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De Arte Graphica.

THE

Art of Paintin&,

B Y

C A.DU FRESNOY.

WITH

REMARKS.

Tranflated into Englijhy

Together with mOriginal Preface containing

A Parallel betwixt Painting andPoETRv.

By Mr. D^YDEN.

As alfo aShort Account 0f the mod Eminent FAItfTERS,

both Ancient and Modern^ continu'd down to the

Prefent Times, according to the Order 0f their Succeifion.

By another Hand.

Vt Piftura Foefis erit — - Hor. de Arte Poetica.

L 0 N T> 0 N,

Printed by J. Heptinflalliox (KH. Rogettf, at the Sun

againft St. Dunfians Church in Fleet ft reet. M DC XCV.

r-x/

( i. )

1,/

OF THE

TRANSLATOR,

With a Parallel, ■

Of Poetry and Painting.

IT may be reafonably expe&ed, that I flioif d fay fomething on my own behalf, in refpect to my prefent Undertaking. Firft , then , the Reader may be pleas' d to know, that it was not of my own choice that I undertook this Work. Many of our mod Skillfull Painters, and other Artifts, were pleas'd to recommend this Authour to me, as one who perfectly under- ftood the Rules of Painting ; who gave the beft and moft concife Inftructions for Performance, and the fureft to inform the Judgment of all who

( a ) lov'd

y-

PREFACE.

lov'd this noble Art. That they who before were rather fond of it , than knowingly admir'd it, might defend their Inclination by their Reafon : that they might underftand thofe Excellencies which they blindly valu'd, fo as not to be farther impos'd on by bad Pieces, and to know when Nature was well imitated by the moft able Ma- ilers. 'Tis true indeed, and they acknowledge it, that befide the Rules which are given in this Treatife, or which can be given in any other, that to make a perfect Judgment of good Pictures, and to value them more or lefs when compared, with one another, there is farther required a long converfation with the beft Pieces, which are not very frequent either in France or England, yet fome we have , not onely from the hands of Holbein, Rubens, and Vandyck, (one of them ad- mirable for Hiftory- painting, and the other two for Portraits^) but of many Vlemifh-Mafiers, and thofe not inconfiderable, though for Defign, not equal to the Italians. And of thefe latter al/b, we are not unfurnifh'd with fome Pieces of Ra- phael, Titian, Correggw, Michael Angelo and others. But to return to my own undertaking of this Tranflation, I freely own, that I thought my felf uncapable of performing it, either to their Sa- tisfaction., or my own Credit. Not but that I

under-

PKEVAC E

underftood the Original Latine, and the French Ju- thour perhaps as well as moft Englijhnen $ But I was not fufficiently vers'd in the Terms of Art : And therefore thought that many of thofe perfons who put this honourable task on me, were more able to perform it themfelves, as undoubtedly they were. But they afluring me of their a/fi- fiance, in correcting my faults where I fpoke im- properly, I was encourag'd to attempt it 5 that I might not be wanting in what I coud, to fa- tisfie the defiresof fo many Gentlemen who were willing to give the world this ufefull Work. They have effectually performed their promife to me ; and I have been as carefull on my fide, to take their advice in all things ; fo that the Reader may allure himfelf of a tolerable Tranflation. Not Elegant, for I propos'd not that to my felf : but familiar, clear and inftructive. In any of which parts, if I have fail'd, the fault lies wholly at my door. In this one particular onely I muft beg the Readers pardon. The <Profe Tranflation of the Toem is not free from Poetical Expreflions, and I dare not promife that fome of them are not fuftian, or at lead highly metaphorical 5 but this being a fault in the firft digeftion (that is, the Original Latine) was not to be remedy'd in the fecond (vizj) the Tranflation, And I may confi-

( a 2 ) dently

iv. PREFACE.

dently fay, that whoever had attempted it, muft have fallen into the fame inconvenience ; or a much greater, that of a falfe Verfion. When I undertook this Work, I was already ingag'd in the Tranflation of Virgil, from whom I have bor- rowed onely two months, and am now return- ing to that which I ought to underftand better. In the mean time I beg the Readers pardon, for entertaining him fo long with my felf: 'Tis an u? fual part of ill manners in all Authours, and al- moft in all Mankind , to trouble others with their bufinefs^ and I was fo fenfible of it before- hand, that I had not now committed it, uniefs fome concernments of the Readers had been inter- woven with my own. But I know not, while I am attoning for one Error , if I am not falling into another: for- 1 have been importun'd to fay fomething farther of this Art ; and to make fome ObferVations on it in relation to the likeneft and agreement which it has with (poetry its Sifter. But before I proceed, it will not beamifs, if I copy from Sellori ( a mod ingenious Authour, yet living) fome part of his Idea of a Painter , which cannot be unpleafing, at leaft to fuch who are converfant in the Philofophy of Plato. And to avoid tedioufnefs, I will not tranllate the whole Difcourfe, but take and leave as I find occafion.

God.

PREFACE. V.

God Almighty, in the Fabrique of the UniVerfe, firjl contemplated him/elf, and reflected on his own Excellencies-, from which he drew , and conflituted tlyofe fir ft Forms, which are call'd Idea's. So that every Species which was afterwards exprefs d was pro- due d from that firjl Idea , forming that wonderfull contexture of all created Beings. But the Calejlial Bodies aboVe tJ?e Moon being incorruptible, and not fub- jetl to change, remain d for eVer fair, and in perpetu- al order: On the contrary, all things which are fublu- nary are f abject to change, to deformity, and to decay a And though Nature always intends a confummate beau- ty in her productions, yet through the inequality of the Matter , the Forms are nherd-, and in particular 3 Humane Beauty Juffers alteration for the worfe, as we fee to our mortification, in the deformities, anddif- proportions which are in us. For which reafon the Artfull/Painter and the Sculptour, imitating the Di- vine Maker, form to themfelVes as well as they are able, a Model of the Superiour Beauties-, and reflecting on them endeavour to correct and amend the common Nature; and to reprefent it as it was firjl created without fault, eitfxr in Colour or in Lineament.

This Idea, which we may call the Coddefs of Tarn- ting and of Sculpture, defends upon the Marble and the Cloth, and becomes tin Original of thofe Arts; and" king meafuri by the Compafs of the Intellect, is it

/elf

vi. PREFACE

/elf the Me a jure of the performing Hand-, and being animated by the Mmag nation, infufes Life into the Image. The Idea of we Painter a -id the Sculptour, is undoubtedly that perfcB and excellent Example of the Mind j by imitation of which imagind form, all things are reprefented which fall under humane fight : Such is the 'Definition which is made by Cicero in his Book of the Oratour to Brutus. " As therefore in " Forms and Figures there is fomewhat which is Excel- ic lent and Per feci, to which imagind Species all <c things are refer/ d by Imitation which are the Objects " of Sight y in like manner we behold the Species of cc Eloquence in our Minds, the Effigies, or aHual " Image of which u>q fpp.k in the Organs of our Hear- " big. This is likewife confirm d by Proclus in the " Dialogue of Plato catt'd Timaeus: If, fays he, " you take a Man, as he is made by Nature, and " compare him with another who is the effect of Art ; " the work of Nature will always appear the lefsbeau- " tifull, becaufe Art is more accurate than Nature. But Zeuxis, who from the choice which he made of Five Virgins drew that wonderfull Picture of He- lena, which Cicero in his Oratour beforemention d, Jets before us as the mofl per fetl Example of Beauty, at the fame time admonifhes a Painter, to contemplate the Idea's of the mofl Natural Forms ; and to make a judicious choice of feVeral Bodies, all of them the mofl

Elegant

PREFACE. vij.

Elegant which he can find. By which we may plainly under Jland that he thought it impojfible to find in any one Body all thofe perfections which he fought for the accomplifbment of a Helena, becaufe Nature in any individual perfon makes nothing that is perfect' in all its parts. For this reafon Maximus Tyrius alfo fays7 that the Image which is taken hy a fainter from Seve- ral Bodies produces a Beauty, which it is impoffible to find in any ftngle Natural Body, approaching to the perfection of the faireft Statues. Tl)us Nature on this account is Jo much inferiour to Art, that thofe Artifls who propofe to themfelves onely the imitation and likenefi of fuch or fuch a particular perfon, without election of thofe Ideas bef ore-mention d, haVe often been reproach3 d for that omijjion : Demetrius was taxd for being too Natural j Dionyfius was alfo blamd for drawing Men like us, and was commonly caltd AvS<?v7rvyez.?(&, that is> a Painter of Men. In our times Michael Angelo da Caravaggio, was efleemd too Natural. He drew per fons as they were-, and Bambovio, and moft of the Vutch Painters haVe drawn the worfi likenefi Ly fippus of old, upbraided the common fort of Sculptours, for mating Men fuch as they were found in Nature -, and boajled of himfelf that he made them as they ought to be : which is a Precept of Ariftotle, given as well to Poets as to Painters. Phidias raisd an admiration even to aflo-

nifhmenty

Vllj.

PRE FA C E

niflment y in thofe who beheld his Statues, with the Forms j which he gaVe to his Gods and Heroes ; by imitating the Idea rather than Nature. And Ci- cero f peaking of htm affirms, that figuring Jupiter and Pallas 7 he did riot contemplate any Objetl from whence he took the llkenefs, but confides d in his own mind a great and admirable form of (Beauty, and accor- ding to that Image in his Soul, he direEled the operation of his Hand. Seneca alfo feems to wonder, that Phidias having neVer beheld either Jove or Pallas, yet coud conceive their divine Images in bis Mind. Apollonius Tyanaeus fays the fame in other words, that the fancy more infirutls the Painter than the imi- tation -, for the la fi makes onely the things which it fees, but the firfl mahs alfo the things which it neVer Jees.

Leon Battifta Alberti tells us, that we ought not fo much to loVe the llkenefs as the beauty, and to choofe from the faireji (Bodies feVerally the fairejl (Parts. Leonardo da Vinci infirutls the fainter to form this Idea, to hlmfelf: And Raphael, the greatefi of all modern Mafiers, writes thus to Caftiglione, concer- ning his Galatea : " To paint a Fair one, 'tis necejfary " for me to fee many Fair ones ; but becaufe there is fo " great a [canity of lovely Women, Iamconfiraind to " make ufe of one certain Idea, which I haVeformd to 6 c my felf in my own fancy. Guido Reni fending to

Rome

P R EVA C £ ix.

Rome his St» Michael which he had painted for the Church of the Capuchins, at the fame time wrote to Monfignor Maflano, who was Maeftro di Cafa (or Steward of the Houfe) to <Pope Urban the Eighth, in this manner, Iwijh 1 had the wings of an Angel, to have afcended into Paradife, and there to haVe be- held the Forms of thofe beatify d Spirits, from which I might haVe copy d my Archangel : But not being able to nwunt fo high, it was in "Vain for me to fearch his refemblance here below :fo that I was fore d to make an Introfpec~iion, into my own mind, and into that Idea of 'Beauty, which lhaVeformd in my own imagination, IhaVe likewife created there the contrary Idea of de- formity anduglinefs ; but I leave the confideration of ity till I paint the Devil: and in the mean time fhun the Very thought of it as much as poffibly I can, and am even endeavouring to blot it wholly out of my re- membrance* There was not any Lady in all Antiquity, who was Miflrefs of fo much beauty as was to be found in the Venus of Gnidus^ made by Praxiteles, or the Minerva of Athens by Phydias ; which was therefore caKd the Beautifull Form. Neither is there any Man of the prefent Age, equal in the flrength, proportion, and knitting of his Limbs, to the Hercules o/Farnefe, made by Glicon : Or any Woman who can jujlly be compard with the Medicean Venus of Cleo- menes. And upon this account, the noblefl Poets

( b ) and

x. PREFACE

and the heft Oratours, when they deftrd to celebrate any extraordinary Beauty ', are forc'd to have recourje to Statues and Pictures, and to draw their Terfons and Faces into Comparifon. Ovid endeavouring to exprefs the (Beauty of Cillarus, the faireft of the Centaures, celebrates him as next in perfection, to the moji admirable Statues.

Gratus in ore vigor, cervix, humeriq; manulq^ Pe&oraq; Artificum laudatis Troxima Signis.

Apleajing Vigour his fair Face exprefs d;

His Neck, his Hands, his Shoulders, and his Breafi,

Did next in Gracefulnefs and Beauty ft and.

To breathing Figures of the Sculptours Hand.

In another place he fets Apelles aboVe Venus.

Si Venerem Cois nunquam pinxiffet Apelles, Merfa fub aequoreis ilia lateret Aquis.

Tthus Varyd.

One Birth to Seas the Cyprian Goddefs owd, A Second Birth the Painter'* Art beflowd: Lefs by the Seas than by his powr was giVn ; They made her live, but he advancd to HeaVn.

Tl?e

PREFACE. xi.

Tl?e Idea of this Beauty, is indeed Various, accor- ding to the JeVeral forms which the Painter or Scul- ptour won d defcribe : As one in Strength, another in Magnanimity ; and fometimes it confifts in Chcarfidnefs, and fometimes in Delicacy $ and is always diVcjlfyd by the Sex and Age*

The [Beauty of Jove is one, and that of Juno ano- ther : Hercules, and Cupid are perfect 'Beauties, though of different kinds-, for Beauty is onely that which makes all things as they are in their proper and per feci Nature 3 which thebefl Painters always choofe by contemplating the Forms of each. We ought farther to conftder, that a (PiElure being the representation of a humane atlion, the Painter ought to retain in his mind, the Examples of all AffeBions, and Tajffions, as a Poet preferVes the Idea of an Angry man, of one who is fear full, J ad or merry, and fo of all the reft. For 'tis impojfible to exprefs that with the Hand, which never enter d into the Imagination. In this manner as IhaVe rudely and briefly fhewn you, Painters and Scul- ptours, choofing the mofl elegant natural Beauties, per- fe&ionate the Idea, and advance their Art, even aboVe Nature it f elf, inher individual productions, which is the utmofl mafiery of humane performance.

From hence arifes that afionijlmient, and almofl ado- ration which is paid by the Z\iiowing to thofe divine re- mainders of Antiquity. From hence Phydias, Ly-

( b 2 ) fippus,

X1J,

PREFKE

fippus, and other noble Sculptours, are flill held in "Veneration ; and Apelles, Zeuxis, Protogenes, and other admirable Y winters, though their Works are pe- ri (lid, are and will be eternally admird; who all of them d)'cw after the Idea'* of Perfection ; which are the Miracles of Nature, the TroVidence of the Under- ftanding, the Exemplars of the Mind, the Light of the Fancy -, the Sun which front its riftng, inffirdthe Statue of Memnon, and the fire which warm d into life the Image of Prometheus : "Tis this which caufes the Graces, and the Loves to take up their habitations in the hardeft Marble, and to fubfifl in theemptinefs of Light, and Shadows. Sutjince the Idea o/Elo- quence is as far inferiour to that of Painting, as the force of Words is to the Sight 3 I muft here break off abruptly, and having conduced the Reader ask were to a fecret Walk, there leaVe him in the midjl of Silence to contemplate thofe Idea's ; which I have onely f ketch* dy and which every man muft finifb for himfelf

In thefe pompous Expreflions, or fuch as thefe the Italian has given you his Idea of a Painter , and though I cannot much commend the Style, I muft needs fay there is fomewhat in the Matter : Tlato himfelf is accuftom'd to write loftily, inn- rating, as the Critiques tell us, the manner of Ho- rner 5 but furely that inimitable Poet, had not fo much of Smoke in his writing, though not lefsof

Fire»

PREFACE.

Fire. But in fhort, this is the prefent Genius of Italy. What Wiloflmtus tells us in the Proem of his Figures is fomewhat plainer ; and therefore I will translate it almoft word for word. " He who a will rightly govern the Art of Painting, ought of a necejfity firfi to under Jiand Humane Nature. He a ought likewife to he endued with a Genius to expreff " the Jigns of their Taffions whom he reprefents ; and " to make- the dumb as it were to /peak : He mujl " yet further under fl and what is contain d in the con- u flitution of the Cheeks -, in the temperament of the " Eyes, in thenaturalnefi (if 1 may fo call it) of the u Eye brows : and in Jhort whatfoeVer belongs to the a Mind and Thought. He who throughly poffeffes all " thefe things will obtain the whole. And the Hand iC will exquijitely reprefent the atlion of e'Very particu- u lar per Jon. If it happen that he be either mad, or " aiWy> nxelancholique, or chearfull, afprightly Youth; a or a langutjhing LoVer ; in one word, he will be able a to paint whatfoeVer is proportionable to any one: u And even in all this there is afweet err our without " caufing any frame. For the Eyes and Minds of " ' the beholders being faflend on Objecls which hay e no u real Being, as if they were truly Exiftent, and br- a> ing indue' d by them to believe them fo, what pie a fur e a is it not capable of giving* Tl?e Ancients, and " other Wife Men-j have written many things comer*

" nin?

*r*l

T R E F A C E.

cc ning the Symmetry which is in the Art of Paint- " ing; conftitutingas it were fame certain Laws/or cc the proportion of every Member , not thinking it fl pojjible for a Painter to undertake the exprejJJon of a thofe motions which are in the Mind, without a con- " current Harmony in the natural meafure. For If* that which is out of its own kind and meafure, is ic not receiVd from Nature, whofe motion is always €C right. On a ferious confederation of this ?natter it €i will be found, That the Art of Painting has a " ivonderfull affinity with that of Poetry ; and that ** there is betwixt them a cert am common Imagination. a For as the Poets introduce the Gods and Heroes, " and all thofe things which are either Majejlical, Ho- iC neft or Delightfully in like manner the Painters, by *c the Virtue of their Out-lineSy Colours, Lights and cc Shadows, reprefent the fame Things and Terfons " in their (Piclures.

Thus , as Convoy Ships either accompany , or fhou'd accompany their Merchants till they may profecute the reft of their Voyage without danger, (6 (Pbiloftratus has brought me thus far on my way, and I can now fail on without him. He has begun to fpeak of the great relation betwixt Tainting and Poetry ', and thither the greateft part of this Difcourfe by my promife was directed. I have not ingag'd my felf to any perfect Method,

neither

PREFACE.

neither am I loaded with a full Cargo. 'Tis fufficient if I bring a Sample of fome Goods in this Voyage. It will be eafie for others to add more when the Commerce is (ended. For a Trea- tife twice as large as this of Tainting cou d not contain all that might be faid on the Tar did of thefe two Sifter Arts, I will take my rife from Sellori before I proceed to the Authour of this (BooK

The buiTnefs of his Treface is to prove, that a learned Taint er fhou'd form to himlelf an Idea of perfect Nature. This Image he is to fet before his Mind in all his Undertakings, and to draw from thence as from a Store-houfe, the Beauties which are to enter into his Work j thereby cor- recting Nature from what actually (lie is in indi- viduals, to what (lie ought to be, and what (he was created. Now as this Idea of TerfeBion is of little ufe in Tortraits (or the refemblances of par- ticular perfons) fo neither is it in the Characters of Comedy> and Tragedy > which are never to be made perfect, but always to be drawn with fome fpecks of frailty and deficience ; fuch as they have been defcribed to us in Hiftory, if they were real CharaElers 5 or fuch as the Toet began to fliew them at their firft appearance 7 if they were onely ficti- tious, (or imaginary.) The perfection of fuch

Stage-

xvi PREFACE.

Stage-char aBers confifts chiefly in their likenefs to the deficient faulty Nature, which is their Origi- nal. Onely, as it is obferv'd more at large here- after, in fuch cafes fthere will always be found a better likenefs , and a worfe $ and the better is conftantly to be chofen : I mean in Tragedy , which repreients the Figures of the higheft form amongft Mankind. Thus in (Portraits, the (Pain- ter will not take that fide of the Face which has lome notorious blemifh in it ; but either draw it m profile (as Jpelles did Antigonw> who had loft one of his Eyes) or elfe fhadow the more imper- fect fide. For an ingenious flattery is to be al- lowed to the Profeflburs of both Arts -, fo long as the likenefs is not deftroy'd. 'Tis true that all manner of Imperfections muft not be taken away from the Characters, and the reafon is, that there may be left fome grounds of pity for their mif- fortunes. We can never be griev'd for their mi- feries who are thoroughly wicked, and have there- by juftly call'd their calamities on themfelves* Such Men are the natural Objects of our hatred, not of our commiferation. If on the other fide their Characters were wholly perfect, (fuch as for Example, the Char after of a Saint or Martyr in a 'Play,) his, or her misfortunes, wou'd produce impious thoughts in the Beholders : they woud

accufe

PREFACE.

accufe the Heavens of injuftice, and think of lea- ving a Religion, where Piety was fo ill requited. I fay the greater part woud be tempted fo to do, I fay not that they ought: and the conference is too dangerous for the practice. In this I have accus'd my felf for my own St. Catharine, but let truth prevail. Sophocles has taken the juft medium in his Oedipws. He is fomewhat arrogant at his firft entrance ; and is too inquifitive through the whole Tragedy: Yet thefe Imperfections being ba- lanced by great Vertues, they hinder not our com- panion for his miferies ; neither yet can they de- ftroy that horrour which the nature of his Crimes have excited in us. Such in <P aiming are the Warts and Moles, which adding a likenefs to the Face, are not therefore to be omitted. But thefe pro- duce no loathing in us. But how far to proceed, and where to ftop, is left to- the judgment of the tPoet and the fainter. In Comedy there is fome- what more of the worfe likenefs to betaken. Be- caufe that is often to produce laughter ; which is occafion'd by the fight of fome deformity : but for this I referr the Reader to Ariftotle. Tis a fliarp manner of Inftruction for the Vulgar who are never well amended, till they are more than fufficiently expos'd. That I may return to the beginning of this Remark , concerning perfect

( c ) .Ideas,

XVI).

xviij. PREFACE.

Ideas, I have onely this to fay, that the Parallelis often true in Epique-Poetry.

The Heroes of the Poets are to be drawn accor- ding to this Rule. There is fcarce a frailty to be left in the beft of them ; any more than is to be found in a Diyine Nature. And if JEneas fome- times weeps, it is not in bemoaning his own mi- feries, but thofe which his people undergo. If this be an Imperfection, the Son of God when he was incarnate flhed tears of Companion over Je- rufalem. And Lentulus defcribes him often weep- ing, but never laughing $ fo that Virgil is juftify'd even from the Holy Scriptures. I have but one word more , which for once I will anticipate from the Authour of this 'Book. Though it mult be an Idea of Perfetlion, from which both the Epujue Poet, and the Hiftory Painter draws ; yet all Per- fections are not fuitable to all Subjects: But eve- ry one muft be defign'd according to that per- fect Beauty which is proper to him. An Apollo muft be diftinguifli'd from a Jupiter , a Pallas from a Venus : and fo in Poetry an jEneas from any other Heroe : for Piety is his chief Perfetlion. Homer s Achilles is a kind of Exception to this Rule : but then he is not a perfect Heroe, nor fo intend- ed by the Poet. All his Gods had fomewhat of humane imperfection 5 for which he has been

tax'd

P R E V AC E. xix.

tax'd by Plato, as an Imitatour of what was bad. Buc Virnl obferv'd his fault, and mended it. Yet Achilles was perfect in the ftrength of his Bo- dy, and the vigour of his Mind. Had he been lefs pa/fionate, or lefs revengefull, the Poet well forefaw that Heel or had been kill'd, and Troy ta- ken at the firft aflfault ; which had deftroy'd the beautifull contrivance of his Iliads, and the moral of preventing Difcord amongft Confederate Princes, which was his principal intention. For the Moral (as Bojfu obferves) is the firft bufinefs of the Poet, as being the ground-work of his In- ftruction. This being form'd, he contrives fuch a Dejigny or Fable, as may be mod fuitable to the Moral After this he begins to think of the Perfons, whom he is to employ in carrying on his Vejign : and gives them the Manners, which are moft proper to their feveral Characters. The thoughts and words are the laft parts, which give Beauty and Colouring to the Piece. When I fay, that the Manners of the Heroe ought to be good in perfection, I contradict not the Marquejs of Nor- manbys opinion, in that admirable Verle, where fpeaking of a perfect Character, he calls it A Vault- lejs Monjier, which the World ne'er knew. For that Excellent Critique, intended onely to fpeak of Dra- matique Charatlers , and not of Epique. Thus at

( c 2 ) leaft

xx. PREFACE.

lead I have {hewn, that in the moft perfect Poem, which is that of Virgil, * perfeB Idea was requir'd, and follow'd. And confecjuently that all iuccee- ding Toets ought rather to imitate him, than even Homer. I will now proceed as I promisd, to the Authour of this 'Book. He tells you almoftin the firft lines of it, that the chief end of Painting is to pleafe the Eyes : and 'tis one great End of Poetry to pleafe the Mind. Thus far the Parallel of the Arts holds true: with this difference, That the principal end of (Painting is to pleafe $ and the chief defign of (poetry is to inftruB. In this the latter feems to have the advantage of the former. But if we con- fider the Artifis themfelves on both fides, certain- ly their aims are the very fame : they wou'd both make fure of pleafing, and that in preference to inftruction. Next, the means of this pleafure is by Deceipt. One impofes on the Sight, and the other on the Understanding. Fiction is of the Ef- fence of Poetry as well as of Painting ; there is a refemblance in one,of Humane Bodies,Things and Actions which are not real, and in the other, of a true Story by a Fiction. And as all Stories are not proper Subjects for an Epique Poem, or a Tra- gedy, fo neirher are they for a noble <P>£lure. The Subjects boch of the one, and of the other, ought co have nothing of immoral, low, or filthy in

them ;

PREFACE. xxi.

them $ but this being treated at large in the (Book it felfy I wave it to avoid repetition. Onely I muff: add, that though Catullus, Ovid and others were of a- nother opinion, that the Subject of Poets, and even their thoughts and expreffions might be loofe, pro- vided their lives were chaff and holy, yet there are nofuch licences permitted in that Art any more than in Painting, to defign and colour obfcene Nudities. Vitaproha eft, is no excufe, for it will fcarcely be admitted, that either a Poet or a Painter can be chaff, who give us the contrary. examples in their Writings and their Pitlures. We fee nothing of this kind in Virgil : that which comes the neareft to it, is the adventure of the Cave, where Dido 2nd Mneas were driven by the Storm: Yet even there the Poet pretends a Marriage before the Confum- mation ; and Juno her felf was prefent at it. Nei- ther is there any expreffion in that Story, which a %oman Matron might not reade without a bluflh. Befides the Poet partes it over as haftily as he can, as if he were afraid of ftaying in the Cave with the two Lovers, and of being a witnefs to their Actions. Now I fuppofe that a Painter wou'd not be much commended, who fliou'd pick out this Cavern from the whole Eneids, when there is not another in the Work. He had better leave them in their obfcurity , than let in a flafli of

Lightning

xxij. PREFACE.

Lightning to clear the natural darknefs of the place, by which he muft difcover himfelf as much as them. The Altar-Pieces, and holy Decorati- ons of Painting, fhow that Art may be apply'd to better ufes, as well as Poetry.

And amongft many other inftances, the Far- nefian Gallery, painted by Hannibal Carracci, is a fufficient witnefs yet remaining : the whole Work being morally inftructive, and particularly the Herculis <BiYium, which is a perfect Triumph of Vertue oVer Vice,*** it is wonderfully well de- fcrib'd by the ingenious Bellori.

Hitherto I have onely told the Reader what ought not to be the fubject of a Pitlure or of a Poem: what it ought to be on either fide 5 our Author tells us: it muft in general be great and noble : and in this, the Parallel is exactly true. The fubjecl: of a Poet either in Tragedy or in an Epique Poem is a great action of fome illuftrious Hero. 'Tis the fame in (painting ; not every a- ction, nor every perfon is confiderable enough to enter into the Cloth. It muft be the Anger of an Achilles, the Piety of an AEneas, the Sacrifice of an Iphigenia (for Heroins as well as Heroes art comprehended in the Rule ; ) but the Parallel is more compleat in Tragedy, than in an Epique Poem. For as a Tragedy may be made out of

many

PREFACE. xxiij.

many particular Epi/odes of Homer or of Virgil, Co may a noble Titlure be defign'd out of this or that particular Story in either Author, Hiftory is alfo fruitfull of defigns both for the fainter and the Tragique Poet : Curtiu* throwing himfelf into a Gulph, and the two Decii facrificing themfelves for the fafety of their Country, are fubjecls for Tra- gedy and Pitlure. Such is Scipio reftoring the Spa- ?ii(J? 'Bride, whom he either lov'd or may be fup- ibs'd to love, by which he gain d the Hearts of a great Nation, to interefs themfelves for (Rome- againft Carthage: Thefe are all but particular Pieces in Lily's Hiftory -, and yet are full com- pleat Subjects for the Ten and Pencil. Now the reafon of this is evident. Tragedy and PiBure are more narrowly circumfcribd by the Mechanick ^ules of Time and Place than the Epique Poem, The time of this laft is left indefinite. 'Tis true, Homer took up onely the fpace of eight and for- ty days for his Iliads j but whether Virgil s action was comprehended in a year or fomewhat more, is not determined by Bojfu. Homer made the place of his adion Troy, and the Grecian Camp befieging it. Virgil introduces his JEneas, fometimes in Si- cily, fometimes in Carthage, and other times at Cu- nue, before he brings him to Laurentum ; and even after that, he wanders again to the Kingdom of

Evander

xxiv. PREFACE.

Evander and fome parts of Tufcany, before he re- turns to fmifli the War by the death of Turnus. But Tragedy according to the Practice of the Anci- ents, was always confin'd within the compafs of 24 hours, and feldom takes up fo much time. As for the place of it, it was always one, and that not in a larger Sence$ as for example, A whole City or two or three feveral Houfes in it; but the Market or fome other publick place, com- mon to the Chorus and all the Actours. Which eftablifh'd Law of theirs, I have not an oppor- tunity to examine in this place, becaufe I cannot do it without digreffion from my fubject, though it feems too ftrict at the firfl: appearance becaufe it excludes all fecret Intrigues, which are the Beau- ties of the modem Stage : for nothing can be car- ry'd on with Privacy, when the Chorus is fuppos'd to be always prefent. But to proceed, I muft fay this to the advantage of Tainting, even above Tragedy, that what this laft reprefents in the fpace of many Hours, the former fhows us in one Mo- ment. The Action, the Paffion, and the man- ners of fo many Perfons as are contained in a (picture, are to be difcernd at once, in the twink- ling of an Eye ; at lead they would be fo, if the Sight could travel over fo many different Objects all at once, or the Mind could digeft them all at

the

PREFACE. xxv.

the fame iriftant or point of time. Thus in the famous Picture of Pouffln, which reprefents the Inftitution of the Blejfed Sacrament , you fee our Saviour and his twelve Difciples, all concurring in the fame action, after different manners, and in different poftures, onely the manners of Judas are diftinguifli'd from the reft. Here is but one indivifible point of time obferv'd : but one acti- on performed by fo many Perfons, in one Room and at the fame Table : yet the Eye cannot comprehend at once the whole Object, nor the Mind follow it fo fall; 'tis confider'd at leifure, and feen by intervals. Such are the Subjects of Noble Pitlures : and fuch are onely to be un- dertaken by Noble Hands. There are other parts of Nature, which are meaner, and yet are the Subjects both of Painters, and of Poets.

For to proceed in the Parallel, as Comedy is a reprefentation of Humane Life, in inferiour per- fons, and low Subjects, and by that means creeps into the nature of Poetry, and is a kind of Juni- per, a Shrub belonging to the fpecies of Cedar, fo is the painting of Clowns, the reprefentation of a Dutch Kermis, the brutal fport of Snick or Snee, and a thoufand other things of this mean inventi- on, a kind of PiSiure, which belongs to Nature, but of the loweft form. Such is a La%ar in com-

( d ) parifon

Xxvi. PREFACE.

parifon to a Venus ; both are drawn in Humane Figures : they have Faces J^ke, chough not like Faces. There is yet a lower fore of Poetry and Tainting, which is out cf Nature. For a Farce is that in Toetry, which Groic/que is in a Ticlure. The Perfons, and Action of a iwe are all unnatural, and the Manners falfe , that is, inconfifting with the characters of Mankind. Grotej que- painting is the juft refemblance of this ; and Horace begins his Art of (poetry by defcribing fuch a Figure ; with a Mans Head, a Horfes Neck, the Wings of a Bird, and a Fifhes Tail ; parts of different fpecies jumbled together, according to the mad imagi- nation of the Dawber 5 and the end of all this, as he tells you afterward, to caufe Laughter. A ve- ry Monfler irj a Bartholomew -Fair for the Mob to gape at for their two-pence. Laughter is indeed the propriety of a Man, but juft enough to di- ftinguifh him from his elder Brother, with four Legs. 'Tis a kind of Baftard-pleafure too, ta- ken in at the Eyes of the vulgar gazers, and ac the Ears of the heaftly Audience. Church-Tarn- ters ufe it to divert the honeft Countryman at Pub- lick Prayers, and keep his Eyes open at a heavy Sermon. And Farce Scriblers make ufe of the fame noble invention to entertain Citizens, Country- Gentlemen , and CoVent-Garden Fops. If they are

merry,

PREFACE. fxxvij.

merty] all goes well on the Poet's fide. The bet- ter fort goe thither too, but in defpair of Senfe, and the juft Images of Nature, which are the ade- quate pleafures of the Mind. But the Authour can give the Stage no better than what was given him by Nature: and the ABors muft reprefent fuch things, as they are capable to perform, and by which both they and the Scribbler may get their living. After all, 'tis a good thing to laugh at any rate, and if a ftraw can tickle a man, 'tis an inftrument of happinefs. Beafts can weep when they fuffer, but they cannot laugh. And as Sir William DaVenant obferves in his Preface to Gon- dibert, 'Tis the m/dom of a Government to permit Plays (he might have added Farces) as 'tis the pru- dence of a Carter to put Sells upon his Horfes, to make them carry their Burthens chearfully.

I have already fliewn, that one main end of Poetry and Painting is to pleafe, and have faid fomething of the kinds of both, and of their Sub- jects, in which they bear a great refemblance to each other. I muft now confider them, as they are great and noble Arts 5 and as they are Artsy they muft have Prides, which may direct them to their common end.

To all Arts and Sciences, but more particularly to thefe may be apply'd what Hippocrates fays of

( d 2 ) Phyfick,

ii <i ii

xxviij. PREFKE.

Phyfick, as I find him cited by an eminent French Critique. " Medicine has long fubffled in the World. The Principles of it are certain, and it has a certain ivay ; by both which there has been found in the courfe of many Ages, an infinite num- £c bcr of things, the experience of which has confirm d " its ufefulnefs and goodnejs. All that is wanti)ig to (c the perfection of this Art, will undoubtedly be found, " if able Men, andfuch as are inJiruSied in the An- " dent ^ules will make a farther enquiry into it, and " endeavour to arrive at that, which is hitherto un- " known, by that which is already known. (But all, u who haying reje&ed the Ancient (Rules, and taken iC the oppofite ways, yet boaft themfelVes to be Majlers " of this Art, do but deceive others, and are them- " f elves deceiVd$ for that is abfolutely impojjlble.

This is notorioufly true in thefe two Arts : for the way to pleafe being to imitate Nature ; both the Toet s and the Painters, in Ancient times, and in the beft Ages, have ftudy'd her : and from the practice of both thefe Arts, the Rules have been drawn, by which we are inftructed how to pleafe, and to compafs that end which they obtain'd, by following their Example. For Nature is ftill the fame in all Ages, and can never be contrary to her felf. Thus from the practice of /Efchylus, Sophocles, and Euripides, Ariflotle drew his Rules

for

?R £ FA C E. xxix.

for Tragedy j and Philoflratns for Tainting. Thus amonsJt the Modems, the Italian and French Cri- tianes by ftudying the Precepts of Anftotle, and Horace, and having the Example of the Grecian Toets before their Eyes, have given us the Rules of Modern Tragedy: and thus the Critiques of the fame Countries, in the Art of Painting have given the Precepts of perfecting that Art. 'Tis true that Poetry has one advantage over Painting in thefe laft Ages, that we have ftill the remaining Ex- amples both of the Greek and Latine Poets : where-, as the Painters have nothing left them from ApeL ks, Protogenes, Parrhafius, Xeuxis and the reft, but onely the teftimonies which arc given of their incomparable Works. But inftead of this, they have fome of their beft Statues, $afs-<%elieVo's> Columns, Obilifques, &c. which were fav'd out of the common ruine, and are ftill preferv'd in Ita-- ly : and by well diftinguifliing what is proper to Sculpture, and what to Painting, and what is com- mon to them both, they have judicioufly repaired, that lofs. And the great Genius of Raphael, and others, having fucceeded to the times of Barbarifm and Ignorance, the knowledge of painting is now arrived to a fupreme perfection, though the per- formance of it is much declin d in the prefent Age. The greatcft Age for Poetry amongft the Romans

was

xxx. T K £ F A C E.

was certainly that of Auguftus C<efar$ and yet we are told that (painting was then at its lowed Ebb, and perhaps Sculpture was alfo declining at the fame time. In the Reign of Dom'ttian, and fome who fucceeded him, Poetry was but meanly cul- tivated, but Tainting eminently flourifh'd. I am not here to give the Hijiory of the two Arts ; how they were both in a manner extinguifh'd, by the Irruption of the barbarous Nations, and both re- ftor'd about the times of Leo the Tenth, Charles the Fifth, and Francis the Firft j though I might obferve, that neither Ariofto, nor any of his Con- te?nporary Poets ever arriv'd at the Excellency of Raphael, Titian, and the reft in (Painting. But in re- venge at this time, or lately in many Countries,?V etry is better practis'd than her Sifter- Art. To what height the Magnificence and Encouragement of the prefent B^ing of France may carry Painting and Scul- pture is uncertain, but by what he has done, before the War in which he is ingagd, we may expect what he will do after the happy Conclufion of a Peace, which is the Prayer and Wifh of all thofe who have not an intereft to prolong the miferies of Europe. For 'tis mofl certain, as our Author arhongft others has obferv'd, That Reward is the Spur of Vertue, 4s well in all good Arts, as in all laudable Attempts : and Emulation which is the

other

P R EFA C & xxxi.

other Spur, will never be wanting either aniongft Toets or (painters, when particular Rewards and Prizes are propos'd to the belt defervers. But to return from this digreffion, though it was almoft I neceffary 5 all the Glides of (Painting are methodi- cally, concifely, and yet clearly delivered in this prefent Treatife which I have tranflated. Bojfu has not given more exact S(ntei for the Epique (Po- em, nor Vacier for Tragedy in his late excellent Tranflation of Arijlotle and his notes upon him, than our Frefnoy has made for (Painting -, with the (Parallel of which I muft refume my Difcourfe., folio ving my Authors Text, though with more brevity than I intended, becaufe Virgil calls me, The principal and mojl important parts of Painting, is to know what is mojl beautifuU in Nature, and mojl proper for that Art : that which is the mod beauti- ful! is the moft noble Subject : fo in (Poetry, Tra- gedy is more beautifull than Comedy ; becaufe, as I faid, the Perfons are greater whom the Toet in- ftructs, and confecjuently the inffructions of more benefit to Mankind : the action is likewife great- er and more noble, and thence is deriv'd the great- er and more noble Pleafure.

To imitate Nature well in whatfoever Subject, is the perfection of both Arts ; and that (pitlnre and that <Poem which comes neareft to the refem-

blance

xxxij. PRE FACE.

blance of Nature is the beft. But it follows not, that what pleaics moil: in either kind is therefore good -j but what ought to pleafe. Our deprav'd Appetites, and ignorance of the Arts, miflead our Judgments, and caufe us often to take that for true imitation of Nature, which has no refem- blance of Nature in it. To inform our Judgments, ^nd to reform our Tafts , Prides were invented, that by them we might diicern when Nature was imitated, and how nearly. 1 have been forced to recapitulate thefe things, bccaufe Mankind is not more liable to deceit, than it is willing to con- tinue in a pleafing error ftrengthen d by a long habitude. The imitation of nature is therefore juftly conftituted as the general, and indeed the onely <ftjde of pleafing both in Poetry and (Paint- ing. Ariflotle tells us, that imitation pleafes, be- caufe it affords matter for a Reafoner to enquire into the truth or falflhood of Imitation, by com- paring its likenefs or unlikenefs with the Original. But by this Rule, every Speculation in Nature, whofe truth falls under the enquiry of a Pbilofo- pber, muft produce the fame delight which is not true ; I flhould rather aflign another reafon. Truth is the Object of our Underftanding as Good is of our Will : And the Underftanding can no more be delighted w ith a Lye, than the Will can

choofe

PREFACE. xxxiij.

choofe an apparent Evil. As Truth is the end of all our Speculations, fo the difcovery of it is the pleafure of them. And fince a true know- ledge of Nature gives us pleafure, a lively imita- tion of it, either in Poetry or Tainting, muft of nece/fity produce a much greater. For both thefe Arts as I faid before, are not onely true imitati- ons of Nature, but of the beft Nature, of that ' which is wrought up to a nobler pitch. Theypre- fent us with Images more perfect than the Life in. any individual : and we have the pleafure to fee all the fcatter'd Beauties of Nature united by a happy Cbymiftry, without its deformities or faults. They are imitations of the paffions which always move , and therefore confequently pleafe : for without motion there can be no delight 5 which cannot be confider'd, but as an active pa/Horn When we view thefe Elevated Ideas of Naturey the refult of that view is Admiration, which is always the caufe of Pleafure.

This foregoing Remark, which gives the rea- fon why imitation pleafesj was fent me by Mr. Walter Mbyle, a mod ingenious young Gentleman, converfant in all the Studies of Humanity, much above his years. He had alfo furmfh'd me (ac- cording to my requeft) with all the particular paffages in Jriftatk and Horace, which are us'd

( e ) by

; '" "~

xxxiv. PREFACE..

by them to explain the Art of Poetry by that of (painting : which if ever I have time to retouch this EJJayy fliall be inferted in their places. Having thus ihewn that Imitation pleafes, and why it pleafes in both thefe Artsy it follows that fome %ules of Imitation are neceffary to obtain the end : for without (Joules there can be no Art; any more than there can be a Houfe without a Door to conduct you into it. The principal parts of Tainting and (poetry next follow.

Invention is the firfl part, and abfolutely necet fary to them both : yet no ^ide ever was or ever can be given how to com pafs it. A happy Ge- nius is the gift of Nature : it depends on the in- fluence of the Stars fay the Aftrologers, on the Or- gans of the Body fay the Naturalifts y 'tis the par- ticular gift of Heaven fay the Divines } both Cbri- ftians and Heathens. How to improve it many Books can teach us ; how to obtain it none j that nothing can be done without it all agree.

Tu nihil invito, dices faciefve MinerVa.

Without Invention a Painter is but a Copier, and x (poet but a Plagiary of others. [Both are allow'd; fometimes to copy and translate ; but as ou* Au- thour tells you that is not the beft part of their Re»

putation.

I PREFACE. xxxw

putation. Imitatours are but a Servile Kind of Cattle, Fays the Poet j or at beft, the Keepers of Cattle for other men j they have nothing which is pro- perly their own ; that is a fufficient mortification for me while I am tranflating Virgil. But to co- py the beft Authour is a kind of praife, if I per- form it as I ought. As a Copy after Raphael is more to be commended, than an Original of any indifferent Painter.

Under this head of Invention is plac'd the Vifp 9- jitionofthe Work, to put all things in a beautifull order and harmony ; that the whole may be of a piece. The Compojttions of the Painter fhou'd be conformable to the Text of Ancient Authours, to trie Cuftoms, and the Times. And this is exact- ly the fame in Poetry ; Homer, and Virgil, are to be our guides in the Epiquc , Sophocles, and Eu- ripides, in Tragedy : in all things we are to imi- tate the Cuftoms, and the Times of thofe Perfons and Things which we reprefent. Not to make new (fiules of the Drama, as Lope^, de Vega has attempted unfuccefsfully to do $ but to be con- tent to follow our Mafters, who underftood Na- ture better than we. But if the Story which we treat be modern, we are to vary the Cuftoms, according to the Time and the Country where the Scene of Action lies : for this is ftill to imitate

( e 2 ) Nature,

xx*vi. PREFACE.

Nature, which is always the fame, though in a dirlerent drefs.

As in the Compofition of a PiElure, the Pain- ter is to take care that nothing enter into it, which is not proper, or convenient to the Subject ; fo iikewife is the Poet to reject all incidents which are foreign to hisPoem, and are naturally no parts of it : they are Wenns, and other Excrefcences , which belong not to the Body, but deform it. no perfon, no incident in the Piece, or in the Play, but muft be of ufe to carry on the main Ttejign. All things elfe are like fix fingers to the hand 3 when Nature which is fuperfiuous in no- thing, can do her work with five. A Painter muft reject all trifling Ornaments, fo muft a Poet re- fufe all tedious , and unneceftary Defcriptions. A Robe which is too heavy, is lefs an Ornament than a Burthen.

In Poetry Horace calls thefe things, Verjus ino* pes renim, nug&am canoroe ; thefe are alfo the Incus <&* ara Dian<e, which he mentions in the fame Art of Poetry. But fince there muft be Or- naments both in Painting and Poetry, if they are not neceflary, they muft at leaft be decent : that is, in their due place, and but moderately us'd. The Painter is not to take fo much pains about :he Drapery as about the Face, where the princi- pal

P R E V A C E xxxvij.

pal refemblance lies : neither is the Poet who is working up a paffion, to make Jtmiles which will certainly make it languifli. My Monte^uyna dies with a fine one in his mouth : but it is ambitious and out of feafon. When there are more Figures in a Picture than are neceflarv, or at leaft orna- mental, our Authour calls them Figures to be lett : becaufe the Picture has no ufe of them. So I have feen in fome modern Plays above twenty Atlours, when the Action has not recjuir'd half the num- ber. In the principal Figures of a Picture, the (painter is to employ the finews of his Art, for in them confifts the principal beauty of his Work. Our Authour faves me the comparifon with Tragedy, for he fays that herein he is to imitate the Tragique Poet, who employs his utmoft force in thofe pla- ces wherein confifts the height and beauty of the Action. Du Frefnoy, whom Ifollow, makes De- fign or Drawing the fecond part of (painting : But the Rules which he gives concerning the Pofture of the Figures, are almoft wholly proper to t bat Art 5 and admit not any comparifon that I know with Poetry. The Poflure of a Poetique Figure is as I conceive, the Description ofhis^Heroes in the per- formance offuch or fuch an Action: as of Achilles juft in the act of killing Hetlor : or of JEneas^\\o has Turrrns under him. Both the Poet and the

Painter

xxxviij. P R E F A C E.

Painter vary the Voflures according .to the Action, or Paffion which they reprefent of the fame per- form But all muft be great and gracefull in them. The fame jEnea* muft be drawn a Suppliant to Dido with refpect in his Geftures, and humility in his Eyes : But when he is forced in his own de- fence to kill Laujus, the <Poet fhows him compaf- fionate, and tempering the feverity of his looks with a reluctance to the Action, which he is go- ing to perform. He has pity on his Beauty, and his Youth 5 and is loath to deftroy fuch a Mafter- piece of Nature. He confiders Laufus refcuing his Father at the hazard of his own life j as an Image of himfelf when he took Anchifes on his Shoulders, and bore him fafe through the rage of the Fire, and the opposition of his Enemies. And therefore in the pofture of a retiring Man, who avoids the Combat, he ftretches out his Arm in fign of peace, with his right Foot drawn a little back, and his Breaft bending inward, more like an Oratour than a Souldier ; and feems to diflwade the Young man from pulling on his deftiny, by attempting more than he was able to perform : take the paflage as I have thus tranflated it.

Shouts of Applaufe ran ringing through the Field, To fee the Son, the Vanquifttd Father f?ield :

All

PREFACE. xxxix.

Alt, fir d with noble Emulation, ftriVey And with a ftormof Darts to dijiance drive The Trojan Chief; who held at Bay, from far On his Vulcanian Oi b, fuftaind the Wan /Eneas thus oerwhelmd on eVeryJide, Their fir ft Ajfault undaunted did abide ; (cryd, And thus to Laufus, loud with friendly threatning Why wilt thou rufh to certain death, and rage. In rafh attempts beyond thy tender Age, Betray d by pious loVe I

And afterwards. HegrieVd, he weft, the Sight an Image brought Of his own Filial LoVe ; a fadly pleaftng thought.

But befide the Outlines of the Pofture,the Vefign of the TiEiure comprehends in the next place the forms of Faces which are to be different : and fo in a Toem^ or aTlay, muft the feveral Characters of the Perfons be diftinguifh'd from each other. I knew a <Poet, whom out of refpect I will not name, who being too witty himfelf, cou'd draw nothing but Wits in a Comedy of his : even his Fools were infected with the Difeafe of their Au- thour. They overflow' d with fmart Reperties, and were only diftinguim'd from the intended Wits by being call'd Coxcombs ; though they de- ferv d not fo fcandalous a Name. Another, who

had

PREFACE

had a great Genius for Tragedy , following the fury of his natural temper, made every Man and Wo- man too in his Plays ftark raging mad : there was not a fober perfon to be had for love or money. All was tempeftuous and bluftering 3 Heaven and Earth were coming together at every word ; a meer Hurrican from the beginning to the end, and every Actotir feem'd to be haftning on the Day of Judgment.

Let every Member be made for its own Head, fays our Jutbour, not a wither'd Hand to a young Face. So in the Perfons of a Play, whatfoever is faid or done by any of them, muft be confident with the manners which the Poet has given them diftinctly : and even the Habits muft be proper to the degrees, and humours of the Perfons as well as in a Pitlure. He who enter'd in the firft Act, a Young man like Pericles Prince of Tyrey muft not be in danger in the fifth A6t, of com- mitting Inceft with his Daughter: noranllfurer, without great probability and caufes of Repen- tance, be turn'd into a Cutting Moorcraft.

I am not fatisfy'd that the companion betwixt the two Arts in the laft Paragraph is altogether Co juft as it might have been $ but I am fure of this which follows.

The

PREFACE. xli.

The principal Figure of the Subjetl muft appear in the midjl of the Ptclure, under the principal Light to diflinguifh it from the re fl which are onely its atten- dants. Thus in a Tragedy or an Epique Poem, the Hero of the Piece rauft be advanc'd foremoft to the view of the Reader or Spetlator ; He muft out-fhine the reft of all the Characters ; He mufl appear the Prince of them, like the Sun in the Co- pernican Syfiem, encompafs'd with the lefs noble Planets. Becaufe the Hero is the Centre of the maki Action; all the Lines from the Circumfe- rence tend to him alone : He is the chief object of Pity in the Drama, and of Admiration in the E- pique Poem.

As in a Picture, befides the principal Figures which compofe it, and are plac d in the midft of it 5 there are lefs Grouppes or Knots of Figures difpos'd at proper diftances, which are parts of the Piece, and feem to carry on the fame Defign in a more inferiour manner. So in Epicpue Poe- try, there are Epifodes, and a Chorus in Tragedy, which are Members of the Action, as growing out of it, not inferted into it. Such in the ninth Sookof the Eneids is the Epifode ofNifus and Eu- ryalus : the adventure belongs to them alone ; they alone are the Objects of Compaflion and Admi- ration 5 but their bufinefi which they carry on,

(f) is

xlij. PREFACE.

is the general Concernment of the Trojan Camp, then beleaguered by Turnus and the Latines, as the Cbrijlians were lately by the Turks. They were to advertife the chief Hero of the Diftrefles of his Subjects occafion d by his Abfence, to crave his Succour, and follicite him to haften his Re* turn.

The Grecian Tragedy was at firft nothing but a Chorus of Singers, afterwards one ABor was in- troduced, which was the Toet himfelf, who enter- tain d the people with a difcourfe in Verfe, betwixt the Paufes of the Singing. This fucceeding with the People , more ABors were added to make the variety the greater 3 and in procefs of time, the Chorus onely fung betwixt the ABs 3 and the Co- ripbteus, or Chief of them fpoke for the reft, as an Atlor concerned in the bufinefs of the <Play.

Thus Tragedy was perfected by degrees, and be- ing arrivd at that Perfection, the Painters might probably take the hint from thence, of adding Grouppes to their PiBures. But as a good Ti- Bure may be without a Grouppe ; fo a good Tra- gedy may fubfift without a Chorus: notwithstand- ing any reafons which have been given by Dacier to the contrary.

Monfieur Racine has indeed us'd it in his EJlber, but not that he found any neceflity of it, as

the

PRE FACE.

the French Critique would infinuate. The Chorus at St. Cyr, was onely to give the young Ladies an occafion of entertaining the t&g with vocal Mu- fick, and of commending their own Voices. The Flay it felf was never intended for the publick Stage, nor without difparagement to the learned Author j could poffibly have fucceeded there, and much leis the Tranflation of it here. Mr. Wi- cherly, when we read it together was of my opini- on in this, or rather I of his ; for it becomes me fo to fpeak of fo excellent a Poet, and fo great a Judge. But fince I am in this place, as Virgil fays, Spattis exclu/us iniquity that is, iliorten'd in my time, I will give no other reafon, than that it is impracticable on our Stage. A new Theatre much more ample and much deeper muft be made for that purpofe, befides the coft of fome- times forty or fifty Habits, which is an expence too large, to be fupply'd by a Company of Atlors. 'Tis true, I fhould not be forry to fee a Chorus on a. Theatre, more than as large and as deep a- gain as ours, built and adorn d at a IQngs Charges, and on that condition , and another , which is, That my Hands were not bound be- hind me, as now they are ; I fhould not defpair of making fuch a Tragedy, as might be both in- structive and delightfull, according to the man- ner of the Grecians. ( f 2 ) To

xliv. F KEF AC E.

To make a Sketchy or a more perfect Model of a PiEiure, is in the Language of (Poett, to draw- up the Scenary of a <?%, and the reaion is the fame for both ; to guide the Undertaking, and to preferve the Remembrance of fuch things, whofe Natures are difficult to retain.

To avoid Abfurdities and Incongruities, is the fame Law eftablifli'd for both Arts. The Painter is not to paint a Cloud at the Bottom of a Pitlure, but in the uppermoft parts : nor the Poet to place what is proper to the end or middle in the begin- ning of a Poem. I might enlarge on this, but there are few Poets or Painters, who can be fup- pos'd to fin fo grofly againft the Laws of Nature, and of Art. I remember onely one Play, and for once I will call it by its name, The Slighted Maid: where there is nothing in the Firjt Atl, but what might have been faid or done in the Fifth 5 nor any thing in the Midfl, which might not have been plac'd as well in the Beginning or the End. To exprefs the Paflions which are feated in the Heart by outward Signs, is one great Precept of the {Painters, and very difficult to perform. In Poe- try, the fame Paflions and Motions of the Mind are to be exprefs'd ; and in this confifts the prin- cipal Difficulty, as well as the Excellency of that ■Art. This, fays my Author, is the Gift of Jitfi-

TKE7ACE. xfo

ter : and to fpeak in the fame Heathen Language, we call it the Gift of our Apollo : not to be obtain. d by Pains or Study, if we are not born to it. For the Motions which are ftudied are never fo natu- ral, as thofe which break out in the height of a re- al Paffion. Mr. Otway poflefs'd this part as tho- roughly as any of the Ancients or Moderns, I will not defend every thing in his Venice preferVd; but I.muft bear this teftimony to his Memory, That the fPaffions are truly touch' d in it, though perhaps there is fomewhat to be defir'd both in the Grounds of them,and in theHeight and Elegance of Expreffi- on 5 but Nature is there,which is thegreateft Beauty. In the TaffioWy fays our Author, we muji have a Very great regard to the quality of the Per Jons who are atlualiy pojfefs'd with them. The Joy of a Mo- narch for the news of a Victory, muft not be ex- prefs'd like the Ecftafy of a Harlequin on the Re- ceipt of a Letter from his Miftrefs$ this is (b much the fame in both the Arts, that it is no longer a Comparifon, What he fays of Face '-painting, or thzProtrait of any one particular Perfon; con- cerning the likenefs is alfo as applicable to Poetry. In the char atler of an Hero, as well as in an inferi- our Figure, there is a better or worfe likenefs to be taken 3 the better is a Panegyrick if it be not s falfe, and the worfe is a Libel : Sophocles- fays A-

rljlotk

xlvi. TP R E V A C E.

L

rijlotlc always drew men as they ought to be, that is better than they were -, another, w hofe name I have forgotten, drew them worfe than naturally they were. Euripides altered nothing in the Cha- racter, but made them fuch as they were repre- fented by Hijlory, Epique Toe try or Tradition, Of the three, the draught of Sophocles is moft com- mended by Jriftotle. I have foliow'd it in that part of Oedipus, which I writ, though perhaps I have made him too good a man. But my Cha- racters of Anthony and Cleopatra, though they are favourable to them, have nothing of outrageous (Panegyrick, their Pa/fions were their own, and fuch as were given them by Hiftory, onely the de- formities of them were caft into Shadows, that they might be Objects of Companion j whereas if I had chokna Noon- day Light for them, fomewhat mull have been difcover'd, which would rather have mov'd our Hatred than our Pity.

The Gothique manner, and the barbarous Orna- ments, which are to be avoided in aTifture, are juft the fame with thofe in an ill order' d Play. For example, our Englijl? Tragicomedy muft. be confefs'd to be wholly Gothique, notwithstanding the Succefs which it has found upon our Theatre, and in the Pajlor Fido of Guarini j even though Corifca and the Satyr contribute fomewhat to the main Action.

Neither

PREFACE. xlvij.

Neither can I defend my Spanifb Fryar, as fond as otherwife I am of it from this Imputation : for though the comical parts are diverting, and the fe- rious moving, yet they are of an unnatural min- gle. For Mirth and Gravity deftroy each other, and are no more to be allow'd for decent, than a gay Widow laughing in a mourning Habit.

I had almoft forgotten one considerable refem- blance. Du Frefnoy tells us, Tl?at the Figures of the Grouppes, mujl not be all on a fide, that is, with their Face and (Bodies all turnd the fame way 5 but mujl contrajl each other by their federal pojltions. Thus in a Flay, fome characters muft be raised to op- pofe others 3 and to fet them off the better, ac- cording to the old Maxim, Contraria juxta fe po- fita, magis elucejcunt. Thus in the Scornfull Lady, the Ufurer is fet to confront the Prodigal. Thus in my Tyrannicque LtiVe, the Atheift Maximin is op- pos'd to the character of St. Catharine.

I am now come, though with the omi/fion of many Likenejfes, to the third Part of (painting, which is called the Cromatique or Colouring. Ex- prejjion, and all that belongs to words, is that in a Poem, which Colouring is in a (pitlure. The Colours well chofen in their proper places, toge- ther with the Lights and Shadows which belong to them, lighten the Defign, and make it pleafing

to

xlviij. PREFACE.

to the Eye. The Words, the Exprefllons, the Tropes and Figures, the Verification, and all the other Elegancies of Sound, as Cadences, Turns of Words upon the Thought, and many other things which are all parts of expreflion, perform exactly the lame Office both in Vra- matique and Epique Toetry. Our Author calls Co- louring, Lena Sororis, in plain Enghfh, The Bawd of her Sifter the Vefign or Drawing ; flhe cloaths, flie drefles her up, (he paints her, (he makes her appear more lovely than naturally (lie is, (lie pro- cures for the Vefign, and makes Lovers for her. For the Vefign of it felf, is onely fo many naked lines. Thus in Poetry , the ExpreJJlon is that which charms the Grader, and beautifies the De- fign which is onely the Out-lines of the Fables. 'Tis true, the Vefign muft of it felf be good ; if it be vicious or (in one word) unpleafing, the coft of Colouring is thrown away upon it. 'Tis an ugly woman in a rich Habit fet out with Jew- els, nothing can become her : but granting the Vefign to be moderately good, 'tis like an ex- cellent Complexion with indifferent Features j the white and red well mingled on the Face, make what was before but paflable, appear beautifull. Operum Colores is the very word which Horace ufes, to fignify Words and elegant Expreffions, of which

he

PREFACE. xiix.

he himfelf was fo great a Mafter in his Odes* A- mongft the Ancients, Zeuxvs was moft famous for his Colouring. Amongft the Moderns ; Titum and Correggio. Of the two Ancient Epique Poets, who have fo far excell'd all the Modems, the In- vention and Dejtgn were the particular Talents of Homer. Virgil muft yield to him in both, for the Dejign of the Latine was borrowed from the Grecian: But the ditlio Virgiliana, the expreffion of Virgil-, his Colouring was incomparably the bet- ter, and in that I have always endeavour' d to copy him. Moft of the Pedants I know main- tain die contrary, and will have Homer excell e- ven in this part. But of all people, as they are the moft ill manner'd, fo they are the worft Judges ; even of words which are their Province, they feldom know more than the Grammatical conftruction , unlefs they are born with a Poetical Genius -j which is a rare Portion amongft them. Yet fome I know may ftand excepted 5 and fuch I honour. Virgil is fo exact in every word, that none can be chang'd but for a worfe : nor any one remov'd from its place, but the harmony will be alter'd. He pretends fometimes to trip ; but 'tis onely to make you think him in danger of a fall , when he is moft fecure. Like a skilfull dancer on the Ropes (if you will pardon the

( g ) meannefs

PREFACE.

meannefs of the fimilitude) who flips willingly and makes a feeming ftumble, that you may think him in great hazard of breaking his neck $ while at the fame time he is onely giving you a proof of his dexterity. My late Lord tf^ojcomon was often pleas'd with this reflection, and with the examples of it in this admirable Author,

I have not leifure to run through the whole Comparifon of Lights and Shadows with Tropes and. Figures ; yet I cannot but take notice of Metaphor st which like them have power to lefien or greaten any thing. Strong and glowing Colours are the juft refemblances of bold Metaphors, but borh mnft be judicioufly apply'd ; for there is a difference be- twixt daring: and fool hardine fs. Lucan and Sta* tins often ventured them too far, our Virgil never, But the great defect of the iPharJalia and the TJ?e- hais was in the Vejign ; if that had been more per- feci, we might have forgiven many of their bold ftrokes in the Colouring ; or at leaft excus'd them : yet fome of them are fuch as Vemoflhenes or Gee- ro could not have defended. Virgil, if he could have feen the firft Verfes of the S)7v<e, would have thought Statins mad in his fuftian Defcription of the Statue on the brazen Horfe. But that Poet was al- ways in a Foam at his letting out, even before the Motion of the Race' had warm'd him. The fo-

bernefs

PREFACE. 11

berncfs of Virgil, whom he read it feems to little purpofe, might have mown him the difference be- twixt, Arma Virumq-, cano, and Magnanimum AEa- cidcm, formidatamq; tonanti Trogeniem. But Virgil knew how to rife by degrees in his expreffions : Statins was in his towring heights at the firft ftretch of his Pinions. The defcription of his running Horfe juft ftarting in the Funeral Games for Ar- chemorus, though the Verfes are wonderfully fine, are the true Image of their Author.

Stare adeo nefcit, pereunt Vejligia mi lie

Ante fugam, ahfentemq^ferk graYis ungula campum.

Which would coft me an hour, if I had the lei- fure to tranflate them, there is fo much of Beauty in the Original. Virgil, as he better knew his Colours, fo he knew better how and where to place them. In as much haft as I am, I cannot for- bear giving one example. 'Tis faid of him, That he read the Second, Fourth and Sixth (Books of his AEneids to Auguflus C<efar. In the Sixth, (which we are fure he read, becaufe we know OShaYia was prefent, who rewarded him fo boun- tifully for the twenty Verfes which were made in honour of her deceased Son Marcellws) in this fixth Book I fay, the 'Poet fpeaking of Mifenus the Trumpeter, fays, ( g 2 ) Quo

* ' '.' 1 i

lij. PREFACE.

— Quo non frajlantlor alter,

JEre ciere Yiros, -

And broke off in the Hemy flick or midfl: of the Verfe: but in the very reading fiez'd as it were with a diYme Fury, he made up the latter part o£ the Hemyjiicky with thefe following words $

Martemcfc accendere cantu.

How warm, nay how glowing a Colouring is this! In the beginning of the Verfe, the word jEs, or Brafs, was taken for a Trumpet, becaufe the In- ftument was made of that Metal, which of it felf was fine 3 but in the latter end, which was made ex tempore, you fee three Metaphors, Martemque,

— - accendere, cantu. Good Heavens ! how the

plain knee is rais'd by the Beauty of the words. But this was Happinefs, the former might be on- ly Judgment : this was the curio/a felicitas, which (petronius attributes to Horace-, 'tis the Pencil thrown luckily full upon the Horfes mouth to exprefs the Foam which the fainter with all his skkl could not perform without it. Thefe hits of words a true <Poet often finds, as I may fay, without feeking : but he knows their value when he finds them, and is infinitely pleas'd. A badfoet may

fome-

PREFACE, liij,

lometimes light on them, but he difcerns not a Diamond from a (Briftolftone 5 and would have been of the Coch mind in sEfop, a Grain of 'Bar- ley would have pleas' d him better than the Jewel, Tilt Lights and Shadows which belong to Colouring, put me in mind of that Verfe in Horace, Hoc a- mat obfcurim, Vult hoc fub luce Yideri : fo me parts of a Poem require to be amply written, and with all the force and elegance of Words : others muft be caft into Shadows j that is, pafs'd over in 11- lence , or but faintly touch'd. This belongs wholly to the Judgment of the Poet and the (pain- ter.. The moft beautifull parts of the Pitlure and the Poem mull: be the moft finifh'd, the Colours and Words moft chofen ; many things in both which are not defervins of this care, muft be (liif- ted off; content with vulgar expreffions and thofe very fihort, and left as in a ftiadow to the imagi- nation of the Reader.

We have the Proverb, manum de tabula, from, the Painters ; which fignifies, to know when to give over, and to lay by the Pencil. Both Ho- mer and Virgil practis'd this Precept wonderfully well, but Virgd the better of the two. Homer knew that when Hetlor was flain, Troy was as good as already taken ; therefore he concludes his Action there.. For what follows in the Funerals

of

liv. PREFACE.

of Tatroclus, and the redemption of Hefto/s Bo- dy, is not (properly fpeaking) a part of the main Action. But Virril concludes with the death of Turnits: for after that difficulty was remov'd, JE- m&s might marry and eftablifli the Trojans when he pleas'd. This P^ule I had before my Eyes in the conclufion of the Spanifi Fryar, when the difcove- ry was made, that the King was living, which was the knot of the Play unty'd, the reft is fhut up in the compafs offome few lines, becaufe no- thing then hinder' d theHappinefs oiTorifmond and Leonora. The faults of that Drama are in the kind of it, which is Tragi comedy. But it was given to the people 5 and I never writ any thing for my felf but Anthony and Cleopatra.

This (Remark I muft acknowledge is not fo pro- per for the Colouring as the Dejign 3 but it will hold for both. As the words, &c. are evidently fhown to be the cloathing of the Thought, in the fame fenfe as Colours are the cloathing of the Defign, fo the Maimer and the Poet ought to judge ex- actly, when the Colouring and Expreffions are perfect, and then to think their work is truly finifli'd. Jpelles faid of Protogenes , That he knew not when toghe oyer. A work may be over- wrought as well as under wrought : too much Labour often takes away the Spirit by adding to

the

P R EVA C E. h.

the polifhing 5 fo that there remains nothing but a dull correctnefs, a piece without any confiderable Faults, but wit,h few Beauties; for when the Spi- rits are drawn off, there is nothing but a caput mor- tuum. Statius never thought an expreflion could be bold enough ; and if a bolder could be found he rejected the fir ft. Virgil had Judgment enough £0 know daring was neceflary ; but he knew the difference betwixt a. glowing Colour and a. glaring:. as when he compar'd the (hocking of the Fleets at ABium to the juftling of Iflands rent from their Foundations, and meeting in the Ocean. He knew the comparifon was forc'd beyond Nature and rais'd too high : he therefore foftens the Metaphor with a Credos. Yqu would almoft believe, that Mountains or Iflands rufh'd againft each other.

Credos innare re^ulfas

Cycladas : aut monies concurrere montibus douos.

But here I muft break off without finifhing the Difcourfe.

Cynthius aurem "Vellit & admonuity &c. the things which are behind are of too nice a confederation for an EJfayy begun and ended in twelve Morn- ings, and perhaps the Judges of Painting and (Poe- tryy when I tell them, how Abort a time it coft

me?

Ivi. PREFKE.

me, may make me the fame anfwer, which my late Lord %ochefier made to one, who to com- mend a Tragedy , laid it was written in three weeks 5 How the Devil could he be fo long about it ? For that Toem was infamoufly bad 5 and I doubt this Parallel is little better ; and then the (hortnefs of the time is fo far from being a Commendation, that it is fcarcely an Excufe. But if I have really drawn a Portrait to the Knees, or an half length with a tolerable Likenefs, then I may plead with Tome Juftice for my felf, that the reft is left to the Imagination. Let lome better Artift pro- vide himfelf of a deeper Canvas, and taking thefe hints which I have given , fet the Figure on ks Legs, and finiffa it in the Invention, Dejign and Colouring.

THE

Ivij.

THE

~w~*

-

O F T H E

French Author.

Mong all the beautiful and delightful Arts, that of Painting has always found the moft Lovers 5 the number of them almoft including all Mankind. Of whom great multitudes are daily found \ who value themfelves on the knowledge of it-, either becaufe they keep company with Painters, or that they have feen good Pieces 5 or laftly, becaufe their Gufto is naturally good. Which notwiih- ftanding^ that Knowledge of theirs (if we may fo call it) is fo very fuperficial, and fo ill ground- edy that it is impoffible for thevi to defer ibe in what confijls the beauty ofthofe Works which they admire-, or the faults which are in the greate/i

( h ) part

lviij. PREFACE

part ofthofe which they condemn: and truly t is not hard to find, that this proceeds from no other caufe, than that they are not furnifti d with Rules by which to judge9 nor have any folid Foundati- ons, which are as jo many Lights fet up to clear their underflanding and lead them to an entire and certain knowledge, I thinks it fuperjiuous to prove that this vs necejfary to the knowledge of Painting. 'Tis fujficient, that Painting be ac- knowledgd for an Art 5 for that being granted it follows without difpute, that no Arts are with- out their Precepts. I /hall fatisfy my felf with telling you-, that this little Treatife will furnijh you with infallible Rules of judging truly : fince they are not onely founded upon right Reafon but upon thebejl Pieces of the left Mafters, which our Author hath carefully examind during the fpace of more than thirty years ; and on which he has made all the reflections which are necejfary to render this Treatife worthy of Poftmty : which though little in bulk., yet contains moft judicious Remarks, andfuffers nothing to efcape that is ef- fential to the Subjeft which it handles. If you will pleafe to read it with attention^ you will find it capable of giving the moft nice and deli- cate fort 0/ Knowledge, not onely to the Lovers, but even to the Profeilors of that Art.

J/

PREFACE lix.

J/ would be too long to tell you the particular advantages which it has above all the Books which hath appear d before it in this kind: you need onely to read it, and that will convince y 021 of this truth. All that I will allow my felf to fay, is onely this, That there is not a word in it, which carries not its weighty whereas in all others, there are two confiderable faults which lie open to the fight, (viz.) That faying too much, they always fay too little. J affure my f elf that the Reader will own tis a work, of general profit, to the Lovers of Painting, for their inflru£tion how to judge exaflly$ and with Knowledge oftheCaufe, which they are to judge. And to the Painters themfelvesy by removing their difficulties, that they may work, with pie afure $ becaufe they may be in fome manner certain that their Productions are good. 'Tis to be ufed like Spirits and preci- ous Liquours, the lefsyou drink, of it at a time 'tis with the greater pie afure \ read it often, and but little at once, that you may digeft it better 5 and dwell particularly on thofe pa/fages which you find marled with an Afterifm*. For the obfervations which follow fuch a Note, willgivs you a clearer Light, on the matter which is there treated. Tou will find them by the Numbers which are on the fide of the Tranflation, from five

( h 2 ) to

lx. PRE VAC E.

to five Verfes ; by fearching for the likp Number in the Remarks which are at the end of it, and which are dijtinguijb'd from each other by this note %• Tou wilt find in the latter Pages of this Book, the Judgment of f/je- Author on thofe Painters, who have acquird the greateji Refu- tation in the World. Amongft whom, he was ?wt willing to comprehend thoje who are now living: They are undoubtedly his, as being found among his Papers written in his own hand.

As for the Profe Tranflation which you will find on the other fide of the Latine Poem, Imufi inform you on what occafion, and in what manner it was -perform d. The Love which I had /or- Pain- ting, and the pleafure which I found in the Ex- ercife of that noble Art, at my leifure hours, gave me the define of being acquainted with the late Mr. du FRESNOY5 who was generally reputed to have a through knowledge of it. Our Ac- quaintance at length proceeded to that degree of Intimacy 5 that he intrufted me with his Poem, which he believd me capable both of under (lan- ding-, and tranilating 5 and accordingly defiird me to undertake it. The truth is, that we had conversed fo often on that Subject, and he had communicated his Thoughts of it fo fully to me^ that I had not the leap remaining difficulty con- cerning

P KEFAC El: lxj,

eerning it. 1 undertook, therefore to translate ity and imployd my felf in it with Pleafure, Carey and Affiduity 5 after which, I put it into his hands, and he alter d in it what he pleas d, till at lafl it was wholly to his Mind* And then he gave his Confent that it fhould be publijh'd : but his Death preventing that Defign, I thought it a wrong to his Memory, to deprive Mankind any longer of this Tranflation, which Imayfafe- ly affirm to be done according to tlje true fence of the Author, and to his liking: Since he him* felf has given great Teftimonies of his Approba- tiemtomany of his Friends -, and they who were acquai?ited with him, know his humour to be fuck, that he rvoud never confirain himfelf fo far, as to commend what he did not really approve. I thought my felf obligd to fay thus much, in vin- dication of the faithfulnefs of my Work, to thofe who underfiand not the Latine : for as to thofe who are converfant in both the tongues, J leave them to make their own judgment of it.

The Remarks which I have added to his work, are alfo wholly conformable to his opinions 3 and I am certain that he woiid not have difapprovd them- I have endeavour d i?i them to explain fome of the mofl obfeure paflages , and thofe which are moft necefTary to he underftood ; and

I have

■

lxij. PREFACE

I have done this according to the manner wherein he usdto exprefs himfelfin many Conventions which we had together* I have confind them alfo to the narroweft compafs I was able, that I might not tire the patience of the Reader, and that they might be read by all perfons. But if it happens, that they are not to the taft of fome Readers (as doubt lefs it will fofall out) I leave them entirely to their own difcretion, and fhall not be difpleasd that another hand Jhoud fuc- ceed better, 1 jhall onely beg this fav our from them, that in reading what I have written, they will bring no particular gufto along with them, or any prevention of mind, and that whatfoever judgment they make, it may be purely their own, whether it be in my favour, or in my condem- nation.

A

ATABLEof the Precepts

Contain'd in this TR EA TISE.

f\F what is Beautiful, p. 7 ^ Of theory and Praclice.S Concerning the Sub j eel. 1 1 Invention the firfi part of

Painting. 1 1

The DifpoJitioH of the whole

Work. ib.

the Faithfulnefs of the Sub-

jecl. ib.

Whatfoever palls the Subjecl

to be rejecled. 1 5"

Defign, or Drawing the fe-

cond part of Fainting. 1 6 Variety in the Figures. 19 The Members ana Drapery of

every Figure to be fuita-

ble to it. ib.

The Aclions of Mutes to be

imitated. ib.

Of the principal Figure of

the Subjecl. ib.

Grouppes of Figures. 20

The Dtverftty of Poftures in

the Grouppes. ib.

Equality of the Piece. ib. Of the number of Figures. 23 Of the Joints and Feet. ib.

The Motions of the Hands and Head muft agree, ib.

What muft be avoided in the du ftribution of the Figures.ib.

That we muft not tie our /elves to Nature, but accommo- date her to our Genius. 24

Ancient Figures the Rules of imitating Mature . 27

A Jingle Figure how to be treated. ib.

Of the Draperies. ib.

What things contribute to a- dorn the Piclure. 3 1

Of precious Stones and Pearls for Ornament. ib.

The Model. ib.

The Scene of the Piclure. ib.

The Graces and the Noblenefs.

ib.

Let every thing be fet in its proper place. ib.

Of the Paftons. 32

Gothique Ornamens to be a- voided. ib.

Colouring the third part of

Painting. 3 5

The

Jxiv.

INDEX.

The Condutl of the Tones of Light and Shadows. 3 9

Of dark Bodies on light grounds. 40

That there mufi not he two e- qual Lights in a Piflure.43

Of White and Black. 44

The Reflection of Colours. 4 7

The Vnion of Colours. ib.

Of the Inter pofition of Air. ib.

The relation ofDiflances. 48

Of Bodies which are dijlancd.

ib.

Of Bodies which are contigu- ous, and of thofe which are feperated. ib.

Contrary extremities to be a- voided. ib.

Diverfity of Tones and Co- lours, ib.

The Choice of Light. 5 1

Of certain things relating to the pratlical part, ib.

The Field \ or Ground of the

Piclure. ib.

Of the Vivacity of Colours. 5 z

Of Shadows. ib.

The Piclure to be of one Piece.

ib

The Looking-glafs the Pain- ters heft Mafter. ib.

An half Figure > or a whole one before others. ib.

A Portrait. 55

The place of the Piclure. ib.

Large Lights. 56

What Lights are requisite, ib.

Things which are vicious in Painting to be avoided, ib.

The prudential part of a Pain- ter, ib.

The Idea of a beautiful Piece.

Advice to a young Painter, ib. Art mufi be fubfervient to

the Painter. 60

Diverfity and Facility are

pleafing. ib.

The Original mufl be in the

Head, and the Copy on the

Cloth. ib.

The Compafs to be in the

Eyes. ib.

Pride an Enemy to good

Painting. 67

Knoa) your Jelf. ib.

Praftife perpetually. 64

^The ^Morning mofl proper for

Work. ib.

Every day do fomething. ib. The Paffions which are true

and natural ib.

Of Table-Books. 67

The method of Studies for a

young Painter. 7 1

Mature and Experience per- fect Art. 76

THE

THE ART

OF

PAINTING.

DE ARTE

LIBER.

UT PICTURAPOESIS ERIT ; Jtmilifque <PoeJi Sit Fitlura, refert par <zmu\a quaq-jfororem, Alternantque Vices <Zsr nom'ma ; muta Toefis Dickur h<ecy Tttlura loquens folet itta Vocari.

Quod fuit auditu gratum cecinere Toet*, Quod pulchrum afpetlu Titlores finger e cur ant : Quxque (Poetarum numeris indlgna fuerey TSlon eadem Tiffiorum operant fludiumque merentur ;

Ambdt quippe facros ad ^elligionis honor es l o. Sydereos fuperant ignes, Aulamque Tonantis

Ingreffrty DtVum aJpeElu, alloquioque fruuntur $ Oraque magna Veum t? diSla obferVata reportanty Calejtemque fuorum operum mortalibus ignem. bide pet hum orbem fludiis coeuntibus errant ,

Carpentes

THE

Art of Paintin

* ■ "UAinting and Poefy are two Sifters, which ThePaffkges . B^ are fo like in all things that they mu- Zar^wiih §j tually lend to each other both their A»Afterifm *

«8 J \ rr a-v 11» are more am-

Name and Office. One is call d a *iy explain d dumb Poefy, and the other a fpeaking Picture. '££(*. The Poets have never faid any thing but what y. they believed woudpleafe the Ears. And it has been the conftant endeavour of the Painters to give pleafure to the Eyes. In fhort, thofe things which the Poets have thought unworthy of their Pens, the Painters have judg'd to be unworthy of their Pencils. *For both of them, that they might contribute all within their power to the facred Honours of Religion, have rais'd them- x 0. felves to Heaven, and, having found a free ad- miffion into the Palace oijove himfelf, have en- joy'd the fight and converfation of the Gods ; whofe Majefty they obferve , and contemplate the wonders of their Difcourfe$ in order to relate them to Mankind ; whom at the fame time they infpire with thofe Cceleftial flames, which fhine fo glorioufly in their Works. From Heaven they

B 2 take

4 The Art of Tainting.

take their f ilage through the ^orld 3 and are nei- er fp- ring of their pains nor or their ftudy to

ij. collect; whatfoever they find worthy of them. * They dive (as I may fay) into all pail: Ages 3 and fearch their Hiftories, for Subjects which are proper for their life : with care avoiding to treat of any but thofe which, by their noblenefe, or by fome remarkable accident, have deferVd to be confecrated to Eternity ; whether on the Seas, or

20. Earth, or in the Heavens. And by this their care and ftudy it comes to pafs, that the glory of Heroes is not- extinguiflid wkhiheir lives: and that thofe admirable works, thofe prodigies of skill, which even yet are the objects of our ad- miration , are ftill preferv'd. * So mudi thefe Di- vine Arts have been always honoured : and foch

2 5. authority they preferve amongft Mankind It

will not here be neceffary to implore the fuccour of JfoIIo, and the Mufes : for the gracefulnefs of the Difcourfe, or for the Cadence of the Verfes : which containing only Precepts , have not fo much need of Ornament, as of Perfpicuity.

3 o. I pretend not in this Treat ife to tye the hands

of Artifts, whofe skill confifts only in a certain practice, or manner which they have affected -7 and made of it as it were a Common Road. Neither wou'd I ftifle the Genius by a jumbled

heap

De Arte Graphics 5

Carpentes qu<z digna fuiy reVohtaque luflrant r-

Tempora. Qu&rm&is confortibus Arguments?*-

Denique qu&cumque in coilo, terraque, mart que

Longius in tempus durare, ut pulchra, merentur,

TSLobilitate Jua claroque infignia ca/u,

Diyes <sr ampla manet <P iff ores at que Poet as 2 oi

Materies, inde alta/onant per fttcula mundo

Nomina, magnnhimis Heroibus inde juperfles-

Gloria, perpetmque operant miracula rejtant:

Tantus ineft divis Ixmor Aritbus at que poteflm,- \

7s[on mihi (Pieridum chorus hie, nee Apollo "Vocandus, 2 jv

Ma jus ut eloquium numeris out gratia fandi Dogmaticis illuflret opus raUonibus horrens : Cum nitida lantum & focili digeflo loquela, Ornari prcecepta negent $ amtenta docer'u

Nee mihi mens animufve fuit conflringere nodos 30;

Artificum manibus, quos tantum dirigit ufus 5 hidolis ut Vigor inde potens obflriclus hebefcaty

Nor-

De Arte Graphica;

Normarum numero immani Geniumque moretur :

Sed rerurn ut pollens Ars cognitione gradatim 3 5 • Natura fefe infinuet, Verique capacem

Tranfeat in Geniutn, Geniufque ufu induat Arum,

FrimumPre- ^rdidpua imprimis Artifque potiffima pars ejl7 Oc Pulchro. Nojfe quid in rebus Natura crearit ad Artem

Tulchrius, idque Modum juxta, Mentemque Vetujlamy

40. Qua fine barlaries c<eca <sr temeraria Pulchrum Negligit, infultans ignota audacior Artiy Ut curare nequity qu& non modo noVerit ejfe, lUudapud Veteresfuity unde notabile di£lum> Nil Pi&ore malo fecurius atque Poeta.

Cognita

Ihe Art of fainting. 7

heap of Rules : , nor extinguish the fire of a vein which is lively and abundant. But rather to make this my bufinefs, that Art being ftrength- ned by the knowledge of things, may at length pafs into Nature by (low degrees -y and fo in pro- 2 j* cefs of time may be fublim'd into a pure Genius which is capable of choofing judicioufly what is true ; and of diftinguifhing betwixt the beauties of Nature, and that which is low and mean in her 5 and that this Original Genius by long exer- cife and cuftoms, may perfectly poflefs all the Rules and Secrets of that Art.

* The principal and mod important part o[ */£%&£ Painting, is to find out and thoroughly to un- Beautifull* derftand what Nature has made raoft beautifull, and moft proper to this Art ; * and that a choice of it may be made according to the guft and manner of the Ancients, * without which all is 40* nothing but a blind, and rafli barbarity 5 which rejects what is moft beautifull, and feems with an audacious infolence to defpife an Art, of which it is wholly ignorant ; which has occafion d thefe words of the Ancients : That no man is fo bold% foraJhy and fo overweening of bis own works, as an ill Tainter, and a bad ^oet^ who are not confeious to themfehes of their own Ignorance»

* Wc

8 The Art of Yainting.

45». *We love what we underftand} we defire

what we love ; we purlue the enjoyment of thofe things which we defire 5 and arrive at lad to the pofieiTIon of what we have purfud, if we con- ftantly perfift in our Defign. In the mean time, we ought not to expect that blind Fortune fhou'd infallibly throw into our hands thofe Beauties; For though we may light by chance on fome which are true and natural, yet they may prove either not to be decent or not to be ornamental.

50, Becaufe it is not fufficient to imitate Nature in every circumftance, dully, and as it were literally, and meanly 5 but k becomes a Painter to take what is moft beautifull, * as being the Soveraigti Judge of his own Artj and that by the progrefs which he has made, he may underftand how to correct his errours, and * permit no tranfient Beauties to efcape his obfervation.

**• * In the fame manner, that bare practice, de-

w/Sv*.ftitute of the Lights of Art, is always fubject to

fall into a precipice like a blind Traveller, with-

5 5 . out being able to produce any thing which con- tributes to a folid reputation : So the fpeculative part of Painting, without the afliftancc of manual operation , can never attain to that perfection which is its object : But floathfully languifhes as in a Prifon : for it was not with his Tongue that

De Arte Graphica. $

Cognita amas, <&* amata cupis, fequerifque capita ; 45, Vajjibus affequeris tandem out ferVtdus urges ; Ilia tamen qua pulchra decent 5 non omnia cajus Qualiacumque dabunt, etiamVe ftmillima "Verts : Nam quamcumque modo ferVtU haudfufficit ipfam ISlaturam exprimere ad viVum, fed ut Arbiter Artis j o, Seliget ex ilia tantum pulcherrima Ticlor. Quodque minus pulchrum, aut mendofum corriget ipfe Marte fuo, format Veneres captando fugaces.

II. Praecep- tum.

Utque manusgrandi nil nomine praBica dignum Sw&PrlS" JJfequitur, purum arcana quam deficit Artis cc.

Lumen, & in praceps abitura ut caca Vagatur ; Sic nihil Ars opera manuum privata fupremum Exequitur, fed languet iners uti YmEla lacertos j Difpofitumque typum non lingua pinxk Apelles.

C Ergo

io De Arte Graphica.

60. Ergo licet tot a normam baud poffimm in Arte

(ponere, (cum nequeant qu£ junt pulcherrima diet) TSlitimur h&c paucis, Jcrutati fumma magijir^e Dogmata Nature, Artilque Exemplar 1 a prima Jit tits intuiti $ Jtc mens habilifquef acuta*

6 5 . Indolis excolitur, Geniumque Jcientta complete

Luxurianjcjue in monftra furor eompefcitur Arte : Eft modus in rebus, funt certi denique fines, Quos ultra citraque nequit confiftere re&urru

III. Prscep- tum.

DeArgu- His pofitis, er'tt optandum Thema nobile7 pulcbmm> Quodcjue Venuftatum circa Formam atque Colorem Sponte capax amplam emeriti mox pr&beat Arti Materiam, retegens alijuidfalis & documenti.

Tandem

mento. 70.

7be Art of fainting. 1 1

ApeUzs perform'd his Noble Works. Therefore 60. chough there are many things in Painting, of which no precife rales are to be given ( * becaufe the greateft Beauties cannot always be exprefs'd for want of terms) yet I fhall not omit to give fome Precepts which I have ielecitu from among the mod confiderable which we have receiv'd from Nature, that exact School-miilrefs, after ha- ving examin d her moft fecret receffes, as well as * thofe Mafter- pieces of Antiquity, which were the firft Examples of this Art ■ And, 'tis by this means that the mind, and the natural difpofition 65. are to be cultivated $ and that Science perfects Genius, * and alfo moderates that fury of the fancy, which cannot contain it felf within the bounds of Reafon 5 but often carries a man into dangerous extremes : For there is a mean in all things 3 and a certain meafure, wherein the good and the beautifull conjijl -y and out of which they never can depart.

This being premised, the next thing is to make _ IIL. choice of * a Subject beautifull and noble ; the SxijeEi. which being of it felf capable of all the charms 70. and graces, that Colours, and the elegance of Defign can poffibly give, fhall afterwards afford, to a perfect and confummate Art, an ample field of matter wherein to expatiate ic felf $ to exert all

C 2 its

1 2 The Art of Fainting.

its power, and to produce fomewhat to the fight which is excellent , judicious, * and well fea- fon'd ; and at the fame time proper to inftruct, and to enlighten the Underftanding.

Thus at length I enter into the Subject-matter of my Difcourfe 5 and at firft find only a bare ftrain'd Canvafs : * on which the whole Machine (as it may be called ) of the Picture is to be dif- pos'd; and the imagination of a po werfull, and 7 j, eafy Genius 3 * which is what we properly call invention the Indention.

$£#!£/ * INVENTION is a kind of Mufc, which being poflefsd of the other advantages common to her Sifters ; and being warm'd by the fire of Apollo, is rais'd higher than the reft, and mines with a more glorious, and brighter flame. iv. * 'Tis the bufinefs of a Painter, in his choice

tion or olco- of Poftures, to forefee the effect, and harmony of Zhohmrk r^e ^§'lts anc^ Shadows, with the Colours which are to enter into the whole ; taking from each of g0# them, that which will moft conduce to the pro- duction of a beautifull Effect, v. * Let your Compofitions be conformable to

'tiefs of the" tne Text of Ancient Authours, toCuftoms, and Snbje^ to XimeS4

*Take

De Arte Graphica.

*3

Tande?n opus aggredior, primoque occurrit in Alba Difponenda typi concept a pot ente Miners a Macbina, qudt nojlris Inventio dicitur oris.

7J<

Ilia quidem prim ingenuis inJlruBa Sororum Artibus Aonidumy <& Whxbi fublimior oeftu.

INVEN- TIO prima Pictu- re pars*

IV.

Difpofitio,fr

Qu&rendafque inter Pofituras, tuminisy umbr<zy tius Oecono- Atque futurorum jam pr&f entire colorum m**

*Par erit barmoniam> captando ab utrifque Venuftum. 8 o*

Sit Thematis genuina ac "Viva expreffio juxta

v.

Textum Antiquorumy propriis cum tempore formis, gumenti.

Nee

14 De Arte Graphica.

, VI- .. . Nee quod inane, nihil facit ad rem, /he Yidetur

Inane rejici- l . . , J J J

endum. hnproprtwn, minimis que urgens-, potior a tenehit °5- Ornament a operis $ Tragic^ fed lege for or is

Summa ubi res agitur, Vis fumma requiritur Artis*

IJra labor e graYi, ftudio, monitifque Magiftri Arduapars nequit addifci rariffima: namque 2N5 prim Mhereo rapuit quod ab axe Prometheus $>o. Sit jubar infufum menti cum famine Yit<zy

Mortali hand cuiYvs divina hoec munera dantur, Nonuti Daedaleam licet omnibus ire Corinthum.

Agypto informis quondam ViElura reperta, Gr decorum ftudiis & mentis acumine creYit: o* Egregiis tandem illuflrata &* adult a Magijlris Naturam Yfa eft miro fuperare labore.

Quos inter Graphidos gymnafia prima fui>rey tortus Atbenarum, Sicyony Gfyodos, atque Corintlw, Difparia inter Jey modicum ratione Laboris,

Ut

The Art of Fainting. 15

* Take care that whatfoever makes nothing . y,L

t? Whatfoever

to your Subject, and is improper to it, be not fails the Sub admitted into your Work, or not poflTefs thej^/J. e tc~ chief place in it. But on this occafion , imi- 85. tate the Sifter of Painting, Tragedy : which em- ploys the whole forces of her Art in the main Action.

* This part of Painting, fo rarely met with, and fo difficult to be found, is neither to be ac- quired by pains or fludy, nor by che Precepts or Counfels of any Mafter. For they alone who have been infpir'd at their birth with fome por- tion of that Heavenly fire * which was ftollen q0. by Prometheus, are capable of receiving fo divine

a prefent. As the Proverb tells us, * that it bap- pens not to every one to fee Corinth.

Painting firft appear'd in Egypt: but wholly different from the truth, till having travelled into Greece y and being cultivated by the Study, and fublime Genius of that Nation, * it arriv'd at 95- length to that height of perfection, that it feemU to furpafs even Original nature.

Amongft the Academies, which were com- posed by the rare Genius of thofe Great men, thefe four are reckon d as the principal : namely, the Athenian School, that of Sicyon, that of<%hodesy and that of Corinth Thefe were little different

from

1 6 The Art of Tainting.

from each other, onely in the manner of their i oo, work; as it may be feen by the Ancient Sta- tues, which are the <I(ule of Beauty, and to which fucceeding Ages have nothing that is equal : * Though they are not very much inferiour either in Science, or in the manner of their Exe- cution. Dejg^'the * A Pofture therefore muft be chofen accor- fecondfan of ding to their gufto : * The Parts of it muft be great * and large, * unequal in their pofition, f o that thofe which are before muft contraft ( or 10 5» oppofe) thofe others which are hindermoft, and all of them be equally balanced on their Centre. * The Parts muft have their out-lines in waves refembling flames, or the gliding of a Snake up- on the ground: They muft be fmooth, they muft be great, they muft be almoft imperceptible to the touch, and even, without either Eminen- 1 1 o. ces or Cavities. They muft be drawn from far, and without breaks, to avoid the multiplicity of lines. Let the Mufcles be well inferted and bound together * according to the knowledge of them which is given us by Anatomy. Let them be * defign d after the manner of the Grecians : and let them appear but little, according to what we fee in the Ancient Figures. In fine, * let there be a perfect relation betwixt the parts and

the

De Arte Oraphica. 1 7

100.

Ut patetex Veterumflatuis, form* atcjue decor Is Archetypis, queis pojierior nil protulit At as Condignum, O* non inferius longe Arte, Modoque : graphis

Horum igitur Vera ad normam Pofitura legetur, feu Pofitura, Grandia, inaqualis, formofaque Wartibus amplis &uvx pars. Anterior a dabit membra, in contraria motu 1 05.

DiVer/o Variata, /no liberataque centro:

Membrorumqm Sinus ignis flammantis ad inflar Serpenti undantes flexu, fed Uvia plana Magnaque Jigna, quafijine tnbere fubdita tatlu Ex longo dedutla fluant, non fetla minutim, 1 1 0.

Infertifque Torts Jtnt not a ligamina juxta Compagem Anathomes, & membrificatio Gr&co Deformata Modo, paucifque exprejfa lacertis, Qualis apud Veteres ; totoque Eurithmia partes

D Componat,

1 8 De Arte Graphica.

i i 5 . Componaty genitumque fuo generante Jequenti

Sit minus, <& punHoYuleantur cuntlajub mo $ ^cgula co'ta licet nequeant (Projpccltca did, Jut complementum Graphidos $ Jed in arte juVamem Et Modus accelerant operandi : nt corpora falfo

120. Sub rifu m multis referens mendofa labafcit: Nam Geometralem nunquam funt corpora juxta- Mejifuram depiEla oculis, Jed qualia Ytja.

VIIL Non eadem form* fpecies, non omnibus <etas>

Varietas- in r . T. r .,./- 'i f •..

Eiguris. /Equate, Jimilijque color, crinejque nguris ::

1.25

Nam Variis velut art a plagis Gens difpareVultu.

Figiafituna Singula membra fuo capiti conformia Jtant cum Mem- Unum idemque fimul corpus cum "Vejlibus ipjts : bus. !" Mutorumque Jilens Vojitura imitabitur alius.

Mutorum a- ftiones imi* tandae. XL

Figura Pnn- <pnma Figurarum, Jeu (Princeps Dramatis ultro j T0. Trojiliat media in Tabula Jub lumine prima

iPulcbrior ante alias , nHqmnec operta Figuris.

Jgglo-

The Art of Painting. 1 ^

the whole, that they may be entirely of a piece.

Let the part which produces another part, be i i'j. more ftrong than that which it produces j and let the whole be feen by one point of Sight. •* Though Perfpedtive cannot be call'd a certain rule or a finifliing of the Picture, yet it is a great Succour and Relief to Art,and facilitates the means of Execution ; yet frequently falling into Errors, 1 1 o. and making us behold things under a falfe Afpect ; for Bodies are not always reprefented according to the Geometrical Plane, but fuch as they ap- pear to the Sight.

Neither the Shape of Faces, nor the Age, nor ym, the Colour ought to be alike, in all Figures, any Variety in the more than the Hair : becaufe Men are as different , 2 1 from each other, as the Regions in which they are born, are different,

* Let every Member be made for its own jx. head, and agree with it. And let all together w Draper? compofe but one Body, with the Draperies which fj^lbeful are proper and fuitable to it. And above A\y table tojt. * let the Figures to which Art cannot give a voice, rke Anions imitate the Mutes in their Actions. °f —?TS°

v . r be imitated.

* Let the principal Figure of the Subject ap- \ 30. pear in the middle of the Piece under the ftrong- xi. «ft Light, that it may have fomewhat to make pj FiglrT'of k more remarkable than the reft, and that the Fi- theSfibi^

D 2 gures

20 The Art of Painting.

gures which accompany it, may not fleal it from

our Sight.

xir. *Let the Members be combin'd in the fame

figures! manner as the Figures are, that is to fay, coupled

and knit together. And let the Grouppes be fe-

parated by a void fpace , to avoid a confus'd

heap } which proceeding from parts that are dif-

i-jj. pers'd without any Regularity, and entangled

one within another, divides the Sight into many

Rays, and caufes a difagreeable Confufion.

xiii. * The Figures in the Grouppes, ought not to

cfPoftura?»^ D^e eacn other in their Motions, any more

the Grotippes.than in their Parts : nor to be all on the fame fide,

1 40. DUC let them contraft each other : bearing them-

felves on the one fide, in Oppofition to thofe which

are fet againft them on the other.

Amongftmany Figures which fliow their fore- parts let there be fome one whofe hinder parts may be feen ; oppofing the Shoulders to the Stomach, and the right fide to the left. 145. * One fide of the Picture muft not be void,

Equllty 0/wn^e ^e other is fill'd to the Borders 3 but let the ^ece. matters be fo well difpos'd, that if one fide of the Piece be full, the Painter (hall find fome oc- 150. cafion to fill the other j fo that they (hall appear in fome lort equal whether there be many Figures in it, or. but few..

* As

De Arte Graphics.

21

Agglomeratajimul Jtnt membra, ipfaqne Figure Stipentur, circumque globos locus ufque Vacabit ; 2\fr, male difperfis dum Yijus ubique Figuris DiViditur, cm ft if que operis ferVente tumultu tpartibus implicit is crepitans confufio furgaU

xn.

Figurarurrv Globi leu Cu- muli.

J J-

Inane figurarum cumulis non omnibus idem Corporis inflexus, motufque, Vel artibus omnes Conner fis pariter non connitantar eodem, Sed qu&dam in diVerfa trahant contraria membra Tranfvers'eque alii s pungent , <& cetera franganU

(pluribus adverfs aVerfam oppone figuram, tPeftoribufque humeros, & dexter a membra Jinijlris, Seu multis conjlabit Opus, paucifpe figuris.

Altera pars tabula "Vacuo ne frigida Campo Aut defertajiet, dumpluribus altera formis FerVida molefua fupremamexurgit ad or am: Sed tibi fie pojttis refpondeat utraque rebus, Mt Ji aliquid furfum fe parte attollat in una. Sic aliquid parte ex alia confurgat, & ambas dsquiparet, geminas cumulando aqualiter orai.

fluribus

XIII.

Pofiturorum diAerfitas in

cumulis,

140.

14J.

XIV.

Tabulaelibra- mentum.

t J a.

22 Be Arte Graphica.

xv. (pluribus Implicitum (P er fonts Drama fupremo

eur«um! *• $n gmere ut r^t4?n eft ; multis ha denfa Figuris (J(anor eft Tabula excellens $ Ve/ adbucfere nulla 555. (Prazftitk inmultis quod vix bene pr^ftat in una :

Quippe foiet rerum nhnio differ fa tumultu Majeftate car ere graYi requieque decora; Nee fpeciofa nitet Vacuo nift libera Qampo.

SedliOpere in magno plures Tbemagrande requirat 160. Effe figurarum Cumulos, fpetlabitur tin}

Macbina tota ret, non Jingula qu<eque feorftm,

XVI.

Internodia &

g?d<* exhi- (Prxcipua extremis raro Internodia membris

XVII. Jbditafnt: fed fumma Tedum Veftigia nunquam. Motusmanu- ummotui ca- pitis jungen- Gratia nulla manet, motufquc. Vigor que Figure

6* Qfytro aliisfubter majori ex parte latentes, xvill. 2N5 capitis motum manibus comitentur agendo* mDiftriS 9$M* fagito afpetlus, contrtttaque Vifu one & com- Membra fub ingrAtoy motufquey atlufque coacJos, 9°Clt*>™° Quodqut

The Art of Painting. 23.

* As a Play is very feldom good, in which there ^, ? v-

in ■> »• flJ r Of the mm-

are too many Actors, io tis very ieldom ieen and her of fi- almoft impoffible to perform,that a Picture fhould^m' be perfect in which there are too great a number of Figures. And we cannot wonder that fo few Painters have fucceeded who have introduc'd into i c*,. their works many Figures. Becaufe indeed there are not many Painters to be found, who have fucceeded happily, when even they have intro- duced but few. Many difpers'd Objects breed confufion, and take away from the Picture that grave Majefty, that foft filence and repofe, which give beauty to the Piece, and fatisfaction to the fight. But if you are conftrained by the fubject, to admit of many Figures, you muft then 1 60, conceive the whole together $ and the effect of the work at one view ; and not every thing fepa- rately and in particular. xvi.

* The extremities of the Joints muft be feldom °ltil°!m hidden, and the extremities or end of the Feet ne- (-XVI.I# *

The motions of Ver . the hands and

*The Figures which are behind others, hurt %,£""** neither Grace nor Vigor, unlefs the Motions of i6j. the hands accompany thofe of the Head.

Avoid the views which are difficult to be found, ^VIIIv and are not natural, as alfo forc'd Actions and avoidedinthe Motions. Show no parts which arc ungracious ^ftlt&iwresi

to

24- The Art of Painting.

to the Sight, as all fore (Lortnings, ufually are.

* Avoid alfo thofe Lines and Out- lines which are equal 3 which make Parallels, or other fliarp \yo. pointed and Geometrical Figures; fuch as are Squares and Triangles ; all which by being too exact give to the Eye a certain difpleafing Sym- metry, which produces no good effect. But as I have already told you, the principal Lines ought to contrail each other : For which reafon in thefe out-lines, you ought to have a fpecial regard 17 j. to the whole together: for 'tis from thence that

the Beauty and Force of the parts proceed* xix. * Be not fo ftrictly ty'd to Nature, that you not Shallow nothing to ftudy, and the bent of your fehes to No- own Qen'tU/St But on the other fide, believe not

ttere, but ac- '

xommodate that your Genius alone, and the Remembrance JtJ.°0Ur e of thofe things which you have fecn, can afford you where withall to furnifli out a beautifull Piece, without the Succour of that incomparable School- miftrefs, Nature ; * whom you muft have al- 1 80. ways prefent as a witnefs to the Truth. We may make a thoufand Errors of all kinds 5 they are every- where to be found, and as thick fet as Trees in Forefts, and amongft many ways which miflead a Traveller, there is but one true one which conduits him furely to his Journey's end ;

as

De Arte Graphics z i

Quodque refert [ignis, reSlos quodammodo tratlus,

SiVe Tarallelos plures fimul, Zsr Ve/ acutas,

Vel Geometrales (ut Quadra, Triangula,) forma* : ijo.

Ingratamque pari Signorum ex or dim quandam

Symmetriam : fed praecipua in contraria femper

Signa Volunt duci tranfverfa, ut diximus ante,

Summa igitur ratio Signorum habeatur in omni

Compofito^ dat enim reliquis pretium, atque Vigor em. 175.

Non it a nature aftanti fis cuique reYmftus, Xlx.

Hanc prater nihil ut Genio Jludioque relinqute 3 accommo- °

Nee fine tejie rei natura, Artifque Magijira ^-n^'

Quidlibet ingenio memor ut tantummodo rerum tpingere poffe putes 5 errorum eft plurima fylva, 1 80.

Mukiplicejque Yi<e, bene agendi terminus unus, Linea retlaVelut fola eft, <&* millerecurV<ez

Sed juxta Antiquos naturam imitabere pulchram, Qualem forma rei propria, objetlumque requirit.

E TSlon

%6 De Arte Graphics

185. Now te igitur lateant antiqua TSlumifmata, Gemmae, xx. Vafa, Typu Status, calatdcme Marmora Swiis 1

Signa Anti- *J I J r \ f . Tr l a r i is

qua Nature Quodque refert jpecie veterum pojt JACUla Mentem y ffituuntC°n" Splencvdi°r quippe ex litis affurgit imago,

Magaaque fe rerum fades aperit ?nedtfanti ; / l ^o. Tunc noftri tennemj&cli ymferebere fortem,

Cum /pes nulla fiet reditura &qua\u in &Vum~

xxi. Exquifita fiet forma dum fola Figura

quomodotia- ^ingitur, 0* multis Varlata Coloribus eflo. ctanda.

Lati amplique finus tpannorum, & nobilis or do 195. Membra fequens, fubter latitantia Lumine & Umbra QufcHnP Exprimet, ilk licet tranfverfus ftye feratur, nis obfervan- Et circumfujos Tarinorwm porrigat extra

Membra finus, non contiguos, ipfijque Figure (Partibus imprejfos, quafi Tannics adhdreat Mis 5 20 a. Sed modice exprejfos cum Lumine ferret Cr Umbris t

Qudque

The Art of Fainting. g 7

as alfo there are many feveral forts of crooked lines 5 but there is one only which is ftraight.

Our bufinefs is to imitate the Beauties of Na- ture, as the Ancients have done before us, and as 185. the Object and Nature of the thing require from A ?*■ r-

/ Ox Ancient Ft-

us. And for this reafon we muft be carefull mgpwtbnmfu the fearch of Ancient Medals, Statues, Vafes and nJhyI** Bafjo d^elieVo's : * And of all other things which difeover to us the Thoughts and Inventions of the Grecians ; becaufe they furnifh us with great I- deas, and make our Productions wholly beautiful!. 1 90. And in truth after having well examin'd them, we fihall therein find fo many Charms, that we fhall pity the Deftiny of our prefent Age without hope of ever arriving at fo high a point of Perfe- ction.

* If you have but one fingle Figure to work xxi. upon, you ought to make it perfectly finifh'd gurl^kw u and diverfify'd with many Colours. he treated-

* Let the Draperies be nobly fpread upon the xxn. Body j let the Folds be large, * and let them U£%& Dr*~ low die order of the parts9 that they may be feen 105. underneath, by means of the Lights and Shadows, notwiihftanding that the parts fhould be often travers'd (or crofs'd) by the flowing of the Folds

which loofdy incompafs them, * without fitting too ftraight upon them, but let them mark the 200.

E 2 pairs

28 the Art of Tainting.

parts which are under them, fo as in fome man- ner to diftinguifli them, by the judicious ordering of the Lights and Shadows. * And if the parts be too much diftant from each other, fo that there be void fpaces, which are deeply fhadow'd,. we are then to take occafion to place in thofe voids fome Fold to make a joining of the parts.

* And as the Beauty of the Limbs confifts not in the quantity and rifingof theMufcles, but on the contrary, thofe which are lefs eminent have more

205. ofMajefty than the others^ in the fame manner the beauty of the Draperies, confifts not in the multitude of the folds, but in their natural or- der, and plain fimplicity. The quality of the perfons is alfo to be confider'd in the Drapery.

* As fuppofing them to be Magiftrates, their Dra- peries ought to be large and ample : Jf Country Clowns or Slaves they ought to be courfe and fliort : * If Ladies or Damfels, light and fofr, 'Tis fometimes requifite to draw out, as it were from the hollows and deep ftiadows, fome Fold, and give it a Swelling, that receiving the Light, it may contribute to extend the clearnefs to thofe places where the Body cequires it; and by this means we fhall disburthen the piece of thofe hard Shadowings which are always urgracefull.

^The

210.

De Arte Graphics 25

Qudque intermiffis paffimfunt dijfita Vanis Copulet, induBis fubterVe, fuperVe lacernis. Et membra- ut magnis paucifque exprejfa lacertis.

Majeflate aliis praflant forma at que decor e 5

Maud fecus in Iannis quos jupra optaYimus amplos 205,

tperpaucos Jinuumflexus, rugafque, ftriafque.

Membra Juper "Verfu faciles inducer e pr aflat.

TSlaturaque ret proprius jit ^ annus ^ abundans

(Patricias, fuccinclus er'it crafjufque Bubulcis

Mancipiifque ; leYis, teneris, gracilifque Puetlis, 21a-

Inque caYis maculifque umbrarum aliquando tumefcet Lumen ut excipiens operls quk Majfa requirit Latins extendat, fublatifque aggreget umhris.

Tiobilia

go De Arte Graphica.

215. Nobilia JnnajuVant Yirtutum, ornantque Figurai, cv!nl'l Qualia Mufarum, (Bcllii Cultufqae Veorum: turn conferat TSLecjit opus nimilim Gemmis Jurcque rcfertum j namentum.1" %<w& etenim magno in pretio, fed plttrima Ytli.

V V T \T

XXIV.

Ornamen- tum Auri & Gemmarum.

Prototypus. QQ* deinde ex Vero nequeunt pr<ejente Videri, 220. tprototypum prim illorum fonnare juVabit.

xxvi. ConVeniat locus atque habitus, ritufque decujque ?°Z?[7umSermuri fu NobiUtas, Charitumque Vemftas, s"na- (J^arum homim munus, Ccelo, non Arte pet endum.)

Charites & Nobilitas.

X X V I PI.

Res qusque Naturafit ubique tenor ratioque jequenda.

locum fuum TSloH

teneat.

The Art of fainting** gi

* The Marks or Enfigns of Vermes contribute 2 1 j. not little by their noblenefs to the Ornament of ;FXX hl ^ the Figures. Such, for example as are the Deco- contribute to rations belonging to the Liberal Jrtsy to War or *

'51 5

ctr:re.

Sacrifices. * But let not the work be too mu<:h £xlv.m enrich' d with Gold or Jewels, bccauie the rareit Stones and are ever the deareft and moft precious 5 and thofe nm*J*r which ferve only to increafe the number, are of the common fort, and of little value.

* 'Tis very expedient to make a Model of xxv. thofe things, which we have not in our Sight, and 7 whofe Nature is difficult to be retain d in the Me- 220. mory.

* We are to confider the places, where we XXVL

i r r 1 *V i 1 ■*"* Scene of-

lay the icene of the Picture; the Countries where the mure. they were born whom we reprefent ; the manner of their Actions, their Laws and Cuftoms., and all that is properly belonging to them.

* Let a noblenefs and grace be remarkable XXY,II# through all your work. But to confefs the truth, and the No- this is a moft difficult undertaking ^ and a very *ienefSi rare Prefent which the Artift receives rather from

the hand of Heaven, than from his own Induftry and Studies.

In all things you are to follow the order of xxvirr. Nature, for which reafon you muft beware of thing be fei in drawing or painting Clouds, Winds and Thun- "fiaJ™ per

der

3 2 The Art of Painting.

22 5. der towards the bottom of your Piece j and Hell, and Waters, in the uppermoft parts of it : You are not to place a Stone Column on a foundation of Wood ; but let every thing be fet in its proper place. 2 j o. Befides all this, you are to exprefs the moti-

xxix. ons of the Spirits, and the affections or Paffions ons. whofe Center is the Heart : In a word to make

the Soul vifible, by the means of fome few Co- lours; *this is that in which the greateft difficulty confifts. Few there are whom Jupiter regards with a favourable eye in this Undertaking. So that it appertains only to thofe few, who parti- 2 7 c. cipate fomewhat of Divinity it felf, to work thefe mighty Wonders. 'Tis the bufinefs of <I(J>etori- ciansj to treat the characters of the Pa/fions : and I mail content my felf with repeating what an excellent Mafter has formerly faid on this Subject, That the Jiudied motions of the Sow/, are never fo na- tural as thofe, which are as it were firuck out of it on the fudden by the heat and Violence of a real Tajfion. 240. We are to have no manner of relifli for Go-

xxx. thique Ornaments, as being in effect fo many mmentf Ire Monfters, which barbarous Ages have produced : ■° he avoided- during which, when Difcord and Ambition caus'd by the too large extent of the Q{oman Empire, had produe'd Wars, Plagues and Famine through the

World,

De Arte Graphica. 3 3

Non Vtcina pedum tahulata excel fa tonantis 225.

JJtra domus depitla gerent nubefque notofque ; Nee ?nare deprejfum Laquearia fumma Vel orcum $ Marmoreamque feret cannis yoga pergula molem : Congrua fed propria Jemper ftatione tocentur*

f£ec prater motus animorum & corde repoftos 230.

Expri?nere Jjfeclus, paucifque coloribus ipfam Affe&us*"

tPingere pojfe animam, atque oculis prabere Yidendam, Hoc opus, hie labor eft : pauci quos aequus amavit Juppiter, aut ardens evexic ad aethera virtus : Vis fimiles potuere manu miracula tanta. 235.

Hos ego G(hetoribus tratlandos defero tantum Egregii antiquum memorabo Jopbifma Magiftri, Verius affe&us animi vigor exprimit ardens, Sollicici nimium quam fedula cura laboris.

Denique nil fapiat Gottborum bar bar a trito 240.

Ornament a modo* factor um &? monflra malorum ; ~X5£X#

A • " '»• 1 i\ i r n r v r Gotthorum

Quel* ubt bella, famem <& peftem, J)ijcordiay Luxusy omamenta Et %omanorum resgrandior intulit Qrbi> usien a'

F Ingenue

34 De Arte Graphica.

Ingenud periere Artes^ per ten fuperba 245. Art tficum moles j fua tuncmiracnlaYidit Ignibus abfumi fpiHura, fatere coatla Fornicibus, fort em ^ reliquam conjutere Cryptis, Marmoribufque diuSctdpturajacere fepultis.

hiperium interea feeler um gray it ate fatifcens 250. Horrida nox totum iiiVafitj donoque fuperni Luminis indignum> errorum caligine merfit, Impiaque ignaris damnaVtt jacla tenebris:

Unde Color atum Gratis hue ufque Magi/Iris TSltl fupereft tantorum Hominum quod Mente Modoque 255. TSlojlrates juVet Artifices, doceatque Labor em 5 c**ROMA- 2s[ec qui Chromatices nobis hoc tempore partes Tertia pars <I(eftituat, quales Zeuxis tratlaVerat olim. *iaur*' Hujus

The Art of Painting. 35

World, then I fay, the ftately Buildings fell to Ruin, and the noblenefs of all beautifull Arts was totally extinguish' d 3 then it was that the admi- 245. rable and almoft fupernatural Works of (Painting were made Fuel for the Fire : But that this won- derfull Art might not wholly perifh, * fome Re- liques of it took Sanctuary under ground, and thereby efcap'd the common Deftiny. And in the fame profane age, the noble Sculpture was for a long time buried under the fame Ruines, wich all its beautifull Productions and admirable Sta- tues. The Empire in the mean time under the weight of its proper Crimes and undeferving to enjoy the day, was invelop'd with a hideous night, 250. which plung'd it into an Abyfs of errors, and co- ver'd with a thick darknefs of Ignorance thofe unhappy Ages, in juft revenge of their Impieties : From hence it comes to pafs, that the works of thofe great Grecians are wanting to us 5 nothing of their Painting and Colouring now remains to affift our modern Artifts, either in the Invention, 255. or the manner of thofe Ancients^ neither is there any man who is able to reftore *the CHRO.^*^f MATIQUE part or COLOURING, or ^4 to renew it to that point of excellency to which it had been carry' d by Zeuxis : who by this part which is fo charming, fo magical, and which fo

F 2 admi-

3$ The Art of Fainting.

admirably deceives the fight, made himfelf equal 160. to the great ApeHes, that Prince of Painters -, and deferv'd that height of reputation which he ftill poflefles in the World.

And as this part which we may call the Soul of Painting and its utmoft perfection, is a deceiv- ing Beauty, but withal foothing and pleafing: So fhe has been accused of procuring Lovers for * her Sifter, and artfully ingaging us to admire her. But fo little have this Proftitution, thefe falfe Colours, and this Deceit, diflhonour'd Paint- ><$5. ing, that on the contrary, they have only ferv'd to fet forth her Praife, and to make her merit far- ther known, and therefore it will be profitable to us, to have a more clear underftanding of what we call Colouring.

* The light produces all kinds of Colours, and the Shadow gives us none. The more a Body- is nearer to the Eyes, and the more directly it is oppos'd to them, the more it is enlightn d. Be- caufe the Light languiflies and leffens the farther it removes from its proper Sourfe.

The nearer the Object is to the Eyes, and the more directly it is oppos'd to them, the better it is feen, becaufethe Sight is weaken d bydiftance*

'Tis

De Arte Graphics. 37

Hujus quando magk Vehtt Arte aquavit Apel/em

Titlorum Jrchigraphum meruitque Coloribus altam

TSlomtnis Menu famam toto or be fonantem. 260.

Hecquidem ut in Tabulis fallax fed grata Venujlasj

Et complementum Graphidos (mirabikVifu)

(pulchra Vocabatur, fedfubdola Lena Sororis:

'Hon tamen hoc lenocinium 5 fucufque, dolufque

Dedecori fu'tt unquam 5 illi fed femper honor iy 2 6 J *

Laudibus & mentis $ banc ergo nojfe juVabit.

Lux barium vivumque dabit, nullum Umbra Cohrem» Quo magis acberfumeft corpus lucifque propmqmmy Clarius eft Lumen ; nam debilitatur eundh

Quo magis eft corpus cKre&umoctdifque propinquumy *70* Confpicitur melius 5 nam vifus hebefcit eundo»

Ergo

38 *De Arte Graphica,

xxxi. Er<r0 in corporibus qua Vila adverfa rotundis

Tonorum *-* * J J

Luminum & Integra Jinty cxtrcma abfcedant perdita fignis ratiararUm Confufis, non prMipiti labentur in Umbram 275. Clara gradu0 nee adumbrata in clara alt a repente

(Prorumpant ; fed erit fenjim hinc atque hide meatus Lucis & Umbrarum 3 capitifque unius ad inftar Totum opus j ex multis quamquam fit partibus unus Luminis Umbrarumque globus tantuwmodo pet, % 80. SiVe duoVel tres ad fummum, ubigrandius effet VivifumTegma in partes Jlatione remotu.

Sintque it a difcreti inter fe ratione cohrum^ Luminis umbrarumque anteorfum ut corpora clara Obfcura umbrarum requies fpetlanda relinquat ; Claroque exiliant umbrata atque afpera Campo.

'

Ac

The Art of Painting. 39

'Tis therefore neceflary that round Bodies,which xxxi. are feen one over againft the other in a right An- ^Tctflf gle, flhould be of a lively and ftrong Colouring, Ljih* *»&

V ' J D D1 Shadows

and true the extremities turn, in lofing thern- felves infenlTbly and confufedly, without preci- pitating the Light all on the fudden into the Sha- dow 3 or the Shadow into the Light. But die paffage of one into the other muft be common and imperceptible, that is by degrees of Lights in- to Shadows and of Shadows into Lights. And it is in conformity to thefe Principles that you ought to treat a whole Grouppe of Figures, though it be compos'd of feveral parts, in the fame manner as you would do a fingle Head : or if your Com- 280. pofition requires, that you fhould have two Grouppes, or even three ( * which ought to be the moll) in your Piece, take heed that they may be detach'd, that is feparated or diftinguifh'd from each other by the Colours, the Lights and the Shadows, which are fo dextroufly to be manag'd, * that you may make the Bodies appear en- lightened by the Shadows which bound the fight $ which permit it not fuddenly to go farther 3 and which caufe it to repofe for fome fpace of time, and that reciprocally the Shadows may be made 2^J; fenfible by enlightning your ground.

The

^.o Tie Art of fainting.

The railing and roundnefs of a Body, ought to be given it* in the fame manner as we behold it in a Convex Mirrour, in which we view the Fi- gures and all other things, which bear out with

200. more Life and ftrengch than Nature it felf. * And let thofe which turn, be of broken Colours, as being left diftinguifh'd, and nearer to the borders. Thus the Painter and the Sculptor, are to work with one and the fame intention, and with one and the fame conduct. For what the Sculptor ilrikes off, and makes-round with his inftrument of Steel, the Painter performs with his Pencil; cafting behind, that which he makes lefs viiible

20 j . by the Diminution, and breaking of his Colours 5 and drawing forward by his moft lively Colours and ftrongeft Shadows, that which is directly op- posed to the Sight, as being more fenfible, and more diftinguifh'd, and at laft enriching the naked Canvafs, with fuch Colours as are borrow' d from

300. Nature $ in the midft of which he feems to fit; and from thence w^th one glance of an Eye and without removing his feat, he takes that part of her which fhereprefentstohis Sight , and turns as in a Machine about his work.

XXXIL When folid Bodies, fenfible to the feeling, and ^/^.^;dark, are placd on Light, and tranfparent zrwnds. * grounds, as for example, The Heavens, the

Clouds

De Arte Graphica. 4.1

AcVeluti infpeculis conVexis eminet ante Afperior reipfa "vigor O* vis autla colorum (partibus adverfis ; magis & fuga rupta retrorfum lllorum eft (ut vifa minus Vergentibus oris) Corporibus dabimus formas hoc more rotundas, iyo<

Mente Modoque igitur Tlaftes <6r <Pitlor eodem Difpojitum tratlabit opus 3 qua Sculptor in orbem Atterit, hcec rupto procul abfcedente colore Ajfecjuitur <PiElor, fugientiaque ilia retrorfnm Jamjignata minus confufa cohribus aufert : 195t

Anterior a quidem direBe adverfa, colore Integra, ViVaci, fummo cum Lumine & Umbra Antrorfum diftintla refert Velut afpera Vifu.

Sicqne fuper planum inducit Leucoma Colons.

Hos Velut ex ipfa natura immotus eodem 300.

Intuitu circum Statuas daret inde rotundas.

Denfa Figurarum folidis qua corpora for mis X{xxn.

Subditafunt tatlu non tranfluent, fed opaca fa0r&ropaca

In tranflucendi [patio ut fuper Air a, Nubes cemibusnflu"

G Lympida

4* 3°5

10.

De Arte Graphica.

Lympida jlagna Undarum, & inania cetera debent

Jfperiora illis prope circumflantibus ejfe,

lit dijiintla magisfirmo cum Lumine & Umbra,

Et graYioribus ut fujlenta coloribus, inter

Jereas /peats jubjtjlent femper opaca :

Sed contra procul abfcedant perlucida denfis

Corporibus leViora^ uti TSlubes, Aer&Undx.

xxxill. jy&m poterunt dberfa lock duo Lamina eadem:

Non duo ex fA . , • . ,. . .

Coelo Lumi- In labula paria admittt, aut dcpualia pingi : lam^qualk. Majus at in mediam Lumen cadet ujqt Tabellam 315. Latius infufum, primis qua fumma Figuris @{es agitur, circumque or as minuetur eundo : Utque in progrejfu Jubar attenuatur ab ortu Soils ad occafum paulatim, <& cejfat eundo ; Sic Tabulis Lumen, tot a in compage Color urn, 320. Wrimo a fonte, minus fenjtm dedinat eundo.

bfaiits.

The Art of Painting. ^

Clouds and Waters, and every other thing which 305. is in Motion, and void of different Objects, they ought to be more rough and more diftinguifh- able than that with which they are incompafs'd, that being ftrengthen'd by the Lights and Sha- dows, or by the more fenfible Colours, they may fubfift and preferve their Solidity amongft thofe aereal and tranfparent Species, and that on 310. the contrary thofe grounds which are, as we have faid, the Sky, the clouds and the Waters being clearer and more united, may be thrown off from the Sight to a farther diftance.

We are never to admit two equal Lights in the That there fame Picture ; but the greater Light muft ftrike for- Zf T^ud cibly on the middle \ and there extend its greateft Mghts in a clearnefs on thofe places of the Picture, where the \\«~m principal Figures of it are, and where the ftrength of the action is performed, diminishing by degrees as it comes nearer and nearer to the Borders; and after the fame manner that the Light of the Sun languiflies infenfibly in its fpreading from the Eafl, from whence it begins, towards the Weft where it decays and vanifhes ; fo the Light of the Picture being diftributed over all the Co- lours, will become lefs fenfible the farther it is re- 320. mov'd from its Original.

G i The

44 Tbe Art of Fainting.

The experience of this is evident in thofe Sta* tues which we fee fee up in the midft of Publique Places, whofe upper parts are more enlightened than the lower ; and therefore you are to imitate them in the diftribution of your Lights.

Avoid ftrong Shadows on the middle of the Limbs 5 lead the great quantity of black which compofes thofe Shadows, fhould feem to enter 325. into them and to cut them : Rather take care to place thofe fhadowings round about them, there- by to heighten the parts, and take fo advantage- ous Lights, that after great Lights, great Sha- dows may fucceed. And therefore Titian faid, with reafon that he knew no better rule for the diftribution of the Lights and fhadows, than his Obfervations drawn from a * 'Bunch of Grapes. 330. * Pure or unmix' d white either draws an ob-

/$££,? v* j ie& nearer, or carries it off to farther diftance :

Of White and' * • 1 1 1 1 • 1

Black. It draws it nearer with black, and throws it back- ward without it. * But as for pure black, there is nothing which brings the objecT: nearer to the Sight.

The light being altered by fome Colour, ne- ver fails to communicate fomewhat of that Co- lour to the Bodies on which it ftrikes, and the fame effect is performed by the Medium of Air, through which it paffes.

The

De Arte Graphica. 45

Majus ut in Statuis per compita Jlantibus Urbh Lumen habent partes fuper^ minus inferior es, Idem eritintabulis, major que nee umbra Vel ater Membra Figur arum intrabit Color atque fecabit :

Corpora Jed circum Umbra cay is latitabit oberrans : * % c ,

Atque ita queer etur Lux opportuna Figurisy

Ut late infufum Lumen lata Umbra fequatur :

Unde nee immeritb fertur Titianus ubique

Lucis &* Umbrarum Normam appellajfe Racemum.

Purum Album effe potejl propiufq, magtfy remotum : 330. Cum Nigro anteyenit propius, fugit abfque remotum j jjjj^J^ Turum autem Nigrtfm antrorfum Venit ufq-ypropinquum, grum.

Luxfucata fuo tingit mifcetque Colore Corpora, ficque fuo> per quern Lux fmditur, air.

Corpora

46 De Arte Graphica.

335. Corpora junBaJlmuly circumfufofque Color es

xxxv. Excipiu?it, propriumque atiis radioja refletJmt.

fle&io.

xxxyi. <Pluribu<$ in Sohdts hauida fub Luce propimmts

Unio Colo- ^ . f r 1 1 tf r 1

rum. (rarticipes,?mxtojque Jimul clecet ejje Lolores.

Hanc TSLormam Veneti TiBores rite /equuti,

3 4°* (Qutefuit Antiquis Corruptio diBa Colorum)

Cum plures opere in magno pofuere Figure,

iSle cojijunBafimul Variorum tnimica Colorum

Congeries Formam implicitam <&"* concifa minutis

Membra daret *Pannis, totam unamquamque Figurant

j 4 j. Affirii aut uno tantum "Vejiire Colore

Suntfoliti, "Variando Tonis tunicamque togamque

Carbafeofque Sinus, Vel amicum in Lumine & Umbra

Contiguis circum rebus fociando Color em.

XXXVII.

^mterpo- Qua minus ejlfpatii aerei, aut qua purior A'er, 3 J o. CunBa magis diflinBa patent, fpeciefque referVant ;

Qudque

The Art of Fainting. 47

The Bodies which are clofe together, receive 335. from each other that Colour which is oppofite to ^,xx JX- them ; and reflect on each other that which is na- of Colours. turally and properly their own.

'Tis alfo conionant to reafon, that the greater!: v^on ^ ^ part of thofe Bodies which are under a Light,which lours- is extended and diftnbuted equally through all, flhould participate of each others Colours. The Venetian School having a great regard for that Max- im (which the Ancients caird the (Breaking of Colours) 3 4°« in the quantity of Figures with which they fill their Pictures, have always endeavour'd the Union of Colours, for fear that being too different, they fhould come to incumber the Sight by their con- fufion with their quantity of Members feparated by their Folds, which are alio in great number $ and for this reafon they have painted their Dra- 3 4 J. peries with Colours that are nearly related to each other, and have fcarce diftinguiflh'd them any other way, than by the Diminution of the Lights and Shadows joining the contiguous Ob- jects by the Participation of their Colours, and thereby making a kind of Reconciliation or Friend - fliip betwixt the Lights and Shadows.

The lefs aereal fpace which there is betwixt us v^Q> and the Object, and the more pure the Air is, by fo xxxvn. much the more the Species are preferv'd and Ai-^imafJ^,

ftinguifli d 5

48 The Art of f } aiming.

ftinguifli'd 5 and on the contrary the more fpace of Air there is, and the lefs it is pure, fo much the more the Object is confus'd and embroyl'd. xxxviii. Thofe objects which are plac d foremoft to

The relation % . , « 11 /* • n > 1 1

ofDiftanccf. the view, ought always to be more nnilh d, than thofe which are caft behind 3 and ought to have dominion over thofe things which areconfus'd and tranfient. * But let this be done relatively, 3 5 5* 0*&) one thing greater and ftronger, calling the lefs behind and rendring it lefs fenfible by its op- pofition. xxxix. Thofe things which are removed to adiftant

Of Bodies . , V I ,

which are di- view, though they are many, yet ought to make fianced.\ but one y[^(s . as for example the Leaves on

the Trees, and the Billows in the Sea. 360. Let not ^ objects which ought to be conti-

cf Bodies guous be feparated, and let thofe which ought wkch are con- tQ be feparated be apparently fo to us ; but let thofe whkh this be done by a imall and pleating dirterence.

xlT.^ * Let two contrary extremities never touch Contrary ex- eacn otner either in Colour or in Light, but let

tremities to f > i • i i r i

be «voided, there always be a Medium partaking both of the

one and of the other.

XLJL Let the Bodies every-where be of different

TontsandCo. Tones and Colours ; that thofe which are behind

l0HrSt may be ty'd in Friendfhip together, and that thofe

which are foremoft may be ftrong and lively.

* 'Tis

De Arte Graphics

Qudcpue magi* denfm nebulis, ant plurimus Aer Amplum inter f tier it /pat turn porreBtts, in auras Confundet rerum /pedes, <sr perdet i?ianes.

Anterior a magis femper finita remotis. Incertis dominentur & abfcedeniibus, idaue More relativo, ut majora mmoribm extant.

\9

XXXVIII.

Diftantia- rum Relatio.

3 55-

CunBa minuta procul Maffam denfantur in unam, xxxix. Ut folia arboribusfylvaruni, <sr in Manor e fluStu*. SiTdiftantki

Contigua inter fe coeant, fed difflta diflent: 'Diftabuntcpue tamen grato <sr difcrimine parVo,

XL.

Contigua & Diffita.

Extrema extremis contraria jungere noli ; Sed medio jint ufquegradufociata Color is.

XLI.

Contraria ex- trema fugi- enda.

Corporum erit Tonus at que Color Variatus ubique xlil

us i H Supre-

Quxrat amicitiam retro, ferusemicet ante. CoTwvarii,

5o £fe Arte Graphica.

i6y Supremum in Tabulis Lumen capture diet

XLI.11: Infante labor Artificum ; cum attinzere tantum leSus. TSlon Pigment a que ant j auream Jed Vefpere Lucem, Seu modicum mane albentem, Ji\je Athens aElam Toft Hyemem nimbis transfujo Sole caducamy 270. Seu nebulis ftdtam accipienty tonitruque rubentem.

XLIV. L&\iu qu& lucent i Veluti Cbryjlalluy Metalla,

Sraftaxim. Ligna, Ojfa ir Lapides ; Fillo/a, ut Fellera, Pel!es7 Barbae, uqueique Oculi, Crines, Holoferica, Plum* ; Et Liquiduy ut Jiugnuns Aqua, reflex<eque jub Undis -j- Corpore* fpecies, ££" Aquis contermina cuntlu,

Subter ad extremum liquidefint pitta, fuperque • Luminibus percujfa fuis, ftgmfque repoftis.

xlv. Artu Vel Campus Tabute Vagus eflo, leYifqut

bX.PUS Ta" ^bfcedut lutHSy liquideque bene unclis umicis 380. Tota ex mole Coloribusy unu five Patella:

Qu<zque cadunt retro in Campum confiniu Campo.

FiVidns

The Art of Pointing. 5 1

* Tis labour in vain to paint a High- noon, or 3 65 . Mid-day light in your Picture, becaufe we have ^ X¥JI# , no Colours which can fufficiently exprefs it, but Light.

'tis better counfel, to choofe a weaker light ; fuch as is that of the Evening, with which the Fields are gilded by the Sun j or a Morning-light , whofc whitenefs is allay' d : or that which appears after a Shower of Rain, which the Sun gives us through the breaking of a Cloud: or during Thunder, when the Clouds hide him from our 1 70. view, and make the light appear of a fiery colour.

Smooth bodies, fuch as Chryftals , polifli'd xliv. Metals, Wood, Bones, and Stones ; thofe which thingVreL- are cover'd with Hair, as Skins, the Beard, or ^f^;^ the Hair of the Head 5 as alfo Feathers, Silks, and the Eyes, which are of a watery nature ; and thofe which are liquid, as Waters, and thofe cor- -> 7 5 . poreal fpecies, which we fee reflected by them 5 and in fine, all that which touches them, or is near them, ought to be much painted and united- ly on their lower parts, buttouch'd boldly above by the light and fliadows which are proper to them.

* Let the Field, or Ground of the picture, be xlv. clean , free , tranfient , light, and well united gr0€und of 'the with Colours which are of a friendly nature to Fiaure- each other 5 and of fuch a mixture, as there may J 8 o.

Hz be

5 2 The Art of Painting.

be fomething in it of every colour that compofes your work, as it were the contents of your Pa- lette. And let the bodies mutually partake of the colour of their ground.

ofklliva- * ^et your Colours be lively, and yet not

city of Co- look (according to the Painter's Proverb) as if they had been rubb'd or fprinkled with meal : that is to fay, let them not be pale.

* Let the parts which are neareft to us, and moft rais'd, be ftrongly colour'd, and as it were fparkling ; and let thofe parts which are more re- mote from fight, and towards the borders, be more faintly touch'd. 385. * Let there be fo much harmony, or confent,

o$ha}ows m l^c Maffes of the Picture, that all the fliadow- ings may appear as if they were but one.

t^dXP1' * La the whole Picture be made of one piece,

The Pitlure . r . >

to be of one and avoid as much as poilibly you can, to paint ** drily.

xlix. * The Lookingglate will inftruct you in ma-

gUfsthe°Pafn- ny Beauties, which you may obferve from Na-

Ma/itr* ture ■ ^° w*^ a^° tno^e objects which are feen in

an Evening in a large profpect.

An haiffi- If you are to paint a half figure or a whole

X'wVone> which is to be fet before the other figures,

fore others, it muft be plac'd nearer to the view, and next the

39°* light. And if it is to be painted, in a great place,

and

De Arte Graphics.

13

Vilnius efto Color riimio non pallidus Albo> Adverjifque locis ingeflus flurimus ardens $ Sed leviter parceaue datus Vergentibus oris.

XLVI.

Color vivi- dus,nonta- mea pallidus.

2 g -

Cuntla Lahore fimul coeant, Velut Umbra in eadem. 3) '

Tota Jiet Tabula ex una depiBa patella.

Multa ex TSlatura Speculum prddara docebit ; Qu&aue procul jerb fpatiis fpetlantur in amplis.

Vimtdia Effigies, cpud fola, Vel integra plures Ante alias pojita ad Lucem, jiet proximo- Vifu, Et latis fpecianda locis, oculifque remota, Luminis Umbrarumaue gradufit pitla fupremo.

Paribus

XLVII.

Umbra.

XLVIII. Ex una Pa- tella fit Ta- bula.

XLIX.

Speculum Pi&orum Magifter. L. Dimidia Fi- gura vel in- tegra ante alias.

19°-

54° ^ De Arte GraDhica,

fflVL Parti bus in minimis imitatio jufia juVabit

■Effigieni, alternate refer endo tempore eodem

395* Conjimiles Partes y cum Luminis at que Coloris Compofltis juftijque Toms, tunc porta Lahore Si facili <sr Vegeto mieat ardens, Vi\?a Yidetur.

„ LII. Vija loco angujio tenere pmgantur, amico

buS* '*" Jun&a Colore graduque, procul qud pitla feroci 400. Sint & in<zquali Variata Colore, Tonoque.

Grandia Jtgna "Volunt fpatia ampla ferofque Colons.

Lum'tna

The Art of V aiming. 55

and at a diftance from the Eyes; be fure onthatr occafion not to be fparing of great lights, the moft lively colours, nor the ftrongeft fliadows.

* As for a Portrait, or Pictures by the Life, A pLL you are to work precifely after Nature, and to exprefs what (lie fhows you, working at the fame time on thofe parts which are reiembling ?nc to each other: As for example, the Eyes, the Cheeks, the Noftnls and the Lips : lo that you are to touch the one, as foon as you have given a ftroke of the Pencil to the other, left the inter- ruption of time caufe you to lofe the Idea of one part> which Nature has produc'd to refemble the other : and thus imitating Feature for Feature with a juft and harmonious Compofition of the lights and fhadows, and of the colours, and giving to the Picture that livelinefs which the freedom and force of the Pencil make appear, it may feem the living hand of Nature.

The works which are painted to be feen in Lir. little or narrow places, muft be very tender and thePittwiS well united with tones, and colours $ the degrees of which ought to be more different, more une- qual, and more ftrong and vigorous, as the work is more diftant : and if you make great figures, let them be ftronglyXolour'd, and in very fpaci- ous places.

* You

56 Ibz Art of Tainting.

' Lin. * You are to paint the moft tenderly that pot

Large Lights. n ? . \ r

iibly you can 5 and endeavour to loie inienfibly the * large lights in the fhadows which fucceed them, and incompafs them about.

wh^Iigks ^ tIie pi6^ure be fet in a place which is enligh- arerequifoe. ten dy but with a little light, the colours mull:

40 j. be very clear 3 as on the contrary very brown, if

the place be ftrongly enlighten d, or in the open

Air. lv. Remember to avoid objects which are full of

arcwcZwin hollows, broken in pieces, little, and which are painting to feparated, or in parcels: fhun alfo thofe things

be avoided. \ ' r /-,'•• t t- i

which are barbarous, ihocking to the Eye and party-colour' d, and all which is of an equal force of light and fhadow : as alfo all things which are

4 1 o. obfcene, impudent, filthy, unfeemly, cruel, fan-

tastical, poor and wretched; thofe things which

are fliarp and rough to the feeling : In fhort, all

things which corrupt their natural forms, by a

confufion of their parts which are intangled in

each other : For the Eyes haVe a honour for thofe

LVI things which the Hands will not condtfcend to touch.

The prude»- But while you endeavour to avoid one vice, be

lp Muter. * cautious left you fall into another : for Vertue is

415. placd betwixt two est reams, which are on both fides

equally blameable.

Thofe

De Arte Graphica.

Lumina lata unSlasJtmul undique copulet Umbra* Extremus Labor. In Tabula* dem'tjfa feneftris Si fuerit Lux parVa, Color clarijjimus ejie: Vfoidus at contra objcurufque in Lumine aperto.

57

LHL

Lumina lata. LIV.

Quantitas Luminis Iod in quo Tabu- la <ft expo- nenda.

405.

Qua vacuis divifa caftis Ware memento : Trita, minuta, Jimul qua non ftipata dehifcunt ; Barbara, Crudaoculis, rugit fucata Colorum, Luminis Umbrarumque Tonis aqualia cuntla 5 Foeda, cruenta, cruces , ob/coena, ingrata, chimeras, Sordidaque & mi/era, & Vel acuta, Vel afpera tatlu, Quaque dabunt forma temere congefla ruinam, Implicitafque aliis conf undent mifcua Tartes.

LV.

Errores & vi- tia Picture.

4IO.

Dumque fugis Yitioja, caVe in contraria labi Damna mali, Vitium extremis nam femper inbaret.

I Tulchra

LVI.

Prudentia in Pi&ore.

415.

58 De Arte Gr aphica.

LVII. (pulchragradu fummo Graphidos ftabilita Vetujia

idxaTabula- Nobilibus Signis funt Grandia, Dijfita, Tura> Terfa, 1}elut minime confufa, Lahore Ligata, Tartibus ex magnis paucifque effiElay Colorum 420. Corporibus dijlintlaferisy Jed femper amicis.

Qui bene coepit, uti faEli jam fertur habere LVIII. Ttimidium ; Titluram it a nil tub limine primo

Pi&or Tyro. _ ,. >» rr v 1 r j A

lngredtens Titer ojjendit damnojius Arti, Quam Varia errorum genera ignorante Magiftro 425, •£* praYis libare Typis> mentemque "veneno Inficere, in toto quod non abjlergkur dVo>

Nee Grapbidos rudis Jrtis adhuc cito qualiacumque CorporaYiVa fuper Jiudium meditabitur ante Ilhrum quam Symmetr'tam, Liternodia, Fonmam 430. NoVerit mfpetlis dotlo e"Vohente Magiftro

ArchetypiSy dulcefque Volos pr&fenferit Jrtis. A db^tf ^uJiue Manu ante oculos quam yoce docebitur ufus.

vire Piftori, non Pi&or Arti.

Qu^re

The Art of Painting. 59

Thofc things which are beautifull in the ut- Th^JJL f moft degree of Perfection, according to the Axi- afhamfuii om of ancient Painters, * ought to have fome- pece' what of greatnefs in them ; and their out-lines to be noble : they muft be difintangled, pure and without alteration, clean and knit together 5 com- posed of great parts, yet thofe but few in num- ber. In fine, diftinguifh'd by bold Colours 3 but 420. of fuch as are related, and friendly to each other: And as it is a common faying, that He who has lviii. begun welL has already perform d half his work; fo Advicet0* •^ there is nothing more pernicious 10 a Youth, ten who is yet in the Elements of Painting, than to engage himfelf under the difcipline of an igno- rant Mafter$ who depraves his tafte, by an in- finite number of miftakes 3 of which his wretched works are full, and thereby makes him drink the 42?* poyfon, which infe&s him through all his future life.

Let him who is yet but a Beginner, not make fo much hafte to ftudy after Nature, every thing which he intends to imitate ; as not in the mean time to learn Proportions, the connexion of the parts, and their out-lines : And let him firfthave 43 o. well examin d the Excellent Originals, and have thoroughly ftudied all the fweet deceipts of his Art, which he muft be rather taught by a know-

I z ins

6o The Art of Fainting.

ing Mafter, than by pra&ice $ and by feeing him

perform, without being contented onely to hear

him fpeak.

LIX- * Search whacfoever is aiding to your Art, and

rJfervientto convenient, and avoid thofe things which are re-

the Paint tr. „ .,,-.««„.,.. «.- :-

lx. pugnant to it.

Dherfityand * Bodies of divers natures which are aggroup'd

fieafmg. * (or combin d) together, are agreeable and plea-

435. lant to the fight $ * as alfo thofe things which

appear to be perform'd with eafe. Becaufe they

are ever full of Spirit, and feem animated with a

kind of Cceleftial fire : But we are not able to

compafs thefe things with facility, till we have

for a long time weigh'd them in our judgment,

and thoroughly coniider'd them : By this means

the Painter fhall be enabled to conceal the pains,

and ftudy which his Art and work have coft him,

under a pleafing fort of deceipt ; For the greats

eft fecret which belongs to Art, is to hide it from

the difcovery of Spedtatours.

440. Never give the leaft touch with your Pencil

7hecr''' tl^ you ^ave we^ exai™ncl vour Defign, and mufthintkehzMQ fettled your out-lines, * nor till you have CopyiTthJJe?Y^cnt in your mind a perfect Idea of your ciotb. work.

LXii. * Let the Eye be fatisfy'd in the firft place, to6ei7ttfs even againft and above all other reafons, which

De Arte Graphica.

6t

LX.

os recre- ant diverfitas & Operis fa- cilitas, quae fpeciatim Ars dicitur.

Qu&re Artem qutecumque juVant,fuge qu&que repug- 0cu* nant.

Corpora diverfa nature juntla placebunt f Sic ea quoefacili contempta labore videntur : ^->e

jEthereus quippe ignis ineft &fpiritus Mis. Mente diu Verfata, manu celeranda repentt. Jrfque Labor que Operis grata Jtc fraude latebit. Maxima delude erit ars> nihil artls inejfe Videri.

Nee prius indue as Tabulae Pigment a Color urn ^ Expenfi quam Jigna Typi ftabilita nitefcant, Et menti prajens Operis jit Pegmafuturi.

440.

LXL

Archetypus in mente, A- pographum in tela.

tPrdValeat fen/us rationi qua officit Arti , Lm

ConfpicuAy inque oculis tantummodo Circims eflo. cuEUSin0:

Uten

6% De Arte Graphica:

445. lit ere DoBorum Monitis, nee Jpeme fuperbus

LXiir. T)ifcere qud de te fuerit Sententia Vulgi. aSf noat" Eft cozcus nam quifquefuis in rebus, <& expers plurimum. Jud'iciiy <Prolemque juam miratur amatque. Aft ubi Conftlium deer it Sapientis Amici, 450. Id tempus dabit, atque mora intermijfa labori. TSlon facilis tamen ad nutus 0s inania Vulgi T>itla leVis mutabis Opus, Geniumque relinques : Nam qui parte Jua f per at bene poffe mereri MultiVaga de Tlebe, nocetjibi, nee placet ujfu

455. Cumque Open in propria foleat fe pingere QiElor,

vfolVv '» (®r°km tdeo Jibiferre parent Natura fuevit)

^rodent

The Art of Painting. 6%

beget difficulties in your Arc, which ofit felf differs none ; and let the compafs be rather in youi Eyes than in your Hands.

* Profit your felf by the Counfels of the know- 445- ing : And do not arrogantly difdain to learn the /v/iP"^. opinion of every man concerning your work, -^mytogood

11 i 1- i i • i r\- Painting.

All men are blind as to their own productions $ and no man is capable of judging in his own caufe; * but if you have no knowing friend, ro affiftyou with his advice, yet length of rime will ^0t never fail 3 'tis but letting fome weeks pafs over your Head, or at leafl: fome days, without looking on your work, and that intermiffion will faithful- ly difcover to you the faults, and beauties 3 yet fuffer not your felf to be carried away by the opi- nions of the Vulgar , who often fpeak without knowledge ; neither give up your felf altogether to them, and abandon wholly your own Genius, fo as lightly to change that which you have made : For he who has a windy Head, and flatters him- felf with the empty hope of deferving the praife of the common people, whofe opinions are inconfi- derate, and changeable, does but injure himfelf and pleafes no man.

Since every Painter paints himfelf in his own 455. works (fo much is Nature accuftorn d to produce «. LXIV* her own likenefs ) 'tis advantageous to him to felf ^

know

6^ The Art of Fainting.

know himfelf, * to the end that he may cultivate thofe Talents which make his Genius, and not unprofitably lofe his time in endeavouring to gain that which fhe has refus'd him. As nei- 460. ther Fruits have the tafte, nor Flowers the beauty which is natural to them when they are tranfplan- ted in a foreign foil, and are forc'd to bear be- fore their feaion by an artificial heat : fo 'tis in vain for the Painter to fweat over his works in fpight of Nature and of Genius 3 for without them 'tis impoffible for him to fucceed. lxv. * While you meditate on thefe truths, and frMfi, wobferve them diligently, by making neceffary re- JSSf fleclions on them 3 let the labour of the Hand ceivd. accompany the ftudy of the Brain 3 let die for- mer fecond and fupport the latter ; yet without 46 5' blunting the fliarpnefs of your Genius ; and aba- ting of its vigour by too much affiduity. Th^Mol'mrtg * The Morning is the beft, and moft proper moftprofer part of the day for your bufinefs 3 employ it Lxvii. therefore in the ftudy and exercife of thofe things fome^htm1 * whicn require the greateft pains and application.

Lxviii. * Let no day pafs over you without a line. wkkbanT Obferve as you walk the Streets, the Airs of IZa?."4""' Heads j the natural Poftures and Expreifions 3 470. which are always, the moft free the lefs they feem to be obferv d.

*Be

De Arte Graphica.

^Proderit imprimis ViBori jvSSi ovujt& ;

lit data qua genio colat, abflineatque negatis.

61

Frutlibws utque funs nuncjuamejl fapor atque Venuftas Floribus infueto in /undo pr&coce fub anni 460.

Tempore , quos cultus Volentus & ignis adegit 5 Sic nunquam nimio qu&funt extorta labor e, Et pitla inVito Genio> nuncjuam ilia placebunt,

LXV.

Quod mente conceperis

Vera fuper meditandoy Marnu, Labor improbus adjit : Proba.C°m" Nee tamen obtundat Genium, mentifque Vigor em, 4^5«

Optima noflrorum pars matutina dierum, Dfficili banc igitur potiorem impends Labori,

Nulla dies abeat quin linea dutla fuperjit. Jerque Via* Vultus hominum, motufque notabis Libertate fua proprios, pojitafque Figuras Ex fefefacilesy ut inobferVatm babe bis,

K

LXVI.

Matutinutn tempus La- bori aptum.

LXVIL

Singulis die- bus aliquid faciendum.

470.

LXVIII.

Affe&us in- Mbx obfervati & naturales,

De Arte Graphica.

Lx.p£ Mox modcumque Mari, Term & in Aire pulchrum

Non defint . * . * . , *

Fugdlares. Continent, Lbartts proper a mandare paratu, Dum pr<e/ens animo /pedes tibi ferVet hianti.

47 J. Non epulis nimis indulget TiBura, meroque

fParat, Amkorum quantum ut /ermone benigno Exhau/tum reparet mentem recreata, /edinde Litibns 0s curis in Cotlibe libera Ytta Secejfusprocul a turba flrepltuque remotos

480. Villarum rurifque beatajilentia quwit:

Namquerecollefto tota incumbente MinerVa Ingenio rerum /pedes pr&fentior extat, Commodiufque Operis compagem ampleBitur omnem*

Inf ami tibi non potior fit a\>ara pecuTi 4$jy# Cur a, aurique fames, modica quam forte beato Nominis ttemi <& laudis pruritus habend*,

Con-

The Art of Fainting. £7

'* Be ready to put into your Table-book lxix. (which yati rnuft always carry about you) what-^r. foever you judge worthy of it 5 whether it be up- on the Earth, or in the Air, or upon the Waters, while the Species of them is yet frefh in your I- magination.

* Wine and good Cheer are no great Friends 475. to painting, they ferve only to recreate the Mine', when 'tis oppreft and fpent with Labour 5 then indeed 'tis proper to renew your Vigour by the converfation of your Friends : Neither is a true Painter naturally pleas' d with the fatigue of buil-

nefs, and particularly of the Law, * but delights in the liberty which belongs to the Batchelour's Eftate. * Painting naturally withdraws from Noife and Tumult, and pleafes it felfin the en- joyment of a Country Retirement: becaufe Si- 480. lence and Solitude fet an edge upon the Genius, and caufe a greater Application to work and ftu- dy, and alfo ferve to produce the Ideas, which, fo conceiv'd, will be always prefent in the M nJ, even to the finifliing of the work $ the whole com- pafs of which, the Painter can at that time more commodioufly form to himfelf than at any other.

* Let not the covetous defign of growing rich, * g * induce you to ruin your reputation, but rather fa-

tisfy your felf with a moderate fortune 5 and let

K z your

68 The Art of Painting.

your Thoughts be wholly taken up with acqui- ring to your felf a glorious Name, which can ne- ver perifli, but with the World, and make that the recompence of your worthy Labours.

* The qualities requifite to form an excellent Painter, are, a true difcerning Judgment j a Mind which is docible, a noble Heart, a fublime Senfe

49°* of things, and Fervour of Soul ; after which fol- low, Health of Body, handfomenefs, a conveni- ent fhare of Fortune, Yourb, Diligence, an aflfe- <5tion for the Art, and to be bred under the difci- pline of a knowing Mafter.

And remember,that whatfoeveryour Subject be, whether of your own Choice, or what chance or good fortune fhall put into your hand, if you have not that Genius or natural Inclination, which your Art requires, you fhall never arrive to per- fection in it, even with all thofe great advantages which I have mentioned; for the Wit, and the manual operation are things vaftly diftant from each other. 'Tis the Influence of your Stars, and the happinefs of your Genius, to which you muft beoblig'd for the greatefl: Beauties of your Art.

49 j. Nay, even your excellencies fometimes will

not pafs for fuch in the opinion of the learned, but only as things which have lefs of Error in them, for no man fees his own failings ; * and Life is fo

fliort,

De Arte Graphica. 6$

Condign* pulcbrorum Operum mercedis in altum.

Judicium, docile Ingenium, Cor nobile, Senfus Sublimes, fir mum Corpus, florenfque JuVenta, Commoda ${es, Labor y Art is amor, dotlufque Magijler ; 490.

Et quamcumque "Voles occajto porrigat an/am, TSli Genius quidam adfuerit Sydufque henignum, Dotibus his Units, nee adbuc Ars tantaparatur :

Dijlat ab Ingenio longe Manns. Optima Dotlis

Cenfentur qua praVa minus 3 latet omnibus error > 4?J«

Vitaque tarn long* breyior nonfufficit Arti ;

Ttefi.

7o De Arte Graphica.

Dejinimus nam pojfe Jems cum fc ire per hi Incipimus, doHamque Manum graVat <egra fenetlus, TSlecgelidis ferVet juvenilis in Artubus ardor.

500. Quare agite, oJuVenes, placido quos Sydere natos

(pacifer* Jiudia alletlant tranquilla Miner!?*, Quofque fuo foVet igne, Jtbique optaYit Alumnos ! Eja agite, atque animis ingentem ingentibus Artem Exercete alacres., dumftrenua cor da JuVentus

50 j. Viribus extimulat Vegetis, patiensque labornm eft$ Dum Vacua errorum null&que imbuta Japore *Pura nitet mens, & rerumjitibunda noVarum *Pr<efentes baurit /pedes, atque bumida/erVaU

LXXJ

rum. , h Geometrali prius Arte parumper adulti

Signa

The Art of Y aiming. 71

fliort, that it is not fufficient for fo long an Art. Our ftrength fails us in our old Age, when we begin to know fomewhat : Age oppreffes us by the fame degrees that it inftructs us, and permits not that our mortal Members which are frozen with our years, mould retain the Vigor and Spi- rits of our Youth.

* Take courage therefore, O ye Noble Youths ! 5 0o* you legitimate Offfpring of MinerVa, who are born under the influence of a happy (planet, and warm'd with a Celeftial Fire, which attracts you to the Love of Science; exercife while you are young, your whole forces, and employ them with delight in an Art which requires a whole (Painter. Exercife them I fay, while your boyl- ing Youth fupplies you with Strength, and furni- 505. flies you with Quicknefs and with Vigour $ while your Mind, yet pure and void of Error, has not taken any ill habitude to vice, while yet your Spi- rits are inflam'd with the Thirft of Novelties, and your Mind isfili'd with the firft Species of things which prefent themfelves to a young Imaginati- on, which it gives in keeping to your Memory ; and which your Memory retains for length of time, by reafon of the moifture wherewith at that lxx. Age the Brain abounds: * you will do well studies fori * to begin with Geometry, and after having made-^ ***"

fbme

72 The Art of fainting.

fome progrefs it ir, * fet your felf on defigning

510. after the Ancient Greeks, *and ceafe not day or night from labour, till by your continual practice you have gain d an eafy habitude of imitating them in their invention, and in their manner. * And when afterwards your judgment fliall grow ftronger, and come to its maturity with years, it will be very neceflary to fee and examine one after the other, and part by part, thofe works

5 J J» which have given lo great a Reputation to the Matters of the firft form in purfuit of that Me- thod, which we have taught you here above, and according to the Rules which we have given you 5 fuch are the Romans, the Venetians, the Tarmefans, and the <Bologne(es. Amongft thofe excellent Perfons, Raphael had the Talent of In-

5 20. Mention for his (Tiare, by which he made as ma- ny Miracles as he made Pictures. In which is obferv'd * a certain Grace which was wholly na- tural and peculiar to him, and which none fince him have been able to appropriate to themfelves. Michael Angelo pofifefs'd powerfully the part of Defign , above all others. * Julio Romano (edu- cated from his childhood among the Mufes) has open d to us'the Treafures of Tarnajfut : and in the Poetry of Painting has difcover'd to our Eyes the

525. moftfacred Myfteries of Jpollo, and all the rareft

Orna-

De Arte Graphica. 73

Stgna Anticjua fuper Graiorum addifcite for mam $ y 1 o.

Nee mora nee requies, notluque diuque labori IllorumMenti atqueModo, "Vos donee agendi Praxis ab ajjiduo facile s affueVerit uju.

Mox ubi Judicium emenfis adoleVerit annis Singula qua celebrant prim* Exemplaria clajfis 5 l 5 •

Gtymani, Veneti, Tarmenfes, atque 'Bononi Partibus in cuntlis pedetentim atque ordine refto, Ut monitum fupra eft Vos expendijfe juVabit.

Hos apud inVenit Raphael miraculafummo . DuElamodo, Venerefque habuitqua* nemo deinceps* . 20^ Quidqizd erat form* fciYit Bonarota potenter.

Julius apuero Mufarum edutlus xnAntr'ts Aonias referaYit opes, Graphicaque Poefi Qu<t non Vifaprius, (edtantum audita Poetis Ante oculos fpetlanda dedit Sacraria Phozbi : 525

L Qutque

De Arte Graphica.

Qu<tque coronatis comple^it bella triumpbis Heroion fortuna potensj cajujque decor os Kobdius reipfa antiqua pinxijje Yuietur.

Clarior ante alios Corregius extitit, ampla * -y 0p Luce fuperfufa circum caeuntibus Umbris,

Tingendique Modo grandly & tra&ando Colore Corpora. Jmicitiamque, gradufque, dolofque Colorumy Compagemque it a difpofuit Titianus, ut hide DiVus appellatusj magnisjit honoribus auclus j 25, Fortun^qne bonis : Quos fedulus Annibal omnes Inprqpriam mentematque Modum mira arte coegii.

(plurimus

The Art of Painting. 75

Ornaments which that God is capable of commu- cating to thofe works that he infpires , which we knew not before, but only by the Recital that the <Poets made of them 5 he feems to have painted thofe famous Wars which He- roes have wag'd, and ended with Victory over crown' d Heads, whom they have led in tri- umph 5 and thofe other glorious Events which Fortune has caused in all ages, even with more Magnificence and Noblenefs, than when they were adted in the World. Correggio has made his Memory immortal by the Strength and Vi- * ^ 0ff\ gour he has given to his Figures, and by fvveet- ning his Lights and Shadows, and melting them into each other fo happily, that they are even im- perceptible. He is alio almoft fingle in the great manner of his Painting, and the Facility he had in the managing of his Colours. And Titian under- flood fo well the Union of the Maffes, and the Bo- dies of Colours, the Harmony of the Tones, and the Pifpofition of the whole together, that he has deferv'd thofe Honours, and that wealth whkh were heap'd upon him, together with that at- tribute of being furnam'd the Vhmie Painter, The laborious and diligent Jumbal Carraca, has 535/ taken from all thofe great Perfons already men- lioa'd, whatfoever excellencies he found in them,

L 2 and

7^ Th? Art of Tainting.

and, as it were, converted their Nourifhment in- to his own Subftance.

lxxi. 'Tis a great means of profiting your felfto co- Exferience py diligently thofe excellent Pieces, and thofe prjcttArt. beautifull defigns 5 But Nature which is prefent before your Eyes, is yet a better Mijirefs: For fhe augments the Force and Vigour of the Geni- us, and (he it is from whom Art derives her uki-

540. mate perfection by the means of fure Experience ; * I pafs in filence many things which will be more amply treated in the enfuing Commentary.

And now confidering that all things are fub- ject to the viciffitude of Time, and that they are liable to Deftruction by feveral ways, I thought I might reafonably take the boldnefs * to intruft to the Mufes (thofe lovely and immortal Sifters of painting) thefe few Precepts which I have here made and collected of that Art.

545* I employ'd my time in the ftudy of this work

at <%omey while the honour of the 'Bourbon Fami- ly, and the juft Avenger of his injur' d Anceftors, the Victorious Loyit was darting his Thunder on the Jlpes, and caufing his Enemies to feel the force of his unconquerable Arms, while he like another GaUiaue Hercules, born for the benefit and Honour of his Country, was griping the Spa-

549. nip? Geryon by the Throat, and at the point of ftrangling him. O B-

De Arte Graphica.

77

(plurimus inde labor Tabulas imitando juVabit Egregias, Operumque Typos $ fedplura docebit TSlatura ante oculos pr*efens ; namfirmat <&* auget Vim Gently ex illaque Art em Experientia complet. Mult a fuperjileo <\u& comment aria Jacent.

LXXI.

Natura & Experientia Artem per/i- ciunt.

540.

Hdtc ego j dum memoror fubitura Volubilis aYi Cuntla Vices j Variifque olim peritura minis, Tauca Sophifmatafum Graphica immortalibus aufus J4J, Credere tyieriis. <%om<e meditatus: ad Alpes Dumfuper in/anas moles inimicaque caftra Borbonijum decus <&r vindex Lodoicus Avorum Fulminat ardenti dextra, (PatrUque refurgens Gallicus Abides, premit Hifpani or a Leonis. 5 49*

i

( 19)

OBSERVATIONS

ON THE

Art of Paintin

o F

Charles Alphonfe du Frefnoy.

PAinting and Toefy are two Sifters, Sec. 'Tis #* f t a receiv'd truth, that the Arts have a cer- The Number tain relation to each other. « There is fj^otfet no Art (faid Tertullian in his Treatife of Idola- nation firvn

.... .. ,_T j _ to find in the

try) which is not either the rather or the near Qf(e Text the var- iation of another. And Cicero in his Oration forJi^JyS Archio6 the Poet, fays, That the Arts which have theobfervati- reJpeB to human life, haVe a Kind of Alliance a- mongft them f elves, and hold each other (as we may fay) by the hand. But thofe Arts which are the neareft related, and claim the mod ancient Kin- dred with each other, are fainting and ¥oetry$

and

8o Observations on the

and whofoever fhall throughly examine them, will find them fo much refembling one another, that he cannot take them for lefs than Sifters.

They both follow the fame bent,and fufFer them- felves rather to be carry'd away, than led by their fecret Inclinations, which are fo many feeds of the Divinity. " There is a God within us (fays ll Ovid in the beginning of his Sixth Book de Fa- u /lis, there fpeaking of the Poets} who by bis A- " gitat'ion warms us. And Suidas feys, That the fa* " mous Sculptor Phidias, and Z,euxis that incompa- " rahle Taint er, were both of them tranf ported by the- " fame Enthufiafmy which gaVe life to all their works. They both of them aim at the fame end, which is Imitation. Both of them excite our Paffions 5., and we fufFer our felves willingly to be deceived, both by the one, and by the other ; our Eyes and Souls are fo fixt to them, that we are ready to perfuade our felves that the painted Bodies breath, and that the Fictions are Truths. Both of them- are fet on fire by the great Actions of Heroes ; and both endeavour to eternize them : Both of them in fhort, are fupported by the ftrength of their Imagination, and avail themlelves of thofe licences, which Jpollo-h&s equally beftow'd on them, and- with which their Genius has infpir'd. them..

Art of ? aiming. 8 1

PiSioribus at que Poetis

Quidlibet audendi, femper fuit aqua poteflas.

Painters and Poets free from fertile awe,

May treat their Subjects, and their Ob jeBs draw.

As Horace tells us in his Art of Poetry. The advantage which Painting pofleffes above Poefie is this 3 That amongft fo great a Diverfi- ty of Languages, fhe makes her felf underjlood by all the Nations of the World, and that fhe is necet fary to all other Arts, becaufe of the need which they have of demonftrative Figures, which often give more Light to the Underftanding than the cleared difcourfes we can make.

Segnius irritant amnios demiffa per aurem, Quam qua funt oculis commiffa fdelibus.

Hearing excites the Mmd by flow degrees, The Man is warmd at once by what he fees,

Horace in the fame Art of Poetry. For both of them that they might contribute, Sec* ^T 9. Poetry by its Hymns and Anthems, and Painting by its Statues, Altar-pieces, and by all thofe Qecorati*

"M ons

u

u u

$z vpjervations on

ons which infpire Refpecl: and Reverence for our Sacred Myfteries, have been ferviceable to (Religion. Gregory of Nice, after having made a long and beautifull Defcription of Abraham facrificing his Son Ifaac, fays thefe words, " I haVe often " cafi my eyes upon a ^Picture, which reprefents this moving obje£l, and could never withdraw them with- out Tears, So well did the Titlure reprefent the thing ft felf even as if the AElion were then ^f 24. " taffm^ before my Sight. So much thefe Divine Aftshdu been always honour d, &c. Tlie great eft Lords, whole Cities and their Magiftrates of Old (fays fHiny lib. 35.) took it for an honour to obtain a <Pi- Bure from the hands of thofe great Ancient painters. But this Honour is Tnuch fallen of late arhongft the French Nobility : and if you will underftand the caufe of it, VitruYius will tell you that it comes from their Ignorance of the charming Arts. Tro-

» fter ignorant'ram Ann, Yiftutes obfeurantur : (in the

Preface to his Fifth Book.) Nay more , we fliould fee this admirable Art fall into the laft de- gree of Contempt, if our Mighty Monarch, who yields in nothing to the Magnanimity of Alexan- der the Great, had not fliown as much Love for Painting as Valour in the Wars: we daily fee him encouraging this noble Art, by the confiderable

* Mr. u prints which he makes to his * chief Painter.

Bvun,

And

Art of Painting. 83

And he has alio founded an Academy for the Progrefs and Perfe<5tionating of Painting, which his * firft Minifter honours with his Protection, * m-, coi_ his care, and frequent Vifits : infomuch that we ***** might fhortly fee the age of Apelles reviving in our Country, together with all the beauteous Arts, if our generous Nobility, who follow our incompa- rable King with fo much Ardour and Courage in thofe dangers to which he expofes his Sacred Per- fon for the Greatnefs and Glory of his Kingdom, would imitate him in that wonderfull Affection which he bears to all who are excellent in this kind. Thofe Perfons who were the moft con fider able in Ancient Greece, either for Birth or Merit, took a moft particular care, for many ages, to be inftru- &ed in the Art . of Painting : following that lau- dable and profitable cuftom which was begun and eftablifh'd by the Great Alexander, which was to learn how to JDefign. And Tliny who gives te- ftimony to this in the tenth Chapter of his 3 jffc. Book tells us farther (fpeaking of Tamphilns the Mafter of Apelles) That it was by the authority ofA- lexander, that firft at Sicyon, and afterwards thro aU Greece, the young Gentlemen learn d before alt 0- ther things to defign upon Tablets of *Boxen-u>ood ; and that the firft place among aft the Liberal Arts was gi- ven to Tainting. And that which makes it evident,

M 2 that

84. Ob fer vat ions on the

that they were very knowing in this Art, is the- love and efteem which they had for Painters. Demetrius gave high teftimonies of this when he befieg d the City oi (Rhodes : For he was pleas'd to employ fpme pare of that time, which he ow'd to the care of his Arms, in vifiting Trotogenes, who was then drawing the Picture of Jalifus. Thisjz- lifus, (fays Pliny) binder d King Demetrius from taking Rhodes, out of fear , left he fhould bum the (Piclures j and not being able to fire the Town, on any other fide, he was pleas3 d rather to fpare the Tainting, than to take the Vitlory which was already in his hands, tprotogenes at that time had his Work-houfe in a Garden out of the Town, and very near the Camp of the Enemies, where he was daily fi- niflhing thofe Pieces which he had already begun -y the noife of Soldiers not being capable of inter- rupting his ftudies. But Demetrius caufing him to be brought into his Prefence, and asking him what made him fo bold as to work in the midft of Enemies : He anfwer'd the King, That he un- der ftood the War which he made, was againft the Rho- dians and not againft the Arts. This oblig'd Deme- trius to appoint him Guards for his Security, be- ing infinitely pleas' d that he could preferve that hand, which by this means he fav'd from the barbarity and iniblence of Soldiers. Alexander.

had

Art of Fainting. g 5

had no greater pleafure, than when he was in the painting room of Apelks,vj\\txt he commonly was found. And that Painter once received from him a lenfible Testimony of Love andEfteem which that Monarch had for him : for having caus'd him to paint naked (by reafonofher admirable beauty) one of his Concubines call'd Campafpe, who had- the greateft fhare in his affections, and perceiving, that Apelles was. wounded with the fame fatal dart of Beauty , he made a prefent of her to him. In that age fo great a deference was pay'd to Taint- ing, that they who had any Maftery in that Art, never painted on any thing but what was porta- ble from one place to another, and what could be fecund from burning. They took a particu- lar care, fays Pliny, in the place above-cited, not to paint any thing againft a Wall, which could onely belong to one Mafter, and mufl always remain in the fame place 5 and for that reafon could not be remov'd in cafe of an accidental Fire. Men were not fuffer'd to keep a Picture,, as it were in Prifon, on the Walls : It dwelt in common in all Cities, and the fainter himfelf was refpecled, as a Common Good to all the World. See this Excellent Author, and you fhall find that the 1 oth Chapter of his 3 5 th. Book is fill'd with the prai/es of this Art, and with the Honours which

were

86 Observations on the

nvere afcr'ib\l to it. You will there find that it was not permitted to any but thofe of noble Blood to profeis it. Francis the Firft, as Vafari tells us, was in love with Painting to that degree, that he allur'd out of Italy all the beft Mafters,that this Art might flourifh in his own Kingdom. Amongft o- thers Leonardo da Vinci, who after having continu- ed for fome time in France, died at Fontainbleau, in the Arms of that great King, who could not behold his death, without fhedding Tears over him. Charles the Fifth has adorn d Spain with the nobleft Pictures which are now remaining in the World, ^idolphi in his life of Titian, fays, that Emperor one day took up a Tencil, which fell from the hand of that Artifl, who was then drawing his Titlure, aud upon the Complime?it which Titian made him on that occajion , he faid thefe words, Titian has de- ferVdto be ferVd by Caefar. And in the fame life 'tis remarkable, That the Emperour Valued himfelf not fo much in fubjctling Kingdoms and TreVinces, as that he had been thrice made immortal by the hand of Titian. If you will but take the pains to read this famous life m^idolphi^you will there fee the relation of all thofe honours which hereceiv'd from Charles the Fifth. It would take up too much time here to recount all the particulars : I will onely obferve that the greateft Lords who compos' d the Court

of

Art of V aiming. g 7

of that Emperour, not being able to refrain from fome marks of Jealoufy, upon the preference which he made of the Perfon, and Converfation of Titian, to that of all his other Courtiers • he freely told them, That he could never want a Court or Courtiers y but he could not haVe Titian always with him. Accordingly he heap'd Riches on him, and whenfoever he fent him Money, which, ordi- narily fpeaking, was a great Summ, he always did it with this obliging Teftimony, That his defign teas not to fay him the "Value of his ^PiBures, hecaufe they were aboVe any price. After the example of the Worthies of Antiquityj who bought the rareft Pictures with Btifhels of Gold, wichout counting the weight or the number of the pieces, In nummo aureo, menfura accepit, non numero, fays Tlmy, (peak- ing of Apelles. Quintlilian inferrs from hence , that there is nothi?ig more noble than the Aft of Taint- ing j becaufe other things for the mod part are Merchandice, and bought at certain Rates •> moft things for this very reafon, (fays he) are vile be- caufe they have a price, Tleraque hoc iffo pojfunt Ytderi Yiliay quod pretium habent : lee the 3 ^th. 3 5 th. and j6th. Books oiWmy. Many great perfons have lov'd it with an extream Paffion, and have exercis'd themfelves in it with delight. Amongft others, Lelius. Fabius, one of thofe famous (^0-

manst

8 S Obfcrv alio us on the

mans, who, as Cicero relates, after he had carted painting and had practised it, would be call'd Fabius Victor : as alio Turpttius a ${orfym Knight 5 Labco TMtor Cjt Con ful, Quint us Tedius, the Poets Ennius and TacuYius, Socrates, Tlato, Metrodorus, Vtrrho, Commodus, Nero, Vefyajiafo Alexander SeVe- rus, Antoninus, and many other Kings and Empe- rours, who thought it not below their Majefty to employ fomc part of their time in this honou- rable Art. % 37. "flic principal and mofi important part of Tainting, is to find out and thoroughly to underjland what Nature hath made mojt beautifull and mofl proper to this Art, &c. Obferve here the rock on which the greateft part of the flemijh Painters have fplit : moft of that Nation know how to imitate Nature, at leaft as well as the Painters of other Countries, but they make a bad choice in Nature it felf j whe- ther it be, that they have not feen the Ancient pieces to find thofe beauties ; or that a happy Genius, and the beautifull Nature is not of the growth of their Country. And to confefs the truth, that which is naturally beautifull is fo very rare, that it is difcover'd by few perfons $ 'tis difficult to make a choice of it, and to form to our felves fuch an Idea of it, as may ferve us for a Model.

And

Art of Vaulting. $9

And that a choke of it may be made according to flfl" 2 o, the guft and manner of the Ancients , Sec. That M to (ay, according to the Statues, the Baffo^elie W*,and the other Ancient Tieces, as well of the Gre- cians as of the Romans ; Ancient (or Antique) is that which has been made from the time of Alexander the Great, till that of Vhocas ; during whofc Em- pire the Arts were ruin'd by War. Thefe y4//a- e>tf wwfo from their beginning have been the rule of 'Beauty 3 and in efFect, the Authors of them have been fo carefull to give them that perfecti- on, which is ftill to be obferv'd in them, that they made life not onely of one fingle Body, where- by they form'd them, but of many, from which they took the mod regular parts to compofe from them a beautifull whole. " The Sculptors, " lays Maximws Tyrius in his 7th. Diflertation, " with admirable Artifice chofe out of many Bodies " thofe parts which appear d to them the mojl beauti- " fully and out of that diVerJlty made but one Statue: " But this mixture is made with /0 much prudence " and propriety, that they feem to have taken but one u onely perfeH Beauty. And let US not imagine that " we can e~Ver find one natural Beauty which can dif- u pute with Statues, that Art which has always jome- " what more perfect than Nature. :Tis alfo to be prefum'd, that in the choice whieh they made of

N thofe

jo Obfervations on the

thofe parts, they followed the opinion of the Thy- fcians, who at that time were very capable of inftructing them in the rules of Beauty : Since Beauty and Health ordinarily follow each o'her. <c For 'Beauty , fays Galen, is nothing elfe but a faff a Accord and mutual Harmony of the Membcn. a- " nimated hy a healthfull conflitution. And men, Ci faid the fame Author, commend a certain Staiue " of Polycletus, which they call the rule, and which " deferVes that name for haVi?ig fo ferfeSi an agree- " ment in all its parts, and a proportion fo exatl, that " it is not pojfible to find a fault in it. From what I have quoted, we may conclude, that thr7\nci- ent Pieces are truly beautifull, becaufe they re- femble the Beauties of Nature ; and that Nature will ever be beautifull which refembles thofe Beau- ties of Antiquity. 'Tis now evident upon what account none have prefum'd to conteft the pro- portion of thofe Ancient Pieces, and that on the contrary, they have always been quoted as Mo- dels of the moll perfect Beauty. Ovid'm the 1 ith. Book of his Met amor phofis, where he defenbes Cyl- larus, the moft beautifull of all the Centaures, fays, That he had fo great a ViVacity in his Countename, his TSLeck, his Shoulders, his Hands and Stomach were fo fair, that it is certain the manly part of him was as beautifull as the moft celebrated Statues. And

mio-

Art of Fainting. 91

<Philoftratus in his Heroiajies, fpeaking of <ProteJi- laws and praifing the beauty of his face, fays, " That the form of his Nofe was fquare, as if it had " been of a Statue $ and in another place fpeaking of Eufhorbus, he fays, " That his beauty had gaind ' " the affeElions of all the Greeks, and that it refem- " bled to nearly the beauty of a Statue, that one might " have taken him for Apollo. Afterwards alfo fpeaking of the Beauty of Neoptolemus, and of his likenefs to his Father Achilles, he fays, " That in H beauty, his Father had the fame advantage oVer u him, as Statues haVe oVer the beauty of living " Men.

This ought to be underftood of the fairefl Statues, for amongft the multitude of Sculptors which were in Greece and Italy, 'tis impoffiblebut fome of them muft have been bad work- men, or rather lefs good : for though their works were much inferiour to the Artifts of the firft form, yet fomewhat of greatnefs is to be feen in them, and fomewhat of harmonious in the diftribution of their parts, which makes it evident; that at this time they wrought on Common Principles, and tha: every one of them avail'd himielf of thofe Princi- ples according to his Capacity and Genius. Thofe Statues were the greateft Ornaments of Greece ; we need onely open the Book of Taufanias to find

N 2 the

9 % Ohfervations on tie

the prodigious quantity of them, whether within or without their Temples, or in the cro/fing of Streets, or in the Squares and publique Places, or e- ven the Fields, or on the Tombs. Statues were ere- cted to the Mufes, to the Nymphs, to Heroes,to great Captains , to Magijl rates, (pbilofopbers and Toets : In fhort, they were fet up to all thoie who had made themfelves eminent either in defence of their Country, or for any noble action which deferv'd a recompence ; for it was the moft ordinary and moft authentique way, both amongft the Greeks and (Romans, thus to teftifie their gratitude. The ' Romans when they had conquered Gr&cia, tran- fported from thence, not onely their moft admira- ble Statues, but alfo brought along with them the moft excellent of their Sculptors, who inftrucled others in their Art, and have left to pofterity the immortal Examples of their knowledge, which we fee confirmed by thofe curious Statues, thole Fafes, thofe Bajfo^elieWs, and thofe beautifull Columns called by the names of Trajan and Anto- nine : They are thofe Beauties which out Author propofes to us for our Models. And as the true Fountains of Science, out of which both (painters and Statuaries are bound to draw for their own uie, without amufing themfelves with dipping in ftreams which are often muddy, at leaft troubled $

I

Art of Painting. 53

I mean the manner of their Matters, after whom they creep, and from whom they are unwilling to depart, either through negligence, or through the meannefs of their Genius. " It belongs oncly to " heavy minds, lays Cicero, to fpend their time on f ftreams, without fearching for the Springs from u whence their materials flow in all manner of abun- " dd)ice.

Without which all is nothing, but a blind and rafb fj[ 40. barbarity, Sec. All that has nothing of the An- cient guft, is caird a barbarous or Gothique man- ner, which is not conducted by any rule, but onely follows a wretched fancy, which has no- thing in in that is noble : we are here to obferve, that Painters are notoblig'd to follow the Antique as exactly as the Sculptors, for then their Picture would favour too ftrongly of the Statue, and would feem to be without Motion. Many Pain- ters, and fome of the ableft amongft them, be- lieving they do well, and taking that Precept in too literal a Sence, have fallen thereby into great inconveniencies ; it therefore becomes the Painters to make ufe of thofe Ancient Patterns with difcre- tion, and to accommodate the Nature to them in fuch a manner, that their Figures which muft feem to live, may rather appear to be Models for the Antique, than the Antique a Model for their figures.

It-

^4- Observations on the

It appears that Raphael made a perfect uie of this conduct, and that the Lombard School have not precifely fearch'd into this Precept, any fur- ther than to learn from thence how to make a good choice of the Nature, and to give a certain grace and noblenefs to all their works, by the ge- neral and confus'd Idea, which they had of what is beautifully as for the reft, they are fufficiently licentious, excepting onely Titian, who, of all the Lombards has preferv'd the greateft purity in his works. This barbarous manner of which I (poke, has been in great vogue from the year 6 1 1 to 1450. They who have reftor'd Painting in Germany, ("not having feen any of thofe fair Re- lieves of Antiquity) have retained much of that barbarous manner. Amongft others Lucas Van Ley den, a very laborious man, who with his Scholars has infected almoft all Europe with his defigns for Tape/try, which by the ignorant are call'd Ancient Hangings, ( a greater honour than they deferve :) thefe I fay are efteern d beautifull by the greateft part of the World. I muft acknow- ledge that I am amaz'd at fo grofs a ftupidity, and that we of the French Nation fhould have fo barbarous a Taft, as to take for beautifull thofe flat, childifli and infipid Tapeftries. Albert Du- rer, that tamous German, who was contempora- ry

Art of fainting. 5 5

ry to that Lucas, has had the like misfortune to fall into that abfurd manner, becaufe he had ne- ver feen any thing that was beautifull. Obferve what Vafari tells us in the life of Mart Antonio (Ra- phael's Graver) having firft commended Albert for his skill in graving, and his other Talents : " And in truth , fays he, if this, jo excellent, fo exatl, " and fo uniVerfd a Man, had been born in Tuf- iC cany, as he was in Germany, and had form d his " ftudies according to thofe beautifull pieces which are " feen at Rome, as the reft of us have done, he had " proVdthe heft fainter of all Italy, as he was the u greateft Genius, and the mo ft accompli /7/ d which " Germany ever bore.

We lo'Ve what we under ft and, &c. This period % 45, informs us, that though our inventions are never fo good, though we are furnifli'd by Nature with a noble Genius, and though we follow the impulfe of it, yet this is not enough, if we learn not to un- derftand what is perfect and beautifull in Nature, to the end that having found it, we may be able to imitate it, and by this inftru&ion we may be capacitated to obferve thole errors which flie her felf has made, and to avoid them, fo as not to copy her in all forts of fubjects 3 fuch as fhe ap- pears to us without choice or diftinction.

At

*$% Observations on the

^50. As being the Sovereign Judge of his own Arty 8cc. This word of Sovereign Judge or Arbiter of bis own Any prefuppofes a painter to be fully inftructed in all the parts of Painting ; fo that being fet as it were above his Art, he may be the Mafier and Sovereign of it, which is no eafie matter. Thofe of that profeflion are fo feldom endowed with that fupreme Capacity, . that few of them arrive to be good Judges of Painting: and I fhould many times make more account of their judgment, who are men of Sence, and yet have never touch' d a Pencil, than of the opinion which is given by the greateft part of Painters. All (Painters therefore may be call'd Arbiters of their own Arty but to be Sovereign Arbiters belongs one- ly to knowing Tainters.

^ J 2« And permit no tranjient (Beauties to efcape his

obferVationy &c. Thofe fugitive or tranfient Beau- ties are no other than fuchas weobferve in Nature with a fliortand tranfient view, and which remain not long in their fubjects. Such are the Pa/lions of the Soul. There are of thefe fort of Beauties which lafl: but for a moment ; as the different Aires of an Aflembly, upon the Sight of an un- expected and uncommon Object, fome particu- larity of a violent Paffion, fome gracefull Action, a Smile, a Glance of an Eye, a difdainfull Look,

a

Art of Fainting. 57

a Look of Gravity, and a thoufand other fuch like things ; we may alfo place in the Catalogue ofthefe flying Beauties, fine Clouds, fuch as or- dinarily follow Thunder or a Shower of Rain.

In the fame mariner that hare praBice dejlitute of % J 4. the Lights of Jrt, &c. We find in Quinftiiian, that Pythagoras faid, " The Tlieory is nothing with- " out the practice. And what means (fays the young- " er Pliny) haVe we to retain what has been taught " us, if we put it not in praBice: we would not allow that Man to be an Orator who had the beft thoughts imaginable, and who knew all the rules of Rhetorique if he had not acquir'd by ex- ercife the Art of ufing them, and of compofing an excellent Difcourfe. Painting is a long Pil- grimage 5 what avails it to make all the neceffa- ry preparatives for our Voyage, or to inform our felves of all the difficulties in the rode, if we do not actually begin the journey, and travel at a round rate, we mall never arrive at the end of it. And as it would be ridiculous to grow old in the fludy of every neceflary thing, in an Art which comprehends fo many feveral parts $ fo on the other hand to begin the practice without knowing the rules, or at leaft with a light Tincture of them is to expofe our felves to the fcorn of thofe who can judge of Painting, and to make it apparent

O to

58 Observations on the

to the World that we have no care of our repu- tation. Many are of opinion, that we need one- ly work and mind the practical part to become skilfull and able Painters $ and that the Theory onely incumbers the mind, and tyes the hand : Such Men do juft like the Squirrel, who is perpetually turning the Wheel in her Cage j fhe runs apace and wearies her felf with her continual Motion, and yet gets no ground. 'Tis not enough for doing well to walk apace, fays Quinctilian, but it is enough for walking apace to do well. Tis a bad excufe to fay, I was but a little while about it : That aracefull Eafinefs, that celeftial Fire which animates the work, proceeds not fo much from having often done the like, as from having well underftood what we have done. See what I fhall farther fay, in the 5 ift. (Rjde, which concerns eafinefs. Others there are who believe the Precepts and Spe- culation, to be of abfolute neceffity, but as they were ill inftructed, and what they knew rather en- tangl'd than clear7 d their understanding, fo they oftentimes flop flhort ; and if they perform a work, 'tis not without Anxiety and Pain. And in truth, they are fo much the more worthy of Compani- on becaufe their intentions are -right and if they advance not in knowledge as far as others, and are fometimes caft behind, yet they are ground- ed

Art of Tainting. $$

ed upon fomc fort of reafon $ for 'tis belonging to good fence, not to go over fail when w hend our felves to be out of the way, or even where we doubt which way we ought to ukc. Others on the contrary, being well inftrucfced in good Maximes,and in the rules of Art, after having done fine things yet fpoil them all by endeavou- ring to make them better, which is a kind of o- ver-doing, and are fo intoxicated with their work and with an earneft defire of being above all o- thers, that they fuffer themfelves to be deceiv'd with the appearance of an imaginary good. A- pelles one day admiring the prodigious Labour which pfoy 35. i0, he faw in a (Pitlure of Protogenes, and knowing how muchfweat it mufl haVe cojl him, /aid. That Pro- togenes and himfelf were of equal jlrength ; nay, that he yielded to him infome farts of Painting, hut in this he furpafs d him, that Protogenes neVer hew when he had done well, and could tie'Ver hold his hand 3 he alfo added in the nature of a precept, that he wijtfd all (Painters would imprint this leffon deeply in their Me- mory, that with oyer -fir aining and earneflnefs of finijh- ing their Pieces they often did tlxm more harm than good. There are fome {fays Quin&ilian} who we I0 * Ver fatisfe themfelves, never are contented with their firfl Notions and Expreffions, hut are continually chang- ing all, till )iothing remains of their fir ft Ideas. Others

O 2 there

loo Ob[ervations on the

there are (continues he,) who dare never truft them- fclves, nor refolve on any thing, and who being as it were intangl d in their own Genius, imagine it to be a laudable corretlnefs, when they form difficulties to them- felves in their own work- And to Jpeak the truth, 'tis hard to difcern whether of the two is in thegreatefi Err or ^ he who is enamour d of all he does, or he whom no- thing of his own can pleafe. For it has happen d to young Men, and often even to thofe of the greateft Wit, to wafle their Spirits, and to confwne themfelves with Anxiety and Pain of their own giving, fo far as eVen to doze upon their work with too much eagernefs of doing well-, I will now tell you how a veafonable man ought to carry him f elf on this occafton : 'Tis certain that we ought to ufe our befl endeavour to give the loft (perfection to our works ; yet it is always to be un- derflood, that we attempt no more than what is in the compafs of our Genius, and according to our Vein : for to make a true Progrefs, I grant that diligence and ft ti- dy are both requiftte, but this fludy ought to ha"X>e no mixture, either of Self-opinion, Obftinacy, or Anxiety • for which reafon, if it blows a happy Gale we mufl fet up all our Sails, though info doing itfometimes happens that we follow thofe Motions where our natural heat is more powerfuil than our care and our corretlnefs, provided %ve abufe not this licence, and fuffer not our fehes to be deceiYd by it, for all our productions cannot fail to

pleafe

Art of V ainting. I o I

pleafe us at the moment of their Birth, as being new to us.

(Becaufe thegreateft beauties cannot always he exprefs' d gr ^ j # forivant ofterms^Scc. I have learn'dfrom the mouth of Monfieur du Frefnoy, that he had oftentimes heard Gmdo fay, That no man could give a rule of the great eft Beauties , and that the knowledge of them was fo abftrufe, that there was no manner ofjpeaking which could exprefs them. This comes juft to what Quinfitlian fays, That things incredible wanted words Dedam. i<^ to exprefs them ; for fome of them are too great and too much elevated to be comprehended by human difcourfe. From hence it proceeds that the bed Judges when they admire a noble Pi&ure, feem to be faften d to it 5 and when they come to themfelves you would fay they had loft the ufe of Speech.

tPauJiaca torpes, infane, Tabella, fays * Horace, * Lib.2.Sat.7. and + Symmachus fays, that the greatnefs of aftomfh- tLib.io.Ep, ment hinders men from giving a juft applaufe. The I- talians fay Opera daftupire, wfren a thing is wonder- fully good.

Thofe Mafter -pieces of Antiquity, which were the fir ft ^ 6y Examples of this Art, &c. He means the moft knowing and beft Painters of Antiquity, that is to fayj from the lad two Ages to our times.

And alfo moderates that fury of the Fancy, &c. ^[ 66* There is in the Latine Text, which produces onely

Monfters,

YOi Observations on the

Monfters , that is to fay , things out of all proba- ble refembiance. Such things as are often found in the works of Tietro Tefla : It often happens, lays Dionyfius Longinus, a grave Author, Tl?at fome men imagining themfehes to be poffefsd with a divine Fu- ry -y far from being carry d into the rage of Baccha- nalians, often fall into toys and trifles which are only (Puerilities. fl; 69. A fubjetl beautifull and noble, &c. Painting is not onely pleafing and divertifing, but is alio a kind of Memorial of thofe things which Antiqui- ty has had the mod beautifull and noble in their kinds, re-placing the Hiftory before our Eyes 5 as if the thing at that time were effectually in A» 6tion, even fo far that beholding the Pictures wherein thofe noble deeds are reprefented, we find our felves ftung with a defire of endeavour- ing fomewhat which is like that Aclion there ex- prefs'd, as if we were reading it in the Hiftory. The Beauty "of the fubject infpires us with Love and Admiration for the Pictures. As the fair mixture caufes us to enter into the fubject which it imitates and imprints it the more deeply into our Imagination and our Memory : thefe are two Chains which are interlink'd , which contain , and are at the fame time contained, and whofe matter is equally precious and eftimable.

And

Art of Painting. 1 03

And well feafori d, See. Aliquid falls, fomewhat % 71. that is ingenious, fine and picquann, extraordina- ry of a high reliflh, proper to inftrucl: and to clear the Underftanding. The Painters ought to do like the Orators, fays Cicero. Let them inftrudt, DeOpt.Gen. let them divertife, and let them move us ; this is what is properly meant by the word Salt.

On which the whole Machine (as it may be call'd) gj[ y* of the <PiBure is to be difpos'd, Sec. 'Tis not with- out reafon, nor by chance, that our Author ufes the word Machine. A Machine is a juft affembling or Combination of many pieces to produce one and the fame effect. And the Difpojition in a !Pi- Bure is nothing elfe but an Affembling of many parts, of which we are to forefee the agreement with each other: And the juilnefs to produce a beautifull effect, as you fhall fee in the fourth Precept, which is concerning the Oeconomy. This is alfo caird the Compojitkny by which is meant the distribution and orderly placing of things, both in general and in particular.

Which is what we properly call Indention, &c. Our fT -r* Author eftabliflies three parts of Painting, the INVENTION, the DESIGN or DRAWING, and the COLOURING, which in fome places he alfo calls the CRO- M AT I QJU E. Many Authors who have writ- ten

I o-i- Oh fer vat ions on the

ten of Painting, multiply the parts according to their pleafure 5 and without giving you or my felf the trouble of difcuffing this matter, I will onely tell you, that all the parts of Painting which others have nam'd, are reducible into thefe three which are mention* d by our Author.

For which reafon, I efteem this divifion to be the jufteft: and as thefe three parts are EJfential to (painting, fo no man can be truly caird a (Painter who does not polTefs them all together : In the fame manner that we cannot give the name of Man to any Creature which is not composed of Body, Soul and <I(eafon, which are the three parts neceflarily conftituent of a Man. How there- fore can they pretend to the Quality of Painters, who can onely copy and purloyn the works of others who therein employ their whole induftry, and with that onely Talent would pafs for able Painters. And do not tell me that many great Ar- tifts have done this 5 for I can eafily anfwer you that it had been their better courfe, to have abftain'd fromyb doing j that they have not thereby done themfelves much honour, and that copying was not the beft part of their reputation. Lee us then conclude that all Painters ought to acquire this part of Excellence ; not to do it, is to want cou- rage and not dare to (hew themfelves. "Tis to

Weep

Art of Painting. 105

creep and grovel on the ground, 'tis to deferve this jufl: reproach, 0 imitator -es ferVum pecus: 'Tis with Painters, in reference to their productions, as it is with Orators. A good beginning is al- ways coftly to both : much fweat and labour is requir'd, but 'tis better to expofe our works and leave them liable to cenfure for fifteen years, than to blufli for them at the end of fifty. On this account 'tis neceflary for a Painter to begin early to do fomewhat of his own, and to accuftom him- felf to it by continual exercife 5 for fo long as endea- vouring to raife himfelf, he fears falling, he fliall be always on the ground. See the following ob- fervation.

Invention is a kind of Mu/e, which being ^offefs d ^[ 76. of the other advantages common to her Sifters, &c. The Attributes of the Mufes are often taken for the Mufes themfelves ; and it is in this fence, that Invention is here call'd a Mufe. Authors afcribe to eacfi of them in particular the Sciences which they have (fay they) invented ; and in general the belle letter ey becaufe they contain almoft all the others. Thele Sciences are thofe advantages of which our Author fpeaks, and with which he would have a Painter furnifli himfelf ftrfficiently : and in truth, there is no man, though his under- ftanding be very mean who knows not and who

P finds

io6 Observations on the

finds not of himfelf how much Learning is necel- fary to animate his Genius, and to compleat it. And the reafon of this is, that they who have flu- died, have not onely fecn and learn' d many ex- cellent things in their courfe of ftudies, but that alfo they have acquir'd by that exercife a great Facility of profiting themfelves by reading good Authors. They who will make profeffion of Painting, mull: heap up treafures out of their read- ing and there will find many wonderfull means of railing themfelves above others, who can onely creep upon the ground, or if they elevate them- felves, 'tis onely to fall from a higher place, be- caufe they ferve themfelves of other Men's Wings, neither underftanding their Ufe nor Vertue : 'Tis true that it is not the prefent Mode for a Painter to be fo knowing : and if any of them in thefe times be found to have either a great Wit or much Learning, the multitude would not fail to fay, that it was great pity, and that the Youth might have come to fomewhat in the practical part, or it may be in the Exchequer, or in the Families of lome Noble-men. So wretch' d is the Defliny of Painting in thefe later ages. By Learning 'tis not fo much the knowledge of the Greek and Lat'me Tongue, which is here to be underftood as the reading of good Authors, and underftanding thofe

things

Art of Painting. 107

things of which they treat: for Translations being made of the heft Authors, there is not any Painter who is not capable in fome fort of understand- ing thofe Books of Humanity, which are com- prehended under the name of the belle letter e. In my opinion the Books which are of the mod ad- vantage to thofe of the Profeflion, are thefe which follow.

The Bible.

The Hiftory ofjofepkus.

The G(pman Hiftory of Coeffeteau, (for thofe who underftand the French,) and that oi Titus Li- Yms, tranflated by Vigenere, with the Notes which are both curious and profitable. They are in two Volumes.

Homer, whom Pliny calls the Fountain-head of Invention and noble thoughts.

Virgil, and in him, particularly his jEneids.

The Ecclefiaftical Hiftory of Godeau, or the Abridgement of Baronius.

Ovid's Met amor phofes, tranflated into French by Du (fijer, and in Englifh by Sandys.

* The Pictures oiPhiloftratus. * Tableaux.

Plutarch's Lives, tranflated from the Greek by feveral hands, in 5 Volumes.

Paufanw, though I doubt whether that Author be tranflated. He is wonderfull for giving of

P 2 great

io8 Observations on the

great Ideas ; and chiefly, for fuch as are to be plac'd at a diftance, (or caft behind) and for the com- bining of Figures. This Author in conjunction with Homer , make a good mingle of what is plea- fing and what is perfect.

The Religion of the Ancient Romans, by Vu Choulj and in Englifh, Godwins Roman Antiqui- ties.

Trajan s Pillar , with the difcourfe which ex- plains the Figures on it, and inftructs a Painter in thofe things with which he is undifpenfibly to be acquainted. This is one of the mod prin- cipal and moft learned Books, which we have for the Modes, the Cufloms, the Arms, and the Reli- gion of the Romans. Julio Romano made his chief ftudies on the Marble it felf.

The Books of Medals.

The Baff-Reliefs of terrier and others, with their Explanations at the bottom of the Pages, which give a perfect underftanding of them.

Horace's Art of Poetry, by the Earl of Rofco- mon, becaufe of the relation which there is betwixt the Rules of Poetry and thofe of Painting.

And other Books of the like Nature, the read- ing of which are profitable to warm the Imaginati- on : fuch as in Enghfb, are Spencer s Fairy Queen ; The Paradife lofl of Milton j Tajfo tranflated by

Fairfax j

Art of fainting. $09

Fairfax \ and the Hiftory of tPolybius, by Sir Hen- ry Shere.

Some Romances alfo are very capable of en- tertaining the Genius, and of ftrengthening it by the noble Ideas which they give of things 5 but there is this danger in them, that they almoft al- ways corrupt the truth of Hiftoiy.

There are alfo other Books which a Painter may ufe upon fome particular occafions and onely when he wants them : Such are,

The Mythology of the Gods.

The Images of the Gods.

The Iconology.

The Tables of Hyginus.

The practical Perfpective».

And fome others not here mentioned.

Thus it is neceffary , that they who are defirous of a name in Painting, fliould read at ieifure times thefe Books with diligence, and make their obfer- vations of fuch things as they find for their pur- pofe in them, and of which they believe they may fometime or other haveoccafion $ let the Imagi- nation be employed in this reading, and let them make Sketches and light Touches of thofe Ideas which that reading forms in their Imagination. QuinEiiliaUy Tacitus, or whoever was the Author of that Dialogue which iscall'd in Latine Ve can»

no Observations on the

Jts corrupts eloquentU, fays, Tl?at Tainting re/em- bles Fire which is fed by the Fuel, inflamd by Moti- on, and gathers flrength by burning : For the pow- er of the Genius is onely augmented by the abundance of matter to fupply it ; and 'tis impoffible to make a great and magnificent work) if that matter be wanting or not difpos'd rightly. And therefore a Painter who has a Genius, gets nothing by long think- ing and taking all imaginable care to make a noble Compofition if he be not affifted by thofe ftudies which I have mentioned. All that he can gain by it, is onely to weary his Imagina- tion, and to travel over many vaft Countries without dwelling on any one thing, which can give him fatisfaction.

All the Books which I have named may be fer- viceable to all forts of Perfonsas well as to Pain- ters. As for thofe Books which were of particu- lar ufe to them, they were unfortunately loft in thofe Ages which were before the Invention of Printing. Neglecting the Copyers probably out of ignorance to tranferibe them, as not finding "That u to themfelves capable of making the * demonftrative diagrams y Figures. In the mean time, 'tis evidently known by «*d Sketches, tne reltaion of Authors, that we have loft fifty Vo- lumes of them at the leaft. See Tliny in his 3 5 th. Book; and Franc. Junius in his 3d. Chapter of

the

Art of Tainting. 1 1 1

the id. Book of xht Painting of the Ancients. Ma- ny Moderns have written of it with fmall fuc- cefs, taking a large compafs without coming di- rectly to the point, and talking much without faying any thing : yet fome of them have acquit- ted themfelves iuccefsfully enough. Amongft o- thers Leonardo da Vinci (though without method 3 ) Paulo LomazgP, whofe Book is good for the great- eft part, but whofe difcourie is too dirTufive and very tirefome. John Saptiji /Irmenini, Frond feus Junius j Monfieur de Cambray, to whofe Preface I rather invite you than to his Book 3 we are not to forget what Monfieur Felebien has written of the Picture of Alexander by the hand of Monfieur Le Brun : befides that the work it felf is very elo- quent, the Foundations which he eftabliflhes for the making of a good Picture are wonderfully fo- lid. Thus I have given you very near the Libra- ry of a Painter, and a Catalogue of fuch Books as he ought either to read himfelf or have read to him, at leaft if he will not fatisfie himfelf with pofTe/fing Painting as the moft fordid of all Trades and not as the nobleft of all Arts,

'Tis the hujinefs of a Painter in his choice of Po- ^ 77^ fluresy 3cc. See here the moft important Precept of all thofe which relate to Painting. It belongs pro- perly to a Painter alone, and all the reft are bor- rowed

1 1 % Ohfervations on the

row'd either from Learning, or from (pbyjick, or from the Mathematicks , or in fhort, from other Arts, for it is fufficient to have a natural Wit and Learning to make that which we call in Painting a good Invention, for the defign we muft have fome infight into Anatomy, to make Buildings, and other things in Terfpe&iVe, we muft have know- ledge in the Matbematic foyznd other Arts, will bring in their Quotas to furnifli out the matter of a good Picture $ but for the Oeconomy or ordering of the whole together, none but onely the Painter can underftand it, becaufe the end of the Artift is plea- fingly to deceive the Eyes, which he can never accomplifli if this part be wanting to him. A Picture may make an ill effect, though the Inven- tion of it be truly underftood, the Defign of it cor- rect and the Colours of it the moft beautifull and fine that can be employed in it. And on the con- trary we may behold other Pictures ill invented, ill defign d and painted with the moft common Colours, which fliall make a very good effect, and which fliall more pleafingly deceive ; No- thing pkafes a man jo much us order, fays Xenopbon : And Horace, in his Art of Poetry.

Singula qutque locum teneant fortita decenter.

Set

In Oecono inico.

Art of Vainting. 113

Set all things in their own peculiar place> And know that Order if the greatefl Grace,

This Precept is properly the ufe and applica- tion of all the reft 5 for which reafon it requires much judgment. You are therefore, in fuch manner to forefee things, that your Picture may be painted in your Head : i. e. before it come up- on the Canvas. When Menander (fays a cele- brated Authour) had order d the Scenes of his Co- Gomm.vetus. medy, he held it to be, in a manner, already made 3 though he had not begun the fir ft Verfe of it. 'Tis an undoubted truth, that they who are endu'd with this forefight, work with incredible pleafure and facility 3 others on the contrary are perpetually changing and rechanging their work, which when it is ended leaves them but anxiety for all their pains. It feems to me that thefe forts of Pictures remind us of thofe old Gothique Caftles, made at feveral times, and which hold together onely as it were by Rags and Patches.

It may be inferred from that which I have faid, that the Invention and the Vifpojitton are twoleveral and diftincl: parts in efTedt, though the laft of them depends upon the firft, and that common- ly 'tis comprehended under it : yet we are to

Q^ take

ii ^ Ohfervations on the

take great care that we do not confound them. T^helriVention fimply finds out the fubjects, and makes a choice of them fuitable to the Hiftory which we treat ; and the Difpofition diftributes thofe things which are thus found each to its pro- per place, and accommodates the Figures and the Grouppes in particular, and the Tout EnfemUe (or whole together^) of the Picture in general : fo that this Oeconomy produces the fame effect in relation to the Eyes, as a Confort of Mujick to the Ears.

There is one thing of great confequence to be obferv'd in the Oeconomy of the whole work, which is, that at the firft Sight we may be given to un^ derftand the quality of the fubject : and that the Picture at the firft Glance of the Eye, may in- Ipire us with the principal pai fion of it : for Ex- ample, if the fubject which you have undertaken to treat be of joy, 'tis neceffary that every thing which enters into your Picture fhould contribute to that Paffion, fo that the Beholders fhall im- mediately be mov'd with it. If the Subject be mournfull, let every thing in it have a ftroke of fadnefs $ and fo of the other Paffions and Quali- ties of the Subjects. ^f 8 i . Let your Compojitions be conformable to the Text of Jncient Authors, &c. Take care that the Licences

of

Art of Tainting. 115

of Painters be rather to adorn the Hiftory, than to corrupt it. And though Horaee gives permif- fion to fainters and (poets to dare every thing, yet Artof Poetry. he encourages neither of them, to make things out of nature or verifimility ; for he adds immediate- ly after,

(But let the (Bounds of Licences he fix d.

Not things of dij agreeing Natures mix d 5

Not Sweet with Sowre, nor Birds with Serpents joy n dy

Nor the fierce Lyon with the fear full Hind.

The Thoughts of a Man endued with good Sence are not of kin to vifionary madnefs; Men in Feavers are onely capable of fuch Dreams. Treat then the Subjects of your Pictures with all poffible faithfulnefs, and ufe your Licences with a becoming boldnefs, provided they be ingeni- ous, and not immoderate and extravagant.

Take care that whatfoeVer makes nothing to your ^[ 82. Subjebl, &c. Nothing deadens fo much the Com- pofition of a Picture, as Figures which are not appertaining to the Subject : We may call them pleafantly enough, Figures to be let.

This part of (painting fo rarely met with, and fo % %7* difficult tube found, &c. That is to fay, Invention.

Q^ 2 Which

ii 6 Observations on the

if 89. Which Wtisjlolkn by Prometheus, &c. The Po- ets feign that Prometheus form'd out of Clay, fo fair a Statue, that Minerva one day having long admir'd it, (aid to the workman, that if he thought there was any thing in Heaven which could add to its perfection, he might ask it of her 3 but he being ignorant of what might be moftbeaucifull in the Habitation of the Gods, de- fied leave that he might be carry'd thither, and being there to make his choice. The Goddefs bore him thither upon her Shield, and fo foon as he had perceiv'd that all Celeftial things were animated with Fire, he ftole a Parcel of it, which he carry'd down to Earth, and applying it to the ftomach of his Statue enliven' d the whole Bo»

if 0 2« Tl?at it happens not to everyone to fee Corinth, &c. This is an Ancient Proverb which fignifies, that every man has not the Genius nor the Difpo- fition that is necelTary for the Sciences, neither yet a Capacity fit for the undertaking of things which are great and difficult. Corinth was hereto- fore the Centre of all Arts, and the place whither they fent all thofe whom they would render ca- *Pro lege pable of any thing. * Cicero calls it the Lidit

Man. C\\r- '

ot all Untcta.

It

Art of V ainting. 1 1 7

It arriVd at length to that height of perfection, Sec. *([ o 5 . This was in the time of Alexander the Great , and lafted even to Auguflus 5 under whofc reign Paint- ing fell to great decay. But under the Emperors, Domitian, NerVa and Trajan, it appeared in its primitive luftre, which lafted to the time of Tho- cat the Emperor, when vices prevailing over the Arts, and War being kindled through all Europe, and elpecially in Lombard) , (occafion'd by the irruption of the Humis,) Painting was totally ex- ringuifli'd. And if fome few in the iucceeding Ages ftrain'd themfelves to revive it, it was ra- ther in finding out the moft glaring, gawdy and coftly Colours, than in imitating the harmoni- ous Simplicity of thofe illuftrious Painters who preceded them. At length, in the fourteenth Century, fome there were who began to fet it again on foot. And it may truly be faid, that about the end of the fifteenth Age, and the be- ginning of our Sixteenth it appeared in much Splendor by means of many knowing Men in all parts of Italy, who were in perfect poffeffion of it. Since thofe happy times which werefo fruitfull of the noble Arts, we have alfo had fome knowing Painters but very few in number, becaufe of the little inclination which Sovereign Princes have had for Painting : but thanks to the zeal of our

Great

1 1 8 Observations on the

Great Monarch, and to the care of his firft Mi- nifter, Monfieur Colbert, we may fhortly behold it more flourifhing than ever.

^[f 10 2. Though they are not Very much inferior , &c. Our Author means this of Michael Angelo, and other able Sculptors of that time.

^[105. A To/lure therefore mujl he chofen according to their gufio, &c. This is the fecond part of Painting, which is call'd Vejign or Drawing ; as the Ancients have fought as much as poffible whatfoever con- tributes to the making of a perfect Body, fo they have diligently examin'd in what confifts the beau- ty of good poftures, as their works fufficiently in- form us.

% 104. The parts of it muft be great, &c. Yet not fo great as to exceed a juft proportion. But he means that in a noble pofture, the greatcft parts of the Body ought to appear foremoft rather than the lefs, for which reafon in another paffage he vehe- mently forbids the forefliortnings, becaufe they make the parts appear little, though of themfelves they are great.

^T 1 °4- Large or ample, &c. To avoid the dry man- ner, fuch as is moft commonly the Nature which Lucas van Leyden and Albert Durer have imi- tated.

Unequa

Art of ? muting. U^

Unequal in their Pojition^ fo that thofe which are ^f- loj- before mufl contraji or oppofe thofe others which are hin- dermoji, and all of them he equally balanc d on their Centre, Sec. The Motions are never natural, when the Members are not equally balanced on their Centre : and thefe Members cannot be ba- lanced on their Centre in an equality of weight, but they muft contrail each other. A Man who dances on the Rope, makes a manifeft Demon- ftration of this Truth. The Body is a weight balanced on its Feet, as upon two Pivots. And though one of the Feet moll: commonly bears the weight, yet we fee that the whole weight refts Centrally upon it. Infomuch, that if, for Exam- ple, one Arm is ftretched out, it muft of neceffity be either that the other Arm, or the Leg be caft backward, or the Body fomewhat bow'd on the oppoiite Side, fo as to make an Equilibrium, and be in a Situation which is unfore'd. It may be, though feldom ( if it be not in old Men ) that the Feet bear equally ^ and for that time half the weight is equally diftributed on each Foot. You ought to make ufe of the fame Prudence, if one Foot bears three parts in four of the Burthen, and that the other Foot bore the remaining part. This in general is what may be faid of the Balance, and the Libration of the Body. In particular, there

may

1 20 Ohfervations on the

may many things be faid which are very ufefull and curious, of which you may facisfie your felves in Leonardo da Vinci. He has done wonder- fully well on that fubjecl:, and one may truly fay that the Ponder ation, is the bed and founded part of all his "Book of (painting. It begins at the i 8 \fl. Chapter, and concludes at the 27 3d. I would alfo adviie you to read Paulo Lomazgo in his 6th. Book, Chapter 4th. 'Del moto del Corpo humano, that is, the motion of a human Body. You will there find many things of great profit ; for what concerns the Contrail, I will onely fay in general, that no- thing gives fo much grace and life to Figures. See the 43d. Precept j and what I fay upon it in the Remarks. ^[ 1 07. The parts mufl haVe their out lines in WaVes re- femhling Flames, or the gliding of a Snake upon the ground, Sec. The reafon of this proceeds from the action of the Mufcles, which are as fo many Well-buckets ; when one of them acts and draws, 'tis necefTary that the other muft obey ; fo that the Mufcles which acl:, drawing always towards their principle, and thofe which obey ftretching in length and on the fide of their infertion, it muft needs follow that the parts muft be defign'd in Waves : but beware left in giving this form to the parts you do not break the Bones which fu-

ftain

Art of Painting. i % \

itain them, and which always mud make then; appear firm.

This Maxim is not altogether fo general, but that actions may be found where the mafles of the Mufcles are fituate one over againft another,, but this is not very common. The out-lines which are in waves, give not only a grace to the Parts, but alfo to the whole Body, when it is only fup- ported on one Leg. As we fee in the Figures of Antinous, Meleager, the Venus of Medices, that of the Vatican, trie two others of Borghefe, and that of Flora, of the Goddefs Vefta, thttwoBacchussoi <Borghefe, and that oiLudoYifio, and in fine of the greateft number of the Ancient Figures, which are (landing, and which always reft more upon one Foot than the other. Befides, that the Figures and their Parts, ought almoft always to have a fer- pentine and flaming form naturally, thefe forts of out-lines have, I know not what of life and fee- ming motion in them, which very much refem- bles the activity of the Flame, and of the Serpent;

According to the knowledge of them, which is giVen ' us by Anatomy, Sec. This part is nothing known at prefent amongft our modern Painirers. I have flhewn che profit and even the neceffity of it ffi Preface of a little Epitome which I have tna and which Monfieur Torre bat has publifh'd.

R know

1 1 2 Obfervations on the

know there arefome who think this Science a kind of Monfter, and believe it to be of no Advan- tage, either becaufe they are mean fpirired, or that they have not confider'd the want which? hey have of it 5 nor reflected as they ought, on its importance : contenting themfelves with a certain track, to which they have been us'd. But cer- tain it is , that whoever is capable of fuch a thought, will never be capable of becoming a great Defigner.

ff 112. Ttefigrid after the manner of the Gr dedans , Sec. that is to fay, according to the Ancient Statues, which for the moft part come from Greece.

f[ 114. Let there be a perfetl relation betwixt the parts and the whole, Sec. or let them agree well together, which is the fame thing. His meaning in this place, is to fpeak of the juftnefs of proportions j and of the harmony which they make with one another. Many famous Authours have thorough- ly treated this matter. Amongft others Taulo LomazgO) whofe fir ft Book fpeaks of nothing elfe : But there are fo many fubdivifions, that a Reader muft have a good Brain, not to be turn'd with them. See thofe which our Author has remarked in general, on the moft beautifull Statues of the Ancients. I believe them to be fo much the bet- ter, as they are more conformable to thofe,

which

Art of Painting. 123

which VitruVw gives us, in the fir ft Chapter of his third 'Book: And which he tells us, that he learn'd from the Artifts themfelves { becaufe in the Pre- face to his feventh Book) he makes his boaft to have had them from others, and particularly from Architects and Painters.

The Meafures of a Humane Body.

The Ancients have commonly allow'd eight Heads to their Figures; though fbme of them have but feven. But we ordinarily divide the Fi- gure into *ten Faces : that is to fay, from the *This depends Crown of the Head to the Sole of the Foot in^^,£ the following manner. perfms. The

From the Crown of the Head to the Forehead, venus^/Me- is the third part of a Face. dices Af ,

r more thanten

The Face begins, at the root of the loweft Faces. Hairs, which are upon the Forehead ; and ends at the bottom of the Chin.

The Face is divided into three proportionable parts 3 the firft contains the Forehead, the fecond the Nofe, and the third the Mouth and the Chin.

From the Chin, to the pit betwixt the Collar- bones are two lengths of a Nofe.

From the pit betwixt the Collar- bones, to the bottom of the Breaft one Face.

R 2 * From

Observations on the

* From the bottom of the Breafts, to the Na-

* From the Navel to the Genitories, one Face. From the Genitories to the upper part of the

12-f.

* The Apollo has 4 Nofe

more. vel one race.

*The Apollo has half a Nofe more :

fil7?/rKnee, two Faces.

halfoftheVe- '

mis de Medi- The Knee contains half a Face,

Hmer part «f From the lower part of the Knee ro the Anckle,

the Belly, and tVj0 faces*

vj parts. From the Anckle to the Sole of the Foot, half

a Face.

A Man, when his Arms are ftretch'd out, is, from the longeft Finger of his Right hand, to the longeft of his left, as broad as he is long.

From one fide of the Breads to the other, two Faces.

The bone of the Arm call'd Humerus is the length of two Faces, from the Shoulder to the Elbow.

From the end of the Elbow to the root of the little Finger, the bone calFd Cubitus, with part of the Hand? contains two Faces.

From the box of the Shoulder-blade, to the pit betwixt the Collar-bones, one Face.

If you would be fatisfy'd in the Meafures of breadth, from the extremity of one Finger to tht other ; fo that this breadth fhou'd be equal to the length of the Body, you muft obferve that the

boxes

Art of Painting. 1 2 5

boxes of the Elbows with the Humerus, and of the Humerus with the Shoulder-blade, bear the proportion of half a Face, when the Anns are ftretch'd out.

The Sole of the Foot is the fixth part of the Figure.

The Hand is the length of a Face.

The Thumb contains a Nofe.

The infide of the Arm, from the place where the Mufcle difappears, which makes the Bread, call'd the Pectoral Mufcle, to the middle of the Arm, four Nofes.

From the middle of the Arm to the beginning of the Hand, five Nofes.

The longeft Toe, is a Nofe long.

The two utmoft parts of the Teats, and the pit betwixt the Collar-bones of a Woman make an equilateral triangle.

For the breadth of the Limbs no precife mea- fures can be given -y becaufe the meafures them- felves are changeable according to the quality of the perfons}. and according to the movement of the Mufcles.

If you wou'd know the Proportions more par- ticularly, you may fee them, in Taulo Loma^p : 'tis good to read them, once at leaft, and to make Remarks on them $ every man according to his

own

1 26 Obfervations on the

own judgment:, and according to the occafion which he has for them. % 117. Though TerfpefliVe cannot he call'da certain Rule , Sec. That is to fay, purely of it felf, without pru- dence, and difcretion. The greateft part ofthofe, who underftand it, defiring to practife it too re- gularly, often make fuch things as fhock the fight, though they are within the Rules. If all thofe great Painters, who have left us fuch fair Plat- forms, had rigoroufly obferv'd it in their Figures, they had not wholly found their account in it. They had indeed made things more regularly true, but withall very unpleafing. There is great appearance that the Architects, and Statuaries of former times, have not found it to their purpofe always 5 nor have folio w'd the Geometrical part fo exactly as Perfpective ordains. For He who wou'd imitate the Frontifpiece of the (Rotunda ac- cording to Perfpective, wou'd be grofly deceived 5 fince the Columns which are at the extremities have more diameter, than thofe which are in the middle. The Cornifh of the Palazzo Farnefe, which makes fo beautiful! an effect below, when view'd more nearly, will be found not to have its juft meafures. In the Pillar of Trajan, we fee that the higheft Figures are greater than thofe be- low 5 and make an effect quite contrary to Per- fpective,

Art of ¥ aiming. 1 27

ipective, increafing according to the meafure of their diftance. I know there is a Rule which teaches a way of making them in that manner ; and which though 'tis to be found in fome Books of Perfpective, yet notwithftanding is no rule of PerfpetliVe. Becaufe 'tis never made life. of, but onely when we find it for our purpofe $ for if (for example ) the Figures which are at the top of Trojans <Pillar, were but as great as thofe which are at the bottom , they wou'd not be for all that againft Perfpective : and thus we may fay, * with more reafon, that it is a rule of Decorum in Perfpective to eafe the fight, and to render ob- jects more agreeable: 'Tis on this general obfer- vation, that we may eftablifli in Perfpective, the rules of Decorum (or convenience) whenfoever occafion fhall offer. We may alfo fee another Example in the bafe of the Farnejian Hercules $ which is not upon the level, but on an eafie de- clivity on the ad vane d part, that the feet of the Figure may not be hidden from the fight, to the end that it may appear more pleafing : which the noble Authors of thefe things have done, not in. contempt of Geometry and Perfpective, but for the fatisfaction of the Eyes, which was the end they propos'd to themfelves in all their works.

We

128 Okfervations on the

We muft therefore underftand (perfpetlive, as a Science which is abfolutely necefiary; and which a Painter muft not want : Yet without fub- jedting our felves fo wholly to it,as to become flaves of it. We are to follow it, when it leads us in a pleafing way, and that it fhows us plcafing things 3 but for fome time to forfake it, if it lead us through mire, or to a precipice. Endeavour af- ter that which is aiding to your Art, and conve- nient, but avoid whatfoever is repugnant to it 3 as the 5 oth rule teaches. 1 2 6\ Let eVery Member be made for its own Head, 3cc. That is to fay, you ought not to fet the Head of a Young man on the Body of an Old one; nor make a white Hand for a withered Body. Not to habit a Hercules in Taffeta j nor an Apollo in courfe fluff : Queens and perfons of the fir ft qua- lity., whom you wou'd make appear Majeftical, are not to be too negligently drefs'd, or indiflia- bile, no more than Old men : The Nymphs are not to be overcharg'd with drapery : In fine, let all that which accompanies your Figures, make them known for what effectively they are. flif 1 28. Let the Figures to which Art cannot give a Voice, imitate the Mutes in their Atlions, &c.

Mutes having no other way of fpeaking ( or exprefling their thoughts) but onely by their ge-

ftures

Art of V ainting. 1 2$

ftures and their actions, 'tis certain that they do it in a manner more expreffive than thofe who have the ufe of Speech, tor which reafon the Pi- cture which is mute ought to imitate them, fo as to make it felf under flood.

Let the principal Figure oftheSubjeft, dec. 'Tis qr , 2p„ one of the gteateft blemiflies of a Picture, not to give knowledge at the firft Sight of the Subject which it reprefenrs. And truly nothing is more perplexing, than to extinguifh as it were, the prin- cipal Figure by the oppoiltion of fome others, which prefent themfelves to us at the firft view, and which carry a greater luflre. An Orator, who had undertaken to make a (Panegyrick on Alexan- der the Great , and who had employed the flrong- eft Figures of his ^hetorique in the praife of <Buce- phalus, would do quite the contrary to that which was expected from him ; Becaufe it would be be- lieved that he rather took the Horfe for his Sub- ject than the Mafter. A Painter is like an Orator in this. He muft difpofe his matter in fuch fore, that all things may give place to his principal Subject. And if the other Figures, which accom- pany it, and are onely as Acceflaries there, take up the chief place, and make themfelves mod remarkable, either by the Beauty of their Colours, or by the Splendour of the Light, which ilrikes upon them, they will catch the Sight, they w

S flop

igo Observations on the

flop it fliort, and not fuffer it to go further than themfelves, till after fome confiderable fpace of time to find out that which was not difcern'd at firft. The principal Figure in a Picture is like a King among his Courtiers, whom we ought to know at the firft Glance, and who ought to dim the Luftre of all his Attendants. Thofe Painters who proceed otherwife, do juft like thofe who in the relation of a ftory ingage themfelves fo fooliflily in long digreflions, that they are forc'd lo conclude quite another way than they began. if 132« Let the Members be combind in the fame manner ens the Figures are, &c. I cannot better compare a Grouppe of Figures, than to a Confort of Voices, which fupporting themfelves all together by their different parts make a Harmony >, which pleafing- ly fills the Ears and flatters them ; but if you- come to feparate them, and that all the parts are equally heard as loud as one another, they will ftun you to that degree, that you would fancy your Ears were torn in pieces. 'Tis the fame of Figures ; if you fo aflemble them, that fome of them fuftain the others, and make them appear ; and that all together they make but one entire Whole, then your Eyes will be fully fatisfied: But if on the contrary, you divide them> your Eyes will fuffer by feeing them all together dif

pers'd,

Art of Painting. 1 31

pers'd, or each of them in particular. All together, becaufe the vifual Rays are multiply' d by the Multiplicity of Objects. Each of them in particular $ becaufe, if you fix your Sight on one, thofe which are about it will ftrike you and attract your Eyes to them, which extremely Pains them in this fort of Separation and Diverlity of Ob- jects. The Eye, for example, is fatisfied with the Sight of one fingle Grape, and is diftracted, if it carries it felf at one view, to look upon many fe- veral Grapes which lie fcatter'd on a Table, we muft have the fame regard for the Members 3 they aggrouppe and contraft each other in the fame manner as the Figures do. Few Painters have obferv'd this Precept as they ought, which is a moft folid Foundation for the Harmony of a Picture.

Hie Figures in the Grouppes ought not to be like each gr . 2 7 other in their Motions, dec. Take heed in this con- traft to do nothing that is extravagant, and let your Poftures be always natural. The Draperies, and all things that accompany the Figures, may enter into the contraft with the Members, and with the Figures themfelves : And this is what our Poet means in thefe words of his Verfes, Cetera frangant.

S 2 One

Ij2 Qbfervations on the

3[ 145. One fide of the Tifture muft not be Void, while the other is fill' d, See, This fort of Symmetry, when it appears not affected, fills the Picture pleafing- ly 5 keeps it in a kind of balance 5 and infinitely delights the Eyes, which thereby contemplate the Work with more repofe.

3[ 1 52. As a (play is jeldom good, in which there are too many ABors, &c. Anmhal Caracci did not be- lieve that a Picture cou d be good, in which there were above twelve Figures. It was Albano who told our Authour this, and from his mouth I had it. The Reafons which he gave were, firft, That he believ'd there ought not be above three great Grouppes of Figures in any Picture : And fecond - ly, That Silence and Majefty were of neceflity to be there, to render it beautifull : and neither the one nor the other cou'd poflibly be in a multitude and crowd of Figures. But neverthelefs, if you are conftrain'd by the Subject 5 {As for Example, If you painted the Day of Judgment , the Maffacre of the Innocents, a Battel, &c.) On fuch occafions you are to difpole things by great maffes of Lights and Shadows, and union of Colours, without trou- bling your felf to finifih every thing in particular, independently one of the other, as is ufual with Painters of a little Genius 5 and whofe Souls are uncapable of embracing a great Defign, or a great Compoiition.. JEmy»

Art of V ainting. 1 3 3

JEmyXium circa ludum, Faber imm & ungues Exprimet, <& molles imitabitur &re capillos ; Infelix Operis Summi, quia ponere totum Nefciet.

The meanejl Sculptor in th* Emylian Square, Can imitate m Brafs, the Nails and Hair ; Expert in Trifles, and a cunning Fool, Able t' exprefs the Tarts, but not difpofe the wholu Says Horace in his Arc of Poetry.

The Extremities of the Joints muji be feldom hidden, C[[ \ 6i< and the Extremities or End of the Feet neyer, Sec. Thefe Extremities of the Joints are as it were the Hafts or Handles of the Members. For example, the Shoulders, the Elbows, the Thighs, and the Knees. And if a Drapery ftiould be found on thefe ends of the Joints, 'tis the duty of Science and of Decorum, to mark them by Folds, but with great difcretion ; for what concerns the Feet, though they flhould be hidden by fome part of the Drapery ; neverthelefs, if they are mark'd by Folds, and their fhape be diftinguifh'd, they are fuppos'd to be feen.. The word never, is not here to be taken in the ftri&eft Senfe j he means but this, fo rarely, that it may feem we fhould

avoid

T34- Obfervations on the

avoid all occafions of difpenfing with the Rule.

C i 6a. The Figures which are behind others, have neither Grace nor Vigour, dec. (Raphael and Julio P^ma- no, have perfectly obferv'd this Maxime, and P^a- ^W/efpeciallyin hislaft Works.

C l 6q. Avoid alfo thofe Lines and Contours which are e> qual, which make Parallels, &c. He means prin- cipally to fpeak of the Poftures fo order'd, that they make together thofe Geometrical Figures which he condemns.

fl" 1 76. Be not fo ftriBly tied to Nature, &c. This Precept is againft two forts of Painters 5 firft a- gainft thofe who are fo fcrupuloufly tied to Na- ture, that they can do nothing without her, who copy her juft as they believe they fee her, without adding or retrenching any thing, though never fo little, either for the Nudities or for the Drape- ries. And fecondly, againft thofe who Paint e- very thing by Practice, without being able to fubject themfelves to retouch any thing, or to examine by the Nature. Thefe laft, properly fpeaking, are the Libertines of Painting, as there are Libertines of Religion ; who have no other Law but the vehemence of their Inclinations which they are refolv'd not to overcome : and in the fame man- ner the Libertines of Painting, have no other Mo- id but a P^odomontado Genius, and very irregu- lar

Art of Painting. 1 3^

lar, which violently hurries them away. Though thefe two forts of Painters, are both of them in Vicious Extremes, yet never thelefs the former fort ieems to be the more fupportable; becauie though they do not imitate Nature as fhe is accompa- ny'd by all her Beauties, and her Graces, yet at leaft they imitate that Nature, which we know and daily fee. Inftead of which the others fhow us a wild or falvage Nature, which is not of our acquaintance, and which feems to be of a quite new Creation.

Whom you muft have always prefent as a witnefs t[f 1 7 S. to the truth, &c. This palTage feems to be won- derfully well iaid. The nearer a Picture ap- proaches to the truth, the better it is ; and though the Painter, who is its Author, be the firft Judge of the Beauties which are in it, he is neverthelefs ob- lig'd not to pronounce it, till he has firft confult- ed Nature, who is an irreproachable evidence, and who will frankly, but withall truly tell you its Defects and Beauties, if you compare it with her Work.

And of all other things which difcoVer to us the ^f i 8 8. Thoughts and Inventions of the Grecians, &c. As good Books, fuch as are Homer and Taufania* 5 the prints which we fee of the Antiquities, may extremely contribute to form our Genius, and to

give

1 1$ Ob-fsrvations on the

give us great Ideas: in the fame manner as the Writings of good Authors, are capable of form- ing a good Style in thofe who are defirous of writing well.

% x9l* If you have but one jingle Figure to work upon, &c. The reafon of this is, That there being nothing to attract the Sight but this onely Figure, the vifual Rays will not be too much divided by the Diver- sity of Colours and Draperies 3 but onely take heed to put in nothing, which {hall appear too fharp or too hard j and be mindfull of the 4*/;. Precept, which fays, that two Extremities are ne- ver to touch each other either in Colour or in Light ; but that there rauft be a mean, partaking of the one and of the other.

% !0 J* Let the Drapery be nobly /pre ad upon the Body 5 let the Folds be large, &c. As Raphael practis'd, after he had forfaken the manner of (pietro Terugi- no, and principally in his latter Works.

$[ 196. And let them follow the order of the parts, &c. As the fairefl: pieces of Antiquity will fhow us. And take heed, that the folds do not only follow the order of the parts, but that they alfo mark the mod considerable Mufcles ; becaufe that thofe Fi- gures, where the drapery and the naked part are feen both together, are much more gracefull than the other.

Without

Art of Fainting. 137

Without fitting too ft r eight upon them. Sec. Paint- CT 200. ers ought not to imitate the Ancients in this cir- cumftance ; the ancient Statuaries mace their Draperies of wet Linen, on purpofe to make them fit clofe and ftreight to the parts of their Figures, for doing which they had great reafon 3 and in following which the Painters would be much in the wrong : and you (hall fee upon what grounds thofe great Genius's of Antiquity, finding that it was impoffible to imitate with Marble the finenefs of fluffs or garments which is not to be difcern'd but by the Colours, the Reflexes, and more efpe- cially by the Lights and Shadows, finding it I fay out of their power to difpofe of thofe things, thought they could not do better nor more pru- dentially, than to make ufe of fuch Draperies as hinder' d not from feeing through their Folds, the delicacy of the Flefli, and the purity of the Out- lines 3 things which truly fpeaking they poffeft in the laft perfection, and which in all appearance were the fubjeclof their chief ftudy. But Painters, on the contrary, who are to deceive the Sight, quite otherwife than Statuaries, are bound to imi- tate the different forts of Garments, fuch as they naturally feem ; and fuch as Colours, Reflexes, Lights and Shadows (of all which they are Ma- tters) can make them appear : Thus we fee that

T thofe

ij8 Observations on the

thofe who have made the neareft imitations of Nature, have made ufe of fuch Stuffs (or Gar- ments) which are familiar to our Sight, and thefe they have imitated with fo much Art that in beholding them w7e are pleas' d that they de- ceive us; fuch were Titian, Taul Veronefe, Tin- toret, (Rubens, Van Vyck, and the reft of the good Colourifts, who have come neareft to the truth ©f Nature : Inftead of which, others who have fcru- puloufly tied themfelves to the practice of the An- cients, in their Draperies, have made their works crude and dry ; and by this means have found out the lamentable fccret how to make their Fi- gures harder than even the Marble it felf. As An- drea Mantegna, and Tietro (perugino have done, and (Raphael alfo had much of that way in. his firft Works, in which we behold many fm all foldings often repleited, which look like fo many Whip- cords. 'Tis true thefe repetitions are feen in the Ancient Statues, and they are very proper there. Becaufe they who made ufe of wet Linen, and clofe Draperies, to make their Figures look more tender, reafonably forefaw that the Members would be too naked, if they left not more than two or three Folds, fcarce appearing fuch as thofe forts of Draperies afford the Sight, and therefore have us'd thofe Repetitions of many Folds, yet

in

Art of Painting. *$£

in fuch a manner that the Figures are always foft and tender, and thereby feem oppofice to the hardnefs of Marble. Add to this, that in Scul- pture, 'tis almoft impoiTible that a Figure cloath'd with courfe Draperies, can make a good effect on all the fides ; and that in Painting the Draperies of what kind foever they be, are of great advan- tage, either to unite the Colours and the Grouppes, or to give fuch a ground as one would wifh to unite or to feparate, or farther, to produce fuch reflections as fet off, or for filling void fpaces, or in fhort for many other advantages, which help to deceive the Sight, and which are no ways ne- ceffary to Sculptors, fince their Work is always of Q^elieVo.

Three things may be inferr'd from what I have faid concerning the rule of Draperies. Firfl: , that the Ancient Sculptors had reafon to cloath their Figures as we fee them. Secondly, that Painters ought to imitate them in the order of their Folds, but not in their quality nor in their num- ber. Thirdly, That Sculptors are oblig'd to follow them as much as they can, without defi- ring to imitate unprofitably or improperly the manners of the Painters, and to make many ample Folds, which are infufferable hardneffes, and more like a Rock than a natural Garment.

T 2 See

140 Observations on the

See the i\\ th. Remark about the middle of it.

ff 202. And if the farts be too much diflant from each 0» thery dec. "Tis with intent to hinder (as we have faid in the rule of Grouppesj the vifual Rays, from being too much divided, and that the Eyes may not fuffer by looking on fo many objects, which are feparated. Guido was very exact in this obfervation. See in the Text the end of the ^ule which relates to Draperies.

fT 204. And 06 the (Beauty of the Limbs conjifls not in the quantity and rifing of the Mufcles, &cc. Raphael in the beginning of his Painting, has fomewhat too much multiply'd the Folds $ becaufe being with reafon charrn d with the graces of the Ancients, he imitated their Beauties fomewhat too regularly 5 but having afterwards found that this quantity of Folds glitter' d too much upon the Limbs, and took off that Repofe and Silence which in Paint- ing are fo friendly to the Eyes ; he made ufe of a contrary conduct in the works which he painted afterwards, which was at that time when he began to underftand the effect of Lights, of Grouppes, and the oppofitions of the Lights and Shadows^ fo that he wholly changM his manner, (this was about eight years before his death) and though he always gave a Grace to whatfoever he painted, yet he made appear in his latter works, a Great-

nefs,

Art of Painting. r^r

nefs, a Majefty, and a Harmony quite other than what we fee in his firft manner : And this he did by lefifening the number of his Folds, making them more large and more oppofing them, and by making the Maffes of the Lights and Shadows, greater and more difentangrd. Take the pains to examine thefe his different man- ners in the Prints which we fee of that Great Man.

As fuppojing them to be Magijlrates, their Drape- fl* 210. ries ought to be large. Sec. Yet make not your Draperies fo large that they may be big enough to cloath four or five Figures, as feme there are who follow that method. And take heed that the folding be natural and fodifpos'd,that the Eye may be directed to difcover the Folds from the beginning of them to the end. By Magiftrates,- he means all great and grave Perfons, and fuch as are advane'd in age.

If Ladies or Dam/els, light and Joft, Sec. By ^[ 211* this name of Ladies, Maids, or Damfels, he means all young perfons, (lender, finely fhap'd, aery and delicate. Such as are Nymphs, and Naiades^ and- Fountains. Angels are alfo comprehended under this head, whofe Drapery fliould be of pleafing Colours, and reiembling thofe which are feen in the Heavens, and chiefly when they are fufpended. in the Air. They are only fuch

fori

»

Objervattons on the

forts of light habits as are fubjeft to be rufffd by the Winds, which can bear many Folds; yet fo that they may be freed from any hardnefles. 'Tis eafie for every one to judge that betwixt the Dra- peries of Magiftrates, and thofe of young Maids $ there muft be fome mediocrity of Folds, fuch as are moft commonly feen and obferv'd, as in the Draperies of a Chrift, of a Madonna, of a f\jng, a Queen, or a Dutchefs, and of other perfons of Confederation and Majefty ; and thofe alfo who are of a middle age with this diftinction, that the Habits muft be made more or lefs rich, accor- ding to the dignity of the Perfons ; and that Cloth Garments may be diftinguifh'd from thofe of Silky Sattin from Velvets, Brocard from Emhroidejy, and that in one word the Eye may be deceived by the truth and the difference of the Stuffs. Take no- tice if you pleafe, that the light and tender Drape- ries having been onely given to the Female Sex, the Ancient Sculptors have avoided as much as they could to cloath the Figures of Men, becaufe they thought, ("as we have formerly laid) that in Scul- pture Garments could not be well imitated, and that great Folds made a very bad effect. There are almoft as many examples of this truth, as a- mongft the Ancients there are Statues of na- ked men. I will name only that of Laocoon, which

accor-

Art of Fainting. 143

according to all probability ought to have been cloath'd: And in effect what likelihood can there be, that the Son of a King, and the Prieft of Apollo fhould appear naked in the actual Cere- mony of Sacrifice. For the Serpents pafs'd from the lile of Tenedos to the Trojan Shore, and fur- priz'd Laocoon and his Sons while they were fa- crificing to Neptune on the Sea Shore, as Virgd witnefles in the fecond of his Eneids. Not with- {landing which, the * Sculptors who were Au- *Polydorus, thors of this noble work had well confider'd, that rus,WAge- they could not give Veftments fuitable to the qua- bedims lity of the Perfons reprefented, without making as it were a heap of Stones, whofe Mafs would rather belike a Rock, than thofe three admirable Figures, which will ever be the Admiration of all Ages. And for this reafon of two inconveni- ences, they judg'd that of Draperies to be great- er, than that which was againft the truth it felf.

This obfervation well confirms what I have faid in the lootb. Remark It feems to me, that it deferves you fliould make fome reflection on it 5 ; and to eftablifli it the better in your mind, I will tell you, that Michael Angela, following this Ma- xim, has given the Qrophets which he painted in the Chappel of the. Pope, fuch Draperies whofe

Folds

'144 Observations on the

Folds are large, and whofe Garments are courfe, inftead of which the Mofes, which he has made in Sculpture, is habited with a Drapery much more ciofe to the parts and holding more of the Ancients. Neverthelefs he is a Prophet as well as thofe m the Chappel, a man of the fame quality, and to whom Michael Angelo ought to have aiveri the lame Draperies, if he had not been hinder' d by thofe very realons which have been given you.

% 2 i j-. 37;e Marks or Enfigns ofVertues, &c. That is to fay of the Sciences and Arts. The Italians call a man a Vertuofo, who loves the noble Arts, and is a Critick in them. And amongft our French Painters, the word Vertueux, is underftood in the fame Signification.

if 2 1 7. ®'tf fcf not the work be too much enrich' d with Gold or Jewels, &c. Clemens Alexandrinm relates,

Lib.2.P*dag. That Apelles having feen a Helena, which a young Scholar of his had made and adorn d with a great quan- tity of Golden Ornaments and Jewels, Jaid to him, My good Friend, though thou couldfl not make her beauti- ful!, at leaf thou hafl made her rich. Befides that, theie glittering things in Painting , as precious Stones prodigally ftrew'd over the habits are de- ftructive to each other, becaufe they draw the Sight to feveral places at the fame time, and that

they

Art of fainting. 14.5

they hinder round Bodies from turning and ma- king their due effect $ 'tis the very quantity which often makes us judge that they are falfe. And be- fides it is to be prefum'd, that precious things are always rare. Corinna, that learned TJieban Lady, plutarch# reproached Pindar, whom flie had five times overcome in Poetry, that he fcatter'd through all his works the Flowers of pamaffus too pro- digally, faying to him, That men fow'd with the Hani, and not with the Sack : for which reafon a Painter ought to adorn his Veftments with great difcretion. And precious Stones look exceed- ingly well, when they are fet in thofe places which we would make to come out of the Picture ; as for example, on a Shoulder, or an Arm to tie fome Drapery, which of it felf is of no ftrong co- louring. They do alfo perfectly well with white and other light Colours, which are us'd in bring- ing the Parts or Bodies forward, becaufe Jewels make a mow and glitter through the oppofition of the great Lights in the deep brown, which meet together.

"Ttf Very expedient to make a model of thofe things ^ which we haVe not in our Sight, and whofe nature is difficult to be retain d in the Memory, See. As for example, the Grouppes of many Figures, the Po- ftures difficult to be lona kept , the Figures in

U the

220.

tA& Observations on the

the Air, in Ceilings, or much rais'd above the Sight 5 and even of Animals, which are not ea- fily to be difpos'd.

By this rule we plainly fee how neceffary it is for a Painter to know how to modely and to have many Models of foft Wax. 5W Veroneje had fo good ftore of them, with fo great a quantity of different forts, that he would paint a whole hiftori- cal Compofition on a perfpective Plan, how great and how diverfified foever it were. Ttnto- ret practised the fame, and Michael Angela (as GioVan. (Baft. Armerimi relates) made ufe of it, for all the Figures of his day of Judgment. 'Tis not that I would advife any one who would make any very considerable work, to finifli after thefe forts of Models, but they will be of vaft ufe and advantage to fee the Mafles of great Lights, and great Shadows, and the effect of the whole together. For what remains, you are to have a * -a Figure * Layman almoft as big as the life, for every wade of wood p m particular befides the natural Figure

or corkj turn- D L ' D

wgupotj joints, before you, on which you muft alfo look, and call it for a witnefs, which muft firft confirm the thing to you, and afterwards to the Spectators as it is in reality.

u: You may make ufe of thefe Models with de-

light, ifyoufetthem on a (Perfpecltte (plan, which

will

Art of Painting. 14,7

will be in the manner of a Table made on purpofe. You may either raife or let it down according to your convenience ; and if you look on your Fi- gures through a hole fo contrived, that it may be mov'd up and down, it will ferve you for a point of Sight and a point of Diftance, when you have once hVd it.

The fame hole will further ferve you to fet your Figures in the Ceiling and difpos'd upon a Grate of Iron-wire, or fupported in the Air by little Strings rais'd at difcretion, or by both ways together.

You may joyn to your Figures what you fee fitting, provided that the whole be proportion^ to them ; and in fhort what you your felf may judge to be of no greater bignefs than theirs. Thus, in whatfoever you do there will be more of truth feen, your work it felf will give you infinite de- light, and you will avoid many doubts and dif- ficulties which often hinder you, and chiefly for what relates to lineal perfpe£live> which you will there infallibly find, provided that you remember to proportion all things to the greatnefs of your Figures and efpecially the points of Sight and of Diftance ; but for what belongs to aerial perfpe- ftiVe, that not being found, the judgment muft fupply it. Tmtoret, as ^idolpbi tells us in his life,

U 2 had

I48 Objervations on the

had made Chambers of Board and Pad board, proportion d to his Models with Doors and Win- dows, through which he diftnbuted on his Fi- gures artificial Lights, as much as he thought reafonable, and often pafs'd fome part of the night to confider and obferve the effect of his Compe- titions. His Models were of two Foot high.

^[221. We are to confider the places where we lay the Scene of the Picture, &c. This is what Monfieur de Chambray, calls, to do things according to Decorum. See what he fays of it, in the Interpretation of that word in his Book of the Perfection of Painting. 'Tis not fufficient that in the Picture there be nothing found which is contrary to the place, where the action which is reprefented, pafles j but we ought befides, to mark out the place and make it known to the Spectator by fome particular Addrefs, that his mind may not be put to the pains of difcovering it, as whether it be Italy, ox Spain, or Greece, or France -y whether it be near the Sea fhore, or the Banks of fome River, whether it be the P(hine, or the Loyre 5 the To, or the Tyber ; and fo of other things, if they are eflential to the Hiftory. " Kealces, a man of Wit and an inge-

Lib.25.12. a nious Painter, as Pliny tells us, being to paint a " NaVal Fight betwixt the Egyptians and the Per- " fians, and being willing to make it known that the

" Battle

Art of V aiming. 1 49

" Battle was given upon the Nile, whofe waters are " ofthefayne Colour with the Sea, drew an Afs drink- " ing on the Banks of the (%iyer> and a Crocodile en- " deaVourhg to furpri^e him.

Let a Noblenefs and Grace, &c. It is difficult ^[222. enough to fay what this Grace of fainting is $ 'tis to be conceiv'd and underftood much more eafi- ly than to be explain d by words. It proceeds from the illuminations of an excellent Mind, which cannot be acquired, by which we give a certain turn to things which makes them pleafing. A Figure may be defignd with all its proporti- ons, and have all its parts regular, which not- withstanding all this, fhall not be pleafing, if all thofe parts are not put together in a certain manner, which attracts the Eye to them, and holds it nVd upon them : For which reafon there is a difference to be made betwixt Grace and Beauty. And it feems that OVid had a mind to diftinguiih them, when he faid (Ipeaking ot \ Venus)

Midtaque cum forma gratia mijia fuit,-

A matchlefs Grace was with bey "Beauty niix'd. '.

And Suetonius Speaking of Nero, fays, he was raiher beautlfull than graceful!. Vidiu pulchro,-

mavis '**

i fo Ohfervations on the

magis qnam Vennfto. How many fair women do we Tee, who plgafe us much lefs than others, who have not fuch beautifull Features ? 'Tis by this grace that Raphael has made himfeli the moll re- nown'd of all the Italians, as Apelles by the fame means carry'd it above all the Greeks,

222. This is that in which the greatejl difficulty conjifls, &c. For two reafons, both becaufe great ftudy is to be made as well upon the ancient Beauties and on noble Pictures, as upon nature it (elf: and alfo becaufe that part depends entirely on the Ge- nius, and feems to be purely the gift of Heaven, which we have receiv'd at our Birth, upon which account our Author adds, Undoubtedly we fee but few, whom in this particular, Jupiter has regarded with a gracious Eye, fo that it belongs only to thofe elevated Souls, who partake jomewhat of Divinity to work fuch mighty wonders. Though they who have not altogether receiv'd from Heaven this pre- cious Gift, cannot acquire it without great La- bour, neverthelefs 'tis needfull in my opinion, that both the one and the other mould perfectly learn the character of every Pa/Ifon.

All the Actions of the fenfitiVe Appetite are in Painting call'd Taffions, becaufe the Soul is agi- tated by them, and becaufe the Body fuffers through them, and is fenfibly alter'd. They are

«* thofe

Art of ¥ dinting. ftg>

thofe clivers Agitations and different Motions of the Body in general, and of every one of its parts in particular, that our excellent Painter ought to underftand, on which he ought to make his flu- dy, and to form to himfelfa perfect Idea of them. But it will be proper for us to know in the firft place, that the Philofophers admit eleven, LoVe, Hatred, Dejire , Shunning, Joy, Sadnefs , Hope, Defpair, Boldnefs, Fear and Anger. The Painters have multiply'd them not onely by their different Degrees, but alfo by their different Species, for they will make, for example, fix perfons in the fame degree of Fear, who mail exprefs that Paf- fion all of them differently. And 'tis that diver- fity of Species which diftinguiflies thofe Painters who are able Artifls , from thofe whom we may call Mannerijls, and who repeat five or fix times over in the fame Picture the fame Hairs of a Head. There are a vafl: number of other Pa/fions, which are as the Branches of thofe which we have nam'd : we might for example, under the Notion of Love, comprehend Grace, Gentle- nefs and Civility 5 Carejfes, Embraces, and Kjffes, Tranquillity and Sweetnefs 3 and without exami- ning whether all thefe things which Painters com- prize under the name of Taffions, can be reduc'd to thofe of the Philofophers 3 I am of opinion that

every

152 Obfer vat ions on the

every one may ufe them at his pleafure, and that he may ftudy them after his own manner j the name makes nothing. One may even makePaf- fions of Majefiy, fercenefs, Vijfatisfaclion, Care, J- Vance, Sloatbfulnefs, EnVy, and many other things like tbefe. Thefe Tajpons (as I havefaid,) ought to be learnt from the life it felf, or to be ftudied on the Ancient Statues and excellent (Piblures : we ought to fee, for example, all things which belong to Sadnefs^ or ferve to exprefs it to defign them carefully, and to imprint in our Memories after fuch a manner, as we may diftinctly underftand feven or eight kinds of them more or lefs, and im- mediately after draw them upon Paper without any other Original than the Image which we have conceived of them. We muft be perfect Mafters of them: but above all, we muft make fure of pof- feffing them throughly. We are to know that it is fuch or fuch a ftroke, or fuch a Shadow ftronger or weaker7 which make fuch or fuch a Taffion in this or that degree. And thus, if any one fhould ask you, what makes in Painting the Majefiy of a i\ing, the Gravity of a Hero, the LoVe of a Cbrijl, the Grief of a Madonna, the Hope of the good Thief, the Defpair of the bad One, the Grace and 'Beauty of a Venus, and in fine the Char abler of any Taffion whatfoever, you may anfwer pofi-

tiVely,

Art of Painting. 153

rively, on the fpot, and with aflurance, that it is fuch a Toftureov fuch lines in the parts of the Face, for rn'd of fuel? or fuch a fafhion, or even the one and the other both together : for the parts of the Body feparately, make known the Taffions of the Soul or elfe conjoyntly one with the other. But of all the parts the Head is that which gives the mod of Life, and the moft of Grace to the (pajfion, and which alone contributes more to it, than all the reft together. The others feparately can onely exprefs fome certain (paffions, but the Head expreffes all of them ; neverthelefs there are fome which are more particular to it j as, for ex- ample, Humility, which it exprefles by the ftoop- ing or bending of the Head. Arrogance, when ic is lifted, or as we fay, tofs'd up. Languifhment7 w7hen we hang it on one fide, or lean it upon one Shoulder. Obftinacy (or as the French calls it 0- piniatrete,) with a certain ftubborn, unruly, bar- barous Humour, when 'tis held upright, ftiff, and poiz'd betwixt the Shoulders. And of the reft, there are many marks more eafily conceived than they can beexprefs'd; as, Bafofulnefs, Admiration, Indignation, and Doubt. "Tis by the Head that we make known more vifibly our Supplications, our Threatnings, our Mildnefs, our Haughtinefs, our LoVe, our Hatred, our joy, our Sadnefs, our

X Humi-

1 5 m Ohfervations on the

Humility ; in fine, ' c is enough to fee the Face, and to underftand the Mind at half a word, fclufking and Taknefs fpeak to us, as alfo the mixture of them both.

The parts of the Face do all of them contri- bute to expofe the Thoughts of our Hearts 3 but above the reft, the Eyes, which are as k were the two Windows through which the Scul looks out and fhows it lelf. The Taffiom which they more particularly exprefs, are (pleafure, LanguiJ)?- ment, V.fdain, Severity, Sweetnefs, Admiration and Anger. Joy and Sadnefs may bear their parts, if they did not more efpecially proceed from the Eyebrows and the Mouth. And the two parts laft nam'd agree more particularly in the expref- fion of thofe two ^affions ; neverthelefs if you joyn the Eyes as a third, you will have the Product of a wonderfull Harmony for all the TaJJions of the Soul.

The Nofe has no Paffion which is particular to it, it onely lends its afiiftance to the others before nam'd, by the ftretching of the Noflrils, w hich is as much mark'd in Joy, as it is in Sad- nejs. And yet it feems that Scorn makes us wrin- kle up the Nofe and ftretch the Noftrils alfo, at the fame time, drawing up the upper Lip to the place which is near the corners of the Month. The

Ancients

Art of Painting. 155

Ancient s made the Nofe the feat of Derifion- eum fubdoU imjioni dicaVerunt, lays P/mj/3 that is, they dedicated the Nofe to a cunning fort of Mockery. We read in the 3 d. Satyre of Terfius, Difce, fed ira cadat Nafoy rugojaquefanna ; Learn, but let your Anger fall from your Nofe and the fneering Wrinkles be difmounted. And Thiloflratus in the Picture of Tan whom the Nymphs had bound, and fcornfully infulted over, fays of that God j " that before this, he was accuftomd to flee]) with u a peaceable Nofe, foftning in his flumbers the " Wrinkles of it, and the Anger which commonly " mounted to that part 5 but now his Noftrils were " widen d to the laft degree of Fury, For my own part, I mould rather believe that the Nofe was the feat of Wrath in Beafts than in Mankind, and that it was unbecoming of any God but onely Tan, who had very much of the Bead in him, to wrinkle up his Nofe in Anger, like other Ani- mals. The moving of the Lips ought to be but moderate, if it be in ConVerfation , becaufe we fpeak much more by the Tongue than by the Lips : And if you make the Mouth very open, 'tis one- ly when you are to exprefs the violence of Tajfion, and more properly of Anger.

For what concerns the Hands, they are the Ser- vants of the Head, they are his Weapons and his

X 2 Auxili-

I 56 Objervations on the

Auxiliaries ; without them the action is weak, languifhing, and half dead, their Motions which are almoft infinite, make innumerable expreffi- ons : Is it not by them, that we dejire, that we hope, that we promife, that we call towards us, and that we rejetl f befides, they are the instruments of our Threats, of our Petitions, of the Horror which we fliow for things, and of the Praifes which we give them : By them we fear, we ask. Quefiions, we approve, and we refufe, we (how our Joy and our Sadnefs, our Doubts, and our Lamentations, our Concernments of Pity, and our Admirations. In flhort, it may be faid, that they are the Language of the Dumb, that they contri- bute not a little to the fpeaking of the univerfal Tongue, common to all the World, which is that of Painting.

Now to tell you how thefe parts are to be dif pos'd, fo as to exprefs the different Paffions, is im- poffiblej no precife (Rules can be given of it, both becaufe the task it felf is infinite, and alfo be^ caufe every one is left to the Conduct of his own Genius, and to the Fruit of his former Studies $ onely remember to be carefull, that all the acti- ons of your Figures muft be natural. " It feems " to me, fays Quintlilian, fpeaking of the paffions, " Tliat this fart which is fo noble and fo great, is

" not

Art of Fainting. j 57

" not altogether unaccefflhle, and that an eafie way " may be found to it ; 'tis to confider nature and to " copy bery for the Spectators are fatisfedy when in " artificial things they can difcern that nature which " they are accuflomd to behold. This paflage of Oumtlilian is perfectly explain' d by the words of an excellent Mafter which our Author propofes to us for a rule: they are thefe which follow. Tliat the fludied Motions of the Soul, are neVer fo natural 06 thofe which we fee in the tranfport of a true pajjion. Thefe Motions will better be exprefs'd, and be much more natural, if we enter into the fame thoughts, become of the fame piece, and imagine our felves to be in the fame circumftances with thofe whom we would reprefent. " For Naturey Ci fays Horace in his Art of Poetry, difpofes the in- " fide of Mankind to all forts of Fortunes, fometimes " fbe makes us contented, fometimes fhe drives us in- " to Choler, and fometimes fhe fo opprejfes us with cc Grief y that fhe feems to tread us down and plunge us " into mortal Anxieties ; and on all thefe occajions, " fhe drives outwards the Motions of the Heart by " the Tongue which is her Interpreter. Now in- (lead of the Tongue y let the Painter fay by the A&i- onsy which are her Interpreters. " What means have we, (fays Quinclilian>) to give a Colour to a a thing if we haVe not the fame Colour j 'tis ne-

" cejfary

a

Qhfervations on the

a cejfary that we our febes fhovdd fir/i he touch' d u with a tPaJfion before we endeavour to mo'Ve others u with it. And how , continues he, can we he u touch dy fnce the Tajions are not m our power ? " This is the way in my opinion ; We mujl form to our a felves theVifions and Images of ahfent things , as if " they were tn reality before our Eyes ; and he who u conceives thefe Images with the greateft ftrength of " Imagination, fliall poffefs that part of the (pajjions " with the mofi advantage and the greateft eafe. But we muft take care, as I have already faid, that in thefe vifions, the Motions may be natural, for there are fome who imagine they have given abun- dance of Light to their Figures, when they have made them do Violent and extravagant AElions, which we may more reafonably call the ConVulfi- ons or Contorjions of the <Body, than the Paffions of theMind^ and by this means often put themfelves to much pains, to find a ftrong Paffion, where no Paflion is requir'd. Add to all that I have faid concerning the Paffions, that we are to have a very fcrious regard to the quality of the Perfons who are to be exprefs'd in Taffions. The Joy of a IQng ought not to refemble that of a SerVmg-man. And the Fiercenefs of a private Soldier muft not be like that of an Officer. In thefe differences con- fifts all the Finenefs and Delicacy of the ^affions.

'<Paulo

Art of V ainting. I 5 ^

^Pernio Lomazgp has written at large on every tpajjion in particular, in his jecond 'Book-, but be- ware you dwell not too long upon it, and endea- vour not to force your Genius.

Some ^cliques of it took SanBuary under ground, AT 247. Sec. All the ancient Painting that was in Italy periin'd in the lnvaiion of the Hunns and Coths? excepting thofe works which were hidden under ground or there painted, which by reafon they had not been much expos' d to view , were pre- ferv'd from the infolence of thofe barbarians.

The Cromatique part or Colouring, Sec. The ^[ 2J6\ third and laft part of Painting, is call'd the Cro- maiique or Colouring. Its object is Colour, for which reafon, Lights and Shadows are therein al- fo comprehended, which are nothing elfe but white and brown (or dark,) and by confecjuence have their place among the Colours. tpbiloflratus fays in his life of Apolloniws, " That it may be truly " call'd habiting which is made only with two Colours, " provided the Lights and Shadows be obferVdin it: for " there we behold the true refemblance of things with " their Beauties ; we alfo fee the (Pajffions, though a without other Colours : fo much of life may be alfo " exprefd in it, that we may perceive even the Very " Bloud: the Colour of the Hair and of the Beard, " are likewije to be difcernd, and we can diflinguifh

" without

u It

a

160 Observations on the

without confufion, the fair from the black, and the young from the old , the differences betwixt the white and the flaxen hair > we dijiinguifl? witheafe betwixt " the Moors and the Indians ; not onely by the Ca- " mus Nofes of the Blacks, their woolly Hair and " their high Jam, butalfoby that black Colour which " is natural to them. We may add to what Tin* loflratus has faid, that with two onely Colours, the Light and the Dark, there is no fort of Stuff or Habit but may be imitated 3 we fay then, that the colouring makes its obfervations on the Maffes or Bodies of the Colours, accompany'd with Lights and Shadows more or lefs evident by degrees of diminution, according to the Acci- dents. Firft of a luminous Body $ as for exam- ple, the Sun or a Torch. Secondly, of a diapha- nous or tranfparent Body, which is betwixt us and the object, as the Air either pure or thick, or a red Glafs, Sec. Thirdly, of a folid Body illu- minated, as a Statue of white Marble, a green Tree, a black Horfe, &c. Fourthly, from his part, who regards the Body illuminated, as be- holding it either near or at a diftance, directly in a right Angle, or afide in an obtufe Angle, from the top to the bottom, or from the bottom to the top. This part in the knowledge which it has of the vertue of Colours, and the Friendship

which

Art of Painting. 161

which they have with each other, and alfo their Antipathies, it comprehends the Strength, the Re- lievo, the Brisknefs, and the Delicacy which are ol> ferv'd in good Pictures, the management of Colours, and the labour depend alfo on this laft part.

Her Sifter ', &c. That is to fay, the Defign or $r 20% Drawing, which is the fecond part of Tainting -, which confiding onely of Lines, ftands altoge- ther in need of the Colouring to appear. ?Tis for this realon, that our Author calls this part her Si- fters (procurer, that is, the Colouring fhows us the Defign, and makes us fall in love with it.

The Light produces all kinds of Colours, Sec. Here <j[ 267. are three Tlmrems fuccelfively following, which our Author propofes to us, that from thence we may draw iome conclufions. You may like- wife find others, which are in the nature of fo ma- ny Propofitions to which we ought to agree, that from thence we may draw the Precepts contain'd in the following part of this Treatije ; they are all founded on the Senie of Seeing,

Which ought to be the moft, Sec. See the Remark % 2 So. of number 152. •

That you may make the Bodies appear enlightned ^["282. by the Jhadows which bound your Sight, Sec. That is properly to fay, that after the great Lights, there mufl be great Shadows, which we call repofes.:

Y becaufe

i6i Oifervations on the

becaufe in reality the Sight would be tired, if it were attracted by a Continuity of glittering ob- jects. The Lights may ferve for a repole to the Darks, and the Darks to the Lights. I have faid in another place, that a Grouppe of Figures ought to be confider'd, as a Choir of Mujick, in which the Safes fupport the Trebles, and make them to be heard with greater pleafure. Thefe repofes are made two feveral ways, one of which is Natural, the other Artificial The Natural is made by an extent of Lights or of Shadows ; which naturally and neceflarily follow folid Bodies, or the MafTes of folid Bodies aggroupp'd when the Light ftrikes upon them. And the Artificial confifts in the Bo- dies of Colours, which the Painter gives to cer- tain things, fuch as pleafes him j and compofes them in inch a manner, that they do no injury to the objects which are near them. A Drapery, for example, which is made yellow or red on fome certain place, in another place may be brown, and will be more fuitable to it, to pro- duce the effect recjuir'd. We are to take occa- fion as much as poffibly we can, to make life of the firft manner, and to find the repofe of which we fpeak, by the Light and by the Shadow, which naturally accompany folid Bodies. But fince the Subjects on which we work arc not al- ways

Art of Paint t ng. 163

ways favourable to difpofe the Bodies as we de- fire, a Painter in fuch a cafe may take his advan- tage by the Bodies of Colours, and put into fuch places as ought to be darken d , Draperies or o- ther things which we may iuppofe to be natural- ly brown and fully'd, which will produce the fame effect and give him the fame repofes as the Shadows would which could not becaus'd by the difpofition of the objects.

Thus, an underftanding Painter will make his advantages both of the one manner and the other. And if he makes a defign to be grav'd, he is to remember that the Gravers diipofe not their Co- lours as the Painters do $ and that by confequence he muft take occafion to find the reafon of his T>ejtgny in the natural Shadows of the Figures, which he has difpos'd to caufe the effect. <%ti- bens has given us a full information of this in thofe prints of his which he caus'd tobeengrav'd 3 and I believe that nothing was ever feen more beau- tifull in that kind: the whole knowledge of Grouppes, of the Lights and Shadows, and of thofe Maffes w'hich Titian calls a (Bunch of Grapes, is there expos' d io clearly to the Sight, that the view of thofe Prints and the careful! obfervation of them, might very much contribute to the forming of an able Painter. The beft and faireft

Y 2 of

1 64. Observations on the

of them are graven by VorJlerman} ^ontlm , and BoljVert, all of them admirable GraVers, whofe • works d^ibens himfelf took care to overiee, and which without doubt you will find to be excel- lent if you examine them. But expect not there the Elegance of Vejign, nor the Correclnejs of the Out -lines.

'Tis not but the Gravers can, and ought to imitate the Bodies of the Colours by the degrees of the Lights and Shadows, as much as they {hall judge that this imitation may produce a good ef- fect : on the contrary, 'tis impoftible in my opi- nion to give much ftrength to what they grave, after the works of the School, and of all thofe who have had the knowledge of Colours and of the Contraft of the Lights and Shadows, without imitating in fome fort the Colour of the Objects, according to the relation which they have to the degrees of white and black. We fee certain Prints of good Gravers different in their kinds, where thele things are obleiVd, and which have a won- derfull ftrength. And there appears in publick of late years, a Gallery of Arch- duke Leopold , which though very ill graven, yet mows iome part of the Beauty of its Originals, becaufe the Gravers who have executed it, though otherwife they were fufficiently ignorant, have obferv'd in

aim oft

Art of rainting. 165

almoft the greateft parts of their Prints, the Bo- . dies of Colours in the relation which they have to the degrees of the Lights and Shadows. I could wifh the Gravers would make iome reflecti- on upon this whole (Remark, 'tis of wonderful! confluence to them ; for when they have at- tain'd to the knowledge of thefe repofes, they will eafily refolve thofe difficulties which many times perplex them : And then chiefl v when they are to engrave after a Picture, where neither the Lights and Shadows, nor the Bodies of the Colours are skilfully obferv'd, though in its o- ther parts the Picture may be well perform'd.

In the fame manner as we behold it in a CoriVex AT 280V Mirror, Sec. A Convex Mirror alters the objects w hich are in the middle, fo that it feems to make them come out from the Superficies. The Pain- ter muft do in the fame manner in refpect of the Lights and Shadows of his Figures, to give them more Relievo and more Strength.

And let thofe which turn he of broken Colours, as gr 290. being lefs dijlinguifh' d and nearer to the borders, &c. 'Tis the duty of a Painter, even in this alfo, to imitate the Convex Mirror, and to place nothing which glares either in Colour or in Light at the borders of his Picture ; for which, there are two reafons, the firft is, that the Eye at the firft view

directs

Observations on the

directs it felf to the midft of the object, which is prefented to \t^ and by confcquence, muft there neceffarily find the principal object, in order to its fatisfaction. And the other reafon is, that the fides or borders being overcharg'd with a ftrong and glittering work attract the Eyes thither, which are in a kind of Pain, not to behold a continuity of that work, which is on the fudden interrupted, by the borders of the Picture ; inftead of which the borders being lighten'd and eas'd of fo much work, the Eye continues fixt on the Center of the Picture, and beholds it with greater pleafure. 'Tis for the fame reafon, that in a great compofition of Figures, thofe which coming moft forward, are cut off by the bottom of the Picture, will al- ways make an ill effect. 1T 329* A bunch of Grapes, &c. 'Tis fufficiently ma- nifeft, that Titian by this judicious and familiar comparifon, means that a Painter ought to col- lect the objects, and to difpofe them in fuch a manner, as to compofe one whole ; the feveral contiguous parts of which, may be enlighten d ; many fliadow'd and others of broken Colours to be in the turnings, as on a Bunch of Grapes, ma- ny Grapes, which are the parts of it, are in the Light, many in the Shadow, and the ;**&&intly coloured to make them go farther ba** Titian

once

Art of Painting. 1^7

once told Tintoret, That in his greatefl works, a Bunch of Grapes had been his principal rule and\his fu- reft guide.

Pure or unmix d white, either draws an cbjeEl 1|[" 220. nearer or carries it off to farther diflance. It draws it nearer with black, and throws it backward without it, &c. All agree thac white can fubfift on the fore- ground of the Picture, and there be us'd without mixture ; the cjueftion therefore is to know, if it can equally fubfift and be plac'd in the fame manner, upon that which is backward, the Light being univerfal and the Figures ftippos'd in a Campaign and open Field.

Our Author concludes affirmatively, and the reafon on which he eftablifhes his rule is this, Thac there being nothing which partakes more of the Light than Whitenefs, and the Light being capa- ble of fubfifting well in remotenefs (or at a long diflance, as we daily fee in the rifing and fetting of the Sun) it follows that white may fubfift in the fame manner. In Painting, the Light and a white Colour are but one and the fame thing. Add to this, that we have no Colour, which more refembles the Air than white, and by con- fequence no Colour which is lighter, from whence it comes that we commonly fay, the Air is hea- vy, when we fee the Heavens cover'd with black

Clouds,

1 63 Observations on the

Clouds, or vi hen a thick fog takes from us that clearneis, which makes the Lightncis or Serenity of the Air. Titian, Tmtoret, (Paul Veromfe, and ail thofe who bed underftood Lights, have ob- ierv'd it in this manner, and no man can go a- gainft this Precept, at leaft without renouncing any skill in Landcfchape, which is an undoubted confirmation of this truth. And we fee that all the great Maftcrs of Landt [chape, have followed Titian in this, who has always employed brown and earthly Colours upon the fore-part, and has referv'd his greateft Lights for remoteneffes and the back parts of his Landt f chapes.

It may be objected againft this opinion, that white cannot maintain it ielf in remoteneffes, be- caufe it is ordinarily us'd to bring the Obje&s nearer, on the advanced part. 'Tis true, that fo it is us'd, and that to very good purpofe, to ren- der the Objects more fenfible, by the oppofition of the Dark, which muft accompany it; and which retains it, as it w ere by force, whether the Dark ierves it for a ground, or whether it be combin'd to it. For example, If you wou'd make a white Horje on the fore- ground of your Picture, 'tis ofabfolute Neceffity, that the ground muft be of a mixt brown, and large enough, or that the Furniture muft be of very fenfible Colours 3 or

laftly,

Art of fainting. 169

laftly, that fome Figure mud be fee upon it whofe Shadows and the Colour may bring it for- ward.

But it feems (fay you) that blue is the raoft flying or tranfient Colour, becaufe the Heavens and Mountains, which are at the greateft diftance, are of that Colour. 'Tis very true that blue is one of the lighted and fweeteft Colours: But it is al- io true, that it polTelTes theie qualities fo much the more, becaufe the white is mingled in it, as the example of the diftances demonftrate to us. But if the Light of your Picture be not univerfal, and that you fuppofe your Figures in a Chamber, then recall to your Memory that Theorem which tells you that the nearer a Body is to the Light, and the more directly 'tis opposd to us, fo much the more it is enlighten'd, becaufe the Light grows languifliing, the farther it removes from its original.

You may alfo extinguish your white, if you fuppofe the Air to be fomewhat thicker, and if youforefee that this fuppofition will make a good effect in the Oeconomy of the whole work j but let not this proceed fo far, as to make your Fi- gures fo brown, that they may feem as it were in a filthy Fog, or that they may appear to be partofthe ground. Seethe following Remark.

Z Sut

170 Ohfervntions on the

C 222. ®wt as for pure blacky there is nothing that brings the ObjeH nearer to the Sight , 6c c. Becaufe black is the heavieft of all Colours, the moft earthly, and the moft fenfible. This is clearly underftood by the qualities of white which is oppos'd to it, and which is, as we have faid, the lighted of all Colours. There are few who are not of this opi- nion j and yet I have known fome, who have told me, that the black being on the advanc d part, makes nothing but holes. To this there is little elfe to be aniwer'd, but that black always makes a good effect, being fet forward, provi- ded it be plac'd there with Prudence. You are therefore fo to difpofe the Bodies of your Pictures which you intend to be on rhe fore-ground, that thofe forts of holes may not be perceived, and that the blacks may be there by Mafles, and in- (enfibly confusM See the 47^/;. Rule.

That which gives the Relievo to a Bowl, (may Jbmefay to me) is the quick Light, or the white, which appears to be on the fide, which is near- eft to us, and the black by confequence diftances the Object: : we are here to beware, not to con- found the turnings with the diftances: the quefti- on is onely in refpect of Bodies, which are fepa- rated by fome diftance of a backward Pofition, and not of round Bodies, which are of the fame

Con-

Art of "Painting. 1 7 1

Continuity: the brown which is mingled in the turnings of the So»/, makes them go off, rather in confounding them, as we may fay, than in blackning them. And do you not fee, that the reflects are an Artifice of the Painter, to make the turnings feem more Light, and that by this means the greateft blacknefs remains towards the middle of the So»/, to fuftain the white, and make it deceive us with more pleafure.

This (fink of White and (Black is of fo great con- ference, that unlefs it be exactly practis'd, 'tis impoflible for a Picture to make any great effect, that the Maffes can be difentangTd, and the dif- ferent diftances may be obferv'd at the firft Glance of the Eye without trouble.

It may be inferred from this Trecept, that the Maffes of other Colours, will be fo much the more fenfible, and approach fo much the nearer to the Sight the more brown they bear ; provi- ded this be amongft other Colours which are of the fame Species. For example, A yellow brown fliall draw nearer to the Sight, rhan another which is lefs yellow. I faid provided it be a- mongit other Colours, which are of the fame Species, becaufe there are fimple Colours, which naturally are ftrong and fenfible, though they are clear, as Vermillion; there are others alio,

Z 2 which

172 Objervations on the

which notwithftanding that they are brown, yet ceafe not to be foft and faint, as the blue of Ul- tramarine. The effect of a Picture comes not one- ly therefore from the Lights and Shadows, but alfo from the nature of the Colours. I thought it was not from the purpofe in this place to give you the qualities of thofe Colours which are mod in ufe, and which are call 'd Capital, becaufe they ferve to make the compofition of all the reft, whofe number is almoft infinite.

&(ed Oker is one of the moft heavy Colours.

Yellow Oker is not fo heavy, becaufe 'tis clearer.

And the Mafticot is very Light, becaufe it is a very clear yellow, and very near to white.

Ultramarine or A%u>'£> is very light and a very fweet Colour.

Vermillion is wholly oppofite to Ultramarine.

Lake is a middle Colour betwixt Ultramarine and Vermillion, yet it is rather more fweec than harfli.

Brown <%ed is one of the moft earthy and moft fenfible Colours.

Thick is in its nature an indifferent Colour, (that is) very fufceptible of the other Colours by the mixture : if you mix brown-red with it, you will make it a very earthy Colour j but on the contrary, if you joyn it with white or blue, you

fhall

Art of Painting. 173

fliall have one of the mod faint and tender Co- lours.

TerreVerte (or green Earth) i$ light; 'tis a mean betwixt yellow Oker and Ultramarine.

Umbre is very fenfible and earthy ; there is no- thing but pun black which can difpute with it.

Of all Blacks, that is the mod earchly, which is moft remote from Blue. According to the Principle which we have eftablifli'd of white and blacky you will make every one of theie Colours before-narn d more earthy and more heavy, the more black you mingle with them, and they will be light the more white you joyn with them.

For what concerns broken or compound Colours, we are to make a judgment of their ftrength by the - Force of thofe Colours which compole them. All who have thoroughly underftood the agreement of Colours, have not employed them wholly pure and fimple in their Draperies, unlefs in fome Fi- gure upon the fore-ground of the Picture; but they have us'd broken and compound Colours, of which they made a Harmony for the Eyes, by mixing thofe which have fome kind of Sympathy with each other, to make a Whole, which has an Union with the Colours which are neighbouring to it. The Painter who perfectly underftands the force and power of his Colours, will ufe them moll: fuitably

to

174- Obfervations on the

to his prefent purpofe, and according to his own Difcretion.

% 355. But let this be done relatively, &c. One Body muft make another Body fly off in fuch a man- ner that it felf may be chas'd by thofe Bodies which are advanc'd before it. " We are to take " care and ufe great attention, fays Quinctilian, not " onely of one jeparate thing, but of many which fol- Cc low each other : and by a certain relation which they <c haVe with each other, are a* it were continued in the €C fame manner, a* if in a fir aght Street, wee aft our <£ Eyes from one end of it to the other , we difcoVer cc at once thofe different things which are frefented to cc the Sight, fo that we not onely fee the lafl, but cc whatfoeVer is relating to the lafl,

if 5 <S j^, Let two contrary extremities never touch each 0- ther, &c. The Senfe of feeing has this in com- mon with all the reft of the Senfes, that it ab- horrs the contrary Extremities. And in the fame manner as our hands, when they are very cold feel a grievous pain, when on the fudden we hold them near the Fire, fo the Eyes which find an extreme white, next to an extreme black, or a fair cool Azure next to a hot Vermillion, cannot behold thefe extremities without Pain, though they are always attra&ed by the Glareing of two contraries.

This

Art of Fainting: 17 5

This rule obliges us to know thofe Colours which have a Friendfliip with each other, and thole which are incompatible, which we may cafily difcover in mixing together thofe Colours of which we would make trial.

And if by this mixture, they make a gracious and fweet Colour, which is pleafing to the Sight, 'cis a Sign that there is an Union and a Sympathy betwixt them : but if, on the contrary, that Colour which is produced by the mixture of the two be harflh to the Sight, we are to conclude, that there k a Contrariety and Antipathy betwixt thefe two Colours. Green, for example, is a pleafing Colour, which may come from a blue and a. yellow mix'd to- gether, and by confluence £/we and yellow are two Colours which /ympathizg : and on the contrary, the mixture of Blue with Vermillion, produces a flharp, hard), and unpleafant Colour ; con- clude then that Blue and Vermillion are of a con» trary Nature. And the fame may be faid of o- ther Colours of which you make the experiment. And to clear that matter once for all, (fee the Conclufion of the 332^. (Remark, where I have taken occafion to fpeak of the force and quality of every Capital Colour,) yet you may neglect this Precept, when your Piece confifts but of one or two Figures, and when amongft a great number

you

I7-' ubjervations on the

you would make Tome one Figure more remark- able th<in the reft. One I fay, which is one of the moft confiderable of the Subject, which otherwife you cannot diftinguifh from the reft. Titian in his triumph ot Bacchus, having piac'd Ariadne on one of the Borders of the Picture, and not being able for that reafon to make her remarkable by the brightnefs of Light, which he was to keep in the middle of his Picture, gave her a Scarf of a Vermillion Colour, upon a blue Drapery, as well to loofen her from his ground, which was a blue Sea, as becaufe me is one of the principal Figures of his Subject, upon which he defir'd to attract the Eye. Paulo Veronefe, in his Marriage of Canaa, becaufe Cbrijl who is the principal Figure of the Subject , is cany d fomewhat into the depth of the Picture, and that he coud not make him diftinguifliable by the ftrength of the Lights and Shadows, has cloath'd him with Vermillion and Blue, thereby to conduct the Sight to that Fi- gure.

The hojlile Colours may be fo much the more ally'd to each other, the more you mix them with other Colours, which mutually fympathize 5 and which agree with thofe Colours, which you defire to reconcile.

'Tis

r

Art of Vaulting. 177

*Tis labour in "Vain to faint a High-noon, &c. ^ y6y He faid in another place, Endeavour after that which aids your Art, and is fuitable to it, and fhun whatfoever is repugnant : 'tis the 5 oth. Pre- cept. If the Painter wou'd arrive to the end he has propos'd, which is to deceive the fight, he muft make choice of fuch a Nature, as agrees with the weaknefs of his Colours ; becaufe his Colours cannot accommodate themfeives to every fort of Nature. This Rule is particularly to be obferv'd, and well confider'd, by thofe who paint Landt- febapes.

Let the Field or Ground of the (pitlure, See. The ^ 378, reafon of it is, that we are to avoid the meeting of thofe Colours, which have an Antipathy to each other, becaufe they offend the Sight, fothat this Rule is prov'd fufficiently by the 4 \ft. which tells us, that two contrary Extremities are never to touch each other, whether it be in Colour, or in Light, but that there ought to be a mean be- twixt them, which partakes of both.

Let your Colours be lively, and yet not look (accor- ff > % 2, Xing to the Painters (ProVerb) as tf they had been fprinkled with Meal, &c. Donner dans la farine, is a Phrafe amongft Painters, which perfectly ex- prefles what it means, which is to paint with dear, or bright Colours, and dull Colours to*

A a gether$

■

178 Obfervations on the

gether ; for being [o mingled, they give no more life to the Figures, than if they had been rubb'd with Meal. They who make their ficili Colours very white, and their Shadows grey or inclining to green, fali into this inconvenience. Red Co- lours in the Shadows of the moll delicate or finefl: Flefli, contribute wonderfully to make them live- ly, mining and natural ; but they are to be us'd with the fame difcretion, that Titian, Taul Vero- nefe, Rubens and Van pjck, have taught us by their example.

To preferve the Colours frefli, we mud paint by putting in more Colours, and not by rubbing them in, after they are once laid 3 and if it could be done, they fhould belaid juft in their proper places, and not be any more touch'd, when they are once fo placed ; it ivould be yet better, be- caufetheFreflinefs of the Colours is tarnifh'd and loft, by vexing them with the continual Drudge- ry of Daubing.

All they who have colour' d well, have had yet another Maxim to maintain their Colours frefli and flourishing, which was to make ufe of white Grounds, upon which they painted, and of- tentimes at the firft Stroke, without retouching any thing, and without employing new Colours.

^uhens

Art of r dinting. 17^

tfijikns always us'd this way $ and I have feen Pictures from die hand of that great Perfon paint- ed up at once, which were of a wonderfull Viva- city.

The reafon why they made ufe of thofe kind of Grounds, is, becaufe white as well preferves a Brightnefs, under the Tranfparency of Colours, which hinders the Air from altering the white- nefs of the Ground, as that it likewife repairs the injuries which they receive from the Air, fo that the Ground and the Colours affid and pre- ferve each other. ?Tis for this reafon that glaz'd Colours have a Vivacity which can never be imi- tated by the mod lively and mod brillant Co- lours, becaufe according to the common way, the different Teints are limply laid on each in its place one after another. So true it is, that white with other ftrong Colours, with which we paint at once that which we intend to glaze, are as it were, the Life, the Spirit, and the Ludre of it. The Ancients mod certainly have found, that white Grounds were much the bed, becaufe, not- withdanding that inconvenience , which their Eyes received from that Colour, yet they did not forbear the ufe of it ; as Galen tedifies in his tenth Book of the ufe of the parts. " Painters, fays he, " when they work upon their white Grounds, place he-

A a 2 " fore

1 So Objervations on the

CL fore them dark Colours, and others mixt with blue a and green, to recreate their Eyes, becaufe white is " aglareing Colour, which wearies and pains the Sight " more than any other. I know not the real on why the ufe of it is left off at prefent, if it be not that in our days there are few Painters who are curious in their Colouring, or that the fir ft' Strokes which are begun upon white, are not ieen loon enough, and that a more than French Patience is required to wait till it be accomplifh'd $ and the Ground, which by its whitenefs tarniflies the Lu- flre of the other Colours, muft be entirely cover'd t€> make the whole work appear pleafingly.

% 3^3* &** the parts which are near eft to us and mofl rais'd, See. The reafon of this is, that upon a flat fu- perficies, and as much united as a Cloth can be, when it is ftrain'd, the leaft Body is very appear- ing, and gives a heightning to the place which it poflefiTesj do not therefore load thofe places with Colours, which you would make to turn 5 but let thofe be well loaded, which you would have come out of the Canvafs.

tf[ r8j. Let there be fo much Harmony or Confent in the Maffcs of the (pitlures, that all the Jhadowings. may appear as if they were but one, &c. He has laid in another place, that after great Lights, great Sha- dows are neceffary, which he calls %epofes* What

ha

Art of r aiming. 16 1

he means by the prefent (fink is this, That whatio- ever is found in thofe great Shadows, fhould par- take of the Colours oi one another, fo that the different Colours which are well diftinguifh'd in the Lights feem to be but one in the Shadows, by their great Union.

Let the whole TiBure be made of one ^iece^ Sec. $T 3 g <5. That is to fay, of one and the lame Continuity of Work, and as if the Picture had been painted up all at once ; the Latin fays all of one Pallet.

77;e Looking- Glafs will inflrutt you, &c. The gr 287. Painter muft have a principal Refpect to the Maf- fo, and to the Effect of the whole together. The LooKing-Gltfs diftances the Objects, and by confe- rence gives us onely to fee the Maffes, in which ail the little parts are confounded. The Evening, when the Night approaches, will make you bet- ter underftand this obfervation , but not fo commodioufly, for the proper time to make it, lafts but a quarter of an hour, and the Looking- Glafs may be ufefull all the day.

Since the Mirror is the rule and Mafter of all Painters, asfliowing them their faults by diftan* cing the Objects, we may conclude that the Pi- cture which makes not a good effect at a diftance cannot be well done ; and a Painter muft never finifli his Picture, before he has examin d it at

fome

tffti uvjcrvations on we

fome reafonabie diftance, or with a Looking Glafs, whether the Maffes cf the Lights and Shadows, and the Bodies of the Colours be well diftribu- ted. Giorgione and Correggio have made ufe of this method . m 9 p 2 . As for a (portrait, or Pictures by the Life, Sec. The end of Portraits is not fo precifely as fome have imagined, to give a fmiling and pleafing Air together with the refemblance; this is indeed fomewhat, but not enough. It confifts in exprek fing the true temper of thofe perfons which it re- prefents, and to make known their P>hyfiognomy. If the Perfon whom you draw, for example, be na- turally fad, you are to beware of giving him any Gayety, which would always be a thing which is foreign to his Countenance. If he or fhe be merry, you are to make that good Humour appear by the exprefFing of thofe parts where it acts, and where it mows it felf. \i the Perfon be grave and majeftical, the Smiles or Laughing, which is too fenfible, will take off from that Majefty and make it look childifh and undecent. In fhort, the Painter, who has a good Genius muft make a true Difcernment of all thefe things, and if he un- der (lands Phyfiognoyny, it will be more eafie to him, and he will fucceed better than another. Pliny tells us, " TW Apelles made his Pitlures fo

" Very

Art of Painting. I g^

" "Very like, that a certain <Phyfiognomifl and Fortum- iC teller, (as it is related by Appion the Gramma- " rian) foretold by looking on them the Very time of " their Deaths, whom thofe <Piclures repre/ented, or " at what time their Death happen d, if fuch perfons " were already dead.

You are to paint the mojl tenderly that pofjlbly you fir 4 02. can, Sec. Not fo as to make your Colours die by force of tormenting them, but that you iliould mix them as haftily as you can, and not retouch the fame place, if conveniently you can avoid it.

Large Lights, Sec. 'Tis in vain to take pains fjf 40 ■?■•, if you cannot preferve large Lights, becauf© without them, your work will never make a good effecl: at a diftance ; and alfo becaufe lit- tle Lights are confus'd and effae'd, proportiona- bly, as you are at a diftance from the Picture. This was the perpetual Maxim of Correggio.

Ought to have fomewhat of Greatnefs in them, and *|[ 417, their Out- lines to be noble, Sec. As the Pieces of Antiquity will evidently flhow us.

There is itothing more pernicious to a Youth, Sic. ^[ 422* 'Tis common to place our felves under the Dif- cipline of a Majler of whom we have a good opi- nion, and whofe manner we are apt to embrace with eafe, which takes root more deeply in us,

and

$8-f Oifervations on the

and augments the more we fee him work, and the more we copy after him. This happens of- tentimes to that degree^ and makes fo great an ImpreiTion in the Mind of the Scholar, that he can- not give his approbation to any other manner whatsoever, and believes there is no man under the Cope of Heaven, who is fo knowing as his Majler.

But what is rnoft remarakble in this point is, that nature appears to us always like that manner which we love, and in which we have been taught, which is juft like a Glafs through which we behold Objects, and which communicates its Colour to them without our perceiving it. After I have faid this, you may fee of what confequence is the choice of a good Majler, and of following in our beginning the manner of thofe who have come neareft to Nature. And how much injury do you think have the ill manners which have been in France j done to the Painters of that Nation, and what hindrance have they been to the knowledge of what is well done, or of arriving to what is To when once we know it. The Italians fay to thofe whom they fee infected with an ill manner, which they are not able to forfake , " If you knew *: Juft nothing, you would foon learn fomething.

Search

Art of fainting. 185

Search whatfoeVer is aiding to your Art and cortVe- Cf 422. nient, and ay old thofe things which are repugnant to ity Sec. This is an admirable (Rule ; a Painter ought to have it perpetually prefent in his Mind and Memory. It rcfolves thofe difficulties which the ${uks beget •, it loofens his hands, and affifts his understanding. In fhort, this is the <I{ule which fets the Painter at liberty, becaufe it teaches him that he ought not to fubjed: himfelf fervilely, and be bound like an Apprentice to the Gtyles of his Art 5 but that the <%ules of his Art ought to be Subject to him, and not hinder him from follow- ing the Dictates of his Genius, which is fuperior to them.

Bodies of diverfe Natures which are aggroupjfd or *r d2A combind together are agreeable and pleafant to the Sight, Sec. As Flowers, Fruits, Animals, Skins, Sattins, Velvets, heautifull Flefh, Works of Silver, Armors, Inflruments of Mujick, Ornaments of Anci- ent Sacrifices, and many other pleafing Diverfi- ties which may prefent themfelves to the Painters imagination. 'Tis moft certain that the diverfi- ty of Objects recreates the Sight, when they are without confufion ; and when they diminifli no- thing of the Subject on which we work. Expe- rience teaches us, that the Eye grows weary with poring perpetually on the fame thing, not one-

Bb ly

186 Vvjervations on toe

ly on Pictures, but even on Nature it felf. For who is he who would not be tir'd in the Walks of a long Foreft, or with beholding a large plain which is naked of Trees, or in the Sight of a Ridge of Mountains, which inftead of Picaiure, give us onely the view of Heights and Bottoms. Thus to content and fill the Eye of the Llnderftanding, the beft Authors have had the Addrefs to fprin- kle their Works with pleafing Digreffions, with which they recreate the Minds of Readers. Dif- cretion, in this as in all other things is the fureft Guide: and as tedious Digreffions, which wander from their Subject, are impertinent, fo the Pain- ter who under Pretence of diverting the Eyes, would fill his Picture with fuch varieties as alter the truth of the Hijiory, would make a ridiculous Piece of Painting, and a mere Gallimaufry of his Work. a -y 5 . As alfo thofe things which appear to he perform d with eafe^ &c. This eafe attracts our Eyes, and Spirits fo much the more, becaufe it is to be pre- lim'd that a noble work, which appears fo eafie to us, is the product of a skilfull Hand which is Mailer of its Art. It was in this part, that A- pelks found himfelf fuperior to ^rotogenes^ when he blam'd him, for not knowing when to lay down his Pencil (and as I may almoft fay) to make

an

Art of Painting. 187

an end of rimming his Piece. And it was on this account he plainly laid, " That ?wthing wm u more prejudicial to Painters than too much exat~i- " nejs j and that the greatejl fart of them knew not u when they had done enough : as we have likewife a Proverb, which fays, An Englifrman never knows when he is well. 'Tis true, that the word enough is very difficult to under ftand. What you have to do, is to confider your Subject thoroughly, and in what manner you intend to treat it accor- ding to your rules, and the Force of your Genius j after this you are to work with all the eafe and all the fpeed you can, without breaking your head fo very much, and being (b very induftri- ous in ftarting Scruples to your fe!f, and creating difficulties in your work. But 'tis impoffible to have this Facility without polTe/fing perfectly all the Trccepts of the Arty and to have made it ha- bitual to you. For eafe confifts in making pre- cifcly that work which you ought to make, and to fet every thing in ks proper place with fpeed and Readinefs, which cannot be done without the Rules, for they are the affur'd means of con- ducting you to the end that you defign with Plea- sure. 'Tis then moll certain, (though againil: the opinion of many,) that the <$ules give Facility, Quiet of Mind, and readinefs of Hand to the ilow-

Bb 2 eft

1 8 8 Observations on the

eft Genius, and that the fame $(ules increafe, and guide that eafe in thofe who have already receiv'd it at their Birth from the happy influence of their Stars.

From whence it follows that we may confider Facility two feveral ways, cither (imply, as Dili, gence and a readme fs of Mind and of the Hand, or as a Difpofition in the Mind, ro remove readily all thofe difficulties which can arife in the work. The firft proceeds from an active temper full of Fire -y and the fecond from a true knowledge and full poflTe/fion of infallible Rules $ the firft is plea- fing, but it is not always without Anxiety, be- caufe it often leads us aftray, and on the contra- ry, the laft makes us act with a Repofeof Mind, and wonderfull Tranquillity 3 becaufe it afcer- tains us of the goodnels of our work. 'Tis a great advantage to poffefs the firft, but 'tis the height of perfection to have both in that man- ner which %uhzns and Van Dyck poffefled them, excepting the part of Defign or Drawing, which both too much neglected.

Thofe who fay that the Rules are fo far from giving us this Facility, that on the contrary they puzzle and perplex the Mind and tie the hand, are generally fuch people who have pafs'd half their lives in an ill practice of Painting, the ha- bit

Art oj ratnting. i8^

bit of which is grown fo inveterate in them, that to change it by the Rules, is to take as it were thier Pencils out of their hands, and to put them out of condition of doing any thing ; in the fame manner as we make a Country-man dumb whom we will not allow to fpeak, but by the Rules of Grammar.

Obferve, if you pleafe, that the Facility and Diligence of which I fpoke, con lifts not in that which we call bold ftrokes and a free handling of the Pencil, if it makes not a great effect at a di- ftance. That fort of Freedom belongs rather to a Writing-Mafter than a Painter. I fay yet fur- ther, that 'tis almoft impoffible that things which are painted fhould appear true and natural, where we obferve thefe forts of bold ftrokes. And all thofe who have come neareft to nature, have ne- ver us'd that manner of Paintings thofe tender Hairs, and thofe hatching ftrokes of the Pencil, which make a kind of minced meat in Painting, are very fine I muft confefs, but they are never able to deceive the Sight.

Nor till you hope prefent in your Mind a perfeSl ^ 442, Idea of your work. &c. If you will have pleafure in Painting, you ought to have fo well confi- der'd the ceconomy of your work, that it may be entirely made and difpos'd in your head before

it

i jo Objervations on the

it be begun upon the Cloath. You mud I fay, forefee the effect of the Grouppes, the ground and the Lights and Shadows of every thing, the Harmony of the Colours, and the intelligence of all the Subject in fuch a manner, that whatfoe- ver youfhali put upon the Cloth, may be onely a Copy of what is in your Mind. If you make ufe of this Conduct, you will not be put to the trouble of fo often changing and rechanging.

^f 44?.. Let the Eye be fatisfed in the firft place, even a- gainji and above all other tf^eafons, &c. This paf-~ fage has a refpect to fome particular Licences which a Painter ought to take : And as I defpair not to treat this matter more at large 5 I adjourn the (Reader to the firft opportunity which I can get for his farther fatisfaction on this point to the beft of my Ability : but in general he may hold for certain, that thofe Licences are good which contribute to deceive the Sight, without corrup- ting the truth of the Subject on which the Painter is to work.

% 4 4 j. (Profit your felj by the Counfels of the knowing, Sec. IP arrbajius and Cliton thought themfelves much ob- lig'd to Socrates for the knowledge which he gave them of the Taffions. See their Dialogue in Xem- 8. 20. phon towards the end of the third Book of Memoirs : cc Tliey who the mofi willingly bear reproof (ays Tlmy

" the

Art of Fainting. 1 9 1

" the Younger, are the Very men in whom we find " ?nore to commend than in other people. Lyjippus was extremely pleas' d when Apelles told him his opinion j and Apelles as much, when Lyjippm told him his. That which Praxiteles faid of Nicias in „ * P/mji, mows the Soul of an accomplim'd and an humble man. " Praxiteles being asKd which of all u his Works he Valued mofi ? Thofe, fays he, which " Nicias has retouch9 d. So much account he made of his Criticifms and his opinions. You know the common practice of Apelles, when he had finifli'd any work, he expos'd it to the Sight of all Paflengers, and conceal' d himfelf to hear the Cenfure of his faults, with theProfpect of ma- king his advantage of the Informations which un- knowingly they gave him. Being fenfible that the people would examine his works more rigo- roufly than himfelf, and would not forgive the leaft miftake.

The Opinions and Counfels of many together are always preferable to the advice of one fingle perfon. And Ckero wonders that any are befot-TufcuJ.lib.$, ted on their own Productions, and fay to one a- nother, Very good, if your works pleafe you, mine are not unpleafing to me. In effect there are many who through Prefumption or out of Shame to be reprehended, never let their works be feen. But

there

1^2 Ubjervations on the

there is nothing can be of worfe confequence ; for Ceorg. 3.1.5. the dijeafe is -nourifo'd and increafesy fays Firgily while it is conceal' d. There are none but Fools, fays Horace, who out of Shamefac'dnefs hide their Ul- cers, which if fhown might eafily be heal'd. Stul- £p« l6- torum incur ata mains pudor ulcer a celat : There are others who have not altogether fo much of this foolifh Bafhfulnefs, and who ask every ones opi- nion with Prayers and Earneftnefs $ but if you freely and ingenuoufly give them notice of their Faults, they never fail to make fome pitifull ex- cufe for them, or which is worfe, they take in ill part the Service which you thought you did them, which they but feemingly defir'd of you, and out of an eftablifli'd Cuftom amongft the greateft part of Painters. If you defire to get your felf any honour, and acquire a Reputation by your works, there is no furer way than to fhow them to perfons of good Senfe, and chiefly to thofe who are Criticks in the Art 5 and to take their Counfel with the fame Mildnefs and the fame Sincerity, as you defir'd them to give it you. You rauft alfo be induftrious to difcover the opinion of your Enemies, which is commonly the trueft, for you may be affur'd, that they will give you no quarter, and allow nothing to complaifance.

But

Art of rainting. 155

But if you haVe no Knowing Friend, dec. QuinBi- ^ 44p. Han gives the reafon of this, when he fays, "T5W " the befl means to correal our faults, is doubtlefs u this, To remove our defigns out of Sight , for " fome /pace of time, and not to look upon our •?*- " ftures, to the end, that after this interval, we may " look on them as it were with other Eyes, and as a " new work which was of another hand, and not our " own. Our own Productions do but too much flatter us $ they are always too pleafing, and 'tis impoiTible not to be fond of them at the moment of their Conception. They are Children of a tender age, which are not capable of drawing our Hatred on them. 'Tis faid, That Apes, as foon as they have brought their Young into the World, keep their Eyes continually faften'd on them, and are never weary of admiring their Beauty : fo amorous is Nature of whatfoever (he produces.

To the end that he may cultivate thofe Talents which ^f 458. mah his Genius, Sec.

Qui fua metitur pondera, ferre poteft.

<c That we may undertake nothing beyond our forces, ^^Ct B- *• " we muji endeavour to know them. On this Pru- dence our reputation depends. Cicero calls k a

C c good

1 54 Observations on the

zood Grace becaufe it makes a man feen in his i Off. greateft Luftre. " 'Tis, (fays he) a becoming " Grace, which we frail eafiiy make appear, if we are " care full to cultivate that which Nature has giVen m " in f&opritfyy and made our own, provided it be no ic ffict or Imperfection : we ought to undertake nothing u which is repugnant to Nature in general; and when ' i we have paid her this duty, we are bound fo reli- u gioufly to follow our own Nature, that though many " things which are more ferious and more important, " prefent t)nmfelves to us, yet we are always to con- " form our Studies and our Exercifes to our natural u Inclinations. It avails nothing to difpute againfl " Nature, and think to obtain what fre refufes 5 for " then we eternally follow what we can never reach ; for, cc as the TroVerb Jays, There is nothing canpleafe, no- cc thing can be gracefull which we enterprise w fpight " of Minerva; that is to fay, in fpight of Nature. u When we haVe confiderd all thefe things attentively, " it will then be necejfary, that every man Jhould re- a gard that in particular, which Nature has made £C his portion, and that he fnuld cultivate it with care-, " 'tis not his bufinefs to give himfelfthe trouble of try - " ing whether it will become him to put on the Nature u. of another man ; or as one would fay, to atl the per- a fon of another : thre is nothing which can more- be- " come us, than what is properly the Gift of Nature.

"Let

Art of tainting. 1 9 5

? Let every one therefore endeavour to underfland his " own Talent j and without flattering him/elf, let him u make a true judgment of his own Vertues, and his " own Defecls and Vices ; that he may not appear to " have lefs judgment than the Comedians, who do " not always chufe the befl Flays, hut thofe which are " befl for them ; that is^ thofe which are moft in the ic compafs of their ailing. Thus weave to fix on thofe " things for which we haVe the ftrongeft Inclination. " And if it fometimes happen that we are forcd by " necejjhy to apply our felves to fuch other things to " which we are no ways inclirid; we muft bring it fo " about by our Care and Induflry, that if we perform " them not Very well, at leafl we may not do them fo " Very ill as to be fbarrid by them : we are not fo " much to ftrain our felves to make thofe Vertues ap- " pear in us which really we haVe not, as to aVoid " thofe Imperfeclions which may dishonour us, Thefe are the Thoughts and the Words of Cicero, which 1 have tranflated, retrenching onely fuch things as were of no concernment to my Subject : I was not of opinion to add any thing, and the Rea- der I doubt not will find his fatisfa&ion in them.

WJnle you ?neditate on thefe Truths, and obferVe <jf 464. them diligently, Sec. There is a great Connexion betwixt this (precept and that other, which tells you, That you are to pafs no day without drawing a line.

C c 2 ?Tis

I $6 Obfervations on the

'Tis impoflible to become an able Artift, without making your Art habitual to you : and 'tis im- poflible to gain an exact Habitude, without an infinite number of Acts, and without perpetual Practice. In all Arts the Rules of them are learn'd in little time ; but the perfection is not accjuir'd without a long Practice and a fevere Diligence. We never faw that La^inefs produc d any thing which EJift 34« wo* excellent , fays Maximus Tyrius : and Quincli- lian tells us, That the Arts draw their beginning from Nature $ the want we often have of them caufes us to fearch the means of becoming able in them, and exercife makes us entirely Mafters of them.

7J;e morning is the heft and moji proper part of the day, &c. Becaufe then the Imagination is not clouded with the Vapours of Meat, nor diftracted by Vifits which are not ufually made in the morn- ing. And the Mind by the Sleep of the forego- ing Night, is refrefli'd and recreated from ths Toyls of former Studies, Malherbe fays well to this purpofe.

Le plus beau de nos jours, eft dans leur matinee.

The fprigkly Morn is the befi part of Day.

Let

Art of Painting. 191

Let no day pafs over you without drawing a line, Sic. €^ 468» That is to fay, without working, without giving fome ftrokes of the Pencil or the Crayon. This was the Precept of Jpelles ; and *tis of fo much the more neceffity, becaufe Painting is an Art of much lensch and time, and is not to be learn' d with- out great Practice. Michael Angelo at the Age of fourfcore years, faid> That he learn d fomething every day.

<Be ready to put into your Table-book, Sec. As it ^j* 47 j» was the cuftom ofTitian and the Carr aches \ there are yet remaining in the hands of fome who are curious in Painting j many thoughts and obfer- vations which thofe great Men have made on Pa- per, and in their Table-books which they carry'd continually about them.

Wme and good Cheer are no great Friends to Taint- fr 47 c. ing, they ferVe onely to recreate the Mind when it is opprefs'd and /pent with Labour, Sec. " During 35. 10. " the time , fays <Pliny , that protogenes was " drawing the (piblure o/Jalyfus, which was the " bejl of all his Works, he took no other nourishment iC than Lupines mix d with a little water, which ferVd " him both for Meat and Drink, for fear of clogging cc his Imagination by the Luxury of his Food. Mi- chael Angelo, while he was drawing his day of Judg- ment, Ted onely on Bread and Wine at Dinner*

And

!<?8 Objervations on the

And Vajari obferves in his life, that he was fo fo- ber that he flept but little, and that he often rofe m the Night to work, as being not difturb'd by the Vapours of his thin Repafts. i[ 478. But delights in the liberty which belongs to the Ba- chelors Eft ate, &c. We never fee large and beau- rif nil and well-tafted Fruits proceeding from a Tree which is incompafs'd round, and choak'd with Thorns and Bryars. Marriage draws a world of bufinefs on our hands, fubje&s us to Law-fuits, and loads us with multitudes of do- meftick Cares, which are as fo many Thorns that encompafs a Painter , and hinder him from producing his works in that perfection of which otherwise he is capable. (Raphael, Michael Jngelo, and Hannibal Carracci were never marry5 d : and amongft the Ancient Painters we find none recorded for being marry' d, but onely Jpelles, to whom Alexander the Great made a prefent of his own Miftrefs Campafpe; which yet I would have underftood without offence to the Inftitution of Marriage, for that calls down many Bleffings up- on Families, by the Carefulnefs of a vertuous Wife. If Marriage be in general a remedy againft Concupifcence, 'tis doubly fo in refpect of Paint- ers 5 who are more frequently under the occafi- ons of Sin than other Men 5 becaufe they are un- der

Art of Painting. i$$

dcr a frequent neceffity of feeing Nature bare-fac'd. Let every one examine his own ftrengch upon this point : but let him preferr the intereft of his Soul to that of his Art and of his Fortune.

Painting naturally withdraws from nolfe and tu- ^[ 480. ?nult, &cc. I have laid at the end of the firft Re- mark, that both Poetry and Painting were up- held by the ftrength of Imagination. Now there is nothing which warms it more than Repofe and Solitude : Becaufe in that eftate, the Mind being freed from all forts of bufinefs, and in a kind of San- ctuary undifturb'd by vexatious Vifits, is more capable of forming noble Thoughts and of Appli- cation to its Studies.

Cirmina fecejfum /cribentis & otia qu&runt.

Good Verfe, ^ecefs and Solitude requires : And Eafe from C&cs, and widijlurb'd Vejires.

^e may properly (ay the fame of Painting, by reafon of ks conformity with Poetry, as I have fhown in the firft Remark.

Let not the covetous deftgn of growing rich, &c. f[ aRa» We read in Pliny, thai Kicias refused Sixry Ta- 7500 £ lents from King Attains, and rather chofe to make a free Gift of his Pidure to his Country.

2oo Obfervations on the

Petron. Ar- « 1 enquir d of a prudent man, (fays a grave Author) " in what times tbofe noble Titlures were made which Ci now iv e fee ; and defird him to explain to mefome of ic their Subjects, which I did not well under ft and, I u asKd him likew'.fe the reafon of that great negligence " which is now Vifible amongfl (Painters : And from " whence it proceeded, that the mofl beaut if nil Arts " were now bury d in Oblivion , and principally Taint- " in&-> & f amt Shadow -of which is at prefent remaining " to us. To which he thus reply d, That the immode- " rate deflre of Riches had producd this change: For <c of old, when naked Vertue had her Charms, the no- " ble Arts then flour ifh d in their Vigour: and if there u was any contefl amongfl men, it was onely who " fbould be the fir ft DifcoVerer of what might be of ad- u Vantage to poflerity. Lyfippus and Myron, thofe €l renown d Sculptors, who could give a Soul to Brafsy <c left no Heirs, no Inheritance behind them, becaufe " they were more carefull of acquiring Fame than (?{/- <c ches. But as for us of this prefent Age, it feems " by the manner of our ConduH, that we upbraid An- €L tiquityfor being as covetous of Vertue as we are of "Vice: wonder not Jo much therefore, if Tainting has " loft its Strength and Vigour, becaufe many are now of " opinion, that a heap of Gold is much more beautifull " than all the Pictures and Statues of Apelles and " Phidias, and all the noble Performances of Greece.

Art of Painting» 201

I would not exact fo great an ad of Abfti- nence from our modern Painters, for I am not ignorant that the hope of gain is a wonderful! flharp fpur in Arts, and that it gives induftry to the Artift $ from whence it was that JuVenal faid even of the Creeks themfelves, who were the In- ventors of Painting, and who firft underftood all the Graces of it and its whole perfection^

Gr&culm efuriens, in Caelum, juffem, ibit.

A hungry Greek, if bidden, fcales the Skies.

But I could heartily wifli, that the fame hope which flatters them did not alfo corrupt them: and did not fnatch out of their hands a lame, imperfect Piece, rudely daub'd over with too lit- tle Reflection and too much hafte.

Tf?e qualities reauifite to form an excellent fainter, ^ 487. Sec. 'Tis to be confefs'd that very few Painters have thofe qualities which are recjuir'd by our Au- thor, becaufe there are very few, who are able Pain- ters. There was a time when onely they who were of noble Blood,were permitted to exercife this Art$ becaufe it is to be prefum'd, that all thefe Ingredi- ents of a good Painter, are not ordinarily found in men of vulgar Birth. Aad in all appearance,we may

D d hope

202 Qbfcrvations on the

hope that though there be no Editl in France which takes away the Liberty of Painting from thofe to whom Nature has refused the Honour of being born Gentlemen, yet at lead that.the ^oyal Acade- my will admit hence-forward onely fuch who being endu'd with all the good Qualities and the Ta- lents which are required for Painting, thofe en- dowments may be to them inftead of an honoura- ble Birth. 'Tis certain, that which debafes Paint- ing, and makes it defcend to the vileft and moft defpicable kind of Trade, is the great multitude of Painters who have neither noble Souls nor any Talent for the Arc, nor even fo much as com- mon Sence. The Origin of this great Evil, is that there have always been admitted into the Schools of Painting all forts of Children promif- cuoiifly,. without Examination of them , and without obferving for fome convenient fpace of time, if they were conducted to this Art by their inward Difpofition, and all necefiary Talents, rather than by a foolifli Inclination of their own, or by the Avarice of their Relations, who put them to Painting, as a Trade which they believe to be fomewhat more gainful! than another. The qualities properly required , are thefe follow- ing.

A

Art of Vaulting. 203

A good Judgment, That they may do nothing a- gainft Reafon and Verifimili'ty.

A docibk Mind, That they may profit by in- ftructions , and receive without Arrogance the opinion of every one, and principally of know- ing Men.

A noble Heart, That they may propoie Glory to themfelves, and Reputation rather than Ri- ches.

A Sublimity, and tf{each of Thought, To conceive readily, to produce beautifull Ideas, and to work on their Subjects nobly and after a lofty manner, wherein we may obferve fomewhat that is delicate, ingenious and uncommon,

A warm and Vigor omF amy ^o arrive at leaft to fome degree of Perfection, without being tir'd with the Pains and Study which are requir'd in Painting.

Health, To refill the diffipation of Spirits,which are apt zo be confum'd by Pains-taking.

Youth, Becaufe painting requires a great Expe- rience and a long Practice.

'Beauty or Handfomenefi, Becaufe a Painter paints himfelf in all his Pictures, and Nature loves to produce her own Likenefs.

A convenient Fortune, That he may give his whole time to ftudy, and may work chearfully,

D d 2 without

204- Observations on the

without being haunted with the dreadfull Image of Poverty, ever prefent to his Mind.

Labour, Becaufe the Speculation is nothing without the Practice.

A LoVe for his Art, We fuffer nothing in the Labour which is pleaiing to us : or if it hap- pen that we fuller, we are pleas' ci with the Pain.

And to be under the Dijcipline of a knowing Mafter, &c. Becaufe all depends on the Beginnings-, and becaufe commonly they take the manner of their Mafter, and are form'd according to his Gufto: SttVerfe 412, and the Remark upon it. All thefe good qualities are infignificant and un- profitable to the Painter, if fome outward difpo- fitions are wanting to him. By which I mean favourable times, fuch as are times of (peace, which is theNurfe of all noble Arts ; there muft alfo fome fair occafion offer to make their Skill manifeft by the performance of fome confidera- ble Work within their power : and a Protector, who muft be a Perfon of Authority, one who takes upon himfelf their care of the Fortune, at leaft in fome meafure ; and knows how to fpeak well of them in time and place convenient. 'Tis of much importance, fays the Younger Pliny, in r what times Vertuc appears. And there is no Wit, how- foeVer excellent it may be, which can mah it felf im- mediately

Art of fainting. 205

mediately known* Ti?ne and Opportunity are neceffary to ity and a per f on who can affift us with his favour and he a Maecenas to us.

AndL\feisfoflwt,thatitisnot\ufficmitforfolong mm 496. an Art. Sec. Not onelv Painting but all other Arts confider'd in themfelves require almoft an infinite time to poffefs them perfectly. Tis in this Senfe that Hippocrates begins his Aphorifms with this faying, That Art is long and Life is JJ?ort. But if we confider Arts, as they are in us, and ac- cording to a certain degree of Perfection, fuffici- ent enough, to make it known that we poffefs them above the common fort, and are compara- tively better than moft others, we fhall not find that Life is too flhort on that account, provided our time be well employ'd. 'Tis true, that Pain- ting is an Art which is difficult and a great under- taking. But they who are endu'd with the quali- ties that are neceffary to it, have no reafon to be difcourag'd by that apprehenfion. Labour always Veget. de re appears difficult before 'tis try d. The paffages by MiliUib' 2* Sea, and the Knowledge of the Stars, have been thought impoflible, which notwithftanding have been found and compafs'd, and that with eafe by thofe who endeavour'd after them. 'Tis afhamefull Lib. *. defin. thing, fays Cicero , to be weary of Enquiry, when what we fearch is excellent That which caufes

us

2o6 Observations on the

us to lofe mofi; of our time, is the repugnance which we naturally have to Labour, and the Igno- rance, the Malice, and the Negligence of our Mailers : we wade much of our time in walking and talking to no manner of purpoie, in making and receiving idle Vifits, in Play and other Plea- i ii res Which we indulge, without reckoning thofe hours which we lofe in the too great care of our Bodies- and in Sleep, which we often lengthen out till the day is far ad vane' d : and thus we pais that Life which we reckon to be fhort, becaufe we count by the years which we have liv'd, ra- ther than by thofe which we have empioy'd in ftu- dy. 'Tis evident that they who liv'd before us, have pafs'd through all thofe difficulties to arrive at that Perfection which we difcover in their Works, though they wanted fome of the Advantages which we poffefs, and that none had labour'd for them as they have done for us. For 'tis certain , that thofe Ancient Mafters, and thofe of the laft preceding Ages, have left fuch beautifull. Patterns to us, that a better and more happy Age can ne- ver be than ours; and chiefly under the Reign of our prefent King, who encourages all the noble Arts, and fpares nodiing to give them the fhare of that Felicity of which he is fo bountifull to his Kingdom : and to conduct them with all man- ner

5oo.

Art of V aiming. 207

ner of advantages to that fupreme Degree of Ex- cellence, which may be worthy of fuch a Mafter, and of that Sovereign Love which he has for them. Let us therefore put our hands to the work, with- out being difcourag'd by the length of time, which is requifite for our Studies 5 but let us ferioufly contrive how to proceed with the beft Order, and ro follow a ready, diligent, and well underftood Method.

Take Courage therefore, 0 ye noble Youths ! you legitimate Offspring of Minerva, who are born under the influence of a happy Planet, &c. Our Author intends not here to fow in a barren, ungrateful! Ground, where his Precepts can bear no Fruit : He fpeaks to young Painters, but to fuch onely who are born under the Influence of a happy Star; that is to fay, thofe who have receiv'd from Nature the neceflary difpofitions of becoming great in the Art of Painting : and not to thofe who follow that Study through Caprice or by a fottifli Inclination, or for Lucre, who are either incapable of receiving the Precepts, or will make a bad ufe of them when receiv'd.

Ton will do welly &c. Our Author fpeaks not $f ^OQ here of the firft Rudiments ofDefign; as for ex- ample, The management of the Pencil, the juft relation which the Copy ought to have to the O-

riginal.

I o3 Obfervations on the

riginal, &c. He fuppofes, that before he begins his Studies, one ought to have a Facility of Hand co imitate the bed Defigns, the nobleft Pictures and Statues, that in few words he fhould have made himfelfa Key, wherewith to open the Clo- iet of MmerVa, and to enter into that Sacred Place, where thofe fair Treafures are to be found in al! abundance, and even offer themfelves to us, to make our advantage of them by our Care and Genius.

% 5 op. You are to begin with Geometry , &c. Becaufe that is the Ground of <Perfp et~li\>e, without which nothing is to be done in Painting: befides, Geome- try is of great ufe in Architecture, and in all things which are of its dependence 5 'tis particularly ne- ceflary for Sculptors.

^510. Set your /elf on defignmg after the Ancient Greeks, &c. Becaufe they are the Rule of Beauty, and give us a good Gufto : For which reafon 'tis ve- ry proper to tie our felves to them, I mean ge- nerally fpeaking ; but the particular Fruit which we gather from them, is what follows. To learn by heart four feveral Ayres of Heads : of a Man, a Woman, a Child , and an Old Man. I mean thofe which have the moll general Ap- probation ; for example thofe of the Apollo, of the Venus de Medices, of the little Nero, (that is,

when

Art of Tainting. 20 9

when he was a Child,) and of the God Tther. It would be a good means of learning them, if when you have defign'd one af.er the Statue it feif, you defign it immediately after from your own Ima- gination, without feeing it •> and afterwards ex- amine, if your own work be onformable to the firft Defign. Thus exercifing your felf on the fame Head, and turning it on ten or twelve fides ; you muft do the fame co the ircet, to the Hands, to the whole Figure. But to underftand the Beauty of thefe Figures, and the juftnefs of their Outlines, it will be neceflfary to learn Anatomy : when I fpeak of four Heads and four Figures, I pretend not to hinder any one from defigning many others after this firft Study, but my mean- ing is onely to fliow by this, that a great Varie- ty of things undertaken at the fame time, diflipates the Imagination, and hinders all the Profit $ in the fame manner as too many forts of Meat are not eafily digefted, but corrupt in the Stomach inftead of nourifhing the parts.

And ceafe not Day or TSlight from Labour, till by % J 1 1 • your continual <PracJice, 8cc. In the firft Princi- ples, the Students have not fo much need of Pre- cepts as of Practice : And the Antique Statues be- ing the rule of Beauty, you may exercife your felves in imitating them without apprehending

E e any

2io Obfervations on the

any confequence of ill Habits and bad Ideas? which can be form'd in the Soul of a young Be- ginner. 'Tis not, as in the School of a Mafter, whofe Manner and vvhofe Guft are ill, and under whofe Difcipline the Scholar fpoils himfelf the more he exercifes. % J 1 4. And when afterwards your Judgment (hall grow ftronger. Sec. 'Tis neceflfary to have the Soul well form'd,and to have a right Judgment to make the Application of his rules upon good Pictures, and to take nothing but the good. For there are fome who imagine, that whatfoever they find in the Picture of a Mafter, who has acquired Repu- tation, muft of neceffity be excellent $ and thefe kind of people never fait when they copy to fol- low the bad as well as the good things 5 and to obfervc them fo much the more, becaufe they Teem to be extraordinary and out of the com- mon road of others, fo that at laft they come to make a Law and Precept of them. You ought not alfo to imitate what is truly good in a crude and grols Manner, fo that it may be found out in your works, that whatfoever Beauties there are in them, come from fuch or fuch a Mafter. But in this imitate the Bees, who pick from every Flower that which they find moft proper in it to make Honey. In the fame manner a young

Painter

Art of Painting. 211

Painter fliould colled from many Pictures what he finds to be the moft beautifull, and from his feveral Collections form that Manner which thereby he makes his own.

A certain Grace which was wholly natural and pec a- ^[ 520, liar to him, &c. Raphael in this may be compared to Jpeltes, who in praifing the Works of other Painters, faid That Gracefulnefs was wanting to them : and that without Vanity he might /ay, it was his own peculiar portion. See the Remark on the z\%th. Verfe.

Julio Romano, {educated from his Childhood in ^ 522. the Country of the Mufes,) &c. He means in the Studies of the belle letterey and above all in Poe- fyy which he infinitely lov'd. It appears, that -he form'd his Ideas and made his Guft from read- ing Homer j and in that imitated Zeuxis and <Po- lignotus, who, as Tyrius Maximus relates, treated their Subjects in their Pictures, as Homer did in his Poetry.

To thefe Remarks I have annex' d the Opini- ons of our Author upon the beft and chiefeft Painters of the two foregoing Ages. He tells you candidly and briefly what were their Excel- lencies, and what their Failings.

Ipafs in Silence many things which will be more am- ^j* s4.1l ply treated in the enfuing Commentary. ?Tis evi-

E e 2 dent

212 Obfervations on the, &c.

dent by this, how much we lofe, and what da- mage we have fuftain d by our Authors death, fince thofe Commentaries had undoubtedly con- tained things of high Value and of great indu- ction. J44» To intrufl with the Mufes, &c. That is to fay, to write inVerfe, Poetry being under their Protection, and confecrated to them.

THE

( 213 )

THE

JUDGMENT

OF

Charles Alphonfe du Frefnoy,

On the Works of the Principal and Bcil PAINTERS of the two laft Ages.

PA f IKTING was in its Terfetlion among/i the Greeks» The principal Schools were at Sy- cion, afterwards at Rhodes, at Athens, and at Corinth, and at lajl m Rome. Wars and Luxury having overthrown the Roman Empire, it was totally extinguifli d, together with all the noble Arts, the Studies of Humanity, and the other Sciences. It began to appear again in the Year 14504- mongft fome (painters of Florence, of which DO - MENICO GHIRLANDAIO was one, who was Mafter to Michael Angelo, and had fome kind of Reputation, though his manner was Gothique and Ve- ry dry,

mi;-

2i4 The Judgment of

MICHAEL ANGELO his Scholar, fkurifh'd ~'m the times o/ Julius thejecond, Leo the tenth, lJaul the third, and of eight fuccejfiVe <Popes. He was a Painter, a Sculptor, and an Architect, both Civil and Military» The Choice which he made of his 'Po- Jlures was not always beautifull or pleafing : His Gufi of Deflgning was not the finefi, nor his Out-lines the ynoft elegant : The Folds of his Draperies, and the Ornaments of his Habits, were neither noble nor grace- full. He iv as not a little fantaflical and extravagant in his Compofitions ; he was bold eVen to %aflmefs, in taking Liberties againfl the %ules of&erfpeBiVc. His Colouring is not over true or Vety pleafant. He knew not the Artifice of the Lights and Shadows : fBut he dejtgnd more learnedly, and better under flood all the IQiittings of the Bones, with the Office and Situation of the Mufcles, than any of the modern Painters, There appears a certain Air of Oreatnefs and Severity in his Figures, in both which he has ^oftentimes fucceeded: (But above the refl of his Excellencies, was his won- derfull skill in Architecture, wherein V;e has not onely furpafs'd all the Moderns, but even the Ancients alfo : The St. Peter'* of Rome, the St. Johru of Flo- rence, the Capitol , the Palazzo Farnefe , and his own Houfe, are (ufficient Tefiimonies of it. His Scholars were Marcello Venufto, Andrea de Vater- ra, II RofTo, Georgio Vafari, Fra. Baftiano, (who

com-

Charles Alpbonfe dn FreJ/wj, 8cc. 21 5

commonly fainted for him) and many other Florentines. PIETRO PERUGINO dejign \i with fufiaent knowledge of Nature, but he is dry and his manner little. His Scholar was

RAPHAEL SANTIO, who was horn on Good Friday , in the Year 1485, and died on Good Friday, in the Tear 1520: So that he liVd onely 3 7 years compleat. Hefurpajs'd all modern Painters, becaufe he fojjefs'd more of the excellent farts of (painting than any other ; and 'tis belieVd, that he equall'd the Ancients, excepting onely that he dejign d not naked Bodies with fo much Learning, as Michael Angelo ; But his Guji of Dejigning is purer and much better. He painted not with fo good, fo full, and fo gracefull a manner as Correggio ; nor has he any thing of the Contrajl of the Lights and Shadows, or fo Jlrong and free a Colouring, as Titian j but he had a better dif pofition in his pieces without comparison, than either Titian, Correggio, Michael Angelo, or all the reft of the fucceeding (painters to our days. His Choice of (poftures, of Heads, of Ornaments, theSui- tablenefs of his Drapery, his manner of Dejigning, his Varieties, his Contrafts, his Exprejjions, were beau- iifull in (perfection ; but above all, he poffefs d the Graces info advantageous a manner, that he has ne- ver fince been equall'd by any other. There are Trotraits {or Jingle Figures of his) which are fi-

71'JFd

1 6 The Judgment of

nt'fh9 d Pieces. He was an admirable Jrchitetl. He was handfome, well made, and tall of Stature, civil, and well-naturd, neVer refujtng to teach another what he knew himfelf. He had many Scholars, amongft others, Julio Romano, Polydore, Gaudens, Gi- ovanni d'Udine, and Michael Coxis. His Gra- yer was Marc Antonio, ivhofe (prints are admira- ble for the corretlnefs of their Out-lines.

JULIO ROMANO was the moft excellent of all Raphael'* Scholars ; he had Conceptions which were more extraordinary, more profound, and more eleva- ted, than eVen his Majier himfelf He was alfo a great Jrchitetl, his Gufl was pure and excpuifite. He was a greatlmitator of the Ancients, giving a clear Tefiimony in all his productions, that he was defer ous to rejlore to (pratlice the fame Forms,, and Fabricks which were an- cient. He had the good Fortune to find great perfons who committed to him the care of Edifices, Veftibu- les and Portico's, all Tetraftyles, Xiftes, Theatres, and fuch other places as are not now in ufe. He was wonderfull in his Choice of Tojiures. His manner was drier and harder than any of Raphael's School He did not exatlly underfland the Lights and Sha- dows or the Colours. He is frequently harfb and ungracefull: The Folds of his Draperies are neither beau- tifull nor great, eafie nor natural, but all extravagant and too like the Habits of fantaflical Comedians. He

was

Charles Alphonfe da Trefnoy, &c. 21 7

was Very knowing in humane Learning. His Scho- lars were Pirro Ligorio, (who was admirable for An- cient Buildings , as for Towns , Temple s, Tombs ; and Trophies, and the Situation of Ancient Edifices) /Eneas Vico, Bonafone, Georgio Maniuano, and others,

POLYDORE, Scholar to Raphael, defignd admirably well, as to the practical part, having a par- ticular Genius for Freezes, as we may fee by thofe of white and blacky which he has painted at Rome. He imitated the Ancients, but his manner was greater than that of Julio Romano : NeVerthelefs Julio feems to be the truer. Some admirable Grouppes are feen in his Works, and fuch as are not elfevphere to be found. He colour d Very feldom, and made Landt^ f chapes of a reafonable good Guflo.

GIO. BELLINO, one of the firft who was of any "confederation at Venice, painted Very drily accor^ ding to the manner of his time. He w&s Very know- ing both in Architetlure and PerfpetliVe. He was Titian'* frfiMafler, which may eafily be obferv'd in the fir jl fainting of that noble Scholar, in which we may remark that Propriety of Colours which his Ma- fler has obferv'd.

About this time GEORGIONE the Contempora- ry of Titian came to excell in Portraits or Face-paint- ingy and alfo in great Works. Hefirjl began to make

F f choice

2 1 8 The Judgment of

choice of Glowing and Agreeable Colours ; the (perfe- ction and entire Harmony of which were afterwards to he found in Titian'* Titlures. He drefs d his Fi- gures wonderfully well : And it may be truly faid, that but for him, Titian had ne^er arriVd to that height of Terfetlion, iphich proceeded from the dtyalfbip and Jealoufy of Honour betwixt thofe two.

TITIAN ipos one of the greateft Colourifls, who was ever known ; he defignd with much more Eafe and tPratJice than Georgionc. There are to be feen Wo- men and Children of his hand, which are admirable both for the Defign and Colouring : the Gufl of them is delicate, charming and noble, with a certain plea fing Negligence of the Head- dreffes, the Draperies and Or- naments of Habits, which are wholly peculiar to him, As for the Figures of Men, he has defignd them but moderately well There are even fome of his Draperies, which are mean and fay oar of a little gufl. His painting is wonderfully glowing, fweet and delicate, He made ^Portraitls, which were extremely noble ; the Poflures of them being "Very gracefull, graVe, JkVer- fifyd, and adorn d after a Very becoming fafinon. No man eyer painted Landtfchape, with fo great a man-? ner, fo good a colouring, and with fuch a. refemblance of Nature. For eight or ten years f pace, he copy d with great labour and exatlnefs whatfocVer he under- took', thereby to make himjelf an eafy way, and to efta-

Uifb

Charles Alphonfe du Vrefnoy, Sec. 219

hlifi? fome general maximes for his future condufl. Beftdes the excellent gufl which he had of Colours, in which he excelt d all Mortal Men, he perfectly under- flood how to give every thing the touches which were moft fuitable, and proper to them , fuch as diftin- guifh'd them from each other ; and which gaVe the great eft Spirit, and the moft of Truth. The (pictures which he made in his beginning, and in the decknfion of his Age, are of a dry, and mean manner. He lev d ninety nine years. His Scholars were Paulo Vero- nefe, Giacomo Tintorer, Giacomo da Ponte, Baflano, and his Brothers.

PAULO VERONESE was wonderfully graceful in his Airs of Women : with great Variety of (Inning Draperies 5 and incredible Vivacity, and eafe, TSleVer- thelefihis Compofxtion is fometimes improper 5 and his Deftgn is uncorretl. <But his colouring, and ivhatfo- CVer depends on it, is Jo Very charming in his PiElures, that it fur prices at the jirjl fight, and makes us totally forget thofe other qualities which are wanting in him.

TINTORET was Scholar to Titian, great in the practical part of Vefigning ; hut fometimes alfo fufficiently extravagant. He had an admirable Ge- nius for Painting, if he had had as great an affection to his Art, and as much patience in undergoing the difficulties of it, as he had fire and vivacity of Nature :

Ff 2 He

220 The Judgment of

He-has made (pictures, not infer iour in beauty to thofe of Titian : his Compojkion and his Dreffes, are for the mofi part improper j and his Out lines are not cor- reel : (But his Colouring, and the dependencies of ity like that of his Majler, are mofl admirable»

Tin BASSANS had a more mean and poorer guji in Tainting than Tintoret ; and their Dejig?is were alfo left correct than his, Tliey had indeed an excellent guft of Colours ; and haVe touch' d all hinds of Animals with an admirable manner : But were notorioufly im- perfect in the Compojkion and T>efign.

CORREGGIO painted at Parma two large Cupo- tis in Frefco, and fome Altar-pieces. This Artift, found out certain natural and unafJeBed Graces, for his Madonnas', his Saints, and little Children , which were particular jto him. His Manner is exceed- ing great, both for the dejign and for the work, but withall is Very uncorreEl. His Tencil was both eafte and delightfull, and 'tis to be acknowledgd, that he painted with great Strength, great Heightning, great Sweetnefs, andliVelinefl of Colours, in which none fu r* pafs'd him.

He underflood how to diftribute Us Lights in fuch a manner as was wholly peculiar to him f elf, which gaVe a great force and great roundnefs to his Figures. This manner confifls in extending a large Light, and then making it loft it felf infenftbly in the dark fl?adowings>

which

Charles Alphonfe du, Trejhoy, &c, 221

which he placd out of the Majfes. And thofe give them this great roundnefs, without our being able to perceive from whence proceeds Jo much oj force, and fo Vajl a pie a Jure to the Sight. 'Tis probable, that in this part the refl of the Lombard School copied him : he had no great choice of gracefull tyoftures, nor of diflnbution for beautiful! Grouppes : his Vejign often- times appears lame, and the (pojitions are not much ob- ferV din them. The AffeBs of his Figures are many times unpleajing ; but his manner of dejtgning Heads, Hands, Feet, and other parts, is Very great, and well deferVes our imitation. In the conduH and fnifhing of a Titlure, he has done wonders ; for he painted with fo much Union, that his greateji Works feerri d to haVc been fnifh'd in the compafs of one day ; and appear y as if we J aw them from a Looking-glafs. His Landt- fchape is equally beautif nil with his Figures.

At the fame time with Correggio, livd andflou- rijh'd PARMEGIANO ; whobefides his great man- ner of well Colouring, excelled alfo both in Invention and Dejign, with a Genius full of gentlenefs and of fpirit, having nothing that was ungr ace full in his choice of Vojlures and in the dreffes of his Figures, which we cannot fay of Correggio : there are Tiecet of his to befeeny which are both beautif ull and cor^ reel.

Tbefe

S 1 2 The Judgment of

Thefe two Painters laft rr.ention 'd, had Very good Scho- lars, hat li?eyare known oncly to thofe of their own (pro- vince ; and bvjides there is little to be credited of what his Country-men fay, for Painting is wholly extin- guijlid amongfl them,

I fay nothing of LEONARDO da VINCI, becaufe I haVe feen but little of his, though he re- fiord the Arts at Milan, and had many Scholars there.

LUDOVICO CARRACCI, Uncle to Han- nibal and Augufline, Jludicd at Parma after Cor- reggio 5 and exceltd in Vejtgn and Colouring, ivith fuch a Gracefulnefs, and fo much Candour, that Gui- do the Scholar of Hannibal, did afterwards imitate him with great fuccefs. There are fome of his Pi- Eiures to be feen, which are Very beautifully and well underflood. He made his ordinary refidence at Bo- logna, and it was ffe, who put the Pencil into the hands of Hannibal his Nephew.

HANNIBAL in a little time cxcelNhis Mafler, in all parts of Painting : He imitated Correggio, Titian, and Raphael, in their different manners as he pleas d, excepting onely that you fee not in his Pi- Bur es, the Noblenefs, the Graces , and the Charms of Raphael, and that his Out-lines are neither fo pure, nor fo elegant as his. In all other things, he is won- derfully accomplijl? d, an d of an Univerial Genius.

AUGUS-

Charles Alpbonfe dti Vrefnoj, Sic. 22%

AUGUSTINO, Brother to Hannibal, was al/o a Very good fainter, and an admirable GraVer. He had a Natural Son, caltd ANTONIO, who dyed at the age of 35", and who according to the general opinion, woud baVe furpafl'd bis Uncle Hannibal : for by what he left behind him, it appears that he was of a more lofty Genius.

GUIDO chiefly imitated Ludovico Carracci, yet retain d always fomewhat of the manner which his Ma- fler Lawrence the Flemming taught him. This Lawrence liv d at Bologna, and was Competitor and Rival to Ludovico Carracci: Guido made the fame nfe of Albert Durer, as Virgil did of old Ennius : borrow *d what pleas 'd him, and made it afterwards his own: that is, be accommodated what was good in Al- bert to bis own manner : which he executed with fo much gracefulnefs and beauty, that Me alone got more Money, and more Reputation in bis time, than his own Ma/lers, and all the Scholars of the Carraches, though they were of greater capacity than himfelf. His Heads yield no manner of precedence to tbofe of 'Raphael.

SISTO BADOLOCCHI defign d the befl of all bis Scholars : hut he dy d young.

DOMENICHINO was a Very knowing fainter, and Very laborious, but otherwife of no great Natural Endowments: 'tis true, he was profoundly skill' d in all the parts of fainting, but wanting Genius, as Ifaid,

he

2+ The Judgment of

he had lefs of mhlencjs in his Works than all the reft who fuelled in the School of the Carrachcs.

ALB AN O was excellent in all that belong d to Tainting, and adorn d with "Variety of Learning.

JOHN LANFRANC, a Man of a great and ff rightly wit, fupported his <$(eputation for a long time with an extraordinary gufi of Vcfign and Colouring. *But his foundation being onely on the practical part, he at length loft ground in point of corretlnejs : fo that many of his Tieces appear extravagant and fantaftical. And after his Veceafe, the School of the Carraches went doyly to decay in all the parts of Tainting.

GIO. VIOLA was Very old before he learn d Landtfchape, the knowledge of which was imparted to him by Hannibal Carracche, who took pleafure to inftrutl him, fo that he painted many of that kind which are wonderfully fine and well colour d,

Ifiee caft our eyes towards Germany and the Low- Countries, we may there behold ALBERT DU- RER, LUCAS VAN LEYDEN, HOLBEIN, ALDEGRAVE, and ISBIN, who were all Con- temporaries. Amongft thefe, Albert Durer and Hol- bein, were both of them wonderfully knowing and had certainly been of the fir ft form of Taint ers, had they traVelfd into Italy : For nothing can be laid to their charge, but onely that they had a Gothique Gufi. As for Holbein, he perform d yet better than Raphael ;

and

Charles Alpbonfe da trefnoy, &c. 225

and I haVe feen a Portrait ef his Painting, with which one of Titian'* could not come in Competition,

Amongft the Flemmings, we had RUBENS, who deriv*d from his Birth, a lively, free, noble and uni- Verfal Genius. A Genius which was capable not one- ly of raijing him to the rank of the Ancient Painters, hut alto to the highefl employment in the Service of his Country : fo that he was chofen for one of the moji important Embaflies of our Age. His Cujio ofDe- figning favours fomewhat more of the Flemming than of the 'Beauty of the Antique, becaufe he ftay d not long at Rome. And though we cannot but obferVe in all his Paintings, fomewhat of great and noble ; yet it mujl be confefsd, that generally fpeahng, he defignd not correclly : But for all the other parts of Painting, he was as abfolute a Mafler of them, and poffefs'd them alias throughly as any of his Predeceffors in that noble Art. His principal Studies were made in Lombardy, after the Works of Titian, Paul Veronefe andT'm- toret j whofe Cream he has fkimmd (if you will allow the Phrafe) and extratled from their federal Beau- ties many general Maxims and infallible (Rules, which he always followed, and by which he has accpuw dinhis Works, a greater Facility than thatofTkia.n ; more of Purity, Truth and Science, than Paul Veronefe ; and more of Majefty, %epofe and Moderation, than Tintorct. To conclude7 His manner is fo folid, fo

G g hiomngj

226 The Judgment of, &c.

flowing, and Jo ready, that it may feem, this ran accomplifk'd Genius was fent from Heaven to inJlruB Mankind in the Art of fainting.

His School was full of admirable Scholars, amongft whom VAN DYCK was he, w\io hefl comprehend- ed all the Ponies and general Maxims of his Mafter $ and who has e^en excelled him in the delicacy of his Colouring and in his Cabinet Pieces ; but his Gufk hi the defigning Part, was nothing better than that of Ru bens.

A

Short Account

Of che moll Eminent

PAINTERS

BOTH

Ancient and ^touew,

Continu'd down to the

PRESENT TIMES

According to the

Order of their Succeffion.

LONDON,

Printed for W. Rogers at the Sun againfl: St- Vunftans Church in Fleetflreet. i 6p 5.

( 225 V THE

PREFACE.

TH E Title having onely promised a fiiort Account of the mod Eminent Matters, Grc. the Reader muft expecl to find Very little more in the fmaUCompafi of thefe few Sheets, than the Time when, the Place where, by whofe Infrac- tions, and in what particular Subject each of thofe great Men became Famous.

In the fir ft part, which comprehends the prime Mafters of Antiquity, I have follow3 d Pliny : yet not blindly, or upon his Authority alone, but chiefly . in thofe places, where I have found his Evidence con- firmed by the concurrent Teftimony of other Writers. The Catalogue of Fran. Junius I have diligently per- used, and examind mofl of the Records cited in it. 1 haVe alfo read oyer the Lives of the Four Principal Painters of Greece, written in Italian, by Carlo Dati of Florence , together with his learned Annotations upon them : and in a word, baVe left ?iotfmig unregard- ed, that coud give me any manner of Affiftance in this prefent Undertaking.

In the Chronological part, becaufe I for ef aw that the Olympiads, and the Years of Rome, would beof

little

230 F R EVA C E.

little ufe to the generality of Readers, / have adjufted them to the two Vulgar ^Eras (Vi^.) the Creation of the-World, and the Birth ofChnft. The GrceJcTJa- lents 1 have likewife reduc d into Englifli Money : but tojuftijie my Account, muft obJerVe, that here (as in moft Authors, where a Talent is put ab/olutely, and without any other Circumftance)theT alentum Atticum Minus is to be under flood ; which according to the near- eft Computation comes to about 187 1. 10 s. of out Mo- ney, the Majus being about 61 1. 10 s. more.

In the latter part, which co?itains the Mafters of great- eft Note amongft the Moderns, / have been equally di- ligent, not onely fearching into all the moft conjiderable Writers, who haVe left us any Memorandums relating to them ; but alfo in procuring from Rome, and other pla- ces, the be ft Advice thatpoffibly I could get, concerning thofe Painters who are but lately deceas'd, and whofe Lives haVeneVer yet appear d in Print. /«Italy IhaVe taj^en Juch Guides^ as I hadreafon to believe, were beft acquainted in that Country : and in France, Germany, Flanders, and Holland, have been govern d by the Au- thors who have been moft confer f ant in thofe Tarts. For the Roman, Florentine, and fome other particular Mafters, IhaVe apply d my f elf to the Vice de' Pittori, dec. of Giorgio Vafari, andthat excellent Treadle of Gio: Pietro Bellori on the fame Subject. For the Lom- bard School, I have confulted the Maraviglie dell'

Arte

P R £ FA C E. 251

Arte of Cavalier Ridolfi. For the Bolognefe Pain- ters, the Felfina Pittrice o/Conte Carlo Cefare Mal- vafia. For thofe of Genoua, the Vice de' Pktori, tsrc. of Rafaelle Soprani nobile Genouele. For the French Mafters, the Encretiens fur les Vies, <src. o/Felibien. For the German, Flemifh, and Dutch Painters, (of whom I have admitted hut very few into this Collecti- onj the Academia nobiliffimx Artis Pictorial, of Sandrart, andthe Schilder-Boecko/Carel van Man- der. For thofe of our own Country, I am afham.d to acknowledge how difficult a matter 1 haVe found it, to get but the leafl Information touching fome of thofe In- genious Men, whofe Works have been a Credit and Reputation to it. That all our Neighbours haVe a greater Value for the Profeffors of this noble Art, is fufficiently evident, in that, there has, hardly been any oa€ Matter of tolerable Parts amongjl them, but a Crowd of Writers, nay fome Pens of Quality too, haVe been smploydin adorning their Lives, and in tranfmitting their Names honourably to Pofterny.

For the Characters of the Italians 0 f. the fivA Form, 1 haVe all along referrdthe Readers the Judgment of. Monfteur du FRESNOY in the preceding Pagos. 'But for the reft, I.haVc fromjhe Books aboVe-menti- ond, and the Opinions of the Learned, briefly fhewny wherein their different Talencs and Perfections confer fled 1. chafing always (in the little ^pom to which lhaVe

been

2J.2 PREFACE.

been confind) to jet the be ft fide forwards, cf peel ally where their few Faults haVe been over-balanc'd by their many Virtues.

By the Figures in the Margin it will eajlly appear, how careful IhaVe eVery-where been, to preferVe the Or- der of Time, which indeed was the thing principally intended m theft Papers. Some few Mailers bom* ever mufl be excepted; whom yet IhaVe placed next to their Contemporaries, tho I could not fix them in any particular Year. In all of them IhaVe been Very cxatl in Jetting down their refpeclive Names, jufi as they themielves us'd to do, when they did not write them in Latine.

If itjhuld be Objected, that f ever al of the Mafters herein aft cr -mention d, haVe already appear d amongjl us, in an Englifh Drefs : J can onely anfwer, That as the Method here made ufe of, is more regular, and quite different from any thing that has been hitherto publifh'd in this kind-, Jo, wheJoeVcr fliall think it worth his while to compare theft little Sketches with the Originals from which IhaVe copy'd them, will find, that I haVe taken greater Care in drawing them true, and that my Out-lines are generally more correct, whatever De- fects may be in the Colouring part.

Ancient

( 23? )

Ancient flatters,

Y whom, and in what particular Age the Art of fainting was firft invented in Greece, Ancient Authors are not agreed. Anftotk afcribes the honour of it to EHCHI^, a. Kinfman of the^/it jrfmi. famous D<edalus, who flourifli'd Anno \ 1 1 8 be- 2750 fore the Birth of Chrifl; Tkeophraflus pleads for tPOLYGNOTUS the Athenian , Athenagoras for SAUNAS of Samos $ fome contend for <PHILO- CLES the Egyptian, and others again for CLEAN- THES of Corinth But howfoever the Learned may differ in their Opinions touching the InVenter, yet as to the Art it felf, all of them are unanimous, that its firft appearance amongft the Greeks, was in no better a drefs than the bare Shadow of a Man , or fome other Body , circumfcrib'd with a fingle line onely, call'd by them Sciagraphiay and by the Latines, <Pitlura Linearis.

The firft ftep made towards the advancement of Tainting, was by A^J)ICES the Corinthian , zndTELEfHANES oiSicyon, or C%AT0 of the

H h fame

238 Ancient Mafters.

fame City ; who began to add other lines, by way of fhadowing their Figures, to make them appear round, and with greater ftrength. But fo inconliderable were the advantages, which che Authors of this Manner (calld Graph'tce) gain'd by their Indention, that they flill found it necef- fary, to write under each piece, the name of eve- ry individual thing which they endeavoured to reprefent, leaft othervvife the Spectators fhou'd ne- ver be able to diicover what they intended by it.

The next Improvement, was by CLEOTHAK- TUS of Corinth, who firft attempted to fill up his Out-lines with a fingle Colour : from whence his Pieces, and thofe of HTGIEMON, D1NIAS, and CHAQtyfAS his followers, got the name of Mo- nodromataj (V/;^.) Pictures of one colour.

EUMA^JiS the Athenian, began to paint' Men and Women in a manner different from each other, and ventured to imitate all forts of Ob- jects : but was far excell'd by his Difciple.

CThfOK the Cleorutan, who found out the Art of Painting Hiftorically, defign'd his Figures in variety ofPoftures, diftinguifh'd the fcvcral parts

of

Ancient Mafters. 239

of the Body by their Joints, and was the firft who took notice of the folds of Draperies in his Pieces.

In what Century the Maftcrs abovemention'd liv'd, Antiquity has given us no Account : yet cer- tain it is, that about the time of the Foundation An. Mun. o{$(pme9 Anno 750 ante Chr. the Grecians had car- 3 198. ry'd Tainting to fuch a height of Reputation, that ^-^v^n^ Candaules King of Lydiay iirnam'd Myrfilusy the lad: of the Heraclid<ey and who was kill'd by Gyges Anno quarto Olymp. \ 6. for a Picture made by BULA${CHUSy reprefenting a Battel of the Mag- nefians, gave its weight in Gold.

TANy€NUS of JtUm, liv'd Olymp. 8 $. Anno 446 ante Ch\ and is celebrated for having pain- , *02. ted the Battel at Marathon, between the Athenians and Terjians, fo very exactly, that Mdtiades, and all the General Officers on both fides, were eafily to be knows, and diftineuifli'd from each other in that Piece.

PHIDIAS his Brother, the Son of Charmidasy flourifh'd Olymp. 84. Anno 442 ante Chr. and was famous both for Tainting and Sculpture : but par- ticularly in the latter fo profoundly skill'd, that his Statue of Jupiter Olympius was by the Ancients

H h 2 efteem'd

2%6 Ancient Mafters.

efteem'd one of the Seven wonders of the World, as his MmerVa> in the Citadel of Athens, made of Ivory and Gold, was (by way of Eminence) cali'd the Beautiful Form, He was very intimate with Pericles, the Athenian General ; and fo much en- vy'd upon that account, and for the Glory which he acquir'd by his Works, that his Enemies cou'd never be at reft till they had plotted him into a Prifon, and had there (as fome fay) taken away his Life by Poifon.

POLYCLETUS, a Native of Sicyon, and the An. Mun. moft renowned Sculptor in his time, liv'd Olymp. 3518. %y. Anno 430 ante Chr. and befide the Honour which he gain'd, by having brought the ®ajf- P^elte'Vo to perfection, is commended for divers admirable pieces of work $ but chiefly, for being the Author of that moft accomplish' d Model , call 'd the Canon : which comprehending in it felf alone all the feveral perfections, both of Feature, and Proportion, in Humane Bodies, by the joint confent of the moft eminent Artifts, as well Painters as Sculptors, then in being, was unani- moufly agreed upon to be handed down to Po- sterity, as the Standard, or infallible P{ule of true Beauty,

In

Ancient Maflers. 237

In this Olympiad alfo were MY^ON, and SCO- iPJSj both excellent in Sculpture j and in fome refpecis equal even to (poljcletus himfelf.

<P0LYGN0TUS the Thafian, was the Difciple of his Father Aglaophon, and particularly famous for reprefenting Women ; whom he painted in lightfom and fliining Draperies, adorning their heads with dreffes of fundry colours, and giving a greater freedom to his Figures, than had been us'd by any of his PredecelTors. His principal Works, were thofe which he made gratis in the Temple at Delphi, and the grand Portico at Athens, caird^the Various 3 in honour of which it was fo- lemnly decreed, in a great Council of the Am- fhictyons ,that where-ever he fhould travel in Greece, his charges fliould be born by the Publick. He died fometime before the o o Olymp. which was ^n' ^un* Anno 418 ante Chr. Hi?'

AVOLLODOQQIS the Athenian, liv'd Olymp. 04. Anno 402 ante Chr. and was the firft who inven- ted the Art of mingling his Colours, and of ex- preffing the Lights and Shadows. He was ad- mir'd alfo for his judicious choice of Nature, and in the beauty and flrength of his Figures furpaffed all the Mailers who went before him. He ex- celled

2^\ Ancient Mafters.

cell'd likewife in Sculpture, but was furnam'd the Madman, from a ftrange humour which he had, of deftroying even his very bed Pieces, if after he had finifh'd them, hecou ddiicover any fault, tho never fo inconiiderable.

An. Mun. ZEUX1S of Heraclea, flourifli'd Anno quarto 2552. Olymp. 9 5 . Anno 305 ante Chr. and was fam'd for

^<~*r^J being the mod excellent Colour ifi of all the Ancients , though Cicero, Pliny, and other Authors tell US3 there were but four Colours then in ufe (Viz^) white, yellow, red and black He was cenfur'd by fome, for making his Heads too big $ and by Arijlotle, for not being able to exprefs the Man- ners, and Paffions. He was very famous not- withstanding for the Helena which he painted for the People of Crotona; in the Compofition of which he collected from five naked Virgins {the moft beautiful that Town cou'd produce ) whatever he obferv'd Nature had form'd moft perfect in each, and united all thofe admirable parts in that flngle Figure. He was extoll'd like- wife for feveral other Pieces $ but being very rich, cou'd never be prevail'd upon to fell any of them, becaufe he thought them to be above any pricej and therefore chofe rather to give them away freely to Primes, and Cities. He died (as

'tis

Ancient Mafiers. 243

'tis generally faid) of a fie of Laughter, at the fight of a Comical old Woman's Picture, which he had drawn.

(PJI^HJSIUS a Native of Ephefus, and Ci- tizen of Athens ', was the Son and Difciple of E\>enory and the Contemporary of Zeuxis, whom he over- came in the noted Conteft between them, by de- ceiving him with a Curtain, which he had painted fo excellently well, that his Antagonift miftook it for the Nature it felf. He was the firft who ob- ferv'd the Rules of Symmetry in his works 3 and was much admired for the livelinefs of his expref- ifon, and for the gayety and graceful Airs of his Heads : but above all, for the foftnefs and elegance of his Out-linesy and for rounding off his Figures, fo as to make them appear with the greater ftrength and relievo. He was wonderfully fruitful of In- vention, had a particular talent in fmall pieces, especially in wanton Subjects, and finiflvd all his works to the laft degree of perfection. But withall was fo extravagantly vain and arrogant, that he commonly writ himfelf (parrhajius the Sag», the Sir Courtly ('At^Ucql^) went cloath'd in purple , with . a Crown of Gold upon his

J, pretended to derive his Pedigree from A* polio, and ftyl'd himfelf the Trince of his (Profeffion.

Yet.

240 Ancient Mafters.

Yet, to his great affliction, was humbl'd at laft by

TIMANTHES of Sicyon (or as fome fay, of Cythnus) who in a Difpute betwixt them, was by the majority of Votes declared the better Tainter : And befides was as eminent for the lingular mode- fty and fweetnefs of his Difpofition, as for the agreeable variety of his Invention, and peculiar happinefs in moving the Paffions. His moft ce- lebrated works were the fleeping Tolyphemus, and the Sacrifice of Iphigenia ; in both which (as in all his other Performances) his diftinguifliing Cha- racter appear'd, in making more to be under- ftood, than was really exprefs'd in his Pieces.

In this time alfo flourifli'd EUTOMTUS of Sicyon, an excellent Artift, and whofe Authority was fo very considerable, that out of the two Schools of Tainting, the AJtatick and the Greek, he made a third, by dividing the laft into the Attick and the Sicyonian. His beft Difciple was

tPJMPHILUS a Native of Macedonia, who to the Art of Tainting joynd the Study of the Liberal Arts, efpecially the Mathematicks : and us'd to fay, that without the help of Geometry, no Tainter could ever arrive at perfection. He was the firft who

taught

Ancient Makers. 241

taught his Art for fet rates, but never took a Scho- lar for lefs time than ten years. What reputation and intereft he had in his own Country, and what ufe he made of it, for the honour and advance- ment of his (Profejfion, fee Tag. 8 3 .

PJliSIJS of Sicyon, a Difciple of Tampbilw, was the firft who painted upon Walls and Ceil- ings: and amongft many rare qualities, was ex- cellent at fore fhorten'mg his Figures. His moll: fa- mous Piece was the Picture of his Miftrefs Glyceray in a fitting pofture, compofing a Garland of Flowers: for a Copy of which L. Luculfas, a noble $(oman> gave two Talents (375 lib.)

EUTH^JNO^ the IJlhman, flourifh'd Olymp. An. Mm. 1 04, Anno $6z ante Chr. He was an UniVerfal 2586. Mafker, and admirably skill' d both in Sculpture and Tainting. His Conceptions were noble and ele- vated, his Style mafculine and bold 3 and he was the firft who fignaliz'd himfelf by reprefenting the Majefty of Heroes. He writ feveral Volumes of the Art of Colouring, and of Symmetry , and yet notwithstanding fell into the fame Error with Zeux.isy of making his Heads too big in proporti- on to the other parts.

I i ?%AXh

242 Ancient Makers.

PRAXITELES the km d Sculptor] particu- larly celebrated for his Venus of Gnidus, and other excellent performances in Marble, was the Con- temporary of Euphranor.

An. Mm. CYDIAS of Cytbnus,\i\d Olymp. 1 06, Anno 354 3 504. ante Cbr. and rais'd his reputation fo much by his

\*s~/~^^> works, that Hortenjius the P^oman Orator , gave 44 Talents, (8250 lib.) for one of his Pieces, con- taining the Story of the Argonauts, and built a noble Apartment on purpofe for it, in his Villa at Tufculwn.

APELLES the Prince of Painters, was a Na- tive of Coos, an Ifland in the Archipelago ( now known by the name of Lango) and flourifli'd 0- 3618. lymp. 1 12, Anno 330 <mte Cbr. He improved the -* noble talent which Nature had given him, in the School of Pamphilus; and afterwards by degrees became fo much in efteern with Alexander the Great, that by a public EdiEl he ftrictly commanded , that no other Majler fhou d prefume to make his Portrait ; that none but Lyfippus of Sicyon fliou'd caft his Statue in <Brafs ; and that Pyrgoteles onely fhou'd grave his Image in Gems and Precious Stones. And in farther teftimony of his particular refpect to this Artift, he prefented him, even with his

mod

Ancient Maflers. 24.3

mod beautiful and charming Miftrefs Campafpe, with whom Apelles had fall'n in Love, and by whom 'twas fuppos'd he copy'd his Venus (Anadyo- mene) rifing out of the Sea. Grace was his pecu- liar portion, as our Author tells us, Page 1 50, and 2ii. In which, and in knowing when he had done Enough, he tranfcended all who went before him, and did not leave his Equal in the world. He was miraculoufly skill' d in taking the true li- neaments and features of the Face : Infomuch that (if Apion the Grammarian may be credited) (P/ry/j- ognomifls upon fight of his Pictures onely, cou'd tell the precife time of the parties death. He was admirable likewife in reprefenting people in their laft Agonies. And in a word, fo great was the veneration paid by Antiquity to his Works, that feveral of them were purchas'd with heaps of Gold, and not by any fet number or weight of pieces. He was moreover extremely candid and obliging in his temper, willing to inftruft all thofe who ask'd his advice, and generous even to his mod potent Rivals.

<P<%0T0GENES of Camus, a City of Carta fub- jecl: to the ^hodians, was by the Ancients efteem'd one of the four beft Painters in Greece : but liv'd miferably poor, and very little regarded in his

I i 2 own

244 Ancient Majiers.

own Conntvy, till Apelles having made him a vifit, to bring him into Reputation, bought up feveral of his Pictures, at greater rates than he ask'd for them ; and pretending, that he defign'd to fell 'era again for his own work, the <%J?odia?is were glad ro redeem them upon any terms. Whofe Difciple he was, is not certainly known 5 but 'tis general- ly affirm'd, that he fpent the greateft part of his life in painting Ships, and Sea-pieces onely : yet applying himfelf at laft to nobler Subjects, he be- came an Artifl fo well accomplifli'd, that Apelles confefs'd he was in all reipects at lead equal to himfelf? excepting onely, that never knowing when to leave off, by overmuch diligence, and too nice a correctnefs, he often difpirited and deaden'd the Life. Re was famous alio for feveral Figures which he made in f£rafs : but his moll: celebrated piece of Painting, was that of Jalyfus, which coil him feven years ftudy and labour, and which fav'd the City of <l{1?odes from being burnt by D&metrius T-oliorates. Vide Page 8.4.

Of MELANTHIUS we have nothing certain^ but that he was brought up at Sicyon, (the bed School of Greece) under Pampbilus, at the fame time with Jpelles. That he contributed both by his Pen, and Pencil, to the Improvement of his

Art z

Ancient Mafters. 245

Art ; and amongft many excellent Pieces, painted Arijlratus the Sicyonian Tyrant, in a Triumphal Chariot, attended by Victory, putting a wreath of Laurel upon his Head j which was highly cfieernd.

AfSJSTTDES of 'Thebes, the Difcipleof Euxeni- das, iiv'd in the fame Olympiad with Apelles, and was the firft who by the (Rules of Art, attain' d a perfect knowledge of expreffing the Pa/lions and Affections of the Mind. And though his colour- ing was fomewhat hard, and not fo very beauti- ful as cou'd be wifh'd, yet notwithftanding fo much were his Pieces admired, that after his de- ceafe, Attain* King of Tergamus, gave an hun- dred Talents (18750 lib.) {ox one of them.

His Contemporary was ASCLETIOW^US the Athenian, equally skilFd in the Arts of Sculpture' zni Painting-, but in the latter, chiefly applauded for the beauties of a correct Style, and the truth of his Proportion : In which Apelles declared himfelf as much inferior to this Art'ifl, as he was to AM- (PHION, in the ordering, and excellent difpofiti- on of his Figures. The moll famous fpitlures of Af- clepiodorus , were thofe of the twelve Gods, for which Mnafon *he Tyrant of Elatea, gave him the value of about 300/. Sterl a-piece. A-

246 Ancient Mafters.

About the fame time alfo were the feveral Ma- fters following (%.$ THEOMNESTUS, fam'd for his admirable talent in Portraits.

NICHOMACHUS, the Son and Difciple of Ariftodemus, commended for the incredible facility and freedom of his Pencil.

NICOTHANES, celebrated for the Elegance of hisDcfign, and for his grand Manner, and Ma- jefty of Style 5 in which few Mafters were to be compared to him.

PYPJEICUS was famous for little pieces only ; and from the fordid and mean Subjects to which he addicted himfelf (fuch as a Barbers, or Shoe- makers Shop, the S til-life, Animals, Herbage, &c.) got the furname of \RJ?yparographus. Yet though his Subjects were poor, his Performance was ad- mirable ; And the fmalleft Pictures of this Artift, were efteem'd more, and fold at greater Rates, than the larger Works of many other Mafters.

ANTIDOTUS the Difciple of Eupbranor, was extremely diligent, and induftrious, but very flow at his Pencil} which as to the colouring part was generally hard and dry. He was chiefly remarkable for having been the Mafter of NI-

Ancient Maflers. 247

NIClAS of Athens^ who painted Women in An. Mun* Perfection, and flourifli'd about the 114. Olymp. 7616. Anno } 2 2 ante Chr. being univerfally extoll'd for the great variety and noble choice of his Subjects, for the force and relievo of his Figures, for his great skill in the diftribution of the lights and fhadows, and for his wonderful dexterity in re- prefenting all fores of four-footed Animals, beyond any Majier in his time. His mod celebrated Piece was that of Homers Hell$ for which having refufed 60 Talents (1 1250 lib.) ofFer'd him by King ^Ptolemy the Son of Lagus, he generouily made a Prefent of it to his own Country. He was likewife much efteem'd by all his Contemporaries for his excellent Talent in Sculpture ; and as Winy reports, by Praxiteles himfelf : which yet feems highly improbable, confidering, that by his own account , there were at leaft 40 years betwixt them.

ATHENION of Maronea, a City of Thrace, a Difciple of Glaucion the Corinthian, was about this time alfo as much in vogue as TSlicias : and though his colouring was not altogether fo agree- able, yet in every other particular he was even fuperior to him, and wou'd have mounted to the higheft pitch of Perfection, if the length of his Life

had

24.8 Ancient Mafters.

had been but anfwerable to the great extent of his Genius.

An. Mun. FABlUS a noble ^omany painted the Temple of 2647. Health in ^omey Anno U. C. 450, ante Chr. 301 :

^^"v^^ and glory'd fo much in his Performances there, that he alTum'd to himfelf for ever after, the fur- name of tpiftor, and thought it no difparagement to one of the raoft Illuftrious Families in (I^ome, to be diftinguifli'd by that Title.

2698. NEALCES liv'd Olymp. 132, Anno 250 ante Chr. in the time of Aratus the Sicyonian General , who was his Patron, and intimate Friend. His particular CharaBer, was a ftrange vivacity of thought, a fluent fancy, and a lingular happinefs in explaining his intentions (as appears Pag. 148.) He is befides frequently mention d by Writers, for that having painted a Horfe, and being weary' d with often trying in vain to exprefs the foam pro- ceeding from his Mouth, he flung his Pencil in a great paffion againft the PiElure, which lighted fo luckily, that to his amazement he found, Chance had finifli'd his Defign , much better than he with all his art and labour cou d have done.

MET^O-

Ancient Mafters. 249

1{ET<%0W$(US flourifh'd Anno \6% anteChr.An. Mun. and liv'd in To much credit and reputation at Athens, 3780. that (paulus MtmliUs% after he had overcome Per- ^"V*^ feus King of Macedon, Anno 3 Olymp. 152. having defir'd the Athenians to fend him one pj :heir moft learned Philojophers to breed up his Children, and a skilful Ta'mter to adorn his Triumph, Metro- dorm was the perfon unanimoufly cholen, as the fitted for both Employments.

MARCUS TACUFIUS of Brundufium, theNe- 3707. phew of old Ennius, was not onely an eminent v^x-^v-s^ <Poet himfelf, and famous for feveral Tragedies which he wrote, but excell'd alfo in (painting : Witnefs his celebrated Works , at Forney in the Temple of Hercules, in the Forum Boartum. He flourifh'd Anno U. C. 600, ante Chr. 151, and died at Tarentum, almoft po years of age.

TlMOMACHUS of Byzantium (now Conflanti- 3^01. W0/>fe) liv'd J/mo W. C. 704, ante Chr. 47, in the time of Julius Cdfar, who gave him 8 o Talents ( 1 5 000 lib.) for his Pieces of Ajax and Medea, which he placed in the Temple of Venusy from whom he derived his Family. He was commen- ded alfo for his Oreftes and Iphigenia : but his Ma- fter-piece was the Gorgon, or Medufas Head.

K k About

250 Ancient Majiers.

About the fame time alfo A%ELLIUS was fa- mous at ^o?ne, being as much admir'd for his ex- cellent talent in Tainting, as he was condemned for the fcandalous ufe which he made of it, in ta- king all his Idea's of the Goddejfes from common Strumpets , and in placing his Mijirejfes in the Heavens , amongft the Gods , in feveral of his Pieces.

An. Mun. LUDIUS liv'd in great Reputation, under Au- 3 907. guftus Cafar, who began his %eign Anno U.Cyx o,

v*^^v^Ss-/ ante Chr. 41 . Heexcell'd in grand Compojitions, and was the fir ft who painted the Fronts of Houfes, in the Streets of fltyme : which he beautify 'd with great variety of Landtf chapes, and pleafant Views, together with all other forts of different Subjects, manag'd after a mod noble manner.

An. Bom. TU^PILIUS a %oman J^mght, liv'd in the time <$p# of Vefpajian, who was chofen Emperour, An. Dom. 69. And though he painted every thing with his left hand, yet was much applauded for his admi- rable Performances at Verona.

His Contemporaries were CORNELIUS <PI- NUS, and ACTIUS <P<$JSCUS, who with their Pencils adorn d the Temples of Honour and Virtue,

repair'd

Ancient Mafters. 251

repair'd by Fe/pajian. But of the two, <Prifeus came neareft in his flyle and manner of Tainting, to the purity of the Grecian School

And thus have I given the Reader a fl?ort Ac- count , of all the mod eminent Majiers who flouriili'd in Greece, and tf^ome, in the compafs of more than a thoujand Tears. 'Tis true indeed, that for a long time after the feigns of Vefyafun, and Titus his Son, Tainting and Sculpture continued in great reputation in Italy. Nay, we are informed, that under their Succeffors Vomitian, NerVa, and Trajan, they fhin'd with a Luftre almoft equal to what they had done under Alexander the Great. 'Tis true alfo, that the %oman Emperours Adrian, An- tonine, Alexander Scverus, Conflantine, and Valenti- nian, were not onely generous Encouragers of the fe Arts, but in the practice of them alfo fo well skill'd, that they wrought feveral extraordinary Pieces with their own hands $ and by their Ex- ample, as well as their Patronage, rais'd up ma- ny confiderable Artijls in both kinds. But the Names of all thofe excellent Men being unhappily loft with their Works, we muft here conclude our Catalogue of the ANCIENT MASTERS: and mail onely take notice, that under that Title, All thofe are to be comprehended , who practifed

K k 2 Tainting

2 52 Ancient Mafters.

An. Dom.tpaintbig or Sculpture cither in Greece or tffyme, be-

580- f°re tne >*ear °* our £°r^ 5^0. At which time the Latine Tongue ccafing to be the common Language of Italy, and becoming mute, All the noble Arts and Sciences (which in the two preceding Centu- ries had been brought very low, and by the con- tinual Invafions of the Northern Nations reduc'd to the laft extremities) expir'd with it : and in the Reign of Qhoccis the Emperour, foon after, lay bu- ry3 d together, as in one common Grave, in the Ruins of the %oman Empire.

( 253 ).

^loDern

IOVAKNI CIMABUE, nobly defended, and born at Florence, Anno 1240, was the 1240. firft who revived the Art oi Tainting in Italy. He was a Difciple of fome poor ordinary Tamters, lent for by the Government of Florence from Greece : whom he foon furpafs'd, both in Drawing, and Colouring , and gave fomething of ftrength and freedom to his Works, at which they cou d never arrive. And though he wanted the Art of managing his Lights and Shadows, was but little acquainted with the Rules of Terfpetlive, and in divers other particulars but indifferently accom- plifli'd 5 yet the Foundation which he laid for fu- ture Improvement, entitled him to the name of the Father of the Firjl Age, or Infancy o[ the Mo- dern Tainting. Some of his Works are yet re- maining at Florence, where he was famous alfo for his skill in Architecture, and where he died ve- Ait. 60. ry rich, Anno 1300.

Q10TT0

254 Modem Mafters.

rvwA_/-> GIOTTO his Difciple, born near Florence, Anno 1276. 1 276, was a £ood Sculptor and Architetl. as well as a better (painter than Cimabue. He began to fhake off the ftiffnefs of the Greek Mafters ; endea- vouring to give a finer Air to his Heads, and more of Nature to his Colouring, with proper Poftures to his Figures. He attempted likewife to draw after the Life, and toexprels the different Paflions of the Mind : but cou'd not come up to the live- liness of the Eyes, the tendernefs oftheFlefh, or the ftrengthof the Mufcles in naked Figures. He was fent for, and employ'd by Pope (BeneditJ IX. in St. Peter s Church at (p^ome, and by his Succef- for Clement V. at Avignon. He painted feveral Pieces alfo at Padoua, Naples ; Ferrara, and in o- ther parts of Italy ; and was every where much admir'd for his Works : but principally, for a Picture which he wrought in one of the Churches of Florence, reprefenting the Death of the !B. Virgin, with the Apoflles about her: the Attitudes of which Story, M. Angelo Buoiiaroti us'd to fay, cou'd not be better defign'd. He flourifli'd in the time of the famous Dante and Petrarch, and was in great

jp , efteem with them, and all the excellent Men in ' his Age. He died Anno 1336.

AN-

Modern Majters. 255

. ANDREA TAFF1, and GADDO GADDIwcrc his Contemporaries, and the Reftorers of Mbfaic- work in Italy : which the former had learnt of Afol- Ionium the Greek, and the latter very much improv'd.

At the fame time alfo was MA^G A^ITONE, a Native of Arezgo in Tufcany, who firft invented the Art of Gilding with Leaf -gold, upon 'Bole-arme- niac.

SIMONE MEMMI, born at Siena, a City in the borders of the Dukedom of Florence, Anno 1285, was a Difciple of Giotto, whofe manner he improv'd in drawing after the Life : and is par- ticularly celebrated by Petrarch, for an excellent Portrait, which he made of his beloved Laura, He was applauded for his free and eafie Invention, and began to underftand the Decorum in his Com- Mt. £o, rxjfitions. Obnt Anno 134J.

TADVEO GADDI, another Difciple of Giotto, born at Florence, Anno 1 300, excell'd his Mafter l 3°°* in the beauty of his Colouring, and the livelinefs of his Figures. He was alfo a very skilful Archi- tect, and much commended for the Bridge which he built over the River Arno, at Florence. He died j£t. 50, Anno 1350.

TOMASQ

Modem Maflers.

TOMJSO, call'd GlOTTlNO, for his affecling and imitating Giotto's manner, born alfo at Flo- rence, Anno 1324, began to add flrength to jp his Figures, and to improve the Art of Terfpetlive.

J He died Anno 1 3 5 <5.

> *"

JOHANNES ab EHC, commonly call' d JOHN of 'BRUGES, b&rn at Mafeech on the River M^ in the Low-Countries, Anno \ 370, was a Difciple of his Brother Hubert, and a confiderablc (Paw- ^r : but above all things famous for having been the happy hiVenter of the A^T of TAINTING IN OIL, Anno 1410, (thirty years before (print- ing was found out by John Guttemberg, of Straf- Alt. 7 1 . burgh.) He died Anno 1 44 1 , having fome years ' before his deceafe communicated his Invention to

ANTONELLO of Meffina, who traveled from his own Country into Flanders on purpofe to learn the Secret: and returning to Sicily, and afterwards to Venice, was the firft who practifed, and taught it in Italy. He died Anno AEtat. 40.

In the preceding Century flourifh'd feveral other Majiers of good Repute : but their Manner being the fame, or but very little different from that of Giotto, it will be fufficient to mention the Names

onely

Modern Mafters. 257

onely of fome of the mod Eminent, and fuch were Andrea Orgagna, Tietro CaVallim, Stefano, <Bo~ namico 'Buffalmacco^ Tietro Laurati, Lippo, Spinello, Cafentino, Tijano, Sec. And thus the Art of Tain- ting continu'd almoft at a ftand for about an hundred years 3 advancing but flowly, and ga- thering but little ftrength, till the time of

MASACCIO, who was born in Tufcany, Anno <~^a_/-> 1417, and for his copious Invention, and true !4l7-' manner of Defigning 3 for his delightful way of Colouring, and the graceful Actions which he gave his Figures 5 for his loofenefs in Draperies, and extraordinary Judgment in Terfpeilive, is rec- kon'd to have been the Mafter of the Second, or Middle Age of Modem Tainting: which 'tis thought he wou'd have carry5 d to a much higher degree of Perfection, if death had not ftopp'd him in his ^^ ^ Career (by Poyfon, as it was fuppos'd) An, 1443. ^y^^J,

GENTILE, and GIOVANNI, the Sons and rvA^ Difciples of GIACOMO BELLlNO, were born at 1 4 * *- Venice, (Gentile, Anno 1421.) and were fo emi- nent in their time, that Gentile was fent for to Con- stantinople, by Mahomet II. Emperour of the Turks : for whom having (amongft other things) paint- ed the Decollation of S- John Bapti/i, the Emperour,

L 1 to

2 5 S Modem Majlers.

to convince him that the Neck after its feparation from the Body, cou'd not be fo long as he had made it in his Picture , order' d a Slave to be brought to him, and commanded his Head to be immediately ftruck off in his prefence : which fo tetrifi'd Gentile, that he cou'd never be at reft, till he got leave to return home : which the Empe- rour granted, after he had Knighted him, and nobly rewarded him for his Services. The moll: considerable Works of thefe Brothers are at Venice, where Giovanni liv'd to the age of oo years, ha- ving very rarely painted any thing but Scripture- Stories, and T^ligiom Subjects, which he perform'd fo well, as to be efteem'd the moft excellent of ^P « all the (Bellini. See more of him Tag. 217, ' K Gentile died Anno 1501.

ANDREA MANTEGNA1 born at Tadoua, '** *- Anno 1431, a Difciple of Squarcwne , was very correct in Defigning, admirable in fore fhort'ning his Figures, well vers'd in Terfpetlive, and arrived to great knowledge in the Antiquities, by his con- tinued application to the Statues, (Bafs$(elieWs, &c. Yet however his neglect of feafoning his Studies after the Antique, with the living Beauties of Na- ture, has given him a Pencil fomewhat hard and dry ; And befides., his Drapery is generally ftifF,

according

I Modern Maftcrs. 2 $9

according to the manner of thofe times, and too much perplex' d wich little folds. The belt of his Works (and for which he was Knighted, by the Marquefs LodoVico Gon^aga, of Mantoua) are the Triumphs of Julius Q&far, now at Hampton- Court. He died Anno 1517, having been the firft (ac- cording to Vajari) who praciifed the Art of Gra- JEt. 8 6. Ying in Italy.

ANDREA VE^OCCHIO a Florentine, born ^201432, was well skill'd in Geometry, Optics , * 432- Sculpture, Mujic, and fainting : but left off the laft, becaufe in a Piece which he had made of St. John (Baptising our Saviour, Leonardo da Vinci, one of his Scholars, had by his order, painted an An- gel, holding up fome part of our Saviours Gar- ments, which io far excelled all the reft of An- dreds Figures, that inrag'd to be out-done by a Young-man, he refolv'd never to make ufe of his (Pencil any more. He was the firft who found out the Art of taking and preferving the likenefs of any Face, by moulding off the Features inPlaifter. _ He died Aw 1488.

LUCA SIGNO^ELLI of Cortona, a City in the Dukedom of Florence, born Anno 1430, was !43?" a Difciple of Tietro S. Sepulchro, and fo excellent

L 1 2 at

26o Modern Mafters.

at defigning Nakeds, that from a Piece which he painted in a Chappel of the great Church at Or- Yieto, M. Angelo (Buonaroti transferr'd feveral entire Mt % 2 Figures *nt0 his Lajl-Judgment.. He died very rich, Anno 1521.

flET^O di COSIMO a Florentine, born Anno l44K 1441, was a Difciple of Cofvno ^ojjelli (whofe name he retain'd) and a very good rPa'mter ; but fo flrangely fantaftical, and full of Caprwhios y that all his delight was in painting Satyr:. Faunsr Harpies , Monjlers, and fuch like extrav gant Fi- gures : and therefore he apply'd himfelf tor the moft part , to (Bacchanalias , Mafquerades, &c. Obiit Anno 1521.

Mu 80.

LEONARDO da VIKC1, born in a Caflle fo *44.J* caird, near the City of Florence, Anno 144.5, was bred up under Andrea Verrocchio, but fo far fur- pafs'd him, and all others his Predeceflfors, that he is own'd to have been the Mafler of the Third, or Golden Age of Modern Tainting. He was in every reipect one of the compleateft Men in his time, and the bed furnifh'd with all the perfections both of Body and Mind: was an excellent Sculptor and Architect , a skilful Mufician , an admirable 9oet, very expert in Anatomy and Chymiftry, and

throughly

Modern majters. 261

throughly learned in all the parrs of the Mathema- ticks. He was extremely diligent in the perfor- mance of his Works, and fo wonderfully neaty and curious, that he left feveral of them unfiniflh'd, believing his hand cou'd never reach that Idea of perfection, wkich he had conceiv'd of them. He liv'd many years at Milan, highly efteem'd for his celebrated Piece of Our Saviours Laji Supper, and fome of his other (Paintings j and as much ap- plauded for his Art in contriving the Canal, thac brings the Water from the River Adda, to that City. He was a great Contender with M. Angeh fBnonaroti, and upon account of the enmity be- twixt them, went into France (Anno JZt. 70.): where after feveral confiderable Services done for Francis I. he expir'd in the Arms of that Monarchy being taken fpeechlefs the very moment, in which he wou'd have rais'd up himfelf , to thank the Iftng for the honour done him in that Vifit. Anno ^^ 75* ijio.

nET^O VEQQIGIKO, fo call'd from the place where he was born in the Ecclefiaflical State, Anno 1446, was another Difciple of Andrea Verrocchio. What Char abler he had, fee <Pag. 215. He was fo very miferable and covetous, that the lofs of his *- g Money by Thieves, broke his Heart, Anno 1524.

DOME-

262 Modern Maflers.

^*-^ VOMENICO GHl^LANDAIO , a Florentine

W"' born, Anno 1440, was at firft defign'd for

the Profeffion or a Goldfmitb; but follow'd his

more prevailing inclinations to Tainting with fuch

fuccefs, that he is rank'd amongft the prime Ma-

JEt. a a. fters la n*s c*me# ^ee farcner ^aSm $*x 3» He died 'Anno 140 j.

FRANCESCO QJUBOLINI, commonly call'd F^ANCIA, born at Bologna, Anno 1450, was at firft a Goldfmith, or Jeweller^ afterwards a GraVer of Coins and Medals, but at laft applying himfelf to Tainting , acquir'd great Reputation by his Works: And particularly, by a Piece of St. Se- hajlian, whom he had drawn bound to a Tree, with his hands tied over his head. In which Fi- gure, befides the delicacy of its Colouring, and gracefulnefs of the Pofture, the proportion of its Parts was fo admirably juft and true, that all the fucceeding Bolognefe Tainters, even to Hannibal Carrache himfelf, ftudy'd its meafures as their (2(«fe, and follow'd them in the fame manner as the An- cients had done the Canon of Tolyctetus. It was un- der the Difcipline of this Majler, that Marc Anto- nio, (Raphaels beft Grader, learnt the Rudiments of Alt 76 k*s ^rt' ^e died about the year 152^, and not * Anno 1 5 1 8, as Vafari erroneoufly has recorded.

F%A

Modern Mafttrs. 26%

F<SJ <BA<I(TOLOMEO , born at SaYigyiaw, a r^AT^ Village about ten miles from Florence, Anno i 460, 1 400' was a Difciple of Cojtmo ^ojfelli: but much more beholden to the Works of Leonardo da Vinci, for his extraordinary Skill in Tainting. He was very well vers'd in the fundamentals otDefign : and be- fides, had (o many other laudable Qualities ; that Raphael, after he had quitted the School of Terugi- m, apply'd himfelf to thisMaJler, and under him? ftudy'd the <l(ules of (perfpetliVe, together with the Art of Managing^ and Uniting his Colours. He turn'd Dominican Fry ary Anno 1500, and after fome time, was by his Superiors fent to the Con- sent of St. Mark , in Florence. He painted both Portraits and Hijiories, but his fcrupulous Confer- ence wou'd hardly ever furTer him to draw Naked Figures. He died Anno 1517, and is faid to have been the firfl who indented, and made ufe of a jgt # 4g hay-man.

AL^ETj: TM^E% born at Nuremberg, An- no 1470, by the Inftru&ions of his Father, a cu- ^ rious Jeweller 3 the Precepts of Michael Wolgemuth, a confiderable Painter; and the Rules of Geometry, Architetlure, and Perfpetlhe ,. became the mod excellent of all the German Majiers. And not- withstanding that his manner of Defigning is ge- nerally

2^4 Modern Maflers.

nerally hard, ftiff, and ungraceful, yet however he was otherwife fo very well Accomplifh'd, that his Prints were had in great efteem all over Italy ; copy'd at Venice, by the famous Marc' Antonio, and fo much admir'd even by Raphael himfelf, that he hung them up in his own Chamber, and us'd frequently to lament the misfortune of fo great a Genius, to be brought up in a Country where nothing was to be feen, that might furnrfli him with noble Ideas, or give him any light into things neceffary for grand Compofitions. His prin- cipal Works were made at Prague, in the Palace of the Emperour Maximilian I. who had fo great a refpect for him, that he prefented him with a Coat of Arms, as the Badge of Nobility. He was alfo much in favour with the Emperour Charles V. and for his modeft and agreeable temper belov'd by every body , and happy in all places, but onely at home ; where 'twas thought, the penu- rious and fordid humours of a miferable wretch his Wife, fhorttn'd his days, Anno 1528. Vide jEt. 58. <pag. oj.

ANTONIO da CO^EGGIO, fo named from

! 47 2« the place where he was born, in the Dukedom of

Modem, Anno 1472, was a Man offuch admirable

natural parts, that nothing but the unhappinefs of

his

Modem Majiers. 265

his Education ( which gave him no opportuni- ties either of feeing tf^ome^ or Florence ; or of con- futing the Antiquities, for perfecting himfelf m the Jrt of Dejtgning) hinder' d him from bek^ the moft excellent Taint er in the world. Yet ne- verthelefs, he was Matter of a Tenc'd fo wonder- fully (oft, tender, beautiful and charming, that Julio Romano having feen a Leda, and a naked Ve- nus painted by him, for Frederick Duke of Mode- ?ia (who intended them a preienc for the Emperour) declared, he thought it impoilibie for any thing of Colours ever to go beyond them. His chief Works are at Modem, and Tarma : at the laft of which places he fpent moft of his Life, retir'd and little taken notice of, working hard to maintain his Family, which was fomewhat large. He was extremely modeft and obliging in his Behaviour : and died very much lamented, about the year 15125 having thrown himfelf into a FeVer, by drinking cold water, when his body was over- heated, with bringing home fome Copper Money, which he had receiv'd for one of his Pieces. See.^. AQ more Tag. 220 and 221.

MICHELANGELO $U0NA<l(pTIy nobly de- fcended, born near Florence, Anno 14743 was l474* a Difciple of Vomcnico Gbirlandaio, and moft pro- lyl m foundly

266 Modern Maflers.

foundly skill* d in the Arts of Tainting, Sculpture? and Architecture. He has the name of the greateft Dejtgner who ever has been : and 'tis univerfally allow'd him, that never any Tainter in the World underftood Anatomy fo well. He was alfo an ex- cellent Toet, and not onely highly efteem'd by feveral Topes fucceffively ; by the Grand Duke of Tufcany, by the tf^epublick of Venice, by the Em- perour Charles V. by King Francis I. and by moll: of the Monarchs and Princes of Chrijlendom : but was alfo invited over into Turky, by Solyman the Magnificent, upon a Defign he then had of making a Bridge over the Hellejpont, from Conjlantinople to Tera. His moft celebrated Piece of Taint mg, is that of the Lafl Judgment, in the Topes Chapel He died in great Wealth at T^ome, from whence his jp> Body was translated to Florence, and there ho-

' nourably interred. Anno \ 5 6*4. Vide Tag. 2 1 4.

GEOTfilO del CASTEL FRANCO, call'd M77- GEO^GIONE, becaufe of his noble and comely Afpect, was born at TreVifano, a Province in the State of Venice, Anno 1477-, and receiv'd his firft Inftructions from Giovanni [Bcllino: but having afterwards ftudied the Works of Leonardo da Vinci, he foon arrived to a manner of Tainting fuperior ro them both : dcfiend with greater Freedom,

CO-

Modern Mafters. 267

colour'd with more Strength and Beauty, gave a better Relievo, more Life, and a nobler Spirit to his Figures, and was the firft who found out the admirable effects of ftrong Lights and Sha- dows, amongft the Lombards. He excell'd both in Portraits and Hiftoiies : but his moft valuable Piece in Oyly is that of Our SaYiour carrying his Croft now at Venice ; where it is had in wonder- full Efteem and Veneration. He died young of the blague (which he got in the Arms of his Mi- Jlrefi who was infected with it) Anno 1511: ha • ving been likewife as famous for his performances in MuJtCy as his productions in ^Painting. Vide jgtt ^ Wag. 217, and 218.

TLTIANO the moft univerfal Genius of all the Lombard School, the beft Colourifl of all the Mo- * dems, and the moft eminent for Hiftories, Landt- fcbapes, and Portraits ; was born at Cadore in the Venetian Territories, Anno 1477, being defcended from the ancient Family of the Vecelli. He was bred up in the School of Gio. 'Bellino, at the fame time with Georgione : but improv'd himfelf more by the Emulation that was betwixt him and his Fellow-Vifaple, than by the Inftructions of his Ma- fter. He was ceniur'd indeed by Af. Angelo <Buq- narotiy for want of correclncfs in Dejigning, (a

M m 2 fault

26$ Modern Mafters.

fault common to all the Lombard (Painters, who- red not been acquainted with the Antiquities) yet that defect was abundantly fupply'd in all the o- ther parts of a moft accomplim'd Jrtiji. He made three feveral (portraits of the Emperour Charles V. who lov'd him fo intirely, that he ho- nour'd him with I^nighthood, created him Count (palatine, made all his Defcendents Gentlemen, af- iign'd him a confiderable Penfion out of the Chamber of Naples, and what other remarkable proofs of his Affection he fhew'd him, fee pag. 86, %y, and a Characler of his Works, pag. 1 1 8, and 219. He painted alfo his Son Philip II. So- lyman Emperour of the Turks, two Popes, three Icings, two Emprejfes, feveral Queens, and almoft all the (Princes of Italy, together with Lud. Ariojio, and Peter Aretine, the fam'd Italian Wits, his inti- mate Friends. Nay, fo great was the Name and Reputation of Titian, that there was hardly a per- fon of any Eminence then living, from whom he did not receive fome particular mark of Efteem : and befides, being of a temper wonderfully obli- ging and generous, his houfe at Venice was the conftant (p(endezyou5 of all the Vtrtuojt, and Peo- ple of the befl Quality. He was fo happy in the conftitution of .his Body, that he never had been fick till the year 1576, when he died of

the

Modern Mafters. 26$

the Plague, full of Honour, Glory and Riches, leaving behind him two Sons and a Brother, of whom Pomponio the eldeft was a Clergy man, and jz^ QQ well preferr'd? but

OP^ATIO, the youngefl Son, painted feveral Portraits that might ftand in Competition with thofe of his Fathers. He was famous alfo for ma- ny Hifkory-pieces which he made at Venice in con- currence with Paul Veronefe, and Tintoret. But bewitch'd at laft with the hopes of finding the Phi- lofophers Stone, he laid afide his Pencil, and ha- ving redue'd moft of what had been got by his Father into Smoke 5 died of the Plague foon after him,

FRANCESCO VECELL10, Titian s Brother, was an Artijl fo well inftructed in the fundamen- tal Maxim es of Dejtgn, that Titian grew jea- lous of him ; and fearing, that he might in time come to eclipfe his Reputation, fent him upon pretended bufinefs to Ferdinand King of the (Ro- mans: and there found fuch means to divert him from Painting, that he quite gave over the ftudy of it, and never any farther attempted it, unlefs it were to make a Portrait now and then, at the requeft of his particular Acquaintance.

270 Modern Mafiers.

r^A~f) ANDREA del SAPJO, (fo call'd, becaufe a ^' * Taylor s Son) born at Florence, Anno 1478 j was a Difciple of Pietro di Cojimo, very careful and di- ligent in his Works, and his Colouring was wonderfully fweet : but his Pictures generally want Strength and Life, as well as their Author, who was naturally mild, timorous, and poor-fpiri- ted. He was fentfor to Paris, by Francis I. where he might have gather' d great Riches, but that his Wife and Relations would not fuffer him to con- tinue long there. He lived in a mean and con- temptible condition, becaufe he fet but a very lit- tle value upon his own Performances: yet the F/o- rentines had fo great an Efteem for his Works ; that during the fury of the Popular FaSlions a- mongft them, they preferv'd his Pieces from the jp Flames, when they neither fpared Churches or any

^-V"s^ thing elfe. He died of the Plague, Anno 1520.

r^A^^ PJFAELLE da UP^TKO, born Anno 1483, 1 48 j . was one of the handfomefl and beft temper' d men living. See fome account of him Pag. 215, and add to it, That by the general confent of Mankind, he is acknowledged to have been the Prince of the Modem Painters : and is oftentimes ftyl'd the DiVine Raphael, for the inimitable Graces of his Pencil, and for the excellence of his Geniu*, which

feem'd

Modern Mafters. 271

feem'd to have fomething more than Humane in its Compofition. That he was belov'd in the higheft degree by the Popes Julius II. and Leo X. That he was admir'd and courted by all the Prin- ces and States of Europe, and particularly by Hen- ry VIIL who would fain have oblig'd him to come over into England. That his Perfon was the won- der and delight of %ome, as his Works are now the Glory of ic. That he liv'd in the greater!: State and Splendor imaginable, moft of the eminent Mafters in his time being ambitious of working under him : and that he never went a- broad without a Croud of Jrtijls and others, who attended and followed him purely out of re- ipecl:. That he declined Marriage (tho' very ad- vantageous offers had been made himj in hopes of a Cardinals Cap, which he expected : but fall* ing fick in the mean time, and concealing the true caufe of his diftemper from his Tbyjicians, Death difappointed him of the reward due to his moftyft; 57. extraordinary Merits, Anno 1520.

GIO. ANTONIO LICINIO da TO^VENONE, born at a place fo call'd, not far from Udine in ^ ^'- the Venetian Territories, Anno 1484, after fome time fpent in Letters and Mujic, apply'd himfelf to. Painting 5 yet without any other Guide to con- duel.

272 Modem Mafters.

duel him, befide his own prompt and lively Ge- nim, and the Works of Gcorgwne : which he ftu- dkd at Venice with fo much attention, that he foon arriv'd to a manner of Colouring nothing in- ferior to his Pattern. But that which tended yet more to his improvement, was the continued E- mulation betwixt Titian andhimfelf: which in- ipir'd him with noble Dejigns, quickened his &- Vention, and produc'd feveral excellent Pieces in Oyl7 X>ijlempery and Frefco. From Venice he went to Genotia, where he undertook fome things in com- petition with Tier'mo del Vaga: but not being able to come up to the perfections of Pierinos Pencil, he return d to Venice, and afterwards vifited fe- veral other parts of Lombard): was IQiigbted by the Emperour Charles V. and at laft being fent for to Ferrara} was fo much efteem'd there, that he is faid to have been poifon'd by fome who en- jct - /. vy'd the Favours which he received from the Duke, Anno i J 40.

SEBJSTIJNO del <PI0MB0, a Native of Ve- l4*>5* nice. Anno 1485 , took his name from an Office given him by Pope Clement VII. in the Lead- Mines, He was defign d by his Father for the Pro- feffion of Mujic, which he practis'd for fome time $ till following at laft the more powerful Dictates of

Nature,

Modern Mafters. 273

Nature, he betook himfelf to (Painting, and be- came a Difciple olGio. (Bellino; continued his flu- dies under Georgione, and having attained his ex- cellent manner of Colouring, wentto^owej where he infinuated himfelf fo far into the favour of Mi- chael Angelo, by fiding with him and his Party, a- gainfl: Raphael ; that pleas' d with the fweetneis and beauty of his Pencil, he immediately fur nifh'd him with fome of his own Defigns, and letting them pafs under Sebaftians name, cry'd him up for the befl: Painter in %ome. And indeed fo univerfal was the Applaufe which he gain'd by his Piece of Lazarus rats' d from the dead, (the de- fign of which had likewife been given him by M- chael Angelo) that nothing but the famous Tranf- figuration of Raphaels could eclipfe it. He has the name of being the jirfl who indented the Art of preparing Plaifter --walls for Oylpainting: but was generally fo flow, and lazy in his Performances, that other hands were oftentimes employed in fi- jp /: nifliing what he had begun. He died Anno 1 547.

BAtRTOLOMEO (in the Tufcan Vialecl called $ACCI0) BAND1NELLI, a Florentine fainter and Sculptor, born Anno 1487 3 was a Difciple of Gio. Francefco^iijlici, and by the help oi Anatomy, joynd with his other Studies, became a very ex-

N n cellent

27+ Modern M afters.

cellent and correal Deftgner : but in the Colou- ring part was (o unfortunate, that after he had heard Michael Angelo condemn it, for being hard and unpleafant, he never could be prevail'd upon to make any farther ufe of his Pencil, but always ingag'd fome other hand in Colouring his Dejigns. Yet however, in Sculpture he fucceded better: and for a Defcent from the Crofs, in Mezgp P^elie'Vo, was Knighted by the Emperour. He was likewife much in favour with Francis I. and acquired great Re- putation by feveral of his Figures : which yet are more admir'd for their true Out-line, and Propor-

JEt 7i ^on> t'ian ^or being e^tner graceful or gentile. He died Anno 1550.

G1ULI0 ROMANO, born Anno 1492, was ,402- the greateft Artiji, and mod univerfal Painter of. all theDifciples of (Raphael: belov'd by him as if he had been his Son, for the wonderful fweetnefs of his temper 5 and made one of his Heirs, upon condition, that he mould affift in finifhing Such things as he had left imperfect. He was profound- ly learn d in all the parts of the Antiquities : and by his converfation with the works of the mod excellent Poets, and particularly Homer, had made himfelf an abfolute Mafter of the qualifications neceflfarily required in a great Dejigner. He con*

tinud

Modem Ma ft en. 275

tinu'd for fome years at <]{ome, after the death of Raphael : and by the directions of Pope Clement VII. wrought feveral admirable (pieces in the Hall of Cohjlantine, and other publick places. But his principal performances were at Mantoua : where he was fent for by the Marquefs Frederico Gon.^a- ga 5 and where he made his name illuftrious, by a noble and ftately Palace built after his Model, and beautified with variety of Paintings after his Defigns. And indeed in Architecture he was fo eminently skilful 5 that he was invited back to Qfome, with an offer made him of being the chief Architect of St. Peters Church : but whilft he was debating with himfelf, whether or no he mould accept of this opportunity, of returning glorioufly into his own Country^ Death interpos'd, Anno 1 546.^^ *, Vide Tag. 2 1 6\

GIACOMO da VUNT0$(M0, fo call'd from the place of his Birth, Anno 1493, ftudied under l49? Leonardo da Vinci, Mariotto Albertinelli, Pietro di Co- fimoj and Andrea del Sarto : but chiefly follow'd the manner of the laft, both in Dejign and Co- louring. He was of fo unhappy a temper of mind, that though his Works had flood the Teft even of Raphael and Michael Angeloy the bed Judges, yet he could never order them fo as to pleafe himfelf:

N n z and

27 6 Modern Mafters.

and was fo far from being fatisfied with any thing he had ever done, that he was in great danger of loling the gracefulnefs of his own manner, by- imitating that of other Mafters, and particularly the Style of Albert Durer in his Prints. He fpent moft of his time at Florence, where he painted the Chapel of St. Laurence : but was fo wonderfully tedious about it, that in the fpace of eleven years he would admit no body to fee what he had per- form'd. He was alfo of fo mean and pitiful a fpirit, that he chofe rather to be imploy'd by Or- dinary People, for inconfiderable gains 3 than by jct z Princes and TSloblemen, at any rates: fo that he died poor, Anno 1556.

GIOVANNI V'UDINE, fo nam'd from the place where he was born (being the Metropolis of Frioul) Anno 1494; was inftructed by Georgione at Venice, and at P^ome became a Difciple of Ra- phael: and is celebrated, for having been the fir ft who found out the Compofition of Stucco work, in ufe amongft the ancient Romans, and difcover'd in the Subterranean Vaults of Titus's Palace ; which he reftor'd to its full Splendor and Perfection. He was employ'd by Raphael, in adorning the Apart- ments of the Vatican , and afterwards by feveral Princes, and Cardinals, in the chief Palaces of P^ome

and

Modern Majters. 277

and Florence: and by the agreeable variety and richikfs of his Fancy, and his peculiar happinefs in expreffing all forts of Animals, Fruit , Flowers, and the Still life, both in Bafi relieVo, and Colours, ac- quired the reputation of being the beft Majier in the world, for Ornaments in Stucco, and Grotefque. He died Anno i 5 64, and was bury'd, according to his defire, in the Rotunda, near his dear Mafter jgt „ Raphael

BATTISTA FRANCO his Contemporary, a Native of Venice, was a Difciple of Michael Angelo-, whofe manner he followed fo clofe, that in the cor- re&nefs of his Out-line , he furpafs'd moft of the Majiers in his time. His Paintings are fomewhat numerous, and difpers'd all over Italy, and other parts of Europe : but his Colouring being very dry, they are not much more efteem'd than the Prints which he etch'd. He died Anno 1 j<Si.

LUCAS Van LEWEN, fo cali'd from the place where he was born, Anno \ 404, was at firft T"y4* a Difciple of his Father, a Painter of note, and af- terwards of Cornelius Engelhert : and wonderfully cry'd up in Holland^ and the Low Countries, for his skill in Painting, and Gracing. He was prodigi- ously laborious in his Works, and a great Emula- tor-

278 Modern Mafiers.

tor of Albert Vurer : with whom he became at length fo intimate, that they drew each others Picture. And indeed their Manner , and Style are in all refpects fo very much alike, that it feem'd as if one and the fame Soul had animated them both. Fie died Anno 1533, a^ccr an interview be- twixt him and fome other Painters at Middle burgh; where difputing, and falling out in their Cups, jpt , Lucas fancying chey had poyfon'd him, languifh'd ■i^ by degrees, and pined away purely with conceit.

QUINT1K MATSYS of Antwerp, was the Con- temporary of Lucas 5 and famous for having been transformed from a Blackfmith to a Painter, by the force of LoVe, and for the fake of a Mijlrefi, who diflik'd his former profejjion. He was a painful and diligent Imitator of the ordinary Life,md much better at reprefenting the defetls, than the Beau- ties of Nature. One of his beft Pieces is a Dejcent from the Crofs (in a Chapel of the Cathedral at Ant- werp) for which, and a multitude of other Hifto- riesy and Portraits, he gain'd a great number of ad- mirers 5 efpecially for his Curiojtty and Neatnefs, which in truth, was the principal part of his Cha- racter. He died Anno 1529.

Befide

Modern Makers. 279

Befide the two Majiers laft mentioned, there were feveral other Hift or y- painters, who fiourifh'd in Germany, Flanders, and Holland about this time. But their manner being generally Gotbique, Hard, and Dry -, more like the Style of Cimabue, in the Dawning of the Art of fainting, than the Gujlo of Raphael, in its Meridian Lujlre^ we (hall onely give you the names of fome of the mod noted ; and fuch were Mabufe, Aldegraef, Sehoorel, Frans Floris, Martin Hemskerck, Chrif. Schwarts, &c.

TOLIDO^O of CA^AVAGGlOyin the Dutchy r^~K-s- of Milan, was born Anno i 40 5 , and brought up l495° to no better an imployment than carrying Sto?ie and Mortar, in the New -buddings of Pope Leo X. But being tempted at laft by the performances of Gio. d'Hdme, to try his Talent in Vefegning: by the affiftance of one of bis Scholars, and his own con- tinued Application to the Antiquities, in a little time he became fo skilful an Artiji, that he had the honour of contributing much to the finifliing thofe glorious Works in the Vatican. He aflocia- ted himfelf both in the Study and Practice of his Art with one MATWBJKQ, 2. Florentine-, and their Genius being very conformable, they liv'd toge- ther like Brothers, working in Frejco upon leveral Frontif pieces of the moll noble Palaces in (%ome :

whereby

28 o Modem Makers.

whereby they accjuir'd great reputation ; their /w- Vent ion being the richeft, and their Defign the eafi- eft that could any where be feen. But Maturino dying Anno 1527, and <I(ome being then in the lianas of the Spaniards, (polidoro retir'd to Naples, and from thence to Mejfina ; where his excellent Talent in Architecture alfo being highly commend- ed, he was order' d to prepare the Triumphal Arches for the reception of the Emperour Charles V. from Tunis ; for which he was nobly rewarded : and being afterwards defirous of feeing tifyme once more 3 in his return thither was murther'd by his Servant and Accomplices, for the fake of his Mo- jp « ney, and bury'd at Mejfina, Anno 1543. Vide ' <Pag. 2 1 7.

^OSSO (fo caird from his red Hair) born at 1406. Florence, Anno 14963 was educated in the ftudy of (Pbilofophy, Mufic, Sec. and having learnt the firft Rudiments of Defign from the Cartoons of Mi- chael Angelo, improved himfelf by the help of Ana- tomy-^ which he underftood fo very well, that he compos' d two 'Books upon that Subject. He had a copious Indention, great skill in the mixture of his Colours, and in the management of his Lights and Shadows : was very happy alfo in his Naked FigureSywhich he exprefs'd with a good ^elieVo, and

proper

Modern Mafiers. 281

proper Attitudes ; and would have excell'd in all the parts of Taintinig, had he not been too licenti- ous and extravagant fometimes, and fuffer'd himfelf rather to be hurry'd away with the heat of an un- bounded Fancy 9 than govern d by his own Judg- ment, or the Ovules of Art. From Florence his Cu- rioficy carry'd him to <%ome and Venice, and after- wards into France 3 where by his Works in the Galleries at Fount ainbleau, and by fever al proofs which he gave of his extraordinary knowledge in Architecture , he recommended himfelf fo effectu- ally to Francis I. that he made him Superintendent General of all his Buildings, Qitlures, &c. and gave him other opportunities of growing fovaftly rich} that for fome time he liv'd like a Prince himfelf, in all the Splendor and Magnificence imaginable: till at laft being rob'd of a confiderable Summ of Money, and fufpecting one of his intimate Friends (a Florentine vjho frequented his houfe) he caus'd him to be imprifon'd, and put to the Torture, which he underwent with courage 5 and having in the higheft extremities maintain d his innocence with fo much conftancy, as to procure his Releafe 5 %Sff°> partly out of remorfe for the barbarous treatment of his Friend, and partly out of fear of the ill confequence from his juft Refentment, jgtt *~ made himfelf away by Woi/on, Anno 1541.

O o F$/N.

282 Modem M afters.

FRANCESCO P<$JMATICC10, a famous Pain- ter and Arehitetl of Bologna, fucceeded %ojfo in the Honours and Imployments which he enjoy'd by the favour of Francis I. and betides, being very well defcended, was made Abbot of St. Martin de Troy, in Champagne. He finifh'd all the feveral Works begun by his PredecelTor at Fount ainbleau, by theafliftance of NICOLO dell' ABB ATE, an ex- cellent Artift, his Difciple: and enrich'dthat Palace with abundance of noble Statues, and other Pieces of Antiquity, which he brought purpofely from Italy by the lyings order. He had been bred up at Mantoua under Julio P(omano, as well to Stucco- work as Painting : and by ftudying his manner, to- gether with the Performances of other great Ma- flers, became perfect in the Art of Dejigning, and well vers'd in grand Compositions, He continued in France during the remainder of his Life : liv'd in Pomp and State, more like a Nobleman than a Painter; and was very well efteem'd in four feve- ral ^egns.

DON GIUL10 CL0V10, the celebrated Lim- born in SclaVonia, Anno 1498, at the age of eighteen years went to Italy : and under the Con- duel; of Julio Romano, apply'd himfelf to Miniature with fuch admirable Succefs, that never did anci-

ent

Modern Mafters. 283

vit Greece, or modern <I(ome produce his Fellow. He excelled both in Portraits and HJlories : and (as Vafan his Contemporary reports) was another Ti- tian in the one, and a fecond Michael Angelo in the other. He was entertain' d for fometime in the fervice of the King of Hungary : after whofe de- ceafe he returned to Italy ; and being taken Pri- foner at thefacking of^ow^by che Spaniards, made a Vow, to retire into a Consent, as foon as ever he fhould recover his Liberty 5 which he according- ly perform' d not long after in Mantoua : but rp- on a Difpenfation obtained from the Tope, by Car- dinal Grimani, foon laid afide the religious Habit, and was receiv'd into the Family of that Prince. His Works were wonderfully efteem'd through- out Europe 3 highly valu'd by feveral Topes, by the Emperours Charles V. and Maximilian II. by Philip King of Spain, and many other illuftrious Perfonages : and fo much admir'd at P^ome ; that thofe Pieces which he wrought for the Cardinal Farnefe (in whofe Palace he ipent the latter part of his Life) were by all the Lovers of Art, rec- kon'd in the number of che parities of that City. z;t o 0 Ob. Anno 1 578.

HANS HOLBEIN, born at ®afd, 111 Swit- %erUnd, Anno 1498, was a Difciple of his Fa- l49&-

O o 2 then

284 Modern Mafkers.

ther j by whofe affiftance and his own induftry, he made a wonderful Progrefs in the Art of Tain- ting : and acquired fiich a name by his Piece of Deaths- dance, in the Town-hall of 'Bajll^ that the fa- mous Er aj mus, after he had oblig'd him to draw his (picture , fent him over with it into England, and gave him Letters recommendatory to Sir Thomas Moore thenLd- Chancellour; whoreceiv'dand enter- tain'd him with the greateft refpecl: imaginable, im- ploy'd him in making the Portraits of himfelf and Family ; and which the fight of them fo charmed King Henry VIII. that he immediately took him into his fervice, and by the many fignal Inftances which he gave him of his Royal Favour and Boun- ty, brought him likewife into efteem with all the Nobility, and People of Eminence in the King- dom. One of his belt Pieces, is that of the faid I\jng with his Queen, &c. at White-hall-, which with divers other admirable Portraits of his hand (fome as big, and others lefs than the Life 5 and as well in Water -Colours, as Oyl) may challenge a place a* mongft thofe of the moft fam'd Italian Majlers : Vid. Tag. 114.. He was eminent alfo for a rich vein of Invention, very confpicuous in a multitude of Defigns, which he made for GraVers, Sculptors, Jewellers, Sec. and was particularly remarkable for having (like Turpilius the ^oman) performed

all

Modern Mafters.

all his Works with his Left band. He died of the (plague, at London, Anno 1554.

PIE<%1K0 del VAGA, was born at Florence, Anno 1500, of fuch mean (parentage; that his Mo- l5C0- ther being dead at two months end, he was af- terwards fuckled by a Goat. The name of Vaga- hetookfroma Country Painter, who carry'd him to (fiome : where he left him in fuch poor circum- ftances, that he was fore'd to fpend three days of the week in working for Bread ; but yet fetting a- part the other three for his improvement ; in a lit- tle time, by ftudying the Antique, together with the Works of Raphael, and Michael Angelo, he be- came one of the boldeft and beft Dejigners of the G^oman School : and underftood the Mufcles in na- ked Bodies, and all the difficulties of the Art fo well ; that (Raphael took an affection to him, and imploying him in the Popes Apartments, gave him a lucky opportunity of diftinguifhing him- felf from his Fellow -difciples, by the marvellous beau- ty of his Colouring, and his peculiar Talent in Gro- tefqne. His chief Works are at Genoua: where he grew famous likewife for his skill in Architecture 3 having defign d a noble Palace for Prince Doria? which he alfo painted, and adorn' d with his own hand. From Genoua he remov'd to Pifa, and af- terwards

28 6 Modern Mafters. .

tcrwards to feveral other parts of Italy j his ram- bling humour never fuftering him to continue long in one place : fill at length returning to ^ome, he had a Penfion fettled on him, for looking after the Pope's Palace, and the Cafa Farnefe. But Pierino having fquander'd away in his Youth, that which fliould have been the fupport of his old Age 5 and being conftrain d at laft to make himfelf cheap, by undertaking any little Pieces, for a fmall Summ of ready money; fell into a deep Melancholy, and from that extreme into another as bad, of Wine

JEt A7 an(^ W°men> anc^ tne nexC turn was *nto ^ls Gr*Ve> Anno 1 5 47.

F^ANCESO MAZZU0L1, call'd PA^ME- 5 °4- GIANO, becaufe born at Parma, Anno \ 5 04, was an eminent Painter when but fixteen years old, famous all over Italy at nineteen, and at twenty three performed fuch wonders ; that when the Em- perour Charles V. had taken P^ome by Storm, fome of the common Soldiers in facking the Town, ha- ving broke into his Apartments, and found him intent upon his work, were fo aftoniffrd at the charming Beauty of his Pieces, that inftead of Plunder and Deftrudtion, which was then their bufinefs, they refolv'd to protect him (as they af- terwards did) from all manner of violence. But

befides

Modern Maflers. 287

befides the perfections of his (Pencil ( which was one of the gentileft, the moft graceful, and the moft elegant of any in his time) he delighted much in Mufic-, and therein alfo excell'd. His princi- pal Works are at Parma y where, for feveral years he liv'd in great Reputation, till falling unhappi- ly into the ftudy of Chymiflry, he wafted the mod confiderable part of his Time and Fortunes in, fearch of the (philofophers-Stone, and died poor, in the flower of his age, Anno 1540. See farther Page 221: and note, that there are extant ma- ^ t -> $9 ny valuable Prints , etch'd by this Mafter.

GIACOMO PJLMA) Senior, commonly call'd PALM A VECCHIO, was born at Serinalta, in the l 5 °8* State oiVemce, Anno 1 50&; and made fuch good ufe and advantage of the inftructions which he re- ceiv'd from Titian, that few Maflers are to be nam'd, who have fliewn a nobler Taney in their Compoji- tions, a better Judgment in their Dejtgns, more of Nature in their Expre/fion, or of Art in finiflring their Works* Venice was the place where he ufual- ly refided, and where he died, Anno 1556. His (pieces are not very numerous, by reafon of his having fpent much time, in bringing thofe which he has left behind him to fuch wonderful perfects Mt, 48, on.

VA-

Modem Majiers.

VANIELE PJCCIA^ELLl, furnam'd da VOL* 1 5 op. TEQffiAj from a Town in Tufcany where he was born. Anno i 5 00, was a perfon of a melancho- ly and heavy temper, and leem'd to be but mean- ly qualified by Nature Jfef an Artijl : Yet by the inftruclions ok 'Balthafar da Siena, and his own continued Application and Induftry, he furmoun- ted all difficulties, and at length became fo excel- lent a Vefigner, that his Vefcent from the Crofs, in the Church of the Trinity on the Mount, is rank'd amongfl: the principal Pieces in Q{vme. He was chofen by Pope Paul IV. to cloath fome of the Nudities j in Michael Angelo s Laji Judgment j which he perform' d with good fuccefs. He was as emi- nent likewife for his Cbifel,zs his Penciled wrought JEt s 7 ftveral confiderable things in Sculpture. Ob. Anno

FRANCESCO SALV1ATI, a Florentine, born l 5 l o« i4wwo 1510, was at firft a Difciple of Andrea del Sarto, and afterwards of <Baccio Sandinelli 5 and very well efteem'd both in Italy, and France, for his feveral works in Frefco, Dijiemper, and OyL He was quick at Invention, and as re<*<fy in the exe- cution ; Graceful in his Naked Figures, and as 6e«- tile in his Draperies : Yet his Tdte did not lie in great Compofitions j And there are fome of his

Pieces

Modern Maflers. 285

Pieces in two Colours onely, which have the name of being his belt Performances. He was natu- rally fo fond and conceited of his own Works, that he could hardly allow any body elfe a good word : And 'tis faid, that the Jealoufie which he had of fome Young men then growing up into reputation, made him fo unealie, that the very apprehenfions of their proving better Artifts than^g^ - himfelf, haftcnd his Death, Anno 1563.

PIP^O L1G0PJ0, a Neapolitan, liv'd in this time : and tho' he addrefs'd himfelf chiefly to the ftudy of Architecture, and for his skill in that Art was imploy'd, and highly encourag'd by Pope1?/- m IV. yet he was withall an excellent Dejigner ; and by the many noble Cartoons which he made for Tapeftries, &c. gave fufficient proof, that he was more than indifferently learn' d in the Antiqui- ties. There are feveral Volumes of his Dejigns prefer v'd in the Cabinet of the Duke oiSaVoy ; of which fome part confifts in a curious Collection of all the Ships, and other forts of Vejjels, in ufe amongft the Ancients. He died about the year 1573. Vide Pag. 217.

GIACOMO da PONTE da BASSANO, fo call'd from the place where he was born in the Marc a Tre- * 5 1 0<

P p Yifana

250 Modem Mafterf.

Vifana, Anno 1510, was a Difciple of Bonifacio, a noted Painter ,at Venke-,by whofe Affiftance,and his own frequent copying the Works of Titian, and Parmegiano, he brought himfelf into a pleafant and moft agreeable way of Colouring : but returning in- to the Country, upon the death of his Father, he apply 'd himfelf wholly to the imitation of Nature; and from his Wife, Children and Servants, took the Ideas of moft of his Figures. His Works are very numerous, all the Stories of the Old and New Tefiament having been painted by his hand, be- fides a multitude of other Hiflories. He was fa- mous alfo for feveral excellent Portraits, and par- ticularly thofe of the celebrated Poets LudoYico Arioflo , Bernardo Tajfo, and Torquato his Son, In a word, fo great was the Reputation of this Artiji at Venice, that Titian himfelf was glad to purchafe one of his Pieces (reprefenting The en* trance o/Noah and his Family into the Ark) at a ve- ry confiderable Price. He was earneftly folici- ted to go over into the fervice of the Emperour : but fo charming were the pleafures which he found in the quiet enjoyment of Painting, Mufic, and good Books, that no Temptations whatfoever could make him change his Cottage for a Court. JEt. 8 2. He died Anno 1592, leaving behind him four Sons, * of whom

FQJN-

Modern Mafters. 25 1

FRANCESCO the Eldejl, fettled at Venice, where he followed the ?nanner of his Father, and was well efteem'd, for divers Pieces which he made in the Ducal Palace and other publick places, in conjunction with Paul Veronefe, Tmtoret, Sec. But his too clofe Application to Painting having ren • der'd him unfit for all other bufinefs, and igno- rant even of his own private Affairs ; he contra- cted by degrees a deep Melancholy, and at laft became fo much craz'd, that fancying Sergeants were continually in purfuit of him, he leap'd out of hisWindow, to avoid 'em (as he imagin'd) and by the fall occafiond his own Death, Anno 1504, JEt. 43.

LEAKDPQ, the Third Son, had fo excellent a Talent in Face-painting, (which he principally ftudied) that he was knighted for a Portrait which he made of the Doge Marin Grimano. He like- wife finidi'd feveral things left imperfect by his Brother Francefco ; compos' d fome Hiftory- pieces alfo of his own, and was as much admir'd for his perfection in Mufick, as his skill in Painting. Obiit Anno 1623, Ait. 6*j.

GIO. BATTISTA, the Second Son, and GL ^OLAMO the Xoungejl, apply'd themfelves to co-

P p 2 pying

2$ 2 Modern Mflflers.

pying their Fathers Works 5 which they did Co very well, that they are oftentimes taken for Originals. Gio. Battifta died Anno 1613, At. 60 ; and Gi- rolamo Anno 1622, JEt. 62 : See more of the fcaffans Tag. 220.

G1AC0M0 ROBUST!, call5 dTlNTO%ETTO, 5 l 2* becaufe a Dyers Son, born at Venice, Anno 15 12 . was a Difciple of Ttf /d« ; who having obierv'd fomething very extraordinary in his Genius, dit mifs'd him from his Family, for fear he mould grow up to rival his Majler. Yet he mil purftYd Tttians way of Colouring, as the moll natural j and ftudied Michael Angelos Guflo of Dejign, as the moft correct. Venice was the place of hisconftant Abode 5 where he was made a Citizen, and won- derfully belov'd, and efteem'd for his V/orkj; the Character of which fee (Pag. 210. He was call'd the Furious Ttntoret, for his bold manner of Paint- ing, with ftrong Lights and deep Shadows; for the rapidity of his Genius, and grand vivacity of Spi- rit, much admir'd by Paul Veronefe. But then, on the other hand, he was blam'd by him, and all others of his TrofeJJlon, for under- valuing himfelf, and his Art, by undertaking all forts of bufinefs for any Trice-, thereby making fo great a difference in his feveral Terfonnances^hzt (as Hanmbal Carrach

ob-

Modern Mafiers. 253

obfctVd) he is fometimes equal to Titian, and at other times inferior even to himfelf. He was ex- tremely pleafant and affable in his Humour : and delighted fo much in fainting and Mufic, his be- loved Studies j that he would hardly fuffer him- felf to tall any other Pleafures. He died Anno \ 504, leaving behind him a Daughter, and a Son, ^£># g2< of whom the Eldeft

MARIETTA TINTOREJ'TA, was fo well in- flructed by her Father in his own Profeffion, as well as in Mufic, that by her Pencil (lie got great Reputation; and was particularly eminent for an admirable Style in Portraits. She died young, Anno 1 5 oo, JEt. 3 o.

DOMENICO TINTORETTO his Son, gave great hopes in his youth, that he would one day render the name of Tmtoret yet more illuftri- ous than his Father had made it: but neglecting to cultivate by ftudy the Talent which Nature had given him, he fell flhort of thofe mighty things expected from him, and became more considera- ble for (portraits, than Hiflorical Compojitions. He died Anno 1637, /£^,75.

254 Modem afters.

PA^IS W<%T>ONE, well defcended, and brought up to Letters, Mufic, and other gentile Accompljbmcnts, was a Difciple of Titian, and flourifh'd in the time ofTintoret: but was more commended for the Delicacy of his (pencil, than the (purity of his Outlines. He was in great favour and efteem with Francis I. for whom, befides abun- dance cf ' Hijtwies he made the Portraits of feve- ral Court Ladies, in fo excellent a manner, that the Original Nature was hardly more charming. From France he return' d home to Venice, laden with Honour and Riches ; and having accjuir'd as much Reputation in all the parts of Italy, as he had done abroad, died Anno &U 75.

s^wO GEO^GIO VASA<%J, born at ^r«^o a City 1 5 1 4- in Tufcany, Anno 1514, equally famous for his (pen and Pencil, and as eminent for his skill in Ar- chiteElure , was a Difciple of Michael Angelo, and Andrea del Sarto 5 and by his indefatigable diligence in ftudying and copying all the beft Pieces of the moft noted Artijls, improv'd his Invention and Hand to fuch a degree, that he attain'd a wonder- ful Freedom in both. He fpent the moft confide- rable part of his Life in travelling over Italy 3 lea- ving in all places marks of his Induftry, and ga- thering every where materials for his Fiijlory of the

Lives

Modern Mafters. 29 5

Lives of the moft excellent Painters, Sculptors, Archi- tects, See. which he publifh'd at Florence, about the year 1551: a work, in the opinion of Hannibal Caroy written with much exactnefs and judgment 5 tho' Felibien, and others tax him with fome mi- ftakes, and particularly with flattering the Ma- fters then alive, and with partiality to thofe of ^ his own Country. He died Anno 1 578. ^-v"^i*

ANTONIO MOPfi, born at Utrecht in therv^A^^ Low-Countries , Anno 1519, was a Difciple of IJ10* John Schoorel, and in his younger days had feen P(ome y and fome other parts of Italy. He was re- commended by Cardinal Granville , to the fervice of the Emperour Charles V. and having made a Portrait of his Son Philip II. at Madridy was fent upon the fame account to the King, Queen, and Princefs of Portugal and afterwards into England, to draw the Pttlure of Queen Mary. From Spain he retir'd into Flanders, where he became a migh- ty Favourite of the Duke of Aha (then the Go- vernour of the Low-Countries.) And befides the noble Prefents and Applaufe which he gain'd in all places by his Pencil, was as much admir'd for his extraordinary Addrefs, being as great a Courtier as a Painter. His Talent lay in Dejigning very juftly, infinifliing his Pieces with wonderful care

and

2$ £ Modem Mafters.

and neatnefs, and in a moft natural imitation of Fief? and (Bloud, in his Colouring. Yet after all, lie could not reach that noble Strength and Spirit, io viiible in the Works of Titian, and to which Van Dyck has fince arriv'd. He made feveral At- tempts alio in Hi jlory pieces, but underftood no- thing of grand Compositions, and his manner was j£t^ _ £ tame, hard, and dry. He died at Antwerp, Anno

PAOLO FA^KATO, born at Verona, Anno l512" ij22; was a Difciple of Antonio Badile, and an admirable Dejigner, but not fo happy in his Co- louring : tho' there is a Piece of his in St. Georges Church at Verona, fo well performed in both parts, that it does notfeemto be inferior to one of Paulo Verone/e, which is plac'd next to it. He was very confiderable likewife for his knowledge in Scul- pture, and Architecture, efpecially that part of it JEt. 84. wn'cn relates to Fortifications, &c. Ob'ut Anno \6o6.

ANDREA SCHIAVOKE, fo call'd from the Country where he was born, Anno 1 522 ; was fo very meanly defcended, that his Parents after they had brought him to Venice, were not able to allow him a Mafter : and yet by great ftudy and pains,

to-

Modern Maflers. 257

together with fuch helps as he receiv'd from the (Prints of Parmegiano, and the Paintings of Georgi- o«eand Titian , he arriv'd at laft to a degree of Excellence very furprizing. 'Tis true indeed, that being oblig'd to work for his daily Bread, he could not fpare time fufficient for making him- felf throughly perfect in Defign : but however, that Defed: was fo well cover' d by the lingular Beauty and Sweetnefs of his Colours, that Tmtoret us'd oftentimes to fay, no Painter ought to be with- out one Piece (at leaft) of his Hand. His principal Works were compos'd at Venice, fome of them in concurrence with Tmtoret himfelf, and others by the directions of Titian, in the Library of St. Mark But fo malicious was Fortune to poor An- drea, that his Pitlures were but little valued in his life-time, and he never was paid any otherwife for them, than as an ordinary Painter : tho' after his Deceafe, which happen'd Anno 1582? his Works turn'd to a much better account, and were e- fteem'd anfwerable to their Merits, and but lit- tle inferior to thofe of his moft famous Contem- &t. 60. poraries.

F^EDEPJCO 'BA^OCCl, born in the City of- Urbin, Anno 1528, was train' d up in the Art of l 5 2°* Defigning by Baptifla Venetiano^ and having at

Q^ cj P^ome

298 Modern Makers.

(^ome accjuir'd a competent Knowledge in Ceo- metry, PerfyeEl'ive, and Architecture, apply'd him- felf to the Works of his moft eminent (predecejfors : and in a particular manner ftudied (Raphael, and Correggio ; one in the charming Ayrs, and graceful Out -lines of his Figures, and the other in the admirable Union, and agreeable Harmony of his Colours, He had not been long in (]{ome, be- fore fome malicious (painters , his Competitors ,. found means by a Dofe of Toy/on conveyed into a Sallet, with which they had treated him, to fend him back again into his own Country, attend- ed with an Infirmity fo terribly grievous, that for above fifty years together it (eldom permitted him to take any Repofe, and never allowed him above two hours in a day to follow his (painting. So that expecting, almoft every Moment, to be re- moved into another World, he imploy'd his (pen- cil altogether in the Hi/lories of the 'Bible, and o- thcr Religious Subjetls, of which he wrought a con- fiderable number, in the flhort Intervals of his pain-

Mt 84. ^ F'ts> an<^ notwitnftanc^ng tne Severity of them, liv'dtill the year 1612.

TAVDEO ZUCCBE^O, born in the Dut-

l519* chy of lirbin, Anno 1529, was initiated in the

Art of Painting at home, by his Father, and at

%omz>

Modern Matters. 259

Qfyme inftructed by Gio. Pietro Calabro ; but im* prov'd himfelf moft by the Scudy of Anatomy, and by copying the Works of %a\*hael. He excelled chiefly in a florid Invention, a gentile Manner of T>efigning, and in the good Vifpofition and Occono- my of his pieces: but was not fo much admir'd for his Colouring, which was generally unpleafanc, and rather refembled che Statues than the Life. He liv'd for the mod part in tf{o?ne and Urbin, where he left many things unflnifh'dj being taken away jpt in his Prime, Anno i$66.

PAOLO CALIAPJ. VERONESE, born Anno 1 5 3 z, was a Difciple of Antonio (Badile, and not 1 5 3 2' only efteem'd the moft excellent of all the Lom- bard Painters, but for his copious and admirable Indention, for the Grandeur and Majefty of his Compofition, for the Beauty and Perfection of his Draperies, together with his noble Ornaments of Architecture, &c. is ftyl'd by the Italians, II Pittore felice (the happy Painter.) He fpent moft of his time at Venice 3 but the beft of his Works were made after he returned thither from Q^ome, and had ftudied the Antique. He could not be pre- vails upon, by the great Offers made him by the King of Spain, to leave his own Country ; where his Reputation was fo well eftablifh'd, that moft

Q^q 2 of

joo Modern Mafters.

of the Princes of Europe fent to their feveral Em- bajfadours, to procure them fomething of his Hand at any Rates. He was a Per/on of an ingenuous and noble Spirit, us'd to go richly dreft, and ge- nerally wore a gold Chain, which had been pre- fented him by the Procurators of St. Mark, as a &ria$ which he won from feveral Ariifts his Com- petitors. He was highly in favour with all the principal Men in his time, and fo much admir'd by all the great Mafters, as well his Contempo- raries, as thofe who fucceeded him, that Titian himfelf us'd to call him the Ornament of his Pro- feffton : and Guido ftjni being ask'd, which of the Mafters his Predeceffors he would chule to be, were it in his power; after a little paufe, cry'd out Paulo, Paulo. He died at Venice, Anno i j 88,. JEt. 5 6. leaving great Wealth behind him to his two Sons

GAZELLE and CA<%LO , who liv'd ve- ry happily together, joyn'd in finifliing feveral Pieces left imperfect by their Father, and follow'd his manner fo clofe in other excellent things of their own, that they are not eafily diftinguifh'd from thofe of Paulos hand. Carlo would have perform'd wonders, had he not been nipt in the Bud, Anno \*)$6,Ait. 26: after whofe Deceafe Gabriel ap-

pi/d

Modern Majters, 301

ply'd himfelf to Merchandising $ yet did not quite lay. afide has (Pencil, but made a confiderable number oi Portraits, and fome Hiftory pieces of a very good Gufto. Obiit Anno 1 63 1 , Alt at* 63,

BENEDETTO CAUA^I liv'd and ftudy'd with his Brother Paulo, whom he lov'd intirely 5 and frequently aflifted him, and his Nephews, in finiming feveral of their Compojltions ; but Speci- ally in Painting Architecture, , in which he chief- ly delighted. He practifed for the mod part in Frefco : and fome of his bcft Pieces are in Chiaro- Scuro, or two Colours onely. He was befides, Majler of an indifferent good ftock of Learning^, was Poetically inclined, and had a peculiar Ta- lent in Satire. He died Anno 1598, AEt, 6o._See more of Paulo pag. 2 1 o,

GIOSEPPE SALV1AT1, a Venetian Painter, rv^v^ was born Anno 1535, and exchanged the name 1535. of Porta, which belonged to his Family, for that of his Mafter Francejco Sahiati, with whom he was plac d very young at P(ome by his Uncle. He (pent the greateft part of his Life in Venice-, where he apply'd himfelf generally to Frefco : and was oftentimes imploy'd in concurrence with Paul Ve-

ronej

302 iodern Mafters.

ronefe and Tintorct. He was well efteem'd for his great skll both in Vcjlgn and Colouring ; was likewife well read in other Arts and Sciences, and particularly io good a Mathematician, that he writ *jf feveral Treatijes very judicioufly on that SubjeB.

He died itoo 1585.

F^EDETJCO ZUCCHE%P, born in the 1 543* Dutchy of Urbin, Anno 1543, was a Difciple of his Brother Taddeo, from whom he differed but very little in his Style and Manner of fainting, tho7 in Sculpture and Architecture he was far more ex- cellent. He fled into France to avoid the Popes Difpleafure, which he had incurr'd by an Affront put upon fome of his Officers: and from thence paffing through Flanders and Holland, came over into England , drew Queen Elizabeths Picture, went back to Italy, was pardon' d by the Tope, and in a little time lent for to Spain by Philip II. and imploy'd in the Efcurial. He labour d very hard at his return to (%ome, for eftablifhing the Academy of Tainting, by virtue of a (B>ief obtained from Pope Gregory XIII. Of which being chofen the firft Trince himfelf, he built a noble Apart- ment for their Meeting, went to Venice to print fome (Books which he had composed of that Arty and had form'd other Defigns for its farther Ad- vancement,

Modern Majters, g-03

vancement, which yet were all defeated by bis _ . Death (at Ancona) Anno \ <5oo.

v^y

GIACOMO TALMA Junior, commonly call'd GIOVANE TALMA, born at Venice, Anno 1544, * 544- was the Son of Antonio the Nephew of Talma Vec* cbio. He improved the Inftrudtions which his Fa- ther had given him, by copying the Works of the moft eminent Majhrs, both oi the (Roman and Lombard Schools ; but in his own Compojuions chief- ly followed the Manner of Tiffcfft and Tintoret.. He fpent fome years in (Rome, and was imploy'd in the Galleries and Lodgings of the Vatican : but the greateft number of his (P/ecw is at Venice, where he ftudied night and day, fill'd almofl: every place with fomething or other of his Hand; and (like Tintoret) refus'd nothing that was offer'd him, upon the lead Profpect of any Gains. He died jgt o Anno 1628.

WMENICO FETI, a (Roman , .flourifliM in this time. He was a Difciple of LodoYico CiVoli, of Florence ; and excell'd in Figures and Hiflorical Compojitionsy but died young, Anno JEt. 3 5.

BARTHOLOMEW STRJNGHE^ born at Antwerp Anno 1546, was chief Tainter to the l5

Em-

1 04 Modern hi afters.

Emperour Maximilian II. and fo much refpecled by his SuccdTor ^odolphus, that he preferred him with a Gold Chain and Medal, allow'd him a Pen- sion, honour' d him and his Pofterity with the Ti- de oiTSLobdity, lodg'd him in his own Palace, and would fuffer him topaint for no-body but himfelf. He had fpent fome part of his Youth in <I(ome, where he was imploy'd by the Cardinal Farnefe}znd afterwards preferr'd to the Service of Pope PiusV. but for want of Judgment in the Conduct of his Studies, brought little with him, befides a good Pencil from Italy. His Outline was generally Jliff and very ungraceful, his Pojlures fore d and ex- travagant 5 and in a word, there appear' d nothing of the P^man Guflo in his Vejigns. He obtain'd leave from the Emperour (after many years continu- ance in his Court) to vifit his own Country 5 and accordingly went to Antwerp, Amjlerdam, Haerlem, and feveral other places, where he was honoura- bly receiv'd : and having had the fatisfaction of feeing his own Works highly admir'd, and his man- ner almoft univerfally follow' d in all thofe parts, as well as in Germany, return' d to Prague, and di- ed Juno 1 602, or thereabout. In the fame Form with Sprangher we may place his Contemporaries, John Van Ach, and Jofeph Heints, both Hijlory Pa'tn- JEt. 5 6. ters of note, and much admir'd in the Emperour $ Court. MATH-

Modern Majters. 305

MATTHEW $2(7L was born at Antwerp, Anno r^'^n 1550, but ftudied for the moft part at <$(ome$ lJ5°« and was famous for his (performances in Hijlory and Landtfchape, in the Galleries of the Vatican, where he was imploy'd by pope Gregory XIII. ^. He died young, Anno 1584.

(P^WL Sflyi, of Antwerp alfo, born ^w/o 1554, follow' d his Brother Matthew to (2fy7we, l 5 5 4* painted feveral things in conjunction with him, and after his Deceafe, brought himfelf into Repu- tation by his Landtfchapes : but efpecially by thofe which he composed in his latter time (after he had ftudied the manner of Hannibal Carracb, and had copied tfome of Titians Works, in the fame kind J the Invention in them being more pleafant, the Vifpojition more noble, all the parts more a- greeable, and painted with a better Gujlo, than thofe in his former days. He died at <I(ome, Anno *:t 161 6.

4HT0NI0 TEMPESTA, his Contemporary, a Native of Florence, was a Difciple of John Strada, a Fleming. He had a particular Geniws for Battels, Cahacades, Huntings, and for defign- ing all forts of Animals : but did not fo much re- gard the Delicacy of Colouring, as the lively ex-

R r predion

3o£ Modem Mafkers.

preffion and Spirit of thofe things which he repre- fenced. His ordinary Refidence was at (p^ome -y where, in his younger days he had wrought feve- ral Pieces by order of Pope Gregory XIII. in the Apartments of the Vatican. He was full of Tlwught and Invention, very quick and ready in the Exe- cution, and famous alio for a multitude of Prints, etch'd by bimfelf. He died Anno 1630.

rsA^ L0V0VIC0 CAP^ACCl, the Uncle of Augufti- »5 5 5* no and Hannibal, was born at 'Bologna, Anno 1555, and under his firft Mafter Proffero Font ana, di£ cover' d but an indifferent Genius for Painting: but however, Art fupply'd the defects of Nature, and by conftant and unwearied diligence in ftudying. the Works of Parmegiano, Correggio, Titian, and other great Men, he brought himlelf at laft to a degree of Perfection hardly inferior to any of them. He affifted his Nephews in Founding and Settling the famous Academy of Veftgn at Bologna, and afterwards in Painting the Pala^p Farneje at Et 6 a ^Pme:> and having furviv'd them both, died Anno 1-6 1 p, Vide pag. 222.

AGOSTINO CAfiJIACCI, a Bbfogwe/e alfo, was

}5 57- bom Anno 1557, and by the care and inftructi-

ons of Vomcmco Tebaldi, Alejfandro Minganti and

others,

Modern Majters. 307

ethers, became not onely a very good Defigner and Fainter , but in the Art of Graving furpafs'd all the Majlers in his time. He had an infighc likewife into all the parts of the Mathematics, Na- tural Pbdofophy, <%J?etoric, Mujtc, and mod of the Liberal Arts and Sciences. He was befides, an admirable Poet, and in all other particulars ex- tremely well accomplifh'd. From (Bologna he went to Venice, where he contracted an intimate Friendfhip with Paul Veronefe, Ttntoret, and Baj- fan ; and having graved a confiderable number of their Works, return d home, and foon after- wards folio w'd his Brother Hannibal to %omey and joyn'd with him in finifhing leveral Stories in the Famefe Gallery: But fome little difference arifing unluckily betwixt them, Augujlino remov'd to the Court of the Duke of Parma, and in his Service died Anno \6oi, Vide fag. 223. His mod ce- lebrated Piece of Painting, is that of the Commu- nion of St. Jerom, in (Bologna : 2l Pitlure fo com- pleat in all its parts, that it was much to be la- mented, that the excellent Author of it fhould withdraw himfelf from the Pratlice of an Art in which his Abilities were fo very extra ordinary, to ^L .* follow the inferior ProfeJJIon of a Grayer.

R r 2 AN-

3o8 Modem M afters.

^\^ MKTBALE CAP^ACCl, born likewife ae 1560. (Bologna, Anno 1 560, was a Difciple of his Uncle LudoYtco ; and amongft his other admirable qua- lities, had fo prodigious a Memory, that whatever he had once feen, he never fail'd to retain and make his own : fo that at Parma, he acquir'd the Sweetnejs and Purity of Correggto ; at Venice the Strength and Dijlribution of Colours ofTttian-, and at P^ome, the Corretlnefs of Defign, and beautiful Forww of the Antique: And by his wonderful 'Pfr- formances in the Palazzo Famefe, foon made it ap^ pear, that all the feveral Perfections of the mod eminent Makers his Predecejfors, were united in himfelf alone. In his Conservation he was friend- ly, plain, honefl , and open-hearted \ very commu- nicative to his Scholars, and fo extremely &W to riww, that he generally kept his Money in the fame box with his Co/o#rj,wnere they might have recourfe to either as they had occafion. But the unhappi- nefs of his Temper inclining him naturally to Me* lancholy 5 the ill ufage which he receiv'd from the Cardinal Famefe (who through the Perfuafions of an ignorant Spaniard his Domejlic, gave him but a little above 200 /. Sterl. for his eight years ftudy and labour) fo confirm' d him in it, that he rc- folv'd never more to touch his Pencil: and had undoubtedly kept his refolution, had not his Ne-

ceffities-

Modern Majiers. 3 o^

ceffities compell'd him to refume ir. Yet not- withftanding, fo far did his Diftemper by degrees gain upon him, that at certain times it deprived him of the right ufe of his Sences $ and at laft made him guilty of fome Irregularities, which concealing from his Phyficians, he met with th& fame fate as Raphael (in the like cafe) had done before him, and feem'd to copy that great Majler as well in the manner of his Death, as he had imi- tated him all his Life long in his Works. Nay, fuch was the Veneration he had for Raphael, that it was his Deathbed ^equejl, to be bury'd in the very fame Tomb with him: which was according- ly done in the (pantheon, or Rotunda at ^ome, Anno itfop. See more pag. 2 2 2, and befidestake notice, that there are extant feveral Prints of the <B. Vir- gin, and of other Subjetls, etch'd by the hand ofyEt. 49,, this incomparable Artift.

AKVOKIO CA^ACCl, the natural Son of Au* guftino, was brought up under the Care and Tui- tion of his Uncle Hannibal : after whofe Deceafe, he apply *d himfelf fo fuccefsfully to the ftudy of all the Capital Pieces in ^(ome^ that he would have furpafs'd even Hannibal himfelf, $ Death had not prevented him, Anno \6\%, /Et. 35.

CA)

2*o . Modem Mafters.

CAMILLO, G1ULI0 CESARE, and CA$JJ ANTONIO, the Sons and Difciples of E^COLE P^pCACONl, flourifh'd in this time. They were Natives of Bologna, but upon fome mifun- derfhnding; between them and the (attaches, re- mov'd to Milan, where they fpent the greater!: part of their Lives. Ofthefe,

CAMILLO the Eldeft, abounded in Indention and Spirit : but was a great Manner ifi, and ra- ther ftudy'd the (Beauty, than Correclnefs of his IV- Jtgns.

GIULIO CESA<I(E, was both a Sculptor and Tainter, and famous in Genoua, as well as Bologna and Milan, for feveral admirable things of his band. He was the bell: of all the Procaccini, and fiirpafs'd his Brother Camilla in the exa&neft and purity of his Outlines, and in the jlnmth and bold- nefi of his Figures.

CAPJJ ANTONIO was an excellent Mufician, and as well skill'd in the Harmony of Colours as of Sounds: yet not being able to arrive to the Perfe- ction of his Brothers in Hiftorical Compojitions , he apply'd himfelf wholly to Landtf chapes and Flowers, and was much efteem'd for his Performances that way. E^j

modern ivlajters. 311

E^COLE the Son of Can Antonio , was a Dit ciple of his Uncle Julio Cefare, and fo happy in imitating his manner, that he was fent for to the Court of the Duke of SaVoy, and highly honoured, and nobly rewarded by that Prince for his Services.

G10SEPPE D'A^PINO, commonly call'd Ca- /^-*~/n •Valier GIOSETPINO, born in the Kingdom ofNa- l 5 6°- pies , Anno i 560, was carry'd very young to ^ome, and put out to fome Painters, then at work in the Vatican, to grind their Colours : but the quick- nefs of his Apprehenjlon having foon made him Mafter of the Elements of Deftgn, he had the fortune to grow very famous by degrees ; and befides the refpect fihewn him by Pope Gregory XIII. and his Succejfors, was fo well receiv'd by the French K. Lewis XIII. that he made him a Benight of the Or der of St. Michael. He has the character of a /ZoWJ Indention, a rerf^/y Hand, and a ^cod S^/V/t in all his Works : but yet having no lure Foundation, either in the Study of Nature, or the G(ules of ^rf, and building; onely upon thofe Chimeras and fan- tajiical Ideas, which he had form'd in his own Head, he has run himfelf into a multitude of Errors, being guilty of thofe many Extravagancies, ne- ceffanly attending iuch as have no better Guide than their own capriciom Fancy. He died at P^ome, " °*

Anno 1640. HANS^^*^^

3-1.2 Modern Mafters*

r\A^> HANS <I$TTENHAMEGL\vi\sbomztMun- 1 5 °4- eben the Capital City of 'Bavaria, Anno i 5 64, and after he had ftudied iome time in Go many, went do Venice, and became a Difciple of Tmtoret. He painred both in Fr£Jco and #>/, but his Talent lay chiefly in the latter, and his peculiar excellence was in little Pieces. His Indention was /re* and eajte, his 2)f/g« indifferently correct, his Pojiuns gentile, and his Colouring very agreeable. He was well e- fieem'd both in Zta/y and his own Country, and by his Profeffion might have acquir'd great Wealthy but was fo wonderfully extravagant in his way of living, that he confum'd it much fafter than it came in, and at laft died fo poor, that his Friends

Ait. 40. wcre ^orc ^ t0 ma^e a gathering to bury him,

Anno 1 604.

Cavalier FRANCESCO FANNI, born at Siena l56°- in the Dukedom of Tufcany, Anno 1568, was a Painters Son, but quitted the manner which he had learnt from his Father, to follow that of Sarocci ; whom he imitated in his choice of Religious Subjetls, as well as in his Gufto of (Painting. The moll confiderable Works of this Majler are in the feveral Churches of Siena , and are much commended

At. 4.7. k°tn f°r tne fiftHtf)! of tricir Colouring, and Cor- reElnefi of their Dejtgn. He died ^;mo 1 cu J.

ivioaern majters.

MICHELANGELO MEPJGI born An. i 5 6$, at CA%AVAGGIO-> from whence he deriv'd his "Name, was at firft (like his Countryman Polidore) no better than a Day-labourer 3 till having feen fome Painters at work, upon a Brick-wall, which he had prepared for them, he was fo charm'd with their Art, that he immediately addrefs'd him- felf to the ftudy of it: and in a few years made io confiderable a progre fs, that in Venice, P^ome, and feveral other parts of Italy, he was cry'd up, and admir'd by all the Young men, as the Author of a new Style of Painting, Upon his firft coming to P^ome , his NeceJJities compelled him to paint Flowers and Fruit, under Cavalier Giofeppino: but being foon weary of that Subject, and return- ing to his former practice of Hijiories, with Fi- gures drawn to the middle onely, he made ufe of a Method, quite different from the conduct of Giofeppino, and running into the contrary extreme, follow'd the T.ife as much too clofe, as the other went wide from it. He affected a way particu- lar to himfelf, of deep and dark Jhadows, to give his Pieces the greater relieVo, and defpifing all other help, but what he receiv'd from Nature alone (whom he took with all her faults, and copy'd without judgment or dtfcredon) his Invention be- came fo poor, that he could never draw any thing

S f without

3 14 Modern Mafters.

without his Modal before his eyes; and therefore underftood but little either of Vefign, or Decorum in his Compofttions. He had indeed an admira- ble Colouring, and great Jirength in all his Works i But thofe Ttclures which he made in imitation of the manner of Georgione, were his beft, becaufe they have nothing of that blacknejs in them, in which he afterwards delighted. He died in his return from Malta, (where he had been Knighted by the Grand Mafler, for fome things which he had wrought for him) Anno 1609. His chief Difciples were Bartolomeo Manfredi of Mantoua, Carlo Saracino, commonly call'd Venetiano, Valen- Mt. 40. tino a French-man , and Gerard Hunthorjl of U- trecht.

FILITTO $ AKGEL1 was a %omdn born, but call'd NEATOLlTANOyheczukhis Father fent him to Naples, when he was very young. At his re- turn to (Jfyme, he apply 'd himfelf to the Antiquities', but unhappily left that ftudy too foon, and fol- low'd the manner of his Contemporary M. Angela da CaraVaggio. He practis' d for the moft part in Landtjchapes, and 'Battels , was every where well efteem'd for his Works, and imploy'd by feveral Princes in many of the Churches and Palaces of Q{ome} Naples and Venice ; at the laft of which pla- ces he died Anno Alt at. 40. J AN

Modern Makers. 3 1 5

J AN BP^liEGHEL, the Son of old (peter, and r^s~ the younger Brother of Heljen 'Brueghel, was born l<)^9* in Brujfels, Anno t 569, and call'd FLUWEELEN becaufe of the Velvet Garments which he generally affected to wear. He began his Studies at home, under Peter Goe-kindt, and continu'd them in Italy with fuch fuccefs, that of all the German, Dutch, or Flemifb M afters, Elfbebner cnely was fuperior to him in LandtJ chapes, and Hiftories with jmall Figures. He painted both in Water-colours and Oyl, but in the latter chiefly excell'd ; and efpecially, in reprefenting Wakes, Fairs, and other frolickfom and merry meetings of Country-people. His Inven- tion was eafie and pleafant, his Out-lines firm and fure, his Pencil loofe and free : and in fhort, all his Compositions were fo well managed, that Nature in her plain Country T)refi, was always to be feen ^7^ g in his Works. He died Anno 1625. v^y-v^j

ADAM ELSHEIMEQ{bom at Frankfort upon r^A^^> the Mayn, Anno 1574, was at firft a Difciple of IJ74' Philip Uffenbach a German : but an ardent defire of Improvement carrying him to P^ome, he foon became a mod: excellent Ariift in Landtjchapes, Hiftories, and Night-pieces, with /itt/e Figures. His TTorfo are very few 3 and for the incredible Pains and Labour which he beftow'd upon them , valu d

S f 2 at

3 1 6 Modern M afters.

at fuch prodigious rates, that they are hardly an)r where to be found but in the Cabinets of Princes. He was a Per/on by Nature inclin'd to Melancholy, and through continued ftudy and thoughtfulnefs, was fo far iettled in that unhappy temper, that neg* lecting his own domeflic concerns, Debts came thick upon him, and Imprijonment followed : which ftruck fuch a damp upon his Spirits, that though jc y he was foon releas'd, yet he did not long furvive it, and died in the year 1610, or thereabout,

GUIDO PJIKI was born at Bologna, An. \ffj\ 1 5 r •/• and having learnt the (Rudiments of Painting, under a Flemijh Mafler, was refin'd and polifh'd in the School of the Car r aches ■■: and to what degree of B&xellcnce he arriv'd, fee pag. 223. He acquired great perfection in Mufic, by the Inftruclions of his Father, an eminent Profejfor of that Art. In his behaviour he was modeft, gentile, and very ob- liging; liv'd in great fplendor, both at Bologna, and tf^ome, and was onely unhappy in his im- moderate love of Gaming: to which, in his latter days, he had abandon d himfelf fo intirelyj that all the Money which he cou'd get by his Pencil, or borrow upon Interefl, being too little to fupply his loffes, he was at lafl: reduc'd to fo poor and mean a condition, that the confideration of his

prefent

Modern Maftersi 3 1 7

prefent circumftances, together with reflections on his former reputation, and high manner of li- ving, brought a ianguifhing Diftempcr upon him, which occalion'd his Death, Anno 1642. Note, that there are feveral Vejtgns of this great Mafier, in ^^ £~ />r/»f, efc//d by himfelf. v^^-v^^

G/0. BATTISTA VIOLA, a Cologne je, born rv^o i4/wo 1 576, was a Difciple of Hannibal Carrach, l 5?°* by whofe affiftance he arriv'd to an excellent ?/.wj- »#■ in Landtf chape- painting, which he chiefly ffcudy'd, and for which he was well efteem'd in %ome, and feveral other parts of Italy. But pope Gregory XV. having made him Keeper of his Palace, to reward him for the Services which he had done for him, when he was Cardinal, he quitted his Pencil, and *j> y died foon after, Jbho 1622.

S/r PETE^PAUL RUBENS, born at Co- logne, Anno 1577, was the beft accomplish' d of l577« all the Flemifi? Majlers ; and wou'd have rival'd even the moft celebrated Italians, if his Parents, in- ftead of placing him under the tuition of Adam "Pan Noort, and OclaYio Venws, had bred him up in the P^oman and Lombard Schools. Yet notwith- standing, he made fo good ufe of that little time which hefpent in thofe places, that perhaps none

of >

j.; 8 Modem Mafkers.

of his (predeceffors can boaft a more beautiful Co- burin? , a nobler Invention, or a more luxurious Fancy in their Compositions, of which iee a farther account pag. 225. Bnt befideshis talent in jfttfj* f /;/»■, and his admirable skill in Architecture (very eminent in the feveral Churches, and (palaces, built after hisDefigns, at Genoua.) He was a'Per- yo?z pcflels'd of all the Ornaments and Advanta- ges, that can render a man "Valuable : was uni- verfally Learned, fpoke feven Ld/igwdgw very perfectly, was well read in Hi/lory, and withall io excellent a Statejman, that he was imploy'd in feveral public Negotiations of great Importance; which he manag'd with the moft refind Prudence, and Condutl. And was particularly famous for the Character with which he was fent into England, of Embaffadour from the Infanta Ifabella, and (Phi- lip IV. of S'Jfcim, to K. Charles I. upon a Treaty of (peace between the two Crowns , confirmed Anno 1630. His principal (performances are in the fBanquetting-houfe at Whitehall, the Efcurial'm Spain, and the Luxemburg!) Galleries at SPim, where he was imploy'd by Queen Mary of Medicis, Dowa- ger of Henry IV. and in each of thefe three Courts had the honour of HQiighthood conferred upon him, befides feveral magnificent (prefents, in teftimony of his extraordinary Merits. His ufual abode was

at

Modern Majlers, 31 5>

at Antwerp, where he built a fpacious Apartment, in imitation of the Rotunda at Rome, for a noble Collection of tPiclures which he had purchased in Italy : fome of which, together with his Statues, Medals, and other Antiquities, he fold, not long after, to the Duke of (Buckingham, his intimate Friend, for ten thoufand pounds. He liv'd in the higheft EJleem and Reputation imaginable, was as great a Patron, as Mafter of his Art ; and lo much admired all over Europe, for his many lingular Endowments , that no Strangers of any Quality cou'd pafs through the Low-Countries, till they had firft feen Rubens, of whofe Fame they had heard fo much. He died Juno 1 640, leaving vaft Riches behind him to his Children, of whom Albert the Eldeft, fucceeded him in the Office of ^ ^ Secretary of State, in Flanders. ,

ORATIO GENTILESCHI, a Native of <Pifa, a City in Tu/cany, flourifli'd in this time: and after he had made himfelf known in Florence,- Rome, Genoua, and other parts of Italy, remov'd to SaVoy, from thence went to France, and at laft, upon his arrival in England, was fo well received by K. Charles I. that he appointed him Lodgings in his Court, together with a confiderable Salary, and imploy'd him in his^ Palace at Greenwich, and

other

J20 Modern M afters.

other public places. He made feveral Attempts in Face-painting, but with little [ucccfs, his Talent lying altogether in Hiflories, with Figures as big as the Life: In which kind, fome of his Compojiti- ons have defervedly met with great Jpplaufe. He was much in favour with the Duke of 'Buck- ingham, and many others of the Nobility: and af- ter twelve years continuance in this Kingdom, died Anno JEtat* 84. and was bury'd in the Queens Chapel in Somerjet-houje.

ARTEMISIA GENTILESCHI his Daughter, excelled her Father in (portraits, and was but little inferior to him in Hijlories. She liv'd for the mod part at Naples, in great fplendor : and was as famous all over Europe for her Amours, and Lo'Ve- Intrigues, as for her talent in fainting.

^A_^ FRANCESCO AUBAN1 a Bolognefe, born 1 J/8. Anno 1578, was a Difciple of the Carr aches , well vers'd in polite Learning, and excellent in all the parts of ^Painting ; buc principally admir'd for \i\s performances in little. He had a particular Ge- nius for naked Figures : and the better to accom- plish himfelf in that Study, marry'd a beautiful Lady of Bologna, with little or no fortune; by whom (upon all occafions) he us'd to ucfign

naked

Modern Maflers. 321

naked Venus 's, the Graces, Nymphs, and other God- dejfes : and by her Children little Cupids, playing, and dancing, in all the variety of Tofures imagi- nable. He fpent fome rime at %ome, was im- ploy'd alfo by the Grand Duke of Tujcany , but compos'd molt of his Works in his own Country $ where he died, Anno \66o. His mod famous Difciples were Tier Francefco Mola, and Gio. Battifa his Brother, both excellent Maflers in Figures and j£tt g 2 Landtfchapes.

1\AKC1S SNYDE^S, born at Antwerp, Anno 1579, was bred up under Henry "Van Balen his l579 Country- man; but ow'd the mod confiderable part of his Improvement, to his Studies in Italy. He painted all forts of Wild Bea/ls, and other Ani- mals, Huntings, Fifl?> Fruit, &c. in great Terfe- tlion : was often imploy'd by the King of Spain, and feveral other Princes, and every-where much commended for his Works.

WMENJCO ZAMPlBSJy commonly calfd rs_A_/ DOMENICHING, born in the City of Bologna An. 1581, 1581, was at firft a Difciple of a Flemijh Mafler, but foon quitted his School, for a much better of the Carr aches 3 being infl:ructed at Bologna by Lu- doYicOy and at ^ome by Hannibal, who had fo

T t great

322 Modem Mafters.

great a Value for him, that he took him to his ajfi- jlance m the Farnefe Gallery. He was extremely labo- rious and flow in his ProduBions, applying himfelf always to his »0r#witri much Jludy and thoughtful- nefs, and never offering to touch his Pencil till he found a kind of Enthujiafm, or Infpiration upon him. His talent lay principally in the corretlnefs of his Style, and in expreffing the Pajjlons and Af- feElions of the Mw*/. In both which he was fo ad- mirably judicious, that TSLicolo Pouffln, and Andrea Sacchi us'd to fay, his Communion of St. Jerome, in the Church of the Charity, and Raphaels celebra- ted Piece of the Transfiguration, were the two beft PiBures in (Rome. He was made the chief Archi- tect of the Apofiolical Palace, by Pope Gregory XV. for his great skill in that Art, He was likewife well vers'd in the Theory of Mufic, but in the Pra- Bice of it had little fuccefs. He had the misfor- tune to find Enemies in all places where- ever he came $ and particularly at Naples was fo ill treated by thofe of his own Profeffion, that having agreed among themfehes to difparage all his Works, they would hardly allow him to be a tolerable Mafter: And were not content with having frighte d him, for fome time, from that City, but afterwards, upon his return thither, never left perfecuting him, till by their tricks and contrivances they had quite weary'd

him

Modem Makers. 323

him out of his Life, Anno 1641. Vide pag. 223. *r. • His Contemporary, and moft malicious Enemy

k*s

GIOSBPTE (BJSEQJ, a Native of Valencia, in v?/wm, commonly known by the name of SFAGNOLETTO, was an Artift perfect in Veftgn, and famous for the excellent manner of Colouring which he had learnt from Michael Angelo da Cara- Vaggio. His way, was very often in Halj-Fgwes onely, and (like his Mafier) he was wonderfully ftridl in following the Life 5 but as Ill-naturd in the choice of his Subjects, as in his Behaviour to poor Domenicbino, affecting generally fomething very terrible and frightful in his Pieces, fuch as (Pro- metheus with the Vulture feeding upon his Liver, Ca- to Uticenfis weltering in his own Bloud, St. Bartho- lomew with the Skin flea'd off from his Body, Sec. But however in all his Compojltions, Nature was imitated with fo much Art and Judgment, that a certain Lady big with Child, having accidentally caft her Eyes upon an Ixion, whom he had re- prefented in Torture upon the Wheel, received fuch an lmprejjlon from it, that flie brought forth an Infant with Fingers diftorted juft like thofe in his Picture. His ufual abode was at Naples, where he liv'd very fplendidly , being much in fa- vour with the Viceroy his Countryman^ and in

T t 2 great

324. Modem Movers.

great Reputation lor his Works in Painting, and for feveral prints etch'd by his own hand.

rs^v^o GIOVANNI LaNEPJNCO, born at Tarma, 1.58 i. ^wwo 1 jg 1, was a Difciple of the Carr aches, and befides a zealous Imitator of the JFbrfo of (Raphael and Correggio. His char after fee fag. 224. He was highly applauded at Naples for feveral excel- lent iP/ecfj which he wrought there, and was fo much efteem'd in P^ome, that for his Performances

AEt. 66. *n tne ^atlcan ne was Righted by Pope Wrfcw VIIJL He died ^iwo 1 647.

SISTO BAVALOCCHI his Eellow-difciple , was of Parma alfo, and by the Inftrudtions of the Carraches at P^ome, became one of the bed Ve- jlgners of that School. He had alfo many other commendable Qualities , and particularly Facility, but wanted Diligence. He joyn'd with his Coun- tryman Lanfranco in etching the Hiftories of the (Bible, after the Paintings of Raphael, in the Ktf/- frf?/? which they dedicated to Hannibal their Mafter. He pradtifed moftly at Bologna, where he died Young.

SIMON VOUET, born at Kira, Anno 1782, 1582. vvas bred up to Painting under his Father, and

carry'd

Modern Mafters. 325

earry'd very young to Conflantinople by the French Embaflador, to draw the Picture of the Grand Sgnior, which he did by ftrength of Memory onely. From thence he went to Venice, and af- terwards fettling himfelf at dfywe, made faconfi- derable a Progrefs in his Art, that befides the Fa- vours which he received from Pope Urban VII L and the Cardmalhis Nephew, he was chofen (Prince of the Oxonian Academy of St. Luke. He was feat for home Anno 1627, by the order of Lewis Kill, whom he ferv'd in the quality of his chief Painter 1 He practifed both in Portraits and Hiftories, and furnifh'd fome of the Apartments of the LouVre, the Palaces of Luxemburg}? and St. Germains, the Galleries of Cardinal O^cblieu and other public places with his Works. His greateft Perfection was in his agreeable Colouring,2Lnd his briskand ItVelyTencil-y being otherwife but very indifferently qualify'd j he had no Genius for grand Compcjuions, was unhappy in his Invention, unacquainted with the tf^ules ofPerfpc- B'tve, and underftood but little of the Union of Co- lours, or the Doctrine of Lights and Shadows : yet neverthelefs he brought up feveral eminent Scholars, . amongft whom, was CHARLES ALFONSE du FP(ESN0T, Author of the preceding Poem.- But his chief Difciple was the J^JRG himfelf, whom he had the Honour to inftru<5t in the Art of Defign* jEt. 5 9« ing. He died An. 1641. Pi-

Modern Makers.

<PIETE$l Van LJE^ commonly call'd fBAM- BOCCIO) or the Beggar- painter, was born in the City of Haerlem, Jthno 1584: and after he had laid a good Foundation in Drawing and Perfpe BiVe a'cbome, went to France, and from thence to Q(pme 5 where by his earneit application to Study, for jlx- teen years together, he arrived to great perfection in Hiftories, Landtj chapes, Grottos, Huntings, &c. with little Fgures and Animals. He had an ad- mirable Gufio in Colouring, was very judicious in the ordering of his <Pieces9 nicely juft in his Propor- tions, and onely to be blam'd, for that he gene- rally afTecl:ed to reprefent Nature in her worft Drefl, and follow'd the Life too clofe, in moft of his Compofitions. He return' d to Amflerdam, Anno 1639, and after a fliort ftay there, fpent the Re- mainder of his days with his Brother, a noted School-majler in Haerlem. He was a Perfon very ferious and contemplative in his humour, took Plea- fure in nothing but Painting and Mujic : and by indulging himfelf too much in a melancholy ^e- JEt 60 tirement-> ls fe^ to nave fhorten'd his Life, Anno j. 1 644.

CO^ELIUS TOELENBU^fH, born at M00» Utrecht, Anno 1590, was a Difciple of Abraham Blomaert, and afterwards for a long time, a Stu- dent

Modern Maflers. 327

dent in P^ome and Florence. His Talent lay altoge- ther in /mall Figures, naked Boys, Landt [chapes, (ftuins, dec. which heexprefs'd with a Pencil agree- able enough, as to the Colouring part, but general- ly attended with a \\tt\tftiffnefs, the (almonV) *W# f arable Co?npanion of much Labour and Neatnefs. He came over into England, Anno 1637 ; and af- ter he had continu'd here four years, and had been handfomly rewarded by K. Charles I. for feveral (P/ece* which he wrought for him, retir'd into his — own Country, and died Anno 1667. vs-ss-^j

CaValier GIO. FRANCESCO BAP^BIEPJ°da r^\^n CENTO, commonly call'd GUE^CINO, (be- 1590. caufe of a Caft which he had with his Eyes) was born near 'Bologna, Anno 1 590, and bred up un- der Benedetto German his Gountry-man : by whofe Injiruciions, and the Vitiates of his own excellent Genius, he foon learnt to defign gracefully and with Corretlnefs; and by converging afterwards with the Works of Michael Angelo da CaraVaggio, became an admirable Colourift, and befides, very famous for his happy Indention and Freedom of Pencil, and for the Strength, ^elieVo, and becoming Boldnefs of his Figures, He began, in the Declenjion of his ^e, to alter his Style in Painting : and (to pleafe the unthinking Multitude) took up another

manner

323 Modern Mafiers.

manner more gay, neat and pleafant, but by no means iogreat and noble as his former Gujlo. He composed leveral considerable Pieces in P^ome : but the greateft number of his Performances is in, and abotic Bologna, where he died, Anno \666, very rich, and highly commended for his extraordina- ry Piety, Prudence and Morality.

NICOLO PUSSINO, the French Raphael, was 5 94« the Defcendent of a. noble Family in Piftift^-buc born at Andely, a Town in Normandy, Anno l 504. He was feafon'd in Literature at home, inftruc-ted in the Rudiments of De/g/i at (PdW, learnt the Principles of Geometry, PerfpeEi'tVe and Anatomy at Sfywe, practifed after the L//e in the Academy of Vomenichino, and ftudy'd the Antiquities in com- pany with the famous Sculptor Francefco Fiammingo, who was born in the fame year, and iodg'd in the jame houfe with him. His way, for the mod part, was in Hiftories, with Figures about f«?o or f/;re^ feet high 3 and his Colouring inclined rather to the Antique than to Nature : but in all the other parts of Painting, he was profoundly excellent', and particularly the (Beauty of his Genius appeard in his nice and judicious ObJerVation of the Decorum in his Compojitions, and in exprefflng the Papons and Affections with fuch incomparable *&//, that all

his

Modern Mafiers. 32$

his Pieces feem to have the very Spirit of the AStion, and the Life and Soul of the Perfons whom they reprefent. He had not been in P^me above Jix- teen years, before his Name became fo univer fatly celebrated, that Cardinal Pjchlieu refolving to ad- Vance the noble Arts in France, prevail'd upon him (by means of an obliging Letter, written to him by Lewis XIII. himfelf. Anno 1639) to return to his own Country : where he was receiv'd with all poffible demonftrations of Ffteem, was declar'd Firfl Painter to the l^ing, had a confiderable Pen- Jion appointed him, was imploy'd in feveral pub- lic Works, and at laft undertook to paint the Grand Gallery of the LouVre. But the I^ing and Cardinal both dying in the time that he went back to fettle his affairs in Italy, and bring his Family from thence 5 he quite laid afide the Thoughts of returning any more to France, and ended his days in P^ome, Anno 1 66 j : having for fome years before his Deceafe, been fo much fubject to the Palfie, that the effects of his unfleddy Hand are vifible in feveral of his jgtt *,I# Dejigns.

PlETP(p TESTA, his Contemporary, was a Native of Luccay a City in the Dukedom of Flo- rence, and fo miierably poor upon his firft arrival at P^ome, that he was fore d to make the public

U u Streets

330 Modern Mafiers.

Streets his School, and the Statues, Buildings, Q(u- ins, &c. the Leffons which he ftudied. He was a Man of a quick Head, a ready Hand, and a //Ve- /y S/7/V/f in moft of his Performances : but yet for want of Science, and good (Joules to cultivate and ftrengthen his Geniws, all thofe hopeful Qualities* foon ran to Weeds, and produced little elfe but Mbnfters, Chimera*, and fuch like wild and extra- vagant Fancies: Vid.pag. 102. He attempted very often to make himfelf perfetl in the Art of Colouring, but never had any Succefs that way j and indeed was onely tolerable in his Drawings, and the Prints which he etch'd. He was drown d (as 'tis general- ly reported) in the Tyler, having accidentally fall'n off from the Sank, as he was endeavouring to re- gain his Hat, which the Wind had blown into the Water.

"Vwn Sir AKTHOm VAK DICK? was born at l599* Antwerp, Anno 1599, and gave fuch early proofs of his moft excellent Endowments, that Rubens his Majler, fearing he would become as UniVerfal as himfelf, to divert him from Hiftories, us'dto com- mend his Talent in Painting after the Life, and took fuch care to keep him continually imploy'd in bufinefs of that Nature, that he refolv'd at laft to make it his principal Jluiy j and for his Improve- ment

Modern Mafiers. 331

ment went to Venice, where he attain'd the beauti- ful Colouring of Titian, Paulo Veronefe, Sec. And after a few years fpent in ^ome, Genoua and Sicily, -return' d home to Flanders with a manner of Tain- ting, fo noble, natural, and eajie, that Titian him- felf was hardly his Superior, and no other Majter in the world equal to him for Portraits. He came over into England foon after Rubens had left it, and was entertain' d in the Service of King Charles L who conceiv'd a marvellous efteem for his Works, honour* d him with IQiight hood, prefented him with his own Pitlure fet round with Diamonds, affign'd him a confiderable Penfton, fate very often to him for his Portrait, and was followed by mod of the Nobility and principal Gentry of the JQngdom. He was a perfon low of flature, but well-proporti- on d; very handfome, modejl, and extremely oWf- ^wg ; a great Encourager of all fuch as exceUd in any ^rf or Science, and Generous to the very laft degree. He marry'd one of the fairefl Ladies of the Englifl? Court, Daughter of the Lord P(uthen Earl of Gowry, and liv'd in State and Grandeur anfwerable to her Birth : His own Garb was gene- rally very rich, his Coaches and Equippage magni- ficent, his Retinue numerous and gallant, his Ta- ble very fplendid, and fo much frequented by People of the beft Quality of both Sexes, that his

U u 1 Apart-

332 modern Majters.

apartments feem'd rather to be the Court of fome Prince, than the Lodgings of a Painter. He grew wea- ry, towards the latter end of his Life, of the conti- nu'd trouble that attended Face-Painting ; and being defirous of immortalizing his Name by fome more glorious Undertaking, went to Paris in hopes of being imploy'd in the Grand Gallery of the LoWVre ; but not fucceeding there, he return'd hither, and propos'd to the lQng (by his Friend Sir Kjenelfn Dighy) to make Cartoons for the (Banqueting houfe at Whitehall: the fubjecl: of which was to have been the Inftitution of the Order of the Garter ■, the Proceffion of the IQiights in their Habits, with the Ceremony of their Inft aliment, and St. Georges Feaji. But his Demands of four /core thou / 'and l pounds, be- ing thought unreafonable, whilft the Kjng was upon treating with him for a lefs Summ, the Gout and other Viftempers put an end to that Affair and his Life, Anno 1641 ; and his (Body was in- terr'd in St. Pauls Church. See farther,^. 216. And note, that amongft the Portraits of lUuftrious Perfons, Sec. printed and publifh'd by the parti- Mt. 42. cular directions of this M after, fome were etch'd in Aqua-fortis by Van Dyck himlelf.

BENEDETTO CASTIGLIONE, a Genouefe, was at firit a Difciple of (Battifta Paggi and Ferrari

his

Modern Majters. 3 3 3

his Countrymen 3 improv'd himfelf afterwards by the inftructions of Van Vyck (as long as he continu d in Genoua) and ac laft became an Imi- tator of the manner of TSlicolo Touffin. He was commended for feveral very good (prints of his own etching : but in Tainting his Inclinations led him to Figures, with Landtfchapes and Animals ; which he touch' d up with a great deal of Life and Spi- rit, and was particularly remarkable for a brisk (pencil, and a free handling in all his Compojitions. He was a Perfon very unfettled in his Temper, and never lov'd to ftay long in one place : but being continually upon the ramble, his Works lie fcat- ter'd up and down in Genoua, ^ome, Naples, Ve? nice, Parma, and Mantoua, where he died.

VIVIAKO CODAZZO , generally call'd Vh r^A^> VIAKO delle P^OSPETTIVE, was born at Ser- i J 90. gamo in the Venetian Territories, Annoiyyy: and by the Inft ructions of Augujtino Tajfo his Mafter, arrived to a mod excellent manner of painting Buildings, <$jiins, &c, His ordinary Refidence was at <%ome, where he died, Anno* 1674, anc^ was bury'd in the Church of S. Lorenzo in Lucina* He had a So?/ call'd Nicolo, who purfu'd his Fa^ thers fteps, and died at Genoua, in great Reputati- AEt. 75. on for his performances in PerfpetliVe.

MA-

334 Modem Majters.

r^^ MA<1{I0 NUZZI, commonly call'd MA^IO

1 5 99' de FIO^J, born at Orta in the Terra di Sab'ma, was

a Difciple of his Uncle Tomafo Salmi, and one of

the moil: famous Mafters in his time for painting

Flowers. He died in G(ome, f where he had fpent

JEt. 72. great part of his Life) and was aifo bury'd in S.

* Lorenzo* Church, Anno \6yi.

MICHELANGELO CE<I{QUOZZI, was born • in @(ome, Anno 1 6oo , and bred up in the School of Antonio Sahatti, a Bolognefe. He was call'd delle BATTAGLIE, from his excellent Ta- lent in Battels ; but befides his great skill in that particular Subjett, he was very fuccefful'm all forts oiFigures^ and painted Fruit incomparably beyond jEt. 6o. any Majler in Europe. He was bury'd in the Choir e of S. Maries Church in <%ome. Anno \66o.

CLAUDIO GILLE of L0%AlKy born Anno \6&o. i 6oo, was by his (parents fent very young to Gfome ; and after he had been grounded in the Elements of Dejign, and the ^tdes of TerfpetliVe, under Auguffino Tajfo, he removed hisStady to the {Banks of the T^er, and into the open Fields, took all his Leffons from Ndture her felf, and by many years diligent Imitation of that excellent Mt/lrefs} climb'd up to the higheft ftep of Terfetlion in

Landt-

Modern Mafters» 33$

Landtfchape-painting: and was univerfally admir'd for his pleafant and mod agreeable Invention ; for the delicacy of his Colouring, and the charmingly- riety and tendernefi of his Tints ; for his artful T>i- Jiribution of the Lights and Shadows ; and for his wonderful Condutl, in difpofing his Figures for the ad- Vdtftage and Harmony of his Compojitiens. He was much commended for fevcral of his Performances in Fre/co as well as 0j/, was imploy'd by Pope Ur- ban VIII. and many of the Italian Princes in adorn- ing their Palaces : and having by his Pencil made his Name famous throughout Europe, died An. 1682, and was interred in the Church of Trinita de Monti, JEt. 8 2 . in P^ome.

GASPA^O DUGHET, was of French Extra- ction, but born in P^me, Anno \6oo. He took l"00, to himfelf the name of POUSSIN, in gratitude for many Favours, and particularly that of his E- ducation, which he received from Nicolo Poujjln, who married his Sifter. His firft Imployment under his 'Brother -in-Law, was in looking after his Colours, Pencils, &c. but his excellent Genius for Painting foon difcovering it felf, by his own In* duftry and his Brothers InftrutJions was fo well im- proved, that in Landtfchapes (which he principal- ly ftudied) he became one of the greateft Ma<

fters

33$ Modem Maflers.

Jlers in \)fe:Age\ and was much in requeft, for his

eafie Indention, /olid Judgment, regular Dijpofttion,

and true %ejemblance of Nature in all his Works.

He died in his great Climatl eric al year \66^, and

JEt. 6 2 . was bury'd in his Tarijh-Cburch of 5. Sufanna, in

* {l{ome.

In his time, liv'd and flourifrfd ANDREA SACCHI, a celebrated %oman Mafler, highly ex- toll'd for his general Accompli flmients in all the parts of Tainting^ but more particularly eminent for his extraordinary skill in the Elegance of Dejtgn, the Harmony of Order, and the 'Beauty of Colouring.

His Competitor <PIET$(P SE^ETTINI da COTTON Ay was alfo of great confideration in this time 5 and much applauded for his magnifi- cent Works in feveral of the Churches and Palaces of ^ome and Florence. He cxcell'd both in Frefco and Oyl, was profoundly read in the Antiquities, had a noble and rich Imagination, and a Genius far beyond any of his Contemporaries, for Ornaments and £rd?iJ Hijlorical Compojitions. He was very well efteem'd by Pope Mr^» VHI. Innocent X. and mod of the Verfons of the /z//? 3(dw& in Italy.

GE-

Modern Alajlers. 337

GEE^A^T DOV, born at Leyden, about the rN~^-"° year 1607, was a Difciple of %embrandt, but l °7' much pleafanter in his Style of Painting, and fupe- rior to him in little Figures. He was efteem'd in Holland the beft Majler in his way : and tho' we muft not expect to find in his Works that Elevation of Thought, that Correttnefi of Dejign, or that noble Spirit, znd grand Gufto, in which the Italians have diftinguifli'd themfelves from the reft of Mankind $ yet it muft be acknowledg'd, that in the Manage- ment of his Pencil, and the Choice and 'Beauty of hisColourSy he has been curious to the laft degree ; and in fbiifhing his Pieces, laborious and patient be- yond example. He died «rai Annum 1674, leaving behind him many Scholars, of whom MIE^IS the chief, was in feveral refpects equal to his Mafler. But for the reft of his Imitators, ge- nerally fpeaking, we may place them in the fame jgt £7 Form with the cunning Fools, mention d, fag. 133.

ADP^IAEK <BfS@W/rE% was born in the Ci- ty of Haerlem, Anno 1608 ; and befides his great 1608, Obligations to Nature, was very much beholden to Frans Hals, who took him from begging in the Streets, and injirutted him in the Rudiments of Painting 5 And to make him amends for his kind- nefs, Brouwer, when he found himfelf fufficiently

X x qua-

338 Modern Maft'ers.

qualified to get a LiVelyhood, ran away from his Majler into France, and after a flhort ftay there, return'd, and fettled at Antwerp. Humour was his proper Sphere, and it was in little Pieces that he us'd toreprefent Boors, and others his Pot- com- panions, drinking, fmoking Tobacco, gaming, fight- ing, Sec. with a Pencil fo tender and free, fo much of Nature in his Exprejfion, fuch excellent Draw- ing in all the particular farts, and good t^eeping in the whole together, that none of his Countrymen have ever been comparable to him in that Sub- ject. He was extremely facetious and pleafant o- ver his Cups, fcorn'd to work as long as he had any Monty in his Pockets, declar'd for a flhort Life and a merry one : and refolving to ride Pofi to his GraVe, by the help of Wine and Brandy, got to his Journeys end, Anno 1638; fo very poor, that Contributions were rais'd to lay him privately in the Ground, from whence he was foon after taken up, and (as 'tis commonly faid) very handfome- ' JEt,- 2 o. ty interr'd by Rubens, who was a great Admirer of his happy Genius for Painting.

SAMUEL COOPER, born in London, Anno lOoo. i(500) was bred up (together with his elder Bro- ther Alexander) under the Care and Di-fcipKnc of Mr. Hoskins his Uncle : but derived the moft con-

fiderable

Modern Mafters. 339

/Iderable advantages, from the ObferVations which he made on the Works of Van Dyck His Venal was generally connVd to a Head onely ; and in- deed below that part he was not always fo fuccefs- ful as could be wifli'd : but for a Face, and all the dependencies of it (Vi^.) the graceful and becom- ing Air, the Strength, ^lieVo and noble Spirit, the /oftnefs and few^fer ItVelinefs of F/f/Z? and lB/00 J, and the /00^ and gentile management of the Hair , his Td/otf was fo extraordinary, that for the Honour of our Nation^ it may without Vanity be affirmed, he was (at leaft) equal to the moll famous Itali- ans ; and that hardly any of his Predecejfors has ever been able to fhew fo much (perfection in fo narrow a Compafs. Anfwerable to his Abilities in this Art was his skill in Mujic : and he was reckon d one of the bed Lutenijis, as well as the mod excellent Limner in his time. He fpent feveral years of his Life abroad, was perfonally acquainted with the greateft Men oi France, Holland, and his own Country, and by his Works more univerfally known in all the pars of Cbriftendom. He died Anno 1672, ^ and lies bury'd in Vancra* Church, in the Fields.

WILLIAM VOBSONy a Gentleman defcend- ed of a Family very eminent (at that time) in St. V°i°* Albans, was born in St. Andrews ParifTi, in Hol-

X x 2 bourn.

340 Modern Majlers.

bounty Anno \ 6 1 o. Who firft inftructed him in the ufe of his Pencil is uncertain : of this we are well aflur'd, that he was put out very early an Apprentice to one Mr. Peake, a Stationer and Tra- der in Pictures • and that Nature, his beft Miftrefs, inclin'd him fo powerfully to the practice of Pain- ting after the Life, that had his Education been but anfwerable to his Genius, England might juftly have been as proud of her Dob/on, as Venice of her Titi- an, or Flanders of her Van Vyck- How much he was beholden to the latter of thok great Men, may eafi- ly be feen in all his Works ; no Painter having ever come up fo near to the Perfection of that excellent Mafler, as this his happy Imitator. He was alfo farther indebted to the Generojtty of Van Dyck, in prefenting him to King Charles I. who took him into his immediate ProteElion, kept him in Oxford all the while his Majejly continu'd in that City ; fat feveral times to him for his Picture, and obliged the Prince of Wales, Prince Rupert, and moftof the Lords of his Court to do the like. He was a fatry middle fiz^d Man, of a ready Wit, and pleafing Con* Vcrfation ; was fomewhat loofe and irregular in his way of Living, and notwithstanding the many Op- port unities which he had of making his Fortunes, /St. 37. died very poor, at his houfe in St. Martins-lane, Anno

* 647.

MI-

Modem Mafters. 3 4. 1

MICHAELANGELO PACE, born Anno 1 6 1 o, <~^-/n

and call'd di CAMPIDOGLIO (becaufe of an Of l6x °* fee which he had in the Capitol) was a Difciple of FwraVanti, and very much efteem'd all over Italy, for his admirable Talent in painting. Fruit and the Jlill Life. He died in Pgme, Anno 1670, leaving behind him two Sons 5 of whom GiOi Battifta the eldeft, was brought up to Hijlory painting under Francefco Mola, and is now in the Service of the King of Spain : But the other call'd Pietro, died in his Prime, and onely liv'd juft long enough to fliew that a few years more would have made ^ , him one of the greateft Mafters in the World, v^y^i

SALVATOP^ PfiSA, a Neapolitan,bomAn. \ 6 1 4, rv^A_/\ in both the Sifter- Arts of ?W/>' and Painting, was l'^!4* efteem'd one of the mod excellent Mafters that Jh*/y has produc'd in this Century. In the firft, his Province was Satire ; in the latter, Landtfckapes, Battels, HaVens, &c. with little Figures. He was. a Difciple of Daniele Falconi his Countryman, an Artift of good repute 3 whofe instructions he very much improved by his Study after the Antiquitiest and the Works of the mod eminent Painters who went before him. He was fam'd for his copious and florid Invention, for his profound Judgment in the ordering of his Pieces, for the ^gewfife and uncommon

Ma-

3 f 2 Modem Makers.

Management of his Figures, and his general Know- ledge in all the parts of (painting : But that which gave a more particular ftamp to his Compofiiions, was his inimitable Liberty of (pencil, and the noble Spirit with which he animated all his Works. (%ome was the place where he fpent the greatefl part of his Life-, highly courted and admir'd by all the Men of Note and Quality, and where he died Anno Ait. 50. l ^? 3 3 having etch' d abundance of valuable (prints j with his own hand.

GUCOMO CO^JCESI, the famous 'Battelpain- ter, commonly called The W^GOGNONE , from the Country where he was born , was the Con- temporary ofSahator (^ofa, and equally applaud- ed for his admirable Gufto, and grand Manner of (Painting. He had for feveral years been conver- fant in Military Affairs, was a confiderable Officer in the Army, made the Camp his School, and form'd all his excellent 7^j from what he had feen per- form d in the Field. His Style was roughly noble, and (Souldier like) full of F&? and S/?/rtf. He re- tir'd, towards the latter end of his Life, into the Consent of the Jefuits in <I(owe : where he was fore'd to take Santluary (as they fay) to rid his hands of an ill fBargainy which he had unhappi- ly got in a Wife.

Sir

Modern Maflersi

Sir TETE^ LELY was born Anno 1617, in We/lpbalia, where his Father, being a Captain, happen' d to be then xnGarrifon. He was bred up for fome time in the Hague, and afterwards com- mitted to the care of one *fe Grebber of Haerlem. He came over into England, Anno 1 641, and purfu'd the natural bent of his Genius in LandtJ chapes with /mall Figures, and Hiflorical Compofitwns : but find- ing the practice of fainting after the Life general- ly more encouraged, he apply'd himfelf to (por- traits with fuch fuccefs, as in a little time to fur- pals all his Contemporaries in Europe. He was ve- ry earned in his younger days, to have finifh'd the courfe of his Studies in Italy : but the great bu- finefs in which he was perpetually ingag'd, not allowing him fo much time ; to make himfelf amends, he refolv'd at laft, in an excellent and well chofen Collection of the Drawings, Prints, and Paintings, of the moll celebrated Majlers, to bring the %oman and Lombard Schools home to him. And what benefit he reap'd from this Expedient, was fuflSciently apparent in that admirable Style of (painting, which he form'd to himfelf by dayly converting with the Works of thofe^redf Men : In the combine ft of his Drawing, and the beauty of his Colouring ; but efpecially in the graceful Airs of his Figures, the pleajing Variety of his (poflures, and

his

34 f Modern Makers.

his wntile nezlivence and loofe manner of Draperies: in which particular as few of his Predecejjors were ecjual to him, fo all fucceeding Artifls muft ftand obliged ro his happy Invention, for the noble Pat- tern which he has left them for Imitation. He was recommended to the favour of King Charles I. by Philip Earl of (Pembroke, then Lord Chamber- lain-, and drew his Majefties (Pitlure, when he was (?r if oner in Hampton-Court. He was alfo much in cfteern with his Son Charles II. who made him his Painter, conferr'd the honour of IQiighthood upon him, and would oftentimes take great plea- fure in his ConVerfation, which he found to be asa- greeable as his (Pencil. He was likewife highly re- fpe&ed by all the (people of Eminence in the fljng- dom 5 and indeed fo extraordinary were his natural (parts, and fo great his acquird Knowledge, that it would be hard to determine whether he was abet- ter (Painter, or a more accompliftid Gentleman : or whether the Honours which he has done his Pro- feJJion> or the Advantages which he deriv'd from it were the moft confiderable. But as to his Arty certain it is, that his lafl (pieces were his beft> and that he gained ground, and improv'd himfelf every day, even to the very Moment in which jEt. 6-iVeaih fnatch'd his Pencil out of his ban d in an Apo- ]pk£iicFit7 Anno 1680.

SE-

Modern Mafters.

SEBASTIAN <BOU<%pON, a Frenchman, born at Mompellier, Anno 1619, ftudy'd feVen years in P(ome, and acquired fo much Reputation by his Works both in Hiftory and Landtfchape, that upon his return to France, he had the honour of being the fir ft who was made Potior of the Pjyal Acade- my of Tainting and Sculpture at Paris. He (pent two years alfo in Sweden, where he was very well efteem'd, and nobly prefented by that great Pa- tronefl of Arts and Sciences, Queen Cbriftina. He^f# ^ died, /4/MO 1673,

LUCA JO^pANO, was born in Naples, Anno 1626, and by his Studies under Pietro <£i Cortona l®1°' at (Z^owe, joyn'd with his continud Application to all the noble Remains of Antiquity, became one of the beftaccomplifti'd,and moft univerfal Mafters in his time. He was wonderfully skilled in the practical part of Dejigning, and from his incredible Facility, and prodigious Dfpatch, was call'd by his FeUow- Painters, Luca fa Prefto. He was befides very happy in imitating the different Styles of other great Men, and particularly follow'd the manner of Titian, Saffan, Tmtoret, Guido, &c. fo dofc in feveral of his Pieces, that it is not the talent of every Pretender to Painting, to diftinguifil them from Originals of thofe Hands. He was famous

Yy for

34$ Modern Mafters.

for his many excellent Performances in ^ome and Florence: And being continually imploy'd in working for Princes, and (people of the yir/? Quality all over Europe, grew fo vaftly nc/;, that at his re- turn to Naples j he purchas'd a Dutchy in that i(»g- Jow, marry'd and liVd fplendidly, kept a noble Palace, and a numerous Retinue, with Coaches, Lit- tersy and all other imaginable State. Being grown Old, he was earneftly prefs'd by the Viceroy to go over into Spain, and ferve the l\ing his Mafter : He had no fancy for the Voyage, and therefore rais'd his Terms very high : was not content with twen- ty thoufand Crowns paid him down9 and the Gol- den j(ey given him, as Groom of the <Bed-chamher ; but befides, having heard, that by the Statutes of St. J ago, and the other Military Orders of Spain, it was exprefly provided, that no Painter fliould be admitted into any of them, becaufe their Profejfion was generally looked upon as Mechanic ; he re- folv'd, for the Honour of his Art, not to ftir a foot, till he himfelf was firft made a IQtight of St. Jago, and his two Sons ^nights of Alcantara and CalatraVa. All which being granted, he fet out for Madrid, where he was received very kind- ly by the Kjng, and having adorn d the grand Stair-cafe of the Efcurial, with the Story of the ©<tf- te/ o/Sf. Qu'mtin, (which is perhaps one of the beft

things

Modern Mafiers. 34.7

things in its kind, that has been any where perform'd in this Age) he fell to work upon the great Church belonging to that Palace 5 but the Climate being too fevere for his Conflitution of Body, and his Mind not fo well fatisfy'd as at Naples, he fickned ,- and died in the Winter of the year 1 604.

In the fame year died FILIPPO LAU^O, a Mafler equal to him in all refpecls, excepting one- ly that by confining himfelf to fmall Figures, and Htftories in little, he contracted his admirable Ta- lent into a narrower Compafs. He liv'd for the moft part in P^me; and was highly valud for the P^ches of his Fancy, and the Accuracy of his Judg- ment $ for the Elegance of his Out-lines, and the Propriety of his Colouring ; and for the graceful Freedom of his Pencil, in all his Compojltions.

JOHN PJLEI, born in the City of London, "Anno 1 646, was inftructed in the firft Rudi- ! °4°* ments of Painting by Mr. Zoufl and Mr. Fuller, but left them whilft he was very Young, and began to practife after the Life : yet acquird no great deputation, till upon the death of Sir Pe- ter Lely, his Friends being defirous that he {hould fucceed that excellent Mafler in the favour of King Charles II. ingag'd Mr. Chiffihch to fit to

Y y 2 him

348 Modern Mafiers.

him for his PiBure 5 which he performed fo well, that the Kjng, upon fight of it, fent for him, and having imploy'd him in drawing the Duke of Graf- tons (portrait, and foon after his own, took him into his Service, honoured him with feveral obliging Teftimonies of his Efteem, and withal gave this Char after of his Works, that he painted both Infide and Outjide. Upon the Acceffion of K. William and Q^ Mary to the Crown, he was fworn their Ma- jefties Principal Painter 3 which place he had not in- joy'd in the preceding P^eign, tho' K. James and his Queen were both pleas' d to be drawn by his Hand* He was very diligent in the Imitation of Nature ; and by ftudying the Life, rather than following any particular manner, attained a pleafant and moll agreeable Style of Painting. But that which eminently diftinguifli'd him from all his Contem- poraries , was his peculiar Excellence in a Heady and eipecially in the Colouring part ; wherein fome of his Peiceswere fo very extraordinary, that Mr. P(iley himfelf was the onely Per/on who was not charm'd with them. He was a Gentleman ex- tremely courteous in his 'Behaviour, obligitig in his Conservation, and prudent in all his Aflions. He was a dutiful Son, an affectionate Brother, a kind Mafler, and a faithful Friend. He never was guiky of a piece of Vanity (too common amongft

Artifts)

Modern Mafters. %^

Artifts) of faying mighty things on his own behalf, but contented himfelf with letting his Works fpeak for him ; which being plentifully difpers'd over other Nations as well as our own, were in- deed everywhere very Eloquent in his Commendati- on. He had for feveral years been violently perfecuted by the Gout-, which after many ter- rible JJfaults, flying up at laft into his Head, brought him to his Grave, Anno 1601, exceed- ingly lamented by all fuch as had the happinefs of being acquainted either with his Perfon or his ABt. 4c, Works»

FINIS.

( 35° )

&nctettt patters

Contain d in the preceding

ACCOUNT.

ACtius Trifcusc Amphion. Antidotus. Apelles. Apollodorus. Ardices. Arellius. Ariftides. Afclepiodorus. Athenion.

Bularchus.

Charmas.

Cimon.

Cleanthes.

B.

C.

) Cleophantus. pag. I Cornelius Thus, Crato. Cydias.

25-0

M? 246

242. *33

2^0

MS ib.

247

*35

*34 234 ^3J

D.

E.

Dfaias*

Euchir.

Eumarus,

Euphranor,

Eupompus.

Fahius Pi&or.

H.

Hygiemon.

234

250

*33 242

*34

*3?

*34 241

240

248 2-34

		Ancient	majters.
	L.		J Phitocles.
Ludius.		250	Polignotus Athenienfis Thafius.
	M.	-	Polycletus.
Marcus Pacuvius.	M9	Praxiteles.
Melanthius.		244	Protogenes,
Metrodorus.		249	Pyrelcus.
Myron.		*37	S.
	N.		Saurias.
Nealces.		248	Scopas.
Nicias.		247
Nicomachus,	•	246	T.
Nicopbanes.		ib.	Telephanes.
		«	Theomneftus.
	P.		Timanthes.
Pamphilus.		240	Timomachus.
Pancenus.		*35	Turpilius.
Parrhafws*		239
Paufias.		241	£.
Phidias,		W	Zeuxis.

351

*33 *3? *37 236

242 243 245

*3*

237

233 24^

240

249

250

238

( 352 )

«loTjern Rafters.

Andrea<

A.

pag-

ALhani. 320

"** Alhert Durer. 263

tMantegna. 258

Sacchi. 336

</<?/ »SV/tf. 270

Schiavone. 296

Taffi. z$s

J^errocchio. 2^9

Annihale Carracci. 308

Ant one Ho da Me fin a 256

Carracci. 309

i*/dt Correggio. 264

\More. 295"

Tempefla. 30^

Artemifia Gentilefchi. 320

Agoftino Carracci. 306

B.

Badalocchi (Sifto.) 324

Bandinelli (Baccio.) 273

Bamboccio. 326

Barocci (Frederico.) 297

Bartolomeo (Fra.) 26 3

Antonio

/-Francefco. 291

\Giacorno. 289

Baffano<Gio. Battifla. 291

/Girolamo. ib.

^ Leandro. ib. Battaglie (M. Angelo.)334

Battifia Franco, 277

Bellino ^entiIe- . 3?f

< Cjiovanni. ib.

CCaJtiglione. 332

Bordone (Paris,) 294

Borgognone. 342

Bourdon (Sebaftian.) 345 Brueghel (Fluweelen.) ml fithew.

Brouwer.

ib.

337

.jj/

Buonaroti {M. Angdo.jz6$

C.

Benedetto. Carlo. iGabrielle. Paolo. Camillo Trocaccini.

Calia,

ri

301 300 ib. 299 310 Cam^

Carracc'u

C ampidoglioQSA- Angelo.) 341 Carl' Antonio Procaccini.} 10 Antiibale. 308 I Antonio, 309 Agoftino. 306 Lodovico. ib. Cf^r^n/^/(?(M.Angelo03 1 3 Caftiglione (Benedetto.) 3 3 * Cimabue. 25*3

Claudio Gil/e (Lording 334 CW^r (SamueL) 338

Correggio. 264

D.

D ankle da Volt err a. 288

Dobfon. 339

Domenichino. 321

r/v/i. 303

Vomenicol Ghirlandaio. 262

(^Tintoretto, 293

Z)w. 337

£>#r*r (Albert.) 2.^3

Modern Mafters.

f ' Albani. Barbieri. Baffano. Francia. Francefco\ Mazzuoli.

Primaticcio,

Salviati.

Fanni.

353

Elfbeitner. Ercole Procaccini.

F.

F<tfi (Domeoico.) Farinato (Paokxj «... §Lauro. WW \Neapolitano.

3*S

3"

3°3 296

347 314

31Q-

3*7 291

2^1

286

282 288 3X2

269

277 297 302 /fo/»^ (C. Alphonfe.) 325-

{Pecellio. Franco (Battifla.) Frederico S^aroni.

Gaddi

2?* ib.

G.

fGaddo. (_Taddeo.

Gafparo PouJJin. 3 } 5

^ tQratio. 319

Giorgione. z66

Giorgio Vafari, 294

Ghirlandaio(poxnenic6)i6z

iBaJfano. 289

GiacmoXmf M* jd** Puntormo. 27^

(jtintoretto. 292

(7/0. Battifla Baffano. 29 1

J ^ XSahiatu 301

Giofeppino. 311

Giottino. 2, $6

Giotto, 2 £4

£ 2 (?//•*«

354

Modern Mafters

Girolamo Baffano. 291

Giulio Cefare Procaccini. 310 ~. ,. jClovio. 282

Romano. Guercino da CentOi Guido Reni.

E

flans Holhein.

I.

John of Bruges. Jordano (Luca.)

L.

Lanfranco. Lauro (Filippo.) Leandro Baffano. Lely QSir Peter.) Leonardo da Vinci. Lodovico Carracci. t 5 Jordano.

<-S ignore f/i. Lucas van Leyden.

M.

Mantegm (Andrea.) Margaritone. Marietta Tintoretta. Mario di Fiori. Mafaccio. Matthew Bri/.

-74 3i*

28.3

256

345

3*4

347 291

343

260 306

345 259

277

258

*55 293

334 *57 3^5

C delle Battaglie.l 3 4 Michel- J Buonoroti. %6$ angelo S di Campidoglio. 341

( da Caravaggio. 313 More (Antonio.) 295

N. Neapolitan (Filippo.) 314

LPuffno. 31»

O.

{-VecelLio.

Palma\

Vecel/io.

P.

Giovane.

Vecchio.

Tarts B or don?.

Parmegiano.

t, j tFarinato. Paolo < Tr r ^-Veroneje.

Paul Bril.

Pierino delVaga.

Pietervan Laer.

da Cortona.

di Cofimo.

Perugino.

Tefia. Virro Ligoric. Poelenburch. Polidoro. Pordenone. Primaticcio.

Pietro.

3*9 269

3S3

287

294

286 295 299

305

326

33* 260 261

32-9

289

32* 279 271 282 Pro-

Modern Maflers.

355

ant

CCamillo. 310 Procac- )Carl' Antonio, ib. ^Ercole. 311

CGiuKoCefore^io Puntormo (Giacomo.) 275*

**■ sar in

Quint in Matfys.

R.

Rafaelle da Vrbino.

RicciareSi (Daniele.)

Riley (John.)

Rotenhamer,

Roffo.

Rubens.

S, &?cf£i (Andrea.) Salvator Rofa. c j . . rFrancefco. i-Gioleppe. Sarto (Andrea del.') Scbiavone (Andrea.) Sebaflian Bourdon Sebaftiano del Piombo. Sign ore ffi (£0.) Simone Memmi. Sifto Badalocchi Snyders.

278

170 288

*47

280

3*7

336

341

288

301

270 296

345

272

259

2-5*5

32-4 321

Spagnoletto (Ribera.) Sprangher,

TV

Taddeo '2Lucchero.

Taffi (Andrea.)

Tempefia (Anronio.)

Tefta (Pietro.)

Tintoretta (Marietta.)

^. .: rDomenica

7 in to ret to < ^.

I Giacomo.

Titiano,

V.

Van Dyck. Vanni (Trancefco.) Vafari (GiorgioJ Vdine (Giovanni da J

Vecellio JFrancefc0- yeceuto Horatio.

Veronefe (Paolo.)

Verrocchio (Andrea.)

Vinci (Leonardo da.)

Viola.

Viviano.

Volterra (Daniele da).

Vouet (Simon.)

3*3 303

298

2*55 3°5

293 ib.

292

267

330 312

2-94

276

269

ib.

299

259 260

288 324

2.

Zampieri (Domenico

<> 1 sFrederico. Zucchero< ^, ,.

) 32-1

302 298

F I N I S.

ERRATA.

P*ge	! Line 21	Inftead of	\ Read.
vij	Bamboz'io,	1 Bamboccio,
*7	7	liber at ac^	libratatfi
21	Marg	pofiturorum.	pojiturarxm.
41	18	tranjluent.	tranfluccnt. Goth Rule.
98	17	Sift. rule.
no	21	Negle&ing the Copiers.	The Copiers neglecting.
ib.	25	reltaion.	relation.
I20	'4	43^. Precept.	1 3 f 4. Precept.
128	19	indiihabile.	en difhabillee.
136	11	qtb. Precept.	4 17?. Precept.
l6l	2	it comprehends.	comprehends.
219	12	his Brothers.	his Sons.
221	27	gentlenels.	gentilenefs.
237	14	great.	general»
254	12	Benedibl IX.	Bcncditt XL
325 329	**]	>Richlieu,	Richelieu,

6

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*H CENTER LIBRARi

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