UNIVERSITY OF CALIFORNIA 
 AT LOS ANGELES
 
 '
 
 De Arte Graphica. 
 
 THE 
 
 Art of Painting, 
 
 B Y 
 CADUFRESNOY. 
 
 WITH 
 
 REMARKS. 
 
 Translated into Englifh, 
 
 Together with an Original *Prej*ce containing 
 
 A PARALLEL betwixt PAINTING and POETRY 
 
 By Mr. 
 
 As alfo a Short Account of the mod Eminent POINTERS, 
 
 both Ancient and Modern, continu'd down to the 
 
 Prtfent Times 9 according to tbe Order of their Succeffion; 
 
 another Hand. 
 
 Vt Pittura Poefis erit - Hor. dc Arte Poetica. 
 
 L N V N y 
 
 Printed by J. Heptinftall for CO* EogerJ, at the Sun 
 againft St. Dttnflans Church in Fteetftreet. MDC XCV.
 
 
 OF THE 
 
 TRANSLATOR, 
 
 With a Parallel, '/ 
 
 Of /tory and Painting. 
 
 IT may be reafonably expe&ed, that I (hoif d 
 fay fomething on my own behalf, in refpect 
 to my prefent Undertaking. Firft , then , 
 the Reader may be pleas'd to know, that it was 
 not of my own choice that I undertook this 
 Work. Many of our moft Skillfull Painters, 
 and other Artifts, were pleasM ro recommend 
 this Authmr to me, as one who perfectly under- 
 ftood the Rules of Painting 5 who gave the beft 
 and moft concife Inftru&ions for Performance, 
 and the lureft to inform the Judgment of all who 
 
 ( a ) lov'd
 
 P R EF A C . 
 
 lov'd this noble Art. That they who before were 
 rather fond of it, than knowingly admir'd it, 
 might defend their Inclination by their Reafon r 
 that they might underftand thofe Excellencies 
 which they blindly valu'd, fo as not to be farther 
 impos'd on by bad Pieces, and to know when 
 Nature was well imitated by the moft able Ma- 
 flers. 'Tis true indeed, and they acknowledge 
 it, that befide the Rules which are given in this 
 Treatife, or which can be given in any other, 
 that to make a perfect Judgment of good Pictures, 
 and to value them more or lefs when compar'd 
 with one another, there is farther requir'd a long 
 converfation with the beft Pieces, which are not 
 very frequent either in prance or England ; yet 
 fome we have , not onely from the hands of 
 Hollein, (Rubens, and ramtyck, (one of them ad- 
 mirable for Hiftory- painting, and the other two 
 for Portraits,) but of many Htmjb-ltfafters, and 
 :hofe not inconfiderable, though tor Defign, not 
 equal to the Italians. And of thefe latter alfo, 
 we are not unfurnifli'd with fome Pieces of ( S^- 
 pbael, Tttiax, Correggio, Michael Angdo and ochers 
 But to return to my own undertaking of this 
 Tranflation, I freely own 5 that I thought my 
 ftlf uncapable of performing it, either to their Sa- 
 tisfaction, or my owa Credit. Not but that I. 
 
 under-,
 
 .- PREFACE. 
 
 underftood the Original Latine, and the Fm/c/ 
 tbour perhaps as well as moft Englifimen 3 But I 
 was not fufficiently vers'd in the Terms of Art : 
 And therefore thought that many of thofe perfons 
 who put this honourable task on me, were more 
 able to perform it themfelves, as undoubtedly 
 they were. But they affuring me of their affi- 
 ftance, in corre&ing my faults where I fpoke im- 
 properly, I was encourag'd to attempt it 5 that 
 I might not be wanting in what I cou'd, to fa- 
 tisfie the defiresof fo many Gentlemen who were 
 willing to give the world this ufefull Work. They 
 have effe&ually perform'd their promife to me ; 
 and I have been as carefull on my fide, to take 
 their advice in all things ; fo that the Reader may 
 aflfure himfelf of a tolerable Tranflation, Not 
 Elegant, for I proposed not that to my felf : but 
 familiar, clear and inftructive. In any of which 
 parts, if I have fail'd, the fault lies wholly at my 
 door. In this one particular onely I muft beg 
 the Readers pardon. The <Profe Translation of 
 the Toem is not free from Poetical Expreflions, 
 and I dare not promife thatfome of them are noc 
 fuftian, or at leaft highly metaphoricaj 5 but this 
 being a fault in the firft digeftion (that is, the 
 Original Latine) was not to be remedy 'd in the 
 fecond (v/^.) the Tranflation. And I may confi- 
 
 ( a 2 ) dently
 
 iv. PREFACE. 
 
 dently fay, that whoever had attempted it, muft 
 have fallen into the fame inconvenience ; or a 
 much greater, that of a falfe Verfion. When I 
 undertook this Work, I was already ingag'd in 
 the Tranflation of Virgil, from whom I have bor- 
 row'd onely two months, and am now return- 
 ing to that which I ought to under ftand better. 
 In the mean time I beg the Readers pardon, for 
 entertaining him fo long with my felf: 'Tis an u- 
 fual part of ill manners in all Authours, and al- 
 moft in all Mankind , to trouble others with 
 their bufinefs ^ and I was fo fenfible of it before- 
 hand; that I had not now committed it, unlels 
 feme concernments of the Readers had been inter- 
 woven with my own. But I know not, while I 
 am attoning for one Error , if I am not 
 falling into another: for I have been importun'd 
 to fay fomething farther of this Art $ and to make 
 iome ObferVations on-ir nv relation to the likenefi 
 and agreement which it has with <Pvetry its Sifter. 
 But before I proceed, it will not be amifs, ifI 
 copy from Bellori ( a moft ingenious Authour, 
 yet living) fome part of his Idea of a fainter , 
 which- cannot be unpleafing, at leaft to fuch w ho 
 are^converfant in the Philofophy of Plato. And 
 to avoid tedioufnefs, I will not tranllate the whole 
 Difcourfe, but take and leave as I find occafierk 
 
 God
 
 P R E FA C . .. 
 
 Almighty, in the Fabrique of tie Urifi>erfe> 
 firjl contemplated himfelf, and reflected on his own 
 Excellencies-^ from which be drew , and conjlituted 
 thofe firft Forms, which are calfd Idea's. So thai 
 every Species which was afterwards exprefs'd was pro- 
 due' d from that firft Idea , forming that wonderfull 
 contexture of all created Beings. But the Coelejtial 
 Bodies aboVe the Moon being incorruptible, and not fub- 
 jeft to change, remain d for e'Ver fair, andin perpetu. 
 al order: On the contrary,, all things which are fublu- 
 nary are fubjett to change, to deformity^ and to decay. 
 And though Nature always intends a confummate beau- 
 ty in her productions, yet through the inequality of the 
 Matter , the Forms are alter d.-, .and in particular, 
 Humane Beauty, fuffers alteration for the worfz, as 
 we fee to our mortification, in the deformities, anddif- 
 proportions whidi are in us. For which reafon the 
 Art full (painter and the Sculptour, imitating the VI- 
 Vine Maker, form to tbemfelves as well as they, are 
 able, a Model of the Superiour Beauties-, andrefteEling 
 on them endeavour to correB and amend the common 
 Nature -, and to refrefent it as it was firft created 
 without fault, either in Colour or in Lineament. 
 
 Tins Idea, which we may call the Goddefs of tpain- 
 ting and of Sculpture, defcends upon the Marble and the 
 Cloth, and becomes the Original of thofe Arts j and 
 being meafurd by the Compafs of the Intellect., is it 
 
 fef
 
 vl. 'PREFACE. 
 
 felf the Mcafure of the performing Hand*, and being 
 animated by the Imagination, tnfujcs Life into tbs 
 Imae. The Idea of the Painrer and the Sculptour, 
 is undoubtedly that perfect and excellent Example ef 
 the Mtnd-, by imitation of which imagmd form, all 
 things are refrefented which fall under humane fight : 
 S*cb is the Definition which is made by Cicero in his 
 Book of the Oratour to Brutus. " As therefore in 
 " Forms and Figures there is fomewhat which is Excel- 
 " lent and ^PerfecT;, to which imagmd Species all 
 " things are refer/ d by Imitation which are the Objecls 
 <c of Sight, in like manner we behold the Species^ 
 cc Eloquence in our Minds, the Effigies y or actual 
 ( Image of which we feck in the Organs of our Hear* 
 " ing. This is likewife confirm d by Proclus in the 
 " Dialogue of Plato calFd Timaeus: If, fays he, 
 " you take a Man, as be is made by Nature, and 
 " compare him with another who is the effect of Art ; 
 " the work of Nature will always appear the lefsbeau- 
 " tifull, becaufe Art is more accurate than Nature. 
 But Zeuxis, who from the choice which be made of 
 Five Virgins drew that wonderfull fiSure of He- 
 lena, which Cicero in his Oratour beforemention d, 
 fets before us as the moft perfeEl Example of Beauty, 
 at the fame time admonijkes a fainter, to contemplate 
 the Idea's of the moft Natural Forms ; and to make a 
 judicious choice of federal Bodies, all of them the moft 
 
 Elegant
 
 F R E F A C E. vij. 
 
 Elegant wind: be can find. <By which we may plainly 
 underfland that he, thought it impojfible to find in any 
 one Body all thofe (perfections which he fought for the 
 accomplishment of a Helena, becaufe Nature in any 
 individual perfon makes nothing, that is perfect in all its 
 parts. For this reafin Maximus Tyritis alfo fays, 
 that the Image which is taken by a fainter from feVe- 
 
 ral 'Bodies produces a Beauty , winch it is impoffible to 
 i j ' i *> 
 
 find in any jingle Natural Body, approaching to the 
 perfection of the faireft Statues. Thus Nature on 
 this account is fo much inferiour to Art , that thofe 
 drtifts who propofe to themfehes onely the imitation and- . 
 Itfanef? of fuch or fuch a particular perfon, without 
 election of thofe Idea'* bef ore-mention d, habe often 
 leen reproach* d for that omifflon : Demetrius was 
 taxd for being too Natural - t Dionyfius was alfo 
 blamd for drawing Men like us y and WM commonly 
 catfd 'AvSi?vmyz2.?(&, that #, a Paincer of Men, 
 In our times Michael Angelo da Caravaggio, was 
 efteemd too Natural. Hedrewperfons a* they were, 
 and Bambovio, and moft of the Dutch Painters ha\>e 
 drawn the worft likenefi. Lyfippus of old, upbraided 
 the common fort of Sculptours, for making Men fuch 
 ds they were found in Nature ; and boaftedof bimfelf 
 that he made them as they ought to be : which is a 
 (precept of Ariftotle, given as well to Poets as to 
 Painters, Phidias raisd an .admiration even to aflo-
 
 viij. PREFACE. 
 
 nijlmicnt, in thofe who beheld bis Statues, with 
 tiis Forms, which he gave to his Gods and Heroes ; 
 by imitating the Idea rather than Nature. And Gi- 
 cero [peaking of him affirms, that figuring Jupiter 
 &n d Pallas 7 he did not contemplate any Objeft from 
 whence he took the likenefs, but confider d in his own 
 mind a great and admirable form of Beauty , and accor- 
 ding to that Image in his Soul, he directed the operation 
 of his Hand. Seneca alfo feems to wonder, that 
 Phidias having never beheld either Jove or Pallas, 
 yet coud conceive their divine Images in his Mind. 
 Apollonius Tyanaeus fays the fame in other words, 
 that the fancy more inftrufts the Painter than the imi- 
 tation ; for the laft makes onely the things which it fees y 
 but the firft makes alfo the things which it never 
 fees. 
 
 Leon Battifta Alberti tells us, that we ought not 
 fo much to loVe the likenefs as the beauty, and to choofe 
 from the faireft Bodies feVerally the fairejl <Parts. 
 Leonardo da Vinci inftrufts the fainter to form 'this 
 Idea to himfelf: And Raphael, the greateji of all 
 modern Mafters, writes thus to Caftiglione, concer- 
 ning his Galatea : " To paint a Fair one, 'tis neceffary 
 "for me to fee many Fair ones ; but becaufe there is fo 
 <c great a fcarcity ofloVely Women, lam conftraind to 
 " make ufe of one certain Idea, which I baVeformdto 
 " my f e lf ^ my own fancy. Guido Reni fending to 
 
 Rome
 
 PREFACE ix. 
 
 Rome bis S/. Michael which he had fainted for the 
 Church of the Capuchins, at the fame time wrote to 
 Monfignor Maffano, who was Maeftro di Cafa 
 (or Steward of the Houfe) to <Pope Urban the Eighth, 
 in this manner. Iwifh I had the wings of an Angel, 
 to have afcended into Paradife, and there to have -be- 
 held the Forms of thofe beatify d Spirits, from which I 
 wight haVe copyd my Archangel : not being able 
 to mount fo high) it was in Vainformetofearchhif 
 refemblance here below ; fo that I was fore d to make an 
 Introfpeftion, into my own mind, and into that Idea 
 of Beauty, *which IhaVeformd in my own imagination. 
 LhaVe likewife created there the contrary Idea of de- 
 formity and uglinefs ; but I leave the confederation of 
 it, till I paint the Devil: and in the mean time fhun 
 the "Very thought of it as much as fojjihly I can, and 
 am even endeavouring to blot it wholly out of my re- 
 membrance. Tliere was not any Lady in att Antiquity, 
 who was Mtflrefs of Jo much Beauty as was -to be 
 found in the Venus of Gnidus 7 made by Praxiteles, 
 or the Minerva of Athens by Phydias j which was 
 'therefore call'd the Beautifull Form. Neither is there 
 any Man of the prefent Age, equal in the flrength, 
 proportion, and knitting of bis Limbs, to the Hercules 
 of Farnefc, made by Glicon : Or any Woman who -can 
 juftly becompardwith the Medicean Venus o/Cleo- 
 nienes. And upon this account, the noblejt poets 
 
 ( b ) and
 
 x. :"; v P R E FACE. 
 
 and the left Oratours, when they defer d to celebrate 
 any extraordinary Beauty , are fore d to have recourfe 
 to Statues and Pi&ures, and to draw their terfa* 
 and Faces into Comparifon. Ovid endeavouring to 
 exprefs the Beauty of Cillarus, tie falreft of the 
 Centaures, celebrates him as next in perfection, to the 
 rnoft admirable Statues. 
 
 Gratus in ore vigor, cervix, humeriq; manufqj 
 Pe<ftoraq; Artificum laudatis <Proxima Signis. 
 
 Apleafing Vigour Ins fair Face exprefs'd-, 
 HisNeck,bis Hands, bis Shoulders, andbisSreaft, 
 *Did next in Gracefulnefs and Beauty ft and, 
 To breatbing Figures of tbe Sculftou/s Hand. 
 
 In another place be fets Apelles above Venus,. 
 
 Si Venerem Cois nunquam pinxiflet Apelles y . 
 Merfa fub a:qiioris ilia lateret Aquis. 
 
 Tims "\>aryd* 
 
 One Birth to Seas tbe Cyprian Goddefs ou> 9 d, 
 A Second 'Birth tbe Painter' s Art beftowd: 
 Lefs by tbe Seas than by bis poufr wasgiv'n 5 
 TJ?ey made her foe, but beadyancd to HeaVn. 
 
 17;?.
 
 PREFACE. xi. 
 
 ** " i4 
 
 The Idea of this Beauty, is indeed Various, accor- 
 ding to the feVeral forms which the Painter or Scul- 
 ptour WQU d defcribe : As one in Strength, another in 
 Magnanimity , andfometimes it confifts in Chearfulnefs, 
 and fometimes in Delicacy $ and is always diVerJtfyd by 
 the Sex and Age. 
 
 The 'Beauty of Jove is one, and that of Juno ano- 
 ther : Hercules, and Cupid are perfect BeautitSy 
 though of different kinds 5 for Beauty is onely that 
 which makes all things as they are in their frofer and 
 perfect Nature; which the beft Painters always choofe 
 by contemplating the Forms of each. We ought farther 
 to conjtder, that a <Pilure being the reprefentation of 
 a humane action, the Painter ought to retain in his 
 mind, the Examples of all AffeBions, and Vajfionsy as 
 a Poet preferVes the Idea of an Angry man, of one 
 who is fearfull, fad or merry, and fo of all the reft. 
 For 'tis imfojjible to exprefs that with the Hand, which 
 ne^er enter d into the Imagination. In this manner as 
 I ha^e rudely and briefly frewn you. Painters and Scul- 
 ptours, choofing the moft elegant natural 'Beauties, per- 
 feftionate the Idea, and advance their Art, even aboVe 
 Nature it felf, in her individual productions, which is 
 the utmojl maftery of humane performance. 
 
 From hence arifes that aftoni^ment, and almofl ado- 
 ration which is paid by the Rowing to thofe divine YZ- 
 maindersof Antiquity. From hence Phydias, Ly- 
 
 ( b 2 ) fippus,
 
 xij. PREFACE. 
 
 fippus, and' other nobh Sculptours, a 
 Veneration ; and Apelles, Zeuxis, Protogenes, and 
 other admirable Painters, though their Works are pe- 
 rijtid, are and will be eternally admird$ who all of 
 them drew after the Idea'* of Perfection ; which are 
 the Mracles of Nature, the Providence of the Under- 
 ftanding, the Exemplars of the Mind y the Light of 
 t)x Fancy ; the Sun which from its rifing, infpirdthe 
 Statue of Memnon, and the fire which warm'd into 
 life the Image of Prometheus : 'Tis this which caufes 
 the Graces, and the Loves to take up- their habitations 
 in the bar deft Marble, andtofubfift in the emptinefs 
 of Light, and Shadows, fcutfince the Idea o/Elo- 
 \ quence 1*5 as far infmour to that of Painting, as tfe 
 force of Words is to the Sight 5 I muft here break off 
 abruptly, anha\nng conducted the Rezderasitwere to 
 afecret Walk, there leaVe him in the midjl of Silence to 
 contemplate thofe Idea's ; which I haVe onely fketch'd y 
 and which every man muft finifh for himfelf. 
 
 In thefe pompous Expreflions, or fuch as thefe 
 the Italian has given you his Idea of a fainter 3 and 
 though I cannot much commend the Style, I 
 muft needs fay there is fomewhat in the Matter : 
 Plato himfelf is accuftom'd to write loftily, imi- 
 tating, as the Critiques tell us, the manner of Ho- 
 wer 5 but furely that inimitable Poet, had not fo 
 much of. Smoke in his writing, though. not lefsof 
 
 Eire*.
 
 P R FACE. 
 
 Fire. But in fliort, this is the prefent Genius of 
 Italy. What Tbiloftratus tells us in the Troem of his 
 Figures is fomewhat plainer ; and therefore I will 
 tranflate it almoft word for word. " He who 
 " will rightly govern the Art of Painting, ought of 
 w mcejfity firft to under ftand Humane Nature. He 
 " ought likewife to be endued with a Genius to exfre/? 
 " the figns of their Paffions whom he reprefents ; and 
 " to make the dumb as it were to f peak: He muft' 
 " yet farther under ft and what is contain d in -the con- 
 " ftitution of the Cheeks, in the temperament of the 
 " Eyes, in the naturalnefl (if I may fo call it) of the: 
 " Eye brows : and in jhort whatfoe'Ver belongs to the 
 " Mind and Thought. He who throughly pojfejfes alt 
 " thefe things will obtain the whole. And the Hand 
 " will exquifitely reprefent the attion- of eVery fartictc- 
 c< lay- per f on. If it happen that- he he eitfer mad^ or 
 " an g r y-> wbndxiuptt) or chearfull, a J fright ly Youth, 
 " or a languishing LoVer-, in one word, he will be able 
 " to paint whatfoe'Ver is proportionable to any one: 
 " And even in all this there is afweet errour without 
 " caujing any fhame. For the Eyes and Minds of 
 a the beholders being f aft en d< on Objeff* which haVeno 
 u real Being, as if they were truly Exiftent, and he- 
 " ing indue' d by them to belieVe them fo, what flea/urt 
 " is it not capable of giving* Tfie Ancients? and 
 u other Wife Men, have written many things, concer-
 
 xlv. PREFACE. 
 
 " n'mg the Symmetry which is in the Art o/Paint- 
 " ing ; conftituting as it were fome certain "Laws for 
 " the proportion of every Member , not tfcwfag it 
 " poffible for a Painter to undertake the exprejjton of 
 " tbofe motions which are in the Mind, without a con- 
 " current Harmony in the natural meafure. For 
 " that which is out of its own kind and meafure, is 
 " not receiVd from Nature, wbofe motion is always 
 " right. On a ferious confederation of this matter it 
 " will bs found. That the Arc of Painting bos a 
 " wonderfull affinity with that of Poetry ; and that 
 c< there is betwixt them a certain common Imagination. 
 " For as the Poets introduce the Gods and Heroes, 
 " and all tbofe things which are either Majeftical, Ho- 
 " neft or Delightfully in like manner the Painters, by 
 " the Virtue of their Out-lines , Colour s y Lights and 
 " Shadows, reprefent the fame Things and Perfons 
 <c in their Pictures. 
 
 UM 
 
 Thus , as Convoy Ships either accompany , or 
 fhou'd accompany their Merchants till they may 
 profecute the reft of their Voyage without danger, 
 fo (fbiloftratus has brought me thus far on my 
 way, and I can now fail on without him. He 
 has begun to fpeak of the great relation betwixt 
 Wainting and Poetry, and thither the greateft part 
 of this Difcourfe by my promife was directed. 
 I have not ingag'd my felf to any perfect Method, 
 
 neither
 
 PREFACE: X v. 
 
 neither am I loaded with a full Cargo. 'Tis 
 fufficient if I bring a Sample of fome Goods in 
 this Yoyage. It will be eafie for others to add 
 rnqre when the Commerce is fettled. For a Trea* 
 tife twice as large as this of hunting coti'd not 
 contain all that might be faid on the Parallel of 
 thefe two Sifler>Arts. I will take my rife from 
 Mellon before I proceed to the Autbour of tlif 
 
 The bufinefs of his (preface is to prove, that a 
 learned fainter fliou'd form to himklf an Idea of 
 perfect Nature. This Image he is to fet before 
 his Mind in all his Undertakings, and to draw 
 from thence as from a Store- houfe, the Beauties 
 which are to enter into his Work 5 thereby cor- 
 recting Nature from what actually flie is in indi- 
 viduals, to what fhe ought to be, and what fhe 
 was created. Now as this Idea of VerfeMion is o 
 little ufe in (portraits (or the refemblances of par- 
 ticular perfons) fo neither is it in the Characters 
 of Comedy, and Tragedy j which are never to be 
 made perfect, but always to be drawn with fome 
 fpecks of frailty and deficience 5 fuch as they have 
 been defcribed to us in Htftory, if they were real> 
 Characters $ or fuch as the <Poet began to (hew them* 
 at their firft appearance 7 if they were onely ficti- 
 tious, (or imaginary.) The perfection of fuch*
 
 x\d. P R E T A C E. 
 
 Stage-cbaratters confifts chiefly in their likencfsto 
 the deficient faulty Nature, which, is their Origi- 
 nal. Onely, as it is obferv'd more at large here- 
 after, in fuch cafes jthere will always be found a 
 better likenefs , and a worfe 5 and the better is 
 conftantly to be chofen : I mean in Tragedy , 
 which reprefents the Figures of the higheft form 
 amongft Mankind. Thus in Portraits, the Tain* 
 ter will not take that fide of the Face which has 
 fome notorious blemifli in it j but either draw it 
 in profile fas Apelles did Antigonw, who had loft 
 one of his Eyes) or elfe flhadow the more imper- 
 fect fide. For an ingenious flattery is to be al- 
 Jow'd to the ProfefTours of both Arts ; fo long as 
 the likenefs is not deftroy'd. 'Tis true that all 
 manner of Imperfections muft not be taken away 
 from the Charafters, and the reafon is, that there 
 may be left fome grounds of pity for their mif- 
 fortunes. We can never be griev'd for their mi- 
 ferics who are thoroughly wicked, and have -there- 
 by juftly called their calamities on thetnfelves. 
 Such Men are the natural Objects of our hatred, 
 not of our commiferation. If on the other fide 
 their Characters were wholly perfect, (fuch as for 
 Example, the Cbaratter of a Saint or Martyr in a 
 Play, ) his, or her misfortunes, wou'd produce 
 .impious thoughts in the Beholders ; they wou'd 
 
 accufe
 
 , ; PREFACE. xvij. 
 
 accufe the Heavens of injuftice, and think of lea- 
 ving a Religion, where Piety was fo ill requited. 
 I fay the greater part wou'd be tempted fo to do, 
 I fay not that they ought : and the confequence is 
 too dangerous for the practice. In this I have 
 accus'd my felf for my own St. Catharine, but let 
 truth prevail. Sophocles has taken the juft medium 
 in his Oedipus* He is fomewhat arrogant at his 
 firft entrance ; and is too inquifitive through the 
 whole Tragedy: Yet thefe Imperfections being ba- 
 lanc'd by great Vertues, they hinder not our com- 
 paffion for his miferies 3 neither yet can they de- 
 ftroy that horrour which the nature of his Crimes 
 have excited in us. Such in fainting are the Warts 
 and Moles, which adding a likenefs to the Face, 
 are not therefore to be omitted. But thefe pro- 
 duce no loathing in us. But how far to proceed, 
 and where to ftop, is left to the judgment of the 
 *Poet and the Painter. In Comedy there is fome- 
 what more of the worfe likenefs to be taken. Be- 
 caufe that is often to produce laughter ; which is 
 occafion'd by the fight of fome deformity : but 
 for this I referr the Deader to Ariftotle. 'Tis a 
 fharp manner of Instruction for the Vulgar who 
 are never well amended, till they are more than 
 fufficiently expos'd. That I may return to the 
 beginning of this Remark , concerning perfect 
 
 ( c ) Ideas,
 
 X Yii> P R E FACE, 
 
 Ideas, I have oncly this to fay, that the Parallel!* 
 often true in Epique-Toetry. 
 
 The Heroes of the Poets are to be drawn accor- 
 ding to this Rule. There is fcarce a frailty to be 
 left in the beft of them; any more than is to be 
 found in a Divine Nature. And if jEneat fome- 
 times weeps, it is not in bemoaning his own mi- 
 feries, but thofe which his people undergo. If 
 this be an Imperfe&ion, the Son of God when he 
 was incarnate died tears of Compaffion over Je- 
 r.ufalem. And Lentulus defcribes him often weep- 
 ing, but never laughing 3 fothat Virgil is juftify'd 
 even from the Holy Scriptures. I have but one 
 word more , which for once I will anticipate 
 from the Autbour of this Book- Though itmuft be 
 an Idea of (perfection, from which both the Efique 
 $!oet, and the Hiftory Paint er draws; yet all Per- 
 fe&ions are not fuitable to all Subjects: But eve- 
 ry one muft be defign'd according to that per- 
 fe<5t Beauty which is proper to him. An Jpoflo 
 muft be diftinguifli'd from a Jupiter , a <P allot 
 from a Venus : and fo in Poetry an jEneas from 
 any other Heroe. : for *Piety is his chief PtrfefKofc 
 flower s Achilles is a kind of Exception to this Rule: 
 but then he is not a perfect Heroe, nor fo intend- 
 ed by the <Poet. All his Cods had fomewhat of 
 humane imperfection ; for which he has been 
 
 taxd
 
 P R E F A C E. xix. 
 
 tax'd by Plato, as an Irnitatour of what was bad. 
 But Virgil obferv'd his fault, and mended it. 
 Yet Achilles was perfect in the ftrength of his Bo- 
 dy, and the vigour of his Mind. Had he been 
 kfs paffionate, or lefs revengeful!, tht Poet well 
 forefaw that Hetor had been kilTd, and Troy ta- 
 ken at the firft aflfauk j which had deftroy'd the 
 beautifull contrivance of his Iliads, and the moral 
 of preventing Difcord amongft Confederate 
 Princes, which was his principal intention. For 
 the Moral (as <BoJfa obferves) is the firft bufinefs 
 of the Poet , as being the ground-work of his In- 
 ftruction. This being form'd, he contrives fuch 
 a Defign, or Fable, as may be moil fuitable to 
 the Moral. After this he begins to think of the 
 Perfons, whom he is to employ in carrying on 
 his Defign : and gives them the Manners, which 
 are moft proper to their fe veral Characters. The 
 thoughts and words are the laft parts, which give 
 Beauty and Colouring to the Piece. When I fay, 
 that the Manners of the Heroe ought to be good in 
 perfection, I contradict not the Marquefs of Nor- 
 tnantys opinion, in that admirable Verfe, where 
 fpeaking of a perfect Character, he calls it A Fault- 
 kfs Monjier, which the World ne'er knew. For jbat 
 Excellent Critique, intended onely to fpeak of Dra- 
 rnatique Characters , and not of Efi^ut. Thus at 
 
 ( c 2 ) Icaft
 
 xx. i P 1TE HC 
 
 lead I have fliewn, chat in the moft per 
 which is that of Firgil, z 'per f eft Idea was required, 
 and folio w'd. And conlequently that all fuccec- 
 ding Poets ought rather to imitate him, than even 
 Homer. I will now proceed as I promis'd, to 
 the Authour of this Book. He tells you almoftin 
 the firft lines of it, that the chief end of (Painting if 
 tofleafe the Eyes : and 'tis one great End of Poetry to 
 pleafe the Mind. Thus far the Parallel of the Arts 
 holds true : with this difference, That the principal 
 end of Painting is to pleafe $ and the chief defign 
 of Poetry is to inftruft. In this the latter feems to 
 have the advantage of the former. But if we con- 
 fider the Artijts themfelves on both fides, certain- 
 ly their aims are the very fame : they wou'd both 
 make fure of pleafing, and that in preference to 
 inftruction. Next, the means of this pleafure is 
 by Deceipt. One impofes on the Sight, and the 
 other on the Underftanding. Fittion is of theEf- 
 fence of- Poetry as well as of Painting ; there is a 
 rcfemblance in one,of Humane Bodies/Things and 
 Actions which are not real, and in the other, of 
 a true Story by a Fiction. And as all Stories are 
 not proper Subjects for an Efique Poem, or a Tra- 
 gedy, fo neither are they for a noble Pifture. The 
 Subjects both of the one, and of the other, ought 
 to have nothing of immoral, low, or filthy in 
 
 them ;
 
 PREFACE xxi. 
 
 them 5 but this being treated at large in the Book it 
 felf y I wave it to avoid repetition. Onely I muft 
 add, that though Catullut^Ovid and others were of a- 
 nother opinion, that the Subject of Poland even 
 their thoughts and expreflions might be loofe, pro- 
 vided their lives were chart and holy, yet there arc 
 no fuch licences permitted in tbatdrt any more than* 
 in Tainting to defign and colour obfcene Nudities. 
 Vita proba eft, is no excufe, for it will fcarcely be 
 admitted, that either a <Poet or a Painter can be 
 chaft, who give us the contrary examples in their 
 Writings and their Tiftures. We fee nothing of 
 this kind in Virgil: that which comes the neareft 
 to it, is the adventure of the CdVe y where Dido and 
 jEneas were driven by the Storm: Yet even there 
 the Poet pretends a Marriage before the Confum- 
 mation ; and Juno her felf was prefent at it. Nei- 
 ther is there any expreflion in that Story, which a 
 Gfyman Matron might not reade without 2. bluflu 
 Befides the Poet pafles it over as haftily as he can,, 
 as if he were afraid of (laying in the Cave with, 
 the two Lovers, and of being a witnefs to their 
 Actions. Now I fuppofe that a Painter wou'd 
 not be much commended, who fhou'd pick out 
 this Cavern from the whole Eneids, when there is 
 not another in the Work. He had better leave 
 them in their obfcurity , than let in a flafli ofij 
 
 Lightning,
 
 xxij. PREFACE. 
 
 Lightning to clear the natural darknefs of the 
 place, by which he m Lift dii cover himfelf as much 
 as them. The Altar -Pieces, and holy Decorati- 
 ons of (Painting, (how that Art may be apply'd 
 to better ufes, as well as Poetry. 
 
 And amongft many other inftances, the Far- 
 nefian Gallery, painted by Hannibal Carracci, is a 
 fuffkient witnefs yet remaining : the whole Work 
 being morally inftru&ive, and particularly the 
 Herculis BiVium, which is a perfect Triumph of 
 Vertue oVer Vice, as it is wonderfully well de- 
 fcrib'd by the ingenious Sellori. 
 
 Hitherto I have onely told the Deader what 
 ought not to be the fubject of a PiElure or of a 
 Poem: what it ought to be on either fide 5 our 
 Author tells us: it muft in general be great and 
 noble : and in this, the Parallel is exactly true. 
 The fubject of a Poet either in Tragedy or in an 
 Epique Poem is a great action of fome illuftrious 
 Hero. 'Tis the fame in Painting ; not every a- 
 dlion, nor every perfon is confiderable enough to 
 enter into the Cloth. It muft be the Anger of 
 an Achilles, the Piety of an jEneat, the Sacrifice 
 of an Iphigenia (for Heroins as well as Heroes are 
 comprehended in the Rule;) but the Parallel is 
 more compleat in Tragedy, than in an Epique 
 Poem. For as a Tragedy may be made out of 
 
 'many
 
 P R E F A C R. xxiij. 
 
 many particular Epifodes of Homer or ofPirgilj Fo 
 may a noble Picture be defign'd out of this or 
 that particular Story in either Author. Hiflory is 
 alfo fruitfull of defigns both for the fainter and 
 the Tragique Poet : Curtius throwing himfelf into 
 a Gulpb, and the two Decii facrificing themfelves 
 for the fafety of their Country, are fubjects for Tra- 
 gedy and PicJure. Such is Sclfio reftoring the Spa- 
 nl(h Bride, whom he either lov d or may be fup- 
 fos'd to love, by which he gain'd the Hearts of 
 a great Nation, to interefs themfelves for <%ome 
 againft Carthage: Thefe are all but particular 
 Pieces in Lilys Hiftory ; and yet are full com- 
 pleat Subjects for the Pen and Pencil Now the 
 reafon of this is evident. Tragedy and QiElure are 
 more narrowly circumfcnb'd by the Mechanic^ 
 Ovules of Time and Place than the Epique Poet/. 
 The time of this laft is left indefinite. 'Tis true, 
 Homer took up onely the fpace of eight and for- 
 ty days for his Iliads; but whether ffrgifs action 
 was comprehended in a year or fomewhat more, 
 is not determined by $ojfu* Homer made the place 
 of his action Troy, and the Grecian Camp befieging 
 it. Virgil introduces his &ne&s, fometimes in &'- 
 cifyy fometimes in Carthage, and other times at Cu- 
 m*t, before he brings him to Laurentum -, and even 
 after that, he wanders again to the Kingdom of 
 
 Evandee
 
 xxiv. P R F A C E 
 
 EVander and fome parts of Tufcany, before he re- 
 turns to finifh the War by the death of Turnus. 
 But Tragedy according to the Practice of the Anci- 
 ents, was always confin'd within the compafs of 
 2,4 hours, and feldom takes up fo much time. 
 As for the place of it, it was always one, and 
 that not in a larger Sence5 as for example, A 
 whole City or two or three feveral Houfes in it ; 
 but the Market or fome other publick place, com- 
 mon to the Chorus and all the Adtours. Which 
 eftablifli'd Law of theirs, I have not an oppor- 
 tunity to examine in this place, becaufe I cannot 
 do it without digreffion from my fubjecl:, though 
 it feems too ftricl: at the firft appearance becaufe 
 it excludes all fecret Intrigues, which are the Beau- 
 ties of the modern Stage : for nothing can be car- 
 ry'd on with Privacy, when the Chorus is fuppos'd 
 to be always prefent. But to proceed, I muft 
 lay this to the advantage of Painting, even above 
 Tragedy, that what this laft reprefents in the fpace 
 of many Hours, the former fliows us in one Mo- 
 ment. The Action, the Paffion, and the man- 
 ners of fo many Perfons as are contain' d in a 
 *Pifture, are to be difcern'd at once, in the twink- 
 ling of an Eye $ at leaft they would be fo, if the 
 Sight could travel over fo many different Objects 
 .all at once, or the Mind could digeft them all at 
 
 the
 
 PREFACE. xxv. 
 
 the fame inftant or point of time. Thus in the 
 famous Picture of Poujfin, which reprefents the 
 Inftitution of the Bkjfed Sacrament , you fee our 
 Saviour and bis twelve Difcifles, all concurring 
 in the fame action, after different manners, and 
 in different poftures, onely the manners of Judas 
 are diftinguifh'd from the reft. Here is but one 
 indivisible point of time obferv'd : but one acti- 
 on perform'dby fo many Perfons, in one Room 
 and at the fame Table : yet the Eye cannot 
 comprehend at once the whole Object, nor the 
 Mind follow it fo faftj 'tis confider'd at leifure, 
 and feen by intervals. Such are the Subjects of 
 Noble Pittures : and fuch are onely to be un- 
 dertaken by Nolle Hands. There are other parts 
 of Nature, which are meaner, and yet are the 
 Subjects both of Painters, and of Poets. 
 
 For to proceed in the Parallel, as Comedy is a 
 reprefentation of Humane Life, in inferiour per- 
 fons, and low Subjects, and by that means creeps 
 into the nature of Poetry, and is a kind of Juni- 
 per, a Shrub belonging to the fpecies of Cedar, fo 
 is the painting of Clowns, the reprefentation of a 
 Dutch Jfyrmis, the brutal fport of Snick or Snee, 
 and a thoufand other things of this mean inventi- 
 on, a kind of Pifture, which belongs to Nature, 
 but of the loweft form. Such is a La^ar in com- 
 
 ( d ) parifon
 
 PREFACE. 
 
 parifon to a Venus, both are drawn in Humane 
 Figures :, they have Faces alike, though not like 
 Faces. There is yet a lower fort of (poetry and 
 Painting, which is out of Nature. For a Farce is 
 that in poetry, which Grotefque is in a (Pffifftre. The 
 Perfons, and Action of a Farce are all unnatural, 
 and the Manners falfe, that is, inconfifting with 
 the chara&ers of Mankind. Grotefque-jpainting is the 
 juft refemblance of this ; and Horace begins his 
 Art of Poetry by defcribing fuch a Figure ; with 
 a Man's Head, a Horfe's Neck, the Wings of a 
 Bird, and a Fiflies Tail ; parts of different fpecies 
 jumbled together, according to the mad imagi- 
 nation of the Dawber $ and the end of all this, as 
 he tells you afterward, to caufe Laughter. A ve- 
 ry Monfter in a (Bartholomew-Fair for the Mob to 
 gape at for their two-pence. Laughter is indeed 
 the propriety of a Man, but juft enough to di- 
 ftinguifh him from his elder Brother, with four 
 Legs. "Tis a kind of Baftard-pleafure too, ta- 
 ken in at the Eyes of the vulgar gazers, and at 
 the Ears of the beaftly Audience. Church-Tain* 
 ters ufe it to divert the honeft Countryman at Pub- 
 lick Prayers, and keep his Eyes open at a heavy. 
 Sermon* And Farce-Scriblers make ufe of the 
 fame noble invention to entertain Citizens, Country- 
 Gentlemen, and Cogent-Garden Fops. If they are 
 
 merry.
 
 PREFACE *xxvij. 
 
 merry, all goes well on the Poet's fide. The bet- 
 ter fort goe thither too, but in defpair of Senfe, 
 and the juft Images of Nature, which are the ade- 
 quate pleafures of the Mind. But the Authour 
 can give the Stage no better than what was given 
 him by Nature: and the Attars mud reprefent 
 fuch things, as they are capable to perform, and 
 by which both they and the Scribbler may get their 
 living. After all, 'tis a good thing to laugh at 
 any rate, and if a ftraw can tickle a man, 'tis an 
 inftrument of happinefs. Beafts can weep when 
 they fuffer, but they cannot laugh. And as 
 Sir William DaVenant obferves in his Preface to Gon- 
 diberty *Tis the wlfdom of a Government to permit 
 Plays (he might have added Farces) as 'tis the pru- 
 dence of a Carter to put Sells upon Us HorfeSy to 
 make them carry their Burthens chearfully. 
 
 I have already fliewn, that one main end of 
 Poetry and Painting is to pleafe, and have faid 
 fomething of the kinds of both, and of their Sub- 
 je&s, in which they bear a great refemblance to 
 each other. I muft now confider them, as they 
 are great and noble Arts $ and as they are Arts y 
 they muft have G(uhsy which may direct them to 
 their common end. 
 
 To all Arts and Sciences, but more particularly 
 to thefe may be apply' d what Hippocrates fays of 
 
 ( d 2 . ,) Phyfick,
 
 xviij. PREFACE. 
 
 Phyfick, as I find him cited by an eminent French 
 Critique. " Medicine has long fubfifted in the 
 " World. Tlie ^Principles of it are certain, and it 
 cc has a certain way j by both which there has been* 
 " found in the courfe of many Ages, an infinite num- 
 " ber of things, the experience of which has confirm' d 
 " its ufefulnefs and goodnejs. All that is wanting to 
 " the perfection of this Art, will undoubtedly be found, 
 " if able Men, andfuch as are inftrufted in the An- 
 " dent Ovules will make a farther enquiry into it, and 
 " endeavour to arrive at that, which is hitherto un- 
 " known, by that which is already known. 'But all 
 <f ivbo having rejected the Ancient ^ules, and taken 
 " the oppojite ways, yet boaft themfelves to be Majlers 
 " of this Art, do but deceive others, and are them- 
 " fehes deceit d$ for that is abfolutely impojjlble. 
 
 This is notorioufly true in thefe two Arts : for 
 the way to pleafe being to imitate Nature 5 both 
 the Poets and the Painters, in Ancient times, and 
 in the beft Ages, have ftudy'd her : and from 
 the practice of both thefe Arts, the Rules have been 
 drawn, by which we are inftructed how to pleafe, 
 and to compafs that end which they obtained, by 
 following their Example. For Nature is ftill 
 the fame in all Ages, and can never be contrary 
 to her felf. Thus from the practice of JEfcbylus, 
 Sophocles, and Euripides, Ariftotle drew his Rules 
 
 for
 
 P R E FA C Bs xxfx. 
 
 for Tragedy ; and Pbiloftratus for Painting. Thus 
 amongft the Moderns, the Italian and French Cri~ 
 
 O ' v f 
 
 tiques by fludying the Precepts of Ariftotle, and 
 Horace, and having the Example of the Grecian 
 Poets before their Eyes, have given us the Rules 
 of Modern Tragedy: and thus the Critiques of ths 
 fame Countries, in the Art of Painting have given 
 the Precepts of perfecting that Art, 'Tis true that 
 Poetry has one advantage over Painting in thefe 
 laft Ages, that we have ftill the remaining Ex- 
 amples both of the Greek and LatinePoets : where- 
 as the Painters have nothing left them from Afel 
 les, Protogenes, Parrhafiw, Xeuxis and the reft, 
 but onely the teftimonies whrch arc given of their 
 incomparable Works. But inftead of this, they 
 have fome of their beft Statues, Bafs-<I(elieVo*S) 
 Columnsy Obilifques, Sec. which were fav'd out of 
 the common mine, and are ftill preferv'd in -It& 
 ly: and by well diftinguidiing what is proper to 
 Sculpture, and what to Painting, and what is com* 
 mon to them both, they have judicioufly repaired 
 that lots. And the great Gtnius of^fhael, and 
 others, having fucceeded tothe times of Barbarifra 
 and Ignorance, the knowledge of Painting is now 
 arriv'd to a fupreme perfe&ion, though the per* 
 formance of it is much declined in the prefent Age. 
 The greatcfl Age for Poetry amongft the tymans > 
 
 was.
 
 xxx. PREFACE. 
 
 was certainly that of Auguflus C*far$ and yet we 
 are told that (Painting was then at its loweft Ebb, 
 
 o 
 
 and perhaps Sculpture was alfo declining at the 
 fame time. In the Reign oDomitian y and fome 
 who fucceeded him, Poetry was but meanly cul- 
 tivated, but Painting eminently flourifli'd. I am 
 not here to give the Htflory of the two Arts ; how 
 they were both in a manner extinguifli'd, by the 
 Irruption of the barbarous Nations, and both rc- 
 ftor'd about the times of Leo the Tenth, Charles 
 the Fifth, and Francis the Firft j though I might 
 obferve, that neither Ariofto, nor any of his Cm- 
 temporary Poets ever arriv'd at the Excellency of 
 9(aphaelj Titian, and the reft in Painting. Bat in re- 
 venge at this time, or lately in many Countries,^- 
 etry is better practis'd than her Sifler-Art. To what 
 height the Magnificence and Encouragement of the 
 prcfentjj^'wg of France may carry Painting and Scul- 
 pture is uncertain, but by what he has done, before 
 the War in which he is ingag'd, we may expe& 
 what he will do after the happy Conclufion of a 
 Peace, which is the Prayer and Wifli of all thofe 
 who have not an intereft to prolong the miferies 
 of Europe. For 'tis moft certain, as our Author 
 amongft others has obferv'd, That Reward is the 
 Spur of Vertue, as well in all good Arts, as in all 
 laudable Attempts : and Emulation which is the 
 
 other
 
 P R E F A C / V XXXK 
 
 ather Spur, will never be wanting either am ongft 
 *Poets or (Painters, when particular Rewards and 
 Prizes are propos'd to the beft defervers. But to 
 return from this digrefiion, though it was almoft v 
 neceflaryj all the ^uks of Fainting are methodi- 
 cally, concifely, and yet clearly delivered in this 
 prefent Treatife which I have tranfiated. Bo/fa 
 has not given more exact Q(uks for the Epique ( Po- 
 em y nor Dacier for Tragedy, in his late excellent 
 Tranflation of Ariftotle and his notes upon him, 
 than our Frefnoy has made for fainting ^ with the 
 Parallel of which I muft refume my DifcourJe, , 
 following my Authors Text, though with more 
 brevity than I intended, becaufe Virgil calls me. 
 The, principal and moft impor tant farts of fainting) i$ 
 to know what tf >?w/? beautifuliinNatuw, andmoft 
 proper for that At: that w'hich is the moft beauci- 
 full is the moft noble Subject : fo in Poetry, Tra- 
 gedy is more beautifull than Comedy j becaufe, as 
 I faid, the Perfons are greater whom the (Poet'm- 
 ftructs, and confequently the inftructions of more 
 benefit to Mankind : the action is likewife great* 
 er and more noble, and thenee is deriv'dthe great- 
 er and more noble Pleafure. 
 
 To imitate Nature well in whatfoever Subject, \ 
 is the perfection of both Arts^ and that Ttfture - 
 and that <Poem which comes neareft to the refem- 
 
 blancer
 
 xxxij. PREFACE. 
 
 blance of Nature isthebeft. But it follows not, 
 that what pleafes moft in cither kind is therefore 
 good 3 but what ought to pleafe. Our deprav'd 
 Appetites, and ignorance of the Arts, miflead our 
 Judgments, and caufe us often to take that for 
 
 *- ^/ ' 
 
 true imitation of Nature, which has no refem- 
 blance of Nature in it. To inform our Judgments, 
 and to reform our Tafts , <%uks were invented, 
 rfiat by them we might difcern when Nature was 
 imitated, and how nearly. 1 have been forc'd 
 to recapitulate thefe things, bccaufe Mankind is 
 not more liable to deceit, than it is willing to con- 
 tinue in a plealing error ftrengthen'd by a long 
 habitude. The imitation of nature is therefore 
 juftly conftituted as the general, and indeed the 
 onely $(uk of plcafing both in Poetry and Paint- 
 ing. Ariflotle tells us, that imitation pleafes, be- 
 caufe it affords matter for a Reafoner to enquire 
 into the truth or falfliood of Imitation, by com- 
 paring its likenefs or unlikenefs with the Original. 
 But by this Rule, every Speculation in Nature, 
 \vhofe truth falls under the enquiry of a Pbilofo- 
 fher, muft produce the fame delight which is not 
 true 5 Ifliould rather aflign another reafon. Truth 
 is the Object of our Underftanding as Good is 
 of our Will: And the Underftanding can no 
 * more be delighted w ith a Lye, than the Will can 
 
 choofe
 
 P R E F A C E. xxxiij. 
 
 choofe an apparent Evil. As Truth is the end 
 of all our Speculations, fo the difcovery of it is 
 the pleafure of them. And fince a true know- 
 ledge of Nature gives us pleafure, a lively imita- : 
 tion of it, either in Poetry or Painting rauft of 
 neceffity produce a much greater. For iotb thefe 
 Arts as I faid before, are not onely true imitati- 
 ons of Nature, but of the bed Nature,, of that 
 which is wrought up to a nobler pitch. They pre- 
 fent us with Images more perfect than the Life in 
 any individual : and we have the pleafure to fee 
 all the fcatter'd Beauties of Nature united by a 
 happy Chymiftry, without its deformities or faults. 
 They are imitations of the paflions which always 
 move , and therefore confequently pleafe : for 
 without motion there can be no delight 5 which 
 cannot be confider'd, but as an active paflion. 
 When we view thefe Elevated Ideas of Nature, 
 the refult of that view is Admiration, which is 
 always the caufe of Pleafure. 
 
 This foregoing Remark, which gives the rea- 
 fon why imitation pleafes5 was fent me by Mr. 
 Walter Moyle, a m oft ingenious young Gentleman, 
 converfant in all the Studies of Humanity, much 
 above his years. He had alfo furnifli'd me (ac- 
 cording to my requeft) with all the particular 
 paflages in Arijlotk and Horace, which are us'd 
 
 ( e ) by
 
 xxxiv. , i;i: ;#R FACE: 
 
 by them to explain the Art of Poetry by that of 
 falniittg : which if ever I have time to retouch 
 this Effay, fhall be inferred in their places. Having 
 thus flhewn that Imitation pleafes, and why IE 
 pleafes in loth tbefe Arts, it follows that fome 
 (Rules of Imitation are neceflary to obtain the 
 end : for without <%uhs there can be no Art ; any 
 more than there can be a .Hbw/^wkhoLit a Door to 
 conduct you into it. The principal parts of 
 Painting and Poetry next follow. 
 
 Invention is the firft part, and abfolutely nece 
 fary to them both : yet no <I(ule ever was or ever 
 can be given how to compafs it. A happy Ge- 
 nius is the gift of Nature : it depends on the in- 
 fluence of the Stars fay the Aftrologers, on the Or- 
 gans of the Body fay theNaturalifts ; 'tis the par- 
 ocular gift of Heaven fay the Divines, both Cbri* 
 ftlans and Heathens. How to improve it many 
 Books can teach us ; how to obtain it none ; that 
 nothing can be done without it all agree. 
 
 Tu mlnliritita dices facie foe MinerVa. 
 
 Without Indention a Painter is but a Copier, ai>d a 
 Poet but a Plagiary of others. $htb are allow'd 
 fometimes to copy and tranflate ; but as our Au- 
 tbour tells you that is not the beft part of their Re,- 
 
 putation,.
 
 PREFACE. xxxv. 
 
 putation. Imitatours are but a Servile kind of Cattle, 
 fays the Poet ; or at beft, the Keepers of Cattle 
 for other men ; they have nothing which is pro- 
 perly their own ; that is a fufficient mortification 
 for me while I am tranflating Virgil. But to co- 
 py the bed Authour is a kind of praife, if I per- 
 form it as I ought. As a Copy after Raphael is 
 .more to be commended, than an Original of any 
 indifferent fainter. 
 
 Under this head of Indention is plac'd the Diffo- 
 fltion of the Work, to put all things in a beautifuR 
 order and harmony ; that the whole may be of a 
 piece. The Compositions of the fainter fhou'd be 
 conformable to the Text of Ancient Autbours, to 
 the Cuftoms, and the Times. And this is exact- 
 ly the fame in Poetry ; Homer, and Virgil, are to 
 be our guides in the Epique$ Sophocles, and Eu- 
 ripides, in Tragedy : in all things we are to imi- 
 tate the Cuftoms, and the Times of thofe Perfons 
 and Things which we reprefent. Not to make 
 new Q(ules of the Drama, as Lope^ de Vega has 
 attempted unfuccefsfully to do 5 but to be con- 
 tent to follow our Matters, who understood Na- 
 ture better than we. But if the Story which we 
 treat be modern, we are to vary the Cuftoms, 
 according to the Time and the Country where 
 Scene of Action lies : for this is ftill to imitate 
 
 ( e 2 ) Nature,
 
 xxxvi. PREFACE 
 
 Nature, which is always the fame, though in *. 
 different drefs. 
 
 As in the Composition of a <Piflitre, the(P^m- 
 ter is to take care that nothing enter into it, which" 
 is not proper, or convenient to the Subject ; fo 
 likewife is the Poet to reject all incidents which 
 are foreign to his Poem, and are naturally no parts 
 of it: they are Wenns, and other Excrefcences ,, 
 which belong not to the Body, but deform it. 
 no perfon, no incident in the Piece, or in the 
 Play, but muft be of ufe to carry on the main-' 
 Defign. All things elfe are like fix fingers to the 
 hand 3 when Nature which is fuperfluous in no- 
 thing, can do her work with five. A fainter muft 
 reject all trifling Ornaments, fo muft a Poet re- 
 fufe all tedious , and unneceffary Defcriptions., 
 A Robe which is too heavy, is lefs an Ornament 
 than a Burthen. 
 
 In Poetry Horace calls thefe things, Verftu ino* 
 pes rerun, nug&qm conor*-, thefe are alfo the 
 Incw & ara Dian<e, which he mentions in the 
 fame Art of Poetry. But fince there muft be Or- 
 naments both in Painting, and Poetry ^ if they are 
 not neceffary, they muft at leaft be decent : that 
 is, in their due place, and but moderately us'd, 
 1-he Painter is not to take fo much pains about 
 thie Drapery as about the Face, where the princi-
 
 PREFACE. xxxvij. 
 
 pal rcfemblance lies : neither is the <Poet who is 
 working up a paffion, to makefimiles which will 
 certainly make it languiflh. My Monte^uma dies- 
 with a fine one in his mouth : but it is ambitious 
 and out of feafon. When there are more Figures 
 in a Pi&ure than are neceffary, or at leaft orna- 
 mental, our Att-thour calls them Figures to lelett: 
 becaufe the Pifture has no ufe of them. So I have 
 leen in fome modern Plays above twenty Amours, 
 when the Adlion has not required half the num- 
 ber. In the principal Figures of a (pifture, the 
 (fainter is to employ the fine ws of his Art, for in - 
 them confifts the principal beauty of his Work. 
 Our Authow faves me the comparison with Tragedy r 
 for he fays that herein he is to imitate the Tragique 
 (Poet, who em ploys his utmoft force in thofe pla- 
 ces wherein confifts the height and beauty of the 
 A<5tion. Du Frefnoy, whom I follow, makes De- 
 jign or Drawing the fecond part of fainting : But 
 the Rules which he gives concerning the <Poftureof/ 
 the Figures, are almoft wholly proper to that Art$. 
 and admit not any co;/wj/<w that I know with 
 (poetry. The (Pofture of a (Poetique Figure is as I* 
 conceive, the Defcriftion of his Heroes in the per- 
 formance of fuch orfuch an Action: as of Achilles 
 juft in the ad of killing Hettor: or of jEnew who 
 has Turnus under him. Both the (poet and the
 
 PREFACE. 
 
 <Painter vary the Toftures according to the Aftion, 
 or Paflion which they reprefenc of the fame per- 
 fon. But all muft be great and gracefull in them. 
 The fame dim AS muft be drawn a Suppliant 
 to Dido with refpecl: in his Geftures, and humility 
 in his Eyes : But when he is forc'd in his own de- 
 fence to kill Laufus, the Poet fhows him compaf- 
 fionate, and tempering the feverity of his looks 
 with a reluctance to the Action, which he is go- . 
 ing to perform. He has pity on his Beauty, and 
 his Youth 3 and is loath to deftroy fuch a Mafter- 
 piece of 'Nature. He confiders Laufus refcuing 
 his Father at the hazard of his own life ; as an 
 Image of himfelf when he took Andrifa on his 
 Shoulders, and bore him fafe through the rage of 
 the Fire, and N the opposition of his Enemies. And 
 therefore in the pofture of a retiring Man, who 
 avoids the Combat, he ftretches out his Arm in 
 fign of peace, with his right Foot drawn a little 
 back, and his Breaft bending inward, more like 
 an Oratour than a Souldier ; and feems to diffwade 
 the Young man from pulling on his deftiny, by 
 attempting more than he was able to perform : 
 take the paflage as I have thus tranflated it. 
 
 'Shouts of Applaufe ran ringing through the Field, 
 To fee the Son, the Vanquifh'd Father (hield : 
 
 AU
 
 PR E.FAC .. xxxix. 
 
 All, fir d with noble Emulation, ftr'fw:, 
 And with a florin of Darts to dijlance drive 
 The Trojan Chief -, who held at Bay, from far 
 On bisVulcznunOrb, fuftain d the War. 
 ^Eneas thus o'erwbebnd on eVeryfide, 
 Tlmr firft A/fault undaunted did abide -, (cry'd, ' 
 And thus to Laufus, loud with friendly tbreatning 
 Why wilt thou rufh to certain, death, and rage 
 In raJJ? attempts beyond tby tender Age, 
 Betray* d ly r pious h^e* 
 
 And afterwards. 
 
 Uegnrf'Q he wept, tbe Sight an Image brought 
 Of his own Filial LoVe ; a Jadly pleafing thought. 
 
 But befide the Outlines of the Poflure, the 
 
 *\ 
 
 of the tpiSuret comprehends in the next place the. 
 forms of Faces which are. to be different : and fo 
 in a Poem, or a flay, muft the feveral Cbarafters 
 of the Perfons be diftinguifli'd from each other. 
 I knew a <Poet, whom out of refpect I will not 
 name, who being too witty himfelf, cou'd draw 
 nothing but Wits in a Comedy of his : even his 
 Pools were infected with the Difeafe. of their AH- 
 tbottr. They overflow'd with fmart Reperties^ 
 and were only diftinguifli'd from the intended 
 Wits by being call'd Coxcombs j though they de- 
 fcry'd not fo fcandalous a Name. Another, who
 
 PREFACE. 
 
 had a great Genius for Tragedy, following the fury 
 of his natural temper, made every Man and Wo- 
 man too in his Plays dark raging mad : there was 
 not a fober perfon to be had for love or money. 
 All was tempeftuous and bluftering $ Heaven and 
 Earth were coming together at every word ; a 
 meer Hurrican from the beginning to the end, 
 and every A6lour feem'd to be haftning on the 
 Day of Judgment. 
 
 Let every Member be made for its own Head, fays 
 our dutbour, not a wither d Hand to a young 
 Face. So in the Perfons of a Play, whatfoever is 
 faid or done by any of them, muft be confident 
 with the manners which the Poet has given them 
 diftinftly : and even the Habits muft be proper 
 to the degrees, and humours of the Perfons as 
 well as in a Pitture. He who enter d in the firft 
 Adt, a Young man like Pericles Prince of Tyre, 
 muft not be in danger in the fifth Aft, of com- 
 mitting Inceft with his Daughter: noranllfurer, 
 without great probability and caufes of Repen- 
 tance, be turn'd into a Cutting Moorcraft. 
 
 I am not fatisfy'd that the companion betwixt 
 the two Arts in the laft Paragraph is altogether fo 
 juft as it might have been j but I am fure of this 
 which follows. 
 
 The
 
 .PREFACE. xli. 
 
 The principal Figure of the Subject muft appear ih 
 the midft of the Pifture, under the principal Light to 
 diftinguijb it from the reft which are onely its at ten* 
 dants. Thus in a Tragedy or an Epique Poem, the 
 Hero of the Piece muft be advanced foremoft to 
 the view of the Deader or Spectator ; He muft 
 out-fliine the reft of all the Characters ; He muft 
 appear the Prince of them, like the Sun in the Co- 
 pernican Syftem, encompafs'd with the lefs noble 
 Planets. Becaufe the Hero is the Centre of the 
 main Adion ; all the Lines from the Circumfe- 
 rence tend to him alone : He is the chief object of 
 Pity in the Drama, and of Admiration in the E- 
 pique Poem. 
 
 As in a Picture, befides the principal Figures 
 which compofe it, and are plac'd in the midft 
 of it 5 there are lefs Grouppes or Knots of Figures 
 difpos'd at proper diftances, which are parts of 
 the Piece, and feem to carry on the fame Defign 
 in a more inferiour manner. So in Epique Poe- 
 try, there are Epifodes, and a Chorus in Tragedy, 
 which are Members of the A6lion, as growing 
 out of it, not inferted into it. Such in the ninth 
 Book of the Eneids is the Epifode of Nifus and Eu- 
 ryalus : the adventure belongs to them alone ; they 
 alone are the Objects of Compailiion and Admi- 
 ration 5 but their bufinefs which they carry on, 
 
 (O is
 
 xtij. ; PREFACE 
 
 is the general Concernment of the Trojan Camp, 
 then beleaguer'd by Turnus and the Lalines, as 
 the Chrijtians were lately by the Turks. They 
 were to advertife the chief Hero of the Diftrefles 
 of his Subjects occafion'd by his Abfence, to crave 
 his Succour, and follicite him to haften his Re- 
 turn. 
 
 The Grecian Tragedy was at firft nothing buc 
 a Chorus of Singers, afterwards one Attor was in- 
 troduc'd, which was the (Porthimfelf, who enter- 
 tain' d the people with a difcourfe in Verfc, betwixt 
 the Paufes of the Singing. This fucceeding with 
 the People , more Aftors were added to make the 
 variety the greater 5 and in procefs of time, the 
 Chorus onely fung betwixt the ABs $ and the Co- 
 ripbdus, or Chief of them fpokefor the reft, as an 
 Attor concerned in the bufinefs of the <Play. 
 
 Thus Tragedy was perfected by degrees, and be- 
 ing arriVd at that Perfection, the Painters might 
 probably take the hint from thence, of adding 
 Grouppes to their <PiElures. But as a good '?/- 
 Sure may be without a Grouppe; fo a good Tra- 
 gedy may fubfift without a Chorus : notwithftand- 
 ing any reafons which have been given by Dader 
 to the contrary. 
 
 Monfkur Racine has indeed us'd it in his Efiher^ 
 feut not that he found any neceffity of it, as 
 
 the
 
 PREFACE. xliij. 
 
 the French Critique would infinuate. The Chorus 
 at St. Cyr, was onely to give the young Ladies an 
 occafion of entertaining the S^ing with vocal Mu- 
 fick, and of commending their own Voices. The 
 *Play it felf was never intended for the publick 
 Stage, nor without difparagement to the learned 
 Author, could poffibly have fucceeded there, and 
 much lefs the Translation of it here. Mr. Wi- 
 therly, when we read it together was of my opini- 
 on in this, or rather I of his ; for it becomes me 
 fo to fpeak of ib excellent a !Poef, and fo great a 
 Judge. But fince I am in this place, as Virgil fays, 
 Sfatiis exclufus iniquis$ that is, fhorten'd in my 
 time, I will give no other reafon, than that it is 
 impracticable on our Stage. A new Theatre 
 much more ample and much deeper muft be 
 made for that purpofe, befides the coft of fome- 
 times forty or fifty Habits, which is an expence 
 too large, to be fupply'd by a Comfany of ABors. 
 'Tis true, I (hould not be forry to fee a Chorus 
 on a Theatre, more than as large and as deep a- 
 gain as ours, built and adorn* d at a f\jng's 
 Charges, and on that condition , and another , 
 which is, That my Hands were not bound be- 
 hind me, as now they are 5 I (hould not defpair 
 of making fuch a Tragedy* as might be both in- 
 
 O & / ' J2 
 
 urudive and delightfujl, according to the man- 
 ner of the Grecians. ( f 2 To
 
 xliv. PREFACE. 
 
 To make a Sketchy or a more perfect Model of 
 a Pitture, is in the Language of Poets, to draw 
 up the Scenary of a (P/djy, and the reafon is the 
 fame for both ; to guide the Undertaking, and 
 to preferve the Remembrance of fuch things, 
 whofe Natures are difficult to retain. 
 
 To avoid Abfurdities and Incongruities, is the 
 fame Law eftablifli'd for both Arts. The Painter is 
 not to paint a Cloud at the Bottom of a Piflure, 
 but in the uppermoft parts : nor the Poet to place 
 what is proper to the end or middle in the begin- 
 ning of a Poem. I might enlarge on this, but 
 there arc few Poets or Painters, who can be fup- 
 pos'd to fin fo grofly againft the Laws of Nature, 
 and of Art. I remember onely one flay, and 
 for once I will call it by its name, The Slighted 
 Maid: where there is nothing in the Firji AEi, but 
 what might have been faid or done in the Fifth 5 
 nor any thing in the Midfl, which might not have 
 been plac'd as well in the Beginning or the End. To 
 exprefs the Paflions which are feated in the Heart 
 by outward Signs, is one great Precept of the 
 Painters, and very difficult to perform. In Poe- 
 try, the fame Paffions and Motions of the Mind 
 arc to be exprefs'd -, and in this confifts the prin- 
 cipal Difficulty, as well as the Excellency of that 
 Art* This, fays my Author, is the Gift of Jupi- 
 ter :
 
 PREFACE. ' xlv. 
 
 ff r : and to fpeak in the fame Heathen Language,. 
 we call it the Gift of our A 'polio : not to be obtained 
 by Pains or Study, if we are not born to it. For. 
 the Motions which are ftudied are never fo natu- 
 ral, as thofe which breakout in the height of a re- 
 al Paffion. Mr. Otway poflefs'd this part as tho- 
 roughly as any of the Ancients or Moderns. I wiji 
 not defend every thing in his Venice prefenfd; but 
 I muft bear this teftimony to his Memory, That 
 the Paffions are truly touched in it, though perhaps 
 there is fomewhat to be defir'd both in the Grounds 
 of them,and in the Height and Elegance ofExpreffi* 
 on 5 but Nature is there,which is the greateft Beauty. 
 In the (Papons, fays our Author, we muft have 
 a Very great regard to the quality of f the (Perfons who 
 are actually poffefs'd with them. The Joy of a Mbr 
 narcb for the news of a Victory, muft not be ex>- 
 prefs'd like the Ecftafy of a Harlequin on, the Re- 
 ceipt of a Letter from his Miftrefsj this is Ib 
 much the fame in both the Arts, that it is no longer 
 a Comparifon. What he fays of Face painting, or 
 the Protrait of any one particular Perfon ; con- 
 cerning the likenefs is alfo as applicable to <Poetry* 
 In the character of an Hero, as well as in an inferi- 
 or Figure, there is a better or worfe likenefs to 
 be taken 3 the better is a ( Panegyrickif it be not 
 falli, and the worfe is a Libel : Sophocles, fays A? 
 
 riftotk
 
 xlv;. ," PREFACE 
 
 riftotle always drew men as they ought to be, that 
 'is better than they were j another, whofe name I 
 have forgotten, drew them worfe than naturally 
 they were. Euripides altered nothing in the Cha- 
 racter, but made them fuch as they were reprc- 
 fented by Hiflory, Epique Toetry or Tradition. Of 
 the three, the draught of Sophocles is moft com- 
 mended by Ariftotle. I have followed it in that 
 part of Oedipus, which I writ, though perhaps I 
 have made him too good a man. But my Cha- 
 racters of Anthony and Cleopatra, though they are 
 favourable to them, have nothing of outrageous 
 *Panegyrick, their Pa/lions were their own, and 
 fuch as were given them by Hiflory, onely the de- 
 formities of them were caft into Shadows, that they 
 might be Objects of Companion j whereas if 
 I had chofen zNoon-day Light for them, fomewhat 
 muft have been difcoverd, which would rather 
 have mov'd our Hatred than our Pity. 
 
 The Gothique manner, and the barbarous Orna- 
 ments, which are to be avoided in a Tifturey are 
 juft the fame with thofe in an ill ordered ( P/^/. For 
 example, our Englifb Tragicomedy muft be confefs'd 
 to be wholly Gotlrique, notwithftanding the Succefs 
 which it has found upon our Theatre, and in the 
 Paftor Fido.of Guarini j even though Corifca and 
 the Satyr contribute fomewhat to the main Aclion. 
 
 Neither
 
 PREFACE xlvij. 
 
 Neither can I defend my Spanifi Fryar, as fond * 
 as otherwife I am of it from this Imputation : for 
 though the comical parts are diverting, and the fe- 
 rious moving, yet they are of an unnatural min- 
 gle. For Mirth and Gravky deftroy each other, 
 and are no more to be allow'd for decent, than 
 a gay Widow laughing in a mourning Habit. 
 
 I had almoft forgotten one confiderable refcm- 
 llance. Du Frefnoy tells us, That the Figures of the 
 Grouppes, mujl not be all on a fide, that is, with 
 their Face and Bodies all tunid the fame way 5 ut 
 mujl contraft each other by their federal portions. Thus 
 in a (P/djy, fome characters muft be raised to op- 
 pofe others $ and to fet them off the better, ac- 
 cording to the old Maxim, Contraria juxta fe po- 
 flta y magis elucefcunt. Thus in the Scornful! Lady> 
 the Ufurer is fet to confront the Prodigal. Thus 
 in my Tyrannicque LoVe, the Atheift Maximin is og- 
 pos'd to the character of St. Catharine. 
 
 I am now come, though with the omi/fion of 
 many Likenejfes, to the third Part ofTamtingj 
 which is calFd the Cromatique or Colouring, E& 
 preffion, and all that belongs to words, is that in- 
 a Poem, which Colouring is in a (Pitture. The 
 Colours well chofen in their proper places, toge- 
 ther with the Lights and Shadows which belong; 
 to them, lighten the Defign, and make it pleafing 
 
 to
 
 P R E F A C -E. 
 
 to the Eye. The Words, the Expreffions, the 
 Tropes and Figures, the Verfification, and all 
 -the other Elegancies of Sound, as Cadences, 
 Turns of Words upon the Thought, and many 
 other things which are all parts of expreffion, 
 perform exactly the fame Office both in Dra- 
 watijue and Epique Poetry. Our Author calls Co- 
 louring, Lena Sororis, in plain Englifli, The Bawd 
 of her Sifter the Defign or Drawing : die cloaths, 
 flie drefles her up, fhe paints her, fhe makes her 
 appear more lovely than naturally flie is, (he pro- 
 cures for the Dejign, and makes Lovers for her. 
 For the Dejign of it felf, is onely fo many naked 
 lines. Thus in Poetry , the Exprejfflon is that 
 \vhich charms the Q(eader, and beautifies the De- 
 fign which is onely the Out-lines of the Fables. 
 iTis true, the Dejtgn muft of it felf be good j if 
 it be vicious or (in one word) unpleafing, the 
 coft of Colouring is thrown away upon it. 'Tis 
 an ugly woman in a rich Habit fet out with Jew- 
 els, nothing can become her : but granting the 
 Dejtgn to be moderately good, 'tis like an ex- 
 cellent- Complexion with indifferent Features j the 
 white and red well mingled on the Face, make 
 what was before but. pauable, appear beautifulL 
 fiperum Colores is the very word which Horace ufes, 
 to fignify Words and elegant Expreffions, of which 
 
 he
 
 PREFACE. xlix. 
 
 he himfelf was fo great a Mafter in his Odes. A- 
 mongft the Ancients, Zeuxis was moft famous 
 for his Colouring. Amongft the 'Moderns, Titian 
 and Correggio. Of the two Ancient Epique Poets, 
 who have fo far excell'd all the Moderns, the In- 
 dention and Defign were the particular Talents of 
 Homer. Virgil muft yield to him in both, for 
 the Defan of the Latine was borrowed from the 
 
 J o 
 
 Grecians But the dittio Virgiliana, the expreffion 
 of Virgil '; his Colouring was incomparably the bet- 
 ter, and in that I have always endeavour' d to 
 copy him. Moft of the Pedants I know main- 
 tain the contrary, and will have Homer excell e- 
 ven in this part. But of all people, as they are 
 the moft ill mannerd, fo they are the worft 
 Judges ; even of words which are their Province, 
 they feldom know more than the Grammatical 
 conftruction , unlefs they are born with a Poetical 
 Geniw-j which is a rare Portion amongftthem. 
 Yet fome I know may ftand excepted ; and fuch 
 I honour. Virgil is fo exact in every word, that 
 none can be chang'd but for a worfe : nor any 
 one remov'd from its place, but the banfiohy will 
 be alter'd. He pretends fometimes to trip ; but 
 'tis oncly to make you think him in danger of a 
 fall , when he is moft fecure. Like a skilfull 
 dancer on the Ropes (if you will pardon the 
 
 ( g ) meannefs
 
 PREFACE: 
 
 meannefs of the fimilitude) who flips willingly 
 and makes a feeming ftumble, that you may 
 think him in great hazard of breaking his neck $ 
 while at the fame time he is onely giving you a 
 proof of his dexterity. My 1'ate Lord Gfyfcomon was 
 often pleas'd with this reflexion, and with the 
 examples of it in this admirable Author. 
 
 I have not leifure to run through the whole 
 Compart fon of Lights and Shadows with Tropes and 
 Figures; yet I cannot but take notice of Metaphors, 
 which like them have power to leflen or greaten 
 any thing. Strong and Rowing Colours are the juft 
 refemblances of bold Metaphors, but both muft be 
 judicioufly apply 5 d 5 for there is a difference be- 
 twixt daring and fool-hardinefs. Lucan and Sta- 
 tins often ventur'd them too far, our Virgil never. 
 But the great defect of the Thar/alia and the The- 
 lais was hi the Defegn ; if that had been more per- 
 feel", we might have forgiven many of their bold 
 ftrokes in the Colouring j or at leaft excused them : 
 yet fome of them are fuch as Dcmoftbcnes or Cice- 
 ro could not have defended, ffrgily if he could 
 have feen the firft Vcrfes of the Sylv*, would have, 
 thought Statins mad in his fuftian Defcription of 
 the Statue on the brazen Horfe. But that Toet was al- 
 ways in a Foam at his fetting out, even before the. 
 Motion of the Race had warrn'd him. The fa- 
 
 berne-s
 
 PREFACE. II 
 
 bernefs of Virgil, whom he read it feems to little 
 purpofe, might have fliown him the difference be- 
 twixt, Armd virumfo cano, and Magnanimum ja- 
 cidem, formidatamfc tonanti frogeniem. But Virgil 
 knew how to rife by degrees in his expreffions : 
 Statins was in his towring heights at the firft ftretch 
 of his Pinions. The defcription of his running 
 Horfe juft ftarting in the Funeral Games for Ar- 
 chemoruf, though the Verfes are wonderfully fine, 
 are the true Image of their Author. 
 
 Stare adeo nefdt, fereunt Veftigia mille 
 
 Ante fugam; abfentemfyferitgraVis ungula camfum. 
 
 Which would coft me an hour, if I had the lei- 
 furetotranflatethem, there is fo much of Beauty 
 in the Original. Virgil, as he better knew his 
 Colours, fo he knew better how and where to place 
 them. In as much haft as I am, I cannot for- 
 bear giving one example. 'Tis faid of him, 
 That he read the Second, Fourth and Sixth (Books 
 of his jEneids to Auguftus Cxfar. In the Sixth, 
 (which we are fure he read, becaufe we know 
 Ottavia was prefent, who rewarded him fo boun- 
 tifully for the twenty Verfes which were made in 
 honour of her deceased Son Marcellus) in this fixth 
 Book I fay, the <Poet fpeaking of Mifenus the 
 Trumpeter, fays, ( g ^ )
 
 lij, PREFACE 
 
 .... ..... Quo non prtftantior alter, 
 
 JEn ciere 
 
 And broke off in the Hemyftick or midft of the* 
 Verfe : but in the very reading fiez'd as it were 
 with a divine Fury y he made up the latter part of 
 the Hemyftick) with thefe following words $ 
 
 .-. ..... Jtfartemq; accendere cantn. 
 
 How warm, nay how glowing a Colouring is this ! 
 In the beginning of the Verfe, the word Ms^ or 
 Brafs, was taken for a Trumpet, becaufe the In- 
 ftument was made of that Metal, which of it felf 
 was fine 5 but in the latter end, which was made 
 ex tempor&, you lee three Metaphors, Martemque, 
 - accendere, ..... cantu. Good Heavens ! how the 
 plain fence is rate'd by the Beauty of the words. 
 But this was Happinefs, the former might be on- 
 ly Judgment : this was the curiofa felidtas, which 
 Qetroniits attributes to Horace, 'tis the Pencil thrown 
 luckily full upon the Horfes mouth to exprefs the 
 Foam which the fainter with all his. skill could 
 not perform without it. Thefe hits of words a 
 true <Poet often finds, as I may fay, without 
 feeking : but he knows their value when he finds 
 them, and is infinitely pleas'd. AiW!P0#may 
 
 fome-
 
 P RE FA C E. 
 
 Ibmetimes light on them, but he difcerns not a 
 Diamond from a Bnftolftone 5 and would have 
 been of the Coch mind in y/0/>, a Grain of Bar- 
 ley would have pleas' d him better than the JeweL 
 The Lights and Shadows which belong to Colouring^ 
 put me in mind of that Verfe in Horace, Hoc a- 
 mat ohfcurum, ^ult hoc fub luce Yiderl : fome parts 
 of a Foem require to be amply written,, and with, 
 all the force and elegance of Words : others muft. 
 be caft into Shadows; that is, pafs'd over in fi- 
 lence , or but faintly touch'd. This belongs 
 wholly to the. Judgment of the (poet and the Wain* 
 ter. . The moft beautifull parts of the fifture and 
 the (poem muft be the moft finifli'd, the Colours 
 and Words moft chofen ; many things in both 
 which are not deferving of this care, muft be fhif 
 ted off; content with vulgar expreflions and thofe 
 very fhort, and left as inafhadow to the imagi- 
 nation of the Deader. 
 
 We have the Proverb, manum de tabula, from, 
 the Painters 5 which fignifies, to know when to 
 give over, and to lay by the Pencil. Both Ho- 
 mer and Virgil practised this (Preceft wonderfully 
 well, but Virgil the better of the two. Homer- 
 knew that when Heftor was flain, Troy was as 
 good as already taken ; therefore he concludes his 
 Aftion there. For what, follows in the Funerals
 
 liv. PREFACE 
 
 of Tatroclus, and the redemption of He&or's Bo- 
 dy, is not (properly fpeaking) a part of the main 
 Action. But Virgil concludes with the death of 
 Turnus: for after that difficulty was removed, JE- 
 neas might marry and eftablifli the Trojans when 
 he pleas'd. Tins Q(uk I had before my Eyes in the 
 conclufion of theS/?dw/ Fryar, when the difcove- 
 ry was made, that the King was living, which 
 was the knot of the Tlay unty'd, the reft is (hut 
 up in thecompafs of fome few lines, becaufe no- 
 thing then hinder'd the Happinefs ofTorifmondand 
 Leonora. The faults of that Drama are in the 
 kind of it, which is Tragicomedy. But it was 
 given to the people ; and I never writ any thing 
 for my felf but Anthony and Cleopatra. 
 
 This Remark I muft acknowledge is not fo pro- 
 per for the Colouring as the 'Dejign; but it will hold 
 for both. As the words, &r. are evidently (hown 
 to be the cloathing of the Thought, in the fame 
 fenfe as Colours are the cloathing of the Defign, 
 fo the (fainter and the <Poet ought to judge ex- 
 a&ly, when the Colouring and Expreflions are 
 perfeft, and then to think their work is truly 
 finifli'd. Apelles faid of Vrotogems , Tliat he 
 knew not when to give over. A work may be over- 
 wrought as well as under-wrought : too much 
 Labour often takes away the Spirit by adding to 
 
 the
 
 P R E FAC E. lv. 
 
 the polifliing $ fo chat there remains nothing but a 
 dull corre&nefs, a piece without any confiderable 
 Faults, but with few Beauties ; for when the Spi- 
 rits are drawn off, there is nothing but a caput mor- 
 tunm. Statins never thought an expreffion could 
 be bold enough ; and if a bolder could be found 
 he rejected the firft. Virgil had Judgment enough 
 to know daring was neceflary ; but he knew the 
 difference betwixt a gloving. Colour and a glaring ; 
 as when he compared the fliocking of the Fleets 
 at Aftium to the juftling of I/lands rent from their 
 Foundations, and meeting in the Ocean. He knew 
 the comparifon was forc'd beyond Nature anck 
 rais'd too high : he therefore foftens the Metaphor 
 with a Credos. You would aimoft believe, that 
 Mountains or Iflands rufKd againft each 
 
 Credos innare reVulfas 
 
 Cydadds: aut montes concumre montibus 
 
 But here I muft break off without finifliing the 
 Difcourfe. 
 
 Cyntkius aurem Vellit O* admonuit, <&c. the things 
 which are behind are of too nice a confideration 
 for an Etfay, begun and ended in twelve Morn- 
 
 JJ . ' O 
 
 ings, and perhaps the Judges of 'Pdmfwg.and <Poe< 
 fry, when I tell them, how ihort a time it coft 4 .
 
 Ivi. : PREFACE. 
 
 me, may make me the fame anfwer, which my 
 late Lord <%ocbefter made to one, who to com- 
 mend a Tragedy , faid it was written in three weeks^ 
 How the Devil could he be io long about it ? For 
 that *Poem was infamoufly bad ; and I doubt this 
 Parallel is little better j and then the fliortnefs of 
 the time is fo far from being a Commendation, 
 that it is fcarcely an Excuie. But if I have really 
 drawn a Portrait to the Knees, or an half length 
 with a tolerable Likenefs, then I may plead with 
 fome Juftice for my felf, that the reft is left to 
 the Imagination. Let fome better Artift pro- 
 vide himfelf of a deeper Canvas, and taking thefe 
 hints which I have given , fet the Figure on its 
 Legs, and finifh it in the Invention, Defign and 
 Colouring.
 
 Ivij, 
 
 PREFACE 
 
 O F T H E 
 
 French Author. 
 
 AMong all the beautiful and delightful 
 Arts, that of Painting has always 
 found the mofl Lovers 5 the number 
 of them almoft including rf# Mankind. 
 Of whom great multitudes are daily found \ who 
 value tbemfelves on the kiiowledge of it\ either 
 becaufe they keep company with Painters, or that 
 they have feen good Pieces 3 or laftly, becaufe 
 their Gufto is naturally good. Which notwith- 
 ftanding, that Knowledge of theirs (if we may 
 fo call it) is fo very fuperficial, and fo ill ground- 
 ed > that it K impoffible for them to defer ibe in 
 what confifts the beauty cfthofe Works which they 
 admire, or the faults which are in the. greateft 
 
 { h ) fart
 
 MT. PREFACE 
 
 fart cftbofe which they condemn: and truly V/5 
 net hard to find, that this proceeds from no other 
 caufe, than that they are not furnffi d with Rules 
 by which to judge, nor have any folid Foundati- 
 ons, which are as fo many Lights fet up to clear 
 their unJerftanding and lead them to an entire 
 and certain faow/edge. I think, it fuperfluous 
 to prove that this it nece/ary to the knowledge of 
 Painting. *Tis fufficient, that Painting be ac- 
 knowledgd for an Art 5 for that being granted 
 it follows without difpute, that no Arts are with- 
 out their Precepts. Ifhatt fatisfy my felf with 
 telling you, that this little Treatife witt furnijh 
 you with infallible Rules of judging truly : fince 
 they are not o?iely founded upon right Reafon 
 but upon thebeft Piece5 of the be ft Matters* which 
 our Author hath carefully examin d during the 
 fpaceof 'more than thirty years ; and on which he 
 has made all the reflections which are necejfary to 
 render thi& Treatife worthy of Pofterity : which 
 though little in bult^ yet contains mo ft judicious 
 Remar^s^ and fuffers nothing to efcape that is ef- 
 fential to the Subject which it handles. If you 
 will pleafe to reatf it with attention, you will 
 find it capable of giving the moft nice and deli- 
 cate fort ^/Knowledge, not onely to the Lovers, 
 but even to the- Profeflors of, that Art.
 
 PREFACE: 
 
 It would be too long to tell you the particular 
 advantages which it has above all the Books 
 which, hath affeard before it in this kjnd: you 
 need onely to read it, and that mil convince you 
 of this truth. All that I mil allow my fe/f to fay, 
 /5 onely this, That there is not a word in it, which 
 carries not its weight-, whereas in all others, 
 there are two confiderable faults which lie cj>en 
 to the fight, (viz.) That faying too much, they 
 always fay too little- / a/ure myfelf, that the 
 Reader will own 'tis a wor\ of general profit , to 
 the Lovers of Painting, for their inftruffion how 
 to judge exaftly 5 and with Knowledge of the Caufe, 
 which they are to judge. And to tk Painters 
 themfelvcs, by removing their difficulties, that 
 they may worJ^ with fleafure ; becaufe they may 
 be in fome manner certain that their Productions 
 are good. *Ti& to be ufed like Spirits and preci- 
 ous Liquours, thelefsyou cfrinl^of it at a time 
 'tis with the greater fleafure: read it often, and 
 but little at once, that you may digefl it better 5 
 and dwell farticularly on thofe pa/ages which 
 you find marled with an Afterifm*. For the 
 obfervations which follow fuch a Note, will give 
 you a clearer Light, on the matter which is there 
 treated. Tou will find them by the Numbers 
 which are on the fide of the Tranflation, from five 
 
 ( h 2 ) , ft 
 
 1
 
 P REFA C E. 
 
 to five Vcr fcs ; by fearching for the likf Number 
 in the Remarb which are at the end of it, and 
 which are diftinguijtid from each other by this 
 note T- Tou will fin Jin the latter Pages of this 
 Book, the Judgment of the Author on thofe 
 Painters, who have acquire/ the grcateft Repu- 
 tation in the World. Among/I whom, he was not 
 willing to comprehend tbofe who are now living: 
 They are undoubtedly his, as being found among 
 his Papers written in his own hand. 
 
 As for the Profe Tranflation which you will 
 find on the other fide of the Latine Poem, Imuft 
 inform you on whatoccafion, and in what manner 
 it was perform d. The Love which I had for Pain- 
 ting, and the pleafure which I found in the Ex- 
 ercife of that noble Art, at my lei fare hours, gave 
 me the defire of being acquainted with the late 
 Mr. du FRESNO Y 5 who was generally reputed 
 to have a through knowledge of it. Our Ac- 
 quaintance at length proceeded to that degree of 
 Intimacy 5 that he intrufled me with his Poem, 
 wbitb he believd me capable both of underftan- 
 ding, and tranflating $ and accordingly defird 
 me to undertake it- The truth is y that we bad 
 confers d fo often on that Subje<5t, and he had 
 communicated his Thoughts of it fo full) to me $ . 
 that t Lhadnot the leafl remaining difficulty con- 
 cerning
 
 PREFACE. Ixi 
 
 eerning it- 1 undertook therefore to tranflate />, 
 and imployd my felf in it with Pleafure, Care, 
 and Affiduby j after which ^ I put it into his 
 hands, and he alter d in it what he pleas' d, till 
 at loft it was wholly to his Mind- And then he 
 gave his Confent that it jhould be publijh'd: 
 but his Death preventing that Defign, I bought 
 it a wrong to his Memory, to deprive Mankind 
 any longer of this Tranflation, whichlmayfafe- 
 ly affirm to be done according to the true fence of 
 the Author, and to his liking: Since he him* 
 felf has given great Teftimomes of his Approba- 
 tion to many of his Friend i, and they who were 
 acquainted with him^ know his humour* tabe fitch,, 
 that he woud?iever con/train himfelf fo far, at to 
 commend what he did not really approve. / 
 thought my felf obligd to fay thus much, invinr 
 die at ion of the faithfulnefs of my Work, to thofe 
 who under ft and not the Latine : for as to thofe* 
 who are conversant in both the tongues, Heave 
 them to make their own judgment of it. 
 
 The Remarks which I have added to his worlc, 
 are alfo wholly co?iformable to hi* opinions 5 and' 
 lam certain that he woud not have difapprovd' 
 them. I have endeavour d in them to explain- 
 feme of the mo ft obfcure palTages , and thofe 
 which aremojlncccffwy to be underflood ; and'
 
 Ixij. PREFACE. 
 
 I bow done this according to the manner wherein 
 he usdto exfrefs himfelfjn many Converfations 
 which we had together. I have confine/ them 
 a/fo to the ?iarroweft compafs I was able^ that I 
 might not tire the patience of the Reader, and 
 that they might be read by all perfons. But if it 
 happens, that they are not to the taft of fome 
 Readers (as doubt lefs it will fo fall out) Heave 
 them entirely to their own discretion, and fb all 
 not be difpleasd that another hand jlouJ fuc- 
 ceed better. Ijhall onely beg this favour from 
 them, that in reading what I have written, they 
 will bring no particular gufto along with them, 
 or any prevention of mind, and that whatfoever 
 judgment they make, it may be -purely their own, 
 whether it be in my favour, or in my condem- 
 nation.
 
 i 
 
 A TABLE of the Precepts 
 
 Contain'd in this T R EA TISE. 
 
 . - ' 
 
 F what is Beautiful, p. 7 
 Of Theory and PratticeS 
 Concerning the Suljefl. 1 1 
 Invention the firfl part of 
 
 Painting. 1 1 
 
 The Difpofition of the whole 
 
 Work. ib. 
 
 The Faithfulness of the Sul- 
 
 jett. ib. 
 
 Whatfoever palls the Suljeft 
 
 to be re jetted. 1 5* 
 
 Defign, or Drawing the fe- 
 
 cond part of Painting. \ 6 
 Variety in the Figures. 1 9 
 The Members and Drapery of 
 
 every Figure to &e fuita* 
 
 lie to it. ib. 
 
 The Aftions of Mutes to le 
 
 imitated. ib. 
 
 Of the principal Figure of 
 
 the Suljett. ib. 
 
 Qrouppes of Figures. 10 
 The Diverfity of Poflures in 
 
 the Grouppes. ib. 
 
 Equality of the Piece. ib. 
 Of the number of Figures. 13 
 Of the Joints and Feet. ib. 
 
 The Motions of the Hands 
 and Head muft agree, ib. 
 
 What mufl le avoided in the di- 
 Jlrilution of the Figures^. 
 
 That we mufl not tie our fellies 
 to Nature, lut accommo- 
 date her to our Genius. X4 
 
 Ancient Figures the Rules of 
 imitating Nature. x/ 
 
 A Jingle Figure how to le 
 treated. ib. 
 
 Of the Draperies. ib. 
 
 What things contribute to a- 
 dorn the Pifture. 3 1 
 
 Of precious Stones and Pearls 
 for Ornament. ib. 
 
 The Model. ib. 
 
 The Scene of the Pitture. ib. 
 
 The Graces and thetfoHenefs. 
 
 ib. 
 
 Let every thing le fet in its 
 proper place. ib. 
 
 Of the Paffions. 32- 
 
 Gothique Ornamns to le a- 
 voided. ib. 
 
 Colouring the third part of 
 
 Painting. 3 5- 
 
 The.
 
 Ixlv. 
 
 INDEX. 
 
 The Conduct of the Tones of 
 .Light and Shadows. 3 9 
 
 Of dark Bodies on light 
 grounds. 40 
 
 That there nwft not le two e- 
 qual Lights in a Pifturc. 43 
 
 OfWhite and Black. 44 
 
 fbe Reflection of Colours. 4 7 
 
 The Vnion of Colours. ib. 
 
 Of the Jnterpofition of Air. ib. 
 
 The relation of D /fiances. 48 
 
 Of Bodies which are diftancd. 
 
 ib. 
 
 Of Bodies which are contigu- 
 ous , and of thofe which are 
 federated. ib. 
 
 Contrary 'extremities to le a- 
 voided. ib. 
 
 Diverpty of Tones and Co- 
 lours, ib. 
 
 The Choice of Light. 5-1 
 
 Of certain thing? relating to 
 the practical part, ib. 
 
 The Field, or Ground of the 
 
 Picture, ib. 
 
 Of the Vivacity of Colours. $z 
 
 Of Shadows. ib. 
 
 The Pifture to&e of one Piece. 
 
 ib 
 
 The Looking-glafs ?he Pain- 
 ters left Mafler. ib. 
 
 An half Figure, or a whole one 
 before others. ib. 
 
 i Portrait. 55 
 
 The place of the Piclure. ib. 
 
 Large Lights. ^6 
 
 What Lights are requipte. ib. 
 
 Things which are vicious in 
 Painting to le avoided, ib. 
 
 The prudential part of a Pain- 
 ter, ib. 
 
 The Idea of a beautiful Piece. 
 
 ** 
 
 Advice to a young Paint er\b. 
 
 Art muft le fubfervicnt to 
 
 the Painter. 60 
 
 Diverfity and Facility are 
 
 pleajing. ib. 
 
 The Original muft le in the 
 
 Head, and the Copy on the 
 
 Cloth. ib. 
 
 The Compafs to le in the 
 
 Eyes. ib. 
 
 Pride an Enemy to good 
 
 Painting. 63 
 
 Knon> yourjelf. ib. 
 
 Praftife perpetually. 64 
 The Morning moft proper for 
 
 Work. ib. 
 
 Every day dofomcthing. ib. 
 The Pajfions which are true 
 
 and natural ib. 
 
 OfTable-Books. 6j 
 
 The method of Studies for a 
 
 young Painter. 7 1 
 
 Nature and Experience per- 
 fetl Art. 7 $ 
 
 THE
 
 THE ART 
 
 O F 
 
 r% A f -%. . T T"* 
 
 PAINT
 
 DEARTH 
 
 /"^ O A Tl TT T <O \ 
 
 GKAFHICA 
 
 LIBER. 
 
 UT PICTURA POESIS ERIT ; fimilifque 
 Sit (PicJura, refert far <tmula qu<tfc /or or em,. 
 Alternantque Vices ^r nomina j muta tPoefis 
 TDlcltur b<tc, tPiftura loquensfolet ilia Vocari. 
 
 @t*od fuit auditu gratum cecinere *Poet<t, 
 
 (hod pulchrum afpefttt tPiElores finger e cur ant : 
 
 Qutque (Poetarum numeris indignafuere, 
 
 Non eadem Pittorum oferam ftudiumque merentur :.- 
 
 Amb<t quippe facros ad fylligionh lonores 
 1 o. Sydereos fuperant ignes, dulamque Tonantis 
 
 bigrefoj Dtium afpeflu, alloquioque fruuntur $ 
 Oraque magna 'Deum w ditta obferVata reportant, 
 Codeftemque fuorwn operum mortalibus ignem. 
 bide per kunc orbemftudiiscoeuntibtuerrant, 
 
 Carfentes
 
 THE 
 
 Art of Painting. 
 
 * "W^VAinting and Poefy are two Sifters, which 
 \J are fo like in all things, chat they mu 
 tually lend to each other both their 
 
 i y-x/r* y-v n i are more aw- 
 
 Name and Orhce. One is call d a/>/? txfkutd 
 dumb Poefy, and the other a fpeaking Pi&ure/*^* **" 
 The Poets have never faid any thing but what j. 
 they believ'd would pleafe the Ears. And it has 
 been the conftant endeavour of the Painters to 
 give pleafure to the Eyes. In fliort, thofe things 
 which the Poets have thought unworthy of their 
 Pens, the Painters have judg'd to be unworthy 
 of their Pencils. * For both of them, that they 
 might contribute all within their power to the 
 facred Honours of Religion, have rais'd them- \ o . 
 felves to Heaven, and, having found a free ad- 
 miffion into the Palace of JoVe himfelf, have en- 
 joy'd the fight and converfation of the Gods 5 
 whofe Majefty they obferve, and contemplate 
 the wonders ot their Difcourfej in order to relate 
 them to Mankind ; whom at the fame time they, 
 infpire with thofe Cceleftial Flames, which fliine 
 fo glorioufly in their Works. From Heaven they 
 
 B z take
 
 Tbe Art of Fainting. 
 
 take their paflage through the World 5 and arc 
 neither (paring of their pains nor of their ftudy to 
 
 jr. colled whatfoever they find worthy of them. 
 *They dive (as I may fay) into all paft Age*; 
 and fearch their Hiftories, for Subjects which are 
 * proper for their ufe : with care avoiding to treat 
 of any but thofe which, by their noblenefs, or by 
 fome remarkable accident, have defcrv'd to be 
 confecrated to Eternity, whether on the Seas, or 
 
 20. Earth, or in the Heavens. And by this their 
 c f ire and ftudy it comes to pafs, that the glory 
 of Heroes is not extinguish' d with their lives : 
 and that thofe admirable works, thofe prodigies 
 of skill, which even, yet are the objects of our ad- 
 miration, are ftill preferv'd. * So much thefe Di- 
 vine Arts have been always honour'd : and fuch 
 ^ authority they preferve amongft Mankind. Ic 
 will not here be necefTary to implore the fuccour 
 of Apollo, and the Mules : for the g.raceftilnefs of 
 the Difcourfe^ or for the Cadence of the Verfes : 
 which containing onely Precepts, have not fa 
 much need of Ornament, as of Perfpicuity. 
 
 o. I pretead not in this Treatife to tye the hands 
 of Artifts, whofe skill confifts onely in a certain 
 practice, or manner which they have affe&ed; 
 and made of it as it were a Common Road. 
 Neither would I ftifle the Genius by a jumbled 
 
 heap
 
 De Arte Graphics 
 
 Carpentes qu* dignafui, reVolutaque luflrant 
 Tempora. Qu^rendis confortibus Argumentis. 
 
 'Demcjue qutcumque in codo, terraque, marique 
 Longius in tempus durare, ut pukbra, merentw> 
 Nobilitate fua claroque inpgnia cafn y 
 Dives & amfla manet <Pittores atque <Poetas 
 Materies, inde aha fonant per facula mundo 
 in^ magnammw Heroibus inde fuperjtes 
 a^ perfetuoque aperum miracula reftant : 
 Tantns ineft divis honor Artibm atque 
 
 Now mibi (pieriduw chorus hie, nee Apollo "Vocandits, 25,. 
 Majus jit eloquium numeris aut gratia fandi 
 Dogmaticis illuftret opw rationibus horrens : 
 Cum nitidatantitm&facili digefta loquela., , 
 Ornari pr<ecepta negant $ content a doceri. 
 
 Nee, mibi mens an'mufoe fuit conftringere nodos J o. 
 
 Artifcmm manibiM) quos tantum dirigit ufus 5 
 Indolis ut Vigor inde potens obftriftus bebefcatj 
 
 Nor-
 
 De Arte Graphica. 
 
 TSLonnarum numero immani Geniumquc moretur 
 
 Sed rerum ut fallens Ars cogmtlone gradatim 
 
 Nature fefe mjinuet y Irerique capacem 
 
 Tranfeat in Gemum y Geniufque ufu induat Artem. 
 
 imprimis Artifyue fotijjima pars eft, 
 
 ( * m re ^ N atura crearit ad Artem 
 
 iPulchritifjidqueModumjuxta, Mentemque Vetuftam, 
 
 DePukhro. ^ e ut( * m re ^ N atura crearit ad Artem 
 
 40. Q<L fi ne farbaries c<eca & temeraria Pukhrum 
 fifyfifft* infukans ignota audacior Arti, 
 Ut curare nequit, qua non modo ncfrerit effe, 
 Uludapud Fitter esfuit, unde notabile dittum, 
 Nil Piftore malo fecurius atquc Poeta. 
 
 Cogniu
 
 The Art of fainting, f 
 
 heap of Rules: nor extinguifli the fire of a veicr 
 which is lively and abundant. But rather to 
 make this my bufinefs, that Art being ftrength- 
 ned by the knowledge of things, may at length 
 pafs into Nature by flow degrees ; and fo in pro- j j, 
 cefs of time may be fublim'd into a pure Genius 
 which is capable of choofing judicioufly what is 
 true 5 and of diftinguifliing betwixt the beauties 
 of Nature, and that which is low and mean in 
 her ; and that this Original Genius by long exer- 
 ciie and cuftoms, may perfectly poflefs all the 
 Rules and Secrets of that Art. 
 
 * The principal and moft important part of Poepti. 
 
 _ . . > r r , j , r , , r Of what is 
 
 Painting, is to hnd out and thoroughly to un- e **tifiiU. 
 derftand what Nature has made moft beautifull, 
 and moft proper to this Art ; * and that a choice 
 of it may be made according to the guft and 
 manner of the Ancients, * without which all is 40. 
 nothing but a blind, and radi barbarity $ which 
 rejects what is moft beautifull, and feems with an 
 audacious infolence to defpife an Art, of which 
 it is wholly ignorant : which has occafion'd thefe 
 words of the Ancients : Tliat no man isfo boU, fo 
 rafh, and fo overweening of bisowniwrh, as an ill 
 Painter, and a lad *Poet, who are not confciotts to 
 tlxmf elves of their own Ignorance.
 
 8 the Art of fainting. 
 
 4j. -* We love what we underftand j we defire 
 what we love 3 we purfue the enjoyment of thofe 
 things which we defire ; and arrive at laft to the 
 pofleffioh of what we have purfu d, if we con- 
 ftantly perfift in our Defign. In the mean time, 
 we ought not to expect that blind Fortune (hould 
 infallibly throw into our hands thofe Beauties : 
 For though we may light by chance on fome 
 which are true and natural, yet they may prove 
 either not to be decent or not to be ornamental. 
 
 5 o. Becaufe is is not fufficient to imitate Nature in 
 every circumftance, dully, and as it were literally, 
 and meanly 5 but it becomes a Painter to take 
 what is mod beautifull, * as being the Soveraign 
 Judge of his own Art ; and that by the progrefs 
 which he has made, he may underftand how to 
 correct his errors, and * permit no tranfient 
 Beauties to efcape his obfervation. 
 of 7% * In the fame manner, that bare practice, de- 
 
 Prattler, ftitute of the Lights of Art, is always fubject to 
 fall into a Precipice like a blind Traveller, wich- 
 
 5 j. out being able to. produce any thing which con- 
 tributes toafolid reputation: So the fpeculative 
 part of Painting, without the affiftance of manual 
 operation, can never attain to that perfection 
 which is its object : But floathfully languishes as 
 in a Prifon : for it was not with his Tongue that 
 
 Afdles
 
 De Arte Graphics 9 
 
 Cognita amas, & amata cupis, fequerifque cupita .j 45", 
 Pa/ibus affequeris tandem qu# ferridus urges ;- 
 Ilia tamen qu<t puldra decent j non omnia cafus 
 Qualiacumque dabunt, etiamVe fimillima Veris : 
 Nam quamcumque modo ferVili haudfuffiit iff am 
 Naturam exprimere ad Wum, fed ut Arbiter Artis j o. 
 Seliget ex ilia tantttm pukberrima ViElor. 
 fluodque minus pulcbrum, aut mendofum corriget ipfe 
 Marte ftto, forma Vemres captando fugaces. 
 
 Utque manusgrandi nil nomine praElica dignum 
 
 ri purum arcan* quam deficit Artis 
 Lumen j & in prdceps abitura ut cxca Vagatur 5 
 Sic nibil Ars opera manuum privata fupremum 
 Exequatur, fed languet iners uti vintta lacertos ; 
 >ifpojitumque t)pum non lingua pinxit Apelles. 
 
 C 
 
 II. 
 
 turn.
 
 De Arte Graphics. 
 
 60. Ergo licet tot a normam baud pojjimus in Arte 
 
 (Ponere, (cum nequeant qu<t funt pulcberrima did) 
 Nitimur b<ec pancis, Jcrutati fumma magiftrrt 
 Dogmata Nature, Artifque Exemplaria prima 
 Altius intuit i j Jlc mcns babihfque facultas 
 Indolis excolitur, Geniumque fcientia compkt, 
 Luxurianfque in monftra furor compefcitur Arte : ' 
 Eft modus in rebus, funt certi denique fines, 
 Quos ultra citraque nequit confiftere rectum.. 
 
 turn. 
 
 OeArgur pfa pofetis, eritoptandum TliemanoKle y pulcbrum, 
 
 7 a Quofyue "Venuftatum circa Formam atque Color em 
 Sponte capax amplam emerit* mox pr&beat Arti 
 Materiam, retegens aliquidfalis <^ document*. 
 
 Tandem i
 
 The Art of Painting. * it 
 
 dpelles perform'd his Noble Works. Therefore 60. 
 though there are many things in Painting, of 
 \vhich no precife rules are to be given ( * becaufe 
 the greateft Beauties cannot always be exprefs'd 
 for want of terms) yet I fhall not omit to give 
 fome Precepts which I have fele&ed from among 
 the moft considerable which we have received 
 from Nature, that exact School- miftrefs, after ha- 
 ving examin'd her moft fecret recefles, as well as 
 ^ thofe Mafter-pieces of Antiquity, which were 
 the firft Examples of this Art : And, 'tis by this 
 means that the mind, and the natural difpofition 65,. 
 are to be cultivated ; and that Science perfects 
 Genius, * and alfo moderates that fury of the 
 fancy, which cannot contain it felf within the 
 bounds of Reafon 3 but often carries a man into 
 dangerous extremes : For there is a mean in all 
 things 3 and a certain meafure, wherein the good and 
 the heautifull confijl - y and out of which they never 
 can depart. 
 
 This being premised, the next thing is to make ^. 
 choice of * a Subject beautifull and noble \theSahjei 
 which being of it ielf capable of all the charms. 70. 
 and graces, that Colours, and the elegance of 
 Defigncan poffibly give, fhall afterwards afford, 
 to a perfect and confummate Art, an ample field 
 of matter wherein to expatiate it felf5 to exert all 
 
 C 2 its
 
 12 The Art of Painting. 
 
 its power, and to produce foraewhat to the fight 
 which is excellent, judicious, * and well fea- 
 fon'd 5 and at the fame time proper to inftruct, 
 and to enlighten the Underftanding. 
 
 Thus at length I enter into the Subject-matter 
 of my Difcourfe 5 and at firft find only a bare 
 ftrain'd Canvafs : * on which the whole Machine 
 (as it may be call'd) of the Pi&ure is to be dif- 
 pos'd; and the imagination of a powerfull, and 
 eafy Genius 5 * which is what we properly call 
 
 the Indention. 
 
 f * INVENTION is a kind of Mufe, 
 which being poflefs'd of the other advantages 
 common to her Sifters 5 and being warm'd by 
 the fire of JpoBo, is rais'd higher than the reft, 
 and fhines with a more glorious, and brighter 
 flame. 
 
 iv. * 'Tis the bufinefs of a Painter, in his choice 
 
 tionorOfu- of Poftures, to forefee the effect, and harmony of 
 r ^ e ^ nts an ^ Shadows, with the Colours which 
 are to enter into the whole ; taking from each of 
 them, that which will moft conduce to the pro- 
 duction of a beautifull Effect. 
 
 v. * Let your Compofitions be conformable to 
 
 fhe tne Text of Ancient Authours, toCuftoms, and 
 to Times. 
 
 *Takr
 
 De Arte Graphica. 
 
 ^ 
 
 Tandem opus aggredior, primoque occurrit in Al&o 
 Difponenda typi concepta potente MinerVa 
 
 J t- -'X L I 
 
 Macbina, qu# noftris Inventio dicitur oris. 
 
 Ilk quidem pnits ingemis inftrufla Sororum 
 Artitus Amidum-i & <PMi fublimior * 
 
 prma 
 r.e pars. 
 
 @u<erendafque inter PofiturM, luwinis, 
 Atque futurorum jam fr^fentm colorum 
 far erit harmoniam, captando ab utrifque Venuftm. 
 
 IV. 
 
 Difpofitio,^ 
 ve opens to- 
 
 tius Oeconc- 
 mia, 
 
 80. 
 
 Stt Tbematts venuma ac VtVa expreffio mxta V. 
 
 T- AS " f ' - FidelitasAir-i 
 
 Jextum dntiquorum, proprus cum tempore formis. gumenti. 
 
 Nee
 
 J4 ' De Arte Graphica. 
 
 VL .. Nee quod inane, nilril facit ad rem, fh& Videtur 
 Inane rejici- * . . . , J * / 
 
 .endum. Improprtum, mmimeque urgent, pottor a tenebit 
 Ornament a of ens 5 Tragicafed legefororis 
 Summaubi res agitvr, Vis fumwarequiritur Arth. 
 
 Ifta labore gravi, ftudio, monitifque Magiftri 
 Arduafan necjnlt addifci rariffima: namque 
 2V* fritis tetbereo rapult quod ab axe (profaetbeu* 
 Sit jubar infufum menu cumflamine Vite, 
 Mbrtali baud cuivis diVuu b<tc munera dantur y 
 Non uti Dasdaleam Ikec omnibus ire Corinthum. 
 
 jEgypto informis quondam *Pitura reperta, 
 Grrtcorum ftudiis & mentis acumine credit: 
 Egregiis tandem illuftrata <& adult a Magiftris 
 Naturam vifa eft miro fuperare labor e. 
 
 Quos inter Grapbidos gymnajia primafulre, 
 Portus Athenarum, Sicyon, Gfyodos, atque Corinthus? 
 Difparia inter fe, modicum rations Laboris-, 
 
 lit
 
 ' ' Tk Art of Painting. > 
 
 * Take care that whatfoever makes nothing 
 
 to your Subject, and is improper to it, be not pail* the s*&- 
 admitted into your Work, or not poflefs the #,2 e 
 chief place in it. But on this occafion , imi- 85. 
 tate the Sifter of Painting, Tragedy : which em- 
 ploys the whole forces of her Art in the main 
 Action. 
 
 * This part of Painting, fo rarely met with, 
 and fo difficult to be found, is neither to be ac- 
 quir'd by pains or ftudy, nor by the Precepts or 
 Counfels of any Mafter. For they alone who 
 have been infpir'd at their birth with fome por- 
 tion of that Heavenly fire * which was ftollen 
 by Prometheus, are capable of receiving fo divine 
 a prefent. As the Proverb tells us, * that it bap- 
 fens not to every one to fee Corinth. 
 
 Painting firft appear'd in Egypt : but wholly 
 different from the truth, till having travelled into 
 Greece , and being cultivated by the Study, and 
 fublime Genius of that Nation, *it arriv'd at 
 length to that height of perfection, that it feem'd 
 to furpafs even Original nature. 
 
 Amongft the Academies, which were conv 
 pos'd by the rare Genius of thofe Great men, 
 thefe four are reckoned as the principal : namely, 
 the Athenian School, that of Sicyon, that oftifyodcs, 
 and that of Corinth. Thefe were little different 
 
 from
 
 1 6 
 
 100. 
 
 
 4 i o. 
 
 The Art of Fainting. 
 
 from each other, onely in the manner of their 
 work; as it may be feen by the Ancient Sta- 
 tues, which are the <%ule of Beauty, and to which 
 fucceeding Ages have nothing that is equal : 
 * Though they are not very much inferiour 
 either in Science, or in the manner of their Exe- 
 
 cuton. 
 
 A Pofture therefore muft be chofen accor- 
 to their gufto : * The Parts of it muft be 
 great * and large, * unequal in their pofition, 
 fo that thofe which are before muft contraft ( or 
 oppofe) thofe others which are hindermoft, and 
 all of them be equally balanced on their Centre. 
 * The Parts muft have their out-lines in waves 
 refernbling flames, or the gliding of a Snake up- 
 on the ground: They muft be fmooth, they 
 muft be great, they muft be almoft imperceptible 
 to the touch, and even, without either Eminen- 
 ces or Cavities. They muft be drawn from far, 
 and without breaks, to avoid the multiplicity of 
 lines. Let the Mufcles be well inferted and 
 bound together * according to the knowledge of 
 them which is given us by Anatomy. Let them 
 be * defign'd after the manner of the Grecians : 
 and let them appear but little, according to 
 what we fee in the Ancient Figures. In fine, * let 
 there be a perfect relation betwixt the parts and 
 
 the
 
 De Arte Graphics 
 
 patetex Veterum ft atuis, forma atque decoris 
 ArcbetyfiSy quits pofterior nil protulit rtta* 
 Condignum, & noninferius longe Arte, Modoque: 
 Horum igitur Vera ad normam Pofitura legetur^ 
 Grandia y mAcjualis, formofaque (Partibus amplis 
 Anterior a dabit membra, in contraria motu 
 Dfterfo Janata, fuo liberataque centre ; 
 
 too. 
 
 VIE 
 
 GRAPHIS 
 feu Pofitura, 
 Secunda Pi- 
 6tur* pars. 
 
 I Of. 
 
 Membrorumque Sinus ignis flammantis ad inflar 
 Serpenti undantes flexu, fed Uvia plana 
 Magnaque figna, quafi fine tubers fubdita tatttt 
 Ex longo deducia fluant, non fetta minutim y 
 Infertifyue Torts fat nota ligamina juxta 
 Compagem Anatbomes, & membrifcatio Gr&o 
 Deformata Modo, paucifque exprejfa lacertis, 
 Qualis apud Veteres ; totoque Euritbmia partes 
 
 D Componat, 
 
 1 10,
 
 1 8 De Arte Graphica, 
 
 1 1 j. Componat, genit unique fuo generante fequenti 
 Sit minus, & punflovideantur amftafub mo 
 Gfygula certa licet neqtteant (profpettica did) 
 Ant comflementum Grapbidos j Jed in arte j 
 Et Modus aecelerans operandi : ut corpora falfo 
 S u b ^ l f u m m ^ltis referens mendofa labafcit: 
 Nam Geometralem nunquam [unt corporajuxta 
 Menjuram defifta oculis, fed qualia "Vifa. 
 
 VIII. t Js^bw eadem form* fpecies* non omnibus 
 
 Vanetas in _ ,. r .f. r . f ^. . 
 
 Figuris. jEquattt, pmiltjque color, crmejque Ftguns : 
 
 * <r * J * \^t 
 
 125. Nam V arils Velut ort a flagi* Gens difpareVultu. 
 
 Figuraftuna Singula membra fuo capiti conformla fiant 
 
 cum Mem- Unum idemque tlmul c orpus cum 'Veftibus ipfis : 
 bris& Vefti-,,^ l r j , ^ / - . /. 
 
 bus. Mutorumque Jilens Tojitura imitabitur actus. 
 
 Mutorum a- 
 ftiones imi- 
 tandae. 
 XL 
 
 Trima Figurarum, feu tprinceps Dramatis ultro 
 O. *ProJiliat media in Tabula fub lum'me primo 
 Pulchriw ante alias, reliquis nee oferta Figuris.
 
 The Art of Painting. 19 
 
 the whole, that they may be entirely of a piece. 
 
 Let the part which produces another part, be 115. 
 more ftrong than that which it produces ; and 
 let the whole be feen by one point of Sight. 
 
 * Though Perfpe<5tive cannot be call'd a certain 
 rule or a finifliing of the Picture, yet it is a great 
 Succour and Relief to Art,and facilitates the means 
 
 of Execution 5 yet frequently falling into Errors, no. 
 and making us behold things under afalfe Afpe<5t$ 
 for Bodies are not always reprefented according 
 to the Geometrical Plane, but fuch as they ap- 
 pear to the Sight. 
 
 Neither the Shape. of Faces, nor the Age, nor vili. 
 the Colour ought to be alike in all Figures, any feJS** 
 
 ^s "^? A*lMYC$ 
 
 more than the Hair : becaufe Men are as different l 2 r 
 from each other, as the Regions in which they 
 are born, are different. 
 
 * Let every Member be made for its own 
 head, and agree with it. And let all together and 
 compofe but one Body, with the Draperies which 
 
 are proper and fuitable to it. And above all, Idktoit. 
 
 * let the Figures to which Art cannot give a voice, The 
 imitate the Mutes in their Actions. f e 
 
 * Let the principal Figure of the Subjeft ap- 1 3 
 pear in the middle of the Piece under the ftrong- XL 
 eft Light, that it may have fomewhat to make ^ Figure of 
 it more remarkable than the reft, and that the Fi- 
 
 D 2 gures 
 
 
 e *-
 
 The Art of Painting. 
 
 gures which accompany it, may not fteal it from? 
 our Sight. 
 
 XIL *Let the Members be combined in the fame 
 Banner as the Figures are, that is to fay, coupled 
 and knit together. And let the Grouppes be fe- 
 parated by a void fpace , to avoid a confus'd 
 heap j which proceeding from parts that are dif- 
 *$? P crs 'd without any Regularity, and entangled 
 one within another, divides the Sight into many 
 Rays, and caufcs a difagreeable Confufion. 
 XIIL * The Figures ia the Grouppes, ought not to 
 be like each other in their Motions, any more 
 s. than in their Parts : nor to be all on the fame fide, 
 140. but let them contraft each other: bearing them*- 
 felvefi on the one fide, in Oppofition to thofe which 
 are fet againft them on the other. 
 
 Amongftmany Figures which (how their fore- 
 parts let there be fome one whofe hinder parts may 
 be feen ; oppofing the Shoulders to the Stomach^ 
 and the right fide to the left. 
 
 * One fide of the Picture muft not be void, 
 f -while the other is fill'd to the Borders ^ but let 
 matters be fo well difpos'd, that if one fide of 
 the Piece be full, the Painter fhall find fome oc- 
 i j o. cafion to fill the other ; fo that they fliall appear 
 in fome fort equal whether there be many Figures 
 ia it, or but few. 
 
 *As
 
 De Arte Graphics 
 
 21 
 
 Agglomeratafimul fint membra, ipfaque Figure 
 Stipentur, circumque globos locus ufque Vacabit ; 
 2N&, male difperfis dum vifus ubique Figuris 
 Dividitur, cunftifque operis ferVente tumultu 
 Qartibus implicitit crepitans confufio furgat*. 
 
 XIL 
 
 Figararutu; 
 GloblieuCu- 
 
 muli. 
 
 Zique figurarum cumulis non omnibus idem 
 Corporis inflexus, nwtufque y Vel artibus omnes 
 Confer jls fariter non connitantur eodem, 
 Sed< qu&dam in diverfa trabant contraria membra 
 Tranfverseque alii s pungent y & cetera frangant. 
 
 adverfis aVerfam off one figurant, 
 e burner os, <& dexter a membra fintftrif) 
 Sen multis conftabit Opus, paucifve 
 
 Alter a pars tabuU Vacuo ne frigida Campo 
 Aut defertafiety dumjjuribus altera formis 
 Fertida mokfuafupremamexurgitad omm:; 
 Sed tibi fie fofitis refpwdeat utraque rebtts, 
 lit fi aliquid furfumfe parte attollat in ma y 
 Sic aliquid farte ex.alia confurgat, & ambits 
 geminat cumukndo ttqualiter oras. 
 
 XIIL 
 
 Pofiturorum 
 diAerfitas in 
 cumulis. 
 
 14P. 
 
 145. 
 
 XIV. 
 
 men turn*
 
 22 De Arte Graphica. 
 
 XV. (pluribus implidtum ferfonis Drama fupremo 
 
 * *" ? n g enere ut rarum e ft > MultlS tfd *fe?2/d Figuris 
 G(arior eft Tabula excellent 3 Ve/ adhucfere nulla 
 i 5 j. Prtfftitit in mukis quod v/x tmfrtftat in una : 
 
 folet rerum nimio differ fa tumultn 
 Majeftate carere graVi requieque decora ; 
 TSLec ffeclofa nitet Vacuo nifi liber a Camfo. 
 
 SedfiOptre in magno pluws Tlwnagrande requirat 
 . EJfefigurarum Cumulos, fpeftabitur una, 
 Macbina tot a rei, nonfingula qujque feorfim. 
 
 XVI. 
 
 I nternodia & 
 
 Pedes cxhi- <Pr<ecipua extremis raro Intenwdia membris 
 
 cendi. / . 
 
 XVIL dbditafmt: Jed Jumma Tedum Vefttgia nunquam. 
 
 Motusmaiiu- 
 ummotuica- 
 
 pids jungen- Gratia nulla manet, motujque, "Vigor c^ue Figures 
 S \6* Gfyt aliisfubter major i ex farte latent es, 
 XVIIL Nil cafitis motum manibus comitmtur agendo. 
 i^ofSfi 1 Deciles fugito afpeclus, contrattaque Vifu 
 ane&CovfrMembra fub ingrato, motufque, aftufque coaffos, 
 **** Quodque
 
 fke Art of Fainting. 
 
 * As a Play is very feldom good, in which there -- ? 
 
 7 A o r > & r i i r i / the 
 
 are too many Actors, io tis very leldom ken and fa of 
 almoft impoflible to perform,that a Picture fhould^^' 
 be perfect in which there are too great a number 
 of Figures. And we cannot wonder that fo few 
 Painters have fucceeded who have introduced into \ r -. 
 their works many Figures. Becaufe indeed there 
 are not many Painters to be found, who have 
 fucceeded happily, when even they have intro- 
 duc'd but few. Many difpers'd Objects breed 
 confufion, and take away from the Pidure 
 that grave Majefty, that foft fflence and repofe, 
 which give beauty to the Piece, and fatisfaZtion 
 to the fight. But if -you are conftrained by the 
 fubject, to admit of many Figures, you muft then 1 60. 
 conceive the whole together 3. and the effect of 
 the work at one view ; and not every thing fepa- 
 rately and in particular. xvi. 
 
 * The extremities of the Joints muft be feldom 
 hidden, and the extremities or end of the Feet ne- 
 
 ^. 
 
 The nations of 
 the hands and 
 
 * The Figures which are behind others, have mffj * + 
 neither Grace nor Vigor, unlefs the Motions of 
 the hands accompany thofe of the Head. 
 
 Avoid the views which are difficult to be found, 
 and are not natural, as alfo forced Actions and 
 Motions. Show no parts which are ungracious 
 
 to
 
 Art of Painting. 
 
 to the Sight , as all fore (hortnings , ufually 
 are. 
 
 * Avoid alfo thofe Lines and Out-lines which 
 are equal $ which make Parallels, or other fliarp 
 170. pointed and Geometrical Figures; fuch as are 
 Squares and Triangles.; all which by being too 
 exacl: give to the Eye a certain difpleafing Sym- 
 metry, which produces no good effect. But as 
 I have already told you, the. principal Lines ought 
 to contraft each other : For which reafon in 
 thefe out-lines, you ought to have a fpecial regard 
 17-^ to the whole together: for 'tis from thence that 
 
 the Beauty and Force of the parts proceed. 
 
 xix. * Be not fo ftrictly ty'd to Nature, that you 
 
 mt**ie fallow nothing to ftudy, and the bent of your 
 
 {^ S fa?%~ own Genius. But on the other fide, believe not 
 
 commodate that your Genius alone, and the Remembrance 
 
 xiw. r " of thofe things which you have feen, can afford 
 
 you wherewithall to furnifli out a beautifull Piece, 
 
 without the Succour of that incomparable School- 
 
 miftrefs, Nature; * whom you muft have al- 
 
 480. ways prefent as a witnefs to the Truth. We may 
 
 make a thoufand Errors of all kinds $ they are 
 
 every- where to be found, and as thick fet as 
 
 Trees in Forefts, and amongft many ways which 
 
 miflead a Traveller, there is but one true one 
 
 which conducts him furely to his Journey's end $
 
 De Arte Graphics z 5 
 
 Quodque refert fiffiis, reftos quodammodo traffus, 
 Sive ( Parallelos flures fimul, & 'Vel acutas, 
 Pel Geomet rales (ut Quadra, Triangula,) forma* : 
 Ingratamque fan Signorttm ex or dine quandam 
 Symmetriam : fed fr^clfua in contraria femper 
 Signa Volunt ducitranfverfa y ut diximus ante. 
 Summa igitur ratio Stgnorum habeatur in omni 
 Compofito; dat enim reliquis pretium, atque vigorem. 
 
 it a nature aftantifis cuique reVmlw y XIX. 
 
 Hanc prater nihilut Genio ftudioque relinquas 5 
 Nee fine tefle ret natura, Artifque Magiftra danda 
 
 Quidlibet ingenio memor ut tantummodo rerum 
 Pingere pojfe putes 5 errorurn eft plurima fylVa, 1 8 
 
 Multiplicejque V/^e, bene agendl terminus untis, 
 Line a re Eta Velutfola eft, <&* mille recurVd : 
 
 Sedjuxta dntiquos naturam imitalere pukbram, 
 Qualem forma reipropria, objettumque requirit. 
 
 E Non
 
 ^6 De Arte Graphica. 
 
 185. Now te igitur lateant antiquaNumifmata y 
 xx. Vafa. Ty/?j, Status, ctlataque Marmora Si?nis i 
 
 Signa And- ~ J \ Jt \ r - -rr a f i i r 
 
 qua Nature Quodque rejert Jpecie Feterum fojt Jdcula Mentem 
 Si?uunt C n Sflendidior quiff e exillis affurgit imago, 
 
 Magnaque fe rerum fades aferit metktanti:, 
 150. Tune no/in tenuemfadi miferebere fwtem, 
 
 Cum ffes nullafeet rediturg <tqualis in <vum.. 
 
 XXL Exquifit a feet forma dum fola Figura, 
 quo^odotti 1 ?^^^^ muhis'Variata Coloribus efto. 
 
 danda. 
 
 Lati ampliquejinus <Pannorum, <& nolilis ordo 
 tpj. Membra fequens, fuller latitantia Lumine& Umbra 
 
 Qufd^in Pan- E x t rmet i ^ e ^ cet tranfoerfus fape feratur, 
 nis obfervan- Et drcumfujos Tannorum porripat extra 
 
 dum. -\f i r rr r- 
 
 Membta JiniM, non contiguos, tfjijque rtgura 
 tPartibus imfrejfos, quafe (pannus adb^reat Hits 3 
 2 OQ. Sed modice exfrejfos cum Lumine ferret <& Umbris :
 
 The Art of Painting. 17 
 
 as alfo there are many feveral forts of crooked 
 lines 5 but there is one only which is ftraight. 
 
 Our bufinefs is to imitate the Beauties of Na- 
 ture, as the Ancients have done before us, and as 
 theObjeft and Nature of the thing require from 
 us. And for this reafon we mud be carefull m 
 the fearch of Ancient Medals, Statues, p^afes and 
 Sajfo ([(eUeVo's : * And of all other things which 
 diicover to us the Thoughts and Inventions of 
 the Grecians ; becaufe they furnifh us with great I- 
 deas, and make our Produ<5lions wholly beautifull. 1 90, 
 And in truth after having well examined them, 
 we fliall therein find fo many Charms, that we 
 (hall pity the Deftiny of our prefent Age without 
 hope of ever arriving at fo high a point of Perfe- 
 <5tion. 
 
 * If you have but one fingle Figure to work , xxi. 
 
 i r 0.1 c TL> j A f tn & le Ft ~ 
 upon, you ought to make it periectly hnilh d gure how to 
 
 and diverfify'd with many Colours. * treated - 
 
 * Let the Draperies be nobly fpread upon the xxir. 
 Body ; let the Folds be large, '* and let them fol-p/ r/ >/ 
 low the order of the parts, that they may be feen 105. 
 underneath, by means of the Lights and Shadows, 
 notwithftanding that the parts fhould be often 
 traversed (or crofs'd) by the flowing of the Folds 
 which loofely incompa'fs them, * without fitting 
 
 too ftraight upon them, but let them mark the 200. 
 
 E 2 pans
 
 28 fbe Art of Tainting. 
 
 parts which are under them, fo as in fome man*- 
 ner to diftinguifli them, by the judicious ordering 
 of the Lights and Shadows. * And if the parts 
 be too much diftant from each other, fo that 
 there be void fpaces, which are deeply fhadow'd, 
 we are then to take occafion to place in thofe 
 voids fome Fold to make a joining of the parts. 
 ~* And as the Beauty of the Limbs confifts not in 
 the quantity and rifing of the Mufcles, but on the 
 contrary, thofe which are lefs eminent have more 
 205. of Majefly than the others ; in the fame manner 
 the beauty of the Draperies, confifts not in the 
 multitude of the folds, but in their natural or- 
 der, and plain fimplicicy. The quality of the 
 perfbns is alfo to be confider'd in the Drapery. 
 * As fuppofing them to be Magiftrates, their Dra- 
 peries ought to be large and ample : Jf Country 
 Clowns or Slaves they ought to be courfe and 
 fhort : * If Ladies or Damfels, light and foft. 
 'Tis fometimes requifite to draw out, as it were 
 from the hollows and deep fliadows, fome Fold^ 
 and give it a Swelling, that receiving the Light, 
 it may contribute to extend the clearnefs to thofe 
 places where the Body requires it; and by this 
 means, we flhall disburthen the piece of thofe hard 
 Shadowings which are always ungracefull.
 
 De Arte Graphica. 
 
 Qutque intermiffts paffimfunt diffita Vanis 
 Copulety induttis fubterl'e, fuperVe lacemis. 
 Et membra ut magnh paucijque expreffa lacertis. 
 
 Majepate aliis pr<tftant forma atque decore 5 
 Haud fecus in Pannis CJUQS fupr a opt ayimu* amplos 
 (Perpaucos finuumflexus, rugafaW) ftriafquej 
 Membra fuper "Verfu fariles inducere pr<eftat. 
 
 Naturae rei propriusfit Vannus, abundant 
 Patriciisy fuccinftus erit crajfufque Subulcis 
 Mancipiifquei kvis, temris, gracilifym <Puellis. 
 
 Ihque caVts maculifque umbrarum aliquando tumefcet 
 Lumen ut excipiens operis qua Majfa requirit 
 Latius extendaty fublatifque aggregetumlris. 
 
 Nobiliti
 
 3*0 De Arte Graphlca. 
 
 215. Nobtlia Armajirtant virtutum, ornantqne Figure, 
 Quid 11 ^! QgdiAMufarum, Seffi, Cultufque Deorum: 
 tumconferat Necflt opus mmitim Gemmif Auroaue refertum > 
 
 adTabuIaeor- a\ / i i -i> 
 
 namentum. ^\. ara Menim magno m pretio, fed flunma 
 
 ' 
 
 XXIV. 
 
 Ornamen- 
 
 tum 'Auri & 
 
 Gemmarum. 
 
 J'rorotypus. 2g* imk ex faro mcpwunt prtfente videri, 
 220. Prototypum print illorum formare juVabit. 
 
 "XXVI. ConVeniat locus atque habitus, ritufque decufyut 
 ^ eni ^5erWr; fit NobilitM, Charitumque Knujla*, 
 See- (3(arum bomini munus, Ccelo, non Arte petendum.) 
 
 X X V 1 1. 
 
 Charites & 
 Nobilitas. 
 
 . ^ r r ,. f j 
 
 Res quaeque Naturtpt ubtque tenor rattoque Jequenda. 
 
 locum fuum 
 tsneat.
 
 
 The Art ofVainting. 
 
 * The Marks or Enfigns of Vertucs contribute 2 i 5. 
 not little by their noblenefs to the Ornament tf -??*?? 
 
 1 What things 
 
 the Figures. Such, tor example as are the Deco- contribute to 
 rations belonging to the Liberal Arts^ to War or ^T 
 Sacrifices. * But let not the work be too much 
 
 1*1 i ^ i i T i i r t n J 
 
 enrich d with Gold or Jewels, became the rarelt Stones 
 are ever the deareft and moft precious 3. and thofe 
 which ferve only to increafe the number, are of 
 the common fort, and of little value. 
 
 * 'Tis very expedient to make a Model of xxv. 
 thofe things, which we have not in our Sight, and rhe Model * 
 whofe Nature is difficult to be retained in the Me- 220. 
 mory. 
 
 * We are to confider the places, where we x* VL , 
 
 i i r r t Tk-rx i *^ i *" e S cene J 
 
 lay the icene or the Picture 3 the Countries Wh&t 
 they were born whom we reprefent 5 the manner 
 of their A&ions, their Laws and Cuftoms, and 
 all that is properly belonging to them. 
 
 * Let a noblenefs and grace be remarkable 
 through all your work. But to confefs the truth, and the NO- 
 this is a moft difficult undertaking 3 and a very ^* 
 rare Prefent which the Artift receives rather from 
 
 the hand of Heaven, than from his own Induftry 
 and Studies. 
 
 In all things you are to follow the order of xxvin. 
 
 " Let C'vcj'y 
 
 Nature, for which reafon you muft beware G$tkit%l*ftti* 
 drawing or painting Clouds, Winds and Thun- 
 
 der
 
 3 2 The Art of fainting. 
 
 22 y. der towards the bottom of your Piece j and Hell, 
 and Waters, in the uppermost parts of it: You 
 are not to place a Stone Column on a foundation 
 of Wood 5 but let every thing be fet in its proper 
 place. 
 
 1 2 o. Befides all this, you are to exprefs the mod- 
 xxix. ons of the Spirits, and the affe&ions or Paflions 
 MS . *" whofe Center is the Heart : In a word, to make 
 the Soul vifible, by the means of fome few Co- 
 lours; *this is that in which the greateft difficulty 
 confifts. Few there are whom Jupiter regards 
 with a favourable eye in this Undertaking. So 
 that it appertains only to thofe few, who parti- 
 2 -> c. cipate fomewhat of Divinity it felf, to work thefe 
 mighty Wonders. 'Tis the bufinefs of Qtyetori- 
 dans, to treat the characters of the Paflions : and 
 I ihall content my felf with repeating what an 
 excellent Mafter has formerly faid on this Subject, 
 That tie ftudied motions of the Sow/, are never fo na- 
 tural as tbofe, which are as itwereftruck out of it on 
 the fudden ly tie beat and "Violence of a real VaJJion. 
 240. ^ are to have no manner of reliflh for Go- 
 xxx. thique Ornaments, as being in effect fo many 
 anentf ar'e Monfters, which barbarous Ages have produced : 
 * be avoided. J ur i n g which, when Difcord and Ambition caus'd 
 by the too large extent of the <%oman Empire, had 
 produc'd Wars, Plagues and Famine through the 
 
 World,
 
 De Arte Graphica. ^ 3 3 
 
 Iticina pe dum tabulate excel fa t mantis 215* 
 
 Aftra domus depitta gerent nubejque notofque ; 
 Nee mare deprejfum Laquearia fumma Vel orcum - y 
 Marmoreamqueferet cannis Vaga pergula molem : 
 Congrm fed proprta femfer ftatione locentur. 
 
 H&c prater motus ammorum & corde repoftos 230. 
 
 Exprimere Affettus, paucifque coloribus ipfam 
 ffingere pojfe animam, atque oculis prrtbere videndam, 
 Hoc opus, hie labor eft : pauci quos aequus amavit 
 Juppicer, auc ardens evexic ad a^thera vircus : 
 Dts fimiks pptuere manu miracula tanta. 
 
 Hos ego tffyetoribus trattandos defero tantum 
 Egregti antiquum memorabofopbifma Magiftri, 
 Verius affe6tus animi vigor exprimit ardens^ 
 Solliciti nimium quam fedula cura laboris. 
 
 Ttenique nil fapiat Gottkorum barbara trito 240. 
 
 Ornament a modo* Udorum & monftra malorum ; ^ X5 f x * 
 /\ 7- / 11 r n \^-r v T Gotthorum 
 
 yueis ubt beua, famem & pejtem, Dijcordia, Luxus, ornamenta 
 
 Et (ftomanorum resgrandior intutit Qri>i y 
 
 F Ingenue
 
 Arte Graphica. 
 
 Ingenue periere Aries ^ periere fuperb* 
 2 4 J . Artificum moles y fua tune miracula \ndit 
 Ignibus alfunn tpittura, latere coafta 
 FornlclbuSy fortem <6^ reliquam confidere 
 Marmoribufque diuSculpturajacere fepultis. 
 
 Imperium inter ea f celer urn gravitate fatifcens* 
 2 JO. Horridanoxtotum inVajit y donoque fuperni 
 Luminis indignum, errorum caligine merfit> 
 Imfiaque ignaris damnaVit facia tenebris: 
 
 ttnde Color atum Gratis hue ufque Magiftris 
 Nil fup ereft tantorum Hominum quod 
 Z 5 5 . TSlojlrates juVet Artifices , doceatcjue Labor em $ 
 G ^i r F- A ^ ec y 41 - Cbromatices nobis boc tempore partes 
 Tertia pars fteftituat, quales Zeuxis trattaVerat olim.
 
 . 
 
 The Art of Painting. 55 
 
 World, then I fay, the ftately Buildings fell to 
 Ruin, and the noblenefs of all beautifull Arts was 
 totally extinguifli'd 3 then it was that the admi- 245. 
 rable and almoft fupernatural Works of (painting 
 were made Fuel for the Fire : But that this won- 
 derfull Art might not wholly perifli, * fome Re- 
 liques of it took Sanctuary under ground, and 
 thereby efcap'd the common Deftiny. And in 
 the fame profane age, the noble Sculpture was for 
 a long time buried under the fame Ruines, with 
 all its beautifull Productions and admirable Sta- 
 tues. The Empire in the mean time under the 
 weight of its proper Crimes and undeferving to 
 enjoy the day, was invelop'd with a hideous night, 2 50. 
 which plung'd it into an Abyfs of errors, and co- 
 ver'd with a thick darknefs of Ignorance thofe 
 unhappy Ages, in juft revenge of their Impieties : 
 From hence it comes to pafs, that the works of 
 thofe great Grecians are wanting to us $ nothing 
 of their Painting and Colouring now remains to 
 affift our modern Artifts, either in the Invention, 255. 
 or the manner of thofe Ancients; neither is there 
 any man who is able to reftore * the CH RO Co , lou r 1 ^ fhe f 
 
 J third part of 
 
 MATIQUE part or COLOURING, or 
 to renew it to that point of excellency to which it 
 had been carry'd by Zeuxis : who by this part 
 which is fo charming, fo magical, and which fo 
 
 F 2 admi-
 
 "The Art of Painting. 
 
 admirably deceives the fight, made himfelf equal 
 260. to the great AfeUes, that Prince of Painters; and 
 deferv'd that height of reputation which he ftill 
 poflefles in the World. 
 
 And as this part which we may call the Soul 
 of Painting and^its utmoft perfection, is a deceiv- 
 ing Beauty, but withal foothing and pleafing: So 
 fhe has been accus'd of procuring Lovers for * 
 her Sifter, and artfully ingaging us to admire 
 her. But fo little have this Proftitution, thefe 
 falfe Colours, and this Deceit, difhonour'd Paint- 
 265. ing, that on the contrary, they have only ferv'd 
 to fet forth her Praife, and to make her merit far- 
 ther known, and therefore it will be profitable to 
 us, to have a more clear underftanding of what 
 we call Colouring. 
 
 *The light produces all kinds of Colours, and 
 the Shadow gives us none. The more a Body 
 is nearer to the Eyes, and the more directly it is 
 oppos'd to them, the more it is enlightn'd. Be- 
 caufe the Light languiflies and leffens the farther 
 ir removes from its proper Sourfe. 
 170. The nearer the Object is to the Eyes, and the 
 more directly it is opposed to them, the better it 
 is {een, becaufethe Sight isweaken'd bydiftance* 
 
 'Tis,
 
 De Arte Graphics. 
 
 Hujus quando maga Velut Arte aquavit Jpeffent 
 (piftorum Arcbigrapbum meruitque Coloribus altam 
 Nominis <eterni famam toto orbe fonantem. 
 
 fLecquidem ut in Tabulis fallax fed grata 
 Et comflementum Grapbidos (mirabile Vifu) 
 Pulchra Vocabatur, fedfubdola Lena Sororis: 
 Non tamen hoc knocinium 5 fucufque, dolufque 
 T)edecori fuit unquam illi fed femper honori^ 
 Laudibus e^ mentis 5 bane ergo nojfe j 
 
 Lux "Varlum vivumque dabit, nuttum Umbra Colorem* 
 Quo magis adverfumeft corf us lucifque propinquitm, 
 Clarius eft Lumen j nam debilitatur eundo. 
 
 Quo magis eft corpus direftumoculifque propinquum 9 
 Confpicitur meKits j nam Vtfus hebejcit eundo. 
 
 Ergp
 
 De Arte Graphica. 
 
 xxxi. jj r <y \ n corporibus qua vifa acberfa rotundis 
 
 Tonorum, r <* r i r i i r 
 
 .Luminum & Integra Jintj extrema abjcedant ferdita Jignis 
 
 Umbrarum 
 ratio. 
 
 ConfujiSj non fr^dfiti labentur in Umbram 
 
 27 j. Claragradu, nee adumbrata in clara aha repente 
 
 <Prorumpant 5 federitfenjlm bine atque inde meatus 
 Lucis & Umbrarum 5 capitifque unius ad inftar 
 Totum opus, ex multis quamquam Jit partibus unus 
 Luminis Umbrar unique globus tantummodo fret, 
 SiVeduoVeltresadfummum, ubigrandius ejfet 
 Divifumfegma in partes ftatione remote. 
 
 Sintque it a difcreti inter fe ratione colorum, 
 Luminis umbrarumque anteorfum ut corpora claw 
 Obfcura umbrarum requies fpeftanda relinquat- y 
 Claroque exiliant umbrata atque afpera Campo* 
 
 Ac
 
 T&e Art of Fainting: 
 
 Tis therefore neceflary that round Bodies,which xxxi. 
 are feen one over againft the other in a right An- 
 gle, fliould be of a lively and ftrong Colouring, 
 
 , L . . 7 . P ~ 5 ' 
 
 and that the extremities turn, in loiins; therru 
 
 & 
 
 felves infenfibly and confufedly, without preci- 
 pitating the Light all on the fuddeninto the Sha- 
 dow 5 or the Shadow into the Light. But die 
 pafTage of one into the other muft be common 
 and imperceptible, that is by degrees of Lights in- 
 fco Shadows and of Shadows into Lights.And it is in 
 conformity to thefe Principles that you ought to 
 treat a whole Grouppe of Figures 3 though it be 
 compos'd of feveral parts, in the fame manner as 
 you would do a fingle Head : or if your Com- 280;. 
 pofition requires 5 that you fhould have two 
 Grouppes, or even three ( * which ought to be 
 the moft) in your Piece, take heed that they may 
 bedetach'd, that is feparated or diftinguifli'd from 
 each other by the Colours, the Lights and the 
 Shadows, which are fo dextroufly to be manag'd, 
 * that you may make the Bodies appear en* 
 lightened by the Shadows which bound the fight j 
 which permit it not fuddenly to go farther 3 and 
 which caufe it to repofe for fome fpace of time, 
 and that reciprocally the Shadows may be made 
 fenfible by enlightning your ground. 
 
 The:
 
 fbe Art of Painting. 
 
 The raifing and roundnefs of a Body, ought 
 to be given it* in the fame manner as we behold 
 ic in a Convex Mirrour, in which we view the Fi- 
 gures and all other things, which bear out with 
 
 2 po. more Life and ftrength than Nature it felf. * And 
 let thofe which turn, be of broken Colours, as 
 being lefs diftinguifh'd, and nearer to the borders. 
 Thus the Painter and the Sculptor, are to work 
 with one and the fame intention, and with one 
 and the fame conduct. For what the Sculptor 
 ftrikes off, and makes round with his inftrument 
 of Steel, the Painter performs with his pencil ; 
 cafting behind, that which he makes lefs vifible 
 
 2j> $. by the Diminution, and breaking of his Colours 3 
 and drawing forward by his moft lively Colours 
 and ftrongeft Shadows, that which is directly op- 
 pos'd to the Sight, as being more fenfible, and 
 more diftinguifh'd, and at laft enriching the naked 
 Canvafs, with fuch Colours as are borrow'd from 
 
 300. Nature 5 in the midft of which he feems to fit; 
 and from thence with one glance of an Eye and 
 without removing his feat, he takes that part of 
 her which fhe reprefents to his Sight , and turns as 
 in a Machine about his work. 
 
 X5TXIL When folid Bodies, fenfible to the feeling, and 
 ofdtrkBo-fafa are pl ac 'cl on Light, and tranfparent 
 
 Acs on light ' r > 
 
 grounds, as for example, The Heavens, the 
 
 Clouds
 
 De Arte Graphica. 
 
 AcVeluti infpeculis coriVexis emmet ante 
 Afperior reipfa Vigor Or Vis autta colorum 
 tPartibw adverfes ; magis & fuga rupta retrorfum 
 lllorum eft (ut vifa minus Vergentibu* oris) 
 Corporibus dabimus format hoc more rotundas, 
 Mente Modoque igitur *Plaftes & <Pilor eodem 
 Diffofaum traftabit opus 5 qtt<e Sculptor in oriem 
 Atterit) h*c rupto procul abfcedente colore 
 Ajfequitur (pittor, fugicntiaque ilia retrorfnm 
 Jamjignata minus confufa coloribw aufert : 
 
 Anteriora quidem dirette adverfa, colore 
 Integra, ViVaci, fummo cum Lumine & Umbrt 
 Antrorfum diftintta refert Velut afpera vifu. 
 
 Sicqne fuper planum inducit Leucoma Colores. 
 Hos "\>elut ex iff a natura immotu* eodem 
 Intuitu circum Statuas daret inde rotundas. 
 
 oo. 
 
 Denfa Figurarum folidis qu<e corpora formis xlxxii. 
 
 Suiditafunt taBu non tranfluent, fed opaca f^^^opaa 
 
 In tranjlucendifpatio ttt fuper Aera, Nubes cum tranau- 
 
 G Lympida
 
 Be Arte Graphica. 
 
 305. Lympida ftagna Undarum, & inania cetera detent 
 Afperiora illis prope circumjlantibus ejfe, 
 lit diftinfla magisfirmo cum Lumine & Umbra, 
 Et graV'toribus utfuftenta colonbus, inter 
 jferea* ffecies fubfiftent femper opaca : 
 Sed contra procul abfcedant perlucida denjts 
 Corporibus leViora^ utiNubes, 
 
 x Now pot erunt d'rterfa kcis duo Lumina eadem: 
 
 Non duo ex f A . . 
 
 Casio Lumi- In Tabula parta admittt, aut tequalta pmgi : 
 
 ". Majus at in mediam Lumen cadet ufqe TabeUam 
 315. Latius infufunij f rinds quafumma Figuris 
 3{es agitur^ circumque oras minuetur eundo : 
 Utque in progrejfu Jubar attenuatur ab ortu 
 Sobs ad occafum paulatim, & cejfat eundo 5 
 Sic Tabulis Lumen, tota in compare Colorum, 
 j. i a. *Prim& a fonte, minus fenfim declmat eundo.
 
 The Art of Painting. 4.3 
 
 Clouds and Waters, and every other thing which 5 p j. 
 is in Motion, and void of different Objects, they 
 ought to be more rough and more diftinguifh- 
 able than that with which they are incompafs'd, 
 that being ftrengthen'd by the Lights and Sha- 
 dows, or by the more fenfible Colours, they 
 may fubfift and preferve their Solidity amongft 
 thofe aereal and tranfparent Species, and that on 310. 
 the contrary thofe grounds which are, as we have 
 faid, the Sky, the clouds and the Waters being 
 clearer and more united, may be thrown off from 
 the Sight to a farther diftance. xxxin 
 
 We are never to admit two equal Lights in the Th^t there 
 fame Piftute ; but the greater Light muft ftrike for- 
 cibly on the middle; and there extend its greateft jf 
 clearnefs on thofe places of the Picture, where the * } J 
 principal Figures of it are, and where the ftrength 
 of the action is perform'd, diminifliing by degrees 
 as it comes nearer and nearer to the Borders; 
 and after the fame manner that the Light of the 
 Sun languiflies infenfibly in its fpreading from 
 the Eaft, from whence it begins, towards the 
 Weft where it decays and vanishes ; fo the Light 
 of the Picture being diftributed over all the Co- 
 lours, will become left fenfible the farther it is re- 320 
 mov'd from its Original. 
 
 G ^ The 
 
 in a
 
 44 The Art of fainting. 
 
 The experience of this is evident in thofe Sta- 
 tues which we fee fet up in the midft of Publique 
 Places, whofe upper parts are more enlightened 
 than the lower 5 and therefore you are to imitate 
 them in the diftribution of your Lights. 
 
 Avoid ftrong Shadows on the middle of the 
 Limbs; lead the great quantity of black which 
 compofes thofe Shadows, fliould feem to enter 
 } 2- J into them and to cut them : Rather take care to 
 place thofe fliadowings round about them, there- 
 by to heighten the parts, and take fo advantage- 
 ous Lights, that after great Lights, great Sha- 
 dows may fucceed. And therefore Titian faid, 
 with reafon that he knew no better rule for the 
 diftribution of the Lights and fliadows, than his 
 Obfervations drawn from a * Bunch of Grapes. 
 31 o. * Pure or unmix' d white either draws an ob- 
 xJ^^Y'jjecl: nearer, or carries it off to farther diftance: 
 
 vj rrhitt ana '_ > -1111 11 i 
 
 slack. It draws it nearer with black, and throws it back- 
 ward without it. * But as for pure black, there 
 is nothing which brings the object nearer to the 
 Sight. 
 
 The light being altered by fome Colour, ne^ 
 ver fails to communicate fomewhat of that Co- 
 lour to tfie Bodies on which it ftrikes, and the 
 fame effect is performed by the Medium of Air, 
 through which it pafles. 
 
 The
 
 De Arte Graphics. 45 
 
 Majus ut in Statuis fey comfit a ftantibus Urbis 
 Lumen babent Partes fuperx, minus inferior es, 
 Idem erlt in talulis, major que nee umbra Vel ater 
 Membra Figurarum intrabit Color atque fecabit ; 
 
 Corpora fed circum Umbra eaVts latitabit oberran* : * 
 
 Atqueita quatretur Lux opportuna Figuris, 
 
 Ut late infufum Lumen lata Umbra fequatur : 
 
 Unde me immerito fertur Titianus ubique 
 
 Lucis <& Umbranm Normam appellaffe Racemum. 
 
 jt i Jm 
 
 Purum Mum effe poteft propiufy magify remotum : J 3 o; 
 Cum Nigro anteVenit propiits, fugit abfque remotum j 
 (PurumautemNigrumantrorfumVenit ufypropinquum. 
 
 Lux fucata fuo tingit mifcetque Colore 
 Corpora, ficquefuo, per quern Lux funditur> aer
 
 4$ De Arte Graphica. 
 
 33 5. Corpora junBafimul^ circumfufofque Colores 
 
 xxxv. Excipiunt, propriwnque aliis radioja refleftunt. 
 
 xxxvi. (pluribus in Solidis liamda. fub Luce propinduk 
 
 Unio Colo- ~ . . . f r i i rr r i 
 
 rum. Tartiapes, mtxtojque Jimul decet ejje iolores. 
 
 Hanc Normam Veneti (Piftores rite fequuti, 
 3 4* (Qurtfuit Anttquis Corruptio difta Colorum) 
 Cum plures of ere in magno pofutre figurcx^ 
 TSle conjunttajtmul Variorum inimica Colorum 
 Congeries Formarn implicitam & concifa minutis 
 Membra daret *Pannis y totam unamquamque Figuram 
 34J. Affim autunotantum Veftire Color e 
 
 Suntfoliti, Variando Toms tunicamque togamque 
 Carbafeofque Sinus, Vel amicum in Lumine & Umbra 
 Contiguis arcum lebw fociando Color em. 
 
 XXXVII. 
 
 ln QH* minus eftfpatii aerei, aut quapurior Aer, 
 
 350. Cuntta magis diflintta patent, fpeciefque referVant : 
 
 Quaque
 
 The Art of Painting:. 47 
 
 The Bodies which are clofe together, receive 335. 
 ftom each other that Colour which is oppofite to cr/ xx ?^: 
 
 i in if The reflection 
 
 them; and reflect: on each other that which is na- of Colours. 
 turally and properly their own. 
 
 *Tis alfo confonant to reafon, that the greateft 
 part of thofe Bodies which are under a Light,which 
 is extended and diftributed equally through all, 
 flhould participate of each others Colours. The 
 Venetian School having a great regard for that Max- 
 im(which the Ancientscall'd the Breaking of Colours) 340 
 in the quantity of Figures with which they fill their 
 Pictures, have always endeavoured the Union of 
 Colours, for fear that being too different, they 
 fliould come to incumber the Sight by their con- 
 fufion with their quantity of Members feparated 
 by their Folds, which are alfo in great number 5 
 and for this reafon they have painted their Dra- 
 peries with. Colours that are nearly related to 
 each other, and have fcarce diftinguifh'd them 
 any other way, than by the Diminution of the 
 Lights and Shadows joining the contiguous Ob- 
 jects by the Participation of their Colours, and 
 thereby making a kind of Reconciliation or Friend- 
 flhip betwixt the Lights and Shadows. 
 
 The lefs aereal fpace which there is betwixt us 
 and the Object, and the more pure the Air is, by fo xxxvn. 
 much the more the Species arepreferv'd and d 
 
 ftinguifli'dj
 
 4 8 Tfe Art of fainting. 
 
 ftinguifli'd 5 and on the contrary the more fpacc 
 of Air there is, and the lefs it is pure, fo much 
 the more the Object is confus'd and embroyTd. 
 xxxvin. Thofe objects which are plac'd foremoft to 
 
 The relation t ' , } L /* -n* , L 
 
 efJDifiances. the view, ought always to be more hniih d, than 
 
 thofe which are caft behind $ and ought to have 
 
 dominion over thofe things which are confus'd 
 
 and tranfient. * But let this be done relatively, 
 
 355* 0^<) one thing greater and ftronger, cafting the 
 
 lefs behind and rendring it lefs fenfible by its op- 
 
 pofition. 
 
 xxxix. Thofe things which are remov'd to adiftant 
 
 Of Bodies . LI? 
 
 which arc di- view, though they are many, yet ought to make 
 ftanccd.\ fo ut one ^/[^ . as f or example the Leaves on 
 
 the Trees, and the Billows in the Sea. 
 3 "* Let not the Objects which ought to be conti- 
 of -Bodies guous be feparated, and let thofe which ought 
 ^'uow "Z to ^ e f e P arate d be apparently fo to us ; but let 
 thofe \hich this be done by a fmall and pleafing difference. 
 
 *refep*rated. v T L 
 
 XLI. Let two contrary extremities never touch 
 
 Contrary ex- eacn otner either in Colour or in Light, but let 
 
 tremities to 1-1 r \ 
 
 4>e avoided, there always be a Medium partaking both ot the 
 one and of the other. 
 
 Dhe"r 1 ' f ^ et c ^ e ^ 0< ^^ S every-where be of different 
 TonesandCo- Tones and Colours : that thofe which are behind 
 
 * 
 
 may be ty'd in Friendfliip together, and that thofe 
 which arc foremoft may be ftrong and lively. 
 
 *'Tis
 
 De Arte Graphics. 49 
 
 Qudque magis denfus nebulis, aut plurimus Aer 
 Amptum inter fuerit ffatium porreftits, in aur<M 
 Confundet rerum ffecies, & ferdet inanes. XXXVIii. 
 
 Anterior a magis femfer finita nmotis t um^elatio. 
 
 Incertis dominentur & abfcedentibtM, idcjue 
 More r.elatiVOy ut majora minoribus extant. 
 
 CunEia minuta procul Majfam denfantur in unam, xxxix. 
 Ut foil A arhribmfybarum^ <& in 
 
 XL; 
 
 /- . f f , ,._ rn Contiguafc 
 
 Lontigua inter Je coeant, Jed difflta, diflent y Diffita. 
 
 Diftabuntque tamengrato <& difcrimine farVo. 
 
 Extrema extremis contraria jungere noli 5 XLI. 
 
 Sed medio fint ufquegradufociata Colons. Smaf^?" 
 
 enda. 
 
 Cor forum erit Tonus atque Color Variatu* ubique XLII. 
 amicitiam retro, feru* emicet ante. 
 
 H Supre-
 
 50 De Arte Graphics 
 
 265. Sufremum in Tabulis Lumen captare diet 
 XLI . I][ ; In/anus labor Artificum r cum attinpere tantum 
 
 Lummisde* ~4 /TV J / , r r 
 
 us. Kon rigmenta queant 5 auream Jed Vejfere. Lucem, 
 Sen modicam mane albentem, JtVe Athens attam 
 Toft Hyemem nimbis transfujo Sole caducam y 
 270. Sen nebulis fultam acciptent, tonitruque rubentem* 
 
 XLIV. L<ftia qu* lucent, "Velutl CbryftciUa, Metatla, 
 
 ifc L &*> Jf a & La f ldes y K llo f a > ut K II 
 Barb<e, aqueique Oculi y Crines, Holoferica, 
 
 Et Liquida, ut ftagnans 4qua y reflexoeque fub lindis> 
 ~~ ,. Corpore* ffecies, fjr ACJU'K contermina cunfta, 
 
 Subter ad extremum liquidcfint fiEla, fuperque 
 Luminibus percujfa fuis, fignifque refoftis. 
 
 XLV. Area Vel Campus TabuU Vagus efto, kvifqut 
 laeT 18 Tar dbfcedat latus y tiquideque btne unfits amicis 
 280. Tota ex mole Coloribus, unajive Patella: 
 
 Qu<t(ju.e cadant retro in Campum con/wia Camfo
 
 The Art of Painting. 5 1 
 
 * 'Tis labour in vain to paint a High- noon, or 3 65. 
 Mid-day light in your Picture, becaufe we have T ^ 1 ^ 1 ' f 
 no Colours which can fufficiently exprefs it, but Light. 
 
 'tis better counfel, tochoofe a weaker light; fuch 
 as is that of the Evening, with which the Fields 
 are gilded by the Sun ; or a Morning-light , 
 whofe whitenefs is allay'd : or that which appears 
 after a Shower of Rain, which the Sun gives us 
 through the breaking of a Cloud: or during 
 Thunder, when the Clouds hide him from our 
 view, and make the light appear of a fiery colour. 
 
 Smooth bodies, fuch as Chryftals , polifh'd XLIV. 
 Metals, Wood, Bones, and Stones ; thofe which thing* reL- 
 arecover'd with Hair, as Skins, the Beard, or *"% th ,' , 
 
 i ir 11 practtcatfart 
 
 the Hair or the Head; as alio Feathers, Silks, 
 and the Eyes, which are of a watery nature ; and 
 thofe which are liquid, as Waters, and thofe cor- 37 j. 
 poreal fpecies, which we fee reflected by them ; 
 and in fine, all that which touches them, or is- 
 near them, ought to be much painted and united- 
 ly on their lower parts, buttouch'd boldly above 
 by the light and fliadows which are proper to 
 them. 
 
 * Let the Field, or Ground of the Pi&ure, be XLV. 
 clean , free , tranfient , light, and well united gr e OU nd 
 with Colours which are of a friendly nature to *'&*?* 
 each other j and of fuch a mixture, as there may 380. 
 
 Hz be
 
 52 ' The Art of Painting. 
 
 be fomething in it of every colour that compofes 
 your work, as it were the contents of your Pa- 
 lette; And let the bodies mutually partake of 
 the colour of their ground. 
 xLVi. *, L ec y OUr Colours be lively, and yet not 
 
 Of the vw*~ J } J 7 J 
 
 titj of Co- look (according to the Painter s Proverb J as if 
 they had been rubb'd or fprinkled with meal : 
 that is to fay, let them not Be pale. 
 
 * Let the parts which are neareft to us, and 
 moft rais'd, be ftrongly coloured, and as it were 
 fparkling ; and let thofe parts which are more re- 
 mote from fighc, and towards the borders, be 
 more faintly touch'd. 
 
 385. * Let there befo much harmony, or confent, 
 xpj 11 ' in the Mafles of the Picture, that all the fhadow- 
 
 Of Shadows. . . r . , 
 
 ings may appear as it they were but one. 
 r/ X nXF' * Let the whole Picture be made of one piece, 
 
 nePitlxre . . _, 
 
 to be of one and avoid as much as poilibly you can, to paint 
 *** drily. 
 XLIX. ^ The Lookine-glafs will inftruct you in ma- 
 
 The Looking- 1-1 \CC ^ 
 
 U/sthePatn- ny Beauties^ which you may oblerve from Na- 
 t M(i e ^ tur e : fo will alfo thofe objects which are feen in 
 
 Mtfter. ^ . f 
 
 an Evening in a large prolpecr. 
 
 4* half fi- If you are to paint a half figure or a whole 
 7^owV ne > wn i n is to be fet before the other figures^ 
 fire others, it muft be plac'd nearer to the view, and next the 
 * light. And if it is to be painted, in a great place, 
 
 and
 
 De Arte Graphics. 53 
 
 Pfiridus efto Color nimio ndn pallidus Albo, XLVI. 
 
 Ahwfefque locis ingeftus plurimus ardent 5 
 
 Sed levitev parceque datus Vergentibus om. me 
 
 Cuntta Lahore fimui coeant, Velut Umlra ineadem. 
 
 Umbra. 
 
 Tota fiet Tabula ex una depitta Patella. ExunaPa^ 
 
 tellafitTa. 
 bula. 
 
 Multa ex Natura Speculum pr<tclara docebit ;. speculum 
 frocul Jero fpatiis fpettantur in amplis. MagK? 
 
 L." 
 
 Dimidia Fi- 
 gura vel in- 
 
 Dimidia Effigies^ qu<t fola, Vel Integra plures Ifus! 
 Ante alias pofeta ad Lucem, ftet proxima vifu r 
 Et latis fpettanda hcis, oculifque remota, 
 Luminis Umbrarumque gradufit pitta fupremo. 
 
 Partibm
 
 Arte Graphica. 
 
 V- (Partilus in mnimis imitatio jufta j 
 
 Effigiem, ahernM referenda tempore eodem 
 395* Conjimiles *Partes, cum Luminis atque Colons 
 Comfojttis juftifque Tonis, tune part a Lahore 
 Si facili <& Vegeto mieat ardens, viva videtur. 
 
 LIT. -Fifa loco angufto ttnere p'mgantur, 
 
 JuntJa Color e graduejue, procul qua pitta feroci 
 
 400. Sint & intfquali lariat a Color e, Tonoque. 
 
 Grandiafigna Volunt fpatia ampla ferofque Color es. 
 
 Luminct
 
 The Art of Painting. 55 
 
 and at a diftance from the Eyes $ be fure on that 
 occafion not to be fparing of great lights, the 
 moft lively colours, nor the ftrongeft fliadows. 
 
 * As for a Portrait, or Pictures by the Life, . K Lr - 
 
 i -ri c XT i ** 
 
 you are to work preciiely after Nature, and to 
 
 exprefs what (he fhows you, working at the 
 fame time on thofe parts which are refembling 
 to each other: As for example, the Eyes, the 
 Cheeks, the Noftrils and the Lips : io that you 
 arc to touch the one, as foon as you have given 
 a ftroke of the Pencil to the other, left the inter- 
 ruption of time caufe you to lofe the Idea of one 
 part, which Nature has produc'd to refemble the 
 other : and thus imitating Feature for Feature with 
 a juft and harmonious Compofition of the lights 
 and fhadows, and of the colours, and giving to 
 the Picture that livelinefs which the freedom and 
 force of the Pencil make appear, it may feem 
 the living hand of Nature. 
 
 The works which are painted to be feen in LII. 
 little or narrow places, muft be very tender and t 
 well united with tones, and colours 5 the degrees 
 of which ought to be more different*, more une- 
 cjual, and more ftrong and vigorous, as the work 
 is more diftant : and if you make great figures, 
 let them be ftrongly col^ur'd, and in very fpaci- 
 ous places. 
 
 * You
 
 5-6 Ibe Art of Painting. 
 
 Lin. * You are to paint the mod tenderly thatpof- 
 
 f ' fibly you can $ and endeavour to loie infenfibly 
 
 the * large lights in the fliadows which fucceed 
 
 them, and incompals them about. 
 
 r * Ll Y: , If the Picture be fet in a place which is enligh- 
 
 Wh at Lights . . i- i 1- i & n 
 
 are reqaifa. tend, but with a little light, the colours mult 
 405. be very clear 5 as on the contrary very brown, if 
 the place be ftrongly enlightened, or in the open 
 Air. 
 
 LV. Remember to avoid objects which are full of 
 are'vltiowin hollows, broken in pieces, little, and which are 
 patatitv to feparated, or in parcels : fliun alfo thofe things 
 
 be avoided. \ . . ' t . * _ . . t 
 
 which are barbarous, inocking to the Eye and 
 party-colour'd, and all which is of an equal force 
 of light and fliadow : as alfo all things which are 
 410. obfcene, impudent, filthy, unfeemly, cruel, fan- 
 taftical, poor and wretched; thofe things which 
 are fliarp and rough to the feeling : In (hort, all 
 things which corrupt their natural forms, by a 
 confufion of their parts which are intangled in 
 each other : For the Eyes babe a borrow for thofe 
 LVI things which the Hands mil not condefcend to touch, 
 n- But while.you endeavour to avoid one vice, be 
 j a cautious left you fall into another : for Vertue is 
 415. f lac d betwixt two extr earns y which are on both Jides 
 equally blameable. 
 
 Thofe
 
 De Arte Graphica. 
 
 Lumina lata unfits Jtmul undique copulet Umbras 
 Extremus Labor. In Tabula* demtffa feneftris 
 Si fuerlt Lux parVa, Color clariffimus efto: 
 
 at contra obfcurufque in Lurmm aperto. 
 
 57 
 
 tin. 
 
 Lumina lata. 
 
 LIV. 
 Qyantitas 
 Luminis loci 
 in quo Tabu- 
 la eft expo- 
 nenda. 
 
 405. 
 
 ; Vacuis divifa ca^is vitare memento : 
 Trita, minuta, fimul qu# noti flipata dtkifcunt ; 
 Barbara, Cruda oculis, rugisfucata Colorum, 
 Luminis Umbrarumque Tonis tequalia cuncJa - y 
 Foeda, cruenta, cruces , obfcoena, ingrata, chimeras, 
 Sordidaque & mifera, & Vel acuta, Vel afpera ta&u, 
 Quacjue dabunt form* temere congejla ruinam y 
 Implicitafque aliis confundent mifeua fartes. 
 
 LV. 
 
 Errores & vi- 
 tia 
 
 A \ o. 
 
 Dumque fugis "Vitioja, caVe in contraria labi 
 Damnamali, fftium extremis nam femper inb<tret. 
 
 I <Pulcbra 
 
 LVI.
 
 5 8 De Arte Graphics 
 
 LVII. (pukhra gradu fummo Grapbidos ftabilita Vetufta. 
 JtoTabula- Nobilibus Signisfunt Grandia, Dijfita, <Pura, 
 Terfa, Velut minime confufa, Lahore Ligata, 
 (partibus ex magnis paucifque effitta, Color urn 
 420. Corporibus diftinffaferis, Jed femper amicis. 
 
 rum. 
 
 Qui bene c&pit, utifaBi jam fertur balere 
 Dimidium ; (pifturam ita nil fub limine prime. 
 
 Tyro. T ,. ' rr r J J r 
 
 Ingredient Tuer ojjendit damnojiiis Artt, 
 
 Quarn Varia errorum genera ignorante Magijlro 
 415. Ex praxis libare Typts, mentemque Veneno 
 fyficere, in toto quod non abjtergitur 
 
 Nee Grapbidos rudis Artis, adhuc cito 
 CorporaVtVa fuperftudium meditabitur ante 
 lllorum quam Symmetriam, Internodia, Formam 
 4 j o. TSLo^ent infpettis doftd e^olvente Magiftro 
 
 Arcbetypis, dukefque T>olos pr^fenferit Artis. 
 
 Manu ante oculos quam Voce docebitur ufus* 
 
 vire Piftori, 
 aon Piftor.
 
 The Art of Painting 59 
 
 Thofe things which are beautifull in the at-_, L Y. IL . 
 
 n i r T^ r c\< i i * ^* ^ 4 */ 
 
 molt degree 01 Perfection, according to the Axi- * b**tttiftik 
 om of ancient Painters, * ought to have fome- *""*' 
 what of greatnefs in them ; and their out-lines to 
 be noble: they muft be difintangled, pure and 
 without alteration, clean and knit together 5 com- 
 pos'd of great parts, yet thofe but few in num- 
 ber. In fine, diftingutfh'd by bold Colours 3 but 4 2 - 
 of fuch as are related, and friendly to each other: 
 And as it is a common faying, that He who has LVIII. 
 
 %un well, b&s already perform' J half bis work ; fo -M 
 V1 ,. J * J . . J -T you 
 
 F there is nothing more pernicious to a Youth, * 
 
 who is yet in the Elements of Painting, than to 
 engage himfelf under the difcipline of an igno- 
 rant Mafterj who depraves his tafte, by an in- 
 finite number of miftakes 3 of which his wretched 
 works are full, and thereby makes him. drink the 4 2 5 r - 
 poyfon, which infeds him through all his future 
 life. 
 
 Let him who is yet but a Beginner, not make 
 fo much hafte to ftudy after Nature, every thing 
 which he intends to imitate ; as not in the mean 
 time to learn Proportions, the connexion of the 
 parts, and their out-lines : And let him firft have 43 a. 
 well examin'd the Excellent Originals, and have 
 thoroughly ftudied all the fweet deceipts of his 
 Art, which he muft be rather taught by a know- 
 
 I ^ ing
 
 60 The Art of fainting. 
 
 ing Mafter, than by pra&ice 5 and by feeing him 
 perform, without being contented onely to hear 
 him fpeak. 
 LIX. * Search whatfoever is aiding to your Art, and 
 
 Art m* ft* . 1 1 r i 1-1 
 
 fabfcrvicntto convenient, and avoid thole things which are re- 
 
 *?? pugnanttoit. 
 
 Dherftyand * Bodies of divers natures which are ageroup'd 
 
 facility are , . , . , i 1 & i r 
 
 f/c*fag. (or combm d) together, are agreeable and plea- 
 43 ? fant to the fight ^ ^ asalfo thofe things which 
 appear to be perform' d with cafe. Becaufe they 
 are ever full of Spirit, and feem animated with a 
 kind of Cceleftial fire : But we are not able to 
 compafs thefe things with facility,, till we have 
 for a long time weigh'd them in our judgment, 
 and thoroughly confidend them : By this means 
 the Painter fhall be enabled to conceal the pains, 
 andftudy which his Art and work have coft him, 
 under a pleafing fort of deceipt : For the great- 
 eft fecret which belongs to Art, is to hide it from 
 the difcovery of Spe&atours. 
 440. Never give the leaft touch with your Pencil 
 
 TheOriinai ^ Y ou ^ ave we ^ exarrnn d Y our Defign, and 
 *#/?* /;/* have fettled your out-lines, * nor till you have 
 Cap m-the e p r ^fent in your mind a perfect Idea of your 
 
 ^ Let the Eye be {atisfy*d- in the firft place, 
 s even againft and above all other reafons, which 
 
 be:
 
 6-1 
 
 Qu<ere Artem qutfcumque juVant,fuge qutyie repug- 
 nant. 
 
 Corpora diVerf* nature juntta placebunt - y 
 Sic ea qurtfacili contempta labore "Vldentur : 
 ^Ethereus cjulppe ignis me ft &fpiritus Mis. 
 Mente diu Verfata, manu cekranda repenti. 
 Arfque Laborque Opens grata fie fraude latebit 
 Maxima, deinde erlt ars y nibil artis inejfe videri. 
 
 LX. 
 
 Oculps recre- 
 ant diverfitas 
 & Operis fit- 
 cilitas, qu% 
 fpeciatitn Ars 
 didtur. 
 
 43 J- 
 
 fflec prius inducas TabuU Pigmenta Colorum, 
 Expenji quam figna Typi flabilita mtefcant y 
 Et mentl pr^fens Operis Jit Qegmafuturi. 
 
 440. 
 
 LXI. 
 
 Archetypus 
 inmente, A-' 
 pographum 
 in tela. 
 
 *Pr<eVakat fenfus rationi qu& offc'it Aril LXIL 
 
 Confpicu<e, in^ue oculis tantummo^o Circinusefto* S5S. nusm " 
 
 Utere
 
 De Arte Graphlca. 
 
 445. Utere Doctorum Monitisy nee fperne fuperlux 
 
 LXIIJ. Xtifcere qua de te fuent Sententia Vulvi. 
 
 Superbiapi- J f - i 
 
 aori nocet Eft coccus nam quijque Juts in rebus , C" expers 
 
 plunmiim. j U( fo c i^ (prolemque fuam miratur a 
 
 amatque. 
 
 Aft ubi Confilium deerit Sapientis Armci y 
 450. Id tempus dabity atcjue mora mtermiffa labori. 
 Now facilis tamen ad nutus <& inania Vulgi 
 Ttifta kvis mutabis OfuSy Geniumque relinques : 
 Nam qui parte fua fperat bene pojfe mereri 
 Multivaga de <Plebe, nocet fibi, nee placet 
 
 455. Cuwque Opere in propriofoleat feflngere Pittar, 
 
 iProderit
 
 The Art of Painting. 
 
 beget difficulties in your Art, which of it felf fuffers 
 none j and let the compafs be rather in youi Eyes 
 than in your Hands. 
 
 * Profit your felf by the Counfels of the know- 445' 
 
 T "V 1 T T 
 
 ing : And do not arrogantly difdain to learn the 
 opinion of every man concerning your work. - _ 
 All men are blind as to their own productions ; 
 and no man is capable of judging in his own 
 caufe; * but if you have no knowing friend, ro 
 affiftyou with his ad vice, yet length of time will 450.. 
 never fail 5 'tis but letting fome weeks pafs over 
 your Head, or at lead fome days, without looking 
 on your work, and that intermiflion will faithful- 
 ly difcover to you the faults, and beauties 5 yet 
 fuffer not your felf to be carried away by the opi- 
 nions of the Vulgar , who often fpcak without 
 knowledge 5 neither give up your felf altogether 
 to them, and abandon wholly your own Genius, 
 fo as lightly to change that which you have made : 
 For he who has a windy Head, and flatters him- 
 felf with the empty hope of deferving the praife of 
 the common people, whofe opinions are inconfi- 
 derate, and changeable, does but injure himfelf 
 and pleafes no man. 
 
 Since every Painter paints himfelf in his own 457. 
 works (fo much is Nature accuftom'd to produce v Lxlv 
 
 i i c y i Know your 
 
 her own. likenels ) tis advantageous to him 
 
 know
 
 The Art of fainting. 
 
 know himfelf, * to the end that he may cultivate 
 thofe Talents which make his Genius, and not 
 unprofitably lofe his time in endeavouring to 
 gain that which flie has refus'd him. As nei- 
 460. ther Fruits have the tafte, nor Flowers the beauty 
 which is natural to them when they are tranfplan- 
 ted in a foreign foil, and are forc'd to bear be- 
 fore their feafon by an artificial heat: fo 'tis in 
 vain for the Painter to fweat over his works in 
 fpight of Nature and of Genius 3 for without them 
 'tis impoflible for him to fucceed. 
 LXV. * While you meditate on thefe truths, and 
 ife, and obferve them diligently, by making neceflary re- 
 / flexions on them 5 let the labour of the Hand 
 accompany the ftudy of the Brain 5 let the for- 
 mer fecond and fupport the latter ; yet without 
 46 5>- blunting the (harpnefs of your Genius ; and aba- 
 ting of its vigour by too much affiduity. 
 
 * The Morning is the beft, and moft proper 
 part of the day for your bufinefs 5 employ it 
 LXVII. therefore in the ftudy and exercife of thofe things 
 f/Xw* * which require the greateft pains and application. 
 
 LXVIII. ^ Let no day pafs over you without a line. 
 kjtb*T Obferve as you walk the Streets, the Airs of 
 **%!** ** Heads j the natural Poftures and Expreffions 5 
 which are always the moft free the lefs they feem 
 to be obferv'd. 
 
 *Be
 
 De Arte Graphic*. 6 5 
 
 Tnderit imprimis <Pilori y^Jnstxhi*; 
 
 Ut data qu<e genio colat, abftineatque negatis. 
 
 Fruftibw utque funs nunquam eft fapor atque Venufta* 
 Floribus infueto in f undo pmcoce fub anni 460. 
 
 Temforey quos cultus Violentus & ignis adegit 5 
 Sic nunquam nimio quttfunt extorta labor e, 
 Et pitta inVito Genio, nunquam ilia placebunt. 
 
 Vera fuper meditando, Manns, Labor improbtts adfit : 
 Nee tamen obtundat Genium, merit if que vigor em. 
 
 LXV. 
 
 Quod mente 
 conceperis 
 
 Optima noftrorum pars matutina dierum, 
 Difficili bane igitur potiorem impende Labori. 
 
 Nulla dies abeat quin lineadufta fuperjtt. 
 tperque via* Vultw hominum, motufque notabis 
 Libert ate fua proprios, pojitafque Figuras 
 Ex fefe facile s, ut inobferVatus habebis. 
 
 K 
 
 LXVT. 
 
 Matutinutn 
 tempus La- 
 bori aptum. 
 
 Lxyn. 
 
 Singulis die- 
 bus aliquid 
 faciendum* 
 
 4/0. 
 
 Lxvur. 
 
 Aflfe6lus in- 
 obfervati & 
 naturales.
 
 66 De Arte Graphic*. 
 
 LXIX. fifox auoicumaue Man. Terrif & in Am puldrum< 
 
 Non defint * , 
 
 Pugillares. Continent, Ckartts frofera mandare paratis, 
 
 Dum fr<efens animofpecies tibi ferret hianti. 
 
 47 ? Nw epulis nimis indulget tpiftura, mero^ue 
 
 <Parcit, Amicorum quantum ut fermone benigno? 
 Exhauftum reparet mentem recreata, fedinds 
 LitibiM & cur is in Coalite liter a Vita 
 Sectjfusprocul a turta ftrepituque remotos 
 ViUarum rurifqut teatafilentia quxrit : 
 Namquerecollefto tota incumtente MtnerVa 
 Ingenio rerumfpecies pr<efentior extat, 
 Commodiufque Operis compagem ampleftitur omntm. 
 
 Infiimi titi non potion Jit atara pec'nR 
 Cur a, aurique fames, modica quam forte leafo 
 Nominis *terni<& laudis pruritus batend*, 
 
 Con-
 
 The Art of Painting. 
 
 Be ready to put into your Table-book 
 
 (which you muft always carry about you) what- 
 foever you judge worthy of it $ whether it be up. 
 on the Earth, or in the Air, or upon the Waters, 
 while the Species of them is yet frefh in your I- 
 magination. 
 
 * Wine and good Cheer are no great Friends 475. 
 to painting, they fove only to recreate the Mine, 
 when 'tis opprcft and fpent with Labour 5 then 
 indeed 'tis proper to renew your Vigour by the 
 converfation of your Friends : Neither is a true 
 Painter naturally pleas' d with the fatigue of bufi- 
 
 nefs, and particularly of the Law, * but delights 
 in the liberty which belongs to the Batchelour's 
 Eftate. * Painting naturally withdraws from 
 Noife and Tumult, and pleafes k ielf in the en- 
 joyment of a Country Retirement: becaufe Si- 480*" 
 lence and Solitude fet an edge upon the Genius, 
 and caufe a greater Application to work and ftu- 
 dy, and alfo ferve to produce the Ideas, which, 
 fo conceiv'd, will be always prefent in the Mind, 
 even to the finifhing of the work 3 the whole com- 
 pafs of which, the Painter can at that time more 
 commodioufly form to himfelf than at any other. 
 
 * Let not the covetous defign of growing rich, . g ^ 
 induce you to ruin your reputation, but rather fa- 
 
 tisfy your felf with a moderate fortune 5 and let 
 
 K z your
 
 8 The Art of Fainting. 
 
 your Thoughts be wholly taken up with acqui- 
 ring to your felf a glorious Name, which can ne- 
 ver perifh, but with the World, and make that 
 the recompence of your worthy Labours. 
 
 * The qualities requifite to form an excellent 
 Painter, are, a true difcerning Judgment ; a Mind 
 which is docible, a noble Heart, a fublime Senfe 
 
 490. of things, and Fervour of Soul; after which fol- 
 low, Health of Body, handfomenefs, a conveni- 
 ent (hare of Fortune, Youth, Diligence, an affe- 
 &ion for the Art, and to be bred under the difci- 
 pline of a knowing Mafter. 
 
 And remember,that whatfoeveryour Subjedbe, 
 whether of your own Choice, or what chance or 
 good fortune fiiall put into your hand, if you 
 have not that Genius or natural Inclination, which 
 your Art requires, you fliall never arrive to per- 
 fection in it, even with all thofe great advantages 
 which I have mentioned; for the Wit, and the 
 manual operation are things vaftly diftant from 
 each other. 'Tis the Influence of your Stars, and 
 the happinefs of your Genius, to which you muft 
 be obliged for the greateft Beauties of your Art. 
 
 49 } Nay, even your excellencies fometimes will 
 not pafs for fuch in the opinion of the learned, but 
 only as things which have lefs of Error in them, 
 for no- man fees his own failings j * and Life is fa
 
 De Arte Graphics. 
 
 Condign* pukbrorum Operum mercedis in 
 
 Judicium, docile Ingenium, Cor nobile, Senfus 
 Sublimes, fir mum Corpus, florenfque JuVenta, 
 Commoda (2^5, Labor ^ Artls amor, dottufque Magifter ; 4p o. 
 
 Et quamcumque Voles occafio forrigat anfam, 
 Ni Genius quidam ad/uerit Sydufque benignum, 
 Dotibus his iantis, nee adhuc Ars tantaparatur 
 
 T>iftat ab Ingenio knge Manus. Optima Doffis 
 
 Cenfentur qu<e praVa minus $ latet omnibus error > 49 J 
 
 Fitaque tarn long<e breVior nonfuffictt Arti; 
 
 Vefi
 
 TO De Arte Graphica. 
 
 Definimus nam pojfefenes cum fcireperiti 
 IncipimuSy dottamcjue Manum graVat tegra feneftus, 
 .Necgelidis ferVet juVenilis in Artubus ardor. 
 
 500. Quare agite, oJuVenes, flacido quos Sydere nato* 
 *Pacifer<e ftudia alleftant tranquilla MimrVte, 
 Quofque fuo foVet igne, fibique optaVit Alumnos ! 
 Eja agite, atque animis ingentem ingentibus Artem 
 Exercete alacres, dum flrenua corda JuVentus 
 
 505, Vtrilus extimulat Vegetis, patiensque labornm 
 Dum Vacua errorum nulloque imbuta f afore 
 *Pura nitet mens, <& mumfitibunda ntiVarum 
 haurit fpecies, atque humidaferVat. 
 
 "LXX. 
 
 Ordo Studio^ 7 ^ -. M 
 
 rum, 1 Gcometrali frw Arte farumper aduhi 
 
 Sign*
 
 "The Art of Fainting. 
 
 ffiort, that it is not fufficient for fo long an Art. 
 Our ftrength fails us in our old Age, when we 
 begin to know fomewhat : Age opprefles us by 
 the fame degrees that it inftrucls us, and permits 
 not that our mortal Members which are frozen 
 with our years, flhould retain the Vigor and Spi- 
 rits of our Youth. 
 
 * Take courage therefore, O ye Noble Youths ! joo. 
 you legitimate Off-fpring of frfinerVa, who are 
 born under the influence of a happy ftlanet, and 
 warm'd with a Geleftial Fire, which attracts 
 you to the Love of Science ; exercife while you 
 are young, your whole forces, and employ them 
 with delight in an Art which requires a whofa 
 Painter. Exercife them I fay, while your boyl- 
 ing Youth fupplies you with Strength, and furni- joy. 
 fihes you with Quicknefs and with Vigour 3 while 
 your Mind, yet pure and void of Error, has not 
 taken any ill habitude to vice, while yet your Spi- 
 rits are inflam'd with the Thirft of Novelties, and 
 your Mind isfill'd with the firft Species of things 
 which prefent themfelves to a young Imaginati- 
 on, which it gives in keeping to your Memory ; 
 and which your Memory retains for length of 
 rime, by reafon of the moifture where with at that LXX. 
 Age the Brain abounds: * you will do well 
 * to begin with Geometry, and after having 
 
 fbme 
 

 
 72 Ibe Art of Painting. 
 
 fome progrefs it it, * fee your felf on defigning 
 
 j i o. after the Ancient Greeks, * and ceafe not day or 
 night from labour, till by your continual practice 
 you have gain'd an eafy habitude of imitating 
 them in their invention, and in their manner, 
 * And when afterwards your judgment {hall 
 grow ftronger, and come to its maturity with 
 years, it will be very neceflary to fee and examine 
 one after the other, and part by part, thofe works 
 
 5 1 J which have given fo great a Reputation to the 
 Matters of the firft form in purfuit of chat Me- 
 thod, which we have taught you here above, 
 and according to the Rules which we have given 
 you 5 fuch are the ^mans, the Venetians, the 
 Pannefans, and the < Bologntf<s. Amongft thofe 
 excellent Perfons, Raphael had the Talent of In- 
 
 520. Mention for his (hare, by which he made as ma- 
 ny Miracles as he made Figures. In which is 
 obferv'd * a certain Grace which was wholly na- 
 tural and peculiar to him, and which none fince 
 him have been able to appropriate to themfelves. 
 Mdael Angelo poflTefs'd powerfully the part of 
 Dejtgjiy above all others. * Julio Romano (edu- 
 cated from his childhood among the Mufes) has 
 open'd to us the Treafures of *Parnaffus : and in the 
 Poetry of Painting has difcover'd to our Eyes the 
 
 525, moftfacred Myfteries of Apollo, and all the rareft 
 
 Orna-
 
 De Arte Graphics. , 73 
 
 Stgna Antiqua fuper Graiorum addifcite formam j j i o. 
 TSLec mora nee requies, nottuque diuque labori 
 Illorum Menti atque Modo, Vos donee agendi 
 Praxis ab affiduo faciles aJfueVerit U/H. 
 
 Mbx ubi Judicium emenfis adokverit annis 
 Singula CJUA celebrant prim& Exemflana claffis j i j 
 
 fftomani, Veneti, Tannenfes, atque Sononi 
 *Partibus in cunftis fedetentim atque or dine refto, 
 lit monitum fufra eft Vos exfendijfe juVabit. 
 
 Hos apud inVenit Raphael miraculafumm 
 T)ula modo, Venerefque babuit quas nemo deincefs. 
 id erat form* fch>it Bonarota potenter. 
 
 Julius apuero Mufarum eduftus inAntris 
 AoriiM referabit opes, Grapbicaque *Poefi 
 QUA non vifa prius, fed tantum audita <Poetis 
 Ante ocuhsfp eftanda dedit Sacraria Tbcebi : 5 2 
 
 L
 
 13e Arte Graphica. 
 
 coronatis comfleVit bella triumphs 
 Heroum fortuna patens, cafufque decoros 
 Nobilius reiffa antiqua pinxijfe ridetur. 
 
 Clarior ante allos Corrcgius extitity ampla 
 5 TO. Luce fuperfufa circum coeuntibus limbris, 
 
 fingendique Modo grandly & tra&ando Colore 
 Corpora, dmicitiamque, gradufque, dolofque Colonmij 
 Compagemque ita difpofuit Ticianus, ut inde 
 3)tius appellatusy wagwsfit honor thus auclus 
 5 3 J- Fortun#que boms : QuoifeMus Annibal omnes 
 Inpropriam mentem atque Modum miraarte coegit.
 
 Tfo -Art 0f Pawtwg. 75- 
 
 Ornaments which thatGorfis capable of comrruK 
 eating to thofe works that he infpires , which 
 we knew not before, but only by the RecitaL 
 that the <Poets made of them - y he feems to 
 have painted thofe famous Wars which He- 
 roes have wag'd, and ended with Victory ovet 
 crown'd Heads, whom they have led in tri- 
 umph; and thofe other glorious Events which* 
 Fortune has caused in all ages, even with more 
 Magnificence and Ntfblenefs, than when they 
 were acted in the World. Correggio has made 
 his Memory immortal by 'the Strength and Vt 5*302. 
 gour he has given totris Figures, and by fweet- 
 ning his Lights and Shadows^ and melting them 
 itito each other fo hajppily, that they are even im- 
 perceptible. He is alfo almoft fingle in the great- 
 manner of his Painting, and the Facility he had^ 
 in the managing of his Colours. And Titian under- 
 ftood fo well the Union of the 'Mfaffes, and the Bo- 
 dies of Colours, the Harmony of the Tones, and; 
 the Difpofition of the whole together, that he has 
 deferv'd thofe Honours, and that wealth which; 
 were heap'd upon him, together with that at- 
 tribute of being furnam'd the DMm Painter.. 
 The laborious and diligent Anmbal t^rracci, has J 3 y;- 
 taken from all thofe great Perfons already men- 
 tion'.d, whatfoever excellencies he found in them, , 
 
 L ^~ andt
 
 The Art of Painting. 
 
 and, as it were, converted their Nourishment in- 
 to his own Subftance. 
 LXXL 'Tis a great means of profiting your felf to co- 
 
 py diligently thofe excellent Pieces, and thofe 
 beautiful! defigns 5 But Nature which is prefent 
 before your Eyes, is yet a better Miftrejs : For 
 fhe augments the Force and Vigour of the Geni- 
 us, and {he it is from whom Art derives her ulti- 
 
 5 40. mate perfection by the means of fure Experience ; 
 *I pafsinfilence many things which will be more 
 amply treated in the enfuing Commentary. 
 
 And now confidering that all things are fub- 
 ject to the viciflitude of Time, and that they are 
 liable to Deftruction by feveral ways, I thought 
 I might reafonably take the boldnefs * to intruft 
 to the Mufes (thofe lovely and immortal Sifters 
 of painting) thefe few Precepts which I have here 
 made and collected of that Art. 
 
 545* I employed my time in the ftudy of this work 
 at Q(ome, while the honour of the 'Bourbon Fami- 
 ly, and the juft Avenger of his injured Anceftors, 
 the Victorious Lovis ,was darting his Thunder 
 on the Alfesy and caufing his Enemies to feel the 
 force of his unconquerable Arms, while he like 
 another GaOique Hercules, born for the benefit 
 and Honour of his Country, was griping the Spa- 
 
 549. nijh Geryon by the Throat, and at the point of 
 ftrangling him. O B-
 
 77 
 
 (plurimus inde labor Tabulas imitando juVabit LXXI. 
 
 Egregiat, Operumque Typos 5 fedplura docebit Ex^rkmU 
 
 Natura ante oculos pr<efens j namfirmat tsr auget 4 rtem P erfi " 
 Vim Genii, ex illaque Artem Experientia complet. 
 Multa fuperjileo qua comment ana dicent. 
 
 ego, dum memoror fubitura ^olubilis 
 Cunfta vices, Variifyue olim peritura ruinis, 
 fiauca Sopbifmatafum Grapbica immortalibus aufus 
 Credere Fieriis. <l(om<t meditatus; ad Alfes 
 Dumfuper infant moles inimicaque caftra 
 BorboniJum decus <& vindex Lodoicus Avorum 
 Fulminat ardenti dextra, (Patrittque refurgens 
 Gallicus Alcides, f remit Hifpani or a Leonis. 5 49
 
 OBSERVATIONS 
 
 ; ON THE 
 
 Art of Painting 
 
 o F 
 
 - /.!, <.. -Y . > . \ - t 
 
 'Charles Alphonfe du Frefnoy. 
 
 ' vf. , .**.*%$ .r* i 
 
 P Ainiing and<Poefyare two Sifter s y &c. *Tis gr K 
 a rfcceiv'd truth, that the Arts have a cer- The 
 tain relation to each other.' " There is \ 
 " no Art (faid Tertuffian in his Treatife of Idola- VAt l on J ( . 
 
 ef t t - - i i y I / ia\ to fi n " '* *" e 
 
 try) tt?/^/c/7 w wot either the rather or the near y$e- Text tke far- 
 c< lation of another; And Cicero in his Oration for ^^ p tf 
 
 j JA&C OA Tvnici* 
 
 cc Arcbia* the fport, fays, |1W f/;e ^5 which haVe th*obfcrv*ti- 
 cc reffeB to human life, haVe a kind of Alliance a- 0> 
 a mong/l themfetves, and hold each other (as we may 
 " f a y) by the hand. But thofe Arts which are the 
 neareft related, and claim the moil ancient Kin- 
 dred with each other, are Tainting and Poetry $ 
 
 and
 
 8o Obfervations on the 
 
 and whofoever fliall throughly examine them, will 
 find them fo much refembling one another, that 
 he cannot take them for lefs than Sifters. 
 
 They both follow the fame bent,and fuflfer them- 
 felves rather to be carry'd away, than led by their 
 fecret Inclinations, which are fo many feeds of 
 the Divinity. " There is a God within us (fays 
 cl Ovid in the beginning of his Sixth Book de Fa- 
 " ftis, there fpeaking of the Poets^ who by his A- 
 cc gttation warms us. AodSuida* fays, That the fa- 
 " mous Sculptor Phidias, and Zeuxis that incompa- 
 " rable Pa'mter, were both of them tranfported by the 
 a fame Entbufiafm, which ga"Ve life to all their works. 
 They both of them aim at the fame encf, which 
 is Imitation. Both of them excite our Paffions $ 
 and we fuffer our felves willingly to be deceived, 
 boch by the one, and by the other ; our Eyes and 
 Souls are fo fixt to them, that we are ready to 
 perfuade our felves that the painted Bodies breath, 
 and that the Fictions are Truths. Both of them 
 are fet on fire by the great Actions of Heroes ; 
 and both endeavour to eternize them : Both of 
 them in fliort, are fupported by the ftrength of 
 their Imagination, and avail themfelves of thofe 
 licences, which Apollo has equally beftow'd on 
 them, and with which their Genius has infpir'd 
 them.
 
 Art of Painting. 8 1 
 
 atque (poetis 
 Quidltbet audendi, femfer fuit <cjua potefta*. 
 
 Painters and Poets free from fertile awe, 
 
 May treat their Subjects, and their Objects draw. 
 
 As Horace tells us in his Art of Poetry. 
 
 The advantage which Painting poflefles above 
 Poejie is this 3 That amongft (b great a Diverfi- 
 ty of Languages, {he makes her felf underftood by 
 all the Nations of the World; and that (he is necef 
 fary to all other Arts, becaufe of the need which 
 they have of demonftrative Figures, which often 
 give more Light to the Underftanding than the 
 cleareft difcourfes we can make. 
 
 Segniw irritant animos demiffa per aurem, 
 Quam qud funt oculis commijfa fiddibw. 
 
 Hearing excites the Mind by flow degrees, 
 The Man is warmd at once by what he fees. 
 
 Horace in the fame Art of Poetry. 
 
 For both of them that they might contribute. Sec. 
 Poetry by its Hymns and Anthems, and fainting by 
 its Statues, slltar-pieces, and by all thoje Decorati- 
 
 M ons
 
 Obfervations on the 
 
 ons which infpire Refpeft and Reverence for our 
 Sacred Myfteries, have been ferviceable to <I(eligwn. 
 Gregory of N/ce, after having made a long and 
 beautifull Defcription ot Abraham facrificing 
 his Son Ifaac, fays thefe words, " I baVe often 
 " caft my eyes upon a Picture, which refrefents this 
 cc moving objefl, and could never withdraw them with- 
 <c out Tears. So well did the Picture refrefent 
 " the thing it felf, even as if the Attion were then 
 24. " p*[fing before my Sight. So much thefe Divine 
 Arts haVe been always honour d, See. The greateft 
 Lords, whole Cities and their Magift rates ofOld((siys 
 <Pliny lib. 35.) took it for an honour to obtain a J*i- 
 Elure from the hands of thofe great Ancient (painters. 
 But this Honour is much fallen of late amongft 
 the French Nobdity : and if you will underftand 
 thecaufe of it, FitrtiViiis will tell you that it comes 
 from their Ignorance of the charming Arts. <Pro- 
 fter ignorantiam Artis, Virtutes obfcurantur : (in the 
 Preface to his Fifth Book.) Kay more , we 
 fhould fee this admirable Art fall into the laft de- 
 gree of Contempt, if our Mighty Monarch, who 
 yields in nothing to the Magnanimity of Alexan- 
 der the Great, had not fhown as much Love for 
 Painting as Valour in the Wars: we daily fee him 
 encouraging this noble Art, by the confiderable 
 * Mr. Le Prefents which he makes to his * chief Painter. 
 
 Erun, 
 
 And
 
 Art of Painting^, * 83 
 
 And he has alfo founded an Academy for the 
 Progrefs and Perfe&ionating of Painting, which 
 his * firft Minifter honours with his Prote&ion, * M-. Coi- 
 his care, and frequent Vifits : infomuch that we berfc 
 might fliortly fee the age of Apelles reviving in our 
 Country, together with all the beauteous Arts, if 
 our generous Nobility, who follow our incompa- 
 rable King with fo much Ardour and Courage in 
 thofe dangers to which he expofes his Sacred Per- 
 fbn for the Greatnefs and Glory of his Kingdom, 
 would imitate him in that wonderfull Affe&ion 
 which he bears to all who are excellent in this kind. 
 Thofe Perfons who were the moft confiderable 
 in Ancient Greece, either for Birth or Merit, took 
 a moft particular care, for many ages, to be inftru- 
 <5ted in the Art of Painting : following that lau- 
 dable and profitable cuftom which was begun 
 and eftablifh'd by the Great Alexander, which was 
 to learn how to J)ejign. And Tliny who gives te- 
 ftimony to this in the tenth Chapter of his ^Jth. 
 Book tells us farther (fpeaking of fampbilus the 
 Mafter of Afelles) That it was by the authority of A- 
 lexander, that firft at Sicyon, and afterwards thro 
 d# Greece, the young Gentlemen learn d before all o- 
 ther things to defign upon Tablets of 'Boxen-wood j and 
 that the firft place among all the Liberal Arts WM gi- 
 Ven to fainting. And that which makes it evident, 
 
 M ^ that
 
 84, Observations on the 
 
 that they were very knowing in this Art, is the 
 love and efteem which they had for Painters. 
 Demetrius gave high teftimonies of this wherrhe 
 befieg'd the City of Rhodes : For he was pleas'd 
 to employ fome part of that time, which he ow'd 
 to the care of his Arms, invifiting'Profoge/je.y, who 
 was then drawing the Pi&ure of Jalifus. Tliis Ja- 
 Irfus, (fays <Pliny) binder d IQng Demetrius from 
 taking Rhodes, out of fear , left he fhould burn the 
 ( Pilures ; and not being able to fire the Town on any> 
 other Jide y he was f leas' d rather to ffare the Taint ing, 
 than to take the Viftory which was already in his bands* 
 *Protogenes at that time had his Work-houfe in a 
 Garden out of the Town, and very near the 
 Camp of the Enemies, where he was daily fi- 
 nifhing thofe Pieces which he had already begun j 
 the noife of Soldiers not being capable of inter- 
 mpting his ftudies. But Demetrius caufing him 
 to be brought into his Prefence, and asking him 
 what made him fo bold as to work in the midft 
 of Enemies : Heanfwer ? d the King, That be un- 
 derjtood the War which he made, wo* againfttbe Rho- 
 dians and not againft the Arts. This oblig'd Deme- 
 trius to appoint him Guards for his Security, be- 
 ing infinitely pleas'd that he could preferve that 
 hand, which by this means he fav'd from the 
 barbarky and infolence of Soldiers. Alexander 
 
 had
 
 Art of Painting. 8** 
 
 tad no greater pleafure, than when he was in the 
 painting room of Apdks, where he commonly was 
 found. And that Painter once received from him a 
 fenfible Teftimony of Love andEfleem which that 
 Monarch had for him : for having caus'd him to 
 paint naked (by reafonofher admirable beauty) 
 one of his Concubines call'd Campafpe, who had 
 the greateft fhare in his affe&ions, and perceiving 
 that Belles was wounded with the fame fatal dart 
 of Beauty, he made a prefent of her to .him. In 
 that age fo great a deference was pay'd to Paint, 
 ing, that they who had any Maftery in that Art, 
 never painted on any thing but what was porta- 
 ble from one place to another, and what could 
 be fecur'dfrorn burning. They took a particu- 
 lar care, fays Pliny, in the place above-cited, not 
 to paint any thing againft a Wall, which could 
 onely belong to one Mafter, and muft always 
 remain in the fame place $ and for that reafon 
 could- not be removed in cafe of an accidental 
 Fire. Men were not fuffer'd to keep a Pidlure, 
 as it were in Prifon, on the Walls: It dwelt in 
 common in all Cities, and the Painter himfelf 
 was refpected, as a Common Good to all the World. 
 See this Excellent Author, and you (lull find that 
 the i otb. Chapter of his 5 jf/;. Book is fill'd with 
 the fraifes of this Art-> and with the Honours tvhicb 
 
 mere:
 
 'Olfcrvations on the 
 
 wen of crib' d to it. You will there find that it was 
 not permitted to any but thofe of noble Blood 
 to profefs it. Francis the Firfl, as Safari tells us, 
 was in love with Painting to that degree, that he 
 allur'd out of Italy all the bed Mafters,that this Art 
 might flourifh in his own Kingdom. Amongft o- 
 thers Leonardo da Vinci, who after having continu- 
 ed for fome time in France, died at Fontainbleau, 
 in the Arms of that great King, who could not 
 behold his death, without ftiedding Tears over 
 him. Charles the Fifth has adorn' d Spain with the 
 nobleft Pictures which are now remaining in the 
 World. G(idolpbi in his life of Titian, fays, that 
 Emperor one day took up a Pencil, which fell from the 
 hand of that Artift, who was then drawing his (piclure, 
 aud upon the Compliment which Titian made him on 
 that occafion , be faid thefe words, Titian has de> 
 ferv'dto be ferv'd by Caefar. And in the fame life 
 'tis remarkable, That the Emperour Valued himfelf 
 not fo much in fubjetting IQngdoms and Provinces, 
 as that he had been thrice made immortal by the hand of 
 Titian. If you will but take the pains to read this 
 famous life in^idolphi^you will there fee the relation 
 of all thofe honours which hereceiv'd horn Charles 
 the Fifth. It would take up too much time here to 
 recount all the particulars : I will onely obferve 
 that thegreateft Lords who compos'd the Court 
 
 of
 
 Art of Painting. 87 
 
 of that Emperour, not being able to refrain 
 from fome marks of Jealoufy, upon the preference 
 which he made of the Perfon, and Converlation 
 of Titian, to that of all his other Courtiers ; he 
 freely told them, That be could never want a Court 
 or Courtier s, but be could not baVe Titian always with 
 bim. Accordingly he heap'd Riches on him, and 
 whenfoever he fent him Money, which* ordi- 
 narily fpeaking, was a great Summ, he always did 
 it with this obliging Teftimony, That bis defign 
 was not to fay him the Value of bis Pictures, becaufe 
 tbey were aboVe any price. After the example of the 
 Worthies of Antiquity, who bought the rareft 
 Pi&ures with Bufliels of Gold, without counting 
 the weight or the number of the pieces, In nummo 
 aureo, menfura accepit, non numero, fays Pliny, fpeak- 
 ing of Addles. Quinftilian inferrs from hence , 
 tbat there is notbing more noble than the Art of Paint- 
 ing ; becaufe other things for the mod pare are 
 Merchandice, and bought at certain Rates 5 moft 
 things for this very reafon, (fays hej are vile be- 
 caufe they have a price, Pleraque hoc iffo pojfunt 
 Videri Vilia y qutd pretium babent : fee the j ^tb. j 5 tb. 
 and $6th. Books of Pliny. Many great perfons 
 have lov'd it with an extream Paffion, and have 
 exercised themfelves in it with delight. Amongft 
 others, Lelius Fabius y one of thofe famous
 
 88 Observations on the 
 
 mans, who, as Cicero relates, after he had carted 
 painting and had praclis'd it, would be call'd 
 Fabius fpiftor : as alfo Turpilius a <%oman Knight 5 
 Labeo (Prdtor s Conful, Qu'mtus <Pedius, the Poets 
 Ennlus and (pacuVins ; Socrates, (plato, Metrodorus^ 
 <Pirrbo, Commodus, Nero, Veffafian, Alexander SeVe- 
 rus, Antoninus, and many other Kings and Empe- 
 rours, who thought it not below their Majefty 
 to employ fome part of their time in this honou- 
 rable Art. 
 
 3 / Tl?e principal and moft important part of (Painting, 
 is to find out and thoroughly to under Jland what Nature 
 bath made moft beautiful! and moft proper to this Art, 
 Sec. Obferve here the rock on which the greateft 
 part of the Flemifh Painters, have fplit: moft of 
 that Nation know how to imitate Nature, at leaft 
 as well as the Painters of other Countries, but 
 they make a bad choice in Nature it felf -, whe- 
 ther it be, that they have not (een the Ancient 
 pieces to find thofe beauties ; or that a happy 
 Genius, and the beautifull Nature is not of the 
 growth of their Country* And to confefs the 
 truth, that which is naturally beautifull is fo very 
 rare, that it is difcover'd by few perfons ; 'tis 
 difficult to make a choice of it, and to form to 
 our felves fuch an Idea of it, as may ferve us for a 
 Model. 
 
 And
 
 Art of Tainting. 89 
 
 And that a choke of it may be made according to ^f 2 p 
 tie guft and manner of the Ancients, &c. That is 
 to fay, according to the Statues , the BaJfo<I(elie- 
 Vo's,and the other Ancient Pieces, as well of the Gre- 
 cians as of the Romans ; Ancient (or Antique) is that 
 which has been made from the time of Alexander 
 the Great, till that of Thocas ; during whofe Em- 
 pire the Arts were ruin'd by War. Thefe Anci- 
 ent works from their beginning have been the ruk 
 of Beauty 3 and in effect, the Authors of them 
 have been fo carefull to give them that perfecti- 
 on, which is ftill to be obferv'd in them, that 
 they made ufe not onely of one fingle Body,where- 
 4>y they form'd them, but of many, from which 
 they took the moft regular parts to compofe 
 from them a beautifull whole. " Tlie Sculptors, 
 " fays Maximus Tyrius in his ?th. Diflertation, 
 " with admirable Artifice chofe -out of many Bodies 
 " thofe farts which appear d to them the moft beauti- 
 " ///, and out of that diverfity made but one Statue: 
 " But this mixture is made with fo much prudence 
 " and propriety, that they feem to haVe taken but one 
 " onely perfect Beauty. And let us not imagine that 
 " we can eVer find one natural Beauty which can dif- 
 " pute with Statues, that Art which has always fome- 
 " what more perfect than Nature. 'Tis alfo to be 
 prefum'd, that in the choice which they made of 
 
 N thofa
 
 Observations on the 
 
 thofc parts, they followed the opinion of the (Py- 
 Jicians, who at that time were very capable of 
 inftrufting them in the rules of Beauty : Since 
 Beauty and Health ordinarily follow each other. 
 ic For Beauty, fays Galen, is nothing elfe but a jujl 
 " Accord and mutual Harmony of the Members, a- 
 " nimated by a healthfull conftitution. And men, 
 " faid the fame Author, commend a certain Statue 
 " of Polycletus, which they call the rule, and which 
 cc deferVes that name for having fo perfect an agree- 
 " ment in all its parts, and a proportion fo exact, that 
 " it is not pojfible to find a fault in it. From what 
 I have quoted, we may conclude, that the Anci- 
 ent Pieces are truly beautifull, becaufe they rr- 
 femble the Beauties of Nature 5 and that Nature 
 will ever be beautifull which refembles thofe Beau- 
 ties of Antiquity. 'Tis now evident upon what 
 account none have prefum'd to conteft the pro- 
 portion of thofe Ancient Pieces, and that on the 
 contrary, they have always been quoted as Mo- 
 dels of the moft perfect Beauty. 0V/ Jin the i 2th. 
 Book of his Metamorphofis, where he defcribes Cyl- 
 lartit, the moft beautifull of all the Centaures, fays, 
 That he had fo great a Jfftacity in his Countenance, his 
 Neck, his Shoulders, his Hands and Stomach were 
 fo fair, that it is certain the manly part of him W<M 
 <# beautifull as the moft celebrated Statues. And
 
 Art of "Painting. 
 
 tPbiloftratus in his Heroisms, fpeaking of (protefi- 
 laus and praifing the beauty of his face, fays, 
 " That the form of bis Nofe WM fyuare, as if it bad 
 " been of a Statue $ and in another place fpeaking 
 of Ettphorbus, he fays, " That bis beauty bad gain A, 
 " the affections of all t be Greeks, and that it refem- 
 " bled fo nearly the beauty of a Statue, that one might 
 " baVe taken him for Apollo. Afterwards alfo 
 fpeaking of the Beauty of Neoptolemus, and of his 
 likenefs to his Father Achilles, he fays, " That in 
 *' beauty, his Father bad the fame advantage over 
 " him, as Statues haVe over the beauty of living 
 Men. 
 
 This ought to be understood of the faireft 
 Statues, for amongft the multitude of Sculptors 
 which were in Greece and Italy, 'tis impoffible but 
 fome of them muft have been bad work-men, or 
 rather lefs good : for though their works were 
 much inferiour to the Artifts of the firft form, yet 
 fomewhat of greatnefs is to be feen in them, and 
 fome what of harmonious in the diftribution of their 
 parts, which makes it evident3 that at this time 
 they wrought on Common Principles, and that 
 every one of them avail'd himfelf of thofe Princi- 
 ples according to his Capacity and Genius. Thofc 
 Statues were the greateft Ornaments of Greece ; we 
 need onely open the Book of <Paufani4s to find 
 
 N 2 the
 
 Observations on the 
 
 the prodigious quantity of them, whether within 
 or without their Temples, or in the crofflng of 
 Streets, or in the Squares and publique Places, or e- 
 ven the Fields,or on the Tombs. Statues were ere- 
 cted to the Mufes, to the Nymphs, to Heroes ,to great 
 Captains, to Magiftrates, (pbilofopbers and Poets : 
 In fhort, they were fet up to all thole who had 
 made themfelves eminent either in defence of their 
 Country, or for any noble action which deferv'd 
 a recompence ; for it was the moft ordinary and 
 moft authentique way, both amongft the Greeks 
 and Romans, thus to teftifie their gratitude. The 
 (Romans when they had conquered Grxcia, tran- 
 fported from thence, not onely their moft admira- 
 ble Statues, but alfo brought along with them the 
 moft excellent of their Sculptors, who inftructed 
 others in their Art, and have left to pofterity the 
 immortal Examples of their knowledge, which 
 we fee confirmed by thofe curious Statues, thofe 
 Fafes, thofe Bajfo-G^lie^o's, and thofe beautifull 
 Columns call'd by the names of Trajan and Anto- 
 n'me : They are thofe Beauties which out Author 
 propofes to us for our Models. And as the true 
 Fountains of Science, out of which both Painters 
 and Statuaries are bound to draw for their own 
 ufe, without amufing themfelves with dipping in 
 ftreams which are often muddy, at leaft troubled 5 
 
 I
 
 of Painting. $3 
 
 Pmean the manner of their Mafters, after whom 
 they creep, and from whom they are unwilling 
 to depart, either through negligence, or through 
 the meannefs of their Genius. " It belongs onely to 
 " heavy minds, fays Cicero, to ffend their time on 
 a ftreams, without fearching for the Springs from 
 tt whence their materials flow in all manner of abun- 
 " dance. 
 
 Without which all is nothing, but a blind and rafh ^[ 40*- 
 barbarity, dec. All that has nothing of the An- 
 cient guft, is call'd a barbarous or Gothique man- 
 ner, which is not conducted by any rule, but 
 onely follows a wretched fancy, which has no- 
 thing in it that is noble : we are here to obferve, 
 that (Painters are notoblig'd to follow the Antique 
 as exactly as the Sculptors, for then their Picture 
 would favour too ftrongly of the Statue, and , 
 would feem to be without Motion. Many Pain- 
 ters, and fome of the ableft amongft them, be- 
 lieving they do well, and taking that Precept 
 in too literal a Sence, have fallen thereby into great 
 inconveniencies ; it therefore becomes the Painters 
 to make ufe of thofe Ancient Patterns with difcre- 
 tion, and to accommodate the Nature to them in 
 fuch a manner, that their Figures which muft 
 feem to live, may rather appear to be Models for 
 the Antique, than the Antique a Model for their figures.: .
 
 Oifervations on the 
 
 It appears that Raphael made a perfect ufe of 
 this conduct, and that, the Lombard School have 
 not precifely fearch'd into this Precept, any fur- 
 ther than to learn from thence how to make a 
 good choice of the Nature, and to give a certain 
 grace and noblenefs to all their works, by the ge- 
 neral and confus'd Idea, which they had of what 
 is beautifull} as for the reft, they are fufficiently 
 licentious, excepting onely Titian, who, of all 
 the Lombards has preferv'd the greateft purity in 
 his works. This barbarous manner of which I 
 (poke, has been in great vogue from the year 6 1 1 
 to 1450. They who have reftor'd Painting in 
 Germany, ("not having feenany of thofe fair Re- 
 licjues of Antiquity} have retained much of that 
 barbarous manner. Amongft others Lucas "Van 
 Leyden, a very laborious man, who with his 
 Scholars has infected almoft all Europe with his 
 dejlgns for Tafejiry, which by the ignorant are 
 call'd Ancient Hangings, ( a greater honour than 
 they deferve :) thefe I fay are efteem'd beautifull 
 by the greateft part of the World. I muft acknow- 
 ledge that I am amaz'd at fo grofs a ftupidity, 
 and that we of the French Nation (hould have fo 
 barbarous a Taft, as to take for beautifull thofe 
 flat, childifli and infipid Tapeftries. Albert Du- 
 rer, that famous Germany who was contempora- 
 ry
 
 Art of "Painting. 
 
 ry to that Lucas, has had the like misfortune to 
 fall into that abfurd manner, becaufe he had ne- 
 ver feen any thing that was beautifull. Obferve 
 what Vafan tells us in the life of Marc Antonio (Ra- 
 phael's Graver) having firft commended Albert 
 for his skill in graving, and his other Talents : 
 " And in truth, fays he, if this,fo excellent, fo exaft, 
 " and fo univerfal a Man, bad been born in Tuf- 
 " cany, as be was in Germany, and bad form d his 
 " ftudies according to thofe beautifull pieces which are 
 " feen at Rome, as thereftofus haVedone, be had 
 " proVdthe beft ^Painter of all Italy, as he was the 
 " greateft Genius, and the moft accompli ftf d which 
 " Germany ever bore. 
 
 We loVe what we underjland, Sec. This period 
 informs us, that though our inventions are never 
 fo good, though we are furnifh'd by Nature with 
 a noble Genius, and though we follow the impulfe 
 of it, yet this is not enough, if we learn not to un- 
 derftand what is perfect and beautiful! inNature, 
 to the end that having found it, we may be able 
 to imitate it, and by this inftruclion we may be 
 capacitated to obferve thofe errors which (he her 
 felf has made, and to avoid them, fo as not to 
 copy her in all forts oi fubjects $ fuch as fhe ap- 
 pears to us without choice or diftin<5tion. 
 
 As.
 
 'Observations on the 
 
 jo. As being the Sovereign Judge of hi* own Art, Sec. 
 This word of Sovereign Judge or Arbiter of bis own 
 Arty prefuppofes a painter to be fully inftructed 
 in all the parts of Painting ; fo that being fet 
 as it were above his Art, he may be the Mafter 
 and Sovereign of it, which is no eafie matter. 
 Thofe of that profeffion are fo feldom endowed 
 with that fupreme Capacity, that few of them 
 arrive to be good Judges of Painting: and I 
 fhould many times make more account of their 
 judgment, who are men of Sence, and yet have 
 never touched a Pencil, than of the opinion which 
 is given by the greateft part of Painters. All 
 *P winters therefore may be call'd Arbiters of their 
 own Art, but to be Sovereign Arbiters belongs one- 
 ly to knowing Painters. 
 
 And permit no tranfient Beauties to e/cape lit 
 
 obferVation, &c. Thofe fugitive or tranfient Beau- 
 ties are no other than fuchas weobferve in Nature 
 with a (hort and tranfient view, and which remain 
 not long in their fubjects. Such are the Paflions 
 of the Soul. There are of thefe fort of Beauties 
 which laft but for a moment ; as the different 
 Aires of an AflTenibly, upon the Sight of an un- 
 expected and uncommon Object, fome particu- 
 larity of a violent Paffion, feme gracefull Action, 
 A Smile, a Glance of an Eye, a difdainfull Look,
 
 Art of Painting. 57 
 
 a Look of Gravity, and a thoufand other fuch 
 like things ; we may alfo place in the Catalogue 
 of thefe flying Beauties, fine Clouds, fuch as or- 
 dinarily follow Thunder or a Shower of Rain. 
 
 In the fame manner that bare praBice deftitute of f 
 the Lights of Art y &c. We find in Quinttilian, 
 that Pythagoras faid, " The Tlieory is nothing with- 
 " out the praftice. And what means (fays the young- 
 " er Pliny) haVe we to retain what has been taught 
 " us, if we put it not in prattice : we would not 
 allow that Man to be an Orator vyho had the 
 beft thoughts imaginable, and who knew all the 
 rules of Rhetorique if he had not acquir'd by ex- 
 ercife the Arc of ufing them, and of compofing 
 an excellent Difcourfe. Painting is a long Pil- 
 grimage 3 what avails it to make all the necefla- 
 ry preparatives for our Voyage, or to inform our 
 felves of all the difficulties in the rode, if we do 
 not actually begin the journey, and travel at a 
 round rate, we fhall never arrive at the end of it. 
 And as it would be ridiculous to grow old in the 
 ftudy of every neceflary thing, in an Art which 
 comprehends fo many feveral parts 5 fo on the 
 other hand to begin the practice without knowing 
 the rules, or at leaft with a light Tincture of them 
 is to expofe our felves to the fcorn of thofe who 
 can judge of Painting, and to make it apparent 
 
 O to
 
 Observations on the 
 
 to the World that we have no care of our repu- 
 tation. Many are of opinion, that we need one- 
 ly work and mind the practical part to become 
 skilfull and able Painters 3 and that the Theory 
 onely incumbers the mind, and tyesthe hand : Such 
 Men do juft like the $quirrek, vvho is perpetually 
 turning the Wheel in her Cage ; (lie runs apace 
 and wearies her felf with her continual Motion, 
 and yet gets no ground. > Tis?iot enough for doing 
 weU to walk apace, fays Quin&ilian, but it is enough 
 for waiting aface to do well. Tis a bad excufe to fay,. 
 I was but a little while about it: That gracefull 
 Eafinefs,^ that celeftial Fire which animates the 
 work, proceeds not fo much from having often 
 done the like, as from having well underftood 
 what we have done. See what I fliall farther 
 fay, in the 5 \ft. <l{ule, which concerns eafinefs. 
 Others there are who believe the Precepts and Spe- 
 culation, to be of abfolute neceffity, but as they 
 were ill inftructed, and what they knew rather en- 
 tangl'd than cleared their underftanding, fo they 
 oftentimes ftop fhort ; and if they perform a work, 
 'tis not without Anxiety and Pain. And in truth, 
 they are fo much the more worthy of Compaffi- 
 on becaufc their intentions are rightj and if they 
 advance not in knowledge as far as others, and 
 are fometimes caft behind, yet they are ground- 
 ed
 
 Art of Painting. 
 
 ed upon fome fort of reafon $ for 'tis belonging to 
 good fence, not to go over faft when we appre- 
 hend our felves to be out of the way, or even 
 where we doubt which way we ought to take. 
 Others on the contrary, being well inftrucled in 
 good Maximes,and in the rules of Art, after having 
 done fine things yet fpoil them all by endeavou- 
 ring to make them better, which is a kind of o- 
 ver-doing, and are fo intoxicated with their work 
 and with an earneft defire of being above all o- 
 thers, that they fuffer themfelves to be deceived 
 with the appearance of an imaginary good. A- 
 pelles one day admiring the prodigious Labour which pij ny 35 . 
 he faw in a <PiBur.e of Protogenes, and knowing 
 how muchfweat it muft have coft him, faid, That Pro- 
 togenes and himfelf were of equal ftrength ; nay y that 
 he yielded to him in fome farts of Painting, but in this 
 he furpafs'd him, that -Protogenes never knew when 
 he had done well, and could never hold his hand$ he 
 alfo added in the nature of a Precept, that he wifh'd all 
 (painters would imprint tins lejfon deeply in their Me- 
 mory, that ivitb oVer ^ft raining and earneft nefs of finifh- 
 ing their ^Pieces they often did them more barm than 
 good. There are fome "(fays Quincl:ilianj who m- J0 
 Ver fatisfie themfelves, ne'Ver are contented with their 
 firjl Notions and Exprejjions, but are continually chang- 
 ing all, till nothing remains of their fir ft Ideas. Others 
 
 O ^ there 
 
 10.
 
 ioo Otfervatiws on the 
 
 there are (continues he ,) who dare never trufl them-- 
 felveSy nor refohe on any thing, and who being as it 
 were intangl'd in their own Genius, imagine it to le a- 
 laudable cornBnefs, when they form difficulties to them- 
 felVes in their own work- <dnd to /peak the truth, 'tis 
 hard to difcern whether of the two is in thegreatejl Error $ 
 he who is enamour d of alt he does, or he whom no- 
 thing of his own can pleafe. For it has happen d to- 
 yottng Men, and of ten \>m ta thofe of the greateji 
 Wit, to wafte their Spirits, and to consume tbemfelver 
 with dnxiety and Pain of their own giving, fo far as- 
 e^en to do%e upon their work with too much eagernefs 
 of doing well-, I will now tell you how a reafonable man, 
 ought to carry him f elf on this occajion : 'Tis certain 
 that we ought to ufe our hefl endeavour to give the 
 laji (perfeftion to our works -, yet it is always to be un- 
 derftood, that we attempt no more than what is in the 
 compafs of our G&nius, and according to our Vein : for 
 to make a true (Progrefi, I grant that diligence and ft u- 
 dy are^ both requifete, but this ftudy ought to haVe no- 
 mi^ure, either of Self -opinion, Qbftinacy, or dnxicty; 
 fa which reafon, if it blows a happy Gale we muft fet up- 
 all our Sails, though in fo doing itfometimes happens that- 
 we follow thofe Motions where? our natural heat is more 
 powerfull than our care and our correctness, provided 
 w-e abufe not this licence, andfuffer not our Jelves to* 
 ke dec%v'& by,, it., for all our productions cannot fail to- 
 
 pleafe
 
 Art of Painting. I o I 
 
 pleafe us at the moment of their Birth, as being net* 
 to us. 
 
 Becaufe thegreateft Beauties cannot always he exprefs'd gr l v 
 for want ofterms,&cc. I have learn'dfrom the mouth 
 of Monfieur du- Frefnoy, that he had oftentimes 
 heard Guido fay. That no man could give A' rule of 
 thegreateft Beauties , and that the knowledge of them 
 was Jo abftrufe, that there was no manner ofjpeaking 
 which could ex frefs them. This comes juft to what 
 Quiiiflilian fays, That things* incredible wanted words Dedam. i#. 
 to ex frefs them : for fome of them are too great and 
 too much elevated tale comprehended by human difcourfe. 
 From hence it proceeds that the beft Judges when 
 they admire a noble Picture, feem to befeften'd 
 to it 5 and when they come to themfelves- you- 
 would fay they had loft the ufe of Speech. 
 
 (Paufiaca torpes, infam, Tabdla, fays ^ Horace-, * Lib.2.Sat7; 
 and tSymmachHS fays, that the greatnefs ofaftomfh* tLib.io.Ep, 
 ment hinders-, men from giving a juft afplaufc* The L 
 talians fay Of era daftufire, when.a thing is wonder- 
 fully good. 
 
 Thofe. Mafter- pieces of Antiquity ^ which were thefirft ^[ 6 2 . 
 Examples of this Art, Sec. He means the moft 
 knowing and beft Painters of Antiquity, that is 
 to fay, from the lad two Ages to our times* 
 
 And alfo moderates that fury of the Fancy, Sec. 
 There is in the Latine Text, which froduces onely 
 
 Monftersy
 
 ioi Observations on tie 
 
 'Monfters , that is to fay , things out of all proba- 
 ble refemblance. Such things as are often found 
 in the works of Tietro Tefta : It often happens, fays 
 Dionyfiits Longinus, a grave Author, Thatfome men 
 imagining themf elves to be pojfefs'd with a divine Fu- 
 ry ; far from being carry d into the rage of Baccha- 
 nalians, often fall into toys and trifles winch are only 
 ^Puerilities. 
 
 A fubjeSl beautifull and noble, Sec. Painting is 
 not onely pleafing and divertifing, but is alfo a 
 kind of Memorial of thofe things which Antiqui- 
 ty has had the moft beautifull and noble in their* 
 kinds, re-placing the Hiftory before our Eyes 5 
 as if the thing at that time were effectually in A- 
 &ion, even fo far that beholding the Pictures 
 wherein thofe noble deeds are reprefented, we 
 find our felves flung with a defire of endeavour- 
 ing fomewhac which is like that Action there ex- 
 prefs'd, as if we were reading it in the Hiftory. 
 The Beauty of the fubject infpires us with Love 
 and Admiration for the Pictures. As the fair 
 mixture caufes us to enter into the fubject which 
 it imitates and imprints it the more deeply into 
 our Imagination and our Memory : thefe are two 
 Chains which are interlinked , which contain , 
 and are at the fame time contained, and whofe 
 matter is equally precious and eftimable. 
 
 And
 
 Art of Painting. 
 
 And mllfeaforidy Sec. Aliquid falls, fomewhat 
 that is ingenious, fine and picquant^ extraordina- 
 ry of a high relifli, proper to inftrucl: and to clear 
 the Under/landing. The ^Painters ought to do 
 like the Orators, fays Cicero. Let them inftrucl, De 
 let them divertife, and let them move us ; this is 
 what is properly meant by the word Salt. 
 
 On which the whole Machine (as it maybecairdj 
 of the (pifture is to he diffosd, dec. 'Tis not with- 
 out reafon, nor by chance, that our Author ufes 
 the word Machine. A Machine is a juft aflembling 
 or Combination of many pieces to produce one 
 and the fame effect. And the Difpofition in a <Pi- 
 tture is nothing elfe but an Aflembling of many 
 parts, of which we are to forefee the agreement 
 with each other: And the juftnefs to produce a 
 beautifull effect, as you fliall fee in the fourth 
 Precept, which is concerning the Oeconomy. This 
 is alfo call'd the Compofitim, by which is meant 
 the diftribution and orderly placing of things, 
 both in general and in particular. 
 
 Which is what we froperly call Invention, &c. Our fr 
 Author eftabliflies three parts of Painting, 
 the INVENTION, the DESIGN or 
 DRAWING, and the COLOURING, 
 which in fome places he alfo calls the C R O- 
 M AT I QU E. Many Authors who have writ- 
 ten.
 
 Observations on the 
 
 ten of Painting, multiply the parts according to 
 their pleafure 5 and without giving you or my 
 felf the trouble of difcuffing this matter, I will 
 onely tell you, that all the parts of Painting which 
 others have nam'd, are reducible into thele three 
 which are mention' d by our Author. 
 
 For which reafon, I efteem this divifion to 
 be the* jufteft: and as thefe three farts are Ejfential 
 to Painting, fo no man can be truly cali'd a 
 Painter who does not poffefs them all together : In 
 the fame manner that we cannot give the name 
 of Man to any Creature which is not compos'd 
 of Body, Soul and <I(eafon, which are the three 
 parts neceflarily conftituent of a Man. How there- 
 fore can they pretend to the Quality of Painters, 
 who can onely copy and purloyn the works of 
 others who therein employ their whole induftry, 
 and with that onely Talent would pafs for able 
 Painters. And do not tell me that many great Ar- 
 tifts have done this ; for I can eafily anfwer you that 
 it had been their better courfe, to have abftain'd 
 from/a doing ; that they have not thereby done 
 themfelves much honour, and that copying was 
 not the beft part of their reputation. Lee us then 
 conclude that all Painters ought to acquire this 
 part of Excellence ; not to do it, is to want cou- 
 rage and not dare to Chew themfelves. 'T\s to 
 
 crfcep
 
 Art of fainting. 105 
 
 creep and grovel on the ground, 'tis to defervc 
 this juft reproach, imitatores ferVnm pecus: 'Tis 
 with Painters, in reference to their productions, 
 as it is with Orators. A good beginning is al- 
 ways coftly to both : much fweat and labour is 
 required, but 'tis better to expofe our works and 
 leave them liable to cenfure for fifteen years, than 
 to blufh for them at the end of fifty. On this * 
 account 'tis neceflary for a Painter to begin early 
 to do fomewhat of his own, and to accuftom hirn- 
 felf to it by continual exercife 3 for fo long as endea- 
 vouring to raife himfelf, he fears falling, he (hall 
 be always on the ground. See the following ob- 
 fervation. 
 
 Invention is a kind of Mu/e, which being fojfefs'd 
 of the other advantages common to her Sifters, &c. 
 The Attributes of the Mufes are often taken for 
 the Mufes themfelves ; and it is in this fence, that 
 Invention is here call'd a Mufe. Authors afcribe 
 to each of them in particular the Sciences which 
 they have (fay they} invented ; and in general 
 the belle lettere y becaufe they contain almoft all the 
 others. Thefe Sciences are thofe advantages of 
 which our Author fpeaks, and with which he 
 would have a Painter furnifli himfelf (ufficiently : 
 and in truth, there is no man, though his under- 
 ftanding be very mean who knows not and who 
 
 P finds
 
 Observations on the 
 
 finds not of himfelf how much Learning is necef- 
 lary to animate his Genius, and to compleat it~ 
 And the reafon of this is, that they who haveftu- 
 died, have not onely feen and learn' d many ex- 
 cellent things in their courfe of ftudies, but that 
 alfo they have acquk'd by that exercife a great 
 Facility of profiting themfelves by reading good 
 Authors. They who will make profeffion of 
 Painting, muft heap up treafures out of their read- 
 ing and there will find many wonderfull means 
 of railing themfelves above others, who can onely 
 creep upon the ground, or if they elevate them- 
 fielves, 'tis onely to fall from a higher place, be- 
 caufe they ferve themfelves of other Men's Wings, 
 neither underftanding their life norVertue: 'Tis 
 true that it is not the prefent Mode for a Painter 
 to be fo knowing : and if any of them in thefe 
 times be found to have either a great Wit or much 
 Learning, the multitude would not fail to fay, 
 that it was great pity, and that the Youth might 
 have come to fomewhat in the practical parr, or 
 it may be. in the Exchequer, or in the Families of 
 fome Noble-men. So wretch' d is the Deftiny o 
 Painting in thefe later ages. By Learning 'tis 
 not fo much the knowledge of the Greek and Latin 
 Tongue, which is here to be understood as the 
 reading of good Authors, and underftanding thofe 
 
 things,
 
 Art of Painting. 1 07 
 
 things of which they treat: for Trttnfations being 
 made of the be ft Authors, there is not any Painter 
 who is not capable in fome fort of underftand- 
 ing thqfe Books of Humanity, which are com- 
 prehended under the name of the belle lettere. In 
 my opinion the Books which are of the moft ad- 
 Tantage to thofe of the Profeffion, are thefe which 
 follow. 
 
 The Bitle. 
 
 The Hiftory ofjofepbus. 
 
 The (Roman Hiftory of Coeffeteau, (for thofe 
 who underftand the French,) and that of Titus Li- 
 vius, tranflated by Figenere, with the Notes which , 
 are both curious and profitable. They are in two 
 Volumes. 
 
 Homer, whom Pliny calls the Fountain-head of 
 Invention and noble thoughts. 
 
 ffrgil, and in him, particularly his Atneids. 
 
 The Ecclefiaftical Hiftory of Godeau, or the 
 Abridgement of Baronius. 
 
 Ov'i/s Met amor fbofes 9 tranflated into French by 
 Du tfyer, and in Englifh by Sandys. 
 
 * The Pictures of (pbiloftratus. * Tableaux. 
 
 Plutarch's Lives, tranflated from the Greek by 
 feveral hands, in 5 Volumes. 
 
 Paufania*, though I doubt whether that Author 
 be tranjlated. He is wonderfull for giving of 
 
 P 2 great
 
 io8 Objervations &n tfa 
 
 great Ideas \ and chiefly, for fuch as are to be plac'd 
 at a diftance, (or caft behind) and for the com- 
 bining of Figures. This Author in conjunction 
 with Homer ) make a good mingle of what is plea- 
 fing and what is perfect 
 
 The Religion of the Ancient Romans, by T>u 
 Choul$ and in Englifh y Godwins tyman Antiqui- 
 ties. 
 
 Trajan's Pillar, with the difcourfc which ex- 
 plains the Figures on it, and inftru&s a Painter 
 in thofe things with, which he is undifpenfibly 
 to be acquainted. This is one of the moft prin- 
 cipal and moft learned Books, which we have for 
 the Modes, the Cufto?ns, the Arms, and the Q(eli- 
 gion of the %am*n$.} Julio (Romano made his chief 
 ftudies on the Marble it felf. 
 
 The Books of Medals. 
 
 The Bajf-Q^eliefs of <Perrier and others, with 
 their Explanations at the bottom of the Pages, 
 which give a perfect underftanding of them. 
 
 Horace's Art of Poetry, by the Earl of Ufy/co- 
 mon, becaufe of the relation which there is betwixt 
 the Rules of Poetry and thofe of Painting. 
 
 And other Books of the like Nature, the read- 
 ing of which are profitable to warm the Imaginati- 
 on : fuch as in Englijk, are Spencer s Fairy Queen j 
 The Paradife loft of Milton ; Tajfo translated by 
 
 Fairfax ;
 
 Art of Painting. 
 
 Fairfax ; and the Hiftory of tPolybiiM, by Sir Hem 
 rjf Shere. 
 
 Some Romances alfo are very capable of co- 
 renaming the Genius, and of ftrengthening k by 
 the noble Ideas which they give of things $ buc 
 there is this danger in them, that they almoft al- 
 ways corrupt the truth of Hiftory. 
 
 There aie alfo other Books which a Painter 
 may life upon fome particular occafions and 
 onely when he wants them : Such are, 
 
 The Mythology of the Gods. 
 
 The Images of the Gods. 
 
 The Iconology. 
 
 The Tables of Hygnus. 
 
 The practical Perfpective. 
 
 And fome others not here mentioned. 
 
 Thus it is necefiary, that they who are defirou& 
 of a name in Painting, (hould read at leifure times 
 thefe Books with diligence, and make their obfer- 
 vations of fuch things as they find for their pur- 
 pofe in them, and of which they believe they may 
 fometime or other have occafion ; let the Imagi- 
 nation be employed in this reading, and let them 
 make Sketches and light Touches of thofe Ideas 
 which that reading forms in their Imagination. 
 QwnElilian y Tacitus, or whoever was the Author 
 of that Dialogue which iscalt'd in Latine Xte
 
 no Obfirvations on the 
 
 Jts corrupts eloquent^, fays, Tliat fainting refem- 
 bles Fire which is fed by the Fuel, inflanid by Moti- 
 on, and gathers ftrength by burning : For the pow- 
 er of the Genius is onely augmented by the abundance 
 of matter to fupply it ; and 'tis impofftble to make a 
 great and magnificent work) if that matter be wanting 
 or not difpos'd rightly. And therefore a Painter 
 who has a Genius, gets nothing by long think- 
 ing and taking all imaginable care to make 
 a noble Compofition if he be not affifted by 
 thofe ftudies which I have mentioned. All that 
 he can gain by it, is onely to weary his Imagina- 
 tion, and to travel over many vaft Countries 
 without dwelling on any one thing, which can 
 give him fatisfaction. 
 
 All the Books which I have named may be fer- 
 viceable to all forts of Perfons as well as to Pain- 
 ters. As for thofe Books which were of particu- 
 lar ufe to them, they were unfortunately loft in 
 thofe Ages which were Ifcfore the Invention of 
 Printing. Neglecting the Copyers probably out 
 of ignorance to tranfcribe them, as not finding 
 *ttat u *>chemfelves capable of making the * demonftrative 
 Diagrams * $ igures. In the mean time, 'tis evidently known by 
 tHc reltaion of Authors, that we have loft fifty Vo- 
 lumes of them at the leaft. See Pliny in his 3 jtb. 
 Book 5 and Franc. Junius in his $d. Chapter of 
 
 the
 
 Art of Painting. in 
 
 die id. Book of the Painting of the Ancients. Ma- 
 ny Moderns have written of it with fmall fuo- 
 ceis, taking a large compafs without coming di- 
 rectly to the point, and talking much without 
 faying any thing : yet fome of them have acquit- 
 ted themfelves (uccefsfully enough. Amongft o- 
 thers Leonardo da Vinci (though without method 3) 
 Paulo Lomazgp, whofe Book is good for the great- 
 eft part, but whofe difcourfe is too diffufive and 
 very tirefome. John Baptift /lrmenini y Francifcw 
 JuniHSy Monfieur de Cambray, to whofe Preface I 
 rather invite you than-to his Book $ we are not to 
 forget what Monfieur Felebien has written of the 
 Picture of Alexander by the hand of Monfieur 
 Le Brun : befides that the work it felf is very elo- 
 quent, the Foundations which he eftabliflies for 
 the making of a good Picture are wonderfully, fo- 
 lid. Thus I have given you very near the Librar 
 ry of a Painter, and a Catalogue of fuch Books as 
 he ought either to read himfelf or have read to 
 him, at leaft if he will not fatisfie himfelf with 
 poflefling Painting as the moft fordid of all Trades 
 and not as the nobleft of all Arts. 
 
 'Tis the bufinejs of a fainter in Ks choice of (Pb- ^[ 77 
 ftures, Sec. See here the moft important Precept of 
 all thofe which relate to fainting, It belongs pro- 
 perly to a Painter alone, and all the reft are bor- 
 
 row'cL
 
 si % Olfervations on tie 
 
 row'd either from Learning, or from Pbyfick, or 
 from the Mathematich , or in fhort, from other 
 Arts, for it is fufficient to have a natural Wit and 
 Learning to make that which we call in Painting 
 a good Invention, for the defign we muft have 
 fome infight into Anatomy, to make Buildings, and 
 other things- in TerfpeftiVe, we muft have know- 
 ledge in the Mathematichy^nd other Arts, will bring 
 in their Quotas to furnifli out the matter of a good 
 Picture} but for the Oeconomy or ordering of the 
 whole together, none but onely the Painter can 
 underftand it, becaufe the end of the Artift is plea- 
 fingly to deceive the Eyes, which he can never 
 accomplifli if this part be wanting to him. A 
 Pi&ure may make an ill effect, though the Inven- 
 tion of it be truly underftood, the Befign of it cor- 
 rect and the Colours of it the moft beautifull and 
 fine that can be employed in it. And on the con- 
 trary we may behold other Pictures ill invented, 
 ill defign'd and painted with the moft common 
 Colours, which fhall make a very good effect, 
 and which (hall more pleafingly deceive ; No- 
 thing pleafes a manfo much AS order, fays Xenofhon: 
 And Horace, in his Art of Poetry. 
 
 Singula qttAque locum teneantfortit* decenttr. 
 
 Set
 
 Art of fainting. 113 
 
 Set all things in their own peculiar place. 
 And know that Order if the greatejl Grace* 
 
 This Precept is properly the ufe and applica- 
 tion of all the reft ; for which reafon it requires 
 much judgment. You are therefore, in fuch 
 manner to forefee things, that your Pi&uremay 
 be painted in your Head : i. e. before it come up- 
 on the Canvas. When Menander ((ays a cele- 
 brated Authour) had order d the Scenes of his Co- Comm.vetiis. 
 medy, he held it to be, in a manner, already made $ 
 though he had not begun the fir ft Verfe of it. 'Tis an 
 undoubted truth, that they who are enduM with 
 this forefight, work with incredible pleafure and 
 facility 3 others on the contrary are perpetually 
 changing and rechanging their work, which when 
 it is ended leaves them but anxiety for all their 
 pains. It feems to me that thefe forts of Pi&ures 
 remind us of thofe old Gothique Caftles, made at 
 feveral times, and which hold together onely as 
 it were by Rags and Patches. 
 
 It may be inferred from that which I have faid, 
 that the Indention and the Difpojition are two feveral 
 and diftinft parts in effeft, though the laft of 
 them depends upon the firft, and that common- 
 ly 'tis comprehended under it : yet we are to 
 
 take
 
 Observations on the 
 
 take great care that we do not confound them. 
 ThelnVention fimply finds out the fubjects, and 
 makes a choice of them fuitable to the Hiftory 
 which we treat; and the Difpofition diftributes 
 thofe things which are thus found each to its pro- 
 per place, and accommodates the Figures and the 
 Grouppes in particular, and the Tout Enfembk 
 (or whole together) of the Picture in general : 
 fo that this Oeconomy produces the fame effect in 
 relation to the Eyes, as a Confort of Mufick to the 
 Ears. 
 
 There is one thing of great confequence to be 
 obferv'd in the Oeconomy of the whole work, which 
 is, that at the firft Sight we may be given to un- 
 derftand the quality of the fubject : and that the 
 Picture at the firft Glance of the Eye, may in- 
 fpire us with the principal paiTIon of it : for Ex- 
 ample, if the fubject which you have undertaken 
 to treat be of joy, 'tis neceffary that every thing 
 which enters into your Picture fhould contribute 
 to that Paffion, fo that the Beholders fhall im- 
 mediately be mov'd with it. If the Subject be 
 mournfull, let every thing in it have a ftroke of 
 fadnefs 5 and fo of the other Paflions and Quali- 
 ties of the Subjects. 
 
 Let your Compofitions le conformable to the Text of 
 Ancient Authors, &c. Take care that the Licences 
 
 o
 
 Art of Painting. 115 
 
 of Painters be ratherlo adorn the Hiftory, than 
 
 to corrupt it. And though Horace gives permif- 
 
 fion to Painters and Poets to dare every thing, yet drttfpoet 
 
 he encourages neither of them, to make things out 
 
 of nature or verifimility 5 for he adds immediate- 
 
 ly after, 
 
 But let the Sounds of Licences he fix'd, 
 
 Not things of dif agreeing Natures mix'd $ 
 
 Not Sweet with Sowre, nor Birds with Serpentsjoynd, 
 
 Nor the fierce Lyon with the fear full Hind. 
 
 The Thoughts of a Man endued with good 
 Sence are not of kin to viiionary madnefs; 
 Men in Feavers are onely capable of fuch Dreams. 
 Treat then the Subjects of your Pictures with all 
 poffible faithfulnefs, and ufe your Licences with 
 a becoming boldnefs, provided they be ingeni- 
 ous, and not immoderate and extravagant. 
 
 Take care that whatfoe'Ver makes nothing to your ^[ 82. 
 SubjecJ, dec. Nothing deadens fo much the Com- 
 pofition of a Picture, as Figures which are not 
 appertaining to the Subject : We may call them 
 pleafantly enough, Figures to be let. 
 
 This fart of Painting fo rarely met with, and fo *j[ 87. 
 difficult to he found, dec. That is to fay, 
 
 Which
 
 ^fervatms on the 
 
 Which wasftollen by Prometheus, <src. The Po> 
 cts feign that TrometheM form'd out of Clay, fo 
 fair a Statue, that MtnerVa one day having long 
 admir'd it, faid to the workman, that if he 
 thought there was any thing in Heaven which 
 could add to its perfection, he might ask it of 
 her j but he being ignorant of what might be 
 moft beautifull in the Habitation of the Gods, de- 
 fir' d leave that he might be carry 'd thither, and 
 being there to make his choice. The Goddefs 
 bore him thither upon her Shield, and fo foon 
 as he had perceiv'd that all Celeftial things were 
 animated with Fire, he ftole a Parcel of it, which 
 he carry' d down to Earth, and applying it to 
 the ftomach of his Statue enliven' d the whole Bo- 
 
 92. That it happens not to everyone to fee Corinth,,, 
 Sec. This is an Ancient Proverb which fignifies, 
 that every man has not the Genius nor the Difpo- 
 fition that is neccflary for the Sciences, neither 
 yet a Capacity fit for the undertaking of things 
 which are great and difficult. Corinth was hereto- 
 fore the Centre of all Arts, and the place whither 
 they fent all thofe whom they would render ca- 
 *Pro lege pable of any thins. * Cicero calls it the Light 
 
 Man. r r r 
 
 ot all Gr<taa.
 
 Art of Tainting. 1 1 7 
 
 at length to that height of perfection, &c. 
 This was in the time of Alexander the Great, and 
 lafted even to Auguftus ; under whofe reign Paint- 
 ing fell to great decay. But under the Emperors^ . 
 Domitian, NerVa and Trajan, it appear'd in its 
 primitive luftre, which lafted to the time of Who- 
 cos the Emperor, when vices prevailing over the 
 Arts, and War being kindled through all Europe, 
 and efpecially in Lombardy, (occafion'd by the 
 irruption of the Hunns,) Painting was totally ex- 
 tinguifli'd. And if fome few in the fucceeding 
 Ages ftrain'd themielves to revive it, it was ra- 
 ther in finding out the moft glaring, gawdy and 
 coftly Colours, than in imitating the harmoni- 
 ous Simplicity of thofe illuftrious Painters who- 
 preceded them. At length, in the fourteenth 
 Century, fome there were who began to fet it 
 again on foot. And it may truly be faid, that 
 about the end of the fifteenth Age, and the be- 
 ginning of our Sixteenth it appeared in much 
 Splendor by means of many knowing Men in all 
 parts of Italy, who were in perfect poffeffion of k. 
 Since thofe happy times which were fo fruitfull of 
 the noble Arts, we have alfo had fome knowing 
 Painters but very few in number, becaufe of the 
 little inclination which Sovereign Princes have 
 had for Painting: but thanks to the zeal of our 
 
 Great
 
 ii8 Observations on tie 
 
 Great Monarch, and to the care of his firft Mi- 
 nifter, Monfieur Colbert, we may fhortly behold 
 it more flourifliing than ever. 
 
 ~f[ 10 2. Though they are not "Very much inferior, &c. Our 
 Author means this of Michael dngelo, and other 
 able Sculptors of that time. 
 
 C i o 2 . d (pofture therefore muft be chofen according to their 
 gnfto, &c. This is the fecond part of Painting, 
 which is called Defign or Drawing ; as the Ancients 
 have Tought as much as poffible whatfoever con- 
 tributes to the making of a perfect Body, fo they 
 have diligently examin'd in what confifts the beau- 
 ty of good poftures, as their works fufficiently in- 
 form, us. 
 
 ff 104. The farts of it muft be great, Sec. Yet not fo 
 great as to exceed a juft proportion. But he means 
 that in a noble pofture, the greateft parts of the 
 Body ought to appear foremoft rather than the 
 lefs, for which reafon in another paffage he vehe- 
 mently forbids the forefliortnings, becaufe they 
 make the parts appear little, though of themfelves 
 they are great. 
 
 1 04. Large or ample, &c. To avoid the dry man- 
 ner, fuch as is moft commonly the Nature which 
 Lucas T?an Leyden and Albert Durer have imi- 
 tated. 
 
 Unequa
 
 Art of Painting. 1 1 ^ 
 
 Unequal in their Portion, fo that thofe which are 
 before muft contraft or opfofe thofe others which are bin- 
 dermoft, and all of them he equally balam'd on their 
 Centre, Sec. The Motions are never natural, 
 when the Members are not equally balanced on 
 their Centre : and thefe Members cannot be ba- 
 lanc'd on their Centre in an equality of weight, 
 but they muft contraft each other. A Man who 
 dances on the Rope, makes a manifeft Demon- 
 ftration of this Truth. The Body is a weight 
 balanced on its Feet, as upon two Pivots. And 
 though one of the Feet moft commonly bears the 
 weight, yet we fee that the whole weight refts 
 Centrally upon it. Infomuch, that if, for Exam- 
 ple, one Arm is ftretched out, it muft of neceffity 
 be either that the other Arm^ or the Leg be caft 
 backward, or the Body fomewhat bow'd on the 
 oppofite Side, fo as to make an Equilibrium, and 
 be in a Situation which is unforc'd. It may be, 
 though feldom (if it be not in old Men) that 
 the Feet bear equally $ and for that time half the 
 weight is equally diftributed on each Foot. Yoir 
 ought to make ufe of the fame Prudence, if one 
 Foot bears three parts in four of the Burthen, and 
 that the other Foot bore the remaining part. This 
 in general is what may be faidof the Balance, and 
 the Libration of the Body. In. particular, there 
 
 may
 
 no Olfervations on the 
 
 may many things be faid which are very ufefull 
 and curious, of which you may facisfie your 
 felves in Leonardo da Vinci. He has done wonder - 
 Fully well on chat fubject, and one may truly fay- 
 that the Ponder ation, is the bed and founded part 
 of all his Book of Painting. It begins at the i 8 \fl. 
 Chapter, and concludes at the 27 3 d. I would alfo 
 advife you to read Paulo Lomazgp in his 6th. Book, 
 Chapter ^th. Del moto del Corpo humano, that is, the 
 motion of a human Body. You will there find 
 many things of great profit ; for what concerns 
 the Contraft, I will onely fay in general, that no- 
 thing gives fo much grace and life to Figures. See 
 the 4%d. Precept, and what I fay upon it in the 
 Remarks. 
 
 107. Tlie parts muft have their out -lines in WaVes re- 
 fembling Flames, or the gliding of a Snake upon the 
 ground, &c. The reafon of this proceeds from 
 the action of the Mufcles, which are as fo many 
 Well-buckets - y when one of them acts and draws, 
 'tis neceflary that the other muft obey ; fo that the 
 Mufcles which act, drawing always towards their 
 principle, and thofe which obey ftretching in 
 length and on the fide of their infertion, it muft 
 needs follow that the parts muft be defign'd in 
 Waves : but beware left in giving this form to 
 the parts you do not break the Bones which fu- 
 
 ftain
 
 Art of Painting. 
 
 ftain them, and which always muft make them 
 appear firm. 
 
 This Maxim is not altogether fo general, but 
 that actions may be found where the mafles of the 
 Mufcles are fituate one over againft another* but 
 this is not very common. The out-lines which 
 are in waves, give not only a grace to the Parts, 
 but alfo to the whole Body, when it is only fup- 
 ported on one Leg. As we fee in the Figures of 
 Antinous, Meleager, the Vtnu* of Medices, that of 
 the Vatican, the two others of Borghefe, and'that 
 of Flora, of the Goddefs Vefta, the two Saab's of 
 Sorghefe, and that ofLudoVifio, and in fine of the 
 greateft number of the Ancient Figures, which are 
 ftanding ? and which always reft more upon one 
 Foot than the other. Befides, that the Figures and 
 their Parts, ought almoft always to have a fer- 
 pentine and flaming form naturally, thefe forts of 
 out-lines have, I know not what of life and fee- 
 ming motion in them, which very much refem- 
 bles the activity of the Flame, and of the Serpent. 
 
 According to the knowledge of them, winch is given 
 us by Anatomy, Sec. This part is nothing known 
 at prefent amongft our modern Painters. I have 
 fliewn the profit and even the neceffity of it in the 
 Preface of a little Epitome which I have made, 
 and which Monfieur Torrebat has publifli'd. I 
 
 R know
 
 1 1 2 Observations on the 
 
 know there arefome who think this Science a kind 
 of Monfter, and believe it to be of no Advan- 
 tage, either becaufe they are mean fpirited, or 
 that they have not confider'd the want which they 
 have of it $ nor reflected as they ought, on its 
 importance : contenting themfelves with a certain 
 track, to which they have been us'd. But cer- 
 tain it is , that whoever is capable of fuch a 
 thought, will never be capable of becoming a 
 great Defigner. 
 
 \\\. Defignd after the manner of the Grecians , &c. 
 that is to lay, according to the Ancient Statues^ 
 which for the mod part come from Greece. 
 
 1 14. Let there be aferfeEl relation betwixt the farts and 
 the whole, &c. or let them agree well together, 
 which is the fame thing. His meaning in this 
 place, is to fpeak of the juftnefs of proportions j 
 and of the harmony which they make with one 
 another. Many famous Authours have thorough- 
 ly treated this matter. Amongft others Paulo 
 LomazgOj whofe firft Book fpeaks of nothing elfe : 
 But there are fo many fubdivifions, that a Reader 
 muft have a good Brain, not to be turn'd with 
 them. See thofe which our Author has remarked 
 in general, on the moft beautifull Statues of th? 
 Ancients. I belkve them to be fo much the bet- 
 ter, as they are more conformable to thofe, 
 
 which
 
 Art of Painting. 123 
 
 which Vitrtivm gives us, in the fir ft Chapter of his 
 third Book : And which he tells us, that he learn'd 
 from the Artifts themfelves : becaufe in the Pre- 
 face to his fe"\>enth Book, he makes his boaft to have 
 had them from others, and particularly from 
 'jftdntelh and Painters. 
 
 The Meafures of a Humane Body. 
 
 The indents have commonly allow'd eight 
 Heads to their Figures ; though fome of them 
 have but feven. But we ordinarily divide the Fi- 
 gure into *ten Faces : that is to fay, from t\\e*This depends 
 Crown of the Head to the Sole of the Foot in ^ditfifthe 
 the following manner. t"f s - ^ e 
 
 _ , *> c * _, , - _ , , Apollo and 
 
 From the Crown of the Head to the Forehead, venus*/Me- 
 is the third part of a Face. * 
 
 The Face begins, at the root of the loweft 
 Hairs, which are upon the Forehead j and ends 
 at the bottom of the Chin. 
 
 The Face is divided into three proportionable 
 parts 5 the firft contains the Forehead, thefecond 
 theNofe, and the third the Mouth and the Chin. 
 
 From the Chin, to the pit betwixt the Collar- 
 bones are two lengths of a Nofe. 
 
 From the pit betwixt the Collar-bones, to the 
 bottom of the Breaft one Face. 
 
 R 2 * From 

 
 Obs 
 
 ervations on the 
 
 *7fo Apollo * From the bottom of the Breafts, totheNa- 
 
 kas 4 Nofe -, 
 
 more. VCl Otie Face. 
 
 *Tkc Apollo * From the Navel to the Genitories, one Face. 
 Nofe more: From the Genitories to the upper part of the 
 ff'^flf Knee, two Faces. 
 
 half of the Ve- ] . tr 
 
 nusdeMedi- The Knee contains hair a tace. 
 
 arc f the Knee to the Anckle,. 
 
 the Belly, and WJQ FaCC5. 
 
 From the Anckle to the Sole of the Foot, half 
 a Face. 
 
 A Man, when his Arms are firetch'd out, is, 
 from the longeft Finger of his Right hand, to the 
 longeft of his left, as broad as he is long. 
 
 From one fide of the Breads to the other, 
 two Faces. 
 
 The bone of the Arm call'd Humerus is the 
 length of two Faces, from the Shoulder to the 
 Elbow. 
 
 From the end of the Elbow to the rx)ot of the 
 little Finger, the bone call'd Cubitus, with part of 
 the Hand ? contains two Faces. 
 
 From the box of the Shoulder-blade, to the 
 pit betwixt the Collar-bones, one Face. 
 
 If you would be fatisfy'd in the Meafures of 
 breadth, from the extremity of one Finger to the 
 other ; fo that this breadth fliou'd be equal to the 
 length of the Body, you muft obferve that the 
 
 boxes
 
 Art of Painting. 
 
 boxes of the Elbows with the Humerus, and of 
 the Humerw with the Shoulder-blade, bear the 
 proportion of half a Face, when the Arms are 
 ftretch'd out. 
 
 The Sole of the Foot is the fixth part of the 
 Figure. 
 
 The Hand is the length of a Face. 
 
 The Thumb contains a Nofe. 
 
 The infide of the Arm, from the place where 
 the Mufcle difappears, which makes the Breaft, 
 caird the Pectoral Mufcle, to the middle of the 
 Arm, four Nofes. 
 
 From the middle of the Arm to the beginning 
 of the Hand, five Nofes. 
 
 The longeft Toe, is a Nofe long. 
 
 The two utmoft parts of the Teats, and the 
 pit betwixt the Collar-bones of a Woman make 
 an equilateral triangle. 
 
 For the breadth of the Limbs no precife mea- 
 fures can be given 5, becaufe the meafures them* 
 felves are changeable according to the quality of 
 the perfons 3 and according to the movement of 
 the Mufcles. 
 
 If you wou'd know the Proportions more par- 
 ticularly, you may fee them in <Paulo Lomazgp : 
 'tis good to read them, once at leaft, and to make 
 Remarks on them 3 every man according to his 
 
 own
 
 l^fervations on the 
 
 own judgment, and according to the occafion 
 which he has for them. 
 
 1 17. Though tPerfpe&iVe cannot be caff da certaln^ule y 
 Sec. That is to fay, purely of it felf, without pru- 
 dence, and difcretion. The greateft part ofthofc, 
 who underftand it, defiring to pra&ife it too re- 
 gularly, often make fuch things as (hock the fight, 
 though they are within the Rules. If all thofe 
 great Painters, who have left us fuch fair Plat- 
 forms, had rigoroufly obferv'd it in their Figures, 
 they had not wholly found their account in it. 
 They had indeed made things more regularly 
 true, but withall very unpleafing. There is great 
 appearance that the Architects, and Statuaries of 
 former times, have not found it to their purpofe 
 always 3 nor have followed the Geometrical part 
 fo exactly as Perfpective ordains. For He who 
 'wou'd imitate the Frontifpiece of the Rotunda ac- 
 cording to Perfpective, wou'd be grofly deceiv'd $ 
 fince the Columns which are at the extremities 
 have more diameter, than thofe which are in the 
 middle. The Cornifli of the Tala^p Farnefe, 
 which makes fo beautifull an effect T>elow, when 
 view'd more nearly, will be found not to have 
 its juft meafures. In the Pillar of Trajan, we fee 
 that the higheft Figures are greater than thofe be- 
 low ; and make an effect quite contrary to Per- 
 
 fpeftive,
 
 Art of Painting. 127 
 
 fpe&ive, increafing according to the meafure of 
 their diftance. I know there is a Rule which 
 teaches a way of making them in that manner $ 
 and which though 'tis to be found in fome Books 
 of Perfpedrive, yet notwithftanding is no rule of 
 <Perff>elil>e. Becaufe 'tis never made life of, but 
 onely when we find it for our purpofej for if 
 (for example ) the Figures which are at the top of 
 Trajan s <Pillar, were but as great as thofe which 
 are at the bottom , they wou'd not be for all 
 that againft Perfpe&ive : and thus we may fay, 
 with more reafon, that it is a rule of Decorum in 
 Perfpeftive to cafe the fight, and to render ob- 
 jects more agreeable: /Tis on this general obfer- 
 vation, that we may eftablifli in Perfpe&ive, the 
 rules of Decorum (or convenience) whenfoever 
 occafion fhall offer. We may alfo fee another 
 Example in the bafe of the Farnefian Hercules^ 
 which is not upon the level, but on an eafie de- 
 clivity on the advanced part, that the feet of the 
 Figure may not be hidden from the fight, to the 
 end that it may appear more pleafing : which the 
 noble Authors of thefe things have done, not in 
 contempt of Geometry and Perfpedrive, but for 
 the fatisladion of the Eyes, which was the end 
 they propos'd to themfelves in all their works. 
 
 We.
 
 28 Olfervations on the 
 
 We muft therefore underftand ^PerfpeEliVey as 
 a Science which is abfolutely neceffary; and 
 which a Painter muft not want : Yet without fub- 
 je&ing our felves fo wholly to it,as to become flaves 
 of it. We are to follow it, when it leads us in a 
 pleafing way, and that it (hows us plcafing things 5 
 but for fome time to forfake it, if it lead us 
 through mire, or to a precipice. Endeavour af- 
 ter that which is aiding to your Art, and conve- 
 nient, but avoid whatsoever is repugnant to it $ 
 as the j^th rule teaches. 
 
 126. Let eVery Member be made for its own Head, Sec. 
 That is to fay, you ought not to fet the Head of 
 a Young man on the Body of an Old one; nor 
 make a white Hand for a withered Body. Not 
 to habit a Hercules in Taffeta 5 nor an Apollo in 
 courfe fluff: Queens and perfons of the firft qua- 
 lity, whom you wou'd make appear Majeftical, 
 are not to be too negligently drefs'd, or indiflha- 
 bile, no more than Old men : The Nymphs are 
 not to be overcharged with drapery : In fine, let 
 all that which accompanies your Figures, make 
 them known for what effectively they are. 
 
 128. Let the Figures to which Art cannot give a Voice , 
 imitate the Mutes in their Attions, Sec. 
 
 Mutes having no other way of fpeaking ( or 
 -expreffing their thoughts) but onely by their ge- 
 
 ftures
 
 Art of fainting. 129 
 
 flutes and their actions, 'tis certain that they do 
 it in a manner more expreflive than thofe who 
 have the ufe of Speech, for which reafon the Pi- 
 cture which is mute ought to imitate them, fo 
 as to make it felf underftood. 
 
 Let -the principal Figure oftbeSutjett, Sec. 'Tis iT I2 o. 
 one of the greateft blemiflies of a Picture, not to 
 give knowledge at the firft Sight of the Subject 
 which it reprefents. And truly nothing is more 
 perplexing, than to extinguifli as it were, the prin- 
 cipal Figure by the oppofition of fome others, 
 which prefent themfelves to us at the firft view, 
 and which carry a greater luftre. An Orator, who 
 had undertaken to make a <Pamgyrkk on Alexan- 
 der the Great, and who had employ'd the ftrong- 
 eft Figures of his tftyetorique in thepraife ofSwce- 
 pbalus, would do quite the contrary to that which 
 was expected from him ; Becaufe ft would be be- 
 liev'd that he rather took the Horfe for his Sub- 
 ject than the Mafter. A Painter is like an Orator 
 in this. He muft difpofe his matter in fuch fort, 
 that all things may give place to his principal 
 Subject. And if the other Figures, which accom- 
 pany it, and are onely as Acceffaries there, take 
 up the chief place, and make themfelves mod 
 remarkable, either by the Beauty of their Colours, 
 or by the Splendour of the Light,- which ftrikes 
 upon them, they will catch the Sight, they will 
 
 S flop
 
 O&fervations on the 
 
 j 
 
 ^ ftop it fliort, and not fuffer it to go further than 
 themfelves, till after fome confiderable fpace of 
 time to find out that which was not difccrn'd at 
 firft. The principal Figure in a Picture is like 
 a King among his Courtiers, whom we ought 
 to know at the firft Glance, and who ought to 
 dim the Luftre of all his Attendants. Thofe 
 Painters who proceed otherwife, do juftlike thofe 
 who in the relation of a ftory ingage themfelves 
 fo fooliflily in long digreffions, that they areforc'd 
 to conclude quite another way than they began. 
 132* Let the Members be comlirid in the fame manner as 
 the Figures are, Sec. I cannot better compare a 
 GroHppe of Figures, than to a Confort of Voices, 
 which fupporting themfelves all together by their 
 different parts make a Harmony, which pleafing- 
 ly fills the Ears and flatters them ; but if you 
 come to feparate them, and that all the parts are 
 equally heard as loud as one another, they will i 
 ftun you to that degree, that you would fancy 
 your Ears were torn in pieces. 'Tis the fame of 
 Figures ; if you fo affemble them, that fome of 
 them fuftain the others, and make them appear ; 
 and that all together they make but one entire 
 Whole, then your Eyes will be fully fatisfied: 
 But if on the contrary, you divide them, your 
 Eyes will fuffer by feeing them all together dif 
 
 pers'd,
 
 Art of Painting. 131 
 
 pcrs'd, or each of them in f articular. All together, 
 becaufe the vifual Rays are multiply'd by the 
 Multiplicity of Objects. Each of them in particular ; 
 becaufe, if you fix your Sight on one, thofe 
 which are about it will ftrike you and attrad: 
 your Eyes to them, which extremely Pains them 
 in this fort of Separation and Diverfity of Ob- 
 jefts. The Eye, for example, is fatisfied with 
 the Sight of one fingle Grape, and is diilrafted, if 
 it carries it felfatone view, to look upon many fe- 
 veral Grapes which lie fcatter'd on a Table, we 
 muft have the fame regard for the Members^ 
 they aggrouppe and contrail each other in the 
 fame manner as the Figures do. Few Painters 
 have obferv'd this Precept as they ought, which 
 is a moft folid Foundation for the Harmony of a 
 Pifture. 
 
 77;? Figures in the Grouffes ought not to he like each gr l * - 
 other in their Motions, Sec. Take heed in this con- 
 trail to do nothing that is extravagant, and let 
 your Poilures be always natural. The Draperies, 
 and all things that accompany the Figures, may 
 enter into the contrail with the Members, and 
 with the Figures themfelves : And this is what our 
 Poet means in thefe words of his Verfes, Cetera 
 frangant. 
 
 S ^ Om
 
 1 3 2 Observations on tie 
 
 145. One fide of tie Picture muft not he^oid, while tit 
 other isfitfd, Sec. This fort of Symmetry, when 
 it appears not affe&ed, fills the Pifture pleafing- 
 ly$ keeps it in a kind of balance 5 and infinitely 
 delights the Eyes, which thereby contemplate the 
 Work with more repofe. 
 
 l J2. As a flay is feldom good, in which there are too 
 many ABors, &c. /Innibal Caracci did not be- 
 lieve that a Picture cou'd be good, in which there 
 were above twelve Figures. It was Alhano who 
 told our Authour this, and from his mouth I had 
 it. The Reafons which he gave were, firft, That 
 he believ'd there ought not be above three great 
 Grouppes of Figures in any Picture : And fecond- 
 ly, That Silence and Majefty were of necc/fity to be 
 there, to render it beautifull ; and neither the one 
 nor the other cou'd poflibly be in a multitude and 
 crowd of Figures. But neverthelefs, if you are 
 conftrain'd by the Subject 5 (As for Example, If you 
 painted the Day of Judgment, the Majfacre of the 
 Innocents, a Mattel, Sec.) On fuch occafions you 
 are to difpofe things by great mafles of Lights and 
 Shadows, and union of Colours, without trou- 
 bling your felf to finifli every thing in particular, 
 independently one of the other, as is ufual with 
 Painters of a little Genius ; and whofe Souls are 
 uncapable of embracing a great Defign, or a great 
 Compofition.
 
 Art of fainting. f 3 3 
 
 jEmylium circa ludum, Paler imw & iinguet 
 Exprimet, <& molles imitahitur <we capillos-, 
 Infelix Operis Summa, quid fonere totum 
 Nefciet. 
 
 The meaneft Sculptor in th 9 Emylian Square*, 
 Can imitate in Srafs, the Nails and Hair $ 
 Expert in Trifles, and a cunning Fool, 
 Able exprefs the Tarts, tut not difpofe the whole* 
 Says Horace in his Art of Poetry, 
 
 TI?e Extremities of the Joints muft e feldom hidden, ^[ \ 62. 
 and the Extremities or End of the Feet never, &c. 
 Thefe Extremities of the Joints are as it were the 
 Hafts or Handles of the Members. For example^ 
 the Shoulders, the Elbows, the Thighs, and the 
 Knees. And if a Drapery fliould be found on 
 thefe ends of the Joints, 'tis the duty of Science 
 and of Decorum > to mark them by Folds, bue 
 with great difcretion 3 for what concerns the Feet, 
 though they fliould be hidden by fome part of 
 the Drapery 5 neverthelefs^ if they are mark'd by 
 Folds, and their fhape be diftinguifh'd, they 
 are fuppos'd to be feen. The word never, is not 
 here to be taken in the ftri&eft Senfe $ he means 
 but this, fo rarely, that it may feem.we fliould 
 
 avoid
 
 1 34. Observations on the 
 
 avoid all occafions of difpenfing with the Rule. 
 flT i 64. The Figures which are behind others, ha\>e neither 
 Grace nor Vigour, &c. Raphael and Julio Roma- 
 no, have perfectly obferv'd this Maxime, and 3(d- 
 /4*e/efpeciallyin hislaft Works. 
 
 1 60. Avoid alfo thofe Lines and Contours which are t- 
 qual, which make Parallels, &c. He means prin- 
 cipally to fpeak of the Poftures fo order'd, that 
 they make together thofe Geometrical Figures 
 which he condemns. 
 
 476. Be not fo ftrlftly tied to Nature, &c. This 
 Precept is againft two forts of Painters 5 firft a- 
 gainft thofe who are fo fcrupuloufly tied to Na- 
 ture, that they can do nothing without her, who 
 copy her juft as they believe they fee her, without 
 adding or retrenching any thing, though never fo 
 little, either for the Nudities or for the Drape- 
 ries. And fecondly, againft thofe who Paint e- 
 very thing by Practice, without being able to 
 fubject themfelves to retouch any thing, or to 
 examine by the Nature. Thefe laft, properly 
 fpeaking, arc the Libertines of (Painting, as there 
 are Libertines of Religion ; who have no other Law 
 but the vehemence of their Inclinations which they 
 are refolv'd not to overcome : and in the fame man- 
 ner the Libertines of Painting, have no other Mo- 
 -del but a Gtyodomontado Genius, and very irregu- 
 lar
 
 
 Art of Painting. 
 
 lar, which violently hurries them away. Though 
 thefe two forts of Painters, are both of them in 
 Vicious Extremes, yet neverthelefs the former fore 
 feems to be the more fupportabkj becaufe though 
 they do not imitate Nature as (he is accompa- 
 ny'd by all her Beauties, and her Graces, yet at 
 leaft they imitate that Nature, which we know 
 and daily fee. Inftead of which the others fhow 
 us a wild or falvage Nature, which is not of our 
 acquaintance, and which fcems to be of a quite, 
 new Creation. 
 
 Whom you mujl have always frefent as a witnefs 
 to the truth) dec. This paflage feems to be won- 
 derfully well faid. The nearer a Picture ap- 
 proaches to the truth, the better it is ; and though 
 the Painter, who is its Author, be the firft Judge of 
 the Beauties which are ink, he is neverthelefs ob- 
 lig'd not to pronounce it, till he has firft confult- 
 ed Nature, who is an irreproachable evidence, .. 
 and who will frankly, but withall truly tell you 
 its Defects and Beauties, if you compare it with 
 her Work. 
 
 And of all other things which difco'Ver to us the 
 Thoughts and Indentions of the Grecians, &c. As 
 good Books, fuch as are Homer and Taufamas^ , 
 the prints which we fee of the Antiquities, may 
 extremely contribute to form our Genius, and to 
 
 give
 
 J jfervations on the 
 
 give us great Ideas; in the fame manner as the 
 Writings of good Authors, are capable of form- 
 ing a good Style in thofe who are defirous of 
 writing well. 
 
 1 9? If you have but one Jingle Figure to workupon, Sec. 
 The reafon of this is. That there being nothing to 
 attract the Sight but this onely Figure, the vifual 
 Rays will not be too much divided by the Diver- 
 fity of Colours and Draperies 5 but onely take 
 heed to put in nothing, which fliall appear too 
 fharp or too hard ; and be mindfull of the ^tb. 
 Precept, which fays, that two Extremities are ne- 
 ver to touch each other either in Colour or in 
 Light; but that there muft be a mean, partaking 
 of the one and of the other. 
 
 1T i5 Let the Drapery be nobly fpread upon the Body ; 
 let the Folds be large. Sec. As Raphael practised, 
 after he had forfaken the. manner of (pietro (perugi- 
 no y and principally in his latter Wofks. 
 \$6. And let them follow the order of the parts, &c. As 
 the faireft pieces of Antiquity will fhow us. And 
 take heed, that the folds do not only follow the 
 order of the parts, but that they alfo mark the 
 moft confiderable Mufcles 3 becaufe that thofe Fi- 
 gures, where the drapery and the naked part are 
 feen both together, are much more gracefull than 
 the other. 
 
 Without
 
 Art of Painting. 137 
 
 Without fitting too ft r eight upon them, &c. Paint- i^ 2>oo 
 ers ought not to imitate the Ancients in this cir- 
 curnftance ; the ancient Statuaries macfc their 
 Draperies of wet Linen^ on purpofe to make them 
 fit clofe and ftreight to the parts of their Figures, 
 for doing which they had great reafon $ and in 
 following which the Painters would be much in 
 the wrong : and you fhali fee upon what grounds 
 thofe great Genius's of Antiquity, finding that it 
 was impoffible to imitate with Marble the finenefs 
 of fluffs or garments which is not to be difcern'd 
 but by the Colours, the Reflexes, and more efpe- 
 cially by the Lights and Shadows, finding it I 
 fay out of their power to difpofe of thofe things, 
 thought they could not do better nor more pru- 
 dentially, than to make ufe of fuch Draperies as 
 hinder' d not from feeing through their Folds, the 
 delicacy of the Flefh, and the purity of the Out- 
 lines 3 things which truly fpeaking they pofleft in 
 the laft perfection, and which in all appearance 
 were the fubjedof their chief ftudy. But Painters, 
 on the contrary, who are to deceive the Sight, 
 quite otherwife than Statuaries, are bound to imi- 
 tate the different forts of Garments, fuch as they 
 naturally feem ; and fuch as Colours, Reflexes, 
 Lights and Shadows (of all which they are Ma- 
 fters) can make them appear : Thus we fee that 
 
 T thofe
 
 Observations on the 
 
 thofe who have made the ncareft imitations of 
 Nature, have made ufe of fuch Stuffs (or Gar- 
 ments) which are familiar to our Sight, and 
 thefe they have imitated with fo much Art that 
 in beholding them we are pleased that they de- 
 ceive us; fuch were Titian, Paul Veromfe, Tin- 
 toret, Q(ulens, Van T>yck) and the reft of the good 
 Colourifts, who have come neareft to the truth of 
 Nature: Inftead of which, others who have fcru- 
 puloufly tied thernfelves to the pra&ice of the An- 
 cients, in their Draperies, have made their works 
 crude and dry ; and by this means have found 
 out the lamentable fecret how to make their Fi- 
 gures harder than even the Marble it felf. As An* 
 drea Mantegna, and fietro (Perugino have done, 
 and $(afhael alfo had much of that way in his firfl 
 Works, in which we behold many fmall foldings 
 often repleited, which look like fo many Whip, 
 cords. 'Tis true thefe repetitions are feen in the 
 Jncient Statues y and they are very proper there. 
 Becaufe they who made ufe of wet Linen, and 
 clofe Draperies, to make their Figures look more 
 tender, reafonably forefavv that the Members 
 would be too naked, if they left not more than 
 two or three Folds, fcarce appearing fuch as thofe 
 forts of Draperies afford the Sight, and therefore 
 have us'd thofe Repetitions of many Folds, yet 
 
 in
 
 - ' " N 
 
 Art of Painting. 
 
 in ftich a manner that the Figures are always 
 foft and tender, and thereby feem oppofiteto the 
 4iardnefs of Marble. Add to this, that in Scul- 
 pture, 'tis almoft impoffible that a Figure cloath'd 
 with courfe Draperies, can make a good effed: on 
 all the fides; and that in Painting the Draperies 
 of what kindfoever they be, are of great advan- 
 tage, either to unite the Colours and the Grouppes, 
 or to give fuch a ground as one would wifh to 
 unite or to feparate, or farther, to produce fuch 
 teflc&ions as fet off, or for filling void fpaces, or 
 in ftiort for many other advantages, which help 
 to deceive the Sight, and which are no ways ne- 
 ceffary to Sculptors, fince their Work is always 
 of %eliel>o. 
 
 Three things may be inferred from what I have 
 faid concerning the rule of Draperies. Firft, 
 that the Ancient Sculptors had reafon to cloath 
 their Figures as we fee them. Secondly, that 
 Painters ought to imitate them in the order of cheir 
 Folds, but not in their quality nor in their nura- 
 t>er. Thirdly, That Sculptors are oblig'd to 
 follow them as much as they can, without defi- 
 ring to imitate unprofitably or improperly the 
 manners of the Painters, and to make many 
 ample Folds, which are infufferable hardneffes, 
 and more like a Rock than a natural Garment. 
 
 T z Sec
 
 14,0 Observations on the 
 
 See the 11 \th. Remark about the middle of k. 
 gr 2 o2. And if the parts be too much dijlant from each a- 
 tber, Sec. *Tis with intent to hinder (as we 
 have faid in the rule of Grouppes) the vifual 
 Rays, from being too much divided, and that 
 the Eyes may not fuffer by looking on fo many 
 obje&s, which are feparated. Guido was very 
 exaft in this obfervation. See in the Text the 
 end of the <I(ule which relates to Draperies. 
 204. dndattbe Beauty of the Limbs conjifts not intbt 
 quantity and rijing of the Mufcles, &c. ^afbael in 
 the beginning of his Painting, has fomewhat too 
 much mukiply'd the Folds $ becaufe being with 
 reafon charmed with the graces of the Ancients, he 
 imitated their Beauties fomewhat too regularly 5 
 but having afterwards found that this quantity of 
 Folds glitter' d too much upon the Limbs, arid 
 took off that Repofe and Silence which in Paint- 
 ing are fo friendly to the Eyes ; he made ufe of a 
 contrary conduft in the works which he painted 
 afterwards, which was at that time when he began 
 to underftand the effed: of Lights, of Grouppes, 
 and the oppofitions of the Lights and Shadows, 
 fo that he wholly chang'd his manner, (this was 
 about eight years before his death) and though he 
 always gave a Grace to whatfoever he painted, 
 yet he made appear in his latter works, a Great- 
 
 nefs,
 
 Art of Fainting. 
 
 nefs, a Majefty, and a Harmony quite other 
 than what we fee in his firft manner : And this 
 he did by leflfening the number of his Folds, 
 making them more large and more oppofing 
 them, and by making the Maffes of the Lights 
 and Shadows, greater and more difentangl'd. 
 Take the pains to examine thefe his different man- 
 ners in the Prints which we fee of that Great Man. 
 
 As fuppofag them to be Mdgiftrates, their Drape- ^ ^ \ oi 
 rles ought to be large, Sec. Yet make not your 
 Draperies fo large that they may be big enough 
 to cloath four or five Figures, as fome there are 
 who follow that method. And take heed that 
 the folding be natural and fodifpos'd,that the Eye 
 may be directed to difeover the Folds from the 
 beginning of them to the end. By Magiftrates, 
 he means all great and grave Perfons, and fuch 
 as are advanced in age. 
 
 If Ladies or Damfels, light and foft, &c. By ^[ 2 1 u 
 this name of Ladies, Maids, or Damfets, he means 
 all young 'perfons, (lender, finely fliap'd, aery 
 and delicate. Such as are Nymphs, and Naiades, 
 and Fountains. Angels are alfo comprehended 
 under this head, whofe Drapery ftiould be of 
 pleafing Colours, and refembling thofe which 
 are feen in the Heavens-, and chiefly when^ they 
 are fufpended in the Air. .They are only fuch 
 
 forts
 
 *0lfirvations on the' 
 
 forts of light .habits as are fubjec"l to be ruffTd by 
 the Winds, which can bear many Folds; yet fo 
 that they may be freed from any hardnefles. 'Tis 
 eafie for every one to judge that betwixt the Dra- 
 peries of Magift rates, and thofe of young Maids 5 
 there muft be fome mediocrity of Folds, fuch as 
 are moft commonly feen and obferv'd, as in the 
 Draperies of a Chrift, of a Madonna, of a JQng, 
 a Queen, 01 a Dutchefs, and of other perfons of 
 Confederation and Majefty j and thofe alfo who 
 are of a middle age with this diftin<5tion, that the 
 Habits muft be made more or lefs rich, accor- 
 ding to the dignity of the Perfons ; and that Cloth 
 Garments may be diftinguifh'd from thofe of Silk, 
 Sattin from Fehets, Brocard from Embroideiy, and 
 that in one word the Eye may be deceived by the 
 truth and the difference of the Stuffs. Take no- 
 tice if you pleafe, that the light and tender Drape- 
 ries having been onely given to the Female Sex, 
 the Ancient Sculptors have avoided as much as they 
 jcould to cloath the Figures of Men, becaufe they 
 thought, (as we have formerly faid) that in Scul- 
 pture Garments could not be well imitated, and 
 that great Folds inade a very bad effect. There 
 are almoft as many examples of this truth, as a- 
 mongftthe Ancients there are Statues of na- 
 3ced men. I will name only that of Laocoon, which 
 
 accor-
 
 Art of Painting. 14.3 
 
 according to all probability ought to have been 
 eloath'd: And in eflfed: what likelihood can 
 there be, that the Son of a King, and the Prieft 
 of Apollo (hould appear naked in the a<5lual Cere- 
 mony of Sacrifice. For the Serpents pafs'd from 
 the Ifle of Tenedos to the Trojan Shore, and fur- 
 priz'd Laocoon and his Sons while they were la- 
 crificing to Neptune on the Sea Shore, as Virgil 
 witneiTes in the fecond of his EneiJs. Not with- 
 fianding which, the * Sculptors who were Au- * Polydorus 
 thors of this noble work had well confider'd, that rus,*S Age- 
 they could not give Veftments fuitable to the qua- 
 lity of the Perfons reprefented, without making 
 as it were a heap of Stones, whofe Mafs would 
 
 rather be like a Rock, than thofe three admirable 
 
 x 
 
 Figures, which will ever be the Admiration of 
 all Ages. And for this reafon of two inconveni- 
 ences, they judg'd that of Draperies to be great- 
 er, than that which was againft the truth it 
 felt. 
 
 This obfervation well confirms what I have 
 faid in the 2ooth. Remark It feems to me, that it 
 deferves you flhould make fome reflection on it j- 
 and to eftablifli it the better in your mind, I will 
 tell you, that Michael Angelo, following this Ma- 
 xim, has given the Prophets which he painted in.-, 
 the Chapfel of the tPofe, fuch Draperies whofe 
 
 Folds
 
 144 Observations on the 
 
 Fold? arc large, and whofe Garments are courfe, 
 inftead of which the Mofes, which he has made 
 in Sculpture, is habited with a Drapery much 
 more clofe to the parts and holding more of the 
 Ancients. Neverthelefs he is a Prophet as well as 
 thofe in theCbappel, a man of the fame quality, 
 and to whom Michael Angela ought to have given 
 the fame Draperies, if he had not been hinder' d 
 by thofe very reafons which have been given 
 you. 
 
 L \ j". The Marks or Enfigns ofVertues, dec. That is 
 to fay of the Sciences and Arts. The Italians 
 call a man a Vertuofa who loves the noble Arts, 
 and is a Critick in them. And amongft our 
 French Painters, the word'Kerttfewx, is underftood 
 in the fame Signification. 
 
 2 1 7. #f fe* not the work be too mucli enrich 9 d with 
 Gold or Jewels, &c. Clemens Alexandrinus relates, 
 Lib.i.Paedag. That Afelles having feen a Helena, which a young 
 Scholar of bis bad made and adorn' d with a great quan- 
 tity of Golden Ornaments and Jewels, faid to bim y My 
 good friend, though thou couldft not make her beauti- 
 fully at leaft thou baft made her rich. Befides that, 
 thefe glittering things in Painting, as precious 
 Stones prodigally ftrew'd over the habits are de- 
 ftructive to each other, becaufe they draw the 
 Sight to feveral places at the fame time, and that 
 
 they
 
 Art of fainting. 14.5 
 
 they hinder round Bodies from turning and ma- 
 king their due effect 5 'tis the very quantity which 
 often makes us judge that they are falfe. Andbe- 
 fides it is to be prefum'd, that precious things are 
 always rare. Corinna, that learned Tlwban Lady, Plutarch. 
 reproach 7 d Pindar^ whom flie had five times 
 overcome in Poetry, that he fcatter'd through 
 all his works the Flowers of (parnajfus too pro r 
 digally, faying to him, That men fowd with the 
 Hand y and not with the Sack : for which reafon 
 a Painter ought to adorn his Veftments with great 
 difcretion. And precious Stones look exceed- 
 ingly well, when they are fet in thofe places which 
 we would make to come out of the Picture ; as 
 for example, on a Shoulder, or an Arm to tie 
 fome Drapery, which of it felf is of no ftrong co- 
 louring. They do alfo perfectly well with white 
 and other light Colours, which are us'd in bring- 
 ing the Parts or Bodies forward, becaufe Jewels 
 make a fliow and glitter through the oppofition 
 , of the great Lights in the deep brown, which 
 meet together. 
 
 'Tis Very expedient to make a model of thofe things fT 
 which we haVe not in our Sight, and whofe nature is 
 difficult to he retain' d in the Memory, &c. As for 
 example, the Grouppes of many Figures, the Po- 
 ftures difficult to be long kept , the Figures in 
 
 U
 
 Observations on the 
 
 the Air, in Ceilings, or much rais'd above the 
 Sight 5 and even of Animals, which are not ea- 
 fily to be difpos'd. 
 
 By this rule we plainly fee how neceffary it is 
 for a Painter to know how to mo'del 9 and to have 
 many Models of foft Wax. $aul Feronefe had 
 fo good (lore of them, with fo great a quantity of 
 different forts, that he would paint a whole hiftori- 
 cal Compofition on a perfpeclive Plan, how 
 great and how diverfified Ibever it were. Tmta- 
 ret practised the fame, and Michael Angela (as 
 GioVan. Baft. Armenlm relates) made ufe of it, 
 for all the Figures of his day of Judgment. 'Tis 
 not that I would advife any one who would 
 make any very confiderable work, to finifli after 
 thefe forts of Models, but they will be of van: ufe 
 and advantage to fee the Maffes of great Lights, 
 and great Shadows, and the effect of the whole 
 together. For what remains, you are to have a 
 * Lay-man almoft as big as the life, for every 
 * Figure in particular, befides the natural Figure 
 before you, on which you mud alfo look, and 
 call it for a wknefs, which muft firft confirm the 
 thing to you, and afterwards to the Spectators as 
 it is in reality. 
 
 You may make ufe of thefe Models with de- 
 light, if you fet them on a (Perfpefthe Plan, which 
 
 will
 
 Art of Paintmg. 
 
 will be in the manner of a Table made on purpofe. 
 You may either, raife or lee it down according to 
 your .convenience ; and if-youloolf on your" Fi- 
 gures through a hole fo contrived, that it may be 
 mov'd up and down, it will ferve you for a 
 point of Sight and a point of Diftance, when 
 you have once fix'd it. 
 
 The fame hole will further ferve you to fet 
 your Figures in the Ceiling and difpos'd upon a 
 Grate of Iron- wire, or fupported in the Air by 
 little Strings rais'd at difcretion, or by both ways 
 together. 
 
 You may joyn to your Figures what you fee 
 fitting, provided that the whole be proportioned 
 to them ; and in flhort what you your .felf may 
 judge to be of no greater bignefs than theirs. Thus, 
 in whatfoever you do there will be more of truth 
 feen, your work it felf will give you infinite de- 
 light, and you will avoid many doubts and dif- 
 ficulties which often hinder you, and chiefly for, 
 what relates to lineal perfpettftej which you will 
 there infallibly find, provided that you remember 
 to proportion all things to the greatnefs of your 
 Figures and efpecially the points of Sight and of 
 Diftance ; but for what belongs to aerial ferfpe- . 
 &'i\>e, that not being found, the judgment muft 
 fupply it. Tmtoret, as tf^idoljibi tells us in his life, 
 
 U 2 had
 
 1 4.8 Obfervations on tkc 
 
 had made Chambers of Board and Paft board, 
 proportion' d to his Models with Doors and Win- 
 dows, through which he diftributed on his Fi- 
 gures artificial Lights, as much as he thought 
 reafonable, and often pafs'd fomepart of the night 
 to confider and obferve the effect of his Compo- 
 fitions. His Models were of two Foot high. 
 221. We are to confider the places where we lay the Scene 
 of the tpitture, &c. This is what Monfieur de 
 Chambray, calls, to do things according to Decorum. 
 See what he fays of it, in the Interpretation of that 
 word in his Book of the Perfection of fainting. 'Tis 
 not fufficient that in the Picture there be nothing 
 found which is contrary to the place, where the 
 adiion which is reprefented, pafles j but we ought 
 befides, to mark out the place and make it known 
 to the Spectator by fome particular Addrels, 
 that his mind may not be put to the pains of 
 difcovering it, as whether it be Italy , or Spain, or 
 Greece, or France $ whether it be near the Sea 
 fhore, or the Banks of fome River, whether it be 
 the Gfyine, or the Loyre 5 the <Po, or the Tyler ; 
 and fo of other things, if they are eflential to the 
 Hiftory. " Nealces, a man of Wit and an inge- 
 L&. :5-i2. " nious Painter, as Pliny tells us, faing to paint a 
 " NaVal Fight letwixt the Egyptians and the Per- 
 " fians, and Icing willing to make it known that the 
 
 " Battle
 
 Art of Painting. 
 
 " Battle wa$ given upon the Nile, whofe waters are 
 " of the fame Colour with the Sea, drew an Afs drink- 
 " ing on the Banks of the 5^Ver, and a Crocodile en- 
 " JeaVouring to furpri%e him. 
 
 Let a Noblenefs and Grace, dec. It is difficult f 222, 
 enough to fay what this Grace of Painting is 5 'tis 
 to be conceived and underftood much more eafi- 
 ly than to be explained by words. It proceeds 
 from the illuminations of an excellent Mind, 
 which cannot be acquir'd, by which we give- a 
 certain turn to things which makes them pleafing* 
 A Figure may be defign'd with all its proporti- 
 ons, and have all its pares regular, which not- 
 withftanding all this, (hall not be pleafing, if 
 all thofe parts are not put together in a certain 
 manner, which attracts the Eye to them, and 
 holds it fix'd upon them : For which reafon 
 there is a difference to be made betwixt Grace 
 and Beauty. And it feems that OVid had a mind 
 to diftinguifli them, when he faid (fpeaking ot , 
 Fenus) 
 
 Multaque cum forma, gratia mifta fuifo . 
 A matchlefs Grace was with her ^Beauty mixd. 
 
 And Suetoniiw fpeaking of Nero, fays, he was 
 rather beautifull than graceful 1. fultu pulchro, 
 
 magis
 
 1 50 Olfervations on the 
 
 magis quam Venufto. How many fair women do 
 we fee, who pleafe us much lefs than others, who 
 have not fuch beautiful! Features ? 'Tis by this 
 grace that Raphael has .made himfejf the moft re- 
 nown'd of all the Italians, as .Afelles by the fame 
 means carry'd it above all the Greeks. 
 2jj. This is that in which the great eft difficulty confifts, 
 Sec. For two reafons, both becaufe great ftudy 
 is to be made as well upon the ancient Beauties and 
 on noble Pictures, as upon nature it felf : and 
 alfo becaufe that part depends entirely on the Ge- 
 nius, and fcems to be purely the gift of Heaven, 
 which we have receiv'd at our Birth, upon which 
 account our Author adds, Undoubtedly we fee but 
 few, whom in this particular, Jupiter has regarded 
 with a gracious Eye, fo that it belongs only to thofe 
 elevated Souls, who partah fomewhat of Divinity to 
 work fuch mighty wonders. Though they who 
 have not altogether receiv'd from Heaven this pre- 
 cious Gift, cannot acquire it without great La- 
 bour, neverthelefs 'tis needfull in my opinion, 
 that both the one and the other ftiould perfectly 
 learn the character of every Pa/fion. 
 
 All the Actions of the fcnfitive Appetite are in 
 Painting call'd Tafftons, becaufe the Soul is agi- 
 tated by them, and becaufe the Body furTers 
 through them, and is fenfibly altered. They are 
 
 * thofe
 
 Art of Painting. \ 51 
 
 thofe divers Agitations and different Motions of 
 the Body in general, and of every one of its parts 
 in particular, that our excellent Painter ought to 
 understand, on which he ought to make his ftu- 
 dy, and to form to himfelfa perfect Idea of them. 
 But it will be proper for us to know in the firft 
 place, that the Philofophers admit eleven, LoVe, 
 Hatred, Dejtre , Shunning, Joy , Sadnefs , Hope, 
 Defpair, Boldnefs, Fear and Anger. The Painters 
 have multiply'd them not oneiy by theft different 
 Degrees, but alfo by their, different Species, for 
 they will make, for' example, fix perfons in the 
 fame degree of Fear, who (hall exprefs that Paf- 
 fion all of them differently. And 'tis that diver- 
 fity of Species which diftinguiflies thofe Painters 
 who are alle Artlfls , from thofe whom we 
 may call Mannerifts, and who repeat five or fix 
 times over in the fame Picture the fame Hairs 
 of a Head. There are a vaft number of other 
 Pa/lions, which are as the Branches of thofe which 
 we have nam'd : we might for example, under 
 the Notion of Love, comprehend Grace, Gentle* 
 nefs and Civility 5 Carejfis, Embraces, and Kjffes, 
 Tranquillity and Smetmfs 3 and without exami- 
 ning whether all thefe things which Painters com- 
 prize under the name of (Pajfions, can be reduc'd 
 to thofe of the fhilofopbersj I am of opinion that 
 
 every
 
 Observations on the 
 
 every one may ufethem at his plcafure, andtha* 
 he may ftudy them after his own manner; the 
 name makes nothing. One may even 'make Paf- 
 fionsofMajefty, fiercenefs, Tfiffatisfattion, Care, A- 
 Varice, Sloathfulneft, EnVy, and many other things 
 liketbefe. Thefe <Paflions (as I have faid,) ought 
 to be learnt from the life it fclf, or to be ftudied on 
 the Ancient Statues and excellent ( Piftures : we ought 
 to fee, for example, all things which belong to 
 Sadnefs, or ferve to exprefs it to defign them 
 carefully, and to imprint in our Memories after 
 fuch a manner, as we may diftin&ly underftand 
 feven or eight kinds of them more or lefs, and im- 
 mediately after draw them upon Paper without 
 any other Original than the Image which we have 
 conceived of them. We muft be perfect Matters of 
 them: but above all, we muft make fure of pof- 
 feffing them throughly. We are to know that it is 
 fuch or fuch a ftroke, or fuch a Shadow ftronger 
 or weaker^ which make fuch or fuch a ^Paffion in 
 this or that degree. And thus, if any one (hould 
 ask you, what makes in Painting the Majefty of 
 a /(/'/{, tne Gravity of a Hero, the LoVe of a 
 Cbrift, die Grief of a Madonna, the Hope of the 
 good Tlriefy the Defpair of the bad One, the Grace 
 and Beauty of a Venu* y and in fine the Character 
 of any faffton whatfoever, you may anfwer pofi- 
 
 tively,
 
 Art of Painting. 153 
 
 tively, on the fpot, and with aflurance, chat it is 
 fu<h a Tofture or fucb lines in the parts of the Face, 
 formdof fucbot fucb a fafiion, or even the one 
 and the other both together : for the parts of the 
 Body feparately, make known the Taffions of 
 the Soul or elfe conjoyntly one with the other. 
 But of all the farts the Head is that which gives 
 the moft of Life, and the mod of Grate to the 
 Pajfion, and which alone contributes more to it, 
 than all the reft together. The others feparately 
 can onely exprefs fome certain (Paffims, but the 
 Head expreflfes all of them > neverthelefs there are 
 fome which are more particular to it j as, for ex- 
 ample, Humility, which it exprefles by the ftoop- 
 ing or bending of the Plead. Arrogance, when it 
 is lifted, or as we fay, tofs'd up. Languijhment, 
 when we hang it on one fide, or lean it upon one 
 Shoulder. Qbftinacy (or as the French calls it 0- 
 piniatrete,} with a certain ftubborn, unruly, bar- 
 barous Humour, when 'tis held upright, {tiff, and 
 poiz'd betwixt the Shoulders. And of the reft, 
 there are many marks more eafily conceiv'd than 
 they canbeexprefs'd; as, <Ba(hfulnefs, Admiration, 
 Indignation, and Doubt. 'Tis by the Head that 
 we make known more vifibly our Supplications, 
 our Threatnings, our Mildnefs, our Haughtinefs, 
 our LoVe, out Hatred, our Joy, our Sadnejs, our 
 
 X Humi-
 
 154. Obfervations on the 
 
 Humility $ in fine, 'tis enough to feetheE*re, and 
 to underftand the Mind at half a word. Blufhing 
 and <Paknefs fpeak to us, as alfo the mixture of 
 them both. 
 
 The parts of the Face do all of them contri- 
 bute to expofe the Thoughts of our Hearts 5 but 
 above the reft, the Eyes, which are as it were the 
 two Windows through which the Soul looks 
 out and (hows it felf. The Taffions which they 
 more particularly exprefs, are Pleafure, Languijh- 
 went, Difdain, Severity, Sweetnefs, Admiration and 
 Anger. Joy and Sadnefs may bear their parts, if 
 they did not more efpecially proceed from the 
 Eye-trows and the Mouth. And the two parts 
 laft nam'd agree more particularly in the expref- 
 fionof thofetwo Vajfions-, neverthelefs if you joyn 
 the Eyes as a third, you will have the Product of 
 a wonderfull Harmony for all the <PaJJiom of the 
 Soul 
 
 The No/e has no Paffion which is particular 
 to it, it onely lends its afliftance to the others 
 before nam'd, by the ftretching of the Noftrih y 
 which is as much markM in Joy, as it is in Sad- 
 nefs. And yet it feerns that Scorn makes us wrin- 
 kle up the Nofe and ftretch the Noftrils alfo, at 
 the fame time, drawing up the uffer Lip to the 
 place which is near the corners of the Mouth. The 
 
 indents
 
 Art ef fainting. 
 
 Ancknts made the Nofe the feat of Deri/ion ; eum 
 fubdoU irrijioni dicaVerunt, fays^/my; that is, they 
 dedicated the Nofe to a cunning fort of Mockery. 
 We read in the yd. Satyre of Perfidy Difce,fed ira 
 cadat Nafo, rugofaquefanna ; Learn, but let your 
 Anger fall from your Nofe and the fneering 
 Wrinkles be difmounted. And fhiloftratus in 
 the Pi&ure of Tan whom the Nymphs had bound, 
 and fcornfully infulted over, fays of that God; 
 " that before this, he was accuftem'd to fleep with 
 " a peaceabk Nofe, foftning in his /lumbers the 
 " Wrinkles of it, and tfa Anger which commonly 
 <c mounted to that part 5 but now his Noftrils were 
 " widen d to the laft degree of Fury. For my own 
 ' part, I fhould rather believe that the Nofe was the 
 feat of Wrath in Beafts than in Mankind, and 
 that it was unbecoming of any God but onely 
 fan, who had very much of the Beaft in him, 
 to wrinkle up his Nofe in Anger, like other Ani- 
 mals. The moving of the Lips ought to be but 
 moderate, if it be in ConVerfat ion , becaufe we 
 fpeak much more by the Tongue than by the Lips : 
 And if you make the Mouth very open, 'tis one- 
 ly when you are to exprefs the violence of Pa/ion, 
 and more properly of Anger. 
 
 For what concerns the Hands> they are the Ser- 
 vants of the Head, they are his Weapons and his 
 
 X z Auxili-
 
 Objervations on the 
 
 Auxiliaries; without them the a&ion is weak, 
 languifhing, and half dead, their Motions which 
 are almoft infinite, make innumerable expreffi- 
 ons : Is it not by them, that we defire, that we 
 hafe, that we promife, that we call towards us, and 
 that we rejeft ? befides, they are the inftruments 
 of our Tlweats, of our Petitions, of the Horror 
 which we fhow for things, and of the <Praifes 
 which we give them : By them we fear, we ask 
 Queflions, we approve, and we refufe, we fhow 
 our Joy and our Sadnefs, our Doubts, and our 
 Lamentations, our Concernments of *Pity, and our 
 Admirations. In fliort, it may be faid, that they 
 arc the Language of the Dumb, that they contri- 
 bute not a little to the (peaking of the univerfal 
 Tongue, common to all the World, which is that 
 of (Painting. 
 
 Now to tell you how thefe parts are to be dif- 
 pos'd, fo as to exprefs the different <ajjions, is im- 
 pofllble; no precife Ovules can be given of it, 
 both becaufe the task it felf is infinite, and alfo bc- 
 caufe every one is left to the Conduct of his own 
 Genius, and to the Fruit of his former Studies ; 
 onely remember to be carefull, that all the acti- 
 ons of your Figures muft be natural. " It feemt 
 " to me, fays Quinttilian, fpeakingof thePaffions, 
 tf That this fart which is fo noble and fo great, is 
 
 " not
 
 Art of Painting. 157 
 
 " not altogether unacceffible, and that an eajle way 
 " may be found to It 5 'tis to confider nature and to 
 " copy her, for the Spectators are fatisfied, when in 
 " artificial things they can difcern that nature which 
 " they are accujlomd to behold. This paflage of 
 Quinttilian is perfectly explain d by the words of 
 an excellent Mafter which our Author propofes 
 to us for a rule: they are thefe which follow. That 
 the fludied Motions of the Soul, are never fo natural 
 as thofe which we fee in the tranfport of a true fajpon. 
 Thefe Motions will better be exprefs'd, and be 
 much more natural, if we enter into the fame 
 thoughts, become of the fame piece, and imagine 
 our felves to be in the fame circumftances with 
 thofe whom we would reprefent. " For Nature, 
 " fays Horace in his Art of Poetry, difpofes the in- 
 " fide of Mankind to all forts of For tunes , fometimes 
 " (he makes us contented, fometimes fhe drives us in- 
 <c to Choler, and fometimes Jhe fo off rejfes us with 
 " Grief, that fhe feems to tread us down and plunge us 
 <c into mortal Anxieties ; and on all thefe occasions , 
 " fhe drives outwards the Motions of the Heart ly 
 " the Tongue w.hicb if her Interpreter. Now in- 
 ftead of the Tongue, let the Painter fay by the Atti- 
 onsy which are her Interpreters. " What means 
 " have we, (fays Quinttilian,) to give a Colour to 
 " a thing if we have not the fame Colour ; 'tis m- 
 
 cejfary
 
 1 58 Obfervations on the 
 
 " cejfary that we our felves frould firft be touch* d 
 " with a <PaJfion before we endeavour to moVe others 
 " with it. And how , continues he, can we be 
 " touch 'd, Jtnce the Vajfions are -not in our power > 
 " This is the way in my opinion $ We muft form to our 
 " f elves theVifions and Images of abfent things, as if 
 " they were in reality before our Eyes ; and he who 
 " conceives thefe Images with the greatefl flrength of 
 " Imagination, fhallfoffefs that fart of the (pajjions 
 " with the moft advantage and the greatest e-afe. But 
 we muft take care, as I have already faid, that 
 in thefe vifions, the Motions may be natural, for 
 there are fome who imagine they have given abun- 
 dance of Light to their Figures, when they have 
 made them do Violent and extravagant Attions, 
 which we may more reafonably call the ConVulfi- 
 cns or Contorfions of the <Body y than the *Paffions of 
 the Mind $ and by this means often put themfelves 
 to much pains, to find a ftrong Paflion, where 
 no Paflion is requir'd. Add to all that I have 
 faid concerning the Paffions, that we are to have 
 a very ferious regard to the quality ofthePerfons 
 who are to be exprefs'd in <PaJfions. The Joy of a 
 l(ing ought not to refemble that of a Serving-man. 
 And the Fiercenefs of a frigate Soldier muft not be 
 like that of an Officer. In thefe differences con- 
 fifts all the Fmemfs and Delicacy of the Paffions. 
 
 <Paulo
 
 Art of Painting. 1 5 2 
 
 Paulo Lomazgp has written at large on every 
 <Pa/ion in particular, in his fecond Book, but be- 
 ware you dwell not too long upon it, and endea- 
 vour not to force your Genius* 
 
 Some <!{eliques of it took Sanctuary under ground, 
 Sec. All the ancient Painting that was in Italy 
 perifh'd in the Invafion of the Hunns and Goths, 
 excepting thofe works which were hidden under 
 ground or there painted, which by reafon they 
 had not been much expos' d to view , were pre- 
 ferv'd from the infolence of thofe Barbarians. 
 
 The Cromatique fart or Colouring, Sec. The 
 third and laft part of Painting, is call'd the Cro- 
 matiqiie of Colouring. Its object is Colour, for 
 which reafon, Lights and Shadows are therein al- 
 fo comprehended, which are nothing elfe but 
 white and brown (or dark,) and by confluence 
 have their place among the Colours. tphiloftratus 
 fays in his life ofiApollomiM, " That it may be truly 
 " catt'd fainting which is made only with two Colours, 
 " provided the Lights and Shadows be obferV*din it: for 
 " there we behold the true refemblance of things with 
 " their Beauties ; we alfo fee the ipajfions, though 
 " without other Colours : fo much of life may be alfo 
 " exprefid in it, that we may perceive even the Very 
 " Bloud: the Colour of the Hair and of the <BearJ, 
 4t are likew/e tQ be difcernd, and we can diftinguifk 
 
 " without
 
 160 Observations on the 
 
 ** without confujion, tie fair from the black, and the 
 cc young from the old, the differences betwixt the white 
 " and the flaxen hair , we diftinguifh witheafe betwixt 
 " the Moors and the Indians j not onely by the Ca- 
 " mus Nofes of the Blacks, their woolly Hair and 
 " their high Jaws, but alfo by that black Colour which 
 " is natural to them. We may add to what <Pbi- 
 loftratw has faid, that with two onely Colours, 
 the Light and the Dark, there is no fort of Stuff 
 or Habit but may be imitated $ we fay then, 
 that the colouring makes its obfervations on the 
 MafTes or Bodies of the Colours, accompany'd 
 with Lights and Shadows more or lefs evident by 
 degrees of diminution, according to the Acci- 
 dents. Firft of a luminous Body 3 as for exam- 
 ple, the Sun or a Torch. Secondly, of a diapha- 
 nous or tranfparent Body, which is betwixt us 
 and the object, as the Air either pure or thick, or 
 a red Glafs, Sec. Thirdly, of a folid Body illu- 
 minated, as a Statue of white Marble, a green 
 Tree, a black Horfe, &c. Fourthly, from his 
 part, who regards the Body illuminated, as be- 
 holding it either near or at a diftance, directly 
 in a right Angle, or afide in an obtufe Angle, from 
 the top to the bottom, or from the bottom to the 
 top. This part in the knowledge which it has 
 of the vertue of Colours, and the Friendfhip 
 
 which
 
 Art of Painting. 161 
 
 which they have with each other, and alfo their 
 Antipathies, it comprehends the Strength, the Re- 
 lievo, the.Brisknefs, and the Delicacy which are ob- 
 ferv'd in good Pic"tures,the management of Colours, 
 and the labour depend alfo on this laft part. 
 
 Her Sifter, &c. That is to>fay, theD^/gnor gr 
 .Drawing which is the fecond -fart of (Painting - y 
 which confiding onely of Lines, ftands altoge- 
 ther in need of the Colouring to appear. "Tis for 
 this reafon, that our Author calls this part her Si- 
 fters Procurer, that is, the Colouring fhows us the 
 Defign, and makes us fall in love with it. 
 
 The Light produces all kinds of Colours, &c. Here ^f 267. 
 are three Tlxorems fucceilively following, which 
 our Author propofes to us, that from thence we 
 may draw fome conclufions. You may like- 
 wifefind others, which are in the nature of fo ma- 
 ny Tropojitions to which we ought to agree, that 
 from thence we may draw the Precepts contained 
 in the following part of this Treatife ; they are 
 all founded on the Senfe of Seem?* 
 
 o 
 
 Which ought to be the moft, &c. See the Remark ^ 280. 
 of number i ji. 
 
 That you may make the 'Bodies appear enlightned ^[ 282.. 
 by the fhadows which hound your Sight, &c. That 
 is properly to fay, that after the great Lights, there 
 muft be great Shadows, which we call repofes : 
 
 Y becaufe
 
 QffifVAtwM on ttie 
 
 becaufe in reality the Sight would be tired, if it 
 were attracted by a Continuity of glittering ob- 
 jects. The Lights may ferve for a repofe to the 
 Darks, and the Darks to the Lights. I have laid in 
 another place, that a Grouffe of Figures ought to 
 be confider'd, as a Choir of Mufick, in which the 
 Safes fupport the Trebles, and make them to be 
 heard with greater pleafure. Thefe repofes are 
 made two feveral ways, one of which is Natural, 
 the other Artificial. The Natural is made by an. 
 extent of Lights or of Shadows ; which naturally 
 and neceffarily follow folid Bodies, or the Mafles 
 of folid Bodies aggroupp'd when the Light ftrikes 
 upon them. And the Artificial confifts in the Bo- 
 dies of Colours,, which the Painter gives to cer- 
 tain things, fuch as pleafes him ; and compofes 
 them in fiich a manner, that they do no injury 
 to the objects which are near them. A Drapery, 
 for example, which is made yellow or red on, 
 fome certain place, in another place may be 
 brown, and will be more fuitable to it, to pro* 
 duce the effect required. We are to takeocca- 
 fion as much as poffibly we can, to make ufe of 
 the firft manner, and to find the repofe of which 
 we fpeak, by the Light and by the Shadow, 
 which naturally accompany folid Bodies. But 
 fince the Subjects on which we work are not al- 
 ways
 
 Art of Painting. 16$ 
 
 ways favourable to difpofe the Bodies as we de- 
 fire, a Painter in fuch a cafe may take his ad van- 
 tage by the Bodies of Colours, and put into fuch 
 places as ought to be darkened , Draperies or $~ 
 ther things which we may fuppofe to be natural- 
 ly brown and fully'd, which will produce the 
 fame effect and give him the fame repofes as the 
 Shadows would which could not be cans' d by the 
 difpofition of the objects. . t 
 
 Thus, an underftanding Painter will make his 
 advantages both of the one manner and the other. 
 And if he makes a d^fign to be grav'd, he is to 
 remember that the Graders difpofe not their Co- 
 lours as the Painters do 3 and that by confequencc 
 he muft take occafion to find the reafon of his 
 Defign, in the natural Shadows of the Figures, 
 which he has difpos'd to caufe the effect. <I(u- 
 lens has given us a full information of this in thofe 
 prints of his which he caus'd to be engrav'd 3 and 
 I believe that nothing was ever feen more beau- 
 tifull in that kind: the whole knowledge of 
 Grouppes, of the Lights and Shadows, and of 
 thofe Mafles which Tttian calls a Bunch of Grafet, 
 is there expos'd fo clearly to the Sight, that the 
 view of thofe Prints and the carefull obfervation 
 of them > might very much contribute to the 
 forming of an able Painter. Thebeftand faireft 
 
 Y a of
 
 Observations on the 
 
 of them are graven by Vorfterman, Pontius , and 
 Solfoert, all of them admirable GraVers, whofe 
 works Rubens himfelf took care to overfee, and 
 which without doubt you will find to be excel- 
 lent if you examine them. But expect not there 
 the Elegance of Defign, nor the Cwreftnejs of the' 
 Out-lines. 
 
 'Tis not but the Gravers can, and ought to 
 imitate the Bodies of the Colours by the degrees of 
 the Lights and Shadows, as much as they fliall 
 judge that this imitation may produce a good ef-' 
 feet : on the contrary, 'tis impofllble in my opi- 
 nion to give much ftrength to what they grave, 
 after the works of the School, and of all thofe 
 who have had the knowledge of Colours and of 
 the Contraft of the Lights and Shadows, without 
 imitating in fome fort the Colour of the Objects, 
 according to the relation which they have to the 
 degrees of white and black. We fee certain Prints 
 of good Gravers different in their kinds, where 
 thefe things are obierv'd, and which have a won- 
 derfull ftrength. And there appears in publick 
 of late* years^ a Gallery of Arch-duke Leopold , 
 which though very ill graven, yet fhows fome 
 part of the Beauty of its Originals, becaufe the 
 Gravers who have executed it, though other wife 
 they were fufficiencly ignorant, have obferv'd irr 
 
 almoft
 
 Art of Fainting. 
 
 almoft the greateft parts of their Prints, the Bo- 
 dies of Colours in the relation which they have 
 to the degrees of the Lights and Shadows, I 
 could wih the Grafters would make fome reflecti- 
 on upon this whole Remark, 'tis of wonderful! 
 ^onfequence to them 3 for when they have at. 
 tain'd to the knowledge of thefe repofes, they 
 will eafily refolve thofe difficulties whkh many 
 times perplex them : And then chiefly when 
 they are to engrave after a Picture, where neither 
 the Lights and Shadows, nor the Bodies of the 
 Colours are skilfully obferv'd, though in its o- 
 ther parts the Picture may be well performed. 
 
 In the fame manner as we behold it in a Convex ff 2$ 6. 
 Mirror, Sec. A Convex Mirror alters the objects 
 which are in the middle, fo that it feems to make 
 them come out from the Superficies. The Pain- 
 ter muftdo in the fame manner in refpect of the 
 Lights and Shadows of his Figures, to give them* 
 more Relievo and more Strength. 
 
 And let thofe which turn be of broken Colours, of IT 296* 
 king lefs diftinguijh' d and nearer to the borders, Sec. 
 'Tis the duty of a fainter, even in this alfo, to 
 imitate the Convex Mirror, and to place nothing 
 which glares either in Colour or in Light at the 
 borders of his Picture ; for which, there are two 
 the firft is, thar the Eye at the firit view 
 
 directs
 
 'Observations on tie 
 
 .directs it felf to the midft of the object, which 
 is prefented to it, and by confequence, muft there 
 neceflarily find the principal object, in order to 
 its fatisfa&ion. And the other realbn is, that the 
 fides or borders being overcharged with a ftrong 
 .and glittering work attract the Eyes thither, which 
 are in a kind of Pain, not to behold a continuity 
 of that work, which is on the fudden interrupted, 
 by the borders of the Picture; inftead of which 
 the borders being lighten'd and eas'd of fo much 
 work, the Eye continues fixt on the Center of the 
 Picture, and beholds it with greater pleafure. 'Tis 
 for the fame reafon, that in a great compofition 
 >ef Figures, thofe which coming moft forward, 
 are cut offby the bottom of the Picture, will al- 
 ways make an ill effect. 
 
 3 2 9* ^ lunch of Grapes, &cc. 'Tis diffidently ma- 
 nifeft, that Titian by this judicious and familiar 
 comparifon, means that a Painter ought to col- 
 lect the objects, and to difpofc them in fuch a 
 manner, as to compofe one whole ; the feveral 
 ront^guous parts of which, may -be enlighten'd ; 
 many fbadow'd and others of broken Colours to 
 be in the turnings, as on a Bunch of Grapes, ma- 
 ny Grapes, which are the parts of it, are in the 
 Light, many in the Shadow, and the reft faintly 
 .coloured to make them go farther back. Titian 
 
 once
 
 Art of Painting. 
 
 once told Tintoret y That in bis greateft works, a 
 Bunch of Grapes bad teen bis principal rule and bis fu- 
 reft gwdf. 
 
 (Pure or unmix d white, either draws an objett V J J o; 
 nearer or carries it off to farther diftance. It draw* 
 it nearer with black, and throws it backward without 
 it, Sec. All agree that white can fubfift on the 
 fore-ground of the Figure, and there be us'd 
 without mixture 5 the queftion therefore is to 
 know, if it can equally fubfift and be plac'd in? 
 the fame manner, upon that which is backward,, 
 the Light being univerfal and the Figures fuppos'di 
 in a Campaign and open Field. 
 
 Our Author concludes affirmatively, and tKe 
 reafon on which he eftablifhes his rule is this, Thar 
 there being nothing which partakes more of the 
 Light than Whitenefs, and the Light being capa- 
 ble of fubfifting well in remotenefs (or at a long 
 diftance, as we daily fee in the rifing and fetting, 
 of the Sun) it follows that white may fubfift in > 
 the fame manner. In Painting^ the Light and a^ 
 white Colour are but one and the fame thing. 
 Add to this, that we have no Colour, which, 
 more refembles the Air than white, and by con- 
 fequence no Colour which is lighter, from tvhence 
 it comes that we commonly fay, the Air is hea- 
 vy, when. we fee the Heavens coverd with black 
 
 Clouds-y,
 
 1 68 Observations on the 
 
 Clouds, or when a thick fog cakes from us that 
 clearnefs, which makes the Lightnefs or Serenity 
 of the Air. Titian, Tmtoret, Paul Veromje, and 
 all thofe who beft underftood Lights, have ob- 
 feryd jc in this rnanner 3 and no man can go a- 
 gainft this Precept, ,at leaft without renouncing 
 any skill in Landtfchape, which is an undoubted 
 confirmation of this truth. And we fee that all 
 the great Mafters of Landtfcbape, have followed 
 Titian in this, who has always employ'd brown 
 and earthly Colours upon the fore-part, and has 
 referv'd his greateft Lights for remoteneflfes and 
 the back parts of his Landtfchapes. 
 
 It may be objected againft this opinion, that 
 white cannot maintain it felf in remotenefles, be- 
 caufe it is ordinarily us'd to bring the Objects 
 nearer, on the advanced part. 'Tis true, that fo 
 it is us'd, and that to very good purpofe, to ren- 
 der the Objects more fenfible, by the oppofition of 
 the Dark, which muft accompany it ; and which 
 retains it, as it were by force, whether the Dark 
 ferves it for a ground, or whether it be combined 
 to it. For example, If you wou'd make a white 
 Horfe "on the fore-ground of your Picture, 'tis 
 of abfolute N.eceffity, that the ground muft be 
 of a mixt brown, and large enough, or that the 
 Furniture muft be of very fenfible Colours 3 or 
 
 laftly,
 
 Art of Painting. 
 
 laftly, that fome Figure muft be fee upon it, 
 whofe Shadows and the Colour may bring it for- 
 ward. 
 
 But it feems (fay you) that blue is the moft 
 flying or tranfient Colour, becaufe the Heavens 
 and Mountains, which are at the greateft diftance, 
 are of that Colour. 'Tis very true that blue is one 
 of the lighted and fweeteft Colours: But it is al- 
 fo true, that it pofleffcs thefe qualities fo much 
 the more, becaufe the white is mingled in it, as 
 the example of the diftances demonftrate to us. 
 But if the Light of your Picture be not univerfal, 
 and that you fuppofe your Figures in a Chamber, 
 then recall to your Memory that Theorem which 
 tells you that the nearer a Body is to the Light, 
 and the more directly 'tis oppos'd to us, fo much 
 the more it is enlightened, becaufe the Light 
 grows languifliing, the farther it removes from 
 its original. 
 
 You may alfo extinguish your white, if you 
 fuppofe the Air to be fomewhat thicker, and if 
 youforefee that this fuppofition will make a good 
 effecT; in the Oeconomy of the whole work j but 
 let not this proceed fo far, as to make your Fi- 
 gures fo brown, that they may feem as it were 
 in a filthy Fog, or that they may appear to be 
 part of the ground. Seethe following Remark. 
 
 Z But
 
 170 Observations an the 
 
 222. *tf M f or f ure blacky there is nothing that brings 
 the Objeft nearer to the Sight, 'Sec. Becaufe black 
 is the heavieft of all Colours, the moft earthly, 
 and the moft fenfible. This is clearly underftood 
 by the qualities of white which is oppos'd to it, 
 and which is, as we have faid, the lighted of all 
 Colours. There are few who are not of this opi- 
 nion 3 and yet I have known fome, who have 
 told me, that the black being on the advanc'd 
 part, makes nothing but holes. To this there 
 is little elfe to be antwer'd, but that black always 
 makes a good effect, being fet forward, provi- 
 ded it be plac'd there with Prudence. You arc 
 therefore fo to difpofe the Bodies of your Pictures 
 which you intend to be on the fore- ground, that 
 thofe forts of holes may not be perceived, and 
 that the blacks may be there by Maffes, and in- 
 Jenfibly confus'd. See the 4?th. Rule. 
 
 That which gives the Relievo to a Bowl, (may 
 fome fay to me) is the quick Light, or the white, 
 which appears to be on the fide, which is near^ 
 eft to us, and the black by confequence diftances 
 the Object : we are here to beware, not to con- 
 found the turnings with the diftances: the quefti- 
 on is onely in refpect of Bodies, which are fepa- 
 ratcd by fome diftance of a backward Poficion, 
 and not of round Bodies, which are of the fame 
 
 Con-
 
 Art of Painting. 171 
 
 Continuity : the brown which is mingled in the 
 turnings of the Sow?/, makes them go off, rather 
 in confounding them, as we may fay, than in 
 blackning them. And do you not fee, that the 
 reflects are an Artifice of the Painter, to make 
 the turnings feem more Light, and that by this 
 means the greateft blacknefs remains towards the 
 middle of the oW, to fuftain the white, and make 
 it deceive us with more pleafure. 
 
 This <$(ule of White and Black is of fo great con- 
 fequence, that unlefs it be exactly practised, 'tis 
 importable for a Picture to make any great effect, 
 that the Maffes can be difentangf d, and the dif- 
 ferent diftances may be obferv'd at the firft Glance 
 of the Eye without trouble. 
 
 It may be inferred from this (precept) that the 
 MafiTes of other Colours, will be fo much the 
 more fenfible, and approach fo much the nearer 
 to the Sight the more brown they bear ; provi- 
 ded this be amongft other Colours which are of 
 the fame Species. For example, A yellow brown 
 fliall draw nearer to the Sight, than another 
 which is lefs yellow. I faid provided it be a- 
 mongft other Colours, which are of the fame 
 Species, becaufe there are fimple Colours, which 
 naturally are ftrong and fenfible, though they 
 -are clear, zs -yerrnillion , there are others alfo, 
 
 Z, 2 \vhich
 
 172 Objervatlons on the 
 
 which notwithftanding that they are brown, yet 
 ceafe not to be foft and faint, as the blue of Ul- 
 tramat me. The eflFecl: of a picture comes not one- 
 ly therefore from the Lights and Shadows, but 
 alfo from the nature of the Colours. I thought 
 it was not from the purpofe in this place to give 
 you the qualities of thofe Colours which are mod 
 in ufe, and which are call'd Capital, becaufe they 
 ferve to make the compofition of all the reft, 
 whofe number is almoft infinite. 
 
 ^ed Oker is one of the moft heavy Colours. 
 
 Yellow Oker is not fo heavy, becaufe 'tis clearer. 
 
 And the Mafticot is very Light, becaufe it is a 
 very clear yellow, and very near to white. 
 
 Ultramarine or A^ure } IS verv light an ^ a. very 
 fweet Colour. 
 
 Vermillion is wholly oppofite to Ultramarine. 
 
 Lake is a middle Colour betwixt Ultramarine 
 and Fermillion, yet it is rather more fweet than 
 harfli. 
 
 Brown ^ed is one of the moft earthy and moft 
 fenfible Colours. 
 
 Wrick is in its nature an indifferent Colour, 
 (that is) very fufceptible of the other Colours 
 by the mixture : if you mix brown-red with it, you 
 will make it a very earthy Colour j but on the 
 contrary, if you joyn it with white or blue, you 
 
 (hall
 
 Art of fainting. 173 
 
 fliall have one of the moft faint and tender Co- 
 lours. 
 
 Terre Verte (or green Earth) is light ; 'tis a mean 
 betwixt yellow Oker and Ultramarine. 
 
 Umbre is very fenfible and earthy 5 there is no- 
 thing but furs Hack which can difpute with it. 
 
 Of all &acfa, that is the moft earthly, which 
 is moft remote from Slue. According to the 
 Principle which we have eftablifh'd of white and 
 black, you will make every one of thefe Colours 
 before-nam'd more earthy and 'more heavy, the 
 more black you mingle with them, and they will 
 be light the more white you joyn with them. 
 
 For what concerns broken or compound Colours, we 
 are to make a judgment of their ftrengch by the 
 Force of thofe Colours which compofe them. All 
 who have thoroughly underftood the agreement 
 of Colours, have not employed them wholly pure 
 and fimple in their Draperies, unlefs in fome Fi- 
 gure upon the fore-ground of the Picture j but they 
 Jiave us'd broken and compound Colours, of which 
 they made a Harmony for the Eyes, by mixing 
 thofe which have fome kind of Sympathy with each 
 other, to make a Whole, which has an Union with 
 the Colours which are neighbouring to it. The 
 Painter who perfectly underftands the force and 
 power of his Colours, will ufe them moft fuitably 
 
 to
 
 Observations on the 
 
 to his prefent purpofe, and according to his own 
 Difcretion. 
 
 jjj. But let this be done relatively , Sec. One Body 
 mufl; make another Body fly off in fuch a man- 
 ner that it felf may be chas'd by thofe Bodies 
 which are advanced before it. " We are to take 
 " care and ufe great attention, fays Quin&ilian, not 
 " ondy of one fe far ate tiring, but of many which fol 
 cc low each other : and by a certain relation tvhich they 
 xc haVe with each other, are a* it were continued in the 
 < c fame manner, <i* if in aftraght Street, we caft our 
 <c Eyes from one end of it to the other , we dfioVer 
 cc at once thofe different things which are frefented to 
 cc the Sight, fo that we not onely fee the laft, but 
 " whatfoeVer Is relating to the laft. 
 
 261. Let two contrary extremities ne^er touch each o- 
 ther, &c. The Senfe of feeing has this in com- 
 mon with all the reft of the Senfes, that it ab- 
 horrs the contrary Extremities. And in the fame 
 manner as our hands, when they are very cold 
 feel a grievous pain, when on the fudden we hold 
 them near the Fire, fo the Eyes which find an 
 extreme white, next to an extreme black, or a 
 fair cool Azure next to a hot Vermilhon, cannot 
 behold thefe extremities without Pain, though 
 they are always attra&ed by the Glareing of two 
 contraries. 
 
 This
 
 Art of Painting. 175 
 
 This rule obliges us to know thofe Colours 
 which have a Friendfhip with each other, and 
 thofe which are incompatible, which we may 
 eafily difcover in mixing together thofe Colours 
 of which we would make trial. 
 
 And if by this mixture, they make a gracious 
 and fvveet Colour, which is pleafing to the Sight, 
 'tis a Sign that there is an Union and a Sympathy 
 betwixt them : but if, on the contrary, that Colour 
 which is produc'd by the mixture of the two be 
 harflhto the Sight, we are to conclude, that there 
 is 'a Contrariety and Antipathy betwixt thefe two 
 Colours. 'Green, for exam pie, is a pleafing Colour, 
 which may come from a blue and zyellow mix'd to- 
 gether, and by confequence blue and yellow are two 
 Colours which fymfatbi^e : and on the contrary, 
 the mixture of Slue with farmillion, produces 
 a (harp, harCh, and unpleafant Colour; con- 
 clude then that Slue and Vermillion are of a con- 
 trary Nature. And the fame may be faid of o- 
 ther Colours of which yqu make the experiment. 
 And to clear that matter once for all, (fee the 
 Conclufion of the 5 5 id. ^emarkj where I have 
 taken occaiion to fpeak of the force and quality of 
 every Capital Colour,) yet you may negled this 
 Precept, when your Piece confifts but of one or 
 two Figures, and when amongft a great number 
 
 you;
 
 Observations on the 
 
 you would make fome one Figure more remark- 
 able than the reft. One I fay, which is one of the 
 moft confiderable of the Subject, which otherwife 
 you cannot cliftinguifh from the reft. Titian in 
 his triumph ofBaccbus, having placed Ariadne on 
 one of the Borders of the Picture, and not being 
 able for that reafon to make her remarkable by 
 the brightnefs of Light, which he was to keep in 
 the middle of his Picture, gave her a Scarf of a 
 Vermillion Colour, upon a blue Drapery, as well 
 to loofen her from his gvouiid, which was a blue 
 Sea, as becaufe flie is one of the principal Figures 
 of his Subject, upon which he denYd to attract 
 the Eye. <Paulo Verone/e, in his Marriage of Canaa, 
 becaufe Cbrtft who is the principal Figure of the 
 Subject , is carry 'd fomewhat into the depth of 
 the Picture , and that he cou'd not make him 
 diftinguifliable by the ftrength of the Lights and 
 Shadows, has cloath'd him with Vermillion and 
 Blue, thereby to conduct the Sight to that Fi- 
 gure. 
 
 The boftile Colours may be fo much the more 
 ally'd to each other, the more you mix them 
 with other Colours, which mutually fympathize 5 
 and which agree with thofe Colours, which you 
 xlefire to reconcile. 
 
 'T*
 
 Art of Painting. 177 
 
 labour in Vain to faint a Higb-noon, &cc. 
 He faid in another place, Endeavour after that 
 which aids your Art, and is fuitable to it, and 
 fhun whatfoever is repugnant: 'tis the jpth. Pre- 
 cept. If the Painter wou'd arrive to the end he 
 has proposed, which is to deceive the fight, he 
 muft make choice of fuch a Nature, as agrees with 
 the weaknefs of his Colours ; becaufe his Colours 
 cannot accommodate themfelves to every fort of 
 Nature. This Rule is particularly to be obferv'd, 
 and well confider'd , by thofe who paint Landt- 
 fcbafes. 
 
 Let tin Field or Ground of the ViBure, &c. The ^f 378 
 reafon of it is, that we are to avoid the meeting 
 of thofe Colours, which have an Jntifatby to 
 each other, becaufe they offend the Sight, fothat 
 this Rule is prov'd fufficiently by the 4 \fl. which 
 tells us, that two contrary Extremities are never 
 to touch each other, whether it be in Colour, or 
 in Light, but that there ought to be a mean be- 
 twixt them, which partakes of both. 
 
 Let your Colours be lively, and yet not hok(accor- 
 Hmg to the ^Painters TroVerb) a* if they bad been 
 fprinkled with Meal, dec. Donner dans la farine, is 
 a Phrafe amongft Painters, which perfectly ex- 
 prefles what it means, which is to paint with 
 clear, or bright Colours, and dull Colours to- 
 
 A 2
 
 178 Offtrvations on the 
 
 gether ; for being fo mingled, they give no more 
 life to the Figures, than if they had been rubbM 
 with Meal. They who make their flefh Colours 
 very white, and their Shadows grey or inclining 
 to green, fall into this inconvenience. Red Co- 
 lours in the Shadows of the moil delicate or fineft 
 Flefh, contribute wonderfully to make them live- 
 ly, fhining and natural ; but they are to be us'd 
 with the fame difcretion, that Titian, <Paul Vero- 
 nefe, <I(ubens and Van Dyck, have taught us by their 
 example. 
 
 To preferve the Colours frefh, we muft paint 
 by putting in more Colours, and not by rubbing 
 them in, after they are once laid 5 and if it could 
 be done, they fhould belaid juft in their proper 
 places, and not be any more touched, when they 
 are once fo placed ; it tvould be yet better, be- 
 caufetheFreflinefs of the Colours is tarnifli'd and 
 loft, by vexing them with the continual Drudge- 
 ry of Daubing. 
 
 All they who have coloured well, have had 
 yet another Maxim to maintain their Colours 
 frefli and flouriflhing, which was to make ufe of 
 white Grounds, upon which they painted, and of- 
 tentimes at the firft Stroke, without retouching 
 any thing, and without employing new Colours. 
 
 Rubens
 
 Art of Painting. 
 
 always us'd this way 5 and I have feen 
 Pidures from the hand ^of that great Perfon paint- 
 ed up at once, which were of a wonderfull Viva- 
 city. 
 
 The reafon why they made ufe of thofe kind 
 of Grounds, is, becatife white as well preferves 
 a Brightnefs, under the Tranfparency of Colours, 
 which hinders the Air from altering the white- 
 nefs of the Ground, as that it likewife repairs 
 the injuries which they receive from the Air, fo 
 that the Ground and the Colours affift and pre- 
 ferve each other. 'Tis for this reafon that glaz'd 
 Colours have a Vivacity which can never be imi- 
 tated by the moft lively and moft brillant Co- 
 lours, becaufe according to the common way, 
 the different Teints are fimply laid on each in its 
 place one after another. So true it is, that white 
 with other ftrong Colours, with which we paint 
 at once that which we intend to glaze, are as it 
 were, the Life, the Spirit, and the Luftre of it. 
 The Ancients moft certainly have, found, that 
 white Grounds were much the beft, becaufe, not- 
 withftanding that inconvenience, which their 
 Eyes receiv'd from that Colour, yet they did not 
 forbear the ufe of it ; as Galen teftifies in his tenth 
 Book of the ufe of the parts. " Painters, fays he, 
 " when they work ufon their white Grounds, flace be- 
 
 A a 2- " fore 
 
 *.. j
 
 180 Observations on the 
 
 " fore them dark Colours, and others mixt with Hue 
 " and green y to recreate their Eyes, becaufe white if 
 cc aglareing Colour, which wearies and fains the Sight 
 " more than any other. I know not the reafon 
 why the ufe of it is left off at prefent, if it be not 
 chat in our days there are few Painters who are 
 curious in their Colouring, or that the firft Strokes 
 which are begun upon white, are not feen foon 
 enough, and that a more than French Patience is 
 requir'd to wait till it be accomplifh'd 5 and the 
 Ground, which by its whitenefs tarniflies the Lu- 
 ftre of the other Colours, rnuft be entirely covered 
 to make the whole work appear pleafingly. 
 
 383* Let the parts which are nearefl to u* and moft rais'd, 
 Sec. The reafon of this is, that upon a flat fu- 
 perficies, and as much united as a Cloth can be, 
 when i is ftrain'd, the leaft Body is very appear- 
 ing, and gives a heightning to the place which it 
 poiTefles; do not therefore load thofe places with 
 Colours, which you would make to turn ; buc 
 let thofe be well loaded, which you would have 
 come out of die Canvafs. 
 
 385. Let there be fo much Harmony or Confent in the 
 Majfes of the Vittures, that all the fhadowings may 
 afpear as if -they were but one, Sec. He has faidin 
 another place, that after great Lights, great Sha- 
 dows are neceffary, which he calls ^efofes. What 
 
 fa*
 
 Art of Painting: 1 8 1 
 
 he means by the prefent <$ule is this, That whatfo- 
 ever is found in thofe great Shadows, fhould par- 
 take of the Colours of one another, fo that the 
 different Colours which are well diftinguifti'd in 
 the Lights feem to be but one in the Shadows, 
 by their great Union. 
 
 Let the whole VMure be made of one <Piece, &c. T 
 That is- to fay, of one and the fame Continuity 
 of Work, and as if the Pi&ure had been-painted 
 up all at once ; the Latin fays all of one Pallet. 
 
 Tlie Looking Glafs will inftrutt you, dec. The gr 
 Painter muft have a principal Refpect to the MaC 
 ies, and to the Effect of the whole together. The 
 Looking-GIafs diftances the Objects, and by confc* 
 quence gives us onely to fee the Mafles, in which 
 all the little parts are confounded. The Evening, 
 when the Night approaches, will make you bet-> 
 ter underftand this obfervation , but not fo 
 commodioufly, for the proper time to make it, 
 lafts but a quarter of an hour, and the Looking* 
 Glafs may be ufefuli all the day. 
 
 Since the Mirror is the rule and Mafter of all 
 Painters, as (Lowing them their faults by diftan- 
 cing the Objects, we may conclude that the Pi- 
 (Sure which makes not a good effect at a diftance 
 cannot be well done ; and a Painter muft never 
 finifli his Picture, before he has examined k ar
 
 Olftrvations on the 
 
 fome reafonabie diftance, or with a Looking- Glafs, 
 whether the Maffes of the Lights and Shadows, 
 and the Bodies of the Colours be well diftribu- 
 ted. Giorgione and Cotrcggw have made ufe of 
 this method. 
 
 393- As for a (Portrait^ or Tittures by the Life, dec. 
 The end of Portraits is not fo precifely as fome 
 have imagin'd, to give a fmiling and pleafing Air 
 together with the refemblance; this is indeed 
 fome what, but not enough. It confifts in expref- 
 fing the true temper of thofe perfons which it re- 
 prefents, and to make known their Thyjiognomy. 
 If the Perfon whom you draw, for example, be na- 
 turally fad, you are to beware of giving him any 
 Gayety, which would always be a thing which 
 is foreign to his Countenance. If he or (he be 
 merry, you are to make that good Humour appear 
 by the expreffing of thofe parts where it acl:s, and 
 where it (hows it felf. If the Perfon be grave 
 and majeftical, the Smiles or Laughing, which 
 is too fenfible, will take offfrom that Majefty and 
 make it look childifli and undecent. In fhort, 
 the Painter, who has a good Genius mutt, make a 
 true Difcernment of all thefe things, and if he un- 
 derftands Pbyfagnomy, it will be more eafie to 
 him, and he will fucceed better than another, 
 tells us, Tl?at Apelles made bis Pittures fo
 
 An of Painting* 
 
 " Very like, that a certain Qbyfiognomift and Fortune- 
 u teller, (as it is related by Affion the Gramma- 
 " rian) foretold by looking on them the Very time of 
 " their Deaths, whom thofe <Piftures refrefented, or 
 " at what time their Death happen d, if fuch perfons. 
 " were already dead. 
 
 You are to faint the moft tenderly that foffiUy yon if 40 ?^ 
 can, Sec. Not fo as to make your Colours die 
 by force of tormenting them, but that you ftiould 
 mix them as haftily as you can, and not retouch 
 the fame place, if conveniently you can avoid 
 ir. 
 
 Large Lights, Sec. 'Tis in vain to take pains ^f 407; 
 if you cannot preferve large Lights, becaufe 
 without them, your work will never make 2 
 good effect at a diftance ; and alfo becaufe lit- 
 tle Lights are confus'd and effaced, proportiona- 
 lly, as you are at a diftance from the Picture. 
 This was the perpetual Maxim of Correggio. 
 
 Ought to have fomewhat of Greatnefs in them, and ^ 4 1 7^- 
 their Out-lines to be noble, Sec. As the Pieces of 
 Antiquity will evidently fhow us. 
 
 There is nothing more pernicious to a Youth, &c. ^[ 422*. 
 Tis common to place our felves under the Dif- 
 cipline of a Mafter of whom we have a good opi- 
 nion, and whofe manner we are apt to embrace 
 with cafe, which takes root more deeply in us, 
 
 and
 
 $ 83, Observations on the 
 
 and augments the more we fee him work, and 
 the more we copy after him. This happens of- 
 tentimes to that degree, and makes fo great an 
 Impreffion in the Mind of the Scholar, that he can- 
 not give his approbation to any other manner 
 whatfoever, and believes there is no man under 
 the Cope of Heaven, who is fo knowing as hit 
 Mafter. 
 
 But what is mod remarakble in this point is, 
 that nature appears to us always like that manner 
 which we love, and in which we have been taught, 
 which is juft like a Glafs through which we behold 
 Objects, and which communicates its Colour to 
 them without our perceiving it. After I have 
 faid this, you may fee of what confequencc is the 
 choice of a good Mafter , and of following in our 
 beginning the manner of thofe who have come 
 neareft to Nature. And how much injury do 
 you think have the ill manners which have been 
 in France , done to the Painters of that Nation, and 
 what hindrance have they been to the knowledge 
 of what is well done, or of arriving to what is fo 
 when once we know it. The Italians fay to thofe 
 whom they fee infected with an ill manner, which 
 they are not able to forfake , " If you knew 
 M juft nothing, you would foon learn fomething. 
 
 'Search
 
 Art of Painting. 185 
 
 Search whatfoe^er is aiding to your Art and cortve- Cjf 422. 
 nient, and aVoidthofe things which are repugnant to it, 
 Sec. This is an admirable $(ule ; a Painter 
 ought to have it perpetually prefent in his Mind 
 and Memory. It refolves thofe difficulties which 
 the <I(ules beget ; it loofens his hands, and affifts 
 his underfbnding. In flhort, this is the ^uk 
 which fets the Painter at liberty, becatife it teaches 
 him that he ought not to fubject himfelf fervilely, 
 and be bound like an Apprentice to the Ovules of 
 his Art ; but that the Ovules of his Art ought to be 
 Subject to him, and not hinder him from follow- 
 ing the Dictates of his Geniw, which is fuperior 
 to them. 
 
 Bodies of diVerfe Natures which are aggroupp'd or if 
 comlirid together are agreeable and fleafant to tfe 
 Sight, dec. As Flowers, Fruits, Animals, Skins, 
 Sattins, Velvets, beautiful! Flefh, Works of Silver, 
 Armors, Inftruments of Mufick, Ornaments of Anci- 
 ent Sacrifices, and many other pleafing Diverfi- 
 ties which may prefent themfelves to the Painters 
 imagination. 'Tis mod certain that the diverfi- 
 ty of Objects recreates the Sight, when they are 
 without confufion 3 and when they diminifh no- 
 thing of the Subject on which we work. Expe- 
 rience teaches us, that the Eye grows weary with 
 poring perpetually on the fame thing, not one- 
 
 Bb ly
 
 i $6 Obfervati'ons $n tfje 
 
 ly on Pictures, but even on Nature it felf. For 
 who is he who would not be tir'd in the Walks 
 of a long Foreft, or with beholding a large plain 
 which is naked of Trees, or in the Sight of a Ridge 
 f Mountains, which inftead of Plealure, give us 
 onely the view of Heights and Bottoms. Thus 
 to content and fill the Eye of the Underftanding, 
 the beft Authors have had the Addrefs to fprin- 
 kle their Works with pleafing Digreffions, with 
 which they recreate the Minds of Readers. Dif- 
 cretion, in this as in all other things is the fureft 
 Guide: and as tedious Digreffions, which wander 
 from their Subject, are impertinent, fo the Pain- 
 ter who under Pretence of diverting the Eyes, 
 would fill his Picture with fuch varieties as alter 
 the truth of the Hiftory, would make a ridiculous 
 Piece of Painting, and a mere Gallimaufry of 
 his Work. 
 
 & alfo thofe things which appear to be perform d: 
 with ea/e. Sec. This eafe attracts our Eyes, and 
 Spirits fo much the more, becaufe it is to be pre- 
 fum'd that a noble work, which appears fo eafie 
 to us, is the product of a skilfull Hand which is 
 Mafttr of its Art. k was in this part, that A- 
 felles found himfelf fuperior to tyrotogemsj when 
 he blam'd him, for not knowing when to lay 
 down his Pencil (and as I may almoftfay) to make 
 
 an.
 
 Art of Painting. 187 
 
 an end of finifhing his Piece. And it was on 
 this account he plainly faid, " That nothing WM 
 " more prejudicial to Painters than too much exaft- 
 " nefs y and that the great eft fart of them knew not 
 u when they had .done enough : as we have likewife 
 a Proverb, which fays, An Englishman never knows 
 when he is well. 'Tis true, that the word enough 
 is very difficult to underftand. What you have 
 to do, is to confider your Subject thoroughly, 
 and in what manner you intend to treat it accor- 
 ding to your rules, and the Force of your Genius ; 
 after this you are to work with all the eafe and 
 all the fpeed you can, without breaking your 
 iiead fo very much, and being fo very induftri- 
 ous in flatting Scruples to your felf, and creating 
 difficulties in your work. But 'tis impoffible to 
 have this Facility without poflefling perfectly all 
 the Trecepts of the Art y and to have made it ha- 
 bitual to you. For eafe confifts in making pre- 
 cifely that work which you ought to make, and 
 to fet every thing in its proper place with fpeed 
 and Readinefs, which cannot be done without 
 the Rules, for they are the aflur'd means of con- 
 dulling you to the end that you defign wkh Plea- 
 fure. 'Tis then mod certain, (though againft 
 the opinion of many,) that the <$ules give Facility, 
 Quiet of Mind, and readinefs of Hand to the flow- 
 
 Bb i eft
 
 88 Objervations on the 
 
 eft Genius, and that the fame ^ules increafe, and 
 guide that eafe in thofe who have already receiv'd 
 it at their Birth from the happy influence of their 
 Stars. 
 
 From whence it follows that we may confider 
 Facility two feveral ways, either fimply, as 'Dili- 
 gence and a readinefs of Mind and of the Hand) 
 or as a Difpofition in the Mmd, to remove readily 
 all thofe difficulties which can arife in the work. 
 The firft proceeds from an active temper full of 
 Fire 3 and the fecond from a true knowledge and 
 full pofle/fion of infallible Rules 5 the firft is plea- 
 fing, but k is not always without Anxiety, be- 
 caufe it often leads us aftray, and on the contra- 
 ry, the laft makes us act with a Repofeof Mind, 
 and wonderfull Tranquillity j becaufe it afcer- 
 tains us of the goodnels of our work. 'Tis a 
 great advantage to poflfefs the firft, but 'tis the 
 height of perfection to have both in that man- 
 ner which Rubens and Van T)yck polTefled them, 
 excepting the part of Defign or Drawing, which 
 both too much neglected. 
 
 Thofe who fay that the Rules are fo far from 
 giving us this Facility, that on the contrary they 
 puzzle and perplex the Mind and tie the hand, 
 are generally fuch people who have pafs'd half 
 
 their lives in an ill practice of Painting, the ha- 
 
 i 
 bit
 
 Art of Painting. 
 
 bit of which is grown fo inveterate in them, that 
 to change it by the Rules, is to take as it were 
 thier Pencils out of their hands, and to put them 
 out of condition of doing any thing ; in the fame 
 manner as we make a Country -man dumb whom 
 we will not allow to fpeak, but by the Rules of 
 Grammar. 
 
 Obferve, if you pleafe, that the Facility and 
 Diligence of which I fpoke, confifts not in that 
 which we call bold ftrokes and a free handling of 
 >the Pencil, if it makes not a great effect at a dir 
 fiance. That fort of Freedom belongs rather to 
 a Writing-Mafter than a Painter. I fay yet fur- 
 ther, that 'tis almoft impoffible that things which 
 are painted flhould appear true and natural, where 
 we obferve thefe forts of bold ftrokes. And all 
 
 
 
 thofe who have come neareft to nature,, have ne^ 
 ver us'd that manner of Painting, thofe tender 
 Hairs, and thofe hatching ftrokes of the Pencil, 
 which make a kind of minced meat in Painting, 
 are very fine I muft confefs, but they are never 
 able to deceive the Sight. 
 
 Nor till yon haVe present in your Mind a perfeft ^ 442-, 
 Idea of your work, &c. If you will have pleafure 
 in Painting, you ought to have fo well confi- 
 der'd the ceconomy of your work, that it may 
 be entirely made and difpos'd in your head before 
 
 it
 
 hfervations on the 
 
 it be begun upon the Cloath. You muft I fay, 
 forefee the effect of the Grouppes, the ground 
 .and the Lights and Shadows of every thing, the 
 Harmony of the Colours, and the intelligence of 
 all the Subject, infuch a manner, that whatfoe- 
 *ver yoafliall put upon the Cloth, may be onely 
 a Copy of what is in your Mind. If you make 
 ufe of this Conduct, you will not be put to the 
 trouble of fo often changing and rechanging. 
 
 44 3 L et the Eye be fatisfied in the fir ft place, e^en a- 
 gainft and above all other Qfyafons, Sec. This paf- 
 fage has a refpect to fome particular Licences 
 which a Painter ought to take : And as I defpair 
 not to treat this matter more at large; I adjourn 
 the Deader to the firft opportunity which I can 
 get for his farther fatisfacltion on this point to the 
 beft of my Ability : but in general he may hold 
 for certain, that thofe Licences are good which 
 contribute to deceive the Sight, without corrup- 
 ting the truth of the Subject on which the Painter 
 is to work. 
 
 44 j. Profit your f elf by the Counfels of the knowing, Sec. 
 tParrbaJtjis and Cliton thought rhcmfelves much ob- 
 lig'd to Socrates for the knowledge which he gave 
 them of the Tajf/ions. See their Dialogue in Xeno- 
 
 20. fhon towards the end of the third (Book of Memoirs : 
 " Tlxywko tbemoft willingly bear reproof, fays Pliny 
 
 " the
 
 Art of Painting. 
 
 " tHe Younger, are the Very men in whom we find 
 " more to commend than in other people. Lyfippu* 
 was extremely pleas'd when dpelles told him his 
 pinion 5 and Afelles as much, when Lyjippus told 
 him his. That which Praxiteles faid of N/'c/W in *, 
 
 5 o 
 
 fl?/wy, fliowsthe Soul or an accomplifli'd and an 
 humble man. " Praxiteles being asKd which of all 
 u his Worh he Valued moft* Thofe, fays he, which 
 " Nicias has retouch' d. So much account he 
 made of his Criticifms and his opinions. You 
 know the common practice of Jpelles, when he 
 had finifli'd any work, he expos'd it to the Sight 
 of all Paflengers, and concealed himfelf to hear 
 the Cenfure of his faults, with the Profpecl: of ma- 
 king his advantage of the Informations which un- 
 knowingly they gave him* Being fenfible that 
 the people would examine his works more rigo- 
 roufly than himfdf, and would not forgive the: 
 leaft miftake. . 
 
 The Opinions and Gounfels of many together 
 are always preferable to the advice of one fingle 
 perfon. And Ckero wonders that any are befot- TufcuI.Iib.'?;-. 
 ted on their own Productions, and fay to one a- 
 nother, Very- good, if your works pleafe yon, mine 
 are not unpleafing to me. In effed: there are many 
 who through Prefumption or out of Shame to be 
 reprehended, never let their works be feen. But 
 
 there.
 
 Olfervations on the 
 
 there is nothing can be of worfe confequence ; for 
 Georg. 3.1.5. the difeafe is nouriftid and increafes, fays Virgil^ while 
 it is conceal' J. There are none but Fools, fays. 
 Horace, who out of Shamefac dnefs hide their Ul- 
 cers, which if flhown might eafily be heal'd. Stul- 
 Ep. 16. torum incurata mains pudor ulcera celat : There are 
 others who have not altogether fo much of this 
 foolifh Badifulnefs, and who ask every ones opi- 
 nion with Prayers and Earneftnefs j but if you 
 freely and ingenuouily give them notice of their 
 Faults, they never fail to make fome pitiful 1 ex- 
 cufe for them, or which is worfe, they take in ill 
 part the Service which you thought you did 
 them, which they but feemingly defir'd of you, 
 and out of an eftablifli'd Cuftom amongft the 
 greateft part of Painters. If you defire to get 
 your felf any honour, and acquire a Reputation 
 by your works, there is no furer way than to 
 fliow them to perfons of good Senfe, and chiefly 
 to thofe who are Criticks in the Art 3 and to take 
 their Counfel with the fame Mildnefs and the fame 
 Sincerity, as you defir'd them to give it you. You 
 muft alfo be induftrious to difcover the opinion 
 of your Enemies, which is commonly the trueft, 
 for you may be afliir'd, that they will give you 
 ao quarter, and allow nothing to complaifance. 
 
 But
 
 Art of fainting. 
 
 'But if you ha^e no knowing Friend, Sec. QuinSi- C|f 440, 
 lian gives the reafon of this, when he fays, u TI?at 
 " the beft means to correct our faults, if doubtlefs 
 " this, To remote our dejigns out - of Sight ? for 
 " fome fface of time, and not to look upon our <Pi- 
 cc cJures, to the end, that after this internal, we may 
 " look on them as it were with other Eyes, and as a 
 " new work ivhich wo* of another band, and not our 
 " own. Our own Productions do but too much 
 flatter us 3 they are always too pleafing, and 'tis 
 impoffible not to be fond of them at the moment 
 of their Conception. They are Children of a 
 tender age, which are not capable of drawing 
 our Hatred on them. 'Tis faid, That Apes, as 
 foon as they have brought their Young into the 
 World, keep their Eyes continually faften'd on 
 them, and are never weary of admiring their 
 Beauty : fo amorous is Nature of whatfoever (he 
 produces. 
 
 To the end that he may cultivate thofe Talents whkh ^f 458. 
 make his Genius, Sec. 
 
 Qui fua metitur pondera, ferre poteft. 
 
 cc That we may undertake nothing beyond our forces, Offic.B. i. 
 " we muft endeavour to know them. On this Pru- 
 dence our reputation depends. Cicero calls it a, 
 
 Cc
 
 O&firdationi on the 
 
 Grace, becaufe it makes a man feen in his 
 i Off. greateft Luftre. " 'Tis , (fays he) a becoming 
 " Grace, which we fhall eafely make appear, if we are 
 " carefull to cultivate that which Nature ha* given us 
 " in propriety, and made our own, provided it be no 
 " Vice or Imperfection : we ought to undertake nothing 
 " which is repugnant to Nature in general; and when 
 "we haVe paid her this duty, we are bound fo reli- 
 " gioujly to follow our own Nature, that though many 
 " things which are more ferious and more important, 
 " prefent themfelves to us, yet we are always to con- 
 " form our Studies and our Exercifes to our natural 
 " Inclinations. It avails nothing to difpute againji 
 " Nature, and think to obtain what fhe refufes 5 for 
 " then we eternally follow what we can never reach ; for > 
 " as tbe'&roVerb Jays, There is nothing canpleafe, no- 
 " thing can be grace full which we enterprise in fpight 
 " of Minerva; that is to fay, in fpight of Nature. 
 " When we haVe confiderd all thefe things attentively, 
 " it will then be neceffary, that eVery man fhould re- 
 " gard that in particular, which Nature ha* made 
 " his portion, and that hefhould cultivate it with care -, 
 " 'tw not his bufinefs to give himfelfthe trouble of try- 
 " ing whether it will become him to put on the Nature 
 " of another man 5 or as one would fay, to att the per- 
 " fon of another : there is nothing which can more be- 
 " come w y than what is properly the Gift of Nature. 
 
 "Let
 
 An of Painting. 
 
 cc Let every one therefore endeavour to under/land bis 
 " own Talent , and without flattering himfelf, let him 
 " make a true judgment of his own Ferities, and his 
 " own Defecls and Vices j that he may not appear to 
 " have lefs judgment than the Comedians, who do 
 <c not always chufe the heft flays, but thofe which are 
 " heft for them ; that is 9 thofe which are moft in the 
 " compafs of their atting. Thus we are to fix on thofe 
 " things for which we haVe the ftrongeft Inclination. 
 " And if it fometimes happen that we are forcd by 
 u necejjity to apply our fefaes to fuel) other things to 
 " which we are no ways inclind 5 we muft bring it fo 
 " about by our Care and Induftry, that if we perform 
 " them not Very well, at leaft we may not do them fo 
 " Very ill as to be fham'd by them : we are not fo 
 " much to flrain our fefaes to make thofe Vertues ap- 
 <c pear in w which really we haVe not y as to aVoid 
 <c thofe Imperfections which may dijbonour u*. Thefe 
 are the Thoughts and the Words of Cicero, which 
 1 have translated, retrenching onely fuch things as 
 were of no concernment to my Subject : I was 
 not of opinion to add any thing, and the Rea- 
 der I doubt not will find his fatisfaction in them. 
 
 Wnk you meditate on thefe Truths, and ohferVe ^ 464. 
 them diligently, dec. There is a great Connexion 
 betwixt this Precept and that other, which tells you, 
 That you are to pafs no day without drawing a line. 
 
 c c 2 'TIS
 
 O^fervatlons onihe 
 
 *Tis impoflible to become an able Artift, without 
 making your Art habitual to you : and 'tis im- 
 poffible to gain an exa<5t Habitude, without an 
 infinite number of Acts, and without perpetual 
 Praftice. In all Arts the Rules of them are learn'd 
 in little time j but the perfection is not acquir'd 
 without a long Practice and a fevere Diligence. 
 We never faw that La^inefs produc'd any thing which 
 34- was excellent, fays Maxima* Tyrius : and Quincli- 
 lian tells us, That the Arts draw their htgmrimg 
 from Nature 3 the want we often have of them 
 caufes us to fearch the means of becoming able in 
 them, and exercife makes us entirely Mafters of 
 them. 
 
 The morning is the left and moft proper part of the 
 day, &c. Becaufe then the Imagination is not 
 clouded with the Vapours of Meat, nor diftracled 
 by Vifits which are not ufually made in the morn- 
 ing. And the Mind by the Sleep of the forego- 
 ing Night, is refrefli'd and recreated from the 
 Toyls of former Studies. Malherbe fays well tQ 
 this purpofe^ 
 
 Le plus leau de nos jours ^ eft dans leur matinee. 
 The fprightly Morn is the left fan of Day* 
 
 Let
 
 Art of fainting. 
 
 Let no day pafs over you without drawing a line, &c. ^]" 468. 
 That is to fay, without working, without giving 
 fome ftrokes of the Pencil or the Crayon. This 
 was the Precept of Belles ; and 'tis of fo much the 
 more neceffity, becaufe Painting is an Art of much 
 length and time, and is not to be learn' d witri- 
 out great Practice. Michael Angela at the Age of 
 fourfcore years, faid, That he learn d fomething 
 every day. 
 
 Be ready to put into your Table-took) Sec. As it ^f 47 j- 
 was the cuftom of Titian and the Carraches-, there 
 are yet remaining in the hands of fome who are 
 curious in Painting ;. many thoughts and obfer- 
 vations which thole great Men have made on Pam- 
 per, and in their Table-books which they carryM 
 continually about them* 
 
 Wine andgood Cheer are no great Friends to Taint* gr 47 * 
 * n > they ferVe onely to recreate tie Mind when it is 
 opprefs d and /pent with Labour, Sec. " During 35. io*_ 
 " the time, fays CP//'j, that Protogenes was 
 " drawing the (pitture o/Jalyfus, which was the 
 " left of all his Works, he took no other- nourijhment 
 <c than Lupines mix'd with a little water, which ferfd 
 " him loth for Meat and Drink, for fear of clogging 
 " his Imagination ly the Luxury of his Food. Mi* 
 cbael Angela, while he was drawing his day of Judg- 
 ment, fed oncly on Bread and Wine at Dinnen 
 
 And
 
 Obfer vat ions on the 
 
 And Vafari obferves in his life, that he was fo fo 
 ber that he flept but little, and that he often rofe 
 in the Night to work, as being not difturb'd by 
 the Vapours of his thin Repafts. 
 
 478. But delights in the liberty which belongs to the Sat- 
 delors Eftate, Sec. We never fee large and beau- 
 tifull and well-tafted Fruits proceeding from a 
 Tree which is incompafs'd round, and choak'd 
 with Thorns and Bryars. Marriage draws a 
 world of bufinefs on our hands, fubjects us to 
 Law-fuits, and loads us with multitudes of do- 
 meftick Cares, which are as fo many Thorns 
 that encompafs a Painter , and hinder him 
 from producing his works in that perfection of 
 which otherwife he is capable. 3{a[>hael, Michael 
 dngeloy and Hannibal Carracci were never marry'd : 
 and amongft the Ancient Painters we find none 
 recorded for being marry'd, but onely Afelles, to 
 whom Alexander the Great made a prefent of his 
 own Miftrefs Campafpe; which yet I would have 
 underftood without offence to the Inftitutioq of 
 Marriage, for that calls down many Bleffings up- 
 on Families, by the Carefulnefs of a vertuoiis 
 Wife. If Marriage be in general a remedy againft 
 Concupifcence, 'tis doubly fo in refpect of Paint- 
 ers 5 who are more frequently under the occafi- 
 ons of Sin than other Men 5 becaufe they are un- 
 der
 
 Art vf Painting* 
 
 dcr a frequent neceflky of feeing Nature bare-fac'd. 
 Let every one examine his own ftrength upon 
 this point : but let him preferr the intereft of his 
 Soul to that of his Art and of his Fortune. 
 
 Qamting naturally withdraws from noife and tu- !([" 480. 
 mult , &c. I have faid at the end of the firft Re- 
 mark, that both Poetry and Painting were up- 
 held by the ftrength of Imagination. Now there 
 is nothing which warms it more than Repofe and 
 Solitude : Becaufe in that eftate, the Mind being 
 freed from all forts of bufinefs, and in a kind of San- 
 ctuary undifturb'd by vexatious Vifits, is more 
 capable of forming noble Thoughts and of Appli- 
 cation to its Studies. 
 
 Carm'ma fecejfum fcribentis & otia quxrunt* 
 
 Good Verje, Q(ecefs and Solitude requires : 
 And Eafe from Cares, and undifturb'd Defires. 
 
 JL 
 
 We may properly fay the fame of Painting, by 
 reafon of its conformity tvith Poetry, as I have 
 fhown in the firft Remark. 
 
 Let not the coVetons defign of growing rich, &c. iT 
 We read in Pliny, that Nicias refus'd Sixty Ta- 7500 
 lents from King Attains, and rather chofe to 
 make a free Gift of his Picture to his Country. 
 
 "I
 
 zoo Obftrvations on 'the 
 
 Petron. Ar- . / e nquir d of a prudent man, (fays a grave Author) 
 " i>j what times thofe nolle Tiffures were made which 
 cc now we fee -, and defer' d him to ey:plain to mefome of 
 " their Subjects, which I did not well underjland. I 
 *' asKd him likewlfe the reafon of that great negligence 
 " -which is noit> vifeble amongjl (Painters : And from 
 " whence it proceeded, that the moft beautifull Arts 
 "-were now bury d in Oblivion , and principally Paint- 
 " ing, a faint Shadow of which is at prefent remaining 
 " to us. To which he thus reply d, That the immode* 
 " rate defere of Riches had produc'd this change : For 
 " of oldy when naked J^ertue had her Charms, the no* 
 " hie Arts then flourift? din their Rigour: and if there 
 " was any contejl amongft men, it was onely who 
 " fhould he the firft Dif cover er of what might be ofad- 
 <c Vantage to pofterity. Lyfippus and Myron, thofe 
 renown' d Sculptors, who could give a Soul to 'Srafsy 
 left no Heirs, no Inheritance behind them, becaufe 
 they were more carefull of acquiring Fame than Ri- 
 ches. But as for us of this prefent Age, it feems 
 " ly the manner of our ConduB, that we upbraid An- 
 " tiquityfor being as covetous ofVertue as we are of 
 " Vice : wonder not fo much therefore, if Tainting has 
 " loft its Strength and Vigour, becaufe many are now of 
 " opinion, that a heap of Gold is much more beautifull 
 "than all the Piftures and Statues of Apellcs and 
 * c Phidias, and all the noble Performances of Greece. 
 
 I 
 
 cc 
 cc 
 cc 
 <c
 
 Art of Painting. 201 
 
 I would not exact fo great an ad of Abfli- 
 nence from our modern Painters, for I am not 
 ignorant that the hope of gain is a wonderfull 
 fliarp fpur in Arts, and that it gives induftry to 
 the Artift 3 from whence it was that Juvenal faid 
 even of the Greeks themfelves, who were the In- 
 ventors of Painting, and who firft underftood all 
 the Graces of it and its whole perfedionj 
 
 Grtculus efuriens, in Coelum, jujferif, Hit. 
 A hungry Greek, if bidden, fcales the Skies. 
 
 But I could heartily wifli, that the fame hope 
 which flatters them did not alfo corrupt them: 
 and did not fnatch out of their hands a lame, 
 imperfect Piece, rudely daub'd over with too lit- 
 tle Reflection and too much hafte. 
 
 The qualities requifite to form an excellent Painter, 
 &c. 'Tis to be confefs'd that very few Painters 
 have thofe qualities which are required by our Au- 
 thor, becaufe there are very few, who are able Pain- 
 ters. There was a time when onely they who were 
 of noble Blood,were permitted to exercife this Art 5 
 becaufe it is to be prefum'd, that all thefe Ingredi- 
 ents of a good Painter, are not ordinarily found in 
 men of vulgar Birth. Apd in all appearance,we may 
 
 D d hope
 
 2O2 Qtfiw&tiws on the 
 
 hope that though there be no Editt in France which 
 takes away the Liberty of Painting from thofe to 
 whom Nature has refused the Honour of being 
 born Gentlemen, yet at lead that.the ^oyal Acade- 
 my will admit hence-forward onely fuch who being 
 endu'd with all the good Qualities and the Ta- 
 lents which are required for Painting, thofc en- 
 dowments may be to them inftead of an honoura- 
 ble Birth. 'Tis certain, that which debafes Paint- 
 ing, and makes it defcend to the vileft and moft 
 defpicable kind of Trade, is the great multitude 
 of Painters who have neither noble Souls nor any 
 Talent for the Art, nor even fo much as com- 
 mon Sence. The Origin of this great Evil, is 
 that there have always been admitted into the 
 Schools of Painting all forts of Children promif- 
 cuoufly^. without Examination of them, and 
 without obferving for fome convenient fpace of 
 rime, if they were conducted to this Art by their 
 inward Difpofition, and all neceflary Talents, 
 rather than by a foolifli Inclination of their own, 
 or by the Avarice of their Relations, w ho put them 
 $o Painting, as a Trade which they believe to be 
 fomewhat more gainfull than another. The 
 qualities properly required , are thefe follow- 
 ing, 
 
 A
 
 Art of Painting. 203 
 
 A good Judgment, That they may do nothing a- 
 gainft Reafon and Verifimility. 
 
 A doable Mind, That they may profit by in- 
 ftructions, and receive without Arrogance the 
 opinion of every one, and principally of know- 
 ing Men. 
 
 A noble Heart, That they may propofe Glory 
 to themfelves, and Reputation rather than Ri- 
 ches. 
 
 A Sublimity, and ^each of Thought, To conceive 
 readily, to produce beautifull Ideas, and to 
 work on their Subjects nobly and after a lofty 
 cnanner, wherein we may obferve fomewhat that 
 is delicate, ingenious and uncommon. 
 
 A warm and Vigorous Fancy, To arrive at leaft to 
 fome degree of Perfection, without being tir'd 
 with the Pains and Study which are required in 
 Painting. 
 
 Health, To refill the diflipation of Spirits,which 
 are apt to be confum'd by Pains-taking. 
 
 Youth, Becaufe Painting requires a great Expe- 
 rience and a long Practice. 
 
 Beauty or Handfomenefi, Becaufe a Painter paints 
 himfelf in all his Pictures, and Nature loves to 
 produce her own Likenefs. 
 
 A convenient Fortune, That he may give his 
 whole time to ftudy, and may work chearfully, 
 
 D d 2 without
 
 Obfervations on the 
 
 without being haunted with the dreadfull Image 
 of Poverty, ever prefent to his Mind. 
 
 Labour i Becaufe the Speculation is nothing 
 without the Practice. 
 
 A LoVe for bis Art, We fuflfer nothing in the 
 Labour which is pleafing to us : or if it hap- 
 pen that we ftifter, we are pleas' d with the Pain. 
 
 And to be under the Discipline of a knowing Mafter, 
 Sec. Becaufe all depends on the Beginnings, 
 and becaufe commonly they take the manner of 
 their Mafter, and are form'd according to his 
 Gufto: See Ferfe 422, and the Remark upon it. 
 All thefe good qualities are infignificant and un- 
 profitable to the Painter, if fome outward difpo- 
 fitions are wanting to him. By which I mean 
 favourable times, fuch as are times of <Peace, 
 which is theNurfe of all noble Arts 5 there muft 
 alfo fome fair occafion offer to make their Skill 
 manifeft by the performance of fome confidera- 
 ble Work within their power : and a Protector, 
 who muft be a Perfon of Authority, one who 
 takes upon himfelf their care of the Fortune, at 
 leaft in fome meafure ; and knows how to (peak 
 well of them in time and place convenient. 'Tis 
 of much importance, fays the Younger Pliny, in 
 what times Vertue appears. And there is m Wit, how- 
 foe^er excellent it may be, which can make it f elf im- 
 mediately
 
 Art of Painting. 205 
 
 mediately known. Time and Opportunity are neceffary 
 to it, and a per f on who can affijl us with his favour 
 and be a Maecenas to us. 
 
 And Life is fo frorty that it is not fuffi dent for fo long gr 496. 
 an Art y See. Not onely Painting but all other 
 Arcs confider'd in riiernfelves require almoft an 
 infinite time to poffefs them perfectly. 'Tis in 
 this Senfe that Hippocrates begins his Aphorifms 
 with this faying, That Art is long and Life is fhort. 
 But if we confider Arts, as they are in us, and ac- 
 cording to a certain degree of Perfection, fuffici- 
 ent enough, to make it known that we poflefs 
 them above the common fort, and are compara- 
 tively better than moft others, we fhall not find 
 that Life is too fhort on that account, provided 
 our time be well employ 'd. 'Tis true, that Pain- 
 ting is an Art which is difficult and a great under- 
 taking. But they who are endu'd with the quali- 
 ties that are neceffary to it, have no reafon to be 
 difcourag'd by that apprehenfion. Labour always Veget. de re 
 appears difficult before 'tis tryd. The paffages by MiklUx ^ 
 Sea, and the Knowledge of the Stars, have been 
 thought impofiible, which notwithstanding have 
 been found and compafs'd, and that with eafe by 
 thole who endeavour'd after them. "Its afhamefull Lib. i. 
 thing, fays Cicero , to be weary of Enquiry, when 
 what we fearcb is excellent. That which, caufes 
 
 us
 
 2oS Obfervations on the 
 
 us to lofe moft of our time, is the repugnance 
 which we naturally have to Labour, and the Igno- 
 rance, the Malice, and the Negligence of our 
 Matters: we wafte much of our time in walking 
 and talking to no manner of purpofe, in making 
 and receiving idle Vifits, in Play and other Plea- 
 fures which we indulge, without- reckoning thofe 
 hours which we lofe in the too great care of our 
 Bodies; and in Sleep, which we often lengthen out 
 till the day is far advanced : and thus we pals 
 that Life which we reckon to be ihort, becaufe 
 we count by the years w : hich we have liv'd, ra- 
 ther than by thofe which we have employed in ftu- 
 dy. 'Tis evident that they who liv'd before us, 
 have pafs'd through all thofe difficulties to arrive 
 at that Perfection which we difcover in their Works, 
 though they wanted fome of the Advantages 
 which we poflefs, and that none had laboured for 
 them as they have done for us. For 'tis certain 
 that thofe Ancient Mafters, and thofe of the laft 
 preceding Ages, have left fuch beautifull Patterns 
 to us, that a better and more happy Age can ne- 
 ver be than ours ; and chiefly under the Reign of 
 our prefent King, who encourages all the noble 
 Arts, and fpares nothing to give them the (hare 
 of that Felicity of which he is fo bountifull to his 
 Kingdom : and to conduct them with all man- 
 ner
 
 Art of Painting. 207 
 
 ner of advantages to that fupreme Degree of Ex- 
 cellence, which may be worthy of fuch a Mafter, 
 and of that Sovereign Love which he has for them. 
 Let us therefore put our hands to the work, with- 
 out being difcourag'd by the length of time, which 
 is re-cjuifite for our Studies 5 but let us ferioufly 
 contrive how to proceed with the bed Order, and 
 to follow a ready, diligent, and well underftood* 
 Method. 
 
 Take Courage therefore, ye noble Youths ! you cr r O 
 legitimate Offspring of Minerva, who are torn under 
 the influence of a happy (planet, Sec. Our Author 
 intends not here to fow in a barren, ungratefull 
 Ground, where his Precepts can bear no Fruit : 
 He fpeaks to young Painters, but to fuch onely 
 who are born under the Influence of a happy 
 Star; that is to fay, thofe who have receiv'd from 
 Nature the neceffary difpofitions of becoming 
 great in the Arc of Painting : and not to thofe 
 who follow that Study through Caprice or by a 
 fottifh Inclination, or for Lucre, who are either 
 incapable of receiving the Precepts, or will make 
 a bad ufe of them when receiv'd. 
 
 You mil do wett y Sec. Our Author fpeaks not r 
 here of the firft Rudiments ofDefign; as for ex- 
 ample, The management of the Pencil, the juft 
 relation which the Copy ought to have to the O- 
 
 riginal, .
 
 208 Obfervations OH the 
 
 riginal, <&r. He fuppofes, that before he begins 
 his Studies, one ought to have a Facility of Hand 
 to imitate the beft Defigns, the nobleft Pictures 
 and Statues, that in few words he fhould have 
 made himfelf a Key, wherewith to open the Clo- 
 fet of MinerVa, and to enter into that Sacred 
 Place, where thofe fair Treafures are to be found 
 in all abundance, and even offer themfelves to 
 us, to make our advantage of them by our Care 
 and Genius. 
 
 J op. fou are to begin with Geometry , Sec. Becaufe 
 that is the Ground of <Perfp ettiVe, without which 
 nothing is to be done in Painting : befides, Geome- 
 try is of great life in Architecture, and in all things 
 which are of its dependence; 'tis particularly ne- 
 ceflary for Sculptors. 
 
 5 i o. Set yourfelf on dejigning after the Ancient Greeks, 
 &c. Becaufe they are the Rule of Beauty, and 
 give us a good Gufto: For which reafon 'tis ve- 
 ry proper to tie our felves to them, I mean ge- 
 nerally fpeaking ; but the particular Fruit which 
 we gather from them, is what follows. To 
 learn by heart four feveral Ayres of Heads : of a 
 Man, a Woman, a Child , and an Old Man. 
 I mean thofe which have the moft general Ap- 
 probation ; for example thofe of the Apollo, of 
 the Tenu* de Medices, of the little Nero, (that is, 
 
 when
 
 Art of fainting. 209 
 
 when he was a Child,) and of the God Tihr. It 
 would be a good means of learning them, if when 
 you have defign' d one after the Statue it felf, you 
 defign it immediately after from your own Ima- 
 gination, without feeing it ; and afterwards ex- 
 amine, if your own work be conformable to the 
 firft Defign. Thus exercifing your felf on the 
 fame Head, and turning it on ten or twelve fides 5 
 you muft do the fame to the Feet, to the Hands, 
 to the whole Figure. But to underftand the 
 Beauty of thefe Figures, and the juftnefs of their 
 Outlines, it will be neceffary to learn Anatomy : 
 when I (peak of four Heads and four Figures, I 
 pretend not to hinder any one from defigning 
 many others after this firft Study, but my mean- 
 ing is onely to {how by this, that a great Varie- 
 ty of things undertaken at the fame time, diflipates 
 the Imagination, and hinders all the Profit 5 in 
 the fame manner as too many forts of Meat are 
 not eafily digefted, but corrupt in the Stomach 
 inftead of nourifhing the parts. 
 
 An d ceafe not Day or Night from Labour, till ly ^[ 5 1 1 
 your continual ^PraBke^ &c. In the firft Princi- 
 ples, the Students have not fo much need of Pre- 
 cepts as of Pra&ice: And the Antique Statues be- 
 ing the rule of Beauty, you may exercife your 
 felves in imitating them without apprehending 
 
 E e any
 
 210 
 
 Observations &n the 
 
 any confequence of ill Habits and bad Ideas,, 
 which can be form'd in the Soul of a young Be- 
 ginner. 'Tis not, as in the School of a Mafter, 
 whofe Manner and whofe Guft are ill, and under 
 whofe Difcipline the Scholar fpoils himfelf the 
 more he exercifes. 
 
 J 1 4. And when afterwards your Judgment jhall grotr 
 ftronger, Sec. 'Tis neceflary to have the Soul 
 well form'd,and to have a right Judgment to make 
 the Application of his rules upon good Pictures, 
 and to take nothing but the good. For there are 
 fome who imagine, that whatfoever they find in 
 the Piclure of a Mafter, who has acquired Repu- 
 tation, muft of neceffity be excellent 3 and thefe 
 kind of people never fail when they copy to fol- 
 low the bad as well as the good things 5 and to 
 obferve them fo much the more, becaufe they 
 feem to be extraordinary and out of the com- 
 mon road of others, fo that at laft they come to 
 make a Law and Precept of them. You ought 
 not alfo to imitate what is truly good in a crude 
 and grofs Manner, fo that it may be found out 
 in your works, that whatfoever Beauties there are 
 in them, come from fuch or fuch a Mafter. But 
 in this imitate the Bees, who pick from every 
 Flower that which they find moft proper in it 
 to make Honey. In the fame manner a young 
 
 Painter
 
 Art of Painting. 21 1 
 
 fainter fliould colled from many Pidures what 
 he finds to be the moft beautiful!, and from his 
 feveral Colledions form that Manner which 
 thereby he makes his own. 
 
 A certain Grace which WAS wholly natural andpecu- ^j" j 20. 
 liar to him, Sec. Qfyfhaelm this may be compar'd 
 to Apelles, who in praifing the Works of other 
 Painters, faid That >Gracefulnefs was wanting to them : 
 and that without Vanity he might fay, it wot his own 
 peculiar fortion. See the Remark on the ^ \ %th. 
 Verje. 
 
 Julio Romano, (educated from his Childhood in tjf 522. 
 the Country of the Mufes,) &c. He means in the 
 Studies of the belle lettere, and above all in <Poe- 
 fy, which he infinitely lov'd. It appears, that 
 he form'd his Ideas and made his Guft from read- 
 ing Homer $ and in that imitated Zeuxis and Po- 
 lignotusy who, as Tyrius Maximus relates, treated 
 their Subjeds in their Pidures, as Homer did in 
 his Poetry. 
 
 To thefe Remarks I have annexed the Opini- 
 ons of our Author upon the beft and chiefeft 
 Painters of the two foregoing Ages. He tells 
 you candidly and briefly what were their Excel- 
 lencies, and what their Failings. 
 
 Ipafs in Silence many things which will be more am- 
 fly treated in the enfuing Commentary. 'Tis evi- 
 
 E e 2 dent
 
 212 Olfervations on the, &c. 
 
 dent by this, how much we lofe, and what da- 
 mage we have fuftain'd by our Authors death, 
 fince thofe Commentaries had undoubtedly con- 
 tain'd things of high Value and of great inftru- 
 <5lion. 
 
 544, To intruft with tie Mufes, dec. That is to 
 fay, to write inVerfe, Poetry being under their 
 Prote&ion, and confecrated to them. 
 
 THE
 
 :-<?.- ( 213 ) ;j 
 
 THE 
 
 JUDGMENT 
 
 * r '..,'C F^. *.'"' 
 
 Charles Alphonfe du Frefetoy, 
 
 On the Works of the Principal and Bcft 
 PAINTERS of the two MAges. 
 
 PAINTING was in its Perfection amongft 
 the Greeks. The principal Schools were at Sy- 
 cion, afterwards at Rhodesj at Athens,. 
 and at Corinth, and at laft in Rome. Wars and 
 Luxury haVmg overthrown the Roman Empire, it 
 was totally extinguifh'd, together with all the noble 
 Arts, the Studies of Humanity, and the other Sciences^ 
 It began to appear again in the Year 1450 a* 
 mongft fome Painters of Florence, of which DO- 
 MENICO GHiRLANDAlO was one, who was 
 Mafter to Michael Angelo, and had fome kind., of 
 ^putation, though his manner was Gothique and Ve^ 
 ry dry. 
 
 MI-
 
 2*4 nt of 
 
 MICHAEL ANGELO bis Scholar, flourijh'3 
 in tie times of Julius tbefecond, Leo the tenth) Paul 
 the third, and of eight fucceffiVe Popes. He was a 
 Painter, a Sculptor, and an Architect, loth Civil 
 and Military. Tlx Choice which he made of his <P0. 
 ftures was not always beautifull or f leafing : His Guft 
 of Defigning was not the fineft, nor his Out-lines the 
 moft elegant : Tlie Folds of his Draperies, and the 
 Ornaments of his Habits, were neither noble nor grace- 
 full. He was not a little fantaftical and extravagant 
 in his Compofitions ; he was bold even to ^afhnefs, in 
 taking Liberties again/I the ^les of <Perfpetn>e. His 
 Colouring is not oVer true or Very fleafant. He 
 Knew not the Artifice of the Lights and Shadows : {But 
 be defignd more learnedly, and better underjlood all the 
 J^nittmgs of the Bones, with the Office and Situation 
 of the Mufcles,*tban any of the modern Painters. There 
 appears a certain Air of Great nefs and Severity in his 
 Figures, in both which he has oftentimes fucceeded: 
 But above the reft of bis Excellencies, was his won- 
 derfull skill In Architecture, wherein 'be has not onely 
 furpafs'd all the Moderns, but even the Ancients alfo : 
 The St. Peter'* of Rome, tbe St. John'j of Flo- 
 rence, the Capitol , >tbe Palazzo Farnefe , and 
 bis own Houfc, are fuffic'ient Teftimonies of it. His 
 Scholars were Marcello Venufto, Andrea de Vater- 
 
 Jl Roflb, Georgio Vafari, Fra. Baftiano, (who 
 
 com-
 
 Charles Alphonfe du> Frgfe*/, &c; 
 
 commonly fainted for bun) and many other 
 
 PIETRO PERUGINO defend with fufficlent 
 knowledge of Nature, but he is dry and his manner 
 little. His Scholar was 
 
 RAPHAEL SANTIO, who was horn on Good 
 Friday, in the Tear 1483, and died on Good Friday 
 in the Tear 1520: So that he liv'donely j/ years 
 comfleat. Hefurpafs'd att modern (Painters, hecaufe 
 he pojfefs'd more of the excellent parts of (Painting 
 than any other 5 and 'tis believ'd, that he equal? d the 
 Ancients, excepting onely that he defegnd not naked 
 Bodies with fo much Learning, as Michael Angelo : 
 !But his Guft of Defegning is purer and much letter. 
 He painted not mithfo good, Jo full, and fo grace full 
 4 manner as Correggio ; nor has he any thing of the 
 Contraft of the Lights and Shadows, or fo ftrong and 
 free a Colouring, as Titian ; hut he had a better dif- 
 fojition in his (Pieces without comparison, than either 
 Titian, Correggio, Michael Angelo, or all the 
 reft of the fucceeding (painters to our days. His 
 Choice of (poftures, of Heads, of Ornaments, theSui- 
 tahlenefs of his Drapery, his manner of Dejlgning, 
 his Varieties, his Contrafl s, his Exprejfions, mere beau- 
 tifull in Perfection ; but above all, he poffefs'd the 
 Graces info advantageous a manner, that he has ne- 
 Ver fence been equalfd by any other. There are 
 frotraits (or Jingle Figures of his) which are fi- 
 
 niftid
 
 z 1 6 The Judgment of 
 
 ritfh'd Pieces. He was an admirable Architect. He 
 was handfome, well made, and tall of Stature, civil, 
 f^nd wellnaturd, never refufing to teach another what 
 le knew him f elf. He had many Scholars, amongft 
 others, Julio Romano, Polydore, Gaudens, Gi- 
 ovanni d'Udine, and Michael Coxis. His Gra- 
 Trer was Marc Antonio, whofe Prints are admira- 
 ble for the correttnefs of their Out-lines. 
 
 JULIO ROMANO was the moft excellent of 
 nil Raphael'* Scholars ; he had Conceptions which were 
 more extraordinary, more profound, and more eleVa- 
 ted, than eVenhis Mafter himfelf. He was alfo a great 
 Architect, his Guft was pure and exquifite. He was 
 agreatlmitator of the Ancients, gTving a clear Tejlimony 
 in all his *Produlions, that he was defirows to rejlore to 
 Praftice the fame Forms and Patricks which were an- 
 cient. He had the good Fortune to find great perfons 
 who committed to him the care of Edifices, Veftibu- 
 les and Portico's, all Tetraftyles, Xiftes, Theatres, 
 and fuch other places as are not now in ufe. He was 
 wvnderfull in his Choice of (poftures. His manner 
 was drier and harder than any of Raphael's School 
 He did not exatlly underfland the Lights and Sha- 
 dows or the Colours. He is frequently harfh and 
 ungr ace full: The Folds of his Draperies are neither beau- 
 tifull nor great, eafie nor natural, but all extravagant 
 and too like the Habits of fantajlical Comedians. He 
 
 wot
 
 Charles Alphonfe dn Trtfnoy, &c. 217 
 
 "Very knowing in humane Learning. His Scho- 
 lars were Pirro Ligorio, (who was admirable for An- 
 cient Buildings , as for Towns, Temples, Tombs, and 
 Trophies, and the Situation of Ancient Edifices) 
 /Eneas Vico, Bonafone, Georgio Mantuano,^ 
 others. 
 
 POLYDORE, Scholar to Raphael, defend 
 admirably well, as to the practical part, having a par- 
 ticular Genius for Freezes, as we may fee by thofe of 
 white and black, which he has painted at Rome. He 
 imitated the Ancients, hut bis manner was greater 
 than that of Julio Romano : NeVerthekfs Julio 
 feems to be the truer. Some admirable Grouppes are 
 fern in his Works y and fuch as are not elfewhere to be 
 found. He colour d Very feldom, and made Landt- 
 fchapes of a reafonable good Gufto. 
 
 GIO. BELLING, one of the firfl who was o/ 
 any confederation at Venice, painted Very drily accor- 
 ding to the manner of his time. He WAS Very know- 
 ing both in Architecture and (PerfpeftiVe. He was 
 Titims firftMafter, which may eafily he obferv'd in 
 thefirft ^Painting of that noble Scholar, in which we 
 may remark that Propriety of Colours which his Ma- 
 fter has obferv'd. 
 
 About this time GEORGIONE the Contempora- 
 ry of Titian came to excell in (portraits or Face-paint- 
 ing, and alfo in great Works. He fir ft began to make 
 
 F f choice
 
 2i 8 The Judgment of 
 
 choice of Glowing and Agreeable Colours -, the (perfe- 
 Rion and entire Harmony of wind) were afterwards t@i 
 be found in Titian'* (Pictures. He drefsd bis Fi- 
 gures wonderfully well ' dnd it may le truly /aid, that 
 tut for him, Titian bad ne^er arriv'd to that height, 
 of Perfection, which proceeded from the tifyalfiip and. 
 jealoufy of Honour betwixt thofe two. 
 
 TITIAN WAS one of the greateft Colourifls, who 
 was ever known ; be dejtgn'd with much more Eafe and. 
 (practice than Georgionc. There are to be feen Wo- 
 men and Children of bis band, which are admirable 
 loth for the Dejign and Colouring : the Gujl of them 
 is delicate , charming and noble, with a certain f leafing 
 Negligence of the Head-drejfes, the Draperies and Or- 
 naments of Habits, which are wholly peculiar to him. 
 As for the Figures of Men, be has deflgnd them but 
 moderately well. There are even fome of his Draperies, 
 which are mean and favour of a little guft. His 
 painting is wonderfully glowing, fiveet and delicate. 
 He made Tortraifts, which were extremely noble ; t be 
 ( Poflures of them being "Very gracefull, gra^e, diVer- 
 fifyd, and adorn d after a "Very becoming faflrion. No 
 man ever painted Landtfchape, with fo great a man- 
 ner, fo good a colouring, and with fucb a refemblance 
 of Nature. For eight or ten years f pace, he cofyd. 
 with great labour and exaBnefs whatsoever be under- 
 took', thereby to make himfelf an eafy way, and to eft a-
 
 Charles Alphonfe du, Trefiwy, &c. 
 
 blifh fome general maximes for bis future conduct. 
 Sejides tie excellent guft which he had of Colours, in 
 which he excell'd all Mortal Men, he perfectly under- 
 flood how to give eyery thing the touches which were 
 mo ft fuitable, and proper to them , fuch as diftin- 
 .guifh'd them from each other; and which galv the 
 greateft Spirit, and the moji of Truth. The <Pi ft tires 
 which he made in his beginning, and in the declenfion of 
 his Age, are of a dry, and me an manner. He LVd 
 ninety nine years. His Scholars were Paulo Vero- 
 nefe, Giacomo Tintorety Giacomo da Ponte, 
 Baffano, and his Brothers. 
 
 PAULO VERONESE was wonderfully graceful 
 in his Airs of Women: with great "Variety of fhirimg 
 Draperies 5 and incredible tiVacity, and eafe. NeVer- 
 thele/? his Compofaion is fometimes improper $ and his 
 T)efign Is uncorreft. But his colouring, and whatfo- 
 e^er depends on it, is Jo "Very charming in his Pictures, 
 that it fur prices at the fir ft fight, and makes us totally 
 forget thofe other qualities which are wanting m 
 'him. 
 
 TINTORET was Scholar to Titian, great in 
 the practical part of Defigning ; but fometimes alfo 
 fufficiently extravagant. He had an admirable Ge- 
 nius for Paint ing, if he had had as great an affection 
 to his Art, and as much patience in undergoing the 
 difficulties of it, as he had fire and Vivacity of Nature : 
 
 F f z He
 
 i 
 
 220 The Judgment of 
 
 He has made <Pilures, not inferiour in beauty to tbofe 
 of Titian : bis Comfojttwn and bis Drejfes, are for 
 the mofl fart imfrofer ; and bis Out -lines are not cor- 
 nft : But bis Colouring, and tbe dependencies of tf, 
 like that of bis Mafter y are mofl admirable. 
 
 Tlie BASS AN S bad a more mean and poorer guft 
 in Painting tban Tintorec ; and tbeir Defigns were- 
 alfo lepcorreB tban bis. Tliey bad indeed an excellent 
 guft of Colours ; and have toucb > d all kinds of Animals 
 with an admirable manner : But were notorioujly im- 
 ferfeft in tbe Compofition and T>efign. 
 
 CORREGGIO fainted at Parma two large Cupo- 
 loj in FrefcOy and feme Altar-fieces. This Artift, 
 found out certain natural and unaffeEled Graces, for 
 bis Madonnas', Us Saints, and little Children , 
 wbicb were particular to him. ffts Manner is exceed- 
 ing great, botb for tbe defign and for tbe work) but 
 mtbail is Very uncorrett. His Pencil was botb eafie 
 and ddiglitfuH, and 'tis to be acknowkdg'd y that be 
 fainted with great Strength, great Heigktning, great 
 Sweetnefs, and liVeline/? of Colours, in which none fur- 
 fafs'd him. 
 
 He underflood bow to diftribute Us Lights in fucft 
 if manner as was wholly peculiar to kimfelf, which gaVe 
 a great force and great rottndnefs to Us Figures. This 
 manner confifts in extending a large Light, and then 
 making it hje it felf infenfibly in tbe dark Jbadowings, 
 
 which
 
 C harks Alphonfe du, frefnoy, &C, 221 
 
 which be flac'd out of the Maffes. And thofe give 
 them this great roundnefs, without our being able to 
 perceive from whence proceeds fo much of force, am, 
 fo Vajl a flea fur e to tie Sight. 'Tis probable, that in 
 this fart the reft of the Lombard School copied him : 
 he had no great choice of grace full tyoftures, nor of 
 diftribution for beautifuU Groupfes : hi* Dejign often- 
 times appears lame, and the fojitiom are not much ob- 
 feftfd in them. The AffeEls of Us Figures are many 
 times unpleajing ; but his manner of designing Heads, 
 Hands, Feet, and other parts, is "Very great, and well 
 deferVes our imitation. In the conduct and finifhing 
 of a Picture, he has done wonders ; for he painted with 
 fo much Union, that his greateft Works feem'd to haVe 
 been finijtid in the comfafs of one day ; and appear, 
 as if we Jaw them from a Looking-glafs^ His Landt* 
 fchape is equally beautifull with his Figures. 
 
 At the fame time with Correggio, li]id and flou* 
 riflfd PARMEGIANO j whobefides bis great man* 
 mr of well Colouring, excelled affo both in Indention 
 and Xtejign, with a Genius full of gentlenefs and of 
 fpirity having nothing that was ungracefull in his 
 choice of (poftures and in the dreffes of his Figures, 
 which we cannot fay of Correggio : there are <Pieces 
 of his to befeen, which are loth beautifull and cor- 
 ntt.
 
 The Judgment of 
 
 Tbefe two Tainters lajl mention d, bad Very good Scho- 
 lars, but they are known onely to tbofe of their own Tro- 
 Vince ; and be fides there is little to be credited of what 
 bis Country-men fay, for Fainting is wholly extin- 
 guiflid amongji them. 
 
 I fay nothing of LEONARDO da VINCI, 
 becaufe I have feen but little of bis, though he re- 
 flord the .Arts at Milan, and bad many Scholars 
 there. 
 
 LUDOVICO CARRACCI, Uncle to Han- 
 nibal and Auguftine, ftudied at Parma after Cor- 
 reggio 5 and excell'd in Dejign and Colouring, with 
 fucb a Gracefulness, and fo mucb Candour, that Gui- 
 do the Scholar of Hannibal, did afterwards imitate 
 Inm with great fuccefs. There are fome of Ins <Pi- 
 Bures to be feen^ w]nA are Very beautifully and well 
 underftood. He made bis ordinary residence at Bo- 
 logna, and it was Ie, who put the Tencil into tbe 
 bands of Hannibal his Nephew. 
 
 HANNIBAL in a little time excell'd bis Mafter, 
 in all parts of fainting : He imitated Correggio, 
 Titian, and Raphael, in their different manners as 
 be pleas' d, excepting onely that you fee not in bis (P/- 
 ftures, tbe Noblenefs, the Graces, atid tbe Charms of 
 Raphael, and that bis Out-lines are neither fo pure, 
 -nor fo elegant as bis. In all other things, be is won- 
 
 J CD *? 
 
 derfully accomflijl> d } and of an Univerlal Genius. 
 
 AUGUS-
 
 Charles Alphonfe <u frefnoy, &c. 223 
 
 AUGUSTINO, Brother to Hannibal, wasalfo 
 d "Very good (fainter, and an admirable GraVer. He 
 had a Natural Son, t calfd ANTONIO, who dyed 
 at the age 0/35, and who acco) ding to the general 
 of'tnion, mud haVe furpafl'd his Uncle Hannibal : 
 fir by what he left behind him, it appears that he was 
 of a more lofty Genius. 
 
 GUIDO chiefly, imitated Ludovico Carracci, yet- 
 retain d always fomewhat of the manner which his Ma- 
 fler Lawrence the Flemming taught him. This 
 Lawrence //V d at Bologna, and was Competitor and 
 tfjVal to Ludovico Carracci : Guido made the fame 
 ufe of Albert Durer, ^Virgil did of old Ennius : 
 borrow d what pleas' d him, and made it afterwards his 
 own : that is, he accommodated what was good in Al- 
 bert to his own manner : tvhich he executed with fo 
 much gracefulness and beauty, that He alone got more' 
 Money, and more Deputation in his time, than his own 
 Mafters, and all the Scholars of the Carraches, though 
 they were of greater capacity than himfelf. His Heads 
 yield no manner of precedence to thofe of Raphael. 
 
 SISTO BADOLOCCHl defign'dthe be/I of ali- 
 bis -Scholars : but he dyd young, 
 
 DOMENICHINO was a Very knowing fainter; 
 and Very laborious, but otherwife of no great Natural 
 Endowments: 'tis true, he was profoundly skill' d in all 
 the parts of (painting, but wanting Genius, M If aid, 
 
 he.
 
 The Judgment of 
 
 1?e bad lefs of nobhnefs in bis Works than all the reft 
 wboftudied in the School of the Carrachcs. 
 
 ALBANO WM excellent / all that belong d to 
 Tainting, and adorn d with Variety of Learning. 
 
 JOHN LANFRANC, a Man of a great and 
 fprigbtly wit, fup ported bis <I(eputation for a long time 
 with an extraordinary guft of Dejign and Colouring. 
 But Us foundation being onely on the practical part, be 
 at length loft ground in point of correclnefs : fo tbat 
 many of Us pieces appear extravagant and fantaftical. 
 And after bis Deceafe, tbe School of the Carraches 
 went dayly to decay in all tbe parts of (painting. 
 
 GIO. VIOLA was "Very old before be learnd 
 Landtfcbape, the hiowledge of which was imparted to 
 him by Hannibal Carracche, who took pleafure to 
 inftrutt biniy fo tbat be painted many of that kind 
 which are wonderfully fine and well colour d. 
 
 If we caft our eyes towards Germany and tbe Low- 
 Countries, we may there behold ALBERT DU- 
 RER, LUCAS VAN LEYDEN, HOLBEIN, 
 ALDEGRAVE, and ISBIN, who were all Con- 
 temporaries. Amongft thefe, Albert Durer and Hol- 
 bein, were both of them wonderfully knowing and had 
 certainly teen of the firft form of tPainters, bad they 
 traVelfd into Italy : For nothing can be laid to their 
 cbarge y but onely tbat they bad a Gothique Guft. As 
 for Holbein, be perform'dyet better than Raphael; 
 
 and
 
 Charles Alphonfe du, Trefnoy, &C 125 
 
 And I haVe feen a Portrait of hi& Painting, with 
 which one of Titian'* could not come in Competition. 
 
 Among/I the Flemmings, we had RUBENS, win 
 deriVd from his Birth, a lively, free, noble and uni~ 
 Verfal Genius. A Genius which WM capable not one- 
 ly of rai/tng him to the rank of the Ancient Painters, 
 but alfo to thehighejl employment in the Service of his 
 Country : fo that be WM chofen for one of the moft 
 important Embaffies of our Age. Hts Gufto ofDe- 
 Jigning favours fomewhat more of the Flemming than 
 of the Beauty of the Antique, becaufe he flay' d not long 
 at Rome. And though we cannot but obferVe in all 
 his Taintings, fomewhat of great and noble ; yet it 
 muft he confefs'd, that generally f peaking, he defign'J 
 not correctly : But for all the other parts of Painting, 
 he was as abfolute a Mafter of them, and pojfefs'd them 
 alias throughly as any of his ^redecejfors in that noble 
 Art. ffis principal Studies were made in Lombardy, 
 after the Works of Titian, Paul Veronefe and Tin- 
 toret ; whofe Cream he has fkimm'd (if you will allow 
 the Pbra/e) and extracted from their federal Sean- 
 ties many general Maxims and infallible <%ules, which 
 &e always follow 9 d, and ly which he has acquirdinhis 
 Works, a greater Facility than that of Titian ; more 
 of Purity, Truth and Science, than Paul Veronefe ; 
 and more of Majefty, tffypofe and Moderation, than 
 Tintorct. To conclude, His manner is fo jolid, Jo 
 
 G g knowing,
 
 226 The Judgment of, &t. 
 
 knotting, and fo ready, that it may feem, this rare 
 accomplijh'd Genius was fent from HeaVen to inftruft 
 Mankind in the Art of Tainting. 
 
 His School was full of admirable Scholars, amongft 
 whom VAN DYCK was he, who left comprehend- 
 ed all the 3{ules and general Maxims of his Mafter-, 
 and who has eVen excell'd him in the delicacy of his 
 Colouring and in his Cabinet Pieces ; hut his Guft in 
 the defegning fart, was nothing better than that of Ru- 
 bens,
 
 Short Account 
 
 Of che moft Eminent 
 
 PAINTERS 
 
 BOTH 
 
 Continu'd down to the 
 
 PRESENT TIMES 
 
 According to the 
 
 Order of their Succejion. 
 
 LONDON, 
 
 Printed for W. Rogers at the Sun againft St. 
 Vunftans Church in Fleetftreet. i 6p 5.
 
 ( 225 r 
 
 THE 
 
 PRE 
 
 T 
 
 H E Title having onely promised a fliort 
 Account of the moft Eminent Matters, 
 &c. tlx Reader muft expett to find Very 
 little more in tlx fmall Compafl of thefe few Sheets, than 
 the Time when, the Place where, by whofe Inftruc- 
 tions, and in what particular Subject each of thofe 
 great Men became Famous. 
 
 In the firft part, which comprehends the prime 
 Matters of Antiquity, I have follow 9 d Pliny : yet 
 not blindly, or upon his Authority done, but cbiejfy 
 in thofe places, where I have found his Evidence co;i- 
 finrid by the concurrent Teftimony of other Writers. 
 The Catalogue of Fran. Junius I have diligently+per- 
 us'd, and examind moft of the Records cited in it. 
 I haVe alfo read over the Lives of the Four Principal 
 Painters of Greece, written in Italian, by Carlo Dati 
 of Florence , together with his learned Annotations, - 
 upon them : and in a word, haVe left nothing unregard- 
 ed, that coud give me any manner oyAffiftance in this, 
 frefmt Undertaking. 
 
 In the Chronological part, becaufe Iforefawthat f 
 the Olympiads, and the Years of Rome, would beof . 
 
 little
 
 230 P R F A C E. 
 
 little uft to tie generality of Readers, I haVe adjufted 
 .them to the two Vulgar /Eras (vi%.) the Creation of 
 thc-World, and the Birth of Chrift. The Greek Ta- 
 lents I have likewife reduc d into Englifli Money : but 
 tojuftifie~my Account, mujt obferVe, that here (as in 
 moft Authors, where a Talent is put ab/olutely, and 
 without any other Circu mftance}theTa\cn turn Atticum 
 Minus is to be under flood \ which according to the near- 
 eft Computation wmes to about 187!. i o s. of our Mo- 
 ney, the Majus being about 6^ 1. los. more. 
 
 In the latter part, which contains the Mafters of great- 
 eft Note among/I the Moderns, / haVe been equally di- 
 ligent, not onely fearching into -all the moft conftderable 
 Writers, who haVe left us any Memorandums relating 
 fotbem ; but alfo in procuring from Rome, and other pla- 
 ces, tfe beft Advice thatpojjibly I could get, concerning 
 thofe Painters who are but lately deceased, and whofe 
 Liv^s have ne^er yet appear d in Print. In Italy I haVe 
 ta^enfuch Guides, as 1 hadreafon to believe, were beft 
 acquainted in that Country : and in France, Germany, 
 Flanders, and Holland, have been govern d by the Au- 
 thors who have been moft conVerfant in thofe farts. For 
 the Roman, Florentine, and fome other particular 
 Mafters, I haVe apply d my f elf to the Vice de' Pittori, 
 &c. of Giorgio Vafari, andthat excellent Treatife of 
 Gio: Pietro Bellori on the fame Subject. For the Lom- 
 bard School, I have confulted the Maraviglie dell' 
 
 Arte
 
 P R F A C E. 
 
 Arte <?/ Cavalier Ridolfi. For the Bolognefe Pain- 
 ters, the Felfina Pittrice of Conte Carlo Cefare Mai- 
 vafia. For thofe of Genoua, the Vice de' Pittori,&v. 
 of Rafaelle Soprani nobile Genouefe. For the French 
 Mafters, the Entretiens fur les Vies, O*f. o/Felibien, 
 For the German, Flernifli, and Dutch Painters, (of 
 whom I haVe admitted but very few into-this Collecti- 
 on) the Academia nobiliffimx Arsis Pidoriae, of 
 Sandrart, and the Schilder-Boecko/Carel van Man- 
 dcr. For thofe of our own Country, lamafham'd 
 to acknowledge how difficult a matter 1 have found it, to 
 get hut the leaft Information touching fome of thofe In- 
 genious Men, whofe Works have been a Credit and 
 Reputation to it. Tlyat all our Neighbours haVe a 
 greater Value fa the Profe(fors of tins noble Art, n 
 fuffcimtly evident, in that there ha* hardly been any one 
 Mafter of tolerable Parts amongft them, but a Crowd 
 of Writers, nay fome Pens of Quality foo, haVe been 
 iytploydin adorning his Lif^^and in ttanf witting bis 
 Name^ honourably to Pofterity. 
 
 For the Characters of the Italians of the firft Form:, 
 LhaVe all along referrdthe Reader to the Judgment 
 of Monfieur du : FRESNOY in the preceding Pages. 
 But for the reft, I have from the Books aboVe-ment* 
 ond, and the Opinions of the Learned, briefly frewn, 
 wherein their different Talents and Perfections conji*, 
 fted: chufeng always (in the little fypmto which IhaVe 
 
 hen*
 
 P R ETA C E. 
 
 been confind) to fct the left fide forwards, efpccidtiy 
 where their few Faults haVe been over-balanc'd by 
 their many Virtues. 
 
 1 (By the Figures in the Margin it will eafily appear, 
 bow careful IhaVe every where been, to preJerVe the Or- 
 der of Time, which indeed wan the thing principally 
 intended in thefe Papers. Some few Mafters how- 
 ever muft be excepted -, whom jet IhaVe placed next 
 to their Contemporaries, tho I could not fix them in 
 any particular Year. In all of them IhaVe been Very 
 exah in fating down their refpeciive Names, juft as 
 they themfelves usd to do, when they did not write 
 them in Latine. 
 
 IfitfiouU be Obje&ed, thatfeVeral of the Mafters 
 herein after-mention d, haVe already appeared amongft 
 us, in an Englim Drefs : / can onely anfwer, Tliat <t& 
 the Method here made ufe of y is more regular, and quite 
 different from any thing that ha* been hitherto publifh'd 
 in this kind; fo y wb&foeVer. fball think it worth his while 
 to compare thefe little Sketches with the Originals 
 from which IhaVe copy'd them, will find, that I baVe 
 takengreater Care in drawing them true, and that my 
 Out-lines are generally more correft, whatever De- 
 feds may be in the Colouring part. 
 
 Ancient
 
 ( 23? ) 
 
 BY whom, and in what particular Age the Art 
 of Painting was firft invented in Greece, 
 Ancient Authors are not agreed. Arlflotle afcribes 
 the honour of it to EttCHl^ a Kinfman of the 
 famous J)eedaltts, who flotinfli'd Anno i 21 8 be- 2720 
 fore the Birth of Cbrift; Theopbraftus pleads for 
 POLYGNOTUS the Athenian , Athenagora* for 
 SAUftJAS of Samos ; fome contend for <PHILO- 
 CLES the Egyptian, and others again for CLEAN.- 
 THES of Corinth. But howfoever the Learned 
 may differ in their Opinions touching the IriVenter, 
 yet as to the Art it felf, all of them are unanimous, 
 that its firft appearance amongft the Greeks, was 
 in no better a drefs than the bare Shadow of a 
 Man , or fome other Body , circumfcrib'd with 
 a fingle line onely, call'd by them Sciagrapbia, 
 and by the Latines, Vittura Linearis. 
 
 The firft ftep made towards the advancement 
 of fainting, was by A<%J)ICES the Corinthian , 
 and TELEVHANES ofSicyon, or C3(ATO of the 
 
 H h fame
 
 2 24- Ancient Mafiers. 
 
 fame City ; who began to add other lines, by 
 way of fhadowing their Figures, to make them 
 appear round, and with greater ftrength. But 
 fo inconfiderable were the advantages, which che 
 Authors of this Manner (calTd Grapbice) gain'd 
 by their Invent wn, that they ftill found it necef- 
 fcry, to write under each piece, the name of eve- 
 ry individual thing which they endeavoured to 
 reprefent, leaft otherwife the Spectators flhou'd ne- 
 ver be able to diicover what they intended 
 by ic. 
 
 The next Improvement, was by CLEO<PH4N- 
 TUS of Corinth, who firft attempted to fill up his 
 Out-lines with a fingle Colour : from whence his 
 Pieces, and thofe of HTG1EMON, DJNL^and 
 CHA^fAS his followers, got the name of Afo 
 nochromata, (V/^..) Pictures of one colour. 
 
 the Menian, began to paint Men 
 and Women in a manner different from each 
 other, and ventured to imitate all forts of Ob- 
 jects : but was for excelled by his Difciple. 
 
 CIMON the CktoitJfy who found out the Art 
 of Painting Hiftorieally, defign^d his Figures in 
 variety of Poftures, diftinguifli'd the fcveral parrs 
 
 of
 
 Ancient Makers. 235 
 
 of the Body by their Joints, and was the firft who 
 took notice of the folds of Draperies, in his Pieces. 
 
 In what Century the Mafters abovemention'd 
 liv'd, Antiquity has given us no Account : yet cer- 
 tain it is, that about the time of the Foundation An. Mun. 
 offljo*se, Anno 7 50 ante Qir. the Grecians had car- 3 108. 
 ry'd (painting to fuch a height of Reputation, that 
 Candaules King of Lydia, firnam'd Myrfelus, the 
 laft of the Heraclidtf, and who was kill'd by Gyges 
 Anno quarto Olymf. 1 6. for a Picture made by 
 8ULAV(CHUS, reprefenting a Battel of the 
 nefians, gave its weight in Gold. 
 
 of Mem, liv'dO/^.Sj. Anno 
 446 ^Mte C/^ and is celebrated for having pain- 
 ted the Battel at Marathon, between the Athenians c2~v^x 
 and Verfiansy fo very exa&ly, that Miltiades, and 
 all the General Officers on both fides, were eafily 
 
 to be known, and diftinguifli'd from each other in 
 
 that Piece. 
 
 PHIDIAS his Brother, the Son of Cbarmidas, 
 flourifli'd Olymf). 84. Anno- 442 ante Chr. and was 1*06. 
 famous both for Tainting and Sculpture : but par- 
 ticularly in the latter fo profoundly skill'd, that 
 his Statue of Jupiter Olymf ius was by the Ancients 
 
 H h i efteem'd
 
 Ancient Makers. 
 
 efteem'd one of the Seven wonders of the World, 
 as his MinerVa, in the Citadel of Athens, made of 
 Ivory and Gold, was (by way of Eminence) call'd 
 the Beautiful Form. He was very intimate with 
 <Pericles, the Athenian General ; and fo much en- 
 vy'd upon that account, and for the Glory which 
 he acquired by his Works, that his Enemies cou'd 
 never be at reft till they had plotted him into a 
 Prifon, and had there (as fome fay) taken away 
 his Life by Poifon. 
 
 <POL?CLETUS, a Native of Sicyon, and the 
 An. Mun. moft renowned Sculptor in his time, liv'd Otymp. 
 3518. 87.^^0430 ante Chr. and befide the Honour 
 which he gain'd, by having brought the $ajf- 
 G(elieVo to perfection, is commended for divers 
 admirable pieces of work $ but chiefly, for being 
 the Author of that moft accomplished Model , 
 call'd the Canon : which comprehending in it felf 
 alone all the feveral perfections, both of Feature, 
 and Proportion, in Humane Bodies, by the joint 
 confent of the moft eminent Artifts, as well 
 Painters as Sculptors, then in being, was unani- 
 moufly agreed upon to be handed down to Po- 
 fterity, as the Standard, or infallible <%uk of true 
 Beauty. 
 
 In
 
 Ancient Mafters. 
 
 In this Olympiad alfo were KI^ON, and SCO- 
 PES', both excellent in Sculpture ; and in Tome 
 refpe&s equal even to tPolycktus himfelf. 
 
 fOLXGNOTUS the Thafian, was the Difciple 
 of his Father Aglaophon, and particularly famous 
 for reprefenting Women; whom he painted in. 
 lightfom and fhining Draperies, adorning their 
 heads with dreffes of fundry colours, and giving 
 a greater freedom to his Figures, than had been 
 us'd by any of his Predeceflbrs. His principal 
 Works, were thofe which he made gratis in the 
 Temple at Delphi, and the grand Portico at Athens, 
 calFd the Carious 5 in honour of which it was fo- 
 lernnly decreed, in a general Council of the Am- 
 phictyons,d\zt where-ever he fhould travel in Greece, 
 his charges fliould be born by the Publick. He 
 died fometime before the ob Olymp. which was 
 Anno 4 1 8 ante 
 
 the Athenian, liv'd Olymp. 04. 
 Anno 402 ante Chr. and was the firft who inven- 
 ted the Art of mingling his Colours, and of ex- 
 preffing the Lights and Shadows. He was ad- 
 mir'd alfo for his judicious choice of Nature, and 
 in the beauty and ftrength of his Figures furpafled 
 all the Matters who went before him. He ex-
 
 Ancient Mafters. 
 
 cell'd likewife in Sculpture, but was furnam'd the 
 Madman, from a ftrange humour which he had, 
 of deftroying even his very beft Pieces, if after he 
 had finifh'd them, he cou'd dilcover any faulty tho 
 never fo inconfiderable. 
 
 Jn. Mun. -ZEUXIS of --Heraclea, flourifh'd Anno quarto 
 2552. Olymp. p 5 . Anno j p 5 ante Cbr. and was fam'd for 
 being the moft excellent Colourifl of all the Ancients 5 
 though Cicero, 'Pliny, and other Authors tell us, 
 there were but four Colours then in ufe (V/^.) 
 white, yellow, red and black He was cenfur d by 
 fome, for making his Heads too big 5 and by 
 Ariftotle, for not being able to exprefs the Man- 
 ners, and Paffions. He was very famous not- 
 wkhftanding for the Helena which he painted for 
 the People of Crotona^ in the Compofition of 
 which he collected from five naked Virgins (the 
 moft beautiful that Town cou'd produce ) 
 whatever he obferv'd Nature had fornvd moft 
 perfect in each, and united all thofe admirable 
 parts in that fingle Figure. He was extoll'd like- 
 wife for feveral other Pieces 5 but being very rich, 
 coii* d never be prevailed upon to fell any of 
 them, becaufe he thought them to be above any 
 price 5 and therefore chofe rather to give them 
 away freely to Princes, and Cities. He died (as 
 
 'tis
 
 Ancient Makers. 239 
 
 'tis generally faid) of a fie of Laughter, at the 
 fight of a Comical old Woman's Picture, which 
 he had drawn. 
 
 :. PA^HASIUS a Native of Epkfm, and Ci- 
 rizen of Athens, was the Son and Difciple ofEvenor, . 
 and the Contemporary of Zeuxis y whom he over- 
 came in the noted Conteft between them, by de- 
 ceiving him with a Curtain, which he had painted 
 fo excellently well, that his Antagonift miftook it 
 for the Nature ic felf. He was the firft who ob- 
 ferv'd the Rules of Symmetry in his works 5 and 
 was much admired for the livelinefs ofhisexpref- 
 fion, and for the gayety and graceful Airs of his 
 Heads : but above all, for the foftnefs and elegance 
 of his Out-lines, and for rounding off his Figures, 
 fo as to make them appear with the greater ftrength 
 and relievo. He was wonderfully fruitful of In- 
 vention, had a particular talent in fmall pieces, 
 especially in wanton Subjects , and finifli'd all 
 his works to the lail degree of perfection. But 
 wkhall was for extravagantly vain and arrogant, 
 that he commonly writ himfelf (parrbafius the 
 Seau, the S/> Courtly ("Ao^V^O went cloath'd 
 in purple, with a Crown of Gold upon his 
 Head, pretended to derive his Pedigree from A- 
 folio, and flyl'd himfelf the Prince of bis- Trofeffion, 
 
 Yet
 
 240 Ancient Mafters. 
 
 Yet, to his great affli&ion, was humbl'd at la'ft by 
 
 TIMANTHES of Slcyon (or as fome fay, of 
 Cytbnus) who in a Difpute betwixt them, was by 
 the majority of Votes declared the better Painter : 
 And befides was as eminent for the fingular mode- 
 fty and fweetnefs of his Difpofition, as for the 
 agreeable variety of his Invention, and peculiar 
 happinefs in moving the Paffions. His moft ce- 
 lebrated works were the fleeping Polyphemus, and 
 the Sacrifice of Iphigenia ; in both which (as in all 
 his other Performances) his diftinguiChing C ha- 
 ratter appear'd, in making more to be under- 
 flood, than was really exprefs'd in his Pieces. 
 
 In this time alfo flouriflh'd EUPOMPUS of 
 Sicyon, an excellent Artift, and whofe Authority 
 was fo very confiderable, that out of the two 
 Schools of Painting, the Afiatick and the Greek, he 
 made a third, by dividing the laft into the Attkk 
 and the Sicyonian. His beft Difciple was 
 
 <PAM<PHILUS a Native of Macedonia, who to 
 the Art of Painting joyn'd the Study of the Liberal 
 Arts, efpecially the Mathematicks : and us'd to fay, 
 that without the help of Geometry, no Painter could 
 ever arrive at perfection. He was the firft who 
 
 taught
 
 Ancient Maflers. 241 
 
 taught his Art for ferrates, but never took a Scho- 
 lar for lefs time than ten years. What reputation 
 and intereft he had in his own Country, and what 
 ufe he made of it, for the honour and advance- 
 ment of his (frofejjlon, fee <Pag. 8 3 . 
 
 PAUSIAS of Sicyon, a Difciple of Pmpbifo, 
 was the firft who painted upon Walls and Ceil- 
 ings: and amongft many rare qualities, was ex- 
 cellent at fore-fhortening his Figures. His moft fa- 
 mous Piece was the Picture of his Miftrefs Clycera, 
 in a fitting pofture, compofing a Garland of 
 Flowers : for a Copy of which L. LucuOw, a 
 noble <%oman, gavetwoTdte* (375/^0 
 
 the IJtbnian, flourifli'd Olymf. An. Mun. 
 104, Anno 361 ante Cbr. He was an Unherfal 
 Mafler, and admirably skill'd both in Sculpture 
 and (Painting. His Conceptions were noble and ele- 
 vated, his Style mafculine and bold 5 and he was 
 the firft who fignaliz'd himfelf by reprefenting 
 the Majefty of Heroes. He writ feveral Volumes 
 of the Art of Colouring and of Symmetry, and yet 
 notwithftanding fell into the fame Error wich 
 Zeuy.is, of making his Heads too big in proporti- 
 on to the other parts. 
 
 I i <PV(AXl
 
 242 Ancient Mafttrs. 
 
 PRAXITELES the fam'd Sculptor , particu- 
 larly celebrated for his Vtnw of Griidus, and other 
 excellent performances in Marble, was the Con- 
 temporary of Euphranor. 
 
 An. Mun. CWIAS of Cytknus, liv'd Olymp. \ 06, Anno 354 
 3 504. <*te C/>r. and raised his reputation fo much by his 
 works, that Hortenfius the tifyman Orator , gave 
 44 Talents, (8250 lib.) for one of his Pieces, con- 
 taining the Story of the Argonauts, and built a 
 noble Apartment on purpofe for it, in his Vitta at 
 Tufculum. 
 
 ATELLES the Prince of Painters, was a Na- 
 tive of Coos, an Ifland in the Archipelago ( now 
 known by the name of Lango) and flourifli'd 0- 
 lymp. \ \ 2, Anno 330 ante Chr. He improved the 
 noble talent which Nature had given him, in the 
 School of Tamphihis^ and afterwards by degrees 
 became fo much in efteem with Alexander the Great, 
 that by a public Edift he ftrictly commanded , 
 that no other Mafter fhou'd prefume to make his 
 Portrait ; that none but Lyjippus of Sicyon fliou'd 
 caft his Statue in Brafs j and that Pyrgoteles onely 
 fhou'd grave his Image in Gems and Precious Stones. 
 And in farther teftimony of his particular refpect 
 to this Artlfty he prefented him, even with his 
 
 moft
 
 Ancient Maflers. 24.3 
 
 moft beautiful and charming Miftrefs Campafpe, 
 with whom Apelks had fall'n in Love, and by 
 whom 'twas fuppos'd he copy'd his Vtnw (Anadyo- 
 mene) rifing out of the Sea. Grace was his pecu- 
 liar portion, as our Author tells us, (P*ge 1 5 o, and 
 211. In which, and in knowing when he had 
 done Enough^ he tranfcended all who went before 
 him, and did not leave his Equal in the world. 
 He was miraculoufly skill' d in taking the true li- 
 neaments and features of the Face : Infomuch that 
 (if Apion the Grammarian may be credited) (plyfi- 
 ognomifts upon fight of his Pictures onely, cou'd 
 tell the precife time of the parties death. He was 
 admirable likewife in repreleming people in their 
 laft Agonies. And in a word, fo great was the 
 veneration paid by Antiquity to his Works, that 
 feveral of them were purchas'd with heaps oF 
 Gold, and not by any fet number or weight of 
 pieces. He was moreover extremely candid and 
 obliging in his temper, willing to inftruct all 
 thbfe who ask'd his advice, and generous even to 
 his moft potent Rivals. 
 
 T<%OTOGENES of Caunus, a City of Caria fub- 
 jecl; to the <I(hodians y was by the Ancients efteem'd 
 one of the four beft Painters in Greece : but liv'd 
 miferably poor, and very little regarded in his 
 
 I i 2 own
 
 244 Ancient Maflers. 
 
 own Country, till Afelles having made him a vifir, 
 to bring him into Reputation, bought up feveral 
 of his Pictures, at greater rates than he ask'd for 
 them ; and pretending, that he defign'd to fell 'em 
 again for his own work, the J(hodians were glad 
 to redeem them upon any terms. Whofe Difciple 
 he was, is not certainly known 5 but 'tis general- 
 ly affirm'd, that he fpent the greateft part of his 
 life in painting Ships, and Sea-pieces onely : yet 
 applying himfelf at laft to nobler Subjects, he be- 
 came an Artift fo well accompliflh'd, that Allies 
 confefs'd he was in all refpects at leaft equal to 
 himfelf, excepting onely, that never knowing when . 
 to leave off, by overmuch diligence, and too nice 
 a correftnefs, he often difpirited and deaden'd the 
 Life. He. was famous alfo for feveral Figures 
 which he made in Brafs : but his moft celebrated 
 piece of 'Pdwtwg, was that of Jatyfus,. which coft 
 him feven years ftudy and labour, and which 
 fav'd the City of (Jtyodes from being burnt ty 
 "Demetrius 'Poliorcetes. Vide Page 8 4. 
 
 Of MELANTHIllS we have nothing certain, 
 but that he was brought up at Sicyon y (the beft 
 School of Greece) under tfampkilus, at the fame 
 time with Apelles. That he contributed both by 
 his Pen, and fencil, to the Improvement of his 
 
 Art:,
 
 Ancient Maflers. 245 
 
 Art ; and amongft many excellent Pieces, painted 
 Ariftratus the Sicyonian -Tyrant, in a Triumphal 
 Chariot, attended by ftftory, putting a wreath 
 of Laurel upon his Headj which was highly 
 cfteem'd. 
 
 A^JSTIDES of Thebes, the Difaple of Euxeni- 
 das, liv'd in the fame Olympiad with dpelles, and 
 was the firft who by the (Rules of Art, attained a 
 perfect knowledge of expreffing the Paffionsand 
 Affections of the Mind. And though his colour- 
 ing was fomewhat hard, and not fo very beauti- 
 ful as cou'd be wifli'd, yet notwithftanding fo 
 much were his Pieces ad mi r'd, that after his de- 
 ceafe, Attalw King of Tergamus) gave an hun- 
 dred Talents (1875 ^-) * r one them. 
 
 His Contemporary was ASCLEPIODO^US the 
 Athenian, equally skilled in the Arts of Sculpture 
 and Painting 5 but in the latter, chiefly applauded 
 for the beauties of a correct Style y and the truth of 
 his Proportion : In which Afelles declared himfelf 1 
 as much inferior to this Arttfl^ as he was to AM- 
 THION, in the ordering, and excellent difpofiti- 
 on of his Figures. The moft famous Pictures of Af- 
 clepiodorus , were thofe of the twehe Gods, for 
 which Mnafon the Tyrant of Elate a, gave him the- 
 value of about j o o t. SterL a-piece. A*
 
 Ancient Maflers. 
 
 About the fame time alfo u ere the feveral Ma- 
 fters following (v^.) THEOMNESTUS, fam'd 
 for his admirable talent in Portraits. 
 
 NICHOMACHUS , the Son and Difciple of 
 Ariflodemus, commended for the incredible facility 
 and freedom of his (pencil 
 
 NICOTHANES, celebrated for the Elegance of 
 his Defign, and for his grand Manner, and Ma- 
 jefty of Style 5 in which few Majiers were to be 
 compared to him. 
 
 was famous for little pieces only j 
 and from the fordid and mean Subjects to which 
 he addicted himfelf (Tuch as a Barbers, or Shoe- 
 makers Shop, the Stil-life, Animals, Herbage, dec.) 
 got the furname of 3(byparograpbus. Yet though 
 his Subjects were poor, his Performance was ad- 
 mirable ; And the fmalleft Pictures of this Artljty 
 were efteem'd more, and fold at greater Rates, 
 than the larger Works of many other Mafters. 
 
 ANTIDOTUS the Difciple of Eufbranor, was 
 extremely diligent, and induftrious, but very flow 
 at his Pencil $ which as to the colouring part was 
 generally hard and dry. He was chiefly remarkable 
 for having been the Mafter of NI-
 
 Ancient Maflers. 247 
 
 NICIES of Jtbensy who painted Women in An. M 
 Perfection, and flourifli'd about the n^.Olymp. 1626. 
 Anno ^ > ^^ ante Cbr. being univerfally cxtoll'd for 
 the great variety and noble choice of his Subjects, 
 for the force and relievo of his Figures, for his 
 great skill in the diftribution of the lights and 
 ftiadows, and for his wonderful dexterity in re- 
 prefenting all forts of four-footed Animals, beyond 
 any ^f after in his time. His moft celebrated 
 Piece was that of Homer s Hell 3 for which having 
 refufed 60 Talents (11250 lib.) offer' d him by 
 King Ttolemy the Son of Lagus, he generouily 
 made a Prefent of it to his own Country. He was 
 likcwife much efteem'd by allhis Contemporaries 
 for his excellent Talent in Sculpture ; and as <Pliny 
 reports, by Praxiteles himfelf : which yet feems 
 highly improbable, confidering, that by his own 
 account , there were at lead 40 years betwixt 
 them. 
 
 ATHEN10N of Maronea, a City o(TJ>race f 
 a Difciple of Glaudon the Corinthian, was about 
 this time alfo as much in vogue as Nicias : and 
 though his colouring was not altogether fo agree- 
 able, yet in every other particular he was even 
 fuperior to him, and wou'd have mounted to the 
 higheft pitch of Perfection, if the length of his Life 
 
 had
 
 24.8 Ancient Mafters. 
 
 had been but anfwerable to the great extent of 
 his Genius. 
 
 An. Mun. F^SfliS a noble Gfyman, painted the Temple of 
 2647. Health in 3fyw/e, Anno U. C 450, ante Cbr. 2,01 : 
 
 ^^^v^^ and glory' d fo much in his Performances there, 
 that he affum'd to himfelf for ever after, the fur- 
 name of Tittor, and thought it no difparagement 
 to one of the mod Illuftrious Families in fyme, 
 to be diftinguifli'd by that Title. 
 
 2698. NEALCES liv'd Olymp. 132, Anno 250 ante 
 
 ' Cbr. in the time of Arat us the Sicyonian General , 
 
 who was his Patron, and intimate Friend. His 
 particular Character, was a ftrange vivacity of 
 thought, a fluent fancy, and a fingular happinefs 
 in explaining his intentions (as appears Pag. 148.) 
 He is befides frequently mentioned by Writers, 
 for that having painted a Horfe, and being weary'd 
 with often trying in vain to exprefs the foam pro- 
 ceeding from his Mouth, he flung his Pencil in a 
 great paffion againft the (Pitture, which lighted fo 
 luckily, that to his amazement he found, Chance 
 had finifli'd his Defign , much better than he 
 with all his art and labour cou'd have done.
 
 Ancient Maflers. 249 
 
 Anno 168 ante Cbr. An. Mun. 
 and liv'd in fo much cred it and reputation at Athens t 3780* 
 that (paulus jEmilius, after he had overcome (Per- ^~v%^ 
 feus King of Macedon, Anno 3 Olymp. 152. having 
 defir'd the Athenians to fend him one of their moft 
 learned (Philofopbers to breed up his Children, and 
 a skilful fainter to adorn his Triumph, Metro- 
 dorm was the perfon unanimously chofen, as the 
 fitted for both Employments. 
 
 MARCUS <PACUnUSotBrundufium y theNe- 3^7, 
 phew of old Enmus y was not onely an eminent 
 <Poet himfelf, and famous for feveral Tragedies 
 which he wrote, but excell'd alfo in Painting : 
 Witnefs his celebrated Works , at <lfyme y in the 
 Temfle of Hercules, in the Forum Boarium. He 
 flourifli'd Anno U. C. (Joo, ante Cbr. 151, and 
 died at Tarentum, almoft oo years of age. 
 
 TIMOMACHliS of Byz&ntium (now Conftanti- 
 wo/?/e) liv'd Anno U. C 704, ante Cbr. 47, in the 
 time of Julius Gefar, who gave him 8 o Talents 
 ( i 5 ooo //.) for his Pieces of Ajax and Medea y 
 which he placed in the Temple of Venus, from 
 whom he deriv'd his Family. He was commen- 
 ded alfo for his Oreftes and Ipbigenia : but his Ma~ 
 fter-piece was the Gorgon, or Mednfas Head. 
 
 K k About
 
 250 Ancient Mafters. 
 
 About the fame time alfo A^ELLlUS was fa- 
 mous at <%ome, being as much admir'd for his ex- 
 cellent talent in Painting, as he was condemn' d 
 for the fcandalous ufc which he made of it, in ta- 
 king all his Ideas of the Goddejfes from common 
 Strumpets , and in placing his Miftrejfes in the 
 Heavens , amongft the Gods , in ieveral of his 
 Pieces. 
 
 An. Mun. LUDIUS liv'd in great Reputation, under Au- 
 3 907. guftus Gefar, who began his $(eign Anno U. C 7 1 o, 
 
 ^"V^ ante Chr. 41 . He excelled in grand Compofitiens, and 
 was the firft who painted the Fronts of Houfes, 
 in the Streets of <I(pme : which he beautify'd with 
 great variety of Landtfcbapes, and pleafant Views, 
 together with all other forts of different Subjects, 
 manag'd after a moft noble manner. 
 
 An. Dom. TU^ILIUS a <%pman %nigbt, liv'd in the time 
 of Vefpafian, who was chofen Emperour, An, Vom. 
 60. And though he painted every thing with his 
 left band, yet was much applauded for his admi- 
 rable Performances at Verona. 
 
 His Contemporaries were CORNELIUS 
 NUS, and ACTIUS <P<$JSCUS, who with their 
 Pencils adorn'd the Tempks of Honour and Virtue, 
 
 repaired,
 
 
 Ancient Mafttrs. 251 
 
 repair'd by Ifeffafian. But of the two, Prifcus 
 came neareft in his flyle and manner of Painting, 
 to the purity of the Grecian School 
 
 And thus have I given the (Reader z fhort Ac- 
 count , of all the moft eminent Mafters who 
 flourifli'd in Greece, and ^ome, in the compafs of 
 more than a tboufand Years. 'Tis true indeed, 
 that for a longtime after theQ(cigns of Fefpafian, 
 and Titus his Son, Painting and Sculpture continued 
 in great reputation in Italy. Nay, we are informed, 
 that under their Succefifors Domitian, Nerta, and 
 Trajan, they (hin'd with a Luftre almoft equal to 
 what they had done under Alexander the Great. 'Tis 
 true alfo, that the <l(pman Emperours Adrian, An- 
 tonine, Alexander SeVerus, Conjtantine, and Valentl- 
 nian, were not onely generous Encouragers of 
 the fe Arts, but in the praftice of them alfo fowell 
 skill'd, that they wrought feveral extraordinary 
 Pieces with their own hands 5 and by their Ex- 
 ample, as well as their Patronage, rais'd up ma- 
 ny confiderable Artijls in both kinds. But the 
 Names of all thofe excellent Men being unhappily 
 loft with their Works, we muft here conclude our 
 Catalogue of the ANCIENT MASTERS: and 
 fliall onely take notice, that under that Title, All 
 thofe are to be comprehended , who pra&ifed 
 
 K k z Painting
 
 252 Ancient Mafttrs. 
 
 An. Dom.Vainting or Sculpttt re either in Greece or <l(ome, be- 
 580. fore the year of our Lord 580. Ac which time 
 the Latine Tongue ceafing to be the common Language 
 of Italy, and becoming mute. All the noble Arts 
 and Sciences (which in the two preceding Centu- 
 ries had been brought very low, and by the con- 
 tinual Jnvafions of the Northern Nations reduced 
 to the laft extremities) expir'd with it : and in the 
 Reign of (Pfcoow the Emperour, foon after, lay bu- 
 ry'd together, as in one common Grave, in the 
 Ruins of the ^pman Empire.
 
 ( 253 ) 
 
 Rafters. 
 
 GIOVANNI CIMASUE, nobly defcended, _^ 
 and born at Florence, Anno 1240, was the 1240. 
 firft who reviv'd the Art of Tainting in Italy. He 
 was a Difciple of fome poor ordinary Painters, 
 fent for by the Government of Florence from 
 Greece : whom he foon furpafs'd, both in Drawing, 
 and Colouring , and gave fomething of ftrength 
 and freedom to, his Works, at which they cou'd 
 never arrive. And though he wanted the Art of 
 managing his Lights and Shadows, was but little 
 acquainted with the Rules of tferfpetti've, and in 
 divers other particulars but indifferently accom- 
 plifh'd $ yet the Foundation which he laid for fu- 
 ture Improvement, entitled him to the name of 
 the Father of the Fir ft Age, or Infancy of the Mo- 
 dern fainting. Some of his Works are yet re- 
 maining ac Florence, where he was famous alfo 
 for his skill in Architecture, and where he died ve- JEt. (Jo. 
 ry rich, Anno i 300. 
 
 GIOTTO
 
 254 Modern Mafters. 
 
 r^A_x~> GIOTTO his Difciple, born near Florence, Anno 
 i 27(5. i 27 6 y was a good Sculptor and jrdrittfl, as well 
 as a better fainter than Ctmabue. He began to 
 fhake off the fhffnefs of the Greek Maflers ; endea- 
 vouring to give a finer Air to his Heads, and more 
 of Nature to his Colouring, with proper Poftures 
 to his Figures. He attempted likewife to draw 
 after the Life, and to exprefs the different Paffions 
 of the Mind : but cou'd not come up to the live- 
 linefs of the Eyes, the tendernefs oftheFlefh, or 
 the ftrength of the Mufcles in naked Figures. He 
 was fent for, and employ'd by Pope < Bene<bl IX. 
 in St. Teters Church at <I(ome, and by his Succef- 
 for Clement V. at Avignon. He painted feveral 
 Pieces alfo at <Padoua, Naples, Ferrara, and in o- 
 ther parts of Italy -, and was every where much 
 admir'd for his Works : but principally, for a 
 (Pifture which he wrought in one of the Churches 
 of Florence, reprefenting the Death of the . Virgin^ 
 with the dfoftles about her : the Attitudes of which 
 Story, Af. Angtlo Buonaroti us'd to fay, cou'd not 
 be better defign'd. He flouriflh'd in the time of 
 the famous Dante and Petrarch, and was in great 
 ,- x efteem with them, and all the excellent Men in 
 ' his Age. He died Anm 1336.
 
 Modern Maflers. 255 
 
 ANI>V(EA TAFFI, and GADW G^DDIwere 
 his Contemporaries, and the Reftorers ofMojaic- 
 mrk in Italy : which the former had learnt ofAfol- 
 lonius the Greek, and the latter very much improved. 
 
 At the fame time alfo was MA<%GA<I(ITONE, 
 a Native of Arezgp in Tufcany, who firft invented 
 the Art of Gilding with Leaf-gold, upon Bole-ai'me- 
 
 mac* 
 
 SIMONE MEMMI, born at Siena, a City in 
 the borders of the Dukedom of Florence, Anno 12 5~ 
 1285, was a Difciple of Giotto, whofe manner 
 heimprov'd in drawing after the Life : and is par- 
 ticularly celebrated by Petrarch, for an excellent 
 Portrait, which he made of his beloved Laura. 
 He was applauded for his free and eafie Invention, 
 and began to understand the Decorum in his Com- 
 pofitions.* Obiit Anno 1345. 
 
 TADDEO GADDI, another Difciple of Giotto, 
 born at Florence, Anno 1 300, excell'd his Mailer l 3* 
 in the beauty of his Colouring, and the livelinefs 
 of his Figures. He was alfo a very skilful Archi- 
 teft, and much commended t % or the Bridge which 
 he built over the River Arno., at Florence. He died &t. y o- 
 Anno 1350. 
 
 TOMASO
 
 Modern Makers. 
 
 TOMASO, call'd G10TT1NO, for his affcfting 
 and imitating Giotto's manner, born alfo at Flo- 
 rcjjce. Anno 1324, began to add ftrength to 
 his Figures, and to improve the Art o 
 He died ^>wo 1 3 j 6. 
 
 JOHANNES ab H7C, commonly call'd JOHN 
 of 'BRUGES, born at AAi/eeV* on the River J/^ 
 in the Low-Countries, Anno \ j/o, was a Difciple 
 of his Brother Hubert, and a confiderable <Pdw- 
 ter : but above all things famous for having been 
 the happy Irrtenter of the A^T of TAINTING 
 IN OIL, Anno 1410, (thirty years before Print- 
 ing was found out by John Guttemlerg, of Straf- 
 JEt. ?\. burgh.) He died Anno 1441, having fome years 
 before his deceafe communicated his Invention to 
 
 ANTONELLO of Meffina, who traveled from 
 his own Country into Flanders on purpofe to learn 
 the Secret : and returning to Sicily, and afterwards 
 to Venice, was the firft who pra&ifed, and taught 
 it in Italy. He died Anno jEtat. 49. 
 
 In the preceding Century flourifli'd feveral other 
 Mafters of good Repute : but their Manner being 
 the fame, or but very little different from that of 
 Giotto, it will be fufficient to mention the Names 
 
 onely
 
 Modern Makers. 257 
 
 onely of fome of the mod Eminent, and fuch 
 were An&rea Orgagnct, Vietro CaVallim, Sttfano, &o- 
 namico Buffalmacco, <Pietro Laurati, Lippo, Sfinello, 
 Cafentino, <Ptfano, Sec. And thus the Art of Tain- 
 ting continu'd alrnoft at a ftand for about an 
 hundred years 3 advancing but flowly , and ga- 
 thering but little ftrength, till the time of 
 
 who was born in Tufc&y, Anno 
 1417, and for his copious Invention, and true 1 4 1 7- 
 manner of Defigning 3 for his delightful way of 
 Colouring, and the graceful Actions which he 
 gave his Figures 3 for hisloofenefs in Draperies, 
 and extraordinary Judgment in (Perfpettrte, is rec- 
 kon'd to have been the Mafter of the Second, or 
 Middle Age of Modern Tainting: which 'tis thought 
 he wou'd have carry'd to a much higher degree of 
 Perfection, if death had not ftopp'd him in his ~ , 
 Career (by Poyfon, asitwasfuppos'd) An. 1443. 
 
 GENTILE, and GI07ANNI, the *Sons and 
 Difciples of GIACOMO CELLING, were born at 
 Venice, (Gentile, Anno 1421.) and were fo emi- 
 nent in their time, that Gent He was fent for to Con- 
 Jtantinopky by Mahomet II. Emperour of theTwrfo : 
 for whom having (amongft other things) paint- 
 ed the Decollation of S. John Baftift, the Emperour, 
 
 L 1 to
 
 258 Modern Makers. 
 
 to convince him chat the Neck after its feparation 
 from the Body, cou'd not be fo long as he had 
 made it in i his Picture, ordered a Slave to be 
 brought to him, and commanded his Head to be 
 immediately ftruck off in his prefence: which fo 
 tetrifTd Gentile, that he cou'd never be at reft, till 
 he got leave to return home : which the Empe- 
 
 i r 111^-1 11- 
 
 rour granted, after he had Knighted him, and 
 nobly rewarded him for his Services. The moil 
 eonfiderable Works of thefe Brothers are at Venice, 
 
 , jf i where Giovanni liv'd to the age of 90 years, ha- 
 ving very rarely painted any thing but Scripture- 
 Stories and T^eligiou* Subjects, which he performed 
 fo well, as to be efteem'd the moft excellent of 
 
 ,- - all the fBeBini. See more of him (Pdg. 2 1 7* 
 '_. Gentile died Anno i 5 o i . 
 
 MANTEGNA, born at PaJoua, 
 ' Anno 1451, ^ Difciple of Squarcione , was very 
 correct in Defigning, admirable in fore fliort'ning 
 his Figures, well vers'd in Perffettive, and arrived 
 to great knowledge in the Antiquities, by his con- 
 tinu'd application totheSr^w^, Bafs<%elieVo 3 s, See* 
 et however his neglect of feafoning his Studies 
 ter the Anti(jne, with the living Beauties of Na- 
 ture, has given him a Pencil fomewhat hard and 
 dry ; And befides, nis Drapery is generally ftiff, 
 
 according
 
 1\_ ^ 1C ^ * "V S? *b 
 
 Modern Ma ft en. 2 5 5> 
 
 -according to trie manner of thofe times, arid tob 
 ittuch perplex' d ivich little folds. The beft of his 
 Works (and for which he was Knighted, by the 
 Marquefs LodoVtco Gonzyga, of Mantoua) are trki 
 Triumphs of Juliu$ C#far, now at Hampton-Court* 
 He died Anno 1517, having been the firft (ac- 
 cording to Safari) who pra&ifed the Art of Gra- 
 ving in Italy, 
 
 and b; 
 
 ANDREA rES&tpCCHS) a Homtfme, born 
 ^wwo 1432, was well skill'd in Geometry, Optics, 1 43 2 
 Sculpture, Mufic, and fainting : but left off the 
 laft, becaufcina Piece which he had made of St. 
 JW;tt Baptizing our Saviour, Leonardo da Vinci, one 
 of his Scholars, had by his order, painted an An- 
 gel, holding up fome part of our Saviours Gar- 
 ments, which fo far excell'd all the reft of An- 
 dreas Figures, that inrag'd to be out-done by a 
 Youno--man, he refolv'd never to make ufe of his 
 
 Cj * 
 
 Pencil any more. . He was the firft who found 
 out the Art of taking and preferving the likenefs of 
 any Face, by moulding off the Features inPlaifter. 
 
 He died Anno 1488. 
 
 ftrf 
 
 LUCA SIGNO^ELLI of Cortona, a Citf Iff 
 the Dukedom of Florence, born Anno 1439, w^V 4?9 
 a Difciple of Tietro S. Sepulchre, and fo excellent 
 
 Liz at
 
 at defigning Nakeds, that from a Piece which he 
 tainted in a Chappel of the great Church at Or- 
 neto, A/i Angelo Suonaroti transferr'd feveral entire 
 : igures into his Laft- Judgment. He died very rich, 
 P-I^YI. 2 $nu uoo band lid gnivsitad 
 
 .rrorn Io bVbonbo b^d 3rl rbirfw ^noifiahatj 
 
 flEPUP di COSIMO : * Florentine* bom Anno 
 1 44 I 1441, was a Difciple of Cojtmo 3{pjfelli (whofe 
 name he retained) and a very good Fainter ; but 
 Ib ftrangely fantaftical, and Rill of Caprichio's , 
 that all his delight was in painting Satyrs, Fauns, 
 Harpies, Monfters, and fuch like extravagant Fi- 
 gures : and therefore he apply'd himfelf, for the 
 moft part , to Bacchanalia's , Mafquerades, &c. 
 ^' * 0t Qbiit Anno 1521.. 
 
 ^^^ LEONARDO da VmCl, bom in a Caftle io 
 M4J- call'd, near the City of Florence, Anno 1445, was 
 
 -VN^ bred up under Andrea Verrocchio, but fo far fur- 
 pafs'd him, and all others his Predeceflbrs, thaths 
 is own'd to have been the Mafter of the Third, or 
 Golden Age of Modern Painting. He was in every 
 refpedr, one of the compleateft Men in his time, 
 and the beft furnifli'd with all the perfections both 
 of Body and Mind: was an excellent Sculptor, 
 and Architect , a skilful 'Mufician , an admirable 
 Poet, very expert in Anatomy and Cbymiftry, and 
 
 throughly.
 
 Modern Mafters* 261. 
 
 *fir6ughly learned in all the pares of the Matfama- 
 ticks. He was extremely diligent in the perfor- 
 mance of his Works, and fo wonderfully neat, 
 and curious, that he left feveral of them unfiniflh'cL 
 
 "i~*- A Clil VJJJll CVTU^-' [ A. 
 
 believing his hand cou'd never reach that Idea of 
 perfe&ion, which he had conceiv r d of them. He 
 liv'd many years at Milan, highly efteem'd for 
 his celebrated Piece of Our Saviours La/I Suffer,, , . 
 and fome of his othet Paintings and as much ap- 
 plauded for his Art in contriving the Canal, that. * 
 brings the Water from the River Adda, to that 
 City. He was a great Contender with M. Angelo- 
 Btionaroti, and upon account, of the enmity be- 
 twixt them, went into France (Anne &t. 70.) 
 where after feveral confiderable Services done for 
 Francis I. he expired in the Arms of that Monarch, 
 being taken fpeechlefs the very moment, in which 
 he wou'd have rais'd up himfelf , to thank 
 for the honour done him in that 
 
 ed aisriio Ik hew t miri 
 
 
 <PIET<%0 (pE<%UGINO, fo calFd from the place 
 where he was born in the Ecclejiaftical State, Anno 
 s ri^44d, was another. Difciple of Andrea Verrocclio. 
 What Character he had, fee <Pag. 215- He was fd 
 very miferable and covetous, that the lofs-of his *^ . 
 Money by Thieves, broke his Heartj Anno
 
 -x r i ~x JT n 
 
 Modern Mafters. 
 
 *--f)OMENICO GHl^LANVAlO, a Florentine 
 born, Anno 1449, was at firft defign'd for 
 the Profeffion of a Gold/milk; but followed his 
 rfiore prevailing inclinations to Tainting with fuch 
 fuccefs, that he is rank'd amongft the prime Ma- 
 tters in his time. See farther Tar. 2U. He died 
 
 Qm i 4PJ . 
 
 :\ ^noo^bd 3ni b53Jiup ben art I3ik . 
 
 FRANCESCO G(AIBOLINI, commonly call'd 
 F^AN.CIA y born at Bologna, Anno 1450, was at 
 firft a Goldfmitb, or Jeweller^ afterwards a Grader 
 of Com* and Medals, but at laft applying himfelf 
 to (Painting , acquired great Reputation by his 
 Works : And particularly, by a Piece of St. Se- 
 baftian, whom he had drawn bound to a Tree, 
 with his hands tied over his head. In which Fi- 
 gure, befides the delicacy of its Colouring, and 
 eracefulnefs of the Pofture, the proportion of its 
 Parts wasfo admirably juft and true, that all the 
 fucceeding Bolognefe (Painters, even to Hannibal 
 Carracbe himfelf, ftudy'd its meafures as their (^w/e, 
 and followed them in the fame manner as the An- 
 cients had done the Canon of Tolycletus. It was un- 
 der the Difcipline of this Mafter, that Marc' J?ito- 
 nio, d^apbaels beft GraVer, learnt the Qtyclimenft of 
 
 JEt 76 ls ^ rtl e aouc ce y ear l 5 2( j anc noc 
 " Anns \ j 1 8, as Safari erroneoufly has recorded.
 
 Modern 
 
 F<$(A BAtftTOLOMEO , born at SaVt&nano, a 
 Village about ten miles from Florence, Anno \ 460, 
 was a Difciple of Cofimo ^offelli: but much more 
 beholden to the Works of Leonardo da Vinci, for 
 his extraordinary Skill in Painting. He was very 
 well vers'd in the fundamentals ofDefign : and be- 
 fides, had fo many other laudable Qualities ; that 
 Raphael, after he had quitted the School of <Perugi- 
 m, apply'd himfelf to thisMafter, and under him, 
 ftudy'd the $(ules of (perfpettive, together with the 
 Art of Managing, and Uniting his Colours. He 
 turn'd Dominican Fryar, Anno 1500 , and after 
 fome time, was by his Superiors fent to the Con- 
 Vent of St. Mark , in Florence. He painted both 
 (portraits and Hiftones, but his fcrupulous Confci- 
 ence wou'd hardly ever fuffer him to draw Naked 
 Figures. He died Anno 1517, and is faid to have 
 been the firft who invented, and made ufe of a^f. ,g w 
 Lay-man. X/~V~N^ 
 
 born at Nuremberg, An- 
 
 - - r f* 
 
 no 14.70, by the Inftrudtions of his Father, a cu- 
 rious Jeweller 3 the Precepts of Michael Wolgemutb, 
 a confiderable (painter:, and the Rules of Geometry, 
 Architecture, and ferffeclive , became the moft 
 excellent of all the German Mafters. And not- 
 
 withftanding that his manner of Defigning is ge- 
 
 "11 
 nerally
 
 Modern Mafttrs. 
 
 nerally hard, ftiflf, and ungraceful, yet however 
 he was otherwife fo very well Accompliflh'd, that 
 his Prints were had in great efteem all over Italy ; 
 copy'd at Venice, by the famous Marc' Antonio, 
 and fo much admir'd even by Raphael himfelf , 
 that he hung them up in his own Chamber, and 
 us'd frequently to lament the misfortune of fo 
 great a Genius, to be brought up in a Country 
 \vhere nothing was to be feen, that might furnifli 
 him with noble Ideas, or give him any light into 
 things neceflary for grand Compofaions. His prin- 
 cipal Works were made at Prague, in the Palace 
 of the Emperour Maximilian I. who had fo great 
 a refpect for him, that he prefented him with a 
 Coat of Arms, as the Badge of Nobility. He was 
 alfo much in favour with the Emperour Charles V. 
 and for his modeft and agreeable temper belov'd 
 by every body , and happy in all places, but 
 onely at home ; where 'twas thought, the penu- 
 rious and fordid humours of a miferable wretch 
 his Wife, fhorten'd his days, Anno 1528. 
 JEt. 5%.<p a g. 
 
 ANTONIO da COQREGGIO, fo named from 
 the place where he was born, in the Dukedom of 
 Modena, Anno \ 472, was a Man of fuch admirable 
 natural parts, that nothing but the unhappinefs of 
 vlbnuol his
 
 Modern M&jkers. 265 
 
 bis Education ( which gave him no opportuni- 
 ties either of feeing Q(pme 9 or Florence ; or of con- 
 fulting the Antiquities, for perfecting hirnfelf HI 
 the Art of Defigning) hinder' d him from being 
 the moft excellent Painter in the world. Yet ne- 
 verthelefs, he was Mafter of a Pencil fo wonder- 
 fully (oft, tender, beautiful and charming, that 
 Julio Romano having feen a Leda, and a naked Ve- 
 nn* painted by him, for Frederick Duke of Mode- 
 na (who intended them a prefent for the Emperour) 
 declared, he thought it impoffible for any thing 
 of Colours ever to go beyond them. His chief 
 Works are at Modena, and Parma: at the laft of 
 which places he fpent moft of his Life, retir'd and 
 little taken notice of, working hard to maintain his 
 Family, which was fomewhat large. He was 
 extremely modeft and obliging in his Behaviour : 
 and died very much lamented, about the year 
 1512; having thrown himfelf into a Fever, by 
 drinking cold water, when his body was over- 
 heated, with bringing home fome Coffer Money, 
 which he had received for one of his Pieces. See ^ t 
 more Pag. 220 and 221. 
 
 MICHELANGELO <BUONA<%OTI, nobly dc- 
 fcended, born near Florence, Anno 14743 was 
 a Dilciple otDomenico Ghirlandaio, and rnoft pro- 
 
 M m foundly
 
 Modern Mafters. 
 
 foundly skill'd in the Arts of < dinting, Sculpture, 
 and ArcbiteBure. He has the name of the greateft 
 Dejigner who ever has been : and 'tis univerfally 
 allow'd him, that never any Fainter in the World- 
 underftood Anatomy fo well. He was alfo an ex- 
 cellent Toef, and not onely highly efteem'd by 
 feveral Topes fucceffively j by the Grand Duke of 
 Tufcany, by the <Ref)uUick of Venice, by the Em- 
 gerour Charles V. by King Francis I. and by mod 
 of the Monarch and Crimes of Cbriftendom : but 
 was alfo invited over into Tnrhy, by Solyman the 
 Magnificent, upon a Defign he then had of making 
 ,t3?. a Bridge over the Heflejpont, from Conftantinofle to 
 <Pera. His moft celebrated Piece of (painting, is 
 that of the Laft Judgment, in the Topes Chapel. He 
 died in great Wealth at ^ome, from whence his 
 ,*. Body was tranilated to Florence, and there ho- 
 
 ' nourably interr'd, Anno \ 5 64. Vide *Pag. ^ 1 4. 
 ?fh /it 3iola. 
 
 BEO^GIO del CASTEL FRANCO, call'd 
 ! 477- GEO^GIONE, becaufe of his noble and comely 
 Afpecl:, was born at TreVifano, a Province in the 
 State of Venice^ Anno 1477; and received his firft 
 Inftrudlions from Giovanni Beflino: but having 
 afterwards ftudied the Works of Leonardo da Vmc'i^ 
 he foon arriv'd to a manner of Tainting fuperior 
 m them both 5 defign'd with greater Freedom, 
 
 CO-
 
 Modern Makers. 
 
 more Strength and Beauty, gave 
 
 nobler Spine 
 
 Figures, and was the firft who found out 
 c admirable effects of ftrong Lights and Sha- 
 dows, amongft the Lombards. He excell'd , both 
 in Portraits and Hiftones : but his. moft valuabje 
 Piece in Oyl, is that of Our Saviour carrying lis 
 Crofi now at Venice -, where it is had in wonder- 
 full Efteem and Veneration. He died young of 
 the Plague (which he got in the Arms of his Mi- 
 /Ire/?, who was infected with it) Anno 1511: ha- 
 ving been likewife as famous for his performances 
 in Mufic, as his productions in Painting. Fide ^ 2 - 
 Pag. 2 1 7, and 2 1 8. , j 3to fi om 8lH . 
 
 ^H Hrfo > ^rf^lo 3r 
 
 TTTIA1SLO the moft univerfal G.&UW of all 
 
 the Lombard School, the beft Colourift of all the Mo- 
 derns, and the moft eminent for Hiftories } Landt- 
 fcbafes, and Portraits ; was born at Cadore in the 
 Venetian Territories, Anno 1477, being defcended 
 from the ancient Family of the Vccelli. He was 
 bred up in the School of Gio. Bellino, at the farrve 
 time with Gewgione : but improved himlelf more 
 by the Emulation that was betwixt him and his 
 Fellow^Difcifle, than by the Inftruclions of hisMi- 
 fler. He was cenfur'd indeed by Af. Angela Buo- 
 
 iiaroti, for want of correftnefs in Vefening, 
 
 M m 2 fault 

 
 ade 
 
 , i - 
 arle 
 iiw 
 
 ^oo v*v Pn* icWJYTOUfc asw 
 *"" ^that detect wiis auunda... 
 
 ther parts of a moft accomplinrdc"/S9?1 
 
 J three feveral Portraits of the Emperour 
 )i r u33AlQ .|t%a itaiwtwo/ *viii CVTTViCftfl 
 s \. who loy d him io intirdy, that he ho- 
 inpnn3QfXir> w ) r m b/itli inoicn -icr4' V * Oh 
 
 ir'd him with Knivhtrma* created him Count 
 
 I J IN jlf f f\ f*n t^Y "Jf^- i ^.mm 
 
 latine, made all his Defcendehts Gentlemen, af- 
 iign'd him a confiderable Penfion out of the 
 Chamber of Naples, and what other remarkable 
 proofs of his Affe<5Uon he fhew'd him, fee fag. 
 86, 87. and a Character of his Works, fag. 118, 
 and 2 io. He painted alfo his Son Philip II. So- 
 fynan Emperour of the Turks, two Pofes y three 
 lyings j two Emprejfes, feveral Queens, and almoft 
 all the Princes of If^/y, together with Li/. Arwfto y 
 and 'Pefer Aretine, the fam'd Italian Wits, his inti- 
 mate Friends. Nay, fo great was the Name and 
 Reputation of Titian, that there was hardly a per- 
 fon of any Eminence then living, from whom he 
 did not receive fome particular mark of Efteem : 
 and befides, being of a temper wonderfully obli- 
 ging and generous, his houle at Venice was the 
 conftant $(endezyou* of all the Vtrtuofi^ and Peo- 
 ple of the beft Quality. He was fo happy in 
 the conftitution of his Body, that he never had 
 been fick till the year 1576, when he died of 
 
 the
 
 Modern M&ft* 
 
 ~T*rer*i >vY3*y\3Wx 
 the Plague, full of Honour, Glory and Riches, 
 
 leaving behind him two Sons and a Brother, of 
 _. /T_- .J^ 1C ^ jfi[ir?iQL ^PP/LG?.3d JPu-h^i 
 
 whom Pmmio the eldeft was a 
 
 Portraits that might ftand in Competition wit 
 thofe of his Fathers. .He was famous alfo for 
 ny Hiftory-pieces which he made at Venice in con- 
 currence with Paul far one fe, and Tint or et. But 
 bewitch' d at laft with the hopes of finding the Phi- 
 bfophers Stone, he laid afide his Pencil, and hi- 
 ving reduc'd moft of what had been got by his 
 Father into Smoke $ died of the Plague foon after, 
 
 Him 
 fflrk bns tw 
 
 
 etmohK .kttJL rfiiw isAsooi v\fci\ ^o ^-\t<w<T> ^rit ifr 
 , FRANCESCO VECELLIO-, Titian's Brother, 
 
 was an Artift fo well inftru6ted in the fundamen- 
 tal Maximes of T>efign, that Titian grew jea- 
 lous of him; and fearing, that he might in time 
 come to eclipfe his Reputation, fent him upon, 
 pretended bufinefs to Ferdinand King of the <%p* 
 mans: and there found fuch means to divert him 
 from Painting, that he cjuite gave over the ftudy. 
 of it, and never any farther attempted it, unlefs 
 
 it were to make a Portrait now and then, at the 
 
 n r i . 1 A nndo 3rn 
 
 KQtieit of his particular Acquaintance. 
 
 fln
 
 Modern-. Ma jltr 
 
 , ANDREA del SARTO,. (fQ.-cali'd,. bwaufe a 
 Taylors Son) born at Florence, Anno 1478 j was 
 a Diiciple of Pictw tit Co/intD, very careful and di- 
 ligent in his Works, and his. Colouring was 
 wonderfully fweet : but his Pictures generally 
 want Strength and Life, as well as their Author, 
 who was naturally mild, timorous, and poor- fpiri- 
 red. He was fent for to Paris, by Francis I. where 
 he might havegather'd great Riches, but that his 
 Wife and Relations would not fuffer him to con- 
 tinue long there. He lived in a mean and con- 
 temptible condition, becaufe he fee but a very lit- 
 tle value upon his own Performances: yet the Flo- 
 rentines had fo great an Efteem for his Works 
 that during the fury of the Popular Factions a- 
 mongft them, they preferv'd his Pieces from the 
 ~ Flames, when they neither fpared Churches or any 
 
 ' thing elfe. He died of the Plague, Anno 1520. 
 
 f $(AFAELLE da U^SINO, born Anm 1485, 
 1485. was one of the handfomeft and beft temper'd mea 
 living. See fome account of him Pag. 215, and 
 add to it, That by the general confent of Mankind, 
 
 he is acknowledged to have been the Prince of 
 o 
 
 the Modern Painters : and is oftentimes ftyl'd the 
 Divine fytpltael, for the inimitable Graces of his 
 Pencil, and for the excellence of his Genius, which 
 
 feemd
 
 Modern Maftet 
 
 feemM to have forneching more than Humane in 
 irs Compofition. That he was belov'd in the 
 
 fJi *"\ i ^-| 
 
 higheft degree by the Popes Julius II. and Leo X. 
 That he was admit* d and courted by all the Prin- 
 ces and States of Europe, and particularly by Hen- 
 ry VIII. who would fain have oblig'd him to come 
 over into England. That his Perfon was the wort- 
 der and delight of Gfyme, as his Works are now 
 the Glory of it. That he liv'd in the greateft 
 State and Splendor imaginable , mod of the 
 eminent Mafters in his time being ambitious of 
 working under him : and that he never went a- 
 broad without a Croud of Artifts and others, 
 who attended andfollow'd him purely out of rc- 
 fpect. That he declin'd 'Marriage (tho* very ad- 
 vantageous offers had been made him) in hopes 
 of a Cardinals Cap, which he expected : but fall- 
 ing fickin the mean time, and concealing the true 
 caufe of his diftemper from his Tbyjicians, Death * 
 difappointed him of the reward due ta his mod; jt. 5 7, 
 
 extraordinary Merits, Anno 1510. 
 
 ^nivii 
 
 GIO. 4NTON10 LICINIO da <PO<I{pENONE, 
 born at a plac fo call'd, not far from Udine in 
 the Venetian Territories y Anno 1-484, after fomc- 
 time fpent in Letters and Mufic, apply'd himfelf 
 to Tainting ; yet without any other Guide to con-
 
 272 Modern Maftm. 
 
 duct him, befide his own prompt and lively Ge- 
 nius, and the Works of Georgione : which he fiu- 
 di*d at fenlce with fo much attention, that lie 
 foon arm 'd to a manner of Colouring nothing in- 
 ferior to his Pattern. But that which tended yet 
 more to his improvement, was the continued E- 
 mulation betwixt Titian andhimfelf: which in- 
 fpir'd him with noble 'Defigns, quicken'd his ln- 
 1>entton, and produc'd feveral excellent Pieces in 
 Oyl y Viftemper, and Frefco. From Venice he went 
 to Gcnoua, where he undertook fome things in com- 
 petition with (pierino del Vaga : but not being able 
 to come up to the perfections of fierinos Pencil, 
 he return'd to Venice, and afterwards vifited fe- 
 veral other parts of Lombard): was flighted by 
 the Emperour Charles V. and at laft being fent 
 for to Ferrara> was fo much efteem'd there, that 
 he is faid to have been poifon'd by fome who en- 
 F avours wn i crl he received from the Duke, 
 i 540. 
 
 SEBAST1AN.O del PIOMSO, a Native of Vt- 
 nice. Anno 1485 , took his name from an Office 
 given him by Pope Clement VII. in the Lead- 
 Mines. He was defign'd by his Father for the Pro- 
 -feffion of Mufic, which he praclis'd for fome time 5 
 .till following at laft the more powerful Di&ates of 
 
 Nature,
 
 Modern Mdfters. 
 
 Nature, he betook himfelf to 'Painting, and be- 
 came a DifcipleofGj'o. fiellmo: continued hisftti- 
 dies under Georgione, and having attained his ex- 
 cellent manner of Colouring, went to Qfyme ; where 
 he infinuated himfelf fo far into the favour of Mi- 
 chael Angelo, by fiding with him and his Party, a- 
 gainft Q(aphael;i\\& pleas'd with the fweetnefs 
 and beauty of his PencM, he immediately fur- 
 nifh'd him with fome of his own Defigns, and 
 letting them pafe under Sebaftians- name, cry'd 
 him up for the beft Painter in $(ome. And indeed 
 fo univerfal was the Applaufe which he gain'd by^ 
 his Piece of Lazarus rats' d from the dead, (the de- 
 fign of which had likewife been given him by Mi- 
 chael Angelo) that nothing but the famous Tranf- 
 figuration of ^afhaels could eclipfe it. He has 
 the name of being the fir/1 who invented the Art 6"f 
 preparing Vlai/ler-walls for Oyl- fainting: but was 
 generally fo flow, and lazy in his Performances, 
 that other hands were oftentimes employ'd in fi- *- , 
 nifhing what he had begun. He died Anno i 
 
 &9V 
 
 SA^OLOMEO (in the Tufcan DialeB call'd 
 SACCIO) BANV1NELLI, a Florentine Tainter* 
 zndSculftor, born^wwo 1487 3 was a Difcipleof 
 Gio. Francefco.%ttftici, and by the help of Anatomy, 
 joyn'd with his other Studies, became a very ex- 
 
 N n cellent
 
 o 
 
 Modern Majlers-. 
 
 J llkir 
 
 cellent and correct Defigner: but in the Colou- 
 ring part was fo unfortunate, that after he had 
 heard Mchael Angela condemn it, for being hard 
 and unpleafant, he never could be prevailed upon 
 to make any farther ufe of his Pencil, but always 
 ingag'd fome other hand in Colouring his Defigns. 
 Yet however, in Sculpture he fucceded better: and 
 for a Defcent from the Crofs, in Mez&$ ^elieVo, was 
 Knighted by the Emperour. He was likewife much 
 in favour with Francis L and acquir'd great Re- 
 putation by feveral of his Figures : which yet are 
 more admir'd for their true Out-line, and Propor- 
 tion, than for being either graceful or gentile. He 
 
 " died Anno 1550. 
 ^rhjoholg gniniu 
 
 6IULIO ROMANO, born Anno 1492, was 
 the greateft Artift, and moft univerfal Painter of 
 all the Difciples of Raphael : belov'd by him as if 
 he had been his Son, for the wonderful fweetnefs 
 of his temper 3 and made one of his Heirs, upon 
 condition, that he fliould. affift in finifhing fuch 
 things as he had left imperfect He was profound- 
 ly learn'd in all the parts of the Antiquities : and 
 by his converfation .with the works of the moft 
 excellent ( Poets, and particularly Homer , had made 
 hirnfelf an abfolute Mafter of the qualifications 
 neccflarily requir'd in a great Defignev. He con- 
 
 tinu'd ,
 
 Modern Matters. 275 
 
 tinu'd for fome years at Sfywe, after the deathof 
 (ftapbael : and by the directions of Pope Clement 
 VII. wrought fev^ral admirable Pieces m the Hall 
 of Conftantim, and other publick places. But his 
 principal performances were at Mantoua : where 
 he was- fent for by die Marquefs Frederico Gon^a- 
 ga 5 and where he made his name illuftrious, by 
 a noble and ftately Palace built after his Model^ 
 and beautified with variety of Paintings after his 
 Defigns. And indeed in Arcbttetture he was fo 
 eminently skitfulj that he was invited back to 
 3(ome > with an offer made him of being the chief 
 Jrcbitett of St. Peters Church : but whilft he w#s 
 debating with himfelf, whether or no he flhould 
 accept of this opportunity, of returning glorioufly 
 into his own Country^ Death incerpos'd, Amv v 5 46. 
 Vide Tag. 2 1 6. ! TOtn 
 
 - iiQ ari 
 G14COMO da WNT03(MO, fo call'd from 
 
 the place of his BinJi y Anno 145^3, fcdied under 
 
 Leonardo da Vma, MarioCto Albertmell'^ fyktro di Co- 
 Jimo, and Andrea del Savto : buc chiefry followed 
 
 the manner of th taft botb in Pefkn and Co- 
 
 
 louring. He was; of fo unhappy a confer cf mind, 
 
 that choygh his Works liad flood the Teft even 
 of ^aphad and Michael Angeh, the beft Judges, yet 
 he ccaild nevr order them fo a* to pleafe himfelf : 
 
 N n ^ and
 
 27$ 
 
 and, was fo far from being fatisfied with any thing 
 he had ever done, that he was in great danger of 
 lofing the gracefulnefs of his own manner, by 
 imitating that of other Mafters, and particularly 
 the Style of Albert Durer in his Prints. He fpent 
 mod of his time at Florence, where he painted the 
 Chapel of St. Laurence : but was fo wonderfully 
 tedious about it, that in the fpace of eleven years 
 he would admit no body to fee what he had per- 
 form'd. He was alfo of fo mean and pitiful a 
 fpirit, that he chofe rather to be imploy'd by Or- 
 ihnary People, for inconfiderable gains $ than by 
 x Princes and Noblemen, at any rates: fo that he died 
 ' poor, Anno 1556. 
 
 GIOVANNI ffUDINE, fo- nam'd from the 
 1494. place where he was born (being the Metropolis of 
 Frioul) Anno 1494; was instructed by Georgione 
 at Venice, and at ^(ome became a Difciple of <%a- 
 fhael: and is celebrated, for having been the fir ft 
 who found out the Composition of Stucco-work, in 
 ufe amongft the ancient Romans, and difcover'd in 
 the Subterranean Vaults of Titufs Palace ; which 
 he reftor'd to its full Splendor and Perfection. He 
 was employ'd by Raphael, in adorning the Apart- 
 ments of the Vatican ; and afterwards by feveral 
 Princesy and Cardinals, in the chief Palaces of %omc 
 
 and 
 
 O.LT
 
 Modern Ma]M> ^f 
 
 and Florence: and by the agreeable variety and 
 richnefs of his Fancy, and his peculiar hsppinefs in 
 expreffing all forts of Animals, Fruit, Flowers, and 
 the Still hfe, both in Baft relievo, and Colours, ac- 
 quir'd the reputation of being the bed Mafter in 
 the world, for Ornaments in Stucco, and Grotefque. 
 He died Anno 1 j 64, and was bury'd, according 
 to his defire, in the3(otunda, near his dear Mafter 
 fypbaM 3fi asriw 39! 03 yhod on- aunt* bluow 
 
 oiq bri fi3m ot io oik w sH cbrniol 
 BATTISTA FRANCO his Contemporary, a 
 Native of Venice, was a Difciple of Michael Ang elo$ 
 whofe manner he followed fo clofe, that in the cor- 
 redlneis of his Out-line , he furpafs'd moft of the 
 Mafter s in his time. His ^Paintings are fomewhat 
 numerous, and difpers'd allover Italy, and other 
 parts of Europe : but his Colouring being very dry, 
 they are not much more efteem'd than the Prints 
 which he etch'd. He died Anno i j6u 
 
 $V**\ 
 
 LUCAS Van LEYDEN , fo call'd from the, r^^^r 
 
 place where he was born, Anno 1 494, was at firft 
 a Difciple of his Father, a ( Painter of note, and at 
 ter wards of Cornelius Engelbert : and wonderfully 
 cry'd up in Holland, and the Low -Countries, for .his 
 skill in Painting, and Graving. He was prodfgi- 
 oufly laborious in his Works, and a great Emula- 
 tor
 
 278 "Modem M afters. 
 
 tor of Albert Durer : with whom he became at 
 length fo inrimate, that they dfew each others 
 Picture. And indeed their Manner, and Style are 
 in all refpeds fo very much alike, that ic feem'd 
 as if one and the fame 'Soul had animated them 
 both. He died Anno \ 5 3 j, after an interview be- 
 twixt him and fo me other Painters ac Middle burgJr. 
 where difputing, and falling out in their Cups, 
 
 -. Lucas fancying they had poyfon'd him, languifh'd 
 
 5.9. j t 
 
 4^ by degrees, and pined away purely with conceit. 
 
 QUINTIN MATSYS ofjntmrfr was ehe Con- 
 temporary of Lucas; and famous for having been 
 transform'^ from a Slackfmith to a Painter, by the 
 force of 0Ve, and for the fake of a Miftrefi who 
 diflik'd his former profej/ion. He was a painful 
 and diligent Imitator of the ordinary Life,and much 
 better at reprefenting the de/efts, than the Beau- 
 ties of Nature. One of his beft Pieces is a Defcent 
 from the Crofs (in a Chapel of the Cathedral at ^f- 
 - werp) for which, and a multitude of other #/?<?- 
 rkf, and Portraits, he gain'dagreat number of ad- 
 mirers ; efpecially for his Cwwftty&nd Neatnefs, 
 which in truth, was the principal part of his 
 ratter. He dieddnno 
 
 tSeiidc
 
 WffV Tt %. st" Tt^T~ YT 1 * ^S* * 
 
 Hfodtfn Makers. 
 
 Befide the two Mafters laft mentioned, there 
 were feveral other Hiftory-painters, who fiouriflui 
 in Germany, Flanders, and Holland about this time. 
 But their manner being generally Gothique, Hard, 
 and Dry 5 more like the Style of Cimabue, in the 
 Dawning of the Art of (painting, than the G/?o of 
 Raphael, in its Meridian Lnjire$-wt fliall onely 
 give you the names of fome of the moft noted ; 
 and fuch were Mabufe, AMegraef, Schoorel, Frans 
 sy Martin Hemsktrck, Cbrif. Schtvarts, dec. 
 
 %QLIDO<%p-o{ CdHAPAGG10,'m the Dutchy 
 of Mian, was born Anno \ 49 5 , and brought up 
 to no better an imployment than carrying Stone 
 and Mortar, in the New- buildings of Pope Leo X. 
 But being tempted at laft by the performances of< 
 Gio. d'lidme, to try his Talent in Designing: by the 
 affiftance of one of bis Scholars, and his own con- 
 tinued Application to the Antiquities, in a little 
 time he became fo skilful an Artift, that he had 
 the honour of contributing much to the finifliing : 
 thofe glorious Works in the Vatican. He affocia- 
 ted himfelf both in the Study and Pra&ice of his 
 Art with one MATWKJN.O, a Florentine-^ and their 
 Genius being very conformable, they liv'd toge- 
 ther like Brothers, working in Frefco upon feveral 
 Frontifpieces of the moft noble Palaces in d(ome : . 
 
 whereby
 
 28 o Modern Mafters. 
 
 whereby they acquired great reputation j their In- 
 dention being die richeft, and their Oe/gff the eafi- 
 eft that could any where be feen. But Maturino 
 dying Anno 1517, and ^ome being then in the 
 hands of the Spaniards, (Polidoro retired to Naples, 
 and from thence to Mejfina ; where his excellent 
 Talent in Architecture alfo being highly commend- 
 ed, lie was order' d to prepare the Triumphal Arches 
 for the reception of the Emperour Charles V. from 
 Tunis 5 for which he was nobly rewarded : and 
 being afterwards defirous of feeing G{ome once 
 more 5 in his return thither was murther'd by his 
 Servant and Accomplices, for the fake of his Mo- 
 T? r> ney, and bury'd at Meffina, Anno 1543. Vide 
 'a*. 217. 
 
 (fo callM from his red Hair) born at 
 1406. Phrence, Anno 14965 was educated in the ftudy 
 of Philofophy, MuJiCj dec. and having learnt the 
 firft Rudiments ofDefign from the Cartoons of M- 
 chaelAngelo, improv'd himfelf by the help of Ana- 
 tomy, which he underftood fo very well, that he 
 composed two Booh upon that Subject. He had a 
 copious Invention, great skill in the mixture of his 
 Colours, and in the management of his Lights 
 and Shadows : was very happy alfo in his Naked 
 F/gw,which he exprefs'd with a good fyfavo, and 
 
 proper
 
 Modern 
 
 proper Attitudes-, and would have excelled in all 
 the parts of Paintiriig, had he not been too licenti- 
 o^and extravagant fometimes, and fuffer'd himfelf 
 rather to be hurry' d away with the heat of an un- 
 bounded Fancy, than governed by his own Judg- 
 ment, or the fyiks of Art. From Florence his Cu- 
 riofity carry' d him to tffyme and Venice, and after- 
 wards into France 3 where by hrs Works in the 
 Galleries at Fount ainhleau, and by feveral proofs 
 which he gave of his extraordinary knowledge in 
 Architecture , he recommended himfelf fo effectu- 
 ally to Francis I. that he made him Superintendent 
 General of all his Buildings, Tiftures, &c. and gave 
 him other opportunities of growing fovaftly ricl^ 
 that for fome time he liv'd like a Prince himfelf, 
 m all the Splendor and Magnificence imaginable: 
 till at laft being rob'd of a confiderable Summ of 
 Money, and fufpecting one of his intimate Friends 
 (a Florentine who frequented his houfe) he caus'd 
 him to be imprifon'd, and put to the Torture, 
 which he underwent with courage and having in 
 the higheft extremities maintained his innocence 
 with fo much conftancy, as to procure his Releafe; 
 3J0/7"0, partly out of remorfe for the barbarous 
 treatment of his Friend, and partly out of fear of 
 the ill confequence from his juft Refentment, 
 made himfelf away by Po'ifon, Anno 154-1. 
 
 Oo
 
 28-2 Modern M afters. 
 
 FRANCESCO P^JMATICCIO, a famous p 
 ter and ArebitecJ of Bologna, fucceeded tffyjfo in 
 the Honours and Imployments which he enjoyed 
 by the favour of Francis I. and befides, being very 
 well defcended, was made Abbot of St. Martin de 
 Troy, in Champagne. He finifli'd all the feveral 
 Works begun by his Predecefibr at Fount ainbkau r 
 by theaffiftance of NICOLO dell' ABLATE, an ex- 
 cellent Artift, his Difciple: and enrich'd that Palace. 
 with abundance of noble Statues, and other Pieces 
 of Antiquity, which he brought purpofely from. 
 Italy by the things order. He had been bred up at 
 2tfantoua under Julio Romano, as well to Stucco 
 work as Painting : and by ftudying his manner, to- 
 gether with the Performances of other great Ma- 
 Jters, became perfect in the Art of Dejigning, and- 
 well vers'd in grand Compojitions. He continued 
 in France during the remainder of his Life : liv'd 
 in Pomp and State, more like a Nobleman than a 
 Painter; and was very well efteem'd in four feve- 
 ra 
 
 WN GIULIO CL07IO, the celebrated Lim- 
 1*498. mr ^ b orn j n Sclaftonia, Anno 1408, at the age of 
 eighteen years went to Italy : and under the Con- 
 duel: of Julio Romano, apply'd himfelf to Miniature 
 with .fuch. admirable Succefs, that never did anci- 
 
 ent
 
 Modern Maflers. 283 
 
 ent Greece^ or modern $(ome produce his Fellow. He , 
 
 excell'd both in (portraits and Hiftories : and (as 
 Safari his Contemporary reports) was another Ti- 
 tian in the one, and a fecond Michael Angdo in 
 the other. He was entertain* d for fometime in the 
 fervice of the King of Hungary : after whofe de- 
 ceafe he return' d to Italy ; and being taken Pri- 
 foner at the facking of (Rome, by the Spaniards, made 
 a Vow, to retire into a Convent , as foon as ever he 
 fliould recover his Liberty 3 which he according- 
 ly perform' d not long after in Mantoua : but up- 
 on a Difpenfation obtained from the Pope, by Car- 
 dinal Grimani, foon laid afide the religious Habit, 
 and was receiv'd into the Family of that Prince. 
 His Works were wonderfully efteem'd through- 
 out Europe 3 highly valu'd by feveral Popes, by 
 the Emperours Charles V. and Maximilian II. by 
 Philip King of Spain, and many other illuftrious 
 Perfonages : and fo much admir'd at Q(pme j that 
 thofe Pieces which he. wrought for the Cardinal 
 farnefe (in whofe Palace he fpent the latter part 
 of his Life) were by all the Lowers of Art, rec- 
 kon'd in the number of the parities of that City. 
 Ob. Anno \ 578. 
 
 HANS HOLBEIN, born at Soft, in Smt- 
 Anno 1498, was a Difciple of his Fa- 
 O o 2 ther,
 
 284 Modern Mafters. 
 
 ther 5 by whofe afliftance and his own induftiy, 
 he made a wonderful Progrefs in the Art of Taitp- 
 ting : and acquired fuch a name by, his Piece of 
 Deaths-dance, inthe Town-hall of Bafil, that the fa- 
 mous Erafmusy after he had oblig'd him to draw his 
 (pifture, fent him over with it into England, and 
 gave him Letters recommendatory to Sir Tlwnas 
 Moore then L d Chancellour-, who receiv'd and enter- 
 tain'd him with the greateft refpect imaginable, im~ 
 ploy'd him in making the (Portraits of hirnfelf and 
 Family ; and which the fight of them fo charmed 
 King Henry VIII. that he immediately took him 
 into his fervice, and by the many fignal Inftances 
 which he gave him of his Royal Favour and Boun- 
 ty, brought him likewife into efteem with all the 
 Nobility, and People of Eminence in the King- 
 dom. One of his beft (pieces, is that of the faid 
 f\jng with his Queen, Sec. at White-hall; which with 
 divers other admirable (portraits of his hand (fome 
 as big, and others lefs than the Life j and as well 
 in Water-Colours, as Oyl) may challenge a place a- 
 mongft thofe of the mod fam'd Italian Mafters : Vid. 
 *Pag. 224. He was eminent alfo for a rich vein 
 of Indention, very confpicuous in a multitude of 
 Defigns, which he made for G r aVers, Sculptors, 
 Jewellers, Sec. and was particularly remarkable 
 for having (like Turpiliu* the <]fyman) performed 
 
 all
 
 Modern Mafters. 
 
 all his Works with his Left band. He died of the 
 Blague, at London, Anno 1554. 
 
 <PIE<1{1NO del VAGA, was born at Florence, 
 Anno 1500, of fuch mean Parentage; that his Mb- l 5 c 
 tier being dead at two months end, he was af- 
 terwards fuckled by a Goat. The name of Vagt 
 he took from a Country Painter, who carry'd him 
 to ^pme : where he left him in fuch poor circum- 
 ftances, that he was forc'd to fpend three days of 
 the week in working for Bread; but yet fettinga- 
 part the other three for his improvement ; in a lit- 
 tle time, by ftudying the Antique, together with 
 the Works of <I(apbael, and Michael Angelo, he be- 
 came one of the boldeft and beft Defigmrs of the 
 tfoman School : and underftood the Mufcles in nar 
 ked Bodies, and all the difficulties of the Art fo 
 well ; that 3{apbael took an affection to him, an cf 
 imploying him in the Popes Apartments, gave 
 him a lucky opportunity of diftinguifhing him- 
 felf from his Fellow-difciples,by the marvellous beau- 
 ty of his Colouring, and his peculiar Talent in Gro- 
 tefque. His chief Works are at Genoua: where he 
 grew famous likewife for his skill in Arcbitefture ^ 
 having defign'd a noble Palace for Prince Dona, 
 which he alfo painted, and adorn'd with his own 
 hand. From Genoua he remov'd to <Pifa, and af- 
 
 terwardsi
 
 286 Modern Mafters. 
 
 'terwards to feveral other parts of Italy ; his ram- 
 bling humour never fuffering him to continue long 
 in one place : rill at length returning to %ome 9 he 
 had a Penfion fettled on him, for looking after the 
 Popc'stPalace, and theCaf* Farnefe. But Tierirw 
 having {ijuander'd away in his Youth, that which 
 fhould have been the fupport of his old Age 3 and 
 being conftrain'd at laft to make himfelf cheap, 
 by undertaking any little Pieces, for a fmall Sumrn 
 of ready money ; fell into a deep Melancholy, and 
 from that extreme into another as bad, of Wine 
 
 A7 anc ^ ^ omen > an ^ tne nexc tufn was 
 Anno i 5 47. 
 
 F^ANCESO MAZZUOL1, call'd 
 GIANO, becaufe born at <Parma, Anno 1504, 
 was an eminent fainter when but fixteen years old, 
 famous all over Italy at nineteen, and at twenty 
 three perform'd fuch wonders; that when the Em- 
 perour Charles V had taken ^ome by Storm, fome 
 of the common Soldiers in facking the Town, ha- 
 ving broke into his Apartments, and found him 
 intent upon his work, were fo aftoniflh'd at the 
 charming Beauty of his Pieces, that inftead of 
 Plunder and Deftrucl:ion, which was then their 
 bufinefi, they refolv'd to protect him (as they af- 
 terwards did) from all manner of violence. But 
 
 befides
 
 Modern Maflers. 287 
 
 befides the perfections of his Pencil ('which was 
 one of the gentileft, the moft graceful, and the 
 moft elegant of any in his time) he delighted much 
 in Mujic, and therein alfo excell'd. His princi- 
 pal Works are at Parma ; where, for feveral years 
 he Hv'd in great Reputation, till falling unhappi- 
 ly into the ftudy of Chymiftry, he wafted the moft 
 confiderable part of his Time and Fortunes in 
 fearch of the Philofopkers-Stone, and died poor, in 
 the flower of his age, Anno 1540. See farther 
 Page 221: and note, that there are extant ma- 
 ny valuable Prints, etch'd by this Mafter. 
 
 GIACOMO PALMA, Senior, commonly call'd 
 PALMA VECCHIO) was born at Sennalta, in the 
 State of Venice, Anno 1508; and made fuch good 
 ufe and advantage of the inftructions which he re- 
 ceiv'd from Titian^ that few Mafters are to be nam'd, 
 who have fhewn a nobler Fancy in their Compofi-- 
 tions, a better Judgment in their Tiefigns, more of 
 TSUture in their Expreffion, or of An in finishing 
 their Work?. Venice was the place where he ufiul- 
 ly refided, and where he died, ^201556. His 
 Pieces are not very numerous, by reafon of his 
 having fpent much time, in bringing thofe which 
 he has left behind him -to fuch wonderful petfecti- -JEt.
 
 288 Modern Maflers. 
 
 i 5 op. TE^^Aj from a Town in Tufcany where he was 
 born, Anno 1509, was a perfon of a melancho- 
 ly and heavy temper, and feem'd to be but mean- 
 ly qualified by Nature for an Arttft : Yet by the 
 instructions of Balthajar da Siena, and his own 
 continued Application and Induftry, hefurmoun- 
 red all difficulties, and at length became fo excel- 
 lent a De/gHer, that his Defcent from the Crofs, in 
 the Church of the Trinity on the Mount, is rank'd 
 amongft the principal Pieces in G(pme. He was 
 chofen by Pope Paul IV. to cloath fome of the 
 Nudities, in Michael Angela's Laft Judgment ; which 
 he performed with good fuccefs. He was as emi- 
 nent likewife for his Chifel,zs his Pcncilpnd wrought 
 - - feveral confiderable things in Sculpture. Ob. Anno 
 
 ' 1566. 
 
 / 
 
 FRANCESCO SALFIATI, a Florentine, born 
 1 J i o. Anno 1510, was at firft a Difciple of Andrea del 
 Sarto, and afterwards of Saccio Bandinelli ; and 
 very well efteem'd both in Italy, and France, for 
 his feveral works in Frefco, Diftemper, and Oyl. 
 He was quick at Indention, and as reaJy in the exe- 
 cution -, Graceful in his Naked Figures , and as Gen- 
 tile in his 'Draperies: Yet his Tdte did not lie in 
 great Comfofitions $ And there are fome of his 
 
 Pieces
 
 Modern Mafters. 289 
 
 in two Colours onely, which have the name 
 of being his beft Performances. He was natu- 
 rally fo fond and conceited of his own Works, 
 that he could hardly allow any body elfe a good 
 word : And 'tis faid, that the Jeaioufie which 
 he had of forne Young men then growing up into 
 reputation, made him fo uneafie, that the very 
 apprehenfions of their proving better Artifts than jg t ~ , 
 himfelf, haften'd his Death, Anno 
 
 LIGO^IO, a Neapolitan, liv'd in this 
 time : and tho' he addrefs'd himfelf chiefly to the 
 ftudy of Architecture, and for his skill in that Art 
 was irnploy'd, and highly encouraged by Pope<P*- 
 w$ IV. yet he was withal! an excellent Vefigner^ 
 and by the many noble Cartoons which he made 
 for Tafeftries, &c. gave fufficient proof, that he 
 was more than indifferently learn'd in the Antiqui- 
 ties. There are feveral Volumes of his 'Befyms 
 
 r Jo 
 
 prefer v'd in the Cabinet of the Duke ofSaVoy ; of 
 which fome part confifts in a curious Collection 
 of all the Ships , and other forts of fajfels, in life 
 amongft the Ancients. He died about the year 
 1573. VideVag. 217. 
 
 GIACOMO da <PONTE da BASSANO, fo call'd 
 from the place where he was born in the Marc a Tre- 
 
 P p Vifana
 
 25 o Modern Mafiers. 
 
 \nfana, Anno \ 5 i o, was a Difciple of Bonifacio, & 
 noted Painter, zt Venice$\*y whofe Affiftance,and his 
 own frequent copying the Works of Titian, and 
 Parmegiano, he brought himfelf into a pleafant and 
 moft agreeable way of Colouring : but returning in^ 
 to the Country, upon the death of his Father, he 
 apply 'd himfelf wholly to the imitation of Nature ; 
 and from his Wife, Children and Servants, took 
 the Ideas of moft of his Figures. His Works are 
 very numerous, all the Stories of the Old and New 
 Teftament having been painted by his hand, be- 
 fides a multitude of other Htjtories. He was fa- 
 mous alfo for feveral excellent (Portraits, and par- 
 ticularly thofe of the celebrated Poets LudoVico 
 Arioflo , Bernardo Taffo, and Torquato his Son* 
 In a word, fo great was the Reputation of this 
 Artift Sit Venice, that Titian himfelf was glad to 
 purchafe one of his Pieces (reprefenting The en- 
 trance o/Noah and his Family, into the Ark) at a ve- 
 ry considerable Price. He was earneftly folicir 
 ted to go over into the lervice of the Ewferour : 
 but fo charming were the pleafures which he> 
 found in the quiet enjoyment of Painting, Mufic, 
 and good 'Books, that no Temptations whatfoever 
 could make him change his Cottage for a Court. 
 t. 82. He died Anno 1591, leaving, behind him four Sons, 
 > of whom
 
 Modern Maflers. 
 
 v FRANCESCO the Eldejl, fettled at Venice , 
 where he followed the manner of his Father, an'd 
 was well efteem'd, for divers Pieces which he made 
 in the Ducal Palace and other publick places, in 
 conjunction with Paul Teronefe, Tintoret, &c. But 
 his too clofe Application to Painting having ren- 
 der'd him unfit for all other bufinefs, and igno- 
 rant even of his own private Affairs; he contra- 
 cted by degrees a deep Melancholy, and at laft 
 became fo much craz'd, that fancying Sergeants 
 were continually in purfuit of him, he leap'd 
 out of hisWindoWy to avoid 'em (as he imagined) 
 and by the fall occafion'd his own Death, Anno 
 1594, jt. 43. 
 
 LEAND<Hp, the Third Son, had fo excellent 
 a Talent in Face-fainting, (which he principally 
 ftudied) that he was Relighted for a Portrait which 
 he made of the Doge Marin Crimano. He like- 
 wife finifh'd feveral things left imperfect by his 
 Brother Francefco 5 composed fome Hiftory- pieces 
 alfo of his own, and was as much admir'd for 
 his perfettion in Mufick, as his skill in Painting. Obiit 
 Anno 1623, ^ f * ^5" 
 
 "OU 
 
 GIO. BJTTISTA, the Second Son, and 
 the lounge ft, apply'd themfelves to 
 
 P p ^ fying
 
 2$ 2 Modern Ma for f. 
 
 pjing their Fathers Works 3 which they did fo very 
 well, that they are oftentimes taken for Originals. 
 Gio. Battifta died Anno 1615, sEt. 60 ; and Gi- 
 rolamo Anno 1622, jt. 62 : See more of the 
 Bajfans Pag. 220. 
 
 GIACOMO (HOSMSTI, call'd TINTORETTO, 
 1 5 ] 2 ' becaufe a Dyers Son, born at Venice, Anno 15125, 
 was a Difciple of Titian ; who having oblerv'd 
 fomething very extraordinary in his Genius, dif- 
 mifs'd him from his Family, for fear he fliould 
 grow up to rival his Mafter. Yet he ftill purfu'd 
 Titians way of Colouring as the moft natural 5 and 
 ftudied Midael Angelos Gufto of Defign, as the 
 moft correct. Venice was the place ofhisconftant 
 Abode 5 where he was made a Cittxgn, and won- 
 derfully beloved, and efteem'd for his Works-, the 
 Character of which fee ( Pag. 219. He was call'd 
 the Furious Tmtoret, for his bold manner of Paint- 
 ing, with ftrong Lights and deep Shadows-, for the 
 rapidity of his Genius, and grand vivacity of Spi- 
 rit, much admir'd by Paul Veronefe. But then, 
 on the other hand, he was blam'd by him, and all 
 others of his ProfeJJim, for under- valuing himfelf, 
 and his Art, by undertaking all forts of bufinefs 
 for any Price; thereby making \rcat a difference 
 in his feveral Performances,^^ ( Hannibal Carrach 
 
 ob-
 
 Modern Mafters. 
 
 obfcrv'dj he is fometimes equal to Titian, and at 
 other times inferior even to Vim f elf. He was ex- 
 tremely pleafant and affable in his Humour : and 
 delighted fo much in Painting and Mufic, his be- 
 loved Studies, that he would hardly fuffer him- 
 felf to taft any other Pleafures. He died Anno 
 \ 504, leaving behind him a Daughter^ and a Son, 
 of whom the Eldeft 
 
 MARIETTA TIHTO<$(ETTA, was fo well in* 
 ftructed by her Father in his own Profejfion, as 
 well as in Mujic, that by her Pencil flie got great 
 Reputation 5 and was particularly eminent for an 
 admirable Style in Portraits. She died young, 
 Anno \ } 90, JEt. 3 o. 
 
 DOMENICO TINTORETTO his Son, gavcr 
 great hopes in his youth, that he would one day 
 render the name of Tintoret yet more illuftri- 
 ous than his Father had made it: but neglecting to 
 cultivate by ftudy the Talent which Nature had 
 given him, he fell fliort of thofe mighty things 
 expected from him, and became more confident- 
 ble for Portraits , than Hiftorical Comfofitions. He 
 died Anno 1637,
 
 254 Modern Mafters. 
 
 PA^IS SO<%pONE, well defended, and 
 brought up to Letters, MHJIC, and other gentile 
 Accomplishments, was a Difciple of Titian, and 
 flourith'd in the time ofTintoret: but was more 
 commended for the Delicacy of his Pencil, than the 
 Turity of his Out lines. He was in great favour and 
 efteem with Francis I. for whom, befides abun- 
 dance of Hiftories, he made the Portraits of feve- 
 ral Court Ladies, in fo excellent a manner, that the 
 Original Nature was hardly more charming. From 
 France he return' d home to Venice, laden with 
 Honour and Riches j and having acquir'd as much 
 Reputation in all the parts of Italy, as he had 
 done abroad, died Anno &t. 75. 
 
 GEO^GIO TASA^J, born at Are%& a City 
 1 4* in Tufcany, Anno 1514, equally famous for his 
 Pen and Pencil, and as eminent for his skill in Ar- 
 cbitefture , was a Difciple of Michael Angelo, and 
 Andrea del Sarto ; and by his indefatigable diligence 
 in ftudying and copying .all the beft Pieces of the 
 moft noted Arttfls, improv'd his Invention and 
 Hand to fuch a degree, that he attain'd a wonder- 
 ful Freedom in both. He fpent the moft confide- 
 rable part of his Life in travelling over Italy $ lea- 
 ving in all places marks of his Induftry, and ga- 
 thering every where materials for his Hiftory oftfe 
 
 Lives
 
 Modern Mafters. 2$ 5 
 
 Lives of the moft excellent (Painters, Sculptors, Arcki- 
 tefts, Sec. which he publiflVd at Florence, about 
 the year 1551: a work, in the opinion of Hannibal 
 Caro, written with much exa&nefs and judgment 3 
 tho' Felibien, and others tax him with fome mi- 
 flakes, and particularly with flattering the Ma- 
 fters then alive, and with partiality to thofeof^. 
 his ownCountry. He died Anno \ 578. 
 
 ANTONIO M03(E, born at Utrecht in the 
 Low-Countries , Anno 1519, was a Difciple of 
 John Schoorel, and in his younger days had feen 
 ^pme, and fome other parts of Italy. He was re- 
 commended by Cardinal Graribille, to the fervice 
 of the Emperour Charles V. and having made a 
 (portrait of his Son Philip II. at Madrid, was (eno 
 upon the fame account to the King, Queen, and 
 Princefs of Portugal, and afterwards into England, 
 to draw the Pifture of Queen Mary. From Spain* 
 he retir'd intoHW^, where he became a migh- 
 ty Favourite of the Duke of diva (then the Go- 
 vernour of the Low-Countries.) And befides the 
 noble Prefents and Applaufe which he gain'd in 
 all places by his Pencil, was as much admir'd for 
 his extraordinary Addrefs, being as great a Courtier 
 as a Painter. His Talent lay in Defigning very 
 juftly, infinifliing his Pieces with wonderful care> 
 
 and
 
 Modern Makers. 
 
 nearnefs, and in a moft natural imitation of 
 Flejb and Blond, in his Colouring. Yet after al], 
 he could not reach that noble Strength and Spirit, 
 io vifible in the Works of Titian, and to which 
 Van Dyck has iincc arriv'd. He made feveral At- 
 tempts alfo in Hiftory-pieces, but understood no- 
 thing of grand Comfojltions, and his manner was 
 tame, hard, and dry. He died at Antwerp, 
 
 PAOLO FA3JNATO, born at Verona, Anno 
 5 22 ' 1522; was a Difciple of Antonio Badile, and an 
 admirable Dejlgner, but not fo happy in his Co- 
 louring : tho' there is a Piece of his in St. Georges 
 Church at f^erona^ fo well performed in both parts, 
 that it does notfeemto be inferior to one of ?W0 
 Feronefe, which is plac'd next to it. He was very 
 confiderable likewife for his knowledge in Scul- 
 pture, and Architecture, efpecially that part of it 
 Mt. 84. w ^ cn relates to Fortifications, &c. Oliit Anno 
 1606. 
 
 ANDREA SCHIAFONE, fo call'd from the 
 * Country where he was born, Anno 1521 ; was fo 
 very meanly defcended, that his Parents after they 
 had brought him to Venice^ were not able to allow 
 him a Mafter : and yet by great ftudy and pains, 
 
 to-
 
 Mvdern Maflers. 257 
 
 together with fuch helps as he received from the 
 Prints of Parmegiano, and the Paintings of Georgi- 
 oieand Titian , he arriv'd at laft to a degree of 
 Excellence very furprizing. 'Tis true indeed, 
 that being oblig'd to work for his daily Bread, 
 he could not fpare time fufficient for making him- 
 felf throughly perfect in Defign : but however, 
 that Defecl: was fo well cover' d by the fingular 
 Beauty and Sweetnefs of his Colours, that Tmtoret 
 us'd oftentimes to fay, no Painter ought to be with- 
 out one Piece (at leaft) of his Hand. His principal 
 Works were composed at Venice, fome of them in 
 concurrence with Tmtoret himfelf, and others 
 by the directions of Titian, in the Library of St. 
 Mark* But fo malicious was Fortune to poor An- 
 drea, that his Pictures were but little valued in his 
 life-time, and he never was paid any otherwife 
 for them, than as an ordinary Painter : tho' after his 
 Deceafe, which happcn'd Anno 1582? his Worh 
 turn'd to a much better account, and were e- 
 fteem'd anfwerable to their Merits, and but lit- 
 tle inferior to thofe of his moft famous Contem- jEt. 60. 
 foraries. 
 
 F<$(E'DE<I(1CO <BA%PCCI, born in the City ol 
 Urbin, Anno 1528, was train' d up in the Art of 152,0. 
 Defigning by tBaptifta Fenetiano, and having at
 
 2$ 8 Modern Maflers. 
 
 3{ome acquir'd a competent Knowledge in Geo- 
 metry, ttrfptftbrt, and ArchiteBure, apply'd him- 
 felf'to the Works of his rnoft eminent (predecejfors : 
 and in a particular manner ftudied 1{aphael, 
 and Correggio ; one in the charming Ayrs, and 
 graceful Out-lines of his Figures, and the other in 
 the admirable Union, and agreeable Harmony of 
 his Colours. He had not been long in ^pme, be- 
 fore fome malicious Painters , his Competitors., 
 found means by a Dofe of <Poyfon convey'd into 
 a Sallet, with which they had treated him, to 
 fend him back again into his own Country, attend- 
 ed with an Infirmity fo terribly grievous, that for 
 above fifty years together it leldom permitted 
 him to take any Repofe, and never allowed him 
 above two hours in a day to follow his fainting. 
 So that expecting, almoft every Moment, to be re- 
 mov'd into another World, he imploy'd his Ven- 
 al altogether in the Hiflones of the /ife, and o- 
 ther Religions Subjcfts, of which he wrought a con- 
 fiderable number, in the flhort Intervals of his pain- 
 84..^^' an( ^ notw i t hft anc 'ing the Severity of them, 
 liv'd till the year 1612. 
 
 TADDEO ZUCCHE^O, born in the Due- 
 chy of Urbm, ^'/wo.ijzp, was initiated in the 
 Art of fainting at home, by his Father, and at
 
 Modern Makers. 299 
 
 inftrudted by Gio. (pietro Calalro ; but im- 
 prov'd himfelf moft by the Study of Anatomy, and 
 by copying the Works of Raphael. He excell'd 
 chiefly in a florid Invention., a gentile Manner of 
 'Defigning, and in the good Difpofition and Oecono- 
 my of his pieces: but was not fo much admir'd 
 for his Colouring, which was generally unpleafant, 
 and rather refembled che S&tues than the Life. He 
 liv'd for the moft part in $(ome and lirbin, where 
 he left many things unfinifh'd, being taken away *r f 
 in his (Prime, Anno \<j66. 
 
 VAOLO CALUftJ. 7E$(QNESE, born Anno 
 1551, was a Difcipleof Antonio Battle, and not 1 5 3 
 only efteem'd the moft excellent of all the Lom- 
 bard Painters, but for his copious and admirable 
 Indention, for the Grandeur and Majefty of his 
 Compofition, for the Beauty and Perfection of his 
 Draperies, together with his noble Ornaments of 
 Architetture, Sec. is ftyl'd by the Italians, 11 <Pittore 
 felice (che happy Painter.) He fpent moft of his 
 time at Venice 5 but the beft of his Works were 
 made after he returned thither from ^ome, and 
 had ftudied the Antique, lie could not be pre- 
 vail'd upon, by the great Offers made him by the 
 King of Spain, to leave his own Country j where 
 his Reputation was fo well eftabliflh'd, that moft 
 
 * f
 
 joo Modern M afters. 
 
 of the Princes of Europe fenc to their feveral Em- 
 lajfadours, to procure them fomething of bis Hand 
 at any Rates. He was a *Perfon of an ingenuous 
 and noble Spirit, us'd to go richly dreft r and ge- 
 nerally wore a gold Chain, which had been pre- 
 fented him by the Procurators of St. Mark, as a 
 fri^e which he won from feveral Ariifls his Com- 
 petitors. He was highly in favour with all the 
 principal Men in his time, and fo much admir'd 
 by all the great Mafteis, as well his Contempo- 
 raries, as thofe who fucceeded him, that Titian 
 himfelf us'd to call him the Ornament of bis Tro- 
 fejjlon : and Outdo ^eni being ask'd, which of the 
 Majters his Predeceflbrs he would chufe to be, 
 were it in his power j after a little paufe, cry'd 
 out Paulo, Paulo. He died at Venice*, Anno i j 8 8, 
 &t. 56. leaving great Wealth behind him to his two 
 Sons 
 
 and CA^LO , who liv'd ve- 
 ry happily together, joyn'd in finifliing feveral 
 Pieces left imperfed: by their Father, and follow'd 
 his manner fo clofe in other excellent things of their 
 own, that they are not eafily diftinguifli'd from 
 thofe of (paulos band. Carlo would have performed 
 wonders, had he not been nipt in the Bud, Anno> 
 1596, J5>. 26: after whofe Deceafe Gabriel ap- 
 
 ply'd
 
 Modern Mafttrs. 301 
 
 ply'd himfelf to Merchandising j yet did not quite 
 lay afide has Pencil, but made a confiderable 
 number of Portraits, and fome Hiflory-fieces of 
 a very good Gufto. Obiit Anno 16*31 , Aitat. 
 
 BENEDETTO CAL1APJ liv'd and ftudy'd 
 with his Brother <Pd/o, whom he lov'd intirely ; 
 and frequently affifted him, and his Nephews, in 
 finishing feveral of their Compofitions ; but efpeci- 
 ally in Painting Ardntelure y in which he chiet 
 ly delighted. He practifed for the moftpartin 
 Frefco : and fome of his beft Pieces are in Chiaro* 
 ScurOy or two Colours onely. He was befides, 
 Ma/ter of an indifferent good ftock of Learning, 
 was Poetically inclined, and had a peculiar Ta- 
 lent in Satire. He died Anno 1508, t. &Q. See 
 more of Paulo fag. 2 1 y. 
 
 GIOSEPPE SALTLttl, a fiwefww. fainter, 
 was born ^4wo 15^5, and exchanged the name 
 ofPorta, which belonged to his Family, for that 
 of his Mafter Francejco Sahiati y with whom he 
 was plac'd very young at <%ome by his Uncle. He 
 fpent the greateft'. part of his Life in Venice^ where 
 heapply'd himfelf generally to Frefco: and was 
 oftentimes imploy'd in concurrence with Paul V&- 
 
 ronefe
 
 3O2 Modern Majlers. 
 
 ronefe and Ttntoret. He was well efteem'd for his 
 great skll both in Ttejign and Colouring ; was 
 likewife well read in other Arts and Sciences, and 
 particularly fo good a Mathematician, that he writ 
 JEt *o ^ evera " Treatifes very judicioufly on that SubjecJ. 
 He died ^>wo 1585. 
 
 F<HEDE<%ICO ZUCCHE<%P, bom in the 
 
 1 543* Dutchy of Wr&w, ^;wo 1543, was a Difciple of 
 his Brother Taddeo, from whom he differed but 
 very little in his Style and Manner of Painting, tho' 
 in Sculpture and Architecture he was far more ex- 
 cellent. He fled into France to avoid the Popes 
 Difpleafure, which he had incurr'd by an Affront 
 put upon fome of his Officers: and from thence 
 ,paffing through Flanders and Holland, came over 
 into England, drew Queen Elizabeths Picture, 
 went back to Italy, was pardon'd by the <Pofe, and 
 in a little time fent for to Spain by Philip If. and 
 imploy'd in the Efcurial He laboured very hard 
 at his return to tyme, for eftablifhing the Academy 
 of Painting, by virtue of a Brief obtam'd from 
 Pope Gregory XIII. Of which being chofen the 
 firft Prince himfclf, he built a noble Apart- 
 ment for their Meeting, went to Venice to print 
 fome Books which he had composed of that Art, 
 had form'd other Defigns for its farther Ad- 
 
 vancement,
 
 Modern Makers, 
 
 vanccmcnt, which yet were all defeated by his ., 
 Death (at Ancona) Anno 1609. 
 
 G1ACOMO <P ALMA Junior, commonly 
 GIOVANE <PALMA, born at Venice, Anno \ 544, 
 was the Son of Antonio the Nephew of ( Palma Vec- 
 clno. He improved the Instructions which his Fa- 
 ther had given him, by copying the Work of the 
 moft eminent Maflers, both of the ^pman and 
 Lombard Schools ; but in his own Comfojuions chief- 
 ly followed the Manner of Titian and Tmtoret.. 
 He fpent fome years in ffiome, and was imploy'd 
 
 / ^C ' I / 
 
 in the Galleries and Lodgings of the Vatican : but 
 
 the greateft number of his Pieces is at Venice, where 
 
 he ftudied night and day, fill'd almoft every. 
 
 place with fomething or other of his Hand ; and 
 
 (like Tmtoret) refus'd nothing that was offer'd him, 
 
 upon the leaft Profpect of any Gains. He died *^ <* 
 
 Anno i 628. 
 
 WMENICO FETly a $(oman, flourifh'd in 
 this time. He was a Difciple of Lodofrico Crtoli, 
 of Florence ; and excell'd in Figures and Hiftorical : 
 Competitions^ but died young, Anno JEt. 55. 
 
 born at 
 
 Antwerp, Anno 1546, was chief Painter to the 1 54P- 
 
 Em-
 
 304 Modern Aiaflers. 
 
 Emperour Maximilian II. and,fo much refpe&ed 
 by his SuccelTor fftodolpbus, that he preferred him 
 with a Gold Cham and Medal, allow'd him a Ten- 
 fan, honour' d him and his Pofterity with the Ti- 
 tle of Nobility , lodged him in his own Palace, and 
 would differ him to faint for no-body but himfelf. 
 He had fpent fome part of his Youth in ^ome y 
 where he was imploy'd by the Cardinal Farnefe^nd 
 afterwards preferred to the Service of Pope 9tM V. 
 but for want of Judgment in the Conduct of his 
 Studies, brought little with him, befides a good 
 Pencil from Italy. His Out-line was generally ftiff 
 x and very ungraceful, his Toftures forcd and ex- 
 traVqgant 5 arid in a word, there appeared nothing 
 of the tityman Guflo in his Deflgns. He obtained 
 leave from the Emperour (after many years continu- 
 ance in his Court) to vifit his own Country $ and 
 accordingly went to Antwerp, Amfterdam, Haerlem y 
 and Several other places, where he was honoura- 
 bly received : and having had the fatisfaction of 
 feeing his own Works highly admir'd, and his man- 
 ner almoft univerfally followed in all thofe parts, 
 as well as in Germany, return'd to Prague, and di- 
 jed Anno 1 602, or thereabout. In the fame Form 
 with Sprangber we may place his Contemporaries, 
 John Van Ach, and Jofefb Heints, both Hiflory Tain- 
 5 6. ten of note, and much admir'd in the Emperour s 
 Court. MATH-
 
 Modern Mafters. 
 
 MATTHEW BQ{IL was born at Antwerp, Anno 
 i j 5 a, but ftudied for the mod part at G(pme 
 and was famous for his Performances in Hi/lory 
 and Landtfchape, in the Galleries of the Vatican, 
 where he was imploy'd by Pope Gregory XIIL 
 He die J young, Anno 1584. 
 
 PAUL <B<HfLj of Antwerp alfo, born Anno 
 1554, follow'd his Brother Matthew to G(pme, - 1 5 5 4 
 painted feveral things in conjunction with him, 
 and after his Deceafe, brought himfelf into Repu- 
 tation by his Landtfchapes : but efpecially by thofe 
 which he compos'd in his latter time (after he 
 had ftudied the manner of Hannibal Carrach, an3 
 had copied ifome of Tttians Works, in the fame 
 kindj the Indention in them being more pleafant, 
 the Vifpofoion more noble, all the parts more a- 
 greeakle, and painted with a better Gufto, than 
 thofe in his former days. He died at $(pme, Anno jg t 7 2 
 
 ANTONIO TEMTESTA, his Contemporary, 
 a Native of Florence, was a Difciple of John 
 Strada, a Fleming. He had a particular Genius 
 for Battels, Cahacades, Huntings, and for de/ign- 
 \ng all forts of Animals : but did not fo much re- 
 gard the Delicacy of Colouring, as the lively ex- 
 
 R T preffion 

 
 3 06 Modern Mafiers. 
 
 preflion and Spirit of thofe things which he repre- 
 fenced. His ordinary Refidence was at ^pme ; 
 where, in his younger days he had wrought feve- 
 ral Pieces by order of Pope Gregory XIII. in the 
 Apartments of the Vatican* He was full of Thought 
 and Invention, very quick and ready in the Exe- 
 cution, and famous alfo for a multitude of (Prints, 
 etch'd by himfelf. He died Anno 1630. 
 
 LOWV1CO CA^ACCl, the Uncle of Augufo 
 and Hannibal, was born at Bologna, Anno i 5 j j, 
 and under his firft Mafter Profpero Fontana, dif 
 cover' d but an indifferent Genius for fainting : but 
 however, Art fupply'd the defefts of Nature, and 
 by conftant and unwearied diligence in ftudying; 
 the Works of (Parmegiano, Correggio, Titian, and 
 other great Men, he brought himfelf at laft to a 
 degree of *Perfettion hardly inferior to any of 
 diem. He affifted his Nephews in Founding and 
 Settling the famous Academy of Vefegn at Bologna^ 
 and afterwards in Tainting the tpalazgp Farneje at 
 JEt 6 A. *% me 9 and having furviv'd them both, died Anno 
 1619, Fide pag. 2Z2. 
 
 AGOST1NO CA^ACCI, a Bolognefe alfo, was 
 bom Anno 1557, and by the care and inftrudi- 
 ons of 'Domenica Tebaldi, Aleffandro Minganti and 
 
 others,
 
 Modern Maflers. 307 
 
 ethers, became not onely a very good Dejtgner- 
 and fainter , but in the Art of Graving furpafs'd 
 all the Mafters in his time. He had an infight 
 likewife into all the parts of the Mathematics, Na- 
 tural Philofofhy, (Rhetoric, Mufa, and mod of the 
 Liberal Arts and Sciences* He was befides, an 
 admirable Poet, and in all other particulars ex- 
 tremely well accomplifh'd. From Bologna he 
 went to Venice, where he contracted an intimate 
 Friendship with Paul Veronefe, Tmtoret, and Saf- 
 fan 5 and having grav'd a considerable number 
 of their Works, returned home, and foon after- 
 wards follow'd his Brother Hannibal to tffyme, and 
 joyn'd with him in finifhing feveral Stories in the 
 Farnefe Gallery: But fome little difference arifing 
 unluckily betwixt them, Auguftino remov'd to the 
 Court of the Duke of Parma, and in his Service 
 died Anno 1602, Vide fag. ^^^ > . His mod ce- 
 lebrated Piece of Painting, is that of the Commu- 
 nion of St. Jerom, in Bologna : a Picture fo com- 
 pleat in all its parts, that it was much to be la- 
 mented, that the excellent Author of it flbould 
 withdraw himfelf from the Practice of an Art in 
 which his Abilities were fo very extraordinary, 
 follow the inferior Profefflon of a Graver. 
 
 R r ^ -AN-
 
 3 o8 Modern M afters. 
 
 ^>^o ANRWALE CA^ACCl, born likewife at 
 1560. Bologna, Anno \ 560, was a Difciple of his Uncle 
 Ludovico ; and amongft his ocher admirable qua- 
 lities, had fo prodigious a Memory, that whatever 
 he had once feen, he never aii'd to retain and 
 make his own : fo that at Parma, he acquired the 
 Swcetmjs and Purity of Correggio ; at Fenice the 
 Strength and T)lftnbutlon of Colours of Titian 5 and 
 at 3%pme y the Correftmfs of Tiefign, and beautiful 
 Forms of the Antique: And by his wonderful Per- 
 formances in the Palazzo Farnefe, foon made it ap- 
 pear, that all the feveral Perfections of the moft 
 eminent Mafters his Predecejfort, were united in 
 himfelf alone. In his ConVerfatiw he was frienJ- 
 fy, flamy honeft , and of en-hearted; very commu- 
 nicative to his Scholars, and fo extremely kind to 
 them, that he generally kept his Money in the fame 
 box with hisCo/or5,wnere they might have recourfe 
 to either as they had occafion. But the unhappi- 
 nefs of his Temper inclining him naturally to Me- 
 lancholy 5 the ill ufage which he received from the 
 Cardinal Farnefe (who through the Perfuafions of 
 an ignorant Sfaniard his Domejlic, gave him but 
 a little above 200 /. Sterl. for his eight years ftudy 
 and labour) fo confirm'd him in it, that he re- 
 folv'd never more to touch his Pencil: and had 
 undoubtedly kept his refolution, had not his Nc- 
 
 ceffities
 
 Modern Mafter s. 
 
 ceffities compell'd him to relume it. Yet not- 
 withftanding, fo far did his Dijtemper by degrees 
 gain upon him, that at certain times it deprived 
 him of the right ufe of his Sences $ and at laft 
 made him guilty of ibme Irregularities, which 
 concealing from his Phjpcians, he met with ths 
 fame fate as <l{apbael (in the like cafe) had done 
 before him, and feem'd to copy that great Mafter 
 as well in the manner of his Death, as he had imi- 
 tated him all his Life long in his Works. Nay, 
 fuch was the Veneration he had for Raphael) that 
 it was his Death-bed fyqueft, to be bury'd in the 
 very fame Tomb with him: which was according- 
 ly done in the Pantheon, or Rotunda at <%ome y Anno 
 \ 6op. See more pag. 2 2 2, and befides take notice, 
 that there are extant feveral Prints of the . V\r~ 
 gin, and ol other Subjefts, etch'd by the hand e 
 this incomparable Artijt. 
 
 ANTONIO CA<%Q(ACCI, the natural Son of Au> 
 lino, was brought up under the Care and Tui- 
 
 rj j f ^ JL 
 
 tion of his Uncle Hannibal: after whofe Deceafe, 
 he apply'd himfelf fo fuccefsfully to the ftudy of 
 all the Capital Pieces in <I(pme 9 that he would have 
 furpafs'd even Hannibal himfelf, if Death had not 
 prevented him, Anno 1618, Ml. 35. 
 
 Gf
 
 Modern Mafkers. 
 
 CAMILLO, GIULIO CESA^E, and 
 ANTONIO, the Sons and Difciples of E^COLE 
 8><I(PC4CCINI, flourifh'd in this time. They 
 were Natives of Bologna, but upon fome mifun- 
 derftanding between them and the Carracbes, re- 
 tnov'd to Milan, where they fpent the greateft 
 part of their Lives. Of thefe, 
 
 CAMILLO the Eldeft, abounded in Invention 
 and Spirit : but was a great Mannerift, and ra- 
 ther ftudy'd the Beauty, than CorreftnefsofhisDt- 
 
 GIULIO CESA^, was both a Sculptor and 
 Painter, and famous in Genoua, as well as Bologna, 
 and Milan, for feveral admirable things of his 
 land. He was the beft of all the frocaccini, and 
 furpafs'd his Brother Camillo in the exaRmfi and 
 purity of his Out-lines, and in the ftrengtb and WJ- 
 nef? of his Figures. 
 
 CAQJJ ANTONIO was an excellent Mufician, 
 and as well skill'd in the Harmony of Colours as of 
 Sounds : yet not being able to arrive to the *Perfe- 
 ftion of his Brothers in Hiftorical Compofitions , he 
 apply'd himfelf wholly to Landtfcbapes and Flowers, 
 and was much efteem'd for his Performances that 
 way.
 
 Modern Maftcrs. 
 
 E^COLE the Son of Cart Antonio, was a DiC 
 ciple of his Uncle Julio Cefare, and fo happy in 
 imitating his manner, that he was fent for to the 
 Court of the DukeofStfVojf, and highly honoured, 
 and nobly rewarded by that Trince for his Services. 
 
 G1QSE<P<PE VA^VINO, commonly call'd C*> 
 ^alier GIOSE<P<P1NO, born in the Kingdom of N<t - 1 5 <* 
 fles, Anno \ ytfo, was carry' d very young to G(pme,, 
 and put out to fome Painters, then at work in 
 the Vatican, to grind their Colours : but the quick- 
 nels of his Afftrebenfion having foon made him 
 Mafter of the Elements of Dejign, he had the fortune 
 to grow very famous by degrees; and befides the 
 refpect fliewn him by Pope Gregory XIII* and his 
 Succeffors, was fo well receiv'd by the French K. 
 Lewis XIII. that he made him a Anight of the Order 
 of St. Michael. . He has the character of a florid^ 
 Indention, a ready Hand, and a good Spirit in all 
 his Works : but yet having no fure Foundation x 
 either in the Study of Nature, or the Cities of Art, 
 and building onely upon thofe Chimeras and fan~ 
 taftical Ideas, which he had form'd in his own Head v 
 he has run himfelf into a multitude of Errors, 
 being guilty of thofe many Extravagancies., ne- 
 ceffarily attending fuch as have no better Guide- 
 than their own capricious Fancy. He died -at G(pme, 
 
 HANS
 
 3-i2 Modern Mafters. 
 
 ^/> HANS tttOTTENHAME^wz 
 
 i 5 64. c f, en ^ the Capital City of BaVaria, Anno \ 5 64, and 
 after he had ftudied iome time in Germany, went 
 to Feme, and became a Diiciple of Ttntoret. He 
 painted both in Frefco and Oyl, but his Talent lay 
 chiefly in the latter, and his peculiar excellence was 
 in little Pieces. His Indention was /ree and e^/re, 
 his Dejtgn indifferently correct, his *Poftures gentile, 
 and -his Colouring very agreeable. He was well e- 
 fteem'd both in Ita/y and his own Country, and 
 by his frofejjkn might have acquir'd great Wealth 3 
 but was fo wonderfully extravagant in his way of 
 living, that he confum'd it much fafter than k 
 came in, and at laft died fo poor, that his Friends 
 Wre f TC 'd c o make a gathering to bury him, 
 
 FRANCESCO VANNI, born at Siena 
 Dukedom of Tufcany, Anno 1568, was a 
 (Painters Son, but quitted the manner which he had 
 learnt from his Father, to follow that of Barocci 5 
 whom he imitated in his choice of <$(eligious Subjects, 
 as well as in his Gufto of Tainting. The moft 
 confiderable Work of this Mafter are in the feveral 
 Churches of Siena , and are much commended 
 
 4.7. ' 3Ot ' 1 ^ or t ' ie eau ty f tnc ^ r Colouring, and Cor- 
 rettnefi of their De/gw. He ^ied Anno 1615.
 
 Modern Mafters. 
 
 MICHELANGELO ME<$JGI born An. i 5 6 9 , 
 x.CA$(AVAGG10, from whence he deriv'd his 
 Name, was at firft (like his Countryman (polidore) 
 no better than a Day-labourer 3 till having feen 
 fome Painters at work, upon a Brick-wall, which 
 he had prepared for them, he was fo charm'd. 
 with their Art, that he immediately addrefs'd him- 
 leif to the ftudy of it: and in a few years made fo 
 considerable a progrefs, that in Venice, Qfyme, and 
 feveral other parts of Italy, he, was cry'd up, and 
 admir'd by all the Young men, as the Author of a 
 new Style of Painting. Upon his firft coming to 
 titome , his NeceJJities compelled him to faint 
 Flowers and Fruit, under Cavalier Giofeffino: but 
 being foon weary of that Subjett, and return- 
 ing to his former practice of Hiftories, with Fi- 
 gures drawn to the middle onely, he made ufe of 
 a Method, quite different from the conduct of 
 Giofeffino, and running into the contrary extreme, 
 follow'd the Life as much too clofe, as the other 
 went wide from it. He affected a way particu- 
 lar to himfelf, of deef and darkfbadows, to give 
 his Pieces the greater relievo, and defpifingall other 
 help, but what he received from Nature alone 
 (whom he took with all her faults, and copy'd 
 without judgment or difcretion) his Invention be- 
 came fo foor, that he could never draw anything 
 
 S f without
 
 314. Modern Mafters. 
 
 without his Model before his eyes; and therefore 
 understood but little either of Ttejlgn, or Decorum 
 in his Compofoions. He had indeed an admira- 
 ble Colouring, and great ftrengtb in all his Works : 
 But thofe <Pittures which he made in imitation of 
 the manner of Georgione, were his beft, becaufe 
 they have nothing of that blacknejs in them, in 
 which he afterwards delighted. He died in his 
 return from Malta, (where he had been Knighted 
 by the Grand Mafter, for fome things which he 
 had wrought for him) Anno 1609. His chief 
 Difciples were 'Bartolomeo Manfredi of Mantoua, 
 Carlo Saracino, commonly call'd Venetiano, Valtn- 
 Mt. 40. tmo a Fwucb-man , and Gerard Huntborft of U- 
 trecbt. 
 
 FILIVTO ANGEL1 was a V(pman born, but 
 called NEATOLlTANOfcczukhis Father fern him 
 to Naples, when he was very young. At his re- 
 turnto^me, he apply 'd himfelf to the Antiquities*, 
 but unhappily left that ftudy too foon, and fol- 
 low'd the manner of his Contemporary M. Angelo 
 da Cara^aggio. He pra(5tis'd for the moft part in 
 Landtfcbapes, and 'Battels , was every where well 
 efteem'd for his Works, and imploy'd by feveral 
 (princes in many of the Churches and Palaces of 
 $(ome s Naples and Venice; at the laft of which pla- 
 ces he died Anno JEtat. 40.
 
 Modern Mafters. 
 
 JAN S^UEGHEL, the Son of old Peter, and 
 the younger Brother of Helfen Brueghel, was born 
 iti<Bmffels, Anno i 569, and call'd FLUWEELEN 
 becaule of the ^ir/Vef Garments which he generally 
 affected to wear. He began his Studies at home, 
 under Peter Goe-kmdt, and continu'd them in Italy 
 with fuch fuccefs, that of all the German, Dutch, 
 or Flemifh Mafters, Elfreimer onely was fuperior 
 to him in Landtfchapes, and Hi/tones with /;;/<*// 
 Figures. He fainted both in Water-colours and Cty/, 
 but in the tatter chiefly excelled 5 and efpecially, in 
 reprcfenting Wakes, Fairs, and other frolickfom 
 and merry meetings of Country -people. His Inven- 
 tion was eafie and pleafant, his Out-lines firm and 
 fure, his Pencil loofe and free : and in fliort, all 
 his Compofitions were fo well managed, that Nature 
 in her plain Country Dreff, was always to be 
 in his Works. He died ylwwo 1625. 
 
 ADAM ELSHEIME^bom at Frankfort upon 
 the M*}'w, ^wio M74> was ac fi f fta Difciple of i J74- 
 Philip- iijfenbach a German : but an ardent dcfire of 
 Improvement carrying him to ^ome, he foon 
 became a mod excellent Artift in Landtf chapes, 
 Hiftories, and Night-pieces, with //'tt/e Figures. His 
 IFor&f are very few 5 and for the incredible Pahrs 
 and L^>or which hebeftow'd upon them, valu'd 
 
 S f 2 at
 
 Modern M afters. 
 
 at Rich prodigious rates, that they are hardly any 
 where to be found but in the Cabinets of Princes. 
 He was a Terfon by Nature inclined to Melancholy, 
 and through continu'd ftudy and thoughtfulnefs, 
 was (b far fettled in that unhappy temper, that neg- 
 lecting his own domeftic concerns, Debts came 
 thick upon him, and Imfrifonment followed : which 
 ftruck fuch a damp upon his Spirits, that though 
 ~ x he was foon releas'd, yet he did not long furvive 
 " it, and died in the year 1 6 to, or thereabout.. 
 
 MlD0(2(NIwasbornat Bologna, An, 
 l - 5 7 5 an d having learnt the Rudiments of (painting, under 
 zFkrwJbMaftcr, was refin'd and polifli'd in the 
 School, of the Carraches^: and to what degree of 
 ExccEencthe arriv'd, fecpag. 223. He acquired 
 great perfection in M*fe 9 by the Inftructions of his 
 Father, an eminent (profejfor of that Art. In his 
 behaviour he was mod eft, gentile, and very ob- 
 liging; liv'd in great fplendor, both at 'Bologna, 
 and ^(omey. and was onely unhappy in his im- 
 moderate love of Gaming: to which, in his latter 
 days, he had abandon d himfelf fo intirely, that 
 all the Money which he cou'd get by his (Pencil, or 
 borrow upon Intereft, being too little to fupply 
 his lofles, he was at laft reduc'd to fo poor, and 
 mean a condition, that the confideration of his 
 
 prefent.
 
 Modern Mafttrs. 317 
 
 prefent circumftances, together with reflections 
 on his former reputation, and high manner of li* 
 ving, brought a languishing Diftemper upon him, 
 which occafion'd his Death, Anno 1 642. Note, 
 that there are feveral Vefigns of this great Mafterj in 
 print, etcb'd by himfelf* 
 
 G10. SATTISTA VlQLAy a Bohgnefe, born 
 
 _9 *^ * 
 
 Anno 1576, was a Difciple of Hannibal Carracb, 
 by whofe affiftance he arrived to an excellent man" 
 ner in Landtfcbape-painting r w\\idi he chiefly ftudy'd, 
 and for which he was well efteem'd in ^pme, and 
 feveral other parts of Italy. But Pope Gregory XV. 
 having made him Deeper of his ( Palace, to reward 
 him for the Services which he had done for him, 
 when he was Cardinal, he quitted his 
 died foon after, Anno 1621*. 
 
 Sir 3>&TE<lt f PML<l{U<BENS, born at 
 logne, Anno 1577, was the bed accomplifli'd of 1577. 
 all the Flemifb Mafters ; and wou'd have rival'd 
 even the moft celebrated Italians,, if his Tarents/m- 
 ftead of placing him under the tuition of Adorn* 
 Van Noort, and OttaVio fartus, had bred him up* 
 in the <I(pman and Lombard Schools. Yet notwith- 
 ftanding, he made fo good ufe of that little time 
 which he fpent in thofe places, that perhaps none. 
 
 of.
 
 Modern Majltrs. 
 
 of his Predecc/fors can boaft a more beautiful Co- 
 louring , a ?zo/er Indention, or a more luxurious 
 Fancy in their Co mpofitions, of which fee a farther 
 account ^g. 125. Bnt befideshis talent in Pain- 
 ting, and his admirable skill in Architecture (very 
 eminent in the feveral Churches , and Palaces , 
 built after hisDe/gwj, at Genoua.) He was a !Per- 
 fon poflfefs'd of all the Ornaments and Advanta- 
 ges, that can render a man Valuable : was uni- 
 verfally Learned, fpoke feven Languages very 
 perfectly, was well read in Hi/lory, and withall 
 fo excellent a Statefman, that he was imploy'd in 
 feveral public Negotiations of great Importance j 
 which he managed with the moft refin'd Prudence, 
 and Conduct. And was particularly famous for 
 the Character with whigh he was fcnt into England, 
 of Embajfadour from the Infanta I/abelta, and Phi- 
 lip IV. of Sfain, to K. Charles I. upon a /ratfji o/ 
 Peace between the two Crowns , confirmed ^wo 
 1630. His principal Performances are in the 
 *Banquetting-houfe at Whitehall, the Efcurial'm Spain, 
 and the Luxemturgh Galleries at Parit, where he 
 was imploy'd by Queen Mary of Medicis, Dowa- 
 ger of Henry IV. and in each of thofe three Courts 
 had the honour of Jfyiigbtbood conferred upon him, 
 befides feveral magnificent Prefents, in teftimony 
 of his extraordinary Merits. His ufual abode was 
 
 at
 
 Modern Mafttrs. 
 
 at Antwerp, where he built a fpacious Apartment, 
 in imitation of the Rotunda at Rome, for a noble 
 Collection of Pictures which he had purchased in 
 7ta/y : fome of which, together with his Statues, 
 Medals, and other Antiquities, he fold, not long 
 after, to the Duke of Buckingham, his intimate 
 Friend, for ten thoufand pounds. He liv'd in the 
 higheft Efteem and Refutation imaginable, was 
 as great a <Patron, as Mafter of his Art j and fo much 
 adrruYd all over Eurofe, for his many fingular 
 Endowments , that no Strangers of any Quality 
 cou'd pafs through the Low-Countries, till they 
 had firft feen Rubens, of whofe Fame they had 
 heard fb much. He died Jnno 1640, leaving 
 vaft Riches behind him to his Children, of whom 
 Albert the Eldeft, fucceeded him in the Offie of ^^ ^ 
 Secretary of State, in Flanders. 
 
 ORATIO GENTILESCHI, a Native 
 a City in Tu/cany, flourifli'd in this time: and 
 after he had made himfelf known in Florence, 
 Rome, Genoua, and other parts of Italy > remov'd 
 to SaVoy, from thence went to France, and at laft, 
 upon his arrival in England, was fo well received 
 by K. Charles I. that he appointed him Lodgings 
 in his Court, together with a confiderable Salary, 
 and imploy'd him in his Palace at Greenwich, and 
 
 other
 
 520 Modern Maflers. 
 
 o&er public places. He made feveral Attempts 
 in Face-painting, but with little fuccefs, his Talent 
 lying altogether in Hiftories, with Figures as big 
 06 the Life: In which kind, fome of his Compofiti- 
 ons have defervedly -met with great Applaufe. 
 He was much in favour with the Duke of Buck- 
 ingham, and many others of the Nobility: and af- 
 ter twelve years continuance in this Kingdom, 
 died Anno jEtat. 84. and was bury'd in the Queens 
 Chapel in Sotnerfet-boufe. 
 
 ARTEMISIA GENTlLESCHIhis Daughter, 
 excell'd her Father in Portraits, and was but little 
 inferior to him in Hiftories. She liv'd for the 
 moft part at Naples, in great fplendor : and was 
 as famous all over Europe for her Amours, and 
 LoVe-Intrigues, as for her talent in Painting. 
 
 FRANCESCO ALB AIM a Bolognefe , born 
 Anno 1578, was a Difciple of theCarraches , well 
 vers'd in polite Learning, and excellent in all the 
 parts of Painting ; but principally admir'd for 
 his performances in little. He had a particular Ge- 
 nius for naked Figures : and the better to accom- 
 plifh himfelf in that Study, marry'd a beautiful 
 Lady of Bologna, with little or no fortune 3 by 
 whom (upon all occafions) he us'd to defign 
 
 naked
 
 Modern Maflers. 
 
 naked Fentu's, the Graces, Nymphs, and other God- 
 defies: and by her Children little Cupids, playing, 
 and dancing, in all the variety otPoftures imagi- 
 nable. He fpent feme time at T{pme, was im- 
 ploy'd alfo by the Grand Duke of Tu/cany , but 
 compos' d moft of his Works in his own Country 5 
 where he died, Anno 1660. His moft famous 
 Difcifles were <Pier Francefco Mbla, and Gio. Battifta 
 his Brother, both excellent 'Maflers- in Figures and 
 JLandtfchafes. 
 
 FRANCIS SNTDE3($, bom &t Antwerp, Anno 
 1579, was bred up under He//^ V^w ^fo/ his 
 Country-man ; but ow'd the moft confiderablc 
 part of his Improvement, to his Studies in Italy. 
 He painted all forts of Wild <Beafts, and other Ani- 
 mals, Huntings, Fifb, Fruit, &c. in great (perfe- 
 ttion : was often imploy'd by the King of -Spain, 
 and feveral other Princes, and every-where much 
 commended for his Works. 
 
 WMENICO ZAMPIBKJ, commonly calPd 
 WMENICHINO, born in the City of Bologna An. 1581. 
 1581, was at firft a Di /rifle of a Flemijh Mafter, 
 but foon quitted his School, fora much better of 
 the Cart-aches ; being inftructed at Bologna by Lu- 
 doVico, and at fyme by Hannibal, who had fo 
 
 T c great
 
 3 22 Modern Mafiers. 
 
 great a Value for him, that he took him to his ajfi* 
 fiance in the Farnefe Gallery. He was extremely labo- 
 rious and flow in his Productions, applying himfelf 
 always to his itor^with much fiudy and thoughtful- 
 nefs, and never offering to touch his Pencil till he 
 found a kind of Enthujiafm, or Inffiration upon 
 him. His talent lay principally in the correttnefs 
 of his Sf)7e, and in exprefling the PaJJions and Aj- 
 feclions of the MW. In both which he was fo ad- 
 mirably judicious, that Nicok Poujjln, and Andrea 
 SaccU us'd to fay, his Communion of St. Jerome, in 
 the Church of the Charity, and ^I(afhaels celebra- 
 ted Piece of die Transfiguration, were the two beft 
 Pictures in (?(pwe. He was made the chief Archi- 
 tect of the Apoflolical Palace, by Pope Gregory XV. 
 for his great skill in that Art. He was likewife 
 well vers'd in the Theory of Mujic, but in the (FVd- 
 8ice of it had little fuccefs. He had the misfor- 
 tune to find Enemies in all places where-ever he 
 came 3 and particularly at Naples was fo ill treated 
 by thofe of his own Profejjion, that having agreed 
 among themfebes to difparage all his Works, they 
 would hardly allow him to be a tolerable Mafter : 
 And were not content with having frighted him, for 
 fome time, from that City, but afterwards, upon his 
 return thither, never left ferfecuting him, till by 
 their tricks and contrivances they had quite weary'd 
 
 him
 
 Modtrn Mafltrs. 323 
 
 him out of his Life, Anno 1641. Vide fag. 223. *- x 
 His Contemporary, and moft malicious Enemy v_x-v~ v J 
 
 > GIOSEPVE %TBES(A, a Native of Valencia, ' - 
 in tf/tt/'tt, commonly known by the name of 
 SVAGNOLETTO, was an Artift perfeft in ZjJfcn, 
 
 i r r i 11 r 
 
 and famous tor the excellent manner of Colouring 
 which he had learnt from Michael Angelo da Cara- 
 Vaggio. His way^ was very often in Half- Figures 
 onely, and (like his Mafter) he was wonderfully 
 ftridt in following the Life 5 but as Ill-naturd in 
 the choice of his Subjects, as in his Behaviour to 
 poor DomenichinOy arFe&ing generally fomething 
 very terrible and frightful in his Pieces, fuch as 2V0- 
 metheu* with the Culture feeding upon his Liver, Ca- 
 to Uticenfis weltering in his own Bloud, St. Bartho- 
 lomew with the SKm flea'd off from his Body, &c. 
 But however in all his Compojitions, Nature was 
 imitated with fo much Art and Judgment, that a 
 certain Lady big with Child, having accidentally 
 caft her Eyes upon an Ixion, whom he had re- 
 prefented in Torture upon the Wheel, receiv'd fuch 
 an bnprejfion from it, that (he brought forth an 
 Infant with Fingers diftorted juft like thofe in his 
 <Pifture. His ufual abode was at Naples, where 
 he liv'd very fplendidly , being much in fa- 
 vour with the Viceroy his Countryman, and in 
 
 T t 2 great
 
 324. Modern M afters. 
 
 great Reputation for his Works in Painting, and 
 for feveral Prints etch'd by his own band. 
 
 ^*^ GIOVANNI LANF$(ANCO, born at Parma, 
 l ?8 i. j nno i j_8 i, was a Difciple of the Carr aches, and 
 befides a zealous Imitator of the Works of ^afhad 
 and Correggio* His char after ke fag. 224. He 
 was highly applauded at Naples for feveral excel- 
 lent (P/m^ which he wrought there, and was fo 
 much efteem'd in <%ome, that for his Performances 
 in the Vatican he was Ifyiighted by Pope Wr/*w VIIL 
 ' He died 
 
 5/STO <BAVALOCCHl his Fellow-difeiple -, 
 was of Tarma alfo, and by the Inftructions of the 
 Garracbes at fl^pwe, became one of the beft De~ 
 Jigners of that School He had alfo many other 
 commendable Qualities , and particularly Facility-) 
 but wanted 'Dilgence. He joyn'd with his Conn* 
 tryman Lanfranco in etching the Hiftories of tha 
 Bible-, after the Paintings of fytphael, in the ^f/- 
 ww, which they dedicated to Hannibal their Mafter. 
 He pracliifed moftly, at Bologna, where he died 
 Young* 
 
 i 
 
 SJM7N VOUEX, born at ?W, ^wo 
 was bred up to Painting under his Father, and 
 
 carry'd
 
 Modern Mafters. 
 
 sarry'd very young to Conflantinofle by the French 
 Embaflador, to draw the Picture of the Grand 
 Signior, which he did by ftrength of Memory 
 onely. From thence he went to Venice, and af- 
 terwards fettling himfelfat (J^pwe, made fo confi- 
 derable a progrefs in his Arty that befides the Fa- 
 vours which he Eeceiv'd from Pope Urban VIII. 
 and the Cardinal his Nephew, he was chofenPnwce 
 of the ^oman Academy of St. Luke. He was fent 
 for home Anno 1627, by the order of Lewis XIII., 
 whom he ferv'd in the quality of his chief fainter. 
 He praclifed both in Portraits and Htftories, and 
 furnifh'd fome of the Apartments of the LouVre, 
 the (palaces of Luxemburgh and St. GermairiSy the 
 Galleries of Cardinal fycbtieu and> other public 
 places with his Works. His greateft Terfettion was 
 in his agreeable Co/or/;jg,and his ira&and livelyfencily 
 being other wife but very indifferently qualify 'd ; he 
 had no Genius for grand Compcfitions, was unhappy in 
 his Invention, unacquainted with the <%ules offerffe- 
 &ive, and underftood but little of the Union of Co- 
 lourt, or the Doctrine of Lights and Shadows : yec 
 neverthelefs he brought up feveral eminent Scholars-, 
 amongft whom, was CHILES ALFONSE du 
 f^ESNOty Author of the preceding Poem.. But 
 his chief Difciple was the KJN&. himfclf, .whoni 
 he had the Honour toinftrucl: intheA-f of Dejign* 
 i/j. He died ^.. 1 64,1 . . P/-..
 
 Modern Mafters. 
 
 Van LAE^ commonly call'd $AM- 
 SOCCIO, or the Beggar-fainter, was born in the 
 City of Haerlem, Anno 1584: and after he had 
 laid a good Foundation in Drawing and (PerfpeftiVe 
 at home, went to France, and from thence to tifyme $ 
 where by his earned application to Study , for fix- 
 teen years together, he arriv'd to great Perfection 
 in Hi/lories, Landtfchapes, Grottos, Huntings, dec. 
 with little Figures and Animals. He had an ad- 
 mirable Gufto in Colouring, was very judicious in 
 the ordering of his Pieces^ nicely jy? in his Propor- 
 tions, and onely to be blam'd, tor that he gene- 
 rally affected to reprefent Nature in her worft 
 2)re/?, and follow' d the L*/<? too clofe, in moft of 
 his Compofitions. He returned to Amflerdam, Anne 
 nJjp, and after a fhort ftay there, fpent the Re- 
 mainder of his days with his Brother, a noted 
 Stboolmafter in Haerlem. He was a Perfon very 
 ferious and contemplative in his humour, took Plea- 
 fure in nothing but Painting and Af/ic : and by 
 indulging himfelf too much in a melancholy Qfe. 
 60. ttremmt > ^ a ^ to ^ ave ftorten'd his L//e, Anno 
 
 CO<%NELIUS <POELENBUG(fH, born at 
 Utrecht, Anno 1590, was a Difciple of Abraham 
 Blomaert, and afterwards for a long time, a Ste- 
 
 - dent
 
 Modern - Majors: 3:27 
 
 dent in $(pme and Florence. His Talent lay altoge- 
 ther in fmatt Figures, naked Boys^ Landtfchapes^ 
 G(uins, &c. which heexprefs'd with a Pencil agree- 
 able enough, as to the Colouring part, but general- 
 ly attended with a little fliffnefs, the (almoft) w/* 
 parable Companion of much Labour and Neatnefs. 
 He came over into England, Anno 1637 ; and af- 
 ter he had continu'd here/oar years, and had been 
 handfomly rewarded by K. Charles I. for fcveral 
 which he wrought for him, retir'd into his 
 Country, and died ^/wo 1667. 
 
 Cavalier GIO. FRANCESCO BA^lBt(I da 
 CENTO, commonly call'd GUE^CINO, (be- i-J,p.o>- 
 caufe of a C<i/? whick he had with his Eyes) was 
 born near Bologna, Anno i 590, and bred up un- 
 der (Benedetto German his Country- man: by whofe 
 faftruttionS) and the Diftates of his own excellent 
 Genius, he foon learnt to defign gracefully and with 
 Correttnefs ; and by converting afterwards with 
 the JForfo of Michael Angelo da CaraVaggio, became 
 an admirable Colourift, and befides, very famous 
 for his happy Invention and Freedom of Pencil, and 
 for the Strength, ^(elie'Vo, and becoming Boldnefs- 
 of his Figures. He began, in the Declenfion of 
 his y^f , to alter his 5^ i n Tainting : and (to 
 pleafe the unthinking Multitude) took up another
 
 328 Modern Mafters. 
 
 manner more gay, neat and f leaf ant, 'but by no 
 means fo great and nolle as his former Gufto. He 
 compos'd feveralconfiderable Pieces mtftome: but 
 thegreateft number of his Performances is in, and 
 about Bologna, where he died, Anno 1666, very 
 JEt. 76 ri ^ J -> an< ^ highly commended for his extraordina- 
 ry Piety, ^Prudence and Morality. 
 
 NICOLO mSSINO, the French <I(aplael, was 
 the Defcendent of a wo hie Family in Ticardy, but 
 born at y^/e/y, a Town in Normandy, Anno \ 504. 
 He was feafon'd in Literature at home, inftruded 
 in the ${idiments of Defign at !P^r0, learnt the 
 Principles of Geometry, f&fpc&ive and Anatomy ac 
 (?(owe, pradtifed after the L*/e in the Academy of 
 Domenichmo, and ftudy'd the Antiquities in com- 
 pany with the famous Sculptor Francefco Flamming*, 
 who was born in the fame year, and lodg'd in the 
 fame houfe wich him. His way, for the moft part, 
 was in Hiftories, with Figures about ta>o or /;ree 
 feet high 5 and his Colouring inclined rather to the 
 Antique than to Nature : but in all the other parts 
 of Tainting , he was profoundly excellent 3 and 
 particularly the Beauty of his Genius appear'd in 
 his nice and judicious Ohfer^ation of the Decorum 
 in his Compojitions, and in exfreJJIng the Taffions 
 and Affettions with fuch incomparable j&#, that all 
 
 his
 
 Modern Mafters. 
 
 his Pieces feem to have the very Spirit of the Action, 
 and the Life and Sow/ of the Perfons whom they 
 reprefent. He had not been in <$(ome above fix- 
 teen years, before his Name became fo un'i\> erf ally 
 celebrated, that Cardinal fljcblieu rcfolving to ad- 
 vance the noble Arts in France, prevailed upon him 
 (by means of an obliging Letter, written to him 
 by Lewis XIII. himfelf, Anno 1659) to return to 
 his own Country : where he was received with all 
 poffible demonftrations ofc Efleem, was declared 
 Firft Painter to the King, had a confiderable Pen- 
 fan appointed him, was imploy'd in feveral pub- 
 lic Works, and at laft undertook to faint the Grand 
 Gallery of the Louvre. But the f\jng and Cardinal 
 both dying in the time that he went back to fettle 
 his affairs in Italy, and bring his Family from thence5 
 he quite laid afide the Thoughts of returning any 
 more to France, and ended his days in Q^ome, Anno 
 1665 : having for fame years before his T)eceafe, 
 been fb much fubject to thePalfie, that the effects 
 of his unfieddy Hand are vifible in feveral of his 
 Defigns. 
 
 PIET^O TESTA, his Contemporary, was a 
 Native of Lucca, a City in the Dukedom of Flo- 
 rence, and fo miferably poor upon his firft arrival 
 at G(pme, that he was fore d to make the public 
 
 11 u Streets
 
 3 3 o Modern Ma far s. 
 
 Streets his School, and the Statues, Buildings, 
 ins, &c. the Leffons which he ftudied. He was 
 a Man of a <p/c& Head, a re^ HW, and a //Ve- 
 /y S/tf>tf in moft of his (performances : but yet for 
 want of Science, and good Ovules to cultivate and 
 ftrengthen his Genius, all thofe hopeful Qualities 
 foon ran to Weeds, and produced little elfe but 
 Mon/iers, Chimera*, and fuch like wild and extra- 
 vagant Fancies : Fid. fag. 1 01. He attempted very 
 often to makehimfelf perfect in the Art of Colouring, 
 but never had any Succefs that >^ $ and indeed 
 was onely tolerable in his Drawings, and the Prints 
 which he <tc/;V. He was drown d (as 'tis general- 
 ly reported) in the Tyber, having accidentally fall'n 
 off from the Bank, as he was endeavouring tore- 
 gain his Hat, which the Wind had blown into the 
 Water. 
 
 Sir AHTBOWt VAn DTC^, was born at 
 1 5 99' Antwerp, Anno \ 599, and gave fuch early proofs 
 of his moft excellent Endowments, that Rubens his 
 Mafter, fearing he would become as UniVerfal as 
 himfelf, to divert him from Hiftories, us'd to com- 
 mend his Talent in Painting after the Life, and 
 took fuch care to keep him continually imploy'd 
 in bufincfs of that Nature, that he refolv'd at laft 
 to make it his principal ftufy ; and for his Improve- 
 
 ment
 
 Modern Maften. 3 3 
 
 merit went to Venice, where he attained the beauti- 
 ful Colouring of Titian, Paulo Feronefe, &c. And 
 after a few years fpent in <3fyme, Genoua and Sicily, 
 return' d home to Flanders with a manner of Tain- 
 ting, fo noble, natural, and eafie, that 75fw him- 
 felf was hardly his Superior, and no other Mafter 
 in the world equal to him for Portraits. He came 
 over into England foon after Q{ubens had left it, and 
 was entertained in the Service of King Charles I. 
 who conceiv'd a marvellous efteem for his Works* 
 honoured him with flight hood, prefented him 
 with his own Pifture fee round with Diamonds, 
 affign'd him a confiderable Penjion, fate very often 
 to him for his Portrait, and was followed by moft 
 of the Nobility and principal Gentry of the IQngdom. 
 He was a perfon low offtature, but well-proporti- 
 on d; very bandfome, modeft, and extremely obli- 
 ging ; a great Encourager of all fuch as excelfd in 
 any /#t or Science, and Generous to the very laft 
 degree. He marry'd one of the faireft Ladies of 
 the Engli/k Court, Daughter of the Lord <%uthen 
 Earl of Gowry, and liv'd in State and Grandeur 
 anfwerableto her Birth: His own Garb was gene- 
 rally very rich, his Coaches and Equippage magni- 
 ficent, his Detinue numerous and gallant, his Ta- 
 ble very fplendid, and fo much frequented by 
 People of the beft Quality of both Sexes, that his 
 
 U u 2 Afart-
 
 332 Modern Ma for s. 
 
 Apartments feem'd rather to be the Court of fome 
 Prince, than the Lodgings of a fainter. He grew wea- 
 ry, towards the latter end of his Life, of the conti- 
 nu'd trouble that attended Face-fainting $ and being 
 defirous of immortalizing his Name by fome more 
 glorious Undertaking, went to farts in hopes of 
 being imploy'd in the Grand Gallery of the Louvre ; 
 but not fucceeding there, he return'd hither, and 
 proposed to the IQng (by his Friend Sir fynelm 
 Digby) to make Cartoons for the Banqueting boufe 
 at White-ball: the fubjecl: of which was to have 
 been the Inftitution of the Order of tie Garter, the 
 froceffion of the f(nigbts in their Habits, with the 
 Ceremony of their Lift 'ailment , and St. Georges Feaft. 
 But his Demands of four/core tboufand pounds, be- 
 ing thought unreafonable, whilft the Kjng was 
 upon treating with him for a lefs Stimm, the Gout 
 and other Ttiftempers put an end to that. Affair 
 and his Life, Anno 1641 ; and his 'Body was in- 
 terr'd in St.fauls Church. See farther,/^. 226. 
 And note, that amongft the Portraits of llluftrious 
 ferfons, Sec. printed and publifh'd by the parti- 
 Mt. 42. cu ^ ar directions of this Mafter, fome were etch'd 
 in Aqui-fortit by Van T)yck himfelf. 
 
 BENEDETTO USTIGLIONE, a Gcnouefe, 
 was at firft a Difciple of 'Battifta faggi and Ferrari 
 
 his
 
 Modern Mafters. 333 
 
 his Countrymen 5 improved himfelf afterwards 
 by the inftru&ions of Van T>yck (as long as he 
 continu'd in Genoua) and at laft became an Imi- 
 tator of the manner of Nicolo Pouffin. He was 
 commended for feveral very good Prints of his 
 own etching: but mPainting his Inclinations led him 
 to Figures, with Landtfcbapes and Animals -, which 
 he touched up with a great deal of Life and Spi- 
 rit, and was particularly remarkable for a brisk 
 (Pencil, and a free handling in all his Compofitions. He 
 was a Perfon very unsettled. in his Temper, and 
 never lov'd to ftay long in one place : but being 
 continually upon the ramble, his Works lie feat- 
 ter'd up and down in Genoua, tityme, Naples, Fe- 
 nice, Parma, and Mantoua, where he died. 
 
 COVAZZO, generally cali'd 
 Me P^OSPETT^E, was born at 
 in the Venetian Territories, dnnoij.pp: and 
 by the Inftru6tions of Auguftino Taffo his Matter, 
 arrived to a moft excellent mojmer of painting 
 Buildings, ( l(uins, dec. His ordinary Refidence 
 was at (Rome, where he died, Anno 1674, and 
 was bury'd in the Church of S. Lorenzo in Lucina 
 He had a Sow called. Nicolo, who purfu'd his ft-. 
 tbers fteps, and died at Genoua, in great Reputati- yr. 75. 
 on for hisperforminces in Perjfecltie, 
 
 MJ-
 
 334 Modern Majlers. 
 
 ^xn MA<KJO NUZZIy commonly call'd 
 1 5 99' de FIO^Jj born at Orta in the Terra di Sabina, was 
 a Difciple of his Uncle Tomafo Salini, and one of 
 the moft famous Mafters in his rime for painting 
 Flowers. He died in H^pme, (where he had fpenc 
 72. g reac part of his Life) and was alfo bury'd in S. 
 Lorenzys Church, Anno 
 
 MICHEUNGELO CE3(Q140ZZI, was born 
 1600. j n (jfyme^ jnno 1600, and bred up in the 
 Scfwol of Antonio Safaatti, a Solognefe. He was 
 cali'd deUe <BATT4GLIE, from his excellent Ta- 
 lent in $Attels ; but befides his great skill in that 
 particular Subjett, he was very fuccefsfulmzli forts 
 of Figures^ and painted Frw/t incomparably beyond 
 JEt. 60. an y Mafter in Europe. He was bury'd in the 
 of S. Marks Church in 3owe Anno \ 660. 
 
 CLAUDIO GILLE of LO<I(A1N, born 
 1600. 1600, was by his Parents fent very young to 
 <!(ome 5 and after he had been grounded in the 
 Elements ofDefign, and the <I(ules of PcrfpeiliVe, 
 tinder Auguftino Tajfo, he removed his Study to the 
 Banks of the 3}er, and into the of en Fields, took 
 all hisLeflons from Nature her felf, and by many 
 years diligent Imitation of that excellent Mftrefs, 
 climb'd up to the higheft ftep of Perfettion m 
 
 Landt-
 
 Modern Mafters. 
 
 LandtfchapC'painting: and was univerfally admir'd 
 for his fleajant and mod agreeatte Invention; for 
 the delicacy of his Colouring, and the charming Va- 
 riety and tenJernefi-of his Tints ; for his artful Di- 
 ftribution of the Lights and Shadows j and for his 
 wonderful Conduftjn difpojtng his Figures for the &b 
 Vantage zr\& Harmony of his Compofetions. He was 
 much commended for feveral of his Performances 
 in Frefco as well as Oyl, was imploy'd by Pope Ur- 
 ban VIII. and many of the Italian Princes in adorn- 
 ing their Palaces : and having by his Pencil made 
 his Name famous throughout Europe, died An. 1682, 
 and was interr d in the Church of Trinita de Monti, t. 82 . 
 in 
 
 DUGHET, was of French Extra- 
 ction, but born in fyme, Anno 1 600. He took l "* 
 to himfelf the name of (POMSS1N, in gratitude 
 for many Favours, and particularly that of his E- 
 Jucation, which he receiv'd from Nicoh (poujfiny 
 who married his Sifter. His firft Imployment 
 under his Brother -in* Law y was in looking after his 
 Colours, Pencils) &c. but his excellent Genius for 
 fainting foon difcovering it felf, by his own In* 
 duftry and his Brothers Inftruttions was fo well im- 
 prov'd^ that in Landtfchapes (which he principal- 
 ly ftudied) he became one of the greateft Ma-> 
 
 flers f 
 
 w
 
 33$ Modem Mafters. 
 
 fters in his^e; and was much in requeft,' for his 
 eafie Invention, folid Judgment, regular Dijpojition, 
 and true fyfemblance of Nature in all his Works. 
 He died in his great ClimacJericai year 1663, and 
 Et. <$2. was 'bury'd in his (pariJk-Cburcb ofS. Sufanna, in 
 
 In his time, liv'd and flourifh'd 
 SACCHI, a celebrated (Roman Ma/ler, highly ex- 
 toird for his general Accomfllfbrnents in all the parts 
 of ^Painting ^ but more particularly eminent for 
 his extraordinary still in the Elegance of 'Dejlgn^ 
 the Harmony of Order, and the Beauty of Colouring. 
 
 His Competitor <PlETV(p <BE$(ETT1NI da 
 COTTON A, was alfo of great confideration in 
 this time 5 and much applauded for his magnifi- 
 cent Works in fever al of the Churches and Palaces 
 of (2fywe and Florence. He excelled both in Frejco 
 and 6ty/, was profoundly read in the Antiquities, 
 had a woWe and r/'cfc Imagination^ and a Gewwj far 
 beyond any of his Contemporaries, for Ornaments 
 and ^rW Hiftorical Comfofitions. He was very 
 well efteem'd by Pope Urban VIII. Innocent X. 
 and moft of the Terfons of the yi/yZ d^wA in Italy. 
 
 GE-
 
 Modern Mafters. 337 
 
 - V --JT J>OV, born at Leyden, about the ( ~ N ~ A >- / 
 jfcw 1 607, was a Difciple of G{embrandt, but 
 much pleafanter in his Sfj/e of Taint ing, and fupe- 
 rior to him in little Figures. He was efteem'd in 
 Holland the be ft Mafter in his M^J : and tho' we 
 muft not expect to find in his Works that Elevation 
 ofTIwught, that Correftnef? of Defign, orthatwoWe 
 Spirit y and grand Gufto, in which the Italians have 
 diftinguifh'd themfelves from the reft of Mankind $ 
 yet it muft be acknowledged, that in the Manage- 
 ment of his Tencil, and the Choice and Beauty of 
 hi sColours, he has been curious to the laft degree ; 
 and in finishing his Tieces, laborious and patient be- 
 yond example. He died cira* Annum 1674, 
 leaving behind him many Scholars, of whom 
 MIEQjJS the chief, was in feveral rcfgefts equal 
 to his Mafter. But for the reft of his Imitators, ge- 
 nerally fpeaking, we may place them in the fame 
 Form with the cunning Fools, mentioned, fag. i j 5. 
 
 was born in the Ci- 
 ty ofHaerlem, Anno 1608 -, and befides his great 1608. 
 Obligations to Nature, was very much beholden 
 to Frans Hals, who took him from begging in the ^^ 
 Streets, and inftrutted him in the Rudiments of 
 Tainting 3 And to make him amends for his kind- 
 nefs, Brouwer, when he found himfelf fufficiently 
 
 X x qua-
 
 338 Modern Mafters. 
 
 qualified to get a Lrtelyhood, ran away from his 
 Mafter into France, and after a (hort ftay there, 
 returned, and fettled at Antwerp. Humour was 
 his proper Sphere, and it was in little Pieces that 
 heus'd toreprefent Boors , and others his Pot- com* 
 panions, drinking, fmoking Tobacco, gaming* fight- 
 ing, dec. with a Pencil to tender and free, lo much 
 of Nature in his Exprejfion, fuch excellent 2>rf#- 
 wf in all the particular farts, and good peeping 
 in the whole together, that none of his Countrymen 
 have ever been comparable to him in that Sub- 
 jccl:. He was extremely facetious and gleafant o- 
 ver his Cups, fcorn'd to work as long as he had 
 any Money in his Dockets, declar'd for a fliort L//g 
 and a merry one : and refolving to ride Po/l to 
 his Gral>e,jpy the help of Wine and Brandy, got 
 to his Journeys end, Anno 1658; fo very poor, that 
 Contributions were rais'd to lay him privately in 
 the Ground, from whence he was foon after taken 
 up, and (as 'tis commonly faid) very handfome- 
 Mt. 2o.ty i ncerr 'd by Rubens, who was a great Admirer, 
 of his happy Genutt for fainting. 
 
 SAMUEU COOPE^, born in London, 
 00j was bred up (together with his elder Bro- 
 ther Alexander) under the Gare and Difcipline of - 
 Mr. Hoskiw his Uncle :. but derived the rnoft con- 
 
 fiderable
 
 Modern Mafters. 
 
 fiderabk advantages, from the ObferVations which 
 he made on the Worh of Van Vyck His Pencil 
 was generally confin'd to a Head onely ; and in- 
 deed below that part he was not always fo fuccefs- 
 ful as could be wifii'd : but for a Face, and all 
 the dependencies of it (vi^.) the graceful and becom- 
 ing Atr, the Strength, fylieVo and nolle Spirit, the 
 foftnefs and fem/er liVelinefs of Flefh and S/ooJ, and 
 the /0o/e and ^ewf/fe management of the Ha/> , his 
 Talent was fo extraordinary, that for the Honour 
 of our Nation, it may without Vanity be affirm'd, 
 he was (at leaft) equal to the moft famous Itali- 
 ans ; and that hardly any of his fredecejfors has ever 
 been able to fliew fo much <P.erfelion in fo narrow 
 a Compafs. Anfwerable to his Abilities in this Art 
 was his skiff in Mufic : and he was reckon'd one of 
 the beft Lutenifts, as well as the moft excellent 
 Limner in his time. He fpent feveral years of 
 his Life abroad, was perfonally acquainted with 
 thegreateft Men of France, Holland, and his own 
 Country, and by his Worh more univerfally known 
 in all the pars of Chrijlendom. He died Anno 1672,,- , 
 and lies bury'd in <Pancr*f Church, in the Fields, 
 
 WILLIAM WBSON, a Gentleman defcend- 
 ed of a Family very eminent (at that time) in St. 
 r, was born in Sc. Andrews Parifh, in Hoi- 
 
 Xx 2 iouru,
 
 340 Modern Mafters. 
 
 bourn, Anno 1 6 1 o. Who firft inftru&ed him in 
 the ufe of his Pencil is uncertain: of this we are 
 well aflur'd, that he was put out very early an 
 Apprentice to one Mr. <Peake, a Stationer and Tra- 
 der in (Pitturcs $ and that Nature, his beft Miftreft, 
 inclin'd him fo powerfully to the frattice of <Pain- 
 ting after the Life, that had his Education been but 
 anfwerable to his Genius, England might juftly have 
 been as proud of her Dob/on, as Venice of her Ttti- 
 an, or Flanders of her Van Vyck- How much lie was . 
 beholden to the latter of thofe^re^f Men, may eafi- 
 ty be feen in all his Works ; no Painter having ever 
 come up fo near to the (perfettion of that excellent 
 Mafter, as this his happy Imitator. He was alfo 
 farther indebted to the Generofity of Van Dyck, in 
 prefenting him to King Charles I. who took him 
 into his immediate (proteftion, kept him in Oxford 
 all the while his Majefty continued in that City ; fat 
 ftveral times to him for his (Pifture, and obliged 
 the Prince of Wales, Prince fypert, andmoftofthe 
 Lords of his Court to do the like. He wasa/d*>, 
 middle-fiz^d Man, of a ready Wit, and pleajmg Con- 
 Verfatton ; was fomewhat loo/e and irregular in his 
 way jof Living, and notwithstanding the many Op- 
 portunities which he had of making his Fortunes, 
 Mt. -$?. died very poor, at his. hoafein St. Martins-lane, Anno 
 
 1647. 
 
 MI-
 
 Modern Mafters. 
 
 MICHAELANGELO 7 ACE, born Anno 16 \ o, 
 and call'd & CAMTWOGLIO (becaufe of an Of 
 fee which he had in the Cafitol) was a Difciplc of 
 FioraVanti, and very much efteem'd all over Italy, 
 for his admirable Talent in fainting Fruit and the 
 JliO Life. He died in <%ome, Anno 1670, leaving 
 behind him two Sons 3 of whom Gw. 'Battifta the 
 eldeft, was brought up to Hiflory fainting under 
 Francefco Mola, and is now in the Service of the 
 King of Spain : Buc the other call'd <Pietro, died 
 in his Prime, and onely liv'd jufl long enough 
 to fhew that a few years more would have made ^ , 
 him one of the greateft Maflers in the World. 
 
 , a NeapolitanJbomJn. 
 in both the Sifter- Arts of Qoe/y and fainting, was l " 1 
 efteem'd one of the moft excellent Mafters that 
 JMy has produced in this Centiuy. In the fird, 
 his province was Satire ; in the latter, LanJtfchafes, 
 Battels, HaVens, Sec. with little Figures. He was 
 a Difciple of D^w/Vfe Falconi his Countryman, an 
 ^rf/y? of good repute 5 whofe inftructions he very^ 
 much improv'd by his Study after the Antiquities, 
 and the Works of the moft eminent Painters who 
 went before him. He was fam'd for his copiou* 
 and florid Indention, for his profound Judgment in the 
 ordering of his Pieces, for the gentile and uncommon
 
 Modern Maflers. 
 
 ''Management of his Figures, and his general 
 ledge in all the parts of Painting : But that which 
 gave a more particular ftamp to his Compofoions, 
 was his inimitable Liberty of Pencil, and the noble 
 Spirit with which he animated all his Works. $(ome 
 was the place where he fpent the greateft part of 
 his Life $ highly courted and admir'd by all the 
 Men of Note and Quality, and where he died Anno 
 
 50. ! &7 3 5 having etch'd abundance of valuable Prints 
 
 ^s-/ with his own hand. 
 
 GIACOMO CO<%TESI, the famous Battd-pain- 
 ter, commonly call'd The <BO<%GOGNONE , 
 from the Country where he was born , was the Con- 
 temporary ofSahator <l(ofa y and equally applaud- 
 ed for his admirable Gufto, and grand Manner of 
 Painting. He had for feveral years been conver- 
 fant in Military Affairs, was a confiderable Officer 
 in the Army, made the Camp his School, and form'd 
 all his excellent jy&zj from what he had feen per- 
 form d in the Field. His Style was rojgi/y woWe, 
 and (Souldier like) full of Fire and S/>/>/>. He re- 
 tir'd, towards the latter end of his Life, into the 
 Consent of the Jefuits in ^ome : where he was 
 forc'd to take Santtuary (as they fay) to rid his 
 hands of an ill Bargain, which he had unhappi- 
 ly got in a Wife. 
 
 Sir
 
 Modem Mafters. 343 
 
 Sir <PET&]{ LELT was born Aim \6\? y in 
 Weftfbalia, where his Father, being a Captain, 
 happened to be then in Garrifon. He was bred up 
 for fome time in the Hague, and afterwards com- 
 mitted to the care of onede Grebber of Haerlem. He 
 came over into England, Anna 1 641 , and purfu'd 
 the natural bent of his Genius in Landtfcbafes with 
 fmatt Figures, and Hi/lor ical Comfojitions : but find- 
 ing the practice of (Painting after the Life general- 
 ly more encourag'd, he apply'd himfelf to Tor- 
 traits with fuch fuccefs, as in a little time to fur- 
 pafs all his Contemporaries in Europe. He was ve- 
 ry earneft in his younger days, to have fimWd; 
 thecourfe of his Studies in Italy : but the great bu- 
 finefs in which he was perpetually ingag'd, not 
 allowing him fo much time; to make himfelf 
 amends, he refolv'd atlaft, in an excellent and 
 well chofen ColleElion of the Drawings, Prints, and 
 Paintings, of the mod celebrated Maftcrs^ to bring 
 the <I(oman and Lombard Schools home to him. 
 And what benefit he reap'd from this Expedient, 
 was fufficiently apparent in that admirable Style 
 of&aintlngi which he form'd to himfelf by dayly 
 converting with the Works of thofe great Men : In 
 the correttnefl of his Drawing, and the beauty of his 
 Colouring -, but efpecially in the graceful Airs of his 
 Figures, the fleajmg Variety of his foftures, and 
 
 his
 
 344 Modern Makers. 
 
 his gentile negligence and loofe manner of Draperies: 
 in which particular as few of his Prcdecejfors were 
 equal to 'him, io all fucceeding Artifts muft ftand 
 oblig'd to his happy Indention, for the noble Pat- 
 tern which he has left them for Imitation. He 
 was recommended to the favour of King Charles I. 
 by Philip Earl of Pembroke, then Lord Chamber- 
 lain-, and drew his Majefties Pitture, when he was 
 *Pfj/oner in Hampton-Court. He was alfo much in 
 efteem with his Son Charles II. who made him 
 his Painter, conferred the honour of ffyifgbtbood 
 upon him, and would oftentimes take great plea- 
 fure in his ConVerfation, which he found to be as a- 
 greeablc as his Pencil He was likewife highly re- 
 fpected by all the People of Eminence in the l\ing- 
 dom j and indeed fo extraordinary were his natural 
 Parts , and fo great 'his acquird ffyowledge, that it 
 would be hard to determine whether he was a bet- 
 ter Painter, or a more accomplijh'd Gentleman : or 
 whether the Honours which he has done his Pro- 
 fej/ton, or the Afoantages which he derived from 
 it were the mod confiderable. But as to his 
 Art, certain it is, that his laft Pieces were his beft, 
 and that he gain'd ground, and improv'd himfelf 
 every day, even to the very Moment in which 
 62. Death fnatch'd his Pencil out of his hand in an Apo- 
 Anno 1680. 
 
 SE-
 
 Modern Makers. ,- 34.5 
 
 SEBASTIAN WU<%pON, a French-many born 
 at Mompellier, Anno \ 6 1 9, ftudy'd ^Vew years in 
 3fy/e, and acquired fo much Reputation by his 
 Works both in Hiftory and Landtfcbape, that upon 
 his return to France, he had the /;o?2or of being 
 the /?r/2 who was made <%elor of the (Royal Acade- 
 my of Painting and Sculpture at Paris. He fpent 
 two years alfo ift Sweden, where he was very well 
 efteem'd, and nobly prefented by that great <Pa- 
 trone/? of Arts and Sciences, Qijeen Chriftina. He^g*^ 
 died, ^/wo 1 675. 
 
 jO^pANO, was born in N*pfe*, 
 and by his Studies under ?(>tro da Cortona 
 at (^owe, joyn'd with his continu'd Application to all 
 the noble Remains of Antiquity, became one of the 
 beftaccomplifh'd,and mod univerfal Majlers in his 
 time. He was wonderfully skuTd in the practical 
 part of Defining, and from his incredible Facility, 
 and prodigious Difpatcb, was call'd by his Fellow- 
 Painters, Luca fa Prefto. He was befidcs very 
 happy in imitating the different Styles of other 
 great Men, and particularly follow'd the manner 
 of Titian, Bajfan, Tmtoret, Guido, &c. fo clofe 
 in feveral of his Pieces, that it is not the talent of 
 every Pretender to Painting, to diftinguifli them 
 from Originals of thofe Hands. He was famous 
 
 Yy for
 
 Modern Mafters. 
 
 for his many excellent Performances in <%ome and 
 Florence: And being continually imploy'd in 
 workjng for Evinces, and People of the y?;y? Quality 
 all over Europe, grew fo vaftly nc/;, that at his re- 
 turn to Naples j he purchased a T>utcby in that //- 
 Jow, marry'd and liv'd fplendidly, kept a noble 
 Palace, and a numerous Detinue y with Coaches, Lit- 
 ters, and all other imaginable Stafe. Being grown 
 Old, he was earneftly prefs'd by the Viceroy to go 
 over into Spain, and ferve the f(ing his Mafter : 
 He had no fancy for the Voyage, and therefore rais'd 
 his Terms very high : was not content with twen- 
 ty tboufand Crowns paid him down, and the Gol- 
 den f(ey given him, as Groom of the {Bed-dumber ; 
 but befides, having heard, that by the Statutes 
 of St. Jagp, and the other Military Orders of Spain, 
 itwasexprefly^yol>j'<k/, that no <Pa'mter flhould be 
 admitted into any of them, becaufe their tprofejfion 
 was generally look'd upon as Mechanic ; he re- 
 folv'd, for the Honour of his Art, not to ftir a 
 foot, till he himfelf was firft made a Height of 
 St. Jagp, and his two Sons l^ntgUs of Alcantara, 
 and CalatraVa. All which being granted, he fet 
 out for Madrid, where he was received very kind- 
 ly by the IQng, and having adorn d the grand 
 Stair-cafe of the Efcurial, with the Story of the <Bat- 
 tel of St. guintin, (which is perhaps one of the beft 
 
 things
 
 Modern Makers. 
 
 things in its kind, that has been any where perform'd 
 in this Age) he fell to work upon the great Church 
 belonging to that Palace 5 but the Climate being 
 too fevere for his Conftitution of Body, and his 
 Mind not fo well fatisfy'd as at Naples, he ftckned 
 and died in the Winter of the year 1 694. 
 
 In the fame year died FILIPPO LAU^O, a 
 Mafter equal to him in all refpe&s, excepting one- 
 ly that by confining himfelf to fmall Figures, and 
 Hiftories in little, he contracted his admirable Ta- 
 lent into a narrower Compafs. He liv'd for the 
 moft part in tf^ome; and was highly valu'd for 
 the Q(icbes of his Fancy, &nd the Accuracy of fas Judg- 
 ment-, for the Elegance of his Out-lines, and the 
 Propriety of his Colouring ; and for the graceful 
 Freedom of his. Pencil, in all his Comfofaions. 
 
 JOHN gjJLEY, born in the City of 
 Anno 1 646, was inftrufted in the firft Rudi- 
 merits of Painting by Mr. Zoujl and Mr. Putter^ 
 but left them whilft he was very Young, and 
 began to pra&ife after the Life : yet accjuir'd no 
 great Deputation, till upon the death of Sir Pe- 
 ter Ltly, his Friends being defirous that he fliould 
 fuccecd that excellent Mafter in the favour of 
 King Charles II. ingag'd Mr. Chffinch to fit to 
 
 Y y 2 him
 
 348 Modern Mafters. 
 
 him for his <Piture 3 which he performed fo well, 
 that the I\jng, upon fight of it, fent for him, and 
 having imploy'd him in drawing the Duke of Graf - 
 tons Portrait, and foon after his own, took him into 
 his Service, honoured him with feveral obliging 
 Teflimonies of his Efteem, and withal gave this 
 Character of his Worfo, that he painted both Infide and 
 Outfede. Upon the Acceflion of K. William and 
 Q^ Mary to the Crown, he was fworn their Ma- 
 jefties Principal Taint er 3 which place he had not in- 
 joy'd in the preceding ^eign, tho' K. James and 
 his Queen were both pleas' d to be drawn by his Hand. 
 He was very diligent in the Imitation of Nature ; 
 and by ftudying the Life, rather than following 
 any particular manner, attained a pleafant and 
 moft agreeable Style of fainting. But that which 
 eminently diftinguifli'd him from all his Contem- 
 poraries , was his peculiar Excellence in a Head, 
 and efpecially in the Colouring part ; wherein fome 
 of his Prices were fo very extraordinary, that Mr. 
 Gfyley himfelf was the onely Terfon who was not 
 charrn'd with them. He was a Gentleman ex- 
 tremely courteous in his Behaviour, obliging in his 
 Conversation, and prudent in all his Aftions. He 
 was a dutiful Son, an aflfe&ionate Brother, a kind 
 Mafter, and a faithful Friend. He never was 
 guilty of a piece of Vanity (too common amongft 
 
 Artifis)
 
 Modern Maflers. * 
 
 Anifts) of faying mighty things on his own behalf, 
 but contented himfelf with letting his Works 
 {peak for him ; wUcb being plentifully difpers'd 
 over other Nations as well as our own, were in- 
 deed everywhere very Eloquent in his Commendati- 
 on. He had for feveral years been violently 
 perfecuted by the Gout j which after many ter- 
 rible Affaults, flying up at laft into his Head, 
 brought him to his Grave, Anno 1691, exceed- 
 ingly lamented by all fuch as had the happinefs 
 of being acquainted either with his Terfon or his Aft. 4 c, 
 Work. 
 
 FINIS.
 
 ( 350 ) 
 
 ancient flatters 
 
 Contain'd in the preceding 
 
 A. 
 
 
 Cleophanttts. 
 
 234 
 
 
 pag. 
 
 Cornelius finus. 
 
 250 
 
 ACtius Trifcus. 
 Amphion. 
 
 M 
 
 Crato. 
 Cydm. 
 
 2-33 
 242 
 
 Antidotus. 
 
 246 
 
 
 
 Apelles. 
 
 241 
 
 D. 
 
 
 Apollodoruf. 
 
 257 
 
 Dinias. 
 
 134 
 
 Ardices. 
 
 ^33 
 
 
 
 Arellms. 
 
 2fO 
 
 E. 
 
 
 Ariftides. 
 
 245 
 
 Euchir. 
 
 233 
 
 Afcleptodorus. 
 
 ib. 
 
 Eumarus. 
 
 234 
 
 Athenion. 
 
 247 
 
 Euphranor. 
 
 241 
 
 
 
 Eupompiu. 
 
 240 
 
 B. 
 
 
 
 
 Bularckus. 
 
 235 
 
 F. 
 
 
 
 
 Falius Pid;or. 
 
 248 
 
 C. 
 
 
 
 
 Charmas. 
 
 234 
 
 H. 
 
 
 Cimon. 
 
 234 
 
 Hygiemon. 
 
 234 
 
 Clcanthes. 
 
 2 33 
 

 
 Ancient Mafters. 
 
 L. 
 
 
 Pkilocles. 
 
 2 '33 
 
 Ludius. 
 
 25*0 
 
 Polignotus Athenienfis 
 
 2-3? 
 
 
 
 Thafius. 
 
 237 
 
 M. 
 
 
 Poljcletus. 
 
 23^ 
 
 Marcus Pacuvius. 
 
 249 
 
 Praxiteles. 
 
 242 
 
 Melantkius. 
 
 244 
 
 Protogenes. 
 
 243 
 
 Metrodorus. 
 
 249 
 
 Pyre'icus. 
 
 246 
 
 Myron. 
 
 *37 
 
 
 
 
 
 S. 
 
 
 N. 
 
 
 Saunas. 
 
 2-33 
 
 Nea/cesl 
 
 248 
 
 Scopas. 
 
 
 tficias. 
 
 247 
 
 
 
 Uicomackus. 
 
 246 
 
 T. 
 
 
 Nicopbanes. 
 
 ib. 
 
 Telepkanes. 
 
 2 '33 
 
 
 
 Tkeomneflus. 
 
 24^ 
 
 P. 
 
 
 Tirnantkes. 
 
 240 
 
 Pampkilus. 
 
 240 
 
 Timomackus. 
 
 24? 
 
 Pananus. 
 
 235 
 
 Turpilius* 
 
 250 
 
 Parrkafius. 
 
 239 
 
 
 
 Paujias. 
 
 241 
 
 z. 
 
 
 Phidias. 
 
 2-3^ 
 
 Zettxis, 
 
 238 
 
 Mf 
 
 351 -
 
 ( 352 ) 
 
 $tofcet Blatters. 
 
 ~ ^ 
 
 A. 
 
 /JLlani. 
 
 Albert Durer. 
 fMantegna. 
 I Sacchi. 
 I del Sarto. 
 Schiavone. 
 Taffi. 
 
 \Verrocchio. 
 Annilale Carracci. 
 Antonetto da Meffina 
 Carracci. 
 
 Andrea*. 
 
 Tempefta. 
 Artemifia Gentilefchi. 
 Agoftino Carracci. 
 
 B. 
 
 Badalocchi (Sifto.) 
 Bandinelli (Baccio.) 
 Bambcccio. 
 Barocci (Frederico.) 
 Bartolomeo (Fra.) 
 
 314 
 173 
 
 X97 
 163 
 
 Baffano 
 
 Francefco. 
 
 ^iacomo. 
 
 Gio. Battifta. 
 
 1 Girolamo. 
 
 Leandro. 
 
 291 
 
 289 
 291 
 
 ib. 
 
 ib. 
 
 Battaglie (M. Angelo.)3 34 
 Battifta Franco. 277 
 
 357 
 ib. 
 
 LCaftiglione. 332 
 Bordone (Paris.) 294 
 
 Borgognone. 342 
 
 Bourdon (_Sebaftian.) 345 
 Brueghel (Fluweelen.) 315 
 
 Brouwer. 
 Buonaroti (M. 
 
 337 
 
 C. 
 
 Benedetto. 
 Carlo. 
 Gabrielle. 
 Paolo. 
 Catnillo Procaccini. 
 
 Caliari 
 
 301 
 300 
 ib. 
 299 
 310
 
 
 Carraccu 
 
 CampidoglioQA- Angdo.)3 4 i 
 Cart Antonio Procaccini.$ ro 
 Annibale. 308 
 I Antonio. 309 
 (Agoftino. 306 
 Lodovico. ib. 
 .) J i 3 
 
 Caftiglione (Benedetto.) 3jx 
 Cimalue. Xf3 
 
 Claudio GiUe (Lorain.) 334 
 
 164 
 
 Modern Mafters. 
 
 ALlani. 
 Barlieri. 
 Baffano. 
 Francia. 
 
 Correggio. 
 
 D. 
 
 Daniele da Volt err a. 188 
 
 Dilfon. 339 
 
 Domenichino. 3x1 
 
 r/%tf. 303 
 
 Dotnenico\ Ghirlandaio. 261 
 \Jintoretto. 193 
 
 337 
 (Albert.) 163 
 
 Procaccini. 311 
 
 F. 
 
 F^/ (Domenico.) 
 Faritiato (Paola) 
 
 Francefco< 
 
 310 
 
 32-7 
 191 
 
 Mazzuoli. 
 
 Primaticcio. 
 
 Salviati. 
 
 188 
 311 
 
 Franco (Battifla.) %n 
 
 301 
 Frefnoy (Q Alphonfe.) 31 ^ 
 
 G. 
 
 .("Gaddo. 
 \Taddeo. 
 Gafparo PouJJj*. 
 
 ib. 
 
 Giorgiotte. 
 Giorgio Vafari. 
 
 166 
 194 
 
 BaJJano. 189 
 
 6 ^ om ^ifaPuntormo^ 7$ 
 Tintoretto. 191 
 to. Battijla Baffano. 191 
 Rilera. 
 
 Giofeppino. 
 Giottino. 
 Giotto. 
 2z 
 
 156 
 
 353
 
 354 
 
 Modern Mafttrs 
 
 Girolamo Bajjano. 
 
 291 
 
 Giulio Cefare Procaccini. 310 
 Clwio. 
 
 Guercino da Cento. 
 Gutdo Rent. 
 
 H. 
 Hans Holfain. 
 
 I. 
 
 John of Bruges. 
 Jordano (Luca.) 
 
 L. 
 
 Lanfranco. 
 Laaro (Filippo.) 
 LeanJro Baffano. 
 Lely (Sir PeterJ 
 Leonardo da Vinci. 
 Lodovico Carracci. 
 dano. 
 
 Lucas van Ley den. 
 
 M 
 
 Mantegna (Andrea.) 
 Margaritone, 
 Marietta Tintoretta. 
 Mario di Fiori. 
 Mafaccio. 
 Matthew Bril. 
 
 274 
 
 345 
 
 324 
 347 
 
 343 
 
 260 
 
 259 
 
 2-77 
 
 293 
 
 334 
 
 257 
 
 C deUe Battaglie.$ 34 
 Michel* jBuonoroti. 165 
 angelo jdi Campidoglio.^i 
 
 (da Caravaggio. 313: 
 More (Antonio.} 295, 
 
 N. 
 
 ' Ailate. 181, 
 Pu/tno. 328 
 
 O. 
 
 Bordone. 
 Parmegiane. 
 
 e. 
 
 Paul Bril. 
 Pierino delfaga. 
 Pietervan Laer. 
 
 da Cortona. 
 
 Ligorio. 
 Poelenlurch. 
 Polidoro. 
 Pordenone. 
 Primaticcio, 
 
 294 
 
 286 
 
 299 
 
 *J 
 285- 
 
 32($ ; 
 
 3^ 
 
 ft s 
 
 Perugtno. 201 
 
 289 
 32^ 
 279 
 271 
 
 282 
 Pro-.
 
 CCamillo. 310 
 
 Proeac-jQaxY Antonio, ilx 
 
 cini }Ercole. 311 
 
 CGiulioCdare.3io 
 Puntormo (Giacomo.) 175- 
 
 Modern Mafterx . 355 
 
 Spagnoletto (Ribera.) 313 
 Spraughcr. 303 
 
 Q. 
 
 Qulntin Matfys. 
 
 R. 
 
 RafaeOedaVrlit*. . 
 
 RicctarcBi (Daniele.) 
 
 Riley (John.) 
 
 Rotenhamer. 
 
 JRofo. 
 
 Rulens. 
 
 Saccki (Andrea.) 
 Sahator Rofa. 
 
 . fFrancefco. 
 
 iS^r/t? (Andrea 
 Sckiavone (Andrea.) 
 Selaftian Bourdon 
 Selaftiano del Piomlo. 
 Signorefo [Luca.*) 
 Simone Memmt. 
 Sifto Badaloccki 
 Snyders. 
 
 70 
 
 ^8o 
 3*7 
 
 1 
 301 
 
 196 
 345 
 
 155 
 314 
 
 T. 
 
 Taddeo Zucckero. 
 faffi (Andrea.) 
 Temptfta (Antonio.) 
 fefa (Pietro.} 
 Tinteretta 
 
 Titiano* 
 
 v; 
 
 298 
 
 319: 
 
 192. 
 
 31 
 Vanni (Tranccfco.) 311 
 
 ? (Giorgio.) 294 
 "iovannidaj 176 
 
 159 
 160 
 
 Veronefs (Paolo.) 
 Verrocchio fAndrea*) 
 Vinci (Leonardo da.) 
 Viola. 
 Viviano. 
 fVtoraCDanieleda). i8 
 
 Fouet (Simon.) 
 
 Z. 
 
 Zampieri CDomcnico.) 
 
 3M 
 
 301 
 198 
 
 E I N I S.,
 
 ERRATA 
 
 Page 
 
 Line 
 
 Inftead of 
 
 Read. 
 
 vij 
 
 21 
 
 JSamhwo. 
 
 Bamboccio. 
 
 7 
 
 7 
 
 libcrataifr 
 
 librntAOi 
 
 21 
 
 Marg 
 
 pofiturorum* 
 
 fojttitrartmt. 
 
 4 1 
 
 18 
 
 tranflftent. 
 
 tranflncent. 
 
 98 
 
 7 
 
 $ i/r. rule. 
 
 6oth. Rule. 
 
 f 10 
 
 ib. 
 
 21 
 
 Negle&ing the Copiers, 
 reltaion. 
 
 The Copiers neglefting. 
 relation. 
 
 110 
 
 14 
 
 43< Precept. 
 
 13^. Precept. 
 
 128 
 
 '9 
 
 indifhabile. 
 
 en dijkabillce. 
 
 136 
 
 161 
 
 II 
 
 2 
 
 4//>. Precept, 
 it comprehends. 
 
 41)?. Precept, 
 comprehends* 
 
 219 
 
 11 
 
 his Brothers. 
 
 his Sons. 
 
 221 
 
 21 
 
 gentlenefs. 
 
 gentileneis. 
 
 237 
 
 14 
 
 great. 
 
 general* 
 
 254 
 
 12 
 
 Bcncdift IX* 
 
 Bcncdi& XI. 
 
 315 
 
 5J C tg *' 
 
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