THE PAINTING OF THE ANCIENTS, in three Books: Declaring by Historical Observations and Examples, THE BEGINNING, PROGRESS, AND CONSUMMATION of that most Noble ART.  
And how those ancient ARTIFICERS attained to their still so much admired Excellency.  
Written first in Latin by FRANCISCUS JUNIUS, F. F. And now by Him Englished, with some Additions and Alterations.  
LONDON, Printed by Richard Hodgkinson; and are to be sold by Daniel Frere, at the sign of the Bull in Little-Britain. 1638.   

TO THE RIGHT HONOURABLE, THE COUNTESS of ARUNDEL and SURREY, my singular good Lady and Mistress.  
MADAM;  
AS the sweet and glorious harmony of your heroical virtues, in so high a birth, most happily conjoined and matched with the most illustrious Lord your husband, the very pattern of true Nobility, enforceth the world fare and near with honour and admiration to behold and renown you: so doth my condition require, that I within this little Britain world, in which we live, should unto your public glory add my particular testimony of your bounty and munificence, whereby I am engaged, above any other of your servants, to seek any means both to intimate my humble duty, and to profess my thankful mind to your noble family. Neither needed I go fare to find my occasion and subject; but even to make use of that, which in your service, and within the walls of your own house, I had produced: I mean my observations of the manner of painting in use among the ancients. For seeing your Ladyship upon the first sight of my Latin copy, was pleased to express your desire of having it Englished; there seemed a way to be opened unto me, of effecting that my serviceable intent: and the rather, because some things having passed therein, which (as one day teacheth another) in the review and more mature cogitation I wished might be altered, I thought best to begin that correction in this present Edition. Nor do I so much over-ween, but that I see and confess, that this translation befitteth rather the native fluency of one inbred, than the forced style of a foreigner; and therefore unto severe eyes it might seem an unpardonable presumption, to have taken upon me a burden so unfit for my shoulders to bear, and therewith to interrupt your higher conceits; yet feeling myself inspired with courage by the signification of your noble desire (which wrought in my heart, what an absolute command useth to work in others) I stoutly fell to my task. Wherein I doubt not, but that, if your Honour by a favourable construction shall judge me not altogether undutiful, though not precisely officious; others also will think that this my forwardness in accomplishing your desire, may make all pardonable, if not in some degree acceptable. Howsoever these rude and imperfect attempts of your dutiful servant, shall find their chiefest protection and perfection in wearing the fair and glorious livery of your most noble and worthy name. And thus humbly laying both myself and my endeavours at the feet of your Ladyship, to whom I wish all increase of honour and happiness, I ever remain  
Your Honours humbly devoted servant, FRANCISCUS JUNIUS F. F. From Arundell-house, Anno 1638. Mart. 28.   

PEr legi hunc Tractatum, cui titulus est, [The Painting of the Ancients etc.] in quo nihil reperio, quo minùs cum utilitate publicâ imprimatur: it a tamen ut si non intra tres menses proximè sequentes typis mandetur, haec Licentia sit omninò irrita.  
Rmo in Christo Patri, ac Dro D. Arch. Cant. Sacellanus Domesticus.  
Ex Aedibus Lambethanis, Mart. 28. 1638. GUIL. BARY.   

ERRATA.  
PAge 12, line 31. read haft. p. 79, l. 7. r. Himerius. p. 94, l. 25. r. checker-worke-like. p. 107, l. 6. r. Euphorion. p. 107, l. 7. r. scholiast. p. 138. l. 1. r. Oppianus. p. 177. l. 17. paroemiographers. p. 202, l. 12. r. Agatharchus. p. 214, l. 17. r. exposed. p. 217, l. 19 r. Cities. p. 286. l. 5. r. too. p. 286, l. 13. r. ingenuous. p. 287, l. 12. add can. p. 311, l. 8. r. accounting. p. 322, l. 20. r. fair. p. 324. l. 6. r. fitteth. p. 329, l. 12. add an.  
Whereas there be some few faults escaped in the marginal and other quotations, the Latin copy may give direction for amendment of the same.   

THE FIRST BOOK.  
THE ARGUMENT.  
MY purpose is, by God's assistance, to set forth the Art of painting, as in old times it hath begun, as it was promoted, as it came to that wonderful perfection mentioned in ancient Authors. The first book toucheth the first beginnings of Picture. The second book propoundeth divers means tending to the advancement of this Art. The third book speaketh of the main grounds of Art, the which being well observed by the old Artificers, made them come nearer to the height of perfection. As concerning the First book, after a general observation of the inbred delight men take in the imitation of the works of Nature, we do therein urge somewhat further, that this delight stirred up by our imagination emboldeneth itself, and still doth by little and little undertake greater matters, shunning only that same immoderate study of such foolish and giddy-headed fancies, as young beginners often are carried away withal. Seeing also that many Artificers seem to have drawn that same love of new-fangled conceits from Poets, I did not think it amiss to show what affinity there is between Poefie and Picture; adding upon the same occasion, how they are to prepare themselves that would willingly attain to some skill in judging the works of excellent Masters.  

LIB. I. CHAP. I.  
THe good and great maker of this Universe, created the world after so glorious and beautiful a manner, that the Greeks' together with the Romans, a consent also of the Nations persuading them thereunto 
* Plin. lib. II. nat. hist. ca 4. , have called it by the name of an Ornament. Moreover, Man, whom many ancient Authors 
* Manil. lib. IU. Astron. Galenus lib. III. de usu partium corporis humani. Nemesius ca I. de Naturâ hominis. Jul. Firmicus in praefat. libri Tertii Mathes.  call the little world, is not made after the image of God to resemble the wild beasts in following of their lusts, but that the memory of his original should lift up his noble soul to the love of a virtuous desire of glory. This opinion was of old grafted in the hearts of good men; neither do the learned only, but the vulgar sort also esteem the way of virtue to be the true way by which our mortal and transitory condition attaineth to an everlasting fame. But among such a number of virtuous courses as may serve to get a great and durable renown, every one doth most commonly deliberate with his own natural inclination. The one by a praiseworthy boldness undertaketh to compass with his understanding the unmeasurable measures of heaven, leaving unto the following ages a full account of the innumerable number of heavenly lights, as a most certain and sure inheritance, saith Pliny 
* Lib. II. nat. bist. cap. 26. , if peradventure afterwards any one would take upon him to be heir thereof. Another doth not stick to pry into the most profound mysteries of Nature; neither will he give his mind any rest till he hath in some measure conceived the nature of the floating clouds, the cause of thunder, lightning, and of all those things that above or about the earth do terrify the heart of man. He goeth about the search of those things with a very great confidence, as knowing himself to be placed in this stately theatre, to view and to consider all such wonders of God. Anaxagoras being asked to what end he was brought forth, answered; To behold the Sun, Moon, and Heavens; see Diogenes Laertius, lib. TWO, in the life of Anaxagoras. Yea what is man, I pray you, but a creature approaching nearest unto God, as Quintilian 
* Declamat. CCLX.  speaketh, and ordained to the contemplation of the things contained in the world; see also Arriani Epict. lib. 1. cap. 6. Dionies. Longinus de sublimi orat. § 31. I amblichus in Protrept. cap. 3. Although now Quintilian and all the other Authors speak very well to the purpose; Tully for all that cometh a great deal nearer to the point we have in hand; man himself, saith he 
* Lib. II. de Naturâ Dcorum. , is borne to contemplate and to imitate the world; not being any manner of way perfect, but only a small parcel of what is perfect.  
§ 2. As many then as are taken up with this kind of meditations, might seem to go fare beyond the ordinary sort of men, if they likewise were not left behind by them that do not only view but also imitate the wonders of Nature. The painters, saith S. chrysostom 
* Homiliâ in Psalmum L. , after the mixing of their colours, endeavour to set forth a lively similitude of divers visible things: thus do they paint reasonable and unreasonable creatures, trees, wars, battles, streams of blood, pikes, Kings, ordinary men; they make also a royal throne, the King sitting, a barbarous enemy thrown down under his feet, the points of spears, running rivers, goodly meadows: to be short, they prepare unto the spectators a very pleasant sight, whilst they study by the force of their Art to express all manner of visible things. The words of Isidorus Pelusiota are likewise worth noting; the Painters, saith he 
* Lib. III. epist. 161. , when they make bodily shapes of things without body, use sometimes to paint a lone hand which setteth a crown upon the head of the Princes of this world; signifying, that this sovereign power is given them from heaven. Socrates toucheth also the large extent of this Art, when he saith 
* Apud Xenophontem lib. III. Apomnem. , the Painter's study with their colours to express, hollow and swelling, dark and lightsome, hard and soft, rough and smooth, new and old bodies. Flowers, among all other visible things, show the greatest variety of colours; yet have the Painters attempted to express the same, as appeareth in the famous painter Pausias, who being in love with his Countrywoman Glycera, was the first that assayed to bring the Art to such a wonderful variety of colours as there is to be seen in flowers: for beholding sometimes how neatly she did make garlands, and being no less ravished with that dexterity ofhers then with her beauty, he could not but take the pencil in his hand to strive with Nature itself; see Pliny xxxv, 10. Apelles likewise painted things that can not be painted; Thunder and Lightning: see Pliny in the same place. It may seem then that Theophylactus Simocatus did cast his eye upon some such like relation, when he 
* Epist. 37.  maintaineth that Painters undertake to express such things as Nature is not able to do.  
§ 3. It remaineth howsoever, that among so many Art as do procure us everlasting glory, this Art is none of the meanest. And as it is a very great matter to carry in our mind the true images both of living and lifeless creatures, so is it a greater matter to work out a true and lively similitude of those inward images; especially if the Artificer doth not tie his imitation to some particular, though never so fair a body; but followeth rather the perfection of an inward image made up in his mind by a most earnest and assiduous observation of all such bodies as in their own kind are most excelling. Such as carve images, saith Maximus Tyrius 
* Dissert. VII , having gathered all that in several bodies is reputed to be fair, bring it by the means of their art in one singular imitation of a convenient, pure, and well-proportioned beauty to pass; neither shall you find in haste a body so accurately exact, as to compare it with the beauty of a statue: For the Arts do ever seek what is fairest. Ovid seemeth to point at this, when he doth describe Cyllarus, the fairest of all the Centaurs, he had a pleasing liveliness in his countenance, saith he 
* XII Metam. , and for as much as he was like a man, so came his neck, his shoulders, his hands, his breast, nearest of all to the praiseworthy images of the Artists. We are likewise to observe, that Philostratus doth very often compare the beauty of the ancient heroical Worthies with the beauty of artificial Statues, as you may see in his description of Protesilaus, Euphorbus, Neoptolemus, and elsewhere. If you do take a man brought forth by Nature, saith Proclus 
* Lib. II. in Timaeum Platonis. , and another made by the art of carving; yet shall not he that is made by Nature wholly seem statelier: For Art doth many things more exactly. Ovid expresseth the same, when he witnesseth 
* Metam. , that Pygmalion did carve the snow-white ivory image with such a lucky dexterity, that it was altogether impossible such a woman should be borne. Such Artificers therefore as carry in their mind an uncorrupt image of perfect beauty, do most commonly pour forth into their works some certain glimmering sparkles of the inward beauty contained in their minds: neither may we think this to be very easy; for, according to Apollonius Tyaneus 
* Epist. 19  his opinion, that which is best, is always hard to be found out, hard to be judged. It is also well observed by an ancient Orator 
* In Panegyr. Maxim. & Const. dicto. , that the imitation of a most absolute beauty is ever most hard and difficult; and as it is an easy matter to set forth a true similitude of deformity by her own marks, so on the contrary the similitude of a perfect beauty is as rarely: seen as the beauty itself. It was not unknown unto Zeuxis, saith Tully 
* In ipso statim initio lib. II. de Invent. , that Nature would never bestow upon one particular body all the perfections of beauty, seeing that nothing is so neatly shaped by Nature, but there will always in one or other part thereof some notable disproportion be found; as if nothing more should be left her to distribute unto others, if she had once conferred upon one all what is truly beautiful. Wherefore, when this noble Artificer intended to leave unto the inhabitants of Crotona a choice pattern of a most beautiful woman, he did not think it good to seek the perfection of a faultless formosity in one particular body; but he picked out of the whole City five of the well-favouredst virgins, to the end he might find in them that perfect beauty, which, as Lucian speaketh 
* In Hermotimo. , of necessity must be but one. So doth Zenophon very fitly to this purpose bring in Socrates his discourse held with the Painter Parrhasius, seeing it is not so easy, saith Socrates 
* Apud Xenophontem lib. III. Apomnem. , to meet with anyone that doth altogether consist of irreprehensible parts, so is it, that you having chosen out of every part of several bodies what is fittest for your turn, bring to pass that the whole figures made by your Art seem to be most comely and beautiful.  
§ 4. Out of this most absolute fort of imitation there doth bud forth the Art of designing, the Art of painting, the Art of casting, and all other Arts of that kind. So doth Philostratus 
* In prooemio Iconum.  also call this same Imitation an ancient invention, and altogether agreeing with Nature. The proof of which point could here most readily be drawn out of that busy eagerness we do see in almost all young children, that follow the tender imaginations of their rude and unexercised conceits in making of babies and other images out of clay or wax, but that we think it better not to trouble ourselves too much with the proof of a thing which is clear enough in itself, seeing every one may sufficiently inform himself concerning this point, who will but cast an eye upon the daily pastimes used among little ones. Let us only observe out of Quintilian 
* Orat. Instit. lib. II. cap. 17. , that all such things as are accomplished by Art, do ever draw their first beginnings out of Nature: as also, that the greater part of Arts, to use the words of the same Author 
* Lib. X. c. 2. , doth consist in Imitation: so is it likewise an usual thing in the whole course of our life, that we ourselves study always to do what we like in others: children follow the copies which are set them, until they get a perfect habit of writing: Musicians express the voice of their teachers: Painters imitate the works of their predecessors: husbandmen do frame themselves after the prosperous experience of them that tilled their ground with good success: and we do always in the first entrance of all kind of learning, order our labours after an example propounded unto us.  
§ 5. Neither may the great multitude of natural things that our Imitation busieth itself withal, put us in such a fright as to hinder our good endeavours; seeing it is no more requisite in this Art then in many other Arts, that we should after a most troublesome manner go over every little thing; as if it were not possible to attain to perfection, unless we did learn to imitate all things that are in Nature. Certainly, the large diffused nature of things cannot abide that a teacher should weary his scholars with such an infinite number of figures; and whosoever doth undertake any such thing, shall undergo these two inconveniences, saith Quintilian 
* Lib. V cap. 10. , as to say always too much, and yet never to say all. Thus may we very well be satisfied with the Imitation of the chiefest things, assuring ourselves that lesser things will follow of themselves. Polycletus, having made Hercules, did not find it a difficult matter to make the Lion's skin, or the many-headed water-snake. Phidias likewise, having made the image of Minerva, did not think it much to make up her shield. No body doth so excel in greater matters, saith Quintilian 
* Lib. II. cap. 3. , as to fail in lesser: unless Phidias by chance made Jupiter best of all, but that some body else should have been better at the making of such things as the work was to be garnished withal. The words of the incomparable Orator are remarkable; as in other Arts, saith Tully 
* Lib. II. de Oratore. , when the hardest things are propounded, there is no need that the rest should be delivered after a laborious and toilsome manner, as being now easy and resembling the things taught afore; so in the Art of Painting, if any one hath throughly learned how to paint a man, the same shall likewise know how to paint a man of what shape and age he himself listeth, although it may be he never learned to make any such figures apart by themselves: neither is it to be feared, that he who can paint a Lion or a Bull passing well, should not be able to do the same in many other beasts that walk upon four feet. This point is also confirmed in the following words of the most learned Quintilian; a Master must every day, saith he 
* Lib. VII. cap. 10. , by several examples show the order and connexion of things; to the end that by a continual practice, we should still pass on to things of the like nature: for it is impossible to propound all what may be imitated by Art: neither is there any Painter that hath learned to imitate all natural things; but having once perceived the true manner of imitating, he shall easily hit the similitude of such things as shall be offered him.  
§ 6. The first principles then of these Arts of imitation, do not demand an endless labour, but rather contenting themselves with a few very moderate and easy documents of meet proportions, do forthwith present us an open and ready access unto the most inward secrets of Art. And verily, the whole Art of painting, may wondrous well be comprised in a small number of precepts, which as they are in any wise necessary, so are they for all that to be delivered after a short and plain way. When there is on the contrary a great stir kept about the first rudiments of these Arts, it is very often seen, that young beginners are alienated from the Art, by reason of so diffused and intricate a manner of institution: their wits also, that had more need at the first to be cherished and encouraged, grow dull and sottish, being overwhelmed with a dry and barren multitude of fare fetched instructions: they do sometimes also, to the great hindrance of their good proceed, foolishly persuade themselves, that they are already as good Artificers as the best of them, though they have done no more but slenderly learned by heart, and practised but grossly, some disorderly precepts, that are boasted to contain the very pith and marrow of the whole Art: Many lively spirits at length are most pitifully turned away from their forward course, after they have enthralled themselves into such a mis-leading labyrinth of confused and intricate precepts, and having once lost that freeness of spirit, by which the Art is most of all advanced, they give over all good endeavours, they do stagger at every little occasion, not daring to departed one inch from the much admired and highly esteemed rules of Art. It is then expedient that we should not wander, but rather follow a settled short way, easy both for learners and teachers. Neither is it amiss, a beginner should strongly be possessed with this opinion, that there is a certain good way, in which Nature must do many things of her own accord without any teaching; so that the grounds of Art may seem not so much to have been found out by teachers, as to have been observed only by them, when excellent Artificers that followed the unpremeditated and unrestrained motions of Nature practised them. To what we have hither to propounded out of Quintilian 
* Ex prooemio libri octavi. , the words of Aquila Romanus may very well be applied, all things almost, saith he 
* De Figuris sententiarum. , that are contained in the first precepts, are put in practice by quick-witted men, not so much out of knowledge as by chance. It is left only that we bring to their works some kind of learning, and a great deal of attention, to the end that we might not only perceive such virtues as unawares they have imparted to us, but that we also might have them afterwards at command as often as occasion shall require. It is then a very poor and silly shift, to lay the fault of our own sluggishness upon the difficulty of the first principles: this pretence can avail us nothing at all: seeing these Arts do indifferently without any regard of persons, invite all studious hearts to take their fill of that sweetness they do afford. It is likewise a very unnoble and faint-hearted lithernesse, to suffer the heat of our most fervent desire to be cooled, by reason that some have to very small purpose taken a great deal of pains about these Arts; seeing the knowledge of all such kind of Arts, saith Sidonius Apollinaris 
* Lib. 11. Epist. 10. , is by nature more gorgeously precious, how less common.  
§ 7. Besides all this, there is yet another main reason why some are so loath to meddle with these Arts; for they can never see them brought to such a perfection, but that there is always something left, which requireth, if not mending, at least trimming and polishing. The faculty of Painters, saith Plato 
* Lib. VI de Legib. , knoweth no end in painting, but findeth still something to change or to add; and it is altogether impossible that beauty and similitude should receive such an absolute consummation, as not to admit any further increase. Thus do they decline the supposed toilsomeness of this Art before the least experiment; and they will not resolve to do any thing, because they do forsooth despair to do all. Neither is there any possibility to cure this overthwart humour of theirs, unless they do first learn out of Vegetius 
* Lib. II. de Re militari, cap. 18. , that all kind of work seemeth to be hard before we do try it. They must secondly, consider what a vehement efficacy there is in man's wit; wheresoever you do bend your wit, saith Sallust, it will prevail. Maximus Tyrius likewise, what is there, saith he 
* Dissert. XVIII. , which the all-daring soul of a man cannot cunningly find out, when she hath but a mind to it? They are thirdly, to mark how great a matter they go about. The reward of their labour, if they do not shrink and play the cowards, shall be an Art of Arts, an Art no less profitable than glorious. It is a most shameful thing, saith Tully 
* Circa initium libri primi de Finibus. , to grow weary, when the thing we study to obtain is of great worth. The which if we do rightly conceive, we shall also more readily entertain this opinion, that the way is not unpassable nor difficult. For the first and greatest aid cometh from our will: and if we can but bring an unfeignedly willing mind to these Arts, the worst will be past; seeing the things we are to learn, may be had by a few year's study. The only reason that maketh the way to seem long and tedious, is, because we do nothing but haste and draw back at the least shadow of difficulties, suffering our courages to be daunted with the imagination of a wrongly conceived hardness. Let us but think the institution short and easy, and we shall find it easy enough. And if we do perhaps by the way light upon some hard and difficult matter, it may quickly be made easier by an orderly and discreet way of teaching. But now is the first and greatest fault in the teachers, that do most willingly detain their disciples about the first principles: partly out of covetousness, that by so doing they might the longer enjoy their gains: partly out of ambition, that so it might seem the harder what they themselves profess: sometimes also out of mere ignorance and negligence. The next fault is in the scholars themselves, that had rather stay and dwell upon those things they do know already, then to proceed further to what they are as yet ignorant of. We do moreover shorten our own time, fooling the greatest part of our best hours away among a company of prattling visiters; besides that stageplayss, banquets, cards and dice, unnecessary journeys, the immoderate care of our pampered carcases, rob us also of a good deal of time that might be better husbanded: not to speak of wanton lusts, drunkenness, and other such like beastly vices, by the which our distempered bodies wax altogether unfit to make good use of so small a remnant of our time. This then being our daily practice, yet are we for all this wasteful lavishness of our youthful days not ashamed to complain that the Art is long, the time short, the experience hard and difficult; three lives, in our opinion, are too little that we should in them attain to a perfect knowledge of these most copious Arts: whereas on the contrary, if we would make good use of our good leisure, we should rather thankfully confess that we are not in want of time; and if we do lack any, that it is long of the idle pastimes and brutish lusts we are given to; seeing not the days only do afford us time enough, but the nights also; whose length is abundantly able both to quench our desire of sleeping, and also to stir up our fantasy by a silent quietness. Even as in travelling such men as go their way readily without any delay, come to their Inns as soon again as others that setting forth at the same minute do by the way wander up and down to meet somewhere with a refreshing shade, or a delectable water-spring; so is there in matter of Art an unspeakable difference between lazy lingerers and active spirits. Let us then take heed of so gross an error, as to judge of the difficulty of these Arts by the time of our life, and not by the time of our study: for if we do but order the time of our youth wisely, if we do not turn aside unto any idle and time-wasting sports, we shall find time enough: neither may we pretend any want of means, that should help us to attain to the perfection of these Arts, for if we do consider it right, we shall be forced to acknowledge with Quintilian 
* Lib. XII. cap. 11. , that antiquity hath furnished us with such a number of Masters and examples, that no age may seem happier in condition of birth, than this our present age; seeing all the former ages did not think it much to sweat for our instruction.  
§ 8. For as much then as it is most evident that the principles of these Arts are not too hard, and likewise that we are not in want of time, some do for all that play the modest men, alleging for an excuse the perfection of these Arts to be such, that they may not without a great presumption hope to achieve them, yea that it is wholly impossible to be perfect in them; Serveth for answer: that it is not repugnant with the nature of things that somewhat should be done now, which in former times as yet was never done; seeing all such things as now are great and notable, have had also a time they were not. Neither is there any reason why we should slack our endeavours, having besides the help of a reasonably good wit the advantage of a healthful body, as also the guiding of a trusty teacher: and though we cannot mount up to the highest top of perfection, yet it is something for all that to stick out above the rest in the second and third place. It no is small glory, saith Columella 
* Lib. XI. de Re rust. c. 1. , to be made partaker of a great and worthy matter, how soever it be but a little you do possess. It doth then appear how weakly and preposterously they do argue, that esteem it idleness in a man to bestow great pains, where he knoweth aforehand that it is impossible to attain to the highest perfection. This is a poor and slender argument, I say, seeing that such as heretofore in the opinion of all the world, have been the best and most renowned Artificers, should never have obtained the glory of that name, if taking courage they had not hoped still to do better than the best of their predecessors; and though by chance it were not in their power to overtake and to outrun the best Artists, yet did they always strive to come so near as to tread upon their heels: beside that we may daily see how an indifferently good practice of these Arts is very near as profitable as the most perfect Art itself. Though now it were an easy matter for us to show that these Arts almost in all ages have carried the chiefest sway in the favour of great Kings and Potentates, that likewise by this means besides the due reward of glory, they have got themselves an infinite mass of wealth; yet do we esteem the mention of such rewards to come far short of the worthiness of these Arts, and of the sufficient contentment they do find in themselves. But of this we shall speak elsewhere at large. It is left only that all such as think well of these Arts, should aspire unto the excellency of the inestimable Arts themselves without any by-respects: which doing, they shall undoubtedly reach the highest step of perfection, or atleast be lifted up to such a height as to see a great many left underneath their feet.  
§ 9 It is an ordinary practice among Poets to call in the first entrance of their works upon the Muses, craving of them such a readiness of invention and utterance, that their Poems gushing forth as out of a plentiful water-spring, might with a gentle stream refresh and charm the hearts and ears of astonished men. The Artificers may likewise, before they do go about this work, very fitly salute the sweet company of the nine learned Sisters; not so much to ask of them a good and prosperous success of what they take in hand, as well to observe out of the proper signification of their names the several steps that lead a Novice into the right way of perfection. The first of the Muses, saith Fulgentius 
* Lib. I. Mythol. , is named Clio, which name she hath out of a Greek word, signifying fame: and by this name there is infinuated unto us the first and greatest motive that stirreth in us a desire of learning: seeing the knowledge of good Arts and Sciences doth extend our fame to the memory of late posterities. The second is Euterpe, that is, full of delight; for as we do first seek knowledge, so do we afterwards delight in seeking. The third is Melpomene, that is, settling of meditation; for as there followeth upon our first resolution a desire to effect what we have resolved upon, so doth there upon this resolution follow an attentive earnestness to obtain our longing. The fourth is Thalia, that is, apprehension; for it is ever seen that the apprehension, in a mind not altogether uncapable, doth follow upon the earnestness of attention. The fifth is Polymnia, that is, the remembrance of many things; for it is most of all required after the apprehension, that we should perfectly remember the things rightly apprehended. The sixth is Erato, that is, finding something like; for it may justly be expected, that the Artificer after a well-remembred knowledge, should invent something of his own, not unlike the things apprehended and remembered by him. The seventh is Terpsichore, that is, delighting in the instruction; for it doth follow upon the invention of new matters, that we should judge of them and discern them cheerfully. The eight is Urania, that is, heavenly; for we do after this care of judging make choice of such things as are fit to be further wrought upon, leaving the rest; which is the work of a high and heavenly wit. The ninth is Calliope, that is, of a good utterance. The whole connexion is thus linked together. The first degree is, that we desire knowledge: the second, that we delight in this desire: the third, that we do eagerly follow the thing we thus delight in: the fourth, that we do apprehend the thing followed: the fift, that we remember what we once apprehended: the sixth, that we do invent something like unto the remembered apprehensions: the seventh, that we examine and discern our inventions: the eight, that we choose the best of those things we have judged and discerned: the ninth, that we do well express the things well chosen.   

CHAP. II.  
BEsides this newly-mentioned imitation of natural things, by whose means Artificers do express all kinds of visible things after the life, we are also to mark another sort of imitation, by which namely the Artificer emboldeneth himself to meddle also with such things as do not offer themselves to the eyes of men: and although the chiefest force of this Imitation doth consist in the Fantasy, so must we for all this thank our eyes for the first beginnings as well of the Fantasy as of the Imitation itself. For the inward Imaginations that do continually stir and play in our minds, cannot be conceived and fashioned therein, unless our eyes some manner of way are made acquainted with the true shape of the things imagined, or at least that we have felt them with some of our senses. Our mind, saith Strabo 
* Lib. 11. Geogr.  maketh up the conceivable or intelligible things out of the sensible: for as our senses do certify us of the figure, colour, bigness, smell, softness, and taste of an apple; so doth our mind out of these things bring together the true apprehension of an apple: so falleth it likewise out with great figures, that our sense seethe the parts of them, but our mind putteth them hole figure out of those visible parts together. The mistius doth wonderful well express all this: the fantasy, saith he 
* Paraphr. in lib. III. Arist. de Animâ, vide quoque ejusdem Themistii parap. in Arist. de Memoriâ & reminiscentiâ Maxime tamen Alexandrum Aphrodisiensem lib. 1. de Animâ. , is like a print or footstep of sense: for as a leaver moved by the hand moveth a stone, and as the sea stirred by the wind stirreth a ship, so is it no wonder at all that our sense should be subject to the same: for our sense being stirred by outward sensible things, and receiving the shape of such things as do stir it, stirreth also in perfect creatures another power of the soul, commonly called fantasy: whose nature is to lay up the prints delivered her by sense, and to seal them up after so sure a manner, as to keep still the footsteps of the same, after that now the visible things are gone out of our sight.  
§ 2. So doth then this same most fertile power of our soul, according to Plato his opinion, yield two sorts of Imitation; the first modleth only with things seen, whilst they are set before our eyes; the other on the contrary studieth also to express things prefigured only and represented by the fantasy. Some Artificers, saith Proclus 
* Lib. II. in Timaeum Platonis. , can imitate the works of others most accurately; where as other workmen have rather an inventive quality, to devise wonderful works for the use of man: so hath he that first made a ship, fantastically conceived a platform of what be meant to make. The same Author goeth yet further; whatsoever is made after a conceived or intelligible thing, saith he 
* Ibidem. , is fair whatsoever on the contrary is made after a thing generated, is not fair. For he that maketh any thing after intelligible things, must needs make it like the conceived things, or else unlike: if he doth make it like by imitation, so is it that the imitation of necessity shall be fair; seeing there is in the conceived things a principal beauty: but if the Imitation be unlike, then doth he not make it after the conceived things; seeing he doth more and more swarve aside from the similitude of what is truly fair. Likewise he that maketh any thing after the example of things generated, shall never, as long namely as he doth fix his eyes upon them, attain to what is perfectly beautiful; seeing the things generated are full of deformed disproportions, and far remoted from the principal true beauty. Hence it is that Phidias, when he made Jupiter, did not cast his eyes upon any thing generated, but he fetched the pattern of his work out of a Jupiter conceived after Homer's description. Other famous Writers, besides Proclus, do also very much harp upon this string, urging always Phidias his example as an infallible rule of Art: and it seemeth by their words, that they held Phidias to be so excellent an Artificer, because he had a singular ability to imagine things invisible after a most majestical manner. Nothing is in my opinion so beautiful, saith Tully 
* De perfecto oratore. , but we must always conceive that to be fairer from whence the former, even as an image was wont to be made after a face, is expressed; which cannot be perceived by our eyes, nor ears, nor any of our senses, since we do apprehend it only by thought and mind. Hence it is that we can imagine something fairer yet than Phidias his images, although our eyes cannot behold any thing fairer in that kind. Neither did that same Artificer, when he made the images of Jupiter and Minerva, fix his eyes upon one after whom he should draw such a similitude; but there did abide in his mind an exquisite form of beauty, upon the which he staring, directed both his Art and his hand to the similitude of the same. There is then in the form and shape of things a certain perfection and excellency, unto whose conceived figure such things by imitation are referred as cannot be seen. Plato, a most grave Author and teacher, not of knowing only, but also of speaking, doth call these figures Ideas. To this place of Tully, we must by all means add the words of Seneca the Rhetorician; Phidias saw not Jupiter, saith he 
* Lib. X. Controver. 5. , yet hath he made him as thundering. Minerva stood not before the eyes of the Artificer; his mind for all that, worthy of such an Art, hath rightly conceived the Gods, and exhibited them. We may learn also out of the same Author how great a difference there is between the Artificers that do work after this manner, and the others that do but imitate things present. This same majesty can then only be expressed, saith he 
* Lib. VIII. Contro. 2. , when our mind forseeth and forecasteth the whole work. Philostratus propoundeth all this more at large in that same most learned discourse, between Apollonius Tyaneus and Thespesion, the chiefest of the Gymnosophists. The words of Philostratus 
* Lib. VI de vitâ Apollonii, cap. 9  are worth rehearsing. It is so, saith Thespesion, that Phydias and Praxiteles climbing up to heaven, and there expressing the several shapes of the Gods, have afterwards applied them to the Art, or is there something else that hath taught these Artificers to counterfeit. Something else, replied Apollonius, and that full of wisdom. What is that? saith Thespesion again; seeing you can, besides the Imitation, name nothing. Phantasie, answered Apollonius, hath accomplished these things; an Artificer fare exceeding Imitation in wisdom: for Imitation doth work out nothing but what she hath seen: Fantasy on the contrary doth take in hand also what she hath not seen; for she propoundeth unto herself unknown things with a relation to such things as are. A certain kind of astonishment doth also often hinder our Imitation; whereas nothing can disturb the Fantasy, being once resolved to follow undauntedly what she undertaketh. As for an Artificer that meaneth to conceive in his mind an image not unworthy of Jupiter, the same must see him accompanied with the four seasons of the year, with the constellations, with the whole heaven: for such a one did Phidias then imagine. He likewise that doth intent to make an image wherein there might be perceived some resemblance of Pallas, must see her with the look she hath at the marshalling of great Armies, or when she busieth herself about devices of counsel and inventions of Art, yea he must propound her unto himself as she came gallantly leaping forth out of Jupiter his brain.  
§ 3. We do see then plainly that the Artificers stand very much in need of the mentioned Imaginative faculty: and although we must ingenuously confess that they do not so much want it, who content themselves with the Imitation of visible things, following stroke after stroke; for the exercise of this same faculty doth more properly belong unto such Artificers as labour to be perfect, studying always by a continual practice to enrich their Fantasy with all kind of perfect Images, and desiring to have them in such a readiness, that by them they might represent and resemble things absent, with the same facility others do express things present: yet shall we more strongly be convicted of the necessity of this same exercise, if we take this into our consideration, that Artificers are often to express such things as can but seldom, and that only for a little while be seen; as namely, the burning of a City, of a village, or else of a company of scattered cottages; the miserable confusion of them that run their ship against a rock; the bloody skirmish of a drunken merciless crew, dying in a most horrid hurlie burlie on heaps. It is most certain that we do but seldom meet with such spectacles, neither do they stay our leisure to let us take a full view of them; all is but a flirt, and away. It is left therefore that our Imagination should lay up carefully what she hath seen, still increasing her store with Images of things unseen, as fare forth as it is possible to conceive them by a relation of what we sometimes beheld. What shall we do, saith Seneca the rhetorician 
* Lib. X. Controvers. 5. , if we are to paint a battle? shall we arm two several parties, to see them discomfit one another? must we needs see how a sad and dejected multitude of captives cometh drooping after the lascivious shouting, though all beblouded conquerors? as if the greatest part of mankind had better perish, than the Painter fail.  
§ 4. It is then not only profitable but also necessary, that an Artificer should by a daily practice carefully provide himself of such kind of Images, as might be ready at his call when he is to imitate things absent, and such things as never came before his eyes: and we shall with much ease attain to this, saith Quintilian 
* Orat. instit. lib. VI c. 3. , if we are but willing: for as among the manifold remissions of our mind among our idle hopes and wakeful dreams, these Images do follow us so close, that we seem to travel, to sail, to bestir ourselves mightily in a hot fight, to make a speech in the midst of great assemblies, yea we do solively propound all these things unto our minds, as if the doing of them kept us so busy, and not the thinking: shall we then not turn this same vice of our mind to a more profitable employment? Furthermore, saith the same Author in another place 
* Orat. instit. lib. I. ca 1. , as birds do delight in flying, horses in running, wild beasts in fierceness, so is the quick stirring of our mind most proper unto us: whence it ariseth also that our soul is believed to draw her original from heaven. As for blunt and indocible wits, it is certain that they are as little brought forth after the nature of man, as prodigious and monstrous bodies; but these are very few. It serveth for proof, that there is most commonly in children a sweet-promising hope of many things perceived; the which in process of time decaying and perishing, doth manifestly show that there was no defect of nature in them, but only want of care. It is then very well agreeing with nature, that we should cherish and turn to the best that same aptness which is in us to imagine strange things: and we shall better be able to follow this exercise, if we do now and then, having first banished our ordinary cares, affect retired and solitary places; because Fantasy bestirreth itself most, when round about us there is no other stir to hinder our Imaginations: but seeing it is not always in our power to meet with such a retiredness as is most of all, besides the quietness of our mind, to be wished; yet are we not upon the least disturbance instantly to give over the exercising of our Imaginations: for how shall we be able publicly in a crowd of many spectators, and among the noise of many forward censurers to maintain the sincerity and clearness of our judgement, if any little thing putteth us out? Wherefore we shall do well at the first to strive against all such inconveniences, as Quintilian speaketh 
* Orat. Instit. lib. X. ca 3. , accustoming our mind to such a steadfast constancy of conceiving, as to overcome all other impediments by the earnestness of our intention: for if we do altogether bend this same intention upon the things conceived, our mind shall never take notice of any thing the eyes do see, the ears do hear. Do not casual and ordinary deep thoughts bring many times to pass that we cannot see them that run full but upon us, and that we do sometimes stray from the way we are very well acquainted with? So is it then more likely that a purposed resolution may do the same. Neither are we to give way to all such occasions as may serve for an excuse of slothfulness: for if we begin once to think that there is no time of studying, but when we are sufficiently refreshed, merrily disposed, and free from all other cares, we shall ever find some pretences of laziness. Let our Imagination therefore among multitudes of people, in journeys, in banquets withdraw itself to some secrecy.  
§ 5. As many then as will not spend their labour and time in vain, must not think it much to take some care and pains about the furnishing of their minds with all manner of profitable Images. Our wardrobes, when they are once filled up, can take no more, saith Cassiodorus 
* De Animâ. cap. 12. , this treasury of our mind is not overloaden in haste; but the more it hath put up, the more it craveth: so is it also, that all such as have filled this same store-house of theirs, find upon any sudden occasion all kind of Images ready at hand; whereas others, that have not made provision of them, are then first with an unseasonable and most unprofitable study to seek them when it is time to use them; being most like unto those unprovident unthrifts, that are fain to shift for themselves from time to time with scraping and raking, because they never took any care how to attain betimes to a sure and settled patrimony to live by. Philopaemen, a very famous and wise General of the Achaeans, being esteemed a most experienced Captain in martial affairs, hath by his own daily practice propounded unto the Students of any liberal Arts whatsoever a most forcible example of this same provident care. Philopaemen had singular skill in leading of an Army and choosing a fit place where to pitch the camp, saith Livy 
* Lib. xxxv, àc. c. , neither had he in times of war only exercised his mind to it, but also in times of peace. If he among his travels did chance to meet with a forest wherein he saw some difficulty, having viewed on all sides the nature of the place, he would forecast within himself if he went alone, or inquire of others if he had any company about him, what if the enemy should appear in that same place assailing his forces at the forefront, at either side, or from behind, what course were then best for him to take? He did likewise bethink himself that his enemies might come upon him in a battle array ready to fight, or else meet him after a confused and disorderly manner; so did he then consider or inquire what place was fittest for him; how many armed men, and what kind of Armour (holding that point also considerable) there might be required for present use, where he should bestow the baggage, together with the unwarlike multitude, as also with what and how great a troop he might guard them. Furthermore, did he look about whether he had better march on in his way, or else go back the same way he came; where he should lodge his Army; how much ground his rampires should ask; not neglecting in the mean time to spy out a convenience for watering, as also where his forces might have good store of fodder and wood; which way and in what order he should remove his camp the next day. With these cares and imaginations had he from his youth so exercised his mind, that nothing in such a case could be new unto him. There is no need of many words about the application of so notable an example, seeing it may serve very well for a most pure & perfect lookingglass, wherein all those are to behold themselves that desire to be excellent in any Art. We are then by all means to bring a due and convenable preparation, as to all other Arts and Sciences, so likewise to these Arts of Imitation; and although we cannot at all times and in all places draw and paint, our mind for all that can prepare itself always and every where. Thanks be to God, saith Ovid 
* Lib. III. de Ponto, Eleg. 5. , our mind hath leave to go any where. Our mind compriseth in the space of few hours most large and very wide diffused matters. Our mind cannot rest, but it findeth in the midst of our most earnest occupations some spare time for the nurturing of Imagination. Our mind findeth in this same most profitable exercise no small help by the darkness of night itself, then chief awaking our speculations when sleep beginneth to fail us; neither doth she then only digest the conceived things in some kind of order, but bringeth the whole Invention so fare, that nothing more but the hand of the Artificer seemeth to be required to the perfection of the work.  
§ 6. Although now it be manifest enough, that it is no hard matter to stir up our Imagination, yet may we not hope to get this same rare quality in one instant; seeing it doth require at the first some labour to settle our wild scattered thoughts, and to bring them to a custom of insisting upon any one intended Imagination, till we have met with some right well conceived and steadfastly abiding Images: then are we by little and little to increase this store, studying always to work out a lively similitude of what we have conceived: for without this same ability of expressing the conceived Images, is all the former exercise of our fantasy worth nothing; and it were a great deal better to follow sudden and unpremeditated conceits, saith Quintilian 
* Orat. Instit. lib. X. ca 6. , then to be troubled with such Imaginations as do not hang handsomely together. Forasmuch then as it hath been sufficiently proved in this present Chapter, how great reason we have daily to augment and to cherish the strength of our fantasy, so may the necessity of this same practice as yet more be enforced upon us, if we do consider that our Imitation is most commonly better or worse, according as our Imaginations are more subtle or gross: and as it doth not agree with a refined and well conceived fantasy to express the things imagined after a homely fashion, so is it ever seen that generous and lofty conceits do lead our Imitation to a most hopeful boldness. But of this more at large in the next Chapter.   

CHAP. III.  
THe Art of Painting hath been about the time of her infancy so rough and poor, that Aelianus, speaking of the first beginners of this Art, doth not stick to say 
* Var. histor. lib. X. c. 10. , that they were forced by reason of their unskilfulness in painting, to write by the several figures expressed in their Pictures, this is an ox, this is a horse, this is a tree. The great interpreter of the mysteries of Nature witnesseth also 
* Plin. nat. hist. li. xxxv. cap. 3. , that the first Picture hath been nothing else but the shadow of a man drawn about with lines. It is likewise related by the greatest part of ancient Writers, that all the statues before Daedalus his time, have had a most unpleasant stiffness, standing in a lifeless posture with their eyes closed up, their hands hanging strait down, their feet joined close together; and because Daedalus was the first that gave his works some life and action, by making them after such a manner as that they did seem to stir their hands and feet, hence it hath been reported of his works, that of their own accord they would go from one place to another. Athenaeus 
* Circa initium libri xiv Deipnosoph.  telleth us at length a pretty tale of one Parmeniscus, who after he came out of the hole of Trophonius could never laugh, looking always with a sad unmoveable countenance. Wherefore thinking it a most irksome thing to be bereft of that same common joy of other men, to the Oracle he goeth, where Apollo maketh him an answer, that by mother's gift he should be filled with laughter. Thus made he as much haste home as possibly could be made, confidently believing that upon the first sight of his own mother he should obtain his desire: but all in vain; for the presence of his mother changed him never a whit, and he was still the same. He maketh afterwards upon one or other occasion a journey towards the Island Delos, viewing round about all what was worth seeing in so famous a place; and having met with a world of rare and memorable sights, it came in his mind that among such a number of rich and artificial monuments confecrated unto Apollo, the statue of his mother was like to be a singular good one. But being entered into the Temple of Latona, and finding there contrary to his expectation, an old wooden and very much misshapen image of the Goddess; he also contrary to his hope burst out into a loud laughing. It would be wonderful easy for us to prove here with more examples how pitifully poor and ridiculous the first works of Art have been, if reason itself did not teach us that it could not be otherwise, seeing there is nothing, as Tully speaketh 
* De Claris oratoribus. , both invented and finished at a time. Arnohius urgeth the same after a more ample manner, the Arts, saith he 
* Lib. 11. adversus Gentes. , are not together with our minds sent forth out of the heavenly places, but all of them are found out here in earth, and are in process of time soft and fair forged by a continual meditation. Our poor and needy life perceiving some casual things to fall out prosperously, whilst it doth imitate, attempt, and try, whilst it doth slip, reform, and change, hath out of this same assiduous reprehension, made up small sciences of Arts, the which it hath afterwards by study brought to some perfection.  
§ 2. Seeing then it cannot be denied, but that the first beginnings of Art have been very poor and imperfect, it appeareth likewise that they could not much be advanced by a bare Imitation: for although Imitation was able to bring a studious Novice to such grounds of Art as had been put in practice by them that were before him; yet for all that never could any Student, that did profess himself a mere Imitator, go further than his predecessors had gone already. And sure it is that these Arts would always have been at a stay, or rather grown worse and worse, if Phantasie had not supplied what Imitation could not perform. Wherefore it cannot be amiss to consider here a little how unprofitable and hurtful it is that we should tie our endeavours to a kind of servile Imitation, without raising our thoughts to a more free and generous confidence. Such as never endeavour to stand upon their own legs, saith Seneca 
* Epist. 33. , follow their predecessors, first in such things as were never called in question, afterwards in such things as do require further search. It is in the mean time certain that we shall find nothing, if we do content ourselves with what was found already. He likewise that followeth the steps of any other man, doth even as much as if he did follow nothing at all; neither doth he find any thing, because he doth not so much as seek any thing. Mark also with us the following words of Quintilian; Nothing, saith he 
* Orat. instit. lib. X. ca 2. , doth receive any increase by Imitation alone; and, if it had been altogether unlawful to add anything to the former, there should be as yet no other Picture but such a one as did at the first express the uttermost lines of the shadows which bodies make in the Sun. If you do run over all the Arts, you shall find that no Art hath contained her within the narrow bounds of her beginnings; neither have we any reason to think that these our times only should be so unfortunate, as that nothing now can wax better: it is then requisite, that such also as do not covet to be the first, should for all that rather study to outgo then to follow: for he that striveth to go before, may by chance keep an even pace with the foremost, although he cannot outrun him; whereas on the contrary, he can never keep an even pace with any one whose steps he meaneth most carefully to follow; seeing he that followeth, must needs be the last. So is it for the most part easier to do more, than even just the same: for there is such a difficulty in similitude, that Nature itself hath never been able to bring to pass that things most like one unto another should not be discerned by one or other difference: besides that whatsoever beareth the similitude of any other thing, must of necessity come short of the thing it doth resemble; seeing the things we take for examples of our Imitation, do contain in themselves the true strength and liveliness of Nature; the Imitation on the contrary, is ever feigned and sometimes also corrupted by some kind of forced affectation.  
§ 3. Having but now learned out of Quintilian, how small profit the Novices of these Arts receive by mere Imitation, it followeth that we should likewise observe out of the same judicious Writer, how great hurt new beginners receive by such a slavish custom of imitating: a great many, saith he 
* Lib. V c. 10. , being entangled in those inevitable snares, have lost also the best endeavours their wit could suggest them; and looking back after I know not what Master, they have forsaken the surest and best leader, Nature itself. Seeing then Quintilian doth not without great reason forewarn us to take good heed that we should not too much accustom ourselves to a strict course of Imitation, lest we might by this means lose and put clean away the ready suggestions of our own natural wit; it can do no harm to propound here, for confirmation of this point, a few other places collected out of approved Authors; if perchance by the consideration of them some good motions could be infused into our hearts. It is impossible to excel in any thing, saith Dio Chrysostomus 
* Orat. Lxiv. , unless we do strive with them that are most excellent. Continual labour would be good for nothing, saith Quintilian 
* Lib. III. cap. 3. , if it were unlawful to find out better things than are found already. Whosoever meaneth to learn any thing, saith another 
* Author Rh. ad Herennium, lib. IU. , must not think it impossible that one man should go through all. It is most shameful, saith Quintilian 
* Lib. I, c. 10. , to despair of such things as may be effected. We do see that Arts and all other Sciences are gone forward, saith Isocrates, not by their means that contain themselves within the compass of things once settled, but by the means of such as go about to mend some thing, stirring always what in their opinion is not yet right. Time hath found out and mended many necessary things, saith Synesius 
* Epist. 57 . All things are not made after a pattern; nay all things that are made, have had their beginning; and before they were made, they were not at all: whatsoever is more profitable, must always be preferred before the things accustomed.  
§ 4. Others perhaps may more be taken with some other of these alleged places, the words of Synesius run most of all in my mind, where he urgeth that things done by course of custom must always give place when there are found out things more profitable. Neither can I forbear upon this occasion to follow a little the steps of the most wise and discreet Quintilian, seeing he disputeth in sundry passages very much to our purpose. Some do always creep near the ground, for fear of falling; they do shun and loathe all delightfulness in painting, allowing of nothing but what is plain, mean, and without any endeavour. Neither can these weak and miserable Artificers give the least reason why such dainties do not agree with their palate; for what crime is there, I pray you, in a good Picture? doth it not advance the Art? doth it not commend the Artificer? doth it not move the spectator? All this cannot be denied: and therefore do they not plead any thing for themselves, but that it is a way of painting not used by the Ancients. Whatsoever is not done after the example of Antiquity, goeth against their stomaches. This pretence might seem plausible enough, if they did express what Antiquity it is they appeal to: for it is not to be believed that they mean the first times of the newly invented Art: it being most certain that Phydias and Apelles have brought many things to light, their predecessors knew nothing of: neither can any man think well of Praxiteles and Protogenes his works, that would have us follow the Art of Calamis and Polygnotus without varying from them in the least stroke. And although some of the ancient Masters that came nearer the first times have followed a commendable kind of plain and sure work, yet have the following added unto this plainness of theirs divers ornaments that did stick out in their works, even as clear shining eyes use to do in a fair face: but as bodies that are every where decked with eyes, obscure the beauty of the other members; so do many Artificers now adays drown the pure brightness of their Pictures with too much bravery: if then we must needs follow either of both, it is fit that we should prefer the dryness of the Ancients before that same new licence our times have made choice of. But now need we not come to this, as to tie our Imitation to either of those; seeing there is a certain middle way to be followed; even as to the first simplicity of food and apparel there hath been added an unreprovable kind of neatness. The first for all that we are to observe, is, that we study to avoid gross faults; least in stead of being better than the Ancients, we should only be found unlike. Quintil. lib. VIII, cap. 5.  
§ 5. As many then as desire to express the principal virtues of the best and most approved Artificers, must not content themselves with a slender and superficial viewing of the works they mean to imitate, but they are to take them in their hands again and again, never leaving till they have perfectly apprehended the force of Art that is in them, and also thoroughly acquainted themselves with that spirit the Artificers felt whilst they were busy about these works, it is not possible that out of a rash and raw observation, there should ever arise a good and lively Imitation: even as we never use to swallow down our meat, before it be sufficiently chewed and almost melted in our mouths, seeing this is the way to help our digestion, and to have it quickly turn into most wholesome blood. We must also for a great while imitate only the best, and such other Artificers as are like least of all to deceive our trust reposed in them: but we are to do it most advisedly and carefully; because it is often seen that the best Masters do purposely hide and conceal their own virtues: neither may we presently think that all we do find in great Masters is perfect: for they slip sometimes unawares, they yield and stoop under the burden, they cocker their forward wits too much, they are not always attentive, otherwhile they grow weary also: they are the greatest Artificers, but yet men: and it falleth out very often that such as rely too much upon them, imitate for the most part what is worst in their works; thinking themselves to be like enough, when they have only expressed the vices of their much admired Masters. Many things might be added to this point, neither should we leave it so, if we did not esteem it more needful to repeat a little what we have touched before; to wit, that such things as do deserve to be most highly esteemed in an Artificer, are almost inimitable; his wit, namely, his Invention, his unstrained facility of working, and whatsoever cannot be taught us by the rules of Art 
* Quintil. x. 2 : so do we also receive no small benefit out of the hardness of this matter, seeing the consideration of this same difficulty doth advise us to look somewhat nearer into the works of excellent Artificers; neither can we resolve to run any more with a quick eye carelessly over them after we have once perfectly understood the great force of their virtues by the pains we are to take before we can either understand or imitate them aright. Quintil. X. 5.  
§ 6. We are then to observe here two things: the first is that we make a good choice of the Artificers we mean to imitate; seeing many do propound themselves the examples of the worst: the second is that we do likewise consider what we are most of all to imitate in the chosen Artificers; seeing we do meet also with some blame-worthy things even in the best Artificers: and it were to be wished, that we did as well hit their virtues better, as we use to express their vices a great deal worse. As for them that want no judgement to discern and to shun the faults of great Masters, it is not enough they should express a vain and forceless shadow of such virtues as are most of all admired in others; for our Imitation is then only to be commended, when it doth after a most lively manner set forth in every particular the true force of the work imitated: whereas rash and inconsiderate beginners fall to work upon the first sight, before ever they have sounded the deep and hidden mysteries of Art, pleasing themselves wonderfully with the good success of their Imitation, when they seem only for the outward lines and colours to come somewhat near their pattern: and therefore do they never attain to that power of Art the originals have, but they do rather decline to the worst; embracing not the virtues themselves, but their neighbour vices: they are puffed up, not stately; starved, not delicate; temerary, not confident; wanton, not delectable; negligent, not plain: the practice of them that go about to imitate the most ancient pieces by a dry and hard manner of painting, may serve us here for an instance; seeing they do only express the outward show of simplicity, never regarding what treasures of Art there lie hidden under this same sober and temperate way, used by the ancient Masters. Quintil. X, 2. To be short; a good Imitator standeth in need of learned and well exercised eyes; not only, because hidden things cannot be seen unless they are first searched out; but also, because the things apparent are very often so cunningly contrived and joined, that none but quicksighted Artificers and teachers can perceive them. And this is the true reason why these Arts do always at the first require the help of a faithful Master, who may sincerely acquaint us with such things as deserve to be imitated, who may teach us, who may mend what is done amiss, who may direct us, who may inform us by what show of dissimilitude the similitude of things nearly resembling is to be concealed: for a good Imitator must by all means be a concealer of his Art, and it is somewhat too childish to follow the same strokes and lineaments in all things. Though now in the opinion of some it may be held a praiseworthy thing to express Apelles his Venus, Anadyomene or Protogenes his satire, & though in their judgement it deserveth no blame to fit our works so accurately with the same colours and shadows, that they may seem to come nearest unto the similitude of such absolutely accomplished patterns; it is for all that a greater matter to express in Achilles his picture the very same Art which was by Apelles represented in the picture of Alexander. We must therefore endeavour first of all that there seem not to be any similitude; and if there appeareth any, our second care must be that it may seem to be done purposely: which is the work only of learned and well-experienced Artificers: and is then chief to be done, when by a most laudable contention they do hunt after a certain grace of hidden similitude in such things as should be like in nothing but in the manner of handling.  
§ 7. It is then required here that we should not only bend our natural desire of Imitation towards the best things, but that we should likewise study to understand wherein the excellency of the same things doth consist: the which having diligently performed, we shall by the same means perceive how necessary it is that we should duly examine our own ability and strength, before we undertake the Imitation of such works as do excel in all kind of rare and curious perfections. There offer themselves almost in every good Picture many things hard to be expressed, not only because they are beyond our power, but sometimes also because there is in us a certain unableness of imitating such things as do not very well agree with our natural disposition: for every one hath within his own breast a certain law of nature, the which he may not neglect; so are also the most ill-favoured and graceless Pictures most commonly wrought by them that venture upon any thing without considering to what their natural inclination doth lead them most of all: neither can it be otherwise but notorious gross errors shall be committed by him that having but an ordinary wit, meaneth to busy himself about the imitation of things only commendable for the strength of wit contained in them: contrariwise such as have an untamed force of wit, and consequently a bold and audacious readiness of hand, are like to spoil both themselves and their work, if they endeavour to imitate pieces done by them that bring a soft and gentle hand to the inventions proceeding out of a mild nature: soft things are so warily to be mingled with things that have a certain kind of hardness, that we do not overthrow both the virtues by an unadvised confusion: and it hath ever been esteemed an unseeming and foul mistake, to express tender and delicate things after a harsh and rough manner. Out of all this are we moreover to observe that it is an unadvised thing to tie our Imitation to one Master alone, though never so great: seeing there is not one among a thousand whose conceits and manner of work do altogether agree with our inclination and temper. Apelles was questionless the most complete among all the other Artificers, yet have some of the old ones excelled him in one or other particular quality: and although in his works is to be found what is most laudable, nevertheless did not the ancients judge that he who most of all was to be followed, was also to be followed 〈◊〉 and in all things. What then? is it not enough to do all things as Apelles did? certainly, there is good reason why we should think it sufficient if we knew how to attain to it: but seeing it is not possible that any one man should come so near him as to express all such virtues as by a peculiar instinct were proper unto him, so can it do no hurt to add to that same highly esteemed grace of his the successful audacity of Zeuxis, the infatigable diligence of Protogenes, the witty subtlety of Timanthes, the stately magnificence of Nicophanes. For as it is the part of a wise man to borrow of every one what he knoweth best to agree with his own natural inclination, so is it seldom or never seen that the works of one man should fit our humour in all things; seeing also that it is not permitted us to express one Master in every particular, it seemeth to be a very good course that we should fix our attentiveness upon the virtues of several great Masters, to the end that something out of the one and something out of the other might stick to us. Quintil. X. 2.  
§ 8. What we have propunded already is of such importance, as that it deserveth to be repeated again and again: neither do we care what others think on it, seeing we are upon good grounds persuaded that the true following of a rare Master's Art, doth not consist in an apish Imitation of the outward ornaments, but rather in the expressing of the inward force. It concerneth us therefore not a little to mark narrowly what a singular Grace the old Artificers have expressed in their works, what hath been their intent, what cunning and circumspect discretion they do show in their disposition, how likewise the very same things that might seem to be only for recreation, prepare them a ready way to an everlasting fame: till we have rightly searched and understood every one of these things, it is to very small purpose that we should go about any such thing as to imitate the old deservedly renowned masters. If any one on the contrary can add so much to these observations, as to make up what lacketh in the ancient Artificers, and likewise to detract what is superfluous in them, him shall we esteem to be that same long looked for, and perfect Artist, the which besides a great many other commendations, shall not only be said to have deprived the former ages of the enjoying of such a glory, but he shall seem also to have snatched away from the following ages the very hope of so glorious a title. 
* Quintil. X, 2.  Seeing then that this is a main point of Art, we have also stood a little longer upon it, not doubting but all reasonable and judicious Readers will not dislike the same digression drawn out of several passages we find in Quintilian.  
§. 9 Having therefore understood out of the former words of Quintilian, that a perfect Artist is to join to this care of Imitation all the virtues he hath of his own, we are by this warning, as by a hand brought back again to that point from which we did somewhat digress, finding ourselves in a manner compelled to approve of the most learned Varro his judgement. Apelles, Protogenes, and other excellent Artificers deserve no blame, saith he, 
* Lib. VIII. de LL.  for refusing to follow the steps of Mycon, Diores, Arymnas, and some other of their predecessors; Lysippus also hath not so much followed the errors of the former masters, as the Art itself: neither is this to be marvelled at; seeing their Fantasy conceived without any example did fill them with more accurate Images of things, than ever had been invented by all the masters before them; so would all the world also have judged it in them a renouncing and forswearing of wit and discretion, if the prime spirits of the world had preferred the love of a blameworthy consuetude before better inventions. It is clear then, what singular benefit we do receive, and how much these Arts are advanced by a well-ordered Imagination; for it is brought to pass by her means that the most lively and forward among the Artificers, leaving the barren and fruitless labour of an ordinary Imitation, give their minds to a more courageous boldness; and scorning themselves any more to be tied to such a slavish kind of Imitation, they stir up their freed spirits to go further than others have done before them: every Art, saith Epictetus, 
* Arriani Epict. lib. TWO, cap. 13.  hath a certain kind of steadfastness and hardiness in such things as do concern her.  
§. 10. There is then questionless some Perfection of Art to be attained unto; neither may we think it impossible but that we as well as any body else can attain to it; and although the highest step of perfection were denied us, yet are they likelier to lift themselves up higher who resolve to strive and to take pains, than such as at the first beginning are driven back by a faint-hearted despair: an open field is fit for Art, saith Quintilian, 
* Orat. instit. Lib. V, cap. 14.  than a strait footpath: she should not be collected out of narrow pipes, as fountains usually are; but rather overflowe whole valleys, after the manner of broad rivers, making herself a way where she findeth none: for what is there more miserable then to be always tied to a set kind of imitation, even as children do follow the prescribed Letters? a right Artificer must therefore banish all unseasonable fear, and go on stoutly in his work: a sure way, deserveth to be commended only; saith Plutarch, 
* De Educat. liberorum.  what on the contrary runneth hazard, is moreover admired: the younger Plinius speaketh of this point more at large: a great many Arts, saith he, 
* Lib. IX, epist. 26.  are most of all commended for things dangerous: so do we daily see what great shouting rope-dauncers put spectators to, when they handsomely recover themselves after a perilous staggering and reeling: whatsoever is subject to many dangers, and yet scapeth beyond expectation, seemeth always to deserve admiration: so hath not the virtue of a pilot an equal esteem, when he saileth in a calm, and in a boisterous sea: then, being admired by no body, he putteth into the haven without praise or glory: but when the wind-shaken ropes rumble and rustle, when the mast bendeth, when the stern groaneth, then is he extolled and judged to come near the Gods of the sea.  
§. 11. Although now in the former exhortations we have studied to bring the Artificers to a forward and generous boldness, it is for all that required here, that great wits should moderate something the hot fury of their fiery spirits; seeing young beginners very often are so taken up with the love of their Imaginations, that they entertain them with greater delight than judgement: the wits now a days, saith Dyonysius Longinus, 
* De sublimi oratione, §. 4.  run corybant-like mad after all kind of new-fangled conceits: for of whom we have the best things, the worst also love most commonly to be brought forth by them: and this is doubtless the true reason why mean and ordinary wits do very often follow their intended purposes with a great deal of constancy; seeing they are not so easily drawn aside by the sweet tickling of any sudden and unexpected Imagination: thus falleth it out, saith Seneca, 
* Lib. II. trov. 1.  that hard-favoured, illcountenanced damsels are very often chaste and undefiled; not so much for lack of will, as for want of a corrupter: it is likewise a good observation the same author maketh elsewhere, 
* In prooemio Secundi Controu.  that namely it is an infallible mark of an excellent wit, not to be carried away so much by the goodness of it, as to use it amiss.  
§. 12. An Artificer therefore is to take good heed that he do not by a malapert wantonness of his vainly conceited wit devise all kind of monstrous and prodigious Images of things not known in nature; for it fitteth him better to have his mind, as Lucian speaketh, 
* De conscrib. historiâ.  like unto a pure, bright lookingglass, the which also being of an accurate centre, showeth the true images of things even as it receiveth them, not admitting any distorted, false-coloured, otherwise shaped figures: whatsoever then hath been spoken in the former, and also in this present chapter, about the raising of our thoughts and conceits, may not be understood of all sorts of idle and giddy-headed Imaginations, but only of such Phantafies as are grounded upon the true nature of things: the Art of Painting, saith Socrates, 
* Apud Xen. lib. III. Appomnem.  is a resembling of visible things: neither doth our Imitation at any time fasten upon things invisible, but (as it hath been said before) with a relation to what is really existing and visible: the ancients, saith Vitruvius, 
* Lib. IV, cap. 2.  did judge that such things could not be resembled with anyshew of truth, which were disagreeing from the true nature of things: for they were wont to draw every thing to the perfection of their works out of one or other undeniable property of Nature; approving only of such Images as after a ripe debate were found to admit an explication consenting with Nature: the same Author hath pressed this very point in another place with a great deal more earnestness. Let the Picture be an image, saith he, 
* Lib. VII, cap. 5.  of a thing that is, or at least can be; of a man namely, of a house, of a ship, and such like things, out of whose limited shapes our Imitation propoundeth itself an example: the ancients therefore were wont to adorn such parlours as were for the spring and harvest time, such porches also and long entries as were for Summer, with all kind of Pictures drawn out of the certain truth of things natural. But those examples taken by the Ancients out of true things, are now by reason of our corrupt manners utterly disliked: seeing in our plaistering there are rather monsters painted, than any certain images of limited things: and yet do not men, when they see such false things, rebuke them, but they do much more take delight in them: neither do they mark whether any such thing can be, or not: the weakness of their judgement hath so darkened their wits, that they cannot examine what the authority and reason of decency demandeth: for such Pictures are not to be liked, as do not resemble the truth: and if they are made neat and fine by Art, yet must we not instantly approve of them, unless we do find in them some certain kind of arguments free from all offence. Now as the Artificer may not abuse the liberty of his Imaginations, by turning it unto a licentious boldness of fancying things abhorring from Nature; so must also a right lover of Art prefer a plain and honest work agreeing with Nature before any other fantastically capricious devices. Plutarch hath very well observed this; There are many at Rome, saith he 
* De Curiositate. , which do nothing at all care for good Pictures and Statues, but a man may find them always upon the monster-market, where they stand and stare upon such maimed creatures as want either legs or arms, as have three eyes or heads of Ostriches, and if there be any other hideous detestable deformity: but although at the first they seem very much to be taken with such kind of spectacles, yet will they soon have their fill on them, yea they will loathe them, if you bring them often before their eyes.  
§ 13. It is then a very gross error to deem with the vulgar sort that Painters as well as Poets have an unlimited, liberty of devising; for if we do but mark what Horace telleth us in the first entrance of his book written about the Poetical Art, we shall confess that neither Poets nor Painters may take such a liberty as to stuff up their works with all kind of frivolous and lying conceits. Lactantius also hath observed this point very well; men do not know, saith he 
* Divin. instit. lib. I. cap. 11. , which be the measures of poetical licence, and how fare we may give way to our fancies; seeing a true Poet's part doth consist chief in this, that by some crooked and wandering kind of conceit he do decently turn the deeds of Gods and men into a fabulous tale: for to devise the whole related matter, is the work of an idle brain, and it becometh alyar better than a Poet. The mention we made here of Poets and Painters, seemeth now to lead us to consider a little wherein they do chief agree; the more, because it is sufficiently known that the Imaginative quality, of the which we have handled, is alike necessary to them both. Thus do we then in the next Chapter go about this point: once for all admonishing, that under the name of Painters, all such Artificers are comprised, as do any manner of way practise any of the other Arts of that nature.   

CHAP. IU.  
ALL Arts, saith Tully 
* Pro Archia poeta. , that do belong to humanity, have a common band, and are allied one to another, as by a kind of parentage. Tertullian speaketh to the same effect, when he saith 
* De Idololatriâ. ; there is no Art, but she is the mother of another Art, or at least of a nigh kindred: seeing than that the connexion of the work in hand enticeth us to prove the truth of these sayings by a mutual relation there is between Poesy and Picture, it followeth also that we should propound some properties of them both, out of which it might be perceived that they are very near of the self same nature. Both do follow a secret instinct of Nature: for we do daily see, that not Poets only, but Painters also are possessed with the love of those Arts, not so much by a fore-determined advice, as by a blind fit of a most violent and irresistible fury. As for Poets, there is a God in us, saith Ovid 
* Circa initium libri Sexti Fastorum. , by whose tossing of us we are inflamed: this same forwardness hath in itself the seeds of a sacred mind. As for Painters, Nicophanes had a most forward mind, saith Pliny 
* Lib. xxxv, nat. hist. cap. 10. , and there are but a few that may be compared with him in this. The same Author speaking of Protogenes, saith again in the same place, the forwardness of his mind, and a certain inclination or proneness to the Art, have carried Protogenes to these things. And it is very aptly put in here, that a certain forward proneness to the Art made Protogenes so excellent an Artificer; seeing they do always with the greatest ease and best success exercise an Art, who out of a free desire give themselves so readily to it, that they cannot so much as give an account of this same most forward desire. The Peripatetic Philosophers seem to have understood this perfectly when they do maintain, that no body can do any thing neatly and finely, unless he hath a very good mind to it, saith Tully 
* Lib. iv Tuscul. quaest. . It is required therefore, that all such as would willingly attain to these Arts, do find in themselves some swift motions of their wits and minds, both quick to invent, and copious to express what is found: neither may we think that the first beginnings of these Arts proceed from Art, seeing it is a gift of Nature that any man findeth this same aptness in himself; and our case standeth well enough, if Art can help such tender seeds to a full growth; for that Art should infuse them into us, is altogether impossible. Out of this observation there doth arise a question propounded and answered by Horace: it hath been very much questioned, saith he 
* De Arte poeticâ. , whether Nature or Art doth accomplish a Poem. I cannot see what help there is in study without a rich vein, or else in a rude wit; so doth one of these two always require the others help, and they do both very lovingly conspire. Quintilian doth both propound and answer the same question more at large; I do know well enough, saith he 
* Orat. instit. lib. II. c. 19 , that many use to ask here whether Art receiveth more help of Nature or of Doctrine: the which although it be not much appertaining to our purpose, seeing a complete Artificer cannot be made without both; yet do I take it to be a great matter how the question is propounded: for if you divide the one from either of both parts, Nature can do much without Doctrine, where Doctrine on the contrary cannot be without Nature: but if there be an equal meeting of them both, so shall I think that, both being but reasonable, Nature is yet of greater moment; and that accurate Artificers notwithstanding owe more unto Doctrine then unto Nature: the best husbandman can do no good upon a dry and barren ground; out of a rank ground will something grow up, though no body doth till it; but in a fertile ground shall the laborious husbandman prevail a great deal more than the goodness of the ground itself: and if Praxiteles had endeavoured to carve an image out of a millstone, I had rather have a good piece of rough Parian Marble, than such an halfe-finished work: but if the Artificer had accomplished it, I should more esteem in that same work the Art of his hands, than the costliness of the Marble. Compare therefore Nature with the material, and Art with Doctrine: the one doth work, the other is wrought upon: Art can do nothing without the material; whereas the material without Art hath her own worthiness. So is then the highest Art together with the best material to be desired. These words of Quintilian should content us here, if the same judicious Writer did not urge in another place a point more to be marked; for seeing that in the works of excellent Artificers, their decent Grace is most of all to be had in admiration, so are we moreover in this same Grace to admire a great difference of Natures: There is in this point some hidden and unspeakable reason, saith Quintilian 
* Sub finem libri undecimi orat. institut. , and as it is truly said, that it is the principal point in Art to be comely in what we do; so can this comeliness for all that not be had without Art, neither can it altogether be procured by Art: in some Artificers virtues are not pleasing; in some on the contrary vices themselves are graceful. We have seen Demetrius and Stratocles, great actors of Comedies, how they were liked for several virtues. But this was not so wonderful, that the one knew better how to act Gods, modest young men, good fathers, sober servants, grave matrons and old women: the other got greater commendations by acting sharp old men, shrewd servants, insinuating parasites, wily bawds, and all such parts as did require some noise and stir: this than was not so strange I say, seeing Demetrius had also a sweeter voice, whereas Stratocles his voice was more vehement. Such properties are more to be noted in them, as could not be transferred from the one to the other. It became Demetrius exceeding well to throw his hands, to prolong sweet exclamations in the behalf of the theatre, to fill up his garment with the wind gathered by his stirring, to make some gestures with his right side; for he had in all this the advantage of his stature, and of a wonderful feature: but Stratocles was admired for his running, for his nimbleness; for the pulling in of his neck, for laughing sometimes more than occasions of the part he played did require; seeing he did this also to gratify the people, as knowing well enough how the vulgar sort was taken with it; and if Demetrius had gone about any such thing, it would have made a most ill-favoured show. Wherefore let every one know himself; and let him then deliberate about the framing of his work, not only with the common precepts of Art, but also with his own nature: neither is it for all that impossible, but that a man may do all things or at least the greatest part of them after a decent manner. As it is then manifest that every Artificer hath a peculiar Grace in his works, agreeing with the constitution of his nature; so may we further out of Quintilians words draw this conclusion, that we are not instantly to condemn every Artificer that seemeth to follow another way then such an one we do delight in; for it may very well be, that several Masters in the several ways their own nature leadeth them to, should not miss for all that the Grace they do aim at. In my opinion, saith Tully 
* Lib. III. de Oratore.  there is no kind of nature, but we shall observe many things in the same, the which though they differ very much, yet are they alike praiseworthy. There is but one Art of casting in Brass, in the which Myro, Polycletus, Lysippus have been excellent; and although the one did very much differ from the other, yet would you not have wished that any one of them should have differed from himself. There is but one Art & way of Painting, in the which although Zeuxis, Aglaophon, Apelles, differ very much, yet is there none among them all that seemeth to lack any Art. As for the particular nature of the Artificers, it hath ever been so, that the liveliness of great spirits cannot contain itself within the compass of an ordinary practice, but it will always issue forth, whilst every one doth most readily express in his works the inward motions of his most forward mind: so do we also find that the bravest Artists have spent their labour most prosperously about such things as they did much delight in by a violent driving of their passion, or else by a quiet guiding of their Nature. Pausias, being exceedingly in love with his countrywoman Glycera, left a most famous Picture, known every where by the name of Stephanoplocos, that is, a woman Garland-maker; and this hath ever been esteemed his best work, because he was enforced thereunto by the extremity of his Passion. Plin. lib. xxi. nat. hist. cap. 2. Androcydes got a great deal of credit by the lively similitude of the fishes painted round about Scylla; but seeing he was a great devourer of fish, it hath been also the judgement of these times in the which he lived, that his unsatiable and greedy longing after fish did help him no less than any great Art he had. Plutarch Sympos. lib. iv, quaest. 2. as Parrhasius did profess by the whole course of his life, that he was mightily given to sumptuous clothes and lustful pleasures, so were there also in his works evident marks of such a wanton luxurious mind to be seen: witnesseth that same base piece of work mentioned by Suetonius in the life of Tiberius 
* Cap. 44. . We could relate here many more examples of excellent workmanship, in the which lust might seem to have had a hand as well as skill; if we did not hasten to the consideration of such properties in several artificers, as arose out of a well-ordered inclination of their minds to one o other special way and manner of Art: leaving therefore the manifold effects of inordinate lusts, we shall insist only upon the following examples.  
Although Callicles was renowned for little Pictures that did not exceed the bigness of 4. fingers, yet could he never reach the height of Euphranor. Varro de vitâ populi Romani.  
Lysippus is most of all to be commended for fine & quaint workmanship; seeing he observed in the least things a certain kind of subtlety. Plinius nat. hist. lib. xxxiv, cap. 8.  
Polycletus had this property, that his statues most commonly did stand upon one leg. Plin. xxxiv, 8.  
Apelles had a certain grace of Art proper unto himself alone, to the which never any other Artificer attained. Plin. xxxv, 10.  
Theo Samius did excel in the conceiving of visions, the which are called fantasies. Quintil. orat. instit. lib. xii, cap. 10.  
Dionysius painted nothing else but men; and for this reason he was called Anthropographus. Plin. xxxv, 10.  
Zeuxis did surpass all other Artificers when it came to the picture of bodies of women. Cicero lib. two. de Inventione.  
Polygnotus hath most rarely expressed the affections and passions of man. Aristot. de Art. poëticâ.  
Antimachus and Athenodorus made Noble women. Apelles made women devoutly praying. Plin. xxxiv, 8.  
Nicias hath most diligently painted women: all creatures that walk upon four feet are attributed unto him; yet hath he most prosperously expressed dogs. Plin. xxxv, 11.  
Calamis made chariots drawn with four or two horses; the horses were done so exactly, that there was no place left for emulation. Propertius lib. iii, Eleg. 8. Plin. xxxiv, 8.  
Euphranor seemeth first of all to have expressed the dignities and marks of Heroical persons, saith Pliny, xxxv, 11. observe here in the mean time, that these Worthies or Heroical persons were wont to wear skins of wild beasts; see the old Scholiast upon Apollonius Rhodius: 
* Ad versum 324. lib. I, Argonaut.  Statius Papinius doth attribute a Lion's skin unto Tydeus, and a wild Boars skin unto Polynices; see him lib. I. Thebay. vers. 397. yet because Hercules among all the other Worthies was most frequently made in a Lion's skin, hence it is, that Tertullian 
* De Pallio.  calleth him Scytalosagittipelliger not only for bearing a club and arrows, but also for wearing of the skin. Hercules is made in a Lion's skin, saith Festus, that men might be put in mind of the ancient habit: observe moreover that the ancient Worthies were most commonly painted barefooted: pantofles, slippers, patens; saith Philostratus, 
* In epistolà ad excalceatum adolescentulum.  are for sick and old folks. Philoctetes therefore is painted in them, as being lame and sick: whereas Diogenes and Crates, Ajax likewise and Achilles are painted unshod: Jason his one foot is shod, the other bare: seeing he left one of his shoes in the mud, when he meant to pass over the river Anauros, etc. see Higynus in his twelfth fable: it proceedeth also from the same custom, when Valer. Maximus relateth it as a strange thing that there was erected upon the Capitol a cloaked and shod statue of L. Scipio surnamed the Asiatic, who would have his image made in that habit, saith Valerius, 
* Lib. III, cap. 6.  because he had sometimes used it.  
Apollodorus, Androbulus, Asclepiodorus, Alevas have painted Philosophers. Plin. xxxiv, 8. and in their Pictures they took always special care that every one of these Philosophers might be discerned by his proper mark: in the Areopagetick schools, and in the Council-house, saith Sidonius Apollinaris, 
* Lib. IX, epist. 9  there are painted Zeusippus with a crooked neck, Aratus with a neck bowed downward, Zeno with a wrinkled forehead, Epicurus with a smooth skin, Diogenes with a hairy rough beard, Socrates with whitish bright hair, Aristotle with a stretched out arm, Xenocrates with a leg somewhat gathered up, Heraclitus with his eyes shut for crying, Democritus with his lips opened for laughing, Chrysippus with his fingers pressed close together, for the signification of numbers, Euclides with his fingers put asunder for the space of measures, Cleanthes with his fingers for both reasons gnawn about.  
Arestodemus made wrestlers. Plin. xxxiv, 8.  
Serapion painted Scenes best of all. Plin. xxxv, 10.  
Calaces got himself a great name by making little of comical pictures. Plin. xxxv, 10.  
Pyreicus, although he was in his Art inferior to none, yet hath he painted nothing but barber's and cobbler's shops. Plin. xxxv, 10.  
Ludio did in the time of Augustus first of all insttute the most pleasant painting of walls with farme-houses, galleries, arbours, consecrated groves, forests, hillocks, fishponds, inlets of waters, rivers, and uppn their banks he was wont to paint such things as heart could wish; as namely, diverse companies of them that did walk at the river side, or go in boats, or else did ride to their countrie-houses with little asses or with carts: some spent their time in fishing, fowling, hunting, gathering of grapes for the press: there were also in his Pictures farme-houses notable for a moorish coming to, and men ready to slip whilst they carried upon their shoulders fearfully shrieking women; with many more witty and merry conceits of that nature. This same Ludio hath also first of all devised to paint sea-Cities in open galleries, making a very fine and uncostly show. Plin. xxxv, 10.  
§. 2. Both busy themselves about the imitation of all sorts of things and actions: we see it daily how Poets and Painters do with a bold hand describe not only the shapes of their devised Gods, demigods, Worthies, other ordinary men, but they strive also by a mutual emulation to set forth the manifold actions of men: they do represent the lascivious mirth of banquets, the toilsome pleasure of hunting, the bloody outrageousness of fight, the unevitable horror of shipwreck, the lamentable and rueful sluttishness of them that lie chained up in the deep night of a deadly dungeon. As for the Poets alone, Poesy, saith 
* Lib. TWO de Idaiss, c. 10.  Hermogenes, is an imitation of all kind of things: and he is the best Poet, that can with a ready and full utterance of words imitate speaking Orators, singing Musicians, with all other persons and things. Of Poets and Painters both together are the following words of Philostratus 
* In prooemio Iconum. , Whosoever doth not embrace Picture, saith he, wrongeth the truth, he wrongeth also the wisdom of the Poets; seeing both are alike busy about the shapes and deeds of the Worthies. Dio Chrysostomus speaketh likewise of both together; Painters and Carvers, saith he 
* Orat. XII. , when they were to resemble the Gods, departed not one inch from the Poets: not only to shun the punishment offenders in such a kind undergo; but also because they saw themselves prevented by the Poets, and that now the manner of Images made after their conceit went currant, as being upholden by antiquity: neither would they seem to be troublesome and unpleasant by lying novelties, but they have for the most part made their Images after the example of Poets: Sometimes for all that have they added one or other thing of their own, professing themselves to have an emulation with Poets about the same Art of imitation, endeavouring likewise to lay open before the eyes of more and poorer spectators, what Poets have plainly rehearsed to the ears of men. Although now the words of Philostratus and Dio Chrysostomus may serve us for a sufficient proof of that same great affinity there is betwixt Painting and Poesy, yet hath Simonides expounded this point somewhat neatlier when he affirmeth that Picture is a silent Poesy, as Poesy is a speaking Picture: and upon occasion of these words saith Plutarch 
* Bellona an pace clariores fuerint Athenienses. , the things represented by Painters as if they were as yet adoing before our eyes, are propounded by Orators as done already: seeing also that Painters do express with colours what Writers do describe with words; so is it that they do but differ in the matter and manner of Imitation, having both the same end: and he is the best Historian that can adorn his Narration with such forcible figures and lively colours of Rhetoric, as to make it like unto a Picture.  
§ 3. Both do wind themselves by an unsensible delight of admiration so closely into our hearts, that they make us in such an astonishment of wonder to stare upon the Imitation of things natural, as if we saw the true things themselves; in so much that we do not love, though we find ourselves misled, to have this our joy interrupted, but we do rather entertain it with all possible care and study. It would be an easy matter to show this in all kind of Poets, if Comical and Tragical poesy did not yield us a sufficient proof of the certainty of this point: for what are Comedies else, saith one 
* Comment. vetus in Horat de Arte. , but an Image of the life of man? of Tragedies doth Gorgias also say very properly 
* Apud Plutarchum de Poetis and. , that they are a kind of deceit, by which the deceiver is more just than he that doth not use such deceit; and the deceived likewise is wiser than he that is not deceived. Of the sweet allurements of Picture, and how we suffer our hearts wittingly and willingly to be seduced and beguiled by the same, many examples might be alleged here, if it were not generally known that a good Picture is nothing else in itself but a delusion of our eyes. This deceit, saith Philostratus 
* Philostr. junior in prooemio Iconum. , as it is pleasant, so doth it not deserve the least reproach: for to be so possessed with things that are not, as if they were; and to be so led with them, as that we (without suffering any hurt by them) should think them to be; cannot but be proper for the reviving of our mind, and withal free from all manner of blame. The reason, why we do so much delight in the false similitude of natural things, is set down by Diogenes Laërtius: The Cyrenaïke Philosophers affirm, saith he 
* Lib. II. in Aristippo. , that pleasures are not engendered in our hearts by the bare seeing and hearing of things: and that we love therefore to hear the outcries and doleful howl done in Imitation of a most heavy grief; where on the contrary we do detest the true groans of a mournful heart. If any one desireth further opening in this point, let him read in Plutarch a very fair passage concerning this matter, as it is set down by that learned Author, Sympos. lib. v, problem. 1.  
§ 4. Both do hold the raines of our hearts, leading and guiding our Passions by that beguiling power they have, whithersoever they list. Of the Poets saith Horace 
* Lib. II. Epist. 1. , it seemeth to me that such a Poet is most like to walk upon a stretched out rope, the which doth torment and vex my thoughts about matters of nothing; inchaunterlike angering, appeasing, and terrifying me with idle fears; conveying and at his pleasure transporting me sometimes to Thebes, sometimes to Athens. Saint Basil speaketh of both, Eloquent Writers and Painters, saith he 
* Homil. 40. martyr. , do very often express the warlike deeds of valiant men; and both do stir up a great many to courage; whilst the one studieth to set forth in lively colours, what the other goeth about to adorn with eloquence: both than have a hidden force to move and compel our minds to several Passions, but Picture for all that seemeth to do it more effectually; seeing things that sink into our hearts by the means of our ears, saith Nazarius 
* In Panegyrico. , do more faintly stir our mind, than such things as are drunk in by the eyes. Polybius doth likewise affirm 
* Lib. XII. , that our eyes are more accurate witnesses then our ears: and it may be very well that Quintilian out of such a consideration hath drawn this same conclusion; Picture, saith he 
Lib. XI. orat. institut. cap. 3. , a silent work, and constantly keeping the same form, doth so insinnate itself into our most inward affections, that it seemeth now and then to be of greater force than Eloquence itself. Such as had suffered shipwreck understood this very well; for they did use to carry about the Picture of their sad misfortune, assuring themselves that the spectators could better be moved to compassion by seeing the image of the miseries they had endured, then by hearing a most pitiful relation of the same. Such also as went to law about some great wrong offered them, were likewise wont to bring along the Picture of that same injury, against which they meant to incense the Judge. Quint. orat. instit. VI, 1.  
We may note a great ingenuity in Latinus Pacatus, for after a full description of the miserable end of that same mutinous Maximus, he doth call upon all the Poets and Painters to assist him, even as if the whole strength of Rhetoric he had used would come to nothing, unless they did bring their helping hands to it. Bring hither, bring hither, you pious Poets, saith he 
* Panegyr. Theodo sio Aug. dicto. , the whole care and study of your learned nights; ye Artificers also despise the vulgar arguments of ancient fables; these, these things deserve better to be drawn by your cunning hands; let the market-places and the temples be graced with such sights; work them out in ivory, let them live in colours, let them stir in brass, let them augment the price of precious stones. It doth concern the security of all ages that such a thing might seem to have been done; if by chance any one filled with unlawful hopes might drink in innocence by his eyes, when he shall see the monuments of these our times. It is well said of Pacatus, that by looking upon such a picture ambitious men might through their eyes drink in innocence; for Seneca doth most truly affirm 
* Lib. II. de Irâ, cap. 2. , that a horrible picture of the sad event of just punishments doth very much move and trouble our minds: neither doth the picture of a just revenge only touch our hearts, but many other kinds of pictures will also search them after a most sudden and unexpected manner: witness that perplexity Alexander the Great was in 
* Photius in excerptis ex Ptolemaei Hephaestionis historiâ.  when at Ephesus he met by chance with a picture of the falsely accused and wrongfully executed Palamedes: for upon the sight of such a picture it was not in his power to resist, but Aristonicus would run into his troubled mind, as being likewise falsely and unjustly put to death. Saint Gregory Nyssen after an ample and most pathetical relation of Isaac his sacrifice, hath added these words; I saw often in a picture, saith he 
* In oratione de Deitate Filii & Sp. sancti. , the image of this fact, neither could I look upon it without tears, so lively did Art put the history before my eyes. Valerius Maximus having spoke of the piety of Pero towards her old decrepit father, whom she entering into prison suckled with her own breast, addeth these words 
* Lib. V c. 4. ex. ext. 1. , men are driven into a dump, when their eyes do behold the painted image of this fact, renewing the condition of the old adventure by an admiration of this present spectacle, and believing that in these silent lineaments of members they do see living and breathing bodies.  
There was at Athens an unthrifty and riotous young man, named Polemo, saith the same Valerius 
* Lib. VI c. 9 ex. ext. 1. , who did not only take his delight in the flickering enticements of lust, but he did glory also in the infamy that followed such a luxurious and wanton course of life: this same Polemo, as he went homeward coming from a drink-feast, and that not at the setting, but at the rising of the Sun, saw Xenocrates the Philosopher his door open: and though he was deep in drink, besmeared with ointments, having his head beset with garlands, clad in a thin and soft garment, yet did not he stick to enter into the Philosopher's school, that was filled with a multitude of learned men: neither contenting himself with such a foul entrance, he sat down also, to the end that he might mock that same rare eloquence and the most wise Precepts, with the sottish fopperies of drunkenness. Wherefore when there arose, as it was meet there should, a great chase and fuming of all them that were present, Xenocrates changed his countenance nothing at all, but leaving the things in hand, he began to make his discourse of modesty and temperance; so that Polemo, forced by the weightiness of his speech, could not but recall himself by little and little; for he first threw the garlands away having pulled them from his head, he afterwards drew his hand within his mantle, and in process of time he quite left the cheerfulness of a banqueting countenance, till at length having put away all his luxury, & being cured by the wholesome physic of one discourse, he became a very great philosopher out of a shamefully deboist ruffian. In this relation Valerius maketh of the changed Polemo, it might seem wonderful that he could so quickly leave the cheerfulness of his banqueting countenance, if it had not been noted in this change of his by Nazianzene that there did always afterwards appear in his face such a reverend show of gravity, that a naughty-pack by the sight of his picture only hath been touched to the quick, giving over her lewd and wanton pleasures. A dissolute young man, saith Nazianzene 
* Carm. jamb XVIII, quod est de virtute. , had appointed a quean to come to his house; but she coming near the porch, and casting by chance her eyes upon the venerable picture of Polemo, drew instantly back, reverencing the image of so grave a philosopher a great deal more than she would have done the philosopher himself.  
§ 5. Both do show their strength in great and eminent men, deifying or at least eternising all them whose names and shapes they do vouchsafe to bequeathe unto posterity. Of the Poets saith Synesius. 
* Epist. 49. , God hath given unto Poesy the distributing of a glorious renown. Ovid likewise speaking of the same, clothes do wear out, saith he 
* Amorun lib. I Eleg. 10. , jewels do break; but the fame Poesy giveth us, shall be of a perpetual durance. And again, virtue is proragated by Poesy, saith he 
* Lib. IU. de Ponto, Eleg. 8. , neither needs it fear the sepulchre, having once deserved the memory of late posterities. God's also, if we might say it, are made by Poesy, and such a majesty standeth in need of a singer. Of the Painters saith Latinus Pacatus 
* In Panegyrico. , the Artifioers are next unto the Poets allotted to give an everlasting fame. Pliny doth speak in the like manner of the Art of Painting, it is to be wondered in this Art, saith he 
* Lib. xxxiv. nat. hist. cap. 8.  that she hath made famous men more famous. Ovid goeth somewhat further, if Apelles had not painted Venus for the Inhabitants of Coos, saith he 
* Lib. III. de Arte. , she should as yet lie drowned under the Sea-water. The Emperor Augustus fastened into the wall of the Council-house at Rome a picture done by Philochares; the admiration of that same piece did chief consist in that wonderful similitude which was between a young stripling and his old Father; for they were so like one another, the difference of their age for all that remaining, as it could not be possible to imagine a nearer similitude between father and son. So is then the power of this same Art exceeding great, saith Pliny 
* Lib. xxxv. nat. hist. cap. 4. , though we do but cast our eyes upon this one piece only: for by Philochares his means doth both the Senate and the people of Rome look so many ages upon Glaucio and his son Aristippus, the which else would have been a most ignoble and obscure couple.  
§ 6. Both are most of all advanced by the ready help of a strong and well-exercised Imagination: the Art of Painting, saith the younger Philostratus 
* In prooemio Iconum. , is found to be a kin to Poesy; seeing both do therein agree, that as well the one as the other requireth a forward Fantasy. The Poets bring the presence of the Gods upon a stage, and all what is pompous, grave, and delightful. The Painters likewise do design as many things upon a board, as the Poets possibly can utter. So doth then the Art of Painting as well as Poesy rely upon a generous and bold strength of Imagination, so that they will no more creep and crawl to feel and to follow the steps of them that are gone before, but they take upon themselves to try it somewhat further, if by chance they might be esteemed worthy to lead others the way. The Poets impelled by the sudden heat of a thoroughly stirred Fantasy, or rather transported as by a prophetical trance, do clearly behold the round rings of prettily dancing Nymphs, together with the ambushes of lurking lecherous Satyrs: they see all kind of armour and unbridled horses with their tossed and tottered wagons; the shape of one or other God doth sometimes run in their mind, yea they do very often espy the snaky-headed Furies tearing their own heads and thrusting a handful of hissing serpents into the faces of ill-minded bloodthirsty men. The Poëticall fantasies, saith one in Plutarch 
* In Erotico. , in regard of their perspicuity, are like dreams of them that are awake. With Poets howsoever so it is, that their minds being once in agitation cannot contain themselves any longer, but out it must whatsoever they have conceived; it is not possible for them to rest, until they have eased their free spirit of such a burden, pouring out the fullness of their jolly conceits by strange fetches of byways, by the unexpected ministry of a favourable God, and a thousand other fabulous inventions. When Ovid doth describe that same temerary lad that foolishly longed to tread upon his Father's fiery chariot, would you not think then that the Poet stepping with Phaethon upon the waggon hath noted from the beginning to the endievely particular accident which could fall out insuch a horrible confusion? neither could he ever have conceived the least shadow of this dangerous enterprise, if he had not been as if it were present with the unfortunate youth: he beholdeth first the impatient horses standing as yet within the bars, how by treading and trampling they do spend before the race thousand and thousand steps to no purpose: afterwards doth he see the vain stripling skip upon the waggon, and with a brave undaunted look drive on, till the fierce winged beasts perceiving the impotency of their new Master throw the unexperienced waggoner headlong down with waggon and all. But seeing it would be a very hard task for me, yea and too much arrogancy in me that I should strive to express any part of the abundance of conceit the ancient Poets had, I must needs remit the studious Reader to Ovid himself, for whosoever doth but mark how Ovid goeth about the fable of Phaethon; and how other Poets likewise do handle other matters in that kind, he shall questionless both with pleasure and profit understand what vehement and sensible Imaginations they have followed; and that without such a force of fantasy the whole labour of their brains will be but a heavy, dull, and lifeless piece of work. Painters in like manner do fall to their work invited and drawn on by the tickling pleasure of their nimble Imaginations; for lighting upon some Poëticall or Historical argument, sometimes also upon an invention wrought out by their own Fantasy, they do first of all pass over every circumstance of the matter in hand, considering it seriously, as if they were present at the doing, or saw it acted before their eyes: whereupon feeling themselves well filled with a quick and lively imagination of the whole work, they make haste to ease their overcharged brains by a speedy pourtraying of the conceit. It is then in vain an Artificer should hope to be both powerful and perspicuous, unless he do always propound unto himself the work in hand as if all were present, and that principally when he is to express any thing wherein he meeteth with some notable Affections and Passions of the mind: for seeing that these are sometimes true, sometimes fuinell and imitated, saith Quintilian, 
* Orat. institut. lib. XI, cap. 3.  so falleth it out that the true ones do break forth naturally, as we see in the Passions of them that conceive any grief, or anger; or indignation; but they want Art; and therefore are they to befashioned and directed by discipline: contrariwise the Passions imitated have Art, but want nature; and therefore is it here a main point, to have a true feeling of them, rightly to conceive the true images of things, and to be moved with them, as if they were rather true then imagined: so are then these commotions of our mind by all means to be drawn out of the truth of nature: and it standeth an Artificer upon it, rather to try all what may be tried, then to mar the vigorous force of a fresh and warm Imagination by a slow and cool manner of Imitation: the player Polus practised this in another occasion very fitly, for being to act at Athens atragedie of Sophocles, in the which he should represent the distressed Electra, as she was carrying in anurne the dead bones of her brother Orestes, whom she supposed to be departed; he devised how to fill the theatre, not with an affectation of weeping and wailing, but with true and natural tears; for having digged up the bones of a dear son of his that was lately dead, and bringing them upon the stage in stead of Orestes his bones, he found himself forced to play the mourner after a most complete and lively manner. Agell. noct. Attire. lib. seven. cap. 5. Yet must not the Artificers here give too much scope to their own wits, but make with Dionysius Longinus 
* De sublimi oratione, §. 2.  so me difference between the Imaginations of Poets that do intent only an astonished admiration, and of Painters that have no other end but Perspicuity. Wherefore saith the same author in another place, 
* §. 13.  what the Poets conceive, hath most commonly a more fabulous excellency and altogether surpassing the truth; but in the fantasies of Painters, nothing is so commendable as that there is both possibility and truth in them. Seeing then it hath been proved in our former discourse, that not Poets only, but Painters also receive great benefit by a continual exercise of their Fantasy, it may likewise be gathered from thence what need both have to cherish such a good and trusty nurse of profitable conceits: for although it be a very hard thing, saith Dio Chrysostomus 
* Orat. XII. , yet is it very often required that the same image should remain in the mind of an Artificer, and that sometimes for many years, until the whole work be finished so may we also gather from thence the true reason why Dionies. Longinus affirming 
* §. 13.  that Perspicuity is the chiefest thing ●●r Fantasy aimeth at, doth furthermore add, that 〈◊〉 the help of that same Perspicuity doth seem to obtain easily of a man what she forceth him to, and though she doth ravish the minds and hearts of them that view her works; yet do they not feel themselves violently carried away, but think themselves gently led to the liking of what they see: neither can it be otherwise: for as the Artificers that do go about their works filled with an imagination of the presence of things, leave in their works a certain spirit drawn and derived out of the contemplation of things present; so is it not possible but that same spirit transfused into their works, should likewise prevail with the spectators, working in them the same impression of the presence of things that was in the Artificers themselves. And this is questionless that same Perspicuity, the brood and only daughter of Fantasy, so highly commended by Longinus, for whosoever meeteth with an evident and clear sight of things present, must needs be moved as with the presence of things.  
Having now spoken at large of the manifold fruits the Artificers reap out of the continual exercise of their Imaginative faculty; it remaineth that we should show how they have need to stir up all the powers of fancy that are in them, that would view the works of excellent masters with the contentment of a sound and well-grounded judgement.   

CHAP. V.  
NO man hath ever been able to conceive the miracles of these Arts that do meddle with the imitation of all things, unless he enjoying his heart's ease, hath likewise now and then helped this same delicate study of a most busy contemplation by the secrecy of a retired and more solitary place. None are more curious than such as are at leisure, saith the younger Plinius 
* Lib, IX. epist. 32. . Poesy doth require retiredness of the writer and leisure, saith Ovid 
* Lib. I. Trist. Eleg. 1. : we may add very well, that not Poets only, but such also as mean to read Poets with good attention, and such likewise as desire to look upon choice Pictures, and excellent Statues with a sound judgement (to add this same property also to the comparing of Poets and Painters handled immediately before) have great need of retiredness: the multitudes of necessary duties and affairs do withdraw and turn all men from the contemplation of such things, saith Pliny 
* Lib. xxxvi. nat. histor. cap. 5. , because such an admiration is only agreeable with leisure and a great stillness of place: the reason is at hand, and may be drawn out of our former discourse, where we do show that solitary and silent places do mightily help and nourish our Fantasy, the only means Artificers do work, and lovers of Art do judge by: seeing also that a perfect and accurate admirer of Art is first to conceive the true Images of things in his mind, and afterwards to apply the conceived Images to the examination of things imitated, it is clear that neither of these can be performed without the Imaginative faculty, that likewise the framing and fashioning of Images advanceth very little when it is every day interrupted by ordinary businesses and the noise of them that do run up and down: we see therefore that many grave and serious well-willers of Art, when they can obtain some days free from importunate visits, do never leave to employ their spare-times about the conceiving and gathering of most absolute Images of things natural. Phantasie, saith Michael Ephesius, 
* In Aristot. de Memoriâ & reminiscentiâ.  is like a register unto our mind: meeting then with one or other master piece that seemeth to deserve their care and consideration, they find always in this register of theirs a true Image of the thing imitated: such as do contemplate the works of the Art of painting, saith Apollonius, 
* Apud Philost. lib. II. cap. 10.  have great need of the imaginative faculty; for no body can with any good reason praise a painted horse or bull, unless he do conceive that same creature in his mind, whose similitude the Picture doth express. Although now the alleged reason doth abundantly commend retiredness unto them that would willingly fit themselves to this exercise, yet is there another reason alike important that doth persuade us to the same: for as Physicians are not only to mark apparent infirmities, but they are also to find our secret distempers, the nature of the diseased being so that they do sometimes study to hide them; so must he that is to judge of Pictures espy and search into many things that do not show themselves at the first view: now it is most certain that retiredness doth most of all help our judgement, and that our judgement in a multitude of lookers on is very often shaken and weakened by the favourable acclamations of them that praise and extol every indifferent work; seeing we are sometimes ashamed to disagree with them that very confidently pretend to know it better; whereas in the mean time faulty things are most liked; besides that flatterers praise also what they do not like at all; perverse judgements at last will not commend what deserveth commendation.  
§. 2. As many therefore as resolve to follow this same contemplation earnestly, do sometimes purposely take certain Images of things conceived, and turn them many ways, even as one lump of wax useth to be wrought and altered into a hundred several fashions and shapes: but principally do they labour to store up in their Fantasy the most complete Images of beauty. Such Artificers as work in brass and colours receive out of the natural things themselves those notions by the which they do imitate the outward lineaments, light, shadows, rise, fall; they pick out of every particular body the most excellent marks of true beauty, and bestow them upon some one body: so that they seem not to have learned of Nature, but to have strived with her, or rather to have set her a law. For who is there, I pray you, that can show us such a complete beauty of any woman, but a quicksighted Judge will easily find in her something wherein she may be esteemed to come short of true perfection? For although the whole absoluteness of perfection doth consist in the rules and dimensions of Nature; yet doth the commixtion of both parents, the constitution of the place, air, and season very often detract something from the natural form: seeing then that Artificers themselves do not borrow the Image or pattern of a most excellent beauty from one particular work of Nature; so is it likewise requisite, that Lovers and Well-willers of Art should not content themselves with the contemplation of any one particular body, but that they should rather cast their eyes upon several bodies more exactly made by Nature, observing in them the differences of age, sex, condition: and you shall seldom see them rest here, but they will fix their eyes also upon many other natural bodies, studying always to enrich their Fantasy with lively impressions of all manner of things. They do mark the wide heaven beset with an endless number of bright and glorious stars; the watery clouds of several colours, together with the miraculously painted rainbow; how the great Lamp of light up-rearing his flaming head above the earth, causeth the dawning day to spread a faint and trembling light upon the flichering gilded waves; how the fiery glimmering of that same glorious eye of the world, being lessened about noon-tide, lesneth the shadows of all things; how darksome night beginneth to display her coalblack curtain over the brightest sky, dimming the spacious reach of heaven with a shady damp: they observe likewise the unaccessable height of the mountains, with their ridge sometimes extended a good way, sometimes cut off suddenly by a craggy and steep abruptness; pleasant arbours and long rows of lofty trees, clad with summer's pride, and spreading their clasping arms in wanton intricate wreathe; thick woods, graced between the stumps with a pure and grass-green soil, the beams of the Sun here and there breaking through the thickest boughs, and diversely enlightening the shady ground: gently swelling hillocks; plain fields; rich meadows; diverse flowers shining as earthly stars; fountains gushing forth out of a main rock, sweet brooks running with a soft murmuring noise, holding our eyes open with their azure streams, and yet seeking to close our eyes with the purling noise made among the pebble-stones; low and smoky villages; stately cities, taking pride in the turrets of their walls, and threatening the clouds with the pinnacles of their spear-like steeples. They do consider in Lions, horses, eagles, snakes, and all other creatures, wherein the absolute perfection of their shapes doth consist: propounding unto themselves likewise parliaments, sacrifices, festival meetings and dance, husbandrie-worke, smith's forges, footmen running a race, fishers, sailors putting off from the shore, or else landing, fair and foul weather, the sea calm and boisterous, great armies of men, depopulations of the country, surprisings of cities, and whatsoever useth to fall out in an expugnation of a great and populous town: whole troops of armed men, having broke up the city gates, and thrown down a good part of the walls, run through the town after a most tumultuous manner, and cause every where a trepidation like unto a ruin, whilst with sword and fire they do promiscuously destroy things sacred and profane: the crackling noise in the mean time of the houses that are a pulling down doth increase the fear: the cry also out of the several voices of them that do fright and are frighted, the noise of rumbling drums and shrill trumpets, the shouting of them that do overcome, the wailing of them that are overcome, together with the weeping of women and children, one sound being made up out of diverse clamours, doth confound all: and yet seemeth all this lamentable noise to be deafened by the shrieking and howling of such mothers as are in danger to have their tender infants snatched out of their arms, as also by the flocking together of great companies of distressed women, that running sometimes after one sometimes after another do nothing but ask their husbands, brothers, sons, what destinies they do mean to leave them to, there being every where nothing else to be seen but cruel desolation, grief, fear, and a certain image of present death and destruction: the sight of the public calamity is of several sorts, uncertain, foul, horrid: the conquerors show themselves to be conquered by several lusts, every one thinking it lawful whatsoever he hath a mind to, and none of them all holding any thing unlawful: no dignity, no age can hinder them but that they will add rapes to murders, and murders to rapes: the armed men, and all such as be of age to bear arms, are cut in pieces: brothers and sisters are pulled asunder whilst they do rush to take their leaves by a mutual and never more looked for embracement: aged men unto whom it had been happier to have met with a timely death, old decayed women also in whom there is left nothing a greedy and lustful enemy should pray upon, are haled and pulled for mere sport: and if there falleth by chance a ripe virgin into the hands of the insolent conquerors, she is in danger to be torn in pieces by them, till they among themselves by the eagernes of striving fall together by the ears, not so much as perceiving that another company of ravishers cometh upon them ready both to dispatch them and to carry the maid violently away: some despising the things that are already in their power, go about to find out by wounding and tormenting the owners what they suppose to be concealed; they search every dark hole and secret corner, with burning torches in their hands; lest, having carried out all the spoil, they should want ready means to set the emptied houses afire. You cannot cast your eyes any where, but you shall meet with whole droves of chained captives: the streets are every where strawed over with packs contemned by avarice in comparison of some better things it met withal by the way: armed, unarmed, boys, horses, weapons, men, women, householdstuff, enemies, citizens, all are mixed together: nothing is done by advice and counsel. Fortune carrieth the greatest sway: the sad aspect of the fatal hour cannot but move the hearts of some angry conquerors to compassion; whilst others wearied with slaughters set themselves down, the occasions to exercise their anger upon, and not their anger, failing them; for they do still look about with a stern countenance, if they could espy any frighted souls come near them by an unprovident flight: but the greater part of them being grown senseless by the horrible fight of fire and murders, can neither see, nor hear, nor forecast any thing; their private agonies also being stupefied by the public calamities, they expect the enemy in their own houses, being obstinately resolved to die in the midst of the dearest delights of their life: the most valiant in the mean time having confirmed their courage with a generous desperation do provoke the thickest throngs of the incensed enemies by showing and offering their own naked throats unto them; and being once thoroughly enraged with the last madness of dying men, wheresoever the fight taketh them, there they do resist, content yea desirous to die in the revenge of their ruinated Country: some that mean to scape, run into their own death and destruction: others that would fain renew the fight, are against their wills carried away by the violence of a flying multitude. Thus leaving their sweet home where they were borne and bred, they cannot but sometimes stay a little and look about, very loath to part; neither should they have any power to stir one foot from the place, unless fear of having their throats cut did make them understand that they had best, the public miseries being past redress, steal away and follow their own advice, their private hopes, without looking after any guide or any consent of desolate multitudes: they meet at length in the gates, where they are heaped one upon another, a great number of them being thrown down not only by slaughter and a faint weariness of fight and running, but also by crowding and striving to get out first: men and horses, wounded and unwounded, living and dead, swords and pikes, bundles also of precious things make all but one heap stopping up the gates: neither do the others that follow, bear so much respect either to the living or dead, but that they tread and trample upon them to make themselves away: without the gates there is a sad and miserable company of them that are scaped to be seen, filling the ways with a dolefullamentation, as if but now they had got some leisure to be wail their own misfortunes, the sight of so many afflicted ones provoking tears by a mutual miseration. But here also presenteth itself in the open fields a great and fearful spectacle: some fierce conquerors, not abiding any should scape, are instantly at their heels, persecuting, wounding, taking and killing them they took when others were offered: there lie every where scattered upon the bloody ground all manner of weapons, dead bodies, whole joints cut off: and wheresoever valour and anger reentring into the minds of some of the conquered, cause them to disdain that a few by so hot a pursuit should drive them like sheep, there is for a short while a desperate fight manfully maintained; till they see more and stronger bands of enemies approaching: for then do they begin to leave their anger, and remembering their present fortunes they do take their flight, running with one breath unto remote and unaccessible places; not in great troops, as before, but every one by himself alone, yea purposely shunning one another, lest their flocking and running together should still draw the enemies after them.  
§ 3. It appeareth now what care the well-willers of Art use to take about the exercising & preparing of their fantasy, seeing they do by a most accurate Imagination design and make up in their minds the complete pictures of all kind of natural things; and being thus provided, they do very often examine the works of great Artificers with better success than the Artists themselves, the severity and integrity of whose judgements is often weakened by the love of their own and the dislike of other men's works. As for the common sort of people, of them saith a certain Painter very well in Plutarch 
* In ipso statim initio libelli de Socratis genio. , that rude spectators and such as are nothing at all acquainted with matters of Art, are like them that salute a great multitude at once; but that neat spectators on the contrary, and such as are studious of good Arts, may be compared with them that salute one by one: the first namely do not exactly look into the works of the Artificers, but conceive only a gross and unshapen image of the works; where the others going judiciously over every part of the work; look upon all and observe all what is done well or ill. 
* De Optimo genere oratorum.  Tully doth call this same faculty of our mind intelligens judicinm, that is, an intelligent judgement. We learn likewise out of the same Author 
* Lib. IU. in Verrem.  that Lovers and well-willers of Art were named elegantes, that is, neat and polished men; and that they on the contrary were called idiotae, that is, idiots, the which had no skill at all and did not care for the delicacy of rare works: how many things do Painters see in the shadows and eminences, saith Tully 
* Lib. IU. Academ. quaest. , the which we cannot see? Wherefore, as that kind of hearing that doth only discern the sound, saith Epictetus 
* Arriani Epictetus lib. III. cap. 6. , may very well be called the common hearing; and the hearing that doth discern the tunes, is now no more a common but an artificial hearing; so is there also great difference of seeing: the sight of one man is better by nature, saith Plutarch 
* De Amore, apud Stobaeum Serm. de Venere & amore. , than the sight of another: so are likewise the minds of Painters by Art exercised to discern beauty in all kind of shapes and figures. Nicomachus therefore hath very fitly answered an idiot, that could see no beauty in that same famous Helena painted by Zeuxis, Take my eyes, said Nicomachus, and you shall think her to be a goddess. Aelianus 
* Var. histor. lib. XIV. cap. 47.  doth attribute this same apophthegm to Nicostratus: it doth then appear that it is not enough we should have eyes in our head as other men have, but it is also required here that we should bring to these curiosities eruditos oculos, that is, learned eyes, as Tully termeth them, Parad. 5.  
§. 4. Although now a man doth not at the first bring to these Arts sufficiently exercised eyes, yet is he not instantly to be excluded from the most delicate contemplation of Art; seeing a man altogether unskilful in such curiosities, may very well feel the delight of them, though he cannot give an exact account of his liking. The virtue and grace shining in all the work, saith Dionysius Halicarnassensis 
* In Lysiâ. , is a most wonderful thing, and surpassing the power of speaking. What is best, is easy to be seen, and lieth open as well to the Artist as to the idiot: but to show the reason thereof is very hard, and uneasy also to them that are very eloquent. If therefore any one desire to be taught by words wherein this same power of the work doth consist, doth not he go about to ask a reason of many other fair things that are hard to be uttereds as namely, in the beauty of bodies, what it is we call cometinesse: in the turning and winding of a melodious voice, what it is we call a perfect harmonte: in the symmetry or just commensuration of time, what it is we call an orderly consent of voices: and generally in every work, and in every thing, what it is we call a well-moderated and seasonable opportunity of time: for every one of these things is apprehended by sense, and not by talk. Quintilian propoundeth the sum of all this in fewer words; the learned, saith he 
* Orat. instit. lib. IX. c. 4. , understand the reason of Art, the unlearned feel the pleasure: hence it is that both are alike affected with copiousness and defects; both are alike offended with abruptness; softness doth take them both, and forcibleness doth stir them both alike; both approve of steadiness, find out lameness, and loathe all manner of excessiveness. It is strange, saith Tully 
* Lib. III. de Oratore. , there being so great a difference of working between the skilful and unskilful, that there should be so small a difference of Judging. The same Author saith again in the same place; All do by a silent feeling without any art or reason discern what there is well or amiss in the Arts: they do the same also in Pictures and Statues, and other works, to the which by nature they are not sufficiently instructed.  
§. 5. It is then most clear and evident that such men also as are altogether unskilful in these Arts, may admire the works of rare Artificers, although they cannot exactly judge of them. As for the first; every one, saith Symmachus 
* Lib. I. Epist. 23. , may consider the virtues of other men: for Phydias his Olympian Jupiter, and Myron his heifer, and Polycletus his canephorae, have been admired by them that were ignorant in this Art: the nature of understanding goeth a great deal further: and rare things should not have that same general approbation they do deserve, if the feeling of good things did not touch them also that are inferiors. So saith the same Author again in another place 
* Lib. VIII. Epist. 22. , the fame of great men should want celebrity, if she did not content herself also with ordinary witnesses: the words of Dionysius Halicarnassensis are worth noting; I have learned, saith he 
* De Composit. nominum. , in most populous theatres filled with great multitudes of them that had no skill in Music, how all have a natural proveness and aptness to that same proportionable consent we find in a melodious harmony, the people crying out upon avery renowned Musician when he did spoil his song by stirring but one string that was not well tuned; a most skilful piper also suffering the same, when piping untunably, or pressing his mouth carelessly, he did seem to fall into an unpleasant kind of play: for if any one should bid an idiot take the instruments and mend what he blameth in the Artificers, he should never be able to do it; seeing that is the work of skill, which all have not; where as the other is the work of passion or feeling, and Nature hath denied that to none. As for the second; Anacharsis had good cause to wonder, as Laërtius reporteth 
* Lib. I. de Vitis Philos , how the Artificers in Greece did strive, and such as were no Artificers did judge. It is true that he did speak this about their gymnike exercises, nevertheless, it hath place also in these Arts of Imitation; seeing there is very often in the same something of deeper consideration. Mechopanes was liked for a certain kind of diligenc, that none could understand, but the Artificers alone, saith Pliny 
* Lib. xxxv. nat. hist. c. 1. . To make up a statue as is fit, saith Epictetus 
* Arriani Epictetus li. II. cap. 24. , whose work do you take it to be? it is the work of a statuary: but to look skilfully upon such a work, do you think it requireth no skill at all? certainly it requireth skill also. Hermogenes doth urge the same, to know how to judge of other men's works, saith he 
* Lib. I. de Formis orationum. , so fare forth as they are neat and accurate or not, whether likewise they are an ancient or a modern work, cannot be done without some experience in such matters. The younger Pliny saith also expressly 
* Lib. I, Epist. 10. , none but an Artificer can judge of a Painter, Carver, Caster in brass, or worker in clay. Observe in the mean time, that in these words of Pliny we must understand by the name Artificer, not such a workman only as doth really paint and carve, but such a Lover and well-willer of Art as by a rare and well-exercised Imaginative faculty, is able to confer his conceived Images with the Pictures and Statues that come nearest unto Nature, and is likewise able to discern by a cunning and infallible conjecture the several hands of diverse great Masters out of their manner of working. To the trial of Picture, saith Tully 
* De Optimo genere oratorum. , there is also use made of them that have some skill in judging, though they are altogether ignorant in doing. The same Orator saith again in another place 
* De Oratore , if I were to speak of a player, and did maintain that he cannot give satisfaction in his gestures without some skill of well-behaving himself and dancing; there is no need that I myself, for saying so, should be a player; but it is enough that I do show myself a discreet censurer of another man's work. Plutarch doth attribute unto the great and good Aratus of Sicyon a learned judgement in Pictures. Vindex likewise, a most noble Roman, is highly commended by Statius Papinius or his rare judgement in all kind of Art, who dareth ever strive with Vindex, saith he 
* Lib. IU. Sylu. , to discern the old drawings of the Artificers, and to restore his Author unto such statues as have no inscription? he shall show you what brass Myron be laboured with a watchful diligence: what marble got life by the carving-iron of the laborious Praxiteles: what ivory was smoothed by Phydias: what statues do as yet retain the breathing infused into them by Polycletus his furnaces: what line doth a fare off confess the ancient Apelles: for Vindex doth follow this pastime, as often as he layeth down his Lute: the love of such things doth call him sometimes a little aside from the habitation of the Muses.  
§ 6. There are every where in our age also a great many of noble descent and eminent places, who having made an end of their urgent affairs, do after the example of this same Vindex recreate themselves in the contemplation of the divine works of excellent Artificers, not only weighing and examining by a secret estimation what treasures of delight and contentment there are hidden in them, but sometimes also viewing and examining therein every little moment of Art with such infatigable though scrupulous care that ●o is easy to be perceived they do not acknowledge any greater pleasure. I do not count him free, that doth not sometimes do nothing; and the true fruit of leisure is not a continual bending of the mind, but a relaxation, saith Tully 
* Lib. II. de Oratore. ; yet are the wits worn out by a daily toil about civil affairs, most of all repaired by the sweetness of such like things, saith Quintilian 
* Orat. Instit. lib. X. cap. 1. . Even as men that are used to a daily course of labour, when they are hindered from following their work by reason of tempestuous weather, do pass their time with a ball, cockall, dice, or else devise themselves at their own leisure some other game; so do they that are excluded from the work of public affairs, either by the iniquity of times, or else by granting unto themselves some holy-days, follow altogether the delight of Poesy, Geometry, Music, sometimes also finding out some new study and play, saith Tully 
* Lib. III. de Oratore. : for as grounds are much the better for the change of sever all feeds, saith the younger Pliny 
* Lib. VII. Epist. 9 , so are our wits refreshed sometimes with one, sometimes with another meditation.  
§. 7. That the lively spirits of eminent men are most of all drawn by the sweetness of this delight, doth deserve no admiration. Whatsoever is fair, is able also to stir a stone, saith Epictetus 
* Arriani Epict. lib. III. cap. 23. . The beauty of the body moveth our eyes by a decent composition of the limbs, saith Tully 
* Lib. I. de Officiis. vide quoque Isocratem in Helenae encomio. , affording us the greatest delight, because all parts do agree among themselves with a pleasant comeliness. Aristotle being asked wherefore men do love fair things, answered, This is a blind man's question 
* Laert. lib. V & Stobaeus Serm. de Laude pulchritudinis. . Although now fairness of beautiful bodies doth very much take our minds, yet are we more ravished by an accurate Imitation of this same beauty: for our thoughts cheered up and elevated by the contemplation of an absolute Imitation of perfect beauty, cannot contain themselves any longer, they do leap as it were for joy, being extolled with the gallant bravery of what the eye beholdeth; not otherwise rejoicing in the good success of Art, then if all we do see were the work of our own hands. Whosoever wrestleth with brass or iron, taming Nature by Art, doth bestow the discipline upon the lovers of Art, teaching them by what methods brass is made obnoxious to our wills, saith Saint Basil 
* Basilius Seleuciae episcopus, orat. xiv. . Such as do view the beauty of statues, feel their eyes held by what they saw first: but otherwhile turning their sight upon some other parts, they begin to doubt what they had best consider first, saith Hiemerius 
* Apud Photium. . Our sight viewing cast works, pictures, carved works, and such like things made by the hand of men, when it findeth the sweetness, and beauty that is in them, contenteth itself and desireth nothing more, saith Dionies. Halicarnassensis 
* De Compos. nominum. . Seeing then that in the contemplation of the rare works of Art, we are not so much taken with the beauty itself, as with the successful boldness of Art provoking Nature to a strife, it falleth out that not only the Imitation of fair but of foul things also doth recreate our minds, We love to see a painted Lizard, saith Plutarch 
* De Poetis audiendis. , or an Ape, or the face of Thersites; not for any beauty there is in them, but in regard of the similitude: for though every foul thing by nature is hindered from seeming fair; yet is the Imitation always commended, whether she doth express the similitude of things foul or fair. See also the same Plut. lib. v. Sympos. probls 1. where he doth instance more upon this point.  
§. 8. Idiot's then and such as never felt the power of these Arts, may very well cease to wonder what maketh great and vigorous wits stick so close to the contemplation of Pictures and Statues; seeing it is most certain, that the satiety of good things is not so easily attained unto, saith Symmachus 
* Lib. IU. Epist. 16. , and things delightful do then most of all solicit our mind when they seem to fill it. Tasty and ambitiously severe censurers also have but small reason to find fault with such great and wealthy men as with an excessive cost do buy for strife all manner of Art, valuing the rare works of great Masters according to the delight & contentment they find in them. I am of opinion, saith Tully 
* Lib. IU. in Verrem. , where he speaketh of the works of Art, that we are to consider those things as they are esteemed in their judgements that are studious of such things. Neither is it unlikely that brave and generous men sometimes might resolve of their own accord to raise the price of Pictures and Statues, because they could not endure that such honest and innoxious delights should be generally condemned and contemned; it seemeth therefore that they have followed the praiseworthy course taken by Apelles, when it did grieve him to see how little the rare works of Protogenes were regarded at Rhodes. The Rhodians, saith Pliny 
* Nat. hist. lib. xxxv. cap. 10. , made very small account of Protogenes, as domestical things use always to be slighted. Wherefore when Apelles asked him the price of his works, he set them upon a very poor price; but Apelles offered him fifty talents, noising abroad that he bought them to sell them for his own works. This same fact made the Rhodians to understand their own Artificer. Neither would Apelles yield unto them, till they had raised the price.  
§ 9 Whosoever therefore had rather lay out his moneys upon honest and harmless occasions, then to waste his patrimony with the mad sport of dicing and all other kind of luxury, doth not deserve any blame. The great Captain Marcellus, as it is reported by Plutarch in his life, having conquered Syracuse, filled the City of Rome first of all with the knowledge of Greek delicacies: and when others did reprehend him for doing so, he thought it better to slight their reprehensions and reproaches, glorying in what he had done. Every one is drawn by a peculiar delight, saith Virgil 
* Eclogâ 2. : they commit therefore a gross error, which measure the inclinations of other men by the recreations they themselves have made choice of by a particular instinct of nature: for all things do not seem fair unto all men; neither do all men judge all things to be worth their pains, saith Aelian 
* In praefatione libri primi de animalibus. . Let us therefore bear with the recreations of other men, saith the younger Pliny 
* Lib. IX. Epist. 17. , that they likewise may bear with ours. The following words of Seneca do contain a very grave and sober admonition; What can you allege, saith he 
* Cap. 9 de Tranquill, animi. , why that man is not as well to be pardoned that seeketh a great name by marble and ivory, as any other that gathereth up the works of unknown yea sometimes also disallowed Authors, whilst he himself sitteth gaping among so many thousand Books, delighting in nothing so much as in the outside and bare titles of his Volumes? But by chance shall any one grant me now that men of great means and of a greater mind may please themselves in the fruition of these honest recreations, and yet shall they not cease to blame other men of meaner sort and condition, who not considering their own poor estate, run most greedily after such barren and unprofitable delights as cannot be maintained without an excessive expense of money and time. To answer them therefore that can spare so much leisure from their own affairs, as to meddle with the doings of other men; let them first understand, that they mistake the whole matter grossly; seeing men of ordinary estates need not spend themselves that way as to undergo the charges of buying, since great and generous spirits, furnish their houses with such things not only for their own private contemplation, but also for the free use of such as do profess themselves to be Lovers and well-willers of Art, thinking their cost well bestowed when many do daily resort to their galleries. Let them secondly know, that they are not well advised when they go about to brand these most commendable recreations with the nickname of barren and unprofitable delights: for how can that same contemplation deserve the opinion of an unfruitful and idle exercise, by whose means we do understand the true beauty of created bodies, a ready way to the consideration of our glorious Creator? beside that this same exercise, like a most sweet Music to the eye, doth clear up all heaviness and sullen drowsiness of the mind: it worketh in us also, by the examples of things past, a perfect love of innocence: it doth bridle the most violent passions of love and anger. So is it that 
* Lib. III. Eleg. 20.  Propertius propounding divers ways how to be rid of love, maketh mention also of this same delight. Plutarch likewise teacheth us that malice and revenge cannot settle their seat in such hearts as do delight in these delicate elegancies. I know well enough that there may be some who making a show of following such harmless pastimes, do in the mean time under that pretence entertain all manner of harmful and most dangerous plots: of them I do not speak: my discourse meaneth them only that do not fain. Look well into them, and you shall take them to be some remnant of the golden age: for who is there whose heart hath been once rightly possessed with the sweet humanity of such liberal delights, that doth slavishly stoop under the tyrant love, or that suffereth himself to be driven whither soever desperate Ambition pusheth him? They envy no body, they despise no body, they do not lend their ears to backbiting and slanderous tales, they do but imagine well-hung chambers and well-furnished galleries: this do they make the height of their cares, the height of their wishes, propounding themselves hereafter an innoxious and a happy life: and if perchance they fall out with some body, yet is there nothing so easy as to bring them instantly to a true and hearty reconciliation, chief if they can but learn that he against whom they have a quarrel, doth not altogether abhor from the love of those things they themselves do like. Polemon observed this very well: for when a certain man that spent a great deal in buying of neat seals, as Plutarch reporteth 
* De Irâ cohibendâ. , fell out with him in very foul terms, he answering him never a word, but fixing his eyes and mind earnestly upon one of his sealing rings, began to consider it most diligently. Whereupon the man filled with joy, left his railing, and Not so Polemon, said he, but view it in a good light, and you shall find it a great deal fairer. Forsooth the wit of man is softened by gentle Arts, and our manners are suitable to our studies, saith Ovid 
* Lib. III. de Arte. . Snow doth continue longer in rough and untilled grounds, saith Petronius Arbiter 
* In Satyrico. , but wheresoever the ground is tilled, there doth the slender frost vanish away whilst you are yet speaking: even so doth anger fix her seat in our breasts, occupying rude and fierce minds, but passing by the learned and gentle ones. Virgil, when he doth describe how Aeneas, after a world of miseries endured by tempest, landing in Africa came to the new City of Karthage, hath a notable place and worth our consideration: Here hath a new occasion lessened his fear, giving him some hope of safety, saith Virgil 
* Lib. I. Aeneid. ; for whilst he staying for the Queen vieweth every thing in a great Temple; whilst he doth also wonder at the fortune of the new Town, at the labour of the work, as also at the emulation of the workmen; he seethe the whole description of the most famous Trojan war painted in a very good order. Agamemnon, Priamus, and A chill terrible to them both were not wanting in that same picture. Standing still therefore, and weeping, What place is there now, O Achates, saith he, what Country is there that is not filled with the fame of our labours? Look, here is Priamus, here is the reward for praise, and tears also for the miseries of mortal men: put away all fear: this fame shall bring us some safety. Having thus spoke, he fed his eyes with the represented picture, fetching many a deep groan, and watering his cheeks with a large river of tears. Out of these words of Virgil doth the ancient Commentator Servius infer this lesson, All Aeneas his care was about the manners of the Africans; but now doth he quiet himself upon sight of this Picture: for as many as do paint such kind of wars, cannot but love virtues and be touched with a most lively commiseration of the grievous misfortunes of other men.  
§ 10. As many then as have courages equal unto their vast estate, may think their good name well enough secured, and need not fear any just reproach when they take their fill of these no less profitable than delectable contemplations; remembering only to moderate this same incredible delight with so much discretion, as not to suffer the memory of their own greatness to be abolished by the vehemency of their too fond affection; seeing the greatest that are cannot maintain the authority of a great and glorious name, as long as they go about to uphold the worthiness of these Arts by the loss of their own dignity. How dreadful was the Majesty of the Roman Emperors in the whole world? and yet could not Adrian the Emperor scape the bitter censures of Apollodorus the Architect, as Xiphilinus reporteth, because he did applaud himself too much for his skill in painting of Gourds. The King Antiochus, surnamed Epiphanes, as Polybius witnesseth 
* Apud Athenaeum lib. V Deipnosoph. , did likewise bear the blame and receive the contempt of his immoderate love towards these Arts. Plutarch his good advice seemeth therefore to deserve golden Letters. When we do wonder at any thing done, saith he 
* In Periclis vitâ circa initium. , it doth not instantly follow that we should desire to do the same. When Philip the King heard his son in a banquet play very sweetly and artificially upon a musical Instrument, Are not you ashamed, said he, to play so finely? for it sufficeth if a King doth show himself now and then at leisure to hear Musicians, and he honours the Muses enough when he is content sometimes to be a spectator of them that play for strife: but the self-practising of such mean Arts bringeth to pass that our earnest endeavour about unprofitable things serveth for a witness of our slothfulness in greater matters. Neither is there any generous youngman the which having seen the Jupiter consecrated at Pisa, desireth to be Phydias; so doth no body also desire to be Polycletus, how ever the image of Juno consecrated at Argos pleaseth him. A generous young man may very well be taken with an honest love of Poesy, and yet shall he not instantly wish himself to be Anacreon, Philemon, or Archilochus: for it is not necessary that when the work delighteth us as being pleasant, that we should therefore think the workmen worth our imitation. We have as yet considered the Art of Painting in her first beginnings, or rather in her swaddling clouts and cradle; it followeth now that we should consider in the next Book the progress of this same Art, and what hath set her on foot. (⸪)    

THE SECOND BOOK.  
THE ARGUMENT.  
THe natural proneness which is in us of imitating all manner of things created, as it hath ever been furthered and advanced by the ready help of our Fantasy, so are there many other causes which have strangely cherished up this most forward inclination of our all-attempting natures: but among such a great number of several causes as are known to have promoted these Arts of Imitation, we must needs prefer God the only fountain of good things above all the rest; whose infinite goodness was forthwith seconded by the diligent benevolence of loving Parents, seeing they could not think their children well provided for, until they had found out for them a good and careful Master; the young men therefore being once by the help of their trusty Masters admitted to the secrets of art, and being afterwards left to work out the rest by their own industry, if they meant to departed from the wholesome precepts of their Teachers, were kept in awe by the fear of most severe and strict laws made against the corrupters of art; but if they had on the contrary so much good nature as not to forsake the sincerity of their first institution, than did the Emulation of others that took a good course keep them also in the right way; and because the Ancients in a prodigious plainness of art did not so much study to have their works commended for the choice exquisiteness of costly colours, as for the power and force of art itself, these emulators also could not but be mindful of that same simplicity of art; their hearts were in the mean time filled with a wonderful sweetness of art delighting itself in this same plain and prosperous way of emulation; and gathering strength out of the manifold and every where obvious use of these arts; as also out of the Honourable estimation these arts are held in with all men; whereupon, having once felt the tickling pleasure of the much desired glory, they did merrily resolve on a most confident boldness of art; remembering always and above all things the Care due unto such grave and serious arts; expressing likewise this solicitude of theirs by a praiseworthy Ingenuity, in calling both artificers and idiots to assist them; but as the heat of emulation, the desire of glory, and other causes here alleged, were much helped by the public felicity of peaceable and flourishing times; so did the private fortune of the Artificers, by I know not what hidden means, bring them to a good and joyful end.  

LIB. II. CHAP. I.  
GOD Almighty and Nature have questionless been a main cause of the wonderful increase of these Arts of Imitation. Certainly, saith Philostratus 
* In Prooemio Iconum. , if any man will speak after the manner of Sophists, Picture is an invention of the Gods, as well for that same painting which the several seasons of the year do paint the meads withal, as for those things that do appear in the sky. Would not you think the Sophists to be quick-witted and wonderful eloquent men, seeing they clear such a great point in a few words? The meadows forsooth garnished with flowers, and the heaven distinguished with several figures made up of stars and clouds are a sufficient proof of what they say; though it be very certain, that the most pleasant tapestries of the fields do not so much help the Art as they do delight the spectator; that the wit of man hath set forth the constellations after the image of living and lifeless things; that the uncertain shapes of clouds most commonly are likened unto any thing our wand'ring mind conceiveth. The image of Pallas also, known by the name of Palladium, and all other Statues celebrated by antiquity, as if they were fallen down from heaven, are no warrantable argument to refer these Arts to the Gods: none but vain men, tell such tales; none but fools, entertain them: since it is evident that mighty Kings have taken a singular delight in preparing such false miracles to deceive their miserable posterities withal. How odiously tedious was the City of Ephesus in vaunting herself to be the keeper of the great goddess Diana, and of the Image which fell down from Jupiter; 
* Act. xix, 35.  and yet was she for all her crackling and boasting, abused by a statue brought from Alexandria: for Ptolemaeus the King having sent every where for the most famous carvers to make secretly an accurate image of Diana, when it was finished, he prepared a royal banquet for the Artificers, the banqueting-house being first undermined; wherefore none of them could escape, but all were in the midst of that fatal feast swallowed up by the ruin of the place; and so, the true authors of the noble workmanship being taken away, it was easy enough for the King to make any one believe that such a complete work was sent down from heaven: see Suidas, or rather Isidorus Pelusiota 
* Lib. IU. epist. 207. , for Suidas, hath borrowed this story from him.  
§. 2. Seeing then that both the Sophistical and Historical proofs come to nothing, it may seem best that we should return to the first men, the which, as Censorinus speaketh 
* De die natali, cap. 4. , were created out of Prometheus his soft clay: for so did Democritus Abderita first of all hold, that men are made out of water and slime: this is questionless our safest way: seeing no wise man doth acknowledge any other Prometheus, besides that power of Divine Providence expressed by Moses in the history of the creation: see Genes. TWO, 7. compared with Lactantius divin. instit. lib. TWO, cap. 11. see also Tertullian. de Resurr. carnis. Fulgentius lib. II. Mythol. Basilius Seleuciae episcopus orat. II. Gregorius Nyssenus de Hominis opificio, cap. 22. whence it is that the same Gregorius in another place 
* Orat. I. de Beatitudinibus.  calleth man an earthen statue: and Suidas speaking of Adam, saith, this same was the first statue, the image named by God, after the which all the Art of carving used by men receiveth her directions: so was then Adam the first statue made by God, as Lot's wife was the second, see Genes. xix, 26. Remember Lot's wife, saith our Saviour, Luke xvii., 32. lest therefore we should quickly forget her, she seemeth to have been turned into a durable material, for Pliny 
* Nat. hist. lib. xxxi, cap. 7. vide quoque Solinum, cap. 31.  doth mention some kind of salt which after the manner of stone quarreys withstandeth iron: although the miraculous preservation of that statue doth not seem to require that we should conceive any such durableness of I know not what material: she waxed stiff, saith Aur. Prudentius 
* Hamartigeniâ.  being consolidated into a kind of brittle metal; and the woman standeth turned into a stone apt to be melted, keeping still her old posture in the same salt-stone image; her comeliness, her ornaments, her forehead, her eyes, her hair, her face also looking backward, with her chin gently turned do retain the unchangeable monuments of the ancient offence: and although she melteth continually away in salt sweat, yet doth the completeness of her shape suffer no loss by this same fluidness; neither can whole droves of beasts impair the savoury stone so much, but there is for all that liquor enough left to lick, and the wasted skin is ever renewed by the loss: the pattern of the Tabernacle shown unto Moses upon mount Sinai may also be referred to this place, see Exod. xxv, 40. the brazen serpent made by Moses according to Gods express command, see Numb. xxi, 9 the pattern of the Temple of Jerusalem delivered unto Solomon by his father David after the prescript God had made with his own hand, see 1. Chron. xxviii, 19 the Prophet Ezechiel, to the end he might propound more lively unto the inhabitants of Jerusalem what dangers there did hang over their heads, received a command from God to portray the city of Jerusalem upon a tile, and lay siege against it, and build a fort against it, &c, see Ezechiel IV, 1. but most of all are Bezaleël and Aholiab to be mentioned here, of whom God himself witnesseth, Exod. xxxi. and xxxv, that he called them by name to make the Tabernacle, and that he had not only filled them with the spirit of God to devise curious works to work in gold, and in silver, and in brass, but that besides all this skill he put in their hearts to teach others: the picture also of our Lord and God Christ Jesus, made without hands, may be alleged here in this place as it is related by Damascenus, Cedrenus, and other writers of Ecclesiastical history.  
Abgarus the King of Edessa having wrestled many years with a very grievous and most troublesome disease, heard something of the divine miracles of our Blessed Saviour: he took therefore a resolution to invite him friendly by letters to come to his City; and having sent Ananias, one of his footmen, that had some skill also in painting, he charged him that, if he could not bring along Christ himself, he should at least bring back his picture drawn after the life. Ananias having delivered the letter, began tofixe his eyes upon Christ, that he might observe and put up in mind the true lineaments of his face and body; but being hindered by the importunateness of a crowding multitude, he betook himself to a stony place of a reasonable height, to note from thence, and to draw quietly the true similitude of him, whom the King his master was so desirous to see: yet all to no purpose: seeing our Saviour did change his countenance as often as Ananias, having begun to draw, meant to observe him further: howbeit our Blessed Lord at length granted him his desire: for having called for water to wash his face, and having wiped his face with a four double linen cloth, he sent unto Abgarus by the hands of Ananias his own image expressed in the towel, together with an answer to the letter. Asterius bishop of Amasa, and the other writers which wrote Church histories besides him, make mention of our Saviour's brazen statue erected by the woman he had healed of abloody issue. See Photius.  
§. 3. For as much then as Almighty God hath vouchsafed us so many examples of the Art of painting and casting, commending these Arts not only by his own example and command unto us, but enabling also the Artificers thereunto by his Spirit, we may very well affirm with Theodoretus 
* Serm. IU. de Providentiâ. , that God is the author and supporter of these Arts: neither were the heathen men ignorant of the truth of this point: the seeds of all Arts are deeply graffed in us, and God by a secret mastership doth bring the wits to light, saith Seneca 
* Lib. IU. de Benef. cap. 6. : there is an humane reason, saith Epicharmus 
* Republicâ. , there is also a divine: the humane reason busieth herself about our life and necessary provision: the divine on the contrary accompanieth us when we do go about the practising of Arts, teaching us always what is fit to be done: for man hath not found Arts, but God bringeth them forth: and humane reason itself proceedeth from divine reason: Julianus the Emperor speaketh also very neatly to this purpose, even as birds being made to fly, fishes to swim, and hearts to run saith he 
* Orat. VII. , need not be taught any of these things; for though a man should go about to tie them, and to pin them up, yet will they for all that strive to use those parts which they know themselves to prevail in: so is mankind likewise (whose soul seemeth to be nothing else but a restrained reason and science, or rather faculty, as wise men term it) desirous to learn, to seek, and curiously to dive into all things, esteeming such an employment to be most proper unto his nature: and unto whomsoever a favourable God doth speedily release these bonds, bringing the faculty to some operation, the same doth instantly attain to the science: see also Maximus Tyrius, Dissertat. XL.  
§. 4. Nature in the mean time, a most fertile Artificer of good and bad, hath not been idle; but she exerciseth the right of her most powerful government after so licentious a manner, as if she would have us know that it fitteth her best to delight herself somewhat in the variety of things, seeing the labour of bringing forth all things is chief hers: although, what is Nature else, saith Seneca 
* De Benef. lib. iv, cap. 7. quemadm. & Naturalium quaest. lib. II. cap. 45. , but God and adivine power infused into the whole world and every part of the world: to speak then something about the miracles of all-atchieving Nature, I shall not study to express in words the unspeakable subtlety of flowers, as Pliny speaketh 
* Lib. XXI, nat. hist. cap. 1. , seeing no man is so well able to speak, but Nature is still a great deal better able to paint, especially when she meaneth to make herself some sport in the midst of her jolly fertility. I shall likewise forbear to relate the checker-worke, like Oyster-shells of Pergamus, mentioned by Apuleius 
* In Apologiâ. , as also the Peacocks, together with the spots of Tigers, Leopards, and so many more painted creatures, as Pliny 
* Nat. hist. l. VII. cap. 1.  speaketh: for though such things do sufficiently delight the lookers on, yet do they not instruct the Artificers. Leaving therefore all such kind of things, I shall but mention here the manifold picture of gems, the particoloured spots of precious stones, as Pliny 
* Lib. II. nat. hist. cap. 93.  doth speak: and among all these I cannot but remember the royal fame of a gem that same Pyrrhus had which made war against the Romans: for it is reported of him that he had an Agathe wherein the nine Muses and Apollo holding of a Lute were discerned; the spots, not by Art, but by Nature so being spread over the stone, that every one of the Muses had her peculiar mark. Plin. nat. hist. lib. xxxvii, cap. 1. see also Solinus, cap. 12. Lovers of all kind of curious rarities use to call such a casual painting of Nature, as cometh near unto Art by the name of Gamahè; and because of late some have undertaken to gather up diverse examples of these wonders of Nature, I would have him, that is desirous to know something more concerning them, read the first chapter of Gafarellus his book, published in French with the title of Curiosities unheard.  
§. 5. Although now these miracles of Nature may seem to fall out by mere chance, yet can we not think it to be a casual kind of picture, when many generations issuing forth out of one man, who had a certain mark, do constantly retain the same mark in some part of their bodies, receiving it as by the succession of a most sure and perpetual inheritance.  
What chance, I pray you, could it be, that Seleucus the King having had upon his thigh a complete figure of an anchor, his offspring also should keep the same long after him? and yet is this credibly reported in Appianus his Syriack History: see also the xv. book of Justine, and Ausonius in the second of his famous cities. The progeny of Pelops had such another mark; and Iphigenia should never have known her brother Orestes, if she had not spied an Olive tree upon his right shoulder, the mark of the Pelopeian race: see Cedrenus. Those that were at Thebes called Sparti, carried also the image of a spear in their bodies, as a sure mark of their lineage; and as many as had not that mark, were esteemed to be none of them, saith Dio Chrysostomus 
* Orat. IU. de Regno. : the Sparti are discerned by their spear, the Pelopeians by their shoulders, the great Themistius by his eloquence, saith Gregory Nazianzene 
* In epistolâ ad Themistium. . see also Julianus the Emperor orat. II. de rebus gest is Constantii imp. and Zetzes upon Lycophron his Cassandra: but above all the rest, do the words of Plutarch deserve to be remembered here; the warts, moles, and blemishes in the eye of parents, saith he 
* De iis quos divina vindicta tarde assequitur. , not appearing in the children, do sometimes break out again in the Nephews: and a Grecian woman being accused of adultery, because had brought forth a black child, was found to be the fourth generation of an Aethiopian. Python being one of the Sparti, who died but a little while ago, had a son that brought forth in his body the figure of a spear; the similitude of this same generation after an intermission of so many years starting up a fresh in him, as out of a deep gulf.  
§. 6. These pictures of busy Nature might seem wonderful, if she had rested here, and not proceeded further to amore admitted attempt of making statues: thus is it that many high mountains and promontories draw their name and fame from the resemblance of living and lifeless creatures: see Eustathius upon the 89. and 157. verses of Dionysius his description or circuit of the world: many plants also are known by the name of those things whose similitude Nature represented in them; as is clearly to be perceived in that same never enough admired Mandrake: see Theophrastus, Dioscorides, Pliny, Columella: yea Nature hath sometimes brought forth out of her rich bosom perfect patterns of Art, if it be true what Carneades 
* Apud Ciceronem lib. I. de Divinat.  reporteth, that namely in the stone-quarreys of Chios, a stone being cleft in sunder, there was found in it the head of a little Pan. Pliny doth also relate 
* Lib. xxxvi. nat. hist. ca 5.  how in the Parian stone-quarreyes, a great stone being split by the wedges of the workmen, there did appear within an image of Silenus. Tzetzes Chiliad. VII, Hist. 144. and Chil. VIII, Hist. 213. speaketh of the dracontian stones.   

CHAP. TWO  
THe earnest care of good and loving Parents did follow upon the said introduction afforded by God and Nature; seeing Parents could never give any satisfaction to the tenderness of their affection, until they saw the comfort of their life and the hope of their decaying years settled into a good course of breeding: so was this same duty of Parents much urged by the most grave and continent Philosopher Crates, who was often wont to say, as Plutarch 
* De Liber. institutione.  reporteth, that a man should do very well to climb up to the top of the most eminent places of the town, and to cry out continually unto the ears of all, Foolish men, what ail you, that you take so much pains to possess riches, and care so little for your children, unto whom you mean to leave them? Diogenes therefore, according to Aelian 
* Var. hist. xii, 56. Laertius, lib. VI Plut. de Amore divitiarum,  his relation, when he saw that the Megarians took more care for their cattles then for their children, said, that he had rather be a Megarian his ram then his son. The greatest part of the most polished Grecians in the mean time did mightily detest that gross error of the Megarians, and would not only have their children throughly skilled in all kind of necessary sciences, but would have them taste also these more curious Arts: the Grecians for the most part, saith Aristotle 
* Lib. VIII, Polit. cap. 3. , did teach their children the Art of painting; lest they might be deceived in the buying and selling of vessels and householdstuff: or rather, that they might improve themselves in the true knowledge of perfect beauty: Varro likewise in his treatise of the education of children speaketh even to the same purpose: she that hath not learned to draw, saith he 
* Apud Nonium in Plumarium. , cannot be able to judge what is well painted by the embroiderers or weavers in the counter points of bolsters: it doth then appear by these words of Varro that not the Grecians only, but the Romans also would have their children bred after this manner: and Plutarch teacheth us in the life of Paulus Aemilius, that this Noble Captain had as well sculpters and painters among the masters of his children, as Sophists and Rhetoricians: yet can we not deny but that this same custom of breeding hath been more frequent in Greece, seeing it was brought to pass by the authority of Pamphilus, saith Pliny 
* Lib. xxxv, nat. hist. cap. 10. , first at Sicyon, and afterwards in all Greece, that freeborn youths should be taught before all things a certain kind of painting in box-wood, and that this same Art should be received into the first rank of liberal sciences: although it hath ever been so honoured, that none but freeborn might exercise the said Art, and such afterwards as were at least of an honest condition: with a perpetual prohibition, that none of the servile sort of men should be trained up to the knowledge of this Art: so was there also in this Art, and in the Art of graving never any one famous that was of a slavish condition. Galen therefore giveth us a very good and wholesome advice, expressing withal the true reason why these Arts are to be ranked with the liberal sciences; We are to exercise an Art, saith he 
* In exhortaetione ad perdiscendas arts. , that may stay with us all our life time: and as some Arts are rational and reverend, some on the contrary contemptible and exercised only by the labour of the body; so is it always better a man should addict himself to the first sort of Arts; for the second sort useth to forsake and to disappoint the Artificers when they wax old: of the first sort are Physic, Rhetoric, Music, Geometry, Arithmetic, Logic, Astronomy, Grammar, the knowledge of civil laws. Join unto these, if you will, the Arts of Carving and Painting; for though their work doth demand the help of our hands, yet doth it not require youthful strength.  
§ 2. Seeing then that Grecian children by an usual custom of the Country did first of all begin with the rudiments of these Arts, it shall not seem strange to any one that weigheth the forementioned words of Pliny, why Sicyon is called by the same Author 
* Nat. hist. lib. xxxv. cap. 5.  patria picturae, that is, the native Country of picture. So saith Strabo 
* Lib. VIII. Geograph.  likewise, that the Arts of Painting and Carving, with all such kind of workmanship, were most of all augmented at Corinth and Sicyon. Of Corinth saith Orosius 
* Lib. V. hist. cap. 3. , that for the space of many generations it hath been a shop of all Arts and Artists, yea a common Mart-towne of Asia and Europe. Of Sicyon, see Plutarch in the life of Aratus. Sidonius Apollinaris 
* Lib. VI Epist. 12.  saith that Greece was famous for Painters and Carvers. And Pliny 
* In prafatione ardui operis.  termeth the Grecians pingendi fingendique conditores, that is, founders of painting and casting. Neither could it be otherwise, but that the Grecians should carry this praise above other Nations: for their lads making in their tender years the first trial of their wits about the rudiments of these Arts, were kept to the prosperously attempted Arts, if they fell to them with a natural dexterity, and were on the contrary put to other Arts if they did not prove so apt as the nice exactness of these Arts seemed to require. Lucian 
* Vide Lucianum in Somnio.  testifieth of himself that his father consulting with his kinsfolks about the trade he should put his son to, thought it best to make him a statuary, because he had observed that the boy returning out of the school did delight in nothing so much as to make oxen, horses, and men likewise, and that he did it not unhandsomely. It is verily a great matter to exercise an Art to the which our natural inclination leadeth us; as before hath been showed: and yet is it of no less moment to begin that same selfe-chosen Art betimes. This is true in my opinion, saith Tully 
* Lib. III. de Oratore. , that a man is never able to learn any thing thoroughly, unless he have been able to learn it quickly. Quintilian likewise saith very well to the purpose, if you begin to teach one that is now settled in years, saith he 
* Orat. instit. lib. I, c. 12. , you shall better perceive that such as do any thing in their own art excellently, are upon good ground said to have learned that art from their childhood.  
§ 3. So did then the Parents provide betimes unto their children choice Masters, which should show them the true face of Art, saith Quintilian 
* Dialogo de causis corr. eloqu. c. 34. , and not a vain image only. Which also, as the same Author speaketh 
* Orat. instit. lib. II. c. 2. , should take the scholars in hand with a fatherly mind, esteeming themselves to succeed in their place that committed the children unto them: and having once met with such Masters, they took no further care, but left all to them: as the waggoner is you do set over the horses, saith Libanius 
* Legatione ad Julianum Imp. , so may you hope that the waggon shall go: yet were the Parents wont to take heed that the hope of a more speedy and sudden gain should not cause them to publish the green studies of their children before the time of their apprenticeship came to an end. Corn doth also expect the times determined for maturity, saith Q. Curtius 
* Lib. VI de Rebus gestis Alexandri, cap. 3. , and things void of all sense receive a good temper by a certain law appointed unto them. This wary circumspectness being afterwards neglected by Parents, made Arbiter break out into a just complaint; and we now a days for the like carelessness of our times, have great cause to renew the same complaint, pressing his words as near as may be. Parents deserve to be rebuked, saith he 
* In Satyrico. , that will not suffer their children to profit by a severe way of teaching: for they do first frustrate their hopes as well as other things by ambition: and afterwards, making too much haste to obtain their desires, they do publish the raw and unperfect endeavours of their children, putting them before their full growth to the practice of such an Art as by their own confession is the greatest of all other Arts. Whereas, if they would be content that the endeavours of their children should go on by degrees, that the studious lads should be kept in by a strict course of exercitation, that they should prepare their minds by the precepts of wisdom, that they should not stick now and then with a cruel pencil to deface pleasing lineaments, that they should view and consider a great while what may be worthy their imitation, if they did not instantly think all magnificent whatsoever they see liked by their children, this same mighty Art could never want the weight of her majesty. Now on the contrary, as boys do but trifle and play in the schools, so are they nothing but laughed at, when they step forth unto the public: and, which is worse than both, whatsoever any one being young hath learned amiss, he is loathe to confess it when he groweth older.   

CHAP. III.  
GOod and vigilant Masters did never deceive the trust reposed in them, studying always to answer the expectation of timorous Parents with a most careful diligence in teaching. Pliny noteth two things in Pamphilus, out of whose school Apelles and many other famous Painters came forth, he taught no body, saith Pliny 
* Lib. xxxv, nat. hist. cap. 10. , under a talon, and that ten years. He would not teach any scholar under a talon, to maintain the Authority of the Art the better, if the same should not be frankly bestowed upon any one. Protagoras was the first that made speeches for a reward, saith Philostratus 
* Lib. I. de vitis Sophistarum. , he brought in among the Grecians an irreprehensible custom; for we do always more esteem and embrace things wrought out with no small cost of our own, than things had for nothing. He taught them afterwards ten years, to keep the credit of his school by exercising his scholars sufficiently in the necessary rudiments and continual practice of designing before he would suffer them unadvisedly and presumptuously to work in colours. It would have been superfluous to touch this point, if many Masters now adays did not confound all, beginning by an ambitious haste with those things that should go last, saith Quintilian 
* Orat. instit. lib. I. cap. 4. , and whilst they mean to make a boast of their scholars about things specious and fair in show, they do nothing else but stop their progress by such a perverse and unseasonable compendiousness. Seeing then that this course of teaching maketh young men self-conceited and proud, we shall do better to give ear to the words of Lycon, a most eloquent man and an excellent breeder of children, for he was wont to say, as 
* Lib. V.  Laërtius reporteth, that it is fit we should endue children with shamefulness and desire of glory, even as we do use about our horses the spur and the bridle.  
§ 2. Seeing then that the presumptuous forwardness of some is often to be stayed as with a bridle, and the bashful backwardness of others is now and then to be stirred up as with a spur, it hath been ever seen, that good and trusty Masters have handled their scholars differently, according as they found the temper of their wits to require. We do see, saith Tully 
* Lib. III. de Oratore. , that out of the schools of such Masters and Artificers as were most excellent in their kind, there are come forth disciples, the which although they were alike praiseworthy, yet did they differ very much among themselves: because the institution of the teacher was accommodated unto every one his nature. We have, not to speak of other Arts, a very notable example in Isocrates, a singular good teacher; who said, that he was wont to apply the spur to Ephorus, but on the contrary the bridle to Theopompus: for he did repress the one, that was apt to run out unto a most wanton boldness of words; and he did prick on the other, that would ever stay behind by reason of a bashful slowness there was in him: yet did he not make them like, but he added only something to the one, and took away something from the other, to confirm in both what their natures could bear. It is then very well said of Quintilian 
* Orat. instit. lib. XII. c. 2. , though virtue borroweth some forward fits of Nature, yet must she attain to perfection by Doctrine.  
§ 3. Although now in some regard they took special notice of the difference of wits, yet did they propound every day promiscuously unto all their scholars manifold examples of a true and uncorrupt way of Art: It is not enough Painters and Statuaries should say that the colours must be such, and the lines such; but the greatest profit cometh from thence, if any one seethe them go about their work, saith Dio Chrysostomus 
* Orat. xviii. quae est de Exercitat. dicendi. : nothing is rightly taught nor learned without examples, saith Columella 
* Lib. xi. de ●●er●sticà, cap. 1. : we are easier taught by example what we are to follow, and what we are to shun, saith Seneca the rhetorician 
* Lib. IX. Controu. 2. : there is never any labour lost, when experiments are found to agree with precepts, saith Quintilian. 
* Orat. instit. lib. 12. cap. 6.  Examples stand for testimonies; saith the author of the rhetoric inscribed unto Herennius 
* Circa initium libri Quarti. , and whatsoever Art and reason do advertise and propound unto us but slightly, is made good by the testimony of examples: and again a little after, Chares learned not of Lysippus to make statues by Lysippus his showing him the head of Myron, the arms of Praxiteles, the breast of Polycle us; but he saw his Master do all these things before his eyes; and as for the works of other Masters, he could consider them well enough by himself. Galen 
* Lib. V de Hippocratis & Platonis dogmatibus.  mentioneth that Polycletus hath not only set down in writing the precepts of a most accurate pattern of Art, but that he also made a statue after the rules of Art contained in the said precepts. Polycletus made a piece of work, saith Pliny 
* Lib. xxxiv. nat. hist. cap. 8. , named Canon among the Artificers, because they do fetch the lineaments of Art from thence, as from a certain law; and no man but he is judged to have perfected the Art by a work of Art.  
§. 4. Yet may not all this be so understood, as if these ancient and famous Artificers did ever detain their scholars about the imitation of their works, without giving them leave to try their own wits at any time; for Quintilian telleth us otherwise: it is fit, saith he 
* Orat. instit. lib. II. cap. 6. , that disciples should sometimes be set upon their own legs; lest by an evil custom of always following the labours of other men, they should never learn to endeavour and to find out any thing of themselves: it is likewise known that Lysippus being at the first but a Coppersmith, took a more bold and confident resolution by an answer of the painter Eupompus; who being asked which of the former Artificers a man had best to follow, answered pointing at a multitude of men, that Nature itself was rather to be followed then any Artificer. Plin. xxxiv, 8. as therefore they did most carefully put their hands under the chin of fearful beginners, so did they leave them to themselves, when it was time for them to swim without the help of supporting hands, or childish rushes: although they never did give quite over the labour of the institution once undertaken, but they were still mindful of their scholars after they were gone, and thinking the perfection of a scholar to be the greatest glory of the Master, they provided most commonly for them they had taught some Precepts of Art in writing, which might ever accompany them whithersoever they went: hence it was, that Apelles, not being content with the teaching he had bestowed upon his disciple Perseus, wrote also unto him concerning the Art. Plin. xxxv, 10. we do likewise find that besides Polycletus and Apelles, many other Artificers and famous men have studied to illustrate these Arts and Artificial works, by their writings and disputations: not to name therefore Callistratus his description of statues, the Images of the old and young Philostratus, the xxxiv. and xxxv. books of Pliny, and other authors extant, I shall reckon up only such authors whose records of Art and Artificial things are lost and gone.  
Adaeus Mitylenaeus, his books of Statuaries are quoted by Athenaeus, lib. xiii, Deipnosoph. cap. 8.  
Alcetas hath written of the donaries or gifts offered unto Apollo in his Delphik temple. Athenaeus lib. xiii. cap. 6.  
Alexis the Poet made a Comedy entitled Picture: and the argument of that Poëme seemeth to agree with the argument of the writers here named, if we may make conjecture of the whole Poëme by the place alleged out of it in Athenaeus his Deipnosophists, lib. xiii. cap. 8. we may judge the same of Pherecrates his Painters, quoted by the same Athenaeus, lib. ix, cap. 11. as also of Diphilus his Painters, mentioned by the same author, lib. vi, cap. 4. Alexandrides his Painters are quoted in Pollux his onomast. lib. x, cap. 14. Nonius Marcellus bringeth forth many places out of Pomponius his Painters.  
Anastmenes hath written of the ancient Pictures: See Fulgentius Placiades, lib III. Mytholog. in Actaeone.  
Antigonus the statuary made books of his Art, saith Pliny, lib. xxxiv, cap. 8. and there seemeth also to have been another Antigonus, whom the same Pliny, lib. xxxv, cap. 10. reporteth to have written a treatise of Picture.  
Aristodemus Carius hath particularly set down the endeavours of all them that have advanced the Art of Painting, reckoning up also what Kings and Republikes have been well affected towards the said Arts: see Philostratus in prooemio Iconum.  
Artemon his book of Painters, is quoted by Harpocration, where he speaketh of Polignotus.  
Callixenus hath written a Catalogue of Painters and Statuaries, and Photius telleth us, that the twelfth book of Sopater his choice histories was collected out of Callixenus his work.  
Christodorus his description of the Statues that were at Constantinople, in a public place named Zeuxippus, is mentioned by Suidas.  
Democritus Ephesius hath described the Temple of Diana of Ephesus: see Laërt. lib. ix, in Democritus: and Athenaeus, lib. xii, cap. 5.  
Duris of the Art of Painting, is quoted by Laërt. lib. I, in Thales.  
Eupherion his Comedy entitled Graver of cups, is alleged by Theocritus his scholast.  
Euphranor Isthmius, a most famous Painter, hath written of Symmetry and colours: see Pliny, lib. xxxv, cap. 11.  
Hegesander Delphicus his commentary of Images and Statues is quoted by Athenaeus, lib. v, cap. 13.  
Hippias Elëus, a famous Sophist, disputed about Picture and Statuary: see Philost. lib. I, de vitis Sophistarum.  
Hypsicrates hath written of Picture. Laërt. lib. seven. in Chrysippus.  
Jamblichus his work of Statues hath been confuted by Joannes Philoponus. Photius speaketh of them both.  
Juba the King of Mauritania (of whom see what Pliny saith, nat. hist. lib. v, cap. 1.) hath written of Painters, and the eighth book of that same work of his, is quoted by Harpocration in Parrhasius: the said King wrote also of the Art of painting, as we learn out of the same Harpacration in Polygnotus. Photius likewise in the choice histories of Sopater, quoteth Juba his second book of the Art of painting.  
Malchus Byzantius hath written about the firing of the public library at Constantinople, and about the Statues that were in a place known by the name of Augustaeum. See Suidas.  
Melanthius, a very renowned Painter, hath written about the Art of Painting. See Laërt. lib. iv. in Polemon.  
Menaechmus the Statuary hath written about his own Art, saith Pliny, lib. xxxiv, cap. 8. Athenaeus also lib. two, cap. 24. and lib. xiv, cap. 4. quoteth Menaechmus his treatise of Artificers.  
Menetor of Donaries, is mentioned by Athenaeus, lib. XIII, cap. 7.  
Menodotus Samius hath written of the things consecrated in the temple of Juno at Samos: see Athenaeus lib. xiv, cap. 20.  
Pamphilus hath written of the Art of painting, and of Famous Painters. See Suidas.  
Polemon hath written a treatise of Painters to Antigonus, quoted by Athenaeus, lib. xi, cap. 6. Polemon of Pictures is mentioned by Laërtius, lib, seven, in Chrysippo: he hath also written five books of the Donaries offered in the Castle at Athens; see Strabo, lib. ix. Geogr. as likewise another treatise of the Pictures that were at Athens, in the porch of the temple of Minerva; see Harpocration: furthermore hath he written a treatise of the Pictures that were at Sicyon; see Athenaeus, lib. xiii, cap. 2. and this Polemon doth seem to be the same that is so often mentioned by Clemens Alexandrinus in Protrept: and by Laërtius, lib. two. in Aristippus.  
Porphyrius hath written of Statues, and Stobaeus doth quote something out of him, cap. xxv. Eclogarum physicarum: but it is thought that this Porphyrius is the same with Malchus named above.  
Prasiteles hath written five volumes of the noble works that were in the whole world. Plin. lib. xxxvi, cap. 5.  
Protogenes the Painter left two books of the Art of painting and of Figures: see Suidas.  
Theophanes of the Art of painting is mentioned by Laert. in Aristippus.  
Xenocrates the Statuary made books of his Art, saith Pliny, lib. xxxiv, cap. 8. and again, lib. xxxv, cap. 10. Antigonus and Xenocrates, saith he, have written of Picture.   

CHAP. IU.  
WE have seen how God and Nature by their example stir our inclinations to these Arts of imitation; how likewise careful Parents cherishing that proneness perceived in some of their children, put them betimes to good and trusty Masters: but seeing many forward wits were wont after a sufficient time of apprenticeship, to shake off that respect they did owe unto their masters, there was also by wise and provident antiquity a very good course taken to withhold such presumptuous perverters of discipline from this unadvised temereity by the fear of most severe and strict laws made against the corrupters of Arts and Sciences: neither was there only such care taken about needful Sciences, but also about the Arts that were more for recreation then necessary use. As it cannot be denied that the Arts of tilling the ground, and building of houses are most useful for our poor and needy life, so do we find that the true knowledge, and sincere practice of these Arts hath been upholden by most severe laws. Agellius teacheth us concerning husbandry, that the Romans were very careful to maintain it; if any one by slothfulness, saith he 
* Lib. iv noct. Attic. cap. 12. , suffered his ground to grow foul and full of weeds, never ploughing nor weeding it; if any one likewise did neglect his vine or tree, he was punishable and obnoxious unto the censures of such controllers or masters of discipline, as at Rome were called Censores, who did disfranchise such a careless man, putting him from his freedom: as for Architecture, it was likewise upholden by the rigour of Law: in the Noble and great city of Ephesus there was an ancient law in force, saith Vitruvius. 
* In praefatione libri Decimi.  which though it might seem somewhat harsh, yet was it not to be esteemed unjust: for an Architect, when he undertaketh a publikeworke, agreeth upon the price thereof, and his rate given up, all his goods are engaged to the Magistrates till the work be finished; that ended, if the whole charge agree with the rate set down, he is honoured with public decrees and dignities; if it exceed but by one fourth part only, so much is to be added to the former rate, and to be answered by the public treasury, and the architect is free from tax or punishment; but if more than one fourth part, above the price agreed for, be spent in the work, it is exacted and paid out of the goods of the undertaker.  
We do see by these examples how peremptory the ancients were about such needful Sciences; and yet were they as resolute to preserve the Arts chief intended for the recreation of man. A Musician was put to a fine at Argos, saith Plutarch 
* De Musicâ. , for augmenting the number of strings, whereas others before him did content themselves with seven. The Lacedæmonians also thought it good to banish Timotheus Milesius out of their City, when he went about to corrupt the Art by innovation; and as for the very words of a most vehement decree made by the Lacedæmonians against this same Timotheus, they are very remarkable as Boethius setteth them down lib. I. Musicae, cap. 1. Alexander the Great having made choice of the poet Choerilus to write his deeds, made withal a contract with him, that for every good verse he should have a piece of Byzantian golden coin, and for every bad one he should have a box on the ear: but writing more bad than good verses, he was at length buffeted to death, as it is reported by the old Commentator upon Horace his Art. There was at Thebes a law, by the which Artificers and Painters were bidden to express the forms of images after the best manner they could: and all such as made them worse, were put to a fine: see Aelianus var. hist. lib. IU. cap. 4.  
§ 2. As it was then a very brave enterprise, and relishing the severity of such an uncorrupt age to secure the Arts by punishing the transgressors; so was it for all that a greater matter and more suitable to the humanity of the same times, to prevent all depravations so carefully by good and wholesome laws, that there should be no need of any punishment. Slothful and languishing idleness, saith Valerius Maximus 
* Lib. II. cap. 6. exemplo 3. & 4. , is at Athens drawn forth out of her lurking holes unto the public view and is judged guilty of an ungracious and shameful offence. The same City hath also a most sacred counsel, called Arcopagus, where a very diligent search was wont to be made what every Athenion did, and how he got his living: thus men were forced to live honestly, knowing that they were to give a strict account of their life. See also Aelianus var. hist. lib. IU. cap. 1. and Laeërt. lib. 1. in Solon. There was yet another excellent law at Athens, that youths being now thirteen or fourteen years of age should be brought unto the Arts, and that after this manner: the instruments of every kind of Art being propounded publicly, the youths were brought near; and as they did run to one or other of these instruments with an eager delight, so were they taught that Art whose instruments they had snatched up: because such things most commonly do succeed well, to the which our nature leadeth us; and such things on the contrary do deceive our hopes, that are undertaken with an unwilling mind, saith Gregory Nazianzene Epistolâ 63. Alexis commendeth the Athenians, saith Vitruvius 
* In praefatione libri sexti. , because where the laws of all other Grecians go about to constrain child en that they should maintain their old parents, the Athenian laws command such parents only to be maintained by their children, which had taught their children good Arts: seeing all things Fortune bestoweth upon us, are easily taken away by the same Fortune; but disciplines, being once sunk deep into our minds, do never fail us to the last gasp. See also Galen in his Exhortation to the Arts: but Plutarch most of all in the life of Solon, where he teacheth us what moved Solon to make this law. When Solon perceived, saith Plutarch, that the City was more and more filled with a multitude of men that flocked to the Attic Country by reason of the liberty they enjoyed there, and saw that the greatest part of the Country was naught and barren, that the seafaring men also brought nothing in, as having nothing in their Country to give for the commodities of other Countries, he turned the Athenians to all manner of Arts; making a law withal, that a son should not be bound to maintain his father that had not taught him any good Art to live by. Upon this consideration therefore may we very well conclude, that the Athenians by the force of these laws have deserved such a commendation as Plutarch giveth them; the City of Athens, saith he 
* Bellona an pace clariores fuerint Athenienses. , hath been a bountiful mother and nurse of a great many Arts; for she first invented some of them, and upon some she bestowed honour, force, and increase: so is also the Art of Painting very much advanced by this same City. Aristides 
* In Orat. Panathenaicâ.  also calleth Athens the natural Country or birth place of all good things, and a schoolmistresse of all Sciences and Arts: and therefore doth she not only excel in Statues, but also in Statuaries.  
§ 3. Having now already mentioned the laws established at Argos, Ephesus, Thebes, and at Athens for the preservation of Arts, we may not forget here an Egyptian law made to the same purpose; the Egyptians, saith Diod. Siculus 
* Lib. I. Biblioth. , have most of all polished all manner of workmanship, bringing it to some perfection: for a workman among them is fearfully punished, if he undertake any charge in the Commonwealth, or else if he meddle with any trade but his own; seeing no Artificer may usurp any public office in Egypt, nor profess any trade that is not appointed him by the law and delivered by his Parents; least by chance a malicious envy of Masters, the occupation of civil affairs, or any other occasion should hinder him in the Art he is to exercise. Dicaearchus 
* Apud scholiastem Apollonii Rhodii, ad versum 272 libri iv Argonaut.  teacheth us that Sesonchosis King of Egypt made this law, that no body should forsake his Father's art; as if that were a beginning of an unsatiable covetousness. See Isocrates his praise of Busiris, for he speaketh there somewhat more at large of this same Egyptian law.  
Herodotus 
* Lib. VI hist.  saith that the Lacedæmonians also have approved of this law, following in this point the custom of the Egyptians. Strabo 
* Lib. XV. Geograph.  likewise doth attribute this same custom unto the Indians: and again in another place 
* Lib. XVI. Geograph.  to the Arabians. As for the Egyptians, we may very well judge with Diodorus, that by the means of this law they have attained to such a perfection of Art as shall be related in the third Chapter of our Third Book. Neither is it possible but such Artificers must needs excel, that do not admit any care but one. Hence is it that Plato 
* Lib. IX. de Legib.  sendeth away out of his City all such Artificers as busy themselves with two several Arts. It is better to do one thing excellently, saith the younger Pliny 
* Lib. IX. Epist. 29. , then do many things meanly. Aesopus said, as it is reported by Stobaeus 
* Sermone de Republicâ. , that it is then like to go ill with all, when all men shall study all things. Neither is it possible, saith Quintilian 
* Orat. instit. lib. x. cap. 3. , that our whole mind should busy itself with many things at once; for whensoever it doth but look back, it ceaseth to mark what it beheld before.   

CHAP. V.  
AS now the fear of severe laws kept them in awe, that went rashly about to leave the wholesome precepts of their good Masters; so on the contrary, good natures that would not swerve presumptuously aside from the received instructions, were mightily incensed by emulation to follow them constantly that sped well in this same way. The love of emulation is stronger than the fear of punishment threatened by laws, saith Tacitus 
* Lib. III. Annal. c. 55. . Virtue doth naturally affect glory, and studieth ever to outgo his forerunners, saith Seneca 
* Lib. III. de Benef. c. 36. . A horse doth then best of all run his race, saith Ovid 
* Lib. III. de Arte. , when he is in the company of other horses which he may leave behind him or follow. It was bravely said of Scipio Africanus, I am sure, saith he 
* Apud Livium li. xxviii. ab v. c. , that every magnanimous spirit doth not compare himself only with them that are now at this present alive, but also with the famous men of all ages. It being therefore manifest enough that the greatest wits are ever by the pricks of emulation driven forward to greater matters, it appeareth likewise that it is always a certain mark of a most base and dull spirit not to be stirred up to emulation by the earnestness of so many competitors as do strive to attain to the same perfection of Art: so is it also most commonly seen, that such as do strive with no body, deceive themselves with too much love of their own works; and whilst they compare themselves only with themselves, it is impossible but they must needs fall into a foolish liking and a most vain admiration of what they have done. He must needs attribute too much unto himself, saith Quintilian 
* Lib. I. orat. instit. cap. 2. , that doth compare himself with no body. We stand therefore in need of Emulation, and that not a vulgar one; Dost thou desire the glory of swiftness? saith Martial 
* Lib. XII. Epigram. 36. , study to go beyond the tiger and the light Ostrich. It is no glory at all to outrun asses.  
§ 2. Tully giveth us a very good lesson; it is meet, saith he 
* Circa initium libri de Perfecto oratore. , that all such as do long with a fervent desire after great matters, should try all: and if any one hath not the ready help of his own nature, if he lack the force of a piercing wit, if he think himself but slenderly furnished with the disciplines of great Arts, let him for all that hold the best course he may; seeing it is honourable enough that they which do strive for the first place, should be seen in the second or third: neither have workmen instantly withdrawn themselves from the Arts they did profess, because they could not imitate the beauty of that Venus at Coos, or of that Jalysus we saw sometimes at Rhodes; neither hath the image of Jupiter Olympius, or the statue of Doryphorus amazed them so much, as that they should not try what they could perform, and how fare they might go: yea there hath rather been such a multitude of them, and every one hath deserved so much praise in his kind, that the best of their works causing admiration, the meaner nevertheless have obtained approbation. See Columella in the preface of his first Book of Husbandry, where he maketh a large discourse upon these very words of Cicero. But most of all do the words of Velleius Paterculus demand our attention: for after he hath expressed his admiration, that so many brave wits and Artificers within a small compass of time should at once rise and fall, he staggereth at it, not knowing what reason to give of so sudden an increase and decrease of Arts, till at length he contenteth himself with this conjecture: Emulation, saith he 
* Sub finem libri primi hist. , is a nurse of wits: and whilst our imitation is provoked sometimes by envy, sometimes by admiration, it falleth out that the thing earnestly sought after, is quickly brought to some height of perfection: but then is it a very hard matter that any thing should continue long in that perfection; seeing naturally, what cannot go forward, goeth backward: and as at the first we are very well disposed, to overtake them that run before us; so, when we do despair to go beyond them or else to keep an even pace with them, our earnestness together with our hope groweth cold, and ceaseth to follow what it cannot overtake: leaving therefore the whole matter, as being aforehand seized upon by others, we seek a new one; and passing by that, wherein we cannot excel, we do look about for something to work upon: whereupon it followeth that a frequent and wavering change turneth to be the greatest hindrance of perfection.  
§ 3. Although now the ancient Artificers were questionless by the heat of Imitation and by the unsufferable prickings of Emulation forcibly driven to a more earnest and accurate study of Art, yet do we not think that these Arts have been only advanced by the mutual Emulation there was betwixt the Artificers themselves, but we do hold that the great fame of many most eloquent men in those times hath also stirred up the lively spirits of the Artificers, not suffering them to rest till they had wrought something that might deserve the like fame. This may be gathered out of the words of Plutarch alleged before 
* Lib. I. c. 4. § 2. : so hath it also been observed in latter times that the ages excelling in eloquence, have also excelled in these Arts. All manner of sciences and eloquence have been revived in Germany, saith Felix Faber 
* Lib. I. historiae Suevorun, cap. 8. , and consequently all kind of witty Arts, as Painting and Carving: for these Arts do love one another wonderful well: Picture doth require wit, Eloquence also doth demand wit; not an ordinary one, but a high and profound wit. It is a wonderful thing, that picture hath ever flourished when eloquence did bear a great sway; as the times of Demosthenes and Cicero teach us: but eloquence falling, picture also could not stand any longer.   

CHAP. VI  
GOod natures then that were loath to shame their good Masters, did with all care and diligence emulate the best works of old renowned Artificers, taking special notice of that same simplicity of Art so much commended in ancient works. Arts are advanced, not so much by them that dare make a great show of Art, but rather by them that know how to find out what there is in every Art, saith Isocrates 
* Contra Sophist as. . Adorn any thing purely and soberly, saith Agellius 
* Noct. Attic. lib. VII. cap. 14, , and it shall grow better and better; daub it over on the contrary with the painting colour of women, and it shall resemble a jugglers delusion: neither doth any thing mar and falsify the integrity of Art so much, as the astonished persuasion of them that conceive nothing to be fair and praiseworthy, but what is costly and fare remote from the simplicity of the Ancients. Such is always the condition of our minds, that the works begun with necessary things, end most commonly with superfluous, saith Pliny 
* Nat. hist. lib. xxvi. cap. 4. . Apelles, Echion, Melanthius, Nicomachus, most famous Painters, saith the same Pliny 
* Lib. xxxv. cap. 7. , have made these immortal works with four colours only; and yet was every one of their works sold by itself for the wealth of whole Cities. Now on the contrary is there never a noble picture made, though purple settleth itself upon our walls, though India bringeth in the mud of her rivers, as also the corrupt blood of Dragons and Elephants: see Pliny himself, for the setteth down in the same place the particular names of these four colours used by them. It will not be amiss to expound, saith Vitruvius 
* Lib. VII. cap. 1. , why the integrity of workmanship is now adays put down by false and adulterate ways; for what laborious and industrious antiquity did study to have commended for the Art, the same do our Artificers obtain by the fine show of rare colours; and the cost bestowed upon the work by the patron of the work, bringeth to pass, that the authority ancient works drew out of the subtlety of the Artificer, is not so much as desired. Who was there among the ancients but he did use vermilion sparingly, and even after the manner of a medicament? but now are there every where whole walls daubed over with it, as also with Chrysocolle, Ostrum, Armenium: which things, when they are used in painting, draw the eyes by their glistering brightness, though they be never placed by any art: and because they are very chargeable and costly, the law hath excepted them, that namely the patron of the work should exhibit and provide them, not the Artificer. There was also another wanton device of chargeable Art, tending to the undoing of this same simplicity we speak of, yea causing the uttermost ruin of the whole Art itself. Picture, an Art noble in times past, saith Pliny 
* Lib. xxxv. nat. hist. cap. 1. , is now altogether thrust out by marble and gold: not only that whole walls are covered with it, but that marble also is scraped and filled for to make particoloured crusts representing several things and beasts: the lower squares of pillars have lost their estimation they were in; no more are whole spaces of hills that lie hid in our privy chambers liked of: we have begun to paint stones also: this was found out in the times of Claudius his government: as it was first instituted in Nero his times to vary the unity of a stone by inserting such spots into the crust as were not by nature: that namely the Numidian stone might be filled with ovals, and the Synnadian should seem to be distinguished with purple; even as wayward delicacies would have them grow.  
§ 2. The ancient Painters of better sort, did constantly follow this same study of simplicity; neither did they spare those that durst show themselves addicted to an effeminately remiss and a most corrupt kind of sumptuous workmanship: so was it that Apelles, as 
* Lib. II. Paedagog. cap. 12.  Clemens Alexandrinus reporteth, seeing one of his scholars busy with the picture of Helen, the which was afterwards named the golden Helen, said unto the youth, Because you knew not how to paint her fair, you have made her rich. Although great Masters in old times did labour mightily to recall such depraving of Art to the uncorruptness of severe judgements, yet could they not prevail so much, but that the sophisticated Art, abounding with many sweet vices, drew still the eyes and minds of unadvised spectators; and so were afterwards the greatest part of the Artificers by a heartless luskishness persuaded to soften such things as else would have been full of strength, yea they did not stick to change the manly countenance of Art by an affectation of a seeming grace; little regarding what strength there was in their works, if they were but smoothly trim and well liked of by the vulgar sort. There is a wonderful great difference between pure neatness and curious affectation, saith Plutarch 
* Lib. VI Sympos. problem. 7. . Things more honest are also more specious in a body that doth not fit itself for luxury and lust, saith Quintilian 
* Lib. XII. cap. 10. . So saith also the same Author in another place 
* Lib. V cap. 12. , When I look upon Nature itself, any man is fairer, in my opinion, than an Bunuch: so cannot Providence disdain her own work so much, as to suffer debility to be reckoned among the best inventions; neither can I think that any thing is made fairer by cutting, which if it were brought forth so, should be counted a monster. Let lust therefore glory in the counterfeit effeminateness of the maimed sex; yet shall not evil customs get so much mastership, as to make it good also, what they have made precious.   

CHAP. VII.  
COnstant Emulators in the mean time, expressing prosperously the said simplicity of the ancient Art, felt their minds withal filled with the sweet contentment of what they did: wondering therefore at the strange effects of such plain workmanship, they could not choose but cheerfully pursue the same way of Art. It is more delightful to an Artificer, saith Seneca 
* Epistolà 9 , to paint, then to have done painting: our solicitude, as long as she busieth herself about the work, taketh a singular great pleasure in the occupation itself: he is nothing near so much delighted, that hath already accomplished the work: for he doth now enjoy the fruit of his Art; whereas before, whilst he did paint, he enjoyed the Art itself. The youthful years of our children are more beneficial and profitable, but their infancy for all that is a great deal sweeter. Plutarch giveth us a lively example of the pleasure a working Artificer enjoyeth; as many as love to paint, saith he 
* Inlibello cui titulus, Non p●sse suaviter vivi secundùm Epicurum. , are so taken with the goodly show of their works in hand, that Nicias, when he made a picture famous by the name Necya, did often ask his servants whether he had dined? His mind forsooth fed upon the study of his work, finding greater dainties in that contemplation, then in any other banquet whatsoever. I have seen Painters do their work, saith Libanius 
* Declamat. VI , singing. Neither doth it deserve any admiration that they should work with so much ease, seeing the workman is still refreshed and encouraged by the spirit infused into him by an unexpected success, bestirring himself as if the things themselves and not the images were adoing: there is every where nothing but life and motion; so are also these new upgrowing things entertained with a great deal of favour and solicitude, saith Quintilian 
* Lib. X. c. 1. . This same favour also together with the conceived hope conducing to the fertility of our wit, saith Lucan. carm. ad Pisonem.  
§ 2. As many then as do wonder at and deride the indefatigable and vehement fervency great wits do use about the works of art, have never loved any thing worth study and care; neither have they so much as understood that our better and more divine part, if it be not altogether base and degenerate, is nourished or rather feasted with honest and delectable labours, even from our tender childhood. We do see therefore how little children themselves cannot rest, saith Tully 
* Lib. V de Finibus bon. & malorum. , and as they grow more in years, they love so well to be always in action, that they can hardly be beaten from laborious and toilsome plays: so doth also this desire of doing always something, still increase with their ages. It is then evident that we are borne to do always something: see also Seneca, epist. 39  
§ 3. And in good truth, what shall we say to this? can there be any so great contentment in the possession of a vast and endless estate, in the enjoying of all kind of pleasures and delights, as to see men of great places and authority, that live in great abundance and plenty, and do not want the good will of the world, assemble themselves together and make a ring about the astonished Artificer? who being thus graced by most eminent persons, how do all other men upon any occasion accompany him? What show doth he make in public places? what veneration doth he find in the assemblies of men of good note? how sensible is he of the joys that do tickle his heart when he seethe the eyes of all men with a silent admiration fixed upon him alone? when he perceiveth that his name is one of the first names parents acquaint their children with? when he findeth that the unlearned and careless multitude hath got his name, and telleth it one to another at his going by? country people also and strangers having heard of him in the places of their abode, as soon as they come to Town, inquire for him first of all, desirous to see the face of him they heard so much of: any wit almost may be inflamed, saith Ovid 
* Lib. III. de Ponto, Eleg. 4. , by the applause and cheerful favour of the people.  
§ 4. But why should I reckon up these ordinary joys, that lie open also to the eyes of ignorant men, seeing there are secret delights of greater moment, felt and known by none but the Artificer himself? for when he publisheth an accurate and well be laboured work, the sound and solid joy conceived out of the absoluteness of the work hath as well a certain weight and durable constancy, as the work itself; when he bringeth on the contrary a sudden and half polished work to the view of the world, the anguish and perplexity of his timorous mind doth commend the good success the more unto him, so that he doth most hearty embrace the pleasure of his fortunate boldness. And how is it possible, I pray you, that such an Artificer should not think himself a most happy man, which upon a just affiance of his virtues knoweth himself to be lifted up above the reach of envy, where he standeth secure of his fame; enjoying in this life, as if he were now already consecrated unto eternity, the veneration that is like to follow him after his death: it is a most comfortable thing to have a fore-feeling of what we hope to attain unto, saith the younger Pliny 
* Lib. iv ep. 15. : so saith also Latinus Pacatus, the flitting pleasure of sudden successes, saith he 
* Panegyr. Theodosio Aug. dicto. , as it taketh us, so doth it leave us: it is a longer felicity when we are secure of what we expect: neither have some great Masters in old times dedicated their best works at Delphis in the temple of Apollo with any other intent, but that they should in their life time preoccupy a lively feeling of an everlasting name. Those that have hung up unto the God's great donaries, saith Libanius 
* In Antiochico. , pass the rest of their time with a great deal of pleasantness, as having now in their daily conversation some fine thing of their own to relate: yea if they had many other things to say that might make them famous, yet would they go by all the rest, and boast most confidently that they do not fear to be buried in oblivion, seeing their work remaineth in the finest place under the Sun: neither doth this confidence deceive them; for whosoever doth show the study of his mind in places of great resort, procureth unto himself an everlasting glory: such is, in my opinion, the case of those Painters, who have consecrated the wisdom of their hands at Delphis.   

CHAP. VIII.  
AS then the sweetness they felt in a happy expressing of that ancient simplicity made them still to advance these Arts with an undefatigable study, so was likewise the manifold and every where obvious use of these Arts a great cause of their augmentation; seeing men love always to take the greatest pains about such Arts and Sciences, as are in greatest request: the provocations of vices have also augmented the Art: it hath been pleasing to engrave wanton lusts upon the cups, and to drink in ribaldry abominations, saith Pliny 
* In prooemio libri xxxiii. . Daedalus made a wooden Cow, to accomplish the shameful desire of Pasiphaë withal; see Higynus 
* Fabuia 40. . But we are resolved to insist only upon more honest causes: and certainly, all mankind hath been very much wronged by them, that would go and fetch these prodigious ministeries of base lust from so noble Arts; even as we have good reason to detest their importunate wits, that have turned the humanity of such gentle Arts to the instruments of cruelty. Medea went about to overthrow Pelias by a hollow image of Diana; see Diadorus Siculus lib. IU. Biblioth. Perilaus his brazen bull is known by the Epistle Phalaris wrote to the Athenians concerning Perilaus his execution. Agathocles his litter is mentioned by Diod. Siculus lib. xx. Nabis the tyrant, his Apega is described by Polybius lib. xviii. Ovid 
* In Ibin, vers. 569.  remembreth a horse made of maple tree, wherein the throat of miserable men was broke. The Carthaginians had a brazen statue of Saturn, stretching forth his hands toward the ground after such a manner, that the babe offered him for sacrifice might role down into the flaming fire that was underneath; see Diod. Siculus lib. xx. Some of the French have huge images, whose great limbs made of twigs they do fill with men that are to be burned alive; see Caesar lib. VI de bello Gall. cap. 16. as also Tully pro Manio Fonteio, and Strabo lib. IU. Geogr. There was in a cave at Rome a wonderful great dragon made by mechanical art, carrying a sword in his mouth, with eyes of precious stones fearfully glistering: unto this dragon there was yearly offered a sacrifice of devoted Virgins handsomely trimmed up with flowers: and when these Virgins, being ignorant of the danger, meant to go down to offer their gifts, as soon as they did but touch that step of the ladder at which the dragon by a diabolical art did hang, their innocent blood was instantly shed by the sword they met withal. A certain monk at length, which for his merits was well known unto Stilico, destroyed him after this manner: trying every step at his going down, he found out the devilish deceit; and warily shunning that same false step, he came so near as to cut the dragon in pieces; showing here also that they are no Gods which are made by the hand of man: see D. Prosper. part III. de Promise. & praedictionib. Dei, promise. 38. Ungodly Kings and Princes also were wont to try the minds of the true worshippers of God, by exposing their own statues and the statues of other false Gods publicly to be adored; and that with no other intent, but that the servants of the living God might be found out and destroyed: so we read that Nabuchodonosor, puffed up by prosperity, made an exceeding great golden statue, to be adored of all them that had their minds depraved by flattery, none but Shadrach, Meshach, and Abednego were found to have abstained from that profane office, wherefore they were by the Kings command immediately bound and cast into the fiery furnace: see the prophecy of Daniel cap. 3. see Plinius junior lib. x. epist. 97. and 98. Licinnius hath even after the same manner gone about to exercise cruelty upon Auxentius: see Suidas where he speaketh of Auxentius. Let us now leave the examples of such a beastly fierceness, seeing they do not deserve to be related among the causes of the increase of Art; as on the contrary we may very well judge that they have deserved a great deal better of the whole world, who studied to advance these Arts by transferring them unto all kind of things honest or at least not dishonest.  
§ 2. But here seemeth the greatest increase of Art at the first to have been occasioned by necessity; seeing it is granted that inventions to supply our wants, are more ancient, than those that serve only to satisfy our pleasure, saith Tully 
* De Perf. oratore. . Whatsoever is useful, hath his turn before any other thing only delightful, saith Varro 
* Lib. I. de Re rust. cap. 4. . Man, a sociable creature, not knowing how to speak to men of another language, nor to them that were absent, or should live a good while after him, was forced (before the invention of letters and writing) to make use of certain figures taken from the similitude of diverse beasts, plants, and other artificial things: and so do we find that the industry of the most ancient times expressed the inward and secret conceits of any man's mind by the help of such marks. Diod. Siculus speaking of the Aethiopians, the most ancient of all Nations in his opinion, their letters, saith he, resemble diverse living creatures, as also extremities of men, and most of all artificers instruments: for their words are not expressed by the composition of syllables and letters, but they are under the form and signification of images printed into the memory of men by use. Corn. Tacitus also speaking of the Egyptians, the Egyptians did first of all, saith he 
* A●●●●…. lib, XI, cap. 14. , set forth the meaning of their mind by figures of living creatures: and the most ancient monuments of humane memory are as yet seen printed in stones after such a manner. Necessity did also drive Philomela to express by a woven picture the grievous case she was in; see Ovid lib. VI Metam. as also Ausonius epist. 23. but most of all Achilles Tatius, Philomela, saith he 
* Lib. V de amorib. Clitophontis & Leucippes. , found out a silent voice; for she weaveth a long vesture, describing therein the tragical fact; her hand performeth the office of her tongue, and she doth discover unto the eyes of Progne things belonging to her ears, telling her by the means of a shuttle what she hath suffered; Progne from the vesture understandeth the rape. It seemeth also that principal men at Rome, upon consideration of this necessity, persuaded Q. Pedius to practise the Art of painting. Q. Pedius, saith Pliny 
* Lib. xxxv. nature. hist. cap. 4. , nephew to that consular and triumphal Q. Pedius, who by Caesar the Dictator was made coheir with August, being dumb by nature; Messalla the Orator, out of whose family the boy's grandmother was, did think it fit to have him taught the Art of painting, August himself being also of that opinion: he died a boy, having profited very well in the Art. Although spoken, it seemeth but a slight matter; yet, being well considered, it is a mighty thing, that Picture speaketh the language of all men; whereas among several Nations there is such a wonderful diversity of speaking, that a foreigner doth hardly seem a man unto them that are of another Country.  
§ 3. The usual way of Sciences giveth us also an evident proof of the necessity of these Arts; seeing it is practised almost in all Arts and Sciences, that the clearest grounds an Artist is able to propound, are yet illustrated and cleared by Picture: how often chanceth it in the natural science that, when words come short, a little picture bringeth us to the knowledge of beasts, birds, fishes, and all sorts of vermin we never saw before? this is very often confessed by Aelian 
* Lib. XV. de Animalib. & alibi.  in his History of beasts: neither may we doubt but that all mankind should be overwhelmed with a thicker mist of ignorance than it is now, if this generous Art did not sometimes step in and set forth in a small image what many words cannot describe: so do likewise all Arts of war and peace lack the aid of Picture. A Tactike shall never know how to set his men in array, unless he do first try the case by design or delineation: so do we read that Penelope 
* Apud Ovidium, in epist. Heroid.  doth attribute this same skill to the ancient Worthies, saying that they being returned home from the Trojan war, did paint in their feasts the whole besieged City and all the manner of war with a little wine upon the board. Likewise doth the same Author elsewhere 
* Lib. II. de Arte.  mention that Aeneas at the request of Calypso did paint the siege of Troy with all the circumstances that might be observed in such a siege. Vegetius 
* Lib. II. de Re militari, cap. 11.  at length when he reckoneth up all such kind of workmen as are of necessity to be added to every legion, placeth Painters among the rest of these Artificers that might not be spared in an Army. An Architect also had need to have some skill in drawing, that he may the easier portray in his painted platforms any fashion of work his mind putteth him upon, saith Vitruvius, lib. I. Architect. cap. 1. Although a cunning Architect must not only know how to delineate the work he taketh in hand, but he must know also, if need be, how to work out the pattern of his intended work in wax or clay. Do ye not see the Architects, saith Greg. Nyssenus 
* Orat. III. in Resurr. Christi. , how they do work out the patterns of huge and mighty buildings in a little wax, and how the proportion of so small an example keepeth the same force in a greater structure? In many other Arts we do find the selfsame necessity. Geometry and Astrology go fare beyond Apelles and Polycletus; for they do counterfeit every thing so lively, as if the Labyrinth-maker Daedalus had contrived them, saith Martianus Capella 
* Lib. VI de Philol. & Mercurii nuptiis. . Archimedes Siculus did cunningly make the similitude and figure of the world in hollow brass, painting also the celestial signs on that same brass, saith Lactantius 
* De origine erroris, ca 5. . The Greek Authors of Physic, Cratevas, Dionysius, Metrodorus, have after a most pleasant way painted the shapes of herbs, writing their effects underneath, saith Pliny 
* Lib. xxv. cap. 2. . Many sorts of birds were painted in the Hetrurian discipline, saith the same Pliny 
* Lib. X. cap. 15. . Such as wrote the lives of great and famous men, were wont also to join their painted images unto the relation made of them; that posterity might as well view the picture of their bodies as of their minds. T. Pomponius Atticus expressed in verse who they were among the Romans that did excel in honour and great deeds, so that their deeds and honours are described under every one his image with no more but four or five verses, saith Corn. Nepos 
* In vitâ Attici. . Varro likewise studied to extend the fame of illustrious men after the same manner. Pliny speaketh of them both at once; that the love of images hath been much in request, saith he 
* Lib. xxxv, cap. 2. , is witnessed by Atticus, that friend of Cicero, seeing he published a volume of images: it is witnessed also by M. Varro, who by a most bountiful invention inserted into the fertility of his volumes not the names only, but in some manner the images also of seven hundred illustrious Worthies; not suffering their shapes to perish, nor age to prevail against men; deserving the envy of the Gods themselves by the invention of such a gift; since he did not only bestow immortality upon them, but sent them also abroad into all Countries, that they might be present every where and carried about. The interpreters also of sacred histories are likewise now and then forced to make use of these Arts; the picture of the tabernacle, of the temple of God, made after the likeness of heaven, saith Cassiodorus 
* De Divinis lectionib. c. 5. , as it was cunningly drawn in his proper lineaments, hath been fitted by me in the Latin pandects after a most competent manner. The same Author speaketh also of painted patterns for Bookbinders; I have expressed for the Bookbinders, saith he 
* Ibidem, cap. 30. , several ways of bindings, painted all in one volume; to the end a scholar might choose such a fashion of covering as he shall like best. The most useful study of Geography at length, without some help of Picture, will be nothing else but a temerary error of our wand'ring mind; and every one of us must say with Propertius 
* Lib. IU. Eleg. 3. , I am compelled to learn the painted worlds out of a map. The poet saith very well, I am compelled, seeing the most industrious study of perusing all the laborious commentaries of Geographers can give us but a confused and obscure view of what one painted sheet of paper propoundeth unto our eyes most clearly. And as the study of Geography is found to be upholden by Picture, so must travellers also that would have their travels known, not be altogether ignorant in this Art; such as have traveled by sea and by land, saith Macrobius 
* Saturnal. lib. VII, cap. 2. , rejoice when they are asked about the situation of an unknown Country, or about one or other bay of the sea; they do answer therefore most willingly, describing the places sometimes with words, sometimes with a stick; esteeming it no small glory to represent to the eyes of others what they themselves have seen. It would be an easy matter to show here the like use of Picture in many other Sciences, if we did not hasten to greater benefits famous Generals have enjoyed by the means of these Arts both in war and peace.  
§ 4. Michal meaning to save her husband David from the persecution of her father Saul, feigned him to be sick, having muffled up in the bed an image in stead of her husband David, who had leisure enough to get away whilst the King's messengers were so deceived: see 1 Sam. xix. 13. The corpse of Alexander the Great did lie a great while unburied, the Princes quarrelling most eagerly about the succession to the crown; neither would they in haste have minded any such thing, if Aristander had not foretold them as by a prophetical inspiration, that the Country which should receive the body of so fortunate a King, should have no need to fear any invasion; whereupon every one strove to enterre the Royal corpse in the Country where his government chanced to be. But when Perdiccas perceived that Ptolėmaeus having prevented him made all possible haste to bring the King's dead body into Egypt, he made likewise after him with an armed force, and a great deal of blood would have been spilt that day between them two, if Ptolemaeus had not abused Perdiccas cunningly, by letting him snatch away an image of Alexander his body for the body itself: see Aelianus var. hist. lib. XII, cap. ultimo. The stratagem of the Troian-horse needs not be related; Virgil and other authors being full of it. Ctesias Cnidius reporteth in his Persian histories 
* Apud Photium.  that Cyrus assaulting the city Sardis, by the advice of Oehares filled the ground round about with wooden images of Persians, and that the townsmen frighted with such a multitude of enemies, yielded the city: see also Theon sophista progymn. cap. XI. Jul. Frontinus lib. III. Stratag. cap. 8. Tzetzes Chiliad. I, hist. 1. Such another stratagem hath been used by Semiramis: see Diod. Siculus lib. II. as also Tzetzes Chil. XII, hist. 452. Spartaous did likewise by the same means escape his enemies that had beset him on every side: see Frontinus lib. I. Stratag. cap. 5. The Lacedæmonians together with their confederates having gathered an Army of forty thousand men, made an invasion into the Country of the Thebans. Epaminondas perceiving that the Thebans were much frighted with such a multitude, would not lead them forth to meet the enemy before he had lessened their fear and filled them with a most resolute courage. There was at Thebes an image of Pallas holding a pike in the right hand, and a shield down at the knees: this image he caused to be altered in the night time, and opened in the morning about the time of his setting forth all the churches that were in the City, wishing his Countrymen to pray to the Gods for good success: but they, having found the Goddess her posture quite altered from what it was before, were much amazed, as if the Goddess did stretch forth her weapons against the enemies; whereupon Epaminondas bid them be of good cheer, since the Goddess shown herself ready to meet the enemies. This plot of his did prevail so much with the Thebans, that they had the better of the day. Polyaenus lib. II. Stratagematum. L. Sylla plotting how to make his Soldiers more forward to fight, made a show as if the Gods did foretell him things to come; and at length in the sight of his Army, that was now ready for the battle, he brought forth a little image which he had taken away from Delphis, beseeching it to hasten the promised victory: see Frontinus Stratag. lib. I, cap. 145. Valer. Maximus lib. I, cap. 2. exemplo 3. Plutarch 
* In Sylla.  addeth that this image used by Sylla was a golden image of Apollo. Theagenes also intending to go any whither, was wont to consult an image of Hecate, which he had ever about him: see Suidas. Jupiter recalled Juno from an intended divorcement by the means of a statue: see Pausanias lib. IX. Amasis' abolished the unnatural custom of humane sacrifices, used at Heliopolis, a city of Egypt; commanding there should be made three images of wax, in the place of three men that were to be offered unto Juno: see Porphyrius lib. II. de Abstinentiâ: so doth Servius say very well to this purpose: We must know, saith he 
* Ad versum 116. Secundi Aeneid. , that things feigned in sacrifices are taken for true things: wherefore, when a sacrifice is to be made of such creatures as are hard to come by, they are made of paste or wax, and are taken for true ones. The Egyptians did contemn their King Amasis at the first beginnings of his government, because he was but of an ignoble and mean parentage; till he made them by a fine way remember the veneration due to that height of glory he was come to. There was among the royal householdstuff a golden basin wherein the King his feet were daily washed, as also the feet of them that sat with him at meat: breaking therefore this basin, he turned it into an image, and set it up to be adored publicly: and when he was afterwards informed that the Egyptians did worship it most religiously, he told them that image was made out of the basin in which they were wont to wash their feet, to vomit, and to make water in; wishing them withal, to esteem of him accordingly; saying that it was true, he had been one of the common sort, nothing differing from the sordid multitude, but that he had now very good reason to look for that dreadful veneration Kings have in the hearts of all them that are touched with a lively feeling of their power and might: see Herodotus in Euterpe. The Priest of Canopus confuted with a pretty device the great boastings the Chaldeans made of their much honoured God: for when they went braggingly about to try the strength of other Gods with the force of the all-devouring fire worshipped by them, there met them among the rest a Priest of Canopus, who having taken an earthen waterpot full of holes, filled it with water, the holes being first stopped up with wax; having afterward fitted this deceitful waterpot with a head and other limbs taken from another statue, and having coloured all alike, he quickly made an end of their vaunt; for in this conflict of Gods, whereas the Chaldeans did think that this statue should be consumed by the fire as others had been, it fell out otherwise; for the wax melting, let out the water; and so was the Chaldean God most ridiculously put out: see Cedrenus, and Suidas, where he speaketh of Canopus. Annibal, after that the Romans had vanquished Antiochus, fled to the Gortinians in Crete, to consider there which way he might best secure himself: but the most wary man perceived instantly that he was there in very great danger, by reason of the Cretensians avarice, unless he could find out some sudden shift; knowing full well that it was noised abroad how he had a great sum of money about him. He filled therefore a great many pots with lead, laying so much gold on the top as might cover the lead: then did he put these pots in the temple of Diana, the Gortynians being by, making a show as if he did put them in trust with all he had. After he had thus gulled the Gortynians, he filled the brazen statues he had about him with his money, throwing them carelessly down in public rooms of his lodging: the Gortynians in the mean time do watch the temple with very great care; not so much for fear of others, as of Annibal himself, lest he should privily convey away something: but Annibal having deceived the Gortynians, and saved all his wealth by such a crafty subtlety, got from thence to King Prusias in Pontus: see Corn. Nepos in Hannibal his life. When Alcibiades meant to take great matters in hand, and saw that many things could not be effected without the help of a trusty friend that should be privy to all his plots, he tried his friends out of whom hemeant to make his choice after this manner. Having laid a statue made after the likeness of a dead man in the darkness of an obscure corner, he brought in his friends one by one, showing them, with a great deal of horror and fear the man whom he pretended to have been murdered by himself, craving also silence and help: but when every one drew back, fearing to meddle with so dangerous a matter, Callias alone readily and faithfully undertook the society of the danger his friend would put him to; and hence was it that Alcibiades afterwards made most use of Callias, as of a most trusty inward friend: see Polyaenus lib. I. Stratagem. There is good cause also why among the manifold use of Statues the wooden horses Vegetius speaketh of should be mentioned here: not the freshwater soldiers only, saith he 
* Lib. I. de Re militari, cap. 18. , but the stipendiary also were strictly enjoined to practise the vaulting art: which custom, although now with some dissimulation, is come down to this present age. Wooden horses were put under the roof, when it was winter; in the open field, when it was summer: and young men were compelled to get upon them, first unarmed, till they were used to it; and afterwards, in their full armour: yea they went about it so carefully, that they did get up and down indifferently at the right or left side, holding also drawn swords or long spears in their hands: no wonder then that they should do it in the tumult of a battle so readily, who did practise it in the quietness of peace so studiously. The Persians did not only use their horses to the tingling sound of glattering armour, and to the hoarse humming noise of an armed multitude; but they threw also at the feet of their galloping horses the images of dead men stuffed with chaff, lest they should lose the use of their horses, if in the heat of the fight they should start aside, affrighted at those that lie slain upon the ground: see Aelianus de Animalib. lib. XVI, cap. 25. The Macedonian King Perseus preparing himself against the Romans, was informed that both Libya and their late victory over Antiochus had furnished them with elephants: lest therefore such a huge beast should fright the horses at the first sight, he gave order that some cunning workmen should make wooden images resembling elephants in shape and colour, that likewise a man should get upon this wooden frame and sound the trumpet through his snout, in imitation of their loud and dreadful braying: the horses therefore having often seen the sight and heard the noise, were taught by this means to contemn the Elephants. Polyaenus lib. IU. Stratag. But among so many several uses of Statues, the inaugurated Statues may not be forgotten; which being set up by skilful enchanters in some unaccessible chancel of the temple, or else secretly digged in the ground, were thought to appease the wrath of the Gods, and to protect the Country from hostile invasions: see Photius in Excerptis ex hist. Olympiodori. Such a one seemeth that same Talus to have been, mentioned by Apollonius Rhodius 
* Lib. IU. Argonant. ●. 1638. , and many other Authors. Asius the Philosopher also made an image of Pallas by a certain observation of Astronomical influences, tying the destinies of Troy to the preservation or loss of that Palladium: see Tzetzes in Lycophronis Cassandram. But of this, God willing, shall we speak more at large in our Catalogue of Artificers. If any one in the mean time desire to know something more concerning the inaugurated statues, which now adays by them that are curious of such things are called Talisman, let him read the sixth Chapter of Gafarellus his Curiosities unheard.  
§ 5. What an endless labour it would be, to reckon up the several sorts of statues and Images made both for use and ornament, not to allege many authors, may be known out of Cassiodorus alone. The Tuscans are said to have first found out statues in Italy, saith he, 
* Variarum, lib. VII. 15.  and Posterity having embraced this invention of theirs, hath very near filled up the city with a number of people equal unto them that were begotten by Nature. As therefore it might seem a most temerary unadvisedness, if I should undertake to mention all that ancient authors relate of the works of statuary and picture; so is it more agreeable with our mean wit, and otherwise employed industry, to promise but a little more than we have said already: not mentioning the majestical ornaments of Churches, of market places, and public galleries, seeing it is better to say nothing at all of them, than to lessen their deserved admiration, by a dry and homely expression. Insisting therefore only upon some other examples of the usefulness of these arts, it may not seem amiss to think, that many of the ancients perchance have studied to fill public and private places with all kind of rare pictures and statues, for the same reason for which the Lacedæmonians (otherwise a blunt and coarse people) made much of them. For being a warlike Nation, and knowing well-shaped proper bodies to be most fit for war, they were also most desirous to beget handsome children, representing unto their great bellied wives, the images of Apollo and Bacchus, the fairest among the gods; as also the pictures of Castor and Pollux, Nireus, Narcissus, Hiacynthus, young men of perfect beauty. Appianus in his first book of Hunting describeth this custom of theirs: adding withal, That such as bred horse-colts and pigeons, did most commonly use some such like means to have their horse-colts and Pigeons speckled and painted after their own fantasy. The practice of the Patriarch Jacob agreeth very well with this. See Genes. xxx. and B. Hieronymus his Questions upon Genesis. The shapes of bodies brought forth, saith Pliny, 
* Lib. VII. Nat. hist. cap. 12.  are reputed to be suitable to the minds of the Parents, in which many casual things bear a great sway; things seen, heard, remembered, fantasies also running in the mind at the very instant of conception: a thought likewise running in the mind of either of both the Parents, is conceived either to give the whole shape to the child, or else to mix it. Whence it is that more differences are in man, than in any other creature whatsoever; seeing the nimbleness of his thoughts, the swiftness of his mind, and the variety of his wit, do imprint in him images of many and several fashions: whereas all other creatures have unmoveable minds, and in their own kind alike.  
Heliodorus groundeth the whole argument of his Aethiopicall history upon such an accident, as is to be seen in his fourth and tenth book. Saint Austen 
* Retractat. Lib. II. cap. 62.  likewise relateth out of Soranus, That a certain deformed King of Cyprus was wont to set before his wife when he meant to know her, a most fair picture; hoping to effect by this means, that she should bring him forth fair children. Galen also in his treatise de Ther. ad Pis. allegeth such another example. But seeing this contemplation doth more properly belong to Hypocrates his scholars, it is time forus to leave it, & to mention other uses that have been made of these Arts.  
§ 6. Apelles being carried by tempest into Egypt, during the reign of that Ptolemy that could never abide him in Alexander's Court, was brought into danger of his life, but for the help of this Art. For coming to supper to the King, deceived by one suborned by some spiteful enemy, who had invited him disguised in the habit of those to whom that office belonged, the King was much insenced against him; and calling for all those officers to know who had done it, Apelles not seeing the man amongst the company, took up a coal from the hearth, and drew his picture upon the walso lively, that upon the first draught the king knew the man. Pliny xxxv. 10. Julius Caesar's Image expressed in wax, and hideous to look on for the three and twenty wide gaping wounds he had received, did mightily stir up the Romans to revenge his death. Appianus Lib. TWO, de Bello civili. The Emperor Antoninus, to accustom the people by little and little to that effeminate habit of the Phoenicians, he himself did so much like, sent his picture before him to Rome; and thereby brought to pass, that the Romans did hearty congratulate him at his coming, it being no new thing to see their Sovereign in such attire. Herodian. lib. V. Hist. Some Kings did cause a picture to be drawn after their own fancy, sending it abroad in the world, if by chance any one maid coming somewhat near the conceived beauty, might be esteemed worthy of such a match. See Claudianus, de Honorii & Mariae nuptiis. Neither did these Arts serve only in Love-Embassages, but sometimes also most peremptory Embassages of peace and war have been performed by the means of these Arts. Q. Fabius a General of the Romans sent a letter to the Carthaginians, in which was written, that the people of Rome had sent them a little white rod used by messengers of peace, and a Pike, to the end they should choose either of these signs of peace or war, & think that alone to be sent which they should make choice of. The Carthaginians answered, That they would choose neither of both, seeing it was in the power of those that brought them, to leave which they themselves would; and what was left, the same should be unto them as chosen. Marcus Varro reporteth, That there was not sent a rod of peace and a Pike, but two small Tiles, with such a rod engraven in the one, and a pike in the other. See Agellius, noct. Attic. lib. x. cap. 27. Eubata Cyrenaeus to maintain the faith of Wedlock, disappointed that famous Strumpet Laïs' in her lust, by carrying the picture of Laïs' along with him to Cyrena in stead of the woman herself: wherefore his wife also at his return erected him a statue. See Aelian lib. x. Var. hist. ca 2. We do love the images of our Beloved, saith Dionysius the Antiochian Sophist, 
* Epist. I.  when we cannot see them present with us. See also Aeneas the Sophist, Epist. 12. Ovid. lib. 11. de Ponto, Eleg. 8. And Heroïdum, Epistolâ xiii. vers. 151. The younger Pliny doth express the same; I have loved the most complete young man as fervently, saith he, 
* Lib. II. Epist. 7.  as now I do require him impatiently. So will it be unto me a most acceptable thing to see sometimes this same image of his, and to look back upon it; to stand now and then near it, and to go by it. For if the images we have in our private houses of them that are dead, do very much assuage our grief; how much more shall those images bring that to pass, which in a place of great resort do not only show their shape and countenance, but their honour and glory also? Yea, the first beginnings of these Arts seem to have proceeded out of a desire of prolonging the memory of the deceased, or else of them whose absence would be most grievous unto us without such a remembrance. See what Fulgentius 
* Lib. I. Myth l. § unde idolum dicatur.  reporteth of the Egyptian Syrophanes. A Corinthian Maid also, taught by Love, ventured to put her unskilful hand to the first beginnings of art, drawing lines about the shadow of her Lover that was to go a great journey. Whereupon (as it is the custom of men to prosecute small beginnings with a steadfast study) her father Dibutades, a Potter by his trade, cut out the space comprised within the lines, and filling it with clay, he made a pattern and hardened it in the fire, proffering to Greece the first rudiments of picture & Statuary.  
§ 7. So was it then a praiseworthy custom observed among the Ancients, That they did show themselves forward to consecrate the memories of such men as had deserved well of the world: and because they could not endure that vehement longing they had after the virtues of the deceased Worthies, they did at once seek to remedy their sorrow, and to stir up other noble spirits to the love of virtue. See Lactant. cap. 15. de Falsa Religione: Every one thinketh that honour bestowed upon himself, saith Symmachus, 
* Lib. IX. Epist. 102.  which he findeth deservedly to be conferred upon others. And again in another place, 
* Lib. I. Epist. 37.  When worthy men receive the fruit of their doings, all they that follow their stepeps are likewise filled with hope. The Emperor Tiberius restored many cities of Asia that were thrown down in his time by a fearful earthquake. The Asiatic Cities therefore studying to be thankful, erected a Colosse unto Tiberius upon the Roman market, at the back side of the Temple of Venus; adding likewise the statues of every one of the Cities repaired. Phlegon cap. 13. de Rebus mirabilibus. The Athenians have erected unto Aesop a most goodly statue, saith Phaedrus, 
* Sub finem libri secundi fabularum.  and have set a contemptible slave upon an everlasting Base: that all might understand, how the way of Honour lieth open to every one, and that glory likewise doth not so much follow the condition of our birth, as the virtues of our life.  
Berosus did excel in Astrology, wherefore the Athenians for his divine prognostications erected him a Statue with a golden tongue, set up in their public Schools. See Pliny, Nat. hist. lib. seven. cap. 37. Josephus, that famous writer of the Jewish antiquities, being brought to Rome among other Captives, offered unto the Emperors Vespasian and Titus, seven books he had written about the taking of Jerusalem. Which books being carefully put up in the public Library, there was moreover a statue erected him for the fame of that Work of his. See Suidas.  
The noble Captain Chabrias was the first that taught the Athenians, how to break the furious assault of a forward Enemy by holding up their shields, and with a bend knee levelling their pikes. This invention of his was so much celebrated in all Greece, that Chabrias would have his statue made in such a posture; and the Athenians erected him such a one publicly in the market place. So did also champions afterwards, and all other Artificers, when they had obtained the victory, make their statues in this very posture. Corn. Nepos in Chabria. The statues of the Ambassadors slain at Fidena, saith Livy, 
* Lib. iv ab v. c.  were set up at Rome in a most frequented place, known by the name Rostra. Florus addeth, Because they died for the Republic. The Athenians also erected a Statue to Anthemocritus, who upon the like occasion was pulled in pieces by the Megarians. See Harpocration in Anthemocritus. Velleius Paterculus 
* Lib. I. hist. cap. 11.  reporteth, that Alexander the Great requested Lysippus a singular workman in such things, to make the statues of the horsemen of his troop that were slain at Granicum, as like them as could be, and that he should set his statue among them. See also Arrianus, lib. 1. de Exped. Alexandri. When King Porsena was come to Janiculum, he was hindered by the virtue of Cocles Horatius to march over the Tiber: for Horatius sustained the whole host of the Etrurians, whilst others in the mean time did break down the timber bridge: which being done, he leapt with his full armour into the Tiber, swimming over to his other countrymen safe, in spite of a world of arrows shot upon him; attempting a thing of greater fame with posterity, than credit, saith Livy, 
* Lib. II. ab v. c.  and the city thankfully acknowledged such a virtue, erecting him a statue in a place of great resort, known by the name Comitium.  
Virtue therefore being thus honoured in men, women also were stirred up to great attempts for the public glory of the Roman state: So when Cloelia was given in hostage to Porsenna, with many other noble Virgins, she made herself Captain of the rest, and having deceived their Keepers, got on horseback and swum over the river Tiber. The Romans rewarded so new a virtue in a woman, with a new kind of honour, saith Livy in the same place, for in memory of her, in the most eminent part of Via sacra they set up a statue of a maid on horseback. We find also, that unto Caja or Suffetia, a Vestal Virgin, a statue was decreed, to be set up in the place she herself should make choice of: which addition was no less honourable, than that it was decreed unto a woman. Her desert was, That she had freely given unto the people that ground which was afterward called Campus Tiberinus. See Pliny, lib. xxxiv. Nat hist. ca 6. The Soothsayer Accius Navius his statue, who cut a whetstone with a Raisor in the presence of Tarqvinius, to show unto the King an effect of his profession, was placed on the left side of the Counsel-house, upon the steps where the thing was done: the whetstone also was to be seen in the same place, to be a monument unto posterity, of that miracle, saith Livy, lib. 1. ab v. c. So were there also very often statues erected to preserve the memory of some miracuous accidents. Such was the statue of Arion; of the which see Agellius, lib. xuj. Noct. Attic. cap. ultimo. And the anthology of Greek Epigrams, lib. iv. cap. 14. where you may find also the statue of the Musician Eunomus mentioned. The Aspendian Harpe-players statue is mentioned by Tully, lib. iv. in Verrem, where see what Asconius Pedianus saith concerning that matter. Antonius the Triumvir mixed iron amongst the coin called at Rome Denarius: it was therefore made an art to essay that kind of money; and this law of trying the coin was so well liked by the people, that street by street they did erect whole statues unto Gratidianus. See Pliny, lib. xxxiii. Nat. hist. cap. 9 Actions proceeding out of the sudden commotion of a forward mind, have been sometimes also esteemed worthy of the honour of a statue: for when the message that Babylon had revolted, was brought unto Semiramis, whilst she was dressing her head, she did instantly run to recover the city, one side of her hair hanging as yet down: neither would she suffer her hair to be meddled withal, as long as the city did hold out against her. And there was upon this occasion a statue erected her at Babylon, in the same habit she did hastily run in to revenge herself of the Rebels. See Valerius Maximus, lib. ix. cap. 3. ex ext. 6.  
Bupalus and Anthermus, to sport themselves and the spectators, made the statue of Hipponactes the Poet, who was half a Dwarf, and of an hard favoured countenance. But when they had most contumeliously published this work of theirs in great companies of scoffing and busy mockers; Hipponactes, as some do report, fell upon them with such bitter invectives of jambicke verses, that they made rather choice of an halter, than to endure his revenge any longer. Suidas in Hipponax. Acron. in vi Epod. See also Pliny, xxxvi. 5.  
The Queen Artemisia having conquered Rhodes, erected a monument of her victory in the city, making two brazen statues, whereof the one represented the city, the other represented herself; branding the city with reproachful marks. Religion afterwards hindering the Rhodians to deface this monument, because dedicated tropaees might not be removed, they built a house about it, covering it with a Grecian roof, to hide it from the view of all men; commanding the place to be called Abaton, that is, an unaccessible place. Vitruvius' lib. II. architect. cap. 8. There have been very often statues erected unto those that by the favour of Kings and Emperors were lifted up above other men. So doth Suetonius 
* In Tiberio, cap. 65.  report, that Sejanus his golden images were set up every where. And Juvenal teacheth us again, by the example of the same Sejanus, That there was most commonly the same earnestness used in pulling them down, that had been used in erecting them, when the Emperor did but begin to frown a little upon the much admired and flattered Favourite. See Juvenal, satire. x. vers. 56. Claudius' the Emperor erected a statue unto Simon Magus, adding this title, SIMONI DEO SANCTO. See Tertullian his Apolog. advers. Gentes, cap. 13. The importunate curiosity of some men at Rome brought to pass, that former ages have seen the statues of Annibal within the walls of the city. See Pliny, lib. xxxiv. Nat. hist. cap. 6. King Ptolemy in memory of an incestuous affection, commanded Dinochares to hang up his sister Arsinoë in the air: he therefore placed a Loadstone in the Vault of the Pharian Temple, which drew up the miserable woman by her iron hair. See Ausonius in Mosella. Pliny, lib. xxxiv. Nat. hist. cap. 14. Suidas in Magnetis. Cedrenus, ad annum undecimum Theodosii Imp. Although it appeareth now in all these alleged examples, That statues were erected upon several occasions, yet was this always the chiefest motive, That generous spirits seeing Virtue so much honoured, should likewise be provoked unto virtuous actions. There is good reason, why the memory of great virtues should be reputed a sacred thing; seeing a great many do delight more in virtuous courses, if the favourable estimation of good men do not perish with them, saith Seneca, lib. iv. de Benef. cap. 30. The rewards of good and bad men make men good or bad. Few have so much goodness by nature, as not to choose or shun honest or dishonest things, as they see other men speedwell or ill by them. The rest, when they see that the reward of labour, vigilancy, and frugality is bestowed upon laziness, drowsiness, and luxury, study also to obtain the same rewards by the same means others have obtained them: they do therefore desire to be and to seem such as those were; and whilst they do so much desire to be like them; they are quickly made like them, saith Pliny in his Panegyric Oration. Because by the ornaments bestowed upon good men, we are stirred up to imitate them, and an emulating virtue is led by the honours conferred upon others. Hence it was, that in the rudest times of antiquity, those that excelled in virtue, being expressed by the hand of Art, were transmitted to the memory of posterity. And it were to be wished, that the base remissness of flatterers had not afterwards any thing derogated from that glory; although those honours are not to be esteemed of equal value, that are obtained by uneqall means. Symmachus lib. x. Epist. 25.  
Images of men were seldom expressed, saith Pliny, 
* Lib. xxxiv. Nat. hist. cap. 4.  but of such only as for some noble act had deserved perpetuity. First, for victory in one or other of the sacred Games, but most of all of the Olympian games, where it was the custom to consecrate the statues of all them that had overcome: and if any had overcome thrice in the said Games, their similitude was expressed out of their very limbs; which kind of statues were called Iconicae statuae. This custom hath afterwards been received in the whole world by a most courteous ambition; for statues have now begun to be an ornament of the market places in all municipal towns: so is it also an ordinary thing to prorogate the memory of men, and to write upon the bases such titles of honours, that all Ages might read them there, lest they should be read only upon sepulchers. Private houses likewise and their halls afterwards became like market places: the respect Clients bore their patrons, first instituted to worship them after this manner. The public libraries were also furnished with the golden, silver, and brass Images of those whose immortal souls did speak in these places. This was at Rome the invention of Asinius Pollio, saith Pliny, 
* Lib. xxxv, Nat. hist. cap. 2.  who when he did dedicate a Library, made a commonwealth of wits. Yet is it not easy for me to say, whether the Kings of Alexandria and Pergamus, who erected libraries for strife, did it before him or not. See the younger Pliny, lib. IU. cap. 28. And although the Images of the deceased were only dedicated in public Libraries, yet hath the veneration of learning prevailed so much, that the image of M. Varro alone before his death, should find a place in the Library published by Asinius Pollio. See Pliny, lib. seven. Nat. hist. cap. 30. As for private Libraries, Martial 
* In ipso stat. initio Libri noni.  teacheth us, That in them the Images of such Writers as were as yet surviving, might be admitted. Our forefathers had images in their halls, that deserved to be looked upon, saith Pliny, 
* Lib. xxxv. Nat. hist. cap. 2.  not the works of foreign Artificers, notable for the brass or the marble. Faces expressed in wax were orderly placed in every hollowness fitted for such use, that there might not want Images to accompany the funerals of every family; and always when any one was dead, the whole people of that family, as many as ever had been famous, were present there. The degrees also of Kindred set forth in garlands, did reach unto the painted Images: and the rooms near the Court-yard, where their records and evidences were kept, did abound with books and monuments of noble deeds performed when they were in authority. Without doors about the haunse or frontier there did appear other Images of great spirits, the spoils taken from their enemies being fastened there, that the buyer might not break them off. The houses themselves did triumph, though their masters were changed: so was this also a great pricking of their minds, the houses daily upbraiding them, that an unwarlike master did step into another man's triumph. We must needs bring in here the words of salustius; I have often heard, saith he, 
* De Bello Jugurth.  that Q. Maxumus, P. Scipio, and other great men of our city, were wont to say, That they felt their minds mightily inflamed to virtue, when they did but look upon the Images of their Ancestors: not that there was any such force in that wax and figure, but that the memory of their famous acts did kindle this flame in the breasts of brave men, which could not be quenched, until by a virtuous course they had attained to their fame and glory. See also Valer. Maximus lib. v. cap. 8. Exemplo 3.  
Julius Caesar, as it is reported by Dio Cassius, 
* Lib. xxxvii  seeing a statue of the Great Alexander in Hercules his Temple at Gades, fetched many a deep sigh, pitifully bemoaning his own condition, That he had not yet by any noble act consecrated his memory unto eternity.  
As they had now the images of their noble ancestors in their halls, so did they very often carry them about in their rings. Lentulus' a most desperate companion of Catiline, had his grandfathers image engraven in the ring he did wear, and sealed his Letters with it. I have showed the Letters unto Lentulus, saith Tully, 
* Orat. 3. in L. Catilinam  ask him whether he knew the seal: which being confessed by him, It is truly, said I, a seal very well known, being the image of your most famous grandfather, who loved his country and countrymen dear; and this speechless image might very well have recalled you from such wicked attempts. Lest therefore any such reproaches should light upon any noble branch of an ancient stock, all such as were allied to great houses, did by a just severity refuse to acknowledge such noble monsters as began to darken the brightness of their ancestors. The son of Scipio Africanus was set upon by the whole kindred, when shamefully degenerating, he did nothing but disgrace the images of his glorious father and famous Uncle. His kinsfolks pulled the ring from his hand, saith Valerius Maximus, 
* Lib. iii. c. 5. Exemplo 1.  in which Scipio Africanus his head was engraven.  
§ 8. Picture in my opinion was most of all brought in request at Rome, by M. Valerius Maximus Messala, who being then General, placed at a side of Curia Hostilia the picture of that battle wherein he overcame the Carthaginians and Hieron in Sicily, the four hundred four score and tenth year of the founding of the city. Pliny xxxv. 4. The glory of the Scene made the Art more famous at Rome. For the Scene of Claudius Pulcher his Plays was very much wondered at for the excellency of picture; seeing Crows deceived by the image, came flying to the similitude of the painted Tiles. Pliny, Lib. xxxv. cap. 4.  
There is in the mention of Picture a pretty tale divulged of Lepidus, who in the time of his Triumvirate being lodged by the Magistrates of a certain town in a thick woodded place, he expostulated the next day with them after a threatening manner, because his sleep had been broke by the singing of birds: but they having hung round about the place a dragon painted upon a long role of parchment, made the birds hold their peace: and so was it afterwards known that this was the way to restrain them. Plin. xxxv, 11. The two following examples, although they do not directly appertain to this place, where we do reckon up the manifold use of Picture, yet may we rehearse them here by the way, since by them we are taught that unreasonable creatures are sometimes as well moved by their own image represented in the water or in a lookingglass, as these birds were frighted by the likeness of a painted dragon. A horse knowing what a singular ornament his mane is unto him, useth to be proud of it: those therefore that go about to have their mares covered by he-asses, when they find them after a fierce manner scorn such an unequal match, use to clip their manes and so to drive them to the water: whereupon is it an usual thing that the mare seeing the pride of her neck gone, groweth more tractable and admitteth the ass: see Aelian. lib. XII, de Animalib. cap. 10. as also Jul. Pollux, onomast. lib. I, cap. 11. A parrot is by cozenage taught to imitate: for they that will teach her, do hide themselves behind a great lookingglass, speaking there what they would have her learn: the parrot therefore weening to see another prating parrot in the glass, maketh haste to speak the language of a bird of her own feathers: see Photius in Excerptis ex lib. V Theodori episcopi Tarsi contra Fatum. What we have as yet spoken concerning the manifold use of these Arts of imitation, might very well suffice, if we had not met in divers good Authors with many more passages of this nature. Wherefore I cannot forbear, but I must needs add some examples; being fully persuaded, that as all of them do not want the delight of variety, so will some of them afford the profit of instruction.  
§ 9 Acu pingere, to paint with a needle was the invention of the Phrygians, and for that reason were the embroiderers called Phrygians, saith Pliny lib. viii, nat. hist. lib. viii, ca 48. Although Lucanus 
* Lib. X. vers. 142.  seemeth to attribute this same glory unto the Egyptians also. But of this, God willing, elsewhere.  
Textilis pictura, tapestry-worke is mentioned by name in the beginning of Tully his fourth book against Verres: so doth Val. Maximus 
* Lib. IX, cap. 1. ex. ext. 4.  relate that the army of Antiochus King of Syria set up pavilions adorned with woven images. Lucretius at length, burning fevers shall leave you never a whit sooner, saith he 
* Lib. TWO, vers. 34. , if you toss in woven imagery and rich scarlet, then if you lie under mean and ordinary cover.  
Among many several sorts of this kind of workmanship there have been anciently renowned Attalicae vestes, Babylonica texta, Chlamydes militares, Diademata regum Aegyptiorum, Judaïca vela, Peplum Palladis, Toga picta.  
Attalicae vestes, Attalian clothes got their name of Attalus, a most wealthy King of Pergamus, who first of all made gold to be woven in clothes, saith Pliny lib. viii, nat. hist. cap. 48. When Silius 
* Sub finem lib. XIV. de bello Punico.  therefore speaketh of Attalian hangings wrought with a needle, we must understand nothing else by the name of Attalian hangings, but rich and sumptuous hangings; seeing the ancient Authors every where do call magnificent householdstuff by the name of Attalian householdstuff, because the said King was exceeding stately and sumptuous in all manner of things.  
Babylonica texta, Babylonian weavings have their name from Babylon; seeing it hath been the practice of this City chief to wove diverse colours in the painted hangings, saith Pliny lib. viii, nat. hist. cap. 48.  
Chlamydes militares, the painted cassocks of soldiers and the riding coats of horsemen were very much used among the Achaeans by Philopoemen his advice, who meant to bring his Countrymen from the love of frivolous elegancies to a more necessary and honest liking of brave armour; persuading himself that their magnanimity and courage would be mightily inflamed by the very sight of such ornaments: even as Homer bringeth in Achilles' longing, when new and costly armour was brought before his eyes, that he might try his valour in them: see Plutarch in the life of Philopoemen.  
Diademata regum Aegyptiorum, the diadems of the Egyptian Kings were round about beset with the figures of asps, wrought in several colours; the invincible force of a provoked sovereign being insinuated by the deadly bite of an aspe: for it was never known that any one escaped death, after he had been stung by that kind of serpent: see Aelian. lib. VI de Animalib. cap. 38.  
Judaïca vela, Jewish veils were most commonly notable for all such kind of monsters as men conceive when they do imagine the wonders of strange Indian countries: see Claudianus lib. I. in Eutropium, verse. 355.  
Peplum Palladis, the flag of Pallas adorned with the overthrow of the foolhardy giants that fought against heaven, was carried about by the Athenians every fifth year in the pageants of their Panathenaike solemnity: see Suidas, as also Virgil in Ciris.  
Toga palmata was a gown so called of the branches of palmtrees that were wrought in it: the gown deserved by them, saith Isidorus Hispal. Originum lib. xix. that had overcome their enemies, was called Toga palmata: it was called also Toga picta, a painted gown, for the victories and palmtrees  
that were woven in it. And as it hath been showed above that the Toscanes made the first statues in Italy, so must we likewise observe here that this kind of ornament hath also been derived from the said Toscanes. Our ancestors, saith salustius 
* De bello Catiline. , have taken the greater part of the ensigns of Magistrates from the Toscanes. Macrobius doth confirm the same, Tullus Hostilius, the son of Hostus, and third King of the Romans, saith he 
* Lib. II. Saturnal. c. 6. , did first of all institute at Rome the use of the Chariot of state, called Curulis sella; the Sergeants, called Lictores; the Gowns, called Toga picta, and Toga praetexta; which were all ornaments used by the Etrurian Magistrates: see also Silius Italicus lib. VIII. de bello Punico.  
§ 10. The City gates and the doors of private houses were in ancient times notable for the picture of Minerva that was painted upon them; so was Mars also painted at the first entrance of the suburbs: to insinuate, that within the City walls, as also within the walls of private houses all things must be performed by the counsel of Minerva; but that the out-streets lying out of the town, are to be protected by Mars. Scholar vet. in Aeschylum. Tzetzes in Lycophronis Cassandram. Some for all that did not so much portray Minerva upon the doors of their houses, as any other God or man they would themselves. We do see this in Ausonius his Epigrams, where 
* Epigr. 25.  he doth most pleasantly mock an obscure fellow, which for his great wealth would seem to be some body; but having no pedigree to show for himself, he did vilify the noble names of most flourishing times, and embrace Mars, Romulus, and Remus, calling them the first parents, painting them upon his doors, and setting them up in his hall, as if his nobility had been derived from these founders of the City. A great dog tied in a chain was painted upon the wall near the Porter's lodge; and above him there was written, CAVE. CAVE. CANEM. Arbiter Satyrico.  
On many little shed-shops the battle between weesills and mice was most commonly portrayed. Phaedrus Fabulâ LXIV. And as by the means of this picture they did draw and entertain their customers, so on the contrary, did they put boys, and other idle fellows fare from their stalls, by painting two snakes upon the outside of them; forbidding every one to make water in the corners of their stalls, by showing unto them the religion of the place. There is no place without his peculiar Genius, saith Servius 
* Ad versum 85. libri V Aeneid. , and this same Genius is for the most part expressed by the image of a snake. See also Cornutus upon the 113 verse of Persius his first Satire, where he doth speak of this custom used by the shopkeepers. To all the City gates in the mean time, to private houses, baths, stables also, and to be short, to every place and corner of the City there did belong many a thousand Geniusses, as Aurel. Prudentius reporteth lib. II. contra Symmachum. Epona also and some such like faces were painted near the rank-sented mangers: see Juvenal. Satyrâ VIII. Theudelinda Queen of the Longobards built her palace in Modiciâ, and caused therein something to be painted of the deeds of the Longobards: it is clearly perceived in this picture how the Longobards in those times did cut the hair of their heads, what manner of clothes and habit they went in: for shaving themselves, they did make their neck bare to the hinder part of the head; whereas their other hair did hang down as low as their mouth, being on both sides divided by the parting of the forehead: they had lose and for the most part linen garments, such as the Anglo-Saxons do wear, adorned with broad lace woven of divers colours: they had shoes open almost to the upperpart of their great toes, stretched with latchets from the one side to the other: they afterwards begun to use hose, drawing over them some thicker kind of stock-hose, when they were to ride; but in this have they followed the custom of the Romans: see Paulus Diaconus de gestis Longobardorum, lib. IV, cap. 23.  
The monuments of Martyrs were adorned with paintings, setting forth all the circumstances of the butcherlike cruelty used against the Saints of God: see Prudentius in the passion of Cassianus the Schoolmaster, who was by his own schoolboys, the tyrant forcing them thereunto, pricked to death with the sharp points of their writing bodkins: see the same Prud. also in the passion of Hippolytus: and Paulus Diaconus lib. IU. de gestis Longobard. cap. 17.  
Such as had escaped a dangerous sickness, were wont to have Aesculapius painted in the rooms they did most frequent; professing their thankfulness by a continual worshipping of so favourable a God: see Libanius Declam. xxxix.  
The pictures of them that had suffered shipwreck, or were egregiously injured by other men, have been mentioned already, lib. I, cap. IV, § 4.  
The ships-castle behind was most commonly adorned with the picture of one or other God, unto whose protection and patronage the whole ship was committed; and this Patron of the ship was for the most part set forth in gold and glorious colours: see Virgil. lib. X. Aeneid. and Valer. Flaccus lib. VIII, vers. 292.  
When Painters did imitate in their pictures such things as those that had an intercourse of mutual hospitality were wont to send one to another, they did call such pictures Xenia, saith Vitruvius, lib. VI Architect. cap. 10. Philostratus at the end of his first book of Images describeth such a picture.  
Maeandrum is a kind of painting named after the similitude of the manifold turnings and windings made by the river Maeander: see Pompeius Festus.  
When Muraena and Varro were Aediles, they cut at Lacedaemon out of brick walls a certain kind of plastering work for the excellency of painting, and brought it to Rome in wooden frames, to adorn the place called Comitium withal: see Pliny lib. xxxv. nat. hist. cap. 14. and Vitruvius lib. II. Archit. cap. 8. M. Agrippa set up in the hottest part of the Baths little pictures, fitting them in the marble. Plin. lib. xxxv. nat. hist. cap. 4.  
Pavements of checkerwork had their original in Greece by an art much laboured after the way of picture, till they have been put out by another kind of workmanship called Lithostrota, that is, strewed over with stones: and this seemeth to have been that work we call Musaïke-worke. Sosus was most famous in this kind of work, saith Pliny 
* Lib. xxxvi, Nat. hist. cap. 25. , who paved at Pergamus the house they did call Asaroton oecon, that is, the unswept house: because he had counterfeited out of little and diversely coloured stones the scraps of broken meat that use to be swept away, even as if carelessly they had been left upon the ground: the drinking pigeon is there most admirable, darkening the water with the shadow of her head, whilst another snatcheth away the meat: you may see other pigeons play upon the brim of the pots mouth: others sit a sunning, and do nothing but claw and pick their own feathers. The cypress tree also is drawn into paintings in historical work, overshadowing hunt, navies, and other images of things with a thin, short, and green leaf. Plin. lib. xuj. nat. hist. cap. 33.  
Among the principal soldiers they were called imaginarii or imaginiferi, which carried the images of the Emperors: see Vegetius lib. II. de Re militari, cap. 7.  
Egypt dyeth silver also, that it may behold its Anub is upon drinking-vessels; and doth not grave silver, but paint it. That silver afterwards is applied to the making of triumphal statues; and, which is a wonder, that dim brightness is highly esteemed: see Pliny lib. XXXIII. nat. hist. cap. 9  
Glass is most proper for picture, saith Pliny, lib. xxxvi, cap. 26.  
Tortoise shells, though they were never so full of spots, yet did they sometimes paint them. Seneca de Benef. lib. seven, cap. 9  
Buskins painted, are mentioned by Ovid. Amorum lib. two. Eleg. 18. as also Amorum, lib. iii. Eleg. 1.  
Calendars painted, Ovid. circa initium libri primi Fastorum.  
Belts painted, Apuleius lib. X. Metamorph.  
Painted bridles, Ovid. IU. Metam.  
Painted quivers, Ovid II. Metam. & passim alibi.  
Painted tents, Claudianus lib. I. de Stiliconis laudib. vers. 157.  
Painted shields were at the first proper only to valiant men: in the times of our ancestors, saith Servius 
* In lib. seven. Aeneid. , the shields of valiant men were painted; the shields of freshwater soldiers on the contrary and of unmanly cowards, were unpainted. But it seemeth that all had afterwards promiscuously some kind of painting: lest the soldiers should at any time in the tumult of a battle wander from their fellow-soldiers, saith Vegetius 
* Lib. II. de Re milit. cap. 18. , several cohorts had several marks painted on their shields, called digmata; and this custom doth as yet hold: the name of the soldier was likewise written on the inside of every one his shield, as also to what cohort and century the owner did belong. As for the primitive times under the first Christian Emperor's, Prudentius teacheth us, that shields were then marked otherwise; Christ being woven in glistering gold, saith he 
* Lib. I. contra Symmachum. , did adorn the purple Church-flagges, Christ was drawn for an ensign upon the shields, and a cross added to the highest crests, did shine after the manner of flaming fire. Mark here by the way, that as the crests of their headpieces were adorned with the cross, so saith Saint Jerome 
* Lib. II. Epist. famil. 15.  that the picture of the cross did add a great deal of grace to the purple robes of Kings, and to the brightest gems of their diadems.  
Statues were sometimes also painted over: not after that manner Pline speaketh of, when he saith 
* Lib. xxxiii, Nat. hist. cap. 7.  that they were painted with vermilion; but they were now and then painted with all such colours as are used about pictures: so doth Pausanlas 
* Lib. IX.  witness, that there was at Creusis an image of Bacchus made of plaister-stuffe, and all over adorned with picture. The Egyptians also in their banquets use to carry about a dead body made of wood, but so well wrought and painted over, that it can hardly be discerned from a true dead body: see Herodotus lib. II. hist. The same Author mentioneth such another statue in the same book, where he speaketh of a wonderful custom of burying the dead, anciently used among the Egyptians: and in his third book he doth relate the like of the Aethiopians. Although Statues might sometimes be painted over after the manner of Pictures, yet were unpainted Statues most in use; because they were more fit to endure the open air, and the neatness of workmanship could be a great deal better perceived in bare Statues then in the painted ones, seeing the true stroke of Art was blotted out or at least dulled in them by the deceitfulness of gallant colours. Wherefore I now proceed to the use of such kind of Statues, and all sorts of workmanship appertaining unto them.  
§ 11. I know very well how great a matter I undertake, and that it is not very easy to set down in a few leaves the infinite variety of the ancient Statues, together with the manifold use of them, I shall therefore contract my discourse, not describing every one of these things accuratly, but contenting myself to mention some of them only.  
Aegis, was the breastplate of Pallas, made by the Cyclopes: see Virgil lib. viii. Aeneid: so saith Servius upon that place, Aegis is properly a breastplate of brass, having the head of Gorgo in the midst: and when this cuirase or breastplate is upon the breast of a God, it is then called Aegis; when it is upon the breast of a man, as we see in the ancient statues of Emperors, it goeth by the name of Lorica. Minerva is conceived to have that head upon her breast, because that is the seat of her wisdom, by which she confoundeth her adversaries, making them sottish and no less senseless than any cold stone.  
Agoraius Hermes, was a brazen statue of Mercury, erected upon the Marketplace, near the porch commonly known by the name Poecile; this statue was round about written with letters: see Lucian in Jove tragoedo: see also Pausanias and Aristophanes.  
Agyieus or Agylleus, was the name of that country - Apollo whose statues were erected in villages. Comment. vet. in Horat. lib. IU. Carm. Ode 6. Macrobius lib. I. Saturnal. cap. 9 Stephanus de Urbibus. Hesychius. Harpocration. Suidas.  
Antefixa, were artificial things made of clay and fastened under the eaveses of houses: see Festus Pompeius in Antefixa, with Jos. Scaliger his observations upon that place.  
Anteliis dii were the Gods set up abroad without the doors. Hesychius, Aries, testudo, musculus, and other engines of war made and named after the similitude of several beasts, are every where mentioned and described in ancient Authors.  
Bascania were called the ridiculous figures smiths used to hang before their furnaces, to divert envy: see Pollux lib. VII, onomast. cap. 24. So doth Eustathius 
* Ad versum 455. Odyss. P.  also teach us that there were in old times near all chimneys almost some earthen Vulcan's set up, seeing that God was the precedent of these Arts wrought by fire.  
Bulla aurea, was a childish ornament none might wear but such as were ingenui, that is, such as were freeborn. As for the libertini, or such as came from a race that had sometimes been bondmen, scortea bulla, such an ornament of leather was their wear 
* Vide Asconium Pedianum in orat. III. contra Verrem. . It seemeth moreover to have been a privilege of the ingenuous or free borne lads only, that they had in this ornament the figure of a heart hanging upon their breast. Some do believe, saith Macrobius 
* Lib. I. Saturnal. cap. 6. , that it hath been appointed unto the ingenuous children to hang the figure of a heart in the golden ornament that hung upon their breast, that looking upon these ornaments they should think themselves then only to be men, when they did excel in things arising out of a wise and understanding heart: they do believe also that there hath been given them a gown guarded about with purple silk, that by this ornament of a purple stitch they should be put in mind how well a modest bashfulness doth become them.  
Caduceus. Servius his words are worth nothing; The rods of ambassadors or heralds were not without cause tied about with two serpents, saith he 
* Ad versum 138. Octavi Aeneid. , seeing they are sent to dispose two hostile armies to a mutual reconciliation, by making them forget the ranckour of their inveterate malice and to become one; even as two venomous serpents, notwithstanding the deadly poison which is in them, couple themselves most lovingly together. Some interpret it otherwise; the ambassadors rod, saith another 
* Scholiastes in lib. I. Thucydidis. , is a strait stick with two snakes winding themselves from two contrary sides one about another, and holding their heads opposite one against another: the messengers of peace use to carry such a rod; and it is held unlawful to hurt them whether soever they go: the strait stick, signifieth the force of an ingenuously free speech: the image of the snakes at either side, signifieth the contrary parties: for so doth an upright and resolute speech go through both the armies: see also Polybius lib. III, hist. and Suidas. Fulgentius giveth us a peculiar reason why such a rod was most commonly attributed unto Mercury: a rod tied about with serpents, saith he 
* Lib. I. Mythol. , is attributed unto Mercury; because he giveth the Merchants sometimes an extraordinary huge power, which is signified by the sceptre; sometimes a sore hurt, which is insinuated by the serpents.  
Canes aurei atque argentei, Alcinous his palace had at both sides of the entance golden and silver dogs, that seemed to keep the watch there: see Homer Odyss. H, vers. 91.  
Charila, a childish image mentioned by Plutarch in Quaestionibus Grecis, § 12.  
Cicadae aureae, the Athenians did anciently wear golden grasshoppers in the curled locks of their hair, saith Thueidides lib. I. hist. and the old Scholiast observeth there, that they did so, because the grasshopper is a musical creature; or else, because they would seem to be Autochtones, boasting themselves not to be brought into that country from any other place, but that the place of their abode was also the place of their breeding, even as grasshoppers come of the earth. The jonians also, as being but a colony of the Athenians, kept this custom a good while: see Thucid. in the said place. The inhabitants of Samos did the like: see Asius his verses alleged by Athenaeus lib. xii. Deipnosoph.  
Citeria; this was the name of a fine and prattling image carried about in the pomp of great solemnities, to make folks laugh: see Festus Pompeius.  
Cubicula salutatoria; the chambers where they did wait, which after the old Roman fashion would salute great noblemen in the morning, were filled with all manner of images: see Pliny lib. xv. nat. hist. cap. 11. Suetonius 
* In Augusto, cap. 7.  seemeth to call these images Cubiculares imagines: see Casaubonus his observations upon these words.  
Currus-Dariiregis; King Darius his chariot was adorned on both sides with images wrought of silver and gold: the yoke, as it was distinguished with precious stones, so did it support two golden images a cubite high, whereof the one offered to fight with the other: there was also between these an Eagle, that did stretch forth her wings, consecrated: see Q. Curtius lib. iii, cap. 3.  
Delphines'; some artificial drinking-vessels made after the manner of a dolphin, were called delphines: and so saith Pliny 
* Lib. xxxiii. cap. 11.  that C. Gracchus had delphines that cost him five thousand sestertios a pound. Vitruvius 
* Lib. X, Architect. c. 12  doth mention brazen dolphines among the parcels that make up water-works. Ships of war carried also engines of iron, made after the similitude of dolphin's: see Thucydides lib. seven. hist. and his Scholiast.  
Dracones militares; Military banners made after the likeness of dragons, are mentioned by S. Austin; the standards and military dragons, saith he 
* Lib. TWO, de doctr. Christ. cap. 2. , insinuate unto us the Generals will by the means of our eyes. See also Nazianzene orat. 3. As for the ensigns used in war, several Nations had several sorts of them; yea one and the same Nation did often alter banners: the Boeotians made the image of Sphinx their standard, as it is reported by Lactant. upon Stat. Papinius 
* Ad versum 252 libri septimi Thebaidos. . The Indian troops of horsemen carry upon long spears golden and silver heads of gaping dragons, with a thin silk streamer doubled and cut in length after the shape of a dragon's body; so that the wind entering at the mouth, filleth the silk and maketh it stir, and wind, and hisse as living and raging dragons use to do: see Suidas, where he speaketh of the Indians.  
So doth the same Suidas also attribute such ensigns unto the Scythians. The ancient Romans have had several ensigns at several times; as namely the image of a hog, the image of Minotaurus, of an eagle, of dragons: of the hog, see Festus Pompeius in Porci effigies: and Pliny lib. x. nat. hist. cap. 4. The Minotaurus is mentioned by Vegetius, it hath ever been esteemed a most safe thing in war, saith he 
* Lib. III. de Re milit. cap. 6. , that none should know what is to be done: and therefore have the ancients used the image of Minotaurus for an ensign of their legions; to signify, that the counsel of a General must be kept secret, even as this Minotaurus was privily shut up in the most inward and retired parts of the labyrinth: see also Festus Pompeius in Minotaurus. Of the eagles, see Dio Cassius lib. X L. of the dragons, see Ammianus Marcellinus lib. XVI. hist. where he doth describe the triumphant pomp of Constantius the Emperor entering into the City: see also Claudianus lib. II. in Rufinum, vers. 365. and in his Panegyric the III. Consulatu Honorii, vers. 138.  
Epitrapezii dii: great feasts and banquets were in old time solemnised by placing the image of one or other God upon the table; not only to put their guests in mind, that the religion of the board, by reason of this same Epitrapezian God, was to be respected and reverenced; but also, that all should as well feed their mind and eyes with this most pleasing spectacle, as their body with exquisite dainties, avoiding importunate and troublesome talk by drawing some good discourses from thence to-season the meat withal. Arnobius pointeth at this same custom, when he saith 
* Lib. II. adversus gentes. , you do consecrate your tables, by setting saltseller's and images of Gods upon the board. We have also an excellent example of this old custom in Statius Papinius, where he doth relate how he was feasted by the most noble Vindex, and seeing all his house filled with rare monuments of antiquity, was taken with nothing so much as with a little Hercules standing upon the table. Among so many things, saith Statius 
* Lib. IU. Sylu. , Hercules, the Genius and protector of the pure table, possessed my heart with a great deal of love, and hath not been able to satisfy mine eyes by looking never so much upon him: such dignity is there in the work, and such a majesty is there included in his limbs: he is a God, a very God; and he indulged unto you, O Lysippe, to conceive him great, though he be but little in show: the whole measure of this wonderful image doth not exceed a foot, and yet within so little a space, if you do view it well, there is so great a deceitfulness of the form, that you shall be disposed to cry out, The waster of the Nemaean forest was pressed to death by this breast; these arms did carry the deadly club, and broke the oars of Argo. What a strange power was there in this hand, and with how great an experience was the care of that learned Artificer accompanied, to make at once an image fit for the table, and to conceive huge Colossuses in his mind? Read the words of Statius himself, and he will tell you that Alexander the great, Hannibal, and Sylla, three great Captains, made so much of this Hercules, that they carried him every where along as an indivisible companion, both in the hazard of battles, and in the security of feasting: see Martial also lib. IX, Epigr. 44. where he confirmeth the same.  
Eumnostos. This was the name of a little and slight statue erected in the mills, to see how the millers went to work. See Hesychius.  
Galeae Bellatorum. The helmets of great Warriors had most commonly heads of gaping wild beasts upon the top; as well for terror of the enemies, as for ornament. The examples are so frequent in all authors, that we have no need to bring any instances. It is pretty only what Festus 
* In Retiario pugnanti.  observeth in the Armour of the Mirmillones, That they had the image of a fish upon their head-piece; and therefore when the Retiarius was to fight with a Mirmilio, this was wont to be sung, Non te peto, piscem peto: quid me fugls Gall?  
Geron was the name of a distaff made with hands, after the manner of Mercurius quadratus, but most of all for the old man's head it had, whereof it drew this name. Pollux Onomast. lib. seven. cap. 16.  
Gymnasiorum praesides dii. Places appointed for all sorts of bodily exercises were called Gymnasia, and in them the statues of Mercury, Hercules, and Theseus were seldom wanting, as having been excellent Wrestlers, and consequently fit patrons for such a place and exercise. See Pausan. li. iv.  
Hecataea were certain images of Hecate consecrated without the doors, or else in places where three sundry ways do meet. See Hesychius. These statues of Diana or Hecate, set up at the meeting of three several ways, had most commonly three heads. See Ovid. lib. 1. Fast. vers. 141. Pausanias' lib. 11. The reason why she was made with three heads is set down by Cleomedes, lib. II. cap. 5.  
Hermae were stone statues of Mercury. Arnobius speaketh of them when he saith, 
* Lib. vi. advers. Gentes.  Who is there that doth not know the Athenian Hermae were made after the similitude of Alcibiades his body?  
Hermes strophaeus was a statue of Mercury set up near the door, to free the house from Thiefs. See Etymol. magnum, & alios.  
Hermines were called the bed's feet, because in them there were most commonly carved the images of Hermes or Mercury, who was esteemed to rule both our sleep and our dreams. See Etymol. magnum, Hesychius, and Didymus ad versum 198. Odyss. Ψ.  
Ipsullices were plates of gold and silver, or any other mettle, resembling men and women. See Festus Pompeius.  
Irminsul was an image in complete Armour, honoured by the ancient Saxons with divine worship. See Conr. Abbas Vesperg. ad annum DCCCCXIV. Vide quoque Bataviam Hadr. Junii, cap. xuj.  
Jupiter Ctesius his image was most commonly erected in the Treasure-houses, or in the Exchequers, as being the patron and giver of riches. See Harpocration and Suidas.  
Kanathra are wooden images of Griffins and Goatharts, wherein they do carry little Girls when there is any pomp. See Plutarch in the life of Alcibiades.  
Kinnabus is an image upon the which Painters and such like Artificers use to cast their eye when they do work. See Suidas.  
Lampades in Juvenilem speciem formatae. Golden or silver images of young men stood in several rooms of king's palaces and other great houses, with torches in their hands, for the use of the night. See Lucretius, lib. II. vers. 24. Homer. Odyss. n. verse. 100 and Athenaeus lib. 4. Deipnos. c. 2.  
Leones lapidel. Upon the tombs of dead men there were very oft set up images of Lions in stone. Hercules lost one of his fingers when he fought with the Nemaean Lion. Wherefore at Lacedaemon, over the place where his finger was buried, a Lion of stone was set for a testimony of Hercules his strength. And it grew afterwards a custom, to set such lions also upon the graves of other men. See Photius 
* In excerptis ex lib. two. Ptolemaei Hephae stionis novae ad variam eruditionem historiae. . As it may then very well be, that this hath been for a while the practice of old times, so do we more often find, That the Ancients most commonly erected such images upon the monuments of dead men, by which their manner of life, and course of studies might be understood.  
Upon Sardanapalus his grave there was erected the statue of Sardanapalus himself, clapping his hands together after their manner that take great joy in any thing. The inscription was, Sardanapalus the son of Anacyndaraxa, built Anchialus and Tarsus in one day. But thou my friend, eat, drink, play, seeing all other humane things are not so much worth. Signifying the rejoicing noise made by such a clapping of hands. See Arrianus, lib. II. de Expedit. Alexandri magni.  
The Corinthians set upon Diogenes Cynicus his grave a Dog of Parian marble. See Laërtius, lib. seven. The first Africanus appointed, that the statue of Q. Ennius should be put upon his monument; desirous to join his so much renowned name with the name of the Poet. See Pliny, li. seven. Nat. hist. cap. 30. The Syracusians set upon Archimedes his tomb a Sphere with a Cylinder. See Tully lib. v. Tusc. Quest. The Longobards in later ages had this custom; if any one died in the wars, or any other manner of death, his kinsmen did stick among the sepulchers a perch in the ground, putting upon it a wooden pigeon, the which was turned towards their beloved friend, that by this means it might be known where he did rest. See Paulus Diaconus lib. v. degestis Longobard. cap 34.  
Locorum sacrorum profanatio. The Gentiles were wont to set up some of their statues in holy places, to make the Christians leave the veneration of such places, as being now profaned by their idols: this was practised by Antiochus: see Machab. lib. TWO, cap. 6. Caligula did the same: see Orosius lib. seven, cap. 5. From the time of Hadrian the Emperor, to the times of Constantin, saith S. Jerome 
* Lib. II. Epist. famil. 14.  very near one hundred and fourscore years, there hath been an image of Jupiter set up and worshipped by the Heathens in the place of the Resurrection, and another marble statue of Venus upon the rock of the cross: the authors of persecution weening that they should lessen in us the faith of the Cross and Resurrection, if they had defiled the holy places by their idols.  
Manducus was an image that went anciently in the solemnity of a pompous show among other ridiculous and terrible images; it had huge jaws, and it did gape fearfully, making a foul noise with his teeth: see Festus Pompeius.  
Manes, a little image mentioned by Suidas, where he doth describe the manner of playing at Cottabus.  
Marsyas, a minister of Liber pater, is a sign of the liberty of such Cities as have his statue in their market-places; he showeth by his hand lifted up, that the City doth want nothing, saith Servius upon IV Aen. vers. 58. So saith he again upon III Aen. vers. 20, all Cities in the times of our ancestors were stipendiary, or confederate, or free: the free cities had a statue of Marsyas publicly set up, who was in the protection of Liber pater, unto whom they did sacrifice for their liberty.  
Neurospasta, were puppets that by the means of some hidden strings could move every joint with a handsome and graceful comeliness. See Aristoteles de mundo, as it is interpreted by Apuleius. As also Herodotus in Euterpe, Xenophon in Symposio.  
Oppidorum caeptorum imagines. The images of conquered cities were carried about in the shows made by them that did triumph: these images were sometimes of silver. See Ovid. lib. TWO de Ponto, Eleg. 1. Sometimes of ivory. See the same Ovid. lib. III. de Ponto, Eleg. 4. Sometimes also of wood. See Quintil. lib. vi. Orat. Instit. cap. 3. where it is reported, That Chrysippus, when he had seen silver cities carried about in Caesar his triumph, and saw some few days after wooden ones carried about in Fabius Maximus his triumph, affirmed these wooden cities to be nothing else but the cases of Caesar his silver ones.  
Oraculum quercuum Dodonaearum. The Oracle of the Dodonaean Okes is famous for the harmonical ringing of brass, stirred by a statue. See Suidas, where he speaketh of Dodona.  
Oscilla, were little babbles to play withal; containing some fourteen Geometrical figures at the most, saith Ausonius 
* In Epistola praefixâ Centoni nuptiali. ; and by the couching of these joints together, thousand several sorts of shapes are resembled: an Elephant, a wild Boor, a flying Goose, a Mirmillo sinking down in his armour, a Huntsman, a barking Dog, a Tower also, a Tankard, and an infinite number of other figures, more cunningly varied by one than another: so that the sleight used by the skilful is miraculous; and the best endeavour of the unskilful is ridiculous. See what Jos. Scaliger hath observed upon Ausonius.  
Palaestrae. The wrestling places were adorned with the statues of great champions. See Pliny, lib. xxxv cap 2.  
Paladia were wooden images on the forpart of the ship consecrated to Pallas. They made very much of these images when they meant to go to sea. See Suidas; as also Scholar ret. in Acharnenses Aristophanis.  
Pataici were likewise little images like Pygmaees. These were also by the Phoenicians set upon the forepart of their ships. Herodotus, lib. III. hist. Hesychius, Suidas.  
Penates were a certain kind of household gods. See Servius, ad vers 12 & 148. libri 3. Aeneid. The household gods, saith Cornutus, 
* In Persii, Sat. 5.  were made in the habit of Cinctus Gabinus, their gown being thrown over their left shoulder, with their right shoulder bare.  
Portis urbium adstabant statuae. There were most commonly some statues erected near the city gates. Ambracia erected two brazen statues of men before the city gates, saith Varro, lib. iv. de L. L. Cedrenus doth also witness, That before the public gate of Edessa there was a statue consecrated, standing somewhat high, which was to be adored by all them that went in or out. In the time of Apollonius Tyanëus also, a golden statue of the king was exposed unto them that meant to come in at the gates of Babylon: neither might any one enter the city, unless he had first adored it after the Persian manner. See Philostr. lib. I, de vita Apollonii, cap. 19  
Prosopoutta in the Attic language was called a brazen vessel, having about the mouth several faces of Lions and Oxen; from whence it drew the name: Hesychius. Jul. Pollux Onomast. lib. II. So doth the same Pollux also teach us in the same place, that anciently a maker of these kind of vessels was called Prosopopoios, a face-maker.  
Satyrica signa. The images of Satyrs were as well set up in gardens, to keep them from Thiefs, as the image of Priapus. See Pliny, lib. xix. Nat. hist. cap. 4. As for the Lampsacene god Priapus, it needs no long relation what use they made of him, seeing all ancient Authors are too full of it.  
Sceletus. In the Egyptian feasts there was most commonly carried about the image of a dead man, high one cubit or sometimes two cubits. See Herodotus, lib. II. hist. Plutarch in Symposio septem sap. Tzetes Chiliad. III. hist. 92. Although Lucian 
* de Luctu.  saith, That he hath seen true dead bodies brought in the banquet, after they had been seasoned a good while and dried up.  
Sceptrum Babyloniorum. Every one of the Babylonians carried a Sceptre, having upon the top an apple, a Rose, a Lily an Eagle, or any such like thing: for they might not carry a sceptre, but that it was to have such a mark. See Herodotus, lib. I. histor.  
The Ivory Sceptre of the Roman Consuls had also an Eagle upon the top of it. See Juvenal, Satyrâ X. v. 43. as also Aurel. Prudentius, in Romano Martyr.  
Sella curulis had images of ivory engraven in it. See Ovid lib. iv, de Ponto, Eleg. 9, vers. 22.  
Sistrum was an instrument used by the Egyptians in the sacrifices of Isis, having upon the top a cat with the head of a man, and underneath the face of Isis or Nephtys. See Plutarch, de Iside & O siride. Strabo, lib. xvii, Geograph.  
Stabula: Stables were adorned with the image of Epona: See Apuleius, lib. III, Metamorph.  
Tabernaculum Alexandri magni. The tent of Alexander the Great was supported by some statues. See Pliny, lib. xxxiv, cap. 8.  
Termini, or bound-stones, signified diverse things, according to the several figures engraven upon them. The bond stone when it hath the claw of a Wolf engraved, signifieth a strange tree. The bound-stone when it hath a Bears claw engraved, signifieth a Grove. The bound-stone when it hath a cloven footed figure ingraved, signifieth that there is a water spring issuing forth from underneath the stone. The bound-stone when it hath a Calves head engraven, signifieth that the waters come forth out of two mountains; as also that the ploughmen of the next villages were wont to sacrifice upon that stone. The bound-stone when it hath an horse's hoof engraved, signifieth a race-marke, and sendeth us to a fountain. Vide auctores vett. de Limitib. agrorum.  
Tritones aerei. Anciently on the tops of their highest towers they set Tritons made of brass, as now thin plates of Latin or Copper framed in the shape of a Cock, and placed on the tops of steeples, do show the winds. Some were pleased to confine the winds within the number of four, saith Vitruvius; 
* Lib. 1. ca 6  from the Sunrising in the Aequinoctial, the East: from the midday, the South: from the Sunsetting in the Equinoctial, the West: from the North, the North wind. But those that have made more diligent search, have delivered them to be eight. Andronicus Cyrrhestes most especially, who for example and proof thereof, raised at Athens a Tower of marble eight square; and he made in each flat side of the same the image of each wind directly opposite to the point from whence it blew, and on the top of the said marble tower he made a short Pike, and set thereon a Triton of brass, with the right hand holding forth a three toothed rod, so framed, that it was carried about by the wind, and ever stood directly against the blast, and held out the rod pointing at the wind that blew, over the Image of the same. There are therefore placed between the East and South, at the Sun rising in the winter season, the Southeast wind: between the South and West at the sun setting, in the Winter season, the South-West wind: between the West and North, the North-West wind: between the North and East, the North-East wind.  
Vellus aureum. That honourable badge of the golden fleece, first instituted by Philip Duke of Burgundy, second of that name, is wont with much earnestness to be desired and sought by the noblest Peers of a most flourishing kingdom: even as long since the Flower of Greece with Jason their leader, underwent great labours and dangers, in hope to possess that Fleece: although, as it evidently appeareth, this later fleece cast or graven by Goldsmith's art, is far different from the former, which that daring Youth carried away from Colchos: for that golden fleece is thought to have been nothing else but a book written in parchment, teaching how by the help of Chemical art gold is to be made. See Suidas in several places. Eustathius also ad vers. 689 Dionysii de situ orbis, where Charax a most ancient Author of this opinion is alleged. It seemeth therefore that the Ancients not without reason derived the descent of Aeët as from the Sun, the only nourisher and fountain of mettal-breeding heat. Diogenes also in Stobaeus 
* Serm. de Assiduitate.  witnesseth Medea to have been not a sorceress, but a woman of known wisdom, who with laborious exercises hardened soft and effeminate men, and as it were with boiling restored them to the vigour of their former youth. Palaephatus addeth, That she had singular skill in colouring of hair, and that by a certain decoction found out by her, she was wont to cure the infirmities of many by the benefit of this hot bath. See Palaephatus de Fabulosis narrationibus.  
Vertumnus was a god that did turn himself into all shapes. See Propertius, lib. iv, Eleg. 2. His statues were erected in many several places of the city of Rome, and almost in every municipal town of Italy: his countenance was made uncertain, and he turned himself into the shape of diverse gods, according to the diversity of the habit that was put upon him. See Acron in Horat. lib. II. Sat. 7.  
Veritatis simulachrum. The Egyptian priests had the image of Truth cut in a precious stone, hanging about their neck. See Aelian lib. xiv, var. hist. cap. 34. and Diodorus Siculus lib. I. Compare these places with the sacred history. But observe here in the mean time, that Aelian and Diodorus, in stead of what we have translated, an Image of Truth, use a word signifying a statue of Truth. So doth Pliny likewise speak after the same manner when he saith, 
* Lib. xxxiii not. hist. ca 3.  Men also begin to carry Harpocrates, and the statues of other Egyptian gods on their fingers. Seeing then it could not be, that statues should hang about their necks, and that they should wear statues on their fingers, we do perceive by this confusion of names, that there was but small difference made between the art of graving and statuary; and we may upon this occasion very well digress a little to the consideration of such things as were engraven.  
§ 12. Things engraven were of several sorts:  
Baltheus caelatus, an engraved Belt. Ovid. IX. Metam. verse. 189.  
Capuli militum. The hilts of soldiers swords are engraved with silver, ivory being set light by: saith Pliny, lib. xxxiii, cap. 12. Theseus escaped present death by his engraved ivorv hilt. See Ovid, lib. seven Metam. verse. 423. Pausanias' his sword, famous for the waggon with four horses it had engraved in the hilt, was fatal unto Philip the King of Macedonia. See Aelian, lib. III, var. hist. cap. 45. and Valeria. Max. lib. I, cap. 8, ex ext. 9  
Carrucae, Carts engraved. See Pliny, lib. xxxiii, cap. 11. Crystalla. Some Crystal hath a flaw in it like unto a breach; which is hid by the artificers when they do engrave something upon the Crystal. See Pliny, lib. XXXVII, Cap. 2.  
Cunae segmentatae; a cradle inlaid with wood of several colours, graved and carved in diverse shapes. Juvenal, Satyrâ vi, verse. 89.  
Esseda Britanna, an engraved chariot used by the ancient Britons in their wars. Propert. lib. TWO, Eleg. 1.  
Figulina vasa caelata, earthen vessels with some engravings upon it. See Martial, lib. iv, Epigr. 46. Cotys the king being by nature choleric, and very much given to chastise them severely, that did commit some offences in their ordinary kind of service: when a stranger brought unto him thin and brittle earthen vessels, but neatly wrought with some carved and turned works, he rewarded the stranger, and broke all the vesiels, Lest, said he, I should in an angry fume punish them too severely, that might break them unawares. See Plutarch, Apopht. Regum & Imperatorum.  
Galeae caelatae, brazen headpieces engraved with Corinthian work, are mentioned by Tully, lib. iv. in Verrem. So doth Juvenal also speak of an engraved helmet, Satyrâ xi, vers. 103.  
Hydriae caelatae, great water-pots engraved with Corinthian work, are mentioned by Tully, lib. iv, in Verrem.  
Lesbium was a kind of engraved vessel invented by the Lesbians. See Festus Pomp.  
Panis caelaturae, the engravings of bread. See Pliny, lib. xix, cap. 4.  
Scuta caelata, engraved shields. It was an ordinary thing in the times of the Trojan war, saith Pliny, 
* Lib. xxxi. nat. hist. ca 3.  that the shields should contain images. The original of this custom did proceed out of a virtuous occasion, that namely the owner's image should be expressed in every one his shield. The Carthaginians made both the shields and the images of gold, bringing them into their camp. So that their camp being taken, Q. Martius the revenger of the Scipio's in Spain, found such a one: and that shield was fastened over the gate of the Capitoline Temple, till the first burning of the Capitol. Achilles' his shield is described by Homer, lliad Σ. vers. 474 & sequ. See also the younger Philostratus, in Pyrrho. Aeneas his shield is described by Virgil, lib. viii, Aeneid. Stesichorus and Euphorion relate, that Ulysses carried the image of a dolphin in his shield. See Tzetzes in Lycophronis Cassandram. Alcibiades did ever study to seem fair, but most of all when he led an Army: so was he then wont to have a shield made of ivory and gold, and he had in it the ensign of Cupid embracing the Lightning. See Plutarch, in Alcibiade: and Athenaeus, lib. xii, Deipnosophist. cap. 9 The shield of Crenaeus, engraved with a most wonderful art, is described by Statius Papinius, lib. ix, Thebaïd verse. 333. Nileus vainly boasting himself to issue forth from the Nile, had the seven mouths of that noble river engraven upon his shield, partly of gold, partly of silver. See Ovid, lib. v, Metamorph. verse. 187. Scaevola, mentioned by Silius Italicus, lib. viii, had the image of his resolute forefather Mutius Scaevola engraved upon his shield. The same Silius, lib. xvii, relateth, that the shield of Scipio Africanus had the images of his father and his uncle engraved upon it.  
Vehicula caelata, so saith Q. Curtius, lib. III, cap. 3. that there did follow the camp of Darius, ten wagons engraved with a great deal of gold and silver.  
Vitrum caelatum. Of the engraving of glass are these words of Pli. lib. xxxvi, c. 26. some glass is fashioned by blowing, some is turned, some is ingraved after the manner of silver.  
§ 13. After a sufficient relation of many works of Art, we may not forget here the several coins of money, a thing most needful for the commerce of Nations. And what is money, I pray you, but silver cut in small faces and titles, as Juvenal speaketh Satyrâ xiv, vers. 291. Those that know how to discern the several sorts of coins judiciously, find a wonderful difference between the moneys coined in the times when these Arts of imitation did flourish, and when they were neglected: and they do esteem it a most easy thing to know by the money, what forwardness or backwardness of Art there was in the times that money was coined. But among many most accurate sorts of coin anciently famous, the Cyziceni stateres were most of all renowned, as being well stamped: they had a woman's face on the one side, and the forepart of a Lion on the other side: see Hesychius and Suidas; as also Zenobius and Diogenianus parmiographers.  
§ 14. That the most ancient Hebrews have had the use of sealing-rings, is proved by the ring Juda gave unto Thamar for a pledge till he should perform his promise: see Genes. xxxviii. So do we likewise read Exod. xxxix, 6. that among other ornaments of the Priest, they wrought onyx stones enclosed in ouches of gold, graven as signets are graven, with the names of the children of Israël. The Grecians seem to have attained a great deal later to the knowledge of sealing-rings: and that, either for ignorance, as not knowing how to grave stones; or else, because they did respect gems more than to mangle them with cutting. Their ignorance is detected by Hesychius, theophra. hist. plant. lib. v, cap. I. Tzetzes adversum 508 Lycophronis Cassandrae; for these authors do teach us, that the most ancient among them, for want of other means, were wont to seal with wormeaten pieces of wood: so doth Pliny 
* Lib. xxxiii, cap. 1.  also witness that the greatest part of the Nations that were under the Roman Empire had not yet in his age the use of rings; and the Eastern Countries or Egypt do not yet sign, saith he, being contented with bare letters. Their veneration is mentioned by the same Pliny in the preface of his 37 book, where he saith that they did think it unlawful to violate gems: and afterwards in the fifth chapter of the said book, where he doth speak of Smaradgs', they are for the most part hollow, saith he, as to gather the sight; wherefore they are spared by the decree of men, it being for bidden that they should be cut. Herodotus 
* Lib. III. hist.  for all this relateth that the famous sealing-ring of Polycrates was a Smaradge graven by Theodorus Samius, quite contrary to the opinion of Pliny lib. xxxvij, cap. 1. But of this, God willing, more at large in our Catalogue of Artificers.   

CHAP. IX.  
THe use of these Arts therefore extending itself generally to all employments both in war and peace, it may not seem strange that all sorts of men did honour them very much, and that the spirits of the Artificers likewise finding themselves so much honoured for their Art, did still endeavour to increase this enjoyed favour by daily advancing these highly esteemed Arts. Industry is fed by glory, saith Sallust. orat. 2. de Rep. ordinandâ: as many as are led by the hope of glory and fame, are wonderfully taken with the praise and approbation proceeding from the inferior sort of men also, saith the younger Pliny lib. IV, epist. 12. Honour doth nourish Arts, saith Tully 
* Circa initium libri Primi Tuscul. quaest. , and we are all drawn by glory to take pains; so are also such things ever neglected, as are little regarded in the opinion of men. All things certainly do so much stand upon this reward, that Picture also (though she doth possess a great deal of pleasure and contentment in her own self) is very much encouraged by the present fruit of praise and opinion: for what else meant C. Fabius a most noble Roman? saith Val. Maxim 
* Lib. VIII. cap. 14. ex. 6. . who when he had painted the walls of the temple of Salus, before dedicated by C. Junius Bubulcus, he set his own name to it: as if a consular, sacerdotal, and triumphal family stood yet in want of this ornament: following herein the example of Phydias, who so placed his own image in the shield of Minerva, that it could not be taken away, without dissolving the whole jointure of the work. Quintilian therefore saith very well 
* Lib. iv orat. instit. cap. 2. , we do all depend upon praise, thinking it to be the uttermost end of our labour. Sauros and Batrachos may serve for an example, who being Lacedæmonians by nation, made temples within the porches of Octavia, saith Pliny 
* Lib. xxxvi, nat. hist. cap. 5. , some hold also that being very wealthy they built them on their own charges, hoping for the honour of an inscription; which being denied them, they found means to steal it another way; for on the lower squares of the pillars are yet engraved a lizard and a frog, by which their names are signified. The same Pliny also had good reason to say in another place 
* Lib. xxxv, cap. 1. , Picture was a noble Art in ancient times, when it was sought for by Kings and Nations. And Plutarch doth show at the First beginning of his Second book of Alexander his virtue or fortune, that in the times of this great King there was so great an increase of Arts and Artificers, because the rare wits of excellent Artificers foresaw that they could not want the favourable estimation of such a Judge, if they did any thing worth his sight.  
§ 2. That great and eminent men in ancient times were very skilful in these Arts, may be gathered out of that love and respect the Artificers enjoyed. It is by a natural vice grafted and rooted in the breasts of men, that such as do not understand the Arts, do not admire the Artificers, saith Sidonius Apollinaris lib. v, epist. 10. Virtue's are obscured by reason of the ignorance of Art, saith Vitruvius in prooemio libri Tertii. Seeing then that excellent Artificers think themselves to be placed upon a Theatre, where nothing heateth their forward spirits so much as the astonished acclamations and applauses of all sorts of men, it was no wonder that many did excel in those times when Kings with their Peers resorted to the shops of Painters, kindling in the hearts of the Artificers an unspeakable desire to have this glory still continued and increased. Demetrius surnamed Poliorcetes, whilst he was at the siege of Rhodes, did not stick to come to Protogenes, who was then busy with the picture of Jalysus, and leaving the hope of his victory, he beheld the Artificer in the midst of hostile weapons and batterings of the wall, as Pliny speaketh, lib. xxxv, cap. 10. see that copious Author himself. The great monarch Alexander came likewise to Apelles his shop, very often accompanied with a good many Princes: and although it was the greatest honour man's heart could wish, that the monarch of the world, whose judgement was esteemed to be the judgement of the world, should express his favour after so loving and familiar a manner; yet hath this magnanimous King found another way, to grace the Artificer a great deal more: for when he had commanded, saith Pliny 
* Lib. xxxv, cap. 10. , that Campaspe, one of his most beloved Concubines, in regard of her wonderful beauty, should be painted naked by Apelles; he gave her unto Apelles, when he perceived him to be as deep entangled in the love of the woman as he found himself to be: great was his mind, and yet was the conquering of his own lust greater: wherefore hath he likewise been as much esteemed for this deed, as for any other victory; seeing he overcame himself in this. Neither did he give his bed only to the Artificer, but his affection also: not so much as suffering himself to be moved with the respect of his beloved, but rather giving way that she who had been a King's concubine, should now be the concubine of a Painter. Out of the like respect of Art came it to pass, that the same King, to leave a truer image unto posterity, would not have his image by many Artificers promiscuously defiled; making a proclamation through all his Dominions, that no body should unadvisedly undertake to express his image in brass, in colours, or in any engraved work; but that Polycletus alone should cast him in brass, Apelles alone should paint him in colours, Pyrgoteles alone should engrave him: besides these three, who were most famous for their workmanship, if any one was found any where to meddle with the sacred image of the King, he should be severely punished for his sacrilegious attempt. The fear therefore of this edict brought to pass, that Alexander his image was every where the prime image; and that in all statues, pictures, and engravings there was to be seen the same vigour of a most vehement warrior, the same marks of the greatest dignity, the same liveliness of his fresh youth, the same grace of his high forehead. Apuleius in Floridis. Observe here by the way, that Horace nameth Lysippus in stead of Polycletus: see him lib. TWO, Epist. 1.  
§ 3. As we see in the former relation how much Artificers were countenanced in old times, so do we likewise understand the great esteem they were in by the high rates their works were prised at. It is known that a picture of Bularchus the Painter was valued at the weight of it in gold by Candaules King of Lydia: so much was the Art even in those times esteemed, Plin. lib. xxxv, cap. 8. Aristides the Theban painted a battle fought with the Persians, wherein were an hundred figures, and he agreed with Mnason the tyrant of the Eleatenses to receive ten minas for every figure. He was so powerful in his Art, that King Attalus is reported to have bought one of his pictures for an hundred talents; Pliny xxxv, 10. Polycletus made Diadumenon tenderly youthful, which was famous for the price of an hundred talents; Pliny xxxiv, 8. When L. Mummius saw that Attalus the King bought out of the prey of Corinth one piece done by Aristides for six thousand sesterces, he could not but wonder at the price; wherefore suspecting that there was some unknown virtue in that picture, he called it back, not without great complaints of Attalus, Pliny xxxv, 4. Apelles having painted Alexander the great in the temple of Diana Ephesia, holding a thunderbolt in his hand, at the price of twenty talents of gold, the reward of his workmanship was given him in golden coin by measure not by number; Pliny xxxv, 10. Lucullus agreed with Arcesilaus a worker in clay to make him an image of Felicity for xliiii sesterces: the death of both hindered the work. And when Octavius a Roman knight would make a fine drinking-cup, Arcesilaus had a talon of him for making a pattern of plaister-worke. Pliny xxxv, 12. Mnason the tyrant gave unto Asclepiodorus for the images of twelve Gods three hundred minas a piece: the same Mnason gave also unto Theomnestus an hundred minas for the picture of every one of the Worthies painted by him Pliny xxxv, 10. Hortensius' the orator bought Cydias his Argonaurs for xliiij sesterces, and made a chapel for this picture in his Tusculan countryhouse; Pliny xxxv, 11. Timomachus Byzantius in the times of Caesar dictator made for him the pictures of Ajax and Medea; Caesar paid fourscore talents for them, setting them up in the temple of Venus genetrix. Plin. xxxv, 11. In the mention of Statues there is one near the Rostra that may not be forgotten, although the author of it be not known; the Statue of Hercules clothed in an Elean habit: he hath a lowering countenance, and seemeth to feel his last agony in his coat. That this Statue was judged to be worth a great deal of strife, may be gathered out of the three titles it showeth: the first is, that it was L. Lucullus the general his booty taken from the enemies: the second is, that Lucullus his son a pupil did dedicate it by the decree of the Senate: the third is, that T. Septimius Sabinus, when he was Aedilis curulis, restored it to the public out of a private possession; Plin. xxxiv, 8. M. Agrippa, though he was a man that might seem to be more given to rusticity then to such kind of delicacies, yet did he buy from the inhabitants of Cyzicus two pictures of Ajax and Venus for twelve thousand sesterces. Plin. xxxv, 4. Tiberius' the Emperor was taken very much with Parrhasius his Archigallus, and kept this picture, valued LX sesterces, in his bedchamber. Plin. xxxv, 10. It is reported that hundred talents of the tribute enjoined were abated to the inhabitants of Coos, to make them willing to part with the picture of Venus' anadyomene. Strabo lib. XIV. Geogr. Nicomedes the King would have bought Praxiteles his Venus of the Gnidians, offering for it to pay all their debts, which did amount to a great sum of money: but they chose rather to endure any extremity, then to part with such a rare piece of work: neither was it without cause that the Gnidians did show themselves so resolute, seeing Praxiteles made Gnidus renowned by this piece of work. Pliny xxxvi, 5. Lysippus made the statue of one rubbing of himself, which Marcus Agrippa dedicated and set up before the entrance into his baths. Tiberius' the Emperor was so much taken with this statue, that, although in the beginning of his reign he had his affections in his power, he could not long command himself in this, but took it away and set it up in his bedchamber, placing another in the room of it, which the people of Rome took so heinously, that in the public theatres with one voice they often and with much importunity required it might be restored; never ceasing till the Emperor, though much against his will, caused it to be set up in the former plate again. Pliny xxxiv, 8. Our age saw in the chancel of June in the Capitol a dog of brass licking the hinder parts of swine: the singular miracle and near resemblance unto truth of which statue is not only understood in that it was dedicated there, but by a new kind of suretyship taken for it also; for it being valued at so high a rate, that no sum of money was thought sufficiently answerable for the loss of it, it was resolved by public advice, that those which undertook the custody of it, should bind their own bodies for the performance of their undertake. Plin. xxxiv, 7. It is much questioned who were the makers of Olympus, Pan, Chiron, and Achilles, which are set up in a place known by the name of Septa; much the more, because fame hath delivered them worthy to be answered with the lives of them that undertook their keeping. Pliny xxxvi, 5. The example of Clesis made famous by the injury done to Queen Stratonice is very remarkable: for much disdaining the slender entertainment he received from her, he painted her in the wanton embracements of a fisherman the Queen was said to be in love withal; and leaving this picture exposed to the public view in the haven of Ephesus, he took shipping and escaped away: the Queen, for the excellency of the Art and rare expression of the persons, would not suffer the picture to be removed; so bestowing upon the art, though in a subject most contumelious and spiteful, the honour she had denied to the Artificer, Pliny xxxv, 11.  
§ 4. It appeareth by all these examples what care great Kings and mighty Commonwealths took to cherish the brave spirits of excellent Artificers; and there was good cause for it; seeing it most of all concerneth those that are virtuous, for the upholding of Arts invented, to make some difference between deserving and undeserving men. Whosoever performeth deeds worthy of verses, saith 
* In praefat. libri Tertii de laudib. Stiliconis.  Claudian, is also a lover of verses: even so must they needs love Statues, who know themselves worthy of that honour. The Artificers themselves did likewise reap great profit out of this respect the flower of the world gave them; neither was it possible they should think meanly of themselves, seeing they could not but judge their Arts worth so much as they saw them valued at by the matchless moderators of earthly things: having therefore once drunk in this persuasion, they were instantly possessed with the love of a strange magnanimity. Nicias refused to sell his picture called Necyia to King Attalus, who offered for it LX talents: but being himself very rich, chose rather to bestow it as a present upon his Country. Pliny xxxv, 11. Zeuxis first began to make presents of his works, saying that no price could be answerable to their worth; so he bestowed Alomena upon the inhabitants of Agrigentum, Pan upon Archelaus; Pliny xxxv, 9 Polygnotus painted at Athens the porch called Poecile freely; whereas Mycon did paint a part of it for a reward: no wonder then that Polygnotus was of more esteem and authority: and the Amphictyones, a public council of Greece, bestowed upon him lodgings rent-free; Pliny xxxv, 9 It was then discreetly done of these Artificers, that they would not lessen the authority of their Art: seeing many things lose their worth for nothing so much, saith Quintilian 
* Lib. XII, cap. 7. , as that they may be prised at a certain rate.  
§ 5. By the consideration of the honour given to these Arts, the Artificers themselves were admonished to use them with more respect, and being ashamed to confine Arts of so large extent within a narrow compass, they would not employ them in adorning the walls of private houses for the delight of particular landlords only, nor of such places as could not be defended from the danger of casual fires. Protogenes was contented with a little cottage in his garden. In the plaistering of Apelles his house there was never any picture to be seen: no body as yet took a pleasure in painting whole walls over: all their art was for Cities, and the Painter was a public thing for the benefit of all Countries, saith Pliny xxxv, 10. There is extant a most magnificent and worthy oration of M. Agrippa, saith the same Author 
* Lib. xxxv, cap. 4. , concerning the publishing of all Pictures and Statues; which were better it had been done, then that they should be banished and confined to some private country-houses. The old Artificers therefore as they would not have their works smothered up in some private corners, so were they very careful in publishing them; and it proceeded out of this same veneration of the Art, that the founders of painting and casting, saith Pliny 
* In praefatione ardui operis. , inscribed their accomplished works, and such as can never satisfy our admiration, with an uncertain title, saying, Apelles faciebat aut Polycletus, Apelles or Polycletus made it: to make the world think that the Art was but begun and left unperfect; that the Artificer likewise by this means might look for pardon, even as if he should have mended all, unless he had been intercepted by an untimely death. So was it then a custom full of modesty, and it did show in them a wonderful veneration of these Arts, that they would have posterity look upon all their works as if they were their last works, and that the fatal hour had taken them away before they could make a full end. It is reported that there have been but three pictures which were absolutely inscribed, Apelles fecit, Apelles hath made it: whereby it did appear that the author would have the Art above all things secured: and for this reason were all such works subject to a great deal of envy. That now they sped well with that tender care they had of the credit of these Arts, is manifest out of the following words of Pliny, It is a very rare and most memorable thing, saith he 
* Lib. xxxv, cap. 11. , that the last works of Artificers and their unperfect pictures have been in greater admiration than the perfect; as namely, Aristides his Iris, Nicomachus his Tyndarides, Timomachus his Medea, Apelles his Venus; seeing there are in such kind of Pictures to be seen the remaining lineaments and the very thoughts of the Artificers: so doth our grief also commend the work unto us, whilst we cannot but love and desire the hands which perished in the midst of such a work. But here must we needs note by the way, that when the ancient Artificers are said to have been spurred on by the hope of glory, it is meant of the true and solid glory, and not of a false and momentany shadow of the same. Many that mountebank-like only brag of their Art, mistake themselves herein very much; for whilst they do by a preposterous ambition make haste to attain to the much desired glory and praise, they do think themselves very well if they can but make their pictures fair to the eye of unskilful spectators, setting forth as in a shop whatsoever may trim and garnish their work: it is their own credit they seek, and not the credit of the Art. But Art on the other side doth laugh them to scorn that are so contumelious against her, saith Quintilian lib. X, cap. 7. And whilst they would fain bring to pass that the unskilful should think them skilful, the skilful do in the mean time find them to be altogether unskilful: to please the vulgar sort of people only, saith Plutarch 
* De Educ. lib. , is to displease the wiser sort: but of this care proceeding out of a venerable respect of Art shall we speak at large by and by in the eleventh Chapter.  
§ 6. This generous love of an everlasting renown continued in the Artificers as long as these Arts were had in esteem by Kings and Nations: but after that the love of money began to thrust this veneration of Art out of the hearts of men, Artificers also grew thinner and thinner, till none at length were left: this was the observation of Arbiter a good while since: I did ask, saith he 
* In Satyrico. , a most skilful man concerning the different ages and times of divers pictures, as also concerning some other arguments obscure unto me, examining withal the causes of our present slothfulness, by the which so many brave Arts are utterly lost, and how it came to pass that the art of painting among such a number of decayed Arts had not retained so much as the least shadow of her ancient beauty. His answer was, that the love of money made this change. For in old time, when naked virtue was yet in esteem, said he, all kind of ingenuous arts did flourish; and the greatest strife amongst men was, that nothing might be long hid what might be for the profit of posterity. To speak then something of Statuaries, poverty hath undone Lysippus whilst he did hang about the lineaments of one statue; and Myron, who did in a manner enclose the souls of men and wild beasts in brass, could find no heir. But we now, lying deeply plunged in drunkenness and lechery, dare not so much as try any arts: and taking upon us to be accusers, rather than followers of antiquity, we teach and learn nothing else but vices. Do not wonder therefore that picture is lost, seeing all the gods and men think a lump of gold better than all that Apelles and Phydias a couple of doting Grecians have made. See also Theocr. Idyl. xuj. Plin. in prooemio lib. xiv. Dionies. Longinus de sublimi Orat. § ultimâ.  
§ 7. When such great and eminent men therefore as should have been the supporters of art, grew slack, esteeming their chiefest felicity to consist in the possession of gold and silver; those arts also which from their greatest good were called Liberal, became servile. For the Artificers finding but small comfort in the exercise of their own arts, did most readily and hearty embrace the most offensive solace of luxurious pastime, studying only how to supply the expenses of luxury by avarice; and so quenching the small remnant of generous thoughts, by these two most pestilent and pernicious vices, it could not then be otherwise, but that both Arts and artificers should miscarry and go to wrack. Of luxury saith Seneca the Rhetorician, 
* In prooem. lib. I. controvers.  There is nothing so deadly to the wit of man as luxury. Of Avarice, saith Epictetus, 
* Arriani Epict. li. iv. c. 4.  The desire of riches maketh men base minded. See Horace in his Art of Poesy. Gold and silver was in old time mixed with brass, saith Pliny, 
* Li. xxxiv. Nat. hist. c. 4.  and yet was the art more costly than the material. Now on the contrary, it is uncertain whether the art or the material be worse: And which is very strange, though the value of rare works is infinitely increased, yet is the authority of the art quite gone: seeing all is now done for gain, what was wont to be done for glory. Mark here only by the way, that these words of Pliny do not disallow of all gain, neither can there be any juster kind of gain, than out of the honest industry of a laborious Art; principally if the said Art take up so much of a man's time, that he cannot think of any other way to gain by. Pliny his meaning is, That the ancient artificers did first and most of all aim at glory, knowing that they should have gain enough, having once obtained the credit of a good workman. These two things may therefore very well stand together, That an artificer should chiefly intent the glory of his name, and yet in the second place look after some reasonable gain; seeing an honest desire of gain, free from the baseness of a mind that gapeth for nothing but money, doth greatly increase our endeavours in all manner of Arts. It is known well enough, saith Cassiodorus, 
* Variar. 7. 15.  that the studies of Arts are to be nourished and maintained with reasonable rewards. Theophylactus Simocatus expresseth the same more copiously: The hunger and thirst of gold in mankind, saith he, 
* Epist. 10.  is very profitable; for thereby our life is furnished with good arts, cities are inhabited, and mutual contracts are performed with a great deal of ease. To be brief, the inhabited world should be deprived of all decency of order, if for the intercourse of gold men stood not in need of one the other. A mariner would not put to sea, a traveller would not undertake a journey, husbandmen would not be troubled with the keeping of plow-oxens, the sovereignty of Royal sceptres should want respect, the subjects could not be honoured with dignities and revenues, it should not be in the power of a General to lead an Army. And if you will learn a great secret, Gold is put in trust with the reines of virtue and vice; the appetite of our soul is tried by it, seeing it may very well be compared with the Celtic River, in that it yields an unfallible proof of counterfeit virtue.   

CHAP. X.  
UPon the enjoying of glory followeth a confident boldness of art. The Art hath been incredibly advanced, saith Pliny, 
* Lib. xxxiv. cap. 7.  by success first, and afterward by boldness. Understand here by Success nothing else, but that same veneration Art enjoyed as long as Kings and Nations made much of it. Afterwards by boldness, saith he, to insinuate unto us, that this success made the artificers more prompt and ready to venture upon greater matters. The huge Colossuses of the Ancients may serve here for an example; and Pliny in the said place bringeth in some of them for a testimony of their most confident boldness. Zeuxis hath been above all the rest admired for this boldness, seeing he did first enter into the gates opened by Apollodorus, saith Pliny 
* Lib. xxxiiii cap. 7. , and brought the pencil, after it durst now do something, to a great glory. Of the boldness of this excellent Artificer, see Lucian in his little treatise entitled Zeuxis. Dinocrates hath also given us a notable example of confidence, which, God willing, shall be related in our Catalogue. It was then very well avouched by Melanthius the Painter, in his books written of the Art of painting, that it is not amiss there should be perceived some kind of selfeliking & hardness in the works of excellent Artificers. See Laërt. lib. iv, in Polemone. There is a Theseus done by Euphranor, of whom he said, that Parrhasius his Theseus was fed with roses, but that his Theseus was fed with flesh. See Pliny, lib. xxxv. cap. 11. So did then the Ancients boldly follow the motions of their stirred spirit; where as we on the contrary, as if now all were perfect dare not bring forth any thing, saith Quintilian, 
* Li. viii. Orat. Instit. cap. 6.  yea we suffer also many things invented by the Ancients to decay.  
§ 2. Much then doth that excellency of spirit avail, that will not suffer itself to be daunted by the authority of them that are like to censure our work. For as the contrary vice of a temerary and arrogant confidence is very much to be detested; so is it not possible that art, study, yea advancement itself, should help any thing, without a discreet and constant confidence; even as an unwarlike coward shall not be much the better, though you furnïsh him with all manner of exquisite armour. We are therefore above all things to avoid this preposterous shamefastness, which is nothing else but a certain kind of fear, saith Quintilian, 
* Li. xii. orat. Instit. ca 5.  drawing back our mind from those things that are to be done; whereupon followeth most commonly confusion, and loathing of what we have already begun: so that no body doubteth to refer that passion among the number of vices, that maketh us ashamed of doing well. I am almost loath to say it, because it may be mistaken, that shame fastness is a vice, but a lovely one, yea such a one as doth most easily engender virtues: she doth in the mean time great hurt, causing all that is good in our wits and studies, for want of publishing, to be consumed by the rust of too much secrecy. Howsoever, confidence is the best way to amend this shamefastness: and though a man be neur so shamefaced, yet may he support himself by the help of a good conscience, if he be but privy unto himself that he wanteth no art. Although a forward boldness be all in all, yet may not the Artificer be so secure as not to understand the danger, provided that it be an understanding of the work, and no fear; he may be moved with it, though he must not yield and fall down under it. For how great danger is there in this work, wherein we are very often deceived by a show of goodness? Whosoever doth affect smooth things, saith Horace 
* De Arte Poet. , wanteth sinews and spirit for the most part. He that professeth great things is very often puffed up. He that will be too secure, and standeth always in fear of a storm, useth to creep along the shore. The very shunning of vice, when it wanteth art, leadeth us unto vice.  
We are also lead into error by the great multitude of them that judge amiss, seeing unskilful artificers do always in their opinion paint with more force. And it is ever seen, that the unlearned do believe those things to be of greater force, which want art: even as they use to think it a matter of greater strength to break up, than to open; to tear asunder, than to untie; to draw, than to lead. They do most frequently judge also, that there is more greatness in rude things, than in such things as are polished: yea, that there is more copiousness in things wildly scattered, than in things well and orderly digested. As many then as are best experienced in these arts, do most of all fear the difficulty of the work, the several events of the Art, the doubtful and uncertain expectation of men. It is not safe to do any thing foolishly before the face of the world, when we begin to try the hope of a durable name: neither is it a small matter to undergo the censure of the whole world: so doth an invited guest also expect a great deal better entertainment, than one that cometh of his own motion suddenly upon us. Such as are provoked, judge more nicely: neither will they be satisfied with mere allurements, and a kind of pleasing novelty, where they do look for the true force of Art. It falleth out very often also, that we spy the vices sooner in the works of others, than their virtues: and whatsoever doth justly offend the spectator, useth also to extinguish the glory of praiseworthy things: in these arts chiefly, which are not so much for necessary use, as a free recreation of the mind, how nicely do men censure. As in a most pleasing banquet, a confused harmony, gross ointments, and Poppy with honey of Sardus do offend us, saith Horace 
* De arte Poeticâ. , because the feast might be very well without them; so is it with Poëmes, which being invented to delight and recreate the mind, are esteemed most base if they do but swarve a little aside from that height of grace they should have. What Horace saith here of Poets, may also be applied to painters and statuaries, seeing their industry doth intent nothing else but the recreation of our eyes, as Max. Tyrius speaketh, Dissertat. 5.  
§ 3. An artificer therefore is to take care, that he do not only give them content, who must of necessity content themselves with his work: but that he may also seem admirable unto them, which may judge freely of what he doth. It is not enough an artificer should paint well after his own liking, but after the liking of accurate and judicious spectators; neither may he think himself to have painted well, unless skilful men think him to have done so. Whatsoever is to be dedicated unto posterity, and to remain for an example unto others, had need be neat, polished, and made according to the true rule and law of art; because it is likely to come into the hands of skilful censurers, and such as are artificers shall judge of his art. Whosoever therefore is not able to make works worthy of the eyes of men, nor to deserve the name of an Artificer, & yet is not touched with that reverend respect due to the art he defileth, though he study never so much to decline infamy, may justly be esteemed impudent: seeing we are to shun the name of impudence, saith Tully 
* Li. i de oratore. , not by showing ourselves to he ashamed, but by not doing those things we may be justly ashamed of. We are therefore to use here so much moderation, as not to lay over-hastily aside all shame, and to publish our raw and unripe studies, saith Quintilian 
* Li. xii. orat. Instit. cap. 6. ; for by thus doing, there is engendered in us a contempt of the work, we do lay the grounds of impudence, and (which is every where most pernicious) a foolhardy confidence preventeth our strength. Neither ought we to delay our first trial till we wax old, for fear increaseth daily, and what we are to attempt seemeth still to grow harder and more difficult, and it groweth too late to begin, whilst we lose time in deliberating when to begin. It behooveth us therefore to bring forth the green and sweet-fruit of our studies, whilst pardon, hope, and favour readily attend us: neither doth it misbecome us to attempt something boldly, seeing age may supply what there is wanting in the work; and if any thing seemeth to be painted somewhat youthfully, it is esteemed to proceed out of a promising forwardness of our natural inclination. A youth therefore in my opinion, that doth as yet rely upon his tender strength, is to begin with an easy and pleasing argument, even as dog-whelps are fleshed with a more gentle prey of wild beasts: neither is he from this beginning to continue his labour and to harden his wit, which is rather to be cherished. So shall be best overcome the fear of beginning, whilst it is easier for him to adventure; and yet shall this facility of daring not bring him to a contempt of the work. Let him for all that, at the first follow the steps of a wary leader, till he find it safe to resolve with Lysippus, unto a further boldness upon occasion of Eupompus his answer, as we have related the same in the third chapter of this book, § 3.   

CHAP. XI.  
ALthough Artificers might justly seem to be emboldened by the success of Art, yet did they never run on with such a confident rashness, as to forget the care due unto these Arts. It is a good saying of Fabius Maximus 
* Apud Livium lib. xxii ab v. c. , All things shall be sure and clear unto him that doth not make too much haste: rashness is improvident and blind. An artificer therefore cannot be without diligence, a great help of a mean wit also, saith Seneca the Rhetorician 
* In prooemio libri Tertii Controvers. . Metrocles was wont to say, That houses and such like things were to be bought with silver, but that learning could not be had without the expense of time and care 
* Apud Laertium lib. vi. . Pamphilus his school, as we have showed before out of Pliny, did not dismiss the disciples, unless they had passed their ten years in an orderly course of learning. This was a most laudable custom, seeing advancement doth most of all consist in diligence, saith Quintilian 
* Li. II. orat. Instit. cap. 7. . Neither did the Ancients when they came forth out of the shadow of the schools to the public light, instantly forsake that diligence used about the first beginnings of Art; but they did rather resolve to follow with a constant perseverance, what they had begun with a studious industry. Nicias his diligence hath been mentioned before out of Plutarch. Protogenes when he was about the picture of Jalysus, is said to have lived by moistened lupins, as being able to satisfy hunger and thirst both at once; lest he should dull his senses too much with the sweetness of meat. He laid his colours four times over this picture, for a defence against all injuries and age; that the lowermost colour might succeed when the uppermost should fail. Pliny xxxv. 10. Apelles had this custom, saith Pliny in the same place, that he never would suffer himself to be so much employed a whole day, but that he remembered ever to exercise the art by drawing of a line: and this custom of his became a common proverb. Yea, we may learn out of the following words also, that Apelles by the means of this diligence put down Protogenes in that most famous strife of drawing subtle lines. It is pretty, what fell out between Protogenes and Apelles, saith Pliny. Protogenes did live at Rhodes; whither when Apelles was come, desirous to know the works of him whom he knew only by fame, he made haste to go to his shop. Protogenes himself was absent, but an old woman kept a large board, already fitted upon the Ass or scaffold, to have something drawn upon it. The old woman having answered, that Protogenes was gone forth, asked withal, whom she should say had looked for him. Tell him, said Apelles, that this is the man that sought him: and taking a pencil, he drew an exceeding thin line with one or other colour upon the board. The old woman at Protogenes his return shown him instantly what was done. And it is reported that the artificer, having considered the fineness of the line, did forthwith profess himself to know that Apelles was come; seeing he held it impossible that such an absolute work should be done by any body else. It is added also, that Protogenes drew a thinner line with another colour over the said line, bidding the old woman at his going forth, that she should show this unto him that had asked for him and tell him that this was the man he did look for. It fellout so. Apelles returneth: but being ashamed to be overcome, he divided the lines with a third colour, not leaving an further place for subtlety. Whereupon Protogenes confessing himself overcome, did hastily run to the haven, seeking the stranger: this same board was left unto the following ages without any change, to the astonishment of all men, but of Artificers chief. We have greedily viewed it before the first firing of Caesar his house in the palace, where it perished, containing in a more spacious wideness nothing else, but such lines as could hardly be discerned by the eye: so that this board among the brave works of many Artificers did seem to be empty, alluring the spectators therefore and being indeed more noble than any other work. I know well enough that many will not understand these words of Pliny after that plain meaning the alleged place urgeth; yet do they not persuade us to take these words otherwise, then of the strife of lines most subtly drawn with a light and gentle hand. But of this, God willing, some where else: seeing it is better we should pursue our intent, by comparing that careful diligence of the ancients with the careless negligence of these our times.  
§ 2. And first we think good not to hinder the persuasion of them who esteem our inbred abilities to be alone sufficient to make us Artificers: let them only give way to our labours, seeing nothing in our opinion can be perfect, but when Nature is helped by care 
* Quint. orat. instit. xi, 3. . Neither can we conceive it otherwise; because we do find that among so many rare wits none have anciently obtained the highest fame of Art, but such as not contenting themselves to salute the schools of Painters afar off, and to spend a very small time of apprenticeship in them, thought it rather needful to be a great while a learning what they would afterwards teach others, lest they should be forced to learn any thing at the time of teaching: so do we likewise perceive that the majesty of these Arts was trodden under foot, as soon as the love of too much ease made men neglect the care due unto the first principles of Art. Such things as do grow up without any foundation, saith Seneca 
* Lib. I. de Irâ, cap. ultimo. , are subject unto ruin: it is therefore a gross error, when many by a false persuasion of their teachers go about to sever this Art from the elegancy of a more grave and severe kind of learning; as if the whole exercise of Art did chief consist in an easy and ready practice without any further care: Such as make great haste, saith Quintilian 
* Lib. iv orat. instit. cap. 5. , must needs think slightly of every thing that is to be done before they come to what is last. Hence it is that they forsake things indeed necessary for the love of things seeming more specious; yea they neglect and loath such great helps of Art, as cannot be wanted; not looking for any commendation of their wit from things fare remote from ostentation, seeing the tops of high buildings are noted, the foundations are hid, saith Quintilian 
* In prooemio libri Primi. . Besides these there are others of a more lazy arrogance, despising all precepts of Art after they have spent but a little time in the schools of Painters, and seeking to gain authority by the contempt of them that study to bring to these Arts not their hand only, but all such things also as may conduce to Art. These are they that do small things with a great deal of ease, saith Quintilian 
* Lib. I. orat. instit. cap. 3. , and being thus emboldened, they show instantly whatsoever they know themselves able to do; though they can do nothing, but what is near at hand: they do not much, but quickly: there wanteth true force in their work, seeing it hath not taken a deep root; even as seeds cast upon the upper most ground do spring up more readily, and like blasted ears of corn make a show of ripeness before harvest. These things compared with their years, are pleasing at the first; but the advancement afterwards being at a stay, the admiration also doth decrease.  
§ 3. Whosoever therefore desireth a more complete and absolute knowledge of these Arts, must by all means believe that all such things do belong unto his care, which are able to perfect an Artificer; and that it is not possible to attain to the height of any thing, but by the means of some forerunning beginnings; yea that he may not look for greater matters, unless he first stoop down to the lesser. Studies have also their infancy, saith Quintilian 
* Lib. I. orat. instit. cap. 1. : and as the education of such bodies, as at any time shall be the strongest, beginneth with milk and cradle; even so doth he which may in time be a most consummate Artificer, hang a great while about the first lines, standing in need of a hand to lead his hand, until he use himself a little to the right stroke: as it is impossible to attain to the height of any thing, but by some beginnings; so do the first things, when the work goeth on, seem to be the least, saith Quintilian 
* Lib. X. orat. instit. cap. 1. : the height of all Arts, as of trees, delighteth us very much; so do not the roots: and yet can there be no height without the roots, saith Tully 
* De Perfecto oratore. : unexperienced children do first apprehend the figure and name of letters, saith Manilius 
* Lib. II. Astron. , their use is afterwards taught them by the making up of syllables; words follow; the force of things and the use of Art doth lastly arise out of them: it maketh much for our main end to have learned the first rudiments in order: yea the preposterous labour of over-hastened precepts shall come to nothing, unless learning be grounded upon his proper elements. The ancients therefore not despising such small things (although in studies nothing may be counted small, that doth advance our principal intent) have made these Arts great; rather contenting themselves with a slow then with an uncertain event.  
§ 4. How much do the customs of our young men at this time differ from the said practice of the ancients? for who is there among many thousands that confessing himself inferior giveth place to the age or authority of a better Master? saith the younger Pliny 
* Lib. viii. Epist. 23. , they are wise at one instant; they are forthwith filled with all knowledge; they stand in awe of no body; they imitate no body; they need not take example by any body, seeing they are an example unto themselves. These Arts were in times past studied with much respect; but now, after that we have made the greatest point of Art our first entrance into the Art, all go to it without any reason or modesty; wholesome counsel is generally rejected; we do not suffer ourselves to be led orderly into the Art, but we do rush in, having once broke the bars of shame and reverence: you can hardly meet with any one that aspireth to the consummation of this most magnificent Art by tracing the beaten path of necessary precepts held by the ancients, neither will any one fit himself to greater things by giving a document of himself in lesser matters, but all do by an overthwart consent forsake the most profitable diligence in smaller things; and whilst they mean to step from the lowest to the highest, neglecting whatsoever is in the midst, the hope of their labour is lost for want of care: there was never any brave thing brought to pass by negligence, saith Max. Tyrius 
* Dissert. xxxiv. : as Nature will not have us sweat for small things, saith Libanius 
* In Progym. , so doth she not reward our slothfulness with great matters. Seeing then that almost all are in this error, yet should we conceive a better hope of the Art, if we thought that any Students could be recalled; whereas now the case seemeth rather to be desperate, their senses being so much possessed with the present joy, that they are loath to admit any thing unto their eyes or ears whereby this unprovident joy of theirs might be lessened: they do like very well of the course already taken, saith Quintilian 
* Lib. iii. orat. Instit. ca 1. , neither is it easy to divert them from the persuasions drunk in whilst they were children; because every one thinketh it better to have learned already, then to learn. To let them therefore alone, we do esteem that he is most likely to come nearest unto perfection, who taketh at the first greater care how to paint well, then fast: whosoever on the contrary studieth more to have done painting, then to paint, shall come fare short of his hope; neither shall he receive any other fruit of his mountebank-like bravery, but an idle praise of blockish spectators, a presumptuous persuasion of his own ability, the contempt of so venerable an Art, a shameless boldness, and a custom of doing amiss. When Agatharcuus the Painter did vaunt himself in the presence of Zeuxis, saith Plutarch 
* In Pericle. , for making all manner of pictures most speedily and easily; But I, answered Zeuxis, am a good while about it: for as this nimbleness and quickness of hand doth not leave in the work any durable weight of Art or accuratnesse of beauty; so doth the time bestowed upon the making render a certain force tending to the preservation of the work. Themistius likewise speaking of Phidias, although Phidias, saith he 
* Orat. adeum qui postulaverat ut ex tempore sermonem haberet. , was skilful enough to make in gold and in ivory the true shape of God or man, yet did he require sufficient time and leisure to the work: so is he also reported to have spent much time about the pantoffle of the Goddess Minerva. Apelles was of the same mind: for when a foolish Painter shown him a picture which he did boast to have made up suddenly; I see it well enough, said Appelles, and wonder very much why you did paint no more such pictures in that space of time: see Plutarch de Educandis liberis.  
§ 5. Seeing then that great Masters themselves would not be too quick in their works, it followeth much more that our first rudiments may not be too hastily passed over: a painful industry is all in all, when we first begin: let us ripely consider what Artificers deserve most to be imitated and expressed; lest, having made an ill choice, we should at the first get an ill habit: but of this have we handled at large lib. I, cap. 3. Our studious endeavours must afterwards by little and little venture abroad, and we are to assure ourselves of the good success of our labours by a public trial. All Arts gain very much by a continual practice and daily exercise, saith Vegetius 
* De Re milit. lib. III. cap. 10. ; for it is impossible that any one should apprehend so many different and profound things, saith Quintilian, unless upon knowledge there follow meditation, upon meditation ability, upon ability force: and it is gathered out of these things that there is but one and the same way of conceiving what we are to express, and expressing what we have conceived. The want of this practice bringeth very often to pass that many a one is frighted, when he cometh to a public trial; he looketh still back after the shade of his private exercises, finding his eyes dazzled at the unwonted light: severe censurers trouble him with their suspended silence; enviers with their importunate noise; favourers with their immoderate applauses; and when he perceiveth that no faults can be hid, his confident boldness being turned to a pensive solicitude disquieteth him very much. Even as in all other disciplines bare precepts profit very little, not being seconded by assiduity of exercise; so doth doctrine effect very little in these Arts of imitation, unless we do seriously practise and seasonably publish the much studied Arts: neither can private studies advance us so much, but that there is ever some peculiar profit of publishing: and use without doctrine (if you do part them) is likely to do more, than doctrine without use, saith Quintilian lib. xii, orat. instit. cap. 6.  
§ 6. All helps being outwardly applied, we shall find that a frequent and continual exercise, as it is most laborious, so is it most profitable: seeing nature doth begin, utility doth advance, exercise doth accomplish these Arts. Protagoras saith 
* Apud Stobaeum Serm. de Disciplinâ & erudition. , that Art is nothing without exercise, neither that exercise is any thing without Art. What use is there of Phidias his Art, if he do not apply it to ivory and gold? saith Max. Tyrius 
* Dissert. V . It profiteth very little, saith Theosophista 
* Progymn. cap. 1. , that such as mean to paint should consider the works of Protogenes, Apelles, Antiphilus, unless they themselves also fall to work. Nature certainly would never give way, that any thing should grow great upon a sudden, yea she doth observe it in the common course of generation, that the greatest creatures should be longest of all abreeding; and as the ground thoroughly stirred is most apt to bear and to augment herbs, so doth a well grounded advancement bring forth the fruit of studies after a more plenteous, and keep them after a more trusty manner 
* Quintil. lib. x, cap. 3. . Art is able to show the way to all them, who of their own accord are given to it; and yet doth she enough, when she propoundeth her store; we must know what use to make of the things propounded 
* Quint. lib. seven, cap. ultimo. . Diligent exercise howsoever will procure us so much strength, as may be able to maintain the dignity of Art; provided only that our exercise be not too rash and forward at the first: seeing in our beginnings we must once for all resolve of this, yea we may not rest till we have obtained it, that we do well; assuring ourselves that the custom of doing well, shall bring us to a ready quickness: assiduity of practice bringeth by little and little to pass, that every thing doth both show and offer itself with more ease; yea that all things, as in a well ordered family, are at command. To be short: By doing quickly, we shall never learn to do well; but by doing well, it is more likely we shall learn to do quickly. Quintil. lib. x, cap. 3.  
§ 7. We have said enough concerning them who by a temerary rashness banish all care: it is left we should also speak something of those, whose overcurious care beareth the blame of slowness. For when I undertook to stop the Students of these Arts in their temerary forwardness, my meaning was not to tie them to the unfortunate toil of finding fault with every thing done already; seeing it is impossible that they should ever bring this great and mighty Art to an end, who do continually stay and stagger about every little experiment. Artificers therefore must take great care, lest their care be perceived; principally aiming at this, that an excellent argument may be expressed excellently; for he doth questionless paint well enough, whose work answereth the weightiness of the matter. Whatsoever is perfect in his own kind, saith Quintilian 
* Lib. VIII, cap. 3. , is well enough. It is in the mean time not only tolerable but commendable also, and it addeth a singular grace to the work, that there should sometimes appear a certain kind of neglect in most excellent Pictures: a little sourness is otherwhiles pleasing in exquisite meats; and it doth not misbecome great wealth, to see something in it here and there carelessly scattered and neglected. Some for all this do never cease troubling of themselves; they suspect every invention; they dwell upon every line; and having met with what is best, yet do they seek something better: whereas they have more reason to consider, that it is a naughty kind of affectation to desire any thing better than what is sufficiently good, when our wit wanteth judgement, and suffereth itself to be carried away by a mere show of goodness: there is in the whole Art no vice more dangerous; seeing other vices, as Quintilian speaketh 
* Lib. VIII. cap. 3. , are loathed, but this desired. So saith the same grave another again 
* Lib. X. cap. 3. , There are some that never do content themselves, they will change every thing, and make it otherwise than it was conceived at the first. Others are mistrustful, and do deserve very ill of their own wits; esteeming it diligence, to make the work harder unto themselves. Neither is it easy to say, whether those off end more that love all they do, or that love nothing. For generous Youths also do very often spend their spirits with too much labour, and fall into acertaine kind of dulness by too great a desire of doing well. The case standeth thus: We must do our best, and yet according to our ability, seeing it is study, and not indignation that doth advance us. Wherefore if the wind ferveth, we are to make sail, and we are sometimes also to follow our stirred passions, in which heat doth for the most part more than diligence. Provided only, That this indulgence do not deceive us: For it is most natural unto us, to love every thing we do, whilst it is a doing.  
§ 8. Wherefore besides that same slowness urged a little before, and besides that stay our hand giveth us, not being able in the most forward exercise of designing, to overtake the quickness of our mind, we shall do well to breath ourselves now and then purposely, & to review our suspected forwardness, by unbending the intention of our thoughts. For as we shall by this means be more able to make a handsome connexion of things, so shall we likewise avoid that weariness that might hinder our further diligence: for the weariness of our mind, though it be not so apparent at the first, is no less tiresome than the weariness of our body, weakening our mind not for the present only, but also for the time to come. The first heat also brought to the work, when it waxeth cooler, receiveth new strength, and is revived by such a delay; even as we see, that they who leap for strife use to go back a great way, and fetch a run, to lift and throw themselves with more force over the intended space: by putting back our arm we throw the further forward, and the more we draw the shaft back, we shoot farther and with greater strength 
* Quin. lib. x, cap. 3. . They err also, but in a different kind, who following their first heat, do with a full speed run through the whole matter, pleasing themselves in an extemporal delineation. These are forced to go over again, what they have hastily brought forth; but whilst they mend the errors of some parts, the first levity remaineth in the things unadvisedly heaped up; the whole composition is never a whit the better for it. It were then much better, according to Quintilian his opinion 
* Lib. X, cap. 3. , sooner to have taken care, and so to frame the work at the first beginning, that it need trimming only, without altering the design of the whole work.  
§ 9 Next unto this relaxation shall follow the profitable care of a most strict emendation; seeing the weightinesle of our work is by this means maintained, and the forward facility of our first conceits is made to take deeper root. Even as husbandmen prune the roots that lie shallowest, that the lowermost might fasten deeper. The first designs of art, saith Plutarch 
* Sympos. problem. TWO, 3. , are gross and imperfect; but every part receiveth afterwards a more particular perfection. Which caused Polycletus to say, That the work is then hardest when it cometh to the nail. I may not omit the words of Favorinus the Philosopher, who said 
* Apud. Agel. lib. XVII. noct. A tic. cap. 10. , Virgil's friends reported that he was wont to say of himself, that he brought forth his verses after the manner of Bears, which bring forth their young ones without shape or beauty, and afterwards by licking, fashion what they have brought forth; that such were the new births of his wit, rude and imperfect to look on, until he by handling and polishing gave them perfect lineaments. Emendation therefore being the only way to perfection, it hath been said upon very good ground that the pencil doth sometimes help the art, as well by rubbing out what was painted, as by painting. There belongeth to this work, saith Quintilian 
* Lib. x, ca 4. , To add, to detract, to change. To add or detract, requireth less labour and judgement; but to allay those things that swell, to raise those things that sink, to tie close those things that flow luxuriously, to digest things that are without order, to compose things that are loosed, to restrain things that are insolent, requireth double pains: for those things are to be condemned which did please, and what we thought not of is to be invented. Now it is no doubt, but that the best way for emendation is to lay by the design for a time, till it may seem unto us a new or another man's invention: lest our own, like new births, please us too much. Certainly so it is, our minds being carried away by the currant stream of a ready invention, use to judge then more readily and warily, when our running thoughts being stayed, give us time to consider what we have to do. Hence it is that Painters, who after a reasonable pause, return to their discontinued works as mere spectators, do more advance the art, than others that do not care what hast they make to finish the work. Those painters do very well, saith Plutarch 
* De cohibendâ irâ. , who look upon their works before they accomplish them, after some delay; seeing they do renew their judgements, by turning their eyes now and then off from the work. It is only requred here, this respite be not too long; because it is most certain, that nothing is easily resumed after a great discontinuance. For who doth not know, that all arts and artificers receive the greatest benefit by use, saith Sidonius 
* Lib. IX, Epist. 12. , and that upon the neglect of usual employments our arms wax heavy in our bodies, and our wits grow dull in the Arts? From whence it ariseth also, that a bow doth withstand our hand, an Ox doth withstand the yoke, and a horse doth withstand the bridle, when they are late or very seldom taken in hand.  
§ 10. Though we have as yet somewhat diffusedly commended a slow and wary care unto the diligent Students of art, yet may every one follow a shorter way to put himself in mind of this duty; if Augustus the Emperor his motto Festina lentè sound daily in his ears: and as we have already spoken of divers things whereby the wary care of a leisurely haste is quite overthrown, so may we not forget to mention what hurt the art receiveth by them who not contenting themselves with an ordinary haste, have studied to find out compendious ways of painting. When Arbiter doth reckon up the Arts lost by the carelessness of a most lazy age, a magnificent and (to speak so) a chaste style, saith he 
* In Satyrico. , is neither stained nor puffed up, but it waxeth greater by a natural beauty: that windy and unmeasurable babbling was not long since brought to Athens out of Asia, and having blasted the hopeful spirits of young men as with a pestilent star, the rule of eloquence being once corrupted was strooke dumb; yea there did not so much as one Poëme appear of a wholesome colour; nothing could attain to maturity of age, seeing all Arts were fed as it were with the same meat. Picture also had no better end, after the boldness of the Egyptians found out a compendious way to so great an Art. We see then how much these, excellent Arts have been wronged by them that studied compendiousness, although it be hard to explain what manner of compendiousness Petronius speaketh of: seeing it cannot be understood of that manner of writing used by the ancient Egyptians, and mentioned in this Second book cap. viii. § 2. Neither can it be understood of another way of painting or rather staining clothes, used by the Egyptians. clothes are also painted in Egypt, saith Pliny 
* Lib. xxxv, Sub finem copitis undecimi. , after a rare and strange way: they take white veils, and having rubbed and chafed them very much, they besmear them, not with colours, but with some juices apt to drink colours: which appeareth not in the veils after it is done: but being dipped in a vatte of seething die, they are after a little while taken forth all painted. The wonder is, that though there is but one colour in the cauldron, there are divers made out of it in the cloth, the colour altering according to the quality of the juice that receiveth it: neither can it be washed out afterwards: so the cauldron, which should questionless confound the colours, if it did receive them painted, doth digest them out of one colour, and painteth the veil whilst it is a boiling: and the singed clothes are stronger, then if they were not boiled at all But I rather think that the Egyptians had some other abridgement of painting, unknown to us: for nothing could hinder them to find out a short way of painting as well as Philoxenus Eretrius a scholar of the most swift painter Nicomachus: seeing this Philoxenus, as Pliny reporteth 
* Lib. xxxv, cap. 10. , having followed the swiftness of his Master, did invent certain shorter and more compendious ways of painting.   

CHAP. XII.  
THe former care did not as yet show itself more in the ancient Artificers, when by a praiseworthy Ingenuity they called both upon Artists and Idiots, desirous that all men should examine and censure the work in hand. Hesiodus his observation is well expressed by Minucius: I have often heard, saith Minucius 
* Apud Livium lib. xxii, ab v. c. , that he is the best man, that can advise himself what is fit to be done; and that he is in the next rank of goodness, that is content to receive good advice; but that on the contrary side, whosoever can neither advise himself, nor will be directed by the advice of others, is of a very ill nature. The naturalist Heraclitus presseth this point somewhat nearer, and applieth it to the liberal sciences, when he saith 
* Apud Maximum Ser. xxxiv.  that it is a great hindrance of our advancement if a man begin to have a good conceit of himself. I am of opinion, saith Seneca 
* De Tranquanimi, cap. 1. , that many should have attained unto wisdom, if they had not conceived themselves to be wise already: see also Arriani Epict. lib. TWO, cap. 17. No man is able to pass through the secrets of Art, saith Fulgentius 
* De Virgilianâ continentiâ. , unless he first overcome the pomp of vain glory: seeing the appetite of an idle praise doth never search out the truth, but taketh all to itself whatsoever is offered by way of flattery. Contrition extinguisheth all manner of presumption: and for this reason is the Goddess of wisdom called Tritonia: because all contrition breedeth wisdom: and verily, none can be worse than those who tickle themselves with a false persuasion of Art, though they are not very much past the first lines: for scorning to give way to them that are more skilful, they betray their own foolishness by the security of a wrongfully usurped authority. The ancients were quite of another mind, they followed another way. Painters, and such as make statues, yea Poets also; saith Tully 
* Lib. I, de Off. , will have their work considered of the multitude; to the end it might he mended, in what they see reprehended by many: they search therefore most diligently by themselves and with others what faults there are committed in the work. The younger Pliny urgeth the same upon another occasion, nothing can satisfy my care, saith he 
* Lib. VII, Epist. 17. , I think still how great a matter it is to publish any thing: neither can I persuade myself otherwise, but that we are to peruse often and with many, what we wish might please all men and always.  
§ 2. Besides those there is another sort of men, who, though they do not out of a presumptuous arrogance reject this Ingenuous care of mending their works, yet do they decline it out of a timorous bashfulness; they want courage and constancy to provoke & to expect the judgement of the world. A naughty shame, saith Horace 
* Lib. I, epist. 16. , doth conceal the unhealed sores of fools: neither is it without reason that the Poet brandeth them, that do so, with the name of fools; seeing every vice is nurtured and quickened by hiding of it, saith Virgil 
* Lib. III. Georg. . As many therefore as by smothering of their imperfections will not increase their faults and shame both at once, must first study to find out and to amend of themselves what is amiss: which if they despire to do, let them remember at least that there is exceeding great wisdom in a confessed ignorance, as Minutius Felix speaketh 
* In Octavis. : and that ordinarily, according to M. Porcius Cato his saying 
* Apud. Livium li. xxxiv ab v. c. , Such as are ashamed without cause, shall not be ashamed when there is cause. But of this same preposterous shame something is said already, cap. x, § 2. of this second Book.  
§ 3. All of us naturally are too much in love with our own works, and self-love maketh that seem gorgeous unto us wherein we ourselves be Actors. I know not how every man maketh very much of his own doings. So it is: you love your own, and I love mine, saith Tully lib. v. Tusc. quaest. We look upon domestic things after a familiar manner, saith Seneca 
* De Tranquanimi, cap. 1. , and favour doth then most of all hinder our judgement: neither may you think otherwise, but that we are sooner overthrown by our own flattery, then by the flattery of others. This was understood by those that were to dedicate the statues of Amazons in the temple of Diana at Ephesus; for when they were to dedicate them there, they resolved to choose that piece of work that should be accounted the best by the judgement of all the chief workmen there, which appeared to them to be that, that every one commended to be the best next his own. Plin. xxxiv, 8. Seeing then it is natural to all men to be too much in love with what is their own, there is great cause why we should shake off this importunate presumption that will not give us leave to look impartially upon our own works. The ancient Artificers therefore, that have been and are as yet most famous, did rely more upon the judgement of other Artists, then upon their own liking. So doth Synesius 
* Epist. primâ  report that Lysippus made use of Apelles, and Apelles likewise made use of Lysippus. Praxiteles also being asked which of his marble-workes he did like best, answered, Those that Nicias hath put his hand to: see Pliny xxxv, 11.  
§ 4. Nether did they content themselves with Artificers alone, but they did moreover desire a confluxe of envious and favourable spectators, yea of all sorts of men, suffering their works indifferently to be censured by them all: see the younger Pliny lib. VII, epist. 17. It is reported, saith Lucian 
* Pro Imaginib. , that Phidias, when he made Jupiter for the Eleans, and shown it the first time, stood behind the door listening what was commended and discommended in his work: one found fault with the grossness of the nose: another with the length of the face: a third had something else to say: and when all the spectators were gone, he retired himself again to mend the work according to what was liked by the greater part: for he did not think the advice of such a multitude to be a small matter, esteeming that so many saw many things better than he alone; though he could not but remember himself to be Phidias. Observe here in the mean while, that, when they gave unto abject and contemptible men such power over their works, it was not because they hoped to learn something by them that might advance the perfection of Art, seeing it is a most idle thing, saith Tully 
* Lib. V Tuscul. quaest. vide quoque Aelianum lib. two, var. hist. cap. 1 & 6. , to expect great matters from an assembly of those, whom we contemn one by one as handy-crafts-men and barbarians. Polycletus, as we read in Aelian, took a fine course to make vulgar wits understand themselves, showing unto them by a lively example that they were more likely to spoil then to help the Art, if an Artificer should follow their judgement in all things: see Aelianus var. hist. lib. xiv, cap. 8. The Artificers therefore did not admit their directions generally in every thing, but they followed their motions only in such things as did belong to their profession. When Apelles had made any works, saith Pliny 
* Lib. xxxv, cap. 10. , he exposeth them in a place, where all that passed by might see them: hiding himself in the mean time behind the picture, to hearken what faults were noted in his work; preferring the common people, a most diligent Judge, before his own judgement: and he is reported to have mended his work upon the censure of a Shoemaker, who blamed the Artificer for having made fewer latchets in the inside of one of the pantofles then of the other. The Shoemaker finding the work the next day mended according to his advertisement, grew proud and began to find fault with the leg also. Whereupon Apelles could not contain himself any longer, but looking forth from behind the picture, bid the Shoemaker not meddle beyond the pantoffle: which saying of his became afterwards a Proverb.   

CHAP. XIII.  
THe public felicity of times must needs be put in among the causes of the advancement of these Arts, seeing it cannot be conceived how the heat of Emulation, the desire of glory, the diligent care, and a great many more of the causes alleged could do any good without this Felicity of times: neither do we hold that the blissfulness of the ancient times did principally consist in that, that the wits of men in those times were more quick and fertile then now they are; though some would have it so: it is not to be doubted, saith Seneca 
* Epistolâ 90. , but that the world not yet decayed brought forth better things, and that men were then high-spirited, as being a fresh offspring of the Gods. Sidonius Apollinaris urgeth the same after a more peremptory manner; the governor of times, saith he 
* Lib. VIII, ep. 6. , seemeth to have bestowed the virtues of Arts most of all upon the ancient generations; which now having spent their pith and marrow by the age of a decaying world, bring forth very little that may be esteemed admirable and memorable, and that in some few only. These words of Seneca and Sidonius are, in our opinion, somewhat too harsh and able to kill the generous hope of emulating the ancients. The words of the Rhodian Ambassador are less partial and more comfortable; we make bold, saith he 
* Apud Liviumli. xxxvii ab v. c. , to maintain a pious strife with our ancestors about every good Art and virtue. The younger Pliny is also very resolute in this point; I am one of them, saith he 
* Lib. VI, ep. 21. , that do admire the ancients, and yet can I not find in my heart to despise the wits of our age, as some use to do: for Nature is not so much wearied and worn out, that she should now bring forth no praiseworthy thing. See also Tacitus lib. iii. Annal. cap. 55. Lactantius de Orig. erroris, cap. 8. Galenus in his Treatise, That a good Physician must be a Philosopher also. Other Authors go some what further, and study to give a reason why some are so apt to embrace that unprofitable opinion of the barrenness of our age. There is a malicious humour in mankind, saith one 
* Author dialogi de causis cor. eloquentiae, cap. 18. , by which we do always praise things past, and loath things present. Paterculus cometh nearer, when he saith 
* Lib. TWO, histor. , Naturally we had rather praise things heard of, then seen. We entertain things present, with envy; things absent, with veneration: seeing we do think ourselves overwhelmed by the one, and instructed by the other. As we may therefore upon good ground deny the wits of men to have been better in old times, so must we for all this confess that it was a great happiness of the said ancient times that virtues did more abound in them then in the latter: for virtues being then more frequent, these Arts were then also more frequently used for the rewarding of virtues. Surely, so it is, saith Pliny 
* Lib. xxxv, cap. 2. , Arts were overthrown by idleness: and because there are no images of our minds, the images of our bodies are also neglected.  
§ 2. But to let this complaint alone, though never so just, we do understand here by the Public felicity of times nothing else but that stable tranquillity of an unshaken peace the ancient Artificers enjoyed. Peace is a graceful mother of good Arts, saith Cassiodorus 
* Variarum, lib. 1. . Solinus speaking of the peaceable times of the Emperor Augustus; these times were most not able, saith he 
* Cap. I, Polyhist. , seeing weapons ceased, and wits flourished in them: lest all manner of virtuous works should languish, the exercise of war being intermitted. The fatal stirs of Kingdoms and Republikes do mightily dash that constancy of our minds, whereby Arts are brought to perfection. And how is it possible that any mortal man should follow any intended work quietly, when besides the present calamities that afflict us already, there seem to hang more grievous misfortunes over our heads. Believe me, saith Ovid 
* Lib. IV, de Ponto, Eleg. 12. , Providence doth first of all for sake wretched men; and their means failing them, they remain without any feeling or counsel. The secure pleasantness of flourishing times doth on the contrary feed and increase heat of Emulation, and desire of Glory: the strife of a virtuous contention, and the earnest desire of glory, saith Tacitus 
* Lib. XV, Annal. cap. 16. , are passions incident only to such men as live in prosperity. Diodorus Siculus confirmeth this point with a notable example; Xerxes his expedition into Greece, saith he 
* Lib. XII. , by reason of the wonderful greatness of his forces, did mightily terrify the Grecians, who did think themselves of nothing so sure as of an utter ruin and a most miserable slavery. But when, beyond the expectation of all men, there was made a fortunate end of the war, the Greek Nation being freed from such a danger, obtained great glory: yea every one of their City, grew so wealthy and rich, that all the world did wonder at such a sudden change of fortune: for Greece did for some fifty years after that time prosper so much, that in those times all good Arts were very much advanced by reason of such plenty of riches; and many most famous Artificers; among whom Phidias was one, did augment the glorious esteem of those times. It appertaineth also to the Public felicity of the times when whole Countries are the better for the misfortune of some of their neighbour countries. All manner of disciplines, saith Athenaeus 
* Sub finem libri Quarti Deipnosoph. , were renewed under Ptolemaeus the seventh King of Egypt, who was by the inhabitants of Alexandria truly and aptly called Cacergetes: for he, having cut the throats of many inhabitants of Alexandria, and having banished a number of them that were bred with his brother, filled all the Cities and Isles with Grammarians, Philosophers, Geometricians, Musicians, Painters, Schoolmasters, Physicians, and all other kind of Artificers. These, to supply their wants, taught what they knew, and made many famous and excellent men.   

CHAP. XIV.  
THe private fortune of the Artificers themselves worthily challengeth the last place, seeing the divine gift of a prone and capable nature, the diligent care of parents and Masters, the fear of wholesome laws, the earnestness of emulating, the simplicity and sweetness of these Arts, with all what followeth, do as yet require the private fortune of the Artificer: not such a fortune as aided Protogenes, when he was about the picture of his dog; and Nealces, when he was about the picture of his horse; but a Fortune which maketh the Artificer her only darling, by putting him forth and bringing him acquainted with Kings and Princes, that by their means he may obtain the good opinion of the world. The time wherein every man's virtue showeth itself, is very material, saith the elder Pliny 
* Lib. VII, nat. hist. cap. 28. . For no man hath so excellent a wit as to make himself immediately known, unless he meeteth with matter, occasion, and afvourable commender, saith the younger Plin. lib. vi, epist. 23. Although the particular and private fortune of Artificers carry here a great sway, yet do we not think that their whole fame dependeth merely upon Fortune; seeing it is needful that an Artificer should first open the door of fame unto himself, before he may look for any preferment. We do not judge of Statuaries, saith Socrates 
* Apud Xenophontem lib. III Apomnem. , making a conjecture of them by their own words; but we believe that he shall make the rest well, who formerly hath showed his skill in some other works of that nature. Corn. Celsus urgeth the same; No body will have his Picture drawn, saith he 
* In Epistolà ad C. Julium Callistum. , but by an Artificer that is approved of by good experiments.  
§ 2. In those Artificers that were commended for an equal force of Art, there did very often appear an unequal power of Fortune, as Vitruvius prooveth by many instances. Though Artificers, saith he 
* In praefatione libri Tertii. , make promise and vaunt of their skill, if they have not store of money, if they be not known by the ancient renown of their shops, if they want popular favour and eloquence, the industry of their studies cannot gain them so much authority as to make them be believed to know what they profess to know. We find this most of all in ancient Statuaries and Painters; seeing the memory of none of them could be durable, but of such as were graced by commendation, and shown some outward marks of dignity. This was the case of Myron, Polycletus, Phydias, Lysippus, and of others that gained a noble fame by means of their Art; seeing they got this credit by working for Kings, great Cities, and noble Citizens. Others on the contrary which had no less industry, wit, and subtlety, got no name at all, because they wrought for ignoble and mean Citizens; and it was rather want of Fortune, then want of skill that did suppress and obscure their fame: such were helas Atheniensis, Chiron Corinthius, Myagrus Phocaeus, Pharax Ephesius, Bedas Byzantius, and many more. Some Painters also wanted Fortune, as Aristomenes Thasius, Polycles Atramitenus, Nicomachus, and others, in whom there wanted neither industry, study, nor cunning; but their own poverty, and their bad fortune, that made them yield unto their competitors in a partially censured concertation, did hinder their dignity. Pliny reporteth 
* Lib. xxxiv cap. 8.  that Telephanes Phocaeus was less known by reason of the obscurity of his ignoble dwelling place. The same Author doth also witness elsewhere 
* Lib. xxxvi cap. 5.  that such excellent works of Scopas as might have made any other place famous, were hardly known at Rome, seeing a multitude of artificial things did drown there the glory of his works. The fame of divers Artificers is somewhat obscure, saith Pliny again 
* Lib. xxxvi cap. 5. , and the great number of so many rare workmen doth very often hinder the renown of the most excellent works of some; seeing one alone cannot engross all the glory, and so many cannot be named all at once.  
§ 3. Seeing then that many Artificers were not so much unlike one unto another in their Art as in their Fortune, it may seem that there was a certain kind of ill-conceived opinion which did keep down some excellent Artificers, and that others on the contrary got credit and authority by reason of a loving and favourable opinion. The vulgar sort of men, saith Tully 
* Pro Roscio comoedo. , doth most commonly judge many things according to a fore-conceived opinion, & not according to truth: see also Aelianus var. hist. lib. I, cap. 24. The works of Zeuxis, Polycletus, and Phidias were much helped by the fore-conceived opinion of the great skill these Artificers had: see Maximus Tyrius Dissertat. xxxix. The selfsame passion of our sense, saith Plutarch 
* Sympos. probls. lib. v, quaest. 1. , doth not alike move our mind, when it is not accompanied with an opinion that the work is well and studiously performed. See Plutarch himself in the said place, where, among many other things belonging to this present discourse, he bringeth in a merry tale of Parmeno his pig.    

THE THIRD BOOK.  
THE ARGUMENT.  
HAving considered already how Phantasie did help and stir up our first desire of imitating all manner of things, and how many other causes did mightily cherish and advance the said eagerness of our forward natures, it followeth that we should last of all propound how this same inclination rightly inflamed and ordered did attain to the height of a perfect and accomplished Art. The ancients observed in Picture these five principal points. Invention, or Historical argument. Proportion, or Symmetry. Colour, and therein Light and Shadow, as also Brightness and Darkness. Motion or Life, and therein Action and Passion. Disposition, or an Economical placing and ordering of the whole work. The four first were carefully observed in all sorts of Pictures, whether they did consist of one figure, or of many. Disposition alone was observed in Pictures that had many figures: seeing a piece wherein there do meet many and several figures shall be nothing else but a kind of mingle-mangle or a darksome and dead confusion of disagreeing things, unless they receive light and life by a convenient and orderly disposition. Yet did not the ancients think that the perfection of Art consisted in a meet observing of these five points, except the whole work did breath forth a certain kind of Grace proceeding out of a decent comeliness of every point by itself, and out of a mutual accord of all five. Wherefore we could not but enter a little into the consideration of this same Grace: the rather because without a full understanding of this Grace, it is impossible that any man should examine the true force and value of these most fertile Arts aright.  

LIB. III. CHAP. I.  
INvention doth justly challenge the first and principal place, seeing no man, though he hath all his colours at hand, saith Seneca 
* Epist. 71. , can make a similitude, unless he be resolved what to paint. And whatsoever an Artificer worketh, must, according to the opinion of Zeno, be died with the die of sense, Quintil. IV, 2. The picture of complete harness, saith Socrates 
* Apud Stobaeum Serm. de Adulatione. , though it be delightful, yet is it altogether unprofitable. Ausonius speaketh to the same purpose, a painted fog, saith he 
* Epist. 17. , delighteth us no longer than it is seen. Except it be such a painted mist as is described by the same Ausonius in another place 
* Edyllio 6. , where the Painter doth represent the dim shade of hellish blackness by a painted mist, and designeth in it how the ancient Ladies torment the crucified Cupid in hell for having dishonoured them in the times of the Worthies. An Artificer therefore must propound unto himself what he meaneth to imitate: the which in such an infinite variety of things cannot be hard to a man that hath a ready Fantasy: yea we have good cause to fear that he shall rather lose himself, not knowing what to choose among so many most worthy things. The thoughts of our mind can conceive the images of any thing, saith Tully 
* Lib. I, de Nat. Deorum. . Our thought can conceive any Country, saith another 
* Auctor Rhet. ad Herentium, lib. III. , and fashion in it such a situation of place as may best agree with our liking. Maximus Tyrius presseth this same point somewhat nearer, when he maintaineth that Invention is proper and natural unto the mind of man: see Max. Tyrius Dissert. xxviii. Although then a man, for as much as he is a man, cannot but be full of Invention; yet such men as have studied do excel in their Inventions. Nothing is so fertile, saith Tully 
* In Bruto. , as those wits that are furnished with all manner of disciplines.  
§ 2. An Artificer for all that shall not follow the facility of a pleasing Invention so much, as to forget a judicious trial of his own ability: he is not only to invent what he would paint, but he is also to consider his own strength, whether he be able to compass his Invention with his Art. Whosoever weigheth his burden, saith Martial 
* Lib. XII, Epigramm. 100 , can carry it. Pliny giveth us an instance in Pausias, who repaired the walls sometimes painted by Polygnotus, and was esteemed to come fare short of Polygnotus, because he would prove masteries in another kind of picture then his own, Pliny xxxv, II. Besides this same wariness, there is another general rule for our Invention propounded by Tully. We are to choose such things, saith he 
* In Bruto. , as are most excellent for their greatness, chiefest for their novelty, singular in their own kind: seeing small, usual, and vulgar things, do not deserve any admiration or praise. Things passing great are placed first, seeing it is certain that virtue tempereth her courage according to the measure of the business in hand: she is in small things so remiss and slack, that she doth hardly avoid the opinion of security: she straineth herself somewhat more in things indifferently great: but when there are offered things that are great indeed, she raiseth herself to the height of the work in hand, saith Nazarius Panegyr. Constantino Aug. dicto. It goeth with Art, saith another 
* Auctor dialogi de causis Corr. eloquentiae. , as with the flame; which is maintained with good store of fuel, it is increased with stirring, and it waxeth clearer with burning. The greatness of things addeth force to our wit, neither can any man make a famous and excellent work, except he do find stuff answerable to the work intended. Aristoteles the Philosopher therefore wished Protogenes to paint the deeds of Alexander the Great, by reason of the eternity of things, saith Pliny xxxv, 10. Lysippus also made Alexander the great in many works; beginning from his childhood, Pliny xxxiv, 8. Things unusual and commendable for their strangeness were set up in the Theatre of Pompeius; and it is remarkable what the same Pliny saith of them; Pompey the great, saith he 
* Natur. hist. lib. VII. cap. 3. , erected among the ornaments of his Theatre such images as were of an admirable fame, and for this reason have the wits of great Artificers bestowed more labour upon them: see Pliny. Things most exquisite in their kind were represented in the seven and twenty Pictures Verres took out of the temple of Minerva; the images of the Kings and tyrants of Sicily were represented in them, saith Tully 
* Lib. IV, in Verrem. , neither did they delight the spectators only for the Art of painting that was in them, but also for the commemoration of the men, and the remembrance of their countenance. And here it falleth out very often that some doings or sayings of great men suggest unto us in this Picture a ready way of Invention. So did Galaton paint the whole company of Poets round about Homer, as if they were most greedily sucking up the pure waters that flowed out of his streaming mouth: see Aelian. var. hist.. XIII, 22. Timotheus, a most noble General of the Athenians, having done great deeds with very good success, would not suffer any man to attribute the glory of such acts unto him, but he was wont to say that Fortune had a hand in it: the busy wits therefore of some scoffing Painters made him sleeping in his pavilion, whilst Fortune standing at his head drew Cities to the net: see Aelian. var. hist.. xiii, 43. Suidas. Scholar vet. in Plutum Aristophanis.  
§ 3. But as there is always some piece of history in the Pictures of this nature, which maketh up the Invention, so doth a continued history afford our Invention sufficient matter to work upon: provided only that our Invention be not dry and barren, but rather abundant, overflowing, and more diffused than the present occasion seemeth to require: to the end our cheerful mind having attempted something more licentiously, might range about, and offend rather in too much plenteousness, than languish and pine away for lack of good matter. For what availeth, I pray you, Invention without matter? where shall it begin? whither shall it turn itself? the lively spirits of the Artificers disdain to be so straightened: it is worse than death unto them to spend the strength of their wits about a spare and unprofitable argument. I do not study to induce any man to such an unadvised and temerary licentiousness, as useth to solicit and to corrupt many brave and lively wits; but I do hold that free and forward spirits are not to be restrained within the compass of a narrow career, but that we must rather give our Invention the full raines: for as mettled horses are best known by a spacious race; so must Artificers have an open field, as it were, to run in, with a lose and unrestrained liberty, seeing the forwardness of this same most generous Art is weakened and broke when a man goeth about to contain it within the limits and bounds of a strait running-place. You that mean to imitate, saith Horace 
* De Arte. , must not leap down into a narrow and strait place, from whence shame or else the condition of the work will not suffer you to come forth again. Whatsoever doth superabound, issueth out of a full breast. But as there is an easy remedy for rankness, so is there no labour can overcome barrenness. What may be cured by detraction, saith Seneca 
* Lib. IX. Controu. 2. , is ever nearer unto health. Reason shall make some waste of the immoderately excessive Invention, care shall file away something, and the working itself will wear away something: it is required only, that there be something which might be cut out and taken away; the which will be, if at the first we do not make our plate so thin as to break it and to cut it quite thorough with engraving somewhat deep. It seemeth also that youthful years for this very same reason are not instantly to be recalled to a sober and severe law of Art, when by the luxury of an unexperienced wit they delight themselves in the plentifulness of a rich and superfluous Invention: there is more discretion, to use them with some indulgence. Accius' a Tragike-Poët speaketh very well to this purpose; What falleth out in apples, saith he 
* Apud Agell. noct. Attic. XIII, 2. , the same is also to be perceived in wits, which being brought forth hard and sharp, grow afterwards ripe and pleasing: but such on the contrary as instantly wax mellow and soft, having at the first some moistness of savoury juice, the same afterwards do not grow ripe but rotten: there is therefore something to be left in our wits, which time and age must mitigate: see also Seneca Hippolyto, Actu TWO, Sce. 2.  
§ 4. As for the things an Artificer shall judge to be worth his pains, he shall not only invent them after the best way, but also after the easiest way; seeing the highest force of inventing deserveth no admiration, if an unlucky pensiveness doth trouble and disquiet the Artificer from the beginning to the end of his work. A neat, and lofty, and copious Artificer hath ever round about him great store of Invention; he needs not beat his brains with irksome studies; all standeth ready at his command. Whosoever climbeth, laboureth most of all about the neither part of the hill; in the mean time the ground he goeth on, groweth more rich and fertile: fruits unlaboured do afterwards offer themselves, and all things spring up of their own accord; the which for all that do whither away, if they are not gathered every day. Plenty for all that must have a mean, seeing nothing can be praiseworthy and wholesome without mediocrity; neatness likewise must have a manful attire; and a high-stately Invention may not want judgement: so shall the invented things be great, and not overgreat; haughty, not abrupt; full of force, not temerary; severe, not sad; grave, not slow; lively, not luxurious; delectable, not dissolute; full, not puffed up; and so forth. It is ever the safest way to keep in the midst, because the uttermost on either side is vicious. Quintil. xii, 10. The words of the younger Pliny are worth noting, as being most proper for this place; a mean indeed is best, saith he 
* Lib. I, Epist. 20. , neither doth any man doubt of that: but he who doth less than the matter requireth, keepeth the mean as little as another who doth more. The one may be said to have exceeded the matter, the other on the contrary may be said not to have answered it to the full: both are too blame; but the one offendeth of weakness, the other of too much strength: which though it be no sign of a more polished, yet is it a mark of a greater wit. As many therefore as do lack that same confidence of a great spirit, grow instantly faint-hearted; they dare not raise their thoughts, but creep along the ground; and, which is worst of all, they do not so much as endeavour any thing, whilst they are afraid of every thing: they embrace leanness in stead of health; infirmity steppeth in the place of judgement, saith 
* Lib. TWO, cap. 4.  Quintilian, and whilst they think it enough to be without vice, they fall into that same main vice to lack virtues.  
The same Author saith in another place 
* Li. xii. cap. 10. , Those that are dry, raw boned, and bloodless, use to cloak their imbecility by the most contrary appellation of soundness: and because they cannot endure the clear beams of a quick light, as of a bright Sunshine, they lie lurking under the shade of a great name. Health procured by fasting & abstinence was never esteemed true and sound. No more do Physicians approve of such a health, saith one 
* Auctor dial. de Causis corr. eloqu. cap. 23. , as proceedeth out of the anxiety of our mind. It is not enough that a man be not sick; he must be strong, and lively, and lusty. Yea, that man draweth nearest unto infirmity, who hath no other commendation but of his health.  
§ 5. Seeing then that our invention must flow easily, and that nothing marreth the life and spirit of the invented things so much, as to force and strain them to a fore-determined purpose, it can never or very seldom make any invention good and commodious, when we do very much and a great while perfist in forging and fitting the invention to what we have propounded unto ourselves. Much handling soileth things, and maketh them lose their brightness. The edge of our piercing wits is likewise turned and made blunt, by a superfluous and unnecessary toil of paring and mincing the matter in hand. Besides that, The subtlety itself, as Quintilian speaketh 
* Li. xii. c. 2. , doth consume and bring to nought every thing which is cut too thin. It chanceth therefore very often, that an extemporal and temerary boldness bringeth along with it a singular delight, saith another 
* Auctor. dial. de causis corr. eloqu. c. 6 , for in our wits, as well as in our fields, though many things are carefully planted and laboured, yet use those things to be more acceptable unto us which do grow of their own accord. Philostratus giveth a fine reason, When a man studieth to bring forth every thing by speculation, saith he 
* Lib. 11. de vit is Soph. in Aristide. , his mind is kept too much busy, and turned aside from the readiness of inventing. Since than too much study hindereth and quaileth that same ready forwardness of our minds, we hold them to be best advised who content themselves with an invention when it is brought to the height of conceit, never tarrying so long about the work till the heat of their spirits be cooled and gone. For, whatsoever doth not add something to the former, saith Quintilian 
* Li. vi. ca 1. , seemeth also to detract. It is in the mean while a sign of small courage, to be troubled with every light occasion. And this same fear must needs stop the forwardness of our mind, by withdrawing our thoughts from such things as are more considerable, saith the same Author 
* Li. 9 ca 4. . He wondereth therefore at it in another place, that many do hang such a while about every particular, whilst they invent, whilst they weigh and consider the invented things, The which though it were done with this intent, saith he 
* Lib. viii, in prooem. , that they might ever make use of what is best, yet were this same infelicity very much to be detested, by whose means the speedy course of our mind is pulled back, and the heat of our thoughts is quenched with linger and mistrustfulness. So that sometimes it were better to entertain extemporal thoughts, and to follow the first heat of our forward mind. Do you not observe how brooks do most swiftly run from a fountain▪ whereas they do but slowly creep from a standing water? Whatsoever is in agitation is lively and quick, saith Symmachus 
* Lib. seven, Epist. 60. , whoso meaneth to direct the course of running horses, lesseneth it; and whoso studieth to make equal paces hindereth his own speed, saith Quintilian 
* Li. ix. ca 4. . Even as Torches keep fire by a continual shaking, and having let it go out, can hardly recover it; so is the heat of our invention preserved by continuance, and it languisheth by intermission. For all manner of rightly conceived passions, as also the fresh images of things, run on still without any stay, and do very often not so much as expect our hand, neither do they offer themselves in haste again, being once delayed. But most of all, when that same infortunate finding of fault gins to interrupt our work, it is impossible that the force of our hurled invention should keep her course, there will always appear in it a certain kind of inequality: and though every part were chosen never so well, yet shall the whole invention rather seem to be compounded than continued. Quint. x. 7. Many a man hath often been able to accomplish the undertaken work, when he fell to it with his whole mind. The greatest part of invention consisteth in the force of our mind; seeing our mind must first of all be moved, our mind must conceive the images of things, our mind must in a manner be transformed unto the nature of the conceived things, and how much the more generous and haughty our mind is, saith Quintilian 
* Li. i ca 2. , it is stirred by so much the greater instruments: praise maketh it grow, forward endeavours add an increase to it, and it loveth ever to busy itself about some great matter.  
§ 6. It isth en clear, That a good Artist may justly be esteemed a wise man, not in such a sense only as every tradesman was anciently called wise 
* Vide Didymum & Eustath. ad verse. 392. Iliad. 9 , but in regard of his invention, seeing therein is something more than is conceived at the first. All arts and studies must concur to make up that same general well grounded knowledge, whereby we are fitted and prepared to produce a good invention: neither is it well possible that any man whosoever he be, should invent any thing worth our consideration, unless he have drunk in from his childhood all manner of good arts and sciences. It is a sign of a dull wit, saith Tully 
* Li. two. de Orat. , to run after little brooks, and not to visit the main fountains of things, from whence all is derived.  
A perfect and exactly handled invention must bud forth out of a great and well rooted fullness of learning: we must be conversant in all sorts of studies, all antiquity must be familiar unto us, but most of all the innumerable multitude of historical and poëticall narrations: we must likewise be very well acquainted with all such commotions of the mind as by nature are incident unto men: seeing the whole force of painting doth principally consist in them, and nothing beareth a greater sway in such a manifold variety of pictures and statues.  
Thus do we see how the ancients did after a more peculiar manner ascribe wisdom unto the better sort of Artificers, seeing none among all other liberal arts do require so many and so great helps of more inward and profound doctrine. I do not speak here but of an absolutely perfect art; For when there is any question made about any art or faculty, saith Tully 
* De Orat. , the most absolute and perfect art is then ever meant. It made Euphranor admirable, that he did excel in all other kind of good studies, having withal wonderful skill in painting and carving. Quint. xii. 10. Pamphilus, Apelles his master urged this point very much; for being not only a most excellent painter, but also thoroughly instructed in all kind of Sciences, and chiefly in Arithmetic and Geometry, he was wont to avouch that the Art could not well be perfected without any of these. Pli. 35. 10.  
§ 7. That Artificers have need of Geometry and the Optics is proved by the following example. the Athenians intending to consecrate an excellent image of Minerva upon a high pillar, set Phidias and Alcamenes to work, meaning to choose the better of the two. Alcamenes being nothing at all skilled in Geometry and in the Optickes, made the goddess wonderful fair to the eye of them that saw her hard by. Phidias on the contrary, as being sufficiently instructed with all manner of arts, and especially with Optic and Geometrical knowledges, did consider that the whole shape of his image should change according to the height of the appointed place, and therefore made her lips wide open, her nose somewhat out of order, and all the rest accordingly, by a certain kind of resupination. When these two images were afterwards brought to light and compared, Phidias was in great danger to have been stoned by the whole multitude, until the statues were at length set on high. For Alcamenes his sweet and diligent strokes being drowned, and Phidias his disfigured and distorted hardness being vanished by the height of the place, made Alcamenes to be laughed at, and Phidias to be much more esteemed. See Tzetzes Chiliad. xi, hist. 381. and Chil. viii, hist. 193.  
Amulius his Minerva seemeth also to have been made by the help of these Arts, and chief of the Optickes, for from what side soever a man looketh upon her, she doth likewise look upon him. Pliny xxxv, 10. There was in the Syrian goddess her temple an image of Juno, which looketh upon you, if you stand ●ull against it: if you go from thence, it followeth you with her eyes: and if any other man looketh upon it from another place, he findeth the same: see Lucian de Syriâ deâ. The head of Diana is set up on high at Chios: Bupalus and Anthermus have made her after such a manner, as to make them that enter into the temple think that she frowneth, whereas they that go out of the temple think by her looks that she is now appeased. Pliny xxxvi, 5. That same Hercules, who in the temple of Antonia turneth his back towards us, is thought to be of Apelles his hand: the picture (which is very difficult) doth rather show his face, then promise it. Pliny xxxv, 10.  
§ 8. Artificers are likewise taught by the example of Nicon not to contemn the knowledge of such things as may seem to be but of small account in Nature: for when he had made in the porch at Athens called Poecile a most rare and excellent picture of a horse, yet was the whole work disgraced and laughed at, because he had made the lower eyelids hairy, contrary to the nature of that creature: see Aelian. lib. IV de Animalib. cap. 50. Pollux Onomast. lib. II. Tzetzes Chiliad. XII, hist. 427. And as we perceive here that all such kind of ignorance turneth to the discredit of the Artificer, so may we learn out of Philostratus 
* Iconum lib. I, in Poludib.  what a ready way of Invention the perfect knowledge of natural things suggesteth unto us: for the Painter being loath to spoil the natural beauty of a most pleasant place with an Artificial bridge, fetcheth a sudden Invention out of the nature of Palmtrees: see Philostratus his description of that and other Pictures. An Artificer therefore must be well acquainted with the nature of all things, but principally with the nature of man. Whosoever meaneth to do any good with Painting, saith the younger Philostratus 
* In prooemio Iconum. , must understand the nature of man thoroughly, and know how to express the marks of every one, his manner, guise, behaviour, in them also that say and do nothing: he must discern what force there is in the constitution of his cheeks, in the temperature of his eyes, in the casting of his eyebrows. To be short, he must observe all such things as do help a man's judgement. Whosoever is well furnished with such kind of skill, shall questionless excel and have good success in all manner of works: he shall not stick, if need be, to paint a mad man, an angry man, a pensive man, a man that skippeth for joy, a man that goeth earnestly about any thing, a man deeply in love: in a word, he shall resemble all what is most fashionable and most proper for every one.  
§ 9 No question then but an Artist must know all manner of natural things perfectly: not that he is for a great while of time to buckle himself wholly to his study, and to examine there in private the several opinions of natural and moral Philosophers about these affections and passions of man; nor yet that he is to trouble his brain with every curious Geometrical demonstration: for it sufficeth that he do but learn by a daily observation how several passions and affections of the mind do alter the countenance of man. Every commotion of the mind, saith Tully 
* Lib. III, de Oratore. , hath a certain countenance of his own by nature. To a learned and wise imitator every man is a book: he converseth with all sorts of men, and when he observeth in any of them some notable commotions of the mind, he seemeth then to have watched such an opportunity for his study, that he might read in their eyes and countenance the several faces of anger, love, fear, hope, scorn, joy, confidence, and other perturbations of our mind. Yet shall he for all this, as his leisure serveth him, take in hand the writings of moral and natural Philosophers, of Poets, of Historians, of Mathematicians: for although moral and natural Philosophy, Poesy, History, Geometry, cannot make him a Painter, yet will these Sciences make him a more absolute Painter. Counterpoison and other remedies appointed for the cure of wounds and diseases, are compounded of many and very often contrary effects, and there is made out of several things but one mixture, the which though it be not like unto any of the ingredients, yet is there in it some peculiar force drawn out of every one of them. Bees likewise do suck out of the juice of several flowers such a sweet and pleasing savour of honey, that all the wit of man is not able to imitate any such thing: and why do we then wonder that Picture should lack the help of many Arts; which not being sensibly perceived in the work, are for all that secretly felt, by trans-fusing into the Picture a hidden force derived out of many Sciences? It may be objected here that many Painters have attained to a tolerable skill of Art, though they never meddled with any of these Studies: it is most likely to be so; and it matters very little if we do grant it: seeing our discourse is not about ordinary workmen, but we do rather speak of such men as are Painters indeed, that is, men of excellent wits and great learning, to the perfiting of whom Nature and Study seem to have most lovingly conspired.  
§ 10. The ancient Artificers therefore as they had an excellent way of working, so had they by continual observation a more excellent gift of conceiving the lively images of all manner of passions and affections: neither could their works ever have been graced with such a rare expression of passions, unless they had wisely observed the several effects of these natural commotions that do transport our mind, and alter the ordinary looks of our countenance. Zeuxis painted Penelope, expressing in her picture the much commended modesty of her chaste behaviour, Pliny xxxv, 9 Timomachus painted Ajax, as he was full of rage in the midst of his mad fit. Philostr. lib. TWO, devitâ Apollonii, cap. 10. Silanion made Apollodorus, who was a most choleric man; neither was it the man only he made of brass, but his frowardness also. Pliny xxxiv, 8. Protogenes made Philiscus, as he was in a deep and pensive study. Pliny xxxv, 10. Praxiteles made Phryne rejoicing, Plin. xxxiv, 8. Parrhasius made a boy running for strife in his armour. Pliny xxxv, 10. Aristides his Anapavomenos dieth for the love of his brother. Plin. xxxv, 10. That same Bacchus also in Philostratus his first book of Images 
* In Ariadne. , is known by the picture of love expressed in his face. These examples do show unto us what experience the ancient Artificers had in the properties of natural passions and affections: the following do furthermore prove that their Inventions did abound in all manner of wit and learning.  
§ 11. Painters and Poets, as two natural brothers, have agreed very well in their device, saith Latinus Pacatus 
* Panegyrice Theod. Aug. dicto. , when they do make Victory with wings; seeing such men as do follow the successful course of prosperous Fortune, seem rather to fly, then to run. And it is very proper that Pacatus doth ascribe a brotherly nearness and agreement unto them both; seeing what Theophylactus Simocatus 
* Epist. 82.  saith of Poets, that the play of Poets is full of all manner of wisdom; the same is averred also of Painters and Carvers. I do not use to view the statues and images made by Art sleepingly and slenderly, saith Aelian 
* Lib. XIV. var. bist. cap. 37. : Let this one among many examples serve for proof: that never any Painter or Carver would attribute unto the Muses, the daughters of Jupiter, unmeet and falsified shapes: neither was there ever any Artificer so void of sense and reason, as to make them armed: insinuating that the life of them who addict themselves unto the Muses, must be accompanied with quietness, ease, and tranquillity. We have further proof of this same wisdom in the picture of the life of man, as it was invented by Cebes: the image of Prodicus his Hercules is of the same nature: and Themistius 
* In orat. de Amiciliâ.  having followed the steps of that same Sophist, propoundeth unto us such another image of true and feigned friendship: see also in Agellius 
* Noct. Attic. lib. XIV, cap. 4.  a most lively image of Justice, set forth by Chrysippus with very severe and venerable colours of words. Apelles followed the directions of this wisdom in his admirable picture of slanderous Calumny. Lysippus could never have made Occasion as passing by, if his Invention had wanted the ready help of this same wisdom. Do not you know, saith Heliodorus 
* Lib. IV, Aethiop. , that Painters make a winged God of Cupid, to signify the inconstant fickleness of them that are overcome by him: see also Xenophon lib. I, Apomnem. Theophyl. Simocatus epist. 54. Tzetzes Chiliad. V, hist. 11. Propertius lib. TWO, Eleg. 10. Thousand and thousand exemples of this wisdom might be drawn out of ancient Authors; unless we did think that these few did sufficiently show, how the rarest works of Art have ever been derived out of the abundant fountain of this same wisdom, and that Apollonius therefore had good reason to call Fantasy, which is the mother of Invention, a thing full of wisdom: see Philostr. lib. VI, de vitâ Apollonii, cap. 9  
§ 12. But if any man listeth for all this to consider the nature of this same wisdom somewhat nearer, he shall find that, besides what is said already, four things are to be observed in the Invention: namely, Truth; Opportunity; Discretion; and, which ariseth out of these three, Magnificence. What concerneth the first, Picture is ever most careful of the truth, saith Philostratus 
* Iconum lib. I, in Narcisso. : and as in history he doth not less seem to deceive, saith Amm. Marcellinus 
* Lib. xxix. , who willingly and wittingly passeth by things done, than he who inventeth things that never were done, so doth Picture in the expressing of the Truth observe these two rules: she refuseth to express what is not in nature, and loveth not to omit what is in nature. The first is urged by Vitruvius, Let picture be an image, saith he, of a thing that is, or at least can be, etc. see the continuation of these words, together with the confirmation of this point, lib. I, cap. 3. § 12. The second rule is set down by Philostratus, those that do not paint things as they fall out, saith he 
* Iconum lib. TWO, in Venere. , are not true in their pictures. We are here likewise to observe that the most famous ancient Painters did make greater account of truth, then of the pulcritude of their figures: and when the truth of the story should be in danger by studying neatness too much, they had rather lose all then lose the truth of the argument. Philostratus when he speaketh of Amphiaraus his horses, the sweeting horses being all overlaid with a thin kind of dust, saith he 
* Iconum lib. I, in Amphiarao. , did seem less fair, but yet truer: passing well: for it was not possible to conceive these horses otherwise, seeing the hottest brunt of a most desperate conflict did require overheated and fiercely enraged horses. But when there was no necessity that forced them to observe in every small thing an accurate resemblance of truth, they did sometimes wisely neglect or slightly pass over such properties of the true similitude as were not so material, and were likely to overthrow the pulchritude. Such as do paint fair and comely countenances, wherein there is some small blemish, saith Plutarch 
* In vitâ Cimonis. , we wish them not to leave it quite, nor accurately to express it: seeing the one maketh the image hard-favoured, the other unlike. In things howsoever of greater consequence Truth was ever esteemed a main commendation of Picture; and that upon very good ground. For as it is granted by all that Picture studieth to profit no less then to delight, it must needs follow that Truth is above all other things to be observed in Picture; seeing, as Lucian 
* De Conscrib historia.  speaketh, nothing can be profitable, but what proceedeth from truth.  
§ 13. Opportunity followeth: for as that stage-player is judged impertinent, who bringeth a tipsy dancer upon the Theatre in the robes of a grave Senator; so is it ever expected that an Artificer should wisely observe in his works a convenient decency agreeing with the circumstances of the present occasion: neither is it without reason that Philostratus 
* Iconum lib. I, in Paludibus.  speaking of wisdom and occasion, nameth them the chiefest points of Art. The enamoured Bacchus, as he is described in the same Author, serveth for an example, Bacchus his picture is known by the passion of love expressed in his face, saith he 
* Iconum lib. I, in Ariadne. , as for the bravery of his sumptuous apparel wrought all over with flowers, as for the skins of fallow dear, as for the javelins wrapped about with ivy, all these things are thrown away, as being now out of season. The younger Philostratus likewise when he describeth the picture of Hesione, that was to be devoured by a Sea-monster, the occasion doth not permit, saith he, to make an accurate expression of her beauty, seeing the fear of her life, and the agony of those things she saw before her eyes, as it did corrupt the flower of nature, so did it for all that leave unto the beholders sufficient marks to conjecture her perfection by the things present. Such another most sweet and graceful fear is noted in the picture of the distressed Andromeda, that stood now likewise ready to be torn a pieces: see Achilles Tatius lib. IV de Clitophontis & Leucippes' amorib. Neither did the ancients only observe what circumstances were most proper for the present occasion of their works, but they did consider also what place was fittest for them. No pictures do deserve commendation, saith Vitruvius 
* Lib. VII, cap. 5. , but such as resemble the truth; and though they are trimmed up by Art, yet may we not instantly judge well of them, unless we do find that the things therein contained are not offensive when they come to be tried by reasoning. Apaturius Alabandeus made at Tralleis a scene with a neat hand, wherein he had made images instead of columns, centaurs also to uphold the chapiters of the pillars, etc. He made moreover an upper-scene, wherein the ceilings, the porches, the halfehouse-tops were diversely adorned by the Painter. Wherefore when the strange show of this same scene drew the eyes of all men, and when all were ready to allow of it by a general approbation; there did step forth a certain Mathematician, named Licinius; who said, that the Alabandeans had the reputation of wise men in all manner of civil affairs, but that now they were judged unwise for a small fault of undecency: seeing all the Statues in places of public exercise, were Orators pleading; and those in the marketplace did hurl a great stone, run, or play at ball. The whole City therefore did bear the reproach of the unseemly gesture which their Statues had contrary to the property of the places wherein they were erected: neither did Apaturius offer to answer for himself, but having taken away the scene, he corrected and altered it according to truth. Although now it may seem easy to observe the decency of a convenient place, and that a reasonable wit upon the least warning may do therein well enough; yet doth not the occasion of the circumstances, which are to be observed in painting, admit such unchangeable rules and precepts of Art, as to tie all Masters to them: but as in many other things, so most of all in the consideration of this same occasion, it falleth out very often that circumstances are changed according to the place and time represented. Counsel is a main thing in the Artificer, saith Quintilian 
* Lib. TWO, cap. 13. , seeing it is turned and altered diversely according to the occasions of things. The same Author saith again in another place to the same purpose; It sufficeth me to affirm, saith he 
* Lib. VI, cap. ult. , that counsel is the chiefest thing in our whole life; and that it is in vain to teach other Arts without it; yea that providence without doctrine is able to effect more, than doctrine without providence. Counsel also, in my opinion, doth not much differ from judgement; but that judgement busieth itself, about things that show themselves; counsel, about things that lie hid and are not yet found out, or at least are doubtful and uncertain. The Art of painting requireth studious endeavours, assiduous exercitations, great experience, deep wisdom, and a most ready counsel. Precepts in the mean while help the Art very much, if they do propound unto us the right way, and not one usually beaten tract only: but when precepts do fail, our wits must supply the rest, and we must warily consider what is decent and expedient. Nealces was very witty and subtle in the Art, saith Pliny 
* Lib. xxxv, cap. 12. , for when he painted a sea-fight between the Persians and the Egyptians, and would express that this fight was fought in the river Nile, whose water resembleth the sea, he declared by an historical argument what he could not show by Art: for he made an ass drinking upon the shore, and a crocodile lying in wait to entrap him. Timanthes also perceived that he was to cover something in his picture with the which he overcame Colotes, judging that some circumstances might not be showed, or else that they could not be expressed as the matter did require: for when in the sacrificing of Iphigenia, saith Quintilian 
* Lib. TWO, cap. 13. , he had painted Calchas sad, Ulysses sadder, and had attributed unto Menelaus the greatest sorrow Art could effect; having spent all his passions, and not finding how to express her father's countenance worthily, he thought it good to cover his head, and to leave the apprehension of the father's heaviness to the consideration of the beholders. Pliny doth mention the same picture, Timanthes did abound in wit, saith he 
* Lib. xxxv, cap. 10. , that same Iphigenia, so much extolled by the Orators, as she stood near the altar ready to die, was his work: for having painted all them that stood by full of grief, especially her uncle, when he had now consumed the whole image of sadness, he covered her father's face, not knowing how to show it as it was fit. There are also other proofs of his wit: as namely a sleeping Cyclops in little: whose greatness when he studied to express, he painted some Satyrs hard by measuring his thumb with the stalk of some kind of herbs. There is ever much more understood in his works, than there is painted; and though the Art be great, yet doth his wit go beyond the Art.  
§ 14. Discretion is here also a great point, but very often neglected by them that observe Truth and occasion too much: for as in Tragedies, so likewise in Pictures, all things are not to be laid open before the eyes of the spectator. Let not Medea, saith Horace 
* De Arte. , murder her own children in the presence of the whole people: let not the villainous Atreus boil the flesh of man openly. There are doubtless many things misbecoming them that do profess a severe integrity of uncorrupt manners; so that an Artificer had better leave them out with the loss of some part of the story, then with the loss of modesty. Lucian calleth the picture of Pylades and Orestes, who slew Clytaemnestra and Aegisthus, a most just or discreet picture, adding withal the reason of such a new and unused denomination: The Painter, saith he 
* De Domo. , devised a grave course, for having but shown the impious undertaking a fare off, and running over it as if it were already done, he made the young men busy with the slaughter of the adulterer: see also the description of Timomachus his Medea, as we find it in the anthology of Greek Epigrams, lib. IV, cap. 9 They do likewise wrong this same Discretion very much, who by the wantonness of their works throw the spectators headlong down into all manner of unlawful and filthy concupiscences: and an Artificer is here also to take good heed that he do not lose the authority of a good and discreet man, whilst he studieth to gain the vain and shameful title of wit and waggery: see Propertius lib. TWO, Eleg. 5. as also Sidon. Apollinaris lib. TWO, Epist. 2. Though a man do never so much put himself in mind of continence, saith A chill Tatius 
* Lib. I, de Clitophontis & Leucippes' amorib. , yet is he most commonly provoked by example to imitate the contrary, especially if he meeteth with the example of one whom he esteemeth to be better than he thinketh himself to be: the authority of a better, turneth the shame of the offence into a most confident boldness. Petronius Arbiter affordeth us an evident proof of what we have said already, when he bringeth in a lustful youth set all a fire upon the sight of some pictures containing the rape of Ganymedes, the repulse of an importunate Naïs', soliciting Hylas, Apollo his grief for Hyacinthus, Doth Love then enter into the heart of the Gods also? saith he, and upon this ground he runneth on in his way. Love and Solitariness, two bad and most forward counsellors, had brought Chaerea fare enough, though the picture of Danaë had not inflamed him more: see Terence 
* Eun. Act. III, Sce. 5. : and Donatus maketh this observation upon it, Terence showeth here philosophically, saith he, what hurt the life of man receiveth by the fabulous tales forged by Poets, when they do suggest examples of naughtiness unto them that are ready to offend 
* See Clemens Alexandrinus in Protreptico . We may very well add to these lascivious pictures all such kind of drinking-cups as are esteemed precious for the engravings of some infamous adulteries, even as if drunkenness were little able to kindle lust, saith Pliny 
* Lib. XIV, cap. 22. , unless wine should be drunk in bawdy conceits, and drunkenness should be invited by the price of such unlawful contentments. But of this abuse of Art we have spoken already lib. TWO, cap. 8. in the beginning of that Chapter.  
§ 15. Magnificence doth show itself in a well-conceived invention, and there is added a wonderful great authority unto the work, when Truth, Occasion and Discretion are duly observed in it: for as the whole Art of painting is not much worth, unless it be accompanied with much gravity and do contain all such kind of things as are full of grace and dignity, so must she make but a small show of elegancy, pleasantness, and too much laboured gayness; seeing these things do leave in the spectators a strong suspicion of affectation, which doth rather lessen than augment the authority of an Artificer: whosoever on the contrary is unskilful and unexperienced in this most accurate Art, the same doth nothing else but build castles in the air for fear of stooping to the ground. Such likewise as do mistrust their own wits, strive always to blow and to lift themselves up, even as weak and feeble persons use to be extreme in their threatenings, and low men love to stand on tiptoes: though now a man upon this same overstraining and forcing of his wit may seem sometimes to obtain the credit of a strong Invention, even as an unbroken or untilled ground doth now and then bring forth goodly herbs, yet doth he not avoid the greatest danger there is in the Invention; seeing he is desperate in his attempts: from whence it ariseth, saith Quintilian 
* Lib. TWO, cap. 12. , that he, who doth nothing but seek what is excessive, may by chance light upon one or other lofty conceit, but that falleth out very seldom, and it cannot make amends for many other faults: the things therefore proceeding from such a vain mind seem rather to arise out of a tumultuous distemper of troubled and turbulent fantasies, saith Longinus 
* De sub lim oratione, § 2. , then to be handled after a magnificent way: and if you examine every one of these things in a true light, what even now was terrible, shall by little and little grow contemptible: so is it then much better forthwith to look for a remedy, and not to suffer that our mind aspiring to greater matters should entertain frivolous and ridiculously swelling conceits, in stead of a serious & haughty Invention; and every Artificer must know, that as our cattles being too full of grass is cured by letting blood, saith Quintilian 
* Li. II. c. 10 , and so returneth to such fodder as may be most proper for the preservation of their strength; that he likewise must lose some grease and part with his gross humours if ever he meaneth to be healthful and strong: otherwise that same vain swelling will betray itself upon the first attempt of any true work: to the end than that we should not mistake, it is worth our labour to observe out of Longinus an infallible mark of true magnificence. That is great indeed, saith he 
* De sublimi orat. § 5. , which doth still return into our thoughts, which we can hardly or rather not at all put out of our mind, but the memory of it sticketh close in us and will not be rubbed out: esteem that also to be a most excellent and true magnificence, which is liked always and by all men: for when all such men as differ in their studies, course of life, purposes, and ages, do all agree in their opinion about one and the same thing, the judgement and approbation of so many diversely minded folks, must needs gain a constant and certain estimation of the thing so much admired. The younger Pliny was likewise persuaded to hope well of the durableness of his works, when he found that all men generally in all places did speak well of his writings. It pleaseth me well, saith he 
* Li. ix. ep. 11. , that my books keep the same favour far from home, which they have gotten in the city; and I begin to think them complete enough, seeing several judgements in such diversity of country's judge alike of them.  
The reason now why Artificers are more or less addicted to follow this same magnificent way of art, proceedeth either out of their own natural inclination, or else out of a purposed resolution agreeing with their nature. Magnificent thoughts come by nature, and cannot be taught, saith Longinus 
* de. Sublimi orat. § 2. , yea, the only art to attain unto the same, is that Nature should fit us to high conceited and lofty things. And again § 7, Great minded men are most of all given to entertain stately conceits. It is then required here, That an artificer be of a magnanimous nature: if not, that he do at least with a purposed resolution follow after grave and marvellous things, saith Dionies. Halicarnass. 
* In Isocr. . It seemeth that Nature did dispose Nicophanes to a high strain of invention: Nicophanes was gallant and neat, saith Pliny 
* Li. xxxv. cap. 10. , so that he did paint ancient works for the eternity of things: he had a most forward mind; and there are very few like him: he was most commended for the gorgeousness and gravity of his art. Pyreicus might likewise have gone a great deal higher, if his intent had not been bend another way. Pyreicus was in his art inferior to none, saith Pliny 
* Li. xxxv. cap. 10. , but I do not know whether he spoiled himself by a purposed resolution: and though he did delight in mean things, yet did he deserve in them the greatest praise: he painted Barbers and Cobbler's shops, asses, all manner of victuals, and such like things, wherefore he was called Rhyparographus. These works of his being wonderful pleasant, sold better than the bravest pieces of other masters.  
Such artificers therefore as long to gain an everlasting fame must needs be of an exceeding great spirit, or at least upon all occasions entertain great thoughts, and stately imaginations. But seeing our mind cannot well give itself to this practice, unless it be thoroughly freed from all manner of sorbid and abject cares, it is altogether requisite that we should banish the ordinary and most cumbersome troubles about the necessities of our wretched life. A cheerful mind poureth forth a witty invention, saith Cassiodorus in praefat. libri undecimi Variarum. It is impossible that those, saith Longinus 
* De sublimi orat. § 7. , who busy the thoughts and studies of their whole life about vile and servile matters, should bring forth any thing that might deserve the admiration of all ages. See Juvenal, Sat. 6. and T. Calphurnius Siculus, Eclog. iv.  
Protogenes was fain to wrestle a great while with want and poverty, ere that he could put himself forth and undertake greater matters. He was very poor at the beginning (saith Pliny 
* Lib. xxxv, cap. 10. ) and followed his art with great earnestness: which was the reason that he was less fertile. Some do think that he painted ships till he was fifty years of age. Whosoever therefore would willingly meet with excellent and notable inventions, must not only fill his unoccupied mind with all kind of great and haughty conceits, but he is likewise to cherish these restless motions of his generous resolution, by emulating the better sort of ancient writers. When we do imitate the best authors, saith the younger Pliny 
* Li. seven. ep. 9 , we do enable ourselves to find the like. Attentive reading and studying furnisheth us with a rich store of many and great matters, and teacheth us not only to use them as they chance to meet us, but as it is fit. Pericles the great supporter of Art, and the only patron of the incomparable Phidias, made wonderful much of Anaxagoras Clazomenius, who having fully instructed him in the knowledge of natural things, but of those especially that were above in the ayrė and firmament, put in him the majesty and gravity he shown in all his sayings and doings: so that he grew by Anaxagoras his conversation, not only to have a great mind and an eloquent tongue, without any affectation or gross country terms; but he accustomed himself likewise to a certain modest countenance that scantly smiled; being very sober in his gate, modest in his apparel, having a kind of sound in his voice that he never lost or altered, and was of very honest behaviour, never troubled in his talk for any thing that crossed him; and many other such like things, as all that saw and considered them in him, could but wonder at him. See Plutarch in Pericles his life. Seeing then that natural philosophy could effect so much in a studious Prince, how shall not history and Poesy do the same in an Artificer? History, the witness of times, the light of truth, the life of memory, the schoolmistress of our actions, as Tully 
* De Orat.  termeth her, cannot but inspire magnanimous thoughts into our breasts, when she placeth us upon her Theatre, that we might see from thence the most profitable examples of so many sage and valiant Captains, that we might step in the midst of the consultations which great men held about great matters, and choose out of all ages the most virtuous times and persons to be acquainted with. Poesy likewise, being haughty and of a lofty style, as Lucian 
* De conscrib. hist.  speaketh, is able to enlarge our conceits. Neither do we find among the Ancients any artificers more renowned, than those that drew their inventions out of excellent Poets. The spirit and weightiness of the matter, saith Quintilian 
* Lib. x, c. 1. , the whole gesture of the affections, the decent comeliness of persons is drawn out of Poets. Demetrius Phalereus, Dionies. Halicarnass. and Pliny, ascribe unto Phidias a certain kind of accurate greatness and worthy magnificence: and our conjecture shall not be vain if we affirm, That he fetched the chiefest strength of his invention out of poets: seeing he himself was not ashamed to confess, that his much admired Elean Jupiter was made after the image of Jupiter described in Homer. See Valer. Maximus, lib. III. cap. 7. ex. ext. 4. Apelles also when he painted Diana among the sacrificing virgins, took his pattern out of the same Homer. See Pliny, lib. xxxv. ca 10.  
It is likewise evident that Timanthes, whose wit all ancient authors do so highly extol, for that pretty shift he made in the picture of Iphigenia, did owe his invention unto Euripides; seeing this same wise Tragedian 
* In Iphigeneia. Anlidensi.  bringeth in Agamemnon with a veil before his eyes. Praxiteles when he made the statue of Bacchus, as it is reported in Callistratus, took his invention out of Euripides. The same Callistratus affirmeth likewise, That Euripides his description of the miserable Medea, was followed by all the artificers which meant to express the streits Medea's wavering mind was in when she found herself distracted between compassion and revenge, standing now ready to save or to destroy. Longinus his words are worth noting: Many are carried away by another man's spirit as by a divine inspiration, saith he 
* De sublimi orat. § 2. , even as the report goeth, that Pythia the Priest of Apollo is suddenly surprised when she approacheth unto the trivet: where they say there is an abrupt hole in the ground, breathing forth a divine exhalation; and that the priest filled with this divine power, doth instantly prophesy by inspiration. Even so do we see, that from the loftiness of the Ancients there do flow some little streams into the minds of their imitators, so that they find themselves compelled to follow their greatness for company, though else of their own accord they are very little given to these enthusiastical fits. Neither may this be called a theft, seeing it is but an expression of the bravest manners, devices, and works of the Ancients. So is this same strife and contention for glory most worthy of praise and victory; yea it is glorious enough to be therein overcome by our predecessors. Although now reading and study can do much, yet shall that Artificer bring greater spirits to his work, who beside the most profitable endeavours of an emulating virtue, associateth himself with Apelles, Protogenes, Polycletus, Phidias; not only considering with himself, what these noble souls if they were present, should do or else advise him to do in the works he taketh in hand; but propounding also unto himself, how they should censure his work brought to an end. The fear of being disgraced, and the hope of an everlasting same, increase this same care in him, whilst an earnest desire to please doth still augment his prosperous endeavours. Martial felt some such thing when he saith 
* In Epist. ad Priscum praefixa lib. 12. Epigr. , If there is any thing in my books that deserveth approbation, the auditor hath suggested it unto me. Hence it is that every artificer, though he loveth privacy and retiredness never so much whilst he is a doing, yet looketh he for a great conflux of eager and applauding spectators when the work is done: he scorneth to approve his laborious art to one spectator only. A thing appertaining to all, saith Symmachus 
* Li. 1. ep. 49 , is never content with one witness. And as we see, that a frequent auditory was wont to inflame the Poets; so shall an Artificer likewise receive great benefit by it, if he admitteth every day such men as do deserve his respect. For it is a rare thing, saith Quintilian 
* Lib. x. c. 7. , that any man should reverence his own self.  
This conceived presence of ancient, and the true presence of modern masters will do us more good, if we do constantly believe, that the estimation of these present and following times dependeth on the judgement of those whom we make choice of for the reforming of our works. It is impossible that he should entertain any abject and mean thoughts, who knoweth that all ages will speak of him, saith Mamertinus, Paneg. Juliano Imp. dicto. Verily so it is, saith Quintilian 
* Lib. xii, c. 2. , they do enforce their minds to great things, who account not only the present age, but the memory of all posterity, to be the space of an honest life, and the race of their glory. Whosoever therefore doth with an heroical mind conceive the true image of the glory that is to come, and looketh for a perpetual and unchangeable fruit arising not out of a poor reward, but out of the contentment of his mind, delighting itself in the contemplation of Art, the same shall easily be persuaded to spend that time in framing magnificent Images and inventions, which others bestow upon idle spectacles, uncertain wander, wasteful dice, unprofitable discourses, a sleepy drowsiness, and unseasonable banquets. It is a singular gift of providence, saith Quintilian 
* Li. I. c. 12. , that honest things should take us most of all.  
§ 16 We may therefore very well cease to wonder, why there are now adays so few good artificers, seeing these arts consist of all such things as it is a great matter to excel in any one of them. So was it then a received custom among the Ancients that meant to obtain the credit of absolute Artists, not to make profession of the Art, unless they found themselves well prepared and sufficiently furnished with all kind of learning: whereas now every new beginner, that knoweth but how to fill his picture with several figures, and to trim up his lame invention with fine and glorious colours, thinketh himself instantly to be admitted into the deepest mysteries of such a retired and venerable art. Yet is this always certain, that a generous mind hateth vanity, and that never any man was able to conceive or to bring forth any worthy thing, but such as had great variety of learning. The others on the contrary, for all their boasting, never knew the true way to art, or at least had not the courage to tread the known way. There is another sort of men between the learned and unlearned, who being reasonably well acquainted with all the grounds of common learning, make for all that a show as if they did not care for it, hoping by this means to procure unto themselves a greater opinion of industry and wit, if they should be thought to do something without the help of other Arts and Sciences; but it is an easy matter to find them out; true learning disdaineth to be hid; neither can they dissemble so cunningly, but that here and there in their works divers glorious marks of reverend antiquity will peep out. To let them therefore alone, we do rather wonder at their impudence who presume to meddle with these grave and serious Arts, before they have tasted natural and moral Philosophy, History, Poesy; not to speak of the Mathematics; for our modern wits are so deeply plunged and drowned in their secure confidence, that they mean to do well enough without the Mathematics; yea the best of them are content with a superficial knowledge of such useful Arts, not considering that a sleight and careless manner of studying helpeth very little. What we would have take deep root in our heart and become our own, requireth assiduity of study: there is also very great difference whether we bring forth things of our own, or make use of things borrowed; for as the things of our own come forth with great ease, so doth the knowledge of many Arts and Sciences wonderfully adorn our works, though we did never intent any such thing; neither do the more learned only perceive it, but the ruder sort doth also very often feel it, when they do commend the exquisite labours of great Masters upon the first sight, as being forced to confess that they are filled with all kinds of rare and profound learning. For as much then as a true Artificer must be thoroughly skilled in many Arts and Sciences, we may see what our times are come to: profitable learning is despised: necessary Arts are neglected: every one deemeth himself more witty and judicious than the ancients: hence it is that the ordinary works of our Artificers lack nothing so much as Magnificence, being stuffed with the dross of silly and trivial Inventions.  
The noble Art which was anciently waited upon by many and most worthy Sciences, is cut short, and having lost her ancient dignity, is thrust out of doors without any attendance or any respect; yea she is taught penuriously, and learned basely, being forced to seek her bread without any ingenuity, after the manner of other sordid, mechanike, and mercenary Arts. But why should indignation thus transport me? it is better to laugh them out; lest they might think themselves to have obtained great matters, who by all their busy toil and labours foolishly misspent are come to such a height of felicity as to make themselves to be laughed at. I rather congratulate those happy wits, who thus become Masters without pains or care: yet am I well assured that those who bring minds uncapable of great things, or not well prepared by study, shall with their best endeavours effect nothing in this Art answerable to their fair hopes: but finding their souls barren both by nature and ill culture, must content themselves with the Inventions of other men, and employ their whole life in copying their works, aiming at no other sufficiency but to be able to draw after them by lines and rulings. In a manner courting the maid when they cannot obtain the Mistress, like Penelope's unhappy suitors. That which Cicero 
* Pro Muraenâ.  speaketh of the Greek Musicians, that those should blow a pipe which could not touch the lute, may fitly character these unworthy Painters, if these may be worthy of the name of Painters, or if this may be called painting, which high title properly belongeth to them, and to them only, who are able to express whatsoever theminde of man can conceive, and dare exhibit it to public judgement. The former without this perfection is of small worth or use, like a good sword rusted in the scabbard: to this all our instructions chief tend; to attain this, no means but Art; all study is to be applied to this; all practice must aim at this; this is the bond and but of Imitation; in this a man must spend his whole life; by this one Master out-goeth another; for this only one Piece and way of painting is more excellent than another. But the near coherence of this with the following discourse doth lead me too fare into the matter of Design or Proportion, which is the subject of the next Chapter.   

CHAP. II.  
THe Argument being found, it followeth that an Artificer should observe in his Design the rules of true Proportion: seeing no man beateth his brains to invent any thing, but that he meaneth to make some use of the matter invented. As for the Proportion that is to be observed here, several Authors name it severally. Philostratus and other Authors call it by the names of Symmetry, Analogy, Harmony: the younger Philostratus therefore joineth these three denominations together; the wise men of old, saith he 
* In prooemio Iconum. , do seem to me to have written many things about Symmetry to be observed in Picture; setting in a manner laws concerning the Analogy of every member and limb; as though it were not enough excellently to express a motion conceived in their mind, if they did not also keep their Harmony within a measure agreeable to Nature, (for whatsoever is exorbitant from his kind and without measure, Nature admitteth not) I say, to Nature rightly acting her motion. It appeareth then that the Greek names of Symmetry, Analogy, and Harmony signify the same thing; and yet is it not so evident what name the Latins have for it. Symmetry hath no Latin name, saith the elder Pliny lib. xxxiv, cap. 8. the younger Pliny for all that seemeth to express the force of this Greek word by the names of congruence and equality. If you did see a head or any member parted from his statue, saith he 
* Lib. TWO, epist. 5. , it may be you should not be able to find out by that the whole congruence and equality, yet should you be able to judge whether it be elegant and neat in itself. Suetonius likewise when he speaketh of the Emperor Augustus, he was of a low stature, saith he 
* Cap. 79. , but that his lowness was hid by the fitness and equality of his members, and it could not be perceived but when he was compared with a taller man that stood near him. And again, when he speaketh of Tiberius, as he was broad in the breast and shoulders, saith he 
* Cap. 68 , so was there also in all his other members to the sole of his feet a certain equality and congruence. Tully calleth it an agreement of parts and an apt composition of the members; for when he doth speak of the great dignity of man, of all these things that are perceived by seeing, saith he 
* Lib. I, de Officiis. , there is no other creature that is sensible of pulchritude, comeliness, and convenience of parts. And again, in the same place, the pulchritude of the body draweth our eyes by an apt composition of the members, and delighteth us with nothing so much, as that all the parts agree among themselves with a certain kind of pleasantness. Vitruvius nameth it almost every where a commensuration or commodulation, and sometimes also by another name. Agellius 
* Lib. I. Noct. Attic. cap. 1.  calleth it a natural competence of all the members among themselves. The same writer saith in another place 
* Lib. TWO, Noct. Attic. cap. 24. , Analogy is called in Latin by some Proportion. Quintilian seemeth also to approve of the word Proportion; Those that go nearest to translate the word Analogy into Latin, saith he 
* Lib. I, cap. 6. , call it Proportion. Seneca thinketh it best to keep the word Analogy, Seeing the Latin Grammarians have enfranchised the word Analogy, saith he 
* Epist. 120. , I am not of opinion that it is to be condemned and to be sent back to its own City.  
§ 2. Truly it is likely that Artificers have borrowed the words Analogy and Harmony from that Proportion which is found in Arithmetical numbers or in Musical concord's: for Proportion is nothing else but a certain law or rule of numbers which Artificers follow. Artificers, whose trade is to fashion and to produce bodily figures, saith S. Augustine 
* Lib. TWO, de Libero arbitrio, cap. 16. , have in their Art certain numbers and ideal perfections, by which they fit and square their works; and withdraw not their hands and tools from the fabricating thereof, until that which is outwardly fashioned, compared to that internal light of number and perfection, be found as absolute as is possible; and through the presentation of the sense without, please the judge within, seeing it conformable to his exemplary and supernal numbers. Plutarch also delivereth the very same in express words, saying 
* De Auditime. , that which is beautiful is perfited by many as it were numbers disposed together in one apt manner under a certain Symmetry and Harmony: but that which is ill-favoured, quickly taketh his beginning from any one thing either wanting or unfitly redounding. The Musician Mintanor also, being induced by the near band that is between Music and Picture, seemeth to have entitled a book of the art of Music set out by him, Chromatopoeum, or the composing of Music called Chroma, or colour, as Fulgentius 
* Lib. I, Mytholog.  witnesseth. Damascius also in Photius, where he speaketh of Jacob the Physician, calleth some kind of Music Chromaticum, that is, soft and elegant, and as it were decked with colours. It appeareth lastly out of Pliny 
* Lib. xxxv, cap. 5. , that Painters have taken from Musicians the words tonus and harmoge, and have transferred them into their own Art. We see therefore, that not only Musicians from Painters, but also contrariwise Painters from Musicians have borrowed terms of Art; and that for no other cause, but only to show that in both those Arts the same respect of that manifold Proportion, which consisteth in numbers, is had; as if one of them did stand in need of the other.  
§ 3. Wherefore seeing it is agreed upon of all that even every light consideration of numbers requireth a quick and ready use of reason (for nothing sooner bewrayeth a weak and crazed understanding, then to labour, and hack, and mistake in continuing and comparing numbers together) it is evident that this Analogy, we speak of, needeth a judgement much more exact and sharp; as having this scope, to work out in one or other material the ideal perfection of the numbers conceived in our mind, and as near as may be to express the ways of artificial and ingenious Nature. By Symmetry Art draweth near unto Reason, saith Philostratus in prooem. Iconum. And by this affinity between Symmetry and right reason we may likewise see the truth of that which is written Wisdom XI, 21. that God almighty, the only fountain of true and uncorrupt reason, hath disposed all things in measure, number, and weight: so doth Plutarch 
* De animae procreatione quae in Timaeo Platonis describitur sub finem libri.  say, that the ancient Theologers, which were the first Philosophers, made the statues of their Gods with musical instruments in their hands; not as they were a harping or piping, but for that they judged no work to be so agreeable unto the Gods as Harmony and consent. Indeed God the maker and framer of the Universe hath in all his creatures imprinted plain and evident footsteps of this most beautiful Harmony, which all Artificers endeavour to follow; neither hath any Artificer without the careful observing of this Symmetry attained to any show or shadow of that beauty, which by a due composition and agreement of all the parts among themselves draweth and delighteth the eyes: and this is that concinnity of the body and due connexion of all the parts 
* Heroic. in Protesilao.  Philostratus speaketh of: for one of the members being cut away from the rest and alone by itself, hath nothing that any man should esteem; but all of them mutually together do accomplish a perfect system, being by their communion made into a body, and thereto enclosed all about with the band of Harmony, as Dionies. Longinus speaketh de sublimi orat. § 35. The beauty of the body, saith Stobaeus 
* Eclog. Ethic. cap. 5. , is a Symmetry of the parts referred one to another, and all to the whole. Wherefore as the true pulchritude of natural bodies is no where found, without this concinnity of Harmony; so the right imitation of them consisteth in the due observation of the same Proportion. All the parts of a statue ought to be beautiful, saith Socrates in Stobaeus 
* Serm. 1. . In colossy works we require not so much the beauty of every particular, but we do rather consider the whole, whether it be well or no, saith Strabo lib. I, Geogr. We count those imitations most of all ridiculous, saith Galen 
* Lib. I, de usu partium corporis humani. , which keeping a likeness in most of the parts, fail much in those which are the principal. The first and most exact observers of Symmetry were Parrhasius, Polycletus, and Asclepiodorus. Parrhasius did first of all give Symmetry unto picture. Plin. xxxv, 10. Polycletus was a most diligent observer of Symmetry, Plin. xxxiv, 8. Apelles was an admirer of Asclepiodorus for the Symmetry observed in his works, Plin. xxx, 10.  
§ 4. An Artificer therefore shall study most of all to attain to an exact knowledge of the proportion of man, as it is in some kind set down by Vitruvius, lib. III. Architect. cap. 1. And out of a continual observation of the most absolute bodies he shall likewise propound unto himself certain general and profitable notions, especially such as he findeth confirmed in ancient good authors. Seeing there are two sorts of pulchritude, saith Tully 
* Lib. I de Off. , the one consisting in sweetness, the other in dignity. We are to know, that sweetness becometh a woman; dignity on the contrary is more proper for a man. This dignity is maintained by the goodness of colour, and colour is maintained by the exercise of our bodies. And in this same consideration of sound and well complexioned bodies of lusty men, as on the one side he remembreth with an ancient Writer 
* Auctor Rhetor. ad Herennium. , That a certain kind of swelling doth very often imitate a good constitution of the body: so can he not but avoid on the other side such a kind of raw-boned hardness as disfigureth the bodies that otherwise might be esteemed proportionable enough; As there must be bones in the body, and as they must be tied together by their sinews, so are they for all that to be covered with flesh, saith Quintilian, in prooemio libri primi. That body of a man is only fair, saith another 
* Auctor dialogi de causis corruptae eloquentiae. , wherein the veins do not appear, and the bones cannot be counted: but temperate and good blood filleth up the members, and raiseth the muscles, covering also the sinews with redness, and commending them with comeliness. In fair women he considereth the beauty of their face above all the rest. That woman is not instantly counted fair, saith Seneca 
* Epist. 33. , whose leg or arm deserveth to be praised: but whose whole face leaveth nothing in the other members that may seem admirable: unless he will esteem that woman fairer, whose beautiful face is the least part of the handsomeness that showeth itself in all the parts of her most absolute body. My Limone, saith Aristaenetus 
* Lib. I, Epist. 3. , though she hath a face fair beyond Nature, yet putting off her clothes she seemeth not to have any fair face at all, in regard of the other excellencies that were concealed. Statius Papinius describeth the fair Parth nopaeus, Atlanta's son, even just after the same manner; his limbs shown themselves, saith he 
* Lib. VI, Thebay. v. 570.  when he unbuckled his riding coat, the whole cheerfulness of his members did lie open: his brave shoulders, his breasts that might very well be compared with his bare cheeks, yea the beautiful countenance of his visage was drowned by the beauty of his body. In other women, and chief in Virgins, he observeth with Vitruvius 
* Lib. IV, cap. 1. , That Virgins in regard of their tender age being made more tender limbed, receive handsomer effects in every thing that may be for their ornament. Unless he liketh better of the course taken by Zeuxis, who did indulge something more unto the members of the body, thinking it more stately and more majestical. Some also are of opinion, that this same artificer followed Homer in this point, seeing he would have woman itself be of a stout and able shape, Quintil. xii. 10. Zeuxis is found greater in heads and joints. Pliny xxxv. 9 Euphranor seemeth first to have made use of Symmetry: but he made the whole bodies smaller, the heads and joints bigger. Pliny xxxv. 11. Statues, images, pictures, saith the younger Pliny 
* Lib. I, ep. 20. , the figures of men, of dumb creatures, trees also, being but comely, may be esteemed much better for being great.  
§ 5. Go over the Chronicles of all ages, observe every one of them that have made profession of these arts with good success, and whithersoever your mind and thoughts turn themselves, you shall ever find that such artificers only have attained to a great and durable name, who bent their natural curiosity to understand the true Symmetry of the body of man: for being once by the assiduity of this same study made thoroughly acquainted with the compleatest beauties, they endeavoured to imitate and to express them with their art. Neither could it be otherwise, but that this exercise having engendered in their minds an Idea of perfect beauty, their works likewise should show forth an accurate resemblance of that proportion there is in nature. They drew therefore the first grounds of art out of the imitation of the fairest bodies. It is a most foolish thing in my opinion, that a man should not study to imitate the best things, saith the younger Pliny, lib. I. epist. 5. The most famous statuaries and painters, saith Quintilian 
* Lib. V, cap. 12. , when they would cast or paint well favoured bodies, did never err so grossly, as to take one or other Bagoas, or Megabyzus, for a pattern of their work: but rather that same Doryphorus, fit for war and wrestling, or else the bodies of such warlike champions as they took to be truly handsome. It seemeth that the inhabitants of Abdera had something notable in their faces, for Stephanus de Urbibus 
* In Abdera. , witnesseth, that the ancient Painters were wont to draw a multitude of them. Many noble and renowned Painters did in great troops resort to Lais, drawing for strife the breasts and paps of her most beautiful body: yea Apelles made for this very reason wonderful much of her, when she was not yet grown to her full age. The same Apelles made also that same famous picture called Venus Anadyomene, after the example of Phryne, as she, to celebrate Neptune's feast, went stark naked into the sea, with her hair hanging lose down. See Athenaeus. lib. xiii, Deipnosoph. Although Pliny 
* Lib. xxxv, cap. 10.  affirmeth, that the said Venus was made after Campaspe, a Concubine of Alexander the Great.  
Clemens Alexandrinus 
* In Protreptico.  doth likewise relate, that the ancient painters ordinarily drew Venus in the likeness of Phryne: and that the ancient Carvers also made the images of Mercury after the similitude of the goodly and handsome shape of Alcibiades. Arnobius 
* Lib. VI adversus gentes.  teacheth us, That Praxiteles his Cnydian Venus was made after Cratina the whore. Other artificers did run to the strumpet Theodota. See Xenophon, lib. iii. Apomnem. See also Aristaenetus, lib. I. Epist. 1. As it is then clear, that the Ancients for their imitation made choice of the rarest bodies, so did they for all that principally mark the face in them. For though in our face & countenance there are not much more but ten parts, saith Pliny 
* Lib. VII, nat. hist. cap. 1. , yet can we hardly among so many thousand men meet with two countenances like in all things. And seeing that almost all the other parts of our bodies are most commonly smooth and plain, the countenance alone hath great variety in it, by reason of the inequality of diverse parts in the face, as they do either rise or fall. Our face is rough, saith Ammonius 
* In Arist. decem Categrias. , because it is made up of unlike and unequal parts; the mouth, the nose, the eyes, and the rest, whereof some stick out by their situation, and some have a kind of hollowness. Although this was not the only reason why they spent their labour chiefly about the face, but also because they knew, that there is ever in the outward lineaments of our face an evident proof of our inward inclinations. Painter's making very small account of the other parts, saith Plutarch 
* In Alexandro, circa initium. , take their main similitude from the countenance and such favour of the eyes wherein there are some marks of our manners and dispositions. It is likewise to be observed here that they were at the first so nice in this same way of counterfeiting, that they would not so much as suffer the Painter to err for the best, as the younger Pliny speaketh lib. IV, epist. 28. Their fear was that they should never hit the true similitude, if once they should begin to flatter them they would resemble. Such as paint fair bodies, saith Eunapius 
* In jamblicho. , when they will gratify them they paint too much, overthrow and spoil the whole similitude: swarving aside as well from the pattern itself, as from the beauty.  
§ 6. After the most accurate Imitation of singular bodies, whereunto the ancient Artificers did accustom themselves for a great while, they did not continue still in the same way, but they went on to express by a more difficult workmanship such an Idea of accomplished beauty as their former exercise had given them to conceive: neither did they trouble themselves any more to set forth a lively similitude of one or other particular though never so fair a body, but they studied rather to produce a perfect pulchritude according to the true law and rule of Symmetry; aspiring ever to that same grace of comeliness and beauty, which as it cannot be found in any one particular body, so may it be gathered out of many bodies. Painters, Carvers, and Statuaries, saith Galen 
* Lib. I, de Temperam. , do paint, carve, and cast the fairest of every sort: they express the fairest man, horse, ox, lion, considering always what is most proportionable: this was the commendation of the statue called Polycletus his canon, so named, because all parts did therein agree one with another by an accurate Symmetry: see our first book, cap. I, § 3, where we do speak more at large of this point.  
§ 7. Though now this course seemeth to have been taken by the ancient Artificers when they mean to show the height & excellency of their Art, yet did they not in these excellent and in other ordinary works neglect Similitude: it is expected that Statues resemble a man, saith Longinus 
* De sublimi orat. § 32. . Neither may we justly call it an image, saith Arnobius 
* Lib. VI, adversus gentes. , that doth not draw equal lines from his principal: see also Nazianzene orat. IV de Theologiâ: the resemblance of Socrates set forth in a picture, saith Ammonius 
* In Aristot. de Interpret. , if it doth not express his bald head, his flat nose, the standing out of his eyes, may not be called a true image of Socrates. We do read of Apelles that he made his pictures so like, that a physiognomer could as well by them as by the life foretell the hour of death: see Pliny xxxv, 10. And Philoponus affirmeth that a good Painter cannot but hit the similitude of what he goeth about to express. Monsters are very seldom engendered in mankind, saith he 
* In Lib. IU. Aristotelis de Generatione animalium. , because man bringeth forth perfect creatures: for whatsoever can bring forth perfect creatures, doth seldom err: even as the best Painters do very seldom mistake themselves about the similitude of the things imitated.  
§ 8. The ancients therefore as they did not neglect Similitude, so did they for all that make more work of Symmetry: esteeming Similitude to be the work of Art, whereas Symmetry proceeded out of some perfection in the Artificer surpassing Art: see Maximus Tyrius Dissertat. XVI, where he doth most accurately distinguish these two things. It is reported also that Zeuxis painted a boy holding a cluster of grapes; and when the grapes were so like that the birds came flying to them, it happened that one of them who were present said that the birds did not think well of the picture; for that they never would have ventured to come so near, if the boy had been like: yet do they say that Zeuxis did put out the grapes, keeping what was better in the picture, and not what was more like: see Seneca the Rhetorician lib. X, Controu. 5. Lysippus and Praxiteles are esteemed to come nearest unto truth; saith Quintilian 
* Lib. XII, cap. 10. , for Demetrius is blamed as being too curious in this point, and loveth Similitude more than pulchritude. As for Lysippus, Pliny giveth him this testimony, that he advanced the Art of casting very much, by expressing the hair, by making the heads lesser than the ancients, the bodies also slenderer and drier, that the Statues might seem taller. He was a most diligent observer of Symmetry, changing the square Statues of the ancients by a new and unusual way: and he was wont to say, that the ancients made men as they are, but that he made them as they seem to be: see Pliny xxxiv, 8.  
§ 9 As it is then clear that Symmetry was anciently esteemed to be the highest point of Art, so cannot we think it strange that the ancients did most of all delight in naked bodies, which do not hide what is faulty, and do not sparingly set forth what is praiseworthy, as the younger Pliny speaketh lib. III, epist. 6. Nakedness itself, saith Lactantius 
* De opificio Dei, cap. 7. , doth wonderfully help pulchritude: see Aristaenetus lib. I, epist. 1. Yet among all others the Grecians did chief love naked and undisguised bodies, being loathe to hide Symmetry, the chiefest commendation of their Art, with the ornaments of a less artificial attire: it is a Grecian custom, to apparel nothing; but the Roman and military way is to add brest-plates, saith Pliny xxxiv, 5. Apelles painted one of the Worthies naked, provoking Nature itself with this picture, Pliny xxxv, 10. Praxiteles found a ready way to teach us what a main difference there is between clothed and unclothed figures; he made two statues of Venus and set them to sale both at one time and at one price, saith Pliny 
* Lib. xxxvi, cap. 5. , the one being clad, was preferred by the inhabitants of Cous that had the first choosing, because they thought it more grave and honest to take the attired image: the Gnidians bought her that was left, there being a huge difference of fame: for Praxiteles made Gnidus famous with that same image. The whole case is opened, that the Goddess might be seen from all parts; she herself, as it is believed, liking the fact well enough; seeing the same admiration remaineth from what side soever you do look upon her. If therefore there was any thing in the ancient Statues and Pictures that did deserve commendation, it was questionless that same plainness and simplicity of Nature observed by the ancients in their works, and whosoever will but cast his eyes upon the ancient works that are as yet remaining, he shall see better things than ever he could meet withal in his reading, saith Cassiodorus 
* Var. seven, 15. , he shall behold fairer things than ever he could conceive; namely, Statues that do keep the marks of their authors; he shall view the veins expressed in brass; the muscles swelling with a certain kind of straining; and a man so cast in several similitudes, that he may rather seem to be such by a natural generation: he shall wonder that there is such a mettled fervency in horses, as to make him believe by their wrinkled and round nostrils, by their shaking joints, and their ears laid in their neck, that they would fain run, though he knoweth well enough that it is against the nature of brass to stir at all.  
§ 10. Besides that same accuratnesse of Symmetry observed by the ancients in all their works, we do find also that they were wont to proportion the base to their works, and their works to the place they should be erected in. Of the first saith Plutarch 
* De Alexandri fortunâ aut virtute, lib. II. , poor Artificers when they do put little Statues upon great bases, argue the smallness of their works the more. Of the second are these words of Vitruvius 
* Lib. III, Archit. cap. 1. , Temples must have in every one of their members and parts a convenient proportion answerable to the whole magnitude. That now by the name of members we must understand here as well the consecrated Images and Statues as other parts of the sacred buildings, may be gathered out of Arrianus 
* In ipso statim initio periplus ponti Euxini. , where he certifieth Adrian the Emperor that the statues of Mercury and Philesius consecrated in the Trapezuntian temple were too little for that same Church. Apollodorus the Architect, as it is reported in Xiphilinus 
* In Adriano. , did like wise find fault with the Images set up in the temple of Venus built by Trajanus, affirming that they were bigger than the proportion of such a building could suffer. Strabo doth in like manner observe that Phidias took good notice of this same Proportion, when he made Jupiter Olympius his statue sitting; for though the temple was large enough, yet did the image for all that in this posture almost touch the roof of the building: so that it would have pierced the roof and all, if he had made it standing upright: see Strabo lib. VIII Geogr. As it is then clear that the ancients did fit their Statues and Images to the Churches wherein they were to set them up, so is it that the most accurate Masters did furthermore regard the altitude of the place ordained for their Statues: for as their standing place was appointed to be higher or lower, so made they them accordingly: whereof although we have set down a notable example in the eight Section of our former Chapter, yet will it not be amiss to allege here out of Vitruvius a sufficient reason of this practice of theirs. By how much our sight climbeth higher, saith Vitruvius 
* Lib. III, cap. 3. , with so much the more difficulty doth it cut the thickness of the air: and finding itself lost and weakened by the altitude, it doth report unto our senses an uncertain quantity of measures. The parts of Symmetries therefore stand continually in need of a proportionable supply, that the works being set up in higher places, or else being of a colossy bigness, might have a certain proportion of magnitude.  
§ 11. As many as are well skilled in the perfect rules of Symmetry, do very often effect strange things by the virtue of this same skill. Phidias, as it is reported in Lucian 
* In Hermotimo. , could tell upon the first sight of a Lion's claw, how big a Lion he was to make to the proportion of that same claw. Phlegon Trallianus telleth us of such another artificial conjecture, happily performed by Pulcher, a most excellent Geometrician, who lived in Tiberius the Emperor his times: see Phlegon himself cap. 13 & 14, de Rebus mirabilibus. The Egyptian priests make likewise a relation out of their sacred Records, saith Diodorus Siculus 
* Sub finem libri primi. , that the most famous Statuaries Telecles and Theodorus, sons of Rhoecus, lived a great while with them, and that these two made the image of Apollo Pythius for the inhabitants of Samos: they report likewise that Telecles made one half of that statue in Samos, whilst Theodorus his brother made the other half at Ephesus, & that those halves being brought together did agree so well as if the whole statue had been the workmanship of one and the same hand: they do moreover affirm that this manner of working was never practised among the Grecians, but that it was most frequently used of the Egyptians; seeing they do not esteem the fashioning of a statue by the eye, as the Greeks' use to do, but when they go in hand with the stones that are cut out and distributed in equal parts, they do then take an exact Proportion from the highest to the lowest, and they do express the whole Symmetry by dividing the whole structure of the body of man into one and twenty parts. Wherefore when the Artificers are once agreed about the bigness, and are now gone to several places, yet do they make their works agree so well in magnitude, that the unusual workmanship striketh the hearts of the beholders with an astonished admiration.  
§ 12. Lineal picture in the mean time not yet being trimmed up with the variety of pleasing colours, maketh us after a most plain way sensible of the great force there is in a meet and convenable Proportion. I do stretch out my hams, saith Horace 
* Lib. TWO, Satyrà 7. , to see battles so painted with red chalk or with a coal; even as if men did fight indeed and stir their weapons, sometimes bringing blows, and sometimes shunning them. Philostratus cometh nearer, and openeth the nature and power of Lineal picture somewhat further; Line aments consisting in light and shadow without any colour, saith he 
* De vità Apollonii, lib. TWO, cap. 10. , deserve the name of Picture: for we may not only see in them the shape of the parties designed, but their intent also, whether it be shame or boldness that possesseth them; and although these lines, being put together after a most simple manner, do not represent any mixture of blood, nor express the flower of bright hair, and of a newly up-growing beard, yet do they resemble the similitude of a tanie or a white man: yea if we do design any one of the Indians in white lines, he shall for all that seem to be black: seeing his flat nose, his standing hair, his plump cheeks, and a certain kind of dulness about his eyes maketh all black and showeth him to be an Indian to every one that doth view him not foolishly. Lineal picture therefore as it is the ground of all Imitation, so doth it represent unto us the first draught only of what is further to be garnished with pleasant and lively colours. Whence it is that many who have a deeper insight in these Arts, delight themselves as much in the contemplation of the first, second, and third draughts which great Masters made of their works, as in the works themselves: neither is it any marvel that they should be so much ravished with this contemplation, seeing they do not only perceive in these naked and undisguised lineaments what beauty and force there is in a good and proportionable design, but they do likewise see in them the very thoughts of the studious Artificer, and how he did bestir his judgement before he could resolve what to like and what to dislike. Those in the mean time who have sufficiently practised designing, may not content themselves with this exercise; seeing the practice of designing, though it be a great matter in itself, is nothing else but an entrance to some thing that is greater. The matchless collection of designs made by my Lord of Arundel serveth here for a sufficient proof: seeing our Honourable Lord out of his noble and art-cherishing mind, doth at this present expose these jewels of art to the public view in the Academy at Arundel house. Our sight, saith Plutarch 
* In Pericle. , is very much revived and fed with the most pleasant and flourishing colours. And as it doth appear by our former proof that Lineal picture being done after the true rules of Proportion, may very well represent a lively resemblance of the thing delineated; yet can that same similitude not be compared with the perfections of a coloured picture. Thus after the consideration of Design and Proportion, it followeth that we should proceed to Colour.   

CHAP. III.  
AN Artificer handleth his instruments with ease, saith Seneca 
* Epist. 121. , the Master of a ship knoweth how to turn the stern: the Painter doth nimbly mark many and several colours that are set before him to make a similitude, bestirring himself with a ready look and a quick hand between his wax and work: for as all the letters do not concur to the writing of every name, but such only as are proper for it; so doth not the whole multitude of all colours meet to the making of a picture, but some part of them only, and these not wildly scattered upon a board, but well and orderly digested by a most accurate and judicious Art: He is the best Painter, saith Greg. Nazianzene 
* Carm. X. , who expresseth in his picture true and breathing shapes; and not he, who vainly mixing many fair colours representeth nothing else in his work but a painted tempest. Artificers therefore must thoroughly understand the nature and force of all colours: it is impossible, saith Hermogenes 
* Lib. I. de Formis orot. , to know or to practise the mixing of any thing rightly, unless a man doth first understand every one of the things that are to be mixed: so must we understand the nature of black and white, if we do ever mean to mix a good brown colour aright.  
§ 2. The Greek Painters called this same mixing of colours with the name of corruption, as Porphyrius 
* Lib. IV, de Abstinentiâ.  witnesseth. Plutarch likewise in his treatise wherein he disputeth whether the Athenians were more famous in war or peace, Apollodorus, saith he, who first of all found the corruption and the way of expressing the shadow in colours, was an Athenian. The same Plutarch doth in another place 
* Sympos. problem. VIII. 5.  set down the reason of this denomination. And this is that same comixtion or variegation mentioned in Lucian 
* In Imagine. , whereby the Art of Painting maketh images resembling them she doth imitate, having first by a moderate confusion tempered discordant colours of painting, black, white, yellow, red, as Apuleius 
* De Mundo.  speaketh. Picture doth consist in colouring, saith Philostratus 
* In prooemio Iconum. , neither doth she rest here, but undertaketh to perform greater matters with one colour, than any other Art is able to effect with divers means: she doth show the shadows, she observeth the diversity which is in the look of a mad man, in a sad or cheerful countenance also. Those that cast in brass cannot attain to the least part of that vigorous force which is in the eye: but picture knoweth how to imitate a brown, grey, or black eye: she knoweth how to express the several colours of golden, of ruddy and of bright flaxen hair, the colour of clothes also and of armour. She knoweth how to represent Bedchambers, houses, forests, mountains, fountains, the air at length, which encloseth all these things.  
§ 3. It is then requisite that a Painter know how to mix his colours accurately, as Lucian speaketh 
* In Zeuxide , how to apply them seasonably, and how to shadow the work conveniently. Which cannot be performed, unless there be prepared a good board, or else a fit linen clothe for his work. Of what wood the boards used by the ancient painters were made, is set down in Pliny, lib. xuj. Nat. hist. cap. 39 about the beginning of that chapter. theophra. likewise, hist. plant. lib. 3. cap. 10. and lib. v. cap. 8. reckoneth up what sorts of wood did serve them for that use. But as they made always choice of the wood they knew most proper for their work: so doth Joannes Grammaticus likewise teach us, That an artificer is to make good choice of the cloth he meaneth to paint on. A writer purposing to write well, saith he 
* In Aristot. lib. II. nat. auscult. , doth sometimes come short of his intent, if he meeteth with sinking and blotting paper, or else with bad ink. This is also a Painter's case, when the colours or the cloth hepainteth on are unfit for his work.  
§ 4. After that there are good colours, and a fit board or cloth prepared for the work, it followeth that an artificer, as the occasion shall require, observe these four things, Light, Shadow, Obscurity, Brightness, as Plutarch joineth them all four very fitly together. Painter's cause lightsome and bright things seem more light some and bright, saith he 
* de Discrim. adulator. & Amici. , when they do place shady and darksome things near them. This practice of theirs is a great help for the eye: Our eye delighteth most in the brightest colour, saith Maximus Tyrius 
* Dissertat. xxxv. , yet shall this pleasure be lessened very much, if you do not put some brown colour near it. Yea, it doth help the beauty of the picture: The most contrary colours agree very well about the composition of an excellent beauty, saith Philostratus 
* Icon. li. II. in Centaur. . For this reason also is a black picture made upon a white ground, saith Joannes Grammaticus 
* In li. I. Meteor. Arist. , as a white or golden picture on the contrary, is made upon a black ground. It is ever so, that contrary things are more apparent, being placed near their contraries; whereas it is hard to discern things like, placed among things of the same likeness. Even as if you did paint white upon a white, and black upon a black ground. Whence it is that such as wear black clothes cannot so well be discerned in the night time, as others that wear white clothes. Those likewise who do wear white clothes in the day time, but especially in a clear Sunshine, cannot be known so distinctly.  
§ 5. Light is altogether requisite in picture, seeing there can be no shadow without it. Tertullian 
* Advers. Hermog.  therefore maketh it an assured mark of a poor and blockish painter, to colour the shadow altogether without any light. At the first, before the Art was raised to that height we do now admire in the Ancients, there were none but single coloured pictures, called Monochromata; till the art at length distinguishing herself, saith Pliny 
* Lib. xxxv. cap. 5. , found out Light and Shadow; the difference of colours by a mutual course setting forth each others light someness.  
§ 6. Shadow and Light hold so close together, that the one cannot subsist without the other. Light is most of all commended in a picture by the shadow, saith the younger Pliny 
* Lib. iii. epist. 13. . Hence it is also, That those who painted with single colours, made always some things rise, and some fall: else they could never have given unto every member his proper lines, saith Quintilian, lib. 11. Orat. instit. cap. 3. Artificers therefore use always to add unto their works some shadows and deepnings, that those things which are enlightened in their pictures might seem to stick out the more, and to meet the eyes of the beholder. Let upon the same superficial breadth of any flat board two parallel lines be drawn, saith Dionies. Longinus 
* De sublini orat. § 15. , with the colours of shadow and Light, yet shall the ardent flagrancie of light soon of all meet with our eyes, and seem a great deal nearer. Nicias the Athenian did most accurately observe Light and Shadows, taking always special care that his pictures should bear outwards from the board, Pliny xxxv. 11. Zeuxis, Polygnotus, and Euphranor studied very much to have their pictures commended for shadowing and breathing, as also for rising and falling. Philostr. lib. TWO, de vita Apollonii, cap. 9 Apelles' painted Alexander as he held lightning in his hand: his fingers seem to bear outwards, and the lightning seemeth to stand off from the board. Pliny xxxv. 10. Philostratus observeth the same in the picture of an ivory Venus: The goddess will not seem to be painted, saith he 
* Icon. li. II. , she sticketh out so much as to make one think that it were an easy matter to take hold of her. Pausias was the first who found out a picture which many afterwards imitated, none could attain unto. First, when he would show the length of an Ox, he painted him standing full opposite against us, saith Pliny 
* Lib. xxxv. cap. 11. , and not sidelong, making his length nevertheless to be sufficiently understood. Afterwards, where all others do heighten the parts which are to rise, with white, tempering the colour with some mixture of black; he made the whole Ox of a black colour, and gave the shadow a body out of itself: showing by a most wonderful Art, rise in smoothness, and continuity in abruptness. As this was questionless an excellent piece of rare workmanship; so are we for all that to observe here, that an artificer showeth his greatest skill in the picture of fitting figures. Those that do sit, saith Philostratus 
* Icon, li. II. in Palaest. , have many shadows; and it doth bewray singular great wisdom in the Painter, that he made the maid sitting. The same Author expresseth this very same point more at large in another place: It is easy to hit the shadows of them that lie down, saith he 
* Ibid. in Antlante. , or stand upright: and it requireth small wisdom to do it accurately. But the shadows of Atlas go beyond all art: for the shadows of him that stoopeth after this manner, though they fall one into another, yet do they not darken any of these things that should rise, but cause some light about the hollowness of his belly.  
§ 7. Obscurity or darkness seemeth to be nothing else but the duskishness of a deeper shadow; even as Brightness may be said to be nothing else but an intention of light. For if you do put white and black upon the same superficial breadth, saith Jo. Grammaticus 
* In Lib. I. Meteor. Aristot. , the white shall always seem to be nearer, and the black further off. The painters therefore knowing this, when they will make any thing seem hollow, as a Well, a Cistern, a Ditch, a cave, or any such like thing, they colour it with black or brown; and how much more they black them, their depth seemeth to be the greater: for whatsoever is extreme black, the same worketh in us an apprehension of a bottomless deepness. When on the contrary they will make any thing rise, as the breasts of a maid, a stretched out hand, the feet of a horse, they lay on at both sides so much black or brown as will make those parts seem to stick out by reason of the hollowness which is so near. The younger Philostratus giveth us an example in the picture of Pyrrhus, The brownenesse of the ditch, saith he, is cunningly wrought by the Artificer, who intended by this means to signify what deepness it had.  
§ 8. Brightness is sometimes adhibited in a picture for necessary use, but always for ornament. Necessity doth require it in the picture of angels, precious stones, armour, flame, flowers, gold, and other things of that nature. Greg. Naz. speaking of Angels, The wearing of bright and glistering clothes is proper unto the Angels when they appear in bodily shapes, saith he 
* Orat. xxiii. , to make that as I do think, a true mark of their pure and undefiled nature. Such a description of Angels do we find, Matth. xxviii. 3. and in many other places of the holy Scriptures. As for the picture of precious stones, it may not be held true without the representation of a bright burning and glistering lustre. The art of the painter, saith Philostratus 
* Icon. li. II. in Venere. , is much to be commended, for having round about applied all manner of most esteemed precious stones, he doth not imitate them by their colours, but by their brightness: putting in them a certain kind of thorow-shining light someness, which might serve for a prick to stir up our sight, and to draw our eye. Varro 
* Hecatomb apud Non. in Margarit.  doth likewise speak of horse-trappings and armour all over bright and glistering with pearls. Although this brightness hath not only place in such armour as is in-layd with pearls, but also in all other kind of armour which is kept neat, and duly cleansed. Take good care that the brightness of my shield be clearer, saith Pyrgopolinices a vainglorious soldier in Plautus 
* Mil. glor. Act. 1. scen. 1. , than the beams of the Sun in fair weather use to be; that the eyes of our enemies might be dazzled at the first encounter. Yea this same brightness of cleare-shining armour doth sometimes wonderfully change his colours, after the manner of a Rainbow, the rising parts glistering with the repercussion of a full and copious light; the falling parts on the contrary by little and little vanishing away unto the duskishness of a deeper shadow. See Philostr. Iconum lib. I. in Amphione. and lib. TWO, in Palladis ortu. See also Cassiod. Variarum V. 1. Fire and flowers have likewise a certain kind of brightness. Flowers and flame have not a dull colour, saith Ovid 
* Li. v. Fast. , but the brightness of them both is able to carry away our eyes. Philostratus also speaking of the picture of gold, seemeth to require in it some such kind of cheerful clearness as maketh gold itself pleasant to the heart and eye of the beholders: The painter deserveth to be admired for the painting of gold, saith he 
* Icon. lib. 2. in The mist. , having wrought in it a certain force to cheer up the heart, and withal to keep the lively figures it had been constrained to receive. Observe here only by the way, that Philostratus seemeth to speak of a piece done after that same ancient simplicity of art mentioned lib. II. cap. 6. so that in the picture of gold, the gold itself was not made by gilding over that part of the picture wherein some golden things were to be represented, but by the most exact art of imitating gold itself in lively colours. Brightness then, as it is necessarily required in the picture of such like things, so is there in every kind of picture some brightness intermingled for ornament. And though a picture be never so much filled with all manner of choice and flourishing colours, yet can it hardly please the eye, unless there appear in it some bright spots tempting and rousing our sight with their sudden, quick, and flickering light. These shinings show themselves ceasing swiftly even as a flash of lightning, saith Philostratus, lib. I. de vitis Sophist. in Lolliano. For it is impossible that these lights being frequent and continual, should not hinder one another, saith Quintil. Orat. Instit. lib. xii. cap. 10. You may perceive an unequality where those things that stick out are notable. The height of one Tree is never wondered at, where the whole wood is grown up to the same height, saith Seneca, Epist. xxxiii. These lights therefore must not be like unto a flame, as Quintil. 
* Orat. Inst. li. viii, cap. 5.  speaketh, but unto sparks shining forth out of the smoke. Neither do they appear where the whole picture shineth, even as stars cannot be discerned in a Sunshine. Such lights likewise as show themselves often and faintly, can never please the eye, as being only unequal and harsh, not attaining to that admiration heightened things do deserve, and losing the grace plain things are commended for. Seeing then that not only the changeable variety of these ornaments, but their rarity also is a good and ready means to avoid that loathsome satiety an uniform picture cloyeth us withal, it behooveth an artificer here to admit the wholesome counsel of Dionysius Milesius: We ought to taste of honey, saith he 
* Apud Philostr. lib. I. de vitis Soph. , With our finger's end: and not with the whole hand. Corinna likewise, when she perceived that Pindarus was immoderate in the ornaments of his poesy, We are to sow with one hand only, said she 
* Apud Plut. Bellona an pace clariores fuerint Athenienses. , and not with the whole Sack.  
§ 9 We learn then distinctly out of the former consideration, That nothing can be bright, as Seneca speaketh 
* Epist. 31. , without the mixture of light. And that a good while after the invention of Light and Shadow, there was added unto Picture a certain kind of brightness, saith Pliny 
* Lib. xxxv, cap. 5. , being an other thing than Light. This brightness was named Tonus, because it was something between light and shadow. As for the commissures and transitions of colours, they were known by the name of Harmoge. The word Tonus therefore seemeth to signify an intention of light; namely, when one or other enlightened part of the picture becometh more vigorously bright, by making that which before was esteemed lightsome enough, serve for a shadow to what we would have stick off more than the enlightened part itself. As for the word Harmoge, it seemeth to signify nothing else but an unperceivable way of art, by which an artificer stealingly passeth over from one colour into another, with an insensible distinction. And here will it not be amiss to observe an example or two of this same Harmoge as it is in nature. For when we behold how the sea and sky do meet in one thin and misty Horizontal stroke, both are most strangely lost and confounded in our eyes, neither are we able to discern where the one or other doth begin or end: water and air, several and sundry coloured elements, seem to be all one at their meeting. See Statius Papinius, li. 5. Thebay. vers. 493. Yet doth the Rainbow minister to us a clearer proof of this same Harmoge, when she beguileth our sight with the scarce distinguished shadows of melting, languishing, & leisurely vanishing colours. For although there do shine a thousand several colours in the Rainbow, saith Ovid 
* Lib. vi. Metam. , their transition for all that deceiveth the eyes of the spectators; seeing her colours are all one where they touch, though farther off they are much different.  
Boëthius expresseth the same. When the Rainbow appeareth in the clouds, saith he 
* Lib. v. art. music. cap. 4. , such is the neighbourhood of colours, that there is no certain end which distinguisheth the one from the other: but we see that the red falleth away to a certain kind of paleness, and turneth itself by a continual changing, into the next colour, there being no other colour in the midst to distinguish them both. The very same falleth out in musical concents, etc. Whosoever looketh upon the rainbow as consisting of one colour, saith Marcus Byzantius 
* Lib. I. de vitis Soph. , doth not know how to admire her enough; but whosoever considers her as consisting of colours, wondereth much more. Read Tul. l. 3. the nat. dear. and Plut lib. III. ca 5, de placitis philos. Let me now apply this same observation of Nature's admirable skill unto my present purpose, by showing a few examples of Arts no less admirable imitation: the proof is obvious in every good picture. So doth Ovid in the place alleged above commend Arachne most of all for observing this virtue. Philostratus Iconum lib. TWO, Chiron is painted, saith he 
* In Achilles educatione. , after the manner of a Centaur: though it be no great wonder to join a horse with a man; but to join and to unite them so cunningly as to impart unto them both the same beginning and ending, yea to beguile the eyes which go about to know where the man parteth with the horse, is in my opinion the work of an excellent Painter. Lucian likewise speaketh very much to the same purpose: The mixture and harmoge of the bodies, saith he 
* In Zeuxide. , for as much as the horse is joined and bound up with the woman, is not done all at once; but gently; and turneth from the one into the other as by a quiet and insensible induction, deceiving the eye with a strange stealth of change.  
§ 10. Besides this same Harmoge, which draweth different colours into one by an orderly and pleasant confusion, it is furthermore requisite that an Artist should take special care about the extreme or uttermost lines; seeing it was ever held one of the greatest excellencies in these Arts that the unrestrained extremities of the figures resembled in the work should be drawn so lightly and so sweetly as to represent unto us things we do not see: neither can it be otherwise but our eye will always believe that behind the figures there is something more to be seen than it seethe, when the lineaments that do circumscribe, compass, or include the images are so thin and fine as to vanish by little and little, and to convey themselves quite away out of our sight. All Masters do confess, saith Pliny 
* Lib. xxxv, cap. 10. , that Parrhasius his chief glory was in the uttermost lines, and that indeed is the highest subtlety in Picture: for although it require great skill to paint the body and middlemost parts of figures, yet are there many that got credit by it. To make the extremities of bodies and handsomely to shut up the measure of an ending picture, is seldom found in the greatest success of Art; seeing the extremity ought to compass herself about, ending with a promise of other things behind, and setting forth also what she concealeth. Parrhasius for all that being compared with himself seemeth to comeshort in the expression of the middlemost bodies. The following words of Petronius urge the same, I came into agallery, saith he 
* In Satyrico. , much to bewondered at for several sorts of pictures. I saw there Zeuxis his hand, which as yet had escaped the injuries of age: as for Apelles his picture, which was known among the Grecians by the name Monocnemos, I did not stick to adore it: for the extremities of the images were with such a wonderful subtlety cut off after the similitude, that you could not but think it to be a picture of the spirits and souls itself. Seeing then that Petronius and Pliny do urge such a singular subtlety in the uttermost lines of an exact and absolute picture, we may very well suspect that they did anciently in these extremities of images require certain lines approaching near to the subtlety of the imaginary Geometrical lines; which are nothing else but a length without breadth. That it is not an idle fancy of our brain, saith Ammonius 
* In Aristotelis praedicam. , that there should be a longitude without latitude, but that such a thing is in Nature, the partings between enlightened and shadowed places do manifestly show: for when it chanceth that the Sun casting his beams upon a wall enlighteneth but some part of the same, the partition between the enlightened and shadowed place must needs be a longitude without latitude: for if it hath any latitude, it must needs be either enlightened or else shadowed with the rest; seeing nothing can be conceived between these two: and if it be enlightened, it is to be put to the enlightened part: if on the contrary it be shadowed, it is to be added to the shadowed part: but now there is a line manifestly to be seen in the midst, which by her length doth only distinguish the enlightened part from the shadowed: and if these parts are distinguished one from another, there must of necessity be something besides them that distinguisheth, which as it shall not be enlightened nor shadowed, so shall it consequently be without any breadth. Whosoever therefore doth but slenderly understand how much a neat and delicate picture abhorreth all manner of gross & coarse lines, the same shall easily be persuaded to conceive well of those extreme lines that come something near the Geometrical: neither shall he be very much deceived who guesseth that this was the main reason why the ancients studied with such an industrious care to draw all manner of lines in colours with a light & easy hand. We shown above, lib. TWO, cap. XI, § 1, that this was Apelles his daily practice, and that afterwards it grew to be the highest point wherein Apelles and Protogenes made trial of their art.  
§ 11. We have seen how good pictures by a due observation of Light and Shadow must have convenient rise and fall, and how precise an Artificer ought to be in drawing the uttermost lines of his figures with an incomprehensible subtlety: it is left only that the true and natural colour of well-complexioned bodies do show itself every where in his picture, seeing without it there cannot be any beauty. Beauty is a Symmetry of the limbs and other parts, saith Hermogenes 
* Lib. I. de Formis orationis. Clemens Alexandr. lib. III. Paedag. cap. 11. , accompanied with the goodness of colour. All bodies both of men and women shall seem comelier if they do not show their rawboned joints destitute of flesh, but if all the limbs moderately swelling are graced with the true and lively colour of pure and wholesome blood: The dignity belonging to a man must be stout and uncorrupted; it cannot abide an effeminate smoothness, nor such a colour as is procured by choice painting; seeing blood and strength must make it goodly and fair, saith Quintilian VIII, 3. It is a singular help to the perfection of beauty, saith Lucian 
* In Imagine. , that colour be applied according to the occasion of every limb. What is to be black, let it be exquisitely black; and wheresoever whiteness is required, let there be a pure white: yet so, that the flower of redness be always intermingled. And again in the same place, the body must not be too white, but somewhat overspred with blood: for such a colour doth the Master-painter Homer attribute unto Menelaus his thighs, when he fetcheth his resemblance from ivory which is gently died in purple: such be the whole body. Give me then a piece of work wherein this virtue is added to the former, and I shall be bold to say of that picture what Tully saith of Apelles his Venus: in the Venus at Coos, saith he 
* Lib. I, de naturâ deorum. , it is not a body you see, but something in the likeness of a body: neither is that same red which spreadeth itself and mixeth itself among the white, blood, but a certain similitude of blood. The Poets do every where abound with several expressions of this mixture of blood, and it were an endless work to relate them all. Ausonius' his description of Bissula may serve in stead of many others, as being able to work in us the impression of an excellently tempered complexion. Bissula cannot be imitated with any colour of painting, saith he 
* Idyllio seven. , her natural gracefulness will not yield unto an art which doth but counterfeit. Arsenic and Ceruse may peradventure resemble other maids: no hand knoweth the temper of such a countenance. Go to then, Painter, confound red roses with good store of lilies, and what reflection the air taketh of them, let that be the colour of her face.  
§ 12. These are the most observable things in colour, and it is no great marvel that pictures graced with these perfections should take our eyes after a strange and unusual manner. Colour moveth us more in pictures, saith Plutarch 
* De Poetis audiendis. , than a simple delineation; and that because of the near resemblance of man it hath together with a certain aptness to deceive: for although there be sometimes in lineal pictures, according to our former discourse, a deceitful similitude of Life and Motion, and that statues very often may seem to live and breath; coloured pictures for all that, as they show a more lively force in the several effects and properties of life and spirit, so do they most commonly ravish our sight with the bewitching pleasure of delightsome and stately ornaments. A discreet and wary moderation therefore, as it hath place in all other things, may not be forgotten here; seeing the condition of an ornament consisteth not in itself, but in the things adorned; to which if it be not accommodate, it shall be so fare from illustrating them, that it shall rather destroy them and turn the whole force of things to the contrary. Quintil. XI, 1. Long garments are odious in a little body, saith Symmachus 
* Lib. III, epist. 10. , that garment is decently put on, which doth not sweep the dust, and is not trampled upon for hanging too much upon the ground. Apelles, who was wont to be very moderate in all things that concerned the Art, because he would not offend the eyes of the spectators with too much cheerfulness of gay and flourishing colours, did by an inimitable invention anoint his finished works with such a thin kind of ink or varnish, that it did not only break and darken the clearness of the glaring colours, but it did likewise preserve them from dust and filth, neither could it be perceived but hard by. He had great reason to do so, saith Pliny 
* Li. xxxv. cap. 10. , lest the clearness of colours might offend their eyes that should look upon them afar off, as thorough an Arabian glass stone: studying also by the same means secretly to add a certain kind of austerity unto the two bright and flourishing colours.  
Though I do then yield unto these our nice and choice times so much, as to persuade Artificers to bestow great care about colours, yet would I not wish them to busy themselves only about colours, seeing it may not be expected that all things should always be done to the good liking of capricious and ignorantly supercilious spectators. Neither will any man who hath but a drop of ingenious blood in his breast, trifle away both his art and time, and that to no other end but to pleasure such men as he shall get small credit by to have pleasured them. I would most willingly forbear to touch this almost incurable sore, if we did not meet every where with them, who neglecting those things which are the sinews of art, wax old about the idle study of colours: Decency in the mean time and graceful ornaments are pretended by them. Neither can it be denied, but that a decent grace of colours commendeth a picture very much; but when it followeth the nature of things of itself, and not when it is drawn in by an importunately odious affectation.  
§ 13. Those therefore are mightily deceived, who esteem a corrupt and defective kind of painting more popular and plausible, if it take pleasure in a childish licentiousness, if it be puffed up with an immoderate swelling, if it keep a great stir about idle and unprofitable undertake, if it love to prank with lightly fading flowers of vain ornaments, if it entertain abrupt and dangerous endeavours in stead of sublime and magnificent matters, if it runneth mad with a lose kind of dissolute liberty. For though it be too true, that works of this kind prevail most of all with the Vulgars', as being more agreeable unto their gross and unexcised capacities, with a favourable show of obvious and ready pleasure; such unadvised delights for all that, though never so natural unto them, are very seldom constant. Neither was it ever seen, that any artist got by such works a durable admiration in the hearts of men, but an uncertain approbation only, accompanied with idle acclamations, and with a flying joy; seeing all that praise, as being blasted in the herb or in the flower, not attain to any ripe or fruitful maturity; chiefly if those admirers chance in the mean time to meet with any other more perfect and truly absolute piece of work, which maketh their former admiration presently vanish and come to nothing, by an admiration of better things. Those who are taken with an outward show of things, saith Quintilian 
* Lib. TWO, cap. 5. , judge sometimes that there is more beauty in them which are polled, shaved, smoothed, curled, and painted, than incorrupt Nature can give unto them: even as if pulchritude did proceed out of the corruption of manners. But as adulterated wool may happily please, as long as it cometh not near any purple; whereas if you compare it with a purple coat which is somewhat worn out, yet shall it be overcome by the nearness of what is better, and that which before did deceive us, shall instantly be deprived of his counterfeit colour, growing pale with an unspeakable filthiness: even so may poor and naughty pictures shine alone by themselves out of the Sun, like unto those little creatures which make a glimmering & fiery show in dark & close places, but when they come once to be tried in open and lightsome places, when they are brought in the view of better works, all their blazing glorious show is presently eclipsed and gone. Many may perchance like of what is bad, but no body disliketh of what is good saith Quintil. 
* Lib. xii. cap. 10.  Healthfullbodies, and such bodies as by a continual exercitation are filled with good and pure blood, saith the same Author 
* In Prooem. lib. 8. , receive their favour out of the same things out of the which they receive their strength: seeing this maketh them well-coloured, compact, and closed up in muscles. But if any man study to trim the very self same bodies with an effeminate kind of polling and painting, the very labour and affectation of such a forced beauty shall make them most ill-favoured and ugly. Lawful and stately ornaments add a certain kind of authority to the bodies of men: whereas a womanish and luxurious trimming doth not so much deck the body, as it discovereth the mind. This is the true case of that same gay and sundry coloured way of painting, so much esteemed by many; it lesseneth and impaireth the force of the things that are set forth with such a fare fetched and licentious bravery. If any man should offer to adorn a lusty and stout wrestler, saith Lucian 
* de conscrib. hist. , with purple clothes and other whorish ornaments, disguising likewise and painting his face; would he not seem to be very ridiculous, for shaming the man after this manner? Even so is it for the most part better to deck his work in a rug gown, than to adorn it with strumpet-like ornaments. All cometh in the end to this, that though the colours may justly require care, the things themselves for all that demand solicitude. Nevertheless we must not always think that best which is most hidden; for the best things are ever at hand, inherent in the things themselves, and most easily discerned by their own light, being the first things our eyes meet with if we wink not: but we still seek them, as if they did continually hide and withdraw themselves from our eyes; we never think them to be near and about the matters in hand: but we seek them in bright colours, and some such like superficial ornaments, weakening the whole strength of our invention and design, with the unseasonable care of garnishing the work too much.  
Certainly, we are to fall to these arts with a more resolute courage: for whosoever can but assure himself that he hitteth the main and weightiest points of art aright, in making of an entire body, the same needs not trouble himself much about the neatness of some little hairs, and of the uttermost ends of the nails. A mean Artificer near the Aemilian School, saith Horace 
* De Arte. , doth imitate the nails and the soft hair most accuratly in brass: he maketh this the unfortunate height of his workmanship, because he doth not know how to express the whole man as it is fit. As for mine own self, if I were to make any thing, I would as little desire to be like unto him, as to have an ill nose, being otherwise graced with black eyes and black hair. The old Commentator maketh this gloss upon these words of the Poet: the Aemilian school was a place not far from the Circus, so called because one Aemilius had his gladiators there. About this same school there did live a Statuary who did express the nails and hair passing well, leaving all the rest imperfect; wherefore he was very much laughed at.  
I perceive that the earnest care of admonishing draweth me too fare: although my purpose was not to strip picture of all manner of ornament, and quite to banish it, but to forewarn some unadvised Artists only, that they should not bewray their care of trimming too much, remembering always the praiseworthy severity of Athenion the Maronite, who was compared with Nicias, yea and somewhat preferred before him, saith Pliny 
* Lib. xxxv. cap. 11. . He was more austere in his colours, and yet more pleasant in his austerity: so that in his pictures itself there did appear some kind of learning.  
Thus much may suffice of Colour. It is time now still to prosecute our intended order. And because a good invention well designed and seasonably coloured, cannot but represent some action & passion, it remaineth that we should further consider, what that is which here we do call Action and Passion, as also wherein Life and Motion resulting out of these two doth consist.   

CHAP. IU.  
AN image though it expresseth all the lines of truth, yet doth it lack force, as being destitute of motion, saith Tertullian 
* Lib. II. advers. Maro. . Clay wanteth vigour, saith Apuleius 
* In Apolog. , stones want colour, pictures want stiffness, and every one of these want motion, the only thing which representeth a similitude most faithfully. This is ever true in the real motion, and it was sometimes true in the resembled motion also; there being anciently in the works of the first founders of Art, a very dull, stupid, and unmooveable rigour, void of all life and motion. But of this same unpleasant kind of workmanship we brought some proof already, lib. I. cap. III. § 1. Cimon Cleonaeus was the first that found out Catagrapha, that is, obliqne or travers images, varying the countenances of men, by making them not only to look back, but up and down also. See Pliny, lib. xxxv. cap. 8. From thence forth it grew an ordinary practice to alter the shapes, countenances, postures, and to fit the whole work to a certain kind of action. There is but small grace in an upright body, saith Quintilian 
* Lib. TWO, orat. instit. cap. 13. , all cometh to this, that the face befull opposite against us, the arms hanging down, the feet joined close together, and that the whole work from the highest to the lowest be unmooveable and stiff: that same winding and moving addeth a certain kind of gesture to the things expressed: the hands therefore are not always made after the same manner, and the countenance is changed a thousand several ways: some bodies represent a violent force in running; some do either sit or lie down; some are naked; some are apparelled; some are half naked and half apparelled. What is there, I pray you, so crookedly distorted and painfully belaboured as that same Discobolus made by Myron? yet if any man dispraiseth the work because it seemeth not to be strait enough, shall not that man instantly betray his unskilfulness in matters of Art, seeing that same novelty and difficulty is therein most of all praiseworthy? Motion therefore is a great point of Art: neither is it hard, in my opinion, to find the beaten way which leadeth us to this perfection. It behooveth us only to cast our eyes upon Nature, and to insist in her steps; seeing the whole study of these Arts is principally bend to imitate the several actions of our mind with a decent and comely grace; neither will the minds of judicious spectators admit any thing, unless they do find by an accurate collation that there is an indiscernible similitude between the represented figures and the truth of Nature.  
§ 2. All manner of decency ariseth out of a comely gesture appearing in the motion of our bodies; and as the head in our bodies themselves is accounted to be the principal member, so is it likewise the main instrument whereby we do express such affections and passions of our mind as are most decent and suitable for the present occasions. The head being cast down, signifieth humbleness; being cast back, arrogance; being hung on either side, languishing; being stiff and sturdy, it signifieth a churlish barbarousness of the mind. We have also certain ways of granting, refusing, and avouching with our head: beside that therein are seated the passions of bashfulness, doubtfulness, admiration, and indignation, incident unto all sorts of men. The countenance therefore beareth here the greatest sway; since we do sue, threaten, and fawn by the gesture of our countenance: we are known by our countenance to be sad, merry, full of courage, or else dejected and abased: our countenance draweth the eyes of men to itself, before we do either stir or speak: it is easy to read love or hatred in our countenances; seeing we are better understood by them, then by all the words in the world: nay, the motions of the countenance do best express the state of the mind; as when we see the blood sometimes overflow a tender countenance, discovering the soul's modesty by a blush; sometimes again betraying her cold fears, by an over-pale ebb; witnessing likewise the minds calm, by an equal temper of the countenance. Now of all parts of the countenance the eyes are most powerful, being as the soul's window; for in them, even when they move not, either our cheerfulness shineth forth, or a cloud of sadness overshadoweth them. Nature also for the same purpose hath furnished them with tears, which either in grief burst forth, or melt with joy. But their motion doth more especially express our earnest intention, our neglect, pride, spitefulness, meekness, sharpness; all which are to be imitated as the nature of the represented action shall require: sometimes also they must be staring and piercing, closed and hidden, languishing and dull, wanton and stirring or loosely swimming in pleasure, glancing and (to speak so, venereal, ask or promising something; which to express, the eyelids and ball of the cheek do wonderfully assist. The eyebrows have also many actions; for they do in some sort fashion the eyes, and principally command the forehead, sometimes contracting, sometimes raising, and sometimes letting it fall: wrinkled brows, declare sadness: freely displayed, show cheerfulness: shame appeareth in a hanging brow: we do likewise consent or descent by the elation or depression of our brows. The nose and lips signify mocking, scorning, loathing: even in common speech we must take care that the motion of our lips be moderate; seeing our discourse is rather a work of the whole mouth, then of the lips alone, and therefore it is unseemly to put out the lips, to stretch them in length, to press them together, to discover the teeth by opening them too wide, to draw them awry to either ear, to turn them out for scorn. The neck ought to be carried strait, but not stiff, or cast back: so is it alike ill-becoming, either to contract or to stretch out the neck. The shrinking up of the shoulders is seldom decent, for by that the neck is shortened, besides that it is a gesture belonging to a base, servile, and crafty knave, when with the shoulders he doth fain flattery, admiration, or fear. In familiar speech it is very graceful gently to cast forth the arm, slacking the shoulders a little, and spreading the fingers of the hand put forth: but when we do represent one speaking of a more notable and copious matter, we spread his arm forth toward one side, that the discourse might seem to flow according to that motion. As for the hands, without which all action is maimed and impotent, it is hard to set down how many motions they have: for whereas other parts do assist us while we speak, the hands themselves, if a man may say so, do speak. For, I pray, do not the hands demand, promise, call, dismiss, threaten, request, abhor, fear, ask, deny? do not the hands express joy, sadness, doubt, confession, repentance, measure, plenty, number, time? do not the same hands encourage, beseech, hinder, approve, admire, and witness shame? so that in this great diversity of tongues among all Nations, this seemeth to be the common language of all men. The hand hath also some short motions; for sometimes it is moved and gently let fall by turns, with some help of the shoulders, as their manner is that make vows; which motion is most proper for them who speak sparingly and as it were fearfully. In admiration we hold the hand up, bend somewhat backward, with all the fingers closed, which in the return we do both spread and turn in one motion. When we do ask, we do always frame our gesture after one and the same manner, but for the most part we change our hand, in what posture soever it is. When we approve or relate, we join the top of the forefinger to the thumb nail next to it, leaving out the other fingers. A slow motion of the hand doth promise and sooth: a more quick motion doth exhort sometimes commending. The hand hollow and spread, and lifted up above the shoulder with some kind of motion, doth also encourage. We close the finger's ends, and gently put them at our mouth, when we wonder and deprecate, fearing some sudden indignity. In penitence and anger we lay our closed hand to the breast. Such as are skilful and curious in these matters, give caution not to lift the hand above the eyes, or not to let it fall below the breast: accounting it a great fault to fetch it from the head, or bring it down so low as the belly. Toward the left side it moveth as far as the left shoulder, but not beyond; only in aversation, thrusting out the hand toward the left side, we bring the left shoulder forward, that it may agree with the head bearing toward the right hand. The left hand never maketh any motion alone, but often applieth itself to the right hand: whether we set our reasons in order upon our fingers, or detest, by turning both palms toward the left side; or resist, or spread them out on either side, endeavouring to give satisfaction, or else making an humble request. The hands express also some further affection; so that their motions in small, sorrowful, temperate things be short; but more extended in all manner of great, joyful, and cruel or tragical things. The motion of the whole body is also of some moment, wherein the chiefest observation aught to be, that the breast and belly be not so put forth as to bow the back, seeing all supinitie is odious. Let the sides accord with the other motions. In the feet observe either their posture or their motion. It were endless to pursue all the particulars. These things alleged out of Quintilian 
* Li. xi. orat. instit. cap. 3. , may very well suffice; in whom whosoever desireth it may receive further satisfaction.  
§ 3. These things being well observed, there will instantly in the very eyes appear that which Philostratus 
* Icon. li. II. in Panth.  calleth the meaning and intention of the eyes. Yea, the history of manners, mentioned in Callistratus 
* In descript. stat. Naercissi. , will show itself every where in the work. For it is not enough that carved and painted images resemble the proportion and colour of the life, unless there do likewise discover itself in the demeanour of the whole body, but especially in the cast of the eyes, some kind of vigour answerable unto the several occasions and circumstances of the represented history. Imitation busieth itself most of all about the expressing of manners, saith Proclus 
* In Platon. Polit. . See Horace in his Art of Poesy. Hector his statue erected in a most conspicuous place of the City Troy, resembleth a demigod, saith Philostratus 
* In Heroic. , and expresseth many motions of his mind, if a man doth rightly view him. For he seemeth lofty, stern, cheerful, and of an able body for all the delicacy which showeth itself in his limbs: he is likewise completely beautiful without any hair; and he is filled with such a lively breath, as to invite the spectators to touch him. Callistratus 
* In descript. stat. Aescul.  therefore had good reason to call Statuary an Art of counterfeiting manners, seeing it is not her only work to express the true lineaments of the bodies imitated, but to represent also their several demeanours, according to the difference of the resembled persons. Observe the same in Picture. Ulysses is manifestly discerned by his austerity and vigilancy, saith Philostratus 
* Icon. li. II. in pict. Antil. ; Menelaus by his gentle mildness; Agamemnon by a certain kind of divine Majesty; in Diomedes you may see the picture of a free and bold spirit; Ajax Telamonius is known by his grim look; Locrus by his ready forwardness. Hence it is that great masters did ever change their hand as it were when they are to express gods, Kings, priests, Senators, orators, musicians, giving unto every one of them what is fit and proper for them. The Image of Jupiter is discerned from the images of the other gods, by a royal look, as Ovid 
* Li. vi. Metam.  speaketh in the description of Arachne's work. The picture of King Agamemnon, as we may see in Philostratus his words alleged a little before, was known by a certain kind of Divine majesty. Amphiaraus the Prophet, as the same Philostratus 
* Li. I. Icon.  observeth in his picture, had a sacred and reverend look, being like unto one that was ready to breathe forth some Oracles. The younger Pliny 
* Li. I. ep. 14.  commendeth Minutius A cilianus, for a certain kind of grace that might very well become a Senator. Cermanicus Caesar being about to make a speech, had the true countenance and posture of an eloquent man, as Ovid 
* II. de Pont. Eleg. 5.  speaketh. So doth the same Ovid describe Apollo fitting of himself to play for strife with Pan; his very posture, saith he 
* xi Metam. , was the posture of an artificer. We have in Apuleius a very neat description of Bathyllus his statue made in this posture. Before the Altar stood the statue of Bathyllus, saith he 
* In Floridis. , dedicated by Polycrates the Tyrant; one of the most accomplished, in my judgement, that ever I knew. It is a young man beautiful even to admiration: his hair being put beside the forehead, hung equally divided by either cheek. Behind, the hair in a more free length, even down to the shoulders, did hide his fair neck; yet so, that in many places it did shine between the locks. His neck full, his cheek plump and smooth, his face of a mean proportion. His posture was in all things like a Musician; he looked upon the goddess as if he sang, having on an embroidered coat which hung down to his very feet, with a Grecian girdle. Both his arms were covered with a cloak to the wrists. All other accoutrements were gracefully suited to the person. He had his instrument close fitted to an embossed belt. His pliant hands attended their several charge: the left being somewhat advanced, did with divided fingers warble the strings: the right did in a playing gesture apply the stick to the instrument, as ready to strike; and at every rest in the hymn, the song seemed most sweetly to melt from his round mouth, his lips half opening with the endeavour. The pictures of Amphion playing upon the harp, and of Olympus piping, are described in Philostratus, Iconum lib. I. Callistratus maketh likewise a most lively description of a piping satire. Whosoever will take so much pains as to turn to these Authors, the same shall questionless think his labour well bestowed. As for myself, I cannot find in my heart to transcribe all such expressions, for fear of being too tedious. I will only for further proof of their accurateness in this point, add a few examples more.  
Zeuxis made Penelope, in whom he seemeth to have painted her manners. Plin. xxxv. 9  
Echion made a new married and notably shamefaced woman. Plin. xxxv. 10.  
Aristides Thebanus painted a running chariot drawn with four horses: he made also a Suppliant, in a manner expressing his voice itself. Plin. xxxv. 10.  
Antiphilus is commended for a boy blowing the fire, and a fair house beginning to glitter, but especially for the lads mouth. He is likewise commended for a picture of spindle work, wherein the threads of every spinning woman seem to make very great haste. Plin. xxxv. 11.  
Boëthus his Babe doth wonderfully strangle a goose. Pliny xxxiv. 8.  
Philoxenus Eretrius made the picture of Wantonness; wherein three Silenusses do most riotously banquet. Pliny, xxxv. 10.  
Parrhasius made two very famous pictures, known by the name Hoplitides, pictures of armed men: the one doth so run his race, as that he seemeth to sweat; the other putting off his armour, may be perceived to draw his breath with much difficulty. Plin. xxxv. 10.  
Praxiteles made two figures expressing several effects: the one representeth a weeping matron, the other resembleth a rejoicing whore. It is thought that it is Phryne, and many do perceive in her the love she bore the Artificer, and a reward withal in the countenance of the whore, Plin. xxxiv. 8.  
Euphranor made Alexander Paris: and it is wonderful in this picture, That Paris may be understood at once, to be a Judge of the goddesses, a wooer of Helena, and yet a killer of Achilles. Plin. xxxiv. 8.  
§ 4. This was a great point, and mightily studied of the Ancients; seeing the whole labour of art, wanting this life of manners, is but a dry, barren, and unpleasant toil, without either soul or spirit. Neither is there any thing which can add a more lively and forcible grace to the work, than the likeness of an outward motion, proceeding from the inward commotions of the mind. Socrates therefore doth urge this very much, in his most excellent discourse held with Parrhasius the Painter, and with Clito the Statuary. See Xenophon, lib. III Apomnem. When I say that this point was much studied of the Ancients, my meaning is not that an Artificer should keep himself too busy about these affections and passions of the mind. The heat of our stirred thoughts, saith Quintilian 
* Lib. X, orat. instit. cap. 3. , doth most commonly do more in these things than diligence. And whosoever presumeth to beat out the true images of all manner of affections and passions, by an immoderate eagerness of thinking, the same shall questionless find himself deceived. Study and diligence will never furnish us with such images as must readily flow out of the nature and constitution of the matter in hand. An Artificer therefore who desireth to move the spectator with his work after it is finished, had need first to be moved himself when he goeth about to conceive and to express his intended work. A mind rightly affected and passionated is the only fountain whereout there do issue forth such violent streams of passions, that the spectator, not being able to resist, is carried away against his will, whithersoever the force of such an Imperious Art listeth to drive him. See Hor. in art. poet Afflicted folks, their grief being as yet fresh, saith Quintilian 
* Li. vi. orat. Instit. ca 2. , seem to cry out some things most eloquently. So doth anger sometimes make unlearned men well spoken; and that for no other reason, but because the force of their thoroughly stirred mind worketh in them the truth of such passions. If therefore we do desire to come near the truth, it is requisite that we should find ourselves even so affected as they are who suffer indeed. Nothing can be inflamed without fire; nothing can wet us without moisture; neither is there aught which giveth unto another thing the colour it hath not. Whatsoever therefore we would have prevail with others, must first prevail with us: and we shall endeavour in vain to move others, unless we do find ourselves first moved. But how shall this come to pass that we should be moved, seeing these commotions are not in our power? Phantasie doth so represent unto our mind the images of things absent, as if we had them at hand, and saw them before our eyes. Whosoever therefore conceiveth these images aright, propounding unto himself the truth of things and actions, the same is likely to be most powerful in all manner of affections: seeing his endeavours shall be waited upon by a virtue known by the Greek name Energia. Tully calleth it Evidence and Perspicuity. This virtue seemeth to show the whole matter; and it bringeth to pass, that the affections follow us with such a lively representation, as if we were by at the doing of the things imagined.  
Philostratus, Iconum lib. II. in the pictures of Ajax, Locrus, and Thessalia, giveth us examples of this Energia. See the younger Philostratus also in the picture of Pyrrhus.  
Aristides Thebanus was the first who painted the mind, expressing all the affections and perturbations. One of his pieces contained the picture of an infant, which in a surprised city crept to the breast of his mother that was a dying of a wound. The mother may be understood to have some feeling of it, and she seemeth to fear lest the child finding no milk, should suck up the blood. Plin. xxxv. 10.  
Parrhasius painted two boys, in whom you may see the security and simplicity of those years. Plin. xxxv. 10.  
Nicearchus' painted Hercules sad for shame of his frenzy. Pliny xxxv, 11.  
Antiphilus painted Hippolytus frighted with the sea-monster, Pliny xxxv, 10.  
Ctesilas made a wounded man fainting, so that one may understand by him how much life there is as yet left in him, Pliny xxxiv, 8. There are also among Apelles his works divers images of men that are a dying, Pliny xxxv, 10.  
Leocras made an eagle which felt in Ganymedes what he ravished, and unto whom he was to carry it; withholding his claws so carefully, as not to pierce his garment by grappling, Pliny xxxiv, 8.  
Myron made a satire admiring the pipes, Pline xxxiv, 8.  
Naucerus made a Wrestler fetching of his wind, Pliny xxxiv, 8.  
Alcamenes his Vulcan is very much commended at Athens: for though he standeth still and is apparelled, yet doth there gently appear in him a certain kind of wellfavoured lameness, Cicero lib. I, de Nat. Deorum: see likewise Valer. Maximus lib. VIII, cap. 11, ex. ext. 3.  
Ctesilochus made himself known by a wanton picture, having painted Jupiter as he was in labour of Bacchus among divers Goddesses that played the midwives; he groaneth most pitifully after the manner of women in travel, and his head is wrapped about in a coif used by sick folks, Pliny xxxv, 11.  
Theodorus painted Leontium, Epicurus his sweetheart, meditating, Pliny xxxv, 11.  
Lysippus is famous for a drunken woman playing upon a Fluit, Pliny xxxiv, 8. Myron, who was much commended for working in brass, made at Smyrna a very famous old drunken woman, Pliny xxxvi, 5. The ancient carvers made Hercules sometimes with a drinking pot, reeling and staggering after the fashion of a drunken man; not only because he is reported to have been a great drinker, but also etc. see Macrobius. lib. V. Saturnal. cap. 21. Stratonicus is more truly said to have gently laid down in a cup a Satire overcome with sleep, then to have engraved him, Pliny xxxiii, 12. Diodorus did lay the satire a sleep, and not engrave him, saith Plato 
* Lib. IU. cap. 12. Anthol. Graec. Epigramm. , you shall waken him, if you stir him never so little. Philostratus in the picture of the sleeping Ariadne, behold Ariadne, saith he 
* Lib. I, Iconum. , or rather sleep itself. And again in Midas his picture, the satire sleepeth, saith he 
* Ibidem. , let us speak softly, lest he do awake out of his sleep, and spoil the whole sight.  
§ 5. It were an easy matter to allege many other examples of that same success the ancient Masters had in their passionate expressing of all manner of passions, but that we know they should not be believed: if therefore any one in his reading of good authors meeteth with some such like relations that may seem incredible, let him observe here by the way that these great Artificers have had many helps of Art unknown unto us. When Aristonidas would express the quailing of Athamas his mad fit, together with his repentance, saith Pliny 
* Lib. xxxiv, cap. 14. , for having thrown down his own son Learchus; he mixed iron and brass, that the rustiness of the iron shining through the clearness of brass might represent a shamefaced redness. Plutarch doth report that a certain Artificer who made the statue of Jocasta, found a way to mix in her face some silver with the brass, knowing that the brass would draw from the languishing silver such a colour as might serve the present occasion: see Plutarch lib. V Sympos. quaest. 1. Egypt dyeth silver also, that it might behold his Anubis in the vessels: silver is stained there, not engraven: the material is turned from thence to the triumphal statues, and it is wonderful that the price of a darkened brightness should be so much heightened. Antonius the Triumvir his pennies were mixed with iron; and it is admirable that we desire nothing so much in this Art as to learn the way of corrupting Art: these adulterated and corrupted pennies are most greedily sought after; so that men stick not to buy one falsified penny with many good ones. Pliny xxxiii, 9 If some lead be added to the brass of Cyprus, there is made a purple colour in the borders of such statues as have that kind of gown which was called Toga praetexta, Pliny xxxiv, 9 Brass being confounded with gold and silver, received in times past a good mixture, saith the same Pliny 
* Lib. xxxiv, cap. 2. , and yet was the Art more precious: whereas now it may be questioned whether the Art or the material be worse: it is very strange that the Art should be so much decayed, seeing the price of all manner of rare workmanship is infinitely raised. It was most of all discovered in the times of Nero the Emperor that the ancient Art of casting in brass was utterly lost: for Zenodorus the Statuary, who in that age was held never a whit inferior to any of the ancients, making a Colosse of C X feet after the image of Nero, could not reach the art of tempering the metals as it was used by the ancients, though the Emperor shown himself ready enough to bestow so much gold and silver upon the work as might be required: see Pliny lib. xxxiv, sub finem capitis Septimi.  
§ 6. As it is then clear, that the ancients by this rare skill of tempering the metals did sometimes infuse a more notable force of life in their works; so did they more frequently, without any such mixing of the materials, express both in statues and pictures the liveliness mentioned by Callistratus in his description of Bacchus his statue cast by Praxiteles. So saith the same author in his description of the dissolutely running and revelling Baccha made by Scopas in marble, The stone having no life in itself, hath liveliness, etc. And again in the description of Orpheus his statue, his hair is so gallant and maketh such a jolly show of life and spirit, that it deceiveth the sense, &c It will be worth your pains to see in Callistratus how he maketh these descriptions at large; and you shall learn that it is a singular perfection of Art, when there is in the work such a lively expression of passion, when there is in the whole body such a sweet swelling softness, and such a near resemblance of the truth that the image cannot well be discerned from the thing itself whose image it beareth. Damagetus 
* Lib. IV, Anthol. Epigr. Graec. cap. 8.  calleth Hercules his fight with Antaeus wrought in brass, a living workmanship. There was at Pergamus a famous image of Cephissodorus, representing two boys clipping and kissing one another; the very bodies themselves, saith Pliny 
* Lib. xxxvi cap. 5. , and not the marble receive the true prints of the fingers: the ivory image carved by Pygmalion giveth us another example of this softness; for Pygmalion standing well affected to the fabric of his own hands, saith Ovid 
* Lib. X. Metamorph. , was apt to persuade himself that nothing but a modest shame withheld her from moving: he believed that his fingers did sink into the touched parts; fearing lest her body might grow black and blue where it should be pressed somewhat too hard. The same Ovid 
* Lib. VI, Metam. , when he describeth the rape of Europa woven by Arachne addeth among the rest, you would think the Bull to be a true Bull, and the Sea to be the true Sea. So saith Petronius Arbiter 
* In Satyrico , I was surprised with a certain kind of horror when I took in hand Protogenes his rudiments, which did strive with the truth of Nature itself. Art therefore is never better, but when she is likest unto Nature: Art is then perfect, saith Dionysius Longinus 
* Desubilim orat. § 19 , when she seemeth to be Nature. This was the reason why Apelles mistrusting the judgement of partial censurers, did appeal from them to the very beasts: for having perceived, saith Pliny 
* Lib. xxxv, cap. 10. , that his emulators were like to prevail by some favour prepared with great suit, he shown every one his work unto some horses that were brought into the room: but the horses did only neighe to Apelles his horse: and this was ever after held to be a trial of Art: see Aelian. var. hist. lib. TWO, cap. 3. and Valer. Maximus lib. VIII, cap. 11. exemplo externo 4. Such Painters on the the contrary as did mistrust their own skill, and found themselves to come fare short of Nature, could never abide that their pictures should be compared with that truth of life which is in things natural. A certain Painter therefore, as Plutarch 
* De discradul. & amici.  reporteth, who painted cocks most unluckily, gave his boy great charge, to chase the true cocks away from his picture.  
§ 7. Though our present discourse hath busied itself sufficiently with this point of Life and Motion, yet may we not leave it so, unless we do first touch their error a little who cannot be persuaded that there is any life and spirit in their works, unless they fill them with a show of I know not what laborious and painful endeavours of several actions: for seeking the Art where it is not to be fought, and so missing the true way of Art, they fall into a youthful and lightheaded kind of trifling, proceeding from an unexperienced unskilfulness of what is good and decent Plutarch 
* Ad principem ineruditum.  therefore doth justly reproove those unadvised carvers, who think that their colossy works shall seem greater and lustier, if they make them stretching of themselves immoderately, striding furiously, and gaping fearfully. This imperfection is well and properly called parenthyrsus: and it is nothing else but an unseasonable and vain passion, saith Longinus 
* De sublimi orat. § 2. , where there needs no passion; or else an immoderate passion, where a moderate might serve the turn: for some, as if they were besotted with drink, use many passions of their own, or else brought out of the schools, never regarding whether they be proper for the matter in hand.   

CHAP. V.  
DEMOCRITUS was of opinion, that Colours are nothing in their own nature; but that the mixtures made of them do then only stir our fantasies, when upon a meet and proportionable application there appeareth in them order, figure, and disposition 
* Stobaeus Eclog. physic. cap. 19 . It is certain therefore that colours being laid on after a seasonable and good order, do sometimes make up whole figures which never shall be able to affect our mind, merely for lack of a good Disposition. This same Disposition must be observed as well in a picture consisting of one figure, as in a picture containing many figures. What an unseemly and odious sight would it be, to see the picture of a man in grave and stately robes standing with his head upon the ground? it is true that Pauson, as Plutarch 
* Cur Pythia nune non reddat oracula carmine.  reporteth, being desired to make a tumbling and wallowing horse, made it running; and when he that bespoke the work did expostulate with him for not having performed his promise, Turn the picture, said Pauson, and you shall have your desire: but this was a mere trick of the Painter, who having painted the bare horse without either ground or sky, made it an indifferent thing to represent the horse running or wallowing, seeing the turning of the pictures upside down did alter the whole Disposition. A picture containing many figures refuseth to be so dallied with: every scheme or figure must have his proper posture and place according to the present occasion: so is there also a singular delight in such a variety; whereas on the contrary things never altering their show, as Theodoretus speaketh 
* Serm. TWO, de Providentiâ. , do quickly weary us. No wonder then if we are most taken with pictures of a full and copious argument, seeing such kind of pictures doth as it were put on a new face almost in every figure, suggesting still unto our greedy eye some fresh matter to feed on; especially, if so many and several schemes are well and orderly digested. The nature of man cannot name any other thing so useful and fair as order, saith Xenophon 
* In Oeconomico. : a tumultuous and casually confused piece of work doth never deserve any admiration: that picture is likely to ravish us, wherein every part is not only perfect in itself, but agreeth with the whole also by a natural and well-disposed collocation and connexion: every good thing is best in his own place, saith Cassiodorus 
* Variarum v. 22. , and whatsoever is praiseworthy, looseth the glory it hath, unless it do meet with his right place.  
§ 2. This is a mighty point, and requireth the care of a quick and clear brain: it is not enough that a man intending to build, should bring lime, stones, and other materials together, unless he take further care that all the congested stuff might be well and orderly digested by a skilful hand: even so in picture, the plentiful copiousness of a most rich and fertile argument shall be nothing else but an unpleasant heap of wildly scattered figures, unless Disposition tie them together by a good and decent order. Let all the joints and members of a brazen figure be ready cast, yet shall they never make up a statue, not being fitted to their peculiar places; and if then any one part chance to be misplaced, if an ear standeth in place of the nose, if a leg be put where the arm should be, the whole figure will presently seem monstruous and prodigious: all the parts of our body, being but lightly put out of joint, do instantly lose the use they had before: so do disordered Armies most commonly feel the want of order. Nature itself seemeth to be upholden by order: and as it is certain that nothing, which wanteth this support, can subsist; so must Picture needs run at random, roving and wandering without any guide, after the fashion of those who straying in unknown and dark places cannot tell where to begin and where to end their journey, suffering themselves rather to be guided by chance then counsel: whosoever on the contrary hath but once framed in his mind a disposition of the conceived matter, the same, if he be but a tolerable Artificer, shall dispatch the rest with a wonderful ease: The matter being considered of aforehand, saith Horace 
* De Arte Poeticâ. , words use to follow with an unconstrained facility. The ancient Commentator instancing upon these words of the Poet, Menander, saith he, having made the disposition of a fable, though he had not yet trimmed it up with verses, was wont to say that he had already accomplished it.  
§ 3. Seeing then that the very framing and ordering of a conceived Disposition doth in a manner accomplish the work, it behooveth us to go earnestly about it and diligently to consider what helps there are afforded us to the furthering of this point But here we are first to distinguish the Disposition as it is annexed to the Invention, from the Disposition as it is the work of an accurate Proportion. Disposition as it is an exed to the Invention, doth express a lively image of that order which the nature of the invented things imprinteth in our mind: this is a work of great consequence, and it requireth singular care: for if the ancients had known a certain way of Disposition which might have fitted all matters, a good many should have excelled in it: Apelles especially, that same bright lodestar of Art, should have attained this praise above all the rest: who now, not daring to ascribe this glory unto himself, was compelled to yield unto Amphion: see Pliny lib. xxxv, cap. 10. For as much then as there hath always been and ever shall be an infinite sort of images, seeing also that never any man as yet could meet with an argument which in all things was like unto another argument; it is evident that an Artificer, who is loath to mistake, must be circumspect, vigilant, judicious, full of invention, and apt to advise himself according as the several occasions of the matter in hand shall require. I cannot deny in the mean time but that there are some observations which in such a tickle point may stand for Rules, and these I will not omit.  
§ 4. The chiefest help of Disposition consisteth therein, that we acquaint our thoughts with the very presence, as it were, of the conceived matter: for if the history doth but once begin to plant her image in our imagination, the very handling of the matter and the reentring into the presence of things will instantly suggest into us a ready and sure way how to order and place every figure: but we must suffer our understanding to be directed to the wellhead of the history itself, that from thence gathering the full intention of the conceit, we might at one view, rightly apprehend the whole argument: for if we do but understand it by half & confusedly, the Disposition must needs be lame and imperfect: We must fix our mind, not upon one thing only, saith Quintilian 
* Lib. X. orat. instit. cap. 7. , but upon many continued things at once: even as when we cast our eyes through a strait way, we see all at once what is in it and about it: we do not only see the end, but to the end. There is most commonly in every copious and historical argument a first, second, and third sense: neither is it enough that we labour to settle them in order, but we must moreover endeavour to join and to connect them so cunningly, that it might not be perceived where and how they are joined, as being now no more parts and members, but an entire body: which will be performed most prosperously, if we having ripely considered the natural agreement of things, do not join repugnant figures, but such only as hold together: for by this means shall divers things out of sundry places, though never so unacquainted, meet after a friendly manner; they shall not dash one against another, but rather unite and consociate themselves with what goeth before and followeth after; even as if they were made one, not so much by an artificial composition, as by a natural continuation, Quintil. VII, 10.  
§ 5. It is then in any wise necessary that we should fit and frame the whole structure of our Disposition to the order which was kept in the things themselves when they were adoing. Himerius urgeth this point in that most excellent picture conceived and disposed by himself, wherein he would have the Painter express the tragical history of a rich man murdering a poor man's son whom he had adopted, and found him afterwards committing of adultery with his mother. Get a Painter, saith Himerius 
* Apud Photium. , of a tragical hand, but of a more tragical mind: bid him keep that order in his picture, which was the order of my misfortunes, etc. vide locum. Observe only that the method of a painted history must not always betyed to the laws of a penned history: an historiographer discourseth of affairs orderly as they were done, according as well the times as the actions: but a Painter thrusteth himself into the very midst, even where it most concerneth him: and recoursing from thence to the things forepast, preventing likewise the things to come, he maketh his Art all at once represent things already done, things that are adoing, and things which are as yet to be done. Picture pourtrayeth what is already done, what is adoing, and what as yet is to be done; saith Philostratus 
* Iconum lib. I, in Bospore. , not by their multitude slightly passing over the truth, but perfiting in every one of these things what is most proper for them, as if she busied herself but about that same one thing.  
§ 6. Every picture consisting of many figures must needs have some historical part in it, seeing it is but a dull and unprofitable thing when many schemes are heaped up together without either sense or learning: it is ever requisite that the very figures which are represented in the work, should teach us by a speechless discourse what connexion there is in them: but because in every historical relation the things that are a doing are ever most remarkable, so is it that an understanding and wary Artificer doth ever assign the principal place unto the principal figures which have the chiefest hand in the represented action. We are e-ever to begin with what is chief, saith Quintilian 
* Orat. instit. lib. III, cap. 9 , neither doth any man, that is to make a picture or statue, take his beginning at the feet. As for the other circumstances, he fitteth them afterwards unto several places, representing them a fare off in smaller figures, and sometimes also involving them and shutting them up as it were in a certain kind of mist: The Painter hath shed a mist about the other things, saith Philostratus 
* Iconum lib. TWO, in Insulis. , that they might rather resemble things already done, than things that are a doing. We need not insist any longer upon this point, seeing it is clear enough. Thus much only do we think it good to advertise the Artificer, that it is always his safest course to make an end of the principal figures whilst his mind is ready and fresh; seeing Euphranor his mishap may teach him how dangerous it is to delay any of the principal figures till the heat of his first spirit be consumed and spent upon other figures: though Nature doth very often suffer Art to emulate her strength, saith Valer. Maximus 
* Lib. VIII. cap. 11. ex. ext. 5. , yet sometimes doth she frustrate and shame the Art tired with an unprofitable toil. Euphranor his hand felt this: for when he did paint the twelve Gods at Athens, he did bestow the most excellent colours of majesty upon Neptune's image, intending to make Jupiter his picture somewhat more majestical; but having spent the wholforce of his thoughts about the former work, he could never raise his latter endeavours to the intended height.  
§ 7. Although we do hold that a full and copious argument is most capable of a neat and praiseworthy Disposition, yet can we not think that those make good use of the plenteousness of the conceived matter, who finding great variety of persons, places, and actions, pick out one or other thing wherein their imperfect skill might chief exercise and hide itself, studying always upon every occasion to patch up their defective Disposition with something they are best used to: A poor and ridiculous Painter, who kn●w almost nothing else but how to paint a Cypress tree, saith Acron 
* In Hor. de Arte. , being desired by one that had suffered shipwreck, to draw him, and the whole resemblance of his most miserable misfortune, asked instantly, whether he would not have a Cypress tree painted among the rest. But this is not the way of Art; a sound and uncorrupt way of art is best allowed of, when it useth all the strength it hath, when it leaveth nothing unattempted, but goeth boldly in hand with the whole matter. It is therefore an infallible sign of a confessed weakness, when a painter meeting with an abundant and pleasant history, findeth himself so much frighted and overcharged with the very weight of the matter, as that he dareth not undertake to beautify every part of that order which floweth out of the nature of things, but bestoweth all his skill & care upon the shield of some famous Captain offered in the story, or else upon a cave delicately overshadowed with Ivy, Laurel, Myrtle. These shifts & byways, saith Quintil. 
* Orat. instit. li. i●, cap. 2.  are mere refuges to shelter our infirmity: even as they who cannot make their course good by running outright, are put to it to help themselves by turning and winding. Others though they do not intent to abuse the spectators, and to divert their eyes by such gay and glorious toys, from spying the defaults of their disposition, yet doth their gross ignorance drive them unto the same inconveniences; Being like unto a servingman newly enriched with an inheritance lately left him by his Master, saith Lucian 
* De conscrib. hist. , that knows not how to put on a goodly coat handsomely, and transgresseth the laws of banqueting upon every occasion, falling hastily to his victuals, as if he meant to burst his belly with some plain household pottage and course salt meats: whereas he might very well feed upon pullets, pork, hare.  
§ 8. A true Artist maketh choice of a full and copious argument, because he findeth it more agreeable with his vast and unstayed understanding, to entertain the freeness of his fancy, and to exercise the excellency of his Art in every part of the conceived matter. He shrinketh at nothing, but loveth to go boldly and confidently over the whole history. He cannot abide to have his fancy pinned up within the narrow compass of a poor and needy invention; assuring himself, that in such an abundance of things his wit and skill shall show themselves more abundantly. So doth Philostratus 
* Icon. li. II. in Rhodog.  teach us, That this variety of schemes and actions addeth unto the picture a most pleasant gracefulness. Those painters likewise were ever held in greatest admiration, which adventured to add the grace of a judicious and orderly disposition, to the most graceful and commendable variety of matter. Whereas others, though never so excellent in small pieces, are always to seek when one or other occasion putteth them upon a more copious argument. They are not able to save their former credit, when they do meet with any more grave & serious matter. Being like unto some small creatures, saith Quintilian 
* Orat. in stit. li. xii. cap. 2. , which are exceeding quick and nimble in narrow places, but are caught in an open field. Demetrius Phalereus his words are very remarkable: Nicias the painter maintained, saith he 
* De elocut. § 76. , That it is no small part of the art of painting, to take a matter sufficiently great, and so to paint, without mincing the art into small parcels, as little birds or flowers. He held therefore that a rare workman had better busy his skill about some famous horse-battels or sea-fights, wherein many several postures of horses might be expressed, some running, some standing upright, some falling down upon their knees; some horsemen also shooting, some falling down to the ground. For he was of opinion, that the argument itself is as well a part of Picture, as Fables are granted to be a part of Poesy.  
§ 9 It is then certain, that an extraordinary force of Art showeth itself most in an extraordinary argument, so loveth the best skill always to busy itself about the best matter. But seeing the Artificers intent nothing so much with the whole labour of their art, as to leave unto the following Ages an opinion of wit and art; it is likewise evident, that the work requireth a round, and not interrupted continuance: all the parts of it must be connected, easily rolling on, and gently flowing or rather following one another, after the manner of them that go hand in hand to strengthen their pace; they hold and are held. For a Workman shall never be esteemed judicious and witty, so long as there appear in his work some broken and abruptly dismembered passages. Even as they are deservedly laughed at, who going about to tell a tale do nothing but stutte and stammer, belching out some abrupt & pitifully chopped speeches. Where naked joints are propounded, saith Seneca 
* Lib. I. controv. in prooemio. , it is instantly manifest, if either the number or the order have not their due. What in other works useth to be rude, lose, and scattered, is ever in a good and perfect work, well grounded, finely framed, and strongly trussed up together. The whole period and compass of the represented history is so delightsome for the equable roundness of composition, and so grave for the seemly simplicity of handling and framing the matter, that it may be perceived even of the least, liked of the most, understood and judged only of the Learned. Which default, when as some endeavour to salve and recure in their works; they patch up the holes with pieces and rags borrowed of other men's inventions, corrupting the whole frame of their work, and making it like unto an ill relished gallamaufrey or hodgepodge, of several and very much disagreeing things.  
Yet can these men find in their hearts to boast, as if some instinct of an elevated spirit had newly ravished them above the meanness of common capacities. But sometimes, being in the midst of their bravery, suddenly either for want of matter, or skill in ordering the matter, sometimes also for having lost their former conceit loosely hanging together, they are very much pained and traveled in their remembrance, not knowing which way to turn themselves. To let these ragged and raking painters alone, I will content myself to say thus much only, That a picture is so much the worse, how much the better the sense and art of the scattered parts might be if they were well ordered; seeing the neglects committed in the disposition, are discovered by the lightsomeness of the things themselves; and whatsoever doth not hang well together, bewrayeth itself as well by an inequality of colour, as by the clefts and gaps appearing in a mis-joyned work. Quintil. xii. 9  
§ 10. Moreover, when we recommend a most copious argument unto the laborious care of an ingenious and industrious artificer, we do not commend their arrogance, who disdain to meddle with any mean matters, seeing a man may very well show his wit in small matters also, saith Paulus Silentarius, lib. IV, Graec. Epigrammatum, cap. 32.  
Neither do we think well of them, which meeting with a thin and spare argument, use to besmear it round about with many fine by-workes, set forth in glorious and glaring colours; sometimes also piecing and enlarging it in the midst with a great number of fare fetched additions, altogether disagreeing from the matter in hand: for all such things spoil the whole frame of the work, and make it totter, though they seem to strengthen and augment it. See Horace in his Art Poëticall. And Dionysius Longinus de sublimi Oratione, §. 8.  
Great masters use sometimes to blaze and to portray in most excellent pictures, not only the dainty lineaments of beauty, but they use also to shadow round about it rude thickets and craggy rocks, that by the horridness of such parts there might accrue a more excellent grace to the principal: even as a discord in music maketh now and then a comely concordance: and it falleth out very often, that the most curious spectators find themselves, I know not how, singularly delighted with such a disorderly order of a counterfeited rudeness. If therefore any one loveth to follow the example of that same Pamphilus, who, as Tully 
* Lib. III, de Orat.  reporteth, was wont to paint greatmatters in the midst of some garlands and labels, even as if they had been some childish recreations and pastimes, let him see how he speedeth with it. Great and exquisite masters choose rather to unfold great matters of argument covertly, than professing it, not to be able to perform it accordingly. They do not study to produce smoke out of light, but light out of smoke, saith Horace 
* De Arte Poet. , to the end that they might effect specious miracles. And again in the same treatise; I shall take ordinary matters in hand, that every one may hope to do the same. And yet is he likely to sweat much, and to lose all his labour, whosoever dareth attempt it: so much grace do mean and ordinary things receive from a good and orderly cannexion.  
§ 11 The chiefest benefit Picture receiveth by a good and orderly collocation of the figures, is Perspicuity: and sure it is, that a neat and convenient disposition doth no less advance the evidence and perspicuity of the Work, than Life and Motion is able to do. Let perspicuity show itself every where in the work, saith Lucian 
* De Conscrib. hist. , procured by the mutual connexion of things: for it will make every thing complete and perfect. The first being wrought, bringeth in the second which followeth: and this second is so linked together with the first: that there is no interruption between them both; no more are they several narrations joined together, seeing the first doth keep such good neighbourhood and correspondence with the second, that their extremities communicate and mix themselves one with another. Plutarch having related how Aratus freed the Pellenenses from the invasion of the Thessalians, This was accounted a very famous deed, saith he 
* In Arato. , and Timanthes the painter made the battle most apparently to be seen, for the good disposition used in the work. The younger Philostratus also in his picture of the Huntsmen, commendeth that piece principally for the perspicuous disposition it had. Good gods, saith he 
* In Venat. , how wonderful and how sweet is the perspicuity of the picture! it is easy to see therein every one his fortune. The seat suddenly made of nets cast in heaps, receiveth the chiefest masters of the sport, which are five. You cannot but mark the middlemost, how he row sing himself turneth to his fellows, as if he meant to acquaint them with what he had done, and how he had first thrown down one of the Deer, etc. Who listeth, may see in the elder and younger Philostratus many most accurate expressions of pictures commendable for their elegancy of disposition.  
§ 12. Disposition, as it is the work of an accurate proportion, observeth more particularly the distance of the figures, and of the several parts of figures. The nearness that is between this kind of disposition and proportion, moved Pliny to call it by the name of Symmetry. Apelles, saith he 
* Lib. xxxv. cap. 10. , was mightily taken with Asclepiodorus his Symmetry. For in saying so, he doth insinuate nothing else, but that Apelles could not come near Asclepiodorus for measures, that is, what distance there ought to be between figure and figure, as the same Pliny speaketh a little before. What concerneth this Disposition, we have no rule for it, our eye must teach us here what to do When the Artificers put many figures together upon one board, saith Quintil. 
* Li. viii. c. 5.  they distinguish them by their several places, lest the shadows should fall upon the bodies. But these places, faith the same Author elsewhere 
* Lib. ix, c. 4. , being here of great force, do not admit any other judgement but the judgement of our eyes. Having therefore already set down some rules for that same general disposition, which floweth out of the nature of the invented matter, we should now likewise add something concerning this particular Disposition, but that we find it wholly to be the work of a most curiously diligent and judicious eye. So doth the neatness and handsomeness of this disposition chiefly discover the Artificers judicious industry, or rather his laborious pain, as Philostratus speaketh: Let us consider the laborious pain of the painter, saith he 
* Icon. lib. 1. in Pelope. , for it is no small trouble, in my opinion, to gear four horses together, and not so much as to confound any of their legs, howsoever their gentleness be not without fierceness. The one standeth still, showing himself loath to stand: the other goeth about to carvet. In the third you may see a ready willingness to obey. The fourth rejoiceth in Pelops his beauty, enlarging his nostrils as if he were a neighing, etc.  
You may observe in the picture of Menaecus a world of schemes rightly placed. The walls for all that of the City Thebes yield us a most notable example of this particular Disposition. The painter's device is very sweet and pleasant, saith the elder Philostratus 
* Icon. lib. 1. in Menaec. , for having filled the city walls with armed men, he maketh it so, that some are seen at their full length, the legs of some are hidden, others do but show their half bodies, their breasts, their heads, their headpieces, their spear-heads. These things are nothing else but a certain kind of Proportion, seeing the eye must be beguiled after this manner whilst it passeth on through and with a convenient distance of such circles. Though all the figures represented in the picture of Hesione kept their just distance, yet was there a more peculiar way of art observed in the disposition of the several parts of the sea-monster: The sea-monster winding itself, saith the younger Philostratus 
* In Hesio. , not in one round, but with many and several turnings, some parts of it were seen in the water, refusing to be accurately discerned by reason of their deepness; some again did rise to such a height, that any one who is unexperienced in sea matters, would have taken them for little Islands, etc. The properties belonging to the disposition of things seen in the water, are more fully expressed in the following words: The colours of the fishes appear in the azure-coloured sea, saith the elder Philostratus 
* Icon. lib. I. in Piscator. : the uppermost seem to be black: the next to them come somewhat short of that blackness: the rest deceiveth our fight, being first shadowy, then waterish, and at length conceivable only. For our sight descending deep into the water, groweth dim, and will not suffer us to discern accuratly what is underneath. The same Philostratus in the description of Olympus his picture doth also teach us, That it is no small piece of workmanship to hit the true posture of such figures as do represent their own image in the water. Of the inversion of the figures represented in the water or in a looking glass, see Ausonius, in Mosella. And Agell. lib. xuj. noct. Attic. cap. 18.   

CHAP. VI  
SOme things, though they are very pleasing in their several parts, saith Quintilian 
* Orat. instit. lib. IV, cap. 2. , yet doth not the whole accord with the parts. A picture therefore may very well be commended for the excellency of invention, Proportion, Colour, Life, Disposition, and yet want that comely gracefulness, which is the life and soul of Art. These five heads, handled immediately before, do not suffer themselves to be severed; one alone will not serve; no more will two, or three, or four of them; they must go all jointly hand in hand: if there be but one wanting, it is to small purpose that we should busy ourselves overmuch about the rest. The consummation of a picture consisteth chiefly therein, that these five heads concurring, and lovingly conspiring, should breathe forth a certain kind of grace, most commonly called the air of the picture: which in itself is nothing else but a sweet consent of all manner of perfections heaped up in one piece: the best collection of the best things.  
Like diverse flours, whose diverse beauties serve  
To deck the earth with his well-coloured weed,  
Though each of them his private form preserve,  
Yet joining forms, one sight of beauty breed:  
saith a noble and famous Poet 
* Sir Philip Sidney in the third Book of his Arcadia. . Seeing then that a witty invention doth gently allure our mind, a neat proportion doth readily draw our eyes, a convenient colour doth pleasingly beguile our fancy, a lively motion doth forcibly stir our soul, an orderly disposition doth wonderfully charm all our senses; how shall not that picture have great power over our mind and spirits, in the which all these perfections are most sweetly united into one? The body of a man is not instantly esteemed graceful and comely, when as every part of it seemeth to be of a goodly feature; but when the perfection of every part produceth a perfectly well favoured comeliness in his whole shape and posture. A body therefore may very well be fair, and yet want this graceful comeliness, which ravisheth the eye of the beholders, by beautifying beauty itself. So doth Ovid 
* Lib. TWO, de Arte.  say, That there was in the beauty of Venus a sufficient mixture of grace. And Suetonius 
* In Nerone, cap. 51.  reporteth of Nero, That his body was rather fair than comely. Beauty doth not always beget liking; it is only Grace which maketh fair ones fairer than fair, by the lovely and delicate sweetness of a winning favour. In beautiful bodies grace is the life of beauty. Catullus observeth this difference in a comparison he maketh between Quintia and Lesbian. Many, saith he 
* Carm. 87. , hold Quintia to be fairer: she is in my opinion, white, tall, and straight. These particulars I do confess; as for the whole, that she should be beautiful, I deny that; seeing in such a great body of hers there is no comeliness at all, no not one crumb of pleasantness. Lesbian is beautiful indeed; for as she is perfectly fair, so hath she likewise stolen away all manner of graces from them that are most beautiful. Tibullus 
* Lib. iv. Eleg. 2.  doth also commend the beauty of Sulpitia, for the most comely demeanour it had; seeing she could do nothing, she could stir no where, but that her beauty was still waited upon by a certain kind of lovely grace, which did stealingly accompany her in all her actions, adding a most sweet and pleasing life to her native perfections. Claudia Rufina an English Lady endued with many extraordinary gifts of nature, is likewise commended by Martial 
* Lib. xi. Epigr. 54. , for having added to these good parts all the Graces which either Greece or Rome were able to afford. The case standeth even thus with picture: unless there be in the work that same air and comely Grace, which is made up by the concord and agreement of several accomplished parts, it cannot please the beholder. Even as a lute cannot delight the hearer, unless all the strings from the highest to the lowest being well tuned, strike the ear with the sweet harmony of a disagreeing agreement. Apelles was excellent at this: for though that age wherein he lived was very well stored with all manner of rare workmen, yet did he attribute this glory especially unto himself: having therefore commended the other Artificers sufficiently, he did not stick to say, that they did lack this Grace, though they had all other good qualities belonging to that art. See Pliny, xxxv. 10. Where the peerless artificer understandeth by this Grace, nothing else but a peculiar perfection of the Invention, Proportion, Colour, Motion, Disposition, so diffused through the whole work, that the picture we see doth not so much ravish our senses with the Invention, Proportion, Colour, Motion, Disposition, as they are complete and perfect in themselves, but rather as they bring all their peculiar perfections together, to achieve the highest perfection of an universal Grace indifferently, showing itself in the whole work, and in every part of it.  
§ 2. This is questionless that grace, which readily and freely proceeding out of the Artificers spirit, cannot be taught by any rules of art: no more can assiduity of importunate studies help us to it. Whatsoever is excessive is faulty, saith Quintilian 
* Orat. instit. li. viii. cap. 3. . Too much care therefore is rather like to spoil the comely sweetness of this Grace, than to advance it; and whensoever we do but begin to straighten the freeness of it by an unseasonable and over curious niceness of studying, the decent comeliness of the work is instantly gone and lost. Whatsoever doth not become the matter, cannot please, saith Quintilian 
* Orat. instit. lib. I, c. 11. . Every thing therefore which filleth the nature of the matter well enough, saith the same Author elsewhere 
* Orat. instit. lib. XI, cap. 1. , loseth the grace it hath, unless it be tempered with a certain kind of moderation: and a man may sooner feel the observation of this point in his own private judgement, than learn it by precepts. What is sufficient, and how much the present argument may receive, cannot be prescribed by measure and weight; seeing it is here as it is with meats, the one filleth us more than another. Hence it is that many, upon whom Nature hath somewhat niggardly bestowed her best gifts, make good shift to use them soberly and wisely, so at least that they might not misbecome them, saith Tully 
* Lib. I, de Oratore. ; for this is most of all to be avoided, and it is not easy to give precepts of this one thing. Roscius saith often in my hearing, that to become is the principal point of art, and this is the only thing which cannot be procured by Art. It is true, that art cannot procure this, yet doth it ever proceed & flow out of the force of a hidden and warily concealed art: seeing, Nothing can be effected without art, and decency doth always accompany Art. Do we not see how those darts fly most handsomely, which are hurled out most cunningly? Such archers likewise as have the surest hand, use withal to lose their arrows in a more comely manner, saith Quintilian 
* Orat. instit. lib. IX, cap. 4. . It remaineth then that we hold this grace to be the work of a wisely dissembled art. But if any man will needs believe, that such a high perfection is the fruit of a fertile and forward nature, the same must for all that grant us, that in this nature itself there shall be some kind of art, as the same Quintilian speaketh 
* Ibidem. . For these two, I mean Nature and Art, are so close coupled together, that the one may not be separated from the other, if we do intent to save the comeliness of the work: and whosoever meaneth to express the nature of this mighty and most characteristical virtue, the same must call it with Dionysius Halicarnassensis 
* In Lysia. , either a certain felicity of Nature, or a work of labour and Art, or else a habit and faculty arising out of the mixture of them both: even as Dionysius Longinus 
* De sublimi orat. § 32.  maintaineth that the perfection consisteth in a mutual coherence of these two: see the fourth Chapter of our First book, where we do speak something more of Nature and Art concurring to the constitution & accomplishment of the Art.  
§ 3. It is then most evident what a hard task they undertake, which go about to recommend their memories to the following age by one or other absolute piece of workmanship: seeing that this graceful comeliness is not sufficient to the work, unless there do moreover appear in it some successful effects of a bold and confident Facility. After that Pliny, as it is quoted in the first section of this present chapter, hath related how Apelles did challenge unto himself the chiefest praise in this point of Grace above all other Artificers, he goeth further on to something else; Apelles did also take on him another praise, saith he, when he did admire Protogenes his work done with excessive pains and too much care: for he said that Protogenes in all other things was equal with him, or rather better than he thought himself to be: but that Protogenes in one thing was fare inferior to him, because he knew not when to hold his hand: insinuating by this memorable precept, that too much diligence is oftentimes hurtful. Plutarch doth likewise make a distinction between the forementioned Grace and this same bold Facility: the verses of Antimachus, saith he 
* In Timoleonte. , and the pictures of Dionysius, who both were Colophonians, having vehemency and intention, seem to be forcibly expressed and too much belaboured: but Nicomachus his pictures and Homer his verses have this also besides all the other efficacy and grace which is in them, that you would think them made out of hand with much ease. Sooth doth then this excellent perfection of Grace wax more graceful, when it is accompanied with an unconstrained Facility proceeding out of the unstayed motions which use to stir and to impel the free spirit of a most resolute Artificer; whereas an unresolved and timorous lingerer doth on the contrary deface and utterly overthrow all the hope of Grace. We are to consider in every thing, How fare forth it is to be followed, saith Tully 
* In Oratore. , for although every thing ought to consist within its own measure; what is too much useth for all that to offend us more, than what is too little. Apelles therefore was wont to say, that those Painters mistake themselves in this point, who know not what is enough. Apollodorus the clay-worker being most diligent in his art, had such an ill opinion of himself, that he did oftentimes break finished images, not being able to satisfy his desire of Art: he was therefore surnamed Apollodorus the mad, Pliny xxxiv, 8. Callimachus was ever wont to find fault with his works, and knew no end of diligence; he was therefore called Cacozitechnus; leaving us a memorable example of moderating our care. He made the dancing Lacedaemonian women; a most accomplished work, saith Pliny in the same place, but that diligence defaceth in it the whole Grace of the workmanship. Picture therefore must follow a bold and careless way of art, or it must at least make a show of carelessness in many things. Philostratus propoundeth unto us a lively example of this same secure and unlaboured Facility, when he describeth the picture of many little Cupids wantonly hunting a hare, and carelessly tumbling on heaps for the eagerness of their sportful chase; the Cupids do laugh and fall down, saith he 
* Iconum lib. I, in Amoribus. , one on his side, another on his face, some on their backs, and all of them in postures showing how they miss their prey. It cannot be conceived otherwise, but that the Grace of this picture was infinitely graced with the confused falls of the lascivious and pampered little ones, as they were negligently represented in the work by such another seeming error of a temerary and confidently careless Art.  
§ 4. A heavy and difficult diligence doth then mar and quite kill the grace of the work; whereas a light and nimble Facility of working addeth life to the work: and it concerneth an Artificer very much that he should resolve to do with ease whatsoever he doth: see our second book, cap. XI, § 7, where we touch this point a little. I must needs add thus much only, that never any Painter was ranked with the better sort of Artists, except learning, study, and exercitation had first enabled him with this Facility, saith Quintilian 
* Orat. instit. lib. XII, cap. 9 . A plain and unaffected simplicity, saith the same Author 
* Lib. VIII, cap. 3. , is commendable for a certain kind of pure ornament it hath, and for a certain kind of neatness which seemeth to proceed out of a slender diligence, and is lovely even in women. The Assyrian Semiramis, as Aelianus 
* Var. hist. lib. VII, cap. 1.  reporteth, was the fairest of all women living, though she did very much neglect her beauty: there is a certain kind of negligent diligence, saith Tully 
* In Oratore. , so doth want of ornament make many women more comely. Beauty when it is set forth too carefully, is no beauty. We are therefore above all things to take good heed that there do not appear in our works a laborious gayness and an overcurious affectation of grace; since it is most certain that such a poor and silly affectation of fineness doth but weaken and break the generous endeavours of a thoroughly heated spirit; besides that too much diligence useth to make the work worse. Things not fare fetched are always best; because they do best agree with the simplicity and truth of Nature. Whatsoever doth on the contrary bewray an excessive care and study, can never be graceful and comely; because it dazzleth our senses with the resplendent beams of gay-seeming things, not suffering them to see what is in the work; even as rank grass doth sometimes overspread a whole field in such abundance, that all the good corn being choked up cannot so much as peep out. Amending itself, saith Quintilian 
* Orat. instit. lib. X, ca 4. , must have an end: there are some which return to every part of their work, as if all were faulty; they think better of every thing which is not the same, even as if it were unlawful that the first conceits should ever be good: they do altogether follow the practice of those Physicians which seek work by slashing and cutting what was sound and whole: it falleth out therefore that their works are full of scars, void of blood, and never a whit the better for all the care bestowed upon them. It is then fit that there should be something at length which might please us, or at least content us; that all our filing might be found rather to polish the work then to wear it out: see the younger Pliny lib. IX, epist. 35. To be short; as in many other Arts the main strength of Art doth principally consist in the wary concealment of Art; so doth the chiefest force and power of the Art of painting especially consist therein, that it may seem no Art. But we cannot endure this, saith 
* Orat. instit. lib. IV, cap. 2.  Quintilian, and we think the Art lost, unless it do appear; whereas it doth rather cease to be an Art, when it is too apparent. Ovid doth well and properly express this point in the fable of Pygmalion 
* x. Metam. , attributing the cause of the heart-ravishing force which was in that image to Pygmalion his skill of concealing the Art in such a notable piece of Art.  
§ 5. It is now evident enough that the chiefest comeliness of this Grace consisteth in a ready and unconstrained Facility of Art: and if we do but mark it, there are in this graceful facility such hidden treasures of all manner of contentment, that even the better sort of men love to feed their greedy eyes with such a goodly sight. A picture therefore which stirreth no admiration in the heart of the beholders, doth hardly deserve the name of a picture; even as men of understanding hold him only to be Artificer, who is able to express abundantly, accuratly, pleasantly, lively, and distinctly, whatsoever his learned Invention hath suggested unto him. This is that virtue which gathereth great rings of amazed spectators together; which carrieth them into an astonished ecstasy, their sense of seeing bereaving them of all other senses; which by a secret veneration maketh them stand tongue-tied, the greatness of admiration leaving no place for many applauses, saith Symmachus 
* Lib. 10. Epist. 22. . Incredible things find no voice; saith Quintilian 
* Decl. xix. , somethings are greater, then that any man's discourse should be able to compass them. Mark Damascius, I pray you, and learn of him what strange effects the sight of Venus dedicated by Herodes wrought in him. I fell into a sweat, saith he 
* Ap. Photium. , for the very horror and perplexity of my mind: I felt my soul so much touched with the lively sense of delightsomeness, that it was not in my power to go home; and when I went, I found myself forced to cast back mine eyes now and then to the sight. It chanceth therefore very often that the truest Lovers of art, meeting with some rare piece of workmanship, stand for a while speechless: see Callistratus in his second description of Praxiteles his Cupid: yet afterwards, having now by little and little recovered their straying senses, they break violently forth in exclaiming praises, and speak with the most abund nt expressions an eye-ravished spectator can possibly devise. When they observe in the picture of Pasiphaë how the little Cupid's busy themselves with sawing the timber; the Cupids that are a sawing, say they, surpass all apprehension and art which may be performed by the hands of men and by colours: mark well, I pray you, the saw goeth into the wood, and is now already drawn through it: these Cupids draw it; and one of them standeth on the ground, the other upon a frame, etc. see Philostratus, Iconum lib. I, in Pasiphaë. Having considered in the picture of Pindarus his nativity the several effects of a most exquisite art, they cannot forbear to give unto the standers by a little smack of that sweetness which doth so much affect their senses; you cannot but wonder at the bees, say they, so delicately painted, etc. see Philostratus, Iconum lib. TWO, in Pindaro. The picture of Penelope likewise doth not only take them with the sight of that famous web, but they fall also upon a little spider which showeth itself hard by; to represent the spider so delicately after the life, say they, and to paint her laborious net, is the work of a good Artificer, and of such a one as is well acquainted with the truth of things etc. see Philostratus Iconum lib. TWO, in Telis. They do in the picture of the dying Panthia amazedly observe, how her nails are sweeter than any picture. Philostratus Iconum lib. TWO, in Panthiâ: and Philostra. junior in Venatoribus. They show in the picture representing an ivory Venus, how the dancing Nymphs are most divinely expressed. Philostratus Iconum lib. TWO, in Venere. When they see the golden garment of Venus, they find themselves most of all ravished with the seam of her coats, which may sooner be conceived than seen. Philostr. junior in Ludibundis. They perceive in the marble image of the revelling Baccha all the properties of a distracted mind; there did shine in her such notable signs of the passion, tempered by an unspeakable way of art. Callistratus in Bacchaes statuâ. Narcissus his marble image maketh them Narcissus-like astonished; it cannot be expressed with words, say they, how a stone should be so loosened as to represent the good plight of youthful vigour, exhibiting a body contrary to its own substance: for being of a more solid nature, it engendereth in our mind the sense of a soft and delicate tenderness, being gently diffused and made to rise after the manner of a swelling body. Callistratus in Narcissi statuâ. When they behold the brazen statue of Cupid; do not you see, say they, how the brass admitteth a tender fluidness, unfeisably foregoing the hardness of his nature and suffering itself to be softened to the likeness of a full-fleshed body? Callistratus in primâ descriptione Cupidinis Praxitelici.  
§ 6. Pictures which are judged sweeter than any picture, pictures surpassing the apprehension and Art of man, works that are said to be done by an unspeakable way of Art, delicately, divinely, unfeisably, etc. insinuate nothing else but that there is something in them which doth not proceed from the laborious curiosity prescribed by the rules of Art, and that the free spirit of the Artificer marking how Nature sporteth herself in such an infinite variety of things, undertook to do the same. The hand of Myron, saith Statius Papinius 
* Lib. I, Sylv in Tiburtito Manli Vepisci. , played in brass. Myron therefore, when he wrought, seemed but to play: no more did his works profess a laborious and painful way of Art, but a man might perceive in them such a sweet Grace of an unaffected Facility, as if the Artificer youthfully playing had made them. The younger Philostratus useth the same manner of speaking; the Painter, saith he 
* In Orphco. , playeth youthfully: see Callistratus also in his description of the statue of Memnon: for Philostratus and Callistratus use both one word; which signifieth, to do a thing with such courage, pleasantness and ease, that the work may be perceived to proceed out of a lusty and vigorous youthfulness: and certainly, the chiefest and most lively force of Art consisteth herein, that there appear in the work that same prosperously prompt and fertile Facility which useth to accompany our first endeavours: this is the very life and spirit of Art; which if it be extinguished with too much care of trimming, the whole work will be but a dead & lifeless thing We did speak hitherto, saith Pliny 
* Li. ●xxv. cap. 5. , of the dignity of the dying Art: he speaks well & properly, when he calleth the Art as it was a decaying, a dying Art: seeing we have showed above, lib. II. cap 6. that these Arts being anciently perfited by the study and care of many & most consummate artificers, came so low about the times of August, that they were ready to give their last gasp: for in that very time, the vices prevailing, the Art perished; and when the Artificers, leaving the simplicity of the ancients, began to spend themselves in garnishing of their works, the art grew still worse & worse, till it was at last overthrown by a childishly frivolous affectation of gayness.  
§ 7. Having now seen already wherein the chief comeliness of Grace doth consist, and how by a glorious conquest it doth sweetly enthrall and captivate the hearts of men with the lovely chains of due admiration and amazement; having likewise considered by the way that this Grace hath no greater enemy than affectation; it is left only that we should examine, by what means it may be obtained: although we dare not presume to give any precepts of it; which in the opinion of Tully and Quintilian is altogether impossible: since it is certain, that this grace is not a perfection of art proceeding meerley from art, but rather a perfection proceeding from a consummate art, as it busieth itself about things that are suitable to our nature. So must then art and nature concur to the constitution of this Grace. A perfect art must be wisely applied to what we are most given to by nature. Whosoever hath perfect skill in these Arts loveth always to be doing: and though a good artificer be likely to do well, or at least tolerably, in every thing he taketh in hand; yet is it certain, that he shall do better, and come nearest to this comeliness of Grace, when the excellency of his art busieth itself, not with such things as he loatheth, nor with such things as he is indifferently affected unto; but with such things as are most agreeable with his nature & inward disposition. We are to follow our own nature, saith Tul. 
* Li. I. de Offic.  and we are to measure our studies by the rule of our nature: for it is to no purpose, that we should strive against nature, and follow a thing we cannot attain to. This makes it also more appear, what manner of comeliness this is, seeing nothing can be decent & comely in spite (as the common saying is) of Minerva, that is, our nature not giving way to it. Upon this contemplation we had need to examine what every one hath of his own, & to make use of that, without trying any further how the things which are peculiar to other men might become us: for that becomes every man best, what is most his own. Let every man therefore know his own nature, and be a severe judge of what is good and bad in himself; lest the Scenical artificers peradventure might seem warier than we: seeing they do not always choose the best fables, but such as are fittest for them. They that do rely upon their voice, choose Epigonos and Medea. They that do rely upon their gesture, choose Menalippa, Clytaemnestra. Rupilius did always act Antiopa. Aesopus did seldom act Ajax. We shall therefore chiefly bestow our labour about these things, to the which we do find ourselves aptest. If in the mean time one or other necessary occasion driveth us to those things which are somewhat abhorring from our nature, we are then to bend all our care, meditation, diligence, that we might do these things, if not decently, yet with as little undecency as possibly can be; studying always more to shun faults, than to hunt after such virtues as are not afforded us by nature. See the fourth chapter of our first book, where we do insist more generally upon this point.   

CHAP. VII.  
WE have seen that the height of Art doth chiefly consist in the forementioned Grace; and that this Grace must proceed from the perfections of an accurate invention, Proportion, Colour, Life, Disposition, not only as each of them is perfect in itself severally, but as generally out of the mutual agreement of them all, there doth appear in the whole work, and in every part of it, a certain kind of graceful pleasantnesle: We have seen likewise, that this Grace is not the work of a troublesome and scrupulous study, but that it is rather perfected by the unaffected facility of an excellent art and forward nature equally concurring to the work; so is it most certain, that never any artificer could attain the least shadow of this grace, without the mutual support of Art and Nature: nature is to follow the directions of art, even as art is to follow the prompt readiness of our forward nature. Seeing then that this grace can never be accomplished, unless all these things do meet in the work; so is it likewise evident, that even the self same things are requisite to the discovering of the Grace. The way of begetting is the only way of judging. Whatsoever is not sought in his own way, saith Cassiodorus 
* De divin. lection. ca 28 , can never be traced perfectly. They therefore do exceedingly mistake, who think it an easy matter to find out and to discern such a high point of these profound arts. This inimitable grace, equally diffused and dispersed through the whole work, as it is not had so easily, cannot be discerned so easily. Whether a picture be copious, learned, magnificent, admirable, sufficiently polished, sweet, whether the affections and passions are therein seasonably represented, cannot be perceived in any one part; the whole work must show it. Dionies. Longinus speaketh well to the purpose when he saith 
* De subls. Orat. § 1. , We see the skill of invention, the order and disposition of things, as it showeth itself, not in one or two parts only, but in the whole composition of the work, and that hardly too.  
§ 2. A way then with all those, who think it enough if they can but confidently usurp the authority belonging only to them that are well skilled in these arts: it will not serve their turn, that they do sometimes with a censorious brow reject, & sometimes with an affected gravity commend the works of great masters: the neat and polished age wherein we live will quickly find them out. So did the self-conceited Megabyzus, when he was sitting in Zeuxis his shop, presume to prattle something about matters of art, even as if his big looks and purple coat should have made his unadvised discourses good; but he found himself very much deceived: seeing Zeuxis did not stick to tell him to his face, that he was both admired & reverenced of all that saw him, as long as he held his peace: whereas now having begun to speak senselessly, he was laughed at even of the boys that did grind colours. See Aelian. Var. hist. lib. II. cap. 2. This is then no jesting matter, we must examine with a circumspect and judicious earnestness, whether the knitting together of several things represented within the compass of one table, be round without roughness, and learned without hardness: besides that, we are to consider more distinctly, how the perspicuous disposition flowing out of a grave and profitable invention, instructeth our judgements: how a proportionable design trimmed up with pleasing colours delighteth our senses; how a lively resemblance of action and passion ravisheth our soul, altering and transforming with a sweet violence the present state of our mind to what we see represented in the picture. For it goeth here with painters, as it goeth with orators and Poets, they must all teach, delight, and move: It is their duty, saith Tully 
* De oped. gen. Orat. , that they should teach; it is for their own credit that they should delight; it is altogether requisite that they should move and stir our mind. Witty things teach us: curious things delight us: grave things move us: and he is the best Artist, who is best provided of all these things. Whosoever on the contrary is meanly provided of them, he is but a mean one; even as he is the worst who hath small store of them: for naughty painters are in this sense as well called Painters, as the best. If any one in the mean time studying to be grave, loseth the opinion of wit: or if on the contrary, he had rather seem witty than gorgeous; the same, though he may be reckoned among them that are tolerable, yet is he none of the better sort; seeing that is best only, what hath all manner of praises.  
§ 3. I would not have a man so severe and peremptory in his judgement, as to examine every thing nicely according to the most exact course and apprehension of art: something must be indulged unto the wits of great Masters: provided only that we do excuse small mistakes in them, and not such faults as may seem gross and monstrous. He forgetteth his own condition, and doth not remember himself a man, who will not bear with other men's errors. The good Homer doth sometimes slumber and oversee himself, saith Horace in his Poëticall Art. Let the nature of man be never so perfect, saith Diod. Siculus 
* Lib. xxvi. , yet can she not please in all things: For neither Phidias, though he was wonderful in his ivory works; nor Praxiteles, though he did most skilfully mix the passions of the soul with his works of stone; nor Apelles and Parrhasius, though they did raise the Art of painting to the greatest height by their cunningly tempered colours; could attain to this, that they should show an unblameable pattern of their skill. They were men, and mistook themselves often, by reason of that weakness which useth to be in man: besides that, they were sometimes overcome with the height and excellency of the matters they ventured upon. Horace therefore giveth us good advice, when he doth so highly commend this discreet moderation. Whosoever mixeth profit with pleasure, saith he 
* De Arte. , the same doth hit the principal point of art. Yet are there some oversights that deserve our pardon. Lute strings, do not always sound as our hand and mind would have them, but they yield us very often a sharp note, when we look for a flat one. A bow doth not always hit what we aim at. Even so where there are many things that do excel in the work and make it shine. I shall never be offended at a few spots, caused either by heedlessness, or else by that weakness which is incident to the nature of man. The younger Pliny studieth to induce us to the same moderation by another similitude. Though every one of us useth in the ordinary course of banquets to forbear many dishes, saith he 
* Lib. TWO, Epist. 5. , yet do we all commend the whole feast: neither do the meats our stomach refuseth, lessen the pleasure of what we like. We are then to judge, and that rigorously enough, seeing it is expected here, that every man should give a ready account of his own liking and disliking, without suffering himself to be hurried about by the wavering opinions of other men: but nevertheless must the severity of our forward judgement be bridled by a circumspect and wary moderation, lest our unadvised rashness in judging make us like them that are esteemed prodigal and lavish of their judgements: they reject some things in the exquisite works of the rarest workmen, as being puffed up; which in the opinion of more understanding spectators, are full of stateliness and magnificence: they reprehend some things as being wanton, which in more sober minds are held commendable for their confident boldness: they condemn some things as being superfluous and immoderate, which in sound judgements do but abound in a temperate plenteousness. We ought to take heed of this, seeing there is a great difference, as the younger Pliny speaketh 
* Lib. IX, Epist. 26. , Whether we do note blame-worthy or excellent things. All men perceive what showeth itself above other; but it is to be discerned by a most earnest intention of the mind, whether that be excessive or lofty, whether it be high or enormous and altogether out of square.  
§ 4. But because our judgement is likely to be seduced by the most uncertain sense of seeing, unless we do look about for all the succour that may be had; we must before all things take care that nothing be wanting which might help our deceitful sense. Our sight, that it may plainly discern what it seethe, saith Nemesius 
* De Naturâ hominis, cap. 8. , standeth in need of four things; it requireth a sound instrument of seeing, some stirring or changing of place, answerable to the proportion of the things which are to be seen; a just distance, a pure and clear light. See Themistius also, and Alex. Aphrodisiensis, upon Arist. li. TWO, de Animâ. As for the first, Every one is not able to judge well of every thing, saith the same Nemesius 
* Cap. 18. , but such a one as is skilful, and well disposed to it by nature. It is to very small purpose, that a man should invite blear-eyed folks to a fine picture; none but quick sighted people are fit for it. Aphlegmaticke eye is well pleased with shady and dull colours, saith Plutarch 
* In Phocione. , but it abhorreth all manner of bright and glaring colours. Tully joineth the second with the first and third: We may then trust our senses best, saith he 
* Lib. IV, Academ. quaest. , when we find them to be sound and healthy, and when all those things are remooved that may hinder them. We do therefore change the light often, we change the situation also of the things we mean to see; we do deduct and contract the distances, leaving nothing unattempted that may assure unto us the judgement of our eyes. The fourth consisteth in this, that we do set well painted pieces, as the same Tully speaks elsewhere 
* de Claris oratoribus. , in a good light. And this is the reason why Vitruvius maintains, that galleries for pictures and such parts of the house as require a constant immutability of light, must take their light from the North, because that part of the air is never enlightened nor darkened too much, saith he 
* Lib. I, ca 2. , but it remaineth always certain and unchangeable at all hours of the day. And in another place, Galleries for pictures, embroidering houses, and painters shops, must look towards the North, saith he 
* Lib. VI, cap. 7. , that the colours in their work, in regard of the constant light, might seem to keep the same quality. Philostratus 
* In prooemio Iconum.  for all that, speaketh of a Callery in the suburbs of Naples, looking toward the West, which was richly furnished with many good pieces. But to let this point alone, we had better pursue what we have begun; seeing we cannot but add Horace his observation unto our former discourse. Some pictures take us most, saith he 
* De Arte. , when we stand nearer, others when we stand further off: some love dusky places, others will be seen in a full light, nothing at all fearing the sharp censures of a peremptory judge: some please us if we do but once view them, others if we take them ten times in hand. See the old commentator upon these words.  
§ 5. Having outwardly provided what may be good for our eyes, it is next that we should seriously weigh and consider every part of the work, returning to it again and again, even ten and ten times if need be. For our sense doth seldom at the first judge right of these curiosities, it is an unwary Arbitrator, and mistaketh many things: all the soundness and truth of our judgement must proceed only from reason.  
Although the several circumstances of all arts, and almost of our whole life, are occasioned by the ministry of our senses, saith Boëthius 
* Li. I. Music. cap. 9 , yet is there no certainty of judgement, nor apprehension of truth in our senses, if they are not accompanied with reason. For our sense is alike corrupted with what is too great and too small; seeing it cannot perceive the least things by reason of their smallness, and it is often confounded with the greatest. And again in another place; Harmonica is a faculty, saith he 
* Li. v. ca 1. , by the which we do weigh with our sense and with reason, the differences between high and low tunes. Sense doth confusedly mark what cometh nearest unto the thing perceived; but Reason discerneth the sincerity thereof, and busieth itself about the several differences. Sense therefore as it findeth confused things, and things approaching unto the truth, so doth it receive his integrity from reason: but reason, as it findeth the integrity, so doth it receive from sense a confused similitude and a similitude approaching unto the truth: for sense conceiveth no integrity, but cometh as near as can be: reason on the contrary doth discern and determine: see Macrobius also lib. VII, Saturnal. cap. 14. This aught therefore to be our chiefest care, that we should not only go with our eyes over the several figures represented in the work, but that we should likewise suffer our mind to enter into a lively consideration of what we see expressed; not otherwise then if we were present, and saw not the counterfeited image but the real performance of the thing: which having well observed, the very picture itself will instantly lead us to the principal figures. Philostratus in the picture of Amphiaraus seemeth to insinuate thus much: for having related many and strange adventures that befell unto several warriors as they were a fight under the walls and at the gates of the City Thebes; But these, saith he 
* Icon. lib. I. , belong to another discourse, seeing the picture biddeth us look upon Amphiaraus alone, as he flieth under the earth with his very garlands, and with his very laurel, etc. And again in the picture of Panthia; as for the City walls, saith he 
* Icon. li. II. , and the fired houses, and the fair Lydian women, the Persians may carry and take what can be taken. Abradates and Panthia dying for his sake, seeing the picture doth intent that, are left to our consideration as being the chiefest argument in hand.  
§ 6. By this it may be inferred that the most earnest intention of our curious mind ought chief to employ itself about the chiefest and most remarkable things. Philostratus in the picture of the Fishermen giveth us an evident example; not to go over every little thing, saith he 
* Icon. li. I. in Piscat. , it will be best to speak of such matters as may deserve our discourse, etc. see the description of that picture itself. The chiefest things therefore require our chiefest attention; and whosoever contenteth himself with some small things he fell upon first, the same doth little remember that stately magnificence the Lovers of Art must as well accustom themselves unto in judging, as the workmen in working: if any man doth not see the whole beauty of the Olympian Jupiter, which is so great and so wonderful, saith Lucian 
* De Conscribendâ historia. , if he doth not commend it, nor report it to others that are ignorant of it, but stumbleth upon the handsome workmanship of his well-carved footstool and upon his well-proportioned pantofle, rehearsing these things very carefully; would not you think him like unto a man that doth not see the rose itself, but fixeth his whole contemplation upon the thorns and prickles which grow near the root? The true way how to consider pictures and statues, is most plainly set down in the books of Images made by the elder and younger Philostratus, as also in Callistratus his Description of statues: whosoever readeth their works with attention, shall questionless find his desire fully satisfied. There are likewise in many other ancient Authors diverse curious and neat expressions to be found, able both to delight the reader and to inform his judgement in the right manner of examining works of Art: but among a thousand examples that might be alleged here, we shall insist only upon Claudians' description of Amphinomus and Anapus their statues. Behold how the brother's sweat under a venerable burden, saith he 
* Epigr. 25. , and how mount Aetna itself, wondering at such an attempt, keepeth his wandering flames from them. Though they support their parents with their necks, yet do they uphold them with their hands, confidently lifting up their heads & hastening their pace. The old couple is mounted up on high and carried by two sons, entangling them with a sweet and lovely let. Do not you see how the old man pointeth to the fire? how the frighted mother calleth upon the Gods? Fear setteth their hair on end, the mettle itself growing pale in their amazed countenances. You may see in the young men a most courageous horror, being fearless for themselves, though fearful for their burden: their cloaks are borne back by the wind: one of them lifteh up his right hand, being content to hold his father with the left: the other foldeth both his hands in a knot, remembering how the weaker sex was to be saved by a more wary toil. It must not go unobserved, what the hands of the Artificer brought quietly to pass in the work: for though their consanguinity maketh them very like one another; the one for all that cometh nearest unto the mother, the other unto the father: their unlike years receive such a temperature by the skill of Art, that the parents are represented in each of their countenances: and the workman making a new difference between two nearly resembling brothers, hath distinguished their countenances by the effects of their piety. It is apparent in this example how a skilful and understanding spectator goeth over all that is remarkable in the work: and as he cannot abide that his curiosity should spend itself about matters of small importance, so doth he very seriously observe the most strange miracles of the noble Art, as they do display themselves in such a noble argument.  
§ 7. As it is then evident that our curiosity may not busy itself too much about poor and frivolous matters, so must we on the contrary endeavour to conceive the whole show of the represented matters with a large and freely diffused apprehension; to the end that we might compare the chiefest circumstances of the Argument with our premeditated and fore-conceived images: neither is it a hard and difficult work to recollect our memory and to renew the remembrance of things upon the least sight of a represented image; it is done in an instant: our remembrance is a quick and easy thing, saith Maximus Tyrius 
* Dissert. xxviii. , for as bodies that are easily moved must first be stirred by a hand or any thing which setteth them a going, and having once received such a beginning of their motion, they keep it for a good while: even so the mind, having received of sense a small beginning of remembrance, runneth on infinitely, remembering all what is to be remembered. Our senses therefore, which stand as it were at the entry of the mind, having received the beginning of any thing, and having proffered it to the mind; the mind likewise receiveth this beginning, and goeth over all what followeth: the lower part of a long and slender pike being but lightly shaken, the motion runneth through the whole length of the pike, even to the speares-head; and whosoever shaketh the beginning of a long stretched out rope, sendeth the motion to the ropes end; so doth our mind need but a small beginning to the remembrance of the whole matter.  
When a table of hunt is represented to the sense, the mind also will suddenly enter into a most serious consideration of hunting affairs, and by a lively and active Imagination represent to itself all the painful pleasures of that manly pastime: the first thoughts will exhibit a frequent assembly of youthful gallants inflamed with exceeding love of that sport, preventing the light, even while every foot they set doth leave its print in the dewy grass, some uncoupling the most assured finders, the dogs themselves with silent gestures craving freedom, some rounding and beating the shady woods, while the hounds with full liberty ranging the coverts do by the diligent suit of quick-sented noses catch a selfe-betraying sent. Others drive the roused and affrighted dear with astonishing hallowings into the toils which they had before spread wide for him: and now having obtained the chase, the victor calleth for a knife to take essay, and all having embrued their hands in the blood in token of victory and the hounds diligence rewarded, some with ceremonious triumph bear home the weighty quarry, while the weary dogs mutely follow at the heels of the sport-ravished hunters: see Libanius orat. xxxiii, where he doth describe most accuratly all the circumstances of hunting.  
§ 8. We have showed already in the fift chapter of our first Book, that Lovers of art ought to store up in their mind the perfect Images of all manner of things; to the end that they might have them always at hand, when any works of Art are to be conferred with them. Here it is furthermore required, that all those who mean to enter into a judicious consideration of matters of art, must by the means of these Images accustom their mind to such a lively representation of what they see expressed in the picture, as if they saw the things themselves and not their resemblance only. Theon, a most famous Painter, having made the picture of an armed man who seemed to run most furiously on his enemies that depopulated the country round about, he did think it good not to propound the picture before he had provided a trumpeter to sound an alarm somewhere hard by; the trumpet therefore being heard, the picture was likewise brought forth suddenly at the same instant. The sound of the trumpet, saith Aelian 
* Li. II. var. hist. cap. ult. , possessed the fantasies of the spectators with a more lively impression of a man desperately sallying out to aid his Country. The most excellent Artificer conceived very well that the fantasy of the beholders would fasten soon upon such a representation, if it were first moved by this dreadful noise to expect nothing else but an invasion of armed and desperately resolved men. Philostratus commendeth unto us this way of considering pictures: for when he goeth about to teach a young lad how to look upon pictures, he wisheth him to take this course: Will you, good youth, saith he 
* Iconum lib. TWO, in Insulis. , that we discourse about these Lands as out of a ship, even as if we did sail round about them in the spring-time, when Zephyrus refresheth the Sea, gently stirring it with a cool blast of his own? To the end therefore that you might willingly forget the shore, and that you might take all this to be the sea; not a swelling and boisterous one; neither altogether quiet and calm; but a navigable sea and filled with a good gale of wind; behold, we are embarked already, etc.  
Mark here, I pray, how Philostratus, a man exceeding well skilled in these things, taketh the spectator along with himself a ship board, willeth him forget the shore and view every one of the represented circumstances as out of a ship; esteeming that his mind could not apprehend the several parts of the picture rightly, unless with an imaginary presence it should first sail about, conferring the fresh and newly conceived Images with the picture itself. So may it likewise be inferred out of this, that they are likely to judge best of the resemblance of many things, who have sometimes had the opportunity to acquaint their eyes with the things themselves. It is pretty indeed and much conducing to this purpose, what Athenaeus 
* Lib. XIII, Deipnosoph. in ipso statim initio.  relateth; the comical Poet Antiphanes reading one of his comedies to Alexander, found that he took but small liking in the work; wherefore, when Alexander shown by his slender attention that he did not greatly affect his Poëme, It is altogether needful, O King, said Antiphanes, that a man whom these lines should take, be well acquainted with the things, having often made his collation in the night-meetings of young roarers, sometimes giving and sometimes receiving good store of blows for a wench.  
§ 9 This frequent and attentive viewing of pictures engendereth in our mind an undeceivable Facility of judging; the last brood of great experience, as Dionies. Longinus 
* De sublimi orat. § 4.  calleth it. The best mark of a graceful elegancy consisteth in a certain kind of feeling we can give no account of, saith Dionies. Halicarnassensis 
* De Demosthenes' acumine ac vi. , so doth this same unexpressible feeling require great exercitation, and a continual instruction familiarly given by word of mouth: neither can Carvers and Painters, unless perchance they have gotten great experience by exercising their sight a good while about the works of ancient Masters, discern them easily: no more can they assuredly say, unless perchance they have received it by fame, this is Polycletus, this is Phidias, this is Alcamenes his work: and again, this is Polygnotus, this is Timanthes, this is Parrhasius his hand. Seeing then that it is not for every man to understand the true property of that accurate Grace, which we do find imprinted in every Artificers work, as an infallible Character of his peculiar vein and spirit; it is likewise requisite that we should study to attain to this skill of discerning every one his manner of Art. Let twins be never so like one unto another, saith Tully 
* Lib. IV, Academ. quaest. , the mother for all that discerneth them by a mere consuetude or accustomance of her eyes; and you shall in like manner be able to know the one from the other, if you do but enure and accustom your eyes to it. Eggs have such a near resemblance one with another, that their similitude is turned into a proverb; yet do we hear it reported that many at Delos, before it was ruined, feeding a multitude of hens for gain, were so well skilled in their trade as to know every egg upon sight, distinctly telling what hen had laid it. Even as Musicians therefore charge them that would be skilled in harmony, to accustom their ears not so much as to go by the least division in the tunes, and to seek no other more accurate mark of harmony; so must all they that desire to understand wherein the Grace of these works doth consist, study to exercise their unexpressible feeling to this exactness with the expense of much time, with a continual practice, and by the means of a secret passion no body can give any account of, saith Dionies. Halicarnassensis 
* In Lysiâ. . As it is not enough to take a singular delight in musical songs, saith Boëthius 
* Li. I. Mus. cap. I. , unless we do likewise learn the proportionable joining of many voices into one; so cannot skilful men content themselves with a bare contemplation of colours and figures, unless they do furthermore conceive their peculiar properties.  
§ 10. As many then as by a studious and daily exercise have accustomed their eyes to such a sure Facility in judging, use always to show their chiefest skill therein, that they do most readily discern original pictures from the other that are copied; finding a perfect and natural force of grace in the originals, whereas in the copies they can see nothing but an unperfect and borrowed comeliness. Originals have in themselves a natural grace and vigour, saith Dionies. Halicarnassensis 
* In Dinarc. , but Copies, though they attain to the height of imitation, have always something, which being studied, doth not proceed out of nature: and Rhetoricians do not only discern Rhetoricians by this precept, but painters do alsi by this rule distinguish Apelles his works from their works that imitate him. This is likewise the way for Statuaries, to find out Polycletus his statues: and for Carvers to know Phidias his images. It is most wonderful, how quickly those that have exercised their eyes, can know an original from a copy; whereas others that are unexperienced in these things cannot perceive any difference. A copy doth always differ from the original, saith Diog. Laërt. in Onesicrito. It may not be doubted, but truth hath always the better of imitation, saith Tully 
* Li. III. de Orat. : An imitator doth never come near the first author. This is the nature of things: a similitude cometh ever far short of that truth which is in the things themselves, saith Seneca the Rhetorician 
* Li. I. Controv. in prooemio. . Whatsoever is like unto another thing, saith Quintilian 
* Li, x. ca 2. , is nothing near so good as the thing it doth imitate. What we take for a pattern, containeth in itself the nature and true force of the things themselves; the imitation on the contrary is but counterfeit, and forced to accommodate itself to another man's intent. Libanius therefore speaking of those Artificers that do successfully express ancient statues, doth not stick to affirm 
* In Antio●. , That the gods have bestowed something more upon them, than the nature of man is capable of. Painters represent a fair and absolute face most commonly to the worst, saith the younger Pliny 
* Li. v. ep. 10 . Those likewise that copy the most consummate pieces of excellent Masters, can seldom do it so well, but that perpetually they fall away from the original. For as it is hard to hit a similitude after the life, saith the same Pliny elsewhere 
* Li. 5. ep. 28. , so is the imitation of an imitation much more hard and difficult.  
§ II. This facility of judging, as it teacheth their accustomed eyes to discern between originals and copies; so doth it likewise enable them to see the difference which is between ancient and modern works. Nothing commendeth pictures so much, saith Quintilian 
* Li. viii, c. 3 , as that authority given them by age, which no art can imitate. All are not of L. Mummius his mind, who was so ignorant in these businesses, that he made no difference between old and new works. For when he at the taking of Corinth, agreed with some men to bring a world of rare & ancient pictures & statues into Italy; he foretold them that undertook the matter, That they should take heed of losing any, which if they did, that they were then to restore new ones in stead of them. See Vell. Paterc. lib. II. hist. cap. 13. But this was his grossness. As for the other more refined and elegant men of that and the following ages, they knew well enough what difference there was between old and new workmanship, and how much the pleasantness of great and nimble wits is revived by these delightsome antiquities. They held them therefore in a reverend admiration, even as men use to adore groves consecrated for their antiquity, saith Quintil. 
* Li. x. cap. 1.  in which the great and ancient stumps do not so much draw our eyes with their pleasant show, as with a religious horror that striketh the heart of the beholders. Tully declareth himself to have been of that mind. Antiquity is in great estimation with me, saith he 
* De perfecto Orat. , neither do I so much require what she wanteth, as I do commend what she hath; seeing I hold the things she hath, fare better than the things she wanteth. And again in another place 
* Lib. III. de Orat. , It is no easy thing to tell the cause why we are soon of all by a certain kind of loathing and satiety, abalienated from such things as do at the first sight very much delight and vehemently stir our senses. How much more flour shing are all things for their gayness and variety in new pictures than in old ones? These things for all that, though we are at the first very much taken with them, do never delight us long. Whereas on the contrary in old pictures, we are most of all affected with their decaying horridness. Observe here in the mean time, that other Authors, though Tully thinketh it an hard matter, allege a double reason of this respect we bear the ancient works. Dionies. Halycarnassensis giveth us one reason, when he maintaineth 
* In Isaeo. , That the ancient pictures in a wonderful simplicity of colours drew their chiefest commendation from a more accurate and graceful design. The new pictures on the contrary being but carelessly designed, stood most of all upon the manifold mixture of their colours, and upon an affectation of light and shadows. See Themistius also, Orat. de Amic. where he toucheth the very same point. The other reason seems to flow out of the former: for as the first reason preferreth the ancient works before the new, in regard of their gracefulness, so doth the second attribute unto the old works a certain kind of majesty, yet so, that it was their simplicity made them majestical. Porph. saith 
* Lib. II. de abstinentiâ. , That the new images of the gods are admired for the dignity of the work, but the ancient are reverenced for the simplicity of the work, as being more suitable to the majesty of the gods. Pausanias' likewise 
* In Corinth.  speaking of Daedalus, saith that his works were not very handsome to look on, but that there was in them a certain kind of divine majesty which did become them very much. Silius Italicus 
* Sub finem lib. xiv.  doth also note this peculiar property in the ancient images of gods, That they kept as yet the godhead bestowed upon them by art. As many therefore as had used their eyes to such sights, did easily discern the old works from the new: so was there good reason they should labour to attain to this faculty of judging, because the Impostors and Cheaters were wonderful busy in those times, and it was an ordinary practice of many to cozen the unskilful buyers with a counterfeit show of antiquity. See Phaedr. l. v. Fab. in prol. See Martial likewise, lib. viii. Epigr. 6 & 34.  
§ 12. Seeing therefore that the said consuetude or accustomance of our eyes doth so much enable us, as that we can upon the first view readily discern original pictures from Copies, and ancient works from modern; we might be very well satisfied, esteeming the daily practice of a curious eye to be the chiefest means whereby we do attain to such a facility of judging: but that the king Theodericus propoundeth unto us another means, which being added to the former exercise, is likely to quicken our judgement much more, and to endue it with a most ready and unfallible facility of judging. Theodericus his words are taken out of a Writ directed to the Precedent of Rome, about the choosing of a sufficient Surveyor or Architect: The reputation of the Roman fabric, saith he 
* Apud Cass. Var. lib. seven. sorm. 15. , aught to have an expert Architect: that this wonderful collection which is within the walls might be succoured by diligence, and that the modern face of the work might be well contrived and ordered. For our largess doth not fail in this study, but that we resolve to renew ancient works, by supplying their defects, and to attire new works with the glory of antiquity. These things therefore do require a most skilful man, lest among so many most ingenious ancient things, he himself seem like unto the metal they are made of, and show himself uncapable of what cunning Antiquity made palpable in them. Let him therefore read the books of the Ancients, and take some leisure to improve himself, lest he be found to know less than those in whose place he is substituted.  
It was a most worthy care this King took, to see the ornaments of the city every where renewed, and yet is it more, that he would not neglect to give his advice, how a skilful overseer of antiquities should fit himself better to the charge he was to undergo. Let him read the Books of the Ancients, saith he, and draw further instruction out of them. It is right it should be so: for as we shown in the first chapter of this our third Book, that no Artificer may ever hope to attain to the perfection of these arts, unless he be thoroughly instructed with all manner of arts and sciences; even so must we say here the same of lovers of Art, that they must be filled with great variety of learning. It may be very well, that an unlearned lover of art should apprehend and discerhe the Artificers skill, out of his design, colours, and such like things, delighting himself especially in these parts of picture: but much further he cannot go; it belongeth only to them that are learned indeed, to judge moreover of the invention, to consider whether every figure hath his due place, and be inspired with such lively passions as the present occasion of the represented history requireth. Without this purifying of our wit, enriching of our memory, enabling of our judgement, enlarging of our conceit, which is commonly called by the name of learning, we shall never be able to understand the drift of an historical invention aright, and it may be we shall approve of many impertinencies committed against the nature of the Argument. The Ancients besides all this, as we have showed before in the 6 Section of this present Chapter, inform and direct our judgements in the true way of judging; & which is more yet, there are scattered here and there in their works such complete descriptions of beauty as may serve to work after and to judge by. But of this point, which perchance may seem somewhat paradoxical, we have studied elsewhere to give sufficient proof.  
§ 13. What we have said already, may serve for an introduction into a settled way of judging, and we would willingly end with this, if we had not something to say about the by-workes, commonly called Parerga in the ancient Greek and Latin Authors. Parerga are called such things, saith Quintilian 
* Lib. II. cap. 3. , as are added to the work for to adorn it. Pliny doth likewise express the same: Protogenes, saith he 
* Lib. xxxv, cap. 10. , when he painted at Athens in the porch of Minerva's Temple that famous ship called Paralus, with another ship called Hemionis, he added also many other little Galleys among the things which painters call Parerga. Galen hath a more large expression: Good workmen, saith he 
* Lib. XI, de usu partium corporis humani. , use to make some Parergon or by work for a document of their Art, upon the bolts and shields: oftentimes also do they make upon the sword hilts and drinking pots, some little images over and above the use of the work, expressing Ivy branches, Cypress trees, tendrels of a Vine, and other such like devices. Philostratus 
* Iconum lib. I, in Piscatorib.  seemeth to call these additions, Sweet seasonings of picture. But because the Artificers go over these works slightly and with a light hand, so is it that we do likewise for the most part examine them more negligently. We consider the by-works of workmen but slenderly, saith Plutarch 
* Cur Pythia nunc non reddat oracula carmine. , for they study only to be pleasant in many of them; neither do they always avoid in them what is to small purpose and superfluous. If we do find in the mean while, That the Artificers hit the true force and facility of grace better in these sudden things than in the work itself, yet must we never be so inconsiderate in our judgement, as to prefer the by-work before the work: Protogenes his example may teach us, how much the indiscretion of such spectators discourageth the Artificer. Among many excellent Donaries that did adorn the city Rhodes, the picture of Jalysus was much renowned; a painted satire also standing near a pillar, whereupon the picture of a Partridge was to be seen. The picture of the partridge being newly hung there, drew the eyes of all sorts of men so much, that the most excellent picture of Jalysus grew contemptible, and no body did any more regard it. Protogenes therefore finding himself much vexed, that the by-worke should be preferred before the work itself, having asked leave of the Churchwardens, did put out the bird. See Strabo, lib. XIV, Geograph. Such another company of unadvisedly and impertinently judging Spectators made Zeuxis likewise cry out, These men commend the mud of our Art. See Lucian in Zeuxide.   
FINIS.