De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.
         De arte graphica. English
         Dufresnoy, Charles-Alphonse, 1611-1668.
      
       
         
           1695
        
      
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             De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.
             De arte graphica. English
             Dufresnoy, Charles-Alphonse, 1611-1668.
             Dryden, John, 1631-1700.
             Graham, Richard, fl. 1680-1720. Short account of the most eminent painters.
          
           [4], lxiv, 355, [1] p.
           
             Printed by J. Heptinstall for W. Rogers ...,
             London :
             1695.
          
           
             Translation of: De arte graphica.
             Parallel texts in English and Latin.
             Added engraved t.p.
             "A short account of the most eminent painters" [by R. Graham] has special t.p.
             Errata: p. [1] at end.
             Reproduction of original in Huntington Library.
          
        
      
    
     
       
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               De
               Arte
               Graphica
               .
            
             
               THE
               Art
               of
               Painting
               ,
               BY
               
                 C.
                 A.
                 DU
                 FRESNOY
              
               .
               WITH
               REMARKS
               .
            
             
               Translated
               into
               English
               ,
               Together
               with
               an
               
                 Original
                 Preface
              
               containing
               A
               PARALLEL
               betwixt
               PAINTING
               and
               POETRY
               .
            
             
               By
               Mr.
               DRYDEN
               .
            
             
               As
               also
               a
               Short
               Account
               of
               the
               most
               Eminent
               PAINTERS
               ,
               both
               Ancient
               and
               Modern
               ,
               continu'd
               down
               to
               the
               
                 Present
                 Times
              
               ,
               according
               to
               the
               Order
               of
               their
               Succession
               .
            
             
               By
               another
               Hand
               .
            
             
               
                 Vt
                 Pictura
                 Poesis
                 erit
                 —
              
               
                 Hor.
                 de
                 Arte
                 Poetica
                 .
              
            
             
               LONDON
               ,
               Printed
               by
               
                 I.
                 Heptinstall
              
               for
               
                 W.
                 Rogers
              
               ,
               at
               the
               Sun
               against
               St.
               
               Dunstan's
               Church
               in
               Fleetstreet
               .
               MDCXCV
               .
            
          
           
             
             
             
               PREFACE
               OF
               THE
               TRANSLATOR
               ,
               With
               a
               Parallel
               ,
               Of
               Poetry
               and
               Painting
               .
            
             
               IT
               may
               be
               reasonably
               expected
               ,
               that
               I
               shou'd
               say
               something
               on
               my
               own
               behalf
               ,
               in
               respect
               to
               my
               present
               Undertaking
               .
               First
               ,
               then
               ,
               the
               Reader
               may
               be
               pleas'd
               to
               know
               ,
               that
               it
               was
               not
               of
               my
               own
               choice
               that
               I
               undertook
               this
               Work.
               Many
               of
               our
               most
               Skillfull
               Painters
               ,
               and
               other
               Artists
               ,
               were
               pleas'd
               to
               recommend
               
                 this
                 Authour
              
               to
               me
               ,
               as
               one
               who
               perfectly
               understood
               the
               Rules
               of
               Painting
               ;
               who
               gave
               the
               best
               and
               most
               concise
               Instructions
               for
               Performance
               ,
               and
               the
               surest
               to
               inform
               the
               Judgment
               of
               all
               who
               
               lov'd
               this
               noble
               Art.
               That
               they
               who
               before
               were
               rather
               fond
               of
               it
               ,
               than
               knowingly
               admir'd
               it
               ,
               might
               defend
               their
               Inclination
               by
               their
               Reason
               :
               that
               they
               might
               understand
               those
               Excellencies
               which
               they
               blindly
               valu'd
               ,
               so
               as
               not
               to
               be
               farther
               impos'd
               on
               by
               bad
               Pieces
               ,
               and
               to
               know
               when
               Nature
               was
               well
               imitated
               by
               the
               most
               able
               Masters
               .
               'T
               is
               true
               indeed
               ,
               and
               they
               acknowledge
               it
               ,
               that
               beside
               the
               Rules
               which
               are
               given
               in
               this
               Treatise
               ,
               or
               which
               can
               be
               given
               in
               any
               other
               ,
               that
               to
               make
               a
               perfect
               Judgment
               of
               good
               Pictures
               ,
               and
               to
               value
               them
               more
               or
               less
               when
               compar'd
               with
               one
               another
               ,
               there
               is
               farther
               requir'd
               a
               long
               conversation
               with
               the
               best
               Pieces
               ,
               which
               are
               not
               very
               frequent
               either
               in
               France
               or
               England
               ;
               yet
               some
               we
               have
               ,
               not
               onely
               from
               the
               hands
               of
               
                 Holbein
                 ,
                 Rubens
              
               ,
               and
               Vandyck
               ,
               (
               one
               of
               them
               admirable
               for
               History-painting
               ,
               and
               the
               other
               two
               for
               Portraits
               ,
               )
               but
               of
               many
               Flemish-Masters
               ,
               and
               those
               not
               inconsiderable
               ,
               though
               for
               Design
               ,
               not
               equal
               to
               the
               Italians
               .
               And
               of
               these
               latter
               also
               ,
               we
               are
               not
               unfurnish'd
               with
               some
               Pieces
               of
               
                 Raphael
                 ,
                 Titian
                 ,
                 Correggio
                 ,
                 Michael
                 Angelo
              
               and
               others
               .
               But
               to
               return
               to
               my
               own
               undertaking
               of
               this
               Translation
               ,
               I
               freely
               own
               ,
               that
               I
               thought
               my self
               uncapable
               of
               performing
               it
               ,
               either
               to
               their
               Satisfaction
               ,
               or
               my
               own
               Credit
               .
               Not
               but
               that
               I
               
               understood
               the
               
                 Original
                 Latine
              
               ,
               and
               the
               
                 French
                 Authour
              
               perhaps
               as
               well
               as
               most
               Englishmen
               ;
               But
               I
               was
               not
               sufficiently
               vers'd
               in
               the
               Terms
               of
               Art
               :
               And
               therefore
               thought
               that
               many
               of
               those
               persons
               who
               put
               this
               honourable
               task
               on
               me
               ,
               were
               more
               able
               to
               perform
               it
               themselves
               ,
               as
               undoubtedly
               they
               were
               .
               But
               they
               assuring
               me
               of
               their
               assistance
               ,
               in
               correcting
               my
               faults
               where
               I
               spoke
               improperly
               ,
               I
               was
               encourag'd
               to
               attempt
               it
               ;
               that
               I
               might
               not
               be
               wanting
               in
               what
               I
               cou'd
               ,
               to
               satisfie
               the
               desires
               of
               so
               many
               Gentlemen
               who
               were
               willing
               to
               give
               the
               world
               this
               usefull
               Work.
               They
               have
               effectually
               perform'd
               their
               promise
               to
               me
               ;
               and
               I
               have
               been
               as
               carefull
               on
               my
               side
               ,
               to
               take
               their
               advice
               in
               all
               things
               ;
               so
               that
               the
               Reader
               may
               assure
               himself
               of
               a
               tolerable
               Translation
               .
               Not
               Elegant
               ,
               for
               I
               propos'd
               not
               that
               to
               my self
               :
               but
               familiar
               ,
               clear
               and
               instructive
               .
               In
               any
               of
               which
               parts
               ,
               if
               I
               have
               fail'd
               ,
               the
               fault
               lies
               wholly
               at
               my
               door
               .
               In
               this
               one
               particular
               onely
               I
               must
               beg
               the
               Readers
               pardon
               .
               The
               
                 Prose
                 Translation
              
               of
               the
               Poem
               is
               not
               free
               from
               Poetical
               Expressions
               ,
               and
               I
               dare
               not
               promise
               that
               some
               of
               them
               are
               not
               fustian
               ,
               or
               at
               least
               highly
               metaphorical
               ;
               but
               this
               being
               a
               fault
               in
               the
               first
               digestion
               (
               that
               is
               ,
               the
               
                 Original
                 Latine
              
               )
               was
               not
               to
               be
               remedy'd
               in
               the
               second
               (
               viz.
               )
               the
               Translation
               .
               And
               I
               may
               confidently
               
               say
               ,
               that
               whoever
               had
               attempted
               it
               ,
               must
               have
               fallen
               into
               the
               same
               inconvenience
               ;
               or
               a
               much
               greater
               ,
               that
               of
               a
               false
               Version
               .
               When
               I
               undertook
               this
               Work
               ,
               I
               was
               already
               ingag'd
               in
               the
               Translation
               of
               Virgil
               ,
               from
               whom
               I
               have
               borrow'd
               onely
               two
               months
               ,
               and
               am
               now
               returning
               to
               that
               which
               I
               ought
               to
               understand
               better
               .
               In
               the
               mean
               time
               I
               beg
               the
               Readers
               pardon
               ,
               for
               entertaining
               him
               so
               long
               with
               my self
               :
               'T
               is
               an
               usual
               part
               of
               ill
               manners
               in
               all
               Authours
               ,
               and
               almost
               in
               all
               Mankind
               ,
               to
               trouble
               others
               with
               their
               business
               ;
               and
               I
               was
               so
               sensible
               of
               it
               before-hand
               ,
               that
               I
               had
               not
               now
               committed
               it
               ,
               unless
               some
               concernments
               of
               the
               Readers
               had
               been
               interwoven
               with
               my
               own
               .
               But
               I
               know
               not
               ,
               while
               I
               am
               attoning
               for
               one
               Error
               ,
               if
               I
               am
               not
               falling
               into
               another
               :
               for
               I
               have
               been
               importun'd
               to
               say
               something
               farther
               of
               
                 this
                 Art
              
               ;
               and
               to
               make
               some
               Observations
               on
               it
               in
               relation
               to
               the
               likeness
               and
               agreement
               which
               it
               has
               with
               Poetry
               its
               Sister
               .
               But
               before
               I
               proceed
               ,
               it
               will
               not
               be
               amiss
               ,
               if
               I
               copy
               from
               Bellori
               (
               a
               most
               ingenious
               Authour
               ,
               yet
               living
               )
               some
               part
               of
               his
               Idea
               of
               a
               Painter
               ,
               which
               cannot
               be
               unpleasing
               ,
               at
               least
               to
               such
               who
               are
               conversant
               in
               the
               Philosophy
               of
               Plato
               .
               And
               to
               avoid
               tediousness
               ,
               I
               will
               not
               translate
               the
               whole
               Discourse
               ,
               but
               take
               and
               leave
               as
               I
               find
               occasion
               .
            
             
             
               God
               Almighty
               ,
               in
               the
               Fabrique
               of
               the
               Universe
               ,
               first
               contemplated
               himself
               ,
               and
               reflected
               on
               his
               own
               Excellencies
               ;
               from
               which
               he
               drew
               ,
               and
               constituted
               those
               first
               Forms
               ,
               which
               are
               call'd
               Idea's
               .
               So
               that
               every
               Species
               which
               was
               afterwards
               express'd
               was
               produc'd
               from
               that
               first
               Idea
               ,
               forming
               that
               wonderfull
               contexture
               of
               all
               created
               Beings
               .
               But
               the
               Coelestial
               Bodies
               above
               the
               Moon
               being
               incorruptible
               ,
               and
               not
               subject
               to
               change
               ,
               remain'd
               for
               ever
               fair
               ,
               and
               in
               perpetual
               order
               :
               On
               the
               contrary
               ,
               all
               things
               which
               are
               sublunary
               are
               subject
               to
               change
               ,
               to
               deformity
               ,
               and
               to
               decay
               .
               And
               though
               Nature
               always
               intends
               a
               consummate
               beauty
               in
               her
               productions
               ,
               yet
               through
               the
               inequality
               of
               the
               Matter
               ,
               the
               Forms
               are
               alter'd
               ;
               and
               in
               particular
               ,
               Humane
               Beauty
               suffers
               alteration
               for
               the
               worse
               ,
               as
               we
               see
               to
               our
               mortification
               ,
               in
               the
               deformities
               ,
               and
               disproportions
               which
               are
               in
               us
               .
               For
               which
               reason
               the
               Artfull
               Painter
               and
               the
               Sculptour
               ,
               imitating
               the
               Divine
               Maker
               ,
               form
               to
               themselves
               as
               well
               as
               they
               are
               able
               ,
               a
               Model
               of
               the
               Superiour
               Beauties
               ;
               and
               reflecting
               on
               them
               endeavour
               to
               correct
               and
               amend
               the
               common
               Nature
               ;
               and
               to
               represent
               it
               as
               it
               was
               first
               created
               without
               fault
               ,
               either
               in
               Colour
               or
               in
               Lineament
               .
            
             
               This
               Idea
               ,
               which
               we
               may
               call
               the
               Goddess
               of
               Painting
               and
               of
               Sculpture
               ,
               descends
               upon
               the
               Marble
               and
               the
               Cloth
               ,
               and
               becomes
               the
               Original
               of
               those
               Arts
               ;
               and
               being
               measur'd
               by
               the
               Compass
               of
               the
               Intellect
               ,
               is
               it
               
               self
               the
               Measure
               of
               the
               performing
               Hand
               ;
               and
               being
               an●●mated
               by
               the
               Imagination
               ,
               infuses
               Life
               into
               the
               Image
               .
               The
               Idea
               of
               the
               Painter
               and
               the
               Sculptour
               ,
               is
               undoubtedly
               that
               perfect
               and
               excellent
               Example
               of
               the
               Mind
               ;
               by
               imitation
               of
               which
               imagin'd
               form
               ,
               all
               things
               are
               represented
               which
               fall
               under
               humane
               sight
               :
               Such
               is
               the
               Definition
               which
               is
               made
               by
               Cicero
               in
               his
               Book
               of
               the
               Oratour
               to
               Brutus
               .
               "
               As
               therefore
               in
               Forms
               and
               Figures
               there
               is
               somewhat
               which
               is
               Excellent
               and
               Perfect
               ,
               to
               which
               imagin'd
               Species
               all
               things
               are
               referr'd
               by
               Imitation
               which
               are
               the
               Objects
               of
               Sight
               ,
               in
               like
               manner
               we
               behold
               the
               Species
               of
               Eloquence
               in
               our
               Minds
               ,
               the
               Effigies
               ,
               or
               actual
               Image
               of
               which
               we
               seek
               in
               the
               Organs
               of
               our
               Hearing
               .
               This
               is
               likewise
               confirm'd
               by
               Proclus
               in
               the
               Dialogue
               of
               Plato
               call'd
               Timaeus
               :
               If
               ,
               says
               he
               ,
               you
               take
               a
               Man
               ,
               as
               he
               is
               made
               by
               Nature
               ,
               and
               compare
               him
               with
               another
               who
               is
               the
               effect
               of
               Art
               ;
               the
               work
               of
               Nature
               will
               always
               appear
               the
               less
               beautifull
               ,
               because
               Art
               is
               more
               accurate
               than
               Nature
               .
               "
               But
               Zeuxis
               ,
               who
               from
               the
               choice
               which
               he
               made
               of
               Five
               Virgins
               drew
               that
               wonderfull
               Picture
               of
               Helena
               ,
               which
               Cicero
               in
               his
               Oratour
               beforemention'd
               ,
               sets
               before
               us
               as
               the
               most
               perfect
               Example
               of
               Beauty
               ,
               at
               the
               same
               time
               admonishes
               a
               Painter
               ,
               to
               contemplate
               the
               Idea's
               of
               the
               most
               Natural
               Forms
               ;
               and
               to
               make
               a
               judicious
               choice
               of
               several
               Bodies
               ,
               all
               of
               them
               the
               most
               
               Elegant
               which
               he
               can
               find
               .
               By
               which
               we
               may
               plainly
               understand
               that
               he
               thought
               it
               impossible
               to
               find
               in
               any
               one
               Body
               all
               those
               Perfections
               which
               he
               sought
               for
               the
               accomplishment
               of
               a
               Helena
               ,
               because
               Nature
               in
               any
               individual
               person
               makes
               nothing
               that
               is
               perfect
               in
               all
               its
               parts
               .
               For
               this
               reason
               
                 Maximus
                 Tyrius
              
               also
               says
               ,
               that
               the
               Image
               which
               is
               taken
               by
               a
               Painter
               from
               several
               Bodies
               produces
               a
               Beauty
               ,
               which
               it
               is
               impossible
               to
               find
               in
               any
               single
               Natural
               Body
               ,
               approaching
               to
               the
               perfection
               of
               the
               fairest
               Statues
               .
               Thus
               Nature
               on
               this
               account
               is
               so
               much
               inferiour
               to
               Art
               ,
               that
               those
               Artists
               who
               propose
               to
               themselves
               onely
               the
               imitation
               and
               likeness
               of
               such
               or
               such
               a
               particular
               person
               ,
               without
               election
               of
               those
               
               Idea's
               before-mention'd
               ,
               have
               often
               been
               reproach'd
               for
               that
               omission
               :
               Demetrius
               was
               tax'd
               for
               being
               too
               Natural
               ;
               Dionysius
               was
               also
               blam'd
               for
               drawing
               Men
               like
               us
               ,
               and
               was
               commonly
               call'd
               '
               
                 〈◊〉
                 〈◊〉
                 〈◊〉
                 〈◊〉
                 〈◊〉
              
               ,
               that
               is
               ,
               a
               
                 Painter
                 of
                 Men.
              
               In
               our
               times
               
                 Michael
                 Angelo
                 da
                 Caravaggio
              
               ,
               was
               esteem'd
               too
               Natural
               .
               He
               drew
               persons
               as
               they
               were
               ;
               and
               Bambovio
               ,
               and
               most
               of
               the
               Dutch
               Painters
               have
               drawn
               the
               worst
               likeness
               .
               Lysippus
               of
               old
               ,
               upbraided
               the
               common
               sort
               of
               Sculptours
               ,
               for
               making
               Men
               such
               as
               they
               were
               found
               in
               Nature
               ;
               and
               boasted
               of
               himself
               that
               he
               made
               them
               as
               they
               ought
               to
               be
               :
               which
               is
               a
               Precept
               of
               Aristotle
               ,
               given
               as
               well
               to
               Poets
               as
               to
               
                 Painters
                 .
                 Phidias
              
               rais'd
               an
               admiration
               even
               to
               astonishment
               ,
               
               in
               those
               who
               beheld
               his
               Statues
               ,
               with
               the
               Forms
               ,
               which
               he
               gave
               to
               his
               Gods
               and
               Heroes
               ;
               by
               imitating
               the
               Idea
               rather
               than
               Nature
               .
               And
               Cicero
               speaking
               of
               him
               affirms
               ,
               that
               figuring
               Jupiter
               and
               Pallas
               ,
               he
               did
               not
               contemplate
               any
               Object
               from
               whence
               he
               took
               the
               likeness
               ,
               but
               consider'd
               in
               his
               own
               mind
               a
               great
               and
               admirable
               form
               of
               Beauty
               ,
               and
               according
               to
               that
               Image
               in
               his
               Soul
               ,
               he
               directed
               the
               operation
               of
               his
               Hand
               .
               Seneca
               also
               seems
               to
               wonder
               ,
               that
               Phidias
               having
               never
               beheld
               either
               Jove
               or
               Pallas
               ,
               yet
               cou'd
               conceive
               their
               divine
               Images
               in
               his
               Mind
               .
               
                 Apollonius
                 Tyanaeus
              
               says
               the
               same
               in
               other
               words
               ,
               that
               the
               fancy
               more
               instructs
               the
               Painter
               than
               the
               imitation
               ;
               for
               the
               last
               makes
               onely
               the
               things
               which
               it
               sees
               ,
               but
               the
               first
               makes
               also
               the
               things
               which
               it
               never
               sees
               .
            
             
               
                 Leon
                 Battista
                 Alberti
              
               tells
               us
               ,
               that
               we
               ought
               not
               so
               much
               to
               love
               the
               likeness
               as
               the
               beauty
               ,
               and
               to
               choose
               from
               the
               fairest
               Bodies
               severally
               the
               fairest
               Parts
               .
               
                 Leonardo
                 da
                 Vinci
              
               instructs
               the
               Painter
               to
               form
               this
               Idea
               to
               himself
               :
               And
               Raphael
               ,
               the
               greatest
               of
               all
               modern
               Masters
               ,
               writes
               thus
               to
               Castiglione
               ,
               concerning
               his
               Galatea
               :
               "
               To
               paint
               a
               Fair
               one
               ,
               't
               is
               necessary
               for
               me
               to
               see
               many
               Fair
               ones
               ;
               but
               because
               there
               is
               so
               great
               a
               scarcity
               of
               lovely
               Women
               ,
               I
               am
               constrain'd
               to
               make
               use
               of
               one
               certain
               Idea
               ,
               which
               I
               have
               form'd
               to
               my self
               in
               my
               own
               fancy
               .
               "
               
                 Guido
                 Reni
              
               sending
               to
               
               Rome
               his
               St.
               Michael
               which
               he
               had
               painted
               for
               the
               Church
               of
               the
               Capuchins
               ,
               at
               the
               same
               time
               wrote
               to
               
                 Monsignor
                 Massano
              
               ,
               who
               was
               
                 Maestro
                 di
                 Casa
              
               (
               or
               Steward
               of
               the
               House
               )
               to
               Pope
               Urban
               the
               Eighth
               ,
               in
               this
               manner
               .
               I
               wish
               I
               had
               the
               wings
               of
               an
               Angel
               ,
               to
               have
               ascended
               into
               Paradise
               ,
               and
               there
               to
               have
               beheld
               the
               Forms
               of
               those
               beatify'd
               Spirits
               ,
               from
               which
               I
               might
               have
               copy'd
               my
               Archangel
               :
               But
               not
               being
               able
               to
               mount
               so
               high
               ,
               it
               was
               in
               vain
               for
               me
               to
               search
               his
               resemblance
               here
               below
               :
               so
               that
               I
               was
               forc'd
               to
               make
               an
               Introspection
               ,
               into
               my
               own
               mind
               ,
               and
               into
               that
               Idea
               of
               Beauty
               ,
               which
               I
               have
               form'd
               in
               my
               own
               imagination
               .
               I
               have
               likewise
               created
               there
               the
               contrary
               Idea
               of
               deformity
               and
               ugliness
               ;
               but
               I
               leave
               the
               consideration
               of
               it
               ,
               till
               I
               paint
               the
               Devil
               :
               and
               in
               the
               mean
               time
               shun
               the
               very
               thought
               of
               it
               as
               much
               as
               possibly
               I
               can
               ,
               and
               am
               even
               endeavouring
               to
               blot
               it
               wholly
               out
               of
               my
               remembrance
               .
               There
               was
               not
               any
               Lady
               in
               all
               Antiquity
               ,
               who
               was
               Mistress
               of
               so
               much
               Beauty
               as
               was
               to
               be
               found
               in
               the
               Venus
               of
               Gnidus
               ,
               made
               by
               Praxiteles
               ,
               or
               the
               Minerva
               of
               Athens
               by
               Phydias
               ;
               which
               was
               therefore
               call'd
               the
               
                 Beautifull
                 Form.
              
               Neither
               is
               there
               any
               Man
               of
               the
               present
               Age
               ,
               equal
               in
               the
               strength
               ,
               proportion
               ,
               and
               knitting
               of
               his
               Limbs
               ,
               to
               the
               Hercules
               of
               Farnese
               ,
               made
               by
               Glicon
               :
               Or
               any
               Woman
               who
               can
               justly
               be
               compar'd
               with
               the
               
                 Medicean
                 Venus
              
               of
               Cleomenes
               .
               And
               upon
               this
               account
               ,
               the
               noblest
               Poets
               
               and
               the
               best
               Oratours
               ,
               when
               they
               desir'd
               to
               celebrate
               any
               extraordinary
               Beauty
               ,
               are
               forc'd
               to
               have
               recourse
               to
               Statues
               and
               Pictures
               ,
               and
               to
               draw
               their
               Persons
               and
               Faces
               into
               Comparison
               .
               Ovid
               endeavouring
               to
               express
               the
               Beauty
               of
               Cillarus
               ,
               the
               fairest
               of
               the
               Centaures
               ,
               celebrates
               him
               as
               next
               in
               perfection
               ,
               to
               the
               most
               admirable
               Statues
               .
               
                 
                   Gratus
                   in
                   ore
                   vigor
                   ,
                   cervix
                   ,
                   humerique
                   manusque
                
                 
                   Pectoraque
                   Artificum
                   laudatis
                   Proxima
                   Signis
                   .
                
              
               
                 
                   A
                   pleasing
                   Vigour
                   his
                   fair
                   Face
                   express'd
                   ;
                
                 
                   His
                   Neck
                   ,
                   his
                   Hands
                   ,
                   his
                   Shoulders
                   ,
                   and
                   his
                   Breast
                   ,
                
                 
                   Did
                   next
                   in
                   Gracefulness
                   and
                   Beauty
                   stand
                   ,
                
                 
                   To
                   breathing
                   Figures
                   of
                   the
                   Sculptour's
                   Hand
                   .
                
              
            
             
               In
               another
               place
               he
               sets
               Apelles
               above
               Venus
               .
               
                 
                   Si
                   Venerem
                   Cois
                   nunquam
                   pinxisset
                   Apelles
                   ,
                
                 
                   Mersa
                   sub
                   aequoreis
                   illa
                   lateret
                   Aquis
                   .
                
              
               Thus
               vary'd
               .
               
                 
                   One
                   Birth
                   to
                   Seas
                   the
                   
                     Cyprian
                     Goddess
                  
                   ow'd
                   ,
                
                 
                   A
                   Second
                   Birth
                   the
                   
                   Painter's
                   Art
                   bestow'd
                   :
                
                 
                   Less
                   by
                   the
                   Seas
                   than
                   by
                   his
                   pow'r
                   was
                   giv'n
                   ;
                
                 
                   They
                   made
                   her
                   live
                   ,
                   but
                   he
                   advanc'd
                   to
                   Heav'n
                   .
                
              
            
             
             
               The
               Idea
               of
               this
               Beauty
               ,
               is
               indeed
               various
               ,
               according
               to
               the
               several
               forms
               which
               the
               Painter
               or
               Sculptour
               wou'd
               describe
               :
               As
               one
               in
               Strength
               ,
               another
               in
               Magnanimity
               ;
               and
               sometimes
               it
               consists
               in
               Chearfulness
               ,
               and
               sometimes
               in
               Delicacy
               ;
               and
               is
               always
               diversify'd
               by
               the
               Sex
               and
               Age.
               
            
             
               The
               Beauty
               of
               Jove
               is
               one
               ,
               and
               that
               of
               Juno
               another
               :
               Hercules
               ,
               and
               Cupid
               are
               perfect
               Beauties
               ,
               though
               of
               different
               kinds
               ;
               for
               Beauty
               is
               onely
               that
               which
               makes
               all
               things
               as
               they
               are
               in
               their
               proper
               and
               perfect
               Nature
               ;
               which
               the
               best
               Painters
               always
               choose
               by
               contemplating
               the
               Forms
               of
               each
               .
               We
               ought
               farther
               to
               consider
               ,
               that
               a
               Picture
               being
               the
               representation
               of
               a
               humane
               action
               ,
               the
               Painter
               ought
               to
               retain
               in
               his
               mind
               ,
               the
               Examples
               of
               all
               Affections
               ,
               and
               Passions
               ,
               as
               a
               Poet
               preserves
               the
               Idea
               of
               an
               Angry
               man
               ,
               of
               one
               who
               is
               fearfull
               ,
               sad
               or
               merry
               ,
               and
               so
               of
               all
               the
               rest
               .
               For
               't
               is
               impossible
               to
               express
               that
               with
               the
               Hand
               ,
               which
               never
               enter'd
               into
               the
               Imagination
               .
               In
               this
               manner
               as
               I
               have
               rudely
               and
               briefly
               shewn
               you
               ,
               Painters
               and
               Sculptours
               ,
               choosing
               the
               most
               elegant
               natural
               Beauties
               ,
               perfectionate
               the
               Idea
               ,
               and
               advance
               their
               Art
               ,
               even
               above
               Nature
               it self
               ,
               in
               her
               individual
               productions
               ,
               which
               is
               the
               utmost
               mastery
               of
               humane
               performance
               .
            
             
               From
               hence
               arises
               that
               astonishment
               ,
               and
               almost
               adoration
               which
               is
               paid
               by
               the
               Knowing
               to
               those
               divine
               remainders
               of
               Antiquity
               .
               From
               hence
               
                 Phydias
                 ,
                 Lysippus
              
               ,
               
               and
               other
               noble
               Sculptours
               ,
               are
               still
               held
               in
               veneration
               ;
               and
               
                 Apelles
                 ,
                 Zeuxis
                 ,
                 Protogenes
              
               ,
               and
               other
               admirable
               Painters
               ,
               though
               their
               Works
               are
               perish'd
               ,
               are
               and
               will
               be
               eternally
               admir'd
               ;
               who
               all
               of
               them
               drew
               after
               the
               
               Idea's
               of
               Perfection
               ;
               which
               are
               the
               Miracles
               of
               Nature
               ,
               the
               Providence
               of
               the
               Understanding
               ,
               the
               Exemplars
               of
               the
               Mind
               ,
               the
               Light
               of
               the
               Fancy
               ;
               the
               Sun
               which
               from
               its
               rising
               ,
               inspir'd
               the
               Statue
               of
               Memnon
               ,
               and
               the
               fire
               which
               warm'd
               into
               life
               the
               Image
               of
               Prometheus
               :
               'T
               is
               this
               which
               causes
               the
               Graces
               ,
               and
               the
               Loves
               to
               take
               up
               their
               habitations
               in
               the
               hardest
               Marble
               ,
               and
               to
               subsist
               in
               the
               emptiness
               of
               Light
               ,
               and
               Shadows
               .
               But
               since
               the
               Idea
               of
               Eloquence
               is
               as
               far
               inferiour
               to
               that
               of
               Painting
               ,
               as
               the
               force
               of
               Words
               is
               to
               the
               Sight
               ;
               I
               must
               here
               break
               off
               abruptly
               ,
               and
               having
               conducted
               the
               Reader
               as
               it
               were
               to
               a
               secret
               Walk
               ,
               there
               leave
               him
               in
               the
               midst
               of
               Silence
               to
               contemplate
               those
               Idea's
               ;
               which
               I
               have
               onely
               sketch'd
               ,
               and
               which
               every
               man
               must
               finish
               for
               himself
               .
            
             
               In
               these
               pompous
               Expressions
               ,
               or
               such
               as
               these
               the
               Italian
               has
               given
               you
               his
               Idea
               of
               a
               Painter
               ;
               and
               though
               I
               cannot
               much
               commend
               the
               Style
               ,
               I
               must
               needs
               say
               there
               is
               somewhat
               in
               the
               Matter
               :
               Plato
               himself
               is
               accustom'd
               to
               write
               loftily
               ,
               imitating
               ,
               as
               the
               Critiques
               tell
               us
               ,
               the
               manner
               of
               Homer
               ;
               but
               surely
               that
               inimitable
               Poet
               ,
               had
               not
               so
               much
               of
               Smoke
               in
               his
               writing
               ,
               though
               not
               less
               of
               
               Fire
               .
               But
               in
               short
               ,
               this
               is
               the
               present
               Genius
               of
               Italy
               .
               What
               Philostratus
               tells
               us
               in
               the
               Proem
               of
               his
               Figures
               is
               somewhat
               plainer
               ;
               and
               therefore
               I
               will
               translate
               it
               almost
               word
               for
               word
               .
               "
               
                 He
                 who
                 will
                 rightly
                 govern
                 the
              
               Art
               of
               Painting
               ,
               
                 ought
                 of
                 necessity
                 first
                 to
                 understand
                 Humane
                 Nature
                 .
                 He
                 ought
                 likewise
                 to
                 be
                 endued
                 with
                 a
              
               Genius
               
                 to
                 express
                 the
                 signs
                 of
                 their
                 Passions
                 whom
                 he
                 represents
                 ;
                 and
                 to
                 make
                 the
                 dumb
                 as
                 it
                 were
                 to
                 speak
                 :
                 He
                 must
                 yet
                 further
                 understand
                 what
                 is
                 contain'd
                 in
                 the
                 constitution
                 of
                 the
                 Cheeks
                 ,
                 in
                 the
                 temperament
                 of
                 the
                 Eyes
                 ,
                 in
                 the
                 naturalness
                 (
                 if
                 I
                 may
                 so
                 call
                 it
                 )
                 of
                 the
                 Eye-brows
                 :
                 and
                 in
                 short
                 whatsoever
                 belongs
                 to
                 the
                 Mind
                 and
                 Thought
                 .
                 He
                 who
                 throughly
                 possesses
                 all
                 these
                 things
                 will
                 obtain
                 the
                 whole
                 .
                 And
                 the
                 Hand
                 will
                 exquisitely
                 represent
                 the
                 action
                 of
                 every
                 particular
                 person
                 .
                 If
                 it
                 happen
                 that
                 he
                 be
                 either
                 mad
                 ,
                 or
                 angry
                 ,
                 melancholique
                 ,
                 or
                 chearfull
                 ,
                 a
                 sprightly
                 Youth
                 ,
                 or
                 a
                 languishing
                 Lover
                 ;
                 in
                 one
                 word
                 ,
                 he
                 will
                 be
                 able
                 to
                 paint
                 whatsoever
                 is
                 proportionable
                 to
                 any
                 one
                 .
                 And
                 even
                 in
                 all
                 this
                 there
                 is
                 a
                 sweet
                 errour
                 without
                 causing
                 any
                 shame
                 .
                 For
                 the
                 Eyes
                 and
                 Minds
                 of
                 the
                 beholders
                 being
                 fasten'd
                 on
                 Objects
                 which
                 have
                 no
                 real
                 Being
                 ,
                 as
                 if
                 they
                 were
                 truly
                 Existent
                 ,
                 and
                 being
                 induc'd
                 by
                 them
                 to
                 believe
                 them
                 so
                 ,
                 what
                 pleasure
                 is
                 it
                 not
                 capable
                 of
                 giving
                 ?
                 The
                 Ancients
                 ,
                 and
                 other
                 Wise
                 Men
                 ,
                 have
                 written
                 many
                 things
                 concerning
                 
                 the
              
               Symmetry
               
                 which
                 is
                 in
                 the
              
               Art
               of
               Painting
               ;
               
                 constituting
                 as
                 it
                 were
                 some
                 certain
              
               Laws
               
                 for
                 the
                 proportion
                 of
                 every
                 Member
                 ,
                 not
                 thinking
                 it
                 possible
                 for
                 a
              
               Painter
               
                 to
                 undertake
                 the
                 expression
                 of
                 those
                 motions
                 which
                 are
                 in
                 the
                 Mind
                 ,
                 without
                 a
                 concurrent
                 Harmony
                 in
                 the
                 natural
                 measure
                 .
                 For
                 that
                 which
                 is
                 out
                 of
                 its
                 own
                 kind
                 and
                 measure
                 ,
                 is
                 not
                 receiv'd
                 from
                 Nature
                 ,
                 whose
                 motion
                 is
                 always
                 right
                 .
                 On
                 a
                 serious
                 consideration
                 of
                 this
                 matter
                 it
                 will
                 be
                 found
                 ,
                 That
                 the
              
               Art
               of
               Painting
               
                 has
                 a
                 wonderfull
                 affinity
                 with
                 that
                 of
              
               Poetry
               ;
               
                 and
                 that
                 there
                 is
                 betwixt
                 them
                 a
                 certain
                 common
                 Imagination
                 .
                 For
                 as
                 the
              
               Poets
               
                 introduc●●
                 the
              
               Gods
               and
               Heroes
               ,
               
                 and
                 all
                 those
                 things
                 which
                 are
                 either
                 Majestical
                 ,
                 Honest
                 or
                 Delightfull
                 ,
                 in
                 like
                 manner
                 the
              
               Painters
               ,
               
                 by
                 the
                 virtue
                 of
                 their
                 Out-lines
                 ,
                 Colours
                 ,
                 Lights
                 and
                 Shadows
                 ,
                 represent
                 the
                 same
                 Things
                 and
                 Persons
                 in
                 their
                 Pictures
                 .
              
               "
            
             
               Thus
               ,
               as
               
                 Convoy
                 Ships
              
               either
               accompany
               ,
               or
               shou'd
               accompany
               their
               Merchants
               till
               they
               may
               prosecute
               the
               rest
               of
               their
               Voyage
               without
               danger
               ,
               so
               Philostratus
               has
               brought
               me
               thus
               far
               on
               my
               way
               ,
               and
               I
               can
               now
               sail
               on
               without
               him
               .
               He
               has
               begun
               to
               speak
               of
               the
               great
               relation
               betwixt
               Painting
               and
               Poetry
               ,
               and
               thither
               the
               greatest
               part
               of
               this
               Discourse
               by
               my
               promise
               was
               directed
               .
               I
               have
               not
               ingag'd
               my self
               to
               any
               perfect
               Method
               ,
               
               neither
               am
               I
               loaded
               with
               a
               full
               Cargo
               .
               'T
               is
               sufficient
               if
               I
               bring
               a
               Sample
               of
               some
               Goods
               in
               this
               Voyage
               .
               It
               will
               be
               easie
               for
               others
               to
               add
               more
               when
               the
               Commerce
               is
               settled
               .
               For
               a
               Treatise
               twice
               as
               large
               as
               this
               of
               Painting
               cou'd
               not
               contain
               all
               that
               might
               be
               said
               on
               the
               Parallel
               of
               these
               two
               
                 Sister
                 Arts.
              
               I
               will
               take
               my
               rise
               from
               Bellori
               before
               I
               proceed
               to
               the
               
                 Authour
                 of
                 this
                 Book
              
               .
            
             
               The
               business
               of
               his
               Preface
               is
               to
               prove
               ,
               that
               a
               learned
               Painter
               shou'd
               form
               to
               himself
               an
               Idea
               of
               perfect
               Nature
               .
               This
               Image
               he
               is
               to
               set
               before
               his
               Mind
               in
               all
               his
               Undertakings
               ,
               and
               to
               draw
               from
               thence
               as
               from
               a
               Store-house
               ,
               the
               Beauties
               which
               are
               to
               enter
               into
               his
               Work
               ;
               thereby
               correcting
               Nature
               from
               what
               actually
               she
               is
               in
               individuals
               ,
               to
               what
               she
               ought
               to
               be
               ,
               and
               what
               she
               was
               created
               .
               Now
               as
               this
               Idea
               of
               Perfection
               is
               of
               little
               use
               in
               Portraits
               (
               or
               the
               resemblances
               of
               particular
               persons
               )
               so
               neither
               is
               it
               in
               the
               Characters
               of
               Comedy
               ,
               and
               Tragedy
               ;
               which
               are
               never
               to
               be
               made
               perfect
               ,
               but
               always
               to
               be
               drawn
               with
               some
               specks
               of
               frailty
               and
               deficience
               ;
               such
               as
               they
               have
               been
               described
               to
               us
               in
               History
               ,
               if
               they
               were
               real
               Characters
               ;
               or
               such
               as
               the
               Poet
               began
               to
               shew
               them
               at
               their
               first
               appearance
               ,
               if
               they
               were
               onely
               fictitious
               ,
               (
               or
               imaginary
               .
               )
               The
               perfection
               of
               such
               
               Stage-characters
               consists
               chiefly
               in
               their
               likeness
               to
               the
               deficient
               faulty
               Nature
               ,
               which
               is
               their
               Original
               .
               Onely
               ,
               as
               it
               is
               observ'd
               more
               at
               large
               hereafter
               ,
               in
               such
               cases●●
               there
               will
               always
               be
               found
               a
               better
               likeness
               ,
               and
               a
               worse
               ;
               and
               the
               better
               is
               constantly
               to
               be
               chosen
               :
               I
               mean
               in
               Tragedy
               ,
               which
               represents
               the
               Figures
               of
               the
               highest
               form
               amongst
               Mankind
               .
               Thus
               in
               Portraits
               ,
               the
               Painter
               will
               not
               take
               that
               side
               of
               the
               Face
               which
               has
               some
               notorious
               blemish
               in
               it
               ;
               but
               either
               draw
               it
               in
               profile
               (
               as
               Apelles
               did
               Antigonus
               ,
               who
               had
               lost
               one
               of
               his
               Eyes
               )
               or
               else
               shadow
               the
               more
               imperfect
               side
               .
               For
               an
               ingenious
               flattery
               is
               to
               be
               allow'd
               to
               the
               Professours
               of
               
                 both
                 Arts
              
               ;
               so
               long
               as
               the
               likeness
               is
               not
               destroy'd
               .
               'T
               is
               true
               that
               all
               manner
               of
               Imperfections
               must
               not
               be
               taken
               away
               from
               the
               Characters
               ,
               and
               the
               reason
               is
               ,
               that
               there
               may
               be
               left
               some
               grounds
               of
               pity
               for
               their
               misfortunes
               .
               We
               can
               never
               be
               griev'd
               for
               their
               miseries
               who
               are
               thoroughly
               wicked
               ,
               and
               have
               thereby
               justly
               call'd
               their
               calamities
               on
               themselves
               .
               Such
               Men
               are
               the
               natural
               Objects
               of
               our
               hatred
               ,
               not
               of
               our
               commiseration
               .
               If
               on
               the
               other
               side
               their
               Characters
               were
               wholly
               perfect
               ,
               (
               such
               as
               for
               Example
               ,
               the
               Character
               of
               a
               Saint
               or
               Martyr
               in
               a
               Play
               ,
               )
               his
               ,
               or
               her
               misfortunes
               ,
               wou'd
               produce
               impious
               thoughts
               in
               the
               Beholders
               :
               they
               wou'd
               
               accuse
               the
               Heavens
               of
               injustice
               ,
               and
               think
               of
               leaving
               a
               Religion
               ,
               where
               Piety
               was
               so
               ill
               requited
               .
               I
               say
               the
               greater
               part
               wou'd
               be
               tempted
               so
               to
               do
               ,
               I
               say
               not
               that
               they
               ought
               :
               and
               the
               consequence
               is
               too
               dangerous
               for
               the
               practice
               .
               In
               this
               I
               have
               accus'd
               my self
               for
               my
               own
               St.
               Catharine
               ,
               but
               let
               truth
               prevail
               .
               Sophocles
               has
               taken
               the
               just
               medium
               in
               his
               Oedipus
               .
               He
               is
               somewhat
               arrogant
               at
               his
               first
               entrance
               ;
               and
               is
               too
               inquisitive
               through
               the
               whole
               Tragedy
               :
               Yet
               these
               Imperfections
               being
               balanc'd
               by
               great
               Vertues
               ,
               they
               hinder
               not
               our
               compassion
               for
               his
               miseries
               ;
               neither
               yet
               can
               they
               destroy
               that
               horrour
               which
               the
               nature
               of
               his
               Crimes
               have
               excited
               in
               us
               .
               Such
               in
               Painting
               are
               the
               Warts
               and
               Moles
               ,
               which
               adding
               a
               likeness
               to
               the
               Face
               ,
               are
               not
               therefore
               to
               be
               omitted
               .
               But
               these
               produce
               no
               loathing
               in
               us
               .
               But
               how
               far
               to
               proceed
               ,
               and
               where
               to
               stop
               ,
               is
               left
               to
               the
               judgment
               of
               the
               Poet
               and
               the
               Painter
               .
               In
               Comedy
               there
               is
               somewhat
               more
               of
               the
               worse
               likeness
               to
               be
               taken
               .
               Because
               that
               is
               often
               to
               produce
               laughter
               ;
               which
               is
               occasion'd
               by
               the
               sight
               of
               some
               deformity
               :
               but
               for
               this
               I
               referr
               the
               Reader
               to
               Aristotle
               .
               'T
               is
               a
               sharp
               manner
               of
               Instruction
               for
               the
               Vulgar
               who
               are
               never
               well
               amended
               ,
               till
               they
               are
               more
               than
               sufficiently
               expos'd
               .
               That
               I
               may
               return
               to
               the
               beginning
               of
               this
               Remark
               ,
               concerning
               perfect
               
               Idea's
               ,
               I
               have
               onely
               this
               to
               say
               ,
               that
               the
               Parallel
               is
               often
               true
               in
               Epique-Poetry
               .
            
             
               The
               Heroes
               of
               the
               Poets
               are
               to
               be
               drawn
               according
               to
               this
               Rule
               .
               There
               is
               scarce
               a
               frailty
               to
               be
               left
               in
               the
               best
               of
               them
               ;
               any
               more
               than
               is
               to
               be
               found
               in
               a
               
                 Divine
                 Nature
              
               .
               And
               if
               Aeneas
               sometimes
               weeps
               ,
               it
               is
               not
               in
               bemoaning
               his
               own
               miseries
               ,
               but
               those
               which
               his
               people
               undergo
               .
               If
               this
               be
               an
               Imperfection
               ,
               the
               Son
               of
               God
               when
               he
               was
               incarnate
               shed
               tears
               of
               Compassion
               over
               Ierusalem
               .
               And
               Lentulus
               describes
               him
               often
               weeping
               ,
               but
               never
               laughing
               ;
               so
               that
               Virgil
               is
               justify'd
               even
               from
               the
               
                 Holy
                 Scriptures
              
               .
               I
               have
               but
               one
               word
               more
               ,
               which
               for
               once
               I
               will
               anticipate
               from
               the
               Authour
               of
               this
               Book
               .
               Though
               it
               must
               be
               an
               Idea
               of
               Perfection
               ,
               from
               which
               both
               the
               
                 Epique
                 Poet
              
               ,
               and
               the
               
                 History
                 Painter
              
               draws
               ;
               yet
               all
               Perfections
               are
               not
               suitable
               to
               all
               Subjects
               :
               But
               every
               one
               must
               be
               design'd
               according
               to
               that
               perfect
               Beauty
               which
               is
               proper
               to
               him
               .
               An
               Apollo
               must
               be
               distinguish'd
               from
               a
               Iupiter
               ,
               a
               Pallas
               from
               a
               Venus
               :
               and
               so
               in
               Poetry
               an
               Aeneas
               from
               any
               other
               Heroe
               :
               for
               Piety
               is
               his
               chief
               Perfection
               .
               Homer's
               Achilles
               is
               a
               kind
               of
               Exception
               to
               this
               Rule
               :
               but
               then
               he
               is
               not
               a
               perfect
               Heroe
               ,
               nor
               so
               intended
               by
               the
               Poet.
               All
               his
               Gods
               had
               somewhat
               of
               humane
               imperfection
               ;
               for
               which
               he
               has
               been
               
               tax'd
               by
               Plato
               ,
               as
               an
               Imitatour
               of
               what
               was
               bad
               .
               But
               Virgil
               observ'd
               his
               fault
               ,
               and
               mended
               it
               .
               Yet
               Achilles
               was
               perfect
               in
               the
               strength
               of
               his
               Body
               ,
               and
               the
               vigour
               of
               his
               Mind
               .
               Had
               he
               been
               less
               passionate
               ,
               or
               less
               revengefull
               ,
               the
               Poet
               well
               foresaw
               that
               Hector
               had
               been
               kill'd
               ,
               and
               Troy
               taken
               at
               the
               first
               assault
               ;
               which
               had
               destroy'd
               the
               beautifull
               contrivance
               of
               his
               Iliads
               ,
               and
               the
               moral
               of
               preventing
               Discord
               amongst
               Confederate
               Princes
               ,
               which
               was
               his
               principal
               intention
               .
               For
               the
               Moral
               (
               as
               Bossu
               observes
               )
               is
               the
               first
               business
               of
               the
               Poet
               ,
               as
               being
               the
               ground-work
               of
               his
               Instruction
               .
               This
               being
               form'd
               ,
               he
               contrives
               such
               a
               Design
               ,
               or
               Fable
               ,
               as
               may
               be
               most
               suitable
               to
               the
               Moral
               .
               After
               this
               he
               begins
               to
               think
               of
               the
               Persons
               ,
               whom
               he
               is
               to
               employ
               in
               carrying
               on
               his
               Design
               :
               and
               gives
               them
               the
               Manners
               ,
               which
               are
               most
               proper
               to
               their
               several
               Characters
               .
               The
               thoughts
               and
               words
               are
               the
               last
               parts
               ,
               which
               give
               Beauty
               and
               Colouring
               to
               the
               Piece
               .
               When
               I
               say
               ,
               that
               the
               Manners
               of
               the
               Heroe
               ought
               to
               be
               good
               in
               perfection
               ,
               I
               contradict
               not
               the
               Marquess
               of
               
               Normanby's
               opinion
               ,
               in
               that
               admirable
               Verse
               ,
               where
               speaking
               of
               a
               perfect
               Character
               ,
               he
               calls
               it
               
                 A
                 Faultless
                 Monster
                 ,
                 which
                 the
                 World
                 ne'er
                 knew
                 .
              
               For
               
                 that
                 Excellent
                 Critique
              
               ,
               intended
               onely
               to
               speak
               of
               
                 Dramatique
                 Characters
              
               ,
               and
               not
               of
               Epique
               .
               Thus
               at
               
               lea●●t
               I
               have
               shewn
               ,
               that
               in
               the
               most
               perfect
               Poem
               ,
               which
               is
               that
               of
               Virgil
               ,
               a
               
                 perfect
                 Idea
              
               was
               requir'd
               ,
               and
               follow'd
               .
               And
               consequently
               that
               all
               succeeding
               Poets
               ought
               rather
               to
               imitate
               him
               ,
               than
               even
               Homer
               .
               I
               will
               now
               proceed
               as
               I
               promis'd
               ,
               to
               the
               Authour
               of
               this
               Book
               .
               He
               tells
               you
               almost
               in
               the
               first
               lines
               of
               it
               ,
               that
               the
               
                 chief
                 end
                 of
                 Painting
                 is
                 to
                 please
                 the
                 Eyes
                 :
                 and
                 't
                 is
                 one
                 great
                 End
                 of
                 Poetry
                 to
                 please
                 the
                 Mind
                 .
              
               Thus
               far
               the
               Parallel
               of
               the
               Arts
               holds
               true
               :
               with
               this
               difference
               ,
               That
               the
               Principal
               end
               of
               Painting
               is
               to
               please
               ;
               and
               the
               chief
               design
               of
               Poetry
               is
               to
               instruct
               .
               In
               this
               the
               latter
               seems
               to
               have
               the
               advantage
               of
               the
               former
               .
               But
               if
               we
               consider
               the
               Artists
               themselves
               on
               both
               sides
               ,
               certainly
               their
               aims
               are
               the
               very
               same
               :
               they
               wou'd
               both
               make
               sure
               of
               pleasing
               ,
               and
               that
               in
               preference
               to
               instruction
               .
               Next
               ,
               the
               means
               of
               this
               pleasure
               is
               by
               Deceipt
               .
               One
               imposes
               on
               the
               Sight
               ,
               and
               the
               other
               on
               the
               Understanding
               .
               Fiction
               is
               of
               the
               Essence
               of
               Poetry
               as
               well
               as
               of
               Painting
               ;
               there
               is
               a
               resemblance
               in
               one
               ,
               of
               Humane
               Bodies
               ,
               Things
               and
               Actions
               which
               are
               not
               real
               ,
               and
               in
               the
               other
               ,
               of
               a
               true
               Story
               by
               a
               Fiction
               .
               And
               as
               all
               Stories
               are
               not
               proper
               Subjects
               for
               an
               
                 Epique
                 Poem
              
               ,
               or
               a
               Tragedy
               ,
               so
               neither
               are
               they
               for
               a
               noble
               Picture
               .
               The
               Subjects
               both
               of
               the
               one
               ,
               and
               of
               the
               other
               ,
               ought
               to
               have
               nothing
               of
               immoral
               ,
               low
               ,
               or
               filthy
               in
               
               them
               ;
               but
               this
               being
               treated
               at
               large
               in
               the
               
                 Book
                 itself
              
               ,
               I
               wave
               it
               to
               avoid
               repetition
               .
               Onely
               I
               must
               add
               ,
               that
               though●●
               
                 Catullus
                 ,
                 Ovid
              
               and
               others
               were
               of
               another
               opinion
               ,
               that
               the
               Subject
               of
               Poets
               ,
               and
               even
               their
               thoughts
               and
               expressions
               might
               be
               loose
               ,
               provided
               their
               lives
               were
               chast
               and
               holy
               ,
               yet
               there
               are
               no
               such
               licences
               permitted
               in
               
                 that
                 Art
              
               any
               more
               than
               in
               Painting
               ,
               to
               design
               and
               colour
               obscene
               Nudities
               .
               
                 Vita
                 proba
                 est
              
               ,
               is
               no
               excuse
               ,
               for
               it
               will
               scarcely
               be
               admitted
               ,
               that
               either
               a
               Poet
               or
               a
               Painter
               can
               be
               chast
               ,
               who
               give
               us
               the
               contrary
               examples
               in
               their
               Writings
               and
               their
               Pictures
               .
               We
               see
               nothing
               of
               this
               kind
               in
               Virgil
               :
               that
               which
               comes
               the
               nearest
               to
               it
               ,
               is
               the
               
                 adventure
                 of
                 the
                 Cave
              
               ,
               where
               Dido
               and
               Aeneas
               were
               driven
               by
               the
               Storm
               :
               Yet
               even
               there
               the
               Poet
               pretends
               a
               Marriage
               before
               the
               Consummation
               ;
               and
               Iuno
               her self
               was
               present
               at
               it
               .
               Neither
               is
               there
               any
               expression
               in
               that
               Story
               ,
               which
               a
               
                 Roman
                 Matron
              
               might
               not
               reade
               without
               a
               blush
               .
               Besides
               the
               Poet
               passes
               it
               over
               as
               hastily
               as
               he
               can
               ,
               as
               if
               he
               were
               afraid
               of
               staying
               in
               the
               Cave
               with
               the
               two
               Lovers
               ,
               and
               of
               being
               a
               witness
               to
               their
               Actions
               .
               Now
               I
               suppose
               that
               a
               Painter
               wou'd
               not
               be
               much
               commended
               ,
               who
               shou'd
               pick
               out
               this
               Cavern
               from
               the
               whole
               Eneids
               ,
               when
               there
               is
               not
               another
               in
               the
               Work.
               He
               had
               better
               leave
               them
               in
               their
               obscurity
               ,
               than
               let
               in
               a
               flash
               of
               
               Lightning
               to
               clear
               the
               natural
               darkness
               of
               the
               place
               ,
               by
               which
               he
               must
               discover
               himself
               as
               much
               as
               them
               .
               The
               Altar-Pieces
               ,
               and
               holy
               Decorations
               of
               Painting
               ,
               show
               
                 that
                 Art
              
               may
               be
               apply'd
               to
               better
               uses
               ,
               as
               well
               as
               Poetry
               .
            
             
               And
               amongst
               many
               other
               instances
               ,
               the
               
                 Farnesian
                 Gallery
              
               ,
               painted
               by
               
                 Hannibal
                 Carracci
              
               ,
               is
               a
               sufficient
               witness
               yet
               remaining
               :
               the
               whole
               Work
               being
               morally
               instructive
               ,
               and
               particularly
               the
               
                 Herculis
                 Bivium
              
               ,
               which
               is
               a
               perfect
               
                 Triumph
                 of
                 Vertue
                 over
                 Vice
              
               ,
               as
               it
               is
               wonderfully
               well
               describ'd
               by
               the
               ingenious
               Bellori
               .
            
             
               Hitherto
               I
               have
               onely
               told
               the
               Reader
               what
               ought
               not
               to
               be
               the
               subject
               of
               a
               Picture
               or
               of
               a
               Poem
               :
               what
               it
               ought
               to
               be
               on
               either
               side
               ;
               our
               Author
               tells
               us
               :
               it
               must
               in
               general
               be
               great
               and
               noble
               :
               and
               in
               this
               ,
               the
               Parallel
               is
               exactly
               true
               .
               The
               subject
               of
               a
               Poet
               either
               in
               Tragedy
               or
               in
               an
               
                 Epique
                 Poem
              
               is
               a
               great
               action
               of
               some
               illustrious
               Hero.
               'T
               is
               the
               same
               in
               Painting
               ;
               not
               every
               action
               ,
               nor
               every
               person
               is
               considerable
               enough
               to
               enter
               into
               the
               Cloth.
               It
               must
               be
               the
               Anger
               of
               an
               Achilles
               ,
               the
               Piety
               of
               an
               Aeneas
               ,
               the
               Sacrifice
               of
               an
               Iphigenia
               (
               for
               Heroins
               as
               well
               as
               Heroes
               are
               comprehended
               in
               the
               Rule
               ;
               )
               but
               the
               Parallel
               is
               more
               compleat
               in
               Tragedy
               ,
               than
               in
               an
               
                 Epique
                 Poem
              
               .
               For
               as
               a
               Tragedy
               may
               be
               made
               out
               of
               
               many
               particular
               Episodes
               of
               Homer
               or
               of
               Virgil
               ,
               so
               may
               a
               noble
               Picture
               be
               design'd
               out
               of
               this
               or
               that
               particular
               Story
               in
               either
               
                 Author
                 .
                 History
              
               is
               also
               fruitfull
               of
               designs
               both
               for
               the
               Painter
               and
               the
               
                 Tragique
                 Poet
                 :
                 Curtius
              
               throwing
               himself
               into
               a
               Gulph
               ,
               and
               the
               two
               Decii
               sacrificing
               themselves
               for
               the
               safety
               of
               their
               Country
               ,
               are
               subjects
               for
               Tragedy
               and
               Picture
               .
               Such
               is
               Scipio
               restoring
               the
               
                 Spanish
                 Bride
              
               ,
               whom
               he
               either
               lov'd
               or
               may
               be
               supsos'd
               to
               love
               ,
               by
               which
               he
               gain'd
               the
               Hearts
               of
               a
               great
               Nation
               ,
               to
               interess
               themselves
               for
               Rome
               against
               Carthage
               :
               These
               are
               all
               but
               particular
               Pieces
               in
               
               Livy's
               History
               ;
               and
               yet
               are
               full
               compleat
               Subjects
               for
               the
               Pen
               and
               Pencil
               .
               Now
               the
               reason
               of
               this
               is
               evident
               .
               Tragedy
               and
               Picture
               are
               more
               narrowly
               circumscrib'd
               by
               the
               
                 Mechanick
                 Rules
              
               of
               Time
               and
               Place
               than
               the
               
                 Epique
                 Poem
              
               .
               The
               time
               of
               this
               last
               is
               left
               indefinite
               .
               'T
               is
               true
               ,
               Homer
               took
               up
               onely
               the
               space
               of
               eight
               and
               forty
               days
               for
               his
               Iliads
               ;
               but
               whether
               
               Virgil's
               action
               was
               comprehended
               in
               a
               year
               or
               somewhat
               more
               ,
               is
               not
               determin'd
               by
               
                 Bossu
                 .
                 Homer
              
               made
               the
               place
               of
               his
               action
               Troy
               ,
               and
               the
               
                 Grecian
                 Camp
              
               besieging
               it
               .
               Virgil
               introduces
               his
               Aeneas
               ,
               sometimes
               in
               Sicily
               ,
               sometimes
               in
               Carthage
               ,
               and
               other
               times
               at
               Cumae
               ,
               before
               he
               brings
               him
               to
               Laurentum
               ;
               and
               even
               after
               that
               ,
               he
               wanders
               again
               to
               the
               Kingdom
               of
               
               Evander
               and
               some
               parts
               of
               Tuscany
               ,
               before
               he
               returns
               to
               finish
               the
               War
               by
               the
               death
               of
               Turnus
               .
               But
               Tragedy
               according
               to
               the
               Practice
               of
               the
               Ancients
               ,
               was
               always
               confin'd
               within
               the
               compass
               of
               24
               hours
               ,
               and
               seldom
               takes
               up
               so
               much
               time
               .
               As
               for
               the
               place
               of
               it
               ,
               it
               was
               always
               one
               ,
               and
               that
               not
               in
               a
               larger
               Sence
               ;
               as
               for
               example
               ,
               A
               whole
               City
               or
               two
               or
               three
               several
               Houses
               in
               it
               ;
               but
               the
               Market
               or
               some
               other
               publick
               place
               ,
               common
               to
               the
               Chorus
               and
               all
               the
               Actours
               .
               Which
               establish'd
               Law
               of
               theirs
               ,
               I
               have
               not
               an
               opportunity
               to
               examine
               in
               this
               place
               ,
               because
               I
               cannot
               do
               it
               without
               digression
               from
               my
               subject
               ,
               though
               it
               seems
               too
               strict
               at
               the
               first
               appearance
               because
               it
               excludes
               all
               secret
               Intrigues
               ,
               which
               are
               the
               Beauties
               of
               the
               
                 modern
                 Stage
              
               :
               for
               nothing
               can
               be
               carry'd
               on
               with
               Privacy
               ,
               when
               the
               Chorus
               is
               suppos'd
               to
               be
               always
               present
               .
               But
               to
               proceed
               ,
               I
               must
               say
               this
               to
               the
               advantage
               of
               Painting
               ,
               even
               above
               Tragedy
               ,
               that
               what
               this
               last
               represents
               in
               the
               space
               of
               many
               Hours
               ,
               the
               former
               shows
               us
               in
               one
               Moment
               .
               The
               Action
               ,
               the
               Passion
               ,
               and
               the
               manners
               of
               so
               many
               Persons
               as
               are
               contain'd
               in
               a
               Picture
               ,
               are
               to
               be
               discern'd
               at
               once
               ,
               in
               the
               twinkling
               of
               an
               Eye
               ;
               at
               least
               they
               would
               be
               so
               ,
               if
               the
               Sight
               could
               travel
               over
               so
               many
               different
               Objects
               all
               at
               once
               ,
               or
               the
               Mind
               could
               digest
               them
               all
               at
               
               the
               same
               instant
               or
               point
               of
               time
               .
               Thus
               in
               the
               famous
               Picture
               of
               Poussin
               ,
               which
               represents
               the
               
                 Institution
                 of
                 the
                 Blessed
                 Sacrament
              
               ,
               you
               see
               our
               Saviour
               and
               
                 his
                 twelve
                 Disciples
              
               ,
               all
               concurring
               in
               the
               same
               action
               ,
               after
               different
               manners
               ,
               and
               in
               different
               postures
               ,
               onely
               the
               manners
               of
               Iudas
               are
               distinguish'd
               from
               the
               rest
               .
               Here
               is
               but
               one
               indivisible
               point
               of
               time
               observ'd
               :
               but
               one
               action
               perform'd
               by
               so
               many
               Persons
               ,
               in
               one
               Room
               and
               at
               the
               same
               Table
               :
               yet
               the
               Eye
               cannot
               comprehend
               at
               once
               the
               whole
               Object
               ,
               nor
               the
               Mind
               follow
               it
               so
               fast
               ;
               't
               is
               consider'd
               at
               leisure
               ,
               and
               seen
               by
               intervals
               .
               Such
               are
               the
               Subjects
               of
               Noble
               Pictures
               :
               and
               such
               are
               onely
               to
               be
               undertaken
               by
               
                 Noble
                 Hands
              
               .
               There
               are
               other
               parts
               of
               Nature
               ,
               which
               are
               meaner
               ,
               and
               yet
               are
               the
               Subjects
               both
               of
               Painters
               ,
               and
               of
               Poets
               .
            
             
               For
               to
               proceed
               in
               the
               Parallel
               ,
               as
               Comedy
               is
               a
               representation
               of
               Humane
               Life
               ,
               in
               inferiour
               persons
               ,
               and
               low
               Subjects
               ,
               and
               by
               that
               means
               creeps
               into
               the
               nature
               of
               Poetry
               ,
               and
               is
               a
               kind
               of
               Iuniper
               ,
               a
               Shrub
               belonging
               to
               the
               species
               of
               Cedar
               ,
               so
               is
               the
               painting
               of
               Clowns
               ,
               the
               representation
               of
               a
               
                 Dutch
                 Kermis
              
               ,
               the
               brutal
               sport
               of
               
                 Snick
                 or
                 Snee
              
               ,
               and
               a
               thousand
               other
               things
               of
               this
               mean
               invention
               ,
               a
               kind
               of
               Picture
               ,
               which
               belongs
               to
               Nature
               ,
               but
               of
               the
               lowest
               form
               .
               Such
               is
               a
               Lazar
               in
               comparison
               
               to
               a
               Venus
               ;
               both
               are
               drawn
               in
               Humane
               Figures
               :
               they
               have
               Faces
               alike
               ,
               though
               not
               like
               Faces
               .
               There
               is
               yet
               a
               lower
               sort
               of
               Poetry
               and
               Painting
               ,
               which
               is
               out
               of
               Nature
               .
               For
               a
               Farce
               is
               that
               in
               Poetry
               ,
               which
               Grotesque
               is
               in
               a
               Picture
               .
               The
               Persons
               ,
               and
               Action
               of
               a
               Farce
               are
               all
               unnatural
               ,
               and
               the
               Manners
               false
               ,
               that
               is
               ,
               inconsisting
               with
               the
               characters
               of
               Mankind
               .
               Grotesque-painting
               is
               the
               just
               resemblance
               of
               this
               ;
               and
               Horace
               begins
               his
               Art
               of
               Poetry
               by
               describing
               such
               a
               Figure
               ;
               with
               a
               Man's
               Head
               ,
               a
               Horse's
               Neck
               ,
               the
               Wings
               of
               a
               Bird
               ,
               and
               a
               Fishes
               Tail
               ;
               parts
               of
               different
               species
               jumbled
               together
               ,
               according
               to
               the
               mad
               imagination
               of
               the
               Dawber
               ;
               and
               the
               end
               of
               all
               this
               ,
               as
               he
               tells
               you
               afterward
               ,
               to
               cause
               Laughter
               .
               A
               very
               Monster
               in
               a
               Bartholomew-Fair
               for
               the
               Mob
               to
               gape
               at
               for
               their
               two-pence
               .
               Laughter
               is
               indeed
               the
               propriety
               of
               a
               Man
               ,
               but
               just
               enough
               to
               distinguish
               him
               from
               his
               elder
               Brother
               ,
               with
               four
               Legs
               .
               'T
               is
               a
               kind
               of
               Bastard-pleasure
               too
               ,
               taken
               in
               at
               the
               Eyes
               of
               the
               vulgar
               gazers
               ,
               and
               at
               the
               Ears
               of
               the
               beastly
               Audience
               .
               Church-Painters
               use
               it
               to
               divert
               the
               honest
               Countryman
               at
               Publick
               Prayers
               ,
               and
               keep
               his
               Eyes
               open
               at
               a
               heavy
               Sermon
               .
               And
               Farce-Scriblers
               make
               use
               of
               the
               same
               noble
               invention
               to
               entertain
               
                 Citizens
                 ,
                 Country-Gentlemen
              
               ,
               and
               
                 Covent-Garden
                 Fops
              
               .
               If
               they
               are
               
               merry
               ,
               all
               goes
               well
               on
               the
               
               Poet's
               side
               .
               The
               better
               sort
               goe
               thither
               too
               ,
               but
               in
               despair
               of
               Sense
               ,
               and
               the
               just
               Images
               of
               Nature
               ,
               which
               are
               the
               adequate
               pleasures
               of
               the
               Mind
               .
               But
               the
               Authour
               can
               give
               the
               Stage
               no
               better
               than
               what
               was
               given
               him
               by
               Nature
               :
               and
               the
               Actors
               must
               represent
               such
               things
               ,
               as
               they
               are
               capable
               to
               perform
               ,
               and
               by
               which
               both
               they
               and
               the
               Scribbler
               may
               get
               their
               living
               .
               After
               all
               ,
               't
               is
               a
               good
               thing
               to
               laugh
               at
               any
               rate
               ,
               and
               if
               a
               straw
               can
               tickle
               a
               man
               ,
               't
               is
               an
               instrument
               of
               happiness
               .
               Beasts
               can
               weep
               when
               they
               suffer
               ,
               but
               they
               cannot
               laugh
               .
               And
               as
               Sir
               
                 William
                 Davenant
              
               observes
               in
               his
               Preface
               to
               
                 Gondibert
                 ,
                 'T
                 is
                 the
                 wisdom
                 of
                 a
                 Government
                 to
                 permit
                 Plays
              
               (
               he
               might
               have
               added
               Farces
               )
               
                 as
                 't
                 is
                 the
                 prudence
                 of
                 a
                 Carter
                 to
                 put
                 Bells
                 upon
                 his
                 Horses
                 ,
                 to
                 make
                 them
                 carry
                 their
                 Burthens
                 chearfully
                 .
              
            
             
               I
               have
               already
               shewn
               ,
               that
               one
               main
               end
               of
               Poetry
               and
               Painting
               is
               to
               please
               ,
               and
               have
               said
               something
               of
               the
               kinds
               of
               both
               ,
               and
               of
               their
               Subjects
               ,
               in
               which
               they
               bear
               a
               great
               resemblance
               to
               each
               other
               .
               I
               must
               now
               consider
               them
               ,
               as
               they
               are
               great
               and
               noble
               Arts
               ;
               and
               as
               they
               are
               Arts
               ,
               they
               must
               have
               Rules
               which
               may
               direct
               them
               to
               their
               common
               end
               .
            
             
               To
               all
               Arts
               and
               Sciences
               ,
               but
               more
               particularly
               to
               these
               may
               be
               apply'd
               what
               Hippocrates
               says
               of
               
               Physick
               ,
               as
               I
               find
               him
               cited
               by
               an
               eminent
               French
               Critique
               .
               
                 "
                 Medicine
                 has
                 long
                 subsisted
                 in
                 the
                 World.
                 The
                 Principles
                 of
                 it
                 are
                 certain
                 ,
                 and
                 it
                 has
                 a
                 certain
                 way
                 ;
                 by
                 both
                 which
                 there
                 has
                 been
                 found
                 in
                 the
                 course
                 of
                 many
                 Ages
                 ,
                 an
                 infinite
                 number
                 of
                 things
                 ,
                 the
                 experience
                 of
                 which
                 has
                 confirm'd
                 its
                 usefulness
                 and
                 goodness
                 .
                 All
                 that
                 is
                 wanting
                 to
                 the
                 perfection
                 of
                 this
                 Art
                 ,
                 will
                 undoubtedly
                 be
                 found
                 ,
                 if
                 able
                 Men
                 ,
                 and
                 such
                 as
                 are
                 instructed
                 in
                 the
                 Ancient
                 Rules
                 will
                 make
                 a
                 farther
                 enquiry
                 into
                 it
                 ,
                 and
                 endeavour
                 to
                 arrive
                 at
                 that
                 ,
                 which
                 is
                 hitherto
                 unknown
                 ,
                 by
                 that
                 which
                 is
                 already
                 known
                 .
                 But
                 all
                 ,
                 who
                 having
                 rejected
                 the
                 Ancient
                 Rules
                 ,
                 and
                 taken
                 the
                 opposite
                 ways
                 ,
                 yet
                 boast
                 themselves
                 to
                 be
                 Masters
                 of
                 this
                 Art
                 ,
                 do
                 but
                 deceive
                 others
                 ,
                 and
                 are
                 themselves
                 deceiv'd
                 ;
                 for
                 that
                 is
                 absolutely
                 impossible
                 .
                 "
              
            
             
               This
               is
               notoriously
               true
               in
               
                 these
                 two
                 Arts
              
               :
               for
               the
               way
               to
               please
               being
               to
               imitate
               Nature
               ;
               both
               the
               Poets
               and
               the
               Painters
               ,
               in
               Ancient
               times
               ,
               and
               in
               the
               best
               Ages
               ,
               have
               study'd
               her
               :
               and
               from
               the
               practice
               of
               
                 both
                 these
                 Arts
              
               ,
               the
               Rules
               have
               been
               drawn
               ,
               by
               which
               we
               are
               instructed
               how
               to
               please
               ,
               and
               to
               compass
               that
               end
               which
               they
               obtain'd
               ,
               by
               following
               their
               Example
               .
               For
               Nature
               is
               still
               the
               same
               in
               all
               Ages
               ,
               and
               can
               never
               be
               contrary
               to
               her self
               .
               Thus
               from
               the
               practice
               of
               
                 Aeschylus
                 ,
                 Sophocles
              
               ,
               and
               
                 Euripides
                 ,
                 Aristotle
              
               drew
               his
               Rules
               
               for
               Tragedy
               ;
               and
               Philostratus
               for
               Painting
               .
               Thus
               amongst
               the
               Moderns
               ,
               the
               Italian
               and
               
                 French
                 Critiques
              
               by
               studying
               the
               Precepts
               of
               Aristotle
               ,
               and
               Horace
               ,
               and
               having
               the
               Example
               of
               the
               
                 Grecian
                 Poets
              
               before
               their
               Eyes
               ,
               have
               given
               us
               the
               Rules
               of
               
                 Modern
                 Tragedy
              
               :
               and
               thus
               the
               Critiques
               of
               the
               same
               Countries
               ,
               in
               the
               Art
               of
               Painting
               have
               given
               the
               Precepts
               of
               perfecting
               
                 that
                 Art.
              
               'T
               is
               true
               that
               Poetry
               has
               one
               advantage
               over
               Painting
               in
               these
               last
               Ages
               ,
               that
               we
               have
               still
               the
               remaining
               Examples
               both
               of
               the
               
                 Greek
                 and
                 Latine
                 Poets
              
               :
               whereas
               the
               Painters
               have
               nothing
               left
               them
               from
               
                 Apelles
                 ,
                 Protogenes
                 ,
                 Parrhasius
                 ,
                 Xeuxis
              
               and
               the
               rest
               ,
               but
               onely
               the
               testimonies
               which
               are
               given
               of
               their
               incomparable
               Works
               .
               But
               instead
               of
               this
               ,
               they
               have
               some
               of
               their
               best
               
                 Statues
                 ,
                 Bass-Relievo's
                 ,
                 Columns
                 ,
                 Obilisques
                 ,
              
               &c.
               which
               were
               sav'd
               out
               of
               the
               common
               ruine
               ,
               and
               are
               still
               preserv'd
               in
               Italy
               :
               and
               by
               well
               distinguishing
               what
               is
               proper
               to
               Sculpture
               ,
               and
               what
               to
               Painting
               ,
               and
               what
               is
               common
               to
               them
               both
               ,
               they
               have
               judiciously
               repair'd
               that
               loss
               .
               And
               the
               great
               Genius
               of
               Raphael
               ,
               and
               others
               ,
               having
               succeeded
               to
               the
               times
               of
               Barbarism
               and
               Ignorance
               ,
               the
               knowledge
               of
               Painting
               is
               now
               arriv'd
               to
               a
               supreme
               perfection
               ,
               though
               the
               performance
               of
               it
               is
               much
               declin'd
               in
               the
               present
               Age.
               The
               greatest
               Age
               for
               Poetry
               amongst
               the
               Romans
               
               was
               certainly
               that
               of
               
                 Augustus
                 Caesar
              
               ;
               and
               yet
               we
               are
               told
               that
               Painting
               was
               then
               at
               its
               lowest
               Ebb
               ,
               and
               perhaps
               Sculpture
               was
               also
               declining
               at
               the
               same
               time
               .
               In
               the
               Reign
               of
               Domitian
               ,
               and
               some
               who
               succeeded
               him
               ,
               Poetry
               was
               but
               meanly
               cultivated
               ,
               but
               Painting
               eminently
               flourish'd
               .
               I
               am
               not
               here
               to
               give
               the
               History
               of
               the
               
                 two
                 Arts
              
               ;
               how
               they
               were
               both
               in
               a
               manner
               extinguish'd
               ,
               by
               the
               Irruption
               of
               the
               barbarous
               Nations
               ,
               and
               both
               restor'd
               about
               the
               times
               of
               Leo
               the
               Tenth
               ,
               Charles
               the
               Fifth
               ,
               and
               Francis
               the
               First
               ;
               though
               I
               might
               observe
               ,
               that
               neither
               Ariosto
               ,
               nor
               any
               of
               his
               
                 Contemporary
                 Poets
              
               ever
               arriv'd
               at
               the
               Excellency
               of
               
                 Raphael
                 ,
                 Titian
              
               ,
               and
               the
               rest
               in
               Painting
               .
               But
               in
               revenge
               at
               this
               time
               ,
               or
               lately
               in
               many
               Countries
               ,
               Poetry
               is
               better
               practis'd
               than
               her
               Sister-Art
               .
               To
               what
               height
               the
               Magnificence
               and
               Encouragement
               of
               the
               present
               
                 King
                 of
                 France
              
               may
               carry
               Painting
               and
               Sculpture
               is
               uncertain
               ,
               but
               by
               what
               he
               has
               done
               ,
               before
               the
               War
               in
               which
               he
               is
               ingag'd
               ,
               we
               may
               expect
               what
               he
               will
               do
               after
               the
               happy
               Conclusion
               of
               a
               Peace
               ,
               which
               is
               the
               Prayer
               and
               Wish
               of
               all
               those
               who
               have
               not
               an
               interest
               to
               prolong
               the
               miseries
               of
               Europe
               .
               For'tis
               most
               certain
               ,
               as
               our
               Author
               amongst
               others
               has
               observ'd
               ,
               That
               Reward
               is
               the
               Spur
               of
               Vertue
               ,
               as
               well
               in
               all
               good
               Arts
               ,
               as
               in
               all
               laudable
               Attempts
               :
               and
               Emulation
               which
               is
               the
               
               other
               Spur
               ,
               will
               never
               be
               wanting
               either
               amongst
               Poets
               or
               Painters
               ,
               when
               particular
               Rewards
               and
               Prizes
               are
               propos'd
               to
               the
               best
               deservers
               .
               But
               to
               return
               from
               this
               digression
               ,
               though
               it
               was
               almost
               necessary
               ;
               all
               the
               Rules
               of
               Painting
               are
               methodically
               ,
               concisely
               ,
               and
               yet
               clearly
               deliver'd
               in
               
                 this
                 present
                 Treatise
              
               which
               I
               have
               translated
               .
               Bossu
               has
               not
               given
               more
               exact
               Rules
               for
               the
               
                 Epique
                 Poem
              
               ,
               nor
               Dacier
               for
               Tragedy
               in
               his
               late
               excellent
               
                 Translation
                 of
                 Aristotle
              
               and
               his
               notes
               upon
               him
               ,
               than
               our
               Fresnoy
               has
               made
               for
               Painting
               ;
               with
               the
               Parallel
               of
               which
               I
               must
               resume
               my
               Discourse
               ,
               following
               my
               
               Author's
               Text
               ,
               though
               with
               more
               brevity
               than
               I
               intended
               ,
               because
               Virgil
               calls
               me
               .
               
                 The
                 principal
                 and
                 most
                 important
                 parts
                 of
                 Painting
                 ,
              
               is
               to
               know
               what
               
                 is
                 most
                 beautifull
                 in
                 Nature
                 ,
                 and
                 most
                 proper
                 for
                 that
                 Art
                 :
              
               that
               which
               is
               the
               most
               beautifull
               is
               the
               most
               noble
               Subject
               :
               so
               in
               
                 Poetry
                 ,
                 Tragedy
              
               is
               more
               beautifull
               than
               Comedy
               ;
               because
               ,
               as
               I
               said
               ,
               the
               Persons
               are
               greater
               whom
               the
               Poet
               instructs
               ,
               and
               consequently
               the
               instructions
               of
               more
               benefit
               to
               Mankind
               :
               the
               action
               is
               likewise
               greater
               and
               more
               noble
               ,
               and
               thence
               is
               deriv'd
               the
               greater
               and
               more
               noble
               Pleasure
               .
            
             
               To
               imitate
               Nature
               well
               in
               whatsoever
               Subject
               ,
               is
               the
               perfection
               of
               
                 both
                 Arts
              
               ;
               and
               that
               Picture
               and
               that
               Poem
               which
               comes
               nearest
               to
               the
               resemblance
               
               of
               Nature
               is
               the
               best
               .
               But
               it
               follows
               not
               ,
               that
               what
               pleases
               most
               in
               either
               kind
               is
               therefore
               good
               ;
               but
               what
               ought
               to
               please
               .
               Our
               deprav'd
               Appetites
               ,
               and
               ignorance
               of
               the
               Arts
               ,
               mislead
               our
               Judgments
               ,
               and
               cause
               us
               often
               to
               take
               that
               for
               true
               imitation
               of
               Nature
               ,
               which
               has
               no
               resemblance
               of
               Nature
               in
               it
               .
               To
               inform
               our
               Judgments
               ,
               and
               to
               reform
               our
               Tasts
               ,
               Rules
               were
               invented
               ,
               that
               by
               them
               we
               might
               discern
               when
               Nature
               was
               imitated
               ,
               and
               how
               nearly
               .
               I
               have
               been
               forc'd
               to
               recapitulate
               these
               things
               ,
               because
               Mankind
               is
               not
               more
               liable
               to
               deceit
               ,
               than
               it
               is
               willing
               to
               continue
               in
               a
               pleasing
               error
               strengthen'd
               by
               a
               long
               habitude
               .
               The
               imitation
               of
               nature
               is
               therefore
               justly
               constituted
               as
               the
               general
               ,
               and
               indeed
               the
               onely
               Rule
               of
               pleasing
               both
               in
               Poetry
               and
               
                 Painting
                 .
                 Aristotle
              
               tells
               us
               ,
               that
               imitation
               pleases
               ,
               because
               it
               affords
               matter
               for
               a
               Reasoner
               to
               enquire
               into
               the
               truth
               or
               falshood
               of
               Imitation
               ,
               by
               comparing
               its
               likeness
               or
               unlikeness
               with
               the
               Original
               .
               But
               by
               this
               Rule
               ,
               every
               Speculation
               in
               Nature
               ,
               whose
               truth
               falls
               under
               the
               enquiry
               of
               a
               Philosopher
               ,
               must
               produce
               the
               same
               delight
               which
               is
               not
               true
               ;
               I
               should
               rather
               assign
               another
               reason
               .
               Truth
               is
               the
               Object
               of
               our
               Understanding
               as
               Good
               is
               of
               our
               Will
               :
               And
               the
               Understanding
               can
               no
               more
               be
               delighted
               with
               a
               Lye
               ,
               than
               the
               Will
               can
               
               choose
               an
               apparent
               Evil.
               As
               Truth
               is
               the
               end
               of
               all
               our
               Speculations
               ,
               so
               the
               discovery
               of
               it
               is
               the
               pleasure
               of
               them
               .
               And
               since
               a
               true
               knowledge
               of
               Nature
               gives
               us
               pleasure
               ,
               a
               lively
               imitation
               of
               it
               ,
               either
               in
               Poetry
               or
               Painting
               ,
               must
               of
               necessity
               produce
               a
               much
               greater
               .
               For
               both
               these
               Arts
               as
               I
               said
               before
               ,
               are
               not
               onely
               true
               imitations
               of
               Nature
               ,
               but
               of
               the
               best
               Nature
               ,
               of
               that
               which
               is
               wrought
               up
               to
               a
               nobler
               pitch
               .
               They
               present
               us
               with
               Images
               more
               perfect
               than
               the
               Life
               in
               any
               individual
               :
               and
               we
               have
               the
               pleasure
               to
               see
               all
               the
               scatter'd
               Beauties
               of
               Nature
               united
               by
               a
               
                 happy
                 Chymistry
              
               ,
               without
               its
               deformities
               or
               faults
               .
               They
               are
               imitations
               of
               the
               passions
               which
               always
               move
               ,
               and
               therefore
               consequently
               please
               :
               for
               without
               motion
               there
               can
               be
               no
               delight
               ;
               which
               cannot
               be
               consider'd
               ,
               but
               as
               an
               active
               passion
               .
               When
               we
               view
               these
               Elevated
               Idea's
               of
               Nature
               ,
               the
               result
               of
               that
               view
               is
               Admiration
               ,
               which
               is
               always
               the
               cause
               of
               Pleasure
               .
            
             
               This
               foregoing
               Remark
               ,
               which
               gives
               the
               reason
               why
               imitation
               pleases
               ;
               was
               sent
               me
               by
               Mr.
               
                 Walter
                 Moyle
              
               ,
               a
               most
               ingenious
               young
               Gentleman
               ,
               conversant
               in
               all
               the
               Studies
               of
               Humanity
               ,
               much
               above
               his
               years
               .
               He
               had
               also
               furnish'd
               me
               (
               according
               to
               my
               request
               )
               with
               all
               the
               particular
               passages
               in
               Aristotle
               and
               Horace
               ,
               which
               are
               us'd
               
               by
               them
               to
               explain
               the
               Art
               of
               Poetry
               by
               that
               of
               Painting
               :
               which
               if
               ever
               I
               have
               time
               to
               retouch
               this
               Essay
               ,
               shall
               be
               inserted
               in
               their
               places
               .
               Having
               thus
               shewn
               that
               Imitation
               pleases
               ,
               and
               why
               it
               pleases
               in
               
                 both
                 these
                 Arts
              
               ,
               it
               follows
               that
               some
               Rules
               of
               Imitation
               are
               necessary
               to
               obtain
               the
               end
               :
               for
               without
               Rules
               there
               can
               be
               no
               Art
               ;
               any
               more
               than
               there
               can
               be
               a
               House
               without
               a
               Door
               to
               conduct
               you
               into
               it
               .
               The
               principal
               parts
               of
               Painting
               and
               Poetry
               next
               follow
               .
            
             
               Invention
               is
               the
               first
               part
               ,
               and
               absolutely
               necessary
               to
               them
               both
               :
               yet
               no
               Rule
               ever
               was
               or
               ever
               can
               be
               given
               how
               to
               compass
               it
               .
               A
               happy
               Genius
               is
               the
               gift
               of
               Nature
               :
               it
               depends
               on
               the
               influence
               of
               the
               Stars
               say
               the
               Astrologers
               ,
               on
               the
               Organs
               of
               the
               Body
               say
               the
               Naturalists
               ;
               't
               is
               the
               particular
               gift
               of
               Heaven
               say
               the
               Divines
               ,
               both
               Christians
               and
               Heathens
               .
               How
               to
               improve
               it
               many
               Books
               can
               teach
               us
               ;
               how
               to
               obtain
               in
               none
               ;
               that
               nothing
               can
               be
               done
               without
               it
               all
               agree
               .
               
                 Tu
                 nibil
                 invitâ
                 dices
                 faciesve
                 Minervâ
                 .
              
               Without
               Invention
               a
               Painter
               is
               but
               a
               Copier
               ,
               and
               a
               Poet
               but
               a
               Plagiary
               of
               others
               .
               Both
               are
               allow'd
               sometimes
               to
               copy
               and
               translate
               ;
               but
               as
               our
               Authour
               tells
               you
               that
               is
               not
               the
               best
               part
               of
               their
               Reputation
               .
               
               
                 Imitatours
                 are
                 but
                 a
                 Servile
                 kind
                 of
                 Cattle
                 ,
              
               says
               the
               Poet
               ;
               or
               at
               best
               ,
               the
               Keepers
               of
               Cattle
               for
               other
               men
               ;
               they
               have
               nothing
               which
               is
               properly
               their
               own
               ;
               that
               is
               a
               sufficient
               mortification
               for
               me
               while
               I
               am
               translating
               Virgil.
               But
               to
               copy
               the
               best
               Authour
               is
               a
               kind
               of
               praise
               ,
               if
               I
               perform
               it
               as
               I
               ought
               .
               As
               a
               Copy
               after
               Raphael
               is
               more
               to
               be
               commended
               ,
               than
               an
               Original
               of
               any
               indifferent
               Painter
               .
            
             
               Under
               this
               head
               of
               Invention
               is
               plac'd
               the
               
                 Disposition
                 of
                 the
                 Work
              
               ,
               to
               put
               all
               things
               in
               a
               beautifull
               order
               and
               harmony
               ;
               that
               the
               whole
               may
               be
               of
               a
               piece
               .
               The
               Compositions
               of
               the
               Painter
               shou'd
               be
               conformable
               to
               the
               Text
               of
               
                 Ancient
                 Authours
              
               ,
               to
               the
               Customs
               ,
               and
               the
               Times
               .
               And
               this
               is
               exactly
               the
               same
               in
               
                 Poetry
                 ;
                 Homer
              
               ,
               and
               Virgil
               ,
               are
               to
               be
               our
               guides
               in
               the
               
                 Epique
                 ;
                 Sophocles
              
               ,
               and
               Euripides
               ,
               in
               Tragedy
               :
               in
               all
               things
               we
               are
               to
               imitate
               the
               Customs
               ,
               and
               the
               Times
               of
               those
               Persons
               and
               Things
               which
               we
               represent
               .
               Not
               to
               make
               new
               Rules
               of
               the
               Drama
               ,
               as
               
                 Lopez
                 de
                 Vega
              
               has
               attempted
               unsuccessfully
               to
               do
               ;
               but
               to
               be
               content
               to
               follow
               our
               Masters
               ,
               who
               understood
               Nature
               better
               than
               we
               .
               But
               if
               the
               Story
               which
               we
               treat
               be
               modern
               ,
               we
               are
               to
               vary
               the
               Customs
               ,
               according
               to
               the
               Time
               and
               the
               Country
               where
               the
               Scene
               of
               Action
               lies
               :
               for
               this
               is
               still
               to
               imitate
               
               Nature
               ,
               which
               is
               always
               the
               same
               ,
               though
               in
               a
               different
               dress
               .
            
             
               As
               in
               the
               Composition
               of
               a
               Picture
               ,
               the
               Painter
               is
               to
               take
               care
               that
               nothing
               enter
               into
               it
               ,
               which
               is
               not
               proper
               ,
               or
               convenient
               to
               the
               Subject
               ;
               so
               likewise
               is
               the
               Poet
               to
               reject
               all
               incidents
               which
               are
               foreign
               to
               his
               Poem
               ,
               and
               are
               naturally
               no
               parts
               of
               it
               :
               they
               are
               Wenns
               ,
               and
               other
               Excrescences
               ,
               which
               belong
               not
               to
               the
               Body
               ,
               but
               deform
               it
               .
               no
               person
               ,
               no
               incident
               in
               the
               Piece
               ,
               or
               in
               the
               Play
               ,
               but
               must
               be
               of
               use
               to
               carry
               on
               the
               
                 main
                 Design
              
               .
               All
               things
               else
               are
               like
               six
               fingers
               to
               the
               hand
               ;
               when
               Nature
               which
               is
               superfluous
               in
               nothing
               ,
               can
               do
               her
               work
               with
               five
               .
               A
               Painter
               must
               reject
               all
               trifling
               Ornaments
               ,
               so
               must
               a
               Poet
               refuse
               all
               tedious
               ,
               and
               unnecessary
               Descriptions
               .
               A
               Robe
               which
               is
               too
               heavy
               ,
               is
               less
               an
               Ornament
               than
               a
               Burthen
               .
            
             
               In
               
                 Poetry
                 Horace
              
               calls
               these
               things
               ,
               
                 Versus
                 inopes
                 rerum
                 ,
                 nugaeque
                 canorae
              
               ;
               these
               are
               also
               the
               
                 lucus
                 &
                 ara
                 Dianae
              
               ,
               which
               he
               mentions
               in
               the
               same
               
                 Art
                 of
                 Poetry
              
               .
               But
               since
               there
               must
               be
               Ornaments
               both
               in
               
                 Painting
                 and
                 Poetry
              
               ,
               if
               they
               are
               not
               necessary
               ,
               they
               must
               at
               least
               be
               decent
               :
               that
               is
               ,
               in
               their
               due
               place
               ,
               and
               but
               moderately
               us'd
               .
               The
               Painter
               is
               not
               to
               take
               so
               much
               pains
               about
               the
               Drapery
               as
               about
               the
               Face
               ,
               where
               the
               principal
               
               resemblance
               lies
               :
               neither
               is
               the
               Poet
               who
               is
               working
               up
               a
               passion
               ,
               to
               make
               similes
               which
               will
               certainly
               make
               it
               languish
               .
               My
               Montezuma
               dies
               with
               a
               fine
               one
               in
               his
               mouth
               :
               but
               it
               is
               ambitious
               and
               out
               of
               season
               .
               When
               there
               are
               more
               Figures
               in
               a
               Picture
               than
               are
               necessary
               ,
               or
               at
               least
               ornamental
               ,
               our
               Authour
               calls
               them
               
                 Figures
                 to
                 be
                 lett
              
               :
               because
               the
               Picture
               has
               no
               use
               of
               them
               .
               So
               I
               have
               seen
               in
               some
               
                 modern
                 Plays
              
               above
               twenty
               Actours
               ;
               when
               the
               Action
               has
               not
               requir'd
               half
               the
               number
               .
               In
               the
               principal
               Figures
               of
               a
               Picture
               ,
               the
               Painter
               is
               to
               employ
               the
               sinews
               of
               his
               Art
               ,
               for
               in
               them
               consists
               the
               principal
               beauty
               of
               his
               Work.
               
                 Our
                 Authour
              
               saves
               me
               the
               comparison
               with
               Tragedy
               ,
               for
               he
               says
               that
               herein
               he
               is
               to
               imitate
               the
               
                 Tragique
                 Poet
              
               ,
               who
               employs
               his
               utmost
               force
               in
               those
               places
               wherein
               consists
               the
               height
               and
               beauty
               of
               the
               Action
               .
               
                 Du
                 Fresnoy
              
               ,
               whom
               I
               follow
               ,
               makes
               Design
               or
               Drawing
               the
               second
               part
               of
               Painting
               :
               But
               the
               Rules
               which
               he
               gives
               concerning
               the
               
                 Posture
                 of
                 the
                 Figures
              
               ,
               are
               almost
               wholly
               proper
               to
               
                 that
                 Art
              
               ;
               and
               admit
               not
               any
               comparison
               that
               I
               know
               with
               Poetry
               .
               The
               
                 Posture
                 of
                 a
                 Poetique
                 Figure
              
               is
               as
               I
               conceive
               ,
               the
               Description
               of
               his
               Heroes
               in
               the
               performance
               of
               such
               or
               such
               an
               Action
               :
               as
               of
               Achilles
               just
               in
               the
               act
               of
               killing
               Hector
               :
               or
               of
               Aeneas
               who
               has
               Turnus
               under
               him
               .
               Both
               the
               Poet
               and
               the
               
               Painter
               vary
               the
               Postures
               according
               to
               the
               Action
               ,
               or
               Passion
               which
               they
               represent
               of
               the
               same
               person
               .
               But
               all
               must
               be
               great
               and
               gracefull
               in
               them
               .
               The
               same
               Aeneas
               must
               be
               drawn
               a
               Suppliant
               to
               Dido
               with
               respect
               in
               his
               Gestures
               ,
               and
               humility
               in
               his
               Eyes
               :
               But
               when
               he
               is
               forc'd
               in
               his
               own
               defence
               to
               kill
               Lausus
               ,
               the
               Poet
               shows
               him
               compassionate
               ,
               and
               tempering
               the
               severity
               of
               his
               looks
               with
               a
               reluctance
               to
               the
               Action
               ,
               which
               he
               is
               going
               to
               perform
               .
               He
               has
               pity
               on
               his
               Beauty
               ,
               and
               his
               Youth
               ;
               and
               is
               loath
               to
               destroy
               such
               a
               Master-piece
               of
               Nature
               .
               He
               considers
               Lausus
               rescuing
               his
               Father
               at
               the
               hazard
               of
               his
               own
               life
               ;
               as
               an
               Image
               of
               himself
               when
               he
               took
               Anchises
               on
               his
               Shoulders
               ,
               and
               bore
               him
               safe
               through
               the
               rage
               of
               the
               Fire
               ,
               and
               the
               opposition
               of
               his
               Enemies
               .
               And
               therefore
               in
               the
               posture
               of
               a
               retiring
               Man
               ,
               who
               avoids
               the
               Combat
               ,
               he
               stretches
               out
               his
               Arm
               in
               sign
               of
               peace
               ,
               with
               his
               right
               Foot
               drawn
               a
               little
               back
               ,
               and
               his
               Breast
               bending
               inward
               ,
               more
               like
               an
               Oratour
               than
               a
               Souldier
               ;
               and
               seems
               to
               disswade
               the
               Young
               man
               from
               pulling
               on
               his
               destiny
               ,
               by
               attempting
               more
               than
               he
               was
               able
               to
               perform
               :
               take
               the
               passage
               as
               I
               have
               thus
               translated
               it
               .
               
                 
                   Shouts
                   of
                   Applause
                   ran
                   ringing
                   through
                   the
                   Field
                   ,
                
                 
                   To
                   see
                   the
                   Son
                   ,
                   the
                   vanquish'd
                   Father
                   shield
                   :
                
                 
                 
                   All
                   ,
                   fir'd
                   with
                   noble
                   Emulation
                   ,
                   strive
                   ;
                
                 
                   And
                   with
                   a
                   storm
                   of
                   Darts
                   to
                   distance
                   drive
                
                 
                   The
                   Trojan
                   Chief
                   ;
                   who
                   held
                   at
                   Bay
                   ,
                   from
                   far
                
                 
                   On
                   his
                   Vulcanian
                   Orb
                   ,
                   sustain'd
                   the
                   War.
                
                 
                   Aeneas
                   thus'o
                   erwhelm'd
                   on
                   every
                   side
                   ,
                
                 
                   Their
                   first
                   Assault
                   undaunted
                   did
                   abide
                   ;
                
                 
                   And
                   thus
                   to
                   Lausus
                   ,
                   loud
                   with
                   friendly
                   threatning
                   cry'd
                   ,
                
                 
                   Why
                   wilt
                   thou
                   rush
                   to
                   certain
                   death
                   ,
                   and
                   rage
                
                 
                   In
                   rash
                   attempts
                   beyond
                   thy
                   tender
                   Age
                   ,
                
                 
                   Betray'd
                   by
                   pious
                   love
                   ?
                
              
               And
               afterwards
               .
               
                 
                   He
                   griev'd
                   ,
                   he
                   wept
                   ,
                   the
                   Sight
                   an
                   Image
                   brought
                
                 
                   Of
                   his
                   own
                   Filial
                   Love
                   ;
                   a
                   sadly
                   pleasing
                   thought
                   .
                
              
               But
               beside
               the
               Outlines
               of
               the
               Posture
               ,
               the
               Design
               of
               the
               Picture
               comprehends
               in
               the
               next
               place
               the
               forms
               of
               Faces
               which
               are
               to
               be
               different
               :
               and
               so
               in
               a
               Poem
               ,
               or
               a
               Play
               ,
               must
               the
               several
               Characters
               of
               the
               Persons
               be
               distinguish'd
               from
               each
               other
               .
               I
               knew
               a
               Poet
               ,
               whom
               out
               of
               respect
               I
               will
               not
               name
               ,
               who
               being
               too
               witty
               himself
               ,
               cou'd
               draw
               nothing
               but
               Wits
               in
               a
               Comedy
               of
               his
               :
               even
               his
               Fools
               were
               infected
               with
               the
               Disease
               of
               
                 their
                 Authour
              
               .
               They
               overflow'd
               with
               smart
               Reperties
               ,
               and
               were
               only
               distinguish'd
               from
               the
               intended
               Wits
               by
               being
               call'd
               Coxcombs
               ;
               though
               they
               deserv'd
               not
               so
               scandalous
               a
               Name
               .
               Another
               ,
               who
               
               had
               a
               great
               Genius
               for
               Tragedy
               ,
               following
               the
               fury
               of
               his
               natural
               temper
               ,
               made
               every
               Man
               and
               Woman
               too
               in
               his
               Plays
               stark
               raging
               mad
               :
               there
               was
               not
               a
               sober
               person
               to
               be
               had
               for
               love
               or
               money
               .
               All
               was
               tempestuous
               and
               blustering
               ;
               Heaven
               and
               Earth
               were
               coming
               together
               at
               every
               word
               ;
               a
               meer
               Hurrican
               from
               the
               beginning
               to
               the
               end
               ,
               and
               every
               Actour
               seem'd
               to
               be
               hastning
               on
               the
               Day
               of
               Judgment
               .
            
             
               
                 Let
                 every
                 Member
                 be
                 made
                 for
                 its
                 own
                 Head
                 ,
              
               says
               our
               Authour
               ,
               not
               a
               wither'd
               Hand
               to
               a
               young
               Face
               .
               So
               in
               the
               Persons
               of
               a
               Play
               ,
               whatsoever
               is
               said
               or
               done
               by
               any
               of
               them
               ,
               must
               be
               consistent
               with
               the
               manners
               which
               the
               Poet
               has
               given
               them
               distinctly
               :
               and
               even
               the
               Habits
               must
               be
               proper
               to
               the
               degrees
               ,
               and
               humours
               of
               the
               Persons
               as
               well
               as
               in
               a
               Picture
               .
               He
               who
               enter'd
               in
               the
               first
               Act
               ,
               a
               Young
               man
               like
               Pericles
               Prince
               of
               Tyre
               ,
               must
               not
               be
               in
               danger
               in
               the
               fifth
               Act
               ,
               of
               committing
               Incest
               with
               his
               Daughter
               :
               nor
               an
               Usurer
               ,
               without
               great
               probability
               and
               causes
               of
               Repentance
               ,
               be
               turn'd
               into
               a
               
                 Cutting
                 Moorcraft
              
               .
            
             
               I
               am
               not
               satisfy'd
               that
               the
               comparison
               betwixt
               the
               
                 two
                 Arts
              
               in
               the
               last
               Paragraph
               is
               altogether
               so
               just
               as
               it
               might
               have
               been
               ;
               but
               I
               am
               sure
               of
               this
               which
               follows
               .
            
             
             
               
                 The
                 principal
                 Figure
                 of
                 the
                 Subject
                 must
                 appear
                 in
                 the
                 midst
                 of
                 the
                 Picture
                 ,
                 under
                 the
                 principal
                 Light
                 to
                 distinguish
                 it
                 from
                 the
                 rest
                 which
                 are
                 onely
                 its
                 attendants
                 .
              
               Thus
               in
               a
               Tragedy
               or
               an
               
                 Epique
                 Poem
              
               ,
               the
               Hero
               of
               the
               Piece
               must
               be
               advanc'd
               foremost
               to
               the
               view
               of
               the
               Reader
               or
               Spectator
               ;
               He
               must
               out-shine
               the
               rest
               of
               all
               the
               Characters
               ;
               He
               must
               appear
               the
               Prince
               of
               them
               ,
               like
               the
               Sun
               in
               the
               
                 Copernican
                 System
              
               ,
               encompass'd
               with
               the
               less
               noble
               Planets
               .
               Because
               the
               Hero
               is
               the
               Centre
               of
               the
               main
               Action
               ;
               all
               the
               Lines
               from
               the
               Circumference
               tend
               to
               him
               alone
               :
               He
               is
               the
               chief
               object
               of
               Pity
               in
               the
               Drama
               ,
               and
               of
               Admiration
               in
               the
               
                 Epique
                 Poem
              
               .
            
             
               As
               in
               a
               Picture
               ,
               besides
               the
               principal
               Figures
               which
               compose
               it
               ,
               and
               are
               plac'd
               in
               the
               midst
               of
               it
               ,
               there
               are
               less
               Grouppes
               or
               Knots
               of
               Figures
               dispos'd
               at
               proper
               distances
               ,
               which
               are
               parts
               of
               the
               Piece
               ,
               and
               seem
               to
               carry
               on
               the
               same
               Design
               in
               a
               more
               inferiour
               manner
               .
               So
               in
               
                 Epique
                 Poetry
              
               ,
               there
               are
               Episodes
               ,
               and
               a
               Chorus
               in
               Tragedy
               ,
               which
               are
               Members
               of
               the
               Action
               ,
               as
               growing
               out
               of
               it
               ,
               not
               inserted
               into
               it
               .
               Such
               in
               the
               
                 ninth
                 Book
              
               of
               the
               Eneids
               is
               the
               Episode
               of
               Nisus
               and
               Euryalus
               :
               the
               adventure
               belongs
               to
               them
               alone
               ;
               they
               alone
               are
               the
               Objects
               of
               Compassion
               and
               Admiration
               ;
               but
               their
               business
               which
               they
               carry
               on
               ,
               
               is
               the
               general
               Concernment
               of
               the
               Trojan
               Camp
               ,
               then
               beleaguer'd
               by
               Turnus
               and
               the
               Latines
               ,
               as
               the
               Christians
               were
               lately
               by
               the
               Turks
               .
               They
               were
               to
               advertise
               the
               chief
               Hero
               of
               the
               Distresses
               of
               his
               Subjects
               occasion'd
               by
               his
               Absence
               ,
               to
               crave
               his
               Succour
               ,
               and
               sollicite
               him
               to
               hasten
               his
               Return
               .
            
             
               The
               Grecian
               Tragedy
               was
               at
               first
               nothing
               but
               a
               Chorus
               of
               Singers
               ,
               afterwards
               one
               Actor
               was
               introduc'd
               ,
               which
               was
               the
               Poet
               himself
               ,
               who
               entertain'd
               the
               people
               with
               a
               discourse
               in
               Verse
               ,
               betwixt
               the
               Pauses
               of
               the
               Singing
               .
               This
               succeeding
               with
               the
               People
               ,
               more
               Actors
               were
               added
               to
               make
               the
               variety
               the
               greater
               ;
               and
               in
               process
               of
               time
               ,
               the
               Chorus
               onely
               sung
               betwixt
               the
               Acts
               ;
               and
               the
               Coriphaeus
               ,
               or
               Chief
               of
               them
               spoke
               for
               the
               rest
               ,
               as
               an
               Actor
               concern'd
               in
               the
               business
               of
               the
               Play.
               
            
             
               Thus
               Tragedy
               was
               perfected
               by
               degrees
               ,
               and
               being
               arriv'd
               at
               that
               Perfection
               ,
               the
               Painters
               might
               probably
               take
               the
               hint
               from
               thence
               ,
               of
               adding
               Grouppes
               to
               their
               Pictures
               .
               But
               as
               a
               good
               Picture
               may
               be
               without
               a
               Grouppe
               ;
               so
               a
               good
               Tragedy
               may
               subsist
               without
               a
               Chorus
               :
               notwithstanding
               any
               reasons
               which
               have
               been
               given
               by
               Dacier
               to
               the
               contrary
               .
            
             
               Monsieur
               Racine
               has
               indeed
               us'd
               it
               in
               his
               Esther
               ,
               but
               not
               that
               he
               found
               any
               necessity
               of
               it
               ,
               as
               
               the
               
                 French
                 Critique
              
               would
               insinuate
               .
               The
               Chorus
               at
               St.
               Cyr
               ,
               was
               onely
               to
               give
               the
               young
               Ladies
               an
               occasion
               of
               entertaining
               the
               King
               with
               vocal
               Musick
               ,
               and
               of
               commending
               their
               own
               Voices
               .
               The
               Play
               it self
               was
               never
               intended
               for
               the
               publick
               Stage
               ,
               nor
               without
               disparagement
               to
               the
               learned
               Author
               ,
               could
               possibly
               have
               succeeded
               there
               ,
               and
               much
               less
               the
               Translation
               of
               it
               here
               .
               Mr.
               Wicherly
               ,
               when
               we
               read
               it
               together
               was
               of
               my
               opinion
               in
               this
               ,
               or
               rather
               I
               of
               his
               ;
               for
               it
               becomes
               me
               so
               to
               speak
               of
               so
               excellent
               a
               Poet
               ,
               and
               so
               great
               a
               Iudge
               .
               But
               since
               I
               am
               in
               this
               place
               ,
               as
               Virgil
               says
               ,
               
                 Spatiis
                 exclusus
                 iniquis
              
               ;
               that
               is
               ,
               shorten'd
               in
               my
               time
               ,
               I
               will
               give
               no
               other
               reason
               ,
               than
               that
               it
               is
               impracticable
               on
               our
               Stage
               .
               A
               new
               Theatre
               much
               more
               ample
               and
               much
               deeper
               must
               be
               made
               for
               that
               purpose
               ,
               besides
               the
               cost
               of
               sometimes
               forty
               or
               fifty
               Habits
               ,
               which
               is
               an
               expence
               too
               large
               ,
               to
               be
               supply'd
               by
               a
               
                 Company
                 of
                 Actors
              
               .
               'T
               is
               true
               ,
               I
               should
               not
               be
               sorry
               to
               see
               a
               Chorus
               on
               a
               Theatre
               ,
               more
               than
               as
               large
               and
               as
               deep
               again
               as
               ours
               ,
               built
               and
               adorn'd
               at
               a
               
               King's
               Charges
               ,
               and
               on
               that
               condition
               ,
               and
               another
               ,
               which
               is
               ,
               That
               my
               Hands
               were
               not
               bound
               behind
               me
               ,
               as
               now
               they
               are
               ;
               I
               should
               not
               despair
               of
               making
               such
               a
               Tragedy
               ,
               as
               might
               be
               both
               instructive
               and
               delightfull
               ,
               according
               to
               the
               manner
               of
               the
               Grecians
               .
            
             
             
               To
               make
               a
               Sketch
               ,
               or
               a
               more
               perfect
               Model
               of
               a
               Picture
               ,
               is
               in
               the
               Language
               of
               Poets
               ,
               to
               draw
               up
               the
               Scenary
               of
               a
               Play
               ,
               and
               the
               reason
               is
               the
               same
               for
               both
               ;
               to
               guide
               the
               Undertaking
               ,
               and
               to
               preserve
               the
               Remembrance
               of
               such
               things
               ,
               whose
               Natures
               are
               difficult
               to
               retain
               .
            
             
               To
               avoid
               Absurdities
               and
               Incongruities
               ,
               is
               the
               same
               Law
               establish'd
               for
               both
               Arts.
               The
               Painter
               is
               not
               to
               paint
               a
               Cloud
               at
               the
               Bottom
               of
               a
               Picture
               ,
               but
               in
               the
               uppermost
               parts
               :
               nor
               the
               Poet
               to
               place
               what
               is
               proper
               to
               the
               end
               or
               middle
               in
               the
               beginning
               of
               a
               Poem
               .
               I
               might
               enlarge
               on
               this
               ,
               but
               there
               are
               few
               Poets
               or
               Painters
               ,
               who
               can
               be
               suppos'd
               to
               sin
               so
               grosly
               against
               the
               Laws
               of
               Nature
               ,
               and
               of
               Art.
               I
               remember
               onely
               one
               Play
               ,
               and
               for
               once
               I
               will
               call
               it
               by
               its
               name
               ,
               
                 The
                 Slighted
                 Maid
              
               :
               where
               there
               is
               nothing
               in
               the
               
                 First
                 Act
              
               ,
               but
               what
               might
               have
               been
               said
               or
               done
               in
               the
               Fifth
               ;
               nor
               any
               thing
               in
               the
               Midst
               ,
               which
               might
               not
               have
               been
               plac'd
               as
               well
               in
               the
               Beginning
               or
               the
               End.
               To
               express
               the
               Passions
               which
               are
               seated
               in
               the
               Heart
               by
               outward
               Signs
               ,
               is
               one
               great
               Precept
               of
               the
               Painters
               ,
               and
               very
               difficult
               to
               perform
               .
               In
               Poetry
               ,
               the
               same
               Passions
               and
               Motions
               of
               the
               Mind
               are
               to
               be
               express'd
               ;
               and
               in
               this
               consists
               the
               principal
               Difficulty
               ,
               as
               well
               as
               the
               Excellency
               of
               
                 that
                 Art.
              
               This
               ,
               says
               my
               Author
               ,
               is
               the
               Gift
               of
               Iupiter
               :
               
               and
               to
               speak
               in
               the
               same
               
                 Heathen
                 Language
              
               ,
               we
               call
               it
               the
               Gift
               of
               our
               Apollo
               :
               not
               to
               be
               obtain'd
               by
               Pains
               or
               Study
               ,
               if
               we
               are
               not
               born
               to
               it
               .
               For
               the
               Motions
               which
               are
               studied
               are
               never
               so
               natural
               ,
               as
               those
               which
               break
               out
               in
               the
               height
               of
               a
               real
               Passion
               .
               Mr.
               Otway
               possess'd
               this
               part
               as
               thoroughly
               as
               any
               of
               the
               Ancients
               or
               Moderns
               .
               I
               will
               not
               defend
               every
               thing
               in
               his
               
                 Venice
                 preserv'd
              
               ;
               but
               I
               must
               bear
               this
               testimony
               to
               his
               Memory
               ,
               That
               the
               Passions
               are
               truly
               touch'd
               in
               it
               ,
               though
               perhaps
               there
               is
               somewhat
               to
               be
               desir'd
               both
               in
               the
               Grounds
               of
               them
               ,
               and
               in
               the
               Height
               and
               Elegance
               of
               Expression
               ;
               but
               Nature
               is
               there
               which
               is
               the
               greatest
               Beauty
               .
            
             
               
                 In
                 the
                 Passions
              
               ,
               says
               our
               Author
               ,
               
                 we
                 must
                 have
                 a
                 very
                 great
                 regard
                 to
                 the
                 quality
                 of
                 the
                 Persons
                 who
                 are
                 actually
                 possess'd
                 with
                 them
                 .
              
               The
               Joy
               of
               a
               Monarch
               for
               the
               news
               of
               a
               Victory
               ,
               must
               not
               be
               express'd
               like
               the
               Ecstasy
               of
               a
               Harlequin
               on
               the
               Receipt
               of
               a
               Letter
               from
               his
               Mistress
               ;
               this
               is
               so
               much
               the
               same
               in
               
                 both
                 the
                 Arts
              
               ,
               that
               it
               is
               no
               longer
               a
               Comparison
               .
               What
               he
               says
               of
               Face-painting
               ,
               or
               the
               Protrait
               of
               any
               one
               particular
               Person
               ;
               concerning
               the
               likeness
               is
               also
               as
               applicable
               to
               Poetry
               .
               In
               the
               character
               of
               an
               Hero
               ,
               as
               well
               as
               in
               an
               inferiour
               Figure
               ,
               there
               is
               a
               better
               or
               worse
               likeness
               to
               be
               taken
               ;
               the
               better
               is
               a
               Panegyrick
               if
               it
               be
               not
               false
               ,
               and
               the
               worse
               is
               a
               
                 Libel
                 :
                 Sophocles
              
               .
               says
               Aristotle
               
               always
               drew
               men
               as
               they
               ought
               to
               be
               ,
               that
               is
               better
               than
               they
               were
               ;
               another
               ,
               whose
               name
               I
               have
               forgotten
               ,
               drew
               them
               worse
               than
               naturally
               they
               were
               .
               Euripides
               alter'd
               nothing
               in
               the
               Character
               ,
               but
               made
               them
               such
               as
               they
               were
               represented
               by
               
                 History
                 ,
                 Epique
                 Poetry
              
               or
               Tradition
               .
               Of
               the
               three
               ,
               the
               draught
               of
               Sophocles
               is
               most
               commended
               by
               Aristotle
               .
               I
               have
               follow'd
               it
               in
               that
               part
               of
               Oedipus
               ,
               which
               I
               writ
               ,
               though
               perhaps
               I
               have
               made
               him
               too
               good
               a
               man.
               But
               my
               Characters
               of
               Anthony
               and
               Cleopatra
               ,
               though
               they
               are
               favourable
               to
               them
               ,
               have
               nothing
               of
               outrageous
               Panegyrick
               ,
               their
               Passions
               were
               their
               own
               ,
               and
               such
               as
               were
               given
               them
               by
               History
               ,
               onely
               the
               deformities
               of
               them
               were
               cast
               into
               Shadows
               ,
               that
               they
               might
               be
               Objects
               of
               Compassion
               ;
               whereas
               if
               I
               had
               chosen
               a
               
                 Noon-day
                 Light
              
               for
               them
               ,
               somewhat
               must
               have
               been
               discover'd
               ,
               which
               would
               rather
               have
               mov'd
               our
               Hatred
               than
               our
               Pity
               .
            
             
               The
               Gothique
               manner
               ,
               and
               the
               barbarous
               Ornaments
               ,
               which
               are
               to
               be
               avoided
               in
               a
               Picture
               ,
               are
               just
               the
               same
               with
               those
               in
               an
               ill
               order'd
               Play.
               For
               example
               ,
               our
               
                 English
                 Tragicomedy
              
               must
               be
               confess'd
               to
               be
               wholly
               Gothique
               ,
               notwithstanding
               the
               Success
               which
               it
               has
               found
               upon
               our
               Theatre
               ,
               and
               in
               the
               
                 Pastor
                 Fido
              
               of
               Guarini
               ;
               even
               though
               Corisca
               and
               the
               Satyr
               contribute
               somewhat
               to
               the
               main
               Action
               .
               
               Neither
               can
               I
               defend
               my
               
                 Spanish
                 Fryar
              
               ,
               as
               fond
               as
               otherwise
               I
               am
               of
               it
               from
               this
               Imputation
               :
               for
               though
               the
               comical
               parts
               are
               diverting
               ,
               and
               the
               serious
               moving
               ,
               yet
               they
               are
               of
               an
               unnatural
               mingle
               .
               For
               Mirch
               and
               Gravity
               destroy
               each
               other
               ,
               and
               are
               no
               more
               to
               be
               allow'd
               for
               decent
               ,
               than
               a
               gay
               Widow
               laughing
               in
               a
               mourning
               Habit.
               
            
             
               I
               had
               almost
               forgotten
               one
               considerable
               
                 resemblance
                 .
                 Du
                 Fresnoy
              
               tells
               us
               ,
               
                 That
                 the
                 Figures
                 of
                 the
                 Grouppes
                 ,
                 must
                 not
                 be
                 all
                 on
                 a
                 side
                 ,
                 that
                 is
                 ,
                 with
                 their
                 Face
                 and
                 Bodies
                 all
                 turn'd
                 the
                 same
                 way
                 ;
                 but
                 must
                 contrast
                 each
                 other
                 by
                 their
                 several
                 positions
                 .
              
               Thus
               in
               a
               Play
               ,
               some
               characters
               must
               be
               rais'd
               to
               oppose
               other
               ;
               and
               to
               set
               them
               off
               the
               better
               ,
               according
               to
               the
               old
               Maxim
               ,
               
                 Contraria
                 juxta
                 se
                 posita
                 ,
                 magis
                 elucescunt
                 .
              
               Thus
               in
               the
               
                 Scornfull
                 Lady
              
               ,
               the
               Usurer
               is
               set
               to
               confront
               the
               Prodigal
               .
               Thus
               in
               my
               
                 Tyrannicque
                 Love
              
               ,
               the
               Atheist
               Maximin
               is
               oppos'd
               to
               the
               character
               of
               St.
               Catharine
               .
            
             
               I
               am
               now
               come
               ,
               though
               with
               the
               omission
               of
               many
               Likenesses
               ,
               to
               the
               third
               Part
               of
               Painting
               ,
               which
               is
               call'd
               the
               Cromatique
               or
               
                 Colouring
                 .
                 Expression
              
               ,
               and
               all
               that
               belongs
               to
               words
               ,
               is
               that
               in
               a
               Poem
               ,
               which
               Colouring
               is
               in
               a
               Picture
               .
               The
               Colours
               well
               chosen
               in
               their
               proper
               places
               ,
               together
               with
               the
               Lights
               and
               Shadows
               which
               belong
               to
               them
               ,
               lighten
               the
               Design
               ,
               and
               make
               it
               pleasing
               
               to
               the
               Eye
               .
               The
               Words
               ,
               the
               Expressions
               ,
               the
               Tropes
               and
               Figures
               ,
               the
               Versification
               ,
               and
               all
               the
               other
               Elegancies
               of
               Sound
               ,
               as
               Cadences
               ,
               Turns
               of
               Words
               upon
               the
               Thought
               ,
               and
               many
               other
               things
               which
               are
               all
               parts
               of
               expression
               ,
               perform
               exactly
               the
               same
               Office
               both
               in
               Dramatique
               and
               
                 Epique
                 Poetry
              
               .
               Our
               Author
               calls
               Colouring
               ,
               
                 Lena
                 Sororis
              
               ,
               in
               plain
               English
               ,
               
                 The
                 Bawd
                 of
                 her
                 Sister
              
               the
               Design
               or
               Drawing
               :
               she
               cloaths
               ,
               she
               dresses
               her
               up
               ,
               she
               paints
               her
               ,
               she
               makes
               her
               appear
               more
               lovely
               than
               naturally
               she
               is
               ,
               she
               procures
               for
               the
               Design
               ,
               and
               makes
               Lovers
               for
               her
               .
               For
               the
               Design
               of
               it self
               ,
               is
               onely
               so
               many
               naked
               lines
               .
               Thus
               in
               Poetry
               ,
               the
               Expression
               is
               that
               which
               charms
               the
               Reader
               ,
               and
               beautifies
               the
               Design
               which
               is
               onely
               the
               Out-lines
               of
               the
               Fables
               .
               'T
               is
               true
               ,
               the
               Design
               must
               of
               it self
               be
               good
               ;
               if
               it
               be
               vicious
               or
               (
               in
               one
               word
               )
               unpleasing
               ,
               the
               cost
               of
               Colouring
               is
               thrown
               away
               upon
               it
               .
               'T
               is
               an
               ugly
               woman
               in
               a
               rich
               Habit
               set
               out
               with
               Jewels
               ,
               nothing
               can
               become
               her
               :
               but
               granting
               the
               Design
               to
               be
               moderately
               good
               ,
               't
               is
               like
               an
               excellent
               Complexion
               with
               indifferent
               Features
               ;
               the
               white
               and
               red
               well
               mingled
               on
               the
               Face
               ,
               make
               what
               was
               before
               but
               passable
               ,
               appear
               beautifull
               .
               
                 Operum
                 Colores
              
               is
               the
               very
               word
               which
               Horace
               uses
               ,
               to
               signify
               Words
               and
               elegant
               Expressions
               ,
               of
               which
               
               he
               himself
               was
               so
               great
               a
               Master
               in
               his
               Odes
               .
               Amongst
               the
               
                 Ancients
                 ,
                 Zeuxis
              
               was
               most
               famous
               for
               his
               Colouring
               .
               Amongst
               the
               
                 Moderns
                 ,
                 Titian
              
               and
               Correggio
               .
               Of
               the
               two
               
                 Ancient
                 Epique
                 Poets
              
               ,
               who
               have
               so
               far
               excell'd
               all
               the
               Moderns
               ,
               the
               Invention
               and
               Design
               were
               the
               particular
               Talents
               of
               
                 Homer
                 .
                 Virgil
              
               must
               yield
               to
               him
               in
               both
               ,
               for
               the
               Design
               of
               the
               Latine
               was
               borrowed
               from
               the
               Grecian
               :
               But
               the
               
                 dictio
                 Virgiliana
              
               ,
               the
               expression
               of
               Virgil
               ;
               his
               Colouring
               was
               incomparably
               the
               better
               ,
               and
               in
               that
               I
               have
               always
               endeavour'd
               to
               copy
               him
               .
               Most
               of
               the
               Pedants
               I
               know
               maintain
               the
               contrary
               ,
               and
               will
               have
               Homer
               excell
               even
               in
               this
               part
               .
               But
               of
               all
               people
               ,
               as
               they
               are
               the
               most
               ill
               manner'd
               ,
               so
               they
               are
               the
               worst
               Judges
               ;
               even
               of
               words
               which
               are
               their
               Province
               ,
               they
               seldom
               know
               more
               than
               the
               Grammatical
               construction
               ,
               unless
               they
               are
               born
               with
               a
               
                 Poetical
                 Genius
              
               ;
               which
               is
               a
               rare
               Portion
               amongst
               them
               .
               Yet
               some
               I
               know
               may
               stand
               excepted
               ;
               and
               such
               I
               honour
               .
               Virgil
               is
               so
               exact
               in
               every
               word
               ,
               that
               none
               can
               be
               chang'd
               but
               for
               a
               worse
               :
               nor
               any
               one
               remov'd
               from
               its
               place
               ,
               but
               the
               harmony
               will
               be
               alter'd
               .
               He
               pretends
               sometimes
               to
               trip
               ;
               but
               't
               is
               onely
               to
               make
               you
               think
               him
               in
               danger
               of
               a
               fall
               ,
               when
               he
               is
               most
               secure
               .
               Like
               a
               skilfull
               dancer
               on
               the
               Ropes
               (
               if
               you
               will
               pardon
               the
               
               meanness
               of
               the
               similitude
               )
               who
               slips
               willingly
               and
               makes
               a
               seeming
               stumble
               ,
               that
               you
               may
               think
               him
               in
               great
               hazard
               of
               breaking
               his
               neck
               ;
               while
               at
               the
               same
               time
               he
               is
               onely
               giving
               you
               a
               proof
               of
               his
               dexterity
               .
               My
               late
               Lord
               Roscomon
               was
               often
               pleas'd
               with
               this
               reflection
               ,
               and
               with
               the
               examples
               of
               it
               in
               this
               admirable
               Author
               .
            
             
               I
               have
               not
               leisure
               to
               run
               through
               the
               whole
               Comparison
               of
               Lights
               and
               Shadows
               with
               Tropes
               and
               Figures
               ;
               yet
               I
               cannot
               but
               take
               notice
               of
               Metaphors
               ,
               which
               like
               them
               have
               power
               to
               lessen
               or
               greaten
               any
               thing
               .
               Strong
               and
               
                 glowing
                 Colours
              
               are
               the
               just
               resemblances
               of
               
                 bold
                 Metaphors
              
               ,
               but
               both
               must
               be
               judiciously
               apply'd
               ;
               for
               there
               is
               a
               difference
               betwixt
               daring
               and
               fool-hardiness
               .
               Lucan
               and
               Statius
               often
               ventur'd
               them
               too
               far
               ,
               our
               Virgil
               never
               .
               But
               the
               great
               defect
               of
               the
               Pharsalia
               and
               the
               Thebais
               was
               in
               the
               Design
               ;
               if
               that
               had
               been
               more
               perfect
               ,
               we
               might
               have
               forgiven
               many
               of
               their
               bold
               strokes
               in
               the
               Colouring
               ;
               or
               at
               least
               excus'd
               them
               :
               yet
               some
               of
               them
               are
               such
               as
               Demosthenes
               or
               Cicero
               could
               not
               have
               defended
               .
               Virgil
               ,
               if
               he
               could
               have
               seen
               the
               first
               Verses
               of
               the
               Sylvae
               ,
               would
               have
               thought
               Statius
               mad
               in
               his
               sustian
               Description
               of
               the
               Statue
               on
               the
               
                 brazen
                 Horse
              
               .
               But
               
                 that
                 Poet
              
               was
               always
               in
               a
               Foam
               at
               his
               setting
               out
               ,
               even
               before
               the
               Motion
               of
               the
               Race
               had
               warm'd
               him
               .
               The
               soberness
               
               of
               Virgil
               ,
               whom
               he
               read
               it
               seems
               to
               little
               purpose
               ,
               might
               have
               shown
               him
               the
               difference
               betwixt
               ,
               
                 Arma
                 virumque
                 cano
              
               ,
               and
               
                 Magnanimum
                 AEacidem
                 ,
                 formidatamque
                 tonanti
                 Progeniem
                 .
              
               But
               Virgil
               knew
               how
               to
               rise
               by
               degrees
               in
               his
               expressions
               :
               Statius
               was
               in
               his
               towring
               heights
               at
               the
               first
               stretch
               of
               his
               Pinions
               .
               The
               description
               of
               his
               running
               Horse
               just
               starting
               in
               the
               Funeral
               Games
               for
               Archemorus
               ,
               though
               the
               Verses
               are
               wonderfully
               fine
               ,
               are
               the
               true
               Image
               of
               their
               Author
               .
               
                 
                   Stare
                   adeo
                   nescit
                   ,
                   pereunt
                   vestigia
                   mille
                
                 
                   Ante
                   fugam
                   ;
                   absentemque
                   ferit
                   gravis
                   ungula
                   campum
                   .
                
              
               Which
               would
               cost
               me
               an
               hour
               ,
               if
               I
               had
               the
               leisure
               to
               translate
               them
               ,
               there
               is
               so
               much
               of
               Beauty
               in
               the
               Original
               .
               Virgil
               ,
               as
               he
               better
               knew
               his
               Colours
               ,
               so
               he
               knew
               better
               how
               and
               where
               to
               place
               them
               .
               In
               as
               much
               hast
               as
               I
               am
               ,
               I
               cannot
               forbear
               giving
               one
               example
               .
               'T
               is
               said
               of
               him
               ,
               That
               he
               read
               the
               
                 Second
                 ,
                 Fourth
              
               and
               
                 Sixth
                 Books
              
               of
               his
               Aeneids
               to
               
                 Augustus
                 Caesar.
              
               In
               the
               Sixth
               ,
               (
               which
               we
               are
               sure
               he
               read
               ,
               because
               we
               know
               Octavia
               was
               present
               ,
               who
               rewarded
               him
               so
               bountifully
               for
               the
               twenty
               Verses
               which
               were
               made
               in
               honour
               of
               her
               deceas'd
               Son
               Marcellus
               )
               in
               this
               sixth
               Book
               I
               say
               ,
               the
               Poet
               speaking
               of
               Misenus
               the
               Trumpeter
               ,
               says
               ,
               
                 
                 
                   —
                   Quo
                   non
                   praestantior
                   alter
                   ,
                
                 
                   Aere
                   ciere
                   viros
                   ,
                   —
                
              
               And
               broke
               off
               in
               the
               Hemystick
               or
               midst
               of
               the
               Verse
               :
               but
               in
               the
               very
               reading
               siez'd
               as
               it
               were
               with
               a
               
                 divine
                 Fury
              
               ,
               he
               made
               up
               the
               latter
               part
               of
               the
               Hemystick
               ,
               with
               these
               following
               words
               ;
               
                 —
                 Martemque
                 accendere
                 cantu
                 .
              
               How
               warm
               ,
               nay
               how
               
                 glowing
                 a
                 Colouring
              
               is
               this
               !
               In
               the
               beginning
               of
               the
               Verse
               ,
               the
               word
               Aes
               ,
               or
               Brass
               ,
               was
               taken
               for
               a
               Trumpet
               ,
               because
               the
               Instument
               was
               made
               of
               that
               Metal
               ,
               which
               of
               it self
               was
               fine
               ;
               but
               in
               the
               latter
               end
               ,
               which
               was
               made
               
                 ex
                 tempore
              
               ,
               you
               see
               three
               Metaphors
               ,
               
                 Martemque
                 ,
                 —
                 accendere
                 ,
                 —
                 cantu
                 .
              
               Good
               Heavens
               !
               how
               the
               plain
               sence
               is
               rais'd
               by
               the
               Beauty
               of
               the
               words
               .
               But
               this
               was
               Happiness
               ,
               the
               former
               might
               be
               only
               Judgment
               :
               this
               was
               the
               
                 curiosa
                 felicitas
              
               ,
               which
               Petronius
               attributes
               to
               Horace
               ;
               't
               is
               the
               Pencil
               thrown
               luckily
               full
               upon
               the
               Horses
               mouth
               to
               express
               the
               Foam
               which
               the
               Painter
               with
               all
               his
               skill
               could
               not
               perform
               without
               it
               .
               These
               hits
               of
               words
               a
               true
               Poet
               often
               finds
               ,
               as
               I
               may
               say
               ,
               without
               seeking
               :
               but
               he
               knows
               their
               value
               when
               he
               finds
               them
               ,
               and
               is
               infinitely
               pleas'd
               .
               A
               
                 bad
                 Poet
              
               may
               
               sometimes
               light
               on
               them
               ,
               but
               he
               discerns
               not
               a
               Diamond
               from
               a
               
                 Bristol
                 ●●stone
              
               ;
               and
               would
               have
               been
               of
               the
               Cocks
               mind
               in
               Aesop
               ,
               a
               
                 Grain
                 of
                 Barley
              
               would
               have
               pleas'd
               him
               better
               than
               the
               Iewel
               .
               The
               Lights
               and
               Shadows
               which
               belongs
               to
               Colouring
               ,
               put
               me
               in
               mind
               of
               that
               Verse
               in
               
                 Horace
                 ,
                 Hoc
                 amat
                 obscurum
                 ,
                 vult
                 hoc
                 sub
                 luce
                 videri
                 :
              
               some
               parts
               of
               a
               Poem
               require
               to
               be
               amply
               written
               ,
               and
               with
               all
               the
               force
               and
               elegance
               of
               Words
               :
               others
               must
               be
               cast
               into
               Shadows
               ;
               that
               is
               ,
               pass'd
               over
               in
               silence
               ,
               or
               but
               faintly
               touch'd
               .
               This
               belongs
               wholly
               to
               the
               Judgment
               of
               the
               Poet
               and
               the
               Painter
               .
               The
               most
               beautifull
               parts
               of
               the
               Picture
               and
               the
               Poem
               must
               be
               the
               most
               finish'd
               ,
               the
               Colours
               and
               Words
               most
               chosen
               ;
               many
               things
               in
               both
               which
               are
               not
               deserving
               of
               this
               care
               ,
               must
               be
               shifted
               off
               ;
               content
               with
               vulgar
               expressions
               and
               those
               very
               short
               ,
               and
               left
               as
               in
               a
               shadow
               to
               the
               imagination
               of
               the
               Reader
               .
            
             
               We
               have
               the
               Proverb
               ,
               
                 manum
                 de
                 tabulâ
              
               ,
               from
               the
               Painters
               ;
               which
               signifies
               ,
               to
               know
               when
               to
               give
               over
               ,
               and
               to
               lay
               by
               the
               Pencil
               .
               Both
               Homer
               and
               Virgil
               practis'd
               this
               Precept
               wonderfully
               well
               ,
               but
               Virgil
               the
               better
               of
               the
               two
               .
               Homer
               knew
               that
               when
               Hector
               was
               slain
               ,
               Troy
               was
               as
               good
               as
               already
               taken
               ;
               therefore
               he
               concludes
               his
               Action
               there
               .
               For
               what
               follows
               in
               the
               Funerals
               
               of
               Patroclus
               ,
               and
               the
               redemption
               of
               
               Hector's
               Body
               ,
               is
               not
               (
               properly
               speaking
               )
               a
               part
               of
               the
               main
               Action
               .
               But
               Virgil
               concludes
               with
               the
               death
               of
               Turnus
               :
               sor
               after
               that
               difficulty
               was
               remov'd
               ,
               Aeneas
               might
               marry
               and
               establish
               the
               Trojans
               when
               he
               pleas'd
               .
               
                 This
                 Rule
              
               I
               had
               before
               my
               Eyes
               in
               the
               conclusion
               of
               the
               
                 Spanish
                 Fryar
              
               ,
               when
               the
               discovery
               was
               made
               ,
               that
               the
               King
               was
               living
               ,
               which
               was
               the
               knot
               of
               the
               Play
               unty'd
               ,
               the
               rest
               is
               shut
               up
               in
               the
               compass
               of
               some
               few
               lines
               ,
               because
               nothing
               then
               hinder'd
               the
               Happiness
               of
               Torismond
               and
               Leonora
               .
               The
               faults
               of
               that
               Drama
               are
               in
               the
               kind
               of
               it
               ,
               which
               is
               
                 Tragi
                 comedy
              
               .
               But
               it
               was
               given
               to
               the
               people
               ;
               and
               I
               never
               writ
               any
               thing
               for
               my self
               but
               Anthony
               and
               Cleopatra
               .
            
             
               
                 This
                 Remark
              
               I
               must
               acknowledge
               is
               not
               so
               proper
               for
               the
               Colouring
               as
               the
               Design
               ;
               but
               it
               will
               hold
               for
               both
               .
               As
               the
               words
               ,
               &c.
               are
               evidently
               shown
               to
               be
               the
               cloathing
               of
               the
               Thought
               ,
               in
               the
               same
               sense
               as
               Colours
               are
               the
               cloathing
               of
               the
               Design
               ,
               so
               the
               Painter
               and
               the
               Poet
               ought
               to
               judge
               exactly
               ,
               when
               the
               Colouring
               and
               Expressions
               are
               perfect
               ,
               and
               then
               to
               think
               their
               work
               is
               truly
               finish'd
               .
               Apelles
               said
               of
               
                 Protogenes
                 ,
                 That
                 he
                 knew
                 not
                 when
                 to
                 give
                 over
                 .
              
               A
               work
               may
               be
               over-wrought
               as
               well
               as
               under-wrought
               :
               too
               much
               Labour
               often
               takes
               away
               the
               Spirit
               by
               adding
               to
               
               the
               polishing
               ;
               so
               that
               there
               remains
               nothing
               but
               a
               dull
               correctness
               ,
               a
               piece
               without
               any
               considerable
               Faults
               ,
               but
               with
               few
               Beauties
               ;
               for
               when
               the
               Spirits
               are
               drawn
               off
               ,
               there
               is
               nothing
               but
               a
               
                 caput
                 mortuum
                 .
                 Statius
              
               never
               thought
               an
               expression
               could
               be
               bold
               enough
               ;
               and
               if
               a
               bolder
               could
               be
               found
               he
               rejected
               the
               first
               .
               Virgil
               had
               Judgment
               enough
               to
               know
               daring
               was
               necessary
               ;
               but
               he
               knew
               the
               difference
               betwixt
               a
               
                 glowing
                 Colour
              
               and
               a
               glaring
               :
               as
               when
               he
               compar'd
               the
               shocking
               of
               the
               Fleets
               at
               Actium
               to
               the
               justling
               of
               Islands
               rent
               from
               their
               Foundations
               ,
               and
               meeting
               in
               the
               Ocean
               .
               He
               knew
               the
               comparison
               was
               forc'd
               beyond
               Nature
               and
               rais'd
               too
               high
               :
               he
               therefore
               softens
               the
               Metaphor
               with
               a
               Credas
               .
               You
               would
               almost
               believe
               ,
               that
               Mountains
               or
               Islands
               rush'd
               against
               each
               other
               .
               
                 
                   —
                   Credas
                   innare
                   revulsas
                
                 
                   Cycladas
                   :
                   aut
                   montes
                   concurrere
                   montibus
                   aequos
                   .
                
              
            
             
               But
               here
               I
               must
               break
               off
               without
               finishing
               the
               Discourse
               .
            
             
               
                 Cynthius
                 aurem
                 vellit
                 &
                 admonuit
                 ,
                 &c.
              
               the
               things
               which
               are
               behind
               are
               of
               too
               nice
               a
               consideration
               for
               an
               Essay
               ,
               begun
               and
               ended
               in
               twelve
               Mornings
               ,
               and
               perhaps
               the
               Iudges
               of
               Painting
               and
               Poetry
               ,
               when
               I
               tell
               them
               ,
               how
               short
               a
               time
               it
               cost
               
               me
               ,
               may
               make
               me
               the
               same
               answer
               ,
               which
               my
               late
               Lord
               Rochester
               made
               to
               one
               ,
               who
               to
               commend
               a
               Tragedy
               ,
               said
               it
               was
               written
               in
               three
               weeks
               ;
               How
               the
               Devil
               could
               he
               be
               so
               long
               about
               it
               ?
               For
               that
               Poem
               was
               infamously
               bad
               ;
               and
               I
               doubt
               this
               Parallel
               is
               little
               better
               ;
               and
               then
               the
               shortness
               of
               the
               time
               is
               so
               far
               from
               being
               a
               Commendation
               ,
               that
               it
               is
               scarcely
               an
               Excuse
               .
               But
               if
               I
               have
               really
               drawn
               a
               Portrait
               to
               the
               Knees
               ,
               or
               an
               half
               length
               with
               a
               tolerable
               Likeness
               ,
               then
               I
               may
               plead
               with
               some
               Justice
               for
               my self
               ,
               that
               the
               rest
               is
               left
               to
               the
               Imagination
               .
               Let
               some
               better
               Artist
               provide
               himself
               of
               a
               deeper
               Canvas
               ,
               and
               taking
               these
               hints
               which
               I
               have
               given
               ,
               set
               the
               Figure
               on
               its
               Legs
               ,
               and
               finish
               it
               in
               the
               
                 Invention
                 ,
                 Design
              
               and
               Colouring
               .
            
          
           
             
             
               THE
               PREFACE
               OF
               THE
               French
               Author
               .
            
             
               AMong
               all
               the
               beautiful
               and
               delightful
               Arts
               ,
               that
               of
               Painting
               has
               always
               found
               the
               most
               Lovers
               ;
               the
               number
               of
               them
               almost
               including
               all
               Mankind
               .
               Of
               whom
               great
               multitudes
               are
               daily
               found
               ,
               who
               value
               themselves
               on
               the
               knowledge
               of
               it
               ;
               either
               because
               they
               keep
               company
               with
               Painters
               ,
               or
               that
               they
               have
               seen
               good
               Pieces
               ;
               or
               lastly
               ,
               because
               their
               Gusto
               is
               naturally
               good
               .
               Which
               notwithstanding
               ,
               that
               Knowledge
               of
               theirs
               (
               if
               we
               may
               so
               call
               it
               )
               is
               so
               very
               superficial
               ,
               and
               so
               ill
               grounded
               ,
               that
               it
               is
               impossible
               for
               them
               to
               describe
               in
               what
               consists
               the
               beauty
               of
               those
               Works
               which
               they
               admire
               ,
               or
               the
               faults
               which
               are
               in
               the
               greatest
               
               part
               of
               those
               which
               they
               condemn
               :
               and
               truly
               't
               is
               not
               hard
               to
               find
               ,
               that
               this
               proceeds
               from
               no
               other
               cause
               ,
               than
               that
               they
               are
               not
               furnish'd
               with
               Rules
               by
               which
               to
               judge
               ,
               nor
               have
               any
               solid
               Foundations
               ,
               which
               are
               as
               so
               many
               Lights
               set
               up
               to
               clear
               their
               understanding
               and
               lead
               them
               to
               an
               entire
               and
               certain
               knowledge
               .
               I
               think
               it
               superfluous
               to
               prove
               that
               this
               is
               necessary
               to
               the
               knowledge
               of
               Painting
               .
               'T
               is
               sufficient
               ,
               that
               Painting
               be
               acknowledg'd
               for
               an
               Art
               ;
               for
               that
               being
               granted
               it
               follows
               without
               dispute
               ,
               that
               no
               Arts
               are
               without
               their
               Precepts
               .
               I
               shall
               satisfy
               my self
               with
               telling
               you
               ,
               that
               this
               little
               Treatise
               will
               furnish
               you
               with
               infallible
               Rules
               of
               judging
               truly
               :
               since
               they
               are
               not
               onely
               founded
               upon
               right
               Reason
               but
               upon
               the
               best
               Pieces
               of
               the
               best
               Masters
               ,
               which
               our
               Author
               hath
               carefully
               examin'd
               during
               the
               space
               of
               more
               than
               thirty
               years
               ;
               and
               on
               which
               he
               has
               made
               all
               the
               reflections
               which
               are
               necessary
               to
               render
               this
               Treatise
               worthy
               of
               Posterity
               :
               which
               though
               little
               in
               bulk
               ,
               yet
               contains
               most
               judicious
               Remarks
               ,
               and
               suffers
               nothing
               to
               escape
               that
               is
               essential
               to
               the
               Subject
               which
               it
               handles
               .
               If
               you
               will
               please
               to
               read
               it
               with
               attention
               ,
               you
               will
               find
               it
               capable
               of
               giving
               the
               most
               nice
               and
               delicate
               sort
               of
               Knowledge
               ,
               not
               onely
               to
               the
               Lovers
               ,
               but
               even
               to
               the
               Professors
               of
               that
               Art.
               
            
             
             
               It
               would
               be
               too
               long
               to
               tell
               you
               the
               particular
               advantages
               which
               it
               has
               above
               all
               the
               Books
               which
               hath
               appear'd
               before
               it
               in
               this
               kind
               :
               you
               need
               onely
               to
               read
               it
               ,
               and
               that
               will
               convince
               you
               of
               this
               truth
               .
               All
               that
               I
               will
               allow
               my self
               to
               say
               ,
               is
               onely
               this
               ,
               That
               there
               is
               not
               a
               word
               in
               it
               ,
               which
               carries
               not
               its
               weight
               ;
               whereas
               in
               all
               others
               ,
               there
               are
               two
               considerable
               faults
               which
               lie
               open
               to
               the
               sight
               ,
               (
               viz
               )
               That
               
                 saying
                 too
                 much
                 ,
                 they
                 always
                 say
                 too
                 little
                 .
              
               I
               assure
               my self
               ,
               that
               the
               Reader
               will
               own
               't
               is
               a
               work
               of
               general
               profit
               ,
               to
               the
               Lovers
               of
               Painting
               ,
               for
               their
               instruction
               how
               to
               judge
               exactly
               ;
               and
               with
               Knowledge
               of
               the
               Cause
               ,
               which
               they
               are
               to
               judge
               .
               And
               to
               the
               Painters
               themselves
               ,
               by
               removing
               their
               difficulties
               ,
               that
               they
               may
               work
               with
               pleasure
               ;
               because
               they
               may
               be
               in
               some
               manner
               certain
               that
               their
               Productions
               are
               good
               .
               'T
               is
               to
               be
               used
               like
               Spirits
               and
               
                 precious
                 Liquours
              
               ,
               the
               less
               you
               drink
               of
               it
               at
               a
               time
               't
               is
               with
               the
               greater
               pleasure
               :
               read
               it
               often
               ,
               and
               but
               little
               at
               once
               ,
               that
               you
               may
               digest
               it
               better
               ;
               and
               dwell
               particularly
               on
               those
               passages
               which
               you
               find
               mark'd
               with
               an
               
               Asterism*
               For
               the
               observations
               which
               follow
               such
               a
               Note
               ,
               will
               give
               you
               a
               clearer
               Light
               ,
               on
               the
               matter
               which
               is
               there
               treated
               .
               You
               will
               find
               them
               by
               the
               Numbers
               which
               are
               on
               the
               side
               of
               the
               Translation
               ,
               from
               five
               
               to
               five
               Veres
               ;
               by
               searching
               for
               the
               like
               Number
               in
               the
               Remarks
               which
               are
               at
               the
               end
               of
               it
               ,
               and
               which
               are
               distinguish'd
               from
               each
               other
               by
               this
               note
               ¶
               .
               You
               will
               find
               in
               the
               latter
               Pages
               of
               this
               Book
               ,
               the
               Judgment
               of
               the
               Author
               on
               those
               Painters
               ,
               who
               have
               acquir'd
               the
               greatest
               Reputation
               in
               the
               World.
               Amongst
               whom
               ,
               he
               was
               not
               willing
               to
               comprehend
               those
               who
               are
               now
               living
               :
               They
               are
               undoubtedly
               his
               ,
               as
               being
               found
               among
               his
               Papers
               written
               in
               his
               own
               hand
               .
            
             
               As
               for
               the
               
                 Prose
                 Translation
              
               which
               you
               will
               find
               on
               the
               other
               side
               of
               the
               
                 Latine
                 Poem
              
               ,
               I
               must
               inform
               you
               on
               what
               occasion
               ,
               and
               in
               what
               manner
               it
               was
               perform'd
               .
               The
               Love
               which
               I
               had
               for
               Painting
               ,
               and
               the
               pleasure
               which
               I
               found
               in
               the
               Exercise
               of
               that
               noble
               Art
               ,
               at
               my
               leisure
               hours
               ,
               gave
               me
               the
               desire
               of
               being
               acquainted
               with
               the
               late
               Mr.
               
                 du
                 FRESNOY
              
               ;
               who
               was
               generally
               reputed
               to
               have
               a
               through
               knowledge
               of
               it
               .
               Our
               Acquaintance
               at
               length
               proceeded
               to
               that
               degree
               of
               Intimacy
               ;
               that
               he
               intrusted
               me
               with
               his
               Poem
               ,
               which
               he
               believ'd
               me
               capable
               both
               of
               understanding
               ,
               and
               translating
               ;
               and
               accordingly
               desir'd
               me
               to
               undertake
               it
               .
               The
               truth
               is
               ,
               that
               we
               had
               convers'd
               so
               often
               on
               that
               Subject
               ,
               and
               he
               had
               communicated
               his
               Thoughts
               of
               it
               so
               fully
               to
               me
               ;
               that
               I
               had
               not
               the
               least
               remaining
               difficulty
               concerning
               
               it
               .
               I
               undertook
               therefore
               to
               translate
               it
               ,
               and
               imploy'd
               my self
               in
               it
               with
               Pleasure
               ,
               Care
               ,
               and
               Assiduity
               ;
               after
               which
               ,
               I
               put
               it
               into
               his
               hands
               ,
               and
               he
               alter'd
               in
               it
               what
               he
               pleas'd
               ,
               till
               at
               last
               it
               was
               wholly
               to
               his
               Mind
               .
               And
               then
               he
               gave
               his
               Consent
               that
               it
               should
               be
               publish'd
               :
               but
               his
               Death
               preventing
               that
               Design
               ,
               I
               thought
               it
               a
               wrong
               to
               his
               Memory
               ,
               to
               deprive
               Mankind
               any
               longer
               of
               this
               Translation
               ,
               which
               I
               may
               safely
               affirm
               to
               be
               done
               according
               to
               the
               true
               sence
               of
               the
               Author
               ,
               and
               to
               his
               liking
               :
               Since
               he
               himself
               has
               given
               great
               Testimonies
               of
               his
               Approbation
               to
               many
               of
               his
               Friends
               ,
               and
               they
               who
               were
               acquainted
               with
               him
               ,
               know
               his
               humour
               to
               be
               such
               ,
               that
               he
               wou'd
               never
               constrain
               himself
               so
               far
               ,
               as
               to
               commend
               what
               he
               did
               not
               really
               approve
               .
               I
               thought
               my self
               oblig'd
               to
               say
               thus
               much
               ,
               in
               vindication
               of
               the
               faithfulness
               of
               my
               Work
               ,
               to
               those
               who
               understand
               not
               the
               Latine
               :
               for
               as
               to
               those
               who
               are
               conversant
               in
               both
               the
               tongues
               ,
               I
               leave
               them
               to
               make
               their
               own
               judgment
               of
               it
               .
            
             
               The
               Remarks
               which
               I
               have
               added
               to
               his
               work
               ,
               are
               also
               wholly
               conformable
               to
               his
               opinions
               ;
               and
               I
               am
               certain
               that
               he
               wou'd
               not
               have
               disapprov'd
               them
               .
               I
               have
               endeavour'd
               in
               them
               to
               explain
               some
               of
               the
               most
               
                 obscure
                 passages
              
               ,
               and
               those
               which
               are
               most
               necessary
               to
               be
               understood
               ;
               and
               
               I
               have
               done
               this
               according
               to
               the
               manner
               wherein
               he
               us'd
               to
               express
               himself
               ,
               in
               many
               Conversations
               which
               we
               had
               together
               .
               I
               have
               con●●in'd
               them
               also
               to
               the
               narrowest
               compass
               I
               was
               able
               ,
               that
               I
               might
               not
               tire
               the
               patience
               of
               the
               Reader
               ,
               and
               that
               they
               might
               be
               read
               by
               all
               persons
               .
               But
               if
               it
               happens
               ,
               that
               they
               are
               not
               to
               the
               tast
               of
               some
               Readers
               (
               as
               doubtless
               it
               will
               so
               fall
               out
               )
               I
               leave
               them
               entirely
               to
               their
               own
               discretion
               ,
               and
               shall
               not
               be
               displeas'd
               that
               
                 another
                 hand
              
               shou'd
               succeed
               better
               .
               I
               shall
               onely
               beg
               this
               favour
               from
               them
               ,
               that
               in
               reading
               what
               I
               have
               written
               ,
               they
               will
               bring
               no
               particular
               gusto
               along
               with
               them
               ,
               or
               any
               prevention
               of
               mind
               ,
               and
               that
               whatsoever
               judgment
               they
               make
               ,
               it
               may
               be
               purely
               their
               own
               ,
               whether
               it
               be
               in
               my
               favour
               ,
               or
               in
               my
               condemnation
               .
            
          
           
             
             
               A
               TABLE
               of
               the
               Precepts
               Contain'd
               in
               this
               TREATISE
               .
            
             
               
                 OF
                 what
                 is
                 Beautiful
                 .
                 p.
                 7
              
               
                 Of
                 Theory
                 and
                 Practice
                 .
                 8
              
               
                 Concerning
                 the
                 Subject
                 .
                 11
              
               
                 Invention
                 the
                 first
                 part
                 of
                 Painting
                 .
                 12
              
               
                 The
                 Disposition
                 of
                 the
                 whole
                 Work.
                 ib.
                 
              
               
                 The
                 Faithfulness
                 of
                 the
                 Subject
                 .
                 ib.
                 
              
               
                 Whatsoever
                 palls
                 the
                 Subject
                 to
                 be
                 rejected
                 .
                 15
              
               
                 Design
                 ,
                 or
                 Drawing
                 the
                 second
                 part
                 of
                 Painting
                 .
                 16
              
               
                 Variety
                 in
                 the
                 Figures
                 .
                 19
              
               
                 The
                 Members
                 and
                 Drapery
                 of
                 every
                 Figure
                 to
                 be
                 suitable
                 to
                 it
                 .
                 ib.
                 
              
               
                 The
                 Actions
                 of
                 Mutes
                 to
                 be
                 imitated
                 .
                 ib.
                 
              
               
                 Of
                 the
                 principal
                 Figure
                 of
                 the
                 Subject
                 .
                 ib.
                 
              
               
                 Grouppes
                 of
                 Figures
                 .
                 20
              
               
                 The
                 Diversity
                 of
                 Postures
                 in
                 the
                 Grouppes
                 .
                 ib.
                 
              
               
                 Equality
                 of
                 the
                 Piece
                 .
                 ib.
                 
              
               
                 Of
                 the
                 number
                 of
                 Figures
                 .
                 23
              
               
                 Of
                 the
                 Ioints
                 and
                 Feet
                 .
                 ib.
                 
              
               
                 The
                 Motions
                 of
                 the
                 Hands
                 and
                 Head
                 must
                 agree
                 .
                 ib.
                 
              
               
                 What
                 must
                 be
                 avoided
                 in
                 the
                 distribution
                 of
                 the
                 Figures
                 .
                 ib.
                 
              
               
                 That
                 we
                 must
                 not
                 tie
                 our selves
                 to
                 Nature
                 ,
                 but
                 accommodate
                 her
                 to
                 our
                 Genius
                 .
                 24
              
               
                 Ancient
                 Figures
                 the
                 Rules
                 of
                 imitating
                 Nature
                 .
                 27
              
               
                 A
                 single
                 Figure
                 how
                 to
                 be
                 treated
                 .
                 ib.
                 
              
               
                 Of
                 the
                 Draperies
                 .
                 ib.
                 
              
               
                 What
                 things
                 contribute
                 to
                 adorn
                 the
                 Picture
                 .
                 31
              
               
                 Of
                 precious
                 Stones
                 and
                 Pearls
                 for
                 Ornament
                 .
                 ib.
                 
              
               
                 The
                 Model
                 .
                 ib.
                 
              
               
                 The
                 Scene
                 of
                 the
                 Picture
                 .
                 ib.
                 
              
               
                 The
                 Graces
                 and
                 the
                 Nobleness
                 .
                 ib.
                 
              
               
                 Let
                 every
                 thing
                 be
                 set
                 in
                 its
                 proper
                 place
                 .
                 ib.
                 
              
               
                 Of
                 the
                 Passions
                 .
                 32
              
               
                 Gothique
                 Ornamens
                 to
                 be
                 avoided
                 .
                 ib.
                 
              
               
                 Colouring
                 the
                 third
                 part
                 of
                 Painting
                 .
                 35
              
               
                 
                 The
                 Conduct
                 of
                 the
                 Tones
                 of
                 Lights
                 and
                 Shadows
                 .
                 39
              
               
                 Of
                 dark
                 Bodies
                 on
                 light
                 grounds
                 .
                 40
              
               
                 That
                 there
                 must
                 not
                 be
                 two
                 equal
                 Lights
                 in
                 a
                 Picture
                 .
                 43
              
               
                 Of
                 White
                 and
                 Black.
                 44
              
               
                 The
                 Reflection
                 of
                 Colours
                 .
                 47
              
               
                 The
                 Vnion
                 of
                 Colours
                 .
                 ib.
                 
              
               
                 Of
                 the
                 Interposition
                 of
                 Air.
                 ib.
                 
              
               
                 The
                 relation
                 of
                 Distances
                 .
                 48
              
               
                 Of
                 Bodies
                 which
                 are
                 distanc'd
                 .
                 ib.
                 
              
               
                 Of
                 Bodies
                 which
                 are
                 contiguous
                 ,
                 and
                 of
                 those
                 which
                 are
                 seperated
                 .
                 ib.
                 
              
               
                 Contrary
                 extremities
                 to
                 be
                 avoided
                 .
                 ib.
                 
              
               
                 Diversity
                 of
                 Tones
                 and
                 Colours
                 .
                 ib.
                 
              
               
                 The
                 Choice
                 of
                 Light.
                 51
              
               
                 Of
                 certain
                 things
                 relating
                 to
                 the
                 practical
                 part
                 .
                 ib.
                 
              
               
                 The
                 Field
                 ,
                 or
                 Ground
                 of
                 the
                 Picture
                 .
                 ib.
                 
              
               
                 Of
                 the
                 Vivacity
                 of
                 Colours
                 .
                 52
              
               
                 Of
                 Shadows
                 .
                 ib.
                 
              
               
                 The
                 Picture
                 to
                 be
                 of
                 one
                 Piece
                 .
                 ib.
                 
              
               
                 The
                 Looking-glass
                 the
                 Painters
                 best
                 Master
                 .
                 ib.
                 
              
               
                 An
                 half
                 Figure
                 ,
                 or
                 a
                 whole
                 one
                 before
                 others
                 .
                 ib.
                 
              
               
                 A
                 Portrait
                 .
                 55
              
               
                 The
                 place
                 of
                 the
                 Picture
                 .
                 ib.
                 
              
               
                 Large
                 Lights
                 .
                 56
              
               
                 What
                 Lights
                 are
                 requisite
                 .
                 ib.
                 
              
               
                 Things
                 which
                 are
                 vicious
                 in
                 Painting
                 to
                 be
                 avoided
                 .
                 ib.
                 
              
               
                 The
                 prudential
                 part
                 of
                 a
                 Painter
                 .
                 ib.
                 
              
               
                 The
                 Idea
                 of
                 a
                 beautiful
                 Piece
                 .
                 59
              
               
                 Advice
                 to
                 a
                 young
                 Painter
                 .
                 ib.
                 
              
               
                 Art
                 must
                 be
                 subservient
                 to
                 the
                 Painter
                 .
                 60
              
               
                 Diversity
                 and
                 Facility
                 are
                 pleasing
                 .
                 ib.
                 
              
               
                 The
                 Original
                 must
                 be
                 in
                 the
                 Head
                 ,
                 and
                 the
                 Copy
                 on
                 the
                 Cloth.
                 ib.
                 
              
               
                 The
                 Compass
                 to
                 be
                 in
                 the
                 Eyes
                 .
                 ib.
                 
              
               
                 Pride
                 an
                 Enemy
                 to
                 good
                 Painting
                 .
                 63
              
               
                 Know
                 your self
                 .
                 ib.
                 
              
               
                 Practise
                 perpetually
                 .
                 64
              
               
                 The
                 Morning
                 most
                 proper
                 for
                 Work.
                 ib.
                 
              
               
                 Every
                 day
                 do
                 something
                 .
                 ib.
                 
              
               
                 The
                 Passions
                 which
                 are
                 true
                 and
                 na●●ural
                 ib.
                 
              
               
                 Of
                 Table-Books
                 .
                 67
              
               
                 The
                 method
                 of
                 Studies
                 for
                 a
                 young
                 ●●ainter
                 .
                 71
              
               
                 Nature
                 and
                 Experience
                 perfect
                 Art.
                 76
              
            
          
        
         
           
             
             
               THE
               ART
               OF
               PAINTING
               .
            
             
               
               
                 DE
                 ARTE
                 GRAPHICA
                 LIBER
                 .
              
               
                 
                   
                     UT
                     PICTURA
                     POESIS
                     ERIT
                  
                   ;
                   similisque
                   Poesi
                
                 
                   Sit
                   Pictura
                   ,
                   refert
                   par
                   aemula
                   quaeque
                   sororem
                   ,
                
                 
                   Alternantque
                   vices
                   &
                   nomina
                   ;
                   muta
                   Poesis
                
                 
                   Dicitur
                   haec
                   ,
                   Pictura
                   loquens
                   solet
                   illa
                   vocari
                   .
                
              
               
                 
                   
                   Quod
                   fuit
                   auditu
                   gratum
                   cecinere
                   Poetae
                   ,
                
                 
                   Quod
                   pulchrum
                   aspectu
                   Pictores
                   pingere
                   curant
                   :
                
                 
                   Quaeque
                   Poetarum
                   numeris
                   indigna
                   fuêre
                   ,
                
                 
                   Non
                   eadem
                   Pictorum
                   operam
                   studiumque
                   merentur
                   :
                
              
               
                 
                   Ambae
                   quippe
                   sacros
                   ad
                   Relligionis
                   honores
                
                 
                   
                   Sydereos
                   superant
                   ignes
                   ,
                   Aulamque
                   Tonantis
                
                 
                   Ingressae
                   ,
                   Divûm
                   aspectu
                   ,
                   alloquioque
                   fruuntur
                   ;
                
                 
                   Oraque
                   magna
                   Deûm
                   &
                   dicta
                   observata
                   reportant
                   ,
                
                 
                   Coelestemque
                   suorum
                   operum
                   mortalibus
                   ignem
                   .
                
                 
                   Inde
                   pe●●
                   hunc
                   orbem
                   studiis
                   coêuntibus
                   errant
                   ,
                
                 
                 
                   Carpentes
                   quae
                   digna
                   sui
                   ,
                   revolutaque
                   lustrant
                   
                
                 
                   Tempora
                   .
                   Quaerendis
                   consortibus
                   Argumentis
                   .
                
              
               
                 
                   Denique
                   quaecumque
                   in
                   coelo
                   ,
                   terraque
                   ,
                   marique
                
                 
                   Longius
                   in
                   tempus
                   durare
                   ,
                   ut
                   pulchra
                   ,
                   merentur
                   ,
                
                 
                   Nobilitate
                   sua
                   claroque
                   insignia
                   casu
                   ,
                
                 
                   Dives
                   &
                   ampla
                   manet
                   Pictores
                   atque
                   Poetas
                   
                
                 
                   Materies
                   ,
                   inde
                   alta
                   sonant
                   per
                   saecula
                   mundo
                
                 
                   Nomina
                   ,
                   magnanimis
                   Heroibus
                   inde
                   superstes
                
                 
                   Gloria
                   ,
                   perpetuoque
                   operum
                   miracula
                   restant
                   :
                
                 
                   Tantus
                   inest
                   divis
                   honor
                   Artibus
                   atque
                   potestas
                   .
                
              
               
                 
                   Non
                   mihi
                   Pieridum
                   chorus
                   hic
                   ,
                   nec
                   Apollo
                   vocandus
                   ,
                   
                
                 
                   Majus
                   ut
                   eloquium
                   numeris
                   aut
                   gratia
                   fandi
                
                 
                   Dogmaticis
                   illustret
                   opus
                   rationibus
                   horrens
                   :
                
                 
                   Cum
                   nitida
                   tantum
                   &
                   facili
                   digesta
                   loquelâ
                   ,
                
                 
                   Ornari
                   praecepta
                   negent
                   ;
                   contenta
                   doceri
                   .
                
              
               
                 
                   Nec
                   mihi
                   mens
                   animusve
                   fuit
                   constringere
                   nodos
                   
                
                 
                   Artificum
                   manibus
                   ,
                   quos
                   tantum
                   dirigit
                   usus
                   ;
                
                 
                   Indolis
                   ut
                   vigor
                   inde
                   potens
                   obstrictus
                   hebescat
                   ,
                
                 
                 
                   Normarum
                   numero
                   immani
                   Geniumque
                   moretur
                   :
                
              
               
                 
                   Sed
                   rerum
                   ut
                   pollens
                   Ars
                   cognitione
                   gradatim
                
                 
                   
                   Naturae
                   sese
                   insinuet
                   ,
                   verique
                   capacem
                
                 
                   Transeat
                   in
                   Genium
                   ,
                   Geniusque
                   usu
                   induat
                   Artem.
                   
                
              
               
                 
                   Praecipua
                   imprimis
                   Artisque
                   potissima
                   pars
                   est
                   ,
                   
                
                 
                   Nôsse
                   quid
                   in
                   rebus
                   Natura
                   creârit
                   ad
                   Artem
                
                 
                   Pulchrius
                   ,
                   idque
                   Modum
                   juxta
                   ,
                   Mentemque
                   Vetustam
                   ,
                
              
               
                 
                   
                   Qua
                   sine
                   barbaries
                   caeca
                   &
                   temeraria
                   Pulchrum
                
                 
                   Negligit
                   ,
                   insultans
                   ignotae
                   audacior
                   Arti
                   ,
                
                 
                   Ut
                   curare
                   nequit
                   ,
                   quae
                   non
                   modo
                   noverit
                   esse
                   ,
                
                 
                   Illud
                   apud
                   Veteres
                   fuit
                   ,
                   unde
                   notabile
                   dictum
                   ,
                
                 
                   Nil
                   Pictore
                   malo
                   securius
                   atque
                   Poeta
                   .
                
              
               
                 
                 
                   Cognita
                   amas
                   ,
                   &
                   amata
                   cupis
                   ,
                   sequerisque
                   cupita
                   ;
                   
                
                 
                   Passibus
                   assequeris
                   tandem
                   quae
                   fervidus
                   urges
                   :
                
                 
                   Illa
                   tamen
                   quae
                   pulchra
                   decent
                   ;
                   non
                   omnia
                   casus
                
                 
                   Qualiacumque
                   dabunt
                   ,
                   etiamve
                   simillima
                   veris
                   :
                
                 
                   Nam
                   quamcumque
                   modo
                   servili
                   haud
                   sufficit
                   ipsam
                
                 
                   Naturam
                   exprimere
                   ad
                   vivum
                   ,
                   sed
                   ut
                   Arbiter
                   Artis
                   
                
                 
                   Seliget
                   ex
                   illa
                   tantùm
                   pulcherrima
                   Pictor
                   .
                
                 
                   Quodque
                   minus
                   pulchrum
                   ,
                   aut
                   mendosum
                   corriget
                   ipse
                
                 
                   Marte
                   suo
                   ,
                   formae
                   Veneres
                   captando
                   fugaces
                   .
                
              
               
                 
                   Utque
                   manus
                   grandi
                   nil
                   nomine
                   practica
                   dignum
                   
                
                 
                   Assequitur
                   ,
                   
                   purum
                   arcanae
                   quam
                   deficit
                   Artis
                   
                
                 
                   Lumen
                   ,
                   &
                   in
                   praeceps
                   abitura
                   ut
                   caeca
                   vagatur
                   ;
                
                 
                   Sic
                   nihil
                   Ars
                   operâ
                   manuum
                   privata
                   supremum
                
                 
                   Exequitur
                   ,
                   sed
                   languet
                   iners
                   uti
                   vincta
                   lacertos
                   ;
                
                 
                   Dispositumque
                   typum
                   non
                   linguâ
                   pinxit
                   Apelles
                   .
                
                 
                 
                   
                   Ergo
                   licet
                   totâ
                   normam
                   haud
                   possimus
                   in
                   Arte
                
                 
                   Ponere
                   ,
                   (
                   cùm
                   nequeant
                   quae
                   sunt
                   pulcherrima
                   dici
                   )
                
                 
                   Nitimur
                   haec
                   paucis
                   ,
                   scrutati
                   summa
                   magistrae
                
                 
                   Dogmata
                   Naturae
                   ,
                   Artisque
                   Exemplaria
                   prima
                
                 
                   Altiùs
                   intuiti
                   ;
                   sic
                   mens
                   habilisque
                   facultas
                
                 
                   
                   Indolis
                   excolitur
                   ,
                   Geniumque
                   scientia
                   complet
                   ,
                
                 
                   Luxuriansque
                   in
                   monstra
                   furor
                   compescitur
                   Arte
                   :
                
                 
                   Est
                   modus
                   in
                   rebus
                   ,
                   ●●unt
                   certi
                   denique
                   fines
                   ,
                
                 
                   Quos
                   ultra
                   citraque
                   nequit
                   consistere
                   rectum
                   .
                
              
               
                 
                   
                   His
                   positis
                   ,
                   erit
                   optandum
                   Thema
                   nobile
                   ,
                   
                   pulchrum
                   ,
                
                 
                   
                   Quodque
                   venustatum
                   circa
                   Formam
                   atque
                   Colorem
                
                 
                   Sponte
                   capax
                   amplam
                   emeritae
                   mox
                   praebeat
                   Arti
                
                 
                   Materiam
                   ,
                   retegens
                   aliquid
                   salis
                   &
                   documenti
                   .
                
              
               
                 
                 
                   Tandem
                   opus
                   aggredior
                   ,
                   primoque
                   occurrit
                   in
                   Albo
                
                 
                   Disponenda
                   typi
                   concepta
                   potente
                   Minervâ
                
                 
                   Machina
                   ,
                   quae
                   nostris
                   Inventio
                   dicitur
                   oris
                   .
                   
                
              
               
                 
                   Illa
                   quidem
                   priùs
                   ingenuis
                   instructa
                   Sororum
                
                 
                   Artibus
                   Aonidum
                   ,
                   
                   &
                   Phoebi
                   sublimior
                   aestu
                   .
                
              
               
                 
                   Quaerendasque
                   inter
                   Posituras
                   ,
                   luminis
                   ,
                   
                   
                   umbrae
                   ,
                
                 
                   Atque
                   futurorum
                   jam
                   praesentire
                   colorum
                
                 
                   Par
                   erit
                   harmoniam
                   ,
                   captando
                   ab
                   utrisque
                   venustum
                   .
                   
                
              
               
                 
                   Sit
                   Thematis
                   genuina
                   ac
                   viva
                   expressio
                   juxta
                   
                
                 
                   Textum
                   Antiquorum
                   ,
                   
                   propriis
                   cum
                   tempore
                   formis
                   .
                
                 
                 
                   
                   Nec
                   quod
                   inane
                   ,
                   nihil
                   facit
                   ad
                   rem
                   ,
                   
                   sive
                   videtur
                
                 
                   Improprium
                   ,
                   minim●●que
                   urgens
                   ,
                   potiora
                   tenebit
                
                 
                   
                   Ornamenta
                   operis
                   ;
                   Tragicae
                   sed
                   lege
                   sororis
                
                 
                   Summa
                   ubi
                   res
                   agitur
                   ,
                   vis
                   summa
                   requiritur
                   Artis
                   .
                
              
               
                 
                   Ista
                   labore
                   gravi
                   ,
                   studio
                   ,
                   monitisque
                   Magistri
                
                 
                   Ardua
                   pars
                   nequit
                   addisci
                   rarissima
                   :
                   namque
                
                 
                   Ni
                   priùs
                   aethereo
                   rapuit
                   quod
                   ab
                   axe
                   Prometheus
                
                 
                   
                   Sit
                   jubar
                   infusum
                   menti
                   cum
                   flamine
                   vitae
                   ,
                
                 
                   Mortali
                   haud
                   cuivis
                   divina
                   haec
                   munera
                   dantur
                   ,
                
                 
                   Non
                   uti
                   Daedaleam
                   licet
                   omnibus
                   ire
                   Corinthum
                   .
                
              
               
                 
                   Aegypto
                   informis
                   quondam
                   Pictura
                   reperta
                   ,
                
                 
                   Graecorum
                   studiis
                   &
                   mentis
                   acumine
                   crevit
                   :
                
                 
                   
                   Egregiis
                   tandem
                   illustrata
                   &
                   adulta
                   Magistris
                
                 
                   Naturam
                   visa
                   est
                   miro
                   superare
                   labore
                   .
                
              
               
                 
                   Quos
                   inter
                   Graphidos
                   gymnasia
                   prima
                   fuêre
                   ,
                
                 
                   Portus
                   Athenarum
                   ,
                   Sicyon
                   ,
                   Rhodos
                   ,
                   atque
                   Corinthus
                   ,
                
                 
                   Disparia
                   inter
                   se
                   ,
                   modicùm
                   ratione
                   Laboris
                   ;
                
                 
                 
                   Ut
                   patet
                   ex
                   Veterum
                   statuis
                   ,
                   formae
                   atque
                   decoris
                   
                
                 
                   Archetypis
                   ,
                   
                   queis
                   posterior
                   nil
                   protulit
                   aetas
                   
                
                 
                   Condignum
                   ,
                   &
                   non
                   inferius
                   longe
                   Arte
                   ,
                   Modoque
                   :
                
                 
                   Horum
                   igitur
                   vera
                   ad
                   normam
                   Positura
                   legetur
                   ,
                
                 
                   Grandia
                   ,
                   inaequalis
                   ,
                   formosaque
                   Partibus
                   amplis
                
                 
                   Anteriora
                   dabit
                   membra
                   ,
                   in
                   contraria
                   motu
                   
                
                 
                   Diverso
                   variata
                   ,
                   suo
                   liberataque
                   centro
                   :
                
              
               
                 
                   Membrorumque
                   Sinus
                   ignis
                   flammantis
                   ad
                   instar
                
                 
                   Serpenti
                   undantes
                   flexu
                   ,
                   sed
                   laevia
                   plana
                
                 
                   Magnaque
                   signa
                   ,
                   quasi
                   sine
                   tubere
                   subdita
                   tactu
                
                 
                   Ex
                   longo
                   deducta
                   fluant
                   ,
                   non
                   secta
                   minutim
                   ,
                   
                
                 
                   Insertisque
                   Toris
                   sint
                   not
                   a
                   ligamina
                   juxta
                
                 
                   Compagem
                   Anathomes
                   ,
                   &
                   membrificatio
                   Graeco
                
                 
                   Deformata
                   Modo
                   ,
                   paucisque
                   expressa
                   lacertis
                   ,
                
                 
                   Qualis
                   apud
                   Veteres
                   ;
                   totoque
                   Eurithmia
                   partes
                
                 
                 
                   
                   Componat
                   ,
                   genitumque
                   suo
                   generante
                   sequenti
                
                 
                   Sit
                   minus
                   ,
                   &
                   puncto
                   videantur
                   cuncta
                   sub
                   uno
                   ;
                
                 
                   Regula
                   certa
                   licet
                   nequeant
                   Prospectica
                   dici
                   ,
                
                 
                   Aut
                   complementum
                   Graphidos
                   ;
                   sed
                   in
                   arte
                   juvamen
                
                 
                   Et
                   Modus
                   accelerans
                   operandi
                   :
                   ut
                   corpor
                   a
                   falso
                
                 
                   
                   Sub
                   visu
                   in
                   multis
                   referens
                   mendosa
                   labascit
                   :
                
                 
                   Nam
                   Geometralem
                   nunquam
                   sunt
                   corpora
                   juxta
                
                 
                   Mensuram
                   depicta
                   oculis
                   ,
                   sed
                   qualia
                   visa
                   .
                
              
               
                 
                   
                   Non
                   eadem
                   formae
                   species
                   ,
                   
                   non
                   omnibus
                   aetas
                
                 
                   Aequalis
                   ,
                   similisque
                   color
                   ,
                   crinesque
                   Figuris
                   :
                
                 
                   
                   Nam
                   variis
                   velut
                   orta
                   plagis
                   Gens
                   disparevultu
                   .
                
              
               
                 
                   
                   Singula
                   membra
                   suo
                   capiti
                   conformia
                   fiant
                
                 
                   Unum
                   idemque
                   simul
                   corpus
                   cum
                   vestibus
                   ipsis
                   :
                   
                
                 
                   
                   Mutorumque
                   silens
                   Positura
                   imitabitur
                   actus
                   .
                   
                
              
               
                 
                   
                   Prima
                   Figurarum
                   ,
                   
                   seu
                   Princeps
                   Dramatis
                   ultro
                
                 
                   
                   Prosiliat
                   media
                   in
                   Tabula
                   sub
                   lumine
                   primo
                
                 
                   Pulchrior
                   ante
                   alias
                   ,
                   reliquis
                   nec
                   operta
                   Figuris
                   .
                
                 
                 
                   Agglomerata
                   simul
                   sint
                   membra
                   ,
                   
                   ipsaeque
                   Figurae
                   
                
                 
                   Stipentur
                   ,
                   circumque
                   globos
                   locus
                   usque
                   vacabit
                   ;
                
                 
                   Ne
                   ,
                   mal●●
                   dispersis
                   dum
                   visus
                   ubique
                   Figuris
                
                 
                   Dividitur
                   ,
                   cunctisque
                   operis
                   fervente
                   tumultu
                   
                
                 
                   Partibus
                   implicitis
                   crepitans
                   confusio
                   surgat
                   .
                
              
               
                 
                   Inque
                   figurarum
                   cumulis
                   non
                   omnibus
                   idem
                   
                
                 
                   Corporis
                   inflexus
                   ,
                   
                   motusque
                   ,
                   vel
                   artibus
                   omnes
                
                 
                   Conversis
                   pariter
                   non
                   connitantur
                   eodem
                   ,
                
                 
                   Sed
                   quaedam
                   in
                   diversa
                   trahant
                   contraria
                   membra
                   
                
                 
                   Transvers●●que
                   aliis
                   pungent
                   ,
                   &
                   caetera
                   frangant
                   .
                
              
               
                 
                   Pluribus
                   adversis
                   aversam
                   oppone
                   figuram
                   ,
                
                 
                   Pectoribusque
                   humeros
                   ,
                   &
                   dextera
                   membra
                   sinistris
                   ,
                
                 
                   Seu
                   multis
                   constabit
                   Opus
                   ,
                   paucisve
                   figuris
                   .
                
              
               
                 
                   Altera
                   pars
                   tabulae
                   vacuo
                   ne
                   frigida
                   Campo
                   
                
                 
                   Aut
                   deserta
                   siet
                   ,
                   
                   dum
                   pluribus
                   alter
                   a
                   formis
                   
                
                 
                   Fervida
                   mole
                   sua
                   supremam
                   exurgit
                   ad
                   or
                   am
                   :
                
                 
                   Sed
                   tibi
                   sic
                   positis
                   respondeat
                   utraque
                   rebus
                   ,
                
                 
                   Ut
                   si
                   aliquid
                   sursum
                   se
                   parte
                   attollat
                   in
                   unâ
                   ,
                
                 
                   Sic
                   aliquid
                   parte
                   ex
                   alia
                   consurgat
                   ,
                   &
                   ambas
                   
                
                 
                   Aequiparet
                   ,
                   geminas
                   cumulando
                   aequaliter
                   oras
                   .
                
              
               
                 
                 
                   
                   Pluribus
                   implicitum
                   Personis
                   Drama
                   supremo
                
                 
                   In
                   genere
                   ut
                   rarum
                   est
                   ;
                   
                   multis
                   ita
                   densa
                   Figuris
                
                 
                   Rarior
                   est
                   Tabula
                   excellens
                   ;
                   vel
                   adhuc
                   ferè
                   nulla
                
                 
                   
                   Praestitit
                   in
                   multis
                   quod
                   vix
                   bene
                   praestat
                   in
                   unâ
                   :
                
              
               
                 
                   Quippe
                   solet
                   rerum
                   nimio
                   dispersa
                   tumultu
                
                 
                   Majestate
                   carere
                   gravi
                   requieque
                   decorâ
                   ;
                
                 
                   Nec
                   speciosa
                   nitet
                   vacuo
                   nisi
                   liber
                   a
                   Campo
                   .
                
              
               
                 
                   Sed
                   si
                   Opere
                   in
                   magno
                   plures
                   Thema
                   grande
                   requirat
                
                 
                   
                   Esse
                   figurarum
                   Cumulos
                   ,
                   spectabitur
                   unà
                
                 
                   Machina
                   tota
                   rei
                   ,
                   non
                   singula
                   quaeque
                   seorsim
                   .
                
              
               
                 
                   Praecipua
                   extremis
                   raro
                   Internodia
                   membris
                
                 
                   
                   
                   Abdita
                   sint
                   :
                   
                   summa
                   Pedum
                   vestigia
                   nunquam
                   .
                   
                
              
               
                 
                   Gratia
                   nulla
                   manet
                   ,
                   
                   motusque
                   ,
                   vigorque
                   Figuras
                
                 
                   
                   Retro
                   aliis
                   subter
                   majori
                   ex
                   parte
                   latentes
                   ,
                
                 
                   
                   Ni
                   capitis
                   motum
                   manibus
                   comitentur
                   agendo
                   .
                
              
               
                 
                   Difficiles
                   fugitoa
                   spectus
                   ,
                   contractaque
                   visu
                
                 
                   Membra
                   sub
                   ingrato
                   ,
                   motusque
                   ,
                   actusque
                   coactos
                   ,
                
                 
                 
                   Quodque
                   refert
                   signis
                   ,
                   rectos
                   quodammodo
                   tractus
                   ,
                
                 
                   Siva
                   Parallelos
                   plures
                   simul
                   ,
                   &
                   vel
                   acutas
                   ,
                
                 
                   Vel
                   Geometrales
                   (
                   ut
                   Quadra
                   ,
                   Triangula
                   ,
                   )
                   formas
                   :
                   
                
                 
                   Ingratamque
                   pari
                   Signorum
                   ex
                   ordine
                   quandam
                
                 
                   Symmetriam
                   :
                   sed
                   praecipu●●
                   in
                   contraria
                   semper
                
                 
                   Signa
                   volunt
                   duci
                   transversa
                   ,
                   ut
                   diximus
                   anté
                   .
                
                 
                   Summa
                   igitur
                   ratio
                   Signorum
                   habeatur
                   in
                   omni
                
                 
                   Composito
                   ;
                   dat
                   enim
                   reliquis
                   pretium
                   ,
                   atque
                   vigorem
                   .
                   
                
              
               
                 
                   Non
                   ita
                   naturae
                   astanti
                   sis
                   cuique
                   revinctus
                   ,
                   
                
                 
                   Hanc
                   praeter
                   nihil
                   ut
                   Genio
                   studioque
                   relinquas
                   ;
                   
                
                 
                   Nec
                   sine
                   teste
                   rei
                   natura
                   ,
                   Artisque
                   Magistra
                
                 
                   Quidlibet
                   ingenio
                   memor
                   ut
                   tantummodo
                   rerum
                
                 
                   Pingere
                   posse
                   putes
                   ;
                   errorum
                   est
                   plurima
                   sylva
                   ,
                   
                
                 
                   Multiplicesque
                   viae
                   ,
                   bene
                   agendi
                   terminus
                   unus
                   ,
                
                 
                   Linea
                   recta
                   velut
                   sola
                   est
                   ,
                   &
                   mille
                   recurvae
                   :
                
              
               
                 
                   Sed
                   juxta
                   Antiquos
                   naturam
                   imitabere
                   pulchram
                   ,
                
                 
                   Qualem
                   forma
                   rei
                   propria
                   ,
                   objectumque
                   requirit
                   .
                
              
               
                 
                 
                   
                   Non
                   te
                   igitur
                   lateant
                   antiqua
                   Numismata
                   ,
                   Gemmae
                   ,
                   
                
                 
                   
                   Vasa
                   ,
                   Typi
                   ,
                   Statuae
                   ,
                   caelataque
                   Marmora
                   Signis
                   ;
                
                 
                   Quodque
                   refert
                   specie
                   Veterum
                   post
                   saecula
                   Mentem
                   ;
                
                 
                   Splendidior
                   quippe
                   ex
                   illis
                   assurgit
                   imago
                   ,
                
                 
                   Magnaque
                   se
                   rerum
                   facies
                   aperit
                   meditanti
                   ;
                
                 
                   
                   Tunc
                   nostri
                   tenuem
                   saecli
                   miserebere
                   sortem
                   ,
                
                 
                   Cùm
                   spes
                   nulla
                   siet
                   rediturae
                   aequalis
                   in
                   aevum
                   .
                
              
               
                 
                   
                   Exquisita
                   siet
                   formâ
                   dum
                   sola
                   Figura
                   .
                
                 
                   Pingitur
                   ,
                   
                   &
                   multis
                   variata
                   Coloribus
                   esto
                   .
                
              
               
                 
                   Lati
                   amplique
                   sinus
                   Pannorum
                   ,
                   
                   &
                   nobilis
                   ordo
                
                 
                   
                   Membra
                   sequens
                   ,
                   subter
                   latitantia
                   Lumine
                   ●●
                   Umbra
                
                 
                   
                   Exprimet
                   ,
                   ille
                   licet
                   transversus
                   saepe
                   feratur
                   ,
                
                 
                   Et
                   circumfulos
                   Pannorum
                   porrigat
                   extra
                
                 
                   Membra
                   sinus
                   ,
                   non
                   contiguous
                   ,
                   ipsisque
                   Figurae
                
                 
                   Partibus
                   impressos
                   ,
                   quasi
                   Pannus
                   adhaereat
                   illis
                   ;
                
                 
                   
                   Sed
                   modic●●
                   expressos
                   cum
                   Lumine
                   servet
                   &
                   Umbris
                   :
                
                 
                 
                   Quaeque
                   intermissis
                   passim
                   sunt
                   dissita
                   vanis
                
                 
                   Copulet
                   ,
                   inductis
                   subtérve
                   ,
                   lacernis
                   .
                
                 
                   Et
                   membra
                   ut
                   magnis
                   paucisque
                   expressa
                   lacertis
                   .
                
              
               
                 
                   Majestate
                   allis
                   preastant
                   forma
                   atque
                   decore
                   ;
                
                 
                   Haud
                   seus
                   in
                   Pannis
                   quos
                   supra
                   optavimus
                   amplos
                   
                
                 
                   Perpaucos
                   sinuum
                   flexus
                   ,
                   rugasque
                   ,
                   striasque
                   ,
                
                 
                   Membra
                   super
                   versu
                   faciles
                   inducere
                   praestat
                   .
                
              
               
                 
                   Naturaeque
                   rei
                   proprius
                   sit
                   Pannus
                   ,
                   abundans
                
                 
                   Patriciis
                   ,
                   succinctus
                   erit
                   crassusque
                   Bubulcis
                
                 
                   Mancipiisque
                   ;
                   levis
                   ,
                   teneris
                   ,
                   gracilisque
                   Puellis
                   .
                   
                
              
               
                 
                   Inque
                   cavis
                   maculisque
                   umbrarum
                   aliquando
                   tumescet
                
                 
                   Lumen
                   ut
                   excipiens
                   operis
                   quá
                   Massa
                   requirit
                
                 
                   Latius
                   extendat
                   ,
                   sublatisque
                   aggreget
                   umbris
                   .
                
              
               
                 
                 
                   
                   Nobilia
                   Arma
                   juvant
                   virtutum
                   ,
                   
                   ornantque
                   Figura●●
                   ,
                
                 
                   
                   Qualia
                   Musarum
                   ,
                   Belli
                   ,
                   Cultusque
                   Deorum
                   :
                
                 
                   Nec
                   sit
                   opus
                   nimiùm
                   Gemmis
                   Auroque
                   refertum
                   ;
                
                 
                   
                   Rara
                   etenim
                   magno
                   in
                   pretio
                   ,
                   
                
                 
                   sed
                   plurima
                   vili
                   .
                
              
               
                 
                   
                   Quae
                   deinde
                   ex
                   Vero
                   nequeunt
                   praesente
                   videri
                   ,
                   
                
                 
                   
                   Prototypum
                   prius
                   illorum
                   formare
                   juvabit
                   .
                
              
               
                 
                   
                   Conveniat
                   locus
                   atque
                   habitus
                   ,
                   
                
                 
                   ritusque
                   decusque
                
                 
                   Servetur
                   ;
                   sit
                   Nobilitas
                   ,
                   Charitumque
                   Venustas
                   ,
                
                 
                   
                   (
                   Rarum
                   homini
                   munus
                   ,
                   
                
                 
                   Coelo
                   ,
                   non
                   Arte
                   petendum
                   .
                   )
                
              
               
                 
                   
                   Naturae
                   sit
                   ubique
                   tenor
                   ratioque
                   sequenda
                   .
                   
                
                 
                 
                   Non
                   vicina
                   pedum
                   tabulata
                   excelsa
                   tonantis
                   
                
                 
                   Astra
                   domus
                   depicta
                   gerent
                   nubesque
                   notosque
                   ;
                
                 
                   Nec
                   mare
                   depressum
                   Laquearia
                   summa
                   vel
                   orcum
                   ;
                
                 
                   Marmoreamque
                   feret
                   cannis
                   vaga
                   pergula
                   molem
                   :
                
                 
                   Congrua
                   sed
                   propriâ
                   semper
                   statione
                   locentur
                   .
                
              
               
                 
                   Haec
                   praeter
                   motus
                   animorum
                   &
                   corde
                   repostos
                   
                
                 
                   Exprimere
                   Affectus
                   ,
                   
                
                 
                   paucisque
                   coloribus
                   ipsam
                   
                
                 
                   Pingere
                   posse
                   animam
                   ,
                   atque
                   oculis
                   praebere
                   videndam
                   ,
                
                 
                   Hoc
                   opus
                   ,
                   his
                   labor
                   est
                   :
                   pauci
                   quos
                   aequus
                   amavit
                
                 
                   Juppiter
                   ,
                   aut
                   ardens
                   evexit
                   ad
                   aethera
                   virtus
                   :
                
                 
                   Dîs
                   similes
                   potuere
                   manu
                   miracula
                   tanta
                   .
                   
                
              
               
                 
                   Hos
                   ego
                   Rhetoribus
                   tractandos
                   desero
                   tantum
                
                 
                   Egregii
                   antiquum
                   memorabo
                   sophisma
                   Magistri
                   ,
                
                 
                   Verius
                   affectus
                   animi
                   vigor
                   exprimit
                   ardens
                   ,
                
                 
                   Solliciti
                   nimiúm
                   quam
                   sedula
                   cura
                   laboris
                   .
                
              
               
                 
                   Denique
                   nil
                   sapiat
                   Gotthorum
                   barbara
                   trito
                   
                
                 
                   Ornamenta
                   modo
                   ,
                   
                
                 
                   saeclorum
                   &
                   monstra
                   malorum
                   ;
                   
                
                 
                   Queis
                   ubi
                   bella
                   ,
                   famen
                   &
                   pestem
                   ,
                   Discordia
                   ,
                   Luxus
                   ,
                
                 
                   Et
                   Romanorum
                   res
                   grandior
                   intulit
                   Orbi
                   ,
                
                 
                 
                   Ingenuae
                   periere
                   Artes
                   ,
                   periere
                   superbae
                
                 
                   
                   Artificum
                   moles
                   ,
                   s●●a
                   tunc
                   miracula
                   vidit
                
                 
                   Ignibus
                   absumi
                   Pictura
                   ,
                   latere
                   coacta
                
                 
                   Fornicibus
                   ,
                   sortem
                   &
                   reliquam
                   confidere
                   Cryptis
                   ,
                
                 
                   Marmoribusque
                   diu
                   Sculptura
                   jacere
                   sepultis
                   .
                
              
               
                 
                   Imperium
                   interea
                   scelerum
                   gravitate
                   fatiscens
                
                 
                   
                   Horrida
                   nox
                   totum
                   invasit
                   ,
                   donoque
                   superni
                
                 
                   Luminis
                   indignum
                   ,
                   errorum
                   caligine
                   mersit
                   ,
                
                 
                   Impiaque
                   ignaris
                   damnavit
                   saecla
                   tenebris
                   :
                
              
               
                 
                   Unde
                   Coloratum
                   Graiis
                   huc
                   usque
                   Magistris
                
                 
                   Nil
                   superest
                   tantorum
                   Hominum
                   quod
                   Mente
                   Modoque
                
                 
                   
                   Nostrates
                   juvet
                   Artifices
                   ,
                   
                   doceatque
                   Laborem
                   ;
                
                 
                   Nec
                   qui
                   Chromatices
                   nobis
                   hoc
                   tempor
                   partes
                
                 
                   Restituat
                   ,
                   quales
                   Zeuxis
                   tractaverat
                   olim
                   .
                
                 
                 
                   Hujus
                   quando
                   magâ
                   velut
                   Arte
                   aequavit
                   Apellem
                
                 
                   Pictorum
                   Archigraphum
                   meruitque
                   Coloribus
                   altam
                
                 
                   Nominis
                   aeterni
                   famam
                   toto
                   orbe
                   sonantem
                   .
                   
                
              
               
                 
                   Haec
                   quidem
                   ut
                   in
                   Tabulis
                   fallax
                   sed
                   grata
                   Venustas
                   ,
                
                 
                   Et
                   complementum
                   Graphidos
                   (
                   mirabile
                   visu
                   )
                
                 
                   Pulchra
                   vocabatur
                   ,
                   sed
                   subdola
                   Lena
                   Sororis
                   :
                
                 
                   Non
                   tamen
                   hoc
                   lenocinium
                   ;
                   fucusque
                   ,
                   dolusque
                
                 
                   Dedecori
                   fuit
                   unquam
                   ;
                   illi
                   sed
                   semper
                   honori
                   ,
                   
                
                 
                   Laudibus
                   &
                   meritis
                   ;
                   hanc
                   ergo
                   nosse
                   juvabit
                   .
                
              
               
                 
                   Lux
                   varium
                   vivumque
                   dabit
                   ,
                   nullum
                   Umbra
                   Colorem
                   .
                
                 
                   Quo
                   magis
                   adversum
                   est
                   corpus
                   lucisque
                   propinquum
                   ,
                
                 
                   Clarius
                   est
                   Lumen
                   ;
                   nam
                   debilitatur
                   eundo
                   .
                
              
               
                 
                   Quo
                   magis
                   est
                   ●●orpus
                   directum
                   oculisque
                   propinquum
                   ,
                   
                
                 
                   Conspicitur
                   meliùs
                   ;
                   nam
                   visus
                   hebescit
                   eundo
                   .
                
              
               
                 
                 
                   
                   Ergo
                   in
                   corporibus
                   quae
                   visa
                   adversa
                   rotundis
                
                 
                   Integra
                   sint
                   ,
                   
                   extrema
                   abscedant
                   perdita
                   signis
                
                 
                   Confusis
                   ,
                   non
                   praecipiti
                   labentur
                   in
                   Umbram
                
                 
                   
                   Clara
                   gradu
                   ,
                   nec
                   adumbrata
                   in
                   clara
                   alta
                   repente
                
                 
                   Prorumpant
                   ;
                   sederit
                   sensim
                   hinc
                   atque
                   inde
                   meatus
                
                 
                   Lucis
                   &
                   Umbrarum
                   ;
                   capitisque
                   unius
                   ad
                   instar
                
                 
                   Totum
                   opus
                   ,
                   ex
                   multis
                   quamquam
                   sit
                   partibus
                   unus
                
                 
                   Luminis
                   Umbrarumque
                   globus
                   tantummodo
                   fiet
                   ,
                
                 
                   
                   Sive
                   duo
                   vel
                   tres
                   ad
                   summum
                   ,
                   ubi
                   grandius
                   esset
                
                 
                   Divisum
                   Pegma
                   in
                   partes
                   statione
                   remotas
                   .
                
              
               
                 
                   Sintque
                   ita
                   discreti
                   inter
                   se
                   ratione
                   colorum
                   ,
                
                 
                   Luminis
                   umbrarumque
                   anteorsum
                   ut
                   corpora
                   clara
                
                 
                   Obscura
                   umbrarum
                   requies
                   speetanda
                   relinquat
                   ;
                
                 
                   
                   Claroque
                   exiliant
                   umbrata
                   atque
                   aspera
                   Campo
                   .
                
              
               
                 
                 
                   Ac
                   veluti
                   in
                   speculis
                   convexis
                   eminet
                   ante
                
                 
                   Asperior
                   reipsa
                   vigor
                   &
                   vis
                   aucta
                   colorum
                
                 
                   Partibus
                   adversis
                   ;
                   magis
                   &
                   fuga
                   rupta
                   retrorsum
                
                 
                   Illorum
                   est
                   (
                   ut
                   visa
                   minùs
                   vergentibus
                   oris
                   )
                
                 
                   Corporibus
                   dabimus
                   formas
                   hoc
                   more
                   rotundas
                   ,
                   
                
                 
                   Mente
                   Modoque
                   igitur
                   Plastes
                   &
                   Pictor
                   eodem
                
                 
                   Dispositum
                   tractabit
                   opus
                   ;
                   quae
                   Sculptor
                   in
                   orbem
                
                 
                   Atterit
                   ,
                   haec
                   rupto
                   pro●●ul
                   abscedente
                   colore
                
                 
                   Assequitur
                   Pictor
                   ,
                   fugientiaque
                   illa
                   retrorsum
                
                 
                   Iam
                   signata
                   minùs
                   confusa
                   coloribus
                   aufert
                   :
                   
                
              
               
                 
                   Anteriora
                   quidem
                   directè
                   adversa
                   ,
                   colore
                
                 
                   Integra
                   ,
                   vivaci
                   ,
                   summo
                   cum
                   Lumine
                   &
                   Umbra
                
                 
                   Antrorsum
                   distincta
                   refert
                   velut
                   aspera
                   visu
                   .
                
              
               
                 
                   Sicque
                   super
                   planum
                   inducit
                   Leucoma
                   Colores
                   .
                
                 
                   Hos
                   velut
                   ex
                   ipsa
                   natura
                   immotus
                   eodem
                   
                
                 
                   Intuitu
                   circum
                   Statuas
                   daret
                   inde
                   rotundas
                   .
                
              
               
                 
                   Densa
                   Figurarum
                   solidis
                   quae
                   corpora
                   formis
                   
                
                 
                   Subdita
                   sunt
                   tactu
                   non
                   transluent
                   ,
                   
                   sed
                   opaca
                
                 
                   In
                   translucendi
                   spatio
                   ut
                   super
                   Aera
                   ,
                   Nubes
                
                 
                 
                   
                   Lympida
                   stagna
                   Undarum
                   ,
                   &
                   inania
                   caetera
                   debent
                
                 
                   Asperiora
                   illis
                   prope
                   circumstantibu●●
                   esse
                   ,
                
                 
                   Ut
                   distincta
                   magis
                   firmo
                   cum
                   L●●mine
                   &
                   Umbra
                   ,
                
                 
                   Et
                   gravioribus
                   ut
                   suste●●
                   a
                   coloribus
                   ,
                   inter
                
                 
                   Aëreas
                   species
                   subsistent
                   semper
                   opaca
                   :
                
                 
                   
                   Sed
                   contra
                   procul
                   abscedant
                   perlucida
                   densis
                
                 
                   Corporibus
                   leviora
                   ;
                   uti
                   Nubes
                   ,
                   Aër
                   &
                   Undae
                   .
                
              
               
                 
                   
                   Non
                   poterunt
                   diversa
                   locis
                   duo
                   Lumina
                   eâdem
                
                 
                   In
                   Tabulâ
                   paria
                   admitti
                   ,
                   
                   aut
                   aequalia
                   pingi
                   :
                
                 
                   Majus
                   at
                   in
                   mediam
                   Lumen
                   ●●adet
                   usqe
                   Tabellam
                
                 
                   
                   Latius
                   infusum
                   ,
                   primis
                   qua
                   summa
                   Figuris
                
                 
                   Res
                   agitur
                   ,
                   circumque
                   oras
                   minuetur
                   eundo
                   :
                
                 
                   Utque
                   in
                   progressu
                   Iubar
                   attenuatur
                   ab
                   ortu
                
                 
                   Solis
                   ad
                   occasum
                   paulatim
                   ,
                   &
                   cessat
                   eundo
                   ;
                
                 
                   Sic
                   Tabulis
                   Lumen
                   ,
                   tota
                   in
                   compage
                   Colorum
                   ,
                
                 
                   
                   Primo
                   à
                   fonte
                   ,
                   minus
                   sensim
                   declinat
                   eundo
                   .
                
                 
                 
                   Majus
                   ut
                   in
                   Statuis
                   per
                   compita
                   stantibus
                   Urbis
                
                 
                   Lumen
                   habent
                   Partes
                   superae
                   ,
                   minus
                   inferiores
                   ,
                
                 
                   Idem
                   erit
                   in
                   tabulis
                   ,
                   majorque
                   nec
                   umbra
                   vel
                   ater
                
                 
                   Membra
                   Figurarum
                   intrabit
                   Color
                   atque
                   secabit
                   :
                
              
               
                 
                   Corpora
                   sed
                   circum
                   Umbra
                   cavis
                   latitabit
                   oberrans
                   :
                   
                
                 
                   Atque
                   ita
                   quaeretur
                   Lux
                   opportuna
                   Figuris
                   ,
                
                 
                   Ut
                   late
                   infusum
                   Lumen
                   lata
                   Umbra
                   sequatur
                   :
                
                 
                   Unde
                   nec
                   immeritò
                   fertur
                   Titianus
                   ubique
                
                 
                   Lucis
                   &
                   Umbrarum
                   Normam
                   appellasse
                   Racemum
                   .
                
              
               
                 
                   Purum
                   Album
                   esse
                   potest
                   propiusque
                   magisque
                   remotum
                   :
                   
                
                 
                   Cum
                   Nigro
                   antevenit
                   propiùs
                   ,
                   
                   fugit
                   absque
                   remotum
                   ;
                   
                
                 
                   Purum
                   autem
                   Nigrum
                   antrorsum
                   venit
                   usque
                   Propinquum
                   .
                
              
               
                 
                   Lux
                   fucata
                   suo
                   tingit
                   miscetque
                   Colore
                
                 
                   Corpora
                   ,
                   sicque
                   suo
                   ,
                   per
                   quem
                   Lux
                   funditur
                   ,
                   aër
                
              
               
                 
                 
                   
                   Corpora
                   juncta
                   simul
                   ,
                   
                   circumfusosque
                   Colores
                
                 
                   
                   Excipiunt
                   ,
                   propriumque
                   aliis
                   radiosa
                   reflectunt
                   .
                
              
               
                 
                   
                   Pluribus
                   in
                   Solidis
                   liquidâ
                   sub
                   Luce
                   propinquis
                
                 
                   Participes
                   ,
                   
                   mixtosque
                   simul
                   decet
                   esse
                   Colores
                   .
                
                 
                   
                   Hanc
                   Normam
                   Veneti
                   Pictores
                   rité
                   sequuti
                   ,
                
                 
                   (
                   Quae
                   fuit
                   Antiquis
                   Corruptio
                   dicta
                   Colorum
                   )
                
                 
                   Cùm
                   plures
                   opere
                   in
                   magno
                   posuêre
                   Figuras
                   ,
                
                 
                   Ne
                   conjuncta
                   simul
                   variorum
                   inimica
                   Colorum
                
                 
                   Congeries
                   Formam
                   implicitam
                   &
                   concisa
                   minutis
                
                 
                   Membra
                   daret
                   Pannis
                   ,
                   totam
                   unamquamque
                   Figuram
                
                 
                   Affini
                   aut
                   uno
                   tantùm
                   vestire
                   Colore
                
                 
                   
                   Sunt
                   soliti
                   ,
                   variando
                   Tonis
                   tunicamque
                   togamque
                
                 
                   Carbaseosque
                   Sinus
                   ,
                   vel
                   amicum
                   in
                   Lumine
                   &
                   Umbra
                
                 
                   Contiguis
                   circum
                   rebus
                   sociando
                   Colorem
                   .
                
              
               
                 
                   
                   Quà
                   minus
                   est
                   spatii
                   aërei
                   ,
                   
                   aut
                   quà
                   purior
                   Aër
                   ,
                
                 
                   
                   Cuncta
                   magis
                   distincta
                   patent
                   ,
                   speciesque
                   reservant
                   :
                
                 
                 
                   Qu●●que
                   magis
                   densus
                   nebulis
                   ,
                   aut
                   plurimus
                   Aër
                
                 
                   Amplum
                   inter
                   fuerit
                   spatium
                   porrectus
                   ,
                   
                   in
                   auras
                
                 
                   Confundet
                   rerum
                   species
                   ,
                   &
                   perdet
                   inanes
                   .
                   
                
                 
                   Anteriora
                   magis
                   semper
                   finita
                   remotis
                
                 
                   Incertis
                   dominentur
                   &
                   abscedentibus
                   ,
                   idque
                   
                
                 
                   More
                   relativo
                   ,
                   ut
                   majora
                   minoribus
                   extant
                   .
                
              
               
                 
                   Cuncta
                   minuta
                   procul
                   Massam
                   densantur
                   in
                   unam
                   ,
                   
                   
                
                 
                   Ut
                   folia
                   arboribus
                   sylvarum
                   ,
                   &
                   in
                   Aequore
                   fluctus
                   .
                
              
               
                 
                   Contigua
                   inter
                   se
                   coëant
                   ,
                   
                   
                
                 
                   Distabuntque
                   tamen
                   grato
                   &
                   discrimine
                   parvo
                   .
                   
                
              
               
                 
                   Extrema
                   extremis
                   contraria
                   jungere
                   noli
                   ;
                   
                   
                
                 
                   Sed
                   medio
                   sint
                   usque
                   gradu
                   sociata
                   Coloris
                   .
                
              
               
                 
                   Corporum
                   erit
                   Tonus
                   atque
                   Color
                   variatus
                   ubique
                   
                
                 
                   Quaerat
                   amicitiam
                   retro
                   ,
                   
                   ferus
                   emicet
                   ante
                   .
                
              
               
                 
                 
                   
                   Supremum
                   in
                   Tabulis
                   Lumen
                   captare
                   diei
                
                 
                   
                   Insanus
                   labor
                   Artificum
                   ;
                   
                   cùm
                   attingere
                   tantùm
                
                 
                   Non
                   Pigmenta
                   queant
                   ;
                   auream
                   sed
                   vespere
                   Lucem
                   ,
                
                 
                   Seu
                   modicam
                   mane
                   albentem
                   ,
                   sive
                   aetheris
                   actam
                
                 
                   Post
                   Hymem
                   nimbis
                   transfuso
                   Sole
                   caducam
                   ,
                
                 
                   
                   Seu
                   nebulis
                   fultam
                   accipient
                   ,
                   tonitruque
                   rubentem
                   .
                
              
               
                 
                   
                   Laevia
                   quae
                   lucent
                   ,
                   
                   veluti
                   Chrystalla
                   ,
                   Metalla
                   ,
                
                 
                   Ligna
                   ,
                   Ossa
                   &
                   Lapides
                   ;
                   Villosa
                   ,
                   ut
                   Vellera
                   ,
                   Pelles
                   ,
                
                 
                   Barbae
                   ,
                   aqueique
                   Oculi
                   ,
                   Crines
                   ,
                   Holoserica
                   ,
                   Plumae
                   ;
                
                 
                   Et
                   Liquida
                   ,
                   ut
                   stagnans
                   Aqua
                   ,
                   reflexaeque
                   sub
                   Undis
                
                 
                   
                   Corporeae
                   species
                   ,
                   &
                   Aquis
                   contermina
                   cuncta
                   ,
                
                 
                   Subter
                   ad
                   extremum
                   liquide
                   sint
                   picta
                   ,
                   superque
                   ▪
                
                 
                   Luminibus
                   pereussa
                   suis
                   ,
                   signisque
                   repostis
                   .
                
              
               
                 
                   
                   Area
                   vel
                   Campus
                   Tabulae
                   vagus
                   esto
                   ,
                   
                   levisque
                
                 
                   Abscedat
                   latus
                   ,
                   liquideque
                   bene
                   unctis
                   amicis
                
                 
                   
                   Tota
                   ex
                   mole
                   Coloribus
                   ,
                   una
                   sive
                   Patellâ
                   :
                
                 
                   Quaeque
                   cadunt
                   retro
                   in
                   Campum
                   confinia
                   Campo
                   .
                
                 
                 
                   vividus
                   esto
                   Color
                   nimio
                   non
                   pallidus
                   Albo
                   ,
                   
                   
                
                 
                   Adversisque
                   locis
                   ingestus
                   plurimus
                   ardens
                   ;
                
                 
                   Sed
                   leviter
                   parcéque
                   datus
                   vergentibus
                   oris
                   .
                
              
               
                 
                   Cuncta
                   Labore
                   simul
                   coëant
                   ,
                   
                   velut
                   Umbrâ
                   in
                   eadem
                   .
                   
                   
                
              
               
                 
                   Tota
                   siet
                   Tabula
                   ex
                   unâ
                   depicta
                   Patellâ
                   .
                   
                   
                
              
               
                 
                   Multa
                   ex
                   Natura
                   Speculum
                   praeclara
                   docebit
                   ;
                   
                   
                
                 
                   Quaeque
                   procul
                   serò
                   spatiis
                   spectantur
                   in
                   amplis
                   .
                
              
               
                 
                   Dimidia
                   Effigies
                   ,
                   quae
                   sola
                   ,
                   
                   vel
                   integra
                   plures
                   
                
                 
                   Ante
                   alias
                   posita
                   ad
                   Lucem
                   ,
                   stet
                   proxima
                   visu
                   ,
                   
                
                 
                   Et
                   latis
                   spectanda
                   locis
                   ,
                   oculisque
                   remota
                   ,
                
                 
                   Luminis
                   Umbrarumque
                   gradu
                   sit
                   picta
                   supremo
                   .
                
              
               
                 
                 
                   
                   Partibus
                   in
                   minimis
                   imitatio
                   justa
                   juvabit
                
                 
                   
                   E●●igiem
                   ,
                   
                   alternas
                   referendo
                   tempore
                   eodem
                
                 
                   Consimiles
                   Partes
                   ,
                   cum
                   Luminis
                   atque
                   Coloris
                
                 
                   Compositis
                   justisque
                   Tonis
                   ,
                   tunc
                   parta
                   Labore
                
                 
                   Si
                   facili
                   &
                   vegeto
                   micat
                   ardens
                   ,
                   viva
                   videtur
                   .
                
              
               
                 
                   
                   Visa
                   loco
                   angusto
                   tenerè
                   pingantur
                   ,
                   
                   amico
                
                 
                   Iuncta
                   Colore
                   graduque
                   ,
                   procul
                   quae
                   picta
                   feroci
                
                 
                   
                   Sint
                   &
                   inaequali
                   variata
                   Colore
                   ,
                   Tonoque
                   .
                
                 
                   Grandia
                   signa
                   volunt
                   spatia
                   ampla
                   ferosque
                   Colores
                   .
                
                 
                 
                   Lumina
                   lata
                   unctas
                   simul
                   undique
                   copulet
                   Umbras
                   
                
                 
                   Extremus
                   Labor
                   .
                   
                   In
                   Tabulas
                   demissa
                   fenestris
                
                 
                   Si
                   fuerit
                   Lux
                   parva
                   ,
                   
                   Color
                   clarissimus
                   esto
                   :
                   
                
                 
                   Vividus
                   at
                   contra
                   obscurusque
                   in
                   Lumine
                   aperto
                   .
                   
                
              
               
                 
                   Quae
                   vacuis
                   divisa
                   cavis
                   vitare
                   memento
                   :
                   
                   
                
                 
                   Trita
                   ,
                   minuta
                   ,
                   simul
                   quae
                   non
                   stipata
                   dehiscunt
                   ;
                
                 
                   Barbara
                   ,
                   Cruda
                   oculis
                   ,
                   rugis
                   fucata
                   Colorum
                   ,
                
                 
                   Luminis
                   Umbrarumque
                   Tonis
                   aequalia
                   cuncta
                   ;
                
                 
                   Foeda
                   ,
                   cruenta
                   ,
                   cruces
                   ,
                   obscoena
                   ,
                   ingrata
                   ,
                   chimeras
                   ,
                   
                
                 
                   Sordidaque
                   &
                   misera
                   ,
                   &
                   vel
                   acuta
                   ,
                   vel
                   aspera
                   tactu
                   ,
                
                 
                   Quaeque
                   dabunt
                   formae
                   temerè
                   congesta
                   ruinam
                   ,
                
                 
                   Implicitasque
                   aliis
                   confundent
                   miscua
                   Partes
                   .
                
              
               
                 
                   Dumque
                   fugis
                   vitiosa
                   ,
                   
                   cave
                   in
                   contraria
                   labi
                   
                
                 
                   Damna
                   mali
                   ,
                   Vitium
                   extremis
                   nam
                   semper
                   inhaeret
                   .
                   
                
                 
                 
                   
                   Pulchra
                   gradu
                   summo
                   Graphidos
                   stabilita
                   Vetustae
                
                 
                   Nobilibus
                   Signis
                   sunt
                   Grandia
                   ,
                   
                   Dissita
                   ,
                   Pura
                   ,
                
                 
                   Tersa
                   ,
                   velut
                   minime
                   confusa
                   ,
                   Labore
                   Ligata
                   ,
                
                 
                   Partibus
                   ex
                   magnis
                   paucisque
                   efficta
                   ,
                   Colorum
                
                 
                   
                   Corporibus
                   distincta
                   feris
                   ,
                   sed
                   semper
                   amicis
                   .
                
              
               
                 
                   Qui
                   bene
                   coepit
                   ,
                   uti
                   facti
                   jam
                   fertur
                   habere
                
                 
                   
                   Dimidium
                   ;
                   
                   Picturam
                   ita
                   nil
                   sub
                   limine
                   primo
                
                 
                   Ingrediens
                   Puer
                   offendit
                   damnosius
                   Arti
                   ,
                
                 
                   Quàm
                   varia
                   errorum
                   genera
                   ignorante
                   Magistro
                
                 
                   
                   Ex
                   pravis
                   libare
                   Typis
                   ,
                   mentemque
                   veneno
                
                 
                   Inficere
                   ,
                   in
                   toto
                   quod
                   non
                   abstergitur
                   aevo
                   .
                
              
               
                 
                   Nec
                   Graphidos
                   rudis
                   Artis
                   adhuc
                   cito
                   qualiacumque
                
                 
                   Corpora
                   viva
                   super
                   studium
                   meditabitur
                   ante
                
                 
                   Illorum
                   quam
                   Symmetriam
                   ,
                   Internodia
                   ,
                   Formam
                
                 
                   
                   Noverit
                   inspectis
                   docto
                   evolvente
                   Magistro
                
                 
                   Archetypis
                   ,
                   dulcesque
                   Dolos
                   praesenserit
                   Artis
                   .
                
                 
                   
                   Plusque
                   Manu
                   ante
                   oculos
                   quàm
                   voce
                   docebitur
                   usus
                   .
                   
                
              
               
                 
                 
                   Quaere
                   Artem
                   quaecumque
                   juvant
                   ,
                   
                   fuge
                   quaeque
                   repugnant
                   .
                   
                
              
               
                 
                   Corpora
                   diversae
                   naturae
                   juncta
                   placebunt
                   ;
                
                 
                   Sic
                   ea
                   quae
                   facili
                   contempta
                   labore
                   videntur
                   :
                   
                
                 
                   Aethereus
                   quippe
                   ignis
                   inest
                   &
                   spiritus
                   illis
                   .
                
                 
                   Mente
                   diu
                   versata
                   ,
                   manu
                   celeranda
                   repenti
                   .
                
                 
                   Arsque
                   Laborque
                   Operis
                   grata
                   sic
                   fraude
                   latebit
                   .
                
                 
                   Maxima
                   deinde
                   erit
                   ars
                   ,
                   nihil
                   artis
                   inesse
                   videri
                   .
                
              
               
                 
                   Nec
                   prius
                   inducas
                   Tabulae
                   Pigmenta
                   Colorum
                   ,
                   
                   
                
                 
                   Expensi
                   quàm
                   signa
                   Typi
                   stabilita
                   nitescant
                   ,
                   
                
                 
                   Et
                   menti
                   praesens
                   Operis
                   sit
                   Pegma
                   futuri
                   .
                
              
               
                 
                   Praevaleat
                   sensus
                   rationi
                   quae
                   officit
                   Arti
                   
                
                 
                   Conspicuae
                   ,
                   
                   inque
                   oculis
                   tantummodo
                   Circinus
                   esto
                   .
                
              
               
                 
                 
                   
                   Utere
                   Doctorum
                   Monitis
                   ,
                   nec
                   sperne
                   superbus
                
                 
                   
                   Discere
                   quae
                   de
                   te
                   fuerit
                   Sententia
                   Vulgi
                   .
                   
                
                 
                   Est
                   coecus
                   nam
                   quisque
                   suis
                   in
                   rebus
                   ,
                   &
                   expers
                
                 
                   Iudicii
                   ,
                   Prolemque
                   suam
                   miratur
                   amatque
                   .
                
                 
                   Ast
                   ubi
                   Consilium
                   deerit
                   Sapientis
                   Amici
                   ,
                
                 
                   
                   Id
                   tempus
                   dabit
                   ,
                   atque
                   mora
                   intermissa
                   labori
                   .
                
                 
                   Non
                   facilis
                   tamen
                   ad
                   nutus
                   &
                   inania
                   Vulgi
                
                 
                   Dicta
                   levis
                   mutabis
                   Opus
                   ,
                   Geniumque
                   relinques
                   :
                
                 
                   Nam
                   qui
                   parte
                   sua
                   sperat
                   bene
                   posse
                   mereri
                
                 
                   Multivaga
                   de
                   Plebe
                   ,
                   nocet
                   sibi
                   ,
                   nec
                   placet
                   ulli
                   .
                
              
               
                 
                   
                   Cumque
                   Opere
                   in
                   proprio
                   soleat
                   se
                   pingere
                   Pictor
                   ,
                
                 
                   
                   (
                   Prolem
                   adeo
                   sibi
                   ferre
                   parem
                   Natura
                   suevit
                   )
                   
                
              
               
                 
                 
                   Proderit
                   imprimis
                   Pictori
                   
                     〈◊〉
                     〈◊〉
                     〈◊〉
                     〈◊〉
                     〈◊〉
                  
                   ;
                
                 
                   Ut
                   data
                   quae
                   genio
                   colat
                   ,
                   abstineatque
                   negat
                   is
                   .
                
              
               
                 
                   Fructibus
                   utque
                   suus
                   nunquam
                   est
                   sapor
                   at
                   que
                   venustas
                
                 
                   Floribus
                   insueto
                   in
                   fundo
                   praecoce
                   sub
                   anni
                   
                
                 
                   Tempore
                   ,
                   quos
                   cultus
                   violentus
                   &
                   ignis
                   adegit
                   ;
                
                 
                   Sic
                   nunquam
                   nimio
                   quae
                   sunt
                   extorta
                   labore
                   ,
                
                 
                   Et
                   picta
                   invito
                   Genio
                   ,
                   nunquam
                   illa
                   placebunt
                   .
                
              
               
                 
                   Vera
                   super
                   meditando
                   ,
                   
                   Manus
                   ,
                   Labor
                   improbus
                   adsit
                   :
                   
                
                 
                   Nec
                   tamen
                   obtundat
                   Genium
                   ,
                   mentisque
                   vigorem
                   .
                   
                
              
               
                 
                   Optima
                   nostrorum
                   pars
                   matutina
                   dierum
                   ,
                   
                   
                
                 
                   Difficili
                   hanc
                   igitur
                   potiorem
                   impende
                   Labori
                   .
                
              
               
                 
                   Nulla
                   dies
                   abeat
                   quin
                   linea
                   ducta
                   supersit
                   .
                   
                   
                
                 
                   Perque
                   vias
                   vultus
                   hominum
                   ,
                   motusque
                   notabis
                
                 
                   Libertate
                   sua
                   proprios
                   ,
                   
                   positasque
                   Figuras
                   
                   
                
                 
                   Ex
                   sese
                   faciles
                   ,
                   ut
                   inobservatus
                   habebis
                   .
                
              
               
                 
                 
                   
                   Mox
                   quodcumque
                   Mari
                   ,
                   
                   Terris
                   &
                   in
                   Aëre
                   pulchrum
                
                 
                   Contigerit
                   ,
                   Chartis
                   propera
                   mandare
                   paratis
                   ,
                
                 
                   Dum
                   praesens
                   animo
                   species
                   tibi
                   fervet
                   hianti
                   .
                
              
               
                 
                   
                   Non
                   epulis
                   nimis
                   indulget
                   Pictura
                   ,
                   meroque
                
                 
                   Parcit
                   ,
                   Amicorum
                   quantum
                   ut
                   sermone
                   benigno
                
                 
                   Exhaustum
                   reparet
                   mentem
                   recreata
                   ,
                   sed
                   inde
                
                 
                   Litibus
                   &
                   curis
                   in
                   Coelibe
                   libera
                   vita
                
                 
                   Secessus
                   procul
                   à
                   turba
                   strepituque
                   remotos
                
                 
                   
                   Villarum
                   rurisque
                   beata
                   silentia
                   quaerit
                   :
                
                 
                   Namque
                   recollecto
                   tota
                   incumbente
                   Minerva
                
                 
                   Ingenio
                   rerum
                   species
                   praesentior
                   extat
                   ,
                
                 
                   Commodiusque
                   Operis
                   compagem
                   amplectitur
                   omnem
                   .
                
              
               
                 
                   Infami
                   tibi
                   non
                   potior
                   sit
                   avara
                   peculî
                
                 
                   
                   Cura
                   ,
                   aurique
                   fames
                   ,
                   modicâ
                   quam
                   sorte
                   beato
                
                 
                   Nominis
                   aeterni
                   &
                   laudis
                   pruritus
                   habendae
                   ,
                
                 
                 
                   Condignae
                   pulchrorum
                   Operum
                   mercedis
                   in
                   aevum
                   .
                
              
               
                 
                   Iudicium
                   ,
                   docile
                   Ingenium
                   ,
                   Cor
                   nobile
                   ,
                   Sensus
                
                 
                   Sublimes
                   ,
                   firmum
                   Corpus
                   ,
                   florensque
                   Iuventa
                   ,
                
                 
                   Commoda
                   Res
                   ,
                   Labor
                   ,
                   Artis
                   amor
                   ,
                   doctusque
                   Magister
                   ;
                   
                
              
               
                 
                   Et
                   quamcumque
                   voles
                   occasio
                   porrigat
                   ansam
                   ,
                
                 
                   Ni
                   Genius
                   quidam
                   adfuerit
                   Sydusque
                   benignum
                   ,
                
                 
                   Dotibus
                   his
                   tantis
                   ,
                   nec
                   adhuc
                   Ars
                   tantaparatur
                   :
                
              
               
                 
                   Distat
                   ab
                   Ingenio
                   longè
                   Manus
                   .
                   Optima
                   Doctis
                
                 
                   Censentur
                   quae
                   prava
                   minus
                   ;
                   latet
                   omnibus
                   error
                   ,
                   
                
                 
                   Vitaque
                   tam
                   longae
                   brevior
                   non
                   sufficit
                   Arti
                   ;
                
                 
                 
                   Desinimus
                   nam
                   posse
                   senes
                   cùm
                   scire
                   periti
                
                 
                   Incipimus
                   ,
                   doctamque
                   Manum
                   gravat
                   aegra
                   senectus
                   ,
                
                 
                   Nec
                   gelidis
                   fervet
                   juvenilis
                   in
                   Artubus
                   ardor
                   .
                
              
               
                 
                   
                   Quare
                   agite
                   ,
                   ô
                   Iuvenes
                   ,
                   placido
                   quos
                   Sydere
                   natos
                
                 
                   Paciferae
                   studia
                   allectant
                   tranquilla
                   Minervae
                   ,
                
                 
                   Quosque
                   suo
                   fovet
                   igne
                   ,
                   sibique
                   optavit
                   Alumnos
                   !
                
                 
                   Eja
                   agite
                   ,
                   atque
                   animis
                   ingentem
                   ingentibus
                   Artem
                
                 
                   Exercete
                   alacres
                   ,
                   dum
                   strenua
                   corda
                   Iuventus
                
                 
                   
                   Viribus
                   extimulat
                   vegetis
                   ,
                   patiensque
                   laborum
                   est
                   ;
                
                 
                   Dum
                   vacua
                   errorum
                   nulloque
                   imbuta
                   sapore
                
                 
                   Pura
                   nitet
                   mens
                   ,
                   &
                   rerum
                   sitibunda
                   novarum
                
                 
                   Praesentes
                   haurit
                   species
                   ,
                   atque
                   humida
                   servat
                   .
                
              
               
                 
                   
                   
                   In
                   Geometrali
                   priùs
                   Arte
                   parumper
                   adulti
                
                 
                 
                   Signa
                   Antiqua
                   super
                   Graïorum
                   addiscite
                   formam
                   ;
                   
                
                 
                   Nec
                   mora
                   nec
                   requies
                   ,
                   noctuque
                   diuque
                   labori
                
                 
                   Illorum
                   Menti
                   atque
                   Modo
                   ,
                   vos
                   donec
                   agendi
                
                 
                   Praxis
                   ab
                   assiduo
                   faciles
                   assueverit
                   usu
                   .
                
              
               
                 
                   Mox
                   ubi
                   Iudicium
                   emensis
                   adoleverit
                   annis
                
                 
                   Singula
                   quae
                   celebrant
                   primae
                   Exemplaria
                   classis
                
                 
                   Romani
                   ,
                   Veneti
                   ,
                   Parmenses
                   ,
                   atque
                   Bononi
                   
                
                 
                   Partibus
                   in
                   cunctis
                   pedetentim
                   atque
                   ordine
                   recto
                   ,
                
                 
                   Ut
                   monitum
                   suprà
                   est
                   vos
                   expendisse
                   juvabit
                   .
                
              
               
                 
                   Hos
                   apud
                   invenit
                   Raphael
                   miracula
                   summo
                
                 
                   Ducta
                   modo
                   ,
                   Veneresque
                   habuit
                   quas
                   nemo
                   deinceps
                   .
                   
                
                 
                   Quidquid
                   erat
                   formae
                   scivit
                   Bonarota
                   potenter
                   .
                
              
               
                 
                   Iulius
                   à
                   puero
                   Musarum
                   eductus
                   in
                   Antris
                
                 
                   Aonias
                   reseravit
                   opes
                   ,
                   Graphicaque
                   Poësi
                
                 
                   Quae
                   non
                   visa
                   priùs
                   ,
                   sed
                   tantùm
                   audita
                   Poëtis
                
                 
                   Ante
                   oculos
                   spectanda
                   dedit
                   Sacraria
                   Phoebi
                   :
                   
                
                 
                 
                   Quaeque
                   coronatis
                   complevit
                   bella
                   triumphis
                
                 
                   Heroüm
                   fortuna
                   potens
                   ,
                   casusque
                   decoros
                
                 
                   Nobilius
                   reipsa
                   antiqua
                   pinxisse
                   videtur
                   .
                
              
               
                 
                   Clarior
                   ante
                   alios
                   Corregius
                   extitit
                   ,
                   ampla
                
                 
                   
                   Luce
                   superfusa
                   circum
                   coëuntibus
                   Umbris
                   ,
                
                 
                   Pingendique
                   Modo
                   grandi
                   ,
                   &
                   tractando
                   Colore
                
                 
                   Corpora
                   .
                   Amicitiamque
                   ,
                   gradusque
                   ,
                   dolosque
                   Colorum
                   ,
                
                 
                   Compagemque
                   ita
                   disposuit
                   Titianus
                   ,
                   ut
                   inde
                
                 
                   Divus
                   appellatus
                   ,
                   magnis
                   sit
                   honoribus
                   auctus
                
                 
                   
                   Fortunaeque
                   bonis
                   :
                   Quos
                   sedulus
                   Annibal
                   omnes
                
                 
                   In
                   propriam
                   mentem
                   atque
                   Modum
                   mira
                   arte
                   coegit
                   .
                
              
               
                 
                 
                   Plurimus
                   inde
                   labor
                   Tabulas
                   imitando
                   juvabit
                
                 
                   Egregias
                   ,
                   
                   Operumque
                   Typos
                   ;
                   sed
                   plura
                   docebit
                   
                
                 
                   Natura
                   ante
                   oculos
                   praesens
                   ;
                   nam
                   firmat
                   &
                   auget
                
                 
                   Vim
                   Genii
                   ,
                   ex
                   illaque
                   Artem
                   Experientia
                   complet
                   .
                
                 
                   Multa
                   supersileo
                   quae
                   commentaria
                   dicent
                   .
                   
                
              
               
                 
                   Haec
                   ego
                   ,
                   dum
                   memoror
                   subitura
                   volubilis
                   aevi
                
                 
                   Cuncta
                   vices
                   ,
                   variisque
                   olim
                   peritura
                   ruinis
                   ,
                
                 
                   Pauca
                   Sophismata
                   sum
                   Graphica
                   immortalibus
                   ausus
                
                 
                   Credere
                   Pieriis
                   .
                   Romae
                   meditatus
                   :
                   ad
                   Alpes
                   
                
                 
                   Dum
                   super
                   insanas
                   moles
                   inimicaque
                   castra
                
                 
                   Borbonidum
                   decus
                   &
                   vindex
                   Lodoicus
                   Avorum
                
                 
                   Fulminat
                   ardenti
                   dextrâ
                   ,
                   Patriaeque
                   resurgens
                
                 
                   Gallicus
                   Alcides
                   ,
                   premit
                   Hispani
                   ora
                   Leonis
                   .
                   
                
              
            
             
               
               
                 THE
                 
                   Art
                   of
                   Painting
                
              
               
                 *
                 PAinting
                 and
                 Poesy
                 are
                 two
                 Sisters
                 ,
                 which
                 are
                 so
                 like
                 in
                 all
                 things
                 ,
                 
                 that
                 they
                 mutually
                 lend
                 to
                 each
                 other
                 both
                 their
                 Name
                 and
                 Office.
                 One
                 is
                 call'd
                 a
                 dumb
                 Poesy
                 ,
                 and
                 the
                 other
                 a
                 speaking
                 Picture
                 .
                 The
                 Poets
                 have
                 never
                 said
                 any
                 thing
                 but
                 what
                 
                 they
                 believ'd
                 wou'd
                 please
                 the
                 Ears
                 .
                 And
                 it
                 has
                 been
                 the
                 constant
                 endeavour
                 of
                 the
                 Painters
                 to
                 give
                 pleasure
                 to
                 the
                 Eyes
                 .
                 In
                 short
                 ,
                 those
                 things
                 which
                 the
                 Poets
                 have
                 thought
                 unworthy
                 of
                 their
                 Pens
                 ,
                 the
                 Painters
                 have
                 judg'd
                 to
                 be
                 unworthy
                 of
                 their
                 Pencils
                 .
                 *
                 For
                 both
                 of
                 them
                 ,
                 that
                 they
                 might
                 contribute
                 all
                 within
                 their
                 power
                 to
                 the
                 sacred
                 Honours
                 of
                 Religion
                 ,
                 have
                 rais'd
                 themselves
                 
                 to
                 Heaven
                 ,
                 and
                 ,
                 having
                 found
                 a
                 free
                 admission
                 into
                 the
                 Palace
                 of
                 Iove
                 himself
                 ,
                 have
                 enjoy'd
                 the
                 sight
                 and
                 conversation
                 of
                 the
                 Gods
                 ;
                 whose
                 Majesty
                 they
                 observe
                 ,
                 and
                 contemplate
                 the
                 wonders
                 of
                 their
                 Discourse
                 ;
                 in
                 order
                 to
                 relate
                 them
                 to
                 Mankind
                 ;
                 whom
                 at
                 the
                 same
                 time
                 they
                 inspire
                 with
                 those
                 Coelestial
                 flames
                 ,
                 which
                 shine
                 so
                 gloriously
                 in
                 their
                 Works
                 .
                 From
                 Heaven
                 they
                 
                 take
                 their
                 passage
                 through
                 the
                 world
                 ;
                 and
                 are
                 neither
                 sparing
                 of
                 their
                 pains
                 nor
                 of
                 their
                 study
                 to
                 
                 collect
                 whatsoever
                 they
                 find
                 worthy
                 of
                 them
                 .
                 *
                 They
                 dive
                 (
                 as
                 I
                 may
                 say
                 )
                 into
                 all
                 past
                 Ages
                 ;
                 and
                 search
                 their
                 Histories
                 ,
                 for
                 Subjects
                 which
                 are
                 proper
                 for
                 their
                 use
                 :
                 with
                 care
                 avoiding
                 to
                 treat
                 of
                 any
                 but
                 those
                 which
                 ,
                 by
                 their
                 nobleness
                 ,
                 or
                 by
                 some
                 remarkable
                 accident
                 ,
                 have
                 deserv'd
                 to
                 be
                 consecrated
                 to
                 Eternity
                 ;
                 whether
                 on
                 the
                 Seas
                 ,
                 or
                 
                 Earth
                 ,
                 or
                 in
                 the
                 Heavens
                 .
                 And
                 by
                 this
                 their
                 care
                 and
                 study
                 it
                 comes
                 to
                 pass
                 ,
                 that
                 the
                 glory
                 of
                 Heroes
                 is
                 not
                 extinguish'd
                 with
                 their
                 lives
                 :
                 and
                 that
                 those
                 admirable
                 works
                 ,
                 those
                 prodigies
                 of
                 skill
                 ,
                 which
                 even
                 yet
                 are
                 the
                 objects
                 of
                 our
                 admiration
                 ,
                 are
                 still
                 preserv'd
                 .
                 *
                 So
                 much
                 these
                 Divine
                 Arts
                 have
                 been
                 always
                 honour'd
                 :
                 and
                 such
                 
                 authority
                 they
                 preserve
                 amongst
                 Mankind
                 .
                 It
                 will
                 not
                 here
                 be
                 necessary
                 to
                 implore
                 the
                 succour
                 of
                 Apollo
                 ,
                 and
                 the
                 Muses
                 :
                 for
                 the
                 gracefulness
                 of
                 the
                 Discourse
                 ,
                 or
                 for
                 the
                 Cadence
                 of
                 the
                 Verses
                 :
                 which
                 containing
                 only
                 Precepts
                 ,
                 have
                 not
                 so
                 much
                 need
                 of
                 Ornament
                 ,
                 as
                 of
                 Perspicuity
                 .
              
               
                 
                 I
                 pretend
                 not
                 in
                 this
                 Treatise
                 to
                 tye
                 the
                 hands
                 of
                 Artists
                 ,
                 whose
                 skill
                 consists
                 only
                 in
                 a
                 certain
                 practice
                 ,
                 or
                 manner
                 which
                 they
                 have
                 affected
                 ;
                 and
                 made
                 of
                 it
                 as
                 it
                 were
                 a
                 Common
                 Road.
                 Neither
                 wou'd
                 I
                 stifle
                 the
                 Genius
                 by
                 a
                 jumbled
                 
                 heap
                 of
                 Rules
                 :
                 nor
                 extinguish
                 the
                 fire
                 of
                 a
                 vein
                 which
                 is
                 lively
                 and
                 abundant
                 .
                 But
                 rather
                 to
                 make
                 this
                 my
                 business
                 ,
                 that
                 Art
                 being
                 strengthned
                 by
                 the
                 knowledge
                 of
                 things
                 ,
                 may
                 at
                 length
                 pass
                 into
                 Nature
                 by
                 slow
                 degrees
                 ;
                 and
                 so
                 in
                 process
                 
                 of
                 time
                 may
                 be
                 sublim'd
                 into
                 a
                 pure
                 Genius
                 which
                 is
                 capable
                 of
                 choosing
                 judiciously
                 what
                 is
                 true
                 ;
                 and
                 of
                 distinguishing
                 betwixt
                 the
                 beauties
                 of
                 Nature
                 ,
                 and
                 that
                 which
                 is
                 low
                 and
                 mean
                 in
                 her
                 ;
                 and
                 that
                 this
                 Original
                 Genius
                 by
                 long
                 exercise
                 and
                 customs
                 ,
                 may
                 perfectly
                 possess
                 all
                 the
                 Rules
                 and
                 Secrets
                 of
                 that
                 Art.
                 
              
               
                 *
                 The
                 principal
                 and
                 most
                 important
                 part
                 of
                 Painting
                 ,
                 
                 is
                 to
                 find
                 out
                 and
                 thoroughly
                 to
                 understand
                 what
                 Nature
                 has
                 made
                 most
                 beautifull
                 ,
                 and
                 most
                 proper
                 to
                 this
                 Art
                 ;
                 *
                 and
                 that
                 a
                 choice
                 of
                 it
                 may
                 be
                 made
                 according
                 to
                 the
                 gust
                 and
                 manner
                 of
                 the
                 Ancients
                 ,
                 *
                 without
                 which
                 all
                 is
                 
                 nothing
                 but
                 a
                 blind
                 ,
                 and
                 rash
                 barbarity
                 ;
                 which
                 rejects
                 what
                 is
                 most
                 beautifull
                 ,
                 and
                 seems
                 with
                 an
                 audacious
                 insolence
                 to
                 despise
                 an
                 Art
                 ,
                 of
                 which
                 it
                 is
                 wholly
                 ignorant
                 ;
                 which
                 has
                 occasion'd
                 these
                 words
                 of
                 the
                 Ancients
                 :
                 
                   That
                   no
                   man
                   is
                   so
                   bold
                   ,
                   so
                   rash
                   ,
                   and
                   so
                   overweening
                   of
                   his
                   own
                   works
                   ,
                   as
                   an
                   ill
                   Painter
                   ,
                   and
                   a
                   bad
                   Poet
                   ,
                   who
                   are
                   not
                   conscious
                   to
                   themselves
                   of
                   their
                   own
                   Ignorance
                   .
                
              
               
               
                 
                 *
                 We
                 love
                 what
                 we
                 understand
                 ;
                 we
                 desire
                 what
                 we
                 love
                 ;
                 we
                 pursue
                 the
                 enjoyment
                 of
                 those
                 things
                 which
                 we
                 desire
                 ;
                 and
                 arrive
                 at
                 last
                 to
                 the
                 possession
                 of
                 what
                 we
                 have
                 pursu'd
                 ,
                 if
                 we
                 constantly
                 persist
                 in
                 our
                 Design
                 .
                 In
                 the
                 mean
                 time
                 ,
                 we
                 ought
                 not
                 to
                 expect
                 that
                 blind
                 Fortune
                 shou'd
                 infallibly
                 throw
                 into
                 our
                 hands
                 those
                 Beauties
                 :
                 For
                 though
                 we
                 may
                 light
                 by
                 chance
                 on
                 some
                 which
                 are
                 true
                 and
                 natural
                 ,
                 yet
                 they
                 may
                 prove
                 either
                 not
                 to
                 be
                 decent
                 or
                 not
                 to
                 be
                 ornamental
                 .
                 
                 Because
                 it
                 is
                 not
                 sufficient
                 to
                 imitate
                 Nature
                 in
                 every
                 circumstance
                 ,
                 dully
                 ,
                 and
                 as
                 it
                 were
                 literally
                 ,
                 and
                 meanly
                 ;
                 but
                 it
                 becomes
                 a
                 Painter
                 to
                 take
                 what
                 is
                 most
                 beautifull
                 ,
                 *
                 as
                 being
                 the
                 Soveraign
                 Judge
                 of
                 his
                 own
                 Art
                 ;
                 and
                 that
                 by
                 the
                 progress
                 which
                 he
                 has
                 made
                 ,
                 he
                 may
                 understand
                 how
                 to
                 correct
                 his
                 errours
                 ,
                 and
                 *
                 permit
                 no
                 transient
                 Beauties
                 to
                 escape
                 his
                 observation
                 .
              
               
                 
                 *
                 In
                 the
                 same
                 manner
                 ,
                 that
                 bare
                 practice
                 ,
                 
                 destitute
                 of
                 the
                 Lights
                 of
                 Art
                 ,
                 is
                 always
                 subject
                 to
                 fall
                 into
                 a
                 precipice
                 like
                 a
                 blind
                 Traveller
                 ,
                 without
                 
                 being
                 able
                 to
                 produce
                 any
                 thing
                 which
                 contributes
                 to
                 a
                 solid
                 reputation
                 :
                 So
                 the
                 speculative
                 part
                 of
                 Painting
                 ,
                 without
                 the
                 assistance
                 of
                 manual
                 operation
                 ,
                 can
                 never
                 attain
                 to
                 that
                 perfection
                 which
                 is
                 its
                 object
                 :
                 But
                 sloathfully
                 languishes
                 as
                 in
                 a
                 Prison
                 :
                 for
                 it
                 was
                 not
                 with
                 his
                 Tongue
                 that
                 
                 Apelles
                 perform'd
                 his
                 Noble
                 Works
                 .
                 Therefore
                 
                 though
                 there
                 are
                 many
                 things
                 in
                 Painting
                 ,
                 of
                 which
                 no
                 precise
                 rules
                 are
                 to
                 be
                 given
                 (
                 *
                 because
                 the
                 greatest
                 Beauties
                 cannot
                 always
                 be
                 express'd
                 for
                 want
                 of
                 terms
                 )
                 yet
                 I
                 shall
                 not
                 omit
                 to
                 give
                 some
                 Precepts
                 which
                 I
                 have
                 selected
                 from
                 among
                 the
                 most
                 considerable
                 which
                 we
                 have
                 receiv'd
                 from
                 Nature
                 ,
                 that
                 exact
                 School-mistress
                 ,
                 after
                 having
                 examin'd
                 her
                 most
                 secret
                 recesses
                 ,
                 as
                 well
                 as
                 *
                 those
                 Master
                 pieces
                 of
                 Antiquity
                 ,
                 which
                 were
                 the
                 first
                 Examples
                 of
                 this
                 Art
                 :
                 And
                 ,
                 't
                 is
                 by
                 this
                 means
                 that
                 the
                 mind
                 ,
                 and
                 the
                 natural
                 disposition
                 
                 are
                 to
                 be
                 cultivated
                 ;
                 and
                 that
                 Science
                 perfects
                 Genius
                 ,
                 *
                 and
                 also
                 moderates
                 that
                 fury
                 of
                 the
                 fancy
                 ,
                 which
                 cannot
                 contain
                 it self
                 within
                 the
                 bounds
                 of
                 Reason
                 ;
                 but
                 often
                 carries
                 a
                 man
                 into
                 dangerous
                 extremes
                 :
                 
                   For
                   there
                   is
                   a
                   mean
                   in
                   all
                   things
                   ;
                   and
                   a
                   certain
                   measure
                   ,
                   wherein
                   the
                   good
                   and
                   the
                   beautifull
                   consist
                   ;
                   and
                   out
                   of
                   which
                   they
                   never
                   can
                   depart
                   .
                
              
               
                 This
                 being
                 premis'd
                 ,
                 the
                 next
                 thing
                 is
                 to
                 make
                 
                 choice
                 of
                 *
                 a
                 Subject
                 beautifull
                 and
                 noble
                 ;
                 
                 which
                 being
                 of
                 it self
                 capable
                 of
                 all
                 the
                 charms
                 
                 and
                 graces
                 ,
                 that
                 Colours
                 ,
                 and
                 the
                 elegance
                 of
                 Design
                 can
                 possibly
                 give
                 ,
                 shall
                 afterwards
                 afford
                 ,
                 to
                 a
                 perfect
                 and
                 consummate
                 Art
                 ,
                 an
                 ample
                 field
                 of
                 matter
                 wherein
                 to
                 expatiate
                 it self
                 ;
                 to
                 exert
                 all
                 
                 its
                 power
                 ,
                 and
                 to
                 produce
                 somewhat
                 to
                 the
                 sight
                 which
                 is
                 excellent
                 ,
                 judicious
                 ,
                 *
                 and
                 well
                 season'd
                 ;
                 and
                 at
                 the
                 same
                 time
                 proper
                 to
                 instruct
                 ,
                 and
                 to
                 enlighten
                 the
                 Understanding
                 .
              
               
                 Thus
                 at
                 length
                 I
                 enter
                 into
                 the
                 Subject-matter
                 of
                 my
                 Discourse
                 ;
                 and
                 at
                 first
                 find
                 only
                 a
                 bare
                 strain'd
                 Canvass
                 :
                 *
                 on
                 which
                 the
                 whole
                 Machine
                 (
                 as
                 it
                 may
                 be
                 call'd
                 )
                 of
                 the
                 Picture
                 is
                 to
                 be
                 dispos'd
                 ;
                 and
                 the
                 imagination
                 of
                 a
                 powerfull
                 ,
                 and
                 
                 easy
                 Genius
                 ;
                 *
                 which
                 is
                 what
                 we
                 properly
                 call
                 Invention
                 .
              
               
                 *
                 INVENTION
                 is
                 a
                 kind
                 of
                 Muse
                 ,
                 
                 which
                 being
                 possess'd
                 of
                 the
                 other
                 advantages
                 common
                 to
                 her
                 Sisters
                 ;
                 and
                 being
                 warm'd
                 by
                 the
                 fire
                 of
                 Apollo
                 ,
                 is
                 rais'd
                 higher
                 than
                 the
                 rest
                 ,
                 and
                 shines
                 with
                 a
                 more
                 glorious
                 ,
                 and
                 brighter
                 flame
                 .
              
               
                 
                 *
                 'T
                 is
                 the
                 business
                 of
                 a
                 Painter
                 ,
                 
                 in
                 his
                 choice
                 of
                 Postures
                 ,
                 to
                 foresee
                 the
                 effect
                 ,
                 and
                 harmony
                 of
                 the
                 Lights
                 and
                 Shadows
                 ,
                 with
                 the
                 Colours
                 which
                 are
                 to
                 enter
                 into
                 the
                 whole
                 ;
                 taking
                 from
                 each
                 of
                 
                 them
                 ,
                 that
                 which
                 will
                 most
                 conduce
                 to
                 the
                 production
                 of
                 a
                 beautifull
                 Effect
                 .
              
               
                 
                 *
                 Let
                 your
                 Compositions
                 be
                 conformable
                 to
                 the
                 Text
                 of
                 Ancient
                 Authours
                 ,
                 
                 to
                 Customs
                 ,
                 and
                 to
                 Times
                 .
              
               
               
                 *
                 Take
                 care
                 that
                 whatsoever
                 makes
                 nothing
                 
                 to
                 your
                 Subject
                 ,
                 
                 and
                 is
                 improper
                 to
                 it
                 ,
                 be
                 not
                 admitted
                 into
                 your
                 Work
                 ,
                 or
                 not
                 possess
                 the
                 chief
                 place
                 in
                 it
                 .
                 But
                 on
                 this
                 occasion
                 ,
                 imitate
                 
                 the
                 Sister
                 of
                 Painting
                 ,
                 Tragedy
                 :
                 which
                 employs
                 the
                 whole
                 ●●orces
                 of
                 her
                 Art
                 in
                 the
                 main
                 Action
                 .
              
               
                 *
                 This
                 part
                 of
                 Painting
                 ,
                 so
                 rarely
                 met
                 with
                 ,
                 and
                 so
                 difficult
                 to
                 be
                 found
                 ,
                 is
                 neither
                 to
                 be
                 acquir'd
                 by
                 pains
                 or
                 study
                 ,
                 nor
                 by
                 the
                 Precepts
                 or
                 Counsels
                 of
                 any
                 Master
                 .
                 For
                 they
                 alone
                 who
                 have
                 been
                 inspir'd
                 at
                 their
                 birth
                 with
                 some
                 portion
                 of
                 that
                 Heavenly
                 fire
                 *
                 which
                 was
                 stollen
                 
                 by
                 Prometheus
                 ,
                 are
                 capable
                 of
                 receiving
                 so
                 divine
                 a
                 present
                 .
                 As
                 the
                 Proverb
                 tells
                 us
                 ,
                 *
                 
                   that
                   it
                   happens
                   not
                   to
                   every
                   one
                   to
                   see
                
                 Corinth
                 .
              
               
                 Painting
                 first
                 appear'd
                 in
                 Egypt
                 :
                 but
                 wholly
                 different
                 from
                 the
                 truth
                 ,
                 till
                 having
                 travell'd
                 into
                 Greece
                 ,
                 and
                 being
                 cultivated
                 by
                 the
                 Study
                 ,
                 and
                 sublime
                 Genius
                 of
                 that
                 Nation
                 ,
                 *
                 it
                 arriv'd
                 at
                 
                 length
                 to
                 that
                 height
                 of
                 perfection
                 ,
                 that
                 it
                 seem'd
                 to
                 surpass
                 even
                 Original
                 nature
                 .
              
               
                 Amongst
                 the
                 Academies
                 ,
                 which
                 were
                 compos'd
                 by
                 the
                 rare
                 Genius
                 of
                 those
                 Great
                 men
                 ,
                 these
                 four
                 are
                 reckon'd
                 as
                 the
                 principal
                 :
                 namely
                 ,
                 the
                 
                   Athenian
                   School
                
                 ,
                 that
                 of
                 Sicyon
                 ,
                 that
                 of
                 Rhodes
                 ,
                 and
                 that
                 of
                 Corinth
                 .
                 These
                 were
                 little
                 different
                 
                 from
                 each
                 other
                 ,
                 onely
                 in
                 the
                 manner
                 of
                 their
                 
                 work
                 ;
                 as
                 it
                 may
                 be
                 seen
                 by
                 the
                 
                   Ancient
                   Statues
                
                 ,
                 which
                 are
                 the
                 Rule
                 of
                 Beauty
                 ,
                 and
                 to
                 which
                 succeeding
                 Ages
                 have
                 nothing
                 that
                 is
                 equal
                 :
                 *
                 Though
                 they
                 are
                 not
                 very
                 much
                 inferiour
                 either
                 in
                 Science
                 ,
                 or
                 in
                 the
                 manner
                 of
                 their
                 Execution
                 .
              
               
                 
                 *
                 A
                 Posture
                 therefore
                 must
                 be
                 chosen
                 according
                 to
                 their
                 gusto
                 :
                 
                 *
                 The
                 Parts
                 of
                 it
                 must
                 be
                 great
                 *
                 and
                 large
                 ,
                 *
                 unequal
                 in
                 their
                 position
                 ,
                 so
                 that
                 those
                 which
                 are
                 before
                 must
                 contrast
                 (
                 or
                 
                 oppose
                 )
                 those
                 others
                 which
                 are
                 hindermost
                 ,
                 and
                 all
                 of
                 them
                 be
                 equally
                 balanc'd
                 on
                 their
                 Centre
                 .
              
               
                 *
                 The
                 Parts
                 must
                 have
                 their
                 out-lines
                 in
                 waves
                 resembling
                 flames
                 ,
                 or
                 the
                 gliding
                 of
                 a
                 Snake
                 upon
                 the
                 ground
                 :
                 They
                 must
                 be
                 smooth
                 ,
                 they
                 must
                 be
                 great
                 ,
                 they
                 must
                 be
                 almost
                 imperceptible
                 to
                 the
                 touch
                 ,
                 and
                 even
                 ,
                 without
                 either
                 Eminences
                 
                 or
                 Cavities
                 .
                 They
                 must
                 be
                 drawn
                 from
                 far
                 ,
                 and
                 without
                 breaks
                 ,
                 to
                 avoid
                 the
                 multiplicity
                 of
                 lines
                 .
                 Let
                 the
                 Muscles
                 be
                 well
                 inserted
                 and
                 bound
                 together
                 *
                 according
                 to
                 the
                 knowledge
                 of
                 them
                 which
                 is
                 given
                 us
                 by
                 Anatomy
                 .
                 Let
                 them
                 be
                 *
                 design'd
                 after
                 the
                 manner
                 of
                 the
                 Grecians
                 :
                 and
                 let
                 them
                 appear
                 but
                 little
                 ,
                 according
                 to
                 what
                 we
                 see
                 in
                 the
                 
                   Ancient
                   Figures
                
                 .
                 In
                 fine
                 ,
                 *
                 let
                 there
                 be
                 a
                 perfect
                 relation
                 betwixt
                 the
                 parts
                 and
                 
                 the
                 whole
                 ,
                 that
                 they
                 may
                 be
                 entirely
                 of
                 a
                 piece
                 .
              
               
                 Let
                 the
                 part
                 which
                 produces
                 another
                 part
                 ,
                 be
                 
                 more
                 strong
                 than
                 that
                 which
                 it
                 produces
                 ;
                 and
                 let
                 the
                 whole
                 be
                 seen
                 by
                 one
                 point
                 of
                 Sight
                 .
                 *
                 Though
                 Perspective
                 cannot
                 be
                 call'd
                 a
                 certain
                 rule
                 or
                 a
                 finishing
                 of
                 the
                 Picture
                 ,
                 yet
                 it
                 is
                 a
                 great
                 Succour
                 and
                 Relief
                 to
                 Art
                 ,
                 and
                 facilitates
                 the
                 means
                 of
                 Execution
                 ;
                 Yet
                 frequently
                 falling
                 into
                 Errors
                 ,
                 
                 and
                 making
                 us
                 behold
                 things
                 under
                 a
                 false
                 Aspect
                 ;
                 for
                 Bodies
                 are
                 not
                 always
                 represented
                 according
                 to
                 the
                 Geometrical
                 plane
                 ,
                 but
                 such
                 as
                 they
                 appear
                 to
                 the
                 Sight
                 .
              
               
                 Neither
                 the
                 Shape
                 of
                 Faces
                 ,
                 nor
                 the
                 Age
                 ,
                 
                 nor
                 the
                 Colour
                 ought
                 to
                 be
                 alike
                 in
                 all
                 Figures
                 ,
                 
                 any
                 more
                 than
                 the
                 Hair
                 :
                 because
                 Men
                 are
                 as
                 different
                 
                 from
                 each
                 other
                 ,
                 as
                 the
                 Regions
                 in
                 which
                 they
                 are
                 born
                 ,
                 are
                 different
                 .
              
               
                 *
                 Let
                 every
                 Member
                 be
                 made
                 for
                 its
                 own
                 
                 head
                 ,
                 
                 and
                 agree
                 with
                 it
                 .
                 And
                 let
                 all
                 together
                 compose
                 but
                 one
                 Body
                 ,
                 with
                 the
                 Draperies
                 which
                 are
                 proper
                 and
                 suitable
                 to
                 it
                 .
                 And
                 above
                 all
                 ,
                 let
                 the
                 Figures
                 to
                 which
                 Art
                 cannot
                 give
                 a
                 voice
                 ,
                 
                 imitate
                 the
                 Mutes
                 in
                 their
                 Actions
                 .
                 
              
               
                 *
                 Let
                 the
                 principal
                 Figure
                 of
                 the
                 Subject
                 appear
                 
                 in
                 the
                 middle
                 of
                 the
                 Piece
                 under
                 the
                 strongest
                 
                 Light
                 ,
                 
                 that
                 it
                 may
                 have
                 somewhat
                 to
                 make
                 it
                 more
                 remarkable
                 than
                 the
                 rest
                 ,
                 and
                 that
                 the
                 Figures
                 
                 which
                 accompany
                 it
                 ,
                 may
                 not
                 steal
                 it
                 from
                 our
                 Sight
                 .
              
               
                 
                 *
                 Let
                 the
                 Member
                 be
                 combin'd
                 in
                 the
                 same
                 manner
                 as
                 the
                 Figures
                 are
                 ,
                 
                 that
                 is
                 to
                 say
                 ,
                 coupled
                 and
                 knit
                 together
                 ,
                 And
                 let
                 the
                 Grouppes
                 be
                 separated
                 by
                 a
                 void
                 space
                 ,
                 to
                 avoid
                 a
                 confus'd
                 heap
                 ;
                 which
                 proceeding
                 from
                 parts
                 that
                 are
                 dispers'd
                 
                 without
                 any
                 Regularity
                 ,
                 and
                 entangled
                 one
                 within
                 another
                 ,
                 divides
                 the
                 Sight
                 into
                 many
                 Rays
                 ,
                 and
                 causes
                 a
                 disagreeable
                 Confusion
                 .
              
               
                 
                 *
                 The
                 Figures
                 in
                 the
                 Grouppes
                 ,
                 
                 ought
                 not
                 to
                 be
                 like
                 each
                 other
                 in
                 their
                 Motions
                 ,
                 any
                 more
                 than
                 in
                 their
                 Parts
                 :
                 nor
                 to
                 be
                 all
                 on
                 the
                 same
                 side
                 ,
                 
                 but
                 let
                 them
                 contrast
                 each
                 other
                 :
                 bearing
                 themselves
                 on
                 the
                 one
                 side
                 ,
                 in
                 Opposition
                 to
                 those
                 which
                 are
                 set
                 against
                 them
                 on
                 the
                 other
                 .
              
               
                 Amongst
                 many
                 Figures
                 which
                 show
                 their
                 fore-parts
                 let
                 there
                 be
                 some
                 one
                 whose
                 hinder
                 parts
                 may
                 be
                 seen
                 ;
                 opposing
                 the
                 Shoulders
                 to
                 the
                 Stomach
                 ,
                 and
                 the
                 right
                 side
                 to
                 the
                 left
                 .
              
               
                 
                 *
                 One
                 side
                 of
                 the
                 Picture
                 must
                 not
                 be
                 void
                 ,
                 
                 
                 while
                 the
                 other
                 is
                 fill'd
                 to
                 the
                 Borders
                 ;
                 but
                 let
                 matters
                 be
                 so
                 well
                 dispos'd
                 ,
                 that
                 if
                 one
                 side
                 of
                 the
                 Piece
                 be
                 full
                 ,
                 the
                 Painter
                 shall
                 find
                 some
                 occasion
                 
                 to
                 fill
                 the
                 other
                 ;
                 so
                 that
                 they
                 shall
                 appear
                 in
                 some
                 sort
                 equal
                 whether
                 there
                 be
                 many
                 Figures
                 in
                 it
                 ,
                 or
                 but
                 few
                 .
              
               
               
                 *
                 As
                 a
                 Play
                 is
                 very
                 seldom
                 good
                 ,
                 
                 
                 in
                 which
                 there
                 are
                 too
                 many
                 Actors
                 ,
                 so
                 't
                 is
                 very
                 seldom
                 seen
                 and
                 almost
                 impossible
                 to
                 perform
                 ,
                 that
                 a
                 Picture
                 should
                 be
                 perfect
                 in
                 which
                 there
                 are
                 too
                 great
                 a
                 number
                 of
                 Figures
                 .
                 And
                 we
                 cannot
                 wonder
                 that
                 so
                 few
                 Painters
                 have
                 succeeded
                 who
                 have
                 introduc'd
                 into
                 
                 their
                 works
                 many
                 Figures
                 .
                 Because
                 indeed
                 there
                 are
                 not
                 many
                 Painters
                 to
                 be
                 found
                 ,
                 who
                 have
                 succeeded
                 happily
                 ,
                 when
                 even
                 they
                 have
                 introduc'd
                 but
                 few
                 .
                 Many
                 dispers'd
                 Objects
                 breed
                 confusion
                 ,
                 and
                 take
                 away
                 from
                 the
                 Picture
                 that
                 grave
                 Majesty
                 ,
                 that
                 soft
                 silence
                 and
                 repose
                 ,
                 which
                 give
                 beauty
                 to
                 the
                 Piece
                 ,
                 and
                 satisfaction
                 to
                 the
                 sight
                 .
                 But
                 if
                 you
                 are
                 constrained
                 by
                 the
                 subject
                 ,
                 to
                 admit
                 of
                 many
                 figures
                 ,
                 you
                 must
                 then
                 
                 conceive
                 the
                 whole
                 together
                 ;
                 and
                 the
                 effect
                 of
                 the
                 work
                 at
                 one
                 view
                 ;
                 and
                 not
                 every
                 thing
                 separately
                 and
                 in
                 particular
                 .
                 
              
               
                 *
                 The
                 extremities
                 of
                 the
                 Ioints
                 must
                 be
                 seldom
                 
                 hidden
                 ,
                 
                 and
                 the
                 extremities
                 or
                 end
                 of
                 the
                 Feet
                 never
                 .
                 
              
               
                 *
                 The
                 Figures
                 which
                 are
                 behind
                 others
                 ,
                 have
                 neither
                 Grace
                 nor
                 Vigor
                 ,
                 unless
                 the
                 Motions
                 of
                 
                 the
                 hands
                 accompany
                 those
                 of
                 the
                 Head.
                 
              
               
                 Avoid
                 the
                 views
                 which
                 are
                 difficult
                 to
                 be
                 found
                 ,
                 
                 
                 and
                 are
                 not
                 natural
                 ,
                 as
                 also
                 forc'd
                 Actions
                 and
                 Motions
                 .
                 Show
                 no
                 parts
                 which
                 are
                 ungracious
                 
                 to
                 the
                 Sight
                 ,
                 as
                 all
                 fore
                 shortnings
                 ,
                 usually
                 are
                 .
              
               
                 *
                 Avoid
                 also
                 those
                 Lines
                 and
                 Out-lines
                 which
                 are
                 equal
                 ;
                 which
                 make
                 Parallels
                 ,
                 or
                 other
                 sharp
                 
                 pointed
                 and
                 Geometrical
                 Figures
                 ;
                 such
                 as
                 are
                 Squares
                 and
                 Triangles
                 :
                 all
                 which
                 by
                 being
                 too
                 exact
                 give
                 to
                 the
                 Eye
                 a
                 certain
                 displeasing
                 Symmetry
                 ,
                 which
                 produces
                 no
                 good
                 effect
                 .
                 But
                 as
                 I
                 have
                 already
                 told
                 you
                 ,
                 the
                 principal
                 Lines
                 ought
                 to
                 contrast
                 each
                 other
                 :
                 For
                 which
                 reason
                 in
                 these
                 out-lines
                 ,
                 you
                 ought
                 to
                 have
                 a
                 special
                 regard
                 
                 to
                 the
                 whole
                 together
                 :
                 for
                 't
                 is
                 from
                 thence
                 that
                 the
                 Beauty
                 and
                 Force
                 of
                 the
                 parts
                 proceed
                 .
              
               
                 
                 *
                 Be
                 not
                 so
                 strictly
                 ty'd
                 to
                 Nature
                 ,
                 
                 that
                 you
                 allow
                 nothing
                 to
                 study
                 ,
                 and
                 the
                 bent
                 of
                 your
                 own
                 Genius
                 .
                 But
                 on
                 the
                 other
                 side
                 ,
                 believe
                 not
                 that
                 your
                 Genius
                 alone
                 ,
                 and
                 the
                 Remembrance
                 of
                 those
                 things
                 which
                 you
                 have
                 seen
                 ,
                 can
                 afford
                 you
                 wherewithall
                 to
                 furnish
                 out
                 a
                 beautifull
                 Piece
                 ,
                 without
                 the
                 Succour
                 of
                 that
                 incomparable
                 School-mistress
                 ,
                 Nature
                 ;
                 *
                 whom
                 you
                 must
                 have
                 always
                 
                 present
                 as
                 a
                 witness
                 to
                 the
                 Truth
                 .
                 We
                 may
                 make
                 a
                 thousand
                 Errors
                 of
                 all
                 kinds
                 ;
                 they
                 are
                 every-where
                 to
                 be
                 found
                 ,
                 and
                 as
                 thick
                 set
                 as
                 Trees
                 in
                 Forests
                 ,
                 and
                 amongst
                 many
                 ways
                 which
                 mislead
                 a
                 Traveller
                 ,
                 there
                 is
                 but
                 one
                 true
                 one
                 which
                 conducts
                 him
                 surely
                 to
                 his
                 Journey
                 's
                 end
                 ;
                 
                 as
                 also
                 there
                 are
                 many
                 several
                 sorts
                 of
                 crooked
                 lines
                 ;
                 but
                 there
                 is
                 one
                 only
                 which
                 is
                 straight
                 .
              
               
                 Our
                 business
                 is
                 to
                 imitate
                 the
                 Beauties
                 of
                 Nature
                 ,
                 
                 as
                 the
                 Ancients
                 have
                 done
                 before
                 us
                 ,
                 and
                 as
                 
                 the
                 Object
                 and
                 Nature
                 of
                 the
                 thing
                 require
                 from
                 
                 us
                 .
                 And
                 for
                 this
                 reason
                 we
                 must
                 be
                 carefull
                 in
                 the
                 search
                 of
                 
                   Ancient
                   Medals
                   ,
                   Statues
                   ,
                   Vases
                   and
                   Basso
                   Relievo's
                   :
                
                 *
                 And
                 of
                 all
                 other
                 things
                 which
                 discover
                 to
                 us
                 the
                 Thoughts
                 and
                 Inventions
                 of
                 the
                 Graecians
                 ;
                 because
                 they
                 furnish
                 us
                 with
                 great
                 Ideas
                 ,
                 and
                 make
                 our
                 Productions
                 wholly
                 beautifull
                 .
                 
                 And
                 in
                 truth
                 after
                 having
                 well
                 examin'd
                 them
                 ,
                 we
                 shall
                 therein
                 find
                 so
                 many
                 Charms
                 ,
                 that
                 we
                 shall
                 pity
                 the
                 Destiny
                 of
                 our
                 present
                 Age
                 without
                 hope
                 of
                 ever
                 arriving
                 at
                 so
                 high
                 a
                 point
                 of
                 Perfection
                 .
              
               
                 *
                 If
                 you
                 have
                 but
                 one
                 single
                 Figure
                 to
                 work
                 
                 upon
                 ,
                 
                 you
                 ought
                 to
                 make
                 it
                 perfectly
                 finish'd
                 and
                 diversify'd
                 and
                 with
                 many
                 Colours
                 .
              
               
                 *
                 Let
                 the
                 Draperies
                 be
                 nobly
                 spread
                 upon
                 the
                 
                 Body
                 ;
                 let
                 the
                 Folds
                 be
                 large
                 ,
                 
                 *
                 and
                 let
                 them
                 follow
                 the
                 order
                 of
                 the
                 parts
                 ,
                 that
                 they
                 may
                 be
                 seen
                 
                 underneath
                 ,
                 by
                 means
                 of
                 the
                 Lights
                 and
                 Shadows
                 ,
                 notwithstanding
                 that
                 the
                 parts
                 should
                 be
                 often
                 travers'd
                 (
                 or
                 cross'd
                 )
                 by
                 the
                 flowing
                 of
                 the
                 Folds
                 which
                 loosely
                 incompass
                 them
                 ,
                 *
                 without
                 sitting
                 too
                 straight
                 upon
                 them
                 ,
                 but
                 let
                 them
                 mark
                 the
                 
                 
                 parts
                 which
                 are
                 under
                 them
                 ,
                 so
                 as
                 in
                 some
                 manner
                 to
                 distinguish
                 them
                 ,
                 by
                 the
                 judicious
                 ordering
                 of
                 the
                 Lights
                 and
                 Shadows
                 .
                 *
                 And
                 if
                 the
                 parts
                 be
                 too
                 much
                 distant
                 from
                 each
                 other
                 ,
                 so
                 that
                 there
                 be
                 void
                 spaces
                 ,
                 which
                 are
                 deeply
                 shadow'd
                 ,
                 we
                 are
                 then
                 to
                 take
                 occasion
                 to
                 place
                 in
                 those
                 voids
                 some
                 Fold
                 to
                 make
                 a
                 joining
                 of
                 the
                 parts
                 .
                 *
                 And
                 as
                 the
                 Beauty
                 of
                 the
                 Limbs
                 consists
                 not
                 in
                 the
                 quantity
                 and
                 rising
                 of
                 the
                 Muscles
                 ,
                 but
                 on
                 the
                 contrary
                 ,
                 those
                 which
                 are
                 less
                 eminent
                 have
                 more
                 
                 of
                 Majesty
                 than
                 the
                 others
                 ;
                 in
                 the
                 same
                 manner
                 the
                 beauty
                 of
                 the
                 Draperies
                 ,
                 consists
                 not
                 in
                 the
                 multitude
                 of
                 the
                 folds
                 ,
                 but
                 in
                 their
                 natural
                 order
                 ,
                 and
                 plain
                 simplicity
                 .
                 The
                 quality
                 of
                 the
                 persons
                 is
                 also
                 to
                 be
                 consider'd
                 in
                 the
                 Drapery
                 .
                 *
                 As
                 supposing
                 them
                 to
                 be
                 Magistrates
                 ,
                 their
                 Draperies
                 ought
                 to
                 be
                 large
                 and
                 ample
                 :
                 If
                 Country
                 Clowns
                 or
                 Slaves
                 they
                 ought
                 to
                 be
                 course
                 and
                 
                 short
                 :
                 *
                 If
                 Ladies
                 or
                 Damsels
                 ,
                 light
                 and
                 soft
                 .
                 'T
                 is
                 sometimes
                 requisite
                 to
                 draw
                 out
                 ,
                 as
                 it
                 were
                 from
                 the
                 hollows
                 and
                 deep
                 shadows
                 ,
                 some
                 Fold
                 ,
                 and
                 give
                 it
                 a
                 Swelling
                 ,
                 that
                 receving
                 the
                 Light
                 ,
                 it
                 may
                 contribute
                 to
                 extend
                 the
                 clearness
                 to
                 those
                 places
                 where
                 the
                 Body
                 requires
                 it
                 ;
                 and
                 by
                 this
                 means
                 we
                 shall
                 disburthen
                 the
                 pie●●e
                 of
                 those
                 hard
                 Shadowings
                 which
                 are
                 always
                 ungracefull
                 .
              
               
               
                 *
                 The
                 Marks
                 or
                 Ensigns
                 of
                 Vertues
                 contribute
                 
                 not
                 little
                 by
                 their
                 nobleness
                 to
                 the
                 Ornament
                 of
                 
                 the
                 Figures
                 .
                 Such
                 ,
                 
                 for
                 example
                 as
                 are
                 the
                 Decorations
                 belonging
                 to
                 the
                 
                   Liberal
                   Arts
                
                 ,
                 to
                 War
                 or
                 Sacrifices
                 .
                 *
                 But
                 let
                 not
                 the
                 work
                 be
                 too
                 much
                 
                 enrich'd
                 with
                 Gold
                 or
                 Jewels
                 ,
                 
                 because
                 the
                 rarest
                 are
                 ever
                 the
                 dearest
                 and
                 most
                 precious
                 ;
                 and
                 those
                 which
                 serve
                 only
                 to
                 increase
                 the
                 number
                 ,
                 are
                 of
                 the
                 common
                 sort
                 ,
                 and
                 of
                 little
                 value
                 .
              
               
                 *
                 'T
                 is
                 very
                 expedient
                 to
                 make
                 a
                 Model
                 of
                 
                 those
                 things
                 ,
                 
                 which
                 we
                 have
                 not
                 in
                 our
                 Sight
                 ,
                 and
                 whose
                 Nature
                 is
                 difficult
                 to
                 be
                 retain'd
                 in
                 the
                 Memory
                 .
                 
              
               
                 *
                 We
                 are
                 to
                 consider
                 the
                 places
                 ,
                 where
                 we
                 
                 lay
                 the
                 scene
                 of
                 the
                 Picture
                 ;
                 the
                 Countries
                 where
                 they
                 were
                 born
                 whom
                 we
                 represent
                 ;
                 the
                 manner
                 of
                 their
                 Actions
                 ,
                 
                 their
                 Laws
                 and
                 Customs
                 ,
                 and
                 all
                 that
                 is
                 properly
                 belonging
                 to
                 them
                 .
              
               
                 *
                 Let
                 a
                 nobleness
                 and
                 grace
                 be
                 remarkable
                 
                 through
                 all
                 your
                 work
                 .
                 But
                 to
                 confess
                 the
                 truth
                 ,
                 
                 this
                 is
                 a
                 most
                 difficult
                 undertaking
                 ;
                 and
                 a
                 very
                 rare
                 Present
                 which
                 the
                 Artist
                 receives
                 rather
                 from
                 the
                 hand
                 of
                 Heaven
                 ,
                 than
                 from
                 his
                 own
                 Industry
                 and
                 Studies
                 .
              
               
                 In
                 all
                 things
                 you
                 are
                 to
                 follow
                 the
                 order
                 of
                 
                 Nature
                 ,
                 
                 for
                 which
                 reason
                 you
                 must
                 beware
                 of
                 drawing
                 or
                 painting
                 Clouds
                 ,
                 Winds
                 and
                 Thunder
                 
                 
                 towards
                 the
                 bottom
                 of
                 your
                 Piece
                 ;
                 and
                 Hell
                 ,
                 and
                 Waters
                 ,
                 in
                 the
                 uppermost
                 parts
                 of
                 it
                 :
                 You
                 are
                 not
                 to
                 place
                 a
                 Stone
                 Column
                 on
                 a
                 ●●oundation
                 of
                 Wood
                 ;
                 but
                 let
                 every
                 thing
                 be
                 set
                 in
                 its
                 proper
                 place
                 .
              
               
                 
                 Besides
                 all
                 this
                 ,
                 you
                 are
                 to
                 express
                 the
                 motions
                 
                 of
                 the
                 Spirits
                 ,
                 
                 and
                 the
                 affections
                 or
                 Passions
                 whose
                 Center
                 is
                 the
                 Heart
                 :
                 In
                 a
                 word
                 ,
                 to
                 make
                 the
                 Soul
                 visible
                 ,
                 by
                 the
                 means
                 of
                 some
                 few
                 Colours
                 ;
                 *
                 this
                 is
                 that
                 in
                 which
                 the
                 greatest
                 difficulty
                 consists
                 .
                 Few
                 there
                 are
                 whom
                 Iupiter
                 regards
                 with
                 a
                 favourable
                 eye
                 in
                 this
                 Undertaking
                 .
                 So
                 that
                 it
                 appertains
                 only
                 to
                 those
                 few
                 ,
                 who
                 participate
                 
                 somewhat
                 of
                 Divinity
                 it self
                 ,
                 to
                 work
                 these
                 mighty
                 Wonders
                 .
                 'T
                 is
                 the
                 business
                 of
                 Rhetoricians
                 ,
                 to
                 treat
                 the
                 characters
                 of
                 the
                 Passions
                 :
                 and
                 I
                 shall
                 content
                 my self
                 with
                 repeating
                 what
                 an
                 excellent
                 Master
                 has
                 formerly
                 said
                 on
                 this
                 Subject
                 ,
                 
                   That
                   the
                   studied
                   motions
                   of
                   the
                   Soul
                   ,
                   are
                   never
                   so
                   natural
                   as
                   those
                   ,
                   which
                   are
                   as
                   it
                   were
                   struck
                   out
                   of
                   it
                   on
                   the
                   sudden
                   by
                   the
                   heat
                   and
                   violence
                   of
                   a
                   real
                   Passion
                   .
                
              
               
                 
                 We
                 are
                 to
                 have
                 no
                 manner
                 of
                 relish
                 for
                 Gothique
                 
                 Ornaments
                 ,
                 
                 as
                 being
                 in
                 effect
                 so
                 many
                 Monsters
                 ,
                 which
                 barbarous
                 Ages
                 have
                 produc'd
                 :
                 during
                 which
                 ,
                 when
                 Discord
                 and
                 Ambition
                 caus'd
                 by
                 the
                 too
                 large
                 extent
                 of
                 
                   the
                   Roman
                   Empire
                
                 ,
                 had
                 produc'd
                 Wars
                 ,
                 Plagues
                 and
                 Famine
                 through
                 the
                 
                 World
                 ,
                 then
                 I
                 say
                 ,
                 the
                 stately
                 Buildings
                 fell
                 to
                 Ruin
                 ,
                 and
                 the
                 nobleness
                 of
                 all
                 beautifull
                 Arts
                 was
                 totally
                 extinguish'd
                 ;
                 then
                 it
                 was
                 that
                 the
                 admirable
                 
                 and
                 almost
                 supernatural
                 Works
                 of
                 Painting
                 were
                 made
                 fuel
                 for
                 the
                 Fire
                 :
                 But
                 that
                 this
                 wonderfull
                 Art
                 might
                 not
                 wholly
                 perish
                 ,
                 *
                 some
                 Reliques
                 of
                 it
                 took
                 Sanctuary
                 under
                 ground
                 ,
                 and
                 thereby
                 escap'd
                 the
                 common
                 Destiny
                 .
                 And
                 in
                 the
                 same
                 profane
                 age
                 ,
                 the
                 noble
                 Sculpture
                 was
                 for
                 a
                 long
                 time
                 buried
                 under
                 the
                 same
                 Ruines
                 ,
                 with
                 all
                 its
                 beautifull
                 Productions
                 and
                 admirable
                 Statues
                 .
                 The
                 Empire
                 in
                 the
                 mean
                 time
                 under
                 the
                 weight
                 of
                 its
                 proper
                 Crimes
                 and
                 undeserving
                 to
                 enjoy
                 the
                 day
                 ,
                 was
                 invelop'd
                 with
                 a
                 hideous
                 night
                 ,
                 
                 which
                 plung'd
                 it
                 into
                 an
                 Abyss
                 of
                 errors
                 ,
                 and
                 cover'd
                 with
                 a
                 thick
                 darkness
                 of
                 Ignorance
                 those
                 unhappy
                 Ages
                 ,
                 in
                 just
                 revenge
                 of
                 their
                 Impieties
                 :
                 From
                 hence
                 it
                 comes
                 to
                 pass
                 ,
                 that
                 the
                 works
                 of
                 those
                 great
                 Graecians
                 are
                 wanting
                 to
                 us
                 ;
                 nothing
                 of
                 their
                 Painting
                 and
                 Colouring
                 now
                 remains
                 to
                 assist
                 our
                 modern
                 Artists
                 ,
                 either
                 in
                 the
                 Invention
                 ,
                 
                 or
                 the
                 manner
                 of
                 those
                 Ancients
                 ;
                 neither
                 is
                 there
                 any
                 man
                 who
                 is
                 able
                 to
                 restore
                 *
                 the
                 CHROMATIQUE
                 part
                 or
                 COLOURING
                 ,
                 
                 or
                 to
                 renew
                 it
                 to
                 that
                 point
                 of
                 excellency
                 to
                 which
                 it
                 had
                 been
                 carry'd
                 by
                 Zeuxis
                 :
                 who
                 by
                 this
                 part
                 which
                 is
                 so
                 charming
                 ,
                 so
                 magical
                 ,
                 and
                 which
                 so
                 admirably
                 
                 deceives
                 the
                 sight
                 ,
                 made
                 himself
                 equal
                 
                 to
                 the
                 great
                 Apelles
                 ,
                 that
                 
                   Prince
                   of
                   Painters
                
                 ;
                 and
                 deserv'd
                 that
                 height
                 of
                 reputation
                 which
                 he
                 still
                 possesses
                 in
                 the
                 World.
                 
              
               
                 And
                 as
                 this
                 part
                 which
                 we
                 may
                 call
                 the
                 Soul
                 of
                 Painting
                 and
                 its
                 utmost
                 perfection
                 ,
                 is
                 a
                 deceiving
                 Beauty
                 ,
                 but
                 withal
                 soothing
                 and
                 pleasing
                 :
                 So
                 she
                 has
                 been
                 accus'd
                 of
                 procuring
                 Lovers
                 for
                 *
                 her
                 Sister
                 ,
                 and
                 artfully
                 ingaging
                 us
                 to
                 admire
                 her
                 .
                 But
                 so
                 little
                 have
                 this
                 Prostitution
                 ,
                 these
                 false
                 Colours
                 ,
                 and
                 this
                 Deceit
                 ,
                 dishonour'd
                 Painting
                 ,
                 
                 that
                 on
                 the
                 contrary
                 ,
                 they
                 have
                 only
                 serv'd
                 to
                 set
                 forth
                 her
                 Praise
                 ,
                 and
                 to
                 make
                 her
                 merit
                 farther
                 known
                 ,
                 and
                 therefore
                 it
                 will
                 be
                 profitable
                 to
                 us
                 ,
                 to
                 have
                 a
                 more
                 clear
                 understanding
                 of
                 what
                 we
                 call
                 Colouring
                 .
              
               
                 *
                 The
                 light
                 produces
                 all
                 kinds
                 of
                 Colours
                 ,
                 and
                 the
                 Shadow
                 gives
                 us
                 none
                 .
                 The
                 more
                 a
                 Body
                 is
                 nearer
                 to
                 the
                 Eyes
                 ,
                 and
                 the
                 more
                 directly
                 it
                 is
                 oppos'd
                 to
                 them
                 ,
                 the
                 more
                 it
                 is
                 enlightn'd
                 .
                 Because
                 the
                 Light
                 languishes
                 and
                 lessens
                 the
                 farther
                 it
                 removes
                 from
                 its
                 proper
                 Source
                 .
              
               
                 
                 The
                 nearer
                 the
                 Object
                 is
                 to
                 the
                 Eyes
                 ,
                 and
                 the
                 more
                 directly
                 it
                 is
                 oppos'd
                 to
                 them
                 ,
                 the
                 better
                 it
                 is
                 seen
                 ,
                 because
                 the
                 Sight
                 is
                 weaken'd
                 by
                 distance
                 .
              
               
               
                 'T
                 is
                 therefore
                 necessary
                 that
                 round
                 Bodies
                 ,
                 
                 which
                 
                 are
                 seen
                 one
                 over
                 against
                 the
                 other
                 in
                 a
                 right
                 Angle
                 ,
                 should
                 be
                 of
                 a
                 livery
                 and
                 strong
                 Colouring
                 ,
                 and
                 that
                 the
                 extremities
                 turn
                 ,
                 in
                 losing
                 themselves
                 insensibly
                 and
                 confusedly
                 ,
                 without
                 precipitating
                 the
                 Light
                 all
                 on
                 the
                 sudden
                 into
                 the
                 Shadow
                 ;
                 or
                 the
                 Shadow
                 into
                 the
                 Light.
                 But
                 the
                 
                 passage
                 of
                 one
                 into
                 the
                 other
                 must
                 be
                 common
                 and
                 imperceptible
                 ,
                 that
                 is
                 by
                 degrees
                 of
                 Lights
                 into
                 Shadows
                 and
                 of
                 Shadows
                 into
                 Lights
                 .
                 And
                 it
                 is
                 in
                 conformity
                 to
                 these
                 Principles
                 that
                 you
                 ought
                 to
                 treat
                 a
                 whole
                 Grouppe
                 of
                 Figures
                 ,
                 though
                 it
                 be
                 compos'd
                 of
                 several
                 parts
                 ,
                 in
                 the
                 same
                 manner
                 as
                 you
                 would
                 do
                 a
                 single
                 Head
                 :
                 or
                 if
                 your
                 Composition
                 
                 requires
                 ,
                 that
                 you
                 should
                 have
                 two
                 Grouppes
                 ,
                 or
                 even
                 three
                 (
                 *
                 which
                 ought
                 to
                 be
                 the
                 most
                 )
                 in
                 your
                 Piece
                 ,
                 take
                 heed
                 that
                 they
                 may
                 be
                 detach'd
                 ,
                 that
                 is
                 separated
                 or
                 distinguish'd
                 from
                 each
                 other
                 by
                 the
                 Colours
                 ,
                 the
                 Lights
                 and
                 the
                 Shadows
                 ,
                 which
                 are
                 so
                 dextrously
                 to
                 be
                 manag'd
                 ,
                 *
                 that
                 you
                 may
                 make
                 the
                 Bodies
                 appear
                 enlighten'd
                 by
                 the
                 Shadows
                 which
                 bound
                 the
                 sight
                 ;
                 which
                 permit
                 it
                 not
                 suddenly
                 to
                 go
                 farther
                 ;
                 and
                 which
                 cause
                 it
                 to
                 repose
                 for
                 some
                 space
                 of
                 time
                 ,
                 and
                 that
                 reciprocally
                 the
                 Shadows
                 may
                 be
                 made
                 
                 sensible
                 by
                 enlightning
                 your
                 ground
                 .
              
               
               
                 The
                 raising
                 and
                 roundness
                 of
                 a
                 Body
                 ,
                 ought
                 to
                 be
                 given
                 it
                 *
                 in
                 the
                 same
                 manner
                 as
                 we
                 behold
                 it
                 in
                 a
                 Convex
                 Mirrour
                 ,
                 in
                 which
                 we
                 view
                 the
                 Figures
                 and
                 all
                 other
                 things
                 ,
                 which
                 bear
                 out
                 with
                 
                 more
                 Life
                 and
                 strength
                 than
                 Nature
                 it self
                 .
                 *
                 And
                 let
                 those
                 which
                 turn
                 ,
                 be
                 of
                 broken
                 Colours
                 ,
                 as
                 being
                 less
                 distinguish'd
                 ,
                 and
                 nearer
                 to
                 the
                 borders
                 .
              
               
                 Thus
                 the
                 Painter
                 and
                 the
                 Sculptor
                 ,
                 are
                 to
                 work
                 with
                 one
                 and
                 the
                 same
                 intention
                 ,
                 and
                 with
                 one
                 and
                 the
                 same
                 conduct
                 .
                 For
                 what
                 the
                 Sculptor
                 strikes
                 off
                 ,
                 and
                 makes
                 round
                 with
                 his
                 instrument
                 of
                 Steel
                 ,
                 the
                 Painter
                 performs
                 with
                 his
                 Pencil
                 ;
                 casting
                 behind
                 ,
                 that
                 which
                 he
                 makes
                 less
                 visible
                 
                 by
                 the
                 Diminution
                 ,
                 and
                 breaking
                 of
                 his
                 Colours
                 ;
                 and
                 drawing
                 forward
                 by
                 his
                 most
                 lively
                 Colours
                 and
                 strongest
                 Shadows
                 ,
                 that
                 which
                 is
                 directly
                 oppos'd
                 to
                 the
                 Sight
                 ,
                 as
                 being
                 more
                 sensible
                 ,
                 and
                 more
                 distinguish'd
                 ,
                 and
                 at
                 last
                 enriching
                 the
                 naked
                 Canvass
                 ,
                 with
                 such
                 Colours
                 as
                 are
                 borrow'd
                 from
                 
                 Nature
                 ;
                 in
                 the
                 midst
                 of
                 which
                 he
                 seems
                 to
                 sit
                 ;
                 and
                 from
                 thence
                 with
                 one
                 glance
                 of
                 〈◊〉
                 and
                 without
                 removing
                 his
                 seat
                 ,
                 he
                 takes
                 〈◊〉
                 part
                 of
                 her
                 which
                 she
                 represents
                 to
                 his
                 Sight
                 ,
                 and
                 turns
                 as
                 in
                 a
                 Machine
                 about
                 his
                 work
                 .
              
               
                 
                 When
                 solid
                 Bodie●●
                 ,
                 
                 sensible
                 to
                 the
                 feeling
                 ,
                 and
                 dark
                 ,
                 are
                 plac'd
                 on
                 Light
                 ,
                 and
                 transparent
                 grounds
                 ,
                 as
                 for
                 example
                 ,
                 The
                 Heavens
                 ,
                 the
                 
                 Clouds
                 and
                 Waters
                 ,
                 and
                 every
                 other
                 thing
                 which
                 
                 is
                 in
                 Motion
                 ,
                 and
                 void
                 of
                 different
                 Objects
                 ,
                 they
                 ought
                 to
                 be
                 more
                 rough
                 and
                 more
                 distinguishable
                 than
                 that
                 with
                 which
                 they
                 are
                 incompass'd
                 ,
                 that
                 being
                 strengthen'd
                 by
                 the
                 Lights
                 and
                 Shadows
                 ,
                 or
                 by
                 the
                 more
                 sensible
                 Colours
                 ,
                 they
                 may
                 subsist
                 and
                 preserve
                 their
                 Solidity
                 amongst
                 those
                 aereal
                 and
                 transparent
                 Species
                 ,
                 and
                 that
                 on
                 
                 the
                 contrary
                 those
                 grounds
                 which
                 are
                 ,
                 as
                 we
                 have
                 said
                 ,
                 the
                 Sky
                 ,
                 the
                 clouds
                 and
                 the
                 Waters
                 being
                 clearer
                 and
                 more
                 united
                 ,
                 may
                 be
                 thrown
                 off
                 from
                 the
                 Sight
                 to
                 a
                 farther
                 distance
                 .
              
               
                 We
                 are
                 never
                 to
                 admit
                 two
                 equal
                 Lights
                 in
                 the
                 
                 same
                 Picture
                 ;
                 
                 but
                 the
                 greater
                 Light
                 must
                 strike
                 forcibly
                 on
                 the
                 middle
                 ;
                 and
                 there
                 extend
                 its
                 greatest
                 clearness
                 on
                 those
                 places
                 of
                 the
                 Picture
                 ,
                 where
                 the
                 principal
                 Figures
                 of
                 it
                 are
                 ,
                 and
                 where
                 the
                 strength
                 
                 of
                 the
                 action
                 is
                 perform'd
                 ,
                 diminishing
                 by
                 degrees
                 as
                 it
                 comes
                 nearer
                 and
                 nearer
                 to
                 the
                 Borders
                 ;
                 and
                 after
                 the
                 same
                 manner
                 that
                 the
                 Light
                 of
                 the
                 Sun
                 languishes
                 insensibly
                 in
                 its
                 spreading
                 from
                 the
                 East
                 ,
                 from
                 whence
                 it
                 begins
                 ,
                 towards
                 the
                 West
                 where
                 it
                 decays
                 and
                 vanishes
                 ;
                 so
                 the
                 Light
                 of
                 the
                 Picture
                 being
                 distributed
                 over
                 all
                 the
                 Colours
                 ,
                 will
                 become
                 less
                 sensible
                 the
                 farther
                 it
                 is
                 remov'd
                 
                 from
                 its
                 Original
                 .
              
               
               
                 The
                 experience
                 of
                 this
                 is
                 evident
                 in
                 those
                 Statues
                 which
                 we
                 see
                 set
                 up
                 in
                 the
                 midst
                 of
                 Publique
                 Places
                 ,
                 whose
                 upper
                 parts
                 are
                 more
                 enlighten'd
                 than
                 the
                 lower
                 ;
                 and
                 therefore
                 you
                 are
                 to
                 imitate
                 them
                 in
                 the
                 distribution
                 of
                 your
                 Lights
                 .
              
               
                 Avoid
                 strong
                 Shadows
                 on
                 the
                 middle
                 of
                 the
                 Limbs
                 ;
                 least
                 the
                 great
                 quantity
                 of
                 black
                 which
                 composes
                 those
                 Shadows
                 ,
                 should
                 seem
                 to
                 enter
                 
                 into
                 them
                 and
                 to
                 cut
                 them
                 :
                 Rather
                 take
                 care
                 to
                 place
                 those
                 shadowings
                 round
                 about
                 them
                 ,
                 thereby
                 to
                 heighten
                 the
                 parts
                 ,
                 and
                 take
                 so
                 advantageous
                 Lights
                 ,
                 that
                 after
                 great
                 Lights
                 ,
                 great
                 Shadows
                 may
                 succeed
                 .
                 And
                 therefore
                 Titian
                 said
                 ,
                 with
                 reason
                 that
                 he
                 knew
                 no
                 better
                 rule
                 for
                 the
                 distribution
                 of
                 the
                 Lights
                 and
                 shadows
                 ,
                 than
                 his
                 Observations
                 drawn
                 from
                 a
                 *
                 
                   Bunch
                   of
                   Grapes
                
                 .
              
               
                 
                 *
                 Pure
                 or
                 unmix'd
                 white
                 either
                 draws
                 an
                 object
                 
                 nearer
                 ,
                 
                 or
                 carries
                 it
                 off
                 to
                 farther
                 distance
                 :
                 It
                 draws
                 it
                 nearer
                 with
                 black
                 ,
                 and
                 throws
                 it
                 backward
                 without
                 it
                 .
                 *
                 But
                 as
                 for
                 pure
                 black
                 ,
                 there
                 is
                 nothing
                 which
                 brings
                 the
                 object
                 nearer
                 to
                 the
                 Sight
                 .
              
               
                 The
                 light
                 being
                 alter'd
                 by
                 some
                 Colour
                 ,
                 never
                 fails
                 to
                 communicate
                 somewhat
                 of
                 that
                 Colour
                 to
                 the
                 Bodies
                 on
                 which
                 it
                 strikes
                 ,
                 and
                 the
                 same
                 effect
                 is
                 perform'd
                 by
                 the
                 Medium
                 of
                 Air
                 ,
                 through
                 which
                 it
                 passes
                 .
              
               
               
                 The
                 Bodies
                 which
                 are
                 close
                 together
                 ,
                 
                 receive
                 
                 from
                 each
                 other
                 that
                 Colour
                 wich
                 is
                 opposite
                 to
                 
                 them
                 〈◊〉
                 and
                 reflect
                 on
                 each
                 other
                 that
                 wich
                 is
                 natur●●
                 and
                 properly
                 their
                 own
                 .
              
               
                 'T
                 is
                 also
                 consonant
                 to
                 reason
                 ,
                 
                 〈…〉
                 
                 part
                 of
                 those
                 Bodies
                 which
                 are
                 under
                 a
                 Light
                 ,
                 〈◊〉
                 is
                 extended
                 and
                 distributed
                 equally
                 through
                 all
                 ,
                 should
                 participate
                 of
                 each
                 others
                 Colours
                 .
                 The
                 Venetian
                 School
                 having
                 a
                 great
                 regard
                 for
                 that
                 Maxim
                 (
                 which
                 the
                 Ancients
                 call'd
                 the
                 Breaking
                 of
                 Colours
                 )
                 in
                 the
                 quantity
                 of
                 Figures
                 with
                 which
                 they
                 fill
                 their
                 Pictures
                 ,
                 have
                 always
                 endeavour'd
                 the
                 Union
                 of
                 
                 Colours
                 ,
                 for
                 fear
                 that
                 being
                 too
                 different
                 ,
                 they
                 should
                 come
                 to
                 incumber
                 the
                 Sight
                 by
                 their
                 confusion
                 with
                 their
                 quantity
                 of
                 Members
                 separated
                 by
                 their
                 Folds
                 ,
                 which
                 are
                 also
                 in
                 great
                 number
                 ;
                 and
                 for
                 this
                 reason
                 they
                 have
                 painted
                 their
                 Draperies
                 with
                 Colours
                 that
                 are
                 nearly
                 related
                 to
                 each
                 other
                 ,
                 and
                 have
                 scarce
                 distinguish'd
                 them
                 
                 any
                 other
                 way
                 ,
                 than
                 by
                 the
                 Diminution
                 of
                 the
                 Lights
                 and
                 Shadows
                 joining
                 the
                 contiguous
                 Object
                 by
                 the
                 participation
                 of
                 their
                 Colours
                 ,
                 and
                 thereby
                 making
                 a
                 kind
                 of
                 Reconciliation
                 or
                 Friendship
                 betwixt
                 the
                 Lights
                 and
                 Shadows
                 .
              
               
                 The
                 less
                 aereal
                 space
                 which
                 there
                 is
                 betwixt
                 us
                 
                 and
                 the
                 Object
                 ,
                 
                 and
                 the
                 more
                 pure
                 the
                 Air
                 is
                 ,
                 by
                 so
                 
                 much
                 the
                 more
                 the
                 Species
                 are
                 preserv'd
                 and
                 distinguish'd
                 ;
                 
                 and
                 on
                 the
                 contrary
                 the
                 more
                 space
                 of
                 Air
                 there
                 is
                 ,
                 and
                 the
                 less
                 it
                 is
                 pure
                 ,
                 so
                 much
                 the
                 more
                 the
                 Object
                 is
                 confus'd
                 and
                 embroyl'd
                 .
              
               
                 
                 Those
                 objects
                 which
                 are
                 plac'd
                 foremost
                 to
                 the
                 view
                 ,
                 
                 ought
                 always
                 to
                 be
                 more
                 finish'd
                 ,
                 than
                 those
                 which
                 are
                 cast
                 behind
                 ;
                 and
                 ought
                 to
                 have
                 dominion
                 over
                 those
                 things
                 which
                 are
                 confus'd
                 and
                 transient
                 .
                 *
                 But
                 let
                 this
                 be
                 done
                 relatively
                 ,
                 
                 (
                 viz.
                 )
                 one
                 thing
                 greater
                 and
                 stronger
                 ,
                 casting
                 the
                 less
                 behind
                 and
                 rendring
                 it
                 less
                 sensible
                 by
                 its
                 opposition
                 .
              
               
                 
                 Those
                 things
                 which
                 are
                 remov'd
                 to
                 a
                 distant
                 view
                 ,
                 
                 though
                 they
                 are
                 many
                 ,
                 yet
                 ought
                 to
                 make
                 but
                 one
                 Mass
                 ;
                 as
                 for
                 example
                 the
                 Leaves
                 on
                 the
                 Trees
                 ,
                 and
                 the
                 Billows
                 in
                 the
                 Sea.
                 
              
               
                 
                 Let
                 not
                 the
                 Objects
                 which
                 ought
                 to
                 be
                 contiguous
                 
                 be
                 separated
                 ,
                 
                 and
                 let
                 those
                 which
                 ought
                 to
                 be
                 separated
                 be
                 apparently
                 so
                 to
                 us
                 ;
                 but
                 let
                 this
                 be
                 done
                 by
                 a
                 small
                 and
                 pleasing
                 difference
                 .
              
               
                 
                 *
                 Let
                 two
                 contrary
                 extremities
                 never
                 touch
                 each
                 other
                 ,
                 
                 either
                 in
                 Colour
                 or
                 in
                 Light
                 ,
                 but
                 let
                 there
                 always
                 be
                 a
                 Medium
                 partaking
                 both
                 of
                 the
                 one
                 and
                 of
                 the
                 other
                 .
              
               
                 
                 Let
                 the
                 Bodies
                 every-where
                 be
                 of
                 different
                 Tones
                 and
                 Colours
                 ;
                 that
                 those
                 which
                 are
                 behind
                 may
                 be
                 ty'd
                 in
                 Friendship
                 together
                 ,
                 
                 and
                 that
                 those
                 which
                 are
                 foremost
                 may
                 be
                 strong
                 and
                 lively
                 .
              
               
               
                 *
                 'T
                 is
                 labour
                 in
                 vain
                 to
                 paint
                 a
                 High-noon
                 ,
                 or
                 
                 Mid-day
                 light
                 in
                 your
                 picture
                 ,
                 
                 because
                 we
                 have
                 
                 no
                 Colours
                 which
                 can
                 sufficiently
                 express
                 it
                 ,
                 but
                 't
                 is
                 better
                 counsel
                 ,
                 to
                 choose
                 a
                 weaker
                 light
                 ;
                 such
                 as
                 is
                 that
                 of
                 the
                 Evening
                 ,
                 with
                 which
                 the
                 Fields
                 are
                 gilded
                 by
                 the
                 Sun
                 ;
                 or
                 a
                 Morning-light
                 ,
                 whose
                 whiteness
                 is
                 allay'd
                 :
                 or
                 that
                 which
                 appears
                 after
                 a
                 Shower
                 of
                 Rain
                 ,
                 which
                 the
                 Sun
                 gives
                 us
                 through
                 the
                 breaking
                 of
                 a
                 Cloud
                 :
                 or
                 during
                 Thunder
                 ,
                 when
                 the
                 Clouds
                 hide
                 him
                 from
                 our
                 
                 view
                 ,
                 
                 and
                 make
                 the
                 light
                 appear
                 of
                 a
                 fiery
                 colour
                 .
              
               
                 Smooth
                 bodies
                 ,
                 such
                 as
                 Chrystals
                 ,
                 polish'd
                 
                 Metals
                 ,
                 Wood
                 ,
                 Bones
                 ,
                 and
                 stones
                 ;
                 those
                 which
                 are
                 cover'd
                 with
                 Hair
                 ,
                 as
                 Skins
                 ,
                 the
                 Beard
                 ,
                 or
                 the
                 Hair
                 of
                 the
                 Head
                 ;
                 as
                 also
                 Feathers
                 ,
                 Silks
                 ,
                 and
                 the
                 Eyes
                 ,
                 which
                 are
                 of
                 a
                 watery
                 nature
                 ;
                 and
                 
                 those
                 which
                 are
                 liquid
                 ,
                 as
                 Waters
                 ,
                 and
                 those
                 corporeal
                 species
                 ,
                 which
                 we
                 see
                 reflected
                 by
                 them
                 ;
                 and
                 in
                 fine
                 ,
                 all
                 that
                 which
                 touches
                 them
                 ,
                 or
                 is
                 near
                 them
                 ,
                 ought
                 to
                 be
                 much
                 painted
                 and
                 unitedly
                 on
                 their
                 lower
                 parts
                 ,
                 but
                 touch'd
                 boldly
                 above
                 by
                 the
                 light
                 and
                 shadows
                 which
                 are
                 proper
                 to
                 them
                 .
              
               
                 *
                 Let
                 the
                 Field
                 ,
                 or
                 Ground
                 of
                 the
                 Picture
                 ,
                 
                 be
                 
                 clean
                 ,
                 free
                 ,
                 transient
                 ,
                 light
                 ,
                 and
                 well
                 united
                 with
                 Colours
                 which
                 are
                 of
                 a
                 friendly
                 nature
                 to
                 each
                 other
                 ;
                 and
                 of
                 such
                 a
                 mixture
                 ,
                 as
                 there
                 may
                 
                 
                 be
                 something
                 in
                 it
                 of
                 every
                 colour
                 that
                 composes
                 your
                 work
                 ,
                 as
                 it
                 were
                 the
                 contents
                 of
                 your
                 Palette
                 .
                 And
                 let
                 the
                 bodies
                 mutually
                 partake
                 of
                 the
                 colour
                 of
                 their
                 ground
                 .
              
               
                 
                 *
                 Let
                 your
                 Colours
                 be
                 lively
                 ,
                 and
                 yet
                 not
                 look
                 (
                 according
                 to
                 the
                 Painter's
                 Proverb
                 )
                 as
                 if
                 they
                 had
                 been
                 rubb'd
                 or
                 sprinkled
                 with
                 meal
                 :
                 that
                 is
                 to
                 say
                 ,
                 
                 let
                 them
                 not
                 be
                 pale
                 .
              
               
                 *
                 Let
                 the
                 parts
                 which
                 are
                 nearest
                 to
                 us
                 ,
                 and
                 most
                 rais'd
                 ,
                 be
                 strongly
                 colour'd
                 ,
                 and
                 as
                 it
                 were
                 sparkling
                 ;
                 and
                 let
                 those
                 parts
                 which
                 are
                 more
                 remote
                 from
                 sight
                 ,
                 and
                 towards
                 the
                 borders
                 ,
                 be
                 more
                 faintly
                 touch'd
                 .
              
               
                 
                 *
                 Let
                 there
                 be
                 so
                 much
                 harmony
                 ,
                 or
                 consent
                 ,
                 
                 or
                 consent
                 ,
                 
                 in
                 the
                 Masses
                 of
                 the
                 Picture
                 ,
                 that
                 all
                 the
                 shadowings
                 may
                 appear
                 as
                 if
                 they
                 were
                 but
                 one
                 .
              
               
                 
                 Let
                 the
                 whole
                 Picture
                 be
                 made
                 of
                 one
                 piece
                 ,
                 
                 and
                 avoid
                 as
                 much
                 as
                 possibly
                 you
                 can
                 ,
                 to
                 paint
                 drily
                 .
              
               
                 
                 *
                 The
                 Looking-glass
                 will
                 instruct
                 you
                 in
                 many
                 Beauties
                 ,
                 
                 which
                 you
                 may
                 observe
                 from
                 Nature
                 :
                 so
                 will
                 also
                 those
                 objects
                 which
                 are
                 seen
                 in
                 an
                 Evening
                 in
                 a
                 large
                 prospect
                 .
              
               
                 
                 If
                 you
                 are
                 to
                 paint
                 a
                 half
                 figure
                 or
                 a
                 whole
                 one
                 ,
                 
                 which
                 is
                 to
                 be
                 set
                 before
                 the
                 other
                 figures
                 ,
                 it
                 must
                 be
                 plac'd
                 nearer
                 to
                 the
                 view
                 ,
                 and
                 next
                 the
                 
                 light
                 .
                 And
                 if
                 it
                 is
                 to
                 be
                 painted
                 ,
                 in
                 a
                 great
                 place
                 ,
                 
                 and
                 at
                 a
                 distance
                 from
                 the
                 Eyes
                 ;
                 be
                 sure
                 on
                 that
                 occasion
                 not
                 to
                 be
                 sparing
                 of
                 great
                 lights
                 ,
                 the
                 most
                 lively
                 colours
                 ,
                 nor
                 the
                 strongest
                 shadows
                 .
                 
              
               
                 *
                 As
                 for
                 a
                 Portraict
                 ,
                 or
                 Pictures
                 by
                 the
                 Life
                 ,
                 
                 you
                 are
                 to
                 work
                 precisely
                 after
                 Natu●●e
                 ,
                 and
                 to
                 express
                 what
                 she
                 shows
                 you
                 ,
                 working
                 at
                 the
                 same
                 time
                 on
                 those
                 parts
                 which
                 are
                 resembling
                 to
                 each
                 other
                 :
                 As
                 for
                 example
                 ,
                 the
                 Eyes
                 ,
                 the
                 
                 Cheeks
                 ,
                 the
                 Nostrils
                 and
                 the
                 Lips
                 :
                 so
                 that
                 you
                 are
                 to
                 touch
                 the
                 one
                 ,
                 as
                 soon
                 as
                 you
                 have
                 given
                 a
                 stroke
                 of
                 the
                 Pencil
                 to
                 the
                 other
                 ,
                 lest
                 the
                 interruption
                 of
                 time
                 cause
                 you
                 to
                 lose
                 the
                 Idea
                 of
                 one
                 Part
                 ,
                 which
                 Nature
                 has
                 produc'd
                 to
                 resemble
                 the
                 other
                 :
                 and
                 thus
                 imitating
                 Feature
                 for
                 Feature
                 with
                 a
                 just
                 and
                 harmonious
                 Composition
                 of
                 the
                 lights
                 and
                 shadows
                 ,
                 and
                 of
                 the
                 colours
                 ,
                 and
                 giving
                 to
                 the
                 Picture
                 that
                 liveliness
                 which
                 the
                 freedom
                 and
                 force
                 of
                 the
                 Pencil
                 make
                 appear
                 ,
                 it
                 may
                 seem
                 the
                 living
                 hand
                 of
                 Nature
                 .
              
               
                 The
                 works
                 which
                 are
                 painted
                 to
                 be
                 seen
                 in
                 
                 little
                 or
                 narrow
                 places
                 ,
                 
                 must
                 be
                 very
                 tender
                 and
                 well
                 united
                 with
                 tones
                 ,
                 and
                 colours
                 ;
                 the
                 degrees
                 of
                 which
                 ought
                 to
                 be
                 more
                 different
                 ,
                 more
                 unequal
                 ,
                 and
                 more
                 strong
                 and
                 vigorous
                 ,
                 as
                 the
                 work
                 
                 is
                 more
                 distant
                 :
                 and
                 if
                 you
                 make
                 great
                 figures
                 ,
                 let
                 them
                 be
                 strongly
                 colour'd
                 ,
                 and
                 in
                 very
                 spacious
                 places
                 .
              
               
               
                 
                 *
                 You
                 are
                 to
                 paint
                 the
                 most
                 tenderly
                 that
                 possibly
                 you
                 can
                 ;
                 
                 and
                 endeavour
                 to
                 lose
                 insensibly
                 the
                 *
                 large
                 lights
                 in
                 the
                 shadows
                 which
                 succeed
                 them
                 ,
                 and
                 incompass
                 them
                 about
                 .
              
               
                 
                 If
                 the
                 Picture
                 be
                 set
                 in
                 a
                 place
                 which
                 is
                 enlighten'd
                 ,
                 
                 but
                 with
                 a
                 little
                 light
                 ,
                 the
                 colours
                 must
                 
                 be
                 very
                 clear
                 ;
                 as
                 on
                 the
                 contrary
                 very
                 brown
                 ,
                 if
                 the
                 place
                 be
                 strongly
                 enlighten'd
                 ,
                 or
                 in
                 the
                 open
                 Air.
                 
              
               
                 
                 Remember
                 to
                 avoid
                 objects
                 which
                 are
                 full
                 of
                 hollows
                 ,
                 
                 broken
                 in
                 pieces
                 ,
                 little
                 ,
                 and
                 which
                 are
                 separated
                 ,
                 or
                 in
                 parcels
                 :
                 shun
                 also
                 those
                 things
                 which
                 are
                 barbarous
                 ,
                 shocking
                 to
                 the
                 Eye
                 and
                 party-colour'd
                 ,
                 and
                 all
                 which
                 is
                 of
                 an
                 equal
                 force
                 of
                 light
                 and
                 shadow
                 :
                 as
                 also
                 all
                 things
                 which
                 are
                 
                 obscene
                 ,
                 impudent
                 ,
                 filthy
                 ,
                 unseemly
                 ,
                 cruel
                 ,
                 fantastical
                 ,
                 poor
                 and
                 wretched
                 ;
                 those
                 things
                 which
                 are
                 sharp
                 and
                 rough
                 to
                 the
                 feeling
                 :
                 In
                 short
                 ,
                 all
                 things
                 which
                 corrupt
                 their
                 natural
                 forms
                 ,
                 by
                 a
                 confusion
                 of
                 their
                 parts
                 which
                 are
                 intangled
                 in
                 each
                 other
                 :
                 
                   For
                   the
                   Eyes
                   have
                   a
                   horrour
                   for
                   those
                   things
                   which
                   the
                   Hands
                   will
                   not
                   condescend
                   to
                   touch
                   .
                
              
               
                 
                 But
                 while
                 you
                 endeavour
                 to
                 avoid
                 one
                 vice
                 ,
                 
                 be
                 cautious
                 lest
                 you
                 fall
                 into
                 another
                 :
                 for
                 
                   Vertue
                   is
                
                 
                 
                   plac'd
                   betwixt
                   two
                   extreams
                   ,
                   which
                   are
                   on
                   both
                   sides
                   equally
                   blameable
                   .
                
              
               
               
                 Those
                 things
                 which
                 are
                 beautiful
                 in
                 the
                 utmost
                 
                 degree
                 of
                 Perfection
                 ,
                 
                 according
                 to
                 the
                 Axiom
                 of
                 ancient
                 Painters
                 ,
                 *
                 ought
                 to
                 have
                 somewhat
                 of
                 greatness
                 in
                 them
                 ;
                 and
                 their
                 out-lines
                 to
                 be
                 noble
                 :
                 they
                 must
                 be
                 disintangled
                 ,
                 pure
                 and
                 without
                 alteration
                 ,
                 clean
                 and
                 knit
                 together
                 ;
                 compos'd
                 of
                 great
                 parts
                 ,
                 yet
                 those
                 but
                 few
                 in
                 number
                 .
                 In
                 fine
                 ,
                 distinguish'd
                 by
                 bold
                 Colours
                 ;
                 but
                 
                 of
                 such
                 as
                 are
                 related
                 ,
                 and
                 friendly
                 to
                 each
                 other
                 :
                 And
                 as
                 it
                 is
                 a
                 common
                 saying
                 ,
                 that
                 
                   He
                   who
                   has
                   
                   begun
                   well
                   ,
                   
                   has
                   already
                   perform'd
                   half
                   his
                   work
                
                 ;
                 so
                 *
                 there
                 is
                 nothing
                 more
                 pernicious
                 to
                 a
                 Youth
                 ,
                 who
                 is
                 yet
                 in
                 the
                 Elements
                 of
                 Painting
                 ,
                 than
                 to
                 engage
                 himself
                 under
                 the
                 discipline
                 of
                 an
                 ignorant
                 Master
                 ;
                 who
                 depraves
                 his
                 taste
                 ,
                 by
                 an
                 infinite
                 number
                 of
                 mistakes
                 ;
                 of
                 which
                 his
                 wretched
                 works
                 are
                 full
                 ,
                 and
                 thereby
                 makes
                 him
                 drink
                 the
                 
                 poyson
                 ,
                 which
                 infects
                 him
                 through
                 all
                 his
                 future
                 life
                 .
              
               
                 Let
                 him
                 who
                 is
                 yet
                 but
                 a
                 Beginner
                 ,
                 not
                 make
                 so
                 much
                 haste
                 to
                 study
                 after
                 Nature
                 ,
                 every
                 thing
                 which
                 he
                 intends
                 to
                 imitate
                 ;
                 as
                 not
                 in
                 the
                 mean
                 time
                 to
                 learn
                 Proportions
                 ,
                 the
                 connexion
                 of
                 the
                 parts
                 ,
                 and
                 their
                 out-lines
                 :
                 And
                 let
                 him
                 first
                 have
                 
                 well
                 examin'd
                 the
                 Excellent
                 Originals
                 ,
                 and
                 have
                 thoroughly
                 studied
                 all
                 the
                 sweet
                 deceipts
                 of
                 his
                 Art
                 ,
                 which
                 he
                 must
                 be
                 rather
                 taught
                 by
                 a
                 knowing
                 
                 Master
                 ,
                 than
                 by
                 practice
                 ;
                 and
                 by
                 seeing
                 him
                 perform
                 ,
                 without
                 being
                 contented
                 onely
                 to
                 hear
                 him
                 speak
                 .
              
               
                 
                 *
                 Search
                 whatsoever
                 is
                 aiding
                 to
                 your
                 Art
                 ,
                 
                 and
                 convenient
                 ,
                 and
                 avoid
                 those
                 things
                 which
                 are
                 repugnant
                 to
                 it
                 .
              
               
                 
                 *
                 Bodies
                 of
                 divers
                 natures
                 which
                 are
                 aggroup'd
                 (
                 or
                 combin'd
                 )
                 together
                 ,
                 
                 are
                 agreeable
                 and
                 pleasant
                 
                 to
                 the
                 sight
                 ;
                 *
                 as
                 also
                 those
                 things
                 which
                 appear
                 to
                 be
                 perform'd
                 with
                 ease
                 .
                 Because
                 they
                 are
                 ever
                 full
                 of
                 Spirit
                 ,
                 and
                 seem
                 animated
                 with
                 a
                 kind
                 of
                 Coelestial
                 fire
                 :
                 But
                 we
                 are
                 not
                 able
                 to
                 compass
                 these
                 things
                 with
                 facility
                 ,
                 till
                 we
                 have
                 for
                 a
                 long
                 time
                 weigh'd
                 them
                 in
                 our
                 judgment
                 ,
                 and
                 thoroughly
                 consider'd
                 them
                 :
                 By
                 this
                 means
                 the
                 Painter
                 shall
                 be
                 enabled
                 to
                 conceal
                 the
                 pains
                 ,
                 and
                 study
                 which
                 his
                 Art
                 and
                 work
                 have
                 cost
                 him
                 ,
                 under
                 a
                 pleasing
                 sort
                 of
                 deceipt
                 :
                 For
                 the
                 greatest
                 secret
                 which
                 belongs
                 to
                 Art
                 ,
                 is
                 to
                 hide
                 it
                 from
                 the
                 discovery
                 of
                 Spectatours
                 .
              
               
                 Never
                 give
                 the
                 least
                 touch
                 with
                 your
                 Pencil
                 
                 
                 till
                 you
                 have
                 well
                 examin'd
                 your
                 Design
                 ,
                 and
                 have
                 settled
                 your
                 out-lines
                 ,
                 
                 *
                 nor
                 till
                 you
                 have
                 present
                 in
                 your
                 mind
                 a
                 perfect
                 Idea
                 of
                 your
                 work
                 .
              
               
                 
                 
                 *
                 Let
                 the
                 Eye
                 be
                 satisfy'd
                 in
                 the
                 first
                 place
                 ,
                 even
                 against
                 and
                 above
                 all
                 other
                 reasons
                 ,
                 which
                 
                 beget
                 difficulties
                 in
                 your
                 Art
                 ,
                 which
                 of
                 it self
                 suffers
                 none
                 ;
                 and
                 let
                 the
                 compass
                 be
                 rather
                 in
                 your
                 Eyes
                 than
                 in
                 your
                 Hands
                 .
              
               
                 *
                 Profit
                 your self
                 by
                 the
                 Counsels
                 of
                 the
                 knowing
                 :
                 
                 
                 And
                 do
                 not
                 arrogantly
                 disdain
                 to
                 learn
                 the
                 
                 opinion
                 of
                 every
                 man
                 concerning
                 your
                 work
                 .
                 All
                 men
                 are
                 blind
                 as
                 to
                 their
                 own
                 productions
                 ;
                 and
                 no
                 man
                 is
                 capable
                 of
                 judging
                 in
                 his
                 own
                 cause
                 ;
                 but
                 if
                 you
                 have
                 no
                 knowing
                 friend
                 ,
                 to
                 
                 assist
                 you
                 with
                 his
                 advice
                 ,
                 yet
                 length
                 of
                 time
                 will
                 never
                 fail
                 ;
                 't
                 is
                 but
                 letting
                 some
                 weeks
                 pass
                 over
                 your
                 Head
                 ,
                 or
                 at
                 least
                 some
                 days
                 ,
                 without
                 looking
                 on
                 your
                 work
                 ,
                 and
                 that
                 intermission
                 will
                 faithfully
                 discover
                 to
                 you
                 the
                 faults
                 ,
                 and
                 beauties
                 ;
                 yet
                 suffer
                 not
                 your self
                 to
                 be
                 carried
                 away
                 by
                 the
                 opinions
                 of
                 the
                 Vulgar
                 ,
                 who
                 often
                 speak
                 without
                 knowledge
                 ;
                 neither
                 give
                 up
                 your self
                 altogether
                 to
                 them
                 ,
                 and
                 abandon
                 wholly
                 your
                 own
                 Genius
                 ,
                 so
                 as
                 lightly
                 to
                 change
                 that
                 which
                 you
                 have
                 made
                 :
                 For
                 he
                 who
                 has
                 a
                 windy
                 Head
                 ,
                 and
                 flatters
                 himself
                 with
                 the
                 empty
                 hope
                 of
                 deserving
                 the
                 praise
                 of
                 the
                 common
                 people
                 ,
                 whose
                 opinions
                 are
                 inconsiderate
                 ,
                 and
                 changeable
                 ,
                 does
                 but
                 injure
                 himself
                 and
                 pleases
                 no
                 man.
                 
              
               
                 Since
                 every
                 Painter
                 paints
                 himself
                 in
                 his
                 own
                 works
                 (
                 so
                 much
                 is
                 Nature
                 accustom'd
                 to
                 produce
                 her
                 own
                 likeness
                 )
                 't
                 is
                 advantageous
                 to
                 him
                 to
                 
                 
                 
                 
                 know
                 himself
                 ,
                 *
                 to
                 the
                 end
                 that
                 he
                 may
                 cultivate
                 those
                 Talents
                 which
                 make
                 his
                 Genius
                 ,
                 and
                 not
                 unprofitably
                 lose
                 his
                 time
                 in
                 endeavouring
                 to
                 gain
                 that
                 which
                 she
                 has
                 refus'd
                 him
                 .
                 As
                 neither
                 
                 Fruits
                 have
                 the
                 taste
                 ,
                 nor
                 Flowers
                 the
                 beauty
                 which
                 is
                 natural
                 to
                 them
                 when
                 they
                 are
                 transplanted
                 in
                 a
                 foreign
                 soil
                 ,
                 and
                 are
                 forc'd
                 to
                 bear
                 before
                 their
                 season
                 by
                 an
                 artificial
                 heart
                 :
                 so
                 't
                 is
                 in
                 vain
                 for
                 the
                 Painter
                 to
                 sweat
                 over
                 his
                 works
                 in
                 spight
                 of
                 Nature
                 and
                 of
                 Genius
                 ;
                 for
                 without
                 them
                 't
                 is
                 impossible
                 for
                 him
                 to
                 succeed
                 .
              
               
                 
                 *
                 While
                 you
                 meditate
                 on
                 these
                 truths
                 ,
                 
                 and
                 observe
                 them
                 diligently
                 ,
                 by
                 making
                 necessary
                 reflections
                 on
                 them
                 ;
                 let
                 the
                 labour
                 of
                 the
                 Hand
                 accompany
                 the
                 study
                 of
                 the
                 Brain
                 ;
                 let
                 the
                 former
                 second
                 and
                 support
                 the
                 latter
                 ;
                 yet
                 without
                 
                 blunting
                 the
                 sharpness
                 of
                 your
                 Genius
                 ;
                 and
                 abating
                 of
                 its
                 vigour
                 by
                 too
                 much
                 assiduity
                 .
              
               
                 
                 *
                 The
                 Morning
                 is
                 the
                 best
                 ,
                 
                 and
                 most
                 proper
                 part
                 of
                 the
                 day
                 for
                 your
                 business
                 ;
                 employ
                 it
                 therefore
                 in
                 the
                 study
                 and
                 exercise
                 of
                 those
                 things
                 
                 which
                 require
                 the
                 greatest
                 pains
                 and
                 application
                 .
                 
              
               
                 
                 *
                 Let
                 no
                 day
                 pass
                 over
                 you
                 without
                 a
                 line
                 .
                 
              
               
                 Observe
                 as
                 you
                 walk
                 the
                 Streets
                 ,
                 the
                 Airs
                 of
                 Heads
                 ;
                 the
                 natural
                 Posturs
                 and
                 Expressions
                 ;
                 
                 which
                 are
                 always
                 the
                 most
                 free
                 the
                 less
                 they
                 seem
                 to
                 be
                 observ'd
                 .
              
               
               
                 *
                 Be
                 ready
                 to
                 put
                 into
                 your
                 Table-book
                 
                 
                 (
                 which
                 you
                 must
                 always
                 carry
                 about
                 you
                 )
                 whatsoever
                 you
                 judge
                 worthy
                 of
                 it
                 ;
                 whether
                 it
                 be
                 upon
                 the
                 Earth
                 ,
                 or
                 in
                 the
                 Air
                 ,
                 or
                 upon
                 the
                 Waters
                 ,
                 while
                 the
                 Species
                 of
                 them
                 is
                 yet
                 fresh
                 in
                 your
                 Imagination
                 .
              
               
                 *
                 Wine
                 and
                 good
                 Cheer
                 are
                 no
                 great
                 Friends
                 
                 to
                 painting
                 ,
                 they
                 serve
                 only
                 to
                 recreate
                 the
                 Mind
                 ,
                 when
                 't
                 is
                 opprest
                 and
                 spent
                 with
                 Labour
                 ;
                 then
                 indeed
                 't
                 is
                 proper
                 to
                 renew
                 your
                 Vigour
                 by
                 the
                 conversation
                 of
                 your
                 Friends
                 :
                 Neither
                 is
                 a
                 true
                 Painter
                 naturally
                 pleas'd
                 with
                 the
                 fatigue
                 of
                 business
                 ,
                 and
                 particularly
                 of
                 the
                 Law
                 ,
                 but
                 delights
                 in
                 the
                 liberty
                 which
                 belongs
                 to
                 the
                 Batchelour's
                 Estate
                 .
                 Painting
                 naturally
                 withdraws
                 from
                 Noise
                 and
                 Tumult
                 ,
                 and
                 pleases
                 it self
                 in
                 the
                 enjoyment
                 of
                 a
                 Country
                 Retirement
                 :
                 because
                 Silence
                 
                 and
                 Solitude
                 set
                 an
                 edge
                 upon
                 the
                 Genius
                 ,
                 and
                 cause
                 a
                 greater
                 Application
                 to
                 work
                 and
                 study
                 ,
                 and
                 also
                 serve
                 to
                 produce
                 the
                 Ideas
                 ,
                 which
                 ,
                 so
                 conceiv'd
                 ,
                 will
                 be
                 always
                 present
                 in
                 the
                 M●●nd
                 ,
                 even
                 to
                 the
                 finishing
                 of
                 the
                 work
                 ;
                 the
                 whole
                 compass
                 of
                 which
                 ,
                 the
                 Painter
                 can
                 at
                 that
                 time
                 more
                 commodiously
                 form
                 to
                 himself
                 than
                 at
                 any
                 other
                 .
              
               
                 *
                 Let
                 not
                 the
                 covetous
                 design
                 of
                 growing
                 rich
                 ,
                 
                 induce
                 you
                 to
                 ruin
                 your
                 reputation
                 ,
                 but
                 rather
                 satisfy
                 your self
                 with
                 a
                 moderate
                 fortune
                 ;
                 and
                 let
                 
                 your
                 Thoughts
                 be
                 wholly
                 taken
                 up
                 with
                 acquiring
                 to
                 your self
                 a
                 glorious
                 Name
                 ,
                 which
                 can
                 never
                 perish
                 ,
                 but
                 with
                 the
                 World
                 ,
                 and
                 make
                 that
                 the
                 recompence
                 of
                 your
                 worthy
                 Labours
                 .
              
               
                 *
                 The
                 qualities
                 requisite
                 to
                 form
                 an
                 excellent
                 Painter
                 ,
                 are
                 ,
                 a
                 true
                 discerning
                 Judgment
                 ;
                 a
                 Mind
                 which
                 is
                 docible
                 ,
                 a
                 noble
                 Heart
                 ,
                 a
                 sublime
                 Sense
                 
                 of
                 things
                 ,
                 and
                 Fervour
                 of
                 Soul
                 ;
                 after
                 which
                 follow
                 ,
                 Health
                 of
                 Body
                 ,
                 handsomeness
                 ,
                 a
                 convenient
                 share
                 of
                 Fortune
                 ,
                 Youth
                 ,
                 Diligence
                 ,
                 an
                 affection
                 for
                 the
                 Art
                 ,
                 and
                 to
                 be
                 bred
                 under
                 the
                 discipline
                 of
                 a
                 knowing
                 Master
                 .
              
               
                 And
                 remember
                 ,
                 that
                 whatsoever
                 your
                 Subject
                 be
                 ,
                 whether
                 of
                 your
                 own
                 Choice
                 ,
                 or
                 what
                 chance
                 or
                 good
                 fortune
                 shall
                 put
                 into
                 your
                 hand
                 ,
                 if
                 you
                 have
                 not
                 that
                 Genius
                 or
                 natural
                 Inclination
                 ,
                 which
                 your
                 Art
                 requires
                 ,
                 you
                 shall
                 never
                 arrive
                 to
                 perfection
                 in
                 it
                 ,
                 even
                 with
                 all
                 those
                 great
                 advantages
                 which
                 I
                 have
                 mention'd
                 ;
                 for
                 the
                 Wit
                 ,
                 and
                 the
                 manual
                 operation
                 are
                 things
                 vastly
                 distant
                 from
                 each
                 other
                 .
                 'T
                 is
                 the
                 Influence
                 of
                 your
                 Stars
                 ,
                 and
                 the
                 happiness
                 of
                 your
                 Genius
                 ,
                 to
                 which
                 you
                 must
                 be
                 oblig'd
                 for
                 the
                 greatest
                 Beauties
                 of
                 your
                 Art.
                 
              
               
                 
                 Nay
                 ,
                 even
                 your
                 excellencies
                 sometimes
                 will
                 not
                 pass
                 for
                 such
                 in
                 the
                 opinion
                 of
                 the
                 learned
                 ,
                 but
                 only
                 as
                 things
                 which
                 have
                 less
                 of
                 Error
                 in
                 them
                 ,
                 for
                 no
                 man
                 sees
                 his
                 own
                 failings
                 ;
                 and
                 Life
                 is
                 so
                 
                 short
                 ,
                 that
                 it
                 is
                 not
                 sufficient
                 for
                 so
                 long
                 an
                 Art.
                 Our
                 strength
                 fails
                 us
                 in
                 our
                 old
                 Age
                 ,
                 when
                 we
                 begin
                 to
                 know
                 somewhat
                 :
                 Age
                 oppresses
                 us
                 by
                 the
                 same
                 degrees
                 that
                 it
                 instructs
                 us
                 ,
                 and
                 permits
                 not
                 that
                 our
                 mortal
                 Members
                 which
                 are
                 frozen
                 with
                 our
                 years
                 ,
                 should
                 retain
                 the
                 Vigor
                 and
                 Spirits
                 of
                 our
                 Youth
                 .
              
               
                 *
                 Take
                 courage
                 therefore
                 ,
                 O
                 ye
                 
                   Noble
                   Youths
                
                 !
                 
                 you
                 legitimate
                 Off-spring
                 of
                 Minerva
                 ,
                 who
                 are
                 born
                 under
                 the
                 influence
                 of
                 a
                 
                   happy
                   Planet
                
                 ,
                 and
                 warm'd
                 with
                 a
                 Celestial
                 Fire
                 ,
                 which
                 attracts
                 you
                 to
                 the
                 Love
                 of
                 Science
                 ;
                 exercise
                 while
                 you
                 are
                 young
                 ,
                 your
                 whole
                 forces
                 ,
                 and
                 employ
                 them
                 with
                 delight
                 in
                 an
                 Art
                 which
                 requires
                 a
                 
                   whole
                   Painter
                
                 .
                 Exercise
                 them
                 I
                 say
                 ,
                 while
                 your
                 boyling
                 Youth
                 supplies
                 you
                 with
                 Strength
                 ,
                 and
                 furnishes
                 
                 you
                 with
                 Quickness
                 and
                 with
                 Vigour
                 ;
                 while
                 your
                 Mind
                 ,
                 yet
                 pure
                 and
                 void
                 of
                 Error
                 ,
                 has
                 not
                 taken
                 any
                 ill
                 habitude
                 to
                 vice
                 ,
                 while
                 yet
                 your
                 Spirits
                 are
                 inflam'd
                 with
                 the
                 Thirst
                 of
                 Novelties
                 ,
                 and
                 your
                 Mind
                 is
                 fill'd
                 with
                 the
                 first
                 Species
                 of
                 things
                 which
                 present
                 themselves
                 to
                 a
                 young
                 Imagination
                 ,
                 which
                 it
                 gives
                 in
                 keeping
                 to
                 your
                 Memory
                 ;
                 and
                 which
                 your
                 Memory
                 retains
                 for
                 length
                 of
                 time
                 ,
                 by
                 reason
                 of
                 the
                 moisture
                 wherewith
                 at
                 that
                 Age
                 the
                 Brain
                 abounds
                 :
                 
                 *
                 you
                 will
                 do
                 well
                 
                 to
                 begin
                 with
                 Geometry
                 ,
                 and
                 after
                 having
                 made
                 
                 some
                 progress
                 it
                 it
                 ,
                 *
                 set
                 your self
                 on
                 designing
                 
                 after
                 the
                 
                   Ancient
                   Greeks
                
                 ,
                 *
                 and
                 cease
                 not
                 day
                 or
                 night
                 from
                 labour
                 ,
                 till
                 by
                 your
                 continual
                 practice
                 you
                 have
                 gain'd
                 an
                 easy
                 habitude
                 of
                 imitating
                 them
                 in
                 their
                 invention
                 ,
                 and
                 in
                 their
                 manner
                 .
                 *
                 And
                 when
                 afterwards
                 your
                 judgment
                 shall
                 grow
                 stronger
                 ,
                 and
                 come
                 to
                 its
                 maturity
                 with
                 years
                 ,
                 it
                 will
                 be
                 very
                 necessary
                 to
                 see
                 and
                 examine
                 one
                 after
                 the
                 other
                 ,
                 and
                 part
                 by
                 part
                 ,
                 those
                 works
                 
                 which
                 have
                 given
                 so
                 great
                 a
                 Reputation
                 to
                 the
                 Masters
                 of
                 the
                 first
                 form
                 in
                 pursuit
                 of
                 that
                 Method
                 ,
                 which
                 we
                 have
                 taught
                 you
                 here
                 above
                 ,
                 and
                 according
                 to
                 the
                 Rules
                 which
                 we
                 have
                 given
                 you
                 ;
                 such
                 are
                 the
                 Romans
                 ,
                 the
                 Venetians
                 ,
                 the
                 Parmesans
                 ,
                 and
                 the
                 Bologneses
                 .
                 Amongst
                 those
                 excellent
                 Persons
                 ,
                 Raphael
                 had
                 the
                 Talent
                 of
                 Invention
                 
                 for
                 his
                 share
                 ,
                 by
                 which
                 he
                 made
                 as
                 many
                 Miracles
                 as
                 he
                 made
                 Pictures
                 .
                 In
                 which
                 is
                 observ'd
                 *
                 a
                 certain
                 Grace
                 which
                 was
                 wholly
                 natural
                 and
                 peculiar
                 to
                 him
                 ,
                 and
                 which
                 none
                 since
                 him
                 have
                 been
                 able
                 to
                 appropriate
                 to
                 themselves
                 .
                 
                   Michael
                   Angelo
                
                 possess'd
                 powerfully
                 the
                 part
                 of
                 Design
                 ,
                 above
                 all
                 others
                 .
                 *
                 
                   Iulio
                   Romano
                
                 (
                 educated
                 from
                 his
                 childhood
                 among
                 the
                 Muses
                 )
                 has
                 open'd
                 to
                 us
                 the
                 Treasures
                 of
                 Parnassus
                 and
                 in
                 the
                 Poetry
                 of
                 Painting
                 has
                 discover'd
                 to
                 our
                 Eyes
                 the
                 
                 most
                 sacred
                 Mysteries
                 of
                 Apollo
                 ,
                 and
                 all
                 the
                 rarest
                 
                 Ornaments
                 which
                 that
                 God
                 is
                 capable
                 of
                 commucating
                 to
                 those
                 works
                 that
                 he
                 inspires
                 ,
                 which
                 we
                 knew
                 not
                 before
                 ,
                 but
                 only
                 by
                 the
                 Recital
                 that
                 the
                 Poets
                 made
                 of
                 them
                 ;
                 he
                 seems
                 to
                 have
                 painted
                 those
                 famous
                 Wars
                 which
                 Heroes
                 have
                 wag'd
                 ,
                 and
                 ended
                 with
                 Victory
                 over
                 crown'd
                 Heads
                 ,
                 whom
                 they
                 have
                 led
                 in
                 triumph
                 ;
                 and
                 those
                 other
                 glorious
                 Events
                 which
                 Fortune
                 has
                 caus'd
                 in
                 all
                 ages
                 ,
                 even
                 with
                 more
                 Magnificence
                 and
                 Nobleness
                 ,
                 than
                 when
                 they
                 were
                 acted
                 in
                 the
                 World.
                 Correggio
                 has
                 made
                 his
                 Memory
                 immortal
                 by
                 the
                 Strength
                 and
                 Vigour
                 
                 he
                 has
                 given
                 to
                 his
                 Figures
                 ,
                 and
                 by
                 sweetning
                 his
                 Lights
                 and
                 Shadows
                 ,
                 and
                 melting
                 them
                 into
                 each
                 other
                 so
                 happily
                 ,
                 that
                 they
                 are
                 even
                 imperceptible
                 .
                 He
                 is
                 also
                 almost
                 single
                 in
                 the
                 great
                 manner
                 of
                 his
                 Painting
                 ,
                 and
                 the
                 Facility
                 he
                 had
                 in
                 the
                 managing
                 of
                 his
                 Colours
                 .
                 And
                 Titian
                 understood
                 so
                 well
                 the
                 Union
                 of
                 the
                 Masses
                 ,
                 and
                 the
                 Bodies
                 of
                 Colours
                 ,
                 the
                 Harmony
                 of
                 the
                 Tones
                 ,
                 and
                 the
                 Disposition
                 of
                 the
                 whole
                 together
                 ,
                 that
                 he
                 has
                 deserv'd
                 those
                 Honours
                 ,
                 and
                 that
                 wealth
                 which
                 were
                 heap'd
                 upon
                 him
                 ,
                 together
                 with
                 that
                 attribute
                 of
                 being
                 surnam'd
                 the
                 
                   Divine
                   Painter
                
                 .
                 The
                 laborious
                 and
                 diligent
                 
                   Annibal
                   Carracci
                
                 ,
                 has
                 
                 taken
                 from
                 all
                 those
                 great
                 Persons
                 already
                 mention'd
                 ,
                 whatsoever
                 excellencies
                 he
                 found
                 in
                 them
                 ,
                 
                 and
                 ,
                 as
                 it
                 were
                 ,
                 converted
                 their
                 Nourishment
                 into
                 his
                 own
                 Substance
                 .
              
               
                 
                 'T
                 is
                 a
                 great
                 means
                 of
                 profiting
                 your self
                 to
                 copy
                 diligently
                 those
                 excellent
                 Pieces
                 ,
                 
                 and
                 those
                 beautifull
                 designs
                 ;
                 But
                 Nature
                 which
                 is
                 present
                 before
                 your
                 Eyes
                 ,
                 is
                 yet
                 a
                 better
                 Mistress
                 :
                 For
                 she
                 augments
                 the
                 Force
                 and
                 Vigour
                 of
                 the
                 Genius
                 ,
                 and
                 she
                 it
                 is
                 from
                 whom
                 Art
                 derives
                 her
                 ultimate
                 
                 perfection
                 by
                 the
                 means
                 of
                 sure
                 Experience
                 ;
                 *
                 I
                 pass
                 in
                 silence
                 many
                 things
                 which
                 will
                 be
                 more
                 amply
                 treated
                 in
                 the
                 ensuing
                 Commentary
                 .
              
               
                 And
                 now
                 considering
                 that
                 all
                 things
                 are
                 subject
                 to
                 the
                 vicissitude
                 of
                 Time
                 ,
                 and
                 that
                 they
                 are
                 liable
                 to
                 Destruction
                 by
                 several
                 ways
                 ,
                 I
                 thought
                 I
                 might
                 reasonably
                 take
                 the
                 boldness
                 *
                 to
                 intrust
                 to
                 the
                 Muses
                 (
                 those
                 lovely
                 and
                 immortal
                 Sisters
                 of
                 painting
                 )
                 these
                 few
                 Precepts
                 which
                 I
                 have
                 here
                 made
                 and
                 collected
                 of
                 that
                 Art.
                 
              
               
                 
                 I
                 employ'd
                 my
                 time
                 in
                 the
                 study
                 of
                 this
                 work
                 at
                 Rome
                 ,
                 while
                 the
                 honour
                 of
                 the
                 Bourbon
                 Family
                 ,
                 and
                 the
                 just
                 Avenger
                 of
                 his
                 injur'd
                 Ancestors
                 ,
                 the
                 Victorious
                 
                   Lovis
                   ▪
                
                 was
                 darting
                 his
                 Thunder
                 on
                 the
                 Alpes
                 ,
                 and
                 causing
                 his
                 Enemies
                 to
                 feel
                 the
                 force
                 of
                 his
                 unconquerable
                 Arms
                 ,
                 while
                 he
                 like
                 another
                 
                   Gallique
                   Hercules
                
                 ,
                 born
                 for
                 the
                 benefit
                 and
                 Honour
                 of
                 his
                 Country
                 ,
                 was
                 griping
                 the
                 
                   Spanish
                   
                   Geryon
                
                 by
                 the
                 Throat
                 ,
                 and
                 at
                 the
                 point
                 of
                 strangling
                 him
                 .
              
            
          
           
             
             
             
               OBSERVATIONS
               ON
               THE
               Art
               of
               Painting
               OF
               Charles
               Alphonse
               du
               Fresnoy
               .
            
             
               
                 PAinting
                 and
                 Poesy
                 are
                 two
                 Sisters
                 ,
              
               
               &c.
               
               'T
               is
               a
               receiv'd
               truth
               ,
               that
               the
               Arts
               have
               a
               certain
               relation
               to
               each
               other
               .
               "
               
                 There
                 is
                 no
                 Art
              
               (
               said
               Tertullian
               in
               his
               Treatise
               of
               Idolatry
               )
               
                 which
                 is
                 not
                 either
                 the
                 Father
                 or
                 the
                 near
                 Relation
                 of
                 another
                 .
              
               And
               Cicero
               in
               his
               Oration
               for
               
                 Archias
                 the
                 Poet
              
               ,
               says
               ,
               
                 That
                 the
                 Arts
                 which
                 have
                 respect
                 to
                 human
                 life
                 ,
                 have
                 a
                 kind
                 of
                 Alliance
                 amongst
                 themselves
                 ,
                 and
                 hold
                 each
                 other
                 (
                 as
                 we
                 may
                 say
                 )
                 by
                 the
                 hand
                 .
              
               "
               But
               those
               Arts
               which
               are
               the
               nearest
               related
               ,
               and
               claim
               the
               most
               ancient
               Kindred
               with
               each
               other
               ,
               are
               Painting
               and
               Poetry
               ;
               
               and
               whosoever
               shall
               throughly
               examine
               them
               ,
               will
               find
               them
               so
               much
               resembling
               one
               another
               ,
               that
               he
               cannot
               take
               them
               for
               less
               than
               Sisters
               .
            
             
               They
               both
               follow
               the
               same
               bent
               ,
               and
               suffer
               themselves
               rather
               to
               be
               carry'd
               away
               ,
               than
               led
               by
               their
               secret
               Inclinations
               ,
               which
               are
               so
               many
               seeds
               of
               the
               Divinity
               .
               "
               There
               
                 is
                 a
                 God
                 within
                 us
              
               (
               says
               Ovid
               in
               the
               beginning
               of
               his
               Sixth
               Book
               
                 de
                 Fastis
              
               ,
               there
               speaking
               of
               the
               Poets
               )
               
                 who
                 by
                 his
                 Agitation
                 warms
                 us
                 .
              
               And
               Suidas
               says
               ,
               
                 That
                 the
                 famous
                 Sculptor
              
               Phidias
               ,
               and
               Zeuxis
               
                 that
                 incomparable
                 Painter
                 ,
                 were
                 both
                 of
                 them
                 transported
                 by
                 the
                 same
                 Enthusiasm
                 ,
                 which
                 gave
                 life
                 to
                 all
                 their
                 works
                 .
              
               "
               They
               both
               of
               them
               aim
               at
               the
               same
               end
               ,
               which
               is
               Imitation
               .
               Both
               of
               them
               excite
               our
               Passions
               ;
               and
               we
               suffer
               our selves
               willingly
               to
               be
               deceiv'd
               ,
               both
               by
               the
               one
               ,
               and
               by
               the
               other
               ;
               our
               Eyes
               and
               Souls
               are
               so
               fixt
               to
               them
               ,
               that
               we
               are
               ready
               to
               persuade
               our selves
               that
               the
               painted
               Bodies
               breath
               ,
               and
               that
               the
               Fictions
               are
               Truths
               .
               Both
               of
               them
               are
               set
               on
               fire
               by
               the
               great
               Actions
               of
               Heroes
               ;
               and
               both
               endeavour
               to
               eternize
               them
               :
               Both
               of
               them
               in
               short
               ,
               are
               supported
               by
               the
               strength
               of
               their
               Imagination
               ,
               and
               avail
               themselves
               of
               those
               licences
               ,
               which
               Apollo
               has
               equally
               bestow'd
               on
               them
               ,
               and
               with
               which
               their
               Genius
               has
               inspir'd
               them
               .
               
                 
                 
                   —
                   Pictoribus
                   atque
                   Poetis
                
                 
                   Quidlibet
                   audendi
                   ,
                   semper
                   fuit
                   aequa
                   potestas
                   .
                
              
               
                 
                   Painters
                   and
                   Poets
                   free
                   from
                   servile
                   awe
                   ,
                
                 
                   May
                   treat
                   their
                   Subjects
                   ,
                   and
                   their
                   Objects
                   draw
                   .
                
              
               As
               Horace
               tells
               us
               in
               his
               Art
               of
               Poetry
               .
            
             
               The
               advantage
               which
               Painting
               possesses
               above
               Poesie
               is
               this
               ;
               That
               amongst
               so
               great
               a
               Diversity
               of
               Languages
               ,
               she
               makes
               her self
               understood
               by
               all
               the
               
                 Nations
                 of
                 the
                 World
              
               ;
               and
               that
               she
               is
               necessary
               to
               all
               other
               Arts
               ,
               because
               of
               the
               need
               which
               they
               have
               of
               demonstrative
               Figures
               ,
               which
               often
               give
               more
               Light
               to
               the
               Understanding
               than
               the
               clearest
               discourses
               we
               can
               make
               .
               
                 
                   Segnius
                   irritant
                   animos
                   demissa
                   per
                   aurem
                   ,
                
                 
                   Quam
                   quae
                   sunt
                   oculis
                   commissa
                   fidelibus
                   .
                
              
               
                 
                   Hearing
                   excites
                   the
                   Mind
                   by
                   slow
                   degrees
                   ,
                
                 
                   The
                   Man
                   is
                   warm'd
                   at
                   once
                   by
                   what
                   he
                   sees
                   .
                
              
               Horace
               in
               the
               same
               Art
               of
               Poetry
               .
            
             
               
                 For
                 both
                 of
                 them
                 that
                 they
                 might
                 contribute
                 ,
              
               &c.
               
               
               Poetry
               by
               its
               Hymns
               and
               Anthems
               ,
               and
               Painting
               by
               its
               
                 Statues
                 ,
                 Altar-pieces
              
               ,
               and
               by
               all
               
                 those
                 Decorations
              
               
               which
               inspire
               Respect
               and
               Reverence
               for
               our
               
                 Sacred
                 Mysteries
              
               ,
               have
               been
               serviceable
               to
               
                 Religion
                 .
                 Gregory
                 of
                 Nice
              
               ,
               after
               having
               made
               a
               long
               and
               beautifull
               Description
               of
               Abraham
               sacrificing
               his
               Son
               Isaac
               ,
               says
               these
               words
               ,
               "
               
                 I
                 have
                 often
                 cast
                 my
                 eyes
                 upon
                 a
                 Picture
                 ,
                 which
                 represents
                 this
                 moving
                 object
                 ,
                 and
                 could
                 never
                 withdraw
                 them
                 without
                 Tears
                 .
                 So
                 well
                 did
                 the
                 Picture
                 represent
                 the
                 thing
                 it self
                 ,
                 even
                 as
                 if
                 the
                 Action
                 were
                 then
                 
                 passing
                 before
                 my
                 Sight
                 .
                 "
                 So
                 much
                 these
                 Divine
                 Arts
                 have
                 been
                 always
                 honour'd
                 ,
              
               &c.
               
                 The
                 greatest
                 Lords
                 ,
                 whole
                 Cities
                 and
                 their
                 Magistrates
                 of
                 Old
              
               (
               says
               Pliny
               lib.
               35.
               )
               
                 took
                 it
                 for
                 an
                 honour
                 to
                 obtain
                 a
                 Picture
                 from
                 the
                 hands
                 of
                 those
                 great
                 Ancient
                 Painters
                 .
              
               But
               this
               Honour
               is
               much
               fallen
               of
               late
               amongst
               the
               
                 French
                 Nobility
              
               :
               and
               if
               you
               will
               understand
               the
               cause
               of
               it
               ,
               Vitruvius
               will
               tell
               you
               that
               it
               comes
               from
               their
               Ignorance
               of
               the
               charming
               Arts.
               
                 Propter
                 ignorantiam
                 Artis
                 ,
                 virtutes
                 obscurantur
                 :
              
               (
               in
               the
               Preface
               to
               his
               Fifth
               Book
               .
               )
               Nay
               more
               ,
               we
               should
               see
               this
               admirable
               Art
               fall
               into
               the
               last
               degree
               of
               Contempt
               ,
               if
               our
               Mighty
               Monarch
               ,
               who
               yields
               in
               nothing
               to
               the
               Magnanimity
               of
               Alexander
               the
               Great
               ,
               had
               not
               shown
               as
               much
               Love
               for
               Painting
               as
               Valour
               in
               the
               Wars
               :
               we
               daily
               see
               him
               encouraging
               this
               noble
               Art
               ,
               by
               the
               considerable
               Presents
               which
               he
               makes
               to
               his
               *
               chief
               Painter
               .
               
               And
               he
               has
               also
               founded
               an
               Academy
               for
               the
               Progress
               and
               Perfectionating
               of
               Painting
               ,
               which
               his
               *
               first
               Minister
               honours
               with
               his
               Protection
               ,
               his
               care
               ,
               and
               frequent
               Visits
               :
               insomuch
               that
               we
               might
               shortly
               see
               the
               age
               of
               Apelles
               reviving
               in
               our
               Country
               ,
               together
               with
               all
               the
               beauteous
               Arts
               ,
               if
               our
               generous
               Nobility
               ,
               who
               follow
               our
               incomparable
               King
               with
               so
               much
               Ardour
               and
               Courage
               in
               those
               dangers
               to
               which
               he
               exposes
               his
               Sacred
               Person
               for
               the
               Greatness
               and
               Glory
               of
               his
               Kingdom
               ,
               would
               imitate
               him
               in
               that
               wonderfull
               Affection
               which
               he
               bears
               to
               all
               who
               are
               excellent
               in
               this
               kind
               .
               Those
               Persons
               who
               were
               the
               most
               considerable
               in
               
                 Ancient
                 Greece
              
               ,
               either
               for
               Birth
               or
               Merit
               ,
               took
               a
               most
               particular
               care
               ,
               for
               many
               ages
               ,
               to
               be
               instructed
               in
               the
               Art
               of
               Painting
               :
               following
               that
               laudable
               and
               profitable
               custom
               which
               was
               begun
               and
               establish'd
               by
               the
               
                 Great
                 Alexander
              
               ,
               which
               was
               to
               learn
               how
               to
               Design
               .
               And
               Pliny
               who
               gives
               testimony
               to
               this
               in
               the
               tenth
               Chapter
               of
               his
               35th
               .
               Book
               tells
               us
               farther
               (
               speaking
               of
               Pamphilus
               the
               Master
               of
               
                 Apelles
                 )
                 That
                 it
                 was
                 by
                 the
                 authority
                 of
              
               Alexander
               ,
               
                 that
                 first
                 at
              
               Sicyon
               ,
               
                 and
                 afterwards
                 thro'
                 all
              
               Greece
               ,
               
                 the
                 young
                 Gentlemen
                 learn'd
                 before
                 all
                 other
                 things
                 to
                 design
                 upon
                 Tablets
                 of
                 Boxen-wood
                 ;
                 and
                 that
                 the
                 first
                 place
                 among
                 all
                 the
                 Liberal
                 Arts
                 was
                 given
                 to
                 Painting
                 .
              
               And
               that
               which
               makes
               it
               evident
               ,
               
               that
               they
               were
               very
               knowing
               in
               this
               Art
               ,
               is
               the
               love
               and
               esteem
               which
               they
               had
               for
               Painters
               .
               Demetrius
               gave
               high
               testimonies
               of
               this
               when
               he
               besieg'd
               the
               City
               of
               Rhodes
               :
               For
               he
               was
               pleas'd
               to
               employ
               some
               part
               of
               that
               time
               ,
               which
               he
               ow'd
               to
               the
               care
               of
               his
               Arms
               ,
               in
               visiting
               Protogenes
               ,
               who
               was
               then
               drawing
               the
               Picture
               of
               
                 Ialisus
                 .
                 This
                 Ialisus
              
               ,
               ,
               (
               says
               
                 Pliny
                 )
                 hinder'd
                 King
              
               Demetrius
               
                 from
                 taking
              
               Rhodes
               ,
               
                 out
                 of
                 fear
                 ,
                 lest
                 he
                 should
                 burn
                 the
                 Pictures
                 ;
                 and
                 not
                 being
                 able
                 to
                 fire
                 the
                 Town
                 on
                 any
                 other
                 side
                 ,
                 he
                 was
                 pleas'd
                 rather
                 to
                 spare
                 the
                 Painting
                 ,
                 than
                 to
                 take
                 the
                 Victory
                 which
                 was
                 already
                 in
                 his
                 hands
                 .
                 Protogenes
              
               at
               that
               time
               had
               his
               Work-house
               in
               a
               Garden
               out
               of
               the
               Town
               ,
               and
               very
               near
               the
               Camp
               of
               the
               Enemies
               ,
               where
               he
               was
               daily
               finishing
               those
               Pieces
               which
               he
               had
               already
               begun
               ;
               the
               noise
               of
               Soldiers
               not
               being
               capable
               of
               interrupting
               his
               studies
               .
               But
               Demetrius
               causing
               him
               to
               be
               brought
               into
               his
               Presence
               ,
               and
               asking
               him
               what
               made
               him
               so
               bold
               as
               to
               work
               in
               the
               midst
               of
               Enemies
               :
               He
               answer'd
               the
               King
               ,
               
                 That
                 he
                 understood
                 the
                 War
                 which
                 he
                 made
                 ,
                 was
                 against
                 the
              
               Rhodians
               
                 and
                 not
                 against
                 the
                 Arts.
              
               This
               oblig'd
               Demetrius
               to
               appoint
               him
               Guards
               for
               his
               Security
               ,
               being
               infinitely
               pleas'd
               that
               he
               could
               preserve
               that
               hand
               ,
               which
               by
               this
               means
               he
               sav'd
               from
               the
               barbarity
               and
               insolence
               of
               Soldiers
               .
               Alexander
               
               had
               no
               greater
               pleasure
               ,
               than
               when
               he
               was
               in
               the
               painting
               room
               of
               Apelles
               ,
               where
               he
               commonly
               was
               found
               .
               And
               that
               Painter
               once
               receiv'd
               from
               him
               a
               sensible
               Testimony
               of
               Love
               and
               Esteem
               which
               that
               Monarch
               had
               for
               him
               :
               for
               having
               caus'd
               him
               to
               paint
               naked
               (
               by
               reason
               of
               her
               admirable
               beauty
               )
               one
               of
               his
               Concubines
               call'd
               Campaspe
               ,
               who
               had
               the
               greatest
               share
               in
               his
               affections
               ,
               and
               perceiving
               that
               Apelles
               was
               wounded
               with
               the
               same
               fatal
               dart
               of
               Beauty
               ,
               he
               made
               a
               present
               of
               her
               to
               him
               .
               In
               that
               age
               so
               great
               a
               deference
               was
               pay'd
               to
               Painting
               ,
               that
               they
               who
               had
               any
               Mastery
               in
               that
               Art
               ,
               never
               painted
               on
               any
               thing
               but
               what
               was
               portable
               from
               one
               place
               to
               another
               ,
               and
               what
               could
               be
               secur'd
               from
               burning
               .
               They
               took
               a
               particular
               care
               ,
               says
               Pliny
               ,
               in
               the
               place
               above-cited
               ,
               not
               to
               paint
               any
               thing
               against
               a
               Wall
               ,
               which
               could
               onely
               belong
               to
               one
               Master
               ,
               and
               must
               always
               remain
               in
               the
               same
               place
               ;
               and
               for
               that
               reason
               could
               not
               be
               remov'd
               in
               case
               of
               an
               accidental
               Fire
               .
               Men
               were
               not
               suffer'd
               to
               keep
               a
               Picture
               ,
               as
               it
               were
               in
               Prison
               ,
               on
               the
               Walls
               :
               It
               dwelt
               in
               common
               in
               all
               Cities
               ,
               and
               the
               Painter
               himself
               was
               respected
               ,
               as
               a
               
                 Common
                 Good
                 to
                 all
                 the
                 World.
              
               See
               this
               
                 Excellent
                 Author
              
               ,
               and
               you
               shall
               find
               that
               the
               10th
               .
               Chapter
               of
               his
               35th
               .
               Book
               is
               fill'd
               with
               the
               
                 praises
                 of
                 this
                 Art
                 ,
                 and
                 with
                 the
                 Honours
                 which
                 
                 were
                 ascrib'd
                 to
                 it
                 .
              
               You
               will
               there
               find
               that
               it
               was
               not
               permitted
               to
               any
               but
               those
               of
               noble
               Blood
               to
               profess
               it
               .
               
                 Francis
                 the
                 First
              
               ,
               as
               Vasari
               tells
               us
               ,
               was
               in
               love
               with
               Painting
               to
               that
               degree
               ,
               that
               he
               allur'd
               out
               of
               Italy
               all
               the
               best
               Masters
               ,
               that
               this
               Art
               might
               flourish
               in
               his
               own
               Kingdom
               .
               Amongst
               others
               
                 Leonardo
                 da
                 Vinci
              
               ,
               who
               after
               having
               continued
               for
               some
               time
               in
               France
               ,
               died
               at
               Fontainbleau
               ,
               in
               the
               Arms
               of
               that
               great
               King
               ,
               who
               could
               not
               behold
               his
               death
               ,
               without
               shedding
               Tears
               over
               him
               .
               
                 Charles
                 the
                 Fifth
              
               has
               adorn'd
               Spain
               with
               the
               noblest
               Pictures
               which
               are
               now
               remaining
               in
               the
               World.
               Ridolphi
               in
               his
               life
               of
               Titian
               ,
               says
               ,
               
                 that
                 Emperor
                 one
                 day
                 took
                 up
                 a
                 Pencil
                 ,
                 which
                 fell
                 from
                 the
                 hand
                 of
                 that
                 Artist
                 ,
                 who
                 was
                 then
                 drawing
                 his
                 Picture
                 ,
                 and
                 upon
                 the
                 Compliment
                 which
              
               Titian
               
                 made
                 him
                 on
                 that
                 occasion
                 ,
                 he
                 said
                 these
                 words
                 ,
              
               Titian
               
                 has
                 deserv'd
                 to
                 be
                 serv'd
                 by
              
               Caesar.
               And
               in
               the
               same
               life
               't
               is
               remarkable
               ,
               
                 That
                 the
                 Emperour
                 valued
                 himself
                 not
                 so
                 much
                 in
                 subjecting
                 Kingdoms
                 and
                 Provinces
                 ,
                 as
                 that
                 he
                 had
                 been
                 thrice
                 made
                 immortal
                 by
                 the
                 hand
                 of
              
               Titian
               .
               If
               you
               will
               but
               take
               the
               pains
               to
               read
               this
               famous
               life
               in
               Ridolphi
               ,
               you
               will
               there
               see
               the
               relation
               of
               all
               those
               honours
               which
               he
               receiv'd
               from
               
                 Charles
                 the
                 Fifth
              
               .
               It
               would
               take
               up
               too
               much
               time
               here
               to
               recount
               all
               the
               particulars
               :
               I
               will
               onely
               observe
               that
               the
               greatest
               Lords
               who
               compos'd
               the
               Court
               
               of
               that
               Emperour
               ,
               not
               being
               able
               to
               refrain
               from
               some
               marks
               of
               Jealousy
               ,
               upon
               the
               preference
               which
               he
               made
               of
               the
               Person
               ,
               and
               Conversation
               of
               Titian
               ,
               to
               that
               of
               all
               his
               other
               Courtiers
               ;
               he
               freely
               told
               them
               ,
               
                 That
                 he
                 could
                 never
                 want
                 a
                 Court
                 or
                 Courtiers
                 ,
                 but
                 he
                 could
                 not
                 have
              
               Titian
               
                 always
                 with
                 him
              
               .
               Accordingly
               he
               heap'd
               Riches
               on
               him
               ,
               and
               whensoever
               he
               sent
               him
               Money
               ,
               which
               ,
               ordinarily
               speaking
               ,
               was
               a
               great
               Summ
               ,
               he
               always
               did
               it
               with
               this
               obliging
               Testimony
               ,
               
                 That
                 his
                 design
                 was
                 not
                 to
                 pay
                 him
                 the
                 value
                 of
                 his
                 Pictures
                 ,
                 because
                 they
                 were
                 above
                 any
                 price
                 .
              
               After
               the
               example
               of
               the
               Worthies
               of
               Antiquity
               ,
               who
               bought
               the
               rarest
               Pictures
               with
               Bushels
               of
               Gold
               ,
               without
               counting
               the
               weight
               or
               the
               number
               of
               the
               pieces
               ,
               
                 In
                 nummo
                 aureo
                 ,
                 mensurâ
                 accepit
                 ,
                 non
                 numero
                 ,
              
               says
               Pliny
               ,
               speaking
               of
               
                 Apelles
                 .
                 Quinctilian
              
               inferrs
               from
               hence
               ,
               
                 that
                 there
                 is
                 nothing
                 more
                 noble
                 than
                 the
                 Art
                 of
                 Painting
              
               ;
               because
               other
               things
               for
               the
               most
               part
               are
               Merchandice
               ,
               and
               bought
               at
               certain
               Rates
               ;
               most
               things
               for
               this
               very
               reason
               ,
               (
               says
               he
               )
               are
               vile
               because
               they
               have
               a
               price
               ,
               
                 Pleraque
                 hoc
                 ipso
                 possunt
                 videri
                 vilia
                 ,
                 quod
                 pretium
                 habent
                 :
              
               see
               the
               
                 34th
                 .
                 35th
              
               .
               and
               36th
               .
               Books
               of
               Pliny
               .
               Many
               great
               persons
               have
               lov'd
               it
               with
               an
               extream
               Passion
               ,
               and
               have
               exercis'd
               themselves
               in
               it
               with
               delight
               .
               Amongst
               others
               ,
               
                 Lelius
                 Fabius
              
               ,
               one
               of
               those
               famous
               Romans
               ,
               
               who
               ,
               as
               Cicero
               relates
               ,
               after
               he
               had
               tasted
               painting
               and
               had
               practis'd
               it
               ,
               would
               be
               call'd
               
                 Fabius
                 Pictor
              
               :
               as
               also
               
                 Turpilius
                 a
                 Roman
              
               Knight
               ;
               
                 Labco
                 Praetor
                 &
                 Consul
                 ,
                 Quintus
                 Pedius
                 ,
              
               the
               Poets
               Ennius
               and
               
                 Pacuvius
                 ;
                 Socrates
                 ,
                 Plato
                 ,
                 Metrodorus
                 ,
                 Pirrho
                 ,
                 Commodus
                 ,
                 Nero
                 ,
                 Vespasian
                 ,
                 Alexander
                 Severus
                 ,
                 Antoninus
                 ,
              
               and
               many
               other
               Kings
               and
               Emperours
               ,
               who
               thought
               it
               not
               below
               their
               Majesty
               to
               employ
               some
               part
               of
               their
               time
               in
               this
               honourable
               Art.
               
            
             
               
               
                 The
                 principal
                 and
                 most
                 important
                 part
                 of
                 Painting
                 ,
                 is
                 to
                 find
                 out
                 and
                 thoroughly
                 to
                 understand
                 what
                 Nature
                 hath
                 made
                 most
                 beautifull
                 and
                 most
                 proper
                 to
                 this
                 Art
                 ,
              
               &c.
               
               Observe
               here
               the
               rock
               on
               which
               the
               greatest
               part
               of
               the
               Flemish
               Painters
               have
               split
               :
               most
               of
               that
               Nation
               know
               how
               to
               imitate
               Nature
               ,
               at
               least
               as
               well
               as
               the
               Painters
               of
               other
               Countries
               ,
               but
               they
               make
               a
               bad
               choice
               in
               Nature
               it self
               ;
               whether
               it
               be
               ,
               that
               they
               have
               not
               seen
               the
               Ancient
               pieces
               to
               find
               those
               beauties
               ;
               or
               that
               a
               happy
               Genius
               ,
               and
               the
               beautifull
               Nature
               is
               not
               of
               the
               growth
               of
               their
               Country
               .
               And
               to
               confess
               the
               truth
               ,
               that
               which
               is
               naturally
               beautifull
               is
               so
               very
               rare
               ,
               that
               it
               is
               discover'd
               by
               few
               persons
               ;
               't
               is
               difficult
               to
               make
               a
               choice
               of
               it
               ,
               and
               to
               form
               to
               our selves
               such
               an
               Idea
               of
               it
               ,
               as
               may
               serve
               us
               for
               a
               Model
               .
            
             
             
               
               
                 And
                 that
                 a
                 choice
                 of
                 it
                 may
                 be
                 made
                 according
                 to
                 the
                 gust
                 and
                 manner
                 of
                 the
                 Ancients
                 ,
              
               &c.
               
               That
               is
               to
               say
               ,
               according
               to
               the
               Statues
               ,
               the
               
                 Basso
                 Relievo's
              
               ,
               and
               the
               other
               
                 Ancient
                 Pieces
              
               ,
               as
               well
               of
               the
               Graecians
               as
               of
               the
               
                 Romans
                 ;
                 Ancient
              
               (
               or
               Antique
               )
               is
               that
               which
               has
               been
               made
               from
               the
               time
               of
               
                 Alexander
                 the
                 Great
              
               ,
               till
               that
               of
               Phocas
               ;
               during
               whose
               Empire
               the
               Arts
               were
               ruin'd
               by
               War.
               These
               
                 Ancient
                 works
              
               from
               their
               beginning
               have
               been
               the
               
                 rule
                 of
                 Beauty
              
               ;
               and
               in
               effect
               ,
               the
               Authors
               of
               them
               have
               been
               so
               carefull
               to
               give
               them
               that
               perfection
               ,
               which
               is
               still
               to
               be
               observ'd
               in
               them
               ,
               that
               they
               made
               use
               not
               onely
               of
               one
               single
               Body
               ,
               whereby
               they
               form'd
               them
               ,
               but
               of
               many
               ,
               from
               which
               they
               took
               the
               most
               regular
               parts
               to
               compose
               from
               them
               a
               beautifull
               whole
               .
               "
               
                 The
                 Sculptors
              
               ,
               says
               
                 Maximus
                 Tyrius
              
               in
               his
               7th
               .
               Dissertation
               ,
               
                 with
                 admirable
                 Artifice
                 chose
                 out
                 of
                 many
                 Bodies
                 those
                 parts
                 which
                 appear'd
                 to
                 them
                 the
                 most
                 beautifull
                 ,
                 and
                 out
                 of
                 that
                 diversity
                 made
                 but
                 one
                 Statue
                 :
                 But
                 this
                 mixture
                 is
                 made
                 with
                 so
                 much
                 prudence
                 and
                 propriety
                 ,
                 that
                 they
                 seem
                 to
                 have
                 taken
                 but
                 one
                 onely
                 perfect
                 Beauty
                 .
                 And
                 let
                 us
                 not
                 imagine
                 that
                 we
                 can
                 ever
                 find
                 one
                 natural
                 Beauty
                 which
                 can
                 dispute
                 with
                 Statues
                 ,
                 that
                 Art
                 which
                 has
                 always
                 somewhat
                 more
                 perfect
                 than
                 Nature
                 .
              
               "
               'T
               is
               also
               to
               be
               presum'd
               ,
               that
               in
               the
               choice
               which
               they
               made
               of
               
               those
               parts
               ,
               they
               follow'd
               the
               opinion
               of
               the
               Physicians
               ,
               who
               at
               that
               time
               were
               very
               capable
               of
               instructing
               them
               in
               the
               rules
               of
               Beauty
               :
               Since
               Beauty
               and
               Health
               ordinarily
               follow
               each
               other
               .
               "
               
                 For
                 Beauty
              
               ,
               says
               
                 Galen
                 ,
                 is
                 nothing
                 else
                 but
                 a
                 just
                 Accord
                 and
                 mutual
                 Harmony
                 of
                 the
                 Members
                 ,
                 animated
                 by
                 a
                 healthfull
                 constitution
                 .
                 And
                 men
                 ,
              
               said
               the
               same
               Author
               ,
               
                 commend
                 a
                 certain
                 Statue
                 of
              
               Polycletus
               ,
               
                 which
                 they
                 call
                 the
                 rule
                 ,
                 and
                 which
                 deserves
                 that
                 name
                 for
                 having
                 so
                 perfect
                 an
                 agreement
                 in
                 all
                 its
                 parts
                 ,
                 and
                 a
                 proportion
                 so
                 exact
                 ,
                 that
                 it
                 is
                 not
                 possible
                 to
                 find
                 a
                 fault
                 in
                 it
                 .
              
               "
               From
               what
               I
               have
               quoted
               ,
               we
               may
               conclude
               ,
               that
               the
               Ancient
               Pieces
               are
               truly
               beautifull
               ,
               because
               they
               resemble
               the
               Beauties
               of
               Nature
               ;
               and
               that
               Nature
               will
               ever
               be
               beautifull
               which
               resembles
               those
               Beauties
               of
               Antiquity
               .
               'T
               is
               now
               evident
               upon
               what
               account
               none
               have
               presum'd
               to
               contest
               the
               proportion
               of
               those
               Ancient
               Pieces
               ,
               and
               that
               on
               the
               contrary
               ,
               they
               have
               always
               been
               quoted
               as
               Models
               of
               the
               most
               perfect
               Beauty
               .
               Ovid
               in
               the
               12th
               .
               Book
               of
               his
               Metamorphosis
               ,
               where
               he
               describes
               Cyllarus
               ,
               the
               most
               beautifull
               of
               all
               the
               Centaures
               ,
               says
               ,
               
                 That
                 he
                 had
                 so
                 great
                 a
                 Vivacity
                 in
                 his
                 Countenance
                 ,
                 his
                 Neck
                 ,
                 his
                 Shoulders
                 ,
                 his
                 Hands
                 and
                 Stomach
                 were
                 so
                 fair
                 ,
                 that
                 it
                 is
                 certain
                 the
                 manly
                 part
                 of
                 him
                 was
                 as
                 beautifull
                 as
                 the
                 most
                 celebrated
                 Statues
                 .
              
               And
               
               Philostratus
               in
               his
               Heroiqnes
               ,
               speaking
               of
               Protesilaus
               and
               praising
               the
               beauty
               of
               his
               face
               ,
               says
               ,
               
                 "
                 That
                 the
                 form
                 of
                 his
                 Nose
                 was
                 square
                 ,
                 as
                 if
                 it
                 had
                 been
                 of
                 a
                 Statue
                 ;
                 "
              
               and
               in
               another
               place
               speaking
               of
               Euphorbus
               ,
               he
               says
               ,
               "
               
                 That
                 his
                 beauty
                 had
                 gain'd
                 the
                 affections
                 of
                 all
                 the
              
               Greeks
               ,
               
                 and
                 that
                 it
                 resembled
                 so
                 nearly
                 the
                 beauty
                 of
                 a
                 Statue
                 ,
                 that
                 one
                 might
                 have
                 taken
                 him
                 for
              
               Apollo
               .
               "
               Afterwards
               also
               speaking
               of
               the
               Beauty
               of
               Neoptolemus
               ,
               and
               of
               his
               likeness
               to
               his
               Father
               Achilles
               ,
               he
               says
               ,
               
                 "
                 That
                 in
                 beauty
                 ,
                 his
                 Father
                 had
                 the
                 same
                 advantage
                 over
                 him
                 ,
                 as
                 Statues
                 have
                 over
                 the
                 beauty
                 of
                 living
                 Men.
                 "
              
            
             
               This
               ought
               to
               be
               understood
               of
               the
               
                 fairest
                 Statues
              
               ,
               for
               amongst
               the
               multitude
               of
               Sculptors
               which
               were
               in
               Greece
               and
               Italy
               ,
               't
               is
               impossible
               but
               some
               of
               them
               must
               have
               been
               bad
               work-men
               ,
               or
               rather
               less
               good
               :
               for
               though
               their
               works
               were
               much
               inferiour
               to
               the
               Artists
               of
               the
               first
               form
               ,
               yet
               somewhat
               of
               greatness
               is
               to
               be
               seen
               in
               them
               ,
               and
               somewhat
               of
               harmonious
               in
               the
               distribution
               of
               their
               parts
               ,
               which
               makes
               it
               evident
               ;
               that
               at
               this
               time
               they
               wrought
               on
               Common
               Principles
               ,
               and
               that
               every
               one
               of
               them
               avail'd
               himself
               of
               those
               Principles
               according
               to
               his
               Capacity
               and
               Genius
               .
               Those
               Statues
               were
               the
               greatest
               Ornaments
               of
               Greece
               ;
               we
               need
               onely
               open
               the
               Book
               of
               Pausanias
               to
               find
               
               the
               prodigious
               quantity
               of
               them
               ,
               whether
               within
               or
               without
               their
               Temples
               ,
               or
               in
               the
               crossing
               of
               Streets
               ,
               or
               in
               the
               Squares
               and
               publique
               Places
               ,
               or
               even
               the
               Fields
               ,
               or
               on
               the
               Tombs
               ,
               Statues
               were
               erected
               to
               the
               Muses
               ,
               to
               the
               Nymphs
               ,
               to
               Heroes
               ,
               to
               great
               Captains
               ,
               to
               
                 Magistrates
                 ,
                 Philosophers
              
               and
               Poets
               :
               In
               short
               ,
               they
               were
               set
               up
               to
               all
               those
               who
               had
               made
               themselves
               eminent
               either
               in
               defence
               of
               their
               Country
               ,
               or
               for
               any
               noble
               action
               which
               deserv'd
               a
               recompence
               ;
               for
               it
               was
               the
               most
               ordinary
               and
               most
               authentique
               way
               ,
               both
               amongst
               the
               Greeks
               and
               Romans
               ,
               thus
               to
               testifie
               their
               gratitude
               .
               The
               Romans
               when
               they
               had
               conquer'd
               Graecia
               ,
               transported
               from
               thence
               ,
               not
               onely
               their
               most
               admirable
               Statues
               ,
               but
               also
               brought
               along
               with
               them
               the
               most
               excellent
               of
               their
               Sculptors
               ,
               who
               instructed
               others
               in
               their
               Art
               ,
               and
               have
               left
               to
               posterity
               the
               immortal
               Examples
               of
               their
               knowledge
               ,
               which
               we
               see
               confirm'd
               by
               those
               curious
               Statues
               ,
               those
               Vases
               ,
               those
               Basso-Relievo's
               ,
               and
               those
               beautifull
               Columns
               call'd
               by
               the
               names
               of
               Trajan
               and
               Antonine
               :
               They
               are
               those
               Beauties
               which
               out
               Author
               proposes
               to
               us
               for
               our
               Models
               .
               And
               as
               the
               true
               Fountains
               of
               Science
               ,
               out
               of
               which
               both
               Painters
               and
               Statuaries
               are
               bound
               to
               draw
               for
               their
               own
               use
               ,
               without
               amusing
               themselves
               with
               dipping
               in
               streams
               which
               are
               often
               muddy
               ,
               at
               least
               troubled
               ;
               
               I
               mean
               the
               manner
               of
               their
               Masters
               ,
               after
               whom
               they
               creep
               ,
               and
               from
               whom
               they
               are
               unwilling
               to
               depart
               ,
               either
               through
               negligence
               ,
               or
               through
               the
               meanness
               of
               their
               Genius
               .
               "
               
                 It
                 belongs
                 onely
                 to
                 heavy
                 minds
                 ,
              
               says
               Cicero
               ,
               
                 to
                 spend
                 their
                 time
                 on
                 streams
                 ,
                 without
                 searching
                 for
                 the
                 Springs
                 from
                 whence
                 their
                 materials
                 flow
                 in
                 all
                 manner
                 of
                 abundance
                 .
                 "
              
            
             
               
               
                 Without
                 which
                 all
                 is
                 nothing
                 ,
                 but
                 a
                 blind
                 and
                 rash
                 barbarity
                 ,
              
               &c.
               
               All
               that
               has
               nothing
               of
               the
               Ancient
               gust
               ,
               is
               call'd
               a
               barbarous
               or
               Gothique
               manner
               ,
               which
               is
               not
               conducted
               by
               any
               rule
               ,
               but
               onely
               follows
               a
               wretched
               fancy
               ,
               which
               has
               nothing
               in
               it
               that
               is
               noble
               :
               we
               are
               here
               to
               observe
               ,
               that
               Painters
               are
               not
               oblig'd
               to
               follow
               the
               Antique
               as
               exactly
               as
               the
               Sculptors
               ,
               for
               then
               their
               Picture
               would
               favour
               too
               strongly
               of
               the
               Statue
               ,
               and
               would
               seem
               to
               be
               without
               Motion
               .
               Many
               Painters
               ,
               and
               some
               of
               the
               ablest
               amongst
               them
               ,
               believing
               they
               do
               well
               ,
               and
               taking
               that
               Precept
               in
               too
               literal
               a
               Sence
               ,
               have
               fallen
               thereby
               into
               great
               inconveniencies
               ;
               it
               therefore
               becomes
               the
               Painters
               to
               make
               use
               of
               those
               Ancient
               Patterns
               with
               discretion
               ,
               and
               to
               accommodate
               the
               Nature
               to
               them
               in
               such
               a
               manner
               ,
               that
               their
               Figures
               which
               must
               seem
               to
               live
               ,
               may
               rather
               appear
               to
               be
               
                 Models
                 for
                 the
                 Antique
                 ,
                 than
                 the
                 Antique
                 a
                 Model
                 for
                 their
                 figures
                 .
              
            
             
             
               It
               appears
               that
               Raphael
               made
               a
               perfect
               use
               of
               this
               conduct
               ,
               and
               that
               the
               
                 Lombard
                 School
              
               have
               not
               precisely
               search'd
               into
               this
               Precept
               ,
               any
               further
               than
               to
               learn
               from
               thence
               how
               to
               make
               a
               good
               choice
               of
               the
               Nature
               ,
               and
               to
               give
               a
               certain
               grace
               and
               nobleness
               to
               all
               their
               works
               ,
               by
               the
               general
               and
               confus'd
               Idea
               ,
               which
               they
               had
               of
               what
               is
               beautifull
               ;
               as
               for
               the
               rest
               ,
               they
               are
               sufficiently
               licentious
               ,
               excepting
               onely
               Titian
               ,
               who
               ,
               of
               all
               the
               Lombards
               has
               preserv'd
               the
               greatest
               purity
               in
               his
               works
               .
               This
               barbarous
               manner
               of
               which
               I
               spoke
               ,
               has
               been
               in
               great
               vogue
               from
               the
               year
               611
               to
               1450.
               
               They
               who
               have
               restor'd
               Painting
               in
               Germany
               ,
               (
               not
               having
               seen
               any
               of
               those
               fair
               Reliques
               of
               Antiquity
               )
               have
               retain'd
               much
               of
               that
               barbarous
               manner
               .
               Amongst
               others
               
                 Lucas
                 van
                 Leyden
              
               ,
               a
               very
               laborious
               man
               ,
               who
               with
               his
               Scholars
               has
               infected
               almost
               all
               Europe
               with
               his
               
                 designs
                 for
                 Tapestry
              
               ,
               which
               by
               the
               ignorant
               are
               call'd
               
                 Ancient
                 Hangings
              
               ,
               (
               a
               greater
               honour
               than
               they
               deserve
               :
               )
               these
               I
               say
               are
               esteem'd
               beautifull
               by
               the
               greatest
               part
               of
               the
               World.
               I
               must
               acknowledge
               that
               I
               am
               amaz'd
               at
               so
               gross
               a
               stupidity
               ,
               and
               that
               we
               of
               the
               
                 French
                 Nation
              
               should
               have
               so
               barbarous
               a
               Tast
               ,
               as
               to
               take
               for
               beautifull
               those
               flat
               ,
               childish
               and
               insipid
               Tapestries
               .
               
                 Albert
                 Durer
              
               ,
               that
               famous
               German
               ,
               who
               was
               contemporary
               
               to
               that
               Lucas
               ,
               has
               had
               the
               like
               misfortune
               to
               fall
               into
               that
               absurd
               manner
               ,
               because
               he
               had
               never
               seen
               any
               thing
               that
               was
               beautifull
               .
               Observe
               what
               Vasari
               tells
               us
               in
               the
               life
               of
               
                 Marc
                 Antonio
              
               (
               Raphael's
               Graver
               )
               having
               first
               commended
               Albert
               for
               his
               skill
               in
               graving
               ,
               and
               his
               other
               Talents
               :
               "
               
                 And
                 in
                 truth
              
               ,
               says
               he
               ,
               
                 if
                 this
                 ,
                 so
                 excellent
                 ,
                 so
                 exact
                 ,
                 and
                 so
                 universal
                 a
                 Man
                 ,
                 had
                 been
                 born
                 in
              
               Tuscany
               ,
               
                 as
                 he
                 was
                 in
              
               Germany
               ,
               
                 and
                 had
                 form'd
                 his
                 studies
                 according
                 to
                 those
                 beautifull
                 pieces
                 which
                 are
                 seen
                 at
              
               Rome
               ,
               
                 as
                 the
                 rest
                 of
                 us
                 have
                 done
                 ,
                 he
                 had
                 prov'd
                 the
                 best
                 Painter
                 of
                 all
              
               Italy
               ,
               
                 as
                 he
                 was
                 the
                 greatest
                 Genius
                 ,
                 and
                 the
                 most
                 accomplish'd
                 which
              
               Germany
               
                 ever
                 bore
              
               .
               "
            
             
               
               
                 We
                 love
                 what
                 we
                 understand
              
               ,
               &c.
               
               This
               period
               informs
               us
               ,
               that
               though
               our
               inventions
               are
               never
               so
               good
               ,
               though
               we
               are
               furnish'd
               by
               Nature
               with
               a
               noble
               Genius
               ,
               and
               though
               we
               follow
               the
               impulse
               of
               it
               ,
               yet
               this
               is
               not
               enough
               ,
               if
               we
               learn
               not
               to
               understand
               what
               is
               perfect
               and
               beautifull
               in
               Nature
               ,
               to
               the
               end
               that
               having
               found
               it
               ,
               we
               may
               be
               able
               to
               imitate
               it
               ,
               and
               by
               this
               instruction
               we
               may
               be
               capacitated
               to
               observe
               those
               errors
               which
               she
               her self
               has
               made
               ,
               and
               to
               avoid
               them
               ,
               so
               as
               not
               to
               copy
               her
               in
               all
               sorts
               of
               subjects
               ;
               such
               as
               she
               appears
               to
               us
               without
               choice
               or
               distinction
               .
            
             
             
               
               
                 As
                 being
                 the
                 Sovereign
                 Iudge
                 of
                 his
                 own
                 Art
                 ,
              
               &c.
               
               This
               word
               of
               
                 Sovereign
                 Iudge
              
               or
               
                 Arbiter
                 of
                 his
                 own
                 Art
              
               ,
               presupposes
               a
               painter
               to
               be
               fully
               instructed
               in
               all
               the
               parts
               of
               Painting
               ;
               so
               that
               being
               set
               as
               it
               were
               above
               his
               Art
               ,
               he
               may
               be
               the
               Master
               and
               Sovereign
               of
               it
               ,
               which
               is
               no
               easie
               matter
               .
               Those
               of
               that
               profession
               are
               so
               seldom
               endow'd
               with
               that
               supreme
               Capacity
               ,
               that
               few
               of
               them
               arrive
               to
               be
               good
               Judges
               of
               Painting
               :
               and
               I
               should
               many
               times
               make
               more
               account
               of
               their
               judgment
               ,
               who
               are
               men
               of
               Sence
               ,
               and
               yet
               have
               never
               touch'd
               a
               Pencil
               ,
               than
               of
               the
               opinion
               which
               is
               given
               by
               the
               greatest
               part
               of
               Painters
               .
               
                 All
                 Painters
              
               therefore
               may
               be
               call'd
               
                 Arbiters
                 of
                 their
                 own
                 Art
              
               ,
               but
               to
               be
               
                 Sovereign
                 Arbiters
              
               belongs
               onely
               to
               
                 knowing
                 Painters
              
               .
            
             
               
               
                 And
                 permit
                 no
                 —
                 transient
                 Beauties
                 to
                 escape
                 his
                 observation
                 ,
              
               &c.
               
               Those
               fugitive
               or
               transient
               Beauties
               are
               no
               other
               than
               such
               as
               we
               observe
               in
               Nature
               with
               a
               short
               and
               transient
               view
               ,
               and
               which
               remain
               not
               long
               in
               their
               subjects
               .
               Such
               are
               the
               Passions
               of
               the
               Soul.
               There
               are
               of
               these
               sort
               of
               Beauties
               which
               last
               but
               for
               a
               moment
               ;
               as
               the
               different
               Aires
               of
               an
               Assembly
               ,
               upon
               the
               Sight
               of
               an
               unexpected
               and
               uncommon
               Object
               ,
               some
               particularity
               of
               a
               violent
               Passion
               ,
               some
               gracefull
               Action
               ,
               a
               Smile
               ,
               a
               Glance
               of
               an
               Eye
               ,
               a
               disdainfull
               Look
               ,
               
               a
               Look
               of
               Gravity
               ,
               and
               a
               thousand
               other
               such
               like
               things
               ;
               we
               may
               also
               place
               in
               the
               Catalogue
               of
               these
               flying
               Beauties
               ,
               fine
               Clouds
               ,
               such
               as
               ordinarily
               follow
               Thunder
               or
               a
               Shower
               of
               Rain
               .
            
             
               
               
                 In
                 the
                 same
                 manner
                 that
                 bare
                 practice
                 destitute
                 of
                 the
                 Lights
                 of
                 Art
                 ,
              
               &c.
               
               We
               find
               in
               Quinctilian
               ,
               that
               Pythagoras
               said
               ,
               "
               
                 The
                 Theory
                 is
                 nothing
                 without
                 the
                 practice
                 .
                 And
                 what
                 means
              
               (
               says
               the
               younger
               
                 Pliny
                 )
                 have
                 we
                 to
                 retain
                 what
                 has
                 been
                 taught
                 us
                 ,
                 "
                 if
                 we
                 put
                 it
                 not
                 in
                 practice
                 :
              
               we
               would
               not
               allow
               that
               Man
               to
               be
               an
               Orator
               who
               had
               the
               best
               thoughts
               imaginable
               ,
               and
               who
               knew
               all
               the
               rules
               of
               Rhetorique
               if
               he
               had
               not
               acquir'd
               by
               excercise
               the
               Art
               of
               using
               them
               ,
               and
               of
               composing
               an
               excellent
               Discourse
               .
               Painting
               is
               a
               long
               Pilgrimage
               ;
               what
               avails
               it
               to
               make
               all
               the
               necessary
               preparatives
               for
               our
               Voyage
               ,
               or
               to
               inform
               our selves
               of
               all
               the
               difficulties
               in
               the
               rode
               ,
               if
               we
               do
               not
               actually
               begin
               the
               journey
               ,
               and
               travel
               at
               a
               round
               rate
               ,
               we
               shall
               never
               arrive
               at
               the
               end
               of
               it
               .
               And
               as
               it
               would
               be
               ridiculous
               to
               grow
               old
               in
               the
               study
               of
               every
               necessary
               thing
               ,
               in
               an
               Art
               which
               comprehends
               so
               many
               several
               parts
               ;
               so
               on
               the
               other
               hand
               to
               being
               the
               practice
               without
               knowing
               the
               rules
               ,
               or
               at
               least
               with
               a
               light
               Tincture
               of
               them
               is
               to
               expose
               our selves
               to
               the
               scorn
               of
               those
               who
               can
               judge
               of
               Painting
               ,
               and
               to
               make
               it
               apparent
               
               ●●o
               the
               World
               that
               we
               have
               no
               care
               of
               our
               reputation
               .
               Many
               are
               of
               opinion
               ,
               that
               we
               need
               onely
               work
               and
               mind
               the
               practical
               part
               to
               become
               skilfull
               and
               able
               Painters
               ;
               and
               that
               the
               Theory
               onely
               incumbers
               the
               mind
               ,
               and
               tyes
               the
               hand
               :
               
                 Such
                 Men
              
               do
               just
               like
               the
               Squirrel
               ,
               who
               is
               perpetually
               turning
               the
               Wheel
               in
               her
               Cage
               ;
               she
               runs
               apace
               and
               wearies
               her self
               with
               her
               continual
               Motion
               ,
               and
               yet
               gets
               no
               ground
               .
               
                 'T
                 is
                 not
                 enough
                 for
                 doing
                 well
                 to
                 walk
                 apace
                 ,
              
               says
               Quinctilian
               ,
               
                 but
                 it
                 is
                 enough
                 for
                 walking
                 apace
                 to
                 do
                 well
                 .
              
               'T
               is
               a
               bad
               excuse
               to
               say
               ,
               I
               was
               but
               a
               little
               while
               about
               it
               :
               That
               gracefull
               Easiness
               ,
               that
               celestial
               Fire
               which
               animates
               the
               work
               ,
               proceeds
               not
               so
               much
               from
               having
               often
               done
               the
               like
               ,
               as
               from
               having
               well
               understood
               what
               we
               have
               done
               .
               See
               what
               I
               shall
               farther
               say
               ,
               in
               the
               
                 51st
                 .
                 Rule
              
               ,
               which
               concerns
               easiness
               .
               Others
               there
               are
               who
               believe
               the
               Precepts
               and
               Speculation
               ,
               to
               be
               of
               absolute
               necessity
               ,
               but
               as
               they
               were
               ill
               instructed
               ,
               and
               what
               they
               knew
               rather
               entangl'd
               than
               clear'd
               their
               understanding
               ,
               so
               they
               oftentimes
               stop
               short
               ;
               and
               if
               they
               perform
               a
               work
               ,
               ●●tis
               not
               without
               Anxiety
               and
               Pain
               .
               And
               in
               truth
               ,
               they
               are
               so
               much
               the
               more
               worthy
               of
               Compassion
               because
               their
               intentions
               are
               right
               ,
               and
               if
               they
               advance
               not
               in
               knowledge
               as
               far
               as
               others
               ,
               and
               are
               sometimes
               cast
               behind
               ,
               yet
               they
               are
               grounded
               
               upon
               some
               sort
               of
               reason
               ;
               for
               't
               is
               belonging
               to
               good
               ●●ence
               ,
               not
               to
               go
               over
               fast
               when
               we
               apprehend
               our selves
               to
               be
               out
               of
               the
               way
               ,
               or
               even
               where
               we
               doubt
               which
               way
               we
               ought
               to
               take
               .
               Others
               on
               the
               contrary
               ,
               being
               well
               instructed
               in
               good
               Maximes
               ,
               and
               in
               the
               rules
               ▪
               of
               Art
               ,
               after
               having
               done
               fine
               things
               yet
               spoil
               them
               all
               by
               endeavouring
               to
               make
               them
               better
               ,
               which
               is
               a
               kind
               of
               over-doing
               ,
               and
               are
               so
               intoxicated
               with
               their
               work
               and
               with
               an
               earnest
               desire
               of
               being
               above
               all
               others
               ,
               that
               they
               suffer
               themselves
               to
               be
               deceiv'd
               with
               the
               appearance
               of
               an
               imaginary
               good
               .
               Apelles
               
                 one
                 day
                 admiring
                 the
                 prodigious
                 Labour
                 which
                 he
                 saw
                 in
                 a
                 Picture
                 of
              
               Protogenes
               ,
               
               
                 and
                 knowing
                 how
                 much
                 sweat
                 it
                 must
                 have
                 cost
                 him
                 ,
                 said
                 ,
                 That
              
               Protogenes
               
                 and
                 himself
                 were
                 of
                 equal
                 strength
                 ;
                 nay
                 ,
                 that
                 he
                 yielded
                 to
                 him
                 in
                 some
                 parts
                 of
                 Painting
                 ,
                 but
                 in
                 this
                 he
                 surpass'd
                 him
                 ,
                 that
              
               Protogenes
               
                 never
                 knew
                 when
                 he
                 had
                 done
                 well
                 ,
                 and
                 could
                 never
                 hold
                 his
                 hand
                 ;
                 he
                 also
                 added
                 in
                 the
                 nature
                 of
                 a
                 Precept
                 ,
                 that
                 he
                 wish'd
                 all
                 Painters
                 would
                 imprint
                 this
                 lesson
                 deeply
                 in
                 their
                 Memory
                 ,
                 that
                 with
                 over-straining
                 and
                 earnestness
                 of
                 finishing
                 their
                 Pieces
                 they
                 often
                 did
                 them
                 more
                 harm
                 than
                 good
                 .
                 
                 There
                 are
                 some
                 (
                 says
              
               Quinctilian
               )
               
                 who
                 never
                 satisfie
                 themselves
                 ,
                 never
                 are
                 contented
                 with
                 their
                 first
                 Notions
                 and
                 Expressions
                 ,
                 but
                 are
                 continually
                 changing
                 all
                 ,
                 till
                 nothing
                 remains
                 of
                 their
                 first
                 Ideas
                 .
                 Others
                 
                 there
                 are
              
               (
               continues
               he
               ,
               )
               
                 who
                 dare
                 never
                 trust
                 themselves
                 ,
                 nor
                 resolve
                 on
                 any
                 thing
                 ,
                 and
                 who
                 being
                 as
                 it
                 were
                 intangl'd
                 in
                 their
                 own
                 Genius
                 ,
                 imagine
                 it
                 to
                 be
                 a
                 laudable
                 correctness
                 ,
                 when
                 they
                 form
                 difficulties
                 to
                 themselves
                 in
                 their
                 own
                 work
                 .
                 And
                 to
                 speak
                 the
                 truth
                 ,
                 't
                 is
                 hard
                 to
                 discern
                 whether
                 of
                 the
                 two
                 is
                 in
                 the
                 greatest
                 Error
                 ;
                 he
                 who
                 is
                 enamour'd
                 of
                 all
                 he
                 does
                 ,
                 or
                 he
                 whom
                 nothing
                 of
                 his
                 own
                 can
                 please
                 .
                 For
                 it
                 has
                 happen'd
                 to
                 young
                 Men
                 ,
                 and
                 often
                 even
                 to
                 those
                 of
                 the
                 greatest
                 Wit
                 ,
                 to
                 waste
                 their
                 Spirits
                 ,
                 and
                 to
                 consume
                 themselves
                 with
                 Anxiety
                 and
                 Pain
                 of
                 their
                 own
                 giving
                 ,
                 so
                 far
                 as
                 even
                 to
                 doze
                 upon
                 their
                 work
                 with
                 too
                 much
                 eagerness
                 of
                 doing
                 well
                 ;
                 I
                 will
                 now
                 tell
                 you
                 how
                 a
                 reasonable
                 man
                 ought
                 to
                 carry
                 himself
                 on
                 this
                 occasion
                 :
                 'T
                 is
                 certain
                 that
                 we
                 ought
                 to
                 use
                 our
                 best
                 endeavour
                 to
                 give
                 the
                 last
                 Perfection
                 to
                 our
                 works
                 ;
                 yet
                 it
                 is
                 always
                 to
                 be
                 understood
                 ,
                 that
                 we
                 attempt
                 no
                 more
                 than
                 what
                 is
                 in
                 the
                 compass
                 of
                 our
                 Genius
                 ,
                 and
                 according
                 to
                 our
                 Vein
                 :
                 for
                 to
                 make
                 a
                 true
                 Progress
                 ,
                 I
                 grant
                 that
                 diligence
                 and
                 study
                 are
                 both
                 requisite
                 ,
                 but
                 this
                 study
                 ought
                 to
                 have
                 no
                 mixture
                 ,
                 either
                 of
                 Self-opinion
                 ,
                 Obstinacy
                 ,
                 or
                 Anxiety
                 ;
                 for
                 which
                 reason
                 ,
                 if
                 it
                 blows
                 a
                 happy
                 Gale
                 we
                 must
                 set
                 up
                 all
                 our
                 Sails
                 ,
                 though
                 in
                 so
                 doing
                 it
                 sometimes
                 happens
                 that
                 we
                 follow
                 those
                 Motions
                 where
                 our
                 natural
                 heat
                 is
                 more
                 powerfull
                 than
                 our
                 care
                 and
                 our
                 correctness
                 ,
                 provided
                 we
                 abuse
                 not
                 this
                 licence
                 ,
                 and
                 suffer
                 not
                 our selves
                 to
                 be
                 deceiv'd
                 by
                 it
                 ,
                 for
                 all
                 our
                 productions
                 cannot
                 fail
                 to
                 
                 please
                 us
                 at
                 the
                 moment
                 of
                 their
                 Birth
                 ,
                 as
                 being
                 new
                 to
                 us
                 .
              
            
             
               
                 Because
                 the
                 greatest
                 Beauties
                 cannot
                 always
                 be
                 experss'd
                 for
                 want
                 of
                 terms
                 ,
              
               
               &c.
               
               I
               have
               learn'd
               from
               the
               mouth
               of
               Monsieur
               
                 du
                 Fresnoy
              
               ,
               that
               he
               had
               oftentimes
               heard
               Guido
               say
               ,
               
                 That
                 no
                 man
                 could
                 give
                 a
                 rule
                 of
                 the
                 greatest
                 Beauties
                 ,
                 and
                 that
                 the
                 knowledge
                 of
                 them
                 was
                 so
                 abstruse
                 ,
                 that
                 there
                 was
                 no
                 manner
                 of
                 speaking
                 which
                 could
                 express
                 them
                 .
              
               This
               comes
               just
               to
               what
               
                 Quinctilian
                 says
              
               ,
               
               
                 That
                 things
                 incredible
                 wanted
                 words
                 to
                 express
                 them
                 :
                 for
                 some
                 of
                 them
                 are
                 too
                 great
                 and
                 too
                 much
                 elevated
                 to
                 be
                 comprehended
                 by
                 human
                 discourse
                 .
              
               From
               hence
               it
               proceeds
               that
               the
               best
               Iudges
               when
               they
               admire
               a
               noble
               Picture
               ,
               seem
               to
               be
               fasten'd
               to
               it
               ;
               and
               when
               they
               come
               to
               themselves
               you
               would
               say
               they
               had
               lost
               the
               use
               of
               Speech
               .
            
             
               Pausiacâ
               torpes
               ,
               insane
               ,
               Tabellâ
               ,
               says
               *
               Horace
               ,
               and
               †
               Symmachus
               says
               ,
               that
               the
               greatness
               of
               astonishment
               hinders
               men
               from
               giving
               a
               just
               applause
               .
               The
               Italians
               say
               Opera
               da
               stupire
               ,
               
                 when
                 a
                 thing
                 is
                 wonderfully
                 good
                 .
              
            
             
               
                 Those
                 Master-pieces
                 of
                 Antiquity
                 ,
                 which
                 were
                 the
                 first
                 Examples
                 of
                 this
                 Art
                 ,
              
               &c.
               
               
               He
               means
               the
               most
               knowing
               and
               best
               Painters
               of
               Antiquity
               ,
               that
               is
               to
               say
               ,
               from
               the
               last
               two
               Ages
               to
               our
               times
               .
            
             
               And
               also
               moderates
               that
               fury
               of
               the
               Fancy
               ,
               
               
                 &c.
                 
                 There
                 is
                 in
                 the
                 Latine
                 Text
                 ,
              
               which
               produces
               onely
               
               Monsters
               ,
               
                 that
                 is
                 to
                 say
                 ,
                 things
                 out
                 of
                 all
                 probable
                 resemblance
                 .
                 Such
                 things
                 as
                 are
                 often
                 found
                 in
                 the
                 works
                 of
              
               Pietro
               Testa
               :
               It
               often
               happens
               ,
               says
               Dionysius
               Longinus
               ,
               
                 a
                 grave
                 Author
              
               ,
               That
               some
               men
               imagining
               themselves
               to
               be
               possess'd
               with
               a
               divine
               Fury
               ;
               far
               from
               being
               carry'd
               into
               the
               rage
               of
               Bacchanalians
               ,
               often
               fall
               into
               toys
               and
               trifles
               which
               are
               only
               Puerilities
               .
            
             
               
               
                 A
                 subject
                 beautifull
                 and
                 noble
              
               ,
               &c.
               
               Painting
               is
               not
               onely
               pleasing
               and
               divertising
               ,
               but
               is
               also
               a
               kind
               of
               Memorial
               of
               those
               things
               which
               Antiquity
               has
               had
               the
               most
               beautifull
               and
               the
               noble
               in
               their
               kinds
               ,
               re-placing
               the
               History
               before
               our
               Eyes
               ;
               as
               if
               the
               thing
               at
               that
               time
               were
               effectually
               in
               Action
               ,
               even
               so
               far
               that
               beholding
               the
               Pictures
               wherein
               those
               noble
               deeds
               are
               represented
               ,
               we
               find
               our selves
               stung
               with
               a
               desire
               of
               endeavouring
               somewhat
               which
               is
               like
               that
               Action
               there
               express'd
               ,
               as
               if
               we
               were
               reading
               it
               in
               the
               History
               .
               The
               Beauty
               of
               the
               subject
               inspires
               us
               with
               Love
               and
               Admiration
               for
               the
               Pictures
               .
               As
               the
               fair
               mixture
               causes
               us
               to
               enter
               into
               the
               subject
               which
               it
               imitates
               and
               imprints
               it
               the
               more
               deeply
               into
               our
               Imagination
               and
               our
               Memory
               :
               these
               are
               two
               Chains
               which
               are
               interlink'd
               ,
               which
               contain
               ,
               and
               are
               at
               the
               same
               time
               contain'd
               ,
               and
               whose
               matter
               is
               equally
               precious
               and
               estimable
               .
            
             
             
               
                 And
                 well
                 season'd
              
               ,
               
               &c.
               
               
                 Aliquid
                 salis
              
               ,
               somewhat
               that
               is
               ingenious
               ,
               fine
               and
               picquant
               ,
               extraordinary
               of
               a
               high
               relish
               ,
               proper
               to
               instruct
               and
               to
               clear
               the
               Understanding
               .
               The
               Painters
               ought
               to
               do
               like
               the
               Orators
               ,
               
               says
               Cicero
               .
               Let
               them
               instruct
               ,
               let
               them
               divertise
               ,
               and
               let
               them
               move
               us
               ;
               this
               is
               what
               is
               properly
               meant
               by
               the
               word
               Salt.
               
            
             
               
                 On
                 which
                 the
                 whole
                 Machine
              
               (
               as
               it
               may
               be
               call'd
               )
               
                 of
                 the
                 Picture
                 is
                 to
                 be
                 dispos'd
                 ,
              
               &c.
               
               
               'T
               is
               not
               without
               reason
               ,
               nor
               by
               chance
               ,
               that
               our
               Author
               uses
               the
               word
               Machine
               .
               A
               Machine
               is
               a
               just
               assembling
               or
               Combination
               of
               many
               pieces
               to
               produce
               one
               and
               the
               same
               effect
               .
               And
               the
               
                 Disposition
                 in
                 a
                 Picture
              
               is
               nothing
               else
               but
               an
               Assembling
               of
               many
               parts
               ,
               of
               which
               we
               are
               to
               foresee
               the
               agreement
               with
               each
               other
               :
               And
               the
               justness
               to
               produce
               a
               beautifull
               effect
               ,
               as
               you
               shall
               see
               in
               the
               fourth
               Precept
               ,
               which
               is
               concerning
               the
               Oeconomy
               .
               This
               is
               also
               call'd
               the
               Composition
               ,
               by
               which
               is
               meant
               the
               distribution
               and
               orderly
               placing
               of
               things
               ,
               both
               in
               general
               and
               in
               particular
               .
            
             
               
                 Which
                 is
                 what
                 we
                 properly
                 call
                 Invention
                 ,
              
               &c.
               
               
               Our
               Author
               establishes
               three
               parts
               of
               Painting
               ,
               the
               INVENTION
               ,
               the
               DESIGN
               or
               DRAWING
               ,
               and
               the
               COLOURING
               ,
               which
               in
               some
               places
               he
               also
               calls
               the
               CROMATIQUE
               .
               Many
               Authors
               who
               have
               written
               
               of
               Painting
               ,
               multiply
               the
               parts
               according
               to
               their
               pleasure
               ;
               and
               without
               giving
               you
               or
               my self
               the
               trouble
               of
               discussing
               this
               matter
               ,
               I
               will
               onely
               tell
               you
               ,
               that
               all
               the
               parts
               of
               Painting
               which
               others
               have
               nam'd
               ,
               are
               reducible
               into
               these
               three
               which
               are
               mention'd
               by
               our
               Author
               .
            
             
               For
               which
               reason
               ,
               I
               esteem
               this
               division
               to
               be
               the
               justest
               :
               and
               as
               these
               
                 three
                 parts
              
               are
               Essential
               to
               Painting
               ,
               so
               no
               man
               can
               be
               truly
               call'd
               a
               Painter
               who
               does
               not
               posses
               them
               all
               together
               :
               In
               the
               same
               manner
               that
               we
               cannot
               give
               the
               name
               of
               Man
               to
               any
               Creature
               which
               is
               not
               compos'd
               of
               
                 Body
                 ,
                 Soul
              
               ,
               and
               Reason
               ,
               which
               are
               the
               three
               parts
               necessarily
               constituent
               of
               a
               Man.
               How
               therefore
               can
               they
               pretend
               to
               the
               Quality
               of
               Painters
               ,
               who
               can
               onely
               copy
               and
               purloyn
               the
               works
               of
               others
               who
               therein
               employ
               their
               whole
               industry
               ,
               and
               with
               that
               onely
               Talent
               would
               pass
               for
               able
               Painters
               .
               And
               do
               not
               tell
               me
               that
               many
               great
               Artists
               have
               done
               this
               ;
               for
               I
               can
               easily
               answer
               you
               that
               it
               had
               been
               their
               better
               course
               ,
               to
               have
               abstain'd
               from
               
                 so
                 doing
              
               ;
               that
               they
               have
               not
               thereby
               done
               themselves
               much
               honour
               ,
               and
               that
               copying
               was
               not
               the
               best
               part
               of
               their
               reputation
               .
               Let
               us
               then
               conclude
               that
               all
               Painters
               ought
               to
               acquire
               this
               part
               of
               Excellence
               ;
               not
               to
               do
               it
               ,
               is
               to
               want
               courage
               and
               not
               dare
               to
               shew
               themselves
               .
               'T
               is
               to
               
               creep
               and
               grovel
               on
               the
               ground
               ,
               't
               is
               to
               deserve
               this
               just
               reproach
               ,
               
                 O
                 imitatores
                 servum
                 pecus
              
               :
               'T
               is
               with
               Painters
               ,
               in
               reference
               to
               their
               productions
               ,
               as
               it
               is
               with
               Orators
               .
               A
               good
               beginning
               is
               always
               costly
               to
               both
               :
               much
               sweat
               and
               labour
               is
               requir'd
               ,
               but
               't
               is
               better
               to
               expose
               our
               works
               and
               leave
               them
               liable
               to
               censure
               for
               fifteen
               years
               ,
               th●●n
               to
               blush
               for
               them
               at
               the
               end
               of
               fifty
               .
               On
               this
               account
               't
               is
               necessary
               for
               a
               Painter
               to
               begin
               early
               to
               do
               somewhat
               of
               his
               own
               ,
               and
               to
               accustom
               himself
               to
               it
               by
               continual
               excercise
               ;
               for
               so
               long
               as
               endeavouring
               to
               raise
               himself
               ,
               he
               fears
               falling
               ,
               he
               shall
               be
               always
               on
               the
               ground
               .
               See
               the
               following
               observation
               .
            
             
               
                 Invention
                 is
                 a
                 kind
                 of
                 Muse
                 ,
              
               
               
                 which
                 being
                 possess'd
                 of
                 the
                 other
                 advantages
                 common
                 to
                 her
                 Sisters
                 ,
              
               &c.
               
               The
               Attributes
               of
               the
               Muses
               are
               often
               taken
               for
               the
               Muses
               themselves
               ;
               and
               it
               is
               in
               this
               sence
               ,
               that
               Invention
               is
               here
               call'd
               a
               Muse.
               Authors
               ascribe
               to
               each
               of
               them
               in
               particular
               the
               Sciences
               which
               they
               have
               (
               say
               they
               )
               invented
               ;
               and
               in
               gen●●ra●●
               the
               
                 belle
                 lettere
              
               ,
               because
               they
               contain
               almost
               all
               th●●
               others
               .
               These
               Sciences
               are
               those
               advantages
               〈◊〉
               which
               our
               Author
               speaks
               ,
               and
               with
               which
               h●●
               would
               have
               a
               Painter
               furnish
               himself
               sufficiently
               and
               in
               truth
               ,
               there
               is
               no
               man
               ,
               though
               his
               under
               standing
               be
               very
               mean
               who
               knows
               not
               and
               who
               
               finds
               not
               of
               himself
               how
               much
               Learning
               is
               necessary
               to
               animate
               his
               Genius
               ,
               and
               to
               compleat
               it
               .
               And
               the
               reason
               of
               this
               is
               ,
               that
               they
               who
               have
               studied
               ,
               have
               not
               onely
               seen
               and
               learn'd
               many
               excellent
               things
               in
               their
               course
               of
               studies
               ,
               but
               that
               also
               they
               have
               acquir'd
               by
               that
               exercise
               a
               great
               Facility
               of
               profiting
               themselves
               by
               reading
               good
               Authors
               .
               They
               who
               will
               make
               profession
               of
               Painting
               ,
               must
               heap
               up
               treasures
               out
               of
               their
               reading
               and
               there
               will
               find
               many
               wonderfull
               means
               of
               raising
               themselves
               above
               others
               ,
               who
               can
               onely
               creep
               upon
               the
               ground
               ,
               or
               if
               they
               elevate
               themselves
               ,
               't
               is
               onely
               to
               fall
               from
               a
               higher
               place
               ,
               because
               they
               serve
               themselves
               of
               other
               Men's
               Wings
               ,
               neither
               understanding
               their
               Use
               nor
               Vertue
               :
               'T
               is
               true
               that
               it
               is
               not
               the
               present
               Mode
               for
               a
               Painter
               to
               be
               so
               knowing
               :
               and
               if
               any
               of
               them
               in
               these
               times
               be
               found
               to
               have
               either
               a
               great
               Wit
               or
               much
               Learning
               ,
               the
               multitude
               would
               not
               fail
               to
               say
               ,
               that
               it
               was
               great
               pity
               ,
               and
               that
               the
               Youth
               might
               have
               come
               to
               somewhat
               in
               the
               practical
               part
               ,
               or
               it
               may
               be
               in
               the
               Exchequer
               ,
               or
               in
               the
               Families
               of
               some
               Noble-men
               .
               So
               wretch'd
               is
               the
               Destiny
               of
               Painting
               in
               these
               later
               ages
               .
               By
               Learning
               't
               is
               not
               so
               much
               the
               knowledge
               of
               the
               Greek
               and
               
                 Latine
                 Tongue
              
               ,
               which
               is
               here
               to
               be
               understood
               as
               the
               ●●eading
               of
               
                 good
                 Authors
              
               ,
               and
               understanding
               those
               
               things
               of
               which
               they
               treat
               :
               for
               Translations
               being
               made
               of
               the
               
                 best
                 Authors
              
               ,
               there
               is
               not
               any
               Painter
               who
               is
               not
               capable
               in
               some
               sort
               of
               understanding
               those
               Books
               of
               Humanity
               ,
               which
               are
               comprehended
               under
               the
               name
               of
               the
               
                 belle
                 lettere
              
               .
               In
               my
               opinion
               the
               Books
               which
               are
               of
               the
               most
               advantage
               to
               those
               of
               the
               Profession
               ,
               are
               these
               which
               follow
               .
            
             
               The
               Bible
               .
            
             
               The
               History
               of
               Iosephus
               .
            
             
               The
               Roman
               History
               of
               Coeffeteau
               ,
               (
               for
               those
               who
               understand
               the
               French
               ,
               )
               and
               that
               of
               
                 Titus
                 Livius
              
               ,
               translated
               by
               Vigenere
               ,
               with
               the
               Notes
               which
               are
               both
               curious
               and
               profitable
               .
               They
               are
               in
               two
               Volumes
               .
            
             
               Homer
               ,
               whom
               Pliny
               calls
               the
               Fountain-head
               of
               Invention
               and
               noble
               thoughts
               .
            
             
               Virgil
               ,
               and
               in
               him
               ,
               particularly
               his
               Aeneids
               .
            
             
               The
               Ecclesiastical
               History
               of
               Godeau
               ,
               or
               the
               Abridgement
               of
               Baronius
               .
            
             
               
                 Ovid's
                 Metamorphoses
              
               ,
               translated
               into
               French
               by
               
                 Du
                 Rier
              
               ,
               and
               in
               English
               by
               Sandys
               .
            
             
               *
               The
               Pictures
               of
               Philostratus
               .
            
             
               
               Plutarch's
               Lives
               ,
               translated
               from
               the
               Greek
               by
               several
               hands
               ,
               in
               5
               Volumes
               .
            
             
               Pausanias
               ,
               though
               I
               doubt
               whether
               that
               Author
               be
               translated
               .
               He
               is
               wonderfull
               for
               giving
               of
               
               great
               Ideas
               ;
               and
               chiefly
               ,
               for
               such
               as
               are
               to
               be
               plac'd
               at
               a
               distance
               ,
               (
               or
               cast
               behind
               )
               and
               for
               the
               combining
               of
               Figures
               .
               This
               Author
               in
               conjunction
               with
               Homer
               ,
               make
               a
               good
               mingle
               of
               what
               is
               pleasing
               and
               what
               is
               perfect
               .
            
             
               The
               Religion
               of
               the
               
                 Ancient
                 Romans
              
               ,
               by
               
                 Du
                 Choul
              
               ;
               and
               in
               English
               ,
               Godwin's
               
                 Roman
                 Antiquities
              
               .
            
             
               
               Trajan's
               Pillar
               ,
               with
               the
               discourse
               which
               explains
               the
               Figures
               on
               it
               ,
               and
               instructs
               a
               Painter
               in
               those
               things
               with
               which
               he
               is
               undispensibly
               to
               be
               acquainted
               .
               This
               is
               one
               of
               the
               most
               principal
               and
               most
               learned
               Books
               ,
               which
               we
               have
               for
               the
               Modes
               ,
               the
               Customs
               ,
               the
               Arms
               ,
               and
               the
               Religion
               of
               the
               
                 Romans
                 .
                 Iulio
                 Romano
              
               made
               his
               chief
               studies
               on
               the
               Marble
               it self
               .
            
             
               The
               Books
               of
               Medals
               .
            
             
               The
               Bass-Reliefs
               of
               Perrier
               and
               others
               ,
               with
               their
               Explanations
               at
               the
               bottom
               of
               the
               Pages
               ,
               which
               give
               a
               perfect
               understanding
               of
               them
               .
            
             
               
               Horace's
               
                 Art
                 of
                 Poetry
              
               ,
               by
               the
               Earl
               of
               Roscomon
               ,
               because
               of
               the
               relation
               which
               there
               is
               betwixt
               the
               Rules
               of
               Poetry
               and
               those
               of
               Painting
               .
            
             
               And
               other
               Books
               of
               the
               like
               Nature
               ,
               the
               reading
               of
               which
               are
               profitable
               to
               warm
               the
               Imagination
               :
               such
               as
               in
               English
               ,
               are
               
                 Spencer's
                 Fairy
                 Queen
              
               ;
               The
               
                 Paradise
                 lost
              
               of
               
                 Milton
                 ;
                 Tasso
              
               translated
               by
               
               Fairfax
               ;
               and
               the
               History
               of
               Polybius
               ,
               by
               Sir
               
                 Henry
                 Shere
              
               .
            
             
               Some
               Romances
               also
               are
               very
               capable
               of
               entertaining
               the
               Genius
               ,
               and
               of
               strengthening
               it
               by
               the
               noble
               Ideas
               which
               they
               give
               of
               things
               ;
               but
               there
               is
               this
               danger
               in
               them
               ,
               that
               they
               almost
               always
               corrupt
               the
               truth
               of
               History
               .
            
             
               There
               are
               also
               other
               Books
               which
               a
               Painter
               may
               use
               upon
               some
               particular
               occasions
               and
               onely
               when
               he
               wants
               them
               :
               Such
               are
               ,
            
             
               The
               Mythology
               of
               the
               Gods.
               
            
             
               The
               Images
               of
               the
               Gods.
               
            
             
               The
               Iconology
               .
            
             
               The
               Tables
               of
               Hyginus
               .
            
             
               The
               practical
               Perspective
               .
            
             
               And
               some
               others
               not
               here
               mention'd
               .
            
             
               Thus
               it
               is
               necessary
               ,
               that
               they
               who
               are
               desirous
               of
               a
               name
               in
               Painting
               ,
               should
               read
               at
               leisure
               times
               these
               Books
               with
               diligence
               ,
               and
               make
               their
               observations
               of
               such
               things
               as
               they
               find
               for
               their
               purpose
               in
               them
               ,
               and
               of
               which
               they
               believe
               they
               may
               sometime
               or
               other
               have
               occasion
               ;
               let
               the
               Imagination
               be
               employ'd
               in
               this
               reading
               ,
               and
               let
               them
               make
               Sketches
               and
               light
               Touches
               of
               those
               Ideas
               which
               that
               reading
               forms
               in
               their
               Imagination
               .
               
                 Quinctilian
                 ,
                 Tacitus
              
               ,
               or
               whoever
               was
               the
               Author
               of
               that
               Dialogue
               which
               is
               call'd
               in
               Latine
               
                 De
                 causis
                 
                 corrup●●ae
                 eloquentiae
              
               ,
               says
               ,
               
                 That
                 Painting
                 resembles
                 Fi●●e
                 which
                 is
                 ●●ed
                 by
                 the
                 Fuel
                 ,
                 inflam'd
                 by
                 Motion
                 ,
                 and
                 ga●●hers
                 strength
                 by
                 burning
                 :
                 For
                 the
                 power
                 of
                 the
                 Genius
                 is
                 onely
                 augmented
                 by
                 the
                 abundance
                 of
                 matter
                 to
                 supply
                 it
                 ;
                 and
                 't
                 is
                 impossible
                 to
                 make
                 a
                 great
                 and
                 magnificent
                 work
                 ,
                 if
                 that
                 matter
                 be
                 wanting
                 or
                 not
                 dispos'd
                 rightly
                 .
              
               And
               therefore
               a
               Painter
               who
               has
               a
               Genius
               ,
               gets
               nothing
               by
               long
               thinking
               and
               taking
               all
               imaginable
               care
               to
               make
               a
               noble
               Composition
               if
               he
               be
               not
               assisted
               by
               those
               studies
               which
               I
               have
               mention'd
               .
               All
               that
               he
               can
               gain
               by
               it
               ,
               is
               onely
               to
               weary
               his
               Imagination
               ,
               and
               to
               travel
               over
               many
               vast
               Countries
               without
               dwelling
               on
               any
               one
               thing
               ,
               which
               can
               give
               him
               satisfaction
               .
            
             
               All
               the
               Books
               which
               I
               have
               named
               may
               be
               serviceable
               to
               all
               sorts
               of
               Persons
               as
               well
               as
               to
               Painters
               .
               As
               for
               those
               Books
               which
               were
               of
               particular
               use
               to
               them
               ,
               they
               were
               unfortunately
               lost
               in
               those
               Ages
               which
               were
               before
               the
               Invention
               of
               Printing
               .
               Neglecting
               the
               Copyers
               probably
               out
               of
               ignorance
               to
               transcribe
               them
               ,
               as
               not
               finding
               themselves
               capable
               of
               making
               the
               *
               demonstrative
               Figures
               .
               In
               the
               mean
               time
               ,
               't
               is
               evidently
               known
               by
               the
               reltaion
               of
               Authors
               ,
               that
               we
               have
               lost
               fifty
               Volumes
               of
               them
               at
               the
               least
               .
               See
               Pliny
               in
               his
               35th
               .
               Book
               ;
               and
               
                 Franc.
                 Iunius
              
               in
               his
               3d.
               Chapter
               of
               
               the
               2d
               .
               Book
               of
               the
               
                 Painting
                 of
                 the
                 Ancients
              
               .
               Many
               Moderns
               have
               written
               of
               it
               with
               small
               success
               ,
               taking
               a
               large
               compass
               without
               coming
               directly
               to
               the
               point
               ,
               and
               talking
               much
               without
               saying
               any
               thing
               :
               yet
               some
               of
               them
               have
               acquitted
               themselves
               successfully
               enough
               .
               Amongst
               others
               
                 Leonardo
                 da
                 Vinci
              
               (
               though
               without
               method
               ;
               )
               
                 Paulo
                 Lomazzo
              
               ,
               whose
               Book
               is
               good
               for
               the
               greatest
               part
               ,
               but
               whose
               discourse
               is
               too
               diffusive
               and
               very
               tiresome
               .
               
                 Iohn
                 Baptist
                 Armenini
                 ,
                 Franciscus
                 Iunius
                 ,
                 Monsieur
                 de
                 Cambray
                 ,
              
               to
               whose
               Preface
               I
               rather
               invite
               you
               than
               to
               his
               Book
               ;
               we
               are
               not
               to
               forget
               what
               Monsieur
               Felebien
               has
               written
               of
               the
               Picture
               of
               Alexander
               by
               the
               hand
               of
               Monsieur
               
                 Le
                 Brun
              
               :
               besides
               that
               the
               work
               it self
               is
               very
               eloquent
               ,
               the
               Foundations
               which
               he
               establishes
               for
               the
               making
               of
               a
               good
               Picture
               are
               wonderfully
               solid
               .
               Thus
               I
               have
               given
               you
               very
               near
               the
               
                 Library
                 of
                 a
                 Painter
              
               ,
               and
               a
               Catalogue
               of
               such
               Books
               as
               he
               ought
               either
               to
               read
               himself
               or
               have
               read
               to
               him
               ,
               at
               least
               if
               he
               will
               not
               satisfie
               himself
               with
               possessing
               Painting
               as
               the
               most
               sordid
               of
               all
               Trades
               and
               not
               as
               the
               noblest
               of
               all
               Arts.
               
            
             
               
                 'T
                 is
                 the
                 business
                 of
                 a
                 Painter
                 in
                 his
                 choice
                 of
                 Postures
                 ,
              
               &c.
               
               
               See
               here
               the
               
                 most
                 important
                 Precept
              
               of
               all
               those
               which
               relate
               to
               Painting
               .
               It
               belongs
               properly
               to
               a
               
                 Painter
                 alone
              
               ,
               and
               all
               the
               rest
               are
               borrow'd
               
               either
               from
               Learning
               ,
               or
               from
               Physick
               ,
               or
               from
               the
               Mathematicks
               ,
               or
               in
               short
               ,
               from
               
                 other
                 Arts
              
               ,
               for
               it
               is
               sufficient
               to
               have
               a
               natural
               Wit
               and
               Learning
               to
               make
               that
               which
               we
               call
               in
               Painting
               a
               good
               Invention
               ,
               for
               the
               design
               we
               must
               have
               some
               insight
               into
               Anatomy
               ,
               to
               make
               Buildings
               ,
               and
               other
               things
               in
               Perspective
               ,
               we
               must
               have
               knowledge
               in
               the
               Mathematicks
               ,
               and
               
                 other
                 Arts
              
               ,
               will
               bring
               in
               their
               
               Quota's
               to
               furnish
               out
               the
               matter
               of
               a
               good
               Picture
               ;
               but
               for
               the
               Oeconomy
               or
               ordering
               of
               the
               whole
               together
               ,
               none
               but
               onely
               the
               Painter
               can
               understand
               it
               ,
               because
               the
               end
               of
               the
               Artist
               is
               pleasingly
               to
               deceive
               the
               Eyes
               ,
               which
               he
               can
               never
               accomplish
               if
               this
               part
               be
               wanting
               to
               him
               .
               A
               Picture
               may
               make
               an
               ill
               effect
               ,
               though
               the
               Invention
               of
               it
               be
               truly
               understood
               ,
               the
               Design
               of
               it
               correct
               and
               the
               Colours
               of
               it
               the
               most
               beautifull
               and
               fine
               that
               can
               be
               employ'd
               in
               it
               .
               And
               on
               the
               contrary
               we
               may
               behold
               other
               Pictures
               ill
               invented
               ,
               ill
               design'd
               and
               painted
               with
               the
               most
               common
               Colours
               ,
               which
               shall
               make
               a
               very
               good
               effect
               ,
               and
               which
               shall
               more
               pleasingly
               deceive
               ;
               
                 Nothing
                 pleases
                 a
                 man
                 so
                 much
                 as
                 order
                 ,
              
               
               says
               Xenophon
               :
               And
               Horace
               ,
               in
               his
               
                 Art
                 of
                 Poetry
              
               .
               
                 
                   Singula
                   quaeque
                   locum
                   teneant
                   sortita
                   decenter
                   .
                
              
               
                 
                 
                   Set
                   all
                   things
                   in
                   their
                   own
                   peculiar
                   place
                   ,
                
                 
                   And
                   know
                   that
                   Order
                   is
                   the
                   greatest
                   Grace
                   .
                
              
            
             
               This
               Precept
               is
               properly
               the
               use
               and
               application
               of
               all
               the
               rest
               ;
               for
               which
               reason
               it
               requires
               much
               judgment
               .
               You
               are
               therefore
               ,
               in
               such
               manner
               to
               foresee
               things
               ,
               that
               your
               Picture
               may
               be
               painted
               in
               your
               Head
               :
               
                 i.
                 e.
              
               before
               it
               come
               upon
               the
               Canvas
               .
               When
               Manander
               (
               says
               a
               celebrated
               Authour
               )
               
               
                 had
                 order'd
                 the
                 Scenes
                 of
                 his
                 Comedy
                 ,
                 he
                 held
                 it
                 to
                 be
                 ,
                 in
                 a
                 manner
                 ,
                 already
                 made
                 ;
                 though
                 he
                 had
                 not
                 begun
                 the
                 first
                 Verse
                 of
                 it
                 .
              
               'T
               is
               an
               undoubted
               truth
               ,
               that
               they
               who
               are
               endu'd
               with
               this
               foresight
               ,
               work
               with
               incredible
               pleasure
               and
               facility
               ;
               others
               on
               the
               contrary
               are
               perpetually
               changing
               and
               rechanging
               their
               work
               ,
               which
               when
               it
               is
               ended
               leaves
               them
               but
               anxiety
               for
               all
               their
               pains
               .
               It
               seems
               to
               me
               that
               these
               sorts
               of
               Pictures
               remind
               us
               of
               those
               old
               Gothique
               Castles
               ,
               made
               at
               several
               times
               ,
               and
               which
               hold
               together
               onely
               as
               it
               were
               by
               Rags
               and
               Patches
               .
            
             
               It
               may
               be
               inferr'd
               from
               that
               which
               I
               have
               said
               ,
               that
               the
               Invention
               and
               the
               Disposition
               are
               two
               several
               and
               distinct
               parts
               in
               effect
               ,
               though
               the
               last
               of
               them
               depends
               upon
               the
               first
               ,
               and
               that
               commonly
               't
               is
               comprehended
               under
               it
               :
               yet
               we
               are
               to
               take
               
               take
               great
               care
               that
               we
               do
               not
               confound
               them
               .
               The
               Invention
               simply
               finds
               out
               the
               subjects
               ,
               and
               makes
               a
               choice
               of
               them
               suitable
               to
               the
               History
               which
               we
               treat
               ;
               and
               the
               Disposition
               distributes
               those
               things
               which
               are
               thus
               found
               each
               to
               its
               proper
               place
               ,
               and
               accommodates
               the
               Figures
               and
               the
               Grouppes
               in
               particular
               ,
               and
               the
               
                 Tout
                 Ensemble
              
               (
               or
               whole
               together
               )
               of
               the
               Picture
               in
               general
               :
               so
               that
               this
               Oeconomy
               produces
               the
               same
               effect
               in
               relation
               
                 to
                 the
                 Eyes
              
               ,
               as
               a
               
                 Consort
                 of
                 Musick
              
               to
               the
               Ears
               .
            
             
               There
               is
               one
               thing
               of
               great
               consequence
               to
               be
               observ'd
               in
               the
               Oeconomy
               of
               the
               whole
               work
               ,
               which
               is
               ,
               that
               at
               the
               first
               Sight
               we
               may
               be
               given
               to
               understand
               the
               quality
               of
               the
               subject
               :
               and
               that
               the
               Picture
               at
               the
               first
               Glance
               of
               the
               Eye
               ,
               may
               inspire
               us
               with
               the
               principal
               passion
               of
               it
               :
               
                 for
                 Example
              
               ,
               if
               the
               subject
               ,
               which
               you
               have
               undertaken
               to
               treat
               be
               of
               joy
               ,
               't
               is
               necessary
               that
               every
               thing
               which
               enters
               into
               your
               Picture
               should
               contribute
               to
               that
               Passion
               ,
               so
               that
               the
               Beholders
               shall
               immediately
               be
               mov'd
               with
               it
               .
               If
               the
               Subject
               be
               mournfull
               ,
               let
               every
               thing
               in
               it
               have
               a
               stroke
               of
               sadness
               ;
               and
               so
               of
               the
               other
               Passion
               and
               Qualities
               of
               the
               Subjects
               .
            
             
               
                 Let
                 your
                 Compositions
                 be
                 conformable
                 to
                 the
                 Text
                 of
                 Ancient
                 Authors
                 ,
              
               
               &c.
               
               Take
               care
               that
               the
               Licences
               .
               
               of
               Painters
               be
               rather
               to
               adorn
               the
               History
               ,
               than
               to
               corrupt
               it
               .
               And
               though
               Horace
               gives
               permission
               to
               Painters
               and
               Poets
               to
               dare
               every
               thing
               ,
               
               yet
               he
               encourages
               neither
               of
               them
               ,
               to
               make
               things
               out
               of
               nature
               or
               verisimility
               ;
               for
               he
               adds
               immediately
               after
               ,
               
                 
                   But
                   let
                   the
                   Bounds
                   of
                   Licences
                   he
                   fix'd
                   ,
                
                 
                   Not
                   things
                   of
                   disagreeing
                   Natures
                   mix'd
                   ;
                
                 
                   Not
                   Sweet
                   with
                   Sowre
                   ,
                   nor
                   Birds
                   with
                   Serpents
                   joyn'd
                   ,
                
                 
                   Nor
                   the
                   fierce
                   Lyon
                   with
                   the
                   fearfull
                   Hind
                   .
                
              
            
             
               The
               Thoughts
               of
               a
               Man
               endued
               with
               good
               Sence
               are
               not
               of
               kin
               to
               visionary
               madness
               ;
               Men
               in
               Feavers
               are
               onely
               capable
               of
               such
               Dreams
               .
               Treat
               then
               the
               Subjects
               of
               your
               Pictures
               with
               all
               possible
               faithfulness
               ,
               and
               use
               your
               Licences
               with
               a
               becoming
               boldness
               ,
               provided
               they
               be
               ingenious
               ,
               and
               not
               immoderate
               and
               extravagant
               .
            
             
               
                 Take
                 care
                 that
                 whatsoever
                 makes
                 nothing
                 to
                 your
                 Subject
                 ,
              
               
               &c.
               
               Nothing
               deadens
               so
               much
               the
               Composition
               of
               a
               picture
               ,
               as
               Figures
               which
               are
               not
               appertaining
               to
               the
               Subject
               :
               We
               may
               call
               them
               pleasantly
               enough
               ,
               Figures
               to
               be
               let
               .
            
             
               
                 This
                 part
                 of
                 Painting
                 so
                 rarely
                 met
                 with
                 ,
                 and
                 so
                 difficult
                 to
                 be
                 found
                 ,
              
               
               &c.
               
               That
               is
               to
               say
               ,
               Invention
               .
            
             
             
               
                 Which
                 was
                 stollen
                 by
              
               Prometheus
               ,
               &c.
               
               
               The
               Poets
               feign
               that
               Prometheus
               from'd
               out
               of
               Clay
               ,
               so
               fair
               a
               Statue
               ,
               that
               Minerva
               one
               day
               having
               long
               admir'd
               it
               ,
               said
               to
               the
               workman
               ,
               that
               if
               he
               thought
               there
               was
               any
               thing
               in
               Heaven
               which
               could
               add
               to
               its
               perfection
               ,
               he
               might
               ask
               it
               of
               her
               ;
               but
               he
               being
               ignorant
               of
               what
               might
               be
               most
               beautifull
               in
               the
               Habitation
               of
               the
               Gods
               ,
               desir'd
               leave
               that
               he
               might
               be
               carry'd
               thither
               ,
               and
               being
               there
               to
               make
               his
               choice
               .
               The
               Goddess
               bore
               him
               thither
               upon
               her
               Shield
               ,
               and
               so
               soon
               as
               he
               had
               perceiv'd
               that
               all
               Celestial
               things
               were
               animated
               with
               Fire
               ,
               he
               stole
               a
               Parcel
               of
               it
               ,
               which
               he
               carry'd
               down
               to
               Earth
               ,
               and
               applying
               it
               to
               the
               stomach
               of
               his
               Statue
               enliven'd
               the
               whole
               Body
               .
            
             
               
                 That
                 it
                 happens
                 not
                 to
                 every
                 one
                 to
                 see
              
               Corinth
               ,
               
               &c.
               
               This
               is
               an
               Ancient
               Proverb
               which
               signefies
               ,
               that
               every
               man
               has
               not
               the
               Genius
               not
               the
               Disposition
               that
               is
               necessary
               for
               the
               Sciences
               ,
               neither
               yet
               a
               Capacity
               fit
               for
               the
               undertaking
               of
               things
               which
               are
               great
               and
               difficult
               .
               Corinth
               was
               heretofore
               the
               Centre
               of
               all
               Arts
               ,
               and
               the
               place
               whither
               they
               sent
               all
               those
               whom
               they
               would
               render
               capable
               of
               any
               thing
               .
               
               Cicero
               calls
               it
               the
               Light
               of
               all
               Graeci●●
               .
            
             
             
               
                 It
                 arriv'd
                 at
                 length
                 to
                 that
                 height
                 of
                 perfection
                 ,
              
               
               &c.
               
               This
               was
               in
               the
               time
               of
               
                 Alexander
                 the
                 Great
              
               ,
               and
               lasted
               even
               to
               Augustus
               ;
               under
               whose
               reign
               Painting
               fell
               to
               great
               decay
               .
               But
               under
               the
               Emperors
               ,
               
                 Domitian
                 ,
                 Nerva
              
               and
               Trajan
               ,
               it
               appear'd
               in
               its
               primitive
               lustre
               ,
               which
               lasted
               to
               the
               time
               of
               Phocas
               the
               Emperor
               ,
               when
               vices
               prevailing
               over
               the
               Arts
               ,
               and
               War
               being
               kindled
               through
               all
               Europe
               ,
               and
               especially
               in
               Lombardy
               ,
               (
               occasion'd
               by
               the
               irruption
               of
               the
               Hunns
               ,
               )
               Painting
               was
               totally
               extinguish'd
               .
               And
               if
               some
               few
               in
               the
               succeeding
               Ages
               strain'd
               themselves
               to
               revive
               it
               ,
               it
               was
               rather
               in
               finding
               out
               the
               most
               glaring
               ,
               gawdy
               and
               costly
               Colours
               ,
               than
               in
               imitating
               the
               harmonious
               Simplicity
               of
               those
               illustrious
               Painters
               who
               preceded
               them
               .
               At
               length
               ,
               in
               the
               fourteenth
               Century
               ,
               some
               there
               were
               who
               began
               to
               set
               it
               again
               on
               foot
               .
               And
               it
               may
               truly
               be
               said
               ,
               that
               about
               the
               end
               of
               the
               fifteenth
               Age
               ,
               and
               the
               beginning
               of
               our
               Sixteenth
               it
               appear'd
               in
               much
               Splendor
               by
               means
               of
               many
               knowing
               Men
               in
               all
               parts
               of
               Italy
               ,
               who
               were
               in
               perfect
               possession
               of
               it
               .
               Since
               those
               happy
               times
               which
               were
               so
               fruitfull
               of
               the
               noble
               Arts
               ,
               we
               have
               also
               had
               some
               knowing
               Painters
               but
               very
               few
               in
               number
               ,
               because
               of
               the
               little
               inclination
               which
               Sovereign
               Princes
               have
               had
               for
               Painting
               :
               but
               thanks
               to
               the
               zeal
               of
               our
               
               Great
               Monarch
               ,
               and
               to
               the
               care
               of
               his
               first
               Minister
               ,
               Monsieur
               Colbert
               ,
               we
               may
               shortly
               behold
               it
               more
               flourishing
               than
               ever
               .
            
             
               
                 Though
                 they
                 are
                 not
                 very
                 much
                 inferior
                 ,
              
               
               &c.
               
               Our
               Author
               means
               this
               of
               
                 Michael
                 Angelo
              
               ,
               and
               other
               able
               Sculptors
               of
               that
               time
               .
            
             
               
                 A
                 Posture
                 therefore
                 must
                 be
                 chosen
                 according
                 to
                 their
                 gusto
                 ,
              
               
               &c.
               
               This
               is
               the
               second
               part
               of
               Painting
               ,
               which
               is
               call'd
               
                 Design
                 or
                 Drawing
              
               ;
               as
               the
               Ancients
               haue
               sought
               as
               much
               as
               possible
               whatsoever
               contributes
               to
               the
               making
               of
               a
               perfect
               Body
               ,
               so
               they
               haue
               diligently
               examin'd
               in
               what
               consists
               the
               beauty
               of
               good
               postures
               ,
               as
               their
               works
               sufficiently
               inform
               us
               .
            
             
               
                 The
                 parts
                 of
                 it
                 must
                 be
                 great
                 ,
              
               
               &c.
               
               Yet
               not
               so
               great
               as
               to
               exceed
               a
               just
               proportion
               .
               But
               he
               means
               that
               in
               noble
               posture
               ,
               the
               greatest
               parts
               of
               the
               Body
               ought
               to
               appear
               foremost
               rather
               than
               the
               less
               ,
               for
               which
               reason
               in
               another
               passage
               he
               vehemently
               forbids
               the
               foreshortinings
               ,
               because
               they
               make
               the
               parts
               appear
               little
               ,
               though
               of
               themselves
               they
               are
               great
               .
            
             
               
                 Large
                 or
                 ample
              
               ,
               
               &c.
               To
               avoid
               the
               dry
               manner
               ,
               such
               as
               is
               most
               commonly
               the
               Nature
               which
               
                 Lucas
                 van
                 Leyden
              
               and
               
                 Albert
                 Durer
              
               have
               imitated
               .
            
             
             
               
                 Unequal
                 in
                 their
                 Position
              
               ,
               
               
                 so
                 that
                 those
                 which
                 are
                 before
                 must
                 contrast
                 or
                 oppose
                 those
                 others
                 which
                 are
                 himdermost
                 ,
                 and
                 all
                 of
                 them
                 be
                 equally
                 balanc'd
                 on
                 their
                 Centre
                 ,
              
               &c.
               
               The
               Motions
               are
               never
               natural
               ,
               when
               the
               Members
               are
               not
               equally
               balanc'd
               on
               their
               Centre
               :
               and
               these
               Members
               cannot
               be
               balanc'd
               on
               their
               Centre
               in
               an
               equality
               of
               weight
               ,
               but
               they
               must
               contrast
               each
               other
               .
               A
               Man
               who
               dances
               on
               the
               Rope
               ,
               makes
               a
               manifest
               Demonstration
               of
               this
               Truth
               .
               The
               Body
               is
               a
               weight
               balanc'd
               on
               its
               Feet
               ,
               as
               upon
               two
               Pivots
               ,
               And
               though
               one
               of
               the
               Feet
               most
               commonly
               bears
               the
               weight
               ,
               yet
               we
               see
               that
               the
               whole
               weight
               rests
               Centrally
               upon
               it
               .
               Insomuch
               ,
               that
               if
               ,
               for
               Example
               ,
               one
               Arms
               is
               stretched
               out
               ,
               it
               must
               of
               necessity
               be
               either
               that
               the
               other
               Arm
               ,
               or
               the
               Leg
               be
               cast
               backward
               ,
               or
               the
               Body
               somewhat
               bow'd
               on
               the
               opposite
               Side
               ,
               so
               as
               to
               make
               an
               Equilibrium
               ,
               and
               be
               in
               a
               Situation
               which
               is
               unforc'd
               .
               It
               may
               be
               ,
               though
               seldom
               (
               if
               it
               be
               not
               in
               old
               Men
               )
               that
               the
               Feet
               bear
               equally
               ;
               and
               for
               that
               time
               half
               the
               weight
               is
               equally
               distributed
               on
               each
               Foot.
               You
               ought
               to
               make
               use
               of
               the
               same
               Prudence
               ,
               if
               one
               Foot
               bear
               three
               parts
               in
               four
               of
               the
               Burthen
               ,
               and
               that
               the
               other
               Foot
               bore
               the
               remaining
               part
               .
               This
               in
               general
               is
               what
               may
               be
               said
               of
               the
               Balance
               ,
               and
               the
               Libration
               of
               the
               Body
               .
               In
               particular
               ,
               there
               
               may
               many
               things
               be
               said
               which
               are
               very
               usefull
               and
               curious
               ,
               of
               which
               you
               may
               satisfie
               your selves
               in
               
                 Leonardo
                 da
                 Vinci
              
               .
               He
               has
               done
               wonderfully
               well
               on
               that
               subject
               ,
               and
               one
               may
               truly
               say
               that
               the
               Ponderation
               ,
               is
               the
               best
               and
               soundest
               part
               of
               all
               his
               
                 Book
                 of
                 Painting
              
               .
               It
               begins
               at
               the
               181st
               .
               Chapter
               ,
               and
               concludes
               at
               the
               273d
               .
               I
               would
               also
               advise
               you
               to
               read
               
                 Paulo
                 Lomazzo
              
               in
               his
               
                 6th
                 .
                 Book
                 ,
                 Chapter
                 4th
                 .
                 Del
                 moto
                 del
                 Corpo
                 humano
                 ,
              
               that
               is
               ,
               the
               motions
               of
               a
               human
               Body
               .
               You
               will
               there
               find
               many
               things
               of
               great
               profit
               ;
               for
               what
               concerns
               the
               Contrast
               ,
               I
               will
               onely
               say
               in
               general
               ,
               that
               nothing
               gives
               so
               much
               grace
               and
               life
               to
               Figures
               .
               See
               the
               
                 43d
                 .
                 Precept
              
               ,
               and
               what
               I
               say
               upon
               it
               in
               the
               Remarks
               .
            
             
               
                 The
                 parts
                 must
                 have
                 their
                 out
                 lines
                 in
                 Waves
                 resembling
                 Flames
                 ,
              
               
               
                 or
                 the
                 gliding
                 of
                 a
                 Snake
                 upon
                 the
                 ground
                 ,
              
               &c.
               
               The
               reason
               of
               this
               proceeds
               from
               the
               action
               of
               the
               Muscles
               ,
               which
               are
               as
               so
               many
               Well-buckets
               ;
               when
               one
               of
               them
               acts
               and
               draws
               ,
               't
               is
               necessary
               that
               the
               other
               must
               obey
               ;
               so
               that
               the
               Muscles
               which
               act
               ,
               drawing
               always
               towards
               their
               principle
               ,
               and
               those
               which
               obey
               stretching
               in
               length
               and
               on
               the
               side
               of
               their
               insertion
               ,
               it
               must
               needs
               follow
               that
               the
               parts
               must
               be
               design'd
               in
               Waves
               :
               but
               beware
               lest
               in
               giving
               this
               form
               to
               the
               parts
               you
               do
               not
               break
               the
               Bones
               which
               sustain
               
               them
               and
               which
               always
               must
               make
               them
               appear
               firm
               .
            
             
               This
               Maxim
               is
               not
               altogether
               so
               general
               ,
               but
               that
               actions
               may
               be
               found
               where
               the
               masses
               of
               the
               Muscles
               are
               situate
               one
               over
               against
               another
               ,
               but
               this
               is
               not
               very
               common
               .
               The
               out-lines
               which
               are
               in
               waves
               ,
               give
               not
               only
               a
               grace
               to
               the
               Parts
               ,
               but
               also
               to
               the
               whole
               Body
               ,
               when
               it
               is
               only
               supported
               on
               one
               Leg.
               As
               we
               see
               in
               the
               Figures
               of
               
                 Antinous
                 ,
                 Meleager
              
               ,
               the
               Venus
               of
               Medices
               ,
               that
               of
               the
               Vatican
               ,
               the
               two
               others
               of
               Borghese
               ,
               and
               that
               of
               Flora
               ,
               of
               the
               Goddess
               Vesta
               ,
               the
               two
               
               Bacchus's
               of
               Borghese
               ,
               and
               that
               of
               Ludovisio
               ,
               and
               in
               fine
               of
               the
               greatest
               number
               of
               the
               
                 Ancient
                 Figures
              
               ,
               which
               are
               standing
               ,
               and
               which
               always
               rest
               more
               upon
               one
               Foot
               than
               the
               other
               .
               Besides
               ,
               that
               the
               Figures
               and
               their
               Parts
               ,
               ought
               almost
               always
               to
               have
               a
               serpentine
               and
               flaming
               form
               naturally
               ,
               these
               sorts
               of
               out-lines
               have
               ,
               I
               know
               not
               what
               of
               life
               and
               seeming
               motion
               in
               them
               ,
               which
               very
               much
               resembles
               the
               activity
               of
               the
               Flame
               ,
               and
               of
               the
               Serpent
               .
            
             
               
                 According
                 to
                 the
                 knowledge
                 of
                 them
                 ,
              
               
               
                 which
                 is
                 given
                 us
                 by
                 Anatomy
                 ,
              
               &c.
               
               This
               part
               is
               nothing
               known
               at
               present
               amongst
               our
               modern
               Painters
               .
               I
               have
               shewn
               the
               profit
               and
               even
               the
               necessity
               of
               it
               in
               the
               Preface
               of
               a
               little
               Epitome
               which
               I
               have
               made
               ,
               and
               which
               Monsieur
               Torrebat
               has
               Publish'd
               .
               I
               
               know
               there
               are
               some
               who
               think
               this
               Science
               a
               kind
               of
               Monster
               ,
               and
               believe
               it
               to
               be
               of
               no
               Advantage
               ,
               either
               because
               they
               are
               mean
               spirited
               ,
               or
               that
               they
               have
               not
               consider'd
               the
               want
               which
               they
               have
               of
               it
               ;
               nor
               reflected
               as
               they
               ought
               ,
               on
               its
               importance
               :
               contenting
               themselves
               with
               a
               certain
               track
               ,
               to
               which
               they
               have
               been
               us'd
               .
               But
               certain
               it
               is
               ,
               that
               whoever
               is
               capable
               of
               such
               a
               thought
               ,
               will
               never
               be
               capable
               of
               becoming
               a
               great
               Designer
               .
            
             
               
                 Design'd
                 after
                 the
                 manner
                 of
                 the
                 Graecians
                 ,
              
               
               &c.
               that
               is
               to
               say
               ,
               according
               to
               the
               
                 Ancient
                 Statues
              
               ,
               which
               for
               the
               most
               part
               come
               from
               Greece
               .
            
             
               
                 Let
                 there
                 be
                 a
                 perfect
                 relation
                 betwixt
                 the
                 parts
                 and
                 the
                 whole
                 ,
              
               
               &c.
               or
               let
               them
               agree
               well
               together
               ,
               which
               is
               the
               same
               thing
               .
               His
               meaning
               in
               this
               place
               ,
               is
               to
               speak
               of
               the
               justness
               of
               proportions
               ;
               and
               of
               the
               harmony
               which
               they
               make
               with
               one
               another
               .
               Many
               famous
               Authours
               have
               thoroughly
               treated
               this
               matter
               .
               Amongst
               others
               
                 Paulo
                 Lomazzo
              
               ,
               whose
               first
               Book
               speaks
               of
               nothing
               else
               :
               But
               there
               are
               so
               many
               subdivisions
               ,
               that
               a
               Reader
               Must
               have
               a
               good
               Brain
               ,
               not
               to
               be
               turn'd
               with
               them
               .
               See
               those
               which
               our
               Author
               has
               remark'd
               in
               general
               ,
               on
               the
               most
               beautifull
               
                 Statues
                 of
                 the
                 Ancients
              
               .
               I
               believe
               them
               to
               be
               so
               much
               the
               better
               ,
               as
               they
               are
               more
               conformable
               to
               those
               ,
               
               which
               Vitruvius
               gives
               us
               ,
               in
               the
               
                 first
                 Chapter
                 of
                 his
                 third
                 Book
                 :
              
               And
               which
               he
               tells
               us
               ,
               that
               he
               learn'd
               from
               the
               Artists
               themselves
               :
               because
               in
               the
               Preface
               to
               his
               
                 Seventh
                 Book
              
               ,
               he
               makes
               his
               boast
               to
               have
               had
               them
               from
               others
               ,
               and
               particularly
               from
               Architects
               and
               Painters
               .
               
                 The
                 Measures
                 of
                 a
                 Humane
                 Body
                 .
              
            
             
               The
               Ancients
               have
               commonly
               allow'd
               eight
               Heads
               to
               their
               Figures
               ;
               though
               some
               of
               them
               have
               but
               ●●even
               .
               But
               we
               ordinarily
               divide
               the
               Figure
               into
               
               ten
               Faces
               :
               that
               is
               to
               say
               ,
               from
               the
               Crown
               of
               the
               Head
               to
               the
               Sole
               of
               the
               Foot
               in
               the
               following
               manner
               .
            
             
               From
               the
               Crown
               of
               the
               Head
               to
               the
               Forehead
               ,
               is
               the
               third
               part
               of
               a
               Face
               .
            
             
               The
               Face
               begins
               ,
               at
               the
               root
               of
               the
               lowest
               Hairs
               ,
               which
               are
               upon
               the
               Forehead
               ;
               and
               ends
               at
               the
               bottom
               of
               the
               Chin.
               
            
             
               The
               Face
               is
               divided
               into
               three
               proportionable
               parts
               ;
               the
               first
               contains
               the
               Forehead
               ,
               the
               second
               the
               Nose
               ,
               and
               the
               third
               the
               Mouth
               and
               the
               Chin.
               
            
             
               From
               the
               Chin
               ,
               to
               the
               pit
               betwixt
               the
               Collar-bones
               are
               two
               lengths
               of
               a
               Nose
               .
            
             
               From
               the
               pit
               betwixt
               the
               Collar-bones
               ,
               to
               the
               bottom
               of
               the
               Breast
               one
               Face
               .
            
             
             
               *
               From
               the
               bottom
               of
               the
               Breasts
               ,
               to
               the
               Navel
               one
               Face
               .
            
             
               *
               From
               the
               Navel
               to
               the
               Genitories
               ,
               one
               Face
               .
            
             
               From
               the
               Genitories
               to
               the
               upper
               part
               of
               the
               Knee
               ,
               two
               Faces
               .
            
             
               The
               Knee
               contains
               half
               a
               Face
               .
            
             
               From
               the
               lower
               part
               of
               the
               Knee
               to
               the
               Anckle
               ,
               two
               Faces
               .
            
             
               From
               the
               Anckle
               to
               the
               Sole
               of
               the
               Foot
               ,
               half
               a
               Face
               .
            
             
               A
               Man
               ,
               when
               his
               Arms
               are
               stretch'd
               out
               ,
               is
               ,
               from
               the
               longest
               Finger
               of
               his
               Right
               hand
               ,
               to
               the
               longest
               of
               his
               left
               ,
               as
               broad
               as
               he
               is
               long
               .
            
             
               From
               one
               side
               of
               the
               Breasts
               to
               the
               other
               ,
               two
               Faces
               .
            
             
               The
               bone
               of
               the
               Arm
               call'd
               Humerus
               is
               the
               length
               of
               two
               Faces
               ,
               from
               the
               Shoulder
               to
               the
               Elbow
               .
            
             
               From
               the
               end
               of
               the
               Elbow
               to
               the
               root
               of
               the
               little
               Finger
               ,
               the
               bone
               call'd
               Cubitus
               ,
               with
               part
               of
               the
               Hand
               ,
               contains
               two
               Faces
               .
            
             
               From
               the
               box
               of
               the
               Shoulder-blade
               ,
               to
               the
               pit
               betwixt
               the
               Collar-bones
               ,
               one
               Face
               .
            
             
               If
               you
               would
               be
               satisfy'd
               in
               the
               Measures
               of
               breadth
               ,
               from
               the
               extremity
               of
               one
               Finger
               to
               the
               other
               ;
               so
               that
               this
               breadth
               shou'd
               be
               equal
               to
               the
               length
               of
               the
               Body
               ,
               you
               must
               observe
               that
               the
               
               boxes
               of
               the
               Elbows
               with
               the
               Humerus
               ,
               and
               of
               the
               Humerus
               with
               the
               Shoulder-blade
               ,
               bear
               the
               proportion
               of
               half
               a
               Face
               ,
               when
               the
               Arms
               are
               Stretch'd
               out
               .
            
             
               The
               Sole
               of
               the
               Foot
               is
               the
               sixth
               part
               of
               the
               Figure
               .
            
             
               The
               Hand
               is
               the
               length
               of
               a
               Face
               .
            
             
               The
               Thumb
               contains
               a
               Nose
               .
            
             
               The
               inside
               of
               the
               Arm
               ,
               from
               the
               place
               where
               the
               Muscle
               disappears
               ,
               which
               makes
               the
               Breast
               ,
               call'd
               the
               Pectoral
               Muscle
               ,
               to
               the
               middle
               of
               the
               Arm
               ,
               four
               Noses
               .
            
             
               From
               the
               middle
               of
               the
               Arm
               to
               the
               begining
               of
               the
               Hand
               ,
               five
               Noses
               .
            
             
               The
               longest
               Toe
               ,
               is
               a
               Nose
               long
               .
            
             
               The
               two
               utmost
               parts
               of
               the
               Teats
               ,
               and
               the
               pit
               betwixt
               the
               Collar-bones
               of
               a
               Woman
               make
               an
               equailateral
               triangle
               .
            
             
               For
               the
               breadth
               ;
               of
               the
               Limbs
               no
               precise
               measures
               can
               be
               given
               ;
               because
               the
               measures
               themselves
               are
               changeable
               according
               to
               the
               quality
               of
               the
               persons
               ;
               and
               according
               to
               the
               movement
               of
               the
               Muscles
               .
            
             
               If
               you
               wou'd
               know
               the
               Proportions
               more
               particularly
               ,
               you
               may
               see
               them
               in
               
                 Paulo
                 Lomazzo
              
               :
               't
               is
               good
               to
               read
               them
               ,
               once
               at
               least
               ,
               and
               to
               make
               Remarks
               on
               them
               ;
               every
               man
               according
               to
               his
               
               own
               judgment
               ,
               and
               according
               to
               the
               occasion
               which
               he
               has
               for
               them
               .
            
             
               
                 Though
                 Perspective
                 cannot
                 be
                 call'd
                 a
                 certain
                 Rule
                 ,
              
               
               &c.
               
               That
               is
               to
               say
               ,
               purely
               of
               it self
               ,
               without
               prudence
               ,
               and
               discretion
               .
               The
               greatest
               part
               of
               those
               ,
               who
               understand
               it
               ,
               desiring
               to
               practise
               it
               too
               regularly
               ,
               often
               make
               such
               things
               as
               shock
               the
               sight
               ,
               though
               they
               are
               within
               the
               Rules
               .
               If
               all
               those
               great
               Painters
               ,
               who
               have
               left
               us
               such
               fair
               Platforms
               ,
               had
               rigorously
               observ'd
               it
               in
               their
               Figures
               ,
               they
               had
               not
               wholly
               found
               their
               account
               in
               it
               .
               They
               had
               indeed
               made
               things
               more
               regularly
               true
               ,
               but
               withall
               very
               unpleasing
               .
               There
               is
               great
               appearance
               that
               the
               Architects
               ,
               and
               Statuaries
               of
               former
               times
               ,
               have
               not
               found
               it
               to
               their
               purpose
               always
               ;
               nor
               have
               follow'd
               the
               Geometrical
               Part
               so
               exactly
               as
               Perspective
               ordains
               .
               For
               He
               who
               wou'd
               imitate
               the
               Frontispiece
               of
               the
               Rotunda
               according
               to
               Perspective
               ,
               wou'd
               be
               grosly
               deceiv'd
               ;
               since
               the
               Columns
               which
               are
               at
               the
               extremities
               have
               more
               diameter
               ,
               than
               those
               which
               are
               in
               the
               middle
               .
               The
               Cornish
               of
               the
               
                 Palazzo
                 Farnese
              
               ,
               which
               makes
               so
               beautifull
               an
               effect
               below
               ,
               when
               view'd
               more
               nearly
               ,
               will
               be
               found
               not
               to
               have
               its
               just
               measures
               .
               In
               the
               Pillar
               of
               Trajan
               ,
               we
               see
               that
               the
               highest
               Figures
               are
               greater
               than
               those
               below
               ;
               and
               make
               an
               effect
               quite
               contrary
               to
               Perspective
               ,
               
               increasing
               according
               to
               the
               measure
               of
               their
               distance
               .
               I
               know
               there
               is
               a
               Rule
               which
               teaches
               a
               way
               of
               making
               them
               in
               that
               manner
               ;
               and
               which
               though
               't
               is
               to
               be
               found
               in
               some
               Books
               of
               Perspective
               ,
               yet
               notwithstanding
               is
               no
               rule
               of
               Perspective
               .
               Because
               't
               is
               never
               made
               use
               of
               ,
               but
               onely
               when
               we
               find
               it
               for
               our
               purpose
               ;
               for
               if
               (
               
                 for
                 example
              
               )
               the
               Figures
               which
               are
               at
               the
               top
               of
               
               Trajan's
               Pillar
               ,
               were
               but
               as
               great
               as
               those
               which
               are
               at
               the
               bottom
               ,
               they
               wou'd
               not
               be
               for
               all
               that
               against
               Perspective
               :
               and
               thus
               we
               may
               say
               ,
               with
               more
               reason
               ,
               that
               it
               is
               a
               rule
               of
               Decorum
               in
               Perspective
               to
               ease
               the
               sight
               ,
               and
               to
               render
               objects
               more
               agreeable
               :
               'T
               is
               on
               this
               general
               observation
               ,
               that
               we
               may
               establish
               in
               Perspective
               ,
               the
               rules
               of
               Decorum
               (
               or
               convenience
               )
               whensoever
               occasion
               shall
               offer
               .
               We
               may
               also
               see
               another
               Example
               in
               the
               base
               of
               the
               
                 Farnesian
                 Hercules
              
               ;
               which
               is
               not
               upon
               the
               level
               ,
               but
               on
               an
               easie
               declivity
               on
               the
               advanc'd
               part
               ,
               that
               the
               feet
               of
               the
               Figure
               may
               not
               be
               hidden
               from
               the
               sight
               ,
               to
               the
               end
               that
               it
               may
               appear
               more
               pleasing
               :
               which
               the
               noble
               Authors
               of
               these
               things
               have
               done
               ,
               not
               in
               contempt
               of
               Geometry
               and
               Perspective
               ,
               but
               for
               the
               satisfaction
               of
               the
               Eyes
               ,
               which
               was
               the
               end
               they
               propos'd
               to
               themselves
               in
               all
               their
               works
               .
            
             
             
               We
               must
               therefore
               understand
               Perspective
               ,
               as
               a
               Science
               which
               is
               absolutely
               necessary
               ;
               and
               which
               a
               Painter
               must
               not
               want
               :
               Yet
               without
               Subjecting
               our selves
               so
               wholly
               to
               it
               ,
               as
               to
               become
               slaves
               of
               it
               .
               We
               are
               to
               follow
               it
               ,
               when
               it
               leads
               us
               in
               a
               pleasing
               way
               ,
               and
               that
               it
               shows
               us
               pleasing
               things
               ;
               but
               for
               some
               time
               to
               forsake
               it
               ,
               if
               it
               lead
               us
               through
               mire
               ,
               or
               to
               a
               precipice
               .
               Endeavour
               after
               that
               which
               is
               aiding
               to
               your
               Art
               ,
               and
               convenient
               ,
               but
               avoid
               whatsoever
               is
               repugnant
               to
               it
               ;
               as
               the
               59th
               rule
               teaches
               .
            
             
               
                 Let
                 every
                 Member
                 be
                 made
                 for
                 its
                 own
              
               Head
               ,
               
               &c.
               
               That
               is
               to
               say
               ,
               you
               ought
               not
               to
               set
               the
               Head
               of
               a
               Young
               man
               on
               the
               Body
               of
               an
               Old
               one
               ;
               nor
               make
               a
               white
               Hand
               for
               a
               wither'd
               Body
               .
               Not
               to
               habit
               a
               Hercules
               in
               Taffeta
               ;
               nor
               an
               Apollo
               in
               course
               stuff
               :
               Queens
               and
               persons
               of
               the
               first
               quality
               ,
               whom
               you
               wou'd
               make
               appear
               Majestical
               ,
               are
               not
               to
               be
               too
               negligently
               dress'd
               or
               indishabile
               ,
               no
               more
               than
               Old
               men
               :
               The
               Nymphs
               are
               not
               to
               be
               overcharg'd
               with
               drapery
               :
               in
               fine
               ,
               let
               all
               that
               which
               accompanies
               your
               Figures
               ,
               make
               them
               Known
               for
               what
               effectively
               they
               are
               .
            
             
               Let
               the
               Figures
               to
               which
               Art
               cannot
               give
               a
               Voice
               ,
               
               imitate
               the
               Mutes
               in
               their
               Actions
               ,
               &c.
               
            
             
               Mutes
               having
               no
               other
               way
               of
               speaking
               (
               or
               expressing
               their
               thoughts
               )
               but
               onely
               by
               their
               gestures
               .
               
               and
               their
               actions
               ,
               't
               is
               certain
               that
               they
               do
               it
               in
               a
               manner
               more
               expressive
               than
               those
               who
               have
               the
               use
               of
               Speech
               ,
               for
               which
               reason
               the
               Picture
               which
               is
               mute
               ought
               to
               imitate
               them
               ,
               so
               as
               to
               make
               it self
               understood
               .
            
             
               
                 Let
                 the
                 principal
                 Figure
                 of
                 the
                 Subject
                 ,
              
               
               &c.
               
               'T
               is
               one
               of
               the
               greatest
               blemishes
               of
               a
               Picture
               ,
               not
               to
               give
               knowledge
               at
               the
               first
               Sight
               of
               the
               Subject
               which
               it
               represents
               .
               And
               truly
               nothing
               is
               more
               perplexing
               ,
               than
               to
               extinguish
               as
               it
               were
               ,
               the
               principal
               Figure
               by
               the
               opposition
               of
               some
               others
               ,
               which
               present
               themselves
               to
               us
               at
               the
               first
               view
               ,
               and
               which
               carry
               a
               greater
               lustre
               .
               An
               Orator
               ,
               who
               had
               undertaken
               to
               make
               a
               Panegyrick
               on
               
                 Alexander
                 the
                 Great
              
               ,
               and
               who
               had
               emply'd
               the
               strongest
               Figures
               of
               his
               Rhetorique
               in
               the
               praise
               of
               Bucephalus
               ,
               would
               do
               quite
               the
               contrary
               to
               that
               which
               was
               expected
               from
               him
               ;
               Because
               it
               would
               be
               believ'd
               that
               he
               rather
               took
               the
               Horse
               for
               his
               Subject
               than
               the
               Master
               .
               A
               Painter
               is
               like
               an
               Orator
               in
               this
               .
               He
               must
               dispose
               his
               matter
               in
               such
               sort
               ,
               that
               all
               things
               may
               give
               place
               to
               his
               principal
               Subject
               .
               And
               if
               the
               other
               Figures
               ,
               which
               accompany
               it
               ,
               and
               are
               onely
               as
               Accessaries
               there
               ,
               take
               up
               the
               chief
               place
               ,
               and
               make
               themselves
               most
               remarkable
               ,
               either
               by
               the
               Beauty
               of
               their
               Colours
               ,
               or
               by
               the
               Splendour
               of
               the
               Light
               ,
               which
               strikes
               upon
               them
               ,
               they
               will
               catch
               the
               Sight
               ,
               they
               will
               
               Stop
               it
               short
               ,
               and
               not
               suffer
               it
               to
               go
               further
               than
               themselves
               ,
               till
               after
               some
               considerable
               space
               of
               time
               to
               find
               out
               that
               which
               was
               not
               discern'd
               at
               first
               .
               The
               principal
               Figure
               in
               a
               Picture
               is
               like
               a
               king
               among
               his
               Courtiers
               ,
               whom
               we
               ought
               to
               know
               at
               the
               first
               Glance
               ,
               and
               who
               ought
               to
               dim
               the
               Lustre
               of
               all
               his
               Attendants
               .
               Those
               Painters
               who
               proceed
               otherwise
               ,
               do
               just
               like
               those
               who
               in
               the
               relation
               of
               a
               story
               ingage
               themselves
               so
               foolishly
               in
               long
               digressions
               ,
               that
               they
               are
               forc'd
               to
               conclude
               quite
               another
               way
               than
               they
               began
               .
            
             
               
                 Let
                 the
                 Members
                 be
                 combin'd
                 in
                 the
                 same
                 manner
                 as
                 the
                 Figures
                 are
                 ,
              
               
               &c.
               
               I
               cannot
               better
               compare
               a
               
                 Grouppe
                 of
                 Figures
              
               than
               to
               a
               
                 Consort
                 of
                 Voices
              
               ,
               which
               supporting
               themselves
               all
               together
               by
               their
               different
               parts
               make
               a
               Harmony
               ,
               which
               pleasingly
               fills
               the
               Ears
               and
               flatters
               them
               ;
               but
               if
               you
               come
               to
               separate
               them
               ,
               and
               that
               all
               the
               parts
               are
               equally
               heard
               as
               loud
               as
               one
               another
               ,
               they
               will
               stun
               you
               to
               that
               degree
               ,
               that
               you
               would
               fancy
               your
               Ears
               were
               torn
               in
               pieces
               .
               'T
               is
               the
               same
               of
               Figures
               ;
               if
               you
               so
               assemble
               them
               ,
               that
               some
               of
               them
               sustain
               the
               others
               ,
               and
               make
               them
               appear
               ;
               and
               that
               all
               together
               they
               make
               but
               one
               entire
               Whole
               ,
               then
               your
               Eyes
               will
               be
               fully
               satisfied
               :
               But
               if
               on
               the
               contrary
               ,
               you
               divide
               them
               ,
               your
               Eyes
               will
               suffer
               by
               seeing
               them
               
                 all
                 together
              
               dispers'd
               ,
               
               or
               each
               of
               them
               
                 in
                 particular
                 .
                 All
                 together
              
               ,
               because
               the
               visual
               Rays
               are
               multiply'd
               by
               the
               Multiplicity
               of
               Objects
               .
               
                 Each
                 of
                 them
                 in
                 particular
              
               ;
               because
               ,
               if
               you
               six
               your
               Sight
               on
               one
               ,
               those
               which
               are
               about
               it
               will
               strike
               you
               and
               attract
               your
               Eyes
               to
               them
               ,
               which
               extremely
               Pains
               them
               in
               this
               sort
               of
               Separation
               and
               Diversity
               of
               Objects
               ,
               The
               Eye
               ,
               for
               example
               ,
               is
               satisfied
               with
               the
               Sight
               of
               one
               single
               Grape
               ,
               and
               is
               distracted
               ,
               if
               it
               carries
               it self
               at
               one
               view
               ,
               to
               look
               upon
               many
               several
               Grapes
               which
               lie
               Scatter'd
               on
               a
               Table
               ,
               we
               must
               have
               the
               same
               regard
               for
               the
               Members
               ;
               they
               aggrouppe
               and
               contrast
               each
               other
               in
               the
               same
               manner
               as
               the
               Figures
               do
               .
               Few
               Painters
               have
               observ'd
               this
               Precept
               as
               they
               ought
               ,
               which
               is
               a
               most
               solid
               Foundation
               for
               the
               Harmony
               of
               a
               Picture
               .
            
             
               
                 The
                 Figures
                 in
                 the
                 Grouppes
                 ought
                 not
                 to
                 be
                 like
                 each
                 other
                 in
                 their
                 Motions
                 ,
              
               
               &c.
               
               Take
               heed
               in
               this
               contrast
               to
               do
               nothing
               that
               is
               extravagant
               ,
               and
               let
               your
               Postures
               be
               always
               natural
               .
               The
               Draperies
               ,
               and
               all
               things
               that
               accompany
               Figures
               ,
               may
               enter
               into
               the
               contrast
               with
               the
               Members
               ,
               and
               with
               the
               Figures
               themselves
               :
               And
               this
               is
               what
               our
               Poet
               Means
               in
               these
               words
               of
               his
               Verses
               ,
               
                 Caetera
                 frangant
              
               .
            
             
             
               
                 One
                 side
                 of
                 the
                 Picture
                 must
                 not
                 be
                 void
                 ,
              
               
               
                 while
                 the
                 other
                 is
                 fill'd
              
               &c.
               
               This
               sort
               of
               Symmetry
               ,
               when
               it
               appears
               not
               affected
               ,
               fills
               the
               Picture
               pleasingly
               ;
               k●●eps
               it
               in
               a
               kind
               of
               balance
               ;
               and
               infinitely
               delights
               the
               Eyes
               ,
               which
               thereby
               contemplate
               the
               Work
               with
               more
               repose
               .
            
             
               
                 As
                 a
                 Play
                 is
                 seldom
                 good
                 ,
              
               
               
                 in
                 which
                 there
                 are
                 too
                 many
                 Actors
                 ,
              
               &c.
               
               
                 Annibal
                 Caracci
              
               did
               not
               belivee
               that
               a
               Picture
               cou'd
               be
               good
               ,
               in
               which
               there
               were
               above
               twelve
               Figures
               .
               It
               was
               Albano
               who
               told
               
                 our
                 Authour
              
               this
               ,
               and
               from
               his
               mouth
               I
               had
               it
               .
               The
               Reasons
               which
               he
               gave
               were
               ,
               first
               ,
               That
               he
               belive'd
               there
               ought
               not
               be
               above
               three
               great
               Grouppes
               of
               Figures
               in
               any
               Picture
               ;
               And
               Secondly
               ,
               That
               Silence
               and
               Majesty
               were
               of
               necessity
               to
               be
               there
               ,
               to
               render
               it
               beautifull
               ;
               and
               neither
               the
               one
               nor
               the
               other
               cou'd
               possibly
               be
               in
               a
               multitude
               and
               crowd
               of
               Figures
               .
               But
               nevertheless
               ,
               if
               you
               are
               constrain'd
               by
               the
               Subject
               :
               (
               
                 As
                 for
                 Example
              
               ,
               If
               you
               Painted
               the
               
                 Day
                 of
                 Iudgment
              
               ,
               the
               
                 Massacre
                 of
                 the
                 Innocents
              
               ,
               a
               Battel
               ,
               &c.
               )
               On
               such
               occasions
               you
               are
               to
               dispose
               things
               by
               great
               masses
               of
               Lights
               and
               Shadows
               ,
               and
               union
               of
               Colours
               ,
               without
               troubling
               your self
               to
               finish
               every
               thing
               in
               particular
               ,
               ind●●pendently
               one
               of
               the
               other
               ,
               as
               is
               usual
               with
               Painters
               of
               a
               little
               Genius
               ;
               and
               whose
               Souls
               are
               uncapable
               of
               embracing
               a
               great
               Design
               ,
               or
               a
               great
               Composition
               .
               
                 
                 
                   Aemylium
                   circa
                   ludum
                   ,
                   Faber
                   imus
                   &
                   ungues
                
                 
                   Exprimet
                   ,
                   &
                   molles
                   imitabitur
                   aere
                   capillos
                   ;
                
                 
                   Infelix
                   Operis
                   Summâ
                   ,
                   quia
                   ponere
                   totum
                
                 
                   Nesciet
                   .
                
              
               
                 
                   The
                   meanest
                   Sculptor
                   in
                   th'
                   Emylian
                   Square
                   ,
                
                 
                   Can
                   imitate
                   in
                   Brass
                   ,
                   the
                   Nails
                   and
                   Hair
                   ;
                
                 
                   Expert
                   in
                   Trifles
                   ,
                   and
                   a
                   cunning
                   Fool
                   ,
                
                 
                   Able
                   t'
                   express
                   the
                   Parts
                   ,
                   but
                   not
                   dispose
                   the
                   whole
                   .
                
                 
                   Says
                   Horace
                   in
                   his
                   Art
                   of
                   Poetry
                   .
                
              
            
             
               
                 The
                 Extremities
                 of
                 the
                 Ioints
                 must
                 be
                 seldom
                 hidden
                 ,
              
               
               
                 and
                 the
                 Extremities
                 or
                 End
                 of
                 the
                 Feet
                 never
                 ,
              
               &c.
               
               These
               Extremities
               of
               the
               Joints
               are
               as
               it
               were
               the
               Hafts
               or
               Handles
               of
               the
               Members
               .
               
                 For
                 example
              
               ,
               the
               Shoulders
               ,
               the
               Elbows
               ,
               the
               Thighs
               ,
               and
               the
               Knees
               .
               And
               if
               a
               Drapery
               should
               be
               found
               on
               these
               ends
               of
               the
               Joints
               ,
               't
               is
               the
               duty
               of
               Science
               and
               of
               Decorum
               ,
               to
               mark
               them
               by
               Folds
               ,
               but
               with
               great
               discretion
               ;
               for
               what
               concerns
               the
               Feet
               ,
               though
               they
               should
               be
               hidden
               by
               some
               part
               of
               the
               Drapery
               ;
               nevertheless
               ,
               if
               they
               are
               mark'd
               by
               Folds
               ,
               and
               their
               shape
               be
               distinguish'd
               ,
               they
               are
               suppos'd
               to
               be
               seen
               .
               The
               word
               never
               ,
               is
               not
               here
               to
               be
               taken
               in
               the
               strictest
               Sense
               ;
               he
               means
               but
               this
               ,
               
                 so
                 rarely
              
               ,
               that
               it
               may
               seem
               we
               should
               
               avoid
               all
               occasions
               of
               dispensing
               with
               the
               Rule
               .
            
             
               
                 The
                 Figures
                 which
                 are
                 behind
                 others
                 ,
              
               
               
                 have
                 neither
                 Grace
                 nor
                 Vigour
              
               ,
               &c.
               
               
                 Raphael
                 and
                 Iulio
                 Romano
              
               ,
               have
               perfectly
               observ'd
               this
               Maxime
               ,
               and
               Raphael
               especially
               in
               his
               last
               Works
               .
            
             
               
                 Avoid
                 also
                 those
                 Lines
                 and
                 Contours
                 which
                 are
                 equal
                 ,
              
               
               
                 which
                 make
                 Parallels
              
               ,
               &c.
               
               He
               means
               principally
               to
               speak
               of
               the
               Postures
               so
               order'd
               ,
               that
               they
               make
               together
               those
               Geometrical
               Figures
               which
               he
               condemns
               .
            
             
               
                 Be
                 not
                 so
                 strictly
                 tied
                 to
                 Nature
                 ,
              
               
               &c.
               
               This
               Precept
               is
               against
               two
               sorts
               of
               Painters
               ;
               first
               against
               those
               who
               are
               so
               scrupulously
               tied
               to
               Nature
               ,
               that
               they
               can
               do
               nothing
               without
               her
               ,
               who
               copy
               her
               just
               as
               they
               believe
               they
               see
               her
               ,
               without
               adding
               or
               retrenching
               any
               thing
               ,
               though
               never
               so
               little
               ,
               either
               for
               the
               Nudities
               or
               for
               the
               Draperies
               .
               And
               secondly
               ,
               against
               those
               who
               Paint
               every
               thing
               by
               Practice
               ,
               without
               being
               able
               to
               subject
               themselves
               to
               retouch
               any
               thing
               ,
               or
               to
               examine
               by
               the
               Nature
               .
               These
               last
               ,
               properly
               speaking
               ,
               are
               the
               Libertines
               of
               Painting
               ,
               as
               there
               are
               Libertines
               of
               Religion
               ;
               who
               have
               no
               other
               Law
               but
               the
               vehemence
               of
               their
               Inclinations
               which
               they
               are
               resolv'd
               not
               to
               overcome
               :
               and
               in
               the
               Same
               manner
               the
               Libertines
               of
               Painting
               ,
               have
               no
               other
               model
               but
               a
               
                 Rhodomontado
                 Genius
              
               ,
               and
               very
               irragular
               ,
               
               which
               violently
               hurries
               them
               away
               .
               Though
               these
               two
               sorts
               of
               Painters
               ,
               are
               both
               of
               them
               in
               
                 vicious
                 Extremes
              
               ,
               yet
               nevertheless
               the
               former
               sort
               seems
               to
               be
               the
               more
               supportable
               ;
               because
               though
               they
               do
               not
               imitate
               Nature
               as
               she
               is
               accompany'd
               by
               all
               her
               Beauties
               ,
               and
               her
               Graces
               ,
               yet
               at
               least
               they
               imitate
               that
               Nature
               ,
               which
               we
               know
               and
               daily
               see
               .
               Instead
               of
               which
               the
               others
               show
               us
               a
               wild
               or
               salvage
               Nature
               ,
               which
               is
               not
               of
               our
               acquaintance
               ,
               and
               which
               seems
               to
               be
               of
               a
               quite
               new
               Creation
               .
            
             
               
                 Whom
                 you
                 must
                 have
                 always
                 present
                 as
                 a
                 witness
                 to
                 the
                 truth
                 ,
              
               
               &c.
               
               This
               passage
               seems
               to
               be
               wonderfully
               well
               said
               .
               The
               nearer
               a
               Picture
               approaches
               to
               the
               truth
               ,
               The
               better
               it
               is
               ;
               and
               though
               the
               Painter
               ,
               who
               is
               its
               Author
               ,
               be
               the
               first
               Judge
               of
               the
               Beauties
               which
               are
               in
               it
               ,
               he
               is
               nevertheless
               oblig'd
               not
               to
               pronounce
               it
               ,
               till
               he
               has
               first
               consulted
               Nature
               ,
               who
               is
               an
               irreproachable
               evidence
               ,
               and
               who
               will
               frankly
               ,
               but
               withall
               truly
               tell
               you
               its
               Defects
               and
               Beauties
               ,
               if
               you
               compare
               it
               with
               her
               Work.
               
            
             
               
                 And
                 of
                 all
                 other
                 things
                 which
                 discover
                 to
                 us
                 the
                 Thoughts
                 and
                 inventions
                 of
                 the
              
               Graecians
               ,
               
               &c.
               
               As
               good
               Books
               ,
               such
               as
               are
               Homer
               and
               Pausanias
               ;
               the
               prints
               which
               we
               see
               of
               the
               Antiquities
               ,
               may
               extremely
               contribute
               to
               from
               our
               Genius
               ,
               and
               to
               
               give
               us
               great
               Ideas
               ;
               in
               the
               same
               manner
               as
               the
               Writings
               of
               good
               Authors
               ,
               are
               capable
               of
               forming
               a
               good
               Style
               in
               those
               who
               are
               desirous
               of
               writing
               well
               .
            
             
               
                 If
                 you
                 have
                 but
                 one
                 single
                 Figure
                 to
                 work
                 upon
                 ,
              
               
               &c.
               
               The
               reason
               of
               this
               is
               ,
               That
               there
               being
               nothing
               to
               attract
               the
               Sight
               but
               this
               onely
               Figure
               ,
               the
               Visual
               Rays
               will
               not
               be
               too
               much
               divided
               by
               the
               Diversity
               of
               Colours
               and
               Draperies
               ;
               but
               onely
               take
               heed
               to
               put
               in
               nothing
               ,
               which
               shall
               appear
               too
               sharp
               or
               too
               hard
               ;
               and
               be
               mindfull
               of
               the
               4th
               .
               Precept
               ,
               which
               says
               ,
               that
               two
               Extremities
               are
               never
               to
               touch
               each
               other
               either
               in
               Colour
               or
               in
               Light
               ;
               but
               that
               there
               must
               be
               a
               mean
               ,
               partaking
               of
               the
               one
               and
               of
               the
               other
               .
            
             
               
                 Let
                 the
                 Drapery
                 be
                 nobley
                 Spread
                 upon
                 the
                 Body
              
               ;
               
               
                 let
                 the
                 Folds
                 be
                 large
              
               ,
               &c.
               
               As
               Raphael
               practis'd
               ,
               after
               he
               had
               forsaken
               the
               manner
               of
               
                 Pietro
                 Perugino
              
               ,
               and
               principally
               in
               his
               latter
               Works
               .
            
             
               
                 And
                 let
                 them
                 follow
                 the
                 order
                 of
                 the
                 parts
                 ,
              
               
               &c.
               
               As
               the
               fairest
               pieces
               of
               Antiquity
               will
               show
               us
               .
               And
               take
               heed
               ,
               that
               the
               folds
               do
               not
               only
               follow
               the
               order
               of
               the
               parts
               ,
               but
               that
               they
               also
               mark
               the
               most
               considerable
               Muscles
               ;
               because
               that
               those
               Figures
               ,
               where
               the
               drapery
               and
               the
               naked
               part
               are
               seen
               both
               together
               ,
               are
               much
               more
               gracefull
               than
               the
               other
               .
            
             
             
               
                 Without
                 sitting
                 too
                 streight
                 upon
                 them
                 ,
              
               &c.
               
               Painters
               ought
               not
               to
               imitate
               the
               Ancients
               in
               this
               circumstance
               ;
               the
               ancient
               Statuaries
               ma●●
               their
               Draperies
               of
               wet
               Linen
               ,
               On
               purpose
               to
               make
               them
               sit
               close
               and
               streight
               to
               the
               parts
               of
               their
               Figures
               ,
               for
               doing
               which
               they
               had
               great
               reason
               ;
               and
               in
               following
               which
               the
               Painters
               would
               be
               much
               in
               the
               wrong
               :
               and
               you
               shall
               see
               upon
               what
               grounds
               those
               great
               Genius's
               of
               Antiquity
               ,
               finding
               that
               it
               was
               impossible
               to
               imitate
               with
               Marble
               the
               fineness
               of
               stuffs
               or
               garments
               which
               is
               not
               to
               be
               discern'd
               but
               by
               the
               Colours
               ,
               the
               Reflexes
               ,
               and
               more
               especially
               by
               the
               Lights
               and
               Shadows
               ,
               finding
               it
               I
               say
               out
               of
               their
               power
               to
               dispose
               of
               those
               things
               ,
               thought
               they
               could
               not
               do
               better
               nor
               more
               prudentially
               ,
               than
               to
               make
               use
               of
               such
               Draperies
               as
               hinder'd
               not
               from
               seeing
               through
               their
               Folds
               ,
               the
               delicacy
               ,
               of
               the
               Flesh
               ,
               and
               the
               purity
               of
               the
               Out-lines
               ;
               things
               which
               truly
               speaking
               they
               possest
               in
               the
               last
               perfection
               ,
               and
               which
               in
               all
               appearance
               were
               the
               subject
               of
               their
               chief
               study
               .
               But
               Painters
               ,
               on
               the
               contrary
               ,
               who
               are
               to
               deceive
               the
               Sight
               ,
               quite
               otherwise
               than
               Statuaries
               ,
               are
               bound
               to
               imitate
               the
               different
               sorts
               of
               Garments
               ,
               such
               as
               they
               naturally
               seem
               ;
               and
               such
               as
               Colours
               ,
               Reflexes
               ,
               Lights
               and
               Shadows
               (
               of
               all
               which
               they
               are
               Masters
               )
               can
               make
               them
               appear
               :
               Thus
               we
               see
               that
               
               those
               who
               have
               made
               the
               nearest
               imitations
               of
               Nature
               ,
               have
               made
               use
               of
               such
               Stuffs
               (
               or
               Garments
               )
               which
               are
               familiar
               to
               our
               Sight
               ,
               and
               these
               they
               have
               imitated
               with
               so
               much
               Art
               that
               in
               beholding
               them
               we
               are
               pleas'd
               that
               they
               deceive
               us
               ;
               such
               were
               
                 Titian
                 ,
                 Paul
                 Veronese
                 ,
                 Tintoret
                 ,
                 Rubens
                 ,
                 Van
                 Dyck
                 ,
              
               and
               the
               rest
               of
               the
               good
               Colourists
               ,
               who
               have
               come
               nearest
               to
               the
               truth
               of
               Nature
               :
               Instead
               of
               which
               ,
               others
               who
               have
               scrupulously
               tied
               themselves
               to
               the
               practice
               of
               the
               Ancients
               ,
               in
               their
               Draperies
               ,
               have
               made
               their
               works
               crude
               and
               dry
               ;
               and
               by
               this
               means
               have
               found
               out
               the
               lamentable
               secret
               how
               to
               make
               their
               Figures
               harder
               than
               even
               the
               Marble
               it self
               .
               As
               
                 Andrea
                 Mantegna
              
               ,
               and
               
                 Pietro
                 Perugino
              
               have
               done
               ,
               and
               Raphael
               also
               had
               much
               of
               that
               way
               in
               his
               first
               Works
               ,
               in
               which
               we
               behold
               many
               small
               foldings
               often
               repleited
               ,
               which
               look
               like
               so
               many
               Whip-cords
               .
               'T
               is
               true
               these
               repetitions
               are
               seen
               in
               the
               
                 Ancient
                 Statues
              
               ,
               and
               they
               are
               very
               proper
               there
               .
               Because
               they
               who
               made
               use
               of
               wet
               Linen
               ,
               and
               close
               Draperies
               ,
               to
               make
               their
               Figures
               look
               more
               tender
               ,
               reasonably
               foresaw
               that
               the
               Members
               would
               be
               too
               naked
               ,
               if
               they
               left
               not
               more
               than
               two
               or
               three
               Folds
               ,
               scarce
               appearing
               such
               as
               those
               sorts
               of
               Draperies
               afford
               the
               Sight
               ,
               and
               therefore
               have
               us'd
               those
               Repetitions
               of
               many
               Folds
               ,
               yet
               
               in
               such
               a
               manner
               that
               the
               Figures
               are
               always
               soft
               and
               tender
               ,
               and
               thereby
               seem
               opposite
               to
               the
               hardness
               of
               Marble
               .
               Add
               to
               this
               ,
               that
               in
               Sculpture
               ,
               't
               is
               almost
               impossible
               that
               a
               Figure
               cloath'd
               with
               course
               Draperies
               ,
               can
               make
               a
               good
               effect
               on
               all
               the
               sides
               ;
               and
               that
               in
               Painting
               the
               Draperies
               of
               what
               kind
               soever
               they
               be
               ,
               are
               of
               great
               advantage
               ,
               either
               to
               unite
               the
               Colours
               and
               the
               Grouppes
               ,
               or
               to
               give
               such
               a
               ground
               as
               one
               would
               wish
               to
               unite
               or
               to
               separate
               ,
               or
               farther
               ,
               to
               produce
               such
               reflections
               as
               set
               off
               ,
               or
               for
               filling
               void
               spaces
               ,
               or
               in
               short
               for
               many
               other
               advantages
               ,
               which
               help
               to
               deceive
               the
               Sight
               ,
               and
               which
               are
               no
               ways
               necessary
               to
               Sculptors
               ,
               since
               their
               Work
               is
               always
               of
               Relievo
               .
            
             
               Three
               things
               may
               be
               inferr'd
               from
               what
               I
               have
               said
               concerning
               the
               rule
               of
               Draperies
               .
               First
               ,
               that
               the
               
                 Ancient
                 Sculptors
              
               had
               reason
               to
               cloath
               their
               Figures
               as
               we
               see
               them
               .
               Secondly
               ,
               that
               Painters
               ought
               to
               imitate
               them
               in
               the
               order
               of
               their
               Folds
               ,
               but
               not
               in
               their
               quality
               nor
               in
               their
               number
               .
               Thirdly
               ,
               That
               Sculptors
               are
               oblig'd
               to
               follow
               them
               as
               much
               as
               they
               can
               ,
               without
               desiring
               to
               imitate
               unprofitably
               or
               improperly
               the
               manners
               of
               the
               Painters
               ,
               and
               to
               make
               many
               ample
               Folds
               ,
               which
               are
               insufferable
               hardnesses
               ,
               and
               more
               like
               a
               Rock
               than
               a
               natural
               Garment
               .
               
               See
               the
               
                 211th
                 .
                 Remark
              
               about
               the
               middle
               of
               it
               .
            
             
               
                 And
                 if
                 the
                 parts
                 be
                 too
                 much
                 distant
                 from
                 each
                 other
                 ,
              
               
               &c.
               
               'T
               is
               with
               intent
               to
               hinder
               (
               as
               we
               have
               said
               in
               the
               rule
               of
               Grouppes
               )
               the
               visual
               Rays
               ,
               from
               being
               too
               much
               divided
               ,
               and
               that
               the
               Eyes
               may
               not
               suffer
               by
               looking
               on
               so
               many
               objects
               ,
               which
               are
               separated
               .
               Guido
               was
               very
               exact
               in
               this
               observation
               .
               See
               in
               the
               Text
               the
               end
               of
               the
               Rule
               which
               relates
               to
               Draperies
               .
            
             
               
                 And
                 as
                 the
                 Beauty
                 of
                 the
                 Limbs
                 consists
                 not
                 in
                 the
                 quantity
                 and
                 rising
                 of
                 the
                 Muscles
                 ,
              
               
               &c.
               
               Raphael
               in
               the
               beginning
               of
               his
               Painting
               ,
               has
               somewhat
               too
               much
               multiply'd
               the
               Folds
               ;
               because
               being
               with
               reason
               charm'd
               with
               the
               graces
               of
               the
               Ancients
               ,
               he
               imitated
               their
               Beauties
               somewhat
               too
               regularly
               ;
               but
               having
               afterwards
               found
               that
               this
               quantity
               of
               Folds
               glitter'd
               too
               much
               upon
               the
               Limbs
               ,
               and
               took
               off
               that
               Repose
               and
               Silence
               which
               in
               Painting
               are
               so
               friendly
               to
               the
               Eyes
               ;
               he
               made
               use
               of
               a
               contrary
               conduct
               in
               the
               works
               which
               he
               painted
               afterwards
               ,
               which
               was
               at
               that
               time
               when
               he
               began
               to
               understand
               the
               effect
               of
               Lights
               ,
               of
               Grouppes
               ,
               and
               the
               oppositions
               of
               the
               Lights
               and
               Shadows
               ,
               so
               that
               he
               wholly
               chang'd
               his
               manner
               ,
               (
               this
               was
               about
               eight
               years
               before
               his
               death
               )
               and
               though
               he
               always
               gave
               a
               Grace
               to
               whatsoever
               he
               painted
               ,
               yet
               he
               made
               appear
               in
               his
               latter
               works
               ,
               a
               Greatness
               ,
               
               a
               Majesty
               ,
               and
               a
               Harmony
               quite
               other
               than
               what
               we
               see
               in
               his
               first
               manner
               :
               And
               this
               he
               did
               by
               lessening
               the
               number
               of
               his
               Folds
               ,
               making
               them
               more
               large
               and
               more
               opposing
               them
               ,
               and
               by
               making
               the
               Masses
               of
               the
               Lights
               and
               Shadows
               ,
               greater
               and
               more
               disentagl'd
               .
               Take
               the
               pains
               to
               examine
               these
               his
               different
               manners
               in
               the
               Prints
               which
               we
               see
               of
               that
               
                 Great
                 Man.
              
               
            
             
               
                 As
                 supposing
                 them
                 to
                 be
                 Magistrates
                 ,
              
               
               
                 their
                 Draperies
                 ought
                 to
                 be
                 large
                 ,
              
               &c.
               
               Yet
               make
               not
               your
               Draperies
               so
               large
               that
               they
               may
               be
               big
               enough
               to
               cloath
               four
               or
               five
               Figures
               ,
               as
               some
               there
               are
               who
               follow
               that
               method
               .
               And
               take
               heed
               that
               the
               folding
               be
               natural
               and
               so
               dispos'd
               ,
               that
               the
               Eye
               may
               be
               directed
               to
               discover
               the
               Folds
               from
               the
               beginning
               of
               them
               to
               the
               end
               .
               By
               Magistrates
               ,
               he
               means
               all
               great
               and
               grave
               Persons
               ,
               and
               such
               as
               are
               advanc'd
               in
               age
               .
            
             
               
                 If
                 Ladies
                 or
                 Damsels
                 ,
                 light
                 and
                 soft
                 ,
              
               
               &c.
               
               By
               this
               name
               of
               
                 Ladies
                 ,
                 Maids
              
               ,
               or
               Damsels
               ,
               he
               means
               all
               young
               persons
               ,
               slender
               ,
               finely
               shap'd
               ,
               aery
               and
               delicate
               .
               Such
               as
               are
               Nymphs
               ,
               and
               Naiades
               ,
               and
               
                 Fountains
                 .
                 Angels
              
               are
               also
               comprehended
               under
               this
               head
               ,
               whose
               Drapery
               should
               be
               of
               pleasing
               Colours
               ,
               and
               resembling
               those
               which
               are
               seen
               in
               the
               Heavens
               ,
               and
               chiefly
               when
               they
               are
               suspended
               in
               the
               Air.
               They
               are
               only
               such
               
               sorts
               of
               light
               habits
               as
               are
               subject
               to
               be
               ruffl'd
               by
               the
               Winds
               ,
               which
               can
               bear
               many
               Folds
               ;
               yet
               so
               that
               they
               may
               be
               freed
               from
               any
               hardnesses
               .
               'T
               is
               easie
               for
               every
               one
               to
               judge
               that
               betwixt
               the
               Draperies
               of
               Magistrates
               ,
               and
               those
               of
               
                 young
                 Maids
              
               ;
               there
               must
               be
               some
               mediocrity
               of
               Folds
               ,
               such
               as
               are
               most
               commonly
               seen
               and
               observ'd
               ,
               as
               in
               the
               Draperies
               of
               a
               Christ
               ,
               of
               a
               Madonna
               ,
               of
               a
               King
               ,
               a
               Queen
               ,
               or
               a
               Dutchess
               ,
               and
               of
               other
               persons
               of
               Consideration
               and
               Majesty
               ;
               and
               those
               also
               who
               are
               of
               a
               middle
               age
               with
               this
               distinction
               ,
               that
               the
               Habits
               must
               be
               made
               more
               or
               less
               rich
               ,
               according
               to
               the
               dignity
               of
               the
               Persons
               ;
               and
               that
               
                 Cloth
                 Garments
              
               may
               be
               distinguish'd
               from
               those
               of
               
                 Silk
                 ,
                 Sattin
              
               from
               
                 Velvets
                 ,
                 Brocard
              
               from
               Embroidery
               ,
               and
               that
               in
               one
               word
               the
               Eye
               may
               be
               deceiv'd
               by
               the
               truth
               and
               the
               difference
               of
               the
               Stuffs
               .
               Take
               notice
               if
               you
               please
               ,
               that
               the
               light
               and
               tender
               Draperies
               having
               been
               onely
               given
               to
               the
               Female
               Sex
               ,
               the
               
                 Ancient
                 Sculptors
              
               have
               avoided
               as
               much
               as
               they
               could
               to
               cloath
               the
               Figures
               of
               Men
               ,
               because
               they
               thought
               ,
               (
               as
               we
               have
               formerly
               said
               )
               that
               in
               Sculpture
               Garments
               could
               not
               be
               well
               imitated
               ,
               and
               that
               great
               Folds
               made
               a
               very
               bad
               effect
               .
               There
               are
               almost
               as
               many
               examples
               of
               this
               truth
               ,
               as
               amongst
               the
               Ancients
               there
               are
               Statues
               of
               naked
               men
               .
               I
               will
               name
               only
               that
               of
               Laocoon
               ,
               which
               
               according
               to
               all
               probability
               ought
               to
               have
               been
               cloath'd
               :
               And
               in
               effect
               what
               likelihood
               can
               there
               be
               ,
               that
               the
               Son
               of
               a
               King
               ,
               and
               the
               Priest
               of
               Apollo
               should
               appear
               naked
               in
               the
               actual
               Ceremony
               of
               Sacrifice
               .
               For
               the
               Serpents
               pass'd
               from
               the
               Isle
               of
               Tenedos
               to
               the
               Trojan
               Shore
               ,
               and
               surpriz'd
               Laocoon
               and
               his
               Sons
               while
               they
               were
               sacrificing
               to
               Neptune
               on
               the
               
                 Sea
                 Shore
              
               ,
               as
               Virgil
               witnesses
               in
               the
               second
               of
               his
               Eneids
               .
               Notwithstanding
               which
               ,
               the
               *
               Sculptors
               who
               were
               Authors
               of
               this
               noble
               work
               had
               well
               consider'd
               ,
               that
               they
               could
               not
               give
               Vestments
               suitable
               to
               the
               quality
               of
               the
               Persons
               represented
               ,
               without
               making
               as
               it
               were
               a
               heap
               of
               Stones
               ,
               whose
               Mass
               would
               rather
               be
               like
               a
               Rock
               ,
               than
               those
               three
               admirable
               Figures
               ,
               which
               will
               ever
               be
               the
               Admiration
               of
               all
               Ages
               .
               And
               for
               this
               reason
               of
               two
               inconveniences
               ,
               they
               judg'd
               that
               of
               Draperies
               to
               be
               greater
               ,
               than
               that
               which
               was
               against
               the
               truth
               it self
               .
            
             
               This
               observation
               well
               confirms
               what
               I
               have
               said
               in
               the
               
                 200th
                 .
                 Remark
              
               .
               It
               seems
               to
               me
               ,
               that
               it
               deserves
               you
               should
               make
               some
               reflection
               on
               it
               ;
               and
               to
               establish
               it
               the
               better
               in
               your
               mind
               ,
               I
               will
               tell
               you
               ,
               that
               
                 Michael
                 Angelo
              
               ,
               following
               
                 this
                 Maxim
              
               ,
               has
               given
               the
               Prophets
               which
               he
               painted
               in
               the
               Chappel
               of
               the
               Pope
               ,
               such
               Draperies
               whose
               
               Folds
               are
               large
               ,
               and
               whose
               Garments
               are
               course
               ,
               instead
               of
               which
               the
               Moses
               ,
               which
               he
               has
               made
               in
               Sculpture
               ,
               is
               habited
               with
               a
               Drapery
               much
               more
               close
               to
               the
               parts
               and
               holding
               more
               of
               the
               Ancients
               .
               Nevertheless
               he
               is
               a
               Prophet
               as
               well
               as
               those
               in
               the
               Chappel
               ,
               a
               man
               of
               the
               same
               quality
               ,
               and
               to
               whom
               
                 Michael
                 Angelo
              
               ought
               to
               have
               given
               the
               same
               Draperies
               ,
               if
               he
               had
               not
               been
               hinder'd
               by
               those
               very
               reasons
               which
               have
               been
               given
               you
               .
            
             
               
                 The
                 Marks
                 or
                 Ensigns
                 of
                 Vertues
                 ,
              
               
               &c.
               
               That
               is
               to
               say
               of
               the
               Sciences
               and
               Arts.
               The
               Italians
               call
               a
               man
               a
               Vertuoso
               ,
               who
               loves
               the
               noble
               Arts
               ,
               and
               is
               a
               Critick
               in
               them
               .
               And
               amongst
               our
               French
               Painters
               ,
               the
               word
               Vertueux
               ,
               is
               understood
               in
               the
               same
               Signification
               .
            
             
               
                 But
                 let
                 not
                 the
                 work
                 be
                 too
                 much
                 enrich'd
                 with
                 Gold
                 or
                 Iewels
                 ,
              
               
               &c.
               
               
                 Clemens
                 Alexandrinus
              
               relates
               ,
               That
               
                 Apelles
                 having
                 seen
                 a
              
               Helena
               ,
               
               
                 which
                 a
                 young
                 Scholar
                 of
                 his
                 had
                 made
                 and
                 adorn'd
                 with
                 a
                 great
                 quantity
                 of
                 Golden
                 Ornaments
                 and
                 Iewels
                 ,
                 said
                 to
                 him
                 ,
                 My
                 good
                 Friend
                 ,
                 though
                 thou
                 couldst
                 not
                 make
                 her
                 beautifull
                 ,
                 at
                 least
                 thou
                 hast
                 made
                 her
                 rich
                 .
              
               Besides
               that
               ,
               these
               glittering
               things
               in
               Painting
               ,
               as
               precious
               Stones
               prodigally
               strew'd
               over
               the
               habits
               are
               destructive
               to
               each
               other
               ,
               because
               they
               draw
               the
               Sight
               to
               several
               places
               at
               the
               same
               time
               ,
               and
               that
               
               they
               hinder
               round
               Bodies
               from
               turning
               and
               making
               their
               due
               effect
               ;
               't
               is
               the
               very
               quantity
               which
               often
               makes
               us
               judge
               that
               they
               are
               false
               .
               And
               be
               sides
               it
               is
               to
               be
               presum'd
               ,
               that
               precious
               things
               are
               always
               rare
               .
               
               Corinna
               ,
               that
               learned
               Theban
               Lady
               ,
               reproach'd
               Pindar
               ,
               whom
               she
               had
               five
               times
               overcome
               in
               Poetry
               ,
               that
               he
               scatter'd
               through
               all
               his
               works
               the
               Flowers
               of
               Parnassus
               too
               prodigally
               ,
               saying
               to
               him
               ,
               
                 That
                 men
                 sow'd
                 with
                 the
                 Hand
                 ,
                 and
                 not
                 with
                 the
                 Sack
                 :
              
               for
               which
               reason
               a
               Painter
               ought
               to
               adorn
               his
               Vestments
               with
               great
               discretion
               .
               And
               precious
               Stones
               look
               exceedingly
               well
               ,
               when
               they
               are
               set
               in
               those
               places
               which
               we
               would
               make
               to
               come
               out
               of
               the
               Picture
               ;
               
                 as
                 for
                 example
              
               ,
               on
               a
               Shoulder
               ,
               or
               an
               Arm
               to
               tie
               some
               Drapery
               ,
               which
               of
               it self
               is
               of
               no
               strong
               colouring
               .
               They
               do
               also
               perfectly
               well
               with
               white
               and
               other
               light
               Colours
               ,
               which
               are
               us'd
               in
               bringing
               the
               Parts
               or
               Bodies
               forward
               ,
               because
               Jewels
               make
               a
               show
               and
               glitter
               through
               the
               opposition
               of
               the
               great
               Lights
               in
               the
               deep
               brown
               ,
               which
               meet
               together
               .
            
             
               
                 'T
                 is
                 very
                 expedient
                 to
                 make
                 a
                 model
                 of
                 those
                 things
                 which
                 we
                 have
                 not
                 in
                 our
                 Sight
                 ,
              
               
               
                 and
                 whose
                 nature
                 is
                 difficult
                 to
                 be
                 retain'd
                 in
                 the
                 Memory
                 ,
              
               &c.
               
               
                 As
                 for
                 example
              
               ,
               the
               Grouppes
               of
               many
               Figures
               ,
               the
               Postures
               difficult
               to
               be
               long
               kept
               ,
               the
               Figures
               in
               
               the
               Air
               ,
               in
               Ceilings
               ,
               or
               much
               rais'd
               above
               the
               Sight
               ;
               and
               even
               of
               Animals
               ,
               which
               are
               not
               easily
               to
               be
               dispos'd
               .
            
             
               By
               this
               rule
               we
               plainly
               see
               how
               necessary
               it
               is
               for
               a
               Painter
               to
               know
               how
               to
               model
               ,
               and
               to
               have
               many
               Models
               of
               soft
               Wax
               .
               
                 Paul
                 Veronese
              
               had
               so
               good
               store
               of
               them
               ,
               with
               so
               great
               a
               quantity
               of
               different
               sorts
               ,
               that
               he
               would
               paint
               a
               whole
               historical
               Composition
               on
               a
               perspective
               Plan
               ,
               how
               great
               and
               how
               diversified
               soever
               it
               were
               .
               Tintoret
               practis'd
               the
               same
               ,
               and
               
                 Michael
                 Angelo
              
               (
               as
               
                 Giovan.
                 Bapt.
                 Armenini
              
               relates
               )
               made
               use
               of
               it
               ,
               for
               all
               the
               Figures
               of
               his
               
                 day
                 of
                 Iudgment
              
               .
               'T
               is
               not
               that
               I
               would
               advise
               any
               one
               who
               would
               make
               any
               very
               considerable
               work
               ,
               to
               finish
               after
               these
               sorts
               of
               Models
               ,
               but
               they
               will
               be
               of
               vast
               use
               and
               advantage
               to
               see
               the
               Masses
               of
               great
               Lights
               ,
               and
               great
               Shadows
               ,
               and
               the
               effect
               of
               the
               whole
               together
               .
               For
               what
               remains
               ,
               you
               are
               to
               have
               a
               *
               Lay-man
               almost
               as
               big
               as
               the
               life
               ,
               for
               every
               Figure
               in
               particular
               ,
               besides
               the
               natural
               Figure
               before
               you
               ,
               on
               which
               you
               must
               also
               look
               ,
               and
               call
               it
               for
               a
               witness
               ,
               which
               must
               first
               confirm
               the
               thing
               to
               you
               ,
               and
               afterwards
               to
               the
               Spectators
               as
               it
               is
               in
               reality
               .
            
             
               You
               may
               make
               use
               of
               these
               Models
               with
               delight
               ,
               if
               you
               set
               them
               on
               a
               
                 Perspective
                 Plan
              
               ,
               which
               
               will
               be
               in
               the
               manner
               of
               a
               Table
               made
               on
               purpose
               .
               You
               may
               either
               raise
               or
               let
               it
               down
               according
               to
               your
               convenience
               ;
               and
               if
               you
               look
               on
               your
               Figures
               through
               a
               hole
               so
               contriv'd
               ,
               that
               it
               may
               be
               mov'd
               up
               and
               down
               ,
               it
               will
               serve
               you
               for
               a
               point
               of
               Sight
               and
               a
               point
               of
               Distance
               ,
               when
               you
               have
               once
               fix'd
               it
               .
            
             
               The
               same
               hole
               will
               further
               serve
               you
               to
               set
               your
               Figures
               in
               the
               Ceiling
               and
               dispos'd
               upon
               a
               Grate
               of
               Iron-wire
               ,
               or
               supported
               in
               the
               Air
               by
               little
               Strings
               rais'd
               at
               discretion
               ,
               or
               by
               both
               ways
               together
               .
            
             
               You
               may
               joyn
               to
               your
               Figures
               what
               you
               see
               fitting
               ,
               provided
               that
               the
               whole
               be
               proportion'd
               to
               them
               ;
               and
               in
               short
               what
               you
               your self
               may
               judge
               to
               be
               of
               no
               greater
               bigness
               than
               theirs
               .
               Thus
               ,
               in
               whatsoever
               you
               do
               there
               will
               be
               more
               of
               truth
               seen
               ,
               your
               work
               it self
               will
               give
               you
               infinite
               delight
               ,
               and
               you
               will
               avoid
               many
               doubts
               and
               difficulties
               which
               often
               hinder
               you
               ,
               and
               chiefly
               for
               what
               relates
               to
               
                 lineal
                 perspective
              
               ,
               which
               you
               will
               there
               infallibly
               find
               ,
               provided
               that
               you
               remember
               to
               proportion
               all
               things
               to
               the
               greatness
               of
               your
               Figures
               and
               especially
               the
               points
               of
               Sight
               and
               of
               Distance
               ;
               but
               for
               what
               belongs
               to
               
                 aerial
                 perspective
              
               ,
               that
               not
               being
               found
               ,
               the
               judgment
               must
               supply
               it
               .
               Tintoret
               ,
               as
               Ridolphi
               tells
               us
               in
               his
               life
               ,
               
               had
               made
               Chambers
               of
               Board
               and
               Past
               board
               ,
               proportion'd
               to
               his
               Models
               with
               Doors
               and
               Windows
               ,
               through
               which
               he
               distributed
               on
               his
               Figures
               artificial
               Lights
               ,
               as
               much
               as
               he
               thought
               reasonable
               ,
               and
               often
               pass'd
               some
               part
               of
               the
               night
               to
               consider
               and
               observe
               the
               effect
               of
               his
               Compositions
               .
               His
               Models
               were
               of
               two
               Foot
               high
               .
            
             
               
                 We
                 are
                 to
                 consider
                 the
                 places
                 where
                 we
                 lay
                 the
                 Scene
                 of
                 the
                 Picture
                 ,
              
               
               &c.
               
               This
               is
               what
               Monsieur
               
                 de
                 Chambray
              
               ,
               calls
               ,
               to
               do
               things
               according
               to
               Decorum
               .
               See
               what
               he
               says
               of
               it
               ,
               in
               the
               Interpretation
               of
               
                 that
                 word
              
               in
               his
               Book
               of
               the
               
                 Perfection
                 of
                 Painting
              
               .
               'T
               is
               not
               sufficient
               that
               in
               the
               Picture
               there
               be
               nothing
               found
               which
               is
               contrary
               to
               the
               place
               ,
               where
               the
               action
               which
               is
               represented
               ,
               passes
               ;
               but
               we
               ought
               besides
               ,
               to
               mark
               out
               the
               place
               and
               make
               it
               known
               to
               the
               Spectator
               by
               some
               particular
               Address
               ,
               that
               his
               mind
               may
               not
               be
               put
               to
               the
               pains
               of
               discovering
               it
               ,
               as
               whether
               it
               be
               Italy
               ,
               or
               Spain
               ,
               or
               Greece
               ,
               or
               France
               ;
               whether
               it
               be
               near
               the
               Sea
               shore
               ,
               or
               the
               Banks
               of
               some
               River
               ,
               whether
               it
               be
               the
               Rhine
               ,
               or
               the
               Loyre
               ;
               the
               Po
               ,
               or
               the
               Tyber
               ;
               and
               so
               of
               other
               things
               ,
               if
               they
               are
               essential
               to
               the
               History
               .
               "
               Nealces
               ,
               
                 a
                 man
                 of
                 Wit
                 and
                 an
                 ingenious
                 Painter
                 ,
              
               
               as
               Pliny
               
                 tells
                 us
                 ,
                 being
                 to
                 paint
                 a
                 Naval
                 Fight
                 betwixt
                 the
              
               Egyptians
               
                 and
                 the
              
               Persians
               ,
               
                 and
                 being
                 willing
                 to
                 make
                 it
                 known
                 that
                 the
                 
                 Battle
                 was
                 given
                 upon
                 the
              
               Nile
               ,
               
                 whose
                 waters
                 are
                 of
                 the
                 same
                 Colour
                 with
                 the
                 Sea
                 ,
                 drew
                 an
                 Ass
                 drinking
                 on
                 the
                 Banks
                 of
                 the
                 River
                 ,
                 and
                 a
                 Crocodile
                 endeavouring
                 to
                 surprize
                 him
                 .
                 "
              
            
             
               
                 Let
                 a
                 Nobleness
                 and
                 Grace
              
               ,
               
               &c.
               
               It
               is
               difficult
               enough
               to
               say
               what
               this
               
                 Grace
                 of
                 Painting
              
               is
               ;
               't
               is
               to
               be
               conceiv'd
               and
               understood
               much
               more
               easily
               than
               to
               be
               explain'd
               by
               words
               .
               It
               proceeds
               from
               the
               illuminations
               of
               an
               excellent
               Mind
               ,
               which
               cannot
               be
               acquir'd
               ,
               by
               which
               we
               give
               a
               certain
               turn
               to
               things
               which
               makes
               them
               pleasing
               .
               A
               Figure
               may
               be
               design'd
               with
               all
               its
               proportions
               ,
               and
               have
               all
               its
               parts
               regular
               ,
               which
               notwithstanding
               all
               this
               ,
               shall
               not
               be
               pleasing
               ,
               if
               all
               those
               parts
               are
               not
               put
               together
               in
               a
               certain
               manner
               ,
               which
               attracts
               the
               Eye
               to
               them
               ,
               and
               holds
               it
               fix'd
               upon
               them
               :
               For
               which
               reason
               there
               is
               a
               difference
               to
               be
               made
               betwixt
               Grace
               and
               Beauty
               .
               And
               it
               seems
               that
               Ovid
               had
               a
               mind
               to
               distinguish
               them
               ,
               when
               he
               said
               (
               speaking
               of
               Venus
               )
               
                 
                   Multaque
                   cum
                   formâ
                   gratia
                   mista
                   suit
                   .
                
              
               
                 
                   A
                   matchless
                   Grace
                   was
                   with
                   her
                   Beauty
                   mix'd
                   .
                
              
            
             
               And
               Suetonius
               speaking
               of
               Nero
               ,
               says
               ,
               he
               was
               rather
               beautifull
               than
               gracefull
               .
               
                 Vultu
                 pulchro
                 ,
                 
                 magis
                 quam
                 venusto
                 .
              
               How
               many
               fair
               women
               do
               we
               see
               ,
               who
               please
               us
               much
               less
               than
               others
               ,
               who
               have
               not
               such
               beautifull
               Features
               ?
               'T
               is
               by
               this
               grace
               that
               Raphael
               has
               made
               himself
               the
               most
               renown'd
               of
               all
               the
               Italians
               ,
               as
               Apelles
               by
               the
               same
               means
               carry'd
               it
               above
               all
               the
               Greeks
               .
            
             
               
                 This
                 is
                 that
                 in
                 which
                 the
                 greatest
                 difficulty
                 consists
                 ,
              
               
               &c.
               
               For
               two
               reasons
               ,
               both
               because
               great
               study
               is
               to
               be
               made
               as
               well
               upon
               the
               ancient
               Beauties
               and
               on
               noble
               Pictures
               ,
               as
               upon
               nature
               it self
               :
               and
               also
               because
               that
               part
               depends
               entirely
               on
               the
               Genius
               ,
               and
               seems
               to
               be
               purely
               the
               gift
               of
               Heaven
               ,
               which
               we
               have
               receiv'd
               at
               our
               Birth
               ,
               upon
               which
               account
               our
               Author
               adds
               ,
               
                 Undoubtedly
                 we
                 see
                 but
                 few
                 ,
                 whom
                 in
                 this
                 particular
                 ,
              
               Jupiter
               
                 has
                 regarded
                 with
                 a
                 gracious
                 Eye
                 ,
                 so
                 that
                 it
                 belongs
                 only
                 to
                 those
                 elevated
                 Souls
                 ,
                 who
                 partake
                 somewhat
                 of
                 Divinity
                 to
                 work
                 such
                 mighty
                 wonders
                 .
              
               Though
               they
               who
               have
               not
               altogether
               receiv'd
               from
               Heaven
               this
               precious
               Gift
               ,
               cannot
               acquire
               it
               without
               great
               Labour
               ,
               nevertheless
               't
               is
               needfull
               in
               my
               opinion
               ,
               that
               both
               the
               one
               and
               the
               other
               should
               perfectly
               learn
               the
               character
               of
               every
               Passion
               .
            
             
               All
               the
               Actions
               of
               the
               
                 sensitive
                 Appetite
              
               are
               in
               Painting
               call'd
               Passions
               ,
               because
               the
               Soul
               is
               agitated
               by
               them
               ,
               and
               because
               the
               Body
               suffers
               through
               them
               ,
               and
               is
               sensibly
               alter'd
               .
               They
               are
               
               those
               divers
               Agitations
               and
               different
               Motions
               of
               the
               Body
               in
               general
               ,
               and
               of
               every
               one
               of
               its
               parts
               in
               particular
               ,
               that
               our
               excellent
               Painter
               ought
               to
               understand
               ,
               on
               which
               he
               ought
               to
               make
               his
               study
               ,
               and
               to
               form
               to
               himself
               a
               perfect
               Idea
               of
               them
               .
               But
               it
               will
               be
               proper
               for
               us
               to
               know
               in
               the
               first
               place
               ,
               that
               the
               Philosophers
               admit
               eleven
               ,
               
                 Love
                 ,
                 Hatred
                 ,
                 Desire
                 ,
                 Shunning
                 ,
                 Ioy
                 ,
                 Sadness
                 ,
                 Hope
                 ,
                 Despair
                 ,
                 Boldness
                 ,
                 Fear
              
               and
               Anger
               .
               The
               Painters
               have
               multiply'd
               them
               not
               onely
               by
               their
               different
               Degrees
               ,
               but
               also
               by
               their
               different
               Species
               ,
               for
               they
               will
               make
               ,
               
                 for
                 example
              
               ,
               six
               persons
               in
               the
               same
               degree
               of
               Fear
               ,
               who
               shall
               express
               that
               Passion
               all
               of
               them
               differently
               .
               And
               't
               is
               that
               diversity
               of
               Species
               which
               distinguishes
               those
               Painters
               who
               are
               
                 able
                 Artists
              
               ,
               from
               those
               whom
               we
               may
               call
               Mannerists
               ,
               and
               who
               repeat
               five
               or
               six
               times
               over
               in
               the
               same
               Picture
               the
               same
               Hairs
               of
               a
               Head.
               There
               are
               a
               vast
               number
               of
               other
               Passions
               ,
               which
               are
               as
               the
               Branches
               of
               those
               which
               we
               have
               nam'd
               :
               we
               might
               for
               example
               ,
               under
               the
               Notion
               of
               Love
               ,
               comprehend
               
                 Grace
                 ,
                 Gentleness
              
               and
               
                 Civility
                 ;
                 Caresses
                 ,
                 Embraces
              
               ,
               and
               
                 Kisses
                 ,
                 Tranquillity
              
               and
               Sweetness
               ;
               and
               without
               examining
               whether
               all
               these
               things
               which
               Painters
               comprize
               under
               the
               name
               of
               Passions
               ,
               can
               be
               reduc'd
               to
               those
               of
               the
               Philosophers
               ,
               I
               am
               of
               opinion
               that
               
               every
               one
               may
               use
               them
               at
               his
               pleasure
               ,
               and
               that
               he
               may
               study
               them
               after
               his
               own
               manner
               ;
               the
               name
               makes
               nothing
               .
               One
               may
               even
               make
               Passions
               of
               
                 Majesty
                 ,
                 fierceness
                 ,
                 Dissatisfaction
                 ,
                 Care
                 ,
                 Avarice
                 ,
                 Sloathfulness
                 ,
                 Envy
                 ,
              
               and
               many
               other
               things
               like
               these
               .
               These
               Passions
               (
               as
               I
               have
               said
               ,
               )
               ought
               to
               be
               learnt
               from
               the
               life
               it self
               ,
               or
               to
               be
               studied
               on
               the
               
                 Ancient
                 Statues
              
               and
               
                 excellent
                 Pictures
              
               :
               we
               ought
               to
               see
               ,
               
                 for
                 example
              
               ,
               all
               things
               which
               belong
               to
               Sadness
               ,
               or
               serve
               to
               express
               it
               to
               design
               them
               carefully
               ,
               and
               to
               imprint
               in
               our
               Memories
               after
               such
               a
               manner
               ,
               as
               we
               may
               distinctly
               understand
               seven
               or
               eight
               kinds
               of
               them
               more
               or
               less
               ,
               and
               immediately
               after
               draw
               them
               upon
               Paper
               without
               any
               other
               Original
               than
               the
               Image
               which
               we
               have
               conceiv'd
               of
               them
               .
               We
               must
               be
               perfect
               Masters
               of
               them
               :
               but
               above
               all
               ,
               we
               must
               make
               sure
               of
               possessing
               them
               throughly
               .
               We
               are
               to
               know
               that
               it
               is
               such
               or
               such
               a
               stroke
               ,
               or
               such
               a
               Shadow
               stronger
               or
               weaker
               ,
               which
               make
               such
               or
               such
               a
               Passion
               in
               this
               or
               that
               degree
               .
               And
               thus
               ,
               if
               any
               one
               should
               ask
               you
               ,
               what
               makes
               in
               Painting
               the
               Majesty
               of
               a
               King
               ,
               the
               Gravity
               of
               a
               Hero
               ,
               the
               Love
               of
               a
               Christ
               ,
               the
               Grief
               of
               a
               Madonna
               ,
               the
               Hope
               of
               the
               
                 good
                 Thief
              
               ,
               the
               Despair
               of
               the
               
                 bad
                 One
              
               ,
               the
               Grace
               and
               Beauty
               of
               a
               Venus
               ,
               and
               in
               fine
               the
               Character
               of
               any
               Passion
               whatsoever
               ,
               you
               may
               answer
               positively
               ,
               
               on
               the
               spot
               ,
               and
               with
               assurance
               ,
               that
               it
               is
               
                 such
                 a
                 Posture
              
               or
               
                 such
                 lines
              
               in
               the
               parts
               of
               the
               Face
               ,
               form'd
               of
               such
               or
               
                 such
                 a
                 fashion
              
               ,
               or
               even
               the
               one
               and
               the
               other
               both
               together
               :
               for
               the
               parts
               of
               the
               Body
               separately
               ,
               make
               known
               the
               Passions
               of
               the
               Soul
               or
               else
               conjoyntly
               one
               with
               the
               other
               .
               But
               of
               all
               the
               parts
               the
               Head
               is
               that
               which
               gives
               the
               most
               of
               Life
               ,
               and
               the
               most
               of
               Grace
               to
               the
               Passion
               ,
               and
               which
               alone
               contributes
               more
               to
               it
               ,
               than
               all
               the
               rest
               together
               .
               The
               
                 others
                 separately
              
               can
               onely
               express
               some
               certain
               Passions
               ,
               but
               the
               Head
               expresses
               
                 all
                 of
                 them
              
               ;
               nevertheless
               there
               are
               some
               which
               are
               more
               particular
               to
               it
               ;
               as
               ,
               
                 for
                 example
                 ,
                 Humility
              
               ,
               which
               it
               expresses
               by
               the
               stooping
               or
               bending
               of
               the
               
                 Head.
                 Arrogance
              
               ,
               when
               it
               is
               lifted
               ,
               or
               as
               we
               say
               ,
               toss'd
               up
               .
               Languishment
               ,
               when
               we
               hang
               it
               on
               one
               side
               ,
               or
               lean
               it
               upon
               one
               Shoulder
               .
               Obstinacy
               (
               or
               as
               the
               French
               calls
               it
               Opiniatreté
               ,
               )
               with
               a
               certain
               stubborn
               ,
               unruly
               ,
               barbarous
               Humour
               ,
               when
               't
               is
               held
               upright
               ,
               stiff
               ,
               and
               poiz'd
               betwixt
               the
               Shoulders
               .
               And
               of
               the
               rest
               ,
               there
               are
               many
               marks
               more
               easily
               conceiv'd
               than
               they
               can
               be
               express'd
               ;
               as
               ,
               
                 Bashfulness
                 ,
                 Admiration
                 ,
                 Indignation
              
               ,
               and
               Doubt
               .
               'T
               is
               by
               the
               Head
               that
               we
               make
               known
               more
               visibly
               our
               Supplications
               ,
               our
               Threatnings
               ,
               our
               Mildness
               ,
               our
               Haughtiness
               ,
               our
               Love
               ,
               our
               Hatred
               ,
               our
               Ioy
               ,
               our
               Sadness
               ,
               our
               
               Humility
               ;
               in
               fine
               ,
               't
               is
               enough
               to
               see
               the
               Face
               ,
               and
               to
               understand
               the
               Mind
               at
               half
               a
               word
               .
               
                 Blushing
                 and
                 Paleness
              
               speak
               to
               us
               ,
               as
               also
               the
               mixture
               of
               them
               both
               .
            
             
               The
               parts
               of
               the
               Face
               do
               all
               of
               them
               contribute
               to
               expose
               the
               Thoughts
               of
               our
               Hearts
               ;
               but
               above
               the
               rest
               ,
               the
               Eyes
               ,
               which
               are
               as
               it
               were
               the
               two
               Windows
               through
               which
               the
               Soul
               looks
               out
               and
               shows
               it self
               .
               The
               Passions
               which
               they
               more
               particularly
               express
               ,
               are
               
                 Pleasure
                 ,
                 Languishment
                 ,
                 Disdain
                 ,
                 Severity
                 ,
                 Sweetness
                 ,
                 Admiration
              
               and
               
                 Anger
                 .
                 Ioy
              
               and
               Sadness
               may
               bear
               their
               parts
               ,
               if
               they
               did
               not
               more
               especially
               proceed
               from
               the
               Eye-brows
               and
               the
               Mouth
               .
               And
               the
               two
               parts
               last
               nam'd
               agree
               more
               particularly
               in
               the
               expression
               of
               those
               two
               Passions
               ;
               nevertheless
               if
               you
               joyn
               the
               Eyes
               as
               a
               third
               ,
               you
               will
               have
               the
               Product
               of
               a
               wonderfull
               Harmony
               for
               all
               the
               Passions
               of
               the
               Soul.
               
            
             
               The
               Nose
               has
               no
               Passion
               which
               is
               particular
               to
               it
               ,
               it
               onely
               lends
               its
               assistance
               to
               the
               others
               before
               nam'd
               ,
               by
               the
               stretching
               of
               the
               Nostrils
               ,
               which
               is
               as
               much
               mark'd
               in
               Ioy
               ,
               as
               it
               is
               in
               Sadness
               .
               And
               yet
               it
               seems
               that
               Scorn
               makes
               us
               wrinkle
               up
               the
               Nose
               and
               stretch
               the
               Nostrils
               also
               ,
               at
               the
               same
               time
               ,
               drawing
               up
               the
               
                 upper
                 Lip
              
               to
               the
               place
               which
               is
               near
               the
               corners
               of
               the
               Mouth
               .
               The
               
               Ancients
               made
               the
               Nose
               the
               seat
               of
               
                 Derision
                 ;
                 eum
                 subdolae
                 irr●●sioni
                 dicaverunt
                 ,
              
               says
               Pliny
               ;
               that
               is
               ,
               they
               dedicated
               the
               Nose
               to
               a
               cunning
               sort
               of
               Mockery
               .
               We
               read
               in
               the
               
                 3d.
                 Satyre
              
               of
               
                 Persius
                 ,
                 Disce
                 ,
                 sed
                 ira
                 cadat
                 Naso
                 ,
                 rugosaque
                 sanna
              
               ;
               Learn
               ;
               but
               let
               your
               Anger
               fall
               from
               your
               Nose
               and
               the
               sneering
               Wrinkles
               be
               dismounted
               .
               And
               Philostratus
               in
               the
               Picture
               of
               Pan
               whom
               the
               Nymphs
               had
               bound
               ,
               and
               scornfully
               insulted
               over
               ,
               says
               of
               that
               God
               ;
               "
               
                 that
                 before
                 this
                 ,
                 he
                 was
                 accustom'd
                 to
                 sleep
                 with
                 a
                 peaceable
                 Nose
                 ,
                 softning
                 in
                 his
                 slumbers
                 the
                 Wrinkles
                 of
                 it
                 ,
                 and
                 the
                 Anger
                 which
                 commonly
                 mounted
                 to
                 that
                 part
                 ;
                 but
                 now
                 his
                 Nostrils
                 were
                 widen'd
                 to
                 the
                 last
                 degree
                 of
                 Fury
                 .
              
               "
               For
               my
               own
               part
               ,
               I
               should
               rather
               believe
               that
               the
               Nose
               was
               the
               seat
               of
               Wrath
               in
               Beasts
               than
               in
               Mankind
               ,
               and
               that
               it
               was
               unbecoming
               of
               any
               God
               but
               onely
               Pan
               ,
               who
               had
               very
               much
               of
               the
               Beast
               in
               him
               ,
               to
               wrinkle
               up
               his
               Nose
               in
               Anger
               ,
               like
               other
               Animals
               .
               The
               moving
               of
               the
               Lips
               ought
               to
               be
               but
               moderate
               ,
               if
               it
               be
               in
               Conversation
               ,
               because
               we
               speak
               much
               more
               by
               the
               Tongue
               than
               by
               the
               Lips
               :
               And
               if
               you
               make
               the
               Mouth
               very
               open
               ,
               't
               is
               onely
               when
               you
               are
               to
               express
               the
               violence
               of
               Passion
               ,
               and
               more
               properly
               of
               Anger
               .
            
             
               For
               what
               concerns
               the
               Hands
               ,
               they
               are
               the
               Servants
               of
               the
               Head
               ,
               they
               are
               his
               Weapons
               and
               his
               
               Auxiliaries
               ;
               without
               them
               the
               action
               is
               weak
               ,
               languishing
               ,
               and
               half
               dead
               ,
               their
               Motions
               which
               are
               almost
               infinite
               ,
               make
               innumerable
               expressions
               :
               Is
               it
               not
               by
               them
               ,
               that
               we
               desire
               ,
               that
               we
               hope
               ,
               that
               we
               promise
               ,
               that
               we
               
                 call
                 towards
                 us
              
               ,
               and
               that
               we
               reject
               ?
               besides
               ,
               they
               are
               the
               instruments
               of
               our
               Threats
               ,
               of
               our
               Petitions
               ,
               of
               the
               Horror
               which
               we
               show
               for
               things
               ,
               and
               of
               the
               Praises
               which
               we
               give
               them
               :
               By
               them
               we
               fear
               ,
               we
               
                 ask
                 Questions
              
               ,
               we
               approve
               ,
               and
               we
               refuse
               ,
               we
               show
               our
               Ioy
               and
               our
               Sadness
               ,
               our
               Doubts
               ,
               and
               our
               Lamentations
               ,
               our
               
                 Concernments
                 of
                 Pity
              
               ,
               and
               our
               Admirations
               .
               In
               short
               ,
               it
               may
               be
               said
               ,
               that
               they
               are
               the
               Language
               of
               the
               Dumb
               ,
               that
               they
               contribute
               not
               a
               little
               to
               the
               speaking
               of
               the
               
                 universal
                 Tongue
              
               ,
               common
               to
               all
               the
               World
               ,
               which
               is
               that
               of
               Painting
               .
            
             
               Now
               to
               tell
               you
               how
               these
               parts
               are
               to
               be
               dispos'd
               ,
               so
               as
               to
               express
               the
               different
               Passions
               ,
               is
               impossible
               ;
               no
               precise
               Rules
               can
               be
               given
               of
               it
               ,
               both
               because
               the
               task
               it self
               is
               infinite
               ,
               and
               also
               because
               every
               one
               is
               left
               to
               the
               Conduct
               of
               his
               own
               Genius
               ,
               and
               to
               the
               Fruit
               of
               his
               former
               Studies
               ;
               onely
               remember
               to
               be
               carefull
               ,
               that
               all
               the
               actions
               of
               your
               Figures
               must
               be
               natural
               .
               "
               
                 It
                 seems
                 to
                 me
                 ,
                 says
                 Quinctilian
                 ,
              
               speaking
               of
               the
               Passions
               ,
               
                 That
                 this
                 part
                 which
                 is
                 so
                 noble
                 and
                 so
                 great
                 ,
                 is
                 
                 not
                 altogether
                 unaccessible
                 ,
                 and
                 that
                 an
                 easie
                 way
                 may
                 be
                 found
                 to
                 it
                 ;
                 't
                 is
                 to
                 consider
                 nature
                 and
                 to
                 copy
                 her
                 ,
                 for
                 the
                 Spectators
                 are
                 satisfied
                 ,
                 when
                 in
                 artificial
                 things
                 they
                 can
                 discern
                 that
                 nature
                 which
                 they
                 are
                 accustom'd
                 to
                 behold
                 .
                 "
              
               This
               passage
               of
               Quinctilian
               is
               perfectly
               explain'd
               by
               the
               words
               of
               an
               excellent
               Master
               which
               our
               Author
               proposes
               to
               us
               for
               a
               rule
               :
               they
               are
               these
               which
               follow
               .
               
                 That
                 the
                 studied
                 Motions
                 of
                 the
                 Soul
                 ,
                 are
                 never
                 so
                 natural
                 as
                 those
                 which
                 we
                 see
                 in
                 the
                 transport
                 of
                 a
                 true
                 passion
                 .
              
               These
               Motions
               will
               better
               be
               express'd
               ,
               and
               be
               much
               more
               natural
               ,
               if
               we
               enter
               into
               the
               same
               thoughts
               ,
               become
               of
               the
               same
               piece
               ,
               and
               imagine
               our selves
               to
               be
               in
               the
               same
               circumstances
               with
               those
               whom
               we
               would
               represent
               .
               "
               
                 For
                 Nature
              
               ,
               says
               Horace
               in
               his
               Art
               of
               Poetry
               ,
               
                 disposes
                 the
                 inside
                 of
                 Mankind
                 to
                 all
                 sorts
                 of
                 Fortunes
                 ,
                 sometimes
                 she
                 makes
                 us
                 contented
                 ,
                 sometimes
                 she
                 drives
                 us
                 into
                 Choler
                 ,
                 and
                 sometimes
                 she
                 so
                 oppresses
                 us
                 with
                 Grief
                 ,
                 that
                 she
                 seems
                 to
                 tread
                 us
                 down
                 and
                 plunge
                 us
                 into
                 mortal
                 Anxieties
                 ;
                 and
                 on
                 all
                 these
                 occasions
                 ,
                 she
                 drives
                 outwards
                 the
                 Motions
                 of
                 the
                 Heart
                 by
                 the
                 Tongue
                 which
                 is
                 her
                 Interpreter
                 .
                 "
              
               Now
               instead
               of
               the
               Tongue
               ,
               let
               the
               Painter
               say
               by
               the
               Actions
               ,
               which
               are
               her
               Interpreters
               .
               "
               
                 What
                 means
                 have
                 we
              
               ,
               (
               says
               
                 Quinctilian
                 ,
                 )
                 to
                 give
                 a
                 Colour
                 to
                 a
                 thing
                 if
                 we
                 have
                 not
                 the
                 same
                 Colour
                 ;
                 't
                 is
                 necessary
                 
                 that
                 we
                 our selves
                 should
                 first
                 be
                 touch'd
                 with
                 a
                 Passion
                 before
                 we
                 endeavour
                 to
                 move
                 others
                 with
                 it
                 .
                 And
                 how
                 ,
              
               continues
               he
               ,
               
                 can
                 we
                 be
                 touch●●d
                 ,
                 since
                 the
                 Passions
                 are
                 not
                 in
                 our
                 power
                 ?
                 This
                 is
                 the
                 way
                 in
                 my
                 opinion
                 ;
                 We
                 must
                 form
                 to
                 our selves
                 the
                 Visions
                 and
                 Images
                 of
                 absent
                 things
                 ,
                 as
                 if
                 they
                 were
                 in
                 reality
                 before
                 our
                 Eyes
                 ;
                 and
                 he
                 who
                 conceives
                 these
                 Images
                 with
                 the
                 greatest
                 strength
                 of
                 Imagination
                 ,
                 shall
                 possess
                 that
                 part
                 of
                 the
                 Passions
                 with
                 the
                 most
                 advantage
                 and
                 the
                 greatest
                 ease
                 .
                 "
              
               But
               we
               must
               take
               care
               ,
               as
               I
               have
               already
               said
               ,
               that
               in
               these
               visions
               ,
               the
               Motions
               may
               be
               natural
               ,
               for
               there
               are
               some
               who
               imagine
               they
               have
               given
               abundance
               of
               Light
               to
               their
               Figures
               ,
               when
               they
               have
               made
               them
               do
               violent
               and
               
                 extravagant
                 Actions
              
               ,
               which
               we
               may
               more
               reasonably
               call
               the
               Convulsions
               or
               
                 Contorsions
                 of
                 the
                 Body
              
               ,
               than
               the
               
                 Passions
                 of
                 the
                 Mind
              
               ;
               and
               by
               this
               means
               often
               put
               themselves
               to
               much
               pains
               ,
               to
               find
               a
               strong
               Passion
               ,
               where
               no
               Passion
               is
               requir'd
               .
               Add
               to
               all
               that
               I
               have
               said
               concerning
               the
               Passions
               ,
               that
               we
               are
               to
               have
               a
               very
               serious
               regard
               to
               the
               quality
               of
               the
               Persons
               who
               are
               to
               be
               express'd
               in
               Passions
               .
               The
               Ioy
               of
               a
               King
               ought
               not
               to
               resemble
               that
               of
               a
               Serving-man
               .
               And
               the
               Fierceness
               of
               a
               
                 private
                 Soldier
              
               must
               not
               be
               like
               that
               of
               an
               Officer
               .
               In
               these
               differences
               consists
               all
               the
               Fineness
               and
               Delicacy
               of
               the
               
                 Passions
                 .
                 
                 Paulo
                 Lomazzo
              
               has
               written
               at
               large
               on
               every
               Passion
               in
               particular
               ,
               in
               his
               
                 second
                 Book
              
               ,
               but
               beware
               you
               dwell
               not
               too
               long
               upon
               it
               ,
               and
               endeavour
               not
               to
               force
               your
               Genius
               .
            
             
               
                 Some
                 Reliques
                 of
                 it
                 took
                 Sanctuary
                 under
                 ground
                 ,
              
               
               &c.
               
               All
               the
               ancient
               Painting
               that
               was
               in
               Italy
               perish'd
               in
               the
               Invasion
               of
               the
               Hunns
               and
               Goths
               ,
               excepting
               those
               works
               which
               were
               hidden
               under
               ground
               or
               there
               painted
               ,
               which
               by
               reason
               they
               had
               not
               been
               much
               expos'd
               to
               view
               ,
               were
               preserv'd
               from
               the
               insolence
               of
               those
               Barbarians
               .
            
             
               
                 The
                 Cromatique
                 part
                 or
                 Colouring
              
               ,
               
               &c.
               
               The
               third
               and
               last
               part
               of
               Painting
               ,
               is
               call'd
               the
               Cromatique
               or
               Colouring
               .
               It
               s
               object
               is
               Colour
               ,
               for
               which
               reason
               ,
               Lights
               and
               Shadows
               are
               therein
               also
               comprehended
               ,
               which
               are
               nothing
               else
               but
               white
               and
               brown
               (
               or
               dark
               ,
               )
               and
               by
               consequence
               have
               their
               place
               among
               the
               
                 Colours
                 .
                 Philostratus
              
               says
               in
               his
               life
               of
               
                 Apollonius
                 ,
                 "
                 That
                 it
                 may
                 be
                 truly
                 call'd
                 Painting
                 which
                 is
                 made
                 only
                 with
                 two
                 Colours
                 ,
                 provided
                 the
                 Lights
                 and
                 Shadows
                 be
                 observ'd
                 in
                 it
                 :
                 for
                 there
                 we
                 behold
                 the
                 true
                 resemblance
                 of
                 things
                 with
                 their
                 Beauties
                 ;
                 we
                 also
                 see
                 the
                 Passions
                 ,
                 though
                 without
                 other
                 Colours
                 :
                 so
                 much
                 of
                 life
                 may
                 be
                 also
                 express'd
                 in
                 it
                 ,
                 that
                 we
                 may
                 perceive
                 even
                 the
                 very
                 Bloud
                 :
                 the
                 Colour
                 of
                 the
                 Hair
                 and
                 of
                 the
                 Beard
                 ,
                 are
                 likewise
                 to
                 be
                 discern'd
                 ,
                 and
                 we
                 can
                 distinguish
                 
                 without
                 confusion
                 ,
                 the
                 fair
                 from
                 the
                 black
                 ,
                 and
                 the
                 young
                 from
                 the
                 old
                 ,
                 the
                 differences
                 betwixt
                 the
                 white
                 and
                 the
                 flaxen
                 hair
                 ;
                 we
                 distinguish
                 with
                 ease
                 betwixt
                 the
              
               Moors
               
                 and
                 the
              
               Indians
               ;
               
                 not
                 onely
                 by
                 the
              
               Camus
               
                 Noses
                 of
                 the
                 Blacks
                 ,
                 their
                 woolly
                 Hair
                 and
                 their
                 high
                 Iaws
                 ,
                 but
                 also
                 by
                 that
                 black
                 Colour
                 which
                 is
                 natural
                 to
                 them
                 .
                 "
              
               We
               may
               add
               to
               what
               Philostratus
               has
               said
               ,
               that
               with
               two
               onely
               Colours
               ,
               the
               Light
               and
               the
               Dark
               ,
               there
               is
               no
               sort
               of
               Stuff
               or
               Habit
               but
               may
               be
               imitated
               ;
               we
               say
               then
               ,
               that
               the
               colouring
               makes
               its
               observations
               on
               the
               Masses
               or
               Bodies
               of
               the
               Colours
               ,
               accompany'd
               with
               Lights
               and
               Shadows
               more
               or
               less
               evident
               by
               degrees
               of
               diminution
               ,
               according
               to
               the
               Accidents
               .
               First
               of
               a
               luminous
               Body
               ;
               as
               for
               example
               ,
               the
               Sun
               or
               a
               Torch
               .
               Secondly
               ,
               of
               a
               diaphanous
               or
               transparent
               Body
               ,
               which
               is
               betwixt
               us
               and
               the
               object
               ,
               as
               the
               Air
               either
               pure
               or
               thick
               ,
               or
               a
               red
               Glass
               ,
               &c.
               
               Thirdly
               ,
               of
               a
               solid
               Body
               illuminated
               ,
               as
               a
               Statue
               of
               white
               Marble
               ,
               a
               green
               Tree
               ,
               a
               black
               Horse
               ,
               &c.
               
               Fourthly
               ,
               from
               his
               part
               ,
               who
               regards
               the
               Body
               illuminated
               ,
               as
               beholding
               it
               either
               near
               or
               at
               a
               distance
               ,
               directly
               in
               a
               right
               Angle
               ,
               or
               aside
               in
               an
               obtuse
               Angle
               ,
               from
               the
               top
               to
               the
               bottom
               ,
               or
               from
               the
               bottom
               to
               the
               top
               .
               This
               part
               in
               the
               knowledge
               which
               it
               has
               of
               the
               vertue
               of
               Colours
               ,
               and
               the
               Friendship
               
               which
               they
               have
               with
               each
               other
               ,
               and
               also
               their
               Antipathies
               ,
               it
               comprehends
               the
               Strength
               ,
               the
               Relievo
               ,
               the
               Briskness
               ,
               and
               the
               Delicacy
               which
               are
               observ'd
               in
               good
               Pictures
               ,
               the
               management
               of
               Colours
               ,
               and
               the
               labour
               depend
               also
               on
               this
               last
               part
               .
            
             
               
                 Her
                 Sister
              
               ,
               
               &c.
               That
               is
               to
               say
               ,
               the
               Design
               or
               Drawing
               ,
               which
               is
               the
               
                 second
                 part
                 of
                 Painting
              
               ;
               which
               consisting
               onely
               of
               Lines
               ,
               stands
               altogether
               in
               need
               of
               the
               Colouring
               to
               appear
               .
               'T
               is
               for
               this
               reason
               ,
               that
               our
               Author
               calls
               this
               part
               her
               Sisters
               Procurer
               ,
               that
               is
               ,
               the
               Colouring
               shows
               us
               the
               Design
               ,
               and
               makes
               us
               fall
               in
               love
               with
               it
               .
            
             
               
                 The
                 Light
                 produces
                 all
                 kinds
                 of
                 Colours
                 ,
              
               
               &c.
               
               Here
               are
               three
               Theorems
               successively
               following
               ,
               which
               our
               Author
               proposes
               to
               us
               ,
               that
               from
               thence
               we
               may
               draw
               some
               conclusions
               .
               You
               may
               likewise
               find
               others
               ,
               which
               are
               in
               the
               nature
               of
               so
               many
               Propositions
               to
               which
               we
               ought
               to
               agree
               ,
               that
               from
               thence
               we
               may
               draw
               the
               Precepts
               contain'd
               in
               the
               following
               part
               of
               this
               Treatise
               ;
               they
               are
               all
               founded
               on
               the
               Sense
               of
               Seeing
               .
            
             
               Which
               ought
               to
               be
               the
               most
               ,
               
               
                 &c.
                 
                 See
                 the
              
               Remark
               of
               number
               152.
               
            
             
               
                 That
                 you
                 may
                 make
                 the
                 Bodies
                 appear
                 enlightned
                 by
                 the
                 shadows
                 which
                 bound
                 your
                 Sight
                 ,
              
               
               &c.
               
               That
               is
               properly
               to
               say
               ,
               that
               after
               the
               great
               Lights
               ,
               there
               must
               be
               great
               Shadows
               ,
               which
               we
               call
               reposes
               :
               
               because
               in
               reality
               the
               Sight
               would
               be
               tired
               ,
               if
               it
               were
               attracted
               by
               a
               Continuity
               of
               glittering
               objects
               .
               The
               Lights
               may
               serve
               for
               a
               repose
               to
               the
               Darks
               ,
               and
               the
               Darks
               to
               the
               Lights
               .
               I
               have
               said
               in
               another
               place
               ,
               that
               a
               
                 Grouppe
                 of
                 Figures
              
               ought
               to
               be
               consider'd
               ,
               as
               a
               
                 Choir
                 of
                 Musick
              
               ,
               in
               which
               the
               Bases
               support
               the
               Trebles
               ,
               and
               make
               them
               to
               be
               heard
               with
               greater
               pleasure
               .
               These
               reposes
               are
               made
               two
               several
               ways
               ,
               one
               of
               which
               is
               Natural
               ,
               the
               other
               Artificial
               .
               The
               Natural
               is
               made
               by
               an
               extent
               of
               Lights
               or
               of
               Shadows
               ;
               which
               naturally
               and
               necessarily
               follow
               solid
               Bodies
               ,
               or
               the
               Masses
               of
               solid
               Bodies
               aggroupp'd
               when
               the
               Light
               strikes
               upon
               them
               .
               And
               the
               Artificial
               consists
               in
               the
               Bodies
               of
               Colours
               ,
               which
               the
               Painter
               gives
               to
               certain
               things
               ,
               such
               as
               pleases
               him
               ;
               and
               composes
               them
               in
               such
               a
               manner
               ,
               that
               they
               do
               no
               injury
               to
               the
               objects
               which
               are
               near
               them
               .
               A
               Drapery
               ,
               
                 for
                 example
              
               ,
               which
               is
               made
               yellow
               or
               red
               on
               some
               certain
               place
               ,
               in
               another
               place
               may
               be
               brown
               ,
               and
               will
               be
               more
               suitable
               to
               it
               ,
               to
               produce
               the
               effect
               requir'd
               .
               We
               are
               to
               take
               occasion
               as
               much
               as
               possibly
               we
               can
               ,
               to
               make
               use
               of
               the
               first
               manner
               ,
               and
               to
               find
               the
               repose
               of
               which
               we
               speak
               ,
               by
               the
               Light
               and
               by
               the
               Shadow
               ,
               which
               naturally
               accompany
               solid
               Bodies
               .
               But
               since
               the
               Subjects
               on
               which
               we
               work
               are
               not
               always
               
               favourable
               to
               dispose
               the
               Bodies
               as
               we
               desire
               ,
               a
               Painter
               in
               such
               a
               case
               may
               take
               his
               advantage
               by
               the
               Bodies
               of
               Colours
               ,
               and
               put
               into
               such
               places
               as
               ought
               to
               be
               darken'd
               ,
               Draperies
               or
               other
               things
               which
               we
               may
               suppose
               to
               be
               naturally
               brown
               and
               sully'd
               ,
               which
               will
               produce
               the
               same
               effect
               and
               give
               him
               the
               same
               reposes
               as
               the
               Shadows
               would
               which
               could
               not
               be
               caus'd
               by
               the
               disposition
               of
               the
               objects
               .
            
             
               Thus
               ,
               an
               understanding
               Painter
               will
               make
               his
               advantages
               both
               of
               the
               one
               manner
               and
               the
               other
               .
               And
               if
               he
               makes
               a
               design
               to
               be
               grav'd
               ,
               he
               is
               to
               remember
               that
               the
               Gravers
               dispose
               not
               their
               Colours
               as
               the
               Painters
               do
               ;
               and
               that
               by
               consequence
               he
               must
               take
               occasion
               to
               find
               the
               reason
               of
               his
               Design
               ,
               in
               the
               natural
               Shadows
               of
               the
               Figures
               ,
               which
               he
               has
               dispos'd
               to
               cause
               the
               effect
               .
               Rubens
               has
               given
               us
               a
               full
               information
               of
               this
               in
               those
               prints
               of
               his
               which
               he
               caus'd
               to
               be
               engrav'd
               ;
               and
               I
               believe
               that
               nothing
               was
               ever
               seen
               more
               beautifull
               in
               that
               kind
               :
               the
               whole
               knowledge
               of
               Grouppes
               ,
               of
               the
               Lights
               and
               Shadows
               ,
               and
               of
               those
               Masses
               which
               Ti●●ian
               calls
               a
               
                 Bunch
                 of
                 Grapes
              
               ,
               is
               there
               expos'd
               so
               clearly
               to
               the
               Sight
               ,
               that
               the
               view
               of
               those
               Prints
               and
               the
               carefull
               observation
               of
               them
               ,
               might
               very
               much
               contribute
               to
               the
               forming
               of
               an
               
                 able
                 Painter
              
               .
               The
               best
               and
               fairest
               
               of
               them
               are
               graven
               by
               
                 Vorsterman
                 ,
                 Pontius
              
               ,
               and
               Bolsvert
               ,
               all
               of
               them
               admirable
               Gravers
               ,
               whose
               works
               Rubens
               himself
               took
               care
               to
               oversee
               ,
               and
               which
               without
               doubt
               you
               will
               find
               to
               be
               excellent
               if
               you
               examine
               them
               .
               But
               expect
               not
               there
               the
               Elegance
               of
               Design
               ,
               nor
               the
               Correctness
               of
               the
               Out-lines
               .
            
             
               'T
               is
               not
               but
               the
               Gravers
               can
               ,
               and
               ought
               to
               imitate
               the
               Bodies
               of
               the
               Colours
               by
               the
               degrees
               of
               the
               Lights
               and
               Shadows
               ,
               as
               much
               as
               they
               shall
               judge
               that
               this
               imitation
               may
               produce
               a
               good
               effect
               :
               on
               the
               contrary
               ,
               't
               is
               impossible
               in
               my
               opinion
               to
               give
               much
               strength
               to
               what
               they
               grave
               ,
               after
               the
               works
               of
               the
               School
               ,
               and
               of
               all
               those
               who
               have
               had
               the
               knowledge
               of
               Colours
               and
               of
               the
               Contrast
               of
               the
               Lights
               and
               Shadows
               ,
               without
               imitating
               in
               some
               sort
               the
               Colour
               of
               the
               Objects
               ,
               according
               to
               the
               relation
               which
               they
               have
               to
               the
               degrees
               of
               white
               and
               black
               .
               We
               see
               certain
               Prints
               of
               good
               Gravers
               different
               in
               their
               kinds
               ,
               where
               these
               things
               are
               observ'd
               ,
               and
               which
               have
               a
               wonderfull
               strength
               .
               And
               there
               appears
               in
               publick
               of
               late
               years
               ,
               a
               Gallery
               of
               Arch-duke
               Leopold
               ,
               which
               though
               very
               ill
               graven
               ,
               yet
               shows
               some
               part
               of
               the
               Beauty
               of
               its
               Originals
               ,
               because
               the
               Gravers
               who
               have
               executed
               it
               ,
               though
               otherwise
               they
               were
               sufficiently
               ignorant
               ,
               have
               observ'd
               in
               
               almost
               the
               greatest
               parts
               of
               their
               Prints
               ,
               the
               Bodies
               of
               Colours
               in
               the
               relation
               which
               they
               have
               to
               the
               degrees
               of
               the
               Lights
               and
               Shadows
               .
               I
               could
               wish
               the
               Gravers
               would
               make
               some
               reflection
               upon
               this
               
                 whole
                 Remark
              
               ,
               't
               is
               of
               wonde●●full
               consequence
               to
               them
               ;
               for
               when
               they
               have
               attain'd
               to
               the
               knowledge
               of
               these
               reposes
               ,
               they
               will
               easily
               resolve
               those
               difficulties
               which
               many
               times
               perplex
               them
               :
               And
               then
               chiefly
               when
               they
               are
               to
               engrave
               after
               a
               Picture
               ,
               where
               neither
               the
               Lights
               and
               Shadows
               ,
               nor
               the
               Bodies
               of
               the
               Colours
               are
               skilfully
               observ'd
               ,
               though
               in
               its
               other
               parts
               the
               Picture
               may
               be
               well
               perform'd
               .
            
             
               
                 In
                 the
                 same
                 manner
                 as
                 we
                 behold
                 it
                 in
                 a
                 Convex
                 Mirror
                 ,
              
               
               &c.
               
               A
               
                 Convex
                 Mirror
              
               alters
               the
               objects
               which
               are
               in
               the
               middle
               ,
               so
               that
               it
               seems
               to
               make
               them
               come
               out
               from
               the
               Superficies
               .
               The
               Painter
               must
               do
               in
               the
               same
               manner
               in
               respect
               of
               the
               Lights
               and
               Shadows
               of
               his
               Figures
               ,
               to
               give
               them
               more
               Relievo
               and
               more
               Strength
               .
            
             
               
                 And
                 let
                 those
                 which
                 turn
                 be
                 of
                 broken
                 Colours
                 ,
              
               
               
                 as
                 being
                 less
                 distinguish'd
                 and
                 nearer
                 to
                 the
                 borders
                 ,
              
               &c.
               
               'T
               is
               the
               duty
               of
               a
               Painter
               ,
               even
               in
               this
               also
               ,
               to
               imitate
               the
               
                 Convex
                 Mirror
              
               ,
               and
               to
               place
               nothing
               which
               glares
               either
               in
               Colour
               or
               in
               Light
               at
               the
               borders
               of
               his
               Picture
               ;
               for
               which
               ,
               there
               are
               two
               reasons
               ,
               the
               first
               is
               ,
               that
               the
               Eye
               at
               the
               first
               view
               
               directs
               it self
               to
               the
               midst
               of
               the
               object
               ,
               which
               is
               presented
               to
               it
               ,
               and
               by
               consequence
               ,
               must
               there
               necessarily
               find
               the
               principal
               object
               ,
               in
               order
               to
               its
               satisfaction
               .
               And
               the
               other
               reason
               is
               ,
               that
               the
               sides
               or
               borders
               being
               overcharg'd
               with
               a
               strong
               and
               glittering
               work
               attract
               the
               Eyes
               thither
               ,
               which
               are
               in
               a
               kind
               of
               Pain
               ,
               not
               to
               behold
               a
               continuity
               of
               that
               work
               ,
               which
               is
               on
               the
               sudden
               interrupted
               ,
               by
               the
               borders
               of
               the
               Picture
               ;
               instead
               of
               which
               the
               borders
               being
               lighten'd
               and
               eas'd
               of
               so
               much
               work
               ,
               the
               Eye
               continues
               fixt
               on
               the
               Center
               of
               the
               Picture
               ,
               and
               beholds
               it
               with
               greater
               pleasure
               .
               'T
               is
               for
               the
               same
               reason
               ,
               that
               in
               a
               great
               composition
               of
               Figures
               ,
               those
               which
               coming
               most
               forward
               ,
               are
               cut
               off
               by
               the
               bottom
               of
               the
               Picture
               ,
               will
               always
               make
               an
               ill
               effect
               .
            
             
               
                 A
                 bunch
                 of
                 Grapes
              
               ,
               
               &c.
               'T
               is
               sufficiently
               manifest
               ,
               that
               Titian
               by
               this
               judicious
               and
               familiar
               comparison
               ,
               means
               that
               a
               Painter
               ought
               to
               collect
               the
               objects
               ,
               and
               to
               dispose
               them
               in
               such
               a
               manner
               ,
               as
               to
               compose
               one
               whole
               ;
               the
               several
               contiguous
               parts
               of
               which
               ,
               may
               be
               enlighten'd
               ;
               many
               shadow'd
               and
               others
               of
               broken
               Colours
               to
               be
               in
               the
               turnings
               ,
               as
               on
               a
               Bunch
               of
               Grapes
               ,
               many
               Grapes
               ,
               which
               are
               the
               parts
               of
               it
               ,
               are
               in
               the
               Light
               ,
               many
               in
               the
               Shadow
               ,
               and
               the
               rest
               faintly
               colour'd
               to
               make
               them
               go
               farther
               back
               .
               Titian
               
               once
               told
               
                 Tintoret
                 ,
                 That
                 in
                 his
                 greatest
                 works
                 ,
                 a
                 Bunch
                 of
                 Grapes
                 had
                 been
                 his
                 principal
                 rule
                 and
                 his
                 surest
                 guide
                 .
              
            
             
               
                 Pure
                 or
                 unmix'd
                 white
              
               ,
               
               
                 either
                 draws
                 an
                 object
                 nearer
                 or
                 carries
                 it
                 off
                 to
                 farther
                 distance
                 .
                 It
                 draws
                 it
                 nearer
                 with
                 black
                 ,
                 and
                 throws
                 it
                 backward
                 without
                 it
                 ,
              
               &c.
               
               All
               agree
               that
               white
               can
               subsist
               on
               the
               fore-ground
               of
               the
               Picture
               ,
               and
               there
               be
               us'd
               without
               mixture
               ;
               the
               question
               therefore
               is
               to
               know
               ,
               if
               it
               can
               equally
               subsist
               and
               be
               plac'd
               in
               the
               same
               manner
               ,
               upon
               that
               which
               is
               backward
               ,
               the
               Light
               being
               universal
               and
               the
               Figures
               suppos'd
               in
               a
               Campaign
               and
               open
               Field
               .
            
             
               Our
               Author
               concludes
               affirmatively
               ,
               and
               the
               reason
               on
               which
               he
               establishes
               his
               rule
               is
               this
               ,
               That
               there
               being
               nothing
               which
               partakes
               more
               of
               the
               Light
               than
               Whiteness
               ,
               and
               the
               Light
               being
               capable
               of
               subsisting
               well
               in
               remoteness
               (
               or
               at
               a
               long
               distance
               ,
               as
               we
               daily
               see
               in
               the
               rising
               and
               setting
               of
               the
               Sun
               )
               it
               follows
               that
               white
               may
               subsist
               in
               the
               same
               manner
               .
               In
               Painting
               ,
               the
               Light
               and
               a
               white
               Colour
               are
               but
               one
               and
               the
               same
               thing
               .
               Add
               to
               this
               ,
               that
               we
               have
               no
               Colour
               ,
               which
               more
               resembles
               the
               Air
               than
               white
               ,
               and
               by
               consequence
               no
               Colour
               which
               is
               lighter
               ,
               from
               whence
               it
               comes
               that
               we
               commonly
               say
               ,
               the
               Air
               is
               heavy
               ,
               when
               we
               see
               the
               Heavens
               cover'd
               with
               black
               
               Clouds
               ,
               or
               when
               a
               thick
               fog
               takes
               from
               us
               that
               clearness
               ,
               which
               makes
               the
               Lightness
               or
               Serenity
               of
               the
               Air.
               
                 Titian
                 ,
                 Tintoret
                 ,
                 Paul
                 Veronese
                 ,
              
               and
               all
               those
               who
               best
               understood
               Lights
               ,
               have
               observ'd
               it
               in
               this
               manner
               ,
               and
               no
               man
               can
               go
               against
               this
               Precept
               ,
               at
               least
               without
               renouncing
               any
               skill
               in
               Landtschape
               ,
               which
               is
               an
               undoubted
               confirmation
               of
               this
               truth
               .
               And
               we
               see
               that
               all
               the
               great
               
                 Masters
                 of
                 Landtschape
              
               ,
               have
               follow'd
               Titian
               in
               this
               ,
               who
               has
               always
               employ'd
               brown
               and
               earthly
               Colours
               upon
               the
               fore-part
               ,
               and
               has
               reserv'd
               his
               greatest
               Lights
               for
               remotenesses
               and
               the
               back
               parts
               of
               his
               Landtschapes
               .
            
             
               It
               may
               be
               objected
               against
               this
               opinion
               ,
               that
               white
               cannot
               maintain
               it self
               in
               remotenesses
               ,
               because
               it
               is
               ordinarily
               us'd
               to
               bring
               the
               Objects
               nearer
               ,
               on
               the
               advanc'd
               part
               .
               'T
               is
               true
               ,
               that
               so
               it
               is
               us'd
               ,
               and
               that
               to
               very
               good
               purpose
               ,
               to
               render
               the
               Objects
               more
               sensible
               ,
               by
               the
               opposition
               of
               the
               Dark
               ,
               which
               must
               accompany
               it
               ;
               and
               which
               retains
               it
               ,
               as
               it
               were
               by
               force
               ,
               whether
               the
               Dark
               serves
               it
               for
               a
               ground
               ,
               or
               whether
               it
               be
               combin'd
               to
               it
               .
               
                 For
                 example
              
               ,
               If
               you
               wou'd
               make
               a
               
                 white
                 Horse
              
               on
               the
               fore-ground
               of
               your
               Picture
               ,
               't
               is
               of
               absolute
               Necessity
               ,
               that
               the
               ground
               must
               be
               of
               a
               mixt
               brown
               ,
               and
               large
               enough
               ,
               or
               that
               the
               Furniture
               must
               be
               of
               very
               sensible
               Colours
               ;
               or
               
               lastly
               ,
               that
               some
               Figure
               must
               be
               set
               upon
               it
               ,
               whose
               Shadows
               and
               the
               Colour
               may
               bring
               it
               forward
               .
            
             
               But
               it
               seems
               (
               say
               you
               )
               that
               blue
               is
               the
               most
               flying
               or
               transient
               Colour
               ,
               because
               the
               Heavens
               and
               Mountains
               ,
               which
               are
               at
               the
               greatest
               distance
               ,
               are
               of
               that
               Colour
               .
               'T
               is
               very
               true
               that
               blue
               is
               one
               of
               the
               lightest
               and
               sweetest
               Colours
               :
               But
               it
               is
               also
               true
               ,
               that
               it
               possesses
               these
               qualities
               so
               much
               the
               more
               ,
               because
               the
               white
               is
               mingled
               in
               it
               ,
               as
               the
               example
               of
               the
               distances
               demonstrate
               to
               us
               .
               But
               if
               the
               Light
               of
               your
               Picture
               be
               not
               universal
               ,
               and
               that
               you
               suppose
               your
               Figures
               in
               a
               Chamber
               ,
               then
               recall
               to
               your
               Memory
               that
               Theorem
               which
               tells
               you
               that
               the
               nearer
               a
               Body
               is
               to
               the
               Light
               ,
               and
               the
               more
               directly
               't
               is
               oppos'd
               to
               us
               ,
               so
               much
               the
               more
               it
               is
               enlighten'd
               ,
               because
               the
               Light
               grows
               languishing
               ,
               the
               farther
               it
               removes
               from
               its
               original
               .
            
             
               You
               may
               also
               extinguish
               your
               white
               ,
               if
               you
               suppose
               the
               Air
               to
               be
               somewhat
               thicker
               ,
               and
               if
               you
               foresee
               that
               this
               supposition
               will
               make
               a
               good
               effect
               in
               the
               Oeconomy
               of
               the
               whole
               work
               ;
               but
               let
               not
               this
               proceed
               so
               far
               ,
               as
               to
               make
               your
               Figures
               so
               brown
               ,
               that
               they
               may
               seem
               as
               it
               were
               in
               a
               filthy
               Fog
               ,
               or
               that
               they
               may
               appear
               to
               be
               part
               of
               the
               ground
               .
               See
               the
               following
               Remark
               .
            
             
             
               
                 But
                 as
                 for
                 pure
                 black
              
               ,
               
               
                 there
                 is
                 nothing
                 that
                 brings
                 the
                 Object
                 nearer
                 to
                 the
                 Sight
                 ,
              
               &c.
               
               Because
               black
               is
               the
               heaviest
               of
               all
               Colours
               ,
               the
               most
               earthly
               ,
               and
               the
               most
               sensible
               .
               This
               is
               clearly
               understood
               by
               the
               qualities
               of
               white
               which
               is
               oppos'd
               to
               it
               ,
               and
               which
               is
               ,
               as
               we
               have
               said
               ,
               the
               lightest
               of
               all
               Colours
               .
               There
               are
               few
               who
               are
               not
               of
               this
               opinion
               ;
               and
               yet
               I
               have
               known
               some
               ,
               who
               have
               told
               me
               ,
               that
               the
               black
               being
               on
               the
               advanc'd
               part
               ,
               makes
               nothing
               but
               holes
               .
               To
               this
               there
               is
               little
               else
               to
               be
               answer'd
               ,
               but
               that
               black
               always
               makes
               a
               good
               effect
               ,
               being
               set
               forward
               ,
               provided
               it
               be
               plac'd
               there
               with
               Prudence
               .
               You
               are
               therefore
               so
               to
               dispose
               the
               Bodies
               of
               your
               Pictures
               which
               you
               intend
               to
               be
               on
               the
               fore-ground
               ,
               that
               those
               sorts
               of
               holes
               may
               not
               be
               perceiv'd
               ,
               and
               that
               the
               blacks
               may
               be
               there
               by
               Masses
               ,
               and
               insensibly
               confus'd
               .
               See
               the
               47th
               .
               Rule
               .
            
             
               That
               which
               gives
               the
               Relievo
               to
               a
               Bowl
               ,
               (
               may
               some
               say
               to
               me
               )
               is
               the
               quick
               Light
               ,
               or
               the
               white
               ,
               which
               appears
               to
               be
               on
               the
               side
               ,
               which
               is
               nearest
               to
               us
               ,
               and
               the
               black
               by
               consequence
               distances
               the
               Object
               :
               we
               are
               here
               to
               beware
               ,
               not
               to
               confound
               the
               turnings
               with
               the
               distances
               :
               the
               question
               is
               onely
               in
               respect
               of
               Bodies
               ,
               which
               are
               separated
               by
               some
               distance
               of
               a
               backward
               Position
               ,
               and
               not
               of
               round
               Bodies
               ,
               which
               are
               of
               the
               same
               
               Continuity
               :
               the
               brown
               which
               is
               mingled
               in
               the
               turnings
               of
               the
               Bowl
               ,
               makes
               them
               go
               off
               ,
               rather
               in
               confounding
               them
               ,
               as
               we
               may
               say
               ,
               than
               in
               blackning
               them
               .
               And
               do
               you
               not
               see
               ,
               that
               the
               reflects
               are
               an
               Artifice
               of
               the
               Painter
               ,
               to
               make
               the
               turnings
               seem
               more
               Light
               ,
               and
               that
               by
               this
               means
               the
               greatest
               blackness
               remains
               towards
               the
               middle
               of
               the
               Bowl
               ,
               to
               sustain
               the
               white
               ,
               and
               make
               it
               deceive
               us
               with
               more
               pleasure
               .
            
             
               This
               Rule
               of
               White
               and
               Black
               is
               of
               so
               great
               consequence
               ,
               that
               unless
               it
               be
               exactly
               practis'd
               ,
               't
               is
               impossible
               for
               a
               Picture
               to
               make
               any
               great
               effect
               ,
               that
               the
               Masses
               can
               be
               disentangl'd
               ,
               and
               the
               different
               distances
               may
               be
               observ'd
               at
               the
               first
               Glance
               of
               the
               Eye
               without
               trouble
               .
            
             
               It
               may
               be
               inferr'd
               from
               this
               Precept
               ,
               that
               the
               Masses
               of
               other
               Colours
               ,
               will
               be
               so
               much
               the
               more
               sensible
               ,
               and
               approach
               so
               much
               the
               nearer
               to
               the
               Sight
               the
               more
               brown
               they
               bear
               ;
               provided
               this
               be
               amongst
               other
               Colours
               which
               are
               of
               the
               same
               Species
               .
               
                 For
                 example
              
               ,
               A
               yellow
               brown
               shall
               draw
               nearer
               to
               the
               Sight
               ,
               than
               another
               which
               is
               less
               yellow
               .
               I
               said
               provided
               it
               be
               amongst
               other
               Colours
               ,
               which
               are
               of
               the
               same
               Species
               ,
               because
               there
               are
               simple
               Colours
               ,
               which
               naturally
               are
               strong
               and
               sensible
               ,
               though
               they
               are
               clear
               ,
               as
               Vermillion
               ;
               there
               are
               others
               also
               ,
               
               which
               notwithstanding
               that
               they
               are
               brown
               ,
               yet
               cease
               not
               to
               be
               soft
               and
               faint
               ,
               as
               the
               blue
               of
               Ultrama●●ine
               .
               The
               effect
               of
               a
               Picture
               comes
               not
               onely
               therefore
               from
               the
               Lights
               and
               Shadows
               ,
               but
               also
               from
               the
               nature
               of
               the
               Colours
               .
               I
               thought
               it
               was
               not
               from
               the
               purpose
               in
               this
               place
               to
               give
               you
               the
               qualities
               of
               those
               Colours
               which
               are
               most
               in
               use
               ,
               and
               which
               are
               call'd
               Capital
               ,
               because
               they
               serve
               to
               make
               the
               composition
               of
               all
               the
               rest
               ,
               whose
               number
               is
               almost
               infinite
               .
            
             
               
                 Red
                 Oker
              
               is
               one
               of
               the
               most
               heavy
               Colours
               .
            
             
               
                 Yellow
                 Oker
              
               is
               not
               so
               heavy
               ,
               because
               't
               is
               clearer
               .
            
             
               And
               the
               Masticot
               is
               very
               Light
               ,
               because
               it
               is
               a
               very
               clear
               yellow
               ,
               and
               very
               near
               to
               white
               .
            
             
               Ultramarine
               or
               Azure
               ,
               is
               very
               light
               and
               a
               very
               sweet
               Colour
               .
            
             
               Vermillion
               is
               wholly
               opposite
               to
               Ultramarine
               .
            
             
               Lake
               is
               a
               middle
               Colour
               betwixt
               Ultramarine
               and
               Vermillion
               ,
               yet
               it
               is
               rather
               more
               sweet
               than
               harsh
               .
            
             
               
                 Brown
                 Red
              
               is
               one
               of
               the
               most
               earthy
               and
               most
               sensible
               Colours
               .
            
             
               Pinck
               is
               in
               its
               nature
               an
               indifferent
               Colour
               ,
               (
               that
               is
               )
               very
               susceptible
               of
               the
               other
               Colours
               by
               the
               mixture
               :
               if
               you
               mix
               brown-red
               with
               it
               ,
               you
               will
               make
               it
               a
               very
               earthy
               Colour
               ;
               but
               on
               the
               contrary
               ,
               if
               you
               joyn
               it
               with
               white
               or
               blue
               ,
               you
               
               shall
               have
               one
               of
               the
               most
               faint
               and
               tender
               Colours
               .
            
             
               
                 Terre
                 Verte
              
               (
               or
               green
               Earth
               )
               is
               light
               ;
               't
               is
               a
               mean
               betwixt
               
                 yellow
                 Oker
              
               and
               Ultramarine
               .
            
             
               Umbre
               is
               very
               sensible
               and
               earthy
               ;
               there
               is
               nothing
               but
               
                 pure
                 black
              
               which
               can
               dispute
               with
               it
               .
            
             
               Of
               all
               Blacks
               ,
               that
               is
               the
               most
               earthly
               ,
               which
               is
               most
               remote
               from
               Blue
               .
               According
               to
               the
               Principle
               which
               we
               have
               establish'd
               of
               white
               and
               black
               ,
               you
               will
               make
               every
               one
               of
               these
               Colours
               before-nam'd
               more
               earthy
               and
               more
               heavy
               ,
               the
               more
               black
               you
               mingle
               with
               them
               ,
               and
               they
               will
               be
               light
               the
               more
               white
               you
               joyn
               with
               them
               .
            
             
               For
               what
               concerns
               broken
               or
               
                 compound
                 Colours
              
               ,
               we
               are
               to
               make
               a
               judgment
               of
               their
               strength
               by
               the
               Force
               of
               those
               Colours
               which
               compose
               them
               .
               All
               who
               have
               thoroughly
               understood
               the
               agreement
               of
               Colours
               ,
               have
               not
               employ'd
               them
               wholly
               pure
               and
               simple
               in
               their
               Draperies
               ,
               unless
               in
               some
               Figure
               upon
               the
               fore-ground
               of
               the
               Picture
               ;
               but
               they
               have
               us'd
               broken
               and
               
                 compound
                 Colours
              
               ,
               of
               which
               they
               made
               a
               Harmony
               for
               the
               Eyes
               ,
               by
               mixing
               those
               which
               have
               some
               kind
               of
               Sympathy
               with
               each
               other
               ,
               to
               make
               a
               Whole
               ,
               which
               has
               an
               Union
               with
               the
               Colours
               which
               are
               neighbouring
               to
               it
               .
               The
               Painter
               who
               perfectly
               understands
               the
               force
               and
               power
               of
               his
               Colours
               ,
               will
               use
               them
               most
               suitably
               
               to
               his
               present
               purpose
               ,
               and
               according
               to
               his
               own
               Discretion
               .
            
             
               But
               let
               this
               be
               done
               relatively
               ,
               
               
                 &c.
                 
                 One
                 Body
                 must
                 make
                 another
                 Body
                 fly
                 off
                 in
                 such
                 a
                 manner
                 that
                 it self
                 may
                 be
                 chas'd
                 by
                 those
                 Bodies
                 which
                 are
                 advanc'd
                 before
                 it
                 .
              
               "
               We
               are
               to
               take
               care
               and
               use
               great
               attention
               ,
               
                 says
                 Quinctilian
              
               ,
               not
               onely
               of
               one
               separate
               thing
               ,
               but
               of
               many
               which
               follow
               each
               other
               :
               and
               by
               a
               certain
               relation
               which
               they
               have
               with
               each
               other
               ,
               are
               as
               it
               were
               continued
               in
               the
               same
               manner
               ,
               as
               if
               in
               a
               straight
               Street
               ,
               we
               cast
               our
               Eyes
               from
               one
               end
               of
               it
               to
               the
               other
               ,
               we
               discover
               at
               once
               those
               different
               things
               which
               are
               presented
               to
               the
               Sight
               ,
               so
               that
               we
               not
               onely
               see
               the
               last
               ,
               but
               whatsoever
               is
               relating
               to
               the
               last
               .
               "
            
             
               
                 Let
                 two
                 contrary
                 extremities
                 never
                 touch
                 each
                 other
                 ,
              
               
               &c.
               
               The
               Sense
               of
               seeing
               has
               this
               in
               common
               with
               all
               the
               rest
               of
               the
               Senses
               ,
               that
               it
               abhorrs
               the
               contrary
               Extremities
               .
               And
               in
               the
               same
               manner
               as
               our
               hands
               ,
               when
               they
               are
               very
               cold
               feel
               a
               grievous
               pain
               ,
               when
               on
               the
               sudden
               we
               hold
               them
               near
               the
               Fire
               ,
               so
               the
               Eyes
               which
               find
               an
               extreme
               white
               ,
               next
               to
               an
               extreme
               black
               ,
               or
               a
               fair
               cool
               Azure
               next
               to
               a
               hot
               Vermillion
               ,
               cannot
               behold
               these
               extremities
               without
               Pain
               ,
               though
               they
               are
               always
               attracted
               by
               the
               Glareing
               of
               two
               contraries
               .
            
             
             
               This
               rule
               obliges
               us
               to
               know
               those
               Colours
               which
               have
               a
               Friendship
               with
               each
               other
               ,
               and
               those
               which
               are
               incompatible
               ,
               which
               we
               may
               easily
               discover
               in
               mixing
               together
               those
               Colours
               of
               which
               we
               would
               make
               trial
               .
            
             
               And
               if
               by
               this
               mixture
               ,
               they
               make
               a
               gracious
               and
               sweet
               Colour
               ,
               which
               is
               pleasing
               to
               the
               Sight
               ,
               't
               is
               a
               Sign
               that
               there
               is
               an
               Union
               and
               a
               Sympathy
               betwixt
               them
               :
               but
               if
               ,
               on
               the
               contrary
               ,
               that
               Colour
               which
               is
               produc'd
               by
               the
               mixture
               of
               the
               two
               be
               harsh
               to
               the
               Sight
               ,
               we
               are
               to
               conclude
               ,
               that
               there
               is
               a
               Contrariety
               and
               Antipathy
               betwixt
               these
               two
               Colours
               .
               Green
               ,
               for
               example
               ,
               is
               a
               pleasing
               Colour
               ,
               which
               may
               come
               from
               a
               blue
               and
               a
               yellow
               mix'd
               together
               ,
               and
               by
               consequence
               blue
               and
               yellow
               are
               two
               Colours
               which
               sympathize
               :
               and
               on
               the
               contrary
               ,
               the
               mixture
               of
               Blue
               with
               Vermillion
               ,
               produces
               a
               sharp
               ,
               harsh
               ,
               and
               unpleasant
               Colour
               ;
               conclude
               then
               that
               Blue
               and
               Vermillion
               are
               of
               a
               contrary
               Nature
               .
               And
               the
               same
               may
               be
               said
               of
               other
               Colours
               of
               which
               you
               make
               the
               experiment
               .
               And
               to
               clear
               that
               matter
               once
               for
               all
               ,
               (
               see
               the
               Conclusion
               of
               the
               
                 332d
                 .
                 Remark
              
               ,
               where
               I
               have
               taken
               occasion
               to
               speak
               of
               the
               force
               and
               quality
               of
               every
               Capital
               Colour
               ,
               )
               yet
               you
               may
               neglect
               this
               Precept
               ,
               when
               your
               Piece
               consists
               but
               of
               one
               or
               two
               Figures
               ,
               and
               when
               amongst
               a
               great
               number
               
               you
               would
               make
               some
               one
               Figure
               more
               remarkable
               than
               the
               rest
               .
               One
               I
               say
               ,
               which
               is
               one
               of
               the
               most
               considerable
               of
               the
               Subject
               ,
               which
               otherwise
               you
               cannot
               distinguish
               from
               the
               rest
               .
               Titian
               in
               his
               triumph
               of
               Bacchus
               ,
               having
               plac'd
               Ariadne
               on
               one
               of
               the
               Borders
               of
               the
               Picture
               ,
               and
               not
               being
               able
               for
               that
               reason
               to
               make
               her
               remarkable
               by
               the
               brightness
               of
               Light
               ,
               which
               he
               was
               to
               keep
               in
               the
               middle
               of
               his
               Picture
               ,
               gave
               her
               a
               Scarf
               of
               a
               Vermillion
               Colour
               ,
               upon
               a
               blue
               Drapery
               ,
               as
               well
               to
               loosen
               her
               from
               his
               ground
               ,
               which
               was
               a
               
                 blue
                 Sea
              
               ,
               as
               because
               she
               is
               one
               of
               the
               principal
               Figures
               of
               his
               Subject
               ,
               upon
               which
               he
               desir'd
               to
               attract
               the
               Eye
               .
               
                 Paulo
                 Veronese
              
               ,
               in
               his
               Marriage
               of
               Canaa
               ,
               because
               Christ
               who
               is
               the
               principal
               Figure
               of
               the
               Subject
               ,
               is
               carry'd
               somewhat
               into
               the
               depth
               of
               the
               Picture
               ,
               and
               that
               he
               cou'd
               not
               make
               him
               distinguishable
               by
               the
               strength
               of
               the
               Lights
               and
               Shadows
               ,
               has
               cloath'd
               him
               with
               Vermillion
               and
               Blue
               ,
               thereby
               to
               conduct
               the
               Sight
               to
               that
               Figure
               .
            
             
               The
               
                 hostile
                 Colours
              
               may
               be
               so
               much
               the
               more
               ally'd
               to
               each
               other
               ,
               the
               more
               you
               mix
               them
               with
               other
               Colours
               ,
               which
               mutually
               sympathize
               ;
               and
               which
               agree
               with
               those
               Colours
               ,
               which
               you
               desire
               to
               reconcile
               .
            
             
             
               
                 'T
                 is
                 labour
                 in
                 vain
                 to
                 paint
                 a
                 High-noon
                 ,
              
               
               &c.
               
               He
               said
               in
               another
               place
               ,
               Endeavour
               after
               that
               which
               aids
               your
               Art
               ,
               and
               is
               suitable
               to
               it
               ,
               and
               shun
               whatsoever
               is
               repugnant
               :
               't
               is
               the
               59th
               .
               Precept
               .
               If
               the
               Painter
               wou'd
               arrive
               to
               the
               end
               he
               has
               propos'd
               ,
               which
               is
               to
               deceive
               the
               ●●ight
               ,
               he
               must
               make
               choice
               of
               such
               a
               Nature
               ,
               as
               agrees
               with
               the
               weakness
               of
               his
               Colours
               ;
               because
               his
               Colours
               cannot
               accommodate
               themselves
               to
               every
               sort
               of
               Nature
               .
               This
               Rule
               is
               particularly
               to
               be
               observ'd
               ,
               and
               well
               consider'd
               ,
               by
               those
               who
               paint
               Landtschapes
               .
            
             
               
                 Let
                 the
                 Field
                 or
                 Ground
                 of
                 the
                 Picture
                 ,
              
               
               &c.
               
               The
               reason
               of
               it
               is
               ,
               that
               we
               are
               to
               avoid
               the
               meeting
               of
               those
               Colours
               ,
               which
               have
               an
               Antipathy
               to
               each
               other
               ,
               because
               they
               offend
               the
               Sight
               ,
               so
               that
               this
               Rule
               is
               prov'd
               sufficiently
               by
               the
               41st
               .
               which
               tells
               us
               ,
               that
               two
               contrary
               Extremities
               are
               never
               to
               touch
               each
               other
               ,
               whether
               it
               be
               in
               Colour
               ,
               or
               in
               Light
               ,
               but
               that
               there
               ought
               to
               be
               a
               mean
               betwixt
               them
               ,
               which
               partakes
               of
               both
               .
            
             
               
                 Let
                 your
                 Colours
                 be
                 lively
              
               ,
               
               
                 and
                 yet
                 not
                 look
                 (
                 according
                 to
                 the
                 Painters
                 Proverb
                 )
                 as
                 if
                 they
                 had
                 been
                 sprinkled
                 with
                 Meal
                 ,
              
               &c.
               
               
                 Donner
                 dans
                 la
                 farine
              
               ,
               is
               a
               Phrase
               amongst
               Painters
               ,
               which
               perfectly
               expresses
               what
               it
               means
               ,
               which
               is
               to
               paint
               with
               clear
               ,
               or
               bright
               Colours
               ,
               and
               dull
               Colours
               together
               ;
               
               for
               being
               so
               mingled
               ,
               they
               give
               no
               more
               life
               to
               the
               Figures
               ,
               than
               if
               they
               had
               been
               rubb'd
               with
               Meal
               .
               They
               who
               make
               their
               flesh
               Colours
               very
               white
               ,
               and
               their
               Shadows
               grey
               or
               inclining
               to
               green
               ,
               fall
               into
               this
               inconvenience
               .
               Red
               Colours
               in
               the
               Shadows
               of
               the
               most
               delicate
               or
               finest
               Flesh
               ,
               contribute
               wonderfully
               to
               make
               them
               lively
               ,
               shining
               and
               natural
               ;
               but
               they
               are
               to
               be
               us'd
               with
               the
               same
               discretion
               ,
               that
               
                 Titian
                 ,
                 Paul
                 Veronese
                 ,
                 Rubens
              
               and
               
                 Van
                 Dyck
              
               ,
               have
               taught
               us
               by
               their
               example
               .
            
             
               To
               preserve
               the
               Colours
               fresh
               ,
               we
               must
               paint
               by
               putting
               in
               more
               Colours
               ,
               and
               not
               by
               rubbing
               them
               in
               ,
               after
               they
               are
               once
               laid
               ;
               and
               if
               it
               could
               be
               done
               ,
               they
               should
               be
               laid
               just
               in
               their
               proper
               places
               ,
               and
               not
               be
               any
               more
               touch'd
               ,
               when
               they
               are
               once
               so
               plac'd
               ;
               it
               would
               be
               yet
               better
               ,
               because
               the
               Freshness
               of
               the
               Colours
               is
               tarnish'd
               and
               lost
               ,
               by
               vexing
               them
               with
               the
               continual
               Drudgery
               of
               Daubing
               .
            
             
               All
               they
               who
               have
               colour'd
               well
               ,
               have
               had
               yet
               another
               Maxim
               to
               maintain
               their
               Colours
               fresh
               and
               flourishing
               ,
               which
               was
               to
               make
               use
               of
               
                 white
                 Grounds
              
               ,
               upon
               which
               they
               painted
               ,
               and
               oftentimes
               at
               the
               first
               Stroke
               ,
               without
               retouching
               any
               thing
               ,
               and
               without
               employing
               new
               Colours
               .
               
               Rubens
               always
               us'd
               this
               way
               ;
               and
               I
               have
               seen
               Pictures
               from
               the
               hand
               of
               that
               great
               Person
               painted
               up
               at
               once
               ,
               which
               were
               of
               a
               wonderfull
               Vivacity
               .
            
             
               The
               reason
               why
               they
               made
               use
               of
               those
               kind
               of
               Grounds
               ,
               is
               ,
               because
               white
               as
               well
               preserves
               a
               Brightness
               ,
               under
               the
               Transparency
               of
               Colours
               ,
               which
               hinders
               the
               Air
               from
               altering
               the
               whiteness
               of
               the
               Ground
               ,
               as
               that
               it
               likewise
               repairs
               the
               injuries
               which
               they
               receive
               from
               the
               Air
               ,
               so
               that
               the
               Ground
               and
               the
               Colours
               assist
               and
               preserve
               each
               other
               .
               'T
               is
               for
               this
               reason
               that
               glaz'd
               Colours
               have
               a
               Vivacity
               which
               can
               never
               be
               imitated
               by
               the
               most
               lively
               and
               most
               brillant
               Colours
               ,
               because
               according
               to
               the
               common
               way
               ,
               the
               different
               Teints
               are
               simply
               laid
               on
               each
               in
               its
               place
               one
               after
               another
               .
               So
               true
               it
               is
               ,
               that
               white
               with
               other
               strong
               Colours
               ,
               with
               which
               we
               paint
               at
               once
               that
               which
               we
               intend
               to
               glaze
               ,
               are
               as
               it
               were
               ,
               the
               Life
               ,
               the
               Spirit
               ,
               and
               the
               Lustre
               of
               it
               .
               The
               Ancients
               most
               certainly
               have
               found
               ,
               that
               white
               Grounds
               were
               much
               the
               best
               ,
               because
               ,
               notwithstanding
               that
               inconvenience
               ,
               which
               their
               Eyes
               receiv'd
               from
               that
               Colour
               ,
               yet
               they
               did
               not
               forbear
               the
               use
               of
               it
               ;
               as
               Galen
               testifies
               in
               his
               
                 tenth
                 Book
                 of
                 the
                 use
                 of
                 the
                 parts
                 .
                 "
                 Painters
                 ,
              
               says
               he
               ,
               
                 when
                 they
                 work
                 upon
                 their
                 white
                 Grounds
                 ,
                 place
                 before
                 
                 them
                 dark
                 Colours
                 ,
                 and
                 others
                 mixt
                 with
                 blue
                 and
                 green
                 ,
                 to
                 recreate
                 their
                 Eyes
                 ,
                 because
                 white
                 is
                 a
                 glareing
                 Colour
                 ,
                 which
                 wearies
                 and
                 pains
                 the
                 Sight
                 more
                 than
                 any
                 other
                 .
              
               "
               I
               know
               not
               the
               reason
               why
               the
               use
               of
               it
               is
               left
               off
               at
               present
               ,
               if
               it
               be
               not
               that
               in
               our
               days
               there
               are
               few
               Painters
               who
               are
               curious
               in
               their
               Colouring
               ,
               or
               that
               the
               first
               Strokes
               which
               are
               begun
               upon
               white
               ,
               are
               not
               seen
               soon
               enough
               ,
               and
               that
               a
               more
               than
               French
               Patience
               is
               requir'd
               to
               wait
               till
               it
               be
               accomplish'd
               ;
               and
               the
               Ground
               ,
               which
               by
               its
               whiteness
               tarnishes
               the
               Lustre
               of
               the
               other
               Colours
               ,
               must
               be
               entirely
               cover'd
               to
               make
               the
               whole
               work
               appear
               pleasingly
               .
            
             
               
                 Let
                 the
                 parts
                 which
                 are
                 nearest
                 to
                 us
                 and
                 most
                 rais'd
                 ,
              
               
               &c.
               
               The
               reason
               of
               this
               is
               ,
               that
               upon
               a
               flat
               superficies
               ,
               and
               as
               much
               united
               as
               a
               Cloth
               can
               be
               ,
               when
               it
               is
               strain'd
               ,
               the
               least
               Body
               is
               very
               appearing
               ,
               and
               gives
               a
               heightning
               to
               the
               place
               which
               it
               possesses
               ;
               do
               not
               therefore
               load
               those
               places
               with
               Colours
               ,
               which
               you
               would
               make
               to
               turn
               ;
               but
               let
               those
               be
               well
               loaded
               ,
               which
               you
               would
               have
               come
               out
               of
               the
               Canvass
               .
            
             
               
                 Let
                 there
                 be
                 so
                 much
                 Harmony
                 or
                 Consent
                 in
                 the
                 Masses
                 of
                 the
                 Pictures
                 ,
              
               
               
                 that
                 all
                 the
                 shadowings
                 may
                 appear
                 as
                 if
                 they
                 were
                 but
                 one
                 ,
              
               &c.
               
               He
               has
               said
               in
               another
               place
               ,
               that
               after
               great
               Lights
               ,
               great
               Shadows
               are
               necessary
               ,
               which
               he
               calls
               Reposes
               .
               What
               
               he
               means
               by
               the
               present
               Rule
               ,
               is
               this
               ,
               That
               whatsoever
               is
               found
               in
               those
               great
               Shadows
               ,
               should
               partake
               of
               the
               Colours
               of
               one
               another
               ,
               so
               that
               the
               different
               Colours
               which
               are
               well
               distinguish'd
               in
               the
               Lights
               seem
               to
               be
               but
               one
               in
               the
               Shadows
               ,
               by
               their
               great
               Union
               .
            
             
               
                 Let
                 the
                 whole
                 Picture
                 be
                 made
                 of
                 one
                 Piece
                 ,
              
               
               &c.
               
               That
               is
               to
               say
               ,
               of
               one
               and
               the
               same
               Continuity
               of
               Work
               ,
               and
               as
               if
               the
               Picture
               had
               been
               painted
               up
               all
               at
               once
               ;
               the
               Latin
               says
               all
               of
               one
               Pallet
               .
            
             
               
                 The
                 Looking
                 Glass
                 will
                 instruct
                 you
                 ,
              
               
               &c.
               
               The
               Painter
               must
               have
               a
               principal
               Respect
               to
               the
               Masses
               ,
               and
               to
               the
               Effect
               of
               the
               whole
               together
               .
               The
               Looking-Glass
               distances
               the
               Objects
               ,
               and
               by
               consequence
               gives
               us
               onely
               to
               see
               the
               Masses
               ,
               in
               which
               all
               the
               little
               parts
               are
               confounded
               .
               The
               Evening
               ,
               when
               the
               Night
               approaches
               ,
               will
               make
               you
               better
               understand
               this
               observation
               ,
               but
               not
               so
               commodiously
               ,
               for
               the
               proper
               time
               to
               make
               it
               ,
               lasts
               but
               a
               quarter
               of
               an
               hour
               ,
               and
               the
               Looking-Glass
               may
               be
               usefull
               all
               the
               day
               .
            
             
               Since
               the
               Mirror
               is
               the
               rule
               and
               Master
               of
               all
               Painters
               ,
               as
               showing
               them
               their
               faults
               by
               distancing
               the
               Objects
               ,
               we
               may
               conclude
               that
               the
               Picture
               which
               makes
               not
               a
               good
               effect
               at
               a
               distance
               cannot
               be
               well
               done
               ;
               and
               a
               Painter
               must
               never
               finish
               his
               Picture
               ,
               before
               he
               has
               examin'd
               it
               at
               
               some
               reasonable
               distance
               ,
               or
               with
               a
               Looking-Glass
               ,
               whether
               the
               Masses
               of
               the
               Lights
               and
               Shadows
               ,
               and
               the
               Bodies
               of
               the
               Colours
               be
               well
               distributed
               .
               Giorgione
               and
               Correggio
               have
               made
               use
               of
               this
               method
               .
            
             
               
                 As
                 for
                 a
                 Portrait
                 ,
                 
                 or
                 Pictures
                 by
                 the
                 Life
                 ,
              
               &c.
               The
               end
               of
               Portraits
               is
               not
               so
               precisely
               as
               some
               have
               imagin'd
               ,
               to
               give
               a
               smiling
               and
               pleasing
               Air
               together
               with
               the
               resemblance
               ;
               this
               is
               indeed
               somewhat
               ,
               but
               not
               enough
               .
               It
               consists
               in
               expressing
               the
               true
               temper
               of
               those
               persons
               which
               it
               represents
               ,
               and
               to
               make
               known
               their
               Physiognomy
               .
               If
               the
               Person
               whom
               you
               draw
               ,
               
                 for
                 example
              
               ,
               be
               naturally
               sad
               ,
               you
               are
               to
               beware
               of
               giving
               him
               any
               Gayety
               ,
               which
               would
               always
               be
               a
               thing
               which
               is
               foreign
               to
               his
               Countenanc
               .
               If
               he
               or
               she
               be
               merry
               ,
               you
               are
               to
               make
               that
               good
               Humour
               appear
               by
               the
               expressing
               of
               those
               parts
               where
               it
               acts
               ,
               and
               where
               it
               shows
               it self
               .
               If
               the
               Person
               be
               grave
               and
               majestical
               ,
               the
               Smiles
               or
               Laughing
               ,
               which
               is
               too
               sensible
               ,
               will
               take
               off
               from
               that
               Majesty
               and
               make
               it
               look
               childish
               and
               undecent
               .
               In
               short
               ,
               the
               Painter
               ,
               who
               has
               a
               good
               Genius
               must
               make
               a
               true
               Discernment
               of
               all
               these
               things
               ,
               and
               if
               he
               understands
               Physiognomy
               ,
               it
               will
               be
               more
               easie
               to
               him
               ,
               and
               he
               will
               succeed
               better
               than
               another
               .
               Pliny
               tells
               us
               ,
               "
               That
               Apelles
               
                 made
                 his
                 Pictures
                 so
                 
                 very
                 like
                 ,
                 that
                 a
                 certain
                 Physiognomist
                 and
                 Fortune-teller
                 ,
              
               (
               as
               it
               is
               related
               by
               Appion
               the
               Grammarian
               )
               
                 foretold
                 by
                 looking
                 on
                 them
                 the
                 very
                 time
                 of
                 their
                 Deaths
                 ,
                 whom
                 those
                 Pictures
                 represented
                 ,
                 or
                 at
                 what
                 time
                 their
                 Death
                 happen'd
                 ,
                 if
                 such
                 persons
                 were
                 already
                 dead
                 .
                 "
              
            
             
               
                 You
                 are
                 to
                 paint
                 the
                 most
                 tenderly
                 that
                 possibly
                 you
                 can
                 ,
              
               
               &c.
               
               Not
               so
               as
               to
               make
               your
               Colours
               die
               by
               force
               of
               tormenting
               them
               ,
               but
               that
               you
               should
               mix
               them
               as
               hastily
               as
               you
               can
               ,
               and
               not
               retouch
               the
               same
               place
               ,
               if
               conveniently
               you
               can
               avoid
               it
               .
            
             
               
                 Large
                 Lights
              
               ,
               
               &c.
               
               'T
               is
               in
               vain
               to
               take
               pains
               if
               you
               cannot
               preserve
               large
               Lights
               ,
               because
               without
               them
               ,
               your
               work
               will
               never
               make
               a
               good
               effect
               at
               a
               distance
               ;
               and
               also
               because
               little
               Lights
               are
               confus'd
               and
               effac'd
               ,
               proportionably
               ,
               as
               you
               are
               at
               a
               distance
               from
               the
               Picture
               .
               This
               was
               the
               perpetual
               Maxim
               of
               Correggio
               .
            
             
               Ought
               to
               have
               somewhat
               of
               Greatness
               in
               them
               ,
               
               and
               their
               Out-lines
               to
               be
               noble
               ,
               
                 &c.
                 
                 As
                 the
                 Pieces
                 of
              
               Antiquity
               
                 will
                 evidently
                 show
                 us
              
               .
            
             
               
               
                 There
                 is
                 nothing
                 more
                 pernicious
                 to
                 a
                 Youth
                 ,
              
               &c.
               
               'T
               is
               common
               to
               place
               our selves
               under
               the
               Discipline
               of
               a
               Master
               of
               whom
               we
               have
               a
               good
               opinion
               ,
               and
               whose
               manner
               we
               are
               apt
               to
               embrace
               with
               ease
               ,
               which
               takes
               root
               more
               deeply
               in
               us
               ,
               
               and
               augments
               the
               more
               we
               see
               him
               work
               ,
               and
               the
               more
               we
               copy
               after
               him
               .
               This
               happens
               oftentimes
               to
               that
               degree
               ,
               and
               makes
               so
               great
               an
               Impression
               in
               the
               Mind
               of
               the
               Scholar
               ,
               that
               he
               cannot
               give
               his
               approbation
               to
               any
               other
               manner
               whatsoever
               ,
               and
               believes
               there
               is
               no
               man
               under
               the
               Cope
               of
               Heaven
               ,
               who
               is
               so
               knowing
               as
               
                 his
                 Master
              
               .
            
             
               But
               what
               is
               most
               remarakble
               in
               this
               point
               is
               ,
               that
               nature
               appears
               to
               us
               always
               like
               that
               manner
               which
               we
               love
               ,
               and
               in
               which
               we
               have
               been
               taught
               ,
               which
               is
               just
               like
               a
               Glass
               through
               which
               we
               behold
               Objects
               ,
               and
               which
               communicates
               its
               Colour
               to
               them
               without
               our
               perceiving
               it
               .
               After
               I
               have
               said
               this
               ,
               you
               may
               see
               of
               what
               consequence
               is
               the
               choice
               of
               a
               
                 good
                 Master
              
               ,
               and
               of
               following
               in
               our
               beginning
               the
               manner
               of
               those
               who
               have
               come
               nearest
               to
               Nature
               .
               And
               how
               much
               injury
               do
               you
               think
               have
               the
               ill
               manners
               which
               have
               been
               in
               France
               ,
               done
               to
               the
               Painters
               of
               that
               Nation
               ,
               and
               what
               hindrance
               have
               they
               been
               to
               the
               knowledge
               of
               what
               is
               well
               done
               ,
               or
               of
               arriving
               to
               what
               is
               so
               when
               once
               we
               know
               it
               .
               The
               Italians
               say
               to
               those
               whom
               they
               see
               infected
               with
               an
               ill
               manner
               ,
               which
               they
               are
               not
               able
               to
               forsake
               ,
               
                 "
                 If
                 you
                 knew
                 just
                 nothing
                 ,
                 you
                 would
                 soon
                 learn
                 something
                 .
                 "
              
            
             
             
               
                 Search
                 whatsoever
                 is
                 aiding
                 to
                 your
                 Art
                 and
                 convenient
                 ,
              
               
               
                 and
                 avoid
                 those
                 things
                 which
                 are
                 repugnant
                 to
                 it
                 ,
              
               &c.
               
               This
               is
               an
               admirable
               Rule
               ;
               a
               Painter
               ought
               to
               have
               it
               perpetually
               present
               in
               his
               Mind
               and
               Memory
               .
               It
               resolves
               those
               difficulties
               which
               the
               Rules
               beget
               ;
               it
               loosens
               his
               hands
               ,
               and
               assists
               his
               understanding
               .
               In
               short
               ,
               this
               is
               the
               Rule
               which
               sets
               the
               Painter
               at
               liberty
               ,
               because
               it
               teaches
               him
               that
               he
               ought
               not
               to
               subject
               himself
               servilely
               ,
               and
               be
               bound
               like
               an
               Apprentice
               to
               the
               Rules
               of
               his
               Art
               ;
               but
               that
               the
               Rules
               of
               his
               Art
               ought
               to
               be
               Subject
               to
               him
               ,
               and
               not
               hinder
               him
               from
               following
               the
               Dictates
               of
               his
               Genius
               ,
               which
               is
               superior
               to
               them
               .
            
             
               
                 Bodies
                 of
                 diverse
                 Natures
                 which
                 are
                 aggroupp'd
                 or
                 combin'd
                 together
                 are
                 agreeable
                 and
                 pleasant
                 to
                 the
                 Sight
                 ,
              
               
               &c.
               
               As
               
                 Flowers
                 ,
                 Fruits
                 ,
                 Animals
                 ,
                 Skins
                 ,
                 Sattins
                 ,
                 Velvets
                 ,
                 beautifull
                 Flesh
                 ,
                 Works
                 of
                 Silver
                 ,
                 Armors
                 ,
                 Instruments
                 of
                 Musick
                 ,
                 Ornaments
                 of
                 Ancient
                 Sacrifices
                 ,
              
               and
               many
               other
               pleasing
               Diversities
               which
               may
               present
               themselves
               to
               the
               Painters
               imagination
               .
               'T
               is
               most
               certain
               that
               the
               diversity
               of
               Objects
               recreates
               the
               Sight
               ,
               when
               they
               are
               without
               confusion
               ;
               and
               when
               they
               diminish
               nothing
               of
               the
               Subject
               on
               which
               we
               work
               .
               Experience
               teaches
               us
               ,
               that
               the
               Eye
               grows
               weary
               with
               poring
               perpetually
               on
               the
               same
               thing
               ,
               not
               onely
               
               on
               Pictures
               ,
               but
               even
               on
               Nature
               it self
               .
               For
               who
               is
               he
               who
               would
               not
               be
               tir'd
               in
               the
               Walks
               of
               a
               long
               Forest
               ,
               or
               with
               beholding
               a
               large
               plain
               which
               is
               naked
               of
               Trees
               ,
               or
               in
               the
               Sight
               of
               a
               Ridge
               of
               Mountains
               ,
               which
               instead
               of
               Pleasure
               ,
               give
               us
               onely
               the
               view
               of
               Heights
               and
               Bottoms
               .
               Thus
               to
               content
               and
               fill
               the
               Eye
               of
               the
               Understanding
               ,
               the
               best
               Authors
               have
               had
               the
               Address
               to
               sprinkle
               their
               Works
               with
               pleasing
               Digressions
               ,
               with
               which
               they
               recreate
               the
               Minds
               of
               Readers
               .
               Discretion
               ,
               in
               this
               as
               in
               all
               other
               things
               is
               the
               surest
               Guide
               :
               and
               as
               tedious
               Digressions
               ,
               which
               wander
               from
               their
               Subject
               ,
               are
               impertinent
               ,
               so
               the
               Painter
               who
               under
               Pretence
               of
               diverting
               the
               Eyes
               ,
               would
               fill
               his
               Picture
               with
               such
               varieties
               as
               alter
               the
               truth
               of
               the
               History
               ,
               would
               make
               a
               ridiculous
               Piece
               of
               Painting
               ,
               and
               a
               mere
               Gallimaufry
               of
               his
               Work.
               
            
             
               
                 As
                 also
                 those
                 things
                 which
                 appear
                 to
                 be
                 perform'd
                 with
                 ease
                 ,
              
               
               &c.
               
               This
               ease
               attracts
               our
               Eyes
               ,
               and
               Spirits
               so
               much
               the
               more
               ,
               because
               it
               is
               to
               be
               presum'd
               that
               a
               noble
               work
               ,
               which
               appears
               so
               easie
               to
               us
               ,
               is
               the
               product
               of
               a
               skilfull
               Hand
               which
               is
               Master
               of
               its
               Art.
               It
               was
               in
               this
               part
               ,
               that
               Apelles
               found
               himself
               superior
               to
               Protogenes
               ,
               when
               he
               blam'd
               him
               ,
               for
               not
               knowing
               when
               to
               lay
               down
               his
               Pencil
               (
               and
               as
               I
               may
               almost
               say
               )
               to
               make
               
               an
               end
               of
               finishing
               his
               Piece
               .
               And
               it
               was
               on
               this
               account
               he
               plainly
               said
               ,
               "
               
                 That
                 nothing
                 was
                 more
                 prejudicial
                 to
                 Painters
                 than
                 too
                 much
                 exactness
                 ;
                 and
                 that
                 the
                 greatest
                 part
                 of
                 them
                 knew
                 not
                 when
                 they
                 had
                 done
                 enough
                 :
                 "
              
               as
               we
               have
               likewise
               a
               Proverb
               ,
               which
               says
               ,
               
                 An
                 Englishman
                 never
                 knows
                 when
                 he
                 is
                 well
                 .
              
               'T
               is
               true
               ,
               that
               the
               word
               enough
               is
               very
               difficult
               to
               understand
               .
               What
               you
               have
               to
               do
               ,
               is
               to
               consider
               your
               Subject
               thoroughly
               ,
               and
               in
               what
               manner
               you
               intend
               to
               treat
               it
               according
               to
               your
               rules
               ,
               and
               the
               Force
               of
               your
               Genius
               ;
               after
               this
               you
               are
               to
               work
               with
               all
               the
               ease
               and
               all
               the
               speed
               you
               can
               ,
               without
               breaking
               your
               head
               so
               very
               much
               ,
               and
               being
               so
               very
               industrious
               in
               starting
               Scruples
               to
               your self
               ,
               and
               creating
               difficulties
               in
               your
               work
               .
               But
               't
               is
               impossible
               to
               have
               this
               Facility
               without
               possessing
               perfectly
               all
               the
               Precepts
               of
               the
               Art
               ,
               and
               to
               have
               made
               it
               habitual
               to
               you
               .
               For
               ease
               consists
               in
               making
               precisely
               that
               work
               which
               you
               ought
               to
               make
               ,
               and
               to
               set
               every
               thing
               in
               its
               proper
               place
               with
               speed
               and
               Readiness
               ,
               which
               cannot
               be
               done
               without
               the
               Rules
               ,
               for
               they
               are
               the
               assur'd
               means
               of
               conducting
               you
               to
               the
               end
               that
               you
               design
               with
               Pleasure
               .
               'T
               is
               then
               most
               certain
               ,
               (
               though
               against
               the
               opinion
               of
               many
               ,
               )
               that
               the
               Rules
               give
               Facility
               ,
               Quiet
               of
               Mind
               ,
               and
               readiness
               of
               Hand
               to
               the
               flowest
               
               Genius
               ,
               and
               that
               the
               same
               Rules
               increase
               ,
               and
               guide
               that
               ease
               in
               those
               who
               have
               already
               receiv'd
               it
               at
               their
               Birth
               from
               the
               happy
               influence
               of
               their
               Stars
               .
            
             
               From
               whence
               it
               follows
               that
               we
               may
               consider
               Facility
               two
               several
               ways
               ,
               either
               simply
               ,
               as
               Diligence
               and
               a
               
                 readiness
                 of
                 Mind
              
               and
               of
               
                 the
                 Hand
              
               ;
               or
               as
               a
               
                 Disposition
                 in
                 the
                 Mind
              
               ,
               to
               remove
               readily
               all
               those
               difficulties
               which
               can
               arise
               in
               the
               work
               .
               The
               first
               proceeds
               from
               an
               active
               temper
               full
               of
               Fire
               ;
               and
               the
               second
               from
               a
               true
               knowledge
               and
               full
               possession
               of
               infallible
               Rules
               ;
               the
               first
               is
               pleasing
               ,
               but
               it
               is
               not
               always
               without
               Anxiety
               ,
               because
               it
               often
               leads
               us
               astray
               ,
               and
               on
               the
               contrary
               ,
               the
               last
               makes
               us
               act
               with
               a
               Repose
               of
               Mind
               ,
               and
               wonderfull
               Tranquillity
               ;
               because
               it
               ascertains
               us
               of
               the
               goodness
               of
               our
               work
               .
               'T
               is
               a
               great
               advantage
               to
               possess
               the
               first
               ,
               but
               't
               is
               the
               height
               of
               perfection
               to
               have
               both
               in
               that
               manner
               which
               Rubens
               and
               
                 Van
                 Dyck
              
               possessed
               them
               ,
               excepting
               the
               part
               of
               Design
               or
               Drawing
               ,
               which
               both
               too
               much
               neglected
               .
            
             
               Those
               who
               say
               that
               the
               Rules
               are
               so
               far
               from
               giving
               us
               this
               Facility
               ,
               that
               on
               the
               contrary
               they
               puzzle
               and
               perplex
               the
               Mind
               and
               tie
               the
               hand
               ,
               are
               generally
               such
               people
               who
               have
               pass'd
               half
               their
               lives
               in
               an
               ill
               practice
               of
               Painting
               ,
               the
               habit
               
               of
               which
               is
               grown
               so
               inveterate
               in
               them
               ,
               that
               to
               change
               it
               by
               the
               Rules
               ,
               is
               to
               take
               as
               it
               were
               their
               Pencils
               out
               of
               their
               hands
               ,
               and
               to
               put
               them
               out
               of
               condition
               of
               doing
               any
               thing
               ;
               in
               the
               same
               manner
               as
               we
               make
               a
               Country-man
               dumb
               whom
               we
               will
               not
               allow
               to
               speak
               ,
               but
               by
               the
               Rules
               of
               Grammar
               .
            
             
               Observe
               ,
               if
               you
               please
               ,
               that
               the
               Facility
               and
               Diligence
               of
               which
               I
               spoke
               ,
               consists
               not
               in
               that
               which
               we
               call
               bold
               strokes
               and
               a
               free
               handling
               of
               the
               Pencil
               ,
               if
               it
               makes
               not
               a
               great
               effect
               at
               a
               distance
               .
               That
               sort
               of
               Freedom
               belongs
               rather
               to
               a
               Writing-Master
               than
               a
               Painter
               .
               I
               say
               yet
               further
               ,
               that
               't
               is
               almost
               impossible
               that
               things
               which
               are
               painted
               should
               appear
               true
               and
               natural
               ,
               where
               we
               observe
               these
               sorts
               of
               bold
               strokes
               .
               And
               all
               those
               who
               have
               come
               nearest
               to
               nature
               ,
               have
               never
               us'd
               that
               manner
               of
               Painting
               ,
               those
               tender
               Hairs
               ,
               and
               those
               hatching
               strokes
               of
               the
               Pencil
               ,
               which
               make
               a
               kind
               of
               minced
               meat
               in
               Painting
               ,
               are
               very
               fine
               I
               must
               confess
               ,
               but
               they
               are
               never
               able
               to
               deceive
               the
               Sight
               .
            
             
               
                 Nor
                 till
                 you
                 have
                 present
                 in
                 your
                 Mind
                 a
                 perfect
                 Idea
                 of
                 your
                 work
                 ,
              
               
               &c.
               
               If
               you
               will
               have
               pleasure
               in
               Painting
               ,
               you
               ought
               to
               have
               so
               well
               consider'd
               the
               oeconomy
               of
               your
               work
               ,
               that
               it
               may
               be
               entirely
               made
               and
               dispos'd
               in
               your
               head
               before
               
               it
               be
               begun
               upon
               the
               Cloath
               .
               You
               must
               I
               say
               ,
               foresee
               the
               effect
               of
               the
               Grouppes
               ,
               the
               ground
               and
               the
               Lights
               and
               Shadows
               of
               every
               thing
               ,
               the
               Harmony
               of
               the
               Colours
               ,
               and
               the
               intelligence
               of
               all
               the
               Subject
               ,
               in
               such
               a
               manner
               ,
               that
               whatsoever
               you
               shall
               put
               upon
               the
               Cloth
               ,
               may
               be
               onely
               a
               Copy
               of
               what
               is
               in
               your
               Mind
               .
               If
               you
               make
               use
               of
               this
               Conduct
               ,
               you
               will
               not
               be
               put
               to
               the
               trouble
               of
               so
               often
               changing
               and
               rechanging
               .
            
             
               
                 Let
                 the
                 Eye
                 be
                 satisfied
                 in
                 the
                 first
                 place
                 ,
              
               
               
                 even
                 against
                 and
                 above
                 all
                 other
                 Reasons
                 ,
              
               &c.
               
               This
               passage
               has
               a
               respect
               to
               some
               particular
               Licences
               which
               a
               Painter
               ought
               to
               take
               :
               And
               as
               I
               despair
               not
               to
               treat
               this
               matter
               more
               at
               large
               ;
               I
               adjourn
               the
               Reader
               to
               the
               first
               opportunity
               which
               I
               can
               get
               for
               his
               farther
               satisfaction
               on
               this
               point
               to
               the
               best
               of
               my
               Ability
               :
               but
               in
               general
               he
               may
               hold
               for
               certain
               ,
               that
               those
               Licences
               are
               good
               which
               contribute
               to
               deceive
               the
               Sight
               ,
               without
               corrupting
               the
               truth
               of
               the
               Subject
               on
               which
               the
               Painter
               is
               to
               work
               .
            
             
               
                 Profit
                 your self
                 by
                 the
                 Counsels
                 of
                 the
                 knowing
                 ,
              
               
               &c.
               
               Parrhasius
               and
               Cliton
               thought
               themselves
               much
               oblig'd
               to
               Socrates
               for
               the
               knowledge
               which
               he
               gave
               them
               of
               the
               Passions
               .
               See
               their
               Dialogue
               in
               Xenophon
               towards
               the
               end
               of
               the
               
                 third
                 Book
                 of
                 Memoirs
              
               :
               
               
                 "
                 They
                 who
                 the
                 most
                 willingly
                 bear
                 reproof
                 ,
                 says
                 Pliny
              
               
               the
               Younger
               ,
               
                 are
                 the
                 very
                 men
                 in
                 whom
                 we
                 find
                 more
                 to
                 commend
                 than
                 in
                 other
                 people
                 .
                 "
                 Lysippus
              
               was
               extremely
               pleas'd
               when
               Apelles
               told
               him
               his
               opinion
               ;
               and
               Apelles
               as
               much
               ,
               when
               Lysippus
               told
               him
               his
               .
               
               That
               which
               Praxiteles
               said
               of
               Nicias
               in
               Pliny
               ,
               shows
               the
               Soul
               of
               an
               accomplish'd
               and
               an
               humble
               man.
               "
               Praxiteles
               
                 being
                 ask'd
                 which
                 of
                 all
                 his
                 Works
                 he
                 valued
                 most
                 ?
                 Those
                 ,
                 says
                 he
                 ,
                 which
              
               Nicias
               
                 has
                 retouch'd
              
               .
               "
               So
               much
               account
               he
               made
               of
               his
               Criticisms
               and
               his
               opinions
               .
               You
               know
               the
               common
               practice
               of
               Apelles
               ,
               when
               he
               had
               finish'd
               any
               work
               ,
               he
               expos'd
               it
               to
               the
               Sight
               of
               all
               Passengers
               ,
               and
               conceal'd
               himself
               to
               hear
               the
               Censure
               of
               his
               faults
               ,
               with
               the
               Prospect
               of
               making
               his
               advantage
               of
               the
               Informations
               which
               unknowingly
               they
               gave
               him
               .
               Being
               sensible
               that
               the
               people
               would
               examine
               his
               works
               more
               rigorously
               than
               himself
               ,
               and
               would
               not
               forgive
               the
               least
               mistake
               .
            
             
               The
               Opinions
               and
               Counsels
               of
               many
               together
               are
               always
               preferable
               to
               the
               advice
               of
               one
               single
               person
               .
               
               And
               Cicero
               wonders
               that
               any
               are
               besotted
               on
               their
               own
               Productions
               ,
               and
               say
               to
               one
               another
               ,
               
                 Very
                 good
                 ,
                 if
                 your
                 works
                 please
                 you
                 ,
                 mine
                 are
                 not
                 unpleasing
                 to
                 me
                 .
              
               In
               effect
               there
               are
               many
               who
               through
               Presumption
               or
               out
               of
               Shame
               to
               be
               reprehended
               ,
               never
               let
               their
               works
               be
               seen
               .
               But
               
               there
               is
               nothing
               can
               be
               of
               worse
               consequence
               ;
               
                 for
                 the
                 disease
                 is
                 nourish'd
                 and
                 increases
                 ,
              
               
               says
               
                 Virgil
                 ,
                 while
                 it
                 is
                 conceal'd
                 .
              
               There
               are
               none
               but
               Fools
               ,
               says
               Horace
               ,
               who
               out
               of
               Shamefac'dness
               hide
               their
               Ulcers
               ,
               which
               if
               shown
               might
               easily
               be
               heal'd
               .
               
                 Stultorum
                 incurata
                 malus
                 pudor
                 ulcera
                 celat
                 :
              
               
               There
               are
               others
               who
               have
               not
               altogether
               so
               much
               of
               this
               foolish
               Bashfulness
               ,
               and
               who
               ask
               every
               ones
               opinion
               with
               Prayers
               and
               Earnestness
               ;
               but
               if
               you
               freely
               and
               ingenuously
               give
               them
               notice
               of
               their
               Faults
               ,
               they
               never
               fail
               to
               make
               some
               pitifull
               excuse
               for
               them
               ,
               or
               which
               is
               worse
               ,
               they
               take
               in
               ill
               part
               the
               Service
               which
               you
               thought
               you
               did
               them
               ,
               which
               they
               but
               seemingly
               desir'd
               of
               you
               ,
               and
               out
               of
               an
               establish'd
               Custom
               amongst
               the
               greatest
               part
               of
               Painters
               .
               If
               you
               desire
               to
               get
               your self
               any
               honour
               ,
               and
               acquire
               a
               Reputation
               by
               your
               works
               ,
               there
               is
               no
               surer
               way
               than
               to
               show
               them
               to
               persons
               of
               good
               Sense
               ,
               and
               chiefly
               to
               those
               who
               are
               Criticks
               in
               the
               Art
               ;
               and
               to
               take
               their
               Counsel
               with
               the
               same
               Mildness
               and
               the
               same
               Sincerity
               ,
               as
               you
               desir'd
               them
               to
               give
               it
               you
               .
               You
               must
               also
               be
               industrious
               to
               discover
               the
               opinion
               of
               your
               Enemies
               ,
               which
               is
               commonly
               the
               truest
               ,
               for
               you
               may
               be
               assur'd
               ,
               that
               they
               will
               give
               you
               no
               quarter
               ,
               and
               allow
               nothing
               to
               complaisance
               .
            
             
             
               
                 But
                 if
                 you
                 have
                 no
                 knowing
                 Friend
                 ,
              
               
               &c.
               
               Quinctilian
               gives
               the
               reason
               of
               this
               ,
               when
               he
               says
               ,
               "
               
                 That
                 the
                 best
                 means
                 to
                 correct
                 our
                 faults
                 ,
                 is
                 doubtless
                 this
                 ,
                 To
                 remove
                 our
                 designs
                 out
                 of
                 Sight
                 ,
                 for
                 some
                 space
                 of
                 time
                 ,
                 and
                 not
                 to
                 look
                 upon
                 our
                 Pictures
                 ,
                 to
                 the
                 end
                 ,
                 that
                 after
                 this
                 interval
                 ,
                 we
                 may
                 look
                 on
                 them
                 as
                 it
                 were
                 with
                 other
                 Eyes
                 ,
                 and
                 as
                 a
                 new
                 work
                 which
                 was
                 of
                 another
                 hand
                 ,
                 and
                 not
                 our
                 own
                 .
              
               "
               Our
               own
               Productions
               do
               but
               too
               much
               flatter
               us
               ;
               they
               are
               always
               too
               pleasing
               ,
               and
               't
               is
               impossible
               not
               to
               be
               fond
               of
               them
               at
               the
               moment
               of
               their
               Conception
               .
               They
               are
               Children
               of
               a
               tender
               age
               ,
               which
               are
               not
               capable
               of
               drawing
               our
               Hatred
               on
               them
               .
               'T
               is
               said
               ,
               That
               Apes
               ,
               as
               soon
               as
               they
               have
               brought
               their
               Young
               into
               the
               World
               ,
               keep
               their
               Eyes
               continually
               fasten'd
               on
               them
               ,
               and
               are
               never
               weary
               of
               admiring
               their
               Beauty
               :
               so
               amorous
               is
               Nature
               of
               whatsoever
               she
               produces
               .
            
             
               To
               the
               end
               that
               he
               may
               cultivate
               those
               Talents
               which
               make
               his
               Genius
               ,
               
               &c.
               
               
                 Qui
                 sua
                 metitur
                 pondera
                 ,
                 ferre
                 potest
                 .
              
               "
               That
               we
               may
               undertake
               nothing
               beyond
               our
               forces
               ,
               
               we
               must
               endeavour
               to
               know
               them
               .
               "
               "
               
                 On
                 this
                 Prudence
                 our
                 reputation
                 depends
                 .
              
               Cicero
               
                 calls
                 it
              
               a
               
               good
               Grace
               ,
               
                 because
                 it
                 makes
                 a
                 man
                 seen
                 in
                 his
                 greatest
                 Lustre
                 .
              
               
               "
               'T
               is
               ,
               (
               
                 says
                 he
              
               )
               a
               becoming
               Grace
               ,
               which
               we
               shall
               easily
               make
               appear
               ,
               if
               we
               are
               carefull
               to
               cultivate
               that
               which
               Nature
               has
               given
               us
               in
               propriety
               ,
               and
               made
               our
               own
               ,
               provided
               it
               be
               no
               Vice
               or
               Imperfection
               :
               we
               ought
               to
               undertake
               nothing
               which
               is
               repugnant
               to
               Nature
               in
               general
               ;
               and
               when
               we
               have
               paid
               her
               this
               duty
               ,
               we
               are
               bound
               so
               religiously
               to
               follow
               our
               own
               Nature
               ,
               that
               though
               many
               things
               which
               are
               more
               serious
               and
               more
               important
               ,
               present
               themselves
               to
               us
               ,
               yet
               we
               are
               always
               to
               conform
               our
               Studies
               and
               our
               Exercises
               to
               our
               natural
               Inclinations
               .
               It
               avails
               nothing
               to
               dispute
               against
               Nature
               ,
               and
               think
               to
               obtain
               what
               she
               refuses
               ;
               for
               then
               we
               eternally
               follow
               what
               we
               can
               never
               reach
               ;
               for
               ,
               as
               the
               Proverb
               says
               ,
               There
               is
               nothing
               can
               please
               ,
               nothing
               can
               be
               gracefull
               which
               we
               enterprize
               in
               spight
               of
               Minerva
               ;
               that
               is
               to
               say
               ,
               in
               spight
               of
               Nature
               .
               When
               we
               have
               consider'd
               all
               these
               things
               attentively
               ,
               it
               will
               then
               be
               necessary
               ,
               that
               every
               man
               should
               regard
               that
               in
               particular
               ,
               which
               Nature
               has
               made
               his
               portion
               ,
               and
               that
               he
               should
               cultivate
               it
               with
               care
               ;
               't
               is
               not
               his
               business
               to
               give
               himself
               the
               trouble
               of
               trying
               whether
               it
               will
               become
               him
               to
               put
               on
               the
               Nature
               of
               another
               man
               ;
               or
               as
               one
               would
               say
               ,
               to
               act
               the
               person
               of
               another
               :
               there
               is
               nothing
               which
               can
               more
               become
               us
               ,
               than
               what
               is
               properly
               the
               Gift
               of
               Nature
               .
               
               Let
               every
               one
               therefore
               endeavour
               to
               understand
               his
               own
               Talent
               ,
               and
               without
               flattering
               himself
               ,
               let
               him
               make
               a
               true
               judgment
               of
               his
               own
               Vertues
               ,
               and
               his
               own
               Defects
               and
               Vices
               ;
               that
               he
               may
               not
               appear
               to
               have
               less
               judgment
               than
               the
               Comedians
               ,
               who
               do
               not
               always
               chuse
               the
               best
               Plays
               ,
               but
               those
               which
               are
               best
               for
               them
               ;
               that
               is
               ,
               those
               which
               are
               most
               in
               the
               compass
               of
               their
               acting
               .
               Thus
               we
               are
               to
               fix
               on
               those
               things
               for
               which
               we
               have
               the
               strongest
               Inclination
               .
               And
               if
               it
               sometimes
               happen
               that
               we
               are
               forc'd
               by
               necessity
               to
               apply
               our selves
               to
               such
               other
               things
               to
               which
               we
               are
               no
               ways
               inclin'd
               ;
               we
               must
               bring
               it
               so
               about
               by
               our
               Care
               and
               Industry
               ,
               that
               if
               we
               perform
               them
               not
               very
               well
               ,
               at
               least
               we
               may
               not
               do
               them
               so
               very
               ill
               as
               to
               be
               sham'd
               by
               them
               :
               we
               are
               not
               so
               much
               to
               strain
               our selves
               to
               make
               those
               Vertues
               appear
               in
               us
               which
               really
               we
               have
               not
               ,
               as
               to
               avoid
               those
               Imperfections
               which
               may
               dishonour
               us
               .
               "
               
                 These
                 are
                 the
                 Thoughts
                 and
                 the
                 Words
                 of
              
               Cicero
               ,
               
                 which
                 I
                 have
                 translated
                 ,
                 retrenching
                 onely
                 such
                 things
                 as
                 were
                 of
                 no
                 concernment
                 to
                 my
                 Subject
                 :
                 I
                 was
                 not
                 of
                 opinion
                 to
                 add
                 any
                 thing
                 ,
                 and
                 the
                 Reader
                 I
                 doubt
                 not
                 will
                 find
                 his
                 satisfaction
                 in
                 them
                 .
              
            
             
               
                 While
                 you
                 meditate
                 on
                 these
                 Truths
                 ,
              
               
               
                 and
                 observe
                 them
                 diligently
              
               ,
               &c.
               
               There
               is
               a
               great
               Connexion
               betwixt
               
                 this
                 Precept
              
               and
               that
               other
               ,
               which
               tells
               you
               ,
               That
               
                 you
                 are
                 to
                 pass
                 no
                 day
                 without
                 drawing
                 a
                 line
                 .
              
               
               'T
               is
               impossible
               to
               become
               an
               able
               Artist
               ,
               without
               making
               your
               Art
               habitual
               to
               you
               :
               and
               't
               is
               impossible
               to
               gain
               an
               exact
               Habitude
               ,
               without
               an
               infinite
               number
               of
               Acts
               ,
               and
               without
               perpetual
               Practice
               .
               In
               all
               Arts
               the
               Rules
               of
               them
               are
               learn'd
               in
               little
               time
               ;
               but
               the
               perfection
               is
               not
               acquir'd
               without
               a
               long
               Practice
               and
               a
               severe
               Diligence
               .
               
                 We
                 never
                 saw
                 that
                 Laziness
                 produc'd
                 any
                 thing
                 which
                 was
                 excellent
                 ,
              
               
               says
               
                 Maximus
                 Tyrius
              
               :
               and
               Quinctilian
               tells
               us
               ,
               That
               
                 the
                 Arts
                 draw
                 their
                 beginning
                 from
                 Nature
              
               ;
               the
               want
               we
               often
               have
               of
               them
               causes
               us
               to
               search
               the
               means
               of
               becoming
               able
               in
               them
               ,
               and
               exercise
               makes
               us
               entirely
               Masters
               of
               them
               .
            
             
               
                 The
                 morning
                 is
                 the
                 best
                 and
                 most
                 proper
                 part
                 of
                 the
                 day
                 ,
              
               
               &c.
               
               Because
               then
               the
               Imagination
               is
               not
               clouded
               with
               the
               Vapours
               of
               Meat
               ,
               nor
               distracted
               by
               Visits
               which
               are
               not
               usually
               made
               in
               the
               morning
               .
               And
               the
               Mind
               by
               the
               Sleep
               of
               the
               foregoing
               Night
               ,
               is
               refresh'd
               and
               recreated
               from
               the
               Toyls
               of
               former
               Studies
               .
               Malherbe
               says
               well
               to
               this
               purpose
               .
               
                 
                   Le
                   plus
                   beau
                   de
                   nos
                   jours
                   ,
                   est
                   dans
                   leur
                   matinee
                   .
                
              
               
                 
                   The
                   sprightly
                   Morn
                   is
                   the
                   best
                   part
                   of
                   Day
                   .
                
              
            
             
             
               
                 Let
                 no
                 day
                 pass
                 over
                 you
                 without
                 drawing
                 a
                 line
                 ,
              
               
               &c.
               
               That
               is
               to
               say
               ,
               without
               working
               ,
               without
               giving
               some
               strokes
               of
               the
               Pencil
               or
               the
               Crayon
               .
               This
               was
               the
               Precept
               of
               Apelles
               ;
               and
               't
               is
               of
               so
               much
               the
               more
               necessity
               ,
               because
               Painting
               is
               an
               Art
               of
               much
               length
               and
               time
               ,
               and
               is
               not
               to
               be
               learn'd
               without
               great
               Practice
               .
               
                 Michael
                 Angelo
              
               at
               the
               Age
               of
               fourscore
               years
               ,
               said
               ,
               That
               
                 he
                 learn'd
                 something
                 every
                 day
              
               .
            
             
               
                 Be
                 ready
                 to
                 put
                 into
                 your
                 Table-book
                 ,
              
               
               &c.
               
               As
               it
               was
               the
               custom
               of
               Titian
               and
               the
               Carraches
               ;
               there
               are
               yet
               remaining
               in
               the
               hands
               of
               some
               who
               are
               curious
               in
               Painting
               ;
               many
               thoughts
               and
               observations
               which
               those
               great
               Men
               have
               made
               on
               Paper
               ,
               and
               in
               their
               Table-books
               which
               they
               carry'd
               continually
               about
               them
               .
            
             
               Wine
               and
               good
               Cheer
               are
               no
               great
               Friends
               to
               Painting
               ,
               
               they
               serve
               onely
               to
               recreate
               the
               Mind
               when
               it
               is
               oppress'd
               and
               spent
               with
               Labour
               ,
               &c.
               
               "
               During
               the
               time
               ,
               says
               Pliny
               ,
               that
               Protogenes
               was
               drawing
               the
               Picture
               of
               Jalysus
               ,
               which
               was
               the
               best
               of
               all
               his
               Works
               ,
               he
               took
               no
               other
               nourishment
               than
               Lupines
               mix'd
               with
               a
               little
               water
               ,
               which
               serv'd
               him
               both
               for
               Meat
               and
               Drink
               ,
               for
               fear
               of
               clogging
               his
               Imagination
               by
               the
               Luxury
               of
               his
               Food
               .
               "
               Michael
               Angelo
               ,
               
                 while
                 he
                 was
                 drawing
                 his
                 day
                 of
                 Judgment
                 ,
                 fed
                 onely
                 on
                 Bread
                 and
                 Wine
                 at
                 Dinner
                 .
                 
                 And
              
               Vasari
               
                 observes
                 in
                 his
                 life
                 ,
                 that
                 he
                 was
                 so
                 sober
                 that
                 he
                 slept
                 but
                 little
                 ,
                 and
                 that
                 he
                 often
                 rose
                 in
                 the
                 Night
                 to
                 work
                 ,
                 as
                 being
                 not
                 disturb'd
                 by
                 the
                 Vapours
                 of
                 his
                 thin
                 Repasts
                 .
              
            
             
               
                 But
                 delights
                 in
                 the
                 liberty
                 which
                 belongs
                 to
                 the
                 Batchelors
                 Estate
                 ,
              
               
               &c.
               
               We
               never
               see
               large
               and
               beautifull
               and
               well-tasted
               Fruits
               proceeding
               from
               a
               Tree
               which
               is
               incompass'd
               round
               ,
               and
               choak'd
               with
               Thorns
               and
               Bryars
               .
               Marriage
               draws
               a
               world
               of
               business
               on
               our
               hands
               ,
               subjects
               us
               to
               Law-suits
               ,
               and
               loads
               us
               with
               multitudes
               of
               domestick
               Cares
               ,
               which
               are
               as
               so
               many
               Thorns
               that
               encompass
               a
               Painter
               ,
               and
               hinder
               him
               from
               producing
               his
               works
               in
               that
               perfection
               of
               which
               otherwise
               he
               is
               capable
               .
               
                 Raphael
                 ,
                 Michael
                 Angelo
              
               ,
               and
               
                 Hannibal
                 Carracci
              
               were
               never
               marry'd
               :
               and
               amongst
               the
               Ancient
               Painters
               we
               find
               none
               recorded
               for
               being
               marry'd
               ,
               but
               onely
               Apelles
               ,
               to
               whom
               
                 Alexander
                 the
                 Great
              
               made
               a
               present
               of
               his
               own
               Mistress
               Campaspe
               ;
               which
               yet
               I
               would
               have
               understood
               without
               offence
               to
               the
               Institution
               of
               Marriage
               ,
               for
               that
               calls
               down
               many
               Blessings
               upon
               Families
               ,
               by
               the
               Carefulness
               of
               a
               vertuous
               Wife
               .
               If
               Marriage
               be
               in
               general
               a
               remedy
               against
               Concupiscence
               ,
               't
               is
               doubly
               so
               in
               respect
               of
               Painters
               ;
               who
               are
               more
               frequently
               under
               the
               occasions
               of
               Sin
               than
               other
               Men
               ;
               because
               they
               are
               under
               
               a
               frequent
               necessity
               to
               seeing
               Nature
               bare-fac'd
               .
               Let
               every
               one
               examine
               his
               own
               strength
               upon
               this
               point
               :
               but
               let
               him
               preferr
               the
               interest
               of
               his
               Soul
               to
               that
               of
               his
               Art
               and
               of
               his
               Fortune
               .
            
             
               
                 Painting
                 naturally
                 withdraws
                 from
                 noise
                 and
                 tumult
                 ,
              
               
               &c.
               
               I
               have
               said
               at
               the
               end
               of
               the
               first
               Remark
               ,
               that
               both
               Poetry
               and
               Painting
               were
               upheld
               by
               the
               strength
               of
               Imagination
               .
               Now
               there
               is
               nothing
               which
               warms
               it
               more
               than
               Repose
               and
               Solitude
               :
               Because
               in
               that
               estate
               ,
               the
               Mind
               being
               freed
               from
               all
               sorts
               of
               business
               ,
               and
               in
               a
               kind
               of
               Sanctuary
               undisturb'd
               by
               vexatious
               Visits
               ,
               is
               more
               capable
               of
               forming
               noble
               Thoughts
               and
               of
               Application
               to
               its
               Studies
               .
               
                 
                   Carmina
                   secessum
                   scribentis
                   &
                   otia
                   quaerunt
                   .
                
              
               
                 
                   Good
                   Verse
                   ,
                   Recess
                   and
                   Solitude
                   requires
                   :
                
                 
                   And
                   Ease
                   from
                   Cares
                   ,
                   and
                   undisturb'd
                   Desires
                   .
                
              
               We
               may
               properly
               say
               the
               same
               of
               Painting
               ,
               by
               reason
               of
               its
               conformity
               with
               Poetry
               ,
               as
               I
               have
               shown
               in
               the
               first
               Remark
               .
            
             
               Let
               not
               the
               covetous
               design
               of
               growing
               rich
               ,
               
               
                 &c.
                 
                 We
                 read
                 in
              
               Pliny
               ,
               
               that
               Nicias
               
                 refus'd
                 Sixty
                 Talents
                 from
                 King
              
               Attalus
               ,
               
                 and
                 rather
                 chose
                 to
                 make
                 a
                 free
                 Gift
                 of
                 his
                 Picture
                 to
                 his
                 Country
                 .
              
               
               "
               I
               enquir'd
               of
               a
               prudent
               man
               ,
               
               (
               
                 says
                 a
                 grave
                 Author
              
               )
               in
               what
               times
               those
               noble
               Pictures
               were
               made
               which
               now
               we
               see
               ;
               and
               desir'd
               him
               to
               explain
               to
               me
               some
               of
               their
               Subjects
               ,
               which
               I
               did
               not
               well
               understand
               .
               I
               ask'd
               him
               likewise
               the
               reason
               of
               that
               great
               negligence
               which
               is
               now
               visible
               amongst
               Painters
               :
               And
               from
               whence
               it
               proceeded
               ,
               that
               the
               most
               beautifull
               Arts
               were
               now
               bury'd
               in
               Oblivion
               ,
               and
               principally
               Painting
               ,
               a
               faint
               Shadow
               of
               which
               is
               at
               present
               remaining
               to
               us
               .
               To
               which
               he
               thus
               reply'd
               ,
               That
               the
               immoderate
               desire
               of
               Riches
               had
               produc'd
               this
               change
               :
               For
               of
               old
               ,
               when
               naked
               Vertue
               had
               her
               Charms
               ,
               the
               noble
               Arts
               then
               flourish'd
               in
               their
               Vigour
               :
               and
               if
               there
               was
               any
               contest
               amongst
               men
               ,
               it
               was
               onely
               who
               should
               be
               the
               first
               Discoverer
               of
               what
               might
               be
               of
               advantage
               to
               posterity
               .
               Lysippus
               and
               Myron
               ,
               those
               renown'd
               Sculptors
               ,
               who
               could
               give
               a
               Soul
               to
               Brass
               ,
               left
               no
               Heirs
               ,
               no
               Inheritance
               behind
               them
               ,
               because
               they
               were
               more
               carefull
               of
               acquiring
               Fame
               than
               Riches
               .
               But
               as
               for
               us
               of
               this
               present
               Age
               ,
               it
               seems
               by
               the
               manner
               of
               our
               Conduct
               ,
               that
               we
               upbraid
               Antiquity
               for
               being
               as
               covetous
               of
               Vertue
               as
               we
               are
               of
               Vice
               :
               wonder
               not
               so
               much
               therefore
               ,
               if
               Painting
               has
               lost
               its
               Strength
               and
               Vigour
               ,
               because
               many
               are
               now
               of
               opinion
               ,
               that
               a
               heap
               of
               Gold
               is
               much
               more
               beautifull
               than
               all
               the
               Pictures
               and
               Statues
               of
               Apelles
               and
               Phidias
               ,
               and
               all
               the
               noble
               Performances
               of
               Greece
               .
               "
            
             
             
               I
               would
               not
               exact
               so
               great
               an
               act
               of
               Abstinence
               from
               our
               modern
               Painters
               ,
               for
               I
               am
               not
               ignorant
               that
               the
               hope
               of
               gain
               is
               a
               wonderfull
               sharp
               spur
               in
               Arts
               ,
               and
               that
               it
               gives
               industry
               to
               the
               Artist
               ;
               from
               whence
               it
               was
               that
               Iuvenal
               said
               even
               of
               the
               Greeks
               themselves
               ,
               who
               were
               the
               Inventors
               of
               Painting
               ,
               and
               who
               first
               understood
               all
               the
               Graces
               of
               it
               and
               its
               whole
               perfection
               ;
               
                 
                   Graeculus
                   esuriens
                   ,
                   in
                   Coelum
                   ,
                   jusseris
                   ,
                   ibit
                   .
                
              
               
                 
                   A
                   hungry
                   Greek
                   ,
                   if
                   bidden
                   ,
                   scales
                   the
                   Skies
                   .
                
              
               But
               I
               could
               heartily
               wish
               ,
               that
               the
               same
               hope
               which
               flatters
               them
               did
               not
               also
               corrupt
               them
               :
               and
               did
               not
               snatch
               out
               of
               their
               hands
               a
               lame
               ,
               imperfect
               Piece
               ,
               rudely
               daub'd
               over
               with
               too
               little
               Reflection
               and
               too
               much
               haste
               .
            
             
               
                 The
                 qualities
                 requisite
                 to
                 form
                 an
                 excellent
                 Painter
                 ,
              
               
               &c.
               
               'T
               is
               to
               be
               confess'd
               that
               very
               few
               Painters
               have
               those
               qualities
               which
               are
               requir'd
               by
               our
               Author
               ,
               because
               there
               are
               very
               few
               ,
               who
               are
               
                 able
                 Painters
              
               .
               There
               was
               a
               time
               when
               onely
               they
               who
               were
               of
               noble
               Blood
               ,
               were
               permitted
               to
               exercise
               this
               Art
               ;
               because
               it
               is
               to
               be
               presum'd
               ,
               that
               all
               these
               Ingredients
               of
               a
               good
               Painter
               ,
               are
               not
               ordinarily
               found
               in
               men
               of
               vulgar
               Birth
               .
               And
               in
               all
               appearance
               ,
               we
               may
               
               hope
               that
               though
               there
               be
               no
               Edict
               in
               France
               which
               takes
               away
               the
               Liberty
               of
               Painting
               from
               those
               to
               whom
               Nature
               has
               refus'd
               the
               Honour
               of
               being
               born
               Gentlemen
               ,
               yet
               at
               least
               that
               the
               
                 Royal
                 Academy
              
               will
               admit
               hence-forward
               onely
               such
               who
               being
               endu'd
               with
               all
               the
               good
               Qualities
               and
               the
               Talents
               which
               are
               requir'd
               for
               Painting
               ,
               those
               endowments
               may
               be
               to
               them
               instead
               of
               an
               honourable
               Birth
               .
               'T
               is
               certain
               ,
               that
               which
               debases
               Painting
               ,
               and
               makes
               it
               descend
               to
               the
               vilest
               and
               most
               despicable
               kind
               of
               Trade
               ,
               is
               the
               great
               multitude
               of
               Painters
               who
               have
               neither
               noble
               Souls
               nor
               any
               Talent
               for
               the
               Art
               ,
               nor
               even
               so
               much
               as
               common
               Sence
               .
               The
               Origin
               of
               this
               great
               Evil
               ,
               is
               that
               there
               have
               always
               been
               admitted
               into
               the
               Schools
               of
               Painting
               all
               sorts
               of
               Children
               promiscuously
               ,
               without
               Examination
               of
               them
               ,
               and
               without
               observing
               for
               some
               convenient
               space
               of
               time
               ,
               if
               they
               were
               conducted
               to
               this
               Art
               by
               their
               inward
               Disposition
               ,
               and
               all
               necessary
               Talents
               ,
               rather
               than
               by
               a
               foolish
               Inclination
               of
               their
               own
               ,
               or
               by
               the
               Avarice
               of
               their
               Relations
               ,
               who
               put
               them
               to
               Painting
               ,
               as
               a
               Trade
               which
               they
               believe
               to
               be
               somewhat
               more
               gainfull
               than
               another
               .
               The
               qualities
               properly
               requir'd
               ,
               are
               these
               following
               .
            
             
             
               
                 A
                 good
                 Iudgment
              
               ,
               That
               they
               made
               do
               nothing
               against
               Reason
               and
               Verisimility
               .
            
             
               
                 A
                 docible
                 Mind
              
               ,
               That
               they
               may
               profit
               by
               instructions
               ,
               and
               receive
               without
               Arrogance
               the
               opinion
               of
               every
               one
               ,
               and
               principally
               of
               knowing
               Men.
               
            
             
               
                 A
                 noble
                 Heart
              
               ,
               That
               they
               may
               propose
               Glory
               to
               themselves
               ,
               and
               Reputation
               rather
               than
               Riches
               .
            
             
               
                 A
                 Sublimity
                 ,
                 and
                 Reach
                 of
                 Thought
                 ,
              
               To
               conceive
               radily
               ,
               to
               produce
               beautifull
               Ideas
               ,
               and
               to
               work
               on
               their
               Subjects
               nobly
               and
               after
               a
               lofty
               manner
               ,
               wherein
               we
               may
               observe
               somewhat
               that
               is
               delicate
               ,
               ingenious
               and
               uncommon
               .
            
             
               
                 A
                 warm
                 and
                 vigorous
                 Fancy
              
               ,
               To
               arrive
               a
               least
               to
               some
               degree
               of
               Perfection
               ,
               without
               being
               tir'd
               with
               the
               Pains
               and
               Study
               which
               are
               requir'd
               in
               Painting
               .
            
             
               Health
               ,
               To
               resist
               the
               dissipation
               of
               Spirits
               ,
               which
               are
               apt
               to
               be
               consum'd
               by
               Pains-taking
               .
            
             
               Youth
               ,
               Because
               Painting
               requires
               a
               great
               Experience
               and
               a
               long
               Practice
               .
            
             
               Beauty
               or
               Handsomeness
               ,
               Because
               a
               Painter
               paints
               himself
               in
               all
               his
               Pictures
               ,
               and
               Nature
               loves
               to
               produce
               her
               own
               Likeness
               .
            
             
               
                 A
                 convenient
                 Fortune
              
               ,
               That
               he
               may
               give
               his
               whole
               time
               to
               study
               ,
               and
               may
               work
               chearfully
               ,
               
               without
               being
               haunted
               with
               the
               dreadfull
               Image
               of
               Poverty
               ,
               ever
               present
               to
               his
               Mind
               .
            
             
               Labour
               ,
               Because
               the
               Speculation
               is
               nothing
               without
               the
               Practice
               .
            
             
               
                 A
                 Love
                 for
                 his
                 Art
              
               ,
               We
               suffer
               nothing
               in
               the
               Labour
               which
               is
               pleasing
               to
               us
               :
               or
               if
               it
               happen
               that
               we
               suffer
               ,
               we
               are
               pleas'd
               with
               the
               Pain
               .
            
             
               
                 And
                 to
                 be
                 under
                 the
                 Discipline
                 of
                 a
                 knowing
                 Master
                 ,
              
               &c.
               
               Because
               all
               depends
               on
               the
               Beginnings
               ,
               and
               because
               commonly
               they
               take
               the
               manner
               of
               their
               Master
               ,
               and
               are
               form'd
               according
               to
               his
               Gusto
               :
               See
               Verse
               422
               ,
               and
               the
               Remark
               upon
               it
               .
               All
               these
               good
               qualities
               are
               insignificant
               and
               unprofitable
               to
               the
               Painter
               ,
               if
               some
               outward
               dispositions
               are
               wanting
               to
               him
               .
               By
               which
               I
               mean
               favourable
               times
               ,
               such
               as
               are
               times
               of
               Peace
               ,
               which
               is
               the
               Nurse
               of
               all
               noble
               Arts
               ;
               there
               must
               also
               some
               fair
               occasion
               offer
               to
               make
               their
               Skill
               manifest
               by
               the
               performance
               of
               some
               considerable
               Work
               within
               their
               power
               :
               and
               a
               Protector
               ,
               who
               must
               be
               a
               Person
               of
               Authority
               ,
               one
               who
               takes
               upon
               himself
               their
               care
               of
               the
               Fortune
               ,
               at
               least
               in
               some
               measure
               ;
               and
               knows
               how
               to
               speak
               well
               of
               them
               in
               time
               and
               place
               convenient
               .
               
                 'T
                 is
                 of
                 much
                 importance
              
               ,
               says
               the
               Younger
               
                 Pliny
                 ,
                 in
                 what
                 times
                 Vertue
                 appears
                 .
                 And
                 there
                 is
                 no
                 Wit
                 ,
                 howsoever
                 excellent
                 it
                 may
                 be
                 ,
                 which
                 can
                 make
                 it self
                 immediately
                 
                 known
                 .
                 Time
                 and
                 Opportunity
                 are
                 necessary
                 to
                 it
                 ,
                 and
                 a
                 person
                 who
                 can
                 assist
                 us
                 with
                 his
                 favour
                 and
                 be
                 a
                 Moecenas
                 to
                 us
                 .
              
            
             
               
                 And
                 Life
                 is
                 so
                 short
              
               ,
               
               
                 that
                 it
                 is
                 not
                 sufficient
                 for
                 so
                 long
                 an
                 Art
                 ,
              
               &c.
               
               Not
               onely
               Painting
               but
               all
               other
               Arts
               consider'd
               in
               themselves
               require
               almost
               an
               infinite
               time
               to
               possess
               them
               perfectly
               .
               'T
               is
               in
               this
               Sense
               that
               Hippocrates
               begins
               his
               Aphorisms
               with
               this
               saying
               ,
               
                 That
                 Art
                 is
                 long
                 and
                 Life
                 is
                 short
                 .
              
               But
               if
               we
               consider
               Arts
               ,
               as
               they
               are
               in
               us
               ,
               and
               according
               to
               a
               certain
               degree
               of
               Perfection
               ,
               sufficient
               enough
               ,
               to
               make
               it
               known
               that
               we
               possess
               them
               above
               the
               common
               sort
               ,
               and
               are
               comparatively
               better
               than
               most
               others
               ,
               we
               shall
               not
               find
               that
               Life
               is
               too
               short
               on
               that
               account
               ,
               provided
               our
               time
               be
               well
               employ'd
               .
               'T
               is
               true
               ,
               that
               Painting
               is
               an
               Art
               which
               is
               difficult
               and
               a
               great
               undertaking
               .
               But
               they
               who
               are
               endu'd
               with
               the
               qualities
               that
               are
               necessary
               to
               it
               ,
               have
               no
               reason
               to
               be
               discourag'd
               by
               that
               apprehension
               .
               
               
                 Labour
                 always
                 appears
                 difficult
                 before
                 't
                 is
                 try'd
                 .
              
               The
               passages
               by
               Sea
               ,
               and
               the
               Knowledge
               of
               the
               Stars
               ,
               have
               been
               thought
               impossible
               ,
               which
               notwithstanding
               have
               been
               found
               and
               compass'd
               ,
               and
               that
               with
               ease
               by
               those
               who
               endeavour'd
               after
               them
               .
               
               
                 'T
                 is
                 a
                 shamefull
                 thing
              
               ,
               says
               ,
               
                 Cicero
                 ,
                 to
                 be
                 weary
                 of
                 Enquiry
                 ,
                 when
                 what
                 we
                 search
                 is
                 excellent
                 .
              
               That
               which
               causes
               
               us
               to
               lose
               most
               of
               our
               time
               ,
               is
               the
               repugnance
               which
               we
               naturally
               have
               to
               Labour
               ,
               and
               the
               Ignorance
               ,
               the
               Malice
               ,
               and
               the
               Negligence
               of
               our
               Masters
               :
               we
               waste
               much
               of
               our
               time
               in
               walking
               and
               talking
               to
               no
               manner
               of
               purpose
               ,
               in
               making
               and
               receiving
               idle
               Visits
               ,
               in
               Play
               and
               other
               Pleasures
               which
               we
               indulge
               ,
               without
               reckoning
               those
               hours
               which
               we
               lose
               in
               the
               too
               great
               care
               of
               our
               Bodies
               ;
               and
               in
               Sleep
               ,
               which
               we
               often
               lengthen
               out
               till
               the
               day
               is
               far
               advanc'd
               :
               and
               thus
               we
               pass
               that
               Life
               which
               we
               reckon
               to
               be
               short
               ,
               because
               we
               count
               by
               the
               years
               which
               we
               have
               liv'd
               ,
               rather
               than
               by
               those
               which
               we
               have
               employ'd
               in
               study
               .
               'T
               is
               evident
               that
               they
               who
               liv'd
               before
               us
               ,
               have
               pass'd
               through
               all
               those
               difficulties
               to
               arrive
               at
               that
               Perfection
               which
               we
               discover
               in
               their
               Works
               ,
               though
               they
               wanted
               some
               of
               the
               Advantages
               which
               we
               possess
               ,
               and
               that
               none
               had
               labour'd
               for
               them
               as
               they
               have
               done
               for
               us
               .
               For
               't
               is
               certain
               that
               those
               Ancient
               Masters
               ,
               and
               those
               of
               the
               last
               preceding
               Ages
               ,
               have
               left
               such
               beautifull
               Patterns
               to
               us
               ,
               that
               a
               better
               and
               more
               happy
               Age
               can
               never
               be
               than
               ours
               ;
               and
               chiefly
               under
               the
               Reign
               of
               our
               present
               King
               ,
               who
               encourages
               all
               the
               noble
               Arts
               ,
               and
               spares
               nothing
               to
               give
               them
               the
               share
               of
               that
               Felicity
               of
               which
               he
               is
               so
               bountifull
               to
               his
               Kingdom
               :
               and
               to
               conduct
               them
               with
               all
               manner
               
               of
               advantages
               to
               that
               supreme
               Degree
               of
               Excellence
               ,
               which
               may
               be
               worthy
               of
               such
               a
               Master
               ,
               and
               of
               that
               Sovereign
               Love
               which
               he
               has
               for
               them
               .
               Let
               us
               therefore
               put
               our
               hands
               to
               the
               work
               ,
               without
               being
               discourag'd
               by
               the
               length
               of
               time
               ,
               which
               is
               requisite
               for
               our
               Studies
               ;
               but
               let
               us
               seriously
               contrive
               how
               to
               proceed
               with
               the
               best
               Order
               ,
               and
               to
               follow
               a
               ready
               ,
               diligent
               ,
               and
               well
               understood
               Method
               .
            
             
               
                 Take
                 Courage
                 therefore
              
               ,
               
               
                 O
                 ye
                 noble
                 Youths
                 !
                 you
                 legitimate
                 Offspring
                 of
              
               Minerva
               ,
               
                 who
                 are
                 born
                 under
                 the
                 influence
                 of
                 a
                 happy
                 Planet
                 .
              
               &c.
               Our
               Author
               intends
               not
               here
               to
               sow
               in
               a
               barren
               ,
               ungratefull
               Ground
               ,
               where
               his
               Precepts
               can
               bear
               no
               Fruit
               :
               He
               speaks
               to
               young
               ,
               Painters
               ,
               but
               to
               such
               onely
               who
               are
               born
               under
               the
               Influence
               of
               a
               happy
               Star
               ;
               that
               is
               to
               say
               ,
               those
               who
               have
               receiv'd
               from
               Nature
               the
               necessary
               dispositions
               of
               becoming
               great
               in
               the
               Art
               of
               Painting
               :
               and
               not
               to
               those
               who
               follow
               that
               Study
               through
               Caprice
               or
               by
               a
               sottish
               Inclination
               ,
               or
               for
               Lucre
               ,
               who
               are
               either
               incapable
               of
               receiving
               the
               Precepts
               ,
               or
               will
               make
               a
               bad
               use
               of
               them
               when
               receiv'd
               .
            
             
               
                 You
                 will
                 do
                 well
              
               ,
               
               &c.
               
               Our
               Author
               speaks
               not
               here
               of
               the
               first
               Rudiments
               of
               Design
               ;
               as
               for
               example
               ,
               The
               management
               of
               the
               Pencil
               ,
               the
               just
               relation
               which
               the
               Copy
               ought
               to
               have
               to
               the
               Original
               ,
               
               &c.
               
               He
               supposes
               ,
               that
               before
               he
               begins
               his
               Studies
               ,
               one
               ought
               to
               have
               a
               Facility
               of
               Hand
               to
               imitate
               the
               best
               Designs
               ,
               the
               noblest
               Pictures
               and
               Statues
               ,
               that
               in
               few
               words
               he
               should
               have
               made
               himself
               a
               Key
               ,
               wherewith
               to
               open
               the
               Closet
               of
               Minerva
               ,
               and
               to
               enter
               into
               that
               Sacred
               Place
               ,
               where
               those
               fair
               Treasures
               are
               to
               be
               found
               in
               all
               abundance
               ,
               and
               even
               offer
               themselves
               to
               us
               ,
               to
               make
               our
               advantage
               of
               them
               by
               our
               Care
               and
               Genius
               .
            
             
               
                 You
                 are
                 to
                 begin
                 with
                 Geometry
                 ,
              
               
               &c.
               
               Because
               that
               is
               the
               Ground
               of
               Perspective
               ,
               without
               which
               nothing
               is
               to
               be
               done
               in
               Painting
               :
               besides
               ,
               Geometry
               is
               of
               great
               use
               in
               Architecture
               ,
               and
               in
               all
               things
               which
               are
               of
               its
               dependence
               ;
               't
               is
               particularly
               necessary
               for
               Sculptors
               .
            
             
               
                 Set
                 your self
                 on
                 designing
                 after
                 the
                 Ancient
                 Greeks
                 ,
              
               
               &c.
               
               Because
               they
               are
               the
               Rule
               of
               Beauty
               ,
               and
               give
               us
               a
               good
               Gusto
               :
               For
               which
               reason
               't
               is
               very
               proper
               to
               tie
               our selves
               to
               them
               ,
               I
               mean
               generally
               speaking
               ;
               but
               the
               particular
               Fruit
               which
               we
               gather
               from
               them
               ,
               is
               what
               follows
               .
               To
               learn
               by
               heart
               four
               several
               Ayres
               of
               Heads
               :
               of
               a
               Man
               ,
               a
               Woman
               ,
               a
               Child
               ,
               and
               an
               Old
               Man.
               I
               mean
               those
               which
               have
               the
               most
               general
               Approbation
               ;
               for
               example
               those
               of
               the
               Apollo
               ,
               of
               the
               
                 Venus
                 de
                 Medices
              
               ,
               of
               the
               little
               Nero
               ,
               (
               that
               is
               ,
               
               when
               he
               was
               a
               Child
               ,
               )
               and
               of
               the
               God
               Tiber.
               It
               would
               be
               a
               good
               means
               of
               learning
               them
               ,
               if
               when
               you
               have
               design'd
               one
               after
               the
               Statue
               it self
               ,
               you
               design
               it
               immediately
               after
               from
               your
               own
               Imagination
               ,
               without
               seeing
               it
               ;
               and
               afterwards
               examine
               ,
               if
               your
               own
               work
               be
               conformable
               to
               the
               first
               Design
               .
               Thus
               exercising
               your self
               on
               the
               same
               Head
               ,
               and
               turning
               it
               on
               ten
               or
               twelve
               sides
               ;
               you
               must
               do
               the
               same
               to
               the
               Feet
               ,
               to
               the
               Hands
               ,
               to
               the
               whole
               Figure
               .
               But
               to
               understand
               the
               Beauty
               of
               these
               Figures
               ,
               and
               the
               justness
               of
               their
               Outlines
               ,
               it
               will
               be
               necessary
               to
               learn
               Anatomy
               :
               when
               I
               speak
               of
               four
               Heads
               and
               four
               Figures
               ,
               I
               pretend
               not
               to
               hinder
               any
               one
               from
               designing
               many
               others
               after
               this
               first
               Study
               ,
               but
               my
               meaning
               is
               onely
               to
               show
               by
               this
               ,
               that
               a
               great
               Variety
               of
               things
               undertaken
               at
               the
               same
               time
               ,
               dissipates
               the
               Imagination
               ,
               and
               hinders
               all
               the
               Profit
               ;
               in
               the
               same
               manner
               as
               too
               many
               sorts
               of
               Meat
               are
               not
               easily
               digested
               ,
               but
               corrupt
               in
               the
               Stomach
               instead
               of
               nourishing
               the
               parts
               .
            
             
               
                 And
                 cease
                 not
                 Day
                 or
                 Night
                 from
                 Labour
                 ,
              
               
               
                 till
                 by
                 your
                 continual
                 Practice
              
               ,
               &c.
               
               In
               the
               first
               Principles
               ,
               the
               Students
               have
               not
               so
               much
               need
               of
               Precepts
               as
               of
               Practice
               :
               And
               the
               Antique
               Statues
               being
               the
               rule
               of
               Beauty
               ,
               you
               may
               exercise
               your selves
               in
               imitating
               them
               without
               apprehending
               
               any
               consequence
               of
               ill
               Habits
               and
               bad
               Ideas
               ,
               which
               can
               be
               form'd
               in
               the
               Soul
               of
               a
               young
               Beginner
               .
               'T
               is
               not
               ,
               as
               in
               the
               School
               of
               a
               Master
               ,
               whose
               Manner
               and
               whose
               Gust
               are
               ill
               ,
               and
               under
               whose
               Discipline
               the
               Scholar
               spoils
               himself
               the
               more
               he
               exercises
               .
            
             
               
                 And
                 when
                 afterwards
                 your
                 Iudgment
                 shall
                 grow
                 stronger
                 ,
              
               
               &c.
               
               'T
               is
               necessary
               to
               have
               the
               Soul
               well
               form'd
               ,
               and
               to
               have
               a
               right
               Judgment
               to
               make
               the
               Application
               of
               his
               rules
               upon
               good
               Pictures
               ,
               and
               to
               take
               nothing
               but
               the
               good
               .
               For
               there
               are
               some
               who
               imagine
               ,
               that
               whatsoever
               they
               find
               in
               the
               Picture
               of
               a
               Master
               ,
               who
               has
               acquir'd
               Reputation
               ,
               must
               of
               necessity
               be
               excellent
               ;
               and
               these
               kind
               of
               people
               never
               fail
               when
               they
               copy
               to
               follow
               the
               bad
               as
               well
               as
               the
               good
               things
               ;
               and
               to
               observe
               them
               so
               much
               the
               more
               ,
               because
               they
               seem
               to
               be
               extraordinary
               and
               out
               of
               the
               common
               road
               of
               others
               ,
               so
               that
               at
               last
               they
               come
               to
               make
               a
               Law
               and
               Precept
               of
               them
               .
               You
               ought
               not
               also
               to
               imitate
               what
               is
               truly
               good
               in
               a
               crude
               and
               gross
               Manner
               ,
               so
               that
               it
               may
               be
               found
               out
               in
               your
               works
               ,
               that
               whatsoever
               Beauties
               there
               are
               in
               them
               ,
               come
               from
               such
               or
               such
               a
               Master
               .
               But
               in
               this
               imitate
               the
               Bees
               ,
               who
               pick
               from
               every
               Flower
               that
               which
               they
               find
               most
               proper
               in
               it
               to
               make
               Honey
               .
               In
               the
               same
               manner
               a
               young
               
               Painter
               should
               collect
               from
               many
               Pictures
               what
               he
               finds
               to
               be
               the
               most
               beautifull
               ,
               and
               from
               his
               several
               Collections
               form
               that
               Manner
               which
               thereby
               he
               makes
               his
               own
               .
            
             
               A
               certain
               Grace
               which
               was
               wholly
               natural
               and
               peculiar
               to
               him
               ,
               
               &c.
               
               Raphael
               
                 in
                 this
                 may
                 be
                 compar'd
                 to
              
               Apelles
               ,
               
                 who
                 in
                 praising
                 the
                 Works
                 of
                 other
                 Painters
                 ,
                 said
              
               That
               Gracefulness
               was
               wanting
               to
               them
               :
               and
               that
               without
               Vanity
               he
               might
               say
               ,
               it
               was
               his
               own
               peculiar
               portion
               .
               
                 See
                 the
              
               Remark
               on
               the
               218th
               .
               Verse
               .
            
             
               Julio
               Romano
               ,
               
               (
               
                 educated
                 from
                 his
                 Childhood
                 in
                 the
                 Country
                 of
                 the
                 Muses
                 ,
              
               )
               &c.
               
               He
               means
               in
               the
               Studies
               of
               the
               
                 belle
                 lettere
              
               ,
               and
               above
               all
               in
               Poesy
               ,
               which
               he
               infinitely
               lov'd
               .
               It
               appears
               ,
               that
               he
               form'd
               his
               Ideas
               and
               made
               his
               Gust
               from
               reading
               Homer
               ;
               and
               in
               that
               imitated
               Zeuxis
               and
               Polignotus
               ,
               who
               ,
               as
               
                 Tyrius
                 Maximus
              
               relates
               ,
               treated
               their
               Subjects
               in
               their
               Pictures
               ,
               as
               Homer
               did
               in
               his
               Poetry
               .
            
             
               To
               these
               Remarks
               I
               have
               annex'd
               the
               Opinions
               of
               our
               Author
               upon
               the
               best
               and
               chiefest
               Painters
               of
               the
               two
               foregoing
               Ages
               .
               He
               tells
               you
               candidly
               and
               briefly
               what
               were
               their
               Excellencies
               ,
               and
               what
               their
               Failings
               .
            
             
               
                 I
                 pass
                 in
                 Silence
                 many
                 things
                 which
                 will
                 be
                 more
                 amply
                 treated
                 in
              
               the
               ensuing
               Commentary
               .
               
               'T
               is
               evident
               
               by
               this
               ,
               how
               much
               we
               lose
               ,
               and
               what
               damage
               we
               have
               sustain'd
               by
               our
               Authors
               death
               ,
               since
               those
               Commentaries
               had
               undoubtedly
               contain'd
               things
               of
               high
               Value
               and
               of
               great
               instruction
               .
            
             
               
                 To
                 intrust
                 with
                 the
                 Muses
              
               ,
               
               &c.
               
               That
               is
               to
               say
               ,
               to
               write
               in
               Verse
               ,
               Poetry
               being
               under
               their
               Protection
               ,
               and
               consecrated
               to
               them
               .
            
          
           
             
             
               THE
               JUDGMENT
               OF
               Charles
               Alphonse
               du
               Fresnoy
               ,
               On
               the
               Works
               of
               the
               Principal
               and
               Best
               PAINTERS
               of
               the
               two
               last
               Ages
               .
            
             
               PAINTING
               was
               in
               its
               Perfection
               amongst
               the
               Greeks
               .
               The
               principal
               Schools
               were
               at
               Sycion
               ,
               afterwards
               at
               Rhodes
               ,
               at
               Athens
               ,
               and
               at
               Corinth
               ,
               and
               at
               last
               in
               Rome
               .
               Wars
               and
               Luxury
               having
               overthrown
               the
               Roman
               Empire
               ,
               it
               was
               totally
               extinguish'd
               ,
               together
               with
               all
               the
               noble
               Arts
               ,
               the
               Studies
               of
               Humanity
               ,
               and
               the
               other
               Sciences
               .
            
             
               It
               began
               to
               appear
               again
               in
               the
               Year
               1450
               amongst
               some
               Painters
               of
               Florence
               ,
               of
               which
               
                 DOMENICO
                 GHIRLANDAIO
              
               was
               one
               ,
               who
               was
               Master
               to
               
                 Michael
                 Angelo
              
               ,
               and
               had
               some
               kind
               of
               Reputation
               ,
               though
               his
               manner
               was
               Gothique
               and
               very
               dry
               .
            
             
             
               
                 MICHAEL
                 ANGELO
              
               his
               Scholar
               ,
               flourish'd
               in
               the
               times
               of
               Julius
               the
               second
               ,
               Leo
               the
               tenth
               ,
               Paul
               the
               third
               ,
               and
               of
               eight
               successive
               Popes
               .
               He
               was
               a
               Painter
               ,
               a
               Sculptor
               ,
               and
               an
               Architect
               ,
               both
               Civil
               and
               Military
               .
               The
               Choice
               which
               he
               made
               of
               his
               Postures
               was
               not
               always
               beautifull
               or
               pleasing
               :
               His
               Gust
               of
               Designing
               was
               not
               the
               finest
               ,
               nor
               his
               Out-lines
               the
               most
               elegant
               :
               The
               Folds
               of
               his
               Draperies
               ,
               and
               the
               Ornaments
               of
               his
               Habits
               ,
               were
               neither
               noble
               nor
               gracefull
               .
               He
               was
               not
               a
               little
               fantastical
               and
               extravagant
               in
               his
               Compositions
               ;
               he
               was
               bold
               even
               to
               Rashness
               ,
               in
               taking
               Liberties
               against
               the
               Rules
               of
               Perspective
               .
               His
               Colouring
               is
               not
               over
               true
               or
               very
               pleasant
               .
               He
               knew
               not
               the
               Artifice
               of
               the
               Lights
               and
               Shadows
               :
               But
               he
               design'd
               more
               learnedly
               ,
               and
               better
               understood
               all
               the
               Knittings
               of
               the
               Bones
               ,
               with
               the
               Office
               and
               Situation
               of
               the
               Muscles
               ,
               than
               any
               of
               the
               modern
               Painters
               .
               There
               appears
               a
               certain
               Air
               of
               Greatness
               and
               Severity
               in
               his
               Figures
               ,
               in
               both
               which
               he
               has
               oftentimes
               succeeded
               :
               But
               above
               the
               rest
               of
               his
               Excellencies
               ,
               was
               his
               wonderfull
               skill
               in
               Architecture
               ,
               wherein
               he
               has
               not
               onely
               surpass'd
               all
               the
               Moderns
               ,
               but
               even
               the
               Ancients
               also
               :
               The
               St.
               
               Peter's
               of
               Rome
               ,
               the
               St.
               
               John's
               of
               Florence
               ,
               the
               Capitol
               ,
               the
               
                 Palazzo
                 Farnese
              
               ,
               and
               his
               own
               House
               ,
               are
               sufficient
               Testimonies
               of
               it
               .
               His
               Scholars
               were
               
                 Marcello
                 Venusto
                 ,
                 Andrea
                 de
                 Vaterra
                 ,
                 Il
                 Rosso
                 ,
                 Georgio
                 Vasari
                 ,
                 Fra.
                 Bastiano
                 ,
              
               (
               who
               
               commonly
               painted
               for
               him
               )
               and
               many
               other
               Florentines
               .
            
             
               
                 PIETRO
                 PERUGINO
              
               design'd
               with
               sufficient
               knowledge
               of
               Nature
               ,
               but
               he
               is
               dry
               and
               his
               manner
               little
               .
               His
               Scholar
               was
            
             
               
                 RAPHAEL
                 SANTIO
              
               ,
               who
               was
               born
               on
               Good
               Friday
               ,
               in
               the
               Year
               1483
               ,
               and
               died
               on
               Good
               Friday
               ,
               in
               the
               Year
               1520
               :
               So
               that
               he
               liv'd
               onely
               37
               years
               compleat
               .
               He
               surpass'd
               all
               modern
               Painters
               ,
               because
               he
               possess'd
               more
               of
               the
               excellent
               parts
               of
               Painting
               than
               any
               other
               ;
               and
               't
               is
               believ'd
               ,
               that
               he
               equall'd
               the
               Ancients
               ,
               excepting
               onely
               that
               he
               design'd
               not
               naked
               Bodies
               with
               so
               much
               Learning
               ,
               as
               
                 Michael
                 Angelo
              
               :
               But
               his
               Gust
               of
               Designing
               is
               purer
               and
               much
               better
               .
               He
               painted
               not
               with
               so
               good
               ,
               so
               full
               ,
               and
               so
               gracefull
               a
               manner
               as
               Correggio
               ;
               nor
               has
               he
               any
               thing
               of
               the
               Contrast
               of
               the
               Lights
               and
               Shadows
               ,
               or
               so
               strong
               and
               free
               a
               Colouring
               ,
               as
               Titian
               ;
               but
               he
               had
               a
               better
               disposition
               in
               his
               Pieces
               without
               comparison
               ,
               than
               either
               
                 Titian
                 ,
                 Correggio
                 ,
                 Michael
                 Angelo
                 ,
              
               or
               all
               the
               rest
               of
               the
               succeeding
               Painters
               to
               our
               days
               .
               His
               Choice
               of
               Postures
               ,
               of
               Heads
               ,
               of
               Ornaments
               ,
               the
               Suitableness
               of
               his
               Drapery
               ,
               his
               manner
               of
               Designing
               ,
               his
               Varieties
               ,
               his
               Contrasts
               ,
               his
               Expressions
               ,
               were
               beautifull
               in
               Perfection
               ;
               but
               above
               all
               ,
               he
               possess'd
               the
               Graces
               in
               so
               advantageous
               a
               manner
               ,
               that
               he
               has
               never
               since
               been
               equall'd
               by
               any
               other
               .
               There
               are
               Protraits
               (
               or
               single
               Figures
               of
               his
               )
               which
               are
               finish'd
               
               Pieces
               .
               He
               was
               an
               admirable
               Architect
               .
               He
               was
               handsome
               ,
               well
               made
               ,
               and
               tall
               of
               Stature
               ,
               civil
               ,
               and
               well-natur'd
               ,
               never
               refusing
               to
               teach
               another
               what
               he
               knew
               himself
               .
               He
               had
               many
               Scholars
               ,
               amongst
               others
               ,
               
                 Julio
                 Romano
                 ,
                 Polydore
                 ,
                 Gaudens
                 ,
                 Giovanni
                 d'Udine
                 ,
              
               and
               
                 Michael
                 Coxis
              
               .
               His
               Graver
               was
               
                 Marc
                 Antonio
              
               ,
               whose
               Prints
               are
               admirable
               for
               the
               correctness
               of
               their
               Out-lines
               .
            
             
               
                 JULIO
                 ROMANO
              
               was
               the
               most
               excellent
               of
               all
               
               Raphael's
               Scholars
               ;
               he
               had
               Conceptions
               which
               were
               more
               extraordinary
               ,
               more
               profound
               ,
               and
               more
               elevated
               ,
               than
               even
               his
               Master
               himself
               .
               He
               was
               also
               a
               great
               Architect
               ,
               his
               Gust
               was
               pure
               and
               exquisite
               .
               He
               was
               a
               great
               Imitator
               of
               the
               Ancients
               ,
               giving
               a
               clear
               Testimony
               in
               all
               his
               Productions
               ,
               that
               he
               was
               desirous
               to
               restore
               to
               Practice
               the
               same
               Forms
               and
               Fabricks
               which
               were
               ancient
               .
               He
               had
               the
               good
               Fortune
               to
               find
               great
               persons
               who
               committed
               to
               him
               the
               care
               of
               
                 Edifices
                 ,
                 Vestibules
              
               and
               Portico's
               ,
               all
               
                 Tetrastyles
                 ,
                 Xistes
                 ,
                 Theatres
              
               ,
               and
               such
               other
               places
               as
               are
               not
               now
               in
               use
               .
               He
               was
               wonderfull
               in
               his
               Choice
               of
               Postures
               .
               His
               manner
               was
               drier
               and
               harder
               than
               any
               of
               
               Raphael's
               School
               .
               He
               did
               not
               exactly
               understand
               the
               Lights
               and
               Shadows
               or
               the
               Colours
               .
               He
               is
               frequently
               harsh
               and
               ungracefull
               :
               The
               Folds
               of
               his
               Draperies
               are
               neither
               beautifull
               nor
               great
               ,
               easie
               nor
               natural
               ,
               but
               all
               extravagant
               and
               too
               like
               the
               Habits
               of
               fantastical
               Comedians
               .
               He
               
               was
               very
               knowing
               in
               humane
               Learning
               .
               His
               Scholars
               were
               
                 Pirro
                 Ligorio
              
               ,
               (
               who
               was
               admirable
               for
               Ancient
               Buildings
               ,
               as
               for
               Towns
               ,
               Temples
               ,
               Tombs
               ,
               and
               Trophies
               ,
               and
               the
               Situation
               of
               Ancient
               Edifices
               )
               
                 Aeneas
                 Vico
                 ,
                 Bonasone
                 ,
                 Georgio
                 Mantuano
                 ,
              
               and
               others
               .
            
             
               POLYDORE
               ,
               Scholar
               to
               Raphael
               ,
               design'd
               admirably
               well
               ,
               as
               to
               the
               practical
               part
               ,
               having
               a
               particular
               Genius
               for
               Freezes
               ,
               as
               we
               may
               see
               by
               those
               of
               white
               and
               black
               ,
               which
               he
               has
               painted
               at
               Rome
               .
               He
               imitated
               the
               Ancients
               ,
               but
               his
               manner
               was
               greater
               than
               that
               of
               
                 Julio
                 Romano
              
               :
               Nevertheless
               Julio
               seems
               to
               be
               the
               truer
               .
               Some
               admirable
               Grouppes
               are
               seen
               in
               his
               Works
               ,
               and
               such
               as
               are
               not
               elsewhere
               to
               be
               found
               .
               He
               colour'd
               very
               seldom
               ,
               and
               made
               Landtschapes
               of
               a
               reasonable
               good
               Gusto
               .
            
             
               
                 GIO.
                 BELLINO
              
               ,
               one
               of
               the
               first
               who
               was
               of
               any
               consideration
               at
               Venice
               ,
               painted
               very
               drily
               according
               to
               the
               manner
               of
               his
               time
               .
               He
               was
               very
               knowing
               both
               in
               Architecture
               and
               Perspective
               .
               He
               was
               
               Titian's
               first
               Master
               ,
               which
               may
               easily
               be
               observ'd
               in
               the
               first
               Painting
               of
               that
               noble
               Scholar
               ,
               in
               which
               we
               may
               remark
               that
               Propriety
               of
               Colours
               which
               his
               Master
               has
               observ'd
               .
            
             
               About
               this
               time
               GEORGIONE
               the
               Contemporary
               of
               Titian
               came
               to
               excell
               in
               Portraits
               or
               Face-painting
               ,
               and
               also
               in
               great
               Works
               .
               He
               first
               began
               to
               make
               
               choice
               of
               Glowing
               and
               Agreeable
               Colours
               ;
               the
               Perfection
               and
               entire
               Harmony
               of
               which
               were
               afterwards
               to
               be
               found
               in
               
               Titian's
               Pictures
               .
               He
               dress'd
               his
               Figures
               wonderfully
               well
               :
               And
               it
               may
               be
               truly
               said
               ,
               that
               but
               for
               him
               ,
               Titian
               had
               never
               arriv'd
               to
               that
               height
               of
               Perfection
               ,
               which
               proceeded
               from
               the
               Rivalship
               and
               Iealousy
               of
               Honour
               betwixt
               those
               two
               .
            
             
               TITIAN
               was
               one
               of
               the
               greatest
               Colourists
               ,
               who
               was
               ever
               known
               ;
               he
               design'd
               with
               much
               more
               Ease
               and
               Practice
               than
               Georgione
               .
               There
               are
               to
               be
               seen
               Women
               and
               Children
               of
               his
               hand
               ,
               which
               are
               admirable
               both
               for
               the
               Design
               and
               Colouring
               :
               the
               Gust
               of
               them
               is
               delicate
               ,
               charming
               and
               noble
               ,
               with
               a
               certain
               pleasing
               Negligence
               of
               the
               Head-dresses
               ,
               the
               Draperies
               and
               Ornaments
               of
               Habits
               ,
               which
               are
               wholly
               peculiar
               to
               him
               .
               As
               for
               the
               Figures
               of
               Men
               ,
               he
               has
               design'd
               them
               but
               moderately
               well
               .
               There
               are
               even
               some
               of
               his
               Draperies
               ,
               which
               are
               mean
               and
               savour
               of
               a
               little
               gust
               .
               His
               painting
               is
               wonderfully
               glowing
               ,
               sweet
               and
               delicate
               .
               He
               made
               Portraicts
               ,
               which
               were
               extremely
               noble
               ;
               the
               Postures
               of
               them
               being
               very
               gracefull
               ,
               grave
               ,
               diversify'd
               ,
               and
               adorn'd
               after
               a
               very
               becoming
               fashion
               .
               No
               man
               ever
               painted
               Landtschape
               ,
               with
               so
               great
               a
               manner
               ,
               so
               good
               a
               colouring
               ,
               and
               with
               such
               a
               resemblance
               of
               Nature
               .
               For
               eight
               or
               ten
               years
               space
               ,
               he
               copy'd
               with
               great
               labour
               and
               exactness
               whatsoever
               he
               undertook
               ;
               thereby
               to
               make
               himself
               an
               easy
               way
               ,
               and
               to
               establish
               
               some
               general
               maximes
               for
               his
               future
               conduct
               .
               Besides
               the
               excellent
               gust
               which
               he
               had
               of
               Colours
               ,
               in
               which
               he
               excell'd
               all
               Mortal
               Men
               ,
               he
               perfectly
               understood
               how
               to
               give
               every
               thing
               the
               touches
               which
               were
               most
               suitable
               ,
               and
               proper
               to
               them
               ,
               such
               as
               distinguish'd
               them
               from
               each
               other
               ;
               and
               which
               gave
               the
               greatest
               Spirit
               ,
               and
               the
               most
               of
               Truth
               .
               The
               Pictures
               which
               he
               made
               in
               his
               beginning
               ,
               and
               in
               the
               declension
               of
               his
               Age
               ,
               are
               of
               a
               dry
               ,
               and
               mean
               manner
               .
               He
               liv'd
               ninety
               nine
               years
               .
               His
               Scholars
               were
               
                 Paulo
                 Veronese
                 ,
                 Giacomo
                 Tintoret
                 ,
                 Giacomo
                 da
                 Ponte
                 ,
                 Bassano
                 ,
              
               and
               his
               Brothers
               .
            
             
               
                 PAULO
                 VERONESE
              
               was
               wonderfully
               graceful
               in
               his
               Airs
               of
               Women
               :
               with
               great
               variety
               of
               shining
               Draperies
               ;
               and
               incredible
               vivacity
               ,
               and
               ease
               .
               Nevertheless
               his
               Composition
               is
               sometimes
               improper
               ;
               and
               his
               Design
               is
               uncorrect
               .
               But
               his
               colouring
               ,
               and
               whatsoever
               depends
               on
               it
               ,
               is
               so
               very
               charming
               in
               his
               Pictures
               ,
               that
               it
               surprizes
               at
               the
               first
               sight
               ,
               and
               makes
               us
               totally
               forget
               those
               other
               qualities
               which
               are
               wanting
               in
               him
               .
            
             
               TINTORET
               was
               Scholar
               to
               Titian
               ,
               great
               in
               the
               practical
               part
               of
               Designing
               ;
               but
               sometimes
               also
               sufficiently
               extravagant
               .
               He
               had
               an
               admirable
               Genius
               for
               Painting
               ,
               if
               he
               had
               had
               as
               great
               an
               affection
               to
               his
               Art
               ,
               and
               as
               much
               patience
               in
               undergoing
               the
               difficulties
               of
               it
               ,
               as
               he
               had
               fire
               and
               vivacity
               of
               Nature
               :
               
               He
               has
               made
               Pictures
               ,
               not
               inferiour
               in
               beauty
               to
               those
               of
               Titian
               :
               his
               Composition
               and
               his
               Dresses
               ,
               are
               for
               the
               most
               part
               improper
               ;
               and
               his
               Out-lines
               are
               not
               correct
               :
               But
               his
               Colouring
               ,
               and
               the
               dependencies
               of
               it
               ,
               like
               that
               of
               his
               Master
               ,
               are
               most
               admirable
               .
            
             
               The
               BASSANS
               had
               a
               more
               mean
               and
               poorer
               gust
               in
               Painting
               than
               Tintoret
               ;
               and
               their
               Designs
               were
               also
               less
               correct
               than
               his
               .
               They
               had
               indeed
               an
               excellent
               gust
               of
               Colours
               ;
               and
               have
               touch'd
               all
               kinds
               of
               Animals
               with
               an
               admirable
               manner
               :
               But
               were
               notoriously
               imperfect
               in
               the
               Composition
               and
               Design
               .
            
             
               CORREGGIO
               painted
               at
               Parma
               two
               large
               Cupolo's
               in
               Fresco
               ,
               and
               some
               Altar-pieces
               .
               This
               Artist
               ,
               found
               out
               certain
               natural
               and
               unaffected
               Graces
               ,
               for
               his
               
                 Madonnas
                 '
              
               ,
               his
               Saints
               ,
               and
               
                 little
                 Children
              
               ,
               which
               were
               particular
               to
               him
               .
               His
               Manner
               is
               exceeding
               great
               ,
               both
               for
               the
               design
               and
               for
               the
               work
               ,
               but
               withall
               is
               very
               uncorrect
               .
               His
               Pencil
               was
               both
               easie
               and
               delightfull
               ,
               and
               't
               is
               to
               be
               acknowledg'd
               ,
               that
               he
               painted
               with
               great
               Strength
               ,
               great
               Heightning
               ,
               great
               Sweetness
               ,
               and
               liveliness
               of
               Colours
               ,
               in
               which
               none
               surpass'd
               him
               .
            
             
               He
               understood
               how
               to
               distribute
               his
               Lights
               in
               such
               a
               manner
               as
               was
               wholly
               peculiar
               to
               himself
               ,
               which
               gave
               a
               great
               force
               and
               great
               roundness
               to
               his
               Figures
               .
               This
               manner
               consists
               in
               extending
               a
               large
               Light
               ,
               and
               then
               making
               it
               lose
               it self
               insensibly
               in
               the
               dark
               shadowings
               ,
               
               which
               he
               plac'd
               out
               of
               the
               Masses
               .
               And
               those
               give
               them
               this
               great
               roundness
               ,
               without
               our
               being
               able
               to
               perceive
               from
               whence
               proceeds
               so
               much
               of
               force
               ,
               and
               so
               vast
               a
               pleasure
               to
               the
               Sight
               .
               'T
               is
               probable
               ,
               that
               in
               this
               part
               the
               rest
               of
               the
               
                 Lombard
                 School
              
               copied
               him
               :
               he
               had
               no
               great
               choice
               of
               gracefull
               Postures
               ,
               nor
               of
               distribution
               for
               beautifull
               Grouppes
               :
               his
               Design
               oftentimes
               appears
               lame
               ,
               and
               the
               Positions
               are
               not
               much
               observ'd
               in
               them
               .
               The
               Aspects
               of
               his
               Figures
               are
               many
               times
               unpleasing
               ;
               but
               his
               manner
               of
               designing
               Heads
               ,
               Hands
               ,
               Feet
               ,
               and
               other
               parts
               ,
               is
               very
               great
               ,
               and
               well
               deserves
               our
               imitation
               .
               In
               the
               conduct
               and
               finishing
               of
               a
               Picture
               ,
               he
               has
               done
               wonders
               ;
               for
               he
               painted
               with
               so
               much
               Union
               ,
               that
               his
               greatest
               Works
               seem'd
               to
               have
               been
               finish'd
               in
               the
               compass
               of
               one
               day
               ;
               and
               appear
               ,
               as
               if
               we
               saw
               them
               from
               a
               Looking-glass
               .
               His
               Landtschape
               is
               equally
               beautifull
               with
               his
               Figures
               .
            
             
               At
               the
               same
               time
               with
               Correggio
               ,
               liv'd
               and
               flourish'd
               PARMEGIANO
               ;
               who
               besides
               his
               great
               manner
               of
               well
               Colouring
               ,
               excell'd
               also
               both
               in
               Invention
               and
               Design
               ,
               with
               a
               Genius
               full
               of
               gentleness
               and
               of
               spirit
               ,
               having
               nothing
               that
               was
               ungracefull
               in
               his
               choice
               of
               Postures
               and
               in
               the
               dresses
               of
               his
               Figures
               ,
               which
               we
               cannot
               say
               of
               Correggio
               :
               there
               are
               Pieces
               of
               his
               to
               be
               seen
               ,
               which
               are
               both
               beautifull
               and
               correct
               .
            
             
             
               These
               two
               Painters
               last
               mention'd
               ,
               had
               very
               good
               Scholars
               ,
               but
               they
               are
               known
               onely
               to
               those
               of
               their
               own
               Province
               ;
               and
               besides
               there
               is
               little
               to
               be
               credited
               of
               what
               his
               Country-men
               say
               ,
               for
               Painting
               is
               wholly
               extinguish'd
               amongst
               them
               .
            
             
               I
               say
               nothing
               of
               
                 LEONARDO
                 da
                 VINCI
              
               ,
               because
               I
               have
               seen
               but
               little
               of
               his
               ,
               though
               he
               restor'd
               the
               Arts
               at
               Milan
               ,
               and
               had
               many
               Scholars
               there
               .
            
             
               
                 LUDOVICO
                 CARRACCI
              
               ,
               Uncle
               to
               Hannibal
               and
               Augustine
               ,
               studied
               at
               Parma
               after
               Correggio
               ;
               and
               excell'd
               in
               Design
               and
               Colouring
               ,
               with
               such
               a
               Gracefulness
               ,
               and
               so
               much
               Candour
               ,
               that
               Guido
               the
               Scholar
               of
               Hannibal
               ,
               did
               afterwards
               imitate
               him
               with
               great
               success
               .
               There
               are
               some
               of
               his
               Pictures
               to
               be
               seen
               ,
               which
               are
               very
               beautifull
               ,
               and
               well
               understood
               .
               He
               made
               his
               ordinary
               residence
               at
               Bologna
               ,
               and
               it
               was
               He
               ,
               who
               put
               the
               Pencil
               into
               the
               hands
               of
               Hannibal
               his
               Nephew
               .
            
             
               HANNIBAL
               in
               a
               little
               time
               excell'd
               his
               Master
               ,
               in
               all
               parts
               of
               Painting
               :
               He
               imitated
               
                 Correggio
                 ,
                 Titian
              
               ,
               and
               Raphael
               ,
               in
               their
               different
               manners
               as
               he
               pleas'd
               ,
               excepting
               onely
               that
               you
               see
               not
               in
               his
               Pictures
               ,
               the
               Nobleness
               ,
               the
               Graces
               ,
               and
               the
               Charms
               of
               Raphael
               ,
               and
               that
               his
               Out-lines
               are
               neither
               so
               pure
               ,
               nor
               so
               elegant
               as
               his
               .
               In
               all
               other
               things
               ,
               he
               is
               wonderfully
               accomplish'd
               ,
               and
               of
               an
               
                 Universal
                 Genius
              
               .
            
             
             
               AUGUSTINO
               ,
               Brother
               to
               Hannibal
               ,
               was
               also
               a
               very
               good
               Painter
               ,
               and
               an
               admirable
               Graver
               .
               He
               had
               a
               Natural
               Son
               ,
               call'd
               ANTONIO
               ,
               who
               dyed
               at
               the
               age
               of
               35
               ,
               and
               who
               according
               to
               the
               general
               opinion
               ,
               wou'd
               have
               surpass'd
               his
               Uncle
               Hannibal
               :
               for
               by
               what
               he
               left
               behind
               him
               ,
               it
               appears
               that
               he
               was
               of
               a
               more
               lofty
               Genius
               .
            
             
               GUIDO
               chiefly
               imitated
               
                 Ludovico
                 Carracci
              
               ,
               yet
               retain'd
               always
               somewhat
               of
               the
               manner
               which
               his
               Master
               Lawrence
               the
               Flemming
               taught
               him
               .
               This
               Lawrence
               liv'd
               at
               Bologna
               ,
               and
               was
               Competitor
               and
               Rival
               to
               
                 Ludovico
                 Carracci
                 :
                 Guido
              
               made
               the
               same
               use
               of
               
                 Albert
                 Durer
              
               ,
               as
               Virgil
               did
               of
               old
               Ennius
               :
               borrow'd
               what
               pleas'd
               him
               ,
               and
               made
               it
               afterwards
               his
               own
               :
               that
               is
               ,
               he
               accommodated
               what
               was
               good
               in
               Albert
               to
               his
               own
               manner
               :
               which
               he
               executed
               with
               so
               much
               gracefulness
               and
               beauty
               ,
               that
               He
               alone
               got
               more
               Money
               ,
               and
               more
               Reputation
               in
               his
               time
               ,
               than
               his
               own
               Masters
               ,
               and
               all
               the
               Scholars
               of
               the
               Carraches
               ,
               though
               they
               were
               of
               greater
               capacity
               than
               himself
               .
               His
               Heads
               yield
               no
               manner
               of
               precedence
               to
               those
               of
               Raphael
               .
            
             
               
                 SISTO
                 BADOLOCCHI
              
               design'd
               the
               best
               of
               all
               his
               Scholars
               :
               but
               he
               dy'd
               young
               .
            
             
               DOMENICHINO
               was
               a
               very
               knowing
               Painter
               ,
               and
               very
               laborious
               ,
               but
               otherwise
               of
               no
               great
               Natural
               Endowments
               :
               't
               is
               true
               ,
               he
               was
               profoundly
               skill'd
               in
               all
               the
               parts
               of
               Painting
               ,
               but
               wanting
               Genius
               ,
               as
               I
               said
               ,
               
               he
               had
               less
               of
               nobleness
               in
               his
               Works
               than
               all
               the
               rest
               who
               studied
               in
               the
               School
               of
               the
               Carraches
               .
            
             
               ALBANO
               was
               excellent
               in
               all
               that
               belong'd
               to
               Painting
               ,
               and
               adorn'd
               with
               variety
               of
               Learning
               .
            
             
               
                 JOHN
                 LANFRANC
              
               ,
               a
               Man
               of
               a
               great
               and
               sprightly
               wit
               ,
               supported
               his
               Reputation
               for
               a
               long
               time
               with
               an
               extraordinary
               gust
               of
               Design
               and
               Colouring
               .
               But
               his
               foundation
               being
               onely
               on
               the
               practical
               part
               ,
               be
               at
               length
               lost
               ground
               in
               point
               of
               correctness
               :
               so
               that
               many
               of
               his
               Pieces
               appear
               extravagant
               and
               fantastical
               .
               And
               after
               his
               Decease
               ,
               the
               School
               of
               the
               Carraches
               went
               dayly
               to
               decay
               in
               all
               the
               parts-Painting
               .
            
             
               
                 GIO.
                 VIOLA
              
               was
               very
               old
               before
               he
               learn'd
               Landtschape
               ,
               the
               knowledge
               of
               which
               was
               imparted
               to
               him
               by
               
                 Hannibal
                 Carracche
              
               ,
               who
               took
               pleasure
               to
               instruct
               him
               ,
               so
               that
               he
               painted
               many
               of
               that
               kind
               which
               are
               wonderfully
               fine
               and
               well
               colour'd
               .
            
             
               If
               we
               cast
               our
               eyes
               towards
               Germany
               and
               the
               Low-Countries
               ,
               we
               may
               there
               behold
               
                 ALBERT
                 DURER
                 ,
                 LUCAS
                 VAN
                 LEYDEN
                 ,
                 HOLBEIN
                 ,
                 ALDEGRAVE
                 ,
              
               and
               ISBIN
               ,
               who
               were
               all
               Contemporaries
               .
               Amongst
               these
               ,
               
                 Albert
                 Durer
              
               and
               Holbein
               ,
               were
               both
               of
               them
               wonderfully
               knowing
               and
               had
               certainly
               been
               of
               the
               first
               form
               of
               Painters
               ,
               had
               they
               travell'd
               into
               Italy
               :
               For
               nothing
               can
               be
               laid
               to
               their
               charge
               ,
               but
               onely
               that
               they
               had
               a
               Gothique
               Gust
               .
               As
               for
               Holbein
               ,
               he
               perform'd
               yet
               better
               than
               Raphael
               ;
               
               and
               I
               have
               seen
               a
               Portrait
               of
               his
               Painting
               ,
               with
               which
               one
               of
               
               Titian's
               could
               not
               come
               in
               Competition
               .
            
             
               Amongst
               the
               Flemmings
               ,
               we
               had
               RUBENS
               ,
               who
               deriv'd
               from
               his
               Birth
               ,
               a
               lively
               ,
               free
               ,
               noble
               and
               universal
               Genius
               .
               A
               Genius
               which
               was
               capable
               not
               onely
               of
               raising
               him
               to
               the
               rank
               of
               the
               
                 Ancient
                 Painters
              
               ,
               but
               also
               to
               the
               highest
               employment
               in
               the
               Service
               of
               his
               Country
               :
               so
               that
               he
               was
               chosen
               for
               one
               of
               the
               most
               important
               Embassies
               of
               our
               Age.
               His
               Gusto
               of
               Designing
               savours
               somewhat
               more
               of
               the
               Flemming
               than
               of
               the
               Beauty
               of
               the
               Antique
               ,
               because
               he
               stay'd
               not
               long
               at
               Rome
               .
               And
               though
               we
               cannot
               but
               observe
               in
               all
               his
               Paintings
               ,
               somewhat
               of
               great
               and
               noble
               ;
               yet
               it
               must
               be
               confess'd
               ,
               that
               generally
               speaking
               ,
               he
               design'd
               not
               correctly
               :
               But
               for
               all
               the
               other
               parts
               of
               Painting
               ,
               he
               was
               as
               absolute
               a
               Master
               of
               them
               ,
               and
               possess'd
               them
               all
               as
               throughly
               as
               any
               of
               his
               Predecessors
               in
               that
               noble
               Art.
               His
               principal
               Studies
               were
               made
               in
               Lombardy
               ,
               after
               the
               Works
               of
               
                 Titian
                 ,
                 Paul
                 Veronese
              
               and
               Tintoret
               ;
               whose
               Cream
               he
               has
               skimm'd
               (
               if
               you
               will
               allow
               the
               Phrase
               )
               and
               extracted
               from
               their
               several
               Beauties
               many
               general
               Maxims
               and
               infallible
               Rules
               ,
               which
               he
               always
               follow'd
               ,
               and
               by
               which
               he
               has
               acquir'd
               in
               his
               Works
               ,
               a
               greater
               Facility
               than
               that
               of
               Titian
               ;
               more
               of
               Purity
               ,
               Truth
               and
               Science
               ,
               than
               
                 Paul
                 Veronese
              
               ;
               and
               more
               of
               Majesty
               ,
               Repose
               and
               Moderation
               ,
               than
               Tintoret
               .
               To
               conclude
               ,
               His
               manner
               is
               so
               solid
               ,
               so
               
               knowing
               ,
               and
               so
               ready
               ,
               that
               it
               may
               seem
               ,
               this
               rare
               accomplish'd
               Genius
               was
               sent
               from
               Heaven
               to
               instruct
               Mankind
               in
               the
               Art
               of
               Painting
               .
            
             
               His
               School
               was
               full
               of
               admirable
               Scholars
               ,
               amongst
               whom
               
                 VAN
                 DYCK
              
               was
               he
               ,
               who
               best
               comprehended
               all
               the
               Rules
               and
               general
               Maxims
               of
               his
               Master
               ;
               and
               who
               has
               even
               excell'd
               him
               in
               the
               delicacy
               of
               his
               Colouring
               and
               in
               his
               Cabinet
               Pieces
               ;
               but
               his
               Gust
               in
               the
               designing
               Part
               ,
               was
               nothing
               better
               than
               that
               of
               Rubens
               .
            
          
        
         
      
       
         
           
             
             
               A
               Short
               Account
               Of
               the
               most
               Eminent
               PAINTERS
               BOTH
               Ancient
               and
               Modern
               ,
               Continu'd
               down
               to
               the
               PRESENT
               TIMES
               According
               to
               the
               Order
               of
               their
               Succession
               .
            
             
               LONDON
               ,
               Printed
               for
               
                 W.
                 Rogers
              
               at
               the
               Sun
               against
               St.
               Dunstans
               Church
               in
               Fleetstreet
               .
               1695.
               
            
          
           
             
             
             
               THE
               PREFACE
               .
            
             
               THE
               Title
               having
               onely
               promis'd
               a
               
                 short
                 Account
                 of
                 the
                 most
                 Eminent
                 Masters
                 ,
              
               &c.
               the
               Reader
               must
               expect
               to
               find
               very
               little
               more
               in
               the
               small
               Compass
               of
               these
               
                 few
                 Sheets
              
               ,
               than
               the
               Time
               when
               ,
               the
               Place
               where
               ,
               by
               whose
               Instructions
               ,
               and
               in
               what
               particular
               Subject
               each
               of
               those
               
                 great
                 Men
              
               became
               Famous
               .
            
             
               In
               the
               
                 first
                 part
              
               ,
               which
               comprehends
               the
               
                 prime
                 Masters
              
               of
               Antiquity
               ,
               I
               have
               follow'd
               Pliny
               :
               yet
               not
               blindly
               ,
               or
               upon
               his
               Authority
               alone
               ,
               but
               chiefly
               in
               those
               places
               ,
               where
               I
               have
               found
               his
               Evidence
               confirm'd
               by
               the
               concurrent
               Testimony
               of
               other
               Writers
               .
               The
               Catalogue
               of
               
                 Fran.
                 Junius
              
               I
               have
               diligently
               perus'd
               ,
               and
               examin'd
               most
               of
               the
               Records
               cited
               in
               it
               .
               I
               have
               also
               read
               over
               the
               Lives
               of
               the
               
                 Four
                 Principal
                 Painters
              
               of
               Greece
               ,
               written
               in
               Italian
               ,
               by
               
                 Carlo
                 Dati
              
               of
               Florence
               ,
               together
               with
               his
               learned
               Annotations
               upon
               them
               :
               and
               in
               a
               word
               ,
               have
               left
               nothing
               unregarded
               ,
               that
               cou'd
               give
               me
               any
               manner
               of
               Assistance
               in
               this
               present
               Undertaking
               .
            
             
               In
               the
               
                 Chronological
                 part
              
               ,
               because
               I
               foresaw
               that
               the
               Olympiads
               ,
               and
               the
               
                 Years
                 of
                 Rome
              
               ,
               would
               be
               of
               
               little
               use
               to
               the
               generality
               of
               Readers
               ,
               I
               have
               adjusted
               them
               to
               the
               two
               
                 Vulgar
                 Aeras
              
               (
               viz.
               )
               the
               
                 Creation
                 of
                 the
                 World
              
               ,
               and
               the
               
                 Birth
                 of
                 Christ.
              
               The
               
                 Greek
                 Talents
              
               I
               have
               likewise
               reduc'd
               into
               
                 English
                 Money
              
               :
               but
               to
               justifie
               my
               Account
               ,
               must
               observe
               ,
               that
               here
               (
               as
               in
               most
               Authors
               ,
               where
               a
               Talent
               is
               put
               absolutely
               ,
               and
               without
               any
               other
               Circumstance
               )
               the
               
                 Talentum
                 Atticum
                 Minus
              
               is
               to
               be
               understood
               ;
               which
               according
               to
               the
               nearest
               Computation
               comes
               to
               about
               187
               l.
               10
               s.
               of
               
                 our
                 Money
              
               ,
               the
               Majus
               being
               about
               62
               l.
               10
               s.
               more
               .
            
             
               In
               the
               
                 latter
                 part
              
               ,
               which
               contains
               the
               Masters
               of
               greatest
               Note
               amongst
               the
               Moderns
               ,
               I
               have
               been
               equally
               diligent
               ,
               not
               onely
               searching
               into
               all
               the
               most
               considerable
               Writers
               ,
               who
               have
               left
               us
               any
               Memorandums
               relating
               to
               them
               ;
               but
               also
               in
               procuring
               from
               Rome
               ,
               and
               other
               places
               ,
               the
               best
               Advice
               that
               possibly
               I
               could
               get
               ,
               concerning
               those
               Painters
               who
               are
               but
               lately
               deceas'd
               ,
               and
               whose
               Lives
               have
               never
               yet
               appear'd
               in
               Print
               .
               In
               Italy
               I
               have
               taken
               such
               Guides
               ,
               as
               I
               had
               reason
               to
               believe
               ,
               were
               best
               acquainted
               in
               that
               Country
               :
               and
               in
               
                 France
                 ,
                 Germany
                 ,
                 Flanders
              
               ,
               and
               Holland
               ,
               have
               been
               govern'd
               by
               the
               Authors
               who
               have
               been
               most
               conversant
               in
               those
               Parts
               .
               For
               the
               
                 Roman
                 ,
                 Florentine
              
               ,
               and
               some
               other
               particular
               Masters
               ,
               I
               have
               apply'd
               my self
               to
               the
               
                 Vite
                 de'
                 
                 Pittori
                 ,
                 &c.
              
               of
               
                 Giorgio
                 Vasari
              
               ,
               and
               that
               excellent
               Treatise
               of
               
                 Gio
                 :
                 Pietro
                 Bellori
              
               on
               the
               same
               Subject
               .
               For
               the
               
                 Lombard
                 School
              
               ,
               I
               have
               consulted
               the
               
                 Maraviglie
                 dell
                 '
                 
                 Arte
              
               of
               
                 Cavalier
                 Ridolfi
              
               .
               For
               the
               
                 Bolognese
                 Painters
              
               ,
               the
               
                 Felsina
                 Pittrice
              
               of
               
                 Conte
                 Carlo
                 Cesare
                 Malvasia
              
               .
               For
               those
               of
               Genoua
               ,
               the
               
                 Vite
                 de'
                 
                 Pittori
              
               ,
               &c.
               of
               
                 Rafaelle
                 Soprani
                 nobile
                 Genouese
              
               .
               For
               the
               
                 French
                 Masters
              
               ,
               the
               
                 Entretiens
                 sur
                 les
                 Vies
              
               ,
               &c.
               of
               Felibien
               .
               For
               the
               
                 German
                 ,
                 Flemish
              
               ,
               and
               
                 Dutch
                 Painters
              
               ,
               (
               of
               whom
               I
               have
               admitted
               but
               
                 very
                 few
              
               into
               this
               Collection
               )
               the
               
                 Academia
                 nobilissimae
                 Artis
                 Pictoriae
              
               ,
               of
               Sandrart
               ,
               and
               the
               Schilder-Boeck
               of
               
                 Carel
                 van
                 Mander
              
               .
               For
               those
               of
               
                 our
                 own
                 Country
              
               ,
               I
               am
               asham'd
               to
               acknowledge
               how
               difficult
               a
               matter
               I
               have
               found
               it
               ,
               to
               get
               but
               the
               least
               Information
               touching
               some
               of
               those
               
                 Ingenious
                 Men
              
               ,
               whose
               Works
               have
               been
               a
               Credit
               and
               Reputation
               to
               it
               .
               That
               all
               our
               Neighbours
               have
               a
               greater
               value
               for
               the
               Professors
               of
               this
               
                 noble
                 Art
              
               ,
               is
               sufficiently
               evident
               ,
               in
               that
               there
               has
               hardly
               been
               any
               
                 one
                 Master●●
              
               of
               
                 tolerable
                 Parts
              
               amongst
               them
               ,
               but
               a
               Crowd
               of
               Writers
               ,
               nay
               some
               Pens
               of
               Quality
               too
               ,
               have
               been
               imploy'd
               in
               adorning
               their
               Lives
               ,
               and
               in
               transmitting
               their
               Names
               honourably
               to
               Posterity
               .
            
             
               For
               the
               Characters
               of
               the
               Italians
               of
               the
               
                 first
                 Form
              
               ,
               I
               have
               all
               along
               referr'd
               the
               Reader
               to
               the
               Judgment
               of
               Monsieur
               
                 du
                 FRESNOY
              
               in
               the
               
                 preceding
                 Pages
              
               .
               But
               for
               the
               rest
               ,
               I
               have
               from
               the
               Books
               above-mention'd
               ,
               and
               the
               Opinions
               of
               the
               Learned
               ,
               briefly
               shewn
               ,
               wherein
               their
               different
               Talents
               and
               Perfections
               consisted
               :
               chusing
               always
               (
               in
               the
               little
               Room
               to
               which
               I
               have
               
               been
               confin'd
               )
               to
               set
               the
               best
               side
               forwards
               ,
               especially
               where
               their
               
                 few
                 Faults
              
               have
               been
               over-balanc'd
               by
               their
               
                 many
                 Virtues
              
               .
            
             
               By
               the
               Figures
               in
               the
               Margin
               it
               will
               easily
               appear
               ,
               how
               careful
               I
               have
               every-where
               been
               ,
               to
               preserve
               the
               Order
               of
               Time
               ,
               which
               indeed
               was
               the
               thing
               principally
               intended
               in
               these
               Papers
               .
               Some
               few
               Masters
               however
               must
               be
               excepted
               ;
               whom
               yet
               I
               have
               placed
               next
               to
               their
               Contemporaries
               ,
               tho'
               I
               could
               not
               fix
               them
               in
               any
               
                 particular
                 Year
              
               .
               In
               all
               of
               them
               I
               have
               been
               very
               exact
               in
               setting
               down
               their
               respective
               Names
               ,
               just
               as
               
                 they
                 themselves
              
               us'd
               to
               do
               ,
               when
               they
               did
               not
               write
               them
               in
               Latine
               .
            
             
               If
               it
               should
               be
               Objected
               ,
               that
               several
               of
               the
               Masters
               herein
               after-mention'd
               ,
               have
               already
               appear'd
               amongst
               us
               ,
               in
               an
               
                 English
                 Dress
              
               :
               I
               can
               onely
               answer
               ,
               That
               as
               the
               Method
               here
               made
               use
               of
               ,
               is
               more
               regular
               ,
               and
               quite
               different
               from
               any
               thing
               that
               has
               been
               hither
               to
               publish'd
               in
               this
               kind
               ;
               so
               ,
               whosoever
               shall
               think
               it
               worth
               his
               while
               to
               compare
               these
               little
               Sketches
               with
               the
               Originals
               from
               which
               I
               have
               copy'd
               them
               ,
               will
               find
               ,
               that
               I
               have
               taken
               greater
               Care
               in
               drawing
               them
               true
               ,
               and
               that
               my
               Out-lines
               are
               generally
               more
               correct
               ,
               whatever
               Defects
               may
               be
               in
               the
               
                 Colouring
                 part
              
               .
            
          
        
         
           
             
             
               Ancient
               Masters
               .
            
             
               BY
               whom
               ,
               and
               in
               what
               particular
               Age
               the
               Art
               of
               Painting
               was
               first
               invented
               in
               Greece
               ,
               Ancient
               Authors
               are
               not
               agreed
               .
               Aristotle
               ascribes
               the
               honour
               of
               it
               to
               EUCHIR
               ,
               
               a
               Kinsman
               of
               the
               famous
               Daedalus
               ,
               who
               flourish'd
               
                 Anno
                 1218
              
               before
               the
               Birth
               of
               
                 Christ
                 ;
                 Theophrastus
              
               pleads
               for
               POLIGNOTUS
               the
               
                 Athenian
                 ,
                 Athenagoras
              
               for
               SAURIAS
               of
               Samos
               ;
               some
               contend
               for
               PHILOCLES
               the
               Egyptian
               ,
               and
               others
               again
               for
               CLEANTHES
               of
               Corinth
               .
               But
               howsoever
               the
               Learned
               may
               differ
               in
               their
               Opinions
               touching
               the
               Inventer
               ,
               yet
               as
               to
               the
               Art
               it self
               ,
               all
               of
               them
               are
               unanimous
               ,
               that
               its
               first
               appearance
               amongst
               the
               Greeks
               ,
               was
               in
               no
               better
               a
               dress
               than
               the
               bare
               
                 Shadow
                 of
                 a
                 Man
              
               ,
               or
               
                 some
                 other
                 Body
              
               ,
               circumscrib'd
               with
               a
               single
               line
               onely
               ,
               call'd
               by
               them
               Sciagraphia
               ,
               and
               by
               the
               
                 Latines
                 ,
                 Pictura
                 Linearis
              
               .
            
             
               The
               first
               step
               made
               towards
               the
               advancement
               of
               Painting
               ,
               was
               by
               ARDICES
               the
               Corinthian
               ,
               and
               TELEPHANES
               of
               Sicyon
               ,
               or
               CRATO
               of
               the
               
               same
               City
               ;
               who
               began
               to
               add
               other
               lines
               ,
               by
               way
               of
               shadowing
               their
               Figures
               ,
               to
               make
               them
               appear
               round
               ,
               and
               with
               greater
               strength
               .
               But
               so
               inconsiderable
               were
               the
               advantages
               ,
               which
               the
               Authors
               of
               this
               Manner
               (
               call'd
               Graphice
               )
               gain'd
               by
               their
               Invention
               ,
               that
               they
               still
               found
               it
               necessary
               ,
               to
               write
               under
               each
               piece
               ,
               the
               name
               of
               every
               individual
               thing
               which
               they
               endeavour'd
               to
               represent
               ,
               least
               otherwise
               the
               Spectators
               shou'd
               never
               be
               able
               to
               discover
               what
               they
               intended
               by
               it
               .
            
             
               The
               next
               Improvement
               ,
               was
               by
               CLEOPHANTUS
               of
               Corinth
               ,
               who
               first
               attempted
               to
               fill
               up
               his
               Out-lines
               with
               a
               single
               Colour
               :
               from
               whence
               his
               Pieces
               ,
               and
               those
               of
               
                 HYGIEMON
                 ,
                 DINIAS
              
               ,
               and
               CHARMAS
               his
               followers
               ,
               got
               the
               name
               of
               
                 Monochromata
                 ,
                 (
                 viz.
              
               )
               Pictures
               of
               one
               colour
               .
            
             
               EUMARUS
               the
               Athenian
               ,
               began
               to
               paint
               Men
               and
               Women
               in
               a
               manner
               different
               from
               each
               other
               ,
               and
               ventured
               to
               imitate
               all
               sorts
               of
               Objects
               :
               but
               was
               far
               excell'd
               by
               his
               Disciple
               .
            
             
               CIMON
               the
               Cleonaean
               ,
               who
               found
               out
               the
               Art
               of
               Painting
               Historically
               ,
               design'd
               his
               Figures
               in
               variety
               of
               Postures
               ,
               distinguish'd
               the
               several
               parts
               
               of
               the
               Body
               by
               their
               Joints
               ,
               and
               was
               the
               first
               who
               took
               notice
               of
               the
               folds
               of
               Draperies
               in
               his
               Pieces
               .
            
             
               In
               what
               Century
               the
               Masters
               abovemention'd
               liv'd
               ,
               Antiquity
               has
               given
               us
               no
               Account
               :
               yet
               certain
               it
               is
               ,
               
               that
               about
               the
               time
               of
               the
               Foundation
               of
               
                 Rome
                 ,
                 Anno
                 750
                 ante
                 Chr.
              
               the
               Grecians
               had
               carry'd
               Painting
               to
               such
               a
               height
               of
               Reputation
               ,
               that
               Candaules
               King
               of
               Lydia
               ,
               sirnam'd
               Myrsilus
               ,
               the
               last
               of
               the
               Heraclidae
               ,
               and
               who
               was
               kill'd
               by
               
                 Gyges
                 Anno
                 quarto
                 Olymp.
                 16.
              
               for
               a
               Picture
               made
               by
               BULARCHUS
               ,
               representing
               a
               Battel
               of
               the
               Magnesians
               ,
               gave
               its
               weight
               in
               Gold.
               
            
             
               PANAENUS
               of
               Athens
               ,
               liv'd
               
                 Olymp.
                 83.
                 
                 Anno
                 446
                 ante
                 Chr.
              
               and
               is
               celebrated
               for
               having
               painted
               the
               Battel
               at
               Marathon
               ,
               
               between
               the
               Athenians
               and
               Persians
               ,
               so
               very
               exactly
               ,
               that
               Miltiades
               ,
               and
               all
               the
               General
               Officers
               on
               both
               sides
               ,
               were
               easily
               to
               be
               known
               ,
               and
               distinguish'd
               from
               each
               other
               in
               that
               Piece
               .
            
             
               PHIDIAS
               his
               Brother
               ,
               the
               Son
               of
               Charmidas
               ,
               flourish'd
               
                 Olymp.
                 84.
                 
                 Anno
                 442
                 ante
                 Chr.
              
               and
               was
               famous
               both
               for
               Painting
               and
               Sculpture
               :
               
               but
               particularly
               in
               the
               latter
               so
               profoundly
               skill'd
               ,
               that
               his
               Statue
               of
               
                 Iupiter
                 Olympius
              
               was
               by
               the
               Ancients
               
               esteem'd
               one
               of
               the
               Seven
               wonders
               of
               the
               World
               ,
               as
               his
               Minerva
               ,
               in
               the
               Citadel
               of
               Athens
               ,
               made
               of
               Ivory
               and
               Gold
               ,
               was
               (
               by
               way
               of
               Eminence
               )
               call'd
               
                 the
                 Beautiful
                 Form.
              
               He
               was
               very
               intimate
               with
               Pericles
               ,
               the
               Athenian
               General
               ;
               and
               so
               much
               envy'd
               upon
               that
               account
               ,
               and
               for
               the
               Glory
               which
               he
               acquir'd
               by
               his
               Works
               ,
               that
               his
               Enemies
               cou'd
               never
               be
               at
               rest
               till
               they
               had
               plotted
               him
               into
               a
               Prison
               ,
               and
               had
               there
               (
               as
               some
               say
               )
               taken
               away
               his
               Life
               by
               Poison
               .
            
             
               POLYCLETUS
               ,
               a
               Native
               of
               Sicyon
               ,
               and
               the
               most
               renowned
               Sculptor
               in
               his
               time
               ,
               
               liv'd
               
                 Olymp.
                 87.
                 
                 Anno
                 430
                 ante
                 Chr.
              
               and
               beside
               the
               Honour
               which
               he
               gain'd
               ,
               by
               having
               brought
               the
               Bass-Relievo
               to
               perfection
               ,
               is
               commended
               for
               divers
               admirable
               pieces
               of
               work
               ;
               but
               chiefly
               ,
               for
               being
               the
               Author
               of
               that
               most
               accomplish'd
               Model
               ,
               call'd
               the
               Canon
               :
               which
               comprehending
               in
               it self
               alone
               all
               the
               several
               perfections
               ,
               both
               of
               Feature
               ,
               and
               Proportion
               ,
               in
               Humane
               Bodies
               ,
               by
               the
               joint
               consent
               of
               the
               most
               eminent
               Artists
               ,
               as
               well
               Painters
               as
               Sculptors
               ,
               then
               in
               being
               ,
               was
               unanimously
               agreed
               upon
               to
               be
               handed
               down
               to
               Posterity
               ,
               a●●
               the
               Standard
               ,
               or
               
                 infallible
                 Rule
                 of
                 true
                 Beauty
              
               .
            
             
             
               In
               this
               Olympiad
               also
               were
               MYRON
               ,
               and
               SCOPAS
               ,
               both
               excellent
               in
               Sculpture
               ;
               and
               in
               some
               respects
               equal
               even
               to
               Polycletus
               himself
               .
            
             
               POLYGNOTUS
               the
               Thasian
               ,
               was
               the
               Disciple
               of
               his
               Father
               Aglaophon
               ,
               and
               particularly
               famous
               for
               representing
               Women
               ;
               whom
               he
               painted
               in
               lightsom
               and
               shining
               Draperies
               ,
               adorning
               their
               heads
               with
               dresses
               of
               sundry
               colours
               ,
               and
               giving
               a
               greater
               freedom
               to
               his
               Figures
               ,
               than
               had
               been
               us'd
               by
               any
               of
               his
               Predecessors
               .
               His
               principal
               Works
               ,
               were
               those
               which
               he
               made
               gratis
               in
               the
               Temple
               at
               Delphi
               ,
               and
               the
               
                 grand
                 Portico
              
               at
               Athens
               ,
               call'd
               the
               Various
               ;
               in
               honour
               of
               which
               it
               was
               solemnly
               decreed
               ,
               in
               a
               great
               Council
               of
               the
               Amphictyons
               ,
               that
               where-ever
               he
               should
               travel
               in
               Greece
               ,
               his
               charges
               should
               be
               born
               by
               the
               Publick
               .
               He
               died
               sometime
               before
               the
               
                 90
                 Olymp.
              
               
               which
               was
               
                 Anno
                 418
                 ante
                 Chr.
              
               
            
             
               APOLLODORUS
               the
               Athenian
               ,
               liv'd
               
                 Olymp.
                 94.
                 
                 Anno
                 402
                 ante
                 Chr.
              
               and
               was
               the
               first
               who
               invented
               the
               Art
               of
               mingling
               his
               Colours
               ,
               and
               of
               expressing
               the
               Lights
               and
               Shadows
               .
               
               He
               was
               admir'd
               also
               for
               his
               judicious
               choice
               of
               Nature
               ,
               and
               in
               the
               beauty
               and
               strength
               of
               his
               Figures
               surpassed
               all
               the
               Masters
               who
               went
               before
               him
               .
               He
               excell'd
               
               likewise
               in
               Sculpture
               ,
               but
               was
               surnam'd
               the
               Madman
               ,
               from
               a
               strange
               humour
               which
               he
               had
               ,
               of
               destroying
               even
               his
               very
               best
               Pieces
               ,
               if
               after
               he
               had
               finish'd
               them
               ,
               he
               cou'd
               discover
               any
               fault
               ,
               thô
               never
               so
               inconsiderable
               .
            
             
               ZEUXIS
               of
               Heraclea
               ,
               
               flourish'd
               
                 Anno
                 quarto
                 Olymp.
                 95.
                 
                 Anno
                 395
                 ante
                 Chr.
              
               and
               was
               fam'd
               for
               being
               the
               most
               excellent
               Colourist
               of
               all
               the
               Ancients
               ;
               though
               
                 Cicero
                 ,
                 Pliny
              
               ,
               and
               other
               Authors
               tell
               us
               ,
               there
               were
               but
               four
               Colours
               then
               in
               use
               (
               viz.
               )
               
                 white
                 ,
                 yellow
                 ,
                 red
              
               and
               black
               .
               He
               was
               censur'd
               by
               some
               ,
               for
               making
               his
               Heads
               too
               big
               ;
               and
               by
               Aristotle
               ,
               for
               not
               being
               able
               to
               express
               the
               Manners
               ,
               and
               Passions
               .
               He
               was
               very
               famous
               notwithstanding
               for
               the
               Helena
               which
               he
               painted
               for
               the
               People
               of
               Crotona
               ;
               in
               the
               Composition
               of
               which
               he
               collected
               from
               five
               naked
               Virgins
               (
               the
               most
               beautiful
               the
               Town
               cou'd
               produce
               )
               whatever
               he
               observ'd
               Nature
               had
               form'd
               most
               perfect
               in
               each
               ,
               and
               united
               all
               those
               admirable
               parts
               in
               that
               single
               Figure
               .
               He
               was
               extoll'd
               likewise
               for
               several
               other
               Pieces
               ;
               but
               being
               very
               rich
               ,
               cou'd
               never
               be
               prevail'd
               upon
               to
               fell
               any
               of
               them
               ,
               because
               he
               thought
               them
               to
               be
               above
               any
               price
               ;
               and
               therefore
               chose
               rather
               to
               give
               them
               away
               freely
               to
               Princes
               ,
               and
               Cities
               .
               He
               died
               (
               as
               
               't
               is
               generally
               said
               )
               of
               a
               fit
               of
               Laughter
               ,
               at
               the
               sight
               of
               a
               Comical
               old
               Woman's
               Picture
               ,
               which
               he
               had
               drawn
               .
            
             
               PARRHASIUS
               a
               Native
               of
               Ephesus
               ,
               and
               Citizen
               of
               Athens
               ,
               was
               the
               Son
               and
               Disciple
               of
               Evenor
               ,
               and
               the
               Contemporary
               of
               Zeuxis
               ,
               whom
               he
               overcame
               in
               the
               noted
               Contest
               between
               them
               ,
               by
               deceiving
               him
               with
               a
               Curtain
               ,
               which
               he
               had
               painted
               so
               excellently
               well
               ,
               that
               his
               Antagonist
               mistook
               it
               for
               the
               Nature
               it self
               .
               He
               was
               the
               first
               who
               observ'd
               the
               Rules
               of
               Symmetry
               in
               his
               works
               ;
               and
               was
               much
               admired
               for
               the
               liveliness
               of
               his
               expression
               ,
               and
               for
               the
               gayety
               and
               graceful
               Airs
               of
               his
               Heads
               :
               but
               above
               all
               ,
               for
               the
               softness
               and
               elegance
               of
               his
               Out-lines
               ,
               and
               for
               rounding
               off
               his
               Figures
               ,
               so
               as
               to
               make
               them
               appear
               with
               the
               greater
               strength
               and
               relievo
               .
               He
               was
               wonderfully
               fruitful
               of
               Invention
               ,
               had
               a
               particular
               talent
               in
               small
               pieces
               ,
               especially
               in
               wanton
               Subjects
               ,
               and
               finish'd
               all
               his
               works
               to
               the
               last
               degree
               of
               perfection
               .
               But
               withall
               was
               so
               extravagantly
               vain
               and
               arrogant
               ,
               that
               he
               commonly
               writ
               himself
               Parrhasius
               the
               Beau
               ,
               the
               
                 Sir
                 Courtly
              
               (
               
                 〈◊〉
                 〈◊〉
                 〈◊〉
                 〈◊〉
                 〈◊〉
              
               ,
               )
               went
               cloath'd
               in
               purple
               ,
               with
               a
               Crown
               of
               Gold
               upon
               his
               Head
               ,
               pretended
               to
               derive
               his
               Pedigree
               from
               Apollo
               ,
               and
               styl'd
               himself
               the
               
                 Prince
                 of
                 his
                 Profession
              
               .
               
               Yet
               ,
               to
               his
               great
               affliction
               ,
               was
               humbl'd
               at
               last
               by
            
             
               TIMANTHES
               of
               Sicyon
               (
               or
               as
               some
               say
               ,
               of
               Cythnus
               )
               who
               in
               a
               Dispute
               betwixt
               them
               ,
               was
               by
               the
               majority
               of
               Votes
               declared
               the
               better
               Painter
               :
               And
               besides
               was
               as
               eminent
               for
               the
               singular
               modesty
               and
               sweetness
               of
               his
               Disposition
               ,
               as
               for
               the
               agreeable
               variety
               of
               his
               Invention
               ,
               and
               peculiar
               happiness
               in
               moving
               the
               Passions
               .
               His
               most
               celebrated
               works
               were
               the
               
                 sleeping
                 Polyphemus
              
               ,
               and
               the
               
                 Sacrifice
                 of
                 Iphigenia
              
               ;
               in
               both
               which
               (
               as
               in
               all
               his
               other
               Performances
               )
               his
               distinguishing
               Character
               appear'd
               ,
               in
               making
               more
               to
               be
               understood
               ,
               than
               was
               really
               express'd
               in
               his
               Pieces
               .
            
             
               In
               this
               time
               also
               flourish'd
               EUPOMPUS
               of
               Sicyon
               ,
               an
               excellent
               Artist
               ,
               and
               whose
               Authority
               was
               so
               very
               considerable
               ,
               that
               out
               of
               the
               two
               Schools
               of
               Painting
               ,
               the
               Asiatick
               and
               the
               Greek
               ,
               he
               made
               a
               third
               ,
               by
               dividing
               the
               last
               into
               the
               Attick
               and
               the
               Sicyonian
               .
               His
               best
               Disciple
               was
            
             
               PAMPHILUS
               a
               Native
               of
               Macedonia
               ,
               who
               to
               the
               Art
               of
               Painting
               joyn'd
               the
               Study
               of
               the
               
                 Liberal
                 Arts
              
               ,
               especially
               the
               Mathematicks
               :
               and
               us'd
               to
               say
               ,
               that
               without
               the
               help
               of
               Geometry
               ,
               no
               Painter
               could
               ever
               arrive
               at
               perfection
               .
               He
               was
               the
               first
               who
               
               taught
               his
               Art
               for
               set
               rates
               ,
               but
               never
               took
               a
               Scholar
               for
               less
               time
               than
               ten
               years
               .
               What
               reputation
               and
               interest
               he
               had
               in
               his
               own
               Country
               ,
               and
               what
               use
               he
               made
               of
               it
               ,
               for
               the
               honour
               and
               advancement
               of
               his
               Profession
               ,
               see
               Pag.
               83.
               
            
             
               PAUSIAS
               of
               Sicyon
               ,
               a
               Disciple
               of
               Pamphilus
               ,
               was
               the
               first
               who
               painted
               upon
               Walls
               and
               Ceilings
               :
               and
               amongst
               many
               rare
               qualities
               ,
               was
               excellent
               at
               fore-shortening
               his
               Figures
               .
               His
               most
               famous
               Piece
               was
               the
               Picture
               of
               his
               Mistress
               Glycera
               ,
               in
               a
               sitting
               posture
               ,
               composing
               a
               Garland
               of
               Flowers
               :
               for
               a
               Copy
               of
               which
               
                 L.
                 Lucullus
              
               ,
               a
               noble
               Roman
               ,
               gave
               two
               Talents
               (
               375
               lib.
               )
            
             
               EUPHRANOR
               the
               Isthnian
               ,
               flourish'd
               Olymp.
               
               104
               ,
               
                 Anno
                 362
                 ante
                 Chr.
              
               He
               was
               an
               
                 Universal
                 Master
              
               ,
               and
               admirably
               skill'd
               both
               in
               Sculpture
               and
               Painting
               .
               His
               Conceptions
               were
               noble
               and
               elevated
               ,
               his
               Style
               masculine
               and
               bold
               ;
               and
               he
               was
               the
               first
               who
               signaliz'd
               himself
               by
               representing
               the
               Majesty
               of
               Heroes
               .
               He
               writ
               several
               Volumes
               of
               the
               Art
               of
               Colouring
               ,
               and
               of
               Symmetry
               ,
               and
               yet
               notwithstanding
               fell
               into
               the
               same
               Error
               with
               Zeuxis
               ,
               of
               making
               his
               Heads
               too
               big
               in
               proportion
               to
               the
               other
               parts
               .
            
             
             
               PRAXITELES
               the
               fam'd
               Sculptor
               ,
               particularly
               celebrated
               for
               his
               Venus
               of
               Gnidus
               ,
               and
               other
               excellent
               performances
               in
               Marble
               ,
               was
               the
               Contemporary
               of
               Euphranor
               .
            
             
               CYDIAS
               of
               Cythnus
               ,
               
               liv'd
               
                 Olymp.
                 106
                 ,
                 Anno
                 354
                 ante
                 Chr.
              
               and
               rais'd
               his
               reputation
               so
               much
               by
               his
               works
               ,
               that
               Hortensius
               the
               
                 Roman
                 Orator
              
               ,
               gave
               44
               Talents
               ,
               (
               8250
               lib.
               )
               for
               one
               of
               his
               Pieces
               ,
               containing
               the
               Story
               of
               the
               Argonauts
               ,
               and
               built
               a
               noble
               Apartment
               on
               purpose
               for
               it
               ,
               in
               his
               Villa
               at
               Tusculum
               .
            
             
               APELLES
               the
               
                 Prince
                 of
                 Painters
              
               ,
               was
               a
               Native
               of
               Coos
               ,
               an
               Island
               in
               the
               Archipelago
               (
               now
               known
               by
               the
               name
               of
               Lango
               )
               and
               flourish'd
               Olymp
               .
               112
               ,
               
               
                 Anno
                 330
                 ante
                 Chr.
              
               He
               improv'd
               the
               noble
               talent
               which
               Nature
               had
               given
               him
               ,
               in
               the
               School
               of
               Pamphilus
               ;
               and
               afterwards
               by
               degrees
               became
               so
               much
               in
               esteem
               with
               
                 Alexander
                 the
                 Great
              
               ,
               that
               by
               a
               public
               Edict
               he
               strictly
               commanded
               ,
               that
               no
               other
               Master
               shou'd
               presume
               to
               make
               his
               Portrait
               ;
               that
               none
               but
               Lysippus
               of
               Sicyon
               shou'd
               cast
               his
               Statue
               in
               Brass
               ;
               and
               that
               Pyrgoteles
               onely
               shou'd
               grave
               his
               Image
               in
               Gems
               and
               
                 Precious
                 Stones
              
               .
               And
               in
               farther
               testimony
               of
               his
               particular
               respect
               to
               
                 this
                 Artist
              
               ,
               he
               presented
               him
               ,
               even
               with
               his
               
               most
               beautiful
               and
               charming
               Mistress
               Campaspe
               ,
               with
               whom
               Apelles
               had
               fall'n
               in
               Love
               ,
               and
               by
               whom
               't
               was
               suppos'd
               he
               copy'd
               his
               
                 Venus
                 (
                 Anadyomene
              
               )
               rising
               out
               of
               the
               Sea.
               Grace
               was
               his
               
                 peculiar
                 portion
              
               ,
               as
               
                 our
                 Author
              
               tells
               us
               ,
               Page
               150
               ,
               and
               211.
               
               In
               which
               ,
               and
               in
               knowing
               when
               he
               had
               done
               Enough
               ,
               he
               transcended
               all
               who
               went
               before
               him
               ,
               and
               did
               not
               leave
               his
               Equal
               in
               the
               world
               .
               He
               was
               miraculously
               skill'd
               in
               taking
               the
               true
               lineaments
               and
               features
               of
               the
               Face
               :
               Insomuch
               that
               (
               if
               Apion
               the
               Grammarian
               may
               be
               credited
               )
               Physiognomists
               upon
               sight
               of
               his
               Pictures
               onely
               ,
               cou'd
               tell
               the
               precise
               time
               of
               the
               parties
               death
               .
               He
               was
               admirable
               likewise
               in
               representing
               people
               in
               their
               last
               Agonies
               .
               And
               in
               a
               word
               ,
               so
               great
               was
               the
               veneration
               paid
               by
               Antiquity
               to
               his
               Works
               ,
               that
               several
               of
               them
               were
               purchas'd
               with
               heaps
               of
               Gold
               ,
               and
               not
               by
               any
               set
               number
               or
               weight
               of
               pieces
               .
               He
               was
               moreover
               extremely
               candid
               and
               obliging
               in
               his
               temper
               ,
               willing
               to
               instruct
               all
               those
               who
               ask'd
               his
               advice
               ,
               and
               generous
               even
               to
               his
               most
               potent
               Rivals
               .
            
             
               PROTOGENES
               of
               Caunus
               ,
               a
               City
               of
               Caria
               subject
               to
               the
               Rhodians
               ,
               was
               by
               the
               Ancients
               esteem'd
               one
               of
               the
               four
               best
               Painters
               in
               Greece
               :
               but
               liv'd
               miserably
               poor
               ,
               and
               very
               little
               regarded
               in
               his
               
               own
               Country
               ,
               till
               Apelles
               having
               made
               him
               a
               visit
               ,
               to
               bring
               him
               into
               Reputation
               ,
               bought
               up
               several
               of
               his
               Pictures
               ,
               at
               greater
               rates
               than
               he
               ask'd
               for
               them
               ;
               and
               pretending
               ,
               that
               he
               design'd
               to
               sell
               'em
               again
               for
               his
               own
               work
               ,
               the
               Rhodians
               were
               glad
               to
               redeem
               them
               upon
               any
               terms
               .
               Whose
               Disciple
               he
               was
               ,
               is
               not
               certainly
               known
               ;
               but
               't
               is
               generally
               affirm'd
               ,
               that
               he
               spent
               the
               greatest
               part
               of
               his
               life
               in
               painting
               Ships
               ,
               and
               Sea-pieces
               onely
               :
               yet
               applying
               himself
               at
               last
               to
               nobler
               Subjects
               ,
               he
               became
               an
               Artist
               so
               well
               accomplish'd
               ,
               that
               Apelles
               confess'd
               he
               was
               in
               all
               respects
               at
               least
               equal
               to
               himself
               ,
               excepting
               onely
               ,
               that
               never
               knowing
               when
               to
               leave
               off
               ,
               by
               overmuch
               diligence
               ,
               and
               too
               nice
               a
               correctness
               ,
               he
               often
               dispirited
               and
               deaden'd
               the
               Life
               .
               He
               was
               famous
               also
               for
               several
               Figures
               which
               he
               made
               in
               Brass
               :
               but
               his
               most
               celebrated
               piece
               of
               Painting
               ,
               was
               that
               of
               Ialysus
               ,
               which
               cost
               him
               seven
               years
               study
               and
               labour
               ,
               and
               which
               sav'd
               the
               City
               of
               Rhodes
               from
               being
               burnt
               by
               
                 Demetrius
                 Poliorcetes
                 .
                 Vide
                 Page
              
               84.
               
            
             
               Of
               MELANTHIUS
               we
               have
               nothing
               certain
               ,
               but
               that
               he
               was
               brought
               up
               at
               Sicyon
               ,
               (
               the
               best
               School
               of
               Greece
               )
               under
               Pamphilus
               ,
               at
               the
               same
               time
               with
               Apelles
               .
               That
               he
               contributed
               both
               by
               his
               Pen
               ,
               and
               Pencil
               ,
               to
               the
               Improvement
               of
               his
               
               Art
               ;
               and
               amongst
               many
               excellent
               Pieces
               ,
               painted
               Aristratus
               the
               Sicyonian
               Tyrant
               ,
               in
               a
               Triumphal
               Chariot
               ,
               attended
               by
               Victory
               ,
               putting
               a
               wreath
               of
               Laurel
               upon
               his
               Head
               ;
               which
               was
               highly
               esteem'd
               .
            
             
               ARISTIDES
               of
               Thebes
               ,
               the
               Disciple
               of
               Euxenidas
               ,
               liv'd
               in
               the
               same
               Olympiad
               with
               Apelles
               ,
               and
               was
               the
               first
               who
               by
               the
               Rules
               of
               Art
               ,
               attain'd
               a
               perfect
               knowledge
               of
               expressing
               the
               Passions
               and
               Affections
               of
               the
               Mind
               .
               And
               though
               his
               colouring
               was
               somewhat
               hard
               ,
               and
               not
               so
               very
               beautiful
               as
               cou'd
               be
               wish'd
               ,
               yet
               notwithstanding
               so
               much
               were
               his
               Pieces
               admir'd
               ,
               that
               after
               his
               decease
               ,
               Attalus
               King
               of
               Pergamus
               ,
               gave
               an
               hundred
               Talents
               (
               18750
               lib.
               )
               for
               one
               of
               them
               .
            
             
               His
               Contemporary
               was
               ASCLEPIODORUS
               the
               Athenian
               ,
               equally
               skill'd
               in
               the
               Arts
               of
               Sculpture
               and
               Painting
               ;
               but
               in
               the
               latter
               ,
               chiefly
               applauded
               for
               the
               beauties
               of
               a
               correct
               Style
               ,
               and
               the
               truth
               of
               his
               Proportion
               :
               In
               which
               Apelles
               declared
               himself
               as
               much
               inferior
               to
               this
               Artist
               ,
               as
               he
               was
               to
               AMPHION
               ,
               in
               the
               ordering
               ,
               and
               excellent
               disposition
               of
               his
               Figures
               .
               The
               most
               famous
               Pictures
               of
               Asclepiodorus
               ,
               were
               those
               of
               the
               
                 twelve
                 Gods
              
               ,
               for
               which
               Mnason
               the
               Tyrant
               of
               Elatea
               ,
               gave
               him
               the
               value
               of
               about
               300
               
                 l.
                 Sterl
              
               .
               a-piece
               .
            
             
             
               About
               the
               same
               time
               also
               were
               the
               several
               Masters
               following
               
                 (
                 viz.
                 )
                 THEOMNESTUS
              
               ,
               fam'd
               for
               his
               admirable
               talent
               in
               Portraits
               .
            
             
               NICHOMACHUS
               ,
               the
               Son
               and
               Disciple
               of
               Aristodemus
               ,
               commended
               for
               the
               incredible
               facility
               and
               freedom
               of
               his
               Pencil
               .
            
             
               NICOPHANES
               ,
               celebrated
               for
               the
               Elegance
               of
               his
               Design
               ,
               and
               for
               his
               grand
               Manner
               ,
               and
               Majesty
               of
               Style
               ;
               in
               which
               few
               Masters
               were
               to
               be
               compar'd
               to
               him
               .
            
             
               PYREICUS
               was
               famous
               for
               little
               pieces
               only
               ;
               and
               from
               the
               sordid
               and
               mean
               Subjects
               to
               which
               he
               addicted
               himself
               (
               such
               as
               a
               Barbers
               ,
               or
               
                 Shoemakers
                 Shop
              
               ,
               the
               
                 Stil-life
                 ,
                 Animals
                 ,
                 Herbage
              
               ,
               &c.
               )
               got
               the
               surname
               of
               Rhyparographus
               .
               Yet
               though
               his
               Subjects
               were
               poor
               ,
               his
               Performance
               was
               admirable
               ;
               And
               the
               smallest
               Pictures
               of
               this
               Artist
               ,
               were
               esteem'd
               more
               ,
               and
               sold
               at
               greater
               Rates
               ,
               than
               the
               larger
               Works
               of
               many
               other
               Masters
               .
            
             
               ANTIDOTUS
               the
               Disciple
               of
               Euphranor
               ,
               was
               extremely
               diligent
               ,
               and
               industrious
               ,
               but
               very
               slow
               at
               his
               Pencil
               ;
               which
               as
               to
               the
               colouring
               part
               was
               generally
               hard
               and
               dry
               .
               He
               was
               chiefly
               remarkable
               for
               having
               been
               the
               Master
               of
            
             
             
               NICIAS
               of
               Athens
               ,
               
               who
               painted
               Women
               in
               Perfection
               ,
               and
               flourish'd
               about
               the
               114.
               
               
                 Olymp.
                 Anno
                 322
                 ante
                 Chr.
              
               being
               universally
               extoll'd
               for
               the
               great
               variety
               and
               noble
               choice
               of
               his
               Subjects
               ,
               for
               the
               force
               and
               relievo
               of
               his
               Figures
               ,
               for
               his
               great
               skill
               in
               the
               distribution
               of
               the
               lights
               and
               shadows
               ,
               and
               for
               his
               wonderful
               dexterity
               in
               representing
               all
               sorts
               of
               four-footed
               Animals
               ,
               beyond
               any
               Master
               in
               his
               time
               .
               His
               most
               celebrated
               Piece
               was
               that
               of
               
                 Homer's
                 Hell
              
               ;
               for
               which
               having
               refused
               60
               
                 Talents
                 (
                 11250
                 lib.
              
               )
               offer'd
               him
               by
               King
               Ptolemy
               the
               Son
               of
               Lagus
               ,
               he
               generously
               made
               a
               Present
               of
               it
               to
               his
               own
               Country
               .
               He
               was
               likewise
               much
               esteem'd
               by
               all
               his
               Contemporaries
               for
               his
               excellent
               Talent
               in
               Sculpture
               ;
               and
               as
               Pliny
               reports
               ,
               by
               Praxiteles
               himself
               :
               which
               yet
               seems
               highly
               improbable
               ,
               considering
               ,
               that
               by
               his
               own
               account
               ,
               there
               were
               at
               least
               40
               years
               betwixt
               them
               .
            
             
               ATHENION
               of
               Maronea
               ,
               a
               City
               of
               Thrace
               ,
               a
               Disciple
               of
               Glaucion
               the
               Corinthian
               ,
               was
               about
               this
               time
               also
               as
               much
               in
               vogue
               as
               Nicias
               :
               and
               though
               his
               colouring
               was
               not
               altogether
               so
               agreeable
               ,
               yet
               in
               every
               other
               particular
               he
               was
               even
               superior
               to
               him
               ,
               and
               wou'd
               have
               mounted
               to
               the
               highest
               pitch
               of
               Perfection
               ,
               if
               the
               length
               of
               his
               Life
               
               had
               been
               but
               answerable
               to
               the
               great
               extent
               of
               his
               Genius
               .
            
             
               FABIUS
               a
               noble
               Roman
               ,
               
               painted
               the
               Temple
               of
               Health
               in
               
                 Rome
                 ,
                 Anno
                 U.
                 C.
                 450
                 ,
                 ante
                 Chr.
                 301
                 :
              
               and
               glory'd
               so
               much
               in
               his
               Performances
               there
               ,
               that
               he
               assum'd
               to
               himself
               for
               ever
               after
               ,
               the
               surname
               of
               Pictor
               ,
               and
               thought
               it
               no
               disparagement
               to
               one
               of
               the
               most
               Illustrious
               Families
               in
               Rome
               ,
               to
               be
               distinguish'd
               by
               
                 that
                 Title
              
               .
            
             
               NEALCES
               liv'd
               
                 Olymp.
                 132
                 ,
                 Anno
                 250
                 ante
                 Chr.
              
               
               in
               the
               time
               of
               Aratus
               the
               Sicyonian
               General
               ,
               who
               was
               his
               Patron
               ,
               and
               intimate
               Friend
               .
               His
               particular
               Character
               ,
               was
               a
               strange
               vivacity
               of
               thought
               ,
               a
               fluent
               fancy
               ,
               and
               a
               singular
               happiness
               in
               explaining
               his
               intentions
               (
               as
               appears
               
                 Pag.
                 148.
              
               )
               He
               is
               besides
               frequently
               mention'd
               by
               Writers
               ,
               for
               that
               having
               painted
               a
               Horse
               ,
               and
               being
               weary'd
               with
               often
               trying
               in
               vain
               to
               express
               the
               foam
               proceeding
               from
               his
               Mouth
               ,
               he
               flung
               his
               Pencil
               in
               a
               great
               passion
               against
               the
               Picture
               ,
               which
               lighted
               so
               luckily
               ,
               that
               to
               his
               amazement
               he
               found
               ,
               Chance
               had
               finish'd
               his
               Design
               ,
               much
               better
               than
               he
               with
               all
               his
               art
               and
               labour
               cou'd
               have
               done
               .
            
             
             
               METRODORUS
               flourish'd
               
                 Anno
                 168
                 ante
                 Chr.
              
               
               and
               liv'd
               in
               so
               much
               credit
               and
               reputation
               at
               Athens
               ,
               that
               
                 Paulus
                 Aemilius
              
               ,
               after
               he
               had
               overcome
               Perseus
               King
               of
               
                 Macedon
                 ,
                 Anno
                 3
                 Olymp.
                 152.
              
               having
               desir'd
               the
               Athenians
               to
               send
               him
               one
               of
               their
               most
               learned
               Philosophers
               to
               breed
               up
               his
               Children
               ,
               and
               a
               skilful
               Painter
               to
               adorn
               his
               Triumph
               ,
               Metrodorus
               was
               the
               person
               unanimously
               chosen
               ,
               as
               the
               fittest
               for
               
                 both
                 Employments
              
               .
            
             
               
                 MARCUS
                 PACUVIUS
              
               of
               Brundusium
               ,
               
               the
               Nephew
               of
               old
               Ennius
               ,
               was
               not
               onely
               an
               eminent
               Poet
               himself
               ,
               and
               famous
               for
               several
               Tragedies
               which
               he
               wrote
               ,
               but
               excell'd
               also
               in
               Painting
               :
               Witness
               his
               celebrated
               Works
               ,
               at
               Rome
               ,
               in
               the
               Temple
               of
               Hercules
               ,
               in
               the
               
                 Forum
                 Boarium
              
               .
               He
               flourish'd
               
                 Anno
                 U.
                 C.
                 600
                 ,
                 ante
                 Chr.
                 151
                 ,
              
               and
               died
               at
               Tarentum
               ,
               almost
               90
               years
               of
               age
               .
            
             
               TIMOMACHUS
               of
               Byzantium
               (
               now
               Constantinople
               )
               liv'd
               
                 Anno
                 U.
                 C.
                 704
              
               ,
               
               
                 ante
                 Chr.
                 47
              
               ,
               in
               the
               time
               of
               
                 Iulius
                 Caesar
              
               ,
               who
               gave
               him
               80
               
                 Talents
                 (
                 15000
                 lib.
              
               )
               for
               his
               Pieces
               of
               Ajax
               and
               Medea
               ,
               which
               he
               placed
               in
               the
               Temple
               of
               Venus
               ,
               from
               whom
               he
               deriv'd
               his
               Family
               .
               He
               was
               commended
               also
               for
               his
               Orestes
               and
               Iphigenia
               :
               but
               his
               Master-piece
               was
               the
               Gorgon
               ,
               or
               
                 Medusas
                 Head.
              
               
            
             
             
               About
               the
               same
               time
               also
               ARELLIUS
               was
               famous
               at
               Rome
               ,
               being
               as
               much
               admir'd
               for
               his
               excellent
               talent
               in
               Painting
               ,
               as
               he
               was
               condemn'd
               for
               the
               scandalous
               use
               which
               he
               made
               of
               it
               ,
               in
               taking
               all
               his
               Idea's
               of
               the
               Goddesses
               from
               
                 common
                 Strumpets
              
               ,
               and
               in
               placing
               his
               Mistresses
               in
               the
               Heavens
               ,
               amongst
               the
               Gods
               ,
               in
               several
               of
               his
               Pieces
               .
            
             
               LUDIUS
               liv'd
               in
               great
               Reputation
               ,
               
               under
               
                 Augustus
                 Caesar
              
               ,
               who
               began
               his
               
                 Reign
                 Anno
                 U.
                 C.
                 710
                 ,
                 ante
                 Chr.
                 41.
                 
              
               He
               excell'd
               in
               
                 grand
                 Compositions
              
               ,
               and
               was
               the
               first
               who
               painted
               the
               Fronts
               of
               Houses
               ,
               in
               the
               Streets
               of
               Rome
               :
               which
               he
               beautify'd
               with
               great
               variety
               of
               Landtschapes
               ,
               and
               pleasant
               Views
               ,
               together
               with
               all
               other
               sorts
               of
               different
               Subjects
               ,
               manag'd
               after
               a
               most
               
                 noble
                 manner
              
               .
            
             
               TURPILIUS
               a
               
                 Roman
                 Knight
              
               ,
               
               liv'd
               in
               the
               time
               of
               Vespasian
               ,
               who
               was
               chosen
               
                 Emperour
                 ,
                 An.
                 Dom.
                 69.
              
               
               And
               though
               he
               painted
               every
               thing
               with
               his
               
                 left
                 hand
              
               ,
               yet
               was
               much
               applauded
               for
               his
               admirable
               Performances
               at
               Verona
               .
            
             
               His
               Contemporaries
               were
               
                 CORNELIUS
                 PINUS
              
               ,
               and
               
                 ACTIUS
                 PRISCUS
              
               ,
               who
               with
               their
               Pencils
               adorn'd
               the
               Temples
               of
               Honour
               and
               Virtue
               ,
               
               repair'd
               by
               Vespasian
               .
               But
               of
               the
               two
               ,
               Priscus
               came
               nearest
               in
               his
               style
               and
               manner
               of
               Painting
               ,
               to
               the
               purity
               of
               the
               
                 Grecian
                 School
              
               .
            
             
               And
               thus
               have
               I
               given
               the
               Reader
               a
               
                 short
                 Account
              
               ,
               of
               all
               the
               most
               eminent
               Masters
               who
               flourish'd
               in
               Greece
               ,
               and
               Rome
               ,
               in
               the
               compass
               of
               more
               than
               a
               
                 thousand
                 Years
              
               .
               'T
               is
               true
               indeed
               ,
               that
               for
               a
               long
               time
               after
               the
               Reigns
               of
               Vespasian
               ,
               and
               Titus
               his
               Son
               ,
               Painting
               and
               Sculpture
               continu'd
               ,
               in
               great
               reputation
               in
               Italy
               .
               Nay
               ,
               we
               are
               inform'd
               ,
               that
               under
               their
               Successors
               
                 Domitian
                 ,
                 Nerva
              
               ,
               and
               Trajan
               ,
               they
               shin'd
               with
               a
               Lustre
               almost
               equal
               to
               what
               they
               had
               done
               under
               Alexander
               the
               Great
               .
               'T
               is
               true
               also
               ,
               that
               the
               Roman
               Emperours
               
                 Adrian
                 ,
                 Antonine
                 ,
                 Alexander
                 Severus
                 ,
                 Constantine
                 ,
              
               and
               Valentinian
               ,
               were
               not
               onely
               generous
               Encouragers
               of
               
                 these
                 Arts
              
               ,
               but
               in
               the
               pracice
               of
               them
               also
               so
               well
               skill'd
               ,
               that
               they
               wrought
               several
               extraordinary
               Pieces
               with
               their
               own
               hands
               ;
               and
               by
               their
               Example
               ,
               as
               well
               as
               their
               Patronage
               ,
               rais'd
               up
               many
               considerable
               Artists
               in
               both
               kinds
               .
               But
               the
               Names
               of
               all
               those
               excellent
               Men
               being
               unhappily
               lost
               with
               their
               Works
               ,
               we
               must
               here
               conclude
               our
               Catalogue
               of
               the
               
                 ANCIENT
                 MASTERS
              
               :
               and
               shall
               onely
               take
               notice
               ,
               that
               under
               
                 that
                 Title
              
               ,
               All
               those
               are
               to
               be
               comprehended
               ,
               who
               practised
               
               Painting
               or
               Sculpture
               either
               in
               Greece
               or
               Rome
               ;
               
               before
               the
               year
               of
               our
               
                 Lord
                 580.
              
               
               At
               which
               time
               the
               
                 Latine
                 Tongue
              
               ceasing
               to
               be
               the
               
                 common
                 Language
              
               of
               Italy
               ,
               and
               becoming
               
                 mute
                 ,
                 All
              
               the
               
                 noble
                 Arts
              
               and
               Sciences
               (
               which
               in
               the
               two
               preceding
               Centuries
               had
               been
               brought
               very
               low
               ▪
               and
               by
               the
               continual
               Invasions
               of
               the
               
                 Northern
                 Nations
              
               reduc'd
               to
               the
               last
               extremities
               )
               expir'd
               with
               it
               :
               and
               in
               the
               Reign
               of
               Phocas
               the
               Emperour
               ,
               soon
               after
               ,
               lay
               bury'd
               together
               ,
               as
               in
               one
               common
               Grave
               ,
               in
               the
               Ruins
               of
               the
               
                 Roman
                 Empire
              
               .
            
          
           
             
             
               Modern
               Masters
               .
            
             
               
                 GIOVANNI
                 CIMABUE
              
               ,
               nobly
               descended
               ,
               and
               born
               at
               
                 Florence
                 ,
                 Anno
                 1240
              
               ,
               
               was
               the
               first
               who
               reviv'd
               the
               Art
               of
               Painting
               in
               Italy
               .
               He
               was
               a
               Disciple
               of
               some
               poor
               ordinary
               Painters
               ,
               sent
               for
               by
               the
               Government
               of
               Florence
               from
               Greece
               :
               whom
               he
               soon
               surpass'd
               ,
               both
               in
               Drawing
               ,
               and
               Colouring
               ,
               and
               gave
               something
               of
               strength
               and
               freedom
               to
               his
               Works
               ,
               at
               which
               they
               cou'd
               never
               arrive
               .
               And
               though
               he
               wanted
               the
               Art
               of
               managing
               his
               Lights
               and
               Shadows
               ,
               was
               but
               little
               acquainted
               with
               the
               Rules
               of
               Perspective
               ,
               and
               in
               divers
               other
               particulars
               but
               indifferently
               accomplish'd
               ;
               yet
               the
               Foundation
               which
               he
               laid
               for
               future
               Improvement
               ,
               entitled
               him
               to
               the
               name
               of
               the
               Father
               of
               the
               
                 First
                 Age
              
               ,
               or
               Infancy
               of
               the
               
                 Modern
                 Painting
              
               .
               Some
               of
               his
               Works
               are
               yet
               remaining
               at
               Florence
               ,
               where
               he
               was
               famous
               also
               for
               his
               skill
               in
               Architecture
               ,
               
               and
               where
               he
               died
               very
               rich
               ,
               
                 Anno
                 1300.
              
               
            
             
             
               GIOTTO
               his
               Disciple
               ,
               born
               near
               
                 Florence
                 ,
                 Anno
                 1276
              
               ,
               
               was
               a
               good
               Sculptor
               and
               Architect
               ,
               as
               well
               as
               a
               better
               Painter
               than
               Cimabue
               .
               He
               began
               to
               shake
               off
               the
               stiffness
               of
               the
               
                 Greek
                 Masters
              
               ;
               endeavouring
               to
               give
               a
               finer
               Air
               to
               his
               Heads
               ,
               and
               more
               of
               Nature
               to
               his
               Colouring
               ,
               with
               proper
               Postures
               to
               his
               Figures
               .
               He
               attempted
               likewise
               to
               draw
               after
               the
               Life
               ,
               and
               to
               express
               the
               different
               Passions
               of
               the
               Mind
               :
               but
               cou'd
               not
               come
               up
               to
               the
               liveliness
               of
               the
               Eyes
               ,
               the
               tenderness
               of
               the
               Flesh
               ,
               or
               the
               strength
               of
               the
               Muscles
               in
               naked
               Figures
               .
               He
               was
               sent
               for
               ,
               and
               employ'd
               by
               Pope
               Benedict
               IX
               .
               in
               St.
               
               Peter's
               Church
               at
               Rome
               ,
               and
               by
               his
               Successor
               Clement
               V.
               at
               Avignon
               .
               He
               painted
               several
               Pieces
               also
               at
               
                 Padoua
                 ,
                 Naples
                 ,
                 Ferrara
              
               ,
               and
               in
               other
               parts
               of
               Italy
               ;
               and
               was
               every
               where
               much
               admir'd
               for
               his
               Works
               :
               but
               principally
               ,
               for
               a
               Picture
               which
               he
               wrought
               in
               one
               of
               the
               Churches
               of
               Florence
               ,
               representing
               the
               
                 Death
                 of
                 the
                 B.
                 Virgin
              
               ,
               with
               the
               Apostles
               about
               her
               :
               the
               Attitudes
               of
               which
               Story
               ,
               
                 M.
                 Angelo
                 Buonaroti
              
               us'd
               to
               say
               ,
               cou'd
               not
               be
               better
               design'd
               .
               He
               flourish'd
               in
               the
               time
               of
               the
               famous
               Dante
               and
               Petrarch
               ,
               and
               was
               in
               great
               esteem
               with
               them
               ,
               
               and
               all
               the
               excellent
               Men
               in
               his
               Age.
               He
               died
               
                 Anno
                 1336.
              
               
            
             
             
               
                 ANDREA
                 TAFFI
              
               ,
               and
               
                 GADDO
                 GADDI
              
               were
               his
               Contemporaries
               ,
               and
               the
               Restorers
               of
               Mosa●●c-work
               in
               Italy
               :
               which
               the
               former
               had
               learnt
               of
               Apollonius
               the
               Greek
               ,
               and
               the
               latter
               very
               much
               improv'd
               .
            
             
               At
               the
               same
               time
               also
               was
               MARGARITONE
               ,
               a
               Native
               of
               Arezzo
               in
               Tuscany
               ,
               who
               first
               invented
               the
               Art
               of
               Gilding
               with
               Leaf-gold
               ,
               upon
               Bole-armeniac
               .
            
             
               
                 SIMONE
                 MEMMI
              
               ,
               born
               at
               Siena
               ,
               a
               City
               in
               the
               borders
               of
               the
               Dukedom
               of
               
                 Florence
                 ,
                 Anno
                 1285
              
               ,
               
               was
               a
               Disciple
               of
               Giotto
               ,
               whose
               manner
               he
               improv'd
               in
               drawing
               after
               the
               Life
               :
               and
               is
               particularly
               celebrated
               by
               Petrarch
               ,
               for
               an
               excellent
               Portrait
               ,
               which
               he
               made
               of
               his
               beloved
               Laura
               .
               He
               was
               applauded
               for
               his
               free
               and
               easie
               Invention
               ,
               and
               began
               to
               understand
               the
               Decorum
               in
               his
               Compositions
               .
               
               
                 Obiit
                 Anno
                 1345.
              
               
            
             
               
                 TADDEO
                 GADDI
              
               ,
               another
               Disciple
               of
               Giotto
               
               born
               at
               
                 Florence
                 ,
                 Anno
                 1300
              
               ,
               excell'd
               his
               Master
               in
               the
               beauty
               of
               his
               Colouring
               ,
               and
               the
               liveliness
               of
               his
               Figures
               .
               He
               was
               also
               a
               very
               skilful
               Architect
               ,
               and
               much
               commended
               for
               the
               Bridge
               which
               he
               built
               over
               the
               River
               Arno
               ,
               
               at
               Florence
               .
               He
               died
               
                 Anno
                 1350.
              
               
            
             
             
               TOMASO
               ,
               
               call'd
               GIOTTINO
               ,
               for
               his
               affecting
               and
               imitating
               
               Giotto's
               manner
               ,
               born
               also
               at
               
                 Florence
                 ,
                 Anno
                 1324
              
               ,
               began
               to
               add
               strength
               to
               his
               Figures
               ,
               
               and
               to
               improve
               the
               Art
               of
               Perspective
               .
               He
               died
               
                 Anno
                 1356.
              
               
            
             
               
                 IOHANNES
                 ab
                 EYK
              
               ,
               
               commonly
               call'd
               IOHN
               of
               BRUGES
               ,
               born
               at
               Maseech
               on
               the
               River
               Maez
               in
               the
               
                 Low-Countries
                 ,
                 Anno
                 1370
              
               ,
               was
               a
               Disciple
               of
               his
               Brother
               Hubert
               ,
               and
               a
               considerable
               Painter
               :
               but
               above
               all
               things
               famous
               for
               having
               been
               the
               happy
               Inventer
               of
               the
               ART
               of
               
                 PAINTING
                 IN
                 OYL
                 ,
                 Anno
                 1410
                 ,
              
               (
               thirty
               years
               before
               Printing
               was
               found
               out
               by
               
                 Iohn
                 Guttemberg
              
               ,
               of
               
                 Strasburgh
                 .
              
               )
               He
               died
               
                 Anno
                 1441
              
               ,
               
               having
               some
               years
               before
               his
               decease
               communicated
               his
               Invention
               to
            
             
               ANTONELLO
               of
               Messina
               ,
               who
               travell'd
               from
               his
               own
               Country
               into
               Flanders
               on
               purpose
               to
               learn
               the
               Secret
               :
               and
               returning
               to
               Sicily
               ,
               and
               afterwards
               to
               Venice
               ,
               was
               the
               first
               who
               practised
               ,
               and
               taught
               it
               in
               Italy
               .
               He
               died
               
                 Anno
                 Aetat
                 .
                 49.
              
               
            
             
               In
               the
               preceding
               Century
               flourish'd
               several
               other
               Masters
               of
               good
               Repute
               :
               but
               their
               Manner
               being
               the
               same
               ,
               or
               but
               very
               little
               different
               from
               that
               of
               Giotto
               ,
               it
               will
               be
               sufficient
               to
               mention
               the
               Names
               
               onely
               of
               some
               of
               the
               most
               Eminent
               ,
               and
               such
               were
               
                 Andrea
                 Orgagna
                 ,
                 Pietro
                 Cavallino
                 ,
                 Stefano
                 ,
                 Bonamico
                 Buffalmacco
                 ,
                 Pietro
                 Laurati
                 ,
                 Lippo
                 ,
                 Spinello
                 ,
                 Casentino
                 ,
                 Pisano
                 ,
              
               &c.
               
               And
               thus
               the
               Art
               of
               Painting
               continu'd
               almost
               at
               a
               stand
               for
               about
               an
               hundred
               years
               ;
               advancing
               but
               slowly
               ,
               and
               gathering
               but
               little
               strength
               ,
               till
               the
               time
               of
            
             
               MASACCIO
               ,
               
               who
               was
               born
               in
               
                 Tuscany
                 ,
                 Anno
                 1417
              
               ,
               and
               for
               his
               copious
               Invention
               ,
               and
               true
               manner
               of
               Designing
               ;
               for
               his
               delightful
               way
               of
               Colouring
               ,
               and
               the
               graceful
               Actions
               which
               he
               gave
               his
               Figures
               ;
               for
               his
               looseness
               in
               Draperies
               ,
               and
               extraordinary
               Judgment
               in
               Perspective
               ,
               is
               reckon'd
               to
               have
               been
               the
               Master
               of
               the
               Second
               ,
               or
               
                 Middle
                 Age
              
               of
               
                 Modern
                 Painting
              
               :
               which
               't
               is
               thought
               he
               wou'd
               have
               carry'd
               to
               a
               much
               higher
               degree
               of
               Perfection
               ,
               
               if
               death
               had
               not
               stopp'd
               him
               in
               his
               Career
               (
               by
               Poyson
               ,
               as
               it
               was
               suppos'd
               )
               
                 An.
                 1443.
              
               
            
             
               GENTILE
               ,
               and
               GIOVANNI
               ,
               the
               Sons
               and
               Disciples
               of
               
                 GIACOMO
                 BELLINO
              
               ,
               
               were
               born
               at
               
                 Venice
                 ,
                 (
                 Gentile
                 ,
                 Anno
                 1421.
                 )
              
               and
               were
               so
               eminent
               in
               their
               time
               ,
               that
               Gentile
               was
               sent
               for
               to
               Constantinople
               ,
               by
               Mahomet
               II.
               Emperour
               of
               the
               Turks
               :
               for
               whom
               having
               (
               amongst
               other
               things
               )
               painted
               the
               
                 Decollation
                 of
                 S.
                 Iohn
                 Baptist
              
               ,
               the
               Emperour
               ,
               
               to
               convince
               him
               that
               the
               Neck
               after
               its
               separation
               from
               the
               Body
               ,
               cou'd
               not
               be
               so
               long
               as
               he
               had
               made
               it
               in
               his
               Picture
               ,
               order'd
               a
               Slave
               to
               be
               brought
               to
               him
               ,
               and
               commanded
               his
               Head
               to
               be
               immediately
               struck
               off
               in
               his
               presence
               :
               which
               so
               tetrifi'd
               Gentile
               ,
               that
               he
               cou'd
               never
               be
               at
               rest
               ,
               till
               he
               got
               leave
               to
               return
               home
               :
               which
               the
               Emperour
               granted
               ,
               after
               he
               had
               Knighted
               him
               ,
               and
               nobly
               rewarded
               him
               for
               his
               Services
               .
               The
               most
               considerable
               Works
               of
               these
               Brothers
               are
               at
               Venice
               ,
               where
               Giovanni
               liv'd
               to
               the
               age
               of
               90
               years
               ,
               having
               very
               rarely
               painted
               any
               thing
               but
               Scripture-Stories
               and
               
                 Religious
                 Subjects
              
               ,
               which
               he
               perform'd
               so
               well
               ,
               as
               to
               be
               esteem'd
               the
               most
               excellent
               of
               all
               the
               Bellini
               .
               
               See
               more
               of
               him
               
                 Pag.
                 217.
                 
                 Gentile
              
               died
               
                 Anno
                 1501.
              
               
            
             
               
                 ANDREA
                 MANTEGNA
              
               ,
               born
               at
               
                 Padoua
                 ,
                 Anno
                 1431
              
               ,
               
               a
               Disciple
               of
               Squarcione
               ,
               was
               very
               correct
               in
               Designing
               ,
               admirable
               in
               fore●●
               short'ning
               his
               Figures
               ,
               well
               vers'd
               in
               Perspective
               ,
               and
               arriv'd
               to
               great
               knowledge
               in
               the
               Antiquities
               ,
               by
               his
               continu'd
               application
               to
               the
               
                 Statues
                 ,
                 Bass
                 Relievo's
              
               ,
               &c.
               
               Yet
               however
               his
               neglect
               of
               seasoning
               his
               Studies
               after
               the
               Antique
               ,
               with
               the
               living
               Beauties
               of
               Nature
               ,
               has
               given
               him
               a
               Pencil
               somewhat
               hard
               and
               dry
               :
               And
               besides
               ,
               his
               Drapery
               is
               generally
               stiff
               ,
               
               according
               to
               the
               manner
               of
               those
               times
               ,
               and
               too
               much
               perplex'd
               with
               little
               folds
               .
               The
               best
               of
               his
               Works
               (
               and
               for
               which
               he
               was
               Knighted
               ,
               by
               the
               Marquess
               
                 Lodovico
                 Gonzaga
              
               ,
               of
               Mantoua
               )
               are
               the
               
                 Triumphs
                 of
                 Iulius
                 Caesar
              
               ,
               now
               at
               Hampton-Court
               .
               He
               died
               
                 Anno
                 1517
              
               ,
               having
               been
               the
               first
               (
               according
               to
               Vasari
               )
               who
               practised
               the
               Art
               of
               Graving
               in
               Italy
               .
               
            
             
               
                 ANDREA
                 VERROCCHIO
              
               a
               Florentine
               ,
               born
               
                 Anno
                 1432
              
               ,
               
               was
               well
               skill'd
               in
               
                 Geometry
                 ,
                 Optics
                 ,
                 Sculpture
                 ,
                 Music
                 ,
              
               and
               Painting
               :
               but
               left
               off
               the
               last
               ,
               because
               in
               a
               Piece
               which
               he
               had
               made
               of
               St.
               
                 Iohn
                 Baptizing
                 our
                 Saviour
                 ,
                 Leonardo
                 da
                 Vinci
                 ,
              
               one
               of
               his
               Scholars
               ,
               had
               by
               his
               order
               ,
               painted
               an
               Angel
               ,
               holding
               up
               some
               part
               of
               our
               
               Saviour's
               Garments
               ,
               which
               so
               far
               excell'd
               all
               the
               rest
               of
               
               Andrea's
               Figures
               ,
               that
               inrag'd
               to
               be
               out-done
               by
               a
               Young-man
               ,
               he
               resolv'd
               never
               to
               make
               use
               of
               his
               Pencil
               any
               more
               .
               He
               was
               the
               first
               who
               found
               out
               the
               Art
               of
               taking
               and
               preserving
               the
               likeness
               of
               any
               Face
               ,
               by
               moulding
               off
               the
               Features
               in
               Plaister
               .
               He
               died
               
                 Anno
                 1488.
              
               
               
            
             
               
                 LUCA
                 SIGNORELLI
              
               of
               Cortona
               ,
               a
               City
               in
               the
               Dukedom
               of
               Florence
               ,
               
               born
               
                 Anno
                 1439
              
               ,
               was
               a
               Disciple
               of
               
                 Pietro
                 S.
                 Sepulchro
              
               ,
               and
               so
               ex●●ellent
               
               at
               designing
               Nakeds
               ,
               that
               from
               a
               Piece
               which
               he
               painted
               in
               a
               Chappel
               of
               the
               great
               Church
               at
               
                 Orvieto
                 ,
                 M.
                 Angelo
                 Buonaroti
              
               transferr'd
               several
               entire
               Figures
               into
               his
               Last●●Iudgment
               .
               He
               died
               very
               rich
               ,
               
               Anno
               1521.
               
            
             
               
                 PIETRO
                 di
                 COSIMO
              
               a
               Florentine
               ,
               born
               Anno
               1441
               ,
               
               was
               a
               Disciple
               of
               
                 Cosimo
                 Rosselli
              
               (
               whose
               name
               he
               retain'd
               )
               and
               a
               very
               good
               Painter
               ;
               but
               so
               strangely
               fantastical
               ,
               and
               full
               of
               Caprichio's
               ,
               that
               all
               his
               delight
               was
               in
               painting
               
                 Satyrs
                 ,
                 Fauns
                 ,
                 Harpies
                 ,
                 Monsters
                 ,
              
               and
               such
               like
               extravagant
               Figures
               :
               and
               therefore
               he
               apply'd
               himself
               ,
               for
               the
               most
               part
               ,
               to
               
                 Bacchanalia's
                 ,
                 Masquerades
              
               ,
               
               &c.
               
               
                 Obiit
                 Anno
              
               1521.
               
            
             
               
                 LEONARDO
                 da
                 VINCI
              
               ,
               born
               in
               a
               Castle
               so
               call'd
               ,
               
               near
               the
               City
               of
               
                 Florence
                 ,
                 Anno
              
               1445
               ,
               was
               bred
               up
               under
               
                 Andrea
                 Verrocchio
              
               ,
               but
               so
               far
               surpass'd
               him
               ,
               and
               all
               others
               his
               Predecessors
               ,
               that
               he
               is
               own'd
               to
               have
               been
               the
               Master
               of
               the
               Third
               ,
               or
               
                 Golden
                 Age
              
               of
               
                 Modern
                 Painting
              
               .
               He
               was
               in
               every
               respect
               one
               of
               the
               compleatest
               Men
               in
               his
               time
               ,
               and
               the
               best
               furnish'd
               with
               all
               the
               perfections
               both
               of
               Body
               and
               Mind
               :
               was
               an
               excellent
               Sculptor
               and
               Architect
               ,
               a
               skilful
               Musician
               ,
               an
               admirable
               Poet
               ,
               very
               expert
               in
               Anatomy
               and
               Chymistry
               ,
               and
               
               throughly
               learned
               in
               all
               the
               parts
               of
               the
               Mathematicks
               .
               He
               was
               extremely
               diligent
               in
               the
               performance
               of
               his
               Works
               ,
               and
               so
               wonderfully
               neat
               ,
               and
               curious
               ,
               that
               he
               left
               several
               of
               them
               unfinish'd
               ,
               believing
               his
               hand
               cou'd
               never
               reach
               that
               Idea
               of
               perfection
               ,
               which
               he
               had
               conceiv'd
               of
               them
               .
               He
               liv'd
               many
               years
               at
               Milan
               ,
               highly
               esteem'd
               for
               his
               celebrated
               Piece
               of
               
                 Our
                 Saviours
                 Last
                 Supper
              
               ,
               and
               some
               of
               his
               other
               Paintings
               ;
               and
               as
               much
               applauded
               for
               his
               Art
               in
               contriving
               the
               Canal
               ,
               that
               brings
               the
               Water
               from
               the
               River
               Adda
               ,
               to
               that
               City
               .
               He
               was
               a
               great
               Contender
               with
               
                 M.
                 Angelo
                 Buonaroti
              
               ,
               and
               upon
               account
               of
               the
               enmity
               betwixt
               them
               ,
               went
               into
               
                 France
                 (
                 Anno
                 Aet
                 .
                 70.
                 )
              
               where
               after
               several
               considerable
               Services
               done
               for
               Francis
               I.
               he
               expir'd
               in
               the
               Arms
               of
               that
               Monarch
               ,
               being
               taken
               speechless
               the
               very
               moment
               ,
               in
               which
               he
               wou'd
               have
               rais'd
               up
               himself
               ,
               to
               thank
               the
               King
               for
               the
               honour
               done
               him
               in
               that
               Visit.
               
               Anno
               1520.
               
            
             
               
                 PIETRO
                 PERUGINO
              
               ,
               so
               call'd
               from
               the
               place
               where
               he
               was
               born
               in
               the
               
                 Ecclesiastical
                 State
              
               ,
               
               Anno
               1446
               ,
               was
               another
               Disciple
               of
               
                 Andrea
                 Verrocchio
              
               .
               What
               Character
               he
               had
               ,
               see
               Pag.
               215.
               
               He
               was
               so
               very
               miserable
               and
               covetous
               ,
               that
               the
               loss
               of
               his
               Money
               by
               Thieves
               ,
               
               broke
               his
               Heart
               ,
               
                 Anno
                 1524.
              
               
            
             
             
               
                 DOMENICO
                 GHIRLANDAIO
              
               ,
               a
               Florentine
               born
               ,
               
               Anno
               1449
               ,
               was
               at
               first
               design'd
               for
               the
               Profession
               of
               a
               Goldsmith
               ;
               but
               follow'd
               his
               more
               prevailing
               inclinations
               to
               Painting
               with
               such
               success
               ,
               that
               he
               is
               rank'd
               amongst
               the
               
                 prime
                 Masters
              
               in
               his
               time
               .
               See
               farther
               Pag.
               213.
               
               
               He
               died
               Anno
               1493.
               
            
             
               
                 FRANCESCO
                 RAIBOLINI
              
               ,
               commonly
               call'd
               FRANCIA
               ,
               
               born
               at
               
                 Bologna
                 ,
                 Anno
              
               1450
               ,
               was
               at
               first
               a
               Goldsmith
               ,
               or
               Ieweller
               ,
               afterwards
               a
               Graver
               of
               Coins
               and
               Medals
               ,
               but
               at
               last
               applying
               himself
               to
               Painting
               ,
               acquir'd
               great
               Reputation
               by
               his
               Works
               :
               And
               particularly
               ,
               by
               a
               Piece
               of
               St.
               Sebastian
               ,
               whom
               he
               had
               drawn
               bound
               to
               a
               Tree
               ,
               with
               his
               hands
               tied
               over
               his
               head
               .
               In
               which
               Figure
               ,
               besides
               the
               delicacy
               of
               its
               Colouring
               ,
               and
               gracefulness
               of
               the
               Posture
               ,
               the
               proportion
               of
               its
               Parts
               was
               so
               admirably
               just
               and
               true
               ,
               that
               all
               the
               succeeding
               
                 Bolognese
                 Painters
              
               ,
               even
               to
               
                 Hannibal
                 Carrache
              
               himself
               ,
               study'd
               its
               measures
               as
               their
               Rule
               ,
               and
               follow'd
               them
               in
               the
               same
               manner
               as
               the
               Ancients
               had
               done
               the
               Canon
               of
               Polycletus
               .
               It
               was
               under
               the
               Discipline
               of
               this
               Master
               ,
               that
               
                 Marc
                 '
                 Antonio
                 ,
                 Raphaels
              
               best
               Graver
               ,
               learnt
               the
               Rudiments
               of
               his
               Art.
               He
               died
               about
               the
               year
               1526
               ,
               and
               not
               Anno
               1518
               ,
               
               as
               Vasari
               erroneously
               has
               recorded
               .
            
             
             
               
                 FRA
                 BARTOLOMEO
              
               ,
               
               born
               at
               Savignano
               ,
               a
               Village
               about
               ten
               miles
               from
               
                 Florence
                 ,
                 Anno
              
               1469
               ,
               was
               a
               Disciple
               of
               
                 Cosimo
                 Rosselli
              
               :
               but
               much
               more
               beholden
               to
               the
               Works
               of
               
                 Leonardo
                 da
                 Vinci
              
               ,
               for
               his
               extraordinary
               Skill
               in
               Painting
               .
               He
               was
               very
               well
               vers'd
               in
               the
               fundamentals
               of
               Design
               :
               and
               besides
               ,
               had
               so
               many
               other
               laudable
               Qualities
               ;
               that
               Raphael
               ,
               after
               he
               had
               quitted
               the
               School
               of
               Perugino
               ,
               apply'd
               himself
               to
               this
               Master
               ,
               and
               under
               him
               ,
               study'd
               the
               Rules
               of
               Perspective
               ,
               together
               with
               the
               Art
               of
               Managing
               ,
               and
               Uniting
               his
               Colours
               .
               He
               turn'd
               
                 Dominican
                 Fryar
                 ,
                 Anno
              
               1500
               ,
               and
               after
               some
               time
               ,
               was
               by
               his
               Superiors
               sent
               to
               the
               Convent
               of
               St.
               Mark
               ,
               in
               Florence
               .
               He
               painted
               both
               Portraits
               and
               Histories
               ,
               but
               his
               scrupulous
               Conscience
               wou'd
               hardly
               ever
               suffer
               him
               to
               draw
               
                 Naked
                 Figures
              
               .
               He
               died
               Anno
               1517
               ,
               and
               is
               said
               to
               have
               been
               the
               first
               who
               invented
               ,
               
               and
               made
               use
               of
               a
               Lay-man
               .
            
             
               
                 ALBERT
                 DURER
              
               ,
               born
               at
               
                 Nuremberg
                 ,
                 Anno
                 1470
              
               ,
               by
               the
               Instructions
               of
               his
               Father
               ,
               
               a
               curious
               Ieweller
               ;
               the
               Precepts
               of
               
                 Michael
                 Wolgemuth
              
               ,
               a
               considerable
               Painter
               ;
               and
               the
               Rules
               of
               
                 Geometry
                 ,
                 Architecture
              
               ,
               and
               Perspective
               ,
               became
               the
               most
               excellent
               of
               all
               the
               
                 German
                 Masters
              
               .
               And
               notwithstanding
               that
               his
               manner
               of
               Designing
               is
               generally
               
               hard
               ,
               stiff
               ,
               and
               ungraceful
               ,
               yet
               however
               he
               was
               otherwise
               so
               very
               well
               Accomplish'd
               ,
               that
               his
               Prints
               were
               had
               in
               great
               esteem
               all
               over
               Italy
               ;
               copy'd
               at
               Venice
               ,
               by
               the
               famous
               
                 Marc
                 '
                 Antonio
              
               ,
               and
               so
               much
               admir'd
               even
               by
               Raphael
               himself
               ,
               that
               he
               hung
               them
               up
               in
               his
               own
               Chamber
               ,
               and
               us'd
               frequently
               to
               lament
               the
               misfortune
               of
               so
               great
               a
               Genius
               ,
               to
               be
               brought
               up
               in
               a
               Country
               where
               nothing
               was
               to
               be
               seen
               ,
               that
               might
               furnish
               him
               with
               noble
               Idea's
               ,
               or
               give
               him
               any
               light
               into
               things
               necessary
               for
               
                 grand
                 Compositions
              
               .
               His
               principal
               Works
               were
               made
               at
               Prague
               ,
               in
               the
               Palace
               of
               the
               Emperour
               Maximilian
               I.
               who
               had
               so
               great
               a
               respect
               for
               him
               ,
               that
               he
               presented
               him
               with
               a
               
                 Coat
                 of
                 Arms
              
               ,
               as
               the
               Badge
               of
               Nobility
               .
               He
               was
               also
               much
               in
               favour
               with
               the
               Emperour
               Charles
               V.
               and
               for
               his
               modest
               and
               agreeable
               temper
               belov'd
               by
               every
               body
               ,
               and
               happy
               in
               all
               places
               ,
               but
               onely
               at
               home
               ;
               where
               't
               was
               thought
               ,
               the
               penurious
               and
               sordid
               humours
               of
               a
               miserable
               wretch
               his
               Wife
               ,
               
               shorten'd
               his
               days
               ,
               
                 Anno
                 1528.
                 
                 Vide
                 Pag.
              
               95.
               
            
             
               
                 ANTONIO
                 da
                 CORREGGIO
              
               ,
               so
               named
               from
               the
               place
               where
               he
               was
               born
               ,
               
               in
               the
               Dukedom
               of
               
                 Modena
                 ,
                 Anno
              
               1472
               ,
               was
               a
               Man
               of
               such
               admirable
               natural
               parts
               ,
               that
               nothing
               but
               the
               unhappiness
               of
               
               his
               Education
               (
               which
               gave
               him
               no
               opportunities
               either
               of
               seeing
               Rome
               ,
               or
               Florence
               ;
               or
               of
               consulting
               the
               Antiquities
               ,
               for
               perfecting
               himself
               in
               the
               Art
               of
               Designing
               )
               hinder'd
               him
               from
               being
               the
               most
               excellent
               Painter
               in
               the
               world
               .
               Yet
               nevertheless
               ,
               he
               was
               Master
               of
               a
               Pencil
               so
               wonderfully
               soft
               ,
               tender
               ,
               beautiful
               and
               charming
               ,
               that
               
                 Iulio
                 Romano
              
               having
               seen
               a
               Leda
               ,
               and
               a
               
                 naked
                 Venus
              
               painted
               by
               him
               ,
               for
               Frederick
               Duke
               of
               Modena
               (
               who
               intended
               them
               a
               present
               for
               the
               Emperour
               )
               declar'd
               ,
               he
               thought
               it
               impossible
               for
               any
               thing
               of
               Colours
               ever
               to
               go
               beyond
               them
               .
               His
               chief
               Works
               are
               at
               Modena
               ,
               and
               Parma
               :
               at
               the
               last
               of
               which
               places
               he
               spent
               most
               of
               his
               Life
               ,
               retir'd
               and
               little
               taken
               notice
               of
               ,
               working
               hard
               to
               maintain
               his
               Family
               ,
               which
               was
               somewhat
               large
               .
               He
               was
               extremely
               modest
               and
               obliging
               in
               his
               Behaviour
               :
               and
               died
               very
               much
               lamented
               ,
               about
               the
               
                 year
                 1512
              
               ;
               having
               thrown
               himself
               into
               a
               Fever
               ,
               by
               drinking
               cold
               water
               ,
               when
               his
               body
               was
               over-heated
               ,
               with
               bringing
               home
               some
               
                 Copper
                 Money
              
               ,
               which
               he
               had
               receiv'd
               for
               one
               of
               his
               Pieces
               .
               
               See
               more
               Pag.
               220
               and
               221.
               
            
             
               
                 MICHELANGELO
                 BUONAROTI
              
               ,
               nobly
               descended
               ,
               
               born
               near
               
                 Florence
                 ,
                 Anno
              
               1474
               ;
               was
               a
               Disciple
               of
               
                 Domenico
                 Ghirlandaio
              
               ,
               and
               most
               profoundly
               
               skill'd
               in
               the
               Arts
               of
               
                 Painting
                 ,
                 Sculpture
              
               ,
               and
               Architecture
               .
               He
               has
               the
               name
               of
               the
               greatest
               Designer
               who
               ever
               has
               been
               :
               and
               't
               is
               universally
               allow'd
               him
               ,
               that
               never
               any
               Painter
               in
               the
               World
               understood
               Anatomy
               so
               well
               .
               He
               was
               also
               an
               excellent
               Poet
               ,
               and
               not
               onely
               highly
               esteem'd
               by
               several
               Popes
               successively
               ;
               by
               the
               
                 Grand
                 Duke
              
               of
               Tuscany
               ,
               by
               the
               Republick
               of
               Venice
               ,
               by
               the
               Emperour
               Charles
               V.
               by
               King
               Francis
               I.
               and
               by
               most
               of
               the
               Monarchs
               and
               Princes
               of
               Christendom
               :
               but
               was
               also
               invited
               over
               into
               Turky
               ,
               by
               Solyman
               the
               Magnificent
               ,
               upon
               a
               Design
               he
               then
               had
               of
               making
               a
               Bridge
               over
               the
               Hellespont
               ,
               from
               Constantinople
               to
               Pera.
               His
               most
               celebrated
               Piece
               of
               Painting
               ,
               is
               that
               of
               the
               
                 Last
                 Iudgment
              
               ,
               in
               the
               
                 Popes
                 Chapel
              
               .
               He
               died
               in
               great
               Wealth
               at
               Rome
               ,
               from
               whence
               his
               Body
               was
               translated
               to
               Florence
               ,
               and
               there
               honourably
               interr'd
               ,
               
               
                 Anno
                 1564.
                 
                 Vide
                 Pag.
              
               214.
               
            
             
               
                 GEORGIO
                 del
                 CASTEL
                 FRANCO
              
               ,
               call'd
               GEORGIONE
               ,
               because
               of
               his
               noble
               and
               comely
               Aspect
               ,
               was
               born
               at
               Trevisano
               ,
               a
               Province
               in
               the
               State
               of
               
                 Venice
                 ,
                 Anno
              
               1477
               ;
               
               and
               receiv'd
               his
               first
               Instructions
               from
               
                 Giovanni
                 Bellino
              
               :
               but
               having
               afterwards
               studied
               the
               Works
               of
               
                 Leonardo
                 da
                 Vinci
              
               ,
               he
               soon
               arriv'd
               to
               a
               manner
               of
               Painting
               superior
               to
               them
               both
               ;
               design'd
               with
               greater
               Freedom
               ,
               
               colour'd
               with
               more
               Strength
               and
               Beauty
               ,
               gave
               a
               better
               Relievo
               ,
               more
               Life
               ,
               and
               a
               nobler
               Spirit
               to
               his
               Figures
               ,
               and
               was
               the
               first
               who
               found
               out
               the
               admirable
               effects
               of
               strong
               Lights
               and
               Shadows
               ,
               amongst
               the
               Lombards
               .
               He
               excell'd
               both
               in
               Portraits
               and
               Histories
               :
               but
               his
               most
               valuable
               Piece
               in
               Oyl
               ,
               is
               that
               of
               
                 Our
                 Saviour
                 carrying
                 his
                 Cross
              
               ,
               now
               at
               Venice
               ;
               where
               it
               is
               had
               in
               wonderfull
               Esteem
               and
               Veneration
               .
               He
               died
               young
               of
               the
               Plague
               (
               which
               he
               got
               in
               the
               Arms
               of
               his
               Mistress
               ,
               who
               was
               infected
               with
               it
               )
               Anno
               1511
               :
               having
               been
               likewise
               as
               famous
               for
               his
               performances
               in
               Music
               ,
               
               as
               his
               productions
               in
               
                 Painting
                 .
                 Vide
                 Pag.
              
               217
               ,
               and
               218.
               
            
             
               TITIANO
               the
               most
               universal
               Genius
               of
               all
               the
               
                 Lombard
                 School
              
               ,
               
               the
               best
               Colourist
               of
               all
               the
               Moderns
               ,
               and
               the
               most
               eminent
               for
               
                 Histories
                 ,
                 Landtschapes
              
               ,
               and
               Portraits
               ;
               was
               born
               at
               Cadore
               in
               the
               
                 Venetian
                 Territories
                 ,
                 Anno
              
               1477
               ,
               being
               descended
               from
               the
               ancient
               Family
               of
               the
               Vecelli
               .
               He
               was
               bred
               up
               in
               the
               School
               of
               
                 Gio.
                 Bellino
              
               ,
               at
               the
               same
               time
               with
               Georgione
               :
               but
               improv'd
               himself
               more
               by
               the
               Emulation
               that
               was
               betwixt
               him
               and
               his
               Fellow-Disciple
               ,
               than
               by
               the
               Instructions
               of
               his
               Master
               .
               He
               was
               censur'd
               indeed
               by
               
                 M.
                 Angelo
                 Buonaroti
              
               ,
               for
               want
               of
               correctness
               in
               Designing
               ,
               (
               a
               
               fault
               common
               to
               all
               the
               
                 Lombard
                 Painters
              
               ,
               who
               had
               not
               been
               acquainted
               with
               the
               Antiquities
               )
               yet
               that
               defect
               was
               abundantly
               supply'd
               in
               all
               the
               other
               parts
               of
               a
               most
               accomplish'd
               Artist
               .
               He
               made
               three
               several
               Portraits
               of
               the
               Emperour
               Charles
               V.
               who
               lov'd
               him
               so
               intirely
               ,
               that
               he
               honour'd
               him
               with
               Knighthood
               ,
               created
               him
               
                 Count
                 Palatine
              
               ,
               made
               all
               his
               Descendents
               Gentlemen
               ,
               assign'd
               him
               a
               considerable
               Pension
               out
               of
               the
               Chamber
               of
               Naples
               ,
               and
               what
               other
               remarkable
               proofs
               of
               his
               Affection
               he
               shew'd
               him
               ,
               see
               pag.
               86
               ,
               87.
               and
               a
               Character
               of
               his
               Works
               ,
               pag.
               218
               ,
               and
               219.
               
               He
               painted
               also
               his
               Son
               Philip
               II.
               Solyman
               Emperour
               of
               the
               Turks
               ,
               two
               Popes
               ,
               three
               Kings
               ,
               two
               Empresses
               ,
               several
               Queens
               ,
               and
               almost
               all
               the
               Princes
               of
               Italy
               ,
               together
               with
               
                 Lud.
                 Ariosto
              
               ,
               and
               
                 Peter
                 Aretine
              
               ,
               the
               fam'd
               Italian
               Wits
               ,
               his
               intimate
               Friends
               .
               Nay
               ,
               so
               great
               was
               the
               Name
               and
               Reputation
               of
               Titian
               ,
               that
               there
               was
               hardly
               a
               person
               of
               any
               Eminence
               then
               living
               ,
               from
               whom
               he
               did
               not
               receive
               some
               particular
               mark
               of
               Esteem
               :
               and
               besides
               ,
               being
               of
               a
               temper
               wonderfully
               obliging
               and
               generous
               ,
               his
               house
               at
               Venice
               was
               the
               constant
               Rendezvous
               of
               all
               the
               Virtuosi
               ,
               and
               People
               of
               the
               best
               Quality
               .
               He
               was
               so
               happy
               in
               the
               constitution
               of
               his
               Body
               ,
               that
               he
               never
               had
               been
               sick
               till
               the
               year
               1576
               ,
               when
               he
               died
               of
               
               the
               Plague
               ,
               full
               of
               Honour
               ,
               Glory
               and
               Riches
               ,
               leaving
               behind
               him
               two
               Sons
               and
               a
               Brother
               ,
               of
               whom
               Pomponio
               the
               eldest
               was
               a
               Clergy●●man
               ,
               
               and
               well
               preferr'd
               ,
               but
            
             
               ORATIO
               ,
               the
               
                 youngest
                 Son
              
               ,
               painted
               several
               Portraits
               that
               might
               stand
               in
               Competition
               with
               those
               of
               his
               Fathers
               .
               He
               was
               famous
               also
               for
               many
               History-pieces
               which
               he
               made
               at
               Venice
               in
               concurrence
               with
               
                 Paul
                 Veronese
              
               ,
               and
               Tintoret
               .
               But
               bewitch'd
               at
               last
               with
               the
               hopes
               of
               finding
               the
               
                 Philosophers
                 Stone
              
               ,
               he
               laid
               aside
               his
               Pencil
               ,
               and
               having
               reduc'd
               most
               of
               what
               had
               been
               got
               by
               his
               Father
               into
               Smoke
               ;
               died
               of
               the
               Plague
               soon
               after
               him
               .
            
             
               
                 FRANCESCO
                 VECELLIO
              
               ,
               Titian's
               Brother
               ,
               was
               an
               Artist
               so
               well
               instructed
               in
               the
               fundamental
               Maximes
               of
               Design
               ,
               that
               Titian
               grew
               jealous
               of
               him
               ;
               and
               fearing
               ,
               that
               he
               might
               in
               time
               come
               to
               eclipse
               his
               Reputation
               ,
               sent
               him
               upon
               pretended
               business
               to
               Ferdinand
               King
               of
               the
               Romans
               :
               and
               there
               found
               such
               means
               to
               divert
               him
               from
               Painting
               ,
               that
               he
               quite
               gave
               over
               the
               study
               of
               it
               ,
               and
               never
               any
               farther
               attempted
               it
               ,
               unless
               it
               were
               to
               make
               a
               Portrait
               now
               and
               then
               ,
               at
               the
               request
               of
               his
               particular
               Acquaintance
               .
            
             
             
               
                 ANDREA
                 del
                 SARTO
              
               ,
               
               (
               so
               call'd
               ,
               because
               a
               
               Taylor
               's
               Son
               )
               born
               at
               
                 Florence
                 ,
                 Anno
              
               1478
               ;
               was
               a
               Disciple
               of
               
                 Pietro
                 di
                 Cosimo
              
               ,
               very
               careful
               and
               diligent
               in
               his
               Works
               ,
               and
               his
               Colouring
               was
               wonderfully
               sweet
               :
               but
               his
               Pictures
               generally
               want
               Strength
               and
               Life
               ,
               as
               well
               as
               their
               Author
               ,
               who
               was
               naturally
               mild
               ,
               timorous
               ,
               and
               poor-spirited
               .
               He
               was
               sent
               for
               to
               Paris
               ,
               by
               Francis
               I.
               where
               he
               might
               have
               gather'd
               great
               Riches
               ,
               but
               that
               his
               Wife
               and
               Relations
               would
               not
               suffer
               him
               to
               continue
               long
               there
               .
               He
               lived
               in
               a
               mean
               and
               contemptible
               condition
               ,
               because
               he
               set
               but
               a
               very
               little
               value
               upon
               his
               own
               Performances
               :
               yet
               the
               Florentines
               had
               so
               great
               an
               Esteem
               for
               his
               Works
               ;
               that
               during
               the
               ●●ury
               of
               the
               
                 Popular
                 Factions
              
               amongst
               them
               ,
               they
               preserv'd
               his
               Pieces
               from
               the
               Flames
               ,
               when
               they
               neither
               spared
               Churches
               or
               any
               thing
               else
               .
               He
               died
               of
               the
               
                 Plague
                 ,
                 Anno
              
               1520.
               
               
            
             
               
                 RAFAELLE
                 da
                 URBINO
              
               ,
               born
               Anno
               1483
               ,
               
               was
               one
               of
               the
               handsomest
               and
               best
               temper'd
               men
               living
               .
               See
               some
               account
               of
               him
               Pag.
               215
               ,
               and
               add
               to
               it
               ,
               That
               by
               the
               general
               consent
               of
               Mankind
               ,
               he
               is
               acknowledged
               to
               have
               been
               the
               Prince
               of
               the
               
                 Modern
                 Painters
              
               :
               and
               is
               oftentimes
               styl'd
               the
               
                 Divine
                 Raphael
              
               ,
               for
               the
               inimitable
               Graces
               of
               his
               Pencil
               ,
               and
               for
               the
               excellence
               of
               his
               Genius
               ,
               which
               
               seem'd
               to
               have
               something
               more
               than
               Humane
               in
               its
               Composition
               .
               That
               he
               was
               belov'd
               in
               the
               highest
               degree
               by
               the
               Popes
               Iulius
               II.
               and
               Leo
               X.
               That
               he
               was
               admir'd
               and
               courted
               by
               all
               the
               Princes
               and
               States
               of
               Europe
               ,
               and
               particularly
               by
               Henry
               VIII
               .
               who
               would
               fain
               have
               oblig'd
               him
               to
               come
               over
               into
               England
               .
               That
               his
               Person
               was
               the
               wonder
               and
               delight
               of
               Rome
               ,
               as
               his
               Works
               are
               now
               the
               Glory
               of
               it
               .
               That
               he
               liv'd
               in
               the
               greatest
               State
               and
               Splendor
               imaginable
               ,
               most
               of
               the
               eminent
               Masters
               in
               his
               time
               being
               ambitious
               of
               working
               under
               him
               :
               and
               that
               he
               never
               went
               abroad
               without
               a
               Croud
               of
               Artists
               ,
               and
               others
               ,
               who
               attended
               and
               follow'd
               him
               purely
               out
               of
               respect
               .
               That
               he
               declin'd
               Marriage
               (
               tho'
               very
               advantageous
               offers
               had
               been
               made
               him
               )
               in
               hopes
               of
               a
               
                 Cardinals
                 Cap
              
               ,
               which
               he
               expected
               :
               but
               falling
               sick
               in
               the
               mean
               time
               ,
               and
               concealing
               the
               true
               cause
               of
               his
               distemper
               from
               his
               
                 Physicians
                 ,
                 Death
              
               disappointed
               him
               of
               the
               reward
               due
               to
               his
               most
               extraordinary
               Merits
               ,
               
               Anno
               1520.
               
            
             
               
                 GIO.
                 ANTONIO
                 LICINIO
                 da
                 PORDENONE
              
               ,
               
               born
               at
               a
               place
               so
               call'd
               ,
               not
               far
               from
               Udine
               in
               the
               
                 Venetian
                 Territories
                 ,
                 Anno
              
               1484
               ,
               after
               some
               time
               spent
               in
               Letters
               and
               Music
               ,
               apply'd
               himself
               to
               Painting
               ;
               yet
               without
               any
               other
               Guide
               to
               conduct
               
               him
               ,
               beside
               his
               own
               prompt
               and
               lively
               Genius
               ,
               and
               the
               Works
               of
               Georgione
               :
               which
               he
               studied
               at
               Ven●●ce
               with
               so
               much
               attention
               ,
               that
               he
               soo●●
               arriv'd
               to
               a
               manner
               of
               Colouring
               nothing
               in●●rior
               to
               his
               Pattern
               .
               But
               that
               which
               tended
               yet
               more
               to
               his
               improvement
               ,
               was
               the
               continued
               Emulation
               betwixt
               Titian
               and
               himself
               :
               which
               inspir'd
               him
               with
               noble
               Designs
               ,
               quicken'd
               his
               Invention
               ,
               and
               produc'd
               several
               excellent
               Pieces
               in
               
                 Oyl
                 ,
                 Distemper
              
               ,
               and
               Fresco.
               From
               Venice
               he
               went
               to
               Genoua
               ,
               where
               he
               undertook
               some
               things
               in
               competition
               with
               
                 Pierino
                 del
                 Vaga
              
               :
               but
               not
               being
               able
               to
               come
               up
               to
               the
               perfections
               of
               Pierinos
               Pencil
               ,
               he
               return'd
               to
               Venice
               ,
               and
               afterwards
               visited
               several
               other
               parts
               of
               Lombardy
               :
               was
               Knighted
               by
               the
               Emperour
               Charles
               V.
               and
               at
               last
               being
               sent
               for
               to
               Ferrara
               ,
               was
               so
               much
               esteem'd
               there
               ,
               that
               he
               is
               said
               to
               have
               been
               poison'd
               by
               some
               who
               envy'd
               the
               Favours
               which
               he
               receiv'd
               from
               the
               
                 Duke
                 ,
                 Anno
              
               1540.
               
               
            
             
               
                 SEBASTIANO
                 del
                 PIOMBO
              
               ,
               a
               Native
               of
               
                 Venice
                 ,
                 Anno
              
               1485
               ,
               
               took
               his
               name
               from
               an
               Office
               given
               him
               by
               Pope
               Clement
               VII
               .
               in
               the
               Lead-Mines
               .
               He
               was
               design'd
               by
               his
               Father
               for
               the
               Profession
               of
               Music
               ,
               which
               he
               practis'd
               for
               some
               time
               ;
               till
               following
               at
               last
               the
               more
               powerful
               Dictates
               of
               
               Nature
               ,
               he
               betook
               himself
               to
               Painting
               ,
               and
               became
               a
               Disciple
               of
               
                 Gio.
                 Bellino
              
               :
               continued
               his
               studies
               under
               Georgione
               ,
               and
               having
               attain'd
               his
               excellent
               manner
               of
               Colouring
               ,
               went
               to
               Rome
               ;
               where
               he
               insinuated
               himself
               so
               far
               into
               the
               favour
               of
               
                 Michael
                 Angelo
              
               ,
               by
               siding
               with
               him
               and
               his
               Party
               ,
               against
               Raphael
               ;
               that
               pleas'd
               with
               the
               sweetness
               and
               beauty
               of
               his
               Pencil
               ,
               he
               immediately
               furnish'd
               him
               with
               some
               of
               his
               own
               Designs
               ,
               and
               letting
               them
               pass
               under
               Sebastians
               name
               ,
               cry'd
               him
               up
               for
               the
               best
               Painter
               in
               Rome
               .
               And
               indeed
               so
               universal
               was
               the
               Applause
               which
               he
               gain'd
               by
               his
               Piece
               of
               
                 Lazarus
                 rais'd
                 from
                 the
                 dead
              
               ,
               (
               the
               design
               of
               which
               had
               likewise
               been
               given
               him
               by
               
                 Michael
                 Angelo
              
               )
               that
               nothing
               but
               the
               famous
               Transfiguration
               of
               Raphaels
               could
               eclipse
               it
               .
               He
               has
               the
               name
               of
               being
               the
               first
               who
               invented
               the
               Art
               of
               preparing
               Plaister-walls
               for
               Oyl-painting
               :
               but
               was
               generally
               so
               slow
               ,
               and
               lazy
               in
               his
               Performances
               ,
               that
               other
               hands
               were
               oftentimes
               employ'd
               in
               finishing
               what
               he
               had
               begun
               .
               
               He
               died
               Anno
               1547.
               
            
             
               BARTOLOMEO
               (
               in
               the
               
                 Tuscan
                 Dialect
              
               call'd
               
                 BACCIO
                 )
                 BANDINELLI
              
               ,
               
               a
               
                 Florentine
                 Painter
              
               and
               Sculptor
               ,
               born
               Anno
               1487
               ;
               was
               a
               Disciple
               of
               
                 Gio.
                 Francesco
                 Rustici
              
               ,
               and
               by
               the
               help
               of
               Anatomy
               ,
               joyn'd
               with
               his
               other
               Studies
               ,
               became
               a
               very
               excellent
               
               and
               correct
               Designer
               :
               but
               in
               the
               Colouring
               part
               was
               so
               unfortunate
               ,
               that
               after
               he
               had
               heard
               
                 Michael
                 Angelo
              
               condemn
               it
               ,
               for
               being
               hard
               and
               unpleasant
               ,
               he
               never
               could
               be
               prevail'd
               upon
               to
               make
               any
               farther
               use
               of
               his
               Pencil
               ,
               but
               always
               ingag'd
               some
               other
               hand
               in
               Colouring
               his
               Designs
               .
               Yet
               however
               ,
               in
               Sculpture
               he
               succeded
               better
               :
               and
               for
               a
               
                 Descent
                 from
                 the
                 Cross
              
               ,
               in
               
                 Mezzo
                 Relievo
              
               ,
               was
               Knighted
               by
               the
               Emperour
               .
               He
               was
               likewise
               much
               in
               favour
               with
               Francis
               I.
               and
               acquir'd
               great
               Reputation
               by
               several
               of
               his
               Figures
               :
               which
               yet
               are
               more
               admir'd
               for
               their
               true
               Out-line
               ,
               and
               Proportion
               ,
               
               than
               for
               being
               either
               graceful
               or
               gentile
               .
               He
               died
               Anno
               1559.
               
            
             
               
                 GIULIO
                 ROMANO
              
               ,
               born
               Anno
               1492
               ,
               
               was
               the
               greatest
               Artist
               ,
               and
               most
               universal
               Painter
               of
               all
               the
               Disciples
               of
               Raphael
               :
               belov'd
               by
               him
               as
               if
               he
               had
               been
               his
               Son
               ,
               for
               the
               wonderful
               sweetness
               of
               his
               temper
               ;
               and
               made
               one
               of
               his
               Heirs
               ,
               upon
               condition
               ,
               that
               he
               should
               assist
               in
               finishing
               such
               things
               as
               he
               had
               left
               imperfect
               .
               He
               was
               profoundly
               learn'd
               in
               all
               the
               parts
               of
               the
               Antiquities
               :
               and
               by
               his
               conversation
               with
               the
               works
               of
               the
               most
               excellent
               Poets
               ,
               and
               particularly
               Homer
               ,
               had
               made
               himself
               an
               absolute
               Master
               of
               the
               qualifications
               necessary
               requir'd
               in
               a
               
                 great
                 Designer
              
               .
               He
               continu'd
               
               for
               some
               years
               at
               Rome
               ,
               after
               the
               death
               of
               Raphael
               :
               and
               by
               the
               directions
               of
               Pope
               Clement
               VII
               .
               wrought
               several
               admirable
               Pieces
               in
               the
               Hall
               of
               Constantine
               ,
               and
               other
               publick
               places
               .
               But
               his
               principal
               performances
               were
               at
               Mantoua
               :
               where
               he
               was
               sent
               for
               by
               the
               Marquess
               
                 Frederico
                 Gonzaga
              
               ;
               and
               where
               he
               made
               his
               name
               illustrious
               ,
               by
               a
               noble
               and
               stately
               Palace
               built
               after
               his
               Model
               ,
               and
               beautified
               with
               variety
               of
               Paintings
               after
               his
               Designs
               .
               And
               indeed
               in
               Architecture
               he
               was
               so
               eminently
               skilful
               ;
               that
               he
               was
               invited
               back
               to
               Rome
               ,
               with
               an
               offer
               made
               him
               of
               being
               the
               chief
               Architect
               of
               St.
               Peters
               Church
               :
               but
               whilst
               he
               was
               debating
               with
               himself
               ,
               whether
               or
               no
               he
               should
               accept
               of
               this
               opportunity
               ,
               of
               returning
               gloriously
               into
               his
               
                 own
                 Country
                 ,
                 Death
              
               interpos'd
               ,
               
               
                 Anno
                 1546.
                 
                 Vide
                 Pag.
              
               216.
               
            
             
               
                 GIACOMO
                 da
                 PUNTORMO
              
               ,
               so
               call'd
               from
               the
               place
               of
               his
               Birth
               ,
               Anno
               1493
               ,
               
               studied
               under
               
                 Leonardo
                 da
                 Vinci
                 ,
                 Mariotto
                 Albertinelli
                 ,
                 Pietro
                 di
                 Cosimo
                 ,
              
               and
               
                 Andrea
                 del
                 Sarto
              
               :
               but
               chiefly
               follow'd
               the
               manner
               of
               the
               last
               ,
               both
               in
               Design
               and
               Colouring
               .
               He
               was
               of
               so
               unhappy
               a
               temper
               of
               mind
               ,
               that
               though
               his
               Works
               had
               stood
               the
               Test
               even
               of
               Raphael
               and
               
                 Michael
                 Angelo
              
               ,
               the
               best
               Judges
               ,
               yet
               he
               could
               never
               order
               them
               so
               as
               to
               please
               himself
               :
               
               and
               was
               so
               far
               from
               being
               satisfied
               with
               any
               thing
               he
               had
               ever
               done
               ,
               that
               he
               was
               in
               great
               danger
               of
               losing
               the
               gracefulness
               of
               his
               own
               manner
               ,
               by
               imitating
               that
               of
               other
               Masters
               ,
               and
               particularly
               the
               Style
               of
               
                 Albert
                 Durer
              
               in
               his
               Prints
               .
               He
               spent
               most
               of
               his
               time
               at
               Florence
               ,
               where
               he
               painted
               the
               Chapel
               of
               St.
               Laurence
               :
               but
               was
               so
               wonderfully
               tedious
               about
               it
               ,
               that
               in
               the
               space
               of
               eleven
               years
               he
               would
               admit
               no
               body
               to
               see
               what
               he
               had
               perform'd
               .
               He
               was
               also
               of
               so
               mean
               and
               pitiful
               a
               spirit
               ,
               that
               he
               chose
               rather
               to
               be
               imploy'd
               by
               
                 Ordinary
                 People
              
               ,
               for
               inconsiderable
               gains
               ;
               than
               by
               Princes
               and
               Noblemen
               ,
               at
               any
               rates
               :
               so
               that
               he
               died
               poor
               ,
               
               Anno
               1556.
               
            
             
               
                 GIOVANNI
                 D'UDINE
              
               ,
               
               so
               nam'd
               from
               the
               place
               where
               he
               was
               born
               (
               being
               the
               Metropolis
               of
               
                 Frioul
                 )
                 Anno
              
               1494
               ;
               was
               instructed
               by
               Georgione
               at
               Venice
               ,
               and
               at
               Rome
               became
               a
               Disciple
               of
               Raphael
               :
               and
               is
               celebrated
               ,
               for
               having
               been
               the
               first
               who
               
                 found
                 out
              
               the
               Composition
               of
               Stucco-work
               ,
               in
               use
               amongst
               the
               ancient
               Romans
               ,
               and
               discover'd
               in
               the
               Subterranean
               Vaults
               of
               
               Titus's
               Palace
               ;
               which
               he
               restor'd
               to
               its
               full
               Splendor
               and
               Perfection
               .
               He
               was
               employ'd
               by
               Raphael
               ,
               in
               adorning
               the
               Apartments
               of
               the
               Vatican
               ;
               and
               afterwards
               by
               several
               Princes
               ,
               and
               Cardinals
               ,
               in
               the
               chief
               Palaces
               of
               Rome
               
               and
               Florence
               :
               and
               by
               the
               agreeable
               variety
               and
               richness
               of
               his
               Fancy
               ,
               and
               his
               peculiar
               happiness
               in
               expressing
               all
               sorts
               of
               
                 Animals
                 ,
                 Fruit
                 ,
                 Flowers
              
               ,
               and
               the
               Still-life
               ,
               both
               in
               
                 Bass
                 relievo
              
               ,
               and
               Colours
               ,
               acquir'd
               the
               reputation
               of
               being
               the
               best
               Master
               in
               the
               world
               ,
               for
               Ornaments
               in
               Stucco
               ,
               and
               Grotesque
               .
               He
               died
               Anno
               1564
               ,
               and
               was
               bury'd
               ,
               according
               to
               his
               desire
               ,
               in
               the
               Rotunda
               ,
               
               near
               his
               dear
               Master
               Raphael
               .
            
             
               
                 BATTISTA
                 FRANCO
              
               his
               Contemporary
               ,
               a
               Native
               of
               Venice
               ,
               was
               a
               Disciple
               of
               
                 Michael
                 Angelo
              
               ;
               whose
               manner
               he
               follow'd
               so
               close
               ,
               that
               in
               the
               correctness
               of
               his
               Out-line
               ,
               he
               surpass'd
               most
               of
               the
               Masters
               in
               his
               time
               .
               His
               Paintings
               are
               somewhat
               numerous
               ,
               and
               dispers'd
               all
               over
               Italy
               ,
               and
               other
               parts
               of
               Europe
               :
               but
               his
               Colouring
               being
               very
               dry
               ,
               they
               are
               not
               much
               more
               esteem'd
               than
               the
               Prints
               which
               he
               etch'd
               .
               He
               died
               Anno
               1561.
               
            
             
               
                 LUCAS
                 van
                 LEYDEN
              
               ,
               
               so
               call'd
               from
               the
               place
               where
               he
               was
               born
               ,
               Anno
               1494
               ,
               was
               at
               first
               a
               Disciple
               of
               his
               Father
               ,
               a
               Painter
               of
               note
               ,
               and
               afterwards
               of
               
                 Cornelius
                 Engelbert
              
               :
               and
               wonderfully
               cry'd
               up
               in
               Holland
               ,
               and
               the
               Low-Countries
               ,
               for
               his
               skill
               in
               Painting
               ,
               and
               Graving
               .
               He
               was
               prodigiously
               laborious
               in
               his
               Works
               ,
               and
               a
               great
               Emulator
               
               of
               
                 Albert
                 Durer
              
               :
               with
               whom
               he
               became
               at
               length
               so
               intimate
               ,
               that
               they
               drew
               each
               others
               Picture
               .
               And
               indeed
               their
               Manner
               ,
               and
               Style
               are
               in
               all
               respects
               so
               very
               much
               alike
               ,
               that
               it
               seem'd
               as
               if
               one
               and
               the
               same
               Soul
               had
               animated
               them
               both
               .
               He
               died
               Anno
               1533
               ,
               after
               an
               interview
               betwixt
               him
               and
               some
               other
               Painters
               at
               Middleburgh
               :
               where
               disputing
               ,
               and
               falling
               out
               in
               their
               Cups
               ,
               Lucas
               fancying
               they
               had
               poyson'd
               him
               ,
               
               languish'd
               by
               degrees
               ,
               and
               pined
               away
               purely
               with
               conceit
               .
            
             
               
                 QUINTIN
                 MATSYS
              
               of
               Antwerp
               ,
               was
               the
               Contemporary
               of
               Lucas
               ;
               and
               famous
               for
               having
               been
               transform'd
               from
               a
               Blacksmith
               to
               a
               Painter
               ,
               by
               the
               force
               of
               Love
               ,
               and
               for
               the
               sake
               of
               a
               Mistress
               ,
               who
               dislik'd
               his
               former
               profession
               .
               He
               was
               a
               painful
               and
               diligent
               Imitator
               of
               the
               
                 ordinary
                 Life
              
               ,
               and
               much
               better
               at
               representing
               the
               defects
               ,
               than
               the
               Beauties
               of
               Nature
               .
               One
               of
               his
               best
               Pieces
               is
               a
               
                 Descent
                 from
                 the
                 Cross
              
               (
               in
               a
               Chapel
               of
               the
               Cathedral
               at
               Antwerp
               )
               for
               which
               ,
               and
               a
               multitude
               of
               other
               Histories
               ,
               and
               Portraits
               ,
               he
               gain'd
               a
               great
               number
               of
               admirers
               ;
               especially
               for
               his
               Curiosity
               and
               Neatness
               ,
               which
               in
               truth
               ,
               was
               the
               principal
               part
               of
               his
               Character
               .
               He
               died
               Anno
               1529.
               
            
             
             
               Beside
               the
               two
               Masters
               last
               mention'd
               ,
               there
               were
               several
               other
               History-painters
               ,
               who
               flourish'd
               in
               
                 Germany
                 ,
                 Flanders
              
               ,
               and
               Holland
               about
               this
               time
               .
               But
               their
               manner
               being
               generally
               
                 Gothique
                 ,
                 Hard
              
               ,
               and
               Dry
               ;
               more
               like
               the
               Style
               of
               Cimabue
               ,
               in
               the
               Dawning
               of
               the
               
                 Art
                 of
                 Painting
              
               ,
               than
               the
               Gusto
               of
               Raphael
               ,
               in
               its
               
                 Meridian
                 Lustre
              
               ;
               we
               shall
               onely
               give
               you
               the
               names
               of
               some
               of
               the
               most
               noted
               ;
               and
               such
               were
               
                 Mabuse
                 ,
                 Aldegraef
                 ,
                 Schoorel
                 ,
                 Frans
                 Floris
                 ,
                 Martin
                 Hemskerck
                 ,
                 Chris.
                 Schwarts
                 ,
              
               &c.
               
            
             
               POLIDORO
               of
               CARAVAGGIO
               ,
               in
               the
               Dutchy
               of
               Milan
               ,
               was
               born
               Anno
               1495
               ,
               
               and
               brought
               up
               to
               no
               better
               an
               imployment
               than
               carrying
               Stone
               and
               Mortar
               ,
               in
               the
               New-buildings
               of
               Pope
               Leo
               X.
               But
               being
               tempted
               at
               last
               by
               the
               performances
               of
               
                 Gio.
                 d'Udine
              
               ,
               to
               try
               his
               Talent
               in
               Designing
               :
               by
               the
               assistance
               of
               one
               of
               
                 his
                 Scholars
              
               ,
               and
               his
               own
               continued
               Application
               to
               the
               Antiquities
               ,
               in
               a
               little
               time
               he
               became
               so
               skilful
               an
               Artist
               ,
               that
               he
               had
               the
               honour
               of
               contributing
               much
               to
               the
               finishing
               those
               glorious
               Works
               in
               the
               Vatican
               .
               He
               associated
               himself
               both
               in
               the
               Study
               and
               Practice
               of
               his
               Art
               with
               one
               MATURINO
               ,
               a
               Florentine
               ;
               and
               their
               Genius
               being
               very
               conformable
               ,
               they
               liv'd
               together
               like
               Brothers
               ,
               working
               in
               Fresco
               upon
               several
               Frontispieces
               of
               the
               most
               noble
               Palaces
               in
               Rome
               :
               
               whereby
               they
               acquir'd
               great
               reputation
               ;
               their
               Invention
               being
               the
               richest
               ,
               and
               their
               Design
               the
               easiest
               that
               could
               any
               where
               be
               seen
               .
               But
               Maturino
               dying
               Anno
               1527
               ,
               and
               Rome
               being
               then
               in
               the
               hands
               of
               the
               
                 Spaniards
                 ,
                 Polidoro
              
               retir'd
               to
               Naples
               ,
               and
               from
               thence
               to
               Messina
               ;
               where
               his
               excellent
               Talent
               in
               Architecture
               also
               being
               highly
               commended
               ,
               he
               was
               order'd
               to
               prepare
               the
               
                 Triumphal
                 Arches
              
               for
               the
               reception
               of
               the
               Emperour
               Charles
               V.
               from
               Tunis
               ;
               for
               which
               he
               was
               nobly
               rewarded
               :
               and
               being
               afterwards
               desirous
               of
               seeing
               Rome
               once
               more
               ;
               in
               his
               return
               thither
               was
               murther'd
               by
               his
               Servant
               and
               Accomplices
               ,
               for
               the
               sake
               of
               his
               Money
               ,
               and
               bury'd
               at
               Messina
               ,
               
               
                 Anno
                 1543.
                 
                 Vide
                 Pag.
              
               217.
               
            
             
               ROSSO
               (
               so
               call'd
               from
               his
               
                 red
                 Hair
              
               )
               born
               at
               
                 Florence
                 ,
                 Anno
              
               1496
               ;
               
               was
               educated
               in
               the
               study
               of
               
                 Philosophy
                 ,
                 Music
              
               ,
               &c.
               and
               having
               learnt
               the
               first
               Rudiments
               of
               Design
               from
               the
               Cartoons
               of
               
                 Michael
                 Angelo
              
               ,
               improv'd
               himself
               by
               the
               help
               of
               Anatomy
               ;
               which
               he
               understood
               so
               very
               well
               ,
               that
               he
               compos'd
               two
               Books
               upon
               that
               Subject
               .
               He
               had
               a
               copious
               Invention
               ,
               great
               skill
               in
               the
               mixture
               of
               his
               Colours
               ,
               and
               in
               the
               management
               of
               his
               Lights
               and
               Shadows
               :
               was
               very
               happy
               also
               in
               his
               
                 Naked
                 Figures
              
               ,
               which
               he
               express'd
               with
               a
               good
               Relievo
               ,
               and
               
               proper
               Attitudes
               ;
               and
               would
               have
               excell'd
               in
               all
               the
               parts
               of
               Paintinig
               ,
               had
               he
               not
               been
               too
               licentious
               and
               extravagant
               sometimes
               ,
               and
               suffer'd
               himself
               rather
               to
               be
               hurry'd
               away
               with
               the
               heat
               of
               an
               unbounded
               Fancy
               ,
               than
               govern'd
               by
               his
               own
               Iudgment
               ,
               or
               the
               Rules
               of
               Art.
               From
               Florence
               his
               Curiosity
               carry'd
               him
               to
               Rome
               and
               Venice
               ,
               and
               afterwards
               into
               France
               ;
               where
               by
               his
               Works
               in
               the
               Galleries
               at
               Fountainbleau
               ,
               and
               by
               several
               proofs
               which
               he
               gave
               of
               his
               extraordinary
               knowledge
               in
               Architecture
               ,
               he
               recommended
               himself
               so
               effectually
               to
               Francis
               I.
               that
               he
               made
               him
               
                 Super-intendent
                 General
              
               of
               all
               his
               
                 Buildings
                 ,
                 Pictures
              
               ,
               &c.
               and
               gave
               him
               other
               opportunities
               of
               growing
               so
               vastly
               rich
               ;
               that
               for
               some
               time
               he
               liv'd
               like
               a
               Prince
               himself
               ,
               in
               all
               the
               Splendor
               and
               Magnificence
               imaginable
               :
               till
               at
               last
               being
               rob'd
               of
               a
               considerable
               Summ
               of
               Money
               ,
               and
               suspecting
               one
               of
               his
               intimate
               Friends
               (
               a
               Florentine
               who
               frequented
               his
               house
               )
               he
               caus'd
               him
               to
               be
               imprison'd
               ,
               and
               put
               to
               the
               Torture
               ,
               which
               he
               underwent
               with
               courage
               ;
               and
               having
               in
               the
               highest
               extremities
               maintain'd
               his
               innocence
               with
               so
               much
               constancy
               ,
               as
               to
               procure
               his
               Release
               ;
               Rosso
               ,
               partly
               out
               of
               remorse
               for
               the
               barbarous
               treatment
               of
               his
               Friend
               ,
               and
               partly
               out
               of
               fear
               of
               the
               ill
               consequence
               from
               his
               just
               Resentment
               ,
               
               made
               himself
               away
               by
               
                 Poison
                 ,
                 Anno
              
               1541.
               
            
             
             
               
                 FRANCESCO
                 PRIMATICCIO
              
               ,
               a
               famous
               Painter
               and
               Architect
               of
               Bologna
               ,
               succeeded
               Rosso
               in
               the
               Honours
               and
               Imployments
               which
               he
               enjoy'd
               by
               the
               favour
               of
               Francis.
               I.
               and
               besides
               ,
               being
               very
               well
               descended
               ,
               was
               made
               Abbot
               of
               St.
               
                 Martin
                 de
                 Troy
              
               ,
               in
               Champagne
               .
               He
               finish'd
               all
               the
               several
               Works
               begun
               by
               his
               Predecessor
               at
               Fountainbleau
               ,
               by
               the
               assistance
               of
               
                 NICOLO
                 dell
                 '
                 ABBATE
              
               ,
               an
               excellent
               Artist
               ,
               his
               Disciple
               :
               and
               enrich'd
               that
               Palace
               with
               abundance
               of
               noble
               Statues
               ,
               and
               other
               Pieces
               of
               Antiquity
               ,
               which
               he
               brought
               purposely
               from
               Italy
               by
               the
               Kings
               order
               .
               He
               had
               been
               bred
               up
               at
               Mantoua
               under
               
                 Iulio
                 Romano
              
               ,
               as
               well
               to
               Stucco-work
               as
               Painting
               :
               and
               by
               studying
               his
               manner
               ,
               together
               with
               the
               Performances
               of
               other
               great
               Masters
               ,
               became
               perfect
               in
               the
               Art
               of
               Designing
               ,
               and
               well
               vers'd
               in
               
                 grand
                 Compositions
              
               .
               He
               continued
               in
               France
               during
               the
               remainder
               of
               his
               Life
               :
               liv'd
               in
               Pomp
               and
               State
               ,
               more
               like
               a
               Nobleman
               than
               a
               Painter
               ;
               and
               was
               very
               well
               esteem'd
               in
               four
               several
               Reigns
               .
            
             
               
                 DON
                 GIULIO
                 CLOVIO
              
               ,
               the
               celebrated
               Limner
               ,
               born
               in
               
                 S●●lavonia
                 ,
                 Anno
              
               1498
               ,
               
               at
               the
               age
               of
               eighteen
               years
               went
               to
               Italy
               :
               and
               under
               the
               Conduct
               of
               
                 Iulio
                 Romano
              
               ,
               apply'd
               himself
               to
               Miniature
               with
               such
               admirable
               Success
               ,
               that
               never
               did
               
                 ancient
                 
                 Greece
              
               ,
               or
               
                 modern
                 Rome
              
               produce
               his
               Fellow
               .
               He
               excell'd
               both
               in
               Portraits
               and
               Histories
               :
               and
               (
               as
               Vasari
               his
               Contemporary
               reports
               )
               was
               another
               Titian
               in
               the
               one
               ,
               and
               a
               second
               
                 Michael
                 Angelo
              
               in
               the
               other
               .
               He
               was
               entertain'd
               for
               some
               time
               in
               the
               service
               of
               the
               King
               of
               Hungary
               :
               after
               whose
               decease
               he
               return'd
               to
               Italy
               ;
               and
               being
               taken
               Prisoner
               at
               the
               sacking
               of
               Rome
               ,
               by
               the
               Spaniards
               ,
               made
               a
               Vow
               ,
               to
               retire
               into
               a
               Convent
               ,
               as
               soon
               as
               ever
               he
               should
               recover
               his
               Liberty
               ;
               which
               he
               accordingly
               perform'd
               not
               long
               after
               in
               Mantoua
               :
               but
               upon
               a
               Dispensation
               obtain'd
               from
               the
               Pope
               ,
               by
               Cardinal
               Grimani
               ,
               soon
               laid
               aside
               the
               religious
               Habit
               ,
               and
               was
               receiv'd
               into
               the
               Family
               of
               that
               Prince
               .
               His
               Works
               were
               wonderfully
               esteem'd
               throughout
               Europe
               ;
               highly
               valu'd
               by
               several
               Popes
               ,
               by
               the
               Emperours
               Charles
               V.
               and
               Maximilian
               II.
               by
               Philip
               King
               of
               Spain
               ,
               and
               many
               other
               illustrious
               Personages
               :
               and
               so
               much
               admir'd
               at
               Rome
               ;
               that
               those
               Pieces
               which
               he
               wrought
               for
               the
               Cardinal
               Farnese
               (
               in
               whose
               Palace
               he
               spent
               the
               latter
               part
               of
               his
               Life
               )
               were
               by
               all
               the
               Lovers
               of
               Art
               ,
               reckon'd
               in
               the
               number
               of
               the
               Rarities
               of
               that
               City
               .
               
               
                 Ob.
                 Anno
              
               1578.
               
            
             
               
                 HANS
                 HOLBEIN
              
               ,
               born
               at
               Basil
               ,
               in
               
                 Switzerland
                 ,
                 Anno
              
               1498
               ,
               
               was
               a
               Disciple
               of
               his
               Father
               ;
               
               by
               whose
               assistance
               and
               his
               own
               industry
               ,
               he
               made
               a
               wonderful
               Progress
               in
               the
               Art
               of
               Painting
               :
               and
               acquir'd
               such
               a
               name
               by
               his
               Piece
               of
               Deaths-dance
               ,
               in
               the
               Town-hall
               of
               Basil
               ,
               that
               the
               famous
               Erasmus
               ,
               after
               he
               had
               oblig'd
               him
               to
               draw
               his
               Picture
               ,
               sent
               him
               over
               with
               it
               into
               England
               ,
               and
               gave
               him
               Letters
               recommendatory
               to
               Sir
               
                 Thomas
                 Moore
              
               then
               Ld.
               Chancellour
               ;
               who
               receiv'd
               and
               entertain'd
               him
               with
               the
               greatest
               respect
               imaginable
               ,
               imploy'd
               him
               in
               making
               the
               Portraits
               of
               himself
               and
               Family
               ;
               and
               which
               the
               sight
               of
               them
               so
               charm'd
               King
               Henry
               VIII
               .
               that
               he
               immediately
               took
               him
               into
               his
               service
               ,
               and
               by
               the
               many
               signal
               Instances
               which
               he
               gave
               him
               of
               his
               Royal
               Favour
               and
               Bounty
               ,
               brought
               him
               likewise
               into
               esteem
               with
               all
               the
               Nobility
               ,
               and
               People
               of
               Eminence
               in
               the
               Kingdom
               .
               One
               of
               his
               best
               Pieces
               ,
               is
               that
               of
               the
               said
               King
               with
               his
               Queen
               ,
               &c.
               at
               White-hall
               ;
               which
               with
               divers
               other
               admirable
               Portraits
               of
               his
               hand
               (
               some
               as
               big
               ,
               and
               others
               less
               than
               the
               Life
               ;
               and
               as
               well
               in
               Water-Colours
               ,
               as
               Oyl
               )
               may
               challenge
               a
               place
               amongst
               those
               of
               the
               most
               fam'd
               
                 Italian
                 Masters
                 :
                 Vid.
                 Pag.
              
               224.
               
               He
               was
               eminent
               also
               for
               a
               rich
               vein
               of
               Invention
               ,
               very
               conspicuous
               in
               a
               multitude
               of
               Designs
               ,
               which
               he
               made
               for
               
                 Gravers
                 ,
                 Sculptors
                 ,
                 Iewellers
              
               ,
               &c.
               and
               was
               particularly
               remarkable
               for
               having
               (
               like
               Turpilius
               the
               Roman
               )
               perform'd
               
               all
               his
               Works
               with
               his
               
                 Left
                 hand
              
               .
               
               He
               died
               of
               the
               Plague
               ,
               at
               
                 London
                 ,
                 Anno
              
               1554.
               
            
             
               
                 PIERINO
                 del
                 VAGA
              
               ,
               was
               born
               at
               
                 Florence
                 ,
                 Anno
              
               1500
               ,
               
               of
               such
               mean
               Parentage
               ;
               that
               his
               Mother
               being
               dead
               at
               two
               months
               end
               ,
               he
               was
               afterwards
               suckled
               by
               a
               Goat
               .
               The
               name
               of
               Vaga
               he
               took
               from
               a
               
                 Country
                 Painter
              
               ,
               who
               carry'd
               him
               to
               Rome
               :
               where
               he
               left
               him
               in
               such
               poor
               circumstances
               ,
               that
               he
               was
               forc'd
               to
               spend
               three
               days
               of
               the
               week
               in
               working
               for
               Bread
               ;
               but
               yet
               setting
               apart
               the
               other
               three
               for
               his
               improvement
               ;
               in
               a
               little
               time
               ,
               by
               studying
               the
               Antique
               ,
               together
               with
               the
               Works
               of
               Raphael
               ,
               and
               
                 Michael
                 Angelo
              
               ,
               he
               became
               one
               of
               the
               boldest
               and
               best
               Designers
               of
               the
               
                 Roman
                 School
              
               :
               and
               understood
               the
               Muscles
               in
               naked
               Bodies
               ,
               and
               all
               the
               difficulties
               of
               the
               Art
               so
               well
               ;
               that
               Raphael
               took
               an
               affection
               to
               him
               ,
               and
               imploying
               him
               in
               the
               
                 Popes
                 Apartments
              
               ,
               gave
               him
               a
               lucky
               opportunity
               of
               distinguishing
               himself
               from
               his
               Fellow-disciples
               ,
               by
               the
               marvellous
               beauty
               of
               his
               Colouring
               ,
               and
               his
               peculiar
               Talent
               in
               Grotesque
               .
               His
               chief
               Works
               are
               at
               Genoua
               :
               where
               he
               grew
               famous
               likewise
               for
               his
               skill
               in
               Architecture
               ;
               having
               design'd
               a
               noble
               Palace
               for
               Prince
               Doria
               ,
               which
               he
               also
               painted
               ,
               and
               adorn'd
               with
               his
               own
               hand
               .
               From
               Genoua
               he
               remov'd
               to
               Pisa
               ,
               and
               afterwards
               
               to
               several
               other
               parts
               of
               Italy
               ;
               his
               rambling
               humour
               never
               suffering
               him
               to
               continue
               long
               in
               one
               place
               :
               till
               at
               length
               returning
               to
               Rome
               ,
               he
               had
               a
               Pension
               settled
               on
               him
               ,
               for
               looking
               after
               the
               Pope's
               Palace
               ,
               and
               the
               
                 Casa
                 Farnese
              
               .
               But
               Pierino
               having
               squander'd
               away
               in
               his
               Youth
               ,
               that
               which
               should
               have
               been
               the
               support
               of
               his
               old
               Age
               ;
               and
               being
               constrain'd
               at
               last
               to
               make
               himself
               cheap
               ,
               by
               undertaking
               any
               little
               Pieces
               ,
               for
               a
               small
               Summ
               of
               ready
               money
               ;
               fell
               into
               a
               deep
               Melancholy
               ,
               and
               from
               that
               extreme
               into
               another
               as
               bad
               ,
               of
               Wine
               and
               Women
               ,
               and
               the
               next
               turn
               was
               into
               his
               Grave
               ,
               
               Anno
               1547.
               
            
             
               
                 FRANCESO
                 MAZZUOLI
              
               ,
               call'd
               PARMEGIANO
               ,
               because
               born
               at
               
                 Parma
                 ,
                 Anno
              
               1504
               ,
               
               was
               an
               eminent
               Painter
               when
               but
               sixteen
               years
               old
               ,
               famous
               all
               over
               Italy
               at
               nineteen
               ,
               and
               at
               twenty
               three
               perform'd
               such
               wonders
               ;
               that
               when
               the
               Emperour
               Charles
               V.
               had
               taken
               Rome
               by
               Storm
               ,
               some
               of
               the
               common
               Soldiers
               in
               sacking
               the
               Town
               ,
               having
               broke
               into
               his
               Apartments
               ,
               and
               found
               him
               intent
               upon
               his
               work
               ,
               were
               so
               astonish'd
               at
               the
               charming
               Beauty
               of
               his
               Pieces
               ,
               that
               instead
               of
               Plunder
               and
               Destruction
               ,
               which
               was
               then
               their
               business
               ,
               they
               resolv'd
               to
               protect
               him
               (
               as
               they
               afterwards
               did
               )
               from
               all
               manner
               of
               violence
               .
               But
               
               besides
               the
               perfections
               of
               his
               Pencil
               (
               which
               was
               one
               of
               the
               gentilest
               ,
               the
               most
               graceful
               ,
               and
               the
               most
               elegant
               of
               any
               in
               his
               time
               )
               he
               delighted
               much
               in
               Music
               ,
               and
               therein
               also
               excell'd
               .
               His
               principal
               Works
               are
               at
               Parma
               ;
               where
               ,
               for
               several
               years
               he
               liv'd
               in
               great
               Reputation
               ,
               till
               falling
               unhappily
               into
               the
               study
               of
               Chymistry
               ,
               he
               wasted
               the
               most
               considerable
               part
               of
               his
               Time
               and
               Fortunes
               in
               search
               of
               the
               Philosophers-Stone
               ,
               and
               died
               poor
               ,
               in
               the
               flower
               of
               his
               age
               ,
               Anno
               1540.
               
               See
               farther
               Page
               221
               :
               and
               note
               ,
               that
               there
               are
               extant
               many
               valuable
               Prints
               ,
               
               etch'd
               by
               this
               Master
               .
            
             
               
                 GIACOMO
                 PALMA
                 ,
                 Senior
              
               ,
               commonly
               call'd
               
                 PALMA
                 VECCHIO
              
               ,
               was
               born
               at
               Serinalta
               ,
               in
               the
               State
               of
               
                 Venice
                 ,
                 Anno
              
               1508
               ;
               
               and
               made
               such
               good
               use
               and
               advantage
               of
               the
               instructions
               which
               he
               receiv'd
               from
               Titian
               ,
               that
               few
               Masters
               are
               to
               be
               nam'd
               ,
               who
               have
               shewn
               a
               nobler
               Fancy
               in
               their
               Compositions
               ,
               a
               better
               Iudgment
               in
               their
               Designs
               ,
               more
               of
               Nature
               in
               their
               Expression
               ,
               or
               of
               Art
               in
               finishing
               their
               
                 Works
                 .
                 Venice
              
               was
               the
               place
               where
               he
               usually
               resided
               ,
               and
               where
               he
               died
               ,
               Anno
               1556.
               
               His
               Pieces
               are
               not
               very
               numerous
               ,
               by
               reason
               of
               his
               having
               spent
               much
               time
               ,
               in
               bringing
               those
               which
               he
               has
               left
               behind
               him
               to
               such
               wonderful
               perfection
               .
               
            
             
             
               
                 DANIELE
                 RICCIARELLI
              
               ,
               surnam'd
               
                 da
                 VOLTERRA
              
               ,
               from
               a
               Town
               in
               Tuscany
               where
               he
               was
               born
               ,
               Anno
               1509
               ,
               
               was
               a
               person
               of
               a
               melancholy
               and
               heavy
               temper
               ,
               and
               seem'd
               to
               be
               but
               meanly
               qualified
               by
               Nature
               for
               an
               Artist
               :
               Yet
               by
               the
               instructions
               of
               
                 Balthasar
                 da
                 Siena
              
               ,
               and
               his
               own
               continued
               Application
               and
               Industry
               ,
               he
               surmounted
               all
               difficulties
               ,
               and
               at
               length
               became
               so
               excellent
               a
               Designer
               ,
               that
               his
               
                 Descent
                 from
                 the
                 Cross
              
               ,
               in
               the
               Church
               of
               the
               
                 Trinity
                 on
                 the
                 Mount
              
               ,
               is
               rank'd
               amongst
               the
               principal
               Pieces
               in
               Rome
               .
               He
               was
               chosen
               by
               Pope
               Paul
               IV.
               to
               cloath
               some
               of
               the
               Nudities
               ,
               in
               
                 Michael
                 Angelo's
                 Last
                 Iudgment
              
               ;
               which
               he
               perform'd
               with
               good
               success
               .
               He
               was
               as
               eminent
               likewise
               for
               his
               Chisel
               ,
               as
               his
               Pencil
               ;
               and
               wrought
               several
               considerable
               things
               in
               
                 Sculpture
                 .
                 
                 Ob.
                 Anno
                 1566.
                 
              
            
             
               
                 FRANCESCO
                 SALVIATI
              
               ,
               a
               Florentine
               ,
               born
               Anno
               1510
               ,
               
               was
               at
               first
               a
               Disciple
               of
               
                 Andrea
                 del
                 Sarto
              
               ,
               and
               afterwards
               of
               
                 Baccio
                 Bandinelli
              
               ;
               and
               very
               well
               esteem'd
               both
               in
               Italy
               ,
               and
               France
               ,
               for
               his
               several
               works
               in
               
                 Fresco
                 ,
                 Distemper
              
               ,
               and
               Oyl
               .
               He
               was
               quick
               at
               Invention
               ,
               and
               as
               ready
               in
               the
               
                 execution
                 ;
                 Graceful
              
               in
               his
               
                 Naked
                 Figures
              
               ,
               and
               as
               Gentile
               in
               his
               Draperies
               :
               Yet
               his
               Talent
               did
               not
               lie
               in
               
                 great
                 Compositions
              
               ;
               And
               there
               are
               some
               of
               his
               
               Pieces
               in
               
                 two
                 Colours
              
               onely
               ,
               which
               have
               the
               name
               of
               being
               his
               best
               Performances
               .
               He
               was
               naturally
               so
               fond
               and
               conceited
               of
               his
               own
               Works
               ,
               that
               he
               could
               hardly
               allow
               any
               body
               else
               a
               good
               word
               :
               And
               't
               is
               said
               ,
               that
               the
               Jealousie
               which
               he
               had
               of
               some
               
                 Young
                 men
              
               then
               growing
               up
               into
               reputation
               ,
               made
               him
               so
               uneasie
               ,
               that
               the
               very
               apprehensions
               of
               their
               proving
               better
               Artists
               than
               himself
               ,
               
               hasten'd
               his
               
                 Death
                 ,
                 Anno
              
               1563.
               
            
             
               
                 PIRRO
                 LIGORIO
              
               ,
               a
               Neapolitan
               ,
               liv'd
               in
               this
               time
               :
               and
               tho'
               he
               address'd
               himself
               chiefly
               to
               the
               study
               of
               Architecture
               ,
               and
               for
               his
               skill
               in
               that
               Art
               was
               imploy'd
               ,
               and
               highly
               encourag'd
               by
               Pope
               Pius
               IV.
               yet
               he
               was
               withall
               an
               excellent
               Designer
               ;
               and
               by
               the
               many
               noble
               Cartoons
               which
               he
               made
               for
               Tapestries
               ,
               &c.
               gave
               sufficient
               proof
               ,
               that
               he
               was
               more
               than
               indifferently
               learn'd
               in
               the
               Antiquities
               .
               There
               are
               several
               Volumes
               of
               his
               Designs
               preserv'd
               in
               the
               Cabinet
               of
               the
               Duke
               of
               Savoy
               ;
               of
               which
               some
               part
               consists
               in
               a
               curious
               Collection
               of
               all
               the
               Ships
               ,
               and
               other
               sorts
               of
               Vessels
               ,
               in
               use
               amongst
               the
               Ancients
               .
               He
               died
               about
               the
               
                 year
                 1573.
                 
                 Vide
                 Pag.
              
               217.
               
            
             
               
                 GIACOMO
                 da
                 PONTE
                 da
                 BASSANO
              
               ,
               
               so
               call'd
               from
               the
               place
               where
               he
               was
               born
               in
               the
               
                 Marca
                 Trevisana
                 ,
                 
                 Anno
              
               1510
               ,
               was
               a
               Disciple
               of
               Bonifacio
               ,
               a
               noted
               Painter
               ,
               at
               Venice
               ;
               by
               whose
               Assistance
               ,
               and
               his
               own
               frequent
               copying
               the
               Works
               of
               Titian
               ,
               and
               Parmegiano
               ,
               he
               brought
               himself
               into
               a
               pleasant
               and
               most
               agreeable
               way
               of
               Colouring
               :
               but
               returning
               into
               the
               Country
               ,
               upon
               the
               death
               of
               his
               Father
               ,
               he
               apply'd
               himself
               wholly
               to
               the
               imitation
               of
               Nature
               ;
               and
               from
               his
               
                 Wife
                 ,
                 Children
              
               and
               Servants
               ,
               took
               the
               Ideas
               of
               most
               of
               his
               Figures
               .
               His
               Works
               are
               very
               numerous
               ,
               all
               the
               Stories
               of
               the
               Old
               and
               
                 New
                 Testament
              
               having
               been
               painted
               by
               his
               hand
               ,
               besides
               a
               multitude
               of
               other
               Histories
               .
               He
               was
               famous
               also
               for
               several
               excellent
               Portraits
               ,
               and
               particularly
               those
               of
               the
               celebrated
               
                 Poets
                 Ludovico
                 Ariosto
                 ,
                 Bernardo
                 Tasso
                 ,
              
               and
               Torquato
               his
               Son.
               In
               a
               word
               ,
               so
               great
               was
               the
               Reputation
               of
               this
               Artist
               at
               Venice
               ,
               that
               Titian
               himself
               was
               glad
               to
               purchase
               one
               of
               his
               Pieces
               (
               representing
               
                 The
                 entrance
                 of
              
               Noah
               
                 and
                 his
                 Family
                 into
                 the
                 Ark
                 )
              
               at
               a
               very
               considerable
               Price
               .
               He
               was
               earnestly
               solicited
               to
               go
               over
               into
               the
               service
               of
               the
               Emperour
               :
               but
               so
               charming
               were
               the
               pleasures
               which
               he
               found
               in
               the
               quiet
               enjoyment
               of
               
                 Painting
                 ,
                 Music
              
               ,
               and
               
                 good
                 Books
              
               ,
               that
               no
               Temptations
               whatsoever
               could
               make
               him
               change
               his
               Cottage
               for
               a
               Court.
               He
               died
               Anno
               1592
               ,
               
               leaving
               behind
               him
               four
               Sons
               ,
               of
               whom
            
             
             
               FRANCESCO
               the
               Eldest
               ,
               settled
               at
               Venice
               ,
               where
               he
               follow'd
               the
               manner
               of
               his
               Father
               ,
               and
               was
               well
               esteem'd
               ,
               for
               divers
               Pieces
               which
               he
               made
               in
               the
               
                 Ducal
                 Palace
              
               and
               other
               publick
               places
               ,
               in
               conjunction
               with
               
                 Paul
                 Veronese
                 ,
                 Tintoret
              
               ,
               &c.
               
               But
               his
               too
               close
               Application
               to
               Painting
               having
               render'd
               him
               unfit
               for
               all
               other
               business
               ,
               and
               ignorant
               even
               of
               his
               own
               private
               Affairs
               ;
               he
               contracted
               by
               degrees
               a
               deep
               Melancholy
               ,
               and
               at
               last
               became
               so
               much
               craz'd
               ,
               that
               fancying
               Sergeants
               were
               continually
               in
               pursuit
               of
               him
               ,
               he
               leap'd
               out
               of
               his
               Window
               ,
               to
               avoid
               'em
               (
               as
               he
               imagin'd
               )
               and
               by
               the
               fall
               occasion'd
               his
               own
               
                 Death
                 ,
                 Anno
                 1594
                 ,
                 Aet
                 .
              
               43.
               
            
             
               LEANDRO
               ,
               the
               Third
               Son
               ,
               had
               so
               excellent
               a
               Talent
               in
               Face-painting
               ,
               (
               which
               he
               principally
               studied
               )
               that
               he
               was
               Knighted
               for
               a
               Portrait
               which
               he
               made
               of
               the
               Doge
               
                 Marin
                 Grimano
              
               .
               He
               likewise
               finish'd
               several
               things
               left
               imperfect
               by
               his
               Brother
               Francesco
               ;
               compos'd
               some
               History-pieces
               also
               of
               his
               own
               ,
               and
               was
               as
               much
               admir'd
               for
               his
               perfection
               in
               Musick
               ,
               as
               his
               skill
               in
               
                 Painting
                 .
                 Obiit
                 Anno
                 1623
                 ,
                 Aet
                 .
              
               65.
               
            
             
               
                 GIO.
                 BATTISTA
              
               ,
               the
               Second
               Son
               ,
               and
               GIROLAMO
               the
               Youngest
               ,
               apply'd
               themselves
               to
               copying
               
               their
               Fathers
               Works
               ;
               which
               they
               did
               so
               very
               well
               ,
               that
               they
               are
               oftentimes
               taken
               for
               
                 Originals
                 .
                 Gio.
                 Battista
              
               died
               
                 Anno
                 1613
                 ,
                 Aet
              
               .
               60
               ;
               and
               
                 Girolamo
                 Anno
                 1622
                 ,
                 Aet
              
               .
               62
               :
               See
               more
               of
               the
               
                 Bassans
                 Pag.
              
               220.
               
            
             
               
                 GIACOMO
                 ROBUSTI
              
               ,
               call'd
               TINTORETTO
               ,
               because
               a
               Dyers
               Son
               ,
               born
               at
               
                 Venice
                 ,
                 Anno
              
               1512
               ;
               
               was
               a
               Disciple
               of
               Titian
               ;
               who
               having
               observ'd
               something
               very
               extraordinary
               in
               his
               Genius
               ,
               dismiss'd
               him
               from
               his
               Family
               ,
               for
               fear
               he
               should
               grow
               up
               to
               rival
               his
               Master
               .
               Yet
               he
               still
               pursu'd
               
                 Titians
                 way
              
               of
               Colouring
               ,
               as
               the
               most
               natural
               ;
               and
               studied
               
                 Michael
                 Angelos
                 Gusto
              
               of
               Design
               ,
               as
               the
               most
               correct
               .
               Venice
               was
               the
               place
               of
               his
               constant
               Abode
               ;
               where
               he
               was
               made
               a
               Citizen
               ,
               and
               wonderfully
               belov'd
               ,
               and
               esteem'd
               for
               his
               Works
               ;
               the
               Character
               of
               which
               see
               Pag.
               219.
               
               He
               was
               call'd
               the
               
                 Furious
                 Tintoret
              
               ,
               for
               his
               bold
               manner
               of
               Painting
               ,
               with
               strong
               Lights
               and
               deep
               Shadows
               ;
               for
               the
               rapidity
               of
               his
               Genius
               ,
               and
               grand
               vivacity
               of
               Spirit
               ,
               much
               admir'd
               by
               
                 Paul
                 Veronese
              
               .
               But
               then
               ,
               on
               the
               other
               hand
               ,
               he
               was
               blam'd
               by
               him
               ,
               and
               all
               others
               of
               his
               Profession
               ,
               for
               under-valuing
               himself
               ,
               and
               his
               Art
               ,
               by
               undertaking
               all
               sorts
               of
               business
               for
               any
               Price
               ;
               thereby
               making
               so
               great
               a
               difference
               in
               his
               several
               Performances
               ,
               that
               (
               as
               
                 Hannibal
                 Carrach
              
               
               observ'd
               )
               he
               is
               sometimes
               equal
               to
               Titian
               ,
               and
               at
               other
               times
               inferior
               even
               to
               himself
               .
               He
               was
               extremely
               pleasant
               and
               affable
               in
               his
               Humour
               :
               and
               delighted
               so
               much
               in
               Painting
               and
               Music
               ,
               his
               bel●●ved
               Studies
               ,
               that
               he
               would
               hardly
               suffer
               himself
               to
               tast
               any
               other
               Pleasures
               .
               He
               died
               
                 Anno
                 1594
              
               ,
               leaving
               behind
               him
               a
               Daughter
               ,
               
               and
               a
               Son
               ,
               of
               whom
               the
               Eldest
            
             
               
                 MARIETTA
                 TINTOREITA
              
               ,
               was
               so
               well
               instructed
               by
               her
               Father
               in
               his
               own
               Profession
               ,
               as
               well
               as
               in
               Music
               ,
               that
               by
               her
               Pencil
               she
               got
               great
               Reputation
               ;
               and
               was
               particularly
               eminent
               for
               an
               admirable
               Style
               in
               Portraits
               .
               She
               died
               young
               ,
               
                 Anno
                 1590
                 ,
                 Aet
              
               .
               30.
               
            
             
               
                 DOMENICO
                 TINTORETTO
              
               his
               Son
               ,
               gave
               great
               hopes
               in
               his
               youth
               ,
               that
               he
               would
               one
               day
               render
               the
               name
               of
               Tintoret
               yet
               more
               illustrious
               than
               his
               Father
               had
               made
               it
               :
               but
               neglecting
               to
               cultivate
               by
               study
               the
               Talent
               which
               Nature
               had
               given
               him
               ,
               he
               fell
               short
               of
               those
               mighty
               things
               expected
               from
               him
               ,
               and
               became
               more
               considerable
               for
               Portraits
               ,
               than
               
                 Historical
                 Compositions
              
               .
               He
               died
               
                 Anno
                 1637
                 ,
                 Aet
              
               .
               75.
               
            
             
             
               
                 PARIS
                 BORDONE
              
               ,
               well
               descended
               ,
               and
               brought
               up
               to
               
                 Letters
                 ,
                 Music
              
               ,
               and
               other
               gentile
               Accompl●●shments
               ,
               was
               a
               Disciple
               of
               Titian
               ,
               and
               flourish'd
               in
               the
               time
               of
               Tintoret
               :
               but
               was
               more
               commended
               for
               the
               Delicacy
               of
               his
               Pencil
               ,
               than
               the
               Purity
               of
               his
               
                 Out
                 lines
              
               .
               He
               was
               in
               great
               favour
               and
               esteem
               with
               Francis
               I.
               for
               whom
               ,
               besides
               abundance
               of
               Histories
               ,
               he
               made
               the
               Portraits
               of
               several
               
                 Court
                 Ladies
              
               ,
               in
               so
               excellent
               a
               manner
               ,
               that
               the
               Original
               Nature
               was
               hardly
               more
               charming
               .
               From
               France
               he
               return'd
               home
               to
               Venice
               ,
               laden
               with
               Honour
               and
               Riches
               ;
               and
               having
               acquir'd
               as
               much
               Reputation
               in
               all
               the
               parts
               of
               Italy
               ,
               as
               he
               had
               done
               abroad
               ,
               died
               
                 Anno
                 Aet
              
               .
               75.
               
            
             
               
                 GEORGIO
                 VASARI
              
               ,
               born
               at
               Arezzo
               a
               City
               in
               
                 Tuscany
                 ,
                 Anno
              
               1514
               ,
               
               equally
               famous
               for
               his
               Pen
               and
               Pencil
               ,
               and
               as
               eminent
               for
               his
               skill
               in
               Architecture
               ,
               was
               a
               Disciple
               of
               
                 Michael
                 Angelo
              
               ,
               and
               
                 Andrea
                 del
                 Sarto
              
               ;
               and
               by
               his
               indefatigable
               diligence
               in
               studying
               and
               copying
               all
               the
               best
               Pieces
               of
               the
               most
               noted
               Artists
               ,
               improv'd
               his
               Invention
               and
               Hand
               to
               such
               a
               degree
               ,
               that
               he
               attain'd
               a
               wonderful
               Freedom
               in
               both
               .
               He
               spent
               the
               most
               considerable
               part
               of
               his
               Life
               in
               travelling
               over
               Italy
               ;
               leaving
               in
               all
               places
               marks
               of
               his
               Industry
               ,
               and
               gathering
               every
               where
               materials
               for
               his
               
                 History
                 of
                 the
                 
                 Lives
                 of
                 the
                 most
                 excellent
                 Painters
                 ,
                 Sculptors
                 ,
                 Architects
                 ,
              
               &c.
               which
               he
               publish'd
               at
               Florence
               ,
               about
               the
               year
               1551
               :
               a
               work
               ,
               in
               the
               opinion
               of
               
                 Hannibal
                 Caro
              
               ,
               written
               with
               much
               exactness
               and
               judgment
               ;
               tho'
               Felibien
               ,
               and
               others
               tax
               him
               with
               some
               mistakes
               ,
               and
               particularly
               with
               flattering
               the
               Masters
               then
               alive
               ,
               and
               with
               partiality
               to
               those
               of
               his
               own
               Country
               .
               
               He
               died
               Anno
               1578.
               
            
             
               
                 ANTONIO
                 MORE
              
               ,
               born
               at
               Utrecht
               in
               the
               
                 Low-Countries
                 ,
                 Anno
              
               1519
               ,
               
               was
               a
               Disciple
               of
               
                 Iohn
                 Schoorel
              
               ,
               and
               in
               his
               younger
               days
               had
               seen
               Rome
               ,
               and
               some
               other
               parts
               of
               Italy
               .
               He
               was
               recommended
               by
               Cardinal
               Granville
               ,
               to
               the
               service
               of
               the
               Emperour
               Charles
               V.
               and
               having
               made
               a
               Portrait
               of
               his
               Son
               Philip
               II.
               at
               Madrid
               ,
               was
               sent
               upon
               the
               same
               accou●●t
               to
               the
               King
               ,
               Queen
               ,
               and
               Princess
               of
               Portugal
               ,
               and
               afterwards
               into
               England
               ,
               to
               draw
               the
               Picture
               of
               Queen
               Mary
               .
               From
               Spain
               he
               retir'd
               into
               Flanders
               ,
               where
               he
               became
               a
               mighty
               Favourite
               of
               the
               Duke
               of
               Alva
               (
               then
               the
               Governour
               of
               the
               
                 Low-Countries
                 .
              
               )
               And
               besides
               the
               noble
               Presents
               and
               Applause
               which
               he
               gain'd
               in
               all
               places
               by
               his
               Pencil
               ,
               was
               as
               much
               admir'd
               for
               his
               extraordinary
               Address
               ,
               being
               as
               great
               a
               Courtier
               as
               a
               Painter
               .
               His
               Talent
               lay
               in
               Designing
               very
               justly
               ,
               in
               finishing
               his
               Pieces
               with
               wonderful
               care
               
               and
               neatness
               ,
               and
               in
               a
               most
               natural
               imitation
               of
               Flesh
               and
               Bloud
               ,
               in
               his
               Colouring
               .
               Yet
               after
               all
               ,
               he
               could
               not
               reach
               that
               noble
               Strength
               and
               Spirit
               ,
               so
               visible
               in
               the
               Works
               of
               Titian
               ,
               and
               to
               which
               
                 Van
                 Dy●●k
              
               has
               since
               arriv'd
               .
               He
               made
               several
               Attempts
               also
               in
               History-pieces
               ,
               but
               understood
               nothing
               of
               
                 grand
                 Compositions
              
               ,
               and
               his
               manner
               was
               tame
               ,
               
               hard
               ,
               and
               dry
               .
               He
               died
               at
               
                 Antwerp
                 ,
                 Anno
                 1575.
              
               
            
             
               
                 PAOLO
                 FARINATO
              
               ,
               born
               at
               
                 Verona
                 ,
                 Anno
              
               1522
               ;
               
               was
               a
               Disciple
               of
               
                 Antonio
                 Badile
              
               ,
               and
               an
               admirable
               Designer
               ,
               but
               not
               so
               happy
               in
               his
               Colouring
               :
               tho'
               there
               is
               a
               Piece
               of
               his
               in
               St.
               Georges
               Church
               at
               Verona
               ,
               so
               well
               perform'd
               in
               both
               parts
               ,
               that
               it
               does
               not
               seem
               to
               be
               inferior
               to
               one
               of
               
                 Paulo
                 Veronese
              
               ,
               which
               is
               plac'd
               next
               to
               it
               .
               He
               was
               very
               considerable
               likewise
               for
               his
               knowledge
               in
               Sculpture
               ,
               and
               Architecture
               ,
               especially
               that
               part
               of
               it
               which
               relates
               to
               Fortifications
               ,
               
               &c.
               
               
                 Obiit
                 Anno
              
               1606.
               
            
             
               
                 ANDREA
                 SCHIAVONE
              
               ,
               so
               call'd
               from
               the
               Country
               where
               he
               was
               born
               ,
               Anno
               1522
               ;
               
               was
               so
               very
               meanly
               descended
               ,
               that
               his
               Parents
               after
               they
               had
               brought
               him
               to
               Venice
               ,
               were
               not
               able
               to
               allow
               him
               a
               Master
               :
               and
               yet
               by
               great
               study
               and
               pains
               ,
               
               together
               with
               such
               helps
               as
               he
               receiv'd
               from
               the
               Prints
               of
               Parmegiano
               ,
               and
               the
               Paintings
               of
               Georgione
               and
               Titian
               ,
               he
               arriv'd
               at
               last
               to
               a
               degree
               of
               Excellence
               very
               surprizing
               .
               'T
               is
               true
               indeed
               ,
               that
               being
               oblig'd
               to
               work
               for
               his
               daily
               Bread
               ,
               he
               could
               not
               spare
               time
               sufficient
               for
               making
               himself
               throughly
               perfect
               in
               Design
               :
               but
               however
               ,
               that
               Defect
               was
               so
               well
               cover'd
               by
               the
               singular
               Beauty
               and
               Sweetness
               of
               his
               Colours
               ,
               that
               Tintoret
               us'd
               oft●●ntimes
               to
               say
               ,
               no
               Painter
               ought
               to
               be
               without
               one
               Piece
               (
               at
               least
               )
               of
               his
               Hand
               .
               His
               principal
               Works
               were
               compos'd
               at
               Venice
               ,
               some
               of
               them
               in
               concurrence
               with
               Tintoret
               himself
               ,
               and
               others
               by
               the
               directions
               of
               Titian
               ,
               in
               the
               Library
               of
               St.
               Mark.
               But
               so
               malicious
               was
               Fortune
               to
               poor
               Andrea
               ,
               that
               his
               Pictures
               were
               but
               little
               valued
               in
               his
               life-time
               ,
               and
               he
               never
               was
               paid
               any
               otherwise
               for
               them
               ,
               than
               as
               an
               ordinary
               Painter
               :
               tho'
               after
               his
               Decease
               ,
               which
               happen'd
               Anno
               1582
               ,
               his
               Works
               turn'd
               to
               a
               much
               better
               account
               ,
               and
               were
               esteem'd
               answerable
               to
               their
               Merits
               ,
               and
               but
               little
               inferior
               to
               those
               of
               his
               most
               famous
               Contemporaries
               .
               
            
             
               
                 FREDERICO
                 BAROCCI
              
               ,
               born
               in
               the
               City
               of
               
                 Urbin
                 ,
                 Anno
              
               1528
               ,
               
               was
               train'd
               up
               in
               the
               Art
               of
               Designing
               by
               
                 Baptista
                 Venetiano
              
               ,
               and
               having
               at
               
               Rome
               acquir'd
               a
               competent
               Knowledge
               in
               
                 Geometry
                 ,
                 Perspective
              
               ,
               and
               Architecture
               ,
               apply'd
               himself
               to
               the
               Works
               of
               his
               most
               eminent
               Predecessors
               :
               and
               in
               a
               particular
               manner
               studied
               Raphael
               ,
               and
               Correggio
               ;
               one
               in
               the
               charming
               Ayrs
               ,
               and
               graceful
               Out-lines
               of
               his
               Figures
               ,
               and
               the
               other
               in
               the
               admirable
               Union
               ,
               and
               agreeable
               Harmony
               of
               his
               Colours
               .
               He
               had
               not
               been
               long
               in
               Rome
               ,
               before
               some
               malicious
               Painters
               ,
               his
               Competitors
               ,
               found
               means
               by
               a
               Dose
               of
               Poyson
               convey'd
               into
               a
               Sallet
               ,
               with
               which
               they
               had
               treated
               him
               ,
               to
               send
               him
               back
               again
               into
               his
               
                 own
                 Country
              
               ,
               attended
               with
               an
               Infirmity
               so
               terribly
               grievous
               ,
               that
               for
               above
               fifty
               years
               together
               it
               seldom
               permitted
               him
               to
               take
               any
               Repose
               ,
               and
               never
               allow'd
               him
               above
               two
               hours
               in
               a
               day
               to
               follow
               his
               Painting
               .
               So
               that
               expecting
               ,
               almost
               every
               Moment
               ,
               to
               be
               remov'd
               into
               another
               World
               ,
               he
               imploy'd
               his
               Pencil
               altogether
               in
               the
               Histories
               of
               the
               Bible
               ,
               and
               other
               
                 Religious
                 Subjects
              
               ,
               of
               which
               he
               wrought
               a
               considerable
               number
               ,
               in
               the
               short
               Intervals
               of
               his
               painful
               Fits
               ,
               
               and
               notwithstanding
               the
               Severity
               of
               them
               ,
               liv'd
               till
               the
               year
               1612.
               
            
             
               
                 TADDEO
                 ZUCCHERO
              
               ,
               born
               in
               the
               Dutchy
               of
               
                 Urbin
                 ,
                 Anno
              
               1529
               ,
               
               was
               initiated
               in
               the
               Art
               of
               Painting
               at
               home
               ,
               by
               his
               Father
               ,
               and
               at
               
               Rome
               instructed
               by
               
                 Gio.
                 Pietro
                 Calabro
              
               ;
               but
               improv'd
               himself
               most
               by
               the
               Study
               of
               Anatomy
               ,
               and
               by
               copying
               the
               Works
               of
               Raphael
               .
               He
               excell'd
               chiefly
               in
               a
               florid
               Invention
               ,
               a
               gentile
               Manner
               of
               Designing
               ,
               and
               in
               the
               good
               Disposition
               and
               Oeconomy
               of
               his
               Pieces
               :
               but
               was
               not
               so
               much
               admir'd
               for
               his
               Colouring
               ,
               which
               was
               generally
               unpleasant
               ,
               and
               rather
               resembled
               the
               Statues
               than
               the
               Life
               .
               He
               liv'd
               for
               the
               most
               part
               in
               Rome
               and
               Urbin
               ,
               where
               he
               left
               many
               things
               unfinish'd
               ,
               
               being
               taken
               away
               in
               his
               
                 Prime
                 ,
                 Anno
              
               1566.
               
            
             
               
                 PAOLO
                 CALIARI
                 VERONESE
              
               ,
               born
               
                 Anno
                 1532
              
               ,
               
               was
               a
               Disciple
               of
               
                 Antonio
                 Badile
              
               ,
               and
               not
               only
               esteem'd
               the
               most
               excellent
               of
               all
               the
               
                 Lombard
                 Painters
              
               ,
               but
               for
               his
               copious
               and
               admirable
               Invention
               ,
               for
               the
               Grandeur
               and
               Majesty
               of
               his
               Composition
               ,
               for
               the
               Beauty
               and
               Perfection
               of
               his
               Draperies
               ,
               together
               with
               his
               noble
               Ornaments
               of
               Architecture
               ,
               &c.
               is
               styl'd
               by
               the
               
                 Italians
                 ,
                 Il
                 Pittore
                 felice
              
               (
               the
               happy
               Painter
               .
               )
               He
               spent
               most
               of
               his
               time
               at
               Venice
               ;
               but
               the
               best
               of
               his
               Works
               were
               made
               after
               he
               return'd
               thither
               from
               Rome
               ,
               and
               had
               studied
               the
               Antique
               .
               He
               could
               not
               be
               prevail'd
               upon
               ,
               by
               the
               great
               Offers
               made
               him
               by
               the
               King
               of
               Spain
               ,
               to
               leave
               his
               own
               Country
               ;
               where
               his
               Reputation
               was
               so
               well
               establish'd
               ,
               that
               most
               
               of
               the
               Princes
               of
               Europe
               sent
               to
               their
               several
               Embassadours
               ,
               to
               procure
               them
               something
               of
               
                 his
                 Hand
              
               at
               any
               Rates
               .
               He
               was
               a
               Person
               of
               an
               ingenuous
               and
               noble
               Spirit
               ,
               us'd
               to
               go
               richly
               drest
               ,
               and
               generally
               wore
               a
               
                 gold
                 Chain
              
               ,
               which
               had
               been
               presented
               him
               by
               the
               Procurators
               of
               St.
               Mark
               ,
               as
               a
               Prize
               which
               he
               won
               from
               several
               Artists
               his
               Competitors
               .
               He
               was
               highly
               in
               favour
               with
               all
               the
               principal
               Men
               in
               his
               time
               ,
               and
               so
               much
               admir'd
               by
               all
               the
               great
               Masters
               ,
               as
               well
               his
               Contemporaries
               ,
               as
               those
               who
               succeeded
               him
               ,
               that
               Titian
               himself
               us'd
               to
               call
               him
               the
               
                 Ornament
                 of
                 his
                 Profession
              
               :
               and
               
                 Guido
                 Reni
              
               being
               ask'd
               ,
               which
               of
               the
               Masters
               his
               Predecessors
               he
               would
               chuse
               to
               be
               ,
               were
               it
               in
               his
               power
               ;
               after
               a
               little
               pause
               ,
               cry'd
               out
               
                 Paulo
                 ,
                 Paulo
              
               .
               He
               died
               at
               
                 Venice
                 ,
                 Anno
              
               1588
               ,
               
               leaving
               great
               Wealth
               behind
               him
               to
               his
               two
               Sons
            
             
               GABRIELLE
               and
               CARLO
               ,
               who
               liv'd
               very
               happily
               together
               ,
               joyn'd
               in
               finishing
               several
               Pieces
               left
               imperfect
               by
               their
               Father
               ,
               and
               follow'd
               his
               manner
               so
               close
               in
               other
               excellent
               things
               of
               their
               own
               ,
               that
               they
               are
               not
               easily
               distinguish'd
               from
               those
               of
               
                 Paulos
                 hand
                 .
                 Carlo
              
               would
               have
               perform'd
               wonders
               ,
               had
               he
               not
               been
               nipt
               in
               the
               Bud
               ,
               Anno
               1596
               ,
               Aet
               .
               26
               :
               after
               whose
               Decease
               Gabriel
               apply'd
               
               himself
               to
               Merchandizing
               ;
               yet
               did
               not
               quite
               lay
               aside
               has
               Pencil
               ,
               but
               made
               a
               considerable
               number
               of
               Portraits
               ,
               and
               some
               History-pieces
               of
               a
               very
               good
               
                 Gusto
                 .
                 Obiit
                 Anno
                 1631
                 ,
                 Aetat
                 .
              
               63.
               
            
             
               
                 BENEDETTO
                 CALIARI
              
               liv'd
               and
               study'd
               with
               his
               Brother
               Paulo
               ,
               whom
               he
               lov'd
               intirely
               ;
               and
               frequently
               assisted
               him
               ,
               and
               his
               Nephews
               ,
               in
               finishing
               several
               of
               their
               Compositions
               ;
               but
               especially
               in
               Painting
               Architecture
               ,
               in
               which
               he
               chiefly
               delighted
               .
               He
               practised
               for
               the
               most
               part
               in
               Fresco
               :
               and
               some
               of
               his
               best
               Pieces
               are
               in
               Chiaro-Scuro
               ,
               or
               two
               Colours
               onely
               .
               He
               was
               besides
               ,
               Master
               of
               an
               indifferent
               good
               stock
               of
               Learning
               ,
               was
               Poetically
               inclin'd
               ,
               and
               had
               a
               peculiar
               Talent
               in
               Satire
               .
               He
               died
               
                 Anno
                 1598
                 ,
                 Aet
              
               .
               60.
               
               See
               more
               of
               
                 Paulo
                 pag.
              
               219.
               
            
             
               
                 GIOSEPPE
                 SALVIATI
              
               ,
               a
               
                 Venetian
                 Painter
              
               ,
               was
               born
               Anno
               1535
               ,
               
               and
               exchang'd
               the
               name
               of
               Porta
               ,
               which
               belong'd
               to
               his
               Family
               ,
               for
               that
               of
               his
               Master
               
                 Francesco
                 Salviati
              
               ,
               with
               whom
               he
               was
               plac'd
               very
               young
               at
               Rome
               by
               his
               Uncle
               .
               He
               spent
               the
               greatest
               part
               of
               his
               Life
               in
               Venice
               ;
               where
               he
               apply'd
               himself
               generally
               to
               Fresco
               :
               and
               was
               oftentimes
               imploy'd
               in
               concurrence
               with
               
                 Paul
                 Veronese
              
               
               and
               Tintoret
               .
               He
               was
               well
               esteem'd
               for
               his
               great
               skill
               both
               in
               Design
               and
               Colouring
               ;
               was
               likewise
               well
               read
               in
               other
               Arts
               and
               Sciences
               ,
               and
               particularly
               so
               good
               a
               Mathematician
               ,
               that
               he
               writ
               several
               Treatises
               very
               judiciously
               on
               that
               Subject
               .
               He
               died
               Anno
               1585.
               
               
            
             
               
                 FREDERICO
                 ZUCCHERO
              
               ,
               born
               in
               the
               Dutchy
               of
               
                 Urbin
                 ,
                 Anno
              
               1543
               ,
               
               was
               a
               Disciple
               of
               his
               Brother
               Taddeo
               ,
               from
               whom
               he
               differ'd
               but
               very
               little
               in
               his
               Style
               and
               Manner
               of
               Painting
               ,
               tho'
               in
               Sculpture
               and
               Architecture
               he
               was
               far
               more
               excellent
               .
               He
               fled
               into
               France
               to
               avoid
               the
               Popes
               Displeasure
               ,
               which
               he
               had
               incurr'd
               by
               an
               Affront
               put
               upon
               some
               of
               his
               Officers
               :
               and
               from
               thence
               passing
               through
               Flanders
               and
               Holland
               ,
               came
               over
               into
               England
               ,
               drew
               Queen
               Elizabeths
               Picture
               ,
               went
               back
               to
               Italy
               ,
               was
               pardon'd
               by
               the
               Pope
               ,
               and
               in
               a
               little
               time
               sent
               for
               to
               Spain
               by
               the
               Philip
               II.
               and
               imploy'd
               in
               the
               Escurial
               .
               He
               labour'd
               very
               hard
               at
               his
               return
               to
               Rome
               ,
               for
               establishing
               the
               Academy
               of
               Painting
               ,
               by
               virtue
               of
               a
               Brief
               obtain'd
               from
               Pope
               Gregory
               XIII
               .
               Of
               which
               being
               chosen
               the
               first
               Prince
               himself
               ,
               he
               built
               a
               noble
               Apartment
               for
               their
               Meeting
               ,
               went
               to
               Venice
               to
               print
               some
               Books
               which
               he
               had
               compos'd
               of
               that
               Art
               ,
               and
               had
               form'd
               other
               Designs
               for
               its
               farther
               Advancement
               ,
               
               which
               yet
               were
               all
               defeated
               by
               his
               Death
               (
               at
               
                 Ancona
                 )
                 Anno
              
               1609.
               
               
            
             
               
                 GIACOMO
                 PALMA
                 Iunior
              
               ,
               commonly
               call'd
               
                 GIOVANE
                 PALMA
              
               ,
               born
               at
               
                 Venice
                 ,
                 Anno
              
               1544
               ,
               
               was
               the
               Son
               of
               Antonio
               the
               Nephew
               of
               
                 Palma
                 Vecchio
              
               .
               He
               improv'd
               the
               Instructions
               which
               his
               Father
               had
               given
               him
               ,
               by
               copying
               the
               Works
               of
               the
               most
               eminent
               Masters
               ,
               both
               of
               the
               Roman
               and
               
                 Lombard
                 Schools
              
               ;
               but
               in
               his
               own
               Compositions
               chiefly
               follow'd
               the
               Manner
               of
               Titian
               and
               T●●toret
               .
               He
               spent
               some
               years
               in
               Rome
               ,
               and
               was
               imploy'd
               in
               the
               Galleries
               and
               Lodgings
               of
               the
               Vatican
               :
               but
               the
               greatest
               number
               of
               his
               Pieces
               is
               at
               Venice
               ,
               where
               he
               studied
               night
               and
               day
               ,
               fill'd
               almost
               every
               place
               with
               something
               or
               other
               of
               his
               Hand
               ;
               and
               (
               like
               Tintoret
               )
               refus'd
               nothing
               that
               was
               offer'd
               him
               ,
               upon
               the
               least
               Prospect
               of
               any
               Gains
               .
               He
               died
               Anno
               1628.
               
               
            
             
               
                 DOMENICO
                 FETI
              
               ,
               a
               Roman
               ,
               flourish'd
               in
               this
               time
               .
               He
               was
               a
               Disciple
               of
               
                 Lodovico
                 Civoli
              
               ,
               of
               Florence
               ;
               and
               excell'd
               in
               Figures
               and
               
                 Historical
                 Compositions
              
               ,
               but
               died
               young
               ,
               Anno
               Aet
               .
               35.
               
            
             
               
                 BARTHOLOMEW
                 SPRANGHER
              
               ,
               born
               at
               
                 Antwerp
                 ,
                 Anno
              
               1546
               ,
               
               was
               chief
               Painter
               to
               the
               
               Emperour
               Maximilian
               II.
               and
               so
               much
               respected
               by
               his
               Successor
               Rodolphus
               ,
               that
               he
               presented
               him
               with
               a
               
                 Gold
                 Chain
              
               and
               Medal
               ,
               allow'd
               him
               a
               Pension
               ,
               honour'd
               him
               and
               his
               Posterity
               with
               the
               Title
               of
               Nobility
               ,
               lodg'd
               him
               in
               his
               own
               Palace
               ,
               and
               would
               suffer
               him
               to
               paint
               for
               no-body
               but
               himself
               .
               He
               had
               spent
               some
               part
               of
               his
               Youth
               in
               Rome
               ,
               where
               he
               was
               imploy'd
               by
               the
               Cardinal
               Farnese
               ,
               and
               afterwards
               preferr'd
               to
               the
               Service
               of
               Pope
               Pius
               V.
               but
               for
               want
               of
               Iudgment
               in
               the
               Conduct
               of
               his
               Studies
               ,
               brought
               little
               with
               him
               ,
               besides
               a
               good
               Pencil
               from
               Italy
               .
               His
               Out-line
               was
               generally
               stiff
               and
               very
               ungraceful
               ,
               his
               
                 Postures
                 forc'd
              
               and
               extravagant
               ;
               and
               in
               a
               word
               ,
               there
               appear'd
               nothing
               of
               the
               
                 Roman
                 Gusto
              
               in
               his
               Designs
               .
               He
               obtain'd
               leave
               from
               the
               Emperour
               (
               after
               many
               years
               continuance
               in
               his
               Court
               )
               to
               visit
               his
               own
               Country
               ;
               and
               accordingly
               went
               to
               
                 Antwerp
                 ,
                 Amsterdam
                 ,
                 Haerlem
              
               ,
               and
               several
               other
               places
               ,
               where
               he
               was
               honourably
               receiv'd
               :
               and
               having
               had
               the
               satisfaction
               of
               seeing
               his
               own
               Works
               highly
               admir'd
               ,
               and
               his
               manner
               almost
               universally
               follow'd
               in
               all
               those
               parts
               ,
               as
               well
               as
               in
               Germany
               ,
               return'd
               to
               Prague
               ,
               and
               died
               Anno
               1602
               ,
               or
               thereabout
               .
               In
               the
               same
               Form
               with
               Sprangher
               we
               may
               place
               his
               Contemporaries
               ,
               
                 Iohn
                 van
                 Ach
              
               ,
               and
               
                 Ioseph
                 Heints
              
               ,
               both
               
                 History
                 Painter
              
               of
               note
               ,
               
               and
               much
               admir'd
               in
               the
               Emperours
               Court.
               
            
             
             
               
                 MATTHEW
                 BRIL
              
               was
               born
               at
               
                 Antwerp
                 ,
                 Anno
              
               1550
               ,
               
               but
               studied
               for
               the
               most
               part
               at
               Rome
               ;
               and
               was
               famous
               for
               his
               Performances
               in
               History
               and
               Landtschape
               ,
               in
               the
               Galleries
               of
               the
               Vatican
               ,
               where
               he
               was
               imploy'd
               by
               Pope
               Gregory
               XIII
               .
               He
               died
               young
               ,
               Anno
               1584.
               
               
            
             
               
                 PAUL
                 BRIL
              
               ,
               of
               Antwerp
               also
               ,
               born
               Anno
               1554
               ,
               
               follow'd
               his
               Brother
               Matthew
               to
               Rome
               ,
               painted
               several
               things
               in
               conjunction
               with
               him
               ,
               and
               after
               his
               Decease
               ,
               brought
               himself
               into
               Reputation
               by
               his
               Landtschapes
               :
               but
               especially
               by
               those
               which
               he
               compos'd
               in
               his
               latter
               time
               (
               after
               he
               had
               studied
               the
               manner
               o●●
               
                 Hannibal
                 Carrach
              
               ,
               and
               had
               copied
               some
               of
               
                 Titians
                 Works
              
               ,
               in
               the
               same
               kind
               )
               the
               Invention
               in
               them
               being
               more
               pleasant
               ,
               the
               Disposition
               more
               noble
               ,
               all
               the
               parts
               more
               agreeable
               ,
               and
               painted
               with
               a
               better
               Gusto
               ,
               than
               those
               in
               his
               former
               days
               .
               He
               died
               at
               
                 Rome
                 ,
                 Anno
              
               1626.
               
               
            
             
               
                 ANTONIO
                 TEMPESTA
              
               ,
               his
               Contemporary
               ,
               a
               Native
               of
               Florence
               ,
               was
               a
               Disciple
               of
               
                 Iohn
                 Strada
              
               ,
               a
               Fleming
               .
               He
               had
               a
               particular
               Genius
               for
               
                 Battels
                 ,
                 Calvacades
                 ,
                 Huntings
              
               ,
               and
               for
               designing
               all
               sorts
               of
               Animals
               :
               but
               did
               not
               so
               much
               regard
               the
               Delicacy
               of
               Colouring
               ,
               as
               the
               lively
               expression
               
               and
               Spirit
               of
               those
               things
               which
               he
               represented
               .
               His
               ordinary
               Residence
               was
               at
               Rome
               ;
               where
               ,
               in
               his
               younger
               days
               he
               had
               wrought
               several
               Pieces
               by
               order
               of
               Pope
               Gregory
               XIII
               .
               in
               the
               Apartments
               of
               the
               Vatican
               .
               He
               was
               full
               of
               Thought
               and
               Invention
               ,
               very
               quick
               and
               ready
               in
               the
               Execution
               ,
               and
               famous
               also
               for
               a
               multitude
               of
               Prints
               ,
               etch'd
               by
               himself
               .
               He
               died
               Anno
               1630.
               
            
             
               
                 LODOVICO
                 CARRACCI
              
               ,
               the
               Uncle
               of
               Augustino
               and
               Hannibal
               ,
               was
               born
               at
               
                 Bologna
                 ,
                 Anno
              
               1555
               ,
               
               and
               under
               his
               first
               
                 Master
                 Prospero
                 Fontana
              
               ,
               discover'd
               but
               an
               indifferent
               Genius
               for
               Painting
               :
               but
               however
               ,
               Art
               supply'd
               the
               defects
               of
               Nature
               ,
               and
               by
               constant
               and
               unwearied
               diligence
               in
               studying
               the
               Works
               of
               
                 Parmegiano
                 ,
                 Correggio
                 ,
                 Titian
              
               ,
               and
               other
               great
               Men
               ,
               he
               brought
               himself
               at
               last
               to
               a
               degree
               of
               Perfection
               hardly
               inferior
               to
               any
               of
               them
               .
               He
               assisted
               his
               Nephews
               in
               Founding
               and
               Settling
               the
               famous
               
                 Academy
                 of
                 Design
              
               at
               Bologna
               ,
               and
               afterwards
               in
               Painting
               the
               
                 Palazzo
                 Farnese
              
               at
               Rome
               ;
               and
               having
               surviv'd
               them
               both
               ,
               died
               Anno
               1619
               ,
               
               Vide
               pag.
               222.
               
            
             
               
                 AGOSTINO
                 CARRACCI
              
               ,
               a
               Bolognese
               also
               ,
               was
               born
               Anno
               1557
               ,
               
               and
               by
               the
               care
               and
               instructions
               of
               
                 Domenico
                 Tebaldi
                 ,
                 Alessandro
                 Minganti
              
               and
               
               others
               ,
               became
               not
               onely
               a
               very
               good
               Designer
               and
               Painter
               ,
               but
               in
               the
               Art
               of
               Graving
               surpass'd
               all
               the
               Masters
               in
               his
               time
               .
               He
               had
               an
               insight
               likewise
               into
               all
               the
               parts
               of
               the
               
                 Mathematics
                 ,
                 Natural
                 Philosophy
                 ,
                 Rhetoric
                 ,
                 Music
                 ,
              
               and
               most
               of
               the
               
                 Liberal
                 Arts
              
               and
               Sciences
               .
               He
               was
               besides
               ,
               an
               admirable
               Poet
               ,
               and
               in
               all
               other
               particulars
               extremely
               well
               accomplish'd
               .
               From
               Bologna
               he
               went
               to
               Venice
               ,
               where
               he
               contracted
               an
               intimate
               Friendship
               with
               
                 Paul
                 Veronese
                 ,
                 Tintoret
              
               ,
               and
               Bassan
               ;
               and
               having
               grav'd
               a
               considerable
               number
               of
               their
               Works
               ,
               return'd
               home
               ,
               and
               soon
               afterwards
               follow'd
               his
               Brother
               Hannibal
               to
               Rome
               ,
               and
               joyn'd
               with
               him
               in
               finishing
               several
               Stories
               in
               the
               
                 Farnese
                 Gallery
              
               :
               But
               some
               little
               difference
               arising
               unluckily
               betwixt
               them
               ,
               Augustino
               remov'd
               to
               the
               Court
               of
               the
               Duke
               of
               Parma
               ,
               and
               in
               his
               Service
               died
               
                 Anno
                 1602
                 ,
                 Vide
                 pag.
              
               223.
               
               His
               most
               celebrated
               Piece
               of
               Painting
               ,
               is
               that
               of
               the
               
                 Communion
                 of
                 St.
                 Ierom
              
               ,
               in
               Bologna
               :
               a
               Picture
               so
               compleat
               in
               all
               its
               parts
               ,
               that
               it
               was
               much
               to
               be
               lamented
               ,
               that
               the
               excellent
               Author
               of
               it
               should
               withdraw
               himself
               from
               the
               Practice
               of
               an
               Art
               in
               which
               his
               Abilities
               were
               so
               very
               extraordinary
               ,
               
               to
               follow
               the
               inferior
               Profession
               of
               a
               Graver
               .
            
             
             
               
                 ANNIBALE
                 CARRACCI
              
               ,
               born
               likewise
               at
               
                 Bologna
                 ,
                 Anno
              
               1560
               ,
               
               was
               a
               Disciple
               of
               his
               Uncle
               Ludovico
               ;
               and
               amongst
               his
               other
               admirable
               qualities
               ,
               had
               so
               prodigious
               a
               Memory
               ,
               that
               whatever
               he
               had
               once
               seen
               ,
               he
               never
               fail'd
               to
               retain
               and
               make
               his
               own
               :
               so
               that
               at
               Parma
               ,
               he
               acquir'd
               the
               Sweetness
               and
               Purity
               of
               Correggio
               ;
               at
               Venice
               the
               Strength
               and
               
                 Distribution
                 of
                 Colours
                 of
                 Titian
              
               ;
               and
               at
               Rome
               ,
               the
               Correctness
               of
               Design
               ,
               and
               beautiful
               Forms
               of
               the
               Antique
               :
               And
               by
               his
               wonderful
               Performances
               in
               the
               
                 Palazzo
                 Farnese
              
               ,
               soon
               made
               it
               appear
               ,
               that
               all
               the
               several
               Perfections
               of
               the
               most
               eminent
               Masters
               his
               Predecessors
               ,
               were
               united
               in
               himself
               alone
               .
               In
               his
               Conversation
               he
               was
               
                 friendly
                 ,
                 plain
                 ,
                 honest
              
               ,
               and
               open-hearted
               ;
               very
               communicative
               to
               his
               Scholars
               ,
               and
               so
               extremely
               kind
               to
               them
               ,
               that
               he
               generally
               kept
               his
               Money
               in
               the
               same
               box
               with
               his
               Colours
               ,
               where
               they
               might
               have
               recourse
               to
               either
               as
               they
               had
               occasion
               .
               But
               the
               unhappiness
               of
               his
               Temper
               inclining
               him
               naturally
               to
               Melancholy
               ;
               the
               ill
               usage
               which
               he
               receiv'd
               from
               the
               Cardinal
               Farnese
               (
               who
               through
               the
               Persuasions
               of
               an
               ignorant
               Spaniard
               his
               Domestic
               ,
               gave
               him
               but
               a
               little
               above
               200l
               .
               Sterl
               .
               for
               his
               eight
               years
               study
               and
               labour
               )
               so
               confirm'd
               him
               in
               it
               ,
               that
               he
               resolv'd
               never
               more
               to
               touch
               his
               Pencil
               :
               and
               had
               undoubtedly
               kept
               his
               resolution
               ,
               had
               not
               his
               Necessities
               
               compell'd
               him
               to
               resume
               it
               .
               Yet
               notwithstanding
               ,
               so
               far
               did
               his
               Distemper
               by
               degrees
               gain
               upon
               him
               ,
               that
               at
               certain
               times
               it
               depriv'd
               him
               of
               the
               right
               use
               of
               his
               Sences
               ;
               and
               at
               last
               made
               him
               guilty
               of
               some
               Irregularities
               ,
               which
               concealing
               from
               his
               Physicians
               ,
               he
               met
               with
               the
               same
               fate
               as
               Raphael
               (
               in
               the
               like
               case
               )
               had
               done
               before
               him
               ,
               and
               seem'd
               to
               copy
               that
               
                 great
                 Master
              
               as
               well
               in
               the
               manner
               of
               his
               Death
               ,
               as
               he
               had
               imitated
               him
               all
               his
               
                 Life
                 long
              
               in
               his
               Works
               .
               Nay
               ,
               such
               was
               the
               Veneration
               he
               had
               for
               Raphael
               ,
               that
               it
               was
               his
               
                 Death-bed
                 Request
              
               ,
               to
               be
               bury'd
               in
               the
               very
               same
               Tomb
               with
               him
               :
               which
               was
               accordingly
               done
               in
               the
               Pantheon
               ,
               or
               Rotunda
               at
               
                 Rome
                 ,
                 Anno
              
               1609.
               
               
               See
               more
               pag.
               222
               ,
               and
               besides
               take
               notice
               ,
               that
               there
               are
               extant
               several
               Prints
               of
               the
               
                 B.
                 Virgin
              
               ,
               and
               of
               
                 other
                 Subjects
              
               ,
               etch'd
               by
               the
               hand
               of
               this
               incomparable
               Artist
               .
            
             
               
                 ANTONIO
                 CARRACCI
              
               ,
               the
               natural
               Son
               of
               Augustino
               ,
               was
               brought
               up
               under
               the
               Care
               and
               Tuition
               of
               his
               Uncle
               Hannibal
               :
               after
               whose
               Decease
               ,
               he
               apply'd
               himself
               so
               successfully
               to
               the
               study
               of
               all
               the
               Capital
               Pieces
               in
               Rome
               ,
               that
               he
               would
               have
               surpass'd
               even
               Hannibal
               himself
               ,
               if
               Death
               had
               not
               prevented
               him
               ,
               
                 Anno
                 1618
                 ,
                 Aet
              
               .
               35.
               
            
             
             
               
                 CAMILLO
                 ,
                 GIULIO
                 CESARE
              
               ,
               and
               
                 CARL
                 '
                 ANTONIO
              
               ,
               the
               Sons
               and
               Disciples
               of
               
                 ERCOLE
                 PROCACCINI
              
               ,
               flourish'd
               in
               this
               time
               .
               They
               were
               Natives
               of
               Bologna
               ,
               but
               upon
               some
               misunderstanding
               between
               them
               and
               the
               Carraches
               ,
               remov'd
               to
               Milan
               ,
               where
               they
               spent
               the
               greatest
               part
               of
               their
               Lives
               .
               Of
               these
               ,
            
             
               CAMILLO
               the
               Eldest
               ,
               abounded
               in
               Invention
               and
               Spirit
               :
               but
               was
               a
               great
               Mannerist
               ,
               and
               rather
               study'd
               the
               Beauty
               ,
               than
               Correctness
               of
               his
               Designs
               .
            
             
               
                 GIULIO
                 CESARE
              
               ,
               was
               both
               a
               Sculptor
               and
               Painter
               ,
               and
               famous
               in
               Genoua
               ,
               as
               well
               as
               Bologna
               and
               Milan
               ,
               for
               several
               admirable
               things
               of
               his
               hand
               .
               He
               was
               the
               best
               of
               all
               the
               Procaccini
               ,
               and
               surpass'd
               his
               Brother
               Camillo
               in
               the
               exactness
               and
               purity
               of
               his
               Out-lines
               ,
               and
               in
               the
               strength
               and
               boldness
               of
               his
               Figures
               .
            
             
               
                 CARL
                 '
                 ANTONIO
              
               was
               an
               excellent
               Musician
               ,
               and
               as
               well
               skill'd
               in
               the
               Harmony
               of
               Colours
               as
               of
               Sounds
               :
               yet
               not
               being
               able
               to
               arrive
               to
               the
               Perfection
               of
               his
               Brothers
               in
               
                 Historical
                 Compositions
              
               ,
               he
               apply'd
               himself
               wholly
               to
               Landtschapes
               and
               Flowers
               ,
               and
               was
               much
               esteem'd
               for
               his
               Performances
               that
               way
               .
            
             
             
               ERCOLE
               the
               Son
               of
               
                 Carl
                 '
                 Antonio
              
               ,
               was
               a
               Disciple
               of
               his
               Uncle
               
                 Iulio
                 Cesare
              
               ,
               and
               so
               happy
               in
               imitating
               his
               manner
               ,
               that
               he
               was
               sent
               for
               to
               the
               Court
               of
               the
               Duke
               of
               Savoy
               ,
               and
               highly
               honour'd
               ,
               and
               nobly
               rewarded
               by
               that
               Prince
               for
               his
               Services
               .
            
             
               GIOSEPPED'ARPINO
               ,
               commonly
               call'd
               
                 Cavalier
                 GIOSEPPINO
              
               ,
               born
               in
               the
               Kingdom
               of
               
                 Naples
                 ,
                 Anno
              
               1560
               ,
               
               was
               carry'd
               very
               young
               to
               Rome
               ,
               and
               put
               out
               to
               some
               Painters
               ,
               then
               at
               work
               in
               the
               Vatican
               ,
               to
               grind
               their
               Colours
               :
               but
               the
               quickness
               of
               his
               Apprehension
               having
               soon
               made
               him
               Master
               of
               the
               Elements
               of
               Design
               ,
               he
               had
               the
               fortune
               to
               grow
               very
               famous
               by
               degrees
               ;
               and
               besides
               the
               respect
               shewn
               him
               by
               Pope
               Gregory
               XIII
               .
               and
               his
               Successors
               ,
               was
               so
               well
               receiv'd
               by
               the
               French
               K.
               Lewis
               XIII
               .
               that
               he
               made
               him
               a
               Knight
               of
               the
               Order
               of
               St.
               Michael
               .
               He
               has
               the
               character
               of
               a
               
                 florid
                 Invention
              
               ,
               a
               
                 ready
                 Hand
              
               ,
               and
               a
               
                 good
                 Spirit
              
               in
               all
               his
               Works
               :
               but
               yet
               having
               no
               sure
               Foundation
               ,
               either
               in
               the
               Study
               of
               Nature
               ,
               or
               the
               Rules
               of
               Art
               ,
               and
               building
               onely
               upon
               those
               Chimeras
               and
               
                 fantastical
                 Ideas
              
               ,
               which
               he
               had
               form'd
               in
               his
               own
               Head
               ,
               he
               has
               run
               himself
               into
               a
               multitude
               of
               Errors
               ,
               being
               guilty
               of
               those
               many
               Extravagancies
               ,
               necessarily
               attending
               such
               as
               have
               no
               better
               Guide
               than
               their
               own
               
                 capricious
                 Fancy
              
               .
               
               He
               died
               at
               
                 Rome
                 ,
                 Anno
              
               1640.
               
            
             
             
               
                 HANS
                 ROTTENHAMER
              
               was
               born
               at
               Munc●●en
               ,
               the
               Capital
               City
               of
               
                 Bavaria
                 ,
                 Anno
              
               1564
               ,
               
               and
               after
               he
               had
               studied
               some
               time
               in
               Germany
               ,
               went
               to
               Venice
               ,
               and
               became
               a
               Disciple
               of
               Tintoret
               .
               He
               painted
               both
               in
               Fresco
               and
               Oyl
               ,
               but
               his
               Talent
               lay
               chiesly
               in
               the
               latter
               ,
               and
               his
               peculiar
               excellence
               was
               in
               
                 little
                 Pieces
              
               .
               His
               Invention
               was
               free
               and
               easie
               ,
               his
               Design
               indifferently
               correct
               ,
               his
               
                 Postures
                 gentile
              
               ,
               and
               his
               Colouring
               very
               agreeable
               .
               He
               was
               well
               esteem'd
               both
               in
               Italy
               and
               his
               own
               Country
               ,
               and
               by
               his
               Profession
               might
               have
               acquir'd
               great
               Wealth
               ;
               but
               was
               so
               wonderfully
               extravagant
               in
               his
               way
               of
               living
               ,
               that
               he
               consum'd
               it
               much
               faster
               than
               it
               came
               in
               ,
               and
               at
               last
               died
               so
               poor
               ,
               that
               his
               Friends
               were
               forc'd
               to
               make
               a
               gathering
               to
               bury
               him
               ,
               Anno
               1604.
               
               
            
             
               
                 Cavalier
                 FRANCESCO
                 VANNI
              
               ,
               born
               at
               Siena
               in
               the
               Dukedom
               of
               
                 Tuscany
                 ,
                 Anno
              
               1568
               ,
               
               was
               a
               
                 Painters
                 Son
              
               ,
               but
               quitted
               the
               manner
               which
               he
               had
               learnt
               from
               his
               Father
               ,
               to
               follow
               that
               of
               Barocci
               ;
               whom
               he
               imitated
               in
               his
               choice
               of
               
                 Religious
                 Subjects
              
               ,
               as
               well
               as
               in
               his
               Gusto
               of
               Painting
               .
               The
               most
               considerable
               Works
               of
               this
               Master
               are
               in
               the
               several
               Churches
               of
               Siena
               ,
               and
               are
               much
               commended
               both
               for
               the
               Beauty
               of
               their
               Colouring
               ,
               and
               Correctness
               of
               their
               Design
               .
               He
               died
               Anno
               1615.
               
               
            
             
             
               
                 MICHELANGELO
                 MERIGI
              
               born
               An.
               1569
               ,
               
               at
               CARAVAGGIO
               ,
               from
               whence
               he
               deriv'd
               his
               Name
               ,
               was
               at
               first
               (
               like
               his
               Countryman
               Polidore
               )
               no
               better
               than
               a
               Day-labourer
               ;
               till
               having
               seen
               some
               Painters
               at
               work
               ,
               upon
               a
               Brick-wall
               ,
               which
               he
               had
               prepar'd
               for
               them
               ,
               he
               was
               so
               charm'd
               with
               their
               Art
               ,
               that
               he
               immediately
               address'd
               himself
               to
               the
               study
               of
               it
               :
               and
               in
               a
               few
               years
               made
               so
               considerable
               a
               progress
               ,
               that
               in
               
                 Venice
                 ,
                 Rome
              
               ,
               and
               several
               other
               parts
               of
               Italy
               ,
               he
               was
               cry'd
               up
               ,
               and
               admir'd
               by
               all
               the
               
                 Young
                 men
              
               ,
               as
               the
               Author
               of
               a
               
                 new
                 Style
              
               of
               Painting
               .
               Upon
               his
               first
               coming
               to
               Rome
               ,
               his
               Necessities
               compell'd
               him
               to
               
                 paint
                 Flowers
              
               and
               Fruit
               ,
               under
               
                 Cavalier
                 Gioseppino
              
               :
               but
               being
               soon
               weary
               of
               that
               Subject
               ,
               and
               returning
               to
               his
               former
               practice
               of
               Histories
               ,
               with
               Figures
               drawn
               to
               the
               middle
               onely
               ,
               he
               made
               use
               of
               a
               Method
               ,
               quite
               different
               from
               the
               conduct
               of
               Gioseppino
               ,
               and
               running
               into
               the
               
                 contrary
                 extreme
              
               ,
               follow'd
               the
               Life
               as
               much
               too
               close
               ,
               as
               the
               other
               went
               wide
               from
               it
               .
               He
               affected
               a
               way
               particular
               to
               himself
               ,
               of
               deep
               and
               
                 dark
                 shadows
              
               ,
               to
               give
               his
               Pieces
               the
               greater
               relievo
               ,
               and
               despising
               all
               other
               help
               ,
               but
               what
               he
               receiv'd
               from
               Nature
               alone
               (
               whom
               he
               took
               with
               all
               her
               faults
               ,
               and
               copy'd
               without
               judgment
               or
               discretion
               )
               his
               Invention
               became
               so
               poor
               ,
               that
               he
               could
               never
               draw
               any
               thing
               
               without
               his
               Model
               before
               his
               eyes
               ;
               and
               therefore
               understood
               but
               little
               either
               of
               Design
               ,
               or
               Decorum
               in
               his
               Compositions
               .
               He
               had
               indeed
               an
               admirable
               Colouring
               ,
               and
               great
               strength
               in
               all
               his
               Works
               :
               But
               those
               Pictures
               which
               he
               made
               in
               imitation
               of
               the
               manner
               of
               Georgione
               ,
               were
               his
               best
               ,
               because
               they
               have
               nothing
               of
               that
               blackness
               in
               them
               ,
               in
               which
               he
               afterwards
               delighted
               .
               He
               died
               in
               his
               return
               from
               Malta
               ,
               (
               where
               he
               had
               been
               Knighted
               by
               the
               
                 Grand
                 Master
              
               ,
               for
               some
               things
               which
               he
               had
               wrought
               for
               him
               )
               Anno
               1609.
               
               
               His
               chief
               Disciples
               were
               
                 Bartolomeo
                 Manfredi
              
               of
               
                 Mantoua
                 ,
                 Carlo
                 Saracino
              
               ,
               commonly
               call'd
               
                 Venetiano
                 ,
                 Valentino
              
               a
               French-man
               ,
               and
               
                 Gerard
                 Hunthorst
              
               of
               Utrecht
               .
            
             
               
                 FILIPPO
                 d'
                 ANGELI
              
               was
               a
               Roman
               born
               ,
               but
               call'd
               NEAPOLITANO
               ,
               because
               his
               Father
               sent
               him
               to
               Naples
               ,
               when
               he
               was
               very
               young
               .
               At
               his
               return
               to
               Rome
               ,
               he
               apply'd
               himself
               to
               the
               Antiquities
               ;
               but
               unhappily
               left
               that
               study
               too
               soon
               ,
               and
               follow'd
               the
               manner
               of
               his
               Contemporary
               
                 M.
                 Angelo
                 da
                 Caravaggio
              
               .
               He
               practis'd
               for
               the
               most
               part
               in
               Landtschapes
               ,
               and
               Battels
               ,
               was
               every
               where
               well
               esteem'd
               for
               his
               Works
               ,
               and
               imploy'd
               by
               several
               Princes
               in
               many
               of
               the
               Churches
               and
               Palaces
               of
               
                 Rome
                 ,
                 Naples
              
               and
               Venice
               ;
               at
               the
               last
               of
               which
               places
               he
               died
               
                 Anno
                 Aetat
              
               .
               40.
               
            
             
             
               
                 IAN
                 BRUEGHEL
              
               ,
               the
               Son
               of
               old
               Peter
               ,
               and
               the
               younger
               Brother
               of
               
                 Helsen
                 Brueghel
              
               ,
               was
               born
               in
               
                 Brussels
                 ,
                 Anno
              
               1569
               ,
               
               and
               call'd
               FLUWEELEN
               because
               of
               the
               
                 Velvet
                 Garments
              
               which
               he
               generally
               affected
               to
               wear
               .
               He
               began
               his
               Studies
               at
               home
               ,
               under
               
                 Peter
                 Goe-kindt
              
               ,
               and
               continu'd
               them
               in
               Italy
               with
               such
               success
               ,
               that
               of
               all
               the
               
                 German
                 ,
                 Dutch
              
               ,
               or
               
                 Flemish
                 Masters
                 ,
                 Elsheimer
              
               onely
               was
               superior
               to
               him
               in
               Landtschapes
               ,
               and
               Histories
               with
               
                 small
                 Figures
              
               .
               He
               painted
               both
               in
               Water-colours
               and
               Oyl
               ,
               but
               in
               the
               latter
               chiefly
               excell'd
               ;
               and
               especially
               ,
               in
               representing
               
                 Wakes
                 ,
                 Fairs
              
               ,
               and
               other
               frolicksom
               and
               merry
               meetings
               of
               Country-people
               .
               His
               Invention
               was
               easie
               and
               pleasant
               ,
               his
               Out-lines
               firm
               and
               sure
               ,
               his
               Pencil
               loose
               and
               free
               :
               and
               in
               short
               ,
               all
               his
               Compositions
               were
               so
               well
               manag'd
               ,
               that
               Nature
               in
               her
               
                 plain
                 Country
                 Dress
              
               ,
               was
               always
               to
               be
               seen
               in
               his
               Works
               .
               He
               died
               Anno
               1625.
               
               
            
             
               
                 ADAM
                 ELSHEIMER
              
               born
               at
               Frankfort
               upon
               the
               
                 Mayn
                 ,
                 Anno
              
               1574
               ,
               
               was
               at
               first
               a
               Disciple
               of
               
                 Philip
                 Uffenbach
              
               a
               German
               :
               but
               an
               ardent
               desire
               of
               Improvement
               carrying
               him
               to
               Rome
               ,
               he
               soon
               became
               a
               most
               excellent
               Artist
               in
               
                 Landtschapes
                 ,
                 Histories
              
               ,
               and
               Night-pieces
               ,
               with
               
                 little
                 Figures
              
               .
               His
               Works
               are
               very
               few
               ;
               and
               for
               the
               incredible
               Pains
               and
               Labour
               which
               he
               bestow'd
               upon
               them
               ,
               valu'd
               
               at
               such
               prodigious
               rates
               ,
               that
               they
               are
               hardly
               any
               where
               to
               be
               found
               but
               in
               the
               Cabinets
               of
               Princes
               .
               He
               was
               a
               Person
               by
               Nature
               inclin'd
               to
               Melancholy
               ,
               and
               through
               continu'd
               study
               and
               thoughtfulness
               ,
               was
               so
               far
               settled
               in
               that
               unhappy
               temper
               ,
               that
               neglecting
               his
               own
               domestic
               concerns
               ,
               Debts
               came
               thick
               upon
               him
               ,
               and
               Imprisonment
               follow'd
               :
               which
               struck
               such
               a
               damp
               upon
               his
               Spirits
               ,
               that
               though
               he
               was
               soon
               releas'd
               ,
               yet
               he
               did
               not
               long
               survive
               it
               ,
               and
               died
               in
               the
               year
               1610
               ,
               
               or
               thereabout
               .
            
             
               
                 GUIDO
                 RENI
              
               was
               born
               at
               
                 Bologna
                 ,
                 An.
              
               1575
               ,
               
               and
               having
               learnt
               the
               Rudiments
               of
               Painting
               ,
               under
               a
               
                 Flemish
                 Master
              
               ,
               was
               refin'd
               and
               polish'd
               in
               the
               School
               of
               the
               Carraches
               :
               and
               to
               what
               degree
               of
               Excellence
               he
               arriv'd
               ,
               see
               pag.
               223.
               
               He
               acquir'd
               great
               perfection
               in
               Music
               ,
               by
               the
               instructions
               of
               his
               Father
               ,
               an
               eminent
               Professor
               of
               that
               Art.
               In
               his
               behaviour
               he
               was
               modest
               ,
               gentile
               ,
               and
               very
               obliging
               ;
               liv'd
               in
               great
               splendor
               ,
               both
               at
               Bologna
               ,
               and
               Rome
               ,
               and
               was
               onely
               unhappy
               in
               his
               immoderate
               love
               of
               Gaming
               :
               to
               which
               ,
               in
               his
               latter
               days
               ,
               he
               had
               abandon'd
               himself
               so
               intirely
               ,
               that
               all
               the
               Money
               which
               he
               cou'd
               get
               by
               his
               Pencil
               ,
               or
               borrow
               upon
               Interest
               ,
               being
               too
               little
               to
               supply
               his
               losses
               ,
               he
               was
               at
               last
               reduc'd
               to
               so
               poor
               and
               mean
               a
               condition
               ,
               that
               the
               consideration
               of
               his
               
               present
               circumstances
               ,
               together
               with
               reflections
               on
               his
               former
               reputation
               ,
               and
               high
               manner
               of
               living
               ,
               brought
               a
               languishing
               Distemper
               upon
               him
               ,
               which
               occasion'd
               his
               
                 Death
                 ,
                 Anno
              
               1642.
               
               
               Note
               ,
               that
               there
               are
               several
               Designs
               of
               this
               great
               Master
               ,
               in
               
                 print
                 ,
                 etch'd
              
               by
               himself
               .
            
             
               
                 GIO.
                 BATTISTA
                 VIOLA
                 ,
                 a
                 Bolognese
                 ,
              
               born
               Anno
               1576
               ,
               
               was
               a
               Disciple
               of
               
                 Hannibal
                 Carrach
              
               ,
               by
               whose
               assistance
               he
               arriv'd
               to
               an
               excellent
               manner
               in
               Landtschape-painting
               ,
               which
               he
               chiefly
               study'd
               ,
               and
               for
               which
               he
               was
               well
               esteem'd
               in
               Rome
               ,
               and
               several
               other
               parts
               of
               Italy
               .
               But
               Pope
               Gregory
               XV.
               having
               made
               him
               Keeper
               of
               his
               Palace
               ,
               to
               reward
               him
               for
               the
               Services
               which
               he
               had
               done
               for
               him
               ,
               when
               he
               was
               Cardinal
               ,
               he
               quitted
               his
               Pencil
               ,
               and
               died
               soon
               after
               ,
               Anno
               1622.
               
               
            
             
               
                 Sir
                 PETER
                 PAUL
                 RUBENS
              
               ,
               born
               at
               
                 Cologne
                 ,
                 Anno
              
               1577
               ,
               
               was
               the
               best
               accomplish'd
               of
               all
               the
               
                 Flemish
                 Masters
              
               ;
               and
               wou'd
               have
               rival'd
               even
               the
               most
               celebrated
               Italians
               ,
               if
               his
               Parents
               ,
               instead
               of
               placing
               him
               under
               the
               tuition
               of
               
                 Adam
                 van
                 Noort
              
               ,
               and
               
                 Octavio
                 Venus
              
               ,
               had
               bred
               him
               up
               in
               the
               Roman
               and
               
                 Lombard
                 Schools
              
               .
               Yet
               notwithstanding
               ,
               he
               made
               so
               good
               use
               of
               that
               little
               time
               which
               he
               spent
               in
               those
               places
               ,
               that
               perhaps
               none
               
               of
               his
               Predecessors
               can
               boast
               a
               more
               
                 beautiful
                 Colouring
              
               ,
               a
               
                 nobler
                 Invention
              
               ,
               or
               a
               more
               
                 luxurious
                 Fancy
              
               in
               their
               Compositions
               ,
               of
               which
               see
               a
               farther
               account
               pag.
               225.
               
               B●●t
               besides
               his
               talent
               in
               Painting
               ,
               and
               his
               admirable
               skill
               in
               Architecture
               (
               very
               eminent
               in
               the
               several
               Churches
               ,
               and
               Palaces
               ,
               built
               after
               his
               Designs
               ,
               at
               Genoua
               .
               )
               He
               was
               a
               Person
               possess'd
               of
               all
               the
               Ornaments
               and
               Advantages
               ,
               that
               can
               render
               a
               man
               Valuable
               :
               was
               universally
               Learned
               ,
               spoke
               seven
               Languages
               very
               perfectly
               ,
               was
               well
               read
               in
               History
               ,
               and
               withall
               so
               excellent
               a
               Statesman
               ,
               that
               he
               was
               imploy'd
               in
               several
               public
               Negotiations
               of
               great
               Importance
               ;
               which
               he
               manag'd
               with
               the
               most
               refin'd
               Prudence
               ,
               and
               Conduct
               .
               And
               was
               particularly
               famous
               for
               the
               Character
               with
               which
               he
               was
               sent
               into
               England
               ,
               of
               Embassadour
               from
               the
               
                 Infanta
                 Isabella
              
               ,
               and
               Philip
               IV.
               of
               Spain
               ,
               to
               K.
               Charles
               I.
               upon
               a
               
                 Treaty
                 of
                 Peace
              
               between
               the
               two
               Crowns
               ,
               confirm'd
               Anno
               1630.
               
               His
               principal
               Performances
               are
               in
               the
               Banquetting-house
               at
               Whitehall
               ,
               the
               Escurial
               in
               Spain
               ,
               and
               the
               
                 Luxemburgh
                 Galleries
              
               at
               Paris
               ,
               where
               he
               was
               imploy'd
               by
               Queen
               Mary
               of
               Medicis
               ,
               Dowager
               of
               Henry
               IV.
               and
               in
               each
               of
               those
               three
               Courts
               had
               the
               honour
               of
               Knighthood
               conferr'd
               upon
               him
               ,
               besides
               several
               magnificent
               Presents
               ,
               in
               testimony
               of
               his
               extraordinary
               Merits
               .
               His
               usual
               abode
               was
               
               at
               Antwerp
               ,
               where
               he
               built
               a
               spacious
               Apartment
               ,
               in
               imitation
               of
               the
               Rotunda
               at
               Rome
               ,
               for
               a
               noble
               Collection
               of
               Pictures
               which
               he
               had
               purchas'd
               in
               Italy
               :
               some
               of
               which
               ,
               together
               with
               his
               
                 Statues
                 ,
                 Medals
              
               ,
               and
               other
               Antiquities
               ,
               he
               sold
               ,
               not
               long
               after
               ,
               to
               the
               Duke
               of
               Buckingham
               ,
               his
               intimate
               Friend
               ,
               for
               ten
               thousand
               pounds
               .
               He
               liv'd
               in
               the
               highest
               Esteem
               and
               Reputation
               imaginable
               ,
               was
               as
               great
               a
               Patron
               ,
               as
               Master
               of
               his
               Art
               ;
               and
               so
               much
               admir'd
               all
               over
               Europe
               ,
               for
               his
               many
               singular
               Endowments
               ,
               that
               no
               Strangers
               of
               any
               Quality
               cou'd
               pass
               through
               the
               Low-Countries
               ,
               till
               they
               had
               first
               seen
               Rubens
               ,
               of
               whose
               Fame
               they
               had
               heard
               so
               much
               .
               He
               died
               Anno
               1640
               ,
               
               leaving
               vast
               Riches
               behind
               him
               to
               his
               Children
               ,
               of
               whom
               Albert
               the
               Eldest
               ,
               succeeded
               him
               in
               the
               Office
               of
               
                 Secretary
                 of
                 State
              
               ,
               in
               Flanders
               .
            
             
               
                 ORATIO
                 GENTILESCHI
              
               ,
               a
               Native
               of
               Pisa
               ,
               a
               City
               in
               Tuscany
               ,
               flourish'd
               in
               this
               time
               :
               and
               after
               he
               had
               made
               himself
               known
               in
               
                 Florence
                 ,
                 Rome
                 ,
                 Genoua
              
               ,
               and
               other
               parts
               of
               Italy
               ,
               remov'd
               to
               Savoy
               ,
               from
               thence
               went
               to
               France
               ,
               and
               at
               last
               ,
               upon
               his
               arrival
               in
               England
               ,
               was
               so
               well
               receiv'd
               by
               K.
               Charles
               I.
               that
               he
               appointed
               him
               Lodgings
               in
               his
               Court
               ,
               together
               with
               a
               considerable
               Salary
               ,
               and
               imploy'd
               him
               in
               his
               Palace
               at
               Greenwich
               ,
               and
               
               other
               public
               places
               .
               He
               made
               several
               Attempts
               in
               Face-painting
               ,
               but
               with
               little
               success
               ,
               his
               Talent
               lying
               altogether
               in
               Histories
               ,
               with
               Figures
               as
               big
               as
               the
               Life
               :
               In
               which
               kind
               ,
               some
               of
               his
               Compositions
               have
               deservedly
               met
               with
               great
               Applause
               .
               He
               was
               much
               in
               favour
               with
               the
               Duke
               of
               Buckingham
               ,
               and
               many
               others
               of
               the
               Nobility
               :
               and
               after
               twelve
               years
               continuance
               in
               this
               Kingdom
               ,
               died
               
                 Anno
                 Aetat
              
               .
               84.
               and
               was
               bury'd
               in
               the
               
                 Queens
                 Chapel
              
               in
               Somerset-house
               .
            
             
               
                 ARTEMISIA
                 GENTILESCHI
              
               his
               Daughter
               ,
               excell'd
               her
               Father
               in
               Portraits
               ,
               and
               was
               but
               little
               inferior
               to
               him
               in
               Histories
               .
               She
               liv'd
               for
               the
               most
               part
               at
               Naples
               ,
               in
               great
               splendor
               :
               and
               was
               as
               famous
               all
               over
               Europe
               for
               her
               Amours
               ,
               and
               Love-Intrigues
               ,
               as
               for
               her
               talent
               in
               Painting
               .
            
             
               
                 FRANCESCO
                 ALBANI
              
               a
               Bolognese
               ,
               born
               Anno
               1578
               ,
               
               was
               a
               Disciple
               of
               the
               Carraches●●
               well
               vers'd
               in
               polite
               Learning
               ,
               and
               excellent
               in
               all
               the
               parts
               of
               Painting
               ;
               but
               principally
               admir'd
               for
               his
               performances
               in
               little
               .
               He
               had
               a
               particular
               Genius
               for
               
                 naked
                 Figures
              
               :
               and
               the
               better
               to
               accomplish
               himself
               in
               that
               Study
               ,
               marry'd
               a
               beautiful
               Lady
               of
               Bologna
               ,
               with
               little
               or
               no
               fortune
               ;
               by
               whom
               (
               upon
               all
               occasions
               )
               he
               us'd
               to
               design
               
               
                 naked
                 Venus's
              
               ,
               the
               
                 Graces
                 ,
                 Nymphs
              
               ,
               and
               other
               Goddesses
               :
               and
               by
               her
               Children
               little
               Cupids
               ,
               playing
               ,
               and
               dancing
               ,
               in
               all
               the
               variety
               of
               Postures
               imaginable
               .
               He
               spent
               some
               time
               at
               Rome
               ,
               was
               imploy'd
               also
               by
               the
               Grand
               Duke
               of
               Tuscany
               ,
               but
               compos'd
               most
               of
               his
               Works
               in
               his
               
                 own
                 Country
              
               ;
               where
               he
               died
               ,
               Anno
               1660.
               
               
               His
               most
               famous
               Disciples
               were
               
                 Pier
                 Francesco
                 Mola
              
               ,
               and
               
                 Gio.
                 Battista
              
               his
               Brother
               ,
               both
               excellent
               Masters
               in
               Figures
               and
               Landtschapes
               .
            
             
               
                 FRANCIS
                 SNYDERS
              
               ,
               born
               at
               
                 Antwerp
                 ,
                 Anno
              
               1579
               ,
               
               was
               bred
               up
               under
               
                 Henry
                 van
                 Balen
              
               his
               Country-man
               ;
               but
               ow'd
               the
               most
               considerable
               part
               of
               his
               Improvement
               ,
               to
               his
               Studies
               in
               Italy
               .
               He
               painted
               all
               sorts
               of
               
                 Wild
                 Beasts
              
               ,
               and
               other
               
                 Animals
                 ,
                 Huntings
                 ,
                 Fish
                 ,
                 Fruit
                 ,
              
               &c.
               in
               great
               Perfection
               :
               was
               often
               imploy'd
               by
               the
               King
               of
               Spain
               ,
               and
               several
               other
               Princes
               ,
               and
               every-where
               much
               commended
               for
               his
               Works
               .
            
             
               
                 DOMENICO
                 ZAMPIERI
              
               ,
               commonly
               call'd
               DOMENICHINO
               ,
               born
               in
               the
               City
               of
               
                 Bologna
                 An.
              
               1581
               ,
               
               was
               at
               first
               a
               Disciple
               of
               a
               
                 Flemish
                 Master
              
               ,
               but
               soon
               quitted
               his
               School
               ,
               for
               a
               much
               better
               of
               the
               Carraches
               ;
               being
               instructed
               at
               Bologna
               by
               Ludovico
               ,
               and
               at
               Rome
               by
               Hannibal
               ,
               who
               had
               so
               
               great
               a
               Value
               for
               him
               ,
               that
               he
               took
               him
               to
               his
               assistance
               in
               the
               
                 Farnese
                 Gallery
              
               .
               He
               was
               extremely
               laborious
               and
               slow
               in
               his
               Productions
               ,
               applying
               himself
               always
               to
               his
               work
               with
               much
               study
               and
               thoughtfulness
               ,
               and
               never
               offering
               to
               touch
               his
               Pencil
               till
               he
               found
               a
               kind
               of
               Enthusiasm
               ,
               or
               Inspiration
               upon
               him
               .
               His
               talent
               lay
               principally
               in
               the
               correctness
               of
               his
               Style
               ,
               and
               in
               expressing
               the
               Passions
               and
               Affections
               of
               the
               Mind
               .
               In
               both
               which
               he
               was
               so
               admirably
               judicious
               ,
               that
               
                 Nicolo
                 Poussin
              
               ,
               and
               
                 Andrea
                 Sacchi
              
               us'd
               to
               say
               ,
               his
               
                 Communion
                 of
                 St.
                 Ierome
              
               ,
               in
               the
               Church
               of
               the
               Charity
               ,
               and
               Raphaels
               celebrated
               Piece
               of
               the
               Transfiguration
               ,
               were
               the
               two
               best
               Pictures
               in
               Rome
               .
               He
               was
               made
               the
               chief
               Architect
               of
               the
               
                 Apostolical
                 Palace
              
               ,
               by
               Pope
               Gregory
               XV.
               for
               his
               great
               skill
               in
               that
               Art.
               He
               was
               likewise
               well
               vers'd
               in
               the
               Theory
               of
               Music
               ,
               but
               in
               the
               Practice
               of
               it
               had
               little
               success
               .
               He
               had
               the
               misfortune
               to
               find
               Enemies
               in
               all
               places
               where●●ever
               he
               came
               ;
               and
               particularly
               at
               Naples
               was
               so
               ill
               treated
               by
               those
               of
               his
               own
               Profession
               ,
               that
               having
               agreed
               among
               themselves
               to
               disparage
               all
               his
               Works
               ,
               they
               would
               hardly
               allow
               him
               to
               be
               a
               tolerable
               Master
               :
               And
               were
               not
               content
               with
               having
               frighted
               him
               ,
               for
               some
               time
               ,
               from
               that
               City
               ,
               but
               afterwards
               ,
               upon
               his
               return
               thither
               ,
               never
               left
               persecuting
               him
               ,
               till
               by
               their
               tricks
               and
               contrivances
               they
               had
               quite
               weary'd
               
               him
               out
               of
               his
               
                 Life
                 ,
                 Anno
              
               1641.
               
               
               
                 Vide
                 pag.
              
               223.
               
               His
               Contemporary
               ,
               and
               most
               malicious
               Enemy
            
             
               
                 GIOSEPPE
                 RIBERA
              
               ,
               a
               Native
               of
               Valencia
               ,
               in
               Spain
               ,
               commonly
               known
               by
               the
               name
               of
               SPAGNOLETTO
               ,
               was
               an
               Artist
               perfect
               in
               Design
               ,
               and
               famous
               for
               the
               excellent
               manner
               of
               Colouring
               which
               he
               had
               learnt
               from
               
                 Michael
                 Angelo
                 da
                 Caravaggio
              
               .
               His
               way
               ,
               was
               very
               often
               in
               Half-Figures
               onely
               ,
               and
               (
               like
               his
               Master
               )
               he
               was
               wonderfully
               strict
               in
               following
               the
               Life
               ;
               but
               as
               Ill-natur'd
               in
               the
               choice
               of
               his
               Subjects
               ,
               as
               in
               his
               Behaviour
               to
               poor
               Domenichino
               ,
               affecting
               generally
               something
               very
               terrible
               and
               frightful
               in
               his
               Pieces
               ,
               such
               as
               
                 Prometheus
                 with
                 the
                 Vulture
                 feeding
                 upon
                 his
                 Liver
                 ,
              
               Cato
               Uticensis
               
                 weltering
                 in
                 his
                 own
                 Bloud
                 ,
                 St.
              
               Bartholomew
               
                 with
                 the
                 Skin
                 flea'd
                 off
                 from
                 his
                 Body
                 ,
              
               &c.
               
               But
               however
               in
               all
               his
               
                 Compositions
                 ,
                 Nature
              
               was
               imitated
               with
               so
               much
               Art
               and
               Iudgment
               ,
               that
               a
               certain
               
                 Lady
                 big
                 with
                 Child
              
               ,
               having
               accidentally
               cast
               her
               Eyes
               upon
               an
               Ixion
               ,
               whom
               he
               had
               represented
               
                 in
                 Torture
                 upon
                 the
                 Wheel
              
               ,
               receiv'd
               such
               an
               Impression
               from
               it
               ,
               that
               she
               brought
               forth
               an
               Infant
               with
               Fingers
               distorted
               just
               like
               those
               in
               his
               Picture
               .
               His
               usual
               abode
               was
               at
               Naples
               ,
               where
               he
               liv'd
               very
               splendidly
               ,
               being
               much
               in
               favour
               with
               the
               Viceroy
               his
               Countryman
               ,
               and
               in
               
               great
               Reputation
               for
               his
               Works
               in
               Painting
               ,
               and
               for
               several
               Prints
               etch'd
               by
               his
               own
               hand
               .
            
             
               
                 GIOVANNI
                 LANFRANCO
              
               ,
               born
               at
               
                 Parma
                 ,
                 Anno
              
               1581
               ,
               
               was
               a
               Disciple
               of
               the
               Carraches
               ,
               and
               besides
               a
               zealous
               Imitator
               of
               the
               Works
               of
               Raphael
               and
               Correggio
               .
               His
               character
               see
               pag.
               224.
               
               He
               was
               highly
               applauded
               at
               Naples
               for
               several
               excellent
               Pieces
               which
               he
               wrought
               there
               ,
               and
               was
               so
               much
               esteem'd
               in
               Rome
               ,
               that
               for
               his
               Performances
               in
               the
               Vatican
               he
               was
               Knighted
               by
               Pope
               Urban
               VIII
               .
               He
               died
               Anno
               1647.
               
               
            
             
               
                 SISTO
                 BADALOCCHI
              
               his
               Fellow-disciple
               ,
               was
               of
               Parma
               also
               ,
               and
               by
               the
               Instructions
               of
               the
               Carraches
               at
               Rome
               ,
               became
               one
               of
               the
               best
               Designers
               of
               that
               School
               .
               He
               had
               also
               many
               other
               commendable
               Qualities
               ,
               and
               particularly
               Facility
               ,
               but
               wanted
               Diligence
               .
               He
               joyn'd
               with
               his
               Countryman
               Lanfranco
               in
               etching
               the
               Histories
               of
               the
               Bible
               ,
               after
               the
               Paintings
               of
               Raphael
               ,
               in
               the
               Vatican
               ,
               which
               they
               dedicated
               to
               Hannibal
               their
               Master
               .
               He
               practised
               mostly
               at
               Bologna
               ,
               where
               he
               died
               Young.
               
            
             
               
                 SIMON
                 VOUET
              
               ,
               born
               at
               
                 Paris
                 ,
                 Anno
              
               1582
               ,
               
               was
               bred
               up
               to
               Painting
               under
               his
               Father
               ,
               and
               
               carry'd
               very
               young
               to
               Constantinople
               by
               the
               French
               Embassador
               ,
               to
               draw
               the
               Picture
               of
               the
               
                 Grand
                 Signior
              
               ,
               which
               he
               did
               by
               strength
               of
               Memory
               onely
               .
               From
               thence
               he
               went
               to
               Venice
               ,
               and
               afterwards
               settling
               himself
               at
               Rome
               ,
               made
               so
               considerable
               a
               Progress
               in
               his
               Art
               ,
               that
               besides
               the
               Favours
               which
               he
               receiv'd
               from
               Pope
               Urban
               VIII
               .
               and
               the
               Cardinal
               his
               Nephew
               ,
               he
               was
               chosen
               Prince
               of
               the
               
                 Roman
                 Academy
                 of
                 St.
              
               Luke
               .
               He
               was
               sent
               for
               home
               Anno
               1627
               ,
               by
               the
               order
               of
               Lewis
               XIII
               .
               whom
               he
               serv'd
               in
               the
               quality
               of
               his
               
                 chief
                 Painter
              
               .
               He
               practised
               both
               in
               Portraits
               and
               Histories
               ,
               and
               furnish'd
               some
               of
               the
               Apartments
               of
               the
               Louvre
               ,
               the
               Palaces
               of
               Luxemburgh
               and
               St.
               Germains
               ,
               the
               Galleries
               of
               Cardinal
               Richlieu
               and
               other
               public
               places
               with
               his
               Works
               .
               His
               greatest
               Perfection
               was
               in
               his
               
                 agreeable
                 Colouring
              
               ,
               and
               his
               brisk
               and
               
                 lively
                 Pencil
              
               ,
               being
               otherwise
               but
               very
               indifferently
               qualify'd
               ;
               he
               had
               no
               Genius
               for
               
                 grand
                 Compositions
              
               ,
               was
               unhappy
               in
               his
               
                 Invention
                 ,
                 unacquainted
              
               with
               the
               Rules
               of
               Perspective
               ,
               and
               understood
               but
               little
               of
               the
               Union
               of
               Colours
               ,
               or
               the
               Doctrine
               of
               Lights
               and
               Shadows
               :
               yet
               nevertheless
               he
               brought
               up
               several
               eminent
               Scholars
               ,
               amongst
               whom
               ,
               was
               
                 CHARLES
                 ALFONSE
                 du
                 FRESNOY
                 ,
                 Author
              
               of
               the
               preceding
               Poem
               .
               But
               his
               chief
               Disciple
               was
               the
               KING
               himself
               ,
               whom
               he
               had
               the
               Honour
               to
               instruct
               in
               the
               Art
               of
               Designing
               .
               He
               died
               An.
               1641.
               
               
            
             
             
               
                 PIETER
                 van
                 LAER
              
               ,
               commonly
               call'd
               BAMBO●●CIO
               ,
               or
               the
               Beggar-painter
               ,
               was
               born
               in
               the
               City
               of
               
                 Haerlem
                 ,
                 Anno
              
               1584
               :
               
               and
               after
               he
               had
               laid
               a
               good
               Foundation
               in
               Drawing
               and
               Perspective
               at
               home
               ,
               went
               to
               France
               ,
               and
               from
               thence
               to
               Rome
               ;
               where
               by
               his
               earnest
               application
               to
               Study
               ,
               for
               sixteen
               years
               together
               ,
               he
               arriv'd
               to
               great
               Perfection
               in
               
                 Histories
                 ,
                 Landtschapes
                 ,
                 Grottos
                 ,
                 Huntings
                 ,
              
               &c.
               with
               little
               Figures
               and
               Animals
               .
               He
               had
               an
               admirable
               Gusto
               in
               Colouring
               ,
               was
               very
               judicious
               in
               the
               ordering
               of
               his
               Pieces
               ,
               nicely
               just
               in
               his
               Proportions
               ,
               and
               onely
               to
               be
               blam'd
               ,
               for
               that
               he
               generally
               affected
               to
               represent
               Nature
               in
               her
               worst
               Dress
               ,
               and
               follow'd
               the
               Life
               too
               close
               ,
               in
               most
               of
               his
               Compositions
               .
               He
               return'd
               to
               
                 Amsterdam
                 ,
                 Anno
              
               1639
               ,
               and
               after
               a
               short
               stay
               there
               ,
               spent
               the
               Remainder
               of
               his
               days
               with
               his
               Brother
               ,
               a
               noted
               School-master
               in
               Haerlem
               .
               He
               was
               a
               Person
               very
               serious
               and
               contemplative
               in
               his
               humour
               ,
               took
               Pleasure
               in
               nothing
               but
               Painting
               and
               Music
               :
               and
               by
               indulging
               himself
               too
               much
               in
               a
               
                 melancholy
                 Retirement
              
               ,
               is
               said
               to
               have
               shorten'd
               his
               
                 Life
                 ,
                 Anno
              
               1644.
               
               
            
             
               
                 CORNELIUS
                 POELENBURCH
              
               ,
               born
               at
               
                 Utrecht
                 ,
                 Anno
              
               1590
               ,
               
               was
               a
               Disciple
               of
               
                 Abraham
                 Blomaert
              
               ,
               and
               afterwards
               for
               a
               long
               time
               ,
               a
               Student
               
               in
               Rome
               and
               Florence
               .
               His
               Talent
               lay
               altogether
               in
               
                 small
                 Figures
                 ,
                 naked
                 Boys
                 ,
                 Landtschapes
                 ,
                 Ruins
                 ,
              
               &c.
               which
               he
               express'd
               with
               a
               Pencil
               agreeable
               enough
               ,
               as
               to
               the
               Colouring
               part
               ,
               but
               generally
               attended
               with
               a
               little
               stiffness
               ,
               the
               (
               almost
               )
               
                 inseparable
                 Companion
              
               of
               much
               Labour
               and
               Neatness
               .
               He
               came
               over
               into
               
                 England
                 ,
                 Anno
              
               1637
               ;
               and
               after
               he
               had
               continu'd
               here
               four
               years
               ,
               and
               had
               been
               handsomly
               rewarded
               by
               K.
               Charles
               I.
               for
               several
               Pieces
               which
               he
               wrought
               for
               him
               ,
               retir'd
               into
               his
               
                 own
                 Country
              
               ,
               and
               died
               Anno
               1667.
               
               
            
             
               
                 Cavalier
                 GIO.
                 FRANCESCO
                 BARBIERI
                 da
                 CENTO
                 ,
              
               commonly
               call'd
               GUERCINO
               ,
               (
               because
               of
               a
               Cast
               which
               he
               had
               with
               his
               Eyes
               )
               was
               born
               near
               
                 Bologna
                 ,
                 Anno
              
               1590
               ,
               
               and
               bred
               up
               under
               
                 Benedetto
                 Gennari
              
               his
               Country-man
               :
               by
               whose
               Instructions
               ,
               and
               the
               Dictates
               of
               his
               own
               excellent
               Genius
               ,
               he
               soon
               learnt
               to
               
                 design
                 gracefully
              
               and
               with
               Correctness
               ;
               and
               by
               conversing
               afterwards
               with
               the
               Works
               of
               
                 Michael
                 Angelo
                 da
                 Caravaggio
              
               ,
               became
               an
               admirable
               Colourist
               ,
               and
               besides
               ,
               very
               famous
               for
               his
               
                 happy
                 Invention
              
               and
               Freedom
               of
               Pencil
               ,
               and
               for
               the
               
                 Strength
                 ,
                 Relievo
              
               ,
               and
               becoming
               Boldness
               of
               his
               Figures
               .
               He
               began
               ,
               in
               the
               Declension
               of
               his
               Age
               ,
               to
               alter
               his
               Style
               in
               Painting
               :
               and
               (
               to
               please
               the
               
                 unthinking
                 Multitude
              
               )
               took
               up
               another
               
               manner
               more
               
                 gay
                 ,
                 neat
              
               and
               pleasant
               ,
               but
               by
               no
               means
               so
               great
               and
               noble
               as
               his
               former
               Gusto
               .
               He
               compos'd
               several
               considerable
               Pieces
               in
               Rome
               :
               but
               the
               greatest
               number
               of
               his
               Performances
               is
               in
               ,
               and
               about
               Bologna
               ,
               where
               he
               died
               ,
               Anno
               1666
               ,
               
               very
               rich
               ,
               and
               highly
               commended
               for
               his
               extraordinary
               
                 Piety
                 ,
                 Prudence
              
               and
               Morality
               .
            
             
               
                 NICOLO
                 PUSSINO
              
               ,
               the
               
                 French
                 Raphael
              
               ,
               was
               the
               Descendent
               of
               a
               
                 noble
                 Family
              
               in
               Picardy
               ,
               but
               born
               at
               Andely
               ,
               a
               Town
               in
               
                 Normandy
                 ,
                 Anno
              
               1594.
               
               
               He
               was
               season'd
               in
               Literature
               at
               home
               ,
               instructed
               in
               the
               Rudiments
               of
               Design
               at
               Paris
               ,
               learnt
               the
               Principles
               of
               
                 Geometry
                 ,
                 Perspective
              
               and
               Anatomy
               at
               Rome
               ,
               practised
               after
               the
               Life
               in
               the
               Academy
               of
               Domenichino
               ,
               and
               study'd
               the
               Antiquities
               in
               company
               with
               the
               famous
               
                 Sculptor
                 Francesco
                 Fiammingo
              
               ,
               who
               was
               born
               in
               the
               same
               year
               ,
               and
               lodg'd
               in
               the
               same
               house
               with
               him
               .
               His
               way
               ,
               for
               the
               most
               part
               ,
               was
               in
               Histories
               ,
               with
               Figures
               about
               two
               or
               
                 three
                 feet
              
               high
               ;
               and
               his
               Colouring
               inclin'd
               rather
               to
               the
               Antique
               than
               to
               Nature
               :
               but
               in
               all
               the
               other
               parts
               of
               Painting
               ,
               he
               was
               profoundly
               excellent
               ;
               and
               particularly
               the
               Beauty
               of
               his
               Genius
               appear'd
               in
               his
               nice
               and
               
                 judicious
                 Observation
              
               of
               the
               Decorum
               in
               his
               Compositions
               ,
               and
               in
               expressing
               the
               Passions
               and
               Affections
               with
               such
               incomparable
               skill
               ,
               that
               all
               
               his
               Pieces
               seem
               to
               have
               the
               very
               Spirit
               of
               the
               Action
               ,
               and
               the
               Life
               and
               Soul
               of
               the
               Persons
               whom
               they
               represent
               .
               He
               had
               not
               been
               in
               Rome
               above
               sixteen
               years
               ,
               before
               his
               Name
               became
               so
               universally
               celebrated
               ,
               that
               Cardinal
               Richlieu
               resolving
               to
               advance
               the
               
                 noble
                 Arts
              
               in
               France
               ,
               prevail'd
               upon
               him
               (
               by
               means
               of
               an
               obliging
               Letter
               ,
               written
               to
               him
               by
               Lewis
               XIII
               .
               himself
               ,
               Anno
               1639
               )
               to
               return
               to
               his
               own
               Country
               :
               where
               he
               was
               receiv'd
               with
               all
               possible
               demonstrations
               of
               Esteem
               ,
               was
               declar'd
               
                 First
                 Painter
              
               to
               the
               King
               ,
               had
               a
               considerable
               Pension
               appointed
               him
               ,
               was
               imploy'd
               in
               several
               
                 public
                 Works
              
               ,
               and
               at
               last
               undertook
               to
               paint
               the
               
                 Grand
                 Gallery
              
               of
               the
               Louvre
               .
               But
               the
               King
               and
               Cardinal
               both
               dying
               in
               the
               time
               that
               he
               went
               back
               to
               settle
               his
               affairs
               in
               Italy
               ,
               and
               bring
               his
               Family
               from
               thence
               ;
               he
               quite
               laid
               aside
               the
               Thoughts
               of
               returning
               any
               more
               to
               France
               ,
               and
               ended
               his
               days
               in
               
                 Rome
                 ,
                 Anno
              
               1665
               :
               
               having
               for
               some
               years
               before
               his
               Decease
               ,
               been
               so
               much
               subject
               to
               the
               Palsie
               ,
               that
               the
               effects
               of
               his
               
                 unsteddy
                 Hand
              
               are
               visible
               in
               several
               of
               his
               Designs
               .
            
             
               
                 PIETRO
                 TESTA
              
               ,
               his
               Contemporary
               ,
               was
               a
               Native
               of
               Lucca
               ,
               a
               City
               in
               the
               Dukedom
               of
               Florence
               ,
               and
               so
               miserably
               poor
               upon
               his
               first
               arrival
               at
               Rome
               ,
               that
               he
               was
               forc'd
               to
               make
               the
               public
               
               Streets
               his
               School
               ,
               and
               the
               
                 Statues
                 ,
                 Buildings
                 ,
                 Ruins
              
               ,
               &c.
               the
               Lessons
               which
               he
               studied
               .
               He
               was
               a
               Man
               of
               a
               
                 quick
                 Head
              
               ,
               a
               
                 ready
                 Hand
              
               ,
               and
               a
               
                 lively
                 Spirit
              
               in
               most
               of
               his
               Performances
               :
               but
               yet
               for
               want
               of
               Science
               ,
               and
               good
               Rules
               to
               cultivate
               and
               strengthen
               his
               Genius
               ,
               all
               those
               hopeful
               Qualities
               soon
               ran
               to
               Weeds
               ,
               and
               produced
               little
               else
               but
               
                 Monsters
                 ,
                 Chimeras
              
               ,
               and
               such
               like
               wild
               and
               extravagant
               
                 Fancies
                 :
                 Vid.
                 pag.
              
               102.
               
               He
               attempted
               very
               often
               to
               make
               himself
               perfect
               in
               the
               Art
               of
               Colouring
               ,
               but
               never
               had
               any
               Success
               that
               way
               ;
               and
               indeed
               was
               onely
               tolerable
               in
               his
               Drawings
               ,
               and
               the
               Prints
               which
               he
               etch'd
               .
               He
               was
               drown'd
               (
               as
               't
               is
               generally
               reported
               )
               in
               the
               Tyber
               ,
               having
               accidentally
               fall'n
               off
               from
               the
               Bank
               ,
               as
               he
               was
               endeavouring
               to
               regain
               his
               Hat
               ,
               which
               the
               Wind
               had
               blown
               into
               the
               Water
               .
            
             
               
                 Sir
                 ANTHONY
                 VAN
                 DYCK
              
               ,
               was
               born
               at
               
                 Antwerp
                 ,
                 Anno
              
               1599
               ,
               
               and
               gave
               such
               early
               proofs
               of
               his
               most
               excellent
               Endowments
               ,
               that
               Rubens
               his
               Master
               ,
               fearing
               he
               would
               become
               as
               Universal
               as
               himself
               ,
               to
               divert
               him
               from
               Histories
               ,
               us'd
               to
               commend
               his
               Talent
               in
               
                 Painting
                 after
                 the
                 Life
              
               ,
               and
               took
               such
               care
               to
               keep
               him
               continually
               imploy'd
               in
               business
               of
               that
               Nature
               ,
               that
               he
               resolv'd
               at
               last
               to
               make
               it
               his
               
                 principal
                 study
              
               ;
               and
               for
               his
               Improvement
               
               went
               to
               Venice
               ,
               where
               he
               attain'd
               the
               beautiful
               Colouring
               of
               
                 Titian
                 ,
                 Paulo
                 Veronese
              
               ,
               &c.
               
               And
               after
               a
               few
               years
               spent
               in
               
                 Rome
                 ,
                 Genoua
              
               and
               Sicily
               ,
               return'd
               home
               to
               Flanders
               with
               a
               manner
               of
               Painting
               ,
               so
               
                 noble
                 ,
                 natural
              
               ,
               and
               easie
               ,
               that
               Titian
               himself
               was
               hardly
               his
               Superior
               ,
               and
               no
               other
               Master
               in
               the
               world
               equal
               to
               him
               for
               Portraits
               .
               He
               came
               over
               into
               England
               soon
               after
               Rubens
               had
               left
               it
               ,
               and
               was
               entertain'd
               in
               the
               Service
               of
               King
               
                 Charles
                 I.
              
               who
               conceiv'd
               a
               marvellous
               esteem
               for
               his
               Works
               ,
               honour'd
               him
               with
               
                 Knight
                 hood
              
               ,
               presented
               him
               with
               his
               own
               Picture
               set
               round
               with
               Diamonds
               ,
               assign'd
               him
               a
               considerable
               Pension
               ,
               sate
               very
               often
               to
               him
               for
               his
               Portrait
               ,
               and
               was
               followed
               by
               most
               of
               the
               Nobility
               and
               principal
               Gentry
               of
               the
               Kingdom
               .
               He
               was
               a
               person
               low
               of
               stature
               ,
               but
               well-proportion'd
               ;
               very
               
                 handsome
                 ,
                 modest
              
               ,
               and
               extremely
               obliging
               ;
               a
               great
               Encourager
               of
               all
               such
               as
               excell'd
               in
               any
               Art
               or
               Science
               ,
               and
               Generous
               to
               the
               very
               last
               degree
               .
               He
               marry'd
               one
               of
               the
               fairest
               Ladies
               of
               the
               
                 English
                 Court
              
               ,
               Daughter
               of
               the
               Lord
               Ruthen
               Earl
               of
               Gowry
               ,
               and
               liv'd
               in
               State
               and
               Grandeur
               answerable
               to
               her
               Birth
               :
               His
               own
               Garb
               was
               generally
               very
               rich
               ,
               his
               Coaches
               and
               Equippage
               magnificent
               ,
               his
               Retinue
               numerous
               and
               gallant
               ,
               his
               Table
               very
               splendid
               ,
               and
               so
               much
               frequented
               by
               People
               of
               the
               best
               Quality
               of
               both
               Sexes
               ,
               that
               his
               
               Apartments
               seem'd
               rather
               to
               be
               the
               Court
               of
               some
               Prince
               ,
               than
               the
               Lodgings
               of
               a
               Painter
               .
               He
               grew
               weary
               ,
               towards
               the
               latter
               end
               of
               his
               Life
               ,
               of
               the
               continu'd
               trouble
               that
               attended
               Face-Painting
               ;
               and
               being
               desirous
               of
               immortalizing
               his
               Name
               by
               some
               more
               glorious
               Undertaking
               ,
               went
               to
               Paris
               in
               hopes
               of
               being
               imploy'd
               in
               the
               
                 Grand
                 Gallery
              
               of
               the
               Louvre
               ;
               but
               not
               succeeding
               there
               ,
               he
               return'd
               hither
               ,
               and
               propos'd
               to
               the
               King
               (
               by
               his
               Friend
               Sir
               
                 Kenelm
                 Digby
              
               )
               to
               make
               Cartoons
               for
               the
               
                 Banqueting
                 house
              
               at
               White-hall
               :
               the
               subject
               of
               which
               was
               to
               have
               been
               the
               Institution
               of
               the
               
                 Order
                 of
                 the
                 Garter
              
               ,
               the
               Procession
               of
               the
               Knights
               in
               their
               Habits
               ,
               with
               the
               Ceremony
               of
               their
               Installment
               ,
               and
               St.
               
                 Georges
                 Feast
              
               .
               But
               his
               Demands
               of
               
                 fourscore
                 thousand
                 pounds
              
               ,
               being
               thought
               unreasonable
               ,
               whilst
               the
               King
               was
               upon
               treating
               with
               him
               for
               a
               less
               Summ
               ,
               the
               Gout
               and
               other
               Distempers
               put
               an
               end
               to
               that
               Affair
               and
               his
               
                 Life
                 ,
                 Anno
              
               1641
               ;
               
               and
               his
               Body
               was
               interr'd
               in
               St.
               Pauls
               Church
               .
               See
               farther
               ,
               pag.
               226.
               
               And
               note
               ,
               that
               amongst
               the
               Portraits
               of
               
                 Illustrious
                 Persons
              
               ,
               &c.
               printed
               and
               publish'd
               by
               the
               particular
               directions
               of
               this
               Master
               ,
               some
               were
               etch'd
               in
               Aqua-fortis
               by
               
                 Van
                 Dyck
              
               himself
               .
            
             
               
                 BENEDETTO
                 CASTIGLIONE
              
               ,
               a
               Genouese
               ,
               was
               at
               first
               a
               Disciple
               of
               
                 Battista
                 Paggi
              
               and
               Ferrari
               
               his
               Countrymen
               ;
               improv'd
               himself
               afterwards
               by
               the
               instructions
               of
               
                 Van
                 Dyck
              
               (
               as
               long
               as
               he
               continu'd
               in
               Genoua
               )
               and
               at
               last
               became
               an
               Imitator
               of
               the
               Manner
               of
               
                 Nicolo
                 Poussin
              
               .
               He
               was
               commended
               for
               several
               very
               good
               Prints
               of
               his
               own
               etching
               :
               but
               in
               Painting
               his
               Inclinations
               led
               him
               to
               Figures
               ,
               with
               Landtschapes
               and
               Animals
               ;
               which
               he
               touch'd
               up
               with
               a
               great
               deal
               of
               Life
               and
               Spirit
               ,
               and
               was
               particularly
               remarkable
               for
               a
               
                 brisk
                 Pencil
              
               ,
               and
               a
               
                 free
                 handling
              
               in
               all
               his
               Compositions
               .
               He
               was
               a
               Person
               very
               unsettled
               in
               his
               Temper
               ,
               and
               never
               lov'd
               to
               stay
               long
               in
               one
               place
               :
               but
               being
               continually
               upon
               the
               ramble
               ,
               his
               Works
               lie
               scatter'd
               up
               and
               down
               in
               
                 Genoua
                 ,
                 Rome
                 ,
                 Naples
                 ,
                 Venice
                 ,
                 Parma
                 ,
              
               and
               Mantoua
               ,
               where
               he
               died
               .
            
             
               
                 VIVIANO
                 CODAZZO
              
               ,
               generally
               call'd
               VIVIANO
               delle
               PROSPETTIVE
               ,
               was
               born
               at
               Bergamo
               in
               the
               Venetian
               Territories
               ,
               Anno
               1599
               :
               
               and
               by
               the
               Instructions
               of
               
                 Augustino
                 Tasso
              
               his
               Master
               ,
               arriv'd
               to
               a
               most
               excellent
               manner
               of
               painting
               
                 Buildings
                 ,
                 Ruins
              
               ,
               &c.
               
               His
               ordinary
               Residence
               was
               at
               Rome
               ,
               where
               he
               died
               ,
               Anno
               1674
               ,
               
               and
               was
               bury'd
               in
               the
               Church
               of
               S.
               Lorenzo
               in
               Lucina
               .
               He
               had
               a
               Son
               call'd
               Nicolo
               ,
               who
               pursu'd
               his
               Fathers
               steps
               ,
               and
               died
               at
               Genoua
               ,
               in
               great
               Reputation
               for
               his
               Performances
               in
               Perspective
               .
            
             
             
               
                 MARIO
                 NUZZI
              
               ,
               
               commonly
               call'd
               
                 MARIO
                 de'
                 
                 FIORI
              
               ,
               born
               at
               Orta
               in
               the
               
                 Terra
                 di
                 Sabina
              
               ,
               was
               a
               Disciple
               of
               his
               Uncle
               
                 Tomaso
                 Salini
              
               ,
               and
               one
               of
               the
               most
               famous
               Masters
               in
               his
               time
               for
               painting
               Flowers
               .
               He
               died
               in
               Rome
               ,
               (
               where
               he
               had
               spent
               great
               part
               of
               his
               Life
               )
               and
               was
               also
               bury'd
               in
               S.
               Lorenzos
               Church
               ,
               Anno
               1672.
               
               
            
             
               
                 MICHELANGELO
                 CERQUOZZI
              
               ,
               was
               born
               in
               
                 Rome
                 ,
                 Anno
              
               1600
               ,
               
               and
               bred
               up
               in
               the
               
                 School
                 ▪
              
               of
               
                 Antonio
                 Salvatti
              
               ,
               a
               Bolognese
               .
               He
               was
               call'd
               
                 delle
                 BATTAGLIE
              
               ,
               from
               his
               excellent
               Talent
               in
               Battels
               ;
               but
               besides
               his
               great
               skill
               in
               that
               particular
               Subject
               ,
               he
               was
               very
               Successful
               in
               all
               sorts
               of
               Figures
               ,
               and
               painted
               Fruit
               incomparably
               beyond
               any
               Master
               in
               Europe
               .
               He
               was
               bury'd
               in
               the
               Choire
               of
               S.
               Maries
               Church
               in
               
                 Rome
                 ,
                 Anno
              
               1660.
               
               
            
             
               
                 CLAUDIO
                 GILLE
              
               of
               LORAIN
               ,
               born
               Anno
               1600
               ,
               
               was
               by
               his
               Parents
               sent
               very
               young
               to
               Rome
               ;
               and
               after
               he
               had
               been
               grounded
               in
               the
               Elements
               of
               Design
               ,
               and
               the
               Rules
               of
               Perspective
               ,
               under
               
                 Augustino
                 Tasso
              
               ,
               he
               remov'd
               his
               Study
               to
               the
               Banks
               of
               the
               Tyber
               ,
               and
               into
               the
               
                 open
                 Fields
              
               ,
               took
               all
               his
               Lessons
               from
               Nature
               her self
               ,
               and
               by
               many
               years
               diligent
               Imitation
               of
               that
               excellent
               Mistress
               ,
               climb'd
               up
               to
               the
               highest
               step
               of
               Perfection
               in
               
               
                 Landtschape
                 painting
              
               :
               and
               was
               universally
               admir'd
               for
               his
               pleasant
               and
               most
               
                 agreeable
                 Invention
              
               ;
               for
               the
               delicacy
               of
               his
               Colouring
               ,
               and
               the
               charming
               variety
               and
               tenderness
               of
               his
               Tints
               ;
               for
               his
               
                 artful
                 Distribution
              
               of
               the
               Lights
               and
               Shadows
               ;
               and
               for
               his
               wonderful
               Conduct
               ,
               in
               disposing
               his
               Figures
               for
               the
               advantage
               and
               Harmony
               of
               his
               Compositions
               .
               He
               was
               much
               commended
               for
               several
               of
               his
               Performances
               in
               Fresco
               as
               well
               as
               Oyl
               ,
               was
               imploy'd
               by
               Pope
               Urban
               VIII
               .
               and
               many
               of
               the
               Italian
               Princes
               in
               adorning
               their
               Palaces
               :
               and
               having
               by
               his
               Pencil
               made
               his
               
                 Name
                 famous
              
               throughout
               Europe
               ,
               died
               An.
               1682
               ,
               
               and
               was
               interr'd
               in
               the
               Church
               of
               
                 Trinita
                 de
                 Monti
              
               ,
               in
               Rome
               .
            
             
               
                 GASPARO
                 DUGHET
              
               ,
               was
               of
               French
               Extraction
               ,
               but
               born
               in
               
                 Rome
                 ,
                 Anno
              
               1600.
               
               
               He
               took
               to
               himself
               the
               name
               of
               POUSSIN
               ,
               in
               gratitude
               for
               many
               Favours
               ,
               and
               particularly
               that
               of
               his
               Education
               ,
               which
               he
               receiv'd
               from
               
                 Nicolo
                 Poussin
              
               ,
               who
               married
               his
               Sister
               .
               His
               first
               Imployment
               under
               his
               Brother-in-Law
               ,
               was
               in
               looking
               after
               his
               
                 Colours
                 ,
                 Pencil
              
               ,
               &c.
               but
               his
               excellent
               Genius
               for
               Painting
               soon
               discovering
               it self
               ,
               by
               his
               own
               Industry
               and
               his
               Brothers
               Instructions
               was
               so
               well
               improv'd
               ,
               that
               in
               Landtschapes
               (
               which
               he
               principally
               studied
               )
               he
               became
               one
               of
               the
               greatest
               Masters
               
               in
               his
               Age
               ;
               and
               was
               much
               in
               request
               ,
               for
               his
               
                 easie
                 Invention
                 ,
                 solid
                 Iudgment
                 ,
                 regular
                 Disposition
                 ,
              
               and
               
                 true
                 Resemblance
                 of
                 Nature
              
               in
               all
               his
               Works
               .
               He
               died
               in
               his
               great
               
                 Climacterical
                 year
              
               1663
               ,
               and
               was
               bury'd
               in
               his
               Parish-Church
               of
               
                 S.
                 Susanna
              
               ,
               
               in
               Rome
               .
            
             
               In
               his
               time
               ,
               liv'd
               and
               flourish'd
               
                 ANDREA
                 SACCHI
              
               ,
               a
               celebrated
               
                 Roman
                 Master
              
               ,
               highly
               extoll'd
               for
               his
               general
               Accomplishments
               in
               all
               the
               parts
               of
               Painting
               ;
               but
               more
               particularly
               eminent
               for
               his
               extraordinary
               skill
               in
               the
               Elegance
               of
               Design
               ,
               the
               Harmony
               of
               Order
               ,
               and
               the
               Beauty
               of
               Colouring
               .
            
             
               His
               
                 Competitor
                 PIETRO
                 BERETTINI
                 da
                 CORTONA
              
               ,
               was
               also
               of
               great
               consideration
               in
               this
               time
               ;
               and
               much
               applauded
               for
               his
               magnificent
               Works
               in
               several
               of
               the
               Churches
               and
               Palaces
               of
               Rome
               and
               Florence
               .
               He
               excell'd
               both
               in
               Fresco
               and
               Oyl
               ,
               was
               profoundly
               read
               in
               the
               Antiquities
               ,
               had
               a
               noble
               and
               
                 rich
                 Imagination
              
               ,
               and
               a
               Genius
               far
               beyond
               any
               of
               his
               Contemporaries
               ,
               for
               Ornaments
               and
               
                 grand
                 Historical
                 Compositions
              
               .
               He
               was
               very
               well
               esteem'd
               by
               Pope
               Urban
               VIII
               .
               Innocent
               X.
               and
               most
               of
               the
               Persons
               of
               the
               
                 first
                 Rank
              
               in
               Italy
               .
            
             
             
               
                 GEERART
                 DOV
              
               ,
               born
               at
               Leyden
               ,
               about
               the
               year
               1607
               ,
               
               was
               a
               Disciple
               of
               Rembrandt
               ,
               but
               much
               pleasanter
               in
               his
               Style
               of
               Painting
               ,
               and
               superior
               to
               him
               in
               
                 little
                 Figures
              
               .
               He
               was
               esteem'd
               in
               Holland
               the
               best
               Master
               in
               his
               way
               :
               and
               tho'
               we
               must
               not
               expect
               to
               find
               in
               his
               works
               that
               Elevation
               of
               Thought
               ,
               that
               Correctness
               of
               Design
               ,
               or
               that
               
                 noble
                 Spirit
              
               ,
               and
               
                 grand
                 Gusto
              
               ,
               in
               which
               the
               Italians
               have
               distinguish'd
               themselves
               from
               the
               rest
               of
               Mankind
               ;
               yet
               it
               must
               be
               acknowledg'd
               ,
               that
               in
               the
               Management
               of
               his
               Pencil
               ,
               and
               the
               Choice
               and
               Beauty
               of
               his
               Colours
               ,
               he
               has
               been
               curious
               to
               the
               last
               degree
               ;
               and
               in
               finishing
               his
               
                 Pieces
                 ,
                 laborious
              
               and
               patient
               beyond
               example
               .
               He
               died
               
                 circa
                 Annum
              
               1674
               ,
               
               leaving
               behind
               him
               many
               Scholars
               ,
               of
               whom
               MIERIS
               the
               chief
               ,
               was
               in
               several
               respects
               equal
               to
               his
               Master
               .
               But
               for
               the
               rest
               of
               his
               Imitators
               ,
               generally
               speaking
               ,
               we
               may
               place
               them
               in
               the
               same
               Form
               with
               the
               
                 cunning
                 Fools
              
               ,
               mention'd
               pag.
               133.
               
            
             
               
                 ADRIAEN
                 BROUWER
              
               was
               born
               in
               the
               City
               of
               
                 Haerlem
                 ,
                 Anno
              
               1608
               ;
               
               and
               besides
               his
               great
               Obligations
               to
               Nature
               ,
               was
               very
               much
               beholden
               to
               
                 Frans
                 Hals
              
               ,
               who
               took
               him
               from
               begging
               in
               the
               Streets
               ,
               and
               instructed
               him
               in
               the
               Rudiments
               of
               Painting
               ;
               And
               to
               make
               him
               amends
               for
               his
               kindness
               ,
               Brouwer
               ,
               when
               he
               found
               himself
               sufficiently
               
               qualified
               to
               get
               a
               Livelyhood
               ,
               ran
               away
               from
               his
               Master
               into
               France
               ,
               and
               after
               a
               short
               stay
               there
               ,
               return'd
               ,
               and
               settled
               at
               
                 Antwerp
                 .
                 Humour
              
               was
               his
               proper
               Sphere
               ,
               and
               it
               was
               in
               
                 little
                 Pieces
              
               that
               he
               us'd
               to
               represent
               Boors
               ,
               and
               others
               his
               
                 Pot●●
                 companions
                 ,
                 drinking
                 ,
                 smoking
              
               Tobacco
               ,
               
                 gaming
                 ,
                 fighting
              
               ,
               &c.
               with
               a
               Pencil
               so
               tender
               and
               free
               ,
               so
               much
               of
               Nature
               in
               his
               Expression
               ,
               such
               excellent
               Drawing
               in
               all
               the
               
                 particular
                 parts
              
               ,
               and
               good
               Keeping
               in
               the
               
                 whole
                 together
              
               ,
               that
               none
               of
               his
               Countrymen
               have
               ever
               been
               comparable
               to
               him
               in
               that
               Subject
               .
               He
               was
               extremely
               facetious
               and
               pleasant
               over
               his
               Cups
               ,
               scorn'd
               to
               work
               as
               long
               as
               he
               had
               any
               Money
               in
               his
               Pockets
               ,
               declar'd
               for
               a
               short
               Life
               and
               a
               merry
               one
               :
               and
               resolving
               to
               
                 ride
                 Post
              
               to
               his
               Grave
               ,
               by
               the
               help
               of
               Wine
               and
               Brandy
               ,
               got
               to
               his
               
                 Iourneys
                 end
                 ,
                 Anno
              
               1638
               ;
               so
               very
               poor
               ,
               that
               Contributions
               were
               rais'd
               to
               lay
               him
               privately
               in
               the
               Ground
               ,
               from
               whence
               he
               was
               soon
               after
               taken
               up
               ,
               and
               (
               as
               't
               is
               commonly
               said
               )
               very
               handsomely
               interr'd
               by
               Rubens
               ,
               
               who
               was
               a
               great
               Admirer
               of
               his
               happy
               Genius
               for
               Painting
               .
            
             
               
                 SAMUEL
                 COOPER
              
               ,
               born
               in
               
                 London
                 ,
                 Anno
              
               1609
               ,
               
               was
               bred
               up
               (
               together
               with
               his
               elder
               Brother
               Alexander
               )
               under
               the
               Care
               and
               Discipline
               of
               Mr.
               Hoskins
               his
               Uncle
               :
               but
               derived
               the
               most
               considerable
               
               advantages
               ,
               from
               the
               Observations
               which
               he
               made
               on
               the
               Works
               of
               
                 Van
                 Dyck.
              
               His
               Pencil
               was
               generally
               confin'd
               to
               a
               Head
               onely
               ;
               and
               indeed
               below
               
                 that
                 part
              
               he
               was
               not
               always
               so
               successful
               as
               could
               be
               wish'd
               :
               but
               for
               a
               Face
               ,
               and
               all
               the
               dependencies
               of
               it
               
                 (
                 Viz.
              
               )
               the
               graceful
               and
               
                 becoming
                 Air
              
               ,
               the
               
                 Strength
                 ,
                 Relievo
              
               and
               
                 noble
                 Spirit
              
               ,
               the
               Softness
               and
               
                 tender
                 liveliness
              
               of
               Flesh
               and
               Blood
               ,
               and
               the
               loose
               and
               
                 gentile
                 management
              
               of
               the
               Hair
               ,
               his
               Talent
               was
               so
               extraordinary
               ,
               that
               for
               the
               Honour
               of
               our
               Nation
               ,
               it
               may
               without
               Vanity
               be
               affirm'd
               ,
               he
               was
               (
               at
               least
               )
               equal
               to
               the
               most
               famous
               Italians
               ;
               and
               that
               hardly
               any
               of
               his
               Predecessors
               has
               ever
               been
               able
               to
               shew
               so
               much
               Perfection
               in
               so
               narrow
               a
               Compass
               .
               Answerable
               to
               his
               Abilities
               in
               this
               Art
               was
               his
               skill
               in
               Music
               :
               and
               he
               was
               reckon'd
               one
               of
               the
               best
               Lutenists
               ,
               as
               well
               as
               the
               most
               excellent
               Limner
               in
               his
               time
               .
               He
               spent
               several
               years
               of
               his
               Life
               abroad
               ,
               was
               personally
               acquainted
               with
               the
               greatest
               Men
               of
               
                 France
                 ,
                 Holland
              
               ,
               and
               his
               
                 own
                 Country
              
               ,
               and
               by
               his
               Works
               more
               universally
               known
               in
               all
               the
               pars
               of
               Christendom
               .
               He
               died
               Anno
               1672
               ,
               
               and
               lies
               bury'd
               in
               Pancras
               Church
               ,
               in
               the
               Fields
               .
            
             
               
                 WILLIAM
                 DOBSON
              
               ,
               
               a
               Gentleman
               descended
               of
               a
               Family
               very
               eminent
               (
               at
               that
               time
               )
               in
               St.
               Albans
               ,
               was
               born
               in
               St.
               Andrews
               Parish
               ,
               in
               
                 Holbourn
                 ,
                 
                 Anno
              
               1610.
               
               Who
               first
               instructed
               him
               in
               the
               use
               of
               his
               Pencil
               is
               uncertain
               :
               of
               this
               we
               are
               well
               assur'd
               ,
               that
               he
               was
               put
               out
               very
               early
               an
               Apprentice
               to
               one
               Mr.
               Peake
               ,
               a
               Stationer
               and
               
                 Trader
                 in
                 Pictures
              
               ;
               and
               that
               Nature
               ,
               his
               best
               Mistress
               ,
               inclin'd
               him
               so
               powerfully
               to
               the
               practice
               of
               
                 Painting
                 after
                 the
                 Life
              
               ,
               that
               had
               his
               Education
               been
               but
               answerable
               to
               his
               
                 Genius
                 ,
                 England
              
               might
               justly
               have
               been
               as
               proud
               of
               her
               Dobson
               ,
               as
               Venice
               of
               her
               Titian
               ,
               or
               Flanders
               of
               her
               
                 Van
                 Dyck.
              
               How
               much
               he
               was
               beholden
               to
               the
               latter
               of
               those
               
                 great
                 Men
              
               ,
               may
               easily
               be
               seen
               in
               all
               his
               Works
               ;
               no
               Painter
               having
               ever
               come
               up
               so
               near
               to
               the
               Perfection
               of
               that
               excellent
               Master
               ,
               as
               this
               his
               happy
               Imitator
               .
               He
               was
               also
               farther
               indebted
               to
               the
               Generosity
               of
               
                 Van
                 Dyck
              
               ,
               in
               presenting
               him
               to
               King
               Charles
               I.
               who
               took
               him
               into
               his
               immediate
               Protection
               ,
               kept
               him
               in
               Oxford
               all
               the
               while
               his
               Majesty
               continu'd
               in
               that
               City
               ;
               sat
               several
               times
               to
               him
               for
               his
               Picture
               ,
               and
               oblig'd
               the
               Prince
               of
               Wales
               ,
               Prince
               Rupert
               ,
               and
               most
               of
               the
               Lords
               of
               his
               Court
               to
               do
               the
               like
               .
               He
               was
               a
               
                 fair
                 ,
                 middle●●
                 siz'd
                 Man.
              
               of
               a
               
                 ready
                 Wit
              
               ,
               and
               
                 pleasing
                 Conversation
              
               ;
               was
               somewhat
               loose
               and
               irregular
               in
               his
               
                 way
                 of
                 Living
              
               ,
               and
               notwithstanding
               the
               many
               Opportunities
               which
               he
               had
               of
               making
               his
               Fortunes
               ,
               died
               very
               poor
               ,
               
               at
               his
               house
               in
               St.
               
                 Martins-lane
                 ,
                 Anno
              
               1647.
               
            
             
             
               
                 MICHAELANGELO
                 PACE
              
               ,
               born
               Anno
               1610
               ,
               
               and
               call'd
               
                 di
                 CAMPIDOGLIO
              
               (
               because
               of
               an
               Office
               which
               he
               had
               in
               the
               Capitol
               )
               was
               a
               Disciple
               of
               Fioravanti
               ,
               and
               very
               much
               esteem'd
               all
               over
               Italy
               ,
               for
               his
               admirable
               Talent
               in
               
                 painting
                 Fruit
              
               and
               the
               
                 still
                 Life
              
               .
               He
               died
               in
               
                 Rome
                 ,
                 Anno
              
               1670
               ,
               leaving
               behind
               him
               two
               Sons
               ;
               of
               whom
               
                 Gio.
                 Battista
              
               the
               eldest
               ,
               was
               brought
               up
               to
               
                 History
                 painting
              
               under
               
                 Francesco
                 Mola
              
               ,
               and
               is
               now
               in
               the
               Service
               of
               the
               King
               of
               Spain
               :
               But
               the
               other
               call'd
               Pietro
               ,
               died
               in
               his
               Prime
               ,
               and
               only
               liv'd
               just
               long
               enough
               to
               shew
               that
               a
               
                 few
                 years
              
               more
               would
               have
               made
               him
               one
               of
               the
               greatest
               Masters
               in
               the
               World.
               
               
            
             
               
                 SALVATOR
                 ROSA
              
               ,
               a
               Neapolitan
               ,
               born
               An.
               1614
               ,
               
               in
               both
               the
               Sister-Arts
               of
               Poesy
               and
               Painting
               ,
               was
               esteem'd
               one
               of
               the
               most
               excellent
               Masters
               that
               Italy
               has
               produc'd
               in
               this
               Century
               .
               In
               the
               first
               ,
               his
               Province
               was
               Satire
               ;
               in
               the
               latter
               ,
               
                 Landtschapes
                 ,
                 Battels
                 ,
                 Havens
              
               ,
               &c.
               with
               
                 little
                 Figures
              
               .
               He
               was
               a
               Disciple
               of
               
                 Daniele
                 Falconi
              
               his
               Countryman
               ,
               and
               Artist
               of
               good
               repute
               ;
               whose
               instructions
               he
               very
               much
               improv'd
               by
               his
               Study
               after
               the
               Antiquities
               ,
               and
               the
               Works
               of
               the
               most
               eminent
               Painters
               who
               went
               before
               him
               .
               He
               was
               fam'd
               for
               his
               copious
               and
               
                 florid
                 Invention
              
               ,
               for
               his
               
                 profound
                 Iudgment
              
               in
               the
               ordering
               of
               his
               Pieces
               ,
               for
               the
               gentile
               and
               
                 uncommon
                 
                 Management
              
               of
               his
               Figures
               ,
               and
               his
               
                 general
                 Knowledge
              
               in
               all
               the
               parts
               of
               Painting
               :
               But
               that
               which
               gave
               a
               more
               particular
               stamp
               to
               his
               Compositions
               ,
               was
               his
               
                 inimitable
                 Liberty
                 of
                 Pencil
              
               ,
               and
               the
               
                 noble
                 Spirit
              
               with
               which
               he
               animated
               all
               his
               
                 Works
                 .
                 Rome
              
               was
               the
               place
               where
               he
               spent
               the
               greatest
               part
               of
               his
               Life
               ;
               highly
               courted
               and
               admir'd
               by
               all
               the
               Men
               of
               Note
               and
               Quality
               ,
               and
               where
               he
               died
               Anno
               1673
               ;
               
               having
               etch'd
               abundance
               of
               valuable
               Prints
               with
               his
               own
               hand
               .
            
             
               
                 GIACOMO
                 CORTESI
              
               ,
               the
               famous
               Battel-painter
               ,
               commonly
               call'd
               The
               BORGOGNONE
               ,
               from
               the
               Country
               where
               he
               was
               born
               ,
               was
               the
               Contemporary
               of
               
                 Salvator
                 Rosa
              
               ,
               and
               equally
               applauded
               for
               his
               admirable
               Gusto
               ,
               and
               
                 grand
                 Manner
              
               of
               Painting
               .
               He
               had
               for
               several
               years
               been
               conversant
               in
               Military
               Affairs
               ,
               was
               a
               considerable
               Officer
               in
               the
               Army
               ,
               made
               the
               Camp
               his
               School
               ,
               and
               form'd
               all
               his
               excellent
               Ideas
               from
               what
               he
               had
               seen
               perform'd
               in
               the
               Field
               .
               His
               Style
               was
               
                 roughly
                 noble
              
               ,
               and
               (
               Souldier
               like
               )
               full
               of
               Fire
               and
               Spirit
               .
               He
               retir'd
               ,
               towards
               the
               latter
               end
               of
               his
               Life
               ,
               into
               the
               Convent
               of
               the
               Iesuits
               in
               Rome
               :
               where
               he
               was
               forc'd
               to
               take
               Sanctuary
               (
               as
               they
               say
               )
               to
               rid
               his
               hands
               of
               an
               ill
               Bargain
               ,
               which
               he
               had
               unhappily
               got
               in
               a
               Wife
               .
            
             
             
               
                 Sir
                 PETER
                 LELY
              
               was
               born
               Anno
               1617
               ,
               
               in
               Westphalia
               ,
               where
               his
               Father
               ,
               being
               a
               Captain
               ,
               happen'd
               to
               be
               then
               in
               Garrison
               .
               He
               was
               bred
               up
               for
               some
               time
               in
               the
               Hague
               ,
               and
               afterwards
               committed
               to
               the
               care
               of
               one
               
                 de
                 Grebber
              
               of
               Haerlem
               .
               He
               came
               over
               into
               
                 England
                 ,
                 Anno
              
               1641
               ,
               and
               pursu'd
               the
               natural
               bent
               of
               his
               Genius
               in
               Landtschapes
               with
               
                 small
                 Figures
              
               ,
               and
               
                 Historical
                 Compositions
              
               :
               but
               finding
               the
               practice
               of
               
                 Painting
                 after
                 the
                 Life
              
               generally
               more
               encourag'd
               ,
               he
               apply'd
               himself
               to
               Portraits
               with
               such
               success
               ,
               as
               in
               a
               little
               time
               to
               surpass
               all
               his
               Contemporaries
               in
               Europe
               .
               He
               was
               very
               earnest
               in
               his
               younger
               days
               ,
               to
               have
               finish'd
               the
               course
               of
               his
               Studies
               in
               Italy
               :
               but
               the
               great
               business
               in
               which
               he
               was
               perpetually
               ingag'd
               ,
               not
               allowing
               him
               so
               much
               time
               ;
               to
               make
               himself
               amends
               ,
               he
               resolv'd
               at
               last
               ,
               in
               an
               excellent
               and
               well
               chosen
               Collection
               of
               the
               
                 Drawings
                 ,
                 Prints
              
               ,
               and
               Paintings
               ,
               of
               the
               most
               celebrated
               Masters
               ,
               to
               bring
               the
               Roman
               and
               
                 Lombard
                 Schools
              
               home
               to
               him
               .
               And
               what
               benefit
               he
               reap'd
               from
               this
               Expedient
               ,
               was
               sufficiently
               apparent
               in
               that
               admirable
               Style
               of
               Painting
               ,
               which
               he
               form'd
               to
               himself
               by
               dayly
               conversing
               with
               the
               Works
               of
               those
               
                 great
                 Men
              
               :
               In
               the
               correctness
               of
               his
               Drawing
               ,
               and
               the
               beauty
               of
               his
               Colouring
               ;
               but
               especially
               in
               the
               
                 graceful
                 Airs
              
               of
               his
               Figures
               ,
               the
               
                 pleasing
                 Variety
              
               of
               his
               Postures
               ,
               and
               
               his
               
                 gentile
                 negligence
              
               and
               
                 loose
                 manner
              
               of
               Draperies
               :
               in
               which
               particular
               as
               few
               of
               his
               Predecessors
               were
               equal
               to
               him
               ,
               so
               all
               succeeding
               Artists
               must
               stand
               oblig'd
               to
               his
               happy
               Invention
               ,
               for
               the
               noble
               Pattern
               which
               he
               has
               left
               them
               for
               Imitation
               .
               He
               was
               recommended
               to
               the
               favour
               of
               King
               Charles
               I.
               by
               Philip
               Earl
               of
               Pembroke
               ,
               then
               Lord
               Chamberlain
               ;
               and
               drew
               his
               
                 Majesties
                 Picture
              
               ,
               when
               he
               was
               Prisoner
               in
               Hampton-Court
               .
               He
               was
               also
               much
               in
               esteem
               with
               his
               Son
               Charles
               II.
               who
               made
               him
               his
               Painter
               ,
               conferr'd
               the
               honour
               of
               Knighthood
               upon
               him
               ,
               and
               would
               oftentimes
               take
               great
               pleasure
               in
               his
               Conversation
               ,
               which
               he
               found
               to
               be
               as
               agreeable
               as
               his
               Pencil
               .
               He
               was
               likewise
               highly
               respected
               by
               all
               the
               People
               of
               Eminence
               in
               the
               Kingdom
               ;
               and
               indeed
               so
               extraordinary
               were
               his
               
                 natural
                 Parts
              
               ,
               and
               so
               great
               his
               
                 acquir'd
                 Knowledge
              
               ,
               that
               it
               would
               be
               hard
               to
               determine
               whether
               he
               was
               a
               
                 better
                 Painter
              
               ,
               or
               a
               more
               
                 accomplish'd
                 Gentleman
              
               :
               or
               whether
               the
               Honours
               which
               he
               has
               done
               his
               Profession
               ,
               or
               the
               Advantages
               which
               he
               deriv'd
               from
               it
               were
               the
               most
               considerable
               .
               But
               as
               to
               his
               Art
               ,
               certain
               it
               is
               ,
               that
               his
               
                 last
                 Pieces
              
               were
               his
               best
               ,
               and
               that
               he
               gain'd
               ground
               ,
               and
               improv'd
               himself
               every
               day
               ,
               even
               to
               the
               very
               Moment
               in
               which
               Death
               snatch'd
               his
               Pencil
               out
               of
               his
               hand
               in
               an
               
                 Apoplectic
                 Fit
              
               ,
               
               
               Anno1680
               .
            
             
             
               
                 SEBASTIAN
                 BOURDON
              
               ,
               a
               French-man
               ,
               born
               at
               
                 Mompellier
                 ,
                 Anno
              
               1619
               ,
               
               study'd
               seven
               years
               in
               Rome
               ,
               and
               acquir'd
               so
               much
               Reputation
               by
               his
               Works
               both
               in
               History
               and
               Landtschape
               ,
               that
               upon
               his
               return
               to
               France
               ,
               he
               had
               the
               honour
               of
               being
               the
               first
               who
               was
               made
               Rector
               of
               the
               
                 Royal
                 Academy
                 of
                 Painting
                 and
                 Sculpture
              
               at
               Paris
               .
               He
               spent
               two
               years
               also
               in
               Sweden
               ,
               where
               he
               was
               very
               well
               esteem'd
               ,
               and
               nobly
               presented
               by
               that
               great
               Patroness
               of
               Arts
               and
               Sciences
               ,
               
               Queen
               Christina
               .
               He
               died
               ,
               Anno.
               1673.
               
            
             
               
                 LUCA
                 IORDANO
              
               ,
               was
               born
               in
               
                 Naples
                 ,
                 Anno
              
               1626
               ,
               
               and
               by
               his
               Studies
               under
               
                 Pietro
                 da
                 Cortona
              
               at
               Rome
               ,
               joyn'd
               with
               his
               continu'd
               Application
               to
               all
               the
               
                 noble
                 Remains
                 of
                 Antiquity
              
               ,
               became
               one
               of
               the
               best
               accomplish'd
               ,
               and
               most
               universal
               Masters
               in
               his
               time
               .
               He
               was
               wonderfully
               skill'd
               in
               the
               
                 practical
                 part
                 of
                 Designing
              
               ,
               and
               from
               his
               incredible
               Facility
               ,
               and
               prodigious
               Dispatch
               ,
               was
               call'd
               by
               his
               
                 Fellow-Painters
                 ,
                 Luca
                 fà
                 Presto
              
               .
               He
               was
               besides
               very
               happy
               in
               imitating
               the
               different
               Styles
               of
               other
               
                 great
                 Men
              
               ,
               and
               particularly
               follow'd
               the
               manner
               of
               
                 Titian
                 ,
                 Bassan
                 ,
                 Tintoret
                 ,
                 Guido
                 ,
              
               &c.
               so
               close
               in
               several
               of
               his
               Pieces
               ,
               that
               it
               is
               not
               the
               talent
               of
               every
               
                 Pretender
                 to
                 Painting
              
               ,
               to
               distinguish
               them
               from
               Originals
               of
               
                 those
                 Hands
              
               .
               He
               was
               famous
               
               for
               his
               many
               excellent
               Performances
               in
               Rome
               and
               Florence
               :
               And
               being
               continually
               imploy'd
               in
               working
               for
               Princes
               ,
               and
               People
               of
               the
               
                 first
                 Quality
              
               all
               over
               Europe
               ,
               grew
               so
               vastly
               rich
               ,
               that
               at
               his
               return
               to
               Naples
               ,
               he
               purchas'd
               a
               Dutchy
               in
               that
               Kingdom
               ,
               marry'd
               and
               liv'd
               splendidly
               ,
               kept
               a
               noble
               Palace
               ,
               and
               a
               numerous
               Retinue
               ,
               with
               
                 Coaches
                 ,
                 Litters
              
               ,
               and
               all
               other
               imaginable
               State.
               Being
               grown
               Old
               ,
               he
               was
               earnestly
               press'd
               by
               the
               Viceroy
               to
               go
               over
               into
               Spain
               ,
               and
               serve
               the
               King
               his
               Master
               :
               He
               had
               no
               fancy
               for
               the
               Voyage
               ,
               and
               therefore
               rais'd
               his
               Terms
               very
               high
               :
               was
               not
               content
               with
               
                 twenty
                 thousand
                 Crowns
              
               paid
               him
               down
               ,
               and
               the
               
                 Golden
                 Key
              
               given
               him
               ,
               as
               
                 Groom
                 of
                 the
                 Bed-chember
              
               ;
               but
               besides
               ,
               having
               heard
               ,
               that
               by
               the
               Statutes
               of
               St.
               Iago
               ,
               and
               the
               other
               
                 Military
                 Orders
              
               of
               Spain
               ,
               it
               was
               expresly
               provided
               ,
               that
               no
               Painter
               should
               be
               admitted
               into
               any
               of
               them
               ,
               because
               their
               Profession
               was
               generally
               look'd
               upon
               as
               Mechanic
               ;
               he
               resolv'd
               ,
               for
               the
               Honour
               of
               his
               Art
               ,
               not
               to
               stir
               a
               foot
               ,
               till
               he
               himself
               was
               first
               made
               a
               Knight
               of
               St.
               Iago
               ,
               and
               his
               two
               Sons
               Knights
               of
               Alcantara
               and
               Calatrava
               .
               All
               which
               being
               granted
               ,
               he
               set
               out
               for
               Madrid
               ,
               where
               he
               was
               receiv'd
               very
               kindly
               by
               the
               King
               ,
               and
               having
               adorn'd
               the
               grand
               Stair-case
               of
               the
               Escurial
               ,
               with
               the
               Story
               of
               the
               
                 Battel
                 of
                 St.
                 Quintin
              
               ,
               (
               which
               is
               perhaps
               one
               of
               the
               best
               
               things
               in
               
                 its
                 kind
              
               ,
               that
               has
               been
               any
               where
               perform'd
               in
               this
               Age
               )
               he
               fell
               to
               work
               upon
               the
               great
               Church
               belonging
               to
               that
               Palace
               ;
               but
               the
               Climate
               being
               too
               severe
               for
               his
               
                 Constitution
                 of
                 Body
              
               ,
               and
               
                 his
                 Mind
              
               not
               so
               well
               satisfy'd
               as
               at
               Naples
               ,
               
               he
               sickned
               and
               died
               in
               the
               Winter
               of
               the
               year
               1694.
               
            
             
               In
               the
               
                 same
                 year
              
               died
               
                 FILIPPO
                 LAURO
              
               ,
               a
               Master
               equal
               to
               him
               in
               all
               respects
               ,
               excepting
               onely
               that
               by
               confining
               himself
               to
               
                 small
                 Figures
              
               ,
               and
               
                 Histories
                 in
                 little
              
               ,
               he
               contracted
               his
               admirable
               Talent
               into
               a
               narrower
               Compass
               .
               He
               liv'd
               for
               the
               most
               part
               in
               Rome
               ;
               and
               was
               highly
               valu'd
               for
               the
               Riches
               of
               his
               Fancy
               ,
               and
               the
               Accuracy
               of
               his
               Iudgment
               ;
               for
               the
               Elegance
               of
               his
               Out-lines
               ,
               and
               the
               Propriety
               of
               his
               Colouring
               ;
               and
               for
               the
               graceful
               Freedom
               of
               his
               Pencil
               ,
               in
               all
               his
               Compositions
               .
            
             
               
                 IOHN
                 RILEY
              
               ,
               born
               in
               the
               City
               of
               
                 London
                 ,
                 Anno
              
               1646
               ,
               
               was
               instructed
               in
               the
               first
               Rudiments
               of
               Painting
               by
               Mr.
               Zoust
               and
               Mr.
               Fuller
               ,
               but
               left
               them
               whilst
               he
               was
               very
               Young
               ,
               and
               began
               to
               practise
               after
               the
               Life
               :
               yet
               acquir'd
               no
               great
               Reputation
               ,
               till
               upon
               the
               death
               of
               Sir
               
                 Peter
                 Lely
              
               ,
               his
               Friends
               being
               desirous
               that
               he
               should
               succeed
               that
               excellent
               Master
               in
               the
               favour
               of
               King
               Charles
               II.
               ingag'd
               Mr.
               Chiffinch
               to
               sit
               to
               
               him
               for
               his
               Picture
               ;
               which
               he
               perform'd
               so
               well
               ,
               that
               the
               King
               ,
               upon
               sight
               of
               it
               ,
               sent
               for
               him
               ,
               and
               having
               imploy'd
               him
               in
               drawing
               the
               Duke
               of
               
                 Graftons
                 Portrait
              
               ,
               and
               soon
               after
               his
               own
               ,
               took
               him
               into
               his
               Service
               ,
               honour'd
               him
               with
               several
               obliging
               Testimonies
               of
               his
               Esteem
               ,
               and
               withal
               gave
               this
               Character
               of
               his
               Works
               ,
               that
               
                 he
                 painted
                 both
                 Inside
                 and
                 Outside
                 .
              
               Upon
               the
               Accession
               of
               K.
               William
               and
               Q.
               Mary
               to
               the
               Crown
               ,
               he
               was
               sworn
               their
               Majesties
               
                 Principal
                 Painter
              
               ;
               which
               place
               he
               had
               not
               injoy'd
               in
               the
               preceding
               Reign
               ,
               tho'
               K.
               Iames
               and
               his
               Queen
               were
               both
               pleas'd
               to
               be
               drawn
               by
               his
               Hand
               .
               He
               was
               very
               diligent
               in
               the
               Imitation
               of
               Nature
               ;
               and
               by
               studying
               the
               Life
               ,
               rather
               than
               following
               any
               particular
               manner
               ,
               attain'd
               a
               pleasant
               and
               most
               agreeable
               Style
               of
               Painting
               .
               But
               that
               which
               eminently
               distinguish'd
               him
               from
               all
               his
               Contemporaries
               ,
               was
               his
               
                 peculiar
                 Excellence
              
               in
               a
               Head
               ,
               and
               especially
               in
               the
               
                 Colouring
                 part
              
               ;
               wherein
               some
               of
               his
               Peices
               were
               so
               very
               extraordinary
               ,
               that
               Mr.
               Riley
               himself
               was
               the
               
                 onely
                 Person
              
               who
               was
               not
               charm'd
               with
               them
               .
               He
               was
               a
               Gentleman
               extremely
               courteous
               in
               his
               
                 Behaviour
                 ,
                 obliging
              
               in
               his
               Conversation
               ,
               and
               prudent
               in
               all
               his
               Actions
               .
               He
               was
               a
               dutiful
               Son
               ,
               an
               affectionate
               Brother
               ,
               a
               kind
               Master
               ,
               and
               a
               faithful
               Friend
               .
               He
               never
               was
               guilty
               of
               a
               piece
               of
               Vanity
               (
               too
               common
               amongst
               
               Artists
               )
               of
               saying
               
                 mighty
                 things
              
               on
               his
               own
               behalf
               ,
               but
               contented
               himself
               with
               letting
               his
               Works
               speak
               for
               him
               ;
               which
               being
               plentifully
               dispers'd
               over
               
                 other
                 Nations
              
               as
               well
               as
               
                 our
                 own
              
               ,
               were
               indeed
               everywhere
               very
               Eloquent
               in
               his
               Commendation
               .
               He
               had
               for
               several
               years
               been
               violently
               persecuted
               by
               the
               Gout
               ;
               which
               after
               many
               terrible
               Assaults
               ,
               flying
               up
               at
               last
               into
               his
               Head
               ,
               brought
               him
               to
               his
               
                 Grave
                 ,
                 Anno
              
               1691
               ,
               exceedingly
               lamented
               by
               all
               such
               as
               had
               the
               happiness
               of
               being
               acquainted
               either
               with
               his
               Person
               or
               his
               Works
               .
               
            
             
               FINIS
               .
            
          
        
         
           
             
             
               Ancient
               Masters
               Contain'd
               in
               the
               preceding
               ACCOUNT
               .
            
             
               
                 A.
                 
              
               
                 ACtius
                 Priscus
                 .
                 pag.
                 250
              
               
                 Amphion
                 .
                 245
              
               
                 Antidotus
                 .
                 246
              
               
                 Apelles
                 .
                 242
              
               
                 Apollodorus
                 .
                 237
              
               
                 Ardices
                 .
                 233
              
               
                 Arellius
                 .
                 250
              
               
                 Aristides
                 .
                 245
              
               
                 Asclepiodorus
                 .
                 ib.
                 
              
               
                 Athenion
                 .
                 247
              
            
             
               
                 B.
                 
              
               
                 Bularchus
                 .
                 235
              
            
             
               
                 C.
                 
              
               
                 Charmas
                 .
                 234
              
               
                 Cimon
                 .
                 234
              
               
                 Cleanthes
                 .
                 233
              
               
                 Cleophantus
                 .
                 234
              
               
                 Cornelius
                 Pinus
                 .
                 250
              
               
                 Crato
                 .
                 233
              
               
                 Cydias
                 .
                 242
              
            
             
               
                 D.
                 
              
               
                 Dinias
                 .
                 234
              
            
             
               
                 E.
                 
              
               
                 Euchir
                 .
                 233
              
               
                 Eumarus
                 .
                 234
              
               
                 Euphranor
                 .
                 241
              
               
                 Eupompus
                 .
                 240
              
            
             
               
                 F.
                 
              
               
                 Fabius
                 Pictor
                 .
                 248
              
            
             
               
                 H.
                 
              
               
                 Hygiemon
                 .
                 234
              
            
             
               
               
                 L.
                 
              
               
                 Ludius
                 .
                 250
              
            
             
               
                 M.
                 
              
               
                 Marcus
                 Pacuvius
                 .
                 249
              
               
                 Melanthius
                 .
                 244
              
               
                 Metrodorus
                 .
                 249
              
               
                 Myron
                 .
                 237
              
            
             
               
                 N.
                 
              
               
                 Nealces
                 .
                 248
              
               
                 Nicias
                 .
                 247
              
               
                 Nicomachus
                 .
                 246
              
               
                 Nicophanes
                 .
                 ib.
                 
              
            
             
               
                 P.
                 
              
               
                 Pamphilus
                 .
                 240
              
               
                 Panaenus
                 .
                 235
              
               
                 Parrhasius
                 .
                 239
              
               
                 Pausias
                 .
                 241
              
               
                 Phidias
                 .
                 235
              
               
                 Philocles
                 .
                 233
              
               
                 Polignotus
                 Atheniensis
                 233
              
               
                 Thasius
                 .
                 237
              
               
                 Polycletus
                 .
                 236
              
               
                 Praxiteles
                 .
                 242
              
               
                 Protogenes
                 .
                 243
              
               
                 Pyre●●cus
                 .
                 246
              
            
             
               
                 S.
                 
              
               
                 Saurias
                 .
                 233
              
               
                 Scopas
                 .
                 237
              
            
             
               
                 T.
                 
              
               
                 Telephanes
                 .
                 233
              
               
                 Theomnestus
                 .
                 246
              
               
                 Timanthes
                 .
                 240
              
               
                 Timomachus
                 .
                 249
              
               
                 Turpilius
                 .
                 250
              
            
             
               
                 Z.
                 
              
               
                 Zeuxis
                 .
                 238
              
            
          
           
             
             
               Modern
               Masters
               .
            
             
               
                 A.
                 
              
               
                 ALbani
                 .
                 pag.
                 320
              
               
                 Albert
                 Durer
                 .
                 263
              
               
                 Andrea
                 
                   
                     Mantegna
                     .
                     258
                  
                   
                     Sacchi
                     .
                     336
                  
                   
                     del
                     Sarto
                     .
                     270
                  
                   
                     Schiavone
                     .
                     296
                  
                   
                     Ta●●i
                     .
                     255
                  
                   
                     Verrocchio
                     .
                     259
                  
                
              
               
                 Annibale
                 Carracci
                 .
                 308
              
               
                 Antonello
                 da
                 Messina
                 256
              
               
                 Antonio
                 
                   
                     Carracci
                     .
                     309
                  
                   
                     da
                     Correggio
                     .
                     264
                  
                   
                     More
                     .
                     295
                  
                   
                     Tempesta
                     .
                     305
                  
                
              
               
                 Artemisia
                 Gentileschi
                 .
                 320
              
               
                 Agostino
                 Carracci
                 .
                 306
              
            
             
               
                 B.
                 
              
               
                 Badalocchi
                 
                   (
                   Sisto
                   .
                
                 )
                 324
              
               
                 Bandinelli
                 
                   (
                   Baccio
                   .
                
                 )
                 273
              
               
                 Bamboccio
                 .
                 326
              
               
                 Barocci
                 
                   (
                   Frederico
                   .
                
                 )
                 297
              
               
                 Bartolomeo
                 
                   (
                   Fra.
                
                 )
                 263
              
               
                 Bassano
                 
                   
                     Francesco
                     .
                     291
                  
                   
                     Giacomo
                     .
                     289
                  
                   
                     Gio.
                     Battista
                     .
                     291
                  
                   
                     Girolamo
                     .
                     ib.
                     
                  
                   
                     Leandro
                     .
                     ib.
                     
                  
                
              
               
                 Battaglie
                 
                   (
                   M.
                   Angelo
                   .
                
                 )
                 334
              
               
                 Battista
                 Franco
                 .
                 277
              
               
                 Bellino
                 
                   
                     Gentile
                     .
                     357
                  
                   
                     Giovanni
                     .
                     ib.
                     
                  
                
              
               
                 Benedetto
                 
                   
                     Caliari
                     .
                     301
                  
                   
                     Castiglione
                     .
                     332
                  
                
              
               
                 Bordone
                 
                   (
                   Paris
                   .
                
                 )
                 294
              
               
                 Borgognone
                 .
                 342
              
               
                 Bourdon
                 
                   (
                   Sebastian
                   .
                
                 )
                 345
              
               
                 Brueghel
                 
                   (
                   Fluweelen
                   .
                
                 )
                 315
              
               
                 Bril
                 
                   
                     Matthew
                     .
                     305
                  
                   
                     Paul.
                     ib.
                     
                  
                
              
               
                 Brouwer
                 .
                 337
              
               
                 Buonaroti
                 
                   (
                   M.
                   Angelo
                   .
                
                 )
                 265
              
            
             
               
                 C.
                 
              
               
                 Caliari
                 
                   
                     Benedetto
                     .
                     301
                  
                   
                     Carlo
                     .
                     300
                  
                   
                     Gabrielle
                     .
                     ib.
                     
                  
                   
                     Paolo
                     .
                     299
                  
                
              
               
                 Camillo
                 Procaccini
                 .
                 310
              
               
                 
                 Campidoglio
                 
                   (
                   M.
                   Angelo
                   .
                
                 )
                 341
              
               
                 Carl●●
                 Antonio
                 Procaccini
                 .
                 310
              
               
                 Carracci
                 
                   
                     Annibale
                     .
                     308
                  
                   
                     Antonio
                     .
                     309
                  
                   
                     Agostino
                     .
                     306
                  
                   
                     Lodovico
                     .
                     ib.
                     
                  
                
              
               
                 Caravaggio
                 
                   (
                   M.
                   Angelo
                   .
                
                 )
                 313
              
               
                 Castiglione
                 
                   (
                   Benedetto
                   .
                
                 )
                 332
              
               
                 Cimabue
                 .
                 253
              
               
                 Claudio
                 Gille
                 
                   (
                   Lorain
                   .
                
                 )
                 334
              
               
                 Cooper
                 
                   (
                   Samuel
                   .
                
                 )
                 338
              
               
                 Correggio
                 .
                 264
              
            
             
               
                 D.
                 
              
               
                 Daniele
                 da
                 Volterra
                 .
                 288
              
               
                 Dobson
                 .
                 339
              
               
                 Domenichino
                 .
                 321
              
               
                 Domenico
                 
                   
                     Feti
                     .
                     303
                  
                   
                     Ghirlandaio
                     .
                     262
                  
                   
                     Tintoretto
                     .
                     293
                  
                
              
               
                 Dou.
                 337
              
               
                 Durer
                 
                   (
                   Albert.
                
                 )
                 263
              
            
             
               
                 E.
                 
              
               
                 Elsheimer
                 .
                 315
              
               
                 Ercole
                 Procaccini
                 .
                 311
              
            
             
               
                 F.
                 
              
               
                 Feti
                 
                   (
                   Domenico
                   .
                
                 )
                 303
              
               
                 Farinato
                 
                   (
                   Paolo
                   .
                
                 )
                 296
              
               
                 Filippo
                 
                   
                     Lauro
                     .
                     347
                  
                   
                     Neapolitano
                     .
                     314
                  
                
              
               
                 Francesco
                 
                   
                     Albani
                     .
                     320
                  
                   
                     Barbieri
                     .
                     327
                  
                   
                     Bassano
                     .
                     291
                  
                   
                     Francia
                     .
                     262
                  
                   
                     Mazzuoli
                     .
                     286
                  
                   
                     Primaticcio
                     .
                     282
                  
                   
                     Salviati
                     .
                     288
                  
                   
                     Vanni
                     .
                     312
                  
                   
                     Vecellio
                     .
                     269
                  
                
              
               
                 Franco
                 
                   (
                   Battista
                   .
                
                 )
                 277
              
               
                 Frederico
                 
                   
                     Barocci
                     .
                     297
                  
                   
                     Zucchero
                     .
                     302
                  
                
              
               
                 Fresnoy
                 
                   (
                   C.
                   Alphonse
                   .
                
                 )
                 325
              
            
             
               
                 G.
                 
              
               
                 Gaddi
                 
                   
                     Gaddo
                     .
                     255
                  
                   
                     Taddeo
                     .
                     ib.
                     
                  
                
              
               
                 Gasparo
                 Poussin
                 .
                 335
              
               
                 Gentileschi
                 
                   
                     Artemisia
                     .
                     320
                  
                   
                     Oratio
                     .
                     319
                  
                
              
               
                 Giorgione
                 .
                 266
              
               
                 Giorgio
                 Vasari
                 .
                 294
              
               
                 Ghirlandaio
                 
                   (
                   Domenico
                
                 )
                 262
              
               
                 Giacomo
                 
                   
                     Bassano
                     .
                     289
                  
                   
                     Cortesi
                     .
                     342
                  
                   
                     da
                     Puntormo
                     .
                     275
                  
                   
                     Tintoretto
                     .
                     292
                  
                
              
               
                 Gio.
                 Battista
                 Bassano
                 .
                 291
              
               
                 Gioseppe
                 
                   
                     Ribera
                     .
                     323
                  
                   
                     Salviati
                     .
                     301
                  
                
              
               
                 Gioseppino
                 .
                 311
              
               
                 Giottino
                 .
                 256
              
               
                 Giotto
                 .
                 254
              
               
                 
                 Girolamo
                 Bassano
                 .
                 291
              
               
                 Giulio
                 Cesare
                 Procaccini
                 .
                 310
              
               
                 Giulio
                 
                   
                     Clovio
                     .
                     282
                  
                   
                     Romano
                     .
                     274
                  
                
              
               
                 Guercino
                 da
                 Cento
                 .
                 327
              
               
                 Guido
                 Reni
                 .
                 316
              
            
             
               
                 H.
                 
              
               
                 Hans
                 Holbein
                 .
                 283
              
            
             
               
                 I.
                 
              
               
                 Iohn
                 of
                 Bruges
                 .
                 256
              
               
                 Iordano
                 
                   (
                   Luca.
                
                 )
                 345
              
            
             
               
                 L.
                 
              
               
                 Lanfranco
                 .
                 324
              
               
                 Lauro
                 
                   (
                   Filippo
                   .
                
                 )
                 347
              
               
                 Leandro
                 Bassano
                 .
                 291
              
               
                 Lely
                 (
                 Sir
                 Peter
                 .
                 )
                 343
              
               
                 Leonardo
                 da
                 Vinci
                 .
                 260
              
               
                 Lodovico
                 Carracci
                 .
                 306
              
               
                 Luca
                 
                   
                     Iordano
                     .
                     345
                  
                   
                     Signorelli
                     .
                     259
                  
                
              
               
                 Lucas
                 van
                 Leyden
                 .
                 277
              
            
             
               
                 M.
                 
              
               
                 Mantegna
                 
                   (
                   Andrea
                   .
                
                 )
                 258
              
               
                 Margaritone
                 .
                 255
              
               
                 Marietta
                 Tintoretta
                 .
                 293
              
               
                 Mario
                 di
                 Fiori
                 .
                 334
              
               
                 Masaccio
                 .
                 257
              
               
                 Matthew
                 Bril
                 .
                 305
              
               
                 Michel-angelo
                 
                   
                     delle
                     Battaglie
                     .
                     334
                  
                   
                     Buonoroti
                     .
                     265
                  
                   
                     di
                     Campidoglio
                     .
                     341
                  
                   
                     da
                     Caravaggio
                     .
                     313
                  
                
              
               
                 More
                 
                   (
                   Antonio
                   .
                
                 )
                 295
              
            
             
               
                 N.
                 
              
               
                 Neapolitano
                 
                   (
                   Filippo
                   .
                
                 )
                 314
              
               
                 Nicolò
                 
                   
                     dell
                     '
                     Abbate
                     .
                     282
                  
                   
                     Pussino
                     .
                     328
                  
                
              
            
             
               
                 O.
                 
              
               
                 Oratio
                 
                   
                     Gentileschi
                     .
                     319
                  
                   
                     Vecellio
                     .
                     269
                  
                
              
            
             
               
                 P.
                 
              
               
                 Palma
                 
                   
                     Giovane
                     .
                     303
                  
                   
                     Vecchio
                     .
                     287
                  
                
              
               
                 Paris
                 Bordone
                 .
                 294
              
               
                 Parmegiano
                 .
                 286
              
               
                 Paolo
                 
                   
                     Farinato
                     .
                     296
                  
                   
                     Veronese
                     .
                     299
                  
                
              
               
                 Paul
                 Bril
                 .
                 305
              
               
                 Pierino
                 del
                 Vaga
                 .
                 285
              
               
                 Pieter
                 van
                 Laer.
                 326
              
               
                 Pietro
                 
                   
                     da
                     Cortona
                     .
                     336
                  
                   
                     di
                     Cosimo
                     .
                     260
                  
                   
                     Perugino
                     .
                     261
                  
                   
                     Testa
                     .
                     329
                  
                
              
               
                 Pirro
                 Ligorio
                 .
                 289
              
               
                 Po●●lenburch
                 .
                 326
              
               
                 Polidoro
                 .
                 279
              
               
                 Pordenone
                 .
                 271
              
               
                 Primaticcia
                 .
                 282
              
               
                 
                 Procaccini
                 
                   
                     Camillo
                     .
                     310
                  
                   
                     Carl
                     '
                     Antonio
                     .
                     ib.
                     
                  
                   
                     Ercole
                     .
                     311
                  
                   
                     Giulio
                     Cesare
                     .
                     310
                  
                
              
               
                 Puntormo
                 
                   (
                   Giacomo
                   .
                
                 )
                 275
              
               
                 Pussino
                 
                   
                     Gasparo
                     .
                     335
                  
                   
                     Nicolò
                     .
                     328
                  
                
              
            
             
               
                 Q.
                 
              
               
                 Quintin
                 Matsys
                 .
                 278
              
            
             
               
                 R.
                 
              
               
                 Rafaelle
                 da
                 Vrbino
                 .
                 270
              
               
                 Ricciarelli
                 
                   (
                   Daniele
                   .
                
                 )
                 288
              
               
                 Riley
                 
                   (
                   John.
                
                 )
                 247
              
               
                 Rotenhamer
                 .
                 312
              
               
                 Rosso
                 .
                 280
              
               
                 Rubens
                 .
                 317
              
            
             
               
                 S.
                 
              
               
                 Sacchi
                 
                   (
                   Andrea
                   .
                
                 )
                 336
              
               
                 Salvator
                 Rosa.
                 341
              
               
                 Salviati
                 
                   
                     Francesco
                     .
                     288
                  
                   
                     Gioseppe
                     .
                     301
                  
                
              
               
                 Sarto
                 (
                 Andrea
                 del
                 .
                 )
                 270
              
               
                 Schiavone
                 
                   (
                   Andrea
                   .
                
                 )
                 296
              
               
                 Sebastian
                 Bourdon
                 345
              
               
                 Sebastiano
                 del
                 Piombo
                 .
                 272
              
               
                 Singnorelli
                 (
                 Luca.
                 )
                 259
              
               
                 Simone
                 Memmi
                 .
                 255
              
               
                 Sisto
                 Badalocchi
                 .
                 324
              
               
                 Snyders
                 .
                 321
              
               
                 Spagnoletto
                 
                   (
                   Ribera
                   .
                
                 )
                 323
              
               
                 Sprangher
                 .
                 303
              
            
             
               
                 T.
                 
              
               
                 Taddeo
                 Zucchero
                 .
                 298
              
               
                 Taffi
                 
                   (
                   Andera
                   .
                
                 )
                 255
              
               
                 Tempesta
                 
                   (
                   Antonio
                   .
                
                 )
                 305
              
               
                 Testa
                 
                   (
                   Pietro
                   .
                
                 )
                 329
              
               
                 Tintoretta
                 
                   (
                   Marietta
                   .
                
                 )
                 293
              
               
                 Tintoretto
                 
                   
                     Domenico
                     .
                     ib.
                     
                  
                   
                     Giacomo
                     .
                     292
                  
                
              
               
                 Titiano
                 .
                 267
              
            
             
               
                 V.
                 
              
               
                 Van
                 Dyck.
                 330
              
               
                 Vanni
                 
                   (
                   Francesco
                   .
                
                 )
                 312
              
               
                 Vasari
                 
                   (
                   Giorgio
                   .
                
                 )
                 294
              
               
                 Vdine
                 
                   (
                   Giovanni
                   da.
                
                 )
                 276
              
               
                 Vecellio
                 
                   
                     Francesco
                     .
                     269
                  
                   
                     Oratio
                     .
                     ib.
                     
                  
                
              
               
                 Veronese
                 
                   (
                   Paolo
                   .
                
                 )
                 299
              
               
                 Verrocchio
                 
                   (
                   Andrea
                   .
                
                 )
                 259
              
               
                 Vinci
                 
                   (
                   Leonardo
                   da.
                
                 )
                 260
              
               
                 Viola
                 .
                 317
              
               
                 Viviano
                 .
                 333
              
               
                 Volterra
                 
                   (
                   Daniele
                   da.
                
                 )
                 288
              
               
                 Vouet
                 
                   (
                   Simon
                   .
                
                 )
                 324
              
            
             
               
                 Z.
                 
              
               
                 Zampieri
                 
                   (
                   Domenico
                   .
                
                 )
                 321
              
               
                 Zucchero
                 
                   
                     Frederico
                     .
                     302
                  
                   
                     Taddeo
                     .
                     298
                  
                
              
            
          
           
             
             
               ERRATA
               .
            
             
               
                 
                   
                     Page
                  
                   
                     Line
                  
                   
                     Instead
                     of
                  
                   
                     Read.
                     
                  
                
                 
                   
                     vij
                  
                   
                     21
                  
                   
                     Bambovio
                     .
                  
                   
                     Bamboccio
                     .
                  
                
                 
                   
                     17
                  
                   
                     7
                  
                   
                     liberataque
                     
                  
                   
                     librataque
                     
                  
                
                 
                   
                     21
                  
                   
                     Marg
                  
                   
                     positurorum
                     .
                  
                   
                     positurarum
                     .
                  
                
                 
                   
                     41
                  
                   
                     18
                  
                   
                     transluent
                     .
                  
                   
                     translucent
                     .
                  
                
                 
                   
                     98
                  
                   
                     17
                  
                   
                     51st
                     .
                     rule
                     .
                  
                   
                     
                       60th
                       .
                       Rule
                    
                     .
                  
                
                 
                   
                     110
                  
                   
                     21
                  
                   
                     Neglecting
                     the
                     Copiers
                     .
                  
                   
                     The
                     Copiers
                     neglecting
                     .
                  
                
                 
                   
                     ib.
                     
                  
                   
                     25
                  
                   
                     reltaion
                     .
                  
                   
                     relation
                     .
                  
                
                 
                   
                     120
                  
                   
                     14
                  
                   
                     43d
                     .
                     Precept
                     .
                  
                   
                     13th
                     .
                     Precept
                     .
                  
                
                 
                   
                     128
                  
                   
                     19
                  
                   
                     indishabile
                     .
                  
                   
                     en
                     dishabillee
                     .
                  
                
                 
                   
                     136
                  
                   
                     11
                  
                   
                     4th
                     .
                     Precept
                     .
                  
                   
                     41st
                     .
                     Precept
                     .
                  
                
                 
                   
                     161
                  
                   
                     2
                  
                   
                     it
                     comprehends
                     .
                  
                   
                     comprehends
                     .
                  
                
                 
                   
                     219
                  
                   
                     12
                  
                   
                     his
                     Brothers
                     .
                  
                   
                     his
                     Sons
                     .
                  
                
                 
                   
                     221
                  
                   
                     21
                  
                   
                     gentleness
                     .
                  
                   
                     gentileness
                     .
                  
                
                 
                   
                     237
                  
                   
                     14
                  
                   
                     great
                     .
                  
                   
                     general
                     .
                  
                
                 
                   
                     254
                  
                   
                     12
                  
                   
                     Benedict
                     IX
                     .
                  
                   
                     Benedict
                     XI
                     .
                  
                
                 
                   
                     325
                  
                   
                     15
                  
                   
                     Richlieu
                     .
                  
                   
                     Richelieu
                     .
                  
                
                 
                   
                     329
                  
                   
                     5
                  
                
              
            
             
          
        
      
    
     
       
         Notes, typically marginal, from the original text
         
           Notes for div A36766-e13490
           
             Primum
             Praeceptum
             .
             De
             Pulchro
             .
          
           
             Praeceptum
             .
             De
             Speculatione
             &
             Praxi
             .
          
           
             Praeceptum
             .
             De
             Argumento
             .
          
           
             INVENTIO
             prima
             Picturae
             pars
             .
          
           
             Dispositio
             ,
             sive
             operis
             totius
             Oeconomia
             .
          
           
             Fidelitas
             Argumenti
             .
          
           
             Inane
             rejici●●ndum
             .
          
           
             GRAPHIS
             seu
             Positura
             ,
             Secunda
             Picturae
             pars
             .
          
           
             Varietas
             in
             Figuris
             .
          
           
             Figura
             situna
             cum
             Membris
             &
             Vestibus
             
          
           
             Mutorum
             actiones
             imitandae
             .
          
           
             Figura
             Princ●●ps
             .
          
           
             Figurarum
             Globiseu
             Cumuli
             .
          
           
             Positurorum
             di●●ersitas
             in
             cumulis
             .
          
           
             Tabulaelibramentum
             .
          
           
             Numerus
             Figurarum
             .
          
           
             Internodia
             &
             Pedes
             exhibendi
             .
          
           
             Motusmanuum
             motui
             capitis
             jungendus
             .
          
           
             Quaefugienda
             in
             Distributione
             &
             Compositione
             .
          
           
             NaturaGenlo
             accommodanda
             .
          
           
             Signa
             Antiqua
             Naturae
             modum
             constituunt
             .
          
           
             Sola
             Figura
             quomodotractanda
             .
          
           
             Quid
             in
             Pannis
             observandum
             .
          
           
             Quid
             multu●●
             conferat
             ad●●
             abulae
             ornamentum
             .
          
           
             Ornamentum
             Auri
             &
             Gemmarum
             .
          
           
             Prototypus
             .
          
           
             Convenientia
             rerum
             cum
             Scena
             .
          
           
             Charites
             &
             Nobilitas
             .
          
           
             Res
             quaeque
             locum
             suum
             teneat
             .
          
           
             Affectus
             .
          
           
             Gotthorum
             ornamenta
             fugienda
             .
          
           
             CHROMATICE
             Tertia
             pars
             Picturae
             .
          
           
             Tonorum
             ,
             Luminum
             &
             Umbrarum
             ratio
             .
          
           
             Corpora
             densa
             &
             opaca
             cum
             translucentibus
             .
          
           
             Non
             duo
             ex
             Coelo
             Lumina
             in
             Tabulam
             aequalia
             .
          
           
             Album
             &
             N●●grum
             .
          
           
             Colorum
             reflectio
             .
          
           
             Unio
             Colorum
             .
          
           
             Aer
             interpositus
             .
          
           
             Distantiarum
             Relatio
             .
          
           
             Corpora
             procul
             distantia
             .
          
           
             Contigua
             &
             Dissita
             .
          
           
             Contraria
             extrema
             fugienda
             .
          
           
             Tonus
             &
             Color
             varii
             .
          
           
             Luminis
             delectus
             .
          
           
             Quaedam
             circa
             Praxim
             .
          
           
             Campus
             Tabulae
             .
          
           
             Color
             vividus
             ,
             non
             tamen
             pallidus
             .
          
           
             Umbra
             .
          
           
             Ex
             una
             Patella
             sit
             Tabula
             .
          
           
             Speculum
             Pictorum
             Magister
             .
          
           
             Dimidia
             Figura
             vel
             integra
             ante
             alias
             .
          
           
             E●●igies
             .
          
           
             Locus
             Tabulae
             .
          
           
             Lumina
             lata
             .
          
           
             Quantitas
             Luminis
             loci
             in
             quo
             Tabula
             est
             exponenda
             .
          
           
             Errores
             &
             vitia
             Picturae
             .
          
           
             Prudentia
             in
             Pictore
             .
          
           
             Elegantium
             Idaea
             Tabularum
             .
          
           
             Pictor
             Tyro
             .
          
           
             Ars
             debet
             servire
             Pictori
             ,
             non
             Pictor
             Arti.
             
          
           
             Oculosrecreant
             diversitas
             &
             Operis
             facilitas
             ,
             quae
             speciatim
             Ars
             dicitur
             .
          
           
             Archetypus
             in
             mente
             ,
             Apographum
             in
             tela
             .
          
           
             Circinusin
             oculis
             .
          
           
             Superbia
             pictori
             nocet
             plurimúm
             .
          
           
             
               〈◊〉
               〈◊〉
               〈◊〉
               〈◊〉
               〈◊〉
            
             .
          
           
             Quod
             ment●●
             conceperis
             manu
             comproba
             .
          
           
             Matutinum
             tempus
             Labori
             aptum
             .
          
           
             Singulis
             diebus
             aliquid
             faciendum
             .
          
           
             Affectus
             inobservati
             &
             naturales
             .
          
           
             Non
             desint
             ●●ugillares
             .
          
           
             Ordo
             Studiorum
             .
          
           
             Natura
             &
             Experientia
             Artem
             perficiunt
             .
          
           
             The
             Passages
             which
             you
             see
             mark'd
             with
             an
             Asterism
             *
             are
             more
             amply
             explain'd
             in
             the
             Remarks
             .
          
           
             
               Precept
               I.
            
             Of
             what
             is
             Beautifull
             .
          
           
             Of
             Theory
             ,
             and
             Practice
             .
          
           
             Concerning
             the
             Subject
             .
          
           
             Invention
             the
             first
             part
             of
             Painting
             .
          
           
             The
             Disposition
             or
             Oeconomy
             of
             the
             whole
             Work.
             
          
           
             The
             faithfulness
             of
             the
             Subject
             .
          
           
             Whatsoever
             palls
             the
             Subject
             to
             be
             rejected
             .
          
           
             Design
             ,
             the
             second
             part
             of
             Painting
             .
          
           
             Variety
             in
             the
             Figures
             .
          
           
             The
             Member●●s
             and
             Drapery
             of
             every
             Figure
             to
             be
             suitable
             to
             it
             .
          
           
             The
             Actions
             of
             Mutes
             to
             be
             imitated
             .
          
           
             Of
             the
             principal
             Figure
             of
             the
             Subject
             .
          
           
             Grouppes
             of
             Figures
             .
          
           
             The
             diversity
             of
             postures
             in
             the
             Grouppes
             .
          
           
             Equality
             of
             the
             piece
             .
          
           
             Of
             the
             number
             of
             Figures
             .
          
           
             Of
             the
             Joints
             and
             Feet
             .
          
           
             The
             motions
             of
             the
             hands
             and
             head
             must
             agree
             .
          
           
             What
             must
             be
             avoided
             in
             the
             distribution
             of
             the
             Figures
             .
          
           
             That
             we
             must
             not
             tie
             our selves
             to
             Nature
             ,
             but
             accommodate
             her
             to
             our
             Genius
             .
          
           
             Ancient
             Figures
             the
             rules
             of
             imitating
             Nature
             .
          
           
             A
             single
             Figure
             how
             to
             be
             treated
             .
          
           
             Of
             the
             Draperies
             .
          
           
             What
             things
             contribute
             to
             adorn
             the
             Picture
             .
          
           
             Of
             precious
             Stones
             and
             Pearls
             for
             ornament
             .
          
           
             The
             Model
             .
          
           
             The
             Scene
             of
             the
             Picture
             .
          
           
             The
             Graces
             and
             the
             Nobleness
             .
          
           
             Let
             every
             thing
             be
             set
             in
             its
             proper
             place
             .
          
           
             Of
             the
             Passions
             .
          
           
             Gothique
             Ornaments
             are
             to
             be
             avoided
             .
          
           
             Colouring
             the
             third
             part
             of
             Painting
             .
          
           
             〈…〉
             
          
           
             Of
             dark
             Bodies
             on
             light
             grounds
             .
          
           
             〈…〉
             
          
           
             Of
             White
             and
             Black.
             
          
           
             The
             reflection
             of
             Colours
             .
          
           
             〈…〉
             
          
           
             Of
             the
             Interposition
             of
             Air.
             
          
           
             The
             relation
             of
             Distances
             .
          
           
             Of
             Bodies
             which
             are
             distanced
             .
          
           
             Of
             Bodies
             which
             are
             contiguous
             ,
             and
             of
             those
             which
             are
             separated
             .
          
           
             Contrary
             extremities
             to
             be
             avoided
             .
          
           
             Diversity
             of
             Tones
             and
             Colours
             .
          
           
             The
             choice
             of
             Light.
             
          
           
             Of
             certain
             things
             relating
             to
             the
             practical
             part
             .
          
           
             The
             field
             or
             ground
             of
             the
             Picture
             .
          
           
             Of
             the
             vi●●city
             of
             Colours
             .
          
           
             Of
             Shadows
             .
          
           
             The
             Picture
             to
             be
             of
             one
             piece
             .
          
           
             The
             Looking-glass
             the
             Painter's
             best
             Master
             .
          
           
             An
             half
             figure
             ,
             or
             a
             whole
             one
             ,
             before
             others
             .
          
           
             A
             Portraict
             .
          
           
             The
             place
             of
             the
             Picture
             .
          
           
             Large
             Lights
             .
          
           
             What
             Lights
             are
             requisite
             .
          
           
             Things
             which
             are
             vicious
             in
             painting
             to
             be
             avoided
             .
          
           
             The
             prudential
             part
             of
             a
             Painter
             .
          
           
             The
             Idea
             of
             a
             beautifull
             piece
             .
          
           
             Advice
             to
             a
             young
             Painter
             .
          
           
             Art
             must
             be
             subservient
             to
             the
             Painter
             .
          
           
             Diversity
             and
             facility
             are
             pleasing
             .
          
           
             The
             Original
             must
             be
             in
             the
             Head
             ,
             and
             the
             Copy
             on
             the
             Cloth.
             
          
           
             The
             Compass
             to
             be
             in
             the
             Eyes
             .
          
           
             Pride
             an
             Enemy
             to
             good
             Painting
             .
          
           
             Know
             your self
             .
          
           
             Perpetually
             practise
             ,
             and
             do
             easily
             what
             you
             have
             conceiv'd
             .
          
           
             The
             Morning
             most
             proper
             for
             work
             .
          
           
             Every
             day
             do
             something
             .
          
           
             The
             Passions
             which
             are
             true
             and
             natural
             .
          
           
             Of
             Table-books
             .
          
           
             The
             method
             of
             Studies
             for
             a
             young
             Painter
             .
          
           
             Nature
             and
             Experience
             perfect
             Art.
             
          
        
         
           Notes for div A36766-e27210
           
             ¶
             1.
             
             The
             Number
             at
             the
             head
             of
             every
             Observation
             serves
             to
             find
             in
             the
             Text
             the
             particular
             Passage
             on
             which
             the
             Observation
             was
             made
             .
          
           
             ¶
             9.
             
          
           
             ¶
             24.
             
          
           
             *
             *
             Mr.
             Le
             Brun.
             
          
           
             *
             *
             Mr.
             Colbert
             .
          
           
             ¶
             37.
             
          
           
             ¶
             39.
             
          
           
             ¶
             40.
             
          
           
             ¶
             45.
             
          
           
             ¶
             50.
             
          
           
             ¶
             52.
             
          
           
             ¶
             54.
             
          
           
             Pliny
             35.
             10.
             
          
           
             10.
             3.
             
          
           
             ¶
             61.
             
          
           
             Declam
             .
             19.
             
          
           
             *
             *
             Lib.
             2.
             
             Sat.
             7.
             
          
           
             †
             †
             Lib.
             10.
             
             Ep.
             22.
             
          
           
             ¶
             63.
             
          
           
             ¶
             66.
             
          
           
             ¶
             69.
             
          
           
             ¶
             72.
             
          
           
             De
             Opt.
             Gen.
             Orat.
             
          
           
             ¶
             74.
             
          
           
             ¶
             75.
             
          
           
             ¶
             76.
             
          
           
             *
             *
             Tableaux
             .
          
           
             *
             *
             That
             is
             to
             the
             Eye
             by
             Diagrams
             and
             ske●●ches
             ,
             &c.
             
          
           
             ¶
             77.
             
          
           
             In
             Oeconomico
             .
          
           
             Comm.
             vetus
             .
          
           
             ¶
             81.
             
          
           
             Art
             of
             Po●●try
             .
          
           
             ¶
             83.
             
          
           
             ¶
             87.
             
          
           
             ¶
             89.
             
          
           
             ¶
             92.
             
          
           
             Pro
             lege
             Man.
             
          
           
             ¶
             95.
             
          
           
             ¶
             102.
             
          
           
             ¶
             103.
             
          
           
             ¶
             104.
             
          
           
             ¶
             104.
             
          
           
             ¶
             105.
             
          
           
             ¶
             107.
             
          
           
             ¶
             112.
             
          
           
             ¶
             113.
             
          
           
             ¶
             114.
             
          
           
             This
             depends
             on
             the
             Age
             &
             Quality
             of
             the
             persons
             .
             The
             Apollo
             and
             Venus
             of
             Medices
             have
             more
             than
             ten
             Faces
             .
          
           
             *
             *
             The
             Appolo
             has
             a
             Nose
             more
             .
          
           
             *
             *
             The
             Apollo
             has
             half
             a
             Nose
             more
             :
             and
             the
             upper
             half
             of
             the
             
               Venus
               de
               Med●●ces
            
             is
             to
             the
             lower
             part
             of
             the
             Belly
             ,
             and
             not
             ●●o
             the
             Privy
             parts
             .
          
           
             ¶
             117.
             
          
           
             ¶
             126.
             
          
           
             ¶
             128.
             
          
           
             ¶
             129.
             
          
           
             ¶
             132.
             
          
           
             ¶
             137.
             
          
           
             ¶
             145.
             
          
           
             ¶
             152.
             
          
           
             ¶
             162.
             
          
           
             ¶
             164.
             
          
           
             ¶
             169.
             
          
           
             ¶
             176.
             
          
           
             ¶
             178.
             
          
           
             ¶
             188.
             
          
           
             ¶
             193.
             
          
           
             ¶
             195.
             
          
           
             ¶
             196.
             
          
           
             ¶
             202.
             
          
           
             ¶
             204.
             
          
           
             ¶
             210.
             
          
           
             ¶
             211.
             
          
           
             *
             *
             Polydorus
             ,
             Athenodorus
             ,
             and
             Agesander
             ,
             all
             Rhodians
             .
          
           
             ¶
             215.
             
          
           
             ¶
             217.
             
          
           
             Lib.
             2.
             
             Paedag.
             cap.
             12.
             
          
           
             Plutarch
             .
          
           
             ¶
             220.
             
          
           
             *
             *
             A
             Figure
             made
             of
             wood
             or
             cork
             ,
             turning
             upon
             joints
             .
          
           
             ¶
             221.
             
          
           
             L●●
             .
             25.
             12.
             
          
           
             ¶
             222.
             
          
           
             ¶
             233.
             
          
           
             ¶
             247.
             
          
           
             ¶
             256.
             
          
           
             ¶
             263.
             
          
           
             ¶
             267.
             
          
           
             ¶
             280.
             
          
           
             ¶
             283.
             
          
           
             ¶
             286.
             
          
           
             ¶
             290.
             
          
           
             ¶
             329.
             
          
           
             ¶
             330.
             
          
           
             ¶
             332.
             
          
           
             ¶
             355.
             
          
           
             ¶
             361.
             
          
           
             ¶
             365.
             
          
           
             ¶
             378.
             
          
           
             ¶
             382.
             
          
           
             ¶
             383.
             
          
           
             ¶
             385.
             
          
           
             ¶
             386.
             
          
           
             ¶
             387.
             
          
           
             ¶
             393.
             
          
           
             ¶
             403.
             
          
           
             ¶
             403.
             
          
           
             ¶
             417.
             
          
           
             ¶
             422.
             
          
           
             ¶
             433.
             
          
           
             ¶
             434.
             
          
           
             ¶
             435.
             
          
           
             ¶
             442.
             
          
           
             ¶
             443.
             
          
           
             ¶
             445.
             
          
           
             8.
             20.
             
          
           
             5.
             8.
             
          
           
             Tuscul.
             lib.
             5.
             
          
           
             Georg.
             3.
             1.
             5.
             
          
           
             Ep.
             16.
             
          
           
             ¶
             449.
             
          
           
             ¶
             458.
             
          
           
             Offic.
             B.
             1.
             
          
           
             1
             Off.
             
          
           
             ¶
             464.
             
          
           
             Diss.
             34.
             
          
           
             ¶
             466.
             
          
           
             ¶
             468.
             
          
           
             ¶
             473.
             
          
           
             ¶
             475.
             
          
           
             ¶
             478.
             
          
           
             ¶
             480.
             
          
           
             ¶
             484.
             
          
           
             1500.
             l.
             
          
           
             Petron.
             Ar
             biter
             .
          
           
             ¶
             487.
             
          
           
             ¶
             496.
             
          
           
             Veget.
             de
             re
             Milit.
             lib.
             2.
             
          
           
             Lib.
             1.
             de
             fin
             .
          
           
             ¶
             500.
             
          
           
             ¶
             509.
             
          
           
             ¶
             509.
             
          
           
             ¶
             510.
             
          
           
             ¶
             511.
             
          
           
             ¶
             514.
             
          
           
             ¶
             520.
             
          
           
             ¶
             522.
             
          
           
             ¶
             541.
             
          
           
             ¶
             544.
             
          
        
         
           Notes for div A36766-e48070
           
             An.
             Mun.
             2730.
             
          
           
             An.
             Mun.
             3198.
             
          
           
             3502.
             
          
           
             3506.
             
          
           
             An.
             Mun.
             3518.
             
          
           
             An.
             Mun.
             3530.
             
          
           
             3546.
             
          
           
             An.
             Mun.
             3553.
             
          
           
             An.
             Mun.
             3586.
             
          
           
             An.
             Mun.
             3594.
             
          
           
             3618.
             
          
           
             An.
             Mun.
             3626.
             
          
           
             An.
             Mun.
             3647.
             
          
           
             3698.
             
          
           
             An.
             Mun.
             3780.
             
          
           
             3797.
             
          
           
             3901.
             
          
           
             An.
             Mun.
             3907.
             
          
           
             An.
             Dom.
             69.
             
          
           
             An.
             Dom.
             580.
             
          
        
         
           Notes for div A36766-e53390
           
             1240.
             
          
           
             Aet
             .
             60.
             
          
           
             1276.
             
          
           
             Aet
             .
             60.
             
          
           
             1285.
             
          
           
             Aet
             .
             60.
             
          
           
             1300.
             
          
           
             Aet
             .
             50.
             
          
           
             1324.
             
          
           
             Aet
             .
             32.
             
          
           
             1370.
             
          
           
             Aet
             .
             71.
             
          
           
             1417.
             
          
           
             Aet
             .
             26.
             
          
           
             1421.
             
          
           
             Aet
             .
             80.
             
          
           
             1431.
             
          
           
             Aet
             .
             86.
             
          
           
             1432.
             
          
           
             Aet
             .
             56.
             
          
           
             1439.
             
          
           
             Aet
             .
             82.
             
          
           
             1441.
             
          
           
             Aet
             .
             80.
             
          
           
             1445.
             
          
           
             Aet
             .
             75.
             
          
           
             1446.
             
          
           
             Aet
             .
             78.
             
          
           
             1449.
             
          
           
             Aet
             .
             44.
             
          
           
             1450.
             
          
           
             Aet
             .
             76.
             
          
           
             1469.
             
          
           
             Aet
             .
             48.
             
          
           
             1470.
             
          
           
             Aet
             .
             58.
             
          
           
             1472.
             
          
           
             Aet
             .
             40.
             
          
           
             1474.
             
          
           
             Aet
             .
             90.
             
          
           
             1477.
             
          
           
             Aet
             .
             34.
             
          
           
             1477.
             
          
           
             Aet
             .
             99.
             
          
           
             1478.
             
          
           
             Aet
             .
             42.
             
          
           
             1483.
             
          
           
             Aet
             .
             37.
             
          
           
             1484.
             
          
           
             Aet
             .
             56.
             
          
           
             1485.
             
          
           
             Aet
             .
             62.
             
          
           
             1487.
             
          
           
             Aet
             .
             72.
             
          
           
             1492.
             
          
           
             Aet
             .
             54.
             
          
           
             1493.
             
          
           
             Aet
             .
             63.
             
          
           
             1494.
             
          
           
             Aet
             .
             70.
             
          
           
             1494.
             
          
           
             Aet
             .
             39.
             
          
           
             1495.
             
          
           
             Aet
             .
             48.
             
          
           
             1496.
             
          
           
             Aet
             .
             45.
             
          
           
             1498.
             
          
           
             Aet
             .
             80.
             
          
           
             1498.
             
          
           
             Aet
             .
             56.
             
          
           
             1500.
             
          
           
             Aet
             .
             47.
             
          
           
             1504.
             
          
           
             Aet
             .
             36.
             
          
           
             1508.
             
          
           
             Aet
             .
             48.
             
          
           
             1509.
             
          
           
             Aet
             .
             57.
             
          
           
             1510.
             
          
           
             Aet
             .
             53.
             
          
           
             1510.
             
          
           
             Aet
             .
             82.
             
          
           
             1512.
             
          
           
             Aet
             .
             82.
             
          
           
             1514.
             
          
           
             Aet
             .
             64.
             
          
           
             1519.
             
          
           
             Aet
             .
             56.
             
          
           
             1522.
             
          
           
             Aet
             .
             84.
             
          
           
             1522.
             
          
           
             Aet
             .
             60.
             
          
           
             1528.
             
          
           
             Aet
             .
             84.
             
          
           
             1529.
             
          
           
             Aet
             .
             37.
             
          
           
             1532.
             
          
           
             Aet
             .
             56.
             
          
           
             1535.
             
          
           
             Aet
             .
             50.
             
          
           
             1543.
             
          
           
             Aet
             .
             66.
             
          
           
             1544.
             
          
           
             Aet
             .
             84.
             
          
           
             1546
             
          
           
             Aet
             .
             56.
             
          
           
             1550.
             
          
           
             Aet
             .
             34.
             
          
           
             1554.
             
          
           
             Aet
             .
             72.
             
          
           
             1555.
             
          
           
             Aet
             .
             64.
             
          
           
             1557.
             
          
           
             Aet
             .
             45.
             
          
           
             1560.
             
          
           
             Aet
             .
             49.
             
          
           
             1560.
             
          
           
             Aet
             .
             80.
             
          
           
             1564.
             
          
           
             Aet
             .
             40.
             
          
           
             1568.
             
          
           
             Aet
             .
             47.
             
          
           
             1569.
             
          
           
             Aet
             .
             40.
             
          
           
             1569.
             
          
           
             Aet
             .
             56.
             
          
           
             1574.
             
          
           
             Aet
             .
             36.
             
          
           
             1575.
             
          
           
             Aet
             .
             67.
             
          
           
             1576.
             
          
           
             Aet
             .
             46.
             
          
           
             1577.
             
          
           
             Aet
             .
             63.
             
          
           
             1578.
             
          
           
             Aet
             .
             82.
             
          
           
             1579.
             
          
           
             1581.
             
          
           
             Aet
             .
             60.
             
          
           
             1581.
             
          
           
             Aet
             .
             66.
             
          
           
             1582.
             
          
           
             Aet
             .
             59.
             
          
           
             1584.
             
          
           
             Aet
             .
             60.
             
          
           
             1590.
             
          
           
             Aet
             .
             77.
             
          
           
             1590.
             
          
           
             Aet
             .
             76.
             
          
           
             1594.
             
          
           
             Aet
             .
             71.
             
          
           
             1599.
             
          
           
             Aet
             .
             42.
             
          
           
             1599.
             
          
           
             Aet
             .
             75.
             
          
           
             1599.
             
          
           
             Aet
             .
             73.
             
          
           
             1600.
             
          
           
             Aet
             .
             60.
             
          
           
             1600.
             
          
           
             Aet
             .
             82.
             
          
           
             1600.
             
          
           
             Aet
             .
             63.
             
          
           
             1607.
             
          
           
             Aet
             .
             67.
             
          
           
             1608.
             
          
           
             Aet
             .
             30.
             
          
           
             1609.
             
          
           
             Aet
             .
             63.
             
          
           
             1610.
             
          
           
             Aet
             .
             37.
             
          
           
             1610.
             
          
           
             Aet
             .
             60.
             
          
           
             1614.
             
          
           
             Aet
             .
             59.
             
          
           
             1617.
             
          
           
             Aet
             .
             63.
             
          
           
             1619.
             
          
           
             Aet
             .
             54.
             
          
           
             1626.
             
          
           
             Aet
             .
             68.
             
          
           
             1646.
             
          
           
             Aet
             .
             45.