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<

v^

De Arte Graphica.
THE

Art of Painting,
B Y

CADU FR ESNO

Y.

WITH

REMARKS.
Tranflatcd into Englip?^

Together with an

Original Treface containing

Parallel betwixt Painting and Poetri?.

ByMr.

Bd^rDEN.

As alfo a Short Account of the mod Eminent PAINTERS,

down to the
Order of their Succeffion;

both Ancient and Modern^ continu'd

Prtfent Times ^ according to tbe

S)/ another

Vt

Pi5lura Toefis erit

LO
Printed

by

againft St.

jF.

Hand*
Hor. dc Arte Poetica.

KV

Heptinjiall for

Dunflans Church in

N,

Wi.

EOfl;er0, at the

Ffeetftreet.

Sun

M DC XCV.

IV^ u

'

bi^

PREFACE
OF THE

TRANSLATOR,
With a

Of
IT

Poetry

may

the

Work.
and

Painting.

on

my own

may be
my own

Many

pleas'd

to

choice that

of our moft

I fliorfd

behalf, in refpeft

prefent Undertaking.

Reader

not of

this

my

and

be reafonably expeded, that

fay fomething

to

Parallel,

Firft

then

it

was

undertook

this

know,
I

that

Skillfull

other Artifts, were pleas'd ro

Painters,

recommend

who perfedly underof Painting who gave the beft

Authour to me, as one

ftood the Rules

and moft concife Inftrudlions for Performance,

and thefureft to inform the Judgment of all who
lov'd
( a )

, .

K ETA

That they

lov'd this noble Art.

rather fond of

E:
who

than knowingly

it ,

before were-

admir'd

it,

might defend their Inclination by their Reafonr

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*Tis true indeed, and they acknowledge
ilers.
it, that befide the Rules which are given in this
Treatife, or which can be given in any other,
that to

make

a perfedl Judgment of good Pidures,

and to value them more or

with one another, there

is

lefs

when compar'd

farther required a

long

converfation with the beft Pieces, which are not

very frequent

either

fome we have
HolheiUy

in

franee

or England
-^

yet

not onely from the hands of^

^hns^ and

F^andyck,

(one of them ad-

mirable for Hiftory- painting, and the other two

but of

for Portraits,)

many

Flemijh-Majlers,

and

diofe not inconfiderable, though tor Defign, not

equal to the

we

Italians,

And of

arc not unfurniflh'd with

phaely

Titian,

felf uncapable

tisfadlion,

or

fome

Pieces of

^-

Ccneggioy Michael Angela and others.

But to return to
Tranflation,

thefe latter alfo,

my own

freely

own^

of performing

my owa

undertaking of
that
it,

Credit.

thought

this

my

either to their Sa-

Not

but that

f.

under-.

;
:

PREFACE

HI

"underftood the Ori^tml Latine, and the French Ju-

was not

And
who

mo& Englip^mm

perhaps as well as

//;owr

fufficiently vers'd

many

of thofe perfons

put this honourable task on me, were

able to perform

But

they were.
ftance,

it

properly,

was

me of their

they alTuring

my

faults

more

undoubtedly

themfelves, as

in corre<5ting

the Tenns of Art

in

therefore thought that

But

:^

where

afli-

Ipoke im-

encourag'd to attempt

it

that

might not be wanting in what I cou'd, to fatisfie the defiresof fo many Gentlemen who were
I

willing to give the world this ufefuU

have

and

effe<5tually

have been

perform'd

their

as carefuU

on

their advice in all things

Elegant, for

.parts,

if I

door.

to take

fide,

fo that the

Reader

may
Not

have

In

fail'd,

this

^oem

my

the fault

lies

wholly at

one particular onely

The

felf :

but

In any of which

and inftrudive.

the Readers pardon.

my

proposed not that to

familiar, clear

and

me

promife to

himfelf of a tolerable Tranflation.

aflfure

the

Work. They

my

muft beg

^roje Tranflation of

from Poetical Expreflions,

dare not promife thatfome of them are not
is

not

free

fuftian,

or at leaft highly metaphorical

being a

fault in

Original Latine)

fecond

(V/;^.)

the

firft

but

this

is,

the

in

the

digeftion (that

was not to be remedy 'd

the Tran/latmt,
.(

a 2

And
)

may

confi-

dently

R EFA

iv.

E.

dently fay, that whoever had attempted

have

much

fallen into the

greater, that

it,

fame inconvenience

of a

Work,

falfe

Verfion.

muft
or a

When

was already ingagM in

the Tranflation of Ftrgily from whom I have borrowed onely two months, and am now returning 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 ufual part of ill manners in all Juthoursy and almoft in all Mankind , to trouble others with
their bufinefs 5 and I was fo fenfible of it beforehand^ that I had not now committed it, unleis
fome concernments of the ^aders hsid been interwoven with my own. But I know not, while I
am attoning for one Error , if I am not
undertook

this

falling into another:

for

have been importuned

to fay fomething farther of

fome ObferVations on- it

and agreement which it
But before
copy from

thif

Art, and to

in relation to the

has with Poetry

make
likefie/?

its Sifter.

noD be amifs, iPl

Sellori
Authour,
( a moft ingenious
yet living) fome part of his Idea of a fainter ,
whiclv cannot be unpleafing, at leaft to fuch who
I

proceed,

it

will

are<:onverfant in the Philofophy of

<?lato.

to avoid tedioufnefs, Iwill not tranflate the

Difcourfe, but take and leave as

And
whole

find occafiork

God

PRE

God

Alm'tpjoty^

in

FACE.

the Fahriciue

and

contemplated him/elf

firji

Forms, which

thofe firjl

y^

of the Univerfey
on his own

refJeSied

from which he drew

Excellencies'.^

and

conflituted

So thai

are call'd Idea's,

every Species which was afterwards exprefs'd was pro-

duced from that frjt Idea

contexture of

jeB to

Moon

^ut

itary are

On

the contrary,

fubjeB

the Cmleftial

and not fuband'm perpetU'

being incorruptible,

change, remain d for eVer fair,

al order:

And

forming that wonderfull

created 'Beings*

all

bodies aboVe the

all things ivhich are fublu-

to change,

to deformity^

and

to decay.

though Nature always intends a confummate beau-

ty in her produBions, yet through the ine^^uality of the

Matter

the

Forms are

Humane Beauty
ie fee to

Jujfers alteration for the worfe,

are in

Artfull fainter and

able,

as

our mortification, in the deformities, anddlf

proportions whlcly

vine

d; .and in particular.

alter

Maker, form

m.

For which reafon

the Sculptour^
to

themfehes

imitating

the

Di-

the

as well as they are

a Model of the Superiour Beauties-, and refleBmg

on them endeavour to correEi and amend the common

Nature-, and

to reprefent it as

It

was frfl created

without fault, either In Colour or In Lineament.

Tins Idea, which we may call the Goddejs of J^alnting and of Sculpture, defc ends upon the Marble and the
Clothy

and becomes

being meafur

d by

the

the

Origmal of thofe Arts

Compajs of the IntelleH^

ana
is

It

/
'

T R

m.

E V A C

E.

fclf the Mcafure of the performing fiand; and being

aninuited by the

Mmd

things are

'y

which

^ook of the Oratour

"

Forms and Figures

lent

and

that perfeB

.Suclj is the Definition

*'

Life mto tbe

and the Sculptour,

Example of
by imitation of which imagtnd form^ all
reprefented ivhich fall under humane fight

undoubtedly

the

vifujes

Tl:e Idea of the Painrer

Jma<^e.
is

Imagmatio2L,

to

to

made by Cicero

" As

Brutus.

there

and ^erfeEi^

is

excellent

is

therefore in

fomewhat which

is

things are refer/ d by Imitation which are the

*'

of Sighty

*^

Eloquence

*^

Image of which we feek

^'

i?ig.

This

in

Excel-

which imagind Species

*'

in like

in his

Obje&s

manner we behold the Species

is likewife

Organs of our Hearconfirm' d by proclus in the

in the

^^ compare hnn with another who

"

work of 'Nature
tifull, becaufe Art
the

SBut Zeuxis,

o/^

our Minds ^ the Effigies^ or aSiual

" Dialogue of Plato caKd Timaeus: If^ fays

'^ you
take a Man^ as he is made by Nature^
*^

all

will always
is

who from

is

he,
a?id

the effeH of Art

appear tbe lefsbeau-

more accurate than Nature.

the

choice which he

made of

Fiye Virgins drew that wonderfull ^iSlure of Helena, which Cicero in his Oratour beforemention d.
Jets before us as the mofl perfeEl

Example of 'Beauty^

at the fame time admonijhes a Taintery to contemplate

the Idea's of the mofl

Natural Forms

and

to

make a

judicious choice offederal bodiesJ all of them the mofl

Elegant

PREFACE:
'By which tve

Elegant which he can find,

underfland that
one Body

thought

he,

rij.

may plainly

impojfibk to find in any

it

^erfeBions which he fought for the

all thofe

accomplifhment of a Helena, becaufe Nature in any

ijidiVtdual per on

For

parts.

makes nothing, that

is

which

jo much

who propofe

impojfihle t(y
to the

Thus Nature on
to Art , that thofe

perfeBion of the fairefl Statues,

A'tifls

it is

Natural Body^ approaching

find in any fingle

is

^Z/iyiyx,

taken by a fainter from leVe-

ral Bodies produces a Beauty j

this account

perfect in all its

Maximus Tyrius

this reafon

that the Image which

is

inferiour

to themfelves onely the imitation

and ^

of fuch or fuch a particular perfon^ without

eleBion of thofe Idea's before-mention d^ haye oftenlikenef?

heen reproach' d for that

taxd for

being

Men

called 'Av^^ct^TToy^^^^

In our times
efleem

Demetrius was

Natural; Dionyfius was

too

hlam'd for drawing

omijjion

lih uSy and was

that

isy

alfo

commonly

a Painter of Men.

Michael Angelo da Caravaggio, wa^-

He dreipperfons

d too Natural.

as they tt^ere;

and BamboviOj and mofi of the Dutch 'Painters haVe

drawn the worfl likenefi'.
hy Hf pus of oldj upbraided
the

common

fort of Sculptours, for

as they were found in

that

made them

he

%'ecept

Nature

making

Men fuch

and hoafiedof himfelf'

as they ought to be

which

is

a^

of Ariftotle, giyen a^ well to Poets as to

Painters.

Phidias raisd a?^ .admiration eVen

to aflo^

nifl^mentf^

K EF A

VilJ.
7i'ip?mcnt
tf?2

in

who

thofe

beheld

FormSy which he gaVe

to his

E.

his

Statues

with

Gods and Heroes

Nature.
And Ci;

hy imitating the Idea rather than

cero fpeahng of him affirms^ that figuring Jupiter

and Pallas y

did not

whence he took the

contemplate any

likenefsy

from
his own

ObjeH:

but conftder d in

niindagreat and admirable form of beauty ^ and according to that Image in his Soul, he direEled the operation

Seneca alfo feems to wonder, that

of his Hand,
Phidias having neVer beheld either Jove or Pallas,
yet coiid conceive their diVme

Images in

Apollonius Tyanasus fays

fame

the

Mind^

his

in other wordsy

that the fancy more inftruBs the Painter than the imitation

but the

for the
firjl

lajl

inak^

makes

onely the things

alfo

the things

which

which

it

it

feesy

myer

fees.

Leon
jo much

from

Battifta Alberti

to loVe the \ikenejs

the fairejt

us,

tells

that

as the beauty,

[Bodies feVerally

Leonardo da.Ymdi?iJlruBs the

Idea to himfelf: And Raphael,

we ought not
and

to choofe

the fairefl

fainter

^arts.

to form this

the greatefl

of

all

modern Maflers, writes thus to Caftiglione, concer-

" To paint a Fair one, 'tis neceffary

^^
for me to fee many Fair ones but becaufe there is Jo

ning

his

Galatea

*'

great a fcarcity of lonely Wo?nen,

" make
[^

''!>

lam conjlraind

ufe of onecenain Idea, which

f^^f ^^

^y

ou^n fancy.

to

I haVeform'dto

Guido Reni fending

to

Rome

PREFACE
Kome

ix.

Michael which he had painted for the

Capuchins, at the fame time wrote to

his S/.

Church of the

Monfignor Maffano, who was Maeftro di Cafa

(or Steward of the Houfe) to ^ope Urban tfe Eighth,
Iwijh I had

in this manner.
to

the wings of

haVe afcended into Paradife, and there

an Angel,

haVe be-

to

Forms of thofe beatify d Spirits^ from which I

might haVe copyd my Archangel ; !But not being able

held the

to

mount fo high y

was

it

in

yain for

my own

till

I paint

the

Devil : and
it

as

in

my own

Tl?ere

in the

much as

even endeavouring to blot

membrance.

make an

to

imagination.

but I leaVe the confideration of

the "Very thought of

am

his

created there the contrary Idea of de-

likewife

formity and uglinefs

ity

fearth

mind, and into that Idea

ofSeauty, which Ihaye forni d

I haVe

to

I was fore d

refemblance here below: fo that

IntrofpeBiony into

me

it

mean time fbun

pojjibly

and

can,

wholly out of

my

re-

was not any Lady in aU Antiquity

who was Mffirefs <jffo much 'Beauty as was to be

found in the Venus of Gnidus^ made by Praxiceles,
or the Minerva of Athens by Phydias
which was
;

therefore call'd the BeautifuU

any

Form.

Man

of the prefent Jge, equal

proportion, and knitting of his Limbs,

of Farnefc, made by Glicon

juflly

becompardwith

menes.

And

upon

Neither
in

is

there

the flrength^

to the

Hercules

Or any Woman who can

the

Medicean V^enus o/Cleo-

this

account, the ndblefi Poets

and

PR

X.
and

F A C

E.

Oratours, when they defird to celebrate

the heft

any extraordinary (Beauty ^ are fore d

to Statues

and Pidures, and

and Faces

draw

Ovid

Comparifon.

into

to

haVe recour/e

to

their

^erfons^

endeavouring

to-

Seauty of Cillarus, the faireft of the

Ccntaures, celebrates him as next in perfeBiony to the

exprefs

the

moft admirable Stsitucs.

Gratus in ore vigor, cervix, humeriq; manu(q5

Fc<ftoraq; Artificum laudatis

Jpleafing Vigour

his

Troxima

Signis.

fair Face exprefs' d-y

His Neck) his Hands, his Shoulders y and his !Breafty

Did next in Gracefulnefs and beauty ftand,
To breathing Figures of the Scnlptours Hand*
III

Si

another place he fets Ai^cWcs aboyeYcaus..

Venerem Cois nunquam

Merfa fub

pinxiflet JpelleSy

asqiioreis ilia lateret

Aquis.

Tl?us yaryd*

One Sirth

to

Seas the

Cyprian Goddefs ow'd^

A Second Sirth the Painter'jf >^rf heftowd:

Lefs by the Seas than by

They made her

liye^

his

pow'r wasgiVn

but headVancd to

HeaVn,
Tht

TKEVACK

xi.

'".

^.^

'"^'

The Idea of this

'Beautyy

indeed yarious^ accor-

is

alr^ to the feVeral forms which the Painter or Scul-

ptour

woud defcribe

Magnanimity

As one

and fometimes

and fometimes in Delicacy

the

Sex and Age,

The beauty of^GSt

in Strength^

another in

conpfts in Chearfulmfs^

it

and

is

always diVerfifyd by

and that 0/ Juno another

Hercules, and Cupid are ferfeB (Beauties^
though of different hinds
for beauty is onely that
one^

is

-^

which makes all things as they

perfeSl

Nature^ which

are

in their proper

the befi Painters always choofe

We ought farther

by contemplating the Forms of each.

to conjidery

that a

TiBure being

reprefentation

the

a humane aEiionj the Painter ought to retain in

mindJ

the

Ufho

is

fearfully

For

'tis impojjible to

and

of
his

Examples of all AffeEiions^ and ^affionsy as

a Poet preferyes the Idea of an Angry many of one

fad

or merry y

and fo of all

exprefs that with the

never enter d into the Imagination.

I have

rudely

the reft.

Hand, which

In this ynanner as

and briefly p?ewn you. Painters and Scul-

ptours, choofing the mofl elegant natural Seauties, perfeEiionate the Idea,

Nature /Yy^^,

and advance

Art, even aboVe

in her individual produHionSy

the utmoji maflery of

From

their

is

is

humane performance.

hence afifes that ajlonijhmenty

ration which

which

paid by the IQiowing

From

mainders o/Anticjuicy.
(

b 2

and almofl ado-

to thofe

divme

hence Phydias,
)

re-

Ly-

fippus,

PREFACE.

Xlj.

fippus, and' Other woWe Sculptours,

feneration

are Jilll held

and Apelles, Zeuxis, Protogenes, and

other admirable Painters,

though their Works are fe-

are and will

admird^ mho

them drew
the

eternally

be

all

of
Idczs of TerfeHion ; which are
Miracles of Nature y the TroVidence of the Und^r-

rifl?dy

after the

flandingy the Exemplars of the Mind, the Light of

Sun which from

the Fancy

Statue of

Memnon,

the

and the

its

rifngy inffirdthe

fire

which warm'd into

Image of Prometheus : 'Tts this which caufes

the Graces, aitd the Loves to take up- their habitations

Iffe

the

in the hardejl

Marble, and

0/ Light, and Shadows.

quence

is

as

(Butfiice the Idea oyElo-

far infer tour

force of Words

is

to the

to fubftfl in the emptinefs

to that

0/ Painting, as

th

Sight y I mufl here break off

abruptly y andhavijig conduced the '^tiAtrasitwere to

1

'

afecret Walky thereleaVe him in the midfl of Silence to

^ contemplate thofe Idea's

and which e^^erymanmufl

which IhaVe onely fketch* dy

finifh for himfelf

pompous Expreflions, or fuch as thefe

Italiarr has given you his Ide^ of a fainter 3 and

In thefe
the

though

cannot

muft needs

much commend

fay there

Tlato himfelf

is

is

fomcwhat

7ner

iDUoh

in the

accuftom'd to write

tating, as the Critiques tell us, the

the Style, I

Matter

loftily,

imi-

manner of Ho-

but furely that inimitable Poet, had not fo

of. Smoke in his writing,

though. not lefsof

Eire*.

F
But

Fire.

Figures

is

^^

"

this

is

xiij;

of

the prefent Genius

Thilojtratus tells us in the

Troem of his"

and therefore I will

" He who
almoft word for word.

fomewhat

tranflate

"
"

in fliort,

What

Italy,

R EF AC K

it

plainer

govern the Art of Painting, ought of

He
firfl to underfland Humane Nature.

will rightly
necejfity

ought likewife to he endued with a Genius to expre/?

the Jtg7is of their Tajfjtons

whom

he reprefents

-,

and

" to jnake the dumb as it wei'e to fpeak: He mujt

" yet further underfland what is contain d in the con" ftitution of the Cheeks in the temperament of the
" EyeSy in the naturalnef^ (if I may fo call it) of the
" Eye brows and in fliort whatfoeyer belongs to the
" Mind and Thought,
He who throughly pojfejfes alt
" thefe things will obtain the whole.
And the Hand
" will excjuifitely reprefent the aBion- of e'Veryfarticuy

^^
^'

"
^^

lar-perfon,

IfithappenthathebeeltlTermad^yOr

or chearfullj afpr4ghtlyTouthy
^^Wy-> ^^l^^cholique^
or a langutfl^ing LoVer-, in one word^ he will be able
to paint

whatfoeyer

is

proportionable

to

any one:

" And even in all this there is afweet errour without

" caufing any fl^ame. For the Eyes and Minds of
" the beholders being faflen don OhjeBs^ which haVe no
"

real ^eing^

^^

inginducdbythemtobelieVethemfoy what pleafure^

"

is

[^

other Wife

it

as if they were truly Exiflenty

not capable of giving^

Meny haye

written

and

be-

The Ancient Sf and

many

things, conceriC

PREFACE.

mv.
"

the

ti'ing

" ing

Symmetry

whicJ?

conjlituting as

is

pojjible

"

thofe motions which are in the

"

current

^'

that

"

not

e'Very

of

for a Painter

Harmony

which

is

in

out of

to

Member

the
its

wonderfull

"

there

On a

right.
ipill

not thinking

Mind, without a

natural meafure.

For

own kind and meafure^

motioji

is

always

is

it

Arc of Painting ha^ a

with that of Poetry
and that

That

affinity

it

con-

ferious confideration of this matter

be found.

is

hzwsfor

undertake the exprejjion of

receiVdfrom Nature y whofe

"
"
"

Art o/Paint-

were fome certain

it

"
"

the proportion

in the

the

betwixt them a certain common Imagination,

" For as the Poets introduce the Gods ayid Heroes,

" and all thofe things which are either Majeflicaly Ho^ nefl or Delightfully in like manner the Painters, by
" the Virtue of their OutlmeSy Colours y Lights and
^^
^^
I

ShadowSy reprefent the fame Things and Terfons

in their pictures,

Thus
fliou'd

as Convoy Ships either

accompany

accompany , or

their Merchants

till

they

may

Voyage without danger,

fo Wiloflratus has brought me thus far on my
way, and I can now fail on without him. He

profecute the reft of their

has begun to fpeak of the great relation betwixt

fainting and Poetry y

of
I

this

Difcourfe by

have not ingag'd

and

my

thither the greateft part

promife was directed.

my felf to

any

perfe<5t

Method,
neither

T
am

neither

fufficient if I

mqre when
tife

loaded with a

will

Ic

the

two

thefe

^ellor't

Cargo.

full

'Tis

of fainting cou d not

as this

StflerArts,

before I

faid

on

will take

For a Trea^

fettled.

is

in

add

eafie for others to

might be

chat

all

be

Commerce

twice as large

contain

XV.

bring a Sample of fome Goods

Yoyage.

this

E FA C

the

Parallel

my

rife

of

from

proceed to the Authour of

this

!BQok

The

bufinefs

of

prove, that a

his preface is to

learned fainter (hou d form to himklf an Idea of

perfe(5t

Nature.

Mind

his

This Image he

is

as

from a

Store- houfe,

which are to enter into his Work

reeling Nature from what adually

what fhe ought to

viduals, to

was

created.

little

Now

as

fo neither

of Comedy^ and Tragedy

is

it

flhe is

and what

flhe

is

oC

of par-

in the Chara(5ters

be

drawn with fome

fuch as they have

been defcribed to us in HiJlo}y,

5

in indi-

which are never to

fpccks of frailty and deficiencc

if

they were reaL

or fuch as the ^oet began to fliew them^

at their firft appearance, if they

tious,

thereby cor-

Idea of ^erfeSilon

perfed, but always to be

CharaBers

before

the Beauties

ufe in Portraits (or the refemblances

ticular perfons)

made

tfiis

be,

fct

and to draw

in all his Undertakings,

from thence

to

(or imaginary.)

The

were onely

fidli-

perfedion of fuch^

R ET A

xv^.

C-E.

Stage-charaSlers confifts chiefly in their hkencfsto

the deficient faulty Nature, which,

obferv'd

nal.

Onely, as

after,

in fuch cafes jthere will

better likenefs

it is

their Origi-

is

more

at large here-

always be found a

and a worfe 5 and the

conftantly to be chofen

mean

in

better

is

Tragedy

which reprefents the Figures of the higheft form

amongft Mankind. Thus in Tortraits, the fainter will not take that fide of the Face which has

fome notorious

blemifli in

it

but either draw

who had

in profile fas Jpelles did AntigonuSy

one of

Eyes) or

his

elfe

fliadow the

ic

loft

more imper-

For an ingenious flattery is to be allow'd to the ProfeflTours of both Arts ; fo long as

fedl fide.

the likenefs

is

not dcftroy'd.

'Tis true that

all

manner of Imperfections mufl: not be taken away

from the CharaBerSy and the reafon is, that there
may be left fome grounds of pity for their mif-

We can

fortunes.
feries

by

who

never be grieved for their mi-

juftly caird their calamities

Men

Such

Characters were wholly

Example,
(P/^jf, )

on

themfelves.

are the natural Objects of our hatred,

notofour commiferation.
their

and have there-

arc thoroughly wicked,

If

on

the other fide

perfe(5t,

(fuch as for

the CharaEier of a Saint or Martyr in

his,

a
or her misfortunes, wou'd produce

impious thoughts

in the Beholders

they

wou d
accuie

PREFACE.

xvij.

accufe the Heavens of injuftice, and think of lea-

where Piety was fo ill requited.

I fay the greater part wou d be tempted fo to do,
and the confequence is
I fay not that they ought

ving a

%eligt(my

too dangerous for the practice.

accus'd

my

felf for

my own

In this

He

in his Oedipus.
firft

entrance ; and

is
is

but

St. Catharine^

truth prevail. Sophocles has taken the juft

have

let

medium

fomewhat arrogant

at his

too inquifitive through the

whole Tragedy: Yet thefe Imperfections being balanced by great Vertues, they hinder not our compaffion for his miferies

neither yet can they de-

ftroy that horrour which the nature of his

have excited in

and

Molesy

Such

us.

in fainting are the Warts

which adding a

likenefs to the Face,

are not therefore to be omitted.

duce no loathing in

us.

Crimes

But how

But

thefe pro-

far to proceed,

and where to ftop, is left to the judgment of the

^oet and the fainter.
In Comedy there is fomewhat more of the worfe likenefs to be taken. Becaufe that

occafion'd
for this
fiiarp

is

often to produce laughter

by

the fight

I referr

manner of

are never well

fufficiently

Arijlotle.

amended,

till

they are

this

who

more than

That I may return

Remark , concerning
(

is

but

'Tis

Inftrudtion for the Vulgar

expos'd.

beginning of

which

of fome deformity

Reader to

the

to the
perfed:

Ideas^

PREFACE,

xviij.
Ideasy

have oncly

this to fay,

thatthe (P^r^/Wis

often true in Epique-^oetry,

The
ding to
left

Heroes of the Toets are to be

this

feries,

this

And

in a Diyine Nature.

times weeps,
^

There is fcarce a frailty to be

of them any more than is to be

Rule.

in the beft

found

drawn accor-

it is

if

JEneas fomc-

not in bemoaning his

but thofe which

his

own mi-

people undergo.

If

be an Imperfedlion, the Son of God when he

was incarnate
r.ufalem.

And

of Compaffion over JeLentulus defcribes him often weep-

flied tears

ing, but never laughing

even from the Holy

word more

fothat F/V^r/is juftify'd

Scriptures.

which for once

I
I

have but one

will anticipate

from the Authour of this 'BooK Though itmuft be

an Idea of TerfeBion, from which both the Epique
'Toety and the Hiftory fainter draws; yet all Perfections are not fuitable to all Subjeds: But every one muft be defign'd according to that pcrfe<5t

Beauty which

is

proper to him.

An

JpoBo

muft be diftinguifli'd from a Jupiter , a Dallas

from a Venus : and fo in Poetry an j^mas from
any other Heroe for iety is his chief Terfe&ion.
Homer s Achilles is a kind of Exception to this Rule:
but then he is not a perfedl Heroe^ nor fo intended by the ^oet.
All his Gods had fomewhat of
humane imperfedion 5 for which he has been
taxd
:

PREFACE.

xix.

an Imitatour of what was bad.

obferv'd his fault, and mended it.

tax*d

by

But

Ftr^il

Yet

Achilles

^PUto, as

was

perfed: in the ftrength of his

Had

dy, and the vigour of

his

kfs paflionate, or

rcv^ngefull, tht ^oet

lefs

Mind.

forefaw that HeEior had been

ken at the

iirft aflfault

beautiful! contrivance

kili'd,

Bo-

he been

wdl

and Troy

ta-

which had deftroy'd the

of

his lUadsy

and

the

moral

oi preventing Difcord amongft Confederate

Princes, which was his principal intention.
For
the Moral (as ^oJ[u

of the ^oet ,

obferves)

as being the

is

the firft bufinefs

ground-work of

his In-

This being form'd, he contrives fuch

a IkJlgHy or Fabky as may be moft fuitable to
the Moral
After this he begins to think of the
ftrud:ion.

Perfons,

whom

his Vejign

he

is

and gives

employ in carrying on
them the MannerSy which

to

moft proper to their fe veral CharaBers, 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
are

perfe(5lion,

contradict not the Marquefs of Nor-

manhy's opinion, in that admirable Verfe, where

If eaking of a pcrfed: Character, he calls
lefs

Monjler^ which the World neer knew.

J Fauk-

it

For

Excellent Critique, intended onely to fpeak

matique Charaiiers

and not of E^que,

(

c 2

that

ofVra-

Thus

at

Icaft

P'BrBf^J^CE.

XX.
lead

which

and

have fliewn, that in the moft perfect Poewr,

that of Virgil, ^'^trfeSlldea

is

And

folio w'd.

conlequently that

ding ^oets ought rather to imitate

'

Homer,

now

will

the Authour of this

the

firft lines

of

tofleafe the Eyes

pleafe the
.

it,
:

holds true

proceed as

He

^ooK

all

fuccec-

than even

hiniy
I

promis'd, to

tells

you almoftin

that the chief end of fainting

and

'tis

Thus

Mind.

was required,

End

one great

is

of Toetry to

of the Jrts

far the Parallel

with this difference, That the principal

end of Tainting is to pleafe

of poetry is to inflruB.
In

and the chief defign

feems to

this the latter

have the advantage of the former. But if we confider the Jrtijis themfelves on both fides, certainly their

make

aims are the very fame

they

wou

d both

and that in preference to

Next, the means of this pleafure is
One impofes on the Sight, and the

fure of pleafing,

inftrudion.

by Deceipt.
other on the Underftanding.
(ence

of Toetry

EiHion

of Tainting

as well as

is
;

of theEfthere

is

rcfemblance in one,of Humane Bod ies,Things and

Actions which are not

real,

And

a true Story by a Fidlion.

not proper
gedy ^

Subje(5ts for

and

an

in the other,

as all Stories are

Epicjue Toeniy

or a Tra-

fo neither are they for a noble Tifture,

Subjefts both of the one,

to have nothing

of

and of the

other,

of immoral, low, or

The
ought

filthy

in

them

them

but

felfj I

this

wave

it

being treated at large in the fBookit-

Onely

to avoid repetition.

I muft'<'

add, that though Gfw/Zw^^Ovy and otherswereof another opinion, that the Subje(5l oi^oetSyZnA even
their

thoughts and expreflions might be loofe, pro-^

were chart and holy, yet there arc

nofuch licences permitted in tto^rt any morethaa
vided

their lives

in Taintin^^ to defign

Vita proba

ejly is

no

and colour obfcene

excufe, for

it

Nudities..

will fcarcely

be

admitted, that either a ^oet or a Tainter can be

chart,

who give us
and

Writings

the contrary examples in their

We

their ^iElures,

nothing of

fee

which comes the neareft

to it, is the adventure of the CaVCy where Vido and
jEneas were driven by the Storm: Yet even therethe ^oet pretends a Marriage before the Confummation ; and Juno her felf was prefent at it. Nei-

this

kind in Virgil

that

any expreflion

which a
Matron might not reade without a bluQi-

ther is there

^man

Befides the ^oet pafles

as if he

the

over as haftily as he

not be

Now

witnefs to their

fuppofe that a fainter

much commended, who

Cavern from

can,,

of flaying in the Cave with,

afraid

two Lovers, and of being a

Ad:ions.

this

were

it

in that Story,

the

whole

not another in the Work.

them, in their obfcurity

fliou'd pick

Eneids,

He
than

wou d

when

out

there

is

>

had better leave

let

in

flafli

ofc^

Lightning,,

PREFACE.

XX!J.

Lightning to clear

natural darknefs of the

tlie

by which he muft diicover himfelf as much

place,

The

as them.

Ahar-fiecesy

ons of Tamtingy (how

and holy Decorati-

that Art

may

be apply'd

to better ufes, as well as Toetry,

And amongft many

painted

nejian Gallery,

fofficient witnefs yet

being morally
Herculis

other inftances, the Far-

by Hannibal

remaining

inftrud:ive,

&Vium, which

Vertue

oVer

fcrib'd

by

Vice,

as

it

is
is

the

and

Carracci,

is

Work

whole

particularly the

a perfed: Triumph of

wonderfully well de-

the ingenious Sellori,

Hitherto

have onely told the ^ader what

ought not to be the fubje^ of a TiEiure or of a

Toem: what it ought to be on either fide 5 our
Author tells us: it muft in general be great and
noble

The

and

in this, the Parallel

fubjed of a Toet

Epique IPoem

Hero.
(Stion,

of an

nor every perfon

is

not every

in the

more compleat
as

a-

confiderable enough to

It

Ifhigenia (for Heroins as well as

For

an

muft be the Anger of

Piety of an yE?ieas, the Sacrifice

the

comprehended
^oem.

either in Tragedy or in

'Tis the fame in fainting

Achilles,

true.

a great action of fome illuftrious

is

enter into the Cloth.

an

exadly

is

Rule;) but the

Heroes are
Parallel

in Tragedy, than in an

a Tragedy

may

is

Epique

be made out of

many

PREFACE

xxiij.

many particular Epifodes of Homer or of Virgily

may a noble ^ISlure be defign'd out of this
that particular Story in either Author,

Hiftory

fo

or
is

of defigns both for the fainter and

the TragKjue ^oet : Curtius throwing himfelf into
alfo fruitful!

a Gulph, and the two Decli facrificing themfelves

for the fafety

of their Country, are

gedy and ^lEiure.

ni(h Sridey

whom

fos'd to love,

Such

is

fubje^ls for Tra-

Sclplo reftoring the Spa-

he either lov'd or

may

be fup-

by which he gain d the Hearts of

a great Nation, to interefs themfelves for 3^owe

Thefe are all but particular

Pieces in LiVys Hiftory
and yet are full compleat Subje<5ts for the ^en and TenciL
Now the
reafon of this is evident.
Tragedy 2Lnd ^iBure are

againft Carthage:

more narrowly circumfcrib'd by

^les of Ttme and ^lace than the

The

time of thislaft

is

the Mechanick.
Epiqi^e

Toem.

'Tis true,

left indefinite.

Homer took up onely

the fpacc of eight

ty days for his Iliads

but whether Firgils adiion.

was comprehended
is

in

and

for-

a year or fomewbat more,,

not determined by Sojfu. Hower

made the

place

of his action Trey, and the Grecian Camp befieging

it.

cily^

nut,

Virgil introduces his jnea^y

fometimes

in 5/-

and other times at Cuand evcn^

before he brings him to Laurentum
fometimes

after that,

in Carthage,

he wanders again to the

Kingdom

of.

Evander

xxlv.

F^ C

Evander and fome parts of Tufcany^ before he

War by

turns to finifh the

re-

the death of Turnup.

But Tragedy according to the Pracflice of the AncimtSj was always confin'd within the compafs of
X4 hours, and feldom takes up fo much time.
As for the place of it, it was always one, and
that not in a larger Sence3 as for example,

whole City or two or three feveral Houfes in it

but the Market or fome other publick place, common to the Chorus and all the Adtours. Which

Law

eftablifh'd

of

theirs,

have not an oppor-

tunity to examine in this place, becaufe

do

it

feems too

it

excludes

ties

cannot

though

at the firft

appearance becaufe

all fecret Intrigues,

which are the Beau-

ftri^t

of the modern Stage

ry'd

my fubjedt,

without digreffion from

it

for nothing can be car-

on with Privacy, when

the Chorus

is

fuppos'd

But to proceed,

mull
lay this to the advantage o{^aint'mg^ even above
Tragedy^ that what this laft reprefents in the fpace
of many Hours, the former fliows us in one Moment.
The Adion, the Paffion, and the manto be always prefcnt.

ners of fo

many

Perfons as are contained in a

^ifturCy are to be difcern

ling of an

Eye

at once, in the twink-

at leaft they

Sight could travel over fo

all at once, or the

would be

fo, if the

many different

Mind could

digeft

Obje(fts

them

all at

the

KEF ACE.

XXV.

fame inftant or point of time. Thus in the

famous Pidure of ^oujfm^ which reprefents the
the

Injlitution

of the

!BleJfed

Sacrament

you

fee

our

SaVwur and his twelve Difciplesy all concurring

in the fame a6tion, 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 action perform'd 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
and

follow

by

it

fo faft;

'tis

confider'd at leifure,

Such are the

Subje(5ts of

Noble ^iBures and fuch are onely

dertaken by Nohle Hands.
There are

to be un-

feen

intervals.
:

other parts

of Nature, which are meaner, and yet are the

Sub'jc6tshotho( Painters J and oi^oets.

For to proceed in
reprefentation of

the

Humane

Tar allele

as Comedy

is

Life, in inferiour per-

and low Subjects, and by that means creeps

into the nature of Toetryy and is a kind of Junifery a Shrub belonging to the fpecies oi Cedary fo
fons,

is

the painting of Clownsy the reprefentation of a

Dutch K^ermisy the brutal fport of Snick or Stieey

and a thoufand other things of this mean invention, a kind of TiBurey which belongs to Nature,

but of the loweft form.

(

Such
d ^

is

a La;^ar in

com-

parifon

PREFACE.

xxvi;

mrifon to a Venus both are drawn in Humane

they have Faces alike, though not like
Figures
There is yet a lower fort of foetry and
Faces.
-y

:,

For a Farce is^

which is out of Nature.
Toehy^ which Grotefque is in a ^iSiure. The

Taintingy

that in

Perfons, and

Adion of a

Farce are all unnatural^

Manners falfe, that is, inconfifting with

the chara(5lers of Mankind. Grotefquepamting is the
juft refemblance of this ; and Horace begins his
Jrt of Toetry by defcrlbing fuch a Figure ; with
a Mans Head, a Horfe*s Neck, the Wings of a
parts of different fpecies
Bird, and a FifliesTail
jumbled together, according to the mad imagination of the Dawler 3 and the end of all this, as

and

the

'
.

he

tells

you

ry Monfler

gape

in a (Bartholomew-Fair for the

at for their two-pence.

the propriety of a
ftinguifh

Legs.

ken in

'

him from

ve-

Mob

to

Man, but
his

Laughter
juft

is

indeed

enough to

di-

elder Brother, with four

'Tis a kind of Baftard-pleafure too,

ta-

Eyes of the vulgar gazers,

at

at the

the Ears of the beaftly Audience.

ters ufe it to divert the

lick Prayers,

Sermoju

afterward, to caufe Laughter.

Church-Pain-

honeft Countryman at Pub-

and keep his Eyes open

And

and

Farce- Scribkrs

make

at a heavy.

ufe

of the

fame noble invention to entertain Citi:^ensy Country^

Gentlemen^ and Coyent-Garden Fops.
If they are.
merry,

goes well on the Toet's

merry,

all

ter fort

goe

thither too,

fide.

The bet-

but in defpair of Senft,

Images of Nature, which are the adeBut the Authour

quate pleafures of the Mind.
can give the Stage no better than what was given

and

the juft

him by Nature: and

the ASiors

mud

reprefent

fuch things, as they are capable to perform, and

by which both they and

After

living.

all,

'tis

the Scribbler

may

get their

a good thing to laugh at

and if a ftraw can tickle a man, 'tis an

inftrument of happinefs.
Beafts can weep when

any

rate,

they fufFer,

but they cannot laugh.

And

Sir William Va'Venant obferves in his Preface to

diberty

^lays (he

make them

of a Government

might have added Farces)

dence of a

the w'ljdom

'Tis

Carter

to

put

to

as

Gon-

permit

as 'tis the pru-

Sells upon his Horfesy to

carry their burthens chearfully,

have already {hewn, that one main end of

and Tainting is to pleafe, and have faid

fomething of the kinds of both, and of their Sub-

Toetry

je^s, in which they bear a great refemblance to

muft now confider them, as they

are great and noble Arts 5 and as they are ArtSy
they muft have ^lesy which may diredt them to
each other.

their

common

end.

To all Arts and Sciences,

to thefe

may

but more particularly

be apply'd what Hippocrates fays of

(

,)

Phyfick,

PREFACE.

|xviij

him

cited

by an eminent French

Phyfick, as

Critique.

"

"

Tl?e Trinci^'les of

^^
^^

IforlJ.

find

Medicine

has a certain way

has

long fubjtjled
it

in

are cert amy

the.

and

it.

hoth which there has heeit

by

foujid in the courfe of ?nany JgeSy an infinite

num-

*'

her of things y

^'

its

^^

the perfeFlion of this Jrt^ will undoubtedly be found^

"

nfefuhiefs

if able

the experience of which has confirm

and goodnefs.

Men, andfuch

^les

All that

cient

*'

endea'Vour to arrive at that,

" Known,

make a farther enqtury

by that which

wanting to

as are inflruBed in the

'*

will

is

is

which

into

is

Anand

it^

hitherto

already known.

un-

!But ally

*'

who having rejeBed

^*

the oppojite ways, yet boafi themfelves to be Majlers

**

of this Arty do

J'

the Ancient

hut deceive otherSy and are them-

fehes deceiVd'j for that

This
the

way

^leSy and taken

is

abfolutely impojfible.

notorioufly true in thefe two Arts

is

to pleafe being to imitate Nature

for

both

and
and from

the Toets and the Taintersy in Ancient times,

in the beft

Ages, have ftudy'd her

the pradice of both thefe ArtSy the Rules have been

*diawn, by which

and

are inftru(5ted

how

to pleafe,

end which they obtained, by

Example. For Nature is ftill

to compafs that

following
the

we

fame

their

to her felf
Sophocles^

and can never be contrary

Thus from the practice of JS/chylus,

in all Ages,

and

Euripides^ Arifiotk

drew

his

Rules
for

R EF A

P
for Tragedy

and Wiloflratus

amongfl: the 'Moderns, the

C.Ri

XXIX,
Thus

for fainting.

and French CrU

Italian

by fludying the Precepts of Jrijlotle, and

Horace, and having the Example of the Grecian
foets before their Eyes, have given us the Rules
tiques

of Modern Tragedy: and thus the

fame Countries,

Critiques

in the Jrt of fainting

the Precepts of perfecting

r/;^/-

of ths

have given

'Tis true that

^/t.

foetry has one advantage over fainting in thefe

laft

Ages, that

we have

ftill

the remaining

Ex*

amples both of the Greek and Latinefoets : whereas the fainters have nothing left them from JfeU
lesy

frotogenesj

farrhafiips,

Xeuxis and the

reft,

but onely the teftimonies whrch arc given of their

incomparable Works.
have fome of

But inftead of

their beft

Statues^

ColumnSy Ob'di/quesy &c. which were

the

common

ruine,

and are

ftill

this,

they

^afsf^elieyo

Sy

favM out of

preferv'd in Ita^

and by well diftinguifhing what is proper to

Sculpturey and what to fainting^ and what is com^
mon to them both, they have judicioufly repaired
that lois.
And the great Gmins oi^phael, and

ly:

others,

having fuccceded to the times of Barbarifm

and Ignorance, the knowledge of fainting is novw

arriv'd to a fupreme perfedion, though the per*
formance of it is much dcclin d in the prefent Age.

The

greatcft

Age

for foetry

amongft

the

f^niam

T R E VA

XXX.
was

E.

certainly that oi Augujlus Cdtfar^^

and

yet

wc

was then at its loweft Ebb,

and perhaps Sculpture was alfo declining at the
fametinie.
In the Reign oiVomltlany and fomc
who fuccecded him, Poetry was but meanly culare told that

^tivated,

(paintinj^

but fainting eminently flouridi'd.

not here to give the Hiflory of the two Arts

I
;

how

manner extinguifli'd, by
Irruption of the barbarous Nations, and both
they were both in a

about the times of Leo the Tenth,

fl:or*d

the

Fifth,

and

Francis the Firft

though

am
the
rc-

Charles

might

obferve, that neither Jriofio, nor any of his Contemporary Toets ever arriv'd at the Excellency of

Raphael,

venge
etry

is

Ttt'tan,

and the

Bat

reft in Tainting,

at this time, or lately in

in re-

many CountrieSjPc?-

better pra6lis'd than her Sijler-Art.

To what

height the Magnificence and Encouragement of the

may carry Taint i?ig and Scul-

prefenti^/wg of France
pture
the

is

uncertain, but

War

in which he

by what he has done, before

is

ingag'd,

we may expc^

what he will do after the happy Conclufion of z

Peace, which is the Prayer and Wiih of all thofe

who

have not an

of Europe.

amongft

For

intereft to
'tis

moft

prolong the miferics

certain,

as

our Author

That Reward
all good Arts, as

others has obferv'd.

Spur of Vertue,

as well in

laudable Attempts

and Emulation which

is

the

in all
is

the

other

.- .
.

ER

E FA

mm

xxxK

amongft
Toets or Painters y when particular Rewards and
Prizes are propos'^d to the beft defervers.
But to
return from this digreflion, though it was almoft'
neceflaryj all the ^les oi fa'mti?ig 2Lre niethodieally, concifely, and yet clearly deliver 'd in thU
ther Spur, willnever be wanting either

prefent Treatife

has not given

which

more exa6l

have tranflated.

!Boffk

(^les for the Epique

^Po-

nor Dacier for Tragedy, in his kte excellent

Tranflation of Arijlotle znd his notes upon himj
enty

made

than our Frefnoy has

Parallel

muft refume my Difcourfe,

Authors Texty though with morq.
intended, becaufe Ftrgil calls me^

of which

following

my

brevity than I

for ^Mmtlng-y with the

The principal and moft important parts

to

know wh^z is

gedy

is

1 faid,

ftruds,

is

moj} heaut'tfuU inlSLatuKey andmofi-

which is the moft beautiy

the moft noble Subjed fo in Poetry y Tra-.

proper for that Art:

full is

of ^aintin^^

that

more

beautifull than Comedy

the Perfons are greater

and confequently the

whom

becaufe, as
the

inftruftions

!p4)ef

in

of n;iorc:

Mankind the a6tionis like wife great*

erand more noble, and thence is deriv'd the greater and more noble Pleafure.
benefit to

To imitate

Nature well in whatfoever Subjeft,

is the perfection of both Arts^ and that ^iBure-r
and that !Pi>em which comes neareft to che^ reftm-.Uanect*

PREFACE.

xxxij.

But it follows not,

blance of Nature isthebeft.

what

that

-good

moft

pleafes

in either kind

but what ought to pleafe.

is

therefore

Our

deprav'd

and ignorance of the Arts, miflead our

Judgments, and caufe us often to take that for
true imitation of Nature, which has no refemAppetites,

blance of Nature in

it.

To inform our Judgments,

and to reform our Tafts , ^des were invented,

that by them we might difcerri when Nature was
1 have been forc'd
imitated, and how nearly.
to recapitulate thefe things, bccaufe

not more

liable to deceit,

than

it is

The

is

willing to con-

tinue in a pleafing error ftrengthen

habitude.

Mankind

d by a long

imitation of nature

is

therefore

and indeed the

Toetry and Taint-

juftly conftituted as the general,

onely (^le of pleafing both in

;

g.

Arijlotk tells us, chat imitation pleafes, be-

caufe

it

affords matter for a Reafoner to enquire

into the truth or falfliood of Imitation,

paring

its

likenefs or unlikenefs

by com-

with the Original,

But by this Rule, every Speculation in Nature,

whofe truth falls under the enquiry of a Thilofophefy muft produce the fame delight which is not
true
is

Ifliould rather affign another reafon.

the Object

of our Will:

more be

of our Underftanding as

And

delighted

Truth

Good

is

Underftanding can no
ith a Lye, than the Will can
the

choofe

PREFACE..
As Truth

choofe an apparent Evil.

xxxiij.
is

the

end

of all our Speculations, fo the difcovery of it is

And fince a true knowthe plcafure of them.
ledge of Nature gives us pleafure, a lively imitation of it, either in Poetry or

much

neceffity

produce a

Jrts as

faid before,

mud

fainting,

greater.

For

of

both thefe

are not onely true imitati-

ons of Nature, but of the bed Nature^ of that

wrought up to a nobler pitch. They prefent 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
which

is

happy

Chymijlrjiy

without

its

deformities or faults.

They are imitations of the paflions which always

move and therefore confequently pleafe for
,

without motion there can be no delight; which

cannot be confider'd, but as an adive

When we

view

thefe Elevated

the refult of that view

is

pa/fion*

Ideas of Nature^

Admiration, which

is

always the caufe of Pleafure.

This foregoing Remark, which gives the reafon why imitation pleafes5 was fent me by Mr.

moft ingenious young Gentleman,

converfant in all the Studies of Humanity, much
above his years. He had alfo furnifli'd me (acWalter Mbyky a

cording to

my

requeft) with

paflages in Ariftotk

all

the particular

and Horace^ which

(

e )

are us'd

by

^R EFAC

xxxiy.
by them
fainting

which

this EJJayy fhall

thus lliewn

Q{ules

end

ever

have time to retouch

Having

in their places.

why

Imitation pleafes, and

theje JrtSy

follows that

it

ic

fome

of Imitation are neceCTary to obtain the

for without

if

be inferred

that

in both

pleafes

Jyt of Poetry by that of

to explain the
:

E:

^les

there can be

no Jrt ; any

more than there can be a Hcufe'^wizhom

The principal
condudl: you into it.
fainting

a Door to
parts of

and Toetry next follow.

and abfolutely necef

fary to them both
yet no ^le ever was or ever
can be givenhow to compafs it.
A happy GeInVentmi

is

the

firfl:

part,

nius

is

the gift of

Nature

it

depends on the

on

fluence of the Stars fay the Ajlrologersy

Body

gans of the
ticular gift

'

fay the Naturalijts

and Heathens.
Books can teach us

How
how

7uhil inyita dices

to improve

to obtain

nothing can be done without

Without

it

the par^

copy

you

that

and
is

none

many
j

that

fadefve MineryL

Invention a fainter

fometimcs to

it

it

all agree.

is

but a Copier^ at?d a

^oet but a 'P/^^wrj/ of others,

thourtAXs

Or-

of Heaven fay the DiyineSy both Chrh

Jiians

Tu

'tis

the

in-

tranflate

^th
;

are allow'd

but as our Au-

not the bcft part of their Reputationa.

F
|)utation.

XXXV.

E.

Imitatours are but a SerVile kind of Cat tie^

fays the ^oet

or at beft, the Keepers of Cattle

-^

men they have nothing which is prothat is a fufficient mortification

perly their own
For me while I am tranflating VirgiL
But to cofor other

E FA C

py the bed Authour is a kind of praife^ if I perform it as I onghc. As a Co^ after (l(aphael is
more to be commended, than an Original of any
indilEFerent Tainter,

Under

this

head of LiVention

is

plac'd the Difpo-

of the Work, to put all things in a beautiful!

order and harmony ; that the whole may be of a

fition

The

of the fainter fhou'd be

conformable to the Text of Ancient Authours, to
And this is exactthe CuftomSj and the Times.
piece.

Compojitions

ly the fame in Poetry

be our guides
ripides,

Homer, and

Vtrgil,

the Epique-^ Sophocles,

in

in Tragedy

in

things

all

we

are to

and Eu-

are to

imi-

Cuftoms, and the Times of thofe Perfons

and Things which we reprefent. Not to make
new ^ules of the Drama, as Lope:^ de Vega has
attempted unfuccefsfully to do 5 but to be contate the

tent to follow our Matters,

But

ture better than we.

treat

be modern,

according to the
thje

Scene of

we

who

the Story

if

are to

Time and

Adion

lies

underftood Na-

which we

vary the Cuftoms,

the

for this

e 2

Country where
is ftill

to imitate

Nature,

PREFACE.

xxxvi.

Nature, which

is

always the fame, though in

a^.

different drefs.

As
ter

is

Compoficion of a

in the

^iflure, the ^ain^

to take care that nothing enter into

it,

which*

fo
not proper, or convenient to the Subje<5l
likewife is the Toet to rejed all incidents which,

is

and are naturally no parts

of it: they are Wenns, and other Excrefcences ^,
which belong not to the Body, but deform it.
are foreign to his foeniy

no incident in the (P/er^, or in the

(P%, but muft be of ufe to carry on the mam^

no

perfon,

All things elfe are like fix fingers to the

Dejiffu

hand

thing,

when Nature which

can do her work with

all

tedious

A Robe which

is

five.

fainter muft-

Ornaments, fo muft a

rejedl all trifling

fufe

fuperfluous in no-

is

(Poet re-

and unneceffary Defcriptions.,

too heavy,

is Icfs

an Ornament

than a Burthen.
In Poetry Horace calls thefe things, Ferfus
pfs reruniy
lucHS

nugd^que

cajtoriC;

ara Diany which

thefe are

alfo

ino-

the

he mentions in the

fame Jrt of Poetry. But fince there muft be Ornaments both in fainting, and Toetry^ if they are
not neceffary, they muft
is,

in their

The

at

leaft

be decent

due place, and but moderately

fainter

is

not to take fo

much

that
us*d,

pains about

the Drapery as about the Face, where the princi-

p^<

PREFACE.
pal rcfemblance

working up a
certainly

lies

paflion, to

make

it

feafon.

his

My

naouth

it is

calls

them

or at

fome modern

Plays

Figures

orna-

leaft

Figures to helett:.

becaufe the Pidure has noufe of them.

in

will

ambitious

When there are more

mental, out Authour

is

Monte^^ma dies

but

in a Picture than are neceffary,

fcen

who

the Toet

is

mzkc Jimdes which

languifh.

with a fine one in

and out of

neither

xxxvij;

So I have

above twenty JSioursy.

when

the A6lion has not required half the

ber.

In the principal Figures of a PiBurej the

fainter

is

to

employ

num-

the finews of his Art,

for in-

them confifts the principal beauty of his Work.

Our Authow faves me the comparifon with Tragedy
for he fays that herein he

who employs

PoetJ

his

is

to imitate the Tragi^ue

utmoft force in thofe pla-

and beauty of the

A<5lion.
DuFrefnoy, yMhom Hollow y makes 2)^But
Jtgn or Drawing the fecond part of Painting
ces wherein confifts the height

op
are almoft wholly proper to that Arty
not any co?nparifon that I know with

the Rules which he gives concerning the Poflure

the Figures^

and

acjmit

Poetry,

The

Pojiure of a Poetique Figure

is

as I

conceive, the Defcription of his Heroes in the per-

formance of fuch orfuch anAdion: as of Achilles

juft in the ad of kiUing HeSlor : or of jneas who
hzs Turnus undtr him*

Both the Poet and the

p4inter>

PREFACE.

Exxviij.

fainter vary the ^ojiures according to the Acflion,

or Paflion which they reprefenc of the fame per-

muft be great and graceful! in them.

The fame ^hcas muft be drawn a Suppliant
to T>ldo with refped in his Geftures, and humility
But when he is forc'd in his own dein his Eyes
fence to kill Lau/uSy the Toet fliows him compaffionate, and tempering the feverity of his looks
with a reludance to the Adlion, which he is go-

son.

But

all

ing to perform.

Youth

his

and

He has
is

on

confiders

Father at the hazard of his

his

his

Beauty, and

loath to deftroy fuch a Mafter-

He

piece of 'Nature.

pity

Laufm

own

refcuing

life

as

an

image of himfelf when he took Jnchifes on his

Shoulders, and bore him fafe through the rage of
the Fire,

and

therefore in

avoids the

^the

And
Man, who

oppofition of his Enemies.

the pofture of a retiring

Combat, he

ftretches

out

his

Arm

in

drawn a little
Breaft bending inward, more like

fign of peace, with his right Foot

back, and his

an Oratour than a Souldier

and feems to diflTwadc'

Young man from pulling on his deftiny, by

attempting more than he was able to perform :

the

take the paflage as

have thus tranflated

it,

'Shouts of Jpplaufe ran ringing through the FieUy

To fee

the Son^

the Van^iuifh'd Father fhield

All

P
AU^

fir

FAC

d with noble Emuktioriy

And with

xxxix.

E..
Jir'iVe'^

Jl&rmofDarts to dijiance drive

The Trojan Chief who held at Say, from
a

-y

On

fair

Vulcanian Or by fuflaind the War.

ineas tinis oerwhebnd oh eVeryfide^
his

TImr firfl Ajfault undaunted did abide ;

(cryd,
And thus to Laufus, /owJ with friendly threatning
Why wilt thou rufh to certain, death, and rage
In rap? attempts beyond thy tender Agey

Setrayd

by, pious

And
HegritVdy

Of his own

hve^

afterwards.

he wept, the Sight an Image brought

Filial

LoVe 5 a fadly pkajing thought.

Butbefide the Outlines of the Poflurej.the Dejig}^

of the TiBure comprehends in the next place tha

forms of Faces which are. to be different and fo
in a Toem, or a Tlay^ muft the feveral CharaBen
of the Perfons be diftinguifh'd from each other.
:

knew a ^oet, whom out of refped 1 will not

name, who being too witty himfelf, cou d draw

nothing but Wits in a Comedy of

his

Fools were infedled with the Difeafe. of

thonr.

They

even his
their

Au-

overflow'd with fmart Repcrties,,

and were only diftinguifh'd from the intended

Wits by being call'd Coxcombs ; though they deftry'd not fo icandalous a

Name.

Another,

who

PREFACE.

2d.

had a great G^nm for Tragedy, following the fury

of his natural temper, made every Man and Woman too in his ^lays ftark raging mad there was
not a fober perfon to be had for love or money.
All was tempeftuous and bluftering ^ Heaven and
Earth were coming together at every word
a
raeer Hurrican from the beginning to the end,
and every Adour feem'd to be haftning on the
;

Day

of Judgment.

Let every Member he made for its own Head, fays

our Juthoury not a wither'd Hand to a young

So in the Perfons of a Tlay, whatfoever is

laid or done by any of them, muft be confident
with the manners which the Toet has given them
diftindly ; and even the Habits muft be proper
to the degrees, and humours of the Perfons as
well as in a TiBure.
He who enter d in the firft
Face.

Ad:, a

Young man

muft not be

in

like Terides

danger in the

Prince of Tyre,

fifth

A61, of

com-

mitting Inceft with his Daughter: noranllfurer,

without great probability and caufes of Repentance, be turn d into a Cutting Moorcraft.
I

am

not

fatisfy'd that the

comparifon betwixt

the two Arts in the laft Paragraph

juft as

it

might have been ^ but

is

altogether fo

am

fure of this

which follows.
The

1^^

PREFACE.
The

xli,

principal Figure of the SuhjeSl mujl appear in

the fnidji of the ^TiEiure^

dijlinguijh

it

from

Thus

under the principal Light to

which are onely

the reft

its

at ten-

an Epique oem, the

Hero of the Tiece mull be advanc'd foremoft to
dants.

the view
out-fliine

in a Tragedy or

appear the Prince of them,

pernican SyflerUy

like the

Sun

in the Co-

encompafs'd with the

Becaufe the Hero

Planets,

-^

He muft
He muft

of the (Reader or SpeHator

the reft of all the CharaBers

is

lefs

noble

the Centre of the

main Ad:ion j all the Lines from the CircumfeHe is the chief obje(5l of
rence tend to him alone
:

Pity in the Drama, and

pique

of Admiration in the E-

Toem,

As

in a Pidlure, befides the principal

which compofe
of it 5 there are

Figures

and are plac'd in the midft

lefs Grouppes or Knots of Figures
di(pos'd at proper diftances, which are parts of
the Piece, and feem to carry on the fame Defign
in a more inferiour manner.
So in Epique ^oe^
try^ there are Epifodes, and a Chorus in Tragedy,
which are Members of the A(5lion, as growing
out of

it,

it,

not inferted into

!Book of the Eneids

ryalus

Such in the ninth

the Epifode of Nifus

and Eu-

them alone ; they

Objects of Compaffion and Admi-

the adventure belongs to

alone are the

ration

is

it.

but their bufinefs which they carry on,

PREFACE

xfij.

Concernment of the Trojan Camp,

then beleaguer'd by Turnus and the Lat'mes^ as

is

the general

by the Turks. They

chief Hero of the Diftrcfles

the Chrijtians were lately

were to advertife the

of his Subjects occafiond by
his

Succour, and foUicite

his

Abfence, to crave

him

to haften his Re-

turn.

The Grecian Tragedy was

at

firft

nothing but

a Chorus of Singer s^ afterwards one J6ior was introduced, which was the (Po^thimfelf, who entertain

the people with a difcourfe in Verfc, betwixt

This fucceeding with

the People , more ABors were added to make the
variety the greater 5 and in procefs of time, the
Chorus onely fung betwixt the JEls 3 and the Coriphdusj or Chief of them fpoke for the reft, as an.
the Paufes of the Singing.

A^or concern'd in the bufinefs of the ^lay.

Thus Tragedy was perfected by degrees, and

be-

ing arriv d at that Perfection, the Painters might

probably take the hint from thence, of adding

Grouppes to their ^iBures. But as a good 'PiQure may be without a Grouppe fo a good Tra;

gedy

may

fubfift

without a Chorus

notwithftand-

ing any reafons which have been given by Dacierto the contrary.

Monfieur Racine has indeed us'd it in his Ejlhery.

but not that he found any neceffity of it, as
the

PREFACE
The

the French Critique would infinuatc.

at

Sc

was onely to give

Cyr^

the

xliij.
Chorus

young Ladies an

occafion of entertaining the i\jn^ with vocal

andof commending

fick,

Tlay

was never intended

felf

it

own Voices.

their

MuThe

for the publick

nor without difparagement to the learned

Stagey

Author J could poflibly have fucceeded there, and

much

lefs

the Tranflation of

Mr. Wi-

here.

it

was of my opinion in this, or rather I of his for it becomes me

fo to fpeak of fo excellent a ^oet, and fo great a
But fince I am in this place, as Virgil fays,
Judge.

when we read

herljiy

it

together
;

Spatiis exclufus

iniqm 5 that

is,

fliortenM

in

my

no other reafon, than that it is

impracticable on our Stage,
A new Theatre
much more ample and much deeper muft be
time,

made

for that purpofe, befides the coft of fome-

will give

times forty or

fifty

Habits, which

is

an expence

too large, to be fupply'd by a Company of JBors.

'Tis true, I fliould not be forry to fee a Chorus

on a

Theatre^

gain

as

more than

ours, built

as large

and adorn d

Charges, and on that condition

which

is.

That

hind me, as

my

now

and

as

at a

deep

i\jngs

and another

Hands were not bound

they are;

a-

be-

(liould not defpair

of making fuch a Tragedy ^ as might be both inftrudive and delightfull, according to the manner of the Grecians,
To
( f 2
}

xliv.

To

make

a TiSiurCy

is

E FJ C

in the

of a

fame

for both

preferve the

fame

Law

and the reafon

'P/^jy,

Remembrance of

Abfurdities

fuch things,

and Incongruities,

eftablifh'd for both Arts.

at the

but in the uppermoft parts

is

the

difficult to retain.

not to paint a Cloud

what

is

guide the Undertaking, and

to

w hofe Natures are

To avoid

more perfe6l Model of

Language of <Poef5, to draw

a Sketchy or a

lip the Scenary

to

H.

the

The Painter is

Bottom of a
nor the

is

J^iHurey

J^oet to

place

proper to the end or middle in the begin-

ning of a Toem.

might enlarge on

this,

who can
the Laws of

but

there arc few Toets or Taintersy

be fup-

pos'd to fin fo grofly againft

Naturey

remember onely one P/^^, and

for once I will call it by its name, The Slighted
Maid: where there is nothing in the Firji AB, but
what might have been faid or done in the Fifth^
nor any thing in the Midfty which might not have

and of

Art.

been plac'd

as well in the ^Beginmtg

or the End.

exprefs the Paffions which are fcated

by outward

Signs,

is

iti

To

the Heart

one great Precept of the

and very difficult to perform. In Poethe fame Paffions and Motions of the Mind

^aintersy
tryy

arc to be exprels'd

and

in this confifts the prin-

cipal Difficulty, as well as the Excellency of that

Art.

This, fays

my Author

is

the Gift oi^upit^r

:.

F R F^C E
Hr

and to fpeak

xlv.

fame Heathen LanguagCy,

in the

we

call

by

Pains or Study,

the

Motions which are ftudied are never fo natuas thofe which breakout in the height of a r-

ral,

the Gift of our Jpollo

it

we

not to be obtained

are not

born to

as

not defend every thing in

his Venice

For.

it.

Mr. Otway poffefs'd this part

any of the Ancients or Moderns,

al Paflion.

roughly

if

tho-

as
I

wijL

preferVdy but

teftimony to his Memory, That

the Tafflons are truly touched in it, though perhaps

muft bear

there

is

this

fomewhat

Grounds

to be defir'd both in the

of them,and in the Height and Elegance

ofExpreffi-.

on 5 but Nature is there,which is the greateft Beauty.

Li the ^affionSy fays our Author, we mujl haVe

"Very

great regard to the

(Quality of. the

are aHually f^efs'd with them.

narch for the

much
Q..

of a Mbr

fame

Comparifon.

the ^rotrait of

his Miftrefsj

in both the ArtSy that

What

it is

thi^

be taken
falii,

and

is

conr

alfo as applicable to Toetry.

inferir

a better or worfe likenefs

is

the better
the worfe

fo

he fays of Face paintings or

In the charaEler of anjH^ro, as well as in an

our Figure, there

is

no longer

any one particular Perfon

cerning the likenefs

ex>-

of a Harlequin on. the Re-

a Letter from

the

The Joy

news of a Victory, muft not be

prefs'd like the Ecftafy

ceipt of

Terfons who

is

is

a ^Panegyrickii

it

to^*

be not

a Libel : Sophocles^ fays Ar

riflotk

PREFACE.

xlv;.

r'tjlotle
'is

always drew

better than they

men
were

ought to be, that

another, whofe name I

as they
5

have forgotten, drew them worfe than naturally

Euripides altered nothing in the Chathey were.
rad:er, but

fented

by

made them

Hifioryy

fuch as they were reprc-

Epijue Toetry or Tradition,

moft comhave foUow'd it in that

the three, the draught of Sophocles

mended by

Jrijlotle,

part of OedipHSj which

writ,

is

though perhaps

have made him too good a man.

of Jnthmy and

Of

my

But

Cha-

though they are

favourable to them, have nothing of outrageous
radters

Cleopatra^

^anegyricky their

Pa/lions were

fuch as were given

them by

their

Hijiory,

own, and

onely the de-

formities of them were caft into Shadows^

that they

might be Objects of CompafEon j whereas if

I had choknSL Noon day Light for them, fomewhat
muft have been difcover'd, which would rather
have mov'd our Hatred than our Pity.
The Gothique manner, and the barbarous Ornaments, which are to be avoided in a TiBurCy are
juft the fame with thofe in an ill order'd Tl^. For
example, our Englijh Tragicomedy muft be confefs'd
to be wholly Gothique^ notwithftanding the Succefs
which it has found upon our Theatre, and in the
Tajior Fido (Si Guarini even though Corifca and
the Satyr contribute fomewhat to the main A<5Son.
',

Neither

Neither can

my

defend

as otherwife

EFAC

am

of

it

E.

xlvij.

SpaniJJ? FryaVy

from

this

fond

as

Imputation

for

though the comical parts are diverting, and the fe-

moving, yet they are of an unnatural mingle.

For Mirth and Gravity deftroy each other,
and are no more to be allow'd for decent, thari'
a gay Widow laughing in a mourning Habit.
I had almoft forgotten one confiderable refemrious

Du

hUnce,

Frefmy

Grouppesy mujl not he

their

face and 'Bodies

all

(P/^jy,

pofe others

fome
5

magis

the Ufarer
in

my

fet

in the Scornfull Lady^

LoW,

the Atheift

Thus

Likenejfesy

which

is

Maximin

to the third

is

Colours well chofen in their

ther with the Lights

of

Part oi^aintingy

that belongs to words,

Colouring

op-

the omiffion

caird the Cromati(pue or Colourings

and all
a ^oe?n, which

is

St. Catharine.

come, though with

many
preffioHy

Thus

Contraria juxta fe pa-

to confront the Prodigal.

Tyrannicque

am now

hut

mufl be rais'd to opthem off the better, ac-

Maxim,
Thus
elucefcunt.

posed to the charader of

I

Jams way

characters

and to

is fet

the

with

is,

their federal pojitions.

cording to the old

Jitay

the Figures of the

on a JlJe, that

turnd

all

muji contraft each other by

in a

That

tells us,

is

in a ^iBure,

E^

that in-

The

proper places, toge-

and Shadows which belong

to them, lighten the Defign, and

make

it

pleafing

to

K EF A

E.

to the Eye.

The Words,

Tropes and

Figures, the Verfification,

-the odier

the

Expreffions, the

Elegancies of Sound,

Turns of Words upon

the

other things which arc

as

and

all

Cadences,

Thought, and many

all

parts

of expreflion,

perform exadlly the fame Office both

Our Author
matijue and Epique Poetry.

in

Dra-

calls

Co-

louring, Lena Sororis, in plain Englifli, The !Bawd

of her Slfler the Vefign or Drawing : flie cloaths,

flie drefles her up, (he paints her, (he makes her

appear more lovely than naturally

flie is,

flie

pro-

cures for the Dejtgn, and makes Lovers for her.

For

the Dejtgn of

lines.

Thus

it felf,

in Poetry

is
,

onely fo
the

many naked

ExpreJJion

that

is

which charms the ^ader, and beautifies the Defign which is onely the Out-lines of the Fables.
'Tis true, the Vefign muft of it felf be good j if
it be vicious or (in one word) unpleafing, the
coft of Colouring is thrown away upon it.
'Tis
an ugly woman in a rich Habit fet out with Jew-els,

nothing can become her

but granting the

Defign to be moderately good,

*tis

like

an ex-

^ellent'Gomplexion with indifferent Features

white and red well mingled on the Face,

what was before

'perum Colores

is

but.

the

make

paffable, appear beautifulL

the very

word which Horace

ufes,

to fignify Words and elegant Expreflions, of which

he

PREFACE.
he himfelf was fo great a Maftcr in

xlix.

his O^es.

moncrft the Ancients. Zenxis was mofl:

A-

fafnous

Amongft the "Moderns^

Of the two Ancient Epti^ue

for his Colouring'

Titian

and

Correggio,

ToetSy

who

have fo

far excell'd

all

the Moderns, the In-

and Dejtgn were the particular Talents of

Virgil muft yield to him in both, for
Homer,
the DeJ^n of the Latine was borrowed from the
vention

Grecian: But the

diSiio

Virgiliana,

the expre/Iion

o Virgil', his Co/ownwg; was incomparably the better, and in that I have always endeavour'd to
copy him. Moft of the Pedants I know maintain the contrary, and will have Homer exceli even 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 theit Province,

know more

they feldom
conftru6tion
Genius

'j

which

Yet fome

than the Grammatical

unlefs they are

is

born with a

Poetical

a rare Portion amongft them.

know may

and fuch
I honour.
Virgil is fo exa6l 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 5 but
I

ftand excepted

'tis

oncly to

make you

think

him

when he is moft fecure.

dancer on the Ropes (if you
fall

g )

in

danger of a

Like a
will

skilful!

pardon the
meannefs

R EF A &f.

I.

meannefs of the fimilicude) 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

proof of his dexterity. My I'ateLord (^fcomonwzs

often pleas'd with this reflexion, and with the
it

in this

admirable Author.

have not

leifure

to

examples of
I

run through the whole

Compartfon of Lights and Shadows with Tropes and

yet

Figures
'y

cannot but take notice of Metaphors,

them have power to leflcn or greaten

any thing. Strong and glowing Colours are the juft
refemblances of bold Metaphors, but both mufl be

which

like

judicioufly apply'd

for there

is

twixt daring and fool-hardinefs.

tins often

But

ventured them too

far,

a difference be-

Lucan and Staour

Virgil never.

the great defeat of the ^harfalia

and the Thehitis was iathe Vejign ; if that had been more perfed-,, we might have forgiven many of their bold
ftrokes in the Colourino^

yet
rp

fome of them

or at leaft excused them

are fuch as Vemojlhnes

could not have defended.

have feen the

firft

thought Sr^fii^
the Statue

on the

Virgily

Vcrfes of the Sybd,

mad

if

or

Cice-

he could

would have

in his fuftian Defcription

hra:^en Horfe,

But

that Toet

was

of
al-

ways in a Foara at his fetting out, even before the

Motion of the Race had warra'd him. The foberneia.

REV ACE.

berncfs of Firstly

whom

he read

him

purpofe, might have fliown

Arma Vtrumfj

twixt,

it

feems to

Statins

of

was

to rife

and Magnanimum

cano,

But

Horfe

by degrees

The

Virgil

firft

ftretch

Games

Funeral

for ^r-

themormy though the Verfes are wonderfully

Stare adeo

defcription of his running

juft ftarting in the

are the true

Ma-

in his expreflions

in his towring heights at the

his Pinions.

little

the difference be-

cidem, formidatamq\ tonanti J^rogeniem.

knew how

fine,

Image of their Author.

nefcltj

pereunt Vejligia

rnille

Jnte fugam-j ahfentemcj^fertt gravis ungulacampum.

Which would

cofl:

me

an hour,

furetotranflatethem, there
in the Original.
fo he

them.

In

giving one example.

That he read
of

as

lei-

much of Beauty

fo

he better knew

his

'Tis faid of him.

the Second^ Fourth

his jEneids to Augujlus

we

had the

knew better how and where to place

as much haft as I am, I cannot for-

Colours^

bear

Virgil ^

is

if I

and Sixth

(Books

In the Sixthy

Cafar.

we know
OBaVta was prefent, who rewarded him fo bountifully for the twenty Verfes which were made in
(which

are fure he read, becaufe

honour of her deceased Son MarceUus)

Book

fay,

Trumpeter,

in this fixth

the oet fpeaking of Mifenus the

fays,

Q^<>

R EFA

lij,

Quo

JEn

And
.

mn

E.

prdjiantior altera
-

ciere Vtrosy

broke off in the Hemyjlick or midft of

Verfe : But in the very reading

with a

Fury^ he

dilfine

made up

fiez'd as

How

were

it

the latter part

the Hemyfiicky with thefe following

the*

words

of

Martemqi accendere canbt^

nay how glowing a Colouring

warniy

word

In the beginning of the Verfe, the

is

this!

jEs^

or

was taken for a Trumpet, becaufe the Inftument was made of that Metal, which of it felf
was fine 5 but in the latter end, which was made
Brafs,

ex

tempors-y

you

- accendere
plain fence

lee three

Good Heavens

cantu.

rafsM

is

Metaphors, Martemquey

by

how

the

the Beauty of the words.

But this was Happinefs, the former might be only Judgment this was the curioja felidtasy which
(Pefro;2/5 attributes to Horace-^ 'tis the Pencil thrown
luckily full upon the Horfes mouth to exprefs the
;

Foam

which the fainter with alL

not perform without

true

it.

9oet often finds, as

feeking

Thefe
I

hits

may

but he knows their value

them, and

is

his skill

infinitely pleas'd.

of words a

fay,

without

when he

could

finds

badfoef ma,y

fome-

FR

E FA C

E.

liij.

on them, but he difcerns net a

Diamond from a Bnfloljlone 5 and would have
been of the Cocks mind in j^fopy a Grain of Parley would have pleas'd him better than the JeweL
lometimes

light

T\\^ Lights and Shadows which belong to Colourin^y

put

me

mat

ohfcururuy yult hoc

in

mind of that Verfe

fub

luce

Hoc afome parts

in Horace^

Vtdm

of a Toem require to be amply written, and with

all the force and elegance of Words
others muft.
be caft into Shadows that is, pafs'd over in fi:

This belongs
wholly to the. Judgment of the ^oet and the ^aim
The moft beautif ill parts of the ^lElure and
ter,
the ^oem muft be the moft finifli'd, the Colours
and Words moft chofen many things in both
which are not deferving of this care, muft be fliif
ted ofFj content with vulgar expreflions and thofe
lence

or but faintly touch'd.

very fhort, and

left

as

inafhadow

to the imagi-

nation of the ^ader.

We

from
the Painters
which fignifies, to know when to
Both Hogive over, and to lay by the Pencil.
mer and Firg'd pradis'd this Precept wonderfully
have the Proverb, manum

de tahula,

'y

well, but FtrgH the better of the

two.

Hornet

knew that when HeEior was flain, Troy was as

good as already taken therefore he concludes his
;

Aftion

there..
/

For what, follows in the Funcials

of

3iV.

E F ^ C

E.

oi fatroclusy and the redemption of He^o/s Body, is nor (properly fpeaking) a part of the main

But

Action.

Virgil condiides with the death

of

Turnus: for after that difficulty was removed, yE7ie<t5

might marry and

Tins (^le

he plcas'd.

the Trojans

when

had before my Eyes

in the

eftablifli
I

conclufion oftheS/^dmy^ Fryar^

when

King was

ry was made, that the

the difcove-

which

living,

was the knot of the Tlay unty'd, the reft is fliut

up in thecompafs of fome few lines, becaufe nothing then hindered theHappinefs oiTorifmond and

The

Leonora.

kind of

it,

faults

which

is

given to the people

for

my

felf

of

that

Drama

Tragicomedy.

and

But

was

it

but Anthony and Cleopatra.

is

per for the Colouring as the Dejtgn^ but

for both.

in the

never writ any thing

(^mark I muft acknowledge

This

arc

As

the words,

ci^rr.

not fo proit

will

hold

are evidently fliown

to be the cloathing of the Thought, in the fame

Colours are the cloathing of the Defign,

fo the fainter and the Toet ought to judge cx-

fenfe as

adlly,

when

perfecft,

finidi'd.

the

Colouring and Expreflions are

and then to think their work

Apelles faid of Trotogenes ,

knew not when

to give oyer.

A work may

is

truly

Tl?at

he

be over-

wrought as well as under-wrought ; too much

Labour often takes away the Spirit by adding to
the

'

PRE FAC E
the polifliing

Iv.

fo chat there remains nothing but a

dull corre<5tncfs, a piece without any confiderable

but with few Beauties; for

Faults,
rits

are

drawn

tiium,

when

the Spi-

nothing but a caput mornever thought an expreffion could

off,

Stat'tus

there

be bold enough; and

he

reje(5ted the firft.

IG

know

if

is

a bolder could be found

Ttrgtl

had Judgment enough

daring was neceflary

but he

knew

the

glomng Colour and a glaring ;

as when he compared the (hocking of the Fleets
difference betwixt a

at

AEl'mm to the juftling of Iflands rent from their

Foundations, and meeting in the Ocean.

the comparifon
rais'd

too high

with a Credos,

Mountains or

He knew

was fore d beyond Nature and^

he therefore foftcns the Metaphor

You would

almoft believe, that

Iflands rufh'd againft each other^^

Credos innare reVulfas

Cy dados: aut montes concur rere mont'tbus

But here

muft break off without

dcjuos.

finifliing the

Difcourfe.

Cynthm aurem "VeUit O* admonuitj (^c, the things

which are behind are of too nice a confideration
for an EJJ^ayy begun and ended in twelve Mornings, and perhaps the Judges of ^-ainting^ind ^oe*
fryj

whenitell them,

how

Abort a time

it

coft'

raey.

PREFACE.

Ivi.

me, may make me the fame anfwer, which my

late Lord <I(ocheJler made co one, who to commend a Tragedy faid it was written in three weeks-j
J

How the Devil

could he be lo long about

it ?

For

Toem was infamoufly bad and I doubt this

and then the fliortnefs of
Parallel is littk better
the time is fo far from being a Commendation,

that

that

it is

fcarcely

drawn a

an Excufe.

Juftice for

my

felf,

if I

have

really

or an half length

Portrait to the Knees,

with a tolerable Likenefs, then

ibme

But
I

may

plead with

that the reft

is

left

to

Let fome better Artift provide himfelf of a deeper Canvas, and taking thefe
hints which I have given , fet the Figure on its
the Imagination.

Legs, and finish

it

in the JnVention, Vejlgn

and

Colouring.

THE

Ivij.

THE

PREFACE
O

T H E

French Author.
AMong
all the

Arts,

beautiful

and

delightful

that of Painting has always

the mojl Lovers 5 the number

found
of them almofl including

^i/ Mankind*

Of whom great multitudes are daily found^ who

value themfelves on the kjiowledge of it\ either
becaufe they J^ef company with Painters, or that
they have feen

good Pieces 5

or

laftly^

becaufe

Which notwithftanding^ that Knowledge of theirs (if we may

their

Gufto

is naturally

good.

fo call it) is fo very fuferficial^

edy that it

what

is

confifts

andfo

them

imfojjible for

illgrouiid-

to defer ibe

in

the beauty ofthofe Works which they

admirey or the faults which are in the greatefl

{ h

part

'\i

K EFAC R

part ofthofe which they condemn:

hard to

and truly

'tis

find^ that this -proceeds

from no other
caufe, than that they are not furnijV d with Rules
by which to judge^ nor have any folid Foundationsy which are as Jo many Lights fet up to clear
their underftanding and lead them to an entire
and certain kjiowledge, I think, it fuperfluom
n$t

to

necejary to the knowledge of

'Tis fufficient^ that Painting he ac-

prove that

Painting.

this is

knowledgd for an Art 3

it follows

granted

without difpute^ that no Arts are with-

out their Precepts.

telling you-,

you with

for that being

Ifhall fatisfy

my

felf with

that this little Treatife wiU furnifh

infallible

they are not 07iely

Rules of judging truly : fince

fotinded upon right Reafon

but upon thehejl Pieces of the beji Mafters, which

our Author hath carefully examin d during the

fpace of more than thirty years ; and on which he

has made all the refleSlions which are necejfary to
render this Treatife worthy of Pojierity : whichthough little in bulk^ yet contains moft judicious

Remarks, andfufers nothing to efcape that is effential to the Subject which it handles.
If you
will pleafe to reacf it with attention,

you will

find it capable of giving the moft nice and delicate fort 0/ Knowledge, not onely to the Lovers,
hut

evm

tat/jr

Profeflors of that

Arc

F
It

muldle

E F

E:

too long to tell you the particular

advantages which it has above all the Book$

which hath appear d before it in this kind: you
need onely to read it, and that will convince you

of this
is

All that I will allow my felf to fay^

That there is not a word in it, which

truth.

onely this.

carries net

whereas in all others,

its weight:,

there are two

confiderable faults which lie open

That faying too much, they

always fay too httle. / afure my felf, that the
Reader will own 'tis a work, of general profit, to

to the fight, (viz.)

the Lovers of Painting, for their infiruUion how

to judge exaSily 5 and with Knowledge of the Caufe^

which they are

themfelves,

they

may

to

And

judge.

by removing

to tloe Painters

their difficulties, that

work, with pleafure

becaufe they

may

be in fome manner certain that their ProduUions

me good.

'Tis to be ufed like Spirits

ous Liquours,
'tis

but

preci-

the lefsyou drink, of it at a time

with the greater pleafure: tcsid

little at once,

and dwell

and

that you

may

it often,

and

digeft it better

particularly on thofe pajfages which

you find marled with an Aftcrifm^.

For the
obfervations which follow fuch a Note, will give
you a clearer Light, on the matter which is there

Tou will find them by the Numbers

which are on the fide of the Tranflation, from five

treated,

t4

?RBfA

^-

by fearching for the likf

to five

Vcr fcs

in the

Remarks which

are at the

Number

end of

ity

and

which are diftinguijh*d from each other b} this

note ^.

Tou wilt find in the

latter

Pages of this

Book, the Judgment of the Author on thofe

Painters, who have acquird the greateft RepuAmong/l whom^ he was not
tation in the World,
willing to comprehend thofe 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, Jmuft
inform you on whatoccafion^ and in what manner

was perform d. The Love which I had for Painting, and the pleafure which I found in the Ex-

it

ercife of that noble Art, at

me

leifurehours^

gave

of being acquainted with the late

FRESNOY 5 who was generally reputed

the defire

Mr. du
to

my

have a

//;ro//g A

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 underftan-

and accordingly defird

me to undertake it- The truth is^ that we had
conuersd fo often on that Subjed:, and he had
communicated his Thoughts of it fo fully tome
ding, a?id tranflating

-j.

thatihhad

not the leaft

remaining

difficulty con-

cerning

REFAC

f
lerning

it.

I undertook therefore

and imployd my

and

Ajfiduity

hands^

and he

felf in it

mth

after which^

alter

E.

IxL

to tranflate //,

Pleafure^ Care^

I put

it

his

into

in it rphat he pleas' d^ till

was vpholly to his Mind- And then he

gave his Confent that it fhould be publijh'd
but his Dc^t\\ preventing that Defign, Itl)Ought
it a wrong to his Memory, to deprive Mankind
any longer of this TrandsLtiony which I may fafe'^
at

laji it

ly affirm to be

the Author,

done according

and to

to the true fence

his liking:

of

Since he him-^

felf has given great Teftimonies of his Approbaiionto many of his Friends-, and they who were

acquainted with him^ know hk humour tabe fuch^

that he woildiiever confirain himfelf fo far^ as td

commend

what he did not realiy approve. I

thought my felf obligd to fay thus much^ in viThdie at ion of the faithfulnefs of my Work, to thofe
who underfiand not the Latine : for as to thofe

who are converfant in both the tongues, I leave'

them to make their own judgment of it.
The Remarks which I have added tohis'worH^
are alfo wholly conformable to his opinions

and'

I am certain that he woiid not have difdpprov d'

themI have endeavour d in them /o explain
fome of the moji ohkuxc paflages , and thofe
which are.mojincccffaxy to be underftood ; and'
rhave-

Ixij.

FA

IhoT/e done this according to the manner wherein

he

116

d to exprefs

himfelfjn many ConVerfations

which we had together.

alfo

to

I have confind them

the narrowefl compafs I was able^ that I

might not tire the patience of the Reader, and

that they might be read by all perfons.
But ifit
happens^ that they are not to the taft of fome
Readers (as doubt lefs it will fo fall out) I leave

own difcretion, and fh all

not be difpleasd that another hand jhoud fucceed better. Ijhall 07iely beg this idiWom from
them^ that in reading what I have written, they
them entirely

to

their

will bring no particular gufto alo?ig with them,

mind, and that whatfoever

judgment they mak, it may be purely their own,

or any prevention of

whether
nation.

it he

in

my favour,

or in

my condem-

6
9
1

'VvX^"

.>?

A TABLE of the Precepts

Contain'd in this
/^F
^
Of

what

is Beautiful,

p.

theory and Pramce.^

Concerning the Suhje^.

TREATISE,

The Motions of the Hands

and Head mufl agree, ib.
What mufl he avoidedin the di^

Invention the

jlrihution of the FiguresXh,

firft part of
Painting.
i x That we mufl not tie our [elves
The Difpojition of the whole
to Nature, hut accommo-

mrk.
The

ib.

Faithfulnefs of the SuB-

je^.
Whatfoever

ib.

palls the

Suhje^
5*

to he reje^ed,

Defign, or

Drawing

the fe-

cond part of Painting,

date her to our Genius. 24

Ancient Figures the Rules of
imitating Nature.
xy
Jjngle Figure how to he

treated.

ib.

Of the Draperies,
What things contrihute to

ib.

a^

Variety in the Figures,

dorn the Figure,

1
31
The Members and Drapery of Of precious Stones and Pearls
every Figure to he fuita*
ib.
for Ornament,
hie to

it,

ib.

The Anions of Mutes

to he

imitated.

Of

the

ib.

principal Figure of

the Suhje^.

ib.

20

proper place.

OfthePaffions.

the Grouppes,

ib.

Equality of the Piece.

Of the number of Figures.
Joints

and

lb.

Let every thing he fet

Poflures in

Grouppes of Figures.

The Diverfity of

Of the

The Model.
ib.
The Scene of the Figure, ib.
The Graces and theNshlenefs,

Feet,

ib.

13
ib.

in its
ib.

32-

Gothique Ornamens to he avoided

ib.
Colouring the third part of
Painting,

5-

The.

INDEX.

Ixiv.

The Con^u^ of the tones of The place of the

Li^ht and Shadows.
3 9 L^rge Lights.

Of dark

Bodies

on

light

40

grounds.

That there mufl not le two equal Lights in a Figure. 4 3

Of White and Black.

44

Pifture.

ib.

5 (J

What Lights are

requifte. ib.

Things which are vicious in

Painting to he avoided, ib.
The prudentialpart ofa Painter,

ib.

The Reflexion of Colours. 4 7

The Vnion of Colours.
ib.

The Idea of a heautifui Piece.

Ofthe

Advice t9 a young Painter. ib.

Art muft he fuhfervient to

The

Interpofition of Air. ib.

relation ofDiJiances. 48

Of Bodies which are dijlancd.

ib.

Of Bodies
ous^

which are contigu-

and of thofe which are

ib.
feperated.
Contrary -extremities to he a-

voided.

ib.

Diverfity of Tones

and Co-

lours.

ib.

The Choice of Light.

Of certain

things relating to

the prapicalpart.

The Fieldy

ib.

Ground of the

or

ib.
Figure.
Colour
s.^t
Vivacity
the
of
Of
ib.
Of Shadows.

The Figure to^he of one Piece.

ib

.J

^^

60

the Painter.

Diverfity

and

Facility

pleafing.

are
ib.

The Original mufi he in the

Headl and the Copy on the
Cloth.

ib.

The Compafs

to

he in the

Eyes.

Pride

ib.

an

Enemy

to

good

Painting.

63

Know your Jelf

ib.

Pra^ife perpetually.
64
The Morning mofi proper for
Work.
ib.
Every day do fomething. ib.
The Pajions which are true

and natural

Of Table-Books.

ib.

67

The Looking-glafs the Pain- The method of Studies for a

ters left Mafter.

An half Figure
i

ib.

or a whole one

before others.

ib.

Portrait.

SS

young Painter.

yi.

Nature and Experience perfea Art.

y^

THE

f>

THE ART
O

F
\

PAINTING.

DE ARTE

GRAPHICA
LIBER.
UT

PICTURA POESis ERJT

Sit

TiBuraj

refert

fimilifyue Toefi

far ^mula

for or em y.

qu^/eq,

O* nomina 5 muta Toefis

Dicitur h^Cy ^iSura loquens/olet ilta Vocari,
Alternantcjue Vices

5*

Qnoi fuit

auditu

gratum

cecinere ^oetae^

Quodpulchrum afpe^u ^lEiores finger e curant

Qu^que J^oetarum numeris indignafuere^

Non

eadem Tiiiorum oferam Jiudiumque merentur

Amhdt quippe facros ad ^ttigionis honores

10.

Sydereos Juperant ignes^ Julamque Tonantis

Ingrejf<y

DiVum

Oraque magna

afpeltuy alloquioque fruuntur y

Veum

diia ob/erVata reportanty

Codeftemque fuorum operutn mortalibm ignem.

Inde^per hunc orhem Jludik coeuntibHS erranty

Carpentes

'

THE

Art of Painting.
^ "W-^Ainting and Poefy are two Sifters,

are fo like in

they mil

tually lend to each other both

Name

Jumb Poefy,
The

all things, that

which

and

and

j^

j-^rr

One

Orlice.

the other a

'

their
i!>

calld

is

The

LrV w2
'^'^

been the conftant endeavour of

give pleafure to the Eyes.

In

^^'

j.

it

has

the Painters

to

thofe things

:^

fliort,

which the Poets have thought unworthy of their

Pens, the Painters have judg'd to be unworthy
of

their Pencils.

For both of them,

Heaven, and, having found a

free ad-

mifBon into the Palace oiJo'Ve himfelf, have enjoy'd the fight and converfation of the Gods 5
whofe Majefty they obferve, and contemplate
the wonders of their Difcourfej 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

take

:^;

'%

that they

might contribute all within their power to the

facred Honours of Religion, have rais*d themfelves to

'^^^^^'^

Poets have never faid any thing but what

And

^-/^'^'>*

are more am
z^iy explain d

fpeaking Picture.

they believ'd would pleafe the Ears.

Pajjaget

o.

Tk

4.

Art of Painting.
through the World

take their paffage

neither (paring of their pains

colle(5t

i^j,

whatfoever they find

^They
*

nor of

dive (as

may

their Hiftories,

proper for

their ufe

their ftudy to

worthy of them.

fay) into

and fcarch

and are

part Ages^j

all

for Subjects

which are

with care avoiding to treae

of any but thofe which, by their noblenefs, or by

fome remarkable accident, have defcrv'd to be

on the Seas, or
And by this their

confecrated to Eternity, whether

20.

Earth, or in the Heavens.

c^ire

and ftudy

of Heroes

it

comes

to pafs, that the glory

not extinguifli'd with their

is

lives

and that thofe admirable works, thofe prodigies

of skill, which even, yet are the objedls of our admiration, are

ftill

* So much thefe

preferv'd.

vine Arts have been always honoured

Zj*

Di-

and fuch
authority they preferve amongft Mankind.
It

will not here be neceflary to

of

Jpolloy

and the Mufes

the Difcourfe^ or for the

implore the fuccour

for the gracefulnefs of

Cadence of

the Verfes

which containing onely Precepts, have not fa

much
I

JO.

of

need of Ornament, as of Pcrfpicuity.

pretead not in

Artifts,

whofe

practice, or

and made

this

Treatife to tye the hands

skill confifts

manner which

of

Neither would

it

as

it

I ftifle

they have

certain,

affected

Common

Road.
Genius by a jumbled
heap

were a
the

onely in a

: .:

De
Carpentes

qud

Arte Graphiea,

dignafu't^ re'Volutatiue lufirant

j,

Quarendis conjort'ihm Argumentis,

Tempora.

Denique cjua^cumcjut

Longim

in

cmh^ terracjue^ marique

tempus durare, ut pukhruy merentur^

in

Nobilitate

fua

Diyes

ampla manet Ti^ores at que ^oetas

<(s*

clarocjue

tnjignia cafuy

MaterieSy inde aha fonayit per f^ecula

Nomina, magnaninm Heroihus

iO*

mundo

inde fuperjles

Gloria, perpetuoque operum miracula rejlant

XantHS

inejl divis

^ieridum chorus

TSlon mihi

Majm ut

hie,

nee Apollo yocandus,

illuflret

opus rationibm hor^ens

mtidatantum^srfacili digtjia

Ornari pr^ecepta negant

Nee

zj.

eloqmum numeris aut gratia fanS

Dogmaticis

Cum

honor Artihm atque poteflas*

',

loquela.,

eontenta doceru

mihi mens animufve fuit conjiringere nodos

Artipcium manihus, quos tantum

Indolis ut vigor inde potens

dirigit

ufm

obJiriBm hehefcat,

Kor-

3 o."

De

Arte Graphica.

TSlonncirum numcro imtnam Geniumque tnoretur

Sed rermn

ut pollens Ars cognttione gradatlm

TSlatUYdt fefe infimety "Verique

capacem

Tran/eat in Genium^ Geniufque ufu induat Artem,

VrimMmVtX'^y^cipua imprimis Jrtifcjue potijjima pars

Natura
De pSdiro. '^^Jf^ i^^^ ^^ ^^^^
^ulchriHSyid(iue

40.

crearit

Modumjuxtay

efiy

ad Artem

MentetfKjue Vetuftanty

(hi^ fif^^ harlaries Cdua <s* temeraria Tukhrum

Hegligity infukans ignot audacior Arti,

Ut

curare nequtty qu^ non modo noyerit

Uludapud Veteresfuity unde

effe,

notahile diSiutUy

Nil Pidtore malo fecurius atquc Pocta.

/

Cognita

The Art of Painting.

heap of Rules: nor extinguifli the fire of a veitr

which is lively and abundant. But rather to

make

my

this

bufinefs,

that

Art being ftrength-

ned by the knowledge of things, may at length

pafs into Nature by flow degrees j and fo in procefs

of time

which

is

may

'

j j,

be fublim'd into a pure Genius

capable of choofing judicioufly what

is

and of diftinguifliing betwixt the beauties

of Nature, and that which is low and mean in
her ; and that this Original Genius by long ex<er-

true

and cuftoms, m;iy perfectly poflefs all the

Rules and Secrets of that Art.
^ The principal and moft important part of Precept i.
>
_
>
Of what is
11
ft
Painting, is to hnd out and thoroughly to un- BeaHtifulL
derftand what Nature has made moft beautifullj
and moft proper to this Art ; ^ and that a choice
cile

may

be made according to the guft and

manner of the Ancients, ^ without which all is

of it

nothing but a blind, and

rejects

what

is

moft

rafli

beautifull,

audacious infolcnce to delpife

barbarity

which

and feems with an

an Art,, of which

wholly ignorant which has occafion'd thefe

words of the Ancients Tliat no man is fo boldj Jo
it is

and fo o'verweening ofhisowntporhj as an

ill

fainterJ and a had Toety who are not confcioHS

to

rap?y

thmfebes of their own Ignorance,

40.

"ihe

4y.

Art of

fainting.

^ We love

what we underftand 5 we defire

what we love 5 we purfue the enjoyment of thofe
and arrive at laft to the
things which we defire
poflTefliori of what we have purfu'd, if we con;

ftantly perfift in

we ought not

our Defign.

mean

In the

time,

to exped: that blind Fortune (hould

throw into our hands thofe Beauties

For though we may light by chance on fome
which are true and natural, yet they may prove
infallibly

cither not to

J o.

Becaufe

is is

be decent or not to be ornamental.

not

Nature in
were literally,

fufficient to imitate

every circumftance, dully, and as it

and meanly 5 but it becomes a Painter to take

what is moft beautifuU, ^ as being the Soveraigti

Judge of his own Art and that by the progrefs

which he has made, he may underftand how to
corre<5l his errors, and ^ permit no tranfient
;

Beauties to efcape his obfervation.

i^

^^ ^^^ ^^"^^ manner, that bare practice, de-

Franicf. ftitute

fall

jy,

of the Lights of Art,

is

always fubjed: to

into a Precipice hke a blind Traveller, wich-

out being able to. produce any thing which contributes

toafolid reputation: So the fpeculative

part of Painting, without the afliftance of manual

operation,

can never attain to

which

objedt

in

is its

a Prifon

for

it

that perfe(5tion

But floathfuUy

was not with

his

languiflies as

Tongue that
Apelks

De
Cognita amasy

Arte Graphica.

<(s*

amata

cupis, feciuerifque cupita

^ajjibws ajfequeris tandem qu^e

lUci

tamen qu^ pulchra decent

ferVidm urges

non omnia cafus

Quallacumque dabunty etiam'Ve fimllllma Veris

2iam quamcumque modo ferVtli

45.

haudfufficit ipfam

Tiaturam exprimere ad Viyum, fed ut Arbiter Artis

Seliget ex ilia tantu^m pulcherrima ^iBor.

Quodque mirms pulchrtmiy aut mendofum

j 0.

corriget ipfe

Marte fuoy form a Veneres captando fugaces.

II.

Prxcep^

turn.

Utque manusgrandi

nil

nomine praEiica dignum

AJfequitur^

pur urn arcane quam

Lumeny O*

in prteceps ahitura ut

Sic nihil Ars opera

deficit

Artis

caca yagatur

j j,
5

manuum privata fupremum

Exequitury Jed languet iners uti

VmBa lacertos

Vifpofitumque typum non lingua pinxit Apelles.

one&Pr^'

Ergo

De

Io
60.

Ergo

licet tot a

Arte Graphica.

normam hand

poffinms in Arte

Ponere,

(citm nequeant qutC funt fakherrima did)

Nitimur

h^ec paucisj Jcrutati

fumma

magijlr^

Dogmata Nature, Artifque Exemplaria prima

Altim

6y,

intuit i

Jtc

Indolis excolitur,

Luxurianfque

in

mens habilifque facultas

Ceniumque

fcientia cojnflet,

monjira furor compefcitur Arte

modus in rebus,
QuQs ultra citraque

Eft

funt certi denique fines,

nequit confiftere redum..

HI.PJfcepturn*

DeArgu,

7a,

His

pojitisy

eritoptandumTljemanohiky pulchrumy

Formam atque Colorem

Sponte capax amplam emeriti mox preheat Arti
Quodque yenuflatum

circa

Materiam^ retegens aliquidfalls

<s*

documenti.
Trnderris

"the

Art of Painting.

perform'd

^peltes

though there

which no

Noble Works.

his

are

many

things in

Therefore

it
60.

Painting, of

be given (^ becaufe
the greateft Beauties cannot always be exprefs'd
precife rules are to

want of terms) yet I fhall not omit to give

fome Precepts which I have feledled from among
the moft confiderable which we have received
from Nature, that exad School- miftrefs, after having examin'd her moft fecret receffes, as well as
^ thofe Maftef-pieces of Antiquity, which were
the firft Examples of this Art : And, 'tis by this
means that the mind, and the natural difpofition
and that Science perfed:s
are to be cultivated
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
for

65^

dangerous extremes
things

and a

is

a mean in

me afur e^ wherein

certain

the heautifull conjtji

^an

For there

the good and

and out of which they

all

ne'Ver

depart.

This being premised, the next thing is to make ^ ^^.

Concernifjg
11
r V
r>
A
r 11
choice or "T^ a Subject beautitull and nohie.-^ the SHbjeB
which being of it felf capable of all the charms.
70.
1

and graces, that Colours, and the elegance of

Defign can poflibly give, fliall afterwards afford,
to a perfed: and confummate Art, an ample field
of matter wherein to expatiate it felf5 to exert all

its

12

The Art of Fainting.

its

power, and to produce fomewhat to the fight

which

is

fon d

and

excellent,
at

the

judicious,

^ and

fame time proper to

well feainftrud:,

and to enlighten the Underftanding.

Thus
of

my

at length

enter into the SubjecSl-matter

Difcourfej and at

ftrain

d Canvafs

(as

may

it

^ on

firft

find only a bare

which the whole Machine

be call'd) of the Pidure

is

to be dif-

pos'd; and the imagination of a powerfull, and

7 J.
JrwentioH the

^p!ilV/

cafy Genius

which

is

what we properly

call

InVention.

INVENTION

which being

common

poflefs'd

to her

the fire of ApoUo^

and

fliines

Sifters
is

is

a kind

of Mufe,

of the other advantages

5

and being warm'd by

rais'd higher

than the

reft,

with a more glorious, and brighter

flame.
IV.

tiMorOeca''T-/

C^^^t

'Tis the bufinefs of a Painter, in his choice

of Poftures, to forcfcc the effcd, and harmony of

^he Lights

and Shadows, with the Colours which

are to enter into the whole 5 taking

80,

rrom each

or

them, that which will moft conduce to the pro-

dudion of a beautifuU EfFed.

V.

^ Let your

ftefsofthc^^^^

M>^.

Compofitions be conformable to
Text of Ancient Authours, toCuftoms, and

to Times.

^ Takr

De Arte Graphics.

Tandem

Gpus a^rediory pr'moejue occurrit in Alho

X>ifponenda typi concepta potente

Machina, qu^e

nojlris

MinerVa

Inventio dicitur

oris.

^f*

IIU (juidem prius ingenuis inJlruSla Sororum

Artihus Aonidum^

^ ^hM fublimior

INVEN-

TIO

^ejiu.

(Mrima Pi^i^^
lix pars.

IV.

Dirpo(itio,(-'

ve operisto-

Qu^rendafque

inter ToJitur<iSj luminisy

nmhr^,

tius

Atque futurorum jam prafentire colorum

^ar

erit

harmoniamy captando ah utrifque Venujiim.

8o-

V.

Stt Thematts jrenuma ac VtVa expreffio luxta

Jextum Ant^uorumy propnts cum tempore

OecCn(>

mia

formts.

Nee

gumentl

'

De Arte Graphica.

14
-

^''

Inane

..

ISlec

rejici-

cndura.

^J

quod inane,
*

nihil facit
.

'

ad rem,' 'Iha Videtur

Improprtumy mmimeque urgens, potior a temhit

Ornamenta

Summauhi

operis

'j

Tragic^ Jed

res agitury

Vis

legeJo'ror is

fummarequiritur

Artis,

IJlakhore graViy fludioy monitifque Magijiri

Arduapars nequit

addifci rariffima:

namque

7SS prius athereo rapuit quod ah axe ^rohiethem

5>o,

Sit jubar infu/um menti cumflamine

Mortali haucf cuivis diVtna

Ihiec

"Vit^Cy

munera dantur^

Non uti D^daleam Ikec omnibus

ire

Corinthum.

JEgypto informis quondam ^iBura reperta,

Cr^corum fludiis<s* mentis acumine

95.

Egregtis tandem illujlrata

Naturam

Quos

credit:

adult a Magijlris

vi/a ejl miro fuperare labore.

inter Graphfdos gymnajta

prima fuire^

Tortus Athenarumj Skyon, ^odos^ atque Corinthus^

Difparia inter fey modicum ratione Laboris-^

Ut

r^

The Art of Painting.'

^ Take

makes nothing
^^ J}O Whatfoever

care that whatfoever

to your Subject, and

is

improper to

it,

be noi

fails the

Sub-

^^^^

admitted into
chief place

in

tate the Sifter

your Work, or not poflfefs thej^^J.

it.
But on this occafion , imi8j,

of Painting, Tragedy

which em-

main

ploys the whole forces of her Art in the

Adtion.

This part of Painting, fo rarely met withy

and fo difficult to be found, is neither to be acquired by pains or ftudy, nor by the Precepts or
Counfels

of any Mafter.

For they alone

who

have been inlpir'd at their birth with fome portion of that Heavenly fire ^ which was ftoUen

by
a

TrometheuSj are capable of receiving fo divine

As

prefent.

the Proverb

tells

^ that

us,

it

qo^

hap-

fens not to every one to fee Corinth.

Painting

firft

appear'd in Egypt

but wholly

from the truth, till having travelled into

Greece, and being cultivated by the Study, and
fublime Genius of that Nation, ^ it arriv'd at

diflferent

length to that height of perfection, that

it

feem'd

to furpafs even Original nature.

Amongft

the Academies, which were

pos'd by the rare Genius of thofe

com-^

Great men,

thefe four are reckoned as the principal

namely,

the Athenian Schooly that of Sicyon^ that o{(^hodesy

and

tha,t

o( Corintk

Thefe were

little

different

fiom^

? J>

The Art of Painting.

i^
from each
as
work

ioo;

other, onely in the

it

may

be feen by the Ancient Sta-

^le

which are the

tuesy

fucceeding

Ages

^ Though

they are

either in Science,

manner of their

of 'Beauty^ and to which

have nothing that

or

not
in the

very

much

manner of

is

equal

inferiour
their

Exe-

cution.

^ ^ Pofture

Dejkn^'the
fecondfart <?/ <Jing

to their gufto

great

and

muft be chofen accorThe Parts of it muft be

therefore

large,

^
^ unequal

lo that thofe which are before

105.

in their pofition,

muft

contraft ( or

oppofe) thofe others which are hindermoft, and

all of them be equally balanced on their Centre.
The Parts muft have their out-lines in waves

refembling flames, or the gliding of a Snake up.

110,

ground; They muft be fmooth, they

muft be great, they muft be almoft imperceptible
to the touch, and even, without either EminenThey muft be drawn from far,
ces or Cavities.

on

the

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 perfed: relation betwixt the parts and
;

the

De Arte Graphica.
Ut

patetex Veterumjlatuis^ forma

atcjue decor is

Jrchetypisy

quels pojlerior nil protulit <eta4

Condignum^

<sr

Horum

non inferius longe Arte^ Modocjue :

igitur Vera

'Grandiuy

inaqucdisy

ad normam Pofitura

legetur^

formofaque ^artihm amplis

Anterior a dabit membra^ in contraria motu

bo.

graphis
feu Pofitura,

^ur* pars.
\

o.j.

1 o.

Diverfo VariatUj fuo Uberataque centres

Membrorumque Sinus

ignis

Serpenti undantes flexUj fed

Magnaque fignay

fJammantis ad inflar

UVia plana

quafi fine tubere fubdita taUtt

Ex longo deducla fluanty

non feSia minutinty

Infertifque Torts fint nota ligamina juxta

Compagem Anathomesy

<s* membrificatio

T>eformata Modoy paucifque exprejfa

Quails apud Veteres

Grdtco

lacertisy

totoque Eurithmla partes

Cornponat^

"

De Arte Graphica.

1 1

Componat^ geyiltumcjue fuo gateraiite fequenti

J.

Sit minusy

(^gula

Jut

certa

^^^

20.

funHoVideantur cunElafuh uno

licet

neqt4eant

^if^

Nam

^'^

7nulti5 referens

Figurafituna

Mem-

mendofa

oculisy

Jed

labafcit:

qualia yifa.

non omnihus

ffeciesj

Variis "Vtlut orta plants

Singula memhra fuo

Unum

Mutorum

Gens

capit'i

t^tas
:

diJpare'Vultu.

eonforynia fiant

idemquefimul corpus cum Vefiihusipjis

Mutorumque Jilens Tofitura

bus.

ftiones

ut corpora falfo

Geometralem nunquam funt corpora juxta

Non eadem forma

Nam

2 y.

cum

yEqualiSy Jtmilifque cohr^-crinejque Figuris

Figuris.

^rofpeBica did.

aecelerans operandi

Menjuram depi^a

VIII.

complementU7?t GraphidoSy Jed in arte juV amen

Et Modus
1

<sr

imitabitur aHus,

a-

imi

tandse.

XL

F^a

Prin-

1^0,

fpy'tma

Figurarum, feu ^Princeps Dramatis

^roftliat 77iedia in

ultrO'

Tabula fuh lumine primo

9ulchrior ante dias^ reliquis

iiec

operta Figuris,

Jgglo-

the whole,

The Art ofVmnthg.

that they may be entirely of a

19
piece.

Let the part which produces another part, be

more

the

let

ftrong than that which

it

produces

whole be feen by one point of

Though

115,

and

Sight.

Perfpediive cannot be call'd a certain

rule or a finifliing

of the Picture, yet

Succour and Relief to Art5and

a great

it is

facilitates

the

means
120.

of Execution; yet frequently falling into Errors,

and making us behold things under afalfe Afpedtj
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
the

Colour ought to be

more
from

than the Hair

alike in all Figures,

becaufe

y I li^j'if'^jj^

any

Men are as different

^^

125.

each other, as the Regions in which they

are born, are different.

^ Let

every

Member

head, and agree with

be

made

And

it.

for

let all

its

own 5^ J^^^^,

together

Drapery

compofe but one Body, with the Draperies which ^^^^^Xy-Jl

are proper and fuitable to it.
And above all, ^^^^^^^"^

^ let the Figures to which Art cannot give a voice. The

imitate the

Mutes

Adions.

in their

tilted!'

Let the principal Figure of the Subjed ap-

it

that

it

may

have fomewhat to make

more remarkable than

the reft,

and

^ o.

xi.

pear in the middle of the Piece under the ftrongeft Light,

AEtms

pal Figure of

that the Fi- ^^'^^^J'^-

gures

rm

The Art of Tainting.

gurcs which accompany it, may not Ileal

it

from?

Gur Sight.

^ Let

XIL

the

Members be combined

Bgm-a! ^-^xnanner as the Figures are, that

and

by

parated

XIIL

a void fpace

let
,

the

to

fame

to fay, coupled

Grouppes be

ft-

avoid a confused

which proceeding from parts that are dif

pers'd without any Regularity, and entangled
one within another, divides the Sight into many
heap

^jj.

And

knit together.

is

in the

Rays, and caufes a difagreeable Confufion.

^ The Figures in the Grouppes, ought not to

cfpffi^(%ht like each other in their Motions, any more

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

14Q.

them contraft each other; bearing themfelvefi on the one fide, in Oppofition to thofe which
are fet againfi: them on the other.
but

let

Amongftmany
parts let there be

be feen

EfulJtj
thefUcf.

right fide to the

^ One

14^.

,^^hil^

fome one whofe hinder parts may

oppofing the Shoulders to the Stomachy

and the

^l^c

fide

J o.

left.

of the Pidure mull not be void,

other

is

fiU'd to the

Borders

matters be fo well difpos'd, that

the piece be full,

Figures which fliow their fore-

cafion to
in

ia

fome
it,

fill

fort

if

one

the Painter fhall find

the other ;

let

of

fide

fome

fo that they (hall

equal wJiether there be

but

oc-

appear

many Figures

or but few.

^ As

De

Arte Graphics.

21

Agglomeratajimul fint membra, ipf^que Figur^t

Stipentur, clrcumque glohos locus ufque Vacabit

Ne,

male

difperjis

dum

Vijus ubique Ftguris

xir.
Figaramm^
Clobi feu Cumuli.

VrndituTy cunSiifque opemferVente tumultu

1

3 J.

^artibus implicit^ crepitans confujh Jurgat,

KllL

tique figurarum cimulis non omnibus idem

Fofiturorutn

Corporis inflexus, nwtufquey Vel artibus omnes

diAerfitas

Conyerjis pariter non connitantur eodem,

cumulis.

Sed.

qu^dam in

Tranfverseque

diverfa trahant contraria

edits

pungent ,

<Cr

membra

in

i4P.

cMera frangant.

^luribus adverfes aVerfam oppone figurantj

^eBoribufque burner os, <^ dexter a membra Jmijirk^

Sen multis

conflabit Opus, paucifye

Altera pars

Aut

tabuU

defertajtety

fgurk.

"Vacuo ne frigida

dum pluribus

Campo

FerVida mole fua fuprejnamexurgit ad or^mt:

Sed
lit

tibi fie pofitis

fi

145.
XIV.

altera formis.

Tabularlibm-

mentunv

refpondeat utraque rebus,

aliquid Jurfum fe parte attollat in una.

Sic aliquid parte ex,alia confurgat,

JEquiparetj geminas

cumukndo

<sr

ambas

aequaliter oras.

^luribus

Jo-

De

22
XV.

'^lur'ihtis
^^

urSum^

^^^

eft

Tabula

^r^Jlitit in

5 J.

implicitum Terfonis

^ccre ut rarum

(l(amr
1

Arte Graphica.
eji

tmltis

excellens

Drama fupremo
ka denfa Ftguris

"Vel

adhucfere nulla

muhis quod Vtx bene pr^Jlat

Quippe folet rerum

yiimio difperfa

TSlec fpeciofa nitet "Vacuo niji libera

in

una

tumultn

Majejlatecareregrayi requieque decora

SedJlOpere

in

'y

Campo.

magno plures Tl?emagrande reqmrat

Ejfe figurarum Cumulosy fpeEiabitur una.

60.

Machina

tota reiy

nonfingula quieque feorjtm.

XVI.
Intemodia

F^es

&

cxhi-

xvi-L
Motusraanu*immotuicapids jungen-

'
xviii.

S^MnbUff
oae

8c

(pr^cipua extremis raro Internoc/ia membris

Jiditajint: fed fumma

Tedum

Vejiigia

nunquam,

Gratia nulla manet^ motufque^ Vigor que Figuras

^tro aliis fubter

^i capitis jnotum

major i ex parte

latentes,

manihus comitmtur agendo.

Diddles fugito afpeclus, contraBaque Vifu

Com- Membra fub inrrato. motufquCy aBufque coaBoSy

Tk

Art ofPakting:

^ As a Play is very
^

are too

many

feldom good, in which there ^r ?^'

Of the nunt^ r
y
r
tis very leidom ken and ber of Fi-

r
Actors, lo
.

25

almoft impoflible to perform, that a Pidure flhould

which there are too great a number

of figures.
And we cannot wonder that fo few
Painters have fucceeded who have introduced into
their works many Figures. Becaufe indeed there
be perfed

are not

'^^^'^"^'

in

many

Painters to be found,

fucceeded happily,

duced but few.

when even

Many

/(-.

who have

they have intro-

difpers'd Objedls breed

and take away from the Pidure

that grave Majefly, that foft filence and repofe,
which give beauty to the Piece, and fatisfaZtion
But if -you are conftrained by the
to the fight.
fubjed, to admit of many Figures, you muft then
1 6o
and the cflfed: of
conceive the whole together
the work at one view ; and not every thing feparately and in particular.
xvi.
^ The extremities of the Joints muft be feldom %fjf"''
confufion,

3,

hidden, and the extremities or end of the Feet ne- ^,^^^'

Ver.

^ The

Thermttonsof
the hands and

Figures which are behind others, have^;;^

nor Vigor, unlefs the Motions of

the hands accompany thofe of the Head.
neither Grace

Avoid the views which are difficult to be found,

and are not natural, as alfo forced Adions and
Motions.
Show no parts which are ungracious
to

'"^^

i^j.
-J^^'^I*,
^voidedinthc

tftUFkures,

The Art of Painting.

Sf

to the Sight,

as all fore fliortnings,

ufually

are.
"^

Avoid

ar^ equal

170.

and Out-lines which

alfo thofe Lines

which make

pointed and Geometrical

Squares and Triangles.:

exad: give to the

or other fliarp

Parallels,

Figures
all

Eye a

fuch as are

which by being too

certain difpleafing

metry, which produces no good

Sym-

But as
I have already told you, the principal Lines ought
to contraft each other
For which reafon in
efFe<Si:.

thefe out-lines,

i^c^

to have a fpecial regard

to the whole together; for

the Beauty

XIX.

you ought

^ Be

'tis

and Force of the

from thence

that

parts proceed.

not fo ftridly ty-d to Naturey that you

4UoHr^^^^^ nothing to ftudy, and the bent of your

ff^T^^JtoNA- Q^j^
Genius.
But on the other fide,' believe not
^Hre, but AC'
-commodate
that yout Geniws alone, and the Remembrance
^^^ ^
of thofe things which you have fecn, can afford
niw,
not

you wherewithal! to furnifli out a

beautifull Piece,

without the Succour of that incomparable Schoolmiftrefs,

ii

8 o.

ways

Nature

^ whom you

muft have

prefent as a witnefs to the Truth.

make a thoufand

Errors of

all

al-

We may

kinds 5 they are

everywhere 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 4

De

Arte Graphica.

z5

QHodcfHe refert Jtgnis^ reHos cjuodammodo traStu^,

SiVe Tarallelos plures Jimuly

<C^ yel acutas,

Vel Geomet rales (ut Quadra^ Triangula^) fornix

ijo*

Ingratamque pari Signorum ex or dine quandam

Symmetriam

fed pr^cipua

in contraria

femper

Signa Volunt ducitranjverfay ut diximus ante.

Summa

igitur ratio

CompoJitO'j

Nbw

it a

Signorum habeatur

in

omni

dat enim reliquis pretiumy atque vigorem,

Xix.

7iatur aflanti jts cuique.reVmBuSy

Hanc pr^eter nihil ut Genio Jludioque relinqu^ 3

Nee fine tefte rei natura^ Artifque Magi/Ira
Quidlibet ingenio

175*

accommcT***
^*"^*'

memor ut tantummodo rerum

^ingere pojfe putes

Multiplicejque >/>,

errorum

eft

18 a.

plurima fyhay

bene agendi terminm unuSy

Line a reSia Velut/ola

efty

^ milk recurV^

Sedjuxta Antiquos naturam imitabere pulchramy

Qjfalem forma reipropriay objeBumque requirit,

Kon

De

i6

185.
XX.
qua^Naturjc
^^^'

Stuunt

150.

Now

te

Arte Graphica.

igkur lateant antlqua'Kumtfmata^ Gemma-^

Vafuj Typiy Statute, c^lataque

Quodque

tills

ajfurgit imago^

Magnaque fe rerum fades aperit meditanti

Tunc mjiri tenuemj^zcli miferebere fortemy

Cm /pes nulla

ftet reditura, ^equalis in

XXI.

Stents

Veterum poji facula Mentem y

refert fpecle

Splendidior quippe ex

Marmora

Exquijita Jiet forma

^yum.

dum fola Ftgura

quomodo"fa-^%^^^)^ wukis lariat a

Coloribus ejlo.

cbanda.

Lati ampltque finus Tannorum^

tpy.

Membra fequensy

<s* nohilis

fubter latitantia Lumine

ordo

Hmbrd^

<(sr

^^^ ^^^^^ tranfverfus fape feratur^

QufcHn Pan- ^^P^^^^^^y
nis obfervan- Et clrcumfujos Tan?iorum porrigat extra

Membra JtnuSy

non contlguos^ ipjifque Figure

^arttbus impreffosy quaji ^annus adh<ereat

200.

Sed modice

expreffos

Hits

cum Lumine ferret <^ Umbris

Quiequ^

as alfo
lines

The Art of Fainting.

there are many feveral forts of

but there

Our

bufincfs

is

one only which

is

is

17
crooked

ftraight.

to imitate the Beauties of

have done before

Na-

and as 1 8 j.
the Objed: and Nature of the thing require from
^J^^' p^
AJis,
And for this reafon we muft be careful! ingresfherf,ies
the fearch of Ancient Medals^ Statuesy Vajes and Natunf^^"'^
as the Ancients

ture,

(Baffo (I(elieWs

^ And

dilcover to us the
the Grecians
deaSj

of

all

us,

other things which

Thoughts and Inventions of

becaufe they furnifli us with great

I-

and make our Produ(5tions wholly beautifull.

in truth after having well examined them,

And
we fliall

therein

find fo

many Charms,

that

90,

we

(hall pity the Deftiny

of our prefent Age without

hope of ever arriving

at fo

high a point of Perfe-

iftion.

you have but one fingle Figure to w ork . ?^^'

upon, you ought to make it perfectly finifli'd purJ"iow ll
treated.
and divcrfify'd with many Colours.
^ Let the Draperies be nobly fpread upon the xxir.
^^'
Body let the Folds be large, '^ and let them fol-^/^v/
low the order of the parts, that they may be feen
5)5.
underneath, by means of the Lights and Shadows,
If

fhould be often

'notwithftanding that the parts

travers'd (or crofs'd)

by

the flowing of the Folds

which loofely incompa'fs them,

too ftraight upon them, but

^
let

without

fitting

them mark

the

parts

200.

Tte Art of Painting.

qS

parts which are under them, fo as in

fome man^

ner to diftinguifli them, by the judicious ordering

^ And if the parts

of the Lights and Shadows.
be too much diftanc from each other, fo that
there be void fpaces, which are deeply fhadow'd,
we

are then to take occafion

voids fome Fold to

-^

And

as the

make

to place in thofe

a joining of the parts.

Beauty of the Limbs

confifts

not in

and rifing of the Mufcles, but on the

contrary, thofe which are lefs eminent have more
of Majefly than the others; in the fame manner
the quantity

205.

the beauty

multitude
der,

of the Draperies,
of the

and plain

per{ons

is

alfo

folds,

o.

The quality of

the

to be confider'd in the Drapery.

to be Magiftrates, their Dra-

ought to be large and ample

Country
Clowns or Slaves they ought to be courfe and
^ If Ladies or Damfels, light and foft.
fhort
'Tis fomecimes requifite to draw out, as it were
from the hollows and deep ftiadows, fome Fold^
and give it a Swelling, that receiving the Light,

peries

not in the

but in their natural or-

fimplicity.

^ As fuppofing them
2

confifts

Jf

it

may

contribute to extend the clearnefs to thofe

places where the

means, we

flhall

Body

requires it;

and by

this

disburthen the piece of thofe hard

Shadowings which

are always ungracefull.

^ The

De

Arte Graphica.

Qut)^(jue intermiffls pajfim funt dijf/ita

Copulety

25^

Vanis

inducts fubterVej fuperVe lacernis.

Et membra

Majefiate

ut magnis faucifyue exprejfa lacertis.

forma atcjue decore 5

Iannis cjuos fupraoptaVtmm amplos

aliis pr^Jtant

Hand fecm in

ZOfi.

^erpaucos Jinuumflexmy rugafque, flrlafciue^

Membra Juper

Verfu faciles inducere prteftat^

Tiatur^que

proprlus jit

ret

^atriciisy fucc'mBus

Mancipiifque

er'tt

^annus

ahundans

crafjujque !Bubulcis

leVisy tenerisy

gradlifque ^uellis,

Ihque caVts maculifque umbrarmn aliquando tumefcet

Lumen

ut exctpiens operis qua

Majfa requ'mt

Latins extendaty fublatifque aggregetumbris.

Nobiliai

a;.

De Arte Graphica.

3'o

Nohilia ArmajuVant virtutumy ornantque FtgurtUy

215.

o^^^'l

dn^^^^

Mufammy

Belliy

Cultufque

Dearum

turn conferat

Necjit opu^ ntmip^m Gemmis Juroaue refertum

namentum.

Af^^^ etenim

magno mpretto, Jed plurma Vm.

XXIV."
Omamentum

'Auri

&

X/emmaruin*

>Prorotypus.

2 2 o.

"XXVL

Sjf^ demdc ex Fero neqnmnt frttfente ynderiy

Trototypum prim illorum for mare juVabit.

Cony e?iiat locus atque

^^'"^^"^Seryetur y
Scena.
Charites

fit

hahittiSy

rltufcjue decufcjut

Nobtlit^y Charltumque VemflaSy

{(^arum homini munusy Cdoy non Arte petendum.)

&

Nobilitas.

"X

XV nil.

Res

quaeque

locum fuum

Naturae Jit uhicjue tenor

ratiocjue fe/juenda,

T^on

5T

The Art ofVahdng:

^ The Marks or Enfigns of Vertucs contribute

not

little

by

their noblenefs to the

rations belonging

to the Liberal JrtSy to

^ But

let

j.

Ornament oi ^^^jj^-^

Such, for example as are the Deco-

the Figures,

Sacrifices,

conmbnte

^
to

War or ^^^^^

not the work be too

much

J^^^^'

Gold or Jewels, becaufe the rarefl: Stones md

'"^"
are ever the deareft and mofl precious 3 and thofe ^^^^4.
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 ^^
whofe Nature is difficult to be retained in the Me- 220.
mory.
^ We are to confider the places, where we ^^^^^- ^
he iicetie of
lay the fcene of the Picture 5 the Countries where the figure,
they were born whom we reprefent 5 the manner
of their Adrions, their Laws and Cuftoms, and

enrich'd with

'J

all that is

properly belonging to them.

Let a noblenefs and grace be remarkable ^^J^^through all your work.

But to confefs the truth, md the Nqthis

is

mod

rare Prcfent

difficult

which the

undertaking

Artift receives

hand of Heaven, than from

the

and

his

and a very
rather from

own

'^*

Induftry

Studies.

In

all

you

things

are to follow the order

VT
r
r
n
Nature, for which realon you mult
I

of ^xviii.
r

beware 01

every

thing be [et in

drawing or painting Clouds, Winds and Thun- 'lucT,'^^^

der

The Art of Painting.

32

der towards the bottom of your Piece

2 2 J.

and Waters,

in the

Wood}

but

let

You

uppermoft parts of it:

are not to place a Stone

of

and Hell,

Column on

every thing be

a foundation

fet

in

its

proper

place.

XXIX.
ms,

you are to exprefs the motions of the Spirits, and the affedtions or Paffions
whofe Center is the Heart In a word^ to make
the Soul vifible, by the means of fome few CoBefides

o.

"

all this,

lours; ^this
confifts.

is

Few

that in

which the greateft difficulty

there are

with a favourable eye in

that

it

whom

Jupiter

regards

Undertaking.

this

appertains only to thofe few,

who

So
parti-

fomewhat of Divinity it felf, to work thefe

mighty Wonders. *Tis the bufinefs of (I(l?etoriciansy to treat the characters of the Paflions
and
cipate

-2 ? J-

I ihall content

my

felf

with repeating what an

excellent Mafter has formerly faid

on

this

Subject,

That the Jtudied motions

tural as thofey

of the Soul, are neVer fo nawhich are as itwerejiruck out of it on

the fudden hy the heat

^e

240.
XXX.
wMnentf

are to have

and

Violence

of a

no manner of

real ^ajfion.

relifh

for

Go-

Ornaments, as being in effe(5l fo many

Monftcrs, which barbarous Ages have produced
Juj-jng which, when Difcord and Ambition caus'd

thique
are

u be avoided.

by

the too large extent

of the

^man Empire

had

produc'd Wars, Plagues and Famine through the

World,

De Arte Graphica.

225.

T^on Vtcina pedum tabulata excelfa tonantis

AJlra domus depiSia gerent nuhejcpue not ofque

Nee mare

deprejfum Laquearia

fumma "Vel orcum

Marmoreamcjueferet cannis "Vaga pergula molem

Congrua fed

Hdc

propria, feinper Jiattone locentur,

prdder motus animorum

Exprimere JjfeElus^ paucfcpue

^ingere pojfe animamj atque

Hoc

opus, hie labor

eft

<sr

corde repojlos

colorihus ipfam

oculis pr^ehere

230.

AMtus^

Vtdendam^

pauci quos aequus amavit

Juppicer, aut ardens evexic ad aethera vircus

Dis flmiles potuere manu

Hos

mracuta

tanta.

2-

j 5.]

ego (^?etorihus traSlandos defero tantum

Egregii antiquum memoraho foph'fma Magijlrij

Verius afFed:us animi vigor exprimit ardens^

Solliciti

nimiiim

Denique

quam fedula

nil fapiat

Gotthorum barlara

Ornament a modo. f^clorum

/\

'

11

Queis ubi bella^

cura laboris.

jamem

<(^

trito

mon/lra malorum

n
r
V
r
pejiem, Dtjcordia, LuxuSy
'

<(sr

Et ^manorum resgrandior

240.
^^^^'
Gotthorum
ornamenta

"^"

intulit Orhiy

IngenUiC

*'

15^ Ai'te Graphica;

34

Li^enu^ periere Artes^ periere fuperb^

Arttficum moles y fua tunc miraculaVtdit

2 4 J.

Ignthus abfumi ^iSlura, latere

FornktbuSy j^ortem <^

coaBa

rel'tcjuam confidere Cyyptis^

Marmoribujque diuSculpturajacere

Imperium

Inter ea fcelerum gravitate fatifcens^

Horridamx totum

2 JO.

fepultis.

inyajity donocjue fuperni

Luminis indignuniy errorum

caligine merfit^

Impiafie ignaris damnaVtt Jd^cU tenebris::

ttnde Coloratum Gratis hue nfque Magijiris

TsLil fuperefl

2^5-5.

^^^OMATertia

^^^"^*-

tantorum

Hominum quod Mente

TSloJlrates juyet Artifices y

2\J^^

qf^i

doceatque Labor em

Modoqne>
3

Chromatices nobis hoc tempore partes

^m^eftituot^ quaks Zeuxis trailaVerat

olim.

Hujus.

The Art of Paintrng.

55

World, then I fay, the (lately Buildings fell to

Ruin, and the noblenefi of all beautifuU Arts was
totally extinguifh'd 3 then it was that the admirable and almoft fupernatural Works of Tamthig
were made Fuel for the Fire But that this wonderfull Art might not wholly perifh, ^ fome ReJiques of it took Sanctuary under ground, and

245,

thereby efcap'd the

common

And

Deftiny.

the fame profane age, the noble Sculpture

in

was for

a long time buried under the fame Ruines, with

beautifuU Productions

all its

The Empire

tues.

weight of

its

in the

and admirable

mean

Sta-

time under the

proper Crimes and undeferving to

enjoy the day, was invelop'd with a hideous night,

which plung'd

into

it

an Abyfs of

2 50.

and co-

errors,

ver'd with a thick darknefs of Ignorance thofe

unhappy Ages,

From

hence

it

in juft revenge

comes

of their Impieties

to pafs, that the

thofe great Gvdicians are wanting to us

of their Painting and Colouring

aflift

our modern

now

works of
$

nothing

remains to

either in the Invention,

Artifts,

or the manner of thofe Ancienrs5 neither

any
J

man who

MATIQUE
to renew

it

is

able to reftore

part or

is

fo

CH RO- ^'J'f"^

who by

this

oiP^mfr^,
it

part

charming, fo magical, and which fo

F 2

'^'

third part of

COLOURING

Zeuxis

j.

there

is

to that point of excellency to which

had been carry'd by

which

^ the

25

admi-

The Art of Painting.

3^

admirably deceives the fight, made himfelf eqiiar

2 (Jo.

to the great JpeOeSy that Trince of Painters

height

that

deferv'd

poflfefles in the

And

as this

and

of reputation which he

World.
part which we

may

call the

ftill

Soul

of Painting and^its utmofl; perfedlion, is a deceiving Beauty, but withal foothing and pleafing: So
flie

has been accus'd of procuring Lovers for

her

Sifter,

But

ber.

ing, that

to

fo

fet

on

ingaging us to admire

artfully

little

Colours, and

falfe

2(Jc,

and

have

this

Proftitution,

this

thefe

Deceit, diftionour'd Paint-

the contrary, they have only ferv'd

forth her Praife,

and to make her merit

far^

us,

known, and therefore it will be profitable to

to have a more clear undcrftanding of what

we

call

ther

Colouring.

^The
the
is

light

Shadow

produces

kinds of Colours, and

all

The more

gives us none.

nearej to the Eyes, and the

opposed to them, the more

caufe the Light languifhes
it

170.

removes from

its

more

it is

and

Body

diredlly

enlightn'd.

it

is

Be-

leffens the farther

proper Sourfe.

The nearer the Objed: is to the Eyes, and the

more dired:ly it is opposed to them, the better it
is

fec% becaufethe Sight

is

weaken d bydiftance.

Ti&

De
Hujus

cjuando

Arte Graphics.

magk

"Velut

57

Arte aquavit Jpellem

^iiiorum Jnhigraphum meruitque Colorihus altam

Nominis dterni famam

Hdc<juidem ut

in Tahulis fallax

Et complementum Graphidos

6o>

fed grata Venujlas^

{mirab'tleVtfu)

^ulchra yocabatur, fed Juhdola Lena

TSion

toto orhe fonantem.

S ororis:

tamen hoc lenodnium 5 fucufque, dolufque

Dedecori fuit unquam

Laudihus

meritis

illi

2d j-

fed femper honoriy

hanc ergo nojfe juVahit.

Lux yarium vivumque dahit^

nullum

Umhra

Colorem^

duo magts adverfumefl corpus lucijque propinquuniy

nam debilitatur eundo.
Clarius efi Lumen
-^

Quo magts

efi corpus

Confpicitur melius

direBum oculifque propinquum^

nam Vtfus

hehfcit eundo.

Erg^

~l^

.^

''

%f '^f^J"

2-70,

De Arte Graphica.

3B

XXXI.
jr^Q Iyi corporibus qu^e vifa adverfa rotundis
Tonorum, r
r
ir i
v
r
.Luminum & Integra Jtnty extre?na ahjcedant per ait a Jignts
-

""^

;rada

27 J.

non pr^cipiti labentur in

Confujts^

Umhram

Clara graduy necadumhratain claraalta repente

^rorumpant
Lucis O*

Totum

feder'n fenflm hinc at que inde meatus

Umhrarum 3

opus^

ex

tnultis

capitifque unius adinflar

quamquam jit

partihus unus

Luminis Umhrarumque globus tantummodo

a&o*

SiVe duoVel

tres

Divi/umTegma

Stntque

it a

flety

ad fummumy ubigrandius

i?i

ejfet

partes Jlatione remotes.

difcreti inter fe ratione coloruniy

Luminis umhrarumque anteorfum ut corpora clara

Obfcura umhrarum requies fpeElanda relinquat ;

x?5

CUroque

exiliant

umhrata atque affera Canipo*

Jc

The Art of fainting.

Tis

^^

round Bodies^which

therefore neceflary that

are feen one over againft the other in a right

An-

xxxi.
Jhe'rotefS

and ftrong Colouring;, ^k^f '^^^

^ 5
^ Shadows,.
Pr
and that the extremities turn, in lolin^ thcm^
felves infenfibly and confufedly, without precigle,

fliould be of a lively
-^

pitating the Light all

dow

on

the fudden into the Sha-

or the Shadow into the Light.

But die

muft be

commbn

paflage of one into the other

and imperceptible, that is by degrees of Lights into 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:

pofition

requires,

that

you

fliould

1 8 oi.

have two

Grouppes, or even three ( ^ which ought to be

the moft) in your Piece, take heed that they may

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 5 and
which caufe it to repofe for fome fpace of time,
and that reciprocally the Shadows may be made
fenfible by enlightning your ground.
bedetach'd, that

is

feparated or diftinguifli'd

The:

^8j>

The Art of Painting.

j^o

The raifing

and roundnefs of a Body, oughc

to be given ic^ in the fame manner as we behold
it in a Convex Mirrour, in which we view the Figures and

ipo,

more
let

all

other things, which

bear out with

Life and ftrengch than Nature

it felf.

^ And

thofe which turn, be of broken Colours, as

being

and nearer to the borders.

lefs diftinguifli'd,

Thus the Painter and

the Sculptor, are to

work

with one and the fame intention, and with one

and

ftrikes

of

fame condud.
For what the Sculptor
off, and makes round with his inftrument

the

Steel,

the Painter performs with his

cafting behind, that

2p J.

by

which he makes

and breaking of his Colours 5

and drawing forward by his moft lively Colours
and ftrongefl: Shadows, that which is directly op-

more

and
more diftinguifh'd, and at laft enriching the naked
Canvafs, with fuch Colours as are borrow'd from
Nature 5 in the midft of which he feems to fit 5
and from thence with one glance of an Eye and
without removing

his feat,

in a

Machine about

When

%fZ^fl'f^^^K
^roHftdf,

folid Bodies,

are plac'd

grounds,

his

as

for

fenfible,

he takes that part of

ter which fhe reprefents to his Sight

XXXIL

vifible

the Diminution,

posed to the Sight, as being

300.

lefs

pencil

and turns

as

work.
fenfible to the feeling,

on Light,
example,

and

and tranfparent

The

Heavens, the

Clouds

De

Arte Graphica.

4-1

Acyelutl infpeculis conVexis eminet ante

Afperior reipfa yigor

^artihus adverjis

<(sr

Vts auEia colorum

magis

fuga rupa retrorfum

<(^

Illorum ejl (ut Vtfa minus Vergentihm oris)

290.

Corporihus dabimus formas hoc more rotundas^

Mente Modocjue

igitur ^lajles

^ Ti^or eodem

Difpojitum traBahit opus 5 qu^ Sculptor in orhem

Atterit^ haec rupto proeul ahfcedente colore

Jjfequitur TiBory fugientiaque

Jamjtgnata minus confufa

ilia

retrorfnm

^95

colorihus aufert

Anteriora quidem direSie adverfa, colore

Integra, ViVaciy

fummo cum Lumine O* Urnhm

Antrorjum diJlinBa

refert Velut afpera vifu.

Sicque fuper planum inducit Leucoma Color es.

Hos

"Velut

00.

ex ipfa natura immotui eodem

Intuitu circum Statuas daret inde rotundas.

Denfa Figurarum

folidis

qu^ corpora jormis

XlXXII.

Suhditafunt taBu non tranJJuenty fed opaca

fa'&*%S

In tranjlucendi fpatio ut fuper Aera,

cum

Nubes
Lympida

tranQu-

De

41
3

o J.

Lympida

Arte Graphica.

ftagita Undaruniy

Jfperiora

illis

inania cetera dehent

<tsr

prope dnumflantlhus

ejfe^

Ut diJiinBa magisfirmo cum Lumme <(sr UmbrHy

Et graVtorihus utfujlenta eolorihuSy inter
Aer ens /pedes
2

10.

fubjtjient femper opaca

Sed contra procul abfcedant perlucida

Corpor'thus leVtora-^

No^df^H*

^^^

uti ISlubeSj

poterunt diverja

Aer

denjis

^ Unda.

duo Lumina eadem:

locis

Ccelo Lumi-

In Tabula paria admitti, aut ^qualia pingi

lam^aequalia".

Majus

y.

mediam Lumen cadet ufqe TabeUam

Latius infufum^ prirm quafumma Figuris
at in

^s agitur^ circumque
Utque
Soils

in progrejfu

2 a*

Jabar attenuatur ab ortu

ad occafum paulatim,

Sic Tabulis
J.

or as minuetur eundo

Lumen,

cejfat

eundo

tota in compage Colorumj

^rimo a fonte^ minus fenfim

declinat eundo,

MaJHs^

The Art of Painting.

^3

clouds and Waters, and every other thing which

is in Motion, and void of different Objc<5l:s5 they
ought to be more rough and more diftinguifliable than that with which they are incompafs'd,
that being ftrengthen d by the Lights and Shadows, or by the more

may

fenfible

and preferve

fubfift

amongft
and that on

their Solidity

and tranfparent Species,

the contrary thofe grounds which are, as we have
faid, the Sky, the clouds and the Waters being

may

and more united,

p j.

Colours, they

thofe aereal

clearer

310.

be thrown off from

the Sight to a farther diftance.

wxtttt
XXXIII.
t T
Tij^t
two
equal
there
Lights
in
the
We
fame Pidure but the greater Light muft ftrike for- Zf T^ud
cibly on the middle; and there extend its greateft |#^^ tn
clearnefs on thofe places of thePi(5turc, where the
J
^
principal Figures of it are, and where the ftrength
of the a6tion is performed, diminifliing by degrees
as it comes nearer and nearer to the Borders;
and after the fame manner that the Light of the
Sun languifhes infenfibly in its fpreading from
the Eaft, from whence it begins, towards the
Weft where it decays and vaniflies fo the Light
of the Picture being diftributed over all the Colours, will become le(s fenfible the farther it is re320.
mov'd from its Original.
XTrr

are never to admit

a,

The

Ti&^

44
The
tues

^^^ of Painting.

experience of this

which we

fee fet

up

is

evident in thofe Sta-

in the midft of Publique

whofe upper parts are more enlighten d

and therefore you are to imitate
than the lower
them in the diftjribution of your Lights.
Avoid ftrong Shadows on the middle of the

Places,

Limbs; lead
325.

the great quantity of black

which

compofes thofe Shadows, fhould feem to enter

into them and to cut them
Rather take care to
place thofe fhadowings round about them, there:

by

to heighten the parts,

ous Lights, that

dows may

after

fucceed.

and take

great

And

fo advantage-

Lights, great Sha-

therefore Titian faid,

with reafon that he knew no better rule for the

diftribution of the Lights

and (liadows, than

Obfervations drawn from a

3 J

o.

his

Sunch of Grapes.
Pure or unmix'd white either draws an ob-

^l^jj^^^jed nearer, or carries it oflF to farther difta nee

/ack.
It draws it nearer with black, and throws it backward without it. ^ But as for pure black, there
;

is

nothing which brings the objedt nearer to the

Sight.

The

light

being altered by fome Colour, ne^

communicate fomewhat of that Colour to ^he Bodies on which it ftrikes, and the
fame effect is performed by the Medium of Air,
ver

fails

to

through which

it

pafles.

Tha

De

Arte Graphica.

4$

Majus

ut in Statuis per compita Jlantibus Urhis

Lumen

habent Tartes fuper^e^ minus inferiores^

Hem erit in tahulisy

major cjue nee umbra Vel ater

Membra Figurarum

intrabit Color atquefecabit t

Corpora fed circum

Umbra

Atqueita qu^retur

Lux

Ut

late

infufum

Lumen

caVts latitabit oberran&i

lata

Umbra fequatur

Umbrarum Normam

^urum Album

Cum

Nigro

7 % c,

opportuna Figurisy

Unde nee immerito fertur Tttianus

Lucis <^

'

effe potejl

ubicjue

appellajfe

Racemum.

propiuff^ magifcj^

ante'Venit propius^ fugtt abjcjue

remotum :
remotum

^urumautemNigrumantrorfum'Venit ufqspropinqmm*

Lux fucata

fuo

tingit mijcetcpue Colore

Corpora^ ficquefuoy per quern

Lux funditury

aer.

Cor^por^

^\

Album&Nli
grum.

De Arte Graphica.

4^

Corpora junBafimuly circumfufofque Cohres

3 ^ y

XXXV.

Excipiunt, propr'mnujm

XXXVI.
Umo CgIo-^
Tum.

4^*

radioja refleSlunU

(plur'ihm in Solidis liquidk fuh Luce propmauk

^
^
r
1
1
rf /- i
TarttapeSy mtxtolque Jtmul decet ejje Lolores.
.

Hanc Normam
3

diU

Venetl TiSlores rite fequutiy

(Quxefuit Anttquis Corruptio diBa Colorum)

Cum plures

opere in

magno

pofutre Figura^y

T^e conjunBaJimul Variorum inimica Colorum

Congeries

Membra
3 4 J'

Formam

implicit am

<(sr

concifa minutis

daret Iannis y totam unafuquamque

Affmi aut

um tantum

'Veflire Colore

Suntfolitiy "Variando Tonis tunicamque

togamque

Carbafeofque Sinus, yel amicum in Lmnine

Cont'tguis

Figuram

<^ Umbr^

circum tebu^ fociando Colorem^

XXXVIL
^

e^ interpo-

o.
J 5

^^ ^^-^^

ejl fpatH aerety

aut qua purior Aery

Cunlia magis SJlinla patenty fpeciefque refers ant

^uaque

The Art of Painting;

The

47

Bodies which are clofe together, receive

355.

fiom each other that Colour which is oppofite to ^.^^ J^:

The reflection
1-1
them; and reneo: on each other that which is na- of Colours,
turally and properly their own.

111

in

'Tis alfo confonant to reafon, that the greateft 'o^^Jcq.

part of thofe Bodies which are under a Lightjwhich ^of^rs,
is

extended and diftributed equally through

fliould participate

The

of each others Colours.

Venetian School\\2Mm^

2.

great regard for that

all,

Max-

im(which the AncientscalFd the breaking of Colours)

in the quantity of Figures with which they fill their

340.

have always endeavoured the Union of

for fear that being too different, they

Pi<5lures,

Coloursy

fliould

come

to incumber the Sight

their

con-

Members

feparated

Folds, which arc alio in great

number 3

fufion with their quantity of

by their
and for

by

this

peries wich.

reafon they have painted their Dra-

Colours that

45.

r^,

are nearly related to

each other, and have fcarce diftinguifli'd

them

any other way, than by the Diminution of the

Lights and Shadows joining the contiguous Objed:s by the Participation of their Colours, and
thereby making a kind of Reconciliation or Friendfliip

betwixt the Lights and Shadows.

The

lefs

aereal fpace

and the Objed, and

much

the

more

the

which

there

betwixt us

by fo xxxvii.
arepreferv'd and A^-foJtil/^fAirl

more pure

the Species

is

the Air

is,

ftinguifh'd

The Art of Fainting.

4^

and on the contrary the more fpacc

of Air there is, and the lefs it is pure, fo much
the more the Object is confus'd and embroyl'd.

ftinguidi'd

XXXVIII.
The

Thofc

relation

objects
',

which are plac'd foremoft to

^

the view, ought always to be

afDijtances.

ri'

more hniln

d, than

and ought to have

dominion over thofe things which are confus'd
and tranfient. * But let this be done relatively,
thofe

which are

caft

behind

(^^^) one thing greater and ftronger, calling the

lefs behind and rendring it lefs fenfible by its op-

3 5 5*

pofition.

XXXIX.

Thofe

Of

Bodies
^bich are diJianced.\

things
i

which arc remov'd to adiftant

view, though they are

[^^^

^^^ ^[dik

many,

as for

yet ought to

make

example the Leaves on

and the Billows in the Sea.

360.
Lgf j^Qj. fj^g Objects which ought to be contiof :5i^;V/guous be feparated, and let thofe which ought
the Trees,

T^uow^M^^ be
thofe

which this

xlT^

be apparently fo to us

to

Colour or

in Light,

.
i

ie avoided,

^?Lii.
Tones andCo'^^**^^'

lee

Let two contrary extremities never touch

Comrarj ex^g^^]^ other, either in

'

tremiues

but

be done by a fmall and pleafing difference.

'

feparated

there

but
r

let
i

always be a 'Medtum partaking both of the

one and of the other.

Let the Bodies every-where be of different
Tones and Colours 5 that thofe which are behind
may be ty'd in Friendfliip together, and that thofc
which arc foremoft

may

be ftrong and

lively.

'Tis

De Arte Graphica.
Qudque magis denfas
jimplum

inter fuerit

nebulisy

fpatium pomBu^y

Confundet rerum fpecies^

^9

aut plurimiis Aer

auvds

tn

XXXVIIL

<s* ferdet inanes.

Diftantia-

Anteriorci fnagis femper fintta remotis

Incertis dominentur

More

relat'tVOj

<(jr

tum

abfcedentibuSy idque

35J<

ut majora minoribus extant,

CunEia minuta procul Majfam denfantur

Ut

folia

Relatio.

in unanty

arhoribusfyharum^ O* in jE^uore fluSlm.

xxxix.

^'ifta

Contlgua

Contigua inter fe coeanty fed

Dijiabuntque tamen^rato

Extrema extremis

(2> difcrimine parVo,

contraria jungere noli

Sed medio fint ufquegradu/ociata

&

Diffita.

difflta difienty

60.

XLL

Ck)ntraria ex-

Colons.

trema fugi
enda.

Corporum

erit

Tonus atque Color yariatus ubique

Qu^^rat amicitiam retroy ferns emicet ante.

XLii.
S?oTvii

SMpre-

De

50

Supremum

265.
XLHI;

Arte Graphics

in Tabulis

Lifanus labor Jrtificum

rion Tigmenta queant

Jedus.

Lumen

capture diet

cum attmere tantum

auream Jed Vejpere

Sen modicam mane albentemy Jhe

Toji

Sen

370.

Hyemem
nebulis

6^?^.Li^riay

accip'ientj

tonitruque rubentem.

lucent^ yetuti ChryflaUa^ Metatla^

Ojfa nsr Lapides

Fillofa,

BarbtZj aqueique Oculiy Crinesy

Et
^

*y

Liqu'tday ut ftagnans

Corpored fpeciesy

Luminibus percuffa

^ea

XIV.
^*'
butt!*"^

280.

Vel

Jqua^

Holoferica,

^luma

liquidejtfit

reflexoeque

piBa, fuperque

fuisy ftgmjque repojiis.

Campus TabuU Vagus

Abfcedat latuSy liquideque bene

Tota ex mole

ut Fella-a, belles,

fub Undis
cr Jquis contermina cunBa^

Subter ad extremum
'

aFtam

nimbis transfujo Sole caducam,

fultam

Lae^a qu^

XLlv.

dtheris

Lucerrty

Coloribusy

Qudeque cadunt retro in

ejloj

levifque'

unSi'is amicis

una five Tatella

Campum
~~confinia Campo.
FiVidus

The Art of Painting.

'Tis labour in vain to paint a High- noon, or

Mid-day light in your Pid:ure, becaufe we have

no Colours which can fufficiently exprels it, but
'tis

as

better counfel,

that

is

7.

6 5.

^M?^*

Light.

tochoofe a weaker light; fuch

of the Evening, with which the Fields

are gilded

by

whofe whitenefs

the
is

Sun

or

allay'd

a Morning-light

or that which appears

Shower of Rain, which the Sun gives us

through the breaking of a Cloud: or during
Thunder, when the Clouds hide him from our
view, and make the light appear of a fiery colour.
after a

Smooth
Metals,

bodies, fuch

Wood,

as Chryftals

polifh'd

Bones, and Stones ; thofe which

^70.
XLiv.
thingsTeL

arecover'd with Hair, as Skins, the Beard, or ^'^^l^f^^*"^^^

the Hair of the

and

Head;

as alfo

Feathers, Silks,

which are of a watery nature and

thofe which are liquid, as Waters, and thofe corthe Eyes,

poreal fpecies, which

and

we

fee reflected

by them

which touches them, or is*

near them, ought to be much painted and unitedly on their lower parts, buttouch'd boldly above

by

j/ j.

in fine, all that

and fliadows which

the light

are proper

to

them.

^
clean

Let the
,

free

Field, or

tranfient

Ground of the Pidure, be

,

light,

and well united ground ofth

with Colours which are of a friendly nature to

each other

and of fuch a mixture,

Hz

XLV.

as there

may
be

^^'^^'<'-

3^*

The Art of FatJiting.

52

of every colour that compofes^

be fomething

in

it

your work,

as

were the contents of your Pa>

the bodies mutually partake of

And

lette;

let

it

the colour of their ground.

xLVi.
Of the vivn^
titj

of Co-

^. Lgf y^yj- Colours be lively, and yet not

J
jJ ^
J

look (according to the Painter

Proverb^

as

it

they had been rubb'd or fprinkled with meal

that

is

to fay,

^ Let

let

them not Be

pale.

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 rethe parts

mote from fighc, and towards

more faintly touch'd,

385.
-nAPi^*
Of Shadows.

to be

ofone

may appear

Ma/^tr^

as

-r

as

it

that all the fliadow-

they were but one.

much

as poflibly

you

piece,

can, to paint

drily.

^ The Looking-glafs
ny

Beauties,

ture

If

you in mawhich you may obferve from Nawill inftruft

fo will alfo thofe objeds

an Evening
Mhalffi.

Pi(5lure,

^^^ ^^^ whole Pidture be made of one

and avoid

XLix.
gUfsthlpMH-

of the

Th^^a^'
f^'''

Let there befo much harmony, or confent,

in the Mafles

ings

the borders, be

you

which are feen in

in a large profpe(5l.

are to paint a half figure or

a whole

iJiW^owV^^^' 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

^w

De

flVtdus

Arte Graphica.

ejlo Color

Jdverjifque

has

5?

nimlo no'n pallidus Alhoj

ingeflus plurimus ardens^

Sed kVtter parceque datus "Ver^entihus

CmSia Lahore fimul

coeanty Velut

xLvr.
Color vividuSjnontaHien pallidus>

oris.

Umhra

ineadem.

^lvit
Umbra.
XLVIII.

Ex una Pa-

Totajtet Tabula ex una depiBa Patella,

tella fit Ta*;

bula.

XLIX.

Multa ex Katura Speculum pr^elara

Quii^cjue

procul Jero

docehit

pains fpeSiantur in amplis.

Speculum
Piftorum
Magifter..

L.

Dimidia Figura vel In-

Dimidia

Ante

Et

Bffigies^

alias pojlta

qud

fola,

Vel Integra plures

ad Luceniy jlet proxmaVtfuy

latis fpeSianda locisy

ocuUfcjue remota,

Luminis Umbrarumque gradufit piUa fupremo,

^artibus^

tegra antd;
alias.

3^0.

I^ Arte Graphica.

54.

<Parlibus in minimis imitatio jufia iwvahit

I-T.

39S*

^^iew,

akerno/S njerendo tempore eodem

Cortfimiles

Partes J

cum Luminis

atque Colons

Compojttis jujlijque Tonis^ tunc parta Lahore

Si

Ln.
*'
bulae.

facili

0*

Fi/a

loco

J^^^^
Sint <s*

400.
*

yegeto mieat ardensy

viVa Videtur.

angujlo ttnere pingantur, amia>

Colore graduque^ procul cjua p'lBa feroci

tn<ecjuali

Van at a

Colore ^ Tonoque.

-Grandia Jtgna yolunt fpatia ampla ferofjue Colores.

Lumina

The Art of Fainting.

aad

at a diftance

occafion

moft

work

lights,

the

nor the ftrongeft fhadows.

for a Portrait:,

are to

55

be fure on that

not to be fparing of great

lively colours,

^ As
you

from the Eyes

or Pidures by the Life,

precifely after

^ p^^-

Nature, and to

what fhe fhows you, working at the

fame time on thofe parts which are refembling
exprefs

to

?pc.

each other: As for example, the Eyes, the

Cheeks, the Noftrils and the Lips

arc to touch the one, as foon as

lo that

you

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

which Nature has produc'd to refemble the

other and thus imitating Feature for Feature with
a juft and harmonious Compofition of the lights
part,

and fliadows, and of the colours, and giving to

the Pidure that livelinefs which the freedom and
force of the Pencil make appear, it may feem
the living hand of Nature.
The works which are painted to be feen in Lii.
little or narrow places, muft be very tender and thePiaurL
well united with tones, and colours 5 the degrees
of which ought to be more difFerenr, more unequal, and more ftrong and vigorous, as the work
is more diftant
and if you make great figures,
let them be ftrongly col(i^ur'd, and in very fpaci:

ous places,

^ You

The Art of Painting,

5-^
Llir.
^^ ^^'

fvh^tli ks
are

reciHifite,

40 J.

^ You

are to paint the mofl: tenderly thatpof-

and endeavour to loie inlenfibly

the ^ large lights in the fhadows which fucceed
them, and incompals them about.
^^^^^ Pi6lure be fet in a place which is enhgh-

you can

fibly

wlth a

muft
contrary
on
the
very brown, if
be very clear 5
the place be ftrongly enlighten d, or in the open
t^vi

dy but

little

light,

the colours

as

Air.
LV.
arevlcioJs^in
painting to

be avoided,

Remember

to avoid objeds which are full of

hollows, brolccn in pieces,

o.

and which are

feparated, or in parcels : fliun alfo thofe things

^
'
.
\,
it^i
which are barbarous, Ihocking to the Eye and
.

ni-

parry-colour'd,

little,

and

of light and ftiadow

obfcene, impudent,

all
:

which

is

of an equal force

as alfo all things

filthy,

which are

unfeemly, cruel, fan-

poor and wretched; thofe things which

are (harp and rough to the feeling In (hort, all
things which corrupt their natural forms, by a
confufion of their parts which are intangled in

taftical,

each other

For the Eyes have a honour for thofe

KtintV.

Hands will not condefcend to touch.

But whilc.you cudeavour toavoid one vice, be
cautious left you fall into another
for Fertue is

415.

flacd hetwixt two extreamsy which are on both Jldes

Lyj
Tijepruden-

things which the

equally hlameahk,

Thofe

De

Arte Graphica.

57

Lumina lata unSlas Jtmul undicjue copulet Umhras

Extremus Labor.
In Tabulas demijfa fenejiris
Si fuerit

Lux

Lumim

Lumina

lata.^

LIV.
Qyantitas

parVa^ Color clarijjimus ejlo:

VtVtdus at contra ohfcurufjue in

Lm.

Luminis lod
in

aperto.

quo Tabu-

exponenda.

la eft

405.

Qu^ Vacuis

divifa caVis vitare

Trita, minutay jimul

Barbara J Cruda

qu^ nmi

memento

ftipata dehifcunt

Sordidaque

<sr

miferUy

objccenuy

aliis

ingratay

<(^ Vel acuta,

Qu^que dabunt jormiX, temere

Implicitafque

tia

Pi^turx*

rugisfucata Colorutny

oculisy

cruentay cruces

& vi-

Errores

Luminis Umbrarumque Tonis ^qualia cunBa

Fo^day

LV.

chimerasy

410.

Vel a/per a taElUy

congejla ruinam^

confundent mifcua Partes,

LVI.

Dumque fugis Vttiojay caVe in contraria labi

Damna maliy Vitium extremis nam femper inhieret,
I

Tulchra

^
pia^e!'*

415.

De Arte

58
LVIL

Graphica.

fPukhra gradu fummo Graphidos Jlabilita Tetufl^.

IdaeaTabula-

rum.

NobUihus Signts JuTit Gratidia,

Diffita^

Turay

Terfay Velut minlme confufa^ Lahore Ligata^

Tartibus ex magnis paucifque

420.

Corpor'tbus

dijlm3afens, Jed femper

Qui bene

WB^r'
'

425.

ccapit,

uti faSii

^iBuram

^i^i^f^^

Ingrediens

^uer

Quam

effiSia,

amicis...

jam fertur habere

ita nil

ojfendit

Colorutm

fuh

limine primo.

damnojtus Artiy

Varia error um genera ignorante Magifira*

Ex praVis libare

Typis, mentemcjue Veneno

hficere, in totoquodmnahjlergitur ctyo.

Kec

Graphidos rudis Jrtis, adhuc

cito qualiac.umqu&'

CorporaViVa fuper Jludium meditahitur ante

lllorum

4 J

quam Symmetriamj

TSLoy^ertt infpeSlis

Internodiay

Formam

doHo eVohente Magijiro

Jrchetypisj dulcefque Volos prdfenferit Artis.

ArsdeStfer-

^Mv*^ Manu ante

ochIos

qmm

"Voce

docehkur ujus^

vire Piftori,

non

Piftor.

Afil.

Quaere

The Art of

Painting.

59

Thofe things which are beautifull in the utmoft degree of Perfe<5lion, according to the Axi-

om

^ ought

of ancient Painters,

to have fome-

rr^Yj^- r
abeamifuU
^*^^^'

what of greamefs in them ; and their out-lines to

be noble; they muft be difintangled, pure and
without alteration, clean and knit together 5 composed of great parts, yet thofe but few in
ber. In fine,

diftinguifh'd

of fuch

as are related,

And

it is

hemn

as

welL

^ there
who

IS

is

by bold Colours 3 but

4^^-

and friendly to each other:

common

faying, that

has already perform

d half

He
his

who has

work

fo

nothing more pernicious to a Youth,

lviii.
^'^*<^^J<^.**
^er.

yet in the Elements of Painting, than to

engage himfelf under the

rant Mafter3
finite

num-

who

number of

difcipline

of an igno-

depraves his tafte,

miftakes

of which

his

by an

in-

wretched

works are full, and thereby makes him drink the

poyfon, which infe(5ls him through all his future

A'^h

life.

Let him
fo

much

who

is

yet but a Beginner, not

make

hafte to ftudy after Nature, every thing

which he intends to imitate 3 as not in the mean

time to learn Proportions, the connexion of the
And let him firft have
parts, and their out-lines
well examin d the Excellent Originals, and have
:

thoroughly ftudied

all

fweet deceipts of his

the

Art, which he muft be rather taught by a

I

knowing

430*

The Art of Tainting.

6o

kig Matter, than by pradice

and by feeing him

perform, without being contented onely to hear

him fpeak.
'^t^^he

fuifrrvient to

the Painter,

Lx.
Diverfity and

is

aiding to your Art, and

con\cnknty and avoid thofe things which are

. .

pugnant to

facihtyare

(or

43

fant

it.

>

to

1111
and

d) together,

the fight

are agreeable

are ever full of Spirit,

kind of Cceleftial

compafs
for a

thefe

fire

plea-

as alfo thofe things

appear to be performed with cafe.

re-

Bodics of divers natures which are aggroup'd

combin

fleafing,
J*

Search whatfoever

which

Becaufe they

and feem animated with a

But we are not able to

things with

facility,, till

we have

long time weigh'd them in our judgment,

and thoroughly confider'd them

By

this

means

the Painter fhall be enabled to conceal the pains,

andftudy which his Art and work have coft him,

under a pleafing fort of deceipt ; For the greateft fecret which belongs to Art, is to hide it from
the difcovery of Spedtatours.

Never give the leaft touch with your Pencil

^^ y^" \\2iyt Well cxamin d your Defign, and
Thto^iinai
muftbtinthe\\^yt fettled your out-lines, ^ nor till you have
cL'o^the^ ^"^titwi in your mind a per fed Idea of your
440.

Cloth,

LXii.
tJeil'tte
^J^s.

^Q^i^,

Let

the

Eye be

fatisfy'd-

even againft and above

all

in

the

firft

place,

other reafons, which

be-

De

6l

Arte Graphica.

LX.
Qu(^re Artem^u<!^cumcjue juymtjfuge cju^ue repug- Qcui^Jecreant diveriltas

nant.

&Operisfacilitas, quae

Corpora diyerfee nature junEf a placebunt

Sic ea quiefacili contempta labore 'Videntur

jEthenus

Mente

fpeciadm Ars
-y

dicitur.

43 J-

cjuippe ignis ineji <^fpiritus iOis,

diu "Verfata,

manu

celeranda repentu

Arfcjue Laborcjue Optris grata fie fraude latehiu

Maxima deinde

erit arsy nihil artis inejfe

2S&C prius inducas

TahuU Vigmenta

Expenfi (puam figna Typi

Et menti prajens

yiderL

440.

Colorum,

LXI.
Archetypus
in mente, A-

flahilita nitefcanty

peris fit

^egmafuturi.

pographum
in tela.

^r^'Vakat finfiis rationi

Con/picUiCy

in(ju^ oculis

qua

offi'cit

Jrti

tantummodo Grcinus

VV'
^52."""^^
efto*

Utm

De Arte Graphica.

Cx

445.
Lxiil.

aori nocet
plunmdin.

DoBormn

Utere

Monit'tSy

nee fperne fuperlus

f)ifcere qu^e de te fuerit Sententia

ca?c5

jj^Ji^ij^

?ww

Vuhi.

(juif^uc fu'ts in rehusy

O" expers

^rolcmque fua7n miratur amatque.

Ajl ubi Conjilium deerit Sapientis Amici^

4 JO.

Id tempus

Non

dabity atque tnora intermi^a labori,

facilis

tamen ad nutus

<s*

mania Vulgi

J)iBa Wis mutabis Opus, Geniumciue relinques :

Ham

qui pane Jua fperat bene pojfe mereri

Mukiva^a

45 5.

de Tlebej nocet Jtbiy

nee placet uJlL

CunKpue Opere in proprto Joleat fepingere TiBofy

.^^, (^rokm adeofibiferrefaremNaturafueVit)

^roderit

-w-^

63

The Art of Painting.

your Art, which of itfelffufFers
thecompafs be rather in your Eyes

beget

difficulties in

noncj and let

than in your Hands.
^ Profit your fclfby the Counfels of the know- 445
T VTTT
And do not arrogantly difdain to learn the p-^^ ^*jp,
kig
pinion of every man concerning your work. ^^'^^ f^

men are blind as to

and no man is capable
All

caufe;

but

if

their

own

produ(5lions

of judging in

you have no knowing

his

own

friend, to

affiftyou with his advice, yet length of time will

never

fail 5

''i:is

450..

but letting fome weeks pafs over

your Head, or at lead fome days, without looking

on your work, and that intermiffion will faithfully difcover to you the faults, and beauties 5 yet
fliffer

not your

fclf to

be carried away by the opi-

nions of the Vulgar ,

who

often fpcak without

knowledge j neither give up your felf altogether

to them, and abandon wholly your own Genius,
io as lightly to change that which you have made
For he who has a windy Head, and flatters himfelf with the empty hope of deferving the praife of
the common people, whofe opinions are inconfiderate, and changeable, does but injure himfelf
and pleafes no man.
Since every Painter paints himfelf in his

works

(fo

much is Nature accuftom'd

her own. likenefs

Jl

'tis

own

45r5f.

to produce r^^^^^^

advantageous to him^ toM,

know

^4-

The Art of Painting.

know himfelf, ^ to the end that he may
thofe Talents which

un profitably lofe
gain that which

4 (Jo.

ther Fruits

which

is

flie

has

tafte,

natural to them

their

his

Genius, and not

time in endeavouring to

his

have the

refus'd

As

him.

nei-

nor Flowers the beauty

when they

are tranfplan-

and are forc'd to bear befeafon by an artificial heat; fo "'tis in

ted in a foreign
fore

make

cultivate

foil,

vain for the Painter to fweat over his works in

fpight of Nature
'tis

LXV.

and of Genius

impoffible for

him

for without theni

to fucceed.

While you meditate on

thefe truths,

and

them diUgently, by making neceffary re^;;g^7^t' flexions on them 3 let the labour of the Hand
eiv<L
accompany the ftudy of the Brain let the former fecond and fupport the latter yet without
4^ J- blunting the fliarpnefs of your Genius and abating of its vigour by too much affiduity.
* The Morning is the beft, and moft proper
rh]M>lning
mofifrofer part of thc day for your bufinefs 5 employ
it
"
therefore in the ftudy and exercife of thofe things
Lxvii.
^ which require the greateft pains and application.
fZ7ihti?
Lxvin.
^ Let no day pafs over you without a line.
Obfcrvc as you walk the Streets, the Airs of
7i>hich arT
Heads j the natural Poftures and ExprelTions 5
7w^'m"^^'*'
470. which are always the moft free the lefs they feem
p^Aife, and

obferve

to be obferv'd.

^Be

De Arte Graphica.
Troderit imprimis Ti^ori
lit data qU(Z genio colat,

tf

yv-^biaixv-niv

ahflmeatcjue negatk,

FruElibus utque fuus nunquam eft fapor atque Venuftas

Floribws infueto in fundo

Tempore J quos cultus Vtokntm <sr

Sic

nunquam nimio qutcfunt

Et piSia

inVito Genioy

460.

pmcoce fub anni

ignis adegtt

extort a labor e^

nunquam

ilia

..

placebunt,

LXV.
Quod ment
conceperis

Vera fuper meditando, Manu4, Labor improbus

Nee tamen

obtundat Geniumy mentifque vigorem,

4^ J*

LXVT.
Matudnutn

Optima mftrorum pars matutina dierum^

Vifficili

adjit : ^obl^^"*^

banc igitur potiorem impende Labori.

tempus Labori aptum.

LXVIL
Nulla

dies abeat quin

ImeaduSla

fuperjtt,

Jerque Vias yultus hominum, motufque

Jiotabis

Singulis die-

bus aliquid
faciendum.

Libertate fua propriosy pofitafque Ftguras

470-

Ex

Lxviir.

fefefacilesy

ut inohfer^^atus habebis,

Aflre6^us in-

JV/bx obfervad
naturales.

&

De

6f^
^,

L^K*

Non

dehnt

PugilUres.

2JI0X

auoicunume 'Marl,
^

^r

T^M

Aire pukhrttfm

f roper a mandare
t'lbi

parattSy

ferret hlant'u

indulget^iBura, meroqut

Amkorum quantum utfermone

Exhaujium
Litibus

in

animo /pedes

epulis nimis

^arcity

Term <sr

Chartts

Conttgerttj

Dum prafens

475'

Arte Graphical,

<(sr

reparet

mentem

henignot

recreatay fedinds

curii in Codibe liber a Vita

Secijfus procul a turba Jlrepituque remotos

480,

ViUarum

rurifcjut beatafilentia qu^rit:

NamquerecolIeBo
Ingenio

tota incumbente Minerlfo,

rerumfpedes

prafentior extaty

Commodiufque Operis compagem ample ftitur omnem,

Tnfitmi tibi nonpotiot'rjtt ayara

j^tp

pecuB

^^^^^ ^^^iq^s f^i^esy modica quam forte heatO'

Wimink

^terni^s* laudis pruritus habend^e,

Con-

The Art of Painting.

t*j

Be ready to put into your Table-book Lxix.

(which you muft always carry about you) what-foc-{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 frefli in your Iimagination.

^ Wine

and good Cheer are no great Friends

to painting, they

when

ferve only to recreate the Minc'j

Labour 5 then
proper to renew your Vigour by the

opprcft and fpent with

'tis

indeed

47 j,

'tis

converfation of your Friends :

Neither

is

a true

Painter naturally pleas'd with the fatigue of bufincfs,

and

particularly

of the Law,

but delights

in the liberty which belongs to the Batchelour's

Eftate.

Painting naturally

withdraws from

Noife and Tumult, and pleafes k

felf in the en-

joyment of a Country Retirement becaufe Silence and Solitude fet an edge upon the Genius,
and caufe a greater Application to work and fludy, and alfo ferve to produce the Ideas, which,
:

fo conceiv'd, will be always prefent in the

even to the finifhing of the work

the

^ Let not

Mia J,

whole com-

pafs of which, the Painter can at that time

commodioufly form to himfelf than

at

more

any other.

the covetous defign of growing rich,

induce you to ruin your reputation, but rather

tisfy

your

felf

with a moderate fortune

48o'

fa-

and lee
your

g ^j

The Art of Painting.

^8

your Thoughts be wholly taken up with acquiring to your felf a glorious Name, which can never perifli, but with the World, and make that
the

recompence of your worthy Labours.

^ The qualities requifite to form an excellent
a

Mind

fubhme

Senfe

Painter, are, a true difcerning Judgment

which

49 *

is

docible,

a noble Heart, a

of things, and Fervour of Soul;

after

which

fol-

low, Health of Body, handfomenefs, a convenient fliare of Fortune,

Youth, Diligence, an

afFe-

and to be bred under the difcipline of a knowing Mafter.

And remember,that whatfoever your Subjed be,
whether of your own Choice, or what chance or
good fortune fliall put into your hand, if you
d-ion for the Art,

have not that Genius or natural Inclination, which

your Art

requires,

fe<5tion in

it,

which

even with

fhall never arrive to perall

thofe great advantages

have mention d; for the Wit, and the

manual operation

4py.

you

from
each other. 'Tis the Influence of your Stars, and
the happinefs of your Genius, to which you muft
beobligM for the greateft Beauties of your Art.
Nay, even your excellencies fometimes will
are things vaftly diftant

not pafs for fuch in the opinion of the learned, but

only as things which have

for no,

le(s

of Error in them,

man fees his own failings

^ and Life is

fo

flbortj,

De

Arte Graphics.

Condignc^ pulchrorum

Judicium,

docile

Operum mercedis

Ingenium, Cor

6$

in

^Vum.

nobile,

Senfus

Sublimes, firmum Corpus, florenfque JuVenta,

Commoda ^s. Labor^

Et quamcwnque

Artis amor, doEiufciue Magijler

"Voles occajio

4p o.

porrigat anfamy

2ii Genius quidam adfuerit Sydujque benignuMy

Dotibus

his tantisy

nee adhuc Ars tantaparatur t

Dijlat ab Ingenio longe Manus,

Cenfentur qu^ praVa minus

Optima DoBis

latet

omnibus error

Vitaque tarn longa breVtor nonfufficit Arti-,

495*

De Arte Graphica;

TO

nam pojfe fenes cum fcireperiti

doHamque Manum graVat ^egra feneBm^

Vejtnimus
IncipimuSy

Hec^elidis feryet juyenilis in Artuhus ardor.

Quare

500.

agite^

oJuVeneSy flacido

ifuos

Sydere natos

^acifer^e Jiudia alleSiant tranquilla MtnerViiy

Quofcjue fuo foVet igne^ Jibique optaVit Alumnos

Eja

agitCy atcjue animis ingentem ingentibus

Exercete

alacresy

dum Jirenua

Artem

corda JuVentus

Viribus extimulat yegetis^ patiensque labornm ejl^

505.

Dum Vacua errorum nullocjue imhuta Japore

^ura

nitet

mens,

((sr

rerumjttibunda noVarum

S^rafentes haurit fpecies^ atcjue humidajeryat*

VSSi,
.rum;

Jft

Ccometrali prif^s Arte farumper aduki

Signa

w
Tbe Art ofVainting.
fiiort,

Our

that

it is

ftrength

begin to

not

fails

fufficient for

jw

fo long an Art.

when we
Age opprefles us by

us in our old Age,

know fomewhat

fame degrees that it infl:ru6ls us, and permits

not that our mortal Members which are frozen
with our years, fliould retain the Vigor and Spithe

ms

of our Youth.

^ Take courage therefore, O ye Noble

you

legitimate Offfpring oi Minerva,

Youths

who

joo.

are

born under the influence of a hap0 Planet y andwarm'd with a Gelefl:ial Fire, which attra(^s

you

Love of Science

you
are young, your whole forces, and employ them
with delight in an Art which requires a whok
fainter.
Exercife them I fay, while your boyling Youth fupplies you with Strength, and furniflies you with Quicknefs and with Vigour 5 while
your Mind, yet pure and void of Error, has not
taken any ill habitude to vice, while yet your Spirits are inflam'd with the Thirft of Novelties, and
your Mind isfiU'd with the firft Species of things
which prefent themfelves to a young Imaginatito the

on, which

it

Age

Memory

by reafon ofthe
the Brain

^ to begin

exercife while

gives in keeping to your

and which your

time,

retains

Memory

for

length of

moifliure wherewith at that

abounds;

^ you

with Geometry^ and

after

will

y ojr.

Lxx.

do "wdX sttTicl for a

having

made^^''^?

^^^^^

Ibme

Tbe Art of ?ainting.

72
fome
J

o.

progrefs

ic

after the Ancient

^ fee your
Greeks ^ and
it,

from labour,

night

till

felf

on defigning

ceafe

not day or

by your continual practice

you have gain'd an cafy habitude of imitating

them in their invention, and in their manner,
^And when afterwards your judgment fhall
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'

which have given

fo great a Reputation to the

Mafters of the

form

firfl;

in purfuit

of chat Me-

which we have taught you here above,

and according to the Rules which we have given

thod,

you

fuch

are

the

^manSj

TarmefanSy and the Solognefes,

the

Fenetiaru,

Amongft

the

thole

^phael had the Talent oilnfliarc, by which he made as ma-

excellent Perfons,

520.

Mention for his

ny Miracles
obferv'd
tural

as

he

made

Pictures.

In which

is

a certain Grace which was wholly na-

and peculiar to him, and which none

him have been

fince

able to appropriate to themfelves.

Michael Jn^elo poflefs'd

powerfully the part of

above all others. ^ Julio ^mano (educated from his childhood among the Mujes) has
open'd to us the Treafures of ^arnaffus and in the
Poetry of Painting has difcover'd to our Eyes the

Dejiffiy

525.

moftiacred Myfteries oi Apollo^ and

all

the rareft

Orna-

De

Arte Graphica.

73

Signa Antiqua/uper Grdiorum addi/cite formam

TSLec

mora nee

j.

510.

requies^ yioBuque diuque labori

Illorum Menti at que

Modoy Vos

donee agendi

Traxis ah ajfpduo faciles aJfueVerit nju.

Mox

ubi Judicium emenfts adokyerit annis

Singula qua celebrant frim^e Exemplaria

^maniy

clajjts

Venetty Tarmenfes^ atque Sononi

^artibus in cunElis pedetentim atque or dine reBoy

Ut monitum fupra

eji

Vos expendijfe juVabit.

Hos apudinVenitKsifhsidmiracuta fummor

T)uBa modoy Venerefque habuitquas nemo

deinceps.

^xq,

Quidquid erat formiC fciyit Bonsitotz potenter.

Julius a puero

Mufarum eduBus

inAntris

Aonias reJeraVit opeSy Graphicaque J^oeji

Qua

non Vifa priuSy fed tantum audita J^oetis

5 ^

Ante oculos fpeBarida dedit Sacraria Tho^bi

Qunequi

J*

13e Arte Graphica.

74"

j2udijue coronatis compleVit bella trmnphis

Heroilm fortuna potens, cafujque decoros

Nobilm

reipfa aiiticjua pinxljfe Videtur,

Clarior ante alios Corregius extititj ampla

530

Luce fuperfufa circum coeuntllus Umhr'iSy

Tingendique
Corpora,

Modo grandly

^ traHando

Colore

Jmicitiamquey gradufque^ dolofque Coloruni,

Compagemque

ita difpo/uit

Titianus, ut inde

J)ivus appellatusj magnisfit honor thus auElns

5 5 jL.

Anmbal ornnes
mentem atque Modum miraarte coegit.

Fortun^que bonis
ii^ro^riam

Quosjtdmlus

^lurlmus

Tk Art

ofFammg^.

7f

Ornaments which thgtz God is capable of commu^'

eating to thofe works that he infpires , which
wc knew not before, but only by the Recital
that the ^oets made of them -y he feems tohave painted thofe famous Wars which Heroes have wag'd, and ended with Victory over,
crown'd Heads, whom they have led in triumph $ and thofe other glorious Events whichi
Fortune has caused in

ages,

in the "World.

Memory

even with

more

and Noblenefs, than when they

Magnificence

were aded

all

immortal by

Correggio

has

made

and Vigour he has given to his Figures, and by fweetning hfe Lights and Shadows^ and melting them
his

iiito

the Strength

flOi.

each other fo haj)pily, that they are even im-

perceptible.

He is

alfo

almoft fingle in the greats

manner of his Painting, and the Fadlity he had^

in the managing of his Colours. And Titian underftood fo well the U7im of the M^Jf^Sy and the Bodies

of Colours, the

Harmony

of the Tones, andi

whole together, that he has

deferv'd thofe Honours, and that wealth which
were heap'd upon him, together with that atthe Difpofition of the

tribute

of being fumam'd the' DiVme

l^heUborious and
taken

from

all

diligent

^mife/

Painter,.

ficrraccij

thofe great Perfofls already

has

men-

tion d, whatfoever excellencies he found in them,

Lf

2^

audi

535;-

the Art of Tainting.

7^
and, as
to his

LXXL

it

were, converted their Nouriflimcnt

in-

own Subftance.

'Tis a great means of profiting your

excellent Pieces,

thofe

diligently

E^nietfce

fj

ferfeajirt,

beautifull defigns

before your Eyes,

But Nature which

is

felf to

co-

and thofc
is

prefent

yet a better Mtftrejs:

For

fhe augments the Force and Vigour of the Geni-

and (he

us,

540.

it is

whom

from

mate perfection by

the

^ I pafs in filence many

amply

Art derives her

means of

ulti-

fure Experience

things which will be

more

treated in the cnfuing Commentary.

And now

confidering that

jedl to the viciflitude

liable to

all

things are fub-

of Time, and that they are

Deftrudion by feveral ways,

thought

might reafonably take the boldnefs ^ to intruft

to the Mufes (thofe lovely and immortal Sifters
of painting) thefe few Precepts which I have here
I

made and
545*

employed

my time

in the ftudy

at

^me,

ly,

and

the

Vi(^orious Lovis ,was darting

on

540.

colleded of that Art.

of this work

while the honour of the 'Bourbon Fami-

the juft

Avenger of

his injured Anceftors,

his

Thunder

Enemies to feel the

force of his unconquerable Arms, while he like
another GaOique Hercuksy born for the benefit
and Honour of his Country^ was griping the SpanUh Geryon by the Throat, and at the point of
the Jlpesy

and caufing

ftrangling him.

his

O B-

De

Arte Graphica.

77

Tlurimus hide labor Tabulas imitando juValit

EgregiaSy Operumque Typos
TSlatura ante oculos prafens

LXXI.
Natura

5
j

fedplura docehit

namfirmat <^ auget

Artem

pcrfi-

ciunt.

Vim

Oeniiy

ex

Artem Experientia

illaque

Mult a fuperjileo

qu<e

complet.

CunEia

Vices j Variifque

oUm peritura

<cVi

ruinisy

^auca Sophi/matafum Graphica immortalibus aufus

Credere ^ieriis,

^m^e
<(s*

J4J,

meditatus: ad Jlpes

Dujnfuper in/anas moles inimicaque

SorboniJum decus

540.

commentaria dicent.

Hec egOy dum memoror fubitura )^olubilis

cajlra

Vmdex Lodoicus Jvorum

Fulminat ardenti dextruy ^atridque refurgens

Gallicus Alcides, premit Hifpani or a Leonis.

&

Experientia

J 49*

75> )

OBSERVATIONS
ON THE

Art of Painting
o

"Charles Alphonfe

no Art

*^

try)

"

to'o?2

"

Archias the Poef,

is

to

human

themfetvesy

fay) by the hand.

neareft related,

of Idola-

vationferves

not either the rather or the near Q^e- Text the par-

of another:

reJpeSl

Siftersy

(faid Tertullian in his Treatife

tt?/;/c/7

" mongfl
^^

Frefroy.

&c. "'TIS fr , /
a recciv'd truth, that the Arts have a cer- ne Numher
There is tvlrj%t
tain relation to each other.'

Amting and ^oefy are two

"

*^

du

And
fays,
life^

C/cero in his

Oration for j^^'^^'^^^^^vJt

77?^^ fie /^rfj

haVe a

M?i/c/;

haVe

kind of Alliance a-

and hold each other

{as

we

7)iay

But thofe Arcs which are the

and claim

moil ancient KinTainting and Toetry-^

and

the

dred with each other, are

theObfervati-

8o

Obfervations on the
and whofoever fliall throughly examine them, will
find them fo much refembling one another, that
he cannot take them for lefs than Sijiers.
They both follow the fame bentjand fufFer themfelves rather to be carry'd away, than led by their
fecret Inclinations, which are fo many feeds of
" There is a God within us (fays
the Divinity.
''

"

Jiisy

^^

gitatton

Poets j who by

there fpeaking of the

" mous
*^

Book

Ovid in the beginning of his Sixth

warms

us*

And Suidas fays,

Sculptor Phidias, and

de Fahis

A-

Tl?at the fa-

Zeuxis that incompa-

^amter^ were both of them tranfported by the

" fame Enthufiafm, which gaVe life to all their works.
rable

They both of them aim

is

Imitation.

at the

Both of them

and we fufFer our felves

both by the one, and by
Souls are fo fixt

fame end, which

excite

our PalTions

willingly .to be deceived,

the other

to them, that

our Eyes and

we

are ready to

perfuade our felves that the painted Bodies breath,

and

Both of them
are fet on fire by the great Actions of Heroes
and both endeavour to eternize them Both of
that the Fidlions are Truths.

them

in fhort,

are fupported

their Imagination,

licences,

which

and

the ftrength of

avail themfelves

Jpollo has

them, and with which

ihem.

by

of thofe

equally beftow'd

their

on

Genius has infpir'd

^iao.

Art of fainting.

^^

^iSior\bt4^ atque ^oetis

Quidlibet audendiy fem^er fuit dc^ua fotejlds,

Painters and Toets free from ferVile awe^

May treat their

As Horace

The

their

ObjeBs draw.

us in his Art of Poetry.

advantage which Tainting

poflefles

above

That amongft fb great a Diverfio( Languages^ fhe makes her felf underflood by

iPoeJte is

ty

tells

SubjeBs, and

this

Nations of the World and that (he is neceC

fary to all other Arts, becaufe of the need which
all the

-^

they have of demonftrative Figures, which often

give more

Light to the Underftanding than the

cleared: difcourfes

Segnim

we can make.

irritant

Quam qUiC funt

animos demijfa per aureniy

oculis

commiffa fdelibm.
r

Hearing

The

excites the

Mind

by flow degrees

Man is warm d at once

by what he fees.

Horace in the fame Art of Poetry.

For both of them that they might contribute ^ &c.
Poetry by its Hymns and Anthems^ and Tainting by
its

Statues^ Altar-pieces^

and by

all

thofe

Vecorations

I([

p.

O^fer vat ions on the

Si
ons

which

infpire

Refpedt and Reverence for our

Sacred Myjleries, have been ferviceable to <B^ligwn,

of

Gregory

Son

ij[

24.

having made a long and

Defcription

beautifull
his

after

TSLke^

Abraham
words, " /

oi

fays thefe

Ijaac^

"

ca[t viy eyes upo?i a Ticlure,

*^

moying objelj and could

*'

out

"

the thing

"

So

Tears,
it

my

withdraw them with-

TiBure

the

So much

Sight,

^liny hb. 35.)

ilure

But

from

took

it

The

for an honour

their

and

late

you will underftand

tell you that it comes

Preface to his Fifth Book.)

admirable Art

gree of Contempt,
yields in

"Pr-

amongft

Ignorance of the charming Arts.

fee this

if

fter ignorantiam Artis^ Virtutes obfcurantur

fhould

greateft

to obtain

of

fallen

thecaufe of it, VitruVnu will

from

DiVme

their Magijlrates ofOld(i2cys

much

is

the Frejich Nobdity

thefe

of thofe great Ancient Painters.

the Iwids

Honour

this

and

Cities

refrefent

if the JElion were then

a^

Arts haVe been always honour d. Sec.

Lords y whole

ha^^e often

which reprefents this

ne'Ver

did

e'Ven

felf,

p^lf^^^g before

well

facrificing

if our

nothing to the

Nay more
fall

<Pro-

(in the
,

we

into the laft de-

Mighty Monarch, who

Magnanimity of Alexan-

had not fliown as much Love for

Valour in the Wars: we daily fee him

der the Great)

Painting as

encouraging

*Mr,

Le

Prefents

this

noble Art, by the confiderable

which he makes to

his

chief Painter.

And

Art of ?dinting^
And

he has alfo founded an

Progrefs and

his

firft

his care,

83

Academy

for

the

Perfedionating of Painting, which

Minifter honours with his Protediion,

and frequent

Viiits

infomuch that we

might fliortly fee the age ofjpelks reviving in our

Country, together with all the beauteous Arts, if
our generous Nobility, who follow our incompa-

King with

rable

fo

much Ardour and Courage ia

which he expofes his Sacred Per(bn for the Greatnefs and Glory of his Kingdom,
thofe dangers to

would

imitate

him

in that

wonderfull AfFedion

which he bears to all who are excellent in this kind.

Thofe Perfons who were the moft confiderable
took

in Ancient Greece^ either for Birth or Merit,

mod particular care, for many ages, to be

ded

in the

Art of Painting

inftru-

following that lau-

dable and profitable cuftom which was begun

and

eftablidi'd

to learn

how

by

the Great Alexander^

And

to Vejlgn,

ftimony to

this in the tenth

Book

us farther

tells

Tliny

which was

who

Chapter of

gives
his

te-

35 ft.

(fpeaking of Tamphilus the

Mafter of Apelles) That

it

was by

the authority

ofAr

lexander, that firft at Sicyon, and afterwards thro

^i/

Greece, the young Gentlemen leanid before

ther things to deftgn upon Tablets of (Boxen-wood

that the firft place

among

ven

And

to

fainting.

all the

that

0-

and

Liberal Arts ivas gi-

which makes
2

all

it

evident,
that

* A{r. Coi-

^^^

Ohfervations on the

84,

were very knowing in this Art, is the

love and efteem which they had for Painters.
Demetrius gave high tcftimonies of this wheirhethat they

d the City of Rhodes For he was pleas'd

to employ fome part of that time, which he ow'd
to the careof his Arms, invifiting'Pro^tg^/iej, who
was then drawing the Picture oi Jalifus. T7;/f Jabefieg

Irfus, (fays

taking

^liny)

hinder

Rhodes, out of fear ^

^PiElures

and not being

he p?ould burn the

lejl

able to fire the

pleas' d rather to

was

other Jidey he

Demetrius from

I\j?tg

Town

on

anj/i

/pare the Taint ingj

than to take the ViHory which was already in his hands*

Trotogenes at that time

Garden out of

Camp

the

had

his

Workhoufe

Town, and

in

very near the

of the Enemies, where he was daily

fi-

nilhing thofe Pieces which he had already begun

the noife of Soldiers not being capable of inter-

But Demetrius caufing him

to bt brought into his Prefence, and asking him

njpting

his ftudies.

what made him fo bold as to work in the midft

of Enemies
Heanfwer'd the King, That he underjiood the War which he made^ wa6 agamjiihe Rhodians and not againjl the Arts,
This oblig'd Demetrius 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

barbarity and infolence of Soldiers.

from

the

Alexandear

had

Jrt of Painting.

'

8^_

when he was in the.

painting room of y^/?e//w,where he commonly was
found. And that Painter once received from him a
fenfible Teftimony of Love andEfteem which thac
Monarch had for him for having caus'd him to
no greater

fiad

than

pleafure,

(by reafonofher admirable beauty)

paint naked

one of

Concubines

his

call'd Campafpey

who had

and perceiving
wounded with the fame fatal dart

the greateft fliare in his afFedions,

thac JpelleswsLS

of Beauty
that age

he

a prefent of her to him.

fo great a deference

In

was pay'd to ^aint^

who had any Maftery

that they

ingy

made

in that Art,

never painted on any thing but what was porta-

from one

ble

and what could

They took a particu-

place to another,

be fecur'dfrom burning.

lar care, fays ^liny^ in the place above- cited,

not

to paint any thing againft a Wall, which could

onely belong to one Mafter, and muft always

fame place 3 and for that rea(bn

could- not be removed in cafe of an accidental

remain

the

Men

Fire.

as

in

it

were

common

were not

in prifon,

fufFer'd to

on

keep a Pidure,

the Walls:

It

dwelt in

and the T,ai?iter himfelf

was refpcdted, as a Common Good to all the World.
See this Excellent Author ^ and you fhall find that

the

or/?.

in

all Cities,

Chapter of

his 55^/;.

Book

is

fiU'd

with

the pratjes of this Arty and with the Honours which

were:

dl[ervations on the

SS

You will

was
not permitted to any but thofe of noble Blood
there find that

were afcrWd to

it.

to profefs

Francis the Firjij

was

it

Fafari

tells us,

in love wich Painting to that degree,

that he

it.

oi Italy

allur'd out

might

flourifli in

bed Mafters,that this Arc

his own Kingdom. Amongft oall the

who

thers Leonardo da Vinci^

ed for fome time

in the

Arms of

behold

tls

in France^

after

having continu-

died at Fontainbleau,

that great King,

his death,

who

could not

without fliedding Tears over

adorn d Sj^^m with the

nobleft Pictures which are now remaining in the

him.

Charles the Fifth has

World,

^^dolphi in his

Emperor one day took up a

life

of

Te?jctl,

Titian^

fays,

that

which fell from the

hand of that Artifiy who was then drawing his ^iBurey

aud upon the Compliment which Titian made him on
that occaflon
fer")?'

'tis

d to

he

h faid

ferVd hy

much

in

you

Titian has

de-

fame

life

in the

Emperour Valued himfelf

fubjeBmg l^ngdoms and ^roVmceSy
the

as that he had been thrice

Titian. If

And

Caefar.

remarkable, That

not fo

thefe words,

will

made immortal by

the

hand of

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 rake up too much time here to
recount

all

the particulars

that thegreateft

will onely obferve

Lords who composed

the

Court
of

Art of faulting.

87

of that Emperour, not being able to refrain

from fome marks of Jealoufy, upon the preference
which he made of the Perfon, and Converlation
of Titiariy to that of all his other Courtiers he
;

them, That

freely told

want a Court

but he could not ha'Ve Titian always with

or Courtier5 y

him.

he could iteVer

Accordingly he

whenfoever he

fent

heap^'d Riches

on him, and

him Money, which^

ordi-

was a great Summ, he always did

obliging Teftimony, That his dejign

narily fpeaking,
it

with

mas

this

not to pay him the Value of his TiBures,

becaufe

they were ahoVe any price.

After the example of the

Worthies of Antiquity^

who bought

Pi(5lures

the rareft

with Bufliels of Gold, without counting

the weight or the

number of the

pieces,

nummo

In

aureoy menfura accepit, non numerOj fays Tli?iy, fpeak-

ing of

Apelles,

that there

ing

is

QuinEiilian

from hence

inferrs

nothing more noble than the

Art of faint-

becaufe other things for the moft part are

Merchandice, and bought

at certain

Rates

things for this very reafon, (fays hej

caufe they have a price, ^leraque

Videriviliay

qu9d pretiumhahent

and ^6th. Books

have lov'd

it

oi^liny.

with

aft

exercised themfelves in

moft

are vile be-

hoc ipfo poffunt

feethe J4f/?.

Many

JtA.

great perfons

extream Paffion, and have

it

with delight.

mhers, Lelius Fabiusy one of thofe

Amongft
famous

(^0-

mans^

Ohfervations on the

88

mansy who, as Cicero relates, after he had tailed

painting and had pradlis'd

Fahius^iBor
Laheo

as 2i\fo Turpilius

J^r^etor <(^ Confuly

and ^acuVim

Enn'ius

it^

would be
a,

^man

cali'd

Knight^

Quintus Tedius, the Poets

Socrates^ TLttOy Metrodorus^

fPbrho, CommoduSyNerOyVeffaJtany Alexander SeVe-

and

rusy Antonhiusy

who

rours,

to

thought

employ fome

Kings and Empenot below their Majefty

mp.riy other
it

part of their

in this

tintie

honou-

rable Art.

37.

and mojl important part of (paintin^y

is to find out and thoroughly to underjl and what Nature
hath made mofi: beautifull and mojl proper to this Arty
77;e principal

Obferve here the rock on which the greateft

&c.

part of the Flemip? Painters have fplit: moft of

that

Nation know how to

as well as

they

make

ther

it

be,

imitate Nature, at leaft

the Painters of other Countries, but

a bad choice in Nature

that they

have not (een the Ancient

pieces to find thofe beauties

or that

Genius, and the beautifull Nature

growth of

their

truth, that

which

rare,

that

difficult to

it

is

Country,
is

And

is

happy

not of the

to confefs

naturally beautifull

difcover'd

make

whe-

felf j

it

by few

is

the

fo very

perfons

'tis

a choice of it, and to

our felves fuch an Idea of it,

as

form to
may ferve us for a

Model.

And

Art of
Jind that a choice of

Fainting.

it

8^

may be made according

to

That is
and manner of the Ancients ^ dec.
to fay, according to the Statues^ the 'Baffo^S^lie^

the guji

W5,and

the other Ancient ^iecesy as well of the Gr^e-

dans as of the

^mans

Ancient (ox Antique)

is

that

which has been made from the time oi Alexander

the Greaty till that of ^hocas ; during whofe Em-

d by War.
Thefe Ancibeginning have been the rule

pire the Arts were ruin

from their
of beauty 3 and in

-ent

works

have been fo
on, which is
they

hy

made

ftill

^^

to be

them

that perfe<^i-

obferv'd in them, that

ufe not onely of one fingle

Body,where-

many, from which

moft regular parts to compofc

they form'd them, but of

rom them
"
"

them

careful! to give

they took the

^'

the Authors of

effe(5l,

a beautifull whole.

"

Tloe Sculptorsy

fays

Maximus

with

admirable Artifice chofe out of many

Tyrtus in his yth, Diflertation,

to

them the moft beauti-

diverjity

made but one Statue:

thofe parts which appear

full,

" Sut

and out of that

this

bodies

made with fo much prudence

that they feem to haVe taken but one

mixture

is

" and propriety y

" onely perfeB beauty.

And

let

not imagine that

" we can e'Ver find one natural !Beauty which can dif
" fute with Statues^ that Art which has always fome-

" what moreperfeSl than Nature. 'Tis alfo to be

prefum'd, that in the choice which they made of

thofo

p.

^o

Obfervations on the
thofc parts, they
Jtciansy

who

foUowM

at that

the opinion of the ^hy-

time were very capable of

them in the rules of Beauty

Since
Beauty and Health ordinarily follow each other.
inftrudting

*'

For 'Beauty y fays

^'

Accord and mutual Harmony of the Members^

Galeriy

is

nothing

" nimated

hy a

"

fame Author, commend a

faid the

" of

deferVes that

"

ment in

"

it is

And

healthful! conflitution.

a-

me?ty

certain Statue

name for having fo perfeB an agreeall its parts y and a proportion fo exaBy that

not poffihle to find a fault in

have quoted,

ent Pieces

we may

From what

it.

conclude, that the Anci-

are truly beautifull, becaufe they re^

femble the Beauties of Nature

will ever be beautifull

of Antiquity.

ties

hut a jujt

Polycletus, which they call the rule, and which

^^

elfe

and

that

Nature

which refembles thofe Beau-

'Tis

now

evident

upon what

account none have prefum'd to contcfl the proportion of thofe Ancient Pieces, and that on the

Mo-

contrary, they have always been quoted as

dels

of the mod perfect Beauty.

Book of his
larusy the

MetamorphoftSy

mofl

beautifull

where he

his

ShoulderSy his

fo fairy that
as

it is

ith.

defcribes CyU

of all the Centaures, fays.

That he hadfo great a Vivacity in

Necky

OVid'm the

his CountenancCy

his

Hands and Stomach were

certain the manly part of

him was

beautifull as the mofl celebrated Statues.

And

Art of

Painting.

51

^hilojlratus in his Herolfiesy fpeaking of ^rotejt-

lam and praifing the beauty of

" That
^^

the

form of

been of a Statue

of Euphorbus, he

"

"
*^

his

face,

Nofe wasfquare,

and

fays,

his

fays,

as if it had

in another place fpeaking

" That

his beauty

the offeBions of all the Greeks,

had gaind

and that

it

refem-

bled fo nearly the beauty of a Statue y that one might

haVe taken him for Apollo.

(peaking of

"the

Afterwards alfo

Beauty of Neoptolemusj and of his

likencfs to his Father Achilles y he fays,

*^

beauty, his Father

^'

him, as

''

Men.

"

Tl?at

in

had the fame advantage oyer

Statues haVe oyer

the beauty

of Hying

This ought to be underftood of the fairefi

Statues, for amongft the multitude of Sculptors
which were in Greece and Italy, 'tis impoffible but
fome of them muft have been bad work-men, or
rather lefs good
for though their works were
:

much inferiour to

the Artifts of the firft form, yet

fomewhat of greatnefs is to be feen in them, and

fomewhat of harmonious in the diftribution of their
parts, which makes it evident5 that at this time
they wrought on Common Principles, and that
every one of them avail'd himlelf of thofe Principles according to his Capacity and Genius. Thofc
Statues were the greatefl: Ornaments of Greece
we
need onely open the Book of Taufanias to find
;

the

ex

Ohfervations on
the

tk

prodigious quantity of them, whether within^

or without
Streets,

their

Temples,

or in the cro/fing of

or in the Squares and publique Places, or

ven the Fields^or on the Tombs, Statues were

e-

ere-

Nymphs y to Heroes^to great

to Magiftratesy Thilofophers and Toets
they were fet up to all thole who had

fted to the Mufesy to the

Captains,

In

fliort,

made

themfelves eminent either in defence of their

any noble adion which deferv'd

for it was the moft ordinary and
a recompence
moft authentique way, both amongft the Greeks

Country, or

for
5

and (S^mansy thus to teftifie their gratitude. The

^mans when they had conquered Gr^ciuy tran(ported from thence, not onely their moft admirable Statues, but alfo brought along with them the
moft excellent of their Sculptors, who inftrudted
others in their Art, and have left to pofterity the
immortal Examples of their knowledge, which
we fee confirmed by thofe curious Statues, thofe
Fafesy thofe SaJfo-^lie'Vo'sy and thofe bcautifull
Columns call'd by the names of Trajan and /^ntonine
They arc thofe Beauties which out Author
:

propofes to us for our Models,

And

as the true

Fountains of Science, out of which both Painters

and
ufe,

Statuaries are

bound

to

draw

for their

own

without amufing themfelves with dipping in

ftreams which are often

muddy,

at leaft troubled

Ah of Painting.
Bmean

the

they creep,

manner of
and from

55

their Mafters, after

whom

whom

they are unwiUing

to depart, either through negligence, or through

"

the meannefs of their Genius.

"
"

It belongs onely to

heavy minds, fzys Cicero, to fpend their time on

without fearching for

JlreamSy

^^

whence their materials

*'

dance.

Without which

cient guft,

ner,

is

which

flow in all

from

manner of abun-

but a blind and rap?

all is nothing,

All that has nothing of the An-

&c.

barbarity,

the Springs

caird a barbarous ox Gothique

is

not conducted by any

man-

rule,

but

onely follows a wretched fancy, which has nothing in

that

it

noble :

is

we

are here to obferve,

that (P^rWerj arenotoblig'd to follow the Antique

as

exadly

as the

Sculptors, for

then their Pidurc

would favour too ftrongly of the Statue^ and^

would feem to be without Motion. Many Painters, and fome of the ableft amongft them, believing they do well, and taking that Precept
in too literal a Sence,

inconveniencies
to

make

tion,

fuch

have fallen thereby into great

it therefore becomes the Painters

of thofe Ancient Patterns with difcre-

ufe

and to accommodate the Nature to them in

a manner, that their Figures which muft

feem to

live,

the Antique,

may

rather appear to be Models for

than the Antique a Model for their figures.:

^40,

Oifervations on the

^4-

appears that ^phael

made

a perfed: ufe

of
this condudt, and that, the Lombard School have
not precifely fearch'd into this Precept, any furIt

ther than to learn

from thence how

make

to

good choice of the Nature, and to give a certain

grace and noblenefs to all their works, by the general and confus'd Idea, which they had of what
is

beautifuUj as for the

reft,

they are fufficiently

onely Titian^ who, of

all

the Lombards has preferv'd the greateft purity

in

licentious,

excepting

This barbarous manner of which

(poke, has been in great vogue from the year 6 \

his works.

They who have

to 1450.

reftor'd Painting in

Germany^ ("not having feenany of thofe

have retained

liques of Antiquity}

fair

much

Re-

of that

Amongft others Lucas yan

a very laborious man, who with his

barbarous manner.
Leyderiy

Scholars has infected almoft all Europe with

deji^ns

for Tafeftry^ which

caird Ancient Hangings^

they deferve

by the

thefe

greateft part

ledge that

and

:)

that

am

the ignorant are

a greater honour than

fay are efteem'd beautiful!

of the World.

amaz'd

we of the

by

his

at

muft acknow-

fo grofs a ftupidity,

French Nation fliould have fo

barbarous a Taft, as to take for beautifuU thofe

flat,

and infipid Tapeftrics. Albert Dufamous German^ who was contempora-

childifli

rery that

ry

Art of Painting.

5^5

ry to that Lucas, has had the like misfortune to

manner, becaufe he had never feen any thing that was bcautifuU.
Obfcrve
what Fafari tells us in the life of Marc Antonio (^fall

into that ^bfurd

Graver) having

phael's

for his

"

commended

Albert

graving, and his other Talents

skill in

J}id in truth, fays he, if tlm,fo excellent, fo exaB,

^'

ayid

^'

cany, as he was

"
"

firft

fo univerfal a
in

Man, had been born in TuC

Germany, and had form d his^

fludies according to thofe beautifnil pieces which are

feen at

Rome,

as the reft of us hay e done, he

had

" proVdthe heft fainter of all Italy, as he was the

" greateft Genius, and the moft accomplifl? d which
" Germany e^er bore.

We

lo^e

informs
fo

what we underft and. See.

us,

that

This period

though our inventions are never

good, though we are

furnifli'd

by Nature with

we follow the impulfc

not enough, if we learn not to un-

a noble Genius, and though

of

it,

yet this

is

derftand what isperfed: and beautifuU in Nature,

we may be able
inftrudlion we may be

to the end that having found

to imitate

it,

and by

this

it,

capacitated to obfcrve thofe errors which fhe her

fclf has

made, and

copy her

in all forts

to avoid them, fo as

of fubjedls

fuch as

not to
*

flie

ap-

pears to us without choice or diftinftion.

As.

4j^

'^
^^ ,50.

'Obfervations on the
Judge of lyk own Arty &c.
This word of Sovereign Judge or Arbiter of his own
the Sovereign

As being

Arty prefuppofes a painter to be fully inftrudled

in all the parts

as

it

were above

of Painting
his

Art,

he

that being

fo

may

{^

be the Mafler

and Sovereign of it, which is no eafie matter.

Thofe of that profeffion are fo fcldom endowed
with that fupreme Capacity, that few of them
arrive to be good Judges of Painting: and I

many times make more account of their

judgment, who are men of Sence, and yet have
fhould

never touched a Pencil, than of the opinion which

is

given by the greateft part of Painters.

Painters therefore

may

be

All

call'd Arbiters of their

own Arty but to be Sovereign Arbiters belongs onely to knowing Painters,

-52.

And permit

&c. Thofe

obferVationy
tics

arc

no

tranjtent beauties to efcape hi^

no

fugitive or tranfient Beau-

other than fuch as weobferve in Nature

with a fhort and tranfient view, and which remain

not long in

their fubje<5ls.

There

of the Soul.

which

laft

but for

are of thefe fort of Beauties

Aires of an Affembly,

cxpedted and
larity

Such are the Paffions

moment
upon

uncommon

as

the different

the Sight of an un-

Object,

fome

particu-

of a violent Paffion, fomc gracefull Action,

a Smile,

a Glance of an Eye, a difdainfuU Look,

Art of Painting.

57

a Look of Gravity, and a thoufand other fuch

like things
we may alfo place in the Catalogue
5

of thefe flying Beauties,

Clouds, fuch as or-

Thunder or a Shower of Rain,

dinarily follow

In the fame

fine

7nanner that bare praBice deflitute of

We

find in QuinBiliarty
of Arty Sec.
"
that Pythagoras faid,
The TI?eory is nothing with-

the Lights

"

out the praHice,

"

er ^Itny)

"

us J if we put

And what means (fays the young-

haVe we

Man

it

to retain

what has been

not in praElice

taugi?t

we would

not

an Orator \^ho had the

beft thoughts imaginable, and who knew all the
rules of Rhetorique if he had not acquir'd by cxallow that

ercife the

to be

Art of ufing them, and of compofing

an excellent Difcourfe. Painting is a long Pilgrimage 5 what avails it to make all the neceflary preparatives for our Voyage, or to inform our
felves

of all the

difficulties in the

rode,

not actually begin the journey, and

round

And

rate,

as

it

we

fliall

would be

if

we do

travel at a

never arrive at the end of it.

ridiculous to

grow old

ftudy of every neceflary thing, in an

in the

Art which

comprehends fo many feveral parts 3 fo on the

other hand to begin the pradice without knowing
the rules, or at
is

leafl:

with a light Tin<5lure of them

to expofe our felves to the fcorn of thofe

can judge of Painting, and to make

it

who

apparent
to

Oifervations on the

^8
to the

World

tation.

ly

we have no

that

care of our repu-

Many are of opinion,

work and mind

that

we

need one-

the pra6lical part to

become
Theory

and able Painters 5 and that the

onely incumbers the mind, and tyes the hand
skilful!

Men do

juft like the S^t^irrely

turning the

Wheel

in her

who

Cage

is

Such

perpetually

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 Quindlilian,

for walking apace

I

was but a

to do

little

it is

enough

bad excufe to fay,.

well Tis a

while about

hut

it:

That

graceful!

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 dial! farther
fay, in the 5 \fl, ^ule, which concerns eafinefs.

Eafinelsj^that

celeftial Fire

Others there are

who believe the

Precepts and Spe-

culation, to be of abfolute neceflity, but as they

were ill inftruded, and what they knew rather

tangrd than clear'd

their

oftentimes ftop fhort ; and

"'tis

on

underftanding, fo they
if

they perform a work,,

not without Anxiety and Pain.

they are fo

much

the

And

in truth,^

more worthy of Compaffi-

becaufc their intentions are right^ and

advance not

in

en^-

knowledge

if

they

as far as others,

and

are fometimes caft behind, yet they are ground-

ed

zArt of Paintmg.j
ed upon fome fort of reafoh

good

go over

fence, not to

for

'tis

5^

belonging to

when we

faft

appre-

be out of the way, or even

where we doubt which way we ought to take.

hend our

felves to

Others on the contrary, being well inftruded in

good Maximes,and in the rules of Art, after having

done fine things yet fpoil them all by endeavouring to make them better, which is a kind of over-doing, and are fo intoxicated with their work
and with an

above all others, that they fuffer themfelves to be deceiv'd

with the appearance of an imaginary good.
Aearneft defire of being

pelles one day admiring the prodigious

he

faw

Labour which

pijny 35.

a TiBure of Protogenes, and knowing

in

how muchjweat it mufl have cojl him,

faid,

That Pro-

togenes and himfelf were of equal flrength j nay, that

he yielded to him in fome parts of Painting, but in this
he furpafs'd him,

he had
alfo

dom

well,

t/^^t- Protogenes

neVer knew when

and could neVer hold

his

hand; he

added in the nature of a precept, that he wifl/d

Painters would imprint

this leffon deeply

in

their

all

Me-

mory, that with oyer 'fir aining and earneflnefs of finifhing their Pieces they

good.

often did the?n

more harm than

There are fome '{fays Quind:ilian^ who ne-

Ver fatisfie themfehes, neVer are contented with their

firfi

ing

Notions and Expreffions, but are continually chang-

all^ till

nothing remains of their firfi Ideas,

Others
there

,q

,^

i,

Obfervatms

100

he J who dare

there are (continues

felveSy

on the
ne'Ver truft thertr-

any things and who being as i>

nor refobe on

were mtangfd in their own GeniuSy imagine

laudable correBnefsy

felves in their

when

own work-

who

enamour d of

is

be

a-

they form dij^culties to them-

Jnd to /peak the

hard to difcern whether of the two

he

it to

alt

thmg of his own can fleafe.

young Men, and often eyen

in thegreatejl

is

or he

does,

lit

For

it

Err or ^

whom

no-

has happen d

tor

of the great eft

thofe

t(y

truths 'tis

Wit, to wafie their Spirits, and to confufne themjehes^

with Anxiety and ^ain of their own giving, fo far

as-

eyen to doz^ upon their work with too ynuch eagernefs

of doi7ig

well',

ought to carry
that
laji

we ought

will

now

tell you

himfelf on this occajton

to ufe

we

reafonahle man.
:

atteinpt

yet

it is

always to be un-

no more than what

oompafs of eur G&nius, and according to

t'Omake a true ^rogrefs-,
dy ares both requtfite,
niiy^ure,

fm
all

either

'Tis certain

our beji endeavour to give the

TerfeBion to our works

derjiood, that

how a

I grant

is

in the-

ourVem

for

that ddigcnce and ft u^

but this Jhudy ou^?t to haVe no'

of Self opnio7i, Qbflinacy, or Anxiety,

which reafon, fit blows a happy Gale we mufl fet up*

our Sails, though info doing

we follow

it

fomefunes happens that

thofe Motions where, our jiatural heat

is

7nore

powerfull than our care and our correElnejs, provided

we abufe

not this licence,

ke deceiVd.

by,,

it,

for

all

andfuffer not our Jelves

tOs

our produBio?is cmnot fail topleafe

loi

ArtofVainting,
fltafe

m at the

moment of

their Sirthy as being

new

to us,

SecaufethegreateJlSeauties cannot always be exprefs'd

for want of terms j&cc.

of Monfieur

dti

have learn'dfrom the

the greateft SeautieSj

a^

rule

of
them
and that the knowledge of

that there

abflrufe,

^j^

mouth

Frefmy, that he had oftentimes

heard Guido fay, That no man could give

was fo

gr

which could exprefs them.

was no manner ofjpeaking

This comes

juft to

what

QuinBilian fays, That things^ incredible wanted words Dedam.

to exprefs

too

much

From

them

i^^.

for fome of them are too great and

elevated to be comprehended by

human difcourfe.

when
they admire a noble Pidure, feem to befaften d
to it 5 and when they come to themfelves- you
hence

it

proceeds that the beft Judges

would fay they had

loft the ufe

of Speech.

^aufiaca torpesy infane, Tabella^ fays

Horace;

and 'fSymma(J)Hs fays, that the greatnefs of aflomfhment hinders-, men from giVmg a jufl applaufe* The L
talians

fully

fay Opera daflupire, when.a thing

is

*Uh.2SiiU-!:
M^^^'^^^'^v*

wonder-

good.

Thofe MaJIer-pieces of Jntiquity^ which were thefirfl

Examples of this Art ^ See.
He means the moft

lj[

62*

&c ^

66.

knowings and beft Painters of Antiquity, that

to fay, from the laft two Ages to our times*

Jnd
There

alfo
is

moderates

that fury of the Fancy ^

in the Latinc

Text, which produces

is

onely

Monjfersy

Olfervations on tie

01
Monjlers

that

is

to fay

things out of

Such things

ble refemblance.

all

proba-

as are often

found

works of Tietro Tejla It often happens^ fays

Dionyfiiis Longmus^ a grave Author, Thatfome men
in the

imagining themfelves to he pojfefs'd with a diVine Fury

far from being carry d

into

the rage of

Baccha-

nalians, often fall into toys and tribes which are only
Puerilities,

A fuhjeSh

^^ 6^*

&c.

heautifull and nohkj

Painting

not onely pleafing and divertifing, but

is

is

alfo a

kind of Memorial of thofe things which Antiquity has had the moft beautifuU and noble in their*

Hiftory before our Eyes

kinds, re-placing the

as if the thing at that time were efFed:ually in

^ion, even fo

far that

beholding the

A-

Pi<5lures

wherein thofe noble deeds are reprefented,

we

find our felves ftung with a defire of endeavour-

ing fomewhat which

is

prefs'd, as if

we were

The Beauty

of the

and Admiration

like that

reading

it

Adlion there
in the

fubje<5t infpires us

Hiftory.

with

As

for the Pidures.

mixture caufes us to enter into the

ex-

Love

the

fubje<51:

fair

which

and imprints it the more deeply into

our Imagination and our Memory thefe are two
Chains which are interlinked , which contain
and are ^t the fame time contain'd, and whofe
it

imitates

matter

is

equally precious and eftimablc.

And

Art ofPamtmg.
Jnd well feafondy
that

is

Jliquid falis^

Sec.

105
^72.

fomewhat

ingenious, fine and picquant^ extraordina-

ry of a high reHfh, proper to inftrud: and to clear

the Underftanding.

The

Painters

ought to do

Let them inftrud, ^^ Opt.Gcn.

them move us ; this is

like the Orators^

fays Cicero.

them divertife, and let

what is properly meant by the word Salt.
On which the whole Machine (as it maybecall'd}
let

|J[

74,

'Tis not withof the ^iElure is to be diffos'd, Sec.

out reafon^ nor by chance, that our Author ufes
the

word

A Machine

Machine.

is

a juft aflfembling

or Combination of many pieces to produce one

and

fame

the

Bure
parts,

effect.

nothing

is

elfe

we are
other;
And

beautifull efFed, as

Precept, which
alfo

is

the Difpojition in a Ti-

but an Aflfembling of

of which

with each

is

And

many

to forefee the agreement

the juftnefs to produce

you

fliall

fee in the

concerning the Oeconomy,

call'd the Compofition^

by which

is

fourth

This

meant

and orderly placing of things,,

both in general and in particular.
Which is what we properly call Invention, dec. Our
Author eftabliflies three parts of Painting,
the

diftribution

INVENTION, the DESIGN or

DRAWING, and the COLOURING^
the

which

in

MAT

fome

Qjl E.

places he

Many

alfo

calls the

Authors

who

C R O-

have written.

gr

^^^

IQ^

Ohfervations on the
ten of Painting, multiply the parts according to
pleafure

their

felf the

onely

trouble

tell

and without giving you or

my

of difcuffing

will

you, that

this

all the parts

matterj

of Painting which

nam'd, are reducible into thefe three

which are mentioned by our Author.
For which reafon, I efteem this divifion to
others have

be the

and

jufteft:

as thefe three parts are Efjenttal

no nun can be truly called a

fainter who does not poiTefs them all together In
the fame manner that we cannot give the name
of Man to any Creature which is not compos'd
of Sodyy Soul and ^afoHy which are the three
parts neceflarily conftituent of a Man. How there-

to fainting y

fo

fore can they pretend to the Quality

who

can onely copy and purloyn the works of

others

who

and with
Painters.
tiils

of Painters,

employ

therein

And do not
this

tell

for

whole induftry,

Talent would pafs for able

that onely

have done

their

me that many

great Ar-

can eafily anfwer you that

had been their better courfe, to have abftain'd

from/o doing that they have not thereby done
themfelves much honour, and that copying was
not the befl: part of their reputation.
Lee us then

it

conclude that

all Painters

part of Excellence

ought to acquire

not to do

it,

is

to

rage and not dare to fliew themfelves.

this

want cou'Tis to
crieep

Art ofPaintmg.
creep and grovel on the ground,
reproach,

this juft

105
'tis

to defcrve

imkatores ferVum pecm: "Tis

with Painters, in reference to their productions,

good beginning is always coftly to both much fweat and labour is

required, but *tis better to expofe our works and
leave them liable to cenfurc for fifteen years, than
to blufh for them at the end of fifty.
On this
as

it is

with Orators^

account

'tis

neceffary for a Painter to begin early

fomewhat of his own, and to accuftom himfclf to it by continual exercife 5 for fo long as endeato do

vouring to

raife himfelf,

he

be always on the ground.

fears falling,

he (hall

See the following ob-

fervation.
Invention

is

a kind of Muje^ which being fojfefs'd

of the other advantages

The Attributes of
is

to each of

and

it is

them

belie lettere^

&c.

often taken for

in this fence, that

Authors afcribe

here called a Mufe,

in particular the Sciences

they have (fay they^ invented

the

to her Sijlersy

the Mufes are

the Mufes themfelves

Invention

common

and

which

in general

becaufe they contain almoft

all

the

Thefe Sciences are thofe advantages of

which our Author fpeaks, and with which he
would have a Painter furnifli himfelf Itifficiently
and in truth, there is no man, though his underftanding be very mean who knows not and who

others.

finds

^76*

Obfervations on the

jo6

finds not of himfelf how

lary to animate his

And

much Learning

nece&
Genius, and to compleat it*.

the reafon of this

is,

who haveftuand learn'd many ex-^

that they

have not onely fecn

died,

of ftudies, but

cellent things in their courfe

alfo they

is

that?

have acquk'd by that exercife a great

Facility of profiting themfelves

Authors.

They who

Painting,

muft heap up

by reading good

make

will

profeffion

of

of their read-

treafures out

many wonderfuU means

of raifing themfelves above others, who can onely

ing and there will find

creep

upon the ground, or

if

them-

they elevate

from a higher place, becaufe they ferve themfelves of other Men's Wings,
neither underftanding their Ufe nor Vertue
'Tis
felves,. 'tis

onely to

fall

not the prefent

true that

it

to be fo

knowing

is

and

if

Mode

for a Painter

any of them

times be found to have either a great

in thefe

Wit or much

Learning, the multitude would not

fail

to fay,

was great pity, and that the Youth might

have come to fomewhat in the pra(5tica! parr, or
that

it

it

may

be. in the

Exchequer ^ or in the Families of

fome Noble-men.

So wretch'd

Painting in thefe later

not fo

much

the Deftiny

By Learning

the knowledge of the Greek

Tongue, which
reading

ages.

is

is

here

to

of
'tis

and Latin&

be underftood as the

of good Author Sy and underftanding thofe

things.

'

Art of Painting.

07

chings of which they treat: for Tranjlutions being

made of the heji

who

is

Author s^ there

is

not any Painter

not capable in fome fort of underftand-

ing thofe Books of Humanity, which are com-

prehended under the name of the

my opinion

Books which

the

In

belle lettere.

moft adthefe which

are of the

vantage to thofe of the Profeflion, arc

follow.

Thtmie.
The Hiftory oijoje^hm.
The ^man Hiftory of Coejfeteau^ (for thofe
who underftand the French^) and that oiTitm LiVmsy tranflatcd by Vigenerej with the Notes which
are both curious

and

They

profitable.

are in two

Volumes.

Homery

whom ^liny calls

the Fountain-head of

Invention and noble thoughts.

and

Vtrgily

The

in

him, particularly

Ecclefiaftical

his JEneids,

Hiftory of Godeau, or the

Abridgement of S^rowmj.
OVtd's Met amorphofes^ tranflated into French by
Du (2^/er, and in Englifh by Sandys,

^ The

* Tableaux.

P'ldiuresoi hiloJiratus.

Plutarch's LiVeSy tranflated

from

the Greek

by

Volumes.
Taufanm^ though I doubt whether that Author

feveral hands,

in 5

be

He

tranjlated*

is

wonderful! for giving

of

great

m the

Objervntions

io8
great Ideas ;

at

2.

and

chiefly, for fuch as are to be plac

Cor caft behind) and for the

diftance.

This

bining of Figures,

make

with Horner^
fing

and what

The

in

com-

conjunction

good mingle of what is

plea-

perfect

Religion of the Ancknt

and

Cheul^

is

Aitthor

in Englip)y Godwin's

^mansy by

^man

T>u

Antiqm-

ties.

Trajan s Hillary with the difcourfc which

and inftruds a Painter

in thofe things with which he is undifpenfibly
This is one of the moft printo be acquainted.
ctpal and mofl: learned Books, whkh we have for
the Modesy the Cujtomsy the Arms, and the ^Ifplains the Figures

on

ex-

it,

^ion of the (I(omans.] Julio

^mano made

his

chief

on the Marble it felf.

The Books of Medals.

ftudies

The
their

!BaJf'(I{eliefs

Explan^ions

which give a

of terrier and others, with

at the

bottom of

the

Pages,

perfect underftanding of them.

by the Earl of ^fcomony becaufe of the relation which there is betwixt

the Rules of Poetry and thofe of fainting.
And other Books of the Hke Nature, the readHorace's Art of ^oetijy

ing of which are profitable to

on

The

fuch as

^aradife

Englifhy

lofi

of

warm the Imaginati-

are Spencer

Mkon

Ta0o

Fairy Queen

tranflaced

by

Fairfax

Art of Fainting.

10^

Fairfax ; and the Hiftory of ^olyhitiSy

ry

by Sir

Hem

Shen.

Some Romances alfo

are very capable of en-

rcrt^ing the Genius, and of ftrengthening k by

the nci>le Ideas which they give of things 5 buc
danger in them, that they almoft aU
ways corrupt the truth of Hiftory.
there

is this

There

may

aie alfo other

Books which a

Paintejf

upon foinc particular occafions and

onely when he wants them
Such are.
ufe

The Mytholo^ of the Gods.

The Images of the Gods,
The Icondogy,
The Tables of Hjiginus.
The pra6lical Perfpe6livc.
And fome others not here mentioned.
Thus it is necefl^ry, that they who are defirous^
of a name in Painting, fliould read at leifure times
thefe

Books with

diligence,

and make

their obfer-

vations of fuch things i^ they find for their pur-

poft in them, and of which they believe they

may

fometime or other have occafion 5 let the Imagination be employed in this reading, and let them*

make
which

Sketches

and

that reading

light

Touches of

forms

in their

thofe Ideas

ImaginatioiL

^inBilian^ Tacitusy or whoever was the Author

of that Dialogue which

iseall'd

iti

Latine DecaU"

110

Obfervations on the
vorrupu eloquentU,

Jls

hies Fire

OHy

which

is

Tl?at Tainting

fays,

fed by the Fuel, inflamd by Moti-

and gathers Jirength by burning

er of the GeniurS

of matter

is

re/em-

onely

to fupply it

For the pow-

augmented by the abundunce

and

'tis impofflble

to

make a

great and magnificent worky if that matter be wanting

or not difposd

who

And

rightly.

therefore a

by long

think-

imaginable care to

make

has a Genius, gets nothing

ing and taking

all

Painter

Compofition if he be not aflifted by

thofe ftudies which I have mention d.
All that
he can gain by it, is onely to weary his Imagination, and to travel over many vaft Countries
without dwelHng on any one thing, which can
a noble

give

him

fatisfa6lion.

All the Books which

viceable to
ters.

As

lar ufe to

all

have named

may

be

fer-

fortsofPerfonsas well as to Pain-

for thofe

Books which were of particu-

them, they were unfortunately

loft in

Ages which wereUbfore the Invention of

Printing.
Neglecting the Copyers probably out
of ignorance to tranfcribe them, as not finding
thofe

*That

^0

them felves capable of making the

^ demonftrative

^ f igures. In the mean time, 'tis evidently known by

^skftc}ies,^^ rcltaion of Authors, that we have loft fifty VoDiagrams

lumes of them

Book 5 and

at the leaft.

See Tlmy in his

Franc. Junius in his

3^.

jti.

Chapter of
the

Art of Vainting.
the id.

Book oi tht fainting

ny Moderns have
cefs,

of the Ancients,

of

written

it

and talking

faying any thing

yet

coming

Book

is

but whofe difcourfe

very tirefome.

John

JuniuSj Monjieur

rather invite

de

di-

fome of them have acquit-

Amongft

good for
is

o-

method 5)

thers Leonardo da Vinc't (though without

eft part,

Ma-

much without

ted themfelves (ucccfsfully enough.

^aulo Loma;^^Oy whofe

with fmall fuc-

taking a large compafs without

rectly to the point,

the great-

too difFufive and

Francifcm

'Baptijl /Irmeniniy

Cambray^ to whofe Preface

you than to

his

Book 5 we

are not to

what Monfieur Felehien has written of the

Pi(5ture of Alexander by the hand of Monfieur
Le 'Brun befides that the work it felf is very eloquent, the Foundations which he eftabliflies for
the making of a good Picture are wonderfully folid.
Thus I have given you very near the Library of a ^aintery and a Catalogue of fuch Books as
forget

he ought either to read himfelf or have read to

him,

at Icaft

if

he will not

pofle/fing Painting as the

and not

as the nobleft

'Tis the bufinefs

fatisfie

moft

of

himfelf with

fordid of all

Trades

all Arts.

of a Taint er in^ns choice of T^-

See here the mojl important precept of

&c.
It belongs prothofe which relate to Tainting,

fluresy
all

perly to a Tainter alone y and

all. the reft

are bor-

row'd^

i|[

yy\,

tiz

Olfervatioiis on the

row'd either from Learnings or from ^hyjlck^ or

from the Mathematicks , or in fliort, from other
JrtSy 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 Ter/peBiVey

we muft have know-

ledge in the Mathematicks yZnd other ArtSj will bring

in their Quota's to furnifli out the matter of a

good

Pi^^urej but for the Oeconomy or ordering of the

whole

none but onely the Painter can

becaufe the end of the Artift is plea-

together,

underftand

it,

fingly to deceive the Eyes, which he can never

accomplifli

if this

part be wanting to him.

may make an

though the LiVention of it be truly underftood, the Deji^n of it correal and the Colours of it the moft beautifull and

Pifture

fine that

trary

In Oeceno-

employ^

efFeft,

in

we may behold other

it.

And on

Pi(ftures

ill

the con-

invented,

d and painted with the moft common

Colours, which fliall make a very good effeft,
and which (hall more pleafingly deceive ; Nothing pleafes a man jo much as order, fays Xenophon:
ill

uca

can be

ill

defign

And

Horace, in his Art offoetry.

Singula qutet^ue locum teneant fortita decenter.

Set

Art of
Set

that Order

This Precept

is

tion of all the reft

judgment.

manner

own

all things in their

And know

much

Fainting.

is

113

peculiar place.

the greatefl Grace*

properly the ufe and applicaj

which rcafon

for

You

it

requires

are therefore, in

to forefee things, that your Picture

fuch

may

your Head i. e. before it come upon the Canvas. When Menander (fays a celebrated Authour) had order d the Scenes of his Cobe painted

in

medy^ he held

it

to

be,

a manner, already made

in

undoubted

truth, that they

'Tis an

though he had not begun the firjl Verfe of it,

who are endu d

with

work with incredible pleafure and

facility 5 others on the contrary are perpetually
changing and rechanging their work, which when
it is ended leaves them but anxiety for all their
this forefight,

pains.

It

feems to

me

that thefe forts of Pidures

remind us of thofe old Gothique Caftles, made at

feveral times, and which hold together onely as
it were by Rags and Patches.
It maybeinferrM from that which I havcfaid,
that the Indention 3Lnd the Difpojttion are

and

diftind:

parts in

effe^,

two feveral

though the

laft

of

them depends upon the fir ft, and that commonly 'tis comprehended under it
yet we are to
:

Q^

rake

Comm.vetiis.

Ohfervations on the

xi^^.

we do

take great care that

T\itlnvent'ton

not confound them.

fimply finds out the

fubjeds,

and

makes a choice of them fuitabic to the Hiftory

which we treat; and the Vifpofition diftributes
thofe things which are thus found each to

its

pro-

per place, and accommodates the Figures and the

Grouppes in particular, and the Tout Enfembk

(or whole together) of the Picture in general
fo that this Oeconomy produces the fame effed: in
relation to the Eyes,

as a Confort of

Mujick to the

Ears.

There

one thing of great confequence to be

obferv'd in the Oeconomy of the whole work, which
is

that at the

is,

firft

Sight

we may be given

derftand the quality of the fubjed:

Picture at the

if the fubje(5l

enters into

it

that the

may

Glance of the Eye,

firft

to treat be of joy,

which

and

with the principal paiTion of

(pire us

ampky

to un-

in-

for Ex-

which you have undertaken

'tis

neceflary that every thing

your Picture

fliould contribute

to that Paffion, fo that the Beholders fhall im-

mediately be mov'd with

mournfuU,
fadnefs
ties

If

81.

let

it.

every thing in

If the Subjedl
it

be

have a ftroke of

and fo of the other Paffions and Quali-

of the Subjects.

Letyour Compojitions he conformable

Ancient Authors ^

^c.

Take

Text of
care that the Licences
to the

".."i.JHIW ^'J^'.'PH-I.

Art of

Painting.

115

of Painters be rather "to adorn the Hiftory, than

to corrupt it.
And though Horace gives permiffion to Tainters and Toets to dare every thing, yet
he encourages neither of them, to

of nature or verifimiHty

make

things out

for he adds immediate-

'

ly after,

N,ot things

Sounds of Licences he fix'd,

of difagreeing Natures mix'd

Not Sweet

with Sowre, nor Sirds with Serpents joynd,

!But

the

let

Nor

^rtof Poetry.

the fierce

Lyon with

The Thoughts

of a

the fearfull

Man

Sence are not of kin

Men in Feavers

Hmd.

endued with good

to vifionary

madnefs;

are onely capable of fuch

Dreams.

Treat then the Subjects of your Pictures with all

poflible faithfulnefs, and ufe your Licences with
a becoming boldnefs, provided they be ingenious,

and not immoderate and extravagant.

Take

care that whatfoeVer makes nothing to your

SubjeB, See,

Nothing deadens

poficion of a Picture, as

fo

call

That

CI 2

87.

them

let.

This part of fainting fo rarely met with, and fo

&c.

much the Com-

We may

pleafantly enough, Figures to be

he founds

82.

Figures which are not

appertaining to the Subjed

difficult to

is

to fay. Indention.

^'l^ich

J^.*^jp

O^fervatms on th

11^
i([

80.

Which WiisfloUen by Prometheus, <s*c. The Po>

CCS feign that Prometheus form'd out of Clay, fo
fair a Statue,

that

admir'd

faid

it,

thought there

Minerva one day having long

workman, that if he
was any thing in Heaven which
to

the

might ask it of
her but he being ignorant of what might be
moftbeautifuUin the Habitation of the Gods, de-

could add to

its

perfedlion, he

might be carry 'd

and
The Goddefs
being there to make his choice.
bore him thither upon her Shield, and fo foon
as he had perceiv'd that all Celeftial things were
animated with Fire, he dole 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

fir'd

^92.

leave that he

That

&c.

happens not to eyery one to fee Corinth,.,

it

This

is

an Ancient Proverb which

that every

man has not

fition that

is

fit

difficult.

fore the Centre of all Arts,

*Pro

lege

all

pable of any

of

all

the Sciences, neither

for the undertaking

which are great and

Corinth

of

things-

was hereto-

and the place whither

whom they would

^ Gc^ro calls it
thing.
thofe

fignifies,

the Genius nor the Difpo-

neccffary for

yet a Capacity

they fent

thither,

render cathe Light

Grma^

Art of Fainting.
It

arriVd at length

This was

in the

to that height

of ferfeBionyScc,

time of Alexander

even to Auguflus
ing fell to great decay.
lafted

117

the Great,

and

under whofe reign Paint-

But under the Emperors^

NerVa and Trajan^ it appeared in itsprimitive luftre, which lafted to the time of *P^oca^ the Emperor, when vices prevailing over the
Arts, and War being kindled through all Europe^
and efpecially in Lombardyy (occafionM by the
irruption of the Hunns^) Painting was totally extinguifli'd.
And if fome few in the fucceeding
Ages ftrain'd themfelvcs to revive it, it was rather in finding out the moft glaring, gawdy and
Domitiany

Goftly Colours, than

0US Simplicity of thofe

preceded them.

At

harmont
Painters who-

in imitating the
illuftrious

length,

in

the fourteenth

who began to fet it

may truly be faid, that

Century, fome there were

again on foot.

And

about the end of the

ginning

it

fifteenth

of our Sixteenth

Splendor by means of
parts of Ital}^

it

Age, and the be-

appeared in

much

many knowing Men in all

who were

in perfect poffeffion of it.

happy times which were fo fruitfuU 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
Since thofe

Great

([

pj*

Obfervations on the

11

Great Monarch, and to the care of

nifter,
it

102.

more

Monfieur

Colbert^

we may

his

firfl:

fliortly

behold

than ever.

flourifliing

Our

Tlooughthey are not yery much inferior, ^c.

Author means

Mi-

this

of Michael Angelo^ and other

able Sculptors of that time.

o2

-^ ^ojlure therefore

This

gufio, &CC.

is

mujl be chofen according

to their

the fecond part of Painting,

which is caird Dejtgn or Drawing ; as the Ancients

have Tought as much as poffible whatfoever contributes to the

making of a

perfed:

have diligently examin'd in what

Body,

fo they

confifts the beau-

ty of good poftures, as their works fufficicntly

in-

form .us.
ff

104.

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 paflage he vehemently forbids the forefliortnings, becaufe they
oiake the parts appear little, though of themfelves
T/^e parts of

it

mujl be great ^ Sec,

they are great.

04.

Large

or

amfky &c.

To

avoid the dry

man-

moft commonly the N^/^wr^ which

Lucas yon Leyden and Albert Durer have imi-

ner, fuch as

is

tated.

Une^ua

Art of Painting.
Unequal

ii^

in their ^ojltion, fo that thofe

which are

before mufl contrajl or oppofe thofe others which are hin-

dermoji, and
Centre^

of them be equally halancd on their

all

The Motions

Sec,

when the Members

their

Centre

lanced

on

and

their

never natural,

are

are not equally balanc'd

on

Members cannot be

ba-

thefe

Centre in an equality of weight,

A Man

but they mufl: contraft each other.

dances on the Rope, makes a manifeft

of

ftration

balanc'd on

The Body

Truth.

this
its

as

Feet,

upon two

though one of the Feet mofl:

we

weight, yet
Centrally

ple,

be

upon

fee

it.

one Arm is

And

bears the

whole weight

Infomuch, that

fl:retched out,

a weight

Tivots.

commonly

that the

either that the other

is

who
Demon-

it

if,

for

refts

Exam-

mufl: of neceffity

Arm^ or

the

Leg be

caft

backward, or the Body fomewhat bow'd on the

oppofite Side, fo as to

be

in a Situation

which

make an
is

Equilibrium^

and

may be,
Men} that

unforc'd.

It

though feldom (if it be not in old

the Feet bear equally 3 and for that time half the
weight

is

equally diftributed

on each Foot. You^

ought to make ufe of the fame Prudence,

Foot bears three parts

that the other

in general

is

in four

of the Burthen, and

This
Balance, and

Foot bore the remaining

what may be faidof the

theLibration of the Body.

if one

part.

In particular, there

may

^(f

05-

no

Obfervations on the

may many

things be faid which are very ufefull

of which

you may

your
felves in Leonardo da Vinci,
He has done wonder fully well on that fubje(5t, and one may truly fay
that the ^onderation, is the bed and foundefl: part
of all his Sook of fainting. It begins at the i 8 \ft.
Chapter, and concludes at the 27 3
I would alfo
advife you to read ^Paulo Loma;^^ in his 6th, Booky
and curious,

facisfie

ii.

Chapter ^th,

Del moto

motion of a human Body.

many

humanoj that

del Corpo

things of great profit

is,

the

You

will there find

for

what concerns

will onely fay in general, that no-

the Contraft,

thing gives fo

much

the 43^. Precej>ty

grace and

and what

life

See

to Figures.

fay

upon

it

in the

Remarks.

Tlje parts mufl haVe their outlines in

107.

femhling Flames ^

ground, &cc.

Waves

re-

of a Snake upon the

reafon of this proceeds from

or the gliding

The

which are as fo many

when one of them a6ts and draws,

the aftion of the Mufcles,

Well-buckets

muft obey fo that the

Mufcles which ad:, drawing always towards their
principle, and thofe which obey ftretching in
length and on the fide of their infertion, it muft

'tis

neceflary that the other

needs follow that the parts muft be defign'd in

Waves

the parts

but beware

left in

you do not break

giving
the

this

form to

Bones which

fu-

ftain

Art of Painting.
ftain

them, and which always muft make them

appear firm.

This Maxim
that adlions

may

Mufcles are
this is

not altogether (o general, but

is

be found where the mafles of the

one over againft another^ but

not very common.
The out-lines which
fituate

are in waves, give not only a grace to the Parts,

but alfo to the whole Body,

As we

ported on one Leg.

when

two

greateft

and

that

of

of

others of Borghefe^ and'that

that oiLudoViJioy

number of the

ftandingj

only fup-

of Medices,

oiFloruy of the Goddefs Vefluy the

!Borghefey

is

fee in the Figures

AntinouSy Meleager^ the Venus

the Vatican^ the

it

and

wo Sacc/^w^'s of
in fine

Jncient Figures y

and which always

reft

of the

which are

more upon one

Foot than the other. Befides, that the Figures and

their Parts, ought almoft always to have a ferpentine and flaming form naturally, thefe forts of

know not what of life and feeming motion in them, which very much refem-

out-lines have,

bles the activity of the

Flame, and of the Serpent.

According to the knowledge oftheniy which isgiyen%

us by Jnatomy, Sec.

This part

is

nothing

known

amongft our modern Painters. I have

fliewn the profit and even the neceffity of it in the
Preface of a little Epitome which I have made,
and which Monfieur Torrebat has publiflh'd.
I
at prefent

know

112.

1X2

Ohfervattons on the
arefome who think this Science a kind
of Monfter, and beHeve it to be of no Advantage, either becaufe they are mean fpirited, or
that they have not confider'd the want which they

know

there

have of

nor

it 5

importance
to

track,

tain

it

is

refle<5ted

as they ought,

on

its

contenting themfelves with a certain

which they have been us'd.

But certhat whoever is capable of fuch a
,

thought, will never be capable of becoming

great Defigner.
"

that

is

manner of the Graeciansy &c^

to lay, according to the Ancient Statues^

7)ejignd after

\\\,

time

which for the moft part come from

^
,^\

bt

114.

Let there he aferfeB

the

place,

is

the

is

Greece.

relation hetwixt the farts and:

them agree well together,

His meaning in this
fame thing.

whoky Sec. or

which

let

to fpeak of the juftnefs of proportions

and of the harmony which they make with one

another. Many famous Authours have thorough-

Amongft others Tauh

Lomai^j whofe firft Book fpeaks of nothing elfe
But there are fo many (ubdivifions, that a Reader
ly treated

this

matter.

muft have a good Brain, not to be turn d with

them.
See thofe which our Author has remarked
in general, on the moft beautifuU Statues of the
Ancients.
I believe them to be fo much the bettor,

as

they are

more conformable

to thofe,

which

An

of Painting.

125

which Fitruvius gives us, in tht firft Chapter of his

And which he tells us, that he Icarn'd
third Sook
:

from

the Artifts themfelves

face to his feVenth Sooky he

had them from others,

JrchiteSis and Painters,

becaufe in the Pre-

makes his boaft to have

and particularly from

The Meafures of a Humane Sody,

The

Ancients

have

commonly

allow'd eight

Heads to their Figures ; though fome of them

But we ordinarily divide the Fihave but feven.
gure into ^ten Faces
that is to fay, from tht*This depends
:

Crown

of the Head to the Sole of the Foot

the following manner.

From
is

the

Crown of the Head

in ^^aUtpfthe

a n'ald^
to the Forehead, venuso/Me-

the third part of a Face.

The

Face begins, at the root of the lowed

Hairs, which are

at the

upon

the Forehead

and ends

bottom of the Chin.

The Face
parts

fJ^ ,\Zen

the

is

firfl:

divided into three proportionable

contains the Forehead, the fecond

theNofe, and the

From

third the

Mouth and

the Chin.

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.

^ From

^^^^^'

Ohjervations on the

12^
^ From

*rheA^VLo

the

bottom of the Breaftsj-to the Na^

vcl one Face.

more,

^ From

Navel

one Face.
From the Genitories to the upper part of the

*r/^^ Apollo

Nofewore:

the

to the Genitories,

two Faces.
The Knee contains half a Face.
f ro"^ f^ie lower part of the Knee to

Zlfo/thlvt^^^^'
nus de Medi-

TJlryanof
the Belly,

the Anckle,

and l^^0 '^2iQ^^^

^*'

From

Zpms,^

the Anckle to the Sole

of the Foot, half

Face.

A Man,
from

when

Arms

are ftretch'd out,

iSy

the longeft Finger of his Right hand, to the

longeft of his

left,

From one
two

his

as

fide

broad as he

is

long.

of the Breads to the other,

Faces.

The bone of
length of

two

the

Faces,

Arm

call'd

from

Humerus

is

the

the Shoulder to the

Elbow.

From
little

the

pit

end ofthe Elbow to the rxDotof the

Finger, the bone call'd Cubitus^ with part of
the

Handj contains two Faces.

From the box of the Shoulder-blade, to

the

betwixt the Collar-bones, one Face.

you would be fatisfy'd in the Meafures of

breadth, from the extremity of one Finger to the
If

other; fo that this breadth flioud be equal to the

length of the Body,

you muft obferve

that the

boxcs^

Art of Painting.

^29

<

boxes of the Elbows with the Humerus^ and of

the Humerus with the Shoulder-blade, bear

proportion of half a Face,

when

the

the

Arms

are

ftretch'd out.

The

Sole of the Foot

is

the fixth part

of the

Figure.

The Hand is the length of a Face.

The Thumb contains a Nofe.
The infide of the Arm, from the place where
which makes the Breaft,
caird the Perioral Mufcle, to the middle of the

the Mufcle difappears,

Arm,

four Nofes.

From

the

of the Hand,

middle of the
five

Arm to the

beginning

Nofes.

The longeft Toe, is a Nofe long.

The two utmoft parts of the Teats, and
pit betwixt the Collar-bones

an

of a

the

Woman make

equilateral triangle.

For the breadth of the Limbs no precife meafurcs can be given 5, becaufe the meafures them^
felves are changeable according to the quality of
the perfons 5 and according to the movement of
the Mufcles.

you wouM know the Proportions more particularly, you may fee them in Tatdo Loma:^^
"'tis good to read them, once at leaft, and to make
Remarks on them 5 every man according to his
If

own

"12^

O^fer vat ions on the

own

judgment, and according to the occafion

which he has for them.
^fl"

417.

Though TerfpeBiVe cannot

That

Sec.

is

to fay, purely of

dence, and difcretion.

who

be calf d a certain

underftand

gularly, often

it felf,

The greateft part

make fuch

who

have

they had not wholly found

true,

indeed

it

too

re-

made

If all thofe

us fuch

left

forms, had rigoroufly obferv'd

They had

ofthofc,

things as (hock the fight,

though they are within the Rules.

great Painters,

without pru-

defiring to pracStife

it,

(I(iiley

in their Figures,

it

their

account in

more

things

fair Plat-

it^

regularly

There is great
and Statuaries of

but withall very unpleafing.

appearance that the ArchiteBs^

former times, have not found

it

to their purpofe

always 3 nor have foUow'd the Geometrical part

fo exadlly as Perfpe6tive ordains.

For

He who

'wou'd imitate the Frontifpiece of the ^tunda ac-

wou'd be

cording to

Perfpe<5tive,

fince

Columns which

the

grofly deceiv'd

are at the extremities

have more diameter, than thofe which are in the

middle.
The Cornifh of the Tala:^^ Farne/e,
which makes fo beautifuU an effect TdcIow, when
viewed more nearly, will be found not to have
its juft

meafures.

In the fillar oi Trajan^

we

fee

that thehigheft Figures are greater than thofe be-

low

and make an

efFeft quite

contrary to Perfpeftive,

Art of Tainting.

'

increafing according to the meafure of

Ipecftivc,

their diftance.

know

there

a Rule which

is

way of making them

manner 5
and which though 'tis to be found in fome Books
of Perfpedive, yet notwithftanding is no rule of
teaches a

Becaufe

^erffeEicve.

when we

oncly

(for example

find

'tis
it

never

in that

made

for our

purpofe

bottom

more

rea(bn, that

Pcrfpedive to eafe the

jedsmorc

agreeable:

vation, that
rules

we may

which

they wou'd not be for

that againft Perfpedive

with

for if

the Figures which are at the top of

Trajaris ^PilUr^ were but as great as thofe

are at the

but

ufe of,

and thus we

it is

may

all

fay,

a rule of Decorum

fight,

'Tison

in-

and to render obthis

eftabliflh in

general obfer-

Perfpedive, the

of Decortm (or convenience) whenfoever

occafion fhall offer.

Example

We may

alfo

fee

another

of the Farmfian Hercules y,

which is not upon the level^ bur on an eafie declivity on the advanced part, that the feet of the
in the bafe

may not
end- that it may

Figure

be hidden from the

fight,

to the

appear more pleafing: which the

noble Authors of thefe things have done, not

in^

contempt of Geometry and Perfpedive, but for

the fatisfadion of the Eyes, which was the end
they proposed to themfelves in all their works.

We

wrj:

 2B

Ohfervations on the

We

muft therefore underftand ^erfpeBive^ as

a Science which is abfolutely neceffaryj and
which a Painter muft not want : Yet without fubjeding our felves fo wholly to it,as to become flaves

We are to

of it.

follow

pleafing way, and that

it

it,

when

leads us in a

it

(hows us plcafing things 5

but for fome time to forfake

it,

if it

lead us

through mire, or to a precipice.

which

ter that

Endeavour afaiding to your Art, and conve-

is

nient, but avoid whatfoever

59th

as the

\i6,

is

repugnant to

it

rule teaches.

Let eVery Member be made for its own Heady See,

That is to fay, you ought not to fet the Head of

Young man on the Body of an Old onej nor

make a white Hand for a withered Body. Not
a

to habit a Hercules in TafFeta 5 nor an Apollo in

courfe ftufF: Queens and perfons of the

lity,

whom you

wou'd make appear

firft

qua-

Majeftical,

are not to be too negligently drefs'd, or indiflhabile,

no more than Old men

ijot to

The Nymphs are

be overcharged with drapery

In fine,

let

which accompanies your Figures, make

them known for what effectively they are.
all that

C 128.

Let

the Figures to which

imitate the

Mutes

in their

Art cannot give a Voice

ABionSy Sec,

Mutes having no other way of fpeaking ( or

^xprefSng their thoughts^ but onely by their geflures

Art of

12^

Painting.

and their adions, 'tis certain that they do

it in a manner more expreflive than thofe who
have the ufc of Speech, for which reafon the Pid:ure which is mute ought to imitate them, fo

ftures

as to

make

it

felf

underftood.

Let the principal Figure oftheSuhje&y &c.

one of the

greateft blemiflies

give knowledge at the

which

it

firft

And

reprefents.

of a Pidurc, not to
Sight of the Subject

truly norfiing

perplexing, than to extinguifli as

cipal Figure

by

'Tis

the oppoficion

it

is

more

were, the prin-

of fome others,

which prefent themfelves to us at the firft view,

and which carry a greater luftre. An Orator, who
had undertaken to make a ^anegyrick on Alexander the Great y
eft

and who had employ'd

the ftrong-

Figures of his (^oetorique in the praifc o^'Buce-

would do quite the contrary to that which

was expeded from him Becaufe it would be be-

phalusy

lieved that he rather

took the Horfe for

his

Sub-

jed than the Mafter.

A fainter is like an Orator
in this.
He muft difpofe his matter in fuch fort,
that all

things

Subjed.

And

may

give place to his principal

if the

other Figures, which accom-

pany it, and are onely as Acceflaries there, take

up the chief place, and make themfelves moft
remarkable, either by the Beauty of their Colours,
or by the Splendour of the Light,- which ftrikes
upon them, they will catch the Sight, they will
S

ftop

iT

no.

Olffervations on the

i^Q.

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

flop

it

fliorc,

The principal Figure in a Pidlure is like

a King among his Courtiers, whom we ought
to know at the firft Glance, and who ought to
firft.

dim

Luftre of

the

all

Painters who proceed otherwife,

who in

Thofe

his Attendants.

do

juftlikc thofe

the relation of a ftory ingage themfelves

fb fooliflily in long digreffions, that they are forc'd

to conclude quite another

Let

132*

the

Members

the Figures are^

he

way

comhind

&c.

than they began.

in the

fame

rrianneras^

cannot better compare a

of Figures^ than to a Confort of Voices,

which fupporting themfelves all together by their

GroHppe

different parts

ly

fills

come

the

make

Ears

a Harmony y which pleafing-

and

flatters

them

but

if

you

and that all the parts are

equally heard as loud as one another, they will
ftunyoutothat degree, that you would fancy
your Ears were torn in pieces.
'Tis the fame of
Figures; if you fo aflemble them, that fome of
ihem fuftain the others, and make them appear 5
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 diA
to feparate them,

pers'd,

Art of
pcrs'd,

Tainting.

151

ox Q2ic\ioithtm'm particular.

All together

Rays

by

bccaufe the vifual

mulciply'd

are

the

Multiplicity of Objc<5ls. Each of them in particular

you

your Sight on one, thofe

which are about it will ftrike you and attrad:
your Eyes to them, which extremely Pains them
becaufe,

if

fix

and Diverfity of Ob-

in this fort of Separation

jeds.

The

Eye, for example,

and

the Sight of one fingle Grape,

it

carries

it

felfatone view, to look

the

with

diftraded, if

is

upon many

fe-

on a Table, we
fame regard for the Members 5^

veral Grapes which

muft have

fatisfied

is

lie

fcatter'd

they aggrouppe and contraft each other in the

fame manner

as the Figures do.

have obferv'd

this

is

Few

Painters

Precept as they ought, which

a moft folid Foundation for the

Harmony of a

Pidure.

The Figures

in the

Grouppes ought not

Take

other in their Motions ^ 8cc.

do nothing

traft to

that

is

all

things that

heed in

this

con-

extravagant, and let

your Poftures be always natural.

and

to he like each

accompany

The

Draperies,

the Figures,

may

Members, and
And this is what our

enter into the contraft with the

with the Figures themfelves

Poet means in thefe words of

his Yerfes,

detera

frangant,

S 2

Om

gr

^ -^

Obfervations onthe

1^2
5*

One fide of the ^iHure

4 J.

other
>

is fill' d,

See.

This

jnujl not be Voidy

fort

while the

of Symmetry,

when

Pidure pleafinglyj keeps it in a kind of balance and infinitely

delights the Eyes, which thereby contemplate the
it

appears not affected,

the

fills

Work

with

more

^s a Tlay

^152.

is

repofe.

feldom good^ in which there are too

many JBorSy &c.

Annihal Caracci did

not be-

cou d be good, in which there

It was Albano who
were above twelve Figures.
lold our Authour this, and from his mouth I had
lieve that a Pi(5ture

it.

The Reafons which

he gave were,

firft.

That

ne believ'd there ought not be above three great

Grouppes of Figures in any Pid:ure And fecondly, That Silence and Majefty were of nece/Iity to be
and neither the one
there, to render it beautifull
:

nor the other

crowd of

But

Figures.

conftrain'd

be

cou'^d poflibly

by the Subje(5l

in a

multitude and

you are
{As for Exampky If you

neverthelefs, if
5

painted the I)ay of fudgmenty the Majfacre of the

Innocents^ a Battel^ Sec) On fuch occafions you
are to difpofe things

by

great mafles of Lights

and

Shadows, and union of Colours, without troubling your

felf to finifli

every thing in particular,

independently one of the other, as

Painters

of a

little

Genius

is

ufual with

and whofe Souls are

uncapablc of embracing a great Defign, or a great

Compolltion.

jEmy;

Art of Painting.
jEmylium
Exprimetj
Infelix

Faber imus

circa ludurriy

153=
is^

Unguei

imitahitur ^re capillosy

<(^ molles

Of em Summa^

(juia

fonere totum.

Ne/ciet.

The meaneji Sculptor

Can

t'

tF Emylian Square,

the Nails

imitate in Srafs^

Expert
Able

in

and Hair

and a cunning Fool,

in 'Triflesy

exprefs the Tarts,

Says Horace in

his

but not difpofe the whola

Art of Poetry;.

77?^ Extremities of the Joints mujl Be feldom hidderty

and

the Extremities

or

End of the

Feet

neyer^

dec.

Thefe Extremities of the Joints are as it were the

Hafts or Handles of the Members. For example^
the Shoulders, the Elbows, the Thighs^ and the
Knees.
And if a Drapery fliould be found on
thefe ends of the Joints, 'tis the duty of Science
and of Decorum^ to mark them by Folds, bm
with great difcretion 5 for what concerns the Feet,
though they fliould be hidden by fome part of
the Drapery 5 neverthelefs^ if they are mark'd by
and their fliape be diftinguifh'd, they
Folds,

The word never,

are fuppos'd to be feen.

here to be taken in the ftrideft Senfe

hut thisy fg

rarelj/y

that

it

is

not

he means

may feem.we

fliould

avoid

162.

Vijervations on the

34
avoid

if

occafions of difpenfing with the Rule.

all

behind others^ haVe neither

T7;e Figures which are

64.

Grace
nOy

mr

V^our^ &c.

^ma-

Raphael and Julio

have perfectly obferv'd

this

Maxime, and

3(d-

/>W/efpeciaIlyin hislaft Works.

6^

Avoid alfo
qual,

and Contours which are

tho/e Lines

which make

^Parallels y

He means

Sec.

e-

prin-

cipally to fpeak of the Poftures fo order'd, that

they

make

together thofe Geometrical Figures

which he condemns.
ij(|f

476.

not fo JlriBly

S^recept

is

ture,

two

againft

gainft thofe

who

juft as

forts

This

Nature, Sec.

to

of Painters

firft

do nothing without

they believe they

who

her,

fee her,

a-

Na-

are fo fcrupuloufly tied to

that they can

copy her

tied

without

adding or retrenching any thing, though never fo

little, either for the Nudities or for the Draperies.

very

And

fecondly, againft thofe

who

Paint

e-

by Pradice, without being able to

fubjedt themfelvcs to retouch any thing, or to
examine by the Nature. Thefe laft, properly
thing

/peaking, arc the Libertines of

are Libertines of^ligion

J^ainti?igj

who have no

as there

Law

other

but the vehemence of their Inclinations which they

in the fame

man-

are refolv'd not to

overcome and

ner the

of fainting, have no other

Libertines

del but di,1If^odomontado Genius y

and very

Mo-

irregu-

lar

'^fWiE^rr''

Aft of Painting.

i^^,

which violently hurries them away. Though

thcfe two forts of Painters, are both of them ia.
lar,

yet neverthelefs the former fore

')^idom ExtroneSy

feems to be the more fupportabkj becaufe though

they do not imitate Nature as (he

ny'd by
leaft

is

accompa-

her Beauties, and her Graces, yet at

all

we know
of which the others fhow

they imitate that Nature, which

and daily

Inftead

fee.

which

us a wild or falvage Nature,

is

not of our

acquaintance, and which fcems to be of a quite

new Creation.
Whom you muji
to the truth)

The

faid.

who

in

not to pronounce

it,

ed Nature,

and who
its

who

will

is

Author, be the

which are

the Beauties
lig d

is its

ap-

nearer a PiiSture

proaches to the truth, the better it

the Painter,

^1/8.

This paffagc teems to be won-

dec.

derfully well

as a witnefs

haVe always prefent

it,

he

till

is

and though

firft

Judge of

neverthelefs ob-

he has

firft

confult-

an irreproachable evidence,

is

frankly, but withall truly tell

you compare

you

Defedls and Beauties,

if

Work.
And of all

which difcoyer to us the

it

with

her

other

things

Thoughts and Inventions of the Graecians, 0*c.

good Books, fuch

the prints

which we

as are
fee

Homer and

As

J^aufaniasy.

of the Antiquities,

may

extremely contribute to form our Genius, and to

give.

\2 8.

^
Obfervations on the

13^

give us great Ideas

in the

fame manner

the

as

Writings of good Authors, are capable of forming a good Style in thofe

who

are defirous of

writing well.

102.

Ifyou have hut one jingle Figure to work upon. Sec,

The reafon of this is. That there being nothing to
attra6t the Sight but this

Rays
fity

will not be too

onely Figure, the vifual

much divided by the

of Colours and Draperies

heed to put in nothing, which

fliarp

or too hard

but onely take

fliall

appear too

and be mindfuU of

Precept, which fays, that

two

Diver-

^tL

the

Extremities are ne-

ver to touch each other either in Colour or in

Light 5 but that there muft be a mean, partaking

of the one and of the

Let the Drapery be

9 J.

ip(J.

yiohly

Jpread upon the 'Body

As Raphael pradis'd,
after he had forfaken the. manner of Tietro TeruginOy and principally in his latter Wotks.
And let them follow the order of the parts, dec. As
let

other.

the Folds he large,

&cc.

the faireft pieces of Antiquity will fliow us.

And

do not only follow

but that they alfo mark

take heed, that the folds

the

order of the parts,

the

moft confiderable Mufcles

gures, where the drapery

and the naked part are

feen both together, are

becaufe that thofe Fi-

much more

gracefuU than

the other.

Without

Art of fainting.

137

Without fitting too ftr eight uj^on theMy 8cc. Paint- ^ 200.
ers ought not to imitate the Ancients in this cir-

cumftance

ancient

the

Draperies of wet Linen^

Statuaries macic

their

on purpofe to make them

and ftreight to the parts of their Figures,

for doing which they had great reafon 5 and ia
following which the Painters w^ould be much in
the wrong
and you fliall fee upon what grounds
fit

clofe

thofe great Genius's of Antiquity, finding that

it

was impoffible to imitate with Marble the fineneis

of fluffs or garments which is not to be difcern d
but by the Colours, the Reflexes, and more efpecially 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-

make

dentially, than to

ufe

of fuch Draperies as

hinder'd not from feeing through their Folds, the

delicacy of the
lines

Flefli,

things which truly fpeaking they pofleft in

the laft perfection,

were the fubjedof

on

the

and the purity of the Out-

contrary,

and which

in all appearance

their chief ftudy.

who

are to deceive the Sight,

quite otherwife than Statuaries, are

tate the different forts

naturally feem

can

bound

to imi-

of Garments, fuch as they

and fuch

Lights and Shadows (of

tters)

But Painters,

as Colours, Reflexes,
all

which they are Ma-

make them appear

Thus we

fee that

thofe

Obfervations on the

who

have made the ncareft imitations of

Nature, have made ufe of fuch Stuflfs (or Garthofe

ments) which are

thefe they

familiar

our Sight, and

to

much

Art that

are pleas'd that

they de*

have imitated with fo

in beholding

them we

ceive us; fuch were Tttian^ Taul Veronefe^ Tintorety

^hensj Fan Vyck^ and the

Colourifts,

Nature

reft

who have come neareft

Inftead of which, others

of the good

to the truth of

who have

fcru-

Anworks

puloufly tied themfelves to the pradice of the

cients,

have

in their Draperies,

crude and dry

^nd by

out the lamentable fccret

this

made their

means have found

how

to

gures harder than even the Marble

and

make
it felf.

their Fi-

As Jht

^erugmo have done,

and Raphael alfo had much of that way in his firft
Works, in which we behold many fmall foldings
often repleited, which look like fo many Whip-.
drea Mantegna,

cords.

Tietro

^Ti5 true thefe repetitions are feen in the

and they are very proper there..

Becaufe they who made ufe of wet Linen, and

Jncient Statuesj

clofe Draperies,

tender,

to

rcafonably

make

their Figures

forefaw that

look more

Members
not more than*
the

would be too naked, if they left

two or three Folds, fcarce appearing fuch as thofe
Ibrts of Draperies afford the Sight, and therefore
have us'd thofe Repetitions of

many

Folds, yet
in-.

Art of Painting.
manner

in fiich a

13^
always

the Figures are

that

and tender, and thereby feem oppofiteto the

'hardnefs of Marble.
Add to this, that in Sculpture, 'tis almofl: inipolTible that a Figure cloath'd
fofi

with courfe Draperies, can

all

the fides;

and

make

good

efFed:

on

Painting the Draperies

that in

of what kindfoever they be, are of great advantage, 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
ireflcdrions as fet off,

infliort for

many

or for

filling

void fpaces, or

other advantages, which help

to deceive the Sight, and which are no ways neceffary to

Sculptors,

fince their

Work

is

always

of ^lieVo.

Three
faid

things

may be inferred from

what I have

concerning the rule of Draperies.

that the

Ancient

their Figures as

^^ainters

Sculptors

we

fee

Firft,

had reafon to cloath

Secondly, that
them.

ought to imitate them

in the order

of their

Folds, but not in their quality nor in their

"ber.

Thirdly, That Sculptors

follow them as

much

are

as they can,

num-

oblig'd

without

to

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.

Sec

Ohjervations on the

i^o

iwtk

See the
ff

202.

^^^

(B^mark about the middle of

f^^^^ ^^ ^^^ ^^^^ diflant from each ^

"Tis with intent to hinder (as we

^/^'-^^

thery

Sec.

have

faid

the rule of Grouppes) the vifual

in

much

Rays, from being too

the Eyes
obje<5ls,

cxad

may

204.

not

fufFer

divided,

in this obfcrvation.
(^/e

And 06 the

which

and

that

many

by looking on fo

Guido was very

which are feparated.

end of the

it.

See in the

Text

the

relates to Draperies.

^Beauty of the

Limhs

confifis not in the

and riftng of the Mufcksj 3cc.

Raphael
the beginning of his Painting, has fomewhat too

quantity

much mukiply'd the Folds 5 becaufe being with

reafon charmM with the graces of the Ancients, he
fomewhat too regularly 3
but having afterwards found that this quantity of
Folds glitter'd too much upon the Limbs, arid
took off that Repofe and Silence which in Paint-

imitated their Beauties

ing are fo friendly to the Eyes

he

made

ufe

of a

contrary condudl in the works which he painted

afterwards, which

was

to underftand the

efFe(5t

and

at that time

when he began

of Lights, of Grouppes,

and Shadows,
fo that he wholly chang'd his manner, (this was
about eight years before his death) and though he
always gave a Grace to whatfoever he painted,
the oppofitions of the Lights

yet he

made appear

in his latter works, a Grcatnefs,

An of Painting.
nefs,

14'

Harmony

a Majefty, and a

quite other

manner
And this
he did by leflfening the number of his Folds,
making them more large and more oppofing
them, and by making the Maffes of the Lights
and Shadowsj greater and more difentangl'd.
Take the pains to examine thefe his different manners in the Prints which we fee of that Great Mam
than what

we

As fuppofing

fee in his firft

iheni to be MdgiJlrateSj

their

Drafe-

Hk

Ijf

1\&1

Yet make not your

Draperies fo large that they nuy be big enough
to cloath four or five Figures^ as fome there are
who follow that method. And take heed that
the folding be natural and fodifpos'd,that the Eye
may be dircded to difeover the Folds from the
By M^giftrates,
beginning of them to the end.
he means all great and grave Perfons, and fuch
ought to be largey Sec.

Ties

as are

advanced

in age.

By If 2
If Ladies or Dam/els^ light and fofi^ 3cc,
this name ofLadiesy Maids, or Samfeky he means
all

young

and
and

'perfons, flender, finely

delicate.

Fduntains.

under

this

Such

as are

Angels

fliap'd,

aery

Nymphs, and Naiades,

are alfo

head, whofe Drapery

comprehended
fhould be of

and refembling rhofe which

the Heavens-, and chiefly when^ they

pleafing Colours,
are feen in

are

fufpended in the Air.

They

are on-ly fuch

forts

ll

f 4^

^Ohfervations on th'
forts

of light

the Winds,,
that they
eafie for

peries

liabics as are fubje(5l to

be

ruffl'd

which can bear nnany Folds

may

by

yet fo

be freed from any hardnefles.

'Tis

every one to judge that betwixt the Dra-

of Magijlrate^y and thofe o( youn^ Maids

-^

muft be fome mediocrity of Folds, fuch as

are moft commonly feen and obferv'd, as in the

there

Draperies of a

Queeriy

Chrijly

^ng^

of a MadonnUy of a

oi a Vutchefsy and of other perfons of

Confideration and Majefty

and

who

thofe alfo

are of a middle age with this diftiniftion, that the

Habits mufl be

made more

or

accor-

lefs rich,

ding to the dignity of the Perfons ; and that

'Garments

may

be diftinguifli'd from thofe of

Cloth
Silky

from FehetSy (Brocard from Embroidefjiy and

that in one word the Eye may be deceived by tl^
-truth and the difference of the Stuffs.
Take notice if you pleafe, that the light and tender Draperies having been onely given to the Female Sex,
Satt'm

the Amient Sculptors have avoided as

much

as they

xould to cloath the Figures of Men, becaufe they

thought, (as

we have formerly

faid)

that in Scul-

pture Garments could not be well imitated, and

chat great Folds inade a very

are almoft as

many examples

bad
of

effe(5t.

this truth,

There
as a-

mongftthe Ancients there are Statues of naiced men. I will name only that of Laocooii, which
accor-

Art of Tainting.
according to

all

probability ought to have

And

eloath'd:

effe(5l

of Apollo flhould appear naked

the

of

prizM Laocoon and

in the a<5lual Cere-

For the Serpents

Sacrifice.

of Tenedos to the

Ifle

beea

what likelihood can

Son of a King, and the Prieft

in

there be, that the

mony

14.3

his

from
Trojan Shore, and furpafs'd

Sons while they were la-

Neptune on the Sea Shore, as Vir^ii

witnefles in the fecond of his Eneids,
Notwith-

crificing to

fianding which^ the

thors of this noble

Sculptors

work had

who were Au-

* Po^y^^orusj

well confidcr'd, that rus,^^Age-

they could not give Veftments fuitable to the qua*

Rh^aianf
lity of the Perfons reprefented, without making
as

it

were a heap of Stones, whofe Mafs would

rather belike a

Figures,
all

Rock, than thofe

which

Ages.

will ever

And

be the Admiration

for this reafon

ences, they judg'd that

three admirable:

of two inconveni-

of Draperies to be great-

than that which was againft the truth

er,

of;

it^

fclf.

This obfervation well confirms what I have

faid in the looth. ^marh It feems to me, that it
defer ves you fhould make fome refledlion on it y.

and to
tell

eftablidi

it

the better in

your mind,

you, that Mtchael Angelo, following

x'tMy

this

wilL

Ma-

has given the Prophets which he painted

the Chappel

in.^

of the ^ope^ fuch Draperies whofe

Folds

Obfervations on the

144^

Fold^ arc large, and whofe Garments arc courfe,

made
in Sculpturey is habited with a Drapery much
more clofe to the parts and holding more of the

ihftead of which the Mojes^ which he has

Ancients,

Neverthelefs he

thofe in the Chappel, a

is

man

a ^rofhet as well as

of the fame quality,

and to whom Michael Angela ought to have given

the fame Draperies, if he had not been hindered
by thofe very reafons which have been given
you.

"2

5".
1

Marks or Enjigns ofFertueSy

to fay of the Sciences and Arts.
77;e

call a

and

man

is

a Vertuofo^

fame

l\y.

'But

let

^^'

"*

That

is

Italians

And amongft

the word'K^rtex,

is

our

underftood

Signification.

not the

work he

Gold or Jewelsy &Lc,

Ub.2.Paedag.

The

That

loves the noble Arts,

a Critick in them.

Frewffc Painters,

in the

who

Sec.

too

muclj enrich' d with

Clemens Jlexandrinus relates,

Jpelles having feen

a Helena, which a young

Scholar of his had ynade and adorn d with a great quan-

of Golden Ornaments and Jewels ^ faid to him, My

good rie7id, though thou couldjl not make her beautitity

ful!,

at teajl thou haji )nade her rich.

thefe glittering

things in Painting,

Befides that,
as precious

Stones prodigally ftrew'd over the habits are defl:ru6tive to

each other, becaufe they draw the

Sight to feveral places at the fame time, and that

they

An

of Vainting.

1^5

they hinder round Bodies from turning and making

their

efFe<5l 3

makes us judge

often
fides

due

it is

always

'tis

the very quantity

that they are falfc.

which

And

be-

to be prefum'd, that precious things are

Corinna, that learned TI)ebanL2.dyy'^^^^^^^^-

rare.

TMar^ whom

reproached

flie

had

five

times

overcome in Poetry, that he fcatter'd through

all his works the Flowers of ^amajfus too pror
him, That men fowd with the
with the Sack : for which reafon

digally, faying to

Handy

and not

a Painter ought to adorn

And

difcretion.

his

Veftments with great

precious Stones look exceed-

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 itfelfisofno flrong colouring.
They do alfo perfectly well with white
ingly well,

and other

light

Colours, which are us'd in bring-

ing the Parts or Bodies forward, bccaufe Jewels

make
,

(how and

glitter

through the oppofition

of the great Lights in the deep brown, which

meet

together.

make a model of thofe things fT 220.

our Sight, and whofe nature is

'Tis Very expedient to

which we haVe not in

d in the Memory, 6cc,

As for
example, the Grouppes of many Figures, the Poftures difficult to be long kept , the Figures in

difficult to

he retain

the

Oifermtions on the

1^5

the Atr; -in Ceilings,

much

above the

rais'd

and even of Animals, which are not

to be difposM.

Sighf
fily

or

ea-

we plainly fee how neceffary it is

for a Painter to know how to mddel^ and to have
maiiy Models of foft Wax.
faulFeronefe had

By

fo

this rule

good

of them, with fo great a quantity of

forts, that he would paint a whole hiftori-

ftore

different

Compofition on a perfpedive Plan, how

great and how diverfified Ibever it were.
77^aret pradis'd the fame, and Michael Jngelo (as

cal

GioVan. !Bapt,

Armen'ml relates)

for all the Figures of his day

made

ufe

of Judgment,

of

it,

'Tis

any one who would

make any very confidcirable work, to finifli after
thefe forts of Models, but they will beof vaft ufe
and advantage to fee the Maffes of great Lights,
and great Shadows, and the effed: of the whole
not that

together.

*AFtgHre

would

advife

For what remains, you are to have a

^ Layman

almofl as big as the

life,

for every

^rtri7i^n-^W^^ in particular, befides the natural Figure

igir;o>/^/. before
you, on which you muft alfo look, and
'"'

call it for a witnefs,

w hich muft

firft

confirm the

thing to you, and afterwards to the Spectators as

^it i^ in reality.
-**''

You may make

light,

if you fet

Models with dethem on a Ter/peftiVe flan^ which

ufe of thefe

will

Art of
will be in the

You may

Painting.

1^7

manner of a Table made on purpofe.

.eith^i|

oife or

yourjjEomfiqnieiijCe

an4

down

according to

iflYfOU Iqolf

on your'Fi-

let it

gure .through a hole fo contrived, that

mov'd up and down,

point of Sight and a

will ferve

it

it

may be

you

point of Diftance,

for a

when

you have once fix'd it.

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

You may

joyn to your Figures what you

fee

provided that the whole be proportioned

fitting,

and in fhort what you your .felf may

judge to be of no greater bignefs than theirs. Thus,
to

them

you do there will be more of truth

your work it felf will give you infinite deand you will avoid many doubts and dif-

in whatfoever
feen,
light,

which often hinder you, and chiefly

what relates to lineal perfpeBi'Ve, which you

ficulties

foe.

will

you remember
to proportion all things to the greatnefs of your
Figures and efpecially the points of Sight and of
but for what belongs to aerial perfpeDiftance
Bi'Ve, that not being found, the judgment muft
there infallibly find, provided that

fupply

it.

Tmtorety as ^dolphi

tells
''

us jp

hi^-life,'
'

had

^s.i^\MJ.

Obfervations on the

14-8

had made Chambers of Board and Paft board,

proportion d to his Models with Doors and Windows, through which he diftributed on his Figures

Lights, as

artificial

much

as he

thought

and often pafs'd fomepart of the night

to confider and obferve the effed of his Compofitions.
His Models were of two Foot high.

reafonable,

^221*

We

are to confider the places where

we

lay the

Scene

This is what Monfieur de

of the ^iSiurey &c.
Chamhrayy calls, to do things according to Decorum.
See what he (ays of it, in the Interpretation of that

^ook of the ^erfeBton of fainting, 'Tis

not fufficient that in the Pidure there be nothing

word in

his

found which

is

aftion which

is

contrary to the place, where the

we ought
place and make it known

reprefented, pafles

mark out the

Spedator by fome particular
mind may not be put to the

befides, to

to

the

that his

difcovering

it,

as

whether

GreeceJ or France
fliore,

the

but

'^

it

Addrels,
pains of

be Italy ^ or Spain^ or

whether

it

be near the Sea

or the Banks of fome River, whether it be

fl^fciwe,

or the Loyre

the (Po, or the Tyber

and foof other things, if they are eflential to the

" Nealces, a man of Wit and an ingeHiftory.
L8r25.i2:

" nious Taintery

" Ka^al Fight
"

fians,

as

?\my

tells

uSy

he'mg to faint

hetwixt the Egyptians and the Pcr-

and being

willing to

make

it

known that the

"

(Battle

Art of Fainting.
^^

!Battle

was given upon the Nile, whofe waters are

" of the fame

^^

"

14^

Colour with the Sea,

drew an Afs drink-

ing on the !Banks of the 5(iVer, and a Crocodile en-

deaVouring to furprt:^ him.

Let a Nohlenefs and Grace, dec.

enough

It is

difficult

what this Grace of Tainting is 5 'tis

to be conceivM atid underftood much more eafily than to be explain d by words.
It proceeds
from the illuminations of an excellent Mind,
which cannot be acquird, by which we give a
certain turn to things which makes them pleafing*
to fay

A Figure may

be defignd with

ons, and have

all

withftanding

there

it

is

fix'd

attracts

a difference to be

and Beauty.

And

it

Eye

the

upon them

proporti-

which not-

not be pleafing,

fliall

are not put together

manner, which
holds

parts regular,

its

all this,

all thofe parts

all its

in a certain

to them,

and

For which reafon

made

betwixt Grace

feems that OVtd had a

to diftinguifh them,

if

when he

mind

faid (fpeaking oi

Fenus)

Multaque cum forma gratia mijla fuit.r

A matchlefs
And
rather

Grace was

mth

her beauty

mxd.

Suetonius fpeaking of Nero, fays, he

beautiful!

than

gracefirfl.

was

Vultu fulohro,
magis

If 222,

Olfervations on the

150

How many

magis quam Venujlo.

we

who

fee,

pleafe us

much lefs

than

have not fuch beaucifulj Peatures

women do
others, who

fair

'Tis by

grace that Raphael has .made himfelf the

nown d

of all the

means carry'd
Ijf

This

2 2.

Sec,
is

is

that

For two

to be

it

above

by

mod

re-

fame

the

all the Greeks-

in which the great eft difficulty conjtjls,

reafons, both becaufe great ftudy

made as well upon

on noble

as tjpelles

Italians J

this

Pictures, as

the ancient Beauties

upon nature

it

alfo becaufe that part depends entirely

felf

on

and
and

the Ge-

and fcems to be purely the gift of Heaven,

which we have receiv'd at our Birth, upon which
account our Author adds. Undoubtedly we fee hut
niusy

fewy whom

in this particular ^

with a gracious Eye^ Jo that

elevated Souls,

Jupiter ha^ regarded

it

belongs only to

thofe

who fartah fomewhat of DiVinity

to

work fuch mighty wonders.

Though they who
have not altogether received from Heaven this precious Gift, cannot acquire

bour, neverthelefs

'tis

it

without gr^at La-

needfuU in

my

opinion,

that both the

one and the other fhould perfcd:ly

learn the charader of every Paflion.
All the Actions of the

fenfitive Appetite arc

Painting call'd TaJ/ions, becaufe the Soul

tated

by them, and

through them, and

is

becaufe
fenfibly

is

in

agi-

Body fuffers
alter'd.
They are
the

thofe

Art of Painting.

151

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 ftiidy, and to form to himfelfa perfed Idea of them.
But it will be proper for us to know in the firft
thofe divers Agitations

admit eleven, Loye^

place, that the Philofophers

Hatred y Dejlre
Defpairy

Shunning

Joy y Sadnefs

The

Fear and Jnger,

'Soldnefsy

have multiply'd theni nop onely by

T>egreesy

but alfo

they will make,

by

for'

tlieir,

fix

Hope ^

Painters

theif different

different

exampky

Specks y for

perfons in the

fame degree of Feary who ftiall expref^^that Paffion all of them differently.
And "'tis that diverfity

of

who

may

Species

are

which diftinguifhes thofe Painters

able

Artijls

from

thofe

whom we

and who repeat five or fix

times over in the fame Pidure the fame Hairs
of a Head.
There are a vaft number of other
call Mannerijisy

Paflions,

which are

we have nam'd

as the

Branches of thofe which

we might

for example,

under

Notion of Love, comprehend GracCy Gentlenefs and Civility 5 CarejfeSy Embraces y and KjJfeSy
Tranquillity and Sweetnefs 3 and without examining whether all thefc things which Painters comthe

prize under the

name of

^affionsy

to thofe of the fhilofophersj

am

can be reduc'd

of opinion that
every

52

Ol^fervations on the

may

them at his plcafure, andtha^

he may ftudy rhcm after his own manner the
name makes nothing. One may even 'make Pafevery one

ufe

fionsofMajeJiy^
Varice,

fiercenefsy

l)kcthe/e.

Thefe

to be learnt

from

to

fee,

Taffions (as

the

the Ancient Statues

Sadnefs^ or ferve

life it felf,

and

for example,

many

EnVy, and

Sloathfulneff,

excellent

all

Care ^ J-

VijfatisfaSiion^

have faid,) ought

or to be ftudied

it

to

on

we ought

TiBures :

things which

to exprefs

other things

belong to

defign

them

and to imprint in our Memories after

fuch a manner, as we may diftindtly underftand
feven or eight kinds of them more or lefs, and immediately after draw them upon Paper without
-any other Original than the hiage which we have
carefully,

conceived of them.

We

them: but above all,

feffing them throughly.

muft be perfedl Mafters of

we muft make fureofpof-

We are

fuch or fuch a ftroke, or fuch a

to

know

that

Shadow

it is

ftronger

or weaker^ which make fuch or fuch a Taffion in

this or that degree.
And thus, if any one (hould
ask you, what

makes

in Painting the Majejly

a I^in^, the GraVity of a

Chriji,

the Grief oi a

of

Hero, the Lo've of a

Madonnuy the Hope of the

good TInefy the Defpair of the bad One, the Grace

and Seauty of a Fent^y and in fine the CharaBe?^

of any Tajpon whatfoever, you may anfwer pofi

tively,

Art of Painting.
tively,

on

the fpot,

and with

ft^h a Tojlure or fuch

lines in

153

afllirance, chat

it is

the parts of the Face^

form d oi fuch or fuch a fap?ion, or even the one

and the other both together for the parts of the
:

Body

feparately,

make known

the

Taffions

of

one with the other.

But of all the parts the Head is that which gives
the moft of Life^ and the mod of Grace to the
the Soul or elfe conjoyntly

and which alone contributes more to

^ajfpon,

than

all

the reft

The

together.

can onely exprefs fome certain

it,

others feparately

Tafftonsj

but the

Head cx^rtfks all of them y neverthelefs there arc

fome which are more particular to it j as, for exampky Humility^ which it exprcfles by the ftoopArrogance^ when it
ing or bending of the Head.
is lifted, or as we fay, tofs'd up.
Langulfhment^
when we hang it on one fide, or lean it upon one
Shoulder.
piniatrete,)

barous

Ohfiinacy

(or as the French calls

held upright,

many marks more

they canbeexprefs*d;

we make known more

and
reft,

eafily conceived

than

Sa/hfulnefs, Admiration^

as,

and Vouht,

And

ftifF,

of the

poiz'd betwixt the Shoulders.

Indignation^

Or

with a certain ftubborn, unruly, bar-

Humour, when 'tis

there are

it

'Tis by the
vifibly

our

Head

that

Supplications^

our ThreatningSy our Mildnefsy our Haughtinefsy

out LoVey out Hatred, our Joy, our Sadnefsy our

Humi^

Ohfervatlons on the

154Humility

enough to kcthcFacey and

Mind ac half a word. Slup?ing

in fine,

'cis

-J

CO underftand the

and Talenefs fpeak to us, as alfo the mixture of

them

both.

The

do all of them contriThoughts of our Hearts 5 but

parts of the Face

bute CO expofe the

which are as it were the

two Windows through which the Soul looks

above

the reft, the Eyesy

out and (liows

more

it

The

felf.

particularly exprefs, are IPleafurey

mentj Difdairiy
ji72^er.

Joy

more

Eyebrows

may

bear

And

nam'd agree more

the

if

from the
two parts

particularly in the expref-

fionof chofccwo iP^^OMJj neverthelefs

you

a wonderful! Harmony

and

their parts,

efpecially proceed

and the Mouth.

the Eyes as a third,

Languifl)-

Sweetnefsy Admiration

Se'Verityy

and Sadnefs

they did not

laft

which they

Tafftons

will

if

you joyn

have the Product of

for all the Taffions

of the

Soui,

The
to

it,

Kofe has no Paffion which

it

onely lends

before nam'd,

by

is

nefs,

And yet it

up

affiftance

particular

to the others

the ftretching of the Nojlrilsy

much markM

M'hich

as

its

is

in Joj,

as

it is

in Sad-

feems that Scorn makes us wrin-

and ftretch the Nojtrils alfo, at

the fame time, drawing up the upper Lip to the
place which is near the corners of the Mouth. The
kle

the Nofe

Ancients

Art dfVatntlng.
made

Jncknts

fuhdoU

the Nofe the feat of Verifion

irriJioyudicaVemnt J

dedicated the

We read

Nofe

in the

[^ysf liny

fall

that

*j

to a cunning fort of

they

is,

Mockery.

Learn, but

from your Nofe and

And

Wrinkles be difmounted.

Tan

eum

Satyre of TerJiuSy Difccy fed ira

3 d,

cadat Nafoj rugofac^ue fanm

Anger

155

the

let

your

fneering

fhilojlratus

in

whom the Nymphs

had bound,
and ftornfully infulted over, fays of that God;
^^ that
before th^^ he was decujiem d to fleep mth

the Pi<Sture of

'^

a peaceabk

Tiofe',

^^

Wrinkles

it,

*^

mounted

^'

widen d to the

'^art,

feat

of
to

f(fining

and

that part
laji

tlye
5

in

his

/lumbers the

Anger which commonly

but now his Nojtrils were

For

degree of Fury.

my own

fhould rather believe that the Nofe was the

of Wrath in Beafts than in Mankind, and
I

was unbecoming of any God but onely

Tan, who had very much of the Bcaft in him,

that

-to

it

wrinkle up

mals.

The

moderate,

Nofe in Anger, like other Animoving of the Lips ought to be but

his

if it

be in

Con'\>erfation

becaufe

we

much more by the Tongue than by the Lips

And if you make the Mouth very open, 'tis oneIpeak

when you are to exprefs the

and more properly oi Anger,

ly

violence of TaJftoUy

For what concerns the Handsy they are the

vants of the Heady they are his

Weapons and

Serhis

Auxili-

Objervations on the

1 1^6

them

Auxiliaries; without

and half dead,

are almoft

infinite,

hafQy

that

Is

it

that

we

of our

not by

we

weak,

is

their

that

theniy

promifej that

rejeB

a6lion

Motions which
make innumerable expreffi-

languifhing,

ons

the

we

we
call

dejtre^

we

that

and

towards us,

befides, they are the inftruments

Honor

of our ^etitiansj of the

TIjreatSy

which we fliow for things, and of the Traifes

which we give them By them we fear, we ask
Queft'tonsy we approycj and we refufcy we (how
;

our Joy and our Sadne/sy our VouhtSy and our

Lamentat'tonsy our Concernments of Tityy and our
In fliort, it may be faid, that they
Admirations.
are the Language of the

bute not a
Tongucy

little

l>miby that they contri-

to the fpeaking of the miverfal

common to all the

World, which

that

is

of fainting.

Now

to

tell

you how

thefe parts are to

pos'd, fo as to exprefs the different ^ajfionsy

pofllble;

no

precife

(!^/ej

both becaufe the task

it

cau(e every one

to the

is left

be diC
is

im-

can be given of

felf is infinite,

and

Condud: of

it,

alfo behis

own

and to the Fruit of his former Studies

onely remember to be carefuU, that all the adli" It feems^
ons of your Figures muft be natural.
**
to mcy lays QuinSiiliany fpeaking of the Paffions,
GeniuSy

^*

That

this

part which

is

fo

noble

and fo greaty

"

is

not

Art of Painting.
"

157

not altogether unacceffible^ and that

an

eajte

way

" may he found to it 5 'tis to conjider nature and to

" copy hery for the SpeElators are fatisfiedy when in
" artificial things they can dtfcern that nature which
" they are accuflornd to behold. This paffage of

QuinMian is perfectly explain'd by the words of

an excellent Mafter which our Author propofes
to us for a rule: they are thefe which follow. That
the fludied Motions of the Soul,

as thofe which

we

are ne'Ver fo natural

fee in the tranffort

of a true

paffion.

be exprefs'd, and be
much more natural, if we enter into the fame
thoughts, become of the fame piece, and imagine

Thefe Motions

be in the fame circumftances with

we would rcprefent. " For Nature^

our

felves to

thofe

whom

*'

"
**

will better

fays Horace in his Art of Poetry, difpofes the inftde of

Mankind to

all forts

of Fortunes y fometimes

p?e makes us contentedy fometimes jhe

dri'Ves

us in-

"

to Cholery

^^

Griefy that fhe feems to tread us down and plunge us

**

into mortal Anxieties

and fometimes fbe

fo oppreffes

and on

all

us with

thefe occajionsy

" fhe drives outwards the Motions of the Heart

fy
" the Tongue which is her Interpreter. Now inftead of the Tongue y let the Painter fay by the ^Si" What means
onsy which are her Interpreters.
" haVe wey (fays Quin^diany) to give a Colour to
" a thing if we haVe not the fame Colour ; 'tis m cejfary

158

Ohfervations on the
cejfary that

we our

felves

with a (tJJion before

"
"

with

**

we endeavour

be tmch*d

to mo'Ve others

continues he, can we be

touch dy face the ^ajjlons are not in our power

" This
*^

And how

it.

pwuld frji

is

felves

the

way

the Ft/tons

they were

in

my

in

opinion

-^

We

mujt form

and Images of ahfent

reality before

our Eyes

things ^
5

to our

as if

and he who

**

conceives thefe Images with the greatefl flrength

*'

Imagination^ fhallpoffefs that part of the ^ajjlons

*^

with

th

we muft

mofi advantage and the greatefl

take care, as

have already

Motions

of

But

e-afe.

faid, that

may

be natural, for
there are fome who imagine they have given abundance of Light to their Figures, when they have
in thefe vifions, the

made them do violeyit and extravagant

which we may more reafonably call the

AUions^
ConVulfi-

ens or Cojitorfions of the !Bodyy than the Taffiojis

of
means often put themfclves

theMmd'^ and by this

Co much pains, to find a ftrong Paflion, where

no

Paflion

faid

concerning the Paflions, that

a very

who

is

Add

required.

to all that

we

have

are to have

fcrious regard to the quality ofthePerforrs

The Joy

are to be exprefs'd in Taffimts,

of a

l^ing ought not to refcmble that of a SerVing-man.

And

the Fiercenefs

like that
fifts all

of an

of a

private Soldier

Officer,

the Fmentfs

and

muft not be

la thefe differences conDelicacy

of the Ta/fwns.
Taulo

Art of Painting.
Loma:^

^aulo

has

written at

large

on every

in particular, in his jecond Sooky

^ajjion

ware you dwell not too long upon

vour not to force your Genius,
Some Cliques of
Sec.

1 5 5>

it,

but be-

and endea-

took SanEiuary under ground^ if

it

All the ancient Painting that was

in

ijLy^

Italy

Invafionofthe Hunns and Goths^

excepting thofe works which were hidden under

perifli'd in the

ground or there painted, which by reafon they

had not been much expos'd to view , were preferv'd from the infolence of thofe barbarians.
The
The Cromatique part or Colourings Sec
third and laft part of Painting, is calfd the Oomatique ot Colouring.

object

Its

is

Coloury for

which reafon. Lights and Shadows are therein alfo comprehended, which are nothing elfe but
white and brown (or dark,) and by confequence

have

fays in his
*'

among

their place
life

oiAfolloniwSy

caltd fainting which

provided

^*

there

*^

their Seauties

*^

without other Colours

*'

exprejs'd in

we

" ^loud:
^^

is

" That

made

it

only with

^htlojlnttm

may he

truly

two Cohurs^

Lights and Shadows he ohferVdin

^^

tJ^e

the Colours,

it: for

behold the true- refemhlance of things

itj

we

that

alfo fee
:

the

^ajjtonsy

mth

thou^

fo much of life may he at/a

we may

perceive eVen the Very

Hair and of the SearJy

difcerndj and we can diflingui^

the Colour of the

are likewife to be

''

mthaui

2ji*

i^p

Ohfervations on the
*^^

*'

4t>ithout confuftoriy the fair

young from

from

the black,

and the

the old ^ the differences betwixt theivhite

" and the flaxen hair we dijiinguip? witheafe betwixt

" the Moors and the Indians not onely by the Ca" "^"s No/ex of the Slacks, their woolly Hair and
" their high Jaws, but alfo by that black Colour which
" is natural to them* We may add to what ^hij

"

. ^

T^

two onely Colours,

the Light and the Dark, there is no fort of Stuff
or Habit but may be imitated 5 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
lojlratus

has faid, that with

degrees of diminution, according to

of a luminous Body 5 as for examthe Sun or a Torch.

Secondly, of a diapha-

dents.
ple,

Firft

nous or tranfparent Body, which

and

the Acci-

is

betwixt us

the objedt, as the Air either pure or thick, or

a red Glafs, &c.

Thirdly, of a folid

Body

illu-

minated, as a Scatue of white Marble, a green

Tree, a black Horfe, &c.

part,

who

holding

it

regards the

Body

either near or

at

Fourthly, from his

illuminated, as be-

a diftance, diredly

an obtufe Angle, from

the top to the bottom, or from the bottom to the
top.
This part in the knowledge which it has

in a right Angle, or afide in

of the vcrtuc of Colours, and the Friendfhip

which

Art of

i6i

Painting.

which they have with each other, and alfo their

Antipathies, it comprehends the Strength, the Relievo, theBrisknefs, and the Delicacy which are ob-

good Pictures, the management of Colours

and the labour depend alfo on this laft parr.
Her Sijler, &c. That is to Jay, theD^nor
ferv*d in

.Drawing,

which

is

the fecond -fart of S^ainting

that

Defign, and makes us

The Light

the Colouring

is,

fall in

fhows

love with

all

us the

it.

Here
arc three TI?eorems fucceiTively following, which
our Author propofes to us, that from thence wc
may draw fome conclufions. You may likeproduces

2.6u

which confiding onely of Lines, (lands altogether in need of the Colouring to appear.
''Tis for
this reafon, that our Author calls this part her Sifters Procurer,

gr

kinds of Colours, dec.

wife find others, which are in the nature of fo

67.

|j[

280.

ma-

ny Tropojttions to which we ought to agree, that

from thence we may draw the Trecepts contained
in the following
all

part of this Treati/e

founded on the Senfe of

Which ought

they are

Seeing,

to he the mojl, 6cc.

See the

^mark

of nuynher i J2.
TJ^at you may make the bodies appear enlightned
iy the fhadows which hound your Sight, dec.
is

properly to fay, that

That

after the great Lights, there

muft be great Shadows, which wc

call

repofes

becaufe

lj[

282,.

OFfervations on

1^2)

becaufe in reality the Sight

were
k^s.

attracted

The

by

tJ)e

would be

tired,

if it

a Continuity of glittering ob-

Lights

may

ferve for a repofe

Darks, and the Darks to the Lights.

have

to the
faid in-

another place, that a Groupie of Figures ought to

be confider*d, as a Choir of Mujicky in which the
Safes fupport the Trebles, and

make them

to be

Thefe repofes are

ways, one of which is Naturaly

heard with greater pleafure.

4

made two

feveral

the other Jrtipcial

The Naturd is made by an.

extent of Lights or of

Shadows

which naturally

and neceffarily follow folid Bodies, or the Mafles

of folid Bodies aggroupp'd when the Light ftrikes
upon them. And the Atifickl confifts in the Bodies of Colours^ which the Painter gives to certain things, fuch as pleafes him; and compofes
them infuch a manner, that they do no injury
to the objeds which are near them*

fir example,

which

is

Drapery,

made yellow or

red on,

fome certain place, in another place may be

brown, and will be more fuitable to it, to produce the
fion as

the

we

effecSt

much

required.

as

poflibly

We
we

are to takeocca-

can, to

make

ufe

of

manner, and to find the repofe of which

fpeak, by the Light and by the Shadow,

firft

which naturally accompany

fince the Subje<3:s

folid Bodies.

on which we work

But

arc not al-

ways

r->

Ways
fire>

tage

Art of fainting.

favourable to difpofe the Bodies

a Painter

by

in fuch a cafe

the Bodies

ly

brown and

as

we

de-

may take his ad van-

of Colours, and put into fuch

places as ought to be darkened

ther things which

1^3

we may

Draperies or d-

fuppofe to be natural-

fuUy'd, which will produce the

fame effect and give him the fame repofes as the

Shadows would which could not becaus'd by the
difpofeion of the objects.

.t

Thus, an undcrftanding Painter will make his

advantages both of the one manner and the other.
And if he makes a defign to be grav'd, lie is to
remember that the Oraye)^ difpofe not their Colours as the Painters do 3 and that by confequencc
he muft take occafion to find the reafon of his
Defi^Hy in the natural Shadows of the Figures,
which he has difpos'd to caulc the effedl. (2(hens has given us a full information of this in thofe
prints
I

of his which he causM to be engrav'd

and

beheve that nothing was ever feen more beau-

whole knowledge of
Grouppes, of the Lights and Shadows, and of
thofe Maffes which Titian calls a (Bu7ich of Grapes^

tifuU

is

in

that

kind:

the

there expos'd fo clearly to the Sight, that the

view of thofe Prints and the carcfull obfervation

of them^ might very much contribute to the
{ormin^^of ^n

The

able Tainter,

bcft

and

faireft

of

Ohfervations on the
of them are graven by Vorflermariy Pontius , and
Solfverty all of them admirable Gravers^ whofe

works ^bens himfclf took care to overfee, and

which without doubt you will find to be excellent if

you examine them.

the Elegance oi 'Beftgn^

But expert not there

nor the CorreSinejs of the'

Out-lines.

'Tis not but the Gravers can, and ought to

imitate the Bodies of the Colours
the Lights

judge that
f(5t

on

and Shadows,

this

imitation

the contrary,

much

as

may

'tis

by

much

th degrees of^
as they fliall

produce a good

impoflTible in

my

ef-'

opi-

what they grave,

after the works of the School, and of all thofe
who have had the knowledge of Colours and of
the Contrafl of the Lights and Shadows, without
imitating in fome fort the Colour of the Objecfts,
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
diefe things are obferv'd, and which have a wonnion to give

derfull flrength.

flrength to

And

there appears in publick

of late^ yearsi^.a Galkry of Arch-duke Leopold y

which though very ill graven, yet fliows fome
part of the

Gravers

Beauty of

who have

its

executed

Originals y
it,

becaufe the

though other wife

they were fufficiendy ignorant, have obferv'd in

almofl:

Art of Painting.
almofl: the greateft parts
dies

of Colours

of

their

wifli the

on upon

this

^onfequence to them
tained

t^iey

at-

to the knowledge of thefe repofes, they

will eafily refolvc thofe

rimes

of wonderful!

'tis

when they have

for

Shadows-

make fomc refle(^i-

^maf-ky

whole

Bo-

the

which they have

in the relation

OraVers would

1^5

Prints,

to the degrees of the Lights and

could

perplex them

And

many

which

difficulties

when

then chiefly

are to engrave after a Pidure, where neither

the Lights and Shadows, nor the Bodies of the

Colours are

obferv'd, though in

skilfully

cher parts the Pi<5lure

may

which are

ter

a Convex if 28<J^
Mirror alters the objects

CmVex

behold

in the middle, fo that

them come out from

muftdo

in the

o*

be well performed.

In the fame manner as we

Mirror^ &c.

its

it

it

feems to

make

The

Pain-

the Superficies.

fame manner

in

in refpe^t of the

Lights and Shadows of his Figures, to give them*

more Relievo and more Strength.

^nd let thofe which turn he of broken
being

lefs diflinguip)'

d and

ColourSy <^ IT

nearer to the borders^ 6cc.

'Tis the duty of a Tainter^ even in

this alfo,

to

and to place nothing

Colour or in Light at the

imitate the Convex Af/rror,

which glares

either in

borders of his Picture

i^afons, the

firft is,

for which,

that the

Ejc

there are

at the firil

two
view

direds

lob^

Vhfervations on the

I'^S
direds
is

it

felf

prefented to

of the objed:, whieh

to the midft

and by confequence, mufl: there

it,

neceflarily find the principal objecfl,

its

And the

fatisfadtion.

order to

in

other reafon

is,

that the

iides or borders being overcharged with a ftrong

and glittering work

attra<5t the

Eyes

thither,

which

are in a kind of Pain, not to behold a continuity

of that work, which

by

the borders

is

on

the fudden interrupted,

of the Pidure; inftead of which

and eas'd of (b much

work, the Eye continues fixt on the Center of the
Pidlure, and beholds it with greater pleafure. 'Ti5
for the fame reafon, that in a great compofition
^f Figures, thofe which coming mofl: forward,
arex:ut ofFby the bottom of the Picture, will always make an ill effed.
the borders being lightened

3 ^9*

-^

'Tis fufficiently

bunch of Grapes, 8cc.

by

ma-

and familiar
comparifon, means that a Painter ought to coiled the objeds, and to difpofe them in fuch a
manner, as to compofe one whole j the feveral
nifeft,

that TTttian

this

judicious

ront^uous parts of which, may be enlighten d

many fbadow'd and others of broken Colours to
be in the turoings, as on a Bunch of Grapes, ma-

ny

Grapes, which are the parts of

Light,

many in

i:olour'd co

the

Shadow, and

make them go

farther

it,

arc in the

the reft faintly

bacL

Tttian

once

Art of Vaulting.
once told Tmtorety TiMt

in his greateji

works, a

Zurich of Grapes had been his principal rule and his Jurejl guiie.

^ure

or

unmix d

nearer or carries

white,

it off, to

either

farther dljlance.

nearer with black, and throws

it
it,

3cc.

draws an olkSt

it

draws

It

backward without

All agree that white can fubfift on the

of the Picture, and there be

fore-ground

without mixture

the

us'd

queftion therefore

is

to

know, if it can equally fubfift and be plac'd in?

the fame manner, upon that which is backward,
the Light being univerfal

Campaign and open

Our Author concludes

in a

and the Figures fuppos'di

Field.

affirmatively,

reafon on which he eftabliflies his rule is

and
this,

the-

Thar

which partakes more of the

Light than Whitenefs, and the Light being capathere being nothing

ble of fubfifting well in remotenefs

diftance, as

we

(or at a long,

daily fee in the rifing and fetting.

of the Sun) it follows that white may fubfift in

In Paintings the Light and a
the fame manner.
white Colour are but one and the fame thing.
Add to this, that we have no Colour j which,

more

refembles the Air than white, and by con-

fequence no Colour which

it

comes

that

vy, when- we

is

lighter,

we commonly
fee the

from tvhencc

fay, the

Air

is

hea-

Heavens coverd with black

Clouds*,

tJC

2 2

o,

1^8

Obfervatwis on the
Clouds, or when a thick fog takes from us that

which makes the Lightnefs or Serenity

clearnefi,

of the Air.
all

Titian^

who bed

thofe

jfetv^d it in this

underftood

skill in

can go

a-

is

an undoubted

And we

fee that all

Maflers of Landtfchape^ have followed

Tttian in this,

and

this truth.

man

without renouncing

Landtfchape, which

confirmation of
the great

Lights, have ob-

manner, and no

gainft this Precept, at leaft

any

Taul Veronejey and

Ttntorety

who

has always employ'd

earthly Colours

upon

brown

and has
remoteneflfes and

the fore-part,

referv'd his greateft Lights for

the h2ic\i^zxisoi\\\s Landtfchapes.

It

may

be objeded againft

white cannot maintain

caufe

it is

nearer,

on

ordinarily

it

this

opinion, that

felf in remoteneflfes,

us'd to bring the

the advanced part.

bc-

Objeds

""Tis true, that fo

and that to very good purpofe, to render the Objeds more fenfible, by the oppofition of
and which
the Park, which muft accompany it
retains it, as it were by force, whether the Dark
ferves it for a ground, or whether it be combined

it is

us'd,

to

it.

For example^ If you wou'd

make

a white

Horfe "on the fore-ground of your Picture, 'tis

of abfolute N.eceflSty, chat the ground muft be
of a mixt brown, and large enough, or that the
Furniture muft be of very fenfible Colours 5 or
laftly,

Art of Painting.

fome Figure muft be ftt upon it

whofe Shadows and the Colour may bring it forlaftly,

that

ward.

But

it

feems (fay you) that blue

is

flying or tranfient Colour, becaufe the

and Mountains, which

moft
Heavens

the

are at the greatcft diftance,

are of that Colour. 'Tis very true that blue

of thelighteftand fweeteft Colours;

fb true, that

it

pofTeflfes

But

is

mingled

al-

it is

much

thefe qualities fo

the more, becaufe the white

one

is

in

as

it,

example of the diftances demonftrate to us.

But if the Light of your Pidure be not univerfal,
the

and that you fuppofe your Figures

then recall to your

Memory

in a

Chamber,
which

that Tl^eorem

you that the nearer a Body is to the Light,

and the more directly 'tis oppos'd to us, fo much
the more it is enlighten'd, becaufe the Lighc
grows languifliing, the farther it removes from
tells

its

original.

You may

alfo extinguifli

your white,

if

you

fuppofe the Air to be fomewhat thicker, and

you forefee

that this fuppofition will

cStdi in the

Oeconomy

noc

proceed fo

let

this

make

of the whole work

far,

as to

if

good
j

make your

but
Fi-

may feem as it were

they may appear to be

gures fo brown, that they

in a filthy

Fog, or that

part of the ground.

Seethe following Remark.

Sr

^^

"

2 2

m the

Observations

170
f

2.

^ fa' p^^^

blacky

there

is

the

OhjeB nearer

the heavieft of all Colours,

and the moft

to the

nothing that brings

Sight y '&cc.
the

Becaufe black

moft

earthly,

This is clearly underftood

of white which is oppos'd to it,
we have faid, the lighteft of all

fenfible.

by the qualities
and which is, as
There are few who are not of this opiColours.
nion 5 and yet I have known fome, who have
cold me, that the black being on the advanc'd
To this there
part, makes nothing but holes.
is

litde elfe to

be aniwer'd, but that black always

makes a good effed, being (et forward, provided it be plac'd there with Prudence.
You arc
therefore fo to difpofe the Bodies of your Pictures
which you intend to be on the fore- ground, that
thofe forts of holes may not be perceiv'd, and
that the blacks may be there by Maffes, and infcnfibly confus'd.

See the 47f/;.Rule.

That which gives the Relievo to a Bowl, (may

fome fay to me) is the quick Light, or the white,
which appears to be on the fide, which is neareft to us, and the black by confcquence diftances
the Objedl

we

are here to beware, not to con-

found the turnings with the

on

is

diftxinces:

the quefti-

onely in refped: of Bodies, which are fepa-

by fome diftance of a backward Poficion,

and not of round Bodies, which are of the fame
ratcd

Conr

Art of Painting.

171

brown which is mingled in the

turnings of the Sow?/, makes them go off, rather
in confounding them, as we may iay, than in
blackning them.
And do you not fee, that the
refleds 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 SoiW, to fuftain the white, and make
it deceive us with more pleafure.

Continuity

the

This (^le of White and

fequence, that unlefs

[Black

Maffes can

ferent diftances

of fo great con-

be exadlly pradiis'd,

it

make any

impoifible for a Picture to

that the

is

'tis

great efFedl,

be difentangFd, and the

may be

obferv'd at the

firfl;

dif-

Glance

of the Eye without trouble.

may

It

be

inferr'd

from

this ^recefty

Mafles of other Colours, will be fo

more

fenfible,

to the Sight the

ded

this

and approach

fo

much

that the

much

the

the nearer

more brown they bear

provi-

be amongft other Colours which are of

fame Species. For

fhall draw nearer to
which is lefs yellow.
the

example,

A yellow brown

the Sight,
I

faid

than another

provided

it

be

a-

mongft

other Colours, which

Species,

becaufc there are fimple Colours, which

naturally are flrong

^re

clear,

and

as p'ermillion

are

fenfible,

of the fame

though they

there are others

alfo,

which

Ohjervations on the

172

which nocwichftanding that they are brown, yet

ceafe not to be foft and faint, as the blue of UU

The effe(5t of a pi6lure comes not

tramat me.

ly therefore fronn the Lights

one-

and Shadows, but

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 moft
in ufe, and which are call'd Capital, becaufe they
alfo

make the compofirion of all the reft,

whofe number is almoft infinite.
^d Ohr is one of the moft heavy Colours.
ferve to

Yellow Oker

And

is

not fo heavy, becaufe

the Majlicot

is

'tis

clearer.

very Light, becaufe

it

is

very clear yellow, and very near to white.

Ultramarine or

A^rey

is

very light and a very

fweet Colour.
Vermillion

Lake

and

is

is

wholly oppofite to Ultramarine,

a middle Colour betwixt Ultramarine

Vermillion^

yet

it

is

rather

more

fweet than

harlli.

^rown

one of the moft earthy and moft

(I(ed is

fenfible Colours.

Tinck
(that

is)

is

in

its

nature an indifferent Colour,

very fufceptible of the other Colours

you mix brown red with it, you

will make it a very earthy Colour
but on the
contrary, if you joyn it with white or hluey you
by

the mixture

if

(hail

ArtofVainting.

mod

have one of the

fliall

173

and tender Co-

faint

lours.

Tern Verte

(or green Earth)

is

hghtj

'tis

mean

betwixt jei/oM? Oker and Ultramarine,

Umhre

is

very fenfible and earthy

there

thing but j?r^ WrfcA which can difpute with

Of all Wacksy
is

that

is

the

moft

moft remote from &ue.

is

no-

it.

which

earthly,

According to the

which we have eftablifh'd of iphite and

you will make every one of thefe Colours

Principle
hiackj

before-nam'd more earthy and more heavy, the

more
be

you mingle with them, and they

the more white you joyn with them.

black

light

will

For what concerns broken or compound Colours^ we

are to make a judgment of their ftrengch by the
Force of thofe Colours which compofe them. All

who

have thoroughly underftood the agreement

of Colours, have not employed them wholly pure

and fimple

in their Draperies,

unlefs in

fome

Fi-

gure upon the fore-ground of the Picture j but they

Jiave us'd broken and compound

made

Harmony

Colours,

of which

by mixing
thofe which have fome kind of Sympathy with each
other, to make a Whole, which has an Union with
they

for the Eyes,

the Colours which are neighbouring to

Painter

who

perfectly

power of his Colours,

it.

The

underftands the force and

will ufe

them moft

fuitably

to

^1-^

Vi^fervatiofis on the

and according to

to his prefenc purpofe,

own

his

Difcretion.

'% i55'

^^^^

^^^

^'^^ ^^ ^^'^^ re/^^iVe/y,

mud make

another

ner that

felf

it

may

Body

One Body

Sec,

fly off in

man-

fuch a

be chas'd by thofe Bodies

" We are to take

which are advanced before it.
" care and nfe great attention^ fays Quin^tihan, jiot
^'

onely

'^

low each other

*'
,

*^

\6i

fefar ate

things

and by a

manner ^ as

if in

o?ice thofe different

it

were continued in the

aflraght Street, we caft our

Eyes from one end of

at

but of jnany which fol

certain relation which they

ha'Ve with each other ^ are as

^' fatne

^'

of one

it

to the other

we

dfcoyer

things which are prefented to

^'

the Sight, fo that tpe not

^^

whatfoeVer

onely fee the

lafl,

but

is relating to the lafl,

Let two contrary extremities never touch each

The

ther.

Sec.

mon

with

all

Senfe

the

rert:

of feeing has

horrs the contrary Extremities.

manner
feel

as

And

it

in the

ab-

fame

our hands, when they are very cold

a grievous pain,

them near

com-

this in

of the Senfes, that

o-

when on

the Fire, fo the

the fudden

wehold

Eyes which find an

extreme white, next to an extreme black, or a

Azure next to a hot Vermillion, cannot

behold thefe extremities without Pain, though

fair cool

they arealuays attraded by the Gbreing of two

contraries.

This

Art of Painting:

1.75

This rule obliges us to know thofe Colours

which have a Friendfliip with each other, and
thofe which are incompatible, which we may
eafily difcover in mixing together thofe Colours
of which we would make trial.

And
and
*tis

if

fvveet

by

this

mixture, they

Colour, which

a Sign that there

betwixt them

which

is

but

if,

a gracious

pleafing to the Sight,

an Union and a Sympathy

on

the contrary, that

produc'd by the mixture of the

harfli to the Sight,

is 'a

is

is

make

we

are to conclude,

Colour
two be

that there

Contrariety and Antipathy betwixt thefe

Colours. Grmj, for example,

may come from a

is

two

a pleafing Colour,

and 3.yeIlow mix'd together, and by confequence blue and yellow are two
Colours which fympatbi:^ and on the contrary,
which

blue

the mixture

of Blue with

Vermillion^

produces

and unpleafant Colour; con

elude then that &ue and Vermllmn are of a conAnd the fame may be faid of otrary Nature.
ther Colours of which yqu make the experiment.
a

(harp, harfh,

And

to clear

Aat matter once

Conclufion of the

3 5

iL

for

all,

(fee

%emarkj where

the

have

taken occafion to fpeak of the force and <jualtty of

every Capital Colour,) yet you may negled this

when your Piece confifts but of one or

two Figures, and when amongft a great number
you
Precept,

::

7^

Obfervations on the

you would make feme

able than the

Oiie

reft.

moft confiderable of

you cannot

one Figure

which

fay,

from

is

one of the

which otherwife

the Subject,

diftinguifh

more remark-

the reft.

Titian in

triumph oi'Bacchm^ having plac'd Ariadne on

one of the Borders of the Picture, and not being

his

able for that reafon to

make

by

her remarkable

which he was to keep in

Pidiure, gave her a Scarf of a

the brightnefs of Light,

the

middle of

his

Vermillion Colour,

upon

a hlue Drapery, as well

to loofen her from his ground, which was a blue

one of the principal Figures

Subjed:, upon which he defir'd to attract

Seay as becaufe

of

his

Taulo Ferone/e, in

the Eye.

becaufe Chriji
Subject

who
and

diftinguifliable

Shadows,

is

by

his

Marriage of Canaa,

the principal Figure of the

fomewhat

carry 'd

is

the Pidture

!8/e,

flie is

into the depth

that he cou'd not

make him

the ftrength of the Lights

him with Vermillion

condud the Sight to that

has cloath'd

thereby to

of

and
and
Fi-

gure.
Colours

may

ally'd to each other,

the

The

hojlile

be fo

much

the

more

more you mix them

with other Colours, which mutually fympathize

and which agree with

thofe Colours,

which you

Jefire to reconcile.

'Tis

Art of
'Tis labour

He

Vain

is

make

is

wou d

has proposed, which

High-mon^

Endeavour
'tis

^ ^6y

it,

and

the 59th. Tre-

end he

arrive to the

to deceive the fight, he

is

choice of fuch a Nature, as agrees with

the weaknefs of his

Colours 5 becaufe

his

Colours

cannot accommodate themfelves to every

This Rule

Nature.

6cc.

after that

fuitable to

repugnant:

If the Painter

mufl;

paint a

your Art, and

aids

fliun whatfoever
cej)t.

to

in another place,

faid

which

in

I77

Painting.

is

fort

of

particularly to be obferv d,

and well confider'd , by

thofe

who

paint Landt-

/chapes.

Let

the Field or

reafon of

it

is,

Ground of

we

that

the

TiBurey &c.

The

Ijf

7 8.

are to avoid the meeting

of thofe Colours, which have an

Antipathy to

each other, becaufe they offend the Sight, fothat

this

Rule

tells us,

is

prov'd

that

fufficiently

by

the

4 \ft, which

two contrary Extremities

to touch each other, whether

it

be

in

are never

Colour, or

in Light, but that there ought to be a

mean

be-

twixt them, which partakes of both.

Let your Colours he

lively ^

and yet

yiot

lookiaccor- gr

TroVerb) as if they had been

fprinkled with Mealy Sec,
Vonner dans la farine^ is
iing to

the Painters

a Phrafe amongft Painters,

preffes
clear,

what

it

which perfedly exmeans, which is to paint with

or bright Colours, and dull Colours

to-

getherj

^gx.

Obfervations on the

178
gether
life

for being fo mingled, they give

to the Figures, than

very white, and

their

their fledi

Colours

Shadows grey or

inclining

Shadows of the moft

delicate or fineft

contribute wonderfully to

make them live-

fhining and natural

ly,

with the fame

difcretion,

^bens and Van

nefcy

Red Co-

into this inconvenience.

fall

lours in the
Flefli,

they had been rubbed

They who make

with Meal.
to green,

if

no more

but they are to be us^d

that

Titian^

Taul Vero-

Dycky have taught us

by

their

example.

To prefer ve the

Colours

frefih,

we muft

paint

by putting in more Colours, and not by rubbing

them in, after they are once laid 5 and if it could
be done, they
places,

fliould belaid juft in their

and not be any more touched, when they

are once fo placed

it

tvould be yet better, be*

caufetheFreflinefs of the Colours

by vexing them with

loft,

proper

is

tarniflh'd

the continual

and

Drudge-

ry of Daubing.

who have coloured well, have had

another Maxim to maintain their Colours

All they
yet

frefli

and

"white

Grounds J

which was to make ufe of

upon which they painted, and of-

flourifhing,

tentimes at the

any

thing,

firft

Stroke, without

retouching

and without employing new Colours.

^bens

Art of Painting.
^hens always

way

us'd this

17^

and

have feen

Pidures from the hand of that great Perfon painted up at once, which were of a wonderful! Vivacity.

The

reafon

of Grounds,

why

is,

they

made

ufe of thofe kind

becaufe white as well preferves

a Brightnefs, under the Tranfparency of Colours,

which hinders the Air from altering the whitened of the Ground, as that it likewife repairs
the injuries which they receive from the Air, fo
that the Ground and the Colours aflift and preferve each other.

'Tis for

this

reafon that glaz'd

Colours have a Vivacity which can never be imitated by the mod lively and moft brillant Co-

common way,

lours, becaufe according to the

the different Teints are fimply laid

place one after another.

So

true

on each

it is,

once that which

we

were, the Life, the

The

we

paint

intend to glaze, are as

Spirit,

and

its

that white

with other ftrong Colours, with which

at

in

the Luftre of

it
it.

Ancients moft certainly have, found, that

much the

white Grounds were

beft, becaufe, not-

which

withftanding that

inconvenience,

Eyes received from

that Colour, yet they did not

forbear the ufe of

it

as Galen teftifies in his tenth

!Book of the ufe of the parts,

" when

they

work upon

their

"

their white

a 2

Painters,

fays he,

Groundsy place he-

"

fore

i8o

Oifervations on the

" fore them dark Colours^ and others mixt with hint
" and green y to recreate their Eyes^ becaufe white k
^^

aglareing Colour^ which wearies and fains the Sight

" more

why

than any other,

the ufe

chat in

of it

is

know

left

not

off at prefenr,

the

reafon

if it

be not

who

our days there are few Painters

curious in their Colouring, or that the

firft

are

Strokes

which are begun upon white, are not feen foon

enough, and that a more than French Patience is
required to wait

be accomplifli'd

till it

Ground, which by

its

whitcnefs tarniflies the

ftre of the other Colours,

to

.383*

and the

muft be

make the whole work appear

entirely covered

pleafingly.

Let the parts which are nearejl to us and moft

The

&C.

and

perficies,

when
ing,

ijc

reafon of

is

as

this

much

ftrain d,

is,

Lu-

upon

that

rats' dy

flat fu-

united as a Cloth can be,

Body

the leafl

and gives a heightning to

is

very appear-

the place

which

it

do not therefore load thofe places with

Colours, which you would make to turn but
let thofe be well loaded, which you would have
come out of the Canvafs.
Let there he fo much Harmony or Conjent in the

pofiTeffes

8 J.

Majfes of the ^iElures^ that

all the

appear as if they were but one.

Sec.

fhadowings may-

He

has faidin

another place, that after great Lights, great Sha-

dows arc

neceffary,

which he

calls

^pofes.

What
he.

Art of VainWig.
he means by the prefent
ever

is

found

^k

in thofe great

is

this,

That whatfo-

Shadows, fhould par-

take of the Colours of one another, fo

different

Colours which are well

their

that the

diftin^uifli'd in

feem to be but one

great Union.

the Lights

by

in the

Shadows,

Let the whole TiBure he maie of one ^iece. See*

That is- to fay, of one and the fame Continuity

of Work, and

up

all at

once

["

^g^j^

jr

287^.

had been painted

all of one Pallet.

as if the Picture

the Latin fays

77;e Looking Glafs

mill injiruft

youj

The

Sec,

Painter muft have a principal Refped: to the

MaC

and to the Effed of the whole together. TItc

Looking-Glafs diftances the Objects, and by confc*
quence gives us onely to fee the Mafles, in which
(cSy

all the little parts are

when

the

Night approaches,

underftand

ter

commodioufly,

The

confounded.

make you

will

obfervation

this

Evening,

but

for the proper time to

bet-^

not fo

make

it,

lafts

but a quarter of an hour, and the Looking^

Cla/s

may

be ufefull

all

the day.

and Mafter of all

Painters, as flhowing them their faults by diftancing the Objeds, we may conclude that the Picture which makes not a eood effect at a diftance
cannot be well done
and a Painter muft never
Since the Mirror

is

the rule

finiCh his

Pifture, before he

has cxamin d

as

fome

Vhfervations on the

^'2.

Tome

reafonabie diftance, or with a Looking- Gla/sy

whether the Maifes of the Lights and Shadows,

and the Bodies of the Colours be well diftribu-

this

-iQi,

and Corre^io have made

Giorgione

tcd.

ufe

of

method.

As for a portrait y
The end of Portraits

or

TiBures hy

the Life,

Sec.

not fo precifely as fome

have imagin'd, to give a fmiling and pleafing Air
is

refemblance^

together with the

fome what but not enough.

this

is

It confifts in

ling the true temper of thofe perfons

indeed
expref.

which

it

re-

and to make known their ^hyjiognomy.

If the Perfon whom you draw, for example, be naturally fad, you are to beware of giving him any
prefents,

Gayety, which would always be a thing which

If he or fhe be
is foreign to his Countenance.

merry, you are to make that good

by

the expreflfing

where it (hows
and majeftical,

Humour appear

of thofe parts where it ads, and

it

If the Perfon be

felf

grave

Laughing, which
is too fenfible, will take offfrom that Majefty and
make it look childifh and undecent. In fhorr,
the Painter,

the Smiles or

who

has a

good

true Difcernment of all thefe

derftands ^hyftognomy,

him, and he
^liny

tells us,

will
"^

it

vtm^ make a
things, and if he unGenius

will

be more

eafie to

fucceed better than another.

V^at Apellcs

7nade his

figures fo

An of Painting,
"

yitry lih-i

"

teller^

and Fortune-

that a artdxn ^I))JtognomiJl

(as

it is

related

by

183

A^pion the

Gramma-

^^

rian) foretold hy looking on them the Very time of

^'

their Deaths,

"
"

whom

at what tone their

TiBures

thofe

Death happen

reprefentedy

or

if fuch perfons.

d,

were already dead.

Ton are
can,

by

to paint the

Not

8cc,

pojfihly

yon

make your Colours

die

mofl tenderly that

fo as to

force of tormenting them, but that

mix them
the

fame

as haftily as

place,

if

you

["

40 ?^

40?;

i[[

41;?^.-

422,.

you ftiould

can, and not retoucb

you can avoid

conveniently

it.

if

Large Lights y

Sec.

you cannot

preferve large

'Tis in vain to take pains

Lights,

becaufe

without them, your work will never make z

good
tle

efFe(5l

a diftance

at

Lights are confus^'d and

bly, as

you

and

alfo becaufe

effac'^d,

are at a diftance

Ought

to

he noble ,

Jntiquity will evidently

^Tis

is

&c.

(how

of a Majler of whom

eafe,

As

and

in them,

the Pieces

of

us.

&c.

to place our felves under the Dif-

nion, and whofe

with

Correggto.

nothing more pernicious to a Youth,

common

ciplinc

the Pidure.^

haVefomewhat of Greatnefs

their Out- lines to

There

proportiona-

from

This was the perpetual Maxim of

lit-

manner

we have

good

vvc are apt to

opi-

embrace

which takes root more deeply in

us,

and.

Obfervations on the

184-

and augments the more we fee him work, and

This happens ofthe more we copy after him.
tentimes to that degree, and makes fo great an
Impreffion in the

not give

his

Mind of the

Scholar, that he can-

approbation to any other manner

whatfoever, and beUeves there

the

Cope of Heaven, who

is

is

fo

no man under
knowing as hit

Majler.

But what

is

moft remarakble

in this point

that nature appears tons always like that

is,

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
iaid thk, you may fee erf what confequencc is the
choice of a ^ood Mafler, and of following in our

who have come

And how much injury do

beginning the manner of thofe

neareft to

you

Nature.

think have the

manners which have been

ill

done to the Painters of that Nation, and

what hindrance have they been to the knowledge
of what is well done, or of arriving to what is fo
in France^

when once we know

it.

whom they fee infeded

they are not
*'

able to

The Italians fay to thofe

with an
forfake

ill
,

manner, which
" If you knew

jujl nothingy you rt?oM foon karn fometh'mg.

Search

Art of ?dinting.
Search whatfoel^er

'

is

185

aiding to your Art and con'Ve-

Cj[

42

2.

ment, and ayoidthofe things which are repugnant tatty

This is an admirable ^le a Painter

ought to have it perpetually prefent in his Mind
and Memory. It refolves thofe difficulties which
the ^les beget
it loofens his hands,
and affifts
6cc.

underftanding.

his

which

him

fets

In

iliart,

this

the

is

the Painter at liberty, becaufe

it

S(fe

teaches

that he ought not to fubje6t himfelf fervilely,

and be bound like an Apprentice to the ^les of

his Art
but that the (^les of his Art ought to be
Subjed: to him, and not hinder him from follow;

ing the Dictates of his Genius^ which

is

fuperior

to them.
iBodies

combind

of diverfe Natures which are aggroupfdor m: aia,

together are agreeable

As

Sight J dec.
SattinSy

and pleafant

Flowers y Fruits j Animals ^

to

tht

SkinSy

VebetSy beautiful! Flefhy Works of Stiver,

ArmorSy Inflruments of Mujicky Ornaments of Ancient Sacrificesy and many other pleafing Diverfities

which

may

imagination.
ty of

Objeds

prefent themfelves to the Painters

'Tis moft certain that the diverfirecreates the Sight,

when they

are

and when they diminifh noExpething of the Subjed on which we work.

rience teaches us, that the Eye grows weary with
poring perpetually on the fame thing, not onewithout confufion

Bb

ly

8'^

Ohfirvations
ly

on

who

Pidlures, but even

who would

he

is

the

on Nature

not be

For

felf.

it

tir'd in the

Walks

of a long Foreft, or with beholding" a large plainwhich is naked of Trees, or in the Sight of a Ridge
of Mountains, which inftead of Pleafure, give us

Thus

onely the view of Heights and Bottoms.

to content and

fill

the

Eye of

the Underftanding,

bed Authors have had the Addrefs to fprinkle their Works with pleafing Digreffions, with
which they recreate the Minds of Readers.
Difthe

cretion, in this as in all other things

Guide: and

from
ter

as tedious Digreffions,

would

the fureft

which wander

their Subjed:, are impertinent,

who

is

fo the Pain-

under Pretence of diverting the Eyes,

his Pi6hire

fill

with fuch varieties as alter

would make a ridiculous

and a mere Gallimaufry of

the truth of the Hijioty,

Piece of Painting,
his

A2f,

Work.
As

alfo thofe

with eaje^

&c.

much

things which appear to he perform d;

This

eafe attrads

our Eyes, and

more, becaufe it is to be prefum'd that a noble work, which appears fo eafie

to us, is the produd of a skilfull Hand which is
Mafter of its Art.
k was in this part, that An
Spirits fo

pelles
.

the

found himfelf fuperior to

he blam'd

^rotogetiesj

when

him, for not knowing when to lay

down his Pencil (and

as

may almoftfay)

to

make
aiL

Art of Painting.
an end of
this

finifhing

his Piece.

account he plainly

" more

187

And

" That

faid,

it

was on

nothing

much

prejudicial to Painters than too

wot

exaSl-

" nejs and that the great ejl fart of them knew not
^ when they had done enough : as we have likewifc
a Proverb, which fays, Jn Englip?man ne'Ver knows
mhen he is well. 'Tis true, that the word enough
is very difficult to underftand.
What you have
;

to do,

is

to <:onfider

your Subject thoroughly,

what manner you intend to treat it accor<ling to your rules, and the Force of your Genius;
after this you are to work with all the eafe and
all the fpecd you can, without breaking your
liead fo very much, and being fo very induftrious in fta^rting Scruples to your fe!f, and creating
But 'tis impoffible to
difficulties in your work.
have this Facility without poflefling perfed:ly all
the Trecepts of the Arty and to have made it ha-

and

in

bitual to you.
cifely that

to

fet

For

eafe oonfifts in revaking pre-

work which you ought

every thing in

its

to

make, and

proper place with fpeed

and Readinefs, which cannot be done without

the Rules, for they are the aflur'd means of condu<^ing you to the end that you defign with Pleafure.

'Tis then mod: certain, (though againft

the opinion of many,)

that the

^les

give Facility,

Qiiietof Mind, and readinefs of Hand to the flow-

Bb

eft

Ohjervations on the

88

guide that eafe in thofe

it

^les

Genius, and that the fame

eft

at their Birth

from

who have

the

increafe,

and

already received

happy influence of

their

Stars.

From whence
two

Facility

it

feveral ways,

gence and a readinefs of

or as a

we may

follows that

Di/pojition in the

either fimply,

confider
as Dili-

Mind and ot the Hand^^

Mind, to remove readily

which can

arife in the

work.

all thofe

difficulties

The

proceeds from an active temper full of

Fire

firft
5

and

the fecond

of

full pofle/fion

fing,

but

caufe

it

is

from a

infallible

true

knowledge and

Rules 5 the

plea-

firft is

not always without Anxiety, be-

and on the contramakes us a6t with a Repofeof Mind,

often leads us aftray,

ry, the laft

and wonderful! Tranquillity

becaufe

it

afcer-

of the goodnels of our work.

Tis a
great advantage to poffefs the firft, but *tis the
tains us

height of perfedion to have

both in that man-

ner which (^bens and Fan t>yck polTefled them,

excepting

part of Defign or

tlie

much neglected.
Thofe who fay that the

Drawing, which

both too

giving us

this

Facility,

Rules are fo

that

on

far

from

the contrary they

Mind and tie the hand,

people who have pafs'd half

puzzle and perplex the

are generally fuch
their lives in

an

ill

praftice of Painting, the habit

Art of

Painting.

8^

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
bit

of which

is

out of condition of doing any thing

manner

as

we make

we will not allow

Grammar.
Obferve,

Diligence of which

which we

call

by

pleafe, that the

I

in the

fame

dumb whom

a Country -man

to fpeak, but

you

if

the Rules

Facility

of

and

fpoke, confifts not in that

bold ftrokes and a free handling of

makes not a great efte(^ at a dir

That Ibrt of Freedom belongs rather to

the Pencil, if it
fiance.

a Writing-Mafter than a Painter.

that

ther,

'tis

fay yet fur-

almoft impoffible that things which

are painted fhould appear true and natural, where

we

obferve thefe forts of bold ftrokes.

thofe

who have come

ver us'd that

neareft to nature,,

manner of Painting,

And

all

have ne^

thofe tender

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
Hairs,

able to deceive the Sight.

Nor

till

you hope prefent

in

your

Mind

a perfeSi

If you will have pleafure

Idea ofyour work^ &c.
in Painting, you ought to have fo well confider'd the ceconomy of your work, that it may

be entirely made and difpos'd in your head before

ic

IJ*

44^.^

f^o

Oiifervations on the
it

be begun

forefee the

.and

upon

Harmony of

and Shadows of every

upon

Copy

of what

in

is

the

the intelligence

the Cloth,

may

your Mind.

Conduct, you

ufe of this

thing,

of

manner, that whatfoe-

in fuch a

'Ver youfliall put

and

the Colours,

all the Subje<5t,

fay^

of the Grouppes, the ground

effe(5t

the Lights

You muft

the Cloath.

will

be onely

you make

If

not be put to the

trouble of fo often changing and rechanging.

Let

442.

Eye be fat isfie d

the

gainji and above all other

^ajonsy

fage has a

fome

to

refpecSt

which a Painter ought to take

not to
the

treat this

^ader

matter

to the

firft

more

my

Ability

This

Sec.

paf-

particular Licences
:

And

as

at large 5

defpair

adjourn

opportunity which

get for his farther fatisfadion

beft of

e^en a-

in the firjl place y

on

this

point to the

but in general he

for certain, that thofe Licences are

can

may

hold

good which

contribute to deceive the Sight, without corrupting the truth of the Subjsdt
is

5^

44 J.

Profit your Jelf by the Counfels of the knowings

dec

much

ob-

and

Cliton

thought rhemfelves

liged to Socrates for the

them of
20.

the Tafflons.

knowledge which he gave

See their Dialogue in Xeno-

fhon towards the end of the

^*

the Painter

to work.

^arrhifflus

on which

V?eywho

third

Sook of Memoirs

thetnoft willingly bear reproofs fays Tlir^

"the

Art of Tainting.

151

Younger, are the "Very men in whom we find

" 7nore to commend than in other people. Lyfippus
was extremely pleased when Apelles told him his
*^

the

pinion

him

his.

and

Apelles as

That which

much, when

Lyfippus told

Praxiteles faid of Nieias in

- 5.

fhowsthe Soul of an accomplifli'd and an

humble man. " FT2ixkc\cshein^ asKdjphichofall
" his Works he Valued mojlf Tho/e, fays he, which
" Nieias ha^ retouch* d. So much account he
flinyy

made
know

You

of his Criticifms and his opinions.

the

common

pradice of

Apelles^

hadfinidi'd any work, he expos'd

it

when he

to the Sight

and concealed himfelf to hear:

the Cenfure of his faults, with the Profped of making his advantage of the Informations which unBeing fenfible that
knowingly they gave him*
the people would examine his works more rigof

all

Paffengers,

roufly than himfelf,

and would not forgive

the:

leaft miflake.

The Opinions and

Gounfels of

many

together

are always preferable to the advice of one fingle

And Cicero wonders that any are befot- TufcuI.Iib.f.on their own Produdions, and fay to one a-

perfon.
ted
.

nother, Very^ good, if your works pleafe youy mine

are not unpkafing to me.

In effe^ there are

who through Prefumption

reprehended, never

many

or out of Shame to be

let their

works be

fcen.

But
there.

OhfervaftoJis on tie

1^2
there

is

nothing can be of worfe confequence

Ceorg. s.l s. the

difeafe

is

for

nour'tj}')dandmcreaJes^ fays Fir^tl^ while

There

none but Fools, fays.

Horace^ who out of Shamefac dnefs hide their Ulcers, which if fliown might eafily be heal'd. Stulit is

Ep.

i6.

conceded.

are

torum incurata mains fudor ulcera

others

who have

celat

not altogether fo

There

much of

are
this

and who ask every ones opinion with Prayers and Earneflnefs ; but if you
freely and ingenuoufly give them notice of their

foolifh Bafhfulnefs,

Faults, they never fail to

make fome

cufe for them, or which

worfe, they take in

is

pitiful 1 exill

which you

thought you did

them, which they but feemingly defir'd of you,
part

the Service

and out of an
greateft part

eftablifli'd

of Painters.

Cuftom amongft
If

you

the

defire to gee

your felf any honour, and acquire a Reputation

by your works, there is no furcr way than to
(how 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

dcfir'd

them to give

it

you.

You

muft alfo be induftrious to difcover the opinion

of your Enemies, which is commonly the trueft,
for you may be affur'd, that they will give you
00 quarter, and allow nothing to complaifance.
IBttt

Art of
Swf

ifyou

to gives
"
^^
^'

the

means

our

and not

time,

BureSy to the end, that after

look on

them as

" new work which was of

flatter

us

of Sight ^ for
look upon our ^i-

to

this internal,

we may

another hand, and not our

Productions do but too

much

they are always too pleafing, and

They

Conception.

their

douhtlefs

is

impoiTible not to be fond of them at the

of

449*

were with other Eyesy and as a

it

Our own

C([

deftgns out

"

own.

QubtBi-

fays, ^'Tlmt

to correEi our faults,

To remote

fome fpace of

when he

*'

"

15 ?-

have no knowing Friend, See,

the reafon of this,

heji

this,

Fainting.

'tis

moment

are Children

of a

tender age, which are not capable of drawing

That Apes, as
foon as they have brought their Young into the
World, keep their Eyes continually faften'd on
our Hatred on them.

them, and are

Beauty

fo

'Tis faid,

never weary of admiring their

amorous

is

Nature of whatfoever (he

produces.

To
make

the end that he

his

may cultivate thofe Talents which

Ijf

458.

Genius^ &c.

Qui fua metitur pondera,

ferre poteft.

That we may undertake nothing beyond our forces, ^^^'^'^^

" we mufl endeavour to know them. On this Pru-

*'

dence our reputation depends.

Cicero

calls

it

good

Obfervations on the

^^

good Grace^ becaufe

1 Off.

greateft
^^

Luftre.

Grace, which we

it

"

makes

'Tis

fl)a\l

man

(fays

eaftly

feen in

he) a

make appear,

his

becoming
if

we are

carefuU to cultivate that which Nature has given us

" in propriety, and made our own, provided it be no
" Vice or ImperfeEiion we ought to undertake nothmg
" which is repugnant to Nature in general-, and when
^^ we haVe faid her this duty, we are bound
fo reli*^

" gioujly
*^

to follow our

own Nature,

things which are more ferious

that though

many

and more important,

" prefent themfehes to us, yet we are always to con" form our Studies and our Exercifes to our natural
" Inclinations, It avails nothing to difpute againji
" Nature, and think to obtain whatjhe refufes for
3

"
^'

then

we eternally follow what we can neVer reach

as the'^roVerb Jays, There

is

for^

nothing can pleafe,

no-

" thing can be gracefull which we enterpri:^ in fpight

" 0/ Minerva; that is to fay, in fpight of Nature,
" When we haVe conjtderd all thefe things attentively,
'^
*'
^^

"
**

it

will then be neceffary,

gard

that in

his portion,
'tis

particular,

that eVery

man

fhould re-

which Nature has made

and that he fhould

cultivate

it

with care

-,

not his hufinefs to giVe himfelfthe trouble of try-

ing whether

will

it

become him

to

put on the Nature

" of another man ; or as one would fay, to aSh the per" fon of another there is nothmg which can more be" come us, than what is froperly the Gft of Nature.
" Let
:

Art of fainting.
^'

Let every one therefore endeavour

" own

to

^^

underfland his

Talent^ and without flattering him/elf^

him

let

" make a true judgment of his own VertueSj and his

" own VefeSls and Vices that he may not appear to
j

" have
*'

lefs

judgment than the Comedians ^ who do

not always chufe the hefl TlaySy

"

^^fi

"

/^^

^'^^'^

^^^^^ ^^,

^'^^/^

*'

we haVe

things for which

we are

to fix on thofe

the Jirongejl Inclination,

" And if it fometimes happen

" neceffity to apply our fehes
^^

which are mofl in the

Thm

comfafs of their aBing,

hut thofe which are

that
to

we are forcd by

fuch other things

which we are no ways inclind 5 we mufl bring

it

to

fo

"

about by our Care and Indujiry, that if we perform

^^

them not Very

^'

Very

^^

much

ill

well,

at leajt

fham'd by them

as to be

to flrain our felves

"

pear in us which

*'

thofe ImperfeEiions which

have

really

to

make

we haVe

not do them fo

mi

we are

tranflaced,

may

not,

as to aVoid

difhonour us.

retrenching onely fuch things as

were of no concernment to

my

Subject

not of opinion to add any thing, and the

der

fo

thofe Vertues ap-

Thefe
Thoughts and the Words of Cicero, which

are the
1

we may

doubt not

will find his fatisfa(5lion in

was
Rea-

them.

Winle you meditate on thefe Truths, and obferVe

them

diligently,

betwixt

this

That you

6cc,

Trecept

There is a great Connexion

and that other, which tells you.

are to pafs no day without drawing a

c 2

line.

'Tis

^ ^6^

Ol}[ervatms onxhe

I5(^

*Tis impoffible to become an able Artift, without

making your Art

habitual to

you

and

'tis

im-

an exa6t Habitude, without an

number of Ad:s, and without perpetual

poffible to gain
infinite

Pradice.
in

little

In

Arts the Rules of them are learn'd

all

time

but the perfedion

without a long Pra(5tice and a

We
^'^

34.

7ieVer

WAS

faw

that

That

lian tells us,

not acquir'd

fevere Dihaence.

La:^nefs produc d any thing which

fays

excellent^

is

Maximus
the

Tyritis

and

Quincli'

Arts draw their heginning

want we often have of them

caufes us to fearch the means of becoming able in
them, and exercife makes us entirely Mafters of

from Nature

the

them.

^400.

and moji proper part of the

Becaufe then the Imagination is not

57;^ morning

is

the hejl

&c.
cloudedwiththc Vapours of Meat, nordiftradted
by Vifits which are not ufually made in the morndayy

And

ing.

ing Night,

the
is

Mind by

the Sleep of the forego-

refrefh'd

and recreated from the

Toyls of former
this

Studies.

Malherbe fays well to

purpofe^

Le

plus beau de nosjours^ eft dans

The fprightly Morn

is

kur

matinee.

the hefl part of Day.

La

Art of Fainting.
Let

157

m day pafs over you without drawing a

linCy

&c.

4^8.-

47'J>"

gr

a^^^

Thac is to fay, without working, without giving

ibme ftrokes of the Pencil or the Crayon. This
was

much the
Painting is an Art of much

the Precept of y^/?e/fey

more

neceffity, becaufe

length and time, and

out great Practice.

fourfcore

and

'tis

of fo

not to be learn'd with^

is

Michael Angela at the

years, faid.

That

he learn

Age of

d fomething

every day,

Se
was

ready to put into your Table-booky

the

cuftom ofTttian and

As

Sec,

it

the Carraches-^ there

fome who arc

curious in Painting many thoughts and obfervations which thofe great Men have made on Pamare yet remaining in the hands of
;.

and

per,

in their

Table-books which they carry'd

continually about them*

Wine andgood Cheer are no great Friends

ing^

they ferVe onely to recreate the

Mind when

oppre/sd and /pent with Labour, &c.

"

"
"
*'

the

fays

timey

Tliny

that

to Taint-

'^

it is

During

Protogenes

was

drawing the ^iBure o/Jalyfus, which was the

hejl

of aU

his

than Lupines

Works^ he took no other nourifliment

mixd with a

little

water^

which ferVd

" him both for Meat and Drinky for fear of clogging
" his Imagination by the Luxury of his Food. Mi*
chml Angeloy while he was drawing

his

day of Judge-

ment, fed oncly on Bread and Wine

at

Dinners

And-

35 10*-

Ohfervations on the

158
And

Vafari obferves in his

that he

life,

was

fo fo-

ber that he flepc but Uctle, and that he often rofe

Night to work, as being not difturb'd by

the Vapours of his thin Repafts.

in the

i(f

Sut delights

478.

in the liberty

which

belo7tgs

We never fee

to the

Sat-

and beautifuU and well-tafted Fruits proceeding from a

Tree which is incompafsM round, and choak'd
Marriage draws a
with Thorns and Bryars.
world of bufinefs on our hands, fubjcd:s us to
chelors EJiate,

Sec.

large

Law-fuits, and loads us with multitudes of do-

meftick Cares, which are as fo

encompafs a

that

from producing

Painter

his

which otherwife he

works

many Thorns

and

hinder

him

in that perfed:ion

of

^phaely Michael
Jngeloy and Hannibal Carracci were never marry^d

and amongft

is

capable,

the Ancient

Painters

we

recorded for being marry'd, but onely

whom Alexander the Great made a

own Miftrefs Campafpe-, which yet

find

none

Jpelles,

to

prefent of his
I

would have

underftood without offence to the Inflitutioq of

Marriage, for that

on

Families,

Wife*

by

the

If Marriage

Concupifcence,
ers

calls

who

are

'tis

down many

Bleflings up-

Carefulnefs of a

vertuous

be in general a remedy againft

doubly fo

more

ons of Sin than other

in refpc<^

of Paint-

frequently under the occafi-

Men 5

becaufc they are un-

der

Art of

i$^>

Painting:

dcr a frequent neceflity of feeing Nature bare-fac'd.

Let every one examine

this

point

but

him

let

his

own

upon

ftrcngth

of

preferr the intereft

his

Soul to that of his Art and of his Fortune,

from noife and tumulty 8ic,

I have faid at the end of the firft Remark, that both Poetry and Painting were upheld by the ftrength of Imagination.
Now there
is nothing vi^hich warms it more than Repofe and
naturally withdraws

^alntiyig

Solitude

Becaufe in that

the

eftate,

from all forts of bufinefs, and

freed

by

(Sluary undifturb'd

Mind

i([

48 a.

a^^

being

in a kind of San-

vexatious Vifits,

is

more

capable of forming noble Thoughts and of Application to

its

Studies.

Carmina fecejfum

Good

Verjcy

(I(ecefs

And Eafe from

We may

Cares,

its

md undiflurU d

conformity

in the firft

Let not

We

and Solitude requires

Defer es.

properly fay the fame of Painting,

reafon of

fhown

fcribentis <sr otra quarunt.

tvith

by

have

rich,

&c.

refus'd Sixty

Ta-

Poetry, as

Remark.

the eoVetons defign of

read in ^liny, that KictAs

Icnts

from King

make

a free Gift of his

growing

and rather chofe ta

Picture to his Country.

JttaluSy

7500

/*

2O0
Petron. Ar-

Oiftrvathns on the
.

Jgfj^iui/d of a prudent ma?ty (fays a

what times

^*

in

^^

now we fee

"
'^^

"
'^

'

and defird him

to explain to

mefome of

asKd him

likewfe the reafon of that great negligence

-which

now

is

ivhence

tt

Vifble amongfi Painters

proceeded,

now bury d

ing^ a faint

^^tOHS,

"

TiBures were made which

SubjeHsy which I did not well underfland,

their

'^'Were
^^

thofe noble

grave Author)

T^o

And from

that the moft heautifull Arts

in ObliVton

Shadow of which

and principally ^aintis

at prefent remaining

which he thu^ reply d, Tloat theim^node-

rate deftre of Riches

had produced

this

change: For

of old) when naked Vertue had her Charms, the no*

" ble Arts then flouriji? d in their Vigour: and if there

^'

*'

*'

was any

conteft

Jhould he the firft

amongfi men,

it

was

onely

Difcoherer of what might

Vantage to

^'

renown d Sculptors, who could giVe a Soul

^'
*'

"
^^

*^
^'
-*'

left

pofterity.

he ofad-

Lyfippus and Myron,

*'

who

to

thofe

Srafsy

no Heirs, no Inheritance behind them, hecaufe

were more carefull of acquiring Fame than (^*ches.

(But as for us of this prefent Age, it feems
they

manner of our ConduB, that we upbraid An'

tiquityfor being as covetous of Vertue as we are of

by the

Vice

lofl its

wonder not fo much therefore, if fainting has

Strength and Vigour, becaufe

^'

opinion, that a heap

"

than

^^

Phidias, and

all

many

are

now of

of Gold is much more beautifull

the ^iBures and Statues of Apellcs and
all the

noble Performances 0/ Greece.

I

Art of fainting.

201

would not exad fo great an aA of Abflinence from our modern Painters, for I am not
I

ignorant that the hope of gain

is

a wonderful!

and that it gives induftry to

the Artift 3 from whence it was that JuVenal faid
even of the Greeks thcmfelves, who were the Infliarp fpur in Arts,

ventors of Painting, and

the Graces of it

and

its

Grdculus efuriensy in

A hungry Greeks

who firft

underftood

all

whole perfe^lionj
Cceluniy jt^Jferify

ibit.

if hidden^ fales the Skies.

But I could heartily willi, that the fame hope

which flatters them did not alfo corrupt them:
and did not fnatch out of their hands a lame,
impcrfed Piece, rudely daub'd over with too little

Reflection and too

much hafl:e.

The qualities requijite to form an excellent Tainter^

&c. 'Tis to be confefs'd that very few Painters
have thofe

qualities

which are required by our Au-

who zxq able Painwhen onely they who were

thor, bccaufe there are very few,

ters,

There was a time

of noble Blood,were permitted to

exercife this Artj

becaufe it

all thefe

ents of a

is

to be prefum'd, that

good

Ingredi-

Painter, are not ordinarily found in

men of vulgar Birth. Apd

in all appearance,we

may
hope

487.

Oifirvations on the

02
hope
takes

that

away

whom

no EdiB in France whicKLiberty of Painting from thofe to

though
the

there be

Nature has

Honour of

refus'd the

beings

born Gentlemen, yet at lead that.the (S^yal Academy will admit hence-forward onely fuch who being

endu d with all the good Qualities and the Talents which ar recjuir d for Painting, thofe endowments may be to them inftead of an honoura*Tis certain, that which debafes Paintble Birth.
ing,

and niakes

it

defcend to the

defpicable kind of Trade,

is

who have neither

of Painters

The

Sence.

that there have

noble Souls nor any

Origin of

much

this

com-

as

great Evil,

is

always been admitted into the

Schools of Painting
Guouflyj.

and moft

the great multitude

Talent for the Art, nor even fo

mon

vileft

of Children promif-

all forts

without Examination

of them,

and

without obferving for fome convenient fpace of

rime, ifthcy were conducted to this Art by their

inward Difpofition, and

rather than

by

all

neceflary Talents,

a foolifh Inclination of their

or by the Avarice of their Relations,

to Painting, as a

fomewhat
qualities

more

w ho

Trade which they

gainfull

properly required

put thenv

believe to be

than another.
,

are

own,

thefe

The
follow-

ing.

Aj

Art of?atnthg.
A good Judgment That they may do nothing ay

Reafon and

gainft

Verifiniilky.

Mind, That they

docible

may

by

profit

in-

and receive without Arrogance the

opinion of every one, and principally of know-

ftrudlionSj

ing

Men.

Hearty

noble

That

they

may

propofe Glory

to themfelves, and Reputation rather than Riches.

A Sublimityy

and

^ach

produce beautiful!

readily,

to

work on

their Subjects

manner, wherein we
is

delicate,

To

conceive

Ideas,

and to

ofTlooughty

nobly and

may

ingenious and

after

a lofty

obferve fomewhat that

uncommon.

Awarm and Vigorous Fancy y

fome degree of Perfedion,

To

arrive at leaft to

without being

tir'd

with the Pains and Study which arc required ia

Painting.
Healthy Torefift the diflipation of Spirits,which
are apt to be

confum'd by Pains-taking.

louthy Becaufe Painting requires a great

rience

and a long

(Beauty or

himfelf in

Practice.

Handfomenefy Becaufe a Painter paints

all his

produce her

Expe-

own

Pidures, and Nature

loves to

Likenefs.

convenient Fortune y

That he may give

his

whole time to ftudy, and may worJc chearfully,

without
d 2

20 j

Obfervations on the

20f

without being haunted with the dreadful! Image

of Poverty, ever prefent to his Mind.

Labour^ Becaufe the Speculation

nothing

is

without the Pradlice.

LoVe for his Jrty We fuffer nothing

or if
Labour which is pleafing to us

in
it

pen

that

we

fuffer,

we

the

hap-

are pleas'd with the Pain.

Aid to he under the Difdpl'me of a knowing Maflery

&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 422, and the ^mark upon it.
All thefe good qualities are infignificant and unprofitable to the Painter, if fome outward difpofitions

are

favourable times,

which

is

By which

wanting to him.
fuch

theNurfe of

all

as are

mean

times of ^eace^

noble Arts

there

muft

fome fair occafion offer to make their Skill

manifeft by the performance of fome confiderable Work within their power
and a Protestor,
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 Tliny, in
what times Vertue appears.
And there is w Wit, howalfo

foe^er excellent

it

may

hey

which can make

it

felf im-

mediately

Art of

and a perfon who can

it,

and he a Maecenas

ajfijl

are neceffary

us with his faVour

to us,

JndLtfeisfo pmty
an Arty 3cc.

205

Time and Opportunity

mediately known.
to

Painting.

Not

that

not [undent for fo long gr

it is

onely Painting but

all

49 (J.

other

Arts coniider'd in rhemfelves require almoft an

infinite

time to poflefs them

that Hippocrates begins his

this

Senfe

with

this faying,

But

we

if

That Art

is

'Tis in

perfe<5tly.

long

Aphorifms

and Life

is fhort.

confider Arts, as they are in us, and ac-

cording to a certain degree of Perfection,

make

enc enough, to

them above

the

it

known

common fort,

we

that

and

are

fuffici-

poflefs

compara-

moft others, we fhall not find

too fhort on that account, provided

tively better than

that Life

is

our time be well ehiploy'd.

'Tis true, that Pain-

and a great underBut they who are endu'd with the qualitaking.
ties that are neceflary to it, have no reafon to be
ting is an Art which

is

difficult

difcourag'd by that apprehenfion.

appears

Sea,

difficult before 'tis

and

the

tryd.

Knowledge of

Labour always

The

paflages

by

Veget. de re
^'^'''^'''

"'

the Stars, have been

thought impoflible, which notwithftanding have

been found and compafsM, and that with eafe by

thole who endeavour'd after them. 'T afhamefull Lib.
thing,

fays Cicero

what we fearch

to be

weary

is excellent.

of Enquiry,

That

when

which, caufes

us

1.

defti*

.2D&

Olfervations on the
moft of our time^ is the repugnance
which we naturally have to Labour, and the Ignorance, the Malice, and the Negligence of our
us to lofe

we wafte much of our time

and talking to no manner of purpofe,
Mafters

and receiving

idle

in

Viiits,

walking

in

in

making

Play and other Plea-

which we indulge, without- reckoning thofe

hours which we lofe in the too great care of our
fures

and

JBodiesj
till

the

day

is

that Life which

^e

which we often lengthen out

advanced
and thus we pais

in Sleep,
far

we reckon

to be fhorr, becaufe

count by the years which

ther than

dy.

we have

liv'd,

by thofe which we have employed

*Tis evident that they

have pafs'd through

at that Perfection

all

who

ra-

in flu-

liv'd before us,

thofe difficulties to arrive

which we difcover

Works,
Advantages

in their

though they wanted fome of the

which we poflefs, and that none had laboured for
them as they have done for us. For 'tis certain
that thofe Ancient Mafters, and thofe of the laft
'

preceding Ages, have

left

fuch beautifull Patterns

and more happy Age can neand chiefly under the Reign of

to us, that a better

ver be than ours

our prefent King,

Arts,

of that

and

fpares nothing

Felicity of

Kingdom

who

encourages
to give

which he

is

all

them

the noble
the {hare

fo bountifuU to his

and to condud them with

all

manner

Art of fainting:

207

ner of advantages to that fupreme Degree of Ex-

may be

worthy of fuch a Mafter,

Sovereign Love which he has for them.

which

cellence,

and of that
Let us therefore put our hands to the work, without being difcourag^d by the length of time, which

contrive

our Studies 5 but

for

rcquifite

how

us ferioufly

let

to proceed with the beft Order,

and

and well undcrftood^

to follow a ready, diligent,

Method.
Take Courage

ye noble

therefore^

kgitimate Ojfspr'ing of Minerva,

the influence of a hafpy planet,

intends not here to

Ground, where

few

his Precepts

He fpeaks to young
who are born under
that

Star;

is

Nature the
great in

who

roo:

Our Author

Sec,

barren, uneratcfuU

can bear no Fruit

Painters, but to fuch onely

Influence

of a happy

to fay, thofe

who have

from
of becoming

necelTary

the Arc

fir

are born under

the

follow that

fottifli

in a

who

Youths I you

difpofitions

of Painting

receiv'd

and not to thofe

Study through Caprice or by a
:

Inclination, or for Lucre,

who

are either

incapable of receiving the Precepts, or will make,

a bad ufe of them

when

Our Author

fpeaks not

Rudiments of Defign;

as for ex-

You will do weliy Sec,

here of the

ample,
relation

firft:

receiv^'d.

The management of the Pencil, the juft

which the Copy ought to have to the Original,

^q.^..

2o8

Olfervatims on the

He

riginal, O-r.

ibppofes, that before he begins

one ought to have a Facility of Hand

his Studies,

to imitate the beft

Defigns, the nobleft

Pid:ures

few words he fhould have

made himfelf a Key, wherewith to open the Clo-

and

Statues,

that in

of Mineryuy and to enter into that Sacred

fet

Place, where thofe fair Treafures are to

be found

all

abundance, and even offer themfelves to

us, to

make our advantage of them by our Care

in

and Genius.

you are to begin with Geometry, Sec.

509.

that

is

the

nothing
try
'

is

is

Becaufe

Ground o( TerfpeBiyey without which

to be done in Painting

of great ufe

in ArchiteElnre,

which are of its dependence 5

befides, Geome-

and

'tis

in all things

particularly ne-

ceflary for Sculptors.

^510.

Set your Jelf on dejtgning after the Ancient Greeksy

Becaufe they are the Rule of Beauty, and

dec.

give us a

good Gufto: For which reafon

ry proper to

tie

nerally fpeaking

we

gather

learn

our
j

felves to

mean

vege-

but the particular Fruit which

from them,

by heart four

them,

'tis

what

is

feveral

To

follows.

Ayres of Heads

of a

Man, a Woman, a Child , and an Old Man.

I mean thofe which have the moft general Approbation; for example

thofe of the Jpolloy of

the Fenus de Medicesj of the

little

Neroj (that

is,

when

Art of
when he was a

209

Fainting.

Child,) and of the

God

Tther.

It

would be a good means of learning them, if when

you have defign'd one after the Statue it felf, you
dcfign it immediately after from your own Imagination, without feeing

amine,

if your

Defign.

firft

it

own work

Thus

and afterwards

ex-

be conformable to the

your

exercifing

felf

on

the

fame Head, and turning it on ten or twelve fides 5

you muft do the fame to the Feet, to the Hands,
to the whole Figure.
But to underftand the
Beauty of thefe Figures, and the juftnefs of their
Outlines,

when

it

will be neceffary to learn Anatomy

(peak of four Heads and four Figures,

pretend not to hinder any one from defigning

many

others after this

ing

onely to fliow by

is

firft

Study, but

this,

my

mean-

that a great Varie-

ty of things undertaken at the fame time, diflipates

the Imagination,

fame manner

the

not

eafily

and hinders
as too

in

all the Profit 3

many

forts

of Meat are

but corrupt in the Stomach

digefted,

inftead of nourifliing the parts.

Jnd

ceafe not

Day

or

Night from Labour^

your continual TraBicej See.

pies,

In the

the Students have not fo

cepts as of Pra(5tice

And

much

firft

till

hy

Princi-

need of Pre-

the Antique Statues be-

you may exercife your

them without apprehending

ing the rule of Beauty,

felves

imitating

any

1 1
\

Ohfervations

210

any confequence of
which can be form*d
ginner.

m the

Habits and bad

ill

in the Soul of a

HT

4.

young Be-

'Tis not, as in the School of a Mafter,

whofe Manner and whofe Guft are

whofe

Ideas,,

Difcipline. the

more he exercifes.
And when afterwards
flronger^ Sec,

ill,

and under

Scholar fpoils himfclf the

your Judgment fhaU groi^

'Tis neceffary to have the Soul

well form'd,and to have a right Judgment to make

the Application of his rules

and to take nothing but

fome who imagine,

the good.

Pictures,

For there are

that whatfoever they find in

the Pidiure of a Mafter,

muft of

upon good

who

has acquired Repu-

and thefe
kind of people never fail when they copy to follow the bad as well as the good things 3 and to
obferve them fo much the more, becaufe they
feem to be extraordinary and out of the common road of others, fo that at laft they come to
make a Law and Precept of them. You ought
not alfo to imitate what is truly good in a crude
and grofs Manner, fo that it may be found out
in your works, that whatfoever Beauties there are
in them, come from fuch or fuch a Mafter. But
in this imitate the Bees, who pick from every
Flower that which they find moft proper in it
to make Honey.
In the fame manner a young

tation,

neceflity

be excellent

Painter

Art of Fainting.
I'ainter

many

Qiould colled from

211
Pidures wliat

he finds to be the moft beaucifull, and from

CoUedions form
thereby he makes his own.
feveral

A
liar to

him J See.

to JpeSesy

(^aphaelin this

who

in praifing

that without Vanity

j 2 o.

be compared

Works of other

was wanting to them

he might fay^

See the

peculiar portion*

natural andpecu- ^^

may

the

Painters, faid That Graceftdnefs

and

Manner which

that

wm wholly

certain Grace which

his

^mark

it

woi

his

on the 1

own

1 8r/;,

Ferfe.

Julio

Romano,

(educated

from

the Country of the Mufesy) Sec,

Studies of the

belle

lettere^

his Childhood in

He means

and above

all

l|f

522.

c^i

in the

in (Poe-

It appears, that
which he infinitely lov'd.
he formed his Ideas and made his Guft from reading Homer 5 and in that imitated Zeuxis and Polignotusy who, as Tyrius Maximum relates, treated

fyy

their

Subjeds in

their

Pidures, as

Homer did

in

his Poetry.

To

Remarks I have annexed the Opinions of our Author upon the beft and chiefeft
Painters of the two foregoing Ages,
He tells
you candidly and briefly what were their Excellencies,

thefe

and what

their Failings.

Ipafs in Silence many things which will be more amfly treated in the cnfuing

Commentary,

'Tis evi-

dent

212

Ohfervations on the^
dent by

this,

how much we

mage we have

&c.

lofe,

and what da-

d by our Authors death,

iince thofe Commentaries had undoubtedly contained things of high Value and of great inftrufuftain

<5lion.

if

J 44.

To

intrujl

with

the

MufeSy &c.

That

is

to

being under their

Proteftion, and confecratcd to them.

fay, to write

inVerfe,

J^oetry

THE

>

213

U15 G M E N T

OF
Charles Alphonfe du Frefnoy,

On

the

Works of

PAINTERS

the

of the

PAINTINGThewas
cion, afterwards
at

and Bcft

two laflAges.

in its

TerfeBion

amon^

principal Schools were at Sy-

the Greeks.

and

Principal

Corinth, and at

at
lajl

Rhodes^
in

Athens^

at

Rome.

Wars

and.

Luxury haVing overthrown the Roman Empire, it

was totally extin^Hip?d, together with all the nobk
ArtsJ the Studies of Humanity y and the other Sciences^
It

hegan

7nongjl

to

appear again in the Year

14JO

a*

fome Painters of Florence, of which DOGHIRLANDAIO was one^ who was

MENICO
Mafier

to

Michael Angelo, and had fome

^putationj thmgh

his

kind,

of
manner was Gochi<|ue and Ve-

ry dry,

MI-

"^^ Judgment df

214

MICHAEL ANGELO

his Scholar,

Leo

hi the times 0/ Julius thefecond,

and of eight

the third,

He

Topes,

fuccejJiVe

flouripd

Paul

the tenth,

was a

Painter, a Sculptor, mid an Archited, hoth CiVil

and Military*

Jlures was not always heautifull

of Defigning was not the

mofl elegant

He

in his

finefl,

was not a

little

fantajlkal and extravagant

he was bold eVen to ^p?nefs,

taking Liberties againfi the

knew

is

th

nor his Out-lines

of his Draperies, and the

Habits, were neither noble nor grace-

Compofitions

Colouring

Folds

Tl?e

Ornaments of his
Jull,

made of his Toor fleafing

His Gujl

Tl)e Choice which he

in

^les ofTerfpeB'fVe, His

not oyer true

or

yery

not the Artifice of the Lights

He

pleafaiit.

and Shadows

Sut

he defigyid more learnedly, and better underfiood all the

J^nittiiigs of the !Bones, with the Office

and Situation

of the Mufcles,9thaH any of the modern Tainters. There

appears a certain Air ofGreatnefs and Severity in his
Figures, in both which he

Sut above
JerfuU

The

ArchiteElure,

all the

St, PeterV of

own Houfc, are

-Scholars were

^a,

II

wherein \he has not onely

Moderns, but eVen the Ancients

Rome,

rence, the Capitol

his

oftentimes fucceeded:

the reft of his Excellencies, was his won-

skill in

furpafsd

has

the

St.

JohnV of

4he Palazzo Farnefe

fujfficient

Teflimonies of

it.

aljo

Flo-

and

His

Marcel lo Vcnufto, Andrea de Vater-

Roflb, Georgio Vaferi, Fra. Baftiano, (^hQ

com-

'"^wmv}-

&c:

Charles Alphonfe dw Ynjnoy,

commonly painted for

and many other V\otcmi^tts

hbri)

PIETRO PERUGINO

is

ip'tth

fuffident

dry and his

manner

His Scholar was

little.

RAPHAEL SANTIO,
Friday,

1520: So

the Tear

who was horn on Good

1483, and

in the Tear

died on

Good Friday^

that he liVd onely j

He furpafs' d all modern Painters,

compleat.

he

deftgn

knowledge of Nature^ hut he

in

215

years

hecaufe

more of the excellent parts of Tainting,

than any other
and 'tis helieVd, that he equalled the
poffejs'd

-^

Ancients^

he defignd not naked

excepting onely that

fo much Learning, as Michael Angelo :

Guft of Dejigning is purer and much better.

'Bodies with

^ut

his

He pamted
4 manner

not withfo good, fo full,

as

Correggio

and

fo

gracefult

nor has he any thing of tht

Contrafi of the Lights and Shadows, or fo flrong

and

hut he had a better

dif-

Titian

free a Colouring, as

without compart fon, than either

pojition in his Pieces

Titian, Correggio, Michael Angelo, or

reft

of the fucceeding Painters

Choice of Tojlures^ of
tahlenefs

of

his Varieties,
tifull

his

His

our days.

manner

his

his Contrajls, his

;

the

Heads ^ of Ornaments, theSui-

Drapery,

in TerfeEiion

to

all

of Dejigning^
Exprejpons, were heau-

hut ahdVe

all,

he poffefs'd the

Graces in fo advantageous a manner, that he has ne-

ver Jince
frotraits

been

equalfd by

{or Jingle

any

other.

There are

Figures of his) which

are

fi-

nipfd

The Judgment of

ii6

He

nip?'d fieces.

was handfomCy well made^ and

und well-naturdy

Julio

tall

of Stature^

He

Romano, Polydore, Gaudens,

Marc Antonio,

Gi-

His Gra-

whofe Prints are admira-

for the correB?tefs of their Out-lmes.

ble

ROMANO

JULIO
all

what

had many Scholars^ amongjl

ovanni d'Udine, and Michael Coxis.

yer was

ciVily

ne'Ver refufing to teach another

he knew himfelf.
others^

He

was an admirable ArchlteB,

Raphael'^ Scholars

was

the mofl

excellent

of
had
Conceptions
he
which were

more extraordmary^ more profoundy and more

He

tedj than even his Majler htmfelf

ArchiteBy

his

Guji was pure and

was

alfo

eleva-

a great

He

excpuiftte.

was

agreatlmitator of the Ancients ygiVmg a clear Tefiimony

TroduBionSy that he was defirom

in all his

^raSiice the
dent.

fame Forms and

les

to

and Portico's,

and fuch

He

him
all

his

to find

great perfons

the care of Edifices,

Veftibu-

Tetraftyles, Xiftes, Theatres,

other places as are not

wonderfull in

was

Fahricks which were an-

He had the good Fortune

who committed

to reftore to

Choice

now

in ufe.

He

was

His manner

of Tojlures,

and harder than any of Raphael's School.

did not exaEily underfland the Lights and Shadrier

dows or the Colours.

He

is

frecjuently

harfi?

and

ungracefull: The Folds of his Draperies are neither beautifull

and

nor great y eafie nornaturaly but

too lih the

all

extravagant

Habits of fantajlical Comedians.

He
wa$

&c.

Charles Alphonfe dn Vrefnoy,

WHS
lars

His

knowing in humane Learning,

"Very

217

Scho-

were Pirro Ligorio, {who wdi admirable for Anas for

cient 'Buildings y

Trophies

and the

Towns y Temples y Tombs y and

Situation

of Ancient Edifices)

ineas Vico, Bonafone, Georgio Mantuano,^??^

others,

POLYDORE,

Scholar

to

Raphael,

admirably welly as to the practical party

deftgnd

haVmg

a par-

Genius for Free;^Sy as we may fee by thofe of

white and blacky which he has painted at Rome. He
ticular

imitated the

his

Romano

than that of Julio

feems

but

AncientSy

to be the truer.

manner was greater

NeVerthelefs Julio

Some admirable Grouppes are

feen in his Worksy and fuch as are not elfewhere to be

He

found.

colour

d Very feldomy and made Landt-

fchapes of a reafonable good Gujlo,

GIO.

BELLINO,

one of the firjl

any confderation at Venice, painted

He

ding to the jnanner of his time.

ing both in ArchiteBure

TCitim

firfi

thefirft fainting of that noble

accor-

drily

was Very knoW"

and Terfpe6iiye.

Majlery which may

may remark that

"Very

who was of

eajily

He

was

be obferVd in

Scholar y in which

we

Ma-

Propriety of Colours which his

Jler has obferVd.

About

this time

GEORGIONE

the Contempora-

ry of Titian came to excell in portraits or Face-paint^

ingy

and

alfo in

great Works.

Ff

Hefrfl began

to

make

choice

The Judgment of

21

choke of Glowing and Jgreeable Colours ; the TerfeBton and entire Harmony of which were afterwards t@^
be found in

He

Titian'^ ^iBures,

gures wonderfully well

And It may

drefs'd

his Fi-

he truly faidj

hut for him, Titian had ne^er arriVd

that

to that height

of TerfeBiony which proceeded from the ^"Valfyip a?id.

Jealoufy of Honour betwixt thofe two,

TITIAN

Wius one of the greatefl Colouriflsy

was eyer known

much more Eafe and

There are to he feen Wo-

he defignd with

^raHice than Georgionc.

men and

who

of his handy which are admirable

hoth for the Deftgn and Colouring : the Guft of them
Children

is delicatey

charming and nohky with a certain pleaftng

Negligence of the Headdreffesy the Draperies and Or-

naments of HahitSy which are wholly peculiar

As for

are

fainting

He

of Men^ he has defignd them but

There are e'Vm fome of his T>r aperies

the Figures

moderately well.

which

to him.

is

mean and favour of a

little

His

guft.

wonderfully glowingy fweet and delicate.

made TortraiEiSy which were extremely

noble

the

of them hemg "Very gracefully gr^^ey diVerfifydy and adorn d after a yery becoming fapnon, No>
^Poflures

man

eyer painted Landtfchapey

nery fo good a colouringy

ofKature,

For

with fo great a man-

and with Juch a refemblance

eight or ten years /pace,

he copydl

with great labour and exaBneJs whatfoCVer he undertook'y

thereby to

make himfelf an

eafy way,

and

to efla-

Charles Alphonfe da ^repioy, Scc.

hlijh

fome general maximes for

which he

future conJuSl.

his

gufl which he had of Colours,

(Bejides the excellent

.15

in

Mortal Men, he perfeHly under

excell'd all

flood how to give eyery thing the touches which were

mofl fuitahky and proper

,guifh'd them

from each
and

greateji Spirit,

which he made
his

them

to

fuch as

and which gdVe the

other;

The^iBures

the mojl of Truth.

in his heginningj

and in

the decknfwn of

He IV

Age, are of a dry, and mean manner*

His

ninety nine years.

nefe,

Giacomo

diflin-

Paulo VeroGiacomo da Ponte,

Scholars were

Tintoret,

Bafl&no, and his brothers,

PAULO VERONESE was wonderfully graceful

in

his Airs

Draperies

of Women: with great

"Variety

and

and

incredible yiVacityy

Compoftion

is

Defign

uncorreSl.

!But his colouringy

eVer defends on

ity

is

Jo

"Very

charming in

that itjurpri:^es at the firfl fight y

forget

thofe

qualities

other

TSLeyer-

eafe,

fometimes improper

^hele/s' his
is

of p?ining

-^

and

and whatfohis

^iHureSj

and makes us

which

his

are

totally

wanting

in

him.

TINTORET

was Scholar

to

Titian, great in

hut fometimes alfo

Qf Defigning ;
He had an admirable Geextravagant.

the praEiical part

fufficiently

nius for Tainting^

to

his

if he

Arty arid as

difficulties ofity as he

had had as great an

affeEiion

tnuch patience in undergoing the

had fire and Vivacity

f 2

of

Nature:

He

220
He

'

The Judgment of

0/ Titian

like that

and

Tl^e

his

of

Dreffes^

are for

Outlines are not corthe dependencies of

ity

Mafler, are mofi admirable.

BASSANS

in fainting

his

his

and

'Bnt his Colourings

and

his Compojttion

the mojl part Improper

real

inferiour in beauty to thofe

made Ti^ures, not

has

had a

7nore

than Tintoret

mean and poorer guji

and

their Deftgns were-

Tl)ey had indeed an excellent

dfo lefScorreB than his.
gujl of Colours ; and haVe touch'^d all kinds of Animals

.with an admirable manner

'^perfeSl
'

in the Compofition

!Sut were notorioufly im-

and

CORREGGIO painted at
lo4 in

and fome

FrefcOy

J)ejign.

Parma

two large Cupo-

Altar-pieces.

This Arttft^

found out certain natural and unaffeSied Graces^ for

his Madonnas', his Saints, and little Children ,

His Manner

which were particular to him.

is

exceed-

ing greaty both for the defign and for the work-, but
withadl

and

is

Very uncorreSi,

deligfjtfuUy

ani

'tis

to

His

pencil was both eajte

be acknowledge that he

painted with great Strength j great Heightning^ great

Sweetnefsy andliveline/^ of Colours^ in which none fur^
pafs'd him.

He

underfiood

^ manner

as

was

how

to diftribute lis Lights in

wholly peculiar to himfelfj

4 great force and great roundnejs

fuch

which ga\t

to his Figures.

This

manner

conftfts

in extending

making

it lofe it

felf infenfibty in the dark fhadowingr,

a large Light, and then

which

&C,

Charles Alphonfe du Vrefnoy,

And

which he plac'd out of the Maffes,

them

this

perceive

221

thofe giVe

great roundnejs^ without our heing able to

from whence

proceeds fo

fo Vaji a pleafure to the Sight.

this part the refl

of the

much of force y ami

'Tis probable^

Lombard

School

that in

copied

him :

he had no great choice of gracefull Tojlures, nor of

Sflribution for beautifuU Grouppes

hh Dejign

times appears lame^ and the ^ojitiom are not

ferVd in

them,

often-

much

ob-

many

77;e AfpeEis of his Figures are

manner of deftgning Heads^

Feety and other parts ^ is yery great ^ and well

times unpleajtng

Hands y

hut

his

ieferVes our imitation.

of a ^iSlurey he has done wonders

fo much Uniony that

and

In the conduEl

his greatefi

finip?ing

for he pamted with

Works feem'd

been finip)d in the compafs of one

day

to

haVe

and appear

as if we aw them from a Looking-glafs, His Landt-^

J

fchape

is

equally beautiful! with his Figures.

At

the fame time with

Correggio, livd and flou-

rifUd

PARMEGIANO

who heftdes

his great

man-

ner of well Colourings excelled alfo both in Invention

andDefigny with d Genius full of gentlenefs and of

fpirity having nothing that was ungracefull in his
choice

of ^oflures and

in the dreffes

which we cannot fay of Correggio

of

his to

of

his Figures^

there are pieces

befeen, which are both beautifuU and cor-

Thefe

The Judgment oF

^12

two Tainters

Tl?efe

kit they are known onely

lars)

vince

and befide 5 there

Country-men

his

mention

lajl

d^

to thofe

fay^ for

"Very

good Scho-

of their own Pro-

to be credited

little

is

had

Tainting

of what

wholly

is

extin-

guip/d amongfl them,

LEONARDO

I fay nothing of
hecaufe I haVe feen hut
fiord

his,

of

VINCI,

though he

re-

Milan, and had many Scholars

Arts at

the

little

da

there,

LUDOVICO CARRACCI,
tiibal

and Auguftine, fludied at

and

Uncle

Parma

to

after

HanCor-

and Colouring, with

fuch a Gracefulnefs, and fo much Candour, that Guide the Scholar of Hannibal, did afterwards imitate
reggio

excelled in Deftgn

him with great

There are fome of

fuccefs.

HV-

his

ilures to he feen^ iphich are Very beautifully and well

He

underflood.

made

his ordinary refidence

He, who put

hands of Hannibal his Nephew.
logna, and

it

was

HANNIBAL
In

all

in

little

Kiil^h2Lc]j

the Tencil into the

time excell'dhis Mafler^

He

Correggio,

in their different

manners as

he pleas d, exceptmg onely that you fee not in

flures,

the ISloblenefs,

Raphael, and
fior

that his

fo elegant as

his.

Jerfully accomplifl? dy

Bo-

imitated

parts of Tainting:

Titian, and

at

the Graces^

his (P/-

and the Charms of

Out-lmes are neither fo pure,

In

all

other things,

he

is

won*

and of mVLniwcxi^^l Genius.

AUGUS

Charles Alphonfe

AUGUSTINO,
d yery good

ro^kr

ISLatural Son^^ call'd

at the

age of ^'^y

woud

for by what he

of a more

lofty

GUIDO
retain

fo

ANTONIO,

and who

accoi ding to

haVe furpaji'd
behind hinty

left

his
it

223'

Hannibal, wasalfo

He

Tainter, and an admirable Grayer,

had a

opinion J

&c:

dii Vrefnoy,

who dyed

the general

Uncle Hannibal

appears that he

was

Genius,

chiefly

imtated Ludovico Carracci, yet

d always fomewhat of the manner which

his

Ma-

Lawrence the Flemming taught him. This

Lawrence liVd at Bologna, and was Competitor ajid
^Val to Ludovico Carracci Guido made the fame

fter

ufe of Albert

Durer,

as Virgil did

borrowed what pleas' d him, and made

&wn

that

is^

of old Ennius

it

afterwards his

he accommodated what was good in Al-

bert to his own ynanner : which

much gracefulnefs and beauty,

he executed with

tljat

He

all the

manner of precedence to

himfelf

thofe

SISTO BAIX)LOGCHI
Ins Scholars

Ins

own

Scholars of the Carraches, though

they were of greater capacity than

yield no

fa

alone got 77tore'

Money, andtnore^putationinhistimey than

Majiersy and

His Heads

of K^i^hsid.

defignd the befl of all

but he dy d youngs

EX)MENICHlNO was a Very knowing Taintery

md Very laborious but othermife of no great Natural
y

Endowments:

'tis

true,

he was profoundly

skill'

in all

the parts of ^aintingy but wanting Genius^ 04 Ifaidy

hec

'

The Judgment of

Z24he had

lefs

whojludied

of jwbknefs

was

excellent in

and adorn d with

all

that

belong

to

Variety of Learning,

JOHN LANFRANC,
fprightly wity

all the rejl

Carrachcs.

in the School of the

A LB AN O
Taifitingy

Works than

in his

Man

of a great and

fupported his ^putation for a long time

with an extraordinary guji of Dejign and Colouring.

!But his foundation being onely on the praflical part,
at length loji ground in point of correBnefs

many of his

Tieces appear extravagant

and fantajlical.

after his Deceafe,

went

dayly to decay in all the parts of fainting.

GIO.

VIOLA

Wits Very

old

of

fo that

And

the School

he

the

Carraches
he

before

learnd

LandtfchapCy the knowledge of which was imparted to

him hy Hannibal Carracche, who took pleajure

to

infiruH him, fo that he painted many of that hind

which are wonderfully

Jfwe

fine

and

cafl our eyes towards

well colour d,

Germany

Countries, we may there behold

RER, LUCAS

certainly been

and ISBIN, who were

Amongfl

bein, were both

ALBERT DU-

VAN LEYDEN, HOLBEIN,

ALDEGRAVE,
temporaries.

and the Low-

$f

of the

traVelfd into Italy

thefe,

all

Con-

Albert Durer and Hol-

them wonderfully knowing and had

firfl

form of Painters, had they

For nothing can be

charge, but onely that they had a

laid to their

Gothique G/?. As

for Holbein, he perform d yet better than Raphael

and

Charles Alphonfe du Vrefnoy,

&c

125

and I hav^ feen a Portrait of his ^alntingy with

which one of Tician'j could not come in Competition.

Amongjl the Flemmings, we had

deriVd from

his !Birth,

raijtng

of

but

lively y

A Genius

Verfal Genius.
ly

him to the

alfo to the hi^hefi

rank,

RUBENS, wh9
noble

free,

and

uni-

which was capable not one-

of the Ancient Painters,

employment in the Service of his

fo that he wm chofen for one of the moji

important Embaflics of our Age.
His Guflo ofDeCountry

figning favours fomewhat more of the

Flemniing than

of the Beauty of the Antique y becaufe he flay d not long

at Rome.
And though we cannot but ehferVe in all
his TaintitigSy

mufl be

fomewhat of great and

confefs^dy

not correBly

noble

-^

yet

it

that generally fpeakingy he defignd

But for

all the

other parts ofJ^ainting,

he was as abfolute a Mafler ofthem^

and poffefsd them

all as

throughly as any of his ^redeceffors in that noble

Art.

His

principal Studies were

made

in

Lombardy,

Works of Titian, Paul Veronefe and Tinwhofe Cream he has fhimnid (if you will allow

after the

toret

the

^brafe) and extraSled from

ties

many general Maxims and

ie always follow

dy

Worksy a greater

Sean-

their feVeral

infallible

^lesy which

and by which he has acquirdinhis

Facility than that

ofTiiizn

more

of Purity y Truth and Sclencey than Paul Veronefe

and more of Majefiyy ^pofe and Moderationy than
Tintorct.
To concludcy His manner is fo folidy Jo

Gg

hiOiPirigy

The Judgment of,

226

may feem, this rare

Genius was fent from HeaVen to injlru^

htow'mgy and Jo ready^ that

accomplijh'd

Mankind

&c.

in the

it

Art of Tainting.

His School was full of admirable Scholars, amongfl

DYCK was he, who hejl comprehendwhom

VAN

ed

all the

^des and general Maxims of his Mafkr-^

and who has eVen

excelled

him

in

the delicacy of his

Colouring and in his Cabinet Pieces

the defining Tarty

but

his

Gujl

in

was nothing better than that of Ru-

bens,

Short Account
of che moft Eminent

PAINTERS
BOTH
^ttrtent and i^DDetn,
Continu'd

down

to the

PRESENT TIMES
According to the

Order of

their Succejfwn,

LONDON,
Printed for W. Rogers at the
Vunftans

Church

Sm agalnft St.

in Fleetfireet.

J <^p ;

225

)-

THE

PREFACE.
TH
E

Title baVhig onely promised a fliort

Account of the mod Eminent Mafters,

<src, tl?e Reader ?nuft exfeEl to find yery

fmaU Compa/I of thefe few Sheets, than

the Time when, the J^lace where, by whofe Injirtictions, and in what particular Subje(5t: each of thofe
great Men became Famous.
In the firft parr, which comprehends the prime

little

more

in the

Mafters of Antiquity, I ha^e followed Pliny yet

not blindly^ or upon his Authority tdone^ but chiefly
:

in thofe places^

where I haVe found

fir7nd by the concurrent

The Catalogue

his

Evidence

Tcikimony of other

co?i-

Writers,

of Fran. Junius I haye diligently^per-

and examind mofl of the Records cited in it.

1 haVe alfo read oyer the Lives of the Four Principal

us'dy

Painters

<?/ Greece,

mitten

in Italian, by

0/ Florence, together with

his learned

and

left

upon them
edj that

in

a word^ haye

Carlo Dati

Annotztior\9.

nothing unregard-

coud giye me any maimer yAfliftance

in

this^.'

prefem Undertaking.
In the Chronological part, becaufe I forefaw that
the

Olympiads, and

the

Years of

Rome, would beof

little

K EFA

230
:

tifi*

them

to the

E.

of Readers, I haVe adjufled

to the generality

little

two Vulgar /Eras (v/;^.) the Creation of

thc'World, andthe]^\n\\ of Chrill. T/;e Greek Talents

I have

Account,

to juflifiemy

nwji

likewife reduc

into Englifli

is

put

ab/olutelj/j

without any other Circu?nJiance)theT zlcntum

Minus

is

to he Ainderjlood

Computation comes

efl

ney,

to

which according

about

the Msijus being about

i^a

that here (as in

7nujl ob/erVej

Author Sy where aT^ilcnt

Money

and

Atticum

to the near^

87 1. 10 s, of out Mo61 1. los. more.

i

In the latter part, which contcuns the Mafters ofgreatejl

Note amongft

ligent^

the

not onely fearching into

the

-all

been equally

??ioJi

di-

conjiderable

Memorandums relating
but alfo in procuring from Rome, and other pla-

Writers, who haye

to them

Moderns, I ha'Ve

ces yih bejl

left

Advice

thofe Painters

thatpojfibly

who are but

hiy^ ha'Ve never yet

taJ^en fuch

us any

I could get, conceryiing

deceasd, and whofe

lately

appear d iw Print. 7 Italy Ihal^e

Guides, as I had reafon

acquainted in that Country

Flanders, and Holland,

to believe,

andin France,

were befl

Germany,

We been govern d by the Au-

thors who haVe been mofl conVerfant in thofe J^arts, For

the

Roman,

Florentine, and fome other particular

Mafters, IhaVe apply d my felf

&c.

0/ Giorgio Vafari,

to the

and that

Vite de' Pittori,

excellent

Trcmk

Gio: Pietro Bellori on the fame SubjeSl, For the

bard School,

I haVe confuted

the

of

Lom-

Maraviglie deir

Arte

PREFACE.
Arte 0/ Cavalier Ridolfi.

23^1

For the Bolognefe Pain-

of Conte Carlo Cefare Maivafia. For thofe of Genoua, r/;e Vice dc Pittori, ((^c.
of Rafaelle Soprani nobile Genouefe. For the French
ters, the Felfina Pittrice

Mafters, the Entretiens fur

les

Vies,

<C^c.

o/^Felibien*

For the German, Flemidi, and Dutch Painters, (of

whom I have admitted but very few into this Col[e<5ti-

on)

Academia nobiliffimx

the

Artis Pidorix, of

Sandrart, andthe Schilder-Boeck o/Carel van

dcr.

For f/w/^o^our

to acknowledge

how

own Country, lam

difficult

Man-

ajham'd

a matter 1 haVe found

ity

to

Information touching fome of thofe Ingenious Men, whofe Works haVe been a Credit and

g.et

but the

leafl

Reputation

to

Tl?at all our

it,

greater "Value for

t/;e

Neighbours haVe a

Profe(fors of this noble Art,

ftifficienlly eVident^ in that there

ha^ hardly been any

one

Mafter of tolerable Parts amongji the?ny but a Crowd

of Writers, nay fome Pens of Quality too^ ha'Ve been
imploydin adorning his Li{c>^and in tranfmitting bif

Name^

honourably to Pofterity.

For the Charaflers of the Italians of the firfl: Formr,

IhaVe all along referrdthe Reader to the Judgment
0/ Monfteur

^Ht for
arid,

FRESNOY

da

the rejiy

and

the

wherein their

ha'Ve

/;/

rk preceding Pages.

from the Books ahoVe-mentik-

Opinions of the Learned, briefly Jl?cwn,

different Talents and Per.fe<5lions co}i/i^.

flxd: chufifig always (in the

little

^m

to

which 1 ha'Ve
boan-i

232

R ETA

been confind) to Jet the bejl ftde forwards, effcddUy

thcrr

tvhere
their
'

few Faults haVe been over-balanc'd by

many

Virciies.

(By the Figures in the

Margin

where been^

horn careful Iha'Ve every

will eajily appear,

it

to preJerVe the

Or-

der of Time, which indeed was the thing principally

Some few Mafters /;o.
intended in the/e Papers.

whom yet I haVe

ever viufl be excepted j

to their

Contemporaries,

any particular Year.

exah

in fetting

down

they themfelves us'd

them

in

tho

In all

placed

next

I could not fix them in

of them I haVe been Very

their refpeBiVe T^Sitncs, jufi as

to doy

when

they did not write

Latine.

Ifitfhould be Objected, thatfeVeral of the Mafters

d amongfl
anfwer, That ds

herein after-mention d, haVe already appear

us, in
f/;e

an Englidi Drefs

Method

/ can

here made ufe of,

is

onely

more regular, and quite

difFcrentyrow any thpig that has been hitherto publifh'd

in this kind'j /o, whofoeVer fhail think
to

compare

the/e little

it

worth

his while

Sketches with the Originals

from which IhaVe copy'd tfcem, will find, that I haVe

takengreater Care in drawing them true, and that my
Out-lincs are generally more correft,

feds may be

in the

Colouring

whatever De-

part.

ancient

(23!

<SLntimt Rafters.

BY whom,

and in what particular Age the Art

of fainting was firft invented in Greece^

Ancient Authors are not agreed.

Ar'tflotle

afcribes

honour of it to EUCHI^^ a Kinfman of the ^^^^ ^^^^

famous D^dalusy who flounfli'd Anno i 2 i 8 be- 2720.
fore the Birth of Chriji-,
Theophra/lus pleads for
the

^OLYGNOTUS

the

SAU^SJAS of Samos

CLES the Egyptian

THES

of Corinth

may differ in

their

yet as to the Art

that

in

its firft

no

Man

fome contend

for

for

fHILO-

and others again for CLEANBut howfoever the Learned

Opinions touching the

it felf,

all

InVentery

of them are unanimous,

appearance amongft the Greeks^ was

or fome other !Body

a fingle

The

Athenagoras

Shadow of a
circumfcrib'd with

better a drefs than the bare

and by

Athenian

line

onely, call'd

the Latines^

firft

of Tainting^

ftep

^iBura

by them
Linearis,

made towards

the

was by ADVICES

mdTELETHANES oiSicyony

Sdagraphia,

advancement

the

Corinthian

ox C(!(ATO of iht

fame

Ancient Makers.

2 J4fame City

way of

who began

to add other lines,

fliadowing their Figures, to

by
make them

appear round, and with greater ftrength.

But
fo inconfiderable were the advantages, which the
Authors of this Manner (caird Qraphke) gained
by their hVentiDTiy that they ftill found it necefto write under each piece, the

fery,

ry individual thing which

name of eve-

they endeavoured to

r^prefent, leafl otherwife the Spectators fliou'd ne-

be

ver

by

able

to

discover

what they intended

ir..

The

next Improvement, was by

TllS of Cormthy who

CLEO^HJN-

up his
from whence his
Outlines with a fingle Colour
Pieces, and thofe of HYOIEMON, DiNZ^S, and
CHA^fJS his followers, got the name of Mo*
firft

attempted to

fill

nochromata^ (>^^-)

EUMA^S^S
and

Women

other,
jects

Pi<^ures of

one colour.

began to paint Men

a manner different from each

the Athenian^

in

and ventured to imitate

but was for excelled by his

CIMON
of Painting
"variety

the

Ckonnumy

Hifiorieatly,

who

all forts

of Ob-

Difciple.

found out the Art

dcfign^d

his

Figures in

of Poftures^ diftinguifh'd the fcveral parts

of.

Ancient Mafiers.
Body by their Joints, and was

of the

235
the

took notice of the folds of Draperies, in

firft

who

his Pieces.

In what Century the Majlers abovemention'd

tain

has given us

Jfitiquity

liv^'d,
it

is,

no Account

yet cer-

that about the time of the Foundation Jn,

of '3^0 w^, Anno

y^o

ante

C/;r.

the Grecians

\i2ii

car-

Mun.
198.

ry'd fainting to fuch a height of Reputation, that ^-^^""v^^^

Candauks King of Lydiay firnam'd Myrjtlus, the

laft

who was kill'd by Gyges

for a Pidiure made by

of the Heraclid^j and

Anno quarto Olymp,

BULA^CHHS,
nejians,

gave

its

TAN/ENUS
446

ante Chr.

6.

reprefenting a Battel of the Mag-

weight in Gold.

of Athens,

and

is

liv'd O/jw^f 8 j.

celebrated

Anno

for having pain-

ted the Battel at Marathon^ between the Athenians

and

Terjtansy fo very exa<5lly,

all the

to be

that Mdtiades,

General Officers on both

known, and

diftinguifli'd

2^02
c^-v'v^

and

were eafily

fides,

from each other in

that Piece.

THWIAS

his Brother,

the

84. Anno

442

flourifli'd 0/y?/?.

famous both

for Tai?iting

ticularly in the
his Statue

latter fo

Charmidasy

ante Chr,

and Sculpture
profoundly

of Jupiter Olympius
h 2

Son of

w^as

by

and was
but par-

skill'd,

that

the Ancients

efteem'd

^ro(5.

Ancien t Majlers.

2 '^6

efteemM one of

the Seven

wonders of

the

as his MtnerVdy in the Citadel of Athens,

Ivory and Gold, was (by

the !Beautiful

way of

He was

Form,

World,

made of

Enciinence) cali'd

very intimate with

and fo much envy*d upon that account, and for the Glory which
he acquired by his Works, that his Enemies cou'd
never be at reft till they had plotted him into a

derides, the Athenian General

Prifon, and had there (as

his Life

fome fay) taken away

by Poifon.

^OLKLETUSy

a Native of Sicyon, and the

An. Mun. moft renowned Sculptor in his time, liv'd Olymp,

3518. 87. y^wo4jo

which he gain d,
3^e//eVo to

and befide the Honour

by having brought the Sajf

ante Chr.

perfc(5tion,

is

commended

admirable pieces of work 3 but

chiefly,

for divers

for being

moft accomplifh'd Model ,

which comprehending in it felf

the Author of that

call'd the Canon

alone

all the feveral perfections,

and Proportion,

in

Humane

both of Feature,

Bodies,

by

confent of the moft eminent Artifts,

Tainters as Sculptors,

the joint
as

well

then in being, was unani-

moufly agreed upon to be handed down to Pofterity,

as the Standard, or infallible

^ule of true

Seauty.

In

Ancient Maflers.
In

^JS) both

^OLYGNOTUS
his

MY^N,

excellent in Sculpture

refpedts equal even to

of

were

this Olyfnpiad alfo

23,7

^oljckm

the Thajtariy

and SCOand in fome

himfelf.

was

the

Difciple

Father Aglaophon^ and particularly famous

for reprefenting

lightfom

heads with

and

Women whom
;

fliining Draperies,

he painted

adorning

in.

their

of fundry colours, and giving

a greater freedom to his Figures, thaa had been
dreffes

by any of his Predeceflbrs. His principal

Works, were thofe which he made gratis in the
Temple at Delphi, and the ^rWPortico at Athens
caird the Various 3 in honour of which it was folemnly decreed, in a gc/!r^/ Council of the ^/us'd

phictyonSyXhdX where-cver

hefhould travel

in GreecCy

be born by the PublicL

He
died fometime before the 9*0 Olymp. which was ^^' ^^^^
his charges fliould

Anno

418

ante Chr.

JfOLLODO^I^S the Athenian, liv'^d Olymp, 94.

Anno 402 ante Cbr. and was the firft who invenand of exHe was adprcffing the Lights and Shadows.
mir'd alfo for his judicious choice of Nature, and
ted the Art of mingling his Colours,

and ftrength of his Figures furpafled

He exthe Matters who went before him.
ccird

in the beauty
all

IHZ'

Ancient Majiers.

^^'S

but was furnam'd the

cell'd likewife in Sculpture,

humour which

Madmaiiy from a ftrange

of deftroying even

had

finifh'd

his

very beft Pieces,

he had,

if after

he

them, he cou'd dilcover any faulty tho

never fo inconfiderable.

Man,
2552.

jin.

2^EUXIS of HeradeUy

flourijfh'd

Anno quarto

9 5 /htm 395; ante Chr, and was fam'd for

being the moft excellent Colourift of all the Ancients
though CicerOy Tli?iyy and other Authors tell us,

Olymp,

*j

there

were but four Colours then in ufe

whitey yellow,

ibme,

making

for

Jrijiotky for not

ners,

and

He was

red and black

his

(V/^.)

cenfur d

Heads too big

by

and by

being able to exprefs the Man-

Paffions.

He was

very famous not-

wathftanding for the Helena which he painted for

Compofition of
which he colleded from five naked Virgins (the
moft beautiful that Town cou*d produce ^
whatever he obferv^d Nature had fornvd moft
the People

of

perfe<5t in each,

Crotona-^

the

in

and united

thofe admirable

He was

parts in that fingle Figure.

wife for feveral other Pieces

all

extoU'd

like-

but being very rich,

any of
them, becaufe he thought them to be above any
price; and therefore chofe rather to give them
cou'd

away

never

be prevailed upon to

freely to frmcesy

and

Cities.

fell

He

died (as
'tis

Ancient Mafiers.
generally faid) of a

'tis

fie

239

of Laughter, at the

Comical old Woman's Figure, which

fight of a

he had drawn.

<?A^HAS1US

aNati^^e of Ephefus, and Ci^-

was the Son and Difciple ofEvenoKy

and the Contemporary of Zeuxisy whom he overcame in the noted Conteft between them, by deceiving him with a Curtain, which he had painted
rizen of Athens^

fo excellently well, that his Antagonift miftook

He was

for the

Nature

ferv'd

the Rules of Symmetry in his

ic felf.

the

firft

who

works

it

ob-

and

was much admired for the livelinefs of his expreffion, and for the gayety and graceful Airs of his
Heads but above all, for the foftnefs and elegance
of his Out'lmesy and for rounding off his Figures,
fo as to make them appear with the greater flrength
and relievo. He was wonderfully fruitful of In-

vention, had a particular talent in fmall pieces,

especially in

wanton Subjeds

and

finifli'd

all

works to the lafl: degree of perfedion. But

wichall was fo^ extravagantly vain and arrogant,
his

that be

commonly

writ himfelf TuKrhajtus the

i'\:^^Ufl^y) wentcloath'd
with a Crown of Gold upon bis

(Beau, the Sir Courtly

in purple,

H'ead, pretended to derive his Pedigree

folloy

and

flyl'd himfelf the Trince of

his-

from A'

frofeffion.

Yet

Ancient Mafiers.

24-0

Yet, to his great afflidion, was humbl'd at laft

TIMAKTHES
who in

Cythms)

of

S'lcyon

by

(ox as fome fay, of

by

a Difpute betwixt them, was

the majority of Votes declared the httttx fainter:

And befides was

eminent for the Angular raode-

as

and fweetnefs of

fty

Difpofition, as for the

his

agreeable variety of his Invention, and peculiar

moving

happinefs in

works were the

lebrated

the Sacrifice of Iphigenia

his other

ftood, than

In this

fleep'mg Tolyphemusy

in

Performances)

raBer appear'd, in

was

His moft

the Paffions.

both which

his

ce-

and

(as in all

diftinguiChing Cha-

making more

to be

under-

really exprcfs'd in his Pieces.

time alfo

flouriflh'd

ElifOMTUS

of

and whofc Authority

was fo very confiderable, that out of the two
Schools of Tainting^ the Jjtatick and the Greeky he
made a third, by dividing the laft into the Jttick

SicyoHj

and

an excellent

His beft Difciple was

the Sicyonian.

^JM^HILUS

Artift,

a Native of Macedonia^

the Art of Tainting

joynd

who

to

the Study of the Liberal

JrtSy efpecially the Mathematicks

and us'd to fay,

no
He was

that without the help oi Geometry^

fainter could

ever arrive at perfe<ftion.

the

firft

who

taught

Ancient Mafters.
taught his Art for

fet rates,

241

but never took a Scho-

time^han ten years.

What reputation
and intereft he had in his own Country, and what
ufe he made of it, for the honour and advancelar for lefs

ment of

fee

his ^rofejfioHy

^ag, 83.

TJUSIAS of Sicyoriy a Difciple of ^amfhilmj

was the firft who painted upon Walls and Ceilings: and amongft many rare <]ualities, was txcMcnt 2Lt fore'P?onening his Figures. His moft famous Piece was the Pid:ure of his Miftrcfs Glycera,
in a fitting pofture, compofing a Garland of
Flowers

Copy of which

for

L. LucuOuSy a

noh\t ^oman, gave two T^tex {"^7^

lib,)

EUTH(I(JNO(Il the yihnian, fio\xx\{[i A Olymf. An. Mun.

104, Anno 362 ante Chr. He was an Unherfal 2585.
Majler, and admirably skill'd both in Sculpture

and

His Conceptions were noble and ele-

fainting.

vated, his Style mafculine and bold

the

firft

who

fignaliz'd hirafelf

He

the Majefty oi Heroes,

of the Art of

by

and he was
reprefenting

writ feveral

Volumes

and of Symmetry, and yet

into the fame Error wirh

Colouring,

notwithftanding

fell

Zeuxis, of making

on

his

Heads too big

in

propord-

to the other parts,

f(^AXl

Ancient Majlers.

24-2

f(I(AXlTELES

fam'd Sctdptor

the

Venm of

larly celebrated for his

Gn'tdwSj

was

excellent performances in Marble y

particu-

and other

Con-

the

temporary of Euphranor,

An,
1

CWIJS

Mun.
594.

and raisM

Chr,

<^^^

of Cythnus, liv'd Olymp.

his

TalentSy

(8250

Itb,)

06, Anno

reputation fo

^man

works, that Hortenjtm the

44

for

354
much by his

Orator

one of his

Pieces, con-

taining the Story of the Argonauts, and

noble Apartment on purpofe for

it,

gave

built a

in his Villa at

Tufculum,

ATELLES
tive

of

Coosy

known by

the

Trince of faintersy

an Ifland

the

in

was a Na-

the Archipelago

name of Lango) and

now

fiourifli'd

0-

112, Anno j j o ante Qn\ He improved the

noble talent which Nature had given him, in the
School of Tamphilm-y and afterwards by degrees
lymp.

became fo much in efteem with Alexander the Great

that by a public EdiB he ftridly commanded ,
that no other Majler fhou d prefume to make his
Portrait ; that none but Lyjippus of Sicyon fhou'd
caft his Statue in Srafs
and that ^yrgoteles onely
fliou'd grave his Image in Gems and ^reciom Stones.
5

And

in farther

teftimony of

to this Artijly he prefented

his particular refpe(5t

him, even with

his

moll

Ancient Makers.

24.3

tnoft beautiful and charming Miftrefs Campafpey

whom Jpelks had faU'n in Love,

whom 'twas fuppos'd he copy'd his Fenu^

{Anadyo-

mem)

his pecu-

with

rifing

liar portioriy

211.

Grace was

out of the Sea.

Tage

as our Author tells us,

In which,

and

in

and by

5 o, and

knowing when he had

done Enoughy 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 lineaments and features of the Face Infomuch that
:

Apion the Grammarian

(if

ognomifts

of

fight

be credited) ^hyjicou'd

his Pictures onely,

the precife time of the parties death.

tell

upon

may

He was

admirable likewife in reprelencing people in

And

their

was the
veneration paid by Anticpuity to his Works, that
feveral of them were purchased with heaps of
Gold, and not by any fet number or weight of
pieces.
He was moreover extremely candid and
Agonies.

lafl:

in a

word,

fo great

obliging in his temper, willing to

thofe
his

who ask'd his

moft potent

advice, and generous even to

Rivals.

T^TOGENES of Caunusy
je(5l

inftrud: all

to the (^odiansy was

by

one of the four bed Tainters

mifcrably poor, and very
I

a City of Caria fub-

the Ancients eftccm'd

in Greece

little
i

but liv'd

regarded in his

own

Ancient Makers.

24:4

having made him a vifity

CO bring him into Reputation, bought up fevcral
of his Pictures, at greater rates than he ask'd for
them; and pretending, that he defign'dto fell 'em
again for his own work, the ^yodians were glad

own

to

Country^

till

Afelles

redeem them upon any terms. Whofe Difciple

he was,

is

known

not certainly

but

'tis

general-

ly affirm'd, that he fpent the greateft part of his

hfe in painting Ships,

applying himfelf

came an
confefs'd

and

at laft to

Arttji fo well

he was in

Sea-pieces onely

accomplifh'd, that Jpelles

all refped:s

by overmuch

a correftnefs,
Life.

yet

nobler Subjects, he be-

equal to

at leaft

himfelf, excepting onely, that never

to leave off,

knowing when

diligence,

and too nice

he often difpirited and deaden'd the

He. was famous alfo

which he made

iq Srafs

was

for

but

his

feveral Figures

moft

celebrated

which coft
him feven years ftudy and labour, and which

piece of ^ainWig^

that of JalyfuSy

City of ^jodes from being burnt j^y

Demetrius Toltorcetes. Vide ^age 84.

fav'd the

Of MELANTHIUS

w^e

have nothing

but that he was brought up

School of Greece)

^^amphilus,

2Lt

(the beft

the

fame

That he contributed both by

and fjncily to the Improvement of his

time with
his ^erty

under

at Sicyon,

certain,

Jpelles.

Jrt',

Ancient Mafiers.
Art

and amongft

many excellent

245

Pieces, painted

Anjlratus the Sicyonian Tyrant, in a

Triumphal

Chariot, attended by FiElory, putting a wreath

upon

of Laurel

Headj which was highly

his

cfteem'd.

JS^SriDES
dasJ liv'd

was

the

oi Thebes, the Difcipleofaxm-

in the

firft

fame Olympiad with

who by

the

Jpelles,

^les of An,

and

attained

knowledge of expreffing the Paffions and

Affed:ions of the Mind.
And though his colouring was fomewhat hard, and not fo very beautiperfedr

ful as

cou'd be wifli'd, yet

much were
ceafc,

his Pieces

Attains

notwithflanding fo

ad mir'd, that

after his de-

Ki"g ^f Ter^amus^ gave an hun-

dred Talents (^1875 ^^^^0 ^^r one of them.

His Contemporary was
Athenian,

equally

and fainting

in the Arts of Sculpture

skill'd

but in the

A^CLEflOW^S the

latter,

chiefly

applauded

of a correal Style, and the truth of

Proportion In which Apelles declared himfelf

for the beauties

his

as

much

HION,
on of

inferior to this Arttfly

in the ordering,

his Figures.

ckpiodorus

as he

was to

and excellent

AM-

difpofiti-

The moft famous TiEiures

of Af-

were thofe of the twehe Gods, for

which Mnafon the Tyrant of Elatea, gave him theAv

va! ue of about j o o /I SterL a-piece.

Ancient Mafiers.
About the fame time alfo u ere the

2^6

ilers

THEOMNESTUS,

following (Vt^.)

Ma-

feveral

fam'd

for his admirable talent in 'Pom-^/V^.

NICHOMACHUS

the

commended

Jn/iodemusy

and freedom of

Son and Difciple of

for the incredible facility

his Pencil.

NiCOfHjNESy
his

celebrated for the Elegance of

Ma-

Dcfign, and for his grand Manner, and

jefty

of Style

in

which few Majters were to be

compared to him.
^l^BfilCUS was famous for little pieces only j
and from the fordid and mean Subjeds to which
he addicted himfelf (fuch as a Sarbers, or Shoe&c.)

makers Shopy the StiUifey Animalsy Herhagey

Yet though
Performance was ad-

got the furname of ^yparographus.

his Subje(5ts

mirable

were poor,

And

his

the fmalleft Pidurcs of this

were eftcem'd more, and fold

dian the larger

Works of many

AKTIDOTUS

Art'tfty

at greater Rates,

oxkzx Maflers.

the Difciple of Euphranory

was

extremely diligent, and induftrious, but very flow

at his

Kenedy which as to the colouring part was

generally hard

and dry.

He was chiefly remarkable

for having been the Mafter

of

NI-

Ancient Majlers.

NIClJS of
Perfection,

Anno

who

Athens^

and

painted

247
Women in An. Mm'

about the ii^.Olymp.

flourifli'd

2 2 ante Chr, being iiniverfally cxtoll'd for

and noble choice of his Subjedls,

force and relievo of his Figures, for his

the great variety

for the

great

skill in

of the

the diftribution

lights

and

fliadows, and for his wonderful dexterity in reprefenting

all forts

of four-footed Anmals, beyond

any Majier in his time. His moft celebrated

Piece was that of Homer s Hell 5 for which having

60

refufed

Talents

King Ptolemy

(11250

ofFer'd

lib.)

him by

Son of Lagus, he generoufly

made a Prefent of it to his own Country. He was
likcwife much efteem'd by allhis Contemporaries
for his excellent Talent in Sculpture ; and as ^liny
which yet feems
reports, by Praxiteles himfelf
the

highly improbable, confidering, that

account

there

were

at leaft

40

by

his

own

years betwixt

them.

ATHENIOK

of Marofiea, a City of

a Difciple of Glaucion the

this

time alfo as

though

his

Tl?race^

was about
TSLicias : and

Corinthian^

much in vogue

as

colouring was not altogether fo agree-

was even
fuperior to him, and wou d have mounted to the
able, yet

in every other particular he

higheft pitch of Perfedion,

if

the length of his Life

had

^616,

Ancient Maflers.

24.8

had been but anfwerable to the great extent of

his Genius,

An, Mun,

z6a7.

F^SlW5anoble ^man,
Health in ^nie^ Anno U,

much

'^^'"V^^ and glory'd fo

thcTempkof
450, ante Chr, joi

painted

Performances

in his

there,

that he affum'd to himfelf for ever after, the fur-

name

of 'Pif?or, and thought

mod

to one of the

2698.

NEALCES

no difparagement

lUuftrious Families in

by

to be diftinguifli'd

it

^me^

that Title,

hv'd Olymp.

ji, Anno

250

ante

Chr. in the time of Aratus the Sicyonian General

who was

his

Patron, and intimate Friend.

His

was a ftrange vivacity of

fancy, and a Angular happinefs

particular CharaEleVj

thought, a fluent

in explaining his intentions ^as appears ^ag, 148.)

He

mentioned by Writers^
For that having painted a Horje^ and being weary'd
is

befides frequently

with often trying in vain to exprefs the foam proceeding from his Mouth, he flung his Pencil in a
great paffion againft the ^lEiure^ which lighted fo
luckily, that to his

had

finifh'd

with

all his art

his

amazement he found. Chance

Defign,

much

better than he

and labour cou d have done.

MET^

Ancient Mafters.

AfET^W^S Rounttid

Anno \6i

249
anteChr.An. Mm.

and liv'd in fo much credit and reputation at Athens y 3780,

that ^aulus ABmilius^ after he had overcome Ter- ^"^""V"^^
feus King o( Macedon^ Anno 3 Olymp. 152. having
defir'd the Athenians to fend him one of their moft
learned Wtlofophers to breed up his Children, and
a skilful fainter to adorn his Triumph, Metrodorus was the perfon unanimoi]|Py chofen, as the
fitted for both Employments,

MA^US
phew

^ACUVlUSoi'Brmdufium, thcNe-

-^^97*
of old EnniuSy was not onely an eminent ^^^''V'^^

^oet himfelf, and famous for

which he wrote, but

Witnefs

feveral

in fainting

excell'd alfo

Works

his celebrated

Tragedies

^omey in the

at

Temple of Hercules, in the Forum !Boarium.

He

Anno W. C 600, ante Chr, 151, and

died at Tarentum, almoft 90 years of age,
flourifli'd

TlMOMACHUS
Anno U.

o{ !By:^anttum (now Conftantl

47, in the
time of Julius Cefary who gave him 8 o Talents
for his Pieces of Ajax and Medea,
( 1 5 000 lib.)

nople)

liv'd

704,

ante Chr.

Temple of Venus, from

whom he deriv'd his Family. He was commended alfo for his Orejies and Iphigenia but his Mawhich he placed

in the

fler-piece

was

the Gorgon^ or Mednfas Head.

Kk

About

J^oi.

Ancient Majlers.

250

About the fame time alfo A^^ELLIUS was famous at S^we, being as much admir'd for his excellent talent in Tainting^ as he was condemn'd
for the fcandalous ufe

king

his

all

Strumpets

Heavens

Ideas of the Goddejfes

and

in

amongft

which he made of it,

in ta-

from common

placing his Mtflrejfes in the

the Gods

in feveral of his

pieces.

Jn. Mun.

LUVIUS liv'd

in great Reputation,

under Au-

who began his <^eign Anno U.Cyi o,

He excell'd in^r^?!^ Compojittonsy and
firft who painted the Fronts of Houfes,

3 po/. gujlus Cafary

^^'^^^'V'^ ante Chr, 41 .

was

the

which he beautify'd with

great variety of Landtjchapes, and pleafant Views,
together with all other forts of different Subjects,

in the Streets of ^Upme

manag'd
An. Dom.
(jp^

after

a moft noble manner.

TU^ILIUS a (^oman

Knight, liv'd in the time

of Vefpajwiy who was chofen Emperour, An. Dom,

6p, And though he painted every thing with his
left hand, yet was much applauded for his admirable Performances at Verona,

His Contemporaries were

CO^ELIUS fU

ms,

and

Pencils

adorn d the Temples of Honour and

ACTIUS ^^ISCUS, who

with their
Virtue,

repaired

251

Ancient Mafters.
repaired

came

by

But of the two, ^rifcus

Jiyle and manner of Taint in^j

Fefpajian.

jn his

nearefl:

to the purity of the Grecian School

And
county

have

thus

of

all

the

flourifli'd in Greece ^

more than
that for a

and

^ader

given the

moft eminent Majlers who

and

compafs of

in the

(I(ome,

'Tis true indeed,

thou/and Years,

longtime

z jhort Ac-

after the 3(eigwi

o( Fefpajtan,

TJf J his Son, Tainting

and Sculpture continu d

in great reputation in Italy.

Nay, we are informed,

that under their Succeflfors Domitian,

Ker'Vay

and

Trajan, they fliin'd with a Luftre almofl: equal to

what they had done undet Alexander the Great, 'Tis

true alfo, that the ^man Empcrours Adrian, Antonine, Alexander SeVerus, Conjiantine, and Valentlnian, were not onely generous Encouragers of
thefe Arts, but in the pradice of them alfo fo well
skiird, that they wrought feveral extraordinary
Pieces with their own hands 5 and by their Example, as well as their Patronage, rais'd up many confiderable Artijls in both kinds. But the

Names of all
loft

thofe excellent

with their Works,

Catalogue of the
fliall

thofe

Men being unhappily

we muft

here conclude our

ANCIENT UASTE^^:

and

onely take notice, that under that Tttky All

are to be

comprehended

k z

who

pradtifed

Tainting

Anclen t Makers.

252^

An. Dom.Taintmg or Sculpture tkhcv in Greece or <^me^ bcAc which time

y8o- fore the year of our Lord 580.
the Latlne Tongue ceafing to be the

of

Italy,

and becoming mute.

common Language

All the noble

Arts

and Sciences (which in the two preceding Centuries had been brought very low, and by the continual

Invafions of the Northern Nations reduc'd

to the laft extremities) expir'd with

Reign of ^hoca^

it

and

in the

the Emperour, foon after, lay bu-

ry'd together, as in one common Grave, in the

Ruins of the

^man Empire.

^tfiittn

253

C'^IOVAKKI CIMAmn,

firft

Tindhoin

who

was a
Greece

nobly defcended,

Jnno

zi Florence y

2^0 was the

^

reviv'd the Jrt of Tainting in

Difciple of fome poor

fent for

by

the

Italy,

1240.

He

ordinary Taintersy

Government of

from
Drawing,

Florence

whom he foon furpafs'd, both in

and Colouring , and gave fomething of ftrength

and freedom tq 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 ^erffeEiiye^ and in
divers other particulars but indifferently accomplifli^d

ture

yet the Foundation which he laid for fu-

Improvement,

the Father of the

F'trjl

ac Florencey

to the

name of

his

Works

Mo-

are yet re-

where he was famous alfo

for his skill in ArchiteBurey

ry rich, Anno

him

Age^ or Infancy of the

Some of

dern Tainting.

maining

entitled

and where he died

ve- JEt,

300.

GIOTTO

60.

Modern Mafters.

254
GIOTTO

r%^.^A.^^^>>

\iy6.

27<^,

born near Florence^ Anm

good Sculptor and JrcbiteH^ as well

his Difciple,

^as

fainter than

as a better

fhake off the

ftitfnefs

vouring to give a
of Nature to

his

to

endea-

Air to his Heads, and

more

Colouring, with proper Poflures

attempted likewife to draw

after the Life,

and to exprefs

of the Mind

but cou'd not

He began

of the Greek Majlers

finer

He

to his Figures.

Cimabue.

the different Paffions

come up

tothelive-

hnefs of the Eyes, the tendernefs oftheFlefh, or

the ftrength of the Mufcles in naked Figures.

He

and em ploy 'd by Pope !BenediH IX.

in St. Teters Church at (?(owe, and by his SuccefHe painted feveral
for Clement V. at AVigmn,
Pieces alfo at Tadoua, Naples^ Farrara, and in other parts of Italy and was every where much

was

fcnt for,

admir'd
^'lElure

for

his

Works

but principally, for a

which he wrought in one of the Churches

oi Florence-, reprefenting the Death of the . Virgin

with the Jpo/tles about her the Attitudes of which
:

Story, Af. Angela Suonaroti us'd to fay, cou'd not

be better defign'd.

He

fiouriflh'd in the

time of

the famous Dante and Tetrarch^ and was in great

j^

efteem with them, and

J,
*

his

Age,

He died AmiQ

all the
1

3 3

<i.

excellent

Men

in

Modern Majlers.
ANDREA TJFFIy and GJVVO GJVmmrc

255

Contemporaries, and the Reftorers oiMofdicipork in Italy which the former had learnt oiApolhis

lonm the Greeks and

At

the

the latter very

fame time

alfo

much

improv^'d.

MA%G A%lT01SlEy

was

who

a Native oi Are:^ in Tufcany^

the Art of Gilding with Lcafgoldj

firft

upon

invented

Sole-oj-me-

niac.

SIMONE MEMMJy
the borders of the

born

at Siena,

Dukedom

a City in r^^A.>--

of Florence, Anno

^ ^ J*

1285, w^as a Difciple of Giotto, whofe manner

heimprov'd in drawing after the Life and is particularly celebrated by Petrarch, for an excellent
Portrait, which he made of his beloved Laura.
He was applauded for his free and eafie InyentioUy
and began to underftand the Decorum in his Com- yEt. ^o.
pofitions/ Obiit Anno 1345.
:

TADDEO GADDIy
born

at Florence,

in the beauty

joo, excell'd his Mafter

Colouring, and the livelinefs

Anno

of his

another Difciple o[ Giotto,

i

M*

He was alfo a very skilful ArchiteEi, and much commended for the Bridge which
he built over the River /trno., at Florence. He died ^t,
of his

Figures.

Anno 1350.

rOMASO

y o^

Modern Majlers.

25^
r-s-.^-x-

*3^4-

TOKfJSOy

call'd

and imitating

Giotto's

his Figures,

and

Xj, He died Anno

to

3 J

oi'B^GES,

add

ftrength

to

improve th^Art olJPerlfeBiye.

<i

Majeech on the River Mae:^

in the Low-Countries J Anno 1 370, was a Difciplc

of

his

f^r

born

at

Brother Hubert, and a confiderable 'P^w-

but above

all things

famous

A^

for

having been

oi TAINTING
happy Menter of the
IN OtLy Anno 1410, (thirty years before (Prmrtng was found out by John Guttemherg, of Strafhurgh,)
He died Anno 1 44 1 , having fome years
before his deceafe communicated his Invention to
the

to

at Flo-

JOHANNES ah EYKi, commonly call'd JOHIST

^^^^'

Jit. 7

for his affe(fting

manner, born alfo

Amio 1524, began

rojcey
jr;

GIOTTlNO,

his

ANTONELLO

of Meffinuy

own Country

into Flanders

the Secret

to Venice^
it

in Italy.

who

traveled from

on purpofe to learn
and returning to Sicily y and afterwards
was the firft who pradifed, and taught

He

died Anno jEtat. 49.

In the preceding Century flourifh'd feveral other

Mafters of good Repute
the fame, or but very

Gimo.^

it

will

but their Manner being

little

different

from

be fufKcient to mention the

that

of

Names
oncly

Modern Majlers.
fome of the mod Eminent,

onely of

were Andrea Orgagna^

2 57
and fuch

^ietro CaVallim, Stefano, (Bo-

namico ^ujfahnacco^ ^ietro Laurati, Lippo, Spinelh,

And

Ca/entino, Tijajio, Sec.

ting

continu'd

hundred years

thus the Art of Tain-

almofl: at a
5

thering but litde

fl:and

for

about an

advancing but flowly , and gaftrength, till the time of

MASACCIOj who was

1417, and

tjorn in Tufca)r^y Anno rv^-A,^

^4^/"'
for his copious Invention, and true

manner of Defigning

for his

delightful

way

of

Colouring, and the graceful A<5tions which he

gave his Figures 5 for his loofenefs in Draperies,

and extraordinary Judgment in TerfpeBil^ey is reckoned to have been the Majier of the Second, or
Middle Age oi Modern Tainting: which

he

wou d

have carry'd to a

Perfcdion,

if

much

'tis

thought

higher degree of

death had not ftopp'd

Career (T^y Poyfon, asitwasfuppos'd)

him

in his

Ajj,

1443.

GENTILE, and GIOFANNI, the ^Sons and

Difciples of GIACOMO ^ELLINO, were born at
Venice,

(^Gentile,

Anno

nent in their time,

Jiantinopk,

for

whom

ed the

1421.) and were fo emi-

xh^x. Gentile

by Mahomet

II.

was

fent for to Con-

Emperour oith^Turks

having (amongft other things) paint-

Decollation of S* John S^/?fi^, the

Emperaur,
to

^^

16.

H^

Modern Maflers.

25 8
to convince

him

chat the

Neck

after

feparation

its

Body, cou'd not be fo long as he ha4

made ic in his Pidure, ordered a Slave to be
brought to him, and commanded his Head to be
immediately flruck off in his prefence which fo

from

the

tetrifi'd Gentile^
V

..v-

that he cou'd never

he got leave to return

rour granted,

Works

for his Services.

the

all

^
*_,

^Uinl

Gentile died

See

more

'

moft

of

excellent

of

him ^ag. 217.

Anno 1501.

ANDREA MANTEGNJ,

born

at

^aJoua^
was very

Anno 14JI, a Difciple of Squarcione ,

corred:in Defigning, admirable in fore fhort'ning
his Figures, well vers'd in ^erfpeBive^

to great
,b I

The moft

of thefe brothers are at Veniccy

lb well, as to be efteem'd the

^^

till

w/hich the Einpe

where Gioyanni liv'd to the age of 90 years, having very rarely painted any thing but ScriptureStoriei and '^Ugiom Suhjeiis^ which he performed

.i\^^

jp

at reft,

he had Knighted him, and

alter

nobly rewarded him

Gonfiderable

home

be

knowledge

in the Antiquities,

and arrived
by his con-

ti^ tinu^'d application to the Statues, 'Bafs (^lieyos, 8cc^

^""'^"'^^'""^Yet

^^^.^^ after
,9 J I,

however

his neglect

the Antique ,

of feafoning

his Studies

with the living Beauties of No-

tun J has given him a Tencd fomewhat hard and

djy^; And befides, nis Drapery is generally ftiff,
,{.

'

according

r^^.

> K

Modern
according to

S 5>

Mailer's.

manner of thofe times,

tlte

arid

tob

much perplex'd ivifh little folds. The beft of his

Works (and for which he was Knighted, by the
Marquefs Lodovk^
Triumphs

He

G()n:^aga,

of Julius C^far,

of Mantoua) are thi

now

HamftohCoui^^

at

died Anno 1517, having been the

who

cording to ^Y^ri)
^in^ in

Italj.

''<i'^'^^

pradifed the
-^u

";''

>.ii

firft

An

(ac-

of ^ra- ySt. 86.

,...,;.^.^

luoi

AND%EA PW(!I(pCCH0k'%Mm}^

'

'43^*

Anno 14J2, was well skiird in Geometry^ Optics^

Sculpture^ Mujic, and fainting
but left off the
:

laft,

becaufe in a Piece which he had

John (Baptii^ng our Saviour^ Leonardo da

of

his Scholars,

gel,

had by

holding up fome

ments, which fo

far

his order,

made of St
Vinciy

ovit

painted an Art?

,08

a^

part of our Saviour's Gat^ ^-^--v^s^

excelled all

of An-

the reft

Jreas Figures, that inrag'd to be out-done by a

J^^i

Youn^many he refolv'd never to make ufe of hh

Pencil any more.
He was the firft who found
.

out the Art of taking and preferving the likenefs 6f

any Face, by moulding off the Features

He died

Anno 1488.

in Plaiftei^.
.-

^^*

5'^*

LUCA SIONO(!{ELLpGf^rorfm^% (^fl^f

the

Dukedom

of

a Difciple of ^ietro S.

born Anno 1439, w'stk

SepulchrOy and fo exeellerit

Florence^

at

^439'

at '3efigning

minted in a
hf,

ieto,

,^]Pigures

OH

teWj,

from

that

Chappel

at Or-

transferred feveral entire

into his Lajljudgrfient.:-^'

.rn5m to b vboribo bsff

^i

Church

of the great

Angelo^uomroti

,tol,^jj^Q

a Piece which

He died very rich,

arf Hoirfv/

^noiib^lisq

COSIMO ^^tmmnei^^mn^Mo^

i44iw:c'^J^i, was a Difciple of Cofino ^Jfelli (whofe

'tome he retained) and

a very

fo ftrangely fantaftical,
'that all his delight

'^lS0fit5'^ Monftersj

*^res: and
part

('ttioft
*

Obiit

Jnno

and

good
full

Tainter

but

of Caprichios

was in painting Satyrs^ Faumy.

and fuch like extravagant Fi-

therefore he apply'd himfclf, for the

to (Bacchamtias , Maf^ueradesy 3cc^

ji^.^^^^^^^i^no:* i^i^/sl i^^k ait^xiw

^-^^^^M02OI^M ./^''T^

a'Gaftle fe

Anno 1445, was

r'^^red up under Andrea Verrocchio^ but fo far fur-

^.y^**f^r"calfd, near the City of

pafs'd
is

^^^^^^

him, and

own'd

all

Floro^ce,

others his Predeceffors, that he

to have been the Majler of the Thirds or

^^Goiden Agz of Modern fainting.

'^^^refpedl

one of the compleateft

He was

Men

in every

in his time,

bed furniCh'd with all the perfedions both>

^fbfBody and Mind: was an excellent Sculptor.
^*^
and ArchiteH , a skilful Mujician , an admirable
'^f.oct^ very expert in Anatomy and Chymifiryy and
*^^ind the

Ji\ .t2k

'^^^^

throughly,

^lirbuglily learned in all the part5.9f

Mathema-

tjhe

He

was extremely diligent in the performance of his Works, and fo wonderfully neat,
and curious, thai he left feveral of them unfinifh'd^
ticks*

'^^

believing his hand cou'd never reach that Ide^-of'^^

perfed:ion,

which he had

conceiv'^d

of tliem.

He

many

years at M7^, highly efteem'd ^o^^^-va^,^

his celebrated Piece of Our Saviours Ldjl Sup^vry^ ^^i
liv'd

and fome of his other Paintings

plauded

and

for his Jft in contriving the Canaly that.

brings the Water from the River

He was a

City.

much ap-

as

Jdda, to

great Contender with

that'

M, Angdo-

Smnaroti, and upon account of the enmity be-

them, went into France

twixt

(Anne jEt, yo.y

whereafter feveral confiderable Services done for

Francis

\,

he expir'd ia the

Arms of that

Monarchy.

.V^

'^"^^'""^^

being taken fpeechlefs the very moment, in whic}*.^^^^^^^^^^

.

he wou'd have

^ing

for

rais'd

up himfelf

ih^honour .(^pne him

to thank die* ::

in that Vifit, ^ffio*

r
*

^'

Yt^ (PIET(I(P fpE^Gim, fo caird from the place

where he was born in the Ecckjiajlical State^ Anno
1

44<J,

was another. Difciple of Andrea

What CharaBer he
^ very miferable
I

Money by

Ylriguoixi3

had,

fee

Tag. 215-

and covetous,

Verrocchio.

He was

fo

that the lofs-of his

Thieves, broke his Heartj ^//o 1524.

^(ME-

^r

Modern

mUENlCO
^^9* born,

Jmio

GHl^LmVAIoJ^^i'^VlorenUnc

thaVhe

/ferx in his

of

Goldfmhh

defignM

for

but followed

his,

Eime.

See farther Tax-

%AmOLmi,
!Bologna J

prime

Ma-

2M- He

died

i\\t

commonly call'd

J?mo

was at

\j\.')0 J

a Coldfmithj or Jeweller^ afterwards a Gra'Ver

C0//2J

to

firfl

rank'd amongft

F^ANCIJy bormt
firft

and Medals J but

fainting

Works

And

acquired

at laft

applying himfelf

great Reputation

by

his

by a Piece of St. Sehajliarij whom he had drawn bound to a Tree,

with his hands tied over his head.
In which Figure, befides the delicacy of its Colouring, and

.8f

is

.^..<ICESC0

_
'

at

prevailing inclinations to 'P^mnVig; withfuch

f&tcefs,
J7,-

was

1449,

the Profeffion of a

Aore

Mafterf.'i;^^

particularly,

gracefulnefs of the Pofture, the proportion of

.^iv^

^'''''''^''^*^

Parts

wasfo admirably

juft

and

true,

its

that all the

fucceeding Solo^nefe ^aintersy even to Hannibal

^^-^

.o\^i Carrache himfelf, ftudy'd its meafures as their (?(&,

and followed them in the fame manner as the AnIt was uncients had done the Canon of ^olycletm.
der the Difcipline of
nioy

JEt

^phaels bed

^^

'76 ^^^ '^^^^

'

Jnm

this Majter^

Gra'Ver,

that

Man

Jnto-

learnt the Rudiments

^^^^ about the year

5 2<^,

of

and not

8, as Va(ari erroneoufly has recorded.

Modern Maftem
F<SJ (BJ(I(rOLOMEO

^^^

born

SaU^nano, a

at

yillage about ten miles from Florence^ Jmio

was a

much more

Difciple of Cojimo ^^^elli: but

beholden to the Works of Leonardo da

his

Vinciy

He was

extraordinary Skill in ^aintin^.

well vers'd in the fundamentals oiVeJtgn

fidesj

4^9^

very

and be-

had fo many other laudable Qualities;

i^phael, after he

had quitted

for

that -^^

"^

'

the School of Teru^i-

apply'd himfelf to this Af^yZ^r, and under him, -^"wAw^^

rwy

'^l^

ftudy'd the (^les of ^erfpeSliye, together with the

Art of Managing, and Uniting

fome
"Vent

time,

of

St.

Portraits
erwe

was by

Mark

and

in

been the

ijoo

afcer

his Superiors fent to the

Con-

He

Florence.

but

Hiflor'ieSy

wou*d hardly ver

Figures.

He

Colours.

and

Dom'mican Fryary Anno

turn'd

his

painted both

his fcrupulous Con/ci-,,

him

fuffer

to

Kahd

draw

He died /hno 1517, and is faid to

firjl who inyented, and made ufe

have
pf a

j^'f,

^g.

Lay-man.

AL'BE^ VW^%,
no

a confiderable
ArchiteBurey
excellent

of

at

Kuremhergy An-

the Inftru6tions of his Father, a cu-

1470, by

rious Jeweller

born

1470.

the Precepts of Michael Wolgemuthy

fainter:,

and
all

and

tlte

ferffeSifve

Rules of Geometryy

became

the German Majlers.

moft

the

And

withftanding that his manner of Defisning

is

notge-v

neraily

5-

.\^.

Mo

<2^4'

%-

fern ll{afl}rs!

and ungraceful, yet however

he was otherwifc fo very well AccompliiVd, that
his Prints were had in great efteem all over Italy ;

nerally hard,

ftiff,

by

famous Marc Anton'tOy

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 (b
great a GeninSy to be brought up in a Country
where nothing was to be feen, that might furnifh
him with noble Ideas, or give him any light into
copy'd

at Fenicey

the

things neceffary for grand Compojttions,

His prin-

Works were made at Trague, in the 'Talace

of the Emperour Max'nmlian I. who had fo great
a refpe<5t for him, that he prefented him with a
Coat of Armsy as the !Badge of Kobility.
He was
alfo much in favour with the Emperour Charles V^^
cipal

modeft and agreeable temper belov'd

by every body , and happy in ali places, but
onely at home where 'twas thought, the penurious and fordid humours of a miferable wretch

and

for his

his

jEt.

Wife, ftiorten'd

his

days, Anno 1528.

J^tde

58. <p^^. pj.

ANTONIO

da

CO^EGGIOy

fo

named from

was born, in the Dukedom of

Modena, Anno \ 472, was a Man of fuch admirable

the place where he

natural parts,

that nothing but the unhappinefs of

his

Modern Makers
Education (which gave him no opportuni-

lus

of (eeing

ties either

fulting the

^me^

moft

or of con-

hinder'd

him from being

excellent fainter in the world.

verthelcfs,

Yet

ne-

he was Mailer of a Pencil fo wonder-

fully (oft, tender,

Julio

or Florence

for perfeding himfctf in

Antiquities,

the Art of T>ejtgning)

the

g$"j

^mano

beautiful

having feen a

and charming^ that

Leda^ and a naked Ve-

by him, for Frederick Duke of Modena (who intended them a prefent for the Emperour)
nus painted

declared, he thought

it

impoflible for any thing

of Colours ever to go beyond them.

Works

His chief

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
He was
Family, which was fomewhat large.
extremely modeft and obliging in his Behaviour ;
and died very much lamented, about the year
1512; having thrown himfelf into a fever, by
drinking cold water, when his body was overheated, with bringing home fome Copper Money
are at Modenuy

which he had received for one of

more(P^^. 220 and 221.

his Pieces.

MICHELANGELO mONA^OTly
fcended, born near Florence, Anno

nobly

See y^f\

dc-

14745 was

aDifciple oiDomentco Ghirlandaioy and moft pror

'n

Mm

/^

foundly

'^^'^'

Modern MrMI.-

Pff

foundly skiird in the Arts of IPanitin^.'S^PJ^^^

hd JnhiteBure. He has the name of the greateft
^eftgner \\\\o ever has been

and

'tis

univerfally

any fainter in the Worlds

well.
He was alfo an ex^

i^llow'd him, that never

iinderftood Anatomy fo

and not oncly highly efteem'd by

hy the Grand Duke of
feveral ^o^es fucceffively
Tufcany, by the ^puhlick of Fenicey by the EmGcllent ^oet^

perour Charles V. by King Francis

I.

and by moft

of the Momrchs and Princes of Cbrijlendom

was

^'^

upon

His moft celebrated Piece of ^amti?igy

that of the Laji

Body was
*

nourably

Judgment ^

Wealth

tiied in great

^.

Bridge over the Hellejpont^ from Con/lant'mople to

^era.

by Solyman tha.
Defign he then had of making

alfo invited over into Tnrkyj

'Magnificent J

but

tranflated

intcrr'd,

i>^^EO(I{GIO

del

H77' GEO<HpiOKE,

is

He

in the "Po/^^j Chapei

^owe, from whence his

to Florence^ and there hoat

Jnno

64. Fide Tag, 1

4.

CJSTEL FRANCO, cM'i

becaufe of his noble and comely

Afped:, was born at TreVifano^ a Province in the

State ofVenice^
Inftru(5tions

Jmo 1^77;

from Giovanni

afterwards ftudied the

and

received his

'Bellino:

Works of

firft.

but having

Leonardo da Fi?Ki,

he foon arriv'd to a manner of Tainting fuperiois

them both

defign d with greater

Freedom',
CO?*

MMefn

^^

Maflen.

more Strength and Beauty, gave

^^fflit^^^'^

%-

fte adniirable

3ows,

^ft?;^vfii fr/3RS ^'S^^^ ^^^

amongfl: the Lombards:* ^j^gj^xccU'd both

in Portraits

and

Pkce

in 0)7,

Crofy

now

Hi/?o;

ies

byf^^

I^^^ofl: valuab^

that of

is

at Venice

Our SaViour carryniglns

is had in wonderwhere
it.

Eljeem and Veneration.

He died young of
the Plague (which he got in the Arms of his Miftref^y who was infected with it) Anno 1511: having been like wife as famous for his performances
full

in

Muficy as his productions in.

xTTTIAKO

the

moft

?4i/^/';jg*;..^/^^

Gen'm of 41
Colourljl of all the Mo-

univerfal

the Lomhard School, the beft

and the mod eminent for MJlorieSy Landtwas born at Cadore in the
fchapesy and Portraits

dernsy

Venetian Territories y Jnno

1477^ being defcended

from the ancient Family of the Vecelli. He was
bred up in the School of Gio SeUmOy at the fao^e
but improv'd himfelf mQi?c
time with Geor^iowe
by the Emulation that was betwixt him and h^
Felhw-Difiipky than by the Inftrudions ofhisx^f*:
He was cenfur'd. indeed by ^f. Jngelo Su^
fier.
:

narotiy

for

\Y^C,,o(,cQiTe(^gf[i,in,^^^^

M mi

'

fault

"^K^^

of a moft accomplfflfdc^/Jffi^JH '^ET

flaadcjthrce fevcral portraits of phe Empcrour

'ther parts

made au nis fteia^nd^Ks^Gew^fewf??, aP

i(ign'd him a. coiifiderable Ptnfion out of the
Chamber of Naples and what other remarkable
proofs of his Affe(5lion he ftieWd him, kc pa^,
^alattney

i6) 87. and a CharaSler of his Works,

^d 2 19.

He painted

Emperour of

^W4;j
l^ingSy

alfo his

the Turks^

Son

two

/>^^.

Philip

21 8,

II.

?o/jej,

Sd-

three

VNoEmpreJJeSy feveral ^e^?w, and almoft

all the princes

of

Italy^

and ^eterJretine, the

together with Lud, Ariojio^

hmd Italian

Wits, his

inti-

was the Name and

^iR^eputation of Titian^ that there was hardly a perfon of any Eminence then living, from whom he
.'^id not receive fome particular mark of Efteem
and befides, being of a temper wonderfully obliging and generous, his houle at Venice was the
iconftant ^ende:^ous of all the Firtuoji, and Peod\c of the beft Quality.
He was fo happy in
the conftitution of his Body, that he never had
-^en fick till the year 1^76^ when he died of

: jrhate

Friends.

Nay,

fo great

the

uU of Honour, Glory and Kiclus,

Ifjiying
If^ying behind him two Sons and
the

blague,

full

rSWrJW

well prcfert'd

mUZ

^
'x

'"" '^"

mighc Itana in Competition .wicK

Fathers.
He was famous alfo forj^ffiP

Tortratts that

thofe of his

ny

Hi/iory-fieces which

he

made

at ^e?2/ce in ^(Jhi-

currence with ^aulFeronefcy znd

Tmt ore t.

But

hewitch'd atiaft with the hopes of finding the Thikfophers Stoney he laid

afide his

Tencily

and hi-

ving reduc d mofl: of what had been got by

Father into

was an

Smoke j

died of the ^la^ue foon

after.

fundamenTtt'tan grew jeahe might in time

^rf//? fo well inftru6ted in the

Maximes of VeJlgUy that

Ions of him and fearing, that
come to eclipfe his Reputation,
tal

his

fent

him upon,

pretended bufinefe to Ferdinand King of the

(^o^

mans: and there found fuch means to divert him.

from
of
it
.

Taintingy that he <^uite

gave ovr the

ftudy.'

and never any farther attempted it, unlefs

were to make a Portrait now and then, at the
it,

Kiueft^of his particular

Ac^wangc^^^

^^

99^

ni

M^^M.^l

SJ(^rO,

(fo

call'd,

bccaurc,^

Mio 1478

was
ScQi($'f)^ of ^ictro di CofmiOy very careful and dihis Works, and his Colouring was
l/gfcfc^fj]^!
^^ffi(S\$o^)^,hor^'2iX Floycfwcy

wonde-rfully fweec

but

his

Pid:ures

generally

wane Strength and Life, as well as their Author^

>}/,ho was naturally mild, timorous, and poor-fpirir^. He was fcnt for to (P^m, by FraiKts I. where
he might have gathered great Riches, but that his
Wife and Rclatioi^^^would not fuffer him to continue long ther&MriHe lived in a

temptible condition, becaufe he

tle

value

upon

his

own

ratines had fo great an

that during the

fet

con-

but a very

lit-

Performances: yet the Fk-^

Eftcem

for his

fury of the Popular

mongfl them, they

jP

mean and

Works j

FaSlions

preferv'd his Pieces

from

a-

the

when they neither fpared Churches or any

elfe.
Hediedof the'P/^^wg, Anno 1520.

Flames,
j thing

daU^lKO,

hoxn Anno 1483,

1485* was one of the handfomeft and beft tempered mea

ns.,A.j(S^i\^AFAELLE

fome account of him ^ag. 215, and

^"'''^--^^^*
add to it, That by the general confent ofMankiytd,
'^"^^ he is acknowledged to have been the Prince of
the Modern Painters
and is oftentimes ftyl'd the
living.

See

Vmne

Q(apl)ael,

$milxji^%iSQx
-i^iih

for the

inimitable Graces of his

^k^,^^^^^Mi^kf^^y
\

which
feem'd

n
fcem^d-tbhave fomething more thaft^j^f^^

Compofirion.

its

higheft degree

<Tft4t^1ie^\3^4)ci69^2^1^^

by

Popes 'juliti^%i}^hWl^i9}^.

the

That he was admir'd and courted by

ces

and

ry VIII.

in.

all

the Prin-

of Europe^ and particularly by Menwould fain have oblig'd him to come

States

who

That his Perfon was the wonder and delight of ^me^ as his Works are now
the Glory of it.
That he liv'd in the greateft
State and Splendor imaginable , moft of the
over into England,

eminent Mafters

in his

time being ambitious of

working under him and that he never went a-.

broad without a Croud of Art'tfls and others,
who attended and followed him purely out ofrc:

Ipedt.

That he

declined Marriage

vantageous offers had been

e( a

Cardinals Cap,

ing fickin the

difappointed

made him)

which he

him of

from

his Thyjicians,

i')

^.

fall-

due ta

10,

Death

moft jEt. ^7.

noanoasv/v
his

GIO.JNWNIO LICmiOda
born
t\\t

at a place fo call'd,

<PO(SJ)EKOT^t,
not far from Udine in

Venetian Territories J Anno

time fpent
to fainting

1484,

after

fome

and Muftc, apply'd himfelf

yet without any other Guide to cc^

in Letters

^^^

concealing the true -.'^"V^v^

the reward

extraordinary Merits, Anno

in hopes

expected: but

mean time, and

caufe of his diftemper

(tho* very ad-

'

Modern Maften:

375
dud

him, befide

niiiSj

ami

diid

at

foon

the

his

own prompt and

Works of

Fenxe with lo

Geor^iowe

much

arrived to z manner of

which he

ftu-

attention, that

he

Colouring nothing

in-

But

ferior to his Pattern,

Hvely Ge-

that

which tended yet

improvement, was the continued Emulation betwixt Titian andhimfelf: which in-

more

to his

fpir'd

him with noble

Defigns^

quicken'd

his In-

and produc'd feveral excellent Pieces in

From Venice he went
Oyly Vijlemper, and Frefco,
to Getioua, where he undertook fome things in com-

^ent'ton^

petition with Tierino del

CO

come up

but not being able

to the perfedions of ^ierinos Pencil,

and afterwards vifited feveral other parts of Lombard): was l^nghted by

the Emperour Charles V. and at laft being (ent
for to Ferrara, was fo much efteem'd there, that
he is faid to have been poifon'd by fome who envy'd the Favours which he received from the Duhj
he return d

jp

Vaga

to

Venice y

'Anno 1540.

SESJSTIAKO
w/cie.

,,,

del

mOMWy

Anno 1485, took

his

a Native of Tf-

name from an

Office

given him

by Pope Clement VII. in the LeadMines.

He was defign d by his Father for the Profeffion of }dufic^ which he pradis'd for fome time 5
iiil following at lafl: the more powerful Dilates of
tsLatur^y

* *,

Modtrn Mdfiers.

^73

Nature, he betook himfelf to ^ahiimg, and

came

be-

^elUm: continued hisftiidies under Georgtone, and having attained his excellent w^mz^r of Colouring, went to (?(owej where
a DifcipleofGio.

he infinuated himfelf fo
chael Angeloy

by

nifh'd

his

favour of

him and

fiding with

gainft (Z^^ffc^f/; that

and beauty of

far into the

his

M-

Party, a-

pleasM with the fwcetnefs

immediately

he

IPencii,

him with fome of

own

his

Dejtgns,

fur-

and

them pafe under Sebajlians name, cry'd

him up for the beft Painter in ^me. And indeed
fo univerfal was the Applaufe which he gain d by

letting

his Piece

of La:^rus

figuration

of Raphaels could

rats' d

from the dead, (the de>

fign of which had likewife been given him by Michael Angela) that nothing but the famous Tranf

name of being

the

the firjl

eclipfe

who

preparing ^laijler -walls for

He

it.

has

invented the Art 6(

Oyl-fainting:

but was

generally fo flow, and lazy in his Performances,

that other

hands were oftentimes employ'd in

nidiing what he had begun.

SA^IiTOLOMEO
SACCIO)
and
Gio.

He

died

J^fwwo

fi-

"^Ti^

j 47.

(in the Tufcah^tialeB call'd

SANVINELLI,

a Florentine fainter

born ^wwo 1487 5 was a Difcipleof

Francefco^ijiici^ and by die help of Anatomy^

Sculptor^

joyn d with

*-

his other Studies,

bccara a very cx-

Nn

cellent

^4^7^

corrcdt Vejij^mr: but in

and

ccllenc

was to unfortunate,
heard Mchael Jngelo condemn

fin^ part

that

the

after

Colou-

he

had

for being hard

it,

and unpleafantj he never could be prevailed upon

t6 make any farther ufe of his Pencil, but always
ingag'd fome other hand in Cohur'm^ his Defvms^
Yet however, in Sculpture he fueceded better: and
for a Defcent

from

Knighted by the Emperour,

by

feveral

more admir'd
JEt

71 "^"^ than

,^^^-^r-^

dkd

/im\q

He was

hkewife

much

I.

for their true Out-l'tne^

and Propor-

for being either graceful or gentile.

i

^^^
j 5

was

and acquired great Reof his Figures which yet are

in favour with Francis

putation

in Me:^:^o (^lieVo^

the Crofs,

He

j^,

^iKjonoig gnimu

^-r^'^

GIULIO (I(pMANOy born Jmo 1492, was

^^^49^^ the greateft

all
'"^"''^-'^^^

-^^

the Difciples

he had been

of

his

and moft univerfal fainter of

of (Raphael bclov'd by him as if

/4rtijly

his Sv?iy

for the wonderful fweetnefs

temper 5 and made one of his HWrj, upon

condiapn, that he Oiould

things as he had
ly learn

by

his

imperfect.

in all the parts

He was profound-

of the

J?itiquities

and

mod

converfaeion with the works of the

cjccellent ^Poets,
hin:ifelf

left

in finifhing fuch

affift

and particularly Horner^ had made

an abfolute Mafier of the qualifications

n^ccfl&rily requir'd in

a ^rtat Vefignet.

He

con-

tinued..

tinuM for fome years ac 3^owe,

after

the

deathof

aqd by the directions of Pope Clement

VII. wrought feveral admirable pieces in the Hall
ol Conjlantmey and other publick places.
But his
principal perforrnanees were at Mantoua
where
he was fent for by tlie Marquefs Frederico Gom^a-

(Raphael

and where he made his name illuftrious, by

a noble and ftately Palace built after his Model^
and beautified with variety of Paifirings after his

ga

Defigns.

And

eminently

skilful

indeed in Jrch'ueBure he was fo

j

he was invited back to

made him of being the chief

that

3lpmey with an offer

JrchiteEi of St. Teters

ChutcK

but whilft he

w^

debating with himfelf, whether Of no he fliould

-^

^^^.-.^.^^

accept of this opportunity, of returning glorioufly

into his Qwn Country^ Death incerpos d^

fide fag. 2x6.

.;;

GlACOim

Jmt&

5 46.

fbii;oi2

mNr&^MG,

da

fo

caird'

ffcm

place of his Birdiy Jmto t^f^, flrudied uttdet

Leomrda da Finery Mmatto AlbertmB^ ^kfr^SCo-

ffie

fimo,

and Andrea

manner of

del

Sam

hm

chiefly followed

bot& in J)f/g^ and Colour mg.

He was' of fo unhappy a t^nper of min J^
that chough his Works liad flood the Tell even
o( ^phadiini Michael Angeloy cii)s befi Judges, ytt
the

th ta(^

h^^^&i^ never ordeu

die:nai

fa

as^ to^

j^^

'

pleafe kimfelfc

H9?

Mai^MMnfl^^

27^
and.

was

fo far

from being

fathfied

with TLVif^imn^

he had ever done, that he was in great danger of

lofing

the gracefulnefs

imitating that of other

of his

own

3ii?/?erf,

and

manner^

by

particularly

He fpcnt

the Style of Albert Vurer in his prints.

moil of his time at Florence where he painted the

but was fo wonderfully
Chapel of St. Laurence
y

--

T^l^^^

tedious about

it,

that in the fpace of eleven years

what he had perform'd.

He was alfo of fo mean and pitiful a
fpirir, that he chofe rather to be imploy'd by Orhe would admit no body to

fee

dinary Teopky for inconfiderable gains

TT^
At.
63.
/.

than

by

PWwcej and Noi/ewew,' atanyrates; fo thathedied

-^

poor^

Aim

1556.

GIOFJNNI ^'UDINEy

fo nam'd from

the

1494. place where he was born (being the Metropolis of

Frioul) Anno 1 494 ; was inftru^led by Georgione
at Venice^ and at (^ome became a Difciplc of <]^fhael: and is celebrated, for having been the firji
who found out the Compofition of Stucco-work-t ia
'^ ^ *
ufe amongft the ancient ^mansy and difcover'd in
the Subterranean Vaults of Titus's Palace ; which
he reftor'd to its full Splendor and Perfedion. He
was employed by <Haphaely in adorning the Apartments of the Vatican and afterwards by feveral
^WQtSy and Cardinals^ in the chief Palaces ol^me
;

ys.\

and

and

yzni by

Florence

richacfs

the agreeable variety

of hisFancy) and

expreffing

all'

forts

his peculiar

of Jtmnahy

happinefs in

Fruity Flowers^

and

the Still h/gy both in ^afl relieVOy

atirf

zn4
a8^

Colours j

bed Majler m
Stucco^ and Grotefque,

quir'd the reputation of being the

Ornaments in
He died Anno 5 64, and was bury'd, according
to his defire, in tht^tunday nearchis^d^a'f' Mafter
the world, for

%^phaeL

.*..-.-;

_.

^.

:iimb blue

II

,..^

^^

\^^^-^r^
.bmiol

nL^m olio oik sew sH

mSATTISTJ F(SJKC0 his Contemporary,
'un^

Native ofFenice, was a Difciple of Mc/?^ e/^w^g/(fe

whofe manner hefoUowM fo clofe, that in the coSred:ne(s of his Out-line

Majler s in

his time.

numerous, and
parts of Europe

but

4^

he furpafs'd moft of the

His Paintings are fomewhat

difpers'd all over Italy y

:

^^.^

his Colouring

and other

being very dry^. "^^^

much more efteem'd than the prints

He died Anno \ j6iv e^i*-^^
etch'd.

they are not

which he

ni

^-i.-^

LUCAS

-Van

LEYDEN,

fo callM ffofii- 11$6.''^-^*^^

place where he was born, Anno

a Difciple of his Father y a

ter wards

up

of

45^4,

at firft

of note, and at

^Painter

Cornelius Engelhert

was

and wonderfully

Lm

Countries y for his

and the
skill in Taintingy and Graving.
He was prodigioufly laborious in his Works, and a great Emuk-

cry'd

in Holland^

tor

^^y^^

'Modern Mafiers^

.278
tor

of Jlkrt Durer

lengrh

^iBure.
ife^i^V

inrimare,

fo

And

with \vhom'^he/! became at

that they

cktw

kaoli^Others

Manmry and Style sltc

much alike, that it fecm^d

indeed their

rcfpeds fo very

one and the fame

had anknaced them

4tk\ .He died Jnno i 5 3 J, after an interview betwixt him and fome other Maimers zz Mtddlehurghi
where difputing, and falling out in their Cups,
3S' if

5of</

Mt

fancying they had poyfon'd him, languifh'd

o ^^^^
i^ by degrees, and pined away purely with conceit.
?

V
/?R-^^

QUmTiN MATSTS

of Jntwer^, was the Con-

temporary of Lmc<^; and famous for having been

transform'd from a Slackfmith to a ^ainUr, by rbc
force of jLoVe, and for the fake of a Mijire/?,
diflik'd

his

former

profejfjion.

He was

a parnfui

and* diligent Imitator of the ordmary Li/e,and

better at reprefenting the
ties

from
.

One of

oilSlcitme,
the Crofs

(in

defeBsy

his

bed

who
much

than the Seau^

Pieces

is

2L'Defcent

a Chapel of the Cathedral at Ant-

werp) for which, and a multitude of other Hifiorksy and "Porfrditj, he gain' d a great number of admirers

which

in truth,

ra^er.
li,

and Neatnefsy
was the principal p^t of his Cha-

efpecially for his Curkjlty

He AKdJnm 1529.

IJr^J

rw^c.^

,*

Befidc

Befidecihoritwo Majiers

mentiorty,

laft

who

iverc feycr^ other ffijiory-fainter $y

irfieaw

flourifli'd

m Gttman^ iVUnk^i^ and Holland about

hi6^cirtl&

But their manner being generally Oothique^ Hard^

and Drj; more like the Style of Cimabue, in the
Dawning of the Jrt of ^atntuig, than the G/?o of
5

^phael,
give

you

in

Meridian

its

names

the

of

v^c fliall

Lujire-^

fome of

Florisy

Schoorely

Frans

>

of Milan, was

CA%AVAGG10 y'm
bom ^?mo 49 5 and
of

the

^^v-A^x-^-

^4?5\

brought up

Dutchy

an imployment than carrying Stone

and Mortar, in the New- buildings of Pope Leo X.
But being tempted at laft by the performances ofto

better

Gio, d'Udine, to try his Tale?tt in Vefignmg:

afljftance

of one of

his Scholars,

tinued Application to the

time he became fo
the

-^

Martin Hemskerckj ChnfSchwartSy &Ctju yO 3^v">s^

^OLim%p
no

moft noted

the

and fuch were Mahufe, AUegraef

onely

skilful

and

Antiquities,

an

Works

own

the

con-

in a lictk

that he

Artifl,

honour of contributing much

thofe glorious

his

by

had

to the finifliing

He

in the Vatican,

aflbcia-

and Practice of his

Art with one MATWSJN.O, a Florenttne-^ and their
tcd himfelf both in the Study

Genius being very conformable, they

ther like brothers,
Fronti/pieces

working

in Frejco

liv'd toge-

upon

of the moft noble Talaces

in

feveral

<^me

whereby

Modern

28

whereby they
'

^i^ention

accjuir'd great reputation

being the

eft that

Aiafters.

richeft,

and

their In-

their Vefi^n the eafi-

could any where be feen.

But Maturino

dying Anno 1527, and ^ome being then in the

hands of the Spaniards j Tolidoro retir'd to Na[>leSy
where his excellent
and from thence to Mejfma
j

Talent in Arch'tteSlure alfo being highly

ed,

lie

was order'd to prepare

commend-

the Triumphal Arches

Emperour Charles V. from

which he was nobly rewarded and

for the reception of the

Tunis

for

being afterwards defirous of feeing

more 5

in his return thither

^me

once

was murther'd by

Servant and Accomplices, for the fake of his

^"^ bury 'd

jEt ^8 "^y*
^
(P/g. 217.

at

Mejfmay Anno 1543.

his

MoVide

^OSSO
1490.

caird from his red Hair) born at

(fo

Anno 14965 was educated in the ftudy

of ^hilofophyy Mujlc^ Sec, and having learnt the
plorefice,

Rudiments oiDefign from the Cartoons of MchaelAngeloy improved himfelf by the help of Ana-

firft

which he underftood fo very well, that he

composed two Sooh upon that Subje(5t. He had a

tomy-y

copious Invention, great

Colours,

and

and Shadows

in
;

the

skill

in the

mixture of his

management of

was very happy

his

Lights

alfo in his

Nakd

Figures ywhich he cxprcfs'd with a

good 3(efeVo, and

proper

Modern Mafltrs.^
ptoper

and would have

Attttuie^'^

excelled in all

had he not been too fow//fometimes, and fuffer'd himfelf

the parts of (PAfm/g,

oHsznA

^-xfr^V^^^^zt

behurry'd away with the heat of an unbounded Fancy than governed by his own JudgVrom Florence his Cument, or the (^les of Art.
rather to

him to^me and

where by
France

rioficy carry'd

wards into
Galleries

'^

at Fount alnbleau,

which he gave of
ArchiteSlure

him

and by

Works

after-

in the

fcveral proofs

his extraordinary

knowledge in

made him

Super -Intendent

all his buildings, ^lEiures,

&c. and gave

I.

that he

other opportunities of growing fovaftly richj

that for

hrs

and

he recommended himfelf fo effedlu-

ally to Francis

General of

Venice,

fome time he

liv'd

like

<f

a Prince himfelf,

and Magnificence imaginable:

till at laft being rob'd of a confiderable Summ of
Money, and fufpeding one of his intimate Friends
all

the Splendor

(a Florentine

him

a-V

who

;^q^

frequented his houfe} he caus'd-v

and put to the Torture,

which he underwent with courage and having iti
to be imprifon'd,

the higheft extremities maintained his innocence

with fo

much conftancy,

^Jfoj

partly out of remorfe for the barbarous

as to procure his Releafej

.

and partly out of fear of

treatment
the ill confequence from his' juft Refentment, ^^^
made himfelf away by ^ol/on, Anno 1541.
of his Friend,

F(I{AN'

.^^

Modern Makers.

28*2

V<^AKCESCO (p^IMATICCIO,

famous ^ain^

and ArchiteEi of !Bologna, fucceeded <^oJfo in.

the Honours and Imployments which he enjoyed
by the favour oi Francis I. and befides, being very
well defcended, was made Abbot of St. Martin de
ter

Troy,

in Champagne.

Works begun by

He

finifh'd all the

his Predeceflfor

at

feveral

Fount ainhleauy.

by the affiftance of NICOLO delt jmATE, an excellent Artift, his Difciple: and enrich'dthat J^alace^
with abundance of noble Statues, and other Tieces.
o{ AtJtiquity, which he

brought purpofely from.

by the lyings order. He had been bred up at

Mantoua under Julio ^mano, as well to Stncco*
and by ftudying his manner, towork as fainting

Italy

gether with the Performances

Jlers,

became perfed

in the

of other great Ma-^

Art of Deftgning, and>

well vcrs'd in grand Compojttions.

during the remainder of

in France
in

Pomp

fainter-,

He

continued

his Life

liv'd

and State, more like a Nobleman than x

and was very well efteem'd in four fever

ral <l(egns,

DON GMLIO

CLOVIO, the celebrated I/W

ner>y hoxn in Sclayojua, ^mw. 1498, at the age of
and under the Coneighteen years went to Italy
:

du6l ofJulio

^mano, apply'd

himfelf to Miniature.

with fuch admirable Succefsj that never did andent

Modern Mafiers.
^nt VreecBy or modern ^me produce

283
He

his Fellow.

cxceird both in Portraits and Hijiories

and

(as

Contemporary reports) was another Titian 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 deceafe he return d to Italy
and being taken PriV'afari his

foner at the facking

a

Vow,

oi^meyhy

the Spaniards ^

made

to retire into a Conyent^ as foon as ever he

fhould recover his Liberty 5 which he accordingly performed not long after in Mantoua : but up-

on

from

a Difpenfation obtain'd

the TopCy

by Car-

dinal Grimaniy foon laid afide the religious Habit,

and was

received into the

Family of that Prince,

His Works were wonderfully

out Europe

highly valu d

by

efleem'd throughfeveral

^opes^

by
by

Emperours Charles V. and Maximilian 11.

Philip King of Spainy and many other illuftrious
Perfonages
and fo much admir'd at (^ome that
thofe Tieces which he. wrought for the Cardinal
Farne/e (in whofe Palace he fpent the latter part
of his Life) were by all the Lovers of Jrty recthe

kon'd in the number of the parities of that

Oh. Anno

Citj/,

^^^ ^^

578.

HATSIS HOL'SETRy born at 4^, in Smt^erlandy Anno 1498, was a Difciple of his Fathery
Oo 2

MP^'

Modern Maflers.

284

by whofe afliftance and his own induftry,

he made a wonderful Progrefs in the Art of J^aitpand acquired fuch a name by. his Piece of
t'mg

ther

Deaths-dance^ in the Town-hall of Sajil,

mous Er^wMJ, after

that the fa-

him

draw his
TiSiurey fenc him over with it into England, and
gave him Letters recommendatory to Sir TI:>omas
Moore then L*^- ChanceUour-^ who received and entertained him with the greateft refpedt imaginable, imploy'd him in making the 'Porfr^iri 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 Bounhe had oblig'd

to

ty,

brought him likewife into efteem with

Nobility, and People of Eminence in the

One

dom.

^ng

with

of his beft Pieces ^

his Queen^ 8cc. at

is

and others

lefs

the

King-

that of the faid

Whitehally which with

divers other admirable Portraits of his

as big,

all

than the Life

hand (fome
and as well

Wat er- ColourSy as Oyl) may challenge a place amongft thofe of the mod fam'd Italian Majlers Vid.
Tag, iij^.
He was eminent alfo for a rich vein

in

of

LiVentionj

DeJtgnSy

very confpicuous in a multitude of

which he

made

for

Craven

Sculptors

&c. and was particularly remarkable

for having (like Turpilim the ^man) performed

Jewellers^

all

Modern Mafiers.
all his

Works with

his Left hand.

He

died of the

Anno 1554.

^lague^ ztLondoriy

fpIE^KO

285

VAGA, was born at Florence,

Anno 1500, of fuch mean Parent age that his Modead

terwards fuckled

two months end, he was afby a Goat, The name of Vaga

at

he took from a Country fainter ,

who

carry'd hinx

where he left him in fuch poor circumftances, that he was forc'd to fpend three days of
the week in working for Bread j but yet fettingato (^o;e

part the other three for his

improvement

in a Ht-

by ftudying the Antique, together witli

the Works of ^fhael, and Michael Angelo, he became one of the boldeft and beft Defigners of the

tle

time,

^man

and underftood the Mufcles in nar

ked Bodies, and all the difficulties of the Art fo
School

well ; that Raphael took an affedion to him, an J

imploying him

him

in

the

^oj^es

Apartments,

gave

a lucky opportunity of diftinguifhing him-

felf from his

Fe How

ty of his Colour ingy

tef(jue.

difciples,

and

defign^'d a

which he
hand.

by the marvellous beau*

his peculiar Talent in Gro-

His chief Works are at Genoua: where he

grew famous hkewife

having

del

tber being

5.

noble Palace for Prince Doria,

alfo painted,

From

for his skill in ArchiteBure

and adorn'd with

his

own

Genoua he remov'd to ^ija, and af

terwards^

^^

Modern Mafters.

2S6

terwards to feveral other pares of

bling
in

humour never fufFering him

one place

rill

had a Penfion

Italy

to continue long

^me,

at length returning to

on him,

fettled

for

his ratti-

looking

he

after the

Pope's P^/jr^, and the Ca fa Farnefe,

having {quanderM away

fliould

But Vienna
Youth, that which

in his

have been the fupport of his old

being conftrain d at

by undertaking any

laft to
little

make

^mes^

Age

and

himfelf cheap,

Summ

for a fmall

of ready money fell into a deep Melancholy y and

from that extreme into another as bad, of Wine
;

JEt,

A7 ^^^ Women^ and

Anno

5 ^4*

GlANOy

was

into his GraVe,

47.

MAZZUOLI,

F(S^AKCESO
^

the next turn

becaufe

born

at

call'd

TA^ME-

Tannuy Anno

5 04,
was an eminent fainter when but fixteen years old,
famous all over Italy at nineteen, and at twenty

three perform'd fuch

wonders

that

when

the

Em-

perour Charles V had taken <B^me by Storm, fome

of the common Soldiers in facking the Town, ha-

ving broke into

intent

upon

his

his

Apartments, and found him

work, were fo aftonifliM

<:harming Beauty of

his

J^ieces,

that inftead

Plunder and Deftrudlion, which was then

bufinefi,

they refolv'd to protect

terwards did) from

all

the

at

him

(as

their

they

manner of violence.

of

af-

But

befides

Modern Mafierr.

287

Cwhich was
the moft graceful, and the

Befides the perfe(5tions of his

Pencil

one of the gentileft,

mcft elegant of any in his time) he delighted much
in M^ftcy and therein alfo excell'd.
His principal

Works are

at 'P^rww

where, for feveral years

he liv'd in great Reputation,

falling

till

unhappi-

ly into the ftudy of Chymlflry^ he wafted the

confiderable part of his

Time

ftarch of the Wdofophers-Stone^

the flower of his age.

moft

and Fortunes in

and died poor,

Anno 1540. See

in

farther

^age 221: and note, that there are extant ma- j^'f

ny valuable

^rintSy etch'd

GIACOMO ^JLMA^

TALMA VECCHIO,

by

^^

this Mafter.

Senior^

was born

commonly

call'd

at Ser'malu, in the

'^'

Anno 1508; and made fuch good

ufe and advantage of the inftrudtions which he re-

State oiVenkey

from Tjit/4rt> that few Maflers

who have fhewn a nobler Fancy
ceived

tions,

2xt to be

in their Compofi

a better Judgment in their Vejignsj

Mature

in their Expreffion,

or of

nam'd,

A^t^

more of

in finijhing

was the place where he

ufual-

lyrefided, and w^here he died, Aiinox'^'^S.

His

their Works.

Pieces are

not very numerous, by reafon of

having fpent
he has
on*.

left

Venice

much

his-

time, in bringing thofe which-

behind \nmxo fuch wonderful

pafe<5li. >^f.

48'^

Modern Mafiers.

288

t>ANIELE%lCCIA^LUM^^^-^'<^daVOL-

^-.-A_>-N
\

op.

TE^^^Aj from

Town

in Tufcany

where he was

born, Anno 1509, was a perfon of a melancholy and heavy temper, and feem'd to be but meanly qualified by Nature for an Artifl

Yet by the
inftru6tions of Salthafar da Siena, and his own
continued Application and Induftry, hefurmounltd all difficulties, and at length became fo excel-

f
f^

^-^

lent a l)efigne)\

from the Cro/sy in

Mount, is rank'd

that his Vefcent

Church of the Trinity on the

amongft the principal Pieces in ^me. He was
chofen by Pope ^aul IV. to cloath fome of the
Nudities, in Michael Angela's Laji Judgment
which
he performed with good fuccels.
He was as eminent likewifefor his Lhifel,zs his 'Pe7Ja75and wrought
the

^f.

- feveral confiderablc things in Sculpture,

F1(ANCESC0 SALVIATI,
J

O'

Anno

o,

was

at firft

a Difciple of Andrea

very well efteem'd both in

his

feveral

works

He was quick at
cution

in

Italy,

Frefco,

Invention,

and

Sandinelii

and

del

and

France, for

Dijlemper,

and OyL

as ready in the exe-

Naked Figures, and as GenYet his Talent did not lie in

And there are fome of his

Graceful in his

tde in his Draperies

great

a Florentine, born

and afterwards of Saccio

Sarto,

Anno

Oh,

Compofitions

pieces

Modern Makers.

289

which have the name

beft Performances,
He was natu"-

Pieces in two Colours onely,

of being
rally fo

his

fond and conceited of

that he could hardly allow

word

And

his

any body

own
elfe

Works-,

good

which
he had of fome loujig^ men then growing up into
:

reputation,

faid, chat the

'tis

made him

Jealoufie

fo uneafic, that the very

apprehenfions of their proving better

himfelf, haften

m^i<^

his De^f/?, y^wwo

Artijls

than

ij^Sj,

LIGO^HJO, a Neapolitany

^^^

liv'd in this

and tho' he addrefs'd himfelf chiefly to the

ftudy of ArchiteBure, and for his skill in that Art
was imploy'd, and highly encouraged by Pope'Prus IV. yet he was withall an excellent Vejt^ner;
and by the many noble Cartoons which he made
time

for Tapejlriesy

Sec.

gave

fufficient proof,

that

he

was more than indifferently learn'd in the Antiquities.

There are feveral Volumes of his Defigns
prefer v'd in the Cabinet of the Duke oiSayoy
of
which fome part confifts in a curious ColleEtion
of all the ShifSj and other forts of Vejfels^ in nfe
amongft the Ancients. He died about the year
1573. VtdeTag.iij.
;

GIACOMO

da

TONtE

da

^ASSANO,

from the place where he was born

P p

in the

fo caird

Marca Tre^
Vifana

^*

Modern Mafiers.

250
yifana,

Anno 1510, was a Difciple of Sonifacio,

noted Tamter^2Lt Fenice-jby

own

whofe AfliftancCjand

his

copying the Works of Titian, and

^armegmnOj he brought himfelf into a pleafant and
moft agreeable way of Colouring but returning in^
frequent

upon

CO the Country,

the death of his Father,

he

apply'd himfelf wholly to the imitation of Nature;

and from

his

Wife,

Children

and Servants, took

moft of his Figures. His Works arc

very numerous, all the Stories of the Old and New
Tefiament having been painted by his hand, beHe was fa*
fides a multitude of other Hijtories.
mous alfo for feveral excellent portraits, and par-

the Ideas of

of the celebrated ^oets Ludo'vico

(Bernardo Taffo, and Torquato his Son.

ticularly thofe
Jriojio

In a word, fo great was the Reputation of

that

Jrtiji at Fettice,

purchafe one of
tfance

his

o/Noah and his

Titian himfelf
Tieces

ted to

go over

was glad to

(reprefenting The en-

Family, into the

ry confider-able Price.

this

He was

Ark) at a ve-

earneftly folicir

into the fervice of the Emperour

but fo charming were

the pleafures

which he

found in the quiet enjoyment of fainting, Mujic,

and good 'Books ^ that no Temptations whatfoevep
could
jt.

8*2.
^

make him change

He died

Anno

his Cottage for a Court.

9 2> leaving, behind him four Sms,

of whom
:

F^AN.

Modern Mafters.
^

V^AKCESCO

the Eldeji,

25>'4

Fema

at

fettled

where he foUow'd the manner of his Father, and

was well efteem'dj for divers Pieces which he made
in the Ducal Talace and other publick places, in

conjundion with
his

(P^/ Veronefe, Ttntoret, &cc.

too clofe Application to fainting having ren-

der'd

him

died

by

became

own

private Affairs

much

were continually

and

at laft

craz'd, that fancying Sergeants

of him, he leap'd

in purfuit

out oihisWindoWy to avoid 'em

and by

the fall occafion

1594,

jEt. 43.

LEAKD<^,

he contra-

degrees a deep Melancholy,

fo

and igno-

unfit for all other bufinefs,

rant even of his

But

his

(as

he imagin d)

own

Death, Anno

had

fo excellent

Talent in Face-painting, (which he

principally

the TInrd Son,

was Knighted for a Portrait which

He hkehe made of the Doge Marin Crimano.
wife finifh'd feveral things left imperfect by his
Brother Francefco 5 compos'd fome Hijiory-pieces
alfo of his own, and was as much admir'd for

iludied) that he

his perfeHlon in Mujtck, as his skill in fainting,

Anno 1623, jEt,

GIO,

(5j.

SJTTISTA,

SiOLAMO

Oblit

the Second

Son,

and 61-:%

the Joungejl, apply'd themfelves to co-

P p

fymg

.\%

Modern Makers:.

25 2

tlieir Vcithzrs

fyng

Works 3 which

they did fo very

well, that they are oftentimes taken

Gio. Sattijla died

rolamo

Anno 1622, -^f.

!BaJfans

^ag, 220.

^-A-^
*

2^'

Jnm 1613,

GIACOMO

j^t.

62:

%0mSJl

See

for Originals,

60 and
more of
;

a Difciple

of Titian

who

him from
grow up to rival

his

1512^

having obfervM

fomcthing very extraordinary in

mifs^d

the

c^\\'dTINT01(ETTOy

becaufe a Djeri Son, born at Venice^ Anno

was

G/-

his Genius,

diC-

Family, for fear he (hould

Colouring,

as the

Yet he flill purfu'd

moft natural and

fludied Michael Angelos

Gufto

of Veftgn, as the

Tttians

way of

his Majler,

was the place ofhisconftant

Abode 5 where he was made a Citi^^n, and wonderfully beloved, and efteem'd for his Works
the
He was call'dCharaEier of which fee ^Pag. 219-

moft

correal.

Venice

-,

the Furiom Tint or et, for his bold

ingy

manner of Taint-

with ftrong Lights and deep Shadows-, for the

rapidity of his Genim^ and grand vivacity of

'

much admir'd by Taul

Spi-^

But then,
on the other hand, he was blam'd by him, and all
rity

Veroneje,

others of his Trofepon, for under- valuing himfelf,

and his Art, by undertaking all

for any Trice-, thereby making k^
in his fevcral (Per/orm^wce5, that ('

forts

of bufinefs

<:reat a difference

Hannibal Carrach

ob.

Modern Majlers.
obfcrv'd} he

is

fometimcs equal to

other times inferior even to

much

felf to taft

any other

594, leaving behind

of whom the Eldeft
I

his

2,

by her Father

in

his be-

fuffer

him-

died

Amw

He

Pleafures.

Daughter^ and a Son^

MA^IETTJ TINTO^ETTA
fl:ru6ted

at

would hardly
\{\m

and

He was exHumour and

and Muftc^

in fainting

loved Studies^ that he

Ttt'tan^

h'lmfelf.

tremely pleafant and affable in

delighted fo

253:.

his

was

own

fo well in^

J^rofeJJion,

well as in Mujtc, that by her Pencil

flie

as

got great

Reputation J and was particularly eminent for an

admirable

Jnno

Style in

She died young,

Portraits.

590, A^t, 30.

DOMEKICO TIKrO(^TrO
great hopes in his youth, that

render

the

name of

ous than

his Father

cultivate

by ftudy

given him, he

Tmtoret yet

had made

fell

gavr
he would one day
his

it:

the Talent

Son,

more

illuftri-

but neglciSting to

which Nature had

fhort of thofe

mighty things

expeded from him, and became more confiderable for Portraits y than Hiftorkal Compofitions,

He

died Anno i<5j7, ABt.7^,

fA^

^^^

g^

Modern Majlers.

254

m^IipONE

(PA^IS
broLighc

up CO

Letters,

defcended

well

Mufic, and

of

for the Delicacy

T^tmty of his Out

lines.

efteem with Francis

his Pencil,

made

the Portraits

in fo excellent a manner,

that the

to Venice, laden with

Reputation

done

4'

feve-

home

acquired as

of

more charming. From

Honour and Riches and having

* 5

than the

Original Nature was hardly

France he teturn'd

^^^^^

was more

He was in great favour and

for whom, befides abunI.

dance of Hijlories^ he
ral Court Ladies,

and

Titian,

the time ofTmtoret: but

flouriih'd in

and

other gentile

was a Difciple of

Accomfl'ijhmentSj

commended

in

all

abroad, died

GEO^IO

much

the parts of Italy, as he

had

Anno ABt. 75.

VASA%1, born

City

at Are:^^9 a

Anno 1514, equally famous for his

en and Tencil, and as eminent for his skill in Arin Tii/cany,

chiteSiure

was a

and

Difciple of Michael Angela,

and by his indefatigable diligence

in ftudying and copying all the beft Pieces of the
mod noted Artifls, improved his Invention and
Andrea del Sarto

Hand

to fuch a degree,

ful Freedom in both.

that he attain'd a

He

fpent the

moft confide-

rable part of his Life in travelling over

ving in

wonder-

Italy

lea-

marks of his Induftry, and gathering every where materials for his Hiflory ofth
all

places

Lives

Modern Mafiers.

25 5

Lives of the moji excellent ^amters, Sculptors, Archi-

&c. which he

teSisy

the year

J J

Caro, written with

and others tax him with fome mi-

y?^ri then alive,

and with

own Country.

his

He

at

his

^ome, and fome other

thofe of

578.

Utrecht

1519, was a

Anno

John Schoorelf and in

partiality to

born

Ma-

flattering the

died Armo

ANTONIO MO^Ey
Low- Countries

about

much exa(5lnels and judgment 5

and particularly with

ftakes,

Florence,

a work, in the opinion of Hannibal

i:

tho' Felibieny

publifli'd at

in the

Difciple of

He was

re-

commended by Cardinal Granville, to the fervice

of the Emperour Charles V. and having made a
was feno
upon the fame account to the King, Queen, and
Princefs of Portugal, and afterwards into England,
Portrait of his

Son

Thilip II. at Madrid,

Queen Mary. From Spain^

he retired into Flanders^ where he became a mighty Favourite of the Duke of Aha (then the Goto

draw

the ^ifture of

And befides the

vernour of the Low-Countries,)
noble Prefents and Applaufe which he gain'd in
by

was

as

much admir'd

for

all

places

his

extraordinary Addrefs, being as great a Courtier

as a

Tainter.

juftly,

his Pencil,

His

Tale?it lay in Deftgning

infinifliing his Pieces

l^--^nx-J^*

younger days had feen

parts of Italy.

with wonderful

very
care.

and

15^9*

Modern Makers.

2$

and neatneG, and

in

a moft natural innitation of

Yet after all,

snd Bhiid, in hhCokwmg,
he could not reach that noble Strength and Spirk,
fo vifible in the Works of Titian, and to u hich
Flejh

He made

/^/i DjcA. has iincc arrived.

tempts alfo in

Hiflory-piecesy

but underftood no-

thing of grand ComPbfuionSj and his

'^^

He

^ tame, hard, and dry.

1522; was

manner was

died at Antwerp^ Amio

^AOLO FA^INJTOy bom

^5"^^'

feveral At-

at Ferona,

a Difciple of Antonio Sadtle, and an

admirable Vejigner^ but not fo happy in

louring

Church
that

it

tho' there

Anm

is

a Ttece of

at Verona^ fo well

his Co-

his in St. Georges

performed in both parts,

does not feem to be inferior to one oi^aulo

Feronefcy

which

is

plac'd next to it.

He was

very

confiderable likewife for his knowledge in Sculpture,

AEt,

84.

^^^^

and

ArchiteEiure^

relates to

efpecially that part of it

Fortifications y

&c.

Ohiit

Anno

1606.

AKD^A

SCHIAVOKE,

from the
Cowwtr^ where he was born, Anno 1521; was fo
very meanly defcended, that his Parents after they
had brought him to Venice^ were not able to allow
him a Majler : and yet by great ftudy and pains,
fo call'd

to-

Modern Majlers.

2^1

together with fuch helps as he received from the

Prints of TarmegianOy

eand Titian

and

he arriv'd at

that being obliged to

throughly

fufficient for

fo well cover'd

Beauty and Sweetnefs of

us'd oftentimes to fay,

out one ^iece (at

leaft)

no

indeed,

for his daily Bread,

perfect in Deftgn

was

that Defed:

'Tis true

work

he could not fpare time

to a degree of

laft

very furprizing.

Excellence

felf

the Paintings of Georgi-

making him-

but however,

by

the fingular
that Tmtoret

his Colours^

fainter ought to be with-

of

his

His principal

Hand.

Works were composed at Venice^ fome of them in

concurrence with Tmtoret himfelf, and others

by

the dire<5lions of Titian^

But

Mark*
dreay

fo malicious

in

was

the Library of St.

'Fortune to

poor An-

that his ^iSlures were but Httle valued in his

life-time,

and he never was paid any otherwife

for them, than as an ordinary fainter tho' after his

:

Deceafe, which happcn'd ^wo 1582? his Worh

turn'd to a much better account, and were e-

fteem'd anfwerable to their Merits, and

tle inferior

to thofc of his

mod

famous

but

lit-

Contemn- jt,

60.

poraries,

F^EDE^ICO SA^OCCIy

born in the City ofUrhiny Anno 1528, was train d up in the Art of ^5^^'
Defigning by !BaptiJla Venetiano^ and having ac

Q^q

^me

Modern Majlers.

298

^me

acquir'd a competent

Knowledge

in Geo-

and ArchlteBure^ apply'd himWorks of his moft enriinent Tredecejfors

metry, J^erfpe^ive,
felf'to the

and in a particular manner ftudied ^aphael^

and CorreggiQ one in the charming Ayrs^ and
graceful 0f-//f^ of his Fgrf J, and the other in
the admirable Mmoriy and agreeable Harmony of
his Colours,
He had not been long in ^ome, be;

feme malicious Cahners ^ his Competitors y

found means by a Dofe of ^oyfon conveyed into
with which they had treated him, to
21 Sallet,
fend him back again into his own Country^ attendfore

ed with an Infirmity fo terribly grievous, that for

above

him

fifty

years

together

it

leldom

permitted

any Repofe, and never allowed him

above two hours in a day to follow his fainting.
So that expe(5ting, almofi: every Moment, to be remov'd inco another World, he imploy'd his Pencil

to take

altogether in the Hijlories of the /We,

thcr Religious SuhjeBsj of

fiderable

jt.

84..

number, in

which he wrought a con-

the ftiort Intervals of his pain-

^^^ notwithftanding the Severity of them,

till the year 1612.

^"'f^^^>
liv'd

TADDEO ZUCCHE^,
^5^9-

and o-

c\\y

born

in

the

Duc-

oiUrhiny Aniiox^i^^ was initiated in

Art of Ittainting^t home,

by

his Father^

and

the
at

Modern Majlers.

^me

by

inftrudted

295

Gio. ^ietro Calairo

but im-

prov'd himfelf mod by the Study oi Anatomy and

^

by copying
chiefly in

florid

and

Dejignlng^

my of his

the Works

left

was not fo
which was generally unpleafanc,

moft part

many things

in his (Priwe,

><'

and Oecon^much admir'd

Vijpofitlon

rather refembled che S^tues than the Life.

liv'd for th

he

good

excell'd

a gentile Manner of

pieces: but

for his Colourings

and

InVentionj

in the

He

of Raphael.

^me

in

and Urbm^ where

unfinifh'd, being taken

W2LS

away ^^

Jnno \^66

<PMLO CALIJI(I FE^ONESE,

1551,

He

a.

born Anno

D'i(c\ip\co( Antonio Sadilcy

and not

only efl:eem'd the mofl: excellent of all the Lornhard Tainters, but for his copious and admirable

Grandeur and Majefty of

the Beauty and Perfection of

JnVentiony for the

ComfoJitioHy

Draperies,

for

together with his noble

ArchiteEiure, &;c.
felice (the

happy

time at Venice

\s

ftyf d

by the

Painter.)

He

his
his

Ornaments of

Italians^

fpenc

11

^ittore

moft of

his

but the beft of his Works wer

he return'd thicher from ^?ne, and

ih could not be prehad ftudied the Antique,
vailed upon, by the great Offers made him by the

made

after

King of Spain,
his

to leave his

Reputation was fo well

own Country
eftablifh'd,

Q^ q 2

that

where

moft
of

^53^*

Modern Majiers.

300

of the Princes of Europe fenc to their fevefal Erm

bajjadours^ to procure them fomething of his Hand

He was

an ingenuous
and noble Spirit, us'd to go richly dreft^ and generally wore a gold Chain^ which had been prefented him by the procurators of St. Mark, as a
Tri:^e which he won from feveral Jrtifis his ComHe was highly in favour with all the
petitors,
principal Men in his time, and fo much admired
at

any Rates.

by

all the

great Majleis, as well his

as thofe

raries,

who

it

in his

power

He

out ^aulo, Taulo.

Mt. 56.

the Ornaynent of his Tro-

and Guido ^eni being ask'd, which of the

Majlers his Predeceffors

were

Contempo-

him, that Titian

fucceeded

him

himfelf us'd to call

fifflon

a ^erjon of

he would

after

chufe to be,

a litde paufe, cry'd

died at Venicey Anno

leaving great Wealth behind

him

j 8 8,

to his

two

Sons

GA^^IELLE

and

CA^LO

who

liv'd

ve-

ry happily together, joyn'd in finifhing feveral

Pieces left imperfcd:
his

by

their Father ^

and follow'd

manner fo clofe in other excellent things of their

own,

that they are not eafily

diftinguifli'd

from

would have performed

wonders, had he not been nipt in the Bud, Ann(^
x')^6yjSt, 16: after whofe Deceafe Gabriel ap.
thofe of Taulos hand.

Carlo

ply'd

Modern Mafl^rs.
yet did not quite

ply'd himfelf to Merchandf:^ng

-y

lay afide has (PfwoV, but

301

made

a confiderable

number of J^ortraitSy and fome Hijiorypieces of

a very good Gufio,
Ohllt Anno
i(Jj i , jEtat.

SENEVETTO CAL1A%1
with

his

whom

Brother ^auloj

and frequendy

livM and ftudy'd

he lov'd intirely

him, and

aflifted

his

finifhing feveral of their Compojitions

ally in

He

pradtifed

but

efpeci-

which he chict

Painting AnhiteHurey in

ly dehghtcd.

Nephews, in

for the

moftpartin

and fome of his beft Pieces are in Chiaro^

Scuroy or two Colours onely.
He was befides,
Frefco

Majler of an indifferent good ftock of Learnings

was

and had a peculiar Tadied Anno 1598, jt, 60, See

Poetically inclined,

lent in Satire.

more of aulo

He

pag, 2

p.

GIOSEffE SALVIATly

a Venetian

was born Anno 1535, and exchanged

of Torta, which belonged to
of

his

Mafter Francejco

SalVtatiy

was plac'd very young

at <^ome

his

fainter, r-^^j,^^

the

name

Family, for that

whom

with

by

his Uncle,

he

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 aul Faronefe

JJJ*

Modern Maflers.

go2
ronefe
.i^o

well cftecm'd for his

likewife well read in

and Colouring
was
other Arts and Sciences^ and

good

a Mathematician ^ that he writ

great

skill

both

particularly fo
v-^

He was

and Tmtoret,
in

Veftgn

feveral Treatlfes very judicioufly

He

on

that SubjeSi,

died ^;ma 1585.

F^EVE^ICO ZUCCHE^Kp,
'543* Dutchy of Wrim,

born

in

the

^543? "was a Difciple of

his Brother Taddeo, from whom he differed but
very little in his Style and Manner of Tamtmgy tho'
in Sculpture and Jrchiteclure he was far more excellent.

He

i4^w

fled into France to

avoid the Popes

by an Affront
put upon fome of his Officers', and from thence
paffing through Flanders and Flolland, came over
drew Queen Ell;^abeths Pi(5lure,
into England
went back to Italy was pardon'd by the fPope, and
in a little time fent for to Spain by Philip II. and
Difpleafure, which he had incurr'd

imploy'd

in the EfcurtaL

at his return to S^owe,

He labour'd

very hard

for eftablifliing the Academy

of Tainting, by virtue of a / ie/ obtained frora

Pope Gregory
firft

XIII.

prince himfclf,

Of
he

w/;/c/;

built

being chofen the

a noble

Apart-

went to Venice to print

fome 'Books which he had composed of that Art^
and had form'd other Deilgns for its farther Advancement,
ment

for their Meeting,

Modern

Vancemcnt, which yet were

Death

(zt Jncona)

^o^

Majleri:^
all

defeated

by

bis

Anno 1609.

GIACOMO fJLMAjunm, commonly c;All'd

GIOVANE fALMA, horn 2X Venice, Anno 1J44,
was

iH4t-

Son of Antonio the Nephew of ^falma FeeHe improved the Infiru<5tions which his Fa-

the

thio.

^'

had given him, by copying the Works oi t\\t

mod eminent Maflersy both of the ^man and'
ther

Lombard

Schools

followed

but in

his

own

Compojicions chief-

Manner o( Titian and Tmtoret,.

He fpent fome years in ^me, and was imploy'd
in the Galleries and Lodgings of the Vatican
but
the greateft number of his Pieces is at Venice, where
he fl:udied night and day, fill'd almoft every,
place with fomething or other of his Hand
and
(like Tintoret) refused nothing diat was offer'd him,
ly

the

.,

upon

the leaft

Profped of any Gains.

He

died

Anno 1628.

^.

DOMENICO

FETI, a (Upman, flouriffi'd in'

this time.
He was a Difciple of LodoVico Cf^oli^
oi Florence and excell'd in Figures and Hifloricali
CompoJuions^_ but died young, Anno jEt j 5.
',

!BA^H0LOMEW S?(I{JKGHE%
Antwerp,

Anno 1546, was

born

at

chki fainter to the

Em-v

54^'

Modern Mafters.

304

Emperour Maximilian 11. and^fo much refped^ed

by his SuccelTor ^dolphii^j that he prefented him
with a Gold Chain and Medaly allowed him a TenJion, honoured him and his Poftericy with the Title ofNohdity^ lodg'd him in his own Talace^ and
would fufFer him to paint for no-body but himfelf.
He had fpent fome pare of his Yoiith in (Z^owe,
where he was imploy'd by the Cardinal FarnefeyZnd
afterwards preferred to the Service of Pope (P/wj Vbut for want of Judgment in the Condu(5t of
Studies y

brought

from

little

with him,

befides a

his

good

His Out-line was generally y?/^

^and very ungracefuly his Tojlures forcd and extra')?aga7it 5 arid in a word, there appeared nothing
Pencil

Italy,

of the ^oman Guflo in his Dejigns.

He obtained
leave from the Emperour (after many years continuance in

his

Court) to

vifit his

own

Country

and

accordingly went to Antwerp, Amflerdajji, Haerlein^

and

feveral other places,

and having had the fatisfadion of

own Works highly admir'd, and his man-

bly received
feeing his

almoft univerfally followed in

ner

as well as in
jed

Jnno

John "Van
5 6. ters

602, or thereabout.

we may

thofe parts,
di-

In the fame Form

place his Contemporaries,

Ah, and Jofeph Hemts, both

of note, and

Court.

all

Germany y return'd to Prague, and

with Sprangher

Mt.

where he was honoura-

much admir'd

Hiflory Tain-

in the Emperour

MATH'

Modern Majlers.
M/fTlHEW !B^L was born at
I

305
Antwerp^ Anno

50, but ftudicd for the moft part at (3{owf.

r^s^^w^

MJO-

and was famous for his Performances in Hiftory

and Landtfchapiy in the Galleries of the Fattcan,
where he was imploy'd by Pope Gre^orj XIII.^^
He died young, Anno 1J84.

(P^ML

of Antwerp alfo,

!85(IL,

1554, foUow'd

born

Brother Matthew to

his

^/zwo

(2^owe,

4*

painted feveral things in conjunction with him,

and

after his Deceafe,

tation

by

brought himfelf into Repu-

his Lanitjchapes

but efpecially by thofc

which he compos'd in his latter time (after he

had ftudied the manner of Hannibal C^trrachy an3
had copied ifome of Xttians Worhy in the fame
kind^ the hiVentlon in them being more pleafant,
the Vifpojition

more

noble,

greeabky and painted with

chofe in his former days.

all

the parts

a better

He died

more

a-

Gufloy than

at 5^owe,

Anno

1626.

MTOmO

TW(P:5r^,

his

Contemporary,

was a Difciple of John

He had a particular Genius
Straday a Fleming.
for Sattelsy Cahacadesy HuntingSy and for defigna

Native of

ing all forts

Florencey

of Animals

gard the Delicacy of

but did not fo

Colouringy as the

RX

much

re-

lively expreflTion

j^^^

Moiem

3 o6
preflion

of thofe things which he rcpre^

His ordinary Refidence was ac ^ome ;

and

fenced.

Mafiers.

Sfirit

younger days he had wrought feve-

where, in

his

ral pieces

by order of Pope

He was

Apartments of the Vatkaru

and

Invention y very quick

cutio7iy

etch'd

rv,..A.^
^5

5 5*

and famous

by

Gregory XIII. in the

full

and ready

o(TI)ought

in the Exe-

alfo for a multitude

of TrintSy

He died Anno 1630.

him/elf.

LOmViCO

CJJl^ACCI, the Uncle oi Augujli^

^0 and Hannibal j was born at Sologna^ Anno 1 5 j j,
and under his firft Majler ^rofpero Fontana, diC
cpver'd but an indifferent Genius for fainting

however, Art fupply'd the

by conflant and unwearied

the

Worh

defedls

but

of Natwe, and

diligence in ftudying

of Tarmegiano, Correggio^ Titian^ and

other great M?/, he brought himfelf ac

a
degree of TerfeBion hardly inferior to any of
diem.
He a/Tifted his Nephews in Founding and
Settling the famous Academy of Dejign ac 'Bologna^
and afterwards in Tainting the Tala:^^ Farneje at

[t

6 ^^^^9 and having

1619, Vide

fag,

furviv'd

them both, died

borny^/2o

Anno.

ixi*

AGOSTINO CA(^ACCT,
^J5.7'

laft to

15575 and by

a mogneje alfo,

the care

and

was

inftrudi-

ons of VomenicQ Tehaldij Alejfandro Minganti andothersy

Modern Makers.
9thers^

became not onely a very good

and Tainter
all the

307

De/t^ner-

but in the Art of Graving furpafs'd

He had

Majlers in his time.

an infighc

likewife into all the parts of the Mathematics^

tural Thilofophyy

Liberal A^ts

^?etoricy Mujtc,

and

He was

Sciences,

admirable Toety and in

mod

of the

befides,

an

other particulars ex-

all

From

tremely well accomplifli'd.

Went

and

Na-

(Bologna

he

where he contradled an intimate

Friendflaip with ^aul Veronefe^ Ttntoret, and Saf
fan 5 and having gravM a confiderable number
of their Works, return d home, and foon afterto Venice^

wards foUow'd

his

Brother Hannibal to 5^owe, and

joyn'd with him in finifhing feveral Stories in the

But fome litde difference arifing

unluckily betwixt them, Auguflino remov'd to the
Court of the Duke of ^arma, and in his Service
His moft cedied Jnno 1602, Fide pag. 223.
lebrated iece of fainting, is that of the CommuFarnefe Gallery:

nion of St. Jerom, in bologna

pleat in all

its

parts,

that

it

a ^iSlure fo

com-

was much to be

la-

mented, that the excellent Author of it flbould

withdraw himfelf from the TraSlice of an Art in

which

his Abilities

were fo very extraordinary, to^^^

follow the inferior ^rofejjlon of a Gra'Ver,

AK'

^^^

Modern Maimers.

3 o8

AKKWALE

N-A.^

CA<^ACC1,

born likewife a*
1560, (BolognAj Anno \ 560, was a Difciple of his Uncle
and amongft his ocher adnndrable quaLudoVico
lities, had fo prodigious a Memory^ that whatever
;

he had once

make

his

2itid

^mBy

at

own

fo that at

and purity of

Smeet?iejs

Strength

he never

(een,

^arma^ he acquir'd ths

Correggio

at

and

the CorreHmfs of Dejtg7i,

And by

his

pear, that

beautiful

made

(P^r-

it

ap-

of the moft

the feveral TerfeBions

all

and

-^

wonderful

formances in the ^ala:^^ Farnefe^ foon

the

Fetiice

oi Titian

Dijlribution of Colours

Fonns of the Antique

and

to retain

fail'd

were united in

eminent Majiers

his

himfelf alone.

In his Con^erfatimi he was friend-

ly

plain

honeft

Tredecejfors,

and

nicative to his ScholarSy

tfcew, that

open-hearted y

and

very commu-

fo extremely fc>/^ to

he generally kept his Money in the fame

box with hisCo/orj,where they might have recourfc

to either as they had occafion.

But the unhappi-

of his Temper inclining him naturally to Mehncholy 5 the ill ufage which he received from the

ncfs

Cardinal Farnefe

(who through

the Perfuafions

of

an ignorant Spaniard his Domejlicy gave him but

a little above 200 /. Sterl for his eight years ftudy

and labour)
folv'd

never

fo confirmed

more

him

in

it,

that he re-

to touch his Tencil:

and had

und.oubtedly kept his rcfolution, had not his

Nc-

ceffities

Modern Mafiers.
him

o^

Yet notwithftanding, fo far did his Vtfiemper by degrees

gain upon him, that at certain times it deprivM
him of the right ufe of his Sences 5 and at laft
made him guilty of fome Irregularities y which
conceahng from his ThyficianSy he met with th&
fame fate as ^phael (in the like cafe) had done
before him, and feem'd to copy that great Majier
as well in the manner of his Death, as he had imitoted him all his Life long in his WorhNay,
fuch was the Veneration he had for ^aphaely that
it was his Death-bed f^quejl^ to be bury'd in the
very fame TowJ with him: which was accordingly done in the Tantheotij or ^tunda at ^me. Anno
1 60^, See more fag. 1 2 2, and befides take notice^
ccffities

compell'd

to

rcRime

it.

that there are extant feveral prints of the .

giriy

this

sind oi other SubjeBs^

incomparable

ctch'd

by

the

T^ir-

hand of ^^.

Artifi,

ANTONIO CA^ACCI, the natural Son of Auwas brought up under the Care and Tuiof his Uncle Hannibal: after whofe Deceafe,

guftinoy

tion

he apply'd himfelf fo fuccefsfuUy to the ftudy of

all the Capital Pieces in 3^owe, that he would have
furpafs'd even Hannibal himfelf, if Death

prevented him. Anno idi8,

had not

Mt, jj.
CA'

in,

Modern Makers.

^xo

CJMILLO, GIULIO CESA^E, and U^I^C

JNTONIOy the Sons and Difciples of E^I^COLE
^^OCJCCJNI, flouriflVd in this time. They
were Natives of ^ologna^ but upon fome mifunderftanding between them and the Carr aches y retnov'd to Mdatij where they fpent the greatefl:
part of their Lives.

CJMILLO
and

Spirit

Of thefe,

the Eldeft,

abounded

in Invention

but was a great Mannerifi^ and

ra-

ther fludy'd the 'Beauty y than CorreBnefsofhisVtftgns.

GIULIO CESA<I{E, was both

a Sculptor and

fainter y and famous in Genouay as well as Sologna

and Milany

for

He was

feveral

admirable things of

his

the beft of all the Procaccini,

and
furpafs'd his Brother Camillo in the exaBne/? and
furity of his Out- lines y and in the Jlrength and boldhand.

^ie/?of his Figures,

CA^V ANTONIO
and

as well skill'd in

was an excellent Mujiciany

the Harmony of Colours as of

Sounds : yet not being able to arrive to the ^erfe-

aion of

his

Brothers in Hijlortcal Compojitions

he

apply'd himfelf wholly to Landtfchapes and Flowersy

and was much

way.

efteera'd

for his Performances that

E^'

Modern Maflers.

E^OLE the Son

j^pj:

of Carl' Antonio ^ was a DiC

and fo happy in
imitating his manner^ that he was fent for to the
Court of the Duke of S^Vo)i, and highly honoured,
and nobly rewarded by that'Pn'wce for his Services.
of

eiple

Uncle

his

Julio

Cefarcy

CIOSEffE V'J^mO, commonly

Valier

call'd Ca^

GIOSE^^INO, born in the Kingdom of N^

n^^A.^
i J

^o;

J^o, was carry'd very young to (2^ow^,.

and put out to fome ^aint^rs, then at work in
the Vatican^ to grind their Colours
but the quickAnno

flesy

of

nefs

his Apprehenjton

made him

having foon

Mafier of the Elements of Dejlgn, he had the fortune

grow very famous by degrees; and befidcs

rcfpedl fliewn him by Pope Gregory XIIL and
to

was

SuccefforSj

fo well received

Lewis XIIL that he

of St*

Michael,

made him

He

by

the French

Works

has the charade r of a

florid^

in all

of Nature^ or the ^des of Arty

buildin?, onely

tajiical Ideas

he

K.

but yet having no fure Foundations^

either in the Study

and

his

a IQjight of the Order^

hyentioHy a ready Handy and a good Spirit

his

the-

ywhkh

upon

thofe Chimeras

he had formed in his

and fan^

own

Head^.

has run himfelf into a multitude of Errors^

being guilty of thofe

ceffarily attending

than

Amo

their
1

own

640.

many

Extral^agancieSy

fuch as have

capricious Fancy,

no

He

better

died

-at

ne-

Guide-

^ome,

HANS

;'^^f^

Modern Mafiers.

312

HANS

(l(pTTBKHAME%^w3.shoxn

Mun>
5 64. ^y^j^ ff^g Capital City of ^aVariUy Anno
5 64, and
after he had ftudied lome time in Germany y went
to Vemce, and became a Difciple of IHwroref. He
painted both in Frefco and Q>'/, but his Talent lay
chiefly in the latter, and his peculiar excellence was
in little Pieces,
His Indention was /ree and eajiey

-V..A.-X-.

at

his

f^w

and

indifferently corre?5

his Colouring

very

fteem'd both in

Italy

Viis

agreeable.

and

his

9oflures gentile

He was well eown Country^ and

by his ^rofejfion might have acquired great Wealth.3

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
jEt,

4.0.

^^'^ forc'd to make a gathering to bury him,

Anno 1604.
d);alier

15 00. in the

FRANCESCO VANNI,

born

at Siena

Dukedom

of Tw/c^^iy, Anno 1568, was a

Painters Son^ but <juitted the manner which he had

learnt

whom
ts

from

his Father^ to

he imitated in

follow that of !Barocci

his choice

well as in his Guflo of fainting.

confiderable

Worh of

f^^

^^

The moft

Mafler are in the fevcral

and are much commended

beauty of their Colourings and Cor-

Churches of Siena

JEl A7* ^^^

this

oi^ligious SuhjeEls^

reBne/? of their Vejign.

He <licd

Anno 1615.

Modern Mafiers.
MICHELANGELO UE^KIGI born An,
Vit

CA%AVAGG10,

5 (5?,

from whence he deriv'd

his

Kame^ was at firft (like his Countryman ^olldore)

no bcccer than a Day-labourer till having feen
fome Painters at work, upon a Brick-wallj which
-^

he had prepared for them, he was fo charm'd

with their Arty that he immediately addrefs'd himftudy of

fclf to the

and

it:

few years made fo

in a

and
was cryM up, and

confiderable a progrefs, that in Few/ce,

fevcral other parts of Itafyy he,

admir'd by
new

Style

^eme

all the

Young

of a

as the Author

merij

Upon

coming to
compell'd him to faint

oi Tainting.
his

(Z^owe,

Necejfities

his firft

and Fruit, under CaValier Giofepftno but

being foon weary of that Suhje^, and returning to his former pradice of Hi/lories , with. Bgures drawn to the middle onely, he made ufe of
a Method, quite different from the conduct of
Flowers

GiofeppitiOy

and running into

follow'd the Life as

went wide from

it.

much

He

the contrary extreme^

too

clofe,

as

the other

affedcd a way particu-

and dark Jhadows, to give

his Tieces the greater relievo, and defpifingall ocher
help, but what he received from Nature alone
(whom he took with all her faults, and copy'd
lar to himfelf,

of

deep

without judgment or difcretion)

came

fo poor,

his Invention

that he could nc\Qr draw

S f

be-

anything
without

Modern Majiers.

514

and therefore
underftood but little either of f/gw, or Decorum
He had indeed an admirain his Cowpojltms,

without

his

Model before

his eyes;

ble Colourings and great flrength in

all his

Works

But thofe ^iHures which he made in imitation of

the manner of Georgione^ were his bed, becaule
they have nothing of that hlachnejs in them, in

He died in his
which he afterwards delighted.
return from Malta^ (where he had been Knighted
by the Grand Majier, for fome things which he
His chief
had wrought for him) Jnno 1609.
Difciples were 'Bartolomeo Manfredi of Mantoua^
Carlo SaracinOy corrimonly call'd Venetiano^

Mt.

4.0.^^'^

Vakth

^ French-man^ and Gerard Hunthorfi of M-

trecht.

FlLlffO d' ANGELl was a (I(pman born, but

called N^?flLlT^ W,becaufe his Father fent him
to Naples y

when he was very young.

turn to (2^owe, he apply 'd himfelf to the

At

his re-

Antiquities-^

but unhappily left that ftudy too foon, and followed the manner of his Contemporary M, Angelo

He

moft part in
Landtfchapes, and (Battels , was every where well
efteem'd for his Worksj and imploy'd by feveral
Princes in many of the Churches and Palaces of
%omey Naples and Venice \ at the laft of which plada Cara^^aggiQ.

ces,

pra<5tis'd for the

he died Anno Stat, 40.

J^T^

Modern Majiers.

315

JAN S^EGHEL, the Son of old feter, and '-^-a.^

the younger Brother of Helfen (Brueghel, was born ' ^ 9*
in^rujfels, Anno i 569, and call'd ELUWEELEK
becaule of the Fehet Garments which he generally
affed:ed to wear.

He began his

Studies at

home,

under TeterOoe-kindty and continued them in Italy

with fuch fuccefs, that of all the German, Dutch^
or Flemlfh Majlers, Elflmmer onely was fuperior
to

him

and

in Landtfchapesy

Figures,

He fainted both

but in the

/^fter chiefly excell'd

Hijlories with fmall

in Water-colours
j

rcprcfenting Wakes, Fairs, and

and

and

Oylj

efpecially, in

other frolickfom

and merry meetings of Country-people. His hi'Vention was eafie and pleafant, his Out-lines firm and
and in fhort, all
fure, his Tencil loofe and free
:

his Compofitions were fo well managed, that Nature

in her plain Country Vref, was always to be ken
^^^
in his Works.
He died Anno 1625.

ADAM ELSHElUE^hoxn

Sit

Frankfort ui^on

Anno 1574, was atfirfta Difciple of

but an ardent dcfire of
Philip' Ujfenbach a German
Improvement carrying him to (^me, he foon
the Mayn,

became a moft excellent Artijl in

Hiflories, and Night-pieces, with /i/e
TFori^x

are very few

and for

^^

Landtfchapes,
Figures.

His

the incredible ^a'ms

and Labour which he beftow'd upon them ^ valu d

at
S f 2

1574-

Modern Majlers.

3i5

that they are hardly

at fijch prodigious rates ^

any

where to be found but in the Cabinets otTrinceSi.

He was a Terfon by Kature inclin'd to Melancholy
and through continu'd ftudy and thoughcfulnefs,

was (b far fettled in

lecting his

own

that

unhappy

domejlic

temper^ that neg-

came

concerns, Debts

upon him, and Imfrlfonment foUow'd which

ftruck fuch a damp upon his Spirits^ that though
y he was foon releas'd, yet he did not long furvive
-^
,^y^^yisj it, and died in the year 1 6 to, or thereabout..
thick

GUWO ^ENI was born at

''^^-^^-^
^-5

bologna, An,

j/ y,

^5' and having learnt the ^diments oi^aint'mg^uni^x:

was rcfind and polifh'd in the

School oi the Carraches'. and to what degree of
Ey:ce Hence he arriv'd, kcpag, ii^.
He acquired

SL

Flemijh Majier,

great perfed:ion in Mujtc,

by the

Inftrudtions of his

an eminent Trofejfor of that Art.

In his
behaviour he was modeft, gentile, and very ob-

Father,

liging; liv'd in great fplendor, both at 'Bolognay

and ^tney. and was onely unhappy in his immoderate love of G4?m^: to which, in his latter
days, he had abandond himfelf
all

the Money

borrow upon
his lofles,

mean a

fo

which he cou*d get by

Interefl,

he was at

being too

laft

intirely,

that

or
to fupply

his Pencil,

little

reduc'd to fo poor, and

condition, that the confideration of his

grefent:

Modern Mafters.
prefcnt circumftances, together

on

his

5.17

with reflexions

former reputation, and high manner of

ving, brought a languifliing Vijlemper

which occafion'd

Deaths Anno

his

li-

upon him,
Note,

642.

that there are feveral Vejigns of this great Mafterj in

printy

etch'd

SATTISTA^ VlOLAy

GIO.

^^^

^^

by himfelt
a Mbgnefe^ born

Anno 1^76, was a Difciple of Hannibal Can achy

by whofe affiftance he arriv'd to an excellent man^

57"'

ner in Landtfchape-faintin^ywhidi he chiefly fl:udy'd,

and

for

^mcy and
Pope Gregory XV.

which he was well eft^em'd

feveral other parts

of

Italy,

But

having made him I^eeper of his

in

^Palace,

to reward

him for the SerVices which he had done for him,

when he was C^rJiW, he guitted his "Pewa/, and^^
died (bon after,

S/r

Amw

6 2 i.

^ETE(IifAUL(IimENSy

born

at Co-,

Anno 1577, was the befl: accomplifli'd of

all the Flemijh Mafters
and wou'd have rival'd
even the moft celebrated Italians y. if his ^armtSymftead of placing him under the tuition of Adojfh
logncy

VanKoorty and
in the

^man

fl:anding,

he

OB a'^io

Verms y had bred

and Lombard Schools,

made

which he fpent

fo

good

ufe

in thofe places,

him

up-

Yet notwith-

of that

little

time

that perhaps none.

of.

1577.

Modern Mafiers.

3^8
of

Tredeccjfors

his

louring

Fancy

?iobler

can boaft a more

or a

Inyent'ton^

more

th6r Compojttionsy of which

in

heaut'tful Co-

luxurious

a farther

fee

Bnc befideshis talent in P^maccount ^^. 125.

r/>g, and his admirable skill in ArchiteBure ^very
eminent

and Palaces
built after hisDe/gwj, at Gemua.)
He was a !P^rof all the Ornaments and Advantayc)?z poflefs'd
in the

can render a

ges, that

verfally

Learned^

perfectly,

Churches^

feveral

man

fpoke

was well read

"Valuable:

was

feven Languages
in Htjloryy

fo excellent a State/man, that he

feveral public Negotiations

uni-

very

and withall

was imploy'd

in

of great Importance j

which he manag'd with the moft refin'd Prudence

and ConduB, And was particularly famous for
the CharaBer with whigh he was fcnt into England^
of Embajfadour from the Infanta IjabeUa^ and Philip

IV. of Spainj to K. Charles

^eace between the

KJ30.

two Crowns

His principal

I.
,

upon a

TV^^if^ of

confirmed Anno

Performances are

in

the

^anquetting-houfe at Whitehall^ the EjcuriaVm Spain

and the Luxemburgh Galleries at !P^m, where he

was imploy'd by Queen Mirji of Medicisy Dowager of Henry IV. and in each of thofe three Courts
had the honour of i^?i/gk/?oo J conferred upon him,
befides feveral magnificent TrefentSy in teftimony

of his extraordinary

Merits-

His ufual abode was

at

Modern MaJIers:

5151:

where he built a fpacious Apartment^

in imitation of the (I(otunda at ^me^ for a noble
CoHeftion of l^iHures which he had purchased in
at Jnturerpy

fome of which, together with his Statuesy

Medalsj and other Anttcju'tt'tes^ he fold, not long.,
Jf<i/y

after,

Duke of 'Buehngham^

to the

He

Friend, for ten thoufand pounds.

higheft Efteem and

<S^futation

Endowments
cou'd

over Europe, for his

all

pa(s

that

no

through

Strangers
tfie

intimate

liv'd in the

imaginable, was-

as great a TatroHy as Majler of his Art

admir'd

his

and fo much

many

fingular

of any Quality

Low-Countrks,

till

they

^bensy of whofe Fame they had

heard fo much.
He died Jnno x 640, leaving
vaft Riches behind him to his Ch'ildreny of whom
had

firft

(een

Albert the Eldeft, fucceeded

him

in the

Ojfce

of jj^.

Secretary of State y in Flanders,

0%mO GEKTILESCHIy
a City
after

in Tu/canyj

he had

flourifli'd

made

himfelf

a Native of
in this

known

fPi/"^,

time: and
in Florence y.

and other parts of Italy remov'd

to SaVoyy from thence went to France, andatlaft,
upon his arrival in Englandy was fo well received
by K. Charles I. that he appointed him Lodgings
(pmey Genoudy

in his Court, together with a confiderable Salary,

and imgloy^'dhimin

his

Palace at Greenwich y and

other.

Modern Mafters.

320

He made

other public places.

m Face-paintings

buc with

little

feveral Attempts

fuccefs,

his Talent

lying alcogecher in Htfiorks^ with Figures as big

^i\\Q Life: In which kind, iovnt oihxs Compojlti-

met with

have defer vedly

ons

He was much in favour

ingham, and many others

great

with the

Duke of /<ct

oi the Nobility: and

twelve years continuance in

ter

Jpplau/e.

af-

Kingdom,

this

died An7io yEtat. 84. and was bury'd in the Queens

Chapel in Somer/et-houfe.

MJEMISU

GENTILESCHI his

Daughter,

exceU'd her Father in Tortraits^ and was but

inferior to

him

in

She

Hijlories,

little

liv'd for the

moft part at NapleSy in great fplendor and was

as famous all over Europe for her AmourSy and
:

Loye-Intriguesy

^^.A.,^

as for her talent in fainting.

F%AKCESC0 AUBJNI

<Bolognefe

born

1578. Anno 1578, wasaDifcipleof theC4r/'4c/?ej, well

vers'd in polite Learnings and excellent in all the
parts

of ^dinting

\ns performances \n

but principally admir'd for

little.

niu^ for naked Figures

plifli

He had
and

a particular Ge-

the better

to accom-

himfelf in that Study, marry 'd a beautiful

Lady of

whom

(Bologna,

(upon

with

little

all occafions)

or

no fortune 3 by

he us'd

to

defign

nahd

Modern Mafien.

321

naked Ventiss^ the Graces^ Nymphs, and other CodJejfes:

and by her

and dancing,

He

iiable.

Children little Cupids ,

in all the variety oi^ojlures imagi-

fpent

ploy'd alfo by the

fome time at %07ne^ was imGrand Duke of Tujcany but

,

composed moft of his Works

where he died, Anno \66o.
Difciples

pl^y^"g>

in his

own Country

His moft famous

wert^ier Francefco Mola, and Gio-Oattijla

his !Brothery

both excellent Mafiers in Figures and

^^

Landtfchapes,

F(I(ANCIS SNYDE(1(S, bom 2Lt Antwerp, Anno

1579, was bred up under Henry "Van ^alen his
Country-man but ow'd the moft confiderablc
part of his Improvement, to his Studies in Italy,
He painted all forts of Wdd !Bea/ls, and other Ani-

^579'

malsy Huntings,

Fifl?,

Fruit,

&c. in great Terfe-

was often imploy'd by the King of Spain,

and feveral other Princes, and evcry-where much
Bion

commended

for his Works*

DOMEKICO ZAMP1E<^, commonly

WMENICHINO,
1581, was

doVico,

and

of a Flemijh Mafter,
for a much better of

at firft a Vifciple

but foon quitted

the Carr aches

calPd ^^.^.a.^
born in the City of Sologna An, 1581.

his 5c/;oo/,

being inftru6ted at bologna by Lu-

at ^}?ie

by Hannibal, who had fo

great

Modern Majters.

"522

great a Value for him, that he took

fiance in the

Famefe

Gallery,

him to

his

ajjir

He was extremely

laho'

and flow in his TroduBions, applying himfelf

always to his work^kh much fiudy and thoughtful-

rious

and never offering to touch

nefsj

found a kind of Enthujtafmy or

him.

His

his Tencil

Infpiration

till

he

upon

talent lay principally in the correBnefs

Tapons and JfIn both which he was fo adfeBions of the M/^.

mirably judicious^ that Nicolo TouffJnj and Andreci
of

his Sfj/e,

and

in expreffing the

usM to fay,
Church of the

Sacchi

the

Communion of St. Jerome^ in

Charity^ and ^phaels celebrahis

ted Tiece of thcTransfigurationy were the

^iBures in

uB

^me.

He was made

two

the chief Jrchi-

of the Apofiolkal falace^ by Pope Gregory

for his great

skO

He was

in that .^rr.

bcft

XV.

likcwife

well vers'd in the Theory of Mujicy but in the TraBice of

it

had

little fuccefs.

tune to find Enemies in

He had

all places

the misfor-

where-ever he

came 5 and particularly at Naples was fo ill treated

by thofe of his own ^rofeffiony that having agreed

among themfebes

to difparagc

would hardly allow him

And were not

his

Works, they

to be a tolerable Mafieri.

content with having /rgto J him,

fome time, from

that City,

return thither, never

their trich

all

and

for;

but afterwards, upon his

left ferfecuting

cmtriy^nces they

him,

till

by

had quite weary*d

him:

Modem
him

Makers.

323

Anno 1641. Vtde pag, 223. ^.

His Contemporary^ and mod malicious Efiemy
out of

his Lifey

GIOSEP^E <^mBI(A,
in Spainy

a Native oi Fahuiay

commonly known by

STAGKOLETTOy

was an

Art'tjl

the

perfed

name of
in Deftgny

and famous for the excellent jnanner of Colouring

which he had learnt from Michael Angela da CaraVaggio.
His way^ was very often in Half- Figures
onely, and (like his Mafier) he was wonderfully
ftrid: in

following the Life

but as lU-naturd in

the choice of his SuhjeEiSy as in his 'Behaviour to

poor DomenichinOy affei^ling generally fomething

very terrible and frightful in his Pieces, fuch as Promethem with the Vulture feeding upon his LiVery Cato Uticenfis weltering in his own SlouJy St. Bartho-

lomew

Shn

with the

flea'd ojf

from

his

Body, See.

in all his Compojitionsy Nature

But however

much

was

znd Judgmenty that a

certain Lady big with Onldy having accidentally
caft her Eyes upon an Ixiony whom he had rcimitated with fo

Art

prefented in Torture upon the Wheel, receiv'd fuch

an

hnpreffion

from

it,

that (he

brought forth an

Infant with Fingers diftorted juft like thofe in his

^iSiure.

he

liv'd

His ufual abode was at Naples, where

very

vour with

the

fplendidly
Viceroy

being

Countrymany

his

much

in fa-

and

in

great

Modern Majiers.

324

great Reputation for his Works in

for feveral Prints ttch' i

/--s.>^..^

*-J^^*

by

his

own

GIOFJNNI LAlSlF%ANCO\
JW201581, was

^aint'mg^

and

hand.

born

^ama^

at

a Difciple of the Qrr^c/;^^, and

bcfides a zealous J?ir^r or of the Works of Raphael

and Correggio. }:]\s charaBer kc pag. ii^.

He
was highly applauded at Naples for feveral excellent pieces which he wrought there, and was fo

much

efleem'd in (^ome^ that for his Performances

was J^nighted
j^t. 66. ^^ ^^^ Vatican he
He died /^/2?io 1647.

57ST0 SJDJLOCCHI

by Pope

his

Hri4?z

VIIL

Fellow-difciple

and by the Infl:rud:ions of the

Garraches at !2^owe, became one of the beft D^He had alfo many other
figners of that School
was of Tarma

alfo,

commendable ^v^fei
but wanted Vilgence,
try

man

{Bibky
f<i?i,

He

Lanfranco

and

He

particularly

joyn'd with

Facility!^

his

Coun-

in etching the Hijlories

of th

after the Paintings

o( Raphael, in the Vati-

which they dedicated to Hannibal

pradtifed moftly, at Solognay

their Majler*.

where he died

Yioung^

SIMON VOUET,
15; 82:*

t^as

bred up

born

at ^aris,

Anno

to fainting under his Father,

jSir^

and

carry'd

Modern Mafiers:
young to
Embaflador, to draw

earry'd very

From

by

the French

the ^'tEiure of the

he did by

Senior y which
onely.

Conjlantinopk

^.25

ftrength

Grand

of Memory

thence he went to Venice^ and

terwards fettling himfelfat

made

(?(owe,

af-

fo confix

derable a Progrefs in his Art^ that befides the Fa-

vours which he rcciv'd from Pope Urban VIII.

and the Cardinal his Nephew, he was chofen 'PWce

of the ^man Academy of St. Luke.
He was fent
for home ^72wo 1627, by theorder of I.ei^wXIII^
whom he ferv'd in the quaHty of his chief fainter.
He pra(5lifed bosh in Tortraks and Htfioriesy and
furnifh'd fome of the Apartments of the LouVre^
the Palaces of Luxemhurgh and St. GermmiSy the
Galleries of Cardinal ^chUeu and- other publio
places with his Works^ His greateft TerfeEiion was
in his agreeable Co/on?ig, and his brisk^Lud livelyTencHy

being otherwife but very indifferently qgalify'd

had no Genius
\i\s

for grandCompcfitionSy

hCi^ention^ unacquainted

Eiivey

and underftood but

loursy

with the
littk

was unhappy

(J^les

up

he
in

otTerfpe-

of the Union of Co-

or the VoEirim of Lights and Shadows

neverthelefs he brought

feveral

eminent

yec

Scholars-^

amongft whom, was CHARLES ALFONSE du

F^SNO^y ^/<fW of the preceding f'oe/?!.. But
was

his chief Difciple

he had the
ing.

He

Honour

died An,

the

KJJSiG himfelf, who.rri

to inftrud in i\izArt of Defigih^Et,^ 5y.^.

64

S/-

Modern Mafters.

326

I'lETE^Il Van

r-^...^^,^

L AE% commonly called BAM-

was born in the

City o{ Haeyleniy Anno 1584: and after he had
laid a good Foundation mDraip'mg and ^erfpeHiVe
at bome^ went to France ^ and from thence to <I(ome
5
where by his earned application to Study ^ for Jtx-

1584. SOCCIO, or

the

(Beggar-painter^

teen years together,

he arriv'd to great ^erfehton

in HiJlorieSj Landtfchapes^ Orottos^

with

little

Huntings^ Sec,

and Animals.
He had an adColourings was very judicious in

Figures

mirable Gujlo in

the ordering of his ^ieces^ nicely ju/l in his Troporiionsy

and onely to be blam'd,

tally affedted to reprefent

for that he gene-

Nature

in

her worft

and follow' d the Life too clofey in moft of

He return d to Amflerdam^ Anne
Compofltions.

re/?,
his

1639, and after a fhort flay there, fpent the Remainder of his days with his 'Brother^ a noted
He was a Perfon very
SihoQlmafler in Haerlem,
ferious and contemplative in his humour, took Pleasure in nothing but Tainting and Mufic
and by
:

^t.

^
J.

indulging himfelf too

tirementy is faid to
1

have

in a melancholy 3^e-

fliorten'd his Li/e,

644.

a)(^ELIUS
*59^

much

fOELEKm^H,

bom

at

Anno 1590, was a Difciple oi Abraham

Slomaert, and afterwards for a long time, a S'fft-

Utrecht y

Modern Maf^rsi

^me and

dent in

His Talent lay alcogc-

Florence,

ther in frndl Figures^ naked

^insj

3:27

Soysj Landtfchapesy

&c

which hecxprefs'd with a 'Pewd/ agreeable enough, as to the Colouring part, but generally attended with a

ter

over

the (almoft)

/w/^*

much Labour and Neatnefs^

into England^ Anno 1657; and afof

parable Companion

He came

little ftiffne/s,

he had continued hcrt four years, and had been

handfomly rewarded by K. Charles I. for fcveral

2^/ecej which he wrought for him, retir'd into his

own Country y and died Anno 1667.

lvA/^CI
Gv^fer GIO.

FRANCESCO BA^IBSJ

CENTO, commonly

called

caufe of a C^/? which he

born near

'Bologna^

Anno

der (Benedetto Gennari

his

GUE^CINOy

had with

his Eyes)

da

n^j<.^

(be-

ijp.o-v

was

590, and bred up unCountry- man: by whofc'^

i

and the DiBates of his own excellent

GenitiSj he foon learnt to d'e/gw^r^c^yii/Zy and with
CorreBne/s; and by converfing afterwards with-

InftruEiionSj

the Works of Michael Angelo da CaraVaggio, became-^

and befides, very famousfor his happy Invention and Freedom of T^encily and
for the Strength, (J^eCeVo, and becommg Boldnefs-

an admirable

of

his Figures,

his Agty

Colouriji,

He

began, in the Declenfion

and (to
Multitude) took up another*

to alter his Style in fainting

pkafe the unthinking

oV

manner^

Modern Mafltrs.

328

mort gay

'manner

means fo^reat and

and

neat

noble as his

former

about
j^t.

76

number of his

'Solcgna,

Performances

^^^ highly commended for

ry Tietyy prudence and Morality,

^^^^^^

the Defcendent of a

bom2itJnJely, a

the Frewc/;

is

in,

and

?toble

Town

in

%7W/,

Normandy^ Anno

in

^idiments of Dejign at Taris,

home,

5?

4,

inftru(5ted

learnt

of Geometry^ TerfpeBiVe and

(?^owe, pra(5tife-d after

was

Family in Ticardy^ but

feafon'd in Literature at

principles

but

his extraordina-

He was
the

(^o;;;e

where he died, Jnno \666y very

NJCOLO fUSSINO,
'5?4"

He

Gu/io.

cornpos'd feveral x:onfiderable Tieces in

thegreateft

by no

but

pleafant,

the

Jnato??ty at

the Academy of

the L//e in

and ftudy'd the Anticjuities in company with the famous Sculptor Francefco FiammingOj
who was born in the fame year, and lodg'd in the
VomenichinOy

fame houfe with him. His way^

was
/(?er

in Hiflories^ with Figures

high

and

his Colouring

Antique than to Kature

moft

part,

about two or

^/;ree

for the

inclined rather to the

but in

all

of Tainting^ he was profoundly

the other parts

excellent

-^

and

particularly the Seauty of his Genius appear'd in

his nice

and

judicious

in his Compofitionsy

^nd

AfJeElions

Obferl^ation

and

of the Decorum

in expreffing

with fuch incomparable

the

^affions

ifo//,

that all
his

Modern Maflers.
his Pieces

and

fcem to have the very

Spirit

3 2^
of the ASHoHy

and Soul of the Terfons Vv'hom they

He had not been in <I(ome above Jixbefore his Name became fo un'iV erfally

the Life

reprefent.
teen years,

celebrated, that Cardinal <S^chlleu refolving to ad-

upon him
written to him

Vance the nolle Arts in France^ prevailed

(by means of an obliging

Letter^

by Lewis XIII. himfelf. Anno 1639) to return to

his own Country
where he was received with aJl
pofEble demonftrations oi EJleem, was declared
:

Firji fainter to the i^iwg,

Jion appointed
lic

had a confidcrable

him, was imploy'd

Works J and at

laft

in

Pm-

feveral pub-

undertook to paint the Grand

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 thence5
he quite laid afide the Thoughts of returning any
more to France^ and ended his days in <2^owe, Anno
x66<^
having for [omc years before his Deceafe^
of the LoWVre,

Gallery

been (o

of

his

much
unjieddy

fubjedtto ihcTalJiey that the effects

Hand

Tfejigns,

TlEJf^ TESTAj
Native

are vifible in feveral of his

^ .^^

his

Contemporary, was a

of Lucca^ a City in the

and fo miferably poor upon his

^ome, that he was fore d to make

rence,

at

Dukedom

Uu

firfl:

of

Flo-

arrival

the public
Streets

^^^ ^ ^

Modem

330

Makers.

and the Statues^ Suildings, (^wins, &CC. the Leffons which he ftudied.
He was
a Man of a ^/cA. Head^ a re^^ i^^w^, and a //Ve*
Streets his School,

nioft of his Performances : but yet for

/y S/^/Vif

in

want of

Science^

flrengthcn

and good
Genius^

his

d^w/ei to cultivate

thofe hopeful Qualities

all

foon ran to Weedsy and produced

MonfterSy Chimerofy

vagant Riwaw:

and (uch

?^/U]?^^.

and

loi.

like

little

but

elfe

wild and extra-

He attempted

very

makehimfelf per/eci^ in the ArtoiColouringy

but never had any Succefsxhzt way, and indeed
was onely tolerable in his VramngSy and the Prints
which he ctch'd. He was drown d (as 'tis generaloften to

ly reported) in the Tyher, having accidentally fall'n

fFfrom the
gain

his

!BanKy

as he

Haty which the

was endeavouring toreWind had blown into thc:

Water,

^^^
^

J 99'

Sir

AKTBOm VaK

Antwerpy Anno

mci^y was

born

at

599, and gave fuch early proofs

of hismoft excellent EndowmentSy thzt Rubens

his

would become as Uniyerfal as

himfelf, to divert him from HiflorieSy us'd to commend his Talerd in fainting after the L//e, and
took fuch care to keep him continually imploy'd
Maftery fearing he

in bufincfs

to

make

it

of that Nature, that he refolv'd

his fr'mctpal jludy

and

for his

at laft

Improve-

ment

Modern Majiers.
mcnc went

to Fenicey where he attain d the beauti-

ful Colouring

after

of

home

Taulo Veromfey Sec,

Titian^

kw years

return'd

fpent in

^mCy

Genoua and

And
Sicily^

to Flanders with a manner of Tain-

and

fo Hohley naturaly

ting,

531

eafie^

that

75tw him-

was hardly his Superior, and no other Majier

in the world equal to him for Portraits.
He came

felf

over into England foon

was

after

(^hens had

encertain'd in the Service of

who conceiv'd

King

left it,

and

Charles

I.

a marvellous efteem for his Works^

honoured him with Slight hood, prefented him

with his own TiElure fet round with Viamondsy
affign'd

to

him

him a confidcrable
for his Portraity

Tenjiony

fate

very often

and was followed by moft

of the Nobility and principal Gentry of the IQngdom,

He was a perfon low oi flaturey but wellproportiond'y very handfomcy modefly and extremely obliging

any

a great Encourager of

/^rr

degree.

all

fuch as exceltd in

or Science, and Generous to the very

He marry'd

the EngUp? Courty

one of the

laft

faireft Ladies

of

Daughter of the Lord (^uthen

Earl oi Gowry, and liv'd in State and Grandeur

anfwerableto her Birth; His

own

G^r^ was gene-

and Equippage magnificent, his ^tinue numerous and gallant, his Table very fplendid, and fo much frequented by
Teople of the beft (Quality of both Sexes, that his
rally

very

rich,

his Coaches

u 2

Apart'

Modern Majlers.

352

Apartments feem'd rather to be the Court of

Trince, than the Lodgings of a fainter.

fome

He grew wea-

ry, towards the latter end of his Life,

of the conti-

nued trouble that attended Face-^a'inting and being

;

defirous of innmortalizing his TSlame

glorious Undertakings went to

by fome more

^aris in hopes of

being imploy'd in the Grand Gallery of the LoWVre

but not fucceeding there, he return'd hither, and

proposed to the Kjng (by his Friend Sir I^enelm
Vigby) to
at

make

Cartoons for the ^mjueting houfe

Whitehall: the

been the
Trocefflon

fubjed of which was to have

of the Order of the Garter y the

of the IQiights in their HahitSy with the

Injlitution

Ceremony of their Injiallment^ and

But

his

Demands oi fourfcore

St.

Georges Feajt,

thousand pounds^

be-

ing thought unreafonable, whilft the Kjng was

upon treating with him for a lefs Summ, the Got

and other Viftemfers put an end to that^^^^^^^
and his ^ody was inand his L?/i?, Anno 1641
;

terred in St. ^auls

And

Church.

See farther, pag, ii6.

note, that amongfl: the Portraits of llluflriom

and publifh'd by the parti^

jEt. 42.^"'^^ dire(5lions of this Mafter^ fome were etch'd
in Aqua-forti^ by Fan Dyck himfelf.
^erfonsy Sec, printed

BENEDETTO CASTIGLIONE,
was

at firft

Genouefi,

Difciple of 'Battijla Taggi and Ferrari

his

Modern Mafters.
Countrymen

his

by

335

improv'd himfelf afterwards

Van Vyck (as long as he

continu'd in Genoua) and ac laft became an Imitator of the manner of Nicolo ^oujjln.
He was
commended for feveral very good Prints of his
the inftrudions of

own etching:

but

in^ ainting his Indmatiom led

to Figures, with Landtfchapes and Animals

him-

which

he touchM up with a great deal of Life and Spi-

and was particularly remarkable for a brisk

Pencil, and <l free handling in all his Compofitwns, He

rit,

was

a Perfon

very

in his

unjettled

Temper, and

never lov'd to ftay long in one place

continually
ter^d
nice,

upon

the

ramble,

but being

Works

lie feat-

up and down in Genoua, ^me, Naples, Ve^arma, and Mantoua, where he died.

riFUNO CODJZZO,

njNO

delle

generally call'd

T<I{pSTETTIFE, was born

gam in the Venet tan fcrYitoncs,

by

his

TZ-rv^^v^

at ^er-

J?mo \y^p

599.

and

the Inftrudions of Augujiino Tajfo his Matter,

arriv'd to

a raoft excellent jnojmer of painting

'Buildings,

(J^ins,

dec.

His ordinary Refidence

was at 5^0 we, where he died. Anno 1674, and

was bury^d in the Church of S. Lorenzo in Lucina*
He had a Son call'd. Kicolo, who purfu d his Fa-,
thers fteps, and died 2Lt Genoua, in great Reputati-y'f. 75,
Qnim\\isperfornwKts \r\fMpeiHiye,r,
^

-A:,.-

,;.

MA'

Modern Mafiers.

334

MA^IO NllZZI, commonly

^--A..^

^599'

caird

MA^IO

FIO^Ij born at On a in the Terra dt Sahma^ was

a Difciple of his Uncle Tomafo Sdltnty and one of
the moft famous Majiers in his rime for painting
de'

He

^me^

where he had fpcnt

yEt. 72. gr^^t part of his Life) and was alfo bury'd in S.
Lor en^^s Q\\mc\\y Anno 1671,
Flowers.

died in

MICHELANGELO
1600.

jj^

^mcj

Sc})ool

Anno

of Antonio

call'd delle

(^

CE(I(QliOZZI, was born

1600,

and

Salvatti,

(Bolognefe.

^ATTAGLIE, from

lent in ^Battels

but befides

up

bred

in the

He

his excellent

his great

skill

was

Ta-

in that

particular SubjeHy he wsLSYcry fuccefsfulinaW forts

of Figures^ and painted Fruit incomparably beyond

He was bury'd in the
jt. 60. ^^y Majler in Europe.
Choire of S. Maries Church in !2^owe, Anno 1 660.

CLAUDIO GILLE
1600.

of

LO^AJNy

born Anno

\6oo, was hy his ^are)its fent very young to

(I(ome 5 and after he had been grounded in the
Elements of Defign^ and the (I(ules of ^erfpeEiiye
under Auguftino Tajfo, he remov'd his Stw^* ^^ ^'^^
Sanks of the TJ'^er, and into the open Fields, took
all hisLeJfons from N4frf her felf, and by many
years diligent Imitation of that excellent Mtftrefs,

climbM up to

the highcft ftcp

of ferfe^ion

Landt-

35^'

'err.

and was univerfally admir*d

Landtfchape-painting:

for his pleajant

and moft

agreeable lu'Ventm-y

for

and the charming Va*

for his artful DitendernefSoi his Tmts
of the Lights and Shadows y and for his

the delicacy of his Colourings

rietya.nd

firibution

wonderful ConduByin
V4?2f^^e

difpojing his Figures for the ^J-

and Harmony of

much commended

for fevcral of his Performances

in fre/iro as well as Oj/,

ban VIII. and

many

ing their Palaces

his

was imploy'd by Pope Ur-

of the

Italian Princes in

and having by

Name famous throughout

and was interr^'d

in

He was

his Compojitiens.

in the

adorn-

his Pencil

made

Europe^ died An. 1682,

Church of Trinita

de Montiy jEt.

GASfJIiP DUGHET, was of Bench ExtraHe took

ftion, but born in ^S^me^ Anno 1 600.
to himfelf the name of ^OUSSlNy in gratitude
for

82

%omei

many

ducatioHy

who

Favours, and particularly that of

which he receiv'd from Nicolo

married

under

his Sifter.

his (Brother -in- LaWy

&c. but

Colours^

^encilsy

If^aintiHg

(oon difcovering

dufiry

and

his

His

firft

his

E-

Touffiny

Imployment

was

in

his

excellent Genius for

looking

after his

by his own iw-Brothers InftruBions was fo well imit felf,

prov'd^ that in Landtfchapes (which he principally ftudied) he became one of the grcateft Ma-*
Jiersi

"^'

Modern MajlerJ.

33^

and was much

fiers in his Jge-y

eajie

and

He
Et,

Judgment, regular Dijpojttion,

true <^femhlance of

Nature in

his

all

died in his great ClimaSlerkal year

67,^^^
f

Liyerition, /olid

in requeft^ for his

Works.

1663, and
SufamUy in

biiry'd in his ^arijh-Churchoi S.

^me.
In his

time,

SACCHI,

his

of Painting

'y

Ma/ler^ highly ex-

general Accomplip)ments in

more

but

extraordinary

skill

ANDREA

flourifh'd

^man

a celebrated

toird for

his

and

liv'd

all

particularly eminent for

in the

Elegatice

of Dejign,

Harmony of Order y and zhcSeauty of

the

His

Competitor

CO^^JVNAj was
this

time

the parts

Colouring,

9IEVI(P !BE^ETTINI
alfo

and much

da

of great confideration in
applauded for his magnifi-

cent Works in feveral of the Churches and Palaces

of ^ome and

and

Oyly

had a

Florence,

He

excelled

was profoundly read

and rich
beyond any of his
and grand Hijiorical
noble

both in Frejco

in the Antiquities^

Imagination,

and a Genius

Contemporaries,
Compofttions.

far

for Ornaments

He was

very

Pope Urban VIH. Innocent X.

ferjons of the fi,fl %ank in Italy,

well efteem'd by

and moft of

the

GE'

Modern Majlers.

GEE\A<^ WFy

born

337

at Leyden,

about the

"^^-^^

was a Difciple oi ^mbrandt^ but

much pleafantcr in his Style o( Tainting, and fuperior to him in little Figures.
He was cfteem'd in

year

1607,

Holland the bed Majler in

muft not expert to

ofTl^ought,
Spirit y

i\i2Lt

a.nd

way

his

*^^"*

and tho' we

find in his Works that Ele'Vation

CorreEinefS oi Dejign,

grand Gujlo, in which the

diftinguifh'd themfelves

from

orthatwoWe
Italians

the reft of

have

Mankind 5

muft be acknowledg'd, that in the Management of his Tencily and the Choice and beauty of
yet

it

hi sColourSy

he has been curious to the

degree

laft

and in finishing his Pieces y laborious and patient beyond example. He died circa Annum 1^74,
leaving behind

^flE^HJS the

him many

chief,

was

Scholars y

of

whom

in feveral rcfgeds equal

to his Majler. But for the reft of his Imitator Sy generally fpeaking,

we may

Form with the cumiing

Foolsy

them in the fame

mention d, pag, 135.

place

AD^SJAEK ^B^UWE^ was

ty oiHaerlemy Anno

1608

Streets,

his great

much beholden

took him from begging in the

and inJlruBed him

in

the

^diments of

make him amends for his kindSrouwer, when he found himfelf fufficiently

Tainting
nefs,

who

And

to

^-^

in the Ci-

and befides

Obligations to Nature, was very

to Frans Hals,

born

j^^

'

qua-

^A^^?^

Modern Makers.

338

away from

qualified to get a Liyelyhoody ran

Majler into France, and after a (hort

return'd,

and

at Antwerp,

fettled

his

flay there,

Humour was

was in little Pieces that

heus'd toreprefenc 'Boors, and others his dotcom*
panionsy drinking, fmoKing Tobacco, gaming^ fighting, dec, with a Pencil fo tender and free, lo much
proper Sphere, and

his

oT Nature

in his

it

ExpreJ/Ion^

fuch excellent Draw-

and good I^eeping

that none of his Countrymen

in all the particular farts,

ing

in the

ip/?o/e

together,

have ever been comparable to him in

jcd:.

ver

He was
his C^^/,

that

Sub-

extremely facetious and tleafant o-

woM

fcornM to

as

long as he had

any Money in his dockets, declar'd for a fliorc Life

and a merry one and refolving to ride <Po/? to
his Grave, Jpy the help of Wine and brandy, got
:

to his Jormiejs end, Anno

Contributions

the

wQtc

1638;

raised

to lay

fo very foor, that

him

privately in-

Ground, from whence he was foon

after taken

commonly faid) very handfomeby ^bens, who was a great Admirer.

up, and (as 'cis

j&.

roM

J^fcrr'd

of his happy Genim (or Tainting.

SAUUEL COOTE^,

born

in

London, A?mo^.

1609. i(5qp^ xvas bred up (togecher with his elder Brother J/exWcr} under the Gare and Difciplinc of
Mr. HosHns his Uncle : but derived the mod confiderable.

Modern Mafters.

539

from the Ohferyations whidi

he made on the Worh of Fan Vych
His Pencil
was generally confin'd to a Head oncly and indeed below that part he was not always fo fuccefsful as could be widi'd
but for a Face, and all
fiderabla advantages,

the dependencies of

the graceful

{V/;^.)

it

ing Air^ the Strength, ^lieVo

and

and hecomthe

noble Spirit^

and tender liVelinefs of F/f^ and Blood, and

the fooy^ and gentik management of the Hair , his
Tafewf was fo extraordinary, that for the Honour
of our Nationy it may without Vanity be affirmed,

foftnefs

he was (at leaft} equal to the

ans

mod

famous

Itali-

and that hardly any of his Predecejfors has ever

been able to fliew fo

much ^.erfeElion

in fo narrow

a Compafs. Anfwerable to his Abilities in this Art

was his skiO in Mujk and he was reckon d one of
the befl Luteniflsy as well as the moft excellent
:

Limner in

his time.

He

fpent

feveral

years of

was perfonally acquainted with

thcgreateftMen ofFr^Mce, Holland, and his own
Country, and by his Jfbr^j more univerfally known

his Life abroad,

He died Anno 1671,

in all the pars of Chriflendom,

and

lies

bury'd in ^ancras Church, in the

WILLIAM WBSON,
F^mrT)!

Alhansy

was born

in

Sc.

^*
'

a Gentleman defcend-

very eminent

ed of a

Fields,

(at that

Andrews

Xx

time) in

St.

Parifli, in Hoi-

hum.

<J^<5.

Modern Majiers.
Who firft inftrudled
1610.

340
bourn, Anno

the ufe of his ?^ewa7

well

afllir'd,

uncertain: of this

is

was put out very

that he

him in
we are
an

early

der in

one Mr. ^eake, a Stationer and TrafiBures 3 and that Nature, his beft Mijlrefi

inclin

d him

Apprentice to

fo powerfully to the praBice

that

ting after the Life,

anfwerablc to

been

as

his Genius,

his Education

beholden

be feen

come up

in all his

as Venice of her 77^/-

Van Dych

to the latter

How much he was

of thofe^re^f Men,

may

eafi-

Works 5 no fainter having ever

fo near to the TerfeElion of that excellent

Majier, as

happy

this his

prefenting

him

to

King

He was

Imitator,

Charles

alfo

of Van Vyck, in

farther indebted to the Generojtty

I.

who

into his immediate TroteSlion, kept

all the

been but

England might juftly have

proud of her Vobjon,

an, or Flanders of her

\y

had

of fain-

him

took him
in

Oxford

while his Majejly continued in that City

fat

him for his ^iSiure, and oblig'd

the Prince oi Wales Wince ^ipert, andmoftofthc
Lords of his Court to do the like.
He wasa/<ji>,
ftveral times to

Man, of a ready Wit, and pleajtng Conwas fomewhat loofe and irregular in his
'Verfation
way jq( LiVtng, and not withftanding the many Opfortunities which he had of making his Fortunes,
middlefiis^d
;

Mt> J7.

died \ cry poor, at

I

his.

hoafein

St.

Martins-lam, Anno

<^47.

Ml-

Modern Mafl^rs.
MICHAELAKGELO TACE, born Anno i(J
and call'd ii CAMTWOCLIO (becaufe of an
fice

which he had

FioraVanti,

in the Capitol)

was a

and very much eftcem'd

all

34.1
i

o,

Ofi

rsj^w^
'^^o-

Difcipic of

over

for his admirable Tafewf in paint'mg Fruit

Italyy

and the

Jim Life, He died in 3(owe, ^//wo 1670, leaving

behind him fw^o Sons y of whom G^'o. 'Battijla the
eldeft, was brought up to Hijiory pamtifig under
Francefco MoUy and is now in the Service of the
King of Spain But the other call'd Tietro, died
in his "PW/we, and onely liv'd jufl: long enough
to fhew that a few years more would have nude
him one of the greateft Maflers in the World.
:

SALVATO^S^ ^SJy
in

both the

Sifier-Arts

a Neapolitan.bornAn.

i <J 1

his

produced in

this

Centwy,

province was Satire ^ in the

Sattelsy

HaVens, &c. with

a Difciple of Daniele

the

firfl:,

latter, Landtfchapes,

littk Figures,

Falconi. his

of good repute 5 whofe

much improved by his Study
Artlji

In

He was

Countryman, an

infti:u(5lions

>

4,

of ^oefy and ^aintingy was

cfteem'd one of the moft excellent Mafters that

Italy \i2iS

he very

after the Antiquities^

and the Works of the moft eminent Tainters who

went before him. He was fam'd for his copious
zni florid hiVentiony for his profoujid Judgment in the
ordering of his ^iecesy for the gentik and uncommon
Wi-

"

4^^

Modern Majiers.

3^2

and

'-Management of his Figures y

ledge in all the parts

his

of ^aintmg

But

gave a more particular /lamp to

was
was

that

which

his Compojitionsy

of Tencily and the nehle

his i?imitahle Liberty

S)Vir

^eral B^ow-

with which heanimated

all his

Works. <l(ome

where he fpent the grcateft part of

highly courted and admir'd by all the

the place

his Life

Men of Note SLtid Quality and where he died Anno

having etch'd abundance of valuable Trints
^ ^^ 3 ?
y

jSt*

with

his

own hand.

GIJCOMO CO^ESIy
tery

commonly

the

famous 'BattApain-

The <BO<IiGOGNONE

caird

from the Country where he was born , was the Contemporary oiS abator %ofay and equally applauded for his admirable Gufloy and grand Manner of

He

fainting.

fant in Military

had for feveral years been converAffairs, was a confiderable Ojff?cer

made the Camp

and form'd
all his excellent Ideas from what he had ittnperHis Style was roughly nobky
fornid in the Field,
and (Souldier like) full of Fire and Spirit,
He rein the Armyy

cir'd,

towards the

Convent

of the

latter

hands of an

ill

end of

Jefuits in

forc'd to take SanEiuary

Sargainy

his Schooly

^ome
(as

his Life,
:

into the

where he was

they fay) to rid his

which he had unhappi-

ly got in a Wife,
Sir

Modern MaJIers:
TETE^ LELY was born Jtmo

Sir

where

Wejlfbaliuj

his

\6\7y

Father, being a

in

Captain^

happen d to be then in Garr'tfon,

He was bred up
for fome time in the Hague, and afterwards committed to the care of onede GrehberoiHderkm, He

came over mto

England, Anno

641

and

piirfu'd

the natural bent of his Genius in Landtfchapes with

fmall Figures y and Hfjlorical Compojitions

but find-

ing the practice of fainting after the Life generally

more encourag'd, he apply'd

traits

with fuch fuccefs, as in a

himfelf to Tor-

little

pa(s all his Contemporaries in Europe.

ry earned in

his

fur-

He was

ve-

younger days, to have finilVd-

the courfe of his Studies in Italy

finefs

time to

but the great bu-

which he was perpetually ingag'd, not

in

allowing him fo

much time;

amends, he refolvM

atlaft,

to

in

make

himfelf^

an excellent and

well chofen CoUeElion of the Drawings, Trlnts, and

9mnting$y of the moft celebrated Maflcrs, to bring

the

(I(oman

And what

and Lombard

home

Schools

to

him.

he reap'd from this Expedient,

was fufficiently apparent in that admirable Style
of Tainttngi which he formed to himfelf by dayly
benefit

converfing with the

Worh of

t\\tcorreBne[^oi)\\sJ)ratplng,
Colouring
Figures^

-,

tliofe

and

great

Men:

In

the beauty of his

but efpecially in the graceful Airs of

the pleajmg Variety of his

f^fturesy

his

and
his

Modern

34'f

his gentile negligence

which

oblig'd to his

all

happy

which he has

tern

and

manner of 'Draperies:

were

his ^redecejfors
Jrtijis

muft fland

LiVention, for the

noble Pat-

fccceeding

left

was recommended

loofe

few of

particular as

equal ro'him, fo

Maflers.

them

for

He

Imitation.

King Charles I.
by /Philip Earl of Tembrokey then Lord Chamberlain-, and drew his Majejiies ^iBurCj when he was
He wa5 alfo much in
Trifoner in Hampton-Court,
efteem with his Son Charles II. who made him
his ^ainterj conferred the honour of I\riighthood
upon him, and would oftentimes take great pleato the favour of

fure in his CofiVerfation,

which he found to be

greeablc as his ^e7iciL

He was

as a-

likewife highly re-

Ipeded by all the Teople of Emmence in the kingdom and indeed fo extraordinary were his riatural
J

and fo great his accpiird I^nowledgey that it

would be hard to determine whether he was a bet-

Tarts^

ter Tainter, or a

more

accomplip?'d Gentleman

whether the Honours which he has done

fejpony
it

Jrty certain

and

that he gain'd

tvery day,
JEt.

61

^^^

it is,

were

his

his bejl,

ground, and improv'd himfelf

even to the very Moment in which

'Death fnatch'd his Pencil out of his hand in

'pie flic Fit,

from

But as to

that his lajl Pieces

or

his !Pro-

or the Jhantages which he derived

were the moft confiderable.

an Apo-

Anno 1680.

SE-

Modern Mafters.
SEBASTIAN

^45

!BOU(I(pONy a French-many born ^^^^""^^

^ " * ?

Anno i6i^y ftudy'il feVen years in

^fney and acquired fo much Reputation by his
at Momfellier^

Works both in Hijlory and Landtfchape, that upon

his return to France^ he had the honour of being
the firjl

my

who was made

(?^g^or

of the

fI(oyal

of Tainting and Sculpture at Taris.

two years alfo

efteem'd,
troiie/i

ifi

He

fpent

Sweden^ where he was very well

and nobly prefented by

of Arts

Acade-

Qncm

Sciences y

Sitid

that great

Ta-

He jg(^ ^m

Chrijtina.

dkdy Anno 1673.

LUCA jO^ANOy
i6i6y and by

hi$

was born

in Naplesy

Anno

StuSes under Tietro da Cortona

at SJowe, joyn'd with his continu'd Application to all

noUe^mains of Antiquity y became one of the

beft accomplifli'd^and moft univerfal Mafters in his
the

time.

He was wonderfully

skilled in the praSlical

from his incredible Facility

and prodigious Difpatchy was call'd by his FellowHe was befidcs very
Taintersy Luca fa Trefto.
happy in imitating the different Styles of other

part of Defigningy and

great

of

Mw,

Titiany

and

particularly

iBaffany

foUow'd the manner

Tintorety Guidoy

in feveral of his Tiecesy that

it is

&c. fo

not the

talent

every fretender to Taintingy to diftinguifti

from

Originals

of

thofe

Hinds.

Yy

clofc

of

them

He was famous
for
,

*"^^'

Modern Mafters.

546^

many excellent
Florence: And being

for his

Terformances in

continually

^me

and

imploy'd in

and People of the ///y? Quality

over Europe, grew fo vaftly nV/;, that at his re-

working for ^rincesy

all

turn to Naples^ he purchased a Dutchy in that

<^om,

nnarry'd and

hVd fplendidly,

i^/g;-

kept a noble

and a numerous ^etinuey with Coachesy Littersy and all other imaginable Sf^fe. Being grown
0/J, he was earneftly prefs'd by the Viceroy to go
over into Spaiuy and fervc the t{ing his Mafter
He had no fancy for the /^()><i^e, and therefore rais'd
his Terms very high
was not content with twenty thoufand Crowns paid him down, and the Golden I^y given him, as Groom of the bedchamber ;
Palace,

but bcfides, having heard, that

of

St.

by

the Statutes

JagOj and the other Mditary Orders of Spainy

jtwsLsexfYcdy proyidedy that no Gamier flhould be

admitted into any of them, becaufc their Trofeffion

was generally look'd upon as Mechanic he refolv'd, for the Honour of his Jrty not to ftir a
foot, till he himfelf was firft made a I\night of
St. JdgOy and his two Sons Kj^ights of Alcantara
and CalatraVa. All which being granted, he fet
out for Madridy where he was receivM very kindly by the Kjngy and having adorn d the grand
;

Stair-cafe
tel

of the

Efcurialy

of St. ^intin^ (which

with the Story of the

is

(Bat-

perhaps one of the beft

things

Modern Mafiers.
things in

in this

its

kindy that has

Age) he

fell

belonging to that
too fevere for

^^7

been any where perform'd

to work

t^alace

upon the great C&wrcA

but the Climate being

his Conjlitution

of

!Bodyy

and

Mind not fo well fatisfy'd as at Naples^ he

and died in the Winter of the year 1 694.
In the fame year died
Af^/er equal to
ly that

him

little^

Jiclmed

1"^^^.^

FILIffO LAll^j

in all refpeds, excepting one-

by confining himfelf to fmall

Hiftories in

his

he contracted

his

and

figures^

admirable Ta-

a narrower Compafs. He liv'd for the

moft part in <^me'j and was highly valu'd for
the Riches of his Fancy y and the Accuracy of his Judgment for the Elegance of his Out-linesy and the
and for the graceful
Propriety of his Colouring

lent

into

Freedom of his, ^encil^ in

all his Comfofitions,

JOHN

^ILEYy born in the City of London^

Anno 1 646, was inftruded in the firft Rudiments of Tainting by Mr. Zouji and Mr. Fi7er,
but left them whilft he was very Youngy and
began to pradlifc after the Life yet acquired no
great %eputationy till upon the death of Sir Te:

ter Leiyy

his Friends

being defirous that he fliould

fuccecd that excellent Majier

King

Charles

II.

ingag'd

Mr.

y 2

in

the favour

CUff^nch to

fit

of
to

him

^4^-

Modern Maflers.

348
him

for his ^lEiure

which he performed

fo well,

upon fight of it, fent for him, and

having imploy'd him in drawing the Duke oiGraftons Portrait and foon after his owriy took him into
his Service, honoured him with feveral obliging
that the IQng^

Te/iimonies

of

his Efteeniy

and withal gave

CharaBer of his Worksy that he painted both

Outfide.

Q; Mary

Upon
to the

his

He

their

and

and

Ma-

which place he had not itithe preceding 3^egw, tho' K. James and

jefties Trhicipal

joy'd in

Infide

the Acceflion of K, Wtttiam

Crown, he was fworn

this

Taint er

Queen were both pleased to be drawn by

Hand.
was very diligent in the Imitation of Nature 5
his

and by ftudying the Lifey rather than following

any particular manner^ attained a pleafant and
moft agreeable S^y^ oi Tainting. But that which
eminently diftinguifli'd him from all his Contemwas his peculiar Excellence in a Headj
poraries ,
and elpecially in the Colouring part ; wherein fome
of his ^eicwwere fo very extraordinary, that Mr,
^ley himfelf was the onely Terfon who was not
charm'd with them. He was a Gentleman extremely courteous in

his 'Behaviour,

obliging in his

Connerfat ion, and prudent in all his Anions,

was a

He

an afFeiftionate Brother ^ a kind

He never was
Majlery and a faithful Friend,
dutiful &on,

guilty of a piece of Krfw>> (too

common amongft
Arttjis)

Modern Mafiers.
Artifts)

but

of faying mighty

himfelf with

contented

fpeak for

him

on

things

his

letting

3^^
own behalf,

Worh

his

which being plentifully diipers'd

over other Nations as well as our owuy were

deed everywhere very Eloquent in

on.

He

perfecuted
rible

had for feveral

by

the Gout-y

up

flying

AffaultSy

brought him to
ingly lamented

his

by

at

after

violently

many

ter-

into his Heady

laft

Graycy Anno

all

of being acquainted

his Commendati-

years been

which

in-

69

1 ,

exceed-

fuch as had the happinefs

either with

his ^erfon

Works.

FINIS.

or his jEt.

4 j.

350

ancient piaftets
Contain d

in the preceding

ACCOUNT
Cleopbantus,

A.
pag.
25*0

Cornelius

AreHius,

M5^
146
241
237
*33
150

Cydias.

Ariflides,

M5

ACttus

Trifcus,

Amphion,
Anttdotus,
Apelles^

Apollodorm.
Ardices.

Afclepiodorus,

ib.

M7

Athenion,

Thus,

Crato,

234
250
^33
242

D.
Dinias,

134
E.

Euchir,

2^31

Eumarus,

234

Euphranor,

241
240

Eupompus.
B.

235

Bularchus.

F.

Fahius Pidtor.

C
Cimon,

134
234

Ckanthes,

233

Charntas.

248

H.
Hygiemort.

234
Lh'

Ancient Mafters.
L.

250

Ludius,

351

Philocks,

^33

Polignotus Athenienfis

2'33

Thafms.

M.
Marcus Pacuvius.
Metrodorus,

249
244
249

Mjron,

2.37

Melanthius*

237

Polycletus,

23(J

Praxiteles,

242
243
245

Protogenes,
Pyre'icHs,

S.

N.

248
247
246

Neaicesl
Kicias,

Nicomachus,

Nkophanes,

ib.

P.

Paujias,

240
^35
239
241

Phidias,

2'3^

Tamphilus.

Fananus,
Parrhafius*

Saurias,

2'33

Scopas*

2^37

T.
Tekphanes,

2-33

Theomnefius,

24^
240
24^
250

Timanthes,
Timomachus,
Turpilius*

z.
Zeuxis,

h8

ispotimt

352

^oDem

:^aftecs.

A,

Francefco.

Giacomo.

ALhani.

-^

310

Alhert Durer.

Gio. Baitifta.

Bajfano

263

Girolamo.
Leandro.

''Mantegna.
Battaglie

Sacchi,

del Sarto.

Andrea<

Schiavone.

270
296

Battijia

KVerrocchia.

Anmlale Carracci.
da Meffina

AtttoneUo

Carracci.

Antonio

\da Correggio.
\More.

Tempefla.

Artemifia Gentilefchi.
Agoflino Carracci,

ib.

ib.

(M. Angelo.)3 34
Franco,
277

BeUino -l^"'"'I Giovanni.

.

Taffi.

291
289
291

^V^
ib.

2^9 Benedetto
3!
Yf^'*;.
CCaJttgltone. 332
308
256 Bordone (Paris.)
294
309 Borgognone.
342
264 Bourdon (^Sebaftian.) 345295 Brueghel ( Flu weelen.) 315
3oy
30^ Bril .J Matthew.
I Paul.
lb.
320
Brouwer.
306
337
Buonaroti (M. AngeIo.)265'

B.

Badalocchi f Sifto.)
Bandinetti (Baccio.)
Bamhcccio.

3M

Barocci (Frederico.)

297
263

C.
C

326

Benedetto.

Caltari <^
^Gabrielle.
,

Bartolomeo (Fra.}

.'

301
300

,,

( Paolo.

Camillo Procaccini,

ib.

299
310
Cam'

Modern Mafiers.

353

^Mhani.

320

Barhieri,

Cart Antonio Procaccm.}io

Annibale.
308
Antonio.
309

291
262
Carraccii
28^
lAgoftino.
306 Francefco^ Mazzuoli.
Frimaticch, 282
ib.
Lodovico.
Salviati,
288
Carava^io(MAT\gt\o?)l i j
F'awti.
C4/?/g//(7f (^Benedetto.) 33x
312
'yVecellio,
269
Cimahue,
2 5*3
Clausih GiJIe (Lorzlti) 334 /rjf (Battifta.)
277
Bajfano.

Francia.

(?

<'Lucchero.

264

Correggio,

Frefnoy

(Q Alphonfe.)

302
32 j

D.
VanteU da

Volterra,

G.

288

339 GaddiTGaddo.
\Taddeo.
321
Gafparo
Touffin,
r/i?//.
303
DomenicosGbirlanaah, 262

r>#^>.

Domemchino.

(.Tintoretto,
^^'^^

Drtfr (Albert.)

E.
Eljheinter.

Ercole ProcaccinL

293
337
263

Farinato (Paolo.)
^'^'PP^ \SeapolitaHo.

335

266
294
G^ir/Wj/^Domenico)262
Bajfano,
289
\Cortefi.
342
3 if Giaconto
Giorgio Vafari,

311

i//j

Tuntormo, 27 j

G/>. Battift a Bajfano,

F.

(Domenica)

ib.

Giorgione.

Tintoretto,

Fif/i

2;^^

292
291

303

32'5

19^

301

314

Giofeppino.

311

Giottino,

256

Giotto,

2^4

Zz

3H

Modern Makers
iJeSe Batti^tie."^ 34
29
Giulio Cefare P rocaceint. 310 Michel^ jBuoHoreti.
x6$
182 angeh jdi Campidoglio.^^i
^. ,. jClovio,
^"^"^ RmoHo.
( da Caravaggio. 313:
174
3^

Guercino da Cento.
iVfl/<f (Antonio.}
295-,
3 2,
Girolamo Bajfano.

CWi9

316

/?^/.

N.
H.
-fi&w HoWein

(Filippo.)

jN^^^^/zVtfwtf

183 mcola

14

*8^

^f/^^^'^^
^PuJItno.
328

I;

of Bruges^
Jordano (Luca.)

O.

7(^J?

345

o-'HKS*'Vecettio,

V9
269.

L.
Lanfranco.

Lauro (Filippo.)
Leandro Bajfano,
Lely {Sir PeterO
Leonardo daVincii
Lodovico Carracci,

^Jordano.

324
347

P.

Giovane,

fj/idi{^

Vecchio^
291
Paris
Bordone,
343
260 Parmegiano,
106
545

*-Signore/li.

Lucas van Leyden^

303.

287
294.

285
295
299
305;

^77

Pierino delVaga,

285-

Pietervan Laer,

32^.

Cda

33^
z6o

Cortona,

Wi Cofimo,
Ptetro^j.

Mantegna ^Andrea.)

T,

-'

Margaritone,

Marietta Tintoretta,

Mario di

Fiori,

Mafaccio,

Matthew

Bril.

*55
293
334
257
305

\Perugtno,

z6i

i^Tefla,

Pirro Ligoriov

289

Poelenhurch,

32d-

Polidoro,

279
271
282

Pordenone,'
Primaticciff.

Modern Maflersi
CCamillo.

310

355

Spagnoletto (Ribera.)

//ffwc-^Girr Antonio, ib. Sprouter,

ini
jErcole.
311
T.
C Giulio Cdare.3 10
Fmtormo (Giacomo.} 275 Taddeo ^ucchero.

3*1

298

(Andrea.)
3x8 tempefla (Antonio.)

30f

tefta (Pietro.)

329,

taffi

tintwetta rMarietta.)

Qulntin Matfys,

^isr

278

R.

TitianOi

RafaeSe da Vrlitio,

270

RicciarcUi (Daniele.)

288
247

nUey (John.)
Rotenhamer,

VaMHt (^Franccfco.)

330
3ir

f^i^ri (Giorgio.;

294

Rojfo.

280

1^7 Vdine (Giovanni da. J

(K"-

''-''

288 yinci (Leonardo da.)

301 Viola.

270
296

Vifviano.

Volterra (Danieleda).

288

345"

Vouet (Simon.)

3*4^

Verrccchio fAndrea.)

Sarttf(An6xt& del?)
Sehaflian Bourdon

Sehaftiano del

Ferotiefe (Paolo.)

276^

2^9'
ib

299
259
260
317

336

Schiavofte C Andrea.)

292
2^7

v;
F'an D)'ck;

Rulens,

Sacchi (Andrea.)
Salvator Rofa,

ib.

Piomh. 272

SignoreSi (^Luca.^

%$^

Memmi.

2 5" 5

^ifio Badalocchi

3 24

302.'-

Snyders,

321

298 i

'Simone

I.

Zampieri CDomcnico.) 3*1

&

ERRATA.
Page

line

vij

21

21
4

98

no
ib.

110
128

Inftead

of

Bambovio,
Ii6erataqi

Marg fofiturorum.

Read.
Btimboccio,
iiirrata^i

fojitttrartmt.

tranflucent,

18
17

Sifi. rule.

21

Neglefting the Copiers,

25 relcaion.
'4 43^. Precept.

60th. Rule.
The Copiers neglefting.
relation.

indi/habile.

i3//>. Precept,
en dijhabillee.

136

II

^h. Precept,

417?. Precept.

161

2
12
21

it

219
221
37

*54
315
319

M
12

comprehends.

comprehends.

his Brothers.

his Sons.

gentlenels.

gentilends.

great.

general.

BcffedtSilK,

BeneMaXh

^51 >EichlieM,
5J

RichelieH,

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