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SUPPLEMENT 
 
 TO T H » 
 
 Hon. HORACE WALPOLE's 
 
 Anecdotes of Painters and Engravers. 
 
TTIO - Jl ASKEliF EI L D EA.S 
 
SIE JOSPUA EEYNOLlDSo 
 
THE 
 
 WORKS 
 
 O F 
 
 JONATHAN RICHARDSON. 
 
 CONTAINING 
 
 I. THE THEORY OF PAINTING. 
 
 II. ESSAY ON THE ART OF CRITICISM, 
 
 (So far as it relates to Painting). 
 
 TIL THE SCIENCE OF A CONNOISSEUR. 
 
 A NEW EDITION, correaed, with the Additions of 
 An ESSAY on the Knowledge of Prints, and Cautions to Collectors. 
 Ornamented with Portraits by WORLIDGE, &c. of the moft eminent Painters mentioned. 
 
 Dedicated, by Permiffion, to Sir JOSHUA REYNOLDS. 
 The Whole intended as a Supplement to the Anecdotes of Painters and Engravers. 
 
 Sold by T. and J. Egerton, Whitehall; J. DEBRfirr, Piccadilly; R. Favlder, and 
 W. Miller, Nenu Bond-Street; J. Cuthell, MiddU-Rouu, Hoi born ; J. Barker, 
 RuJ/ilUCourff and E, Jeffery, Pall-Mali. 1792. 
 
T O 
 
 Sir JOSHUA REYNOLDS, 
 
 Prefident of the Royal Academy, and Fellow of the Royal Society. 
 
 SIR, 
 
 A New and improved Edition of the Works 
 of JONATHAN RICHARDSON cannot be infcribed with 
 fo much Propriety to any Body as to you. 
 
 m 
 
 The Author has in his Theory of Painting dif- 
 courfed with great Judgment on the Excellencies of this 
 divine Art, and recommended the Study of it with sl 
 Warmth approaching to Enthufiafm. His Ideas are noble, 
 and his Obfervatlons learned. I am emboldened to fay this 
 from a Converfation which I had the Honour to have with 
 you on this fubjed. 
 
 Had 
 
DEDICATION. 
 
 Had RICHARDSON lived to fee the initn'itable Pro- 
 dudlions of your Pencil, he would have congratulated his 
 Country on the Profpedl of a School of Painting likely to 
 contend fuccefsfully with thofe of Italy. 
 
 At the fame Time he would have confelTed that your 
 admirable Difcourfes would have rendered his own Writ- 
 ings lefs neceflary. 
 
 I am, with the greatefl: Refped, 
 SIR, 
 
 Your moft obedient and obliged 
 Humble Servant, 
 
 May 4, 177J. 
 
 The EDITOR. 
 
C 0 N T E N 
 
 - 
 
 T S, 
 
 
 r-p 
 
 1 HEORY of Painting 
 
 
 Page. 
 
 
 5 
 
 Of Invention — 
 
 — 
 
 21 
 
 Of Expreflion 
 
 • — 
 
 39 
 
 Of Compofition — 
 
 — 
 
 52 
 
 Of Defign or Drawing — 
 
 — 
 
 60 
 
 Of Colouring — ■ 
 
 — > 
 
 65 
 
 Of Handling — 
 
 — 
 
 69 
 
 Of Grace and Greatnefs — 
 
 — 
 
 72 
 
 Of the Sublime — 
 
 — 
 
 96 
 
 The Connoiffeur — 
 
 — — 
 
 102 
 
 The Art of Criticifm — 
 
 
 105 
 
 Of the Goodnefs of a Pi6lure 
 
 — 
 
 106 
 
 Scale of Perfeftion — 
 
 — - 
 
 129 
 
 Knowledge of Hands — - 
 
 
 139 
 
 Of Originals and Copies — 
 
 
 156 
 
 Of the Science of a Connoiffeur 
 
 
 172 
 
 Effay on Prints — 
 
 
 262 
 
 Of Mailers in Hiftory — 
 
 
 262 
 
 Of 
 
CONTENTS. 
 
 . Page. 
 
 Of Mafters in Portrait — — 264 
 
 Of Mafters in Animal Life — 266 
 
 Of Mafters in Landfcape — — 269 
 
 Cautions to Colle6lors — — 275 
 
 Table of the moft eminent Painters 284 
 
 DireBions to the Binder. 
 
 Sir Jofliua Reynolds 
 
 to face the end of Dedication. 
 
 RafFaelle 
 
 
 Page 18 
 
 Corregio 
 
 
 46 
 
 Rubens 
 
 
 68 
 
 Salvator Rofa 
 
 
 87 
 
 Vandyke 
 
 
 124 
 
 Pouffin 
 
 
 13a 
 
 Cortona 
 
 
 142 
 
 Davinci 
 
 
 164 
 
 Holbein 
 
 
 202 
 
 Lncca Giordano 
 
 
 203 
 
 Rembrandt 
 
 
 264 
 
 THE 
 
T FI E 
 
 THEORY OF PAINTING. 
 
 Because pidures are univcrfally delightful, and accoi'dingly 
 make one part of our ornamental furniture, many, I believe, con- 
 fiJer the art of Painting but as a pleafing fuperfluity ; at beft, that 
 it holds but a low rank with refpe6t to its ufefulnefs to mankind. 
 
 If there were in realty no more in it than an innocent amufe- 
 ment; if it were only one of thofe fweets that the Divine Providence 
 has beflowed on us, to render the good of our prcfent being fuperior 
 to the evil of it ; or whether it be or no, to render life fomewhat 
 more eligible, it ought to be confidered as a bounty from Heaven, 
 and to hold a place in our efteem accordingly. Pleafure, however 
 it be depreciated, is what we all eagerly and inceffanily purfue ; and 
 when innocent, and confequenlly a divine benefaftion, is to be 
 confidered in that view, and as an ingredient in human life, which 
 the Supreme Wifdom has judged necefl'ary. 
 
 Painting is that pleafant, innocent amufement, and as fuch it 
 holds its place amongft our enjoyments. But it is more; it is of 
 great ufe, as being one of the means whereby we convey our ideas 
 to each other, and which, in fome refpeds, has the advantage of 
 all the reft. And thus it muft be ranked with thefe, and accord- 
 ingly efteemed not only as an enjoyment, but as another language, 
 which completes the whole art of communicating our thoughts, 
 
 B one 
 
( 6 ) 
 
 one of ihofe particulars which raifes the dignity of human nature Co 
 much above the brutes ; and which is the more confiderable, as 
 being a gift beftowed but upon a few even of our own fpecies. 
 
 Words paint to the imagination, but every man forms the thing 
 to himfeif in his own way; language is very imperfeft : there are 
 innumerable colours and figures fo'r which we have no name, and 
 an infinity of other ideas which have no certain words univerfally 
 agreed upon as denoting them : whereas the painter can convey 
 his ideas of thefe things clearly, and without ambiguity; and what 
 he fays every one underftands in the fenfe he intends it. 
 
 And this is a language that is univerfal ; men of all nations hear 
 the poet, moralift, hiftorian, divine, or whatever other charafter 
 the painter affumes, fpeaking to them in their own mother tongue. 
 
 Painting has another advantage over words, and that is, it pours 
 ideas into our minds, words only drop them. The whole fcene 
 opens at one view, whereas the other way lifts up the curtain by 
 little and little. We fee (for example) the fine profpefl at Con- 
 flaniinople, an eruption of Mount Mtna, the death of Socrates, the 
 battle of Blenheim, the perfon of King Charles I. &c. in an inftant. 
 
 The Theatre gives us reprefentations of things different from 
 both thefe, and a kind of compofition of both : there we fee a 
 fort of moving, fpeaking piflures, but thefe are tranfient; whereas 
 Painting remains, and is always at hand. And what is more 
 confiderable, the ftage never reprefents things truly, efpecially if 
 the fcene be remote, and the ftory ancient. A man that is ac- 
 quainted with the habits and cuftoms of antiquity, comes to revive 
 or improve his ideas relating to the misfortune of CEdipus, or the 
 death of Julius Casfar, and finds a fort of fantaftical creatures, the 
 like of which he never met with in any ftatue, bas-relief, or medal; 
 his juft notions of thefe things are all contradicted and difturbed. 
 But Painting fliews us thefe brave people as they were in their own 
 genuine greatnefs, and noble fimplicity. 
 
 The 
 
( 7 ) 
 
 The plcafure that Painting, as a dumb art, gives us, is like what we 
 have from mufic ; its beautiful forms, colours and harmony, are to 
 the eye what founds, and the harmony of that kind are to the ear ; and 
 in both wc arc delighted in obferving the flcill of the artift in propor- 
 tion to it, and our own judgment to difcover it. It is this beauty 
 and harmony which gives us fo much pleafure at the fight of natural 
 piClures, a profpetl;, a fine flcy, a garden, &c. and the copies of 
 thelc, which renew the ideas of them, are confcquently pleafant: 
 thus we fee Spring, Summer, and Autumn, in the depth of Winter; 
 and froR and fnow, if we pleafc, wiien the Dog-flar rages. By the 
 help of this art we have the pleafure of feeing a vaft variety of things 
 and aftions, of travelling by land or water, of knowing the humours 
 of low life without mixing with it, of viewing tempefts, battles, 
 inundations ; and in fliort, of all real, or imagined appearances 
 in heaven, earth, or hell ; and this as we fit at our eafc, and caft 
 our eye round a room : we may ramble M'ith delight from one 
 idea to another, or fix upon any as wc pleafe. Nor do we barely 
 fee this variety of natural objeds, but in good piftures we always 
 fee nature improved, or at lead the beft choice of it. We thus 
 have nobler and finer ideas of men, animals, landfcapes, &c. than 
 we fliould perhaps have ever had. We fee particular accidents and 
 beauties which are rarely, or never feen by us; and this is no in- 
 confiderable addition to the plcafure. 
 
 And thus we fee the perfons and faces of famous men, the ori- 
 ginals of which are out of our reach, as being gone down with the 
 ftream of time, or in diftant places : and thus too we fee our rela- 
 tives and friends, whether living or dead, as they have been in 
 all the ftages of life. In piQure we never die, never decay, or 
 grow older. 
 
 But when we come to confider this art as it informs the mind, its 
 merit is raifed ; it flill gives pleafure, but it is not merely fuch. 
 The painter now is not only what a wife orator who is a beautiful 
 
 B 2 perfon, 
 
( 8 ) 
 
 perfon, and has a graceful aGion, is to a deaf man, but v.'hat fucb 
 a one is to an underftanding audience. 
 
 And thus Painting not only fhcws us how things appear, but tells 
 us what they are. We are informed of countries, habits, nian- 
 rers, arms, buildings civil and military, animals, plants, minerals, 
 iheir natures and properties ; and in fine, of all kinds of bodies 
 whatfoever. 
 
 This art is moreover fubfervient to many oiher ufcful fciences ; 
 it gives the architeft his models; to phyficians and furgeons, the 
 texture and forms of all the parts of human bodies, and of all the 
 phcEnomena of nature. A\\ mechanics ftand in need of it. But it is 
 not neceffary to enlarge here the many explanatory prints in books, 
 and without which, thofe books would in a great mcafure be unin- 
 telligible, fufficiently fliew the ufefulnefs of this art to mankind. 
 
 I pretend not to go regularly through all particulars, or here, or 
 elfewhere, throughout this whole undertaking, to fay all that is to 
 be faid on the fubjefl ; I write as the fcraps of time I can allow 
 myfelf to employ this way will permit me ; and 1 write for my own 
 diverfion, and my fon's improvement (who well deferves all the 
 affiftance I can give, though he needs it as little as moft young 
 men J to whom I mufl; do this further juftice, as to own that I am 
 beholden to him, in my turn, for fome confiderable hints in this un- 
 dertaking.) And if, moreover, what I write may hereafter happen 
 to be of ufe to any body elfe ; whether it be to put a lover of art 
 in a method to judge of a pi£lure (and which in moft things a gen- 
 tleman may do altogether as well as a painter) or to awaken fome 
 ufeful hints in fome of my own profeflion ; at leaft to perfuade fuch 
 to do no difhonour to it by a low or vicious behaviour; if thefe 
 confequences happen, it will be a fatisfaftion to me over and above. 
 But to return, and to come to what is moft material. 
 
 Painting gives us not only the perfons, but the charaflers of great 
 men. The air of the head, and the raein in general, gives ftrong 
 
 indications 
 
( 9 ) 
 
 indications of the mind, and illuftrates what the liiflorian fays more 
 expreH-ly and particularly. Let a man read a characlcr in my Lord 
 Clarendon (and certainly never was there a better painter in that 
 kind) he will lind it improved, by feeing a picture of the fame pcr- 
 foii by Van Dyck. Painting relates the hiftories of pall: and prci'ent 
 times, the fables of the poets, the allegories of moralills, and the 
 good things of religion : and confcquently a picture, befides its 
 being a pleafant ornament, is ufeful to inftruB and improve our 
 minds, and to excite proper feniimcnts and refieftions, as a hiftory, 
 a poem, a book of ethics, or divinity : the truth is, th.ey mu- 
 tually afiift one another. 
 
 By reading, or difcourfe, we learn fome particulars which we 
 cannot have otherwife; and by Painting we are taught to form ideas 
 of what we read ; we fee thofe things as the painter faw them, or 
 lias improved them, with much care and application ; and if he be 
 a Rafaelle, a Giulio Romano, or fome fuch great genius, we fee 
 them better than any one of an inferior chara6ter can, or even than 
 one of their equals, without that degree of refleftion they had made, 
 pofTibly could. After having read Milton, one fees nature with 
 better eyes than before ; beauties appear, which elfe had been un- 
 regarded : fo by converfing with the works of the belt maflers in 
 Painting, one forms better images whilft we are reading or think- 
 ing. I fee the divine airs of Rafaelle when I read any hiftory of 
 our Saviour, or the Bleffed Virgin; and the awful ones he gives an 
 apoftlc when I read of their a6lions, and conceive of thofe a6lionSj 
 that he and other great men defcribe in a nobler manner than other- 
 wife I fliould ever have done. When I think of the great adion of 
 the Decii, or the three hundred Lacedemonians at Thermopylae, I 
 fee them with fuch faces and attitudes, as Michelangelo or Giulio 
 Romano would have given them; and Venus and the Graces 1 fee 
 of the hand of Parmeggiano ; and fo of other fubjefls. 
 
 And 
 
C ) 
 
 And if my ideas are raifed, the fentirnents excited in my mind 
 \vill be proportionably improved. So that fiippofing two men per- 
 fe81y equal in all other refpeQs, only one is convcrfant with the works 
 of the bed mailers (well chofen as to their fubjefls) and the other 
 not; the former (hall necefTarily gain the afcendant, and have nobler 
 ideas, more love to his country, more moral virtue, more faith, 
 more piety and devotion than the other ; he fiiall be a more inge- 
 nious, and a better man. 
 
 To come to portraits; the piQure of an abfent relation, or friend, 
 helps to keep up thofe fentirnents which frequently languifh by ab- 
 fence, and may be inftrumental to maintain, and fometimes to aug- 
 ment friendfliip, and paternal, filial, and conjugal love, and duty. 
 
 Upon the fight of a portrait, the charafter, and mafter-llrokes of 
 the hiftory of the perfon it reprefents, are apt to flow in upon the 
 mind, and to be the fubjeft of converfation : fo that to fit for one's 
 piflure, is to have an abftra6l of one's life written and publifiied, 
 and ourfelves thus configned over to honour or infamy. I know 
 not what influence this has, or may have, but methinks it is rational 
 to believe, that pi6lures of this kind are fubfervient to virtue ; that 
 - men are excited to imitate the good aCtions, and perfuaded to fliun 
 the vices of thofe whofe examples are thus let before them ; ufeful 
 hints mull certainly be frequently given, and frequently improved 
 into praftice. And why fhould we not alfo believe, that coniidering 
 the violent thirft of praife which is natural, efpecially in the noblefl 
 minds, and the better fort of people, they that fee their pi6lures are 
 fet up as monuments of good or evil fame, are often fecretly ad- 
 moniflied by the faiihful friend in their own breafts, to add new 
 graces to them by praife-worthy aflions, and to avoid blemiflies, or 
 deface what may have happened, as much as poffible, by a future 
 good conduft. A flattering mercenary hand may reprefent my 
 face with a youth, or beauty, which belongs not to me, and which 
 I am not one jot the younger, or the handlbmer for, though I may 
 
 be 
 
( ^1 } 
 
 be a jufl fubje6l of ridicule for defiring, or fuffering fuch flattery: 
 but I myfelf muft lay on the moft durable colours, my own condu£l 
 gives tiic boldefl: ftrokcs of beauty, or deformity. 
 
 i will add but one article more in praife of this noble, delightful, 
 and ufcful art, and that is this : the trcafure of a nation confids in 
 the pure produftions of nature, or thofe managed, or put together, 
 and improved by art : now there is no artificer whatfoever that 
 produces fo valuable a thing from fuch inconfiderable materials of 
 nature's furnifliing, as the painter, putting the time (for that alfo 
 muft be confidered as one of thofe materials) into the account : it 
 is next to creation. This nation is many thoufands of pounds the 
 richer for Van Dyck's hand, and which is as current money as gold 
 in moft parts of Europe, and this with an inconfiderable expcnce 
 of the produ6lions of nature ; what a treafure then have all the 
 great matters here, and elfewhere given to the world ! 
 
 It is nothing to the purpofe to fay, by way of obje6lion to all 
 this, that the art has alfo been fubfervient to impiety, and immo- 
 rality ; I own it has ; but am fpeaking of the thing itfclf, and not 
 the abufe of it : a misfortune to it in common with other excellent 
 things of all kinds, poetry, mufic, learning, religion, &c. 
 
 Thus painters, as well as hiftorians, poets, philofophers, divines, 
 Sec. confpire in their feveral ways to be ferviceable to mankind ; 
 but not with an equal degree of merit, if that merit is to be 
 eftimated according to the talents requifite to excel in any of thefe 
 profefTions. 
 
 But, by the way, it is not every piflure-maker that ought to be 
 called a painter, as every rhymer, or Grub-ftreet tale-writer is not a 
 poet, or hiftorian : a painter ought to be a title of dignity, and under- 
 ftood to imply a perfon endued with fuch excellencies of mind, and 
 body, as have ever been the foundations of honour amongft men. 
 
 He that paints a hiftory well, muft be able to write it; he muft 
 be thoroughly informed of all things relating to it, and conceive it 
 
 clearly, 
 
( 12 ) 
 
 clearly, and nobly in his mind, or he can never exprefs it upon the 
 canvals : he mufl have a folid judgment, with a lively imagination, 
 iind know what figures, and what incidents ought to be brought in, 
 ;ind what every one fiiould fay, and think, A painter, therefore, of 
 this clafs niufl; poffefs all the good qualities requifite to an hiftorian ; 
 iinlefs it be language, which however feldom fails of being beautiful, 
 when the thing is clearly, and well conceived. But this is not 
 fufficient to him, he mufl: moreover know the forms of the arms, 
 ■the habits, cufl;oms, buildings, &c. of the age, and country, in 
 which the thing was tranfafted, more exadly than the other needs to 
 know them. And as his bufincfs is not to write the Hifl;ory of a 
 few years, or of one age, or country, but of all ages, and all nations, 
 as occafion offers, he mufl: have a proportionable fund of ancient, 
 and modern learning of all kinds. 
 
 As to paint a hift:ory, a man ought to have the main qualities of 
 a good hifl;orian, and fomething more ; he mufl yet go higher, and 
 have the talents requifite to a good poet ; the rules for the con- 
 du6t of a picture being n)uch the fame with thofe to be obferved in 
 writing a poem ; and Painting, as well as poetry, requiring an ele- 
 vation of genius beyond what pure hiftorical narration does; the 
 painter mufl imagine his figures to think, fpeak, and a6l, as a poet 
 fliould do in a tragedy, or epic poem ; efpecially if his fubjeft be a 
 fable, or an allegory. If a poet has, moreover, the care of the 
 di£\ion and verfification, the painter has a tafl; perhaps at leafl: equi- 
 valent to that, after he has well conceived the thing over and above 
 what is merely mechanical, and other particulars, which fhall be 
 fpoken to prefently, and that is, the knowledge of the nature and 
 effeds of colours, lights, fliadows, reflexions, &c. And as his bufinefs 
 is not to compofe one Iliad, or one JEneid only, but perhaps many, 
 he muR be furnifhed with a vatl flock of poetical, as well as hif- 
 torical learning. 
 
 Be fides 
 
( 13 ) 
 
 Befides all this, it is abfolutely necelFary to a hiftory-painter tluu 
 he undcrftand anatomy, ofteology, geometry, perfpcQive, archi- 
 teflure, and many other fciences which the hiftorian or poet has 
 little occafion to know. 
 
 He muft, moreover, not only fee, but thoroughly ftudy the works 
 of the mod excellent mailers in painting and fculpture, ancient 
 and modern ; for though fome few have gone vaft lengths in the 
 art by the ftrength of their own genius, without foreign affiftance, 
 thefe are prodigies, the like fuccefs is not ordinarily to be expefted; 
 nor have even thefe done with the advantages the ftudy of other 
 mens works would have given them. I leave Vafari and Bellori 
 to difpute whether Rafaelle was beholden to Michaclangelo's works 
 for the greatnefs of his flyle, but that he improved upon his coming 
 to Rome, and made advantages from what he faw there is incon- 
 teftable. Nor am I certain that Coreggio faw the St. Cecilia of 
 Rafaelle at Bologna, as has been aflerted, but that he would have 
 been the better for it if he had feen that, and other works of that 
 mafter, I can eafily believe. 
 
 To be a good face-painter, a degree of the hiftorical and poetical 
 genius is requifite, and a great meafure of the other talents and 
 advantages which a good hiftory-painter muft pofTefs. Nay fome of 
 them, particularly colouring, he ought to have in greater perfedion 
 than is abfolutely neceifary for a hiftory-painter. 
 
 It is not enough to make a tame infipid refemblance of the fea- 
 tures, fo that every body fhall know who the pitlure was intended 
 for, nor even to make the pi6lure what is often faid to be prodigious 
 like (this is often done by the loweft of face-painters, but then it 
 is ever with the air of a fool, and an unbred perfon.) A portrait- 
 painter muft underftand mankind, and enter into their characters, 
 and exprefs their minds as well as their faces: and as his bufinefs is 
 chiefly with people of condition, he muft think as a gentleman, and 
 
 C a man 
 
( 14 ) 
 
 a man offenfe, or it will be impoffible for him to give fuch their 
 true, and proper refemblances. 
 
 But if a painter of this kind is not obliged to take in fuch a com- 
 pafs of knowledge as he that paints hiftory, and that the latter upon 
 fome accounts is the nobler employment, upon others the preference 
 is due to fa<:e-painting ; and the peculiar difficulties fuch a one 
 has to encounter will perhaps balance what he is excufed from. 
 He is chiefly concerned with the nobleft, and moft beautiful part of 
 human nature, the face, and is obliged to the utmoft exaftnefs. A 
 hiftory-painter has vafl; liberties ; if he is to give life, and greatnefs, 
 and grace to his figures, and the airs of his heads, he may chufe what 
 faces, and figures he pleafes ; but the other muft give all that (in 
 fome degree at leaft) to fubjefts where it is not always to be found, 
 and mufl: find, or make variety in much narrower bounds than the 
 hiftory-painter has to range in. 
 
 Add to all this, that the works of the face-painter muft be feen in 
 all the periods of beginning, and progrefs, as well as when fini/hed, 
 when they are not, oftener than when they are fit to be feen, and 
 yet judged of, and criticized upon, as if the artift had given his laft 
 hand to them, and by all forts of people; nor is he always at liberty 
 to follow his own judgment. He is, moreover, frequently difappoint- 
 ed, obliged to wait till the vigour of his fancy is gone off, and to 
 give over when it is ftrong, and lively. Thefe things, and feveral 
 others which I forbear to mention, often times try a man's philofo- 
 phy, and complaifance, and add to the merit of him that fucceeds in 
 this kind of Painting. 
 
 A painter muft not only be a poet, an hiftorian, a mathematician, 
 Sec. he muft be a mechanic ; his hand, and eye, muft be as expert 
 as his head is clear, and lively, and well ftored with fcience : he muft 
 not only write a hiftory, a poem, a defcription, but do it in a fine 
 charafterj his brain, his eye, his hand, muft be bufied at the fame 
 lime. He muft not only have a nice judgment to diftinguifti be- 
 twixt 
 
( ^5 ) 
 
 iwixt things nearly refcmbling one another, but. not the fame, (which 
 he niuft have in common ^\•ith tliofe of the nobleft profcfTions) but 
 he muft, moreover, have the Came delicacy in his eye to judge of the 
 Tinfts of colours, which are of infinite variety, and to diflinguifli 
 whether a line be ftrait, or curved a little; whether this is exactly 
 parallel to that, or oblique, and in what degree ; how this curved 
 line differs from that, if it differs at all, of which he mull alfo judge ; 
 whether what he has drawn is of the fame magnitude with what he 
 pretends to imitate, and the like; and muft have a hand exa6l enough 
 to form thefe in his work, anfwerable to the ideas he has taken of 
 them. 
 
 An author muft think, but it is no matter how he writes, he has 
 no care about that, it is fuflicient if what he writes be legible ; a cu- 
 rious mechanic's hand muft be exquifite, but his thoughts are com- 
 monly pretty much at liberty, but a painter is engaged in both re- 
 fpe6ts. When the matter is well tiiought and digefted in the mind, 
 a work common to painters and writers, the former has ftill behind a 
 vaftly greater taflc than the other, and which, to perform well, would 
 alone be a fuflficient recommendation to any man who fliould employ 
 a whole life in attaining it. 
 
 And here I muft take leave, to endeavour to do juftice to my pro- 
 fcftion as a liberal art. 
 
 It was never thought unworthy of a gentleman to be mafter of 
 the Theory of Painting. On the contrary, if fuch a one has but a 
 Superficial fkill that way, he values himfelf upon it, and is the more 
 cfteemed by others, as one who has attained an excellency of mind 
 beyond thofe that are ignorant in that particular. It is ftrange, if 
 the fame gentleman fhould forfeit his chara£ler, and commence 
 mechanic, if he added a bodily excellence, and was capable of 
 making, as well as of judging of a pifture. How comes it to pafs, 
 that one that thinks as well as any man, but has, moreover, a curious 
 hand, fliould therefore be efteemed to be in a clafs of men at all 
 
 C 2 . inferior ? 
 
( 1<5 ) 
 
 inferior? an animal that lias the ufe of hands, andfpeech, and reajon, isthe 
 definition of a man : the painter has a language in common with the 
 reft of his fpecies, and one fuperadded peculiar to himfelf, and exer- 
 cifes his hands, and rational faculiies to the utrnolt ftretch of human 
 nature ; certainly he is not lefs honourable for excelling in all the 
 qualities of a man as diftinguiflied from a brute. Thofe employ- 
 ments are fervile, and mechanical, in which bodily ftrength, or 
 ability, is only, or chiefly required, and that becaufe in fuch cafes 
 the man approaches more to the brute, or has fewer of thofe qua- 
 lities that exalt mankind above other animals; but this confideration 
 turns to the painter's advantage : here is indeed a fort of labour, 
 but what is purely human, and for the conduft of which the greateft 
 force of mind is neceffary. 
 
 To be employed at all will not be thought lefs honourable than 
 indolence, and inadivity : but perhaps, though for a gentleman to 
 paint for his pleafure without any reward is not unworthy of him, 
 to make a profeflion of, and take money for this labour of the head 
 and hand is the diftionourable circumftance, this being a fort of 
 letting himfelf to hire to whofoever will pay him for his trouble. 
 Very well ! and is it more unbecoming for a man to employ himfelf 
 fo as that he fhall thereby be enabled to enjoy more himfelf, or be 
 more ufeful to his family, or to whomfoever elfe he fees fit, than fo 
 as it fhall turn to lefs account, or none at all ? And as to letting 
 ourfelves to hire, we painters are content to own this is really the 
 cafe; and if this has fomething low and fervile in it, we muft take 
 our place amongft men accordingly. But here we have this to com- 
 fort us, we have good company, that is, all thofe that receive money 
 for the exercife of their abilities of body or mind. And if a man 
 looks abroad in the world, he may obferve a great many of thefe ; 
 they are in the courts of princes, and of judicature, in camps, in 
 churches, in conventicles, in the ftreets, in our houfes ; they 
 abound everywhere : fome whereof are paid for each particular piece 
 
 of 
 
( i7 ) 
 
 of fcrvice they do, and others have yearly falaries, and perquifitcs, 
 or vails; but this alters not the cafe. 
 
 Nor is it difhonoiirable for any of us to take money : he that fti- 
 pulates for a reward for any fervice he does another, aQs as a wife 
 man, and a good member of the fociety : he gives what is plcafant, 
 or' ufeful to another, but confidering the depravity of humane na- 
 ture, trufts not to his gratitude, but fecures himfelf a return; and 
 money being in eflfeft every thing that is purchafeable, he takes that 
 as chufing for himfelf what pleafure or convenicncy he will have ; 
 as he to whom he performs the fervice alfo does when he employs 
 him. 
 
 Thus painters, as the reft bufy themfelves, and make advantage to 
 themfelves, as well as to others, of their employments; they let 
 themfelves out to hire much alike ; and one is a more honourable 
 way than another in proportion to the kind, and degree of abilities 
 they require, and their ufefulnefs to mankind. What rank a painter 
 (as luch) is to hold amongft thefe money-takers, I fubinit to judg- 
 ment, after what I have faid has been confidered ; and 1 hope it 
 will appear, that they may be placed amongft thofe whom all the 
 world allow to be gentlemen, or of honourable employments, or 
 profefTions. 
 
 And in faft by the politeft people, and in the beft ages, paft, as 
 well as prefent, the art has been much efteemed, and painters have 
 liv'd in great reputation, and fome of them with much magnificence; 
 nor has thofe of the fublimeft quality thought them unworthy of con- 
 liderable additional honours, and amongft the reft of their conver- 
 fation, and friendfhip: of which I might give many inftances. 
 
 'Tis true, the word painter does not generally carry w'ith it an 
 idea equal to that we have of other profeffions, or employments not 
 fuperior to it : the reafon of which is, that term is appropriated to 
 all forts or pretenders to the art, which being numerous, and for the 
 moft part very deficient, (as it muft needs happen, fo few having abi- 
 lities 
 
( i8 ) 
 
 Cities and opportunities equal to fuch an undertaking) thefe confc- 
 quently Iiave fallen into contempt ; whether upon account of fuch 
 deficiency, or the vices or follies which were in part the occafions, 
 or effe£ls of it ; and this being vifible in a great majority, it has 
 diminiflied the idea commonly applied to the term J am fpeaking of ; 
 which, therefore, is a very ambiguous one, and ought to be confidered 
 as fuch, if it be extended beyond this, that it denotes one praftifing 
 fuch an art, for no body can tell what he ought to conceive farther 
 of the man, whether to rank him amongft fome of the meaneft, or 
 equal to the mod confiderable amongft men. 
 
 To conclude : to be an accomplifhed painter, a man muft poffefs 
 more that one liberal art, which puts him upon the level with thofe 
 that do that, and makes him fuperior to thofe that poffefs but one 
 in an equal degree : he muft be alfo a curious artificer, whereby 
 he becomes fuperior to one who equally pofteffes the other talents, 
 but wants that. A Rafaelle, therefore, is not only equal, but fuperior 
 to a Virgil, or a Livy, a Thucydides, or a Homer. 
 
 What I now advance may appear chimerical : in that cafe I only 
 defire it may be confidered, whether it is not a neceffary con- 
 fequence of what went before, and was, and muft be granted. This 
 I alfo infift upon as my right, if any thing elfe appears to be exag- 
 gerated : for my own part, I write as I think. 
 
 I thought fit to do juftice to the art of Painting in the firft place; 
 and before I entered upon the rules to be obferved in the conduft 
 of a pifture, to tell the painter what qualities he himfelf ought to 
 have. To which I will add (but not as the leaft confiderable} 
 that as his profeffion is honourable, he fhould render himfelf worthy 
 of it by excelling in it; and by avoiding all low, and fordid aQions, 
 and converfation ; all bafe, and criminal paffions ; his bufinefs is to 
 exprefs great, and noble fentiments : let him make them familiar to 
 him, and his own, and form himfelf into as bright a chara6ter as 
 any he can draw. His art is of a vaft extent, and he ftands in need 
 
 of 
 
( 19 ) 
 
 of all the time, and all the vigour of body, and mind, allowed to 
 human'e nature ; he fhould take care to hufband, and improve thefe 
 as much as poffible, by prudence and virtue. The way to be an 
 excellent painter, is to be an excellent man ; and thefe united make 
 a charatler that would fhine even in a better world than this. 
 
 But as a pi6lure may be efteemed a good and a valuable one, 
 in which all the good qualities of a pidure are not to be found 
 (for that never happens) and thofe that are, but in a degree fhort 
 of the utmoft ; nay, if a pi£lure have but one of them in a confider- 
 able degree it is to be valued ; painters have a right to the fame 
 indulgence, and have had it in paft ages, as well as in the prefent ; 
 for whether for their own fakes, or from principles of reafon, 
 virtue, good-nature, or whatever other motive the world is not 
 wanting to cherifh, and reward merit, though in a narrow compafs, 
 and inferior degrees. We have no reafon to complain. 
 
 Only give me leave to add, that a painter that holds but a fecond 
 or third rank in his profeflion, is entitled to an equal degree of 
 efteem with one in the firft in another, if to arrive at that inferior 
 ftation, as many good qualities are requifite as to attain to the 
 higheft in that other. 
 
 The whole Art of PAINTING confifts of thefe Parts: 
 
 INVENTION, EXPRESSION, COMPOSITION, DRAW- 
 ING, COLOURING, HANDLING, and GRACE, 
 and GREATNESS. 
 
 WHAT is meant by thefe terms, and that they are qualities re- 
 quifite to the perfe6lion of the art, and really diftinft from each 
 other, fo that no one of them can be fairly implied by the other, 
 will appear when I treat of them in their order; and this will juftify 
 my giving- fo many parts to Painting, which fome others who have 
 
 wrote 
 
( ) 
 
 ^rote on it have not done. As to thofe properties in a pidure fo 
 much fpoken of, fuch as force, fpirit, the underftanding of the 
 Clairobfcure, or whatever other there may be, they will be taken 
 notice of hereafter, as being reducible to one or more of thefe 
 principal heads. 
 
 The art in its whole extent being too great to be compaflcd by 
 any one man in any tolerable degree of perfe6lion, fome have ap- 
 plied themfelves to paint one thing, and fome another : thus there 
 are painters of faces, hiftory, landfcapes, battles, drolls, ftill-life, 
 flowers, and fruit, fliips, &c. but every one of thefe feveral kinds 
 of piftures ought to have all the feveral parts, or qualities, juft now 
 mentioned ; though even to arrive at that, in any one kind of Paint- 
 ing, is beyond the reach of any man. Even in drolls, there is a 
 difference; there is a grace and greatnefs proper to them, which 
 fome have more than others. The hiftory-painter is obliged often- 
 times to paint all thefe kind of fubjefts, and the face-painter moft 
 of them ; but befides that, they in fuch cafes are allowed the 
 afliftance of other hands, the inferior fubjefts are in comparifon of 
 their figures as the figures in a landfcape, there is no great exaQnefs 
 required, or pretended to. 
 
 Italy has unqueftionably produced the beft modern Painting, 
 efpecially of the beft kinds, and pofTefTed it in a manner alone, 
 when no other nation in the world had it in any tolerable degree ; 
 that was then confequently the great fchool of Painting. About a 
 hundred ) ears ago there were a great many excellent painters in 
 Flanders ; but when Van-Dyck came hither he brought face-painting 
 to us ; ever fince which time, that is for above fourfcore years, 
 England has excelled all the world in that great branch of the art, 
 and being well ftored with the works of the greateft matters, whether 
 paintings or drawings, here being, moreover, the fineft living models, 
 as well as the greateft enccuragement. This may juftly be eftemed 
 as a complete, and the beft fchool for face-painting now in the 
 
 world ; 
 
C *i ) 
 
 world; and would probably have been yet better, had Van Dyck's 
 model been followed : but fome painters poffibly finding themfelves 
 incapable of fucceeding in his way, and having found their account 
 in introducing a falfe taftc, others have followed their example, and 
 forfaking the ftudy of nature, have proftituted a noble art, chufing 
 to exchange the honourable chara6tcr of good painters for that 
 fordid one of profefTed mercenary flatterers, and fo much worfe than- 
 the meaneft of thefe, in that they give under their hands, and to be 
 feen of every body, what thofe only utter in words, and to thofe 
 chiefly who they find weak enough to be their dupes. 
 
 As for the other branches of Painting, fome few of feveral nations 
 have been excellent in them ; as the Borgognone for battles, 
 Michelangelo the Battaglia and Campadoglio for fruit; Father 
 Segers, Mario del Fiori, and Baptifl; for flowers ; Salvator Rofa, 
 Claude Lorrain, and Gafpcr Pouflin for landfcapes ; Brovver and 
 Hemflcirk for drolls; Pcrfcllis and Vande-Vclde for fea-pieces; 
 and feveral others. But I am not difpofed to enlarge on this 
 -article. 
 
 Of INVENTION. 
 
 jBeING determined as to the hiftory that is to be painted, the 
 firft thing the painter has to do, is to make himfelf mafter of it as 
 delivered from hiftorians, orotherwife; and then to confider how 
 to improve it, keeping within the bounds of probability. Thus the 
 fculptors imitated nature ; and thus the befl; hiftorians have related 
 their ftories. No body can imagine (for example) that Livy, or 
 Thucydides, had dired, exj rcfs authorities for all the fpeeches 
 they have given us at length, or even for all the incidents they have 
 delivered to us as fafls ; but they have made their ftories as beauti- 
 ful, and confiderable as they could; and this with very good reafon, 
 
 D for 
 
( 22 ) 
 
 for not only it makes the reading of them the more pleafant, but 
 their relations with fuch additions are fometimes more probably the 
 truth, than when nothing more is fuppofed to have happened than 
 what they might have had exprefs warrant for. Such an improve- 
 ment Rafaellc has made in the fiory of our Saviour's direfling St. 
 Peter to feed his flock, commonly called the Giving him the Keys. 
 Our Lord feems, by the relation of the Evangelift (at leaft a Roman 
 Catholic, as Rafaelle was, muft be fuppofed to undcrfland it fo) to 
 commit the care of his church to that apoftle preferably to the reft, 
 upon the fuppofition of his loving him better than any of them: 
 Now, though the hiftory be filent, it is exceeding probable that St. 
 John, as he was the beloved difciple, would have expefted this 
 honour, and be piqued at his being thought to love his mafter lefs 
 than Peter. Rafaelle, therefore, in that carton, makes him addrefs 
 himfelf to our Lord with extreme ardour, as if he was entreating 
 him to believe he loved him no lefs than St. Peter, or any of the other 
 apoftles. And this puts one upon imagining fome fine fpeeches, 
 that it may be fuppofed, were made on this occafion, whereby 
 Rafaelle has given a hint for every man to make a farther improve- 
 ment to himfelf of this ftory. 
 
 The fame liberty of heightening a ftory is very commonly taken 
 in piftures of the crucifixion ; the Bleffed Virgin is reprefented as 
 fwooning away at the fight, and St. John, and the women, with 
 great propriety, dividing their concern between the two objeds of 
 it, which makes a fine fcene, and a confiderable improvement ; and 
 probably was the truth, though the hiftory fays no fuch thing. 
 
 In like manner, when the facred body was taken from the crofs, 
 the Virgin-mother is frequently introduced as fwooning away alfo, 
 when even her being prefcnt is not audirized by the facred hiftory; 
 yet it being very probable, that fhe that could fee her fon crucified 
 (which the fcripture fays flie did) would fee him alfo after he was 
 dead, it is a liberty the painter not only may, but ought to take. 
 
 An 
 
( 23 ) 
 
 An improvement much of the fame nature is the angels that are 
 frequently introduced in a nativity, or on other occafions, the noble, 
 though not rich habit of llie Virgin, and the like, though perhaps 
 not altogether in the fame degree of probability. 
 
 But that circumflance of the Blefled Virgin-mother being a fpec- 
 tator of the crucifixion of her fon, ought not to have been intro- 
 duced, notwithftanding any advantage it might give» the pi6lure, 
 without cxprefs warrant from the hiftory for reafons that arc obvious; 
 and the like rellriclions are neceffary in other fuch cafes. 
 
 As the painter may add to the flory for the advantage of it, he 
 may, to improve his piflure, leave out fome things. I have a 
 drawing of Rafaelle, wherein he has taken the liberties of both 
 thefe kinds; the ftory is the defcent of the Holy Ghoft on the day 
 of Pcntccolt (a mod amazing event ! and worthy to be defcribed 
 by the firft painter of the world) the tongues of fire on the heads of 
 the infpired, would have been fufhcient to have informed us of the 
 ftory, and what part the Holy Spirit had in the affair, and is all 
 the facred hiftory relates ; but he has added the dove hovering over 
 all, and cafting forth his beami of glory througout all the void 
 fpace of the pi61ure over the figures, which gives a wonderful 
 majcfty, and beauty to the whole. This is his addition. On the 
 other hand, becaufe there were (as the fcripture fays) about one 
 hundred and twenty perfons, the whole number of the infant church, 
 and which would not have had a good effefl to have been all, or a 
 crowd like that brought into the pifclure, he has only taken the twelve, 
 and the Bleffed Virgin, with two other women, as reprefentatives of 
 all the reft. This defign is graved by Marc Antonio, but is very rare. 
 
 Under the prefent rule is comprehended all thofe incidents which 
 the painter invents to enrich his compolition; and here, in many 
 cafes, he has a vaft latitude, as in a battle, a plague, a fire, the flaugh- 
 ter of the Innocents, &c. Rafaelle has finely imagined fome of thefe 
 (for example) in his piclure called the Incendio il Borgo. The 
 
 D 2 ftory 
 
( H ) 
 
 ftory is of a fire at Rome miraculouny extinguiOicd by S. Leo IV, 
 Becaiife a fire is feldom very great but when there happens to be 
 a high wind, he has painted fuch a one, as is feen by the flying of 
 the hair, draperies, &c. There you fee a great many inftances of 
 dillrefs, and parternal, and filial love. I will mention but one, 
 where the ftory of ^neas and Anchifes was thought of; thev were 
 already out of the great danger, and the Ton carries the old man, 
 not only as commodioufly as poffible, but witii the utmoft care, left 
 he fhould ftumble or fall uith his precious burthen. I refer you to 
 the print, for there is one of this pifiure. 
 
 The fame Rafaelle, in the ftory of the delivery of St. Peter out 
 of prifon (which by the way is finely chofen to complement his 
 patron Leo X. the then Pope, for it alludes to his imprifonment 
 and enlargement, when he was Cardinal Legate) has contrived three 
 feveral lights, one from the angel, a fecond from a torch, and the 
 other the moon gives ; which being attended with proper reflexions, 
 and all perfetlly well underftood, produces a furprifing efFeft; efpe- 
 cially where it is painted, which is over a window. There are other 
 circumftances finely invented in this pi£lure, for which I refer you 
 to Bellori's defcription of it. One might give innumerable inftances 
 to this purpofe, but let thefe fuffice. 
 
 A painter is allowed, fometimes, to depart even from natural, and 
 hiftorical truth. 
 
 Thus in the carton of the draught of fifties, Rafaelle has made a 
 boat too little to hold the figures he has placed in it ; and this is fo 
 vifible, that fome are apt to triumph over that great man as having 
 nodded on that occafion ; which others have pretended to excufe, 
 by faying, it was done to make the miracle appear the greater ; but 
 the truth is, had he made the boat large enough for thofe figures, his 
 pifture would have been all boat, which would have had a difagree- 
 able effefl; ; and to have made his figures fmall enough for a veflel 
 of that fize, would have rendered thera unfuitable to the reft of 
 
 the 
 
( 25 ) 
 
 the fet, and have made thofe figures appear lefs confiderable ; there 
 would have been too much boat, and too little figure. It is amifs as 
 it is, but would have been worfe any other way, as it frequently hap- 
 pens in other cafes. Rafaclle, therefore, wifely chofe thislefl'er in- 
 convenience, this fceming error, which he knew the judicious would 
 know was none; and for the reft he was above being (olicitous for his 
 reputation with them. So that upon the whole, this is fo far from 
 being a fault, that it is an inftance of the great judgment of that in- 
 comparable man, which he learned in his great fchool the Antique, 
 where thi.i liberty is commonly taken. 
 
 He has departed from hiftorical truth in the pillars that are at the 
 beautiful gate of the temple; the imagery is by no means agreeable 
 to the fuperftition of the Jews at that time, and all along after the 
 captivity, Nor were thofe kind of pillars known even in antique 
 architecture in any nation; but they are fo nobly invented by 
 "Rafaelle, and fo prodigioufly magnificent, that it would have been a 
 pity if he had not indulged himfelfin this piece of licentioufnefs, 
 which undoubtedly he knew to be fuch. 
 
 But thefe liberties muft be taken with great caution and judgment; 
 for in the main, hiftorical, and natural truth muft be obferved, the 
 ftory may be embelliflied, or fomething of it pared away, but ftill fo 
 as it may be immediately known ; nor muft any thing be contrary to 
 nature, but upon great neceffity, and apparent reafon. Hiftory muft; 
 not be corrupted, and turned into fable, or romance : every perfon, 
 and thing muft be made to fuftain its proper charafter; and not only 
 the ftory, but the circumftances muft be obferved, the fcene of ac- 
 tion, the country, or place, the habits, arms, manners, proportions, 
 and the like, muft correfpond. This is called the obferving the 
 Coftume. The ftory of the woman taken in adultery muft not be re- 
 prefented in the open air, but in the temple. If that of Alexander 
 coming to Diogenes, and the cynick defiring him not to deprive him 
 of what he could not give, the light of the fun ; I fay, if this be paint- 
 ed, 
 
( 26 ) 
 
 €d, the light muft not be made to come the contrary way, and Dio- 
 genes in the fun beams. Nor muft our Saviour be made to help pin 
 himfelf into his fepulchre, as I have feen it reprefented in a drawing, 
 otherwife a good one. Thefe things are too obvious to need being 
 enlarsied on. 
 
 But there is one important inftance which I cannot pafs over ; and 
 that is, when the Supreme Being is reprefented in pi6lure : I will not 
 enter into the queflion whether this fhould be done at all, or no, be- 
 caufe our church diflikes it ; but certain!)' thofe that do undertake to 
 delineate God in a humane form, ought to carry it up to the greateft 
 dignity they poflibly can. This Rafaelle was as capable of as ever 
 man was, but Rafaelle has not always been equal to himfelf in this 
 particular, for fometimes the figure appears to be not only as one 
 would defcribe the ancient of days, but feeble, and decrepit. Giulio 
 Romano, in a drawing I have of him, of the delivery of the law to 
 Mofes, has avoided this fault, but fallen into another; he has made 
 the face of a beautiful vigorous old man, but (what one would not 
 have expe6led from him) there wants greatnefs, and majefty. In 
 the hiftories of the Bible, which Rafaelle painted in the Vatican, there 
 are feveral reprefentations of the Deity, which have a wonderful fub- 
 limity in them, and are perfeflly well adapted to the Mofaical idea, 
 forae of them efpecially ; but this god is not our God, he appears 
 to us under a more amiable view. When the Blefled Trinity is 
 drawn, efpecially when the Virgin-mother of God is alfo introduced, 
 it is fomething too much favouring of polyiheifm. 1 have a drawing 
 of Rafaelle, where the idea he feems to have intended to give us his 
 majefty, and awfulnefs, together with great benignity ; not, however, 
 fo lavifh of his benefits, but that with our good things there is a mix- 
 ture of unhappinefs; though ftill the good abundantly preponderates, 
 and manifefts the great Lord of the univerfe to be an indulgent, and 
 wife father. This is an idea worthy of the mind of Rafaelle. The 
 drawing is a fingle figure of a beautiful old man, not decayed, or 
 
 impaired 
 
( 27 ) 
 
 impaired by age ; there is majcfty in his face, but not terror; he fit* 
 upon the clouds, his right-hand lifted up, giving his benediftion ; the 
 left arm is wrapped in his drapery, and unemployed, onl)' that hand 
 appears, and refts on the cloud near his right elbow. A man cannot 
 look upon, and confidcr this admirable drawing without fccretly 
 adoring, and loving the Supreme Being, and particularly for enduing 
 one of our own fpecies with a capacity fuch as that of Rafaelle. 
 
 Every hiftorical piflure is a reprefentation of one frngle point of 
 time; this then niufl be chofen ; and that in the ftory that is mofl 
 advantageous mud be it. Suppofe, for indance, the ftory to be 
 painted is, that of the woman taken in adultery, the painter feems 
 to be at liberty to choofe whether he will reprefent the Scribes and 
 Pharifees accufing her to our Lord ; or, our Lord writing on the 
 ground : or pronouncing the laft of the words, Itt him that is among 
 you without fin cajl the Jirjl flone at her. Or laftly, his abfolution, go thy 
 way. Jin no more. The firft muft be rejefled, becaufe in that moment 
 the chief a£lors in the ftory are the Scribes, and Pharifees ; it is true, 
 Chrift may appear there with the dignity of a judge, but that he does 
 afterwards, and with greater advantage. In the fecond, our Lord is 
 in action; but ftooping down, and wiiting on the ground makes not 
 fo graceful, and noble an appearance as even the former would have 
 done ; nor have we here the beft choice of the a6lions of the ac- 
 cufers; the firft, and moft vigorous moments of the accufation being 
 already paft. When our Saviour fays the words, let him that is with- 
 out fin cap. the firjl jlone, he is the principal a6lor, and with dignity; 
 the accufers are afliamed, vexed, confounded, and perhaps clamou- 
 rous ; and the accufed in a fine fituation, hope and joy fpringing up 
 after (hame, and fear; all which affords the painter an opportunity 
 of exerting himielf, and giving a pleafing variety to the compofition. 
 For befides the various paflions, and fentiments naturally arihiig, the 
 accufcis begin to difperfe, which will occafion a fine coniraft in the 
 attitudes of the figures being in profile, feme fore-right, and fome 
 
 with 
 
( 28 ) 
 
 with their backs turned: fome preffing forward, as if they were atten- 
 tive to what was faid. and fome going off: and this I fliould chufe; 
 for as to the laft, though there our Lord pronounces the decilive 
 fentence, and which is the principal adion, and of the mod dignity 
 in the whole ftory ; yet now there was no body left but himfelf, and 
 the woman ; the reft were all dropped off one by one, and the pic- 
 ture would be disfurnifhed. 
 
 The pi6lure being to reprefent but one inftant of time, ncraftion 
 muft be reprefented which cannot be fuppofed to be doing in that 
 inftant. Thus the Scribes and Pharifces, in the ftory juft now men- 
 tioned, muft not be accufing when our Lord was fpeaking ; that was 
 then over, and they muft appear in that fituation as they might be 
 then imagined to be in. 
 
 Thefe two laft mentioned rules are finely obferved by Rafaelle, in 
 his carton of giving the keys, and the death of Ananias, to name no 
 more. In the firft, the moment is chofen of our Lord's having juft 
 fpoken, and St. John's addrelTmg himfelf to fpcak ; and in the other, 
 the inftant of Ananias's fall, and before all the people were apprifed 
 of it; in both which, as they are the moft advantageous that could 
 polfibly have been imagined, nothing is doing but what might be fup- 
 pofed to be doing at that inftant. 
 
 It has been attempted to bring a whole feries of hiftory into one 
 piQure, as that of the prodigal fon's going out, his voluptuous way 
 of living, his diftrefs, and return, which I have feen thus managed 
 by Titian ; but this is juft fuch a fault as crowding a whole year into 
 one play, which will always be condemned, though done by Shakef- 
 pear himfelf. 
 
 There muft be one principal a£lion in a pi6lure. Whatever un- 
 der-a£tions may be going on in the fame inftant with that, and which 
 it may be proper to infeit, to illuftrate, or amplify the compofition, 
 they muft not divide the pifture, and the attention of the fpe8ator. 
 O divine Rafaelle, forgive me, if I take the liberty to fay, I cannot 
 
 approve 
 
( 29 ) 
 
 approve in this particular of that amazing piftiire of the transfigura- 
 tion, where the incidental a6lion of the man's bringing his fon pof- 
 feffed with the dumb devil to the difciples, and their not being able 
 to caft him out, is made at Icaft as confpicuous, and as much a prin- 
 cipal a6lion as that of the transfiguration. The unity of time is in- 
 deed preferved, and this under-flory would have made a fine epifode 
 to the other (though the other would not properly to this, as being of 
 more dignity than the principal ftory in this cafe) but both together 
 mutually hurt one another. 
 
 Rafaelle has managed an epifode differently on other occafions. 
 In the carton of the death of Ananias the principal aftion is that fnr- 
 prizing event, and accordingly that is what immediately takes the 
 eye, and declares itfclf to be the fubje61; of the pI6lure ; but there 
 are alfo fome people offering money, and others receiving it, which 
 are fo intent upon what they are about, as not to feem (at thatinftant) 
 to know any thing of the matter, though of that eclat. Which 
 epifode is very jufl, and agreeable to the hifloty, but by no means 
 comes in competition with the principal a£l;ion. In a holy family of the 
 fame Rafaelle(an admirable copy of which I have, done by Perino 
 del Vaga, as is judged) the Chriff, and Virgin are mofl confpicu- 
 oufly diflinguifhed, and appear with infinite beauty, grace, and dig- 
 nity ; but becaufe St. Elizabeth, and St. Jofeph fliould not be idle, 
 or not employed worthily (which is frequently the cafe in fuch pic- 
 tures) he has a book before him as having been reading, and flie is 
 fpeaking to him as affilling his underftanding, and he attending to 
 her expofition, which he feems to flan d in need of. This difcourfe 
 is carried on behind the principal figures, and is an a6lion the mofl 
 worthy, and proper that could poflibly be imagined for thefe perfons, 
 but apparently inferior to that of the principal figures; the Virgin 
 being employed in careffmg, fuflaining, and taking care of the Di- 
 vine Child, and he, with as great dignity, as an infant God incarnate 
 can be fuppofed to do, carefling, and rejoicing witii his holy mother. 
 
 E Here 
 
( 30 ) 
 
 Here are two diftin6l aftions, but no manner of diftraQion, ambi- 
 guity or competition. 
 
 Nor mull tiie attention be diverted from what ought to be princi- 
 pal, by any thing how excellent foever in itfelf. Protogenes, in the 
 famous pifture of JalifTus, had painted a partridge fo exquifitely well, 
 that it feemed a living creature, it was admired by all Greece; but 
 that being mod taken notice of, he defaced it entirely. That illuf- 
 trious aftion of Mutius Scsevola's putting his hand in the fire, after he 
 had by raiftake killed another inftead of Porfenna, is fufficient alone 
 to employ the mind : Polydore, therefore, in a capital drawing I have 
 of him of that (lory, (and which by the way was one of fiis mofl: cele- 
 brated works) has left out the dead man ; it was fufficiently known 
 that one was killed, but that figure, had it been inferted.. would necef- 
 farily have diverted the attention, and deftroyed that noble fimplicity, 
 and unity which now appears. 
 
 Every a6lion muft be reprefented as done, not only as it is poffible 
 it might be performed, but in the bell manner. In the print, after 
 Rafaelle, graved by Marc Antonio, you fee Hercules gripe Anteus 
 with all the advantage one can wiHi to have over an adverfary : fo 
 in the pidure dcfigned by Michelangelo, and painted by Annibale 
 Caracci, the eagle holds Ganymede to carry him up commodioufly, 
 and withal to make a beautiful appearance together; the print of 
 which is ampngft thofe of the piSlures of Duke Leopold. Daniele da 
 Volterra has not fucceeded fo well in his famous picture of the def- 
 cent from the crofs, where one of the affiftants, .who (lands upon a 
 ladder drawing out a nail, is fo difpofed as is not very natural, and 
 convenient for the purpofe. 
 
 Nor is Rafaelle himfelf fo juft in his management of the fame ftory 
 as he ufually is; St. John is upon a ladder to affift, and is receiving 
 the body with great affedion, and tendernefs, but it is evident the 
 whole weight of it will fall upon him, which is too much for any one 
 man to manage, efpecially Handing upon a ladder; nor is there any 
 
 below 
 
r 3t ) 
 
 below to receive the facred load, or to aflifl him ; fo that fuppoflng 
 every figure in the pofition as Rafaelle has reprefented them, the 
 dead body of our Lord mini fall upon the heads of the Bleffed Vir- 
 gin, and the women that arc with her. The piElure is that graved by 
 Marc Antonio. 
 
 No fupernumcrary figures, or ornaments ought to be brought into 
 a pifture. A paitrle'r's language is his pencil, he /hould neither fay 
 too little, nor too much, but go diretlly to his point, and tell his 
 ftory with all pofTible fimplicity. As in a play there mud not be too 
 many aQors, in a picture there muR not be too many figures. An- 
 nibale Caracci would not allow above twelve ; there are exceptions 
 to this rule, but certainly all the management in the world cannot put 
 together a great number of figures, and ornaments, with that advan- 
 tage as a few. 
 
 Where the flory requires that there be a crowd of people, there 
 maybe fome figures without any particular charafter, which are not 
 fupernumtrary, becaufe the ftory requires a crowd. In the cartons 
 there are very few fuch figures : and the others are finely varied ; the 
 fame pailion (hall run through the whole picture, but appear differ- 
 ently in the feveral perfons in whom it it feen. Nor are all thofe 
 figures idle that may feem to be fo ; there are two in the carton of 
 St. Paul preaching, that are walking at a diftance amongft the build- 
 ings, but thefe ferve well to intimate that there were fome, who, like 
 Gallio, cared for none of thefe things. 
 
 So far fhould the painter be from inferting any thing fuperfluous^ 
 that he ought to leave fomething to the imagination. He muft not 
 fay all he can on his fubjeft, and fo feem to diftruft his reader, and 
 difcover he thought no farther himfelf. 
 
 Nothing abfurd, indecent, or mean ; nothing contrary to religion, 
 or morality, muft be put into a pifture, or even intimated or hinted 
 at. A dog with a bone, at a banquet, where people of the higheft 
 charaQers are at table; a boy making water in the beft company, or 
 
 E 2 the 
 
( 32 ) 
 
 the like, are faults which the authority of Paulo Veronefe, or a 
 much greater man cannot juftify. 
 
 Rafaelle, in the pi8ure of the donation of Conftantine in the Va- 
 tican, has put a nalced boy aflrie'e npon a dog in a void fpace in the 
 fore-ground : what rcafon he had for it 1 cannot comprehend : it 
 feems to be brought in only to fill up that fpace, which it had been 
 better (at Icafl; I think fo^ to have left empty: but certainly in fuch 
 company, and on^fo foleran an occafion as the Emperor making a 
 prefent of Rom'e to the Pope, fuch a light incident flioulu not have 
 been inferted, much lefS-.made fo confpicuous. I confefs I have not 
 feen the pi6ture, but a drawing of this, by Battifta Franco, and two 
 other old copies I have, who all agree in this circumflance, though 
 Bellori, in his defcription of this pifture, takes no notice of it, as 
 neither has he of feveral other particulars. 
 
 There is fomething lower yet than this, in the carton of giving 
 the keys, which I have often wondered Rafaelle could fall into, or 
 fufferin hispitlure; and that is, in the landfcape, there is ^houfe on 
 fire, and in another place, linen drying on the hed'ges. 
 
 Poly(jore, in a drawing I have feen of him, has made an ill choice 
 with refpeft to decorum; he has fliewn Cato with his bowels gufhing 
 out, which is not only offenfive in itfelf, but it is a fituation in which 
 Cato fhould not be feen, it is indecent; fuch things fhould be left to 
 imagination, and not difplayed on the ftage. But Michelangelo, in 
 his laft judgment, has finned againft this rule mofl; egregioufly. 
 
 Methinks it would not be amifs if a painter, before he made the 
 leaft drawing of his intended pi6lure, would take the pains to write 
 'the ftory, and give it all the beauty of defcription, with an account 
 qf what is faid, and whatever elfe he would relate, were he only to 
 make a written hiflory ; or if he_ would defcribe the pifture he de- 
 ■figned as if it were already done. And, perhaps, though it may feem 
 at firil to be too much trouble, it may in the main fave him fome, as 
 well as advance his reputation. 
 
 There 
 
( 33 ) 
 
 There are pi6turcs reprefenting not one particular ftory, but the 
 hiftory of philofophy, of poetry, of divinity, the redemption of 
 mankind, and the like : fuch is the fchool of Athens, the Parnaffus, 
 the pi6lure in the Vatican, commonly called the Difpute of the 
 Sacrament, all of Rafaelle, and the large one of Frederico Zuccaro, 
 of the Annunciation, and God the Father, with a heaven, and the 
 prophets, &c. Such compofitions as thHe tcing of a different 
 nature, are not fubje6l to the fame rules with common hiftorical 
 pi6lures; but here muft be principal, and fubordiiiate figures and 
 actions. As the Plato and Aridotle in ths School of Athens, the 
 Apollo in the ParnafTus, Sec. 
 
 Now I have mentioned this defign, I cannot pafs it over without 
 going a little out of my way, to obferve fome particulars of that 
 admirable group of the three poets, Homer, Virgil, and Dante; 
 (for I confidcr it as it is in the print, engraved by Marc Antonio : 
 in the painting, Rafaelle has put himfelf with them ; befides that, 
 it is different in feveral other things.) 
 
 The figure of Homer is an admirable one, and managed with 
 great propriety : he is grouped with others, but is neverthelefs filone : 
 he appears to be raifed in contemplation, repeating fome of his own 
 fublime verfes, which he does with a moft becoming a£lion. And 
 that peculiarity of his works having been taken from his mouth as 
 he happened to utter tliem, and fo remembered, and written, and 
 afterwards the fcattered parts coliefled, and conne6led together, 
 and formed into the vohmies we have, is finely intimated by a 
 young man attending to him, and ready to write what he fays. 
 
 Behind this great, this only man. Hands Virgil, and Dante, the 
 former dire8ing the other to Apollo. This is a compliment 
 Rafaelle has made to Dante, by^whofe dire£lion he has done this: 
 for in his firft canto of hell, he fays, 
 
 O dc 
 
 1 
 
( 34 ) 
 
 0 de gU allri poeii Ibonorc e Inme 
 
 VagUami il lungo fludio, el grande amove 
 
 Che viha fatto cercar lo tuo volume 
 Tu fei lo mio maeflro, el mio aulore : 
 
 Til fei folo colui ; da tui io tojji 
 
 Lo hello Jiilo, che mha fatto honore. 
 
 In the fame canto he makes Virgil fay, 
 
 Ondio per lo tuo me penfo e dfcerno, 
 Che tu me fegni ; (3 io faro tua guida. 
 
 Soon after Dante fays, 
 
 £t to a lid; Poeia io ii richieggio 
 
 Per quelle Dio ■ 
 Che tu mi meni, Sec. 
 
 And ends the canto, 
 
 Allhor ft mojje I io li tenni dietro. 
 
 But Rafaelle has made his beloved Dante ftill a greater compli- 
 ment, in placing him with Homer, and Virgil ; for though he was 
 an excellent poet, his was another, and a very inferior kind of 
 poetry : but this too Rafaelle did by Dante's own direftion, in his 
 fourth canto of hell. 
 
 Coji vidi adunar la hella fcuola; 
 
 Di quel Signor de laltijfmo canto ; 
 
 Che foura gli altri, comaquila uola. 
 Da Chebber ragionato injieme alquanto ,- 
 
 Volferfi a me con Jaluteuol cenno ; 
 
 El mio maeflro forrife di tanto 
 E piu dhonore ancor affai mi fenno : 
 
 CheJJi mi fecer de la lore fchiera. 
 
 It 
 
( 35 ) 
 
 It appears that Rafaellc was fond of Dante ; for befides what !ic. 
 has done here, he has put him amongft the divines in his difpuic of 
 the Sacrament, to which he had very little pretence; bcfides that, 
 he calls the three p;irts of his poem Heaven, Earth, and Hell. 
 To return. 
 
 In pictures reprefenting tlie chara61cr of fome perfon, if that 
 perfon is in the picture, it is the principal figure; if not, the virtue 
 he is intended to be chiefly celebrated for as the principal part of 
 the charafler is it. 
 
 In pifturcs of humane life, or where fome particular leffon is to 
 be taught, or the like ; that which a writer would chiefly infill upon 
 is to be the principal figure, or group. 
 
 In all thefe kinds of pidures, the painter fhould avoid too great a 
 luxuriancy of fancy, and obfcurity. The figures reprefenting any 
 virtue, vice, or other quality, fliould have fuch infignia as are au- 
 thorized by antiquity, and cuflom ; or if any be neceffarily of his 
 own invention, his meaning fhould be apparent. Painting is a fort 
 of writing, it ought to be cafily legible. There are fine examples 
 of thefe in the palace of Chigi, or the little farnefe in Rome; 
 Rafaelle has there painted the fable of Cupid and Pfyche, and in- 
 termixed little loves with the fpoils of all the gods; and laflly, one 
 with a lion, and a fea-horfe, which he governs as with a bridle, to 
 fliew the univerfal empire of love. Signior Dorigny has made 
 prints of the whole work. 
 
 In portraits, the invention of the painter is exercifed in the choice 
 of the air, and attitude, the aftion, drapery, and ornaments, with 
 refpeft to the charafler of the perfon. 
 
 Me oug!u not to go in a road, or paint other people at he would 
 choofe to be drawn himfelf. The drefs, the ornaments, the colours, 
 muft be vaiicd in almofl every piClure. I remember a good obfer- 
 vaiion of an ingenious gentleman concerning two painters; one 
 
 (he 
 
( 3''^ ) 
 
 (he faid) could not paint an impudent felbw, nor the other a 
 modeft one. 
 
 That admirable family-pi6lure* of the fenators of Titian, which 
 the Duke of Somerfet had, is finely invented : the eldeft of the 
 three is apparently the principal figure, and has the aflion, and 
 manner of an old man ; the two others are well placed, and in pro- 
 per attitudes: the boys are got upon the fteps, with a dog amongfl: 
 them ; a rare amufement for them while the old gentlemen are at 
 their devotions, which is their bufinefs ! The girls are more orderly, 
 and attend in appearance to the affair in hand : the attitudes of 
 the figures in general arejuft, and delicate; the draperies, the flcy, 
 every thing throughout the whole pifture is well thought, and 
 condu6led. 
 
 Some fubjeQs are in themfelves fo difadvantageous as to ftand in 
 need of fomething to raife their chara6ler. Of this, I have a fine 
 example in a head of marble, which feems to have been done for a 
 monument, the face itfelf is fomething poor, and though never fo 
 well followed, would not have pleafed ; the fculptor, therefore, has 
 raifed the e'ye-brows, and opened the mouth a little, and by this 
 expedient has given a fpirit, and a dignity to a fubjefl not confider- 
 able otherwife ; befides that, probably the perfon was accuftomed 
 to give himfelf fome fuch air, and then this has this farther ad- 
 vantage, that it makes the refemblance more remarkable. 
 
 I need not go through the other branches of Painting ; as land- 
 fcapes, battles, fruit, &c. what has been already faid is [mutatis 
 mutandis) applicable to any of thefe. Nor fliall I concern myfclf 
 with them hereafter, when I treat of the other parts of Painting, 
 for the fame reafon. 
 
 Only I fhall obferve here, that there are an infinity of artifices to 
 hide defeds, or give advantages, which come under this head of 
 Invention ; as does all caprices, grotefque, and other ornaments, 
 
 ma Acs, 
 
 * Now in the pcfiefllon of the Duke of Northumberland, 
 
( 37 ) 
 
 mafks, 6cc. together with all uncommon and delicate thoughts : 
 fuch as the cherubims attending on God, when he appeared to 
 Mofes in the burning bufh, which Rafaelle has painted with flames 
 about them in (lead of wings ; an angel running, and holding up 
 both arms as juft raifing herfelf for flight, of which I have a draw- 
 ing of Parmeggiano, as well as many other examples of thefe kinds, 
 in drawings of Rafaelle, Michelangelo, Giulio, Leonardo da Vinci, 
 &c. They are to be found perpetually in the works of the great 
 mafters, and add much to their beauty, and value. 
 
 The mention of grotcfqucs, fuggefts a rule to my mind which I 
 will infert : it is this, That all creatures of imagination ought to 
 have airs, and a6lions given them as whimfical and chimaerical as 
 their forms are. I have a drawing of the fchool of the Caracches ' 
 of a male and female fatyr fitting together : there is a great deal of 
 humour in it, fo as to be a fine burlefque upon Corydon and Phillis, 
 The anatomy figures in Vefalius, faid to be defigned by Titian, arc 
 prettily fancied: there is a feries of denuding a figure to the bone, 
 and they are all in attitudes, Teeming to have moft pain as the opera- 
 tion goes on, till at laft they languifli and die : but Michelangelo 
 has made anatomy figures, whofe faces and adions are impoflible 
 to be defcribed, and the mofl: delicate that can be imagined for the 
 purpofe. Mr. Fontenelle, in his dialogue betwixt Homer and ^fop, 
 after Homer had faid he intended no allegory, but to be taken 
 literally, makes the other demand how he could irragine mankind 
 would believe fuch ridiculous accounts of the gods ; O (fays he) 
 you need be in no pain about that; if you would give them truth, 
 you mufl: put that in a fabulous drefs, but a lye enters freely into 
 the mind of man in its own proper fliape. Why then, fays ^fop, 
 I am afraid they will believe the beafts have Ipoken as I have made 
 them. Ah (fays Homer) the cafe is altered, men will be content, 
 that the gods Ihould be as great fools as themfelves, but they will 
 never bear that the beafts fhould be as wife. It would be well, if 
 
 F painters 
 
( 38 ) 
 
 painters could reprefent gods, heroes, angels, and other fuperior 
 beings, with airs, and a£tions more than humane ; but to give 
 fatyrs. and other inferior creatures a dignity equal to men, would 
 be unpardonable. 
 
 In order to affift, and improve the invention, a painter ought to 
 converfe with, and obferve all forts of people, chiefly the beft, and 
 to read the beft books, and no other : he fliould obferve the dif- 
 ferent and various effefts of mens paflTions, and thofe of other 
 animals, and in fhort, all nature, and make flcetches of what he 
 obferves to help his memory. 
 
 So fhould he do of what he fees in the works of great mafters, 
 whether painters, or fculptors, which he cannot always fee, and 
 have recourfe to. 
 
 Nor need any man be afhamed to be fometimes a plagiary, it is 
 what the greateft painters, and poets have allowed themfelves in. 
 Rafaelle has borrowed many figures, and groupes of figures from 
 the antique ; and Milton has even tranflated many times from 
 Homer, Virgil, Dante, and Taflb, and put them as his own ; Virgil 
 himfelf has copied. And indeed it is hard, that a man having had 
 a good thought, fliould have a patent for it for ever. The painter 
 that can take a hint, or infert a figure, or groupes of figures from 
 another man, and mix thefe with his own, fo as to make a good 
 compofition, will thereby eftablifh fuch a reputation to himfelf, as 
 to be above fearing to fuffer by the fliare thofe to whom he is 
 beholden will have in it. 
 
 Rafaelle, and Giulio Romano are efpecially excellent for inven- 
 tion : amongft their other works, thofe of the former, at Hampton- 
 court, and in the Vatican ; and of the latter, the palace of T. near 
 Mantua, are fufficient proofs of it. There are prints of almoft all 
 thefe ; and Bcllori has defcribed thofe in the Vatican, as Felibien 
 has that ftupendious work of Giulio, which in the laft wars in Italy, 
 has been almoft deftroyed. 
 
 Of 
 
( 39 ) 
 
 Of EXPRESSION. 
 
 Whatever the general chara6ler of the ftory is, the pi6lure 
 muft difcover it throughout, whether it be joyous, melancholy, 
 grave, terrible, &c. The nativity, refurre£lion, and afcenfion, 
 ought to have the general colouring, the ornaments, back-ground, 
 and every thing in them riant, and joyous, and the contrary in a 
 crucifixion, interment, or pieta. [^The Blefled Virgin with the 
 dead Chrift.] 
 
 But a diftinflion muft be made between grave, and melancholy, 
 as in the copy of a holy family which I have, and has been men- 
 tioned already; the colouring is brown, and folemn, but yet all 
 together, the pifture has not a difmal air, but quite otiierwife. I 
 have another holy family of Rubens, painted as his manner was, as 
 if the figures were in a funny room : I have confidered what efFe6l 
 it would have had, if Rafaelle's colouring had been the fame with 
 Ruben's on this occafion, and doubtlefs it would have been the 
 worfe for it. There are certain fentiments of awe, and devotion, 
 which ought to be raifed by the firft fight of pi6tures of that fubjeft, 
 which that folemn colouring contributes very much to, but not the 
 more bright, though upon other occafions preferable. 
 
 I have feen a fine inftance of a colouring proper for melancholy 
 fubjefls in a pieta of Van Dyck : that alone would make one not 
 only grave, but fad at firft fight ; and a coloured drawing that I 
 have of the Fall of Phaeton, after Giulio Romano, fhews how much 
 this contributes to the expreffion. It is different from any colour- 
 ing that ever I faw, but fo adapted to the fubje£t, as to anfwer to 
 the great idea that every one that knows Giulio muft have of him. 
 
 There are certain little circumftances that contribute to the ex- 
 preffion. Such an effed the burning lamps have that are in the 
 
 F 2 carton 
 
C 40 ) 
 
 carton of healing at the beautiful gate of the Temple; one fees the 
 place is bo'y, as well as mivgnificent. 
 
 The lartfc fowl that are feen on the fore-ground in the carton of 
 the draught of fiflies have a good effeft. There is a ceit^in fea- 
 wildnel's in theni that contributes mightily to exprcfs the affair in 
 hand, which was fifhing. They are a fine part of the fcene. 
 
 PalTerotto has drawn a Chrift's head as going to be crucified, the 
 exprefhon of which is marvelloufly fine ; but excepting the air of 
 the face, nothing is more moving, not the part of the crofs that is 
 feen, not the crown of thorns, nor the drops of blood falling from 
 the wounds that makes, than an ignominious cord which comes 
 upon part of the fhoulder and neck. Ralfaello Borghini, in his 
 Ripofo, in the Life of Pafferotto, has given an account of this 
 drawing, which, with others of that mafter (by him alfo fpoken of) 
 I have. 
 
 The robes, and other habits of the figures ; their attendants, and 
 enfigns of authority, or dignity, as crowns, maces, &c. help to ex- 
 prefs their diftin£t characters, and commonly even their place in 
 the compofition. The principal perfons and a£lors muft not be put 
 in a corner, or towards the extremities of the pifture, unlcfs the 
 neceffity of the fubjeft requires it. A Chrift, or an apoftle, muft 
 not be dreft like an artificer or a fiflierman ; a man of quality muft 
 be diftinguiftied from one of the lower orders of men, as a well-bred 
 man always is in life from a peafant. And fo of the reft. 
 
 Every body knows the common, or ordinary diftin6lions by 
 drefs : but there is one inftance of a particular kind which I will 
 mention, as being likely to give ufeful hints to this purpofe, and 
 moreover very curious. In the carton of give tiie keys to St. Peter, 
 our Saviour is wrapped only in one large piece of white drapery, 
 his left arm and breaft, and part of his legs naked ; which un- 
 doubtedly was done to denote him now to appear in his refiirreClion 
 body, and not as before his crucifixion, when this drefs would have 
 
 been 
 
( 41 ) 
 
 been altogether improper. And this is the more remarkable, as 
 having been done upon fccond thought, and after the piBure was 
 perhaps (iniflied, w hich I know, by having a drawing of this carton, 
 very old, and probably made in Rafaelle's time, though not of his 
 hand, where the Chrift is fully clad ; he has the very fame large 
 drapery, but one under it that covers his bread, arm, and legs down 
 to the feet. Every thing elfe pretty near the fame with the carton. 
 
 That the face, and air, as well as our a6lions, indicates the mind, 
 is indifputable. It is feen by every body in the extremes on both 
 fides. For example ; let two men, the one a wife man, and the 
 other a fool, be feen together dreffed, or difguifed as you pleafe, 
 one will not be miftaken for the other, but diftinguilhed with the 
 firft glance of the eye ; and if thefe chara6lers are ftamped upon the 
 face, fo as to be read by every one when in the utmoft extremes, 
 they are fo proportionably when more, or lefs removed from them, 
 and legible accordingly, and in proportion to the flcill of the reader. 
 The like may be obferved of good, and ill-nature, gentlenefs, 
 .rufticity, &c. 
 
 'Every figure, and animal muft be afFefled in the pi£lure, as one 
 , fhould fuppofe they would, or ought to be. And all the expreffions 
 of the feveral paflions, and fentiments muft be made with regard to 
 the charafters of the perfons moved by them. At the railing of 
 Lazarus, fome may be allowed to be made to hold fomething before 
 their nofes, and this would be very juft, to denote that circumftance 
 in the ftory, the time he had been dead; but this is exceedingly im- 
 proper in the laying our Lord in the fepulchre, although he had 
 been dead much longer than he was ; however, Pordenonc has done 
 it. When Apollo fleas Marfyas, he may exprefs all the anguifh, 
 and impatience the painter can give him, but not fo in the cafe of 
 St. Bartholomew. That the BlefTed Mary fliould fwoon away 
 through excefs of grief is very proper to fuppofe, but to throw her 
 in fuch a pofture as Daniel da Voltcrra has done in the defcent 
 
 from 
 
( 42 ) 
 
 from the crofs, is by no means jullifiable. He has fiicceeded much 
 better in that article, if a drawing I have which is imputed to him is 
 really of him (it was once in the colleftion of Georgio Vafari, as 
 appears by its border, which is of his hand ;) there the expreffions 
 of forrow are very noble, uncommon, and extraordinary. But even 
 Rafaelle himfelf could not have expreffed this accident with more 
 dignity and more affefting than Battilla Franco, and Polydore have 
 done in drawings I have of them : if at leaft that laft is of the 
 hand to whom it isafcribed, and not Rafaelle, or fome other not in- 
 ferior to him in this inftance. 
 
 Polydore, in a drawing of the fame fubjeft (which I alfo have) 
 has finely expreffed the excefTive grief of the Virgin, by intimating 
 it was otherwife inexpreflible : her attendants difcover abundance of 
 pafTion, and forrow in their faces, but hers is hid by drapery held up 
 by both her hands: the whole figure is very compofed, and quiet; 
 no noife, no outrage, but great dignity appears in her fuitable to 
 her charafter. This thought Timanthes had in his famous picture of 
 Iphigenia, which he probably took from Euripides ; as perhaps Po- 
 lydore might from one, or both of them. 
 
 Putting the fore-finger in the mouth to exprefs an agony, and con- 
 fufion of mind is rarely ufed. I do not remember to have feen it 
 any where but in the tomb of the Nafonii, where the Sphynx is pro- 
 pofing the riddle to CEdipus; and in a drawing I have of Giulio 
 Romano, who could not have taken the thought from the other, 
 that not being difcovered in his time; but in both thefe this expref- 
 fion is incomparably fine. 
 
 In that admirable carton of St. Paul preaching, the expreflions are 
 very jufl, and delicate throughout : even the back ground is not 
 without its meaning : it is expreflive of the fuperftition St. Paul was 
 preaching againft. But no hiflorian, or orator can i offibly give me 
 fo great an idea of that eloquent, and zealous apoftle as that figure 
 of his does ; all the fine things related as faid, or wrote by him can- 
 not; 
 
( 43 ) 
 
 not; for there I fee a perfon, face, air, and a6\ion, which no words 
 can fufficiently dcfcribe, but which afTure me as much as thofe can, 
 that that man muft fpeak good fenfe, and to the purpofe. And the 
 different fentiments of his auditors are as finely exprcffcd; fome ap- 
 pear to be angry, and malicious, others to be attentive, and reafon- 
 ing upon the matter within themfelves, or with one another ; and one 
 efpecially is apparently convinced. Thefe laft are the free-thinkers 
 of that time, and are placed before the apoftle ; the others are be- 
 hind him, not only as caring lefs for the preacher, or the do6lrinc, 
 but to raife his apoftolic charafter, which would loofe fomething of 
 its dignity, if his maligners were fuppofed to be able to look him in 
 the face. 
 
 Elymas, the forcerer, is blind from head to foot, but how admira- 
 bly is terror, and aQonifhment expreffed in the people prefent, and 
 how varioufly, according to the feveral charafters ! the proconful 
 has thefe fentiments but as a Roman, and a gentleman, the reft in. 
 feveral degrees, and manners. 
 
 The fame fentiments appear alfo in the carton of the death of 
 Ananias, together with thofe of joy, and triumph, which naturally 
 arifes in good minds upon the fight of the effe6ls of divine juftice, 
 and the viflory of truth. 
 
 The airs of the heads in my holy family after Rafaelle, are perfeflly 
 fine, according to the feveral chara£lers; that of the Bleffed Mother 
 of God has all the fweetnefs, and goodnefs that could poftibly ap- 
 pear in herfelf ; what is particularly remarkable is, that the Chrift, 
 and the St. John are both fine boys, but the latter is apparently hu- 
 mane, the other, as it ought to be, divine. 
 
 Nor is the expreffion in my drawing of the defccnt of the Holy 
 Ghoft lefs excellent than the other parts of it. (I wifh it had been 
 equally well preferved.) The Bleffed Virgin is feated in the princi- 
 pal part of the picture, and fo diftinguiflied as that none in the com- 
 pany feems to pretend to be in competition with her ; and the devo- 
 tion, 
 
( 44 ) 
 
 lion, and modefly with which fhe receives the ineffable gift is worthy 
 of her charaft er. St. Peter is on her right-hand, and St. John on 
 her left; the former has his arm croffed on his breaft, his head re- 
 clined, as if afhamed of having denied fuch a mailer, and receives 
 the infpiration with great compofure ; but St. John, v/ith a holy bold- 
 nefs, raifes his head, and hands, and is in a moft becoming attitude; 
 the women behind St. Mary are plainly of an inferior charader. 
 Throughout there is great variety of expreffions of joy and devotion, 
 extremely well adapted to the occafion, 
 
 I will add one example more of a fine expreffion, becaufe, though 
 it is very juft and natural, it has not been done by any that 1 know 
 of, except Tintoret, in a drawing I have feen of him. The ftory is 
 our Saviour's declaration to theapoftles at fupper with him, that one 
 of them fhould betray him : fome are moved one way, and fome 
 another, as is ufual, but one of them hides his face, dropped down 
 betwixt both his hands, as burfl; into tears from an excefs of forrow, 
 that his Lord fhould be betrayed, and by one of them. 
 
 In Portraits it muft be feen whether the perfon is grave, gay, a 
 man of buiinefs, or wit, plain, genteel, Sec. Each charaQer muft 
 have an attitude, and drefs ; the ornaments and back ground proper 
 to it : every part of the portrait, and all about it muft be expreflive 
 of the man, and have a refemblance as well as the features of the 
 face. 
 
 If the perfon has any particularities as to the fet, or motion of the 
 head, eyes, or mouth (fuppofing it be not unbecoming) thefe muft 
 be taken notice of, and ftrongly pronounced. They are a fort of 
 moving features, and are as much apart of the man as the fixed ones : 
 nay, fometimes they raife a low fubjeft, as in the cafe of my mar- 
 ble head already fpoken of, and contribute more to a furprizing 
 likenefs than any thing elfe. Van Dyck, in a pifture I have of him, 
 has given a briflc touch upon the under lip which makes the form, 
 and fet of the mouth very particular, and doubtlefs was an air which 
 
 Don 
 
( 45 ) 
 
 Don Diego de Gufman, whofe piflure it is, was accullomed to give 
 himfelf, which an inferior painter would not have obferved, or not 
 have dared to have pronounced, at leaft fo ftrongly : but this as it 
 gives a marvellous fpirit, and fmartnefs, undoubtedly gave a propor- 
 tionable refemblance. 
 
 If there be any thing particular in the hiftory of the perfon which 
 is proper to be expreffed, as it is ftill a farther defcription of hitn, 
 it is a great improvement to the portrait to them that know that cir- 
 cumftance. 1 here is an inftance of this in a pidure Van Dyck made 
 of John Lyvens, who is drawn as if he was liftening at fomething ; 
 which refers to a remarkable ftory in that man's life. The print is 
 in the book of Van Dyck's heads : which book, and the heads of 
 the artifts, in the lives of Giorgio Vafari, are worth confidering with 
 regard to the variety of attitudes fuited to the feveral characters, as 
 •well as upon other accounts. 
 
 Robes, or other marks of dignify, or of a profeffion, employ- 
 ment, or amufement, a book, a fliip, a favourite dog, or the like, 
 are hiftorical expreffions common in portraits, which muft be 
 mentioned on this occafion ; and to fay more of them is not ne- 
 cefTary. 
 
 There are feveral kinds of artificial expreflions indulged to 
 painters, and pra£tifcd by them, becaufe of the difadvantage of their 
 art in that particular, in comparifon of words. 
 
 To exprefs the fenfe of the wrath of God with which our Blefled 
 Lord's mind was filled when in his agony, and the apprehenfion he 
 was then in of his own approaching crucifixion. Frederico Barocci 
 has drawn him in a proper attitude, and not only with the angel 
 holding the cup to him (that is common) but in the back-ground 
 you fee the crofs, and flames of fire. This is very particular, and 
 curious. I have the drawing. 
 
 In the carton where the people of Lycaonia are going to facrifice 
 to St. Paul, and Barnabas, the occafion of all that is finely told : the 
 
 G man 
 
C 46 ) 
 
 man who was healed of his lamenefs is one of the forwarded to ex- 
 prefshis fenfe of the divine power which appeared in thofe apoftles; 
 and to (hew it to be him, not only a crutch is under his feet on 
 the ground, but an old man takes up the lappet of his garment, and 
 looks upon the limb which he remembered to have been crippled, 
 and expreffes great devotion, and admiration, which fentiments are 
 alio fee n in the other with a mixture of jov. When our Saviour 
 committed the care of his church to St. Peter, the words he ufed on 
 that occafion are related by Rafaelle, who has made him pointing 
 to a flock of Iheep, and St. Peter to havejuft received two keys. 
 When the ftory of Jofeph's interpretation of Pharaoh's dreams was 
 to be related) Rafaelle has painted ihofe dreams in two circles over 
 the figures; which he has alfo done when Jofeph relates his own to 
 his brethren. His manner of expreifing God's dividing the light 
 from darknefs, and the creation of the fun, and moon, is al- 
 together fublime. The prints of thofe laft mentioned piftures are 
 not hard to be found, they are in what they call Rafaelle's Bible, 
 but the paintings are in the Vatican ; the beft treafury of the works 
 of that divine painter, except Hampton-court. 
 
 . The hyperbolical artifice of Timanthes to exprefs the vaflnefs of 
 the Cyclops is well known, iand was mightily admired by the ancients. 
 He made feveral fatyrs about him as he was afleep, fome were run- 
 ning away as frightened, others gazing at a diftance, and one was 
 meafuring his thumb with his thyrfis, but feeming to do it with 
 great caution, lefl he fhould awake. This exprelTion was copied 
 by Giulio Romano with a little variation. Correggio, in his pifture 
 of Danae, has finely exprelTed the fenfe of that ftory, for upon the fal- 
 ling of the golden fliower, Cupid draws off her linen covering, and 
 two loves are trying upon a touchftone a dart tipped with gold. I 
 will add but one example more of this kind, and that is of Nicolas 
 Pouffin, to exprefs a voice, which he has done in the baptifm of our 
 Saviour, by making the people look up, and about, as it is natural 
 
 for 
 
{ 47 ) 
 
 for men to do when they hear any fuchj and know not whence it 
 comes, efpecially if it be oiherwife extraordinary, as the cafe was 
 in this hiftorv. 
 
 Another way praClifed by painters to exprefs their fenfe, which 
 could not otherwife be done in Painting, is by figures reprefentative 
 of certain things. This they learned from the ancients, of which 
 there aie abundance of examples, as in the Antonine Pillar, where, 
 to exprefs the rain that fell when the Roman army was preferved by. 
 the prayers of the Theban Legion, the figure of Jupiter Pluvius is 
 introduced ; but I need not mention more of thefc. Rafaelle has 
 been very fparing of this expedient in facred ftory, though in the 
 pafTage of Jordan, he has reprefented that river by an old man 
 dividing the waters, which are rolled, and tumbled very nobly ; 
 but in poetical ftories he has been very profufe of thefc, as in the 
 Judgment of Paris, and clfcwhcre. The like has been commonly 
 pra61ifed by Annibale Caracci, Giulio Romano, and others. And 
 there are fome entire pictures of this kind, as in thofe made to 
 compliment perfons, or focietics, where their virtues, or what are 
 attributed to them, are thus reprefented. 
 
 When we fee in piftures of the Madonna thofc of St. Frances, 
 St. Katherine, or others not cotemporary, nay even the portraits of 
 particular perfons living when the pi6lures were made : this is not 
 fo blameable as people commonly think. We are not to fuppofe 
 thefe were intended for pure hidorical pi61ures, but only to exprefs 
 the attachment ihofe faints or perfons had for the Blefled Virgin, or 
 tlieir great piety and zeal : fo I have fcen families with the robe of 
 the mother of God Ipread over their heads, doubtlefs to denote 
 their putting themfelves under her proteftion. With this key a 
 great many feeining abfurdities of good mafters will be difcovered 
 to be none. 
 
 In the l.iftcry of Heliodorus, who was miraculoufly chaftifed 
 ulicn he made a facrilegious attempt upon the treafure in the 
 
 G 2 Temple 
 
( 48 ) 
 
 Temple of Jerufalem, Rafaelle has brought in the then Pope 
 (Julius II.) to compliment him, who gloried in having driven out 
 the enemies of the ecclefiaftical ftate. 
 
 The famous St. Cecilia at Bologna is accompanied by St. Paul, St, 
 John, St. Auguftin, and St. Mary Magdalen, not as being fuppofed to 
 have lived together; but poffibly thofe being faints of different cha- 
 ra6lers are introduced to heighten that of the faint, which is the 
 principal one in the compofition. Though Francefco Albani 
 thought it was done by Rafaelle, in pure compliance with the pofli- 
 tive direClion of thofe for whom the piflure was made ; which (by 
 the way) is not feldom the occafion of real faults in piftures, and 
 which, therefore, are not to be imputed to the painter. My Lord 
 Somers has a drawing of the fame fubjeft, attributed to Innocentio 
 da Imola, which, I believe, was done after fome former defign of 
 Rafaelle, for there are the fame figures, placed juft in the fame 
 manner, only the attitudes are confiderably varied ; for there the 
 other faints have regard only to the heroine of the piflure. This 
 helps to explain the other. 
 
 Of all the painters, Rubens has made the boldeil ufe of this kind 
 of expreflion (by figures) in his pi£lures of the Luxembourg Gallery; 
 and has been much cenfured for it. The truth is, it is a little 
 choquing to fee fuch a mixture of antique, and modern figures^ of 
 Chriftianity, and Heathenifm in the fame piftures ; but this is much 
 owing to its novelty. He was willing not only to relate the aftions 
 done, but a great deal more than could be related any other way ; 
 and for the fake of that advantage, and the applaufe he fhould re- 
 ceive for it from thofe who judged of the thing in its true light, he 
 had the courage to hazard the good opinion of others. He had, 
 moreover, another very good reafon for what he did on this occa- 
 fion : the (lories he had to paint were modern, and the habits, and 
 ornaments muft be fo too, which would not have had a very agree- 
 able effed in Painting : thefe allegorical additions make a wonder- 
 ful 
 
( 49 ) 
 
 fill improvement ; tl-.cy vary, enliven, and enrich the work ; as any 
 one may perceive that will imagine the pi6lures as they muft have 
 been, had Rubens been terrified by the objeftions, which he cer- 
 tainly muft have forcfccn would be made afterwards, and fo had 
 left all thefe heathen gods and goddefles, and the reft of the fiftitious 
 figures out of the compofition. 
 
 I will add but one way of expreflion more, and that is, plain 
 writing. 
 
 Polygnotus, in the paintings made by him in the Temple of 
 Delphos, wrote the names of thofe whom he reprefented. 
 
 The old Italian, and German matters improved upon this; the 
 figures they made were fpeaking figures, they had labels coming out 
 of their mouths, with that written in them which they were intended 
 to be made to fay ; but even Rafaelle, and Annibale Caracci, have 
 condefcended to write rather than leave any ambiguity, or obfcurity 
 in their work : thus the name of Sappho is written to fliew it was 
 file, and not one of the mufes intended in the ParnafTus : and in the 
 Gallery of Farnefe, that Anchifes might not be miftaken for Adonis, 
 Genui unde Latinum was written. 
 
 In the carton of Elymas, the Sorcerer, it does not appear that 
 the Pro-conful was converted, otherwife than by the writing ; nor 
 do I conceive how it was pofllible to have exprefled that important 
 circumftance fo properly any other way. 
 
 In the Peft: of the fame mafter, graved by Marc Antonio, there 
 is a line out of Virgil which, as it is very proper (the plague being 
 that defcribed by that poet, as will be feen prefently} admirably 
 heightens the expreflion, though without it, it is one of the mofl: 
 wonderful inftances of this part of the art that, perhaps, is in the 
 world in black and white, and the utmoft that humane wit can con- 
 trive; there is not the moft minute circumftance throughout the 
 whole defign which does not help to exprefs the mifery there in- 
 tended 
 
( so ) 
 
 tended to be (hewn : but the print being not hard to be feen^ need 
 not be defcribed. 
 
 Writing is again ufed in this defign. In one part of it you fee a 
 perfon on his bed, and two figures by him. This is vEneas, who 
 (as Virgil relates) was advifed by his father to apply himfclf to the 
 Phrygian gods, to know what he fhould do to remove the plague, 
 and being refolved to go, the deities appeared to him, the moon 
 fiiining very bright (which the print rcprefents) here Effigies Sacra 
 Divim Phrygiie is written, becaufe otherwife, this incident would 
 not probably have been thought on, but the group taken to be only 
 a fick man, and his attendants. 
 
 The works of this prodigy of a man ought to be carefully ftudicd 
 by him who would make himfelf a matter in exprcflion, more 
 efpecially with relation to thofe palTions, and fentiments that have 
 nothing of favage, and cruel ; for his angelic mind was a flranger 
 to thefe, as appears by his Slaughter of the Innocents, where, though 
 he has had recourfe to the expedient of making the foldiers naked 
 to give the more terror, he has not fucceeded fo well even as 
 Pietro Tefta, who, in a drawing I have of him of that ftory, has 
 fliewn he was fitter for it than Rafaelle ; but you rauft not expe6l to 
 find the true airs of the heads of that great mafter in prints, not 
 even in thofe of Marc Antonio himfelf. Thofe are to be found 
 only in what his own inimitable hand has done, of which there are 
 many unqueflionably right in fevcral colle£lions here in England ; 
 particularly in thofe admirable ones of the Duke of Devonfhire, the 
 Earl of Pembroke, and the Lord Somers ; to whom I take leave 
 on ibis, as on all other occafions, to make my humble acknowledg- 
 ments for the favour of frequently feeing, and confidering iliofe 
 noble, and delicious curiofitics. But Hampton-court is the great 
 Ichool of Rafaelle ! and God be praifed, that we have fo near us 
 fiich an invaluable blelTing. May the cartDDs coiuitiuc in that 
 place, and always to be feen ; unhurt, and undcca) ed, fo long as 
 
 the 
 
( 51 ) 
 
 the natare of the materials of which they are compofed will poflibly 
 allow. May even a miracle be wrought in their favour, as them- 
 felves are fome of the greateft inftances of the divine power, which 
 endued a mortal man with abilities to perform fuch Itupendous works 
 of art. 
 
 After him no other mafter mud be named for expreffion, unlefs 
 for particular fubjefts, as Michelangelo for infernal, or terrible airs. 
 Amongft others, I have the drawing he made for the caron in the 
 famous piflurc of his Lad Judgment, which is admirable in this kind ; 
 and which (by the way) Vafari, who was well acquainted with him, 
 fays, he took from thefe three lines of Dante, an author he was very 
 fond of : 
 
 Caron demonio con occhi di bragia 
 Loro accennando tutie le raccoglie 
 Batte col rtmo qualunque fadagia. 
 
 Julio Romano has fine airs for mafks, a filenus, fatyrs, and the 
 like, And for fuch ftories as that of the Decii, the 300 Spartans, 
 the deftruclion of the giants, &c. he is equal, if not fuperior to his 
 great mafter. I have feveral proofs of this. Others have fuc- 
 ceeded well in this part of the art, as Leonardo da Vinci, Poly- 
 dore, 8cc. but thefe are the principal only for portraits; and herein, 
 next to Kafaelle, perhaps, no man has a better title to the preference 
 than Van Dyck : no, not Titian himfelf, much lefs Rubens. 
 
 But there is no bettter fchool than nature for expreflion : a 
 painter therefore fhould, on all occafions, obferve how men look, 
 and a£l, when plcafed, grieved, angry, &c. 
 
 Of 
 
( 52 ) 
 
 Of COMPOSITION. 
 
 X HIS is putting together, for the advantage of the whole, what 
 fhall be judged proper to be the feveral parts of apifture; and 
 if need be, of adding fomething for the common benefit: and more- 
 over, the determination of the painter, as to certain attitudes, and 
 colours which are otherwife indifferent. 
 
 Every piQure fhould be fo contrived, as that at a diftance, when 
 one cannot difcern what figures there are, or what they are doing ; 
 it fhould appear to be compofed of two, or more great maffcs, 
 lighter, and darker, the forms of which mufl be agreeable to the 
 eye, of whatfoever they confift, ground, trees, draperies, figures, 
 &c. and the whole together fiiould be fweet and delightful, lovely 
 fhapes and colours, without a name; of which there is infinite 
 variety. 
 
 Sometimes one mafs of light is upon a dark ground, and then the 
 extremities of the light muft not be too near the edges of the pic-* 
 ture, and itsgreateft ftrength muft be towards the centre; as in the 
 defcent from the crofs, and the dead Chrift, both of Rubens, and of 
 both which there are prints, one by Vofterman, and the other by 
 Pontius. 
 
 I have a painting of the holy family, by Rubens, of this ftru6lure ; 
 where, becaufe the mafs of light in one part would elfe have gone 
 off too abruptly, and have made a lefs pleafing figure, he has fct 
 the foot of St. Elizabeth on a little ftool ; here the light catches, 
 and fpreads the mafs fo as to have the defired effeft. Such another 
 artifice, Rafaelle has ufed in a Madonna, of which I have a copy ; 
 he has brought in a kind of an ornament to a chair, for no other end 
 (that I can imagine} but to form the mafs agreeably. 
 
 Van 
 
( 53 ) 
 
 Van Dyck, that he might keep his principal light near the middle 
 of his pi£lure, and to advantage the body which he feems to have 
 intended to exert himfelf in, has even kept the head fombrous in an 
 ecce homo I have of him, which makes the whole have a fine 
 efTea. 
 
 I have many times obferved with a great deal of pleafure the ad- 
 mirable compofition (befides the other excellencies) of a fruit piece 
 of Michetangelo Compidoglio, which I have had many years. 
 The principal light is near the centre (not cxafUy there, for thofe 
 regularities have an ill efFe6t ;) and the tranfition from thence, and 
 from one thing to another, to the extremities of the pi6lure all round 
 is very eafy, and delightful ; in which he has employed fine artifices 
 by leaves, twigs, little touches of lights ftriking advantageoufly, and 
 the like. So that there is not a ftroke in the pi6lure without its 
 meaning : and the whole, though very bright, and confiding of a 
 great many parts, has a wonderful harmony, and repofe. 
 
 The drawing that Correggio made for the compofition of his 
 famous pi6lure of the nativity, called La Notte del Correggio, I 
 have, and is admirable in its kind: there is nothing one could wifh 
 were otherwife with refpe6t to its compofition, but that the full 
 moon which he has made in one of the corners at the top had been 
 omitted. It gives no light, that all comes from the new-born 
 Saviour of the world, and fweetly dilFufes itfclf from thence as from 
 its centre all over the pidure, only that moon a little troubles the 
 eye. 
 
 The compofition of my Holy Family of Rafaelle is not inferior to 
 its other parts, and the tranfition from one thing to another is very 
 artful ; to inftance only in one particular : behind the Madonna is 
 St. Jofeph refting his head on his hand which is placed upon his 
 mouth, and chin ; this hand fpreads that fubordinate mafs of light, 
 and together with the coifure of the Virgin, and the little ring of 
 glory round her head (which contribute alfo to the fame end) makes 
 
 H the ^ 
 
C 54 ) 
 
 the tranfition from her face to that of St. Jofeph very graceful, and 
 eafy. The whole figure of vSt. |ofeph is conncfted wi'h that of the 
 Madonna, but fubordinately, by one fmart touch of the pencil 
 artfully applied upon his drapery in the Holy Family 1 have of 
 Rubens; than which there cannot be a more perfeft example for 
 compofition, both as to the maffes, and colour: but I will not mul- 
 tiply inftances. 
 
 Sometimes the ftruQ;ure of a pifture, or the tout enfemble of its 
 form, fliall refemble dark clouds on a light ground, as in the 
 affumption of the Virgin by Bolfwert after Rubens. 1 refer you to 
 prints, becaufe they are eafy to be got, and explain this matter 
 almoft as well as drawings, or piftures. 
 
 Again : a pi6lure fometimes confifls of a mafs of light, and 
 another of fhadow upon a ground of a middle tint, as a fingle 
 figure by the life is ufually managed. And fometimes it is compofed 
 of a mafs of dark at the bottom, another lighter above that, and 
 another for the upper part ftill lighter ; (as commonly in a landfcape) 
 fometimes the dark mafs employs one fide of the pifture alfo. I 
 have a copy after Paolo Veronefe where a large group of figures, the 
 principal ones of the ftory, compofe this lower brown mafs ; archi- 
 tefture, the fecond; more buildings, with figures and the fky, the 
 third ; but moft commonly in piftures of this ftrufture, the fecond 
 mafs is the place of the principal figures. 
 
 In a figure, and every part of a figure, and indeed in every thing 
 elfe there is one part which mufl have a peculiar force, and be 
 manifeftly diftinguifhed from the reft, all the other parts of which 
 muft alfo have a due fubordination to it, and to one another. The 
 fame muft be obferved in the compofition of an entire pifture ; and 
 this principal, diflinguiflied part ought (generally fpeaking) to be the 
 place of the principal figure, and aftion : and here every thing muft 
 be higher finifhed, the other parts muft be lefs fo gradually. 
 
 Pidures 
 
( 56 ) 
 
 Pi6lures muft be like bunches of grapes, but they muft not 
 refemble a great many fingle grapes fcattered on a table ; there muft 
 not be many little parts of an equal ftrength, and detached from one 
 another, which is as odious to the eye as it is to the ear to hear 
 many people talking to you at once. Nothing muft ftart, or be too 
 ftrong for the place where it is; as in a confert of mufic when a 
 note is too high, or an inftrument out of tune ; but a fweet harmony 
 and repofe muft refult from all the parts judicioufly put together, 
 and united with each other. 
 
 Ananias is the principal figure in the carton which gives the hiftory 
 of his death ; as the Apoftle that pronounces his fentence is of the fub- 
 ordinate group, which confifts of apoftles. (Which therefore is fub- 
 ordinate, becaufe the principal action relates to the criminal, and thi- 
 ther the eye is direfted by almoft all the figures in the pi61ure.) St. 
 Paul is the chief figure in that carton where he is preaching, and 
 amongft his auditors one is eminently diftinguiflied, who is principal 
 of that group; and is apparently a believer, and more fo than any 
 of them, or he had not had that fecond place in a pifture con- 
 ducted by fo great a judgment as that of Rafaelle's. Thefe prin- 
 cipal, and fubordinate groupes, and figures, are fo apparent, that 
 the eye will naturally fix firft upon one, then upon the other, and 
 confider each in order, and with delight. I might give other 
 examples were it necellary; where it is not thus, the compofition 
 is lefs perfeft. 
 
 It is to be noted, that the forcerer in the carton of his chaftife- 
 ment is the principal figure there, but has not the force in all its 
 parts as it ought to have as fuch, and to maintain the harmony; 
 this is accidental, for it is certain his drapery was of the fame 
 ftrength, and beauty, as that on his head, however it has happened 
 to have changed its colour. 
 
 The ftiadows in the drapery of St. Paul alfo, in that carton 
 where tlie people are about to facrifice to him, and Barnabas, have 
 loft fomething of their force. 
 
 H a Sometimes 
 
(■ 56 ) 
 
 Sometimes the place in the pifture, and not the force, gives the 
 diftinftion ; as in my drawing of the defcent of the Holy Ghoft : 
 the principal figure is the fymbol of that divine perfon in the Sacred 
 Trinity, who is the great agent, and is diflinguifhed both by the 
 place it is in, and the glory which furrounds it. The principal of 
 the next group is the Bleffed Virgin, who is placed direflly under 
 the dove, and in the middle of the pifture ; but fome of the apoftles, 
 who appear not to be the chief, have a greater force than fhe, or 
 any of thofe that compofe that group ; however, the place fhe pof- 
 feffes preferves that diftindion that the incomparable artift intended 
 to give her. 
 
 In a compofition, as well as in every fingle figure, or other part 
 of which the pi6lure confifts, one thing muft contrail, or be varied 
 from another. Thus in a figure, the arms and legs muft not be 
 placed to anfwer one another in parallel lines. In like manner, if 
 one figure in a compofition ftands, another muft bend, or lie on 
 the ground ; and of thofe that ftand, or are in any other pofition, 
 if there be feveral of them, they muft be varied by turns of the 
 head, or fome other artful difpofition of their parts; as may be feen 
 (for inftance) in the carton of giving the keys. The maflbs muft 
 alfo have the like contraft, two muft not be alike in form, or fize, 
 nor the whole mafs compofed of thofe lefs ones of too regular a 
 fhape. The colours muft be alfo contrafted, and oppofed, fo as to 
 be grateful to the eye : there muft not (for example) be two 
 draperies in one pifture of the fame colour, and ftrength, unlefs 
 they are contiguous, and then they are but as one. If there be two 
 reds, blues, or whatever other colour, one muft be of a darker, or 
 paler tint, or be fome way varied by lights, ftiadows, or reflections. 
 Rafaelle, and others have made great advantage of changeable filks 
 to unite the contrafting colours, as well as to make a part of the 
 contraft themfelves. As in the carton of giving the keys, the 
 apoftle that ftands in profile, and immediately behind St. John, has 
 
 a yellow 
 
{ S7 ) 
 
 a yellow garment with red fleeves, which conne6ts that figure with 
 St. Peter, and St. John, whofe draperies are of the fame fpecies of 
 colours. Then the fame anonymous apoftle has a loofe changeable 
 drapery, the lights of which are a mixture of red and yellow, the 
 other parts are bluifh. This unites itfclf with the other colours 
 already mentioned, and with the blue drapery of another apoflle 
 which follows afterwards ; between which, and the changeable filk, 
 is a yellow drapery fomething different from the other yellows, but 
 with fliadows bearing upon the purple, as thofe of the yellow dra- 
 pery of St. Peter incline to the red ; all which, together with fcveral 
 other particulars, produce a wonderful harmony. 
 
 The exotic birds that are placed on the fliore in the fore-ground, 
 in the carton of the draught of fillies, prevent the heavinefs which that 
 part would otherwife have had, by breaking the parallel lines which 
 would have been made by the boats, and bafe of the pifcture. 
 
 There is an admirable inftance of this contrail in the carton of St. 
 Paul preaching, his figure (which is a rare one) ftands alone as it 
 ought to do. and confequently is very confpicuous, which is alfo 
 perfe6lly right; the attitude is alfo as fine as can be imagined; but 
 the beauty of this noble figure, and with it of the whole piflure, de- 
 pends upon this artful contraft I have been fpeaking of; of fo great 
 confequence is that little part of the drapery flung over the apoflle's 
 Ihoulder, and hanging down almoft to his wafte ; for (befides that, 
 it poizes the figure, which otherwife would have feemed to have 
 tumbled forwards) had it gone lower, fo as to have, as it were, di- 
 vided the outline of the hinder part of the figure in two equal, or 
 near equal parts, it had been offenfive; as it had been lefs pleafing 
 if it had not come fo low as it does. This important piece of dra- 
 pery preferves the mafs of light upon that figure, but varies it, and 
 gives it" an agreeable form, whereas without it, the whole fiaure 
 would have been heavy and difagreeable ; but there was no danger 
 of that in Rafaelle. There is anotr.cr piece of drapery in the carton 
 
 of 
 
( 68 ) 
 
 oi giving the keys, which is very judicioufly flung in; the three 
 outmoft figures at the end of the piflure, the contrary to that where 
 our Lord is, made a mafs of light of a fliape not very pleafing, till 
 that knowing painter ftruck in a part of the garment of the laft 
 apoftle in the group as folded under his arm, this breaks the ftrait 
 line, and gives a more graceful form to the whole mafs ; which is 
 alfo afTifted by the boat there ; as the principal figure in this compo- 
 fition is by the flock of fheep placed behind him, and which, more- 
 over, ferves to detach the figure from its ground, as well as to 
 illuftrate the hiftory. 
 
 The naked boys in the carton of healing the cripple are a farther 
 proof of Rafaelle's great judgment in compofition : one of them 
 is in fuch an attitude as finely varies the turns of the figures ; but 
 here is moreover another kind of contraft, and that is caufed by 
 their being naked, which, how odd foever it may feem at firit, 
 and without confidering the reafon of it, will be found to have 
 a marvellous effeft : cloath them in imagination ; drefs them as 
 you will, the pifture fuffers by it, and would have fuffered if 
 Rafaelle himfelf had done it. 
 
 It is for the fake of this contraft, which is of fo great confequence 
 in Painting, that this knowing man, in the carton we are now upon, 
 has placed his figures at one end of the temple near the corner, 
 where one would not fuppofe the beautiful gate was : but this varies 
 the fides of the pifture ; and at the fame time gives him an oppor- 
 tunity to enlarge his buildings with a fine portico, the like of which 
 you muft imagine muft be on the other fide of the main firuflure ; 
 all which together makes one of the nobleft pieces of architefture 
 that can be conceived. 
 
 He has taken a greater licence in the carton of the converfion of 
 Sergius Paulus, where the architedure will be difficult to account 
 for, otherwife than by faying it was done to give the contrail we are 
 fpeaking of : but this will juftify it fufficienily. 
 
 Nor 
 
( 59 ) 
 
 Nor is this conlraft only necefTary in every particular piClure, 
 but if feveral are made to hang in one room, they ought to contrail 
 one another. This Titian confidered, when he was makins feveral 
 piQures for our King flenry VIII. as appears by a letter he wrote 
 to that prince, which (amongfl others of Titian to the Emperor, 
 and other great men) is to be found in a colleclion of letters printed 
 at Venice, aii. 1574. lil^- ii. p. 403. 
 
 Ft perche la Danae ch' ionandai gia a noftra macfia, Ji iiedena 
 
 tutta dalla parte dinanzi, ho iioluto in quejla altra Poejia nariare, (3 
 farlc mojlrare la contraria parte, accioche riefca it camerino done hanno 
 da Jlare piu gratiofo alia uijla. Tojlo le mandero la Poefia di Perfeo, (3 
 Andromeda che haura un' altra uiJla differente da quejle, (3 coji Medea, 
 J a/one. 
 
 There is another fort of contrail, which I have often wondered 
 painters have not more confidered than we generally find, and that 
 is, making fome fat, and fome lean people ; fuch a face and air as 
 Mr. Lock's, or Sir Ifaac Newton's, would fliine in the beft coiji- 
 polition that ever Kafaelle made, as to exprefs their chara£ters 
 would be a tallc worthy of that divine hand. In the cartons there 
 is one or two figures fomething corpulent ; but I think, not one re- 
 markably lean; I have a drawing which is afcribed to Baccio 
 Bandinelli, where this contrail is, and has a fine efFeft. 
 
 Whatever are the predominant colours of the principal figure, 
 the fame in kind, whether ftronger or not, mufl be difFufed over 
 the whole compofition. This Rafaelle has obferved remarkably in 
 the carton of St. Paul preaching; his drapery is red, and green. 
 Thefe you fee fcattered about in the pi£lure with great advantage 
 to the whole ; for fubordinate colours as well as fubordinate lights 
 ferve to foften, and fupport the principal ones, which otherwife 
 would appear as fpots, and confequently be offenfive. 
 
 The 
 
( 6o ) 
 
 The matters to be ftudied for compofition are Rafaelle, and 
 Rubens, mofl: efpecially, though many others are worthy notice, 
 and to be carefully confidered ; amongft which V. Velde ought 
 not to be forgotten. 
 
 DESIGN or DRAWING. 
 
 ]By thefe terms is fometimes underftood the exprefling our 
 thoughts upon paper, or whatever other flat fuperficies; and that by 
 refemblances formed by a pen, crayon, chalk, or the like. But 
 more commonly, the giving the juft form, and dimenfion of vifible 
 objefts, according as they appear to the eye; if they are pretended 
 to be defcribed in their natural dimenfions; if not, but bigger, or 
 leffer, then drawing, or defigning fignifies only the giving thofa 
 things their true form, which implies an exa£t proportionable mag- 
 nifying, or diminifhing in every part alike. 
 
 And this comprehends alfo giving the true fhapcs, places, and 
 even degrees of lights, fliadows, and reflections, becaufe if thefe are 
 not right, if the thing has not its due force or relief, the true form 
 of what is pretended to be drawn, cannot be given. Thefe fliew the 
 outline all around, and in every part, as well as where the objeft is 
 terminated on its back ground. 
 
 In a compofition of feveral figures, or whatever other bodies, if 
 the perfpe£live isnotjufl;the drawing of that compofition is falfe. 
 This therefore is alfo implied by this term. That the perfpeftive 
 mufl; be cbfcrved in the drawing of a fingle figure cannot be 
 doubted. 
 
 1 know drawing is not commonly underftood to comprehend the 
 clair-obfcure, relief, and perfpeftive, but it does not follow how- 
 ever that what I advance is not right. 
 
 But 
 
( 61 ) 
 
 But if the outlines are only marked, this alfo is drawing, it is 
 giving the true form of what is pretended to, that is, the outline. 
 
 The drawing in the latter, and moft common fenfe, befides that 
 it mud be juft, mufl; be pronounced boldly, clearly, and without 
 ambiguity: confcqueiitly, neither the outlines, nor the forms of 
 the lights, and fliadows mud be confufed, and uncertain, or woolly 
 (as painters call it) upon pretence of foftnefs; nor on the other 
 hand may they be fharp, hard, or dry; for either of thefe are 
 extremes ; nature lies between them. 
 
 As there are not two men in the world who at this inftant, or at 
 any other time, have exaftly the fame fet of ideas ; nor any one 
 man that has the fame fet twice, or this moment, as he had the laft ; 
 for thoughts obtrude themfelves, and pais along in the mind con- 
 tinually as the rivers 
 
 Stream, and perpetual draw iheir humid train j Milton, 
 
 So neither are there two men, nor two faces, no, not two eyes, 
 foreheads, nofes, or any other features : nay farther, there are not 
 two leaves, though of the fame fpecies, perfeftly alike. 
 
 A defigner therefore mufl: confider when he draws after nature, 
 that his bufinefs is to defcribe that very form, as diftinguiflied from 
 every other form in the univerfe. 
 
 In order to give this juft reprefentation of nature (for that is all 
 ■we are now upon, as being all that drawing, in the prefent fenfe, and 
 limply confidered implies, grace and greatnefs, is to be fpoken to 
 afterwards) I fay in order to follow nature exaQly, a man muft be 
 well acquainted with nature, and have a reafonable knowledge of 
 geometry, proportion (which muft be varied according to the fex, 
 age, and quality of the perfon) anatomy, ofteology, and perfpeftive. 
 I will add to thefe an acquaintance with the works of the beft 
 painters, and fculptors, ancient and modern : for it is a certain 
 maxim, no man fees what things are, that knows not what the/ 
 ought to be. 
 
 I That 
 
( 62 ) 
 
 That this maxim is true, will appear by an scademy figure drawn 
 by one ignorant in the ftrufture, and knitting of the bones, and 
 anatomy, compared with another who underflands thefe thoroughly: 
 or by comparing a portrait of the fame perfon drawn by one unac- 
 quainted with the works of the beft matters, and another of the hand 
 of one to whom thofe excellent works are no ftrangers: both fee the 
 fame life, but with different eyes. The former fees it as one 
 unflcilled in mufic hears a confert, or inflrument, the other as a 
 mafler in that fcience: thefe hear equally, but not with like diffinc- 
 tion of founds, and obfervation of the fkill of the compofer. 
 
 Michelangelo was the mofl learned, and correct defigner of all 
 the moderns, if Rafaelle were not his equal, or as fome will have it, 
 fuperior. The Roman and Florentine fchools have excelled all 
 others in this fundamental part of Painting, and of the firft Rafaelle, 
 Giulio Romano, Polydore, Pierino del Vaga, &c. as Michelangelo, 
 Leonardo da Vinci, Andrea del Sarlo, &c. have been the beft of 
 the Florentines. Of the Bolognefe, Annibale Caracci, and Do- 
 minchino, have been excellent defigners. 
 
 When a painter intends to make a hiftory (for example) the way 
 commonly is to defign the thing in his mind, to confider what 
 figures to bring in, and what they are to think, fay, or do; and then 
 to fketch upon paper this idea of his ; and not only the invention, 
 but compofition of his intended pifture : this he may alter upon the 
 fame paper, or by making other fketches, till he is pretty well deter- 
 mined as to that ; (and this is that firft fenfe, in which I faid the 
 term drawing, or defigning was to be underftood.) In the next 
 place his bufinefs is to confult the life, and to make drawings of 
 particular figures, or parts of figures, or of what elfe he intends to 
 bring into his work, as he finds neceffary ; together alfo with fuch 
 ornaments, or other things of his invention, as vafes, frizes, tro- 
 phies, &:c. till he has brought his pifture to fome perfeftion on 
 paper, either in thefe loofe ftudies, or in one entire drawing, which 
 
 has 
 
( 63 ) 
 
 has frequently been done, and fometimes finiflied very highly by 
 them, either that their difciples might be able from them to make a 
 greater progrels in the grind work, and fo leave the lefs for the 
 tnafler himfelf to do ; or becaufe they made advantage of fuch 
 drawings from the perfon wlio employed them, or fome other; and 
 perhaps fometimes for their own pleafure. 
 
 Of thefe drawings of all kinds thofe great mailers (whofe names, 
 and memories are fweet to all true lovers of the art) made very 
 many; fometimes feveral for the fame thing, not only for the fame 
 pidlure, but for one figure, or part of a picture ; a:ul though too 
 many are perifhed, and loft, a confiderable number have efcaped 
 and been preferved to our times, I'ome very well, others not, as it 
 has happened: and thefe are exceedingly prized by all who under- 
 ftand, and can fee their beauty ; for they are the very fpirit, and 
 quintelTence of the art ; there we fee the fteps the mafter took, the 
 materials with which he made his finifhed Paintings, which are little 
 other than copies of thefe, and frequently (at leaft in part) by fome 
 other hand ; but thefe are undoubtedly altogether his own, and 
 true, and proper originals. 
 
 It muft be confelTed, in the Paintings you have the colours, and 
 the laft determination of the mafter, with the entire completion of 
 the work. The thoughts, and finifhings are in a great meafure feen 
 in the prints of fuch works of which prints are made, nor is a 
 drawing deftitute of colouring abfolutely; on the contrary, one 
 frequently fees beautiful tints in the paper, waflies, ink, and chalks 
 of drawings; but what is wanting in fome rcfpeQs is abundantly 
 recompenced in others, for in thefe works, the mafters not being 
 enibarrafted with colours have had a full fcope, and perfeft liberty, 
 which is a very confiderable advantage, efpeciaily to fome of them. 
 There is a fpirit, and fire, a freed )m, and delicacy in he drawings 
 of Giulio Romano, Polydoro, Farmeggiano, Battifta Frinco, &c. 
 which are not to be feen in their Paitiiings: a pen, or ch.ilk will 
 
 I 2 perform 
 
( 64 ) 
 
 perform what cannot be poflibly done witli a pencil ; and a pencil with 
 a thin liquid only what cannot be done when one has a variciy 
 of colours to manage, efpecially in oil. 
 
 And there is this farther confideration to endenr thofe drawings 
 we have to us ; no more can be had than what are now in being; 
 no new ones can be made; the number of thefe mud nccefTarily 
 diminifii by time, and accidents, but cannot be fupplied ; tlie world 
 mult be content with what it has : for though there are ingenious 
 men endeavouring to tread in the fteps of thefe prodigies of art, 
 whofe works we are fpeaking of, there is yet no appearance that 
 any will equal them, though I am in hopes that our own country 
 does, or will produce thofe that will come as near them as any other 
 nation, I mean as to hiftory Tainting, for that we already excel 
 all others in portraits 5s indifputable. 
 
 The vaft pleafure I take in thefe great curiofities has carried me 
 perhaps too far: I will only add, that the firft fl<etches not being 
 intended to exprefs more than the general ideas, any incorreftnefs 
 in the figures, or perfpeftive, or the like, are not to be efteemed as 
 faults; exaftnefs was not in the idea; the flcetch, notwithftanding 
 fuch feeming faults, may fliew a noble thought, and be executed 
 with a vaft fpirit, which was all pretended to, and which being per- 
 formed it may be faid to be well drawn, although incorrect as to 
 the other matters. But when correQion is pretended to, (and this 
 is always the cafe of a finiflied drawing, or pifture) then to have 
 any defe£l in drawing (in this fenfe of the term) is a fault. 
 
 COLOURING. 
 
■J V, 
 
 ^ *".c^:^^^^ y^/^T^ -^'^^^ J^ , '^.^^^ ^ 
 
 I 
 
 Q 
 
 ■ 
 
 t^-:^--^^ ^T_L^«J» ./^^^ ^ ^^^^^^2 
 
( 65 ) 
 
 COLOURING. 
 
 Colours are to the eye what founds are to the ear, taftes to 
 the palate, or any other objefts of our fenfes are to thofe fenfes ; 
 and accordingly an eye that is delicate takes in proportionable 
 pleafure from beautiful ones, and is as much offended with their 
 contraries. Good colouring therefore in a picture is of confe- 
 quence, not only as it is a truer reprefentation of nature, where 
 every thing is beautiful in its kind, but as adminiftcring a confider- 
 able degree of pleafure to the fenfe. 
 
 The colouring of a pidure mud be varied according to the 
 fubjeCl, the time, and place. 
 
 If the fubjeft be grave, melancholy, or terrible, the general 
 tint of the colouring mufl incline to brown, black, or red, and 
 gloomy; but be gay, and pleafant in fubjefts of joy, and triumph. 
 This 1 will not enlarge upon here, having fpoken to it already in the 
 chapter of Expreffion. Morning, noon, evening, night; fun-fhine, 
 wet, or cloudy weather, influence the colours of things; and if 
 the fcene of the pi6lure be a room, open air, or partly open, and 
 partly inclofed, the colouring mufl be accordingly. 
 
 The diftance alfo alters the colouring, becaufc of the medium of air 
 through which every thing is feen, which being blue, the more remote 
 any objeQ is, the more it muff partake of that colour, confequently 
 mufl have Icfs force, or llrength ; the ground therefore, or whatfo- 
 ever is behind a figure (for example) mufl not be fo ftrong as that 
 figure is, nor any of its parts which round off, as thofe that come 
 nearer the eye, and that not only for the reafon already given, but 
 becaufe moreover there will always be refleftions flronger, or 
 weaker, that will diminifh the force of the fhadows; which reflec-. 
 
 tions 
 
( (-^ ) 
 
 tions (by tlie way) muft partake of the colours of thofe things from 
 whence they are produced. 
 
 Anv of the feveral fpecies of colours may be as beautiful in 
 their kinds as the others, but one kind is more fo than another, as 
 having more variety, and confifting of colours more pleafing in their 
 own nature; in which, and the harmony, and agreement of one 
 tint with another, the goodnefs of colouring confids. 
 
 To (}iew the beauty of variety I v;ill inftance in a gelder-rofe, 
 which is white ; but having many leaves one under another, and 
 lying hollow fo as to be feen through in fome places, which oc- 
 cafions feveral tints of light and fhadow ; and together with thefc 
 fome of the leaves having a greenifh tint, all together produce 
 that variety which gives a beauty not to be found in this paper, 
 though it is white, nor in the infide of an egg-fhell though whiter, 
 nor in any other white objeft that has not that variety. 
 
 And this is the cafe, though this flower be feen in a room in 
 gloomy, or wet weather; but let it be expofed to the open air when 
 the flvy is ferene, the blue that thofe leaves, or parts of leaves that 
 lie open to it will receive, together with the refleflions that then 
 will alfo happen to ftrike upon it, will give a great addition to its 
 beauty : but let the funbeams touch upon its leaves where they can 
 reach with their fine yellowifli tint, the other retaining their flcy- 
 blue, together with the fliadows, and brifk reflexions it will then re- 
 ceive, and then you will fee what a perfeftion of beauty it will have, 
 not only becaufe the colours are more pleafant in themfelves, but 
 there is greater variety. 
 
 A ficy entirely blue would have lefs beauty than it has being 
 always va'^icd towards the horizon, and by the funbeams whether 
 riling fctting, or in its progrefs; but neither has it that beauty as 
 yA^ew more varied with clouds tinged with yellow, white, purple, &c. 
 
 A piece of fslk, or cloth hung, or laid flat, has not the beauty, 
 though the colour of it be pleafing, as when flung into folds; nay, 
 
 a piece 
 
( 67 ) 
 
 a piece of filk tliat has little beauty in itfclf, fliall be much im- 
 proved only by being pinked, watered, or quilted; the reafon is, 
 in thefe cafes there arifes a variety produced by lights, fiiades, 
 and refleftions. 
 
 There are, as I faid, certain colours lefs agreeable than others, 
 as a brick-wall for example, yet when the fun ftrikes upon one part 
 of it, and the flcy tinges another part of it, and fliadows and reflec- 
 tions the reft, this variety fliall give even that a degree of beauty. 
 
 Perfe6l black, and white are difagreeable ; for which reafon 
 a painter fhould break thofe extremes of colours, that there may be 
 a warmth, and mellonefs in his work : let him (in flefh efpecially) 
 remember to avoid the chalk, the brick, and the charcoal, and 
 think of a pearl, and a ripe peach. 
 
 But it is not enough that the colours in themfelves are beautiful 
 fingly, and that there be variety, they muft be fet by one another, 
 fo as to be mutually affiftant to each other ; and this not only in the 
 objeft painted, but in the ground, and whatfoever.comes into the 
 compofition ; fo as that every part, and the whole together may 
 have a pleafing efFcft to the eye ; fuch a harmony to it as a good 
 piece of mufic has to the ear; but for which no certain rules can be 
 given no more than for that : except in fome few general cafes, 
 which are very obvious, and need not therefore be mentioned here. 
 
 The beft that can be done, is to advife one that would know the 
 beauty of colouring, to obferve nature, and how the beft colourifts 
 have imitated her. 
 
 What a lightnefs, thinnefs, and tranfparency ; what a warmth, 
 cleannefs, and delicacy is to be feen in life, and in good pi6tures! 
 
 He that would be a good colourift himfelf muft moreover prac- 
 tife much after, and for a confiderable time accuftom himfelf to fee 
 well-coloured piftures only ; but even this will be in vain unlcfs he 
 has a good eye in the fenfe, as one is faid to have a good ear for 
 
 mufic ; 
 
( 68 ) 
 
 mufic; he muft not only fee well, but have a particular delicacy ■with 
 relation to the beauty of colours, and the infinite variety of tints. 
 
 The Venetian, Lombard, and Flemifli fchools have excelled in 
 colouring; the Florentine, and Roman in defign ; the Bolognefe 
 mafters in both ; but not to the degree generally as either of the 
 other. Correggio, Titian, Paolo Veronefe, Rubens, and Van Dyck, 
 have been admirable cclourifts ; the latter in his bed things has 
 followed common nature extremely clofe. 
 
 Rafaelle's colouring, efpecially in his fhadows, is blackifli : this 
 was occafioned by the ufe of a fort of printer's black, and which has 
 changed its tint, though it was warm, and glowing at firft, upon 
 which account he was fond of it, though he was advifed what 
 would be the confequence. However by the vaft progtefs he made 
 in colouring after he applyed himfelf to it, it is judged he would 
 in this part of Painting alfo have excelled, as in the others: here 
 would have been a double prodigy ! fince no one man has ever 
 pofTelTed even colouring, and defigning to that, or any very con- 
 fiderable degree. 
 
 Though the cartons are fome of the laft of his works, it muft be 
 confefled the colouring of them is not equal to the drawing ; but at 
 the fame time neither can it be denied but that he that painted 
 thofe could colour well, and would have coloured better. It mud 
 be confidered they were made for patterns for tapeftry, and painted, 
 not in oil, but in diftemper, and befides are very near two hundred 
 years old : if therefore one fees not the warmth, and mellownefs, 
 and delicacy of colouring which is to be foUnd in Correggio, Titian, 
 or Rubens, it may fairly be imputed in a great meafure to thefe 
 caufes. A judicious painter has other confiderations relating to the 
 colouring when he makes patterns for tapeftry to be heightened 
 with gold, and filver, than when he paints a pifture without any 
 fuch view ; nor can a fort of drynefs, and harftinefs be avoided in 
 .diftemper, upon paper : time moreover has apparently changed 
 
 fome 
 
( ^9 ) 
 
 fome of the colours. In a word, the tout-enfemble of the colours 
 is agreeable, and noble ; and the parts of it are in general ex- 
 tremely, but not fuperlatively good. 
 
 I will only add one obfervation here concerning the colours of 
 the draperies of the apo files, which are always the fame in all the 
 cartoti.s, only St. Peter, when he is a fifherman, has not his large 
 apoftolical drapery on. This apoftle, when dreffed, wears a yellow 
 drapery over his blue coat ; St. John a red one over a green j fo 
 does St. Paul, which is alfo the fame that he wears in the famous 
 St. Cecilia, which was painted near ten years before. 
 
 HANDLING. 
 
 this term is underftood the manner in v/hich the colours dre 
 left by the pencil upon the picture ; as the manner of ufing the peft, 
 chalk, or pencil in a drawing is the handling of that drawing. 
 
 This, confidered in itfelf abftra61edly, is only a piece of me- 
 chanics, and is well, or ill, as it is performed with a curious, expert, 
 or heavy, clumfey hand ; and that whether it is fmootb, or rough, 
 or however it is done ; for all the manners of working the pencil 
 may be well, or ill in their kind; and a fine light hand is feen as 
 much in a rough, as in a fmooth manner. 
 
 I confefs 1 love to fee a freedom and delicacy of hand in Paint- 
 ing as in any other piece of work ; it has its merit. , Though to 
 fay a pidure is juftly imagined, well difpofcd, truly drawn, is great, 
 has grace, or the other good qualities of a picture ; and withal that 
 it is finely handled, is as if one fhould fay a man is virtuous, wife, 
 good-natured, valiant, or the like, and is alfo handfome. 
 
 But the handling may be fach as to be not only good abftraCledly 
 confidered, but as being proper, afld adding a teal advantage to 
 
 K the 
 
( 70 ) 
 
 the piftiire : and then to fay a picture has fuch, and fuch good 
 properties, and is alfo well handled (in that fenfe) is as to fay a 
 man is wife, virtuous, and the like, and is alfo handfome, and 
 perfedly well-bred. 
 
 Generally, if the chara6ler of the pifture is greatnefs, terrible, 
 or favage, as battles, robberies, witchcrafts, apparitions, or even 
 the portraits of men of fuch charaflers there ought to be employed 
 a rough, bold pencil ; and contrarily, if the chara6ler is grace, 
 beauty, love, innocence. Sec. a fofter pencil, and more finifliing 
 is proper. 
 
 It is no objeQion againft a fketch if it be left unfinifiied, and 
 with bold rough touches, though it be little, and to be feen near, 
 and whatfoever its charafler be; for thus it anfwers its end, and 
 the painter would after that be imprudent to fpend more time upon 
 it. But generally fmall piflures fhould be well wrought. 
 
 Jewels, gold, filver, and whatfoever has fmart brightnefs require 
 bold, rough touches of the pencil in the heightenings. 
 
 The pencil fliould be left pretty much in linen, filks, and what- 
 foever has a gloffinefs. 
 
 All large pi6lures, and whatfoever is feen at a great diftance 
 fhould be rough ; for befides that it would be lofs of time to a 
 painter to finifh fuch things highly, fince diftance would hide all that 
 pains; thofe bold roughneffes give the work a greater force, and 
 keep the tints dininft. 
 
 The more remote any thing is fupofed to be, the lefs finifliing it 
 ought to have. I have feen a fringe to a curtain in the back-ground 
 of a pi£lure, which, perhaps, was half a day in painting, but might 
 have been better done in a minute. 
 
 There is often a fpirit, and beauty in a quick, or perhaps an ac- 
 cidental management of the chalk, pen, pencil, or bruih in a drawing, 
 or painting, which it is impoffible to preferve if it be more finifhed ; 
 at leaft it is great odds but it will be loft: it is better therefore to 
 
 incur 
 
( 71 ) 
 
 incur the cenfure of tlic injudicious, than to hazard the lofing fuch 
 advantages to the piflure. Appelles comparing himfelf with Pio- 
 togenes faid, perhaps he is equal, if not fuperior to me in fome 
 things, but I am fure 1 excel him in this : 1 know when to have 
 done. 
 
 Flefli in pictures, to be feen at a common diftance, and efpecially 
 portraits fhould (generally fpeaking) be well wrought up, and then 
 touched upon every where in the principal lights, and (liadows, and 
 to pronounce the features; and this more, or lefs, according to the 
 fex, age, or charaClcr of the perfon, avoiding narrow, or long, con- 
 tinued ftrokes, as in the eyc-lids, mouth, &c. and too many fharp 
 ones : this being done by a light hand, judicioufly, gives a fpirit, 
 and retains the foftnefs of flefh. 
 
 In fliort, the painter fliould confider what manner of handling 
 will bcfl conduce to the end he propofes, the imitation of nature, 
 or the e.xprcfling thofe raiftd ideas he has conceived of pofiible per- 
 fc6lion in nature, and tbcit he ought to turn his pencil to ; always 
 remembering, that what is fuoneft done is beft, if it is equally good 
 upon all other accounts. 
 
 There are two miflakcs very common ; one is, becaufe a great 
 many good piflures are very rough painted, people fancy that is a 
 good pifture that is fo. I liere is bold Painting, but there is alfo 
 impudent Painting. Others on the contrary, judge of a pitlure not 
 by their eyes, but by their fmgers ends, they feel if it be good. 
 Thofe appear to know little of the true beauties of the art, that thus 
 fix upon the leaft confiderable circuinRance of it as if it v.cre all, 
 or the principal thing to be confidered. 
 
 The cartons, as they are properly no other than coloured draw- 
 ings, are handled accordingly, and extremely well. The flefh is ge- 
 nerally pretty much finifhed, and then finely touched upon. There 
 is much hatching with the point of a large pencil upon a prepared 
 ground. The hair is made with fuch a pencil for the moil pai t. 
 
 K 2 Leonardo 
 
( 70 
 
 Leonardo da Vinci had a wondrous delicacy of band in finifhing 
 highly, but Giorgion, and Correggio have efpecially been famous 
 for a fine, that is, a light, eafy, and delicate pencil. You fee a 
 free, bold handling in the works of Titian, Paolo Veronefe, Tin- 
 toretto, Rubens, the Borgognone, Salvator Rofa, Sec. the Maltefe 
 had a very particular manner, he painted chiefly Turkey-worked 
 carpets, and left the pencil as rough as the carpet iifelf, and ad- 
 mirably well in its kind. But perhaps no man ever managed a 
 pencil in all the feveral manners better than Van Dyck. 
 
 Of GRACE and GREATNESS. 
 
 T'h E R E is fome degree of merit in a pifture where nature is 
 exzEWy copied, though in a low fubje£l ; fuch as drolls, country- 
 wakes, flowers, landfcapes, &c. and more in proportion as the 
 fubje6l rifes, or the end of the pifture is this exaO: reprefentation. 
 Herein the Dutch, and Flemifh mailers have been equal to the 
 Italians, if not fuperior to them in general. What gives the 
 Italians, and their mafters the ancients the preference, is, that they 
 have not fervilely followed common nature, but raifed, and im- 
 proved, or at leafi: have always made the bed choice of it. This 
 gives a dignity to a low fubjcft, and is the reafon of the efteem we 
 have for the landfcapes of Salvator Rofa, Filippo Laura, Claude 
 Lorrain, the Pouflins ; the fruit of the two Michelangelo's, the 
 Battaglia, and Campadoglio; and this, when the fubje6l itfelf is 
 noble, is the perfeftion of Painting : as in the beft portraits of 
 Van Dyck, Rubens, Titian, Rafaelle, &c. and the hiftories of the 
 befl: Italian mafters ; chiefly thofe of Rafaelle ; he is the great 
 model of perfeftion ! all the painters being ranked in three feveral 
 claffes according to the degrees of their merit, he mud be allowed 
 to poffefs the fifft alone. 
 
 Common 
 
( 73 ) 
 
 Common nature is no more fit for a pi6lure than plain narration is 
 for a poem : a painter muft raife his ideas beyond what he fees, and 
 form a model of perfcQion in his own mind which is not to be found 
 in reality ; but yet fuch a o'ne as is probable, and rational. Particu- 
 larly with refpefl to mankind, he muft as it were raife the whole 
 fpecies, and give them .all imaginable beauty, and grace, dignity, 
 and perfe6lion ; every fevcral charaCler, whether it be good, or bad, 
 amiable, or deteftable, muft be ftronger, and more perfeft. 
 
 At court, and elfcwhere amongft people of condition, one fees 
 another fort of beings than in the country, or the remote, and infe- 
 rior parts of the town ; and amongft thefe there are fome few that 
 plainly diftinguifh thcmfelves by their noble, and graceful airs, and 
 manner of afting. There is an eafy gradation in all nature; the 
 moft ftupid of animals are little more than vegetables, the moft fa- 
 gacious, and cunning are hardly inferior to the loweft order of men, 
 as the wifcft, and moft virtuous of thefe are little below the angels. 
 One may conceive an order fuperior to what can any where be 
 found on our globe ; a kind of new world may be formed in the 
 imagination, confitting as this, of people of all degrees, and cha- 
 raflers, only heightened, and improved : a beautiful genteel woman 
 muft have her defeats overlooked, and what is wanting to complete 
 her charafler fupplied : a brave man, and one honeftly, and wifely 
 purfuing his own intereft, in conjundion with that of his country, 
 muft be imagined more brave, more wife, more exaftly, and inflex- 
 ibly honeft than any we know, or can hope to fee : a villain muft 
 be conceived to have fomething more diabolical than is to be found 
 even amongft us ; a gentleman muft be more fo, and a peafant have 
 more of the gentleman, and fo of the reft. "With fuch as thefe an 
 artift muli people his pictures. 
 
 Thus the ancients have done; notwithftanding the great, and 
 exalted ideas we may have of the people of thofe times from their 
 hiftorics (which probably are improved by the hiftorians ufing the 
 
 fame 
 
-( 74 ) 
 
 fame management in their writings as I am recommending to the 
 painters: it was the poets proper bafmcfs fo to do) one can hardly 
 believe them to be altogether fuch as we fee in the antique ftatues, 
 bas-reliefs, medals, and intaglios. And thus the beft modern 
 painters, and fculptors have done. Michelangelo no where faw 
 fuch living figures as he cut in ftone ; and Rafaelle thus writes to 
 his friend the Count Bn'JaJfar Cojliglione, Ma ejfendo careflia e a'e i 
 luoni giudicii, et di belle donne, io mifervo di certa idea che mi vieue 
 .allamente. The letter is in Bellori's defcription of the piftures 
 in the Vatican, and in the colleftion of letters J. have cited here- 
 tofore. 
 
 When a man enters into that awful gallery at Hampton-Court, 
 he finds himfelf amongfl a fort of people fuperior to what he has 
 ever feen, and very probably to what thofe really were. Indeed 
 this is the principal excellence of thofe wonderful pictures, as it 
 muft be allowed to be that part of Painting, which is preferable to 
 all others. 
 
 What a grace, and majetty is feen in the great apoftle of the 
 gentiles, in all his adions, preaching, rending his garments, 
 denouncing vengeance upon the forcerer! what a dignity is in the 
 other apollles wherever they appear, particularly the prince of 
 them in the carton of the death of Ananias ! how infinitely, and 
 divinely great, and genteel is the Chrift in the boat ! but thefe are 
 exalted charafters which have a delicacy in them as much beyond 
 what any of the gods, demi-gods, or heroes of the ancient heathens 
 can admit of, as the chridian religion excels the ancient fuperftition. 
 The proconful Sergius Pauliis has a greatnefs, and grace fuperior 
 to his character, and equal to what one can fuppofe ( asfar, Auguf- 
 tus, Trajan, or the greaieft among the Romans to have had. The 
 common people are like gentlemen ; even the fifiiermen, the beg- 
 gars, have fomething in them much above what we fee in thofe 
 orders of men. 
 
 And 
 
( 75 ) 
 
 And the fcenes are anfwerable to the aQors ; not even the beau- 
 tiful gate of the temple, nor any part of the firft temple, ncr 
 probably any building in the world had that beauty, and magnifi- 
 cence as appears in what we fee in the carton of healing the cripple. 
 Athens, and Lyftra appear in thefe cartons to be beyond what we 
 can fuppofe they were when Greece was in its utmoft glory : even 
 the place where the apoftles were affembled (in the carton of Ana- 
 nias) is no common room; and though the fteps, and rails which 
 were made on purpofe for them for the exercife of their new 
 fun£lion have fomething exprcffive of the poverty, and fimplicity 
 of the infant church, the curtain behind, which alfo is part of the 
 apoftolical equipage, gives a dignity even to that. 
 
 It is true there are fome charatlers which are not to be improved, 
 as there are others impufTible to be perfectly conceived, much lefs 
 exprefTcd, The idea of God no created being can comprehend, the 
 divine mind only can, and it is the brighteft there. And infinitely 
 bright ! and would be judged to be fo even by us. though the diffi- 
 culties arifing from the confideration of the moral, and natural evil 
 which is in the world were not to be folved by the common expe- 
 dients. I . ill only venture to fay with refpeft to the latter, that 
 this is fo far from being an objeftion to the infinite goodnefs of God, 
 that God could not have been infinitely good if he had not produced 
 an order of beings, in which there was fuch a mixture of natural 
 evils as to be jud preponderated by the enjoyments, fo as upon the 
 foot of the account to render being elligible, for without this, one 
 inllance of goodnefs had been omitted. 
 
 No ftatue, or piQure ; no words can reach this charaQer. The 
 ColofTean ftatue of Phidias, the pidures of Rafaelle, are but faint 
 ftiadows of this infinite, and incomprehenfible Being. The Thun- 
 derer, the Beft, and Greateft : the Father of Gods and Men, of 
 Homer; the Elohim, the Jehovah, the I Am that I Am of Mofes; 
 the Lord of Hofts of the Prophets : nay the God and Father of our 
 
 Lord 
 
C 7^ ) 
 
 Lord Jefus Chrift, the Alpha and Omega, the All in AH of the new 
 teftament: thefe give us not an adequate idea of him ; though that 
 comes neareft where not terror, and fury, but majefly. power, wif- 
 dom and goodnefs, is heft exprcIFed. 
 
 May t/vjf idea ever dwell with me. 
 
 From Reafon, not from prejudice derived. 
 
 Enlarged, i^rv-proved, and brightened more and more, 
 
 As oriental day, ferene, and fweet, 
 
 When jpi'ing, and fimmer Jor the prize contend : 
 
 The richejl cordial for ilie heart ! a light 
 
 Difcovering, errors infinite labyrinths ! 
 
 The ornament, and treafw e of the foul ! 
 
 Imperfect as it is.— 
 
 A God incarnate, and Saviour of mankind by obedience and fuf- 
 fering ; a crucified God rifen from the dead : thefe are chara61ers 
 that have fomething fo fublime in them, that we muft be contented 
 to own, our beloved Rafaelle has failed here, more efpecially in 
 fome inftances ; I do not mean in the carton of giving the keys, for 
 that I verily believe has received fome injury, and is not now like 
 what Rafaelle made it. That incomparable hand that painted the 
 biftory of Cupid and Pfyche, in the palace of Chigi at Rome, has 
 carried the fiftitious deities of the heathens as high as poffible, but 
 not beyond what fhould be conceived of them ; as Michelangelo 
 Buonaroti (particularly in two or three drawings I have of him) 
 has made devils not fuch as low geniufcs reprefent them, but like 
 thofe of Milton ; 
 
 His face 
 
 Deep fears of thunder had intrenched, and care 
 Sat on his faded fheek, hut under brows 
 Of dauntlefs courage, and confiderate pride 
 Waiting revenge : Cruel his eye. 
 
 But 
 
( 77 ) 
 
 But the proper idea of a devil has fuch an cxcefs of evil in it as can- 
 not be exaggerated ; in all fuch cafes it is fufficient if all be done 
 that can be done. The painter mud fliew v»?hat he aims at, he mud 
 give him that fees the piclure all the affiftance he can, and then leave 
 him to fupply the reft in his own imagination. 
 
 There are other charafclers which though inferior to thefe are fo 
 noble, that he mufl; be a happy man who can conceive them judly, 
 but more fo if he can exprefs them: fuch are thofe of Mofes, Ho- 
 mer, Xenophon, Alcibiades, Scipio, Cicero, Rafaelle, &:c. If wc 
 fee thefe pretended to be given in pi6ture, we expert to fee them 
 
 — - Comely, and in aB 
 
 Raifed, as of Jome great matter to begin. 
 
 As xohen of old fome orator renowned 
 
 In Athens, or free Rome, where eloquence 
 
 Flourijhed, fmce mute, to fome great caufe addreffed 
 
 Stood inhimfelf colleEied, while each part, 
 
 Motion, each aH won audience e'er the tongue, 
 
 Milton. 
 
 We expe6l all that greatnefs, and grace I have been recommending; 
 all is necelfary here in order to fatisfy us that the hidory is truly 
 related : as the pleafure we take in having our minds filled with fine 
 and extraordinary ideas is a fufficient reafon for raifing all the more 
 inferior charafters. Life would be an infipid thing indeed if we 
 never faw or had ideas of any tiling but what we commonly fee; a 
 company doing what is of no confcquence but to thcmfelves in their 
 own little affairs; and to fee fuch in pi£lure can give no great plea- 
 fure to any that have a true, and refined tade. 
 
 A hidory painter mud defcribe all the various charaflers, real, or 
 imaginary; and that in all their fituations, pleafed, grieved, angry, 
 hoping, fearing, &c. A face-painter has to do with all the real 
 characters, except only fome few of the meaned, and the mod fub- 
 
 Li lime, 
 
( 78 } 
 
 lime, but not with that variety of fentiments as the other. The 
 whole bufinefs of his life is to defcribe the golden age, when 
 
 Univerfal Pan 
 
 Knit with the graces, and the hours in dance 
 Led on tli eternal fpring. 
 
 Every one of his people mufl appear pleafed, and in good humour, 
 but varied fuitably to the raifed charafter of the perfon drawn ; 
 whether this tranquility and delight be fuppofed to arile from the 
 fight of a friend, a refle6lion upon a fcheme well laid, a battle 
 gained, fuccefs in love, a confcioufnefs of one's own worth, beauty, 
 wit, agreeable news, truth difcovered, or from whatever other caufe. 
 If a devil were to have his portrait made, he muft be drawn as 
 abftra6led from his own evil, and ftupidly good ; (to ufe Milton's 
 words once again.) 
 
 If fome grave chara6lers require an air of thoughtfulnefs, as if 
 engaged in a diligent fearch after truth, or in fome important pro- 
 jeft, they muft however not appear difpleafed, unlefs in fome rare 
 inftances, as Van Dyck has put fomething of forrow in one piElure 
 of his unfortunate patron King Charles I. (I mean that at Hampton- 
 court) which I believe was done when he was entering into his 
 troubles, and which is therefore in that refpeB: hiftorical. In 
 general, the painting room muft be like Eden before the fall, like 
 Arcadia, the joylefs, turbulent paflions muft not enter there. 
 
 Thus to raife the chara6ler : to diveft an unbred perfon of his 
 rufticity, and give him fomething at leaft of a gentleman. To make 
 one of a moderate fliare of good fenfe appear to have a competency, 
 a wife man to be more wife, and a brave man to be more fo, a 
 rrodeft, difcreet woman to have an air fomething angelical, and fo 
 of the reft; and then to add that joy, or peace of mind at leaft, 
 and in fuch a manner as is fuitable to the feveral charaCiers, is abfo- 
 
 lutely 
 
( 79 ) 
 
 lutely neceffary to a good face-painter : but it is the mofl difficult 
 part of his art, and the lad attained ; perhaps it is never To much 
 as thought of by fome : all that they aim at is to make fuch a 
 likenefs of the face as fhall be known immediately, and that it be 
 young, fair, and handfome ; and frequently thofe for whom the 
 pictures are made exped no more ; whether the charafters of wif- 
 dom, or folly be imprefTed upon them it matters not. Accordingly 
 we fee portraits which are perfcd burlefques upon the minds of the 
 perfons drawn ; a wife man fliall appear with the air of a fop ; a man 
 of fpirit, and wit, like a fmart, or a pretty fellow ; a modeft inge- 
 nious man like a beau, a virtuous lady as a mere coquet. 
 
 The late Duke of Buckingham when he heard a lady commended 
 for her goodnefs, fwore fhe was ugly ; becaufe beauty being a wo- 
 man's top-chara6ter, he concluded that would have been infifted on 
 if there was any ground for it. A painter fliould obferve, and 
 pronounce flrongly the brighteft part of the charafter of him he 
 draws. To give an air of youth, and gaiety to the portrait of one 
 who is entitled to nothing higher is well enough ; but to overlook a 
 noble and fublime chara6lcr, and fubftitute this in the place of it is 
 deteftable. The only fuppofing a man capable of being pleafed 
 ■with fuch a piece of falfe flattery, is a lampoon upon his under- 
 ftanding. 
 
 Nor is the beauty of the face, and perfon, whether as to the age, 
 features, fhape, or colour to be unregarded, or (where it can be 
 done) unimproved : indeed fomcthing of this will naturally fall in 
 when the mind is exprcfTed, which cannot be done to advantage 
 without giving fome to the body. 
 
 But the face-painter is under a greater conflraint in both refpe6ts 
 than he that paints iiiflory ; the additional grace, and greatnefs he 
 is to give, above what is to be found in the life, muft not be 
 thrown in too profufely, the refemblance mufl be preferved, and 
 appear with vigour ; the pi6lure muft have both. Then it may be 
 
 L 2 fdid, 
 
( 8o ) 
 
 faid, that the gentleman, or lady makes a fine, or a handfome 
 piQure : but the likenefs not being regarded it is not they, but the 
 painter that makes it ; nor is there any great dilliculty in making 
 furh fine pictures. 
 
 I was lately obferving with a great deal of pleafure how the 
 ancients had fuccecded in the three feveral ways of managing por- 
 traits : I happened to have then before me (amongft others) feveral 
 medals of the Emperor Maximinus, who was particularly remark- 
 able for a long chin : one medal of him bad that, but that the artift 
 might be fare of a likenefs he had exaggerated it : another had a 
 mind to flatter, and he had pared off about half of it : but thefe 
 as they wanted tl)e juft refemblance, fo there was a poverty in 
 them ; they were deftitute of that life, and fpirit which the other 
 had, where nature feems to have been more clofely followed. In ma- 
 king portraits we mull keep nature in view; if we launch out into the 
 deep we are loft. Even a copy after a picture from the life, though 
 done by the fame hand, fliall want fomething which the original 
 has ; for here is one remove from nature, a copy from this copy 
 fhall ftill be worfe : and fo on. 
 
 What it is that gives the grace and greatnefs I am treating of, 
 whether in hiftory or portraits, is hard to fay. The following rules 
 may however be of fome ufe on this occafion. 
 
 The airs of the heads muft efpecially be regarded. This is com- 
 monly the firft thing taken notice of when one comes into company, 
 or into any public aifembly, or at the firft fight of any particular 
 perfon ; and this firft ftrikes the eye, and affects the mind when we 
 fee a pifture, a drawing, &c. 
 
 The fame regard muft be had to every aftion, and motion. The 
 figures muft not only do what is proper, and in the moft commo- 
 dious manner, but as people of the beft fenfc, and breeding (their 
 charaQer being confidered) would, or ftiould perform fuch a6lions. 
 The painter's people muft be good aftors; they muft have learned 
 
 to 
 
( 8i ) 
 
 to ufc a human body well ; they muft fit, walk. lie, fatufe, do 
 every thitig with grace. There inuft be no awkward, fi^eepiOi, or 
 afFefled behaviour, nc (Iruuing, or filly pretence to grcatnels; no 
 bombafl in a6lion : nor niufl there be any ridiculous contorfioi s of 
 the body, nor even fuch appearances, or fore-fliorinings as arc dif- 
 pleafing to the eye, though the fame attitude in another view miglu 
 be pci fedly good. 
 
 Not that it is poflTible that every part of a piQure, or even of a 
 fingle figure can be equally well difpofed ; fomething may not be as 
 •one might wifh it; yet in the main it may be better than if it were 
 otherwife; more may be loft than gained by the alteration j it is here 
 as it is in life ; we are frequently uneafy under certain circumftances, 
 but thofe being removed, we wifh ourfelves as we were before ; the 
 prefent grievance ftrikes ftrongly on our minds, we either do not fee, 
 or are not fo lively afFe6led with the confcquences of a change. 
 
 The contours muft be large, fquare, and boldly pronounced to 
 produce greatnefs ; and delicate, and finely waved, and contrafted 
 to be gracious. There is a beauty in a line, in the fliape of a 
 fi.nger, or toe, even in that of a reed, or leaf, or the moft in- 
 confiderable things in nature: I have drawings of Giulio Romano 
 of fomething of this kind ; his infers, and vegetables are natural, 
 but as much above thofe of other painters as his men are : there is 
 that in thefe things which common eyes fee not, but which the great 
 mafters know how to give, and they only. 
 
 The draperies muft have broad mafTes of light, and fiiadow, and 
 noble large folds to give a greatnefs; and thefe artfully fubdivided, 
 add graces. As in that admirable figure of St, Paul preaching, of 
 which I have already fpoken, the drapery would have had a great- 
 nefs, if that whole broad light had been kept, and that part which 
 is flung over his flioulder, and hangs down his back had been 
 omitted; but that adds alfo a grace. Nofonly the large folds, and 
 
 malTes 
 
( 82 ) 
 
 maffes muft be obferved, but the fhapes of them, or they may be 
 great, but not beautiful. 
 
 The linen muft be clean, and fine ; the filks, and ftuffs new j 
 and the befl of the kind. 
 
 Lace, embroidery, gold, and jewels, muft be fparingly employed. 
 Nor are flowered filks fo much ufed by the beft matters as plain ; 
 nor thefe fo much as ftuffs, or fine cloth ; and that not to fave them- 
 felves trouble, of which at the fame time they have been profufe 
 enough. In the cartons Rafaelle has fometimes made filks, and 
 fome of his dr;aperies are fcoliopped, fome a little ftripcd, fome 
 edged with a kind of gold lace, but generally they are plain. — 
 Thongh he feems to have taken more pains than needed in the 
 landfcapes, as he has alfo in thofe badges of fpiritual dignity on the 
 heads of Chrift, and the apoftles : but ihefe, as all other enfigns of 
 grandeur, and diftinflion, as they have been wifely invented to 
 procure refpeft, awe, and veneration, give a greatnefs, as well as 
 beauty to a piflure. 
 
 It is of importance to a painter, to confider well the manner of 
 cloathing his people. Mankind have fhewn an infinite variety of 
 fancy in this, and for the moft part have difguifed, rather than adorn- 
 ed human bodies. But the trueft tafte in this matter the ancient 
 Greeks, and Romans feem to have had ; at leaft the great ideas we 
 have of thofe brave people prejudice us in favour of whatever is 
 theirs, fo that it fhall appear to us to be graceful, and noble : upon 
 either of which accounts, whether of a real, or imagined excellence, 
 that manner of cloathing is to be chofen by a painter when the nature 
 of his fubje£l will admit of it. PofTibly improvements may be made, 
 and ftiould be endeavoured, provided one keeps this antique tafte 
 in view, fo as to preferve the benefit of prejudice juft now fpoken 
 of. And this very thing Rafaelle has done with great fucccfs, par- 
 ticularly in the cartons. Thofe that have followed the habits of 
 their own times, or gone off from the antique, have fullered by it; 
 
 as 
 
( 83 ) 
 
 as Andrea del Sarto (who firft led the way) and raoft of thofe of the 
 Venetian fchool have done. 
 
 But howfoever a figure is clad, this general rule is to be obferved, 
 that neither niuft the naked be loft in the drapery, nor too con- 
 fpicuous; as in many of the ftatues, and bas-reliefs of the ancients, 
 and (which by the way) they were forced to, becaufe to have done 
 otherwife would not have had a good effe6l in (lone. The naked 
 in a cloathed figure is as the anatomy in a naked figure; it fliould 
 be fhewn, but not with affeftation. 
 
 Portrait painters feeing the difadvantage they were under in fol- 
 lowing the drels commonly worn, have invented one peculiar to 
 pictures in their ow?i way, which is a compofition partly that, and 
 partly fomething purely arbitrary. 
 
 Such is the ordinary habit of the ladies, that how becoming 
 foever thev may be fancied to be as being worn by them, or what 
 we are accuftomed to, or upon whatever other account, it is agreed 
 on all hands that in a picture they have but an ill air; and ac- 
 cordingly are rejefted for what the painters have introduced in lieu 
 of it, which is indeed handfome, and perhaps may be improved. 
 
 In the gentlemen's pidures the cafe is very different; it is not fo 
 eafy to determine, as to their drapery. 
 
 What is to be faid for the common drefs is, that 
 
 It gives a greater refemblance ; and 
 
 Is hiftorical as to that article. 
 
 The arguments for the other are, that 
 
 They fuit better with the ladies pi6lures, which (as has been 
 obferved) are univerfally thus dreffed : 
 
 They are not fo affeded with the change of the fafliion as the 
 common drefs; and 
 
 Are handfomer ; that is, have more grace, and greatnefs. 
 
 Let us fee how the cafe will Hand, this latter confideration of 
 handfomenefs being for the prefent fet afide. 
 
 The 
 
( 84 ) 
 
 The firft argument in favour of the arbitrary loofe drefs feems to 
 have no great weight ; nor is there fo much as is commonly thought 
 in the fecond; becaufe in thofe piQures which have that kind of 
 drapery, fo much of the drefs of the time is always, and muft be 
 retained, and that in the moft obvious, and material parts, that they 
 arc influenced by the change of fafliion in a manner as much as 
 thofe in the habit commonly worn. For proof of this, I refer you 
 to what was done when the great wigs, and fpreading huge neck- 
 cloths were in fafhion. So that here does not feem to be weight 
 enough to balance againft what is on the other fide, even when the 
 greateft improvement as to the colour, or materials of the common 
 drefs is made, for ftill there will be a fufficient advantage upon ac- 
 count of refemblance, and hiftory to keep down the fcale. 
 
 Let us now take in the argument of grace, and greatnefs, and fee 
 what effeft that will have. 
 
 The way to determine now is, to fix upon the manner of following 
 the common drefs, whether it (hall be with, or without improvement, 
 and in what proportion : this being done, let that you have fixed 
 upon be compared with the arbitrary, loofe drefs in competition 
 with it, and fee if the latter has fo much the advantage in grace and 
 greatnefs as to over-balance what the other had when thefe were not 
 taken in : if it has, this is to be chofen ; if not, the common drefs. 
 
 Thus I have put the matter into the beft method I was able, in 
 order to affifl: thofe concerned to determine for themfelves, which 
 they can bed do, fancy having fo great a part in the affair. And 
 fo much for this controvcrfy. 
 
 There is an artificial grace and greatnefs arifing from the oppofi- 
 tion of their contraries. As in the tent of Darius by Le Brun, the 
 wife and daughters of that prince owe fomething of their beauty, 
 and majcRy to the hideous figures that are about them. But a 
 greater man than he feems to have condefcendcd to be beholden to 
 this artifice in the banquet of the gods at the marriage of Cupid and 
 
 Pfyche, 
 
C 85 ) 
 
 Pfycbe, for Venus which comes in dancing is furrounded with 
 foils, as the Hercules, the face of his lion's fl;in, Vulcan, Pan, and 
 the mafk in the hand of the mufe next to her. Some fubjc8s carry 
 this advantage along with them; as the ftory of Andromeda and the 
 nionfter ; Galatea with the Tritons; and in all fuch where the two 
 contraries, the mafculine, and feminine beauties are oppofed (as the 
 figures of Hercules and Dejanira for inftance) thefe mutually raife 
 and ftrengthen each other's chara6ters. The holy family is alfo a 
 very advantageous fubjeft for the fame reafon. I need not enlarge 
 here ; the artifice is well known, and of great extent ; it is pra£lifed 
 by poets, hillorians, divines, Sec. as well as painters. 
 
 What I have hitherto faid will be of little ufe to him who does 
 not fill and fupply his mind with noble images. A painter ftiould 
 therefore read the beft books, fuch as Homer, Milton, Virgil, 
 Spencer, Thucydides, Livy, Plutarch, &c. but chiefly the Holy 
 Scripture ; where is to be found an inexhauftible fpring, and the 
 greateft variety of the moft fublime thoughts, exprefled in the 
 nobleft manner in the world. He fhould alfo frequent the brighteft 
 company, and avoid the reft: Rafaelle was perpetually converfant 
 with the fineft geniufes, and the greateft men at Rome; and fuch as 
 thefe were his intimate friends, Giulio Romano, Titian, Rubens, 
 Van Dyck, &c. to name no more, knew well how to fet a value 
 upon themfelves in this particular. But the works of the beft 
 mafters in Painting, and fculpture fhould be as a painter's daily 
 bread, and will afford him dilicious nourifhment. 
 
 Good God, what a noble fpirit has human nature been honoured 
 with! Look upon what the ancients have done; look into the 
 gallery of Hampton-court ; turn over a book of well-chofen draw- 
 ings, then will it be found, that the Pfalmift was divinely infpired 
 when applying himfelf to his Creator he faid of man, thou haft 
 made him a little lower than the angels, thou haft crowned him with 
 glory, and honour ! 
 
 M If 
 
( 86 ) 
 
 If I had been fhewn a pi6lure of RafaeUe (faid Carlo Mara'tt 
 to a friend of mine) and not having ever heaid of him had been told 
 it was the work of an angel, I fhould have believed it. The fame 
 friend afTured me he had feen an entire book, conliFting of about 
 two or three hundred drawings of heads which the fame Carlo had 
 made after that of the Antinous, and which he faid he had feletled 
 out of about ten times the number he had drawn after that one 
 head ; but confefTed he had never been able to reach what he faw in 
 his model. Such was the excellency of the fculptor ! and fuch the 
 diligence, perfeverance, and modcfty of Carlo 1 
 
 The ancients poffeffed both the excellent qualities I have been 
 treating of, amongft whom Apelles is diftinguifhed for grace. — 
 Rafaelle was the modern Apelles, not however without a prodigious 
 degree of greatnefs. His flyle is not perfeBly antique, but feems 
 to be the effeft of a fine genius accompliflied by lludy in that ex- 
 cellent fchool : it is not antique, but (may I dare to fay it) it is 
 better, and that by choice, and judgment. Giulio Romano had 
 grace, and greatnefs, more upon the antique tafte, but not without a 
 great mixture of what is peculiarly his own, and admirably good, 
 but never to be imitated. Polydore in his beft things was altogether 
 antique. The old Florentine fchool had a kind of greatnefs that, 
 like Hercules in his cradle, promifed wonders to come, and which 
 was accomplifhed in a great meafure by Leonardo da Vinci (who 
 alfo had grace) but more fully and pcrfe£tly by Michelangelo 
 Buonarota : his ftylc is his own, not antique, but he had a fort of 
 greatnefs in the utmoft degree, which fometimes ran into the ex- 
 treme of terrible ; though in many inftances he has a fine fcafoning 
 of grace. I have a woman's head of him of a delicacy hardly in- 
 ferior to Rafaelle, but retains the greatnefs which was his proper 
 charafter. When Parmeggiano copied him, and flung in his own 
 fweetnefs, they together make a fine compofition, of which I have 
 feveral examples j I do not fay however that they are preferable to 
 
 what 
 
( 87 ) 
 
 what is entirely of Michelangelo, or even to vhat is entirely of 
 Parmeggiano, efpecially his beft ; but they are as if they were of 
 another hand, or of a charaQer between both : for Parmeggiano was 
 infinitely fweet ! Grace fhines in all he touched, and a greatnefs 
 that fupports it, To as one would not wifh him other than he is ; his 
 ftyle is entirely his own, not in the leaft modern, nor very much 
 upon the antique : what he did feems to flow from nature, and are 
 the ideas of one in the golden age, or flate of innocence : I have a 
 great many drawings of him, and but two or three where blood, or 
 death is concerned, and in thofe it is evident he did what his genius 
 was not fit for. Baccio Bandinelli had a great fiyle, and fometimes 
 not without grace. Correggio had grace not inferior (o Parmeg- 
 giano, and rather more greatnefs; but different in both from him; 
 and from the antique : what he had was alfo his own, and was 
 chiefly emplo) ed on leligious fubjefts, or what had notliing terrible 
 in them. Titian, Tintoret, Paolo Veronefe, and others of the 
 Venetian fchool have greatnefs, and grace, but it is not antique; 
 however it is Italian. Annibale Caracci was rather great, than 
 gentle; though be was that too ; and Guide's chara6ler is grace. — 
 Rubens was great, but raifed upon a Flemifii idea, Nicholas Pouflin 
 was truly great, and graceful, and juflly fl;iled the French Hafaelle. 
 Salvator Rofa's landfcapes are great, as thofe of Claude Lorrain arc 
 delicate : fuch is the ftyle of Filippo Laura; that of ihe Borgognone 
 is great. To conclude, \'^an Dyck had fomcthing of both thcfe 
 good qualities, but not much, nor always ; he generally kept to 
 nature, chofen in its beft moments, and fomcthing raifed, and im- 
 proved ; for which reafon he is in that particular, and w hen he fell 
 not lower, the beft model for portrait-painting, unlcfs we prefer a 
 chimaera of the painter, to a true, or at moft a civil rejjrefentation 
 of ourfelves, or friends ; and would have a cheat put upon pofterity, 
 and our own, or friends refemblancc lolt, and forgotten for the 
 fake of it. 
 
 M 2 As 
 
C 88 ) 
 
 As in reafoning a man ought not to reft upon authorities, but to 
 have recourfe to thofe principles on which thofe are, or ought to be 
 founded, fo to rely upon what others have done is to be always 
 copying. A painter therefore fliould have original ideas of grace, 
 and greatnefs, taken from his own obfervation of nature, under the 
 condud, and afTiRance however of thofe who with fuccefs have trod 
 the fame path before him. What he fees excellent in others he 
 muft not implicitly follow, but make his own by entering into the 
 reafon of the thing, as thofe muft have done who originally pro- 
 duced that excellence ; for fuch things happen not by chance. 
 
 The notions of mankind vary in relation to beauty, and in fome 
 particulars with refpeQ to magnanimity : it may be worth a painter's 
 while to obferve what were thofe the ancients had in thefe matters, 
 and then to confider whether they agree with the prefent tafte, and 
 if they do not, whether they, or we are in the right, if it can be 
 determined by reafon ; if it depends upon fancy only, then let him 
 confider whether the prejudices we are apt to have for the ancients 
 will balance again ft the opinion of the prefent age. As to the 
 draperies the ancients muft be ftudied with caution, as has been 
 already noted. 
 
 Inftead of making caricatures of people's faces (a foolifli cuftom 
 of burlefquing them, too much ufedj painters fliould take a face, 
 and make an antique medal, or bas-relief of it, by diverting it of 
 its modern difguifes, raifing the air, and the features, and giving it 
 the drefs of thofe times, and fuitable to the charafter intended. 
 Our nation is allowed on all hands to furnifh as proper models as 
 any other in the world, with refpeft to external grace and beauty : 
 nor perhaps can ancient Greece or Rome boaft of brighter charafters 
 than we ; would to God we had not alfo as great inftances of the 
 contrary ! 
 
 Laftly, a painter's own mind fliould have grace, and greatnefs ; 
 that fliould be beautifully and nobly formed. 
 
 So 
 
( 89 ) 
 
 So much the rather, thou Cakjlial Light, 
 Shine inward, and the mind thro' all her powers 
 Irradiate, there plant eyes, all mijl from thence 
 Purge, and difperfe, that I may Jee and tell 
 Of things invifihlc to mortal fight. 
 
 Milton, 
 
 And this partly becaufe when the mind enjoys tranquility and 
 repofe, when it is pleafed and joyous, then is the feafon for great, 
 and beautiful ideas. 
 
 Not frighten! d, or afiam'd with retrofpeH 
 To view the annals of a chequer' d life ; 
 Nor with anxiety inquifitive 
 What future times, in this, or other worlds 
 May pojjibly produce ; refign'd to fate. 
 Eternal reafon, God^s unerring will 
 DireHing all, pajl, prefent, and to come. 
 
 In prejent things 
 
 Enjoying all that is to he enjoy'd 
 
 [With unpolluted heart, and hands j") the rejl 
 
 With patience bearing 'till there comes a change : 
 
 For good in the barometer of life 
 
 Afcends, and falls, nor ever fx'd remains : 
 
 But every feafon has peculiar fweets. 
 
 Or more, or lefs, which he who can extraB, 
 
 And feed upon has learn d the art to live. 
 
 Content, believing all that is is right. 
 
 The will of him who rules the univerfe ; 
 
 Nor could have been prevented, or delay'd. 
 
 Neither in vain regretting what is pajl. 
 
 Nor with impatience wifiing for a day 
 
 Hid in the womb of time. 
 
 I live 
 
( 90 ) 
 
 / live not on to-morrows : airj/ Jood ! 
 To-day is mine, but whofe they ere fate knows. 
 
 Some people may fancy it is of ufe to them to depreciate, and 
 be out of humour with every thing ; it is of none to painters : they 
 ought to view all things in the beft light, and to the greateft advan- 
 tage ; they fhould do in life as I have been faying they muft in their 
 piBures; not make caricatures, and burlefques ; not reprefent 
 things worfe than they are ; not amufe ihemfelves with drollery, and 
 buffoonery, but raife, and improve what they can, and carry the 
 reft as high as poffible. 
 
 Thee I behold, J hear thy praifes fung, 
 I find thy will fulfiWd perpetually ; 
 Rejoycing, and triumphing in my joy ; 
 Adoring, praijing, loving, Jcrving thee. 
 As when the patriarch in vifion [aw 
 Ccelejlial inhabitants defcend 
 From heaven by Jleps, and thiiherzuard return 
 Started from Jleep, and fuddenly cry'd out 
 This is the gate of heaven ; / who fee. 
 Not dream I fee, not angels, but thyfdf ; 
 And hear, not dream I hear thy praifes fung : 
 Who find thy will is here fulfill' d, and join 
 In adoration, joy, obedience, love, 
 Difcover, and poffefs a heaven on earth. 
 
 And as a painter ought to have a fweet, and happy turn of mind, 
 that great, and lovely ideas may have a reception there ; thefe con- 
 tribute to this happinefs : few other profeflions have this advan- 
 tage ; lawyerSj phyficians, and divines are forced to admit a great 
 many ideas, which though cuftom may render tolerable, can never 
 
 be 
 
( 91 ) 
 
 be agreeable ; and moreover have to do with people too often 
 M'hen they are out of humour: but as a painter is to have his head 
 filled with the nobleft thoughts of the deity, the bravcft actions of 
 mankind in all ages, the fincft, and mofl exalted ideas of human 
 nature, and to obfcrve all the beauties of the creation, this if he 
 has a true pittorefque tafte of picafure will contribute exceedingly 
 to produce this happy Hate of mind which is fo neceffary to him. 
 How great a variety foever there may be in men's tafles of pleafure, 
 and what unhappy mixtures foever they may make, this will be 
 generally allowed to be delightful. And there is one particular 
 which I will remark, becaufc I believe it is not commonly taken 
 notice of ; and this is the vaft advantage the fight has above the 
 other fenfes with refpecl to pleafure. Thofe receive it, but it is by 
 ftarts and flafhes, with long infipid intervals, and frequently worfe ; 
 but the plcafures of the eye are like thofc of ileavcn, perpetual, and 
 without fatiety ; and if offenfive obje6ls appear we can rejeft them 
 in an inllant. It is true other men may fee as well as a painter, but 
 not with fuch eyes ; a man is taught to fee as well as to dance, and 
 the beauties of nature open themfelves to our fight by little and 
 little, after a longpra6\ice in the art of feeing. A judicious well in- 
 ftrufled eye fees a wonderful beauty in the (hapes and colours of the 
 commonelt things, and what are comparatively inccnfiderable; but 
 the flcy alone is capable of giving a degree of pleafure lufficient to 
 balance againit a great many of the inconveniencies, and miferies 
 of life. 
 
 I am very fenfible as all created beings in the univerfe feek plea- 
 fure as their chiefeft good, there is an infinite variety of taftes with 
 relation to it : every fpecies has foine peculiar to themfelves, and 
 man is in this an epitome of the whole ; there are certain claffes 
 amongft them who can no more relifli, or enjoy, the pleafure of 
 others than a fifh can thofe of a bird, or a tygcr of a lamb : an en- 
 thufiaft that Ihuts himfelf up in a monaftery does not forfake, but 
 
 purfue 
 
( 9'- ) 
 
 purfue pleafure as eagerly as a debauche, only both reje6l what the 
 other calls pleafure, but which themfelves (as their minds are con- 
 ftituted) cannot enjoy, for what themfelves can have, and rc:lifli. 
 
 / will not bolt this matter to the bran 
 As Bradwardine, and holy Aiijlin can, 
 
 Dry DEN, 
 
 becaure it is not my prefent bufinefs, wliich is only to obferve, that 
 though another man may poffibly defpife what I have been fpeaking 
 of as a delicious enjoyment, he that is incapable of this kind of plea- 
 fure has not a mind truly turned for Painting. 
 
 But not only that the mind may be at liberty, and in the humour 
 to apply itfelf to the fine ideas neceffary to painters, they fhould 
 have grace, and greatnefs there in order to put thofe properties 
 into their works : for (as it has been obferved by others before me, 
 and muft be true in the main from the nature of things) painters 
 paint themfelves. A trifling fpirit will naturally look about for, 
 and fix upon fomething comical, and foppifli if it be to be found, 
 and will imagine it if it be not; that to him, is what great, and 
 beautiful is to another whofe mind has a better turn. One will 
 overlook, and debafe a fine chara£ler, the other will raifc a mean 
 one. Do men gather grapes of thorns, or figs of thiftles ? Suppofe 
 one well acquainted with the feveral ftyles of Rafaelle, and Michel- 
 angelo, but a ftranger to their charafters ; and let him be told that 
 one of thefe artifts was a fine gentleman, good-natured, prudent, 
 modeft, a companion, and friend of the greateft men, whether for 
 quality, or wit, then in Rome, and a favourite of Leo X. the politeft 
 man in the world; and that the other was rough, bold, fierce, &c. 
 that he, and Julius II. (the mod impetuous fpirit alive) mutually 
 loved each other; I fay let fuch a one be told this, it would be 
 impolfible for him not to know which was the work of Rafaelle, and 
 
 which 
 
( 93 ) 
 
 which of Michelangelo. One might make the fame experiment 
 upon others with the like fuccefs. 
 
 That the Greeks have had a beauty, and majefty in their fculp- 
 ture, and Painting beyond any other nation is agreed on all hands ; 
 the reafon is they painted and carved themfelves. When you fee, 
 and admire what they have done remember Salamis, and Marathon, 
 where they fought, and Thermopylae where they devoted themfelves 
 for the liberty of their country. Go, ftranger, tell the Lacedemo- 
 nians we lie here by their command was written on the graves of 
 thefe latter. When at the theatre in a play of yEfchylus fomething 
 was faid which favoured of impiety the whole audience took fire, 
 and rofe at once, crying out, let us deftroy the reproacher of the 
 gods : Amynias his brother immediately leaped upon the ftage, and 
 produced his fhoulder from whence he had loft his arm at the battle 
 of Salamis; alledging alfo the merit of his other brother Cynaegyrus, 
 who at the fame time bravely facrificed himfelf for his country. The 
 people unanimoufly condemned ^fchylus, but gave his life to his 
 brother Amynias. Thcfe were Greeks ! thefe were the people who 
 fhortly after carried Painting, and fculpiure to fo great a height; it 
 was fuch men as thofe who had that prodigious grace, and greatnefs 
 in their works which we fo juftly admire. Other nations have had 
 greater advantages than they, except in this, but magnanimity was 
 their charaflerillic. 
 
 The ancient Romans fill the fecond place ; grace, and greatnefs 
 is alfo in their works, for they were a brave people ; but they co:)- 
 fefled the fuperiority of the other in condelcending to be their imi- 
 tators. 
 
 Longinus fays the Iliad of Homer is the flowing, and the Od) (Tes 
 the ebbing of a great ocean. The fame may be (aid of the aiu icnt 
 and modern Italians. 
 
 O Rome ! thou happy repofitory of fo many fhipeiidous woiks of 
 art which my longing eyes have never lecn, nor fiidll fee, thou wcrt 
 
 N fiucd 
 
( 94 ) 
 
 fated to be the miftrefs of the world ! when (as in the natural courfe 
 of fublunary things it muft happen) thou couldeft no longer fupport 
 an empire raifed, and maintained by arms, thou (upon a founda- 
 tion improbable enough at firft fight, and without attentively con- 
 fidcring the folly, credulity, and fuperftition of the bulk of man- 
 kind) haft raifed another, of a different nature indeed, but of vaft 
 extent, and power ; and governed at eafe, and without hazard. It 
 is one of the molt amazing inftances of human policy that the world 
 ever faw ! No wonder then that as ancient Rome, fo modern Italy, 
 has carried Painting to fuch a height. 
 
 Whatever degeneracy may have crept in from caufes which it is 
 not my prefent bufinefs to enquire into, no nation under heaven fo 
 nearly refembles the ancient Greeks, and Romans as we. There is 
 a haughty courage, an elevation of thought, a greatnefs of tafte, a 
 love of liberty, a fimplicity, and honefty amongft us, which we 
 inherit from our anceflors, and which belong to us as Englifhmen ; 
 and it is in thefe this refemblance confifts. I could exhibit a long 
 catalogue of foldiers, flatefmen, orators, mathematicians, philofo- 
 phers, &c. and all living in, or near our own times, which. are 
 proofs of what I advance, and confequently do honour to our coun- 
 try, and to human nature. But as I confine myfelf to arts, and 
 fuch as have an affinity to Painting, and moreover avoid to 
 mention on this occafion the names of any now alive (though many 
 of thofe I have in view will immediately occur to the thoughts of 
 every man) I will only inflance in Inigo Jones for archite6lure, and 
 Shakefpcar, and Milton, the one for dramatic, the other for epic 
 poetry, and leave them to feat themfelves at the table of fame 
 amongft the moft illuftrious of the ancients. 
 
 A time may come when future writers may be able to add the 
 name of an Englifii painter. But as it is in nature where from 
 the feed is firft produced the blade, then the green ear, and laftly 
 the ripe corn, fo national virtues fprout up firft in leffer excellencies, 
 
 and 
 
( 95 ) 
 
 and proceed by an eafy gradation. Greece and Rome had not 
 Painting and fculpture in their perfeftion till after they had exerted 
 their natural vigour in Icfllr inHanccs. I am no prophet, nor the 
 fon of a prophet ; but confidering the ncceffary connexion of 
 caufes and events, and upon feeing fome links of that fatal chain, I 
 will venture to pronounce (as exceeding probable) that if ever the 
 ancient great, and beautiful tafle in Painting revives it will be in 
 England : but not till Englifli painters, confcious of the dignity of 
 their country, and of their profeffion, rcfolve to do honour to both 
 by piety, virtue, magnanimity, benevolence, and induftry; and a 
 contempt of every thing that is really unworthy of them. 
 
 And now I cannot forbear wifhing that fome younger painter 
 lhan myfelf, and one who has had greater, and more early advan- 
 tages would exert himfelf, and praQife the magnanimity I have been 
 recommending, in this fingle inftance of attempting, and hoping only 
 to equal the greateft mafters of whatfoever age, or nation. What 
 were they which we are not, or may not be ? what helps had any of 
 them which we have not? nay we have feveral which fome of them 
 were deftitute of : I will only mention one; and that is a very con- 
 fiderable one, it is our religion, which has opened a new, and a noble 
 fcene of things; we have more juft, and enlarged notions of the 
 Deity, and more exalted ones of human nature than the ancients 
 could pofTibly have : and as there are fome fine chara6lers peculiar 
 to the chriftian religion, it moreover affords fome of the noblell 
 fubje6ls that ever were thought of for a pi£lure. 
 
 To conclude. By having the mind filled with great and beautiful 
 fentiments; by converfing with the works of the befl mafters ; by 
 ftudying nature with this view, to raife, and improve it; and by 
 being what others fhould be made to appear in pi6lure, a painter 
 will not only attain to grace and greatnefs in his works, but will 
 really fee more of it in nature than another can ; nay he will even 
 difcover thofe properties where otherwife he would have feen only 
 deformity, and poverty. 
 
 N 2 Of 
 
( 96 ) 
 
 Of t/je SU BhlME. 
 
 'ERIDES (according to Longinus) had no faults, and De- 
 mofthencs many ; yet whoever had once read Demofthcncs could 
 never after tafte Hyperides; for Hyperides with all hir< virtues could 
 never rife above mediocrity, but Demoflhenes poflcfTed feme in a 
 fovereign degree. V/hether this had been the judgment of Longi- 
 nus or no, certain it is that to poffefs a thoufand good qualities mo- 
 derately, will but fecure one from blame, without giving any great 
 pleafure ; whereas the fublime wherever it is found, though in 
 company with a thoufand imperfeftions, tranfports and captivates 
 the foul ; the mind is filled, and fatisfied; nothing appears to be 
 wanting, nothing appears amifs, or if it does it is eafily forgiven. 
 What Milton fays on another occafion is applicable here, 
 
 and mujl confefs to find 
 
 In all things elfe delight indeed, but fuch 
 
 As iijed, or not works in the mind no change, 
 
 l^or vehement defire : 
 
 But here 
 
 Far otherwife, tranfported I behold, 
 
 Here pajfwn firjl I felt. 
 
 Commotion jlrange, in all enjoyments elfe, 
 Superior, and unmoved. 
 
 A painter therefore fliould not content himfelf to avoid faults, and 
 to do tolerably well; he fhould not endeavour to pleafe only, but 
 to furprize. This is what the great men I have fo often mentioned 
 with delight (becaufe the mention of them has brought fome of their 
 
 works 
 
( 97 ) 
 
 works to my mind) liavc done, though none to thnt degree as 
 Rafaelle. But there is not a more remarkable example of the force 
 of this fublime than that of Michelangelo, who having had ic in 
 drawing, and greatncfs, has been, and ever will be confidercd as 
 a prodigy of art, notwithflanding the notorious defc6ls which fliew 
 themfelves together with thefe excellencies. 
 
 And here it will not be improper, nor unacceptable to the curious 
 any where, to give an exaft defcription of the pi8ure of the 
 martyrdom of St. Peter painted by that great man, which though a 
 very celebrated, and particular one has not been fo defcribed ; nor 
 is there any print after it. Giorgio Vafari, and others mention, 
 and applaud it : it is painted in the Capella Paulina at Rome, and 
 takes up one fide of that chapel, the ftory of the Converfion of St. 
 Paul is on the other ; thefe are the lafl of Michelangelo's painting, 
 who was then about feventy-hve years old, and complained that 
 painting in frefco then grew troublefome to him. The Earl of 
 Carnarvan has a copy of it, and (as I have good reafon to believe) 
 it is a very faiihful one. 
 
 The heighth of the pitlure in proportion to its breadth is as fifteen 
 is to nineteen, or thereabouts ; the laint is about the middle between 
 the two fides; fomething more to the right-hand; he is entirely 
 naked, and with his head downwards is fixed to the crofs which they 
 are about to ere£t, and which makes a line a little more raifcd than 
 a diagonal : the figure goes away a little in perfpcflive, the head 
 being fomething nearer the eye than the feet ; thefe are placed fo 
 near the crofs-beam to which the hands are nailed, that all the bur- 
 then muft be borne by thofe when put into its right pofition, and 
 the body muft be confiderably bent; as it is it makes a fine fweep 
 (as the painters call it) it is in the form of a bow, the head is (haven 
 as that of a Monk, and hangs not down, the faint raifes it, and 
 with fome vigour and fternnefs looks towards you; this doubtlefs in 
 the original muft be one of the hneft figures in the world, as its 
 
 attitude 
 
( 98 ) 
 
 altitude is one of the mofl: advantageous that Michelangelo could 
 pofTibly have chofen to have given it grace, and to have fhewn his 
 profound fliill in anatomy, and drawing. 
 
 Six figures are employed in raifing the crofs; which together 
 with one behind the furthermoft, and another juft under the crofs 
 who refls upon his knees and one elbow, with the other arm in the 
 hole which he has dug as taking out the loofe earth (the digging 
 inftruments lie by him) thefe with the apoUle compofe the principal 
 group. 
 
 The crofs has a confiderable length below the head to be put into 
 the ground. 
 
 It muft be here obferved, that the place where this is to be fet 
 into the earth is near the bottom of the pidure, and almoft exadly 
 in the middle, upon a riling ground, for on each fide are fteps cut 
 out of the earth which go diredly forward, fo that they that would 
 go to the place where the crofs is muft turn to the right, or left, 
 after they are up thofe fteps, and then come back. There are no 
 buildings, and hardly any trees, a very few only on fome diftant 
 hills, behind which others form the horizon, which is very high, fo 
 as to be above the heads of all the figures, fome of which are how- 
 ever pretty near the top. 
 
 There are between fifty and threefcore figures in the pi61ure, all 
 <3ivided into feveral diftinft groups, except three figures which are 
 fcattered betwixt the fecond and third, which ftiall be prefently 
 fpoken of; of which groups that principal one already defcribed is 
 in the centre, the reft encompafs it. 
 
 I will begin with that which is in the corner of the pi6lure on 
 the left-hand ; this confifts of foldiers chiefly, who are going up 
 the fteps there, the lowermoft of which is little more than a half 
 figure, as being cut off by the bafe line of the pifture, there are 
 fcven of thefe. My Lord Somers has a drawing of this group, or 
 the greateft part of it. 
 
 The 
 
( 99 ) 
 
 The like number compofe the next group, who are alfo foldiers 
 and horfemen, except one on foot mixed with them. There are 
 no bridles or ftirrups. 
 
 Then follow the three fcattercd figures abovementioncd. 
 
 In the tliird group are nine figures, amongft which two fcem to 
 be pricfts. This group being placed dircclly behind the principal 
 one firft defcribed, and being of equal ftrength* with it ; both feem 
 to make but one, though there is a confiderable diftancc between 
 them. 
 
 The fourth group ftands higheft in the pi£lure, and is almoft at 
 the top of it on the right-hand ; here are eight figures, who are 
 coming from behind a rifing ground, which hides fome part of moft 
 of their legs. 
 
 The next group is of men, and women. (There are but two, or 
 three women in all the others already defcribed.) This alfo has 
 eight figures; they are coming down the fteps on the right-fide ; as 
 thofe on the other are going up : the lowermoft figure of thefe is an 
 entire one, it is an old man with his arms folded ; of which I have 
 a drawing. 
 
 Laftly, almoft direQly under the principal group is one confiding 
 of four women, two of which turn back their heads to regard the 
 faint, though their bodies are towards you; and in motion as if they 
 intended to march round him, which feems to be the humour of molt 
 of the people here ; that is, this, and both the groups at each end of 
 the pitlure have this appearance. Thefe four women are little more 
 than half figures appearing above the bafe line. 
 
 The principal group, and that other which feems to join to it, are 
 (as has been noted) in the centre of the pi6lure ; the reft feem to be 
 put to fill up the void fpaces : thus the heads of the four women 
 juft now fpoken of are clapped in where there was room between, 
 3^nd under the feet of thofe who are employed to raife the crofs ; 
 the heads of the next group coming down the fteps on the 
 
 right- 
 
( ) 
 
 l ight-hand are juft fo difpofed with refpeft to the group that is over 
 them, \A?hore heads form much the fame line as the hill over them. 
 Almoft the fame may be faid of the two groups on the left-hand. 
 
 The invention of this picture is fine; for to do honour to the 
 apoftle and the faith of Chrift, the martyr appears with great mag - 
 nanimity ; and for the reft the general fentiment is compaflion, with 
 a difpofition to believe, and this fufficiently varied in feveral diffe- 
 rent charafters : accordingly one of the fpeftators feems to be al- 
 ready converted, and preaching to the reft, him another has laid 
 hold on, but fo as if he did it unwillingly, as generally the reft of 
 the alTiftants a8; their feveral parts. The pofition of the body on the 
 crofs, which is fuch as to make even that kind of death more pain- 
 ful, is admirably confidered, as raifing the merit of the faint, as 
 well as contributing to excite the fentiments intended to be 
 excited. 
 
 And the time is finely chofen, it is that of the crofs being ereCiing, 
 for now the figure comes in that advantageous pofition which has 
 been already remarked. 
 
 The fentiments are expreffed with great force, but in a manner 
 peculiar to Michelangelo. 
 
 The compofition is not to be juftified, except in that fine contraft 
 that is made by the principal figure ; the groups are too regularly 
 placed, and without any keeping in the whole, that is, they appear 
 too near of an equal ftrength. 
 
 Afcanio Condiui, who was Michelangelo's difciple, and wrote his 
 life, fays this great mafter was fo fond of variety as to put out, or 
 alter any thing that too much refembled fomething elfe that he had 
 done; now it is obfervable, that in the picture before us he his 
 repeated one limb four times, and another three, all very near each 
 other. 
 
 The perfpeftive is not well obferved, whether as to the ftrength, 
 or magnitude of ihe figures. 
 
 TLcTe 
 
( ) 
 
 Thefe are cloathtd entirely in the manner of Micbelangelo, which 
 ii far from the antique, without the leafl: tendency to the modern 
 tj.(ie. The colours of them are various, and much upon the red, 
 the orange, the yellow, the blue, and many are broken ones, but 
 aU together would have pleafed well enough, if the aerian per- 
 fpeftive had been well obfervcd. 
 
 But the wonderful, the aftonifliing greatnefs of ftyle, and the 
 perfect drawing of Michelangelo (in which he had the true fublime) 
 is what infallibly makes this pidure ineftimable : for thefe one may 
 be allowed to prefume it has from the charaflcr of this great mafter, 
 and even from what is feen in the copy ; though the beft copy in 
 the world muft lofe much of thefe qualities, efpecially the greatnefs, 
 which is of fo delicate a nature as to languifli under the hacd of 
 a copier, though never fo correSt, and expert. 
 
 One might enlarge with infinite pleafure upon fo noble a fubjeft 
 as that of the fublime in Painting; and particularly in giving in- 
 ftances of it in the works of the greateft maflers, with which one 
 might be plentifully fupplied from the admirable colleftions I have 
 already mentioned, and one which I could not take notice of before, 
 as not having feen it until mod of thefe fheets were printed off; it 
 is that very lately procured from abroad by Dr. Mead, who feems 
 to be refolved to merit well of his country otherwife as well as in 
 his profeffion. But enough has been faid to ferve my prefent pur- 
 purpofe ; to treat this fubjetl fully requires an entire difcourfe ; and 
 as I have already done as much as may reafonably be judged to come 
 to my fliare to fliew my hearty love to my profeffion, having facri- 
 ficed a great many of thofe hours to it which v/ould otherwife have 
 been given (as they ought) to reft, and diverfion, I take leave to 
 recommend what I now propofe to fome other hand without the 
 common llourifh of excufing myfelf upon account of inability; 
 though I am alfo very fenfible of that. But the true reafon of my, 
 declining it is that juft now given. 
 
 O As 
 
( ) 
 
 As for the prcfent performance, nobody can be more ready to 
 fay, than I to acknowledge, that it is not fo well as it fliould be : 
 but as in drawings thofe are good that anfwer their end; if no more 
 than the compofition (for example) is pretended to, it is imperiiiient 
 to fay they are incorre6l; here the reader fliould diftinguifh between 
 the writer, and the painter : my bufinefs is Painting : if 1 have fuc- 
 ceeded tolerably well in that charafter, the public has no reafon to 
 complain. Sucli as it is, and fuch as my abilities, and the propor- 
 tion of lime, and application I have thought it reafonable forme 
 to beflow has enabled me to make it, I now offer it to the world, 
 though I was not refolved fo to do when I began to write. I re- 
 member to have heaid a ftory which (like others told on fuch occa- 
 iions) is not to be too ftritlly applied, however the reader may do 
 as he thinks fit. A man of quality. Sir Peter Lely's intimate friend, 
 was pleafed to fay to him one day, for God's fake, Sir Peter, how 
 came you to have fo great a reputation ? you know I know you 
 
 are no painter. My Lord, I know I am not, but I am the belt 
 
 you have. 
 
 T n E 
 
THE 
 
 connoisseur: 
 
 A N 
 
 ESSAY 
 
 ON THE WHOLE 
 
 ART OF CRITICISM 
 
 AS IT RELATES TO 
 
 PAINTING. 
 
 SHEWING HOW TO JUDGE 
 
 I. Of the Goodnefs of a Pidlure ; 
 II. Of the Hand of the Mafter; and 
 III. Whether it is an Original, or a Copy. 
 
ON THE ART OF 
 
 CRITICISM, &c. 
 
 I HAVE been often aflced how we know the hands of the feveral 
 maflers, and diftinguiQi copies from originals; and was perfuaded, 
 a fatisfa^lory anfwer to thefe queftions would be very acceptable to 
 moll gentlenrren, as well as to thofe particular enquirers; to gratify 
 the public therefore, together with fuch of my own friends, I was 
 determined to take this way of anfwcring them all at once, and that 
 more fully, and accurately than could pofTibly have been done off- 
 hand, and in the time I could have beftowed in making particular 
 anfwers ; this moreover, together with what elfe I fhall add in this 
 difcourfe, i fdw would compleat what I had to offer on the fubje6l 
 I had already given the world fome of my thoughts upon. 
 
 1 will only plead one piece of merit, which 1 pretend to have 
 with the public, and that is, that I have made a new acquifition for 
 the commonwealth of letters ; I believe this is the only book 
 extant upon the fubjcB. Apelles wrote many volumes upon 
 Painting, perhaps among them fomething miglu be fdid on the 
 sknowledge .of bands, and how to dillinguifh copies from originals, 
 
 but 
 
( io6 ) 
 
 but thefe have long ago had the fate of all things not immortal. 
 Father Orlandi, in his Abcedario Pittorico, printed at Bologna 
 1704, has given us a catalogue of about one hundred and fifty books 
 relating to Painting in feveral languages, but none that I can find 
 treats of this fcience. M. de Piles (to whom we are obliged for 
 fome curious, and ufeful hints he has furnifhed us with in his feveral 
 works) is the only one I know of that has fo much as entered upon 
 this matter, he has a flight flcetch of fome common, and obvious 
 thoughts, and very little more. Whether the fubjeft is worthy of a 
 more elaborate elTay the reader will judge for himfelf; it is evident 
 I thought it was, and I flatter myfelf it will appear it was not with- 
 out reafon ; and as many gentlemen pique themfelves of having fome 
 fliare of this kind of knowledge, and value themfelves upon it; that 
 is, as many as pretend to judge of what hand a pifture is, or that 
 it is an original, or not, one muft fuppofe that all thefe think as 
 I do in this particular. 
 
 In a word, as this is the only book extant on the fubjeft, in any 
 language that I know of, and the lafl: that I am like to write, I have 
 endeavoured to lay together, in as good a method as I was able, 
 all my thoughts on thefe matters ; which, together with what 1 have 
 done in my former difcourfe, is all that I can recoiled as material 
 on the Theory of Painting : and thus to my power I have acquitted 
 myfelf to my country, to the art, and to the lovers of it. 
 
 Of the Goodnefs of a Pi&urc^ &c. 
 
 W HEREFORE callefl: thou me good? there is none good but 
 one, that is God, faid the Son of God to the young man who pre- 
 faced a noble queftion with that compliment. This is that goodnefs 
 that is perfeft; fimple, and properly fo called, it is what is peculiar 
 
 to 
 
( 107 ) 
 
 to the Deity, and fo to be found no where elfe. But there is 
 another improper, imperfeft, comparative goodnefs, and no other 
 than this is to be had in the works of men, and this admits of vari- 
 ous degrees. This diftintlion well confidcrcd, and applied to all 
 the occurrences of life, would contribute very much to tlie im- 
 provement of our happinefs here; it would teach us to enjoy the 
 good before us, and not rcjed it upon account of the difagreeable 
 companion which is infeparable from it ; but the ufe I now would 
 make of it is only to fliew that a pitlure, drawing, or print may be 
 good though it has feveral faults; to fay otherwife is as abfurd as to 
 deny a thing is what it is faid to be, becaufe it has properties which 
 are elTential to it. 
 
 In one of the Tatlers there is fine jeafoning to this purpofe ; 
 " The heathen world had fo little notion that perfc6lion was to be 
 expeQed amongft men, that among them any one quality or en- 
 " dowment in an heroic degree made a god. Hercules had ftrength, 
 " but it was never objeQed to him that he wanted wit. Apollo 
 " prelided over wit, and it was never allied whether he had ftrength. 
 " We hear no exceptions againft the beauty of Minerva, or the 
 " wifdom of Venus. Thefe wife heathens were glad to immortalize 
 *' any one ferviccable gift, and overlook all imperfe6lions in the 
 " pcrfon that had it." 
 
 If in a picture the ftory be well chofen, and finely told (at leaft) 
 if not improved, if it fill the mind with noble, and inftruftive ideas, 
 I will not fcruple to fay it is an excellent pidure, though the draw- 
 ing be as incorreft as that of Correggio, Titian, or Rubens ; the 
 colouring as difagreeable as that of Polydore, Baptifta Franco, or 
 Michelangelo. Nay, though there is no other good but that of the 
 colouring, and the pencil, I will dare to pronounce it a good 
 piflure; that is, that it is good in thofe refpecis. In the firft 
 inftance. here is a fine flory artfully communicated to my ima- 
 gination, not by fpeech, nor writing, but in a manner preferable to 
 
 either 
 
( ^o8 ) 
 
 either of them ; in the other there is a beautiful, and delightful 
 objeft, and a fine piece of workmanfhip, to fay no more of it. 
 
 There never was a pi6lure in the world without fome fauhs, and 
 very rarely is there one to be found which is not notorioufiy defec- 
 tive in fome of the parts of Painting. In judging of its goodnefs as 
 a connoiffeur, one fliould pronounce it fuch in proportion to the 
 number of the good qualities it has, and their degrees of goodnefs. 
 I will add, and as a philofophcr, one fliould only confider the 
 excellency we fee, and enjoy that, as being, all belonging to it. 
 No more regreting what it has not, or thinking of it fo as to di- 
 minifli our pleafure in that it has, than we do the want of tafte in a 
 rofc, fpeech in a piclu-re of Van Dyck, or life in one of Rafaelle. 
 
 There are two ways whereby a gentleman may come to be per- 
 fuaded of the goodnefs of a pifture, or drawing; he may neither 
 have leifure, or inclination to become a connoilfeur himfelf, and 
 yet may delight in thefe things, and defire to have them; he has no 
 ■way then but to take up his opinions upon truft, and implicity de- 
 pend upon another's judgment. Here his own is determined, but 
 upon arguments in favour of the honefty, and underftanding of the 
 man he relies upon ; not at all relating to the intrinfic worth of 
 the thing in queftion ; and this may be the wifeft, and beft courfe 
 he can take, all things confidered : though it is certain when a man 
 judges for himfelf, he may arrive at a higher degree of perfuafion 
 that the piclure, or drawing is good; becaufe one man may be as 
 good a judge as another if he applies himfelf to it ; fo that here 
 the gentleman, and his guide are upon an equality; either indeed 
 may be miftaken, but he that relies upon the judgment of another, 
 has a double chance againft him over and above, for he may be 
 miftaken in his opinion of the honefty, or underftanding of this 
 other. 
 
 This way of judging upon the authority of another I meddle not 
 with : The firft thing then to be done, in order to become a good 
 connoiffeur one's felf, is to avoid prejudices, and falfe reafoning. 
 
 We 
 
( 109 ) 
 
 We muft confider ourfelves as rational beings at large, no matter 
 of what age, or of what country, nor even of what part of the uni- 
 verfe we are inhabitants, no more than it would be to confider our- 
 felves as of fiich a citv, or fuch a parifh. Opinions taken up early, 
 and from thofe we have loved, and honoured, and which we fee to 
 be approved, and applauded by fuch, be their numbers never fo 
 great mull have no advantage with us upon thcfc accounts. Nei- 
 ther muft our own paffions, or intereft be allowed to give the leaft 
 biafs to our judgments when we are upon a rational enquiry, where 
 all thefe things are entirely heterogeneous. A connoifTeur muft con- 
 fider the ancients, the Italians, V. Dyck, Annibale Caracci, Giulio 
 Romano, Michelangelo, and even the divine Rafaelle himfelf as 
 fallible, and examine their works with the fame unbiaffed indifFe- 
 rency, as if he had never heard of fuch men. Nor muft any thing 
 be taken for granted ; we muft examine up to firft principles, and 
 go on ftep by ftep in all our dedu£lions, contenting ourfelves with 
 that degree of light we can thus ftrike out, with,out fancying any 
 degree of affent is due to any propofition beyond what we can fee 
 evidence for (or what we conceive to be fuch, which is effcftively 
 fo to us) as to give any fuch alTent in reality is utterly impoffiblc : if 
 the nature of the thing adm.its of no proof we are to give no affent. 
 And as truth is uniform, and evermore confiftent with itfelf, the 
 mind thus finds itfelf in perfeft ferenity ; whereas we muft be eter- 
 nally perplexed, and uneafy if we mix reafon with prejudice, and 
 when we difcover a bright beam of truth by rational evidence, en- 
 deavour to reconcile it with propofiiions taken up in another man- 
 ner, if thofe happen to be erroneous; and ftill the more, if for the 
 fake of thofe unexamined notions we rejed what our reafon is other- 
 wife convinced of; for this is oflering violence to that light which 
 we received from above, and wherein our releniblance with the fa- 
 ther of light confifts. 
 
 P There 
 
( ) 
 
 • There are certain arguments, wliicli a connoifTeiir is utterly to 
 reject, as not being fuch by which he is to form his judgment, of 
 what ufe foever they may be to thofe who are incapable of judging 
 otherwife, or who will not take the pains to know better. Some of 
 thefe have really no weight at all in them, the belt are very preca- 
 rious, and only ferve to perfuade us the thing is good in general, 
 not in what refpeft it is fo. That a picture, or drawing has been, 
 or is much efleemed by thofe who are believed to be good judges; 
 or is, or was part of a famous coliedion, cod fo much, has a rich 
 frame, or the like. Whoever makes ufe of fuch arguments as thefe 
 befides that they are very fallacious, takes the thing upon truft, 
 which a good connoilTeur fhould never condefcend to do. That it 
 is old, Italian, rough, fmooth, &c. Thele are circumftances hardly 
 worth mentioning, and which belong to good and bad. A piQure, 
 or drawing may be too old to be good; but in the golden age of 
 Painting, which was that of Rafaelle, about two hundred years ago, 
 there were wretched painters, as well as before, and fince, and in 
 Italy, as well as elfewhere. Nor is a pifture the better, or the 
 worfe, for being rough, or fmooth, fimply confidered. One of the 
 commoneft, and mofl deluding arguments, that is ufed on this oc- 
 cafion is, that it is of the hand of fuch a one. Though this has no 
 great weight in it, even admitting it to be really of that hand, which 
 very often it is not : the bed maflers have had their beginnings, and 
 decays, and great inequalities throughout their whole lives, as fhall 
 be more fully noted hereafter. That it is done by one who has had 
 great helps, and opportunities of improving himfelf; or one that 
 fays he is a great mafter, is what people are very ready to be 
 cheated by, and not one jot the lefs, for having found that they have 
 been fo cheated again and again before, nay, though theyjuftly 
 laugh at, and defpife the man at the fame time, To infer a thing 
 is, becaufe it ought to be, is unreafonable, becaufe experience 
 fhould teach us better, but often we think there are opportunities, 
 and advantages where there are none, or not in the degree we 
 
 imagine ; 
 
c ill y 
 
 imagine; and to ake a man's own word, where his interefl. or va-"" 
 nity Ihould make us lufpeft him is fiifficiently unaccountable. 
 Whoever builds upon a ruppofition of the good fenfe, and integrity 
 of mankind has a very Tandy foundation, and yet it is what 
 we find many a populiir argument refts irpon, in other cafes, a 
 well as in this. But, (as I faid) whether thefe kinds of arguments 
 above-mentioned have any thing in them, or not, a connoifTeur has 
 nothmg to do with them ; his bufinefs is to judge from the intrinfic 
 qualities of the thing itfclf; as when a man receives a propofition in 
 divinity, (for example) not becaufe it was believed by his anceftors, 
 or ellabliflied a thoufand years ago, or for whatever other fuch like' 
 reafons : but becaufe he has examined, and confidered the thing 
 itfelf, as if it were juft now offered to the world, and abfolutely 
 diverted of all thofe collateral advantages. 
 
 In making our remarks upon a pi6lure, or a drawing, we are only 
 to confider what we find, without any regard to what, perhaps, the 
 mafter intended. It is commonly faid of commentators, that they 
 difcover more beauties than the author ever thought of: perhaps 
 they do: and what then? are they lefs beauties for that, or lefs 
 worthy our notice ? or are there not defetls alfo that were never 
 intended ? if one may not be brought to account, neither let the 
 other : this is the advantage a writer, or painter, or any other ar- 
 tift ought to liave, his lucky inadvertencies fhould help to balance 
 againft his unlucky ones. 
 
 But after all, perhaps thefe beauties were thought of, and in- 
 tended by the mafter, or author; and perhaps a great many more 
 than the commentator ever dreamt of: and perhaps alfo v;hat are 
 judged to be defeats are not fo. The author, or artifl of what fort 
 foever (if he be a good one efpecially) is in more danger of fuffcr- 
 irrg by the overfights, ignorance, malii.e, or other evil quality of 
 his comn e.uatoi s than he is likely to gain by their penetration, 
 indulgence, good nature, or whatever other good quality. Ccm- 
 
 P 2 mentators, 
 
( ) 
 
 mentators arc in a fine fituation ! we like the poor mariners with 
 infinite pains, and hazards fetch in from all parts things for ufe, 
 or delight, they, like the merchants at their eafe receive all from 
 our hands, and fay this is well, or that ill, as their fancy is. For 
 God's fake let us have juftice, if we are not allowed indulgence: 
 Let there not be a draw-back upon what is well, and none on what 
 is amifs : either let fuppofes, and peradventures be equally admitted 
 on both fides; or (which is better) let them be entirely excluded. 
 
 To judge of the goodnefs of a pifture, drawing, or print, it 
 is necelTary to eftablifli to ourfelves a fyftem of rules to be ap- 
 lied to what we intend to give a judgment of. 
 
 Here in order to make this difcourfe as complete as I could I 
 Tliould have been obliged to have given fuch a fyftem. But 
 having done that at large in my former effay that affair is over, 
 it is at the reader's fervice, and he may ufe that, or any other, or 
 one compofed out of feveral, with additions, and improvements, 
 or without as he thinks fit : however I will here make him an offer 
 of an abftraft of what I take to be thofe by which a painter, or 
 connoiffeur may fafely condufl himfelf, referring to the book itfelf 
 for further fatisfa6lion. 
 
 I. The fubjeft mufl be finely imagined, and if pofTible improved 
 in the painter's hands ; he muft think well as a hiftorian, poet, 
 philofopher, or divine, and moreover as a painter in making 
 a wife ufe of all the advantages of his art, and finding ex- 
 pedients to fupply its defefts. 
 
 II. The expreffion muft be proper to the fubjeft, and the charac- 
 ters of the per fons ; it muft be ftrong, fo that the dumb-fiiew 
 may be perfeftly well, and readily underftood. Every part 
 of the pi£lure muft contribute to this end; colours, animals, 
 
 draperies, 
 
( 113 ) 
 
 draperies, and efpecially the a6iions of the figures, and above 
 all the airs of the heads. 
 
 III. There mud be one principal light, and this, and all the 
 
 fubordinate ones with the fliadows, and repofes, muft make 
 
 one, intire, harmonious mafs ; the feveral parts muft be well 
 
 conne6led, and contrafted, fo as that the tout-enfemble muft 
 
 be grateful to the eye ; as a good piece of mufic is to the ear. 
 
 By this means the pifture is not only more delightful, but bet- 
 ter feen, and comprehended. 
 
 IV. The drawing muft be juft; nothing muft be flat, lame, or 
 ill proportioned ; and thefe proportions fliould vary according 
 to the characters of the pcrfons drawn. 
 
 V. The colouring whether gay, or folid, muft be natural, beau- 
 tiful, and clean, and what the eye is delighted with, in fiia- 
 dows as well as lights, and middle tints. 
 
 VI. And whether the colours are laid on thick, or finely 
 wrought it muft appear to be done by a light, and accurate 
 
 hand. 
 
 lajlly, Nature muft be the foundation, that muft be feen at the 
 bottom; but nature muft be raifed ; and improved, not only 
 from what is commonly feen, to what is but rarely, but even 
 yet higher, from a judicious, and beautiful idea in the painter's 
 mind, fo that grace and greatnefs may fhine throughout; more, 
 or lefs however as the fubje6l may happen to be. And herein 
 confifts the principal excellency of a pi6lure, or drawing. 
 
 Thefe few plain rules being thoroughly comprehended, and re- 
 membered, which may be done with a tolerable meafure of good 
 
 fenfe. 
 
( ) 
 
 fenfe, a little trouble in reading, and a good deal of obfervation on 
 nature, and piQures, and drawings of good mafters I will venture to 
 fay are fufficient to qualify a gentleman to be a good judge. 
 
 And let me be permitted to fay I advance nothing upon the foot 
 of authority. Whatever authorities there are for any propolition, 
 their value confifts in their being derived from reafon, and they 
 weigh with me in proportion as I fee they do fo ; they then become 
 my own, and I have no occafion to produce tlie author but the 
 reafon. 
 
 And the matter would terminate here though we had a book of 
 rules for Painting faid to be written bv Apelles himfelf, and it was 
 allowed that what Apelles faid were infallibly true; for then, in- 
 ftead of faying are thefe rules good, are they founded upon reafon ? 
 the queflion would only be, are they really of him? tlieir autho- 
 rity then will reft, not upon the credit of Apelles, but upon the 
 teftimony of thofe that fay they are his. Which I lliall not want if 
 I find the rules to be good, and if I do not it will be infufficient : 
 and all this without the leaft prejudice to the profound refpe6l I have 
 for Apelles, nay it is a neceffay confequence of it. 
 
 To judge of the degrees of goodnefs of a picture or drawing it is 
 neceffary that the connoiffeur fhould be thoroughly acquainted, and 
 perpetually converfant with the beft. For how perfeftly foevcr he 
 may be mafter of the rules of the art be will know that thofe are like 
 what divines call precepts of perfeftion ; that is they are given as 
 what we fhould endeavour to go by as far as we are able. 1 be beft 
 things we know will be the ftandard by which we ftiall judge of thofe 
 and all the reft. Carlo Maratti, and Giufcppe Chiari will be a Ra- 
 faelle, and Giulio Romano to him who has never fecn better; and 
 then an inferior mafter will make a good Carlo. I have been fur- 
 prized to obferve what pleafure fome connoifleurs have taken in 
 what another looked upon with little, if not with contempt, till I 
 
 have 
 
( ^15 ) 
 
 have confidered one was not fo well acquainted with the works oF 
 the bcft maflers as the other, and that accounts for it fufficiently. 
 
 All t'.ie different degrees of goodnefs in Painting may be re- 
 duced to thefe three general claffes. The mediocre, or indiffe- 
 rently good, the excellent, and the fublinnc. The fn ft is of a large 
 extent; the fecond much narrower; and the lad ftill more fo. I 
 believe mod people have a pretty clear, and juft idea of the two for- 
 mer; the other is not fo well underftood; which therefore I will 
 define according to the fenfe I have of it ; and I take it to confiU of 
 fome few of the hicjheft decjrees of excellence in ihofe kinds, and 
 parts of Painting which are excellent; the fublime therefore muft be 
 marvellous, and furprizing. it muft ftrike vehemently upon the 
 mind, and fill, and captivate it irrefiftibly. 
 
 As when autumnal rains, or melled fnows 
 From oj- the mountains with impetuous hajle 
 Defcend to feek rcpofe in lower grounds, 
 Or in fome neighb'ring river's ouzy bed. 
 No more the peaceful flream within its banks 
 fVith crooked wandering regularly flows, 
 But with communicated rage tfurps 
 XJnjuJl dominion, and with courfe direH 
 ^^fP^f^'^S oppffiion drives along. 
 
 I confine the fublime to hiftory, and portrait Painting; and thefe 
 muft excel in grace, and greatnefs, invention, or expreflion ; and 
 that for reafons which will be feen anon. Michelangelo's great 
 ftyle intitles him to the fublime, not his drawing ; it is that great- 
 nefs, and a competent degree of grace, and not his colouring that 
 makes Titian capable of it ; As Correggio's grace, with a fufficient 
 mixture of greatnefs gives this noble quality to his works. Van 
 Dyck's colouring, nor pencil though perfe6lly fine would never in- 
 troduce 
 
( ii6 ) 
 
 troduce him to the fublime; it is his cxprefTion, and that grace, and 
 greatnefs he poffefTed (the utnioft that portrait Painting is juftly ca- 
 pable of) that fets fome of his works in that exahcd clafs ; in which 
 on that account he may perhaps take place of Rafaelle himfelf in 
 that kind of Painting, if that great man's fine, and noble ideas car- 
 ried him as much above nature then, as ihey did in hiftory, where 
 the utmoft that can be done is commendable; a due fubordination 
 of characters being preferved ; and thus (by the way) Van Dyck's 
 colouring, and pencil may be judged equal to that of Correggio, or 
 any other mailer. 
 
 In writing, the fublime is confident w ith great irregularity ; nay 
 that very irregularity may produce that noble effeQ ; as in that 
 wonderful place in Milton. 
 
 Headlong thcmfclvcs they threw 
 
 Down from the verge of Heaven, eternal wrath 
 Burnt after them to the bottomlefs pit. 
 
 The lafl; bad verfe contributes to the horrible idea which is to be 
 raifed here; but if it did not, the thought would be fublime, not the 
 verfe : fo in Painting the fublimity of the thought, or expreffion 
 may be confiflent with bad colouring, or drawing, and thefe may 
 help to produce that fine effe£t; if they do not, that will make them 
 overlooked, or even prejudice us in their favour; however it is not 
 thofe dcfefts, but what is excellent that is fublime. 
 
 Upon this occafion it is fit to enquire (en padant) Whether it is 
 our interefl to have fo refined a talte in general, as to be pleafed 
 only with a very few things, and which are rarely to be found, 
 which therefore contra6ts our enjoyments, whereas it is our bufinefs 
 rather to enlarge them. It will be readily fuggelled in aniwer to 
 this, that what is loft upon account of the number of our pleal'ures, 
 will be gained in the weight of them : the qucftion then will be, 
 
 whether 
 
( 1^7 ) 
 
 whether the noify, tumultuous pleafures of the vulgar are not equi- 
 valent to thofe which the moft refined wits talic ; that is, whether 
 one man is not as happy, or pleafed (which is the fame thing) with 
 an uncommon, diverting accident at the Bear-garden, or with a bad 
 pi6lure, as another in confidering fomc of the noblcft inftances of 
 the fublime in Rafaelle, or Homer : the anfwer to which is very 
 fhort, he is not ; and that for the fame reafon as an oyfter is not 
 capable of the fame degree of pleafure as a man. It will not follow 
 however, that upon the foot of the account one is more happy than 
 the other, becaufe that delicacy, and acutencfs of mind, which is 
 fufceptible of the grcateft pleafure, is proportionably fo with refpcft 
 to its contrary : but the competition is not now betwixt enjoyment, 
 and mifery, but one pleafure, and another. And thus it appears, 
 that a man is in no danger of diminifhing his happincfs by refining 
 his tafte. 
 
 Hitherto I have been confidering; the goodnefs of a oiclure as 
 being done according to the rules of the art; there is another kind 
 of goodnefs, and that is, as the pifture, or drawing anfwers the ends 
 intended to be ferved by them ; of which there are feveral, but all 
 reducible to thefe two general ones, pleafure, and improvement. 
 
 I am forry the great, and principal end of the art has hitherto 
 been fo little confidered ; I do not mean by gentlemen only, or by 
 low, pretended connoifTeurs, but bv thofe who ought to have gone 
 higher, and to have taught others to have followed them. It is no 
 wonder if many who are accuftomed to think fuperficially, look on 
 pictures as they would on a piece of rich hangings; or if fuch as 
 thefe (and fome painters among the reft) fix upon the pencil, the 
 colouring, or perhaps the drawing, and fome little circumRancial 
 parts in the pifture, or even the juft reprefentation of common 
 nature, without penetrating into the idea of the painter, and the 
 beauties of the hiftory, or fable. I fay it is no wonder if this fo 
 frequently happens when thofe whether ancients or moderns, who 
 
 Q have 
 
( ii8 ) 
 
 have written of Painting, in defcribing the works of painters in their 
 lives, or on other occafions have very rarely done any more ; or in 
 order to give us a great idea of fome of the beft painters, have told 
 us fuch filly ftories as that of the curtain of Parrhafius which de- 
 ceived Zeuxis, of the fmall lines one upon another in the conten- 
 tion between Apelles and Protogenes (as I remember, it is no 
 matter of whom the ftory goes) of the circle of Giotto, and fuch 
 like trifles, which if a man were never fo expert at without going 
 many degrees higher, he would not be worthy the name of a 
 painter, much lefs of being remembered by pofterity with honour. 
 
 It is true there are fome kinds of pitlures which can do no more 
 than pleafe, as it is the cafe of fome kinds of writings; but one 
 may as well fay a library is only for ornament, and oftentation, as 
 a colleftion of piftures, or drawings. 
 
 I repeat it again, and would inculcate it, Painting is a fine piece 
 of workmanfhip ; it is a beautiful ornament, and as fuch gives us 
 pleafure; but over and above this, we Painters are upon the 
 level with writers, as being poets, hiftorians, philofophers, and 
 divines ; we entertain, and inflruft equally with them. This is true 
 and manifeft beyond difpute whatever men's notions have been ; 
 
 To wake the Soul by tender Jlrokes of art, • 
 To raije the genius, and to viend the heart. 
 
 Mr. Pope. 
 
 is the bufinefs of Painting as well as of tragedy. 
 
 There being pidures of feveral kinds, fome capable only of 
 pleafmg, and others alfo of inftrufting, and improving the mind; 
 which is the nobler end, a difference ought to be made accordingly ; 
 two pictures may be equally good, with refpeck to the rules of the 
 art, equally well drawn, coloured, &:c. but very different with 
 refpe£t to the rank they ought to hold in our eftimation : a boor 
 
 opening 
 
( ) 
 
 opening of mufcles, and a St. John may be one as well painted as 
 the other, but there can be no difpute when the queflion is which 
 of thefe two is preferable. 
 
 So feveral of the parts of Painting may be equally well in the 
 fame pifture, but they are not equally confiderable in themfelves ; 
 a fine pencil (for example) is not comparable to a fine invention. 
 
 When therefore we are to make a judgment in what degree of 
 goodnefs a piflure or drawing is we fhould confider its kind firft, 
 and then its feveral parts. A hiftory is preferable to a landfcapc, 
 fea piece, animals, fruit, flowers, or any other ftill-life, pieces of 
 drollery, &c. the reafon is, the latter kinds may pleafe, and in 
 proportion as they do fo they are eftimable, and that is according 
 to every one's tafte, but they cannot improve the mind, they excite 
 no noble fentiments ; at lead not as the other naturally does : thefe 
 not only give us pleafurc, as being beautiful objcfls, and furnifhing 
 us with ideas as the other do, but the pleafure we receive from 
 hence is greater (I fpeak in general, and what the nature of the 
 thing is capable of) it is of a nobler kind than the other ; and then 
 moreover the mind may be enriched, and made better. 
 
 A portrait is a fort of general hiftory of the life of the perfon it 
 reprefents, not only to him who is acquainted with it, but to many 
 others, who upon occafion of feeing it are frequently told, of what 
 is moft material concerning them, or their general charaBcr at leaft; 
 the face ; and figure is alfo defcribed and as much of the charaflcr 
 as appears by thefe, which oftentimes is here feen in a very great 
 degree. Thefe therefore miany times anfwcr the ends of hiftorical 
 piQures. And to relations, or friends give a pleafure greater than 
 any other can. 
 
 There are many fingle heads which are hiftorical, and may be 
 applied to feveral ftories. I have many fuch; I have for inftance 
 a boy's head of Parm^ggiano, in whofe every feature appears fuch 
 an overflowing joy, and that too not common, but holy, and divine 
 
 Q 2 that 
 
( ) 
 
 that I imagine him a little angel rejoicing at the birth of the Son of 
 God. I have another of Leonardo da Vinci of a youth very an- 
 gelical, and in whom appears an air fuch as Milton dcfcribcs, 
 
 = Dim fadnefs did not [pare 
 
 That time celefiial vijagei, yet mixt 
 With pity, violated not their blifs. 
 
 This I fuppofe to be prefent at the agony of our Lord, or his cruci- 
 fixion, or feeing him dead, with his BlefTed Mother in that her vaft 
 diftrefs. Single figures may be alfo thus applied, and made hif- 
 torical. But heads not thus applicable, mufl: be reckoned in an 
 inferior clafs and more, or lefs fo according as they happen to be. 
 As portraits unknown are not equally confiderable with thofe that 
 are ; though upon account of the dignity of the fubjeft they may be 
 reckoned in the firfl clafs of thofe wherein the principal end of 
 Painting is not fully anfwered ; but capable however of the fublime. 
 
 The kind of pitlure, or drawing having been confidered, regard 
 is to be had to the parts of Painting; we fliould fee in which of 
 thefe they excel, and in what degree. 
 
 And thefe feveral parts do not equally contribute to the ends of 
 Painting : but (I think) ought to Hand in this order: 
 
 GRACE and GREATNESS, 
 
 INVENTION, 
 
 EXPRESSION, 
 
 COMPOSITION, 
 
 COLOURING, 
 
 DRAWING, 
 
 HANDLING. 
 
 The lafl can only pleafe ; the next (by which I underftand pure 
 nature, for the great, and genteel ftyle of drawipg falls into another 
 
 part) 
 
( 121 ) 
 
 part) this alfo can only plcafe, Colouring pleafcs move ; Coinpr.fition 
 pleafes at leaft'as much as Colouring, and moreover helps to in(tru(^, 
 as it makes thole parts thr.t do To more confpicuous; ExprcfTion 
 pleafes, and inHrutls greatly; the Invention docs both in a higher 
 degree, and Grace and Greatnefs above all. Nor is it peculiar to 
 that ftory, fable, or whatever the fubjeft is, biit in general raifcs 
 our idea of the fpccies, gives a mod delightful, virtuous pride, and 
 kindles in noble minds an ambition to a£l up to that dignity thus 
 conceived to be in human nature. In the former parts the eye is 
 employed, in the other the underftanding. 
 
 By thus confidering in what rank of eflimation the feveral parts 
 of Painting ought to ftand, we may (by the way) obferve what 
 degrees of merit each mafler has, for that is more, or lefs in pro- 
 portion as he has excelled in thofe parts which are preferable. 
 Thus Albert Durer, though his defign was very correft, can by no 
 means ftand in competition with Correggio, who was defective in 
 that particular, becaufe the latter had grace and greatnefs, which 
 the other had not. 
 
 And thus too it is feen that drawings (generally fpeaking) are 
 preferable to paintings, as having thofe qualities which are mod 
 excellent in a higher degree than Paintings generally have, or can 
 poffibly have, and the others (excepting only colouring) equally 
 with them. There is a grace, a delicacy, a fpirit in drawings which 
 when the mafter attempts to give in colours is commonly much 
 diminifhed, both as being a fort of copying from thofe firft thoughts, 
 and becaufe the nature of the thing admits of no better. 
 
 There are other confiderations relating to piftures, drawings, 
 and more particularly to prints; but as thefe are entirely diflinft 
 from that of their goodnefs as works of art, and are only concerning 
 their value to the buyer, or feller, fuch as the condition they are 
 in, their rarity, or other fuch-like circumftances ; though thefe 
 
 things 
 
( 122 ) 
 
 things are of importance on fome occafions, they are foreign to the 
 fubjeft of my prefent difcourfe, and fo it is enough juft to have 
 mentioned them. 
 
 Whatever v;e look upon therefore fhould be confidered diflin81y, 
 and particularly, and not only feen in general to be fine, or not, 
 but wherein it is one, or the other. Mod of our writers have been 
 very fupcrficial in this refpeft ; they have faid where a pi8ure of 
 fuch a matter was, and have told us the fuhjeft, and bellowed cer- 
 tain epithets upon it, as that it was divine, furprizing, or that fuch 
 a figure fccmed to he alive, and the like ; and this without diflinc- 
 tion to works of very different chara£lers, but the fame general 
 defcriptions ferve for all ; fo that we can have no clear idea of them 
 from thofe authors; and I do not doubt but mofl: of thofe that look 
 upon piQures, or drawings take in fuch imperfeft, unformed, and 
 confufed ideas ; if we are pleafed or difpleafed, if our minds are 
 improved, or hurt, wc fhould obferve from what caufe this has 
 happened ; What part of Painting has the mafter fucceeoed, or been 
 defective in, and to what degree ? or is this owing to the fubjeft, 
 rather than to the manner of treating it, and how far ? Such, and 
 the like confiderations will help to give us clear, and diftin6l ideas 
 of the work, and the mafler, which a good connoiffeur fhould 
 always form in his mind. And the better to do this he fliould 
 
 Laftly, obferve method, and order in his way of thinking ; not 
 mixing and jumbling obfervations of different kinds, but going on 
 gradually from one thing to another, difpatching the firft before we 
 embarrafs ourfelves with any other. 
 
 Gentlemen may do as they pleafe, the following method feems 
 to me to be the mofl natural, convenient, and proper. 
 
 Before you come fo near the pifture to be confidered as to look 
 into particulars, or even to be able to know what the fubjeft of it 
 is, at leafl before you take nrdtice of 'that, obferve the tout-enfemble 
 of the maffes, and what kind of one the whole makes together. It 
 
 will 
 
( ) 
 
 will be proper at the fame diflancc to confidcr the gt^neral colour' 
 irig ; whether that be grateful, cheering, and deiightful to the eye, 
 or difagreeable ; then let the compofition be examined near, and 
 fee the contrafts, and other particularities relating to it, and fo 
 finifii your obfcrvations on that head. I'he fame then may be 
 done uiih refpcft to the colouring ; then the handling, and after- 
 wards the drawing ; thefe being difpatclied, the miiul is at liberty 
 carefully to confider the invention; then to fee how well the ex- 
 preffion is performed, and ladly, what grace and greatnefs is fpread 
 throughout, and how fuitable to each charafcl;er. 
 
 Monficur de Piles has a prcity invention of a fcale, whereby he 
 gives an idea in (hort of the merit of the painters, I have given 
 fome account of it in the latter end of my former effay : this, with 
 a little alteration and improvement, may be of great ufe to luvtrs 
 of art, and connoiffeurs. 
 
 I will keep to the number eighteen, to denote the higheft degree 
 of excellence, and that, and the preceding one fnall fland for the 
 fublime in thofe parts of Painting that are capable of it. Sixteen, 
 fifteen, fourteen, thirteen, (hall denote excellence in thefe four de- 
 grees, as from twelve to five inclufive fliail fignify the mediocre : 
 and though bad pitlures are not worth our notice, good ones may 
 be bad in fome particulars, I will therefore referve the other four 
 numbers to exprefs that. Not that the province of bad is equal in 
 extent to that of excellent, but becaufe good mailers, whofe v.orks 
 I am only concerned about very rarely, link many degrees into ill ; 
 if it fliould fo happen, let that be marked with a cypher only. 
 
 The ufe to be made of this fcale is this : a little pocket-book 
 might be always ready, every leaf of which Oiould be prepared, as 
 fhall be feen prefently, and when one confiders a picture, an 
 eftimate might be made of it, by putting fuch figures under each 
 head as flmll be judged proper; or more than one, if in one part 
 
 of 
 
( 124 ) 
 
 of the pifture there be any confiderable difference from what, is 
 in another ; or if there be a double confideration requiring it. 
 
 I will give a fpecimen of what I have been propofing, and the 
 fubjeQ ftiall be a portrait of Van D) ck which I have, it is a half 
 length of a Countefs Dowager of Exeter, as I learn from the 
 print made of it by Faiihorn, and that is almoft all one can learn 
 from that coucerning the pi6lure befides the general attitude, and 
 difpofition of it. 
 
 The drefs is black velvet, and that appearing almoft one large 
 fpot, the lights not being fo managed as to connefl; it with the 
 other parts of the pi6lure ; the face, and linen at the neck, and 
 the two hands, and broad cuffs at the wrifts being by tliis means 
 three ieveral fpots of light, and that near of an equal degree, and 
 forming almoft an equilateral triangle, the bafe of which is parallel 
 to that of the piflure, the compofuion is defeftive ; and this occa- 
 fioned chiefly from the want of thofe lights upon the black. But 
 fo far as the head, and almoft to the waift, with the curtain behind, 
 there is an admirable harmony; the chair alfo makes a medium 
 between the figure, and the ground. The eye is delivered down 
 into that dead black fpot the drapery with great eafe, the neck is 
 covered with linen, and at the breaft the top of the ftomacher makes 
 a flrait line. This would have been very harfh, and difagreeable, 
 but that it is very artfully broken by the bows of a knot of nar- 
 row ribbon which rife above that line in fine, well-contrafted 
 lhapes. This knot faftens a jewel on the breaft, which alfo helps 
 to produce the harmony of this part of the piflure, and the white 
 gloves which the lady holds in her left-hand, helps the compofition 
 fomething, as they vary that light fpot from that which the other 
 hand, and linen makes. 
 
 The tout enfemble of the colouring is extremch' beautiful ; it is 
 folemn, but warm, mellow, clean, and natural ; the flefh, which is 
 exquifitely good, efpecially the face, the black habit, the linen and 
 
 cufhion, 
 
( ) 
 
 cufliion, the chair of crimfon velvet, ancT the gold flowered curtain 
 mixt with a little crimfon have an admirable elfcQ, and would be 
 perfeft were there are a middle tint amongft the black. 
 
 The face, and hands, are a model for a pencil in portrait Paint- 
 ing :* it is not V. Dyck's firfl; laboured Flemifh manner, nor in the 
 leaft carelefs, or flight ; the colours are well wrought, and touched 
 in his beft ilyle ; that is, the beft that ever man had for portraits ; 
 nor is the curtain in the leaft inferior in this particular, though the 
 manner is varied as it ought to be, the pencil is there more feen than 
 in the flefh : the hair, veil, chair, and indeed throughout except the 
 black gown is finely handled. 
 
 The face is admirably well drawn ; the features are pronounced 
 clean, and firmly, fo as it is evident he that did that conceived ftrong, 
 and diftinft ideas, and faw wherein the lines that formed thefe differed 
 from all others; there appears nothing of the antique, or Rafaelle- 
 tafte of defigning, but nature, well underftood, well chofen, and well 
 managed; the lights, and fliadows are juftly placed, and fhaped, 
 and both fides of the face anfwer well to each other. The jewel on 
 the breaft is finely difpofed, and direfts the eye to the line between 
 the breafts, and gives the body there a great relief, the girdle alfo 
 has a good effeft, for by being marked pretty ftrongly the eye is 
 ftown the waift very readily. The linen, the jewel, the gold cur- 
 tain, the gaufe veil are all extremely natural, that is they are juftly 
 drawn, and coloured. But the want of thofe lights I have fo often 
 lamented is the caufe that the figure does not appear to fit firmly, 
 the thighs and knees are loft. Nor is the drawing of the arms, 
 nor even of the hands altogether as one would wifh, particularly the 
 left, and that not only in the outline, but the lights, and fhadows; 
 efpecially of that hand, which by being too light is brought out of 
 
 R its 
 
 * This is in the poffeflion of the Hon. Horace Walpole, who bought it at Richard- 
 fon's fale. 
 
( »26 ) 
 
 its true place, it is nearer the eye than it o\]glit to be. There are alfo 
 fome overfights in the perfpe^lix e of the chair, and curtain ; in the 
 lineal part of the former, and in the aerial part in both. 
 
 Thefe being thus difpatchcd we are at liberty to coni'ider the in- 
 veiition. Van Dyck's thought feems to have been that the lady 
 Ihould be fitting in her own room receiving a vifit of condolence 
 from an inferior with great benignity ; as fliall be feen prefently, I 
 would here obferve the beauty, and propriety of this thought. For 
 by this the pidure is not an infipid reprefentation of a face, and 
 drefs,, but here is alfo a pi6lure of the mind, and what more proper 
 to a widow than forrow ? ^^nd more becoming a perfon of quality 
 than humility and benevolence ? Belides had fhe been fuppofed to 
 have appeared to her equals, or fuperiors, the furniture of the place 
 mufl; have been mourning, and her gloves on, but the colours of the 
 curtain, and chair, and the contrail occafioned by the gloves in her 
 hand have a fine effect. 
 
 Never v^^as a calm becoming forrow better expreffcd than in this 
 face, chiefly there where it is always mod conlpicuous, that is in the 
 eyes : not Guido Reni, no, nor Rafaelle himfelf could have con- 
 ceived a paflion with more delicacy, or more ftrongly expreffed it ! 
 To which alfo the whole attitude of the figure contributes not a little, 
 her right-hand drops eafily from the elbow of the chair which her wriit 
 lightly reds upon, the other lies in her lap towards her left knee, all 
 which together appear fo eafy, and carelefs, that what is loft in the 
 compofition by the regularity I have taken notice of, is gained in the 
 expreffion ; which being of greater confequence juftifics Van Dick 
 in the main, and fiiews his great judgment, for though as it is, there 
 is (as I faid) fomething amifs, I cannot conceive any way of avoid- 
 ing that inconvenience without a greater. 
 
 And notwithftanding the defefts I have taken the liberty to re- 
 mark with the fame indifferency as I have obferved the beauties, 
 that is, without the leaft regard to the great name of the mafter, 
 
 there 
 
( ) 
 
 there is a grace tliroughout that charms, and a grcatnefs that com- 
 mands refpeft; flie appears at firft fight to be a well-bred woman of 
 quality; it is in her face, and in her mien; and as her drefs, orna- 
 ments, and furniture contribute fomeihing to the greamefs, the 
 gaufe veil coming over her forehead, and the hem of it hiding a 
 defeft (which was want of eye-brows) is a fine artifice to give more 
 grace. T his grace, and greatnefs is not that of Rafaelle, or the 
 antique, but it is what is fuitable to a portrait; and one of her age, 
 and charaQer, and confcquently better than if (he had appeared with 
 the grace of a Venus, or Helena, or the majefty of a Minerva, or 
 Semiramis, 
 
 It remains to confidef this pi6ture in the other view; we have 
 feen in what degree the rules of Painting have been obferved : let 
 us now enquire how far the ends of pleafure, and advantage are 
 anfwered. 
 
 And this is more, or Icfs as my fancy, judgment, or other cir- 
 cumftances happen to be ; thefe confiderations are purely pcrfonal, 
 and every man muft judge for himfelf. Here therefore I fh all be 
 very fhort, I will omit many reflexions that I might make, and ex- 
 patiate upon, and only touch fome of the principal. 
 
 The beauty, and harmony of the colouring gives me a great de- 
 gree of pleafure ; for though this is grave, and folid, it has a beauty 
 not lefs than what is bright and gay. So much of the compolition 
 as is good does alfo much delight the eye ; and though the lady is 
 not young, nor remarkably handfome, the grace, and greatnefs that 
 is here reprefented pleafes exceedingly. In a word, as throughout 
 this whole piflure one fees inftances of an accurate hand, and fine 
 thought, thefe muft give proportionable pleafure to fo hearty a lover 
 as I am. 
 
 The advantages of this pi61ure to me, as a painter are very confi- 
 derable, A better mafter for portrait Painting never was, and a 
 better manner of this mafter I have never feen : there is fuch a be- 
 
 R 2 nignity, 
 
( ) 
 
 rignity, fuch a genteel, becoming behaviour, fuch a decent forrow, 
 and refignation expreffed here, that a man muft be very infenfible 
 that is not the better for confidering it, the mourning habit excites 
 ferious thoughts, which may produce good effefts. But what I con- 
 fefs I am particularly affefted with, I who (I thank God) have for 
 many years been happy as a hufband, is the circumftance of widow- 
 hood, not that it gives me forrow as remembering the conjugal 
 knot muft be cut, but I rejoice that it yet fubfifts. 
 
 Hail Sacred wedlock where dijcretion join'd 
 With virtue choojes, and approves the choice. 
 " Perpetual fountain of domejlic fweets ! 
 " Here love his golden fiafls employs, here lights 
 " His conjlant lamp, and waves his purple wings, 
 " Reigns here, and reveh not in the bought /mile 
 Of harlots, equally obtained by all, 
 And with contempt, and various terrors mixt. 
 This fweet fociety diffolves our fears, 
 Doubles our fleafures, and divides our cares ; 
 Here love with friendjhip, and efleem is found, 
 And mutual joy with innocence is crown'd. 
 
 I will only add before I produce my fcale, that this being a por- 
 trait, and the face therefore by much the moft confiderable, I have 
 made a particular column for that which for other pictures is not 
 neceffary. 
 
 Countefs 
 
( 129 ) 
 
 Countcfs Dowager of EXETER. 
 V. D Y C K. 
 
 OCTOBER the i6th, 1717. 
 
 
 FACE. 
 
 Compojition — — 
 
 10 
 
 i8 
 
 Colouring — — 
 
 
 18 
 
 Handling — — 
 
 17 
 
 18 
 
 Drawing — — 
 
 10 
 
 17 
 
 Invention — — 
 
 18 
 
 18 
 
 Exprejfwn — — 
 
 18 
 
 18 
 
 Grace and Greatnefs — 
 
 18 
 
 18 
 
 Advantage Pkafure 
 18 Sublime 16 
 
 The blank is for landfkip, or animals, or any other particular in 
 a hiftory, or portrait that is worthy remarking in an article by itfelf. 
 That at the bottom is for any memorandum that may be thought 
 proper befides what is faid at top, where the picture, owner, time 
 feen, &c. may be fpecified. 
 
 Whoever 
 
( ) 
 
 Whoever praflifes a regular way of confidering a piflure, or 
 drawing, will, I am confident, find the benefit of it; and if they 
 will moreover note down the degrees of cftimation in this manner, 
 it will be of further ufe ; it will give a man a more clear, and 
 diftinft idea of the thing, it will be a further exercife of his judg- 
 ment, a remembrance of what he has fcen, and by confidering 
 it together with the piCture months or years afterwards, he will fee 
 whether his judgment is altered, and wherein. 
 
 And if ftill any one will give himfelf the trouble to make a differ- 
 tation upon what he thinks worthy of it, fuch a fcale of merit made 
 upon the place will ferve as fhort notes to help his memory, if he 
 has not the piflure before him ; but the making fuch a difl'ertation 
 will be a fine exercife of a gentleman's abilities as a connoilTeur, 
 and may moreover be an agreeable amufement. 
 
 In fuch difl'ertation it will not be neceffary for any one to confine 
 himfelf to the order in which it is beft to confider the pifture ; 
 he may begin at the invention, if a hiftory, or at the face, if a 
 portrait, or how he thinks beft ; and remark on the advantage, and 
 pleafure to be had from it, or not. 
 
 Notwithftanding what I have already done, I fancy an example 
 of fuch a diflertation will not be unacceptable, becaufe it fliall be 
 of a very capital picture, and one wherein there is an inftance of 
 expreflion, which will be fupplemental to the chapter in my theory 
 on that head; it is what I have not mentioned there, for I had 
 not feen one of that kind when I wrote that. 
 
 The fpecimen I am now about to give is part of a letter (though 
 in another language) written to a gentleman at Rotterdam, an ex- 
 cellent connoifleur, a hearty lover of the art, and mafter of a noble 
 colleftion of piftures, drawings, and antiques ; and one for whom I 
 have upon thefe, and many other accounts the utmoft refpe£t, and 
 friendlhip that it is poflible to have for one whom I have never had 
 the happinefs to fee, or converfe with otberwife.than at this diftance, 
 
 though 
 
( '3^ ) 
 
 though my Ton has, and has received particular marks of his favour. 
 The correfpondence we have the honour to have witii him is by me, 
 and my Ton jointly, for reafons not here ncceffaiy to be given, only 
 in general, I cannot forbear faying that the virtue, dutiful be- 
 haviour, induftry, learning, good fenfe, and other excellent qualities 
 of my fon, together with his tafte, and judgment, in our art, Vt'hich 
 is equal to a father's utmofl: hopes, and expe6lations, juftly demand 
 my friendfliip, befides fomething more than common paternal love. 
 This I the rather choofe to fay, becaufe I know his modcfty would 
 oppofe it, and perhaps it is the only inftance where one of us will 
 do what he knows the other would not approve. 
 
 A friend of ours (Mr. Thornhill, an excellent 
 
 hiftory painter) has been in France lately, and has bought feveral 
 good pictures, forae of which are arrived, the principal of thefe is a 
 capital one indeed ; we will give you as good an account of it as 
 we can, and of the others when th.ey arrive if they merit it, as we 
 believe they will. 
 
 This is of N. Pouflin, it is three feet three inches long, and two 
 feet fix inches high, perfectly well preferved ; it w^as Monficur 
 
 — 's who was fo feverely fqueezed by the Chamber of 
 
 Juftice, that all his goods were fold, and this pifture amongfl; the 
 
 reft. Poor Gentleman ! It is a ftory in TafTo's Geiufalemme, 
 
 cant. 19, which is briefly this, Tancred, a Chriftian hero, and 
 Argante, a Pagan giant, retire to a folitary place amongft the moun- 
 tains to try their fortune in fingle combat; Argante is flain, the 
 other fo dcfperately wounded, that after he had gone a litile way 
 be dropped, and fell into a fwoon. Erminia, who was in love with 
 him, and Vafrino his 'fquire (by w^hat accident it is too long to tell) 
 found him in this condition, but after the firfl fright perceiving life 
 in him, fhe bound up his wounds, and her veil not being fufficient 
 for that purpofe, flie cut off her fine hair to fupply that defeft, and 
 fo recovered him, and brought him fafe to the army. 
 
 PoufTm 
 
( ^32 ) 
 
 Pouflin has chofen the inftant of her cutting off her hair ; Tancred 
 lies in a graceful attitude, and well contrafted towards one end 
 of the pifture, his feet coming about the middle, and at a little 
 diftance from the bottom; Vafrino is at his head raifing him up 
 againfl: a little bank on which he fupports himfelf kneeling on his 
 left knee. Erminia is at his feet, kneeling on the ground with her 
 right knee; beyond her at a diftance lies Argante dead; behind 
 are the horfes of Erminia, and Vafrino; and towards the top at 
 that end of the pi61ure which is on the left-hand as you look 
 upon it, and over the heads of Tancred, and Vafrino, are two loves 
 with their torches in their hands; the back-ground is the rocks, 
 trunks of trees with few leaves, or branches, and a fombrous fliy. 
 
 The gout is a mixture of Pouffin's ufual manner and (what is 
 very rare) a great deal of Giiilio, particularly in the head, and 
 attitude of the lady, and both the horfes ; Tancred is naked to the 
 waift having been ftripped by Erminia and his 'fquire to fearch for 
 his wounds, he has a piece of loofe drapery which is yellow, bearing 
 upon the red in the middle tints, and fliadows, this is thrown over 
 his belly, and thighs, and lies a good length upon the ground ; it 
 was doubtlefs painted by the life, and is entirely of a modern tafte. 
 And that nothing might be fhocking, or difagreeable, the wounds 
 are much hid, nor is his body, or garment ftained with blood, only 
 fome appears here and there upon the ground juft below the 
 drapery, as if it flowed from fome wounds which that covered; nor 
 is he pale, but as one reviving, and his blood, and fpirits returning 
 to their ufual motion. 
 
 The habits are not thofe of the age in which the fcene of the fable 
 is laid, thefe muft have been Gothic, and difagreeable, it being at 
 the latter end of the eleventh, or beginning of the twelfth century : 
 Erminia is clad in blue, admirably folded, and in a great ftyle, fome- 
 ihing like that of Giulio, but more upon the antique, or Rafaelle ; one 
 of her feet is feen which is very genteel, and artfully difpofed; her 
 
 fandal 
 
( 133 ) 
 
 fandal is very particular, for it is a little raifed under the heel as 
 our children's (hoes. Vafrino has a helmet on with a large, bent 
 plate of gold indead, and fomcthing with the turn of a feather. 
 We do not remember any thing like it in the antique; there is no 
 fuch thing in the column of Trajan, nor that of Antonine (as it is 
 ufually called, though it is now known to be of M. Aurelius) nor 
 (I believe) in the works of Rafaelle, Giulio, or Polydore, when 
 they have imitated the ancients, though ihefe, efpecially the two 
 former, have taken like liberties, and departing from the fimplicity 
 of their great mafters have, in thefe inftances, given a little into 
 the Gothic tafte; this is probably Pouffin's own invention, and has 
 fuch an effcEl, that I cannot imagine any thing clfe could poffibly 
 have been fo well. This figure is in armour, not with labels, but 
 fcarlet drapery where thofe ufually are, which alfo is antique. The 
 two Cupidons are admii'ably well difpofed, and enrich, and enliven 
 the piQure ; as does the helmet, fliield, and armour of Tancred 
 which lies at his feet. The attitudes of the horfes are exceeding 
 fine, one of them turns his head backwards with great fpirit, the 
 other has his hinder part raifed, which not only has a noble effeft 
 in the pifture, but helps to tell what kind of place it was, which 
 ' was rough, and unfrequented. 
 
 It is obfervable that though TafTo fays only Erminia cuts off her 
 hair, Pouffin was forced to explain what fhe cut it off withal, and 
 he has given her her lover's fword. We do not at all queftion but 
 there will be thofe who will fancy they have here difcovered a noto- 
 rious abfurdity in Pouffin, it being impoffible to cut hair with a 
 fword ; but though it be, a pair of fciffars inftead of it, though 
 much the fitter for the purpofe, had fpoiled the pifturc ; Painting, 
 and poetry equally difdain fuch low, and common things. This is 
 a licence much of the fame kind with that of Rafaelle in the carton 
 of the draught of fiflies, where the boat is by much too little for the 
 figures that are in it ; or with the Laacon, who is naked, whereas 
 
 S being 
 
( 134 ) 
 
 being a pried in his facerdotal office, he muft have been fuppofed 
 to have been clad : but we need not tell you, fir, why thofe noble 
 pieces of Fainting, and fculpture were fo managed. This puts me in 
 mind of a fine diftich of Mr. Dryden : 
 
 For he that fervilely creeps after fcnfe 
 Is fafe, but ne'er arrives at excellence. 
 
 We know not whether it will be worth while to obferve a fmall 
 circumftance ; one of the horfes is fattened to a tree; if it be fup- 
 pofed to be Erminia's, and done by herfelf, it would be intolerable, 
 flie muft have had other thoughts than to fecure her horfe when 
 fhe difmounted, for it was not till Vafrino had found that he who 
 at firft fight they took to be a ftranger (as well as Argante) was 
 Tancred, and then fhe is finely defcribed by TafTo as tumbling, 
 rather than lighting from her horfe. 
 
 Non fccfe no, precipito di fella. 
 
 But as this may pofTibly be Vafrino's, or if it was her's, perhaps his 
 care was divided betwixt the wounded hero, and the lady, to whom 
 it was of confequence to have her horfe fecured, it will not be 
 thought partiality to fuppofe fo great a man as Pouflin would not 
 make fuch a blunder as this, taking it in the worft fenfe ; but it 
 would be unjuft to determine otherwife when the moft favourable 
 opinion is moft probable ; and that being taken, here is a beauty, 
 not a fault ; it amplifies, and raifes the charafter of Vafrino, though 
 it would have fpoilcd that of Erminia. Whether a painter ought 
 to go fo far into thefe little parts, is a queftion which will bear 
 reafoning upon, but not here. 
 
 The exprefljon of this pi6lure is excellent throughout. The air 
 of Vafrino is juft, but he hath a charafler evidently inferior, but 
 
 neverthelefs, 
 
( 135 ) 
 
 neverthelefs, he appears brave, and full of care, tendernefs, and 
 affeftion. Argante feems to be a wretch that died in rage, and 
 defpair, without the lead fpark of piety. Tancred is good, amiable, 
 noble, and valiant. There arc two circumftances in Taffo which 
 finely raife thefe two chara61ers. When thefe champions withdrew 
 to fight, it was in the view of the Chriftian foldiers, whofe fury 
 againft the Pagan could hardly be reftrained, Tancred protetled 
 him from them, and as they retired together covered him with his 
 fhield : afterwards when he had him at his mercy, and Tancred 
 would have given him his life, and in a friendly manner approached 
 him with the offer, the villain attempted bafely to murther him, 
 upon which provocation he difpatched him immediately with fcorn, 
 and fury. Thefe incidents could not be inferted in the pifture, 
 but PoufTin has told us by the airs he has given them, that either 
 were capable of any thing in thefe feveral kinds. Erminia mud 
 appear to have a mixture of hope, and fear, joy, and forrow, this 
 being the time when flie had difcovered life in her lover after hav- 
 ing fuppofed him dead; to exprefs this ()'ou know, fir) muft be 
 exceeding difficult, and yet abfolutely neceffary, and that ftrongly, 
 and apparently, that thofe who look upon the pifture may know 
 to what end fhe cuts off her hair; and that it is not a tranfport of 
 diftrafted grief for the death of him fhe loved, who is not yet re- 
 covered from his fwoon ; becaufe this miftake would lofe all the 
 beauty of the ftory. For this reafon the two loves are admirably 
 contrived to ferve this purpofe, befides the other already men- 
 tioned ; one of them, and that the fartheft from the eye has forrow, 
 and fear, the other joy, and hope evidently in his face ; and to 
 exprefs this yet more perfefclly (and this is Mr. Thornhill's obferva- 
 tion) the former has two arrows in his hand to denote thefe two 
 paffions, and their pungency ; but the quiver of his companion is 
 fall fhut up with a fort of a cap on the top of it. He has alfo a 
 chaplet of jeffamine on his head. 
 
 S 2 The 
 
( ) 
 
 The compofition is unexceptionable : there are innumerable 
 inftances of beautiful contrafts ; of this kind are the feveral charac- 
 ters of the perfons (all which are excellent in their feveral kinds) 
 and the feveral habits : Tancred is half naked: Ermina's fex dif- 
 tinguifhes her from all the reft; as Vafrino's armour, and helmet 
 fhew him to be inferior to Tancred (his lying by him) and Argante's 
 armour differs from both of them. The various pofitions of the 
 limbs in all the figures are alfo finely contrafied, and altogether have 
 a lovely efFeft ; nor did I ever fee a greater harmony, nor more 
 art to produce it in any piQure of what mafter foever, whether as 
 to the eafy gradation from the principal, to the fubordinate parts, 
 the connection of one with another, by the degrees of the lights, 
 and fhadows, and the tints of the colours. 
 
 And thefe two are good throughout ; they are not glaring, as the 
 fubject, and the time of the ftory (which was after fun-fet) requires : 
 Nor is the colouring like that of Titian, Coreggio, Rubens, or thofe 
 fine colourifts, but it is warm, and mellow, it is agreeable, and of a 
 tafte which none but a great man could fall into : And without confi- 
 dering it as a ftory, or the imitation of any thing in nature, the 
 tout-enfemble of the colours is a beautiful, and delightful objeft. 
 
 You know (fir) the drawing of Pouffin who have feveral admira- 
 ble pictures of his hand, this we believe is not inferior to any to be 
 feen of him. But there is an overfight, or two in the perfpeftive; 
 the fword Erminia holds appears by the pommel of it to incline 
 with the point going off", but by the blade it feems to be upright 
 the other is not worth mentioning. 
 
 The picture is highly finiftied, even in the parts the moft in- 
 confidcrable, but in one, or two places there is a little heavinefs 
 of hand; the drawing is firmly pronounced, and fometimes, chiefiy 
 in the faces, hands, and feet it is marked more than ordinarily 
 with the point of the pencil. 
 
 And 
 
( 137 ) 
 
 And (to fay all in one word.) there is fuch a grace and great- 
 nefs fhines throughout that it is one of the mofl; defirable piftures 
 we have yet fcen ; there is nothing to be defired, or imagined 
 which it has not, nothing to be added, or omitted but would have 
 diminiflied its excellency ; unlefs we have leave to except thofe 
 little particulars we have remarked, hardly worth mentioning ; 
 and whether we are in the rioht in thofe is fiibmitted to better 
 judgments. But there are a great many betuties we have not 
 mentioned, and fome that cannot be expreffed in words, nor 
 known without feeing the pi6lure. And perhaps fome of both 
 kinds we have not penetration enough to obferve. 
 
 It is hard to quit fo agreeable a fubje6l. Let us obferve for the 
 honour of Pouflin, and of the art, what a noble, and comprehcn- 
 five thought! what richncfs! and force of imagination ! what a fund 
 of fcience, and judgment! what a fine, and accurate hand is abfo- 
 lutely necelfary to the produftion of fuch a work! that two or three 
 ftrokes of a pencil (for example) as in the face of Argante can 
 exprefs a charafter of mind fo flrongly, and fignificantly ! 
 
 We will only obferve further the different idea given by the 
 painter, and the poet. A reader of Tafib that thought lefs finely 
 than Pouffin would form in his imagination a picture, but not fuch 
 a one as this. He would fee a man of a lefs lovely, and beautiful 
 afpeft, pale, and all cut, and mangled, his body, and garments 
 fmeared with blood: he would fee Erminia, not fuch a one as Pouf- 
 fin has made her: and a thoufand to one with a pair of fciffars in 
 her hand, but certainly not with Tancred's fword : the tw o amo- 
 rettos would never enter into his mind:horfes he would fee, and 
 let them be the fineft he had ever feen they would be lefs fine than 
 thefe, and fo of the reft. The painter has made a finer flory than 
 the poet, though his readers were equal to himfelf, but without all 
 comparifbn much finer than it can appear to the generality of them. 
 And he has moreover not only known how to make ufe of the 
 
 advantages 
 
( 13S ) 
 
 advantages this art has over that of his competitor, but in what it is 
 defe6live in the comparifon he has fnpplied it with fuch addrel's tiiat 
 one cannot but rejoice in the defe8: which occalioned fuch a beau- 
 tiful expedient. 
 
 I confefs we have not always time, and opportunity thus to confi- 
 der a pifture, how excellent foever it may be; in thofe cafes let us 
 not employ that lime we have in amufing ourfelves with the lefs 
 confiderable incidents, but remark upon the principal beauties, the 
 thought, expreihon, &c. 
 
 Mr. Thornhill has lately brought from France another picture no 
 lefs worthy a particular differtation than the former, as will eafily be 
 allowed, for it is of Annibale Caracci : here (as it is for my prefent 
 purpofe) I will only obferve in fhort upon what is moft remarkable 
 in this furprizing pifture ; which has not been long out of my mind 
 fince the firfl; moment that I faw it. 
 
 The fubjeft of it is the BlelTed Virgin as proteftrefs of Bologna ; 
 as appears by the profpeft of that city at the bottom of the pi6ture 
 under the clouds on which flie is feated in glory, encompaffed with 
 cherubims, boy-angels, and others as ufually defcribed : but oh ! 
 the fublimity of exprefTion ! what dignity, and devotion appears in 
 the Virgin! what awful regard! what love! what delight, and 
 complacency is in thefe angelic beings towards the Virgin-Mother of 
 the Son of God ! the afpe6; of the Chrift is proper to the chara6ler 
 he here fuflains; he is now only to denote the Virgin, as St. 
 Jerome's lion, St. John's eagle, and the like, he is not here as the 
 fecond perfon in the adorable Trinity ; the Virgin is the only prin- 
 cipal figure; this is as it were a part of her, whofe charaQer is alone 
 to be confidered in this cafe ; and accordingly every thing contri- 
 butes to raife it as much as polTible ; and that is done prodigioufly. 
 But as every thing elfe in the pifture is addrelfed towards her, Ihe 
 in the humbleft, and moft devout manner lifts up her eyes towards 
 
 the 
 
( 139 ) 
 
 the invifible Supreme Being, direding our thoughts thither alfo, 
 with like humble, pious and devout fentiments. Iffhe to whom tlie 
 angels appear fo vaftly inferior is in his prefence but a poor fuppliant, 
 What an exalted idea muft this give us of him ! 
 
 Angelic minds the nearefi to thyfelf, 
 Thofe who conceive oj thee as far beyond 
 Our low conceptions as the eagles flight, 
 7'ranfcends our uimojl Jlretch, thefe fee thee not, 
 Nor canjl thou be di/cerned but by thyfelf; 
 What art thou then as by thyfelf beheld ? 
 Juft, as thou art I unclouded ! undiminijlied ! 
 In full pe>feB,ion I 0 the joy divine ! 
 Ineffable ! of that enlightened mind 
 Where this idea fliines eternally ! 
 The noblefl, lovcliejl, and mojl excellent, 
 Thy mind divine can pojfibly conceive I 
 
 OF THE KNOWLEDGE OF HANDS. 
 
 In all the works of art there is to be conGdered, the thought, and 
 the workmanfhip, or manner of exprefling, or executing that 
 thought. What ideas the artift had we can only guefs at by v;hat we 
 fee, and confequently cannot tell how far he has fallen fhort, or 
 perhaps by accident exceeded them, but the work like the corpo- 
 real, and material part of man is apparent, and to be feen to the 
 utmoft. Thus in the art I am difcourfing upon, every thing that is 
 done is in purfuance of fome ideas the matter has, whether he can 
 reach with his hand, what his mind has conceived, or no ; and this 
 
 is 
 
( 140 ) 
 
 is true in every part of T'ainting. As for invention, expreffion, 
 difpofition, and grace, and greatnefs. Tiiefe every body muft fee 
 dire6l us plainly to the manner of thinking, to the idea the painter 
 had; but even in drawing, colouring, and handling, in the fe al fo 
 are feen his manner of thinking upon thofe fubjefts, one may by 
 thefe guefs at his ideas of what is in nature, or what was to be 
 wifhed for, or chofen at leaft. Neverthelefs v/hen the idea, or 
 manner of thinking in a piflure or drawing is oppofed to the 
 executive part, it is commonly underftood of thefe four firft men- 
 tioned, as the other three are implied by its oppofite. 
 
 No two men in the world think, and aft alike, nor is it poffible 
 they fhould, becaufe men fall into a way of thinking, and afting 
 from a chain of caufes which never is, nor can be the fame to diffe- 
 rent men. This difference is notorious, and fcen by every one witii 
 refpeCl to what is the objefl of our fenfes, and it is as evident to 
 our reafon ; as it is that what I have affigned as the caufe-of it is the 
 true one. There are two inflances that are very familiar, and well 
 known, and thofe are our voice's, and hand-writing ; people of the 
 fame age, the fame conftitution, and in feveral other particulars in 
 the fame circumftances for ought appears to common obfervation 
 are yet as eafily diftinguifhed by their voices, as by any other 
 means : and it is wonderful to confider that in fo few circumftances 
 as what relates to the tone of the voice there fiiould be (as there is) 
 an infinite variety fo as to produce the effeft I am fpeaking of. So 
 in the other cafe; if one hundred boys learn of the fame mafter, at 
 the fame time, yet fuch will be the difference in other refpefls that 
 their hands (hall be diftinguifhed even while they are at fchool, and 
 more eafily afterwards ; and thus it would be if one thoufand, or ten 
 thoufand could learn in the fame manner. They fee differently, 
 take in different ideas, retain them varioufly, have a different power 
 of hand to form what they conceive, &c. Nay if in any one 
 circumftance they be unlike the effe6l is a proportionable degree of 
 difference. 
 
 And 
 
( Ml ) 
 
 And as it is in the oafcs I have mentioned fo it is in all others. 
 
 So it is therefore in the works of the painters, and that in a 
 degree proportionable to what thofe works are; in Paintings, there- 
 fore more than in drawings, and in large compofitions more than in 
 fingle figures, or other things confifling of a few parts. If in 
 forming an A, or a B, no two men are exactly alike, neither will 
 they agree in the manner of drawing a finger or a toe, lefs in a 
 whole hand, or foot, lefs ftill in a face, and fo on. 
 
 And if there is really a difference it will be difcernable if things be 
 attentively confidered, and compared, as is evident from experience 
 in a thoufand inflances befides thofe I have mentioned. 
 
 The feveral manners of the painters confequently are to be known, 
 whether in piftures, or drawings ; as alfo thofe of the gravers in 
 copper, or wood, etchers, or others by whom prints are made, if 
 we have a fufficient quantity of their works to form our judgments 
 upon. 
 
 But though there is a real difference in things, this is in various 
 degrees, and fo proportionably more, or lefs apparent. Thus, fome 
 of the manners of the painters are as unlike one another as Alci- 
 biades, and Therfites; others are lefs remarkably unlike, as the 
 generality of men's faces are; fome again have a fraternal refem- 
 blance ; and there are fome few which have that which is frequently 
 found in twins where the difference is but jufl difcernable. 
 
 There are fuch peculiarities in the turn of thought, and hand to 
 be feen in fome of the maflers (in fome of their works efpecially) 
 that it is the eafiefl thing in the world to know them at firfl fight ; 
 fuch as Leonardo da Vinci, Michelangelo Buonarotti, Giulio Ro- 
 mano, Battifla Franco, Parmeggiano, Paolo Farinati, Cangiagio, 
 Rubens, Cafliglione, and fome others ; and in the divine Rafaelle 
 one often fees fuch a tranfcendent excellence that cannot be found in 
 any other man, and affures us this mutt be the hand of him who 
 was what Shakefpear calls Julius Caefar : The foremoft man of all 
 the world. 
 
 T There 
 
( 142 ) 
 
 There are feveral others, who by imitating other mafters, or being 
 of the fame fchool, or from whaifoever other caufe have had fuch a 
 refemblance in their manners as not to be fo eafily diftinguiflied, 
 Timoteo D'Urbino, et Pellegrino da Modena, imitated Rafaelle ; 
 Caefare da Sefto, Leonardo da Vinci; Schidone, Lanfranco, and others 
 imitated Corregio; Titian's firft manner was a clofe imitation of that 
 of Giorgione ; Gio. Battifta Bertano followed his mafter Giulio Ro- 
 mano, thefonsofBaffano, and thofe of PafTerotto imitated their fathers, 
 Romanino, Andrea Schiavone, and Giovanni Battifta Zelotti feverally 
 imitated Titian, Parmeggiano, and Paolo Veronefe. Biaggio Bo- 
 lognefe imitated fomeiimes Rafaelle, and fometimes Parmeggiano. 
 Rubens was imitated by Abraham Janfens, and Van Dyck by Long- 
 John in hiftory, and Gildenaifel in portraits. Matham followed 
 GiijfTepino and Giro Ferri Pietro da Cortona. There is a great 
 refemblance of the manner of Michelangelo in fome of the works of 
 Andrea del Sarto, greater in the hands of the two Zuccaroes ; and 
 greater yet in thofe of Maturino, and Polydore. 
 
 The reft of the mafters are generally of a middle clafs, not fo 
 ealily known as the former, nor with fo much difficulty as the latter. 
 
 There is but one way to come to the knowledge of hands ; and 
 that is to furnifti oar minds with as juft, and complete ideas of the 
 mafters (not as men at large, but meerly as painters) as we can : 
 and in proportion as we do thus we fhall be good connoifleurs in 
 this particular. 
 
 For when we judge who is the author of any pifture, or drawing, 
 ■we do the fame thing as when we fay who fuch a portrait refembles j 
 in that cafe we find the pifture anfwers to the idea we have laid up 
 in our minds of fuch a face ; fo here we compare the work under 
 confideration with the idea we have of the manner of fuch a mafter, 
 and perceive the fimilitude. 
 
 And as we judge of the refemblance of a pifture by the idea we 
 have of the perfon whether prefent or abfent, (for we cannot fee 
 
 both 
 
4/ 
 
( M3 ) 
 
 both at the fame inflant) juft fo we do in the prefent cafe, though 
 we compare that in quertion with one, or more works allowed to be 
 of the fame mailer, which we have before us at the fame time. 
 
 Thefe ideas of the fcveral mailers are to be had from hidory, and 
 from their works. 
 
 The former of thefe gives us general ideas of thefe great men as to 
 the turn of their minds, the extent of their capacity ; the variations 
 of their ftyles, how their charaQers were lingly, or as compared 
 one with another, Szc. 
 
 And as the dcfcripiion of a pi6lure is a part of the hiftory 
 of the mafter, a copy or a print after fuch a one may be con- 
 fidered as a more exa6t, and perfe6l defcription of it than can be 
 given by words ; thefe are of great advantage, in giving us an idea 
 of the manner of thinking of that mafter, and this in proportion as 
 fuch a print, or copy happens to be. And there is one advantage 
 which thefe have in this matter, which even the works themfelves 
 have not ; and that is, in thofe commonly their other qualities 
 divert, and divide our attention, and perhaps fometimes bias us in 
 their favour throughout ; as who that fees the vaftnefs of ftyle, and 
 profound flcill in defigning of Michelangelo ; or the fine colouring, 
 and brave pencil of Paolo Veronefe can forbear being prejudiced in 
 favour of the extravagance, and indecorum of the one, and the 
 other's ncgle£l of hiftory, and the antique ; whereas in thefe what 
 one fees of the manner of thinking of the mafter one fees naked, 
 and without danger of being prejudiced by any other excellencies 
 in the work itfclf. 
 
 But it is on t!ie works themfelves we rauft chiefly, and ultimately de- 
 pend, not only as expofitors of the hiftories of themafters, but as car- 
 rying much farther, principally by giving us ideas which no words poffi- 
 bly can, being fuch for which we have no name, and which cannot be 
 communicated but by the things themfelves; nor probably can even 
 thofe give you exaQly the fame I have, as I ft^all not conceive as 
 
 T 2 you 
 
( H4 ) 
 
 you do, though we fee the thing, and confider it together at the 
 lame inftaiU of time. 
 
 Hidory will inform us of fome particulars which are ncccffary to 
 be known, and which we could not learn from their works, but 
 ■with this alone it would be impofiible to be a connoifleur in hands; 
 and what is worfe we fhall be frequently mifled if we truft too much 
 to the ideas we receive from thence. Hiftory, whether written or 
 traditional, commonly gives us exalted charafters of great men ; he 
 of whom the hillorian treats is his hero for that time, and it is 
 commonly fuch a one's intention not to make a juft, but a fine 
 pifcture of them ; to which our own prejudices in their favour do 
 not a little contribute. By this means it is natural for us to imagine 
 a work in which we fee great defefts could not be of a hand, of 
 which we have fo favourable an idea. It is neceffary therefore to 
 correfcl this way of thinking, and remember that great men are but 
 men ftill, and that there are degrees, and kinds of excellence of which 
 we may have an idea, but to which the greateft of men could never 
 arrive ; God has faid to every man as to the ocean, hitherto fhalt 
 thou go, and no farther ; there are certain bounds fet to the mod 
 exalted amongfl; men beyond which they are upon the level with the 
 moft inferior : nor can any man alwa)'s do as he fometimes can, 
 nor even as he generally does ; a notorious fault, or more than one 
 in a work, nay in a fingle figure, is confiftent with a juft idea of 
 Rafaelle himfelf, and that in his beft time : Rafaelle indeed could 
 not have made a lame, ill proportioned figure or limb ; that is if he 
 had taken care, and did as well as he could ; but Rafaelle might be 
 in hafte, negligent, or forget himfelf : he might be weary, indif- 
 pofed, or out of humour. Could the inferior mafter to whom the 
 work is to be attributed upon account of thefe faults be fuppofed 
 capable of doing the reft ? if we had feen an intire work of that bad 
 kind could we have believed the hand that did that could have done 
 like the good part of the thing in queftion ? it is eafier to defcend 
 
 than 
 
( 1-5 ) 
 
 than to mount: Rafaelle could more cafily do like an inferior 
 mafter in certain inftance5, than fuch a one could do like Rafaelle 
 in all tlie red. 
 
 And as the ideas we have of men frequently midead us in judging 
 from thence of their works with refpeQ to their goodnefs, the fame 
 happens as to the kinds of them. When one is podefled of the 
 charaQer of Michelangelo (For inllance) as fierce, bold, impetuous, 
 haughty, and even gone beyond great; Co as to have a mixture of 
 the favase: when one reads fuch an account of him as this I have 
 
 Je puis dire avoir veu Michel I' 
 
 Ange, bien qu' age de plus de foixanie ans, 
 & encore non de plus robuftes, ab ittre plus 
 d'efcailles d' un tres-dur marbre en un quart 
 d' heure que trois jeunes tailleurs de pierre, 
 n'euffent peu faire en trois ou quatre, chofc 
 prefqu' incroyable qui ne le verroit, &.- alloit 
 d' une idle impetuofite, & furie que je 
 penfois que tout 1' ouvrage deuft aller en 
 pieces, abbatant par terre d' un feul coup de 
 grofa morceaux de trois ou quatre doigts 
 d' efpoiffeur, fi ric a ric de fa marque que 
 li r euft pafle outre tant foit peu plus qu'il 
 ne falloit, il y avoit danger de perdre tout, 
 parceque cela ne fe peut plus reparer par 
 apres, ny replafter comme les images d' 
 Argiile, ou de Stuc. 
 
 Annotations de Blaife de Vigcnere 
 fur le Calliftrate. 
 
 put in the margin (and which I 
 was the niQre inclined to put 
 there becaiife it is curious, and 
 gives one a more lively idea of 
 the man than I have found almolt 
 any where elfe, and is withal little 
 known) one finds it hard to con- 
 ceive that fuch a one drew very 
 neatly, and finiflied very highly, 
 and confequently young connoif- 
 feurs having this idea of this great 
 mafter, will not very readily be- 
 lieve fuch drawings to be of him, 
 and yet it is inconteftable that he 
 did make fuch very frequently, 
 
 Hiftory neverthelefs has its 
 ufe in giving us ideas of the 
 
 mafters, in order to judge of their hands, as has been feen already 
 in part, and will further appear prefently ; but thefe ideas muft be 
 correfted, regulated, and perfefted by the works themfelves. 
 
 A pitlure or drawing has fo many particulars relating to it, fuch 
 as the ftyle of thinking, manner of the compofition, way of folding 
 the draperies, airs of heads j handling of the pen, chalk, or pencil . 
 
 colouring, 
 
( 146 ) 
 
 colouring, &c. that it is no difficult matter to fix upon fuch pecu- 
 Jiarities of each matter in fome one, or more of thefe as to form a 
 clear, and diftin6l idea of them : if they refemble one another in 
 fome things, in others the difference will be more apparent : the 
 colouring of feveral of the matters of the Venetian fchool have been 
 like one another, but Titian's majefty, Tintoret's fiercenefs, i'affan's 
 rutticity, Paolo Veronefe's magnificence, have eminently diftin- 
 guifhed them : as do the particular fhapes of the legs, and fingers of 
 Parmeggiano ; the firmnefs of the contours and vattnefs of ftyle 
 of Michelangelo, the remarkable kind of drapery, and hair of 
 Giulio, the divine airs of the heads of Rafaelle ; and fo of tiie 
 others : every one of them have fomething whereby they are more 
 efpecially known ; and which may be obferved by converfing with 
 their works, but cannot be expreffed by words. 
 
 In forming our ideas of the matters on their works, care mutt be 
 taken of fuch of them as have been copied, wholly, or in part from 
 other matters; or are imitations of them, A connoiffeur therefore 
 mutt obferve how much is every man's own, and what is not fo. 
 Battitta Franco (for example) drew from the antique, after Rafaelle, 
 Michelangelo, Polydore, &c. You fee the fame fmall pen through- 
 out, that is always his own, but the manner of thinking cannot be 
 fo : nor is the handling always his entirely ; becaufe he has fome- 
 times imitated that of the matter he has copied ; as when he has in 
 drawing copied a drawing, and not a Painting, or the antique : but 
 neither is it then entirely that of him he copies, but partly his own. 
 Thefe occafional manners mutt not make a part of our ideas of the 
 matters, unlefs confidered as fuch. 
 
 To complete our ideas of the matters, it is neceflary to take in 
 their whole lives, and to obferve their feveral variations fo far as we 
 pofl!ibly can. It is true, he that knows any one manner of a matter 
 may judge well of the works he meets with in that manner, but no 
 farther. And the mifchief is, men arc apt to confine their ideas of 
 
 the 
 
( M7 ) 
 
 the maftcr to fo much only as they know, or have conceived of 
 hini ; To that when any thing appears diiferent from that, they attri- 
 bute it to fome other, or pronounce it is not of him ; as he that fixes 
 only upon the Roman manner of Rafaelle will be apt to do by a 
 work of his done before he was called to Rome ; or if he builds his 
 ideas only on the beft works of that great man, he will rejefl the 
 others, and afcribe them to fome other hand known, or unknown. 
 
 There is none of the mafters but muft have had their firft, their 
 middle, and their latter times : generally (though not always) their 
 beginnings have been moderately good, and their latter works 
 (when they have happened to out-live themfelves, and to decay, 
 through age, or infirmities) are like what their bodies then were, 
 they have no more of their former beauty, and vigour. If they 
 died early, their latter time was pobably the bed ; Michelangelo, 
 Titian, and Carlo Maratti, lived and painted to a very great age ; 
 Rafaelle 
 
 Vropt from the zenith like a falling Jlar.. 
 
 Milton. 
 
 Other men by flow and eafy ftcps, advance in their improvements: 
 he flew from one degree of excellence to another with fuch a happy 
 vigour, that every thing he did feemed better than what he had done 
 before, and his lafl; works, the cartons at Hampton-court, and the 
 famous hiftory of the Transfiguration are efteemed to be his beft. 
 His firft manner, when he came out of the fchool of his mafter, was 
 like thofe of that age, ftifF, and dry ; but he foon meliorated his 
 ftyle by the ftrength of his own fine genius, and the fight of the 
 works of other good mafters of that time, in and about Florence, 
 chiefly of Leonardo da Vinci ; and thus formed a fecond manner 
 with which he went to Rome. Here he found, or procured what- 
 ever might contribute to his improvement, he faw great variety of the 
 precious remains of antiquity, and employed feveral good hands to 
 
 defign 
 
( m8 ) 
 
 defign all of that kind in Greece, and elfewhere, as well as in Italy, 
 of which he formed a rare colle6lion : here he faw the works of 
 Michelangelo, whofe ftyle may be faid to be rather gigantic, than 
 great, and which abundantly diftinguiflied him from all the mafters 
 of that age ; I know it has been difputed, whether Rafaelle made 
 any advantage from feeing of the works of this great fculptor, archi- 
 tect, and painter ; which though it was (I believe) intended as a 
 compliment to him, feems to me to be direflly the contrary; he 
 was too wife, and too modefl not to ferve himfclf of whatfoevcr was 
 worthy of his confidcration ; and that he did fo in this cafe is evi- 
 dent by a drawing I have of his hand, in which one fees plainly 
 the Michelangelo tafte. Not that he reRed here, his noble mind 
 afpired to fomething beyond what the world had then to fhew, and 
 he accomplifiied it in a flyle, in which there is fuch a judicious 
 mixture of the antique, of the modern tafte, and of nature, together 
 with his own admirable ideas, that it feems impofhble that any other 
 could have been fo proper for the works he was to do, in his own, 
 and fucceeding times. What further views he might have had, and 
 how much higher he would have carried the art had the Divine 
 Providence (who, to the honour of human nature, endued him with 
 fuch excellent qualities) thought fit to have lent him longer to the 
 world, that Divine Wifdom only knows. 
 
 Ilk hie ejl Raphael, timuit quo fofpite vinci 
 Rerum magna parens, (3 moriente mori. 
 
 Epitaph by Card. Bembo. 
 
 Thus Rafaelle had three feveral manners, which are called his 
 Perugino, his Florentine, and his Roman manners ; in all which 
 this great genius is evidently feen. But having in the two former 
 raifed himfelf above all the other mafters, the competition after- 
 wards was only between Rafaelle to-day, and Rafaelle yefterday. 
 
 A great 
 
( M9 ) 
 
 A great variety is to be found in the works of the fame men from 
 caufes as natural as youth, maturity, and old age. Our bodies, 
 and minds have their irregular, and fecmingly contingent changes 
 as well as thofe ftatcd, and certain ones ; fuch are indifpofition, or 
 wearinefs, the weather, the feafon of the year, joy, and gaietv, or 
 grief, hcavincfs, or vexation, all thefe, and a thoufand other ac- 
 cidents influence our works, and produce a great variety in them. 
 Sometimes the work itfclf does not pleafe us as to the kind of it, 
 fometimcs it does not fuccecd as we endeavour it fliould ; this is 
 for thofe we honour, and defire to pleafe, for what reafons foever, 
 that goes on heavily being for thofe who are lefs obliging, or lefs 
 capable of feeing, or being touched with what we do for them. 
 Some are done in hopes of confiderable recompence, others without 
 any fuch profped. Tintoret was particularly remarkable for un- 
 dertaking all forts of bufinefs, and at all prices, and performed 
 accordingly. 
 
 The nature of the works they did make another variety in the 
 hands of the mafters. Parmeggiano in his drawings, appears to be 
 a greater man than one fees him in his Paintings, or etched prints. 
 Polydore upon paper, or in chiaro fcuro, is one of the foremoft in 
 the fchool of Rafaelle, but give him colours, and you remove him 
 back many degrees. Battifta Franco's drawings are exquifitely fine, 
 his Paintings contemptible; even Giulio Romano's pencil in oil has 
 not the tranfcendent merit of his pen in drawings, this has a fpirit, 
 a beauty, and delicacy inimitable, that is comparatively heavy, and 
 difagreeable, for the moft part, for I know of fome exceptions. 
 The fubjedl alfo makes a vaft difference in the works of thefe great 
 men; Giulio Romano was fitter to paint the birth of the fon of 
 Saturn, than that of the Son of God; as Michelangelo was better 
 qualified to paint a Hercules and Anteus, than the Lafl Judgment; 
 but Parmeggiano and Correggio, who were prodigies in all fubjeds 
 that were lovely, and angelical would have been almoft upon the 
 
 U level 
 
( »5o ) 
 
 level with common men in either of tbofe other ; a holy family of 
 Rafaelle is as the work of an angel of the higheft order, a (laughter 
 of the innocents of him fecms to be done by one of the loweft. 
 
 It is no unufual thing for maftcrs to go from one manner to 
 another that they like better, whether to imitate fome other mafters, 
 or otherwife. Spagnoletto fet out finely, imitating Correggio with 
 great fuccefs, this good manner he forfook for that terrible one he 
 is fo well known by, and in which he continued to the laft. Giacomo 
 Pontormo from a good Italian ftyle fell to imitating Albert Durer, 
 Cau. Giacinto Brandi left his hrft Caravaggio-manner in which he 
 was an excellent mailer, and applied himfelf to its direft oppofite, 
 that of Guido, in which not fucceeding, he endeavoured to return 
 to his former way of Painting, but could never regain the ground 
 lie had loft. Befides this, one mafter imitates another occafionally, 
 and copies their works, or their ftyle at leaft to try experiments, or 
 to pleafe themfelves, or thofe that employ them, or perhaps fome- 
 times to deceive, or for whatever other reafons. 
 
 In copying, though never fo fervilely, there will be fuch a mix- 
 ture of the coppier as to make what is done a diff^erent manner; 
 but it is very apparently fo when this is done by a mafter who can- 
 not, or will not fo ftri6tly confine himfelf. Sometimes fuch a one 
 coppies as it were but in part, that is, he takes the thought of 
 another, but keeps to his own manner of executing it ; this was 
 frequently done by Rafaelle after the antique, Parmeggiano, and 
 Battifta Franco thus copied Rafaelle, and Michelangelo ; and fo 
 Rubens copied Rafaelle, Titian, Pordonone, &c. of which I have 
 many inftances. In thefe cafes, the mafter will be evidently feen, 
 but being mixed with the idea of other men, this compound work 
 will be very different from one entirely his own. 
 
 In drawings one finds a great ariety, from their being firfl: 
 thoughts (which often are very flight, but fpiritous fcrabbles) or 
 more advanced, or finiflied. So fome are done one way, fome 
 
 another ; 
 
( »5i ) 
 
 another; a pen, chalks, wafhes of all colours; heightened with 
 white, wet or dry, or not heightened. All the mafters have had 
 the firft kind of variety, though fome more than others, there arc 
 few finifhed works of Titiano, Baffano, Tintoretto, Baccio Bandi- 
 nelli, Correggio, Annibale, Caracci, and others, I mean few in 
 proportion to the number of drawings we have of them; which in- 
 deed may be faid of them all, though of thofe I have named more 
 particularly ; but of Rubens, Giufeppino, Paolo Farinato, Prima- 
 ticcio, Michelangelo, Leonardo da Vinci, many fuch are feen ; 
 Biaggio Bolognefe rarely made any other. And of Parmeggiano, 
 Batiifta Franco, Pierino del Vaga, Polidoro, Giulio Romano, 
 Andrea del Sarto, and even of Rafaelle himfelf, one frequently 
 fees finiflied drawings. As for the latter kind of variety it is to 
 be found chiefly in Rafaelle, Polidoro, and Parmeggiano; whereas 
 Michelangelo, Baccio Bandinelli, Biaggio Bolonefe, Giulio Romano, 
 Battifta Franco, Paolo Farinatto, Cangiagio, Palferotto, and the 
 two Zuccaros kept generally to the fame manner; and fome of them 
 are very remarkable for it. 
 
 There are inftances flaftly) of fome whofe manners have been 
 changed by fome unlucky circumftances. Foor Annibale Caracci ! 
 he funk at once, his great fpirit was fubdued by the barbarous ufage 
 of Cardinal Farnefe, who for a work which will be one of the 
 principal ornaments of Rome fo long as the palace of that name 
 remains, which cofl that vaft genius many years inccflant ftudy, 
 and application, and which he had all poffibie reafon to hope would 
 have been rewarded in fuch a manner as to have made him eafy the 
 remainder of his life : for this work, that infamous ecclefiaftic paid 
 him as if he had been an ordinary mechanic. After this he lived 
 not long, painted but little, and that in no degree equal to what he 
 had done before. 
 
 U 2 TT',^)' 
 
( ) 
 
 Why couldjl thou not, 0 Annibale fujlain 
 Thy odious wrongs with generous difdain ? 
 Why Jink beneath their weight that future times 
 Might do thee right, and curfe his purpled crimes ? 
 Unhappy man ! how great thy vertues were ! 
 0 that thou hadjl had fortitude to bear 
 The ills that /ate allotted to thy Jliare : 
 Vain wifli ! for fate allotted to thy fally 
 Tate uncontroulable that governs all ; 
 Or fate, or what we Providence may call. 
 Elje other thoughts had fll'd thy lab'ring mind. 
 Thoughts to the world, and to thyfclf more kind: 
 Tranjcedent was thy art ; no reafon why 
 Becauje 'twas unrewarded it mufi die: 
 Injur d thou wert ; but zuky mufl Aunibale, 
 Why he, and not the guilty prelate fall? 
 
 Guido Reni from a prince-like affluence of fortune (the juft reward 
 of his angelic works) fell to a condition like that of a hired fervant 
 to one who fupplied him with money for what he did at a fixed rate, 
 and that by his being bewitched with a paffion for gaming, whereby he 
 loft vaft fums of money, and even what he got in this, his ftate of 
 fervitude by day, he commonly loft at night ; nor could he ever be 
 cured of this curfed madnefs. Thofe of his works therefore, which he 
 did in this unhappy part of his life, may eafily be conceived to be in 
 a different ftyle from what he did before, which in fome things, that 
 is in the airs of his heads (in the gracious kind) had a delicacy in them 
 peculiar to himfelf, and almoft more than human. But I muft not mul- 
 tiply inftances. Parmeggiano is one that alone takes in all the feveral 
 kinds of variation, one fees (in his drawings) all the feveral manners 
 of handling; pen, red chalk, black chalk, wafliing, with, and without 
 
 heightening ; 
 
 } 
 } 
 
( 153 ) 
 
 heightening; on all coloured papers, and in all the degrees of good- 
 nefs, from the lowed of the indifferent up to the fublime; I can 
 produce evident proofs of this in fo eafy a gradation, that one can- 
 not deny but that he that did this, might do that, and very probably 
 did fo ; and thus one may afcend, and defcend, like the angels on 
 Jacob's ladder, whole foot was upon the earth, but its top reached 
 to Heaven, 
 
 And this great man had his unlucky circumftance, he became 
 mad after the philofopher's ftone, and did but very little in Painting 
 or drawing afterwards ; judge what that was, and whether there was 
 not an alteration of ftyle, from what he had done before this devil 
 poifeffcd him. f^is creditors endeavoured to exorcife him, and did 
 him feme good, for he fet himfelf to work again in his own way ; 
 but if a drawing I have of him of a Lucretia be that he made for 
 his laft pifture, as it probably is (\''afari fays that was the liibjcft 
 of it) it is an evident proof of his decay, it is good indeed, but it 
 wants much of the delicacy which is commonly feen in his works, 
 and fo I always thought before I knew, or imagined it to be done 
 in this his ebb of genius. 
 
 Thus it is evident, that to be good connoifleurs in judging of 
 hands, we mull extend our thoughts to all the parts of the lives, and 
 to all the circumRances of the mafters; to the various kinds, aiid 
 degrees of goodnefs of their works, and not confine ourfelves to 
 one manner only, and a certain excellency found only in fome 
 things they have done, upon which fome have formed their ideas of 
 thofe extraordinary men, but very narrow, and imperfeft ones. 
 
 Great care n ull be taken as to the genuinenefs of the works on 
 which we form our ideas of the maflers, for abundance of things 
 are attributed to them, chiefly to thofe that are moft famous which 
 they never faw. 
 
 If two, or more confiderable mafters refemble each other, the 
 moft confiderable ufually fathers the works of them both : thus 
 
 Annibale 
 
( 154 ) 
 
 Annibale has the honour, or the difgrace of much of what was done 
 by Lodovico, or Agoftino Caracci ; and many of our Carlo 
 Maratti's are of Giufeppe Chiari, or feme other of his fcholars ; a 
 copy, or an imitation of a great man, or even the work of an obfcure 
 hand that has any fimilitude to his is prefently of him. Nay 
 piftures, or drawings are frequently chriftened (as they call it) 
 arbitrarily, or ignorantly, as avarice, vanity, or caprice has direfted. 
 I believe there are few collections without inftances of thefe mif- 
 named works, fome that I have feen are notorious far it. Nor do 
 I pretend that my own has not fome few on which I would not have 
 the leaft dependance in forming an idea of the mafters whofe names 
 they bear. They are as I found them, and may be rightly chrif- 
 tened for ought I know; I leave the matter as doubtful, in hopes 
 of future difcoveries ; but a name I know, or believe to be wrong I 
 never fufFer to remain, I either expunge it, and leave the work 
 without any, or give it fuch as I am afTured, or have probable 
 .arguments to believe is right. 
 
 It cannot be denied but that this is a confiderable difcouragement 
 to one that is defirous to be a connoifleur, but there are certain 
 piQures, and drawings of feveral of the matters, chiefly of 
 the moft confiderable ones, that a beginner in the bufinefs of a con- 
 noifleur will find at his firft fetting out, and always meet within his 
 way that will ferve him as fafe, and fufficient guides in this affair. 
 
 Such are thofe whofe genuinenefs is abundantly eftablifhed by 
 hiftory, tradition, and univerfal confent ; as the works of Rafaelle 
 in the Vatican, and at Hampton-court; thofe of Correggio in 
 the Cupolla at Parma ; of Annibale Caracci in the gallery of Farnefe 
 at Rome: of Van Dyck in many families in England, and a great 
 many more of thefe, and other maflers all over Furope. 
 
 The defcriptions of works in Valari, Ciiielli and other writers, or 
 the prints extant of them prove abundance of piftures, and diawings 
 to be genuine, fuppofing them not to be copies; which their excel- 
 lency 
 
( *55 ) 
 
 lency may be as certain a proof of to a good judge of that, and 
 proportioiiably to one that is lefs advanced in that branch of 
 fcience. 
 
 'I hc general conftnt of connoifiTeurs is what I believe will be 
 allowed to be fufficient to conRitutc a pidure, or a drawing to be a 
 guide in this cafe. 
 
 Many maftcrs have fomething fo remarkable, and peculiar that 
 their manner in general is foon known, and the bed in thcfe kinds 
 fufftciently appear to be genuine fo that a young connoifTeur can be 
 in no doubt concerning them. 
 
 Now though fome mafters differ exceedingly from themfelves, yet 
 in all there is fomething of the fame roan ; as in all the ftages of our 
 lives there is a general refemblance; fomething of the fame traits are 
 feen in our old faces as we had in our youth ; when we have fixed a 
 few of the works of the mailers as genuine, thefe will dircft us in the 
 difcovery of others, with greater or lefs degrees of probability as the 
 :fimilitude betwixt them, and thofe already allowed to be genuine 
 happens to be. 
 
 An idea of the inofl; confiderable mafters who have bad a great 
 variety in them may be foon gotten as to their molt common maimer, 
 and general charader, which by feeing pi6lures, and drawings, with 
 care, and obfervation will be improved, and enlarged perpetually. 
 
 And there are fonie mafters who when you have feen two or three 
 of their works will be known again eafily, having had but very 
 little variety in the manners, or fomething fo peculiar throughout 
 as to difcover them immediately. 
 
 As for obfcure mafters, or thofe whofe works are little known it 
 is impoffible to have any juft idea of them, and confequently to 
 know to whom to attribute a work of their hands when we happen 
 to meet with them. 
 
 "When we are at a lofs, and know not to what hand to attribute a pic- 
 ture, or drawing it is of ufe to confider of what age, and what fchool it 
 
 probably 
 
( 156 ) 
 
 probably is ; this will reduce the enquiry into a narrow compafs, and 
 oftentimes lead us to the mafter we are feeking for. So that befides 
 the hiftory of the particular mafters, which (as has been feen already) 
 is neceffary to be known by every one that would be connoifTeurs in 
 hands; the general one of the art, and the charafters of the feveral 
 fchools is fo too. Of the firft I have occafionally given fome few 
 touches throughout this, and my former book ; of the other I fliall 
 make light ilietches in the fecond part of this, referring you for the 
 whole to the accounts at large in the authors who have profefTedly 
 treated on thofe fubjeds. 
 
 He that would be a good connoiffeur in hands mufl know how to 
 diftinguifli clearly, and readily, not only betwixt one thing, and 
 another, but when two different things nearly refemble, for this he 
 will very often have occafion to do, as it is eafy to obferve by what 
 has been faid already. But I fliall have a further occafion to enlarge 
 on this particular. 
 
 Lajlly, To attain that branch of fcience of which I have been 
 treating a particular application to that very thing is requifite. A 
 man may be a good painter, and a good connoiffeur as to the merit 
 of a pi6ture, or drawing, and may have fcen all the fine ones in the 
 •world, and not know any thing of this matter; it is a thing entirely 
 diftinft from all thefe qualifications, and requires a turn of thought 
 accordingly. 
 
 0/ ORIGINALS and COPIES. 
 
 All that is done in pifture is done by invention ; or from the 
 life ; or from, another piQure; or laftly it is a compofition of one, 
 or more of thefe. 
 
 The 
 
( 157 ) 
 
 The term piflure I here untlerdand at large as fignlfying a paint- 
 ins;, drawina graving. &c. 
 
 Perhaps nothing that is done is properly, and ftriflly invention, 
 but derived from fomething already feen, though foinetimes com- 
 pounded, and jiimi)led into forms vJiich nature never produced : 
 thefe images laid up in our minds are the patterns by wh.ich we 
 work when we do what is faid to be done by invention; jufl as 
 when we follow nature before our eyes, the only difference being 
 that in the latter cafe thefe ideas are frefh taken in, and immediately 
 made ufe of, in the other the y have been rcpohted there, and arc 
 lefs clear, and lively. 
 
 So that is faid to be done by the life which is done the thing 
 intended to be reprefented being fet before us, though we neither 
 follow it intirely, nor intend fo to do, but add or retrench by the 
 help of preconceived ideas of a beauty, and perfeftion we imagine 
 nature is capable of, though it is rarely, or never found. 
 
 We fay a pifture is done by the life as well when the obje6l re- 
 prefented is a thing inanimate, as when it is an animal ; and the 
 work of art, as well as nature : but then for diftindion the term 
 flill-life is made ufe of as occafion requires. 
 
 A copy is the repetition of a work already done when the artift 
 endeavours to follow that ; as he that works by invention, or the 
 life endeavouring to copy nature, feen, or conceived makes an 
 original. 
 
 Thus not only that is an original Painting that is done by inven- 
 tion, or the life immediately ; but that is fo too which is done 
 by a drawing or flcetch fo done; that drawing, orflietch not being ulti- 
 mately intended to be followed but ufed only as a help towards the 
 better imitation of nature, whether prefent, or abfent. 
 
 And though this drawing, or fketch is thus ufed by another hand 
 than that by which it is made, what is fo done cannot be faid to be 
 
 X a copy : 
 
( 158 ) 
 
 a copy : the thought indeed is partly borrowed, but the work is 
 original. 
 
 For the fame reafon if a picture be made after another, and after- 
 wards gone over by invention, or the life, not following that, but 
 endeavouring to improve upon it, it thus becomes an original. 
 
 But if a piflure, or drawing be copied, and the manner of hand- 
 ling be imitated, though with fome liberty fo as not to follow every 
 ftroke, and touch it ceafes not to be a copy ; as that is truly a tranf- 
 lation where the fenfe is kept though it be not exaftly literal. 
 
 If a larger pifcture be copied though in little, and what was done 
 in oil is imitated with water colours, or crayons, that firfl: piQure 
 being only endeavoured to be followed as clofe as pofTible with thofe 
 materials, and in thofe dimenfions, this is as truly a copy as if it 
 were done as large, and in the fame manner as the original. 
 
 There are fome piftures, and drawings which are neither copies, 
 nor originals, as being partly one and partly the other. If in a 
 hiftory, or large compofition, or even a lingle figure, a face, or 
 more is inferted, copied from what has been done from the life^ 
 fuch pifture is not intirely original. Neither is that fo, nor intirely 
 copy where the whole thought is taken, but the manner of the 
 copier ufed as to the colouring and hatidling. A copy retouched in 
 fome places by invention, or the life is of this equivocal kind. I 
 have feveral drawings firft copied after old matters (Giulio Romano 
 for example,) and then heightened, and endeavoured to be improved 
 by Rubens; fo far as his hand has gone is therefore original, the reft 
 remains pure copy. But when he has thus wrought upon original 
 drawings (of which I have alfo many inftances.) the drawing loofes 
 not its firft denomination, it is an original ftill, made by two feveral 
 mafters. 
 
 The ideas of better, and worfe are generally attached to the 
 terms original, and copy; and that with good reafon; not only 
 becaufe copies are ufually made by inferior hands ; but becaufe 
 
 though 
 
(^59) 
 
 though he that makes the copy is as good, or even a better mafter 
 than he that made the original whatever may happen rarely, and by 
 accident, ordinarily the copy will fall fhort : our hands cannot 
 reach what our minds have conceived; it is God alone whofe works 
 anfwer to his ideas. In making an original our ideas are taken from 
 nature; which the works of art cannot equal : when we copy it is 
 thefe dcfeQive works of art we take our ideas from ; thofe are 
 the utmod we endeavour to arrive at ; and thefe lower ideas too 
 our hands fail of executing perfeftly ; an original is the echo of 
 the voice of nature, a copy is the echo of that echo. Moreover, 
 though the mader that copies be equal in general to him whofe 
 work he follows, yet in the particular manner of that mafter he is to 
 imitate he may not : Van Dyck (for example) might have as fine a 
 pencil as Correggio ; Parmcggiano might handle a pen, or chalk as 
 well as Rafaelle; but Van Dyck was not fo excellent in the man- 
 ner of Correggio, nor Parmeggiano in that of Rafaelle as they them- 
 felvcs were : laft^ly, in making an original we have a vaft latitude as 
 to the handling, colouring, drawing, exprefllon, &:c. in copying we 
 are confined ; confcquently a copy cannot have the freedom, and 
 fpirit of an original; fo that though he that made the original copies 
 his own work it cannot be expected it fhould be as well. 
 
 But though it be generally true that a copy is inferior to an origi- 
 nal, it may fo happen that it may be better; as when the copy is done 
 by a much better hand ; an excellent mafter can no more fink down 
 to the badnefs of fome works than the author of fuch can rife to the 
 other's excellence. A copy of a very good pi6ture is preferable to 
 an indifferent original ; for there the invention is fcen almoft intire, 
 and a great deal of the expreffion, and difpofition, and many times 
 good hints of the colouring, drawing, and other qualities. An 
 indifferent original has nothing that is excellent, nothing that 
 touches, which fuch a copy I am fpeaking of has, and that in pro- 
 portion to its goodnefs as a copy. 
 
 X 2 When 
 
C 160 ) 
 
 When we confider a pi6l-ure or a drawing, and the queftion is 
 whether it is a copy, or an original, the ftate of that queftion 
 will be, 
 
 I. In thofe very terms. 
 
 II. Is this of fuch a hand, or after him ? 
 
 III. Is fuch a work, feen to be of fuch a mafter, originally of 
 him, or a copy after fome other ? 
 
 Laftly, Is it done by this mafter from the life, or invention ? or 
 copied after fome other picture of his own ? 
 
 In the firft of thefe cafes neither the hand, nor the idea is known; 
 in the fecond the idea is fuppofcd to be fo, but not the hand ; in the 
 third the hand is known, but not the idea, and in the laft both the 
 hand, and the idea is known, but not whether it is original, or 
 copy. 
 
 There are certain arguments made ufe of in determining upon 
 one, or more of thefe queftions which are to be rcje6ted ; if there 
 are two pi6lures of the fame fubjeft, the fame number of figures, the 
 fame attitudes, colours, &c. it will by no means follow that one is a 
 copy ; for the mafters have frequently repeated their works either to 
 pleafe themfelves, or other people, who feeing, and liking one 
 have defired another like it. Some have fancied the great mafters 
 made no finiOied drawings, as not having time, or patience fuffi- 
 cient, and therefore pronounce all fuch to be copies ; I will not 
 oppofe this falfe reafoning by fomcthing in the faine way, though 
 I might; (I hate arguments ad hominem, becaufe if I difpute it 
 is not for viftory but truth) but let the drawing have the otiier good 
 properties of an original thofe will be arguments in it's favour which 
 the finiftiing cannot overthrow, or fo much as weaken. N'or will 
 the numbers of drawings which we have here in England, which are 
 attributed to Rafaelle, or any other mafter be any argument not 
 onlv againft the originality of any one of them in particular (for 
 that for certain it cannot be) no, nor even that fome of them muft 
 
 be 
 
( i6i ) 
 
 be copies. That thefe great men made vafl: numbers of drawings is 
 certain, and oftentimes many for the fame work; and that ihcy 
 are hardly to be found in Italy is nothing to the purpofe ; the 
 riches of England, Holland, France, and other countries of 
 Europe may well be fuppofed to have drawn away by much the 
 greatcd number of what curiofities could be had. But I have no 
 inclination to dwell upon fuch a poor, and low way of arguing, 
 and i'o unworthy of a connoifTeur; let us judge from the things 
 themfelves, and what we lee, and know, and thus only. 
 
 I. There are feme pi6hires, and drawings which are feen to be 
 originals, though the hand, and manner of thinking are neither of 
 them known, and that by the fpirit, and freedom of them : which 
 fometimes appears to fuch a degree as to affure us it is impoflible 
 they fhould be copies. But we cannot fay on the contrary when we 
 fee a tame, heavy handling that it is not original merely upon that 
 account, becaufe there have been many bad originals, and fome 
 good mafters have fallen into a feeblenefs of hand, efpecially in their 
 old age. 
 
 Sometimes there appears fuch a nature, together with fo much 
 liberty that this is a further evidence of the originality of fuch 
 works. 
 
 There is another, and a more mafterly way of judging, and that 
 is by comparing the unknown hand, and manner of thinking one 
 with another. The invention, and difpofition of the parts in a 
 copy, and fome of the expreffion always remains, and are the fame 
 as in the original ; let thefe be compared with the airs of the heads, 
 the grace, and greatnefs, the drawing, and handling; if thefe be 
 all of a piece, and fuch as we can believe all may be the work of 
 the fame pcrfon it is probable it is an original, at lead we cannot 
 pronounce it to be othcrwife. But if we fee a wife, and ingenious 
 invention, a judicious difpofition, but want of harmony, graceful, 
 and noble anions but ill performed, filly airs of heads, bad 
 
 drawing. 
 
( i62 ) 
 
 drawing, a low tafte of colouring, and a timorous, or heavy hand, 
 this we may be afllired is a copy in a degree proportionable to the 
 difference we fee in the head, and hand that contributed to the pro- 
 duftion of this lin fey- wool fey performance. 
 
 II. To know whether a pi6ture or drawing be of the hand of 
 fuch a mafter, or after him one mull be fo well acquainted with the 
 hand of that mailer, as to be able to diftinguifli what is genuine, 
 from what is not fo ; the befl; counterfeiter of hands cannot do it fo 
 well as to deceive a good connoiffeur ; the handling, the colouring, 
 the drawing the airs of heads, fome, nay all of thefe difcover the 
 author; more, or lefs eafily however, as the manner of the mafter 
 happens to be ; what is highly finilhed (for example) is more eafily 
 imitated than what is loofe, and free. 
 
 It is impolTible for any one to transform himfelf immediately, and 
 become exaftly another man ; a hand that has been always moving 
 in a certain manner cannot at once, or by a few occafional effays 
 get into a different kind of motion, and be as perfe6l as he 
 that pra61ifes it continually : It is the fame in colouring, and draw- 
 ing; they are as impoffible to be counterfeited as the handling: 
 every man will naturally, and unavoidably mix fomething of himfelf 
 in all he does, if he copies with any degree of liberty : if he at- 
 tempts to follow his original fervilely, and exa6lly, that car.not but 
 have a ftiffnefs which will eafily diftinguifh what is fo done, from 
 what is performed naturally, eafily, and without reftraint. 
 
 I have perhaps one of the greateft curiofities of this kind that can 
 be feen, becaufe I have both the copy, and the original; both are 
 of great mailers, the copier was moreover the difciple of him he 
 endeavoured to imitate, and had accuflorned himfelf to do fo, 
 for I have feveral inflances of it, which I am very certain of 
 though I have not feen the originals. Michelangelo made that I 
 am now fpeaking of, and which I joyfully purchafed lately of one 
 that had juft brought it from abroad ; it is a drawing with a pen 
 
 upon 
 
( ) 
 
 upon a large half fheet, and confifts of three ftanding figures : the 
 copy is of Battifta Franco, and which I have had fevcral yeans, and 
 always judged it to be uhat I now find it is. It is an amazing thing 
 to fee how exatlly the meafiircs are followed, for it docs not appear 
 to have been done by any other help than the corrc8ncfs of the 
 eye, if it has been traced oiT, or meafured throughout, it is as 
 ftrange that ihc liberty flioiild be prefcrvcd that is feen in it; 
 Battifta has alio been exatl in following every ftroke, even what 
 is purely accidental, and without any meaning ; fo that one would 
 think he endeavoured to make as juft a copy as poffible, both as to 
 the freedom, and exa8nefs. But himfelf is feen throughout moft 
 apparently : as great a maftcr as he was, he could no more counter- 
 feit the vigorous, blunt pen of Michelangelo, and that terrible fire 
 that is always feen in him, than he could have managed the club 
 of Hercules. 
 
 I am well aware of the objeflion that will be made to what I am 
 faying, founded upon the inllances of copies that have deceived 
 very good painters, who have judged them to be of the hands they 
 were only counterfeits of, and even when thefe hands have been 
 their own ; to which I anfwer, 
 
 1. A man may be a very good painter, and not a good con- 
 noiffeur in this particular. To know, and diftinguifh hands, and 
 to be able to make a good pifture are very different qualifications, 
 and require a very different turn of thought, and both a particular 
 application. 
 
 2. It is probable thofe that have been thus miflakcn, have been 
 too precipitate in giving their judgments ; and not having any doubt 
 upon the matter, have pronounced without much examination. 
 
 Laflly, admitting it to be true that there have been inflances of 
 copies of this kind not poffible to be dete6led by the ableft con- 
 noiffeurs (which however I do not believe) yet this mufl needs hap- 
 pen fo very rarely, that the general rule will however fubfift. 
 
 • III. The 
 
( i64 ) 
 
 III. The next queftion to be fpoken to is, wliether a work fecn 
 to be of fuch a mafter is originally of him, or a copy after foine 
 other. 
 
 And here the firfl; enquiry will be, whether as we fee the hand of 
 fuch mafler in the piclure, or drawing before us, his idea is alfo in 
 it : and if it be judged the thought is not originally of him, we muft 
 further enquire whether he who did the work under confideration 
 endeavoured to follow that other mafler as well as he could, fo as 
 to make what he did properly a copy ; or took fuch a liberty as that 
 his work thereby becomes an original. 
 
 This mixture, the hand of one, and the idea of another is very 
 frequently feen in the works of fome of the greateft maders. — 
 Rafaelle has much of the antique in his, not only imitations, but 
 copies. Parmeggiano, and Battifta Franco drew after Rafaelle, and 
 Michelangelo ; and the latter made abundance of drawings from 
 the antique, having had an intention to etch a book of that kind. 
 Rubens drew very much from other mailers, efpecially from Rafaelle; 
 almoft all that Biaggio Bolonefe did was borrowed from Rafaelle, or 
 Parmeggiano, or imitations of their way of thinking. But this mix- 
 ture is rarely, or never feen in Leonardo da Vinci, Michelangelo, 
 C>04rreggio, aiiid others : Giulio Romano, and much more Polydore 
 had fo imbibed the tafte of the ancients as to think much in their way, 
 though eafily to be diftinguiChed however. It would be too tedious 
 to be more particular; thofe who acquaint themfelves thoroughly 
 with the works of thefe great men, will furnifh themfelves with 
 obfervatioris of this kind fufficient for their purpofe : and this, he 
 that would judge in the prefent cafe muft do; for it is obvious the 
 only way to know whether the idea, and the hand are of the fame 
 mafter, is by being a good connoiffeur with relation to the hands, 
 and ideas of the mafters. And then to know whether the work 
 ought to be confidered as an original, or not; he muft clearly con- 
 ceive 
 
^«-«--e-*- ^e.*^*-^^.^^ «»'©^e>^P^ 
 
Leokam)© Bating Io 
 
C ) 
 
 ceive what are the juft definitions of a copy, and an original, as 
 diflinguifhed from each other. 
 
 IV. Copies made by a matter after his own work are difcoverable, 
 by being well acquainted with what that matter did when he followed 
 nature ; thefe fhall have a fpirit, a freedom, a naturalncfs, which 
 even he cannot put into what he copies from his own work, as has 
 been noted already. 
 
 As for prints, though what I have been faying not only in the 
 prefcnt, but precedent chapters is for the mott part applicable to 
 them, as well as to pi6lures, and drawings (which I have all along 
 had almoft wholly in my mind) yet there being fomething peculiar 
 to thefe I have chofen to referve what J. had to fay concerning them 
 in particular to this place. 
 
 Prints, whether graved in metal, or wood, etched or mezzotinto, 
 are a fort of works done in fuch a manner as is not fo proper 
 as that whereby Paintings or drawings are performed, it not being 
 poflible by it to make any thing fo excellent as in the others. But 
 this way of working is chofen upon other accounts, fuch as that 
 thereby great numbers are produced inftcad of one, fo that the 
 thing comes into many hands ; and that at an eafy price. 
 
 Of prints there are two kinds : fuch as are done by the matters 
 themfelves, whofe invention the work is; and fuch as are done by 
 men not pretending to invent, but only to copy (in their way) other 
 men's works. 
 
 The latter fort of prints are always profeffed copies with refpe£l 
 to the invention, compofiiion, manner of defigning, grace, and 
 greatnefs. But thefe prints may be alfo copied as they frequently 
 are, and to know what are fo, and what are originals is, by being 
 well acquainted with the hands of the graver, or etcher, who in this 
 refpeft are the matters, as the painter from whom they copied were 
 to them. 
 
 Y The 
 
( ,66 ) 
 
 The former fort may again be fubdivided into three kinds. 
 1. Thofe they have done after a Painting of their own. 2. Thole 
 dohe after a drawing alfo done by themfelves; or laftly, what is de- 
 figned upon the plate which has been fometimcs done efpecially in 
 etching. The firft of thefe are copies after their own works ; and 
 fo may the fecond, or they may not, according as the drawing they 
 liave made previoufly to it happens to be : but both are i'o but in 
 part ; what is thus done being a different way of working. But if it 
 be defigned on the plate it is a kind of drawing (as the others are) 
 though in a manner different from the reft, but it is purely, and 
 properly original. 
 
 And the hands of the mafters are to be known in this way as in all 
 others, and fo what are genuine, and what are copies, and how far. 
 
 The excellence of a print, as of a drawing, confifts not particu- 
 larly in the handling ; this is but one, and even one of the leaft 
 confiderable parts of it : it is the invention, the grace, and great- 
 nefs, and thofe principal things that in the firft place are to be 
 regarded. There is better graving, a finer burin in many worthlefs 
 prints than in thofe of Marc Antonio, but thofe of him that come 
 after Rafaelle are generally more efteemed than even thofe which are 
 graved by the mafters themfelves; though the expreflion, the grace, 
 and greatnels, and other properties wherein that inimitable man fo 
 much excelled all mankind, appear to be but faintly marked if compar- 
 ed with what Rafaelle himfelf has done ; yet even that ftiadow of him 
 has beauties that touch the foul beyond what the beft original works 
 of moft of the other mafters, though very confiderable ones, can do: 
 and this muft be faid too, that though Marc Antonio's gravings come 
 far ftiort of what Rafaelle himfelf did, all others that have made 
 prints after Rafaelle come vaftly ftiort of him, becaufe he has better 
 imitated what is moft excellent in that beloved, wonderful man than 
 any other has done. 
 
 The 
 
( ) 
 
 The prints etched bv the maders tliemrelvcs; fiich as thofc -of. r 
 Parmeggiano, Annibalc Caracci, and Guido Reni (who arc the?, ■ 
 chief of thofe of whom we have works of this kind) arc confiderablc 
 upon the fame account; not for the handling, but the fpirit, iho 
 exprcffion, the drawing, and other the mod excellent properties of 
 a picture, or drawing; though by tlie nature of the work, they ai'e 
 not equal to what they have done in thofe waj s of working. 
 
 And it is further to be ohfcrved, that as prints cannot be fo good 
 as drawings they abate in the goodnefs they have by the wearing of 
 the plates; they thus become to have lefs beauty, lefs fpirit, the 
 expreffion is fainter, the airs of the heads are loR, and the whole is 
 the worfe in proportion as the plate is worn : unlcfs it be too hard 
 at firft, and then thofe prints are the better that are taken after that 
 hardnefs is worn off. 
 
 It were much to be wiflied that all who have applied themfclves 
 to the copying of other men's works by prints (of what kind foever) 
 had more ftudied to become mafters in thofe branches of fcience 
 which are neccffary to a painter (except wiiat are peculiar to them 
 as fuch) than they have generally done; their works would then 
 have been much more defirble than they are. Some few indeed have 
 done this, and their prints are efteemed accordingly. 
 
 To conclude; it muft be obferved, to the advantage of prints as 
 compared with drawings; though they are by no means equal to 
 them upon other accounts (as has been already noted) they are 
 ufually done from the finiflied works of the mafters, and fo are their 
 laft, their utmoft thoughts on the fubje6l, whatever it be. So much 
 for prints. 
 
 There is one qualification abfolutely necelTary to him th^ would 
 know hands, and diftinguifh copies from originals; as it alfo is fo 
 whofoever would judge well of the goodnefs of a pifture, or draw- 
 ing; or indeed of any thing elfe whatfoever, and with which there- 
 fore I will finilh this difcourfe ; and that is, he muft know how, 
 
 Y 2 and 
 
( i68 ) 
 
 and accuftom himfelf to take in, retain, and manage clear, and 
 diftinO; ideas. 
 
 To be able to diftinguifli betwixt two things of a different fpecies 
 (efpecially if thofe are very much unlike) is what the mod ftupid 
 creature is capable of, as to fay this is an oak, and that a willow; 
 but to come into a foreft of a thoufand oaks, and to know how to 
 diftinguifh any one leaf of all thofe trees from any other whatfoever, 
 and to form fo clear an idea of that one, and to retain it fo clean as 
 (if occafion be) to know it fo long as its charatteriflicks remain, 
 requires better faculties than every one is mailer of; and yet this 
 may certainly be done. To fee the difference between a fine meta- 
 phyfical notion, and a dull jefl ; or between a demonftration, and 
 an argument but juft probable, thefe are things which he that can- 
 not do is rather a brute, than a rational creature ; but to difcern 
 wherein the difference confifts when two notions very nearly refem- 
 ble each other, but are not the fame; or to fee the jufl weight 
 of an argument, and that through all its artificial difguifes; to do 
 this it is neceffary to conceive, diftinguifli, methodize, and com- 
 pare ideas in a manner that few of all thofe multitudes that pre- 
 tend to reafoning have accuflomed themfelves to. But thus to 
 fee, thus nicely to diftinguifh things nearly refembling one another, 
 whether vifible, or immaterial, is the bufinefs of a connoiffeur. 
 It is for want of this diftinguifhing faculty, that fome whom I 
 have known, and from whom one might reafonably have expe£led 
 better, have blundered as grofsly as if they had miflaken a Correggio 
 for a Rembrandt ; or (to fpeak more intelligibly to thofe who are 
 not well acquainted with thefe things) an apple for an oyfter: but 
 leffer miftakes have been made perpetually when the difference be- 
 tween the two manners, that which we faw before us, and that 
 which it was judged to be, whether as to the matter's way of think- 
 ing, or of executing his thoughts, was neverthelels very eafily 
 difcernable. 
 
 It 
 
( ) 
 
 It is as neceffary to a connoifiTeur as to- a philofopher, or divine to 
 be a good logician ; the fame faculties are employed, and in the 
 fame manner, the diflFerence is only in the fubjeft. 
 
 1. He mufl: never undertake to make any judgment without 
 having in his mind certain, determined ideas, he mufl; not think, or 
 talk at random, and when he is not clear in the thing ; as thofe 
 gentlemen Mr. Lock fpeaks of foinewhere who were difputing 
 warmly upon a certain liquor in the body, and might probably never 
 have come to any conclufion if he had not put them upon fettling 
 the meaning of that term liquor; they talked all the while in the 
 clouds. 
 
 2. A good connoifTeur will take care not to confound things iu 
 which there is a real difference becaufe of the refemblance they may 
 feem to have. This he has perpetual occafion to be upon his guard 
 againft, for many times the hands, and manners of different mafters 
 very near refemble each other : miftakes of this kind are very 
 common in other cafes. 
 
 That there are indifferent a6lions, that is, fuch as are neither 
 commanded, nor forbidden paffes currently with almoft every body j 
 this is imagined to be a fort of wafle ground between the frontiers of 
 the two empires of God, and the devil ; but it is no other than 
 imaginary : for though there are many anions of which no revealed, 
 or pofitive law has taken any notice, there are none which fall not 
 under the cognizance of the moral law, the law of nature; and there 
 is a wide difference between being left free by one of thefe, and both 
 of them. 
 
 So it will be thought it was indifferent whether (for example) I 
 had taken up the pen I have in my hand, or that which lay by it, as 
 good as this for ought I know : and it was indifferent as to the prin- 
 cipal confideration concerning it, becaufe I knew not which of the 
 two was the beft ; but other circumftances, as they determined my 
 
 choice 
 
( »7o ) 
 
 choice of this rather than that, deftroyed that feeming indifference ; 
 this was what my eye firfl: ftruckupon, was readied to nny hand, <&:c. 
 If there are a thoufand circumftances relating to two things, an.d 
 they agree exaftly in all but one of them; this gives us two as dii- 
 tinft ideas as of any two things in the univerfe. And if we carefully 
 obferve it we fhall find fotne fuch dillinguifhing circumftances in 
 every a6lion we do, which determines us to the doing of that rather 
 than fome other, how indifferent foever it may feem to be which of 
 them we do. 
 
 There is the fame difference between the demonRration Mr. Lock*^ 
 gives us (as fuch) of ihe being of a God, and a real demonftration, 
 as between a copy, and an original ; or between the hand of 
 Michelangelo, and that of Baccio Bandinelli ; that is. it refembles 
 fuch a one, but is not it: it is not an abfolute demonftration, as we 
 had reafon to expeft, it is only hypothetical. I remember I was 
 much furprifed when I found this after the great expcftation he had 
 raifed in me : I gave it my fon (who was then about twelve or thir- 
 teen years old) — My dear, read ihis, and give me your opinion of it — 
 he came to me again in a quarter of an hour, and faid ; fuppofing the 
 world to have been created in time this is a demonftration, otherwife 
 it is not : and he judged right. Mr. Lock fliould firft of all have 
 demonftrated that great point of the birth of the world, till that 
 was done he was in the cafe of Archimedes, he wanted grotmd to 
 plant his engine upon. 
 
 3. A good connoiffeur will take care not to make a difference 
 where there is none, and fo attribute thofe works to two feveral 
 mafters which were both done by the fame hand, or call that a copy 
 which is truly an original. Errors of this kind are common in other 
 fciences as well as in this. 
 
 4. Con- 
 
 * Effay of Human Underftanding, book 4. chap. 10. 
 
( 1/1 ) 
 
 4. Connoiffcurs having fixed their ideas fliould keep clofe to them, 
 and not flutter about in confufion from one to another, and fhould 
 aflTcnt according to the evidence they have. 
 
 Every one will readily agree that our affent, and diflent fliould 
 be proportionable to the appearance the evidence has to us ; this 
 being certainly the idea of evidence. 
 
 A D I S- 
 
A 
 
 DISCOU RSE 
 
 ON THE 
 
 Dignity, Certainty, Pleafure, and Advantage 
 
 O F 
 
 The SCIENCE of a CONNOISSEUR. 
 
 J[t is remarkable that in a country as ours, rich, and abounding 
 with gentlemen of a juft, and delicate tafte in mufic, poetry, and 
 all kinds of literature : fuch fine writers ! fuch folid reafoners ! fuch 
 able ftatefmen ! gallant foldiers ! excellent divines, lawyers, phyfi- 
 cians, mathematicians, and mechanicks ! and yet fo few ! fo very 
 few lovers, and connoiflTeurs in Painting ! 
 
 In moll of thefe particulars there is no nation under Heaven 
 which we do not excel ; in fome of the principal moft of them are 
 barbarous compared with us ; fince the beft times of the ancient 
 Greeks and Romans when this art was in its greateft efteem, and 
 perfeftion, fuch a national magnanimity as feems to be the charafte- 
 riftic of our nation has been loft in the world ; and yet the love, and 
 knowledge of Painting, and what has relation to it bcar^ no propor- 
 tion to what is to be found not only in Italy, where they are all lovers, 
 and almoft all connoifTcurs, but in France, Holland, and Flanders. 
 
 Every 
 
( *73 ) 
 
 Every event in the nalviral, and moral world has its caufes, which 
 are caufed by other caufes, and fo on up to the firll caufe, the 
 immutable, and unerring will, without which not fo inconfiderable 
 an accident (as it will be called) as the falling of a fparrow, or the 
 change of the colour of a finglc hair can happen ; fo that there is 
 nothing ftrange : what is commonly the fubjetl of admiration is fo 
 for no other reafon but that we do not fee its caufes, nor remember 
 it mud needs have had fuch, and which nuift as infallibly operate in 
 that manner as thofe we fee, and which are moll ordinary, and 
 familiar to us. We are apt to wonder (for example) that fuch a man 
 got fuch an eftate, or that another had fo little, whereas did we fee 
 all the caufes we (hould fee it could not have been otherwife? there 
 goes a great many of ihefe to the producing fuch an event, I mean 
 thofe that may be faid to fland in front, and not in depth, thofe that 
 are concomitant, fuch as the man's opportunities, humour, a cer- 
 tain mixture of abilities; he may be well qualified in fome refpefts, 
 deficient in others, and abundance of other circumdances always 
 operating at the fame inftant, I fay I mean tl-cfc, and not their 
 caufes, and the caufes of thofe caufes, and fo on : and thefe being 
 known, and weighed, the wonder ceafes ; it mull needs have hap- 
 pened thus: the Mercury in the tube will rife and fall juft as the 
 compofition of the atmofphere happens to be. That fo few here in 
 England have confidered that to be a good connoiffeur is fit to be 
 part of the education of a gentleman, that there are fo few lovers of 
 Painting; not merely for furniture, or for oHcntation, or as it rcpre- 
 fents their friends, or themfelves; but as it is an art capable of en- 
 tertaining, and adorning their minds as much as, nay perhaps more 
 than any other whatfoever ; this event alfo has its caufes, to remove 
 which, and confequcnily their eB'eds, and to procLire the contrary 
 good is what I am about to endeavour, and hope in fome meafure to 
 accomplifh. 
 
 Z Nor 
 
( 174 ) 
 
 Nor is this a trivial undertaking ; I have already been giving the 
 principles of it, and here I recommend a New Science to the world, 
 or one at leaft little known, or confidered as fuch : fo new, or fo 
 little known that it is yet without a name; it may have one in time, 
 till then I muft be excufed when I call it as I do, the Science of 
 a ConnoifTeur for want of a better way of exprefling myfelf : I 
 open to gentlemen a new fcene of pleafure, a new innocent 
 amufement: and an accomplifhment which they have yet fcarce 
 heard of, but no lefs worthy of their attention than moft of thofe 
 they have been accuftomed to acquire. I offer to my country a 
 fcheme by which its reputation, riches, virtue, and power may 
 be incyeafed. And this I will do (by the help of God) not as 
 an orator, or as an advocate, but as a ftrift reafoner, and fo as I 
 am verily perfuaded will be to the conviftlon of every one that 
 will impartially attend to the argument, and not be prejudiced by 
 the novelty of it, or their own former fentiments. 
 
 My prefent bufinefs then in fhort is to endeavour to perfuade 
 our nobility, and gentry to become lovers of Painting, and con- 
 noiffeurs ; which I crave leave to do (with all humility) by fhewing 
 the dignity, certainty, pleafure, and advantages of that fcience. 
 
 One of the principal caufes of the general negleft of the fcience I 
 am treating of I take to be, that very few gentlemen have a jufl idea 
 of Painting; it is commonly taken to be an art whereby nature is 
 to be reprefentcd, a fine piece of woikmanfhip, and difficult to be 
 performed, but produces only pleafant ornaments, mere fuper- 
 fluities. 
 
 This being all they expe£l from it no wonder they look no farther ; 
 and not having applied themfelves to things of this nature, overlook 
 beauties which they do not hope to find; fo that many an excellent 
 pifture is paffed over, and difregarded, and an indifferent or a bad 
 one admired, and that upon low, and even trivial conliderations ; 
 from whence arifes naturally an indifference, if not a contempt for 
 
 the 
 
( ^75 ) 
 
 the art, at bed a degree of eHeem not very confidcrable : efpe- 
 cially fince there are (comparatively) fo few pictures in which is 
 to be found nature reprefented, or beauty, or even fine work- 
 manfhip. 
 
 Though I have already in the entrance of my Theory of Paint- 
 ing, and indeed throughout all 1 have publifhcd endeavoured to 
 give the world a jufi. idea of the art, I will in this place more 
 particularly attempt it, as being very pertinent to my prefent defign ; 
 and perhaps it may be fome advantage (as we find it is to piclures,) 
 to place it in feveral lights. 
 
 Painting is indeed a difficult art, produ6live of curious pieces of 
 workmanfhip, and greatly ornamental ; and its bufinefs is to repre- 
 fent nature. Thus far the common idea is juft; only that it is 
 more difficult, more curious, and more beautiful than is com- 
 monly imagined. 
 
 It is an entertaining thing to the mind of man to fee a fine piece 
 of art in any kind; and every one is apt to take a fort of pride 
 in it as being done by one of his own fpecies, to whom with 
 refpeft to the univerfe he ftands related as to one of the fame 
 couirtry, or the fame family. Painting afford us a great variety 
 of this kind of pleafure in the delicate, or bold management of the 
 pencil; in the mixture of its colours, in the fkilful contrivance of 
 the feveral parts of the pi6lure, and infinite variety of the tints, fo 
 as to produce beauty, and harmony. This alone gives great plea- 
 fure to thofe who have learned to fee thefe things. To fee nature 
 juftly reprefented is very delightful, (fuppofing the fubje6l is well 
 chofen) it gives us pleafing ideas, and perpetuates, and renews them ; 
 whether by their novelty, or variety ; or by the conlideration of 
 our own eafe, and fafety, when we fee what is terrible in themfelves 
 as ftorms, and tempelts, battles, murders, robberies, &c. or elfe 
 when the fubjeft is fruit, flowers, landfcapes, buildings, hiftories, 
 and above all ourfelves, relations, or friends. 
 
 Z 2 Thus 
 
( 176 ) 
 
 Thus far the common idea of Painting goes, and this would be 
 enough if thefe beauties were feen, and confidered as they are to be 
 found in the works of the bed mafters (whether in Paintings, or 
 drawings) to recommend the art. But this is fuch an idea of it as 
 it would be of a man to fay he has a graceful, and noble form, 
 and performs many bodily aftions with great ftrength, and agility, 
 without taking his fpeech, and his reafon into the account. 
 
 The great, and chief ends of Painting are to raife, and improve 
 nature ; and to communicate ideas ; not only thofe which we may 
 receive otherwife, but fuch as without this art could not pofTibly be 
 communicated ; whereby mankind is advanced higher in the rational 
 ftate, and made better; and that in a way, eafy, expeditious, and 
 delightful. 
 
 T he bufinefs of Painting is not only to reprefent nature, but to 
 make the bed choice of it ; nay to raife. and improve it from what 
 is commonly, or even rarely feen, to what never was, or will be in 
 fa£l, though we may eafily conceive it might be. As in a good por- 
 trait, from whence we conceive a belter opinion of the beauty, good 
 fenfe, breeding, and other good qualities of the perfon than from 
 feeing tliemfelves, and yet without being able to fay in what parti- 
 cular it IS unlike: for nature muft be ever in view; 
 
 Unerring nature Jlill divinely bright, 
 One clear, unchanged, and univerfal light : 
 Life, force, and beauf.'v mnjl to all impart, 
 At nnce the fource, and end, and iejl of art : 
 That art is befl which moji refembles her. 
 Which jlill prejides, yet never does appear. 
 
 Pope's Effay on Criticifm. 
 
 I believe there never was fuch a race of men upon the face of the 
 earth, never did men look, and a6t like thofe we fee reprefented in 
 
 the 
 
( 177 ) 
 
 the works of Rafaelle, Michelangelo, Correggio, Parmeggiano, and 
 others of the bell maUers, yet nature appears throughout ; we rarely, 
 or never fee fuch landfcapes as thofe of Titian, Annibale Caracci, 
 Salvator Rofa, Claude Lorrain, Rubens, Sec. Such buildings and 
 magnificence as in the pi6turcs of Paolo Veroncfc, &c. but yet 
 there is nothing but what it may ealily be conceived maybe. Our 
 ideas even of fruits, flowers, infefts, draperies, and indeed of all 
 vifible things, and of fome that are invifible, or creatures of the 
 imagination are raifed, and improved in the hands of a good painter; 
 and the mind is thereby filled with the nobleft, and therefore the 
 mofl: delightful images. The defcription of one in an advertifemeiit 
 of a news-paper is nature, fo is a charafter by my Lord Clarendon, 
 but it is nature very differently managed. 
 
 I own there are beauties in nature which we cannot reach; 
 chiefly in colours, together with a certain fpirit; vivacity, and 
 lightnefs ; motion alone is a vafl advantage; it occafions a great 
 degree of beauty purely from that variety it gives ; fo that what I 
 have faid elfewhere is true, it is impofTible to reach nature by art ; 
 but this is not inconfiflent with what I have been faying jufl now; 
 both are true in different fenfes. We cannot reach what we fet 
 before us, and attempt to imitate, but we can carry our ideas fo far 
 beyond what we have feen, that though we fall flaort of executing 
 them with our hands, what we do will neverthelef's excel common 
 nature, efpecially in fome particulars, and thofe very confidcrable 
 ones. 
 
 When I fay nature is to be raifed, and improved by Painting, it 
 muft be underftood that the aftions of men mufl be reprefentcd 
 better than probably they really were, as well as that their perfons 
 muft appear to be nobler, and more beautiful than is ordinarily 
 feen. In treating a hiflory, a painter has other rules to go by than 
 a hiflorian, whereby he is as much obliged to embellifli his fubjett, 
 as the other is to relate it juftly. 
 
 Not 
 
( ) 
 
 Not only fuch Ideas are cop.veyed to us by the help of this art as 
 merely give us pleafure, but fuch as enlighten the underftanding, 
 and put the foul in motion. From hence are learned the forms, 
 and properties of things, and perfons, we are thus .informed of paft 
 events ; by tbis means joy, grief, hope, fear, love, averfion, and 
 the other paffions, and affeflions of the foul are excited, and above 
 all, we are not only thus inftru8ed in what we are to believe, and 
 praftife ; but our devotion is enflamed, and whatever may have 
 happened to the contrary, it may thus alfo be reftified. 
 
 Painting is another fort of writing, and is fubfervient to the fame 
 ends as that of her younger fifter; that by chara61ers can communi- 
 cate feme ideas which the hieroglyphic kind cannot, as this in other 
 refpefts fupplies its defefts. 
 
 And the ideas thus conveyed to us have this advantage, they 
 come not by a flow progreffion of words, or in a language peculiar 
 to one nation only ; but with fuch a velocity, and in a manner fo 
 univerfally underftood, that it is fomething like intuition, or infpira- 
 tion ; as the art by which it is aff'efted refembles creation ; things 
 fo confiderable, and of fo great a price, being produced out of 
 materials fo inconfiderable, of a value next to nothing. 
 
 What a tedious thing would it be to defcribe by words the view 
 of a country (that from Greenwich hill for inftance) and how im- 
 perfeft an idea muft we receive from hence ! Painting fhews the 
 thing immediately, and cxa6lly. No words can give you an idea 
 of the face, and perfon of one you have never feen ; Painting does 
 it effeftually; with the addition of fo much of his charafter as can 
 be known from thence; and moreover in an inftant recalls to your 
 memory, at leaft the mofl; confiderable particulars of what you have 
 heard concerning him, or occafions that to be told which you have 
 never heard. Agoftino Caracci* difcourfing one day of the ex- 
 cellency 
 
 * Bellori in the life of Annlbale Caracci. 
 
( ^79 ) 
 
 cellency of the ancient fculpture, was profufe in his praifes of 
 the Laacoon, and obferving his brother Annibale neither 
 fpoke, nor feemed to take any notice of what he faid, reproach- 
 ed him as not enough efteeming fo ftupendous a work : he then 
 went on defcribing every particular in that noble remain of 
 antiquity. Annibale turned himfelf to the wall, and with a piece 
 of charcoal drew the ftatue as exaftly as if it had been before 
 him : the reft of the company were furprifed, and Agoftino was 
 filenccd ; confeffing his brother had taken a more effcftual way to 
 demonftrate the beauties of that wonderful piece of fculpture : li 
 Poeti dipingono con le Parole, li Pittori parlano con I'Opere, faid 
 Annibale. 
 
 When Marius being driven from Rome by Sylla, was prifoner at 
 Minturnae, and a foldier was fent to murder him, upon his coming 
 into the room with his fword drawn for that purpofe, Marius 
 . faid aloud, " Dareft thou, man, kill Caius Marius ?" which fo 
 terrified the ruffian, that he retired without being able to effeft 
 what he came about. This ftory, and all that Plutarch has 
 written concerning him, gives me not a greater idea of him, than 
 one glance of the eye upon his ftatue that I have feen ; it is 
 in the noble coUeftion of antiques at my Lord Lemfter's feat at 
 Towcefter, in Northamptonfliire. The Odyffcs cannot give me a 
 greater idea of Ulyffes than a drawing I have of Polydore, where 
 he is difcovering himfelf to Penelope, and Telemachus, by bending 
 the bow. And I conceive as highly of St. Paul, by once walking 
 through the gallery of Rafaelle at Hampton-court, as by reading 
 the whole book of the A6ls of the Apoftles, though written by 
 Divine Infpiration. So that not only Painting furniflies us with 
 ideas, but it cairies that matter farther than any other way 
 whatfoever. 
 
 The bufinefs of hiftory is a plain, and juft relation of fafls ; it is 
 to be an exa6l picture of human nature. 
 
 Poetry 
 
( i8o ) 
 
 Poetry is not thus confined, but provided natural truth is at the 
 bottom nature muft be heightened, and improved, and the imagina- 
 tion filled with finer images than the eye commonly fees, or in fome 
 cafes ever can, whereby the paflions are more ftrongly touched, and 
 with a greater degree of pleafure than by plain hiftory. 
 
 When we painters are to be rallied upon account of the liberties 
 we give to our inventions, Horace's PiHoribus atque Poeiis never 
 fails. We own the charge ; but then the parallel muft be under- 
 ftood to confift in fuch a departure from truth as is probable, and 
 fuch as pleafes and improves, but deceives no body. 
 
 The poets have peopled the air, earth, and waters with angels, 
 flying boys, nymphs, and fatyrs; they have imagined what is done 
 in heaven, earth, and hell, as well as on this globe, and which could 
 never be known hiftorically ; their very language, as well as their 
 meafures and rhymes, muft be above what is in common ufe. The 
 Opera has carried this matter ftill farther, but fo far as that, being 
 beyond probability, it touches not as tragedy does, it ceafes to be 
 poetry, and degenerates into mere fliew, and found ; if the paffions 
 are affe£led it is from thence, thougli the words were not only heard 
 diftin6lly, but underftood. (By the way) let it be confidercd in 
 this light, let the opera be confidered as fiiew, and mufic, one of 
 the inftruments being a human voice, the common obje6lion to its 
 being in an unknown tongue falls to the ground. 
 
 As the poets, fo the painters have ftored our imaginations with 
 beings, and aflions that never were ; they have given us the fineft 
 natural, and hiftorical images, and that for the fame end, to pleafe, 
 whilft they inftru6l, and make men better. I am not difpofed to 
 carry on the parallel, by defcending to particulars, nor is it my pre- 
 fent bufinefs: Mr. Dryden has done it, though it were to be wilhed 
 he had been in lefs hafle, and had underftood Painting better when 
 his fine pen was fo employed. 
 
 Sculpture 
 
( i8i ) 
 
 Sculpture carries us yet farther than poetry, and gives us ideas 
 that no words can : fuch forms of things, fuch airs of heads, fuch 
 exprefTions of the paffions that cannot be defcribed by language. 
 
 It has been much difpiited which is the moft excellent of the two 
 arts, Sculpture or Painting, and there is a ftory of its having been 
 left to the determination of a blind man, who gave it in favour of 
 the latter, being told that what by feeling feemed to him to be flat, 
 appeared to the eye as round as its competitor. I am not fatisfied 
 with this way of deciding the controverfy. For it is not the dif- 
 ficulty of an art that makes it preferable, but the ends propofed to 
 be ferved by it, and the degree in which it does that, and then the 
 lefs difficulty the better. 
 
 Now the great ends of both thefe arts are to give pleafure, and to 
 convey ideas, and that of the two which befl anfwers thofe ends is 
 undoubtedly preferable ; and that this is Fainting is evident, fince 
 it gives us as great a degree of pleafure, and all the ideas that fculp- 
 ture can, with the addition of others; and this not only by the help 
 of her colours ; but becaufe flie can exprefs many things which 
 brafs, marble, or other materials of that art cannot, or are not fo 
 proper for. A ftatue indeed is feen all round, and this is one great 
 advantage which it is pretended fculpture has, but without reafon : 
 if the figure is feen on every fide, it is wrought on every lide, it is 
 then as fo many feveral pi6tures, and a hundred views of a figure may 
 be painted in the time that that figure is cut in marble, or caft in brafs. 
 
 As the bufinefs of Painting is to raife, and improve nature, it 
 anfwers to poetry (though upon occafion it can alfo be ftriftly 
 hiftorical) and as it ferves to the other, more noble end, this hiero- 
 glyphic language completes what words, or writing began, and 
 fculpture carried on, and thus perfefts all that human nature is 
 capable of in the communication of ideas till we arrive to a more 
 angelical, and fpiritual flate in another world. 
 
 A a I believe 
 
( l82 ) 
 
 I believe it will not be unacceptable to my readers, if I illufirate 
 what I have been faying by examples, and the rather becaufe they 
 are very curious, and very little known. 
 
 Villani, in his Florentine Hiftory, lib. vii. cap. 120, 127. fays, 
 that anno 1288, there were great divifions in the city of Pifa upon 
 account of the fovereignty ; one of the parties was headed by the 
 Judge Nino di Gallura de 'Vifconti ; the chief of another party was 
 Count Ugolino de 'Gherardefchi ; and the Archbifliop Ruggieri, of 
 the family of the Ubaldini, was at the head of the third party, in 
 which were alfo the Lanfranchi, the Sigifmondi, the Gualandi, and 
 others; the two firfl; of ihefe parties were Guelfs, the other Ghibel- 
 lines (fa61ions that at that time, and for many years before, and 
 after made difmal havock in Italy.) Count Ugolino, to get the 
 power into his own hands, caballed fecretly with the Archhifhop to 
 ruin the Judge, who never fuTpefled that, he being a Guelf as the 
 Count was, and moreover his near relation; however the thing 
 was effcQ.ed; the Judge, and his followers were driven out of 
 Pifa, and thereupon went to the Florentines, and ftirred them 
 lip to make war upon the Pifans: thefe in the mean time 
 fubmitted themfelves to the Count, who thus became Lord of 
 Pifa. But the number of the Guelfs being diminiflied by the 
 departure of the Judge, and his followers; and that faftion 
 growing daily weaker and weaker, the Archbifhop laid hold of 
 the opportunity, and betrayed him in his turn ; he put it into the 
 heads of the populace, that the Count intended to give up their 
 caftles to their enemies the Florentines, and Lucchefes : this was 
 eafily fwallowed ; the mob fuddenly rofe, and ran with great fury to 
 the palace, which they foon gained with little lofs of blood; their 
 new fovereign they clapt up in a prifon, together with his two fons, 
 and two grandfons ; and drove all the reft of his family, and fol- 
 lowers, and in general all the Guelfs out of the city. A few months 
 after this, the Pifans being become deeply engaged in the inteftine 
 
 war 
 
( ) 
 
 war of the Giielfs and Ghibellines, and having chofc Count Gul^io 
 de Montifeltro for their general, the Pope excommunicated them, 
 and him, and all his family ; this incenfed them the more againft 
 Count Ugolino, fo that having feen the gates of the prifon well 
 fecured, they flung the keys into the river Arno, to the end that 
 none might relieve him, and his children with food ; who therefore 
 in a few days perifhed by famine. This farther circumftance of 
 cruelty was exercifed on the Count ; he was denied either priefl:, 
 or monk to confefs him, though he begged it of his enemies with 
 bitter cries. 
 
 The poet carries this ftory farther than the hiftorian could, by re- 
 lating what pafTed in the prifon. This* is Dante, who was a young 
 man when this happened, and was ruined by the commotions of thefe 
 times. He was a Florentine, which city, after having been long 
 divided by the Guelf and Ghibelline faftion, at lad became in- 
 tirely Guelf : but this party then fplit into two others, under the 
 names of the Bianchi, and the Neri, the latter of which prevailing, 
 plundered, and banifhed Dante ; not becaufe he was of the con- 
 trary party, but for being neuter, and a friend to his country. 
 
 When virtue fails, and party-heats endure, 
 The pojl of honour is the leajl fecure. 
 
 This great man (in the thirty-third canto of the firfl; part of his 
 Comedia) in his paifage through hell, introduces Count Ugolino 
 gnawing the head of this treacherous, and cruel enemy the Arch- 
 bifhop, and telling his own fad ftory. At the appearance of Dante. 
 
 La bocca folleuo dal Jiero pajlo 
 Quel peccator, (^c. 
 
 A a 2 
 
 He 
 
( ) 
 
 He from the horrid food his mouth withdrew, 
 And wiping with the clotted, offal hair 
 His fhudd'ring lips, railing his head thus fpakc. 
 
 You will compel me to renew my grief 
 Which ere I fpeak oppreffes my fad heart; 
 But if I infamy accumulate 
 On him whofe head I gnaw, I'll not forbear 
 To fpeak tho' tears flow fafter than my words. 
 
 I know not who you are, nor by what power, 
 "Whether of faints, or devils you hither came, 
 But by your fpeech you feem a Florentine ; 
 Know then that I Count Ugolino am, 
 Archbifhop Ruggieri this, which known 
 That I by him betray'd was put to death 
 Is needlefs to relate, you muft have heard ; 
 But what muft be unknown to mortal men. 
 The cruel circumftances of my death, 
 Thefe I will tell, which dreadful fecret known 
 You will conceive how juft is my revenge. 
 
 The ancient tower in which I was confin'd, 
 And which is now the tower of famine call'd, 
 Had in her fides fome fymptoms of decay, 
 Through thefe I faw the firft approach of morn, 
 After a reftlefs night, the firft I flept 
 A prifoner in its walls ; unquiet dreams 
 Opprefs'd my lab'ring brain. I faw this man 
 Hunting a wolf, and her four little whelps 
 Upon that ridge of mountains which divides 
 The Pifan lands from thofe which Lucca claims ; 
 "With meagre, hungry dogs the chace was made, 
 Nor long continued, quick they feiz'd the prey, 
 And tore their bowels with remorfelefs teeth. 
 
 Soon 
 
( i85 ) 
 
 Soon as my broken flunibers fled, I heard 
 My fons (who alfo were confin'd with me) 
 Cry in their troubled flccp, and alk for bread : 
 
 0 you are cruel if you do not weep 
 Thinking on that, which now you well perceive 
 My heart divin'd; if this provoke not tears, 
 
 At what are you accuftomcd to weep ? 
 
 The hour was come when food fhould have been brought, 
 Inftead of that, O God! I heard the noife 
 Of creaking locks, and bolts, with doubled force 
 Securing our deftruftion. I beheld 
 The faces of my fons with troubled eyes ; 
 
 1 look'd on them, but utter'd not a word : 
 Nor could I weep ; they wept, Anfelmo faid 
 (My little, dear Anfelmo) What's the matter 
 Father, why look you fo ? I wept not yet, 
 Nor fpake a word that day, nor following night. 
 
 But when the light of the fucceeding morn 
 Faintly appear'd, and I beheld my own 
 In the four faces of my wretched fons 
 I in my clinched fifts faften'd my teeth : 
 They judging 'twas for hunger, rofe at once, 
 You, fir, have giv'n us being, you have cloath'd 
 Us with this miferable flefli, 'tis yours, 
 Suftain yourfelf with it, the grief to us 
 Is lefs to die, than thus to fee your woes. 
 Thus fpake my boys : I like a ftatue then 
 Was filent, ftill, and not to add to theirs 
 Doubled the weight of my own miferies : 
 
 This, and the following day in filence pafs'd. 
 Why, cruel earth, didfl thou not open then ! 
 
 The 
 
( i86 ) 
 
 The fourth came on ; my Gaddo at my feet 
 Cry'd, father, help me ! faid no more but died : 
 Anothor day two other fons cxpir'd ; 
 The next left me alone in woe : their griefs 
 Were ended. Blindnefs now had feiz'd my eyes. 
 But no relief afforded ; I faw not 
 My fons, but grop'd about with feeble hands 
 Longing to touch their famifh'd carcaffes, 
 Calling firfl one, then t'other by their names, 
 'Till after two days more what grief could not 
 That famine did. He faid no more, but turn'd 
 With baleful eyes diftorted all in hafle, 
 And feiz'd again, and gnaw'd the mangled head. 
 
 The hiftorian and poet, having done their parts, comes Michel- 
 angelo Buonarotti, and goes on in a bas-relief I have feen in the 
 hands of Mr. Trench, a modeft, ingenious painter, lately arrived 
 from his long ftudies in Italy. He (hews us the Count fitting with 
 his four fons, one dead at his feet, over their heads is a figure 
 reprefenting Famine, and underneath is another to denote the river 
 Arno, on whofe banks this tragedy was aQed, Michelangelo was 
 the fitted man that ever lived to cut, or paint this ftory ; if I had 
 wifhed to fee it reprefented in fculpture, or Painting, I fhould have 
 fixed upon this hand; he was a Dante in his way, and he read him 
 perpetually. I have already obferved, and it is very true, there 
 are certain ideas which cannot be communicated by words, but by 
 fculpture, or Painting only ; it would be ridiculous then on this 
 occafion, to undertake to defcribe this admirable bas-relief ; it is 
 enough for my prefent purpofe to fay there are attitudes, and airs 
 of heads fo proper to the fubje£t, that they carry the imagination 
 beyond what the hiftorian, or poet could poffibly ; for the reft I 
 muft refer to the thing itfelf. It is true a genius equal to that of 
 
 Michelangelo 
 
( ) 
 
 Michelangelo may form to itfclf as ftrong, and proper exprelTions as 
 thcfe, but where is that genius ! nor can even he communicate them 
 to another, unlefs he has alio a hand like that of Michelangelo, and 
 \vill take that vay of doing it. 
 
 And could we fee the fame ftory painted by the fame great mafter 
 it will be eafily conceived that this mufl; carry the matter dill faril.er ; 
 there we might have had all the advantages of expreffion which the 
 addition of colours would have given, and the colouring of Michel- 
 angelo was as proper to that, as his genius was to the ftory in gene- 
 ral ; ihefe would have fhewn us the pale, and li\ id llefli of the dead, 
 and dying figures, the rednefs of eyes, and bluifh lips of the Count, 
 the darknefs, and horror of the prifon, and other circumftances, 
 befides the habits (for in the bas-relief all the figures are naked as 
 more proper for fculpture) thefe might be contrived fo as to exprefs 
 the quality of the perfons the more to excite our pity, as well as to 
 enrich the piflure by their variety. 
 
 Thus hiftory begins, poetry raifes higher, not by embellifliing 
 the ftory, but by additions purely poetical : fculpture goes yet 
 farther, and Painting completes and perfeds, and that only can ; 
 and here ends, this is the utmoft limits of human power in the 
 communication of ideas. 
 
 I have obferved elfewhere, and will take leave to put my reader 
 in mind of it once more. It is little to the honour of Painting, 
 or of the mafters of whom the ftories are told that the birds have 
 been cheated by a painted bunch of grapes; or men by a fly, or 
 a curtain, and fuch like; thefe are little things in comparifon of 
 what we are to expe£l from the art. Whoever have fancied thefe 
 kinds of things confiderable have been wretched connoifleurs, 
 how excellent foever they may have been in other refpetls. 
 Rafaelle would have difdained to have attempted fuch trifles, or 
 would have bluftied to have been praifed for them ; but Rafaelle 
 would have painted a god, a hero, an angel, a madonna ; or he 
 
 would 
 
( i88 ) 
 
 would have related fome noble hiflory, or made a portrait in 
 luch a manner, as whoever faw it with genius, and attention, 
 fhould treafure up in his mind an idea that fliould always give him 
 pleafure, and be a wifer, and better man all his life after. 
 
 The bufinefs of Painting is to do almoft all that difcourfe, and books 
 can, and in many inftances much more, as well as more fpeedily, 
 and more delightfully ; fo that if hiftory, if poetry, if philofophy^ 
 natural, or moral, if theology, if any of the liberal arts, and fcienccs 
 are worthy the notice, and ftudy of a gentleman, Painting is fo too. 
 To read the fcripture I know will be allowed to be an employment 
 worthy of a gentleman, becaufe (amongft other reafons) from hence 
 he learns his duty to God, his neighbour, and himfelf ; he is piit in 
 mind of many great, and inftruftive events, and his paffions are 
 warmed, an dagitated, and turned into a right channel ; all thefe 
 noble ends are anfwered, I will not fay as effeftually, but I will 
 repeat it again and again they are anfwered when we look upon, and 
 confider what the great mailers have done when they have affumed 
 the chara6ters of divines, or moralifts, or have in their way related 
 any of the facred ftories. Is it an amufement, or an employment 
 worthy of a gentleman to read Homer, Virgil, Milton, &c. ? the 
 works of the mofl; excellent painters have the like beautiful defcrip- 
 tions, the like elevation of thought, and raife, and move the paffions, 
 inftruft and improve the mind as thefe do. Is it worthy of a gen- 
 tleman to employ, or divert himfelf by reading Thucydides, Livy, 
 Clarendon, &:c. ? the works of the moft excellent painters have the 
 like beauty of narration, fill the mind with ideas of the like noble 
 events, and inform, inftru6l and touch the foul alike. Is it worthy 
 of a gentleman to read Horace, Terence, Shakefpear, the Tatlers, 
 and Speftators, &:c.|? the works of the mofl; excellent painters do alfo 
 thus give us an image of human life, and fill our nr.inds with ufeful 
 reflexions, as well as diverting ideas ; all thefe ends are anfwered, 
 
 and 
 
( i89 ) 
 
 and ortentimes to a greater decrree than any other way. To confi- 
 der a piflure aright is to read, but in refpeft of the beauiy with which 
 the eye is all the while entertained, whether of colours, or figures, 
 it is not only to read a book, and that finely printed, and well 
 bound, but as if a concert of mufic were heard at the fame time : 
 you have at once an intelleclual, and a fenfual pleafure. 
 
 I plead for the art, not its abufes; it is a fubiime pafTage that in 
 Job ; if when I beheld the fun when it Ihined, or the moon walking 
 in brightnefs, and my heart hath been fecretly enticed, or my mouth 
 hath kiffcd my hand, this alfo was an iniquity to be punifhcd by the 
 judge, for I fliould have denied the God that is above. If when 
 I fee a madonna though painted by Rafaelle I be enticed and 
 drawn away to idolatry; or if the fubje6l of a pifture, though 
 painted by Annibale Caracci pollutes my mind with impure images, 
 and transforms nie into a brute; or if any other, though never fo 
 excellent, rob me of my innocence, and virtue, may my tongue 
 cleave to the roof of my mouth, and my right hand forget its cun- 
 ning if I am its advocate as it is inftrumcntal to fuch detefted pur- 
 pofcs : but thefc abufes excepted (as what has not been ? that is not 
 abufed ?} the praife of Painting is a fubjeCl not unworthy of the 
 tongue, or pen of the greateft orator, poet, hiftorian, philofopher, 
 or divine ; any of which when he is confidering the works of our 
 great mafters will not only find him to be one of themfelves, but 
 fometimes all thefe at once, and in an eminent degree. I know I 
 fpeak with zeal, and an ardent paffion for the art, but I am ferious, 
 and fpeak from conviClion, and experience, and whoever confiders 
 impartially, and acquaints himfelf with fuch admirable works of 
 painters as I have done, will find what I have faid is folid, and 
 unexaggcrated truth. 
 
 The dignity of the fcience I am recommending will farther appear 
 if it be confidered, that if gentlemen were lovers of Painting, and 
 connoiffeurs, it would be of great advantage to the public, in 
 
 B b I. The 
 
( 19° } 
 
 1. The reformation of our manners. 
 
 2. The improvement of our people. 
 
 3. The increafe of our wealth, and with all thefe of our honour, 
 and power. 
 
 Anatomifts tell us there are feveral parts in the bodies of animals 
 that ferve to feveral purpofes, any of which would juftify the wifdom, 
 and goodnefs of Providence in the making of them ; but that they 
 are equally ufeful, and neceffary to all, and ferve the end of each 
 as efFedually as if they were applied to one only : this is alfo true 
 of Painting ; it ferves for ornament, and ufe ; it pleafes our eyes, 
 and moreover informs our underftandings, excites our palTions, and 
 inftruQs us how to manage them. 
 
 Things ornamental, and things ufeful are commonly diftinguifhed, 
 but the truth is ornaments are alfo of ufe, the diftindion lies only in 
 the ends to which they are fubfervient. The wife creator in the 
 great fabrick of the world has abundantly provided for thefe, as well 
 as for thofe that are called the neceffaries of life : let us imagine 
 ourfelves always inhabiting between bare walls, wearing nothing but 
 only to cover our bodies, and proteft them from the inclemencies of 
 the weather, no diftinftion of quality, or office, feeing nothing to 
 delight, but merely what ferves for the maintenance of our being ; 
 how favage, and uncomfortable muft this be ! ornaments raife, and 
 exhilirate our fpirits, and help to excite more ufeful fentiments than 
 is commonly imagined; and if any have this efFeft, pictures (con- 
 fidered only as fuch) will, as being one of the principal of this 
 kind. 
 
 But piflures are not merely ornamental, they are alfo inftruftive ; 
 and thus our houfes are not only unlike the caves of wild beafts, or 
 the huts of favages, but diftinguifhed from thofe of Mahometans, 
 which are adorned indeed, but with what affords no inftru6tion to 
 the mind : our walls like the trees of Dodona's grove fpeak to us, 
 and teach us hiftory, morality, divinity ; excite in us joy, love. 
 
( ) 
 
 pity, devotion, <5!rc. if pi8ures have not this good effeft, it is our 
 own fault in not chufing well, or not applying ourfelues to make a 
 right ufe of them. But I have fpoken of this fufficiently already, 
 and will only take leave to add here, that if not only our houfes, but 
 our churches were adorned with proper hiftories, or allegories well 
 painted, the people being now fo well inftruQed as to be out of 
 danger of fuperftitious abufes, their minds would be more fenfibly 
 afFeQed than they can poflibly be without this elBcacious means of 
 improvement, and edification. But this (as indeed every thing elfc 
 advanced by me) 1 humbly fubrnit to the judgment of my 
 fuperiors. 
 
 If gentlemen were lovers of painting, and connoiffeurs this would 
 help to reform them, as their example, and influence would have 
 the like efFe6l upon the common people. All animated beings natu- 
 rally covet pleafure, and eagerly purfue it as their chiefeft good ; 
 the great affair is to chufe thofe that are worthy of rational beings, 
 fuch as are not only innocent, but noble, and excellent : men of 
 eafy, and plentiful fortunes have commonly a great part of their 
 time at their own difpofal, and the want of knowing how to pafs 
 thofe hours avi^ay in virtuous amufements contributes perhaps as 
 much to the mifchievous effefts of vice, as covetoufnefs, pride, luft, 
 love of wine, or any other paffion whatfoever. If gentlemen there- 
 fore found pleafure in piftures, drawings, prints, ftatues, intaglios, 
 and the like curious works of art; in difcovering their beauties, and 
 defeQs ; in making proper obfervaiions thereupon ; and in all the 
 other parts of the bufinefs of a connoiffeur, how many hours of lei- 
 fure would here be profitably employed, inftead of what is criminal, 
 fcandalous, and mifchievous ! I confefs I cannot fpeak experimentally 
 becaufe I have not tried thofe j nor can any man pronounce upon 
 the pleafures of another, but I know what I am recommending is fo 
 great a one, that I cannot conceive the other can be equa Ito it, 
 
 B b 2 efpecially 
 
C ) 
 
 efpecially if the drawbacks of fear, remorfe, fhame, pain, &:c. be 
 taken into the account. 
 
 2. Our common people have been exceedingly improved within 
 an age, or two, by being taught to read and write ; they have alfo 
 made great advances in mechanics, and in feveral other arts, and 
 fciences; and our gentry, and clergy are more learned, and better 
 reafoners than in times paft ; a farther improvement might yet be 
 made, and particularly in the arts of defign, if as children are taught 
 other things they, together with thefe learnt to draw; they would 
 not only be qualified to become better painters, carvers, gravers, 
 and to attain the like arts immediately, and evidently depending, 
 on dcfign, but they would thus become better mechanics of all 
 kinds. 
 
 And if to learn to draw, and to underRand pi6lures, and 
 drawings were made a part of the education of a gentleman, as their 
 example would excite the others to do the like, it cannot be denied 
 but that this would be a farther improvement even of this part of 
 our people : the whole nation would by this means be removed fome 
 degrees higher into the rational ftate, and make a more confiderable 
 figure amongft the polite nations of the world. 
 
 3, If gentlemen were lovers of Painting, and connoiffeurs, many 
 fums of money which are now laviflied away, and confumed in lux- 
 ury would be laid up in pi6lures, drawings, and antiques, which 
 would be, not as plate, or jewels, but an improving eftate ; fince as 
 time, and accidents mufl: continually wafle, and diminifh the num- 
 ber of thefe curiofities, and no new fupply (equal in goodnefs to 
 thofe we have) is to be hoped for, as the appearances of things at 
 prefent are, the value of fuch as are prcferved with care mud necef- 
 laiily cncreafe more and more : efpecially if there is a greater 
 demand for them, as there certainly will be if the talle of gentlemen 
 lakes this turn : nay it is not improbable that' money laid out this 
 
 way, 
 
( ^93 ) 
 
 way, with judgment, and prudence, (and if gentlemen are good 
 connoiffeurs they will not be impofed upon as they too often are) 
 may turn to better account than almoft in any other. 
 
 We know the advantages Italy receives from her poirefTion of 
 fo many fine pictures, ftatues, and other curious works of art : if 
 our country becomes famous in that way, as her riehes will enable 
 her to be if our nobility, and gentry are lovers and connoiffeurs, 
 and the fooner if an expedient be found (as it may eafily be) to fa- 
 cilitate their importation, we fliall fliare with Italy in the profits ari- 
 fing from the concourfc of foreigners for the pleafure and improve- 
 ment that is to be had from the feeing, and confidering fuch 
 rarities. 
 
 If our people were improved in the arts of defigning, not only 
 our Paintings, carvings, and prints, but the works of all our other 
 artificers would alfo be proportionably improved, and confequently 
 coveted by other nations, and their price advanced, which therefore 
 would be no fmall improvement of our trade, and with that of our 
 wealth. 
 
 I have obferved heretofore, that there is no artift whatfoever, 
 that produces a piece of work of a value fo vaftly above that of the 
 materials of nature's furnifhing as the painter does; nor confequently 
 that can enrich a country in any degree like him : now if Painting 
 were only confidered as upon the level with other manufaflures, 
 the employment of more hands, and the work being better done 
 would certainly tend to the increafe of our wealth ; but this confi- 
 deration over and above adds a great weight to the argument in 
 favour of the art as inftrumental to this end. 
 
 Inftead of importing vaft quantities of pi6lures, and the like curio- 
 fities for ordinary ufe, we might fetch from abroad only the bell, 
 and fupply other nations with better than now we commonly take off 
 their hands: for as much a fuperfluity as thefe things are thought to 
 be, they are fuch as no body will be without, not the meaneft cot- 
 tager 
 
( ^94 ) 
 
 tager in the kingdom, that is not in the extremeft poverty, but he 
 will have fomething of piQure in his fight. The fame is the cuftom 
 in other nations, in fome to a greater, in others to a lefs degree • 
 thefe ornaments people will have as well as what is abfolutely necef- 
 fary to life, and as fure a demand will be for ihem as for food and 
 clothes ; as it is in fome other inftances thought at Hrft to be equally 
 fuperfluous, but which are now become confiderable branches of 
 trade, and conlfequently of great advantage to the public. 
 
 Thus a thing as yet unheard of, and whofe very name (to our dif- 
 honour) has at prefent an uncouth found may come to be eminent in 
 the world, I mean the Englifti fchool of Painting; and whenever 
 this happens who knows to what heights it may rife ? for the Englifti 
 nation is not accuftomed to do things by halves. 
 
 Arts and politenefs have a conftant rotation : thefe parts of Europe 
 have twice received them from Italy, fhe from Greece, who had 
 them from Egypt, and Perfia, in one age fuch a part of the globe is 
 enlightened, and the reft in darknefs ; and thofe that were favages 
 for many centuries, in a certain revolution of time became the fineft 
 gentlemen in the world. The arts of defign have long ago forfaken 
 Perfia, Egypt, and Greece, and are now a third time much declined 
 in Italy; fome other country may fucceed her in this particular, as 
 flie fucceeded Greece. Or if the arts continue there, they may 
 fpread themfelves, and other nations may equal, if not excel the 
 Italians : there is nothing unrcafonable in the thing, nay it is exceed- 
 ing probable. 
 
 I have faid it heretofore, and will venture to repeat it, notwith- 
 flanding the national vanity of fome of our neighbours, and our own 
 falfe modefty, and partiality to foreigners (in this refpe6l, though in 
 others we have fuch demonftrations of our fuperiority that we have 
 learned to be confcious of it) if ever the great tafte in Painting, if 
 ever that delightful, ufeful, and noble art does revive in the world 
 it is probable it will be in England. 
 
 Befides 
 
( 195 ) 
 
 Befides that greatnefs of mind which has always been inherent in 
 our nation, and a degree of folid fenfe not inferior to any of our 
 neighbours, we have advantages greater than is commonly thought. 
 We are not without our fliare of drawings, of which Italy has been 
 in a manner exhaufted long fince : we have fome fine antiques, 
 and a competent number of piftures of the beft mailers. But what- 
 ever our number, or variety of good pi6lures is, we have the beft 
 hiftory-pifturcs that are any where now in being, for we have the 
 cartons of Rafaelle at Hampton-court, which are generally allowed 
 even by foreigners, and thofe of our own nation, who are the moft 
 biggotted to Italy or France, to be the beft of that mafter, as he is 
 inconteftably the beft of all thofe whofe works remain in the world. 
 And for portraits we have admirable ones, and perhaps the beft of 
 Rafaelle, Titian, Rubens, and above all of Van Dyck, of whom 
 we have very many : and thefe are the beft portrait painters that 
 ever were. 
 
 In ancient times we have been frequently fubdued by foreigners, 
 the Romans, Saxons, Danes, and Normans, have all done it in 
 their turns; thofe days are at an end long fince; and we are by 
 various fteps arrived to the height of military glory, by fea, and 
 land. Nor are we lefs eminent for learning, philofophy, mathema- 
 ticks, poetry, ftrong and clear reafoning, and a greatnefs, and 
 delicacy of tafte ; in a word, in many of the liberal, and mechanical 
 arts we are equal to any other people, ancients or moderns ; and 
 in fome perhaps fuperior. We are not yet come to that maturity in 
 the arts of defign ; our neighbours, thofe of nations not remarkable 
 for their excelling in this way, as well as thofe that are, have made 
 frequent, and fuccefsful inroads upon us, aiid in this particular have 
 lorded it over our natives here in their own country. Let us at 
 length difdain as much to be in fubjeftion in this refpecl as in any 
 other; let us put forth our ftrength, and employ our national virtue, 
 that haughty impatience of fubjeftion, and inferiority, which feems 
 
 to 
 
C ^9(5 ) 
 
 to be the charafleriftic of our nation in this, as on many other 
 illuftrious occafions, and the thing will be effeQed ; the Englifh 
 fchool will rife and flourifli. 
 
 And to this, and to the obtaining the benefits to the public con- 
 fequent thereupon, what I have been pleading for would greatly 
 contribute : for if our nobility, and gentry were lovers, and con- 
 noiffeurs, public encouragement, and afliftance would be given to 
 the art ; academies would be fet up, well regulated, and the govern- 
 ment of them put into fuch hands, as would not want authority to 
 maintain thofe laws, without which no fociety can profper, or long 
 fubfift. Thefe academies would then be well provided of all necef- 
 faries for inftruftion in geometry, perfpeflive, and anatomy, as 
 well as defigning, for without a competent proficiency in the three 
 former, no confiderable progrefs can be made in the other. They 
 would then be furnifhed with good mafters to dire6l the ftudents, 
 and good drawings, and figures, whether cafts, or originals, antique 
 or modern, for their imitation. Nor fliould thefe be confidered 
 merely as fchools, or nurferies for Painters, and fculptors, and 
 other artifts of that kind, but as places for the better education of 
 gentlemen, and to complete the civilizing, and polifhing of our 
 people, as our other fchools, and univerfitics, and the other means 
 of inftruQion are. 
 
 If our nobility, and gentry were lovers of Painting, and con- 
 noilfeurs, a much greater treafure of pi8.ures, drawings, and 
 antiques would be brought in, which would contribute abundantly 
 to the raifing, and meliorating our tafte, as well as to the im- 
 provement of our artifts. 
 
 And then too people of condition would know that at prefent, 
 whatever has been the ftate of things heretofore, foreigners (be they 
 Italians, or of whatever other country) have not the advantage over 
 us whether as connoifTeurs, or as painters, as they have been ac- 
 ■cuftomed to imagine : they will then know that if in fome inftances 
 
 the 
 
( 197 ) 
 
 the advantage is on their fide, in others it is on ours : thus that 
 partiality fo difcouraging, and pernicious to our own people will be 
 removed. 
 
 Such men being connoiflcurs, and lovers of Painting, and zealous 
 for the honour and interefl: of their country in this particular, would 
 raifc the fame fpirit in others, and amongll the reft, in the artifts 
 themfelvcs, if it were not there before : and thefe would then be 
 obliged to labour to improve in their feveral ways, becaufe they 
 mud be otherwifc without employment, whereas they will be tempt- 
 ed to indulge themfelvcs in floth and ignorance, when they find 
 there are eaiicr methods of attaining fame, and riches, at leaft of 
 living tolerably well, than by making any confiderable progrefs in 
 their art. 
 
 A good tafte, and judgment in thofe who employ them would not 
 only compel painters to ftudy, and be induflrious, but put them in 
 a right way if they fell not into it of themfelves : it has been faid, 
 and I verily believe it is true, that King Charles I. took fuch de- 
 light in Painting, that he frequently fpent feveral hours with Van 
 Dyck ; remarking upon his works, and giving him fuch hints as 
 much contributed to the excellence we fee in them. Painters would 
 thus learn not to attach themfelves meanly, and fervily to the imita- 
 tion of this, or that particular manner, or mafter, and thofe perhaps 
 none of the beft, but to have more noble, open, and extenfive 
 views ; to go to the fountain head, from whence the greateft men 
 have drawn that which has made their works the wonder of fucceed- 
 ing ages ; they would thus learn to go to nature, and to the reafon 
 of things. Let them receive all the warmth, and light they can from 
 drawings, piftures, and antiques, but let them not ftop there, but 
 endeavour to difcover what rules the great matters went by, what 
 principles they built upon, or might have built upon, and let them 
 do the fame ; not becaufe they did fo, or were fuppofed to have 
 done fo, but becaufe it was reafonable. 
 
 Co If 
 
( ) 
 
 If (laftly) men of birth and fortunes were generally lovers of 
 Painting, and connoifTeurs, as t"hey would be convinced of the 
 dignity of the profeffion, they would caufe more of their younger 
 fons (at leaf!) to be applied this way, as well as to law, divinity, 
 arms, navigation, &c. Thefe by a generous education, and not 
 being obliged to work for bare fubfiftance, would be better qualified 
 for fo noble a ftudy, and have better opportunities of improvement 
 in it. There can be no fuch thing as a mere painter; to merit the 
 name of a painter it is necelTary to be much more, he muft be con- 
 fiderable without that addition. It is not here as in numbers, where 
 if a unit be -fet before feveral cyphers it may make a fum ; there 
 mufl: be a large fum firft, and then this unit fet at the head of them 
 has a value, and makes the whole ten times more. 
 
 I have been fliewing how beneficial the art of Painting is, and 
 how much more it might be made to the public in the reformation 
 of our manners, improvement of our people, and increafe of our 
 wealth, all which would bring a proportionable addition of honour, 
 and power to this brave nation; and I have (hewn that for a gentle- 
 man to become a lover of the art, and a connoilTeur, is the means to 
 attain this end : this alone, if there was no other argument, would 
 prove it to be worthy of fuch a one to turn his thoughts this way. 
 
 Here being a full period, and the firft opportunity I have had, I 
 ^vill inform the public, that I have at length found a name for tb« 
 fciience of a connoilfeur of which I am treating, and which I ob- 
 ferved at the entrance of this fubjeft wanted one. After foraie of 
 thefe flieets were printed, I was complaining of this defefcl to a 
 friend, who I knew, and every body will readily ackowledge was 
 very proper to be advifed with on this, or a much greater occafion; 
 and the next day had the honour of a letter from him on another 
 affair, wherein however the term Conk oiss an ce was ufed ; this I 
 immediately found was that he recommended, and which I fliall 
 ufe hereafter. And indeed fince the term Connoifleur, though it 
 
 has 
 
( 199 ) 
 
 has a qeneral Hgnification, has been received as denoting one fkiiful 
 in this particular faience, there can be no reafon why the fcience 
 itfelf flaouhi not be called Connoiflance. Perhaps it is not without 
 fome mixture of vanity in myfelf, but in juftice to niy friend, I 
 mull not conceal his name ; it is Mr. Prior. 
 
 I will now go on with my difcourfe. 
 
 There are few that pretend to be connoifTeurs.. and of thofe few, 
 the number of fuch as deferve to be fo called is very fmall : it is not 
 enough to be an ingenious man in general, nor to have feen all the 
 fineft things in Europe, nor even to be able to make a good pic- 
 ture, much lefs the having the names, and fomething of the hiftory 
 of the mafters : all this will not make a man a good connoiffeur, to 
 be able to judge of the goodnefs of a pifture, mod of thofe qualifica- 
 tions are necelTary, which the painter himfelf ought to be poffefl'ed 
 of; that is, all that are not pra6tical ; he mufl: be mailer of the 
 fubjccl, and if it be improveable he muft know it is fo, and wherein; 
 he muft not only fee, and judge of the thought of the painter in 
 what he has done, but muft know moreover what he ought to have 
 done ; he mufl be acquainted with the paflions, their nature, and 
 how they appear on all occafions. He muft have a delicacy of eye 
 to judge of harmony, and proportion, of beauty of colours, and 
 accuracy of hand ; and laftly, he muft be converfant with the better 
 fort of people, and with the antique, or he will not be a good judge 
 of grace, and greatnefs. To be a good connoiffeur (I obferved 
 heretofore) a man muft be as free from all kinds of prejudice as 
 poffible ; he muft moreover have a clear, and exaQ way of thinking, 
 and reafoning ; he muft know how to take in, and manage juft 
 ideas ; and throughout he muft have not only a folid, but an un- 
 bialTed judgment. Thefe are the qualifications of a connoiffeur; 
 and are not thefe, and the exercife of them, well becoming a 
 gendeman ? 
 
 C c 2 The 
 
( 20O } 
 
 The knowledge of hiftory has ever been efteemed to be fo. And 
 this is abfolutely necefTary to a connoiffeur, not that only which 
 may enable him to judge how well the painter has managed fuch, 
 and fuch a ftory, which he will have frequent occafion to do, but 
 the particular hiftory of the arts, and efpecially of Painting. 
 
 Methinks it ftiould be worth the while of fome one duly qualified 
 for fuch an undertaking, inftead of the accounts of revolutions in 
 empires, and governments, and the means, or accidents, whereby 
 they were efFeQed, military, or political, to give us the hiftory of 
 mankind with refpeft to the place they hold amongft rational beings; 
 that is, a hiftory of arts, and fciences; wherein it would be fcen to 
 what heigths fome of the fpecies have rifcn in fome ages, and fome 
 countries, whilft at the fame time on other parts of the globe, men 
 have been but one degree above common animals ; and the fame 
 people, who in this age gave a dignity to human nature, in another 
 funk alraoft to brutality, or changed from one excellency to another. 
 Here we might find where, and when fuch an invention firft ap- 
 peared, and by what means ; what improvements, and decays hap- 
 pened : when fuch another luminary rofe, and what courfe it took ; 
 and whether it is now afcending, in its zenith, declining, or fet. 
 Here it would be confidered what improvements the moderns have 
 made upon the ancients, and what ground they have loft : fuch a 
 hiftory well written, would give a clear idea of the nobleft fpecies of 
 beings we are acquainted with in that particular wherein their pre- 
 eminence confifts. And (by the way) I will take leave to obferve, 
 that we fliould find them to have arrived to a vaft extent of know- 
 ledge, and capacity in natural philofophy, in aftronomy, in navi- 
 gation, in geometry, and other branches of the mathematics, in war, 
 in government, in Painting, poetry, mufic, and other liberal, and 
 mechanic arts; in other rcfpefts, particularly in metaphyfics, and 
 religion, to have been ridiculous, and contemptible: except where 
 the Divine goodnefs has vouchfafcd an extraordinary portion of 
 
 light, 
 
( 201 ) 
 
 light, like the fun beams darling out here, and there upon the earth 
 in a cloudy day, or where it has blazed out plentifully by fuper- 
 natural revelation. 
 
 In fuch a hiflory it would be found, that the arts of dcfign, Paint- 
 ing, and fculpture were known in Perfia and Egypt, long before we 
 have any accounts of them amongH; the Greeks ; but that they carried 
 them to an amazing height, from whence they afterwards fpread 
 themfelves into Italy, and other parts, with various revolutions, till 
 they funk with the Roman empire, and were loft for many ages, fo 
 that there was not a man upon the face of the earth able to delineate 
 the form of a houfe, a bird, a tree, a human face, a body, or what- 
 ever other figure confifting of any variety of curved lines, otherwife 
 than as a child amongfl; us; to do this right, and as it is done now, 
 ■was as much above the capacity of the fpecies at that time, as it is 
 now to make a voyage to the moon. In this ftate of things, about 
 the middle of the thirteenth century, Giovanni Cimabue, a Floren- 
 tine, prompted to it by a natural genius, and affifted at firft by fome 
 ■wretched painters from Greece began to redore thofe arts, which 
 were improved by his difciple Giotto. 
 
 In fuch a hiftory it would follow, that after feveral endeavours 
 and advances had been made by Simone Memmi, Andrea Verroc- 
 chio, and others, Maffaccio, born about anno 1417, at Florence (who 
 indeed I ought to have inferted in the chronological lift in my 
 former book) this great man, in his fliort life of fix and twenty 
 years, made fo confiderable an improvement upon what he found 
 had been done before him, that he may juftly be (as he is) efteemed, 
 the father of the fecond age of modern Painting. The light thus 
 happily kindled in Tufcany, difFufled itfelf into Lombardy, for foon 
 after the death of Mafaccio, the Bellini's, Jacopo, and his two fons 
 firft introduced the art in Venice; and foon after Francefco Francia 
 appeared at Bologna, and was the Maffaccio of that city; for the 
 art had raifed its head there long before, and fome fay more early 
 
 than 
 
( 202 ) 
 
 than even at Florence ; though it was but juft kept alive there till 
 many years after. About this time too Andrea Mantegna fhewed 
 the art to thofe of Mantua, and Padua. Germany alfo had her 
 Albert Durer about the latter end of the fame century, and in the 
 beginning of the next Lucas Van Leyden was famous in Holland ; 
 as was Mans Holbein quickly after here in lingland. But Florence 
 was ftill the centre of light, where it brightened more and more i 
 for in the year 1445, Leonardo da Vinci was born there : this was 
 a univerfal man, and amongft other arts was excellent in Painting, 
 and defigning, efpecially the Utter, in which he foraetimes almolt 
 equalled the beft mafters the world ever faw. About thirty years 
 after him, arofe Michelangelo Buonaroiti, the head of the Floren- 
 tine fchool, a vaft genius, fuperior to all the moderns in fculpture, 
 and perhaps in defigning, and a profound knowledge in anatomy; 
 and moreover as excellent an archite£l. Thefe two great men 
 coming to Rome, where (though there was fo great a difproportion 
 in their years) they were competitors, transferred the feat of the 
 art to that happy city. Though in Venice it went, on improving, 
 and growing up to maturity and perfeQion, which it attained to (in 
 fome of its parts, particularly colouring) in Giorgione, and more 
 eminently in Titian, and in Correggio, upon the terra firma of Lom- 
 bardy. And now, that is, upon the entrance of the fixteenth cen- 
 tury, the great luminary of Painting appeared above the horizon, 
 the undoubted head of the Roman fchool, and of the modern 
 painters Rafaelle Sanzio da Urbino. Whether any of the ancients 
 excelled him, and if they did, in what degree are queftions which 
 the hiftory I am recommending as proper to be written, may endea- 
 vour to refolve ; I will not. But fuch an hiftorian will go on to 
 fhew how the flame which blazed fo glorioufly in Rafaelle, and 
 continued bright, though with a diminiflied luftre in his difciples 
 Giulio Romano, Polidoro, Pierino, and others ; and at Florence, 
 in Andrea del Saito ; and there, and elfewhere, as well as at Rome, 
 
 in 
 
( 203 } 
 
 in BaldafTar Peruzzi, Primaticcio, Battifta Franco, Parmegj^iano, 
 the elder Palma, Tintoretto, Baroccio, Paolo Vcroncfc, tlic two 
 Zuccaroes, Cigoli, and many others, decayed by liitlc, and little, 
 till it was blown up again in the fchool of the Caracci in 'Bologna 
 about an hundred and forty years ago ; and continued \viih great 
 brightnefs in their difciples, and others; Giufeppino, Vanni, Guido, 
 Albani, Doininichino, Lan franco, &c. but as the Jews wept wl.cn 
 they faw the fecond temple, which though magnificent was not 
 equal to the firft, fo neither was this great effort capable of producing 
 fuch flupendous works of art as thofe of the Rafaclle age. And though 
 we have had great men in their feveral ways, as Rubens, Spagnoleito, 
 Guercino, Nicolas Pouffin, Pietro da Cortona, Andrea Sacchi, Van 
 Dyck, Cafliglione, Claude Lorenefe, the Borgognone, Salvator Rofa, 
 Carlo Maratti, Luca Giordano; and feveral others of lefTernote, though 
 neverthelefs of confiderable merit, yet the art has vilibly declined. 
 As for its prefent flate in Italy, here and elfewhere the hifiorian I 
 am fpeaking of may write what he thinks fit, and perhaps by that 
 time new matter may arife ; I, for my part, inftead of entering upon 
 that fubje£t, will content myfelf with obferving in general, that 
 though mankind have always exprefTed a love to it, and been ready 
 to encourage the wealiefl endeavours this way, (I only except the 
 Jews, an Arabian impofior, and his fanatick difciples, and fome 
 few cnthufiafts, and four ftupid people) the fpecies in all the many 
 ages of their exiftence have been rarely able, and in a narrow extent 
 of country, at any one time to perform any thing confiderable in 
 Painting. There have been innumerable great maimers in other arts 
 and fciences, but in this the number is very fraail; great maflers in 
 many other arts have appeared in all ages ; of Painting there have 
 been none in all the fix thoufand years fince the birth of the world 
 (at leafl we have no account of them) except thofe in Greece, and 
 Italy two tlioufand years ago, and that perhaps for about the fpace 
 
 of 
 
C 204 ) 
 
 of five hundred years; and thofe in this latter age of the art of which 
 I have been offering a curfory view. 
 
 So ancient yEinas JalpKrom caverns give 
 Sufficient food to keep the Jlame alive ; 
 The kindled ftream through every chafr,i Jlrays 
 On each comhuflible with gladnejs preys, 
 But in large [paces ampler fires difplays ; 
 Deep funk below 'lis hid Jrom mortal eyes, 
 Butjmoke, and cinders moderately rije ; 
 'Till nature furnijliing uncommon Jlores, 
 The hill Jrom out her gaping fiimmit pours 
 AJcending ruddy flames, and with a found 
 Loud, and triumphant fills the air around, 
 Supplies the heavens tuith another day, 
 And fiiews the mariner far off his way ; 
 The flock exhaufled to her wont returns, 
 And fi,lently, unfeen the mountain burns. 
 
 It muft have been obferved that the art has flourifhed at Florence, 
 Rome, Venice, Bologna, &c. in each of which places the ftyle of 
 Painting has been different ; as it has been in the feveral ages in 
 which it has flourifhed. When it firfl began to revive after the ter- 
 rible devaftations of fuperflition, and barbarity, it was with a flifF, 
 lame manner, which mended by little, and little till the time of 
 Mafaccio, who rofe into a better tafte, and began what was referved 
 for Rafaelle to complete. However this bad flyle had fomething 
 manly, and vigorous; whereas in the decay, whether after the happy 
 age of Rafaelle, or that of Annibale one fees an effeminate, languid 
 air, or if it has not that it has the vigour of a bully, rather than of a 
 brave man : the old bad Painting has more faults than the modern, 
 Jout this falls into the infipid. 
 
 The 
 
 } 
 
( 205 ) 
 
 The painters of the Roman fchool were the bed dcfigncrs, and 
 had a kind of greatnefs, but it was not antique. The Venetian, and 
 J.ombard fchooLs had excellent colourifts, and a certain grace but 
 entirely modern, efpecially thofe of Venice ; but their drawing was 
 generally incorreQ, and their knowledge in hiftory, and the antique 
 very Jittle: and the Bolognefe fehool is a fort of compofition of the 
 others; even Annibale himfelf poflefTed not any part of Painting in 
 the perfeQion as is to be feen in thofe from whom his manner is 
 compofed, though to make amends he poffeffed more parts than per- 
 haps any other maOer, and in a very high degree. The works of 
 thofe of the German fehool have a drynefs, and ungraceful ftilFnefs, 
 not like what is feen amongft the old Florentines, that has foniething 
 in it pleafing however, but this is odious, and as remote from the 
 antique as goihicifm could carry it. The Flemings have been good 
 colourifts, and imitated nature as they conceived it, that is, inltcad 
 of raifing nature, they fell below it, though not fo much as the Ger- 
 mans, nor in the fame maimer ; Rubens hiuilelf lived, and died a 
 Fleming, though he would fain have been an Italian; but his imitators 
 have caricatured his manner, that is they have been more Rubens 
 in his defefts than he himfelf was, but without his excellencies. The 
 French (excepting fome few of them, N. Pouirm, Le Seur, Sebaftien 
 Bourdon, &e.) as they have not the German ftiff'nefs, nor the Fle- 
 mi(h ungracefulnefs, neither have they the Italian folidity ; and in 
 their airs of heads, and manners, they are eafily didinguifhed from 
 the antique, how much foever they may have endeavoured to imitate 
 them. 
 
 Which have been the moft excellent painters the ancients, or the 
 moderns is a queftion often propofed, and which I will try to refolve. 
 That the painters of thofe times were equal to the fculptors in inven- 
 tion, expreffion, drawing, grace, and greatnefs is fo exceeding pro- 
 bable that I think it may be taken for granted. If fo, that in 
 drawing, grace, and greatnefs the ancients have the advantage is 
 
 D d certain; 
 
( 206 ) 
 
 certain ; and little lefs than certain that in colouring, and compod- 
 tion the moderns have it more. But though that be true, thofe 
 parts of Painting being not fo confiderable as the other in which 
 the moderns are outdone, it will hardly reduce the matter to an 
 equality, the advantage will remain to the ancients fo far as we have 
 gone. It remains that we confider the other parts of Painting, the 
 invention, and expreflion : the manner of thinking of the ancients 
 is fuch as is not to be mentioned without the utmofl veneration 
 allowed to be given to mortal men ; but when I fee what fome of the 
 moderns have done in thefe parts of Painting I profefs I dare not 
 determine which has the preference. It would be a fine amufement, 
 or rather a noble, and a ufeful employment for a gentleman to col- 
 left, and compare the many fine thoughts, and expreffions, on one 
 fide, and the other : for me to do it here would be too tedious, and 
 too great a tafic, having already undertaken what will coft me more 
 pains, and time than I intended, or perhaps is fit for me to beflow 
 this way. Whether even this would end the difpute is uncertain ; 
 but as the matter ftands at prefent, allowing an equality in thefe laft 
 mentioned parts of Painting, and an advantage to the modern in 
 fome others, the fuperiority of the ancients in drawing, grace, and 
 greatnefs determines in favour of them. 
 
 Another part of hiftory no lefs worthy a gentleman's confidera- 
 tion than neceffary to a connoilTeur, is that of the lives of the par- 
 ticular mailers. When we refle6l upon the vigorous fallies which 
 fome of the fpecies have made, whereby they have as it were con- 
 nefted ours with that of the next order of beings above us, we muft 
 naturally defire to have a more exa6l account of every ftep they 
 made towards that glorious diftinQion : this alfo will be of ufe to 
 ourfelves, and help to excite us to do fomething, whereby we alfo 
 may be diftinguiflied with honour, and our memories be fweet to 
 pofterity. 
 
 As 
 
( 207 ) 
 
 As in reading the lives of the great captains, and ftatefmen we 
 are inftrufted in the hiftory of their times, and their own, and 
 neighbouring nations ; in thofe of philofophers, and divines 
 we fee the ftate of learning, and religion, fo in the lives of the 
 painters we fee the hiftory of the art ; and I believe there has been 
 as many accounts of thefe great men who have done fo much honour 
 to human nature, and many of them as well written, as of any ciafs 
 of men whatfoever.* 
 
 The general idea I have of thofe excellent men, I mean of the 
 principal of them, fuch as thofe of whom I have given an hiftorical, 
 and chronological lift at the end of my former book is this, they 
 
 D d 2 were 
 
 * Le vite del pittcri e de fcultori co' Ritrattl, defcritte in tre tomi da Giorgio 
 Vafari pittore Aretino. Firenze 1586. Bolog. 1647. ^to. 
 
 Le Maravlglie dell' arte, overo delle vite de pittori Veneti, e dello ftato, in 
 due parti dal Cav. Cario Ridolfi. Venezia, 1648. 4to. 
 
 Felfina Pittrice : vite de 'pittori Bolognefi compofte dal conte Carlo Cefare 
 Malvafia. lib. 4. in 2 tomi, co' Ritratti de pittori Bolog. 1678. 410. 
 
 Le vite de 'pittori, & architetti, dal 1572 fino al 1640, fioriti in Roma, 
 dal Cav. Gio. Baglioni Roma, 1642, & 1649. 
 
 Le vite de 'pittori, de 'fcultori, & de gli architetti raoderni fcritte da Gio. 
 Pietro Bellorio. Parte prima Roma, 1672. 4to. 
 
 Notitia de profeflTori del difegno da Cimabue in qua dal Filippo Baldinucci. 
 In feveral volumes printed at Florence at feveral times, the firft anno 1681. 
 
 Abcedario Pittorico nel quale compendiofamente fono defcritte le patrie, i 
 maeftri, ed i tempi ne quali fiorirono circa 4000 profefTori di pittura, di fcul- 
 tura, e di architettura da Fr. Pel, Ant. Orlandi. Bolog. 1704. 4to. 
 
 Entretiens fur les vies, 6c fur Ics ouvrages de plus excellens peintres anciens 
 & moderns, par Filibien. torn. i. Paris 1666. torn. 2. 1672. 4to. Reprime 
 Paris 1685. Amft. 8vo. 
 
 Academia nobiliffimaE artis pi£loriae Joachimi Sandrart. a Stockau Nornub. 
 1683. fol, 
 
 Abrege de les vies de pientres, par M. de Piles. Paris 17 15. 
 In the Englifh tranflation of the Art of Painting by C. A. du Frefnoy, the 
 lives of the painters are abridged by Mr. Grahme. Lend. 1716. 
 
( 208 ) 
 
 were moft of them men of fine, natural parts, and fome of them 
 ■went very far into learning, and other fciences, particularly mufic, 
 and poetry ; many of them have received the honour of knight- 
 hood, and fome have entailed nobility on their pofterity ; mofl; of 
 them advanced their fortunes very confiderably, they have gene- 
 rally been in great favour with their fovereigns, or at leaft were 
 much efteemed, and honoured by men of the firft quality ; lived 
 in great reputation, and died much lamented : feveral of them 
 were remarkably fine gentlemen, and if any of them were not 
 fo, they were not fordid, low, vicious creatures. Correggio was an 
 obfcure man whilll he lived, but is one of the greateft inftances of 
 a genius that the world ever faw ; he was obfcure, not vicious. 
 Annibale Caracci took more pleafure in his Painting than in the gaie- 
 ties of a court, or the converfation, or friendfliip of the great, which 
 with a fort of ftoical, and perhaps a mixture of a C) nical pride he 
 defpifed, but he had a greatnefs of mind that pleads efFeftually in 
 his behalf, and compels us to overlook his faults, which were much 
 owing to his natural melancholy. The hiftories of Rafaelle, Leo- 
 nardo da Vinci, Michelangelo, Titiano, Giulio Romano, Guido, 
 Rubens, Van Dyck, and Sir Peter Lely, (to name no more,) are 
 well known, they lived in great honour, and made a very confider- 
 able figure in their feveral times, and countries. 
 
 That the generality of good painters have been idle, and fots, is 
 a vulgar error, on the contrary I know not even one inftance of 
 this among thofe great mailers Vv'ho I have all along been fpeaking 
 of, and who alone are confiderable in their profefiTion ; though 
 indeed thofe that have given occafion for this fcandal may poffibly 
 have been the beft whofe works thofe people who have thus thought 
 have been acquainted with. 
 
 Another miftake of this kind is, that the painters how excellent 
 foever they may have been in their art, have been inconfiderable 
 creatures oiherwife : but (as I have obferved heretofore) a valuable 
 
 man 
 
( 203 ) 
 
 man will remain though a good painter is deprived of his eyes, and 
 hands. 
 
 When afier a brouillerie between Pope Julius, and Michelan- 
 gelo, upon account of flight the arlifl; conceived the pontiff had put 
 upon him, (the ftory is at large in Vafari) Michelangelo was intro- 
 duced by a bifhop (who was a flranger to him, but was deputed by 
 Cardinal Soderini, who being fick could not do it himfelf as was 
 intended) this bilhop thinking to ferve Michelangelo by it made it 
 an argument that the Pope fliould be reconciled to him becaufc men 
 of his profeflion were commonly ignorant, and of no confequence 
 otherwife ; his holinefs enraged at the bifiiop ftruck him with his 
 flaff, and told him it was he that was the blockhead, and affronted 
 the man himfelf would not offend : the prelate was driven out of the 
 chamber, and Michelangelo had the Pope's benediftion accompanied 
 with prefcnts. This bifliop had fallen into this vulgar error, and 
 was rebuked accordingly. 
 
 What I have been faying, puts me in mind of a ftory which 
 paffes very currently of this great mafter, and that is, that he had a 
 porter fixed as to a crofs, and then ftabbed him, that he might the 
 better exprefs the dying agonies of our Lord in a crucifix he was 
 Painting : I find no good ground for this flander. Perhaps it is a 
 copy of a like ftory of Parrhafius, the truth of which is alfo much 
 doubted of ; it is faid he fattened a flave he had bought to a machine, 
 and then tormented him to death, and whilft he was dying, painted 
 the Prometheus he made for the temple of Minerva at Athens. 
 
 Now that I am upon particulars, there is one of a different fort 
 relating to Titian, which I will take this occafion to make more 
 public than has yet been done : it is a letter written by him to the 
 Emperor Charles V. I find it in a collc6lion of Italian letters 
 printed at Venice 1574. Ridolphi, nor any other writer that I 
 know of has this, though he has another written to the Emperor, 
 
 and 
 
( ) 
 
 and one to Philip II. King of Spain, as he has alfo one or two 
 letters from that king to Titian. 
 
 Invitlijfimo Principe, fe dolfe alia facra niaefla uoflra la falfa nuoua 
 della morte mia, a me e jlato di confolaiione d'ejfere percio fatlo piu 
 certo die I' altezza uojlra della mia Jeruitu ft ricordi ondc la uita m e 
 doppiaimnta cava. Et humilmente prego N. S. Dio a confcniarmi 
 (fe non piu) tanto die finifca 1' opera della Cefarea maejia uqftra, la 
 quale Ji truoua in termine die a Settembre projfimino potra comparire 
 dinanzi I' altezza uojlra, alia quale fra quejlo mezzo con ogni humilta 
 viinchino, ^ riuerentemente in Jua gratia mi raccommando. 
 
 TxTiANo Vecellio. 
 
 Lomazzo, in his Idea del Tempio della Pittura, pag. 57, prettily 
 charaQerizes feveral of thofe great tnafters I have been fpeaking of 
 by animals, and famous men, chiefly philofophers. To Midielangelo 
 he affigns a dragon, and Socrates ; to Gaudentio an eagle, and Plato ; 
 to Polidoro a borfe^ and Alcides ; to Leonardo da Vinci a lion, and 
 Prometheus ; to Andrea Mantegna a ferpent, and Archimedes ; to 
 Titiano an ox, and Ariftotle ; to Rafaelle a man, and Solomon, 
 For the reft I refer you to the books. 
 
 But what completes the hiftory of thefe great painters is their 
 works; of which a great number, efpecially of drawings, is pre- 
 ferved to our times. Here we fee their beginning, progrefs, and 
 completion; their feveral various ways of thinking ; their different 
 manners of exprefEng their thoughts ; the ideas they have of beauty 
 in vifible objeQs ; and what accuracy, and rcadinefs of hand they 
 had 'im -exprefling what they conceived. Here we fee the fleps they 
 made in fome of their works, their diligence, careleffnefs, or 
 other inequalities, the variation of their ftyles, and abundance of 
 other circumltances relating to them. If therefore hiftory, if the 
 hiftory of the arts ; if the hiftory of the particular artifts, if thefe are 
 
 worthy 
 
( 211 ) 
 
 worthy of a gentleman ; this part of the hiflory, thus written, where 
 almofl every page, every charafler is an inftance of the beauty, and 
 excellency of the art, and of the admirable qualities of the men of 
 whom it treats is alfo well worthy his perufal, and ftudy. 
 
 I will conclude this branch of my argument relating to the dignity 
 of Painting, and connoiffancc, with obferving that thofe of the 
 greatefl; quality have not thought it unworthy of them to praflife, 
 not the latter only, but the other. And that if it is not yet a dimi- 
 nution of fuch a one's charafter not to be a connoilfcur, it is an 
 addition to it if he is ; and is judged to be fo by every body. And 
 fome fuch we have of our own nation, who are diflinguilhed not 
 only by their births and fortunes, but by other the moft amiable 
 qualities, that juftly endear them to all that have the honour and 
 happinefs of knowing them, and being known to them, if withal 
 they have any fenfe of virtue, integrity, honour, love of one's 
 country, and other noble qualities, which thofe illuftrious con- 
 noiffeurs poffefs in fo eminent a degree. 
 
 SECT. II. 
 
 All nature is in perpetual motion ; as time never ftands ftill, 
 neither do our bodies continue the fame, but are ever changing ; 
 and the tendernefs of infancy is transformed to v.-hithered old age by 
 infenfible ft eps ; but we are always ftcpping on: fo it is with our 
 minds, ideas are continually arifing ; whether (as feems) fpon- 
 taneoufly, or fuggeftcd to us by our fenfes, or by what means 
 focver ; thefe pafs away to give place to others, fo that the fcene 
 within is eternally fhifting from what it was. That great fet of ideas 
 which is compofed of all thofe now pofTefTed by all mankind is 
 already changed, and whilft I am writing this line is almofl entirely 
 different from what it was when the thought firft came into my own 
 mind ; even this thought, though it appears flill to be right, and 
 
 perhaps 
 
( 212 ) 
 
 perhaps always will do fo whenever it returns, if it ever does, yet 
 there is a change whilft I am forming every letter; it is ftronger, it 
 is weaker, it difappears, others arife, it returns ; things have a dif- 
 ferent view every moment. 
 
 Now as when one would compofe a certain tint of colour (to 
 illuftrate what I am faying by fomeihing in my own way) the fame 
 colours, and exaflly the fame quantities of each muft be employed ; 
 the leaft particle more or lefs, makes it impoffible it fliould be the 
 fame : fo to produce exaClly the fame idea as I have had heretofore: 
 or the fame in my mind as you are poffeffed of. the very fame cir- 
 cumftances muft concur, which being impoflfibie, there muft be a 
 difference, though (as in the former cafe) it is fometimes fo little 
 as to be imperceptible; but ftill that there is fuch difference in 
 reality, is evident to a demonftration. 
 
 Whether that incomprehenfible mind that prefides over every the 
 fmalleft particle of matter throughout the univerfe, does alike pro- 
 duce, dire6l, and govern every one of that great, and eternally 
 changing fet of ideas, from time to lime, pofleffed by every in- 
 telligent being; and confequently their caufes ad infinitum: whether 
 we have any greater power over our minds than over our bodies 
 and can add to, or alter our ideas any more than we can raife our- 
 felvcs a cubit higher, or change the colour of a fingle hair; in 
 fliort, whether our wills are free is a noble enquiry, becaufe the 
 effeft of it may be a moft beautiful, fimple, and unexceptionable 
 fyftem of things. But as this would be to go out of that train of 
 thought I am upon, and which is my prefent affair, I chufe rather 
 to go on to obferve, that 
 
 However diffierent we are from ourfelves ; or one man is from 
 another, every man is an epitome of the whole fpecies : the wifeft 
 amongft us is a fool in fome things, as the lowcft amongft men has 
 fome juft notions, and therein is as wife as Socrates ; fo that every 
 man refembles a ftatue made to (land againft a v.-ali, or in a nich, 
 
 on 
 
( 2t3 ) 
 
 on one fide it is a Plato, an Apollo, a Demollhciies ; on the other 
 it is a rough, unformed piece of ftone. 
 
 And notwithftanding this vaft variety of fentimcnts aniongfl men ; 
 nothwithftanding truth is always the fame, and is a fingle point, 
 though error is infinite ; every man (as he muft neceffarily) thinks 
 himfelf in the right, and that all that differ from him are miftaken; 
 and accordingly every man is contented with himfelf, and laughs at, 
 or pities all the reft. I know not who has faid it, but he has given 
 a fine image of mankind in this light. 
 
 So one fool lolls his tongue out at another. 
 And JJiakes his empty noddle at his brother. 
 
 Thus (to film up what I have been faying) our knowledge arifing 
 from imperfeft evidence, imperfeflly conveyed, muft be imperfect, 
 and mixed with doubt, and error, and that in all degrees; and every 
 man differs from himfelf in thefe particulars, and from every other 
 man ; and the fcene is eternally changing : but every man is partly 
 a wife man, and partly a fool ; however we all fee the fool's cap on 
 every body's head but our own. 
 
 The reflexion we fliall naturally make upon the view of the ftate 
 of human underftanding hitherto is but a melancholy one ; efpccially 
 when it is remembered that (being fuppofed free, and therefore ac- 
 countable for all our thoughts and a£lions) among the other uncer- 
 tainties we are in, it is made a queftion whether, and how far an 
 erroneous judgment will excufe our deviations from what is good 
 abfolutely confidered ; it is not my bufinefs to decide in this nice 
 cafe, only for myfelf, which I do as well as I can ; but inftead of 
 that, I will take leave to fet down a paftage in my beloved Milton, 
 applicable to my prefent purpofe. Eve upon a certain occafion 
 fays, 
 
 E e Frail 
 
( 214 ) 
 
 Frail is our happinefs if this be Jo, 
 An Eden were no Eden thus expos' d. 
 
 To whom thus Adam fervently reply d ; 
 0 woman, heji are all things as the will 
 Of God ordained them, his creating hand 
 Nothing imperfeEt, or deficient left 
 Of all that he created, much lefs man. 
 Or ought that might his happy fate fecurCt 
 Secure from outward force, within himfelf 
 The danger lies 
 
 A very little refleftion on what has been faid, and on what is 
 feen abroad in the world, will give us an idea of other fciences as to 
 the particular we are at prefent upon. 
 
 I will now fhew how that matter ftands with relation to con- 
 noifance in its feveral branches, the knowledge of the goodnefs of a 
 picture, drawing, &c. the diftinguifhing of hands, and originals, ' 
 and copies. 
 
 Rules may be eftabliflied fo clearly derived from reafon as to be 
 inconteftible. If the defign of the pi6lure be (as in general it is) 
 to pleafe, and improve the mind (as in poetry) the flory mufl; have 
 all poflible advantages given to it, and the aftors muft have the 
 utmoft grace, and dignity their feveral charafters will admit of : if 
 hiftorical, and natural truth only be intended, that muft be fol- 
 lowed ; though the beft choice of thefe muft be made ; in both 
 cafes unity of time, place, and aftion ought to be obferved : the 
 compofition muft be fuch as to make the thoughts appear at firft 
 light, and the principal of them the moft confpicuoufly ; and the 
 whole muft be fo contrived as to be a grateful objeft to the eye, 
 both as to the colours, and the mafles of light and ftiadow. Thefe 
 things are fo evident as not to admit of any difpute or contradic- 
 tion ; 
 
( 215 ) 
 
 lion; as it alfo is that the expreffion muft be ftiong, the drawing- 
 juft, the colouring clean and beautiful, the handling eafy, and light, 
 and all thefe proper to the fubjcft. Nor will it be difficult to know 
 affuredly what is fo, unlefs with relation to the juflnefs of the draw- 
 ing; but to know in the main whether any thing is lame, diftorted, 
 mis-fhapen, ill proportioned, or flat, or on the contrary round, and 
 beautiful is what any eye that is tolerably curious can judge of. 
 
 The rules being fixed, and certain ; whether a pi6lure, or draw- 
 ing has the properties required is eafily feen, and when they are 
 diicovercd, a man is as certain he fees what he thinks he fees, as in 
 any other cafe where his own fenfes convey the evidence to his 
 underftanding. 
 
 And by being accuftomed to fee, and obferve the bed piflures, a 
 man may judge in what degree thefe excellencies are in that under 
 confideration ; for all things muft be judged of by comparifon, that 
 will be thought the beft that is the beft we know of. 
 
 If a pi£lure has any of the good properties I have been fpeaking 
 of (as none has all} we can fee which, or how man)- they have, and 
 what they are, and can tell what rank they ought to hold in our 
 eftimation, and whether the excellencies they have will atone for 
 thofe they want, as the mofl delicate pencil, the fineft colouring, 
 the greateft force (though thefe are valuable) will not make amends 
 for a lewd, or profane fubjeft, a poor and infipid way of thinking, 
 lamenefs, or ftiifnefs, want of harmony, and tamenefs, meanncfs, 
 and ungracefulnefs throughout ; for this would be like good language, 
 and mufical numbers in a poem without fenfe, invention, elevation, 
 propriety, and ihe other requifites in poetry. 
 
 Without principles a man is in the dark, and flufluates in un- 
 certainty, but having thefe one may be ileady and clear; if care be 
 taken to keep to them, and that we do not judge by fomeihing elfc 
 befidcs, or inftead of them ; and moreover that thev be folid 
 and juft. 
 
 E e 2 Here 
 
( 2l6 ) 
 
 Here now is a very great degree of certainty to be had in by 
 much the mofl material branch of the fcience. And that being 
 fecured, it is comparatively of little confequence of what hand a 
 work is, or whether it is an original, or not. 
 
 But here too there are many cafes wherein we can have an equal 
 degree of affiirance as in the former. Thus it is with refped to the 
 beft works of the beft mafters, efpecially when if it is a pi6lure, 
 hiftory, or tradition confirms our opinion ; and if a drawing, it is 
 known for what pi£ture it was made : or when we have an opportunity 
 (which frequently happens) of comparing one of the fame mafter, 
 and manner with another. In the beft works of the beft matters not 
 only their chara6lers are evidently feen, but here they are exalted 
 above the poffibility of being copied, or imitated fo as not to be 
 difcovered. And befides, Providence has preferved to us a fuffi- 
 cient number of the works of thefe excellent men whereon fecurely 
 to form our ideas concerning them. 
 
 A like degree of evidence we have for the works of thofe who 
 have been great mannerifts ; and of whom we have many pi6lures, 
 or drawings. It is true, a tolerable copy of one of thefe mafters 
 may, at firft fight, be taken for an original, as an imitation may be 
 thought to be genuine; but it is very rarely found that the difference 
 is not plainly difcovered with a little attention; generally it is feen 
 immediately, and inconteftably. 
 
 There are many fketches, or other free-works, whether piftures, 
 or drawings of whofe originality we are alfo abfolutely certain. 
 
 I pretend not to go through all the cafes wherein this affurance, 
 or high degree of perfuafion is to be had, it would be too tedious; 
 We may be reafonably well perfuaded in many others; as where we 
 have confiderable numbers of genuine works of mailers not fo ex- 
 cellent, nor whofe manners are more particularly remarkable. We 
 may alfo be thus perfuaded of thofe that are not the beft of the 
 greatcft hands, or manners which they feldom ufed ; and that by 
 
 comparing 
 
( 217 ) 
 
 comparing thefe works with thofe which are indifputable ; for there 
 is in all the mafters, though not in all equally, a certain charafler, 
 and peculiarity that runs through all their works in fume meafure, 
 and which a good connoifTeur knows, though he cannot defcribc it 
 to another. 
 
 This way of comparifon too helps us to a higher degree of per- 
 fuation than otherwife we fhould have had with relation to the works 
 of mafters of whom we have but a fmall number ; as for example of 
 Dominichino; we know his general chara6ler, that is cftablifhed by 
 thofe few of his works that are in Rome, Naples, and elfewhcre, and 
 by the writers ; as we alfo know the chara6ler of Annibale Caracci 
 by the fame means, but in a greater degree. If then we cannot 
 confront a work thought to be of the former, with another already 
 judged to be of him, it may be of confiderable ufe to compare it 
 with one of Annibale, and to fee what degree, and kind of goodnefs 
 it has in that comparifon, and whether that anfwers to the chara6\er 
 of Dominichino as compared with the other : if it docs it is an 
 additional evidence over and above what we had before. 
 
 From thefe we defcend to more doubtful cafes, which it is trou- 
 blefome, and of no great ufe to enumerate ; only in general this is 
 certain, that thefe cafes are fuch as are of the leaft confequence, as 
 being for the moft part with relation to fome of the worft works of 
 the better mafters, or thofe of inconfiderable ones. If it is doubtful 
 whether a pifture, or a drawing is a copy, or an original, it is of 
 little confequence which it is; and more, or lefs in proportion as it 
 is doubtful : if the cafe be exceeding difficult, or impoffible to be 
 determined it is no matter whether it is determined or no; the pic- 
 ture fuppofing it to be a copy muft be in a manner as good as the 
 original, and fuppofing that to be one of the beft of the mafter it is 
 the greater curiofity that he could be fo well imitated : if the quef- 
 tion be whether it is a copy, or an original, one of the moft indif- 
 ferent 
 
( ) 
 
 ferent ones of the mafter ; fuch an original is of no great con- 
 fequence to be known, it is no matter whether it is fo, or a copy. 
 
 After all it muft be acknowledged that as in other fciences there 
 are certain branches of them wherein one man excels, and another 
 in others, but knows little of the reft ; fo in connoilTance, no one 
 man can be acquainted with the hands of all, even of the moft con- 
 fiderable mafters ; nor with all the manners perhaps of any one of 
 thofe who have had great variety of them ; nor to be very expert in 
 more than a few of thefe : he muft be contented with a moderate 
 fkill in many, and to be utterly ignorant in fome of them : fuch is 
 the narrownefs of our faculties, the extent of the fcience, or the 
 want of helps, and materials for the ftudy. 
 
 However let it be remembered too that every connoifleur may 
 judge concerning the goodnefs of a pifture, or drawing as to all the 
 parts of it except the invention, and expreflit)n in hiftorv, and the 
 refemblance in portraits; and thefe no one man can judge accu- 
 rately of in all cafes, becaufe no one man can he acquainted with all 
 the ftories, or fables, or other fubjefts of the ;pi£lure ; as no one man 
 can know every body. 
 
 Thus (I think) I have given the true ftate of the cafe with rela- 
 tion to our knowledge in general, and that which is to be had in 
 the.lcience 1 am treating of; by which it will appear that in this 
 refpeft we are upon an equality (at leaft) with moft other fciences, 
 if we have not the advantage of them. 
 
 The variety of opinions of connoiffeurs, or fuch as pretend to be 
 fo, will be made an objeftion to what I have advanced. And it 
 may feem to be a very confiderable one. I will therefore befides 
 what has been already difcourfed in general of the impoflibility of 
 men's agreeing in their fendments from the nature of things, the 
 appearance of evidence being neceflarily fo various to every one of 
 us, and we as ncceffarily judging according to that, whatever it be. 
 I fay befides this 1 will give a particular anfvver to this objection, and 
 -therein ftiew how it comes topafs that men have thefe different views, 
 
 and 
 
( 219 ) 
 
 and confequently different opinions; and that this does not always 
 happen from the obfcurity of the fcience, but frequently from 
 fome defeft in the men, or in their management on thefe occafions; 
 fo as to render thefe their opinions utterly infignificant. And having 
 done this I will proceed to fhew that there is not altogether fo 
 great a variety of opinions as there feems to be. 
 
 There are fome people who never had any opinions of their 
 own properly fpeaking, but have taken up their notions upon truH; 
 they talk from whim, or fancy, or as they have heard others 
 talk, without fixing upon, or edablifhing any certain principles, 
 whereby to condu6l themfelves in this affair. 
 
 Others may have confidered more, but to as little purpofe, 
 having gone upon principles falfe, or precarious ; to whicli they 
 are bigotted, and refolve to adhere; never impartially enquiring 
 whether they were in the right or no, or perhaps fo much as fufpefl:- 
 ing they were not, or imagining fuch a thing was poffible. 
 
 As the former never ftudied at all, thefe have done fo but in part ; 
 they have not dug down to the foundation, but taken that as they 
 found it : and as truth lies in one fingle point, and error is infinite, 
 fuch people as thefe may ftudy, difpute, and wrangle eternally, and 
 always find plaufible arguments on both fides, but never get out of 
 the labyrinth. 
 
 Some people if they have had the opportunity of feeing good 
 things, efpecially if they have been abroad, and above all in Italy : 
 or if they have the names of fome of the mafters, and a little of their 
 hiftory, fet up for connoiffeurs without taking the requifite pains to 
 be really what they affe6l to be thought to be; jufl; like a young pert 
 divine who if he has been a certain time at the univerfity, and read 
 Ariftotle, and the fathers thinks himfelf a match for Hobbs, or Bel- 
 larmine. 
 
 Again, fome there are who are incapable of being good connoif- 
 feurs, let them take what pains they will, thofe that want genius, 
 
 and 
 
( 220 ) 
 
 and a competent meafure of underftanding can never penetrate into 
 the beauties, or defefts of a picture : they can never be judges of 
 the degrees of its goodnefs. And thofe that know not how to form 
 clear, and diftintl ideas, and have not a memory to retain, and flcill 
 to manage them, can never be good judges of hands, or know copies 
 from originals. 
 
 A man may be a good connoifTeur in general, and an ingenious 
 man, and yet his judgment in many cafes is not to be regarded; he 
 may be exa£lly upon the level with thofe that are neither one, nor 
 the other: there is a certain circle, beyond which the wifeft men are 
 fools; every man's capacity has its bounds; and it is not every 
 one's talent to know the utmoft extent of thefe, or to keep thenj- 
 felves from making excurfions. One connoifTeur is well acquainted 
 with the hands of feme of the matters, or with fome of their manners 
 but not with others ; if he pretends to give his judgment in thofe 
 cafes wherein he is ignorant it is an equal chance but he is wrong ; 
 and if he is fo, another that may not be a better connoifTeur in the 
 main, though he is fo in this particular, will probably differ from 
 him. The difpute then will lie between a wife man, and a fool 
 quoad hoc, but that there is a difpute at all is not from the obfcurity 
 of the fcience, but the indifcretion of one of the difputants. I have 
 obferved frequent inflances of this inequality in ingenious men with 
 fome furprize ; I have known the fame man talk like a very able 
 connoifTeur at one time, and at another like one that had never con- 
 fidered thefe things at all : whether it was that he was at fuch times 
 carelefs, or abfent from himfelf ; or that he was really out of his 
 depth in thofe particulars I know not. 
 
 To conclude : there is not fo great a difference in opinions in 
 fome cafes, nor fo great a conformity in others as there feems to be 
 amongfl men. 
 
 "When one fays a piflure is good and the other the contrary, either 
 .may fix upon certain properties wherein both may be in the right ; 
 
 the 
 
( ) 
 
 the only fault may be in denominating the whole from a part, and 
 not underftanding one another. 
 
 Some men, and indeed^all men at feme times will give tlieir judg- 
 ments in haftc, and before they have enough confidcred, and 
 recolle6led thcmfelves; whether from a natural vivacity of temper, 
 an afFe6lation of appearing to be ready at thefe things, or from 
 whatever other caufe; fuch fudden opinions arc commonly dif- 
 ferent from what the fame perfon's more deliberate judgment is : 
 but fuch is the pride, and folly of fomc people that what they have 
 once faid, the opinion they have once efpoufed they will adhere to, 
 how much in the wrong foever they may find themfelves to have been ; 
 and this rather than own it was pofTible for them to have been mif- 
 taken ; though that is common to the wifed of men, and the pcrfift- 
 ing in a known error none but a fool (in that refpeft at lead) is capa- 
 ble of : that has no difhonour in it, and oftentimes the contrary; 
 the other is fliameful, and ridiculous. 
 
 Some are exorbitant in the praifes of what themfelves poffcfs, and 
 as much depreciate every thing elfe; and that from partiality on the 
 one hand, and pure malice, and ill nature on the other; but how- 
 ever it be, an account is thus given of pi£lures, or drawings very dif- 
 ferent from what will be had from other connoifTeurs. Juft as I have 
 feen party men in civil, or religious matters reprefent the caufc 
 they efpoufe as without fpot, or blemifli, and that of their oppo- 
 nents as utterly abfurd, and mifchievous ; whereas the great dif- 
 ference is in their interefts, and inclinations, not in their judg- 
 ments. 
 
 Men frequently diffemble their real fentiments in connoiflance; 
 and that either with an ill intention, or very juftifiably. The firft 
 of thefe cafes many a gentleman has known to have happened to his 
 coft in fome inftances ; and in more they never have been, nor ever 
 will be undeceived. There are pidure jockeys who will make what 
 
 F f advantage 
 
( 222 ) 
 
 advantage they can of the credulity of others, and their own fupe- 
 rior underllandings in that particular aiid to that end affert Wihat 
 themfelves believe to be falfe. 
 
 Others again put on the mafic for their own fakes in part, and 
 partly for the fakes of other people. We frequently meet with pic- 
 tures, or drawings which we know are not what the owners of them 
 take them to be : what can we do in this cafe ? v^hat, but the fame 
 as every wife man muft, and will do in like circumftances; and many 
 cafes there are in the world where wife men are thought to think 
 otherwife than they do, becaufe they are too wife to tell their real 
 thoughts ; the maxim which Sir Henry Wootton recommended to 
 Mr. Milton when he was entering upon his travels, i penfieri JIt etii, 
 (3 il vifo fciolto. Clofe thoughts, and an open countenance is as ne- 
 ceffaiy to be obferved by connoilTeiirs, as travellers, or any other 
 fort of men whatfoever. Some years fmce a very honeft gentleman, 
 a (rough man) came to me, and amongft other difcourfe with abim- 
 dance of civility invited me to his houfe. I have (fays he) a pidure 
 
 of Rubens, it is a rare good one; Mr. was the other day to 
 
 fee it, and fays it is a copy ; G d him, if any one fays 
 
 that pifture is a copy, I'll break his head. Pray, Mr. Riehardfon, 
 will you do me the favour to come, and give me your opinion of it ? 
 Mankind is generally difpofed to believe thofe who tell them what 
 they would have to be true ; not becaufe their affent is regulated by 
 the pafiions, and differently from the evidence as it appears to 
 them; but they really conceive a better opinion of thefe people, 
 and think their judgment is better than the others; and thcfe kind 
 of arguments being what they rely upon in this cafe, they appear 
 flronger on that fide than on the other; their minds being alfo more 
 applied to the confideration of thefe, than thofe other. 
 
 And thefe people have a degree of happinefs by error in this 
 cafe which truth would deprive ihero of, and confcquently they 
 would fuffer by it; and truth and error are indifferent to us, but 
 
 as 
 
{ 223 ) 
 
 as either tends to our good, that is to our happinefs ; or in other 
 words, the degree of our enjoyments, the whole duration of our 
 exiftence being taken into the account. In this world we probably 
 enjoy as much from our ignorance, and miftakes, as from our 
 knowledge, and true judgments; and we are many times in fuch 
 circumftances that truth would make us extremely wretched ; fo that 
 he is mifchievous to us who opens our eyes. A good connoifiTeur 
 therefore, who is withal a plain, finccre man, has great difficulties 
 many times when he fees a colle6lion, or a fingle pi6lure, or two ; 
 chiefly when gentlemen will urge him to give his opinion of fome- 
 thing they have lately acquired, and the honey-moon is not yet 
 over. On thefe odcalions one cannot avoid applying the words of 
 our Saviour to his difciples ; / have many things to fay to you, but you 
 cannot bear them now. 
 
 I fl^ould be very loath to be an advocate for infincerity of any 
 kind, and indeed I am very unfit for it: if the ftatc of things would 
 admit of it I fhould be glad to come into a general agreement never 
 to conceal the lead thought of the heart by any word, look, or 
 aftion whatfoever ; but as the cafe now ftands the difguifes 1 have 
 been pleading for are fo neceffary ; and they are fo much the fame 
 with thofe compliments, and civilities univerfally pra6lifcd, that he 
 that is deceived by them if he fliould difcover it would acquit, and 
 approve the deceiver ; or they will not deceive at all. 
 
 I will however take the liberty to put gentlemen in mind of the 
 great injury they do themfelves by their being fo entete of their own 
 things, as not to permit every one to fpeak their minds freely, and 
 without rcferve ; not only their judgments by this means are kept 
 low, but they are fuffcrers in their purfes ; they lie open to be im- 
 pofed on, and in fa6l too often fling away their money upon trafli : 
 they have pleafure indeed, but they might have that too, and greater, 
 and more durable without thofe difadvantagcs ; nay with the con- 
 
 F f 2 trary 
 
( 224 ) 
 
 trary circumftances ; they might become good connoiffeurs, and be 
 good oeconomifts at the fame time. 
 
 Another inftance of an apparent, but no real difiPerence in the 
 opinions of connoilTeurs is this, (and it is the laft I fhall mention) 
 it is very common for other people (not the owners) to afli our opi- 
 nions of pifc\ures, or colleflions when there may be good reafons 
 why we fhould not be very exa£l, and particular in our anfwers; 
 efpecially if the things are to be difpofed of, and the queftion is 
 aflced in a large, and mixed company ; in that cafe the ufual way is 
 to avoid the mention of any faults, and to fay what good we can in 
 general terms : which kind of charafter is indeed no other than a 
 tub flung out for the whale to play with, that the fhip might get rid 
 of him ; for it gives no idea, or none fhould be taken from thence; 
 the man that has got it is certainly not one jot the wifer for it, how 
 well falisfied foever he may be with it. 
 
 At other times we may have as good reafons to be clear, and 
 explicit in our charafters : if thefe two accounts happen to be com- 
 pared (as they often are) there will appear a difference in judgment, 
 or infincerity ; when thofe who gave them were of the fame mind 
 all along, and fpake nothing but the truth, thought not all the 
 truth. 
 
 Some cafuifls have faid no man is bound to deliver truth to him 
 who has no right to demand it. Of what ufe foever this rule may 
 be towards the difentangling us from the perplexities we find in the 
 definition of a criminal lie, thus far is plain, and certain, that we 
 are not obliged to give our opinions to thofe who are not entitled to 
 them, whether by promife, gratitude, common juftice, or prudence, 
 
 Underftanding in a fcience, as all other natural, or acquired 
 advantages is the pofTeffor's property, which every man Sells at as 
 good a rate as he can for value received, or expefted. This is com- 
 mon to all orders of men ; why connoilTeurs fhould be expeded to 
 diftinguifh themfelves by their generofity, or prodigality is unac- 
 countable. 
 
( 225 ) 
 
 countable. But it would be altogether abfurd for them to do it, 
 when they fhall be fare to create to themfelves enemies by that 
 means, and that only to fatisfy an infignificant curiofity, or even to 
 ferve thole who probably will never think themfelves obliged, or 
 remember it afterwards. 
 
 Becaufe therefore we cannot otherwife avoid fome people's im- 
 portunity, we are forced to be provided, as with gold, and filver to 
 pay our debts, or purchafe neccffaries, or convcniencies, fo with 
 half-pence for beggars. 
 
 SECT. III. 
 
 I am now come to the third branch of argument, whereby I 
 would recommend the love of Painting, and ftudy of connoifance, 
 upon account of the pleafure it is capable of affording. 
 
 I flatter myfelf it has been obferved, that I have endeavoured 
 hitherto to go to the bottom of my fubje6t, and to treat it with all 
 the dignity I was able, and fo as it might be acceptable to gentlemen 
 who are not yet lovers, and connoiffeurs, to whom, as well as to 
 thofe that are, I have throughout addrefled myfelf, though more par- 
 ticularly in the prefent treatife. In profecution of the fame defign 
 I fhall here be engaged in a fliort difcourfe to fliew what improve- 
 ments may be made in our pleafures, in order to introduce that in 
 particular which I am to recommed as fuch : fo that I will not only 
 fliew that there is pleafure to be had in connoifance, but endeavour, 
 to facilitate the enjoyment of it. 
 
 I faid it would be a fhort difcourfe; for though (as I took the 
 liberty to fay) I have laboured to finifli my main fubjeft as highly 
 as I could, it will not be expefted the incidental ones fhould be 
 other than flietches. Such as it is, I offer it to the reader as a plan 
 for a happy life. 
 
 ■■ — Whether 
 
C 226 ) 
 
 — Whether thou 
 
 Vi/it'/l my lonely, chearful, ev'ning haunts, 
 
 Or ihofe more chearful yet when dewy morn 
 
 Purples the Eajl, flill govern thou my Jong 
 
 Urania, and, jit audience find, though few: 
 
 But drive far off the barbarous difjonance 
 
 Of Bacchus and his revellers, the race 
 
 Of that wild rout that tore the Thracian lard 
 
 In Rhodope, where woods, and rocks had ears 
 
 To rapture 'till the favage clamour drown'd 
 
 Both harp, and voice ; nor could the Mife defend her Jon. 
 
 Milton. 
 
 The defire of happinefs is the fpring that puts us all in motion ; 
 \ve receive it together with the breath of life; we are touched by 
 this magnet upon our very entrance into being, and ever after tend 
 thitherwards with all the powers of our fouls : this is the end in 
 which we all agree, though as to the way there is infinite variety, 
 and error. Pleafure is but another name for happinefs, we are 
 happy in proportion as we are pleafed; the fum total of our enjoy- 
 ments, and the degree of them during our exigence, being com- 
 pared with that of our fufferings, the furplufage on the fide of 
 enjoyment is the account of the degree of happinefs to which we 
 arrive ; the fliare which was allotted us of the Divine bounty. — 
 Pleafure is cur fummum bonum ; and whatfocver fome men may 
 pretend, or fancy, God himfelf is conlidered by us as fuch, no 
 otherwife than as it is conceived he is the fountain of good to us. 
 
 In our deliberations, and determinations concerning aftions to 
 be done, it is the fingle principle of pleafure on which all turns 
 ultimately ; whatever other principle feems to govern us ; whether 
 duty, love of virtue, interell, ambition, fenfuality, &c. all termi- 
 nates 
 
( 227 ) 
 
 nates in tliis one great principle felf-love; that fir (I motive to all 
 Okur actions, pleafurc : though as a river being divided into feveral 
 ftreams lofes its name, and each rivulet has one of its own, ilvis 
 principle being turned into various channels, we fecm to aft by 
 different motives, when it is only the fame differently turned; we all 
 aft by the fame firfi: principle, though by dilFerent fubordinate ones. 
 
 In the ftruggles betwixt virtue and vice, the queftion is only 
 where moft pleafure is to be had: when we rejeft fenfual criminal 
 plcafures, it is only that we may enjoy others that we conceive 
 greater; it is only rejetling a pleafure we find we cannot enjoy but 
 with fear, (hame, remorfe, and fuch like alloys, for what upon the 
 foot of the account we conceive will afford us moft pleafure; a con- 
 fcioufnefs of having done well, of having afted like a man, not like 
 a brute; together with the hopes of future recompence, and the 
 perfuafion of having avoided future mifery. ^\'hen thefe ideas are 
 not in the mind, or not to a degree fufficient to weigh down what 
 appears on the fide of prefent enjoyment, we evermore give way to 
 fenfuality, the tempter prevails. 
 
 So if we chufe prefent mifery, when in competition with cafe, 
 and poGtive enjoyment, it is becaufe we perceive the one will be 
 accompanied with mental pleafures, the other with pains of that 
 fort, fo as upon the whole the bodily fufferings, together with tlie 
 mental enjoyment, will afford us moft pleafure. Thus Cato is as 
 great an epicure as Apicius, though the men are very different with 
 refpeft to the efteem they ought to have as members of fociety, as 
 well as on other accounts. 
 
 Notwithftanding the perpetual complaints of men, I am verily 
 perfuaded every man enjoys more in this world than he fuffers; but 
 whether this be fo or not, this is certain, that moft men might enjoy 
 more than they do, if they took the right courfe; as it is, they 
 have all the pleafure they can get. The whole world is engaged in 
 one great chace after pleafure, but as .there is great difference in 
 
 the 
 
( 228 ) 
 
 the fportfrnen, fome are more fuccefsful than others; fome in rough 
 and dangerous ways find lean, wretched game ; others what is ex- 
 cellent in a fine country. 
 
 The foundation of a happy life mufl: be laid in the idea we have 
 of God. 
 
 " Thou haft befet me behind, and before, and laid thine hand upon 
 " me. — Whither fhall I go from thy fpirit ? or whither fhall I flee 
 " from thy prefence ? If I afcend up into Heaven thou art there. — 
 " If I take the wings of the morning, and dwell in the uttermoft parts 
 " of the fea, even there fhall thy hand lead me, and thy right-hand 
 " fhall hold me; if I fay furely the darknefs fhall cover me; even the 
 " night fhall be light about me : yea, the darknefs hideth not from 
 *' thee: but the night fhineth as the day : the darknefs and the light 
 *' are both alike to thee," Being thus under the eye, and power of 
 God, from whence it is impoffible to withdraw ourfelves for one 
 moment, as moft men know as well as this divine facred Hebrew 
 poet (though perhaps none ever faid it fo finely) but none can pof- 
 fibly be affured of the contrary, the idea we happen to have of this 
 incomprehenfible being is of the utmoft importance to our happi- 
 nefs; if that be black, and terrible, let us divert the thought as well 
 as we can, it will obtrude itfelf, and like the hand writing upon the 
 wall, turn away the current of our pleafures in their ftrongeft tides. 
 If our ideas of God be confufed, unfettled, and doubtful, it will be 
 a proportionable abatement to our happinefs ; but on the contrary, 
 if we have noble, and worthy conceptions of the Supreme Being, 
 the mind is enriched thereby, and we have advanced far towards 
 a happy life. 
 
 And if moreover we have fuch a perception of the nature of 
 mankind, and fuch a felf-confcioufnefs as from thence, in conjunc- 
 tion w ith the notions we have of God, we can form, and eftablifh a 
 clear, and firm perfuafiofi of our being entitled to his prote£tion, 
 and favour, this will be itfelf a tranfcendent delight ; it will heghten, 
 
 and 
 
( 229 ) 
 
 and give a delicious flavour to all our other enjoyments ; \vc may 
 be intrepid under all the calamities of life, 
 
 And fear of death deliver to the winds. 
 
 Mi LTON, 
 
 Whatever point I fix my thoughts upon 
 
 Throughout all [pace I find thee there, and thou 
 
 Art ever prefient, and with humble joy 
 
 I praife the univerfiil Sovereign 
 
 Not of this little [pot of earth, and fea, 
 
 And its attendant luminaries bright. 
 
 His fole dom-inion, heaven, and hell except, 
 
 (His court, and prifon-houfej but of more worlds 
 
 Than there are fands upon the ocean fliores, 
 
 Where goodnefs infinite for ever reigns. 
 
 All things Jubfijl in thee, in thee rejoice. 
 
 Not terrible, but as a fother mild, 
 
 Beneficent, indulgent, bountiful: 
 
 Thou dofi. not hate, or cruelly correB 
 
 Imperfect beings for imperfeH aB,s ; 
 
 Or for mifiakes thoje not infallible ; 
 
 Or thoje whofe aUions, words, or thoughts f amifs 
 
 Altho' they bej involuntary are. 
 
 Or otherzvife confiraind^ and not their own. 
 
 No paffions turbulent can difcompofe 
 
 Thy holy mind eternally ferene, 
 
 But joy divine, and wife paternal love, 
 
 Uninterrupted dwells for ever there. 
 
 0 thou fupremely amiable Being ! 
 
 Pure, uncompounded effence ! happinefs. 
 
 And goodnefs fiows from thee as from their fpring 
 
 To all things elfe ; fpring inexhaujlible ! 
 
 Completely good, and happy in thyjef! 
 
 Gg If 
 
( 230 ) 
 
 If it were proper, as upon feveral accounts it is not, I fliould here 
 difcourfe largely on this great, delightful, and ufeful fubjeft: I 
 fhould then explain particularly what I meant, and fupport that 
 meaning by arguments: inftead of all that, I muft leave the reader 
 to take fome pains for himfelf, as I have done ; and it is well worth 
 all he can take. And he would do well to remember that by much 
 the greateft part of the difficulties, and perplexities we meet withal, 
 in reafoning upon whatever fubje6l are owing to our not going deep 
 enough, but taking that for truth which ourfelves do not fee is fo ; 
 whereas nothing fhould be borrowed, nothing fuppofed, or taken 
 for granted ; all fhould be our own ; that is, it fnould become fo by 
 our feeing the reafons upon which it is bottomed as clearly as we 
 prefume others have done. 
 
 This main point being fecured, and the mind thereby in repofe, 
 and joyous, an improvement in pleafure may be made if one part of 
 our idea of God is, that he takes not delight in our miferies, and 
 fufferings. 
 
 Men are generally apt to imagine God to be fuch a one as them- 
 felves; and when four, melancholy, worn-out people undertake to 
 inftruft others in thefe matters, as they often do, they reprefent things 
 accordingly. Hence (I conceive) it is, that it has been almoll 
 imiverfally thought, that God takes pleafure in our pains and afflic- 
 tions. For my own part, my idea of him is juft the reverfe of this. 
 It feems to me much more reafonable (I am fpeaking on the fup- 
 pofition of liberty of the will, according to the common received 
 opinion) I fay it is much more reafonable in my apprehenfion, to 
 believe that he approves of the wifdom of thofe that thankfully 
 enjoy the good before them : and that to do otherwife, he efteems 
 to be as offering the facrifice of fools; and will fay, Who halh 
 required this at your hands ? What a fine image does the angel in 
 Milton give us of the fupremely good Being, prefiding over the 
 enjoyments of the bleffed in Heaven ! 
 
 On 
 
( 231 ) 
 
 On flowers repos'd, and xvilh frejli flotoreb cround 
 
 They eat, they drink, and in communion fwcct 
 
 Quaff imviortalily, and joy ; fecure 
 
 Of firfeit where full meajure only hounds 
 
 Excefs, hffore iK all bounteous king who J/iGwer'd 
 
 With copious hand, rejoicing in their joy. 
 
 If we confidered God as the common father of all his creatures, 
 tTiefe on earth, as well as thofe above, we might have the fame 
 pleafure in the confcioufnefs of having done well when we accepted 
 an enjoyment offered by his providence, as when we refufed it ; 
 when we tafted pleafure, as when we feh pain ; we might then enjoy 
 the religious pleafure, and the natural one too : thus he that has 
 burnt incenfe in a golden cenfer, might go away with an opinion of 
 his being as acceptable to the Deity, as he that has offered his chil- 
 dren to Moloch. 
 
 Being thus at liberty to purfue pleafure (as much a paradox as it 
 may feem) the way to improve this liberty to the greateft advantage 
 is to confine ourfelves within the bounds of innocence, and virtue. 
 
 And that not only becaufe we are thereby entitled to the favour 
 of God, and have peace of confcience ; fuch theological confidera- 
 tions I leave to divines as being their province ; I only infift upon 
 the bare natural reafon of the thing. Nor am I about to deny that 
 a libertine voluptuary has many pleafures which a man of virtue has 
 not ; but let it not be forgotten on the other fide, that he has fuffer- 
 ings too which the other avoids; and has not pleafures peculiar to 
 virtuous men : weigh one thing with another, and then fee how the 
 account ftands. 
 
 Such is the goodnefs of God, that he has provided abundance of 
 pleafure for us ; efpecially all thofe a6:ions which are neceffary to 
 the prefervation of the fpccies, and that of every individual, by a 
 
 G g 2 condant 
 
( ) 
 
 conflant fupply of aliment have pleafure annexed to the performance 
 of them. But as our appetites are apt to be inordinate through our 
 exceffive love of pleafure, and our bodies are fo conftituted, and 
 human laws have fo well provided for the common good, that the 
 pleafure may continue after the good ends are ferved, and then 
 thofc things in which we find delight become hurtful ; a reftraint 
 mud be put upon thefe appetites, and this is called virtue. — 
 Thus chaftity, and temperance; and temperance not only in 
 meats and drinks, but in ftudy, application to bufinefs, exercife, or 
 whatever other the moll commendable actions ; thefe are virtues, 
 becaufe by them we are reftrained from impairing our health, or our 
 fortunes, and fhortening our days, by which means we fhould be 
 deprived of many pleafures. Jullice is a virtue ; the ardent delire 
 we have of pleafure being apt to carry us on to obtain it, or the 
 means of procuring it in fuch a manner as probably may expofe us 
 to greater mifchief than will be countervailed by the advantages 
 which we may hope to reap from fuch unreafonable, and illegal 
 methods. Fortitude, and patience are alfo virtues, as whereby we 
 are enabled bravely to fupport ourfelves under the preffures to which 
 our human ftate is conftantly liable, and even to fling off the bur- 
 then ; whereas a feeble mind gives way to floth, and finks, and is 
 cruftied under it ; in fliort, prudence alfo is therefore a virtue, becaufe 
 it is a wife management with regard to time, place, perfons, and the 
 occafion, whereby we receive many advantages, and avoid as many 
 inconveniencies. I muft not enlarge ; but by what has been faid, 
 it appears that in reality virtue is the oeconomy of plealure ; it is a 
 reftraint, that God, and nature, and wife lawgivers have put upon 
 our appetites : to what end ? fpitefully to retrench our enjoyments? 
 No, but to enlarge, and improve them. So that were I to paint the 
 fable of Prodicus, as Annibale Caracci has done, I would not make 
 the way of virtue rough, and flony, that of vice fhould be fo : he, 
 and other moralifts have been injurious to virtue, when they have 
 
 given 
 
C 233 ) 
 
 given us fuch harfh rcprefentations of her. Her ways are ways of 
 pleafantnefs, and all her paths are peace. 
 
 It is in every man's power to feed as dclicioufly as Lucullus: 
 nature is not only contented with a little, but flie has the greateft 
 abundance when (he has but what flic wants; all the reft is an enemy 
 to pleafure. 
 
 By temperance, and fobriety a common meal is a fcafl; for an 
 epicure. True rational appetite turns water into wine, and every 
 glafs is tokay. He that fatisfies the true demands of well regulated 
 nature though never fo cheaply, 
 
 Blejfes his Jlars, and calls it luxury. 
 
 As temperance gives us the higheft pleafure at a very eafy rate, a 
 virtuous man in that fenfe has no temptation to injuftice. But what 
 a dignity of mind does an honeft man retain ! How eafily and 
 fecurely does he walk in his plain, and open way! with the appro- 
 bation, and applaufe not only of his own mind (an ineftimable trca- 
 fure !) but of all the world. And he that has true magnanimity 
 (like Job's Leviathan) laugheth at the fliaking of the fpear. He is 
 as it were exempt from the common miferies of life, and in the midft 
 of dangers and misfortunes 
 
 Rides in the whirlwind, and direFls the Jlorm. 
 
 (I take leave to profit myfelf of the words of a great man, ad- 
 mirably ufed by him to another purpofe.) And as to the advantages 
 of prudence they are well known, and the more confiderable as 
 being perpetual; there is not a day, nor an hour in which we have 
 not occaiion for the exercife of this virtue, and as often taftc the 
 fruits of it. 
 
 I have 
 
( 234 ) 
 
 I have only touched on the pofitive advantages of virtue. By 
 this means wc moreover efcape innumerable inconveniencies, and 
 mifchiefs, which I mull not, and which I need not here enumerate. 
 
 To conclude this head. Good nature, forgivenefs of injuries, 
 pity, charily, and the like focial virtues, as they are never praClifed 
 but when felf-love is at the bottom, however difguifed it may hap- 
 pen to be ; fo being guided by prudence (without which they lofe 
 their properties, and become vices) they always have a natural ten- 
 dency to our happinefsj as hatred, malice, averfion, rage, and fuch 
 like turbulent, and uneafy diftempers of the mind ; and even the 
 abovementioned virtues themfelves not conduced by prudence, are 
 enemies ; and as fuch are to be avoided : and thus the view of the 
 follies, impertinencies, ill nature, or wickednefs of others, fliould 
 not be permitted to interrupt our tranquility ; fuch is the advice 
 of the Pfalmift, Fret not ihyfdf becaufe of evil doers; and which his 
 royal fon, renowned for his wifdom, as well as his being infpired 
 has repeated. 
 
 The next flep towards a happy life is to know how to enjoy our 
 own. 
 
 Every man is a diftin6t being, an ifland in the vaft ocean of the 
 univerfe ; and among other peculiarities he has his own enjoyments; 
 which it is his bufinefs not only to be contented with as being what 
 is allotted him by providence, and not to be mended by his mif- 
 likes ; but to improve as much as poflible. If another man has en- 
 joyments which I have not, I have thofe he is a ftrangerto; but 
 whether I have or no, it is my own, not his I am to be concerned 
 about : thofe I have are neither more, nor lefs ; they are not other- 
 wife than they are, be his what they will. 1 would gladly be as 
 great a painter as Rafaelle, but providence did not appoint me to be 
 Rafaelle, nor Rafaelle rae, I miuft acquiefce in its appointment; 
 ihe grace of God I am ivhat I am ; and will endeavour to enjoy, and 
 
 improve 
 
( 235 ) 
 
 improve my own lot ; fo endeavour to improve it as all the wKile to 
 enjoy, and fo enjoy as not negletling to improve. 
 
 We have another kind of property, and that is the prefent time. 
 We pofiTefs but one fingle point, the whole circumference of eternity 
 belongs to others. We talk of years, we are creatures but of a day, 
 a moment ! the man I was yeftcrday is now no more ; if 1 live till 
 to-morrow, that man is not yet born : what that felf fhall be is utterly 
 unknown ; what ideas, what opinions, what joys, what griefs, nay 
 what body, all is yet hid in the wom.b of time ; but this we arc fure 
 of, I (liall not be the fame, the prefent fabric will be demoliflicd 
 for ever. What is pad we know, but it is vaniflied as a morning 
 dream ; we are moving on ; and every Hep we take is a ftcp in the 
 dark. 
 
 As when a comet Jrom the fun is thrown 
 An immenfe dijlance avioagjl worlds unknown. 
 After it flatus a jiream of glaring light ; 
 *Tis day behind, bat all be/ore is night. 
 
 This is our condition ; we have nothing left, nothing in ftore ; 
 we live (as they fay) from hand to mouth, the prefent is the fub- 
 ftancc, part, and to conic are mere fhadows. If an enjoyment is 
 gone, it has had its duration, which was as much a property of it as 
 any other: a pifture I was very much delighted with for about twenty 
 years was defaced by an accident; I confidered I had enjoyed it fo 
 many years, and was thankful for that, it was all (it feems) that pro- 
 vidence defigned when it was beftowed on me, and it was a noble 
 gift, it would have been an inftance of goodnefs if it had been but 
 for a month. If the enjoyments of to-day are not equal to thofe of 
 yefterday, thofe of to-day are not the lefs, nor Icfs to be enjoyed ; 
 muft I leffen the account ftiil by tcazing myfclf with the remem- 
 brance 
 
( 236 ) 
 
 brance of God's extraordinary goodnefs to me then ; inftead of 
 being thankful for that, and for what I ftill enjoy ? 
 
 There is a perpetual change, and fucceffion of our enjoyments; 
 fo that we have a new fct every day ; fome indeed continue 
 feveral years, others have a much fhorter duration, and many 
 there are which fpring up, and wither immediately. And if (as 
 it often happens) inftead of thofe that are expired, and vaniflied ; 
 others more, and greater have fucceeded, this will add to the 
 folly, and ingratitude of him who repines at what is gone, and 
 overlooks what he has. 
 
 To imbitter prefent enjoyments with the fears of what may be 
 is another piece of mifmanagemcnt, and very commonly prac- 
 tifed : perhaps fomething I am now delighted with may be fnatched 
 from me, or fome new evil may arrive; but the date of the 
 enjoyment is not yet expired, nor the unwelcome guefl: come : 
 the prefent is what it is, and fliould not be altered by what may, 
 or may not be hereafter. 
 
 Of all the fears that are enemies to our happinefs that of death 
 is the moll terrible, and with good reafon, the lofs we fear being 
 greater than any other lofs can be : but the cafe is the fame with 
 the great comprehenfive bleffing life as with any particular enjoy- 
 ments, it has its duration; and we may as well regret it was not 
 one thoufand years inftead of threefcore and ten, as that it was 
 but fifty, forty, thirty, or whatever lefler number of years, and 
 not the full age of fome men : he that dies at what age foever 
 had the duration allotted to that individual being, which it was 
 as impolTible to alter as for a fly to live as long as an elephant. 
 What the angel in Milton fays to Adam with a little variation of 
 the fenfe, (as being fpoken on another occaiion) is applicable to 
 my prefent purpofe. 
 
 Nor 
 
( 237 ) 
 
 Nor love thy life^ nor hatt ; hit what thou liv'Jl 
 Live well, hoiu long or JJiort permit to Heaven. 
 
 Be not fo fond of life, nor founeafy under the inconveniencies of 
 it as to diminifh the pleafure to be had in it ; but live well; enjoy 
 whilft you do live, be the time more, or lefs: if we are to die to- 
 morrow, at lead let us live to-day. 
 
 Cowards die many times be/ore their death : 
 The valiant Jiever tajle of death but once. 
 
 - Death a necejfary end 
 
 Will come when it will come. 
 
 Shakes. Jul, Cae;;. 
 
 Not only fear, but even hope is many times an abatement to our 
 happinefs ; as when we overlook the prefent good by having our eyes 
 too longingly fixed on fomething at a diftance. When hope helps to 
 make us eafy under what we fuffer ; or when we enjoy the prefent 
 to the full, and with an addition rather than otherwife from our 
 hopes all is well ; hope is then wifely managed ; but elfe it is abfurd 
 and injurious to us. 
 
 77ie earth's foundations canfl thou move, or flay 
 The ocean's waves, or rapid wheels of day ? 
 Then try to alter, or to know thy fate : 
 'Tis fx'd, 'tis hid. 
 
 Nor thy determin'd flate, 0 man, deplore ; 
 'Tis good, not bejl ; with thanks the gods adore 
 Their gifts are wifely given ; expect no more. 
 Regret not what ispajl j the prefent good enjoy ; 
 Nor let vain hopes, or fears the fweets of life dejlroy, 
 
 H h 
 
( 238 } 
 
 And now nothing more remains towards obtaining a happy life 
 but that we learn to be pieafed. This is a noble, and a ufeful 
 fcience ; it not only makes ourfelves happy, but communicates 
 happinefs to all about us. 
 
 Like Maias fon he flood 
 
 And Jliook his plurnes that heavenly fragance JiU'd 
 The circuit wide. 
 
 Milton. 
 
 It is a wretched turn many people's heads have taken; they are 
 perpetually depreciating every thing in this world ; and feem to fancy 
 there is a fort of merit in fo doing; as if the way to exprefs the 
 efteem we had for what we hope God has provided for us in ano- 
 ther ftate was by railing at this ; or as if the prefent was not alfo the 
 effe£t of his goodnefs, and bounty. It has been the pra6lice of all 
 polite people in all ages, and countries to difguife, or hide thofe 
 Jaletes, and dcfefls which though common to all animals are a fort of 
 reproach to our nature ; and to endeavour to exalt our fpecies as 
 much as poffible to what we conceive of the angelic ftate : this 
 alfo is one end of Painting, and poetry ; they are to impreg- 
 nate our minds with the moft fublime, and beautiful images of things ; 
 and thus in our imaginations do raife all nature fome degrees above 
 what is commonly, or ever feen: why fliould we not do thus with 
 refpeft to our condition in the particular now under confideration ? 
 why ftiould we not reprefent it to one another, and to ourfelves in 
 the beft manner the thing will bear ? and if we muft be in one 
 extreme, why not on the right fide, and to our advantage ? 
 
 It muft be owned our enjoyments are ftiort, uncertain, and have 
 their alloy. But this is not an abatement to our happinefs proportion- 
 able to the clamour that is raifed concerning it. If our pleafures are 
 
 fliort, 
 
( 239 ) 
 
 fhort, and uncertain we have a fucceffion of tliem ; fo that pleafure 
 in general is not fo, though particular ones are. Aye, but life itfelf 
 is fliort ! not if compared with that of moft other animals. And 
 though we have many fufFerings, and our pleafurcs are never pure, 
 and unmixt, whether from our own mifmanagement (which is often 
 the cafe) or otherwife; we, even thefe murmurers themfelves are 
 fed with quails, and manna: there is not a day, not an hour wherein 
 the moft wretched has not fome taftes of pleafure, but the generality 
 of men (as much a wildernefs as this world is) have a flow of 
 enjoyments : not perfeft indeed, but fuch as are fuited to our 
 imperfe£l ftate ; happy, though to a certain degree ; fuch as un- 
 erring wifdom has appointed. 
 
 What is done with refpeft to our condition in the main is alfo 
 commonly praflifed in particular cafes ; one crofs circumftance 
 puts us fo out of humour as to make us incapable of pleafure from 
 the many advantageous ones that are in our hands. 
 
 We fhould therefore learn to confider things as they are, and to 
 expeft no other, but to enjoy what advantages we have nothwith- 
 ftanding their imperfe£lion ; to wait to be pleafcd till this, and that 
 and every thing we miflike is removed like the country-man in 
 Horace. 
 
 ■■ tuho near fome river's fide 
 
 Expecting flands in hopes the running tide 
 
 Will all ere long, be pajl ; fool, nU to know 
 
 It Jlill has flow'd the fame, and will for ever flow. 
 
 Mr. John Hughes, MS. 
 
 There is another untoward humour very prevalent with moft peo- 
 ple, and that is rejefting all advices by faying it is eafy for one that 
 is happy himfelf to give fuch to the wretched which themfelves in 
 that condition could not profit by. If the advice is good, it is no 
 
 H h 2 matter 
 
( 240 ) 
 
 matter what the giver could, or would do ; let him to whom it is 
 given try whether he has wifdom, and virtue enough to malce his 
 own advantage of it. 
 
 There are indeed certain feafons when the mind is incapable of 
 pleafure in any remariobie degree : whether from the too great 
 prefi'ure of calamity ; or a melancholy cloud fpreading itfelf over all : 
 m this cafe the paident mufl; do as in a fit of the head-ach, the gout, 
 or the like diftemper; bear it as patiently as he can; things wiH 
 brighten again. And in the mean time he mufh not indolently fink 
 under, but refolutcly bear up againfl it, and endeavour as foon as 
 poffiblc to get rid of the mifchicf; but by no means muft he encou- 
 rage its continuance; nor regard any refle6lions he may then make 
 to his difadvantage ; as being probably the voice of his diftemper, 
 not his reafon. Thus in time the evil may be remedied : and a con- 
 trary habit gained : or if this will not do, the philofopher, and di- 
 vine muft deliver up the patient into the hands of the phyfician, or 
 rather call him in to their aflliftance. 
 
 This deplorable cafe excepted ; and the mind being found, and 
 vigorous vaft improvements may be made in our pleafures, by endea- 
 vouring and ftudying to be pleafed. 
 
 Inftead of obferving what we do not like, and magnifying that ; 
 fuppofe we fhould on the contrary apply ourfelves to difcover the 
 advantageous circumftances in every moment of our lives, and fix 
 upon, and profit ourfelves of them as much as pofiTible : would not 
 this be more commendable ; and more for our intereft ? there are a 
 thoufand inftances of things which are infipid, or even naufeous to 
 VIS, but which might become pleafant; and a thoufand, and ten thou- 
 fand which feem adapted to pleafe which we fuffer to pafs by unre- 
 garded. As imperfetl, and defpicable as our prefent condition may 
 appear to be to fome difcontented people there is not a glance of the 
 eye, a morfel we tafte, or a breath we drav/ but is capable of afford- 
 ing us pleafure. Every feafon of the year, every hour of the day, 
 
 every 
 
( 24'r ) 
 
 every circumftance of life, has fame, pfoper, and peciiliar to it. 
 We fliouid like bees fuck fweetncfs out of every flower, not only 
 thofe in fine gardens, but thofe which grow wild in every common 
 field : nay if pofTible from every weed : even pain, and difappoint- 
 meni may be the occafions of adminiftering fome pleafure, by a 
 confcioufnefs of bearing them well, the improvement of our philo- 
 fophical ftrength, and giving a ftronger guft to the pleafure to be 
 had elfewhere by the oppofition. 
 
 If I were to make afmifhed work from this flvetch (which I verily 
 believe I never fiiall) there is room enough for plentiful enlarge- 
 ments everywhere, and here particularly by giving variety of inllan- 
 ces, to illuftrate, and prove what I have been faying ; and I believe 
 it very rarely happens, that any one circumftance of life is fo well 
 confidered as it might be with the defign of extrafting al! pofTible 
 plcafures from it. However (befides that of connoilfance which is 
 my main bufinefs, and which I fhall fully profecute anon) I will not 
 omit one which every body finds the benefit of in fome m^afure, but 
 which might be improved to a vaft degree, and that is tlie getting a 
 fine colle8ion of mental pitlures ; what 1 mean is furnifhing the 
 mind with pleafing images : whether of things real, or imaginary ; 
 whether of our own forming, or borrowed from others. This is a 
 collection which every one may have, and which will finely employ 
 every vacant moment of one's times. I will give a fpecimcn or 
 two of thefe in the delicae, and in the great kind, or to fpeak 
 more like a connoifTeur, in the Parmeggiano, and in the Rafaelle 
 tafte ; and both out of Milton who alone is able to fupply us abund- 
 antly ; or as he himfelf fays fpeaking of the fun, 
 
 Hither as to iheir fountain other Jiars 
 Repairing in their golden urns draw light. 
 
 What 
 
( ) 
 
 What a croud of pleafing images fill the two following lines ! they 
 are the beginning of a fonnet in his juvenile poems. 
 
 O nightingale, ihat on yon bloomy fpr ay 
 Warhleji at even when all the woods are Jlill. 
 
 Again, in his Paradife loft. 
 
 " — . In JJiady bower 
 
 More [acred, and fequejlered, though but feign d, 
 Pan, or Sylvanm never flept, nor nymph. 
 Nor Faunus haunted. Here in cool recefs 
 With flowers, garlands, and fweet fmelling herbs, 
 Efpoufed Eve deckt firjl her nuptial bed. 
 And heavenly quires the hymencean fung. 
 What day the genial angel to our Jire 
 Brought her in naked beauty more adorn d. 
 More lovely than Pandora whom the gods 
 Endow' d with all their gifts. 
 
 The other is as great as ever entered into the heart of man not 
 fupernaturally infpired, if at leaft this poet was not fo. 
 
 On heavenly ground they food, and from the Jhore 
 They view'd the vaji immeafurable abyfs 
 Outrageous as a fea, dark, waflejul wild. 
 Up from the bottom turned by furious zoinds, 
 y^nd furging waves as mountains to affault 
 Heav'ns heigth, and with the centre 7mx the pole. 
 
 Silence, ye troubled waves, and ihoit deep, peace^ 
 Said then th' omnifc word, your difcord end. 
 
 Nor 
 
( 243 ) 
 
 Nor [laid, but on the wings of cherubim 
 Uplifted in paternal glory rode 
 Far into chaos, and the world unborn ; 
 For chaos heard his voice : him all his train 
 Followed in bright procejfion to behold 
 Creation, and the wonders of his might. 
 Then ftaid the fervid wheels, and in his hand 
 He took the golden compajfes, prepar'd 
 In God's eternal Jtore to circimfcribe 
 This univerfe, and all created things : 
 One foot he center' d, and the other turned 
 Round through the vaft profundity obfcure, 
 And Jaid thus Jar extend, thus far thy bounds, 
 This he thy f ft circumference, 0 world. 
 
 I will venture to give one inftance more, becaufe it is a very- 
 material one, and a circumftance that is univerfal, and which will 
 greatly heighten, and improve all our enjoyments; and this is a fenfe 
 of the divine prefence. A man muft have grofs conceptions of God 
 if he imagines he can be feen in a future, better ftate in any corpo- 
 real form: ineorporeally we fee him here, his wifdom, goodnefs, 
 power, and providence; and this beatific vifion brightens 
 more, and more to pure minds, and that apply themfelves to the 
 confideration of it; and thus it is heaven here on earth. 
 
 Yet doubt not hut in valley, and in plain 
 God is as * here and will be found alike 
 Prefent, and of his prefence many a fign 
 Still following thee, [till compafjing thee round 
 With goodne/s and paternal love, his face 
 Exprefs, and oj his jteps the track divine. 
 
 Milton. 
 
 Thus 
 
 * Eden. 
 
( 244 ) 
 
 Thus I in contemplation fweet enjoy 
 
 Thy heavnly prefence, gaze on, end adore 
 
 Thy infinite perfe^ions zvhen I xvalk, 
 
 Or fit, or on my bed lie down, difcharg'd 
 
 Of other various, neceffary. thoughts: 
 
 In blejl communion I am flill with thee, 
 
 Thd* lowly rev'rent as before my God; 
 
 But fill'd with joy, and breathing ceafelefs praife 
 
 For this inejlimable gift, bejlow'd 
 
 After long feeking, with a heart upright, 
 
 Yet oft opprefs'd, and oft thro' gloomy paths 
 
 Conducled, perturbations, griefs, doubts, fears, 
 
 Innumerable conficls, agonies, 
 
 Watchings, laborious fludies, and difputes. 
 
 This is the flcetch I promifed, and which I will leave as it is.— 
 Happy are they who having been fet right at firft, have nothing 
 to unlearn ; and next to thofe, happy are they who at length know 
 how to find pleafure in all that is innocent and good, and ufeful to 
 fociety : fuch enjoy, and that with fafety and honour : 
 
 . — — no veil 
 
 She needed, virtue-proof, no thought injirm 
 Altered her cheek. 
 
 Milton. 
 
 If others enjoy too, it is not to that degree ; and with hazard, and 
 infamy. Would to God I could be inftrumental in perfuading 
 gentlemen to exchange thofe trifling, unmanly, and criminal plea- 
 fures to which too many are accuftomed, for thofe of the other, and 
 better kind: would to God I could perfuade them to manage life 
 well; to get noble ideas of the Supreme Being; to apply themfelves 
 
 to 
 
( 245 ) 
 
 to the knowledge and improvement of ufeful and excellent arts; to 
 impregnate their minds vvitli pure and beautiful images, and with 
 the fayings, and aflions of men capable of reconciling us to human 
 nature, after wc have been obfcrving what is commonly done in the 
 world ; together wiih a fclf-confciou fuels of nut having diflionourcd 
 the fpecies thenifelves, 
 
 I have no where faid that none but a pliilofopher and a good 
 Chridian can take pleafure in connoilfance ; but that fuch a one has 
 a mind at eafe, and moft apt to receive virtuous pleafure is incon- 
 tefhable : it is then a proper difpofition to receive that I am about 
 to recommend: which juftifies what I have been doing as to the 
 attempt, whatever the performance may be judged to be. 
 
 That the pleafure of connoilfance is a virtuous, and a ufeful one, 
 and fuch a one therefore as is worthy the purfuit of a wife, and 
 good man, appears by what has been faid heretofore. Wherein this 
 pleafure confifts is what I am now about to fliew : which will alfo 
 ferve as a fpecimen of what may be done in other inftances, a vafl: 
 many of which I have obfervcd are overlooked and neglected as well 
 as this. 
 
 What is beautiful and excellent, is naturally adapted to pleafe; 
 but all beauties and excellencies are not naturally feen. Mofl gen- 
 tlemen fee piftures and drawings, as the generality of people fee the 
 Heavens in a clear ftarry night, they perceive a fort of beauty there, 
 but fuch a one as produces no great pleafure in the mind : but when 
 one confiders the heavenly bodies as other worlds, and that there 
 are an infinite number of thefe in the empire of God, immenfity ; 
 and worlds which our eyes, affifted by the beft glafies, can never 
 reach, and fo far remote from the moft diftant of what we fee 
 (which yet are fo far removed from us, that when we confider it, 
 our minds are filled with aftonifliment) that thefe vifible ones are as 
 it were our neighbours, as the continent of France is to Great 
 Britain. When one confiders farther, that as there are inhabitants 
 
 I i on 
 
( 246 ) 
 
 6h this continent, though we fee them not when we fee that, it is 
 altogether unreafonable, to imagine that thofe innumerable worlds 
 are uninhabited and defert ; there muft be beings there, fome per- 
 haps more, others lefs noble, and excellent than man : when one 
 thus views this vaft profpeQ, the mind is otherwife affefted than 
 before, and feels a delight which common notions never can ad- 
 minifter. So thofe who at prefent cannot comprehend there can be 
 « fuch pleafure in a good pifture, or drawing as connoiffeurs pretend 
 to find, may learn to fee the fame thing themfelves, their eyes being 
 once opened, it is like a new fenfe, and new pleafures flow in as 
 often as the obje6ls of that fuperinduced fight prefent themfelves, 
 which (to people of condition efpecially) very frequently happens, 
 or may be procured, whether here at home, or in their travels 
 abroad. "When a gentleman has learned to fee the beauties and ex- 
 cellencies that are really in good pi6lures and drawings, and which 
 may be learnt by converfing with fuch, and applying himfelf to the 
 confideration of them, he will look upon that with joy, which he 
 now pafles over with very little pleafure, if not with indiflPerence ; 
 nay, a fl^etch, a fcrabble of the hand of a great mafter, will be 
 capable of adminiftering to him a greater degree of pleafure than 
 thofe who know it not by experience will eafily believe. Befides 
 the graceful, and noble attitudes, the beauty of colours and forms, 
 and the fine eflFeQs of light and fhadow, which none fees as a con- 
 noifTeur does, fuch a one enters farther than any other can into the 
 beauties of the invention, expreffion, and other parts of the work he 
 is confidering : he fees ftrokes of art, contrivances, expedients, a 
 delicacy, and fpirit that others fee not, or very imperfedly. 
 
 He fees what a force of mind the great maflers had to conceive 
 ideas; what judgment to fee things beautifully, or to imagine beauty 
 from what they faw ; and what a power their hands were endued 
 withal in a few flrokes, and with eafc to fhew to another what them- 
 felves conceived. 
 
 What 
 
- ( 247 ) 
 
 What is it that gives us pleafurc in reading a hiftory, or poem, 
 but that the mind is thereby furniflied with variety of images ? and 
 what diftinguiflies fome authors, and fets them above the common 
 level but their knowing how to raife their fubje6l ? The Trojan, 
 or Heloponefian wars would never have been thought of by us, if 
 a Homer, or a Thucydides had not told the llories of them, who 
 knew how to do it, fo as to fill the mind of their readers with great 
 and delightful ideas. He who converfes w'nh the works of the 
 bcft mafters is always reading fuch like admirable authors; and 
 his mind confequently proportionally entertained, and delighcd with 
 fine hiftorics, fables, charaOers, the ideas of magnificent buildings, 
 fine profpe61s, &c. 
 
 And he fees thefe things in thofe different lights, which the vari- 
 ous manners of thinking of the feveral mafters fets them ; he fees 
 them as they are reprefented by the capricious, but vaft genius of 
 Leonardo da Vinci ; the fierce and gygantic one of Michelangelo ; 
 the divine, and polite Rafaelle ; the poetical fancy of Giulio ; the 
 angelical mind of Correggio, or Parmeggiano; the haughty fullen, 
 but accomplifhed Annibalc, the learned Agoflino Caracci, Sec. 
 
 A connoifTeur has this farther advantage, he not only fees beauties 
 in piftures and drawings, which to common eyes are invifable; he 
 learns by thefe to fee fuch in nature, in the exquifite forms aud co- 
 lours, the fine efFefts of lights, fliadows, and refleflions, which in 
 her is always to be found, and from whence he has a plcafure, 
 which otherwife he could never have had, and which none with un- 
 taught eyes can poflTibly difcern : he has a conflant pleafure of this 
 kind, even in the moft commoji things, and the mofl familiar to us, 
 fo that what people ufually look upon with the utmoft indifference 
 creates great delight in his mind. The nobletl works of Rafaelle, 
 the mofl ravifhing mufic of Handel, the moft maflerly ftrokes of 
 Milton, touch not people without difccrnment : fo the beauties of 
 the works of the great author of nature are not feen but by en- 
 
 I i 2 lightened 
 
C 248 ) 
 
 lightened eyes, and to thefe ihey appear far otherwife than before 
 they were fo ; as we hope to fee every thing ftill nearer to its true 
 beauty and perfe6lion in a better ftate, when we fhall fee what our 
 eyes have not yet feen, nor our hearts conceived. 
 
 By converfing with the works of the baft mafters, our imagina- 
 tions are impregnated with great and beautiful images, which pre- 
 fent themfelves on all occafions in reading an author, or ruminating 
 upon fome great a6lion, ancient or modern : every thing is raifed, 
 every thing improved from what it would have been otherwife. — 
 Nay, thofe lovely images with which our minds are thus ftored, rife 
 there continually, and give us pleafure with, or without any par- 
 ticular application. 
 
 What is rare and curious, without any other confideration, we 
 naturally take pleafure in ; becaufe as variable as our circumftances 
 are, there is fo much of repetition in life, that more variety is ftill 
 defirable. The works of the great mafters would thus recommend 
 themfelves to us, though they had not that tranfcendent excellency 
 as they have; they are fuch as are rarely feen; they are the works 
 of a fmall number of the fpecies in one little country of the world, 
 and in a fliort fpace of time. But their excellency being put into 
 the fcale, makes the rarity of them juftly confiderable. They are 
 the works of men, like whom none are now to be found, and when 
 there will be God only knows ! 
 
 Art, 6? Guides tout eft dans les Champs Ely fees. 
 
 La Fontaine. 
 
 "What the old poet Melanthius fays of Polygnotus (as he is cited 
 by Plutarch in the Life of Cimon) may with a little alteration be 
 applied to thefe men in general ; it is thus already tranflated : 
 
 This famous painter at his own expence 
 Gave Athens beauty, and magnifcence ; 
 
 New 
 
( 249 ) 
 
 New life to all the heroes did impart ; 
 EmbelliJIied all the temples with his art ; 
 The fplendor of the Jlate reflor'd again : 
 And Jo he did ohlige both gods and men. 
 
 And what ftill adds to the rarity of the excellent works we are 
 fpeaking of is, their number muft neceflarily diminifh by fudden 
 accidents, or the flow, but certain injuries of time. 
 
 Another pleafure belonging to connoifTance is, when we find any 
 thing particular and curious ; as the firft thoughts of a mafler for fome 
 remarkable piflure. The oiiginal of a work of a great mafter, the 
 copy of which we have already by fome other confiderable hand. A 
 drawing of a piclure, or after an antique very famous; or which is 
 now loft ; or when we make fome new acquifition upon reafonablc 
 terms; chiefly when ue get for ourfelves fomeihing we much defired, 
 but could not hope to be maflers of : when we make fome new dif- 
 covery, fomething that improves our knowledge in connoiflance, or 
 Painting, or otherwife ; and abundance of fuch like incidents, and 
 which very frequently happens to a diligent connoifleur. 
 
 The pleafure that arifes from the knowledge of hands is not like, 
 or equal to that of the other parts of the bufinefs of a connoifleur; 
 but neither is that deftitutc of it. When one fees an admirable 
 piece of art, it is part of the entertainment to know to whom to 
 attribute it, and then to know his hiftory ; whence elfe is the 
 cuftom of putting the author's piflure, or life at the beginning of 
 a book ? 
 
 When one is confidering a pi6lure, or a drawing, and at the 
 fame time thinks this was done by * him who had many extra- 
 ordinary endowments of body and mind, but was withal very capri- 
 cious; who was honoured in life, and death, expiring in the arms 
 of one of the greateft princes of that age, Francis I. King of France, 
 
 who 
 
 * Leonardo da Vinci, 
 
( 250 ) 
 
 who loved him as a friend. Anot'ier is of * him who lived a long, 
 and happy life, beloved of Chorles V'. enpc for; and many others 
 of the firft princes of Europe. \' 'l;eii one has another in his hand, 
 and thinks this was done bv t one wro io excelled in three arts, as 
 that any of them in that degree !;ad rendered him worthy of immor- 
 tality; and one that moreover duift contend with his fovereign (one 
 of the haughtiefl popes that ever ua^) upon a flight offered to him, 
 and extricated himfelf v^':th honour. Another is the work of him 
 who, without any one exterior advantage by mere ftrength of genius, 
 had the moft fublime imaginations, and executed them accordingly, 
 yet lived and died obfcurely. Another we fhall confider as the work 
 of ^ him who reftored Painting when it was almoft funk; of him 
 whofe art made honourable; but neg!c6ling, and defpifing greatnefs 
 with a fort of cynical pride, was treated fuitably to the figure he 
 gave himfelf ; not his intrinfic merit; which not having philofophy 
 enough to bear it, broke his heart. Another is done by || one who 
 (on the contrary) was a fine gentleman, and lived in great magnifi- 
 cence, and was much honoured by his own, and foreign princes ; 
 who was a courtier, a ftatefman, and a painter ; and fo much all 
 thefe that when he afted in either chara6ter that feemed to be his 
 bufinefs, and the others his diverfion : I fay when one thus ref]e61s, 
 befides the pleafure arifing from the beauties and excellencies of the 
 work, the fine ideas it gives us of natural things, the noble v^ay 
 of thinking one finds in it, and the pleafing thoughts it may fuggeft 
 to us, an additional pleafure refults from thefe relleQions. 
 
 But oh the pleafure ! when a connoilTeur, and lover of art has 
 before him a picture or drawing, of which he can fay this is the 
 hand, thefe are the thoughts of ** him who was one of the politeft, 
 beft natured gentlemen that ever was ; and beloved, and affifted by 
 the greateft wits, and the greateft men then at Rome: of him who 
 
 lived 
 
 * Titian, i Michelangelo. J Correggio. § Annibale Caracci. || Rubens. **RafaelIe. 
 
( 25t ) 
 
 lived in great fame, honour, and magnificence, and died extremely 
 lamented ; and mift a cardinal's hat only by dying a few months too 
 foon ; but was particularly efleemed, and favoured by two popes, 
 the only ones who filled the chair of St. Peter in his time, and as 
 great men as ever fat there fince that apoftle, if at leaft he ever did. 
 One (in fiiort) who could have been a Leonardo, a Michelangelo, 
 a Titian, a Correggio, a Parmeggiano, an Annibale, a Rubens, or 
 any other when he pleafed, but none of them could ever have been 
 a Rafaelle. 
 
 Such as Diana when /he fprightly leads 
 The dance on cool Eurota^s Jloiury meads ; 
 Or when the goddefs is delighted more 
 To chace the flag, or flipping goat, JJie o'er 
 Huge Tagetus, or Erymanthus Jlies, 
 Whiljl hunter's mujic echoes in the fkies : 
 A thoufand wood-nymphs evermore are feen 
 Surrounding, and exulting in their queen, 
 But Jlie diJlinguiJJiable is from far. 
 She taller, and more lovely does appear, 
 Supremely bright where ev'ry one is fair. 
 Her daugter chajle Latona faw, /he fmiVd, 
 And with tranfcendent joy her heart was fill'd. 
 
 When we compare the hands, and manners of one mafter with 
 another, and thofe of the fame man in different times : when we fee 
 the various turns of mind, and excellencies; and above all when 
 we obfcrve what is well, or ill in their works, as it is a worthy, fo 
 it is alfo a very delightful exercife of our rational faculties. 
 
 And there is one circumftance in it which ought not to be for- 
 gotten, and with which I will clofe this part of my argument. In 
 law we are tied down to precedents ; in phyfic it is dangerous 
 treading untrodden paths; in divinity, reafon though flying before 
 
 the 
 
 } 
 
( 252 ) 
 
 the wind with all her fails fpread muft Hop if an article of faith ap- 
 pears: but in this fludy (he has her fu 1 courfe ; the mind hnds 
 itfelf entirely at liberty, and with her plumes winnows the buxom 
 air (to ufe Milton's Oyle.) 
 
 „_™ Sometimes 
 
 She fcours the right-hand coaft, fometimes the left, 
 Now JJiaves with level wing the deep, then Joars 
 Up to the empyrean tow^ing high. 
 
 This is a pleafure which none but thinking men can be fenfible 
 of, and fuch know it to be one of the greateft, and mod excellent 
 they can enjoy. 
 
 SECT. IV. 
 
 I fancy an author, and a reader are as two people travelling 
 together; if the book be in manufcript, the writer takes the other 
 into his own calafli ; if it be printed, it is a common voiture. We 
 have thus been in company longer than I expefled, but are now 
 entering upon the laft day's journey. How my fellow-traveller is 
 affeded I know not, but I confefs 1 am pleafed I am fo near home. 
 
 It was formerly a trite faying among the Florentines (and may be 
 fo ftill for ought I know) cofa Jatta, capo ha ; a thing done has a 
 head ; that is, until then it has no life, the main circumftance is 
 wanting, it is good for little. I am always glad when I clap on the 
 head to any thing I undertake, becaufe then that affair is brought to 
 the perfeQion I can give it; it is fomething: and then moreover I 
 am at libertv for a new enterprize. When I am got to the end of the 
 prefent work (and I am now come to the laft general divifion of it) I 
 fliall have the fatisfaftion of having done what I could for my 
 own improvement ; for he that endeavours to give light to 
 .another in any matter ftrikes up fome in his own mind, 
 
 which 
 
( 253 ) 
 
 which probably would never otherwife have kindled there; 
 and I fliall enjoy a confcioufnefs of having tried to be as ufeful to 
 the public as my circumftances would enable me to be: I faw 
 fomething of this kind was wanting, and did not perceive that it was 
 very likely any one elfe would take the trouble of it. I have there- 
 fore offered my prefcnt thoughts on this new fubjeft, and in as good 
 a method as I could contrive. I am too fenfible of the fallibility of 
 human underflanding ; and of my own in particular to be too well 
 affured that I am right throughout : and fliall be glad to be better 
 informed if it appears that 1 am miftaken in any thing material : and 
 I have fome pretence to fuch a favour having fo freely commu- 
 nicated thofe lights I believed I had acquired, and that with no fmall 
 labour, and application, in a matter which I conceived might be of 
 ufe to the world. To be miftaken is a fin of infirmity which I pre- 
 tend not to be exempt from : to perfift in the profeflion of an error 
 after convi6lion is the deadly fin, and which I hope I never fhall 
 commit. 
 
 We will now go on ; and fee what advantages connoiflance brings 
 along with it. 
 
 When I was reprefenting the benefits that might accrue to the 
 public by means of the art of Painting, and connoiftance I proved it 
 had a natural tendency to reform our manners, refine our pleafures, 
 and increafe our wealth, power, and reputation. All thefe advan- 
 tages every particular connoifleur will have if prudence accompanies 
 that charafler. As to the two former no queftion can be made con- 
 cerning them : nor of the two latter, fuppofing we have thofe other 
 and that which alone remains to be confidered, the improvement of 
 our fortunes. Now though it is true a man may employ fo much 
 money this way, and in fuch a manner as may not be proportionable 
 to his circumftances, nor proper whatever thofe are ; yet if (as I 
 faid) prudence is mixed with connoiflance not only this inconve- 
 nience will be avoided, but the contrary advantage obtained ; for 
 
 K k money 
 
( 254 ) 
 
 money may be as well laid out this way as in any other purchafe 
 whatfoever, it will be as improveable an eftate. There is moreover 
 another confideration on this head, and that is, the pleafure of con- 
 noifTaiice will probably come in inftead of others not only lefs vir- 
 tuous, but more expenfive. 
 
 I promifed when I entered upon this argument that I would treat 
 it not as an advocate, or an orator, but as a ftri6t reafoner ; and 
 have no where deviated from this rule that I know of : that I have 
 not done fo here when I faid that connoifTance had a natural ten- 
 dency to promote our intereft, power, reputation, politenefs, and 
 even our virtue, I refer you to what I have faid when I afferted 
 that the public might reap all thefe advantages by the fame means ; 
 and elfewhere in this difcourfe. But as I would not exaggerate any 
 thing, neither muft I forbear to do right to the caufe I have under- 
 taken, which I fhould not have done if I had fiightly pafTed over 
 this important article, and had not taken care to give it thefe ftrong 
 touches fo as to make it confpicuous, that it may have a due efFeft 
 upon the mind of the reader. 
 
 As my difcourfe is addreffed to gentlemen in general I am not to 
 infill upon thofe advantages which are peculiar to painters, and fculp- 
 tors, and fuch other artifts as have relation to thefe; which advan- 
 tages are very confiderable ; not fo much from the knowledge of 
 hands, and how to diftinguifh copies from originals ; (though that is 
 fomething) but to know accurately to difcover the beauties, and de- 
 feats of a pi6lure, or drawing they muft readily acknowledge will not 
 a little contribute to their own improvement in their art : this how- 
 ever not being proper to be infifted on here I profecute it no far- 
 ther ; but leave it to be ferioufly confidered by thofe concerned. 
 
 To be a connoifTcur is to have an accomplifhment which though 
 it is not yet reckoned amongft thofe abfolutely neceffary to a gentle- 
 man, he that poflcfTes it is always refpected, and efteemcd upon 
 that account. 
 
 And 
 
( 255 ) 
 
 And if it be confidered what qualificalions a good connoiireur. 
 muft neceflarily have it will be found it cannot be otherwife. What 
 beautiful ideas ! clearly conceived, ftrongly retained, and artfully 
 managed ! what a folid, and unbialTcd judgment ! what a fund of 
 hiftorical, poetical, and theological fcience muft he have; and can- 
 not fail by perpetually converfmg with good pictures, and drawings 
 always to improve, and increafe ! I will not go on to multiply par- 
 ticulars : he that has thefe in any tolerable degree will be allowed to 
 have an acomplifhment which all gentlemen ought to have ; and will 
 be efteemed accordingly. 
 
 When the Roman power was broken, and difTipated ; and arts, 
 empire, and common honefty were fucceeded by ignorance, fuper- 
 ftition, and pricftcraft, the difhonour of human nature was com- 
 pleted ; for it was begun long before in Greece, and Afia. In thefe 
 miferable times, and for ages afterwards, God knows there was no 
 connoifTeurs ! To write, and read was then an accomplifliment for a 
 prince to value himfelf upon. As the fpecies began to recover 
 themfclves, and to gain more ftrength, literature, and Painting alfo 
 lifted up their heads; but however not equally; that degree of 
 vigour that ferved to produce a Dante in writing, could rife no 
 higher than a Giotto in Painting. 
 
 Arts went on in this proportion until the happy age of Rafaelle, 
 which was produdive of feveral very great men in all kinds ; and 
 thefe parts of the world began to be re-civilized. 
 
 Our own country 
 
 An old, and kmghiy nation, proud in arms, 
 
 MiLTOfi. 
 
 Shook off its gothic ruft, and began early to imitate its neighbours 
 in politenefs ; in which it has already (for this revolution was but 
 about two hundred years ago) equalled if not gone beyond the reft 
 
 K k 2 in 
 
( ) 
 
 in a great many inftances: if we go on the time will come when it 
 /hall be as dilhonourable for a gentleman not to be a connoineur, as 
 now it is not to be able to read any other than his own language ; 
 or not to fee the beauties of a good author. 
 
 Painting is but another fort of writing, but like the hieroglyphics 
 anciently it is a charafter not for the vulgar : to read it, is not on\j 
 to know that it is fuch a ftory, or fuch a man, but to fee the beau- 
 ties of the thought, and pencil; of the colouring, and compofition ; 
 the expreflTion, grace, and greatnefs that is to be found in it : and 
 not to be able to do this is a fort of illiterature, and unpolitenefs. 
 
 And accordingly in converfation when (as it frequently does) it 
 turns upon Painting, a gentleman that is a connoifTeur is diftin- 
 guiflied, as one that has wit, and learning is; that being the fubjeO; 
 of difcourfe. 
 
 On the contrary, not to be a connoifiTeur on fuch occafions either 
 filences a gentleman, and hurts his charafter ; or he makes a much 
 worfe figure in pretending to be what he is not to thofe who fee his 
 ignorance. See you not (faid Apelles to Megabyfes prieft of Diana) 
 that the boys that grind my colours, who whilft you are filent look 
 upon you with refpeft becaufe of the gold, and purple of your gar- 
 ments, no fooner hear you talk of what you underftand not but they 
 laugh at you. 
 
 Thofe who are connoiffeurs have this farther advantage; they 
 will have no occafion to afk, or rely upon the judgment of others; 
 they can judge for themfelves. 
 
 Thofe who are connoiffeurs : I repeat it becaufe there are fome 
 who fancy they are fo, and are thought to be fo by others, who 
 neverthelefs have no better pretence to that charafler than a fuper- 
 ftitious bigot, or a hypocrite has to true piety. It is an obfervation 
 (as I remember) of my Lord Bacon, though it is no matter who has 
 faid it, if it be true, that a little philofophy makes a man an atheift; 
 a great deal a good chriftian : fo a little connoiffance fets a man at a 
 
 greater 
 
greater diftance from the advantages of a true connoifleur than if he 
 had none ; if by his too good opinion of his own abilities, or the 
 prejudices of his friends, or flattery of his dependents he is per- 
 fuaded to ftop there, imagining that little is all. For fuch a one 
 not only is very apt to make himfelf the fubjeft of ridicule to the 
 knowing, whatever he may appear to the ignorant; but befides he 
 lies open to thofe whofe bufinefs it is to find out, and profit them- 
 felves of fuch felf-fufficient, abortive connoiffeurs ; who will be fure 
 to believe themfelves a match for them who are their fuperiors in 
 this cafe; and confequently be overpowered by them; whereas one 
 that has no opinion at all of his own ftrength will keep himfelf 
 out of danger. Gentlemen mufl: take care therefore that they do 
 not fuppofe themfelves to be connoiffeurs too foon, and without 
 principles, and experience ; efpecially if they undertake to colleft ; 
 and pique themfelves of hands, and originals. Though if I may 
 have the honour to advife in this cafe they fhould begin with no 
 other view than to have the befl things ; the refl will fall in in time, 
 and with obfervation, and care if they refolve to be complete 
 connoiffeurs in all refpeCls. 
 
 At our firfl coming into the world we are but in a low degree 
 even of animal life, growing up however to a more perfeft one ; 
 and in a fort of probationary flate towards rational being; as 
 when we arrive to that we are (as our holy religion teaches us) 
 candidates for a glorious immortality. 
 
 With time our flrength increafes naturally, and we become 
 more confiderable animals ; and by obfervation, and inflru8;ion 
 every one acquires a certain fhare of art, and fcience, partly infen- 
 fibly, and partly by direQ application in proportion to which we are 
 advanced in the rational ftate. 
 
( ) 
 
 To how minute an origin toe owe 
 
 Young Ammon, Caefar, and the great Najfau ! 
 
 Garth. 
 
 Homer, and Milton once were not divine, 
 
 The hand of Rafaelk could not draw a line. 
 
 And Lock, and Newton once had thoughts like mine. 
 
 But to what height foever it is poflible for human nature to arrive, 
 and hovvfoever extenfive their capacity may be, every individual is 
 a fort of centaur, a mixt creature; in fome refpefts a rational 
 being, in others a mere animal; like the whimfical pidure Vafari 
 fpeaks of at the end of the life of Taddeo Zuccaro, and which he 
 fays was then in the colleflion of the Cardinal de Monte ; in fome 
 views you might fee the portrait of Hen, II. of France ; in others 
 the fame face, but reverfed, and in others a moon, and an ana- 
 grammatical copy of verfes. Every man thus may be confidered in 
 various lights ; in one, where he has fprung out the fartheft 
 length from the animal, into the rational ftate ; in another, where 
 he has made lefs advances; and fome where he remains juft where 
 he was in his infancy. 
 
 For we have not abilities of body, and mind, nor time fufificient 
 allotted to any one of us to make any confiderable progrefs in many 
 paths, and by much the greater number flop fhort without being 
 excellent in any one art, or fcience how mean foever it be. 
 
 Upon this account it is that we are excufed if in many inftances 
 we are intireiy ignorant; it is no refleftion upon us if we are mere 
 animals in fome views, and depend upon other people ; who alfo 
 are low creatures in fome refpe6ls, but noble beings in regard to 
 fuch attainments in which we are defedive ; herein they are our 
 fuperiors, our guides, our lords ; they are rational beings, and we 
 not, or but in an inferior degree. Thus we are all dependent upon 
 
 each 
 
( ) 
 
 each other to fupply our fingle irnperfeflion : but this is no other- 
 wife an excufe than from the neceffity of things ; for it is unworthy 
 a rational being to retain any of the brute which he can pofTibly 
 dived himfelf of. 
 
 As it is difhonourable, fo it is inconvenient to be in a Rate of 
 dependence and pupillage : our condition approaches towards per- 
 feftion in proportion as we have the necedaries, and ornaments of 
 life within ourfelves, and need not to have recourfe to foreign 
 affiftance ; which cannot be had without parting with forneihing of 
 our own judged to be equivalent : befides another man will rarely 
 apply himfelf fo diligently to my concerns as to his own, nor can I 
 be affured of his integrity in any cafe ; in fome there is great reafon 
 to fufpe£l it ; and in fome others, it is even unreafonable to expc6l 
 any man will open himfelf entirely to me. 
 
 It is true, a gentleman may be in fuch circumftances as permit 
 him not (confiftent with the charafter of a wife man) to apply him- 
 felf to become a very good connoiflfeur : it is not to fuch as thefe, but 
 to thofe many who have leifure and opportunity, I have been taking 
 the liberty humbly to recommend that fludy : fuch as thefe however 
 may think, fit to coUeft pictures or drawings; thefe things have their 
 ufes and beauties, even to thofe who fee them but fuperficially, and 
 thefe circumftances may juftify fuch a one in fubmitting to the 
 dire6lion, and advice of another upon the bcfl terms, and with as 
 much prudence as he can ; as in law, phyfic, or any other cafe : but 
 it muft be owned, that it is better, it is more for our honour and 
 intereft, if as in all other cafes, fo in this we are fufficiently qualified 
 to judge for ourfelves. 
 
 It is the glory of the Proteftant church, and efpecially of the 
 church of England, as being indubitably the head of the reformed 
 churches ; and fo upon that account, as well as the purity and ex- 
 cellency of its doQrines, and the piety, and learning of its clergy 
 (fo far as I am able to judge) the beft national church in the world : 
 
 I fay 
 
( 260 ) 
 
 I fay it is the glory: of the reformation, that thereby men are fet 
 at liberty to judge for themfelves : we are thus a body of free men; 
 not the major part in fubjeftion to the reft. Here we are all coa- 
 noifTeurs as we are Proteftants ; though (as it muft needs happen) 
 fome are abler connoilTeurs than others. And we have abundantly 
 experienced the advantages of this, fince we have thus refumed our 
 natural rights as rational creatures. May the like reformation be 
 made, in a matter of much lefs importance indeed, but confiderable 
 enough to juftify my wiflies and endeavours; I mean in relation to 
 connoifiTance : may every one of us in this cafe alfo be able to judge 
 for ourfelves without implicitly, and tamely refigning our under- 
 ftandings to thofe who are naturally our equals, and the advantages 
 will be proportionable. 
 
 A man that thinks boldly, freely, and thoroughly; that ftands 
 upon his own legs, and fees with his own eyes, has a firmnefs, and 
 ferenjty of mind, which he that is dependent upon others has not, or 
 catmot reafonably have. Nor is he fo liable to be impofed upon : 
 whereas others are fubje6l to be driven about by the breath of men, 
 which is always blowing ftrongly from every point of the compafs. 
 
 If any one tells a true connoilTeur that fuch a pi61ure or drawing 
 of his is a copy, or not fo good, or of fo good a hand as he 
 judges it to be : or if fome fay one thing, and fome another, though 
 in times paft this might have given him much uneafinefs : now, if 
 he fees the inconteftible marks of an original ; the unqueftionable 
 charafteridics of the hand ; and judges of its goodnefs upon princi- 
 ples which he fees to be fuch as may be relied on ; what is faid to 
 the contrary difturbs not him. So if a drawing or pifture be offered 
 him, as being of the hand of the divine Rafaelle ; if he is told there 
 is undoubted, or infallible tradition for its having been in the Arun- 
 dell coUeclion, and bought by my Lord in Italy, but not till he had 
 had it confidered by the beft judges there; and even examined in. 
 the academy of painters at Rome, in which there might probably 
 
 have 
 
( 26i ) 
 
 have been fome at that time old enougii to have feen thofe that had 
 feen Rafaelle ; or as an Italian writer in the hyperbolical ft) Ic of 
 that nation fays, had feen the Lord. Yet if this judicious connoifleur 
 fees in it no fine thought, no juft, nor ftrong expreflion, no truth 
 of drawing, no good cornpofition, colouring, or handling; in fhort, 
 neither grace, nor greatnefs ; but that on the contrary it is evi- 
 dently the work of fome bungler, the confident pretences con- 
 cerning it impofe not on him; he knows it is not, it cannot poflTi- 
 bly be of Rafaelle. 
 
 A N 
 
A N 
 
 ESSAY ON PRINTS. 
 
 CONTAINING 
 
 Remarks on the moft Noted Mafters, 
 
 WITH 
 
 CAUTIONS TO COLLECTORS, 
 
 AND 
 
 CRITICISMS ON PARTICULAR PIECES, 
 
 WITH 
 
 EXPLANATION of TERMS. 
 
 The moft celebrated engravers in biftory were Jlbert Durer, 
 Gokzius, Midler, Abraham Bloemart, Andrea Mantegna, Parmiggiano, 
 Palma, Francis Paria, Andrea Andreani, of Mantua, Marc Antonio, 
 Frederick Barocchi, Anthony Tempefla, Aiigiijlini Carrachi, Giudo, 
 Caniarine, Callot, Count Gaude, Salvator Rofa, Rembrandt, Peter 
 Tejla, Michael Dorigny, or Old Dorigny, Villamena, Stephen de la Bella, 
 La Fage, Bolfwert, Pontius, Sciaminqffi, Roman le Hocghe, Luiken, 
 Gerrard Lairejje, Cajliglione, Vander Muilcn, Otho Venius, Galeflruzi, 
 Mellan, OJtade, Cornelius Bega, Van Tulden, Jofcph Parrocelle, Le 
 Fehre, Bellange, Claude Gillot, Watteau, Cot nelius S chut, William Bauer, 
 Coypel, Picari, Arthur Pond, Our countryman fucceeded admirably 
 
 in 
 
( ) 
 
 in imitations, in which he hath etched feveral valuable prints, par- 
 ticularly two oval landfcapes, after Salvator; a monkey in red chalk, 
 after Carrachi ; two or three views, after Panini, and fome others 
 equally excellent; but this pra6tice has been fo fuccefsfully praflifcd 
 by Count Caylus, an ingenious French Nobleman, that he has given 
 excellent prints from all the mafters of note. Le Clcrc was an ex- 
 cellent engraver, in the little ftylc. Peter Bartolli etched with free- 
 dom, his capital work is Lanfrank's Gallery. John Freii was an ex- 
 cellent engraver, and unites foftncfs with flrength. R. B. Aiiden 
 Aeri copied many things from Carlo Maratti. S. Gribelin was a 
 careful, laborious engraver, of no extenfive genius, but painfully 
 exaft. Le Bas etches in a clear, diftinft, free manner, and has done 
 great honour to the works of Teniers, Woverman, and Berghem, 
 from whom he chiefly copied : the beft are after Berghem. Bijchop's 
 etching has fomething pleahng in it, it is loofe and free, and yet 
 poffeffes ftrength and richnefs, many of his ftatues are good figures; 
 the drawing is not always corrcQ, but the execution beautiful; 
 many of the plates of his drawing book are very well, his greatefl 
 fingle work is Jofeph in Egypt, which is not without faults. Francis 
 Perrier, his flatues are very fpiritedly etched, with great marks of 
 genius. Marot etched fome flatues in a capital manner. Roettier's 
 etchings are in a fpirited bold manner, but not without an harflinefs 
 in his outline, but his drawings are generally good ; few artifls manage 
 a crowd better, or give it more efFeQ;, by a judicious diflribution of' 
 light: his moft capital works are the crucifixion, and afTumption of 
 the crofs. N. Dorigny, his mofl capital work is the transfiguration, 
 which Addifon calls the nobleft print in the world; but Dorigny fo 
 exhaufled his genius on it, that he did nothing after worth prefcrv- 
 ing ; his cartons are very poor, he engraved them with affiflancc 
 in his old age. 
 
 LI 2 
 
 MASTERS 
 
( ) 
 
 MASTERS IN PORTRAITS. 
 
 ^K^EMBRANDT, in this clafs, certainly takes the lead, Ivis 
 heads are wonderful copies from nature, and perhaps the beft 
 of his works ; there is great charafler and expreflion in them. 
 Vanuliet followed Rembrandt's manner, which I.e often excelled; 
 foro.e of his heads are exceedingly beautiful, the force in every 
 feature, the roundnefs of the m.ufcle, the fpirit of execution 
 and chara6ler are all admirable. J. Lievens etches in the 
 lame ftyle, his heads are executed with great fpirit, and deferve 
 place in all colle6lions of prints. The two laft artifts etched fome 
 hiftorical prints, particularly the latter, whofe Lazarus, after Rem- 
 brandt, is a noble work. WorliSge, has very ingenioufly followed 
 Rembrandt, and fometimes improved upon him; no man under- 
 'flood the drawing of an head better; his portraits of painters are ad- 
 mirable ; his portraits of Squires, the gipfey woman, and of Betty 
 Canning, are done with great freedonj, fpirit, and character ; his 
 portrait of the young Lord Pembroke, after Van Dyck, is the 
 prettieft portrait perhaps in the world ; his gems are neat and 
 mafterly, but there is a woeful defeft in the drawing, his only aim 
 in thefe feems neatnefs, and to make them look pretty ; they are by 
 no means equal to the Devonfhire, Marlborough, Stofh, or Gor- 
 leus's colleQion. Van Dyck's etchings do him great credit, they 
 are chiefly to be found in a colleftion of portraits of eminent artifts. 
 Luke Vojlerman is one of the beft; a very finiftied etching of ecce 
 homo paffes under his name. We have a few prints of Sir Peter Lely's 
 etching, but there is nothing in them extraordinary. R. White was 
 the chief engraver of portraits in Charles IL's time, but his works 
 are miferable, they are good likeneftes, but wretched prints. White, 
 the mezzotinto fcraper, fon of the engraver, was an artift of great 
 
 merit, 
 
, ^ /rr^^.^^^ ^^^^^ 
 
» >. t 
 
 ^>^^^^ ^l^iS-— .^-^ c*^.^-^^^ 
 
Q. 
 
4r ««?s^£^ ' 
 
 /2. 
 
 .'A 
 
 ft, 
 
- ( 2^5 ) 
 
 merit, he copied after Sir Godfrey Kneller, whom he teazcd fo much 
 with his proofs, that it is faid, Sir Godfrey forbid him his houfe. 
 Baptift, Wing, Sturgefs, and Hooper, are all admirable prims, he 
 himfelf faid. Old and Young Parr were the beH: portraits he ever 
 fcraped ; his manner at that time was peculiar, he hrft etched his 
 plate, and afterwards fcraped it, hence his prints prcfcrve a fpirit 
 to the laft. Smith was the pupil of Bccket, but foon excelled 
 bis mailer; he was efteemed the beft mezzotinto fcrapcr of his 
 time, though perhaps inferior to White ; he hath left a numerous 
 colleftion of portraits, often bound in two large folios : he copied 
 chiefly from Sir Godfrey. Lord Sommers was fo fond of his works, 
 that he generally carried them in his coach ; feme of his befl; prints 
 are two holy families, Anthony Leigh, Mary Magdalen, Scalken, 
 a half length of Lady Elizabeth Cromwell, the Duke of Schomberg 
 on horfeback, the Countefs of Salifbury, Gibbon, the ftatuary, and 
 a very fine hawking piece from Wyke.- Millan's portraits are indif- 
 ferent, they want fpirit, flrength, and effect. PitLori publiflied a 
 fet of heads, in the ftyle of Millan, from Piazzetta, but in a much 
 better tafte, force, and fpirit. J. Morins heads are engraved in a 
 very peculiar manner, they are flippled with a graver, have good 
 effefl, force, and at the fame time foftnefs; few portraits are better: 
 Bentivoglio, after Y^n Dyck, is the beft. J. Lutmas heads are 
 executed in the fame way, they are inferior to Morin's, but not 
 without merit. Marmion etched a few portraits in the manner of 
 Van Dyck, with great care and freedom. Wolfang, a German 
 engraver, managed his tools with great foftnefs and delicacy, and at 
 the fame time preferved a great deal of fpirit : Biflhop Huet, the 
 famous and accomplilhed French prelate, was done by him. 
 Drevet's portraits are elegant, neat, but too much laboured, they arc 
 copied from Regnault, and other French maflers, and abound in 
 flutter and licentious drapery, fo oppofite to true tafte. Richard/on 
 etched feveral heads for Mr. Pope and others of his friends, they are 
 
 flight 
 
( 266 ) 
 
 flight, but fpirited ; Mr. Pope's profile is the beft. Vertue copied with 
 painful exadnefs, in a dry, difagreeable manner, without force or 
 freedom. Such an artift in mezzoiinto was Faber, he has publiflied 
 nothing extremely bad, yet few things worth collefting: Mrs. Collier 
 is one of his beft prints, and a very good one. Houhraken was a 
 genius, and has given us fome pieces equal to any thing of the 
 kind ; fuch are his head of Hampden, Schomberg, the Earl of 
 Bedford, Duke of Richmond, and fome others : a more elegant 
 and flowing air no artift ever employed. Our countyrman Fry has 
 left behind him fome beautiful heads in mezzotinto, they are all 
 copied from nature, of great foftnefs and fpirit, but want ftrength: 
 mezzotinto is not adapted to works fo large, 
 
 MASTERS IN ANIMAL LIFE. 
 
 Berg HEM has a genius truly paftoral, and brings before us the 
 moft agreeable fcenes of human rural life, the fimplicity of Arcadean 
 
 manners are no where better defcribed than in his works; we have 
 a large colleftion of prints from his defigns, many etched by himfelf, 
 and many by other matters; thofe by himfelf are flight, but mafterly, 
 his execution is inimitable, his cattle are well drawn and admirably 
 charafterized, and generally well grouped : few painters excel more 
 in compofition. Amongft his own etchings, a few fmall plates of 
 flieep and goats are exceedingly valued. J. Vijfcher never appears 
 to more advantage than when he copies Berghem, his excellent 
 drawing and free execution gives great value to his prints ; he is a 
 matter both in etching and engraving, his only failure was not a 
 proper attendance to the dittribution of light. 
 
 Danker Danker ts is another excellent copieft from Berghem ; every 
 thing that has been faid of Viffcher may be faidof him, and perhaps 
 
 more. 
 
( ) 
 
 more. Hondius painted animals chiefly in a free manner, was ex- 
 travagant in his colouring, incorreft in his drawing, ignorant of the 
 effeQ of light, but great and amazing in exprelTion ; his prints arc 
 better than his pi61ures, they afford fuch ftrong indances of animal 
 fury, that we meet no where but in nature itfelf ; his hunted wolf 
 is an admirable print. Du Jardin underftood the anatomy of do- 
 meftic animals perhaps better than any other mafter, his drawing is 
 correQ, and yet the freedom is preferved, he copied nature ftriflly, 
 though not fervilely ,and has given us the form and charatter of each 
 animal with great fpirit ; his compofition is beautiful, and his ex- 
 ecution neat ; his works, when bound, make fifty leaves, amongft 
 which are fcarce one bad print. Rubens's huntings are undoubtedly 
 fuperior upon the whole to any thing of the kind, we have there his 
 great invention, and a grand ftyle in them : I clafs them under his 
 name, becaufe they are engraved by feveral matters, but arc very 
 poorly done. Wovermaris compofition is generally crowded with 
 little ornaments, there is no fimplicity in his works, he wanted a 
 chafte judgment to corre6l his exuberance. ViJJcher was the firft to 
 engrave prints from this artift, he chofe only a few good defigns, 
 and executed them mafterly. Moyreau undertook him next, and 
 hath publifhed a large colleflion, finifhed highly and with more 
 foftnefs and fpirit; his prints exhibit a variety of pleafing repre- 
 fentations, huntings, encampments, cavalcades, and marches. Rofa 
 of Tivoli, etched in a very finifhed manner, no one out-did him in 
 compofition and execution, he is very fl-cilful in the management of 
 light ] his defigns are all paftoral, and yet there is often a mixture 
 of the heroic in his compofitions very pleafing: his prints are fcarce. 
 Stephen Delia Bella may be mentioned amongft the maffers in animal 
 life, though few of his works in this way deferve any oihcr praife 
 than for elegance in execution ; his animals are neither well drawn 
 nor juftly chara6lerized ; his beft works in animal life arc fome heads 
 of camels and dromedaries. Anthony Tempc/la hath etched feveral 
 
 plates 
 
( 268 ) 
 
 plates of fingle horfes, and of huntings; he hath given great expref- 
 fion, but his compofition in thefe prints is bad, nor is there in any 
 of them the leaft efFe£l of light. J, Fif etched a few animals with 
 inimitable flrength and fpirit. Cuyp's etchings we meet with in 
 curious colleftions, they are well compofed, well drawn, and well 
 exprefl'ed. Peler de Laer has left us feveral fmall etchings of horfes 
 and other animals well charaderized, and executed in a bold 
 maflerly ftyle, fome of them are fingle figures, but when he com- 
 pofes he is generally good, and his diftribution of light felfJom much 
 amifs, often pleafing, and his drawing good. Peter Stoop came 
 from Portugal with Queen Catherine, was admired till Wyke's 
 fuperior excellence eclipfed him ; he etched a book of horfes, much 
 valued, as there is great accuracy in the drawing, nature in the cha- 
 ra£lers, and fpirit in the execution. Rembrandt'' s etchings of lions are 
 worthy the notice of connoiffeurs. Bloteling's lions are highly finiflied, 
 but with more neatnefs than fpirit. Paul Potter etched feveral plates 
 of cows and horfes in a mafterly manner, but his drawing is not 
 juft, efpecially in his fheep. Barlow's etchings are numerous, his 
 illuftrations of ^fop is his grand work, there is fomething pleafing 
 in his manner and compofition though not excellent, his drawing is 
 indifferent, his birds in general are better than his beafts. Flamen 
 has etched feveral plates of birds and fifhes; the former are bad, and 
 the latter the heft of the kind we have. Hollar has given us feveral 
 plates of animal life, which ought rather to be taken notice of, as 
 they perhaps are amongft the befl: of his works; two or three fmall 
 j)lates of domeUic fowls, ducks, woodcocks, and other game are 
 very well, his fliells and butterflies are beautiful. I fliall clofe this 
 clafs with Ridmger, who perhaps was one of the greateft mailers in 
 animal life, he has marked the charafters of animals with furprifing 
 exprefliicn ; his works may be confidered as natural hiftory, he 
 carries us into the foreft, amongft bears, lions, and tygers, and 
 \vith great exaftnefs reprefents their haunts and manners of living; 
 
 his 
 
( 269 ) 
 
 his compofition is beautiful, and his diftribiuion of light good ; his 
 landfcapes are pi6lurcfque, romantic, and well adapted to the fub- 
 jeft; on the other hand, he fecms laboured, and wants freedom ; his 
 human figures have little tafte, his horfcs arc ill chara61erizcd, and 
 Avorfe drawn, and his drawing generally is butflovenlyj his prints 
 are often real hiftory, and reprefent the portraits of particular 
 animals taken in the chace : the ftory often is in High Dutch under- 
 neath the print. The idea of hiftorical truth adds a relidi to the enter- 
 tainment, and we furvey with pleafure what has given entertainment 
 to a German prince nine hours together. His productions are 
 numerous; his huntings, and different manners of catching animals, 
 are the leafl; pi6turefquc of any of his works ; many of his fables 
 are beautiful, efpecially the third, feventh, eighth, and tenth; his 
 book of heads of wolves "and foxes are admirable. His two moft 
 capital prints are two large uprights, one reprefenting a bear de- 
 vouring a deer; the other wild boars repofing in a foreft. 
 
 MASTERS IN LANDSCAPE. 
 
 Sadler's landfcapes have merit in compofition, they arc 
 pifturefque and romantic, but the manner is dry and difagreeable, 
 the light ill diftributed, the diftances ill kept, and the figures bad. 
 There are three engravers of this name, but none eminent. Ralph 
 copied BafTan's defigns ; John engraved a fet of prints to the Bible ; 
 and Egedeus was the engraver of landfcape, and is the fubje6l of 
 our criticifm. Rembrandt's landfcapes have little to recommend 
 them befides their effe61, which is furprifing ; his moft admired is 
 the one known by colle£tors, by the name of the Three Trees, 
 Gajper PouJJin etched in a very loofe, but mafterly manner, y^. 
 Bloemart underftood compofition, and its beauties in landfcape and 
 hiftory, but his prints have little force, owing to an improper difpo- 
 
 M m fition 
 
( 270 ) 
 
 filion of light ] he is without freedom in his execution, but wants 
 neitheF elegance nor lirnplicity in his defigns. Hollar copied with 
 great truth without ornament ; if we are fatisficd with exa£l reprcT 
 fentations, we fliall find no mafter fo true as him, but if we want 
 piftures, we muft feek them elfewhere. SUphen Delia Bella s land- 
 fcapes have little to recommend them except their neatnefs and 
 keeping; there is no great beauty in his compofition, but great 
 neatnefs. Bolwert's landfcapes often are executed in a very grand 
 flyle, but with little variety of minute beauties, every thing is great 
 and Cmple ; the print that goes by the name of the Waggon is de- 
 fervedly admired. Neulant has etched a fmall book of the ruins of 
 Rome, in which there is great fimplicity, and fome flkill in com- 
 pofition and diftribution of light, but the execution is difagreeable 
 and harfh. We have a few landfcapes by an Earl of Sunderland, in 
 an elegant loofe manner, in which a Spaniard, ftanding on the fore- 
 ground, is marked G. and J. fculpferunt — another J. G. Waterloo 
 is beyond all others in landfcape, his fubjeft is perfe6lly rural and 
 fimple, but no great variety of fancy ; his compofition is good, his 
 light well arranged, and his execution (hews him a conlummate 
 mafter ; every obje£l he touches has the charafter of nature, but he 
 particularly excclls in the foliage of his trees; it is difficult to meet 
 with his works in perfe£lion, the plates are all retouched and greatly 
 injured. Swanevelt painted landfcapes, and etched in the manner 
 of Waterloo, but not with that freedom ; his trees will bear no 
 comparifon with thofe of that mafter, but he excelled certainly in 
 the dignity of defign — Waterloo faw nature with a Dutchman's eye: 
 if we except two or three of his pieces, he never went beyond 
 Flemifh plain fimplicity — SwaneveW & ideas were of a nobler call, he 
 had trodden clafTic ground, and had warmed his imagination with 
 the grandeur and variety of Italian profpcfts ; his compofition is 
 good, and his lights judicious; in his execution are two manners. 
 Jamei Rovjfeau, a difciple of Swanevelt, his paintings at Montague- 
 
 Houfe, 
 
( 2/1 ) 
 
 Houfe, now the Briiifh Mufcuni, arc good, his etchings are heauti- 
 ful ; he underftood Gompofition and diflribiuion of light, and there 
 is a fine tafle iii his landfcape, but his perfpeQive is not alwa)'5j 
 critically good, and oActi pedantically introduced ; his figures are 
 good, and generally well placed, but his manner dry and formal. 
 RvyfihU etched nothing but what was exceedingly flight. IJi-ael 
 Sylvejire has given us fmall ruins, fome indeed of a large fize of 
 tnofl of the capital ruins, churches, bridges, and caflles in France 
 and Italy; they arc exceedingly neat, and touched with great fpirit 
 and refemblance. The etchings of Claude Lorraine are below his 
 character; there is often good compofition in them, but nothing 
 elfe ; his execution is bad, and there is a dirtinefs in them difgufl- 
 ing, his lights feldom well mafTed, and his diflanccs only fometimes 
 obferved ; his talents lie upon his pallet, and he could do no- 
 ihing without: \'ia Sacva is one of the bcfl of his prints, the trees 
 and fuiris on the left are beatitifully touched, and ih-e whole would 
 have been pleafing, had the fore-ground been in fhadow. Perclle 
 has great merit, a fruitful fancy widi great richnefs and variety, but 
 orren confounds the eye with too great a luxuriancy ; his manner is 
 his own, and is rich, elegant, ftrong and free; his trees are beauti- 
 fiil, and the foliage loofe, and the ramification eafy, but he is a 
 Wannerifl rather than a copier of nature; his views are all ideal, and 
 his trees feem of one family, his light, though generally well di- 
 flrifauted is often affcQed : thefe remarks are on Old Perelle, there 
 ^ere three engravers of this name ; the grandfather, the father, and 
 tfee fon; they all engraved in fhe fame ftyle, tut the old ma-n is the befl, 
 as ^he others degenerated ; the grandfon is the worfl. Vander Cabel was 
 a floX'enly artift generally, but where he has ftudicd there is great 
 beauty ; his manner is loofe and mafterly, wants effe6l, but abounds 
 in freedom ; his trees are often well managed ; his fmall pieces are 
 generally the beft of his performances. In Weirotter we fee great 
 neatnefs and high finifhing, but often at the expence of fpirit and 
 
 M m 2 efiPeft j 
 
( ) 
 
 cfFeft ; he feems to have underftood the management of trees well, 
 to which he always gives a beautiful loofenefs ; there is great effeft 
 in a fmall moonlight by this mafler, the whole is in dark (hade ex- 
 cept three figures on the fore-ground. Overbeck etched a book of 
 Roman ruins, which are generally good, they are pretty large and 
 highly finiflied ; his manner, and his light often well dillributed, 
 and his compofition agreeable. Genoel's landfcapes are rather free 
 flietches than finifhed prints ; in that light they are beautiful, no 
 efFeft is aimed at, but the freedom with which they are touched is 
 pleafing; in the compofition he is commonly good, though often 
 crowded. Both's tafte in landfcape is elagant and grand, his com- 
 pofition beautiful, and his execution rich and mafterly in the greateft 
 degree, but his light is not always well diftributed, his figures are 
 excellent; we lament we have not more of his works, as they are 
 certainly the beft landfcapes we have. Marco Ricci's works are 
 numerous, and have little merit ; his human figures are good, and 
 his trees tolerable, but he produces noefFeft; his manner difgufts, 
 his cattle ill drawn, and his diftances not well preferved. Le Veau's 
 landfcapes are highly finiflied, they are graved with foftnefs, ele- 
 gance and fpirit ; the keeping of this mailer is well obferved ; his 
 fubjefts are well chofen, and his prints make beautiful furniture. 
 Zuingg engraves like Le Veau, but not fo elegantly. Zeeman was a 
 Dutch painter, and excelled in fea coafts, beaches, and diftant 
 lands, which he commonly ornamented with fldlFs and fifhing-boats ; 
 his execution is neat, and his diftances well kept, but his light ill 
 diftributed, his figures are good, and his fkiffs admirable ; in his 
 fea-pieces he introduces larger veffels, but his prints in this ftyle 
 are aukward and difagreeable. Vandiejl left behind him a few rough 
 flvctches, which are free in the execution. Goupy happily caught the 
 manner of Salvator, and in fome things excelled him; there is a 
 richnefs in his execution, and a fpirit in his trees, which Salvator 
 wants, but his figures are bad,, not only many grofs inftances of 
 
 indelicacy 
 
( 273 ) 
 
 indelicacy of outline, but even of bad drawing may be found 
 in his print of Porfenna, and in that of Diana : landfcape is 
 his fort, and his befl; prints are thofe which are known by the 
 name of I.atrones, the Augurs, Tobit, Agar and its companion. 
 Piranefi has given us a larger collcflion of Roman antiquities 
 than any other mailer, and has added to his ruins a great variety of 
 modern buildings. The critics fay he has truftcd top much to his 
 eye, and that his proportions and perfpective are often faulty. He 
 feems to be a rapid genius. We are told tiie drawings which he 
 takes upon the ("pot are as flight and rough as pofiiblc ; the rell he 
 made out by memory, and invention. From fo voluminous an 
 artift indeed we caiuiot expeft great corre6lnefs : his works com- 
 plete fell at leaft for fifty pounds unboud. But the great excellence 
 of Piranefi is his wonderful execution, of which he is a confuramate 
 mafter; his ftroke is firm, free, and bold beyond cxpreffion, and 
 his manner admirable, and grand, but in the diftribution of light 
 he has little knowledge. Our celebrated countryman Hogarth, can- 
 not properly be omitted in a catalogue of engravers ; and yet he 
 ranks in none of the clafies mentioned ; fo ftiall introduce him here. 
 His works abound in true humour and fatire, which is generally 
 well directed. They are admirable moral lefibns, and a fund of 
 entertainment, fuited to every tafte, a circumftance which fhews 
 them to be juft copies of nature : we may confider them as valuable 
 repofitories of the manners, cuftoms, and drefies of the prefent age. 
 How far the works of Hogarth will bear a critical examination, will 
 be the fubjefcl of more enquiry. In defign Hogarth was feldom at 
 a lofs, his invention was fertile, his judgment accurate ; an im- 
 proper incident rarely introduced, a proper one rarely omitted : 
 no one could tell a ftory better, or make it in all its parts more 
 intelligible. His genius however was fuited only to low familiar 
 fubjetts, it never foared above common life to fubjefts naturally 
 fublime ; or which from antiquity or other accidents borrowed 
 
 dignity ; 
 
( 274 ) 
 
 dignity, he could not rife. In cotnpDfition we fee little in him to 
 admire. In many of his prints his deficiency is fo great as plainly 
 to imply a want of all principle, as makes us believe when we do 
 meet with a beautiful group, it fs the effect of chance. In one of 
 his minor works, the Idle 'Prentice, W'e feldotn fee a crowd more 
 beautifully managed than in the lad print; if the flieriff's officers 
 had not been placed in a line, and had been brought a little lower 
 in the piQure, fo as to have formed a pyramid with the cart, the 
 compofition would have been unexceptionable ; and yet the firft 
 print of this work is fuch a ftnking inftance of difagreeable com- 
 pofition, that it is amazing how an artill who had any idea of 
 beautiful forms could fuffer fo unmafterly a performance to leave 
 his hands. Of the proper dillribution of light he had little know- 
 ledge : ih fome of his pieces we fee a good effeQ, as in the execu- 
 tion I juft mentioned. His figures on the whole are infpired with 
 fo rhuch life and meaning, that the eye is kept in good humour ih 
 fpitie of its inclination to find fault. The author of the Ahalyfis of 
 Beauty it might be fuppofed would have given us more inftanteS of 
 grace than we find in the works of Hogarth ; which fhews that 
 theory and pra6lice are not always united. Many opportunities 
 his fubjefts naturally afford of introducing graceful attitudes, and 
 yet Me have few exaitiples of them. With inftances of piflu- 
 i"efque grace, his works abound. Of his expreffion, in which the 
 force of his genius lay, we cannot fpeak in terms too high, in every 
 m'ode of it he was truly excellent. The paflions he thbl-oughly 
 underftood, and all the effefts they produce in every part of the 
 humah frame ; he had the happy ait of c6Mey\f)g hh Meas with the 
 ftjme eXaElnefs with which he conceived them. He was excellent iti 
 iexpreffing any humorous oddity, which we often fee ftartnpcd on the 
 human face. His heads are cafl in the very mould of nature, 
 IVehc'e that endlefs variety that is difplayed through his works, an'd 
 hence it is that the difference arifes b'etweeti his heads an'd the -affected 
 
 caricaturas 
 
( 275 ) 
 
 caricaturas of thofe mafters who have fometimes amufed thernfelvcs 
 with patching together an afTcmblage of features from their own 
 ideas; fuch are Spaniolct's, which, though admirably executed, ap-t 
 pear plainly to have no architypes in nature. Hogarth's, on the 
 other hand, are colledions of natural curiufities, the Oxford heads, 
 the ph) fician's arms, and fome of his other pieces, are exprefsly 
 of this humorous kind; they are truly comic, though ill-natured 
 efFufions of mirth more entertaining than Spaniolet's, as they arc 
 pure nature but Icfs innocent, as they contain ill dirtfled ridicule; 
 but the fpecies of expreffion in which thi^ maUer moll cxceh is, that 
 happy art of catching thofe peculiarities of air and gcfturc, which 
 the ridiculous part of every profeffion contract, and which, for that 
 reafon, become chara6leriftic ; of the whole, his counfellors, his 
 undertakers, his lawyers, his ufurers, are all confpicuous at fight; 
 in a word, almoft all profeflTions may fee in his works that particular 
 fpecies of affetlation which they fhould endeavour to avoid ; the 
 execution of this mafter is well fuited to his fubje6ls and manner of 
 treating them ; he etches with great fpirit, and never gives one un- 
 neceffary ftroke, there is great fpirit in his little print of a corner 
 of a play-houfe. 
 
 CAUTIONS in colledling PRINTS. 
 
 The eoUeftor of prints may be firft cautioned againft indulging 
 a defire of becoming pofTefTed of all the works of any mafter ; there 
 is no mafter whofe works in the grofs deferve notice ; no man is 
 equal to himfelf in all his compolitions. I have known a colleftor 
 of Rembrandt give two or three guineas for a print of that malter 
 to complete his coUeQion, which would have been greatly to Rem- 
 brandt's credit if it had been left out : one thud of the works of 
 this mafter will not bear juft criticifm. Prince Eugene piqued him- 
 felf 
 
( 276 ) 
 
 felf on having all the works of all the mafters ; his colle£lion was 
 bulky, and cofl; eighty thoufand pounds, and could not at that time 
 if fifted, be worth fo many hundreds. The colleftor of prints may 
 be cautioned againd a fuperftitious veneration for names ; a true 
 connoifleur leaves the matter out of the queftion, and examines the 
 work. With a dabbling little genius, nothing fways like a name, it 
 carries a wonderful force, covers glaring faults, and creates ima- 
 ginary beauties; that criiicifm is certainly juft, which examines the 
 different manners of the various maders with a view to difcover 
 how a good efFetl may be produced, but to be curious to find out 
 the mafter, and there to reft the judgment, is a kind of connoifleur- 
 fhip, very paultry and illiberal ; inftead of judging of the mafter by 
 the work, it is judging the work by the mafter : hence it is thofe 
 vile prims the Woman in the Cauldron and Mount Parnaffus obtain 
 credit among connoiffeurs ; if you afk where their beauties coniift, 
 you are informed they are graved by Marc Antonio, and if that 
 will not fatisfy you, they tell you they are after Rafaelle. I'his 
 abfurd tafle raifed an honefl indignation in Picart, who having 
 fhewn the world, by his excellent imitations, how ridiculous it is 
 to pay a veneration to names, tells us, he had compared fome of 
 the gravings of the ancient mafters with the piflures, and found 
 them very bad copies ; he fpeaks of the ftifl' manner that runs 
 through them of the hair of children, which refembles pot-hooks, 
 and of their ignorance in anatomy, and the diftribution of light : 
 what folly is that, that makes the public faftiion the criterion of 
 tafte ; fafhion prevails in every thing, while it is confined to drefs, or 
 the idle ceremonies of a vifit, it is of little confequence; but when 
 it becomes the di61ator in arts, the matter is ferious, yet fo it is, we 
 feldom permit ourfelves to judge of beauty by the rules of art, but 
 follow the catch- word of fafliion, and applaud and cenfure from the 
 voice of others: fometimes one mafter, fometimes another mafter 
 has the run. Rembrandt has long been a fafliionable mafter; if the 
 
 prints 
 
( 277 ) 
 
 prints be good, it fignifies little by whom. The date of Rem- 
 brandt is getting over, and other maflers are getting into fafhion ; 
 for the truth of thefe obfervations, I appeal to the dealers in old 
 prints, who will inform you how uncertain is the value of the 
 goods they vend ; hence it is fuch noble produftions as the works 
 of Peter Tcfta arc in fuch little eftcem; the whole colIc6lion 
 of this mafter, which confifts of thirty capital prints, may be 
 bought for lefs than is often given for a fingle print of Rem- 
 brandt; I fpeak not of his capital print, the price of which is 
 immoderate. The true man of talte, leaves the voice of fafhion 
 entirely out of the queflion, he has a better ftandard of beauty, which 
 be will find frequently at variance with common opinion. A fourth 
 caution in colle£ling prints may be not to rate their value by their 
 fcarcenefs. Scarcenefs will make a valuable print more valuable, 
 but to make fcarcenefs the ftandard of a print's value, is to miftake 
 an accident for merit; this folly is founded in vanity, to poffefs 
 what none elfe can poffefs; the want of real merit is made up by 
 imaginary, and the obje6l is intended to be kept, not looked at; yet 
 abfurd, as this falfe tafte is, a trifling genius may be found, who 
 will give ten guineas for Hollar's (hells, which, valued according to 
 real merit, and the fcarcity added to the account, are not worth ten 
 Ihillings. Le Clerc, in his print of Alexander's Triumph, had given 
 a profile of that prince, the print was fliewn to the Duke of Orleans, 
 who was pleafed with it on the whole, but juftly obje£led to the fide 
 face ; the obfequious artift erafcd it and engraved a full one; a few 
 imprefTions had been taken from the plate in its firlt ftatc, which fell 
 amongfl the curious for ten times the price of the one fince it has 
 been altered. Callot, once pleafed with a little plate of bis own 
 etching, made a hole in it, through which he drew a ribbon and 
 wore it on his button : the imprcflions after the hole was made, 
 are fcarce and valuable. In a print of the Holy Family frouj Van 
 Dvck, St. John was reprefented laying his hand on the Virgin's 
 flioulder. Before the print was publifhed, tl.e artift fliewed it 
 
 N n among 
 
( ) 
 
 among his critical friends, fome of -wbom thought the a6lion of St. 
 John too familiar; the painter was convinced, and removed the 
 .'hand, but he was miftaken when he thought he added value to the 
 print by the alteration ; the imprelTions that got out with the hand 
 .on the fhoulder would buy up all the reft three times over in any 
 <au£tion where it was properly pointed out : many of Rem.brandt's 
 prints receive a value from accidental alterations of this kind. A 
 few imprelTions were taken from one plate before a fign-poft was 
 inferted at an alehoufe door; at a fecond, before a dog was intro- 
 duced; at a third, before a white horfe tail was turned into a black. 
 Let the colleftors of prints be cautious about buying copies for 
 originals, many of the works of the copiers may be fo well, that a 
 perfon not verfed in prints may be eafily deceived: were the copies 
 really as good as the originals, they contrafl a iliffnefs from the fear 
 of erring, that they are eafily difcerned when compared. The laft 
 caution I fliall give to colle6\ors is, to take care not to purchafe 
 bad impreJfions. There are three things which make an imprelfion 
 bad : the firft is, its being ill taken off, fome prints feem to have 
 received the force of the roller, at intervals the impreflion is 
 double, and gives that glimmering appearance that illudes the eye. 
 A fecond, which makes an impreffion bad is a worn plate ; there 
 is often as much difference between the firft and laft impelfions, as 
 two diflFerent prints, the effe6t is wholly loft in a faint impreffion, 
 and you have nothing left but a vapid deiign, without fpirit, and 
 without force ; in mezzotinto efpccially, a ftrong impreffion is 
 defirable, for its fpirit quickly evaporates, without which, it is the 
 moft infipid of all prints. In engraving or etching there will be 
 always here and there a dark touch, which long preferves an ap- 
 pearance of fpirit, but mezzotinto is a flat furface, and when it be- 
 gins to wear it wears all over; too many of the works of ail the 
 great mafters that are hawked about at auftions, or fold in fliops, 
 are in this wretched ftate ; it is difficult to meet with a good im- 
 preffion 
 
( 279 } 
 
 prefTion of the Salvatoi's, Rembrandt's, and Waterloo's, except in 
 fome choice colle6lions, they are feldom better than mere reverfes ; 
 you fee the form of the print, but the elegant maftcrly touches are 
 gone ; back grounds and fore grounds are jumbled together by the 
 confuffion of all diftance, and you have rather the fliadow than the 
 print itfelf. The laft thing which makes a bad imprelTion is, the 
 retouching a worn plate ; fometimes indeed it is done by the mafter 
 himfelf, there the fpirit may be preferved, but it is generally done 
 by fome bungler, into whofe hands the plate has fallen, and then it 
 isexecrable ; in a worn plate you have the remains of fomething ex- 
 cellent, but in a plate feratched over by a wreiched bungler, the 
 idea of the mafter is loft : fuch prints there are of Rembrandt and 
 Waterloo, which thofe great mafters would have fhuddered to have 
 owned; yet, as we are often obhged to take up with what we can 
 get, let us rather choofe faint impreflions than retouched ones. 
 
 EXPLANATION of TERMS. 
 
 ^Composition — Means a piQure in general, in a large fenfc. 
 In a particular fenfe the art of grouping figures, and combining the 
 parts of a pi£lure ; in this latter fenfe, it is fynonimous with dif- 
 pofition. 
 
 Design — In its ftrift fenfe, applied chiefly to drawing in an en- 
 larged one, the general condu6l of the piece, and reprefentation of 
 the ftory. 
 
 A Whole — The idea qf one object a pi6ture muft give in a 
 eomprehenftve view. 
 
 N H 2 
 
 ExPRESSIOK 
 
( 28o ) 
 
 Expression — The force with which any obje6l is reprefented. 
 
 Effect — Afifcs from the management of iight, but the word is 
 fometimes applied to the general view of the pifture. 
 
 Spirit — The general efFeft of a mafterly performance. 
 Manner — Synonimous with execution. 
 
 Picturesque — That peculiar kind of beauty agreeable in a 
 pidure. 
 
 Picturesque Grace — An agreeable form given in a pifture to 
 a clownifli figure. 
 
 Repose, or Quietness — Applied to a pidure when the whole 
 is harmonious. 
 
 To take dow^n, keep down, or bring down— — Signify 
 throwing a degree of fhade on a glaring light. 
 
 i 
 
 A MIDDLE TINT — A medium between a ftrong light and a ftrong 
 fhade ; the phrafe not at all expreffive of colour. 
 
 Catching lights — Strong lights which ftrike on fome particular 
 parts of an objeft, the reft of which is in fliadow. 
 
 Studies — The flcetched ideas of a painter not wrought into a 
 whole. 
 
 Frzedom — 
 
( '^Si ) 
 
 Freedom — The refult of quick execution. 
 Extremities — Hands and feet. 
 
 Air — ExprefTes chiefly the graceful aftion of the head, but often 
 means a graceful attitude. 
 
 Contrast — The oppofition of one part to another. 
 
 INTRODUCTION 
 
C 282 ) 
 
 INTRODUCTION 
 
 TO THE 
 
 CHRONOLOGICAL LIST, Sec. 
 
 T'h E following hiflorical and chronological lift (as to the main 
 of it) I took the pains to make fome years ago for my own ufe, 
 I have been pretty careful in it, fo that I believe there are not 
 many miftakes. Where I could find no account of the time of a 
 matter's birth, his place in the lift will fhew whereabouts it probably 
 was. The double dates are the different accounts of authors, 
 the moft confiderable is that of Correggio ; I have been determined 
 to put him fo low upon the authority of a manufcript of Father 
 Refta, a late connoiffeur at Rome, and who befides his infinite 
 diligence in thefe matters, and a particular regard, and even fond- 
 nefs for Correggio, hath had very great opportunities of being 
 rightly informed, confidering the diftance of time. The account 
 of the degrees in which fome of the moft eminent of thefe matters 
 excelled, is fcattered up and down in the preceding difcourfe; 
 but of this you may fee farther at the end of a fmall book of Mr. 
 de Piles, printed anno 1708. Cours de Peinture par Principes. 
 
 He 
 
f 283 ) 
 
 He has made a fcalc, the highcfl number of which is eighteen, and 
 denotes the higlicfl; degree to which any one hath arrived that we 
 know of ; then he fuppofes the art to confift of Compofition, Defign^ 
 Colouring, and Expreflion, of each of which he makes a feparaPe 
 column, and in thefc puts his number, according as he judges tlic 
 mafter, whofe name he applies them to has merited. The thing is 
 curious and ufeful; but fome confiderable parts of Painting being 
 jomiited, it gives not a juft idea of the maders. For example; 
 according to this fcale, Rembrandt feems to be equal to Giulio 
 Romano, and fuperior to Michelangelo and Parmeggiano. Whereas 
 had he brought Invention, Greatnefs, Grace, Sec. into the account, 
 it would have fet the matter right, fuppofing he had allotted the 
 juft degrees, which neither he, nor any one elfe can do fo as to 
 pleafe univerfally. 
 
 Hiftorical 
 
( *84 } 
 
 Hlftorical and Chronological Series of the Principal ProfefTors of 
 
 PAINTING. 
 
 Master s. 
 
 C Giovanni Cimabue, "J 
 the father of mo- > 
 dem Painting. J 
 Giotto. 
 
 John van Eyck, or John 
 of Bruges, inventor of 
 painting in oil. Ann. 
 1 410. 
 
 Mafaccio 
 
 Giovanni Bellini, 
 
 Gentile Bellini. 
 
 Luca Signorella da Cor- 1 
 tona. J 
 
 Leonardo da Vinci. 
 
 Pietro Perugino. 
 
 Andrea Martegna. Gra-T 
 ving invented in his ( 
 time, and by him firft ( 
 pra<f\ifed. J 
 
 Fra. Bartolomeo di S. 
 Marco. 
 
 Timotco Vete da Urbino. 
 
 Albert Durer. 
 
 Michael Angelo Buonaroti 
 
 Giorgione da Caftelfranco. 
 
 Titiano Vicelli da Cadore. 
 
 Andrea del Sarto. 
 Pellegrino da Modena. 
 BaldaiTar Peruzzi da 1 
 Siena. \ 
 
 Disciple of 
 
 Certain Greek painters, 
 brought to Florence. 
 
 Cimabue. 
 
 His brother Hubert. 
 
 Mafolino. 
 
 His father Jacopo. 
 
 His father. 
 
 Pietro del Borgo. 
 
 Andrea Verocchio. 
 Andrea Verocchio. 
 
 Jacopo Squarcione. 
 
 Rafaelle for Perfpeftive. 
 Imitated Rafaelle. 
 
 Domenico Grilandaio. 
 f Gio. Bellino, imitated 1 
 \ Leonardo da Vinci. J 
 Gio. Bellini, imitated j 
 
 Rafaelle Sancio da Ur. 
 bino. 
 
 Mecherino da Sienna, call 
 ed alfo Domenico Bec- 
 cafumi. 
 
 Sebaftiano del Piombo. 
 
 Baccio Bandinelli 
 
 Gio. Antonio Regillo, / 
 called Licinio da Por- ", 
 denone, ^ 
 
 I Giorgione. 
 Pietro di Cofimo. 
 Rafaelle. 
 
 "Giovanni his father,' 
 Pietro Purugino; for 
 colouring Fra. Bar- 
 tolomeo ; imitated 
 ) Leonardo da Vinci, 
 and after (as is pro- 
 ' bahly afferted by 
 fome) improved by 
 I feeing the works of 
 [_ Michael Angelo. 
 
 fFir.1 imitated P. Pe-"| 
 J rugino, then ftudied I 
 ^ Mirhael Angelo and ( 
 
 [_ Rafiielle. J 
 Gio. Bellini, Giorgione 
 Gio. Fran. RulUci. 
 
 Studied Giorgione, 
 
 Born 
 
 Excelled in 
 
 Lived at 
 
 Died 
 
 1240 
 
 Hiftory. 
 
 Florence. 
 
 1300 
 
 1 276 
 
 Hift. fculp. archit. 
 
 Florence. 
 
 r ^56 
 J J 
 
 
 Hiftory. 
 
 
 1 441 
 
 1417 
 Hie 
 142 1 
 
 Hiftory. 
 
 Hilt, port, archit. 
 Hift. port, archit. 
 
 Florence. 
 Venice. 
 
 1^ Venice, went to 1 
 1 Conftantinople. J 
 
 1443 
 '541 
 1 50 1 
 
 '439 
 
 Hlftorj'. 
 
 Several parts of Ital) 
 
 1512 
 
 '445 
 1446 
 
 f Hift. port, fcul.l 
 [ architeft. J 
 Hiftory. 
 
 Florence. 
 Florence, Siena. 
 
 15:20 
 I J24 
 
 14J1 
 
 Hiftory, portraits. 
 
 Mantua, Rome. 
 
 '5'7 
 
 1 4.60 
 
 Hiftorv 
 
 111 it. V'J y • 
 
 Flnrenrf* 
 
 '5'7 
 
 1470 
 1470 
 
 Hit 
 
 Hiftory. 
 
 Hift. port, graving. 
 Hift. fculp. archit. 
 
 Urbin, Rome. 
 Nuremberg. 
 Florence, Rome. 
 
 IJ24 
 
 r 52S 
 
 , .S3 
 
 'ill 
 
 Hiftory, portraits. 
 
 Venice. 
 
 1511 
 
 
 Hift. port, landf. 
 
 Venice; 
 
 '576 
 
 1478 
 
 Hiftory. 
 Hiftory. 
 
 Florence. 
 Rome, Modena. 
 
 '53° 
 
 1481 
 
 Hiftory, Architect. 
 
 Rome. 
 
 1536 
 
 '483 
 
 Hift. port, archit. 
 
 Florence, Rome. 
 
 [ 520 
 
 .484 
 
 Hiftory, fculpture. 
 
 Rome, Siena. 
 
 '549 
 
 ! 48 J Hillory, portraiture 
 14S7 Hiftory, fculpture. 
 1 
 
 Venice, Rome. 
 Florence. 
 
 '547 
 '559 
 
 1484 Hiftory. 
 1 
 
 Venice, Friuli 
 
 1540 
 
( ) 
 
 Masters. 
 
 Biaggio Puppini Bolognefe, 
 
 Francefco Primaticcio Bo- 
 lognefe Abbate di S 
 Martino. 
 
 Giulio Romano. 
 
 Matturino. 
 
 Antonio AUegri da Cor-"| 
 reggio died 1534, 3140. V 
 See Orlando. J 
 
 Lucas van Leydcn. 
 
 Jacopo da Pontormo. 
 
 Polidoro da Caravagio. 
 Roflb Fiorentino. 
 Martin Hemfkerck. 
 Battifta Franco Veneti ) 
 ano detto il Semoleo. $ 
 Hans Holbein. 
 
 Ferine del Vaga. 
 
 Girolamo da Carpi. 
 
 Benvenuto Cellini. 
 
 Ugo da Carpi, lie firfl: in- ' 
 vented Printing with 
 two plates of wood, 
 then with three, in imi- 
 tation of draw ings. 
 
 Franc. Muzzuoli Parmeg- 
 giano. 
 
 Giacomo Palmail Vecchio. 
 
 Danielc Ricciarelli da Vol 
 terra. 
 
 Francefco Saluiati, Fran- 1 
 cefco de RoJTi. J 
 
 Jacopo Ponte da BafTano ) 
 il Vetchio. \ 
 Don Giulio Clouio. 
 Pirro Ligorio. 
 
 Giorgio Vafario, 
 
 Paris Bordon. 
 
 Giacomo Robufti Tinto- } 
 
 retto ( 
 Giov. Porta, after Giu- ( 
 
 feppe Saluiati j. 
 
 Sir Ant. More of Utrecht. 
 
 Francis Floris. 
 Paolo Farinato. 
 
 Disciple of 
 
 Giulio Romano. 
 
 Rafaelle. 
 Rafaelic. 
 
 Frari da Modena, Man- 
 tegna. 
 
 TLeo. daVinci.Mariotto"] 
 <^ Albertinelli.P.Cofi- V 
 
 [_ mo, Andr. del Sarto.J 
 Rafaelle. 
 
 ~~tudicd Michael Angelo. 
 Jean Lucas and Schoorel. 
 
 Studied Michael Angelo. 
 
 His father. 
 
 I Studied after Michael 1 
 I Angelo, then under \ 
 I Rafaelle. 3 
 
 f Benvenuto Gornfalo, 1 
 I flu died CoMcggio. 3 
 
 His two uncles. 
 
 f Studied at Rome, and ") 
 i after inltrufted by > 
 C Titian. J 
 
 i II Sodomita, Bald. Pe- 1 
 I ruzzi. I 
 
 r His father, Baccio Ban- 
 
 < dinelli, Andr. del 
 ^ Sarto. 
 
 studied after Gio Bellino. 
 
 Giulio Romano. 
 Giulio Romano. 
 ( Guglielmo da Marfi- 1 
 
 < giia, Andr. del Sarto, > 
 I Michael Angelo. } 
 Titian, imitated Giorgione 
 f l itian, ftudied Michael } 
 I Angelo for defign. J 
 
 Krancefco Saluiati. 
 
 Schoorel. 
 
 \ Lambert Lombard, flu- 1 
 ( died Michael .Angelo. J 
 Ant.BadilkjNicoloGoifino. 
 
 O o 
 
 Born 
 
 149c 
 1492 
 
 >4?i 
 
 •494 
 
 '494 
 
 149; 
 
 '49 
 
 '49- 
 
 149' 
 I joo 
 
 .50 
 1 50c 
 
 1504 
 I 508 
 
 1509 
 
 1510 
 •5 ? 
 
 Excelled in 
 Hift. 
 
 Hirtory, architect. 
 
 iliftory, architcdl. 
 Hillory. 
 
 Hiftory. 
 
 lliftory, graving. 
 
 Hiftory, portrait. 
 
 rliftory. 
 'iftory. 
 lillory. 
 
 lillory. 
 
 -i iftory, port. 
 
 Hiftory. 
 
 1 iftory, archited. 
 Sculptor. 
 
 Hiftory, portrait. 
 Hiftory, portrait. 
 
 Hiftory, Sculpture. 
 
 Hiflory, portrait. 
 
 1 Hift. animals, 7 
 I landfcapes. J 
 
 Lived at 
 
 Bolog. Mant. Fran. 
 
 Rome, Mantua. 
 Rome. 
 
 Lombardy. 
 
 Low-Countries. 
 
 Florence. 
 
 Rome, Nap. MefTni 
 
 Died 
 
 I J50 
 
 15:46 
 
 ' Si t 
 '533 
 
 '543 
 
 Holland 
 ( Rome, Floren. 1 
 { Urbin, Venice. 3 
 
 Switzerland, Lond. 
 
 Flnr. Rome, France.] (541 
 '57+ 
 I ;6i 
 
 '554 
 '547 
 
 1556 
 I J76 
 
 Florence, Rome, 
 
 t Bolog, Moden. 7 
 I Ferar,Rome,&c j 
 
 ril • 
 ' 4* !. 
 
 Hift. in miniature. 
 
 
 Hiftory, architeft. 
 
 '5" 
 
 Hiftory, portraits. 
 
 ■5'A 
 
 Hiflory, portraits. 
 
 I yi2 
 
 Hiftory, portraits. 
 
 
 Hiftory. 
 
 '5"> 
 
 Hiftory, portraits. 
 
 1 52c 
 
 Hiftory. 
 
 '5lt 
 
 Hift. fculpt. archit 
 
 Rome, Parma. 
 Rome, Venice. 
 
 Rome, Florence. 
 
 \ Floren. Rome, 
 I Venice. 
 
 BafTano, Venice. 
 
 Rome. 
 Napi. Rome, about 
 f Pifga, Bologna, ^ 
 < Florence, V'cn. 
 { Naples, Rome. 
 Venice, France. 
 
 Venice. 
 
 Venice. 
 
 {Italy, Spain, 
 Flanders, Engl. 
 
 .Antwerp. 
 
 Verona, Mantua. 
 
 1540 
 1556 
 
 i;66 
 
 '563 
 
 1992 
 ,578 
 '573 
 
 '574 
 
 '594 
 
 '58? 
 
 '575 
 ■570 
 1606 
 
( 2?6 ) 
 
 M A I T E R S. 
 
 Pel leg ri no Tebaldi. 
 
 Andrea Schiauone. 
 LuccaCangiafi.orCambiafo. 
 
 t ederico Barocci. 
 
 Girolomo Mutiano da 7 
 Brcfcia. j 
 
 Taddeo Zuccaro. 
 
 Bartolomeo Paflerotto. 
 Paolo Calliari Veronefe. 
 Federico Zuccaro. 
 Martin de Vos. 
 
 Giacomo Palma Giouane. 
 
 Paul Bnl. 
 
 Raffielino da Reggio di 1 
 Modena. J 
 Lodouico Carracci 
 Antonio Tempefta. 
 
 A^oftino Carracci. 
 Lodouico Cigoli, orCiuoli. 
 
 Annibale Carracci. 
 
 Giufcppe Cefarafefe d'Arpi- 
 no, Cau. Giofeppino. 
 
 Jean Rothamar, called | 
 Rottenhamer. J 
 Cau. Francefco Vanni. 
 Michael Angelo Amerigi 7 
 Caravaggio \ 
 Jan Brueghfl, called Flu- 
 weelen, or Velvet Brueg. 
 Ventura Salinbene. 
 
 Adam Elftieimer. 
 
 Guido Reni. 
 
 Sir Peter Paul Rubens. 
 
 Alef, Tiarini. 
 Francefco Alhani. 
 Giof. Ribera Spagnoletto. 
 Dominico ZaiTipieri,call- ] 
 ed Dominichino. j 
 
 Cau. Giov, Lanfranco. 
 
 Simon VoUet. 
 Ant. Carracci, call'dilGobbo 
 Giov. Franc. Barbieri, dettc 
 il Guercino da Cento, 
 
 Disciple of 
 
 Dan. da Volterra. 
 
 Imitated Parmeggiano. 
 His father. 
 
 S BattiftaVenetiano.ftud. 7 
 I RafaelleandCorreggio. J 
 \ Romanino.ftudiediVlic. J 
 1 Angelo, Titian. \ 
 f Ottauiano his father, 7 
 ( Pompeo da Fano. J 
 J Jacopo Vignuola.Tad. 7 
 I Zuccaro. j 
 His father, Ant. Badille. 
 
 Taddeo Zuccaro. 
 
 Studied in Italy. 
 { His father Ant.Nephew 
 j of Old Palma, ftudied 
 / Titian and Tintoret. 
 
 Federico Zuccaro. 
 
 Prof. Fon. Cami.Procaccino 
 John Strada, a Fleming. 
 ( Profp. Font. Lodouico. ) 
 X and Annib. Cairacci. > 
 I Studied And. del Sarto, ] 
 \ and Correggio. i 
 Lod. Carracci, ftudied ^ 
 Correggio, Titian, Ra- j. 
 fael!e,and theantiqae. j 
 Raff, da Reggio, Lelio 
 uellara, according 
 Father Refta. 
 
 His father, Tintoret. 
 
 His father imitated Barocci. 
 
 Cau. Giofeppino. 
 
 Peter Goe-kindt, ftu- 7 
 died in Italy. j 
 His father Arcangelo. 
 Philip UfFenbach, flu- J 
 died in Rome. j 
 Dion. Calv. the Carracches, 
 ( Adam van Noort.Otho } 
 I Venius, ftud. in Italy. ^ 
 I'rof. Tontana. 
 DeCalv. Guido, theCarrach. 
 Mich. Angelo Caravaggio. 
 
 D. Calvart, the Carracches. 
 
 f Agoft. An. Carracci flu- \ 
 I died Raf. and Correg. J 
 
 His father. 
 
 Annibale. 
 
 Benedetto Gcnnari. 
 
 f RafF. 
 \ Noil 
 ( toF 
 
 Born 
 
 522 
 
 22 
 2- 
 
 28 
 28 
 29 
 
 35 
 ? J 
 40 
 
 44 
 
 JO 
 
 52 
 
 S5 
 S3 
 
 57 
 59 
 60 
 
 60 
 
 64 
 
 6^ 
 6c 
 
 81 
 
 82 
 
 83 
 590 
 
 Excelled in 
 
 Hiflory, architef>. 
 
 ^^i^toty. 
 Hiltory. 
 
 i Hifto. religious 
 X fuhjefts chiefly 
 
 Hid. port, landfcap. 
 Hiftory. 
 
 Hlftory, portraits, 
 Hiftory, portraits. 
 Hiftory, portraits. 
 Hiftorj'. 
 
 Hiftory. 
 
 Landfcapes. 
 
 Hiftory. 
 
 Hiftory. 
 
 Battles, huntings. 
 Hiftory, graving. 
 
 Hiftory. 
 Hiftory. 
 
 Hiftory. 
 Hiftory. 
 
 Hift. relig. fubjefts. 
 
 Hiftory, half fig. 
 
 f Wakes, fairs, ) 
 I landfcap cattle. J 
 liftory. 
 
 \ Hift. land, and 1 
 ( night pieces. 1 
 Hiftory. 
 
 Hiftory, portraits. 
 
 Hiftory. 
 Hiftory. 
 Hiftory. 
 
 Hiftory. 
 Hiftory. 
 
 Hiftory, portraits. 
 Hiftory. 
 
 Hiftory. 
 
 Lived at 
 f Bologn. Rome, } 
 [ Milan, Mod. ) 
 Venice. 
 
 Genoa, Spain. 
 L/rbin, Rome. 
 
 Rome. 
 
 Rome. 
 
 Rome. 
 Venice. 
 
 J Rome, France, 7 
 ( Spain, England j 
 Antwerp 
 
 Venice. 
 
 -Antwerp, Rome. 
 Rome. 
 
 Bologna, Rome. 
 Rome. 
 
 Q Bologn. Rome, ^ 
 2 Parma. ) 
 
 Florence, Rome. 
 Bologna, Rome. 
 
 Rome, Naples. 
 
 Venice, Bavaria. 
 Siena. 
 Rome, NapleSjMalt. 
 
 Rome, &-C. 
 
 Rome. about 
 
 Bologna, Rome. 
 
 Antwerp. 
 
 Bologna. 
 Bologna, Rome. 
 Naples. 
 
 f Bologn. Rome, 
 I Naples. 
 
 {Rome, Parma, 
 Naples. 
 Rome, Paris. 
 Rome. 
 
 Rome, Bologna. 
 
 Died 
 592 
 
 583 
 612 
 
( 2^7 ) 
 
 M A S T e R. s. 
 Nicolas Fouilin. 
 Pietro Ecrcttini da Cor- "1 
 
 tona. J 
 Gio. Lorenzo Bernini. 
 IVIario Nuzzi di Fiori. 
 Siir Anthony V'andvke. 
 Gofpero l)uj;hc-t, which 7 
 he changed for Pouflin. J 
 Mich. Angelo Cerquozzi 1 
 
 delle B.ittaglie. j 
 
 BenedettoCaftiglioneGe- 1 
 noefe. J 
 
 Clau oe Gille de Lorrain. 
 Andrea Oiiche, alias Sacchi. 
 Rembrandt van Rheyn. 
 Adiien Bromver. 
 Giacomo Cortefi Jefuita, \ 
 
 detto il Borgogiione J 
 Mr. ^a nuel Coope r. 
 Mr William Dobfon. 
 Mich. AngeloPace, called 1 
 
 di Ca iipidoglio. j 
 Abr. Diepenbec. 
 Pietro Telta. 
 Salvator Rofa. 
 Filippo Laura, 
 Carlo Dolce. 
 Euflache le Sueur. 
 Sir Peter Lely. 
 SebalHcn Sourdon. 
 Charles Le Brun. 
 Carlo Maratti. 
 Luca Giordano, called } 
 
 Luca fa Prefto. ) 
 Carlo Cignani. 
 Ciro Fern. 
 Mr. John Riley. 
 Giufeppe Paflari. 
 
 D I s c 1 P I. E of 
 Had obfcure Mailers. 
 5 A Florentine painter at 1 
 I Rome. I 
 
 fomafo Salini. 
 Rubi-ns. 
 
 \ His brother-in-law Ni- 1 
 ^ colas Pouffin. J 
 
 Ant. Saluatti Bolognefe. 
 
 f Batt. Paggi, inftrufted "i 
 < by Vandyke, and i 
 i lludied PouHin. ) 
 Agortino Taflb. 
 Aibani 
 
 Lelman of Amfterdam. 
 Frans Hals. 
 
 Mr, Holkins, ftud. Vandyke 
 
 Flora van ti. 
 Rubens. 
 
 Daniele Falcone, 
 
 VoUet. 
 
 De Grebber of Haerlem, 
 Studied in Rome. 
 His father, Voiiet, 
 Andr. Sacchi. 
 
 P. da Cortona. 
 
 Albano. 
 P. da Cartona. 
 Zoult, F'uUer. 
 Carlo Maratti. 
 
 Born 
 
 5:96 
 
 .598 
 I 
 
 160c 
 
 599 Flowers. 
 
 160C 
 
 160c 
 160 
 1606 
 160:- 
 
 Excelled in 
 Hiftory, fmall fig. 
 
 Hiftory. 
 
 Hiftory, portraits. 
 Landfcapcs. 
 
 Sattles, fruit. 
 
 1 
 
 ( Hiftory, land fc 
 I animals. 
 
 '.andfcapes, 
 liilory. 
 
 iiftory, portraits. 
 Boors, and drolls. 
 
 Battles. 
 
 1 609' Port, in miniature. 
 1 610: Port. 
 , I f F"ruit, and ftill ? 
 life. } 
 Hiftory. 
 161 1 Hiftory. 
 1614 Hiftory, landfcape. 
 Hiftory, fmall. 
 
 1616 Hiftory. 
 
 1 617 Hiftory. 
 
 1 61 7 Portraiture. 
 i6i9lHiftury, landfcape. 
 1 620 Hiftory. 
 161I Hiftory, portraiture, 
 
 1626 Hiftory, 
 
 1628 Hiftory, 
 Hiftory, 
 1 64.6 Portraiture. 
 16 541 Hiftory. 
 
 Lived at 
 Rome. 
 
 Rome, Florence. 
 Rome. 
 
 Antw. Italy, Lond, 
 Rome. 
 
 Rome. 
 
 Rambled in Italy. 
 Rome. 
 
 Rome. * 
 
 Holland. 
 
 Antwerp. 
 
 London, 
 
 London, Oxford. 
 Rome. 
 
 Rome. 
 Rome. 
 
 Paris, 
 London. 
 
 Rome. Sweden, Pari. 
 
 Paris. 
 
 Rome. 
 
 t Rome.FIorence 1 
 I Naples, Madrid I 
 Bologna, Ferrol. 
 
 London. 
 Rome. 
 
 166; 
 
 1669 
 
 i6;2 
 6+t 
 
 663 
 660 
 
 1682 
 1661 
 1668 
 1638 
 
 672 
 647 
 
 1670 
 
 1648 
 '673 
 
 1694 
 165; 
 1680 
 
 '673 
 1690 
 
 '7'3 
 
 169+ 
 
 1691 
 [714 
 
 * Bellori, vit, but according to his epitaph, 1559 — 1661. JEt. 62, 
 
83-B33(