Ex Libris 
 C. K. OG-DEN 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 A N 
 
 ESSAY 
 
 O N T H E 
 
 THEORY 
 
 OF 
 
 PAINTING. 
 
 By Mr. Richardson. 
 
 The Second Edition, Enlarg'd, and Corre&ed. 
 
 Is mihi vlvere demum, atque frui a?2tma vide- 
 fur, qui aliquo Negotio intentus^ praclari fa- 
 cinoriS) aut Artis bona f amain quarit. 
 
 Sallust. 
 
 Ho fenito dire (a Michelagnolo) che Raffaello 
 non belle quefi 3 arte de Natura, ma per Lungo 
 Studio. 
 
 Afcanio Condiui nella Vita di Michelagnolo Buonarroti, 
 
 LONDON: 
 
 Printed for A. C. and fold by A. BETTEsweRTH 
 in Pater-nofter-Row+ 1 7 25.
 
 ( is ) 
 
 U30 
 "R59e 
 '4 5 
 
 HIS Bbol> bcinz out 
 of Tnnt, and a new 
 Edition de fired, I haXe 
 Retouched it : The 
 (publicly did forgive 
 the Incorrcclneffes of 
 an Author that was 
 endeavouring to fer\>e Tliem, together 
 with a Noble, lifeful, and Delightful 
 Art^ but who pretends only td write as 
 a (painter, and a Gentleman 5 This In- 
 dulgence however has not encouragd me 
 to let any faults pafs that I hdVe Ngw 
 obferVd, fo that I hope their Number 
 is fomewhat diminijbed 5 And I mu/i do 
 myfelf the right to fay that I haVe had 
 the (pleafure of finding 1 had nothing to 
 (ftetratl, which I Jhould not haVe faitd 
 to have done had I difco^erd any wrong 
 Judgment. 
 
 A i I have 
 
 2015211
 
 (iv) 
 
 I have made federal Additions, parti" 
 cularty of fome Examples from Pictures 
 which I had not Jeen when I fir ft wrote, 
 or which did not Then occur to me 5 More 
 might hcCVt been added but that they are 
 to be found in great Plenty featured up 
 and down in the other Vifcourfes 1 haVe 
 (pubhjbd fince the fir ft Edition of This* 
 
 TIx Chapter of the Subiune was then 
 but enter d upon, and recommended to fome 
 other Hand y 1 haVe Now attempted fome- 
 thing upon that Noble Branch of my Sub" 
 jeEt, ft ill wiflnng however that One more 
 capable of it would do it (Better 5 but 
 This I haVe done that I might perfect 
 the whole Defign as well as I could. And 
 for the fame <$(eafon, and becaufe 1 find 
 there is more Occafion for it than I 
 thought heretofore, I will take this Op" 
 portunity a little to profecute what I haVe 
 fometimes only touched, which is, to Com" 
 bat a Falfe Tafte, and a Very Low one 5 
 a Tafte Jo Falfe } and fo Low, as to Inui" 
 
 gitii
 
 Cv) 
 
 gine the Meaneji Tarts of Tainting to be 
 the Whole , or the Perfection of it. 
 
 The great (Bujtnefs of Tainting I have 
 often faid, and would fain inculcate, is 
 to relate a Hiliory, or a Fable, as the 
 heft Hiflorians, or Poets have done 5 to 
 make a Portrait fo as to do Juflice at 
 leafl, and Sometimes not without a little 
 Complaifance 3 and that to the Mind, as 
 well as to the Face, andPerfon 3 To repre* 
 fent Nature, or rather the Befl of Na- 
 ture 3 and where it can be done, to ^lU'ife 
 and Improve it 3 to give all the Grace 
 and Dignity the SubjeB has, all that a 
 well inflrutled Eye can difcoVer in it, or 
 which fuch a Judgment can find 'tis Ca- 
 pable of in its moft Adyantagious Mo- 
 ments. 
 
 Neatnefs, and high Fmifhing 3 a 
 Light, (Bold Pencil 3 Gay, and Vivid 
 Colours, Warm, and Sombrous 3 Force , and 
 Tendernefs, All thefe are Excellencies 
 when judicioujly employ d, and in Sub- 
 
 JerViency
 
 ( vi ) 
 
 JerViency to the (principal End of the Art 5 
 But they are Beauties of an Inferwur 
 I\jnd e'Ven when So employ d$ they are 
 the Mechanicians of Painting, and re- 
 quire no more Genius, or Capacity, than 
 ts ncceffary to y and frequently feen in Or- 
 dinary Workjnen ; and a PiElure, in This 
 rejpett, is as a Snuff-Box, a Fan, or 
 any other Toy 5 Theje properties are in 
 Painting, as Language, ($$hime, and 
 Numbers are in Poetry 3 and as he that 
 flops at Tliefe as at what Confiitutes the 
 Coodnefs of a Poem is a Bad Critic^, He 
 is an III Connoifleur who has the 
 fame Confederation for theje Inferwur Ex- 
 cellencies in a PiElure. 
 
 How much more if for the fake of 
 Theje, a PiElure is efetemed where the 
 Story is III told, and Nature is 111 repre- 
 fented, or not well chojen: If it beima* 
 gind to be good, becau/e a Piece of Lact y 
 or Brocade, a Fly, a Flower, a Wrinkk, 
 a Wart, is highly fin/hd, and {if 
 you pleafe) Natural, and well in its 
 
 Kind
 
 ( vii ) 
 
 iQnd 3 or becaufe the Colours are ViYtd, 
 or the Lights and Shadows Strong, though 
 the Ejfential Tarts are without Grace or 
 Dignity, or are even (Ridiculous. 
 
 And JIM more if though there is Jeen 
 much Labour not thofe Trifles Tbem- 
 fefoes are Well, and the <I(eJl is Execrable. 
 
 Carlo Maratta, in a Very Capital 
 Drawing I haVe feen, (amongji many 
 others) in the ColleElion of Mr. Dave- 
 nant, has reprefented Tainting j Tis, 
 indeed, a fort of Treatife on the Art $ 
 There is TerfpeEl'iVe, Geometry, and 
 Anatomy, each with the Motto, Tanco 
 che Bafti 5 Antique Statues with this, 
 Non mai a baftanza 5 oyer all, the 
 Graces defcending in Clouds, the Motto 
 here is Senza di Noi ogni Facica e 
 vana. 
 
 A fine Thought, Grace, and Dignity, 
 will abundantly attone for the want of 
 CVen a Due Application to the Leffer, to 
 
 z the
 
 ( viii ) 
 
 the Mechanical Tarts of a TiElure ; but 
 when Tliefe are Only, or Chiefly regarded, 
 it puts one in mind of what Hudibras 
 fays of His Fanaticks 
 
 Who with more Zeal kept Holiday 
 The Wrong, than others the Right way. 
 
 A N
 
 A N 
 
 ESSAY 
 
 ON THE 
 
 THEORY 
 
 O F 
 
 P Al NTING. 
 
 E c A u s E Pictures are uni- 
 verfally Delightful, and 
 accordingly made one pare 
 of our Ornamental Furni- 
 ture, many, I believe, confider the 
 Art oiTaijiting but as a pleafing Su- 
 perfluity j at beft, that it holds but 
 a low Rank with refpedt to its Ufeful- 
 nefs to Mankind. 
 
 B If
 
 CO 
 
 If there were in reality no more 
 in it than an Innocent Amufementj 
 if it were only one of thofe Sweets 
 that the Divine Providence has be- 
 ftow'd on us, to render the Good 
 of our prefent Being fuperior to the 
 Evil of it, it ought to be confider'd 
 as a Bounty from Heaven, and to 
 hold a Place in our Efteem accord- 
 ingly. Pleafure, however it be de- 
 preciated, is w hat we all eagerly and 
 inceiTantly purfue $ and when Inno- 
 cent, andconfecjuently a Divine Be- 
 nefaction, 'tis to be confider'd inThat 
 View, and as an Ingredient in Hu- 
 mane Life, which the Supreme Wif- 
 dom has judg'd neceflary, 
 
 Painting is that Pleafant, Inno- 
 cent Amulement. But 'tis More 3 
 'tis of great Ufe, as being one of the 
 means whereby we convey our Ideas 
 to each other, and which in fome 
 refpe&s has the Advantage of all 
 the reft. And thus it muft be rank'd 
 with Thefe, and accordingly efteem'd 
 
 not
 
 ( 3) 
 
 not only as an Enjoyment, but as 
 another Language, which completes 
 the whole Art of communicating 
 our Thoughts 3 one of thofe parti- 
 culars which raifes the Dignity of 
 Human Nature fo much above the 
 Brutes 3 and which is the more con- 
 fiderable, as being a Gift bellowed 
 but upon a Few even of our own 
 Species. 
 
 Words paint to the Imagination, 
 but every Man forms the thing to 
 himfelf in hisOwn way : Language 
 is very Imperfed : There are innu- 
 merable Colours, and Figures for 
 which we have no name, and an 
 infinity of other Ideas which have no 
 certain Words univerfally agreed up- 
 on as denoting them 3 whereas the 
 Painter can convey his Ideas of thefe 
 Things Clearly, and without Ambi- 
 guity 3 and what he fays every one 
 underftands in the Senfe he intends 
 it. 
 
 B 2 And
 
 And this is a Language that is U- 
 niverfal 5 Men of all Nations hear 
 the Poet, Moralift, Hiftorian, Di- 
 vine, or whatever other Character 
 the Painter aflumes, fpeaking to 
 them in their own Mother Tongue. 
 
 (painting has another Advantage 
 over Words, and that is, it Pours 
 Ideas into our Minds, Words only 
 Drop 'em. The whole Scene opens 
 at one View, whereas the other way 
 lifts up the Curtain by little,and lit- 
 tle : We fee (for Example) the fine 
 Profped: at Conftantinople, an Erupti- 
 on of Mount JEtna, the Death of 
 Socrates, the Battel of Blenheim, the 
 Perfon of King Charles the Firft, &c. 
 in an inftant. 
 
 The Theatre gives us Reprefen- 
 tations of Things different from 
 both thefe, and a kind of Compofi- 
 tion of both : There we fee a fort of 
 moving, fpeaking Pi&ures, but thefe 
 areTranfient 5 whereas Painting re- 
 mains, and is always at hand. And 
 
 what
 
 ( <>> 
 
 what is more considerable, the Stage 
 never reprefents thingsTruly, efpeci- 
 ally if the Scene be Remote, and the 
 Story Ancient. A Man that is ac- 
 quainted with the Habits, and Cu- 
 ftoms of Antiquity, comes to revive 
 ' or improve his Ideas relating to the 
 Misfortune of OEdipus, or the Death 
 of Julius defar, and finds a fort of 
 Fantaftical Creatures, the like of 
 which he never met with in any 
 Statue, Bas-Relief, or Medal 5 his 
 juft Notions of thefe Things are 
 all contradicted and difturb 'd. But 
 Painting {hews us thefe brave Peo- 
 ple as they were in their own ge- 
 nuine Greatnefs, and noble Simpli- 
 city. 
 
 The Pleafure that Vainting, as a 
 Dumb Art, gives us, is like what 
 we have from Mufick 5 its beautiful 
 Forms, Colours and Harmony, are 
 to the Eye what Sounds, and the 
 Harmony of that kind are to the 
 Ear j and in both we are delighted 
 B 3 in
 
 ( 6 > 
 
 in obferving the Skill of the Artift 
 in proportion to It 5 and our own 
 Judgment to diicover it. 'Tis this 
 Beauty and Harmony which gives 
 us fo much Pleafure at the Sight of 
 Natural Pi&ures, a Profpeft, a fine 
 Sky, a Garden, &c. and the Co- 
 pies of thefe, which renew the I- 
 deas of 'em, are confequently Plea- 
 fant : Thus we fee Spring, Sum- 
 mer and Autumn, in the depth of 
 Winter 3 and Froft and Snow, if 
 we pleafe, when the Dog-Scar rages. 
 By the help of this Art we have the 
 Pleafure of feeing a vaft Variety of 
 Things and Adtions, of travelling 
 by Land or Water, of knowing the 
 Humours of Low Life without mix- 
 ing with it, of viewing Tempefts, 
 Battels, Inundations 5 and, infhort, 
 of all Real or Imagind Appearances 
 in Heaven, Earth, or Hell 5 and 
 this as we fit at our Eafe, and caft 
 our Eye round a Room : We may 
 ramble with Delight from one Idea 
 
 to
 
 (7) 
 
 to another, or fix upon Any as we 
 pleafe. Nor do we barely fee this 
 Variety of Natural Obje&s, but in 
 Good Pictures we always fee Nature 
 Improv'd, or at leaft the beft Choice 
 of it- We thus have nobler and 
 finer Ideas of Men, Animals, Land- 
 scapes, <src. than we fliould perhaps 
 have ever had 5 We fee particular 
 Accidents, and Beauties which are 
 rarely, or never feen by us $ And all 
 this is no inconfiderable Addition to 
 the Pleafure. 
 
 And thus we fee the Perfons and 
 Faces of Famous Men, the Origi- 
 nals of which are out of our reach, 
 as being gone down with the Stream 
 of Time, or in diftant Places : And 
 thus too we fee our Relatives and 
 Friends, whether Living or Dead, as 
 they have been in all the Stages of 
 Life. In Picture we never die, ne- 
 ver decay, or grow older. 
 
 But when we come to confider 
 
 this Art as it informs the Mind, its 
 
 B 4 Merit
 
 c 8 J 
 
 Merit is rais'd 5 it ftill gives Plea- 
 fure, but 'tis not Merely fuch 3 The 
 PainterNow is not only what a wife 
 Orator who is a beautiful Perfon, and 
 has a graceful Action is to a deaf 
 Man, but what fuch a one is to an 
 underftanding Audience. 
 
 And thus Painting not only {hews 
 us how Things Appear, but tells us 
 what they Are 3 We are inform'd of 
 Countries, Habits, Manners, Arms, 
 Buildings Civil, and Military, Ani- 
 mals, Plants, Minerals 3 and in fine, 
 of all kinds of Bodies whatfoever. 
 
 This Art is moreover fubfervient 
 to many other ufeful Sciences 3 it 
 gives the Architect his Models 3 to 
 Phyficians and Surgeons the Tex- 
 ture, and Forms of all the Parts of 
 Human Bodies, and of all the Thoe- 
 nomena of Nature. All Mechanicks 
 ftand in need of it. But 'tis not ne- 
 ceflary to enlarge here, the many 
 Explanatory Prints in Books, and 
 without which thofe Books would 
 
 in
 
 ( 9 > . 
 
 in a great meafure be unintelligible, 
 fufficiently (hew the Ufefulnefs of 
 this Art to Mankind. 
 
 I pretend not to go regularly thro' 
 all Particulars, or Here, or Elfe- 
 where throughout this whole Un- 
 dertaking to fay All that is to be 
 faid on this Subjedt $ I write as the 
 Scraps of Time I can allow my felf 
 to employ This way will permit me$ 
 and I write for my own Diverfion, 
 and my Son's Improvement, (who 
 well Deferves all the Afliftance I can 
 give, though he Needs it as little as 
 moll Young Men $ to whom I mud 
 do this farther Juftice, as to own, 
 that I am beholden to Him in My 
 turn for fome confiderable Hints in 
 this Undertaking.) And if more- 
 over what I write may hereafter 
 happen to be of ufe to any body elfe, 
 whether it be to put a Lover of Art 
 in a Method to judge of a Picture, 
 (and which in moft things a Gen- 
 tleman may do altogether as well as 
 
 a
 
 (IO) 
 
 a Painter) or to awaken fome ufeful 
 Hints in fome of my own ProfefiSon $ 
 at lead to perfuade fuch to do no 
 Difhonour to it by a low or vicious 
 Behaviour 3 If thefe Conferences 
 happen, it will be a Satisfaction to 
 me over and above. But to return, 
 and to come to what is moft mate- 
 rial. 
 
 (Painting gives us not only the 
 Perfons, but the Characters of Great 
 Men. The Air of the Head, and 
 the Mien in general, gives ftrong 
 Indications of the Mind, and illu- 
 ftrates what the Hiftorian fays more 
 exprefsly, and particularly. Let a 
 Man read a Character in my Lord 
 Clarendon, (and certainly never was 
 there a better Painter in that kind) 
 he will find it improv'd by feeing 
 a Picture of the fame Perfon by Van 
 T>yck; Painting relates the Hiftories 
 of Paft, and Prefent Times, the 
 Fables of the Poets, the Allegories 
 of Moralifts, and the good Things 
 
 of
 
 pf Religion 3 and confequently a Pi- 
 cture, befides its being a pleafanc 
 Ornament, befides that 'tis ufeful to 
 Improve and InftruCt us, 'tis great- 
 ly mftrumental to excite proper Sen- 
 timents and Reflections, as a Hifto- 
 ry, a Poem, a Book of Ethicks, or 
 Divinity is : The truth is, they mu- 
 tually aflift one another. 
 
 By Reading, or Difcourfe, we 
 learn fome Particulars which we can- 
 not have otherwife 3 and by Paint- 
 ing we are taught to form Ideas of 
 what we read 3 we fee thofe things 
 as the Painter faw 'em, or has im- 
 proved 'em with much Care and Ap- 
 plication 3 and if he be a <%afaelle y 
 a Giulio (Romano, or fome fuch great 
 Genius, we fee 'em better than any 
 one of an Inferiour Character can, 
 or even than one of Their Equals, 
 without that degree of Reflection 
 they had made, poflibly could. Af- 
 ter having read Milton, one fees Na- 
 ture with better Eyes than before, 
 
 Beauties
 
 Beauties appear which elfe had been 
 unregarded : So by converting with 
 the Works of the beft Mafters in 
 Painting, one forms better Images 
 whilft we are Reading, or Thinking. 
 I fee the Divine Airs o{<%afaelle when 
 I read any Hiftory of our Saviour, 
 or the Blefled Virgin 5 and the Aw- 
 ful ones he gives an Apoftle when I 
 read of their Actions, and conceive 
 of thofe Actions that He, and Other 
 great Men defcribe in a Nobler man- 
 ner than otherwife I fhould ever 
 have done. When I think of the 
 ftory of the ©ra/, or that of the 
 three hundred Lacedemonians at Thzr~ 
 tnopyU, 1 fee them with fuch Faces 
 and Attitudes, as Michelangelo , or 
 Giulio (Romano would have given 'em 5 
 and Venus and the Graces I fee of the 
 Hand of Tarmeggtano 5 and fo of o* 
 ther Subjects. 
 
 And if my Ideas are raifed, the 
 
 Sentiments excited in my Mind will 
 
 be proportionably improved. So 
 
 1 that
 
 ('3) 
 
 that fuppofing two Men perfe&ly 
 Equal in all other refpe&s, only one 
 is converfant with the Works of the 
 beft Mafters (well chofen as to their 
 Subjects) and the other not 3 the 
 former fliall neceflarily gain the Af- 
 cendant, and have nobler Ideas, 
 more Love to his Country, more 
 moral Virtue, more Faith, more 
 Piety and Devotion than the other 5 
 he fliall be a more Ingenious, and a 
 Better Man. 
 
 To come to Portraits $ the Pi£frire 
 of an abfent Relation, or Friend, 
 helps to keep up thofe Sentiments 
 which frequently languifh by Abfence 
 and may be inftrumental to main- 
 tain, and fometimes to augment 
 Friendfhip, and Paternal, Filial, and 
 Conjugal Love, and Duty. 
 
 Upon the fight of a Portrait, the 
 Character, and Mafter-ftrokes of the 
 Hiftory of the Perfon it reprefents 
 are apt to flow in upon the Mind, 
 and to be the Subjeft of Converfa- 
 
 tion:
 
 ( '4 ) 
 
 tion : So that to fit for one s Pidure, 
 is to have an Abftra6l of one's Life 
 written, and published, and ourfelves 
 thus confign'd over to Honour, or 
 Infamy. 1 know not what Influence 
 this has, or may have, but methinks 
 'tis rational to believe that Pictures 
 of this kind are iiibfervient to Vir- 
 tue 5 that Men are excited to imi- 
 tate the Good Actions, and perfuad- 
 ed to fliun the Vices of thofe whole 
 Examples are thus fet before them $ 
 ufeful Hints muft certainly be fre- 
 quently given, and frequently im- 
 proved into Practice : And why 
 iliould we not alfo believe, thatcon- 
 fidering the violent Third of Praife 
 which is natural, efpecially in the 
 nobleft Minds, and the better fort of 
 People, they that fee their Pictures 
 are let up as Monuments of Good, 
 or Evil Fame, are often fecretly ad- 
 moniflid by the faithful Friend in 
 their own Breafts to add new Graces 
 to them by Praife-worthy Actions, 
 
 and
 
 ( i$) 
 
 and to avoid Blemiflies, or deface 
 what may have happened, as much 
 as poflible, by a future good Con- 
 duct. A Flattering Mercenary Hand 
 may reprefentmy Face with a Youth, 
 or Beauty, which belongs not to 
 me, and which I am not one jot 
 the Younger, or the Handfomer for, 
 though I may be a juft Subjedt of 
 Ridicule for Defiring, or Suffering 
 fuch Flattery : But I my felf mult 
 lay on the mod durable Colours, 
 my Own Conduit gives the boldeft 
 Strokes of Beauty, or Deformity. 
 
 I will add but one Article more 
 in Praife of this Noble, Delightful, 
 and Ufeful Art, and that is this 5 
 The Treafure of a Nation confifts 
 in the pure Productions of Nature, 
 or thole managed, or put together, 
 and improv'd by Art : Now there is 
 no Artificer whatfoever that pro* 
 duces lo Valuable a thing from fuch 
 Inconfiderable Materials of Nature's 
 furnifliing, as the Painter $ putting 
 
 the
 
 ( i6) 
 
 the Time (for chat alfo mud be 
 confider'd as one of thofe Materials) 
 into the Account : Tis next to 
 Creation. This Nation is many 
 Thoufands of Pounds the richer for 
 Van-Vycl^s Hand, whofe Works are as 
 current Money as Gold in moft parts 
 of Europe, and this with an incon- 
 fiderable Expence of the Producti- 
 ons of Nature $ what a Treafure then 
 have all the Great Mafters here, and 
 elfewhere given to the World ! 
 
 'Tis nothing to the purpofe to 
 fay, by way of Objection to all this, 
 that the Art has alfo been fubfervi- 
 ent to Impiety, and Immorality 5 
 1 own it has •, but am fpeaking of 
 the thing it felf, and not the Abufe 
 of it : a Misfortune to it in com- 
 mon with other excellent things of 
 all kinds, Poetry, Mufick, Learn- 
 ing, Religion, &r. 
 
 Thus Painters, as well as Hifto- 
 rians, Poets, (philofophers, Divines, <?c. 
 confpire in their feveral ways to be 
 
 fervice-
 
 ('7) 
 
 able to Mankind 5 but not with an 
 equal degree of Merit, if that Merit 
 is to be eftimated according to the 
 Talents requifice to excel in any of 
 thefe Profeflions. 
 
 But (by the way) 'tis not every 
 PiEture-Maker that ought to be cal- 
 led a (painter, as every (Rhymer, or 
 Grubjireet Tale-Writer is not a Poet, 
 or Hijiorian : A Painter ought to be 
 a Title of Dignity, and underftood 
 to imply a Perfon endued with fuch 
 Excellencies of Mind, and Body, as 
 have ever been the Foundations of 
 Honour amongft Men. 
 
 He that Paints a Hiftory well, 
 muft be able to Write it $ he muft 
 be throughly informed of all things 
 relating to it, and conceive it clear- 
 ly, and nobly in his Mind, or he 
 can never exprefs it upon the Can- 
 vas : He muft have a folid Judg- 
 ment, with a lively Imagination, 
 and know what Figures, and what 
 Incidents ought to be brought in, 
 C and
 
 ( '8) 
 
 and what every one fhould Say, and 
 Think. A Painter therefore of this 
 Clafs muft poflefs all the good Qua- 
 lities requisite to an Hiftorian $ un- 
 lefs it be Language (which how- 
 ever feldom fails of being Beautiful, 
 when the thing is clearly, and well 
 conceiv'd.) But this is not fufficient 
 to him, he muft moreover know 
 the Forms of the Arms, the Habits, 
 Cuftoms, Buildings, ire, of the Age, 
 and Countrey, in which the thing 
 was tranfadted, more exa&ly than 
 the other needs to know 'em. And 
 as his Bufinefs is not to write the 
 Hiftory of a few Years, or of One 
 Age, or Countrey, but of All Ages, 
 and All Nations, as occafion offers, 
 he muft have a proportionable Fund 
 of Ancient, and Modern Learning 
 of all kinds. 
 
 As to Paint a Hiftory, a Man 
 ought to have the main Qualities of 
 a good Hiftorian, and fomething 
 more 5 he muft yet go higher, and 
 
 have
 
 ( IP) 
 
 have the Talents requilTte to a good 
 Poet 5 the Rules for the Conduit of 
 a Picture being much the fame with 
 thofe to be obferved in writing a 
 Poem 3 and Tainting, as well as (poe- 
 try, requiring an Elevation of Geni- 
 us beyond what pure Hiftorical 
 Narration does 3 the Painter muft 
 imagine his Figures to Think, Speak, 
 and A6t, as a Poet fhould do in a 
 Tragedy, or Epick Poem 3 efpeci- 
 ally if his Subjedt be a Fable, or 
 an Allegory. If a Poet has more- 
 over the Care of the Di&ion, and 
 Verfification, the Painter has a 
 Task perhaps at leaft Equivalent to 
 That, after he has well conceived 
 the thing (over and above what is 
 merely Mechanical, and other par- 
 ticulars, which fliall be fpoken to 
 prefently) and that is the Know- 
 ledge of the Nature, and Effeds of 
 Colours, Lights, Shadows, Reflec- 
 tions, tsrc. And as his Bufinefs is 
 not to compofe One Iliad, or One 
 C % Jineid
 
 ( 2°) 
 
 JEne'id only, but perhaps Many, he 
 muft be furnifti'd with a Vaft Stock 
 of Poetical, as well as Hiflorkal Lear- 
 ning. 
 
 Befides all this, 'tis abfolutely ne- 
 ceflary to a Hiftory-Painter that he 
 underftands Anatomy, Ofteology, Geo- 
 metry, (Perfyettive, ArchiteElure, and 
 many other Sciences which the Hi- 
 ftorian, or Poet, has little occafion 
 to know. 
 
 He muft moreover not only See, 
 but thoroughly Study the Works of 
 the moft excellent Mafters in Paint- 
 ing, and Sculpture, Ancient, and 
 Modern 5 for though fome few have 
 gone vaft Lengths in the Art by 
 the Strength of their own Genius, 
 without Foreign Afliftance, thefe are 
 Prodigies, the like Succefs is not 
 ordinarily to be expected 5 nor have 
 even Thefe done what probably they 
 would have done with the Advanta- 
 ges the Study of other Mens Works 
 would have given them. I leave Vajari 
 
 and
 
 (-21 ; 
 
 and Mellon to difpute whether <$a- 
 faelle was beholden to Michelangelo s 
 Works for the Greatnefs of his Style, 
 but that he Improv'd upon his com- 
 ing to (%ome, and made Advantages 
 from what he faw there is income- 
 ftable. Nor am I certain that Co- 
 reggio faw the S. Cecilia of ^afaelle at 
 Bologna, as has been aflerted, but 
 that he would have been the better 
 for it if he had feen That, and o- 
 ther Works of that Mafter, I can 
 eafily believe. 
 
 To be a good Face-Painter, a 
 degree of the Hiftorical, and Poeti- 
 cal Genius is requifite, and a great 
 Meafure of the other Talents, and 
 Advantages which a good Hiftory- 
 Painter muft poflfefs : Nay fome of 
 them, particularly Colouring, he 
 ought to have in greater Perfection 
 than is abfolutely negeflary for a 
 Hiftory-Painter. 
 
 'Tis not enough to make aTame, 
 
 Jniipid Refemblance of the Features, 
 
 C? fa
 
 ( 2 2 ; 
 
 fo that every body (hall know who 
 the Pi&ure was intended for, nor 
 even to make the Picture what is 
 often faid to be prodigious Like r 
 (This is often done by the lowed 
 of Face-Painters, but then 'tis ever 
 with the Air of a Fool, and an Un- 
 bred Perfon - y ) A Portrait-Painter 
 mud underftand Mankind, and en- 
 ter into their Chara&ers, and ex- 
 prefs their Minds as well as their 
 Faces : And as his Bufinefs is chief- 
 ly with People of Condition, he 
 muft Think as a Gentleman, and a 
 Man of Senfe, or 'twill be impofli- 
 ble to give Such their True, and 
 Proper Refemblances. 
 
 But if a Painter of this kind is 
 not oblig'd to take in fuch a com- 
 pafs of Knowledge as he that paints 
 Hiftory, and that the Latter upon 
 Some accounts is the nobler Em- 
 ployment, upon Others the Prefe- 
 rence is due to Face-Painting $ and 
 the peculiar Difficulties fuch a one 
 
 has
 
 ( *3 ) 
 
 has to encounter will perhaps ba- 
 lance what he is excufed from. He 
 is chiefly concerned with the No- 
 bleft, and moft Beautiful part of 
 Humane Nature, the Face 5 and is 
 obliged to the utmoft Exa&nefs. A 
 Hiftory-Painter has vaft Liberties $ 
 if he is to give Life, and Greatnefs, 
 and Grace to his Figures, and the 
 Airs of his Heads, he may chufe 
 what Faces, and Figures he pleafes $ 
 but the Other muft give all that (in 
 fome degree at leaft) to Subjects 
 where 'tis not always to be found, 
 and muft Find, or Make Variety in 
 much narrower Bounds than the 
 Hiftory-Painter has to Range in. 
 
 Add to all this, that the Works 
 of the Face-Painter muft be feen in 
 all the Periods of Beginning, and 
 Progrefs, as well as when Finifli'd, 
 when they are Not, ofcner than 
 when they Are fit to be feen, and 
 yetjudgdof, and Criticis'd upon, 
 as if the Arcift had given his laft 
 C 4 Hand
 
 ( H ) 
 
 Hand to 'em, and by all forts of 
 People 5 nor is he always at liberty 
 to follow his Own Judgment. He 
 is moreover frequently difappoint- 
 ed, obliged to wait till the Vigour 
 of his Fancy is gone off, and to 
 give over when 'tis ftrong, and live- 
 ly. Thefe things, and feveral others 
 which I forbear to mention, often- 
 times try a Man's Philofophy, and 
 Complaifance, and add to the Merit 
 of him that fucceeds in this kind of 
 Painting. 
 
 A Painter muft not only be a 
 Poet, an Hiftorian, a Mathematician, 
 Crc. he muft be a Mechanick, his 
 Hand, and Eye, muft be as Expert 
 as his Head is Clear, and Lively, and 
 well ftored with Science ; He muft 
 not only write a Hiftory, a Poem, 
 a Defcription, but in a fine Chara- 
 cter 5 his Brain, his Eye, his Hand, 
 muft be bufied at the fame time. He 
 muft not only have a nice Judgment 
 to d'ftinguifh betwixt things nearly 
 
 Refembling
 
 r 2$; 
 
 Refembling one another, but not the 
 fame, (which he mtift have in 
 common with thofe of the nobleft 
 Profeflions 5) but he muft moreover 
 have the fame Delicacy in his Eyes 
 to judge of the Tindts of Colours 
 which are of infinite Variety $ and to 
 diftinguifh whether aLine be ftreight, 
 or curv'd a little 5 whether This is 
 exactly parallel to That, or oblique, 
 and in what degree 3 how This curv'd 
 Line differs from That, if it differs 
 at all, of which he muft alfo judge 3 
 whether what he has drawn is ot 
 the fame Magnitude with what he 
 pretends to imitate, and the like 3 
 and muft have a Hand exa<5t enough 
 to form thefe in his Work, anfwe- 
 rable to the Ideas he has taken of 
 them. 
 
 An Author muft Think, but 'tis 
 no matter how he Writes, he has 
 no Care about that, 'tis fufficient if 
 what he writes be Legible : A curi- 
 ous Mechanicks Hand muft be ex- 
 
 quifite.
 
 (26) 
 
 quifite, but his Thoughts are com- 
 monly pretty much at liberty, but 
 a Painter is engaged in Both refpe£b. 
 When the Matter is well Thought 
 and Digefted in the Mind, (a Work 
 common to Painters and Writers) 
 the Former has ftill behind a vaftly 
 greater Task than the other, and 
 which to perform Well, would alone 
 be a fufficient recommendation to 
 any Man who fhould employ a 
 whole Life in attaining it. 
 
 And here 1 muft take leave to 
 endeavour to do Juftice to my Pro- 
 feflion as a Liberal Art. 
 
 'Tvvas never thought unworthy 
 of a Gentleman to be Mafter of the 
 Theory of (painting. On the contrary, 
 if fuch a one has but a luperficial 
 Skill that way, he values himfelf 
 upon it, and is the more efteem'd 
 by others, as one who has attaint 
 an Excellency of Mind beyond thofe 
 that are Ignorant in that particular. 
 5 Tis ftrange if the feme Gentleman 
 
 (hould
 
 ( '27 ) 
 
 fliould forfeit his Chara&er, and 
 commence Mechanick, if he added a 
 Bodily Excellence, and was capable 
 of Making, as well as of Judging, 
 of a Picture. How comes it to pafs, 
 that one that Thinks as well as any 
 Man, but has moreover a curious 
 Hand, fliould therefore be efteem'd 
 to be in a Clafs of Men at all infe- 
 rior ? An Animal that has the life of 
 Hands, and Speech, and ^eafon, is the 
 Definition of a Man ; The Painter 
 has a Language in common with 
 the reft of his Species, and one fu- 
 peradded peculiar to himfelf, and 
 exercifes his Hands, and Rational 
 Faculties to the utmoft Stretch of 
 of Humane Nature 3 certainly he 
 is not leis Honourable for excelling 
 in All the Qualities of a Man as 
 diftinguifli'd from a Brute. Thofe 
 Employments are Servile, and Me- 
 chanical, in which Bodily Strength, 
 or Ability, is Only, or Chiefly re- 
 quired, and that becaufe in fuch 
 * cafes
 
 r 28 j 
 
 cafes the Man approaches more to 
 the Brute, or has fewer of thofe 
 Qualities that exalt Mankind above 
 other Animals ; but this Confide- 
 ration turns to the Painter's Advan- 
 tage : Here is indeed a fort of 
 Labour, but what is purely Humane, 
 and for the Conduct of which the 
 greateft Force of Mind is neceflary. 
 
 To be employed at all will not 
 be thought lefs Honourable than 
 Indolence, and Inactivity : But per- 
 haps, tho' for a Gentleman to paint 
 for his Pleafure without any Reward 
 is not unworthy of him, to make a 
 Profefllon of, and take Money for 
 this Labour of the Head and Hand 
 is the Dishonourable Circumftance, 
 This being a fort of letting himfelf 
 to Hire to whofoever will pay him 
 for his Trouble. Very well ! And 
 is it more becoming for a Man 
 to employ himfelf fo as that he fhall 
 thereby be enabled to Enjoy more 
 Jiimfelf, or be more Ufeful to his 
 
 Family*
 
 (29) 
 
 Family, or to whomfoever elfe he 
 fees fit, than fo as it fhall turn to 
 Lefs account, or None at all ? And 
 as to fetting our felves to Hire, we 
 Painters are content to own this is 
 really the Cafe 5 and if this has 
 fomething Low, and Servile in it, 
 we muft take our place amongfl 
 Men accordingly. But here we have 
 this to comfort us, we have good 
 Company, that is, all thofe that 
 receive Money for the Exercife of 
 their Abilities of Body, or Mind, 
 And if a Man looks abroad in the 
 World he may obferve a great ma- 
 ny of thefe 5 they are in the Courts 
 of Princes, and of Judicature, in 
 Camps, in Churches, in Conven- 
 ticles, in the Streets, in our Houles$ 
 they abound every where : Some 
 whereof are paid for each particular 
 piece of Service they do, and others 
 have yearly Salaries,and Perquiiites, 
 or Vails ; but this alters not the cafe. 
 
 Nor
 
 (3° ) 
 
 Nor is it difhonourable for any 
 of us to take Money : He that fti- 
 pulates for a Reward for any Service 
 he does another, a£ts as a wife Man, 
 and a good Member of the Society : 
 He gives what is Pleafant, or Ufeful 
 to another, but confidering the De- 
 pravity of Humane Nature, trufts 
 not to his Gratitude, but fecures 
 himfelf a Return 3 and Money being 
 in effect every thing that is purchafe- 
 able, he takes That as chufing for 
 himfelf what Pleafure, or Conveni- 
 ency He will have $ as he to whom 
 he performs the Service alfo does 
 when he employs him. 
 
 Thus Painters as the reft bufy 
 themfelves, and make Advantage to 
 Themfelves, as well as to Others, 
 of their Employments 3 they let 
 themfelves out to Hire much alike 5 
 and one is a more Honourable way 
 than another in proportion to the 
 Kind, and Degree of Abilities they 
 require, and their Ufefulnefs to 
 
 Man-
 
 (V ) 
 
 Mankind. What Rank a Painter 
 (as fuch) is to hold amongft thefe 
 Money-Takers I fubmit to Judgment, 
 after what I have faid has been con- 
 fider'd $ and I hope it will appear 
 that they may be placed amongft 
 thofe whom all the World allow to 
 be Gentlemen, or of Honourable 
 Employments, or ProfelTions. 
 
 And in fadt by the politeft Peo- 
 ple, and in the beft Ages, Paft, as 
 well as Prefent, the Art has been 
 much Efteem'd, and Painters have 
 liv'd in great Reputation, and fome 
 of them with much Magnificence : 
 Nor have thofe of the SublimeftQua- 
 lity thought them unworthy of con- 
 fiderable Additional Honours, and 
 amongft the reft of their Conven- 
 tion, and Friendship : Of which I 
 might give many Inftances. 
 
 Tis true, the Word Painter docs 
 not generally carry with it an Idea 
 equal to what we have of other Pro- 
 feffions, or Employments not Su- 
 perior
 
 . ( 30 
 
 perior to it 5 the Reafon of which is, 
 That Term is appropriated to all 
 forts of Pretenders to the Art, which 
 being Numerous, and for the moft 
 part very Deficient, (as it muft needs 
 happen, fo few having Abilities 
 and Opportunities equal to fuch an 
 Undertaking) Thefe confequently 
 have fallen into Contempt 5 whether 
 upon account of fuch Deficiency, or 
 the Vices, or Follies which were in 
 part the Occafions, or EfFe&s of it 5 
 and this being vifible in a great Ma- 
 jority, it has diminifti'd the Idea 
 which ought to be apply'd to the 
 Term I am fpeaking of 3 which 
 therefore is a very Ambiguous one, 
 and Qiould be confiderd as fueh, if 
 it be extended beyond This, that it 
 denotes one pra&ifing fuch an Art, 
 for no body can tell what he ought 
 to conceive farther of the Man, whe- 
 ther to rank him amongft fome of 
 the Meaneft, or equal to the moft 
 
 Confiderable amongft Men. 
 
 To
 
 (33) 
 
 To conclude : To be an Accom- 
 plifh'd Painter, a Man muft poflefs 
 more than One Liberal Art, which 
 puts him upon the Level with thofe 
 that do fo, and makes him Supe- 
 rior to thofe that poflefs but One in 
 an Equal Degree : He muft be alfo 
 a Curious Artificer, whereby he be- 
 comes Superior to one who equally 
 poflefles the other Talents, but wants 
 That. A ^afaelle therefore is not 
 only Equal, but Superior to a Virgil ^ 
 or a Lity, a Tlmcydides, or a Homer. 
 
 What I now advance may appear 
 Chimerical : In that cafe I only de- 
 lire it may be confidered, whether 
 'tis not a neceflary Confequence of 
 what went before, and was-, and mud 
 be granted. This I alfo infift upon 
 as my Right, if any thing elfe ap- 
 pears to be exaggerated : for my 
 own part I write as I think. 
 
 I thought fit to do Juftice to the 
 
 Art of Tainting in the firfl: place 5 
 
 D . and
 
 (34) 
 
 and before I entred upon the Rules 
 to be obferved in the Condudl of a 
 Picture to tell the Painter what 
 Qualities he Himfelf ought to have. 
 To which I will add, (but not as the 
 leaft Confiderable) That as his Pro- 
 feffion is Honourable, he fliould ren- 
 der himfelf worthy of it by Excel- 
 ling in it, and by avoiding all Low, 
 and Sordid Actions, and Conventi- 
 on, all Bafe, and Criminal Paflions : 
 his Bufinefs is to exprefs Great, and 
 Noble Sentiments, Let him make 
 them Familiar to him, and his Own, 
 and form Himfelf into as bright a 
 Character as any he can draw. His 
 Art is of a vaft Extent, and he ftands 
 in need of all the Time, and all the 
 Vigour of Body, and Mind allow'd 
 to Humane Nature j he (hould take 
 care to Husband, and Improve thefe 
 as much as polTible by Prudence, and 
 Virtue : The way to be an Excel- 
 lent Painter is to be an Excellent 
 
 Man,
 
 (35 3 
 
 Man ; and thefe united make a Cha- 
 racter that would fliine even in a 
 better World than this. 
 
 But as a Picture may be efteem'd 
 a good, and a valuable one, in which 
 all the good Qualities of a Pi&ure 
 are not to be found, (for that never 
 happens ) and thofe that Are, but in 
 a Degree fhort of the Utmoft $ nay, 
 if a Pi6ture have but One of them in 
 a confiderable Degree 'tis to be va- 
 lued 3 Painters have a Right to the 
 fame Indulgence, and have had it in 
 Paft Ages, as well as in the Prefent^ 
 for whether for their Own fakes, or 
 from Principles of Reafon, Virtue, 
 Good-nature, or whatever other Mo- 
 tive the World is not wanting to 
 Cherifh, and Reward Merit, tho' in 
 a Narrow Compafs, and Inferior 
 Degrees : We have no reafon to 
 Complain. 
 
 Only give me leave to add, that 
 
 a Painter that holds but the Second 
 
 D x or
 
 or Third Rank in his Profeflion, is 
 entitled to an equal Degree of Efteem 
 with one in the Firft in Another, if 
 to arrive at that Inferior Station, as 
 many good Qualities are requifite 
 as to attain to the Higheft in that 
 other. 
 
 THE
 
 ( V ) 
 
 T 
 
 HE whole Art of Painting 
 confifts of thefe Parts. 
 
 Indention , ExpreJJion , Compojttion, 
 Drawing, Colouring , Handling, and 
 Grace, and Greatnefl. 
 
 What is meant by thefe Terms, 
 and that they are Qualities requifite 
 to the Perfe&ion of the Art, and 
 really Diftin<5t from each other, fo 
 that no one of 'em can be fairly im- 
 ply'd by any other, will appear when 
 I treat of them in their Order 5 and 
 this will juftify my giving fo many 
 Parts to Painting, which (ome others 
 who have wrote on it have not done. 
 As to thofe Properties in a Picture 
 fo much fpoken of, fuch as Force, 
 Spirit, the understanding of Clair- 
 objcure, or whatever other there may 
 be, they will be taken notice of here- 
 D 3 after
 
 r 38 ) 
 
 after, as being reducible to fome 
 ofthefe Principal Heads. 
 
 The Arc in its whole Extent be- 
 ing too great to be compafs'd by any 
 one Man in any tolerable Degree of 
 Perfection, fome have apply'd them- 
 felves to paint One thing, and fome 
 Another : Thus there are Painters of 
 Faces, Hiftory, Land/capes, Battels, 
 Drolls, Still-Life, Flowers, and Fruit, 
 Ships, &cc, but every one of thefe 
 feveral Kinds of Pictures ought to 
 have all the feveral Parts, or Qua- 
 lities juft now mentioned j though 
 even to arrive at that in any one 
 Kind of Painting, is beyond the 
 Reach of any Man. Even in Drolls 
 there is a Difference $ there is a 
 Grace and Greatnefs proper to them, 
 which some have more than Others. 
 The Hi/lory-Tainter is obliged often- 
 times to paint All thefe kinds of 
 Subjects, and the Face-Tainter Moft of 
 'em j but befides that they in fuch 
 Cafes are allowed the Afliftance of 
 
 other
 
 other Hands, the Inferior Subjects 
 are in Companion of their Figures 
 as the Figures in a Landfcape, there 
 is no great Exadtnefs required, or 
 pretended to. 
 
 Italy has unqueftionably produced 
 the beft Modern Painting, efpecially 
 of the beft Kinds, and poflefs'd it in 
 a manner alone, when no other 
 Nation in the World had it in any 
 tolerable Degree 5 That was Then 
 confequently the great School of 
 Painting. About a hundred Years 
 ago there were a great many Excel- 
 lent Painters in Flanders 5 but when 
 Van*Vyck^ came Hither, he brought 
 Face-tpainthig to Us $ ever fince which 
 time (that is, for above fourfcore 
 Years ) England has excelled all the 
 World in that great Branch of the 
 Art, And being well ftor'd with 
 the Works of the greateft Matters, 
 whether Paintings, or Drawings, Here 
 being moreover the fineft Living 
 Models, as well as the greateft En- 
 D 4 couragemen^
 
 ( 4° ) 
 
 couragement, This may juftly be 
 efteem'd as a Complete, and the Belt 
 School for Face-Painting Now in the 
 World 3 and would probably have 
 been yet Better, had Fan-Dycl^s Mo- 
 del been followed : But fome Pain- 
 ters polTibly finding themfelves inca- 
 pable of fucceeding in His Way, and 
 having found their Account in intro- 
 ducing a Falfe Tafte, Others have 
 follow d their Example, andforfak- 
 ing the Study of Nature, have pro- 
 fticuted a Noble Art, chufing to ex- 
 change the honourable Character of 
 good Painters for that fordid one of 
 profefs'd, mercenary Flatterers 5 and 
 To much worfe than the meaneft of 
 Thofe, in that They give under their 
 Hands, and to be feen of Every body, 
 what Thofe only utter in Words, and 
 to thofe chiefly who they find weak 
 enough to be their Dupes. 
 
 As for the other Branches of Paint- 
 ing, fome few of feveral Nations 
 have been excellent in them 5 as the 
 
 fiorgognone
 
 ( 4' ; 
 
 Borgognone for Battels, Michelangelo 
 the Battaglia, and Campadoglio for Fruit; 
 Father Segers, Mario del Fwri y znd Bap- 
 tifl for Flowers 3 Salvator (fiofa, Claude 
 Lorrain, and Gajper (Pouffin for Land- 
 fcapes 3 HZrower, and Hemskerk^ for 
 Drolls 3 (perfellis, and Vande-Velde for 
 Sea-Pieces 3 and feveral others. But 
 I am not difpofed to enlarge on this 
 Article. 
 
 O/Invention. 
 
 BEING determined as to the 
 Hiftory that is to be painted, 
 the firft thing the Painter has to do, 
 is To make himfelf Mafter of it as deli- 
 vered by Hiftorians, or otherwife 3 and 
 then to confider how to Improve it, keep- 
 ing within the Bounds of Probability t Thus 
 the Ancient Sculptors imitated Na- 
 ture 3 and thus the beft Hiftorians 
 have related their Stories. No body 
 can imagine (for Example) that Lhy, 
 or Jhucydides, had Direct, Exprefs 
 
 Authorities
 
 (42 ) 
 
 Authorities for all the Speeches they 
 have given us at length, or even for 
 all the Incidents they have delivered 
 to us as Fadts 5 but they have made 
 their Stories as Beautiful, and Con- 
 fiderable as they could 5 and this 
 with very good Reafon, for not only 
 it makes the Reading of 'em the 
 more Pleafant, but their Relations 
 with fuch Additions are fometimes 
 more probably the Truth, than when 
 nothing more is fuppofed to have 
 happened than what they might have 
 had exprefs Warrant for. Such an 
 Improvement ^afa'Hle has made in 
 the Story of our Saviour's directing 
 S. (peter to Feed his Flock, commonly 
 calPd the Giving him the Keys. Our 
 Lord feems, by the Relation of the 
 Evangelift, (at leaft z^oman Catholic^ 
 as (ftafaelle was, muft be fuppofed to 
 underftand it fo) to commit the Care 
 of his Church to that Apoftle prefe- 
 rably to the reft, upon the Suppo- 
 iition of his Loving him better than 
 
 any
 
 C+3J 
 
 any of them: Now though the Hi- 
 ftory is filent, 'tis exceeding proba. 
 ble rhatS.jfofoi, as he was the beloved 
 Difciple, would have expected this 
 Honour, and be piqued at his being 
 thought to love his Matter lefs than 
 S. Peter : (ftafaelle therefore in that 
 Carton makes him addrefs himfelf to 
 our Lord with extream Ardour, as 
 if he was intreating him to believe 
 he loved him no lefs than S. Peter, 
 or any of the other Apoftles. And 
 this puts one upon imagining fome 
 Fine Speeches that it may befuppofed, 
 were made on this Occafion, whereby 
 (%afael!e has given a Hint for every 
 Man to make a farther Improvement 
 to himfelf of this Story. 
 
 The fame Liberty of heightn'mg a 
 Story is very commonly taken in 
 Pictures of the Crucifixion j theBlef- 
 fed Virgin is reprefented as Swoon- 
 ing away at the Sight, and S. John, 
 and the Women with great propriety 
 dividing their Concern between the 
 
 two
 
 f44J 
 
 two Obje&s of it, which makes a 
 fine Scene, and a confiderable Im- 
 provement 5 and probably was the 
 Truth, though the Hiftory fays no 
 fuch thing. 
 
 In like manner, when the Sacred 
 Body was taken from the Crofs, the 
 Virgin-Mother is frequently intro- 
 duced as Swooning away alfo, when 
 even her being Prefent is not autho- 
 rized by the Sacred Hiftory $ yet it 
 being very probable that fhe that 
 could fee her Son Crucified (which 
 the Scripture fays fhe did) would fee 
 him alio after he was dead, 'tis a 
 Liberty the Painter not only May, 
 but Ought to take. 
 
 An Improvement much of the 
 fame Nature is the Angels that are 
 frequently introduced in a Nativity, 
 or on other Occafions, the noble, 
 though not rich Habit of the Virgin, 
 and the like, though perhaps not al- 
 together in the lame Degree of Pro- 
 bability. 
 
 But
 
 (45) 
 
 But that Circumftance of the Blef- 
 fed Virgin-Mother being a Spectator 
 of the Crucifixion of her Son ought 
 not to have been introduced, not- 
 withftanding any Advantage it might 
 give the Picture, without exprefs War- 
 rant from the Hiftory, for Reafons 
 that are obvious 3 and the like Re- 
 ftridlions are neceflfary in other fuch 
 Cafes. 
 
 One Inftance more of an Improve- 
 ment upon the Subject well deferves 
 to be added. I have feen a Pidture 
 of Jlbani, a Madonna, the Child is 
 afleep 3 the Subject is a Common, 
 a Plain one. To heighten it the Pain- 
 ter has reprefented Chrift Dreaming 
 of his Future Paflion 5 As how ? 
 By placing juft by his Head a 
 fort of Glafs Vafe, wherein is feen 
 faintly, and as it were by Reflection, 
 the Crofs, and other Inftruments of 
 his Suffering. This is a Beautiful 
 Thought, Uncommon, and Delicate, 
 and fpreads the Imagination much 
 
 farther
 
 ( 4«5 ) 
 
 farther than it would otherwife na* 
 turally have gone. 
 
 As the Painter may Add to the 
 Story for the Advantage of it, he 
 may, to improve his Picture, leave 
 out fome Things. I have a Draw* 
 ing of <%afaelle> wherein he has taken 
 the Liberties of both thefe Kinds $ 
 the Story is the Defcent of the Holy 
 Ghoft on the Day of (pentecoft 3 (a 
 moft amazing Event 1 and worthy 
 to be defcribed by the firft Painter 
 of the World 5) the Tongues of Fire 
 on the Heads of the Infpir'd, would 
 have beenfufficientto have inform'd 
 us of the Story, and what Part the 
 Holy Spirit had in the Affair, and is 
 all the Sacred Hiftory relates 5 but 
 he has added the Dove hovering over 
 all, and calling forth his Beams of 
 Glory throughout all the void Space 
 of the Pidure over the Figures, which 
 gives a wonderful Majefty, and Beau- 
 ty to the whole. This is his Addi- 
 tion. On the other hand, becaufe 
 
 there
 
 (47) 
 
 there were (as the Scripture fays) a- 
 bout 120 Perfons, the whole num- 
 ber of the Infant Church, and which 
 would not have had a good effed: to 
 have been All, or a Crowd like That 
 brought into the Pidure, he has only 
 taken the Twelve, and the Bleffed 
 Virgin, with two other Women, as 
 Reprefentative of all the reft. This 
 Defign is grav'd by Marc Antonio, but 
 is very rare. 
 
 Under the prefent Rule is compre- 
 hended all thofe Incidents which the 
 Painter invents to inrich his Compo- 
 fition 5 and here in many Cafes he 
 has a vaft Latitude, as in a Battel, 
 a Plague, a Fire, the Slaughter of 
 the Innocents, e>c. ^afaeOe has finely 
 imagined fome of thefe (for example) 
 in his Picture call'd the Incendio di 
 (Sorgo. The Story is of a Fire at 
 (Rome miraculoufly extinguifh'd by 
 S. Leo IV. Becaufe a Fire is feldom 
 very great but when there happens 
 to be a high Wind, he has painted 
 
 fuch
 
 (48 ) 
 
 fuch a one, as is feen by the flying 
 of the Hair, Draperies, isrc. There 
 you fee a great many Inftances ofDi- 
 ftrefs, and Paternal, and Filial Love. 
 I will mention but one, where the 
 Story of JEneas and Anchifes was 
 thought of 3 They were already out 
 of the great Danger, and the Son 
 carries the old Man not only as 
 commodioufly as poflible, but with 
 the utmoffc Care left he fliould ftum- 
 ble or fall with his precious Burthen. 
 I refer you to the Print, for there h 
 one of this Picture. 
 
 The fame (fiafaelle, in the Story of 
 the Delivery of S. Peter out of Pri- 
 fon, ( which by the way is finely 
 chofen to compliment his Patron 
 Leo X. the then Pope, for it alludes 
 to his Imprifonment, and Enlarge- 
 ment when he was a Cardinal Le- 
 gate ) has contrived three feveral 
 Lights, one from the Angel, a fe- 
 cond from a Torch, and the other 
 the Moon gives 5 which being at- 
 tended
 
 tended with properReflexions,and all 
 perfectly well underftood, produces 
 a furprizing efFed $ efpecially where 
 'tis painted, which is over a Window. 
 There are other Circumftances finely 
 Invented in this Picture, for which 
 I refer you to (Bellons Defcription of 
 it. One might give innumerable 
 Inftances to this purpofe, but let 
 thefe fuffice. 
 
 A fainter is allotted fometimes to de~ 
 part even from Natural, and Hiftorkal 
 Truth. 
 
 Thus in the Carton of the Draught 
 of Fifties (fiafaelle has made a Boat 
 too little to hold the Figures he has 
 plac'd in it 5 and this is fo vifible, 
 that Some are apt to Triumph over 
 that great Man, as having nodded on 
 that Qccafion 3 which Others have 
 pretended to Excufe, by faying it 
 was done to make the Miracle ap- 
 pear the greater 5 but the Truth is, 
 had he made the Boat large enough 
 for thofe Figures his Picture would 
 E have
 
 ( 5°) 
 
 have been all Boat, which would have 
 had a Difagreeable Effed 5 and to 
 have made his Figures Small enough 
 for a Veflfel of that Size, would have 
 rendered them unfuitable to the reft 
 of the Set, and have made thofe Fi- 
 gures appear lefs considerable $ there 
 would have been too much Boat, 
 and too little Figure. Tis amifs as 
 it is, but would have been worfe any- 
 other way, as it frequently happens 
 in other cafes, (ftafaelle therefore wife- 
 ly chofe this Lefler inconvenience, 
 this feeming Error, which he knew 
 the Judicious would know was None 3 
 and for the reft he was above being 
 follicitous for his Reputation with 
 Them. So that upon the whole this 
 is fo far from being a Fault, that 'tis 
 an Inftance of the great Judgment of 
 that incomparable Man, which he 
 learn d in his great School the An- 
 tique where this Liberty is common- 
 ly taken. 
 
 He
 
 ( 5' ) 
 
 He has departed from Hiftorkal 
 Truth in the Pillars that are at the 
 Beautiful Gate of the Temple $ the 
 Imagery is by no means agreeable to 
 the Superftition of the Jews at that 
 time, and all along after the Capti- 
 vity. Nor were thole kinds of Pil- 
 lars known even in Antique Archi- 
 tecture in any Nation 5 but they are 
 fo nobly Invented by Q^afaelle, and 
 fo prodigioufly Magnificent, that it 
 would have been a pity if he had not 
 indulged himfelf in this piece of Li- 
 centioufnefs, which undoubtedly he 
 knew to be Such. 
 
 But thefe Liberties muft be taken 
 with great Caution and Judgment 5 
 for in the Main, Hiftorical, and Na- 
 tural Truth muft be ob/erVed, the Story 
 may be embelliftid, or fomething of 
 it par'd away, but ftill So as it may 
 be immediately known ; nor muft 
 any thing be contrary to Nature but 
 upon great Neccflity, and apparent 
 Reafon. Hiftory muft not be cor- 
 E 2 rupted,
 
 ( 5«) 
 
 rupted, and turn'd into Fable or Ro- 
 mance : Every Perfon, and Thing 
 muft be made to fuftain its proper 
 Character 3 and not only the Story, 
 but the Circumftances muft be ob- 
 fervM, the Scene of Action, the 
 Countrey, or Place, the Habits, Arms, 
 Manners, Proportions, and the like, 
 muft correfpond. This is calPd the 
 obferving the Cojlume. The Story of 
 the Woman taken in Adultery muft 
 not be reprefented in the open Air, 
 but in the Temple. If that of Jkx- 
 ander coming to Diogenes, and the 
 Cynick. defiring him not to deprive 
 him of what he could not give, the 
 Light of the Sun ; I fay, if this be 
 painted, the Light muft not be made 
 co come the contrary way, and Dio- 
 genes in the Sun-Beams. Nor muft 
 our Saviour be made to help put 
 himfelf into his Sepulchre as I have 
 feen it reprefented in a Drawing, o- 
 therwife a good one. Thefe things 
 are too obvious to need being en- 
 larged on. Every
 
 ( 53.; 
 
 Every Hiftorical Ttfiure is a <%epre- 
 fentation of one fingle point of Time 5 
 Tins then mufl be chofen 5 and That in the 
 Story which is the mofl Advantageous mufl 
 be It. Suppofe, for Inftance, the 
 Story to be painted is that of the 
 Woman taken in Adultery, the Pain- 
 ter Seems to be at liberty to choofe 
 whether he will reprefent the Scribes 
 and Pharifees accufing her to our 
 Lord 5 Or our Lord writing on the 
 Ground $ Or pronouncing the laft 
 of the Words, Let him that is among 
 you without Sin caft the fir ft Stone at her 5 
 Or laftly his Abfolution, Go thy way, 
 Sin no more. The Firft mufl be re- 
 jected, becaufe in That moment the 
 chief Actors in the Story are the 
 Scribes, and Pharifees $ 'tis true, Chrift 
 may appear there with the Dignity 
 of a Judge, but that he does after- 
 wards, and with greater Advantage. 
 In the Second our Lord is in Action $ 
 butftoopingdown,and writing on the 
 Ground makes not fo graceful, and 
 E 3 noble 

 
 ( 5+ ; 
 
 noble an Appearance as even the 
 Former would have done 3 nor have 
 we here the Beft Choice of the Acti- 
 ons of the Accufers 3 the firft, and 
 mod Vigorous Moments of the Ac- 
 cufation being already paft. When 
 our Saviour lays the Words, Let him 
 that is without Sin cajl the firjl Stone, 
 He is the principal Actor, and with 
 Dignity 3 the Accufers are aflham'd, 
 Vex'd, Confounded, and perhaps 
 Clamorous 3 and the Accufed in 
 a fine SicuacionjHope, and Joy fpring- 
 nig up after Shame, and Fear 5 all 
 which affords the Painter an oppor- 
 tunity of exerting himfelf, and giving 
 a pleafing Variety to the Compofi- 
 tion 3 For befides the various Paf- 
 fions, and Sentiments naturally ari- 
 fing, the Accufers begin to difperfe, 
 which will occafion a vine Contrajl in 
 the Attitudes of the Figures, lome 
 being in Profile, fome Fore-right, 
 and lome with their Backs turn d ^ 
 fome preffing forward as if they were 
 
 attentive
 
 (55). 
 
 attentive to what was faid, and fome 
 going off : And this I fhould chufe $ 
 for'as to the Laft,Tho' there our Lord 
 pronounces the decifive Sentence, 
 and which is the principal Adion, 
 and of themoft Dignity in the whole 
 Story, yet Now there was no body 
 left but himfelf, and the Woman j 
 the reft were all drop'd off one by 
 one, and the Scene would be disfur- 
 niflied. 
 
 The (PiElure being to reprefent but One 
 lnjlant of Time, no Action mitft be chofen 
 which cannot be fuppos W to be doing in 
 that Inftant. Thus the Scribes and 
 Pharifees, in the Story juft now men- 
 tion^, muft not be Accufing when 
 our Lord was Speaking 5 that was 
 then over, and they muft appear in 
 That Situation as they might be 
 Then imagined to be in. 
 
 Thefe two laft mentioned Rules 
 
 are finely obferv'd by (Rafaelk in his 
 
 Carton of Giving the Keys, and the 
 
 Death of Ananias, to name no more. 
 
 E 4 I„
 
 . < 5* ) 
 
 In the Firft, the Moment is chofen 
 of our Lord's having juft fpoken, 
 and S. Johns addreflfmg himfelf to 
 fpeak 3 and in the Other the Inftant 
 of Jnanias's Fall, and before all the 
 People were apprifed of it 5 in Both 
 which, as they are the moft Advan- 
 tageous that could poflibly have been 
 imagin'd, nothing is doing but what 
 might be fuppos'd tp be doing at 
 That inftant. 
 
 It has been attempted to bring a 
 whole Series of Hiftory into one Pi- 
 cture, as that of the Prodigal Son's 
 Going out, his Voluptuous w r ay of 
 Living, his Diftrefs and Return, 
 which I have feen thus managed by 
 Titian 5 but this is juft fuch a fault 
 as crowding a whole Year into one 
 Play, which will always be con- 
 demn'd, though done by Shakefyear 
 himfelf. 
 
 There muft be one (principal Action in 
 a tpifture. Whatever Under-A&ions 
 m ay be going on in the fame inftant 
 
 with
 
 r 57 ; 
 
 with That, and which it may be pro- 
 per toinfert, to Illuftrate,or Amplify 
 the Compofition, they muffc not di- 
 vide the Pi&ure, and the Attention 
 of the Spectator. O Divine <%afaelle y 
 forgive me if I take the Liberty to 
 fay I cannot approve in this particu- 
 lar of that Amazing Picture of the 
 Transfiguration^ where the Incidental 
 Action of the Man's bringing his Son 
 poffefs'd with the Dumb Devil to 
 the Difciples, and their not being 
 able to caft him out is made at leaft 
 as confpicuous, and as much a Prin- 
 cipal Adlion as that of the Transfigu- 
 ration. The Unity of Time is indeed 
 preferv'd,and this Under-Story wou'd 
 have made a fine Epifode to the O- 
 ther (tho' the Other would not pro- 
 perly to This, as being of more Dig- 
 nity than the Principal Story in This 
 cafe) but Both together mutually 
 hurt one another. 
 
 (Rafaelle has manag'd an Epifode 
 differently on other Occafions. In 
 
 the
 
 (58 ) 
 
 the Carton of the Death of Jna~ 
 mas the Principal Action is that 
 furprifing Event, and accordingly 
 that is what immediately takes the 
 Eye, and declares it felf to be the 
 Subject of the Pi&ure $ but there 
 are alfo fome People offering Mo- 
 ney, and others receiving it, which 
 are fo intent upon what they are a- 
 bout as not to feem (at that inftant) 
 to know any thing of the matter, 
 tho 5 of that Edit. Which Epifode is 
 very Juft, and agreeable to the Hi- 
 ftory, but by no means comes in 
 Competition with the principal A- 
 £tion. In a Holy Family of the 
 fame (ftafaelle (an admirable Copy of 
 which 1 have, done by Torino del Faga, 
 as is judg'd, if 'tis not an Original, 
 at leaft partly fo) the Chrift, and 
 Virgin are mod confpicuoufly di- 
 ftinguifli'd, and appear with infinite 
 Beauty, Grace and Dignity 3 but be- 
 caufe S. Elizabeth, and S.Jofeph fhould 
 not be Idle, or not employed Wor- 
 thily
 
 thily (which is frequently the cafe 
 in fuch Pictures) he has a Book be- 
 fore him as having been reading, and 
 (he is fpeaking to him as aflifting 
 his Underftanding, and he attending 
 to her Expofition, which he feems 
 to ftand in need of. This Difcourfe 
 is carried on behind the principal 
 Figures, and is an Action the moft 
 worthy, and proper that could pof- 
 fibly be imagined for thefe perfons, 
 but apparently inferior to that of the 
 principal Figures 5 the Virgin being 
 employ 'd in Careffing, Suftaining, 
 and taking Care of the Divine Child 5 
 and he, with as great Dignity as an 
 Infant God incarnate can be fuppos'd 
 to do, Careffing, and Rejoycing with 
 his Holy Mother. Here are two di~ 
 ftinft Anions, but no manner of 
 Diftra&iqn, Ambiguity, or Compe- 
 tition. 
 
 Nor mujl the Attention be diverted 
 from what ought to he Principal, by any 
 thing how Excellent Joeyer in it /elf. 
 
 <Pro-
 
 (6o) 
 
 fprotogenes in the famous Pi&ure of 
 Jaliffus had painted a Partridge fo 
 exquifitely well, that it feem'd a 
 Living Creature, it was admir'd by- 
 all Greece $ but That being moft 
 taken notice of, he defaced it entire- 
 ly. That illuftrious Action of Mu- 
 tius ScMolas putting his Hand in the 
 Fire, after he had by Miftake kill'd 
 another inftead of (porfenna^ is fuffi- 
 cient alone to employ the Mind j 
 <polydore therefore in a Capital Draw- 
 ing 1 have of him of that Story, (and 
 which by the way was one of his 
 moft celebrated Works) has left out 
 the dead Man $ it was fufficiently 
 known that one was kill'd, but that 
 Figure, had it been inferted, would 
 neceflarily have diverted the Atten- 
 tion, and deftroy'd that noble Sim- 
 plicity, and Unity which now ap- 
 pears. 
 
 Every Action mufi be reprefented as 
 done, not only as 'tis pojjible it might be 
 perform d } but in the Beft manner. la 
 
 the
 
 (6i ) 
 
 the Print after (fiafaelle, grav'd by 
 Marc Antonio, you fee Hercules gripe 
 ^tewf with all the Advantage one 
 can wiflito have over an Adverfary : 
 So in the Pidture defign'd by MicheU 
 angelo y and painted by Anmbale Car- 
 racci y the Eagle holds Ganymede to 
 carry him up commodioufly, and 
 withal to make a beautiful Appear- 
 ance together 3 the Print of which is 
 amongit thofe of the Pictures of Duke 
 Leopold. Daniele da Volterra has not 
 fucceeded fo well in his famous Pi- 
 cture of the Defcent from the Crofs, 
 where one of the Afliftants, who 
 (lands upon a Ladder drawing out 
 a Nail, is fo difpofed as is not very 
 Natural, and Convenient for the 
 purpofe. 
 
 Nor is (^afaelle himfelf fo juft in 
 his Management of the fame Story 
 as he ufually is 3 S. John is upon a 
 Ladder to affift, and is receiving the 
 Body with great Affection, andTen- 
 dernefs, but 'tis evident the whole 
 
 Weight
 
 (62 ) 
 
 Weight of it will fall upon him, 
 which is too much for any one Man 
 to manage, efpecially (landing upon 
 a Ladder : Nor is there any below 
 to receive the Sacred Load, or to af- 
 fift him 5 fo that fuppofing every 
 Figure in the pofition as (Rafaelle has 
 reprefented them, the dead Body of 
 our Lord mull fall upon the heads 
 of the Blefled Virgin, and the Wo- 
 men that are with her. The Picture 
 is That graved by Marc Antonio. 
 
 TSlo Jupcrnumcrary Figures, or Orm- 
 ments ought to be brought into a ViElure. 
 A Painter's Language is his Pencil, 
 he fliould neither fay too Little, nor 
 too Much, but go diredly to his 
 Point, and tell his Story with all 
 poflible Simplicity. As in a Play 
 there muft not be too many Actors, 
 in a Picture there muft not be too 
 many Figures. Jnnibale Carracci wou'd 
 not allow above Twelve $ there are 
 Exceptions to this Rule, but certain- 
 ly all the Management in the World 
 
 can-
 
 (*3) 
 
 cannot put together a great number 
 of Figures, and Ornaments, with that 
 Advantage as a few. 
 
 Where the Story requires that 
 there be a Crowd of People, there 
 may be fome Figures without any 
 Particular Character, which are not 
 Supernumerary, becaufe the Story 
 requires a Crowd. In the Cartons 
 there are very few Idle Figures : Nor 
 are all thofe fuch that may feem to 
 be fo 3 there are two in the Carton 
 of S. *P<ihI Preaching that are walk- 
 ing at a diftanceamongft the Build- 
 ings, but thefe ferve well to intimate 
 that there were fome who like Gallio 
 cared for none of thefe things. 
 
 So far fhould the Painter be from 
 inferting any thing Superfluous, that 
 he ought to leave fomething to the Imagi- 
 nation. He muft not fay All he can 
 on hisSubjed, and fo feem to diftruft 
 his Reader, and difcover he thought 
 no farther Himfelf. 
 
 Nothing 
 
 ^c
 
 Nothing Jbfurd, Indecent y or Mean ; 
 nothing contrary to (Religion, or Morali- 
 ty, mn fl b e P ut mt0 a Picture, or even 
 intimated or hinted at. A Dog with a 
 Bone, at a Banquet, where People 
 of the higheft Characters are at Ta- 
 ble 3 a Boy making Water in the beft 
 Company, or the like, are Faults 
 which the Authority of Paulo Vero- 
 nefcj or a much greater Man, cannot 
 juftify. 
 
 (fiafaelk, in the Pi&ure of the Do- 
 nation of Conjlantine in the Vatican has 
 put a naked Boy aftride upon a Dog 
 in a void fpace in the Fore-Ground : 
 What Reafon he had for it I cannot 
 comprehend $ it feems to be brought 
 in only to fill up that Space, which 
 it had been better (at leaft I think 
 fo) to have left empty : But certain- 
 ly in fuch Company, and on fo fo- 
 lemn an Occafion as the Emperor 
 making a Prefent of Rome to the 
 Pope, fuch a light Incident fliould 
 
 not
 
 («5) 
 
 not have been inferted, much lefs 
 made fo confpicuous. I confefs I 
 have not feen the Pi&ure, but a 
 Drawing of it by Battijia Franco, and 
 two other old ones I have, and all 
 agree in this Circumftance, tho Se/- 
 lori in his Defcription of this Picture 
 takes no notice of it, as neither has 
 he of feveral other particulars. 
 
 There is fomething lower yet, 
 than this, in the Carton of Giving 
 the Keys, which I have often won- 
 dred Qtyfaelle could fall into, or fuf- 
 fer in his Picture 5 and that is, in the 
 Landfcape there is a Houfe on fire 5 
 and, in another place, Linen drying 
 on the Hedges. 
 
 tPolydore, in a Drawing I have feen 
 of him, has made an ill Choice 
 with refpeft to Decorum 3 he has 
 (hewn Cato with his Bowels gufhing 
 out, which is not only Offensive in 
 itfelf, but 'tis a Situation in which 
 Cato fhould not be feen, 'tis Inde- 
 cent 5 fuch things fhould be left to 
 F Ima-
 
 (66) 
 
 Imagination, and not difplay d on 
 the Stage. But Michelangelo in his laft 
 Judgment has finn'd againft: this 
 Rule moft egregioufly. 
 
 Tbeje ti^eflrittions being obferVdj there 
 mujl he as much Variety in the TiBure as 
 the Subject will admit of. In Some, 'tis 
 abfolutely neceflary 3 as in a Ser- 
 mon, or other Addrefs, to a Multi- 
 tude, a Saint diftributing Alms, 
 Healing, &c. the Paflions, the Atti- 
 tudes, the Conditions, and other Cir- 
 cumftances of the People fliould be 
 vary'd as much as is poflible 5 but 
 Naturally, and without Affectation. 
 Rembrandt has fucceeded admirably 
 in This, as in feveral of the Other 
 parts of Painting in many of his 
 Works 3 particularly in that of our 
 Lord Healing the Sick. The Work 
 is not crowded, but there is feen 
 People of Both Sexes, and of all 
 Ages, and Conditions; Rich, and 
 Poor, Fat, and Lean, in all the Vari- 
 ety of Circumftances proper to the 
 
 Sub-
 
 (<*7) 
 
 Subjedb And here are not only 
 Thofe that come for Cure, fome are 
 Obferving what pafles, and, of 
 Thefe, there are Friends, Enemies, 
 Enquirers, Scorners, and Difputers. 
 But this Great Genius has not con- 
 tented himfelf with all this 5 among 
 thofe that come to be HeaPd, there 
 is an ^Ethiopian of Qpality, that is 
 difeas'd in his Eyes, as appears by a 
 Bandage over them, and, in a great 
 meafure even by the Attitude of 
 his Head, and the Set of his Mouth 5 
 he is attended by Servants, and 
 Beafts for Voiture^ which add much 
 to the Variety I am remarking upon $ 
 and all this moreover raifes the 
 Subjed, by fhewing how far the 
 Fame of Jefus, and the Wonders he 
 did was lpread $ and what Cre- 
 dit, was given to thofe Relations in 
 Countries far diftant. I might have 
 given Examples to my Purpofe 
 from the Works of feveral other 
 Matters, but I made choice of 
 
 F z This,
 
 ( 6% ) 
 
 This, not only as being at leaft E- 
 cjually remarkable with the Beft I 
 could have found, but to do Juftice 
 to One, who tho' he has Excelled 
 rrioft Others in fome of the parts 
 of the Art not the leaft Confiderable, 
 yet having wanted (Generally, not 
 Always) Grace and Greatnefs, and 
 adhering to Common Nature, Com- 
 mon to Him, who conversed not 
 with the Beft, his furprifing Beau- 
 ties are Overlook d in a great mea- 
 fure, and Loft with Moil, even 
 Lovers ot Painting, and Comioijfatrs. 
 Methinks it would not be amifs, 
 if a Painter, before he made the 
 leaft Drawing ot his intended Pic- 
 ture, would take the pains to Write 
 the Story j and give it all the Beauty 
 of Delcription, with an account of 
 what is laid, and whatever elfe he 
 would relate were he only to make 
 a Written Hiftory $ Or if he would 
 defenbe the Picture he defign'd as 
 il it were already done. And tho' 
 
 per-
 
 ( 6 9 ) 
 
 perhaps it may feem at firft to be 
 too much Trouble, it may in the 
 main favehim fome, as well as ad- 
 vance his Reputation. 
 
 There are Pictures reprefenting 
 not one particular Story, but the 
 Hiftory of Pbilo/opby, of Poetry, of 
 Divinity, the Redemption of Man- 
 kind, and the like: Such is the 
 School of Athens, the Tarnajfus, the 
 Picture in the Vatican commonly 
 caird the Difpute of the Sacrament, 
 all of (ftafaelle; and the large one of 
 Frederico Zuccaro of the Annuncia- 
 tion, and God the Father, with a 
 Heaven, the Prophets, <src. Such 
 Compofitions as Thefe being of a 
 different nature are not fubjeft to 
 the fame Rules with Common Hi- 
 ftorical Pictures 5 but Here muft be 
 (principal, and Subordinate Figures, 
 and Attions 5 As the Plato and A- 
 riftotle in the School of Athens, th~ 
 Apollo in the Pamajjus } &c. 
 
 F 3 Now
 
 r 70) 
 
 Now I have mention'd this De- 
 fiant, I cannot pafs it over without 
 going a little out of my way to ob- 
 ferve fome Particulars of that Ad- 
 mirable Group of the three Poets, 
 Homer, Virgil, and Dante 3 (for I 
 coniider it as 'tis in the Print grav'd 
 by Marc Antonio : In the Painting 
 (^if .elk has put Himfelf with them 5 
 beiides that 'tis different in feveral 
 other things.) 
 
 The Figure of Homer is an admi- 
 rable one, and manag'd with great 
 propriety : He is Group d with others, 
 but is neverchelefs alone : He ap- 
 pears to be rais'd in Contemplation, 
 repeating fome of his own Sublime 
 Verfes, which he does with a moft 
 becoming Action $ And that pecu- 
 liarity of his Works having been 
 taken from his Mouth as he hap- 
 pened to utter them, and fo remem- 
 ber'd, and written, and afterwards 
 the fcatter'd parts colleited, and 
 connected together^ and form d in- 
 to
 
 (7i ) 
 
 to the Volumes we have, is finely 
 intimated by a Young Man attend- 
 ing to him, and ready to write 
 what he fays. 
 
 Behind this Great, this ONLY 
 Man, ftands Virgil, and Dante, the 
 former directing the other to Apollo: 
 This is a Compliment (Rafaelle has 
 made to Dante, by whofe Direction 
 he has done this ; For in his firft 
 Canto of Hell he fays, 
 
 de gli altrl poeti honore e lume, 
 
 Vagliami il lungo ftudio, elgrande a- 
 
 more 
 Che mha fatto cercar lo tuo Volume 
 
 7u fei lo mio maeftro, el mio autore : 
 Tufeifolo colul 3 da cm to tolfi 
 Lo hello Jiiloy che mha fatto honore. 
 
 In the fame Canto, he makes Vir- 
 gil fay, 
 
 Ondio per lo tuo me penfo e difcemo, 
 Che tu mefegui 3 <jr to faro tua guida. 
 
 F 4 Soon
 
 ( 72 ) 
 
 Soon after Dante fays, 
 
 Et to a lul 3 Poeta io it richieggio 
 
 Ter quello Dio — - 
 Che tu mi merit. Sec. 
 
 And ends the Canto y 
 
 Jllbor ji mojfe 3 & ioli tenrii dietro. 
 
 But G(afaelle has made his beloved 
 Dante ftill a greater Complement, 
 in placing him with Homer, and Vir- 
 gil 3 for tho' he was an excellent 
 Poet, His was Another, and a very- 
 Inferior kind of Poetry : This too 
 (fiafaelle did by Dante* own Dire&i- 
 on, in his fourth Canto of Hell. 
 
 Cofe Yidi adunar la bella fcuola 3 
 
 Di quel Signor de laltijjimo Canto 5 
 Che four a gli altri, comaquda uola. 
 
 Da Chehber ragionato injieme alquanto 3 
 Volferfi a me con Jaluteuol cenno 3 
 El mio maejlro forrife di tanto 
 
 Eft*
 
 r 73 ; 
 
 E piu dhonore ancor ajfai mi femio : 
 CheJJi mifecer de la loro Jchiera. 
 
 It appears that (fiafaelle was fond 
 of Dante $ for befides what he has 
 done here, he has put him amongft 
 the Divines in his Difpute of the 
 Sacrament, to which he had very 
 little Pretence 5 befides that, he calls 
 the three Parts of his Poem HeaVen y 
 Earth, and Hell. To return. 
 
 In Pictures reprefenting the Cha- 
 racter of fome Perfon, if that Perfon 
 is in the Picture, 'tis the Principal 
 Figure, if not, the Virtue he is in- 
 tended to be chiefly celebrated for 
 as the principal part of the Character 
 is it. 
 
 In Thofe of Humane Life, or 
 where fome particular Leflbn is to 
 be taught, or the like 5 that which 
 a Writer would chiefly infill: upon is 
 to be the Principal Figure, or Group. 
 
 In alltbefe kinds offiHures the (pain- 
 ter Jhould avoid too great a Luxuriancy 
 
 of
 
 (74) 
 
 of Fancy, and Obfcurity. The Figures 
 reprefenting any Virtue, Vice, or 
 other Quality, fhould have fuch /»- 
 Jignia as are authoriz d by Antiqui- 
 ty, and Cuftom 5 or if any be ne- 
 ceflfarily of his Own Invention, his 
 Meaning fhould be apparent. Paint- 
 ing is a lort of Writing, it ought to 
 be eafily legible There are fine Ex- 
 amples ot cheie in the Palace of Chigi, 
 or the little Fanie/e in (Rome $ ^faetle 
 has there painted the Fable of Cupid 
 and (pfycbe. and intermix d little 
 Loves with the Spoils of all theGodsj 
 and laftly one with a Lyon, and a 
 Sea-Horfe, which he governs as with 
 a Bridle, to fhew the Univerfal Em- 
 pire of Love Signior Dorigny has 
 made Prints of the whole Work. 
 
 Innumerable Examples of thefe 
 kinds of Reprefentations might be 
 given from the Works of the Ancients 
 and Moderns, the Former efpecially 5 
 and the Iconologia of (ftipa is a large 
 Colle&ion of Such, which therefore 
 
 I will
 
 r 75 ^ 
 
 I will not Enlarge upon 5 Only there 
 is One Important inftance ought not 
 to be pafs'd over, which is that of 
 the True God. 
 
 Perhaps the Beft way is to leave 
 it to Contemplation, without ima- 
 gining any Form whatfoever. 3fy- 
 bens in a Drawing I have has done 
 this finely 5 Angels are hovering on 
 the Wing, and feem to be Rejoycing 
 at Something that has happen'd Be- 
 low (I fuppofe 'twas intended for the 
 Upper part of the Picture of the Na- 
 tivity :) Above Thefe appears a great 
 Glory, and Multitudes of Cherubims 
 not regarding what the Angels are 
 intent upon but looking ftedfaftly 
 Upwards, as if the Deity was There 
 in a Peculiar Manner 5 And as thefe 
 ways of leaving much to the Imagi- 
 nation have great Advantages in the 
 vaftCompafs that is given, One may 
 alfo fuppofe He is approaching to 
 honour the Event in the Lower Part 
 of the Picture, 
 
 1 Bu,
 
 r 76 j 
 
 But the Ufual Way of Reprefent> 
 ing God is by a Humane Form. J 
 will not enter into the Queftion 
 whether this fhould be done at all, 
 or no, becaufe Our Church diflikes 
 it 3 but certainly thofe that do under- 
 take Thus to delineate God, ought 
 to carry it up to the greateft Dignity 
 they poflibly can. This %ajaelle was 
 as capable of as ever Man was, but 
 (ftafaelle has not always been equal 
 to Himfelf in this particular, for 
 fometimes the Figure appears to be 
 not only as one would defcribe the 
 Ancient of Vays, but Feeble, and De- 
 crepid. Giulio (Romano in a Drawing I 
 have of him of the Delivery of the 
 Law to Mofes has avoided this Fault, 
 but fallen into another 5 he has made 
 the Face of a Beautiful, vigorous old 
 Man, but (what one would not have 
 expected from him) there wants 
 Greatnefs, and Majefty. In the Hi- 
 (lories of the Bible which (fiafaelk 
 painted in the Vatican, there are fe- 
 
 veral
 
 (77 ) 
 
 veral Reprefentations of the Deity, 
 which have a wonderful Sublimity 
 in them, and are, for the mod part, 
 perfectly well adapted to the Mojaical 
 Idea which was His affair 5 This God 
 is not Our God, He appears to Us 
 under a more amiable View. When 
 the Bleffed Trinity is drawn, efpeci- 
 ally when the Virgin-Mother of God 
 is alfo introduced, it is fomething 
 too much favouring of Tolytheifm. I 
 have a Drawing ol (ftafaelle, where 
 the Idea he feems to have intended 
 to give is Majefty, and Awfulnefs, 
 together with great Benignity 5 not 
 however fo lavifli of his Benefits, 
 but that with our Good things there 
 is a Mixture of llnhappinefs 3 tho' 
 ftill the Good abundantly preponde- 
 rates, and manifefts the Great Lord 
 of the Univerfe to be an Indulgent, 
 and Wife Father. This is an Idea 
 worthy of the Mind of (Rafaelle. 
 The Drawing is a (ingle Figure of a 
 Beautiful Old Man, nor Decay'd, or 
 
 Impair'd
 
 C 78 ) 
 
 Impair'd by Age 5 there is Majefty 
 in his Face, but not Terror $ he fits 
 upon the Clouds, his Right Hand 
 lifted up giving his Benediction 5 
 the Left Arm is wrap'd in his Dra- 
 pery, and unemployed, only that 
 Hand appears, and refts on the Cloud 
 near his Right Elbow. A Man can- 
 not look upon, and confiderthis ad- 
 mirable Drawing without fecretly 
 Adoring, and Loving the Supream 
 Being, and particularly for enduing 
 one of our own Species with a Ca- 
 pacity fuch as that of Q{af allies. 
 
 In (portraits the Invention of the 
 Painter is exercifed in the Choice of 
 the Air, and Attitude, the Action, 
 Drapery, and Ornaments, with re- 
 fpe£t to the Character of the Perfon. 
 
 He ought not to go in a <I{pad, or paint 
 other people as he would choo/e to be drawn 
 himfelf. The Drefs, the Ornaments, 
 the Colours, rauft be fuited to the 
 Perfon, and Character. I remember 
 a good Obfervation of an Ingenious 
 
 Gen-
 
 (79) 
 
 Gentleman upon two late Painters - s 
 One (he faicl) could not paint an Im- 
 pudent Fellow, nor the Other a Mo- 
 deft one, they put fo much of Them- 
 felves in every thing they did. 
 
 Concerning what fort of Refem- 
 blances Portraits ought to have, O- 
 pinions are divided 5 Some are for 
 Flattery, Others for Exad Likenefs. 
 
 If the Former be receiv'd, Care 
 muft be taken that it be really Flattery » 
 and not too Apparently fo. 
 
 Many Painters have taken a Fancy 
 to make Caricaturaes of People's Faces, 
 that is, Exaggerating the Defeats, 
 and Concealing the Beauties, how- 
 ever preferving the Refemblance 5 the 
 Reverfe of That is to be done in the 
 Prefent Cafe, but the Character muft 
 be feen throughout, or it ceafes to be 
 a Compliment 3 "JTis the Pidture of 
 Somebody elfe, or of Nobody, and 
 only tells the Perfon how different 
 He, or She is from what the Painter 
 conceives to be Beauty. 
 
 If
 
 ( 8o ) 
 
 If Exaft Likenefs is pretended to, 
 all Accidents, Bad Weather, Indigo fit ion, 
 Sec. mufl be allow' d for $ and as there 
 are fome things in Nature that Art can- 
 not reach, if fomething be not done to com- 
 penfate for That deficiency, the TiElure 
 will he no more an Exafi Copy of the Face 
 than a Literal Translation will he of the 
 Original Book. Be fides, whoever aims 
 only at ExaElnefi will certainly fall Jhort 
 of it. We cannot tell affuredly how 
 Like the Pictures were of thofe Great 
 Mafters we fo juftly admire , bur it 
 appears to be exceeding Probable 
 that Van-Vycl^ with all his Excellen- 
 cies fell frequently below the Truth 3 
 his Pictures were doubtlefs exceeding 
 Like, butfurely fome of them might 
 have been More fo, by being more 
 Graceful. 
 
 That Admirable Family-Picture 
 of the Senators of Titian which the 
 Duke of Somerfet has, is finely In- 
 vented : The eldeft of the three is 
 apparently the Principal Figure, and 
 
 has
 
 (8i ) 
 
 has the A&ion, and Manner of an 
 old Man $ the two others are well 
 placed, and in proper Attitudes : 
 The Boys are got upon the Steps 
 with a Dog amongft 'em 5 a rare 
 Amufementfor Them while the old 
 Gentlemen are at their Devotions, 
 which is Their Bufinefs ! The Girls 
 are more Orderly^and attend in Ap- 
 pearance to the Affair in hand : The 
 Attitudes of the Figures in General 
 are Juft, and Delicate $ the Drape- 
 ries, the Sky, every thing through- 
 out the whole Picture is well 
 Thought, and Conducted. Nor is 
 there any Appearance of Flattery, at 
 leaft not to a Degree as to hurt the 
 Refemblance. 
 
 Some Subjects are in themfelves 
 fo Difadvantageous as to ftand in 
 need of fomething to Raife their 
 Chara&er. Of this I have a fine 
 Example in a Head of Marble which 
 feems to have been done for a Mo- 
 nument, the Face itfelf is fomething 
 
 G Poor,
 
 (8a ) 
 
 Poor, and tho never fo well fol- 
 lowed would not have pleas'd • the 
 Sculptor therefore has rais'd the Eye- 
 brows, and open'd the Mouth a lit- 
 tle, and by this Expedient has given 
 a Spirit, and a Dignity to a Subject 
 not confiderableOtherwife$ befides 
 that probably the Perfon was ao 
 cuftomed to give himfelf fome fuch 
 Air, and then This has this farther 
 Advantage, that it makes the Re- 
 femblance more remarkable. 
 
 I need not go through the other 
 Branches of Painting 5 as Landfcapes, 
 Battels, Fruit, <&c. what has been 
 already faid is {Mutatis mutandis) ap- 
 plicable to any of Thefe : Nor fliall 
 I concern my felf with 'em hereafter, 
 when I treat of the other Parts of 
 Painting, for the fame Reafon. 
 
 There are an Infinity of Artifices 
 to Hide Defedts, or Give Advan- 
 tages, which come under this Head 
 of Invention 5 as does all Caprices, 
 Grotefcjue, and other Ornaments, 
 
 Masks,
 
 ( 8 3 ) 
 
 Masks, &c* together with all Un- 
 common, and Delicate Thoughts : 
 fuch as the Cherubims attending on 
 God when he appeared to Mo/es in 
 the Burning Bufh, which <%afaelle 
 has painted with Flames about them 
 inftead of Wings • an Angel run- 
 ning, and holding up both Arms as 
 juft raifing himfelf for Flight, of 
 which I have a Drawing of Tar- 
 meggiano } as well as many other Ex- 
 amples of thefe kinds in Drawings 
 of (ftafaelle, Michelangelo, Giulio, Leo- 
 nardo da Vinci, &c. They are to be 
 found perpetually in the Works of 
 the Great Mafters, and add much to 
 their Beauty, and Value. 
 
 The mention of Grotejques fuggefts 
 a Rule to my Mind which 1 will 
 infert: ? Tis this, That all Creatures of 
 Imagination ought to have Airs, and 
 Actions given 'em as Whimjlcal, and Chi- 
 merical as their Forms are. I have a 
 Drawing of the School of the Ca- 
 tacches of a Male and Female Satyr 
 G 2 fitting
 
 r s 4 ) 
 
 fitting together ) There is a great 
 deal of Humour in it, fo as to be a 
 fine Burlefque upon Corydon> and 
 (phillis. The Anatomy Figures in 
 Vef alius, faid to be defign'd by Titia?i, 
 are prettily fancied: There is a Series 
 of denuding a Figure to the Bone, 
 and they are all in Attitudes feem- 
 ing to have moft Pain as the Ope- 
 ration goes on, till at laft they Lan- 
 guid, and Dye : But Michelangelo 
 has made Anatomy Figures whofe 
 Faces and Actions are impoflible to 
 be defcrib'd, and the moft delicate 
 that can be imagined for the pur- 
 pofe. Mr. Fontenelle, in his Dialogue 
 betwixt Homer and JEfop, after Ho- 
 mer had faid he intended no Allego- 
 ry, but to be taken Literally, makes 
 the other demand how he could 
 imagine Mankind would believe 
 fuch ridiculous Accounts of the Gods 5 
 O (fays he) you need be in no Pain 
 about That $ If you would give them 
 Truth you rauft put ic in a Fabu- 
 lous
 
 r 85 ; 
 
 lous Drefs, but a Lye enters freely 
 into the Mind of Man in its own 
 proper Shape. Why then, fays Al- 
 jop, I am afraid they will believe the 
 Bpafts have fpoken as I have made 
 'em. Ah 1 (fays Homer) the Cafe 
 is alter'd, Men will be content that 
 the Gods ftiould be as great Fools as 
 Themfelves, but they will never 
 bear that the Beafts fhould be asWife. 
 It would be well if Painters could 
 reprefent Gods, Heroes, Angels, 
 and other Superior Beings , with 
 Airs, and Actions more than Hu- 
 mane; but to give Satyrs, and o- 
 ther Inferior Creatures a Dignity e- 
 qual to Men, would be unpardon- 
 able. 
 
 In order to aflift, and improve the 
 Invention , a Painter ought to Cony erf e 
 with, and ObferVe all Jorts of People, 
 chiefly the Beft, and to read the bejl 
 Books, and no other : He Jhould ObferVe 
 the different, and Various ejfeEl of Mens 
 Taffions j andthofe of other Animals, and in 
 
 G 3 Jhort
 
 ( 8<f ; 
 
 fliort, all Nature 5 and make Sketches of 
 what he obferVes to help his Memory. 
 
 So fliould he do of what he fees in 
 the Works of Great Mafters, whether 
 (painters, or Sculptors, which he cannot 
 always fee, and have recourfe to. 
 
 Nor need any Man be afham'd 
 to be fomecimes a Plagiary, 'tis 
 what the greateft Painters, and Po- 
 ets have allow'd chemfelves in. (2^- 
 faelle has borrow'd many Figures, 
 and Groups of Figures from the An- 
 tique'; and Milton has even Tranfla- 
 ted many times from Homer, Virgil, 
 Dante, and Taffo, and put them as 
 his Own : Virgil Himfelf has copied. 
 And indeed 'tis hard that a Man 
 having had a good Thought fhould 
 have a Patent for it for Ever. The 
 Painter that can take a Hint, or in- 
 fert a Figure, or Groupes of Figures 
 from another Man, and mix thefe 
 with his Own, fo as to make a good 
 Compofition, will thereby eftablifh 
 fuch a Reputation to himfelf, as to 
 
 be
 
 (8 7 ) 
 
 be above fearing to fuffer by the 
 fliare thofe to whom he is beholden 
 will have in it. 
 
 (^afaHle, and Giulio Romano are 
 efpecially Excellent for Invention : 
 Amongft their other Works thofe 
 of the former at Hampton* Court, and 
 in the Vatican $ and of the latter the 
 Palace of T. near Mantua are Effici- 
 ent Proofs of it. There are Prints 
 of almoft all thefe 5 and fBellori has 
 defcribd thofe in the Vatican, as Fdi- 
 hien has that Stupendious Work of 
 Giulio. 
 
 Of Expression, 
 
 WHateVer the general Character of 
 of the Story is, the Titture mujl 
 difcoVer it throughout, whether it he Joy- 
 ous, Melancholy, GraVe, Terrible, &cc. 
 The Nativity, Refurre&ion, and 
 Afcenfion ought to have the Gene- 
 ral Colouring, the Ornaments, Back- 
 ground, and every "thing in them 
 
 G 4 Riant,
 
 ( 88 ) 
 
 Riant, and Joyous, and the contra- 
 ry in a Crucifixion, Interment, or a 
 <Pieta. QThe Blefled Virgin with 
 the dead Chrift.] 
 
 But a Diftindtion mud be made 
 between Grave, and Melancholy, as 
 in a Holy Family (pi <Raf telle s Defign 
 at leaft) which I have, and has been 
 mentiond already 5 the Colouring 
 is Brown, and Solemn, but yet all 
 together the Pi<5l'ure has not a Dif- 
 mal Air, but quite otherwife. I 
 have another Holy Family of (Rubens, 
 painted as his manner was, as if the 
 Figures were in a Sunny Room : I 
 have confider'd what effect it would 
 have had if <$(af allies Colouring had 
 been the fame with (Rubens s on this 
 Occafion, and doubtlefs it would 
 have been the Worfe for it. There 
 are certain Sentiments of Awe, and 
 Devotion which ought to be rais'd 
 by the fir ft Sight of Pictures of that 
 Subject, which that Solemn Colour- 
 ing contributes very much to, but 
 
 not
 
 not the more Bright, though upon 
 other Occafions preferable. 
 
 I have feen a fine Inftance of a 
 Colouring proper for Melancholy 
 Subje&s in a Tieta of VaiuVyck^: 
 That alone would make one not on- 
 ly Grave, but fad at firft Sight 3 And 
 a Coloured Drawing that I have of 
 the Fall of (phaeton after Giulw (Z^o- 
 mano y (liews how much This contri- 
 butes to the Expreflion. 'Tis differ- 
 ent from any Colouring that ever I 
 faw, and admirably adapted to the 
 Subject, there is a Reddifh Purple 
 Tinft fpread throughout, as if the 
 World was all invelopp'd in Smoul- 
 dering Fire. 
 
 There are certain little Circumflances 
 that contribute to the Exprcffien. Such 
 an effect the Burning Lamps have 
 that are in the Carton of Healing 
 at the Beautiful Gate of the Temple; 
 one fees the Place is Holy, as well 
 as Magnificent. 
 
 The
 
 (9°) 
 
 The large Fowl that are feen on 
 the Fore-Ground in the Carton of 
 the Draught of Fifties have a good 
 effect. There is a certain Sea-Wild- 
 nefs in them, and as their Food was 
 Fifti they contribute mightily to 
 Exprefs the Affair in Hand, which 
 was Fifliing. They are a fine part 
 of the Scene. 
 
 Tajferotto has drawn a Chrift's 
 Head as going to be Crucified, the 
 Expreffion of which is marvelloufly 
 fine 3 but (excepting the Air of the 
 Face) nothing is More moving 3 not 
 the part of the Crofs that is feen, 
 not the Crown of Thorns, nor the 
 Drops of Blood falling from the 
 Wounds That makes, nothing can 
 Exprefs more than an Ignominious 
 Cord which comes upon part of the 
 Shoulder and Neck. <fyjfaelle!Borg- 
 bini, in his Q(ipofo, in the Life of <paf- 
 jerottOy has given an Account of this 
 Drawing, which with others of that 
 Mafter (by him alfo fpoken of ) I 
 have. TH
 
 <9*) 
 
 The (fybes, and other Habits of the 
 Figures 3 their Attendants, and Enfigns 
 of Authority, or Dignity, as Crowns, 
 Maces, Sec. help to exprefs their Vi- 
 JlinSl CharaBers 5 and commonly eVen 
 their <Place in the Compofition. The 
 Principal Perfons, and A&ors muft' 
 not be put in a Corner, or towards 
 the Extremities of the Pi&ure, unlefs 
 the Neceflity of the Subject requires 
 it. AChrift, or an Apoftje mutt not 
 be drefs'd like an Artificer, or aFifh- 
 erman $ a Man of Quality mutt be 
 diftinguifh'd from one of the Lower 
 Orders of Men, as a Well-bred Man 
 always is in Life from a Peafant. 
 And fo of the reft. 
 
 Every body knows the common, 
 or ordinary Diftin&ions by Drefs < 
 but there is one Inftance of a parti- 
 cular kind which I will mention, as 
 being likely to give ufeful Hints to 
 this purpofe, and moreover very 
 curious. In the Carton of Giving 
 the Keys to S. <Peter } Our Saviour 
 
 is
 
 (9*) 
 
 is wrapt only in one large piece of 
 white Drapery, his Left Arm, and 
 Bread, and part of his Legs naked $ 
 which undoubtedly was done to de- 
 note him Now to appear in his Re- 
 furre£tion-Body, and not as before 
 his Crucifixion, when This Drefs 
 would have been altogether impro- 
 per. And this is the more remark- 
 able, as having been done upon fe- 
 cond Thoughts, and after the Pi- 
 cture was perhaps finiflVd, which I 
 know by having a Drawing of this 
 Carton, very old, and probably 
 made in ^afaelleh time, tho' not 
 of his hand, where the Chrift is 
 fully Clad 3 he has the very fame 
 large Drapery, but one under it that 
 covers his Breaft, Arm, and Legs 
 down to the Feet. Every thing elfe 
 is pretty near the fame with the Car- 
 ton. 
 
 That the Face, and Jir as well as 
 our Actions, indicate the pftnd is indis- 
 putable. Tis leen by every body 
 
 in
 
 (93) 
 
 in the Extreams on both fides. For 
 example 3 Let two Men, the one 
 a Wife Man, and the other a Fool, 
 be feen together Drefs'd, or Difguis'd 
 as you pleafe, One will not be mi- 
 ftaken for the Other, but diftin- 
 guifti'd with the firft Glance of the 
 Eye ; and if thefe Charadters are 
 ftamp'd upon the Face, fo as to be 
 read by every one when in the ut- 
 moft Extreams, they are fo Propor- 
 tionably when more, or lefs remov'd 
 from them, and Legible accordingly, 
 and in proportion to the Skill of the 
 Reader- The like may be obfer/d 
 of Good, and Ill-Nature, Gentile- 
 nefs, Rufticity, &c. 
 
 Every Figure, and Animal mufl be af- 
 fected in the (pitture as one Jhould fuppoje 
 they Would, or Ought to be. And all the 
 Expreffions of the federal fpafjions, and 
 Sentiments mufl be made with regard to 
 the Characters of the ^crfons moved by 
 them. At the Railing of Lazarus^ 
 fome may be allow'd to be made to 
 
 hold
 
 C 94 ) 
 
 hold fomething before their Nofes, 
 and this would be very juft, to de- 
 note That Circumftance in the Sto- 
 ry, the Time he had been dead 5 but 
 this is exceedingly improper in the 
 laying our Lord in the Sepulchre^ 
 altho > he had been dead much lon- 
 ger than he was 3 however, Torde- 
 none has done it. When Apollo fleas 
 Marfyas, He may exprefs all the An- 
 guifh, and Impatience the Painter 
 can give him, but not fo in the Cafe 
 of S. Bartholomew. That the Bleffed 
 Mary fhould fwoon away through 
 the Excefs of her Grief is very pro- 
 per to fuppofe, but to throw her in 
 fuch a Pofture as Daniel da Voiterra 
 has done in that famous Picture of 
 the Defcent from the Crofs, is by no 
 means juftifiable. He has iucceeded 
 much better in that Article if a Draw- 
 ing I have which is imputed to him 
 is really of him 3 (it was once in the 
 Collection of Georgw Vafari y as ap- 
 pears by its Border, w hich is of his 
 
 Hand 5)
 
 (95 ) 
 
 Hand 3) There the Expreffions of 
 Sorrow are very Noble, Uncommon, 
 and Extraordinary. But even 5^- 
 faelle himfelf could not have ex- 
 prefs'd this Accident with more Dig- 
 nity, and more afte&ing than Bat- 
 tifla Franco, and Tolydore have done 
 in Drawings I have of them : if at 
 lead that laft is of the Hand to 
 whom 'tis afcrib'd,and not ^afaellcs y 
 or feme other not inferior to him in 
 this inftance. 
 
 tpolydore, in a Drawing of the 
 fame Subject (which I alfo have) 
 has finely exprefs'd the Exceffive 
 Grief the Virgin, by intimating 
 'twas Otherwiie Inexpreffible : Her 
 Attendants difcover abundance of 
 Paffion, and Sorrow in their Faces, 
 but Hers is hid by Drapery held up 
 by both her Hands : The whole Fi- 
 gure is very Composed, and Quiet 5 
 no Noife, no Outrage, but great 
 Dignity appears in her, fuitable to 
 her Character. This Thought 77- 
 
 manthesj
 
 tnanthes had in his Picture of Iphige- 
 ma y which he probably took from 
 Euripides $ as perhaps This of Tolydore 
 is owing to One, or Both of 'em. 
 
 Putting the Fore-finger in the 
 Mouth to exprefs an Agony, and 
 Confufion of Mind is rarely ufed. I 
 don't remember to have feen it any 
 where but in the Tomb of the Na- 
 foniiy where the Spbynx is propofing 
 the Riddle to OEdipus $ and in a 
 Drawing I have of Giulio %pmano y 
 and which is painted in the Palace 
 of T. at Mantua. Giulio had not this 
 Thought from the other, That 
 Tomb not being difcover'd in his 
 Time 5 but in both thefe, this Ex- 
 predion is incomparably fine. 
 
 In that admirable Carton of 
 S. Taul preaching, the Expreflions 
 are very juft, and delicate through- 
 out : Even the Back-Ground is not 
 without its Meaning $ 'tis ExpreflTive 
 of the Superftition S. Tatil was preach- 
 ing againft. But no Hiftonan, or 
 
 Ora-
 
 (97) 
 
 Orator can poflibly give me fo great 
 an Idea of that Eloquent, and Zea- 
 lous Apoftle as that Figure of his 
 does 3 all the fine things related as 
 fa>id, or wrote by him cannot 3 for 
 there I fee a Perfon, Face, Air, and 
 Action, which no Words can luffi- 
 ciently defcribe, but which aflure 
 me as much as Thofe can, that that 
 Man muft ipeak good Senfe, and to 
 the purpofe. And the different Sen- 
 timents of his Auditors are as finely 
 exprefs'd 3 Some appear to be Angry, 
 and Malicious, Others to be Atten- 
 tive, and reafoning upon the Matter 
 within themfelves, or with one ano- 
 ther 3 and One efpecially is appa- 
 rently Convinc'd. Thefe laft are 
 the Free-Thinkers of That time, and 
 are placed Before the Apoftle 3 the 
 others are Behind him, not only as 
 caring lefs for the Preacher, or the 
 Doctrine, buttoraife the Apoftolick 
 Character, which would loie fome- 
 thing of its Dignity, if his Mahgners 
 H were
 
 (98) 
 
 were fuppofed to be able to look him 
 in the Face. 
 
 Elymas the Sorcerer is Blind from 
 Head to Foot, but how Admirably 
 is Terror, and Aftonifhment expref- 
 fed in the People prefent, and how 
 Varioufly, according to the feveral 
 Characters ! The Proconful has Thefe 
 Sentiments but as a (Roman, and a 
 Gentleman 5 the reft in feveral De- 
 grees, and Manners. 
 
 The fame Sentiments appear alfo 
 in the Carton of the Death of Ana- 
 nits, together with thofe of Joy, and 
 Triumph which naturally arifes in 
 good Minds upon the fight of the 
 effects of Divine Juftice, and the 
 Victory of Truth. 
 
 The Airs of the Heads in my Holy 
 Family of ^afaelle are perfectly fine, 
 according to the ieveral Characters 5 
 that of the Blefled Mother of God 
 has all the Sweetnefs, and Goodnefs 
 that could poffibly appear in her felf 5 
 what is particularly remarkable is 
 
 that
 
 (99) 
 
 that the Chrift, and the S. John are 
 both fine Boys, but the latter is appa- 
 rently Humane, the other, as ic 
 ought to be, Divine. 
 
 Nor is the Expreflion in my Draw- 
 ing of the Defcent of the Holy Ghoft 
 lefs excellent than the other parts of 
 it. (I wifh it had been equally well 
 Preferv'd. ) The Blefled Virgin is 
 feated in the Principal part of the 
 Pi&ure, and fo Diftinguifh'd as that 
 none in the Company feems to pre- 
 tend to be in Competition with her $ 
 and the Devotion, andModefty with 
 which flie receives the ineffable Gift 
 is worthy of her Character. S. Peter 
 is on her Right Hand, and S. John 
 on her Left 5 the former has his Arms 
 crofs'donhisBreaft,his Head reclin'd, 
 as if afham'd of having deny'd fuch 
 a Mafter, and receives the Infpirati- 
 on with great Compofure $ but S. John 
 with a Holy Boldnefs raifes his Head, 
 and Hands, and is in a mod becom- 
 ing Attitude 5 the Women behind 
 
 H 2 S. Mary
 
 ( IO ° ) 
 
 S. Mary are plainly of an Inferior 
 Charader. Throughout there is 
 great Variety of Expreflions of Joy 
 and Devotion, extreamly well adapt- 
 ed to the Occafion. 
 
 I will add one Example more of 
 a fine Expreflion, becaufe tho' 'tis 
 very Juft, and Natural, it has not 
 been done by any that I know of, 
 except Ttntoret, in a Drawing I have 
 feen of him. The Story is our Sa- 
 viour's Declaration to the Apoftles 
 at Supper with him, that one of em 
 fliould betray him : Some are moved 
 one way, and fome another, as is 
 ufual, but One of 'em hides his Face, 
 drop'd down betwixt both his Hands, 
 as burft into Tears from an Excels 
 of Sorrow that his Lord fliould be 
 betray'd, and by one of Them, 
 
 In Portraits it muft be ft en whether 
 the Terfon is Grave, Gay x a Man ofBu- 
 Jinejs, or Wit, (plain, Gentile, &c. Each 
 Character muft have an Attitude, 
 andDrefs 5 the Ornaments and Back- 
 Ground
 
 Ground proper to it : Every part of 
 the Portrait, and all about it muft 
 be Expreffive of the Man, and have 
 a Refemblance as well as the Fea- 
 tures of the Face. 
 
 If the (per/on has any (particularities 
 as to the Set, or Motion of the Head, 
 Eyes , or Mouth, ( fuppofing it be not 
 Unbecoming) thefe muji be taken notice 
 of, and Strongly pronounced. They are 
 a fort of Moving Features , and are 
 as much a part of the Man as the 
 Fix'd ones : Nay, fomerimes they 
 Raife a Low Subject, as in the cafe 
 of my Marble Head already fpoken 
 of, and contribute more to a Surpri- 
 zing Likenefs than any thing elfe. 
 Van-Dyckj in a Pi&ure I have of 
 him, has given a brisk Touch upon 
 the Under-Lip, which makes the 
 Form, and Set of the Mouth very 
 particular, and doubtlefs was an Air 
 which Von Diego de Gufman, whofe 
 Portrait it is, was accuftom'd to give 
 himfelf, which an Inferior Painter 
 H 3 would
 
 ( 102 ) 
 
 would not have obferv'd, or not 
 have dar'd to have pronounc'd, at 
 lead fo ftrongly: But This, as it gives 
 a marvellous Spirit, and Smartnefs, 
 undoubtedly gave a proportionable 
 Refemblance. 
 
 if there be any thing particular in the 
 Hifiory of the & erf on which is proper to 
 he Exprefidy at it is fit 11 a farther Ve- 
 fcription of him, it is a great Improvement 
 to the Portrait to them them that kjiow 
 th at Gr cum fiance. There is an Inftance 
 of this in a Picture of Van-Dycl^mzde 
 of John LyVens, who is drawn as if 
 he was Liftning at fomething5 which 
 refers to a remarkable Story in that 
 Man's Life. The Print is in the 
 Book of Van-T>ycl(s Heads : Which 
 Book, and the Heads of the Artifts 
 in the Lives of Giorgio Vcifari are worth 
 considering with regard to the Variety 
 of Attitudes fuited to the ieveral Cha- 
 racters, as well as upon other Ac- 
 counts. 
 
 RobeSj,
 
 ( I0 3 ) 
 
 Robes, or other Marks of Digni- 
 ty, or of a Profeffion, Employment, 
 or Amufement, a Book, a Ship, a 
 Favourite Dog, or the like, are Hi- 
 ftorical Expreffions common in Por- 
 traits, which mufl be mentioned on 
 this occafion 5 and to fay more of 
 'em is not neceflary. 
 
 There are federal \qnds of Artificial 
 Expreffions indulgd to (painters, and pra- 
 Hisd by them, hecaufe of the Difadvan- 
 tage of their Art in that particular 7 in 
 Comparifon of Words. 
 
 To exprefs the Senfeof the Wrath 
 of God with which our Blefled Lord's 
 Mind was fill'd when in his Agony, 
 and the Apprehenfion he was then 
 in of his own approaching Cruci- 
 fixion, Frederico Barocci has drawn 
 him in a proper Attitude, and not 
 only with the Angel holding the 
 Cup to him, (That is common) but 
 in the Back-Ground you fee the 
 Crofs, and Flames of Fire. This is 
 very Particular, and Curious. I have 
 the Drawing, H 4 In
 
 f 104 ) 
 
 In the Carton where the People 
 of Lyconia are going to Sacrifice to 
 S. Paul, and Barnabas, the Occafion 
 of all that is finely told : The Man 
 who was heal'd ofhis Lamenefs is one 
 of the forwardeft to exprefs his Senfe 
 of the Divine Power which appear'd 
 in thofe Apoftles 3 and to fliew it to 
 be him, not only a Crutch is under 
 his Feet on the Ground, but an old 
 Man takes up the Lappet of his 
 Garment, and looks upon the Limb 
 which he remember'd to have been 
 crippled, and exprefies great Devo- 
 tion, and Admiration ; which Sen* 
 timents are alfo feen in the other with 
 a mixture of Joy. When our Savi- 
 our committed the Care ofhis Church 
 to S. Tetac, the Words he ufed on that 
 Occafion are related by (ftafaelle, who 
 has made him pointing to a Flock 
 of Sheep, and S. Peter to have juft 
 received two Keys. When the Story 
 oijojeptis Interpretation of Pharaoh's 
 Dreams was to be related, %afa'elk 
 
 has
 
 has painted thofe Dreams in two 
 Circles over the Figures 5 which he 
 has alfo done when Jo/epb relates his 
 Own to his Brethren. His manner 
 of Expreflfmg God's dividing the 
 Light from Darknefs, and the Cre- 
 ation of the Sun, and Moon, is al- 
 together Sublime. The Prints of 
 thofe laft mention'd Pictures are not 
 hard to be found, they are in what 
 they call (^afaelles Bible, but the 
 Paintings are in the Vatican 3 the bed 
 Treafury of the Works of that Di- 
 vine Painter, except Hampton-Court. 
 The Hyperbolical Artifice of 37- 
 manthes to exprefs the Vaftnefs of the 
 Cyclops \s well known, and was migh- 
 tily admired by the Ancients 5 He 
 made feveral Satyrs about him as he 
 was afleep, fome were running away 
 as frightned, others gazing at a di- 
 ftance, and one was meafunng his 
 Thumb with his Thyrfus, but feem- 
 ing to do it with great Caution left 
 he fhould awake. This Expreffion 
 
 was
 
 (.o<?) 
 
 was copied by Giulio Romano with a 
 little Variation. Correggio, in his 
 Pi&ure of Dana'e, has finely exprefs'd 
 the Senfe of that Story, for upon the 
 falling of the Golden Shower Cupid 
 draws off her Linen Covering, and 
 two Loves are trying upon a Touch- 
 ftone a Dart tip'd with Gold. I will 
 add but one Example more of this 
 kind, and that is of Nicolas Toujfin to 
 Exprefs a Voice, which he has done 
 in the Baptifm of our Saviour by 
 making the People look up, and a- 
 bout, as 'tis natural for Men to do 
 when they hear any fuch, and know 
 not whence it comes, efpecially if 
 it be otherwife Extraordinary, as the 
 Cafe was in this Hiftory. 
 
 Another way praEiis'd by (painters to 
 exprefs their Senje, which could not other- 
 wife he done in Tainting, is by Figures 
 rcprefentati'Ve of certain Things. This 
 they learn'd from the Ancients, of 
 which there are Abundance of Ex- 
 amples, as in the Antonine Pillar, where 
 
 to
 
 CM ) 
 
 to exprefs the Rain that fell when 
 the G{ptnan Army was preferv'd by 
 the Prayers of the Tlieban Legion, the 
 Figure of Jupiter PluVms is introduced : 
 but I need not mention more of thefe. 
 %afa*lle has been very fparing of this. 
 Expedient in Sacred Story, tho' in 
 the Paflage of Jordan he has repre- 
 sented that River by an Old Man 
 dividing the Waters,which are rolPd, 
 and tumbled very nobly 5 but in 
 Poetical Stories he has been very 
 profufe of thefe, as in the Judgment 
 of Paris, and elfewhere. The like 
 has been commonly pra&is'd by An- 
 nibak Carracci, Giulio Romano, and o. 
 thers. And there are fome entire 
 Pictures of this kind, as in thofe made 
 to complement Perfons, or Societies, 
 where their Virtues, or what are at- 
 tributed to them, are Thus repre- 
 fented. 
 
 When we fee in Pidtures of the 
 Madonna thofe of S. Francis, S. Cathe- 
 rine, or others not Cotemporary, 
 
 nay
 
 r io8j 
 
 nay even the Portraits of particular 
 Perfons living when the Pictures were 
 made, This is not fo blameable as 
 People commonly think. We are 
 not to fuppofe thefe were Intended 
 for pure Hiftorical Pictures, but on- 
 ly to Exprefs the Attachment thofe 
 Saints, or Perfons had for the Blefled 
 Virgin, or their great Piety, and 
 Zeal : So 1 have feen Families with 
 the Robe of the Mother of God 
 fpread over their Heads, doubtlefs 
 to denote their putting themfelves 
 under her Protection. With this Key 
 a great many feeming Abfurdities of 
 good Matters will be difcover'd to 
 be none. 
 
 In the Hiftory of Heliodorus y who 
 was miraculoufly chaftifed when he 
 made a Sacrilegious Attempt upon 
 the Trcafure in the Temple oijeru- 
 falem, (fiafaelle has brought in the 
 then Pope (Julius II.) to complement 
 him who gloried in having driven 
 out the Enemies of the Ecclefiaftical 
 Scare. " The
 
 ( iop ) 
 
 The famous S. Cecilia at Bolognd 
 is accompanied by S.tPaul, S.John, 
 5. Juguftin, and S. Mary Magdalen y 
 not as being fuppofed to have liv'd 
 together 3 but poflibly thofe being 
 Saints of different Characters are 
 introduc'd to heighten That of the 
 Saint, which is the principal one in 
 the Compofition. Tho' Francifco 
 Albani thought it was done by <fta- 
 fa'elk in pure Compliance with the 
 pofitive Dire<5tion of thofe for whom 
 the Picture was made 3 which (by 
 the way) is not feldom the occafion 
 of Real Faults in Pictures, and which 
 therefore are not to be imputed to 
 the Painter. My Lord Somers has a 
 Drawing of the fame Subject attri- 
 buted to Innocentio da Imola, which I 
 believe was done after fome former 
 Defign of (%afaelk y for there are the 
 fame Figures, placed juft in the fame 
 manner, only the Attitudes are confi- 
 derably vary'd 3 for There the other 
 Saints have regard only to the He- 
 roine
 
 ( no ) 
 
 roine of the Picture : This helps to 
 explain the Other. 
 
 Of all the Painters Rubens has 
 made the boldeft life of This kind of 
 Exprefllon (by Figures) in his Pictures 
 of the Luxembourg Gallery 3 and has 
 been much Cenfured for it. The 
 truth is, 'tis a little choquing to fee 
 fuch a Mixture of Antique, and Mo- 
 dern Figures, of Christianity, and 
 Heathenifm in the fame Pictures ^ 
 but this is much owing to its Novel- 
 ty. He was willing not only 
 to relate the Adtions done, but a 
 great deal more than could be related 
 any other way 3 and for the fake of 
 that Advantage, and the Applaufe 
 he fhould receive for it from thofe 
 who judg'd of the thing in its true 
 Light, he had the Courage to hazard 
 the good Opinion of Others. He 
 had moreover Another very good 
 Reafon for what he did on this Oc- 
 cafion : The Stories he had to paint 
 were Modern, and the Habits, and 
 
 Ornaments
 
 (Ill) 
 
 Ornaments muft be fo too, which 
 would not have had a very agreeable 
 effe<5t in Painting : Thefe Allegori- 
 cal Additions make a wonderful Im- 
 provement ; they vary, enliven, and 
 enrich the Work 3 as any one may 
 perceive that will imagine the Pi- 
 ctures as they muft have been, had 
 (Rubens been terrified by the Obje- 
 ctions which he certainly muft have 
 forefeen would be made afterwards, 
 and fo had left all thefe Heathen Gods, 
 and Goddeffes, and the reft of the 
 Fictitious Figures out of the Com- 
 pofition. 
 
 I will add but one way of Expreffion 
 more, and that is, plain Writing. 
 
 <Polygnotus, in the Paintings made 
 by him in the Temple of Delphos, 
 wrote the Names of thofe whom he 
 reprefented. 
 
 The old Italian, and German Ma- 
 tters improv'd upon this $ the Fi- 
 gures they made were Speaking Fi- 
 gures, they had Labels coming out 
 
 of
 
 (112) 
 
 of their Mouths with that written ift 
 them which they were intended to 
 be made to fay $ but even ^afaelki 
 and Annibale Canned, have conde- 
 fcended to Write rather than leave 
 any Ambiguity, or Obfcurity in 
 their Work ; Thus the Name of 
 SappU is written to fhew 'twas She, 
 and not one of the Mufes intended in 
 the Tarnaffus : And in the Gallery 
 of Farnefe, that Anchifes might not be 
 miftaken for Adonis, Genus wide La- 
 tinum was written. 
 
 In the Carton of Elynnu the Sor- 
 cerer, it does- not appear that the 
 Pro-Conful was converted, other- 
 wife than by the Writing 5 nor do I 
 conceive how it was poflible to have 
 exprefs'd that important Circum- 
 fiance fo properly any Other way. 
 
 In the Teji of the fame Mafter, 
 grav'd by Marc Antonio, there is a 
 Line out of Virgil which, as 'tis very 
 proper (the Plague being that de- 
 icrib'd by that Poet, as will be ken 
 
 prefently)
 
 ( "O. 
 
 prefently) admirably heightens the 
 Expreffion, tho ? without it 'tis one 
 of the moft wonderful Inftances of 
 This part of the Art that perhaps is 
 in the World in Black and White, 
 and the utmoft that Humane Wit 
 can contrive 3 there is not the moft 
 minute Circumftance throughout the 
 whole Defign which does not help 
 to Exprefs the Mifery there intended 
 to be fliewn : But the Print being 
 not hard to be feen, need not be 
 defcrib'd. 
 
 Writing is again ufed in this De- 
 fign 3 In one part of it you fee a 
 Perfon on his Bed, and two Figures 
 by him 3 This is /Eneas, who (as 
 Virgil relates) w 7 asadvifed by his Fa- 
 ther to apply hirnfelf to the Phrygian 
 Gods to know what he fhould do to 
 remove the Plague, and being refol- 
 ved to go, the Deities appear'd to 
 him, the Moon fhining very bright, 
 (which the Print repreients 5) here 
 Effigies Sacra DiVom { fhrygU is writ- 
 I ten,
 
 ("t) . 
 
 ten, becaufe otherwife this Incident 
 would not probably have been 
 thought on, but the Group would 
 have been taken to be only a Sick 
 Man, and his Attendants. 
 
 The Works of this Prodigy of a 
 Man ought to be carefully ftudied 
 by him who would make himfelf a 
 Mafter in Expreffion, more efpecially 
 with relation to thofe Paflions, and 
 Sentiments that have nothing of Sa- 
 vage, and Cruel j for his Angelick 
 Mind was a Stranger to Thefe, as 
 appears by his Slaughter of the Inno- 
 cents, where tho ? he has had Recourfe 
 to the Expedient of making the Sol- 
 diers naked to give the more Ter- 
 ror, he has not fucceeded fo well even 
 as <Piet.ro Tefta y who, in a Drawing I 
 have of him of that Story, has (hewn 
 he was fitter for it than (fiafaelte : 
 But you mull not expert to find the 
 true Airs of the Heads of that great 
 Mafter in Prints, not even in thofe 
 of Marc Antonio himfelf. Thofe are 
 
 to
 
 ( "5) 
 
 to be found only in what his own 
 inimitable Hand has done, of which 
 there are many unqueftionably right 
 in feveral Collections here in England 3 
 particularly in thofe very Admirable 
 and Copious ones of the Duke of 
 DeVonfl?ire y and the Earl of Pembroke 5 
 To whom I take leave on This, as 
 on all other Occafions, to make my 
 Humble Acknowledgments for the 
 Favour of frequently Seeing, andCon- 
 fidering thofe Noble, and Delicious 
 Curiofities. But Hampton-Court is the 
 great School of <^afaelle ! and God 
 be praifed that we have fo near us 
 fuch an invaluable Bleffing. May 
 the Cartons continue in That place, 
 and always to be feen 5 Unhurt, and 
 Undecay'd, fo long as the Nature of 
 the Materials of which they arecorn- 
 pos'd will po'llibly allow, May even 
 a Miracle be wrought in their Fa- 
 vour, as Themfelves are fome of the 
 greateft Inftancesof the Divine Pow- 
 er which endued a Mortal Man with 
 I 2 Abilities
 
 r "<s) 
 
 Abilities to perform fuch Stupend- 
 ous Works of Art. 
 
 BefidesHiin, I know of none ofthe 
 old Mailers that are Remarkable for 
 Expreffion, unlefs for particular Sub- 
 jects 5 as Michelangelo for Infernal, 
 or Terrible Airs 3 Amongft others 
 I have the Drawing he made for the 
 Car on in the famous Pi&ure of his 
 Laft Judgment, which is admira- 
 ble in this Kind $ and which (by the 
 way) Vafari, who was well ac- 
 quainted with him, fays, he took 
 from thefe three Lines of Dante, an 
 very fond of: 
 
 Caron demonio con occhi di bragia 
 Loro accennando tutte le raccoglie 
 (Batte col remo qualunque jadagia. 
 
 Julio Romano has fine Airs for Masks, 
 a SiknuSy Satyrs, and the like. And 
 for fuch Stories as that of the Deai> 
 the 300 Spartans , the Deftru&ion of 
 the Giants, <&c. 1 have feveral Proofs 
 
 of
 
 ( lr 7 ) 
 
 of This. Others of later times have 
 fucceeded well in This part of the 
 Art, as Domenichin, and Rembrandt • 
 but Thefe are the Principal; Only 
 for Portraits, and herein, next to 
 (fyfaelle, perhaps, no Man has a bet- 
 ter Title to the Preference than Van- 
 Dyc^-j no not Titian himfelf, much 
 lefs Rubens. 
 
 But there is no better School than 
 Nature for Exprejfion. A Fainter there- 
 fore flbould on all Occajions obferVe how 
 Men Look) and A£i> when Picas' d, GrieVd, 
 Angry^ &c. 
 
 0/COMPOSITION T . 
 
 TH I S is putting together for 
 the Advantage of the Whole, 
 what fhall be judg'd Proper to be 
 the feveral Parts of a Picture 5 either 
 as being ElTential to it, or becaufe 
 they are thought neceflary for the 
 common Benefit : And moreover, 
 the Determination of the Painter as to 
 I 3 certain
 
 certain Attitudes, and Colours which 
 are Otherwife Indifferent. 
 
 The Compofition of a Picture is 
 of Vaft Confequence to the Good- 
 nefs of it $ Tis what firft of all pre- 
 fents it felf to the Eye, and preju- 
 dices us in Favour Of, or with an 
 Averfion To it $ 'tis This that di- 
 rects us to the Ideas that are to be 
 convey d by the Painter, and in what 
 Order 3 and the Eye is Delighted 
 with the Harmony at the fame time 
 as the Underftanding is Improv'd. 
 Whereas This being 111, tho' the fe- 
 veral Parts are Fine, the Pifture is 
 Troublefome to look upon, and like 
 a Book in which are many Good 
 Thoughts, but flung in confufedly, 
 and without Method. 
 
 Every Titture fliould be fo contrived, as 
 that at a Diftance, when one cannot dif- 
 cern what Figures there are, or what they 
 are doing, it JJiould appear to be compofed 
 of Majfes, Light, and Da)\ 3 the Latter 
 of which jerVe as (Repofes to the Eye. 
 
 The
 
 The Forms of Thefe Maffes muft 
 be Agreeable, of whatfoeVer they con- 
 fift, Ground. Trees, Draperies, Figures, 
 &c. and the Whole together flwuld be 
 Sweet, and Delightful, Lonely Shapes and 
 Colours without a Na?ne 5 of which there 
 is an infinite Variety* 
 
 And 'tis not enough that there be 
 Great Mafles $ they muft be Subdi- 
 vided into Letter Parts, or they will 
 appear Heavy, and Difagreeable : 
 Thus tho' there is evidently a Broad 
 Light (for Example) in a piece o^ 
 Silk when covering a whole Figu^, 
 or a Limb, there may be Lefler Folds, 
 Breakings, Flickerings, and Refle- 
 ctions, and the Great Mafs vet evi- 
 dently preferv'd. 
 
 Sometimes one Mafs of Light is 
 upon a dark Ground, anJ then the 
 Extremities of the Light muft not 
 be too near the edges of the Picture, 
 and its greateft Strength muft be to- 
 wards the Centre ; as in the Defcent 
 from the Crofs, and the Dead Chrift, 
 I 4 both
 
 1 12 ° ) 
 
 both of <^ubens y and of both which 
 there are Prints, one by Voflerman, 
 and the other by (pontiws. 
 
 I have a Painting of the Holy Fa- 
 mily by (Rubens of this Structure 3 
 where, becaufe the Mafs of Light in 
 one part would elfe have gone off 
 too abruptly, and have made a lefs 
 pleafing Figure, he has fet the Foot 
 of S. Elizabeth on a little Stool 5 here 
 the Light catches, and fpreads the 
 Mafs fo as to have the defired effect. 
 Such another Artifice Gfafaelle has 
 tfed in a Madonna, of which I have 
 a ^opy 3 He has brought in a kind 
 of a^ Ornament to a Chair for no 
 other «nd (that I can imagine) but 
 to form the Mafs agreeably. 
 
 Fan-Dyck^ that he might keep his 
 principal Light near the middle of 
 his Picture, and to advantage the 
 Body which he feems to have in- 
 tended to exert himfelf in, has even 
 kept the Head Sombrous in an Ecce 
 homo I have of him, which makes 
 the Whole have a fine effect. 
 
 I
 
 r «2! ; 
 
 I have many times obferv'd with 
 a great deal of Pleafure the admira- 
 ble Compofition (befides the other 
 Excellencies) of a Fruit-piece ofM- 
 chelangelo Compadoglio, which I have 
 had many Years. The principal 
 Light is near the Centre (not Exact- 
 ly there, for thofe Regularities have 
 an ill effect 5) and the Tranfition 
 from thence, and from one thing to 
 another, to the Extremities of the 
 Picture all round is very Eafy, and 
 Delightful 3 in which he has employed 
 fine Artifices by Leaves, Twigs, lit- 
 tle Touches of Lights ftriking ad- 
 vantageoufly, and the like. So that 
 there is not a Stroke in the Piiture 
 without its Meaning5 and the whole, 
 tho' very Bright, and confiding of 
 a great many Parts, has a wonder- 
 ful Harmony, and Repofe. 
 
 One of the Drawings that Correggio 
 made for the Compofition of his Fa- 
 mous Picture of the Nativity, call'dLrf 
 Notte del Correggio, I have, and 'tis ad- 
 mi-
 
 ( 122 ) 
 
 mirable in its kind : There is nothing 
 one could wifli were otherwife with 
 refpedt to the Compoiition, but that 
 the Full Moon which he has made 
 in one of the Corners at the top had 
 been omitted $ It gives no Light, 
 That all comes from the New-born 
 Saviour of the World, and fweetly 
 diflfufes it felf from thence as from 
 its Centre all over the Pifture, only 
 that Moon a little troubles the Eye. 
 
 TheCompofition of my Holy Fa- 
 mily of (ftafaelle is not inferior to its 
 other parts, and the Tranlition from 
 one thing to another is very Artful 3 
 to inftance only in one particular : 
 Behind the Madonna is S. Jojeph rett- 
 ing his Head on his Hand, which is 
 plac'd upon his Mouth, and Chin 5 
 this Hand fpreads that fubordinate 
 Mais of Light, and together with the 
 Coiffure of the Virgin, and the little 
 Ring of Glory round her Head (which 
 contribute alio to the fame end)makes 
 the Tranfition from her Face to that 
 
 of
 
 c 123; 
 
 of S. Jo/epb very grateful, and eafy. 
 The whole Figure of S. Jofeph is con- 
 nected with that of the Madonna, but 
 Subordinately, by one fmart Touch 
 of the Pencil artfully apply'd upon 
 his Drapery in the Holy Family I 
 have of Qtybens $ than which there 
 cannot be a more perfect Example 
 for Compofition, both as to the 
 Mafles, and Colour : but I will not 
 multiply Inftances. 
 
 Sometimes the Stru&ure of a Pi- 
 cture, or the Tout-Enfemblc of its 
 Form, (hall referable dark Clouds on 
 a Light Ground 5 As in two Aflum- 
 ptions of the Virgin by fBoifwcrt after 
 (Rubens $ indeed a part of Thefe are 
 fuch Clouds : But in both of them 
 the Figures of thefe Mafles are 
 fomething too Indiftindt. Le (Brun in 
 a Ceiling of the fame Subject, grav'd 
 by young Simconneau, has put a Group 
 of Angels, which almofl hide the 
 cloudy Voiture of the Virgin 5 but 
 this Mafs is of too Regular, and Hea- 
 vy
 
 r m ) 
 
 vy a Shape. I refer you to Prints, 
 becaufe they are eafy to be got, and 
 explain This matter as well as Draw- 
 ings, or Pictures, and in fome Re- 
 fpe&s Better. 
 
 There are Inftances where two 
 Mafles 3 a Light, and a Dark one, 
 divide the Pi&ure, each poflefling 
 One Side. I have of This fort by 
 (ftubens, and as fine a Compofition as 
 can be feen 3 the Mafles are fo well 
 Rounded, the Principal Light being 
 near the Middle of the Bright One, 
 and the Other having Subordinate 
 Lights upon it fo as to Connect, but 
 not to Confound it with the reft 5 
 and they are in agreeable Shapes, and 
 melting into One Another, but ne- 
 verthelefs fufficiently determined. 
 
 Very commonly a Pidture con- 
 fifts of a Mafs of Light, and ano- 
 ther of Shadow upon a Ground of a 
 Middle Tind. And fometimes 'tis 
 compofed of a Mafs of Dark at the 
 bottom, another Lighter above that, 
 
 and
 
 1 (;i«5 ) 
 
 and another for the upper part ftill 
 Lighter 3 (as ufually inaLandfcape) 
 Sometimes the Dark Mafs employs 
 one Side of the Pidture alfo. I have 
 a Copy after <Paolo Veronefe where a 
 large Group of Figures, the principal 
 ones of the Story, compofe this low- 
 er brown Mafs,- Architecture, the 
 fecond3 more Buildings, with Figures 
 and the Sky, the third 5 but mod 
 commonly in Pictures of Three Maf- 
 fes, the Second is the Place of the 
 Principal Figures. 
 
 Of fuch Confequence are Thefe A- 
 greeable MalTes in a Pi&ure, that for 
 the Sake of them what is Lefs Mate- 
 rial muffc be Difpenc'd with when 
 Both cannot be had. As the Principal 
 Figure, and Action muft be Diftin- 
 guifh'd (of which more prefently) 
 Thofe Limbs of a Figure that are 
 Chiefly employed ought to be made 
 Confpicuous 5 Jordaens of Naples, in 
 a Picture 1 have, has reprefented the 
 little Jefus as riding on S. Johns Lamb, 
 
 and
 
 ( »2<J ) 
 
 and fupported by that Young Saint 5 
 the Legs of the Lamb being his Own 
 Support, and that of his Rider fhould 
 have been very Obvious 5 but if they 
 had, the Mafs where they are would 
 have been too much, and Difagree- 
 ably broken, they are only feen 
 therefore, and the MaiTes are Pre- 
 ferv'd, and fo Beautifully as to be a 
 great part of the Merit of the Picture. 
 As the Tout-enfemble of a picture 
 vutjl be Beautiful in its Majfes, fo mufl it 
 be as to its Colours. And <vs what is Trin~ 
 opal mufl be [Generally fyeaking) the mofi 
 Conspicuous, the predominant Colours of 
 That flmdd be diffused throughout the 
 Whole. This %afaelle has obferv'd 
 remarkably in the Carton of S. Paul 
 Preaching 5 His Drapery is Red, and 
 Green, and Thefe Colours are feat- 
 ter'd every where 5 butjudicioufly 3 for 
 Subordinate Colours as well as Sub- 
 ordinate Lights ferve to Soften, and 
 Support the Principal ones, which O- 
 therwife would appear as Spots, and- 
 confequencly be Offenfive. And
 
 ( &7 ) 
 
 And when the Subject does not 
 Neceflarily require a due Variety or 
 Beauty of Tindts ; Or perhaps the 
 Pidture when thought to be finifli'd 
 is found to want fomething of This 
 kind, a few Red, or Yellow Leaves 
 of Trees, Flowers, of whatever 
 Colour, in fliort, any thing Other- 
 wife Indifferent, may be flung in 
 very advantageoufly. 
 
 In a Figure , and e^ery part of a Fi- 
 gure, and indeed in every thing elfe there 
 is One part which mufk have a peculiar 
 Force, and be manifejily difiinguifl/d from 
 the reft, all the Other parts of Which rnufi 
 aljo have a due Subordination to It % and 
 to One Another. The fame fnufl be ob- 
 jerVd in the Compofition of an entire Pi- 
 Eiure $ And this (principal \ Diftinguiftfd 
 part ought {Generally peaking) to be the 
 (place of the (principal Figure , and Attion : 
 And Here every thing mujl be higher 
 Fmijh'd, the Other parts mujl be Left fo 
 Gradually. 
 
 Pi-
 
 ( 128 ) 
 
 Pictures (hould be like Bunches of 
 Grapes, but they muft not refemble 
 a great many fingle Grapes fcatter'd 
 on a Table $ there muft not be ma- 
 ny Little Parts of an Equal Strength, 
 and detach' d from one another, 
 which is as odious to the Eye as 'tis 
 to the Ear to hear many People talk- 
 ing to you at once. Nothing muft 
 Start, or be too ftrong for the Place 
 where it is as in a Confort of Mu- 
 jfick when a Note is too high, or an 
 Inftrument out of Tune 5 but afweet 
 Harmony and Repofe muft refult 
 from all the Parts judicioufly put to- 
 gether, and united with each other. 
 
 In the Defcent from the Crofs of 
 Q^ube?is y the Chrift is the Principal 
 Figure, This Body being Naked and 
 about the Centre of the Pi&ure wou'd 
 have been diftinguifh'd as the Heigh- 
 tening of this Mafs of Light3 but not 
 content with That, and to raife k 
 ftill more, this Judicious Mafter has 
 added a Sheet in which the Body is, 
 
 and
 
 ( I2 S> ) 
 
 and which is fuppos'd to be Ufeful 
 to deliver it down fafely, as well as 
 to carry it off afterwards, but the 
 main defign is what I am obferving, 
 and for that 'tis admirably intro- 
 duced. 
 
 Ananias is the Principal Figure in 
 the Carton which gives the Hiftory 
 of his Death 3 as the Apoftle that 
 pronounces his Sentence is of the 
 Subordinate Group, which confifts 
 of Apoftles. (Which therefore is 
 Subordinate, becaufe the Principal 
 Action relates to the Criminal, and 
 thither the Eye is directed by almoft 
 all the Figures in the Picture.) S. Taul 
 is the chief Figure in that Carton 
 where he is Preaching, and amongft 
 his Auditors One is eminently diftin- 
 guifh'd, who is Principal of that 
 Group 5 and is apparently a Believ- 
 er, and More fo than any of them, 
 or he had not had that Second 
 Place in a Picture conduced by fo 
 great a Judgment as that o{<%afa?tle's. 
 K Thefc
 
 ( *3° ) 
 
 Thefe Principal, and Subordinate 
 Groupes, and Figures, are To appa- 
 rent, that the Eye will naturally fix 
 firft upon one, then upon the other, 
 and confider each in Order, and 
 with Delight. I might give other 
 Examples were it neceffary 5 where 
 'tis not thus, the Compofition is lefs 
 perfect. 
 
 It is to be noted, that the Sorce- 
 rer in the Carton of his Chaftife- 
 ment is the Principal Figure there, 
 but has not the Force in all its Parts 
 as it ought to have as fuch, and to 
 maintain the Harmony $ This is Ac- 
 cidental, for 'tis certain his Drapery 
 was of the fame Strength, and Beau- 
 ty, as that on his Head, however it 
 has happen d to have changed its 
 Colour. 
 
 The Shadows in the Drapery of 
 S. Taul alfo, in that Carton where 
 the People are about to Sacrifice to 
 him, and Barnabas, have loft fome- 
 thing of their Force. 
 
 Some-
 
 Sometimes the <Place in the (PiElure, 
 ami not the Force, gives the Dijiinclion 5 
 as in my Drawing of the Defcent of 
 the Holy Ghoft : The Principal Fi- 
 gure is the Symbol of that Divine 
 Perfon in the Sacred Trinity, who 
 is the great Agent, and is diftin- 
 guifli'd both by the Place 'tis in, and 
 the Glory which furrounds it : The 
 Principal of the next Group is the 
 Bleffed Virgin who is plac'd dire&ly 
 under the Dove, and in the Middle 
 of the Picture; but fome of the A- 
 poftles who appear not to be the 
 Chief, have a greater Force than She, 
 or any of thofe that, compofe that 
 Group j however the Place flie pof- 
 fefles preferves that Diftindtion 
 that the incomparable Artift intend- 
 ed to give her. 
 
 And fome times the (painter happens to 
 
 be Obliged to put a Figure in a (place, 
 
 and with a Degree of Force which does not 
 
 fufficiently diftinguijh it. In that Cafe, the 
 
 Attention muft be awakened by the Colour 
 
 K 2 of
 
 ( x 3 2 ) 
 
 of its Drapery , <fr a Tart of it, or by the 
 Ground on which 'tis painted, or 
 fome other Artifice. 
 
 Scarlet, or fomeVivid Colour, is ve- 
 ry proper on fuch Occafions : I think 
 1 have met with an Inftance of This 
 kind from Titian^ in a 'Bacchus and 
 Ariadne-, Her Figure is Thus diftin- 
 guifli'd for the reafon I have given. 
 And in a Picture of Albano, which Sir 
 James Thornhill has, Our Lord is feen 
 at a Diftance as coming towards 
 fome of his Difciples, and tho' a 
 fmall Figure isneverthelefs the rnoft 
 Apparent in the Picture by being 
 plac'd on a Rifing Ground, and 
 painted upon the Bright part of the 
 Skyjuft above the Horizon. 
 
 In a Compofition, as well as in every 
 Single Figure j or other part of which the 
 <Pi£lure confijls, one thing mujl Contraft, 
 or be Varied from another. Thus in 
 a Figure, the Arms and Legs mud 
 not be placed to anfwer one another 
 in Parallel Lines. In like manner 
 
 if
 
 ( r 33 ) 
 
 if one Figure in a Compofition 
 Stands, another muft Bend, or Lye 
 on the Ground 5 and of thofe that 
 Stand, or are in any other Pofition, 
 if there be feveral of them, they 
 muft be varied by Turns of the 
 Head, or fome other Artful Difpo- 
 fition of their Parts-; as may be feen 
 (for inftance) in the Carton of giving 
 the Keys. The Mattes muft alfo 
 have the like Contraft, two muft not 
 be alike in Form, or Size, nor the 
 whole Mafs composed of thofe leffer 
 ones of too Regular a Shape. The 
 Colours muft be alfo Contrafted, and 
 Oppos'd, fo as to be grateful to the 
 Eye : There muft not (for exam- 
 ple) be two Draperies in one Pi&ure 
 of the fame Colour, and Strength, 
 unlefs they are contiguous, and then 
 they are but as one. If there be 
 two Reds, Blews, or whatever o- 
 ther Colour, One muft be of a 
 Darker, or Paler Tinft, or be fome 
 way Varied by Lights, Shadows, or 
 
 K 3 Re-
 
 ( r 34 ) 
 
 Reflexions. <%afaelle, and others 
 have made great Advantage of 
 Changeable Silks to unite the Con- 
 trading Colours, as well as to make 
 a part of the Contraft themfelves. 
 As in the Carton of Giving the 
 Keys, the Apoftle that ftands in 
 Profile, and immediately behind 
 S. John, has a Yellow Garment with 
 Red Sleeves, which conne&s that 
 Figure with S. (peter, and S. John, 
 whofe Draperies are of the fame Spe- 
 cies of Colours. Then the fame A- 
 nonymous Apoftle has a loofe 
 changeable Drapery, the Lights of 
 which are a Mixture of Red, and 
 Yellow, the other Parts are Bluifli. 
 This Unites it felf with the Other 
 Colours already mentioned, and 
 with the Blew Drapery of another 
 Apoftle which follows afterwards 5 
 between which, and the changea- 
 able Silk is a Yellow Drapery fome- 
 thing different from the other Yel- 
 lows, but with Shadows bearing 
 
 upon
 
 C'35) 
 
 upon the Purple, as thofe of the 
 Yellow Drapery of S. Peter incline 
 to the Red: All which, together 
 with feveral other Particulars, pro- 
 duce a wonderful Harmony. 
 
 The Exotick Birds that are pla- 
 ced on the Shore, in the Fore-ground 
 in the Carton of the Draught of 
 Fifties, prevent the Heavinefs which 
 that part would otherwife have had 
 by breaking the Parallel Lines which 
 would have been made by the Boats, 
 and Bafe of the Pidture. 
 
 The Back-Ground of the Pi&ure 
 of the Death Bed of Germariicus by 
 <Pouffin y is Architecture $ but the ma- 
 ny Perpendicular Lines over the 
 Heads of the Figures throughout, 
 would have had an 111 Effed: : He 
 has therefore fpread a fort of Curtain 
 or Canopy, over the Principal of 
 them (which alfo helps to diftinguifh 
 them) this remedies that Inconve- 
 nience 5 The reft of the Back- 
 Ground is contrajied by Standards, 
 Arms, &c. K 4 Tho'
 
 (■ Itf ) 
 
 Tho a Mafs may confift of a 
 Number of Little Parts, there ought 
 to be one, or more, Larger, and as 
 it were governing the reft, and this 
 is another fort of Contraft. My Lord 
 //'tr .-. -igon has a Good Samaritan by 
 fBaJJau, which is a fine Inftance of 
 This. In the fame Picture, there 
 are two knees of two feveral Figures, 
 pretty near together, and the Legs 
 and Thighs of which make Angles 
 too much alike, but this is con- 
 tracted by one being Naked, and the 
 other Clad, and over the latter, a 
 little fort of Safh falls, which is an 
 additional Expedient. 
 
 There is an Admirable Contraft 
 in the Carton of S. <Paul preaching, 
 His Figure (which is a rare one) 
 ftands aione as he ought to do, and 
 confequently is very confpicuous, 
 which is alfo perfectly right 3 the 
 Attitude is as fine as can be i<* 
 magin'd 5 but the Beauty of this 
 noble Figure, and with it of the 
 
 whole
 
 ( j 37 ; 
 
 whole Picture depends upon this 
 Artful Contraft I have been fpeaking 
 of 3 of fo great Confequence is that 
 little part of the Drapery flung over 
 the Apoftles Shoulder, and hanging 
 down almoft to his Wafte $ for (be- 
 fidesthat it poizes the Figure, which 
 otherwife would have feem'd to have 
 tumbled forwards) had it gone low- 
 er, fo as to have as it were divided 
 the Out-Line of the hinder part of 
 the Figure in two Equal, or Near 
 Equal parts it had been Offenfive $ 
 as it had been lefs Pleafing if it had 
 not come fo low as it does. This 
 important piece of Drapery preferves 
 the Mafs of Light upon that Figure, 
 but varies it, and gives it an agree- 
 able Form, whereas without it the 
 whole Figure would have been Hea- 
 vy, and Difagreeable 5 but there 
 was no danger of that in (fiafaelle. 
 There is another piece of Drapery in 
 the Carton of Giving the Keys, 
 which is very Judicioufly flung in $ 
 
 The
 
 ( «3» ) 
 
 The three outmoft Figures at the 
 End of the Pi&ure, (the contrary to 
 that where our Lord is) made a Mafs 
 of Light of a Shape not very plea- 
 fing, till that knowing Painter 
 ftruck in a part of the Garment of 
 the laft Apoftle in the Group as 
 folded under his Arm, this breaks 
 the ftreight Line, and gives a more 
 grateful Form to the whole Mafs i 
 which is alfo aflifted by the Boat 
 there 3 as the Principal Figure in this 
 Compofition is by the Flock of 
 Sheep plac'd behind him, and which 
 moreover ferves to detach the Fi- 
 gure from its Ground, as well as to 
 illuftrate the Hiftory. 
 
 The Naked Boys in the Carton of 
 Healing the Cripple are a farther 
 Proof of (Jfyfaelle's great Judgment 
 in Compofition : One of 'em is in 
 fuch an Attitude as finely varies the 
 Turns of the Figures 3 but Here is 
 moreover another kind of Contra/}, 
 and that is caus'd by their being Na- 
 ked,
 
 ( l w) 
 
 ked, which how odd foever it may 
 feem at firft, and without confider- 
 ing the Reafon of it, will be found 
 to have a marvellous effedt ; Cloath 
 ? em in Imagination 3 Drefs 'em as 
 you will, the Picture fuffers by it, 
 and would have Suffered if %aja'ilk 
 himfelf had done it. 
 
 "Tis for the fake of this Contraft, 
 which is of fo great Conference in 
 Painting, that this Knowing Man in 
 the Carton we are now upon has 
 plac'd his Figures at one end of the 
 Temple near the Corner, where one 
 would not fuppofe the Beautiful Gate 
 was : But this varies the Sides of the 
 Picture, and at the fame time gives 
 him an Opportunity to enlarge his 
 Buildings with a fine Portico, the like 
 of which you muft imagine muft: be 
 on the other Side of the main Stru- 
 cture 5 All which together makes 
 one of the Nobleft Pieces of Archi- 
 tecture that can be conceived. 
 
 He
 
 He has taken a greater Licence in 
 the Carton of the Conversion of 
 Sergius Taulus, where the Archite- 
 cture will be difficult to account for, 
 otherwife than by faying it was done 
 to give the Contraft we are fpeaking 
 of: But this will juftify it fufficiently. 
 
 Nor is this Contraft only neceflary 
 in every particular Picture, but if fe- 
 veral are made to hang in one Room 
 they ought to Contraft one another. 
 This Titian confider'd when he was 
 making feveral Pictures for our King 
 Henry VIII. as appears by a Letter 
 he wrote to that Prince, which (a- 
 mongft others of Titian to the Em- 
 peror and other Great Men) is to be 
 found in a Collection of Letters 
 printed at Venice, An. 1574. p. 403. 
 
 mmmm Et pcrche la Danae ctiio mayidai 
 gia a noftra maefta, ft uedeua tutta dalla 
 parte dinan^i, ho noluto in quefta altra 
 (poefta uariare, & farle moftrare la con" 
 tr atria parte, acciocbe riefcba in earner ino 
 done hanno da ft are pin gratiofo alia uij- 
 
 ta.
 
 ( Hi ) 
 
 ta. Tofto le mandero^ la Toeji di Terfeo, 
 O* Andromeda che haura un altra uifta 
 differente da quefte, e> cofi Medea, O* 
 J of one— — 
 
 There is another fort of Contrajl 
 which I have often wonder'd Pain- 
 ters have not more confider'd than 
 we generally find, and that is, Ma- 
 king fome Fat, and fome Lean Peo- 
 ple 5 Such a Face and Air as Mr. 
 Locke's, or Sir ifaac Newton s would 
 fhine in the beft Compofition that 
 ever (fyifaelle made, as to Exprefs their 
 Characters would be a Task worthy 
 of that Divine Hand. In the Car- 
 tons there is one or two Figures 
 fomething Corpulent, but I think 
 not one remarkably Lean -, I have a 
 Drawing which is afcrib'd to <Baccio 
 (Bandinelli where this Contrail is, and 
 has a fine effeft. 
 
 The Mafters to be ftudied for 
 Compofition are %ajaelle, (Rubens, 
 and Rembrandt moft efpecially, tho* 
 many others are worthy notice, and 
 
 to
 
 ( H 2 ), 
 
 to be carefully confiderd 3 amongft 
 which V. Velde ought not to be for- 
 gottten, who tho' his Subjects were 
 Ships, which confiding of fo many 
 little parts, are very difficult to fling 
 into great MaiTes, has done it, by the 
 help of fpread Sails, Smoak, and the 
 Bodies of the Veffels, and a judicious 
 Management of Lights and Shadows. 
 So that His Compofitions are many 
 times as good as thofe of any Ma- 
 iler. 
 
 The more to be convinc'd of 
 the Advantage of Composition, as 
 well as the Better to Comprehend 
 what I have been laying, it may not 
 be amifs to Compare lome of thofe 
 things, I have inftanced in as Good, 
 with Others that are Not fo ; fuch 
 as the famous Defcent of the Crofs 
 by Vaniele da Volterra, where all is 
 Confufion, the Crucifixion of our 
 Lord between the two Thieves by 
 (fyibenSj Grav'd by BolJwart y where 
 tho' they are Diftin£t> they are of 
 
 Difa-
 
 ( H3 ) 
 
 Difagreeable Forms, and Uncon- 
 ne&ed. 
 
 Design or Drawing. 
 
 BY thefe Terms is fometimes un- 
 derftood the exprefling our 
 Thoughts upon Paper, or whatever 
 other flat Superficies 3 and that by 
 Refemblances formed by a Pen,Cray- 
 on, Chalk, or the like. But more 
 commonly, The giving the Juft 
 Form, and Dimenfion of Vifible 
 Objects, according as they appear to 
 the Eye 3 if they are pretended to be 
 defcrib'd in their Natural Dimen- 
 fions 3 If Not, but Bigger, or LefTer, 
 then Drawing, or Deligning fignifies 
 only the giving thofe Things their 
 true Form, which implies an exadt 
 proportionable Magnifying, or Di- 
 minifliing in every part alike 
 
 And this comprehends alio giving 
 the true Shapes, Places, and even 
 Degrees of Lights, Shadows, and 
 
 Re-
 
 ( H4 ) 
 
 Reflexions 3 becaufe if thefe are not 
 right, if the thing has not its due 
 Force, or Relief, the true Form of 
 what is pretended to be drawn can- 
 not be given : Thefe fhew the Out- 
 Line all round, and in every part, 
 as well as where the Gbjedt is ter- 
 minated on its Back- Ground. 
 
 In a Compofition of feveral Fi- 
 gures, or whatever other Bodies, if 
 the Perfpe&ive is not juft the Draw- 
 ing of that Compofition is Falfe. 
 This therefore is alio imply'd by this 
 Term. That the Perfpe&ive muft 
 be obferv'd in the Drawing of a Sin- 
 gle Figure cannot be doubted. 
 
 I know Drawing is not commonly 
 underftood to comprehend the Clair* 
 obfcure y (Relief y and TerfpecliVe, but it 
 does not follow however that what 
 I advance is not right. 
 
 But if the Out-Lines are only 
 mark'd, this alio is Drawing 3 'tis 
 giving the true Form of what is pre- 
 tended to, that is, the Out-Line* 
 
 Force,
 
 The Drawing in the latter, and mofi 
 common Senfe $ be fides that it mufi be 
 Jufij mufi be pronounced Boldly , Clearly , 
 and without Ambiguity : Confequently, 
 neither the Out-Lines, nor the Forms 
 of the Lights, and Shadows muft be 
 Confusd, and Uncertain, or Woolly 
 (as Painters call it) upon pretence 
 ofSoftnefsj nor on the other hand 
 may they be Sharp, Hard, or Dry 5 
 for either of thefe are Extreamsj Na- 
 ture lies between them. 
 
 As there are not two Men in the 
 World who at this inftant, or at any 
 other time, have exactly the fame 
 Set of Ideas 5 nor any one Man that 
 has the fame Set twice, or This 
 Moment, as he had the laft : For 
 Thoughts obtrude themfelves, and 
 pafs along in the Mind continually 
 as the Rivers 
 
 Stream, and perpetual draw their humid 
 
 Train 5 Milt. 
 So neither are there two Men, nor 
 two Faces, no, not two Eyes, Fore- 
 L heads
 
 hcadsj Nofes, or any other Features: 
 Nay farther, there is not two Leaves, 
 tho of the iame Species, perfectly 
 alike. 
 
 A Defigner therefore muft confider, 
 when he draws after Nature, that his 
 'Bufmcjs is to defer ibe That Very Form, as 
 difiinguijlid from every other Form hi the 
 UmVerje. 
 
 In order to give this Juft Repre- 
 fentation of Nature (for that is All 
 we are now upon, as being all that 
 Drawing, in the prefent Senfe, and 
 Simply confider'd implies, Grace and 
 Greatnefs, is to be fpoken to after- 
 wards) I fay in order to follow Na- 
 ture exactly, a Man muft be well 
 acquainted with Nature, and have a 
 reafonable Knowledge of Geometry, 
 Proportion, (which muft be varied 
 according to the Sex, Age, and Qua- 
 lity of the Perlon) Anatomy, ] fl eology, 
 and TerfpeSlhe. 1 will add to thefe 
 an Acquaintance with the Works of 
 the belt Painters, and Sculptors, 
 
 Anci-
 
 ( 147) 
 
 Ancient, and Modern : For 'tis a 
 certain Maxim, No Man fees what 
 things Are, that knows not what they 
 Ought to he. 
 
 That this Maxim is true, will ap- 
 pear by an Academy Figure drawn 
 by one ignorant in the Structure, and 
 knitting of the Bones, and Anatomy, 
 compar'd with another who under- 
 (lands thefe throughly : Or by com- 
 paring a Portrait of the fame Perfon 
 drawn by one unacquainted with the 
 Works of the bed Mafters, and ano- 
 ther of the Hand of one to whom 
 thofe excellent Works are no Stran- 
 gers ; Both fee the fame Life, but 
 with different Eyes 5 The former fees 
 it as one unskill'd in Mufick hears a 
 Confort, or Inftrument, the other as 
 a Mafter in that Science : Thefe Hear 
 equally, but not with like Diftindion 
 of Sounds, and Obfervation of the 
 Skill of the Compofer. 
 
 Perhaps Albert Durer Drew as Cor- 
 rectly, according to the Idea he had 
 L 2 of
 
 ( 148 ) 
 
 of thing* as %afaelle, and the German 
 Eve faw (in One Senfe) as well as 
 the Italian 3 but thefe two Mafters 
 Conceiv'd differently, Nature had 
 not the Same appearance to both, 
 and that becaufe One of them had 
 not his Eyes opened to fee the Beau- 
 ties that are Really there $ the Per- 
 ception of which lets us into Another 
 World, more Beautiful than is (ccn 
 by Untaught Eyes : And which is ftill 
 improveable by a Mind ftored with 
 Great and Lovely Ideas, and capa- 
 ble of Imagining fomething beyond 
 what is feen. Such a One every De- 
 fianer ought to have. But This is to 
 be fpoken to when I treat of Grace 
 and Greatnels. 
 
 Michelangelo was the moft Learn- 
 ed, and Correct Defigner of all the 
 Moderns, if ^afaeUe were not his E- 
 qual, or as fome will have it, Su- 
 perior. The Romany and Florentine 
 Schools have excell'd all others in 
 this Fundamental part of Painting} 
 and of the firft ^afa^lky Giulio tityma- 
 
 710
 
 ( H9 ) 
 
 no, Tolydorey Tierino del Vaga, &c. 
 as Michelangelo , Leonardo da Vinci, 
 Andrea del Sarto, &c. have been the 
 beft of the Florentines Of the So- 
 lognefe, Annibale Carracci^ and Domin- 
 chino have been excellent Defigners. 
 When a Painter intends to make a 
 Hiftory (for example) the way com- 
 monly is to defign the thing in his 
 Mind, to coniider what Figures to 
 bring in, and what they are co Think, 
 Say, or Do 5 and then to Sketch up- 
 on Paper this Idea of his 5 and not 
 only the Invention, but Compojttion of 
 his intended Pifture : This he may 
 alter upon the fame Paper, or by 
 making other Sketches, till he is 
 pretty well determind as to that 5 
 (and this is that firft Senfe in which 
 I faid the Term Drawing or Vejgn- 
 ing was to be underilood.) In the 
 next place his Bufinefs is to confuk 
 the Life, and to make Drawings of 
 particular Figures, or parts of Fi_ 
 gures, or of what elfe he intends t Q 
 
 L 3 brin a
 
 ( ISO ) 
 
 bring into his Work, as he finds ne- 
 ceffary $ together alio with fuch Or- 
 naments, or other things of his In- 
 vention, as Vafes, Frizes, Trophies, 
 <trc. till he has brought his Picture 
 to fome Perfection on Paper, either 
 in thefe loofe Studies, or in one en- 
 tire Drawing. This is frequently 
 done, and fometimes thefe Drawings 
 are finifh'd very highly by the Maf- 
 ter, either that his Dilciples might 
 be able from them to make a great- 
 er Progrefs in the Grand Work, and 
 fo leave the lefs for Himfeif to do 3 
 or becaufe he made Advantage of 
 fuch Drawings from the Perfon who 
 employ'd him, or lome other 3 and 
 perhaps fometimes for his own Plea- 
 fure. 
 
 Of thefe Drawings of all kinds, 
 thole great Mafters (whofe Names, 
 and Memories are fweet to all true 
 Lovers of the Art) made very ma- 
 ny 3 fometimes feveral for the fame 
 thing, and not only for the fame Pi- 
 cture,
 
 r 15 1 ) 
 
 dure, but for one Figure, or pare 
 of a Pi£ture5 and though too many 
 are perifli'd, and loft, a confidera- 
 ble Number have efcap'd, and been 
 preferved to our Times, fomc very 
 well, others not, as it has happen'd ; 
 And thefe are exceedingly priz'd by 
 all who understand, and can fee their 
 Beauty 5 for they are the very Spi- 
 rit, and Quinteflence of the Art 5 
 there we fee the Steps the Mafter 
 took, the Materials with which he 
 made his Finifh'd Paintings, which 
 are little other than Copies of thefe, 
 and frequently (at leaft in part) by 
 fome Other Hand $ but thefe are 
 undoubtedly altogether his Own, 
 and true, and proper Originals. 
 
 It muft be confefs'd, in the Paint- 
 ings you have the Colours, and the 
 laft Determination of the Mafter, 
 with the entire Completion of the 
 Work. The Thoughts, and Finifh- 
 ings are in a great Meafure feen in 
 the Prints of fuch Works of which 
 
 L 4 Prints
 
 r 150 
 
 Prints are made, nor is a Drawing 
 deftitute of Colouring abfolutely 3 on 
 the contrary, one frequently fees 
 beautiful Tints in the Paper, Wafhes, 
 Ink, and Chalks of Drawings 3 But 
 what is wanting in lome relpe&s is 
 abundantly recompenc'd in Others, 
 for in Thefe Works the Matters not 
 being embarrafs'd with Colours have 
 had a full Scope, and perfect Liber- 
 ty, which is a very confiderable Ad. 
 vantage, elpecially to fome of them. 
 There is a Spirit, and Fire, a Free- 
 dom, and Delicacy in the Drawings 
 of Giulio (Romano, Tolydoro, Tar* 
 meggianOj Batttjla Franco, &c. which 
 are not to be leen in their Paintings : 
 A Pen, or Chalk will perform what 
 cannot poflibly be done with a Pen- 
 cil 3 and a Pencil with a thin Liquid 
 only what cannot be done when one 
 has a Variety of Colours to manage, 
 elpecially in Oil. 
 
 And there is this farther Consi- 
 deration to endear thofe Drawings 
 
 wc
 
 we have to us 5 no mere can be had 
 than what are now in Beings no new 
 ones can be made 5 the Number of 
 thefe muft neceflarily diminifii by 
 Time, and Accidents, but cannot be 
 fupply'd 3 the World muft be con- 
 tent with what it has : For though 
 there are Ingenious Men endeavour- 
 ing to tread in the Steps of thefe 
 Prodigies of Art, whofe Works we 
 are lpeaking of, there is yet no Ap- 
 pearance that any will Equal them 5 
 though I am in hopes that our own 
 Country Does, or Will produce thofe 
 that will come as near ? em as any o- 
 ther Nation, 1 mean as to Hiftory- 
 Painting, for that we already excel 
 all others in Portraits is indifpu- 
 table. 
 
 The vaft Pleafure I take in thefe 
 great Curiofities has carried me per- 
 haps too far : I will only add, That 
 the firft Sketches not being intend- 
 ed to exprefs more than the general 
 Ideas ; any Incorre&nefs in the Fi- 
 gures,
 
 r 154 ) 
 
 gures, or Perfpe&ive, or the like, are 
 not to be efleemd as Faults 5 Exadt- 
 nefs was not in the Idea 5 the Sketch, 
 notwithftanding fuch feeming Faults, 
 may fliew a Noble Thought, and be 
 executed with a vaft Spirit, which 
 was all pretended to, and which be- 
 ing performed, it may be faid to be 
 well Drawn, although Incorrect as 
 to the other Matters. But when Cor- 
 rection is pretended to, (and this is 
 always the Cafe of a Finifhd Draw- 
 ing, or Picture) then to have any De- 
 feat in Drawing, in thisSenfe of the 
 Term, is a Fault. 
 
 Colouring. 
 
 COLOURS are to the Eye 
 what Sounds are to the Ear, 
 Taites to the Palate,or any other Ob- 
 jects ofour Senfes are to thofe Senies - y 
 and accordingly an Eye that is deli- 
 cate takes in proportionable Pleafure 
 from Beautiful ones, and is as much 
 
 Offended
 
 ( *tt ) 
 
 Offended with their Contraries. Good 
 Colouring therefore in a Pi&ure is of 
 Confequence, not only as it is a truer 
 Reprefentation of Nature, where e- 
 very thing is Beautiful in its Kind, 
 but as adminiftring a confiderable 
 Degree of Pleafure to the Senfe. 
 
 The Colouring of a Tifture muft be Va- 
 ried according to the Subject, the Time, 
 and Place. 
 
 If the Subject be Grave, Melan- 
 choly, or Terrible, the General Tindt 
 of the Colouring muft incline to 
 Brown, Black, or Red, and Gloomy 5 
 but be Gay, and Pleafant in Subjects 
 of Joy and Triumph. This I will 
 not enlarge upon here, having fpo- 
 ken to it already in the Chapter of 
 Exprejfion. Morning, Noon, Even- 
 ing, Night5 Sunfhine, Wet, or Clou- 
 dy Weather, influences the Colours 
 of things 3 and if the Scene of the 
 Picture be a Room, open Air, the 
 partly open, and partly inclos'd, or 
 Colouring muft be according. 
 
 The
 
 ( '5^ ) 
 
 The Distance alfo alters the Co- 
 louring becaufe of the Medium of 
 Air through which every thing is 
 feen, which being Blue, the more re- 
 mote any Objed is the more it mud 
 partake of that Colour, confequent- 
 ly muffc have lefs Force, or Strength $ 
 the Ground therefore, or whatfoever 
 is behind a Figure (for example) mud 
 not be lo ftrong as that Figure is, 
 nor any of its Parts which round oft, 
 as thoie that come nearer the Eye, 
 and that not only for the reafon al- 
 ready given, but becaufe moreover 
 there will always be Reflections 
 ftronger, or weaker, that will di- 
 minish the Force of the Shadows ; 
 which Reflections (by the way) muft 
 partake of the Colours of thofe things 
 from whence they are produced. 
 
 Any of the leveral Species of Co- 
 lours may be as Beautiful in their 
 Kinds as the others, but one Kind 
 is more fo than another, as having 
 more Variety, and confifting of Co- 
 lours
 
 ( '57 ) . 
 
 lours more pleafing in their own Na- 
 ture 5 in which ^ and the Harmony^ and 
 Agreement of one TinEl with another , the 
 the Goodwft of Colouring conjifls. 
 
 To fhew the Beauty of Variety I 
 will inftance in a Gelder G(pfe, which 
 is White 5 but having many Leaves 
 one under another, and lying hol- 
 low fo as to be feen through in fome 
 places,which occafions feveral Tin<5ts 
 of Light, and Shadow 5 and together 
 with thefe fome of the Leaves having 
 a Greenifli Tind, all together pro- 
 duces that Variety which gives a 
 Beauty not to be found in this Paper, 
 tho' 'tis White, nor in the infide of 
 an Egg-ftiell tho' whiter, nor in any 
 other White Objeft that has not that 
 Variety. 
 
 And this is the Cafe, though this 
 Flower be leen in a Room in Gloo- 
 my, or Wet Weather 5 but let it be 
 expos'd to the open Air when the Sky 
 is Serene, the Blue that thofe Leaves, 
 or parts of Leaves that lye open co 
 
 it
 
 C«8 )■ 
 
 it will receive, together with the Re- 
 flections that then will alfo happen 
 to ftrike upon it, will give a great 
 Addition to its Beauty : But let the 
 Sun-beams touch up its Leaves where 
 they can reach with their fine Yel- 
 lowifh TinCt, the other retaining 
 their Sky- Blue, together with the 
 Shadows and brisk Reflections it will 
 then receive, and then you will fee 
 what a Perfection of Beauty it will 
 have, not only becaufe the Colours 
 are more Pleafant in themfelves, but 
 there is greater Variety. 
 
 A Sky entirely Blue would have 
 lefs Beauty than it has being always 
 varied towards the Horizon, and by 
 the Sun-beams whether Rifing, Set- 
 ting, or in its Progrefs $ but neither 
 has it that Beauty as when more 
 varied with Clouds ting'd with Yel- 
 low, White, Purple, &c. 
 
 A piece of Silk, or Cloth hung, 
 or laid flat, has not the Beauty tho' 
 the Colour of it be pleafing, as when 
 
 flung
 
 flung into Folds 5 nay a piece of Silk 
 that has little Beauty in it felf fhall 
 be much improved only by being 
 Pink'd, Water'd, or Quilted $ the 
 Reafon is, in thefe Cafes there arifes 
 a Variety produced by Lights,Shades, 
 and Reflections. 
 
 There are, as I faid, certain Co- 
 lours lefs agreeable than others, as a 
 Brick- Wall, for example, yet when 
 the Sun ftrikes upon one part of it, 
 and the Sky tinges another part of 
 it, and Shadows and Reflections the 
 reft, this Variety fhall give even 
 That a Degree of Beauty. 
 
 Perfed Black, and White are dif- 
 agrceable 5 for which reafon 2. fain- 
 ter ftould break^thofe Extreams of Colours 
 that there may be a Warmth, and Mellow* 
 neft in his Work^; Let hint (inFlefo efye- 
 daily) remember to aVoid the Chalky the 
 (Bricks and the Charcoal, and thinly of a 
 Pearl, and a ripe Peach. 
 
 But 'tis not enough that the Co- 
 lours in themfelves are Beautiful fin-
 
 ( i So ) 
 
 gly, and chat there be Variety, They 
 mujt be Jet by one another Jo as to be 
 mutually ajfijlant to each other 5 and 
 this not only in the Objed painted, 
 but in the Ground, and whatsoever 
 comes into the Compofition $ fo as 
 that every Part, and the Whole to- 
 gether may have a pleafing effed: to 
 the Eye > fuch a Harmony to It as 
 a good piece of Mufick has to the 
 Ear} But for which no certain Rules 
 can be given no more than for that ; 
 Except in fome few General Cafes 
 which are very Obvious, and need 
 not therefore be mention'd here. 
 
 The Beft that can be done is to 
 Advife one that would know the 
 Beauty of Colouring, To obJerVe Na- 
 ture, and hoiv the bejl Colourijls haVe 
 imitated her. 
 
 What a Lightnefs, Thinnefs, and 
 Tranfparency $ What a Warmth, 
 Cleannefs, and Delicacy is to be feen 
 in Life, and in good Pictures ! 
 
 He
 
 (I6t ) 
 
 He that would be a good Colourift 
 himfelf muft moreover Pra&ice 
 much after, and for a confiderable 
 time accuftom himfelf to See well- 
 colour'd Pictures only : But even 
 This will be in vain, unlefs he has a 
 Good Eye in the ^enfe, as one is 
 faid to have a Good Ear for Mu- 
 fick 3 he muft not only See well, 
 but have a particular Delicacy with 
 relation to the Beauty of Colours, 
 and the infinite Variety of Tindls. 
 
 The Venetian, Lombard, and Ffe- 
 mi(b Schools have excelld in Co* 
 louring 5 the Florent'me, and (Roman 
 in Delign 3 the Bologne >fe Mafters in 
 both 3 but not to the Degree gene- 
 rally as either of the other. Correg- 
 gio, Titian, Paolo Verone/e, (Rubens, 
 and Van T)yck^ have been admirable 
 Colourifts 3 the latter in his beft 
 things has followed common Na- 
 ture extreamly clofe. 
 
 (Rafaelle's Colouring, efpecially in 
 
 his Shadows, is Blackifli : This was 
 
 M occafiond
 
 C 1(52 ) 
 
 occafion'd by the Ufe of a fort of 
 Printer's Black , and which has 
 chang'd its Tinct, tho'twas Warm, 
 and Glowing at firft, upon which 
 account he was fond of it, though 
 he was advifed what would be the 
 Confequence. However by the vaft 
 Progrefs he made in Colouring after 
 he apply'd himfelf to it, 'tis judg'd 
 he would in This part of Painting 
 alio have Excelled, as in the Others : 
 Here would have been a Double Pro- 
 digy ! fince no one Man has ever 
 poifefs d even Colouring, and De- 
 figning to That, or any very confi- 
 derable Degree. 
 
 Tho' the Cartons are fome of the 
 laft of his Works, it muft be con- 
 fefs'd the Colouring of them is not 
 equal to the Drawing 3 but at the 
 fame time neither can it be deny'd 
 but that he that painted Thofe could 
 Colour Well, and would have Co- 
 lour'd Better. It muft be confider'd 
 they were made for Patterns for Ta- 
 
 piftry,
 
 ( nf, ) 
 
 piftry, not profefs d Pictures, and 
 painted, not in Oil, but in Diftem- 
 per : If therefore one (cqs not 
 the Warmth, and Mellownefs, and 
 Delicacy of Colouring which is to 
 be found in Comggio, Titian^ or (?(/<- 
 hens y it may fairly be imputed in a 
 great meafure to thefe Caufes. A 
 Judicious Painter has other Confi- 
 derations relating to the Colouring 
 when he makes Patterns for Tapiftry 
 to be heightned with Gold, and Sil- 
 ver, than when he paints a Picture 
 without any fuch View 5 nor can a 
 fort of Drynefs, and Harfhnefs be 
 avoided in Diftemper, upon Pa- 
 per : Time moreover has apparent- 
 ly chang'd fome of the Colours. In 
 a word, the Tout-Enfemble of the Co- 
 lours is Agreeable, and Noble $ and 
 the Parts of it are in General Ex- 
 treamly, but not Superlatively" Good. 
 1 will only add one Obfervation 
 here concerning the Colours of the 
 Draperies of the Apoftles which are 
 M 1 always
 
 ( "54) 
 
 always the fame in all the Cartons, 
 only S <Pcter when he is a Fifherman 
 has not his large Apoftolical Drapery 
 on. This Apoftle, when drefs'd, 
 wears a Yellow Drapery over his 
 Blue Coat 3 S. John a Red one over 
 a Green 5 fo does S. Paul 3 which is 
 alfo the fame that he wears in the fa- 
 mous S. Cecilia, which was painted 
 near Ten years before. 
 
 Handling. 
 
 BY this Term is underftood the 
 manner in which the Colours 
 are left by the Pencil upon the Pi- 
 cture 3 as the manner of ufing the 
 Pen, Chalk, or Pencil in a Drawing 
 is the Handling of that Drawing. 
 
 This confider'd in it felf abftrad:- 
 edly is only a piece of Mechanicks, 
 and is Well, or III as 'tis perform'd 
 with a Curious, Expert 3 or Heavy, 
 Clumfey Hand 3 and that whether 
 'tis Smooth, or Rough, or however 
 
 'tis
 
 ( i«5 ) 
 
 'tis done ^ for all the Manners of 
 Working the Pencil maybe Well, or 
 111 in their kind $ and a fine light 
 Hand is feen as much in a Rough, 
 as in a Smooth manner. 
 
 I confefs I love to fee a Freedom 
 and Delicacy of Hand in Painting as 
 in any other piece of Work $ it has 
 its Merit. Tho' to fay a Pi&ure is 
 juftly Imagin'd, well Difpofed, truly 
 Drawn, is Great, has Grace, or the 
 other gocd Qualities of a Picture $ 
 and withal that 'tis finely Handled, 
 is as if one fhould fay a Man is Vir- 
 tuous, Wife, Good natured, Vali- 
 ant, or the like, and is alio Hand- 
 fome. 
 
 But the Handling may be fuch as 
 to be not only Good abftradedly 
 confider'd, but as being Proper, and 
 adding a real Advantage to the Pi- 
 cture : And then to fay a Picture has 
 fuch, and fuch good Properties, and 
 is alfo Well Handled (in that Senfe) 
 is as to fay a Man is Wife, Virtuous, 
 M 3 and
 
 C 166 ) 
 
 and the like, and is alfo Handfome, 
 and perfectly Well bred. 
 
 Generally if the Character of the Pi- 
 cture is Greatneft, Terrible, or SaVage, 
 as Battels, jobberies, Witchcrafts, Ap- 
 paritions, or eVen the Portraits of Men 
 of juch Characters there ought to be em- 
 ploy d a Pough, Bold Pencil 5 and con* 
 tranly, if the Character is Grace, Beauty, 
 LoVe, Innocence, Sec. a Softer Penal y 
 and more fxniflnng is proper. 
 
 'Ti,$ no Objection againfl a Sketch if 
 it be left UnfinijFdy and with Bold 
 Rough Touches, tho' it be Little, and 
 to be feen Near, and whatfoever its 
 Character be 3 for thus it anfwers its 
 End, and the Painter would after 
 that be Imprudent to fpend more 
 time upon it. But Generally Small 
 Pictures (Imtld be Well Wrought. 
 
 jewels, Gold, Silver, and whatfoever 
 has fmart Brightnefi require Bold, Plough 
 Touches of the Pencil in the Heightnings. 
 The Pencil foould be left pretty 
 much in Linen, Stlk*> and whatfoeVerhas 
 a Glojfynefi Jll
 
 ( i«7 ; 
 
 All large (pictures, and what/oeVer is 
 feen at a great Diflance fhould be^ough $ 
 for befides that 'twould be lofs of 
 Time to a Painter to Finiih fuch 
 things highly, fince Diftance would 
 hide all that Pains $ thofe BoldRough- 
 nefles give the Work a greater Force, 
 and keep the Tin£ts diltindt. 
 
 Tliemore gemote any thing is fuppofed 
 to be, the left Finijhing it ought to have. 
 I have feen a Fringe to a Curtain in 
 the Back- Ground ofaPi&ure, which 
 perhaps was hall a Day in painting, 
 but might have been better done m 
 a Minute. 
 
 There is often a Spirit, and Beau- 
 ty in a Quick, or perhaps an Acci- 
 dental Management of the Chalk, 
 Pen, Pencil, or Brufli in a Drawing, 
 or Painting, which 'tis impodible to 
 preferve if it be more finiih'd 3 ac 
 leaft 'tis great odds but it will be 
 loft : 'Tis better therefore to incur ihe 
 Cenjure of the Injudicious than to hazard 
 the lofingfuch Advantages to theTiBure. 
 M 4 Apt'lks
 
 ( "58 ) 
 
 Apelles comparing himlelf with Pro- 
 togenes faid, Perhaps he is Equal, if 
 not Superior to me in Some things, 
 but I am fure I Excel him in This : 
 I Iqiqw when to haVe done. 
 
 Flcjh in Ti£tures to be feen at a common 
 diflance, and efyecially Portraits, fl?ould 
 (generally fieaking ) be well wrought up, 
 and then touch d upon every where in the 
 Principal Lights, and Shadows, and to 
 pronounce the Features 5 and this more, 
 or lels, according to the Sex, Age, or 
 Character of the Perfon, avoiding 
 JSiarrow, or long continued Strokes, m 
 in the Eye-lids, Mouth, &c. and too many 
 Sharp ones : This being done by a 
 Light Hand, Judicioufly, gives a Spi- 
 rit, and retains the Softneis of Flefh. 
 In fliort the Painter fhould con- 
 fider what manner of Handling will 
 beft conduce to the End he propoles, 
 the Imitation of Nature, or the Ex- 
 prefling thofe Rais'd Ideas he has 
 conceiv'd of poffible Perfection in 
 Nature, and That he ought to turn 
 
 his
 
 (i6 9 ) 
 
 his Pencil to $ Always remembring 
 that what is Soone/l done is Beft, if 'tis 
 Equally Good upon all other Accounts. 
 
 There are two Miftakes very com- 
 mon 5 One is becaufe a great many 
 good Pictures are very Rough paint- 
 ed People fancy that is a Good Pi- 
 cture that is fo. There is Bold Tain- 
 ting, but there is alfo Impudent Tain- 
 ting. Others on the contrary judge 
 of a Picture not by their Eyes, but 
 by their Fingers ends, they Feel if it 
 be good. Thofe appear to know 
 little of the true Beauties of the Art, 
 that thus fix upon the leaft confider- 
 able Circumftance of it as if it were 
 AU, or the Principal thing to be 
 confider'd. 
 
 1 he Cartons, as they are proper- 
 ly no other than Colour'd Drawings, 
 ar: Handled accordingly, and ex* 
 treamly well. The Flefh is gene- 
 rally pretty much Finifli'd, and then 
 finely Touch'd upon. There is 
 much Hatching with the Point of a 
 
 large
 
 ( 170 ) 
 
 large Pencil upon a prepar'd Ground. 
 The Hair is made with fuch a Pen- 
 cil for the mod part. 
 
 Leonardo da Vinci had a wondrous 
 Delicacy of Hand in finishing high- 
 ly, but Giorgion, and Correggw have 
 efpecially been famous for a Fine, 
 that is, a Light, Eafy, and Delicate 
 Pencil. You fee a Free, Bold Hand- 
 ling in the Works of Titian, Paolo 
 Veromje^ Tintoretto, Rubens, the Bor- 
 vognone, Sahator <%pfa, &c. the Mai- 
 teje had a very particular manner, 
 he painted chiefly Turkey - work'd 
 Carpets, and left the Pencil as rough 
 as the Carpet it felf, and admirably 
 well in its kind. For Works at a 
 Great Diftance Lanfranc had a Noble 
 Manner of Handlings as particularly 
 in the Cupola of S. Andrea della Valle, 
 which is in Frefco, and where the 
 Colours are flung on with a Spunge 
 nftead of a Pencil, or a Brufh $ not 
 or a Whim, but as mod proper to 
 le purpofe j and an Eye (for exam- 
 ple)
 
 ( '7i ; 
 
 pie) appears Near, as one Rude Spot, 
 but as it ought at its intended Di- 
 ftance. Perhaps no Man ever 
 manag'd a Pencil in all the feveral 
 Manners better than Van-Qyck* 
 
 Of Grace and Greatness, 
 
 THere is fome Degree of Merit 
 in a Picture where Nature 
 is Exactly copy'd, though in a Low 
 Subject 3 Such as Drolls, Countrey 
 Wakes, Flowers, Landfcapes, &c. 
 and More in proportion as the Sub- 
 je£t rifes. or che End of the Picture 
 is this Exait Reprefentation. Herein 
 the Dutch, and Flemifl? Mafters have 
 been Equal to the Italians, if not 
 Superior to them in general. What 
 gives the Italians, and Their Mafters 
 the Ancients the Preference, is, that 
 they have not Servilely followed 
 Common Nature, but Rais'd, and 
 Improv d, or at lead have always 
 made the Belt Choice of it. This 
 
 gives
 
 ( I 7 2 ) 
 gives a Dignity to a Low SubjeCt, 
 and is the reafon of the Efteem we 
 have for the Landfcapes of Sahator 
 ^ofa, Filippo Laura, Claude Lonain y 
 the Touffms 5 the Fruit of the two 
 Michelangelo's, the ^attaglia, and Cam- 
 padoglio 5 and This, when the Sub- 
 jeCt it felf is Noble, is the Perfection 
 of Painting : As in the beft Portraits 
 of Van-Vyck^ (Rubens, Titian, (ftafaelle y 
 tsre. and the Hiftories of the beft 
 Italian Mailers ; chiefly thofe of <^a- 
 facile $ he is the great Model of Per- 
 fection ! All the Painters being rank'd 
 in three feveral ClalTes according to 
 the Degrees of their Merit, He muft 
 be allow'd to polTefs the Firft Alone. 
 Common Nature is no more fit 
 for a Picture than plain Narration 
 is for a Poem : A Painter muft raife 
 his Ideas beyond what he kcs y and 
 form a Model of Perfection in his 
 Own Mind which is not to be found 
 in Reality $ but yet Such a one as is 
 Probable ; and Rational. Particularly 
 
 with
 
 ( '73 ) 
 
 with refpeft to Mankind, He mud 
 as it were raife the whole Species, 
 and give them all imaginable Beau- 
 ty, and Grace, Dignity, and Per- 
 fection 3 Every feveral Character, 
 whether it be Good, or Bad, Amia- 
 ble, or Deteftable, mud be Strong- 
 er, and more Perfe£t. 
 
 At Court, and elfewhere amongft 
 People of Condition, one fees ano- 
 ther fort of Beings than in the Coun- 
 trey, or the Remote, and Inferior 
 parts of the Town j and amongft 
 Thefe there are fome few that plain- 
 ly diftinguifh themfelves by their 
 Noble, and Graceful Airs, and man- 
 ner of Acting, There is an Eafy 
 Gradation in all Nature 5 the moil 
 Stupid of Animals are little more 
 than Vegetables, the mod Sagaci- 
 ous, and Cunning are hardly interior 
 to the loweft Order of Men, as the 
 Wifeft, and moft Virtuous of Thefe 
 are little below the Angels. One 
 may conceive an Order Superior to 
 
 what
 
 ( T 74 ) 
 
 what can any where be found on 
 our Globe 3 a kind of New World 
 may be form'd in the Imagination, 
 confil1:ing 7 as This, of People of all 
 Degrees, and Characters 3 only 
 Heightened, and Improv'd : A Beau* 
 tiful Gentile Woman muft have her 
 Defeats Overlooked, and what is 
 Wanting, toCompleat her Character 
 fupply d : A Brave Man, and one 
 Honcftly, and Wifely purfuing his 
 Own Incereft, in Conjunction with 
 that of his Countrey, muft be ima- 
 gin'd more Brave, more Wile, more 
 exaCtiy, and inflexibly Honeft than 
 any we know, or can hope to fee : 
 A Villain muft be conceived to have 
 fomethmg more Diabolical than is 
 to be found even amongft us 3 a 
 Gentleman muft be more fo, and a 
 Peafant have more of the Gentle- 
 man, and lb of the reft. With fuch 
 as TJ?efe an Jrtift muft People his 
 tpittures. 
 
 Thus
 
 ('75) 
 
 Thus the Antients have done: 
 Notwithftanding the Great, and Ex- 
 alted Ideas we may have of the Peo- 
 ple of Thofe times from their Hi- 
 ftories, (which probably are Im- 
 proved by the Hiftorians ufing the 
 fame Management in their Writings 
 as I am recommending to the Pain- 
 ters ; It was the Poets proper Bufi- 
 nefs fo to do) one can hardly believe 
 them to be Altogether fuch as we 
 lee in the Antique Statues, Bas- 
 Reliefs, Medals, and Intaglias. And 
 thus the beft Modern Painters, and 
 Sculptors have done. Michelangelo 
 no where faw fuch Living Figures 
 as he cut in Stone 5 and (ftafaelle thus 
 writes to his Friend the Count <Bal- 
 dajfar Caftiglione, Ma ejfendo car eft ta e 
 de i buoni giud'tcii, & di belle donne, to 
 mi ferVo di certa idea chi mi Yiene alia 
 mente. The Letter is in Bettor is 
 Defcription of the Pictures in the 
 Vatican, and in the Collection of 
 Letters I have cited heretofore. 
 
 When
 
 ( >7« ) 
 
 When a Man enters into that Aw- 
 ful Gallery at Hampton-Court, he 
 finds himielf amongft a fort of Peo- 
 ple Superior to what he has ever 
 feen, and very probably to what 
 Thofe Really were. Indeed This is 
 the Principal Excellence of thofe 
 wonderful Pi&ures, as it muft be al- 
 low d to be that Part of Painting 
 which is preferable to all others. 
 
 What a Grace, and Majefty is 
 feen in the great Apoftle of the 
 Gentiles, in all his Actions, Preach- 
 ing, Rending his Garments, De- 
 nouncing Vengeance upon the Sor- 
 cerer 1 What a Dignity is in the o- 
 ther Apoftles where-ever they ap- 
 pear, particularly the Prince of them 
 in the Carton of the Death of Ana- 
 nias I How infinitely, and Divinely 
 Great, and Gentile is the Chrift in 
 the Boat ! But thefe are exalted Cha- 
 racters which have a Delicacy in 
 them as much beyond what any of 
 the Gods, Demi-Gods, or Heroes of 
 
 the
 
 ( '77) 
 
 the Antient Heathens can admit of, 
 as the Chriftian Religion excels the 
 Ancient Superftition. The Procon- 
 ful Sergius Tanks has a Greatnefs, 
 and Grace Superior to his Character, 
 and Equal to what one can fuppofe 
 C&jar, Auguftus, Trajan, or the grea- 
 teftamongft the Romans to have had. 
 The Common People are like Gen- 
 tlemen 5 even the Fifhermen, the 
 Beggars, have fomething in them 
 much above what We lee in thofe 
 Orders of Men. 
 
 And the Scenes are anfwerable to 
 the A&ors ) not even the Beautiful 
 Gate of the Temple, nor any Part 
 of the firft Temple, nor probably 
 any Building in the World had that 
 Beauty, and Magnificence as ap- 
 pears in what we lee in the Carton 
 of Healing the Cripple. Athens, and 
 Lyftra appear in thefe Cartons to be 
 beyond what we can fuppofe they 
 were when Greece was in its utmoft 
 Glory : Even the Place where the A- 
 N pofttes
 
 ( 178 ) 
 
 poftles were aflfembled (in the Car- 
 ton o$ Ananias) is no Common Room* 
 and tho' the Steps, and Rails which 
 were made on purpofe for them for the 
 Exercife of their New Function have 
 fomething expreflive of the Poverty, 
 and Simplicity of the Infant Church, 
 the Curtain behind, which alfo is 
 part of the Apoftolical Equipage, 
 gives a Dignity even to That. 
 
 ? Tis true there are fome Chara- 
 cters which are not to be Improv'd, 
 as there are Others impoffible to be 
 perfectly Conceived, much lefs Ex- 
 prefs'd. The Idea of God no Crea- 
 ted Being can comprehend, the Di- 
 vine Mind only can, and "tis the 
 Brightefl: There 5 And Infinitely 
 Bright ! and would be judg'd to be 
 fo even by "Us, tho' the Difficulties 
 ^rifing from the Confederation of 
 the Moral, and Natural Evil which 
 is in the World were not to be folv'd 
 by the Common Expedients. I will 
 
 only
 
 ( l 79 ) 
 
 only venture to fay with refpeft to 
 the latter, that This is fo far from 
 being an Objection to the Infinite 
 Goodnefs of God, that God could 
 not have been Infinitely Good if he 
 had not producd an Order of Beings 
 in which there was fuch a Mixture of 
 Natural Evils as to be juft prepon- 
 derated by the Enjoyments, fo as up- 
 on the Foot of the Account to ren- 
 der Being Eligible 5 for without This, 
 One Inftance of Goodnefs had been 
 omitted. 
 
 No Statue, or Pi&ure 3 no Words 
 can reach this Character 3 The Co- 
 loffean Statue of Thidias, the Pi<5tures 
 of (Rafaelle, are but faint Shadows of 
 this Infinite, and Incomprehenfible 
 Being. TheThundeRER, the 
 Best, and Greatest: The 
 Father ofGod sand Men, 
 of Homer 3 the Elohim, the J e- 
 
 H O V A H, the I A M T H A T I AM 
 
 of Mo/es 3 the L o R d of H o s T s of 
 the Prophets : Nay the God and 
 
 N 2 Fa-
 
 C '80) 
 
 Father of our LordJESUS 
 CHRIST, the Alpha and O- 
 
 MEGA, the ALL IN ALLof the 
 
 New Teftament : Thefe give us not 
 an Adequate Idea of Him 5 though 
 That comes neareft where not Ter- 
 ror, and Fury, but Majefty, Power, 
 Wifdom, and Goodnefs, is beft Ex- 
 prefs'd. 
 
 May thy Idea ever dwell with me, 
 From Reafon, not from Prejudice derived, 
 Enlargdy Improved, and Brighten' d more and 
 
 (more. 
 As Oriental Day, Serene and Sweet, 
 When Springy and Summer for the Prize contend : 
 The Richeft Cordial for the Heart ! a Light 
 Dif covering Errors Infinite Labyrinths ! 
 The Ornament^ and Treafure of the Soul! 
 ImperfecJ as it is. ■ ■ ■ 
 
 A God Incarnate, and Saviour of 
 Mankind by Obedience and Suffer- 
 ing 3 a Crucified God riien from the 
 Dead : Thefe are Characters that 
 have fomething io Sublime in them, 
 that we mud be contented to own 
 our beloved ^afaclk has fail d here, 
 
 more
 
 (.8. ) 
 
 more efpecially in fome Inftances 5 
 I don't mean that in the Carton of 
 Giving the Keys, for that I verily 
 believe has received fome Injury, and 
 is not Now like what ^afaelle made 
 it. That incomparable Hand that 
 painted the Hiftory of Cupid and 
 (Pfycbe, in the Palace of Chigi at (Rome, 
 has carried the Fictitious Deities of 
 the Heathens as high as poffible, but 
 not beyond what fliould be con- 
 ceiv'd of them ; As Michelangelo fino- 
 naroti (particularly in two or three 
 Drawings I have of him) has made 
 Devils not fuch as low Genius's re- 
 prefent 'cm, but like thofe of 
 Milton y 
 
 His Face 
 
 Deep Scars of Thunder bad intrench'^ and Care 
 Sat on his faded Cheek, hut under Brows, 
 Of Daunt lefs Courage, and Confiderate Pride 
 Waiting Revenge : Cruel his Eye 
 
 But the Proper Idea of a Devil has 
 fuch an Excefs of Evil in it as can- 
 not be exaggerated : In all fuch Cafes 
 
 N } 'tis
 
 ( i8* ) 
 
 'tis lufficient if all be done that can 
 be done : The Painter mud (hew 
 what he aims at, he muft give him 
 that fees the Picture all the Afliftance 
 he can, and then leave him to fup- 
 ply the reft in his own Imagination. 
 There are ether Characters which 
 tho' Inferior to Thefe are fo Noble, 
 that he muft be a Happy Man who 
 can Conceive them Juftly, but more 
 So if he can Exprefs them : Such are 
 thofe of Mofesy Homer, Xenophon, 
 Jlcibiades, Scipio, Cicero^ (fiafaelk, Sec. 
 If we fee Thefe pretended to be given 
 in Picture, we expe<5t to fee them 
 
 Comely, and in Act 
 
 Raised, as offome great Matter to begin. 
 As when of old fome Orator renown* & 
 In Athens, or Free Rome, where Eloquence 
 Flourifh'd, fince Mute, to fome great Laufe ad- 
 
 (drefsd 
 Stood in bimfelf collected, while each Part, 
 Motion, each A£i won Audience e'er the Tongue. 
 
 Milton. 
 
 We expecft all that Greatnefs, and 
 Grace 1 have been recommending $ 
 
 All
 
 All is neceflary Here in order to fa- 
 tisfy Us that the Hiftory is Truly re- 
 lated 3 as the Pleafure we take in 
 having our Minds fill'd with Fine 
 and Extraordinary Ideas isafufficient 
 Reafon for Railing all the more In- 
 ferior Characters. Life would be an 
 Infipid thing indeed if we never faw, 
 or had Ideas of any thing but what 
 we Commonly fee 3 a Company of 
 Awkard, and Silly-looking People, 
 doing what is of no Confecjuence 
 but to Themfelves in their own Lit- 
 tle Affairs 3 and to fee Such in Pic- 
 ture can give no great Pleafure to 
 any that have a True, and Refin'd 
 Tafte. 
 
 A Hiftory-Painter muft defcribe 
 all the Various Characters, Real, or 
 Imaginary 3 and that in all their Si- 
 tuations, Pleas'd, Griev'd, Angry, 
 Hoping, Fearing, &c. A Face-Pain- 
 ter has to do with all the Real Cha- 
 racters, except only fome few of the 
 Meaneft, and the moft Sublime, but 
 N 4 not
 
 r 184 ; . 
 
 not with that Variety of Sentiments 
 as the other. The whole Bufinefs 
 of His Life is to defenbe the Golden 
 Jge, when 
 
 Vniverfal Pan 
 
 Knit with the Graces^ and the Hours in Dance 
 Led on ttf Eternal Spring. 
 
 Every one of His (people therefore mufi 
 appear Pleas' 'J, and in Good Humour 3 
 but Varied fult ably to the P(aisd Character 
 of the Perfon drawn 5 whether this 
 Tranquillity and Delight be fuppofed 
 to arile from the Sight of a Friend, 
 a Reflection upon a Scheme well 
 laid, a Battel gain'd, Succefs in 
 Love, a Confcioufnefs of ones own 
 Worth, Beauty, Wit 5 Agreeable 
 News, Truth difcover'd, or from 
 whatever other Caufe. If a Devil 
 were to have his Portrait made, he 
 muft be drawn as abftraEled from his 
 Own £v/7, and Stupidly Good 5 (to ufe 
 Mdton s Words once again.) 
 
 if
 
 f'8$; 
 
 If fome Grave Characters require 
 an Air of Thoughtfulnefs, as if en- 
 gagd in a diligent Search afcerTruth, 
 or in fome Important Project, they 
 muft however not appear Difpleas'd, 
 unlefs in fome rare Inftances, as Van- 
 Dyck^ has put fomething of Sorrow- 
 in one Pidure of his Unfortunate 
 Patron King Charles I. (I mean that 
 at Hampton- Court) which I believe 
 was done when he was entring into 
 his Troubles, and which is therefore 
 in that refped Hiftorical. In Gene- 
 ral 5 the Painting-Room muft be 
 like Eden before the Fall, like Arcadia, 
 the Joylefs, Turbulent Paflions muft 
 not enter there. 
 
 Thus to raife the Charader : To 
 diveft an Unbred Perfon of his Ru- 
 fticity, and give him fomething at 
 leaftofa Gentleman 5 to make one 
 of a moderate Share ofgoodSenfe 
 appear to have a Competency, a Wife 
 Man to be more Wife, and a Brave 
 Man to be more fa, a Modeft, De- 
 creet
 
 creet Woman to have an Air fome- 
 thing Angelical, and fo of the reft 3 
 and then to add that Joy, or Peace 
 of Mind at leaft, and in fuch a man- 
 ner as is fuitable to the feveral Cha- 
 racters, is abfolutely neceflary to a 
 good Face-Painter: But 'tis the mod 
 Difficult part of his Art, and the laft 
 attain^ perhaps 'tis never fo much 
 as Thought of by Some : All that 
 They aim at is to make fuch a Like- 
 nefs of the Face as fhall be Known 
 immediately 3 and that it be Young, 
 Fair, and Handfome3 and frequent- 
 ly thofe for whom the Pictures are 
 made ExpeCt no more 5 whether the 
 Characters of Wifdom, or Folly be 
 imprefs'd upon them it matters not. 
 Accordingly we fee Portraits which 
 are perfeCtBurlefques upon the Minds 
 of the Perfons drawn ; a Wife Man 
 fhall appear with the Air of a Fop 3 
 a Man of Spirit, and Wit, like a 
 Smart, or a Pretty Fellow 3 a Mo- 
 del! Ingenious Man like a Beau 3 a 
 
 Virtu-
 
 r '87 ; 
 
 Virtuous Lady as a meer Coquet. 
 
 The late Duke of Buckingham 
 (Vtlliers) when he heard a Lady com- 
 mended for her Goodnefs, fwore 
 flie was Ugly 5 becaufe Beauty be- 
 ing a Woman's Top-Chara&er, he 
 concluded That would have been 
 infilled on if there was any ground 
 for it. A Painter fliould obferve, 
 and pronounce Strongly the Bright- 
 eft Part of the Character of him he 
 draws. To give an Air of Youth, 
 and Gayety to the Portrait of one 
 who is entitled to nothing Higher 
 is well enough ; but to over-look a 
 Noble, and Sublime Character, and 
 fubftitute This in the place of it is 
 deteftable. The only Suppofing a 
 Man capable of being pleas'd with 
 fuch a piece of Falfe Flattery, is a 
 Lampoon upon his llnderftanding. 
 
 Nor is the Beauty of the Face, and 
 Perfon, whether as to the Age, Fea- 
 tures, Shape, or Colour to be unre- 
 garded, or (where it can be done) 
 
 un-
 
 ( '88 ) 
 
 unimprov d : Indeed lomeching of 
 This will naturally fall in when the 
 Mind is Exprefs'd, which cannot be 
 done to Advantage without giving 
 Some to the Body. 
 
 But the Face-Painter is under a 
 greater Conftraint in both refpects 
 than he that Paints Hiftory 3 the Ad- 
 ditional Grace, and Greatnefs he is 
 to give, above what is to be found 
 in the Life, muft not be thrown in 
 too profufeljr, the Refemblance muft 
 be preferv'd, and appear with Vi- 
 gour 3 the Picture muft have Both. 
 Then it may be faid, that the Gen- 
 tleman, or Lady makes a Fine, or a 
 Handfome Picture : But the Likenefs 
 not being regarded, 'tis not They, 
 but the Painter that makes it 3 nor 
 is there any great Difficulty in ma- 
 king Such Fine Pi&ures. 
 
 I was lately obferving with a great 
 deal of Plealure how the Ancients 
 had lucceeded in the three feveral 
 ways of Managing Portraits : I hap- 
 pen d
 
 ( i8p) 
 
 pen'd to have then before me (a- 
 mongft others) feveral Medals of the 
 Emperor Maximinus, who was parti- 
 cularly remarkable for a long Chin : 
 One Medal of him had That, but 
 that the Artifl irrght be fure of a 
 Likenefs he had Exaggerated it : A- 
 rioiher had a mind to Flatter, and 
 he had par'd off about half of it : 
 • But thefe as they wanted the Juft Re- 
 femblance, fo there was a Poverty 
 in them 5 they were deftitute of that 
 Life, and Spirit which the other had, 
 where Nature feems to have been 
 more clofely followed. In making 
 Portraits we muft keep Nature in 
 View 5 if we launch out into the 
 Deep we are loft. 
 
 What it is that gives the Grace 
 and Greatnefs I am treating of whe- 
 ther in Hiftory or Portraits, is hard 
 to fay. The following Rules may 
 however be of fome Ule on this Oc- 
 caiion. 
 
 77*
 
 ( ipo ) 
 
 Tlx Airs of the Heads mu ft efyecially 
 be regarded. This is commonly the 
 firft thing taken notice of when one 
 comes into Company, or into any 
 Publick AfTembly, or at the firft 
 Sight of any particular Perfon 5 and 
 This firft ftrikes the Eye, and affedts 
 the Mind when we fee a Picture, a 
 Drawing, &c. 
 
 Tl?e fame regard mufl be had to every 
 JHiorty and Motion. The Figures muft 
 not only do what is Proper, and in 
 the moft Commodious Manner, but 
 as People of the beft Senfe, and 
 Breeding,(their Character being con- 
 fider'd) w r ould, or fhould perform 
 fuch A&ions. The Painter's People 
 muft be good A&ors $ they muft 
 have learn'd to ufe a Humane Body 
 well 3 they muft Sit, Walk, Lye, 
 Salute, do every thing with Grace. 
 There muft be no Awkard, Sheep- 
 ifli, or Affedted Behaviour, no Strut- 
 ting, or filly Pretence to Greatnefs 5 
 no Bombaft in Action : Nor muft 
 
 there
 
 ( '9* ) 
 
 there be any Ridiculous Contorfiori 
 of the Body, Nor even fuch Appea- 
 rances, or Fore-ftiortnings as are dif- 
 pleafing to the Eye, though the fame 
 Attitude in another View might be 
 perfe&ly Good. 
 
 Not that 'tis poflible that every 
 part of a Picture, or even of a Single 
 Figure can be Equally well difpos'd 3 
 Something may not be as one would 
 wifh it 3 yet in the main it may be 
 better than if it wereotherwife 3 more 
 may be Loft than Gain'd by the Al- 
 teration 5 'Tis here as 'tis in Life 3 
 We are frequently Uneafy under cer- 
 tain Circumftances, but thofe being 
 removed, we wifli our felves as we 
 were before 3 The prefent Grievance 
 ftrikes ftrongly on our Minds, we 
 either don't See, or are not fo live- 
 lily affedted with the Confequences 
 of a Change. 
 
 The Contours mufk be Large, Square, 
 and 'Boldly pronounced to produce Great" 
 nej?$ and Delicate, and finely Waved, 
 
 and
 
 ( 192 ) 
 
 and Contra/led to be Gracious. There 
 is a Beauty in a Line, in the Shape 
 of a Finger, or Toe, even in that of 
 a Reed, or Leaf, or the moft incon- 
 siderable things in Nature : I have 
 Drawings of Giulio (Romano of fome- 
 thing of this Kind 3 his Infe&s, and 
 Vegetables are Natural, but as much 
 above thofe of other Painters as his 
 Men are : There is that in thefe 
 things which Common Eyes fee not, 
 but which the Great Mafters know 
 how to give, and They Only. 
 
 But this is not all 5 Nature with 
 all its Beauties has its Poverties, Su- 
 perfluities, and Defedts, which are 
 to be avoided, and fupply'd 5 but 
 with great Care, and Judgment, that 
 inftead of Exceeding Nature, it be 
 not Injured. There is (for example) 
 great Beauty in a certain Squarenefs 
 in pronouncing a Feature, or any 
 pare of a Figure 5 This fome have 
 carried to an Excefs, and have there- 
 by difcover'd they knew Something, 
 
 but
 
 ( l n ) 
 
 but not Enough 5 which is the Cafe 
 in many other inftances. What is 
 here faid of Drawing, is applicable 
 alfo to Colouring, 
 
 The Draperies muft haVe broad Maffes 
 of Light, and Shadow, and noble large 
 Folds to give a Greatnef? 5 and Tbefe 
 artfully fubdiYided, add Grace. As in 
 that Admirable Figure of S Paul 
 Preaching, of which 1 have already 
 fpoken, the Drapery would have had 
 a Greatnefs if that whole Broad 
 Light had been kept, and that pare 
 which is flung over his Shoulder, 
 and hangs down his Back had been 
 omitted 5 but That adds alfo a Grace. 
 Not only the large Folds, and Maf- 
 fes muft be obferv'd, but the Shapes 
 of 'em, or they may be Great, but 
 not Beautiful. 
 
 The Linnen ?nufl be Clean, and Fine 5 
 the Silks, and Stuffs new 5 and the Bejl 
 of the fQnd. 
 
 Lace, Embroidery, Gold and Jewels 
 
 muft be fyaringly employed. Nor are 
 
 O Flower'd
 
 ( <5>4 ) 
 
 Flower 5 d Silks fo much us'd by the 
 bed Matters as Plain $ nor Thefe fo 
 much as Scuffs, or fine Cloth 5 and 
 that not to fave themfelves Trouble, 
 of which at the fame time they have 
 been profufe enough. In the Car- 
 tons %afaelle has fometimes made 
 Silks, and fome of his Draperies are 
 Scollop d, fome a little Strip'd, fome 
 Edg'd with a kind of Gold Lace, but 
 Generally they are Plain. Tho' he 
 feems to have taken more Pains than 
 needed in the Landfcapes, as he has 
 alfo in thofe Badges of Spiritual Dig- 
 nity on the Heads of Chrift, and the 
 Apoftles . But thefe, as all other En- 
 figns of Grandeur, and Diftindtion, 
 as they have been Wifely Invented 
 to procure Refpeft, Awe and Vene- 
 ration, give a Greatnefs, as well as 
 Beauty to a Picture. 
 
 Tts of Importance to a Painter to con- 
 Jtder well the Manner of Cloathing his 
 People. Mankind have (hewn an 
 infinite Variety of Fancy in this, and 
 
 for
 
 ( *95 ) 
 
 for the mod pare have DifguisM 
 rather than Adorn'd Humane Bodies. 
 But the trueft Tafte in this Matter 
 the Antient Greeks, and ($o?nans Teem 
 to have had 5 at leaft the great Idea 
 we have of thofe brave People pre- 
 judices us in Favour of whatever is 
 Theirs, fo that It fhall appear to Us 
 to be Graceful, and Noble : Upon 
 either of which Accounts, whether 
 of a Real, or Imagin'd Excellence, 
 That manner of Cloathing is to be 
 thofen by a Painter when the Nature 
 of his Subject will admit of it. Pof- 
 fibly Improvements may be made, 
 and fhould be Endeavour'd, provi- 
 ded one keeps this Antique Tafte in 
 View, fo as to preferve the Benefit 
 of Prejudice juft now fpoken of And 
 This very thing <%afaelle has done 
 with great Succefs, particularly in 
 the Cartons. Thofe that, in reprefent- 
 ing ancient Stories, have foilow'd the 
 Habits of their Own Times, or gone 
 off from the Antique, have fuflfer'd by 
 O 2 it.
 
 it 5 as Andrea del Sarto, (who firffc led 
 the way) and moft ofthofe of the Vt- 
 netian School have done. 
 
 But howfoever a Figure is clad, 
 This General Rule is to de obferv'd, 
 That neither mujl the Naked be lofl 
 in the Drapery, Nor too con/picuous ; 
 as in many of the Statues, and Bas- 
 Reliefs of the Ancients, and (which 
 by the way) they were forc'd to, be- 
 caufe to have done otherwife would 
 not have had a good Effect in Stone. 
 The Naked in a Cloathed Figure is 
 as the Anatomy in a Naked Figure $ 
 it fhould be fliewn, but not with Af- 
 fedtation. 
 
 (portrait-Pa'mters feeing the Dis- 
 advantage they were under in fol- 
 lowing the Drefs Commonly worn, 
 have Invented One peculiar to Pi- 
 ctures in their Own way, which is a 
 Compofition partly That, and part- 
 ly fomething purely Arbitrary. 
 
 Such is the ordinary Habit of the 
 Ladies, that how becoming foever 
 
 they
 
 ( l 97 ) 
 
 they may be fancy 'd to be as being 
 worn by Them, or what we are Ac- 
 cuftomed to, or upon whatever other 
 account, 'tis agreed on all hands 
 that in a Picture they have but an 
 111 Air ; and accordingly are reject- 
 ed for what the Painters have intro- 
 duc'd in Lieu of it, which is indeed 
 Handfome, and perhaps may be Im- 
 prov'd. 
 
 In the Gentlemens Pictures the 
 Cafe is very different, 'tis not fo ea- 
 fy to determine, as to their Drapery. 
 
 What is to be faid for the Com- 
 mon Drefs is, That 
 
 It gives a greater Refemblance^ 
 and 
 
 Is Historical as to That Article. 
 
 The Arguments for the Other are. 
 That 
 
 They fuit better with the Ladies 
 Pi&ures, which (as has been obferv'd) 
 are univerfally Thus drefs'd 5 
 
 They are not fo affe&ed with the 
 O 3 Change
 
 ( ip8 ) 
 
 Change of the Faftiion as the Com- 
 mon Drefs • And 
 
 Are Handfomer - 5 that i$, have 
 more Grace, and Greacnefs. 
 
 Lee us fee how the Cafe will ftand, 
 this latter Confederation of Hand- 
 fomnefs being for the prefent fee 
 afide. 
 
 The firft Argument in Favour of 
 the Arbitrary Loofe Drefs feems to 
 have no great Weight - 3 Nor is there 
 fo much as is commonly Thought 
 in the fecond $ becaufe in thofe Pi- 
 ctures which have that Kind of Dra- 
 pery fo much of the Drefs of the 
 Time is always, and Muft be re- 
 tain'd, and that in the moft Obvi- 
 ous, and Material Parts, that they are 
 influene'd by the Change of Fafhion 
 in a manner as much as thole in the 
 Habit commonly worn. For Proof 
 of this I refer you to what was done 
 when the great Wiggs, and fpread- 
 ing huge Neckcloaths were in Fa- 
 fhion. So that here does not feem 
 
 to
 
 ( l 99 ) 
 
 to be Weight enough to balance a- 
 gainft what is on the other Side, 
 even when the greateft Improvement 
 as to the Colour, or Materials of the 
 Common Drefs is made, for ftill 
 there will be a fufficient Advantage 
 upon account of Refemblance, and 
 Hiftory to keep down the Scale. 
 
 Let us now take in the Argument 
 of Grace, and Greatnefs, and fee 
 what effedt that will have. 
 
 The Way to determine Now is to 
 fix upon the Manner of following the 
 Common Drefs, whether it fhall be 
 With, or Without Improvement, and 
 in what Proportion : This being 
 done, Let That you have fix'd up- 
 on be compar'd with the Arbitrary, 
 Loofe Drefs in Competition with It, 
 and fee if the Latter has fo much the 
 Advantage in Grace and Greatnefs as 
 to over-balance what the other had 
 when Thefe were not taken in : If 
 it has, This is to be chofen ,• if not, 
 the Common Drefs. 
 
 O 4 Thus
 
 ( 200 ) 
 
 Thus I have put the Matter into 
 the bed: Method I was able in order 
 to affiftthofe concerned to determine 
 forThemfelves, which They can Beft 
 do, Fancy having fo great a Part in 
 the Affair- And fo much for this 
 Controverfy. 
 
 Tlierc is an Artificial Grace and 
 Greatnefs arifing from the Oppofition of 
 their Contraries. As in the Tent of 
 Darius by Le <Brun, the Wife and 
 Daughters of that Prince owe fome- 
 thing of their Beauty, and Majefty 
 to the Hideous Figures that are about 
 them. But a greater Man than Le $}rw 
 feems to have condefcended to be 
 beholden to this Artifice in the Ban- 
 quet of the Gods at the Marriage of 
 Cupid and Tfyche, for Venus which 
 comes in Dancing is furrounded with 
 Foyles, as the Hercules, the Face of 
 his Lyons Skin, Vulcan, Tan, and 
 the Mask in the Hand of the Mufe 
 next to her. Some Subjects carry 
 This Advantage along with them 5 as 
 the Story of Andromeda and the Mon- 
 ger 5
 
 ( 201 ) 
 
 fter • Galatea with the Tritons $ and 
 in all fuch where the two Contraries, 
 the Mafculine, and Feminine Beau- 
 ties are oppos'd, (as the Figures of 
 Hercules and Vejanira for Inftance]T 
 Thefe mutually raife,and ftrengthen 
 each others Chara&ers. The Holy- 
 Family is alfo a very Advantageous 
 Subject for the fame Reafon. I need 
 not enlarge here 3 the Artifice is 
 well known, and of great Extent 3 
 'tis pra&is'd by Poets, Hiftorians, 
 Divines , e£r. as well as Pain- 
 ters. 
 
 What I have hitherto faid will be 
 of little Ufe to him who does not 
 Fill and Supply bis Mind with Noble 
 Images. A Painter fliould therefore 
 read the Beft Books, fuch as Homer, 
 Milton, Virgil, Spencer, Tbucydides, 
 Ltiy, (plutarch, 8cc. but chiefly the 
 Holy Scripture 3 where is to be found 
 an inexhauftible Spring, and the 
 greateft Variety of the moft Sublime 
 Thoughts, Exprefsd in the nobleft 
 Manner in the World. He fliould 
 1 alfo
 
 ( wt ) 
 
 alfo frequent the Brightefl Com- 
 pany, and avoid the reft : ^afa'elle 
 was perpetually converfant with the 
 fineft Genius's, and the GreateftMen 
 at (Rome $ and fuch as thefe were his 
 intimate Friends. Oiulio <I(omano, 
 Titian , (Rubens y Van-Dye h &c. to 
 name no more, knew well how to 
 fet a Value upon themfelves in this 
 Particular. But the Works of the 
 bed Mafter in Painting, and Sculp- 
 ture fliould be as a Painter's Daily 
 Bread, and will afford him Pelicious 
 Nourishment 
 
 Good God, what a Noble Spirit has 
 HumaneNature been honoured with! 
 Look upon what the Ancients have 
 done 5 Look into the Gallery of 
 Hampton- Court 5 Turn over a Book 
 of well-chofen Drawings, then will 
 it be found that the Pfalmift was Di* 
 vinely Infpird when applying him- 
 felf to his Creator, he laid of Man, 
 Thou haft made him a little lower than 
 the Angels , Tl)ou haft crown d him with 
 Glory y and Honour ! \£
 
 ( 203 ; 
 
 I? I had been (hewn a Pi&ure of 
 ^{afaelle (faid Carlo Maratti to a Friend 
 of mine) and not having ever heard 
 of Him, had been told 'twas the Work 
 of an Angel, I fliould have believ'd 
 it.The fame Friend aflur'd me he had 
 feen an Entire Book confiding of a- 
 bout two or three hundred Drawings 
 of Heads which the fame Carlo had 
 made after that of the Antinotis, and 
 which he faid he had fele&ed out of 
 about ten times the Number he had 
 drawn after that one Head 5 but con- 
 fefs'dhe had never been able to reach 
 what he faw in his Model. Such 
 was the Excellency of the Sculptor ! 
 and fuchthe Diligence, Perfeverance, 
 and Modefty of Carlo ! 
 
 The Ancients poflefs'd Both the 
 excellent Qualities I have been treat- 
 ing of, among whom Jpelles is di- 
 fhnguifli'd for Grace, (^afa^lle was 
 the Modern Jpelles , not however 
 without a prodigious Degree of 
 Greatnefs. His Style is not Perfectly 
 
 Antique,
 
 ( 204 ) 
 Antique, but feems to be the effect 
 of a Fine Genius accomplished by- 
 Study in that excellent School i Tis 
 not Antique, but (may I dare to fay 
 it) 'tis Better, and that by Choice, 
 and Judgment. Giulio Romano had 
 Grace, and Greatnefs, more upon 
 the Antique Tafte, but not without a 
 great Mixture of what is peculiarly his 
 Own, and admirably Good, but ne- 
 ver to be imitated. Toljdore in his bed 
 things was altogether Antique. The 
 old Florentine School had a kind of 
 Greatnefs that like Hercules in his 
 Cradle promis'd Wonders to come, 
 and which was acomplifh'd in a great 
 Meafure by Leonardo da Vinci 5 (who 
 alfo had Grace) but more fully, and 
 perfectly by Jkficbelangelo (Buonarota : 
 His Style is his Own, not Antique, 
 but He had a fort of Greatnefs in the 
 utmoft Degree, which fometimes 
 ran into the Extream of Terrible 5 
 though in many Inftances he has a 
 fine leafoning of Grace. I have a Wo- 
 man's
 
 ( 2G$ ) 
 man's Head of him of a Delicacy 
 hardly inferior to ^afaelle, but re- 
 tains the Greatnefs which was his 
 proper Chara&er. When Tarmeggiano 
 copy'd him, and flung in his own 
 Sweetnefs,They together make a fine 
 Compofition, of which I have feve- 
 ral Examples : I do'nt fay however 
 that they are preferable to what is en- 
 - tirely of Michelangelo, or even to 
 what is entirely of ( Parmeggiano t efpeci- 
 ally his beft 3 but they are as if they 
 were of another Hand, of a Chara- 
 cter between both : For (Parmeggiano 
 was infinitely fweet! Grace fliines in 
 all he touched, and a Greatnefs fup- 
 ports it, fo as one would not wifh 
 him other than he is 5 His Style is 
 entirely his Own, not in the leaft 
 Modern, nor very much upon the 
 Antique : What he did feems to flow 
 from Nature, and are the Ideas ©f 
 one in the Golden Age, or State of 
 Innocence : I have a great many 
 Drawings of him, and but two or 
 
 three
 
 ( 206 ) 
 
 three where Blood, or Death is con- 
 cerned, and in thofe 'tis evident he 
 did what his Genius was not fit for. 
 (Baccio Bandinelli had a Great Style, 
 and fometimes not without Grace. 
 Correggio had Grace not inferior to 
 tParmeggiano, and rather more Great- 
 nefs 5 but different in both from Him, 
 and from the Antique : What he had 
 was alfo his Own, and was chiefly 
 employ'd on Religious Subjefts, or 
 what had nothing Terrible in them. 
 Titian, Tintoret, Paolo Veroneje, and 
 others of the Venetian School have 
 Greatnefs, and Grace, but 'tis not 
 Antique , however 'tis Italian. An- 
 nibale Carracci was rather Great, than 
 Gentile • tho' he was That too 5 and 
 Guido's Character is Grace. (Rubens 
 was Great, but- rais'd upon a F/e- 
 mfb Idea. Nicholas Poujjin was truly 
 Great, and Graceful, and juftly ftyl d 
 the French (fiafaelle. Sabator <%pfas 
 Landfcapes are Great, as thole of 
 Claude Lorrain are Delicate : Such is 
 
 the
 
 ( 2 °7 ) 
 
 the Style of Filippo Laura 5 that of 
 the Borgognone is Great. To con- 
 clude, Fan-Dye,^ had fomething of 
 both chefe good Qualities, but not 
 Much, nor Always 5 He generally- 
 kept to Nature, chofen in ics beft 
 Moments,and fomething Pvais'd,and 
 Improv d 3 for which reafon he is in 
 That particular, and when he fell 
 not lower, the bed Model for Por- 
 trait-Painting, unlefs we prefer a C/;/- 
 m&ra of the Painter, to a True, or 
 at moil a Civil Reprefentaton of 
 our Selves, or Friends ; and would 
 have a Cheat put upon Pofterity^ and 
 our Own, or Friends P v efemblance 
 loft, and forgotten for the fake of it. 
 As in Realoning a Man ought not 
 to reft upon Authorities, but to have 
 recourfe to thofe Principles on which 
 Thofe are, or ought to be founded, 
 fo to rely upon what others have 
 done is to be always Copying A 
 (painter therefore fiouldbaVe Original Ideas 
 of Grace, and Greatnefs, taken from bis 
 
 Own
 
 ( 208 ) 
 Own Ob/erVation of Nature, under thfe 
 Conduit, and Affiftance however of 
 thofe who with Succefs have trod 
 the fame Path before him. What 
 he fees Excellent in Others he muffc 
 not Implicitly follow, but make his 
 Own by entering into the Realon of 
 the thing, as thofe mud have done 
 who Originally produced that Excel- 
 lence 3 for fuch things happen not 
 by Chance. 
 
 The Notions of Mankind vary in 
 relation to Beauty, and in fome par- 
 ticulars with refpeit to Magnanimi- 
 ty : It may be worth a Painter's while 
 to obferve what were thofe the An- 
 cients had in thefe Matters, and then 
 to confider whether they agree with 
 the Prefent Tafte, and if they do 
 not, whether They, or We are in 
 the Right, if it can be determined by 
 Reafon 3 If it depends upon Fancy 
 only, then let him confider whether 
 the Prejudices we are apt to have for 
 the Ancients will Balance againft the 
 
 Opinion
 
 ( 20p ) 
 
 Opinion of the Prefent Age. As to 
 the Draperies the Ancients mud be 
 fludied with Caution, as has been 
 already noted. 
 
 Inftead of making Caricaturaes of 
 Peoples Faces (a Foolifti Cuftom of 
 Burlefquing them, too much ufed) 
 Painters fhould take a Face, and 
 make an Antique Medal, or Bas-Re- 
 lief of it, by diverting it of its Mo- 
 dern Difguifes, raifing the Air, and 
 the Features, and giving it the Drefs 
 of thofe Times, and fuitable to the 
 Chara&er intended. Our Nation is 
 allow'd on all hands to furnilh as 
 proper Models as any other in the 
 World, with refpe£t to External 
 Grace and Beauty : Nor perhaps can 
 Ancient Greece or %pme boaft of 
 Brighter Characters than we 3 Would 
 to God we had not alfo as Great In- 
 ftances of the Contrary ! 
 
 Laftly, A Painter's Own Mind fiould 
 have Grace, and Greatnefs^ That Jhouli 
 be 'Beautifully, and Nobly formd*
 
 r 2i ° ) 
 
 So much the rather thou Cosleftial Light 
 Shi fie Inward, and the Mind thro' all her Powers 
 Irradiate, There plant Eyes, all Miftfrom Whence 
 Purge, and difperfe, that I may fee, and tell 
 Of things Invifibie to Mortal Sight. Milton. 
 
 When the Mind enjoys Tranquil- 
 lity, and Repofe} when it is Pleas'd 
 and Joyous, then is the Seafon for 
 Great, and Beautiful Ideas. 
 
 Not Fright en' d, or AJJjam'd with Retrofpect 
 To View the Annals of a Chequer' d Life $ 
 Nor with Anxiety inquifitive 
 What Future Times, in Tins, or Other Worlds 
 May pojjibly produce ; Refign'd to Fate, 
 Eternal Re a f on, God's Unerring Will, 
 Directing All, Paft, Prefent, and To come. 
 
 In Prefent things 
 
 Enjoying all that is to he Enjoy' d 
 
 (With unpolluted Heart, and Hands J The reft 
 
 WithPaticnce hearing 'till there comes a Change : 
 
 For Good in the Barometer of Life 
 
 Afcends, and Falls, nor ever Fix'd remains : 
 
 But every Seafon has peculiar Sweets, 
 
 Or More, or Lefs, which he who can extracJ, 
 
 And Feed upon has learn d the Art To Live. 
 
 Content^ believing all that Is, is Right, 
 The Will of him who rules the Univerfe ; 
 Nor could have been Prevented, or Delay' d. 
 
 Neither
 
 (211 ) 
 
 Neither in vain Regretting what is Paft, 
 Nor with Impatience Wijhingfor a Day 
 Hid in the Womb of time. - . 
 
 / live not on To Morrows : (Airy Food I) 
 To Day is Mine, bat whofe They are Fate knows. 
 
 Some People may fancy 'tis of 
 Ufe to them to Depreciate, and be 
 out of Humour with every thing 5 
 'Tis of none to Painters : They 
 ought to view all things in the Beffc 
 Light, and to the greateil Advantage; 
 They fliould do in Life as I have 
 been faying they muft in their Pi- 
 ctures 5 not make Caricaturaes, and 
 Burlefques 3 not reprefent things 
 Worfe than they are 3 not amufe 
 themfelves with Drollery, and Buf- 
 foonery 3 but Raife, and Improve 
 what they can, and carry the reft as 
 high as poffible. 
 
 thee I behold^ I hear thy Praifesfung, 
 I find thy Will fulfilled perpetually - y 
 Rejoycing, and triumphing in my Joy ; 
 Adoring^ Praifing, Loving, Serving thee. 
 As when the Patriarch in Vifion [aw 
 
 P 2 Calefiial
 
 ( 2 '2 ) 
 Cosleftial Inhabitants defcend 
 From Heaven by Steps, and thitherward return 
 Started from Sleep, and [uddenly cry'd out, 
 This is the Gate of Heaven j I zv ho fee, 
 Not Dream I fee, not An els, but Thyfelf-, 
 And Hear, not Dream I hear thy Praifes fung : 
 Who find thy Will is here fulfilled, and join 
 In Adoration, Joy, Obedience, Love, 
 Difcover, and Poffefs a Heaven on Earth. 
 
 Next to Genius and Induftry, Vir- 
 tue is the befl: Qualification a Pain- 
 ter can have : This, as it is truly 
 Great, and Lovely, as it arifes from 
 the Wifeft, and moft Noble Senti- 
 ments, it produces Such 3 and a 
 Mind impregnated with Thefe is the 
 moft likely to Conceive,and Execute 
 what one Polluted, and Incumbred 
 with Vice cannot. A Virtuous Man 
 has generally more Tranquillity, 
 Health, and Vigour, and conlequent- 
 ly Fewer Interruptions, and Difficul- 
 ties, and makes the befl: Improve- 
 ment of All his Time 3 fo that the 
 Common Complaint of the Short- 
 nels of Life, with Refped to thij At- 
 tainment of Arts, and the Accom- 
 plishment
 
 ( 2I 3 ) 
 
 plifliment of Great Defigns, is not 
 fo Juft as ic Seems to be 3 Tis Short, 
 but Men contract it by their own 
 Mifmanagement. 
 
 I know it will be laid that Great, 
 and Lively Spirits are Naturally fub- 
 je£t to violent Paffions, and Appe- 
 tites, and difficult to be kept in due 
 Bounds : But is not This becauie 
 there is not yet Strength of Mind 
 Enough ? And tho' there has been 
 Great Vicious Men, would they not 
 have been Greater had they been 
 Virtuous ? As to Painters, 'tis true, 
 many of them have been a Scandal 
 to their Profeflion 3 butThefe are of 
 the Loweft Clafs of the Confiderable 
 Painters : Thofe whofe Works we 
 fo highly efteem were Men of Solid 
 Sence, and Virtue 3 Or if fome of 
 them were not free from all Vice, 
 their Faults were Such as are the 
 mod Excufable, Such as the beft 
 Minds are fufceptible of 3 This hin- 
 dred them not from being Great 
 P 3 Men
 
 ( 2I 4 ) 
 
 Men indeed 3 however 'tis Undeni- 
 able, had they arriv'd to a Strength 
 of Mind lb as to be Virtuous 
 Throughout, they had been Greater 
 Painters than they were 3 and the 
 World would have been better fur- 
 nifhed, and more Enriched, and 
 Adorned with their Works. 
 
 A Painter ought to have a Sweet, 
 and Happy Turn of Mind, that 
 Great, and Lovely Ideas may have 
 a Reception there 3 and Thefe en- 
 large that Happinefs themielves 
 were derived from 5 they nourifli 
 their Amiable Parent, and both mu- 
 tually Cherifii each other. Few other 
 Profeffions have this Advantage 3 
 Lawyers, Phyilcians, and Divines 
 are frequently engag'd in fuch Cir- 
 cumftances, which tho'Cuftom may 
 render Tolerable, can never be A- 
 greeable 3 And moreover have to do 
 with Peop:; too often when they are 
 out of Humour : Thofe a Painter 
 has to do withal arc always in 
 
 good
 
 good Humour, or will feem to be 
 fo 5 and his Own Head is fill'd with 
 the Nobleft Thoughts of the Deity, 
 the braveft Actions of Mankind in 
 all Ages, the Fineffc, and mod Ex- 
 alted Ideas of Humane Nature, and 
 he is to obferve all the Beauties of the 
 Creation, This if he has a true Titto- 
 refqueTzfte of Pleafure will contribute 
 exceedingly to produce this Happy 
 State of Mind which is fo neceffary 
 to him. How great a Variety foever 
 there may be in Men's Taftes of 
 Pleafure, and what Unhappy Mix- 
 tures foever they may make, This 
 will be generally allow'd to be De- 
 lightful. And there is one Particular 
 which I will remark, becaufe I be- 
 lieve 'tis not commonly taken no- 
 tice of 5 and this is the vafl: Ad- 
 vantage the Sight has above the 
 other Senfes with refped to Plea- 
 fure 5 Thofe receive it, but 'tis by 
 Starts, and Flafhes, with long Infi- 
 pid Intervals, and frequently Worfe 5 
 
 P 4 Buc
 
 ( u6 ) 
 
 But the Pleafures of the Eye are like 
 thofe of Heaven, Perpetual, and with- 
 out Satiety 3 and if Ofifenfive Obje&s 
 appear we can reject them in an in- 
 ftant. 'Tis true other Men may See 
 as well as a Painter, but not with 
 Such Eyes 3 a Man is Taught to See 
 as well as to Dance, and the Beauties 
 of Nature open themfelves to our 
 Sight by little and little, after a long 
 Pra&icein the Art of Seeing. A judi- 
 cious well-inftru£ted Eye fees a won- 
 derful Beauty in the Shapes and Co- 
 lours of the Commoneft Things, and 
 what are comparatively inconfide- 
 rable 3 Nay fuch a one will difcover 
 fomething Pleafing in what Another 
 Finds only Poverty, or Deformity : 
 but the Sky alone is capable of giv- 
 ing a Degree of Pleafure lufficient to 
 Balance againfta great many of the 
 Inconveniencies, and Miferies of 
 Life. 
 
 I am very fenfible as all Created 
 Beings in the Univerfe feek Pleafure 
 
 as
 
 f 2I 7 ) 
 
 as their Chiefeft Good, There is an 
 infinite Variety of Taftes with rela- 
 tion to it : Every Species has Some 
 peculiar to themfelves, and Man is 
 in this an Epitome of the Whole ^ 
 There are certain ClafTes amonoft 
 them who can no more relifh, or en- 
 joy, the Pleafure of Others than a 
 Fifh can thofe of a Bird, or a Tv- 
 ger of a Lamb : An Enthufiaft that 
 fhuts himfelf up in a Monaftery does 
 not Forfake, but Purlue Pleafure as 
 eagerly as a Debaucbe, only Both re- 
 ject what the Other calls Pleafure, 
 but whichThemfelves 5 as their Minds 
 are conftituted, cannot Enjoy, for 
 what Themfelves Can have, and re- 
 li(h 5 
 
 I will not holt this matter to the Bran 
 ^iBradwardine, and Holy Auftin can, 
 
 Dry den. 
 
 becaufe 'tis not my prefent Bufinefs, 
 which is only to oblerve, That tho' 
 another Man may po(Tibly defpife 
 what I have been fpeaking of as a 
 
 Delicious
 
 Delicious Enjoyment He that is in- 
 capable of This kind of Pleafure has 
 not a Mind truly Turn'd tor Paine* 
 ing- 
 
 But not only that the Mind may 
 be at Liberty, and in Humour to 
 apply it felf to the Fine Ideas necef- 
 fary to Painters, and that it may be 
 fill d with the Nobleft, and moffc 
 Beautiful Sentiments, They fhould 
 have Grace and Greatnefs There in 
 order to put thofe Properties into 
 their Works: For (as it has been 
 obferv'd by Others before me, and 
 muft be true in the main from the 
 Nature of things ) Painters paint Thetn- 
 felves. A Trifling Spirit will naturally 
 look about for, and fix upon fome- 
 thing Comical, and Foppifli if it be 
 to be found, and will Imagine it if 
 it be not $ That to Him, is what 
 Great, and Beautiful is to another 
 whofe Mind has a better turn. One 
 will overlook, and debafe a Fine 
 Character, the other will Raife a 
 
 Mean
 
 ( 2I 9 ) 
 
 Mean one. T>o Men gather Grapes of 
 Thorns , or Figs ofThiflles ? Suppofe one 
 well acq uainced with the fe veral Styles 
 of (ftafaelk, and Michelangelo, but a 
 Stranger to their Characters $ and lee 
 him be told that one of thefe Artifts 
 was a Fine Gentleman, Good-natur'd, 
 Prudent, Modeft, a Companion, and 
 Friend of the greateft Men, whether 
 for Quality, or Wit, then at Q{pme 7 
 and a Favourite of Leo X. the Poli- 
 teffc Man in the World 3 and that the 
 other was Rough, Bold, Fierce, <&tv. 
 that He, and Julius II. (the mod Im- 
 petuous Spirit alive) mutually Lov'd 
 each other 5 I fay let fuch a one be 
 told this, it would be impoflible for 
 him not to know which was the 
 Work o^afaelky and which oildlcheU 
 angelo. One might make the fame 
 Experiment upon others with the 
 like Succefs. 
 
 That the Greeks have had a Beau- 
 ty, and Majefty in their Sculpture, 
 and Painting beyond any other Na- 
 tion
 
 ( ^o ) 
 
 tion is agreed on all hands 5 The 
 Reafon is They Painted, and Carv'd 
 Themfelves. When you See, and 
 Admire what they have done Re- 
 member Salamis, and Marathon, where 
 they Fought, and Thermopylae, where 
 they Devoted themfelves for the Li- 
 berty of their Countrey 5 Go Stranger 
 tell the Lacedemonians we lye here by 
 their Command was written on the 
 Graves of thefe latter. When at the 
 Theatre in a Play of JEjchylus ibme- 
 thing was faid which favour'd of Im- 
 piety the whole Audience took Fire, 
 and rofe at once, crying out Let us 
 deftroy the Reproacher of the Gods : 
 Jmynias his Brother immediately 
 leap'd upon the Stage, and produced 
 his Shoulder from whence he had 
 loft his Arm at the Battle oiSalamls $ 
 alledging alfo the Merit of his other 
 Brother CynAgyrus, who at the fame 
 time bravely facrific'd himfelf for his 
 Countrey $ The People unanimous- 
 ly condemn'd JEjchylus^ but gave his 
 
 Life
 
 ( zai ) 
 
 Life to his brother Jmynias. Thefe 
 were Greeks ! Thefe were the People 
 who fliortly after carry'd Painting, 
 and Sculpture to fo great a Height $ 
 It was fuch Men as Thefe who had 
 that prodigious Grace, and Greatnefs 
 in their Works which we fo juftly 
 admire. Other Nations have had 
 greater Advantages than They, ex- 
 cept in This, but Magnanimity was 
 their Chara&eriftick. 
 
 The Ancient (Romans fill the fe- 
 cond Place 5 Grace, and Greatnefs is 
 alfo in their Works, for they were 
 a Brave People $ but they confefs'd 
 the Superiority of the Other in con- 
 defcending to be their Imitators. 
 
 Longinus fays the Iliad of Homer is 
 the Flowing, and the Odyjfes the Eb- 
 bing of a great Ocean. The fame 
 may be faid of the Ancient, and Mo- 
 dern Italians. 
 
 O <Rorne ! thou happy Repofitory 
 of fo many Stupendious Works of 
 Art which my Longing Eyes have 
 
 never
 
 ( 222 ) 
 
 never feen, nor fliall fee, Thou were 
 Faced to be the Miftrefs of the 
 World ! when (as in the Natural 
 Courfe of Sublunary Things it muft 
 happen) Thou couldft no longer 
 Support an Empire Rais'd, and 
 Maintained by Arms, Thou (upon a 
 Foundation Improbable enough at 
 firft fight, and without attentively 
 confidering the Folly, Credulity, and 
 Superftition of the Bulk of Man- 
 kind) haft Rais'd Another, of a dif- 
 ferent Nature indeed, but of vaft Ex- 
 tent, and Power $ and Govern'd at 
 Eafe, and without Hazard : 'Tis one 
 of the mod Amazing Inftances of 
 Humane Policy that the World ever 
 faw ! No wonder then that as An- 
 cient (Bome y fo Modern Italy, has car- 
 ry'd Painting to fuch a Height. 
 
 Whatever Degeneracy may have 
 crept in from Caufes which tis not 
 my prefent Bufinefs to enquire into, 
 No Nation under Heaven fo nearly 
 refembles the Ancient Greeks, and 
 
 (Romans
 
 ( 223 ; 
 
 (Romans as We. There is a Haughty 
 Courage, an Elevation of Thought, 
 a Greatnefs of Tafte, a Love of Li- 
 berty, a Simplicity, and Honefty a- 
 mong us, which we inherit from our 
 Anceftors, and which belong to us as 
 Englishmen 5 and 'tis in Thefe this 
 Relemblance confifts. I could ex- 
 hibit a long Catalogue of Soldiers, 
 Statefmen, Orators, Mathematicians, 
 Philofophers, &c. and all living in, 
 or near our own Times, which are 
 Proofs of what I advance, and con- 
 fequently do Honour to OurCoun- 
 trey, and to Humane Nature. But as 
 I confine my felf to Arts, and fuch 
 as have an Affinity to Painting, and 
 moreover avoid to mention on this 
 Occafion the Names of any now A- 
 live (though many of thofe I have 
 in View wall immediately occur to 
 the Thoughts of every Man) I will 
 only inftance in Inigo Jones for Archi* 
 tetture, and Shake/pear, and Milton, the 
 one for Dramatick, the other for 
 
 Epic
 
 ('"4 ) 
 
 Epic Poetry, and leave them to feat 
 
 themfelves at the Table of Fame a- 
 mongft the mod Illuftrious of the 
 Ancients. 
 
 A Time may come when Future 
 Writers may be able to add the 
 Name of an EngliJJ? Painter. But as 
 it is in Nature where from the Seed 
 is firlt produc'd the Blade, then the 
 Green Ear, and laftly the Ripe Corn, 
 fo National Virtues lprout up firft in 
 Lefler Excellencies, and proceed by 
 an Eafy Gradation. Greece, and <^ome 
 had not Painting and Sculpture in 
 their Perfection till after they had 
 exerted their Natural Vigour in Lef- 
 fer lnftances. I am no Prophet nor 
 the Son of a Prophet $ But consi- 
 dering the Neceflary Connection of 
 Caufes and Events, and upon feeing 
 fome Links of that Fatal Chain, I 
 will venture to pronounce (as ex- 
 ceedingly Probable) That if ever the 
 Ancient Great, and Beautiful Tafte 
 in Painting revives it will be in Eng- 
 land :
 
 ( n$ ) 
 
 land: But not till Englijh Painters, 
 Confcious of the Dignity of their 
 Countrey, and of their Profeflion, re- 
 folve to do Honour to Both by Pie- 
 ty, Virtue, Magnanimity, Benevo- 
 lence, and Induftry 5 and a Con- 
 tempt of every thing that is really 
 Unworthy of them. 
 
 And now I cannot forbear wifh* 
 ing that fome Younger Painter than 
 my felf, and one who has had Great- 
 er, and more EarlyAd vantages would 
 exert himfelf, and pra&ife the Mag- 
 nanimity I have been recommend- 
 ing, in this Single Inftance of At- 
 tempting, and Hoping only to equal 
 the greateft Matters of whatfoevet 
 Age, or Nation. What were They 
 which We are not, or May not be ? 
 What Helps had any of Them which 
 We have not ? Nay We have Several 
 which Some of Them were deftitute 
 of : I will only mention One, and 
 that is a very confiderable one j 'Tis 
 Our Religion, which has open'd a 
 
 Q, ^ New,
 
 ( 22(5 ; 
 
 New, and a Noble Scene of Things $ 
 we have more Juft, and Enlarg'd 
 Notions of the Deity, and more ex- 
 alted ones of Humane Nature than 
 the Ancients could polfiblv have : 
 And as there are fome Fine Charact- 
 ers peculiar to the Chriftian Religi- 
 on, It moreover affords fome of the 
 Nobleft Subje&s that ever were 
 thought of for a Picture- 
 
 Of the Subli M E. 
 
 -Higher Argument 
 
 Remains, fufficient of it felf to raife 
 Sfbat Name, unlefs an Age too late, or Cold 
 Climate, or Tears damp my intended Wing 
 Leprefs'd, and much it may if all be Mine 9 
 Not ber's, who brings it nightly to my Ear. 
 
 Defcend from Heav'n Urania. Milton. 
 
 THE Sublime is much talk'd 
 of, but what is meant by that 
 Term * is not well agreed on 3 for 
 which Reafon, before I make uie of 
 
 it, 
 
 t ■ ' ■ ■ ■ ■ 
 
 * Set BoileauV mrks s Torn. II.
 
 r 227 ; 
 
 it, I will take the Privilege that 
 every Man has of explaining his 
 own Meaning $ I will fay What I 
 underftand by it, and Why I do fo, 
 and that without entring into a for- 
 mal Difpute upon any point where- 
 in I differ from Others : And as 'tis 
 chiefly ufed with relation to Wri- 
 ting, I will firft confider it in Thac 
 View* 
 
 By the Sublime in General I 
 mean the moft Excellent of what 
 is Excellent, as the Excellent is the 
 Beft of what is Good. The Dig- 
 nity of a Man confifts chiefly in his 
 Capacity of Thinking, and of Com- 
 municating his Ideas to another j 
 The Greateft, and mofi Noble Thoughts, 
 Images, or Sentiments, CoriVey'd to us in 
 the Bejl chofen Words, I take there- 
 fore to be the Perfect Sublime in 
 Writing j the Admirable, the Mar- 
 vellous. 
 
 Q. 2 Buc
 
 C 228 ) 
 
 But as there may be Degrees even 
 in the Sublime, fomething fhort of 
 the Utmoft may be alfo Sublime. 
 
 Thought, and Language are two 
 diftindt Excellencies : There are Few 
 that are capable of adding Dignity 
 to a Great Subject, or even of doing 
 Right to Such a one ; in Some Cafes 
 None: The Bulk of Mankind con- 
 ceive not Greatly, nor do they know 
 how to Utter the Conceptions they 
 have to the beft Advantage $ and 
 thofe that have Higher Capacities 
 exert them but Rarely, and on Few 
 Occafions : Hence it is that we fo 
 juftly admire what is fo Excellent, 
 and fo Uncommon. 
 
 The Great manner of Thinking 
 (as Thought in General) is either 
 pure Invention, or what arifes upon 
 Hints fuggefted from without. 
 
 That in the (Beginning God Created 
 the Heavens y and the Earth, had been 
 a Noble Thought had it been In- 
 vention.
 
 ( 229 ) 
 vention, and More or Lefs So as 
 the Inventor had Underflood it 
 Himfelf : And if he had gone about 
 to Convey that Idea to Others, it 
 might have occafion'd More to Ex- 
 plain, and Illuftrate It. 
 
 As this Original Thought was 
 convey'd to Mofes by Infpiration, 
 and to Us very Concifely by him, 
 (fuppofing he had faid no more of it 
 than thefe Words) though it could 
 not but have appeared Great to any 
 one that conceiv'd Tolerably, it 
 would have done fo More, or Lefs 
 according to the different Capacities 
 of Men, and their feveral manners 
 of Thinking $ and which would 
 have given Scope to Invention, tho* 
 the firft Hint was from Another. 
 For Creation may be conceiv'd as 
 the producing of this Globe, and its 
 Inhabitants, and of the Sun, Moon, 
 and Stars, and that out of No. 
 thing 5 Or as the Formation of thefe 
 Things from a Chaos 5 Or as the 
 Q. 3 Original
 
 ( ^3° ) 
 
 Original of Univerfal Matter $ Or 
 Laftly, as * together with That, Mo- 
 dify'd as we fee it, of all Spiritual 
 Beings $ that is, of all Sorts of 
 Exiftences whatfoever, God him- 
 felf excepted, who muft be con- 
 ceived to be Perfedt, and Happy, 
 tho' Alone exifting Eternal Ages 
 before this great Revolution. 
 
 To be Sublime the Thought 
 muft be Great : What is Mean, and 
 Trifling is Incapable of it : There 
 muft be Something that Fills the 
 Mind, and that with Dignity. 
 
 And 
 
 * God /pake, and Angels^ and Archangels were y 
 And Spirits Immortal firft began to Be $ 
 All but Him/elf, He ever Liv'd, and Mitft 9 
 In full Perfections Happy tho' Alone. 
 God /pake, the void Immenfe was futt y and 
 
 U or Ids , 
 And Peopled Worlds Innumerable jhone j 
 ifat . re^ tho' Un exifting heard him call, 
 1 . ng % L ife, Subftance^ Form, received with Joy, 
 S Moment was Not, and this Moment JVas y 
 And God was All in All.
 
 ( n i ) 
 
 And 'tis not Neccflary that fuch 
 Thoughts are ftri&ly Juft, and Phi- 
 lofophical in all Cafes : That of the 
 Creation I have been fpeaking of, 
 as tis Great in what Senfe foever 'tis 
 underftood, though the Different 
 Senfes are not Equally fo, yet Any 
 of them may be Sublime, notwith- 
 ftanding the Old Maxim, From No- 
 thing. Nothing, fince if it were True, 
 it is not Obvious and well Known. 
 So all we can fay of God is Infinitely 
 Abort of what he is j But the Utmoft 
 that can be faid, even that (Compa- 
 ratively) Low Idea of God, as it is 
 the Beft that can be had of that moft 
 Sublime Being, or rather the Only 
 Sublime one when compared with 
 All others, muft be efteem'd Sub- 
 lime. 
 
 But tho* Greatnefs is Efiential, 
 and Truth is not, a Great, and Ufe- 
 ful Truth is preferable to what is 
 but Equally Great, and either not 
 True, or not of Ufe : A Great Idea 
 
 .0.4 of
 
 ( 232 ; 
 
 of the Power of God may be Sub- 
 lime as well as another of his 
 Goodnefs, but the Latter will have 
 a Beauty in it to Us which is want- 
 ing in the Former. Tims faith the 
 High and Lofty one that inhabiteth Eter* 
 nity? whoje Name is Holy, I dwell in 
 the High, and Holy (place with him alfo 
 that is of a Contrite, and Humble Spirit , 
 to revive the Spirit of the Hum- 
 ble, and to revive the Heart of the Con* 
 triu ones, would therefore be prefe- 
 rable upon That account to Let there 
 be Light, and there was Light, if they 
 were Otherwife Equal. 
 
 We know fo litcie of what is 
 poffible to be, even on our own 
 Globe, that there is a great Latitude 
 as to Images, even when what is faid 
 is to be Laterally taken j as for Hy- 
 perboles, and other Figures, every 
 one knows they give Scope enough ; 
 however, in eicher Cafe, what is 
 Abfurd, or Ridiculous muft be a- 
 voided. But the Sentiments muft 
 
 be
 
 ( 2 33 ) 
 
 be Juft, and Rational to be Su- 
 blime 5 Thus far Truth is Neceflary, 
 or at leaft Natural Probability $ the 
 Sentiments mud be Such as 'tis fup- 
 pofed a Man might have, and if he 
 had he would not be Extravagant, 
 and Romantick 3 whether ever any 
 Man had really fuch, or at leaft 
 Pra&is'd accordingly, is not fo ma- 
 terial. That which they fay is im- 
 puted to St. Jugufline, if / was Lord 
 God, and He Bijhop of Hippo, / would 
 become Bifiop of Hippo that He might 
 be Lord God, is a Profane Rant, not 
 a Sublime Sentiment. The Father 
 of the Horatij in the Tragedy of 
 Cornetlle has carry 'd Magnanimity to 
 the Utmoft Height 5 when he was 
 told two of his Sons were kill d, and 
 the other Fled^ he regrets not the 
 Lofs of the Two, but all his Con- 
 cern is for the Shameful Flight of the 
 Other 3 One againfi Three ! What would 
 you haVe had him done f Dyd. Perhaps 
 Jdudibras (aid a Wifer thing, tho' as 
 
 'tis
 
 ( 2 34 ) 
 
 'tis Ludicroufly fpoken it could not 
 have been Sublime had the Senti- 
 ment been Great, as well as Juft: 
 
 He that runs may fight again^ 
 Which he can never do thafs Slain. 
 
 But this of the Old Man is truly 
 Sublime tho 5 upon the very Bor- 
 ders of Extravagance, for the Sen- 
 timent is Noble 3 and tho* it were 
 Really Unreafonable, the Manners 
 of the Antient Romans would juftify 
 it 3 Notwichanding all which, $o*- 
 lean, where I find this Paflage has fur- 
 nifh'd me with another more Beau- 
 tiful, becaufe as Great, and More 
 Rational : He cites it from the Jtha- 
 liah of Racine as an Jnftance of the 
 Perfect Sublime in all refpe&s. Ab- 
 ner reprefents to the High Prieft that 
 Jthaltab was enraged againit Him- 
 felf, and all the Levitical Order j 
 His Anfwer is 
 
 * Celui
 
 ( 2 3* ) 
 
 * Celui qui met un frein & la fureur des flots 
 Sait auffi des mechans arret er les Complots 
 Soumis avec refpeCi a fa volonts Sainte^ 
 Je crains Dieu 9 cher Abner, & n'ai point 
 d? autre crainte. 
 
 Suppofing an Equal degree of 
 Greatnefs, where there is mod: Sol> 
 dity there is moft Beauty, 'tis the 
 moft Sublime. 
 
 As the Thoughts, fo the Lan- 
 guage of the Sublime muft be the 
 moft Excellent $ What That is is the 
 Queftion : Whether it be confin'd to 
 the Florid, to Magnificent, and So- 
 norious Words, Tours, Figures, &c. 
 or whether Brevity, Simplicity, or 
 even Common, and Low Words are 
 that the Beft on fome Occafions, 
 
 Poetry, Hiftory , Declamation, <&r. 
 have their peculiar Styles, but the 
 Sublime (as our High Court of Par- 
 liament is not under the Reftri&ions 
 
 which 
 
 * He who the Ocean's Violence reftrains, 
 Within due Bounds Men s IVtckednefs contains 
 IV hat God inflicts with Reverence J bear. 
 And fearing Him can have no other Fear.
 
 ( 230 
 
 which Inferiour Courts are) is not 
 
 limited to any particular Style : 
 The Beft is the Sublime Language, 
 and that is Beft that fets the Idea in 
 the Strongeft Light 5 That is the 
 great End, and life of Words $ but if 
 thofe that pleafe the Ear do Equally 
 ferve that Purpofe, no doubt they 
 are preferable, but not otherwife. 
 Plain and Common Words paint a 
 great Image fometimes ftronger than 
 any Other. 
 
 We are fucb Stuff 
 
 As Dreams are made on, and our Little Life 
 Is rounded with a Sleep. 
 
 * Shakefpear'j Tempeft. 
 
 To me comes a Creature, 
 
 Sometimes her Head on one Side, fome another, 
 
 J never f aw a VeJJel of like Sorrow 
 
 Sofilfd, and fo becoming : in pure white Robes, 
 
 Like very Sanctity fbe did approach 
 
 My Cabin where I lay -, thrice bow*d before me, 
 
 And Xgafping to begin fome Speech) her Eyes 
 
 Became two Spouts — ■ 
 
 What is Some-body ? What is No-body ? Man 
 is the Dream of a Shadow. 
 
 Pindar.
 
 ( i-V ) 
 
 Andfo with Shrieks. 
 
 She melted into Air- 
 
 The Winter's Talc. 
 
 And more than Eccho talked along the WaUs. 
 
 Pope'i Abelard. 
 
 Oh now does Death line his dead Chaps with 
 
 Steel 
 *the Swords of Soldiers are histfeethjois P hangs. 
 And now he Feafts mouthing the Flejh of Men 
 In Undetermined Differences of Kings. 
 
 King John. 
 
 Low Language may fomecimes 
 debafe the Idea, and draw down 
 the Mind from its due pitch, but 
 That being avoided the Sublime 
 may come to us by that mean Voi- 
 ture^tho. Image may have more Force 
 than when defcrib'd in Greater 
 Words : The Spouts which the Eyes 
 of the Ghoft in Shakefpear are faid to 
 be, are Overiook'd, by the Mind s 
 being fili'd with the Idea of theGufli 
 of Tears pouring down $ the Great 
 Image bears fo ftrongly upon us, 
 as to drive out the Other 3 But 
 if thefe Lyes had been compar'd 
 to Rivers, Catara&s, or Seas, it 
 
 would
 
 r 238 ) 
 
 would not have Touched like thefe 
 Spouts, 
 
 Simplicity, and Brevity, even One 
 word has fometimes more Force, 
 and Beauty than the moft Mag* 
 nificent, and Sonorious Language, 
 and the moft Harmonious Periods. 
 
 The Laconic^ Anfwer of the Fa- 
 ther of the Horatij I mention'd juft 
 now Doubles the Force of the Great 
 Sentiment ; That Single Word is a 
 Strong, and Mafterly touch of the 
 Pencil which paints the Mind Refo- 
 lute, and Determined, better than 
 the Fineft Speech the Poet could 
 have invented. 
 
 Let there be Light, and there was 
 Light, confiderd only as an Hiftori- 
 cal Account of That part of the 
 Creation admirably defcribes the 
 thing, fuppohng the Change from 
 Darknefs was in an Inftant 5 More 
 Words would have fpoil'd the 
 Image. Milton is more Diffus'd, 
 
 but
 
 ( 239 ; 
 
 but then he paints not the Same 
 thing, 'tis a very Different Im ige j 
 the Light according to Him came 
 on Slowly. 
 
 Let there be Light, faid God, and forthwith 
 
 Light 
 Btherial,firft of things, quinte (fence pure 
 Sprung from the Deep, and from her Native 
 
 Eaft 
 To journey thro* the Airy Gloom began, 
 Sphered in a radiant Cloud, for yet the Sun 
 Was not ; Jhe in a cloudy Tabernacle 
 Sojourn' d the while 
 
 Here the Slow Defcription paints 
 the Motion of the Light as of a Va- 
 pour exhal'd from the Earth, and 
 rifing, and increafing by Little, and 
 Little, 'tis as the Dawning of the 
 Day behind the Hills $ That of Mofes 
 is Lightning, or a Magazin that has 
 taken fire on a fudden, it Flaflies in 
 your Face as you read. 
 
 But this is the leaft important 
 Image in the Infpired Writer, and 
 the leaft inftance of the Concifenefs 
 of his Style in this Place, for what is 
 
 1m-
 
 ( 2 4 C3 ) 
 
 Imply'd is a vaft Idea of the Power 
 of God, Whdfe Word in an Inftant: 
 produced fo Noble, and follfeful a 
 Creature as Light 3 The Words I have 
 ufed, or much Better, the Beft that 
 could have been chofcn, could not 
 have ftruck the Imagination fo 
 Strongly as this Hint has done; 
 
 This way of exprefling a thing 
 not Directly, but by a Tour, is very 
 Poetical, and Sublime. I will give 
 another Inftance of it. How 'Beauti- 
 ful upon the Mountains are the Feet of 
 him that brings glad Tidings ! The 
 Image here given is of no Confe- 
 rence 5 what is intended is a Dry 
 Precept 3 Take care to be a Meffenger 
 of Good News only if you would be ac- 
 ceptable 5 But This way of giving ic 
 gratifies the Mind with a Great, and 
 Pleafing Image, and no lels enriches 
 it with a moft "llieful Inftru&ion. 
 
 That the Florid, Poetick, or He- 
 roick Style has alio its Beauties, is 
 fo far from being doubted, that Some 
 
 have
 
 ( 241 ) 
 have confin'd Sublimity to It only 5 
 and when it is Suftain'd by a Great 
 Thought, and Beft conveys That, 
 and fo ferves Both purpofes, life, 
 and Delight, 'tis then preferable, 
 never Elfe ; Apply it to Non-fenfe 
 'tis Naufeous 3 to a Low Trivial 
 Thought 'tis fo far from Railing 
 it that it makes it Ridiculous 3 or he 
 that reads is fo if he is Cheated by 
 it, and fancies the thing has more 
 Senfe in it than it really has, of 
 then it would have appeared to have 
 had if it had not been Trick'd up 
 with thofe improper Ornaments. 
 Nay when 'tis ufed to Convey a 
 Great Idea, and More is done than 
 is Neceflary to that End 'tis a De- 
 feat, not a Beauty : For even in This 
 Style too great a Latitude muffc not 
 be given to the Fancy 5 And tho' the 
 Amplifications fpread themfelves all 
 around, each of them in particular 
 fliould be form'd as Concifely as the 
 Nature of them will admit of. 
 
 R Iti
 
 f 24.2 ; 
 
 In Milton s Defcription of the De- 
 vil, and his Hoft or Fallen Angels, 
 there is a profufion of Ornament, 
 particularly in Similes, but in each 
 ot them there is a great Oeconomy 
 fhewn in the Language, not a Word 
 but is to the purpofe. 
 
 He above the reft 
 
 In Shape, and Gefture proudly eminent 
 Stood like a Power - 3 his Form had yet not loft 
 All her Original Brightnefs, nor appea'rd 
 Lefs than Archangel ruin'd, and th* Excefs 
 Of Glory obfcurd : As when the Sun new ris'n 
 Looks thro' the Horizontal Mifty Air 
 Shorn of his Beams ; or from behind the Moon 
 In dim Eclypfe Difaftrous Twilight fheds 
 On half the Nations, and with fear of Change 
 Perplexes Monarch s> Dark'n'dfo, yetftoone 
 Above them all th 3 Archangel : but his Face 
 Deep Scars of Thunder had intrenched, and Gar e 
 Sate on his faded Cheek, but under Brows 
 Of ' daunt lefs Courage, and confide rate Fr' fe 
 Waiting Revenge $ Cruel his Eye, hut cap 
 Signs ofRemorfe, and Pafflon to behold 
 The Fellows of hie Crime, the Followers rather 
 QFar other once beheld in Blifs) condemn d 
 For ever now to have their Lot in Pain, 
 Millions of Spirits for his Fault amerft 
 Of Heaven, and from eternal Splendors flung 
 For his Revolt, yet Faithful how they flood 
 Their Glory withered. As when Heaven's Fire 
 
 Hath
 
 C 2 43 ) 
 
 Hath fcatVd the Foreft Oaks, or Mountain 
 
 Pines, 
 With finged fop their ft ately Growth , the? bare, 
 Stands on the blafted Heath. 
 
 More than this had been too 
 much. There is no fuch Danger in 
 what follows, 'tis the Description of 
 the Second Perfon in the Trinity, 
 coming with his Celeftial Atten- 
 dants 
 
 •_ — w — to Create New Worlds. 
 
 On Heavenly Ground they flood, and from the 
 
 Shore 
 *fhey viewed the Vaft, immeafurable Abyfs 
 Outragious as a Sea, dark, waftful, wild, 
 Up from the Bottom turn d by furious Winds, 
 And Surging Waves as Mountains to affault 
 Heav'n's Height h, and with the Centre mix the 
 
 Pole : 
 Silence ye troubled Waves, and thou Deep, peace % 
 Said then th 3 Omni fie Word, your Difcord end. 
 Nor ft aid) but on the Wings of Cherubim 
 Uplifted, in Paternal Glory rode 
 Far into Chaos, and the World Unborn j 
 For Chaos heard his Voice. 
 
 I have not given thefe Specimens 
 
 of all the Several Styles as proofs 
 
 that Each, or Any of them are the 
 
 K 2 Language
 
 ( 2 44 ) 
 
 Language of the Sublime, for That 
 would be begging the Quefticn, it 
 not being prov'd that thofe Paflages 
 are Such 3 On the contrary if any 
 Style is a Bar to Sublimity where 
 That is found the Paflage cannot 
 be Sublime 3 But I have produc'd 
 Thefe to fhew that any of the fe- 
 veral Styles may be Beft on fome 
 Occafions 3 and if That appear, fure 
 it will not be faid that a Worfe is 
 the only Sublime, and that meerly 
 for the lake of the Sound. The Sub- 
 limity of thofe feveral Styles is then 
 eftablifti'd. And this will prove that 
 thofe Paflages are alfo Sublime if 
 there was no other Objection to their 
 Sublimity but the Style, tho' it was 
 not what I chiefly intended. 
 
 The only Reafons that can be 
 given for a peculiarity of Style in the 
 Sublime are, that as the Thought 
 muft be Great, the Language muft 
 be fo too as beft expreffing fuch 
 Thought 3 and becaufe the Mufick 
 
 of
 
 ( 2 45 ) 
 
 of the Words ferve to the fame pur 
 pofe, and moreover Pleafe. I own all 
 this is Generally true : Why do we 
 ufe the Term Sublime, and not the 
 Very {Beft, both which exprefs the 
 fame thing, only that One Raifes, 
 and the Other Deprefles the Idea ? 
 But I deny that 'tis Always thus $ 
 and only contend that when Low, 
 Common Words, and a plain Style 
 Belt ferves the main end of Lan- 
 guage, 'tis Then, and only Then the 
 Sublime Style. And when this hap- 
 pens the Pleafure that is wanting 
 in the Sound is abundantly recom- 
 pense by Obferving the Judg- 
 ment of him who made fo wife a 
 Choice. 
 
 There is a Beauty in Brevity, and 
 Simplicity which fufficiently com- 
 penfates for what it wants 5 the 
 Mind is fix'd, as it were, to a point, 
 and to the Senfe 3 whereas 'tis apt 
 to be diflipated by the Allurements 
 R 3 of
 
 ( *4« ) 
 
 of a Florid Style 5 and call'd off to 
 the Letter Beauties that enter no 
 deeper than the Ear. 
 
 Longinus has furnifh'd us with a 
 Proof of the Advantage that Simpli- 
 city has above Ornament in his Ac- 
 count of the famous Text oiMofes: 
 Whether he never faw a true Copy, 
 or that he has encheri upon it, He 
 puts it thus : And God /aid, What ? Let 
 there be Light, and there was Light. 
 This particle, What) feems to have 
 been a Flower ftuck in by fome Rhe- 
 torician, and that to awaken the 
 Attention ; And fo it might have 
 been apply 'd very juftly when One 
 of an Inferiour Character had fpoke 5 
 But when 'tis faid God fpake 'tis 
 enough $ and to fuppofe any thing 
 elfe neceflary is to deprefs the Idea 
 of the Speaker. 
 
 Having thus Explained, and as 
 well as I could Juftify'd my Defini- 
 tion, it appears that my Notion of 
 1 the
 
 ( H7 ) 
 
 the Sublime differs from that of 
 t Some Others : I confine it to Senfe, 
 and give a Latitude as to the Style $ 
 They are for a certain Style, and al- 
 low That a feparate Sublimity, 
 whatever the Thought be : We alio 
 differ in the Way of Supporting our 
 feveral Notions 5 I have built Only 
 on Reafon. 
 
 1 confefs after all it cannot be faid 
 with Certainty what Is, and what is 
 not Sublime, becaufe it cannot be 
 faid in all Cafes what Thought is of 
 that Supream Excellence, and that 
 Such, or Such a Way of Expreffmg 
 it is Beft 3 That mull be? judged of by 
 every one for Himfelf, as on many 
 other more Important occafions$ But 
 what I have done may perhaps help 
 R 4 to 
 
 t See Longinus, Chap. 32, &c. Boileau\r 
 
 Definition of the Sublime in his 12th Critical 
 Reflection on Longinus. Lijfertation of Mr. 
 Huet and le Clerc againfl Boileau, &c. Stho* 
 to fay the tfruth the two firft of thefe in the 
 places here cited fpeak contrary to what is the 
 General tenour of their feveral Difconrfes.
 
 ( «48 ) 
 
 to clear that matter, at leaft it has 
 {hewn what I mean by the Term, 
 and fo prepar'd my way to what I 
 chiefly intended, which was to fpeak 
 of the Sublime in Painting, The 
 Term indeed is not fo Generally ap- 
 ply'd to That Art, but would have 
 been had it been fo Generally Un- 
 derftood, and fo much treated on as 
 Writing : For certainly the Supream 
 Excellence in Painting is As worthy 
 of that Diftin£tion$ and More fo, 
 as employing More of the Faculties 
 peculiar to the Nobleft Creature we 
 are acquainted with. 
 
 And here I take the Sublime to 
 be the Greateft, and mofi Beautiful Ideas, 
 whether Corporeal, or not, conVeyd to 
 us the mojl Advantageoufly. 
 
 By Beauty I do not mean that of 
 Form, or Colour, Copy'd from 
 what the Painter kes $ Thefe being 
 never fo well Imitated, I take not 
 to be Sublime, becaufe Thefe require 
 little more than an Eye, and Hand, 
 
 4nd
 
 ( H9 ) 
 
 and Practice. An Exalted Idea of 
 Colour in a Humane Face, or Fi- 
 gure might be judg'd to be Sub- 
 lime, could That be had, and con- 
 vey'd to Us, as I think it cannot, 
 fince even Nature has not yet been 
 Equall'd by the Beft Colourifts • 
 Here {he keeps Art at a Diftance 
 whatever Courtfhip it has made to 
 her. In Forms 'tis Otherwife as we 
 find in the Antique Statues, which 
 therefore I allow to have a Subli- 
 mity in them : And iliould do the 
 fame in regard to the fame Kind, and 
 Degree of Beauty if it were to be 
 found in any Pidture, as I believe 
 it is not. Tho' in Pictures is ken a 
 Grace, and Greatnefs, whether from 
 the Attitude, or Air of the Whole, 
 or the Head only, that may juftly 
 be Efteem'd Sublime, 
 
 'Tis to thefe Properties therefore as 
 alfo to the Invention, Expreffion and 
 Compofition, that I confine the Sub- 
 lime in Painting, and that as they are 
 found inHiftoriesand|Portraits.' 
 
 If
 
 ( 2^0 ) 
 If the Story, Sublime in it Self, 
 lofes nothing of its own Dignity 
 under the Painter's Hand 3 Or if 'tis 
 Rais'd, and Improved, which it can- 
 not be if the Airs of the Heads, 
 and Attitudes of the Figures are not 
 conformable to the Greatnefs of the 
 Subject: If Expedients, and Inci- 
 dents are flung in, that difcover an 
 Elevation of Thought in the Ma- 
 tter, And all is Artfully convey'd 
 to us, whetherin a Sketch, or Draw- 
 ing, or in a Finifh'd Pi&ure. This 
 I efteem Sublimity in Painting. Nor 
 lcfs fo, if a Noble Character is Giv- 
 en, or Improv'd 3 a Character of 
 Wifdom, Goodnefs, Magnanimity, 
 or whatever Other Vertues, or Ex- 
 cellencies 3 and that together with a 
 Juft and Proper Refemblance. But 
 a Low Subject, and a Mean Cha- 
 racter are Incapable of Sublimity 3 
 As is the Beft Compofition when 
 employ 'd on Such. 
 
 Whea
 
 (*5« ) 
 
 When one fpeaks of the Sublime 
 ?n Writing, the Inftance proper to 
 Illuftrate, and Explain what is faid 
 concerning it may be fet before 
 your Eyes, and that without any 
 Diminution of their Original Luftre. 
 Painting has not this Advantage j 
 Much of the Beauty will be loft 
 in the Defcription how Artful fo- 
 ever 3 As who can defcribe the Air 
 of the Head, whether as to its ge- 
 neral Chara&er of Grace, or Dig- 
 nity, or thofe particular Ones of 
 Wifdom, Goodnefs, Lovelinefs, or 
 what are the eflfedls of any Paflion, 
 or Emotion of Soul ! Who can by 
 Words {hew what (fiafaelte, Guido, or 
 Vandyck has done with their Pencils ! 
 I fliould for this reafon have been 
 fparing of Examples, if I had not 
 already given many for other Pur-> 
 pofes, but which are alfo Inftances 
 of the Sublime in Painting, and 
 which are fcatter'd up and down 
 throughout all I have Written 
 
 on
 
 (2-52 ) 
 
 on this Amiable Subject: But One, 
 or Two I will add in This place. T he 
 Firfl (hall be from (Rembrandt $ and 
 furely he has given Us fuch an Idea 
 of a Death-Bed in one Quarter of a 
 Sheet of Paper in twoF^g ; : Co with few 
 Jccompagnements, and in Clair Ob/cure 
 only, that the mod Eloquent Prea- 
 cher cannot paint it fo ftrongly by 
 the moft Elaborate Difcourfe 5 I do 
 not pretend to Defcribe it, it muft 
 be Seen : I will however tell what the 
 Figures, and the reft are. An Old 
 Man is lying on his Bed, juft ready 
 to Expire 5 this Bed has a plain 
 Curtain, and a Lamp hanging over 
 it, for 'tis in a Little fort of an Al- 
 cove, Dark Otherwife, though 'tis 
 Bright Day in the next Room, and 
 which is neareft the Eye, There the 
 Son of this Dying Old Man is at 
 Prayers. O God 1 What is this 
 World 1 Life partes away like a 
 Tale that is Old. All is over with 
 this Man, and there is fuch an Ex* 
 
 preffion
 
 (253 ) 
 
 preflion in this Dull Lamp-Light 
 at Noon-Day, fuch a Touching 
 Solemnity, and Repofe that thefe 
 Equal any thing in the Airs , 
 and Attitudes of the Figures, 
 which have the Utmoft Excellency 
 that I think I ever faw, or can 
 conceive is poffible to be Ima- 
 gined. 
 
 ? Tis a Drawing, I have it. And 
 here is an Inftance of an Important 
 Subjedt, Imprefs'd upon our Minds 
 by fuch Expedients, and Incidents as 
 difplay an Elevation of Thought, 
 and fine Invention 5 and all this 
 with the Utmoft Art, and with the 
 greateft Simplicity; That being more 
 Apt, at leaft in this Cafe, than any 
 Embellifhment whatfoever. 
 
 The other Inftance I promised 
 {hall be from Federico Zuccaro 5 He 
 has made an Annunciation, fo as to 
 give luch an Idea as we ought to 
 have of that Amazing Event, The 
 Angel, and Virgin have nothing par- 
 ticularly
 
 r 254 j 
 
 ticularly remarkable 3 but Above is 
 God the Father, and the Holy Dove 
 with a Vaft Heaven where are Innu- 
 merable Angels Adoring, Rejoycing^ 
 <Csrc. On each Side fit the Prophets 
 with Cartells on which are written 
 their Predictions of the Miracu- 
 lous Incarnation of the Son of God 5 
 to all which are added little Em- 
 blems relating to the Blefled Vir- 
 gin. 
 
 I am perhaps too much Preju- 
 diced in favour of Painting, but 
 however not fo much but that I am 
 ready to acknowledge that we have 
 Few Inftances, if Any of the Perfect 
 Sublime , that is, where the Thought 
 is fo, and the manner of Convey- 
 ance Equal to it ; fome Defeds will 
 always be found in the beft Pictures, 
 whereas there are Sublime Paflages 
 in Writers where the Words are not 
 only the mod Apt, and proper, but 
 the mod Beautiful : This neverthe- 
 lefs is to the honour of Our Art. No 
 
 Man
 
 r 2$$ ; 
 
 Man yet has arriv'd to Excellency 
 in All the Parts of it : That is the 
 Task of an Angel, or fome An- 
 gelick Man, fuch as has not yet ap- 
 peared. <ftafaelle y and Others have 
 reach'd the Sublime, and rofe as 
 high as Homer, or Demoftbenes $ but 
 you can never fee, I fay not an In- 
 tire Picture, or Figure, but even a 
 Single Head without at the fame time 
 feeing Something amifs : Whereas 
 in Writers you often have their Beau- 
 tiful Parts Detach'd, and Perfect. 
 
 But the Sublime, as the Crown in 
 the State hides all Defe&s 5 it fills 
 and fatisfies the Mind, nothing ap- 
 pears to be wanting 5 nothing to be 
 amifs, or if it does 'tis eafily for- 
 given. All Faults die, and vanifli in 
 prefence of the Sublime, which when 
 it appears is as f the Sun traVerfeng 
 the Vafi Vefert of the Sky. 
 
 Longinus 
 
 t Pindar,
 
 ( *$6 ) 
 
 Longinits rightly accounts for the 
 Defe&s that are feen in Men that 
 have attained Sublimity, their 
 Minds (he fays) intent upon what 
 is Great cannot attend to Little 
 things 5 and indeed the Life, ahd 
 Capacity of a Man are Inefficient 
 for Both, and even for All that 
 is Great in Painting. But who would 
 not rather be Demojihenes, than Hy- 
 perides, though One of thefe had no 
 Faults, and the Other many ? This 
 Other had the Sublime ! He was 
 Admirable, not meerly Irreproacha- 
 ble : ( I am ftill fpeaking after Lon- 
 g'mus.) When we fee the Sublime it 
 Elevates the Soul, gives her a higher 
 Opinion of her Self, and fills her 
 with Joy, and a Noble kind of 
 Pride, as if her felf had produc'd 
 what flie is Admiring. It Raviflies, 
 itTranfports, and creates in us a cer- 
 tain Admiration, mix'd with Afto- 
 nifhment. And like a Tempeft 
 drives all before it. 
 
 And
 
 ( 2$7 ) 
 
 And in uft confefs to find 
 
 In all things elfe Delight indeed, but fitch 
 As tis'd, or not works in the Mind no Change y 
 
 Nor Vehement Defire : 
 
 But Here 
 
 Far Otherwife tranfported I behold. 
 
 * ■ Here Pafjion firfi I felt, 
 
 Commotion firange^ in all Enjoyments elfe 
 Superiour and Unmov'd. 
 
 Milton. 
 
 In the foregoing Treatife I have 
 been (hewing what I take to be the 
 Rules of Painting, and tho' Any 
 one had underftood, and pradtis'd 
 them all, I muft yet fay One thing 
 is wanting, Go, and Endeavour to 
 attain the Sublime. For a (painter 
 p?ould not (pleafe only, but Surprise. 
 
 ^lus ultra was the Motto of the 
 Emperour Charles V. whofe Actions 
 were of the Sublime kind, and, as 
 Monfieur St. Evremont finely diftin- 
 guifhes, rather Vaft, than Great : 
 And this (hould be the Motto of all 
 that apply themfelves to any Noble 
 Art, particularly of a Painter $ He 
 S mull
 
 f 2 5 8 ) 
 
 muft not propofe like (pyrrhis to 
 Conquer fuch a Countrey, then iuch 
 a One, then Another, and then 
 Reft, he muft refolve like Time to 
 be always going on, or 
 
 Like the Pontick Sea 
 
 IVhofe Icy Current , and Comptdfive Conrfe 
 Ne'er knows retiring Ebb, but keeps due on 
 Sfo the Propontick, and the Hellefpont 
 
 Shakefpear. 
 
 ' He muft be perpetually Advancing. 
 And whatever Rules are given as 
 Fundamental of the Art This ultra 
 like a Golden Thread fliould be 
 woven in, and run throughout the 
 whole piece. 
 
 To be contented with Medio- 
 crity in Art, is an Argument of a 
 Meannefs of Spirit incapable even 
 of That 5 And though it be attain'd 
 'tis a State cf Infipidity, a kind of 
 Non-Entity : To be Remarkable 
 for Nothing, is not to Be at all 3 
 And lets Eligible than to be Re- 
 markably a Blockhead. 
 
 ft*
 
 r *$9 ) 
 
 For who would lofe 
 
 Though full of Pain this Intellectual Beings 
 *fho[e Thoughts that wander through Eternity^ 
 fib perifh rather , [wallow' *d up, and loft 
 In the wide Womb of Uncreated night. 
 
 Milton, 
 
 - He that upon Trial finds himfelf 
 incapable of any Science may turn 
 to Something elfe 'till he lights up- 
 on That in which he may Excel, as 
 there is None but may in One thing 
 or Other $ but he that does juft 
 Tollerably well, flops There, and 
 never gets higher in Any thing 5 
 He is of a fort of Species of Ani- 
 mals that makes the tranfition from 
 Men to Brutes eafy. 
 
 When we propofe only an exadfc 
 Imitation of Nature we fhall cer- 
 tainly fall fliort of it 5 So when we 
 aim no higher than what we find in 
 any One, or more Matters, we fhall 
 never reach their Excellence : He 
 that would rife to the Sublime muft 
 form an Idea of Something beyond 
 
 S 2 all
 
 ( 26o ) 
 
 all we have yet feen j or which Aft, 
 or Nature has yet produc'd; Paint- 
 ing, Such as when all the Excel- 
 lencies of the feveral Matters are 
 United, and their feveral Defeats 
 avoided. 
 
 The greateft Defigners among 
 the Moderns want much of that 
 exquifite Beauty, in all the Several 
 Characters, that is to be feen in the 
 Antique $ the Airs of the Heads, 
 even of (Rafaelle himfelf, are Infe« 
 riour to what the Ancients have 
 done 5 and for Grace to fome of 
 Guido : the Colouring oi Rubens and 
 Van ©jeofails fliort of ThatofTtf/^, 
 and Coreggio 5 and the Belt Matters 
 have Rarely Thought like (ftafaelle, 
 or Composed like (Rembrandt. Let us 
 then imagine a Picture Defign'd as 
 the Laocoon, the Hercules, the Apollo^ the 
 Venus, or any of thefe Miraculous 
 remains of Antiquity : The Airs of 
 Heads like what is to be found in 
 the Statues, Butts, Bas-releifs, or 
 
 Medals,
 
 (26l ) 
 
 Medals, or like fome of thofe of 
 Guldo 3 and Colour'd like the moft 
 Celebrated Colcurifts 3 with the 
 Lighted Pencil, and the moft Pro- 
 per to the Subjed 5 and allj this 
 Suitably Invented, and Compos'd 3 
 Here would be a Pidture ! Such a 
 one a Painter fliould Imagine, and 
 So fet before him for Imitation. 
 
 Nor muft he ftop Here, but Create 
 an Original Idea of Perfe&ion. The 
 Utmoft that the Beft Mafters have 
 done, is not to be fuppos'd the Ut. 
 moft 'tis poflible for Humane Na- 
 ture to arrive at 3 Leonardo da Vinci y 
 or Michelangelo might have been 
 thought to have carry'd the Art as 
 far as it could go had not ^afaeUc 
 appear' d 3 As Cimabue, and Giotto 
 were probably thought to have done 
 in their Times : 
 
 Credette Cimabue nella Pittura 
 
 ^tener lo Campo, & or a ha Giotto it Grido 
 
 <Si che lafama di colui of cur a. 
 
 Dante. 
 
 S 5 Who
 
 ( 2^2 ) 
 
 Who knows what is .hid in the 
 Womb of Time ! Another may 
 Eclypfe fytfaetk $ A new Columbus 
 may crofs the Atlantic Ocean, and ' 
 leave the Pillars of that Hercules far 
 behind. The Out-lines, and Airs of 
 the Bed Antique, with the Bed 
 Colouring of the Moderns United 
 would do this 5 But More yet than 
 This is not Impoflible. And This 
 More, (liould be attempted. 
 
 As God no Model for the Worlds could find^ 
 Brit forrad them in his Own Eternal Mind ; 
 So JJjould the Artift, warm'd with Heav'nly 
 fire, 
 
 To a Perfection yet Unknown afpire. 
 
 This is the Great Rule for the 
 Sublime 5 not to be given however 
 'till thofe Fundamental of the Art 
 have been well Known, and Pra- 
 6tifed 3 'tis to be Open'd when a 
 Man has got far on his way, as the 
 Commifilons of Admirals, or Ge- 
 nerals going on fome great Expe- 
 dition frequently are. The Sublime 
 
 difdains
 
 ( 2 6 3 ) 
 
 difdains to be Trammelled, it knows 
 no Bounds, 'tis the Sally of Gre at 
 Genius's, and the Perfection of Hu- 
 mane Nature 5 but like Milton's Pa- 
 radife 
 
 Wild, above Rule, or Art, Enormous Blifs ! 
 
 Return me to my Native Element 
 Left from this flying Steed, unrein' f d fas once 
 Bellerophon tho' from a lower Clime) 
 Bifmounted, on the Aleian field I fall 
 Erroneous, there to wander, and forlorn. 
 
 Milton. 
 
 I have Now done as much as may 
 reafonably be judg'd to come to my 
 Share to fhew my hearty Love to 
 my Profeffion, having Thus Sacri- 
 ficed a great many of thofe Hours 
 which would otherwife have been 
 given (as they ought) to Reft, and 
 Diverfion 5 much more might be 
 added, for the Subject is a Noble and 
 a Copious One $ But I muft take 
 leave to recommend what is further 
 to be done to fome Other hand, 
 without the Common Flourifli of 
 Excufing my felf upon account of 
 
 S 4 Inabi-
 
 ( 2*4. ) 
 
 Inability ^ tho' I am alfo very Sen- 
 fible of That. But the true Reafon 
 of my declining it is That juft now 
 given. 
 
 As for the Prefent Work Nq 
 body can be more ready to Say, 
 than I to Acknowledge, that 'tis 
 not fo Well as it Should be : But as 
 in Drawings thofe are Good that 
 anfwer their End 5 if no more than 
 the Compofition (for example) is 
 pretended to 'tis impertinent to fay 
 they are Incorrect 3 Here the Reader 
 ftiould diftinguifli between the Wri- 
 ter, and the Tainter : My Bufinefs 
 is Painting : If I have fucceeded to- 
 lerably well in That Character the 
 Publick has no Reafon to Com- 
 plain. Such as it is, and fuch as my 
 Abilities, and the proportion ot 
 Time, and Application I have 
 thought it reafonable for me to be- 
 flow has enabled me to make it, 
 1 now offer it to the World, tho' I 
 was not refolv'd fo to do when I 
 
 began
 
 began to Write. I remember to 
 have heard a Story which (like o- 
 thers told on fuch Occafions) is not 
 to be too ftridtly apply'd, however 
 the Reader may do as he thinks fit. 
 A Man of Quality, Sir (peter Lely's 
 intimate Friend, was pleafed to lay 
 to him one Day, For God's Jake, Sir 
 Peter, how came you to haVe fo great 
 a Reputation f You know I know you are 
 
 no (painter. My Lord, 1 kjiow I am 
 
 not , (But I am the fieft you ha\>e. 
 
 FINIS. 
 
 Br
 
 (2<5 7 ) 
 
 THE following Hiftorical, and 
 Chronological Lift (as to the 
 main of it) I took the Pains to 
 make fome Years ago for my Own 
 ufe. I have been tolerably Careful 
 in it, fo that I believe there arc not 
 many Miftakes. Where I could find 
 no Account of the Time of a Ma- 
 iler's Birth, his Place in the Lift will 
 {hew whereabouts it Probably was- 
 The Double Dates are the different 
 Accounts of Authors, the moft con- 
 fiderable is that of Correggio^ I have 
 been determined to put him fo low 
 upon the Authority of a Manufcript 
 of Father %efta, a late Connoiffeur 
 at <!{ome, and who befides his infi- 
 nite Diligence in thefe Matters, and 
 a particular Regard for Correggio, 
 has had very great Opportunities of 
 being rightly informed, considering 
 the Diftance of Time, The Ac- 
 count of the Degrees in which fome 
 of the moft Eminent of thefe Ma- 
 i fters
 
 fters excelled is fcatterd up and 
 down in the preceding Difcourfe 3 
 but of This you may fee farther at 
 the end of a fmall Book of Mr. de 
 
 (piles, printed Anno 1708. Cours de 
 Teinture par Trincipes.- He has made 
 a Scale, the higheft Number of 
 which is 1 8, and denotes the high- 
 eft Degree to which any one has 
 arriv'd that we know of 5 then he 
 fuppofes the Art to confift of Com- 
 pojttion, Deftgn, Colouring, and £x- 
 prejjion, of which he makes a feve- 
 ral Column, and in thefe puts his 
 Number according as he judges the 
 Mafter whofe Name he applies them 
 to has merited. The thing is Cu- 
 rious, and Uicful 5 but fome confi- 
 derable Parts of Painting, being o- 
 mitted it gives not a jull Idea ot the 
 Mailers. For example, according 
 to this Scale Rembrandt feems to 
 be Equal to Giulw (Romano, and Su- 
 perior to Michelangelo, and fparmeg- 
 giano. Whereas had he brought Im 
 
 Vention,
 
 ( *9 ) 
 
 Vention, Greatnefs, Grace, &c. into 
 the Account, it would have let the 
 Matter right, fuppofing he had al- 
 lotted the juft Degrees 5 which nei- 
 ther He, nor any one elfe can do 
 fo as to pleafe Univerfally, 
 
 jfn
 
 to 
 
 H 
 
 f 270 J 
 
 O O c>% <+ <*-'- O >h «* ^ 
 
 ya t*\ «*» rh tj- ^ i^ «^ «■% .2* 
 
 Q - - M — ^r-r — r — ^ei 
 
 -•^ to ■ 
 
 Cj 
 
 O 
 
 
 a 
 
 Si a; TS.Si^ £ si 
 
 <^f^> 
 
 o 
 
 
 ffi 
 
 K 
 
 a 
 
 ffiW 
 
 w 
 
 X 
 
 k^tJ 
 
 c 
 
 
 
 >o 
 
 
 
 r w|o 
 
 M 
 
 0\ 
 
 t/-\ 
 
 1* 
 
 <* 
 
 r- 
 
 r-» 
 
 H N|d 
 
 d 
 
 cr\ 
 
 "* 
 
 
 
 c* 
 
 cl 
 
 CA 
 
 <+ Th 
 
 «* 
 
 *& 
 
 *h 
 
 W 
 
 •- 1 
 
 ■"1 
 
 ~ 
 
 1-1 1-1 
 
 — ■ 
 
 M 
 
 J H 
 
 
 c 
 
 
 Q 
 
 ^ tu -* o ^ fcs 
 
 « & 
 
 
 5 - ^-a 
 
 o 
 
 
 ^ 
 
 so 
 
 £ 
 
 ^ 
 
 
 & 
 
 ^ 
 
 
 
 «U 
 
 ^ 
 
 5** 
 
 
 * 
 
 
 
 
 o
 
 ( *7 l ) 
 
 *d <* 
 
 r»- 
 
 »*» 
 
 <d"O0 „•* 
 
 M 
 
 vo 
 
 O Vd 
 
 ■S 
 
 O c< 
 
 M 
 
 M 
 
 c* 
 
 d oho 
 
 >-< 
 
 r— 
 
 rr> t ^ 
 
 
 P M 
 
 V-\ 
 
 l^s 
 
 I^S 
 
 vrv u-» 
 
 U^ 
 
 lr\ 
 
 V-\ >/-n 
 
 t^ 
 
 1-4 
 
 H 
 
 M 
 
 ■<-* M 
 
 H 
 
 H 
 
 M M 
 
 sp 
 
 
 
 
 
 
 
 
 
 K 
 
 ed at 
 
 Siena. 
 
 I 
 
 
 1 
 
 i 
 
 
 
 I 
 
 
 Liv 
 
 Florence, 
 
 1 
 
 i 
 1 
 
 «* ^ Ci 
 
 Si 
 
 .18 
 
 1 
 
 1 £ s 
 
 
 
 «5 
 
 
 
 .5^ 
 
 
 d 
 
 cS 
 
 
 .5 
 
 "3 
 
 
 
 £ a 
 
 ^ 
 
 g 
 
 
 6 
 
 Q 
 
 IB 
 
 
 r 3 
 
 J-i 
 
 o 
 P* 
 
 
 
 g-3 
 
 Eh 
 
 O 
 
 Pu 
 
 ►4 
 -•J 
 
 < 
 
 
 » 8? 
 
 J-t 
 
 
 
 'PhCO 
 
 fr 
 
 O 
 
 Ph 
 
 fr££ 
 
 
 w,§ 
 
 o 
 
 o 
 
 O 
 
 . . 
 
 o 
 
 
 o o o 
 
 
 ctt 
 
 <£! 
 
 cSc£c5 
 
 « 
 
 cS 
 
 c^cse^ 
 
 
 ft ft ft ftftft ft w www 
 
 c 
 
 vo 
 
 M 
 
 o\ 
 
 O O «iw 
 
 J — 
 
 Ho 
 
 OO 
 
 
 J-. 
 
 * 
 
 »^ 
 
 vo 
 
 r— r-- ^ 
 
 r"» 
 
 H» 
 
 r~~ 
 
 OO 
 
 
 
 *■ 
 
 <* 
 
 <* 
 
 ^- rh ^* 
 
 <* 
 
 ^J- 
 
 «■ 
 
 >?*• 
 
 M 
 
 w 
 
 H 
 
 W M *-» 
 
 M 
 
 M 
 
 M 
 
 M 
 
 U^ o -+J ^ <u § g 
 
 w ** g & ^ ^ -3 ^ -3 
 
 _ c^ *- *v J»» o o •«<* s? ^^ 

 
 "3 
 
 Q 
 
 o 
 
 (W ) 
 
 C\ 
 
 r- 
 
 c^ 
 
 * 
 
 <* 
 
 ir< 
 
 iy-> 
 
 «^\ 
 
 «/-> 
 
 3 
 
 
 
 o 
 P-. 
 
 1 
 
 to 
 g 
 
 ^ 
 
 ^3 
 
 'CO 
 
 o 
 
 ** 
 
 1 
 
 
 ~ S 
 
 M 
 
 SB 
 
 to S5 
 
 ^ 
 
 1 
 
 
 s 
 
 
 o . 
 
 
 IP 
 
 »i O 
 
 
 4-i 
 
 3 
 
 5 3 
 
 
 
 
 
 3 
 
 S On 
 
 t-"3 
 
 
 u 
 
 o <J 
 
 
 CO 
 
 pu,co 
 
 
 >x 
 
 E?£ 
 
 
 o 
 
 o o 
 
 o 
 
 CJ 
 
 dca 
 
 <s 
 
 
 
 
 w 
 
 WW 
 
 ffi 
 
 
 CO 
 
 CO 
 
 CO CO CO 
 
 
 ♦r > — ' j-i ^ >-i 
 
 > O 
 
 ~ Q3 
 
 i*i.ag^ 
 
 ^ rt «> c <u 
 
 or, *>. **. 
 
 
 ~ -£ '*/ &£> ^ * 
 ^ 5 £ C •§£ .ti 
 
 -5 •§ S *P S -5 ti •- 
 
 j^ 
 
 
 to 
 
 • -^ 
 
 h 
 
 m 
 < 
 
 p 
 
 CO 

 
 ( 273 ) 
 
 O »^ r$* H •" f « «<*» «/-» ^ «<$• r-~ No "-* *t" "^ 
 
 tS 5 
 
 « * § i ^ ||3 i If 
 
 s a * $ ! - t § >AH - ^ - 
 
 G *j *g C * . etf .tZ 
 
 "" ^S ^S *> g ^ -f= 
 
 I < 3 o ^ ' £ < 
 
 W o oooo o ooooo o o 
 
 eg cgcS eg eg eg ^g^g^ « £ S ^ 
 
 s 
 
 o 
 
 C< 
 
 •*•» 
 
 <* 
 
 ^ 
 
 « u-No OO 
 
 OO 
 
 O 
 
 M 
 
 ON 
 
 o\ 
 
 
 ON 
 
 CN 
 
 Os OS o\ 
 
 Os 
 
 O 
 
 O 
 
 o 
 
 pq 
 
 ^- 
 
 ^h 
 
 ^ 
 
 ^» 
 
 * 
 
 <* rh T* 
 
 * 
 
 */-\ 
 
 V-\ 
 
 M 
 
 H 
 
 . * 
 
 M 
 
 H 
 
 M >-* M 
 
 * 
 
 M 
 
 M 
 
 <x/^l %A>^ _ . r^V-o cv\-n 
 
 a 
 
 O . I ^ ^! *-« 
 
 "5 
 
 
 o co £ 
 
 O V3 *J» . 
 
 - "So Ss 
 
 rt -^ o ns ^ g § ^ > a 
 
 
 qj G 
 
 
 g 

 
 ( 2 74 ) 
 
 .«* * Vn vo ^ o\ r- r- r- & 
 
 
 
 i 
 
 
 <V>*1 
 
 
 3 
 O 
 
 - ■ 
 
 
 
 
 
 *li 
 
 t 
 
 -D 
 
 ^ §* cj 
 
 > 
 
 • •-« 
 
 1 
 
 jf 
 1 
 
 e 
 
 1 
 
 I 
 
 
 5 
 
 £ 
 4 
 
 i 
 
 1 
 ft! 
 
 fsftj 
 
 
 * 
 
 * 
 
 1? 
 
 'wTWi 
 
 Gq 
 
 * 
 
 ^<^/~^j 
 
 
 
 
 
 
 /^A>r 
 
 1 «J -M 
 
 
 
 *i 
 
 4-J 
 
 ^ 
 
 
 «T ^ 
 
 3 ^> 
 
 00 
 
 JS 
 
 PS 
 
 Vi 
 
 S 
 P< 
 
 g 
 
 u 
 
 o 
 
 Pi 
 
 3 
 
 3 
 CO 
 
 2 
 
 S 
 
 c 
 
 o 
 
 3 r* 
 
 4-1 4-* 
 
 o3 
 
 G 
 
 ■4-1 
 
 1 
 
 w 
 
 o 
 
 o 
 
 E 
 O 
 
 o 
 
 . ctS 
 
 A* 
 
 . O 
 
 f 
 
 
 « 
 
 « 
 
 «a 
 
 ca 
 
 !t1 
 
 e^ 
 
 « 
 
 
 
 *•« 
 
 • •H 
 
 
 
 
 
 
 R 
 
 R 
 
 s 
 
 R 
 
 '>-^Y>0 
 
 aw 
 
 w 
 
 c 
 
 rl- 
 
 CO 
 
 C\ 
 
 o 
 
 o r o» 
 
 «!» 
 
 M 
 
 o 
 
 n 
 
 O 
 
 o 
 
 O 
 
 M 
 
 M 
 
 w'» 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 
 
 r>o^n 
 
 (NA^ 
 
 :sA^ 
 
 Ci 
 
 
 fs^-O 
 
 o 
 
 
 
 3i 
 
 
 ©3 
 
 
 
 u 
 
 (X, 
 
 to 
 
 Sc6 
 
 
 
 o 
 
 **»» 
 
 ^ 
 
 
 
 <• 
 
 Q 
 
 o 
 
 c 
 
 P 
 
 o 
 
 00 
 
 ^ « ^ 
 
 CO 
 
 £2i 
 
 if 
 
 R 
 
 
 1 1 
 
 5s ** 
 
 i** .^ L>» 
 
 W! 
 
 3 
 
 
 R 
 
 s^V>-» 
 
 UYNJ 
 
 ^v^J 
 
 CO 
 
 63^W> 
 
 (VA«^ ^O 'N-^«^ O^^-TJ (VA>^ 
 
 J o"1 1 > 2 ^ 
 
 <o"SP< SS ,.• 2 ^s 
 
 4-1 '^ 
 
 «jj V. »U 
 
 g 4 a o a ^ a sei 4
 
 ( 275 ) 
 
 rp 
 
 <* 
 
 u^ 
 
 I^N 
 
 O 
 
 vo 
 
 H 
 
 H cr\ 
 
 H 
 
 o 
 
 V5 i 
 
 »«■■< 
 Q 
 
 &N 
 
 oo 
 
 r-~ 
 
 r-- 
 
 O 
 
 o\ 
 
 oo oo 
 
 
 ON 
 
 O 
 
 »^\ 
 
 ly~N 
 
 ia 
 
 v^ 
 
 vo 
 
 U~s 
 
 v\ «/~, 
 
 VD 
 
 «/-N 
 
 tr\ 
 
 f 
 
 *s & '«■* 
 
 iTtt § 1% 
 
 £M 1<^ 
 
 s 
 
 OO Oo O . O C O .-* r3 • OO 
 
 S S £3 £ £ 3 £3 ^^ 3 3 3 
 
 O 
 
 >'«/• Os O <* .o H H r-- OO OO ON 
 
 fc. <*> p ^> 
 
 Cs 
 
 Vila ^<s 1 
 witj^q § •fJJ g I 
 
 H«« HilS*iV!frl»ii£i 
 
 
 1*1 I 
 
 S 2 Q S .J ^ ^ J 
 
 to o w ^ ei ^h ^ Vi « 
 
 T z
 
 r 276) 
 
 •^ CO 
 
 e\ 
 
 * 
 
 oo 
 
 rt 
 
 
 
 C\ 
 
 •» 
 
 -«^> 
 
 ©\ 
 
 
 
 o oo 
 
 o 
 
 o 
 
 H 
 
 rt 
 
 00 
 
 M 
 
 cr> O 
 
 M 
 
 
 
 0-» 
 
 S H 
 
 v© 
 
 NO 
 
 v© 
 
 ^o 
 
 1/^ 
 
 vo 
 
 NO ^O 
 
 V5 
 
 vo 
 
 Cm 
 
 0. 
 
 
 
 
 
 
 
 
 P^V-O 
 
 
 " 
 
 '.2 
 
 
 
 
 
 & 
 
 
 
 <*T 
 
 
 
 O 
 
 ^3 
 
 S5 
 
 
 
 1 
 
 
 1 
 
 1 
 
 i 
 
 1 
 
 
 
 
 > 
 
 
 1 
 
 § 
 
 r.-» 
 
 1 
 
 8" 
 
 
 g 
 
 1 
 
 * 
 
 
 *5 
 
 CO 
 
 
 
 
 
 
 5P G 
 
 
 
 
 r- '£j 
 
 ■•3 
 
 
 
 
 
 
 c -S 
 
 
 
 
 Portr 
 
 TO 
 
 
 
 
 
 Oh 
 
 
 
 w 
 
 
 
 
 K ^ 
 
 £ 
 
 £ 
 
 6 
 
 TO 
 
 £ 
 
 ^ 
 
 ^ ^ 
 
 rr 
 
 ^ 
 
 
 
 o 
 
 o 
 
 o 
 
 H3 
 
 
 
 
 
 
 
 
 
 
 
 
 C3 
 
 <2S 
 
 cS 
 
 C 
 
 « 
 
 a 
 
 *J r*- 
 
 cs 
 
 ct! 
 
 
 
 
 
 
 TO 
 
 »"H 
 
 
 
 
 • >^ 
 
 
 in 
 
 ffi 
 
 X 
 
 K 
 
 iJ 
 
 W 
 
 3 
 
 w S 
 
 JR_ 
 
 
 
 
 £3 c^ 
 
 C •* 
 
 o 
 
 th 
 
 O 
 
 c< 
 
 t^-\ 
 
 ty^ r~- 
 
 C\ 
 
 
 S-i C<~> 
 
 t> 
 
 * 
 
 ** 
 
 VTN 
 
 VTN 
 
 »^s 
 
 v^ vs 
 
 V^\ 
 
 V3 
 
 
 
 l/-\ 
 
 vr^ 
 
 >•> 
 
 l^ 
 
 trs 
 
 trs 
 
 »^k l^\ 
 
 i^\ 
 
 ITN 
 
 
 M 
 
 M 
 
 m 
 
 IM 
 
 *H 
 
 H 
 
 M M 
 
 H 
 
 
 
 1 
 
 CO 
 
 I 
 
 N 
 
 1 
 
 £ f 
 
 c — 
 CO - 
 
 5 
 
 •3 
 g 
 
 
 rs .53 u ft 
 
 1 Hi 
 
 ■»-• *«» 
 CO 
 
 
 
 
 
 
 Si 
 
 
 O-Vy") 
 
 
 
 
 
 
 1 
 
 
 
 1 
 
 
 
 
 1 
 
 
 
 - 1 
 
 
 
 
 
 £0 
 
 
 
 fa 
 
 'a 
 
 
 CO to 
 
 2% 
 
 I 
 
 
 1 
 
 
 
 
 1 
 
 
 O 
 
 I 
 
 •Si 
 
 
 gy 
 
 .3 
 
 .« 
 
 g 
 
 *"§•! 
 
 8 
 
 ■1 § 
 
 .5 
 
 ^ 
 
 
 I 
 
 1 
 
 * 
 
 
 
 6 
 
 61 oi 
 
 s 
 ■§ 
 
 1 1 
 
 1 
 
 5 

 
 ( 2 77 ) 
 
 T? P. <#• irv Os w^ Oc^OO m «-. O 
 
 »S v^ P r ° «* « ^- rh vo ^ ^" S 
 
 rl 1 " M *« 2 ~ . - - « 2L.*^ 
 
 i I .8 I I III *gt* * 
 
 Ctf u 
 
 c "-r 1 o 
 
 ~ &3 _e -Oi <« ~ Ph 
 
 ^ « « d « ^^^K^fi « «« « <a 
 
 S S aw ^YN>s^v^i5 B 55 5 S 
 
 C O rj-000\0\ rj- vs N OO •XM 
 
 *h Vo ^O^OVS^ r--f^.r^r- CO CO 
 
 « M MMMM M M M M MM 
 
 I 3* I * tim\W i ft 
 
 «*" S .a 2 e^.»e^.§^^| H Its 
 
 S SQ 98$*l-*s3 I ... 1 |g|:i h
 
 r 278 j 
 
 MOO ^ v\ ©\ H W «T\ 
 
 vo^o vo Vs vo vo no vo 
 
 el 
 
 00 
 
 No 
 
 00 CO 
 
 Vo vo 
 
 3 
 
 5*. 
 
 I 
 
 «» • 
 <ia cx> 
 
 1 I 
 
 s$ 
 
 es 
 
 t 
 
 -a 
 
 i 
 
 i 
 
 -.3 
 
 6 
 
 *v> ^> -<v> 
 
 S $ £ 
 
 O d o 
 
 <^ ^ 1^ 
 
 
 
 ■«fc< 
 
 cx> cv> S "<^ 
 
 w 
 
 o 
 
 o o 
 
 WD 
 
 J. 
 
 >. ^ >> 
 
 l-i ;-. in 
 
 OOO 
 
 « « d 
 
 o 
 
 CO 
 
 U 
 
 P-t 
 
 W ffi K K ffi 
 
 la 
 
 Sffi 
 
 re 
 
 ■sA-, 
 
 1 
 
 ft >;8 
 
 pq -^ 
 
 CO 
 
 OS 
 
 -d o 
 
 to J2 
 
 £^ 
 
 o ■ o 2 
 
 ;—. O 
 
 o 
 pq 
 
 00 00 
 
 O rj- NO 
 
 ON C\ On 
 
 C\ 0\ 
 CN 0\ 
 
 D 
 
 O 
 Vo 
 
 o vo 00 
 
 o 00 
 
 so vo *o 
 
 -A-, 
 
 ■v\~ 
 
 12 <i *Z 7Z 
 
 r C v5o2 
 
 CO 
 
 8 I 
 
 o «a £? ol2 to 
 
 *§ .S i* 
 
 PQ 

 
 ( 279 ) 
 
 *v 
 
 
 e» f«. 
 
 
 
 OO CT\ 
 
 ^ IT. O <*V 
 
 O tr\ <& 
 
 M •* 
 
 o 
 
 
 »"- ?* 
 
 r- 
 
 <fr 1- 
 
 C\ iz-vOO r~- 
 
 OS M 0\ 
 
 Os «-« 
 
 Q 
 
 
 Vo V3 
 
 >o 
 
 vo \o 
 
 vo vo vo vo 
 
 vo r- vo 
 
 VO r- 
 
 
 
 
 
 
 ^ 
 
 ,-*_ 
 
 
 
 
 
 
 
 £ 
 
 1»N$ 
 
 
 73 
 
 
 1 
 £ 
 
 
 
 1 
 
 ii 
 
 
 > 
 
 
 
 
 
 
 
 
 ►3 
 
 
 5$ S 
 
 si 
 
 c> 
 
 d 
 
 £-1 |& 
 
 «-> *> s: s\, 
 
 
 
 
 SH 
 
 
 ft^ 
 
 BiS -Y- 
 
 ei*-P 
 
 H* 
 
 
 
 • 
 
 
 & 
 
 
 
 
 
 *■• 
 
 
 <tf 
 
 <tj 
 
 g 
 
 
 c 
 
 • »«« 
 
 t? 3 
 
 
 i ■ 
 
 M 
 
 -6 
 a 
 
 11 
 w.fi 
 
 . G 
 
 "«3 
 
 
 <L> 
 
 
 § 
 
 
 ►a fa 
 
 3 ^ 
 
 n 
 
 3 
 
 X 
 
 CO 
 
 c 
 
 '3^ 
 
 lr££a 
 
 1 b eH5 £? 
 
 b£ b 
 
 £•§ * 
 
 H 
 
 V 
 
 . 
 
 0000 
 
 O O H O 
 
 
 
 »-• 
 
 
 ii 
 
 
 *-i 
 
 cscse:«cae; s « 
 
 <Ec£! « i 
 
 £ £« 
 
 
 oJ 
 
 cq 
 
 
 SSSSSS^S £ 
 
 WW a ! 
 
 S 0-3 
 
 a 
 
 
 c\ 
 
 
 
 M ^ 
 
 vo r- 1— ©\ 
 
 O *t* VO 
 
 vo rt- 
 
 j-> 
 
 
 O M 
 
 M 
 
 IH H-t 
 
 *■< M M M 
 
 M ~l*« c* 
 
 Th WTN 
 
 
 m 
 
 
 vo \o 
 
 vo 
 
 vo vo 
 
 vo vo V© Vo 
 
 vo vo vo 
 
 VO Vo 
 
 ■a s .. 7 1 S r -S8 £ ,s,?,s 
 
 d •« ■ .1-8 "I*"** 
 
 
 r-^o ^x^ -A-, 
 
 C3 
 
 T3 
 
 tj 
 
 .Si 'S s 
 
 V) <L> O ^<
 
 ♦
 
 UNIVERSITY OF CALIEORNIA LIBRARY 
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 otivfl* 
 
 A0P 4 1990 
 
 490 
 
 m i o as; 
 NOV 04 1991 
 
 *J*
 
 3 1158 00095 4130 
 
 ND 
 1130 
 R39e 
 1725