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
        
      
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             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.
          
        
      
    
     
       
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         eng
      
       
         
           Painting -- Early works to 1800.
        
      
    
     
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           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
           .