix placed in a very good Light ; having considered it a while , he found it so well finished , and perfect in all kinds , that being seized with Astonishment , he opened his hand , and let fall the Apron where were the Eggs and Fruit , continuing still his Admiration without minding them : upon which Philip coming in , said smiling , What do you mean , Donato ! What shall we have for Dinner to day , now you have let it all fall upon the Ground ? I for my part , said Donato , have had my share already , but no more words ; I must own that it is thy Gift to make a Christ , mine to make a Peasant . Donato made likewise in Saint John's Church in the same City , the Sepulture of Pope John Coscia , who was Deposed from the Popedom by the Council at Constance : Cosimo of Medicis , in whose House this Pope lived and died , caused Donato to make this Tomb. He made the Figure of the dead Pope in Bronze , and the Statues of Hope and Charity in Marble ; and Michelozzo his Schollar made that of Faith. Over against this Work in the same Church , is a Mary Magdalen of Wood , so admirably well done , as being consumed with her Pennance and Hardship , that she appears nothing but Skin and Bone ; and is a Master-piece of Donato's . He worked as much with his Brain as with his Hands ; for he made his Figures so to the Place and Light where they were to stand , that out of it they did not seem half to Beautiful ; whereas on the contrary , we see many other Artists , who make things very fine in their Working-Rooms , which being removed from thence , appear worse a great deal . He made for the COMPANY of WEAVERS the Statue of Saint Mark the Evangelist , and it was at first undertaken by him and Bruneleschi together ; but at last , by the consent of Bruneleschi , he finished it alone ; this Figure was wrought with so much Judgment , that being upon the Ground , and not placed where it was to stand , it had like to have been refused by the Masters of the Company , for want of Skill to understand its true Beauty : but Donato perswaded them at last , to let him set it up , telling them , that he would take some more pains with it when it was up , and did not doubt but to please them ; accordingly , he made a Scaffold , and covered the Figure for a Fortnight , as if he had been at work about it ; at the end of which time he opened it , and filled every body with admiration at the Excellency of it . He made likewise in the Front of Sancta Maria del Fiore , four Figures of about five Palms high : two of which , made after the Life , are in the middle ; and one is Francesco Soderini , who was then a Young Man ; and the other , Giovanni di Barduccio Cherichini , Nick-named Il Zuccone : and it being as fine a thing as any Donato ever made , he was likewise so much pleased with it , that when he had a mind to be believed in any thing he said , he would , instead of affirming it by an Oath , say only , By the Love I bear to my Zuccone : and while he was working of it , being often pleased with his success in that Statue , he would stand and look upon it , and then say these words in Italian , Favella or su Favella , O ti venga il caca sangue : Which is in English , Speak , a Plague take thee , speak . For the Lords of the City of Florence , he made in Cast-Mettal , the Story of Judith cutting off Holofernes's Head : and in the Looks of Judith it was easie to see the greatness of her Mind , and the Assistance from above ; as likewise in the Air of Holofernes , oppressed with Wine , Sleep , and Death , the spreading of a Faintness all over upon the decay of his Spirits , which made his Members look weak and languish'd : The Basis likewise is a Balusted of Granite-Stone , of a plain Order , but very graceful . Donato was so pleased with this piece , that he wrote his Name under it in these words , Donatelli Opus : Which he had not done yet to any other piece of his . He made many things for the Family of Medicis : Cosimo of Medicis , who was then the Head of that Family , employing him continually . 'T is reported , that by the Recommendation of Cosimo , he made a very fine head of Bronze for a Genouese-Merchant , and made it very thin , and polished it , because it was to be carried a good way : when it was finished , Donato and the Merchant not agreeing about the Price , the thing was referred to Cosimo , who the better to view the Head , placed it in his Court upon a Marble Balustead that looked down into the Street ; and desiring to make up the difference between them , he found the Genouese far from Reason on his side ; and arguing , that what he offered already , would amount to above half a Florin a day for the time that Donato had been about it ; which he thought was enough for a man of his Sort. Donato at this was transported with Anger , and turning to the Merchant , told him , that in a minute he could spoil the work of a whole year ; and thereupon struck the Head so , as it fell over into the Street , and broke in twenty pieces . The Merchant then repenting of his foolish Parcimony , offered him twice as much to make another : but Donato obstinately refused it , telling him that Statues were not to be bought by the Days-work , nor by the Pound , as other Merchandize . And though Cosimo himself joyn'd his Intreaties to the Merchant's , yet he could not prevail with him to make another Head. In the Family of the Martelli there are many Stories of Marble and Bronze of his doing ; but particularly , a Saint John of Marble , of three Palms high , and perfectly finished by him : it was reputed by them so rare a piece , that it was made a Fidei Commissum : so as it can never be Sold or Mortgaged by any of the Family : And this they did to perpetuate the Memory of the mutual Kindness that was between Donato and that Family , under whose Roof he had been Bred , and learned his Profession . Much about this time , the City of Venice having heard of the Fame of Donato , sent for him to make something in the Honour of Guatema Lata , a Citizen of Padoua : and accordingly , he made the Horse and the Figure upon it which is in the place of Saint Antonio ; where he equally Succeeded in expressing the Courage and Boldness of the Rider , with the Fierceness and Mettle of the Horse . And though the Figure be of Cast-Mettal , and large , yet in Motion , Design , Art , Proportion , and Diligence , he appears equal to any of the Antient Artificers , and far surpassing all those of his Time , who were astonished at the greatness of his Genius : the City of Padoua used all their Endeavours to make him their Citizen , and oblige him to settle amongst them ; which to obtain , they agreed with him to make the Story of the Life of Saint Anthony , of Basso Relievo , upon the Border of the great Altar : which he performed with such variety of Composition , and such an abundance of Figures and Perspectives , that the Masters of the ART do this day admire them . While he was at Padoua , a Florentine Priest , who was Chaplain to a Nunnery , desired him to make a Saint Sebastian of Wood for their Church ; and at the same time brought him an old , ill favoured , mishapen thing , desiring him to make it like that : which he endeavouring to do , to humour them , could not help nevertheless , the showing some Mastery in it , though it were as like the old one as possible . Many other Works he did at Padoua , where he was continually admired and applauded ; which made him resolve to return to Florence , saying , That if he should stay any longer in a place where he heard nothing but high Commendations of himself , he should forget all that he had ever learn't ; therefore he would go home , that he might hear himself blamed sometimes ; that being the greatest Spur an Artist could have to Improvement . Being returned to Florence , he wrought an Infinity of excellent things in all kinds , both in Marble , Wood , Stone , and Bronze : the chief of which are in the House of Medicis , and those of other of the Nobility . It may truly be said of him , that he was the Father of Sculpture , being the first that brought the Works of the Antients in Repute , and sought them out where they lay neglected , taking the pains to mend them and set them in order , as he did with his own hand all . In a word , Donato was so excellent in all the parts of a great Sculptor , that he deserves the highest Commendations ; and the rather , because in his time there were very few Antiquities discovered . He was , as to his own Disposition , the most Obliging and Generous that could be , not valuing Money in the least ; for he used to put that which he received into a little Basket , which hung fix'd to the Ceiling by a Pully ; and there any of his Friends and Schollars used to take what they wanted , without so much as acquainting him with it : therefore when he grew Old , and not able to work , he was fain to accept of the Generosity of Cosimo of Medicis , and other Friends . 'T is said , that Cosimo dying , recommended him to his Son Piero ; who being very careful to execute his Father's Will , bestowed a little Countrey Farm upon him , which he might very well live out of : and Donato was overjoyed at it , thinking that now he was provided for , and needed not to fear Starving : Starving ; but for all that , he did not keep it above a Year before he gave it back again to Piero by a publick Contract , saying , he would not loose his Quiet ; which he must do if he kept it ; for every two or three days , the Farmer was at him for some Dammage or Reparations ; sometimes the Wind had untiled the House , sometimes his Cattle was pounded or died : To all which Donato not being used , resolved to be rid of him and the Land together . Piero of Medicis laughed heartily at his Complaints , and taking the Land again , assigned him a Rent-Charge of the same value upon his Bank at Florence ; which was paid him every Week to his great Content : and so he made an end quietly of his Old-Age , in the eighty third year of his Life , and in the Year 1466. He was Buried in San Lorenzo , next to the Body of Cosimo di Medicis , being very honourably Interred , and Accompanied to his Grave by all the Artists , and the best part of the People of the City . One thing I must not forget to tell of him in his last Sickness ; which was , that some of his Relations came about him , to perswade him to leave them a little Countrey House and Land , of a very small Value , which he had near Prato , telling him , he ought in that to gratifie them , as being next a Kin to him : Donato hearing them out , told them , that he was sorry he could not oblige them in their Request , being resolved to bestow it upon the poor Countrey-Man who had always looked to it , and endured pains enough about it : Thinking that a more reasonable Disposition , than to give it them for a Visit which they now made him when he was a dying , to no other end than to get what they could out of him . As for all the things belonging to his Art , he distributed them among his Schollars ; the famousest of which were , Bertoldo , a Florentine Sculptor , Il Rosellino Desideio , and Vellano di Padoua . And indeed , since his Death , who ever has aimed at excelling in Relievo , must have studied his Works ; the number of which is so great , that no Artist ever wrought so much as he did ; which was a great happiness for Sculpture ; the great variety of his undertakings being so many Lessons of all kinds in that Profession ; in which he showed both Invention , Design , Practice , Judgment , Strength , Sweetness ; and in a word , all the parts of a Divine and Wonderful Artist . FINIS . 
A36766	----	De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand. De arte graphica. English Dufresnoy, Charles-Alphonse, 1611-1668. 1695 Approx. 599 KB of XML-encoded text transcribed from 213 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A36766 Wing D2458 ESTC R18532 12112190 ocm 12112190 54218 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A36766) Transcribed from: (Early English Books Online ; image set 54218) Images scanned from microfilm: (Early English books, 1641-1700 ; 64:15) De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand. De arte graphica. English Dufresnoy, Charles-Alphonse, 1611-1668. Dryden, John, 1631-1700. Graham, Richard, fl. 1680-1720. Short account of the most eminent painters. [4], lxiv, 355, [1] p. Printed by J. Heptinstall for W. Rogers ..., London : 1695. Translation of: De arte graphica. Parallel texts in English and Latin. Added engraved t.p. "A short account of the most eminent painters" [by R. Graham] has special t.p. Errata: p. [1] at end. Reproduction of original in Huntington Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. 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Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Early works to 1800. Painters -- Early works to 1800. 2002-07 TCP Assigned for keying and markup 2002-09 Aptara Keyed and coded from ProQuest page images 2002-10 Jennifer Kietzman Sampled and proofread 2002-10 Jennifer Kietzman Text and markup reviewed and edited 2002-12 pfs Batch review (QC) and XML conversion De Arte Graphica . THE Art of Painting , BY C. A. DU FRESNOY . WITH REMARKS . Translated into English , Together with an Original Preface containing A PARALLEL betwixt PAINTING and POETRY . By Mr. DRYDEN . As also a Short Account of the most Eminent PAINTERS , both Ancient and Modern , continu'd down to the Present Times , according to the Order of their Succession . By another Hand . Vt Pictura Poesis erit — Hor. de Arte Poetica . LONDON , Printed by I. Heptinstall for W. Rogers , at the Sun against St. Dunstan's Church in Fleetstreet . MDCXCV . PREFACE OF THE TRANSLATOR , With a Parallel , Of Poetry and Painting . IT may be reasonably expected , that I shou'd say something on my own behalf , in respect to my present Undertaking . First , then , the Reader may be pleas'd to know , that it was not of my own choice that I undertook this Work. Many of our most Skillfull Painters , and other Artists , were pleas'd to recommend this Authour to me , as one who perfectly understood the Rules of Painting ; who gave the best and most concise Instructions for Performance , and the surest to inform the Judgment of all who lov'd this noble Art. That they who before were rather fond of it , than knowingly admir'd it , might defend their Inclination by their Reason : that they might understand those Excellencies which they blindly valu'd , so as not to be farther impos'd on by bad Pieces , and to know when Nature was well imitated by the most able Masters . 'T is true indeed , and they acknowledge it , that beside the Rules which are given in this Treatise , or which can be given in any other , that to make a perfect Judgment of good Pictures , and to value them more or less when compar'd with one another , there is farther requir'd a long conversation with the best Pieces , which are not very frequent either in France or England ; yet some we have , not onely from the hands of Holbein , Rubens , and Vandyck , ( one of them admirable for History-painting , and the other two for Portraits , ) but of many Flemish-Masters , and those not inconsiderable , though for Design , not equal to the Italians . And of these latter also , we are not unfurnish'd with some Pieces of Raphael , Titian , Correggio , Michael Angelo and others . But to return to my own undertaking of this Translation , I freely own , that I thought my self uncapable of performing it , either to their Satisfaction , or my own Credit . Not but that I understood the Original Latine , and the French Authour perhaps as well as most Englishmen ; But I was not sufficiently vers'd in the Terms of Art : And therefore thought that many of those persons who put this honourable task on me , were more able to perform it themselves , as undoubtedly they were . But they assuring me of their assistance , in correcting my faults where I spoke improperly , I was encourag'd to attempt it ; that I might not be wanting in what I cou'd , to satisfie the desires of so many Gentlemen who were willing to give the world this usefull Work. They have effectually perform'd their promise to me ; and I have been as carefull on my side , to take their advice in all things ; so that the Reader may assure himself of a tolerable Translation . Not Elegant , for I propos'd not that to my self : but familiar , clear and instructive . In any of which parts , if I have fail'd , the fault lies wholly at my door . In this one particular onely I must beg the Readers pardon . The Prose Translation of the Poem is not free from Poetical Expressions , and I dare not promise that some of them are not fustian , or at least highly metaphorical ; but this being a fault in the first digestion ( that is , the Original Latine ) was not to be remedy'd in the second ( viz. ) the Translation . And I may confidently say , that whoever had attempted it , must have fallen into the same inconvenience ; or a much greater , that of a false Version . When I undertook this Work , I was already ingag'd in the Translation of Virgil , from whom I have borrow'd onely two months , and am now returning to that which I ought to understand better . In the mean time I beg the Readers pardon , for entertaining him so long with my self : 'T is an usual part of ill manners in all Authours , and almost in all Mankind , to trouble others with their business ; and I was so sensible of it before-hand , that I had not now committed it , unless some concernments of the Readers had been interwoven with my own . But I know not , while I am attoning for one Error , if I am not falling into another : for I have been importun'd to say something farther of this Art ; and to make some Observations on it in relation to the likeness and agreement which it has with Poetry its Sister . But before I proceed , it will not be amiss , if I copy from Bellori ( a most ingenious Authour , yet living ) some part of his Idea of a Painter , which cannot be unpleasing , at least to such who are conversant in the Philosophy of Plato . And to avoid tediousness , I will not translate the whole Discourse , but take and leave as I find occasion . God Almighty , in the Fabrique of the Universe , first contemplated himself , and reflected on his own Excellencies ; from which he drew , and constituted those first Forms , which are call'd Idea's . So that every Species which was afterwards express'd was produc'd from that first Idea , forming that wonderfull contexture of all created Beings . But the Coelestial Bodies above the Moon being incorruptible , and not subject to change , remain'd for ever fair , and in perpetual order : On the contrary , all things which are sublunary are subject to change , to deformity , and to decay . And though Nature always intends a consummate beauty in her productions , yet through the inequality of the Matter , the Forms are alter'd ; and in particular , Humane Beauty suffers alteration for the worse , as we see to our mortification , in the deformities , and disproportions which are in us . For which reason the Artfull Painter and the Sculptour , imitating the Divine Maker , form to themselves as well as they are able , a Model of the Superiour Beauties ; and reflecting on them endeavour to correct and amend the common Nature ; and to represent it as it was first created without fault , either in Colour or in Lineament . This Idea , which we may call the Goddess of Painting and of Sculpture , descends upon the Marble and the Cloth , and becomes the Original of those Arts ; and being measur'd by the Compass of the Intellect , is it self the Measure of the performing Hand ; and being an●●mated by the Imagination , infuses Life into the Image . The Idea of the Painter and the Sculptour , is undoubtedly that perfect and excellent Example of the Mind ; by imitation of which imagin'd form , all things are represented which fall under humane sight : Such is the Definition which is made by Cicero in his Book of the Oratour to Brutus . " As therefore in Forms and Figures there is somewhat which is Excellent and Perfect , to which imagin'd Species all things are referr'd by Imitation which are the Objects of Sight , in like manner we behold the Species of Eloquence in our Minds , the Effigies , or actual Image of which we seek in the Organs of our Hearing . This is likewise confirm'd by Proclus in the Dialogue of Plato call'd Timaeus : If , says he , you take a Man , as he is made by Nature , and compare him with another who is the effect of Art ; the work of Nature will always appear the less beautifull , because Art is more accurate than Nature . " But Zeuxis , who from the choice which he made of Five Virgins drew that wonderfull Picture of Helena , which Cicero in his Oratour beforemention'd , sets before us as the most perfect Example of Beauty , at the same time admonishes a Painter , to contemplate the Idea's of the most Natural Forms ; and to make a judicious choice of several Bodies , all of them the most Elegant which he can find . By which we may plainly understand that he thought it impossible to find in any one Body all those Perfections which he sought for the accomplishment of a Helena , because Nature in any individual person makes nothing that is perfect in all its parts . For this reason Maximus Tyrius also says , that the Image which is taken by a Painter from several Bodies produces a Beauty , which it is impossible to find in any single Natural Body , approaching to the perfection of the fairest Statues . Thus Nature on this account is so much inferiour to Art , that those Artists who propose to themselves onely the imitation and likeness of such or such a particular person , without election of those Idea's before-mention'd , have often been reproach'd for that omission : Demetrius was tax'd for being too Natural ; Dionysius was also blam'd for drawing Men like us , and was commonly call'd ' 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , a Painter of Men. In our times Michael Angelo da Caravaggio , was esteem'd too Natural . He drew persons as they were ; and Bambovio , and most of the Dutch Painters have drawn the worst likeness . Lysippus of old , upbraided the common sort of Sculptours , for making Men such as they were found in Nature ; and boasted of himself that he made them as they ought to be : which is a Precept of Aristotle , given as well to Poets as to Painters . Phidias rais'd an admiration even to astonishment , in those who beheld his Statues , with the Forms , which he gave to his Gods and Heroes ; by imitating the Idea rather than Nature . And Cicero speaking of him affirms , that figuring Jupiter and Pallas , he did not contemplate any Object from whence he took the likeness , but consider'd in his own mind a great and admirable form of Beauty , and according to that Image in his Soul , he directed the operation of his Hand . Seneca also seems to wonder , that Phidias having never beheld either Jove or Pallas , yet cou'd conceive their divine Images in his Mind . Apollonius Tyanaeus says the same in other words , that the fancy more instructs the Painter than the imitation ; for the last makes onely the things which it sees , but the first makes also the things which it never sees . Leon Battista Alberti tells us , that we ought not so much to love the likeness as the beauty , and to choose from the fairest Bodies severally the fairest Parts . Leonardo da Vinci instructs the Painter to form this Idea to himself : And Raphael , the greatest of all modern Masters , writes thus to Castiglione , concerning his Galatea : " To paint a Fair one , 't is necessary for me to see many Fair ones ; but because there is so great a scarcity of lovely Women , I am constrain'd to make use of one certain Idea , which I have form'd to my self in my own fancy . " Guido Reni sending to Rome his St. Michael which he had painted for the Church of the Capuchins , at the same time wrote to Monsignor Massano , who was Maestro di Casa ( or Steward of the House ) to Pope Urban the Eighth , in this manner . I wish I had the wings of an Angel , to have ascended into Paradise , and there to have beheld the Forms of those beatify'd Spirits , from which I might have copy'd my Archangel : But not being able to mount so high , it was in vain for me to search his resemblance here below : so that I was forc'd to make an Introspection , into my own mind , and into that Idea of Beauty , which I have form'd in my own imagination . I have likewise created there the contrary Idea of deformity and ugliness ; but I leave the consideration of it , till I paint the Devil : and in the mean time shun the very thought of it as much as possibly I can , and am even endeavouring to blot it wholly out of my remembrance . There was not any Lady in all Antiquity , who was Mistress of so much Beauty as was to be found in the Venus of Gnidus , made by Praxiteles , or the Minerva of Athens by Phydias ; which was therefore call'd the Beautifull Form. Neither is there any Man of the present Age , equal in the strength , proportion , and knitting of his Limbs , to the Hercules of Farnese , made by Glicon : Or any Woman who can justly be compar'd with the Medicean Venus of Cleomenes . And upon this account , the noblest Poets and the best Oratours , when they desir'd to celebrate any extraordinary Beauty , are forc'd to have recourse to Statues and Pictures , and to draw their Persons and Faces into Comparison . Ovid endeavouring to express the Beauty of Cillarus , the fairest of the Centaures , celebrates him as next in perfection , to the most admirable Statues . Gratus in ore vigor , cervix , humerique manusque Pectoraque Artificum laudatis Proxima Signis . A pleasing Vigour his fair Face express'd ; His Neck , his Hands , his Shoulders , and his Breast , Did next in Gracefulness and Beauty stand , To breathing Figures of the Sculptour's Hand . In another place he sets Apelles above Venus . Si Venerem Cois nunquam pinxisset Apelles , Mersa sub aequoreis illa lateret Aquis . Thus vary'd . One Birth to Seas the Cyprian Goddess ow'd , A Second Birth the Painter's Art bestow'd : Less by the Seas than by his pow'r was giv'n ; They made her live , but he advanc'd to Heav'n . The Idea of this Beauty , is indeed various , according to the several forms which the Painter or Sculptour wou'd describe : As one in Strength , another in Magnanimity ; and sometimes it consists in Chearfulness , and sometimes in Delicacy ; and is always diversify'd by the Sex and Age. The Beauty of Jove is one , and that of Juno another : Hercules , and Cupid are perfect Beauties , though of different kinds ; for Beauty is onely that which makes all things as they are in their proper and perfect Nature ; which the best Painters always choose by contemplating the Forms of each . We ought farther to consider , that a Picture being the representation of a humane action , the Painter ought to retain in his mind , the Examples of all Affections , and Passions , as a Poet preserves the Idea of an Angry man , of one who is fearfull , sad or merry , and so of all the rest . For 't is impossible to express that with the Hand , which never enter'd into the Imagination . In this manner as I have rudely and briefly shewn you , Painters and Sculptours , choosing the most elegant natural Beauties , perfectionate the Idea , and advance their Art , even above Nature it self , in her individual productions , which is the utmost mastery of humane performance . From hence arises that astonishment , and almost adoration which is paid by the Knowing to those divine remainders of Antiquity . From hence Phydias , Lysippus , and other noble Sculptours , are still held in veneration ; and Apelles , Zeuxis , Protogenes , and other admirable Painters , though their Works are perish'd , are and will be eternally admir'd ; who all of them drew after the Idea's of Perfection ; which are the Miracles of Nature , the Providence of the Understanding , the Exemplars of the Mind , the Light of the Fancy ; the Sun which from its rising , inspir'd the Statue of Memnon , and the fire which warm'd into life the Image of Prometheus : 'T is this which causes the Graces , and the Loves to take up their habitations in the hardest Marble , and to subsist in the emptiness of Light , and Shadows . But since the Idea of Eloquence is as far inferiour to that of Painting , as the force of Words is to the Sight ; I must here break off abruptly , and having conducted the Reader as it were to a secret Walk , there leave him in the midst of Silence to contemplate those Idea's ; which I have onely sketch'd , and which every man must finish for himself . In these pompous Expressions , or such as these the Italian has given you his Idea of a Painter ; and though I cannot much commend the Style , I must needs say there is somewhat in the Matter : Plato himself is accustom'd to write loftily , imitating , as the Critiques tell us , the manner of Homer ; but surely that inimitable Poet , had not so much of Smoke in his writing , though not less of Fire . But in short , this is the present Genius of Italy . What Philostratus tells us in the Proem of his Figures is somewhat plainer ; and therefore I will translate it almost word for word . " He who will rightly govern the Art of Painting , ought of necessity first to understand Humane Nature . He ought likewise to be endued with a Genius to express the signs of their Passions whom he represents ; and to make the dumb as it were to speak : He must yet further understand what is contain'd in the constitution of the Cheeks , in the temperament of the Eyes , in the naturalness ( if I may so call it ) of the Eye-brows : and in short whatsoever belongs to the Mind and Thought . He who throughly possesses all these things will obtain the whole . And the Hand will exquisitely represent the action of every particular person . If it happen that he be either mad , or angry , melancholique , or chearfull , a sprightly Youth , or a languishing Lover ; in one word , he will be able to paint whatsoever is proportionable to any one . And even in all this there is a sweet errour without causing any shame . For the Eyes and Minds of the beholders being fasten'd on Objects which have no real Being , as if they were truly Existent , and being induc'd by them to believe them so , what pleasure is it not capable of giving ? The Ancients , and other Wise Men , have written many things concerning the Symmetry which is in the Art of Painting ; constituting as it were some certain Laws for the proportion of every Member , not thinking it possible for a Painter to undertake the expression of those motions which are in the Mind , without a concurrent Harmony in the natural measure . For that which is out of its own kind and measure , is not receiv'd from Nature , whose motion is always right . On a serious consideration of this matter it will be found , That the Art of Painting has a wonderfull affinity with that of Poetry ; and that there is betwixt them a certain common Imagination . For as the Poets introduc●● the Gods and Heroes , and all those things which are either Majestical , Honest or Delightfull , in like manner the Painters , by the virtue of their Out-lines , Colours , Lights and Shadows , represent the same Things and Persons in their Pictures . " Thus , as Convoy Ships either accompany , or shou'd accompany their Merchants till they may prosecute the rest of their Voyage without danger , so Philostratus has brought me thus far on my way , and I can now sail on without him . He has begun to speak of the great relation betwixt Painting and Poetry , and thither the greatest part of this Discourse by my promise was directed . I have not ingag'd my self to any perfect Method , neither am I loaded with a full Cargo . 'T is sufficient if I bring a Sample of some Goods in this Voyage . It will be easie for others to add more when the Commerce is settled . For a Treatise twice as large as this of Painting cou'd not contain all that might be said on the Parallel of these two Sister Arts. I will take my rise from Bellori before I proceed to the Authour of this Book . The business of his Preface is to prove , that a learned Painter shou'd form to himself an Idea of perfect Nature . This Image he is to set before his Mind in all his Undertakings , and to draw from thence as from a Store-house , the Beauties which are to enter into his Work ; thereby correcting Nature from what actually she is in individuals , to what she ought to be , and what she was created . Now as this Idea of Perfection is of little use in Portraits ( or the resemblances of particular persons ) so neither is it in the Characters of Comedy , and Tragedy ; which are never to be made perfect , but always to be drawn with some specks of frailty and deficience ; such as they have been described to us in History , if they were real Characters ; or such as the Poet began to shew them at their first appearance , if they were onely fictitious , ( or imaginary . ) The perfection of such Stage-characters consists chiefly in their likeness to the deficient faulty Nature , which is their Original . Onely , as it is observ'd more at large hereafter , in such cases●● there will always be found a better likeness , and a worse ; and the better is constantly to be chosen : I mean in Tragedy , which represents the Figures of the highest form amongst Mankind . Thus in Portraits , the Painter will not take that side of the Face which has some notorious blemish in it ; but either draw it in profile ( as Apelles did Antigonus , who had lost one of his Eyes ) or else shadow the more imperfect side . For an ingenious flattery is to be allow'd to the Professours of both Arts ; so long as the likeness is not destroy'd . 'T is true that all manner of Imperfections must not be taken away from the Characters , and the reason is , that there may be left some grounds of pity for their misfortunes . We can never be griev'd for their miseries who are thoroughly wicked , and have thereby justly call'd their calamities on themselves . Such Men are the natural Objects of our hatred , not of our commiseration . If on the other side their Characters were wholly perfect , ( such as for Example , the Character of a Saint or Martyr in a Play , ) his , or her misfortunes , wou'd produce impious thoughts in the Beholders : they wou'd accuse the Heavens of injustice , and think of leaving a Religion , where Piety was so ill requited . I say the greater part wou'd be tempted so to do , I say not that they ought : and the consequence is too dangerous for the practice . In this I have accus'd my self for my own St. Catharine , but let truth prevail . Sophocles has taken the just medium in his Oedipus . He is somewhat arrogant at his first entrance ; and is too inquisitive through the whole Tragedy : Yet these Imperfections being balanc'd by great Vertues , they hinder not our compassion for his miseries ; neither yet can they destroy that horrour which the nature of his Crimes have excited in us . Such in Painting are the Warts and Moles , which adding a likeness to the Face , are not therefore to be omitted . But these produce no loathing in us . But how far to proceed , and where to stop , is left to the judgment of the Poet and the Painter . In Comedy there is somewhat more of the worse likeness to be taken . Because that is often to produce laughter ; which is occasion'd by the sight of some deformity : but for this I referr the Reader to Aristotle . 'T is a sharp manner of Instruction for the Vulgar who are never well amended , till they are more than sufficiently expos'd . That I may return to the beginning of this Remark , concerning perfect Idea's , I have onely this to say , that the Parallel is often true in Epique-Poetry . The Heroes of the Poets are to be drawn according to this Rule . There is scarce a frailty to be left in the best of them ; any more than is to be found in a Divine Nature . And if Aeneas sometimes weeps , it is not in bemoaning his own miseries , but those which his people undergo . If this be an Imperfection , the Son of God when he was incarnate shed tears of Compassion over Ierusalem . And Lentulus describes him often weeping , but never laughing ; so that Virgil is justify'd even from the Holy Scriptures . I have but one word more , which for once I will anticipate from the Authour of this Book . Though it must be an Idea of Perfection , from which both the Epique Poet , and the History Painter draws ; yet all Perfections are not suitable to all Subjects : But every one must be design'd according to that perfect Beauty which is proper to him . An Apollo must be distinguish'd from a Iupiter , a Pallas from a Venus : and so in Poetry an Aeneas from any other Heroe : for Piety is his chief Perfection . Homer's Achilles is a kind of Exception to this Rule : but then he is not a perfect Heroe , nor so intended by the Poet. All his Gods had somewhat of humane imperfection ; for which he has been tax'd by Plato , as an Imitatour of what was bad . But Virgil observ'd his fault , and mended it . Yet Achilles was perfect in the strength of his Body , and the vigour of his Mind . Had he been less passionate , or less revengefull , the Poet well foresaw that Hector had been kill'd , and Troy taken at the first assault ; which had destroy'd the beautifull contrivance of his Iliads , and the moral of preventing Discord amongst Confederate Princes , which was his principal intention . For the Moral ( as Bossu observes ) is the first business of the Poet , as being the ground-work of his Instruction . This being form'd , he contrives such a Design , or Fable , as may be most suitable to the Moral . After this he begins to think of the Persons , whom he is to employ in carrying on his Design : and gives them the Manners , which are most proper to their several Characters . The thoughts and words are the last parts , which give Beauty and Colouring to the Piece . When I say , that the Manners of the Heroe ought to be good in perfection , I contradict not the Marquess of Normanby's opinion , in that admirable Verse , where speaking of a perfect Character , he calls it A Faultless Monster , which the World ne'er knew . For that Excellent Critique , intended onely to speak of Dramatique Characters , and not of Epique . Thus at lea●●t I have shewn , that in the most perfect Poem , which is that of Virgil , a perfect Idea was requir'd , and follow'd . And consequently that all succeeding Poets ought rather to imitate him , than even Homer . I will now proceed as I promis'd , to the Authour of this Book . He tells you almost in the first lines of it , that the chief end of Painting is to please the Eyes : and 't is one great End of Poetry to please the Mind . Thus far the Parallel of the Arts holds true : with this difference , That the Principal end of Painting is to please ; and the chief design of Poetry is to instruct . In this the latter seems to have the advantage of the former . But if we consider the Artists themselves on both sides , certainly their aims are the very same : they wou'd both make sure of pleasing , and that in preference to instruction . Next , the means of this pleasure is by Deceipt . One imposes on the Sight , and the other on the Understanding . Fiction is of the Essence of Poetry as well as of Painting ; there is a resemblance in one , of Humane Bodies , Things and Actions which are not real , and in the other , of a true Story by a Fiction . And as all Stories are not proper Subjects for an Epique Poem , or a Tragedy , so neither are they for a noble Picture . The Subjects both of the one , and of the other , ought to have nothing of immoral , low , or filthy in them ; but this being treated at large in the Book itself , I wave it to avoid repetition . Onely I must add , that though●● Catullus , Ovid and others were of another opinion , that the Subject of Poets , and even their thoughts and expressions might be loose , provided their lives were chast and holy , yet there are no such licences permitted in that Art any more than in Painting , to design and colour obscene Nudities . Vita proba est , is no excuse , for it will scarcely be admitted , that either a Poet or a Painter can be chast , who give us the contrary examples in their Writings and their Pictures . We see nothing of this kind in Virgil : that which comes the nearest to it , is the adventure of the Cave , where Dido and Aeneas were driven by the Storm : Yet even there the Poet pretends a Marriage before the Consummation ; and Iuno her self was present at it . Neither is there any expression in that Story , which a Roman Matron might not reade without a blush . Besides the Poet passes it over as hastily as he can , as if he were afraid of staying in the Cave with the two Lovers , and of being a witness to their Actions . Now I suppose that a Painter wou'd not be much commended , who shou'd pick out this Cavern from the whole Eneids , when there is not another in the Work. He had better leave them in their obscurity , than let in a flash of Lightning to clear the natural darkness of the place , by which he must discover himself as much as them . The Altar-Pieces , and holy Decorations of Painting , show that Art may be apply'd to better uses , as well as Poetry . And amongst many other instances , the Farnesian Gallery , painted by Hannibal Carracci , is a sufficient witness yet remaining : the whole Work being morally instructive , and particularly the Herculis Bivium , which is a perfect Triumph of Vertue over Vice , as it is wonderfully well describ'd by the ingenious Bellori . Hitherto I have onely told the Reader what ought not to be the subject of a Picture or of a Poem : what it ought to be on either side ; our Author tells us : it must in general be great and noble : and in this , the Parallel is exactly true . The subject of a Poet either in Tragedy or in an Epique Poem is a great action of some illustrious Hero. 'T is the same in Painting ; not every action , nor every person is considerable enough to enter into the Cloth. It must be the Anger of an Achilles , the Piety of an Aeneas , the Sacrifice of an Iphigenia ( for Heroins as well as Heroes are comprehended in the Rule ; ) but the Parallel is more compleat in Tragedy , than in an Epique Poem . For as a Tragedy may be made out of many particular Episodes of Homer or of Virgil , so may a noble Picture be design'd out of this or that particular Story in either Author . History is also fruitfull of designs both for the Painter and the Tragique Poet : Curtius throwing himself into a Gulph , and the two Decii sacrificing themselves for the safety of their Country , are subjects for Tragedy and Picture . Such is Scipio restoring the Spanish Bride , whom he either lov'd or may be supsos'd to love , by which he gain'd the Hearts of a great Nation , to interess themselves for Rome against Carthage : These are all but particular Pieces in Livy's History ; and yet are full compleat Subjects for the Pen and Pencil . Now the reason of this is evident . Tragedy and Picture are more narrowly circumscrib'd by the Mechanick Rules of Time and Place than the Epique Poem . The time of this last is left indefinite . 'T is true , Homer took up onely the space of eight and forty days for his Iliads ; but whether Virgil's action was comprehended in a year or somewhat more , is not determin'd by Bossu . Homer made the place of his action Troy , and the Grecian Camp besieging it . Virgil introduces his Aeneas , sometimes in Sicily , sometimes in Carthage , and other times at Cumae , before he brings him to Laurentum ; and even after that , he wanders again to the Kingdom of Evander and some parts of Tuscany , before he returns to finish the War by the death of Turnus . But Tragedy according to the Practice of the Ancients , was always confin'd within the compass of 24 hours , and seldom takes up so much time . As for the place of it , it was always one , and that not in a larger Sence ; as for example , A whole City or two or three several Houses in it ; but the Market or some other publick place , common to the Chorus and all the Actours . Which establish'd Law of theirs , I have not an opportunity to examine in this place , because I cannot do it without digression from my subject , though it seems too strict at the first appearance because it excludes all secret Intrigues , which are the Beauties of the modern Stage : for nothing can be carry'd on with Privacy , when the Chorus is suppos'd to be always present . But to proceed , I must say this to the advantage of Painting , even above Tragedy , that what this last represents in the space of many Hours , the former shows us in one Moment . The Action , the Passion , and the manners of so many Persons as are contain'd in a Picture , are to be discern'd at once , in the twinkling of an Eye ; at least they would be so , if the Sight could travel over so many different Objects all at once , or the Mind could digest them all at the same instant or point of time . Thus in the famous Picture of Poussin , which represents the Institution of the Blessed Sacrament , you see our Saviour and his twelve Disciples , all concurring in the same action , after different manners , and in different postures , onely the manners of Iudas are distinguish'd from the rest . Here is but one indivisible point of time observ'd : but one action perform'd by so many Persons , in one Room and at the same Table : yet the Eye cannot comprehend at once the whole Object , nor the Mind follow it so fast ; 't is consider'd at leisure , and seen by intervals . Such are the Subjects of Noble Pictures : and such are onely to be undertaken by Noble Hands . There are other parts of Nature , which are meaner , and yet are the Subjects both of Painters , and of Poets . For to proceed in the Parallel , as Comedy is a representation of Humane Life , in inferiour persons , and low Subjects , and by that means creeps into the nature of Poetry , and is a kind of Iuniper , a Shrub belonging to the species of Cedar , so is the painting of Clowns , the representation of a Dutch Kermis , the brutal sport of Snick or Snee , and a thousand other things of this mean invention , a kind of Picture , which belongs to Nature , but of the lowest form . Such is a Lazar in comparison to a Venus ; both are drawn in Humane Figures : they have Faces alike , though not like Faces . There is yet a lower sort of Poetry and Painting , which is out of Nature . For a Farce is that in Poetry , which Grotesque is in a Picture . The Persons , and Action of a Farce are all unnatural , and the Manners false , that is , inconsisting with the characters of Mankind . Grotesque-painting is the just resemblance of this ; and Horace begins his Art of Poetry by describing such a Figure ; with a Man's Head , a Horse's Neck , the Wings of a Bird , and a Fishes Tail ; parts of different species jumbled together , according to the mad imagination of the Dawber ; and the end of all this , as he tells you afterward , to cause Laughter . A very Monster in a Bartholomew-Fair for the Mob to gape at for their two-pence . Laughter is indeed the propriety of a Man , but just enough to distinguish him from his elder Brother , with four Legs . 'T is a kind of Bastard-pleasure too , taken in at the Eyes of the vulgar gazers , and at the Ears of the beastly Audience . Church-Painters use it to divert the honest Countryman at Publick Prayers , and keep his Eyes open at a heavy Sermon . And Farce-Scriblers make use of the same noble invention to entertain Citizens , Country-Gentlemen , and Covent-Garden Fops . If they are merry , all goes well on the Poet's side . The better sort goe thither too , but in despair of Sense , and the just Images of Nature , which are the adequate pleasures of the Mind . But the Authour can give the Stage no better than what was given him by Nature : and the Actors must represent such things , as they are capable to perform , and by which both they and the Scribbler may get their living . After all , 't is a good thing to laugh at any rate , and if a straw can tickle a man , 't is an instrument of happiness . Beasts can weep when they suffer , but they cannot laugh . And as Sir William Davenant observes in his Preface to Gondibert , 'T is the wisdom of a Government to permit Plays ( he might have added Farces ) as 't is the prudence of a Carter to put Bells upon his Horses , to make them carry their Burthens chearfully . I have already shewn , that one main end of Poetry and Painting is to please , and have said something of the kinds of both , and of their Subjects , in which they bear a great resemblance to each other . I must now consider them , as they are great and noble Arts ; and as they are Arts , they must have Rules which may direct them to their common end . To all Arts and Sciences , but more particularly to these may be apply'd what Hippocrates says of Physick , as I find him cited by an eminent French Critique . " Medicine has long subsisted in the World. The Principles of it are certain , and it has a certain way ; by both which there has been found in the course of many Ages , an infinite number of things , the experience of which has confirm'd its usefulness and goodness . All that is wanting to the perfection of this Art , will undoubtedly be found , if able Men , and such as are instructed in the Ancient Rules will make a farther enquiry into it , and endeavour to arrive at that , which is hitherto unknown , by that which is already known . But all , who having rejected the Ancient Rules , and taken the opposite ways , yet boast themselves to be Masters of this Art , do but deceive others , and are themselves deceiv'd ; for that is absolutely impossible . " This is notoriously true in these two Arts : for the way to please being to imitate Nature ; both the Poets and the Painters , in Ancient times , and in the best Ages , have study'd her : and from the practice of both these Arts , the Rules have been drawn , by which we are instructed how to please , and to compass that end which they obtain'd , by following their Example . For Nature is still the same in all Ages , and can never be contrary to her self . Thus from the practice of Aeschylus , Sophocles , and Euripides , Aristotle drew his Rules for Tragedy ; and Philostratus for Painting . Thus amongst the Moderns , the Italian and French Critiques by studying the Precepts of Aristotle , and Horace , and having the Example of the Grecian Poets before their Eyes , have given us the Rules of Modern Tragedy : and thus the Critiques of the same Countries , in the Art of Painting have given the Precepts of perfecting that Art. 'T is true that Poetry has one advantage over Painting in these last Ages , that we have still the remaining Examples both of the Greek and Latine Poets : whereas the Painters have nothing left them from Apelles , Protogenes , Parrhasius , Xeuxis and the rest , but onely the testimonies which are given of their incomparable Works . But instead of this , they have some of their best Statues , Bass-Relievo's , Columns , Obilisques , &c. which were sav'd out of the common ruine , and are still preserv'd in Italy : and by well distinguishing what is proper to Sculpture , and what to Painting , and what is common to them both , they have judiciously repair'd that loss . And the great Genius of Raphael , and others , having succeeded to the times of Barbarism and Ignorance , the knowledge of Painting is now arriv'd to a supreme perfection , though the performance of it is much declin'd in the present Age. The greatest Age for Poetry amongst the Romans was certainly that of Augustus Caesar ; and yet we are told that Painting was then at its lowest Ebb , and perhaps Sculpture was also declining at the same time . In the Reign of Domitian , and some who succeeded him , Poetry was but meanly cultivated , but Painting eminently flourish'd . I am not here to give the History of the two Arts ; how they were both in a manner extinguish'd , by the Irruption of the barbarous Nations , and both restor'd about the times of Leo the Tenth , Charles the Fifth , and Francis the First ; though I might observe , that neither Ariosto , nor any of his Contemporary Poets ever arriv'd at the Excellency of Raphael , Titian , and the rest in Painting . But in revenge at this time , or lately in many Countries , Poetry is better practis'd than her Sister-Art . To what height the Magnificence and Encouragement of the present King of France may carry Painting and Sculpture is uncertain , but by what he has done , before the War in which he is ingag'd , we may expect what he will do after the happy Conclusion of a Peace , which is the Prayer and Wish of all those who have not an interest to prolong the miseries of Europe . For'tis most certain , as our Author amongst others has observ'd , That Reward is the Spur of Vertue , as well in all good Arts , as in all laudable Attempts : and Emulation which is the other Spur , will never be wanting either amongst Poets or Painters , when particular Rewards and Prizes are propos'd to the best deservers . But to return from this digression , though it was almost necessary ; all the Rules of Painting are methodically , concisely , and yet clearly deliver'd in this present Treatise which I have translated . Bossu has not given more exact Rules for the Epique Poem , nor Dacier for Tragedy in his late excellent Translation of Aristotle and his notes upon him , than our Fresnoy has made for Painting ; with the Parallel of which I must resume my Discourse , following my Author's Text , though with more brevity than I intended , because Virgil calls me . The principal and most important parts of Painting , is to know what is most beautifull in Nature , and most proper for that Art : that which is the most beautifull is the most noble Subject : so in Poetry , Tragedy is more beautifull than Comedy ; because , as I said , the Persons are greater whom the Poet instructs , and consequently the instructions of more benefit to Mankind : the action is likewise greater and more noble , and thence is deriv'd the greater and more noble Pleasure . To imitate Nature well in whatsoever Subject , is the perfection of both Arts ; and that Picture and that Poem which comes nearest to the resemblance of Nature is the best . But it follows not , that what pleases most in either kind is therefore good ; but what ought to please . Our deprav'd Appetites , and ignorance of the Arts , mislead our Judgments , and cause us often to take that for true imitation of Nature , which has no resemblance of Nature in it . To inform our Judgments , and to reform our Tasts , Rules were invented , that by them we might discern when Nature was imitated , and how nearly . I have been forc'd to recapitulate these things , because Mankind is not more liable to deceit , than it is willing to continue in a pleasing error strengthen'd by a long habitude . The imitation of nature is therefore justly constituted as the general , and indeed the onely Rule of pleasing both in Poetry and Painting . Aristotle tells us , that imitation pleases , because it affords matter for a Reasoner to enquire into the truth or falshood of Imitation , by comparing its likeness or unlikeness with the Original . But by this Rule , every Speculation in Nature , whose truth falls under the enquiry of a Philosopher , must produce the same delight which is not true ; I should rather assign another reason . Truth is the Object of our Understanding as Good is of our Will : And the Understanding can no more be delighted with a Lye , than the Will can choose an apparent Evil. As Truth is the end of all our Speculations , so the discovery of it is the pleasure of them . And since a true knowledge of Nature gives us pleasure , a lively imitation of it , either in Poetry or Painting , must of necessity produce a much greater . For both these Arts as I said before , are not onely true imitations of Nature , but of the best Nature , of that which is wrought up to a nobler pitch . They present us with Images more perfect than the Life in any individual : and we have the pleasure to see all the scatter'd Beauties of Nature united by a happy Chymistry , without its deformities or faults . They are imitations of the passions which always move , and therefore consequently please : for without motion there can be no delight ; which cannot be consider'd , but as an active passion . When we view these Elevated Idea's of Nature , the result of that view is Admiration , which is always the cause of Pleasure . This foregoing Remark , which gives the reason why imitation pleases ; was sent me by Mr. Walter Moyle , a most ingenious young Gentleman , conversant in all the Studies of Humanity , much above his years . He had also furnish'd me ( according to my request ) with all the particular passages in Aristotle and Horace , which are us'd by them to explain the Art of Poetry by that of Painting : which if ever I have time to retouch this Essay , shall be inserted in their places . Having thus shewn that Imitation pleases , and why it pleases in both these Arts , it follows that some Rules of Imitation are necessary to obtain the end : for without Rules there can be no Art ; any more than there can be a House without a Door to conduct you into it . The principal parts of Painting and Poetry next follow . Invention is the first part , and absolutely necessary to them both : yet no Rule ever was or ever can be given how to compass it . A happy Genius is the gift of Nature : it depends on the influence of the Stars say the Astrologers , on the Organs of the Body say the Naturalists ; 't is the particular gift of Heaven say the Divines , both Christians and Heathens . How to improve it many Books can teach us ; how to obtain in none ; that nothing can be done without it all agree . Tu nibil invitâ dices faciesve Minervâ . Without Invention a Painter is but a Copier , and a Poet but a Plagiary of others . Both are allow'd sometimes to copy and translate ; but as our Authour tells you that is not the best part of their Reputation . Imitatours are but a Servile kind of Cattle , says the Poet ; or at best , the Keepers of Cattle for other men ; they have nothing which is properly their own ; that is a sufficient mortification for me while I am translating Virgil. But to copy the best Authour is a kind of praise , if I perform it as I ought . As a Copy after Raphael is more to be commended , than an Original of any indifferent Painter . Under this head of Invention is plac'd the Disposition of the Work , to put all things in a beautifull order and harmony ; that the whole may be of a piece . The Compositions of the Painter shou'd be conformable to the Text of Ancient Authours , to the Customs , and the Times . And this is exactly the same in Poetry ; Homer , and Virgil , are to be our guides in the Epique ; Sophocles , and Euripides , in Tragedy : in all things we are to imitate the Customs , and the Times of those Persons and Things which we represent . Not to make new Rules of the Drama , as Lopez de Vega has attempted unsuccessfully to do ; but to be content to follow our Masters , who understood Nature better than we . But if the Story which we treat be modern , we are to vary the Customs , according to the Time and the Country where the Scene of Action lies : for this is still to imitate Nature , which is always the same , though in a different dress . As in the Composition of a Picture , the Painter is to take care that nothing enter into it , which is not proper , or convenient to the Subject ; so likewise is the Poet to reject all incidents which are foreign to his Poem , and are naturally no parts of it : they are Wenns , and other Excrescences , which belong not to the Body , but deform it . no person , no incident in the Piece , or in the Play , but must be of use to carry on the main Design . All things else are like six fingers to the hand ; when Nature which is superfluous in nothing , can do her work with five . A Painter must reject all trifling Ornaments , so must a Poet refuse all tedious , and unnecessary Descriptions . A Robe which is too heavy , is less an Ornament than a Burthen . In Poetry Horace calls these things , Versus inopes rerum , nugaeque canorae ; these are also the lucus & ara Dianae , which he mentions in the same Art of Poetry . But since there must be Ornaments both in Painting and Poetry , if they are not necessary , they must at least be decent : that is , in their due place , and but moderately us'd . The Painter is not to take so much pains about the Drapery as about the Face , where the principal resemblance lies : neither is the Poet who is working up a passion , to make similes which will certainly make it languish . My Montezuma dies with a fine one in his mouth : but it is ambitious and out of season . When there are more Figures in a Picture than are necessary , or at least ornamental , our Authour calls them Figures to be lett : because the Picture has no use of them . So I have seen in some modern Plays above twenty Actours ; when the Action has not requir'd half the number . In the principal Figures of a Picture , the Painter is to employ the sinews of his Art , for in them consists the principal beauty of his Work. Our Authour saves me the comparison with Tragedy , for he says that herein he is to imitate the Tragique Poet , who employs his utmost force in those places wherein consists the height and beauty of the Action . Du Fresnoy , whom I follow , makes Design or Drawing the second part of Painting : But the Rules which he gives concerning the Posture of the Figures , are almost wholly proper to that Art ; and admit not any comparison that I know with Poetry . The Posture of a Poetique Figure is as I conceive , the Description of his Heroes in the performance of such or such an Action : as of Achilles just in the act of killing Hector : or of Aeneas who has Turnus under him . Both the Poet and the Painter vary the Postures according to the Action , or Passion which they represent of the same person . But all must be great and gracefull in them . The same Aeneas must be drawn a Suppliant to Dido with respect in his Gestures , and humility in his Eyes : But when he is forc'd in his own defence to kill Lausus , the Poet shows him compassionate , and tempering the severity of his looks with a reluctance to the Action , which he is going to perform . He has pity on his Beauty , and his Youth ; and is loath to destroy such a Master-piece of Nature . He considers Lausus rescuing his Father at the hazard of his own life ; as an Image of himself when he took Anchises on his Shoulders , and bore him safe through the rage of the Fire , and the opposition of his Enemies . And therefore in the posture of a retiring Man , who avoids the Combat , he stretches out his Arm in sign of peace , with his right Foot drawn a little back , and his Breast bending inward , more like an Oratour than a Souldier ; and seems to disswade the Young man from pulling on his destiny , by attempting more than he was able to perform : take the passage as I have thus translated it . Shouts of Applause ran ringing through the Field , To see the Son , the vanquish'd Father shield : All , fir'd with noble Emulation , strive ; And with a storm of Darts to distance drive The Trojan Chief ; who held at Bay , from far On his Vulcanian Orb , sustain'd the War. Aeneas thus'o erwhelm'd on every side , Their first Assault undaunted did abide ; And thus to Lausus , loud with friendly threatning cry'd , Why wilt thou rush to certain death , and rage In rash attempts beyond thy tender Age , Betray'd by pious love ? And afterwards . He griev'd , he wept , the Sight an Image brought Of his own Filial Love ; a sadly pleasing thought . But beside the Outlines of the Posture , the Design of the Picture comprehends in the next place the forms of Faces which are to be different : and so in a Poem , or a Play , must the several Characters of the Persons be distinguish'd from each other . I knew a Poet , whom out of respect I will not name , who being too witty himself , cou'd draw nothing but Wits in a Comedy of his : even his Fools were infected with the Disease of their Authour . They overflow'd with smart Reperties , and were only distinguish'd from the intended Wits by being call'd Coxcombs ; though they deserv'd not so scandalous a Name . Another , who had a great Genius for Tragedy , following the fury of his natural temper , made every Man and Woman too in his Plays stark raging mad : there was not a sober person to be had for love or money . All was tempestuous and blustering ; Heaven and Earth were coming together at every word ; a meer Hurrican from the beginning to the end , and every Actour seem'd to be hastning on the Day of Judgment . Let every Member be made for its own Head , says our Authour , not a wither'd Hand to a young Face . So in the Persons of a Play , whatsoever is said or done by any of them , must be consistent with the manners which the Poet has given them distinctly : and even the Habits must be proper to the degrees , and humours of the Persons as well as in a Picture . He who enter'd in the first Act , a Young man like Pericles Prince of Tyre , must not be in danger in the fifth Act , of committing Incest with his Daughter : nor an Usurer , without great probability and causes of Repentance , be turn'd into a Cutting Moorcraft . I am not satisfy'd that the comparison betwixt the two Arts in the last Paragraph is altogether so just as it might have been ; but I am sure of this which follows . The principal Figure of the Subject must appear in the midst of the Picture , under the principal Light to distinguish it from the rest which are onely its attendants . Thus in a Tragedy or an Epique Poem , the Hero of the Piece must be advanc'd foremost to the view of the Reader or Spectator ; He must out-shine the rest of all the Characters ; He must appear the Prince of them , like the Sun in the Copernican System , encompass'd with the less noble Planets . Because the Hero is the Centre of the main Action ; all the Lines from the Circumference tend to him alone : He is the chief object of Pity in the Drama , and of Admiration in the Epique Poem . As in a Picture , besides the principal Figures which compose it , and are plac'd in the midst of it , there are less Grouppes or Knots of Figures dispos'd at proper distances , which are parts of the Piece , and seem to carry on the same Design in a more inferiour manner . So in Epique Poetry , there are Episodes , and a Chorus in Tragedy , which are Members of the Action , as growing out of it , not inserted into it . Such in the ninth Book of the Eneids is the Episode of Nisus and Euryalus : the adventure belongs to them alone ; they alone are the Objects of Compassion and Admiration ; but their business which they carry on , is the general Concernment of the Trojan Camp , then beleaguer'd by Turnus and the Latines , as the Christians were lately by the Turks . They were to advertise the chief Hero of the Distresses of his Subjects occasion'd by his Absence , to crave his Succour , and sollicite him to hasten his Return . The Grecian Tragedy was at first nothing but a Chorus of Singers , afterwards one Actor was introduc'd , which was the Poet himself , who entertain'd the people with a discourse in Verse , betwixt the Pauses of the Singing . This succeeding with the People , more Actors were added to make the variety the greater ; and in process of time , the Chorus onely sung betwixt the Acts ; and the Coriphaeus , or Chief of them spoke for the rest , as an Actor concern'd in the business of the Play. Thus Tragedy was perfected by degrees , and being arriv'd at that Perfection , the Painters might probably take the hint from thence , of adding Grouppes to their Pictures . But as a good Picture may be without a Grouppe ; so a good Tragedy may subsist without a Chorus : notwithstanding any reasons which have been given by Dacier to the contrary . Monsieur Racine has indeed us'd it in his Esther , but not that he found any necessity of it , as the French Critique would insinuate . The Chorus at St. Cyr , was onely to give the young Ladies an occasion of entertaining the King with vocal Musick , and of commending their own Voices . The Play it self was never intended for the publick Stage , nor without disparagement to the learned Author , could possibly have succeeded there , and much less the Translation of it here . Mr. Wicherly , when we read it together was of my opinion in this , or rather I of his ; for it becomes me so to speak of so excellent a Poet , and so great a Iudge . But since I am in this place , as Virgil says , Spatiis exclusus iniquis ; that is , shorten'd in my time , I will give no other reason , than that it is impracticable on our Stage . A new Theatre much more ample and much deeper must be made for that purpose , besides the cost of sometimes forty or fifty Habits , which is an expence too large , to be supply'd by a Company of Actors . 'T is true , I should not be sorry to see a Chorus on a Theatre , more than as large and as deep again as ours , built and adorn'd at a King's Charges , and on that condition , and another , which is , That my Hands were not bound behind me , as now they are ; I should not despair of making such a Tragedy , as might be both instructive and delightfull , according to the manner of the Grecians . To make a Sketch , or a more perfect Model of a Picture , is in the Language of Poets , to draw up the Scenary of a Play , and the reason is the same for both ; to guide the Undertaking , and to preserve the Remembrance of such things , whose Natures are difficult to retain . To avoid Absurdities and Incongruities , is the same Law establish'd for both Arts. The Painter is not to paint a Cloud at the Bottom of a Picture , but in the uppermost parts : nor the Poet to place what is proper to the end or middle in the beginning of a Poem . I might enlarge on this , but there are few Poets or Painters , who can be suppos'd to sin so grosly against the Laws of Nature , and of Art. I remember onely one Play , and for once I will call it by its name , The Slighted Maid : where there is nothing in the First Act , but what might have been said or done in the Fifth ; nor any thing in the Midst , which might not have been plac'd as well in the Beginning or the End. To express the Passions which are seated in the Heart by outward Signs , is one great Precept of the Painters , and very difficult to perform . In Poetry , the same Passions and Motions of the Mind are to be express'd ; and in this consists the principal Difficulty , as well as the Excellency of that Art. This , says my Author , is the Gift of Iupiter : and to speak in the same Heathen Language , we call it the Gift of our Apollo : not to be obtain'd by Pains or Study , if we are not born to it . For the Motions which are studied are never so natural , as those which break out in the height of a real Passion . Mr. Otway possess'd this part as thoroughly as any of the Ancients or Moderns . I will not defend every thing in his Venice preserv'd ; but I must bear this testimony to his Memory , That the Passions are truly touch'd in it , though perhaps there is somewhat to be desir'd both in the Grounds of them , and in the Height and Elegance of Expression ; but Nature is there which is the greatest Beauty . In the Passions , says our Author , we must have a very great regard to the quality of the Persons who are actually possess'd with them . The Joy of a Monarch for the news of a Victory , must not be express'd like the Ecstasy of a Harlequin on the Receipt of a Letter from his Mistress ; this is so much the same in both the Arts , that it is no longer a Comparison . What he says of Face-painting , or the Protrait of any one particular Person ; concerning the likeness is also as applicable to Poetry . In the character of an Hero , as well as in an inferiour Figure , there is a better or worse likeness to be taken ; the better is a Panegyrick if it be not false , and the worse is a Libel : Sophocles . says Aristotle always drew men as they ought to be , that is better than they were ; another , whose name I have forgotten , drew them worse than naturally they were . Euripides alter'd nothing in the Character , but made them such as they were represented by History , Epique Poetry or Tradition . Of the three , the draught of Sophocles is most commended by Aristotle . I have follow'd it in that part of Oedipus , which I writ , though perhaps I have made him too good a man. But my Characters of Anthony and Cleopatra , though they are favourable to them , have nothing of outrageous Panegyrick , their Passions were their own , and such as were given them by History , onely the deformities of them were cast into Shadows , that they might be Objects of Compassion ; whereas if I had chosen a Noon-day Light for them , somewhat must have been discover'd , which would rather have mov'd our Hatred than our Pity . The Gothique manner , and the barbarous Ornaments , which are to be avoided in a Picture , are just the same with those in an ill order'd Play. For example , our English Tragicomedy must be confess'd to be wholly Gothique , notwithstanding the Success which it has found upon our Theatre , and in the Pastor Fido of Guarini ; even though Corisca and the Satyr contribute somewhat to the main Action . Neither can I defend my Spanish Fryar , as fond as otherwise I am of it from this Imputation : for though the comical parts are diverting , and the serious moving , yet they are of an unnatural mingle . For Mirch and Gravity destroy each other , and are no more to be allow'd for decent , than a gay Widow laughing in a mourning Habit. I had almost forgotten one considerable resemblance . Du Fresnoy tells us , That the Figures of the Grouppes , must not be all on a side , that is , with their Face and Bodies all turn'd the same way ; but must contrast each other by their several positions . Thus in a Play , some characters must be rais'd to oppose other ; and to set them off the better , according to the old Maxim , Contraria juxta se posita , magis elucescunt . Thus in the Scornfull Lady , the Usurer is set to confront the Prodigal . Thus in my Tyrannicque Love , the Atheist Maximin is oppos'd to the character of St. Catharine . I am now come , though with the omission of many Likenesses , to the third Part of Painting , which is call'd the Cromatique or Colouring . Expression , and all that belongs to words , is that in a Poem , which Colouring is in a Picture . The Colours well chosen in their proper places , together with the Lights and Shadows which belong to them , lighten the Design , and make it pleasing to the Eye . The Words , the Expressions , the Tropes and Figures , the Versification , and all the other Elegancies of Sound , as Cadences , Turns of Words upon the Thought , and many other things which are all parts of expression , perform exactly the same Office both in Dramatique and Epique Poetry . Our Author calls Colouring , Lena Sororis , in plain English , The Bawd of her Sister the Design or Drawing : she cloaths , she dresses her up , she paints her , she makes her appear more lovely than naturally she is , she procures for the Design , and makes Lovers for her . For the Design of it self , is onely so many naked lines . Thus in Poetry , the Expression is that which charms the Reader , and beautifies the Design which is onely the Out-lines of the Fables . 'T is true , the Design must of it self be good ; if it be vicious or ( in one word ) unpleasing , the cost of Colouring is thrown away upon it . 'T is an ugly woman in a rich Habit set out with Jewels , nothing can become her : but granting the Design to be moderately good , 't is like an excellent Complexion with indifferent Features ; the white and red well mingled on the Face , make what was before but passable , appear beautifull . Operum Colores is the very word which Horace uses , to signify Words and elegant Expressions , of which he himself was so great a Master in his Odes . Amongst the Ancients , Zeuxis was most famous for his Colouring . Amongst the Moderns , Titian and Correggio . Of the two Ancient Epique Poets , who have so far excell'd all the Moderns , the Invention and Design were the particular Talents of Homer . Virgil must yield to him in both , for the Design of the Latine was borrowed from the Grecian : But the dictio Virgiliana , the expression of Virgil ; his Colouring was incomparably the better , and in that I have always endeavour'd to copy him . Most of the Pedants I know maintain the contrary , and will have Homer excell even in this part . But of all people , as they are the most ill manner'd , so they are the worst Judges ; even of words which are their Province , they seldom know more than the Grammatical construction , unless they are born with a Poetical Genius ; which is a rare Portion amongst them . Yet some I know may stand excepted ; and such I honour . Virgil is so exact in every word , that none can be chang'd but for a worse : nor any one remov'd from its place , but the harmony will be alter'd . He pretends sometimes to trip ; but 't is onely to make you think him in danger of a fall , when he is most secure . Like a skilfull dancer on the Ropes ( if you will pardon the meanness of the similitude ) who slips willingly and makes a seeming stumble , that you may think him in great hazard of breaking his neck ; while at the same time he is onely giving you a proof of his dexterity . My late Lord Roscomon was often pleas'd with this reflection , and with the examples of it in this admirable Author . I have not leisure to run through the whole Comparison of Lights and Shadows with Tropes and Figures ; yet I cannot but take notice of Metaphors , which like them have power to lessen or greaten any thing . Strong and glowing Colours are the just resemblances of bold Metaphors , but both must be judiciously apply'd ; for there is a difference betwixt daring and fool-hardiness . Lucan and Statius often ventur'd them too far , our Virgil never . But the great defect of the Pharsalia and the Thebais was in the Design ; if that had been more perfect , we might have forgiven many of their bold strokes in the Colouring ; or at least excus'd them : yet some of them are such as Demosthenes or Cicero could not have defended . Virgil , if he could have seen the first Verses of the Sylvae , would have thought Statius mad in his sustian Description of the Statue on the brazen Horse . But that Poet was always in a Foam at his setting out , even before the Motion of the Race had warm'd him . The soberness of Virgil , whom he read it seems to little purpose , might have shown him the difference betwixt , Arma virumque cano , and Magnanimum AEacidem , formidatamque tonanti Progeniem . But Virgil knew how to rise by degrees in his expressions : Statius was in his towring heights at the first stretch of his Pinions . The description of his running Horse just starting in the Funeral Games for Archemorus , though the Verses are wonderfully fine , are the true Image of their Author . Stare adeo nescit , pereunt vestigia mille Ante fugam ; absentemque ferit gravis ungula campum . Which would cost me an hour , if I had the leisure to translate them , there is so much of Beauty in the Original . Virgil , as he better knew his Colours , so he knew better how and where to place them . In as much hast as I am , I cannot forbear giving one example . 'T is said of him , That he read the Second , Fourth and Sixth Books of his Aeneids to Augustus Caesar. In the Sixth , ( which we are sure he read , because we know Octavia was present , who rewarded him so bountifully for the twenty Verses which were made in honour of her deceas'd Son Marcellus ) in this sixth Book I say , the Poet speaking of Misenus the Trumpeter , says , — Quo non praestantior alter , Aere ciere viros , — And broke off in the Hemystick or midst of the Verse : but in the very reading siez'd as it were with a divine Fury , he made up the latter part of the Hemystick , with these following words ; — Martemque accendere cantu . How warm , nay how glowing a Colouring is this ! In the beginning of the Verse , the word Aes , or Brass , was taken for a Trumpet , because the Instument was made of that Metal , which of it self was fine ; but in the latter end , which was made ex tempore , you see three Metaphors , Martemque , — accendere , — cantu . Good Heavens ! how the plain sence is rais'd by the Beauty of the words . But this was Happiness , the former might be only Judgment : this was the curiosa felicitas , which Petronius attributes to Horace ; 't is the Pencil thrown luckily full upon the Horses mouth to express the Foam which the Painter with all his skill could not perform without it . These hits of words a true Poet often finds , as I may say , without seeking : but he knows their value when he finds them , and is infinitely pleas'd . A bad Poet may sometimes light on them , but he discerns not a Diamond from a Bristol ●●stone ; and would have been of the Cocks mind in Aesop , a Grain of Barley would have pleas'd him better than the Iewel . The Lights and Shadows which belongs to Colouring , put me in mind of that Verse in Horace , Hoc amat obscurum , vult hoc sub luce videri : some parts of a Poem require to be amply written , and with all the force and elegance of Words : others must be cast into Shadows ; that is , pass'd over in silence , or but faintly touch'd . This belongs wholly to the Judgment of the Poet and the Painter . The most beautifull parts of the Picture and the Poem must be the most finish'd , the Colours and Words most chosen ; many things in both which are not deserving of this care , must be shifted off ; content with vulgar expressions and those very short , and left as in a shadow to the imagination of the Reader . We have the Proverb , manum de tabulâ , from the Painters ; which signifies , to know when to give over , and to lay by the Pencil . Both Homer and Virgil practis'd this Precept wonderfully well , but Virgil the better of the two . Homer knew that when Hector was slain , Troy was as good as already taken ; therefore he concludes his Action there . For what follows in the Funerals of Patroclus , and the redemption of Hector's Body , is not ( properly speaking ) a part of the main Action . But Virgil concludes with the death of Turnus : sor after that difficulty was remov'd , Aeneas might marry and establish the Trojans when he pleas'd . This Rule I had before my Eyes in the conclusion of the Spanish Fryar , when the discovery was made , that the King was living , which was the knot of the Play unty'd , the rest is shut up in the compass of some few lines , because nothing then hinder'd the Happiness of Torismond and Leonora . The faults of that Drama are in the kind of it , which is Tragi comedy . But it was given to the people ; and I never writ any thing for my self but Anthony and Cleopatra . This Remark I must acknowledge is not so proper for the Colouring as the Design ; but it will hold for both . As the words , &c. are evidently shown to be the cloathing of the Thought , in the same sense as Colours are the cloathing of the Design , so the Painter and the Poet ought to judge exactly , when the Colouring and Expressions are perfect , and then to think their work is truly finish'd . Apelles said of Protogenes , That he knew not when to give over . A work may be over-wrought as well as under-wrought : too much Labour often takes away the Spirit by adding to the polishing ; so that there remains nothing but a dull correctness , a piece without any considerable Faults , but with few Beauties ; for when the Spirits are drawn off , there is nothing but a caput mortuum . Statius never thought an expression could be bold enough ; and if a bolder could be found he rejected the first . Virgil had Judgment enough to know daring was necessary ; but he knew the difference betwixt a glowing Colour and a glaring : as when he compar'd the shocking of the Fleets at Actium to the justling of Islands rent from their Foundations , and meeting in the Ocean . He knew the comparison was forc'd beyond Nature and rais'd too high : he therefore softens the Metaphor with a Credas . You would almost believe , that Mountains or Islands rush'd against each other . — Credas innare revulsas Cycladas : aut montes concurrere montibus aequos . But here I must break off without finishing the Discourse . Cynthius aurem vellit & admonuit , &c. the things which are behind are of too nice a consideration for an Essay , begun and ended in twelve Mornings , and perhaps the Iudges of Painting and Poetry , when I tell them , how short a time it cost me , may make me the same answer , which my late Lord Rochester made to one , who to commend a Tragedy , said it was written in three weeks ; How the Devil could he be so long about it ? For that Poem was infamously bad ; and I doubt this Parallel is little better ; and then the shortness of the time is so far from being a Commendation , that it is scarcely an Excuse . But if I have really drawn a Portrait to the Knees , or an half length with a tolerable Likeness , then I may plead with some Justice for my self , that the rest is left to the Imagination . Let some better Artist provide himself of a deeper Canvas , and taking these hints which I have given , set the Figure on its Legs , and finish it in the Invention , Design and Colouring . THE PREFACE OF THE French Author . AMong all the beautiful and delightful Arts , that of Painting has always found the most Lovers ; the number of them almost including all Mankind . Of whom great multitudes are daily found , who value themselves on the knowledge of it ; either because they keep company with Painters , or that they have seen good Pieces ; or lastly , because their Gusto is naturally good . Which notwithstanding , that Knowledge of theirs ( if we may so call it ) is so very superficial , and so ill grounded , that it is impossible for them to describe in what consists the beauty of those Works which they admire , or the faults which are in the greatest part of those which they condemn : and truly 't is not hard to find , that this proceeds from no other cause , than that they are not furnish'd with Rules by which to judge , nor have any solid Foundations , which are as so many Lights set up to clear their understanding and lead them to an entire and certain knowledge . I think it superfluous to prove that this is necessary to the knowledge of Painting . 'T is sufficient , that Painting be acknowledg'd for an Art ; for that being granted it follows without dispute , that no Arts are without their Precepts . I shall satisfy my self with telling you , that this little Treatise will furnish you with infallible Rules of judging truly : since they are not onely founded upon right Reason but upon the best Pieces of the best Masters , which our Author hath carefully examin'd during the space of more than thirty years ; and on which he has made all the reflections which are necessary to render this Treatise worthy of Posterity : which though little in bulk , yet contains most judicious Remarks , and suffers nothing to escape that is essential to the Subject which it handles . If you will please to read it with attention , you will find it capable of giving the most nice and delicate sort of Knowledge , not onely to the Lovers , but even to the Professors of that Art. It would be too long to tell you the particular advantages which it has above all the Books which hath appear'd before it in this kind : you need onely to read it , and that will convince you of this truth . All that I will allow my self to say , is onely this , That there is not a word in it , which carries not its weight ; whereas in all others , there are two considerable faults which lie open to the sight , ( viz ) That saying too much , they always say too little . I assure my self , that the Reader will own 't is a work of general profit , to the Lovers of Painting , for their instruction how to judge exactly ; and with Knowledge of the Cause , which they are to judge . And to the Painters themselves , by removing their difficulties , that they may work with pleasure ; because they may be in some manner certain that their Productions are good . 'T is to be used like Spirits and precious Liquours , the less you drink of it at a time 't is with the greater pleasure : read it often , and but little at once , that you may digest it better ; and dwell particularly on those passages which you find mark'd with an Asterism* For the observations which follow such a Note , will give you a clearer Light , on the matter which is there treated . You will find them by the Numbers which are on the side of the Translation , from five to five Veres ; by searching for the like Number in the Remarks which are at the end of it , and which are distinguish'd from each other by this note ¶ . You will find in the latter Pages of this Book , the Judgment of the Author on those Painters , who have acquir'd the greatest Reputation in the World. Amongst whom , he was not willing to comprehend those who are now living : They are undoubtedly his , as being found among his Papers written in his own hand . As for the Prose Translation which you will find on the other side of the Latine Poem , I must inform you on what occasion , and in what manner it was perform'd . The Love which I had for Painting , and the pleasure which I found in the Exercise of that noble Art , at my leisure hours , gave me the desire of being acquainted with the late Mr. du FRESNOY ; who was generally reputed to have a through knowledge of it . Our Acquaintance at length proceeded to that degree of Intimacy ; that he intrusted me with his Poem , which he believ'd me capable both of understanding , and translating ; and accordingly desir'd me to undertake it . The truth is , that we had convers'd so often on that Subject , and he had communicated his Thoughts of it so fully to me ; that I had not the least remaining difficulty concerning it . I undertook therefore to translate it , and imploy'd my self in it with Pleasure , Care , and Assiduity ; after which , I put it into his hands , and he alter'd in it what he pleas'd , till at last it was wholly to his Mind . And then he gave his Consent that it should be publish'd : but his Death preventing that Design , I thought it a wrong to his Memory , to deprive Mankind any longer of this Translation , which I may safely affirm to be done according to the true sence of the Author , and to his liking : Since he himself has given great Testimonies of his Approbation to many of his Friends , and they who were acquainted with him , know his humour to be such , that he wou'd never constrain himself so far , as to commend what he did not really approve . I thought my self oblig'd to say thus much , in vindication of the faithfulness of my Work , to those who understand not the Latine : for as to those who are conversant in both the tongues , I leave them to make their own judgment of it . The Remarks which I have added to his work , are also wholly conformable to his opinions ; and I am certain that he wou'd not have disapprov'd them . I have endeavour'd in them to explain some of the most obscure passages , and those which are most necessary to be understood ; and I have done this according to the manner wherein he us'd to express himself , in many Conversations which we had together . I have con●●in'd them also to the narrowest compass I was able , that I might not tire the patience of the Reader , and that they might be read by all persons . But if it happens , that they are not to the tast of some Readers ( as doubtless it will so fall out ) I leave them entirely to their own discretion , and shall not be displeas'd that another hand shou'd succeed better . I shall onely beg this favour from them , that in reading what I have written , they will bring no particular gusto along with them , or any prevention of mind , and that whatsoever judgment they make , it may be purely their own , whether it be in my favour , or in my condemnation . A TABLE of the Precepts Contain'd in this TREATISE . OF what is Beautiful . p. 7 Of Theory and Practice . 8 Concerning the Subject . 11 Invention the first part of Painting . 12 The Disposition of the whole Work. ib. The Faithfulness of the Subject . ib. Whatsoever palls the Subject to be rejected . 15 Design , or Drawing the second part of Painting . 16 Variety in the Figures . 19 The Members and Drapery of every Figure to be suitable to it . ib. The Actions of Mutes to be imitated . ib. Of the principal Figure of the Subject . ib. Grouppes of Figures . 20 The Diversity of Postures in the Grouppes . ib. Equality of the Piece . ib. Of the number of Figures . 23 Of the Ioints and Feet . ib. The Motions of the Hands and Head must agree . ib. What must be avoided in the distribution of the Figures . ib. That we must not tie our selves to Nature , but accommodate her to our Genius . 24 Ancient Figures the Rules of imitating Nature . 27 A single Figure how to be treated . ib. Of the Draperies . ib. What things contribute to adorn the Picture . 31 Of precious Stones and Pearls for Ornament . ib. The Model . ib. The Scene of the Picture . ib. The Graces and the Nobleness . ib. Let every thing be set in its proper place . ib. Of the Passions . 32 Gothique Ornamens to be avoided . ib. Colouring the third part of Painting . 35 The Conduct of the Tones of Lights and Shadows . 39 Of dark Bodies on light grounds . 40 That there must not be two equal Lights in a Picture . 43 Of White and Black. 44 The Reflection of Colours . 47 The Vnion of Colours . ib. Of the Interposition of Air. ib. The relation of Distances . 48 Of Bodies which are distanc'd . ib. Of Bodies which are contiguous , and of those which are seperated . ib. Contrary extremities to be avoided . ib. Diversity of Tones and Colours . ib. The Choice of Light. 51 Of certain things relating to the practical part . ib. The Field , or Ground of the Picture . ib. Of the Vivacity of Colours . 52 Of Shadows . ib. The Picture to be of one Piece . ib. The Looking-glass the Painters best Master . ib. An half Figure , or a whole one before others . ib. A Portrait . 55 The place of the Picture . ib. Large Lights . 56 What Lights are requisite . ib. Things which are vicious in Painting to be avoided . ib. The prudential part of a Painter . ib. The Idea of a beautiful Piece . 59 Advice to a young Painter . ib. Art must be subservient to the Painter . 60 Diversity and Facility are pleasing . ib. The Original must be in the Head , and the Copy on the Cloth. ib. The Compass to be in the Eyes . ib. Pride an Enemy to good Painting . 63 Know your self . ib. Practise perpetually . 64 The Morning most proper for Work. ib. Every day do something . ib. The Passions which are true and na●●ural ib. Of Table-Books . 67 The method of Studies for a young ●●ainter . 71 Nature and Experience perfect Art. 76 THE ART OF PAINTING . DE ARTE GRAPHICA LIBER . UT PICTURA POESIS ERIT ; similisque Poesi Sit Pictura , refert par aemula quaeque sororem , Alternantque vices & nomina ; muta Poesis Dicitur haec , Pictura loquens solet illa vocari . Quod fuit auditu gratum cecinere Poetae , Quod pulchrum aspectu Pictores pingere curant : Quaeque Poetarum numeris indigna fuêre , Non eadem Pictorum operam studiumque merentur : Ambae quippe sacros ad Relligionis honores Sydereos superant ignes , Aulamque Tonantis Ingressae , Divûm aspectu , alloquioque fruuntur ; Oraque magna Deûm & dicta observata reportant , Coelestemque suorum operum mortalibus ignem . Inde pe●● hunc orbem studiis coêuntibus errant , Carpentes quae digna sui , revolutaque lustrant Tempora . Quaerendis consortibus Argumentis . Denique quaecumque in coelo , terraque , marique Longius in tempus durare , ut pulchra , merentur , Nobilitate sua claroque insignia casu , Dives & ampla manet Pictores atque Poetas Materies , inde alta sonant per saecula mundo Nomina , magnanimis Heroibus inde superstes Gloria , perpetuoque operum miracula restant : Tantus inest divis honor Artibus atque potestas . Non mihi Pieridum chorus hic , nec Apollo vocandus , Majus ut eloquium numeris aut gratia fandi Dogmaticis illustret opus rationibus horrens : Cum nitida tantum & facili digesta loquelâ , Ornari praecepta negent ; contenta doceri . Nec mihi mens animusve fuit constringere nodos Artificum manibus , quos tantum dirigit usus ; Indolis ut vigor inde potens obstrictus hebescat , Normarum numero immani Geniumque moretur : Sed rerum ut pollens Ars cognitione gradatim Naturae sese insinuet , verique capacem Transeat in Genium , Geniusque usu induat Artem. Praecipua imprimis Artisque potissima pars est , Nôsse quid in rebus Natura creârit ad Artem Pulchrius , idque Modum juxta , Mentemque Vetustam , Qua sine barbaries caeca & temeraria Pulchrum Negligit , insultans ignotae audacior Arti , Ut curare nequit , quae non modo noverit esse , Illud apud Veteres fuit , unde notabile dictum , Nil Pictore malo securius atque Poeta . Cognita amas , & amata cupis , sequerisque cupita ; Passibus assequeris tandem quae fervidus urges : Illa tamen quae pulchra decent ; non omnia casus Qualiacumque dabunt , etiamve simillima veris : Nam quamcumque modo servili haud sufficit ipsam Naturam exprimere ad vivum , sed ut Arbiter Artis Seliget ex illa tantùm pulcherrima Pictor . Quodque minus pulchrum , aut mendosum corriget ipse Marte suo , formae Veneres captando fugaces . Utque manus grandi nil nomine practica dignum Assequitur , purum arcanae quam deficit Artis Lumen , & in praeceps abitura ut caeca vagatur ; Sic nihil Ars operâ manuum privata supremum Exequitur , sed languet iners uti vincta lacertos ; Dispositumque typum non linguâ pinxit Apelles . Ergo licet totâ normam haud possimus in Arte Ponere , ( cùm nequeant quae sunt pulcherrima dici ) Nitimur haec paucis , scrutati summa magistrae Dogmata Naturae , Artisque Exemplaria prima Altiùs intuiti ; sic mens habilisque facultas Indolis excolitur , Geniumque scientia complet , Luxuriansque in monstra furor compescitur Arte : Est modus in rebus , ●●unt certi denique fines , Quos ultra citraque nequit consistere rectum . His positis , erit optandum Thema nobile , pulchrum , Quodque venustatum circa Formam atque Colorem Sponte capax amplam emeritae mox praebeat Arti Materiam , retegens aliquid salis & documenti . Tandem opus aggredior , primoque occurrit in Albo Disponenda typi concepta potente Minervâ Machina , quae nostris Inventio dicitur oris . Illa quidem priùs ingenuis instructa Sororum Artibus Aonidum , & Phoebi sublimior aestu . Quaerendasque inter Posituras , luminis , umbrae , Atque futurorum jam praesentire colorum Par erit harmoniam , captando ab utrisque venustum . Sit Thematis genuina ac viva expressio juxta Textum Antiquorum , propriis cum tempore formis . Nec quod inane , nihil facit ad rem , sive videtur Improprium , minim●●que urgens , potiora tenebit Ornamenta operis ; Tragicae sed lege sororis Summa ubi res agitur , vis summa requiritur Artis . Ista labore gravi , studio , monitisque Magistri Ardua pars nequit addisci rarissima : namque Ni priùs aethereo rapuit quod ab axe Prometheus Sit jubar infusum menti cum flamine vitae , Mortali haud cuivis divina haec munera dantur , Non uti Daedaleam licet omnibus ire Corinthum . Aegypto informis quondam Pictura reperta , Graecorum studiis & mentis acumine crevit : Egregiis tandem illustrata & adulta Magistris Naturam visa est miro superare labore . Quos inter Graphidos gymnasia prima fuêre , Portus Athenarum , Sicyon , Rhodos , atque Corinthus , Disparia inter se , modicùm ratione Laboris ; Ut patet ex Veterum statuis , formae atque decoris Archetypis , queis posterior nil protulit aetas Condignum , & non inferius longe Arte , Modoque : Horum igitur vera ad normam Positura legetur , Grandia , inaequalis , formosaque Partibus amplis Anteriora dabit membra , in contraria motu Diverso variata , suo liberataque centro : Membrorumque Sinus ignis flammantis ad instar Serpenti undantes flexu , sed laevia plana Magnaque signa , quasi sine tubere subdita tactu Ex longo deducta fluant , non secta minutim , Insertisque Toris sint not a ligamina juxta Compagem Anathomes , & membrificatio Graeco Deformata Modo , paucisque expressa lacertis , Qualis apud Veteres ; totoque Eurithmia partes Componat , genitumque suo generante sequenti Sit minus , & puncto videantur cuncta sub uno ; Regula certa licet nequeant Prospectica dici , Aut complementum Graphidos ; sed in arte juvamen Et Modus accelerans operandi : ut corpor a falso Sub visu in multis referens mendosa labascit : Nam Geometralem nunquam sunt corpora juxta Mensuram depicta oculis , sed qualia visa . Non eadem formae species , non omnibus aetas Aequalis , similisque color , crinesque Figuris : Nam variis velut orta plagis Gens disparevultu . Singula membra suo capiti conformia fiant Unum idemque simul corpus cum vestibus ipsis : Mutorumque silens Positura imitabitur actus . Prima Figurarum , seu Princeps Dramatis ultro Prosiliat media in Tabula sub lumine primo Pulchrior ante alias , reliquis nec operta Figuris . Agglomerata simul sint membra , ipsaeque Figurae Stipentur , circumque globos locus usque vacabit ; Ne , mal●● dispersis dum visus ubique Figuris Dividitur , cunctisque operis fervente tumultu Partibus implicitis crepitans confusio surgat . Inque figurarum cumulis non omnibus idem Corporis inflexus , motusque , vel artibus omnes Conversis pariter non connitantur eodem , Sed quaedam in diversa trahant contraria membra Transvers●●que aliis pungent , & caetera frangant . Pluribus adversis aversam oppone figuram , Pectoribusque humeros , & dextera membra sinistris , Seu multis constabit Opus , paucisve figuris . Altera pars tabulae vacuo ne frigida Campo Aut deserta siet , dum pluribus alter a formis Fervida mole sua supremam exurgit ad or am : Sed tibi sic positis respondeat utraque rebus , Ut si aliquid sursum se parte attollat in unâ , Sic aliquid parte ex alia consurgat , & ambas Aequiparet , geminas cumulando aequaliter oras . Pluribus implicitum Personis Drama supremo In genere ut rarum est ; multis ita densa Figuris Rarior est Tabula excellens ; vel adhuc ferè nulla Praestitit in multis quod vix bene praestat in unâ : Quippe solet rerum nimio dispersa tumultu Majestate carere gravi requieque decorâ ; Nec speciosa nitet vacuo nisi liber a Campo . Sed si Opere in magno plures Thema grande requirat Esse figurarum Cumulos , spectabitur unà Machina tota rei , non singula quaeque seorsim . Praecipua extremis raro Internodia membris Abdita sint : summa Pedum vestigia nunquam . Gratia nulla manet , motusque , vigorque Figuras Retro aliis subter majori ex parte latentes , Ni capitis motum manibus comitentur agendo . Difficiles fugitoa spectus , contractaque visu Membra sub ingrato , motusque , actusque coactos , Quodque refert signis , rectos quodammodo tractus , Siva Parallelos plures simul , & vel acutas , Vel Geometrales ( ut Quadra , Triangula , ) formas : Ingratamque pari Signorum ex ordine quandam Symmetriam : sed praecipu●● in contraria semper Signa volunt duci transversa , ut diximus anté . Summa igitur ratio Signorum habeatur in omni Composito ; dat enim reliquis pretium , atque vigorem . Non ita naturae astanti sis cuique revinctus , Hanc praeter nihil ut Genio studioque relinquas ; Nec sine teste rei natura , Artisque Magistra Quidlibet ingenio memor ut tantummodo rerum Pingere posse putes ; errorum est plurima sylva , Multiplicesque viae , bene agendi terminus unus , Linea recta velut sola est , & mille recurvae : Sed juxta Antiquos naturam imitabere pulchram , Qualem forma rei propria , objectumque requirit . Non te igitur lateant antiqua Numismata , Gemmae , Vasa , Typi , Statuae , caelataque Marmora Signis ; Quodque refert specie Veterum post saecula Mentem ; Splendidior quippe ex illis assurgit imago , Magnaque se rerum facies aperit meditanti ; Tunc nostri tenuem saecli miserebere sortem , Cùm spes nulla siet rediturae aequalis in aevum . Exquisita siet formâ dum sola Figura . Pingitur , & multis variata Coloribus esto . Lati amplique sinus Pannorum , & nobilis ordo Membra sequens , subter latitantia Lumine ●● Umbra Exprimet , ille licet transversus saepe feratur , Et circumfulos Pannorum porrigat extra Membra sinus , non contiguous , ipsisque Figurae Partibus impressos , quasi Pannus adhaereat illis ; Sed modic●● expressos cum Lumine servet & Umbris : Quaeque intermissis passim sunt dissita vanis Copulet , inductis subtérve , lacernis . Et membra ut magnis paucisque expressa lacertis . Majestate allis preastant forma atque decore ; Haud seus in Pannis quos supra optavimus amplos Perpaucos sinuum flexus , rugasque , striasque , Membra super versu faciles inducere praestat . Naturaeque rei proprius sit Pannus , abundans Patriciis , succinctus erit crassusque Bubulcis Mancipiisque ; levis , teneris , gracilisque Puellis . Inque cavis maculisque umbrarum aliquando tumescet Lumen ut excipiens operis quá Massa requirit Latius extendat , sublatisque aggreget umbris . Nobilia Arma juvant virtutum , ornantque Figura●● , Qualia Musarum , Belli , Cultusque Deorum : Nec sit opus nimiùm Gemmis Auroque refertum ; Rara etenim magno in pretio , sed plurima vili . Quae deinde ex Vero nequeunt praesente videri , Prototypum prius illorum formare juvabit . Conveniat locus atque habitus , ritusque decusque Servetur ; sit Nobilitas , Charitumque Venustas , ( Rarum homini munus , Coelo , non Arte petendum . ) Naturae sit ubique tenor ratioque sequenda . Non vicina pedum tabulata excelsa tonantis Astra domus depicta gerent nubesque notosque ; Nec mare depressum Laquearia summa vel orcum ; Marmoreamque feret cannis vaga pergula molem : Congrua sed propriâ semper statione locentur . Haec praeter motus animorum & corde repostos Exprimere Affectus , paucisque coloribus ipsam Pingere posse animam , atque oculis praebere videndam , Hoc opus , his labor est : pauci quos aequus amavit Juppiter , aut ardens evexit ad aethera virtus : Dîs similes potuere manu miracula tanta . Hos ego Rhetoribus tractandos desero tantum Egregii antiquum memorabo sophisma Magistri , Verius affectus animi vigor exprimit ardens , Solliciti nimiúm quam sedula cura laboris . Denique nil sapiat Gotthorum barbara trito Ornamenta modo , saeclorum & monstra malorum ; Queis ubi bella , famen & pestem , Discordia , Luxus , Et Romanorum res grandior intulit Orbi , Ingenuae periere Artes , periere superbae Artificum moles , s●●a tunc miracula vidit Ignibus absumi Pictura , latere coacta Fornicibus , sortem & reliquam confidere Cryptis , Marmoribusque diu Sculptura jacere sepultis . Imperium interea scelerum gravitate fatiscens Horrida nox totum invasit , donoque superni Luminis indignum , errorum caligine mersit , Impiaque ignaris damnavit saecla tenebris : Unde Coloratum Graiis huc usque Magistris Nil superest tantorum Hominum quod Mente Modoque Nostrates juvet Artifices , doceatque Laborem ; Nec qui Chromatices nobis hoc tempor partes Restituat , quales Zeuxis tractaverat olim . Hujus quando magâ velut Arte aequavit Apellem Pictorum Archigraphum meruitque Coloribus altam Nominis aeterni famam toto orbe sonantem . Haec quidem ut in Tabulis fallax sed grata Venustas , Et complementum Graphidos ( mirabile visu ) Pulchra vocabatur , sed subdola Lena Sororis : Non tamen hoc lenocinium ; fucusque , dolusque Dedecori fuit unquam ; illi sed semper honori , Laudibus & meritis ; hanc ergo nosse juvabit . Lux varium vivumque dabit , nullum Umbra Colorem . Quo magis adversum est corpus lucisque propinquum , Clarius est Lumen ; nam debilitatur eundo . Quo magis est ●●orpus directum oculisque propinquum , Conspicitur meliùs ; nam visus hebescit eundo . Ergo in corporibus quae visa adversa rotundis Integra sint , extrema abscedant perdita signis Confusis , non praecipiti labentur in Umbram Clara gradu , nec adumbrata in clara alta repente Prorumpant ; sederit sensim hinc atque inde meatus Lucis & Umbrarum ; capitisque unius ad instar Totum opus , ex multis quamquam sit partibus unus Luminis Umbrarumque globus tantummodo fiet , Sive duo vel tres ad summum , ubi grandius esset Divisum Pegma in partes statione remotas . Sintque ita discreti inter se ratione colorum , Luminis umbrarumque anteorsum ut corpora clara Obscura umbrarum requies speetanda relinquat ; Claroque exiliant umbrata atque aspera Campo . Ac veluti in speculis convexis eminet ante Asperior reipsa vigor & vis aucta colorum Partibus adversis ; magis & fuga rupta retrorsum Illorum est ( ut visa minùs vergentibus oris ) Corporibus dabimus formas hoc more rotundas , Mente Modoque igitur Plastes & Pictor eodem Dispositum tractabit opus ; quae Sculptor in orbem Atterit , haec rupto pro●●ul abscedente colore Assequitur Pictor , fugientiaque illa retrorsum Iam signata minùs confusa coloribus aufert : Anteriora quidem directè adversa , colore Integra , vivaci , summo cum Lumine & Umbra Antrorsum distincta refert velut aspera visu . Sicque super planum inducit Leucoma Colores . Hos velut ex ipsa natura immotus eodem Intuitu circum Statuas daret inde rotundas . Densa Figurarum solidis quae corpora formis Subdita sunt tactu non transluent , sed opaca In translucendi spatio ut super Aera , Nubes Lympida stagna Undarum , & inania caetera debent Asperiora illis prope circumstantibu●● esse , Ut distincta magis firmo cum L●●mine & Umbra , Et gravioribus ut suste●● a coloribus , inter Aëreas species subsistent semper opaca : Sed contra procul abscedant perlucida densis Corporibus leviora ; uti Nubes , Aër & Undae . Non poterunt diversa locis duo Lumina eâdem In Tabulâ paria admitti , aut aequalia pingi : Majus at in mediam Lumen ●●adet usqe Tabellam Latius infusum , primis qua summa Figuris Res agitur , circumque oras minuetur eundo : Utque in progressu Iubar attenuatur ab ortu Solis ad occasum paulatim , & cessat eundo ; Sic Tabulis Lumen , tota in compage Colorum , Primo à fonte , minus sensim declinat eundo . Majus ut in Statuis per compita stantibus Urbis Lumen habent Partes superae , minus inferiores , Idem erit in tabulis , majorque nec umbra vel ater Membra Figurarum intrabit Color atque secabit : Corpora sed circum Umbra cavis latitabit oberrans : Atque ita quaeretur Lux opportuna Figuris , Ut late infusum Lumen lata Umbra sequatur : Unde nec immeritò fertur Titianus ubique Lucis & Umbrarum Normam appellasse Racemum . Purum Album esse potest propiusque magisque remotum : Cum Nigro antevenit propiùs , fugit absque remotum ; Purum autem Nigrum antrorsum venit usque Propinquum . Lux fucata suo tingit miscetque Colore Corpora , sicque suo , per quem Lux funditur , aër Corpora juncta simul , circumfusosque Colores Excipiunt , propriumque aliis radiosa reflectunt . Pluribus in Solidis liquidâ sub Luce propinquis Participes , mixtosque simul decet esse Colores . Hanc Normam Veneti Pictores rité sequuti , ( Quae fuit Antiquis Corruptio dicta Colorum ) Cùm plures opere in magno posuêre Figuras , Ne conjuncta simul variorum inimica Colorum Congeries Formam implicitam & concisa minutis Membra daret Pannis , totam unamquamque Figuram Affini aut uno tantùm vestire Colore Sunt soliti , variando Tonis tunicamque togamque Carbaseosque Sinus , vel amicum in Lumine & Umbra Contiguis circum rebus sociando Colorem . Quà minus est spatii aërei , aut quà purior Aër , Cuncta magis distincta patent , speciesque reservant : Qu●●que magis densus nebulis , aut plurimus Aër Amplum inter fuerit spatium porrectus , in auras Confundet rerum species , & perdet inanes . Anteriora magis semper finita remotis Incertis dominentur & abscedentibus , idque More relativo , ut majora minoribus extant . Cuncta minuta procul Massam densantur in unam , Ut folia arboribus sylvarum , & in Aequore fluctus . Contigua inter se coëant , Distabuntque tamen grato & discrimine parvo . Extrema extremis contraria jungere noli ; Sed medio sint usque gradu sociata Coloris . Corporum erit Tonus atque Color variatus ubique Quaerat amicitiam retro , ferus emicet ante . Supremum in Tabulis Lumen captare diei Insanus labor Artificum ; cùm attingere tantùm Non Pigmenta queant ; auream sed vespere Lucem , Seu modicam mane albentem , sive aetheris actam Post Hymem nimbis transfuso Sole caducam , Seu nebulis fultam accipient , tonitruque rubentem . Laevia quae lucent , veluti Chrystalla , Metalla , Ligna , Ossa & Lapides ; Villosa , ut Vellera , Pelles , Barbae , aqueique Oculi , Crines , Holoserica , Plumae ; Et Liquida , ut stagnans Aqua , reflexaeque sub Undis Corporeae species , & Aquis contermina cuncta , Subter ad extremum liquide sint picta , superque ▪ Luminibus pereussa suis , signisque repostis . Area vel Campus Tabulae vagus esto , levisque Abscedat latus , liquideque bene unctis amicis Tota ex mole Coloribus , una sive Patellâ : Quaeque cadunt retro in Campum confinia Campo . vividus esto Color nimio non pallidus Albo , Adversisque locis ingestus plurimus ardens ; Sed leviter parcéque datus vergentibus oris . Cuncta Labore simul coëant , velut Umbrâ in eadem . Tota siet Tabula ex unâ depicta Patellâ . Multa ex Natura Speculum praeclara docebit ; Quaeque procul serò spatiis spectantur in amplis . Dimidia Effigies , quae sola , vel integra plures Ante alias posita ad Lucem , stet proxima visu , Et latis spectanda locis , oculisque remota , Luminis Umbrarumque gradu sit picta supremo . Partibus in minimis imitatio justa juvabit E●●igiem , alternas referendo tempore eodem Consimiles Partes , cum Luminis atque Coloris Compositis justisque Tonis , tunc parta Labore Si facili & vegeto micat ardens , viva videtur . Visa loco angusto tenerè pingantur , amico Iuncta Colore graduque , procul quae picta feroci Sint & inaequali variata Colore , Tonoque . Grandia signa volunt spatia ampla ferosque Colores . Lumina lata unctas simul undique copulet Umbras Extremus Labor . In Tabulas demissa fenestris Si fuerit Lux parva , Color clarissimus esto : Vividus at contra obscurusque in Lumine aperto . Quae vacuis divisa cavis vitare memento : Trita , minuta , simul quae non stipata dehiscunt ; Barbara , Cruda oculis , rugis fucata Colorum , Luminis Umbrarumque Tonis aequalia cuncta ; Foeda , cruenta , cruces , obscoena , ingrata , chimeras , Sordidaque & misera , & vel acuta , vel aspera tactu , Quaeque dabunt formae temerè congesta ruinam , Implicitasque aliis confundent miscua Partes . Dumque fugis vitiosa , cave in contraria labi Damna mali , Vitium extremis nam semper inhaeret . Pulchra gradu summo Graphidos stabilita Vetustae Nobilibus Signis sunt Grandia , Dissita , Pura , Tersa , velut minime confusa , Labore Ligata , Partibus ex magnis paucisque efficta , Colorum Corporibus distincta feris , sed semper amicis . Qui bene coepit , uti facti jam fertur habere Dimidium ; Picturam ita nil sub limine primo Ingrediens Puer offendit damnosius Arti , Quàm varia errorum genera ignorante Magistro Ex pravis libare Typis , mentemque veneno Inficere , in toto quod non abstergitur aevo . Nec Graphidos rudis Artis adhuc cito qualiacumque Corpora viva super studium meditabitur ante Illorum quam Symmetriam , Internodia , Formam Noverit inspectis docto evolvente Magistro Archetypis , dulcesque Dolos praesenserit Artis . Plusque Manu ante oculos quàm voce docebitur usus . Quaere Artem quaecumque juvant , fuge quaeque repugnant . Corpora diversae naturae juncta placebunt ; Sic ea quae facili contempta labore videntur : Aethereus quippe ignis inest & spiritus illis . Mente diu versata , manu celeranda repenti . Arsque Laborque Operis grata sic fraude latebit . Maxima deinde erit ars , nihil artis inesse videri . Nec prius inducas Tabulae Pigmenta Colorum , Expensi quàm signa Typi stabilita nitescant , Et menti praesens Operis sit Pegma futuri . Praevaleat sensus rationi quae officit Arti Conspicuae , inque oculis tantummodo Circinus esto . Utere Doctorum Monitis , nec sperne superbus Discere quae de te fuerit Sententia Vulgi . Est coecus nam quisque suis in rebus , & expers Iudicii , Prolemque suam miratur amatque . Ast ubi Consilium deerit Sapientis Amici , Id tempus dabit , atque mora intermissa labori . Non facilis tamen ad nutus & inania Vulgi Dicta levis mutabis Opus , Geniumque relinques : Nam qui parte sua sperat bene posse mereri Multivaga de Plebe , nocet sibi , nec placet ulli . Cumque Opere in proprio soleat se pingere Pictor , ( Prolem adeo sibi ferre parem Natura suevit ) Proderit imprimis Pictori 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ; Ut data quae genio colat , abstineatque negat is . Fructibus utque suus nunquam est sapor at que venustas Floribus insueto in fundo praecoce sub anni Tempore , quos cultus violentus & ignis adegit ; Sic nunquam nimio quae sunt extorta labore , Et picta invito Genio , nunquam illa placebunt . Vera super meditando , Manus , Labor improbus adsit : Nec tamen obtundat Genium , mentisque vigorem . Optima nostrorum pars matutina dierum , Difficili hanc igitur potiorem impende Labori . Nulla dies abeat quin linea ducta supersit . Perque vias vultus hominum , motusque notabis Libertate sua proprios , positasque Figuras Ex sese faciles , ut inobservatus habebis . Mox quodcumque Mari , Terris & in Aëre pulchrum Contigerit , Chartis propera mandare paratis , Dum praesens animo species tibi fervet hianti . Non epulis nimis indulget Pictura , meroque Parcit , Amicorum quantum ut sermone benigno Exhaustum reparet mentem recreata , sed inde Litibus & curis in Coelibe libera vita Secessus procul à turba strepituque remotos Villarum rurisque beata silentia quaerit : Namque recollecto tota incumbente Minerva Ingenio rerum species praesentior extat , Commodiusque Operis compagem amplectitur omnem . Infami tibi non potior sit avara peculî Cura , aurique fames , modicâ quam sorte beato Nominis aeterni & laudis pruritus habendae , Condignae pulchrorum Operum mercedis in aevum . Iudicium , docile Ingenium , Cor nobile , Sensus Sublimes , firmum Corpus , florensque Iuventa , Commoda Res , Labor , Artis amor , doctusque Magister ; Et quamcumque voles occasio porrigat ansam , Ni Genius quidam adfuerit Sydusque benignum , Dotibus his tantis , nec adhuc Ars tantaparatur : Distat ab Ingenio longè Manus . Optima Doctis Censentur quae prava minus ; latet omnibus error , Vitaque tam longae brevior non sufficit Arti ; Desinimus nam posse senes cùm scire periti Incipimus , doctamque Manum gravat aegra senectus , Nec gelidis fervet juvenilis in Artubus ardor . Quare agite , ô Iuvenes , placido quos Sydere natos Paciferae studia allectant tranquilla Minervae , Quosque suo fovet igne , sibique optavit Alumnos ! Eja agite , atque animis ingentem ingentibus Artem Exercete alacres , dum strenua corda Iuventus Viribus extimulat vegetis , patiensque laborum est ; Dum vacua errorum nulloque imbuta sapore Pura nitet mens , & rerum sitibunda novarum Praesentes haurit species , atque humida servat . In Geometrali priùs Arte parumper adulti Signa Antiqua super Graïorum addiscite formam ; Nec mora nec requies , noctuque diuque labori Illorum Menti atque Modo , vos donec agendi Praxis ab assiduo faciles assueverit usu . Mox ubi Iudicium emensis adoleverit annis Singula quae celebrant primae Exemplaria classis Romani , Veneti , Parmenses , atque Bononi Partibus in cunctis pedetentim atque ordine recto , Ut monitum suprà est vos expendisse juvabit . Hos apud invenit Raphael miracula summo Ducta modo , Veneresque habuit quas nemo deinceps . Quidquid erat formae scivit Bonarota potenter . Iulius à puero Musarum eductus in Antris Aonias reseravit opes , Graphicaque Poësi Quae non visa priùs , sed tantùm audita Poëtis Ante oculos spectanda dedit Sacraria Phoebi : Quaeque coronatis complevit bella triumphis Heroüm fortuna potens , casusque decoros Nobilius reipsa antiqua pinxisse videtur . Clarior ante alios Corregius extitit , ampla Luce superfusa circum coëuntibus Umbris , Pingendique Modo grandi , & tractando Colore Corpora . Amicitiamque , gradusque , dolosque Colorum , Compagemque ita disposuit Titianus , ut inde Divus appellatus , magnis sit honoribus auctus Fortunaeque bonis : Quos sedulus Annibal omnes In propriam mentem atque Modum mira arte coegit . Plurimus inde labor Tabulas imitando juvabit Egregias , Operumque Typos ; sed plura docebit Natura ante oculos praesens ; nam firmat & auget Vim Genii , ex illaque Artem Experientia complet . Multa supersileo quae commentaria dicent . Haec ego , dum memoror subitura volubilis aevi Cuncta vices , variisque olim peritura ruinis , Pauca Sophismata sum Graphica immortalibus ausus Credere Pieriis . Romae meditatus : ad Alpes Dum super insanas moles inimicaque castra Borbonidum decus & vindex Lodoicus Avorum Fulminat ardenti dextrâ , Patriaeque resurgens Gallicus Alcides , premit Hispani ora Leonis . THE Art of Painting * PAinting and Poesy are two Sisters , which are so like in all things , that they mutually lend to each other both their Name and Office. One is call'd a dumb Poesy , and the other a speaking Picture . The Poets have never said any thing but what they believ'd wou'd please the Ears . And it has been the constant endeavour of the Painters to give pleasure to the Eyes . In short , those things which the Poets have thought unworthy of their Pens , the Painters have judg'd to be unworthy of their Pencils . * For both of them , that they might contribute all within their power to the sacred Honours of Religion , have rais'd themselves to Heaven , and , having found a free admission into the Palace of Iove himself , have enjoy'd the sight and conversation of the Gods ; whose Majesty they observe , and contemplate the wonders of their Discourse ; in order to relate them to Mankind ; whom at the same time they inspire with those Coelestial flames , which shine so gloriously in their Works . From Heaven they take their passage through the world ; and are neither sparing of their pains nor of their study to collect whatsoever they find worthy of them . * They dive ( as I may say ) into all past Ages ; and search their Histories , for Subjects which are proper for their use : with care avoiding to treat of any but those which , by their nobleness , or by some remarkable accident , have deserv'd to be consecrated to Eternity ; whether on the Seas , or Earth , or in the Heavens . And by this their care and study it comes to pass , that the glory of Heroes is not extinguish'd with their lives : and that those admirable works , those prodigies of skill , which even yet are the objects of our admiration , are still preserv'd . * So much these Divine Arts have been always honour'd : and such authority they preserve amongst Mankind . It will not here be necessary to implore the succour of Apollo , and the Muses : for the gracefulness of the Discourse , or for the Cadence of the Verses : which containing only Precepts , have not so much need of Ornament , as of Perspicuity . I pretend not in this Treatise to tye the hands of Artists , whose skill consists only in a certain practice , or manner which they have affected ; and made of it as it were a Common Road. Neither wou'd I stifle the Genius by a jumbled heap of Rules : nor extinguish the fire of a vein which is lively and abundant . But rather to make this my business , that Art being strengthned by the knowledge of things , may at length pass into Nature by slow degrees ; and so in process of time may be sublim'd into a pure Genius which is capable of choosing judiciously what is true ; and of distinguishing betwixt the beauties of Nature , and that which is low and mean in her ; and that this Original Genius by long exercise and customs , may perfectly possess all the Rules and Secrets of that Art. * The principal and most important part of Painting , is to find out and thoroughly to understand what Nature has made most beautifull , and most proper to this Art ; * and that a choice of it may be made according to the gust and manner of the Ancients , * without which all is nothing but a blind , and rash barbarity ; which rejects what is most beautifull , and seems with an audacious insolence to despise an Art , of which it is wholly ignorant ; which has occasion'd these words of the Ancients : That no man is so bold , so rash , and so overweening of his own works , as an ill Painter , and a bad Poet , who are not conscious to themselves of their own Ignorance . * We love what we understand ; we desire what we love ; we pursue the enjoyment of those things which we desire ; and arrive at last to the possession of what we have pursu'd , if we constantly persist in our Design . In the mean time , we ought not to expect that blind Fortune shou'd infallibly throw into our hands those Beauties : For though we may light by chance on some which are true and natural , yet they may prove either not to be decent or not to be ornamental . Because it is not sufficient to imitate Nature in every circumstance , dully , and as it were literally , and meanly ; but it becomes a Painter to take what is most beautifull , * as being the Soveraign Judge of his own Art ; and that by the progress which he has made , he may understand how to correct his errours , and * permit no transient Beauties to escape his observation . * In the same manner , that bare practice , destitute of the Lights of Art , is always subject to fall into a precipice like a blind Traveller , without being able to produce any thing which contributes to a solid reputation : So the speculative part of Painting , without the assistance of manual operation , can never attain to that perfection which is its object : But sloathfully languishes as in a Prison : for it was not with his Tongue that Apelles perform'd his Noble Works . Therefore though there are many things in Painting , of which no precise rules are to be given ( * because the greatest Beauties cannot always be express'd for want of terms ) yet I shall not omit to give some Precepts which I have selected from among the most considerable which we have receiv'd from Nature , that exact School-mistress , after having examin'd her most secret recesses , as well as * those Master pieces of Antiquity , which were the first Examples of this Art : And , 't is by this means that the mind , and the natural disposition are to be cultivated ; and that Science perfects Genius , * and also moderates that fury of the fancy , which cannot contain it self within the bounds of Reason ; but often carries a man into dangerous extremes : For there is a mean in all things ; and a certain measure , wherein the good and the beautifull consist ; and out of which they never can depart . This being premis'd , the next thing is to make choice of * a Subject beautifull and noble ; which being of it self capable of all the charms and graces , that Colours , and the elegance of Design can possibly give , shall afterwards afford , to a perfect and consummate Art , an ample field of matter wherein to expatiate it self ; to exert all its power , and to produce somewhat to the sight which is excellent , judicious , * and well season'd ; and at the same time proper to instruct , and to enlighten the Understanding . Thus at length I enter into the Subject-matter of my Discourse ; and at first find only a bare strain'd Canvass : * on which the whole Machine ( as it may be call'd ) of the Picture is to be dispos'd ; and the imagination of a powerfull , and easy Genius ; * which is what we properly call Invention . * INVENTION is a kind of Muse , which being possess'd of the other advantages common to her Sisters ; and being warm'd by the fire of Apollo , is rais'd higher than the rest , and shines with a more glorious , and brighter flame . * 'T is the business of a Painter , in his choice of Postures , to foresee the effect , and harmony of the Lights and Shadows , with the Colours which are to enter into the whole ; taking from each of them , that which will most conduce to the production of a beautifull Effect . * Let your Compositions be conformable to the Text of Ancient Authours , to Customs , and to Times . * Take care that whatsoever makes nothing to your Subject , and is improper to it , be not admitted into your Work , or not possess the chief place in it . But on this occasion , imitate the Sister of Painting , Tragedy : which employs the whole ●●orces of her Art in the main Action . * This part of Painting , so rarely met with , and so difficult to be found , is neither to be acquir'd by pains or study , nor by the Precepts or Counsels of any Master . For they alone who have been inspir'd at their birth with some portion of that Heavenly fire * which was stollen by Prometheus , are capable of receiving so divine a present . As the Proverb tells us , * that it happens not to every one to see Corinth . Painting first appear'd in Egypt : but wholly different from the truth , till having travell'd into Greece , and being cultivated by the Study , and sublime Genius of that Nation , * it arriv'd at length to that height of perfection , that it seem'd to surpass even Original nature . Amongst the Academies , which were compos'd by the rare Genius of those Great men , these four are reckon'd as the principal : namely , the Athenian School , that of Sicyon , that of Rhodes , and that of Corinth . These were little different from each other , onely in the manner of their work ; as it may be seen by the Ancient Statues , which are the Rule of Beauty , and to which succeeding Ages have nothing that is equal : * Though they are not very much inferiour either in Science , or in the manner of their Execution . * A Posture therefore must be chosen according to their gusto : * The Parts of it must be great * and large , * unequal in their position , so that those which are before must contrast ( or oppose ) those others which are hindermost , and all of them be equally balanc'd on their Centre . * The Parts must have their out-lines in waves resembling flames , or the gliding of a Snake upon the ground : They must be smooth , they must be great , they must be almost imperceptible to the touch , and even , without either Eminences or Cavities . They must be drawn from far , and without breaks , to avoid the multiplicity of lines . Let the Muscles be well inserted and bound together * according to the knowledge of them which is given us by Anatomy . Let them be * design'd after the manner of the Grecians : and let them appear but little , according to what we see in the Ancient Figures . In fine , * let there be a perfect relation betwixt the parts and the whole , that they may be entirely of a piece . Let the part which produces another part , be more strong than that which it produces ; and let the whole be seen by one point of Sight . * Though Perspective cannot be call'd a certain rule or a finishing of the Picture , yet it is a great Succour and Relief to Art , and facilitates the means of Execution ; Yet frequently falling into Errors , and making us behold things under a false Aspect ; for Bodies are not always represented according to the Geometrical plane , but such as they appear to the Sight . Neither the Shape of Faces , nor the Age , nor the Colour ought to be alike in all Figures , any more than the Hair : because Men are as different from each other , as the Regions in which they are born , are different . * Let every Member be made for its own head , and agree with it . And let all together compose but one Body , with the Draperies which are proper and suitable to it . And above all , let the Figures to which Art cannot give a voice , imitate the Mutes in their Actions . * Let the principal Figure of the Subject appear in the middle of the Piece under the strongest Light , that it may have somewhat to make it more remarkable than the rest , and that the Figures which accompany it , may not steal it from our Sight . * Let the Member be combin'd in the same manner as the Figures are , that is to say , coupled and knit together , And let the Grouppes be separated by a void space , to avoid a confus'd heap ; which proceeding from parts that are dispers'd without any Regularity , and entangled one within another , divides the Sight into many Rays , and causes a disagreeable Confusion . * The Figures in the Grouppes , ought not to be like each other in their Motions , any more than in their Parts : nor to be all on the same side , but let them contrast each other : bearing themselves on the one side , in Opposition to those which are set against them on the other . Amongst many Figures which show their fore-parts let there be some one whose hinder parts may be seen ; opposing the Shoulders to the Stomach , and the right side to the left . * One side of the Picture must not be void , while the other is fill'd to the Borders ; but let matters be so well dispos'd , that if one side of the Piece be full , the Painter shall find some occasion to fill the other ; so that they shall appear in some sort equal whether there be many Figures in it , or but few . * As a Play is very seldom good , in which there are too many Actors , so 't is very seldom seen and almost impossible to perform , that a Picture should be perfect in which there are too great a number of Figures . And we cannot wonder that so few Painters have succeeded who have introduc'd into their works many Figures . Because indeed there are not many Painters to be found , who have succeeded happily , when even they have introduc'd but few . Many dispers'd Objects breed confusion , and take away from the Picture that grave Majesty , that soft silence and repose , which give beauty to the Piece , and satisfaction to the sight . But if you are constrained by the subject , to admit of many figures , you must then conceive the whole together ; and the effect of the work at one view ; and not every thing separately and in particular . * The extremities of the Ioints must be seldom hidden , and the extremities or end of the Feet never . * The Figures which are behind others , have neither Grace nor Vigor , unless the Motions of the hands accompany those of the Head. Avoid the views which are difficult to be found , and are not natural , as also forc'd Actions and Motions . Show no parts which are ungracious to the Sight , as all fore shortnings , usually are . * Avoid also those Lines and Out-lines which are equal ; which make Parallels , or other sharp pointed and Geometrical Figures ; such as are Squares and Triangles : all which by being too exact give to the Eye a certain displeasing Symmetry , which produces no good effect . But as I have already told you , the principal Lines ought to contrast each other : For which reason in these out-lines , you ought to have a special regard to the whole together : for 't is from thence that the Beauty and Force of the parts proceed . * Be not so strictly ty'd to Nature , that you allow nothing to study , and the bent of your own Genius . But on the other side , believe not that your Genius alone , and the Remembrance of those things which you have seen , can afford you wherewithall to furnish out a beautifull Piece , without the Succour of that incomparable School-mistress , Nature ; * whom you must have always present as a witness to the Truth . We may make a thousand Errors of all kinds ; they are every-where to be found , and as thick set as Trees in Forests , and amongst many ways which mislead a Traveller , there is but one true one which conducts him surely to his Journey 's end ; as also there are many several sorts of crooked lines ; but there is one only which is straight . Our business is to imitate the Beauties of Nature , as the Ancients have done before us , and as the Object and Nature of the thing require from us . And for this reason we must be carefull in the search of Ancient Medals , Statues , Vases and Basso Relievo's : * And of all other things which discover to us the Thoughts and Inventions of the Graecians ; because they furnish us with great Ideas , and make our Productions wholly beautifull . And in truth after having well examin'd them , we shall therein find so many Charms , that we shall pity the Destiny of our present Age without hope of ever arriving at so high a point of Perfection . * If you have but one single Figure to work upon , you ought to make it perfectly finish'd and diversify'd and with many Colours . * Let the Draperies be nobly spread upon the Body ; let the Folds be large , * and let them follow the order of the parts , that they may be seen underneath , by means of the Lights and Shadows , notwithstanding that the parts should be often travers'd ( or cross'd ) by the flowing of the Folds which loosely incompass them , * without sitting too straight upon them , but let them mark the parts which are under them , so as in some manner to distinguish them , by the judicious ordering of the Lights and Shadows . * And if the parts be too much distant from each other , so that there be void spaces , which are deeply shadow'd , we are then to take occasion to place in those voids some Fold to make a joining of the parts . * And as the Beauty of the Limbs consists not in the quantity and rising of the Muscles , but on the contrary , those which are less eminent have more of Majesty than the others ; in the same manner the beauty of the Draperies , consists not in the multitude of the folds , but in their natural order , and plain simplicity . The quality of the persons is also to be consider'd in the Drapery . * As supposing them to be Magistrates , their Draperies ought to be large and ample : If Country Clowns or Slaves they ought to be course and short : * If Ladies or Damsels , light and soft . 'T is sometimes requisite to draw out , as it were from the hollows and deep shadows , some Fold , and give it a Swelling , that receving the Light , it may contribute to extend the clearness to those places where the Body requires it ; and by this means we shall disburthen the pie●●e of those hard Shadowings which are always ungracefull . * The Marks or Ensigns of Vertues contribute not little by their nobleness to the Ornament of the Figures . Such , for example as are the Decorations belonging to the Liberal Arts , to War or Sacrifices . * But let not the work be too much enrich'd with Gold or Jewels , because the rarest are ever the dearest and most precious ; and those which serve only to increase the number , are of the common sort , and of little value . * 'T is very expedient to make a Model of those things , which we have not in our Sight , and whose Nature is difficult to be retain'd in the Memory . * We are to consider the places , where we lay the scene of the Picture ; the Countries where they were born whom we represent ; the manner of their Actions , their Laws and Customs , and all that is properly belonging to them . * Let a nobleness and grace be remarkable through all your work . But to confess the truth , this is a most difficult undertaking ; and a very rare Present which the Artist receives rather from the hand of Heaven , than from his own Industry and Studies . In all things you are to follow the order of Nature , for which reason you must beware of drawing or painting Clouds , Winds and Thunder towards the bottom of your Piece ; and Hell , and Waters , in the uppermost parts of it : You are not to place a Stone Column on a ●●oundation of Wood ; but let every thing be set in its proper place . Besides all this , you are to express the motions of the Spirits , and the affections or Passions whose Center is the Heart : In a word , to make the Soul visible , by the means of some few Colours ; * this is that in which the greatest difficulty consists . Few there are whom Iupiter regards with a favourable eye in this Undertaking . So that it appertains only to those few , who participate somewhat of Divinity it self , to work these mighty Wonders . 'T is the business of Rhetoricians , to treat the characters of the Passions : and I shall content my self with repeating what an excellent Master has formerly said on this Subject , That the studied motions of the Soul , are never so natural as those , which are as it were struck out of it on the sudden by the heat and violence of a real Passion . We are to have no manner of relish for Gothique Ornaments , as being in effect so many Monsters , which barbarous Ages have produc'd : during which , when Discord and Ambition caus'd by the too large extent of the Roman Empire , had produc'd Wars , Plagues and Famine through the World , then I say , the stately Buildings fell to Ruin , and the nobleness of all beautifull Arts was totally extinguish'd ; then it was that the admirable and almost supernatural Works of Painting were made fuel for the Fire : But that this wonderfull Art might not wholly perish , * some Reliques of it took Sanctuary under ground , and thereby escap'd the common Destiny . And in the same profane age , the noble Sculpture was for a long time buried under the same Ruines , with all its beautifull Productions and admirable Statues . The Empire in the mean time under the weight of its proper Crimes and undeserving to enjoy the day , was invelop'd with a hideous night , which plung'd it into an Abyss of errors , and cover'd with a thick darkness of Ignorance those unhappy Ages , in just revenge of their Impieties : From hence it comes to pass , that the works of those great Graecians are wanting to us ; nothing of their Painting and Colouring now remains to assist our modern Artists , either in the Invention , or the manner of those Ancients ; neither is there any man who is able to restore * the CHROMATIQUE part or COLOURING , or to renew it to that point of excellency to which it had been carry'd by Zeuxis : who by this part which is so charming , so magical , and which so admirably deceives the sight , made himself equal to the great Apelles , that Prince of Painters ; and deserv'd that height of reputation which he still possesses in the World. And as this part which we may call the Soul of Painting and its utmost perfection , is a deceiving Beauty , but withal soothing and pleasing : So she has been accus'd of procuring Lovers for * her Sister , and artfully ingaging us to admire her . But so little have this Prostitution , these false Colours , and this Deceit , dishonour'd Painting , that on the contrary , they have only serv'd to set forth her Praise , and to make her merit farther known , and therefore it will be profitable to us , to have a more clear understanding of what we call Colouring . * The light produces all kinds of Colours , and the Shadow gives us none . The more a Body is nearer to the Eyes , and the more directly it is oppos'd to them , the more it is enlightn'd . Because the Light languishes and lessens the farther it removes from its proper Source . The nearer the Object is to the Eyes , and the more directly it is oppos'd to them , the better it is seen , because the Sight is weaken'd by distance . 'T is therefore necessary that round Bodies , which are seen one over against the other in a right Angle , should be of a livery and strong Colouring , and that the extremities turn , in losing themselves insensibly and confusedly , without precipitating the Light all on the sudden into the Shadow ; or the Shadow into the Light. But the passage of one into the other must be common and imperceptible , that is by degrees of Lights into Shadows and of Shadows into Lights . And it is in conformity to these Principles that you ought to treat a whole Grouppe of Figures , though it be compos'd of several parts , in the same manner as you would do a single Head : or if your Composition requires , that you should have two Grouppes , or even three ( * which ought to be the most ) in your Piece , take heed that they may be detach'd , that is separated or distinguish'd from each other by the Colours , the Lights and the Shadows , which are so dextrously to be manag'd , * that you may make the Bodies appear enlighten'd by the Shadows which bound the sight ; which permit it not suddenly to go farther ; and which cause it to repose for some space of time , and that reciprocally the Shadows may be made sensible by enlightning your ground . The raising and roundness of a Body , ought to be given it * in the same manner as we behold it in a Convex Mirrour , in which we view the Figures and all other things , which bear out with more Life and strength than Nature it self . * And let those which turn , be of broken Colours , as being less distinguish'd , and nearer to the borders . Thus the Painter and the Sculptor , are to work with one and the same intention , and with one and the same conduct . For what the Sculptor strikes off , and makes round with his instrument of Steel , the Painter performs with his Pencil ; casting behind , that which he makes less visible by the Diminution , and breaking of his Colours ; and drawing forward by his most lively Colours and strongest Shadows , that which is directly oppos'd to the Sight , as being more sensible , and more distinguish'd , and at last enriching the naked Canvass , with such Colours as are borrow'd from Nature ; in the midst of which he seems to sit ; and from thence with one glance of 〈◊〉 and without removing his seat , he takes 〈◊〉 part of her which she represents to his Sight , and turns as in a Machine about his work . When solid Bodie●● , sensible to the feeling , and dark , are plac'd on Light , and transparent grounds , as for example , The Heavens , the Clouds and Waters , and every other thing which is in Motion , and void of different Objects , they ought to be more rough and more distinguishable than that with which they are incompass'd , that being strengthen'd by the Lights and Shadows , or by the more sensible Colours , they may subsist and preserve their Solidity amongst those aereal and transparent Species , and that on the contrary those grounds which are , as we have said , the Sky , the clouds and the Waters being clearer and more united , may be thrown off from the Sight to a farther distance . We are never to admit two equal Lights in the same Picture ; but the greater Light must strike forcibly on the middle ; and there extend its greatest clearness on those places of the Picture , where the principal Figures of it are , and where the strength of the action is perform'd , diminishing by degrees as it comes nearer and nearer to the Borders ; and after the same manner that the Light of the Sun languishes insensibly in its spreading from the East , from whence it begins , towards the West where it decays and vanishes ; so the Light of the Picture being distributed over all the Colours , will become less sensible the farther it is remov'd from its Original . The experience of this is evident in those Statues which we see set up in the midst of Publique Places , whose upper parts are more enlighten'd than the lower ; and therefore you are to imitate them in the distribution of your Lights . Avoid strong Shadows on the middle of the Limbs ; least the great quantity of black which composes those Shadows , should seem to enter into them and to cut them : Rather take care to place those shadowings round about them , thereby to heighten the parts , and take so advantageous Lights , that after great Lights , great Shadows may succeed . And therefore Titian said , with reason that he knew no better rule for the distribution of the Lights and shadows , than his Observations drawn from a * Bunch of Grapes . * Pure or unmix'd white either draws an object nearer , or carries it off to farther distance : It draws it nearer with black , and throws it backward without it . * But as for pure black , there is nothing which brings the object nearer to the Sight . The light being alter'd by some Colour , never fails to communicate somewhat of that Colour to the Bodies on which it strikes , and the same effect is perform'd by the Medium of Air , through which it passes . The Bodies which are close together , receive from each other that Colour wich is opposite to them 〈◊〉 and reflect on each other that wich is natur●● and properly their own . 'T is also consonant to reason , 〈…〉 part of those Bodies which are under a Light , 〈◊〉 is extended and distributed equally through all , should participate of each others Colours . The Venetian School having a great regard for that Maxim ( which the Ancients call'd the Breaking of Colours ) in the quantity of Figures with which they fill their Pictures , have always endeavour'd the Union of Colours , for fear that being too different , they should come to incumber the Sight by their confusion with their quantity of Members separated by their Folds , which are also in great number ; and for this reason they have painted their Draperies with Colours that are nearly related to each other , and have scarce distinguish'd them any other way , than by the Diminution of the Lights and Shadows joining the contiguous Object by the participation of their Colours , and thereby making a kind of Reconciliation or Friendship betwixt the Lights and Shadows . The less aereal space which there is betwixt us and the Object , and the more pure the Air is , by so much the more the Species are preserv'd and distinguish'd ; and on the contrary the more space of Air there is , and the less it is pure , so much the more the Object is confus'd and embroyl'd . Those objects which are plac'd foremost to the view , ought always to be more finish'd , than those which are cast behind ; and ought to have dominion over those things which are confus'd and transient . * But let this be done relatively , ( viz. ) one thing greater and stronger , casting the less behind and rendring it less sensible by its opposition . Those things which are remov'd to a distant view , though they are many , yet ought to make but one Mass ; as for example the Leaves on the Trees , and the Billows in the Sea. Let not the Objects which ought to be contiguous be separated , and let those which ought to be separated be apparently so to us ; but let this be done by a small and pleasing difference . * Let two contrary extremities never touch each other , either in Colour or in Light , but let there always be a Medium partaking both of the one and of the other . Let the Bodies every-where be of different Tones and Colours ; that those which are behind may be ty'd in Friendship together , and that those which are foremost may be strong and lively . * 'T is labour in vain to paint a High-noon , or Mid-day light in your picture , because we have no Colours which can sufficiently express it , but 't is better counsel , to choose a weaker light ; such as is that of the Evening , with which the Fields are gilded by the Sun ; or a Morning-light , whose whiteness is allay'd : or that which appears after a Shower of Rain , which the Sun gives us through the breaking of a Cloud : or during Thunder , when the Clouds hide him from our view , and make the light appear of a fiery colour . Smooth bodies , such as Chrystals , polish'd Metals , Wood , Bones , and stones ; those which are cover'd with Hair , as Skins , the Beard , or the Hair of the Head ; as also Feathers , Silks , and the Eyes , which are of a watery nature ; and those which are liquid , as Waters , and those corporeal species , which we see reflected by them ; and in fine , all that which touches them , or is near them , ought to be much painted and unitedly on their lower parts , but touch'd boldly above by the light and shadows which are proper to them . * Let the Field , or Ground of the Picture , be clean , free , transient , light , and well united with Colours which are of a friendly nature to each other ; and of such a mixture , as there may be something in it of every colour that composes your work , as it were the contents of your Palette . And let the bodies mutually partake of the colour of their ground . * Let your Colours be lively , and yet not look ( according to the Painter's Proverb ) as if they had been rubb'd or sprinkled with meal : that is to say , let them not be pale . * Let the parts which are nearest to us , and most rais'd , be strongly colour'd , and as it were sparkling ; and let those parts which are more remote from sight , and towards the borders , be more faintly touch'd . * Let there be so much harmony , or consent , or consent , in the Masses of the Picture , that all the shadowings may appear as if they were but one . Let the whole Picture be made of one piece , and avoid as much as possibly you can , to paint drily . * The Looking-glass will instruct you in many Beauties , which you may observe from Nature : so will also those objects which are seen in an Evening in a large prospect . If you are to paint a half figure or a whole one , which is to be set before the other figures , it must be plac'd nearer to the view , and next the light . And if it is to be painted , in a great place , and at a distance from the Eyes ; be sure on that occasion not to be sparing of great lights , the most lively colours , nor the strongest shadows . * As for a Portraict , or Pictures by the Life , you are to work precisely after Natu●●e , and to express what she shows you , working at the same time on those parts which are resembling to each other : As for example , the Eyes , the Cheeks , the Nostrils and the Lips : so that you are to touch the one , as soon as you have given a stroke of the Pencil to the other , lest the interruption of time cause you to lose the Idea of one Part , which Nature has produc'd to resemble the other : and thus imitating Feature for Feature with a just and harmonious Composition of the lights and shadows , and of the colours , and giving to the Picture that liveliness which the freedom and force of the Pencil make appear , it may seem the living hand of Nature . The works which are painted to be seen in little or narrow places , must be very tender and well united with tones , and colours ; the degrees of which ought to be more different , more unequal , and more strong and vigorous , as the work is more distant : and if you make great figures , let them be strongly colour'd , and in very spacious places . * You are to paint the most tenderly that possibly you can ; and endeavour to lose insensibly the * large lights in the shadows which succeed them , and incompass them about . If the Picture be set in a place which is enlighten'd , but with a little light , the colours must be very clear ; as on the contrary very brown , if the place be strongly enlighten'd , or in the open Air. Remember to avoid objects which are full of hollows , broken in pieces , little , and which are separated , or in parcels : shun also those things which are barbarous , shocking to the Eye and party-colour'd , and all which is of an equal force of light and shadow : as also all things which are obscene , impudent , filthy , unseemly , cruel , fantastical , poor and wretched ; those things which are sharp and rough to the feeling : In short , all things which corrupt their natural forms , by a confusion of their parts which are intangled in each other : For the Eyes have a horrour for those things which the Hands will not condescend to touch . But while you endeavour to avoid one vice , be cautious lest you fall into another : for Vertue is plac'd betwixt two extreams , which are on both sides equally blameable . Those things which are beautiful in the utmost degree of Perfection , according to the Axiom of ancient Painters , * ought to have somewhat of greatness in them ; and their out-lines to be noble : they must be disintangled , pure and without alteration , clean and knit together ; compos'd of great parts , yet those but few in number . In fine , distinguish'd by bold Colours ; but of such as are related , and friendly to each other : And as it is a common saying , that He who has begun well , has already perform'd half his work ; so * there is nothing more pernicious to a Youth , who is yet in the Elements of Painting , than to engage himself under the discipline of an ignorant Master ; who depraves his taste , by an infinite number of mistakes ; of which his wretched works are full , and thereby makes him drink the poyson , which infects him through all his future life . Let him who is yet but a Beginner , not make so much haste to study after Nature , every thing which he intends to imitate ; as not in the mean time to learn Proportions , the connexion of the parts , and their out-lines : And let him first have well examin'd the Excellent Originals , and have thoroughly studied all the sweet deceipts of his Art , which he must be rather taught by a knowing Master , than by practice ; and by seeing him perform , without being contented onely to hear him speak . * Search whatsoever is aiding to your Art , and convenient , and avoid those things which are repugnant to it . * Bodies of divers natures which are aggroup'd ( or combin'd ) together , are agreeable and pleasant to the sight ; * as also those things which appear to be perform'd with ease . Because they are ever full of Spirit , and seem animated with a kind of Coelestial fire : But we are not able to compass these things with facility , till we have for a long time weigh'd them in our judgment , and thoroughly consider'd them : By this means the Painter shall be enabled to conceal the pains , and study which his Art and work have cost him , under a pleasing sort of deceipt : For the greatest secret which belongs to Art , is to hide it from the discovery of Spectatours . Never give the least touch with your Pencil till you have well examin'd your Design , and have settled your out-lines , * nor till you have present in your mind a perfect Idea of your work . * Let the Eye be satisfy'd in the first place , even against and above all other reasons , which beget difficulties in your Art , which of it self suffers none ; and let the compass be rather in your Eyes than in your Hands . * Profit your self by the Counsels of the knowing : And do not arrogantly disdain to learn the opinion of every man concerning your work . All men are blind as to their own productions ; and no man is capable of judging in his own cause ; but if you have no knowing friend , to assist you with his advice , yet length of time will never fail ; 't is but letting some weeks pass over your Head , or at least some days , without looking on your work , and that intermission will faithfully discover to you the faults , and beauties ; yet suffer not your self to be carried away by the opinions of the Vulgar , who often speak without knowledge ; neither give up your self altogether to them , and abandon wholly your own Genius , so as lightly to change that which you have made : For he who has a windy Head , and flatters himself with the empty hope of deserving the praise of the common people , whose opinions are inconsiderate , and changeable , does but injure himself and pleases no man. Since every Painter paints himself in his own works ( so much is Nature accustom'd to produce her own likeness ) 't is advantageous to him to know himself , * to the end that he may cultivate those Talents which make his Genius , and not unprofitably lose his time in endeavouring to gain that which she has refus'd him . As neither Fruits have the taste , nor Flowers the beauty which is natural to them when they are transplanted in a foreign soil , and are forc'd to bear before their season by an artificial heart : so 't is in vain for the Painter to sweat over his works in spight of Nature and of Genius ; for without them 't is impossible for him to succeed . * While you meditate on these truths , and observe them diligently , by making necessary reflections on them ; let the labour of the Hand accompany the study of the Brain ; let the former second and support the latter ; yet without blunting the sharpness of your Genius ; and abating of its vigour by too much assiduity . * The Morning is the best , and most proper part of the day for your business ; employ it therefore in the study and exercise of those things which require the greatest pains and application . * Let no day pass over you without a line . Observe as you walk the Streets , the Airs of Heads ; the natural Posturs and Expressions ; which are always the most free the less they seem to be observ'd . * Be ready to put into your Table-book ( which you must always carry about you ) whatsoever you judge worthy of it ; whether it be upon the Earth , or in the Air , or upon the Waters , while the Species of them is yet fresh in your Imagination . * Wine and good Cheer are no great Friends to painting , they serve only to recreate the Mind , when 't is opprest and spent with Labour ; then indeed 't is proper to renew your Vigour by the conversation of your Friends : Neither is a true Painter naturally pleas'd with the fatigue of business , and particularly of the Law , but delights in the liberty which belongs to the Batchelour's Estate . Painting naturally withdraws from Noise and Tumult , and pleases it self in the enjoyment of a Country Retirement : because Silence and Solitude set an edge upon the Genius , and cause a greater Application to work and study , and also serve to produce the Ideas , which , so conceiv'd , will be always present in the M●●nd , even to the finishing of the work ; the whole compass of which , the Painter can at that time more commodiously form to himself than at any other . * Let not the covetous design of growing rich , induce you to ruin your reputation , but rather satisfy your self with a moderate fortune ; and let your Thoughts be wholly taken up with acquiring to your self a glorious Name , which can never perish , but with the World , and make that the recompence of your worthy Labours . * The qualities requisite to form an excellent Painter , are , a true discerning Judgment ; a Mind which is docible , a noble Heart , a sublime Sense of things , and Fervour of Soul ; after which follow , Health of Body , handsomeness , a convenient share of Fortune , Youth , Diligence , an affection for the Art , and to be bred under the discipline of a knowing Master . And remember , that whatsoever your Subject be , whether of your own Choice , or what chance or good fortune shall put into your hand , if you have not that Genius or natural Inclination , which your Art requires , you shall never arrive to perfection in it , even with all those great advantages which I have mention'd ; for the Wit , and the manual operation are things vastly distant from each other . 'T is the Influence of your Stars , and the happiness of your Genius , to which you must be oblig'd for the greatest Beauties of your Art. Nay , even your excellencies sometimes will not pass for such in the opinion of the learned , but only as things which have less of Error in them , for no man sees his own failings ; and Life is so short , that it is not sufficient for so long an Art. Our strength fails us in our old Age , when we begin to know somewhat : Age oppresses us by the same degrees that it instructs us , and permits not that our mortal Members which are frozen with our years , should retain the Vigor and Spirits of our Youth . * Take courage therefore , O ye Noble Youths ! you legitimate Off-spring of Minerva , who are born under the influence of a happy Planet , and warm'd with a Celestial Fire , which attracts you to the Love of Science ; exercise while you are young , your whole forces , and employ them with delight in an Art which requires a whole Painter . Exercise them I say , while your boyling Youth supplies you with Strength , and furnishes you with Quickness and with Vigour ; while your Mind , yet pure and void of Error , has not taken any ill habitude to vice , while yet your Spirits are inflam'd with the Thirst of Novelties , and your Mind is fill'd with the first Species of things which present themselves to a young Imagination , which it gives in keeping to your Memory ; and which your Memory retains for length of time , by reason of the moisture wherewith at that Age the Brain abounds : * you will do well to begin with Geometry , and after having made some progress it it , * set your self on designing after the Ancient Greeks , * and cease not day or night from labour , till by your continual practice you have gain'd an easy habitude of imitating them in their invention , and in their manner . * And when afterwards your judgment shall grow stronger , and come to its maturity with years , it will be very necessary to see and examine one after the other , and part by part , those works which have given so great a Reputation to the Masters of the first form in pursuit of that Method , which we have taught you here above , and according to the Rules which we have given you ; such are the Romans , the Venetians , the Parmesans , and the Bologneses . Amongst those excellent Persons , Raphael had the Talent of Invention for his share , by which he made as many Miracles as he made Pictures . In which is observ'd * a certain Grace which was wholly natural and peculiar to him , and which none since him have been able to appropriate to themselves . Michael Angelo possess'd powerfully the part of Design , above all others . * Iulio Romano ( educated from his childhood among the Muses ) has open'd to us the Treasures of Parnassus and in the Poetry of Painting has discover'd to our Eyes the most sacred Mysteries of Apollo , and all the rarest Ornaments which that God is capable of commucating to those works that he inspires , which we knew not before , but only by the Recital that the Poets made of them ; he seems to have painted those famous Wars which Heroes have wag'd , and ended with Victory over crown'd Heads , whom they have led in triumph ; and those other glorious Events which Fortune has caus'd in all ages , even with more Magnificence and Nobleness , than when they were acted in the World. Correggio has made his Memory immortal by the Strength and Vigour he has given to his Figures , and by sweetning his Lights and Shadows , and melting them into each other so happily , that they are even imperceptible . He is also almost single in the great manner of his Painting , and the Facility he had in the managing of his Colours . And Titian understood so well the Union of the Masses , and the Bodies of Colours , the Harmony of the Tones , and the Disposition of the whole together , that he has deserv'd those Honours , and that wealth which were heap'd upon him , together with that attribute of being surnam'd the Divine Painter . The laborious and diligent Annibal Carracci , has taken from all those great Persons already mention'd , whatsoever excellencies he found in them , and , as it were , converted their Nourishment into his own Substance . 'T is a great means of profiting your self to copy diligently those excellent Pieces , and those beautifull designs ; But Nature which is present before your Eyes , is yet a better Mistress : For she augments the Force and Vigour of the Genius , and she it is from whom Art derives her ultimate perfection by the means of sure Experience ; * I pass in silence many things which will be more amply treated in the ensuing Commentary . And now considering that all things are subject to the vicissitude of Time , and that they are liable to Destruction by several ways , I thought I might reasonably take the boldness * to intrust to the Muses ( those lovely and immortal Sisters of painting ) these few Precepts which I have here made and collected of that Art. I employ'd my time in the study of this work at Rome , while the honour of the Bourbon Family , and the just Avenger of his injur'd Ancestors , the Victorious Lovis ▪ was darting his Thunder on the Alpes , and causing his Enemies to feel the force of his unconquerable Arms , while he like another Gallique Hercules , born for the benefit and Honour of his Country , was griping the Spanish Geryon by the Throat , and at the point of strangling him . OBSERVATIONS ON THE Art of Painting OF Charles Alphonse du Fresnoy . PAinting and Poesy are two Sisters , &c. 'T is a receiv'd truth , that the Arts have a certain relation to each other . " There is no Art ( said Tertullian in his Treatise of Idolatry ) which is not either the Father or the near Relation of another . And Cicero in his Oration for Archias the Poet , says , That the Arts which have respect to human life , have a kind of Alliance amongst themselves , and hold each other ( as we may say ) by the hand . " But those Arts which are the nearest related , and claim the most ancient Kindred with each other , are Painting and Poetry ; and whosoever shall throughly examine them , will find them so much resembling one another , that he cannot take them for less than Sisters . They both follow the same bent , and suffer themselves rather to be carry'd away , than led by their secret Inclinations , which are so many seeds of the Divinity . " There is a God within us ( says Ovid in the beginning of his Sixth Book de Fastis , there speaking of the Poets ) who by his Agitation warms us . And Suidas says , That the famous Sculptor Phidias , and Zeuxis that incomparable Painter , were both of them transported by the same Enthusiasm , which gave life to all their works . " They both of them aim at the same end , which is Imitation . Both of them excite our Passions ; and we suffer our selves willingly to be deceiv'd , both by the one , and by the other ; our Eyes and Souls are so fixt to them , that we are ready to persuade our selves that the painted Bodies breath , and that the Fictions are Truths . Both of them are set on fire by the great Actions of Heroes ; and both endeavour to eternize them : Both of them in short , are supported by the strength of their Imagination , and avail themselves of those licences , which Apollo has equally bestow'd on them , and with which their Genius has inspir'd them . — Pictoribus atque Poetis Quidlibet audendi , semper fuit aequa potestas . Painters and Poets free from servile awe , May treat their Subjects , and their Objects draw . As Horace tells us in his Art of Poetry . The advantage which Painting possesses above Poesie is this ; That amongst so great a Diversity of Languages , she makes her self understood by all the Nations of the World ; and that she is necessary to all other Arts , because of the need which they have of demonstrative Figures , which often give more Light to the Understanding than the clearest discourses we can make . Segnius irritant animos demissa per aurem , Quam quae sunt oculis commissa fidelibus . Hearing excites the Mind by slow degrees , The Man is warm'd at once by what he sees . Horace in the same Art of Poetry . For both of them that they might contribute , &c. Poetry by its Hymns and Anthems , and Painting by its Statues , Altar-pieces , and by all those Decorations which inspire Respect and Reverence for our Sacred Mysteries , have been serviceable to Religion . Gregory of Nice , after having made a long and beautifull Description of Abraham sacrificing his Son Isaac , says these words , " I have often cast my eyes upon a Picture , which represents this moving object , and could never withdraw them without Tears . So well did the Picture represent the thing it self , even as if the Action were then passing before my Sight . " So much these Divine Arts have been always honour'd , &c. The greatest Lords , whole Cities and their Magistrates of Old ( says Pliny lib. 35. ) took it for an honour to obtain a Picture from the hands of those great Ancient Painters . But this Honour is much fallen of late amongst the French Nobility : and if you will understand the cause of it , Vitruvius will tell you that it comes from their Ignorance of the charming Arts. Propter ignorantiam Artis , virtutes obscurantur : ( in the Preface to his Fifth Book . ) Nay more , we should see this admirable Art fall into the last degree of Contempt , if our Mighty Monarch , who yields in nothing to the Magnanimity of Alexander the Great , had not shown as much Love for Painting as Valour in the Wars : we daily see him encouraging this noble Art , by the considerable Presents which he makes to his * chief Painter . And he has also founded an Academy for the Progress and Perfectionating of Painting , which his * first Minister honours with his Protection , his care , and frequent Visits : insomuch that we might shortly see the age of Apelles reviving in our Country , together with all the beauteous Arts , if our generous Nobility , who follow our incomparable King with so much Ardour and Courage in those dangers to which he exposes his Sacred Person for the Greatness and Glory of his Kingdom , would imitate him in that wonderfull Affection which he bears to all who are excellent in this kind . Those Persons who were the most considerable in Ancient Greece , either for Birth or Merit , took a most particular care , for many ages , to be instructed in the Art of Painting : following that laudable and profitable custom which was begun and establish'd by the Great Alexander , which was to learn how to Design . And Pliny who gives testimony to this in the tenth Chapter of his 35th . Book tells us farther ( speaking of Pamphilus the Master of Apelles ) That it was by the authority of Alexander , that first at Sicyon , and afterwards thro' all Greece , the young Gentlemen learn'd before all other things to design upon Tablets of Boxen-wood ; and that the first place among all the Liberal Arts was given to Painting . And that which makes it evident , that they were very knowing in this Art , is the love and esteem which they had for Painters . Demetrius gave high testimonies of this when he besieg'd the City of Rhodes : For he was pleas'd to employ some part of that time , which he ow'd to the care of his Arms , in visiting Protogenes , who was then drawing the Picture of Ialisus . This Ialisus , , ( says Pliny ) hinder'd King Demetrius from taking Rhodes , out of fear , lest he should burn the Pictures ; and not being able to fire the Town on any other side , he was pleas'd rather to spare the Painting , than to take the Victory which was already in his hands . Protogenes at that time had his Work-house in a Garden out of the Town , and very near the Camp of the Enemies , where he was daily finishing those Pieces which he had already begun ; the noise of Soldiers not being capable of interrupting his studies . But Demetrius causing him to be brought into his Presence , and asking him what made him so bold as to work in the midst of Enemies : He answer'd the King , That he understood the War which he made , was against the Rhodians and not against the Arts. This oblig'd Demetrius to appoint him Guards for his Security , being infinitely pleas'd that he could preserve that hand , which by this means he sav'd from the barbarity and insolence of Soldiers . Alexander had no greater pleasure , than when he was in the painting room of Apelles , where he commonly was found . And that Painter once receiv'd from him a sensible Testimony of Love and Esteem which that Monarch had for him : for having caus'd him to paint naked ( by reason of her admirable beauty ) one of his Concubines call'd Campaspe , who had the greatest share in his affections , and perceiving that Apelles was wounded with the same fatal dart of Beauty , he made a present of her to him . In that age so great a deference was pay'd to Painting , that they who had any Mastery in that Art , never painted on any thing but what was portable from one place to another , and what could be secur'd from burning . They took a particular care , says Pliny , in the place above-cited , not to paint any thing against a Wall , which could onely belong to one Master , and must always remain in the same place ; and for that reason could not be remov'd in case of an accidental Fire . Men were not suffer'd to keep a Picture , as it were in Prison , on the Walls : It dwelt in common in all Cities , and the Painter himself was respected , as a Common Good to all the World. See this Excellent Author , and you shall find that the 10th . Chapter of his 35th . Book is fill'd with the praises of this Art , and with the Honours which were ascrib'd to it . You will there find that it was not permitted to any but those of noble Blood to profess it . Francis the First , as Vasari tells us , was in love with Painting to that degree , that he allur'd out of Italy all the best Masters , that this Art might flourish in his own Kingdom . Amongst others Leonardo da Vinci , who after having continued for some time in France , died at Fontainbleau , in the Arms of that great King , who could not behold his death , without shedding Tears over him . Charles the Fifth has adorn'd Spain with the noblest Pictures which are now remaining in the World. Ridolphi in his life of Titian , says , that Emperor one day took up a Pencil , which fell from the hand of that Artist , who was then drawing his Picture , and upon the Compliment which Titian made him on that occasion , he said these words , Titian has deserv'd to be serv'd by Caesar. And in the same life 't is remarkable , That the Emperour valued himself not so much in subjecting Kingdoms and Provinces , as that he had been thrice made immortal by the hand of Titian . If you will but take the pains to read this famous life in Ridolphi , you will there see the relation of all those honours which he receiv'd from Charles the Fifth . It would take up too much time here to recount all the particulars : I will onely observe that the greatest Lords who compos'd the Court of that Emperour , not being able to refrain from some marks of Jealousy , upon the preference which he made of the Person , and Conversation of Titian , to that of all his other Courtiers ; he freely told them , That he could never want a Court or Courtiers , but he could not have Titian always with him . Accordingly he heap'd Riches on him , and whensoever he sent him Money , which , ordinarily speaking , was a great Summ , he always did it with this obliging Testimony , That his design was not to pay him the value of his Pictures , because they were above any price . After the example of the Worthies of Antiquity , who bought the rarest Pictures with Bushels of Gold , without counting the weight or the number of the pieces , In nummo aureo , mensurâ accepit , non numero , says Pliny , speaking of Apelles . Quinctilian inferrs from hence , that there is nothing more noble than the Art of Painting ; because other things for the most part are Merchandice , and bought at certain Rates ; most things for this very reason , ( says he ) are vile because they have a price , Pleraque hoc ipso possunt videri vilia , quod pretium habent : see the 34th . 35th . and 36th . Books of Pliny . Many great persons have lov'd it with an extream Passion , and have exercis'd themselves in it with delight . Amongst others , Lelius Fabius , one of those famous Romans , who , as Cicero relates , after he had tasted painting and had practis'd it , would be call'd Fabius Pictor : as also Turpilius a Roman Knight ; Labco Praetor & Consul , Quintus Pedius , the Poets Ennius and Pacuvius ; Socrates , Plato , Metrodorus , Pirrho , Commodus , Nero , Vespasian , Alexander Severus , Antoninus , and many other Kings and Emperours , who thought it not below their Majesty to employ some part of their time in this honourable Art. The principal and most important part of Painting , is to find out and thoroughly to understand what Nature hath made most beautifull and most proper to this Art , &c. Observe here the rock on which the greatest part of the Flemish Painters have split : most of that Nation know how to imitate Nature , at least as well as the Painters of other Countries , but they make a bad choice in Nature it self ; whether it be , that they have not seen the Ancient pieces to find those beauties ; or that a happy Genius , and the beautifull Nature is not of the growth of their Country . And to confess the truth , that which is naturally beautifull is so very rare , that it is discover'd by few persons ; 't is difficult to make a choice of it , and to form to our selves such an Idea of it , as may serve us for a Model . And that a choice of it may be made according to the gust and manner of the Ancients , &c. That is to say , according to the Statues , the Basso Relievo's , and the other Ancient Pieces , as well of the Graecians as of the Romans ; Ancient ( or Antique ) is that which has been made from the time of Alexander the Great , till that of Phocas ; during whose Empire the Arts were ruin'd by War. These Ancient works from their beginning have been the rule of Beauty ; and in effect , the Authors of them have been so carefull to give them that perfection , which is still to be observ'd in them , that they made use not onely of one single Body , whereby they form'd them , but of many , from which they took the most regular parts to compose from them a beautifull whole . " The Sculptors , says Maximus Tyrius in his 7th . Dissertation , with admirable Artifice chose out of many Bodies those parts which appear'd to them the most beautifull , and out of that diversity made but one Statue : But this mixture is made with so much prudence and propriety , that they seem to have taken but one onely perfect Beauty . And let us not imagine that we can ever find one natural Beauty which can dispute with Statues , that Art which has always somewhat more perfect than Nature . " 'T is also to be presum'd , that in the choice which they made of those parts , they follow'd the opinion of the Physicians , who at that time were very capable of instructing them in the rules of Beauty : Since Beauty and Health ordinarily follow each other . " For Beauty , says Galen , is nothing else but a just Accord and mutual Harmony of the Members , animated by a healthfull constitution . And men , said the same Author , commend a certain Statue of Polycletus , which they call the rule , and which deserves that name for having so perfect an agreement in all its parts , and a proportion so exact , that it is not possible to find a fault in it . " From what I have quoted , we may conclude , that the Ancient Pieces are truly beautifull , because they resemble the Beauties of Nature ; and that Nature will ever be beautifull which resembles those Beauties of Antiquity . 'T is now evident upon what account none have presum'd to contest the proportion of those Ancient Pieces , and that on the contrary , they have always been quoted as Models of the most perfect Beauty . Ovid in the 12th . Book of his Metamorphosis , where he describes Cyllarus , the most beautifull of all the Centaures , says , That he had so great a Vivacity in his Countenance , his Neck , his Shoulders , his Hands and Stomach were so fair , that it is certain the manly part of him was as beautifull as the most celebrated Statues . And Philostratus in his Heroiqnes , speaking of Protesilaus and praising the beauty of his face , says , " That the form of his Nose was square , as if it had been of a Statue ; " and in another place speaking of Euphorbus , he says , " That his beauty had gain'd the affections of all the Greeks , and that it resembled so nearly the beauty of a Statue , that one might have taken him for Apollo . " Afterwards also speaking of the Beauty of Neoptolemus , and of his likeness to his Father Achilles , he says , " That in beauty , his Father had the same advantage over him , as Statues have over the beauty of living Men. " This ought to be understood of the fairest Statues , for amongst the multitude of Sculptors which were in Greece and Italy , 't is impossible but some of them must have been bad work-men , or rather less good : for though their works were much inferiour to the Artists of the first form , yet somewhat of greatness is to be seen in them , and somewhat of harmonious in the distribution of their parts , which makes it evident ; that at this time they wrought on Common Principles , and that every one of them avail'd himself of those Principles according to his Capacity and Genius . Those Statues were the greatest Ornaments of Greece ; we need onely open the Book of Pausanias to find the prodigious quantity of them , whether within or without their Temples , or in the crossing of Streets , or in the Squares and publique Places , or even the Fields , or on the Tombs , Statues were erected to the Muses , to the Nymphs , to Heroes , to great Captains , to Magistrates , Philosophers and Poets : In short , they were set up to all those who had made themselves eminent either in defence of their Country , or for any noble action which deserv'd a recompence ; for it was the most ordinary and most authentique way , both amongst the Greeks and Romans , thus to testifie their gratitude . The Romans when they had conquer'd Graecia , transported from thence , not onely their most admirable Statues , but also brought along with them the most excellent of their Sculptors , who instructed others in their Art , and have left to posterity the immortal Examples of their knowledge , which we see confirm'd by those curious Statues , those Vases , those Basso-Relievo's , and those beautifull Columns call'd by the names of Trajan and Antonine : They are those Beauties which out Author proposes to us for our Models . And as the true Fountains of Science , out of which both Painters and Statuaries are bound to draw for their own use , without amusing themselves with dipping in streams which are often muddy , at least troubled ; I mean the manner of their Masters , after whom they creep , and from whom they are unwilling to depart , either through negligence , or through the meanness of their Genius . " It belongs onely to heavy minds , says Cicero , to spend their time on streams , without searching for the Springs from whence their materials flow in all manner of abundance . " Without which all is nothing , but a blind and rash barbarity , &c. All that has nothing of the Ancient gust , is call'd a barbarous or Gothique manner , which is not conducted by any rule , but onely follows a wretched fancy , which has nothing in it that is noble : we are here to observe , that Painters are not oblig'd to follow the Antique as exactly as the Sculptors , for then their Picture would favour too strongly of the Statue , and would seem to be without Motion . Many Painters , and some of the ablest amongst them , believing they do well , and taking that Precept in too literal a Sence , have fallen thereby into great inconveniencies ; it therefore becomes the Painters to make use of those Ancient Patterns with discretion , and to accommodate the Nature to them in such a manner , that their Figures which must seem to live , may rather appear to be Models for the Antique , than the Antique a Model for their figures . It appears that Raphael made a perfect use of this conduct , and that the Lombard School have not precisely search'd into this Precept , any further than to learn from thence how to make a good choice of the Nature , and to give a certain grace and nobleness to all their works , by the general and confus'd Idea , which they had of what is beautifull ; as for the rest , they are sufficiently licentious , excepting onely Titian , who , of all the Lombards has preserv'd the greatest purity in his works . This barbarous manner of which I spoke , has been in great vogue from the year 611 to 1450. They who have restor'd Painting in Germany , ( not having seen any of those fair Reliques of Antiquity ) have retain'd much of that barbarous manner . Amongst others Lucas van Leyden , a very laborious man , who with his Scholars has infected almost all Europe with his designs for Tapestry , which by the ignorant are call'd Ancient Hangings , ( a greater honour than they deserve : ) these I say are esteem'd beautifull by the greatest part of the World. I must acknowledge that I am amaz'd at so gross a stupidity , and that we of the French Nation should have so barbarous a Tast , as to take for beautifull those flat , childish and insipid Tapestries . Albert Durer , that famous German , who was contemporary to that Lucas , has had the like misfortune to fall into that absurd manner , because he had never seen any thing that was beautifull . Observe what Vasari tells us in the life of Marc Antonio ( Raphael's Graver ) having first commended Albert for his skill in graving , and his other Talents : " And in truth , says he , if this , so excellent , so exact , and so universal a Man , had been born in Tuscany , as he was in Germany , and had form'd his studies according to those beautifull pieces which are seen at Rome , as the rest of us have done , he had prov'd the best Painter of all Italy , as he was the greatest Genius , and the most accomplish'd which Germany ever bore . " We love what we understand , &c. This period informs us , that though our inventions are never so good , though we are furnish'd by Nature with a noble Genius , and though we follow the impulse of it , yet this is not enough , if we learn not to understand what is perfect and beautifull in Nature , to the end that having found it , we may be able to imitate it , and by this instruction we may be capacitated to observe those errors which she her self has made , and to avoid them , so as not to copy her in all sorts of subjects ; such as she appears to us without choice or distinction . As being the Sovereign Iudge of his own Art , &c. This word of Sovereign Iudge or Arbiter of his own Art , presupposes a painter to be fully instructed in all the parts of Painting ; so that being set as it were above his Art , he may be the Master and Sovereign of it , which is no easie matter . Those of that profession are so seldom endow'd with that supreme Capacity , that few of them arrive to be good Judges of Painting : and I should many times make more account of their judgment , who are men of Sence , and yet have never touch'd a Pencil , than of the opinion which is given by the greatest part of Painters . All Painters therefore may be call'd Arbiters of their own Art , but to be Sovereign Arbiters belongs onely to knowing Painters . And permit no — transient Beauties to escape his observation , &c. Those fugitive or transient Beauties are no other than such as we observe in Nature with a short and transient view , and which remain not long in their subjects . Such are the Passions of the Soul. There are of these sort of Beauties which last but for a moment ; as the different Aires of an Assembly , upon the Sight of an unexpected and uncommon Object , some particularity of a violent Passion , some gracefull Action , a Smile , a Glance of an Eye , a disdainfull Look , a Look of Gravity , and a thousand other such like things ; we may also place in the Catalogue of these flying Beauties , fine Clouds , such as ordinarily follow Thunder or a Shower of Rain . In the same manner that bare practice destitute of the Lights of Art , &c. We find in Quinctilian , that Pythagoras said , " The Theory is nothing without the practice . And what means ( says the younger Pliny ) have we to retain what has been taught us , " if we put it not in practice : we would not allow that Man to be an Orator who had the best thoughts imaginable , and who knew all the rules of Rhetorique if he had not acquir'd by excercise the Art of using them , and of composing an excellent Discourse . Painting is a long Pilgrimage ; what avails it to make all the necessary preparatives for our Voyage , or to inform our selves of all the difficulties in the rode , if we do not actually begin the journey , and travel at a round rate , we shall never arrive at the end of it . And as it would be ridiculous to grow old in the study of every necessary thing , in an Art which comprehends so many several parts ; so on the other hand to being the practice without knowing the rules , or at least with a light Tincture of them is to expose our selves to the scorn of those who can judge of Painting , and to make it apparent ●●o the World that we have no care of our reputation . Many are of opinion , that we need onely work and mind the practical part to become skilfull and able Painters ; and that the Theory onely incumbers the mind , and tyes the hand : Such Men do just like the Squirrel , who is perpetually turning the Wheel in her Cage ; she runs apace and wearies her self with her continual Motion , and yet gets no ground . 'T is not enough for doing well to walk apace , says Quinctilian , but it is enough for walking apace to do well . 'T is a bad excuse to say , I was but a little while about it : That gracefull Easiness , that celestial Fire which animates the work , proceeds not so much from having often done the like , as from having well understood what we have done . See what I shall farther say , in the 51st . Rule , which concerns easiness . Others there are who believe the Precepts and Speculation , to be of absolute necessity , but as they were ill instructed , and what they knew rather entangl'd than clear'd their understanding , so they oftentimes stop short ; and if they perform a work , ●●tis not without Anxiety and Pain . And in truth , they are so much the more worthy of Compassion because their intentions are right , and if they advance not in knowledge as far as others , and are sometimes cast behind , yet they are grounded upon some sort of reason ; for 't is belonging to good ●●ence , not to go over fast when we apprehend our selves to be out of the way , or even where we doubt which way we ought to take . Others on the contrary , being well instructed in good Maximes , and in the rules ▪ of Art , after having done fine things yet spoil them all by endeavouring to make them better , which is a kind of over-doing , and are so intoxicated with their work and with an earnest desire of being above all others , that they suffer themselves to be deceiv'd with the appearance of an imaginary good . Apelles one day admiring the prodigious Labour which he saw in a Picture of Protogenes , and knowing how much sweat it must have cost him , said , That Protogenes and himself were of equal strength ; nay , that he yielded to him in some parts of Painting , but in this he surpass'd him , that Protogenes never knew when he had done well , and could never hold his hand ; he also added in the nature of a Precept , that he wish'd all Painters would imprint this lesson deeply in their Memory , that with over-straining and earnestness of finishing their Pieces they often did them more harm than good . There are some ( says Quinctilian ) who never satisfie themselves , never are contented with their first Notions and Expressions , but are continually changing all , till nothing remains of their first Ideas . Others there are ( continues he , ) who dare never trust themselves , nor resolve on any thing , and who being as it were intangl'd in their own Genius , imagine it to be a laudable correctness , when they form difficulties to themselves in their own work . And to speak the truth , 't is hard to discern whether of the two is in the greatest Error ; he who is enamour'd of all he does , or he whom nothing of his own can please . For it has happen'd to young Men , and often even to those of the greatest Wit , to waste their Spirits , and to consume themselves with Anxiety and Pain of their own giving , so far as even to doze upon their work with too much eagerness of doing well ; I will now tell you how a reasonable man ought to carry himself on this occasion : 'T is certain that we ought to use our best endeavour to give the last Perfection to our works ; yet it is always to be understood , that we attempt no more than what is in the compass of our Genius , and according to our Vein : for to make a true Progress , I grant that diligence and study are both requisite , but this study ought to have no mixture , either of Self-opinion , Obstinacy , or Anxiety ; for which reason , if it blows a happy Gale we must set up all our Sails , though in so doing it sometimes happens that we follow those Motions where our natural heat is more powerfull than our care and our correctness , provided we abuse not this licence , and suffer not our selves to be deceiv'd by it , for all our productions cannot fail to please us at the moment of their Birth , as being new to us . Because the greatest Beauties cannot always be experss'd for want of terms , &c. I have learn'd from the mouth of Monsieur du Fresnoy , that he had oftentimes heard Guido say , That no man could give a rule of the greatest Beauties , and that the knowledge of them was so abstruse , that there was no manner of speaking which could express them . This comes just to what Quinctilian says , That things incredible wanted words to express them : for some of them are too great and too much elevated to be comprehended by human discourse . From hence it proceeds that the best Iudges when they admire a noble Picture , seem to be fasten'd to it ; and when they come to themselves you would say they had lost the use of Speech . Pausiacâ torpes , insane , Tabellâ , says * Horace , and † Symmachus says , that the greatness of astonishment hinders men from giving a just applause . The Italians say Opera da stupire , when a thing is wonderfully good . Those Master-pieces of Antiquity , which were the first Examples of this Art , &c. He means the most knowing and best Painters of Antiquity , that is to say , from the last two Ages to our times . And also moderates that fury of the Fancy , &c. There is in the Latine Text , which produces onely Monsters , that is to say , things out of all probable resemblance . Such things as are often found in the works of Pietro Testa : It often happens , says Dionysius Longinus , a grave Author , That some men imagining themselves to be possess'd with a divine Fury ; far from being carry'd into the rage of Bacchanalians , often fall into toys and trifles which are only Puerilities . A subject beautifull and noble , &c. Painting is not onely pleasing and divertising , but is also a kind of Memorial of those things which Antiquity has had the most beautifull and the noble in their kinds , re-placing the History before our Eyes ; as if the thing at that time were effectually in Action , even so far that beholding the Pictures wherein those noble deeds are represented , we find our selves stung with a desire of endeavouring somewhat which is like that Action there express'd , as if we were reading it in the History . The Beauty of the subject inspires us with Love and Admiration for the Pictures . As the fair mixture causes us to enter into the subject which it imitates and imprints it the more deeply into our Imagination and our Memory : these are two Chains which are interlink'd , which contain , and are at the same time contain'd , and whose matter is equally precious and estimable . And well season'd , &c. Aliquid salis , somewhat that is ingenious , fine and picquant , extraordinary of a high relish , proper to instruct and to clear the Understanding . The Painters ought to do like the Orators , says Cicero . Let them instruct , let them divertise , and let them move us ; this is what is properly meant by the word Salt. On which the whole Machine ( as it may be call'd ) of the Picture is to be dispos'd , &c. 'T is not without reason , nor by chance , that our Author uses the word Machine . A Machine is a just assembling or Combination of many pieces to produce one and the same effect . And the Disposition in a Picture is nothing else but an Assembling of many parts , of which we are to foresee the agreement with each other : And the justness to produce a beautifull effect , as you shall see in the fourth Precept , which is concerning the Oeconomy . This is also call'd the Composition , by which is meant the distribution and orderly placing of things , both in general and in particular . Which is what we properly call Invention , &c. Our Author establishes three parts of Painting , the INVENTION , the DESIGN or DRAWING , and the COLOURING , which in some places he also calls the CROMATIQUE . Many Authors who have written of Painting , multiply the parts according to their pleasure ; and without giving you or my self the trouble of discussing this matter , I will onely tell you , that all the parts of Painting which others have nam'd , are reducible into these three which are mention'd by our Author . For which reason , I esteem this division to be the justest : and as these three parts are Essential to Painting , so no man can be truly call'd a Painter who does not posses them all together : In the same manner that we cannot give the name of Man to any Creature which is not compos'd of Body , Soul , and Reason , which are the three parts necessarily constituent of a Man. How therefore can they pretend to the Quality of Painters , who can onely copy and purloyn the works of others who therein employ their whole industry , and with that onely Talent would pass for able Painters . And do not tell me that many great Artists have done this ; for I can easily answer you that it had been their better course , to have abstain'd from so doing ; that they have not thereby done themselves much honour , and that copying was not the best part of their reputation . Let us then conclude that all Painters ought to acquire this part of Excellence ; not to do it , is to want courage and not dare to shew themselves . 'T is to creep and grovel on the ground , 't is to deserve this just reproach , O imitatores servum pecus : 'T is with Painters , in reference to their productions , as it is with Orators . A good beginning is always costly to both : much sweat and labour is requir'd , but 't is better to expose our works and leave them liable to censure for fifteen years , th●●n to blush for them at the end of fifty . On this account 't is necessary for a Painter to begin early to do somewhat of his own , and to accustom himself to it by continual excercise ; for so long as endeavouring to raise himself , he fears falling , he shall be always on the ground . See the following observation . Invention is a kind of Muse , which being possess'd of the other advantages common to her Sisters , &c. The Attributes of the Muses are often taken for the Muses themselves ; and it is in this sence , that Invention is here call'd a Muse. Authors ascribe to each of them in particular the Sciences which they have ( say they ) invented ; and in gen●●ra●● the belle lettere , because they contain almost all th●● others . These Sciences are those advantages 〈◊〉 which our Author speaks , and with which h●● would have a Painter furnish himself sufficiently and in truth , there is no man , though his under standing be very mean who knows not and who finds not of himself how much Learning is necessary to animate his Genius , and to compleat it . And the reason of this is , that they who have studied , have not onely seen and learn'd many excellent things in their course of studies , but that also they have acquir'd by that exercise a great Facility of profiting themselves by reading good Authors . They who will make profession of Painting , must heap up treasures out of their reading and there will find many wonderfull means of raising themselves above others , who can onely creep upon the ground , or if they elevate themselves , 't is onely to fall from a higher place , because they serve themselves of other Men's Wings , neither understanding their Use nor Vertue : 'T is true that it is not the present Mode for a Painter to be so knowing : and if any of them in these times be found to have either a great Wit or much Learning , the multitude would not fail to say , that it was great pity , and that the Youth might have come to somewhat in the practical part , or it may be in the Exchequer , or in the Families of some Noble-men . So wretch'd is the Destiny of Painting in these later ages . By Learning 't is not so much the knowledge of the Greek and Latine Tongue , which is here to be understood as the ●●eading of good Authors , and understanding those things of which they treat : for Translations being made of the best Authors , there is not any Painter who is not capable in some sort of understanding those Books of Humanity , which are comprehended under the name of the belle lettere . In my opinion the Books which are of the most advantage to those of the Profession , are these which follow . The Bible . The History of Iosephus . The Roman History of Coeffeteau , ( for those who understand the French , ) and that of Titus Livius , translated by Vigenere , with the Notes which are both curious and profitable . They are in two Volumes . Homer , whom Pliny calls the Fountain-head of Invention and noble thoughts . Virgil , and in him , particularly his Aeneids . The Ecclesiastical History of Godeau , or the Abridgement of Baronius . Ovid's Metamorphoses , translated into French by Du Rier , and in English by Sandys . * The Pictures of Philostratus . Plutarch's Lives , translated from the Greek by several hands , in 5 Volumes . Pausanias , though I doubt whether that Author be translated . He is wonderfull for giving of great Ideas ; and chiefly , for such as are to be plac'd at a distance , ( or cast behind ) and for the combining of Figures . This Author in conjunction with Homer , make a good mingle of what is pleasing and what is perfect . The Religion of the Ancient Romans , by Du Choul ; and in English , Godwin's Roman Antiquities . Trajan's Pillar , with the discourse which explains the Figures on it , and instructs a Painter in those things with which he is undispensibly to be acquainted . This is one of the most principal and most learned Books , which we have for the Modes , the Customs , the Arms , and the Religion of the Romans . Iulio Romano made his chief studies on the Marble it self . The Books of Medals . The Bass-Reliefs of Perrier and others , with their Explanations at the bottom of the Pages , which give a perfect understanding of them . Horace's Art of Poetry , by the Earl of Roscomon , because of the relation which there is betwixt the Rules of Poetry and those of Painting . And other Books of the like Nature , the reading of which are profitable to warm the Imagination : such as in English , are Spencer's Fairy Queen ; The Paradise lost of Milton ; Tasso translated by Fairfax ; and the History of Polybius , by Sir Henry Shere . Some Romances also are very capable of entertaining the Genius , and of strengthening it by the noble Ideas which they give of things ; but there is this danger in them , that they almost always corrupt the truth of History . There are also other Books which a Painter may use upon some particular occasions and onely when he wants them : Such are , The Mythology of the Gods. The Images of the Gods. The Iconology . The Tables of Hyginus . The practical Perspective . And some others not here mention'd . Thus it is necessary , that they who are desirous of a name in Painting , should read at leisure times these Books with diligence , and make their observations of such things as they find for their purpose in them , and of which they believe they may sometime or other have occasion ; let the Imagination be employ'd in this reading , and let them make Sketches and light Touches of those Ideas which that reading forms in their Imagination . Quinctilian , Tacitus , or whoever was the Author of that Dialogue which is call'd in Latine De causis corrup●●ae eloquentiae , says , That Painting resembles Fi●●e which is ●●ed by the Fuel , inflam'd by Motion , and ga●●hers strength by burning : For the power of the Genius is onely augmented by the abundance of matter to supply it ; and 't is impossible to make a great and magnificent work , if that matter be wanting or not dispos'd rightly . And therefore a Painter who has a Genius , gets nothing by long thinking and taking all imaginable care to make a noble Composition if he be not assisted by those studies which I have mention'd . All that he can gain by it , is onely to weary his Imagination , and to travel over many vast Countries without dwelling on any one thing , which can give him satisfaction . All the Books which I have named may be serviceable to all sorts of Persons as well as to Painters . As for those Books which were of particular use to them , they were unfortunately lost in those Ages which were before the Invention of Printing . Neglecting the Copyers probably out of ignorance to transcribe them , as not finding themselves capable of making the * demonstrative Figures . In the mean time , 't is evidently known by the reltaion of Authors , that we have lost fifty Volumes of them at the least . See Pliny in his 35th . Book ; and Franc. Iunius in his 3d. Chapter of the 2d . Book of the Painting of the Ancients . Many Moderns have written of it with small success , taking a large compass without coming directly to the point , and talking much without saying any thing : yet some of them have acquitted themselves successfully enough . Amongst others Leonardo da Vinci ( though without method ; ) Paulo Lomazzo , whose Book is good for the greatest part , but whose discourse is too diffusive and very tiresome . Iohn Baptist Armenini , Franciscus Iunius , Monsieur de Cambray , to whose Preface I rather invite you than to his Book ; we are not to forget what Monsieur Felebien has written of the Picture of Alexander by the hand of Monsieur Le Brun : besides that the work it self is very eloquent , the Foundations which he establishes for the making of a good Picture are wonderfully solid . Thus I have given you very near the Library of a Painter , and a Catalogue of such Books as he ought either to read himself or have read to him , at least if he will not satisfie himself with possessing Painting as the most sordid of all Trades and not as the noblest of all Arts. 'T is the business of a Painter in his choice of Postures , &c. See here the most important Precept of all those which relate to Painting . It belongs properly to a Painter alone , and all the rest are borrow'd either from Learning , or from Physick , or from the Mathematicks , or in short , from other Arts , for it is sufficient to have a natural Wit and Learning to make that which we call in Painting a good Invention , for the design we must have some insight into Anatomy , to make Buildings , and other things in Perspective , we must have knowledge in the Mathematicks , and other Arts , will bring in their Quota's to furnish out the matter of a good Picture ; but for the Oeconomy or ordering of the whole together , none but onely the Painter can understand it , because the end of the Artist is pleasingly to deceive the Eyes , which he can never accomplish if this part be wanting to him . A Picture may make an ill effect , though the Invention of it be truly understood , the Design of it correct and the Colours of it the most beautifull and fine that can be employ'd in it . And on the contrary we may behold other Pictures ill invented , ill design'd and painted with the most common Colours , which shall make a very good effect , and which shall more pleasingly deceive ; Nothing pleases a man so much as order , says Xenophon : And Horace , in his Art of Poetry . Singula quaeque locum teneant sortita decenter . Set all things in their own peculiar place , And know that Order is the greatest Grace . This Precept is properly the use and application of all the rest ; for which reason it requires much judgment . You are therefore , in such manner to foresee things , that your Picture may be painted in your Head : i. e. before it come upon the Canvas . When Manander ( says a celebrated Authour ) had order'd the Scenes of his Comedy , he held it to be , in a manner , already made ; though he had not begun the first Verse of it . 'T is an undoubted truth , that they who are endu'd with this foresight , work with incredible pleasure and facility ; others on the contrary are perpetually changing and rechanging their work , which when it is ended leaves them but anxiety for all their pains . It seems to me that these sorts of Pictures remind us of those old Gothique Castles , made at several times , and which hold together onely as it were by Rags and Patches . It may be inferr'd from that which I have said , that the Invention and the Disposition are two several and distinct parts in effect , though the last of them depends upon the first , and that commonly 't is comprehended under it : yet we are to take take great care that we do not confound them . The Invention simply finds out the subjects , and makes a choice of them suitable to the History which we treat ; and the Disposition distributes those things which are thus found each to its proper place , and accommodates the Figures and the Grouppes in particular , and the Tout Ensemble ( or whole together ) of the Picture in general : so that this Oeconomy produces the same effect in relation to the Eyes , as a Consort of Musick to the Ears . There is one thing of great consequence to be observ'd in the Oeconomy of the whole work , which is , that at the first Sight we may be given to understand the quality of the subject : and that the Picture at the first Glance of the Eye , may inspire us with the principal passion of it : for Example , if the subject , which you have undertaken to treat be of joy , 't is necessary that every thing which enters into your Picture should contribute to that Passion , so that the Beholders shall immediately be mov'd with it . If the Subject be mournfull , let every thing in it have a stroke of sadness ; and so of the other Passion and Qualities of the Subjects . Let your Compositions be conformable to the Text of Ancient Authors , &c. Take care that the Licences . of Painters be rather to adorn the History , than to corrupt it . And though Horace gives permission to Painters and Poets to dare every thing , yet he encourages neither of them , to make things out of nature or verisimility ; for he adds immediately after , But let the Bounds of Licences he fix'd , Not things of disagreeing Natures mix'd ; Not Sweet with Sowre , nor Birds with Serpents joyn'd , Nor the fierce Lyon with the fearfull Hind . The Thoughts of a Man endued with good Sence are not of kin to visionary madness ; Men in Feavers are onely capable of such Dreams . Treat then the Subjects of your Pictures with all possible faithfulness , and use your Licences with a becoming boldness , provided they be ingenious , and not immoderate and extravagant . Take care that whatsoever makes nothing to your Subject , &c. Nothing deadens so much the Composition of a picture , as Figures which are not appertaining to the Subject : We may call them pleasantly enough , Figures to be let . This part of Painting so rarely met with , and so difficult to be found , &c. That is to say , Invention . Which was stollen by Prometheus , &c. The Poets feign that Prometheus from'd out of Clay , so fair a Statue , that Minerva one day having long admir'd it , said to the workman , that if he thought there was any thing in Heaven which could add to its perfection , he might ask it of her ; but he being ignorant of what might be most beautifull in the Habitation of the Gods , desir'd leave that he might be carry'd thither , and being there to make his choice . The Goddess bore him thither upon her Shield , and so soon as he had perceiv'd that all Celestial things were animated with Fire , he stole a Parcel of it , which he carry'd down to Earth , and applying it to the stomach of his Statue enliven'd the whole Body . That it happens not to every one to see Corinth , &c. This is an Ancient Proverb which signefies , that every man has not the Genius not the Disposition that is necessary for the Sciences , neither yet a Capacity fit for the undertaking of things which are great and difficult . Corinth was heretofore the Centre of all Arts , and the place whither they sent all those whom they would render capable of any thing . Cicero calls it the Light of all Graeci●● . It arriv'd at length to that height of perfection , &c. This was in the time of Alexander the Great , and lasted even to Augustus ; under whose reign Painting fell to great decay . But under the Emperors , Domitian , Nerva and Trajan , it appear'd in its primitive lustre , which lasted to the time of Phocas the Emperor , when vices prevailing over the Arts , and War being kindled through all Europe , and especially in Lombardy , ( occasion'd by the irruption of the Hunns , ) Painting was totally extinguish'd . And if some few in the succeeding Ages strain'd themselves to revive it , it was rather in finding out the most glaring , gawdy and costly Colours , than in imitating the harmonious Simplicity of those illustrious Painters who preceded them . At length , in the fourteenth Century , some there were who began to set it again on foot . And it may truly be said , that about the end of the fifteenth Age , and the beginning of our Sixteenth it appear'd in much Splendor by means of many knowing Men in all parts of Italy , who were in perfect possession of it . Since those happy times which were so fruitfull of the noble Arts , we have also had some knowing Painters but very few in number , because of the little inclination which Sovereign Princes have had for Painting : but thanks to the zeal of our Great Monarch , and to the care of his first Minister , Monsieur Colbert , we may shortly behold it more flourishing than ever . Though they are not very much inferior , &c. Our Author means this of Michael Angelo , and other able Sculptors of that time . A Posture therefore must be chosen according to their gusto , &c. This is the second part of Painting , which is call'd Design or Drawing ; as the Ancients haue sought as much as possible whatsoever contributes to the making of a perfect Body , so they haue diligently examin'd in what consists the beauty of good postures , as their works sufficiently inform us . The parts of it must be great , &c. Yet not so great as to exceed a just proportion . But he means that in noble posture , the greatest parts of the Body ought to appear foremost rather than the less , for which reason in another passage he vehemently forbids the foreshortinings , because they make the parts appear little , though of themselves they are great . Large or ample , &c. To avoid the dry manner , such as is most commonly the Nature which Lucas van Leyden and Albert Durer have imitated . Unequal in their Position , so that those which are before must contrast or oppose those others which are himdermost , and all of them be equally balanc'd on their Centre , &c. The Motions are never natural , when the Members are not equally balanc'd on their Centre : and these Members cannot be balanc'd on their Centre in an equality of weight , but they must contrast each other . A Man who dances on the Rope , makes a manifest Demonstration of this Truth . The Body is a weight balanc'd on its Feet , as upon two Pivots , And though one of the Feet most commonly bears the weight , yet we see that the whole weight rests Centrally upon it . Insomuch , that if , for Example , one Arms is stretched out , it must of necessity be either that the other Arm , or the Leg be cast backward , or the Body somewhat bow'd on the opposite Side , so as to make an Equilibrium , and be in a Situation which is unforc'd . It may be , though seldom ( if it be not in old Men ) that the Feet bear equally ; and for that time half the weight is equally distributed on each Foot. You ought to make use of the same Prudence , if one Foot bear three parts in four of the Burthen , and that the other Foot bore the remaining part . This in general is what may be said of the Balance , and the Libration of the Body . In particular , there may many things be said which are very usefull and curious , of which you may satisfie your selves in Leonardo da Vinci . He has done wonderfully well on that subject , and one may truly say that the Ponderation , is the best and soundest part of all his Book of Painting . It begins at the 181st . Chapter , and concludes at the 273d . I would also advise you to read Paulo Lomazzo in his 6th . Book , Chapter 4th . Del moto del Corpo humano , that is , the motions of a human Body . You will there find many things of great profit ; for what concerns the Contrast , I will onely say in general , that nothing gives so much grace and life to Figures . See the 43d . Precept , and what I say upon it in the Remarks . The parts must have their out lines in Waves resembling Flames , or the gliding of a Snake upon the ground , &c. The reason of this proceeds from the action of the Muscles , which are as so many Well-buckets ; when one of them acts and draws , 't is necessary that the other must obey ; so that the Muscles which act , drawing always towards their principle , and those which obey stretching in length and on the side of their insertion , it must needs follow that the parts must be design'd in Waves : but beware lest in giving this form to the parts you do not break the Bones which sustain them and which always must make them appear firm . This Maxim is not altogether so general , but that actions may be found where the masses of the Muscles are situate one over against another , but this is not very common . The out-lines which are in waves , give not only a grace to the Parts , but also to the whole Body , when it is only supported on one Leg. As we see in the Figures of Antinous , Meleager , the Venus of Medices , that of the Vatican , the two others of Borghese , and that of Flora , of the Goddess Vesta , the two Bacchus's of Borghese , and that of Ludovisio , and in fine of the greatest number of the Ancient Figures , which are standing , and which always rest more upon one Foot than the other . Besides , that the Figures and their Parts , ought almost always to have a serpentine and flaming form naturally , these sorts of out-lines have , I know not what of life and seeming motion in them , which very much resembles the activity of the Flame , and of the Serpent . According to the knowledge of them , which is given us by Anatomy , &c. This part is nothing known at present amongst our modern Painters . I have shewn the profit and even the necessity of it in the Preface of a little Epitome which I have made , and which Monsieur Torrebat has Publish'd . I know there are some who think this Science a kind of Monster , and believe it to be of no Advantage , either because they are mean spirited , or that they have not consider'd the want which they have of it ; nor reflected as they ought , on its importance : contenting themselves with a certain track , to which they have been us'd . But certain it is , that whoever is capable of such a thought , will never be capable of becoming a great Designer . Design'd after the manner of the Graecians , &c. that is to say , according to the Ancient Statues , which for the most part come from Greece . Let there be a perfect relation betwixt the parts and the whole , &c. or let them agree well together , which is the same thing . His meaning in this place , is to speak of the justness of proportions ; and of the harmony which they make with one another . Many famous Authours have thoroughly treated this matter . Amongst others Paulo Lomazzo , whose first Book speaks of nothing else : But there are so many subdivisions , that a Reader Must have a good Brain , not to be turn'd with them . See those which our Author has remark'd in general , on the most beautifull Statues of the Ancients . I believe them to be so much the better , as they are more conformable to those , which Vitruvius gives us , in the first Chapter of his third Book : And which he tells us , that he learn'd from the Artists themselves : because in the Preface to his Seventh Book , he makes his boast to have had them from others , and particularly from Architects and Painters . The Measures of a Humane Body . The Ancients have commonly allow'd eight Heads to their Figures ; though some of them have but ●●even . But we ordinarily divide the Figure into ten Faces : that is to say , from the Crown of the Head to the Sole of the Foot in the following manner . From the Crown of the Head to the Forehead , is the third part of a Face . The Face begins , at the root of the lowest Hairs , which are upon the Forehead ; and ends at the bottom of the Chin. The Face is divided into three proportionable parts ; the first contains the Forehead , the second the Nose , and the third the Mouth and the Chin. From the Chin , to the pit betwixt the Collar-bones are two lengths of a Nose . From the pit betwixt the Collar-bones , to the bottom of the Breast one Face . * From the bottom of the Breasts , to the Navel one Face . * From the Navel to the Genitories , one Face . From the Genitories to the upper part of the Knee , two Faces . The Knee contains half a Face . From the lower part of the Knee to the Anckle , two Faces . From the Anckle to the Sole of the Foot , half a Face . A Man , when his Arms are stretch'd out , is , from the longest Finger of his Right hand , to the longest of his left , as broad as he is long . From one side of the Breasts to the other , two Faces . The bone of the Arm call'd Humerus is the length of two Faces , from the Shoulder to the Elbow . From the end of the Elbow to the root of the little Finger , the bone call'd Cubitus , with part of the Hand , contains two Faces . From the box of the Shoulder-blade , to the pit betwixt the Collar-bones , one Face . If you would be satisfy'd in the Measures of breadth , from the extremity of one Finger to the other ; so that this breadth shou'd be equal to the length of the Body , you must observe that the boxes of the Elbows with the Humerus , and of the Humerus with the Shoulder-blade , bear the proportion of half a Face , when the Arms are Stretch'd out . The Sole of the Foot is the sixth part of the Figure . The Hand is the length of a Face . The Thumb contains a Nose . The inside of the Arm , from the place where the Muscle disappears , which makes the Breast , call'd the Pectoral Muscle , to the middle of the Arm , four Noses . From the middle of the Arm to the begining of the Hand , five Noses . The longest Toe , is a Nose long . The two utmost parts of the Teats , and the pit betwixt the Collar-bones of a Woman make an equailateral triangle . For the breadth ; of the Limbs no precise measures can be given ; because the measures themselves are changeable according to the quality of the persons ; and according to the movement of the Muscles . If you wou'd know the Proportions more particularly , you may see them in Paulo Lomazzo : 't is good to read them , once at least , and to make Remarks on them ; every man according to his own judgment , and according to the occasion which he has for them . Though Perspective cannot be call'd a certain Rule , &c. That is to say , purely of it self , without prudence , and discretion . The greatest part of those , who understand it , desiring to practise it too regularly , often make such things as shock the sight , though they are within the Rules . If all those great Painters , who have left us such fair Platforms , had rigorously observ'd it in their Figures , they had not wholly found their account in it . They had indeed made things more regularly true , but withall very unpleasing . There is great appearance that the Architects , and Statuaries of former times , have not found it to their purpose always ; nor have follow'd the Geometrical Part so exactly as Perspective ordains . For He who wou'd imitate the Frontispiece of the Rotunda according to Perspective , wou'd be grosly deceiv'd ; since the Columns which are at the extremities have more diameter , than those which are in the middle . The Cornish of the Palazzo Farnese , which makes so beautifull an effect below , when view'd more nearly , will be found not to have its just measures . In the Pillar of Trajan , we see that the highest Figures are greater than those below ; and make an effect quite contrary to Perspective , increasing according to the measure of their distance . I know there is a Rule which teaches a way of making them in that manner ; and which though 't is to be found in some Books of Perspective , yet notwithstanding is no rule of Perspective . Because 't is never made use of , but onely when we find it for our purpose ; for if ( for example ) the Figures which are at the top of Trajan's Pillar , were but as great as those which are at the bottom , they wou'd not be for all that against Perspective : and thus we may say , with more reason , that it is a rule of Decorum in Perspective to ease the sight , and to render objects more agreeable : 'T is on this general observation , that we may establish in Perspective , the rules of Decorum ( or convenience ) whensoever occasion shall offer . We may also see another Example in the base of the Farnesian Hercules ; which is not upon the level , but on an easie declivity on the advanc'd part , that the feet of the Figure may not be hidden from the sight , to the end that it may appear more pleasing : which the noble Authors of these things have done , not in contempt of Geometry and Perspective , but for the satisfaction of the Eyes , which was the end they propos'd to themselves in all their works . We must therefore understand Perspective , as a Science which is absolutely necessary ; and which a Painter must not want : Yet without Subjecting our selves so wholly to it , as to become slaves of it . We are to follow it , when it leads us in a pleasing way , and that it shows us pleasing things ; but for some time to forsake it , if it lead us through mire , or to a precipice . Endeavour after that which is aiding to your Art , and convenient , but avoid whatsoever is repugnant to it ; as the 59th rule teaches . Let every Member be made for its own Head , &c. That is to say , you ought not to set the Head of a Young man on the Body of an Old one ; nor make a white Hand for a wither'd Body . Not to habit a Hercules in Taffeta ; nor an Apollo in course stuff : Queens and persons of the first quality , whom you wou'd make appear Majestical , are not to be too negligently dress'd or indishabile , no more than Old men : The Nymphs are not to be overcharg'd with drapery : in fine , let all that which accompanies your Figures , make them Known for what effectively they are . Let the Figures to which Art cannot give a Voice , imitate the Mutes in their Actions , &c. Mutes having no other way of speaking ( or expressing their thoughts ) but onely by their gestures . and their actions , 't is certain that they do it in a manner more expressive than those who have the use of Speech , for which reason the Picture which is mute ought to imitate them , so as to make it self understood . Let the principal Figure of the Subject , &c. 'T is one of the greatest blemishes of a Picture , not to give knowledge at the first Sight of the Subject which it represents . And truly nothing is more perplexing , than to extinguish as it were , the principal Figure by the opposition of some others , which present themselves to us at the first view , and which carry a greater lustre . An Orator , who had undertaken to make a Panegyrick on Alexander the Great , and who had emply'd the strongest Figures of his Rhetorique in the praise of Bucephalus , would do quite the contrary to that which was expected from him ; Because it would be believ'd that he rather took the Horse for his Subject than the Master . A Painter is like an Orator in this . He must dispose his matter in such sort , that all things may give place to his principal Subject . And if the other Figures , which accompany it , and are onely as Accessaries there , take up the chief place , and make themselves most remarkable , either by the Beauty of their Colours , or by the Splendour of the Light , which strikes upon them , they will catch the Sight , they will Stop it short , and not suffer it to go further than themselves , till after some considerable space of time to find out that which was not discern'd at first . The principal Figure in a Picture is like a king among his Courtiers , whom we ought to know at the first Glance , and who ought to dim the Lustre of all his Attendants . Those Painters who proceed otherwise , do just like those who in the relation of a story ingage themselves so foolishly in long digressions , that they are forc'd to conclude quite another way than they began . Let the Members be combin'd in the same manner as the Figures are , &c. I cannot better compare a Grouppe of Figures than to a Consort of Voices , which supporting themselves all together by their different parts make a Harmony , which pleasingly fills the Ears and flatters them ; but if you come to separate them , and that all the parts are equally heard as loud as one another , they will stun you to that degree , that you would fancy your Ears were torn in pieces . 'T is the same of Figures ; if you so assemble them , that some of them sustain the others , and make them appear ; and that all together they make but one entire Whole , then your Eyes will be fully satisfied : But if on the contrary , you divide them , your Eyes will suffer by seeing them all together dispers'd , or each of them in particular . All together , because the visual Rays are multiply'd by the Multiplicity of Objects . Each of them in particular ; because , if you six your Sight on one , those which are about it will strike you and attract your Eyes to them , which extremely Pains them in this sort of Separation and Diversity of Objects , The Eye , for example , is satisfied with the Sight of one single Grape , and is distracted , if it carries it self at one view , to look upon many several Grapes which lie Scatter'd on a Table , we must have the same regard for the Members ; they aggrouppe and contrast each other in the same manner as the Figures do . Few Painters have observ'd this Precept as they ought , which is a most solid Foundation for the Harmony of a Picture . The Figures in the Grouppes ought not to be like each other in their Motions , &c. Take heed in this contrast to do nothing that is extravagant , and let your Postures be always natural . The Draperies , and all things that accompany Figures , may enter into the contrast with the Members , and with the Figures themselves : And this is what our Poet Means in these words of his Verses , Caetera frangant . One side of the Picture must not be void , while the other is fill'd &c. This sort of Symmetry , when it appears not affected , fills the Picture pleasingly ; k●●eps it in a kind of balance ; and infinitely delights the Eyes , which thereby contemplate the Work with more repose . As a Play is seldom good , in which there are too many Actors , &c. Annibal Caracci did not belivee that a Picture cou'd be good , in which there were above twelve Figures . It was Albano who told our Authour this , and from his mouth I had it . The Reasons which he gave were , first , That he belive'd there ought not be above three great Grouppes of Figures in any Picture ; And Secondly , That Silence and Majesty were of necessity to be there , to render it beautifull ; and neither the one nor the other cou'd possibly be in a multitude and crowd of Figures . But nevertheless , if you are constrain'd by the Subject : ( As for Example , If you Painted the Day of Iudgment , the Massacre of the Innocents , a Battel , &c. ) On such occasions you are to dispose things by great masses of Lights and Shadows , and union of Colours , without troubling your self to finish every thing in particular , ind●●pendently one of the other , as is usual with Painters of a little Genius ; and whose Souls are uncapable of embracing a great Design , or a great Composition . Aemylium circa ludum , Faber imus & ungues Exprimet , & molles imitabitur aere capillos ; Infelix Operis Summâ , quia ponere totum Nesciet . The meanest Sculptor in th' Emylian Square , Can imitate in Brass , the Nails and Hair ; Expert in Trifles , and a cunning Fool , Able t' express the Parts , but not dispose the whole . Says Horace in his Art of Poetry . The Extremities of the Ioints must be seldom hidden , and the Extremities or End of the Feet never , &c. These Extremities of the Joints are as it were the Hafts or Handles of the Members . For example , the Shoulders , the Elbows , the Thighs , and the Knees . And if a Drapery should be found on these ends of the Joints , 't is the duty of Science and of Decorum , to mark them by Folds , but with great discretion ; for what concerns the Feet , though they should be hidden by some part of the Drapery ; nevertheless , if they are mark'd by Folds , and their shape be distinguish'd , they are suppos'd to be seen . The word never , is not here to be taken in the strictest Sense ; he means but this , so rarely , that it may seem we should avoid all occasions of dispensing with the Rule . The Figures which are behind others , have neither Grace nor Vigour , &c. Raphael and Iulio Romano , have perfectly observ'd this Maxime , and Raphael especially in his last Works . Avoid also those Lines and Contours which are equal , which make Parallels , &c. He means principally to speak of the Postures so order'd , that they make together those Geometrical Figures which he condemns . Be not so strictly tied to Nature , &c. This Precept is against two sorts of Painters ; first against those who are so scrupulously tied to Nature , that they can do nothing without her , who copy her just as they believe they see her , without adding or retrenching any thing , though never so little , either for the Nudities or for the Draperies . And secondly , against those who Paint every thing by Practice , without being able to subject themselves to retouch any thing , or to examine by the Nature . These last , properly speaking , are the Libertines of Painting , as there are Libertines of Religion ; who have no other Law but the vehemence of their Inclinations which they are resolv'd not to overcome : and in the Same manner the Libertines of Painting , have no other model but a Rhodomontado Genius , and very irragular , which violently hurries them away . Though these two sorts of Painters , are both of them in vicious Extremes , yet nevertheless the former sort seems to be the more supportable ; because though they do not imitate Nature as she is accompany'd by all her Beauties , and her Graces , yet at least they imitate that Nature , which we know and daily see . Instead of which the others show us a wild or salvage Nature , which is not of our acquaintance , and which seems to be of a quite new Creation . Whom you must have always present as a witness to the truth , &c. This passage seems to be wonderfully well said . The nearer a Picture approaches to the truth , The better it is ; and though the Painter , who is its Author , be the first Judge of the Beauties which are in it , he is nevertheless oblig'd not to pronounce it , till he has first consulted Nature , who is an irreproachable evidence , and who will frankly , but withall truly tell you its Defects and Beauties , if you compare it with her Work. And of all other things which discover to us the Thoughts and inventions of the Graecians , &c. As good Books , such as are Homer and Pausanias ; the prints which we see of the Antiquities , may extremely contribute to from our Genius , and to give us great Ideas ; in the same manner as the Writings of good Authors , are capable of forming a good Style in those who are desirous of writing well . If you have but one single Figure to work upon , &c. The reason of this is , That there being nothing to attract the Sight but this onely Figure , the Visual Rays will not be too much divided by the Diversity of Colours and Draperies ; but onely take heed to put in nothing , which shall appear too sharp or too hard ; and be mindfull of the 4th . Precept , which says , that two Extremities are never to touch each other either in Colour or in Light ; but that there must be a mean , partaking of the one and of the other . Let the Drapery be nobley Spread upon the Body ; let the Folds be large , &c. As Raphael practis'd , after he had forsaken the manner of Pietro Perugino , and principally in his latter Works . And let them follow the order of the parts , &c. As the fairest pieces of Antiquity will show us . And take heed , that the folds do not only follow the order of the parts , but that they also mark the most considerable Muscles ; because that those Figures , where the drapery and the naked part are seen both together , are much more gracefull than the other . Without sitting too streight upon them , &c. Painters ought not to imitate the Ancients in this circumstance ; the ancient Statuaries ma●● their Draperies of wet Linen , On purpose to make them sit close and streight to the parts of their Figures , for doing which they had great reason ; and in following which the Painters would be much in the wrong : and you shall see upon what grounds those great Genius's of Antiquity , finding that it was impossible to imitate with Marble the fineness of stuffs or garments which is not to be discern'd but by the Colours , the Reflexes , and more especially by the Lights and Shadows , finding it I say out of their power to dispose of those things , thought they could not do better nor more prudentially , than to make use of such Draperies as hinder'd not from seeing through their Folds , the delicacy , of the Flesh , and the purity of the Out-lines ; things which truly speaking they possest in the last perfection , and which in all appearance were the subject of their chief study . But Painters , on the contrary , who are to deceive the Sight , quite otherwise than Statuaries , are bound to imitate the different sorts of Garments , such as they naturally seem ; and such as Colours , Reflexes , Lights and Shadows ( of all which they are Masters ) can make them appear : Thus we see that those who have made the nearest imitations of Nature , have made use of such Stuffs ( or Garments ) which are familiar to our Sight , and these they have imitated with so much Art that in beholding them we are pleas'd that they deceive us ; such were Titian , Paul Veronese , Tintoret , Rubens , Van Dyck , and the rest of the good Colourists , who have come nearest to the truth of Nature : Instead of which , others who have scrupulously tied themselves to the practice of the Ancients , in their Draperies , have made their works crude and dry ; and by this means have found out the lamentable secret how to make their Figures harder than even the Marble it self . As Andrea Mantegna , and Pietro Perugino have done , and Raphael also had much of that way in his first Works , in which we behold many small foldings often repleited , which look like so many Whip-cords . 'T is true these repetitions are seen in the Ancient Statues , and they are very proper there . Because they who made use of wet Linen , and close Draperies , to make their Figures look more tender , reasonably foresaw that the Members would be too naked , if they left not more than two or three Folds , scarce appearing such as those sorts of Draperies afford the Sight , and therefore have us'd those Repetitions of many Folds , yet in such a manner that the Figures are always soft and tender , and thereby seem opposite to the hardness of Marble . Add to this , that in Sculpture , 't is almost impossible that a Figure cloath'd with course Draperies , can make a good effect on all the sides ; and that in Painting the Draperies of what kind soever they be , are of great advantage , either to unite the Colours and the Grouppes , or to give such a ground as one would wish to unite or to separate , or farther , to produce such reflections as set off , or for filling void spaces , or in short for many other advantages , which help to deceive the Sight , and which are no ways necessary to Sculptors , since their Work is always of Relievo . Three things may be inferr'd from what I have said concerning the rule of Draperies . First , that the Ancient Sculptors had reason to cloath their Figures as we see them . Secondly , that Painters ought to imitate them in the order of their Folds , but not in their quality nor in their number . Thirdly , That Sculptors are oblig'd to follow them as much as they can , without desiring to imitate unprofitably or improperly the manners of the Painters , and to make many ample Folds , which are insufferable hardnesses , and more like a Rock than a natural Garment . See the 211th . Remark about the middle of it . And if the parts be too much distant from each other , &c. 'T is with intent to hinder ( as we have said in the rule of Grouppes ) the visual Rays , from being too much divided , and that the Eyes may not suffer by looking on so many objects , which are separated . Guido was very exact in this observation . See in the Text the end of the Rule which relates to Draperies . And as the Beauty of the Limbs consists not in the quantity and rising of the Muscles , &c. Raphael in the beginning of his Painting , has somewhat too much multiply'd the Folds ; because being with reason charm'd with the graces of the Ancients , he imitated their Beauties somewhat too regularly ; but having afterwards found that this quantity of Folds glitter'd too much upon the Limbs , and took off that Repose and Silence which in Painting are so friendly to the Eyes ; he made use of a contrary conduct in the works which he painted afterwards , which was at that time when he began to understand the effect of Lights , of Grouppes , and the oppositions of the Lights and Shadows , so that he wholly chang'd his manner , ( this was about eight years before his death ) and though he always gave a Grace to whatsoever he painted , yet he made appear in his latter works , a Greatness , a Majesty , and a Harmony quite other than what we see in his first manner : And this he did by lessening the number of his Folds , making them more large and more opposing them , and by making the Masses of the Lights and Shadows , greater and more disentagl'd . Take the pains to examine these his different manners in the Prints which we see of that Great Man. As supposing them to be Magistrates , their Draperies ought to be large , &c. Yet make not your Draperies so large that they may be big enough to cloath four or five Figures , as some there are who follow that method . And take heed that the folding be natural and so dispos'd , that the Eye may be directed to discover the Folds from the beginning of them to the end . By Magistrates , he means all great and grave Persons , and such as are advanc'd in age . If Ladies or Damsels , light and soft , &c. By this name of Ladies , Maids , or Damsels , he means all young persons , slender , finely shap'd , aery and delicate . Such as are Nymphs , and Naiades , and Fountains . Angels are also comprehended under this head , whose Drapery should be of pleasing Colours , and resembling those which are seen in the Heavens , and chiefly when they are suspended in the Air. They are only such sorts of light habits as are subject to be ruffl'd by the Winds , which can bear many Folds ; yet so that they may be freed from any hardnesses . 'T is easie for every one to judge that betwixt the Draperies of Magistrates , and those of young Maids ; there must be some mediocrity of Folds , such as are most commonly seen and observ'd , as in the Draperies of a Christ , of a Madonna , of a King , a Queen , or a Dutchess , and of other persons of Consideration and Majesty ; and those also who are of a middle age with this distinction , that the Habits must be made more or less rich , according to the dignity of the Persons ; and that Cloth Garments may be distinguish'd from those of Silk , Sattin from Velvets , Brocard from Embroidery , and that in one word the Eye may be deceiv'd by the truth and the difference of the Stuffs . Take notice if you please , that the light and tender Draperies having been onely given to the Female Sex , the Ancient Sculptors have avoided as much as they could to cloath the Figures of Men , because they thought , ( as we have formerly said ) that in Sculpture Garments could not be well imitated , and that great Folds made a very bad effect . There are almost as many examples of this truth , as amongst the Ancients there are Statues of naked men . I will name only that of Laocoon , which according to all probability ought to have been cloath'd : And in effect what likelihood can there be , that the Son of a King , and the Priest of Apollo should appear naked in the actual Ceremony of Sacrifice . For the Serpents pass'd from the Isle of Tenedos to the Trojan Shore , and surpriz'd Laocoon and his Sons while they were sacrificing to Neptune on the Sea Shore , as Virgil witnesses in the second of his Eneids . Notwithstanding which , the * Sculptors who were Authors of this noble work had well consider'd , that they could not give Vestments suitable to the quality of the Persons represented , without making as it were a heap of Stones , whose Mass would rather be like a Rock , than those three admirable Figures , which will ever be the Admiration of all Ages . And for this reason of two inconveniences , they judg'd that of Draperies to be greater , than that which was against the truth it self . This observation well confirms what I have said in the 200th . Remark . It seems to me , that it deserves you should make some reflection on it ; and to establish it the better in your mind , I will tell you , that Michael Angelo , following this Maxim , has given the Prophets which he painted in the Chappel of the Pope , such Draperies whose Folds are large , and whose Garments are course , instead of which the Moses , which he has made in Sculpture , is habited with a Drapery much more close to the parts and holding more of the Ancients . Nevertheless he is a Prophet as well as those in the Chappel , a man of the same quality , and to whom Michael Angelo ought to have given the same Draperies , if he had not been hinder'd by those very reasons which have been given you . The Marks or Ensigns of Vertues , &c. That is to say of the Sciences and Arts. The Italians call a man a Vertuoso , who loves the noble Arts , and is a Critick in them . And amongst our French Painters , the word Vertueux , is understood in the same Signification . But let not the work be too much enrich'd with Gold or Iewels , &c. Clemens Alexandrinus relates , That Apelles having seen a Helena , which a young Scholar of his had made and adorn'd with a great quantity of Golden Ornaments and Iewels , said to him , My good Friend , though thou couldst not make her beautifull , at least thou hast made her rich . Besides that , these glittering things in Painting , as precious Stones prodigally strew'd over the habits are destructive to each other , because they draw the Sight to several places at the same time , and that they hinder round Bodies from turning and making their due effect ; 't is the very quantity which often makes us judge that they are false . And be sides it is to be presum'd , that precious things are always rare . Corinna , that learned Theban Lady , reproach'd Pindar , whom she had five times overcome in Poetry , that he scatter'd through all his works the Flowers of Parnassus too prodigally , saying to him , That men sow'd with the Hand , and not with the Sack : for which reason a Painter ought to adorn his Vestments with great discretion . And precious Stones look exceedingly well , when they are set in those places which we would make to come out of the Picture ; as for example , on a Shoulder , or an Arm to tie some Drapery , which of it self is of no strong colouring . They do also perfectly well with white and other light Colours , which are us'd in bringing the Parts or Bodies forward , because Jewels make a show and glitter through the opposition of the great Lights in the deep brown , which meet together . 'T is very expedient to make a model of those things which we have not in our Sight , and whose nature is difficult to be retain'd in the Memory , &c. As for example , the Grouppes of many Figures , the Postures difficult to be long kept , the Figures in the Air , in Ceilings , or much rais'd above the Sight ; and even of Animals , which are not easily to be dispos'd . By this rule we plainly see how necessary it is for a Painter to know how to model , and to have many Models of soft Wax . Paul Veronese had so good store of them , with so great a quantity of different sorts , that he would paint a whole historical Composition on a perspective Plan , how great and how diversified soever it were . Tintoret practis'd the same , and Michael Angelo ( as Giovan. Bapt. Armenini relates ) made use of it , for all the Figures of his day of Iudgment . 'T is not that I would advise any one who would make any very considerable work , to finish after these sorts of Models , but they will be of vast use and advantage to see the Masses of great Lights , and great Shadows , and the effect of the whole together . For what remains , you are to have a * Lay-man almost as big as the life , for every Figure in particular , besides the natural Figure before you , on which you must also look , and call it for a witness , which must first confirm the thing to you , and afterwards to the Spectators as it is in reality . You may make use of these Models with delight , if you set them on a Perspective Plan , which will be in the manner of a Table made on purpose . You may either raise or let it down according to your convenience ; and if you look on your Figures through a hole so contriv'd , that it may be mov'd up and down , it will serve you for a point of Sight and a point of Distance , when you have once fix'd it . The same hole will further serve you to set your Figures in the Ceiling and dispos'd upon a Grate of Iron-wire , or supported in the Air by little Strings rais'd at discretion , or by both ways together . You may joyn to your Figures what you see fitting , provided that the whole be proportion'd to them ; and in short what you your self may judge to be of no greater bigness than theirs . Thus , in whatsoever you do there will be more of truth seen , your work it self will give you infinite delight , and you will avoid many doubts and difficulties which often hinder you , and chiefly for what relates to lineal perspective , which you will there infallibly find , provided that you remember to proportion all things to the greatness of your Figures and especially the points of Sight and of Distance ; but for what belongs to aerial perspective , that not being found , the judgment must supply it . Tintoret , as Ridolphi tells us in his life , had made Chambers of Board and Past board , proportion'd to his Models with Doors and Windows , through which he distributed on his Figures artificial Lights , as much as he thought reasonable , and often pass'd some part of the night to consider and observe the effect of his Compositions . His Models were of two Foot high . We are to consider the places where we lay the Scene of the Picture , &c. This is what Monsieur de Chambray , calls , to do things according to Decorum . See what he says of it , in the Interpretation of that word in his Book of the Perfection of Painting . 'T is not sufficient that in the Picture there be nothing found which is contrary to the place , where the action which is represented , passes ; but we ought besides , to mark out the place and make it known to the Spectator by some particular Address , that his mind may not be put to the pains of discovering it , as whether it be Italy , or Spain , or Greece , or France ; whether it be near the Sea shore , or the Banks of some River , whether it be the Rhine , or the Loyre ; the Po , or the Tyber ; and so of other things , if they are essential to the History . " Nealces , a man of Wit and an ingenious Painter , as Pliny tells us , being to paint a Naval Fight betwixt the Egyptians and the Persians , and being willing to make it known that the Battle was given upon the Nile , whose waters are of the same Colour with the Sea , drew an Ass drinking on the Banks of the River , and a Crocodile endeavouring to surprize him . " Let a Nobleness and Grace , &c. It is difficult enough to say what this Grace of Painting is ; 't is to be conceiv'd and understood much more easily than to be explain'd by words . It proceeds from the illuminations of an excellent Mind , which cannot be acquir'd , by which we give a certain turn to things which makes them pleasing . A Figure may be design'd with all its proportions , and have all its parts regular , which notwithstanding all this , shall not be pleasing , if all those parts are not put together in a certain manner , which attracts the Eye to them , and holds it fix'd upon them : For which reason there is a difference to be made betwixt Grace and Beauty . And it seems that Ovid had a mind to distinguish them , when he said ( speaking of Venus ) Multaque cum formâ gratia mista suit . A matchless Grace was with her Beauty mix'd . And Suetonius speaking of Nero , says , he was rather beautifull than gracefull . Vultu pulchro , magis quam venusto . How many fair women do we see , who please us much less than others , who have not such beautifull Features ? 'T is by this grace that Raphael has made himself the most renown'd of all the Italians , as Apelles by the same means carry'd it above all the Greeks . This is that in which the greatest difficulty consists , &c. For two reasons , both because great study is to be made as well upon the ancient Beauties and on noble Pictures , as upon nature it self : and also because that part depends entirely on the Genius , and seems to be purely the gift of Heaven , which we have receiv'd at our Birth , upon which account our Author adds , Undoubtedly we see but few , whom in this particular , Jupiter has regarded with a gracious Eye , so that it belongs only to those elevated Souls , who partake somewhat of Divinity to work such mighty wonders . Though they who have not altogether receiv'd from Heaven this precious Gift , cannot acquire it without great Labour , nevertheless 't is needfull in my opinion , that both the one and the other should perfectly learn the character of every Passion . All the Actions of the sensitive Appetite are in Painting call'd Passions , because the Soul is agitated by them , and because the Body suffers through them , and is sensibly alter'd . They are those divers Agitations and different Motions of the Body in general , and of every one of its parts in particular , that our excellent Painter ought to understand , on which he ought to make his study , and to form to himself a perfect Idea of them . But it will be proper for us to know in the first place , that the Philosophers admit eleven , Love , Hatred , Desire , Shunning , Ioy , Sadness , Hope , Despair , Boldness , Fear and Anger . The Painters have multiply'd them not onely by their different Degrees , but also by their different Species , for they will make , for example , six persons in the same degree of Fear , who shall express that Passion all of them differently . And 't is that diversity of Species which distinguishes those Painters who are able Artists , from those whom we may call Mannerists , and who repeat five or six times over in the same Picture the same Hairs of a Head. There are a vast number of other Passions , which are as the Branches of those which we have nam'd : we might for example , under the Notion of Love , comprehend Grace , Gentleness and Civility ; Caresses , Embraces , and Kisses , Tranquillity and Sweetness ; and without examining whether all these things which Painters comprize under the name of Passions , can be reduc'd to those of the Philosophers , I am of opinion that every one may use them at his pleasure , and that he may study them after his own manner ; the name makes nothing . One may even make Passions of Majesty , fierceness , Dissatisfaction , Care , Avarice , Sloathfulness , Envy , and many other things like these . These Passions ( as I have said , ) ought to be learnt from the life it self , or to be studied on the Ancient Statues and excellent Pictures : we ought to see , for example , all things which belong to Sadness , or serve to express it to design them carefully , and to imprint in our Memories after such a manner , as we may distinctly understand seven or eight kinds of them more or less , and immediately after draw them upon Paper without any other Original than the Image which we have conceiv'd of them . We must be perfect Masters of them : but above all , we must make sure of possessing them throughly . We are to know that it is such or such a stroke , or such a Shadow stronger or weaker , which make such or such a Passion in this or that degree . And thus , if any one should ask you , what makes in Painting the Majesty of a King , the Gravity of a Hero , the Love of a Christ , the Grief of a Madonna , the Hope of the good Thief , the Despair of the bad One , the Grace and Beauty of a Venus , and in fine the Character of any Passion whatsoever , you may answer positively , on the spot , and with assurance , that it is such a Posture or such lines in the parts of the Face , form'd of such or such a fashion , or even the one and the other both together : for the parts of the Body separately , make known the Passions of the Soul or else conjoyntly one with the other . But of all the parts the Head is that which gives the most of Life , and the most of Grace to the Passion , and which alone contributes more to it , than all the rest together . The others separately can onely express some certain Passions , but the Head expresses all of them ; nevertheless there are some which are more particular to it ; as , for example , Humility , which it expresses by the stooping or bending of the Head. Arrogance , when it is lifted , or as we say , toss'd up . Languishment , when we hang it on one side , or lean it upon one Shoulder . Obstinacy ( or as the French calls it Opiniatreté , ) with a certain stubborn , unruly , barbarous Humour , when 't is held upright , stiff , and poiz'd betwixt the Shoulders . And of the rest , there are many marks more easily conceiv'd than they can be express'd ; as , Bashfulness , Admiration , Indignation , and Doubt . 'T is by the Head that we make known more visibly our Supplications , our Threatnings , our Mildness , our Haughtiness , our Love , our Hatred , our Ioy , our Sadness , our Humility ; in fine , 't is enough to see the Face , and to understand the Mind at half a word . Blushing and Paleness speak to us , as also the mixture of them both . The parts of the Face do all of them contribute to expose the Thoughts of our Hearts ; but above the rest , the Eyes , which are as it were the two Windows through which the Soul looks out and shows it self . The Passions which they more particularly express , are Pleasure , Languishment , Disdain , Severity , Sweetness , Admiration and Anger . Ioy and Sadness may bear their parts , if they did not more especially proceed from the Eye-brows and the Mouth . And the two parts last nam'd agree more particularly in the expression of those two Passions ; nevertheless if you joyn the Eyes as a third , you will have the Product of a wonderfull Harmony for all the Passions of the Soul. The Nose has no Passion which is particular to it , it onely lends its assistance to the others before nam'd , by the stretching of the Nostrils , which is as much mark'd in Ioy , as it is in Sadness . And yet it seems that Scorn makes us wrinkle up the Nose and stretch the Nostrils also , at the same time , drawing up the upper Lip to the place which is near the corners of the Mouth . The Ancients made the Nose the seat of Derision ; eum subdolae irr●●sioni dicaverunt , says Pliny ; that is , they dedicated the Nose to a cunning sort of Mockery . We read in the 3d. Satyre of Persius , Disce , sed ira cadat Naso , rugosaque sanna ; Learn ; but let your Anger fall from your Nose and the sneering Wrinkles be dismounted . And Philostratus in the Picture of Pan whom the Nymphs had bound , and scornfully insulted over , says of that God ; " that before this , he was accustom'd to sleep with a peaceable Nose , softning in his slumbers the Wrinkles of it , and the Anger which commonly mounted to that part ; but now his Nostrils were widen'd to the last degree of Fury . " For my own part , I should rather believe that the Nose was the seat of Wrath in Beasts than in Mankind , and that it was unbecoming of any God but onely Pan , who had very much of the Beast in him , to wrinkle up his Nose in Anger , like other Animals . The moving of the Lips ought to be but moderate , if it be in Conversation , because we speak much more by the Tongue than by the Lips : And if you make the Mouth very open , 't is onely when you are to express the violence of Passion , and more properly of Anger . For what concerns the Hands , they are the Servants of the Head , they are his Weapons and his Auxiliaries ; without them the action is weak , languishing , and half dead , their Motions which are almost infinite , make innumerable expressions : Is it not by them , that we desire , that we hope , that we promise , that we call towards us , and that we reject ? besides , they are the instruments of our Threats , of our Petitions , of the Horror which we show for things , and of the Praises which we give them : By them we fear , we ask Questions , we approve , and we refuse , we show our Ioy and our Sadness , our Doubts , and our Lamentations , our Concernments of Pity , and our Admirations . In short , it may be said , that they are the Language of the Dumb , that they contribute not a little to the speaking of the universal Tongue , common to all the World , which is that of Painting . Now to tell you how these parts are to be dispos'd , so as to express the different Passions , is impossible ; no precise Rules can be given of it , both because the task it self is infinite , and also because every one is left to the Conduct of his own Genius , and to the Fruit of his former Studies ; onely remember to be carefull , that all the actions of your Figures must be natural . " It seems to me , says Quinctilian , speaking of the Passions , That this part which is so noble and so great , is not altogether unaccessible , and that an easie way may be found to it ; 't is to consider nature and to copy her , for the Spectators are satisfied , when in artificial things they can discern that nature which they are accustom'd to behold . " This passage of Quinctilian is perfectly explain'd by the words of an excellent Master which our Author proposes to us for a rule : they are these which follow . That the studied Motions of the Soul , are never so natural as those which we see in the transport of a true passion . These Motions will better be express'd , and be much more natural , if we enter into the same thoughts , become of the same piece , and imagine our selves to be in the same circumstances with those whom we would represent . " For Nature , says Horace in his Art of Poetry , disposes the inside of Mankind to all sorts of Fortunes , sometimes she makes us contented , sometimes she drives us into Choler , and sometimes she so oppresses us with Grief , that she seems to tread us down and plunge us into mortal Anxieties ; and on all these occasions , she drives outwards the Motions of the Heart by the Tongue which is her Interpreter . " Now instead of the Tongue , let the Painter say by the Actions , which are her Interpreters . " What means have we , ( says Quinctilian , ) to give a Colour to a thing if we have not the same Colour ; 't is necessary that we our selves should first be touch'd with a Passion before we endeavour to move others with it . And how , continues he , can we be touch●●d , since the Passions are not in our power ? This is the way in my opinion ; We must form to our selves the Visions and Images of absent things , as if they were in reality before our Eyes ; and he who conceives these Images with the greatest strength of Imagination , shall possess that part of the Passions with the most advantage and the greatest ease . " But we must take care , as I have already said , that in these visions , the Motions may be natural , for there are some who imagine they have given abundance of Light to their Figures , when they have made them do violent and extravagant Actions , which we may more reasonably call the Convulsions or Contorsions of the Body , than the Passions of the Mind ; and by this means often put themselves to much pains , to find a strong Passion , where no Passion is requir'd . Add to all that I have said concerning the Passions , that we are to have a very serious regard to the quality of the Persons who are to be express'd in Passions . The Ioy of a King ought not to resemble that of a Serving-man . And the Fierceness of a private Soldier must not be like that of an Officer . In these differences consists all the Fineness and Delicacy of the Passions . Paulo Lomazzo has written at large on every Passion in particular , in his second Book , but beware you dwell not too long upon it , and endeavour not to force your Genius . Some Reliques of it took Sanctuary under ground , &c. All the ancient Painting that was in Italy perish'd in the Invasion of the Hunns and Goths , excepting those works which were hidden under ground or there painted , which by reason they had not been much expos'd to view , were preserv'd from the insolence of those Barbarians . The Cromatique part or Colouring , &c. The third and last part of Painting , is call'd the Cromatique or Colouring . It s object is Colour , for which reason , Lights and Shadows are therein also comprehended , which are nothing else but white and brown ( or dark , ) and by consequence have their place among the Colours . Philostratus says in his life of Apollonius , " That it may be truly call'd Painting which is made only with two Colours , provided the Lights and Shadows be observ'd in it : for there we behold the true resemblance of things with their Beauties ; we also see the Passions , though without other Colours : so much of life may be also express'd in it , that we may perceive even the very Bloud : the Colour of the Hair and of the Beard , are likewise to be discern'd , and we can distinguish without confusion , the fair from the black , and the young from the old , the differences betwixt the white and the flaxen hair ; we distinguish with ease betwixt the Moors and the Indians ; not onely by the Camus Noses of the Blacks , their woolly Hair and their high Iaws , but also by that black Colour which is natural to them . " We may add to what Philostratus has said , that with two onely Colours , the Light and the Dark , there is no sort of Stuff or Habit but may be imitated ; we say then , that the colouring makes its observations on the Masses or Bodies of the Colours , accompany'd with Lights and Shadows more or less evident by degrees of diminution , according to the Accidents . First of a luminous Body ; as for example , the Sun or a Torch . Secondly , of a diaphanous or transparent Body , which is betwixt us and the object , as the Air either pure or thick , or a red Glass , &c. Thirdly , of a solid Body illuminated , as a Statue of white Marble , a green Tree , a black Horse , &c. Fourthly , from his part , who regards the Body illuminated , as beholding it either near or at a distance , directly in a right Angle , or aside in an obtuse Angle , from the top to the bottom , or from the bottom to the top . This part in the knowledge which it has of the vertue of Colours , and the Friendship which they have with each other , and also their Antipathies , it comprehends the Strength , the Relievo , the Briskness , and the Delicacy which are observ'd in good Pictures , the management of Colours , and the labour depend also on this last part . Her Sister , &c. That is to say , the Design or Drawing , which is the second part of Painting ; which consisting onely of Lines , stands altogether in need of the Colouring to appear . 'T is for this reason , that our Author calls this part her Sisters Procurer , that is , the Colouring shows us the Design , and makes us fall in love with it . The Light produces all kinds of Colours , &c. Here are three Theorems successively following , which our Author proposes to us , that from thence we may draw some conclusions . You may likewise find others , which are in the nature of so many Propositions to which we ought to agree , that from thence we may draw the Precepts contain'd in the following part of this Treatise ; they are all founded on the Sense of Seeing . Which ought to be the most , &c. See the Remark of number 152. That you may make the Bodies appear enlightned by the shadows which bound your Sight , &c. That is properly to say , that after the great Lights , there must be great Shadows , which we call reposes : because in reality the Sight would be tired , if it were attracted by a Continuity of glittering objects . The Lights may serve for a repose to the Darks , and the Darks to the Lights . I have said in another place , that a Grouppe of Figures ought to be consider'd , as a Choir of Musick , in which the Bases support the Trebles , and make them to be heard with greater pleasure . These reposes are made two several ways , one of which is Natural , the other Artificial . The Natural is made by an extent of Lights or of Shadows ; which naturally and necessarily follow solid Bodies , or the Masses of solid Bodies aggroupp'd when the Light strikes upon them . And the Artificial consists in the Bodies of Colours , which the Painter gives to certain things , such as pleases him ; and composes them in such a manner , that they do no injury to the objects which are near them . A Drapery , for example , which is made yellow or red on some certain place , in another place may be brown , and will be more suitable to it , to produce the effect requir'd . We are to take occasion as much as possibly we can , to make use of the first manner , and to find the repose of which we speak , by the Light and by the Shadow , which naturally accompany solid Bodies . But since the Subjects on which we work are not always favourable to dispose the Bodies as we desire , a Painter in such a case may take his advantage by the Bodies of Colours , and put into such places as ought to be darken'd , Draperies or other things which we may suppose to be naturally brown and sully'd , which will produce the same effect and give him the same reposes as the Shadows would which could not be caus'd by the disposition of the objects . Thus , an understanding Painter will make his advantages both of the one manner and the other . And if he makes a design to be grav'd , he is to remember that the Gravers dispose not their Colours as the Painters do ; and that by consequence he must take occasion to find the reason of his Design , in the natural Shadows of the Figures , which he has dispos'd to cause the effect . Rubens has given us a full information of this in those prints of his which he caus'd to be engrav'd ; and I believe that nothing was ever seen more beautifull in that kind : the whole knowledge of Grouppes , of the Lights and Shadows , and of those Masses which Ti●●ian calls a Bunch of Grapes , is there expos'd so clearly to the Sight , that the view of those Prints and the carefull observation of them , might very much contribute to the forming of an able Painter . The best and fairest of them are graven by Vorsterman , Pontius , and Bolsvert , all of them admirable Gravers , whose works Rubens himself took care to oversee , and which without doubt you will find to be excellent if you examine them . But expect not there the Elegance of Design , nor the Correctness of the Out-lines . 'T is not but the Gravers can , and ought to imitate the Bodies of the Colours by the degrees of the Lights and Shadows , as much as they shall judge that this imitation may produce a good effect : on the contrary , 't is impossible in my opinion to give much strength to what they grave , after the works of the School , and of all those who have had the knowledge of Colours and of the Contrast of the Lights and Shadows , without imitating in some sort the Colour of the Objects , according to the relation which they have to the degrees of white and black . We see certain Prints of good Gravers different in their kinds , where these things are observ'd , and which have a wonderfull strength . And there appears in publick of late years , a Gallery of Arch-duke Leopold , which though very ill graven , yet shows some part of the Beauty of its Originals , because the Gravers who have executed it , though otherwise they were sufficiently ignorant , have observ'd in almost the greatest parts of their Prints , the Bodies of Colours in the relation which they have to the degrees of the Lights and Shadows . I could wish the Gravers would make some reflection upon this whole Remark , 't is of wonde●●full consequence to them ; for when they have attain'd to the knowledge of these reposes , they will easily resolve those difficulties which many times perplex them : And then chiefly when they are to engrave after a Picture , where neither the Lights and Shadows , nor the Bodies of the Colours are skilfully observ'd , though in its other parts the Picture may be well perform'd . In the same manner as we behold it in a Convex Mirror , &c. A Convex Mirror alters the objects which are in the middle , so that it seems to make them come out from the Superficies . The Painter must do in the same manner in respect of the Lights and Shadows of his Figures , to give them more Relievo and more Strength . And let those which turn be of broken Colours , as being less distinguish'd and nearer to the borders , &c. 'T is the duty of a Painter , even in this also , to imitate the Convex Mirror , and to place nothing which glares either in Colour or in Light at the borders of his Picture ; for which , there are two reasons , the first is , that the Eye at the first view directs it self to the midst of the object , which is presented to it , and by consequence , must there necessarily find the principal object , in order to its satisfaction . And the other reason is , that the sides or borders being overcharg'd with a strong and glittering work attract the Eyes thither , which are in a kind of Pain , not to behold a continuity of that work , which is on the sudden interrupted , by the borders of the Picture ; instead of which the borders being lighten'd and eas'd of so much work , the Eye continues fixt on the Center of the Picture , and beholds it with greater pleasure . 'T is for the same reason , that in a great composition of Figures , those which coming most forward , are cut off by the bottom of the Picture , will always make an ill effect . A bunch of Grapes , &c. 'T is sufficiently manifest , that Titian by this judicious and familiar comparison , means that a Painter ought to collect the objects , and to dispose them in such a manner , as to compose one whole ; the several contiguous parts of which , may be enlighten'd ; many shadow'd and others of broken Colours to be in the turnings , as on a Bunch of Grapes , many Grapes , which are the parts of it , are in the Light , many in the Shadow , and the rest faintly colour'd to make them go farther back . Titian once told Tintoret , That in his greatest works , a Bunch of Grapes had been his principal rule and his surest guide . Pure or unmix'd white , either draws an object nearer or carries it off to farther distance . It draws it nearer with black , and throws it backward without it , &c. All agree that white can subsist on the fore-ground of the Picture , and there be us'd without mixture ; the question therefore is to know , if it can equally subsist and be plac'd in the same manner , upon that which is backward , the Light being universal and the Figures suppos'd in a Campaign and open Field . Our Author concludes affirmatively , and the reason on which he establishes his rule is this , That there being nothing which partakes more of the Light than Whiteness , and the Light being capable of subsisting well in remoteness ( or at a long distance , as we daily see in the rising and setting of the Sun ) it follows that white may subsist in the same manner . In Painting , the Light and a white Colour are but one and the same thing . Add to this , that we have no Colour , which more resembles the Air than white , and by consequence no Colour which is lighter , from whence it comes that we commonly say , the Air is heavy , when we see the Heavens cover'd with black Clouds , or when a thick fog takes from us that clearness , which makes the Lightness or Serenity of the Air. Titian , Tintoret , Paul Veronese , and all those who best understood Lights , have observ'd it in this manner , and no man can go against this Precept , at least without renouncing any skill in Landtschape , which is an undoubted confirmation of this truth . And we see that all the great Masters of Landtschape , have follow'd Titian in this , who has always employ'd brown and earthly Colours upon the fore-part , and has reserv'd his greatest Lights for remotenesses and the back parts of his Landtschapes . It may be objected against this opinion , that white cannot maintain it self in remotenesses , because it is ordinarily us'd to bring the Objects nearer , on the advanc'd part . 'T is true , that so it is us'd , and that to very good purpose , to render the Objects more sensible , by the opposition of the Dark , which must accompany it ; and which retains it , as it were by force , whether the Dark serves it for a ground , or whether it be combin'd to it . For example , If you wou'd make a white Horse on the fore-ground of your Picture , 't is of absolute Necessity , that the ground must be of a mixt brown , and large enough , or that the Furniture must be of very sensible Colours ; or lastly , that some Figure must be set upon it , whose Shadows and the Colour may bring it forward . But it seems ( say you ) that blue is the most flying or transient Colour , because the Heavens and Mountains , which are at the greatest distance , are of that Colour . 'T is very true that blue is one of the lightest and sweetest Colours : But it is also true , that it possesses these qualities so much the more , because the white is mingled in it , as the example of the distances demonstrate to us . But if the Light of your Picture be not universal , and that you suppose your Figures in a Chamber , then recall to your Memory that Theorem which tells you that the nearer a Body is to the Light , and the more directly 't is oppos'd to us , so much the more it is enlighten'd , because the Light grows languishing , the farther it removes from its original . You may also extinguish your white , if you suppose the Air to be somewhat thicker , and if you foresee that this supposition will make a good effect in the Oeconomy of the whole work ; but let not this proceed so far , as to make your Figures so brown , that they may seem as it were in a filthy Fog , or that they may appear to be part of the ground . See the following Remark . But as for pure black , there is nothing that brings the Object nearer to the Sight , &c. Because black is the heaviest of all Colours , the most earthly , and the most sensible . This is clearly understood by the qualities of white which is oppos'd to it , and which is , as we have said , the lightest of all Colours . There are few who are not of this opinion ; and yet I have known some , who have told me , that the black being on the advanc'd part , makes nothing but holes . To this there is little else to be answer'd , but that black always makes a good effect , being set forward , provided it be plac'd there with Prudence . You are therefore so to dispose the Bodies of your Pictures which you intend to be on the fore-ground , that those sorts of holes may not be perceiv'd , and that the blacks may be there by Masses , and insensibly confus'd . See the 47th . Rule . That which gives the Relievo to a Bowl , ( may some say to me ) is the quick Light , or the white , which appears to be on the side , which is nearest to us , and the black by consequence distances the Object : we are here to beware , not to confound the turnings with the distances : the question is onely in respect of Bodies , which are separated by some distance of a backward Position , and not of round Bodies , which are of the same Continuity : the brown which is mingled in the turnings of the Bowl , makes them go off , rather in confounding them , as we may say , than in blackning them . And do you not see , that the reflects are an Artifice of the Painter , to make the turnings seem more Light , and that by this means the greatest blackness remains towards the middle of the Bowl , to sustain the white , and make it deceive us with more pleasure . This Rule of White and Black is of so great consequence , that unless it be exactly practis'd , 't is impossible for a Picture to make any great effect , that the Masses can be disentangl'd , and the different distances may be observ'd at the first Glance of the Eye without trouble . It may be inferr'd from this Precept , that the Masses of other Colours , will be so much the more sensible , and approach so much the nearer to the Sight the more brown they bear ; provided this be amongst other Colours which are of the same Species . For example , A yellow brown shall draw nearer to the Sight , than another which is less yellow . I said provided it be amongst other Colours , which are of the same Species , because there are simple Colours , which naturally are strong and sensible , though they are clear , as Vermillion ; there are others also , which notwithstanding that they are brown , yet cease not to be soft and faint , as the blue of Ultrama●●ine . The effect of a Picture comes not onely therefore from the Lights and Shadows , but also from the nature of the Colours . I thought it was not from the purpose in this place to give you the qualities of those Colours which are most in use , and which are call'd Capital , because they serve to make the composition of all the rest , whose number is almost infinite . Red Oker is one of the most heavy Colours . Yellow Oker is not so heavy , because 't is clearer . And the Masticot is very Light , because it is a very clear yellow , and very near to white . Ultramarine or Azure , is very light and a very sweet Colour . Vermillion is wholly opposite to Ultramarine . Lake is a middle Colour betwixt Ultramarine and Vermillion , yet it is rather more sweet than harsh . Brown Red is one of the most earthy and most sensible Colours . Pinck is in its nature an indifferent Colour , ( that is ) very susceptible of the other Colours by the mixture : if you mix brown-red with it , you will make it a very earthy Colour ; but on the contrary , if you joyn it with white or blue , you shall have one of the most faint and tender Colours . Terre Verte ( or green Earth ) is light ; 't is a mean betwixt yellow Oker and Ultramarine . Umbre is very sensible and earthy ; there is nothing but pure black which can dispute with it . Of all Blacks , that is the most earthly , which is most remote from Blue . According to the Principle which we have establish'd of white and black , you will make every one of these Colours before-nam'd more earthy and more heavy , the more black you mingle with them , and they will be light the more white you joyn with them . For what concerns broken or compound Colours , we are to make a judgment of their strength by the Force of those Colours which compose them . All who have thoroughly understood the agreement of Colours , have not employ'd them wholly pure and simple in their Draperies , unless in some Figure upon the fore-ground of the Picture ; but they have us'd broken and compound Colours , of which they made a Harmony for the Eyes , by mixing those which have some kind of Sympathy with each other , to make a Whole , which has an Union with the Colours which are neighbouring to it . The Painter who perfectly understands the force and power of his Colours , will use them most suitably to his present purpose , and according to his own Discretion . But let this be done relatively , &c. One Body must make another Body fly off in such a manner that it self may be chas'd by those Bodies which are advanc'd before it . " We are to take care and use great attention , says Quinctilian , not onely of one separate thing , but of many which follow each other : and by a certain relation which they have with each other , are as it were continued in the same manner , as if in a straight Street , we cast our Eyes from one end of it to the other , we discover at once those different things which are presented to the Sight , so that we not onely see the last , but whatsoever is relating to the last . " Let two contrary extremities never touch each other , &c. The Sense of seeing has this in common with all the rest of the Senses , that it abhorrs the contrary Extremities . And in the same manner as our hands , when they are very cold feel a grievous pain , when on the sudden we hold them near the Fire , so the Eyes which find an extreme white , next to an extreme black , or a fair cool Azure next to a hot Vermillion , cannot behold these extremities without Pain , though they are always attracted by the Glareing of two contraries . This rule obliges us to know those Colours which have a Friendship with each other , and those which are incompatible , which we may easily discover in mixing together those Colours of which we would make trial . And if by this mixture , they make a gracious and sweet Colour , which is pleasing to the Sight , 't is a Sign that there is an Union and a Sympathy betwixt them : but if , on the contrary , that Colour which is produc'd by the mixture of the two be harsh to the Sight , we are to conclude , that there is a Contrariety and Antipathy betwixt these two Colours . Green , for example , is a pleasing Colour , which may come from a blue and a yellow mix'd together , and by consequence blue and yellow are two Colours which sympathize : and on the contrary , the mixture of Blue with Vermillion , produces a sharp , harsh , and unpleasant Colour ; conclude then that Blue and Vermillion are of a contrary Nature . And the same may be said of other Colours of which you make the experiment . And to clear that matter once for all , ( see the Conclusion of the 332d . Remark , where I have taken occasion to speak of the force and quality of every Capital Colour , ) yet you may neglect this Precept , when your Piece consists but of one or two Figures , and when amongst a great number you would make some one Figure more remarkable than the rest . One I say , which is one of the most considerable of the Subject , which otherwise you cannot distinguish from the rest . Titian in his triumph of Bacchus , having plac'd Ariadne on one of the Borders of the Picture , and not being able for that reason to make her remarkable by the brightness of Light , which he was to keep in the middle of his Picture , gave her a Scarf of a Vermillion Colour , upon a blue Drapery , as well to loosen her from his ground , which was a blue Sea , as because she is one of the principal Figures of his Subject , upon which he desir'd to attract the Eye . Paulo Veronese , in his Marriage of Canaa , because Christ who is the principal Figure of the Subject , is carry'd somewhat into the depth of the Picture , and that he cou'd not make him distinguishable by the strength of the Lights and Shadows , has cloath'd him with Vermillion and Blue , thereby to conduct the Sight to that Figure . The hostile Colours may be so much the more ally'd to each other , the more you mix them with other Colours , which mutually sympathize ; and which agree with those Colours , which you desire to reconcile . 'T is labour in vain to paint a High-noon , &c. He said in another place , Endeavour after that which aids your Art , and is suitable to it , and shun whatsoever is repugnant : 't is the 59th . Precept . If the Painter wou'd arrive to the end he has propos'd , which is to deceive the ●●ight , he must make choice of such a Nature , as agrees with the weakness of his Colours ; because his Colours cannot accommodate themselves to every sort of Nature . This Rule is particularly to be observ'd , and well consider'd , by those who paint Landtschapes . Let the Field or Ground of the Picture , &c. The reason of it is , that we are to avoid the meeting of those Colours , which have an Antipathy to each other , because they offend the Sight , so that this Rule is prov'd sufficiently by the 41st . which tells us , that two contrary Extremities are never to touch each other , whether it be in Colour , or in Light , but that there ought to be a mean betwixt them , which partakes of both . Let your Colours be lively , and yet not look ( according to the Painters Proverb ) as if they had been sprinkled with Meal , &c. Donner dans la farine , is a Phrase amongst Painters , which perfectly expresses what it means , which is to paint with clear , or bright Colours , and dull Colours together ; for being so mingled , they give no more life to the Figures , than if they had been rubb'd with Meal . They who make their flesh Colours very white , and their Shadows grey or inclining to green , fall into this inconvenience . Red Colours in the Shadows of the most delicate or finest Flesh , contribute wonderfully to make them lively , shining and natural ; but they are to be us'd with the same discretion , that Titian , Paul Veronese , Rubens and Van Dyck , have taught us by their example . To preserve the Colours fresh , we must paint by putting in more Colours , and not by rubbing them in , after they are once laid ; and if it could be done , they should be laid just in their proper places , and not be any more touch'd , when they are once so plac'd ; it would be yet better , because the Freshness of the Colours is tarnish'd and lost , by vexing them with the continual Drudgery of Daubing . All they who have colour'd well , have had yet another Maxim to maintain their Colours fresh and flourishing , which was to make use of white Grounds , upon which they painted , and oftentimes at the first Stroke , without retouching any thing , and without employing new Colours . Rubens always us'd this way ; and I have seen Pictures from the hand of that great Person painted up at once , which were of a wonderfull Vivacity . The reason why they made use of those kind of Grounds , is , because white as well preserves a Brightness , under the Transparency of Colours , which hinders the Air from altering the whiteness of the Ground , as that it likewise repairs the injuries which they receive from the Air , so that the Ground and the Colours assist and preserve each other . 'T is for this reason that glaz'd Colours have a Vivacity which can never be imitated by the most lively and most brillant Colours , because according to the common way , the different Teints are simply laid on each in its place one after another . So true it is , that white with other strong Colours , with which we paint at once that which we intend to glaze , are as it were , the Life , the Spirit , and the Lustre of it . The Ancients most certainly have found , that white Grounds were much the best , because , notwithstanding that inconvenience , which their Eyes receiv'd from that Colour , yet they did not forbear the use of it ; as Galen testifies in his tenth Book of the use of the parts . " Painters , says he , when they work upon their white Grounds , place before them dark Colours , and others mixt with blue and green , to recreate their Eyes , because white is a glareing Colour , which wearies and pains the Sight more than any other . " I know not the reason why the use of it is left off at present , if it be not that in our days there are few Painters who are curious in their Colouring , or that the first Strokes which are begun upon white , are not seen soon enough , and that a more than French Patience is requir'd to wait till it be accomplish'd ; and the Ground , which by its whiteness tarnishes the Lustre of the other Colours , must be entirely cover'd to make the whole work appear pleasingly . Let the parts which are nearest to us and most rais'd , &c. The reason of this is , that upon a flat superficies , and as much united as a Cloth can be , when it is strain'd , the least Body is very appearing , and gives a heightning to the place which it possesses ; do not therefore load those places with Colours , which you would make to turn ; but let those be well loaded , which you would have come out of the Canvass . Let there be so much Harmony or Consent in the Masses of the Pictures , that all the shadowings may appear as if they were but one , &c. He has said in another place , that after great Lights , great Shadows are necessary , which he calls Reposes . What he means by the present Rule , is this , That whatsoever is found in those great Shadows , should partake of the Colours of one another , so that the different Colours which are well distinguish'd in the Lights seem to be but one in the Shadows , by their great Union . Let the whole Picture be made of one Piece , &c. That is to say , of one and the same Continuity of Work , and as if the Picture had been painted up all at once ; the Latin says all of one Pallet . The Looking Glass will instruct you , &c. The Painter must have a principal Respect to the Masses , and to the Effect of the whole together . The Looking-Glass distances the Objects , and by consequence gives us onely to see the Masses , in which all the little parts are confounded . The Evening , when the Night approaches , will make you better understand this observation , but not so commodiously , for the proper time to make it , lasts but a quarter of an hour , and the Looking-Glass may be usefull all the day . Since the Mirror is the rule and Master of all Painters , as showing them their faults by distancing the Objects , we may conclude that the Picture which makes not a good effect at a distance cannot be well done ; and a Painter must never finish his Picture , before he has examin'd it at some reasonable distance , or with a Looking-Glass , whether the Masses of the Lights and Shadows , and the Bodies of the Colours be well distributed . Giorgione and Correggio have made use of this method . As for a Portrait , or Pictures by the Life , &c. The end of Portraits is not so precisely as some have imagin'd , to give a smiling and pleasing Air together with the resemblance ; this is indeed somewhat , but not enough . It consists in expressing the true temper of those persons which it represents , and to make known their Physiognomy . If the Person whom you draw , for example , be naturally sad , you are to beware of giving him any Gayety , which would always be a thing which is foreign to his Countenanc . If he or she be merry , you are to make that good Humour appear by the expressing of those parts where it acts , and where it shows it self . If the Person be grave and majestical , the Smiles or Laughing , which is too sensible , will take off from that Majesty and make it look childish and undecent . In short , the Painter , who has a good Genius must make a true Discernment of all these things , and if he understands Physiognomy , it will be more easie to him , and he will succeed better than another . Pliny tells us , " That Apelles made his Pictures so very like , that a certain Physiognomist and Fortune-teller , ( as it is related by Appion the Grammarian ) foretold by looking on them the very time of their Deaths , whom those Pictures represented , or at what time their Death happen'd , if such persons were already dead . " You are to paint the most tenderly that possibly you can , &c. Not so as to make your Colours die by force of tormenting them , but that you should mix them as hastily as you can , and not retouch the same place , if conveniently you can avoid it . Large Lights , &c. 'T is in vain to take pains if you cannot preserve large Lights , because without them , your work will never make a good effect at a distance ; and also because little Lights are confus'd and effac'd , proportionably , as you are at a distance from the Picture . This was the perpetual Maxim of Correggio . Ought to have somewhat of Greatness in them , and their Out-lines to be noble , &c. As the Pieces of Antiquity will evidently show us . There is nothing more pernicious to a Youth , &c. 'T is common to place our selves under the Discipline of a Master of whom we have a good opinion , and whose manner we are apt to embrace with ease , which takes root more deeply in us , and augments the more we see him work , and the more we copy after him . This happens oftentimes to that degree , and makes so great an Impression in the Mind of the Scholar , that he cannot give his approbation to any other manner whatsoever , and believes there is no man under the Cope of Heaven , who is so knowing as his Master . But what is most remarakble in this point is , that nature appears to us always like that manner which we love , and in which we have been taught , which is just like a Glass through which we behold Objects , and which communicates its Colour to them without our perceiving it . After I have said this , you may see of what consequence is the choice of a good Master , and of following in our beginning the manner of those who have come nearest to Nature . And how much injury do you think have the ill manners which have been in France , done to the Painters of that Nation , and what hindrance have they been to the knowledge of what is well done , or of arriving to what is so when once we know it . The Italians say to those whom they see infected with an ill manner , which they are not able to forsake , " If you knew just nothing , you would soon learn something . " Search whatsoever is aiding to your Art and convenient , and avoid those things which are repugnant to it , &c. This is an admirable Rule ; a Painter ought to have it perpetually present in his Mind and Memory . It resolves those difficulties which the Rules beget ; it loosens his hands , and assists his understanding . In short , this is the Rule which sets the Painter at liberty , because it teaches him that he ought not to subject himself servilely , and be bound like an Apprentice to the Rules of his Art ; but that the Rules of his Art ought to be Subject to him , and not hinder him from following the Dictates of his Genius , which is superior to them . Bodies of diverse Natures which are aggroupp'd or combin'd together are agreeable and pleasant to the Sight , &c. As Flowers , Fruits , Animals , Skins , Sattins , Velvets , beautifull Flesh , Works of Silver , Armors , Instruments of Musick , Ornaments of Ancient Sacrifices , and many other pleasing Diversities which may present themselves to the Painters imagination . 'T is most certain that the diversity of Objects recreates the Sight , when they are without confusion ; and when they diminish nothing of the Subject on which we work . Experience teaches us , that the Eye grows weary with poring perpetually on the same thing , not onely on Pictures , but even on Nature it self . For who is he who would not be tir'd in the Walks of a long Forest , or with beholding a large plain which is naked of Trees , or in the Sight of a Ridge of Mountains , which instead of Pleasure , give us onely the view of Heights and Bottoms . Thus to content and fill the Eye of the Understanding , the best Authors have had the Address to sprinkle their Works with pleasing Digressions , with which they recreate the Minds of Readers . Discretion , in this as in all other things is the surest Guide : and as tedious Digressions , which wander from their Subject , are impertinent , so the Painter who under Pretence of diverting the Eyes , would fill his Picture with such varieties as alter the truth of the History , would make a ridiculous Piece of Painting , and a mere Gallimaufry of his Work. As also those things which appear to be perform'd with ease , &c. This ease attracts our Eyes , and Spirits so much the more , because it is to be presum'd that a noble work , which appears so easie to us , is the product of a skilfull Hand which is Master of its Art. It was in this part , that Apelles found himself superior to Protogenes , when he blam'd him , for not knowing when to lay down his Pencil ( and as I may almost say ) to make an end of finishing his Piece . And it was on this account he plainly said , " That nothing was more prejudicial to Painters than too much exactness ; and that the greatest part of them knew not when they had done enough : " as we have likewise a Proverb , which says , An Englishman never knows when he is well . 'T is true , that the word enough is very difficult to understand . What you have to do , is to consider your Subject thoroughly , and in what manner you intend to treat it according to your rules , and the Force of your Genius ; after this you are to work with all the ease and all the speed you can , without breaking your head so very much , and being so very industrious in starting Scruples to your self , and creating difficulties in your work . But 't is impossible to have this Facility without possessing perfectly all the Precepts of the Art , and to have made it habitual to you . For ease consists in making precisely that work which you ought to make , and to set every thing in its proper place with speed and Readiness , which cannot be done without the Rules , for they are the assur'd means of conducting you to the end that you design with Pleasure . 'T is then most certain , ( though against the opinion of many , ) that the Rules give Facility , Quiet of Mind , and readiness of Hand to the flowest Genius , and that the same Rules increase , and guide that ease in those who have already receiv'd it at their Birth from the happy influence of their Stars . From whence it follows that we may consider Facility two several ways , either simply , as Diligence and a readiness of Mind and of the Hand ; or as a Disposition in the Mind , to remove readily all those difficulties which can arise in the work . The first proceeds from an active temper full of Fire ; and the second from a true knowledge and full possession of infallible Rules ; the first is pleasing , but it is not always without Anxiety , because it often leads us astray , and on the contrary , the last makes us act with a Repose of Mind , and wonderfull Tranquillity ; because it ascertains us of the goodness of our work . 'T is a great advantage to possess the first , but 't is the height of perfection to have both in that manner which Rubens and Van Dyck possessed them , excepting the part of Design or Drawing , which both too much neglected . Those who say that the Rules are so far from giving us this Facility , that on the contrary they puzzle and perplex the Mind and tie the hand , are generally such people who have pass'd half their lives in an ill practice of Painting , the habit of which is grown so inveterate in them , that to change it by the Rules , is to take as it were their Pencils out of their hands , and to put them out of condition of doing any thing ; in the same manner as we make a Country-man dumb whom we will not allow to speak , but by the Rules of Grammar . Observe , if you please , that the Facility and Diligence of which I spoke , consists not in that which we call bold strokes and a free handling of the Pencil , if it makes not a great effect at a distance . That sort of Freedom belongs rather to a Writing-Master than a Painter . I say yet further , that 't is almost impossible that things which are painted should appear true and natural , where we observe these sorts of bold strokes . And all those who have come nearest to nature , have never us'd that manner of Painting , those tender Hairs , and those hatching strokes of the Pencil , which make a kind of minced meat in Painting , are very fine I must confess , but they are never able to deceive the Sight . Nor till you have present in your Mind a perfect Idea of your work , &c. If you will have pleasure in Painting , you ought to have so well consider'd the oeconomy of your work , that it may be entirely made and dispos'd in your head before it be begun upon the Cloath . You must I say , foresee the effect of the Grouppes , the ground and the Lights and Shadows of every thing , the Harmony of the Colours , and the intelligence of all the Subject , in such a manner , that whatsoever you shall put upon the Cloth , may be onely a Copy of what is in your Mind . If you make use of this Conduct , you will not be put to the trouble of so often changing and rechanging . Let the Eye be satisfied in the first place , even against and above all other Reasons , &c. This passage has a respect to some particular Licences which a Painter ought to take : And as I despair not to treat this matter more at large ; I adjourn the Reader to the first opportunity which I can get for his farther satisfaction on this point to the best of my Ability : but in general he may hold for certain , that those Licences are good which contribute to deceive the Sight , without corrupting the truth of the Subject on which the Painter is to work . Profit your self by the Counsels of the knowing , &c. Parrhasius and Cliton thought themselves much oblig'd to Socrates for the knowledge which he gave them of the Passions . See their Dialogue in Xenophon towards the end of the third Book of Memoirs : " They who the most willingly bear reproof , says Pliny the Younger , are the very men in whom we find more to commend than in other people . " Lysippus was extremely pleas'd when Apelles told him his opinion ; and Apelles as much , when Lysippus told him his . That which Praxiteles said of Nicias in Pliny , shows the Soul of an accomplish'd and an humble man. " Praxiteles being ask'd which of all his Works he valued most ? Those , says he , which Nicias has retouch'd . " So much account he made of his Criticisms and his opinions . You know the common practice of Apelles , when he had finish'd any work , he expos'd it to the Sight of all Passengers , and conceal'd himself to hear the Censure of his faults , with the Prospect of making his advantage of the Informations which unknowingly they gave him . Being sensible that the people would examine his works more rigorously than himself , and would not forgive the least mistake . The Opinions and Counsels of many together are always preferable to the advice of one single person . And Cicero wonders that any are besotted on their own Productions , and say to one another , Very good , if your works please you , mine are not unpleasing to me . In effect there are many who through Presumption or out of Shame to be reprehended , never let their works be seen . But there is nothing can be of worse consequence ; for the disease is nourish'd and increases , says Virgil , while it is conceal'd . There are none but Fools , says Horace , who out of Shamefac'dness hide their Ulcers , which if shown might easily be heal'd . Stultorum incurata malus pudor ulcera celat : There are others who have not altogether so much of this foolish Bashfulness , and who ask every ones opinion with Prayers and Earnestness ; but if you freely and ingenuously give them notice of their Faults , they never fail to make some pitifull excuse for them , or which is worse , they take in ill part the Service which you thought you did them , which they but seemingly desir'd of you , and out of an establish'd Custom amongst the greatest part of Painters . If you desire to get your self any honour , and acquire a Reputation by your works , there is no surer way than to show them to persons of good Sense , and chiefly to those who are Criticks in the Art ; and to take their Counsel with the same Mildness and the same Sincerity , as you desir'd them to give it you . You must also be industrious to discover the opinion of your Enemies , which is commonly the truest , for you may be assur'd , that they will give you no quarter , and allow nothing to complaisance . But if you have no knowing Friend , &c. Quinctilian gives the reason of this , when he says , " That the best means to correct our faults , is doubtless this , To remove our designs out of Sight , for some space of time , and not to look upon our Pictures , to the end , that after this interval , we may look on them as it were with other Eyes , and as a new work which was of another hand , and not our own . " Our own Productions do but too much flatter us ; they are always too pleasing , and 't is impossible not to be fond of them at the moment of their Conception . They are Children of a tender age , which are not capable of drawing our Hatred on them . 'T is said , That Apes , as soon as they have brought their Young into the World , keep their Eyes continually fasten'd on them , and are never weary of admiring their Beauty : so amorous is Nature of whatsoever she produces . To the end that he may cultivate those Talents which make his Genius , &c. Qui sua metitur pondera , ferre potest . " That we may undertake nothing beyond our forces , we must endeavour to know them . " " On this Prudence our reputation depends . Cicero calls it a good Grace , because it makes a man seen in his greatest Lustre . " 'T is , ( says he ) a becoming Grace , which we shall easily make appear , if we are carefull to cultivate that which Nature has given us in propriety , and made our own , provided it be no Vice or Imperfection : we ought to undertake nothing which is repugnant to Nature in general ; and when we have paid her this duty , we are bound so religiously to follow our own Nature , that though many things which are more serious and more important , present themselves to us , yet we are always to conform our Studies and our Exercises to our natural Inclinations . It avails nothing to dispute against Nature , and think to obtain what she refuses ; for then we eternally follow what we can never reach ; for , as the Proverb says , There is nothing can please , nothing can be gracefull which we enterprize in spight of Minerva ; that is to say , in spight of Nature . When we have consider'd all these things attentively , it will then be necessary , that every man should regard that in particular , which Nature has made his portion , and that he should cultivate it with care ; 't is not his business to give himself the trouble of trying whether it will become him to put on the Nature of another man ; or as one would say , to act the person of another : there is nothing which can more become us , than what is properly the Gift of Nature . Let every one therefore endeavour to understand his own Talent , and without flattering himself , let him make a true judgment of his own Vertues , and his own Defects and Vices ; that he may not appear to have less judgment than the Comedians , who do not always chuse the best Plays , but those which are best for them ; that is , those which are most in the compass of their acting . Thus we are to fix on those things for which we have the strongest Inclination . And if it sometimes happen that we are forc'd by necessity to apply our selves to such other things to which we are no ways inclin'd ; we must bring it so about by our Care and Industry , that if we perform them not very well , at least we may not do them so very ill as to be sham'd by them : we are not so much to strain our selves to make those Vertues appear in us which really we have not , as to avoid those Imperfections which may dishonour us . " These are the Thoughts and the Words of Cicero , which I have translated , retrenching onely such things as were of no concernment to my Subject : I was not of opinion to add any thing , and the Reader I doubt not will find his satisfaction in them . While you meditate on these Truths , and observe them diligently , &c. There is a great Connexion betwixt this Precept and that other , which tells you , That you are to pass no day without drawing a line . 'T is impossible to become an able Artist , without making your Art habitual to you : and 't is impossible to gain an exact Habitude , without an infinite number of Acts , and without perpetual Practice . In all Arts the Rules of them are learn'd in little time ; but the perfection is not acquir'd without a long Practice and a severe Diligence . We never saw that Laziness produc'd any thing which was excellent , says Maximus Tyrius : and Quinctilian tells us , That the Arts draw their beginning from Nature ; the want we often have of them causes us to search the means of becoming able in them , and exercise makes us entirely Masters of them . The morning is the best and most proper part of the day , &c. Because then the Imagination is not clouded with the Vapours of Meat , nor distracted by Visits which are not usually made in the morning . And the Mind by the Sleep of the foregoing Night , is refresh'd and recreated from the Toyls of former Studies . Malherbe says well to this purpose . Le plus beau de nos jours , est dans leur matinee . The sprightly Morn is the best part of Day . Let no day pass over you without drawing a line , &c. That is to say , without working , without giving some strokes of the Pencil or the Crayon . This was the Precept of Apelles ; and 't is of so much the more necessity , because Painting is an Art of much length and time , and is not to be learn'd without great Practice . Michael Angelo at the Age of fourscore years , said , That he learn'd something every day . Be ready to put into your Table-book , &c. As it was the custom of Titian and the Carraches ; there are yet remaining in the hands of some who are curious in Painting ; many thoughts and observations which those great Men have made on Paper , and in their Table-books which they carry'd continually about them . Wine and good Cheer are no great Friends to Painting , they serve onely to recreate the Mind when it is oppress'd and spent with Labour , &c. " During the time , says Pliny , that Protogenes was drawing the Picture of Jalysus , which was the best of all his Works , he took no other nourishment than Lupines mix'd with a little water , which serv'd him both for Meat and Drink , for fear of clogging his Imagination by the Luxury of his Food . " Michael Angelo , while he was drawing his day of Judgment , fed onely on Bread and Wine at Dinner . And Vasari observes in his life , that he was so sober that he slept but little , and that he often rose in the Night to work , as being not disturb'd by the Vapours of his thin Repasts . But delights in the liberty which belongs to the Batchelors Estate , &c. We never see large and beautifull and well-tasted Fruits proceeding from a Tree which is incompass'd round , and choak'd with Thorns and Bryars . Marriage draws a world of business on our hands , subjects us to Law-suits , and loads us with multitudes of domestick Cares , which are as so many Thorns that encompass a Painter , and hinder him from producing his works in that perfection of which otherwise he is capable . Raphael , Michael Angelo , and Hannibal Carracci were never marry'd : and amongst the Ancient Painters we find none recorded for being marry'd , but onely Apelles , to whom Alexander the Great made a present of his own Mistress Campaspe ; which yet I would have understood without offence to the Institution of Marriage , for that calls down many Blessings upon Families , by the Carefulness of a vertuous Wife . If Marriage be in general a remedy against Concupiscence , 't is doubly so in respect of Painters ; who are more frequently under the occasions of Sin than other Men ; because they are under a frequent necessity to seeing Nature bare-fac'd . Let every one examine his own strength upon this point : but let him preferr the interest of his Soul to that of his Art and of his Fortune . Painting naturally withdraws from noise and tumult , &c. I have said at the end of the first Remark , that both Poetry and Painting were upheld by the strength of Imagination . Now there is nothing which warms it more than Repose and Solitude : Because in that estate , the Mind being freed from all sorts of business , and in a kind of Sanctuary undisturb'd by vexatious Visits , is more capable of forming noble Thoughts and of Application to its Studies . Carmina secessum scribentis & otia quaerunt . Good Verse , Recess and Solitude requires : And Ease from Cares , and undisturb'd Desires . We may properly say the same of Painting , by reason of its conformity with Poetry , as I have shown in the first Remark . Let not the covetous design of growing rich , &c. We read in Pliny , that Nicias refus'd Sixty Talents from King Attalus , and rather chose to make a free Gift of his Picture to his Country . " I enquir'd of a prudent man , ( says a grave Author ) in what times those noble Pictures were made which now we see ; and desir'd him to explain to me some of their Subjects , which I did not well understand . I ask'd him likewise the reason of that great negligence which is now visible amongst Painters : And from whence it proceeded , that the most beautifull Arts were now bury'd in Oblivion , and principally Painting , a faint Shadow of which is at present remaining to us . To which he thus reply'd , That the immoderate desire of Riches had produc'd this change : For of old , when naked Vertue had her Charms , the noble Arts then flourish'd in their Vigour : and if there was any contest amongst men , it was onely who should be the first Discoverer of what might be of advantage to posterity . Lysippus and Myron , those renown'd Sculptors , who could give a Soul to Brass , left no Heirs , no Inheritance behind them , because they were more carefull of acquiring Fame than Riches . But as for us of this present Age , it seems by the manner of our Conduct , that we upbraid Antiquity for being as covetous of Vertue as we are of Vice : wonder not so much therefore , if Painting has lost its Strength and Vigour , because many are now of opinion , that a heap of Gold is much more beautifull than all the Pictures and Statues of Apelles and Phidias , and all the noble Performances of Greece . " I would not exact so great an act of Abstinence from our modern Painters , for I am not ignorant that the hope of gain is a wonderfull sharp spur in Arts , and that it gives industry to the Artist ; from whence it was that Iuvenal said even of the Greeks themselves , who were the Inventors of Painting , and who first understood all the Graces of it and its whole perfection ; Graeculus esuriens , in Coelum , jusseris , ibit . A hungry Greek , if bidden , scales the Skies . But I could heartily wish , that the same hope which flatters them did not also corrupt them : and did not snatch out of their hands a lame , imperfect Piece , rudely daub'd over with too little Reflection and too much haste . The qualities requisite to form an excellent Painter , &c. 'T is to be confess'd that very few Painters have those qualities which are requir'd by our Author , because there are very few , who are able Painters . There was a time when onely they who were of noble Blood , were permitted to exercise this Art ; because it is to be presum'd , that all these Ingredients of a good Painter , are not ordinarily found in men of vulgar Birth . And in all appearance , we may hope that though there be no Edict in France which takes away the Liberty of Painting from those to whom Nature has refus'd the Honour of being born Gentlemen , yet at least that the Royal Academy will admit hence-forward onely such who being endu'd with all the good Qualities and the Talents which are requir'd for Painting , those endowments may be to them instead of an honourable Birth . 'T is certain , that which debases Painting , and makes it descend to the vilest and most despicable kind of Trade , is the great multitude of Painters who have neither noble Souls nor any Talent for the Art , nor even so much as common Sence . The Origin of this great Evil , is that there have always been admitted into the Schools of Painting all sorts of Children promiscuously , without Examination of them , and without observing for some convenient space of time , if they were conducted to this Art by their inward Disposition , and all necessary Talents , rather than by a foolish Inclination of their own , or by the Avarice of their Relations , who put them to Painting , as a Trade which they believe to be somewhat more gainfull than another . The qualities properly requir'd , are these following . A good Iudgment , That they made do nothing against Reason and Verisimility . A docible Mind , That they may profit by instructions , and receive without Arrogance the opinion of every one , and principally of knowing Men. A noble Heart , That they may propose Glory to themselves , and Reputation rather than Riches . A Sublimity , and Reach of Thought , To conceive radily , to produce beautifull Ideas , and to work on their Subjects nobly and after a lofty manner , wherein we may observe somewhat that is delicate , ingenious and uncommon . A warm and vigorous Fancy , To arrive a least to some degree of Perfection , without being tir'd with the Pains and Study which are requir'd in Painting . Health , To resist the dissipation of Spirits , which are apt to be consum'd by Pains-taking . Youth , Because Painting requires a great Experience and a long Practice . Beauty or Handsomeness , Because a Painter paints himself in all his Pictures , and Nature loves to produce her own Likeness . A convenient Fortune , That he may give his whole time to study , and may work chearfully , without being haunted with the dreadfull Image of Poverty , ever present to his Mind . Labour , Because the Speculation is nothing without the Practice . A Love for his Art , We suffer nothing in the Labour which is pleasing to us : or if it happen that we suffer , we are pleas'd with the Pain . And to be under the Discipline of a knowing Master , &c. Because all depends on the Beginnings , and because commonly they take the manner of their Master , and are form'd according to his Gusto : See Verse 422 , and the Remark upon it . All these good qualities are insignificant and unprofitable to the Painter , if some outward dispositions are wanting to him . By which I mean favourable times , such as are times of Peace , which is the Nurse of all noble Arts ; there must also some fair occasion offer to make their Skill manifest by the performance of some considerable Work within their power : and a Protector , who must be a Person of Authority , one who takes upon himself their care of the Fortune , at least in some measure ; and knows how to speak well of them in time and place convenient . 'T is of much importance , says the Younger Pliny , in what times Vertue appears . And there is no Wit , howsoever excellent it may be , which can make it self immediately known . Time and Opportunity are necessary to it , and a person who can assist us with his favour and be a Moecenas to us . And Life is so short , that it is not sufficient for so long an Art , &c. Not onely Painting but all other Arts consider'd in themselves require almost an infinite time to possess them perfectly . 'T is in this Sense that Hippocrates begins his Aphorisms with this saying , That Art is long and Life is short . But if we consider Arts , as they are in us , and according to a certain degree of Perfection , sufficient enough , to make it known that we possess them above the common sort , and are comparatively better than most others , we shall not find that Life is too short on that account , provided our time be well employ'd . 'T is true , that Painting is an Art which is difficult and a great undertaking . But they who are endu'd with the qualities that are necessary to it , have no reason to be discourag'd by that apprehension . Labour always appears difficult before 't is try'd . The passages by Sea , and the Knowledge of the Stars , have been thought impossible , which notwithstanding have been found and compass'd , and that with ease by those who endeavour'd after them . 'T is a shamefull thing , says , Cicero , to be weary of Enquiry , when what we search is excellent . That which causes us to lose most of our time , is the repugnance which we naturally have to Labour , and the Ignorance , the Malice , and the Negligence of our Masters : we waste much of our time in walking and talking to no manner of purpose , in making and receiving idle Visits , in Play and other Pleasures which we indulge , without reckoning those hours which we lose in the too great care of our Bodies ; and in Sleep , which we often lengthen out till the day is far advanc'd : and thus we pass that Life which we reckon to be short , because we count by the years which we have liv'd , rather than by those which we have employ'd in study . 'T is evident that they who liv'd before us , have pass'd through all those difficulties to arrive at that Perfection which we discover in their Works , though they wanted some of the Advantages which we possess , and that none had labour'd for them as they have done for us . For 't is certain that those Ancient Masters , and those of the last preceding Ages , have left such beautifull Patterns to us , that a better and more happy Age can never be than ours ; and chiefly under the Reign of our present King , who encourages all the noble Arts , and spares nothing to give them the share of that Felicity of which he is so bountifull to his Kingdom : and to conduct them with all manner of advantages to that supreme Degree of Excellence , which may be worthy of such a Master , and of that Sovereign Love which he has for them . Let us therefore put our hands to the work , without being discourag'd by the length of time , which is requisite for our Studies ; but let us seriously contrive how to proceed with the best Order , and to follow a ready , diligent , and well understood Method . Take Courage therefore , O ye noble Youths ! you legitimate Offspring of Minerva , who are born under the influence of a happy Planet . &c. Our Author intends not here to sow in a barren , ungratefull Ground , where his Precepts can bear no Fruit : He speaks to young , Painters , but to such onely who are born under the Influence of a happy Star ; that is to say , those who have receiv'd from Nature the necessary dispositions of becoming great in the Art of Painting : and not to those who follow that Study through Caprice or by a sottish Inclination , or for Lucre , who are either incapable of receiving the Precepts , or will make a bad use of them when receiv'd . You will do well , &c. Our Author speaks not here of the first Rudiments of Design ; as for example , The management of the Pencil , the just relation which the Copy ought to have to the Original , &c. He supposes , that before he begins his Studies , one ought to have a Facility of Hand to imitate the best Designs , the noblest Pictures and Statues , that in few words he should have made himself a Key , wherewith to open the Closet of Minerva , and to enter into that Sacred Place , where those fair Treasures are to be found in all abundance , and even offer themselves to us , to make our advantage of them by our Care and Genius . You are to begin with Geometry , &c. Because that is the Ground of Perspective , without which nothing is to be done in Painting : besides , Geometry is of great use in Architecture , and in all things which are of its dependence ; 't is particularly necessary for Sculptors . Set your self on designing after the Ancient Greeks , &c. Because they are the Rule of Beauty , and give us a good Gusto : For which reason 't is very proper to tie our selves to them , I mean generally speaking ; but the particular Fruit which we gather from them , is what follows . To learn by heart four several Ayres of Heads : of a Man , a Woman , a Child , and an Old Man. I mean those which have the most general Approbation ; for example those of the Apollo , of the Venus de Medices , of the little Nero , ( that is , when he was a Child , ) and of the God Tiber. It would be a good means of learning them , if when you have design'd one after the Statue it self , you design it immediately after from your own Imagination , without seeing it ; and afterwards examine , if your own work be conformable to the first Design . Thus exercising your self on the same Head , and turning it on ten or twelve sides ; you must do the same to the Feet , to the Hands , to the whole Figure . But to understand the Beauty of these Figures , and the justness of their Outlines , it will be necessary to learn Anatomy : when I speak of four Heads and four Figures , I pretend not to hinder any one from designing many others after this first Study , but my meaning is onely to show by this , that a great Variety of things undertaken at the same time , dissipates the Imagination , and hinders all the Profit ; in the same manner as too many sorts of Meat are not easily digested , but corrupt in the Stomach instead of nourishing the parts . And cease not Day or Night from Labour , till by your continual Practice , &c. In the first Principles , the Students have not so much need of Precepts as of Practice : And the Antique Statues being the rule of Beauty , you may exercise your selves in imitating them without apprehending any consequence of ill Habits and bad Ideas , which can be form'd in the Soul of a young Beginner . 'T is not , as in the School of a Master , whose Manner and whose Gust are ill , and under whose Discipline the Scholar spoils himself the more he exercises . And when afterwards your Iudgment shall grow stronger , &c. 'T is necessary to have the Soul well form'd , and to have a right Judgment to make the Application of his rules upon good Pictures , and to take nothing but the good . For there are some who imagine , that whatsoever they find in the Picture of a Master , who has acquir'd Reputation , must of necessity be excellent ; and these kind of people never fail when they copy to follow the bad as well as the good things ; and to observe them so much the more , because they seem to be extraordinary and out of the common road of others , so that at last they come to make a Law and Precept of them . You ought not also to imitate what is truly good in a crude and gross Manner , so that it may be found out in your works , that whatsoever Beauties there are in them , come from such or such a Master . But in this imitate the Bees , who pick from every Flower that which they find most proper in it to make Honey . In the same manner a young Painter should collect from many Pictures what he finds to be the most beautifull , and from his several Collections form that Manner which thereby he makes his own . A certain Grace which was wholly natural and peculiar to him , &c. Raphael in this may be compar'd to Apelles , who in praising the Works of other Painters , said That Gracefulness was wanting to them : and that without Vanity he might say , it was his own peculiar portion . See the Remark on the 218th . Verse . Julio Romano , ( educated from his Childhood in the Country of the Muses , ) &c. He means in the Studies of the belle lettere , and above all in Poesy , which he infinitely lov'd . It appears , that he form'd his Ideas and made his Gust from reading Homer ; and in that imitated Zeuxis and Polignotus , who , as Tyrius Maximus relates , treated their Subjects in their Pictures , as Homer did in his Poetry . To these Remarks I have annex'd the Opinions of our Author upon the best and chiefest Painters of the two foregoing Ages . He tells you candidly and briefly what were their Excellencies , and what their Failings . I pass in Silence many things which will be more amply treated in the ensuing Commentary . 'T is evident by this , how much we lose , and what damage we have sustain'd by our Authors death , since those Commentaries had undoubtedly contain'd things of high Value and of great instruction . To intrust with the Muses , &c. That is to say , to write in Verse , Poetry being under their Protection , and consecrated to them . THE JUDGMENT OF Charles Alphonse du Fresnoy , On the Works of the Principal and Best PAINTERS of the two last Ages . PAINTING was in its Perfection amongst the Greeks . The principal Schools were at Sycion , afterwards at Rhodes , at Athens , and at Corinth , and at last in Rome . Wars and Luxury having overthrown the Roman Empire , it was totally extinguish'd , together with all the noble Arts , the Studies of Humanity , and the other Sciences . It began to appear again in the Year 1450 amongst some Painters of Florence , of which DOMENICO GHIRLANDAIO was one , who was Master to Michael Angelo , and had some kind of Reputation , though his manner was Gothique and very dry . MICHAEL ANGELO his Scholar , flourish'd in the times of Julius the second , Leo the tenth , Paul the third , and of eight successive Popes . He was a Painter , a Sculptor , and an Architect , both Civil and Military . The Choice which he made of his Postures was not always beautifull or pleasing : His Gust of Designing was not the finest , nor his Out-lines the most elegant : The Folds of his Draperies , and the Ornaments of his Habits , were neither noble nor gracefull . He was not a little fantastical and extravagant in his Compositions ; he was bold even to Rashness , in taking Liberties against the Rules of Perspective . His Colouring is not over true or very pleasant . He knew not the Artifice of the Lights and Shadows : But he design'd more learnedly , and better understood all the Knittings of the Bones , with the Office and Situation of the Muscles , than any of the modern Painters . There appears a certain Air of Greatness and Severity in his Figures , in both which he has oftentimes succeeded : But above the rest of his Excellencies , was his wonderfull skill in Architecture , wherein he has not onely surpass'd all the Moderns , but even the Ancients also : The St. Peter's of Rome , the St. John's of Florence , the Capitol , the Palazzo Farnese , and his own House , are sufficient Testimonies of it . His Scholars were Marcello Venusto , Andrea de Vaterra , Il Rosso , Georgio Vasari , Fra. Bastiano , ( who commonly painted for him ) and many other Florentines . PIETRO PERUGINO design'd with sufficient knowledge of Nature , but he is dry and his manner little . His Scholar was RAPHAEL SANTIO , who was born on Good Friday , in the Year 1483 , and died on Good Friday , in the Year 1520 : So that he liv'd onely 37 years compleat . He surpass'd all modern Painters , because he possess'd more of the excellent parts of Painting than any other ; and 't is believ'd , that he equall'd the Ancients , excepting onely that he design'd not naked Bodies with so much Learning , as Michael Angelo : But his Gust of Designing is purer and much better . He painted not with so good , so full , and so gracefull a manner as Correggio ; nor has he any thing of the Contrast of the Lights and Shadows , or so strong and free a Colouring , as Titian ; but he had a better disposition in his Pieces without comparison , than either Titian , Correggio , Michael Angelo , or all the rest of the succeeding Painters to our days . His Choice of Postures , of Heads , of Ornaments , the Suitableness of his Drapery , his manner of Designing , his Varieties , his Contrasts , his Expressions , were beautifull in Perfection ; but above all , he possess'd the Graces in so advantageous a manner , that he has never since been equall'd by any other . There are Protraits ( or single Figures of his ) which are finish'd Pieces . He was an admirable Architect . He was handsome , well made , and tall of Stature , civil , and well-natur'd , never refusing to teach another what he knew himself . He had many Scholars , amongst others , Julio Romano , Polydore , Gaudens , Giovanni d'Udine , and Michael Coxis . His Graver was Marc Antonio , whose Prints are admirable for the correctness of their Out-lines . JULIO ROMANO was the most excellent of all Raphael's Scholars ; he had Conceptions which were more extraordinary , more profound , and more elevated , than even his Master himself . He was also a great Architect , his Gust was pure and exquisite . He was a great Imitator of the Ancients , giving a clear Testimony in all his Productions , that he was desirous to restore to Practice the same Forms and Fabricks which were ancient . He had the good Fortune to find great persons who committed to him the care of Edifices , Vestibules and Portico's , all Tetrastyles , Xistes , Theatres , and such other places as are not now in use . He was wonderfull in his Choice of Postures . His manner was drier and harder than any of Raphael's School . He did not exactly understand the Lights and Shadows or the Colours . He is frequently harsh and ungracefull : The Folds of his Draperies are neither beautifull nor great , easie nor natural , but all extravagant and too like the Habits of fantastical Comedians . He was very knowing in humane Learning . His Scholars were Pirro Ligorio , ( who was admirable for Ancient Buildings , as for Towns , Temples , Tombs , and Trophies , and the Situation of Ancient Edifices ) Aeneas Vico , Bonasone , Georgio Mantuano , and others . POLYDORE , Scholar to Raphael , design'd admirably well , as to the practical part , having a particular Genius for Freezes , as we may see by those of white and black , which he has painted at Rome . He imitated the Ancients , but his manner was greater than that of Julio Romano : Nevertheless Julio seems to be the truer . Some admirable Grouppes are seen in his Works , and such as are not elsewhere to be found . He colour'd very seldom , and made Landtschapes of a reasonable good Gusto . GIO. BELLINO , one of the first who was of any consideration at Venice , painted very drily according to the manner of his time . He was very knowing both in Architecture and Perspective . He was Titian's first Master , which may easily be observ'd in the first Painting of that noble Scholar , in which we may remark that Propriety of Colours which his Master has observ'd . About this time GEORGIONE the Contemporary of Titian came to excell in Portraits or Face-painting , and also in great Works . He first began to make choice of Glowing and Agreeable Colours ; the Perfection and entire Harmony of which were afterwards to be found in Titian's Pictures . He dress'd his Figures wonderfully well : And it may be truly said , that but for him , Titian had never arriv'd to that height of Perfection , which proceeded from the Rivalship and Iealousy of Honour betwixt those two . TITIAN was one of the greatest Colourists , who was ever known ; he design'd with much more Ease and Practice than Georgione . There are to be seen Women and Children of his hand , which are admirable both for the Design and Colouring : the Gust of them is delicate , charming and noble , with a certain pleasing Negligence of the Head-dresses , the Draperies and Ornaments of Habits , which are wholly peculiar to him . As for the Figures of Men , he has design'd them but moderately well . There are even some of his Draperies , which are mean and savour of a little gust . His painting is wonderfully glowing , sweet and delicate . He made Portraicts , which were extremely noble ; the Postures of them being very gracefull , grave , diversify'd , and adorn'd after a very becoming fashion . No man ever painted Landtschape , with so great a manner , so good a colouring , and with such a resemblance of Nature . For eight or ten years space , he copy'd with great labour and exactness whatsoever he undertook ; thereby to make himself an easy way , and to establish some general maximes for his future conduct . Besides the excellent gust which he had of Colours , in which he excell'd all Mortal Men , he perfectly understood how to give every thing the touches which were most suitable , and proper to them , such as distinguish'd them from each other ; and which gave the greatest Spirit , and the most of Truth . The Pictures which he made in his beginning , and in the declension of his Age , are of a dry , and mean manner . He liv'd ninety nine years . His Scholars were Paulo Veronese , Giacomo Tintoret , Giacomo da Ponte , Bassano , and his Brothers . PAULO VERONESE was wonderfully graceful in his Airs of Women : with great variety of shining Draperies ; and incredible vivacity , and ease . Nevertheless his Composition is sometimes improper ; and his Design is uncorrect . But his colouring , and whatsoever depends on it , is so very charming in his Pictures , that it surprizes at the first sight , and makes us totally forget those other qualities which are wanting in him . TINTORET was Scholar to Titian , great in the practical part of Designing ; but sometimes also sufficiently extravagant . He had an admirable Genius for Painting , if he had had as great an affection to his Art , and as much patience in undergoing the difficulties of it , as he had fire and vivacity of Nature : He has made Pictures , not inferiour in beauty to those of Titian : his Composition and his Dresses , are for the most part improper ; and his Out-lines are not correct : But his Colouring , and the dependencies of it , like that of his Master , are most admirable . The BASSANS had a more mean and poorer gust in Painting than Tintoret ; and their Designs were also less correct than his . They had indeed an excellent gust of Colours ; and have touch'd all kinds of Animals with an admirable manner : But were notoriously imperfect in the Composition and Design . CORREGGIO painted at Parma two large Cupolo's in Fresco , and some Altar-pieces . This Artist , found out certain natural and unaffected Graces , for his Madonnas ' , his Saints , and little Children , which were particular to him . His Manner is exceeding great , both for the design and for the work , but withall is very uncorrect . His Pencil was both easie and delightfull , and 't is to be acknowledg'd , that he painted with great Strength , great Heightning , great Sweetness , and liveliness of Colours , in which none surpass'd him . He understood how to distribute his Lights in such a manner as was wholly peculiar to himself , which gave a great force and great roundness to his Figures . This manner consists in extending a large Light , and then making it lose it self insensibly in the dark shadowings , which he plac'd out of the Masses . And those give them this great roundness , without our being able to perceive from whence proceeds so much of force , and so vast a pleasure to the Sight . 'T is probable , that in this part the rest of the Lombard School copied him : he had no great choice of gracefull Postures , nor of distribution for beautifull Grouppes : his Design oftentimes appears lame , and the Positions are not much observ'd in them . The Aspects of his Figures are many times unpleasing ; but his manner of designing Heads , Hands , Feet , and other parts , is very great , and well deserves our imitation . In the conduct and finishing of a Picture , he has done wonders ; for he painted with so much Union , that his greatest Works seem'd to have been finish'd in the compass of one day ; and appear , as if we saw them from a Looking-glass . His Landtschape is equally beautifull with his Figures . At the same time with Correggio , liv'd and flourish'd PARMEGIANO ; who besides his great manner of well Colouring , excell'd also both in Invention and Design , with a Genius full of gentleness and of spirit , having nothing that was ungracefull in his choice of Postures and in the dresses of his Figures , which we cannot say of Correggio : there are Pieces of his to be seen , which are both beautifull and correct . These two Painters last mention'd , had very good Scholars , but they are known onely to those of their own Province ; and besides there is little to be credited of what his Country-men say , for Painting is wholly extinguish'd amongst them . I say nothing of LEONARDO da VINCI , because I have seen but little of his , though he restor'd the Arts at Milan , and had many Scholars there . LUDOVICO CARRACCI , Uncle to Hannibal and Augustine , studied at Parma after Correggio ; and excell'd in Design and Colouring , with such a Gracefulness , and so much Candour , that Guido the Scholar of Hannibal , did afterwards imitate him with great success . There are some of his Pictures to be seen , which are very beautifull , and well understood . He made his ordinary residence at Bologna , and it was He , who put the Pencil into the hands of Hannibal his Nephew . HANNIBAL in a little time excell'd his Master , in all parts of Painting : He imitated Correggio , Titian , and Raphael , in their different manners as he pleas'd , excepting onely that you see not in his Pictures , the Nobleness , the Graces , and the Charms of Raphael , and that his Out-lines are neither so pure , nor so elegant as his . In all other things , he is wonderfully accomplish'd , and of an Universal Genius . AUGUSTINO , Brother to Hannibal , was also a very good Painter , and an admirable Graver . He had a Natural Son , call'd ANTONIO , who dyed at the age of 35 , and who according to the general opinion , wou'd have surpass'd his Uncle Hannibal : for by what he left behind him , it appears that he was of a more lofty Genius . GUIDO chiefly imitated Ludovico Carracci , yet retain'd always somewhat of the manner which his Master Lawrence the Flemming taught him . This Lawrence liv'd at Bologna , and was Competitor and Rival to Ludovico Carracci : Guido made the same use of Albert Durer , as Virgil did of old Ennius : borrow'd what pleas'd him , and made it afterwards his own : that is , he accommodated what was good in Albert to his own manner : which he executed with so much gracefulness and beauty , that He alone got more Money , and more Reputation in his time , than his own Masters , and all the Scholars of the Carraches , though they were of greater capacity than himself . His Heads yield no manner of precedence to those of Raphael . SISTO BADOLOCCHI design'd the best of all his Scholars : but he dy'd young . DOMENICHINO was a very knowing Painter , and very laborious , but otherwise of no great Natural Endowments : 't is true , he was profoundly skill'd in all the parts of Painting , but wanting Genius , as I said , he had less of nobleness in his Works than all the rest who studied in the School of the Carraches . ALBANO was excellent in all that belong'd to Painting , and adorn'd with variety of Learning . JOHN LANFRANC , a Man of a great and sprightly wit , supported his Reputation for a long time with an extraordinary gust of Design and Colouring . But his foundation being onely on the practical part , be at length lost ground in point of correctness : so that many of his Pieces appear extravagant and fantastical . And after his Decease , the School of the Carraches went dayly to decay in all the parts-Painting . GIO. VIOLA was very old before he learn'd Landtschape , the knowledge of which was imparted to him by Hannibal Carracche , who took pleasure to instruct him , so that he painted many of that kind which are wonderfully fine and well colour'd . If we cast our eyes towards Germany and the Low-Countries , we may there behold ALBERT DURER , LUCAS VAN LEYDEN , HOLBEIN , ALDEGRAVE , and ISBIN , who were all Contemporaries . Amongst these , Albert Durer and Holbein , were both of them wonderfully knowing and had certainly been of the first form of Painters , had they travell'd into Italy : For nothing can be laid to their charge , but onely that they had a Gothique Gust . As for Holbein , he perform'd yet better than Raphael ; and I have seen a Portrait of his Painting , with which one of Titian's could not come in Competition . Amongst the Flemmings , we had RUBENS , who deriv'd from his Birth , a lively , free , noble and universal Genius . A Genius which was capable not onely of raising him to the rank of the Ancient Painters , but also to the highest employment in the Service of his Country : so that he was chosen for one of the most important Embassies of our Age. His Gusto of Designing savours somewhat more of the Flemming than of the Beauty of the Antique , because he stay'd not long at Rome . And though we cannot but observe in all his Paintings , somewhat of great and noble ; yet it must be confess'd , that generally speaking , he design'd not correctly : But for all the other parts of Painting , he was as absolute a Master of them , and possess'd them all as throughly as any of his Predecessors in that noble Art. His principal Studies were made in Lombardy , after the Works of Titian , Paul Veronese and Tintoret ; whose Cream he has skimm'd ( if you will allow the Phrase ) and extracted from their several Beauties many general Maxims and infallible Rules , which he always follow'd , and by which he has acquir'd in his Works , a greater Facility than that of Titian ; more of Purity , Truth and Science , than Paul Veronese ; and more of Majesty , Repose and Moderation , than Tintoret . To conclude , His manner is so solid , so knowing , and so ready , that it may seem , this rare accomplish'd Genius was sent from Heaven to instruct Mankind in the Art of Painting . His School was full of admirable Scholars , amongst whom VAN DYCK was he , who best comprehended all the Rules and general Maxims of his Master ; and who has even excell'd him in the delicacy of his Colouring and in his Cabinet Pieces ; but his Gust in the designing Part , was nothing better than that of Rubens . A Short Account Of the most Eminent PAINTERS BOTH Ancient and Modern , Continu'd down to the PRESENT TIMES According to the Order of their Succession . LONDON , Printed for W. Rogers at the Sun against St. Dunstans Church in Fleetstreet . 1695. THE PREFACE . THE Title having onely promis'd a short Account of the most Eminent Masters , &c. the Reader must expect to find very little more in the small Compass of these few Sheets , than the Time when , the Place where , by whose Instructions , and in what particular Subject each of those great Men became Famous . In the first part , which comprehends the prime Masters of Antiquity , I have follow'd Pliny : yet not blindly , or upon his Authority alone , but chiefly in those places , where I have found his Evidence confirm'd by the concurrent Testimony of other Writers . The Catalogue of Fran. Junius I have diligently perus'd , and examin'd most of the Records cited in it . I have also read over the Lives of the Four Principal Painters of Greece , written in Italian , by Carlo Dati of Florence , together with his learned Annotations upon them : and in a word , have left nothing unregarded , that cou'd give me any manner of Assistance in this present Undertaking . In the Chronological part , because I foresaw that the Olympiads , and the Years of Rome , would be of little use to the generality of Readers , I have adjusted them to the two Vulgar Aeras ( viz. ) the Creation of the World , and the Birth of Christ. The Greek Talents I have likewise reduc'd into English Money : but to justifie my Account , must observe , that here ( as in most Authors , where a Talent is put absolutely , and without any other Circumstance ) the Talentum Atticum Minus is to be understood ; which according to the nearest Computation comes to about 187 l. 10 s. of our Money , the Majus being about 62 l. 10 s. more . In the latter part , which contains the Masters of greatest Note amongst the Moderns , I have been equally diligent , not onely searching into all the most considerable Writers , who have left us any Memorandums relating to them ; but also in procuring from Rome , and other places , the best Advice that possibly I could get , concerning those Painters who are but lately deceas'd , and whose Lives have never yet appear'd in Print . In Italy I have taken such Guides , as I had reason to believe , were best acquainted in that Country : and in France , Germany , Flanders , and Holland , have been govern'd by the Authors who have been most conversant in those Parts . For the Roman , Florentine , and some other particular Masters , I have apply'd my self to the Vite de' Pittori , &c. of Giorgio Vasari , and that excellent Treatise of Gio : Pietro Bellori on the same Subject . For the Lombard School , I have consulted the Maraviglie dell ' Arte of Cavalier Ridolfi . For the Bolognese Painters , the Felsina Pittrice of Conte Carlo Cesare Malvasia . For those of Genoua , the Vite de' Pittori , &c. of Rafaelle Soprani nobile Genouese . For the French Masters , the Entretiens sur les Vies , &c. of Felibien . For the German , Flemish , and Dutch Painters , ( of whom I have admitted but very few into this Collection ) the Academia nobilissimae Artis Pictoriae , of Sandrart , and the Schilder-Boeck of Carel van Mander . For those of our own Country , I am asham'd to acknowledge how difficult a matter I have found it , to get but the least Information touching some of those Ingenious Men , whose Works have been a Credit and Reputation to it . That all our Neighbours have a greater value for the Professors of this noble Art , is sufficiently evident , in that there has hardly been any one Master●● of tolerable Parts amongst them , but a Crowd of Writers , nay some Pens of Quality too , have been imploy'd in adorning their Lives , and in transmitting their Names honourably to Posterity . For the Characters of the Italians of the first Form , I have all along referr'd the Reader to the Judgment of Monsieur du FRESNOY in the preceding Pages . But for the rest , I have from the Books above-mention'd , and the Opinions of the Learned , briefly shewn , wherein their different Talents and Perfections consisted : chusing always ( in the little Room to which I have been confin'd ) to set the best side forwards , especially where their few Faults have been over-balanc'd by their many Virtues . By the Figures in the Margin it will easily appear , how careful I have every-where been , to preserve the Order of Time , which indeed was the thing principally intended in these Papers . Some few Masters however must be excepted ; whom yet I have placed next to their Contemporaries , tho' I could not fix them in any particular Year . In all of them I have been very exact in setting down their respective Names , just as they themselves us'd to do , when they did not write them in Latine . If it should be Objected , that several of the Masters herein after-mention'd , have already appear'd amongst us , in an English Dress : I can onely answer , That as the Method here made use of , is more regular , and quite different from any thing that has been hither to publish'd in this kind ; so , whosoever shall think it worth his while to compare these little Sketches with the Originals from which I have copy'd them , will find , that I have taken greater Care in drawing them true , and that my Out-lines are generally more correct , whatever Defects may be in the Colouring part . Ancient Masters . BY whom , and in what particular Age the Art of Painting was first invented in Greece , Ancient Authors are not agreed . Aristotle ascribes the honour of it to EUCHIR , a Kinsman of the famous Daedalus , who flourish'd Anno 1218 before the Birth of Christ ; Theophrastus pleads for POLIGNOTUS the Athenian , Athenagoras for SAURIAS of Samos ; some contend for PHILOCLES the Egyptian , and others again for CLEANTHES of Corinth . But howsoever the Learned may differ in their Opinions touching the Inventer , yet as to the Art it self , all of them are unanimous , that its first appearance amongst the Greeks , was in no better a dress than the bare Shadow of a Man , or some other Body , circumscrib'd with a single line onely , call'd by them Sciagraphia , and by the Latines , Pictura Linearis . The first step made towards the advancement of Painting , was by ARDICES the Corinthian , and TELEPHANES of Sicyon , or CRATO of the same City ; who began to add other lines , by way of shadowing their Figures , to make them appear round , and with greater strength . But so inconsiderable were the advantages , which the Authors of this Manner ( call'd Graphice ) gain'd by their Invention , that they still found it necessary , to write under each piece , the name of every individual thing which they endeavour'd to represent , least otherwise the Spectators shou'd never be able to discover what they intended by it . The next Improvement , was by CLEOPHANTUS of Corinth , who first attempted to fill up his Out-lines with a single Colour : from whence his Pieces , and those of HYGIEMON , DINIAS , and CHARMAS his followers , got the name of Monochromata , ( viz. ) Pictures of one colour . EUMARUS the Athenian , began to paint Men and Women in a manner different from each other , and ventured to imitate all sorts of Objects : but was far excell'd by his Disciple . CIMON the Cleonaean , who found out the Art of Painting Historically , design'd his Figures in variety of Postures , distinguish'd the several parts of the Body by their Joints , and was the first who took notice of the folds of Draperies in his Pieces . In what Century the Masters abovemention'd liv'd , Antiquity has given us no Account : yet certain it is , that about the time of the Foundation of Rome , Anno 750 ante Chr. the Grecians had carry'd Painting to such a height of Reputation , that Candaules King of Lydia , sirnam'd Myrsilus , the last of the Heraclidae , and who was kill'd by Gyges Anno quarto Olymp. 16. for a Picture made by BULARCHUS , representing a Battel of the Magnesians , gave its weight in Gold. PANAENUS of Athens , liv'd Olymp. 83. Anno 446 ante Chr. and is celebrated for having painted the Battel at Marathon , between the Athenians and Persians , so very exactly , that Miltiades , and all the General Officers on both sides , were easily to be known , and distinguish'd from each other in that Piece . PHIDIAS his Brother , the Son of Charmidas , flourish'd Olymp. 84. Anno 442 ante Chr. and was famous both for Painting and Sculpture : but particularly in the latter so profoundly skill'd , that his Statue of Iupiter Olympius was by the Ancients esteem'd one of the Seven wonders of the World , as his Minerva , in the Citadel of Athens , made of Ivory and Gold , was ( by way of Eminence ) call'd the Beautiful Form. He was very intimate with Pericles , the Athenian General ; and so much envy'd upon that account , and for the Glory which he acquir'd by his Works , that his Enemies cou'd never be at rest till they had plotted him into a Prison , and had there ( as some say ) taken away his Life by Poison . POLYCLETUS , a Native of Sicyon , and the most renowned Sculptor in his time , liv'd Olymp. 87. Anno 430 ante Chr. and beside the Honour which he gain'd , by having brought the Bass-Relievo to perfection , is commended for divers admirable pieces of work ; but chiefly , for being the Author of that most accomplish'd Model , call'd the Canon : which comprehending in it self alone all the several perfections , both of Feature , and Proportion , in Humane Bodies , by the joint consent of the most eminent Artists , as well Painters as Sculptors , then in being , was unanimously agreed upon to be handed down to Posterity , a●● the Standard , or infallible Rule of true Beauty . In this Olympiad also were MYRON , and SCOPAS , both excellent in Sculpture ; and in some respects equal even to Polycletus himself . POLYGNOTUS the Thasian , was the Disciple of his Father Aglaophon , and particularly famous for representing Women ; whom he painted in lightsom and shining Draperies , adorning their heads with dresses of sundry colours , and giving a greater freedom to his Figures , than had been us'd by any of his Predecessors . His principal Works , were those which he made gratis in the Temple at Delphi , and the grand Portico at Athens , call'd the Various ; in honour of which it was solemnly decreed , in a great Council of the Amphictyons , that where-ever he should travel in Greece , his charges should be born by the Publick . He died sometime before the 90 Olymp. which was Anno 418 ante Chr. APOLLODORUS the Athenian , liv'd Olymp. 94. Anno 402 ante Chr. and was the first who invented the Art of mingling his Colours , and of expressing the Lights and Shadows . He was admir'd also for his judicious choice of Nature , and in the beauty and strength of his Figures surpassed all the Masters who went before him . He excell'd likewise in Sculpture , but was surnam'd the Madman , from a strange humour which he had , of destroying even his very best Pieces , if after he had finish'd them , he cou'd discover any fault , thô never so inconsiderable . ZEUXIS of Heraclea , flourish'd Anno quarto Olymp. 95. Anno 395 ante Chr. and was fam'd for being the most excellent Colourist of all the Ancients ; though Cicero , Pliny , and other Authors tell us , there were but four Colours then in use ( viz. ) white , yellow , red and black . He was censur'd by some , for making his Heads too big ; and by Aristotle , for not being able to express the Manners , and Passions . He was very famous notwithstanding for the Helena which he painted for the People of Crotona ; in the Composition of which he collected from five naked Virgins ( the most beautiful the Town cou'd produce ) whatever he observ'd Nature had form'd most perfect in each , and united all those admirable parts in that single Figure . He was extoll'd likewise for several other Pieces ; but being very rich , cou'd never be prevail'd upon to fell any of them , because he thought them to be above any price ; and therefore chose rather to give them away freely to Princes , and Cities . He died ( as 't is generally said ) of a fit of Laughter , at the sight of a Comical old Woman's Picture , which he had drawn . PARRHASIUS a Native of Ephesus , and Citizen of Athens , was the Son and Disciple of Evenor , and the Contemporary of Zeuxis , whom he overcame in the noted Contest between them , by deceiving him with a Curtain , which he had painted so excellently well , that his Antagonist mistook it for the Nature it self . He was the first who observ'd the Rules of Symmetry in his works ; and was much admired for the liveliness of his expression , and for the gayety and graceful Airs of his Heads : but above all , for the softness and elegance of his Out-lines , and for rounding off his Figures , so as to make them appear with the greater strength and relievo . He was wonderfully fruitful of Invention , had a particular talent in small pieces , especially in wanton Subjects , and finish'd all his works to the last degree of perfection . But withall was so extravagantly vain and arrogant , that he commonly writ himself Parrhasius the Beau , the Sir Courtly ( 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , ) went cloath'd in purple , with a Crown of Gold upon his Head , pretended to derive his Pedigree from Apollo , and styl'd himself the Prince of his Profession . Yet , to his great affliction , was humbl'd at last by TIMANTHES of Sicyon ( or as some say , of Cythnus ) who in a Dispute betwixt them , was by the majority of Votes declared the better Painter : And besides was as eminent for the singular modesty and sweetness of his Disposition , as for the agreeable variety of his Invention , and peculiar happiness in moving the Passions . His most celebrated works were the sleeping Polyphemus , and the Sacrifice of Iphigenia ; in both which ( as in all his other Performances ) his distinguishing Character appear'd , in making more to be understood , than was really express'd in his Pieces . In this time also flourish'd EUPOMPUS of Sicyon , an excellent Artist , and whose Authority was so very considerable , that out of the two Schools of Painting , the Asiatick and the Greek , he made a third , by dividing the last into the Attick and the Sicyonian . His best Disciple was PAMPHILUS a Native of Macedonia , who to the Art of Painting joyn'd the Study of the Liberal Arts , especially the Mathematicks : and us'd to say , that without the help of Geometry , no Painter could ever arrive at perfection . He was the first who taught his Art for set rates , but never took a Scholar for less time than ten years . What reputation and interest he had in his own Country , and what use he made of it , for the honour and advancement of his Profession , see Pag. 83. PAUSIAS of Sicyon , a Disciple of Pamphilus , was the first who painted upon Walls and Ceilings : and amongst many rare qualities , was excellent at fore-shortening his Figures . His most famous Piece was the Picture of his Mistress Glycera , in a sitting posture , composing a Garland of Flowers : for a Copy of which L. Lucullus , a noble Roman , gave two Talents ( 375 lib. ) EUPHRANOR the Isthnian , flourish'd Olymp. 104 , Anno 362 ante Chr. He was an Universal Master , and admirably skill'd both in Sculpture and Painting . His Conceptions were noble and elevated , his Style masculine and bold ; and he was the first who signaliz'd himself by representing the Majesty of Heroes . He writ several Volumes of the Art of Colouring , and of Symmetry , and yet notwithstanding fell into the same Error with Zeuxis , of making his Heads too big in proportion to the other parts . PRAXITELES the fam'd Sculptor , particularly celebrated for his Venus of Gnidus , and other excellent performances in Marble , was the Contemporary of Euphranor . CYDIAS of Cythnus , liv'd Olymp. 106 , Anno 354 ante Chr. and rais'd his reputation so much by his works , that Hortensius the Roman Orator , gave 44 Talents , ( 8250 lib. ) for one of his Pieces , containing the Story of the Argonauts , and built a noble Apartment on purpose for it , in his Villa at Tusculum . APELLES the Prince of Painters , was a Native of Coos , an Island in the Archipelago ( now known by the name of Lango ) and flourish'd Olymp . 112 , Anno 330 ante Chr. He improv'd the noble talent which Nature had given him , in the School of Pamphilus ; and afterwards by degrees became so much in esteem with Alexander the Great , that by a public Edict he strictly commanded , that no other Master shou'd presume to make his Portrait ; that none but Lysippus of Sicyon shou'd cast his Statue in Brass ; and that Pyrgoteles onely shou'd grave his Image in Gems and Precious Stones . And in farther testimony of his particular respect to this Artist , he presented him , even with his most beautiful and charming Mistress Campaspe , with whom Apelles had fall'n in Love , and by whom 't was suppos'd he copy'd his Venus ( Anadyomene ) rising out of the Sea. Grace was his peculiar portion , as our Author tells us , Page 150 , and 211. In which , and in knowing when he had done Enough , he transcended all who went before him , and did not leave his Equal in the world . He was miraculously skill'd in taking the true lineaments and features of the Face : Insomuch that ( if Apion the Grammarian may be credited ) Physiognomists upon sight of his Pictures onely , cou'd tell the precise time of the parties death . He was admirable likewise in representing people in their last Agonies . And in a word , so great was the veneration paid by Antiquity to his Works , that several of them were purchas'd with heaps of Gold , and not by any set number or weight of pieces . He was moreover extremely candid and obliging in his temper , willing to instruct all those who ask'd his advice , and generous even to his most potent Rivals . PROTOGENES of Caunus , a City of Caria subject to the Rhodians , was by the Ancients esteem'd one of the four best Painters in Greece : but liv'd miserably poor , and very little regarded in his own Country , till Apelles having made him a visit , to bring him into Reputation , bought up several of his Pictures , at greater rates than he ask'd for them ; and pretending , that he design'd to sell 'em again for his own work , the Rhodians were glad to redeem them upon any terms . Whose Disciple he was , is not certainly known ; but 't is generally affirm'd , that he spent the greatest part of his life in painting Ships , and Sea-pieces onely : yet applying himself at last to nobler Subjects , he became an Artist so well accomplish'd , that Apelles confess'd he was in all respects at least equal to himself , excepting onely , that never knowing when to leave off , by overmuch diligence , and too nice a correctness , he often dispirited and deaden'd the Life . He was famous also for several Figures which he made in Brass : but his most celebrated piece of Painting , was that of Ialysus , which cost him seven years study and labour , and which sav'd the City of Rhodes from being burnt by Demetrius Poliorcetes . Vide Page 84. Of MELANTHIUS we have nothing certain , but that he was brought up at Sicyon , ( the best School of Greece ) under Pamphilus , at the same time with Apelles . That he contributed both by his Pen , and Pencil , to the Improvement of his Art ; and amongst many excellent Pieces , painted Aristratus the Sicyonian Tyrant , in a Triumphal Chariot , attended by Victory , putting a wreath of Laurel upon his Head ; which was highly esteem'd . ARISTIDES of Thebes , the Disciple of Euxenidas , liv'd in the same Olympiad with Apelles , and was the first who by the Rules of Art , attain'd a perfect knowledge of expressing the Passions and Affections of the Mind . And though his colouring was somewhat hard , and not so very beautiful as cou'd be wish'd , yet notwithstanding so much were his Pieces admir'd , that after his decease , Attalus King of Pergamus , gave an hundred Talents ( 18750 lib. ) for one of them . His Contemporary was ASCLEPIODORUS the Athenian , equally skill'd in the Arts of Sculpture and Painting ; but in the latter , chiefly applauded for the beauties of a correct Style , and the truth of his Proportion : In which Apelles declared himself as much inferior to this Artist , as he was to AMPHION , in the ordering , and excellent disposition of his Figures . The most famous Pictures of Asclepiodorus , were those of the twelve Gods , for which Mnason the Tyrant of Elatea , gave him the value of about 300 l. Sterl . a-piece . About the same time also were the several Masters following ( viz. ) THEOMNESTUS , fam'd for his admirable talent in Portraits . NICHOMACHUS , the Son and Disciple of Aristodemus , commended for the incredible facility and freedom of his Pencil . NICOPHANES , celebrated for the Elegance of his Design , and for his grand Manner , and Majesty of Style ; in which few Masters were to be compar'd to him . PYREICUS was famous for little pieces only ; and from the sordid and mean Subjects to which he addicted himself ( such as a Barbers , or Shoemakers Shop , the Stil-life , Animals , Herbage , &c. ) got the surname of Rhyparographus . Yet though his Subjects were poor , his Performance was admirable ; And the smallest Pictures of this Artist , were esteem'd more , and sold at greater Rates , than the larger Works of many other Masters . ANTIDOTUS the Disciple of Euphranor , was extremely diligent , and industrious , but very slow at his Pencil ; which as to the colouring part was generally hard and dry . He was chiefly remarkable for having been the Master of NICIAS of Athens , who painted Women in Perfection , and flourish'd about the 114. Olymp. Anno 322 ante Chr. being universally extoll'd for the great variety and noble choice of his Subjects , for the force and relievo of his Figures , for his great skill in the distribution of the lights and shadows , and for his wonderful dexterity in representing all sorts of four-footed Animals , beyond any Master in his time . His most celebrated Piece was that of Homer's Hell ; for which having refused 60 Talents ( 11250 lib. ) offer'd him by King Ptolemy the Son of Lagus , he generously made a Present of it to his own Country . He was likewise much esteem'd by all his Contemporaries for his excellent Talent in Sculpture ; and as Pliny reports , by Praxiteles himself : which yet seems highly improbable , considering , that by his own account , there were at least 40 years betwixt them . ATHENION of Maronea , a City of Thrace , a Disciple of Glaucion the Corinthian , was about this time also as much in vogue as Nicias : and though his colouring was not altogether so agreeable , yet in every other particular he was even superior to him , and wou'd have mounted to the highest pitch of Perfection , if the length of his Life had been but answerable to the great extent of his Genius . FABIUS a noble Roman , painted the Temple of Health in Rome , Anno U. C. 450 , ante Chr. 301 : and glory'd so much in his Performances there , that he assum'd to himself for ever after , the surname of Pictor , and thought it no disparagement to one of the most Illustrious Families in Rome , to be distinguish'd by that Title . NEALCES liv'd Olymp. 132 , Anno 250 ante Chr. in the time of Aratus the Sicyonian General , who was his Patron , and intimate Friend . His particular Character , was a strange vivacity of thought , a fluent fancy , and a singular happiness in explaining his intentions ( as appears Pag. 148. ) He is besides frequently mention'd by Writers , for that having painted a Horse , and being weary'd with often trying in vain to express the foam proceeding from his Mouth , he flung his Pencil in a great passion against the Picture , which lighted so luckily , that to his amazement he found , Chance had finish'd his Design , much better than he with all his art and labour cou'd have done . METRODORUS flourish'd Anno 168 ante Chr. and liv'd in so much credit and reputation at Athens , that Paulus Aemilius , after he had overcome Perseus King of Macedon , Anno 3 Olymp. 152. having desir'd the Athenians to send him one of their most learned Philosophers to breed up his Children , and a skilful Painter to adorn his Triumph , Metrodorus was the person unanimously chosen , as the fittest for both Employments . MARCUS PACUVIUS of Brundusium , the Nephew of old Ennius , was not onely an eminent Poet himself , and famous for several Tragedies which he wrote , but excell'd also in Painting : Witness his celebrated Works , at Rome , in the Temple of Hercules , in the Forum Boarium . He flourish'd Anno U. C. 600 , ante Chr. 151 , and died at Tarentum , almost 90 years of age . TIMOMACHUS of Byzantium ( now Constantinople ) liv'd Anno U. C. 704 , ante Chr. 47 , in the time of Iulius Caesar , who gave him 80 Talents ( 15000 lib. ) for his Pieces of Ajax and Medea , which he placed in the Temple of Venus , from whom he deriv'd his Family . He was commended also for his Orestes and Iphigenia : but his Master-piece was the Gorgon , or Medusas Head. About the same time also ARELLIUS was famous at Rome , being as much admir'd for his excellent talent in Painting , as he was condemn'd for the scandalous use which he made of it , in taking all his Idea's of the Goddesses from common Strumpets , and in placing his Mistresses in the Heavens , amongst the Gods , in several of his Pieces . LUDIUS liv'd in great Reputation , under Augustus Caesar , who began his Reign Anno U. C. 710 , ante Chr. 41. He excell'd in grand Compositions , and was the first who painted the Fronts of Houses , in the Streets of Rome : which he beautify'd with great variety of Landtschapes , and pleasant Views , together with all other sorts of different Subjects , manag'd after a most noble manner . TURPILIUS a Roman Knight , liv'd in the time of Vespasian , who was chosen Emperour , An. Dom. 69. And though he painted every thing with his left hand , yet was much applauded for his admirable Performances at Verona . His Contemporaries were CORNELIUS PINUS , and ACTIUS PRISCUS , who with their Pencils adorn'd the Temples of Honour and Virtue , repair'd by Vespasian . But of the two , Priscus came nearest in his style and manner of Painting , to the purity of the Grecian School . And thus have I given the Reader a short Account , of all the most eminent Masters who flourish'd in Greece , and Rome , in the compass of more than a thousand Years . 'T is true indeed , that for a long time after the Reigns of Vespasian , and Titus his Son , Painting and Sculpture continu'd , in great reputation in Italy . Nay , we are inform'd , that under their Successors Domitian , Nerva , and Trajan , they shin'd with a Lustre almost equal to what they had done under Alexander the Great . 'T is true also , that the Roman Emperours Adrian , Antonine , Alexander Severus , Constantine , and Valentinian , were not onely generous Encouragers of these Arts , but in the pracice of them also so well skill'd , that they wrought several extraordinary Pieces with their own hands ; and by their Example , as well as their Patronage , rais'd up many considerable Artists in both kinds . But the Names of all those excellent Men being unhappily lost with their Works , we must here conclude our Catalogue of the ANCIENT MASTERS : and shall onely take notice , that under that Title , All those are to be comprehended , who practised Painting or Sculpture either in Greece or Rome ; before the year of our Lord 580. At which time the Latine Tongue ceasing to be the common Language of Italy , and becoming mute , All the noble Arts and Sciences ( which in the two preceding Centuries had been brought very low ▪ and by the continual Invasions of the Northern Nations reduc'd to the last extremities ) expir'd with it : and in the Reign of Phocas the Emperour , soon after , lay bury'd together , as in one common Grave , in the Ruins of the Roman Empire . Modern Masters . GIOVANNI CIMABUE , nobly descended , and born at Florence , Anno 1240 , was the first who reviv'd the Art of Painting in Italy . He was a Disciple of some poor ordinary Painters , sent for by the Government of Florence from Greece : whom he soon surpass'd , both in Drawing , and Colouring , and gave something of strength and freedom to his Works , at which they cou'd never arrive . And though he wanted the Art of managing his Lights and Shadows , was but little acquainted with the Rules of Perspective , and in divers other particulars but indifferently accomplish'd ; yet the Foundation which he laid for future Improvement , entitled him to the name of the Father of the First Age , or Infancy of the Modern Painting . Some of his Works are yet remaining at Florence , where he was famous also for his skill in Architecture , and where he died very rich , Anno 1300. GIOTTO his Disciple , born near Florence , Anno 1276 , was a good Sculptor and Architect , as well as a better Painter than Cimabue . He began to shake off the stiffness of the Greek Masters ; endeavouring to give a finer Air to his Heads , and more of Nature to his Colouring , with proper Postures to his Figures . He attempted likewise to draw after the Life , and to express the different Passions of the Mind : but cou'd not come up to the liveliness of the Eyes , the tenderness of the Flesh , or the strength of the Muscles in naked Figures . He was sent for , and employ'd by Pope Benedict IX . in St. Peter's Church at Rome , and by his Successor Clement V. at Avignon . He painted several Pieces also at Padoua , Naples , Ferrara , and in other parts of Italy ; and was every where much admir'd for his Works : but principally , for a Picture which he wrought in one of the Churches of Florence , representing the Death of the B. Virgin , with the Apostles about her : the Attitudes of which Story , M. Angelo Buonaroti us'd to say , cou'd not be better design'd . He flourish'd in the time of the famous Dante and Petrarch , and was in great esteem with them , and all the excellent Men in his Age. He died Anno 1336. ANDREA TAFFI , and GADDO GADDI were his Contemporaries , and the Restorers of Mosa●●c-work in Italy : which the former had learnt of Apollonius the Greek , and the latter very much improv'd . At the same time also was MARGARITONE , a Native of Arezzo in Tuscany , who first invented the Art of Gilding with Leaf-gold , upon Bole-armeniac . SIMONE MEMMI , born at Siena , a City in the borders of the Dukedom of Florence , Anno 1285 , was a Disciple of Giotto , whose manner he improv'd in drawing after the Life : and is particularly celebrated by Petrarch , for an excellent Portrait , which he made of his beloved Laura . He was applauded for his free and easie Invention , and began to understand the Decorum in his Compositions . Obiit Anno 1345. TADDEO GADDI , another Disciple of Giotto born at Florence , Anno 1300 , excell'd his Master in the beauty of his Colouring , and the liveliness of his Figures . He was also a very skilful Architect , and much commended for the Bridge which he built over the River Arno , at Florence . He died Anno 1350. TOMASO , call'd GIOTTINO , for his affecting and imitating Giotto's manner , born also at Florence , Anno 1324 , began to add strength to his Figures , and to improve the Art of Perspective . He died Anno 1356. IOHANNES ab EYK , commonly call'd IOHN of BRUGES , born at Maseech on the River Maez in the Low-Countries , Anno 1370 , was a Disciple of his Brother Hubert , and a considerable Painter : but above all things famous for having been the happy Inventer of the ART of PAINTING IN OYL , Anno 1410 , ( thirty years before Printing was found out by Iohn Guttemberg , of Strasburgh . ) He died Anno 1441 , having some years before his decease communicated his Invention to ANTONELLO of Messina , who travell'd from his own Country into Flanders on purpose to learn the Secret : and returning to Sicily , and afterwards to Venice , was the first who practised , and taught it in Italy . He died Anno Aetat . 49. In the preceding Century flourish'd several other Masters of good Repute : but their Manner being the same , or but very little different from that of Giotto , it will be sufficient to mention the Names onely of some of the most Eminent , and such were Andrea Orgagna , Pietro Cavallino , Stefano , Bonamico Buffalmacco , Pietro Laurati , Lippo , Spinello , Casentino , Pisano , &c. And thus the Art of Painting continu'd almost at a stand for about an hundred years ; advancing but slowly , and gathering but little strength , till the time of MASACCIO , who was born in Tuscany , Anno 1417 , and for his copious Invention , and true manner of Designing ; for his delightful way of Colouring , and the graceful Actions which he gave his Figures ; for his looseness in Draperies , and extraordinary Judgment in Perspective , is reckon'd to have been the Master of the Second , or Middle Age of Modern Painting : which 't is thought he wou'd have carry'd to a much higher degree of Perfection , if death had not stopp'd him in his Career ( by Poyson , as it was suppos'd ) An. 1443. GENTILE , and GIOVANNI , the Sons and Disciples of GIACOMO BELLINO , were born at Venice , ( Gentile , Anno 1421. ) and were so eminent in their time , that Gentile was sent for to Constantinople , by Mahomet II. Emperour of the Turks : for whom having ( amongst other things ) painted the Decollation of S. Iohn Baptist , the Emperour , to convince him that the Neck after its separation from the Body , cou'd not be so long as he had made it in his Picture , order'd a Slave to be brought to him , and commanded his Head to be immediately struck off in his presence : which so tetrifi'd Gentile , that he cou'd never be at rest , till he got leave to return home : which the Emperour granted , after he had Knighted him , and nobly rewarded him for his Services . The most considerable Works of these Brothers are at Venice , where Giovanni liv'd to the age of 90 years , having very rarely painted any thing but Scripture-Stories and Religious Subjects , which he perform'd so well , as to be esteem'd the most excellent of all the Bellini . See more of him Pag. 217. Gentile died Anno 1501. ANDREA MANTEGNA , born at Padoua , Anno 1431 , a Disciple of Squarcione , was very correct in Designing , admirable in fore●● short'ning his Figures , well vers'd in Perspective , and arriv'd to great knowledge in the Antiquities , by his continu'd application to the Statues , Bass Relievo's , &c. Yet however his neglect of seasoning his Studies after the Antique , with the living Beauties of Nature , has given him a Pencil somewhat hard and dry : And besides , his Drapery is generally stiff , according to the manner of those times , and too much perplex'd with little folds . The best of his Works ( and for which he was Knighted , by the Marquess Lodovico Gonzaga , of Mantoua ) are the Triumphs of Iulius Caesar , now at Hampton-Court . He died Anno 1517 , having been the first ( according to Vasari ) who practised the Art of Graving in Italy . ANDREA VERROCCHIO a Florentine , born Anno 1432 , was well skill'd in Geometry , Optics , Sculpture , Music , and Painting : but left off the last , because in a Piece which he had made of St. Iohn Baptizing our Saviour , Leonardo da Vinci , one of his Scholars , had by his order , painted an Angel , holding up some part of our Saviour's Garments , which so far excell'd all the rest of Andrea's Figures , that inrag'd to be out-done by a Young-man , he resolv'd never to make use of his Pencil any more . He was the first who found out the Art of taking and preserving the likeness of any Face , by moulding off the Features in Plaister . He died Anno 1488. LUCA SIGNORELLI of Cortona , a City in the Dukedom of Florence , born Anno 1439 , was a Disciple of Pietro S. Sepulchro , and so ex●●ellent at designing Nakeds , that from a Piece which he painted in a Chappel of the great Church at Orvieto , M. Angelo Buonaroti transferr'd several entire Figures into his Last●●Iudgment . He died very rich , Anno 1521. PIETRO di COSIMO a Florentine , born Anno 1441 , was a Disciple of Cosimo Rosselli ( whose name he retain'd ) and a very good Painter ; but so strangely fantastical , and full of Caprichio's , that all his delight was in painting Satyrs , Fauns , Harpies , Monsters , and such like extravagant Figures : and therefore he apply'd himself , for the most part , to Bacchanalia's , Masquerades , &c. Obiit Anno 1521. LEONARDO da VINCI , born in a Castle so call'd , near the City of Florence , Anno 1445 , was bred up under Andrea Verrocchio , but so far surpass'd him , and all others his Predecessors , that he is own'd to have been the Master of the Third , or Golden Age of Modern Painting . He was in every respect one of the compleatest Men in his time , and the best furnish'd with all the perfections both of Body and Mind : was an excellent Sculptor and Architect , a skilful Musician , an admirable Poet , very expert in Anatomy and Chymistry , and throughly learned in all the parts of the Mathematicks . He was extremely diligent in the performance of his Works , and so wonderfully neat , and curious , that he left several of them unfinish'd , believing his hand cou'd never reach that Idea of perfection , which he had conceiv'd of them . He liv'd many years at Milan , highly esteem'd for his celebrated Piece of Our Saviours Last Supper , and some of his other Paintings ; and as much applauded for his Art in contriving the Canal , that brings the Water from the River Adda , to that City . He was a great Contender with M. Angelo Buonaroti , and upon account of the enmity betwixt them , went into France ( Anno Aet . 70. ) where after several considerable Services done for Francis I. he expir'd in the Arms of that Monarch , being taken speechless the very moment , in which he wou'd have rais'd up himself , to thank the King for the honour done him in that Visit. Anno 1520. PIETRO PERUGINO , so call'd from the place where he was born in the Ecclesiastical State , Anno 1446 , was another Disciple of Andrea Verrocchio . What Character he had , see Pag. 215. He was so very miserable and covetous , that the loss of his Money by Thieves , broke his Heart , Anno 1524. DOMENICO GHIRLANDAIO , a Florentine born , Anno 1449 , was at first design'd for the Profession of a Goldsmith ; but follow'd his more prevailing inclinations to Painting with such success , that he is rank'd amongst the prime Masters in his time . See farther Pag. 213. He died Anno 1493. FRANCESCO RAIBOLINI , commonly call'd FRANCIA , born at Bologna , Anno 1450 , was at first a Goldsmith , or Ieweller , afterwards a Graver of Coins and Medals , but at last applying himself to Painting , acquir'd great Reputation by his Works : And particularly , by a Piece of St. Sebastian , whom he had drawn bound to a Tree , with his hands tied over his head . In which Figure , besides the delicacy of its Colouring , and gracefulness of the Posture , the proportion of its Parts was so admirably just and true , that all the succeeding Bolognese Painters , even to Hannibal Carrache himself , study'd its measures as their Rule , and follow'd them in the same manner as the Ancients had done the Canon of Polycletus . It was under the Discipline of this Master , that Marc ' Antonio , Raphaels best Graver , learnt the Rudiments of his Art. He died about the year 1526 , and not Anno 1518 , as Vasari erroneously has recorded . FRA BARTOLOMEO , born at Savignano , a Village about ten miles from Florence , Anno 1469 , was a Disciple of Cosimo Rosselli : but much more beholden to the Works of Leonardo da Vinci , for his extraordinary Skill in Painting . He was very well vers'd in the fundamentals of Design : and besides , had so many other laudable Qualities ; that Raphael , after he had quitted the School of Perugino , apply'd himself to this Master , and under him , study'd the Rules of Perspective , together with the Art of Managing , and Uniting his Colours . He turn'd Dominican Fryar , Anno 1500 , and after some time , was by his Superiors sent to the Convent of St. Mark , in Florence . He painted both Portraits and Histories , but his scrupulous Conscience wou'd hardly ever suffer him to draw Naked Figures . He died Anno 1517 , and is said to have been the first who invented , and made use of a Lay-man . ALBERT DURER , born at Nuremberg , Anno 1470 , by the Instructions of his Father , a curious Ieweller ; the Precepts of Michael Wolgemuth , a considerable Painter ; and the Rules of Geometry , Architecture , and Perspective , became the most excellent of all the German Masters . And notwithstanding that his manner of Designing is generally hard , stiff , and ungraceful , yet however he was otherwise so very well Accomplish'd , that his Prints were had in great esteem all over Italy ; copy'd at Venice , by the famous Marc ' Antonio , and so much admir'd even by Raphael himself , that he hung them up in his own Chamber , and us'd frequently to lament the misfortune of so great a Genius , to be brought up in a Country where nothing was to be seen , that might furnish him with noble Idea's , or give him any light into things necessary for grand Compositions . His principal Works were made at Prague , in the Palace of the Emperour Maximilian I. who had so great a respect for him , that he presented him with a Coat of Arms , as the Badge of Nobility . He was also much in favour with the Emperour Charles V. and for his modest and agreeable temper belov'd by every body , and happy in all places , but onely at home ; where 't was thought , the penurious and sordid humours of a miserable wretch his Wife , shorten'd his days , Anno 1528. Vide Pag. 95. ANTONIO da CORREGGIO , so named from the place where he was born , in the Dukedom of Modena , Anno 1472 , was a Man of such admirable natural parts , that nothing but the unhappiness of his Education ( which gave him no opportunities either of seeing Rome , or Florence ; or of consulting the Antiquities , for perfecting himself in the Art of Designing ) hinder'd him from being the most excellent Painter in the world . Yet nevertheless , he was Master of a Pencil so wonderfully soft , tender , beautiful and charming , that Iulio Romano having seen a Leda , and a naked Venus painted by him , for Frederick Duke of Modena ( who intended them a present for the Emperour ) declar'd , he thought it impossible for any thing of Colours ever to go beyond them . His chief Works are at Modena , and Parma : at the last of which places he spent most of his Life , retir'd and little taken notice of , working hard to maintain his Family , which was somewhat large . He was extremely modest and obliging in his Behaviour : and died very much lamented , about the year 1512 ; having thrown himself into a Fever , by drinking cold water , when his body was over-heated , with bringing home some Copper Money , which he had receiv'd for one of his Pieces . See more Pag. 220 and 221. MICHELANGELO BUONAROTI , nobly descended , born near Florence , Anno 1474 ; was a Disciple of Domenico Ghirlandaio , and most profoundly skill'd in the Arts of Painting , Sculpture , and Architecture . He has the name of the greatest Designer who ever has been : and 't is universally allow'd him , that never any Painter in the World understood Anatomy so well . He was also an excellent Poet , and not onely highly esteem'd by several Popes successively ; by the Grand Duke of Tuscany , by the Republick of Venice , by the Emperour Charles V. by King Francis I. and by most of the Monarchs and Princes of Christendom : but was also invited over into Turky , by Solyman the Magnificent , upon a Design he then had of making a Bridge over the Hellespont , from Constantinople to Pera. His most celebrated Piece of Painting , is that of the Last Iudgment , in the Popes Chapel . He died in great Wealth at Rome , from whence his Body was translated to Florence , and there honourably interr'd , Anno 1564. Vide Pag. 214. GEORGIO del CASTEL FRANCO , call'd GEORGIONE , because of his noble and comely Aspect , was born at Trevisano , a Province in the State of Venice , Anno 1477 ; and receiv'd his first Instructions from Giovanni Bellino : but having afterwards studied the Works of Leonardo da Vinci , he soon arriv'd to a manner of Painting superior to them both ; design'd with greater Freedom , colour'd with more Strength and Beauty , gave a better Relievo , more Life , and a nobler Spirit to his Figures , and was the first who found out the admirable effects of strong Lights and Shadows , amongst the Lombards . He excell'd both in Portraits and Histories : but his most valuable Piece in Oyl , is that of Our Saviour carrying his Cross , now at Venice ; where it is had in wonderfull Esteem and Veneration . He died young of the Plague ( which he got in the Arms of his Mistress , who was infected with it ) Anno 1511 : having been likewise as famous for his performances in Music , as his productions in Painting . Vide Pag. 217 , and 218. TITIANO the most universal Genius of all the Lombard School , the best Colourist of all the Moderns , and the most eminent for Histories , Landtschapes , and Portraits ; was born at Cadore in the Venetian Territories , Anno 1477 , being descended from the ancient Family of the Vecelli . He was bred up in the School of Gio. Bellino , at the same time with Georgione : but improv'd himself more by the Emulation that was betwixt him and his Fellow-Disciple , than by the Instructions of his Master . He was censur'd indeed by M. Angelo Buonaroti , for want of correctness in Designing , ( a fault common to all the Lombard Painters , who had not been acquainted with the Antiquities ) yet that defect was abundantly supply'd in all the other parts of a most accomplish'd Artist . He made three several Portraits of the Emperour Charles V. who lov'd him so intirely , that he honour'd him with Knighthood , created him Count Palatine , made all his Descendents Gentlemen , assign'd him a considerable Pension out of the Chamber of Naples , and what other remarkable proofs of his Affection he shew'd him , see pag. 86 , 87. and a Character of his Works , pag. 218 , and 219. He painted also his Son Philip II. Solyman Emperour of the Turks , two Popes , three Kings , two Empresses , several Queens , and almost all the Princes of Italy , together with Lud. Ariosto , and Peter Aretine , the fam'd Italian Wits , his intimate Friends . Nay , so great was the Name and Reputation of Titian , that there was hardly a person of any Eminence then living , from whom he did not receive some particular mark of Esteem : and besides , being of a temper wonderfully obliging and generous , his house at Venice was the constant Rendezvous of all the Virtuosi , and People of the best Quality . He was so happy in the constitution of his Body , that he never had been sick till the year 1576 , when he died of the Plague , full of Honour , Glory and Riches , leaving behind him two Sons and a Brother , of whom Pomponio the eldest was a Clergy●●man , and well preferr'd , but ORATIO , the youngest Son , painted several Portraits that might stand in Competition with those of his Fathers . He was famous also for many History-pieces which he made at Venice in concurrence with Paul Veronese , and Tintoret . But bewitch'd at last with the hopes of finding the Philosophers Stone , he laid aside his Pencil , and having reduc'd most of what had been got by his Father into Smoke ; died of the Plague soon after him . FRANCESCO VECELLIO , Titian's Brother , was an Artist so well instructed in the fundamental Maximes of Design , that Titian grew jealous of him ; and fearing , that he might in time come to eclipse his Reputation , sent him upon pretended business to Ferdinand King of the Romans : and there found such means to divert him from Painting , that he quite gave over the study of it , and never any farther attempted it , unless it were to make a Portrait now and then , at the request of his particular Acquaintance . ANDREA del SARTO , ( so call'd , because a Taylor 's Son ) born at Florence , Anno 1478 ; was a Disciple of Pietro di Cosimo , very careful and diligent in his Works , and his Colouring was wonderfully sweet : but his Pictures generally want Strength and Life , as well as their Author , who was naturally mild , timorous , and poor-spirited . He was sent for to Paris , by Francis I. where he might have gather'd great Riches , but that his Wife and Relations would not suffer him to continue long there . He lived in a mean and contemptible condition , because he set but a very little value upon his own Performances : yet the Florentines had so great an Esteem for his Works ; that during the ●●ury of the Popular Factions amongst them , they preserv'd his Pieces from the Flames , when they neither spared Churches or any thing else . He died of the Plague , Anno 1520. RAFAELLE da URBINO , born Anno 1483 , was one of the handsomest and best temper'd men living . See some account of him Pag. 215 , and add to it , That by the general consent of Mankind , he is acknowledged to have been the Prince of the Modern Painters : and is oftentimes styl'd the Divine Raphael , for the inimitable Graces of his Pencil , and for the excellence of his Genius , which seem'd to have something more than Humane in its Composition . That he was belov'd in the highest degree by the Popes Iulius II. and Leo X. That he was admir'd and courted by all the Princes and States of Europe , and particularly by Henry VIII . who would fain have oblig'd him to come over into England . That his Person was the wonder and delight of Rome , as his Works are now the Glory of it . That he liv'd in the greatest State and Splendor imaginable , most of the eminent Masters in his time being ambitious of working under him : and that he never went abroad without a Croud of Artists , and others , who attended and follow'd him purely out of respect . That he declin'd Marriage ( tho' very advantageous offers had been made him ) in hopes of a Cardinals Cap , which he expected : but falling sick in the mean time , and concealing the true cause of his distemper from his Physicians , Death disappointed him of the reward due to his most extraordinary Merits , Anno 1520. GIO. ANTONIO LICINIO da PORDENONE , born at a place so call'd , not far from Udine in the Venetian Territories , Anno 1484 , after some time spent in Letters and Music , apply'd himself to Painting ; yet without any other Guide to conduct him , beside his own prompt and lively Genius , and the Works of Georgione : which he studied at Ven●●ce with so much attention , that he soo●● arriv'd to a manner of Colouring nothing in●●rior to his Pattern . But that which tended yet more to his improvement , was the continued Emulation betwixt Titian and himself : which inspir'd him with noble Designs , quicken'd his Invention , and produc'd several excellent Pieces in Oyl , Distemper , and Fresco. From Venice he went to Genoua , where he undertook some things in competition with Pierino del Vaga : but not being able to come up to the perfections of Pierinos Pencil , he return'd to Venice , and afterwards visited several other parts of Lombardy : was Knighted by the Emperour Charles V. and at last being sent for to Ferrara , was so much esteem'd there , that he is said to have been poison'd by some who envy'd the Favours which he receiv'd from the Duke , Anno 1540. SEBASTIANO del PIOMBO , a Native of Venice , Anno 1485 , took his name from an Office given him by Pope Clement VII . in the Lead-Mines . He was design'd by his Father for the Profession of Music , which he practis'd for some time ; till following at last the more powerful Dictates of Nature , he betook himself to Painting , and became a Disciple of Gio. Bellino : continued his studies under Georgione , and having attain'd his excellent manner of Colouring , went to Rome ; where he insinuated himself so far into the favour of Michael Angelo , by siding with him and his Party , against Raphael ; that pleas'd with the sweetness and beauty of his Pencil , he immediately furnish'd him with some of his own Designs , and letting them pass under Sebastians name , cry'd him up for the best Painter in Rome . And indeed so universal was the Applause which he gain'd by his Piece of Lazarus rais'd from the dead , ( the design of which had likewise been given him by Michael Angelo ) that nothing but the famous Transfiguration of Raphaels could eclipse it . He has the name of being the first who invented the Art of preparing Plaister-walls for Oyl-painting : but was generally so slow , and lazy in his Performances , that other hands were oftentimes employ'd in finishing what he had begun . He died Anno 1547. BARTOLOMEO ( in the Tuscan Dialect call'd BACCIO ) BANDINELLI , a Florentine Painter and Sculptor , born Anno 1487 ; was a Disciple of Gio. Francesco Rustici , and by the help of Anatomy , joyn'd with his other Studies , became a very excellent and correct Designer : but in the Colouring part was so unfortunate , that after he had heard Michael Angelo condemn it , for being hard and unpleasant , he never could be prevail'd upon to make any farther use of his Pencil , but always ingag'd some other hand in Colouring his Designs . Yet however , in Sculpture he succeded better : and for a Descent from the Cross , in Mezzo Relievo , was Knighted by the Emperour . He was likewise much in favour with Francis I. and acquir'd great Reputation by several of his Figures : which yet are more admir'd for their true Out-line , and Proportion , than for being either graceful or gentile . He died Anno 1559. GIULIO ROMANO , born Anno 1492 , was the greatest Artist , and most universal Painter of all the Disciples of Raphael : belov'd by him as if he had been his Son , for the wonderful sweetness of his temper ; and made one of his Heirs , upon condition , that he should assist in finishing such things as he had left imperfect . He was profoundly learn'd in all the parts of the Antiquities : and by his conversation with the works of the most excellent Poets , and particularly Homer , had made himself an absolute Master of the qualifications necessary requir'd in a great Designer . He continu'd for some years at Rome , after the death of Raphael : and by the directions of Pope Clement VII . wrought several admirable Pieces in the Hall of Constantine , and other publick places . But his principal performances were at Mantoua : where he was sent for by the Marquess Frederico Gonzaga ; and where he made his name illustrious , by a noble and stately Palace built after his Model , and beautified with variety of Paintings after his Designs . And indeed in Architecture he was so eminently skilful ; that he was invited back to Rome , with an offer made him of being the chief Architect of St. Peters Church : but whilst he was debating with himself , whether or no he should accept of this opportunity , of returning gloriously into his own Country , Death interpos'd , Anno 1546. Vide Pag. 216. GIACOMO da PUNTORMO , so call'd from the place of his Birth , Anno 1493 , studied under Leonardo da Vinci , Mariotto Albertinelli , Pietro di Cosimo , and Andrea del Sarto : but chiefly follow'd the manner of the last , both in Design and Colouring . He was of so unhappy a temper of mind , that though his Works had stood the Test even of Raphael and Michael Angelo , the best Judges , yet he could never order them so as to please himself : and was so far from being satisfied with any thing he had ever done , that he was in great danger of losing the gracefulness of his own manner , by imitating that of other Masters , and particularly the Style of Albert Durer in his Prints . He spent most of his time at Florence , where he painted the Chapel of St. Laurence : but was so wonderfully tedious about it , that in the space of eleven years he would admit no body to see what he had perform'd . He was also of so mean and pitiful a spirit , that he chose rather to be imploy'd by Ordinary People , for inconsiderable gains ; than by Princes and Noblemen , at any rates : so that he died poor , Anno 1556. GIOVANNI D'UDINE , so nam'd from the place where he was born ( being the Metropolis of Frioul ) Anno 1494 ; was instructed by Georgione at Venice , and at Rome became a Disciple of Raphael : and is celebrated , for having been the first who found out the Composition of Stucco-work , in use amongst the ancient Romans , and discover'd in the Subterranean Vaults of Titus's Palace ; which he restor'd to its full Splendor and Perfection . He was employ'd by Raphael , in adorning the Apartments of the Vatican ; and afterwards by several Princes , and Cardinals , in the chief Palaces of Rome and Florence : and by the agreeable variety and richness of his Fancy , and his peculiar happiness in expressing all sorts of Animals , Fruit , Flowers , and the Still-life , both in Bass relievo , and Colours , acquir'd the reputation of being the best Master in the world , for Ornaments in Stucco , and Grotesque . He died Anno 1564 , and was bury'd , according to his desire , in the Rotunda , near his dear Master Raphael . BATTISTA FRANCO his Contemporary , a Native of Venice , was a Disciple of Michael Angelo ; whose manner he follow'd so close , that in the correctness of his Out-line , he surpass'd most of the Masters in his time . His Paintings are somewhat numerous , and dispers'd all over Italy , and other parts of Europe : but his Colouring being very dry , they are not much more esteem'd than the Prints which he etch'd . He died Anno 1561. LUCAS van LEYDEN , so call'd from the place where he was born , Anno 1494 , was at first a Disciple of his Father , a Painter of note , and afterwards of Cornelius Engelbert : and wonderfully cry'd up in Holland , and the Low-Countries , for his skill in Painting , and Graving . He was prodigiously laborious in his Works , and a great Emulator of Albert Durer : with whom he became at length so intimate , that they drew each others Picture . And indeed their Manner , and Style are in all respects so very much alike , that it seem'd as if one and the same Soul had animated them both . He died Anno 1533 , after an interview betwixt him and some other Painters at Middleburgh : where disputing , and falling out in their Cups , Lucas fancying they had poyson'd him , languish'd by degrees , and pined away purely with conceit . QUINTIN MATSYS of Antwerp , was the Contemporary of Lucas ; and famous for having been transform'd from a Blacksmith to a Painter , by the force of Love , and for the sake of a Mistress , who dislik'd his former profession . He was a painful and diligent Imitator of the ordinary Life , and much better at representing the defects , than the Beauties of Nature . One of his best Pieces is a Descent from the Cross ( in a Chapel of the Cathedral at Antwerp ) for which , and a multitude of other Histories , and Portraits , he gain'd a great number of admirers ; especially for his Curiosity and Neatness , which in truth , was the principal part of his Character . He died Anno 1529. Beside the two Masters last mention'd , there were several other History-painters , who flourish'd in Germany , Flanders , and Holland about this time . But their manner being generally Gothique , Hard , and Dry ; more like the Style of Cimabue , in the Dawning of the Art of Painting , than the Gusto of Raphael , in its Meridian Lustre ; we shall onely give you the names of some of the most noted ; and such were Mabuse , Aldegraef , Schoorel , Frans Floris , Martin Hemskerck , Chris. Schwarts , &c. POLIDORO of CARAVAGGIO , in the Dutchy of Milan , was born Anno 1495 , and brought up to no better an imployment than carrying Stone and Mortar , in the New-buildings of Pope Leo X. But being tempted at last by the performances of Gio. d'Udine , to try his Talent in Designing : by the assistance of one of his Scholars , and his own continued Application to the Antiquities , in a little time he became so skilful an Artist , that he had the honour of contributing much to the finishing those glorious Works in the Vatican . He associated himself both in the Study and Practice of his Art with one MATURINO , a Florentine ; and their Genius being very conformable , they liv'd together like Brothers , working in Fresco upon several Frontispieces of the most noble Palaces in Rome : whereby they acquir'd great reputation ; their Invention being the richest , and their Design the easiest that could any where be seen . But Maturino dying Anno 1527 , and Rome being then in the hands of the Spaniards , Polidoro retir'd to Naples , and from thence to Messina ; where his excellent Talent in Architecture also being highly commended , he was order'd to prepare the Triumphal Arches for the reception of the Emperour Charles V. from Tunis ; for which he was nobly rewarded : and being afterwards desirous of seeing Rome once more ; in his return thither was murther'd by his Servant and Accomplices , for the sake of his Money , and bury'd at Messina , Anno 1543. Vide Pag. 217. ROSSO ( so call'd from his red Hair ) born at Florence , Anno 1496 ; was educated in the study of Philosophy , Music , &c. and having learnt the first Rudiments of Design from the Cartoons of Michael Angelo , improv'd himself by the help of Anatomy ; which he understood so very well , that he compos'd two Books upon that Subject . He had a copious Invention , great skill in the mixture of his Colours , and in the management of his Lights and Shadows : was very happy also in his Naked Figures , which he express'd with a good Relievo , and proper Attitudes ; and would have excell'd in all the parts of Paintinig , had he not been too licentious and extravagant sometimes , and suffer'd himself rather to be hurry'd away with the heat of an unbounded Fancy , than govern'd by his own Iudgment , or the Rules of Art. From Florence his Curiosity carry'd him to Rome and Venice , and afterwards into France ; where by his Works in the Galleries at Fountainbleau , and by several proofs which he gave of his extraordinary knowledge in Architecture , he recommended himself so effectually to Francis I. that he made him Super-intendent General of all his Buildings , Pictures , &c. and gave him other opportunities of growing so vastly rich ; that for some time he liv'd like a Prince himself , in all the Splendor and Magnificence imaginable : till at last being rob'd of a considerable Summ of Money , and suspecting one of his intimate Friends ( a Florentine who frequented his house ) he caus'd him to be imprison'd , and put to the Torture , which he underwent with courage ; and having in the highest extremities maintain'd his innocence with so much constancy , as to procure his Release ; Rosso , partly out of remorse for the barbarous treatment of his Friend , and partly out of fear of the ill consequence from his just Resentment , made himself away by Poison , Anno 1541. FRANCESCO PRIMATICCIO , a famous Painter and Architect of Bologna , succeeded Rosso in the Honours and Imployments which he enjoy'd by the favour of Francis. I. and besides , being very well descended , was made Abbot of St. Martin de Troy , in Champagne . He finish'd all the several Works begun by his Predecessor at Fountainbleau , by the assistance of NICOLO dell ' ABBATE , an excellent Artist , his Disciple : and enrich'd that Palace with abundance of noble Statues , and other Pieces of Antiquity , which he brought purposely from Italy by the Kings order . He had been bred up at Mantoua under Iulio Romano , as well to Stucco-work as Painting : and by studying his manner , together with the Performances of other great Masters , became perfect in the Art of Designing , and well vers'd in grand Compositions . He continued in France during the remainder of his Life : liv'd in Pomp and State , more like a Nobleman than a Painter ; and was very well esteem'd in four several Reigns . DON GIULIO CLOVIO , the celebrated Limner , born in S●●lavonia , Anno 1498 , at the age of eighteen years went to Italy : and under the Conduct of Iulio Romano , apply'd himself to Miniature with such admirable Success , that never did ancient Greece , or modern Rome produce his Fellow . He excell'd both in Portraits and Histories : and ( as Vasari his Contemporary reports ) was another Titian in the one , and a second Michael Angelo in the other . He was entertain'd for some time in the service of the King of Hungary : after whose decease he return'd to Italy ; and being taken Prisoner at the sacking of Rome , by the Spaniards , made a Vow , to retire into a Convent , as soon as ever he should recover his Liberty ; which he accordingly perform'd not long after in Mantoua : but upon a Dispensation obtain'd from the Pope , by Cardinal Grimani , soon laid aside the religious Habit , and was receiv'd into the Family of that Prince . His Works were wonderfully esteem'd throughout Europe ; highly valu'd by several Popes , by the Emperours Charles V. and Maximilian II. by Philip King of Spain , and many other illustrious Personages : and so much admir'd at Rome ; that those Pieces which he wrought for the Cardinal Farnese ( in whose Palace he spent the latter part of his Life ) were by all the Lovers of Art , reckon'd in the number of the Rarities of that City . Ob. Anno 1578. HANS HOLBEIN , born at Basil , in Switzerland , Anno 1498 , was a Disciple of his Father ; by whose assistance and his own industry , he made a wonderful Progress in the Art of Painting : and acquir'd such a name by his Piece of Deaths-dance , in the Town-hall of Basil , that the famous Erasmus , after he had oblig'd him to draw his Picture , sent him over with it into England , and gave him Letters recommendatory to Sir Thomas Moore then Ld. Chancellour ; who receiv'd and entertain'd him with the greatest respect imaginable , imploy'd him in making the Portraits of himself and Family ; and which the sight of them so charm'd King Henry VIII . that he immediately took him into his service , and by the many signal Instances which he gave him of his Royal Favour and Bounty , brought him likewise into esteem with all the Nobility , and People of Eminence in the Kingdom . One of his best Pieces , is that of the said King with his Queen , &c. at White-hall ; which with divers other admirable Portraits of his hand ( some as big , and others less than the Life ; and as well in Water-Colours , as Oyl ) may challenge a place amongst those of the most fam'd Italian Masters : Vid. Pag. 224. He was eminent also for a rich vein of Invention , very conspicuous in a multitude of Designs , which he made for Gravers , Sculptors , Iewellers , &c. and was particularly remarkable for having ( like Turpilius the Roman ) perform'd all his Works with his Left hand . He died of the Plague , at London , Anno 1554. PIERINO del VAGA , was born at Florence , Anno 1500 , of such mean Parentage ; that his Mother being dead at two months end , he was afterwards suckled by a Goat . The name of Vaga he took from a Country Painter , who carry'd him to Rome : where he left him in such poor circumstances , that he was forc'd to spend three days of the week in working for Bread ; but yet setting apart the other three for his improvement ; in a little time , by studying the Antique , together with the Works of Raphael , and Michael Angelo , he became one of the boldest and best Designers of the Roman School : and understood the Muscles in naked Bodies , and all the difficulties of the Art so well ; that Raphael took an affection to him , and imploying him in the Popes Apartments , gave him a lucky opportunity of distinguishing himself from his Fellow-disciples , by the marvellous beauty of his Colouring , and his peculiar Talent in Grotesque . His chief Works are at Genoua : where he grew famous likewise for his skill in Architecture ; having design'd a noble Palace for Prince Doria , which he also painted , and adorn'd with his own hand . From Genoua he remov'd to Pisa , and afterwards to several other parts of Italy ; his rambling humour never suffering him to continue long in one place : till at length returning to Rome , he had a Pension settled on him , for looking after the Pope's Palace , and the Casa Farnese . But Pierino having squander'd away in his Youth , that which should have been the support of his old Age ; and being constrain'd at last to make himself cheap , by undertaking any little Pieces , for a small Summ of ready money ; fell into a deep Melancholy , and from that extreme into another as bad , of Wine and Women , and the next turn was into his Grave , Anno 1547. FRANCESO MAZZUOLI , call'd PARMEGIANO , because born at Parma , Anno 1504 , was an eminent Painter when but sixteen years old , famous all over Italy at nineteen , and at twenty three perform'd such wonders ; that when the Emperour Charles V. had taken Rome by Storm , some of the common Soldiers in sacking the Town , having broke into his Apartments , and found him intent upon his work , were so astonish'd at the charming Beauty of his Pieces , that instead of Plunder and Destruction , which was then their business , they resolv'd to protect him ( as they afterwards did ) from all manner of violence . But besides the perfections of his Pencil ( which was one of the gentilest , the most graceful , and the most elegant of any in his time ) he delighted much in Music , and therein also excell'd . His principal Works are at Parma ; where , for several years he liv'd in great Reputation , till falling unhappily into the study of Chymistry , he wasted the most considerable part of his Time and Fortunes in search of the Philosophers-Stone , and died poor , in the flower of his age , Anno 1540. See farther Page 221 : and note , that there are extant many valuable Prints , etch'd by this Master . GIACOMO PALMA , Senior , commonly call'd PALMA VECCHIO , was born at Serinalta , in the State of Venice , Anno 1508 ; and made such good use and advantage of the instructions which he receiv'd from Titian , that few Masters are to be nam'd , who have shewn a nobler Fancy in their Compositions , a better Iudgment in their Designs , more of Nature in their Expression , or of Art in finishing their Works . Venice was the place where he usually resided , and where he died , Anno 1556. His Pieces are not very numerous , by reason of his having spent much time , in bringing those which he has left behind him to such wonderful perfection . DANIELE RICCIARELLI , surnam'd da VOLTERRA , from a Town in Tuscany where he was born , Anno 1509 , was a person of a melancholy and heavy temper , and seem'd to be but meanly qualified by Nature for an Artist : Yet by the instructions of Balthasar da Siena , and his own continued Application and Industry , he surmounted all difficulties , and at length became so excellent a Designer , that his Descent from the Cross , in the Church of the Trinity on the Mount , is rank'd amongst the principal Pieces in Rome . He was chosen by Pope Paul IV. to cloath some of the Nudities , in Michael Angelo's Last Iudgment ; which he perform'd with good success . He was as eminent likewise for his Chisel , as his Pencil ; and wrought several considerable things in Sculpture . Ob. Anno 1566. FRANCESCO SALVIATI , a Florentine , born Anno 1510 , was at first a Disciple of Andrea del Sarto , and afterwards of Baccio Bandinelli ; and very well esteem'd both in Italy , and France , for his several works in Fresco , Distemper , and Oyl . He was quick at Invention , and as ready in the execution ; Graceful in his Naked Figures , and as Gentile in his Draperies : Yet his Talent did not lie in great Compositions ; And there are some of his Pieces in two Colours onely , which have the name of being his best Performances . He was naturally so fond and conceited of his own Works , that he could hardly allow any body else a good word : And 't is said , that the Jealousie which he had of some Young men then growing up into reputation , made him so uneasie , that the very apprehensions of their proving better Artists than himself , hasten'd his Death , Anno 1563. PIRRO LIGORIO , a Neapolitan , liv'd in this time : and tho' he address'd himself chiefly to the study of Architecture , and for his skill in that Art was imploy'd , and highly encourag'd by Pope Pius IV. yet he was withall an excellent Designer ; and by the many noble Cartoons which he made for Tapestries , &c. gave sufficient proof , that he was more than indifferently learn'd in the Antiquities . There are several Volumes of his Designs preserv'd in the Cabinet of the Duke of Savoy ; of which some part consists in a curious Collection of all the Ships , and other sorts of Vessels , in use amongst the Ancients . He died about the year 1573. Vide Pag. 217. GIACOMO da PONTE da BASSANO , so call'd from the place where he was born in the Marca Trevisana , Anno 1510 , was a Disciple of Bonifacio , a noted Painter , at Venice ; by whose Assistance , and his own frequent copying the Works of Titian , and Parmegiano , he brought himself into a pleasant and most agreeable way of Colouring : but returning into the Country , upon the death of his Father , he apply'd himself wholly to the imitation of Nature ; and from his Wife , Children and Servants , took the Ideas of most of his Figures . His Works are very numerous , all the Stories of the Old and New Testament having been painted by his hand , besides a multitude of other Histories . He was famous also for several excellent Portraits , and particularly those of the celebrated Poets Ludovico Ariosto , Bernardo Tasso , and Torquato his Son. In a word , so great was the Reputation of this Artist at Venice , that Titian himself was glad to purchase one of his Pieces ( representing The entrance of Noah and his Family into the Ark ) at a very considerable Price . He was earnestly solicited to go over into the service of the Emperour : but so charming were the pleasures which he found in the quiet enjoyment of Painting , Music , and good Books , that no Temptations whatsoever could make him change his Cottage for a Court. He died Anno 1592 , leaving behind him four Sons , of whom FRANCESCO the Eldest , settled at Venice , where he follow'd the manner of his Father , and was well esteem'd , for divers Pieces which he made in the Ducal Palace and other publick places , in conjunction with Paul Veronese , Tintoret , &c. But his too close Application to Painting having render'd him unfit for all other business , and ignorant even of his own private Affairs ; he contracted by degrees a deep Melancholy , and at last became so much craz'd , that fancying Sergeants were continually in pursuit of him , he leap'd out of his Window , to avoid 'em ( as he imagin'd ) and by the fall occasion'd his own Death , Anno 1594 , Aet . 43. LEANDRO , the Third Son , had so excellent a Talent in Face-painting , ( which he principally studied ) that he was Knighted for a Portrait which he made of the Doge Marin Grimano . He likewise finish'd several things left imperfect by his Brother Francesco ; compos'd some History-pieces also of his own , and was as much admir'd for his perfection in Musick , as his skill in Painting . Obiit Anno 1623 , Aet . 65. GIO. BATTISTA , the Second Son , and GIROLAMO the Youngest , apply'd themselves to copying their Fathers Works ; which they did so very well , that they are oftentimes taken for Originals . Gio. Battista died Anno 1613 , Aet . 60 ; and Girolamo Anno 1622 , Aet . 62 : See more of the Bassans Pag. 220. GIACOMO ROBUSTI , call'd TINTORETTO , because a Dyers Son , born at Venice , Anno 1512 ; was a Disciple of Titian ; who having observ'd something very extraordinary in his Genius , dismiss'd him from his Family , for fear he should grow up to rival his Master . Yet he still pursu'd Titians way of Colouring , as the most natural ; and studied Michael Angelos Gusto of Design , as the most correct . Venice was the place of his constant Abode ; where he was made a Citizen , and wonderfully belov'd , and esteem'd for his Works ; the Character of which see Pag. 219. He was call'd the Furious Tintoret , for his bold manner of Painting , with strong Lights and deep Shadows ; for the rapidity of his Genius , and grand vivacity of Spirit , much admir'd by Paul Veronese . But then , on the other hand , he was blam'd by him , and all others of his Profession , for under-valuing himself , and his Art , by undertaking all sorts of business for any Price ; thereby making so great a difference in his several Performances , that ( as Hannibal Carrach observ'd ) he is sometimes equal to Titian , and at other times inferior even to himself . He was extremely pleasant and affable in his Humour : and delighted so much in Painting and Music , his bel●●ved Studies , that he would hardly suffer himself to tast any other Pleasures . He died Anno 1594 , leaving behind him a Daughter , and a Son , of whom the Eldest MARIETTA TINTOREITA , was so well instructed by her Father in his own Profession , as well as in Music , that by her Pencil she got great Reputation ; and was particularly eminent for an admirable Style in Portraits . She died young , Anno 1590 , Aet . 30. DOMENICO TINTORETTO his Son , gave great hopes in his youth , that he would one day render the name of Tintoret yet more illustrious than his Father had made it : but neglecting to cultivate by study the Talent which Nature had given him , he fell short of those mighty things expected from him , and became more considerable for Portraits , than Historical Compositions . He died Anno 1637 , Aet . 75. PARIS BORDONE , well descended , and brought up to Letters , Music , and other gentile Accompl●●shments , was a Disciple of Titian , and flourish'd in the time of Tintoret : but was more commended for the Delicacy of his Pencil , than the Purity of his Out lines . He was in great favour and esteem with Francis I. for whom , besides abundance of Histories , he made the Portraits of several Court Ladies , in so excellent a manner , that the Original Nature was hardly more charming . From France he return'd home to Venice , laden with Honour and Riches ; and having acquir'd as much Reputation in all the parts of Italy , as he had done abroad , died Anno Aet . 75. GEORGIO VASARI , born at Arezzo a City in Tuscany , Anno 1514 , equally famous for his Pen and Pencil , and as eminent for his skill in Architecture , was a Disciple of Michael Angelo , and Andrea del Sarto ; and by his indefatigable diligence in studying and copying all the best Pieces of the most noted Artists , improv'd his Invention and Hand to such a degree , that he attain'd a wonderful Freedom in both . He spent the most considerable part of his Life in travelling over Italy ; leaving in all places marks of his Industry , and gathering every where materials for his History of the Lives of the most excellent Painters , Sculptors , Architects , &c. which he publish'd at Florence , about the year 1551 : a work , in the opinion of Hannibal Caro , written with much exactness and judgment ; tho' Felibien , and others tax him with some mistakes , and particularly with flattering the Masters then alive , and with partiality to those of his own Country . He died Anno 1578. ANTONIO MORE , born at Utrecht in the Low-Countries , Anno 1519 , was a Disciple of Iohn Schoorel , and in his younger days had seen Rome , and some other parts of Italy . He was recommended by Cardinal Granville , to the service of the Emperour Charles V. and having made a Portrait of his Son Philip II. at Madrid , was sent upon the same accou●●t to the King , Queen , and Princess of Portugal , and afterwards into England , to draw the Picture of Queen Mary . From Spain he retir'd into Flanders , where he became a mighty Favourite of the Duke of Alva ( then the Governour of the Low-Countries . ) And besides the noble Presents and Applause which he gain'd in all places by his Pencil , was as much admir'd for his extraordinary Address , being as great a Courtier as a Painter . His Talent lay in Designing very justly , in finishing his Pieces with wonderful care and neatness , and in a most natural imitation of Flesh and Bloud , in his Colouring . Yet after all , he could not reach that noble Strength and Spirit , so visible in the Works of Titian , and to which Van Dy●●k has since arriv'd . He made several Attempts also in History-pieces , but understood nothing of grand Compositions , and his manner was tame , hard , and dry . He died at Antwerp , Anno 1575. PAOLO FARINATO , born at Verona , Anno 1522 ; was a Disciple of Antonio Badile , and an admirable Designer , but not so happy in his Colouring : tho' there is a Piece of his in St. Georges Church at Verona , so well perform'd in both parts , that it does not seem to be inferior to one of Paulo Veronese , which is plac'd next to it . He was very considerable likewise for his knowledge in Sculpture , and Architecture , especially that part of it which relates to Fortifications , &c. Obiit Anno 1606. ANDREA SCHIAVONE , so call'd from the Country where he was born , Anno 1522 ; was so very meanly descended , that his Parents after they had brought him to Venice , were not able to allow him a Master : and yet by great study and pains , together with such helps as he receiv'd from the Prints of Parmegiano , and the Paintings of Georgione and Titian , he arriv'd at last to a degree of Excellence very surprizing . 'T is true indeed , that being oblig'd to work for his daily Bread , he could not spare time sufficient for making himself throughly perfect in Design : but however , that Defect was so well cover'd by the singular Beauty and Sweetness of his Colours , that Tintoret us'd oft●●ntimes to say , no Painter ought to be without one Piece ( at least ) of his Hand . His principal Works were compos'd at Venice , some of them in concurrence with Tintoret himself , and others by the directions of Titian , in the Library of St. Mark. But so malicious was Fortune to poor Andrea , that his Pictures were but little valued in his life-time , and he never was paid any otherwise for them , than as an ordinary Painter : tho' after his Decease , which happen'd Anno 1582 , his Works turn'd to a much better account , and were esteem'd answerable to their Merits , and but little inferior to those of his most famous Contemporaries . FREDERICO BAROCCI , born in the City of Urbin , Anno 1528 , was train'd up in the Art of Designing by Baptista Venetiano , and having at Rome acquir'd a competent Knowledge in Geometry , Perspective , and Architecture , apply'd himself to the Works of his most eminent Predecessors : and in a particular manner studied Raphael , and Correggio ; one in the charming Ayrs , and graceful Out-lines of his Figures , and the other in the admirable Union , and agreeable Harmony of his Colours . He had not been long in Rome , before some malicious Painters , his Competitors , found means by a Dose of Poyson convey'd into a Sallet , with which they had treated him , to send him back again into his own Country , attended with an Infirmity so terribly grievous , that for above fifty years together it seldom permitted him to take any Repose , and never allow'd him above two hours in a day to follow his Painting . So that expecting , almost every Moment , to be remov'd into another World , he imploy'd his Pencil altogether in the Histories of the Bible , and other Religious Subjects , of which he wrought a considerable number , in the short Intervals of his painful Fits , and notwithstanding the Severity of them , liv'd till the year 1612. TADDEO ZUCCHERO , born in the Dutchy of Urbin , Anno 1529 , was initiated in the Art of Painting at home , by his Father , and at Rome instructed by Gio. Pietro Calabro ; but improv'd himself most by the Study of Anatomy , and by copying the Works of Raphael . He excell'd chiefly in a florid Invention , a gentile Manner of Designing , and in the good Disposition and Oeconomy of his Pieces : but was not so much admir'd for his Colouring , which was generally unpleasant , and rather resembled the Statues than the Life . He liv'd for the most part in Rome and Urbin , where he left many things unfinish'd , being taken away in his Prime , Anno 1566. PAOLO CALIARI VERONESE , born Anno 1532 , was a Disciple of Antonio Badile , and not only esteem'd the most excellent of all the Lombard Painters , but for his copious and admirable Invention , for the Grandeur and Majesty of his Composition , for the Beauty and Perfection of his Draperies , together with his noble Ornaments of Architecture , &c. is styl'd by the Italians , Il Pittore felice ( the happy Painter . ) He spent most of his time at Venice ; but the best of his Works were made after he return'd thither from Rome , and had studied the Antique . He could not be prevail'd upon , by the great Offers made him by the King of Spain , to leave his own Country ; where his Reputation was so well establish'd , that most of the Princes of Europe sent to their several Embassadours , to procure them something of his Hand at any Rates . He was a Person of an ingenuous and noble Spirit , us'd to go richly drest , and generally wore a gold Chain , which had been presented him by the Procurators of St. Mark , as a Prize which he won from several Artists his Competitors . He was highly in favour with all the principal Men in his time , and so much admir'd by all the great Masters , as well his Contemporaries , as those who succeeded him , that Titian himself us'd to call him the Ornament of his Profession : and Guido Reni being ask'd , which of the Masters his Predecessors he would chuse to be , were it in his power ; after a little pause , cry'd out Paulo , Paulo . He died at Venice , Anno 1588 , leaving great Wealth behind him to his two Sons GABRIELLE and CARLO , who liv'd very happily together , joyn'd in finishing several Pieces left imperfect by their Father , and follow'd his manner so close in other excellent things of their own , that they are not easily distinguish'd from those of Paulos hand . Carlo would have perform'd wonders , had he not been nipt in the Bud , Anno 1596 , Aet . 26 : after whose Decease Gabriel apply'd himself to Merchandizing ; yet did not quite lay aside has Pencil , but made a considerable number of Portraits , and some History-pieces of a very good Gusto . Obiit Anno 1631 , Aetat . 63. BENEDETTO CALIARI liv'd and study'd with his Brother Paulo , whom he lov'd intirely ; and frequently assisted him , and his Nephews , in finishing several of their Compositions ; but especially in Painting Architecture , in which he chiefly delighted . He practised for the most part in Fresco : and some of his best Pieces are in Chiaro-Scuro , or two Colours onely . He was besides , Master of an indifferent good stock of Learning , was Poetically inclin'd , and had a peculiar Talent in Satire . He died Anno 1598 , Aet . 60. See more of Paulo pag. 219. GIOSEPPE SALVIATI , a Venetian Painter , was born Anno 1535 , and exchang'd the name of Porta , which belong'd to his Family , for that of his Master Francesco Salviati , with whom he was plac'd very young at Rome by his Uncle . He spent the greatest part of his Life in Venice ; where he apply'd himself generally to Fresco : and was oftentimes imploy'd in concurrence with Paul Veronese and Tintoret . He was well esteem'd for his great skill both in Design and Colouring ; was likewise well read in other Arts and Sciences , and particularly so good a Mathematician , that he writ several Treatises very judiciously on that Subject . He died Anno 1585. FREDERICO ZUCCHERO , born in the Dutchy of Urbin , Anno 1543 , was a Disciple of his Brother Taddeo , from whom he differ'd but very little in his Style and Manner of Painting , tho' in Sculpture and Architecture he was far more excellent . He fled into France to avoid the Popes Displeasure , which he had incurr'd by an Affront put upon some of his Officers : and from thence passing through Flanders and Holland , came over into England , drew Queen Elizabeths Picture , went back to Italy , was pardon'd by the Pope , and in a little time sent for to Spain by the Philip II. and imploy'd in the Escurial . He labour'd very hard at his return to Rome , for establishing the Academy of Painting , by virtue of a Brief obtain'd from Pope Gregory XIII . Of which being chosen the first Prince himself , he built a noble Apartment for their Meeting , went to Venice to print some Books which he had compos'd of that Art , and had form'd other Designs for its farther Advancement , which yet were all defeated by his Death ( at Ancona ) Anno 1609. GIACOMO PALMA Iunior , commonly call'd GIOVANE PALMA , born at Venice , Anno 1544 , was the Son of Antonio the Nephew of Palma Vecchio . He improv'd the Instructions which his Father had given him , by copying the Works of the most eminent Masters , both of the Roman and Lombard Schools ; but in his own Compositions chiefly follow'd the Manner of Titian and T●●toret . He spent some years in Rome , and was imploy'd in the Galleries and Lodgings of the Vatican : but the greatest number of his Pieces is at Venice , where he studied night and day , fill'd almost every place with something or other of his Hand ; and ( like Tintoret ) refus'd nothing that was offer'd him , upon the least Prospect of any Gains . He died Anno 1628. DOMENICO FETI , a Roman , flourish'd in this time . He was a Disciple of Lodovico Civoli , of Florence ; and excell'd in Figures and Historical Compositions , but died young , Anno Aet . 35. BARTHOLOMEW SPRANGHER , born at Antwerp , Anno 1546 , was chief Painter to the Emperour Maximilian II. and so much respected by his Successor Rodolphus , that he presented him with a Gold Chain and Medal , allow'd him a Pension , honour'd him and his Posterity with the Title of Nobility , lodg'd him in his own Palace , and would suffer him to paint for no-body but himself . He had spent some part of his Youth in Rome , where he was imploy'd by the Cardinal Farnese , and afterwards preferr'd to the Service of Pope Pius V. but for want of Iudgment in the Conduct of his Studies , brought little with him , besides a good Pencil from Italy . His Out-line was generally stiff and very ungraceful , his Postures forc'd and extravagant ; and in a word , there appear'd nothing of the Roman Gusto in his Designs . He obtain'd leave from the Emperour ( after many years continuance in his Court ) to visit his own Country ; and accordingly went to Antwerp , Amsterdam , Haerlem , and several other places , where he was honourably receiv'd : and having had the satisfaction of seeing his own Works highly admir'd , and his manner almost universally follow'd in all those parts , as well as in Germany , return'd to Prague , and died Anno 1602 , or thereabout . In the same Form with Sprangher we may place his Contemporaries , Iohn van Ach , and Ioseph Heints , both History Painter of note , and much admir'd in the Emperours Court. MATTHEW BRIL was born at Antwerp , Anno 1550 , but studied for the most part at Rome ; and was famous for his Performances in History and Landtschape , in the Galleries of the Vatican , where he was imploy'd by Pope Gregory XIII . He died young , Anno 1584. PAUL BRIL , of Antwerp also , born Anno 1554 , follow'd his Brother Matthew to Rome , painted several things in conjunction with him , and after his Decease , brought himself into Reputation by his Landtschapes : but especially by those which he compos'd in his latter time ( after he had studied the manner o●● Hannibal Carrach , and had copied some of Titians Works , in the same kind ) the Invention in them being more pleasant , the Disposition more noble , all the parts more agreeable , and painted with a better Gusto , than those in his former days . He died at Rome , Anno 1626. ANTONIO TEMPESTA , his Contemporary , a Native of Florence , was a Disciple of Iohn Strada , a Fleming . He had a particular Genius for Battels , Calvacades , Huntings , and for designing all sorts of Animals : but did not so much regard the Delicacy of Colouring , as the lively expression and Spirit of those things which he represented . His ordinary Residence was at Rome ; where , in his younger days he had wrought several Pieces by order of Pope Gregory XIII . in the Apartments of the Vatican . He was full of Thought and Invention , very quick and ready in the Execution , and famous also for a multitude of Prints , etch'd by himself . He died Anno 1630. LODOVICO CARRACCI , the Uncle of Augustino and Hannibal , was born at Bologna , Anno 1555 , and under his first Master Prospero Fontana , discover'd but an indifferent Genius for Painting : but however , Art supply'd the defects of Nature , and by constant and unwearied diligence in studying the Works of Parmegiano , Correggio , Titian , and other great Men , he brought himself at last to a degree of Perfection hardly inferior to any of them . He assisted his Nephews in Founding and Settling the famous Academy of Design at Bologna , and afterwards in Painting the Palazzo Farnese at Rome ; and having surviv'd them both , died Anno 1619 , Vide pag. 222. AGOSTINO CARRACCI , a Bolognese also , was born Anno 1557 , and by the care and instructions of Domenico Tebaldi , Alessandro Minganti and others , became not onely a very good Designer and Painter , but in the Art of Graving surpass'd all the Masters in his time . He had an insight likewise into all the parts of the Mathematics , Natural Philosophy , Rhetoric , Music , and most of the Liberal Arts and Sciences . He was besides , an admirable Poet , and in all other particulars extremely well accomplish'd . From Bologna he went to Venice , where he contracted an intimate Friendship with Paul Veronese , Tintoret , and Bassan ; and having grav'd a considerable number of their Works , return'd home , and soon afterwards follow'd his Brother Hannibal to Rome , and joyn'd with him in finishing several Stories in the Farnese Gallery : But some little difference arising unluckily betwixt them , Augustino remov'd to the Court of the Duke of Parma , and in his Service died Anno 1602 , Vide pag. 223. His most celebrated Piece of Painting , is that of the Communion of St. Ierom , in Bologna : a Picture so compleat in all its parts , that it was much to be lamented , that the excellent Author of it should withdraw himself from the Practice of an Art in which his Abilities were so very extraordinary , to follow the inferior Profession of a Graver . ANNIBALE CARRACCI , born likewise at Bologna , Anno 1560 , was a Disciple of his Uncle Ludovico ; and amongst his other admirable qualities , had so prodigious a Memory , that whatever he had once seen , he never fail'd to retain and make his own : so that at Parma , he acquir'd the Sweetness and Purity of Correggio ; at Venice the Strength and Distribution of Colours of Titian ; and at Rome , the Correctness of Design , and beautiful Forms of the Antique : And by his wonderful Performances in the Palazzo Farnese , soon made it appear , that all the several Perfections of the most eminent Masters his Predecessors , were united in himself alone . In his Conversation he was friendly , plain , honest , and open-hearted ; very communicative to his Scholars , and so extremely kind to them , that he generally kept his Money in the same box with his Colours , where they might have recourse to either as they had occasion . But the unhappiness of his Temper inclining him naturally to Melancholy ; the ill usage which he receiv'd from the Cardinal Farnese ( who through the Persuasions of an ignorant Spaniard his Domestic , gave him but a little above 200l . Sterl . for his eight years study and labour ) so confirm'd him in it , that he resolv'd never more to touch his Pencil : and had undoubtedly kept his resolution , had not his Necessities compell'd him to resume it . Yet notwithstanding , so far did his Distemper by degrees gain upon him , that at certain times it depriv'd him of the right use of his Sences ; and at last made him guilty of some Irregularities , which concealing from his Physicians , he met with the same fate as Raphael ( in the like case ) had done before him , and seem'd to copy that great Master as well in the manner of his Death , as he had imitated him all his Life long in his Works . Nay , such was the Veneration he had for Raphael , that it was his Death-bed Request , to be bury'd in the very same Tomb with him : which was accordingly done in the Pantheon , or Rotunda at Rome , Anno 1609. See more pag. 222 , and besides take notice , that there are extant several Prints of the B. Virgin , and of other Subjects , etch'd by the hand of this incomparable Artist . ANTONIO CARRACCI , the natural Son of Augustino , was brought up under the Care and Tuition of his Uncle Hannibal : after whose Decease , he apply'd himself so successfully to the study of all the Capital Pieces in Rome , that he would have surpass'd even Hannibal himself , if Death had not prevented him , Anno 1618 , Aet . 35. CAMILLO , GIULIO CESARE , and CARL ' ANTONIO , the Sons and Disciples of ERCOLE PROCACCINI , flourish'd in this time . They were Natives of Bologna , but upon some misunderstanding between them and the Carraches , remov'd to Milan , where they spent the greatest part of their Lives . Of these , CAMILLO the Eldest , abounded in Invention and Spirit : but was a great Mannerist , and rather study'd the Beauty , than Correctness of his Designs . GIULIO CESARE , was both a Sculptor and Painter , and famous in Genoua , as well as Bologna and Milan , for several admirable things of his hand . He was the best of all the Procaccini , and surpass'd his Brother Camillo in the exactness and purity of his Out-lines , and in the strength and boldness of his Figures . CARL ' ANTONIO was an excellent Musician , and as well skill'd in the Harmony of Colours as of Sounds : yet not being able to arrive to the Perfection of his Brothers in Historical Compositions , he apply'd himself wholly to Landtschapes and Flowers , and was much esteem'd for his Performances that way . ERCOLE the Son of Carl ' Antonio , was a Disciple of his Uncle Iulio Cesare , and so happy in imitating his manner , that he was sent for to the Court of the Duke of Savoy , and highly honour'd , and nobly rewarded by that Prince for his Services . GIOSEPPED'ARPINO , commonly call'd Cavalier GIOSEPPINO , born in the Kingdom of Naples , Anno 1560 , was carry'd very young to Rome , and put out to some Painters , then at work in the Vatican , to grind their Colours : but the quickness of his Apprehension having soon made him Master of the Elements of Design , he had the fortune to grow very famous by degrees ; and besides the respect shewn him by Pope Gregory XIII . and his Successors , was so well receiv'd by the French K. Lewis XIII . that he made him a Knight of the Order of St. Michael . He has the character of a florid Invention , a ready Hand , and a good Spirit in all his Works : but yet having no sure Foundation , either in the Study of Nature , or the Rules of Art , and building onely upon those Chimeras and fantastical Ideas , which he had form'd in his own Head , he has run himself into a multitude of Errors , being guilty of those many Extravagancies , necessarily attending such as have no better Guide than their own capricious Fancy . He died at Rome , Anno 1640. HANS ROTTENHAMER was born at Munc●●en , the Capital City of Bavaria , Anno 1564 , and after he had studied some time in Germany , went to Venice , and became a Disciple of Tintoret . He painted both in Fresco and Oyl , but his Talent lay chiesly in the latter , and his peculiar excellence was in little Pieces . His Invention was free and easie , his Design indifferently correct , his Postures gentile , and his Colouring very agreeable . He was well esteem'd both in Italy and his own Country , and by his Profession might have acquir'd great Wealth ; but was so wonderfully extravagant in his way of living , that he consum'd it much faster than it came in , and at last died so poor , that his Friends were forc'd to make a gathering to bury him , Anno 1604. Cavalier FRANCESCO VANNI , born at Siena in the Dukedom of Tuscany , Anno 1568 , was a Painters Son , but quitted the manner which he had learnt from his Father , to follow that of Barocci ; whom he imitated in his choice of Religious Subjects , as well as in his Gusto of Painting . The most considerable Works of this Master are in the several Churches of Siena , and are much commended both for the Beauty of their Colouring , and Correctness of their Design . He died Anno 1615. MICHELANGELO MERIGI born An. 1569 , at CARAVAGGIO , from whence he deriv'd his Name , was at first ( like his Countryman Polidore ) no better than a Day-labourer ; till having seen some Painters at work , upon a Brick-wall , which he had prepar'd for them , he was so charm'd with their Art , that he immediately address'd himself to the study of it : and in a few years made so considerable a progress , that in Venice , Rome , and several other parts of Italy , he was cry'd up , and admir'd by all the Young men , as the Author of a new Style of Painting . Upon his first coming to Rome , his Necessities compell'd him to paint Flowers and Fruit , under Cavalier Gioseppino : but being soon weary of that Subject , and returning to his former practice of Histories , with Figures drawn to the middle onely , he made use of a Method , quite different from the conduct of Gioseppino , and running into the contrary extreme , follow'd the Life as much too close , as the other went wide from it . He affected a way particular to himself , of deep and dark shadows , to give his Pieces the greater relievo , and despising all other help , but what he receiv'd from Nature alone ( whom he took with all her faults , and copy'd without judgment or discretion ) his Invention became so poor , that he could never draw any thing without his Model before his eyes ; and therefore understood but little either of Design , or Decorum in his Compositions . He had indeed an admirable Colouring , and great strength in all his Works : But those Pictures which he made in imitation of the manner of Georgione , were his best , because they have nothing of that blackness in them , in which he afterwards delighted . He died in his return from Malta , ( where he had been Knighted by the Grand Master , for some things which he had wrought for him ) Anno 1609. His chief Disciples were Bartolomeo Manfredi of Mantoua , Carlo Saracino , commonly call'd Venetiano , Valentino a French-man , and Gerard Hunthorst of Utrecht . FILIPPO d' ANGELI was a Roman born , but call'd NEAPOLITANO , because his Father sent him to Naples , when he was very young . At his return to Rome , he apply'd himself to the Antiquities ; but unhappily left that study too soon , and follow'd the manner of his Contemporary M. Angelo da Caravaggio . He practis'd for the most part in Landtschapes , and Battels , was every where well esteem'd for his Works , and imploy'd by several Princes in many of the Churches and Palaces of Rome , Naples and Venice ; at the last of which places he died Anno Aetat . 40. IAN BRUEGHEL , the Son of old Peter , and the younger Brother of Helsen Brueghel , was born in Brussels , Anno 1569 , and call'd FLUWEELEN because of the Velvet Garments which he generally affected to wear . He began his Studies at home , under Peter Goe-kindt , and continu'd them in Italy with such success , that of all the German , Dutch , or Flemish Masters , Elsheimer onely was superior to him in Landtschapes , and Histories with small Figures . He painted both in Water-colours and Oyl , but in the latter chiefly excell'd ; and especially , in representing Wakes , Fairs , and other frolicksom and merry meetings of Country-people . His Invention was easie and pleasant , his Out-lines firm and sure , his Pencil loose and free : and in short , all his Compositions were so well manag'd , that Nature in her plain Country Dress , was always to be seen in his Works . He died Anno 1625. ADAM ELSHEIMER born at Frankfort upon the Mayn , Anno 1574 , was at first a Disciple of Philip Uffenbach a German : but an ardent desire of Improvement carrying him to Rome , he soon became a most excellent Artist in Landtschapes , Histories , and Night-pieces , with little Figures . His Works are very few ; and for the incredible Pains and Labour which he bestow'd upon them , valu'd at such prodigious rates , that they are hardly any where to be found but in the Cabinets of Princes . He was a Person by Nature inclin'd to Melancholy , and through continu'd study and thoughtfulness , was so far settled in that unhappy temper , that neglecting his own domestic concerns , Debts came thick upon him , and Imprisonment follow'd : which struck such a damp upon his Spirits , that though he was soon releas'd , yet he did not long survive it , and died in the year 1610 , or thereabout . GUIDO RENI was born at Bologna , An. 1575 , and having learnt the Rudiments of Painting , under a Flemish Master , was refin'd and polish'd in the School of the Carraches : and to what degree of Excellence he arriv'd , see pag. 223. He acquir'd great perfection in Music , by the instructions of his Father , an eminent Professor of that Art. In his behaviour he was modest , gentile , and very obliging ; liv'd in great splendor , both at Bologna , and Rome , and was onely unhappy in his immoderate love of Gaming : to which , in his latter days , he had abandon'd himself so intirely , that all the Money which he cou'd get by his Pencil , or borrow upon Interest , being too little to supply his losses , he was at last reduc'd to so poor and mean a condition , that the consideration of his present circumstances , together with reflections on his former reputation , and high manner of living , brought a languishing Distemper upon him , which occasion'd his Death , Anno 1642. Note , that there are several Designs of this great Master , in print , etch'd by himself . GIO. BATTISTA VIOLA , a Bolognese , born Anno 1576 , was a Disciple of Hannibal Carrach , by whose assistance he arriv'd to an excellent manner in Landtschape-painting , which he chiefly study'd , and for which he was well esteem'd in Rome , and several other parts of Italy . But Pope Gregory XV. having made him Keeper of his Palace , to reward him for the Services which he had done for him , when he was Cardinal , he quitted his Pencil , and died soon after , Anno 1622. Sir PETER PAUL RUBENS , born at Cologne , Anno 1577 , was the best accomplish'd of all the Flemish Masters ; and wou'd have rival'd even the most celebrated Italians , if his Parents , instead of placing him under the tuition of Adam van Noort , and Octavio Venus , had bred him up in the Roman and Lombard Schools . Yet notwithstanding , he made so good use of that little time which he spent in those places , that perhaps none of his Predecessors can boast a more beautiful Colouring , a nobler Invention , or a more luxurious Fancy in their Compositions , of which see a farther account pag. 225. B●●t besides his talent in Painting , and his admirable skill in Architecture ( very eminent in the several Churches , and Palaces , built after his Designs , at Genoua . ) He was a Person possess'd of all the Ornaments and Advantages , that can render a man Valuable : was universally Learned , spoke seven Languages very perfectly , was well read in History , and withall so excellent a Statesman , that he was imploy'd in several public Negotiations of great Importance ; which he manag'd with the most refin'd Prudence , and Conduct . And was particularly famous for the Character with which he was sent into England , of Embassadour from the Infanta Isabella , and Philip IV. of Spain , to K. Charles I. upon a Treaty of Peace between the two Crowns , confirm'd Anno 1630. His principal Performances are in the Banquetting-house at Whitehall , the Escurial in Spain , and the Luxemburgh Galleries at Paris , where he was imploy'd by Queen Mary of Medicis , Dowager of Henry IV. and in each of those three Courts had the honour of Knighthood conferr'd upon him , besides several magnificent Presents , in testimony of his extraordinary Merits . His usual abode was at Antwerp , where he built a spacious Apartment , in imitation of the Rotunda at Rome , for a noble Collection of Pictures which he had purchas'd in Italy : some of which , together with his Statues , Medals , and other Antiquities , he sold , not long after , to the Duke of Buckingham , his intimate Friend , for ten thousand pounds . He liv'd in the highest Esteem and Reputation imaginable , was as great a Patron , as Master of his Art ; and so much admir'd all over Europe , for his many singular Endowments , that no Strangers of any Quality cou'd pass through the Low-Countries , till they had first seen Rubens , of whose Fame they had heard so much . He died Anno 1640 , leaving vast Riches behind him to his Children , of whom Albert the Eldest , succeeded him in the Office of Secretary of State , in Flanders . ORATIO GENTILESCHI , a Native of Pisa , a City in Tuscany , flourish'd in this time : and after he had made himself known in Florence , Rome , Genoua , and other parts of Italy , remov'd to Savoy , from thence went to France , and at last , upon his arrival in England , was so well receiv'd by K. Charles I. that he appointed him Lodgings in his Court , together with a considerable Salary , and imploy'd him in his Palace at Greenwich , and other public places . He made several Attempts in Face-painting , but with little success , his Talent lying altogether in Histories , with Figures as big as the Life : In which kind , some of his Compositions have deservedly met with great Applause . He was much in favour with the Duke of Buckingham , and many others of the Nobility : and after twelve years continuance in this Kingdom , died Anno Aetat . 84. and was bury'd in the Queens Chapel in Somerset-house . ARTEMISIA GENTILESCHI his Daughter , excell'd her Father in Portraits , and was but little inferior to him in Histories . She liv'd for the most part at Naples , in great splendor : and was as famous all over Europe for her Amours , and Love-Intrigues , as for her talent in Painting . FRANCESCO ALBANI a Bolognese , born Anno 1578 , was a Disciple of the Carraches●● well vers'd in polite Learning , and excellent in all the parts of Painting ; but principally admir'd for his performances in little . He had a particular Genius for naked Figures : and the better to accomplish himself in that Study , marry'd a beautiful Lady of Bologna , with little or no fortune ; by whom ( upon all occasions ) he us'd to design naked Venus's , the Graces , Nymphs , and other Goddesses : and by her Children little Cupids , playing , and dancing , in all the variety of Postures imaginable . He spent some time at Rome , was imploy'd also by the Grand Duke of Tuscany , but compos'd most of his Works in his own Country ; where he died , Anno 1660. His most famous Disciples were Pier Francesco Mola , and Gio. Battista his Brother , both excellent Masters in Figures and Landtschapes . FRANCIS SNYDERS , born at Antwerp , Anno 1579 , was bred up under Henry van Balen his Country-man ; but ow'd the most considerable part of his Improvement , to his Studies in Italy . He painted all sorts of Wild Beasts , and other Animals , Huntings , Fish , Fruit , &c. in great Perfection : was often imploy'd by the King of Spain , and several other Princes , and every-where much commended for his Works . DOMENICO ZAMPIERI , commonly call'd DOMENICHINO , born in the City of Bologna An. 1581 , was at first a Disciple of a Flemish Master , but soon quitted his School , for a much better of the Carraches ; being instructed at Bologna by Ludovico , and at Rome by Hannibal , who had so great a Value for him , that he took him to his assistance in the Farnese Gallery . He was extremely laborious and slow in his Productions , applying himself always to his work with much study and thoughtfulness , and never offering to touch his Pencil till he found a kind of Enthusiasm , or Inspiration upon him . His talent lay principally in the correctness of his Style , and in expressing the Passions and Affections of the Mind . In both which he was so admirably judicious , that Nicolo Poussin , and Andrea Sacchi us'd to say , his Communion of St. Ierome , in the Church of the Charity , and Raphaels celebrated Piece of the Transfiguration , were the two best Pictures in Rome . He was made the chief Architect of the Apostolical Palace , by Pope Gregory XV. for his great skill in that Art. He was likewise well vers'd in the Theory of Music , but in the Practice of it had little success . He had the misfortune to find Enemies in all places where●●ever he came ; and particularly at Naples was so ill treated by those of his own Profession , that having agreed among themselves to disparage all his Works , they would hardly allow him to be a tolerable Master : And were not content with having frighted him , for some time , from that City , but afterwards , upon his return thither , never left persecuting him , till by their tricks and contrivances they had quite weary'd him out of his Life , Anno 1641. Vide pag. 223. His Contemporary , and most malicious Enemy GIOSEPPE RIBERA , a Native of Valencia , in Spain , commonly known by the name of SPAGNOLETTO , was an Artist perfect in Design , and famous for the excellent manner of Colouring which he had learnt from Michael Angelo da Caravaggio . His way , was very often in Half-Figures onely , and ( like his Master ) he was wonderfully strict in following the Life ; but as Ill-natur'd in the choice of his Subjects , as in his Behaviour to poor Domenichino , affecting generally something very terrible and frightful in his Pieces , such as Prometheus with the Vulture feeding upon his Liver , Cato Uticensis weltering in his own Bloud , St. Bartholomew with the Skin flea'd off from his Body , &c. But however in all his Compositions , Nature was imitated with so much Art and Iudgment , that a certain Lady big with Child , having accidentally cast her Eyes upon an Ixion , whom he had represented in Torture upon the Wheel , receiv'd such an Impression from it , that she brought forth an Infant with Fingers distorted just like those in his Picture . His usual abode was at Naples , where he liv'd very splendidly , being much in favour with the Viceroy his Countryman , and in great Reputation for his Works in Painting , and for several Prints etch'd by his own hand . GIOVANNI LANFRANCO , born at Parma , Anno 1581 , was a Disciple of the Carraches , and besides a zealous Imitator of the Works of Raphael and Correggio . His character see pag. 224. He was highly applauded at Naples for several excellent Pieces which he wrought there , and was so much esteem'd in Rome , that for his Performances in the Vatican he was Knighted by Pope Urban VIII . He died Anno 1647. SISTO BADALOCCHI his Fellow-disciple , was of Parma also , and by the Instructions of the Carraches at Rome , became one of the best Designers of that School . He had also many other commendable Qualities , and particularly Facility , but wanted Diligence . He joyn'd with his Countryman Lanfranco in etching the Histories of the Bible , after the Paintings of Raphael , in the Vatican , which they dedicated to Hannibal their Master . He practised mostly at Bologna , where he died Young. SIMON VOUET , born at Paris , Anno 1582 , was bred up to Painting under his Father , and carry'd very young to Constantinople by the French Embassador , to draw the Picture of the Grand Signior , which he did by strength of Memory onely . From thence he went to Venice , and afterwards settling himself at Rome , made so considerable a Progress in his Art , that besides the Favours which he receiv'd from Pope Urban VIII . and the Cardinal his Nephew , he was chosen Prince of the Roman Academy of St. Luke . He was sent for home Anno 1627 , by the order of Lewis XIII . whom he serv'd in the quality of his chief Painter . He practised both in Portraits and Histories , and furnish'd some of the Apartments of the Louvre , the Palaces of Luxemburgh and St. Germains , the Galleries of Cardinal Richlieu and other public places with his Works . His greatest Perfection was in his agreeable Colouring , and his brisk and lively Pencil , being otherwise but very indifferently qualify'd ; he had no Genius for grand Compositions , was unhappy in his Invention , unacquainted with the Rules of Perspective , and understood but little of the Union of Colours , or the Doctrine of Lights and Shadows : yet nevertheless he brought up several eminent Scholars , amongst whom , was CHARLES ALFONSE du FRESNOY , Author of the preceding Poem . But his chief Disciple was the KING himself , whom he had the Honour to instruct in the Art of Designing . He died An. 1641. PIETER van LAER , commonly call'd BAMBO●●CIO , or the Beggar-painter , was born in the City of Haerlem , Anno 1584 : and after he had laid a good Foundation in Drawing and Perspective at home , went to France , and from thence to Rome ; where by his earnest application to Study , for sixteen years together , he arriv'd to great Perfection in Histories , Landtschapes , Grottos , Huntings , &c. with little Figures and Animals . He had an admirable Gusto in Colouring , was very judicious in the ordering of his Pieces , nicely just in his Proportions , and onely to be blam'd , for that he generally affected to represent Nature in her worst Dress , and follow'd the Life too close , in most of his Compositions . He return'd to Amsterdam , Anno 1639 , and after a short stay there , spent the Remainder of his days with his Brother , a noted School-master in Haerlem . He was a Person very serious and contemplative in his humour , took Pleasure in nothing but Painting and Music : and by indulging himself too much in a melancholy Retirement , is said to have shorten'd his Life , Anno 1644. CORNELIUS POELENBURCH , born at Utrecht , Anno 1590 , was a Disciple of Abraham Blomaert , and afterwards for a long time , a Student in Rome and Florence . His Talent lay altogether in small Figures , naked Boys , Landtschapes , Ruins , &c. which he express'd with a Pencil agreeable enough , as to the Colouring part , but generally attended with a little stiffness , the ( almost ) inseparable Companion of much Labour and Neatness . He came over into England , Anno 1637 ; and after he had continu'd here four years , and had been handsomly rewarded by K. Charles I. for several Pieces which he wrought for him , retir'd into his own Country , and died Anno 1667. Cavalier GIO. FRANCESCO BARBIERI da CENTO , commonly call'd GUERCINO , ( because of a Cast which he had with his Eyes ) was born near Bologna , Anno 1590 , and bred up under Benedetto Gennari his Country-man : by whose Instructions , and the Dictates of his own excellent Genius , he soon learnt to design gracefully and with Correctness ; and by conversing afterwards with the Works of Michael Angelo da Caravaggio , became an admirable Colourist , and besides , very famous for his happy Invention and Freedom of Pencil , and for the Strength , Relievo , and becoming Boldness of his Figures . He began , in the Declension of his Age , to alter his Style in Painting : and ( to please the unthinking Multitude ) took up another manner more gay , neat and pleasant , but by no means so great and noble as his former Gusto . He compos'd several considerable Pieces in Rome : but the greatest number of his Performances is in , and about Bologna , where he died , Anno 1666 , very rich , and highly commended for his extraordinary Piety , Prudence and Morality . NICOLO PUSSINO , the French Raphael , was the Descendent of a noble Family in Picardy , but born at Andely , a Town in Normandy , Anno 1594. He was season'd in Literature at home , instructed in the Rudiments of Design at Paris , learnt the Principles of Geometry , Perspective and Anatomy at Rome , practised after the Life in the Academy of Domenichino , and study'd the Antiquities in company with the famous Sculptor Francesco Fiammingo , who was born in the same year , and lodg'd in the same house with him . His way , for the most part , was in Histories , with Figures about two or three feet high ; and his Colouring inclin'd rather to the Antique than to Nature : but in all the other parts of Painting , he was profoundly excellent ; and particularly the Beauty of his Genius appear'd in his nice and judicious Observation of the Decorum in his Compositions , and in expressing the Passions and Affections with such incomparable skill , that all his Pieces seem to have the very Spirit of the Action , and the Life and Soul of the Persons whom they represent . He had not been in Rome above sixteen years , before his Name became so universally celebrated , that Cardinal Richlieu resolving to advance the noble Arts in France , prevail'd upon him ( by means of an obliging Letter , written to him by Lewis XIII . himself , Anno 1639 ) to return to his own Country : where he was receiv'd with all possible demonstrations of Esteem , was declar'd First Painter to the King , had a considerable Pension appointed him , was imploy'd in several public Works , and at last undertook to paint the Grand Gallery of the Louvre . But the King and Cardinal both dying in the time that he went back to settle his affairs in Italy , and bring his Family from thence ; he quite laid aside the Thoughts of returning any more to France , and ended his days in Rome , Anno 1665 : having for some years before his Decease , been so much subject to the Palsie , that the effects of his unsteddy Hand are visible in several of his Designs . PIETRO TESTA , his Contemporary , was a Native of Lucca , a City in the Dukedom of Florence , and so miserably poor upon his first arrival at Rome , that he was forc'd to make the public Streets his School , and the Statues , Buildings , Ruins , &c. the Lessons which he studied . He was a Man of a quick Head , a ready Hand , and a lively Spirit in most of his Performances : but yet for want of Science , and good Rules to cultivate and strengthen his Genius , all those hopeful Qualities soon ran to Weeds , and produced little else but Monsters , Chimeras , and such like wild and extravagant Fancies : Vid. pag. 102. He attempted very often to make himself perfect in the Art of Colouring , but never had any Success that way ; and indeed was onely tolerable in his Drawings , and the Prints which he etch'd . He was drown'd ( as 't is generally reported ) in the Tyber , having accidentally fall'n off from the Bank , as he was endeavouring to regain his Hat , which the Wind had blown into the Water . Sir ANTHONY VAN DYCK , was born at Antwerp , Anno 1599 , and gave such early proofs of his most excellent Endowments , that Rubens his Master , fearing he would become as Universal as himself , to divert him from Histories , us'd to commend his Talent in Painting after the Life , and took such care to keep him continually imploy'd in business of that Nature , that he resolv'd at last to make it his principal study ; and for his Improvement went to Venice , where he attain'd the beautiful Colouring of Titian , Paulo Veronese , &c. And after a few years spent in Rome , Genoua and Sicily , return'd home to Flanders with a manner of Painting , so noble , natural , and easie , that Titian himself was hardly his Superior , and no other Master in the world equal to him for Portraits . He came over into England soon after Rubens had left it , and was entertain'd in the Service of King Charles I. who conceiv'd a marvellous esteem for his Works , honour'd him with Knight hood , presented him with his own Picture set round with Diamonds , assign'd him a considerable Pension , sate very often to him for his Portrait , and was followed by most of the Nobility and principal Gentry of the Kingdom . He was a person low of stature , but well-proportion'd ; very handsome , modest , and extremely obliging ; a great Encourager of all such as excell'd in any Art or Science , and Generous to the very last degree . He marry'd one of the fairest Ladies of the English Court , Daughter of the Lord Ruthen Earl of Gowry , and liv'd in State and Grandeur answerable to her Birth : His own Garb was generally very rich , his Coaches and Equippage magnificent , his Retinue numerous and gallant , his Table very splendid , and so much frequented by People of the best Quality of both Sexes , that his Apartments seem'd rather to be the Court of some Prince , than the Lodgings of a Painter . He grew weary , towards the latter end of his Life , of the continu'd trouble that attended Face-Painting ; and being desirous of immortalizing his Name by some more glorious Undertaking , went to Paris in hopes of being imploy'd in the Grand Gallery of the Louvre ; but not succeeding there , he return'd hither , and propos'd to the King ( by his Friend Sir Kenelm Digby ) to make Cartoons for the Banqueting house at White-hall : the subject of which was to have been the Institution of the Order of the Garter , the Procession of the Knights in their Habits , with the Ceremony of their Installment , and St. Georges Feast . But his Demands of fourscore thousand pounds , being thought unreasonable , whilst the King was upon treating with him for a less Summ , the Gout and other Distempers put an end to that Affair and his Life , Anno 1641 ; and his Body was interr'd in St. Pauls Church . See farther , pag. 226. And note , that amongst the Portraits of Illustrious Persons , &c. printed and publish'd by the particular directions of this Master , some were etch'd in Aqua-fortis by Van Dyck himself . BENEDETTO CASTIGLIONE , a Genouese , was at first a Disciple of Battista Paggi and Ferrari his Countrymen ; improv'd himself afterwards by the instructions of Van Dyck ( as long as he continu'd in Genoua ) and at last became an Imitator of the Manner of Nicolo Poussin . He was commended for several very good Prints of his own etching : but in Painting his Inclinations led him to Figures , with Landtschapes and Animals ; which he touch'd up with a great deal of Life and Spirit , and was particularly remarkable for a brisk Pencil , and a free handling in all his Compositions . He was a Person very unsettled in his Temper , and never lov'd to stay long in one place : but being continually upon the ramble , his Works lie scatter'd up and down in Genoua , Rome , Naples , Venice , Parma , and Mantoua , where he died . VIVIANO CODAZZO , generally call'd VIVIANO delle PROSPETTIVE , was born at Bergamo in the Venetian Territories , Anno 1599 : and by the Instructions of Augustino Tasso his Master , arriv'd to a most excellent manner of painting Buildings , Ruins , &c. His ordinary Residence was at Rome , where he died , Anno 1674 , and was bury'd in the Church of S. Lorenzo in Lucina . He had a Son call'd Nicolo , who pursu'd his Fathers steps , and died at Genoua , in great Reputation for his Performances in Perspective . MARIO NUZZI , commonly call'd MARIO de' FIORI , born at Orta in the Terra di Sabina , was a Disciple of his Uncle Tomaso Salini , and one of the most famous Masters in his time for painting Flowers . He died in Rome , ( where he had spent great part of his Life ) and was also bury'd in S. Lorenzos Church , Anno 1672. MICHELANGELO CERQUOZZI , was born in Rome , Anno 1600 , and bred up in the School ▪ of Antonio Salvatti , a Bolognese . He was call'd delle BATTAGLIE , from his excellent Talent in Battels ; but besides his great skill in that particular Subject , he was very Successful in all sorts of Figures , and painted Fruit incomparably beyond any Master in Europe . He was bury'd in the Choire of S. Maries Church in Rome , Anno 1660. CLAUDIO GILLE of LORAIN , born Anno 1600 , was by his Parents sent very young to Rome ; and after he had been grounded in the Elements of Design , and the Rules of Perspective , under Augustino Tasso , he remov'd his Study to the Banks of the Tyber , and into the open Fields , took all his Lessons from Nature her self , and by many years diligent Imitation of that excellent Mistress , climb'd up to the highest step of Perfection in Landtschape painting : and was universally admir'd for his pleasant and most agreeable Invention ; for the delicacy of his Colouring , and the charming variety and tenderness of his Tints ; for his artful Distribution of the Lights and Shadows ; and for his wonderful Conduct , in disposing his Figures for the advantage and Harmony of his Compositions . He was much commended for several of his Performances in Fresco as well as Oyl , was imploy'd by Pope Urban VIII . and many of the Italian Princes in adorning their Palaces : and having by his Pencil made his Name famous throughout Europe , died An. 1682 , and was interr'd in the Church of Trinita de Monti , in Rome . GASPARO DUGHET , was of French Extraction , but born in Rome , Anno 1600. He took to himself the name of POUSSIN , in gratitude for many Favours , and particularly that of his Education , which he receiv'd from Nicolo Poussin , who married his Sister . His first Imployment under his Brother-in-Law , was in looking after his Colours , Pencil , &c. but his excellent Genius for Painting soon discovering it self , by his own Industry and his Brothers Instructions was so well improv'd , that in Landtschapes ( which he principally studied ) he became one of the greatest Masters in his Age ; and was much in request , for his easie Invention , solid Iudgment , regular Disposition , and true Resemblance of Nature in all his Works . He died in his great Climacterical year 1663 , and was bury'd in his Parish-Church of S. Susanna , in Rome . In his time , liv'd and flourish'd ANDREA SACCHI , a celebrated Roman Master , highly extoll'd for his general Accomplishments in all the parts of Painting ; but more particularly eminent for his extraordinary skill in the Elegance of Design , the Harmony of Order , and the Beauty of Colouring . His Competitor PIETRO BERETTINI da CORTONA , was also of great consideration in this time ; and much applauded for his magnificent Works in several of the Churches and Palaces of Rome and Florence . He excell'd both in Fresco and Oyl , was profoundly read in the Antiquities , had a noble and rich Imagination , and a Genius far beyond any of his Contemporaries , for Ornaments and grand Historical Compositions . He was very well esteem'd by Pope Urban VIII . Innocent X. and most of the Persons of the first Rank in Italy . GEERART DOV , born at Leyden , about the year 1607 , was a Disciple of Rembrandt , but much pleasanter in his Style of Painting , and superior to him in little Figures . He was esteem'd in Holland the best Master in his way : and tho' we must not expect to find in his works that Elevation of Thought , that Correctness of Design , or that noble Spirit , and grand Gusto , in which the Italians have distinguish'd themselves from the rest of Mankind ; yet it must be acknowledg'd , that in the Management of his Pencil , and the Choice and Beauty of his Colours , he has been curious to the last degree ; and in finishing his Pieces , laborious and patient beyond example . He died circa Annum 1674 , leaving behind him many Scholars , of whom MIERIS the chief , was in several respects equal to his Master . But for the rest of his Imitators , generally speaking , we may place them in the same Form with the cunning Fools , mention'd pag. 133. ADRIAEN BROUWER was born in the City of Haerlem , Anno 1608 ; and besides his great Obligations to Nature , was very much beholden to Frans Hals , who took him from begging in the Streets , and instructed him in the Rudiments of Painting ; And to make him amends for his kindness , Brouwer , when he found himself sufficiently qualified to get a Livelyhood , ran away from his Master into France , and after a short stay there , return'd , and settled at Antwerp . Humour was his proper Sphere , and it was in little Pieces that he us'd to represent Boors , and others his Pot●● companions , drinking , smoking Tobacco , gaming , fighting , &c. with a Pencil so tender and free , so much of Nature in his Expression , such excellent Drawing in all the particular parts , and good Keeping in the whole together , that none of his Countrymen have ever been comparable to him in that Subject . He was extremely facetious and pleasant over his Cups , scorn'd to work as long as he had any Money in his Pockets , declar'd for a short Life and a merry one : and resolving to ride Post to his Grave , by the help of Wine and Brandy , got to his Iourneys end , Anno 1638 ; so very poor , that Contributions were rais'd to lay him privately in the Ground , from whence he was soon after taken up , and ( as 't is commonly said ) very handsomely interr'd by Rubens , who was a great Admirer of his happy Genius for Painting . SAMUEL COOPER , born in London , Anno 1609 , was bred up ( together with his elder Brother Alexander ) under the Care and Discipline of Mr. Hoskins his Uncle : but derived the most considerable advantages , from the Observations which he made on the Works of Van Dyck. His Pencil was generally confin'd to a Head onely ; and indeed below that part he was not always so successful as could be wish'd : but for a Face , and all the dependencies of it ( Viz. ) the graceful and becoming Air , the Strength , Relievo and noble Spirit , the Softness and tender liveliness of Flesh and Blood , and the loose and gentile management of the Hair , his Talent was so extraordinary , that for the Honour of our Nation , it may without Vanity be affirm'd , he was ( at least ) equal to the most famous Italians ; and that hardly any of his Predecessors has ever been able to shew so much Perfection in so narrow a Compass . Answerable to his Abilities in this Art was his skill in Music : and he was reckon'd one of the best Lutenists , as well as the most excellent Limner in his time . He spent several years of his Life abroad , was personally acquainted with the greatest Men of France , Holland , and his own Country , and by his Works more universally known in all the pars of Christendom . He died Anno 1672 , and lies bury'd in Pancras Church , in the Fields . WILLIAM DOBSON , a Gentleman descended of a Family very eminent ( at that time ) in St. Albans , was born in St. Andrews Parish , in Holbourn , Anno 1610. Who first instructed him in the use of his Pencil is uncertain : of this we are well assur'd , that he was put out very early an Apprentice to one Mr. Peake , a Stationer and Trader in Pictures ; and that Nature , his best Mistress , inclin'd him so powerfully to the practice of Painting after the Life , that had his Education been but answerable to his Genius , England might justly have been as proud of her Dobson , as Venice of her Titian , or Flanders of her Van Dyck. How much he was beholden to the latter of those great Men , may easily be seen in all his Works ; no Painter having ever come up so near to the Perfection of that excellent Master , as this his happy Imitator . He was also farther indebted to the Generosity of Van Dyck , in presenting him to King Charles I. who took him into his immediate Protection , kept him in Oxford all the while his Majesty continu'd in that City ; sat several times to him for his Picture , and oblig'd the Prince of Wales , Prince Rupert , and most of the Lords of his Court to do the like . He was a fair , middle●● siz'd Man. of a ready Wit , and pleasing Conversation ; was somewhat loose and irregular in his way of Living , and notwithstanding the many Opportunities which he had of making his Fortunes , died very poor , at his house in St. Martins-lane , Anno 1647. MICHAELANGELO PACE , born Anno 1610 , and call'd di CAMPIDOGLIO ( because of an Office which he had in the Capitol ) was a Disciple of Fioravanti , and very much esteem'd all over Italy , for his admirable Talent in painting Fruit and the still Life . He died in Rome , Anno 1670 , leaving behind him two Sons ; of whom Gio. Battista the eldest , was brought up to History painting under Francesco Mola , and is now in the Service of the King of Spain : But the other call'd Pietro , died in his Prime , and only liv'd just long enough to shew that a few years more would have made him one of the greatest Masters in the World. SALVATOR ROSA , a Neapolitan , born An. 1614 , in both the Sister-Arts of Poesy and Painting , was esteem'd one of the most excellent Masters that Italy has produc'd in this Century . In the first , his Province was Satire ; in the latter , Landtschapes , Battels , Havens , &c. with little Figures . He was a Disciple of Daniele Falconi his Countryman , and Artist of good repute ; whose instructions he very much improv'd by his Study after the Antiquities , and the Works of the most eminent Painters who went before him . He was fam'd for his copious and florid Invention , for his profound Iudgment in the ordering of his Pieces , for the gentile and uncommon Management of his Figures , and his general Knowledge in all the parts of Painting : But that which gave a more particular stamp to his Compositions , was his inimitable Liberty of Pencil , and the noble Spirit with which he animated all his Works . Rome was the place where he spent the greatest part of his Life ; highly courted and admir'd by all the Men of Note and Quality , and where he died Anno 1673 ; having etch'd abundance of valuable Prints with his own hand . GIACOMO CORTESI , the famous Battel-painter , commonly call'd The BORGOGNONE , from the Country where he was born , was the Contemporary of Salvator Rosa , and equally applauded for his admirable Gusto , and grand Manner of Painting . He had for several years been conversant in Military Affairs , was a considerable Officer in the Army , made the Camp his School , and form'd all his excellent Ideas from what he had seen perform'd in the Field . His Style was roughly noble , and ( Souldier like ) full of Fire and Spirit . He retir'd , towards the latter end of his Life , into the Convent of the Iesuits in Rome : where he was forc'd to take Sanctuary ( as they say ) to rid his hands of an ill Bargain , which he had unhappily got in a Wife . Sir PETER LELY was born Anno 1617 , in Westphalia , where his Father , being a Captain , happen'd to be then in Garrison . He was bred up for some time in the Hague , and afterwards committed to the care of one de Grebber of Haerlem . He came over into England , Anno 1641 , and pursu'd the natural bent of his Genius in Landtschapes with small Figures , and Historical Compositions : but finding the practice of Painting after the Life generally more encourag'd , he apply'd himself to Portraits with such success , as in a little time to surpass all his Contemporaries in Europe . He was very earnest in his younger days , to have finish'd the course of his Studies in Italy : but the great business in which he was perpetually ingag'd , not allowing him so much time ; to make himself amends , he resolv'd at last , in an excellent and well chosen Collection of the Drawings , Prints , and Paintings , of the most celebrated Masters , to bring the Roman and Lombard Schools home to him . And what benefit he reap'd from this Expedient , was sufficiently apparent in that admirable Style of Painting , which he form'd to himself by dayly conversing with the Works of those great Men : In the correctness of his Drawing , and the beauty of his Colouring ; but especially in the graceful Airs of his Figures , the pleasing Variety of his Postures , and his gentile negligence and loose manner of Draperies : in which particular as few of his Predecessors were equal to him , so all succeeding Artists must stand oblig'd to his happy Invention , for the noble Pattern which he has left them for Imitation . He was recommended to the favour of King Charles I. by Philip Earl of Pembroke , then Lord Chamberlain ; and drew his Majesties Picture , when he was Prisoner in Hampton-Court . He was also much in esteem with his Son Charles II. who made him his Painter , conferr'd the honour of Knighthood upon him , and would oftentimes take great pleasure in his Conversation , which he found to be as agreeable as his Pencil . He was likewise highly respected by all the People of Eminence in the Kingdom ; and indeed so extraordinary were his natural Parts , and so great his acquir'd Knowledge , that it would be hard to determine whether he was a better Painter , or a more accomplish'd Gentleman : or whether the Honours which he has done his Profession , or the Advantages which he deriv'd from it were the most considerable . But as to his Art , certain it is , that his last Pieces were his best , and that he gain'd ground , and improv'd himself every day , even to the very Moment in which Death snatch'd his Pencil out of his hand in an Apoplectic Fit , Anno1680 . SEBASTIAN BOURDON , a French-man , born at Mompellier , Anno 1619 , study'd seven years in Rome , and acquir'd so much Reputation by his Works both in History and Landtschape , that upon his return to France , he had the honour of being the first who was made Rector of the Royal Academy of Painting and Sculpture at Paris . He spent two years also in Sweden , where he was very well esteem'd , and nobly presented by that great Patroness of Arts and Sciences , Queen Christina . He died , Anno. 1673. LUCA IORDANO , was born in Naples , Anno 1626 , and by his Studies under Pietro da Cortona at Rome , joyn'd with his continu'd Application to all the noble Remains of Antiquity , became one of the best accomplish'd , and most universal Masters in his time . He was wonderfully skill'd in the practical part of Designing , and from his incredible Facility , and prodigious Dispatch , was call'd by his Fellow-Painters , Luca fà Presto . He was besides very happy in imitating the different Styles of other great Men , and particularly follow'd the manner of Titian , Bassan , Tintoret , Guido , &c. so close in several of his Pieces , that it is not the talent of every Pretender to Painting , to distinguish them from Originals of those Hands . He was famous for his many excellent Performances in Rome and Florence : And being continually imploy'd in working for Princes , and People of the first Quality all over Europe , grew so vastly rich , that at his return to Naples , he purchas'd a Dutchy in that Kingdom , marry'd and liv'd splendidly , kept a noble Palace , and a numerous Retinue , with Coaches , Litters , and all other imaginable State. Being grown Old , he was earnestly press'd by the Viceroy to go over into Spain , and serve the King his Master : He had no fancy for the Voyage , and therefore rais'd his Terms very high : was not content with twenty thousand Crowns paid him down , and the Golden Key given him , as Groom of the Bed-chember ; but besides , having heard , that by the Statutes of St. Iago , and the other Military Orders of Spain , it was expresly provided , that no Painter should be admitted into any of them , because their Profession was generally look'd upon as Mechanic ; he resolv'd , for the Honour of his Art , not to stir a foot , till he himself was first made a Knight of St. Iago , and his two Sons Knights of Alcantara and Calatrava . All which being granted , he set out for Madrid , where he was receiv'd very kindly by the King , and having adorn'd the grand Stair-case of the Escurial , with the Story of the Battel of St. Quintin , ( which is perhaps one of the best things in its kind , that has been any where perform'd in this Age ) he fell to work upon the great Church belonging to that Palace ; but the Climate being too severe for his Constitution of Body , and his Mind not so well satisfy'd as at Naples , he sickned and died in the Winter of the year 1694. In the same year died FILIPPO LAURO , a Master equal to him in all respects , excepting onely that by confining himself to small Figures , and Histories in little , he contracted his admirable Talent into a narrower Compass . He liv'd for the most part in Rome ; and was highly valu'd for the Riches of his Fancy , and the Accuracy of his Iudgment ; for the Elegance of his Out-lines , and the Propriety of his Colouring ; and for the graceful Freedom of his Pencil , in all his Compositions . IOHN RILEY , born in the City of London , Anno 1646 , was instructed in the first Rudiments of Painting by Mr. Zoust and Mr. Fuller , but left them whilst he was very Young , and began to practise after the Life : yet acquir'd no great Reputation , till upon the death of Sir Peter Lely , his Friends being desirous that he should succeed that excellent Master in the favour of King Charles II. ingag'd Mr. Chiffinch to sit to him for his Picture ; which he perform'd so well , that the King , upon sight of it , sent for him , and having imploy'd him in drawing the Duke of Graftons Portrait , and soon after his own , took him into his Service , honour'd him with several obliging Testimonies of his Esteem , and withal gave this Character of his Works , that he painted both Inside and Outside . Upon the Accession of K. William and Q. Mary to the Crown , he was sworn their Majesties Principal Painter ; which place he had not injoy'd in the preceding Reign , tho' K. Iames and his Queen were both pleas'd to be drawn by his Hand . He was very diligent in the Imitation of Nature ; and by studying the Life , rather than following any particular manner , attain'd a pleasant and most agreeable Style of Painting . But that which eminently distinguish'd him from all his Contemporaries , was his peculiar Excellence in a Head , and especially in the Colouring part ; wherein some of his Peices were so very extraordinary , that Mr. Riley himself was the onely Person who was not charm'd with them . He was a Gentleman extremely courteous in his Behaviour , obliging in his Conversation , and prudent in all his Actions . He was a dutiful Son , an affectionate Brother , a kind Master , and a faithful Friend . He never was guilty of a piece of Vanity ( too common amongst Artists ) of saying mighty things on his own behalf , but contented himself with letting his Works speak for him ; which being plentifully dispers'd over other Nations as well as our own , were indeed everywhere very Eloquent in his Commendation . He had for several years been violently persecuted by the Gout ; which after many terrible Assaults , flying up at last into his Head , brought him to his Grave , Anno 1691 , exceedingly lamented by all such as had the happiness of being acquainted either with his Person or his Works . FINIS . Ancient Masters Contain'd in the preceding ACCOUNT . A. ACtius Priscus . pag. 250 Amphion . 245 Antidotus . 246 Apelles . 242 Apollodorus . 237 Ardices . 233 Arellius . 250 Aristides . 245 Asclepiodorus . ib. Athenion . 247 B. Bularchus . 235 C. Charmas . 234 Cimon . 234 Cleanthes . 233 Cleophantus . 234 Cornelius Pinus . 250 Crato . 233 Cydias . 242 D. Dinias . 234 E. Euchir . 233 Eumarus . 234 Euphranor . 241 Eupompus . 240 F. Fabius Pictor . 248 H. Hygiemon . 234 L. Ludius . 250 M. Marcus Pacuvius . 249 Melanthius . 244 Metrodorus . 249 Myron . 237 N. Nealces . 248 Nicias . 247 Nicomachus . 246 Nicophanes . ib. P. Pamphilus . 240 Panaenus . 235 Parrhasius . 239 Pausias . 241 Phidias . 235 Philocles . 233 Polignotus Atheniensis 233 Thasius . 237 Polycletus . 236 Praxiteles . 242 Protogenes . 243 Pyre●●cus . 246 S. Saurias . 233 Scopas . 237 T. Telephanes . 233 Theomnestus . 246 Timanthes . 240 Timomachus . 249 Turpilius . 250 Z. Zeuxis . 238 Modern Masters . A. ALbani . pag. 320 Albert Durer . 263 Andrea Mantegna . 258 Sacchi . 336 del Sarto . 270 Schiavone . 296 Ta●●i . 255 Verrocchio . 259 Annibale Carracci . 308 Antonello da Messina 256 Antonio Carracci . 309 da Correggio . 264 More . 295 Tempesta . 305 Artemisia Gentileschi . 320 Agostino Carracci . 306 B. Badalocchi ( Sisto . ) 324 Bandinelli ( Baccio . ) 273 Bamboccio . 326 Barocci ( Frederico . ) 297 Bartolomeo ( Fra. ) 263 Bassano Francesco . 291 Giacomo . 289 Gio. Battista . 291 Girolamo . ib. Leandro . ib. Battaglie ( M. Angelo . ) 334 Battista Franco . 277 Bellino Gentile . 357 Giovanni . ib. Benedetto Caliari . 301 Castiglione . 332 Bordone ( Paris . ) 294 Borgognone . 342 Bourdon ( Sebastian . ) 345 Brueghel ( Fluweelen . ) 315 Bril Matthew . 305 Paul. ib. Brouwer . 337 Buonaroti ( M. Angelo . ) 265 C. Caliari Benedetto . 301 Carlo . 300 Gabrielle . ib. Paolo . 299 Camillo Procaccini . 310 Campidoglio ( M. Angelo . ) 341 Carl●● Antonio Procaccini . 310 Carracci Annibale . 308 Antonio . 309 Agostino . 306 Lodovico . ib. Caravaggio ( M. Angelo . ) 313 Castiglione ( Benedetto . ) 332 Cimabue . 253 Claudio Gille ( Lorain . ) 334 Cooper ( Samuel . ) 338 Correggio . 264 D. Daniele da Volterra . 288 Dobson . 339 Domenichino . 321 Domenico Feti . 303 Ghirlandaio . 262 Tintoretto . 293 Dou. 337 Durer ( Albert. ) 263 E. Elsheimer . 315 Ercole Procaccini . 311 F. Feti ( Domenico . ) 303 Farinato ( Paolo . ) 296 Filippo Lauro . 347 Neapolitano . 314 Francesco Albani . 320 Barbieri . 327 Bassano . 291 Francia . 262 Mazzuoli . 286 Primaticcio . 282 Salviati . 288 Vanni . 312 Vecellio . 269 Franco ( Battista . ) 277 Frederico Barocci . 297 Zucchero . 302 Fresnoy ( C. Alphonse . ) 325 G. Gaddi Gaddo . 255 Taddeo . ib. Gasparo Poussin . 335 Gentileschi Artemisia . 320 Oratio . 319 Giorgione . 266 Giorgio Vasari . 294 Ghirlandaio ( Domenico ) 262 Giacomo Bassano . 289 Cortesi . 342 da Puntormo . 275 Tintoretto . 292 Gio. Battista Bassano . 291 Gioseppe Ribera . 323 Salviati . 301 Gioseppino . 311 Giottino . 256 Giotto . 254 Girolamo Bassano . 291 Giulio Cesare Procaccini . 310 Giulio Clovio . 282 Romano . 274 Guercino da Cento . 327 Guido Reni . 316 H. Hans Holbein . 283 I. Iohn of Bruges . 256 Iordano ( Luca. ) 345 L. Lanfranco . 324 Lauro ( Filippo . ) 347 Leandro Bassano . 291 Lely ( Sir Peter . ) 343 Leonardo da Vinci . 260 Lodovico Carracci . 306 Luca Iordano . 345 Signorelli . 259 Lucas van Leyden . 277 M. Mantegna ( Andrea . ) 258 Margaritone . 255 Marietta Tintoretta . 293 Mario di Fiori . 334 Masaccio . 257 Matthew Bril . 305 Michel-angelo delle Battaglie . 334 Buonoroti . 265 di Campidoglio . 341 da Caravaggio . 313 More ( Antonio . ) 295 N. Neapolitano ( Filippo . ) 314 Nicolò dell ' Abbate . 282 Pussino . 328 O. Oratio Gentileschi . 319 Vecellio . 269 P. Palma Giovane . 303 Vecchio . 287 Paris Bordone . 294 Parmegiano . 286 Paolo Farinato . 296 Veronese . 299 Paul Bril . 305 Pierino del Vaga . 285 Pieter van Laer. 326 Pietro da Cortona . 336 di Cosimo . 260 Perugino . 261 Testa . 329 Pirro Ligorio . 289 Po●●lenburch . 326 Polidoro . 279 Pordenone . 271 Primaticcia . 282 Procaccini Camillo . 310 Carl ' Antonio . ib. Ercole . 311 Giulio Cesare . 310 Puntormo ( Giacomo . ) 275 Pussino Gasparo . 335 Nicolò . 328 Q. Quintin Matsys . 278 R. Rafaelle da Vrbino . 270 Ricciarelli ( Daniele . ) 288 Riley ( John. ) 247 Rotenhamer . 312 Rosso . 280 Rubens . 317 S. Sacchi ( Andrea . ) 336 Salvator Rosa. 341 Salviati Francesco . 288 Gioseppe . 301 Sarto ( Andrea del . ) 270 Schiavone ( Andrea . ) 296 Sebastian Bourdon 345 Sebastiano del Piombo . 272 Singnorelli ( Luca. ) 259 Simone Memmi . 255 Sisto Badalocchi . 324 Snyders . 321 Spagnoletto ( Ribera . ) 323 Sprangher . 303 T. Taddeo Zucchero . 298 Taffi ( Andera . ) 255 Tempesta ( Antonio . ) 305 Testa ( Pietro . ) 329 Tintoretta ( Marietta . ) 293 Tintoretto Domenico . ib. Giacomo . 292 Titiano . 267 V. Van Dyck. 330 Vanni ( Francesco . ) 312 Vasari ( Giorgio . ) 294 Vdine ( Giovanni da. ) 276 Vecellio Francesco . 269 Oratio . ib. Veronese ( Paolo . ) 299 Verrocchio ( Andrea . ) 259 Vinci ( Leonardo da. ) 260 Viola . 317 Viviano . 333 Volterra ( Daniele da. ) 288 Vouet ( Simon . ) 324 Z. Zampieri ( Domenico . ) 321 Zucchero Frederico . 302 Taddeo . 298 ERRATA . Page Line Instead of Read. vij 21 Bambovio . Bamboccio . 17 7 liberataque librataque 21 Marg positurorum . positurarum . 41 18 transluent . translucent . 98 17 51st . rule . 60th . Rule . 110 21 Neglecting the Copiers . The Copiers neglecting . ib. 25 reltaion . relation . 120 14 43d . Precept . 13th . Precept . 128 19 indishabile . en dishabillee . 136 11 4th . Precept . 41st . Precept . 161 2 it comprehends . comprehends . 219 12 his Brothers . his Sons . 221 21 gentleness . gentileness . 237 14 great . general . 254 12 Benedict IX . Benedict XI . 325 15 Richlieu . Richelieu . 329 5 Notes, typically marginal, from the original text Notes for div A36766-e13490 Primum Praeceptum . De Pulchro . Praeceptum . De Speculatione & Praxi . Praeceptum . De Argumento . INVENTIO prima Picturae pars . Dispositio , sive operis totius Oeconomia . Fidelitas Argumenti . Inane rejici●●ndum . GRAPHIS seu Positura , Secunda Picturae pars . Varietas in Figuris . Figura situna cum Membris & Vestibus Mutorum actiones imitandae . Figura Princ●●ps . Figurarum Globiseu Cumuli . Positurorum di●●ersitas in cumulis . Tabulaelibramentum . Numerus Figurarum . Internodia & Pedes exhibendi . Motusmanuum motui capitis jungendus . Quaefugienda in Distributione & Compositione . NaturaGenlo accommodanda . Signa Antiqua Naturae modum constituunt . Sola Figura quomodotractanda . Quid in Pannis observandum . Quid multu●● conferat ad●● abulae ornamentum . Ornamentum Auri & Gemmarum . Prototypus . Convenientia rerum cum Scena . Charites & Nobilitas . Res quaeque locum suum teneat . Affectus . Gotthorum ornamenta fugienda . CHROMATICE Tertia pars Picturae . Tonorum , Luminum & Umbrarum ratio . Corpora densa & opaca cum translucentibus . Non duo ex Coelo Lumina in Tabulam aequalia . Album & N●●grum . Colorum reflectio . Unio Colorum . Aer interpositus . Distantiarum Relatio . Corpora procul distantia . Contigua & Dissita . Contraria extrema fugienda . Tonus & Color varii . Luminis delectus . Quaedam circa Praxim . Campus Tabulae . Color vividus , non tamen pallidus . Umbra . Ex una Patella sit Tabula . Speculum Pictorum Magister . Dimidia Figura vel integra ante alias . E●●igies . Locus Tabulae . Lumina lata . Quantitas Luminis loci in quo Tabula est exponenda . Errores & vitia Picturae . Prudentia in Pictore . Elegantium Idaea Tabularum . Pictor Tyro . Ars debet servire Pictori , non Pictor Arti. Oculosrecreant diversitas & Operis facilitas , quae speciatim Ars dicitur . Archetypus in mente , Apographum in tela . Circinusin oculis . Superbia pictori nocet plurimúm . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Quod ment●● conceperis manu comproba . Matutinum tempus Labori aptum . Singulis diebus aliquid faciendum . Affectus inobservati & naturales . Non desint ●●ugillares . Ordo Studiorum . Natura & Experientia Artem perficiunt . The Passages which you see mark'd with an Asterism * are more amply explain'd in the Remarks . Precept I. Of what is Beautifull . Of Theory , and Practice . Concerning the Subject . Invention the first part of Painting . The Disposition or Oeconomy of the whole Work. The faithfulness of the Subject . Whatsoever palls the Subject to be rejected . Design , the second part of Painting . Variety in the Figures . The Member●●s and Drapery of every Figure to be suitable to it . The Actions of Mutes to be imitated . Of the principal Figure of the Subject . Grouppes of Figures . The diversity of postures in the Grouppes . Equality of the piece . Of the number of Figures . Of the Joints and Feet . The motions of the hands and head must agree . What must be avoided in the distribution of the Figures . That we must not tie our selves to Nature , but accommodate her to our Genius . Ancient Figures the rules of imitating Nature . A single Figure how to be treated . Of the Draperies . What things contribute to adorn the Picture . Of precious Stones and Pearls for ornament . The Model . The Scene of the Picture . The Graces and the Nobleness . Let every thing be set in its proper place . Of the Passions . Gothique Ornaments are to be avoided . Colouring the third part of Painting . 〈…〉 Of dark Bodies on light grounds . 〈…〉 Of White and Black. The reflection of Colours . 〈…〉 Of the Interposition of Air. The relation of Distances . Of Bodies which are distanced . Of Bodies which are contiguous , and of those which are separated . Contrary extremities to be avoided . Diversity of Tones and Colours . The choice of Light. Of certain things relating to the practical part . The field or ground of the Picture . Of the vi●●city of Colours . Of Shadows . The Picture to be of one piece . The Looking-glass the Painter's best Master . An half figure , or a whole one , before others . A Portraict . The place of the Picture . Large Lights . What Lights are requisite . Things which are vicious in painting to be avoided . The prudential part of a Painter . The Idea of a beautifull piece . Advice to a young Painter . Art must be subservient to the Painter . Diversity and facility are pleasing . The Original must be in the Head , and the Copy on the Cloth. The Compass to be in the Eyes . Pride an Enemy to good Painting . Know your self . Perpetually practise , and do easily what you have conceiv'd . The Morning most proper for work . Every day do something . The Passions which are true and natural . Of Table-books . The method of Studies for a young Painter . Nature and Experience perfect Art. Notes for div A36766-e27210 ¶ 1. The Number at the head of every Observation serves to find in the Text the particular Passage on which the Observation was made . ¶ 9. ¶ 24. * * Mr. Le Brun. * * Mr. Colbert . ¶ 37. ¶ 39. ¶ 40. ¶ 45. ¶ 50. ¶ 52. ¶ 54. Pliny 35. 10. 10. 3. ¶ 61. Declam . 19. * * Lib. 2. Sat. 7. † † Lib. 10. Ep. 22. ¶ 63. ¶ 66. ¶ 69. ¶ 72. De Opt. Gen. Orat. ¶ 74. ¶ 75. ¶ 76. * * Tableaux . * * That is to the Eye by Diagrams and ske●●ches , &c. ¶ 77. In Oeconomico . Comm. vetus . ¶ 81. Art of Po●●try . ¶ 83. ¶ 87. ¶ 89. ¶ 92. Pro lege Man. ¶ 95. ¶ 102. ¶ 103. ¶ 104. ¶ 104. ¶ 105. ¶ 107. ¶ 112. ¶ 113. ¶ 114. This depends on the Age & Quality of the persons . The Apollo and Venus of Medices have more than ten Faces . * * The Appolo has a Nose more . * * The Apollo has half a Nose more : and the upper half of the Venus de Med●●ces is to the lower part of the Belly , and not ●●o the Privy parts . ¶ 117. ¶ 126. ¶ 128. ¶ 129. ¶ 132. ¶ 137. ¶ 145. ¶ 152. ¶ 162. ¶ 164. ¶ 169. ¶ 176. ¶ 178. ¶ 188. ¶ 193. ¶ 195. ¶ 196. ¶ 202. ¶ 204. ¶ 210. ¶ 211. * * Polydorus , Athenodorus , and Agesander , all Rhodians . ¶ 215. ¶ 217. Lib. 2. Paedag. cap. 12. Plutarch . ¶ 220. * * A Figure made of wood or cork , turning upon joints . ¶ 221. L●● . 25. 12. ¶ 222. ¶ 233. ¶ 247. ¶ 256. ¶ 263. ¶ 267. ¶ 280. ¶ 283. ¶ 286. ¶ 290. ¶ 329. ¶ 330. ¶ 332. ¶ 355. ¶ 361. ¶ 365. ¶ 378. ¶ 382. ¶ 383. ¶ 385. ¶ 386. ¶ 387. ¶ 393. ¶ 403. ¶ 403. ¶ 417. ¶ 422. ¶ 433. ¶ 434. ¶ 435. ¶ 442. ¶ 443. ¶ 445. 8. 20. 5. 8. Tuscul. lib. 5. Georg. 3. 1. 5. Ep. 16. ¶ 449. ¶ 458. Offic. B. 1. 1 Off. ¶ 464. Diss. 34. ¶ 466. ¶ 468. ¶ 473. ¶ 475. ¶ 478. ¶ 480. ¶ 484. 1500. l. Petron. Ar biter . ¶ 487. ¶ 496. Veget. de re Milit. lib. 2. Lib. 1. de fin . ¶ 500. ¶ 509. ¶ 509. ¶ 510. ¶ 511. ¶ 514. ¶ 520. ¶ 522. ¶ 541. ¶ 544. Notes for div A36766-e48070 An. Mun. 2730. An. Mun. 3198. 3502. 3506. An. Mun. 3518. An. Mun. 3530. 3546. An. Mun. 3553. An. Mun. 3586. An. Mun. 3594. 3618. An. Mun. 3626. An. Mun. 3647. 3698. An. Mun. 3780. 3797. 3901. An. Mun. 3907. An. Dom. 69. An. Dom. 580. Notes for div A36766-e53390 1240. Aet . 60. 1276. Aet . 60. 1285. Aet . 60. 1300. Aet . 50. 1324. Aet . 32. 1370. Aet . 71. 1417. Aet . 26. 1421. Aet . 80. 1431. Aet . 86. 1432. Aet . 56. 1439. Aet . 82. 1441. Aet . 80. 1445. Aet . 75. 1446. Aet . 78. 1449. Aet . 44. 1450. Aet . 76. 1469. Aet . 48. 1470. Aet . 58. 1472. Aet . 40. 1474. Aet . 90. 1477. Aet . 34. 1477. Aet . 99. 1478. Aet . 42. 1483. Aet . 37. 1484. Aet . 56. 1485. Aet . 62. 1487. Aet . 72. 1492. Aet . 54. 1493. Aet . 63. 1494. Aet . 70. 1494. Aet . 39. 1495. Aet . 48. 1496. Aet . 45. 1498. Aet . 80. 1498. Aet . 56. 1500. Aet . 47. 1504. Aet . 36. 1508. Aet . 48. 1509. Aet . 57. 1510. Aet . 53. 1510. Aet . 82. 1512. Aet . 82. 1514. Aet . 64. 1519. Aet . 56. 1522. Aet . 84. 1522. Aet . 60. 1528. Aet . 84. 1529. Aet . 37. 1532. Aet . 56. 1535. Aet . 50. 1543. Aet . 66. 1544. Aet . 84. 1546 Aet . 56. 1550. Aet . 34. 1554. Aet . 72. 1555. Aet . 64. 1557. Aet . 45. 1560. Aet . 49. 1560. Aet . 80. 1564. Aet . 40. 1568. Aet . 47. 1569. Aet . 40. 1569. Aet . 56. 1574. Aet . 36. 1575. Aet . 67. 1576. Aet . 46. 1577. Aet . 63. 1578. Aet . 82. 1579. 1581. Aet . 60. 1581. Aet . 66. 1582. Aet . 59. 1584. Aet . 60. 1590. Aet . 77. 1590. Aet . 76. 1594. Aet . 71. 1599. Aet . 42. 1599. Aet . 75. 1599. Aet . 73. 1600. Aet . 60. 1600. Aet . 82. 1600. Aet . 63. 1607. Aet . 67. 1608. Aet . 30. 1609. Aet . 63. 1610. Aet . 37. 1610. Aet . 60. 1614. Aet . 59. 1617. Aet . 63. 1619. Aet . 54. 1626. Aet . 68. 1646. Aet . 45.