engraved portrait of Alexander Browne by Arnold de Jode, after Jacob Huysmans ALEXANDER BROWNE ARS PICTORIA: OR AN ACADEMY TREATING OF DRAWING, PAINTING, LIMNING, AND ETCHING. To which are added Thirty Copper Plates expressing the choicest, nearest and most exact Grounds and Rules of Symmetry; Collected out of the most Eminent Italian, German, and netherlands Authors. By ALEXANDER BROWN Practitioner of the Art of Limning, and Published for all Ingenious Gentlemen and Artists. LONDON, Printed by J. Redmayne, for the Author, and are to be sold by him at his Lodging, at the Sign of the Angel, the Corner of James street and Long Acre, and Richard Tompson at the Sun in Bedford street, and Arthur Tooker at the Globe in the Strand near the New Exchange, 1669. TO THE Most Excellent and Illustrious Princess ANNE Duchess of MONMOUTH & BUCCLUGH, etc. WIFE To the Most Illustrious and Highborn Prince JAMES Duke of Monmouth, etc. Madam, ALl the World knovvs that Nature in its perfection needs nothing of Art, and that great Being's regard no more the use of it, then sound Men do that of Medicine. Your Graces therefore goodness in ovvning Peinture, which you once honoured to learn, with as much charity as dying Saints build Colleges, is so signal, that it obliges in duty this imperfect Treatise to beg your pity: and then I am sure ' 'tvvill deserve other persons esteem. Your Grace was pleased from my poor instructions to draw a nobler honour to this Art, than Artists themselves could do. Not that I presume to claim any share of this, which is solely due to the Grandeur of your Quality and sweetness of Humour. The Gods themselves here prayers, and smell Sacrifices, and declare they love these practices for no other end, but to bless and encourage us Men in our Obedience, and Industry, As much as can, or may be attributed of Divinity to mortals, is certainly due to your Grace, who are so much higher advanced in glory, by how much the meaner and undeserved a Title I can make to myself of your indulgence, to this honest, though not grand essay, unless only in this, that it entreats the favourable Eye of so Eminent a Personage. However Madam, since my own Fortune is low and narrow, I have endeavoured to get so much credit in the World, as to make a considerable collection both from the living and the dead, and that of the best Painters and Sculptors of their times. These Madam will be more beholding to you for their memory, then to their own monuments: For paint and marble must needs die sooner than your great Name. For their sakes unparallelled Princess own, and conserve this small Record of their worth: and after that, (because your bounty is unlimited) pray pardon the rude hand, and bold address of Your Grace's most devoted, and humblest Servant Alexander Browne. To the Reader. YOu have the Contents of this Treatise so particularly in the Title-page, that I meant it no other Preface: But upon second thoughts, I shall say somewhat to the Conception of Paulus Lomatius, Page the 11th. touching the Affinity betwixt Symmetry and Music. It has been urged, that in regard of the Obscurity of the Musical terms there made use of; as Diapente, Diapason, Sesquialter, etc. It were requisite to give some explanation of them; but I shall rather refer the Reader for his satisfaction to Mersennus, Morley, or any other writer upon that Subject; then enlarge this Discourse; which I have contracted, both for his ease and my own, as much as I could conveniently. But if any ill tempered person should be angry at the hard words and Terms of Art here, because they do not well understand them: They may know this was not intended for a Dictionary, but a Treatise only for the ingenious, who need no Key to lock or unlock this Cabinet, in which these Mysterious terms are couched. Neither have I been ambitious in the least of popular applause in the publication of this Piece, but merely have aimed at the public benefit, being ashamed it should be objected ' that I who have in the course of my Life and Study been so much beholding to others, should prove ungrateful, or niggar, to conceal any thing from the view of the world, since we are as Men and Christians, all designed by industry and experience to improve each other; more particularly what I have here wrote, is directed to the lovers and favourers of all noble Sciences, to whom I stand obliged, and whose pardon I only beg, wherein I may be found unhappily or ignorantly offensive. And indeed I am extremely unwilling any person should lose time, or take the trouble of casting his eye here, were not I modestly of the opinion, something may not be impertinent, or unworthy curious men's Lection. Farewell I am your humble Servant A. B: ALEXANDRI BROWNE Generosi etc. TAndem Browne venis, expectatissimus hospes Florilegas imitatus Apes; qui Sculptilis Artis, Quicquid ab externis populis exsuxeris, annis Pluribus, in proprium prudens disponis Hymitton, Et nunc in Patrii partiris commoda Mundi. Quanta Poëtarum praeconia dona morantur, Quanta Patronorum Te! Qui velamine dempto Artibus, antiquum reparata luce Timantem Afflâsti, & Britonum radiis melioribus orbem. Quod si Roma dabat pro digno munere serta, Civica, cui civem Bello servaverat unum; Debentur tum Browne tuis quot serta capillis! Qui tot semineces artes in luminis auras Dux isti, propriaque manu caelata nouâsti Artificum simulachra Senum. Jam Coüs Apelles, Praxitilesque cluens, & magni nominis Urbino, Angelo & insignis, visi rupisse sepulchris, Et rediviva sibi sumpsisse cadavera rursus, Auspiciis mi Browne tuis. Correggio jamjam Et Delvincentus, nec non Holbenus, & audax Titian, et nostri Vandikus gloria secli, Dogma Pythagoricum, de sponte fatentur, & artes Sculpendi pariter veterum, pariterque modernae, In chartas migrâsse tuas: ubi machina Mundi Et nitido natura Globo spirare videtur Principiis animata novis. I fortibus ausis Dexter Alexander, multo et faelicior illo Qui face lanquentem ferroque subegerat Orbem; Alitibus procede bonis! nomenque per artes Sic extende tuas, ut te primaeva salutent Teque hodierna suum, venturaque secla Magistrum. P. Fisher dudum Militum Serviens Major. On my INGENIOUS FRIENDS Most EXCELLENT PIECE. HEre you may find objected to your Eye, Paint, the creations, Man God's Ima'gry. What scattered ray's of Heaven in us remain, Are here preserved, if not renewed again. For who can draw to life the humane face Does therein show the intellectual grace. Whose fair Idea though it's not oppressed With nature's body, or Arts colour dressed; From thence yet all those numerous shadow's flow, Which men so worship and admire below. Fancy th' original, and parent, gives This Art a birth, which beyond nature lives, And keeps the Father youthful as the son, With the same colours, when complexions gone. Death cannot part them; for when ugly age That Grand destroyers, last and fatal page Is all deciphered, He a column stands Coaeval to his heirs, and all his lands. And when his body to the grave is sent He serves for furniture and monument. Nature is troublesome in its decays, No Poet cares to wear the withered bays. 'Tis kindness, and 'tis manners to remove, When we can neither be beloved nor love. Must then all die? no, that the painter's skill Forbids, assisted with the Writers quill. This immortality dear Friend you cause, Without ordaining, or repealing Laws. Your Book advances further, and displays What Plutarqus Morals, or his lives have said. Weary Philosophy expires in strife Whilst you expose plain truth unto the Life. Nature's excess, or narrowness by you Is civility reproved, and all that's due, Of beauteous art, and Symmetry to man; Must own its payment to your mind and hand. We know no form of Angels but from paint, Nor difference make of devil, or of Saint. The famous Michael Angelo so drew Hell and the damned, and in such a hue; 'Twas thought th' Archangel some old grudge might bear, And bid his namesake to renew the war. 'Tis then hoped by the painter at the least, He may assistant be unto the Priest. Since Virtue's's lovely drawn, and vice so ill Sinners by him converted are 'gainst will. Emblems of honour, piety, and love, Arts greatest teachers, by him only move. J. H. ERRATA, In Pag the 4 Line. 25. for it, Read us; for whosoevever Read whatsoever. In Pag 17. line 15. for in, read and. In pag 73. line 24. for Son, read sum. In pag 74. line 4. for near, read were. In pag 87. line 10. for keeping colour, read keeping the colour. In pag 88 line 21. for silvea, read silver. In pag 90. line 3. for use with, read use it with. In pag 92. line 7. for white Serus, read white or Serus. OF THE Virtue and Praise OF PROPORTION, or, SYMMETRY. SUCH is the Importance and Virtue of Proportion, that nothing can any way satisfy the Eye without the help thereof: So that whatsoever worketh any Pleasure or Delight in us, doth therefore content us; because the Grace of Proportion consisting in the measure of the Parts, appeareth therein; Wherefore all the Inventions of Men carry with them so much the more Grace and Beauty, by how much the more Ingeniously they are proportioned, whence Vitruvius saith, That whosoever will proceed in his Works with Judgement, must needs be acquainted with the Nature and Force of Proportion; which being well and kindly understood, will make him not only an excellent Judge of ancient and late Workmen, but also an Inventor and Performer of Rare and Excellent Matters himself. Now the Effects proceeding from Proportion are unspeakable, the Principal whereof, is that Majesty and Beauty which is found in Bodies, called by Vitruvius, EURITHMIA. And hence it is, that when we behold a well-proportioned thing, we call it Beautiful, as if we should say, Endued with that exact and comely Grace, whereby all the Perfection of sweet Delights belonging to the Sight, are communicated to the Eye, and so conveyed to the Understanding. But if we shall enter into a farther Consideration of this Beauty, it will appear most evidently in things appertaining to Civil Discipline; for it is strange to consider what effects of Piety, Reverence and Religion, are stirred up in men's Minds, by means of this suitable comeliness of apt proportion. A pregnant example whereof we have in the jupiter carved by Phidias at Elis, which wrought an extraordinary sense of Religion in the People, whereupon the ancient and renowned Zeuxis well knowing the excellency and dignity thereof, persuaded Greece in her most flourishing Estate, that the Pictures wherein this Majesty appeared were dedicated to great Princes, and consecrated to the Temples of the Immortal gods, so that they held them in exceeding great estimation; partly because they were the Works of those famous Masters, who were reputed as gods amongst men; and partly because they not only represented the Works of God, but also supplied the defects of Nature: ever making choice of the Flower and Quintessence of Eye-pleasing delights. Neither yet is this Proportion proper unto painting alone, but extendeth itself even unto all other Arts; insomuch as is drawn from man's Body, which as the Painter chief proposeth to himself, (as Vitruvius noteth) so doth the Architect much imitate it, in the convenience of his buildings, and without which, neither the Carver, nor any Handicrafts man can perform any laudable Work; because it was the first pattern of all Artificial things: So that there is no Art, but is someway beholding to Proportion: yet notwithstanding the Painter as (Loo Baptista Albertus affirmeth) insomuch as he considereth man's Body more especially, is justly preferred before all other Artisans, which imitate the same, because antiquity meaning to grace Painting above all the rest, Handicrafts men exempting only Painters out of that number. Of the Necessity and Definition of Proportion. IT was not without just Cause, that the ancient Grecians (at which time the Art of Painting had fully attained to his Perfection, by the Industry of Timantes, Eusenidas, Aristides, Eupompus, Sicyonias and Pamphilus, the Famous Macedonian Painter, and Master of Apelles, who also was the first learned Painter directing his Works by the Rules of Art, above any of his Predecessors, and well considering that whatsoever was made without measure and proportion, could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder) were wont to say, that it was impossible to make any tolerable, much less any Commendable Picture, without the help of Geometry and Arithmetic, wherefore they required the Knowledge thereof, as a thing most necessary, which saying was also approved by Philip Macedo. And surely it is impossible (to omit the mere Artisans) that he who is ignorant of these two Sciences, should understand the exact measure and proprotion of any probable or true Body, the necessity of which proportions shall be showed hereafter. It is apparent then that a Picture lacking this, is like a piece of Marble grossly wrought, without Rule or Measure, or two Columns: which although they be to slender, or to gross, to short or to long, yet are called Columns; as Dwarves and deformed Creatures are named Men. Now this Book shall contain the general proportions of the principal things alone, from whence the rest are derived, of which before I begin to speak. I hold it convenient to consider the definition of proportion, and the parts thereof; Proportion is a correspondency and agreement of the Measure of the parts between themselves and with the whole, in every Work, this correspondency is by Vitruvius called Commodulation, because a Model is a Measure which being taken at the first measureth both the parts and the whole. And this is that (to omit the several kinds thereof, which shall be distinguished in their due place,) which for so long space having been lost, was the cause why the exact and true proportion of Man's Body was not understood, by Occasion whereof there never came any Excellent Pieces abroad, although the matter were never so costly: And consequently that the Painters being ignorant of that they had in hand, instead of proportionable men made lame Pictures as the Architecture, Temples, Images, and Pictures made throughout the whole World (but especially in Italy) about the time of Constantine the Great, until Giotto in Tuscany, as Andrino di Edesia Paveses in Lombardy can sufficiently witness, and this (in a word) is that, the knowledge whereof so satisfieth the judgement, that it maketh it not only able to make whosoever we list, but also teacheth us to judge of Images, and Pictures, as well ancient as new, and without this a Painter (besides that he is not worthy the name of a Painter) is like one which persuadeth himself he swimmeth above Water, when indeed he sinketh, to conclude than it is impossible to make any decent or well proportioned thing, without this Symetrical measure of the parts orderly united. Wherefore my greatest endeavour shall be, to lay open the worthiness of this part of painting unto all such as are naturally inclined thereunto, by reason of a good temperature joined with an apt Disposition of the parts thereof, for such men will be much affected therewith, to the end they may the better perceive the force of Nature: who by industry and help of a good conceit, will easily attain to so deep a reach, that they will be able upon the sudden to discern any Disproportion, as a thing repugnant to their Nature: unto which perfection on the contrary Side they can never attain, whose Judgements are corrupted through the Distemperature of their Organical parts, I speak of such who not knowing the virtue of proportion, affect nothing else, but the vain surface of garish colours, wrought after their own humour, who prove only Dawbers of Images and Walls throughout the whole World; moving the beholders partly to smile at their Follies, and partly to grieve that the Art should be thus disgraced by such absurd Idiot's: who as they have no judgement herein; so do they run into divers other most shameful errors, into which I never heard that any ever fell, who were acquainted with the Beauty of proportion, but have rather proved men of rare Spirits and sound Judgements, as may be gathered by the great request it was in, until the times of those Princes, as well ancient as late: But before I proceed any farther, I think it necessary to treat something of a Head in particular, First, Of the Head in Prophile or sideways. THe manner to make this Head by just and safe rules is thus, First form a perfect equal Triangle in what position you will, turning the Triangle to make the Face upon one of the three sides, be it which it will, either upwards or downwards, According to Odnardo Fialetti. higher or lower; dividing that side into three equal parts, the one to serve from the lower part of the Hair, to the lower part of the Forehead; the Second thence to the under part of the Nostrils; the Third to the lower part of the Chinn: now having framed these three lines, draw a little crooked stroke with a Coal or Chalk, out of the right Line, that may reach from the top of the Forehead unto the Eyebrow, from whence draw away the slope Line, bending at the end. To perform the Nose, either long, short, gross or thin, as you would have it, ending that at the second distance, where the Nostrils end, then subdivide the remaining third part in the midst, where the Mouth shall be placed for the parting of the upper and under Lips, then frame the Chinn, having a respect to the perpendicular Line, that it fall not out of the middle of the Chinn; adjoining thereto the under Chinn down to the Throat-pit. So with the other two dividing lines, the one from the Top of the Forehead downwards (and ends in the midst of the back part of the Ear;) the other proceedeth upwards from the Chinn, ascening till that meet with the Superior descending Line, whose Intersection directeth the Ear, that the circumference thereof stretch not too far: Thus with your judgement take the upper part of the Forehead, and come to describe a great circular Line about, to Form with that the roundness of the Head, unto the Nape of the Neck, keeping the proportion that Nature teacheth; and from thence downwards frame the rest of the Neck, remembering that the Tip of the Ear doth not exceed the lower part of the Nostril. So you may have the Head in what Position you will, so this abandon not the two other Lines, each concurring in their due points. Of the Foreright Face. BEing then desireous to draw the Foreright Face, it will be necessary to Form a perfect Oval, which being made, divide it in the midst, with a line the longest way (that is to say) a perpendicular line, divide this line into three equal parts, allowing a fourth of one of the three parts for the Hair in the Forehead, the First for the Forehead, the Second for the Nose, the Third for the Chin. In the midst thereof must the Mouth be form, always remembering that the Eyes must be in one line, the cross line of the Nose and Mouth must always be correspondent to the cross line where the Eyes are placed; and the Eyes must be the length of one Eye distant from the other; and that their inward Corners be perpendicularly over the outside of the Nostrils punctually, but to make the Ears in a Foreright Face proportionable, they must be much Foreshortned by Foreshortning, I mean when the Eye doth not see the full Latitude of it, the proportion of the length of the Ear, to be from the Eyebrows to the bottom of the Nostrils, and then join the Neck with the Hair in such sort as may seem most pleasant unto the Eye. Of the Head in Foreshortning. HItherto I have treated of the Head, both Foreright and in other Positions, but that you might know all that is needful for the perfect understanding of this profession, it is necessary that I specify the manner how to draw the Face by an easy, absolute and fair way; Treating thus I propound to you Methodical means therein; because my intent is to Facilitate the matter in that manner, but without writing thereupon it may be intelligible, for a draught well made hath that power, that it makes itself understood without any discourse of the Author thereon, but I always observe both the one and the other also; I say that the foreshortning which is made only with Fretts, Grates, Squares, or with Geometrical Instruments, breed only a confusion of lines, which is not the best principal of expert Ingenuity, the reason whereof is, that it can hardly be measured by any Rule, unless the whole Body be framed together. Therefore I will show an easy Rule, very like to that of the foreright Face, that is, to make a Circular draught with the aspect upwards, or downwards, as in the foreright Head, where the Traverse lines are strait, but these go Circularly, for if the Heads fly upwards the Traced strokes and the Divisions must be raised, with caution that the Ears and Eyes fall not out of their due points, as is signified in the first Plate. Of the side face without any Measure. BEing desireous to make the side face without any Triangle or Measure, which with a little care and practice, observing the distances and Measures which will serve for Direction, because the Head and other parts of the Body ought to be proportional, and made from Measures; it will easily follow, Framing or Traceing many, you may not only Facilitate it by the Eye and Judgement, but also accommodate the Hand, to Trace and draw, all things right, for it is true that the Eye will have its place. I having drawn certain strokes or draughts from the life of nature, and reduced it with the Pencil into Colours, have found it come off punctually right, of a correspondent bigness to that, which I have imitated, and have not found any thing disproportioned, but have always found it fall out right as I would have it, therefore I say that this Rule, and Measure which I have set down, in the Porphile or other opositions of the Head, is not any hindrance to the excellency of the Art, nor will weaken your worth, but will serve for a general Rule being once possessed therewith, and also become prevalent when occasion shall require, to make a Head Ten times as big as the Life; for that with this Measure, you shall readily Frame it right by any great Head; and that because the understanding therein is equally extended, but the more the capacity is wanting, the more my Labour will farther when need requireth. These than I give as Principal for the first strokes, as in the next figure may be perceived, which is from the Forehead, as I have already said, for the beginning of the Nose; that is from the lower part of the Hair, to the hollowness of the Nose and the Nostrils, and from thence to the Chinn. Several Observations, in drawing a Head after the Life. ANd because the greatest difficulty, and principal parts of this Art consist in some part in drawing the lively Resemblance of a Face, therefore I thought it very necessary to add this as a further Direction to draw any Face after the life. Therefore if you will draw any Face after the life, that it may resemble the party you draw it after; take notice in the First place of the Physiognomy or circumference of the Face, whither it be round or long, Fat or Lean, Big or Little, so that in the First place you must be sure to take the right Physiognomy and bigness of the Face, and in case it be a Fat Face, you will perceive the Cheeks to make the side of the Face to swell out, and so make the Face look as if it were square: And if it be neither too fat nor too lean, it will be round for the most part; but if it be a lean Face the Jawbones will stick out, and the Cheeks fall in, and the Face will be long and slender, observe when you draw the outmost circumference of a Face, to take the Head and all with it, or otherwise you may be deceived in drawing the true bigness of a Face, than you must diligently and judiciously observe and discern all the Gentle Master Touches, which gives the Spirit and Life to a Face, and discovers the Grace or Disposition of the Mind, wherein lieth the whole Grace of the Work, and the Credit of the Artist, you may easily discern a smiling Countenance in the Corners of the Mouth, when they turn up a little; you may best discern a stayed and sober Countenance in the Eyes, when the upper Eyelids comes somewhat over the Balls of the Eyes, but a frowning Countenance is easily discerned in the Forehead by the bending of the Eyebrows, and some few wrinkles about the top of the Nose between the two Eyebrows, and a laughing Countenance is easily discerned all over the Face, but an angry Countenance is discerned by extraordinary frowning; there are also some touches about the Eyes and Mouth which you must diligently observe, which gives the Spirit and Life to a Face. The Proportion of a Man of Ten faces. IT standeth with good reason, that (following the Method of the Ancient Grecians) I should make this Body, whose proportion I intent to handle particularly, answerable to the Symmetry of all other Artificial Bodies, which may be made far more Beautiful, than Nature affordeth any; wherein notwithstanding the whole Symmetry of Art may be comprehended more or less; and this Point I mean to handle in this Chapter and the next, wherefore I have prefixed this before the rest, because it is, as it were the Foundation of them all. This Figure than is First divided into Ten parts or faces: the First whereof (I mean in length) beginneth at the top of the Head, and reacheth to the root of the Nostrils: the Second from thence to the Throat-pit: the Third thence to the parting of the Breast: the Fourth thence to the Navile: the Fifth thence to the Privities, which is just the middle of the length of the Body, from thence to the Sole of the Foot are Five Faces, whereof two lie between the Privities and the Mid-Knees, the other three betwixt that and the Sole of the Foot. Thus according to this Division all these Parts are equal. Now the first Part from the Top of the Head to the Nose, answereth to the space betwixt that and the Chinn, in a triple proportion, (which maketh a Diapente and a Diapason) that beneath the Chinn, and the Throat-pit answereth to that betwixt the Nose and the Chinn in a double proportion (which makes a Diapason) whereunto the Head answereth in the same According to john Paul Lomatius. proportion; the Three faces (between the Throat-pit and the Privities answereth to the Second betwixt them and the Knee Sesquialter proportion, whence ariseth a Diapente, but with the Legs they are unisons for it hath the same proportion with the Thigh. Now the breadth of this Body consisteth likewise of Ten faces; namely between the extremities of both the middle fingers, when the Arms are spread abroad, and is thus divided: One to the Wrist of the Hand, one and a half to the Elbow, so much to the Clavicolae or joint of the Shoulder, and one to the Throat-pit, so that only the Hands are unisons, with that between the Shoulder-Joynt and the Throat-pit, and the space between the Shoulders and the Elbow, with that between the Elbow and the Wrist; so that these answer to each other in a Sesquialter proportion called a Diapente) again a face is as much as the distance between the Nipples, and so much more from each of them to the Throat-pit, making an Equaliter Triangle. The compass of the Head from the Eyebrows to the Neck behind is double to the length of the whole Head, the circumference of the Waste is a Triple Sesquialter to the Diameter thereof; and is all one with the Trunk of the Body, which is three Faces, the circumference of the Body under the Armpits, and the space between them and the Wrist answer in a double proportion, and is all one with any half of the Body. The Measures which are Unison or all one, and equal between themselves, are these: First the space between the Chinn and the Throat-pit, is as much as the Diameter of the Neck: the circumference of the Neck, is as much as from the Throat-pit to the Navile, the Diameter of the Waste answereth to the distance between the Knobbe of the Throat and the top of the Head, and this is the length of the Foot, the space between the Eyelids and the Nostrils is all one with that betwixt the Chinn and the Throat-bone, again from the Nose to the Chinn, is as much as from the Throat-Bone to the Throat-pit, moreover the space from the hollow of the Eye below, and from the Eyebrow to the Centre of the Eye, is the same with the prominency of the Nostrils; and so much it is between the Nostrils, and the end of the Upper Lip so that these three spaces be equal, besides the distance between the top of the Nail of the Forefinger and the last Joint thereof, and from thence to the Wrist are equal, again the space between the Nail of the Middle Finger, and the last Joint thereof; and from thence to the Wrist is all one, the greater Joint of the Forefinger, is the height of the Forehead, and the space between that Joint and the top of the Nail, is equal to the Nose, beginning at the bottom of the most eminent Arch above the Eyes, where the Forehead and the Nose are divided, the two first Joints of the Middle Finger, are equal to the space between the Nose and the Chinn, the first Joint whereon the Nail groweth; is the distance between the Nose and the Mouth; so that the second Joint answereth to the First in a Sesquialter proportion, as also doth the space between the Mouth and the Chinn, (whence ariseth the Concord Diapente) the bigger Joint of the Thumb giveth the length of the Mouth, the space betwixt the top of the Chinn, and the Dint under the Lower Lip, answereth to the lesser Joint of the Thumb, and is as much as from the Nose to the same Dint, wherefore from the greater Joint there is a Sesquialter proportion and a Concord (Diatesseron) the last Joint of each Finger, is double to the length of the Nail, and makeeth a Diapason from the midst between the Eyebrows to the outward Corner of the Eye, is as much as from thence to the Ear, the height of the Forehead, the length of the Nose, and the length of the Mouth are (unisons) the breadth of the Hand and Foot are all one, the length of the Foot in respect of the breadth makeeth a double (Supra bi partient, and a Diapason and a Diatesseron.) The breadth of the Foot to his height at the Instep, makes a (Sesquialter and a Diatesseron) the breadth of the Hand is double to the height, the Arches of the Eyebrows, are equal to the Arch of the Upper Lip, at the Division of the Mouth, the breadth of the Nose and the Eye is all one, and either of them half the length of the nose, the navile is the midst betwixt the nose and the Knee, from the top of the Shoulder to the Elbow, and from thence to the Hand, is a Diatesseron, the space between the lower end of the Ear, and the Joint of the Shoulder, is half as much as the breadth of the Breast at the Shoulders, which maketh a double Sesquialter the whole breadth of the Body to the space between the top of the Head, and the Throat-Bone makes a Quadruple proportion; whence ariseth a Disdiapason, the same proportion hath the Cubit, or lower Part of the Arm from the Elbow to the top of the Middle Finger, with the breadth of the Body, by the Arms spread abroad the breadth of the Flanks is double to the Thigh or a Diapason, the length of a Man is all one with his breadth. The breadth of the Back at the Armpits; of the Hips at the Buttocks, and of the Legs at the Knees, in respect of the Soles of the Feet, make a triple (Sesquitertia) the like is from the space of the Head to the Breast-pit: the Diameter of the Head at the Forehead, to the depth thereof, (that is between the Eyes, and the Nape of the Head) is a Sesquioctava: whence ariseth a Tone, the circumference of the Forehead at the Temples, is a Quadruple to his height, or a Diapason, the height of the Face, and the space between the Chinn and the Throat-Bone, makes a triple proportion, or a Diapason, and Diapente. And thus if we should proceed, we might find in the Head all the other proportions of the smallest Parts, together with their Concord most exactly: which for Brevity's sake I omit, hasteing to the Measures of all the Parts, which are truly Symmetrical, and correspondent to the Parts of the World. The Proportion of a Man's Body of Ten faces. THe proportion of a long and slender Body must be patterned after the Body of Mars the god of War, amongst the Gentiles, who by reason of his Heat and Dryness hath a long and slender Body agreeable thereunto; and may also serve for any other Body of that nature, as being Boisterous, Choleric, Cruel, Martial, Mutinous, Rash and prone to Anger; as are all active and strong men, by reason of the bigness of their Bones, void of much Flesh, which causeth them to be of a hard, and sharp Body, with great Joints, and big Nostrils dilated with Heat, whose Eyes, Mouth, and other passages, are correspondent; as in his due place shall be more particularly showed. The breadth of the Hand, being divided into Four Parts, maketh the Four Fingers from the top of the Middle Finger to the Elbow, is the Fourth Part of the whole Body; And this proportion is of such indifferent Beauty, that sparing the Martial asperity and bouldness, it may sit divers other slender and noble Bodies, as occasion shall serve. The extravigant Proportion of Ten Heads. SInce my purpose is to Handle this matter exactly it shall not be amiss, briefly to touch the sleight proportion of Ten Heads delivered by Albert Durer for although it be (in truth) to slender in all men's Judgements, yet I may not omit it, because it hath the authority of so Famous a Man in the Skill of Painting, as Germany cannot match again. First then this proportion is in length from the top of the Head to the Chinn, a tenth part of the whole: thence backwards to the top of the Forehead, an Eleventh: The face may be divided into Three equal Parts, as the rest are. The Proportion of a Young Man of nine Heads. I Am of opinion that Francis Mazzalinus would have proved the only rare Man of the World, if he had never Painted any other kind of Pictures (as rude, gross, and melancholy) then these slender ones which he represented with an admirable dexterity as being naturally inclined thereunto; so that if he had only represented Apollo, Bacchus, the Nymphs, etc. he had sufficiently warranted this his most acceptable proportion, which was ever slender, and oftentimes to sleight, but when he took upon him to express the Prophets, our Lady and the like in the same; as appeareth by his Moses at Parma, our Lady at Ancona, and certain Angels not far from thence, and divers other things quite contrary to the Symmetry they ought to have, he gave a precedent to all other Painters to shun the like error: which himself might also have easily avoided, being reputed little inferior to Raphael Urbine, whom he might have proposed to himself as a pattern; for Raphael ever suited his personages answerable to the variety of the Natures, and Dispositions of the Parties he imitated: so that his Old Folks seem stiff and crooked, his Young Men agile and slender and so forth in the rest, which example admonisheth us, that a Painter ought not to tie himself to any one kind of proportion, in all his Figures; for besides that he shall lose the true Decorum of the History: He shall commit a great absurdity in the Art by making all his Pictures like Twins: Into which error notwithstanding divers (otherwise worthy Painters) have run, whose names I suppress; and especially one of those two great ones, which oversight all good practitioners will easily discern, because all their Figures are of an Uniform proportion, though wonderfully expressing variety of actions: And for our better understanding in this kind of proportion (as best fitting Young Men, who are somewhat Beautiful by means of their slenderness, agility, and gentle Disposition mixed with a kind of boldness) Ralph: Urbine hath very well expressed it in St. George fight with the Dragon, now to be seen in the Churches of St. Victore de Fratri in Milane; in St. Michael at Fontainblew in France, and in that George which he made for the Duke of Urbine on a Peice richly guilt, according to which Observation of his, every Man may dispose of this proportion in the like young Bodies, now for our more exact insight hereinto, by way of precept, we must first note that a slender young Body of Nine Heads is from the top of the Head to the end of the Chinn, a Nineth Part of the whole length: And thence back again to the root of the Hair a Tenth or Eleventh Part, as I have observed in Raphael's St. Michael and in an old Apollo, but which way soever you make it, this space is divided into Three equal Parts; whereof the First makes the forehead, the Second the Nose, the Third the Chinn, howbeit I grant that in a face which is the Eleventh Part (by reason of a certain Tough of Hair which is usually expressed) the forehead becometh lower by a Third Part; which Rule the ancient Grecians kept, as their Statutes do evidently witness. The Proportion of a Man of Eight heads. WHereas in every Work there is some one entire Figure, whereunto all the particulars of the whole History ought to be principally referred, the Painter ought not to imagine, (because he is more skilful in representing some other thing in the work than that which beareth the reference of the whole) that therefore he shall deserve commendation, but rather discredit, for it is most certain that Work will prove offensive, where some inferior and by matter, is more curiously handled then the principal, and the rather, because the other Parts cannot choose but lose their Grace. A thing which hath caused divers excellent Painters (as well new) as ancient (being purposely carried away with too great a desire of doing well) to leave their Works imperfect, which they could not remedy any other way, then by utterly defacing that which they had done, were it never so excellent. A most pregnant example whereof we have in that ancient Painter Euphzanor; who being to draw the Twelve gods in Athens, he began with the Picture of Neptune, which he wrought so tightly both for proportion, colour, and all other points; that purposing afterwards to make Jupiter with far greater perfection, he had so spent his conceit in the First Figure, that he was not able afterwards to express any of the other gods, much less Jupiter) the like Disgrace happened to Zeuxes by the Naturaleness of his Grapes, and the Imperfection of the Boy, not unlike unto which was that of Leon: Vincent of late Days, who being to Paint Christ at his last Supper in the midst of his Disciples in the Refectory of St. Maria de Gratia in Milane, and having finished all the other Apostles, he represented the two James' with such perfection of Grace and Majesty, that endeavouring afterwards to express Christ, he was not able to perfect and accomplish that sacred Countenance, notwithstanding his incomparable skill in the Art, whence being in a desperate Case, he was enforced to advise with Bernard Zenale concerning his Fault, who used these Words to comfort him. O Leonard this thine Error is of that quality, that none but God can correct it; for neither thou nor any Man living, is able to bestow more Divine Beauty upon any Figure, than thou hast upon these James', wherefore content thyself, and leave Christ unperfect, for thou mayest not set Christ near those Apostles, which advise Leonard observed, as may appear by the Picture, at this day, though it be much defaced. Whence my Council is; that for the avoiding of the like Errors, we examine the original thereof, having an especial regard to our proportions; as the chief Cause of the grossness, slenderness, clownishness, and daintyness of Bodies: whence all the Beauty and Ill-favourdness of Pictures proceedeth; wherefore let each Body have his true and particular proportion: which is to divide the Body into Eight equal Parts, whereof the head is one, which may serve for all Men in general, who agree with this most absolute form, whose proportion followeth. Of the Proportion of a Man's Body of Seven Heads. THe grand Philosopher Pythagoras, giveth sufficient Testimony of the Truth of these Rules concerning the proportion of Man's Body; insomuch as by their help he distinguished the proportion of Hercules his Body, from the other gods, by finding out the true Stature thereof, and consequently how much he exceeded the Stature of ordinary Men; of whom An: Gellius writeth, that he observed the Quantity of Hercules Foot, wherewith the race in Acaia before Jupiter Olmypius his Temple (where the Olympian Games were celebrated every Fift Year) was measured; and found it to agree, in the Number of Feet, with the other Races, which were six hundred Twenty Five Foot; and yet to be much longer than any of the rest. By which Example we may easily conceive, that every proportion will not fit all kinds of Bodies, because there are many varieties thereof, as there are Natural Differences of Bodies, wherefore I will proceed to the handling of the proportion of a Body of Seven substantial and big Heads, all whose Members are strong, sturdy, and raised; his length then from the Crown of the Head to the Sole of the Foot, is seventimes the length of his head. Of the Proportion of a Woman of Ten Faces. ALbeit Dame Nature, the cunningest Work-Mistress of all others, doth ordinarily observe so great variety, in all her Works, that each of her particulars differeth in Beauty and Proportion; yet notwithstanding, we find by experience, that she is more industrious, In showing her Art and Skill in some few most Beautiful creatures, whereupon I (insomuch as Art being the counterfeiter of Nature, must ever endeavour to imitate the most absolute things) intending to handle the proportion of a Woman mean not to spend much time in discoursing of the several proportions of all the Sorts of Women which Nature affordeth (for that were infinite) but purpose to write only of the most pleasing proportions appearing in dainty and delicate Bodies, now this Body is thus measured: Divide the Body into Ten equal Parts, whereof the Head must be one, from the Crown of the head to the privities must be Five of the Ten, and from the privities to the Sole of the Foot Five more. And this is the Measure and proportion of a comely Woman's Body, drawn not only from the observations of the ancient Statues of Venus, but even from the ground of Nature itself; which proportion may serve for any Woman, wherein you would especially represent the perfection of Beauty, and not for every common Woman; as Martial, Huntresses, grave Matrons, or other stayed Women, inclineing to grossness, as the other tend to slenderness, and because all the other proportions depend upon these two (as may easily be proved by Geometrical lines) I thought good to set them down first, as a Rule and Direction for the rest, which I purpose now to handle, with the same Method I did the other two: Lest otherwise, it might happily be thought, that these proportions were made by chance; wherefore all the particulars are to be framed, answerable to the Nature of such Bodies as they resemble; otherwise some one disproportionable and unsuitable Part, will cause as great, or rather a greater blemish in a beautiful Body: As a Tuscan Capital, in a Corinthian Cullumne; or a Phrygian note mixed with a Doric. The Proportion of a Woman of Ten heads. THe proportion of a Woman of ten Heads in length, is thus measured, between the top of the Head and the Sole of the Foot; is ten times as much as between the Chinn, and the top of the Head, thence to the Privities is half. The Proportion of a woman of Nine Faces. IT was not without just cause that Vitruvius in the First of his Architecture, distinguishing the manner of Temples by their several Orders; dedicated the jonick Order to the goddess Juno, as being slenderer than the Doric, and more substantial than the Corinthian: Considering no doubt very wisely, that this goddess was not naturally so Grave as Vesta nor yet so slender and beautiful as Venus; notwithstanding she carrieth a Matron like Beauty, full of State and Majesty, for which cause also, I apply this Portion of Nine Faces unto her, as most properly belonging unto her, being inferior in Beauty to the proportion of Venus, and yet the most beautiful amongst the Matrone-like, wherein Majesty and Grace ought to be represented. Moreover this proportion may be applied unto Queens of Middle-age; or unto any other honest, fair and grave women; and doth most properly appertain to our Lady. Of the Proportion of a Woman of Nine Heads. THough I might describe divers other proportions of Bodies (albeit of small worth in respect of the principal) yet I purpose to pretermit them, as well for their small use, as for brevity's sake, wherefore concluding the Principal and most Regular proportions, I come to the rest, and First to that of Nine Heads, which being very slender and comely, as representing the third Degree of Beauty, may be given not only to Minerva, but also to Diana for her swiftness and agility, as also to the Nymphs of the Rivers, and to the Muses, though with divers attire, in regard of their place. This proportion is from the top of the head to the Chinn, a Ninth Part of the length. The Face from the Root of the hair, to the Chinn, may be either a tenth or eleventh Part, as shall please the Painter. This divided into Three equal Parts, the first gives the Forehead, the second the Nose, the third the Chinn. The Proportion of a Woman of seven heads. IT was not without good Ground, that the old Grecians made the goddess Vesta but Seven heads high; because this proportion is Grave and Matron like, and therefore was attributed to the Earth, the common Parent of all things. Besides you may give it to any other goddess, which hath any kind of resemblance with the Earth, as also to the more stayed and ancient sort of Women, wherefore it were a great oversight to give a slender and delicate proportion to the sibils or other Grave and Sage Prophetesses, as it were likewise to make a Prophet with such a proportion as belongeth to young Men. A Child of six Heads is thus measured, dividing the body into six equal parts, whereof the Head must be one. A Child of five Heads is thus measured, dividing the body into five equal parts, whereof the Head must be one. A Child of four Heads is thus measured, dividing the body into four equal parts, whereof the Head must be one. The Reason why I have not given Descriptions or Rules, upon all the particular designs upon the Plates, farther than the Sideway, or Triangle, Foreright or Fore-shortening, is because I think it unnecessary, unless you could force Dame Nature to observe the same method, with them ancient Rules of Alberta Durera or Cousin, the grand reason is because every Print shows its design of itself, to any one that is Ingenious, observing the due distances, and lights. The Definition of Painting. PAinting is an Art which with proportionable Lines, and Colours answerable to the life, by observing the Perspective Light, doth so imitate the Nature of corporal things, that it not only representeth the thickness and tenderness thereof upon a Flat, but also their actions, and gestures, expressing moreover divers affections and passions of the Mind. For the better unfolding of which Definition we must understand that every Natural thing consisteth of Matter and Form: Whereunto Genus and Difference answer in Logic whence the Logicians say, that Genus declareth the Essence of things, and Difference of their Form and Essential Qualitys. Wherefore I think it not amiss, according to this Doctrine, to lay open the above named Definition, by expounding all the Differences whereby the Art of Painting is distinguished from all other Arts and Sciences; the Genus then in Painting is Art, which is proved by two Reasons. The First is drawn from the Definition of Art itself, which is nothing else but a sure and certain Rule of things to be made, the Second from the Natural things themselves, which are a Rule and Measure to the greater Part of the Arts and Sciences, in the World (insomuch as they are Gods creatures, and consequently endued with all such Perfection as their Nature is capable of, and therefore may well be a certain Rule to Artificial things. Hence it appeareth that Painting is an Art, because it imitateth natural things most precisely, and is the counterfeiter and (as it were) the very Ape of nature; whose Quantity, Eminency and Colours, it ever striveth to imitate, performing the same by the help of Geometry, Arithmetic, Perspective, and Natural Philosophy, with most Infallible Demonstrations, but because of Arts some be Liberal, and some Mechanical, it shall not be amiss, to show amongst which of them Painting aught to be numbered. Now Pliny calleth it plainly a liberal Art, which authority of his may be proved by reason, for although the Painter cannot Painting is a Liberal Art. attain to his end, but by working both with his hand and pencil, yet there is so little pains and labour bestowed in this Exercise, that there is no Ingenious Man in the World, unto whose Nature it is not most agreeable, and infinitely pleasant. For we read of the French King Francis, the First of that name, that he oftentimes delighted to handle the pencil, by exercising, drawing and painting; the like whereof is reported of divers other Princes, as well ancient as late; amongst whom I may not conceal Charles Emanuel Duke of Savoy, who (in all other Heroical Virtues, so amongst other Liberal Sciences in this) imitated and most happily equalled, that great King Francis his Grandfather by the Mother's side, so that in these and the like Exercises, nothing is Base or Mechanical, but all Noble and Ingenious. For to say the truth; what Prince or Ingenious Man is there, which taketh not delight with his pencil to imitate God in nature, so far forth as he is able: Farthermore it cannot be denied, but that the Geometrician also worketh with the Hand, by drawing Lines, as Circles, Triangles, Quadrangles and such like Figures, neither yet did ever any Man therefore account Geometry a Mechanical Art, because the Hand-labour therein employed is so sleight, that it were an absurdity in respect thereof, to reckon it a base condition. The like reason is there of painting, the Practice whereof, doth so little weary a Man, that he which was Noble before, cannot justly be reputed Base by exercising the same; but if besides all this, we shall farther consider, that Painting is subordinate to the Perspectives, to Natural philosophy, and Geometry (all which out of question are Liberal Sciences) and moreover that it hath certain Demonstrable conclusions, deduced from the First and immediate Principals thereof, we must needs conclude that it is a Liberal Art. Now what kind of Liberal Arts it is (to omit all other proofs) may easily appear by the foresaid Definition; where it is first said, that it representeth upon a plain, the Thickness and roundness of Bodily thing, not excepting any, either Natural The Differences or Artificial, whereby we may gather that it belongeth to the Painter also to represent Palaces, Temples, and all other things made by the hand of the Artificer. Moreover it is said, that it representeth the Figure upon a Plain, and hereby it is distinguished from Carving (though not Essentially, but only Accidentally (as it is said in the Proem) by reason of the diversity of the matter, wherein both of them represent natural things which imitateth Nature likewise, though it express the perfect roundness of the Bodies as they are created of God, whereas the Painter representeth them upon a Flat Superficies: Which is one of the chiefest reasons, why Painting hath ever been preferred before Carving. Because by mere Art upon a Flat, where it findeth only length, and breadth, it representeth to the Eye the Third Dimension, which is roundness and thickness; and so maketh the Body to appear upon a Flat, where naturally it is not. Furthermore it is added in the Definition: that it representeth the Bodily Motions, which is most Motion. true, for in that most Famous Picture of the last judgement, done by the Hand of the Divine Michael Angelo, in the Pope's Chapel at Rome, who sees not what motions may be expressed in Bodies, and in what order they may be placed; there may you see our Lady, St. John, and the other Saints represented with great Fear, whilst they beheld Christ moved with indignation against the wicked, who seem to fly away and hid themselves behind his Back, that they might not behold his angry countenance wholly inflamed with indignation: There shall you behold the guilty, who being astonished with Fear, and not able to endure his glorious presence, seek dark Dens and deep Caves to hid themselves in. On the one side, you shall find the Saints seeming (in a Sort) to finish the Act of the resurrection, ascending up into the Air, to be placed at the right hand of Christ: On the other side you would think you saw the Angels coming down from Heaven with the Standard of the Cross: And on the other, carrying the Blessed Souls to be placed at the right hand of God. And to conclude there is no corporal Motion, whether it be forwards, or backwards; on the right hand, or on the left; upwards, or downwards, which may not be seen expressed, in this most artificial and admirable Picture, but if we shall farther consider the passions and motions of the Mind, whereof the Definition maketh mention likewise, they are also to be found in the same work, with no less Art than admiration to the beholder, especially in Christ in whom you may see Wrath and Indignation so kindled, that he seemeth to be altogether incensed therewith. Again both in the Saints, and damned In the Saints a reverend in the damned, a desperate fear. Souls, being appalled, and confused, is most lively expressed, an exceeding dread and horror of the wrathful Judge, and in a Word, many motions as well of the Body, as of the Mind, are to be found in the Works of this Divine Bonaraot, of the rare Raphael Urbine, and of other worthy Painters both old and new, as well of love as hatred, sadness as mirth, and all other passions of the Mind. All which representations are after declared in that part of the Definition, where it is said, that Painting, with proportionable lines maketh, Proportion. etc. where we must Note that the Painter in his descriptions, doth not draw lines at random, without Rule, Proportion, or Art, (as some vainly have imagined) since the Arrantest Bunglers that are, proceed with some little Method, and although Horace in his book de Arte Poetica saith: that The Poet and the Painter, hath like Patent to invent, A Story and dispose the same as shall him best content. Yet that is thus to be understood, that it is lawful for him to express a Figure, in what action he list, as in showing Julius Caesar in the Pharsalian War, in some action, which peradventure he never did; as setting him in the Vanguard, when he perchance was found in the Rearward, or representing him encourageing his Soldiers to Valour which perchance he never did; this only excepted the Painter is bound to proceed in all his Works according to proportion and art. Wherefore before you begin to Stell, delineate or trick out the proportion of a Man, you ought to know his true Quantity and Stature for it were a gross absurdity to make a Man of the length of Eight Faces; which is of Nine or Ten, besides this, we ought to know what proportion the Forehead hath with the Nose, the Nose with the Mouth and the Chinn, the whole Face with the Neck, and in a Word to learn the true proportions of all things natural and artificial. Now because it seemeth a matter of great difficulty, and almost impossible for one Man to attain to the full perfection of all this Knowledge, we may propose unto us the Example of the most judicious Apelles, who when he undertook any special piece of Work, wherein he meant to show the utmost of his Skill, he used to Hang it forth to public View, hiding himself behind, to the end he might hearken what every Man's Judgement was, concerning the proportion and Workmanship thereof, and according to each man's censure of such things as appertained to their professions. He still corrected his work, as on the contrary side, he did confute and reprehend the censures of such as would take upon them to give their judgements of such things as appertained not to their professions (as did the Shoemaker, who not content to find Fault with the Shoe of one of his Pictures, would needs censure the other Parts) unto whom he answered, ne Suitor ultra crepidam. Furthermore the Painter ought to observe Let not the Shoemaker presume beyond his Last. an Order and Method in those proportionable lines therein, imitating Nature in her proceed; who first presupposeth Matter being a thing void of Form, Beauty, Bound, or Limit, and afterwards bringeth in the Form, which is a beautiful and limited thing, in like sort the Painter taking a Panel or Cloth (in the Surface whereof there is nothing but a Flat and plain Super-ficies, without Beauty or Limitation of parts) he trimmeth, primeth, and limiteth it by tracing thereon a Man, a Horse, or a Cullumne, forming and tricking the true proportion thereof, and (in a Word) Imitating by lines, the Nature of the thing to be painted in breadth, length, or thickness. And because in this place there falleth out a Rule. certain Precept of Michael Angelo, much for our purpose, I will not conceal it, leaving the farther interpretation and understanding thereof, to the judicious Reader. It is reported then that Michael Angelo upon a time gave this observation to the Painter Marius de Scina his Scholar, that he should always make a Figure Pyramidal, Serpent like, and multiplied by One Two and Three, in which precept (in my Opinion) the whole Mystery of the Art consisteth, for the greatest Grace and Life that a Picture can have, is, that it express motion; which the Painters call the Spirit of a Picture. Now there is no Form so fit to express this Motion, as that of the Flame of Fire, which according to Aristotle, and the other Philosophers is an Element most active of all others, because the Form of the Flame thereof is most apt for Motion, for it hath a Conus or sharp Point wherewith it seemeth to divide the Air that so it may ascend to his proper Sphere, so that a Picture having this form will be most beautiful. Now this is to be understood after two sorts: either that the Conus of the Pyramid be placed upwards, and the Base downwards as in the Fire, or else contrariwise, with the Base upwards, and the Conus downwards: In the First it expresseth the width and largeness of a Picture, about the Legs and Garments below, showing it slender above, Piramidal Wise, by discovering one Shoulder, and hiding the other, which is shortened by the turning of the Body; in the Second it showeth the Figure biggest in the upper Parts, by representing either both the Shoulders, or both the Arms; showing one Leg and hiding the other, or both of them after one sort, as the Skilful Painter shall judge fittest for his purpose, so that his meaning is, that it should resemble the Form of the letter S placed right, or else turned the wrong way as S because then it hath his Beauty: Neither ought he only to observe this Form in the whole Body, but even in every Part; so that in the Legs, when a Muscle is raised outwards on the one side, that which answereth directly on the contrary side, must be drawn in and hid, (as may be seen in the life) The last part of Michael Angelo his Observation was; that a Picture ought to be multiplied by One, Two, and Three, and herein consisteth the chiefest Skill of that Proportion for the Diameter of the biggest place between the Knee and the Foot is double to the least, and the largest part of the Thigh triple. But to return to the Definition, that part Colour. remaineth to be expounded, wherein it is said that Painting representeth things with Colours, like to the Life; whence it is to be marked that the Artificial painter ought to proceed according to the course of Nature, who first presupposeth Matter (as the Philosophers hold) unto which it addeth a Form, but because to create the Substances of things proceedeth from an infinite power, which is not found in any creature (as the Divines teach) the Painter must take something instead of Matter, namely Quantity proportioned; which is the Matter of painting, here then the Painter must The Matter of Painting. needs understand that proportioned Quantity, and Quantity delineated, are all one, and that the same is the Material Substance of Painting, for he must consider, that although he be never so Skilful in the use of his Colours, and yet lacketh this Delineation, he is unfurnished of the Principal Matter of his Art, and consequently of the substantial part thereof, neither let any Man imagine that hereby I go about to diminish the power and virtue of colour, for if all particular Men should differ one from another in Matter alone (wherein out of all doubt all agree) than all Men must needs be one, and so that most acceptable variety of so many particulars as are now in the world would be wanting (which variety is caused by those Seven particularities which the Philosophers call Individuantes Qualitates. particularising Qualities,) that is Seven substantial accidents, which cause the particularity and singularity of substances, so if the Painter should only Portrait out a Man in just Symmetry agreeable to Nature; certainly this Man would never be sufficiently distinguished by his mere Quantity: But when unto this proportioned Quantity he shall farther add Colour, than he giveth the last form and perfection to the Figure: Insomuch, that whosoever beholdeth it may be able to say, this is the Picture of the Emperor Charles the Fift, or of Philip his Son, it is the picture of a Melancholic, Phlegmatic, Sanguine, or Choleric Fellow, of one in love, or in fear of a bashful young Man, etc. and to conclude the picture will attain to such perfection, that the party counterfeited may easily be known thereby: Wherhfore I advise the Painter to be very skilful in the use of Colours, as in that wherein consisteth the whole perfection of his Art. And in this point alone is painting distinguished Painting and Carving differ. from all other Arts, and chief from Carving, because in precise imitation of the life the painter performeth much more than the Carver is able, for the Carvers intent is only to give the self same quantity to his Figure which his Natural pattern hath, so that his special purpose is to make the Figure equal to the life; which cannot therefore be said to be perfectly like thereunto, because Philosophy teacheth us that Similitude, is not properly found in Quantity; but in Quality only: now the Colour which the Painter useth, giving thereby the Similitude and proper Resemblance to his counterfeits, is most truly and properly Quality, and although we usually call one thing like to another, when it hath the same Quantity, yet this is an improper speech, for if we should speak properly, we should call it Equal and not Like, wherefore Similitude is found only in Quality, and Equality, which the Carver considereth only in Quantity, but the Painter doth not only endeavour to give the true and just quantity to his figure, by making it equal to the life; as the carver doth, but moreover addeth quality with his colours, giving thereby both quantity and similitude, which (as hath been proved) the carver cannot do. Now the Painter expresseth two things with his colour: First the colour of the thing, whether it be artitificial or natural, which he doth with the like colour, as the colour of a blue garment with artificial blue, or the green colour of a Tree with a like green: Secondly he expresseth the light of the Sun, or any other bright Body apt to lighten or manifest the colours, and because colour cannot be seen without light, being nothing else (as the Philosophers teach) but the extreme Superficies of a dark untransparent Body lightened, I hold it expedient for him that will prove exquisite in the use thereof, to be most diligent in searching out the effects of light, when it enlighteneth colour, which who so doth seriously consider, shall express all those effects with an admirable Grace; and although the blew be equally dispersed through all the Parts of a garment, so that there is no more in one part then in another: Yet notwithstanding when it is illustrated by any light, it causeth one kind of brightness in that part where it striketh more vehemently, than another, in that part, where it shineth less. Now when the Painter would imitate this blue thus lightened, he shall take his artificial blue colour, counterfeiting therewith the blue of the garment, but when he would express the light, wherewith the blue seems clearer, he must mix so much white with his blue, as he findeth light in that part of the garment, where the light striketh with greater force, considering afterwards the other part of the garment, where there is not so much light, and shall mingle less white with his blue proportionably, and so shall he proceed with the like discretion in all the other parts: and where the light falleth not so vehemently, but only by reflection there he shall mix so much shadow with his blue, as shall seem sufficient to represent that light, losing itself as it were by degrees, provided always, that where the light is less darkened, there he place his shadow, In which judicious expressing of the effects of light together with the colours, Raphael Urbine, Leonard Vincent, Antonius de Coreggio and Titian were most admirable, handling them with so great discretion and judgement, that their Pictures seemed rather natural, then artificial; the reason whereof the vulgar Eye cannot conceive, notwithstanding these excellent Masters expressed their chiefest art therein, considering with themselves that the light falling upon the flesh caused these and such like effects, in which kind Titian excelled the rest, who as well to show his great Skill therein, as to merit commendation, used to cousin and deceive men's Eyes, the like did Michael Angelo who to make proof of his singular insight in the Anatomy, inclined somewhat toward the Extreme, by raising up his Muscles a little too hard, and by this means showed the eminencies and rise, in which naturally they were small, as in the Body of Christ, etc. Again Titian to make known his art in lights and shadows, when he would express the lightest part of the Body used to add a little too much white, making it much lighter than his pattern, and in the obscure parts, where the light fell by reflection, a little too much shadow, in resemblance of the decay of the light in that part of the Body, and so his work seemeth to be much raised, and deceive the sight, for the light which cometh to the Eye, in a Pyramidal form (as shall be showed in the ensuing discourse) cometh with a blunter and bigger Angle, and so is seen more evidently, whence ariseth a wonderful eminency, the especial cause whereof is, because there is much more shadow than needeth in that part, where the light decayeth most, so that the vusual lines failing, that part cometh to the Eye in an accuter and sharper angle, and therefore cannot be seen so perfectly, insomuch that that part seemeth to fly inwards, and stand farther off. Thus when the Four parts of a Body are much raised, and the hinder fly sufficiently inwards, there appeareth a very great heightening, which giveth a wonderfrll Spirit, and after this sort Titian beguiled the Eyes of such as beheld his most admirable works. Of the Virtue of Light. LIght hath so great force in Pictures, that (in my judgement) therein consisteth the whole grace thereof, if it be well understood, an contrariwise, the disgrace if it be not perceived, and evident example whereof we may see in a Body proportionably drawn, which being yet without his lights, sheweth very beautiful, so far forth as it is wrought, but if afterwards it shall be shadowed without judgement and art, so that the shadows be confusedly placed where the lights ought to be, and contrariwise the lights where the Middle of the shadows should be, and the concavities and convexities disorderly suited, without any Imitation of Nature it were better it had never been either drawn or lightened, whereas having lights well disposed, it doth not only add perfection to the draught but so sets it off from the Flat that it seems to be embossed. And in this virtue and power consisteth the chiefest excellency of the Painter: Insomuch as this point most properly concerneth him, by making his counterfeits seem to be as much raised, by reason of the striking of the light, as they are indeed in the Carvers work, by reason of the matter, which (as all Men know) hath height and depth, the right side and the left, the forepart and the hinder, wherefore they say that the thing which the Carver intendeth to make, is in the Marble, which afterwards becometh good or bad, by cutting and forming, but to return to the light, I say this moreover, that although it be of such efficacy, that it diminisheth the grace of the draught, where it wanteth (as is said) yet the Inartificialness of the draught cannot disgrace it, whence we see, that if the lights be well and proportionably bestowed throughout a Body, which is ill proportioned and without Muscles, it contenteth the Eye of the beholder somewhat the more, by moving him to a desire of seeing the Muscles and other necessary parts, in such a Body as in the Pictures of Bernard, Zenale, Friviliano, viz. the glorious resurrection of Christ painted by him, over, the Gate in the Covent of the Church of Grace in Milane, and many other Histories of his doing as well in colours, as in black and white, in the same place. Wherein may be seen Pictures, made without Muscles, and other necessary accomplishments, for the more gracious representation of Eye-pleasing perfection, but yet well placed, and with their lights; most artificially disposed in their places, insomuch that they seem to be embossed outwards, such is the force of these lights in which you shall also find admirable perspectives and foreshortnings, wholly proceeding from the orderly disposing of the lights, without which these draughts would have proved imperfect, losing much of that grace, although they were well placed, so that we find many Painters, who being ignorant of the art of proportions, only by a little practice, in disposing their lights in some tolerable sort, have notwithstanding been reputed good Artists; which commendation they deserve not, because they neither have the Art of perspectives nor the true representing of any of the lights. Now for an Example of the true art of exquisite bestowing of these lights, that Piece of Le: Vincent amongst many others, may serve us, instead of all the rest of his well lightened Pictures, which is now to be found in St. Francis Church in Milane, where he hath painted the conception of our Lady; which (to omit other excellencies therein) is most singular in this point, for the perfection of lights, those two pieces done by the hand of Antonio Correggio are most admirable, which are yet to be seen in the same City, with Cavalier Leon: Aretino, in one whereof is painted fair Jo, with Jupiter upon a Cloud, and in the other Danae and Jupiter descending into her lap in the form of a golden shower, with Cupid and other Loves; having their lights so well disposed, that I dare boldly say, no other Painter is able to match him in colouring and lightning; which Degrees were sent him out of Spain, from his Son Pompey a carver. Moreover Michael Angelo, and Raphael Urbine, the Fathers and Masters of painting are reputed most rare and divine in lights, out of whose Schools I may truly say, almost all the famous Painters of Italy have attained to the worth of their fame. Now then insomuch as these lights, are of so great virtue, we ought to use all diligence for the perfect attaining to the knowledge thereof, by applying them to our draughts, as is showed, insomuch as the art of proportion, motion and foresh ortning, hath but small use or commendation in a Painter, without the knowledge of these lights, found out by reason and art, and not taken by bare imitation from the embossed models, under a false apprehension of the light, without order or distance, as also in the lines and super-ficies of Bodies: wherefore they prove false, and altogether contrary to the rules of art. And thus much I thought good to note concerning this point purposing now to begin the treatise of light itself, by the assistance of him who inlightneth the understanding of such as submit themselves unto him, with a pure Mind wholly prepared for the receiving of so divine beams. Of the Necessity of Light. IT appeareth by that which hath been hitherto spoken, that a piece of painting drawn in proportion having his true motion, and put in colours without the lights, is like a Body in the dark, of whose Quantity or Quality a Man cannot judge, save only by the help of his understanding, that is by that inward conceit he hath of the thing, and not by any outward, insomuch as it is hidden from the external light, which concurring with the internal, by means of the Beams proceeding from the Eye, makes the diversity of Bodies known to the understanding, after the same manner, as they receive their light naturally. Wherefore I will handle the lights, saying nothing of the shadows, although they be handled together with them, for the shadows do necessarily follow the lights, being caused by the decay of the light, taking so much the more force, by how much the more forcibly the light striketh upon the Body, whence ariseth that exceeding great raising and heightening of a natural plain, in a Body receiving the light according to his proper nature. And by this we shall know, how the lights, reflections, and natural rebating of the lights, do vary, according to the diversity of the Bodies, by altering them as shall be said, wherein also we shall see the very perfection of the art; for without this, neither order, form, proportion, motion, composition, or figure; can attain to their perfection, like unto a Body without situation or spirit, or to counterfeit Stars without the light of the Sun, giving them their brightness answerable to their qualities, whereby they may be seen. But now as touching my proposed matter, I will First handle the nature of light, and afterwards (by the help of Natural Philosophy and the Optics, being the First part of the perspectives) I will speak in general of the primary and secondary lights, then of direct and reflected lights, afterwards how by Mathematical reasons, divers distinct lights may be seen, by reason of the variety of the Bodies, and finally of the qualities of things appertaining thereunto, how it may be understood in all things, and in the Elements themselves. Of the Nature of Light THis Word Light is diversely taken: First and principally it signifieth the Image of that Divine Nature which is the Son of God, and the brightness thereof, which the Platonics called the Image of the divine mind. Secondly the comfortable operation of the Holy Ghost: Thirdly that divine virtue, which being diffused through all the creatures, is in Men their divine grace, and in all other living creatures, that power whereby they are preserved and defended, as that of the Seraphims according to Dionysius: Fourthly that intelligence in the Angels, which breedeth that Joy in them, which passeth our understanding, yet diversely received, according to the diversity of the intelligence apprehending it, as Marcilius Ficinius upon Plato noteth: Fifthly in the Heavenly Bodies it causeth abundance of Life, signifying an effectual propagation, and visible brightness in the Fire, with a certain accidental power proceeding from the same: Sixthly it is taken in Men for the Light of their agent, understanding, which illuminateth their Patient or passable understanding; (and in a Word) for the discourse of reason, and the knowledge of divine things: Last of all it signifieth a quality proceeding from the Sun or the Fire, which so discovereth colours, that they may be seen, and this (as the Peripatetics say) is the cause of Formal Reason, whereby coloured things are seen, whose Shapes and Images pass to the fantasy, and especially enlighten the Eyes, in which the Image is form, which First paseth to the common sense, afterwards to the fantasy, and last of all to the understanding, this Light is dispersed and extended unto all Bodies that are openly proposed unto it, in which colour, and a beautiful resplendency of thick and dark Bodies is discovered (as the Platonics speak) caused by this light, together with certain beneficent and generative virtues. But where the Sunbeams fall not, and are not at all dispersed, there (the beams of the Eye being restrained) remaineth a dark colour, which displeaseth, and evil effecteth the mind, so that all things according to their capacity, feel the power of the light, which joining all Creatures to itself by this lively heat, and piercing through them all giveth to each of them his proper Quality and Virtue. Whence those who are judicious in this Art, use to give lights to all things after one and the self same manner; insomuch as we see, that the Sun rising above our Horizon, lighteneth all things in an instant, the reason whereof is, because the light hath no contrary which might hinder it, with his action. Wherefore it performeth his operations in the Air, in an instant. And hereunto appertaineth that, which the Philosophers say concerning the darkness of the Night, that it is not caused of any dark or black colour, which coloureth the Air, but only by the absence of the Sun, whose presence and brightness equally lighteneth our whole Hemisphere, and would in like sort lighten the whole Earth, together with all compound Bodies, if they were transparent as the Air is, but being Opake, thick and corpulent, they receive not the light in his perfect brightness, save only in that part which is directly opposite to the Sun, and therefore in this our Hemesphere (because the Sun never passeth perpendicularly over our Zenith) the Earth can never be so lightened, but that one side or other of it will be shadowed, which happeneth unto those parts, which lie directly under the equinoctial line, where the Sun at Noon doth so lighten the Earth, and the inhabitants, that it giveth light to the whole circumference of round Bodies, and there is no shadow seen unto the very Feet. Whence the judicious in this Art, forbidden us to give lights in a picture unto all Bodies, after one and the self same manner. But besides this consideration of the light illuminating, and the Earth with all earthly Bodies lightened, there is another more forcible reason drawn from the grounds of the Mathematics, viz. from the visual lines of perspective, together with the Eye, for the better understanding whereof we must note, that Three things concur to our sight, the visual lines, the coloured Body, and the faculty of seeing, which is in our Eye, the visual lines lightened (which are the proper Matter and subject of the perspectives) come to our Eye in a Pyramidal Form, the Base of which Pyramid resteth in the Object, and the conus or angle thereof, cometh to our Eye more blunt and obtuse: And hereby we see the Object more plainly and distinctly; but if the Object be afar off, the conus or angle of the Pyramid comes to the Eye sharper and lesser, and then our Eye cannot discern it so clearly as otherwise it would. Secondly it is to be noted, that the Object cometh not to our Eye, but the visible species or shapes are diffused through the clearness of the Air unto the Eye, which species are nothing else but certain Images, like unto those which we see in a glass, when a Man or any thing else standing against it, is represented therein. And if the coloured Body or Object stand near to this Image, it comes to our Eye in the same quantity and bigness of the angle of the Pyramid: Now because this angle comes to our Eye in an obtuse and blunt form, the Image also seems great, and so is discerned more distinctly, but when the coloured Object stands afar off, the Image comes to the Eye in a very small and slender angle, and therefore filleth not the Eye, but wavereth in such sort, that it cannot be clearly and distinctly discerned. As touching the Third I have no more to say, but that the faculty of seeing is reduced into Art, being form by the concurring of the other Two things required before, viz. the visual lines, (without which the Eye cannot see) and the Image of the coloured Body, which informeth the Eye, by reducing it from mere ability into act, and informing it more perfectly with a great Image, by performing his operations better, and causing the thing to be seen more apparently and distinctly: whereas with the small Image of a thing too far distant, the Eye cannot be so well informed, and therefore it cannot see the thing perfectly. From which grounds, I draw these Two reasons, why the self same Body cannot be lightened equally in all places. The First is because the light doth not with all his brightness illuminate any more than that part, which is directly opposite to it, being not able to illustrate the other parts so perfectly, by reason of the Nature of the dark Terrene, and gross Body, which so hindereth the beams, that they cannot pierce inwards, and perform their effects perfectly. The Second reason is taken from the Nature of our Eye, for as the First part of the Body is seen and placed nearest the Eye, comes unto it with a bigger angle, so is it also seen more distinctly, because it is more lightened, but the Second part thereof, being farther of, comes to the Eye in a lesser angle, and being less lightened, is not so plainly seen as the First, and by this rule, the Third part will be obscurer, and so the Fourth proportionably until the Eye can see no farther. Now if you ask me what the Painter ought to do, when he would paint Two, Three, or Four Men, standing one behind another, all of them equally receiving the light, I answer always according to the former Doctrine, that although they be equally lightened, yet we must paint the Second which is farther off from the Eye darker, and the Third more than him, and the Fourth most of all, etc. until our Eye can see no more. The reason is because the Second standing farther off, cometh to the Eye with a lesser angle, wherefore he cannot be seen so evidently as the First, the same reason there is of the Third, etc. The same is also meant side-long, wherefore whatsoever Painters have observed this Doctrine, have became excellent, and nothing inferior to the chief Masters of this Art, as Le: Vincent with divers others named before, together with Jac: Tintoretto Marco de Scina, Frederick Barozzi of Urbine, Paulus Caliarius of Verona, Lucas Gangiasus, the Bassans, and Ambrose Figinus. Now the whole Doctrine delivered in this present Chapter is (for the most part) taken out of Aristotle, Alhazen, Vitello, Thomas Aquinas, and (to conclude) out of all the best Philosophers and Divines, (whose Opinions I approve of) and thus much may be spoken for the Opinions of other Men. Of the Virtue and Efficacy of Motion. IT is generally confessed of all Men, that all such Motions in Pictures, as do most nearly resemble the Life, are exceeding pleasant, and contrariwise those that which do farthest dissent from the same, are void of all gracious Beauty, committing the like discord in Nature, which untuned strings do in an instrument. Neither do these motions thus lively imitating Nature in Pictures, breed only an Eye-pleasing contentment, but do also perform the self same effects, which the natural do, for as he which laugheth, mourneth, or is otherwise effected, doth naturally move the beholders to the self same passion, of mirth or sorrow, so a picture artificially expressing the true natural motions, will (surely) procure laughter when it laugheth, pensiveness when it is grieved etc. And that which is more, will cause the beholder to wonder, when it wondereth to desire a beautiful young woman to his Wife, when he seethe her painted naked, to have a Fellow feeling when it is afflicted, to have an appetite, when he seethe it eating of dainties, to fall a sleep at the sight of a sweet sleeping Picture, to be moved and wax furious when he beholdeth a battle most lively represented, and to be stirred with disdain and wrath at the sight of shameful and dishonest actions, All which points are (in truth) worthy of no less admiration than those miracles of the ancient Musicians, who with the variety of their melodious harmony, were wont to stir Men up to wrath and indignation, love, war, honourable attempts, and all other affections as they listed; or those strange conclusions of the Mathematical motions, recorded of those undoubted wise Men, who made statues to move of their own accord, as those of Dedalus, which (as Homer writeth) came to the battle themselves, or Vulcanus Tripodes mentioned by Aristotle, or those guilded Servitors which walking up and down at the feast of Jarbas the Gymnosophist, served at the Table, or those ancient ones of Mercury in Egypt, which spoke, etc. In which kind of artificial motions, Leonard Vincent was very skilful, (who as his Scholar Signior Francisco Melizi the great Limner verifies) invented a certain conceited matter, whereof he used to make Birds that would fly into the Air, and made a most artificial Lion, which being brought into a large Hall before Francis the First King of France of that name, after he had a while walked up and down stood still opening his Breast, which was all full of Lilies and other flowers of divers sorts, at which sight the King and other spectators were rapt with so great admiration that they then easily believed, that Architas Tarentinus his wooden Dove flew, that the brazen Diomedes, mentioned by Cassiodorus, did sound a Trumpet, that a Serpent of the same metal, was heard to hiss, that certain Birds sung, and that Albertus Magnus his brazen Head spoke to St. Thomas of Aquine, which he broke, because he thought it the Devil, whereas indeed it was a mere Mathematical invention (as is most manifest.) But to return thither where I left, I am of Opinion that insomuch as these Motions are so Potent in affecting our Minds, when they be most artificially counterfeited, we ought for our bettering in the knowledge thereof, to propose unto us the example of Leonard Vincent above all others: Of whom it is reported, that he would never express any motion in a Picture, before he had first carefully beheld the Life, to the end he might come as near the same, as was possible: whereunto afterwards joining Art, his Pictures surpassed the Life. This Leonard (as some of his Friends, who lived in his time have given out) being desireous to make a Piece wherein he would express certain Clowns laughing (although he never perfected it more, then in the First draught) he made choice of some Clowns for his purpose, into whose acquaintance after he had insinuated himself, he invited them to a feast, amongst other of his Friends, and in the dinner, while he entered into a pleasant vain, uttering such variety of merry conceits, that they fell into an exceeding laughter (though they know not the reason thereof, Leonard diligently observed all their Gestures, together with those ridiculous speeches which wrought this impression in their Minds, and after they were departed, withdrew himself into his Chamber. And there portraited them so lively, that they moved no less mirth in the beholders, than his jests did in them at the banquet. They add moreover that he took special delight, to behold the Gestures of the condemned, as they were led to Execution, to the end, that he might mark the contracting of their brows, the motions of their Eyes, and their whole Body. In imitation whereof, I hold it expedient for a Painter, to delight in seeing those which fight at cuffs, to observe the Eyes of privy murderers, the courage of wrestlers, the actions of Stage-players, and the enticing allurements of courtesans, to the end he be not to seek many particulars, wherein the very Life and Soul of painting consisteth, wherefore I could wish all Men carefully to keep their Brains waking, which whosoever shall omit his invention (out of doubt) will sleep, studying perhaps Ten Years about the action of one Figure, which in the end will prove nothing worth, whence all famous inventors, for the avoiding of such gross defects, have the rather showed themselves subtle Searchers out of the effects of nature, being moved thereunto by a special delight of often seeing, and continually practising that which they have preconceived, so that who so keepeth this Order, shall unawares attain to such an habit of practice, in lively expressing all Actions and Gestures, best sitting his purpose, that it will become an other nature. And whosoever shall diligently consider Caesar Sestius his admirable works, wherein all the actions are most naturally appropriated to the Subject, will easily conclude that he trod in leonard's steps, and for this cause was he highly esteemed of Raphael Urbine, unto whom they say he was wont jestingly to say often, that it seemed a very strange thing unto him, that they two being such near Friends, in the Art of Painting, yet spared not each other when they offended, a speech surely well be seeming honest men, albeit they lived together in such sweet emulation, which humour if it were to be found in these our Days, the World might be reputed right happy, but now malicious envy (to our great disadvantage) taketh place instead thereof, Ministering Matter to ignorant and absurd people, insolently to disgrace and carp at other men's rare perfections. Of the Necessity of Motion. THe order of the place requireth, that I should consequently speak of Motion itself, namely with what Art the Painter ought to give Motions best fitting his Pictures, which is nothing else but a correspondency to the nature of the proportion of the form and matter thereof, and herein consisteth the whole spirit, and life of the Art, which the Painters call sometimes the fury, sometimes the grace, and sometimes the excellency of the Art, for hereby they express an evident distinction between the living and the dead, the fierce and the gentle, the ignorant and the learned, the sad and the merry, and (in a Word) discover all the several passions, and Gestures which Man's Body is able to perform, which here we term by the name of Motions, for the more significant expressing of the Mind by an outward and bodily demonstration, so that by this means inward motions and affections may be as well, (or rather better) signified as by their speech, which is wrought by the proper operations of the Body, performing just as much as is delivered unto it from the reasonable Soul, stirred up either unto good or bad, according to their private apprehensions. Which things, while all good Painters propose to themselves, in their works, they express such admirable secrets of Nature, as we see, which being moved by that stirring virtue, which continually lying hid in the hart, is outwardly showed forth in the Body, by extending her branches through the exterior Members, in such sort, that they may also receive motion, hence spring those admirable motions in Pictures, which appear as divers as the passions whence they have their original, are different, of which point somewhat shall be said in this ensuing Treatise. Now the perfect knowledge of this motion, is (as hath been showed) accounted the most difficult part of the art, and reputed as a divine gift. Insomuch, as herein alone consisteth the comparison between Painting and Poetry, for as it is required in a Poet, that besides the excellency of his wit, he should moreover be furnished with a certain propension and inclination of will, inciting and moving him to versify, (which the ancient called the fury of Apollo and the Muses) so likewise a Painter ought, together with those natural parts which are required at his hands, to be furnished with a natural dexterity and inborn slight of expressing the principal motions, even from his cradle; otherwise it is a very hard (if not impossible) matter, to obtain to the absolute perfection of this Art. The truth whereof, experience itself may teach us: Insomuch as there both have been, and are many excellent Painters, who for their extraordinary skill in the art, are most highly esteemed of all Men, as being able to make sweet coloured pictures, having their loins and joints in all points answerable to the rules of proportion, understanding Anatomy and painfully lightened and shadowed, but because notwithstanding all their care and industry in this behalf, they could never be so happy, as to attain unto this faculty. They have left their works to the view, and hard censure of posterity, only because they expressed unsuitable and lame Gestures, in their Pictures, which they had stolen out of other men's inventions: namely, out of theirs who were naturally endued with that grace, and persuading themselves that these would very well serve their turns: they imagined such Actions and Gestures in their own Pictures, as being used besides the purpose, for which they were First invented, could not be approved for good, because they offended in divers circumstances, wherefore those unfortunate painful Men (who notwithstanding in some other parts of the art, be sufficiently skilful) although they can imitate the Actions and Gestures of other inventors, yet shall they never be able to make a commendable History, because they be naturally disfurnished of that inborn facility and inclination. Now on the contrary part, I deny not, but those who are furnished with natural invention, may want that patience in their work, which the others have, which propriety ariseth from the multitude of their continual inventions, and stirring apprehensions: Insomuch, that before they can throughly finish or complete any one Body or Action, infinite others arise in their fantasy, so that by reason of the great delight they feel in their invention, they cannot have the patience to finish any thing they take in hand. But the most absolute and complete Painters (who are not so much inclined by nature, as perfected by art) endeavour to choose out the best Actions for every purpose, in restraining the luxurious fury of nature, by that deliberate discretion which they have in their Idea, by the benefit whereof, they finish their Pictures with delight and contentment, always expressing in each member, a certain hidden resemblance of the princial motions, wherefore these alone carry away the commendation of the profession which is not granted to those furious madcaps, by reason of their impatiency, nor yet unto the former over diligent plodders, because they have not the natural knowledge of these motions, and therefore cannot express them in their works, as those natural inventors will do, with Three or Four strokes, wherefore they become inferior: so that as well the one as the other, must needs give place to the inventor, who wisely joineth the industry of art, with the gift of nature. Notwithstanding, I am of Opinion, that it is possible to attain unto this so excellent a faculty, (though perhaps not with that special eminency of natural facility,) as by industrious study in the knowledge of these motions, and the causes whence they proceed. For from hence a Man may easily attain to a certain understanding, which afterwards putting in practice with patience, together with the other points, he may undoubtedly prove a judicious inventor, who never had any extraordinary natural inclination, my meaning is, that such an inventor, as guideth himself by understanding, shall attain to better perfection than the other, who is naturally endued with the dexterity, without industry and patience: for example, if a Man shall diligently peruse the whole History of Christ, out of doubt he shall gather the true Idea and Method, how he ought to represent the motions of Christ, the Apostles, the Jews, and all the rest, who had any part in that cruel Tragedy, so sufficiently, that the Mind of the beholder shall be no less moved to pity, tears and sorrow, at the sight of the picture, than Men are usually at the reading of the History, so that by this means he shall show in Judas; violent, offensive, brutish, busy, and distempered motions, and in Christ being full of patience, remiss, and gentle, representing in him, as in a glass that singular humility and patience, wherewith he reconciled us unto his Father: All which, notwithstanding they may be sufficiently drawn out of the reading of the History, yet for more ease sake, they may be taken from the accidental examples in the living, imitated with great felicity, and afterwards industriously and artificially expressed, by causing the abundance of his diligence to appear, in stirring up affections of piety and sorrow (as in a piece of the passion) or other affections, as the History he hath in hand, shall require. Now concerning the way and manner how these Actions are to be given, according to the diversity of Passions and Affections, which at sundry times, upon several occasions may move men's Minds; I hope in this Treatise to show evident examples, although they be somewhat hard and drawn from the secrets of natural Philosophy, a thing which might seem to require a Man of riper Years, than so young a Man as myself, wherefore I must crave pardon for breaking the bounds of Modesty, in undertaking the handling thereof, had I not been prompted unto it by the Painters, (it being of so great use and importance) howbeit, If neither in that which hath been already spoken, I have sufficiently laid open this point, nor hereafter shall be able to deliver the Method fully, which I promised, yet notwithstanding this my pains is not to be contemned, insomuch as it will, (at the least) prepare an easy, free and Methodical passage for every Man to exercise his Wit, which must needs prove a most sure and ready way; insomuch as all the most Famous Painters have been directed thereby, who when they went about to counterfeit any story, First conceived the general form thereof, and then gave to each Figure his peculiar Actions, proportioning, disposing, and guiding them by discretion, accompanied with natural felicity. Now amongst the worthy Painters who excelled herein, Raphael Urbine, was not the least, who performed his Works, with a Divine kind of Majesty, neither was Polidore much behind him in his kind, whose Pictures seemed as it were passing furious, nor yet Andrea's Montagnea whose vain shown a very laborious curiosity: Nor yet Leonard deal Vincent, in whose do there was never any error found in this point: Whereof amongst all other of his works, that admirable last supper of Christ in Refect. St. Mariae de gratia in Milane, maketh most evident proof, in which he hath so lively expressed the passions of the Apostles minds in their countenances, and the rest of their Body, that a Man may boldly say, the truth was nothing superior to his representation, and need not be afraid to reckon it amongst the best works of Oyl-painting, (of which kind of painting John Van Eyck of Maesyck born in the Year 1366. was the first Inventor) for in those Apostles, you might distinctly perceive admiration, fear, grief, suspicion, love etc. all which were sometimes to be seen together in one of them, and Finally in Judas a Treason-plotting countenance, as it were the very true counterfeit of a Traitor, so that therein he hath left a sufficient argument of his rare perfection, in the true understanding of the passions of the Mind, exemplified outwardly in the Body, which because it is the most necessary part of painting, I propose (as I say) to handle in this present Treatise. I may not omit Michael Angelo in any case, whose skill and painfulness in this point was so great, that his Pictures carry with them more hard motions, expressed after an unusual manner, but all of them tending to a certain stout boldness. And as for Titian he hath worthily purchased the name of a greater Painter in this matter, as his Pictures do sufficiently witness; in each whereof, there shineth a certain moving virtue, seeming to incite the beholder, unto the imitation thereof, of whom this saying may be well verified, that he was beloved of the World, and envied of nature. Finally, Gaudentius (though he be not much known) was inferior unto few, in giving the apt motions to the Saints & Angels, who was not only a very witty painter, as I have elsewhere showed, but also a most profound Philosopher and Mathematician, amongst all whose all praise worthy works, (which are almost infinite, especially in this point of motion) there divers Mysteries of Christ's passions, of his do, but chief a crucifix, called Mount Calvary at the Sepulchre of Varasto, where he hath made admirable Horses and strange Angels, not only in painting but also in plaistick, of a kind of earth, wrought most curiously with his own hand, di tutto relievo, through all the Figures. Besides in the Vault of the Chapel of St. Marry de gratia in Milane, he hath wrought most natural Angels, I mean especially for their actions, there is also that mighty Cube of St. Marry de Sorono full of thrones of Angels, set out with habits and actions of all sorts, carrying diversity of most strange Instruments in their hands, I may not conceal that goodly Chapel, which he made in his latter time, in the Church of peace in Milane, where you shall find small Histories of our Lady and Joachim, showing such superexcellent motions, that they seem much to revive and animate the spectators. Moreover the story of St. Roccho, done by him in Vercelli, with divers other works in that City; although indeed all Lombardy be adorned with his most rare works, whose common saying concerning this Art of motions, I will not conceal; which was, that all painter's delight to steal other men's inventions, but that he himself was in no great danger of being detected hereafter. Now this great painter, although in reason, he might for his discretion, wisdom, and worth be compared with the above named in the First Treatise: Yet notwithstanding is he omitted by George Vasary, in his lives of the Famous Painters, Carvers, and Architects, an argument (to say no worse of him that he intended to eternize only his own Tuscans, but I proceed to the unfolding of the original causes of these motions: And First for our better understanding, I will begin with those passions of the mind, whereby the Body is moved, to the performance of his particular effects. Of the passions of the Mind, their original and difference. THe passions of the mind, are nothing else but certain motions, proceeding from the apprehension of some thing, now this apprehension is Threefold, sensitive, rational, and intellectual, and from these Three, there arise Three passions in the mind, for sometimes we follow sensitive apprehensions, and then we consider good and evil, under the show of that which is profitable or unprofitable, pleasant or offensive; and these are called natural affections, sometimes we pursue rational apprehensions, considering good and evil in manner of virtue or vice, praise or dispraise, honesty or dishonesty; and these are reasonable affections, sometimes we embrace apprehensions intellectual, regarding good and evil, as true and false, and these are intellectual apprehensions. Now the inferior powers of the mind are of two sorts, either desire or anger, and both of these respect that which seemeth good or bad, diversely, for the desiring part either considereth good and bad absolutely; and so it causeth love and liking, and contrariwise hatred, or else it respects good as absent, whence ariseth desire or longing, or else evil as absent, but at hand, and so it breedeth fear, dread, etc. or both of them as present, and so from the First cometh joy and delight, from the latter heaviness and grief, the angry faculty considereth good and evil, as it is easy or hard to be attained unto, or avoided; whence springeth sometimes confidence and hope, sometimes audacity, sometimes distrust, and so desperation, etc. sometimes it is moved to revenge, and that is in regard of evil past, as injury or offence received, and so it breedeth anger, by that which hath hitherto been spoken it is evident, that there are Eleven passions or affections in the mind, which are these, love, hatred, desire, fear, joy, sorrow, hope, despair, audacity, timerousness and anger, from which there do consequently arise so many sorts of actions in the art, as there may be affections expressed in men's Bodies, wherefore we ought carefully to observe the motions which are outwardly expressed, in such sort, as they do manifestly point to the roots, whence they spring, and discover the causes from which they proceed, distributing them and disposing them accordingly in the Bodies, or Physiognomies which whosoever shall fail in, shall (questionless) wholly pervert the Order of things, confounding the Beauty of Histories, whether they be Fables, or other Inventions, which are to be painted. How the Body or Physiognomy is altered by the Passions of the mind. IT is a clear case, that the mind according to the divers affections (whereof I spoke before) by reason of the apprehensions both sensible and imaginative) doth diversely change and alter the Body with sensible alterations, by varying the accidents thereof, and producing sundry qualities in the members, so that in mirth, the spirits are enlarged, in fear they are contracted, in bashfulness they fly up to the Brain, again, in joy the heart is extended by degrees, in displeasure it is drawn in by little and little, as likewise in anger and fear, but sudden anger and desire of revenge procureth heat, blushing, bitter taste, and the flux of the Belly, fear brings coldness, the panting of the heart, the failing of the voice, and paleness, heaviness causeth sweeting, and a bluish paleness, mercifulness breeds a certain heaviness, which oftentimes hurteth him that is moved to mercy, which appears ordinarily in lovers, in whom there is such a Sympathy, that whatsoever one endureth, the other likewise suffereth the same; Anxiety causeth dryness and blackness; desire and love, breeds sundry colours, sometimes red, sometimes pale, as we daily see in lovers, especially in their meetings. Now all these passions when they be exceeding vehement do sometimes bring Death, which happened to Sophocles and Dionysius the Sicilian Tyrant, when he received the News of a desperate victory; the like hath befallen drivers others through heaviness and sundry other mishaps have proceeded from the like passions, when they assaulted men's minds, whereof we have divers examples in stories, which I mean not to stand upon as being a thing more curious than necessary to our purpose; only I will show, of what power and efficacy, fierce wrath joined with a magnanimous audacity can do, by the example of Alexander the Great, who being overmatched by his Enemies in India, was seen to reek forth from his Body, fire and light, the like whereof we read of the Father of Theodoricus, who by the like vehement effect, breathed out of his heart, as from a burning furnace, fiery sparkles, which flying forth shone and made a sound in the Air. Thus therefore we represent all these passions in a story, together with their convenient and proper Motions, we set forth that great variety which worketh such delight and pleasure, that it allureth our Minds unto it, with a sweet kind of compulsion, no otherwise then most delectable Music enchaunteth the Ears of the Hearers, which (as they writ) is so forcible that way, that a certain Musician boasted, that by the power of his notes, he caused Men to grow furious, and afterwards come to themselves again. Of the Motions procured by the Seven planets. AMongst the Seven Governors of the World (which Merc: Trismegistus calleth Planets, as Saturn, Jupiter, Mars, Sol, Venus, Mercury and Luna) the chief and principal is Saturn, which hath also received divers names of antiquity, as Heaven, Sith-bearer, the father of the gods, Patron of time, and from his effects here below: wise, intelligent, ingenious, the seed of great profundity, the Auctor of secret contemplation, the imprinter of weighty thoughts in Men, a destroyer and preserver, the Subjector of power and might, the keeper of hidden things, and the Auctor of finding and losing. His influences are partly good, and partly bad, according to the disposition of him that receiveth them, as weeping, melancholy etc. he causeth religious actions, as to bow the knee, look down upon the earth, pray, and such like motions of the Breast and Face, common to those which pray, or other austere and satirical Fellows, with Head declining, Eyes fixed on the earth, wasting himself with a furious silence, and examining his own speech, with hanging lips. Moreover, he causeth a complexion of colour between black and yellow, meager, distorted, of an hard skin, eminent veins, an hairy Body, small Eyes, Eyebrows joined together, a thin beard, thick lips, with looks cast down, an heavy gate, enterfairing as he goeth, besides he makes a Man subtle, witty, a way-layer, and murderer: Now according to this form of Body, and these motions, you may frame any Body subject unto Saturn, that is of the temper and complexion answerable to the nature of Saturn, so that by that which hath been said concerning this Planet in particular, as also by that which shall be spoken severally of the rest, we may gather one general Rule, as touching the Art of motions in our Pictures, as well in respect of the quality of the humour, as of the motions themselves, etc. Jupiter. The Second Planet is Jupiter, so named of the Latins, as you would say Juvans Pater, the Father of beneficence and liberality, he is otherwise called of the Poets, magnanimous, the thunderer and lightner, invincible, altipotent, magnipotent, good natured, fortunate, sweet, pleasant, the best well-willer, honest, neat, of a good gate, honourable, the author of mirth and judgement, wise, true, the revealer of truth, the chief judge exceeding all the Planets in goodness, the bestower of riches and wisdom: the dispositions and affections proceeding from this Planet are, a merry and ingenious countenance, actions of honour, shaking of hands, after the manner of those which entertain strangers, commending and speaking Men fair, with cap and knee, lifting up the head as those use which pray. Concerning the complexion, disposition and feature of the Body, he makes a Man of a mixed sanguine, betwixt white and red, of a delicate Body, good stature, either bald or else high-foreheaded, Eyes somewhat big, short nostrils and unequal, the cheek-teeths somewhat big, a curled beard, deceitful and fair conditioned: All which correspondencies betwixt the qualities of the mind, and the constitution of the Body, together with their exterior affections, if the Painter shall with judgement consider and observe, they will breed both delight in him, and estimation to his Art, teaching him farthermore the true difference between an honest man and a varlet, one that is merry, and a melancholy Fellow, a Man of his hands, and a coward, and so forth, according to all those qualities naturally proceeding from Jupiter, etc. Mars. The third Planet is Mars, and by the Poets is also called Mavors, the god of war, bloody, armipotent, ensifer, magnanimous, bold, inconquerable, full of generosity, of invincible power, of impetuous presence, unresistable, a subverter of the strong and mighty, and a deposer of Kings: he is the Lord of heat, burning and power, the Planet of blood, brawls and violence, incensing, contentions and bold spirits, and (in a word) broaching all disordered, inconsiderate and heady actions: his Gestures are terrible, cruel, fierce, angry, proud, hasty and violent: he causeth Men to be of a red complexion, a deep yellow hair, round visaged, fiery Eyes, a cruel and fierce countenance, by reason of his intemperate heat; insomuch that he is reputed hot and dry, in the highest degree, bearing sway over red choler. Sol. The Fourth Planet is Sol, which hath divers other appellations as Phoebus, Apollo, Titan, Pean, Horus, Osiris, Arcitenent, Fiery, Golden flamiger, Radiant, Igni-comus, the Eye of the World, Lucifer, Multifidus, Omnipotent, the Prince of Stars, the grand Signior, he is of good Nature, fortunate, honest, neat, prudent, intelligent, wise, the governor, the bestower of life upon all Bodies endued with Soul, obscuring the light of the other Stars with his exceeding brightness, and yet imparting unto them all that light they have, whence in respect of the night he is called Dyonisius, and of the day Apollo, as you would say pellens malum, the dispeller of evil, wherefore the Athenians called him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, etc. He was named Phoebus by reason of his Beauty, and Vulcan because of the violent heat he engendereth in those Bodies, over which he hath dominion, and Sol for the pre-eminence of his light; wherefore the Assyrians named him Adad, which signifieth alone, the Hebrews Shemesh; the Motions proceeding from him are courageous, honourable, majestical, considerate and wise; the colour and hue which he giveth is brownish, betwixt yellow and black mixed with red, causing those which are subject to him to be of a low stature, yet of a comely personage, bald, curled, with yellowish Eyes, touching the affections of their mind, they are considerate, prudent, trusty, vain glorious, and magnanimous. Venus. The Fift Planet is Venus, whose denominations are likewise divers, expressed by variety of Epithets; as chief, mild, fair, bright, white, pleasant, powerful, fruitful, the Mother of love and beauty, the progeny of ages, the First Mother of Man, she that First joined both Sexes together in love, the Queen of all joy, friendly, merciful, ever bountiful to Mankind, embracing all things with her virtue, humbling the strong and lofty, and exalting the base and weak, and directing all things; they call her Aphrodite, because she is said to be born of the froth of the Sea, and Phosphorus, or Lucifer, when she appeareth before the Sun in the East, and Hesperus when she followeth the Sun, her motions are pleasant and mirthful, being given to sports, dalliance, dancing, and embracings, she makes the countenance amiable, pleasant, and merry, working a kind of whiteness in the Body, by reason of her cold and moist nature (resembling the water which when it is congealed and frozen, looketh white) yet prettily mixed with red, she causeth Men to be proper of Body, fair and round visaged, with black rolling Eyes, brown hair, of a lovely disposition, gentle, bountiful, courteous, affable and gracious. Mercury. Mercury is the sixth Planet, and of the ancient is called the Son of Jupiter, the Herald and prolocutor of the gods, the Grecians call him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which signifieth shining, serpentiger, caducifer, lightfoot, eloquent, gainful, wise, reasonable, strong, potent as well on the good as on the bad part, the notary of the Sun, Jupiter's herald, having commerce with the supernal and infernal gods, male with the male, and female with the female, most fruitful, an Hermaphrodite: Lucian calleth him the Umpire of the gods, others Hermes, or the interpreter, and the expounder of the mysteries of nature; his motions are inconstant, slippery, mutable, strong, lively, prompt and ready, he causeth a complexion neither very white, nor very black, a long visage, an high forehead, small Eyes, not altogether black, an even Nose and something long, thin beard, long and slender fingers: the operations which he causeth in the mind are witty, subtle, busy, sharp, wary, and fruitful. Luna. The Seventh and last Planet is Luna, of the ancients called Phoebe, Diana, Lucina, Proserpina, Hecate, Menstrena, Triformis, Nocti Luca, wand'ring, silent, double horned, safe, night walking, cornigera, Queen of Heaven, the first of the goddesses, Queen over men's minds, Mistress of all the Elements, she to home the stars have relation, and the Elements are in subjection, at whose beck the lightnings shine, and seeds spring, the Mother of corn, Sister of Phoebus, the transporter of light, from one planet to another; imparting her light, to all the other stars, and restraining their divers courses; the Lady of rain and moisture, the bestower of riches, the Nurse of mankind, the ruler of all states, pitiful, merciful, the preserver of men both by Sea and Land, mitigating the tempests at Sea, the subduer of carnal affections, Queen of the world, and vanquisher of Hell, whose Majesty the birds of the air, the beasts of the fields, the serpents in the rocks, and caves of the earth, and the fishes of the sea do reverence; finally the Enemy to Thiefs and Murderers. Her motions are movable, beneficent, childish, simple, oblivious, and curious; she makes a man of a pale complexion, intermingled with red of a comely stature, round visaged and marked blackish eyes, beetle brows, tender and soft flesh, the Qualities of whose minds are satiability, facility, pensiveness, affection of news, no ready gift in discoursing. And from hence springeth the whole variety of all the other motions besides the above named of the Elements, all which serve for tokens, and signs whereby we may the better attain to the knowledge of the natures of people, and their affections and passions, answerable to the virtue and influence of the Planets, which the ancient Mathematicians have by long experience observed, neither did those excellent Motistes Al. Magnus, Abbas Tritemius, and Rai: Lullius consider them to any other end and purpose. Whosoever therefore, shall be throughly possessed with these things, imprinting them well in his mind, and proceeding according to their direction in his Pictures, may assure himself that his works will prove not only commendable, but even exceeding admirable, expressing in them sadness by Saturn, by Jupiter contentment, by Mars cruelty, by Solmagnanimity, by Mercury quickness of spirit, by Venus' love and wantonness, and by Luna humanity and gentleness; exemplifying moreover according to these Observations, these and such like effects, united together in the compounds; all which the Ancient Masters, carefully observed, (as may appear by their works) which sufficiently declare, that they both understood these mysteries, and took great pains in expressing them, whence it is most apparent, that the knowledge of these things, cannot be attained unto, by the mere practice of Painting, but by the earnest study of philosophy, wherewith the Ancient Painters were sufficiently furnished; and hence it is, that Michael Angelo of late Years, being very skilful in these matters, gave to the Devils in his last judgement in the Vatican, not only the actions and gestures of Angels and nimble and active Men, together with other earthly ornaments, but also divers other looks and countenances, most suitable to their wicked intents, as in his own discretion he thought fittest; whence we find Charon and the other Devils, to have several countenances, though all of them dreadful and malicious, in which point Leonard Vincent was much renowned, and the other Five mentioned in the Second Chapter of this Treatise, who were the very light and direction of all the other good Painters, whom I therefore pass over, because they are recorded in the lives of the Painters, who were reputed little inferior to Michael Angelo. How all the motions may accidently befall any man though diversely. HAving hitherto discoursed of the motions arising from the Elements, the humours and the Celestial bodies, as also how they differ each from other, according to their several operations in men, and their various effects; it remaineth that I should now speak in particular of certain principal properties of these motions, taking natural examples, (as my manner is) and applying them to the Planets, from whence this variety of effects and influences descends, which particularity of motions if it shall be expressed, it will discover all sorts of passions of the mind in each Body or Physiognomy, but because each man is subject to some one of the Planets, and therefore is more especially inclined to some one affection, it will not be amiss to show how upon occasion any affection whatsoever may be stirred up in a Man of any condition, or constitution; the manifestation whereof, riseth wholly from the Five Senses, as the instruments whereby the objects be apprehended: as by the Eye we The Five Senses. see that which is comely and undecent; by the Ear we hear sounds pleasant and unpleasant, as praise and dispraise; by the Nostrils we smell sweet and stinking, strong and sharp savours, by the taste we discern sweet, sharp, unsavoury, thick, salt, styptic, virulent, bitter, fat, strong, unpleasant, and (as Aristotle saith) hard and soft: Finally by the feeling, we touch cold and hot, moist and dry, as also sharp, light, slippery, heavy, hard, soft, gross, slender and such like qualities, from whence all actions, whereunto any kind of Body is subject, are caused, though more abundantly, and more apparently in some, then in others, whence we are given to understand, that as these qualities are distinct between themselves, and are severally applied to the Planets, so likewise the affections proceeding from them do vary, accordingly as the senses, apprehensions and passions, together with their objects, viz. colours, sounds, smells, tastes and matters do differ. Now although there be but one particular instinct in each private Man, which inclineth him to good or evil, whereunto that Free Governor and Arbiter of his affections most naturally learneth, an from whence all his ordinary actions proceed, notwithstanding there is no impediment why a Man may not be affected diversely, by any of the exterior senses (the ordinary instruments of all our operations) by framing in his mind, passions answerable to the object apprehended by his senses, and so cause such like Actions to break forth in him, as be repugnant to his particular instinct, the truth whereof we read in David King of the Hebrews; who was lasciviously affected, when from the top of his Palace, he beheld Bathsheba, bathing herself naked; and at the same instant was stirred up unto cruelty in commanding Urias to be slain, although he were naturally both a most continent and clement Prince. Again his Son Solomon the Wise, was subdued by his sense, and bewitched by the enticings of Concubines and Idolaters, things much abhorrent from the Instinct of his nature: And thus in perusing of Histories, we shall find how divers most valiant Princes, have upon occasions proved faint hearted, and been stained with covetousness, many pitiful Men been given to cruelty, religious Men to revenge and malice, chaste Men to luxury, stout Men to cowardice, etc. observing moreover the alteration of mirth into sorrow, lamentation into laughter, covetousness into liberality; which I therefore omit, because we daily see lively examples of people successively affected with sundry vices, as rapines, grief, love, dishonesty, theft, murder, hatred, revenge, treachery, tyranny, insolency, etc. and contrariwise with religion, mercy, loyalty, clemency, liberality, honesty, victorious, desire of honour, etc. as Thiefs being ashamed to lay themselves open before company, for fear of being discovered, will make a fair show of true Men; and courtesans and light Housewives, in the presence of other grave Matrons, will bare the countenance of very honest women, concealing their habitual naughtyness, for Fear of the disgrace and punishment, which would otherwise ensue; and fellones to avoid the danger of the halter, will take upon them the habit of honest and civil Men. Hence than the Painter may learn how to express not only the proper and natural motions, but also the accidental, wherein consisteth no small part of the difficulty of the Art, namely in representing diversities of affections and passions in one Body or Face: a thing much practised, by the ancient Painters (though with great difficulty) who ever endeavoured to leave no part of the Life unexpressed. It is recorded that Euphranor gave such a touch to the counterfeit of Paris, that therein the beholder might at once collect, that he was Umpire of the Three goddesses, the courter of Helena, and the slayer of Achilles, and of Parasius the Ephesian, that he painted the Idol of the Athenians in such sort, that he seemed angry, unjust, inconstant, implacable, gentle, merciful, etc. again we read how Theon represented in Orestes, fury and grief mixed together; and of another who resembled in Ulysses a dissembling patience: as also of Aristides the Theban, who (in the Person of a wounded Woman giving her child suck) expressed pain, and fear so lively, that it is hard to say whether she were more pained with the sense of her wound, then afraid, lest her child lacking milk, should suck blood; who also is reported to have been the First that began to represent these perturbations of the Mind, and was afterward followed of the other Painters, as a guide herein, as it was once by chance found upon a small earthen head of Christ in his Childhood, made by Leonard Vincent himself; wherein you might evidently perceive, the simplicity and innocency of a Child, accompanied with understanding, wisdom, and Majesty: and although it were the countenance of but a young and tender Child, yet it seemed to show forth a kind of sage antiquity, much to be admired. Of divers other necessary Motions. BEsides the Motions already declared at large, for the better understanding of such other as might hereafter serve for our purpose, it is to be observed, that there are certain others of no small importance, which are to be referred unto that which is most comely, and agreeable to Man's Body, as well in respect of such effects as proceed from the same; as also in regard of the times and seasons, together with the consideration of the objects, offering themselves to our sense, for the better attaining whereof, we must in all the Actions and Gestures; make choice of the chiefest and most principal, searching them out most diligently, and deducing them from the Vide George Vasari della pittula capib. circumstances, which are found in the part to be represented, as Leonard Vincent did in the Cartone of St. Anne, which was afterwards transported into France, and is now to be seen in Milane, with Aurelius Lovinus a Painter, in the border whereof, there are many draughts, expressing the great joy and mirth which the Virgin Mary conceived, when she beheld so goodly a Child as Christ born, considering with herself that she was made worthy to be his Mother: and likewise in St. Anne, the joy and contentment which she felt, seeing her daughter become the Blessed Mother of God. Moreover in that Piece which is to be seen in the Chapel of the conception in St. Francis Church at Milane, where you shall see how St. John Baptist kneeling with his Hands together, bowed towards Christ; which was an action of obedience, and Childlike reverence, and in the Virgin, a gesture of cheerful contemplation, whilst she beheld these actions; and in the Angel, an action of Angelical Beauty, in consideration of the joy which was to betid the world by this mystery; in Christ as yet a child divinity and wisdom, where the Virgin Mary also kneeled by holding St. John in her Right Hand, and stretching forward her Left Hand which was foreshortned, and finally the Angel holding Christ in his Left Hand, who sitting by, looked upon St. John and Blessed him; again, divers other Famous Painters and lights of the art, have observed other motions, as contemplation in casting the Eyes up to Heaven, admiring the Angelical Music, and neglecting for a time all Inferior Music, with the hands, instruments, and other earthly melodies, which motions were expressed in that singular piece of St. Cecily which Raph. Painted with Four other Saints, which work is now to be found in Bolognia at St. John's in the mount, the Agony also and sorrow of the afflicted, which Anton: Correggio expressed most artificially in his own City, in Christ praying in the Garden; as likewise want, panting, sweeting, sleeping, threatening, and the motion of the flaming fire: all which are most lively expressed by them in divers places, and now to come to the Poets, that which Ariosto speaketh of his Orlando, may serve for a fit example herein. His legs and hands he shakes, and breaths withal, Whiles from his Face the liquid drops do fall. And in another place, of a Man grievously diseased, famished, and out of heart, in the Person of the same Orlando, when Angelica found him lying upon the shore. Rough, grisly-haired, Eyes stairing, visage wan, Sun-burnd and patched, and all deformed insight, In fine he looked to make a true description In face like Death, in hue, like an Egyptian. And that of Dant describing a Shipwreck in a great Tempest at Sea, where the Men are saved. And even as they, who panting at a wrack, Scaped from the Sea, and gotten to the shore, Turned to the dangerous water, and look back. And thus much for examples, for he that would set down all the examples which would serve for the showing, how in every effect we ought to choose the most proper motions, without which the Picture will be of small worth, should grow infinite; we must also have regard to the seasons, for the Summer causeth open, and wearisome actions, subject unto sweatings and redness; the Winter restrained, drawn in, and trembling; the Spring merry, nimble, prompt, and of a good colour; the Autumn doubtful, and more inclining unto melancholy then otherwise, notwithstanding if you be to paint a labouring Man, you must without any regard of the season (though more of Summer than any of the rest) represent him with raised limns and strong muscles, swelling and standing forth, sweeting and burning, especially in such as carry burdens, draw great weights, or use vehement leaping, walking, jesting with weapons, fencing and such like exercises; lastly, sleep causeth no motions of vigour or force to be represented, but as if the body were without life; Wherefore we must take heed, we do not (as some use) give unto those which sleep such kinds of actions in their lying, as in probability will not suffer them to sleep, as we see ofttimes in Men lying athwart stones, benches, etc. being represented with their limns supported by their own force, wherein it is evident, that such Painters know not how to observe a Decorum. Farthermore, there are motions proceeding from the Taste, as daily experience teach us, for sourness and bitterness cause the bending of the Eyelids, and other parts; sweet and savoury, a cheerful countenance; the like of good smells, whereas contrariwise bad smells make us draw in the Nostrils, look aside, turn the back, with wrinkled Eyelids, Eyes almost closed, and mouth drawn in; of hearing and touching, they also cause distinct motions in our Bodies, as for example, from sharp sounds and noise, riseth sudden fear and affrighting, from touching any hot thing, quick and speedy motions, from touching cold things, restrained and fearful motions, as in such in the winter touch Ice or Snow. And so I conclude of seeing, for in looking upon things exceeding bright, the sight is offended, and a Man withdraweth himself for safeguard in beholding obscure things; the Eyes are sharpened, by drawing near, and as it were clozing them as Painters use to do, when they would look near on a thing, which effect is caused by a Picture set afar off: And here I will conclude those simple Motions which are of most Importance, proceeding unto those which consist of multiplicity. Of the Motions of all sorts of Cloth. THe Motions of Cloth, that as the Folds or Plaits ought to run out every way like boughs from the Stem and Body of the Tree: and must be so made that one Plait rise from another, as one bough, or one stream of Water issueth out from another, in such wise, that there be no part of the Cloth wherein there appear not some of these motions; now these motions would be moderate, gentle and free, without any interruptions, more to be admired for their grace and facility, then for affected pains and industry, and because all sorts of Cloth have their motions, as well as Bodies, it must needs be that they differ between themselves, according to the differences of the clothes themselves. Wherefore, they must be more light in fine Cloth, as Sarsenet, Linen, Cypress, etc. in which the Plaits are small, raised up, trembling, and as it were sweetly waving, somewhat puffed up by extending and spreading themselves like a Sail, where the motion receiveth more strength by the wind, they do fall close upon the bare skin, as appeareth plainly in women's garments, in whom you shall see their Thin clothes stretched upon their bare skin, on that side where the wind bloweth, and blown upon the contrary part, the same falleth out in mantels, the lose ends of girdles and garters, all which motions do most fitly belong unto the apparel of nymphs and other goddesses, in respect of their lightness; gross and dull shadows are found in stiff , where the Plaits are few and gross, so that they are capable but of slow motion, and therefore they sink downwards, and can hardly fall close to the bare skin, by reason of their own grosseness, which sustaineth them, and these motions do chief appear in cloth of gold, felt, thick leather &c: in which the Air can have little force or none, wherefore the plaits or folds have their motion accordingly as they are handled and pressed by the wearer; as under the arm, and under the knee, by opening and stretching out the leg and the arm, ever making gross, hard, and stiff folds, without all slight or plyableness, in such sort, that if a Man may lay Finer cloth upon them, they will easily bear it up without pressing down. Temperate motions, which are neither too gross, nor too slight, are such as appear in the folds of stuff and other of Fine wool, which therefore may conveniently be moved of the Air, and are pliable to a Man's limns, and so making most sweet and pleasant folds, they follow the bare very well, becoming very nimble, and falling plyably about the loins. And hence have Raphael, Michael Angelo, Leonard, Gaudentius, Albertus Durerus, and other Famous Masters in Drapery, taken the method and way of giving the true motions unto garments, as from the most perfect pattern for their general use in making the mantells of the Saints, Pavilions or Tents, which are made with this kind of Drapery, besides these, there are also other kinds of motions called turn and cross, which are proper unto Damasks, Taffetas, Satins, Cloth of gold &c: in which appear folds crossing and breaking each other, by the divers Virtue of the Drapery. Whence the Venetians have taken their manner of Drapery, who make their folds much different from the said motions of Raphael and the rest, which indeed ought not to be used any any where save in counterfeits by the life, where it seems they are not only tolerable, but also very requisite; but in my Judgement they should not ordinarily be used in Histories, and yet if occasion do require that they should be represented in any place, they ought not to be done wholly, but only somewhat and resembled with a pretty touch and grace, in such sort that they may not savour of an affected imitation of the natural garments, without grace or order which is often used of many with small reason (as I think:) there are also other motions as of velvet, limber leather, &c, all which differ one from another, but I think these may suffice, without proceeding any farther in the discourse hereof; only let the Painter be careful and industrious, as well herein as in the rest: Insomuch as in the excellency and perfection thereof dependeth, as well hereon, as on the rest; because these motions of garments come so near the life, that it is evident, that they are able to make a picture seem displeasing and ill-favoured, procuring the scorn and laughter of the beholders, such were some of those which were used by our Great Grandfather's Son Two hundred Years since, which seemed like round sticks, or candles hanging down, which some of our late workmen of good Note have also used, making their folds too long, hanging down like Canes, without any kind of grace. Another defect in the Drapery of old Pictures I find, which is; that they seem to be made like unto Scales in some sort: which I think, they took from the imitation of the models of Men, clothed with paper, which point afterwards attained to high perfection, by the great industry of Bramant, and Andreas Montegnia, and was afterwards reform, and made much more absolute by Albert Durer, and Lucas of Leiden, and Aldigravers, whose Folds for the most part ne'er like guts confounded in one another. Of the Motions of Trees and all other things that are moved. LAstly the Motions of every thing which is moved, aught to be expressed with Judgement, accordingly as they agree with the thing whereunto they are given, sometimes quick, sometimes slow, sometimes movable, sometimes not: And First of all in Trees, when they are shaken with the wind, there smaller (and therefore more pliable) boughs, must be resembled with such an action, that they may more strike one against another, by yielding and declining from the part whence the wind bloweth, than the stiffer (and therefore slower) the Body notwithstanding remaining strong and steadfast, the boughs growing from thence, begin a little to bent, and the others which proceed from them a little more, so that in the end they show the same agility, in the leaves most of all; it is true that all Trees have not a like motion: For the Willow moveth, and is shaken extremely, the Pinetree not at all, or very little, and so forth of the rest according to their natures, but by the way we must Note, that young and tender Trees of Body, begin First to move from the bottom of the Body, shaking their boughs and leaves together. Herbs likewise whether they bear flowers or fruits, have trembling motions, according to the conditions of the wind which bloweth them, and also accordingly as they are forced or oppressed of any thing; as for example, an Ear of Corn when a Bird sits feeding upon it, which will not only make it bent, but even weigh it down to the Earth, as well observed that Country Fellow in Greece of a Painter, whether it were Aristides or Pamphilus I do not well remember, who had painted a Bird upon an Ear of Corn, without making the stalk bend a jot: In like sort the motions of other unsensible things, as quivering of Feathers, of wings and plumes, the wreathing of ropes, the knots of hands, flying of straws, dust, etc. must be expressed according to the violence done unto them, to the end there may no occasion be given unto the meanest, to tax and carp at Painters (otherwise most excellent;) as not long since fell out, in the work of a good carver; who in the wrong side, where he had carved Michael Angelo, made a blind Beggar, led by a Dog tied with a string about his Neck, which seemed to be so stretched, that it was as stiff as a staff, without any bowing: which gave occasion to a waggish Boy to scoff at it, saying, that if the Dog, had straitened the string so hard, he had either been strangled, or not able to go any farther, which caused certain Painters which were there to break into an extreme laughter. Many such blame worthy motions may be found in Pictures, which would not so easily escape the hands of Painters, if in every thing they Paint, they did consider, that it is their own disgrace be it never so small, as the most diligent Leonard, and Caesar Sestius did out of whose hands there never came any unperfect piece of work; for in the smallest herbs, you shall find their most true Proportion, and Natural Motion. Albertus Durerus was no less careful in this behalf, as may sufficiently appear by his prints and coloured pieces, in which you shall find the legitimate motions, even unto the smallest hairs of the beard, as in that of the Duke of Saxony, which was also drawn again by Titianus, and afterwards in the hairs of St. Sebastian's dog, in the print of the horses of sense and death, and in the great leaves of Adam and Eve. The motions of the Sea must be otherwise expressed by representing the divers agitations of the waters, as likewise in rivers, the flashing of the waters upon Boats, and Ships floating up and down on the waters, through the uncertainty of the surges and the Ships resistance. We must also represent the motions of waters falling down from an high place, but especially when they fall upon some Rock or stones, where you shall see them spirting up into the Air, and sprinkling all about. Clouds also in the Air require to have their motions judiciously expressed, now gathered together with the winds, now violently condensated into Hail, Thunderbolts, Lightning, Rain, and such like Meteors: Finally you can make nothing, which requireth not his proper motions, according unto which it ought to be represented, but having hitherto sufficiently (as I suppose) discoursed of these kind of motions, I will here shut up all with the most hot and vehement motions of the flaming Fire, hastening towards an end as that doth naturally, although it be diversely stirred and blown with the wind, whereby notwithstanding gathering more force, it is augmented and increased. THE Art of Miniture OR LIMNING. I Hope that no Ingenuous person, will be so bold to attempt this Art, before he can design, (that is to say) further than Copying any Picture in black and white, as Cole, black Chalk, black Lead or the like. It is necessary to draw much after good Heads of plaster of Paris, because the difference is much more difficult to draw after a round then a flat, and after you have practised much by the Heads of plaster, you must endeavour to draw much after the life, in black and white, before you undertake the Art of Limning. The Colours to be used in Limning are termed thus, Whites Flake white Serus Red Carmine, Indian Lake, Red Lead, Indian Red, Burnt Ocur, etc. Yellow Masticot, Yellow ocur, Eng. ocur, Pinck. Green's Sap Green, Pinck and Bice, Green Bice, Terra Vert. Blews Vltra Marine, Dutch Bice, Smalt, Indigo. Brown's Gall Stone, Mumme, Cullins Earth, Umber, Rust. Blacks Ivory black, Sea-coal, Lamp black, Cherry Stone. As for vermilion, Verdigrease, Orpiment, etc. they are too course and gritty to use in water colours; Turnsoile, Litmus' blue, Rosset, Brasil, Logwood, Saffron, are more fit for washing prints then curious Limning. The way and manner of preparing colours, White Lead. To make your white lead that it shall neither rust nor shine, both which are no small inconveniencies in the Art of Limning, therefore before you grind either of them, lay them in the Sun two or three days, which will exhale those greasy and salted humours that poison and starve the colours, besides you must scrape away the superficies of the white lead, and only reserve the middle of it, then grind it with fair water, or rosemary water, upon a Pibble or Porphire, when it is ground have in readiness a chalk-stone with furrows in it, into which furrows put the colour while it is wet, and so let it dry in the Sun, and it will be exceedingly cleansed thereby, after it is through dry it must be washed in spring water; as for example, Let one Instance serve for all Colours to be washed and how. TAke a Pound of white lead finely ground, put it into a basin of spring water, stir it a while together, till the water be all coloured, then let it stand, and you will soon perceive a greasy scum to arise, which scum blow off and pour the coloured water into a clean basin, leaving the grosser Body at the bottom of the basin behind, it being good for nothing but grosser uses, let the purer part stand One hour or Two, until it is quite settled, then pour off the water from the colour, and put it in fresh water, and stir it as before mentioned, then let it settle half the time that it did at first, and then pour off the water into a clean basin, leaving the courser part behind; and when it is dry put it up into papers for your use; then let the other water which you poured off, settle, and then pour off the water from it, and take the colour when it is dry, and paper it as before, for your use: colours thus refined five or six times over are the purest, and most fit for the best use, and when you use it spread a little of it about a shell, with your finger, and temper it with gum water. Colours to be washed are these following. Red Lead or Mene, Masticot, green Bice, blue Bice, Smalt, Vltamarine, Sap green. Colours to be ground are these. White Lead, Serus, Indian Lake, Brown Ochre, Yellow Ochre, Pinck, Indigo, Umber, Cullins earth, Cherry stone, Ivory, Lamp black, Indian red. Of the Nature of Colours in general English Ocur. Yellow) This colour lies even in the shell of itself, and is of great use, especially if well ground. Pink mixed with Bice, a good green. Green) The Fairest Pink is best, well ground and tempered with blue Bice, allowing one quantity of Pink to three of blue Bice; to deepen this colour in Landscape or Drapery, mix with it a little Indigo finely ground. Umber. Brown) This colour is somewhat greasy; to cleanse it, burn it in a Cruciple, afterwards grind it and it will be good. Indian Red. Dark Red) Because this colour is very course, you may use Umber, and a little lake tempered, which is as good. Black. Black) Ivory and Cherry-stone, are both to be burnt in a Cruciple, and so ground; Cherry-stone is good for Drapery, for a black Satin, temper with it a little white, Indian Lake, and Indigo, heighten it with a lighter mixture, deepen it with Ivory black, this was Hilliards way. Ivory Black. Black) Grind Ivory with a pittance of white Sugar Candy, which will preserve it from crackling out of your shell. Indian Lake. Purple) Grind this with a little gum water, and when it is ground fine, before you put it into the shell, mix a little powder of white Sugar Candy with it, which will preserve it from crackling, after this temperature you may spread it thinly with your finger about the shell. Observations in Grinding. Leave not your colour too moist, but thick and clammy, if after your colour be dry in your shell, you rubbing your fingers thereon shall find any to come off, it must be better bound with gum, and if too much gum, it will shine and be apt to crackle off after it is used. To wash Bice. Blue) Grind your Bice first very purely, then fill a large shell with clean water, put the Bice therein and stir it, then let it settle One hour, take off the scum and pour off the water, then reserve the bottom when it is dry for use: To deepen this, use Litmus' water. How to choose your Pencils. Choose such Pencils as are clear and sharp pointed, not dividing into parts; of these you must have in readiness a several Pencil, for every several colour. To prepare a Tablet to work on with Miniture for Pictures by the life. Take an ordinary playing Card, polish it with a Dog's Tooth, and make as smooth as you can the white side of it, cleansing it from all spots and extuberances; then choose of the best abortive parchment, a Piece proportionable to your Card, which piece with fine and clean starch passed fast on the card, temper the starch before you passed it on, in the palm of your hand, that it may be free from Knots; let the card thus pasted dry, then making your grinding-stone as clean as may be, lay the card thereon with the parchment side downwards; then with a Tooth burnish or polish the backside as hard as you can, Note that the outside of the skin is best to Limne upon, and must therefore be outmost. The Ground colour for a Face. Your card thus prepared, you are to lay a ground or primer of flesh colour before you begin your work, and that must be tempered according to the complexion of the Face to be drawn; if the complexion be fair, temper white, red lead, and lake, if an hard swarthy complexion, mingle with your white and red a little fine Masticot, or English Ocur, but Note that your ground ought always to be fairer than the Face you take; for it is a facile matter to darken a light colour, but a difficult to lighten a deep one; for in Limning you must never heighten, but work them down to their just colour. Your ground thus prepared, you must lay it on the card, (ordered as before) with a Pencil bigger than ordinary, lay it on as smooth, even, and free from hairs of your Pencil, as 'tis possible, which that you may do) fill your Pencil full of colour, rather thin or waterish, then thick and gross, and with two or three daubs of your great Pencil, lay it on in an instant, the nimbler it is laid on, the evener the colour will lie. Note that you ought to cover rather too much then too little with this prime; cover somewhat more of the card with the ground colour, than you shall use for the Face. This done, take a pretty large Pallet of Ivory, and before you begin to work, temper certain little heaps of several shadows for the Face, which you must temper with your finger about the Pallet. The Order of Shadows for the Face. In all your Shadows, remember to mix Shadows some white, (exempli gratia) for the red in the Cheeks, Lips, etc. temper Lake, red Lead; and a little white, for the blue, as the Veins, etc. a little Indigo and white; for blue Bice is never used in a Face, for the faintest and weakest colour or shades, Lake and white, a little Ocur, and a little Indigo, adding thereto if you will a small pittance of Pink or Masticot, for the deeper shadows, white English Ocur, Umber, for the darkest and hardest shadows, use Lake and Pink mixed with Umber: Note that black must not by any means be used in a Face, for other shadows your own observation must direct you, for it is impossible to give a general Rule for the shadows in all Faces, unless we could force nature to observe the same method in composing and modelling them, so that one in every punctilio should resemble the other. For your Light to draw by a Northern is accounted Light best, which if it fall slooping down from an high window, is best. Place yourself to your Desk, that the Position light may strike in sidelong from the lefthand to the right, and observe that in all your works it will show to the best advantage, when it is turned and seen by the same light it was drawn by. Let a Saucer or clean Shell of fair Water be Necessaries in Limning. ever on your right hand, wherewith you may temper your colours and wash your pencils, together with a brush pencil dry, to cleanse your work from dust; also a sharp penknife, wherewith to take away such specks or hairs as may casually mix with your colours, or fall into your card; you may also conveniently cover your picture with a piece of paper, whereon to try your pencils before you begin to work. To begin a Face. Having these accommodations, draw the The first draught. lines of porphile (i. e. the outmost stroke) of a Face with lake and white, mingled very faint, by this you may conveniently mend the draught (if false) with a deeper mixture of the same colour, the lines being exactly drawn, and true proportion observed (which is the chiefest thing of concernment) next observe the deeper and more remarkable shadows, and with the same faint Crimson colour of lake and white, give some slight touches and marks somewhat roughly of these shadows, which afterward you'll finish. The Order to be observed in drawing by the life. First you must only dead colour the Face, The Order of drawing first sitting. as the Oyl-painters do, and not meddle with the rest, and this first sitting commonly takes up two hours. The second sitting will require Four or Second sitting. Five hours, in that time you are to go over the Face very curioussly, observing what ever may conduce either to likeness, or judicious colouring, also observing of the several graces, beauties, or deformities, as they appear in nature, or else in smoothness of shadows, or close and sweet couching the colours. The third sitting commonly takes up two Third sitting or three hours, and is spent in closing what was before left imperfect and rough; but principally in giving to every deep shadow, the strong touches and deepnings as well in the dark shadows in the Face, as in the Eyes, Kickshaws, Hair and Ears, and these touches are ever the last part of this business, and are never to be done till all the Hair and Drapery be finished, these touches (if well done) add exceedingly to the life. Concerning dead colouring. The dead colouring of a Face is to be done the roughest and boldest of all; having drawn your Face with lake and white (as before) you must take to the said colour a little red lead, tempering it to the colour of the Cheeks, Lips, etc. but very faintly, because you cannot lighten a deep colour, without hazard of spoiling the picture. The first colour to begin the Face with, is the To begin to Limn. red of the Cheeks and Lips, somewhat strongly the bottom of the Chin, if the party be beardless; over under and about the Eyes you will perceive a delicate and faint redness, and underneath the Eyes, inclining to purple colour, which in fair and beautiful Faces is usual, and must be observed; the tip of the Ear, and the roots of the Hair are commonly of the same colour. All this you must do after the manner of hatching, with faint and gentle strokes, washing it all along. In short, in your dead colouring you must cover your ground with the aforesaid red, and the subsequent shadows. Note) Be not too curious in your first working, but regard a good bold following of nature, rather than smooth curiosity, the roughness of the colour, you may end at another sitting. The second work of Limning. The red being done, the next is the faint blews The second Procedure. about the balls and corners of the Eyes, and the grey and bluish under the Eyes, the Temples, etc. which you are also to work from the uppermost part of the Face almost all over, but exceeding sweet and faint, by degrees, sweetening and heightening your shadows, as the light falls: And in going over the Face, be sure to mark out the hard shadows in the dark side of the Face, under the Nose, Chin, Kickshaws, etc. As the light falls, and somewhat strong touches, in those places bring up your work together in an equal roundness, not giving perfection to to any particular part of the Face, but visiting all the parts curiously, and in a kind of random, by which means you will better observe the likeness, roundness, postures, colouring, or what ever else is requisite to the perfection of your work. Having done the fainter or lighter shades, and The third Procedure. somewhat smoothed and wrought them into the red, you may go over the hair, disposing into such forms, folds or trammels, as may become your Picture best. You must at first only draw them with colour as near as you can, suitable to the life, and after wash them lightly at the first, and then once more peruse your work, being careful to fill up the void, empty and bare places, which are uncovered with colour, and at last deepen it somewhat more strongly than before in the deepest shady places, still carefully observing the life; thus much for the first sitting. The Order of Limning in the second sitting. The party being set just in his former Seat, you must most exactly observe and curiously delineate with your pencil, those several varieties of nature, which you did rudely trace out before, to do this you must use the same colour in the same places you did before, working, driving and sweetening the same colours one into another, to the end that nothing be left in your work with a hard edge, uneven, or a lump together, but also so swept and driven one into another, with the point of somewhat a sharper pencil, than you used at the first as that your shadows may lie soft and smooth, being dispersed and gently extended into all, and towards the lighter parts of the Face, like air or a vapoury smoke; but before this you must carefully observe all the shadows and colours. For the Ground behind the Picture, it is The ground behind the Picture. commonly blue or crimson, somewhat like a Satin or red Velvet Curtain: if blew you must lay it thus, your Bice being pure and clear washed, temper as much in a shell as will cover a Card, let it be all throughly moist and well bound with gum, then with a small pencil, go about with the same colour, the porphile, that is the utmost stroke and ambient superficies of the Picture; this done take a greater pencil and therewih wash over somewhat carefully the whole ground that you mean to cover with a blue, somewhat thin and waterish, and then with a reasonable big pencil full of colour and flowing, lay over that place with a thick and substantial Body of colour, which before you had only washed over, in the doing of this you must be very swift, keeping colour moist that you have laid, not permitting any part to dry till the whole be covered. A Crimson Ground. If you would have your Ground Crimson like A Crimson Ground. Satin, you must with Indian-Lake trace out where and in what places you will have these strong and hard lights and reflections to fall, which is seen in Satin or Velvet, there lay your lights with a thin and waterish lake, and while it is yet wet with a stronger and darker colour of lake thick ground, lay the deepning and hard strong shadows, close by the other lights; your best way is to have a piece of Satin before you to imitate. After this lay your linen with a flat white, For Method in the Touches. and the Drapery likewise flat, then go over your face again, endeavouring to reduce each shadow to its true perfection, then draw the lines of the Eyelids, expressing the red dark Nostril, the shady entrance into the Ears, the deepness of the Kickshaws, and those more perspicuous notes and marks in the face, with a pencil somewhat more curious and sharp then before, you may darken your ground as you see will be most advantageous to the setting out the Picture. Next go over your hair heightening and deepning The Hair it as you shall see by the life, drawing some locks loosely over the ground, which would otherwise seem unpleasant. To Shadow in Linen, use black, white, a little Linen Shade. yellow, and less blue, the black must be deepned with Ivory-black, with which mix a little Lake, and Indigo, or Litmus' blue, thus much for the second sitting. The manner of finishing at the third sitting. The third will be wholly spent in giving Third sitting. the strong touches and observations necessary for the rounding of a face, which you will now better see to do, the apparel, hair and ground, being already finished. In this sitting curiously observe whatever may conduce to similitude, which is the chiefest thing, as Scars, Moles, etc. glances of the Eyes, descending and circumflections of the Mouth, never make your deepest shadows so deep as they appear in the life. Thus much of the Face and three sit, For Ornaments thus. Armour silvea) for colouring armour, first lay Liquid Ornament. silver flat and even, which dried and burnished with a Tooth, temper the shadows with Silver, Indigo, Litmus, and a little Umber, work these shadows on the Silver as directed by the life. For the gold armour, lay gold as you did silver, Gold Armour. for the Shadow, Lake, English Ocur, tempered with a little gold. To express roundness and lustre of Pearls, your Pearls. ground must be white and Indigo, your shadow black and Pink. Diamonds are expressed with a ground of flat Liquid Diamonds. silver, the deepning is Cherristone, black and Ivory; the deeper the shadow, the fairer the Diamond. Lay a ground of silver, burnished to the bigness Rubies. of the Ruby, then take Turpentine of the best and purest, and temper with it very neat a little Indian Lake, then taking a needle, or some small Iron instrument heated in a Candle, (lay or drop) a little of the composition upon the silver, fashioning the stone in a round or square, or what fashion you please, with the point of your instruments, you must let it lie a day or two to dry, if it be too long in drying, add to your composition a little powder of clarified Mastic; This receipt is not commonly known. For any green stone, temper your Turpentine Emeralds. with Verdigrease, and a little Turmerick root, first scraped with Vinegar, then let it dry, then grind it to fine powder, and temper it. Mix Turpentine with Vltramarine, etc. Saphires Note that the ground to all must be Liquid silver polished. A true Receipt to make liquid gold. Take of fine leaf-gold, the Value of 2s, 6d, Liquid gold. grind this gold with a strong and thick gum-water upon a reasonable large stone, which you must grind very fine, and painfully; as you grind it, still add more of your strong gum-water, and though the gold look never so black and dirty 'tis never the worse, having brought it to a competent fineness, wash it in a great shell as you did Bice; etc. Being very clean add to it a little quantity of Mercury sublimate, with the point of your Knife, which you must temper with it, and a very little gum to bind it in the shell, and as it settles, and gins to dry in the shell, shake it together, and remove and spread the gold about the sides of the shell, that it may be altogether of one colour and fineness, use with fair water, as you do the other colours. So for liquid silver, only observe (and 'tis a secret) Note. that when your silver either with long keeping or moistness of the Air becomes starved and rusty; you must to prevent this inconveniency, before you lay the silver Cover over the place with a little Juice of Garlic, which will preserve it. Of Landscape. In drawing Landscape with water colours ever begin Landscape. with the Sky, and if there be any Sunbeams, do them first. For the Purple Clouds, only mingle Lake and Purple Clouds. white. The Sunbeams, Masticot and white. Yellow. Work your blue Sky with smalt only, or Vltramarine. Note 1. At your first working dead colour all the piece over, Note 2. leave nothing uncovered, lay the colour smooth and even. Work the Sky down in the Horizon fainter as you Note 3. draw near the Earth, except in tempestuous skies, work your further Mountains so that they should seem to be lost in the Air. Your first ground must be of the colour of the Earth Note 4. and dark; yellowish, brown, green, the next successively as they lose in their distance must also faint and abate in their colours. Beware of persection at a distance. Note 5. Ever place light against dark, and dark against light Note 6. (that is) the only way to extend the prospect far off, is by opposing light to shadows, yet so as ever they must lose their force and vigour in proportion as they remove from the Eye, and the strongest shadow ever nearest hand. A Dark Green. For a dark green for Trees mingle Verduter, Pinck, and Indigo, the deepest shadows of all in green are made with sap green and Indigo. A Rare secret to preserve Colours. Take Rosemary water double distilled, and with a few drops of it, temper your shell of white, and you shall see it become instantly perfect white, however dead and faded it was before, besides this water allays the Bubbles in white and umber, which are usually very troublesome in the grinding them. Some general observations in Miniture. 1. If your colours peel or by reason of the greasiness of your Parchment will not lie on, mix with them a very little Ear wax, and 'twill help them. 2. Sat not above two yards from him you draw by. 3. Draw not any part in the face of a picture exactly at the first, neither finish a Mouth, Eye or Nose, till the rest of your work come up, and be wrought together with it. 4. When you have finished the Face, make the party stand up to draw the Drapery by him. 5. Let the Party you draw be set in an higher seat than yourself that draw. To make Crayons or Pastils. To instance one for all, if you were to make Pastils. a Pastil for a brown complexion, grind on your stone, serus, red lead, or vermilion, English ocur, and a little pink; to this add a proportionable quantity of plaster of paris, burnt and finely sifted, mix this with the other colours, and you may role it up. Mix white Serus with all your other colours, and Note. some instead of Serus use Tobacco pipe clay. To make white. Take two parts of ordinary chalk, and one part Serus. of Alum, grind those together fine, make them up in a lump, burn them in a Cruciple and use them. To make white Lead. Take a Cruciple where into put several small White Lead. plates of clean Lead, cover them with white wine Vinegar, luit the Pot close and dig an hole in a dunghill, where let it abide for the space of six weeks; Take it it up and scrape off the superfluities of the white Lead, and so use them. To prepare a Card for a Picture. Wet a card all over with a great pencil so soon as the water is sunk in, burnish it smooth on the backside, having tempered some starch with a knife in the palm of your hand spread it over, instantly lay on a piece of abortive parchment, let it be pressed in a book till it be almost dry, then smooth it on the backside. To preserve Colours fresh, grind them with the gall of a Neet. To prepare White Excellently. Take some Serus which being grossly bruised and White. put into a fine earthen Basin, put to it a good quantity of running water distilled, wherein wash the Serus till it be throughly clean and purged, which you shall know by the Taste of the water, which is drained from thence. Is made thus, take of Oil of Turpentine one Varnish. pound, Sandrake one pound, Oil of Spike one pound, mixed the Oils together, and let all stand over the fire till the Sandrake be dissolved, if the fire should chance to catch hold on this, clap a pewter dish over it. Concerning Wax-work or Moulding, to make the Moulds. Take a good big lump of plaster of Paris and The Mould. burn it in a Cruciple till it be red hot, let it cool, then beat it very fine, and searse it through a Tiffany Sieve; be very cautious that the wind come not at it, for that will hinder its hardening; after it be tempered keep it wrapped up in a clean brown paper, use it thus; take any Earthen or Pewter Vessel, that is shallow, and put ten or twelve spoonfuls of fair water in it, then prepare your fruit, and bind a rag round it like a cord in a wreath long ways on the fruit: then take some linsed Oil or (which is more cleanly) Oil of sweet Almonds, with which in a pencil besmear the Lemon, or (what other fruit it be) on the one side, which lay uppermost, your Lemon thus prepared, take some of your sifted plaster of Paris, and temper it in the water to a pretty thickness, then as speedily as may be with the help of your spoon, cast it on the oiled Lemon, lay it on very thick, lest the thinness of the Mould spoil the work, when 'tis hardened (which will be in a small time) take away your rag, leaving the linen still fast in its half mould; which done turn the hardened side downward, than Oil the other half of the Lemon together, with the edges of the mould, which the rag did cover; then wash your porringer or vessel where the former plaster was clean and prepared, and cast on more plaster of Paris as before, observe, it must not be too thick when you cast it on, and after 'tis hardened, you must put no more water to it, for than it will crumble; when you have done the moulds so, and made a notch that one may fall fitly into the other, tie them close together, having before well Oiled them, and keep them for use. To cast in these Moulds. Use the whitest and purest Virgins wax. To cast. To colour the wax answerable to the things you mould. For a Radish your ground is Serus, which must To colour. be afterwards painted over with Lake, the top of the Radish painted with Verdigrease, all other such colours must be tempered with gum water; gum water is thus made, dissolve a lump of pure gum Araback about the bigness of a Walnut, in two spoonfuls of fair water, herewith temper your colours. Note that every thing Mouldable is either all of one, and the same colour, as a (Lemmon) or striped and particoloured with different colours, as a Pear, Pearmain, etc. Now such as are of one colour may be easily cast all of the same colour; but such as are varicated must be kept out afterwards by colours tempered with gum water (as above) you colour your wax by putting into it whilst it is hot and melted in a Galley-pot, a little linen bag of that colour you use, provided that the colour be before bruised very fine. As to particulars for the Lemons or Apricocks, take only Turmerick in a bag, for Orange's turmerick and red Lead well tempered; Apples, Pears, or Grapes, turmerick and a little Verdigrease, walnuts and Figs, mix turmerick and English Ocur, and Umber all in a bag together, Cucumbers or Hartichoaks, Peescods or Filbirds, turmerick, verdigrease Eggs and Serus, all put into several bags and steeped in the Virgin's wax, when 'tis melting as before mentioned, for Damason bruise Charcoal, Indigo and blue starch in a bag together, for flesh colour, white Lead, and vermilion mixed, etc. To counterfeit Rochcandid sweet meats. Dissolve the quantity of a walnut of gum Araback Rochcandy. in two spoonfuls of clear water, let it be very thick, then take any piece of broken Venice glass, the thicker the better, beat it in a mortar, so small as you please, that it may serve your occasion, daub over some cast sweet meats, with the gum water, strew this powder on them, and 'twill with much delight satisfy the expectation, Additional Observations out of a Manuscript of Mr. Hilliards touching Miniture. When you begin to Limn temper all your colours fresh with your Finger, in your shell, or on your . Pearl. Your Pearl must be laid with a white mixture, with a little black, a little Indigo and Mastic, but very little in comparison of the white, not to the hundreth part; that dry, give the light of the Pearl with a little silver, somewhat more to the light then the shadowed side, then take a white allayed with Masticot, and underneath the shadowed side give it a compassing stroke, which shows a reflection, then without that a small shadow of Seacole undermost of all: But note, your silver must be laid round and full. The manner how to draw with Indian Ink. To draw with Indian Ink after the manner of washing, or instead of Indian Ink take Lamp-black or Bread burnt, temper a little of your Indian Ink with fair water, in a shell, or upon your hand, your outlines being drawn with Cole or black Lead, take an indifferent long sharp pointed pencil, dip the point into fair water, then dip the pencil into the Indian Ink, and draw all your outlines very faint, (Note that all the temperature of Indian Ink must be thin and waterish, and not too black) when it is dry, take a little crumb of stolen white bread, and rub out the outlines which you drew with the Coal, (if too black) then dash on your shadows very faintly, and deepen it by degrees, as you think convenient, then finish it with stipples, it being most advantageous to any one that shall practise Limning, beware of taking too much colour in your pencil, which you may prevent by drawing the pencil through your Lips; in laying on your shadows, never lay them to deep, but deepen them down by degrees, for if too deep you can never heighten them again. How to prevent your colours from sinking in. Take Roach Alum and boil it in spring water, then take a bit of a sponge and dip it into the water, and wet the backside of your paper that you intent to draw on, very thin, whilst the water is hot, in the wetting of it be as nimble as you can, and this will prevent it from sinking. The manner how to draw with water colours upon Satin. Take Izing glass and steep it Four and twenty hours in water, then boil it in spirit of wine until it be very clammy, which you will perceive by dipping your finger into it, then after your outlines are drawn upon the Satin, take an indifferent big pencil, and wash it thin over as far as your outlines are, which will prevent your colours from sinking or flowing. A farther observation in grinding of colours. Observe in grinding ultramarine and other colours, that your motion be not too swift, but grind it gentle and slow, because the swiftness of the motion, causeth the stones to heat, by which consequence your colour will starve or lose something of its Lustre, especially if it be a colour of no great Body as Pinck and Indigo, etc. observe, in grinding white, that you grind it not too much, lest it prove greasy or oily, or of a dirty colour. How to prepare Umber. Take Umber and grind it very fine, put it into an earthen pot or galley pot, of fair water, cover it over and keep it from dust, and in frosty weather, let it freeze until it thaws of itself, than power off the water, and when it is dry put it up in paper for your use. And when you temper it in your shell, use a drop or two of white Onion water which will preserve it from crackling. The Art of Etching. The Grounds and Rules of Etching. BEfore that you begin to Etch upon copper, it is very necessary to practise the Art of drawing, till you be able if need require to draw any head after the life, or to draw a design, for if you intent to practise the Art of Etching, you will find it very profitable to draw after good prints, which are well designed, and graved, and when you have practised so long that you are able to copy any print, or drawing very exactly; then draw after good Heads of plaster or figures, according to your own fancy, which will learn you to shadow according to Art, if well observed, therefore be sure when you draw after plaster, to observe very exactly to take the true outlines or circumferences, and then take notice how the shadow falls, then shadow it very faint and soft, where need requires. The prints which I recommend unto you as absolutely the best to learn to Etch or Grave after, be the prints of Henry Goldshis' and Hermon Muller, therefore it is very convenient to leaan to hatch with the Pen exactly after either of the aforesaid prints of Goldshis' or Muller, and when you have brought it to that perfection; and can draw very well after plaster, you may practise to draw after the life; but before you draw after the life, you must be very exact and true in your outlines or circumferences. The Instruments with their particular names which are used to Etch withal. A Copper plate polished, a piece of ground bound up in a piece of Silk or Taffatae, and preserved from any dust or grease; and about twenty Needles of all sizes, the best are made at Cleafe; then take the Needles and set them indifferent deep into some round slender sticks about a span long, with a Needle at one of the ends of the sticks, and a pencil at the other, a scraper, a polisher, and two or three good French gravers, well ground and whetted, and a pair of Compasses, a Ruler, some green wax, a Bottle which holdeth some half a pound of single Aqua fortis stopped close with soft wax, some white Lead, a Stift, a hand Vice to hold the Plate over the fire, an Oil stone. The use and property of every particular Instrument. The Copper Plate is the only matter to Etch upon; the ground is to lay upon the Copper Plate, when they are both warmed; your Needles are to hatch withal upon the ground, the pencil is to wipe away the bits of ground, which rise when you hatch upon the ground with your Needles, the scraper is to scrape out any thing that is amiss, the Polisher is to make smooth any place that is rough, so that you can mend any place that is amiss according to your own Mind; the Gravers are to mend here and there a stroke where need requires. But note, that your Gravers must be ground, and whet very sharp and smooth, upon an Oil stone before you use them, your Compasses are of very little use in Etching, except it be to measure a distance, or strike a Circle, the Ruler is used to hatch all the strait hatches or Lines upon the Plate. The green wax is used to make a Wall round about the edges of your Plate, to keep the Aqua fortis from running off from the Plate, the Aqua fortis is the finisher of the work, when you have hatched the design upon the Plate with your Needles. The white Lead is used to scrape upon the backside of the drawing or print that you Etch after, The Stift is used to draw through all the outmost Lines or circumferences of the print or drawing which you Etch after. The Oil stone is to whet your Gravers upon; having these things in readiness, Note that if it be a black Ground that lies upon the Plate, than you must take white Lead and rub it upon the backside of the print or drawing which you intent to Etch after, but if it be a white Ground, than you must take black Lead, or a piece of Charcoal and rub on the back of your print as aforesaid. The manner and way to make the Ground. Take a quarter of a pound of Virgin's wax, and half a quarter of a pound of Expoltum burnt, of Amber One Ounce, of Mastic One Ounce. Having all these materials in readiness, you must take the Mastic and the Expoltum and beat them very fine in a mortar; this being done, take a new earthen Pot, and put the wax into it, and set it upon the fire, let not the fire be too hot, which if you do it will burn the ground, therefore when they are throughly melted, take it off from the fire, and pour the ground out into a Pot of fair water, and make it up into a Ball, and preserve it from dust; and when you will use it, take a quantity of it and bind it up in a piece of Taffatae or Silk, and use it as hereafter. A red Ground. Grind red Lead, very well tempered with Varnish. A white Ground. Take of wax one Ounce, Rosin two Ounces, melt them together, add thereto a quarter of an Ounce of Venice Serus, finely ground. A black Ground. Asphaltum two parts, Bees wax one part, melt them Spaltum. together, being warm, lay it thinly on with a Lawn rag. Another Ground. Grind red Lead with Linseed Oil; Note, your ground must be laid very thin. The manner and way to lay the Ground upon the Plate. Take some Charcoal and kindle them, this being done, take an hand-vice and screw it fast to one of the corners of the Plate, as near to the edge as you can, because you must lay the ground all over the Plate, then take the Plate and hold it over the fire, till it be so warm to melt the ground, then take the ground which is bound up and rub it to and fro upon the Plate till it be covered all over alike; then take of the stiffest Feathers out of a Duck's wing that is not ruffled, and spread the ground very thin, and smooth every where alike upon the Plate, but have a special care you heat not the Plate too hot, lest you burn the ground; which if it be, the ground will break up when you put on the Aqua fortis and spoil the Plate; you may discover when it is burnt, by its rising as it were sandy, which if you perceive, you must take a clean linen rag, and warming the Plate, wipe the ground clean off, and lay a new as aforesaid. But if you perceive the ground to be smooth and not sandy, take it off from the fire, and when it is cold, take a piece of Link and hold under the ground till you have smoked it very black, but let not the flame touch the ground, lest you burn it, this being done, if the Plate be cold hold it over the fire again till it be just warm, to let the smoke melt into the ground, that it may not rub off under your hand, then hold it off from the fire, with the ground-side of the Plate downwards for to preserve it from the dust, other wise when the ground is warm, dust will fly in and spoil it, therefore you must hold it with the ground-side downwards until the ground is cold. The way to draw the outmost lines of any Print or drawing upon the ground of the Plate. First take the drawing or Print which you intent to Etch after, and scrape a little white lead upon the backside of it, then take a feather and rub it over every where alike, and shake off that which remains, then take the print and lay it upon the Plate on that side the ground is, then fasten the four corners of the print to the Plate with a little soft wax; this being done, take the Stift and draw upon the print all the outmost circumferences and lines exactly, and when you have so done, take off the print from the Plate, and all the same outlines and circumferences which you drew upon the print with the Stift, will be exactly and unfailably upon the ground. Several Observations in Hatching. First observe exactly and judiciously how your principle is shadowed, and how close the Hatches join, and how they are laid, and which way the light falleth or cometh; the light must fall all one way, for if the light fall side ways in your print, you must hatch the other side which is farthest from the light darkest, and so place your lights altogether on the one side, and not confusedly to have the light come on both sides alike, as if it stood in the midst of many lights, for neither doth the light withal its brightness illuminate any more than that part that is directly opposite unto it, then observe exactly how close all the Hatches join, and how they are laid, and which way they twist and wind, then follow them as exactly as possibly you can, but before that you begin to Hatch or shadow, you must draw all the outmost lines with a Needle upon the ground, as Artificially as you can; and than you must shadow it with your Needles of several sorts according to your principle, and when you will make a broad stroke, then break off the point of a great Needle and whet it upon an Oil stone four square until it comes to a point; and if you will hatch fine strokes, than you must use fine pointed Needles; and if middle sizes, then break off the point of a middle size Needle, and whet it as aforesaid, and so according to all sizes. But some Masters when they make a bold stroke, hatch it fine at first, and so by degrees make them broader. Necessary Observations in Etching Landscapes. Observe when you Etch Landscapes, to make or hatch that which is nearest to the Eye darkest, and so let it lose or decline its shadows by degrees, and that which is furthest off must be faintest, and so lose equally by degrees; the same Observation must be in making the Sky, for that which is nearest to the Eye must be the darkest shadowed, but in general as faint and soft as possible, and so also let it lose by degrees as before is mentioned, and the nearer the Sky cometh to the ground, the more it must lose and be fainter; but when they as it were meet together the Sky must quite be lost, and when you have hatched it as exactly as you can possibly with your Needles, according to the print or drawing, that you do it after; this being done, compare them exactly and judiciously together, and if you find it like the original, take some green soft wax, and make a wall round about the edges of the Plate. How to make the Wax wall round about the Plate, to keep the Aqua fortis from running off from it. Take some green soft wax and temper it till it be warm, then draw it into a long slender roll as long as will reach about the Plate, then flat it and fasten it about the edges of the Plate, and let it be about half an inch high, then take an old knife and heat it in the fire, and sear the wax round about under the Plate very close, otherwise the Aqua fortis will run out, but be sure to fasten the wall as near to the edges of the Plate as you can conveniently, then pour the Aqua fortis upon the Plate, letting it lie till it be deep enough. How to use the Aqua fortis on the Plate. You must use single Aqua fortis. Take a quantity of Aqua fortis and pour it into a glass and mingle it with a little Vinegar to weaken it if it be too strong, or a little Aqua fortis which hath been used before; for in case the Aqua fortis work too strong, it will make the work very hard, and sometimes make the ground to break up; and when you have tempered it very well, pour it upon the Plate almost as high as the wax wall; the deeper the Aqua fortis lieth, the harder it will eat, and when you perceive it to be deep enough, pour off the Aqua fortis from the Plate into a glass, and preserve it to mingle with other as aforesaid; this being done, take some fair water and wash the Plate, and then take off the wax wall and preserve it for the same use again; then warm the Plate and take a clean linen rag when it is indifferent warm, and rub off the ground from the Plate very clean, then take some Oil and rub over the Plate to clean it, and if you perceive that the Aqua fortis hath not eaten as deep in some places, as it should be, than it must be helped with a Graver. Observations by which you may know when it is deep enough. When the Aqua fortis hath lain upon the Plate a little more than a quarter of an hour, or half an hour, there being no certainty in time, because sometimes the Aqua fortis will work stronger than at another; therefore when you think it is deep enough, pour off the Aqua fortis from the Plate into a glass, then wash the Plate with a little fairwater, then take a Knife and scrape off a little piece of the ground where it is hatched, and may be least prejudicial to the Plate, and if you perceive it not to be deep enough, take a little candle tallow and melt it in a spoon, and while it is warm, take a pencil and cover the plate with it, where you scraped the ground off, then pour the aquafortis upon it again, and let it lie till you guess it to be deep enough; then pour the Aqua fortis from the Plate as aforesaid, and at any time when you perceive that the Aqua fortis doth not work strong enough, you pour off half the old, and refresh it with some new, for when the Aqua fortis hath been upon the Plate about half an hour, it will be much the weaker, because the strength of it doth evaporate away, and by a little practice you will come to the certain knowledge when the Aqua fortis hath eaten deep enough. Another way to know when it is deep enough. Take a little piece of a Copper plate, and lay a ground upon it as you before mentioned, and make a wax wall about it, then hatch it with several hatches as you think best, and when you pour the Aqua fortis upon the one, pour it upon the other, and when you think they be eaten deep enough, pour the Aqua fortis from the little Plate, and wash it with some fair water as aforesaid, then take a Knife and scrape off a little piece of the ground from the little Plate where it is hatched, and in case you perceive it not deep enough, cover the place again with some warm candle tallow, and then pour the Aqua fortis upon it again till you guess it be enough, then pour the Aqua fortis from the little Plate again, and try as before, and if you see it to be enough, pour the Aqua fortis from the great Plate, and wash it with a little fair water before you warm it, or else the Aqua fortis will slain the Plate. A way to lay a white Ground upon a Black. First you must understand that most grounds are black, and when you lay a white ground upon a black you must not smoak the black with a Link, and you must lay the undermost ground the thinner, when you lay a white ground upon it; and if you would lay a white ground upon a black, take a quantity of Serice, as much as you think will cover the plate, and grind it very fine with gum water, and temper it very thin, then take a pencil and wash the plate all over very thin and even. The way to lay a red Ground upon a black Ground. Take the red Chalk and grind it very fine with gum water, then take a pretty big pencil, and wash the plate all over with the red ground very thin and smooth, as before mentioned. A Receipt for a ground taken out of a Manuscript of Collots. Take a quarter of a pound of Virgin's wax, and half a quarter of a pound of the best Expolium burnt of Amber, and half a quarter of a pound of Mastic if it be warm weather, because it doth harden the ground and preserve it from injury, when you lean with your hand hard upon it; if it be cold weather, then take but an ounce of Mastic; this being observed, then take an ounce of Rosin, and an ounce of Shoemaker's pitch, and half an ounce of other pitch, half an ounce of Varnish; having all these materials in readiness, take a new earthen pot, and put the Virgin's wax into it; and when it is melted, stir it about, and put in the other materials by degrees as before mentioned, and when they are throughly mingled and melted, take the pot off from the fire and pour it out in a clean pot of fair water, and work it into a Ball, and preserve it from dust and grease, and when you have occasion to make use of it, take a quantity thereof and bind it up in a piece of Silk, and make use of it as before mentioned. The Ground of Rinebrant of Rind. Take half an ounce of Expoltum burnt of Amber, one ounce of Virgin's wax, half an ounce of Mastic, then take the Mastic and Expoltum, and beat them severally very fine in a Mortar; this being done, take a new earthen pot and set it upon a Charcole-fire, than put the Virgin's wax into it and melt it, then shake into it the Mastic and Expoltum by degrees, stirring the Wax about till they be throughly mingled, then pour it forth into fair water and make a Ball of it, and use it as before mentioned, but be sure you do not heat the plate too hot when you lay the ground on it, and lay your black ground very thin, and the white ground upon it, this is the only way of Rinebrant. The way to preserve any Ground, which is laid upon a Plate in Frosty weather. Take the plate and wrap it very warm in a cloth, and lay it in the warmest place you can convenient, for if the frost is gotten into the ground, it will break up when you pour the Aqua fortis upon it. A way to preserve the Plate from injury of the Aqua fortis, where the Ground breaks up. If you perceive the ground to break up in any place, pour off the Aqua fortis from the plate and wash it with a little fair water, then take a quantity of Candle tallow and melt it in a spoon, and while it is warm take a pencil and cover the Plate which is broken up with the said tallow, and so far as the tallow is spread, the Aqua fortis will not eat; some make use of Varnish instead of tallow, and when you have covered the place that is broken, pour on the Aqua fortis again, and let it lie upon the plate till you guess it hath eaten enough; then pour the Aqua fortis from the plate and preserve it, then take the wax Wall and preserve it also, and wash the plate with a little fair Water, then rub off your ground as aforesaid, and for the places which the ground broke up in, it must be helped with a Graver. Therefore it will be necessary for one that desireth to learn this Art, to practise graving a little, so much as to help a stroke where you think convenient. A way to make the Aqua fortis work soft or hard according to nature or art. First take Candle tallow and melt it in a spoon, then with a pencil cover that place so far as you will have it to be faint, but note it must be after the Aqua fortis hath lain upon your plate an indifferent while, and so by degrees you must use the tallow as you would have it fainter, this is very necessary when you Etch Landscapes, which must lose and stand at a distance by degrees, therefore when you Etch Landscapes, observe to stop off that place first which must be faintest, and so by degrees stop it off, and make it lose equally; and note the nearer you come to the Eye, it must be strongest and darkest shaded, but not on that side from whence the light cometh for that side must be preserved as faint as may be, but according to art. Observations in Etching Prospective. Prospective is a thing that is one of the difficultest Arts that is practised; because it is not rightly understood, but by good Arithmetic; otherwise you can never understand prospective, because you can never guests rightly how much a Pillar or Figure, or the like must decline, or lose at their several distances, according to Art and Proportion; For when you Etch a piece of prospective after a drawing or a print, observe these Rules, beware of perfection at a distance, and be sure to shadow that which is nearest to the Eye, perfectest and strongest, and the farther from the Eye, it must decline in length and breadth, and height according to Art and Proportion, observe also to let it lose and be fainter by equal degrees. Away to Grave any hand or letter upon a Copper Plate. Take some Charcoal and kindle them, then take a hand-vice and screw it to the corner of the plate, and hold it over the fire till it be warm, then take a piece of Virgin's wax, and rub it all over the plate until it is covered every where alike; this being done, take a stiff feather of a Duck's wing that is not ruffled, and drive it even and smooth every where alike, and let it cool, then writ the hand and letter which you intent to grave upon the plate, on a piece of paper with ungumed Ink; then take the paper which you have written, and lay that side which is written downwards next to the wax, and fasten the four corners with a little soft wax, but be sure to place the writing so, that the lines may run strait, than you must take a Dog's Tooth, and rub the paper all over which is fastened, and not miss any place; this being done, take off the paper from the plate and you shall see the very same Letters which you wrote on the paper hath left their perfect impression upon the wax; then take a Stift and draw all the Letters through the wax upon the plate, and when you have done that, warm the plate, and take a linen rag and rub the wax clean off, and you shall see all the Letters drawn upon the Copper, then get some good French Gravers and grind them, as they should be very sharp towards the points upon a Grindstone, and afterwards whet them very smooth and sharp upon a good Oil stone, then Grave the Letters with them. The way to polish a Copper Plate. At first you buy the Copper rough, than you have it planished, if you cannot do it yourself; when it is planished, than you polish it with these following Instruments. The Names of the Instruments or Tools which are used to polish a Copper Plate. A Plain which cuts very well, and of an indifferent bigness, but not broad; some pieces of pumice-stones some pieces of Sand-stones, and some Moulton-stones; a soft blue stone, and a burnisher and scraper; and some Charcoal. The use of every particular Tool or Instrument. First fasten your Plate with some small Nails, to a place that is as high as your middle; then make use of the plain to shave all the roughness off from it and make it very even in all places alike, and if you perceive any crackles or little holes upon that side which you shave, than you must shave them all clean out, and when you have shaved it even and smooth with the plain, then take a piece of Sand-stone, and wet the plate with some water, and rub to and fro with the stone upon the plate, till you have worn it very smooth and even every where alike, but be sure to choose the softest stones, because they make the least scratches; and when you have worn it even and smooth with this stone, wash off the sand from the Plate, and take a piece of Pumice stone and rub to and fro upon the Plate, quite a cross the grain of the former stone, because it is of a hard sandy nature, and will therefore leave some scratches; therefore the Pumice stone is of a more softer and spongy nature and is always used to wear out the former scratches: and when you have worn out all the former scratches, you will perceive the plate to be worked into a finer grain, then wash the sand very clean off from the plate,; then make use of the moulton stone, and work with it quite across the grain of the Pumice stone, until you have worn it quite out, withal be sure you supply this and all the other stones with water, when you work with them upon the plate, and when you have worn out all the scratches of the Pumice stone clean out, then for the fourth make use of the soft blue stone, it being of a very soft grain and softer than any of the former; then work with that quite across the grain of the Moulton-stone, till the grain is worn out, but if you perceive any scratches in the plate here or there, rub them over with your burnisher till you have worked them out, but in case they are very deep, you must make use of your scraper, and scrape them out, and burnish them afterwards; this being done, in the fifth place you must burnish it all over; last of all take a charcoal which is throughly burnt, and scrape off the Rind; then put it in the fire till it is throughly kindled, then take it out and quench it in Chamber Lee, and make use of it as of the former, till you have glazed the plate; then wash it very clean with fair water, and let it dry. The Manner or Way of Mezo Tinto. FIrst take a very well polished Plate of Copper, and ruffian it all over with your Engine one way, then cross it over with the Engine again, and if you find occasion, then cross it over the third time, until it be ruffened all over alike (that is to say) if it were to be printed, it would print black all over; this done, take Charcoal or black Chalk to rub over the plate, and then draw your design with white Chalk upon the plate, then take a sharp Stift and trace out the outlines of the design you drew with the white Chalk, and where you would have the light strike strongest, take a burnisher, and burnish that part of the plate, where you would have the light strike as clean as it was when it was first polished; where you would have the fainter light, you must not polish it so much, and this way you may make it either fainter or stronger, according to your fancy. As for the manner or shape of the Engine, they are divers, and if any ingenious person have a desire to have any made, the Author will give them farther directions. FINIS. A Table of the Contents of this Book. OF the Virtue and Praise of Proportion or Symmetry. Pag. 1. Of the Necessity and Definition of Proportion. 3. Of the Head in Porphile or Sideways. 5. Of the Foreright Face. 7. Of a Head in Fore-shortning. Ibid. Of the Side-Face without any Measure. 8. Of several Observations in drawing a Head after the Life. 9 Of the Proportion of a Man of ten Faces. 10. Of the Proportion of a Man's Body of ten Faces. 15. Of the extravigant Proportion of ten Heads. Ibid. Of the Proportion of a young Man of nine Heads. 16. Of the Proportion of a Man of eight Heads. 18. Of the Proportion of a Man's Body of seven Heads. 19 Of the Proportion of a Woman of ten Faces. 20. Of the Proportion of a Woman of ten Heads. 21. Of the Proportion of a Woman of nine Faces. 22. Of the Proportion of a Woman of nine Heads. Ibid. Of the Proportion of a Woman of seven Heads. 23. Of the Proportion of Children. Ibid. The Definition of Painting. 24. Of the Virtue of Light. 35. Of the Necessity of Light. 38. Of the Nature of Light. 40. Of the Virtue and Efficacy of Motion. 44. Of the Necessity of Motion. 48. Of the Passions of the Mind their Original and difference. 55. How the Body is altered by the passions of the Mind. 56. Of the Motions procured by the seven Planets. 58. Of Jupiter. 59 Of Mars. 60. Of Sol. Ibid. Of Venus. 61. Of Mercury. Ibid. Of Luna. 62. How all the Motions may accidently befall any man though diversely. 64. Of Divers others Necessary Motions. 67. Of the Motions of all sorts of Cloth or Drapery. 71. Of the Motions of Trees and other things that are moved. 74. The Art of Miniture or Limning. 77. Of the colours to be used in Limning. Ibid. The way and manner of preparing colours. 78. Of white Lead. Ibid. Colours to be washed and How. Ibid. Of Colours to be washed. 79. Of Colours to be ground. Ibid. Of the Nature of Colours in general Ibid. Observations in grinding. 80. To wash Bice. Ibid. How to choose your pencils. 81. To prepare a Tablet to work on. Ibid. The ground colour for a Face. Ibid. The Order of shadows for the Face. 82. To begin a Face. 83. The Order to be observed in drawing by the life 84. Concerning dead Colouring. Ibid. The second work of Limning. 85. The Order of Limning in the second sitting. 86. A Crimson ground. 87. The manner of finishing at the third sitting. 88 Concerning Ornaments. Ibid. A Receipt to make Liquid Gold. 89. Of Landscape. 90. A Dark Green. 91. A rare secret to preserve Colours. Ibid. Some general Observations in Miniture. Ibid. To make Crayons or Pastiles'. 92. To make white. Ibid. To make white Lead. Ibid. To prepare a Card for a Picture. Ibid. To prepare white excellently. Ibid. Concerning Wax work or Moulding. 93. To cast in Moulds. 94. To counterfeit Roch Candid sweetmeets. 95. To counterfeit Pearl. Ibid. The manner how to draw with Indian Ink. Ibid. How to prevent your Colour from sinking 96. The manner how to draw with water colour upon satin. Ibid. A farther observation in Grinding. Ibid. How to prepare Umber. 97. The grounds and rules of Etching. Ibid. The Instruments with their particular names to Etch withal. 98. The use and property of every particular Instrument. Ibid. The manner and way to make the ground. 99 A red ground. Ibid. A white ground 100 A black ground. Ibid. Another ground. Ibid. The manner and way to lay the ground upon the Plate. Ibid. The way to draw the out lines of any drawing upon the Plate. 101. Several observations in Hatching. Ibid. Necessary observations in Etching Landscapes. 102. How to lay a wax brickwall upon a plate. Ibid. How to use Aqua Fortis on the plate. 103. Observations by which you may know when it is deep enough. Ibid. Another way to know when it is deep enough. 104. A way to lay a white ground upon a black. 105. A way to lay a red ground upon a black. Ibid. A receipt for a ground taken out of a Manuscript. Ibid. The ground of Rinebrant of Rind. 106. The way to preserve a Ground in Frosty weather. Ibid. A way to preserve the Plate from injury. Ibid. A way to make Aqua Fortis eat soft or hard. 107. Observations in Etching prospective. Ibid. A way to grave any hand or letter upon a Copper Plate. 108. The way to polish a Copper Plate. Ibid. The Names of the Instruments used to polish. 109. The use of every particular tool or Instrument. Ibid. The manner or way of Mezo Tinto. 110. examples for drawing the human head examples for drawing the human eye examples for drawing the human nose and mouth examples for drawing the human ear examples for drawing male and female human heads examples for drawing male human heads and hand examples for drawing male and female human heads, hair and head-dresses examples for drawing male human heads and hands examples for drawing human hands examples for drawing human hands examples for drawing human hands holding objects examples for drawing female heads, hands, arms and legs examples for drawing human hands, arms and legs examples for drawing human feet, hand and head examples for drawing human legs examples for drawing human legs and feet examples for drawing human children, infants, feet, hand and a female head examples for drawing human children, infants and a hand examples for drawing male and female human torsos examples for drawing female human heads and torsos examples for drawing male human heads and torsos examples for drawing male and female human bodies, anatomies and skeleton examples for drawing male human bodies, anatomies and skeletons examples for drawing female human bodies examples for drawing human children and infant bodies examples for drawing the Holy Family and angels or cherubs with a bow, riding a bird, and holding an orb examples for drawing female human bodies partially - and fully-clothed examples for drawing female human bodies partially - and fully-clothed examples for drawing female human bodies partially - and fully-clothed with a basket of grapes printer's device of Arther Tooker, featuring a glode underneath a crescent The Pitkteer Shaped From the Old Bayly Industrious Man his Talent To Maintain Plots Strives Up Early Late but All in vain The Moon the World the Heavens so oft Doth Vary No Wonder Man doth Many times Miscarry R Gaywood secit A.T. 1664 Are to be sold by Arthur Tooker Stationer, at the Globe in the Strand over against Salisbury house.