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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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