THE ART OF PAINTING According to the THEORY and PRACTICE Of the Best Italian, French, and German Masters.  

Treating of  
The Antiquity of Painting.  
The Reputation it always had.  
The Characters of several Masters.  
Proportion.  
Action and Passion.  
The Effects of Light.  
Perspective.  
Draught.  
Colouring.  
Ordonnance.   
Far more Complete and Compendious then hath yet been Published by any, Ancient or Modern.  
The Second Edition.  

— Pictoribus atque Poetis  
Quidlibet audendi — Hor.   
By M. S. Gent.  
LONDON, Printed by M. B. for the Author, and are to be sold by R. Bently, in Russel-street, Covent-Garden, and J. Hancock, in Castle-Ally by the Royal-Exchange. Price 2s. 6d. 1693.   

TO THE QUEEN'S Most Excellent MAJESTY  
ROYAL MADAM,  
THE Art of Painting having received Encouragement and Protection in all Ages not only from the Most Honourable Personages, but also from the Fountains of Honour Themselves, and particularly (amongst the Number of Kings and Emperors) from those two, your Majesties Royal Predecessors, King Charles the First, and King Charles the Second; and likewise in that Honourable Regard your Illustrious Self hath had of the Art, in the Gallery of Beauties at Hampton-Court, done by the Incomparable Artist Sir Godfery Kneller Kt. Emboldened me to lay this small Essay at your Royal Feet for Protection. And although it's far beneath your Majesties notice, yet Considering the Sun disdains not to shine on the low Hyssop as well as on the tall Cedar, I rest in Humble hopes of a Pardon to  
May it please Your MAJESTY Your HIGHNESS' Most Obedient and Most Dutiful Servant and Subject MARSHAL SMITH.   

TO THE Right Honourable The COUNTESS of SOUTHERLAND.  
MADAM,  
DUring the long Conversation you were pleased to honour my Sister with at her own House, I perceived so much goodness mixed with your Greatness, Illustrated with the greatest Efforts of Wisdom and Knowledge, that it not only brought me oftener to that dearest Sisters house then my Affections to her might have done, to admire the Noble Conduct of your Life, but also emboldened me to beg the Favour of laying this Treatise at her Majesty's Feet. The Honour she was pleased to do me in the Manner of its Reception, I must Impute to the great share you have in her Majesty's Affections, and not to the weak Endeavours of  
MADAM, Your Most Obedient Servant. MARSHAL SMITH.   

TO THE Honourable Lovers of the Noble Art OF PAINTING: And the Celebrated PROFESSORS of it.  
My LORDS and GENTLEMEN,  
I Did not think I should so soon by another Edition have an Opportunity to give you Thanks for your kind reception of the former, the Honour her Majesty hath done my Book, with that of diverss Persons of Quality by their kind Censures of it, puts me above any Concern for the few Enemies I have gotten by it (if such are worthy to be called so who have only will, but not power to be so.) Some who have a better Opinion of themselves than (perhaps) they may deserve from others, have thought me Partial in the Characters, but sure I am, I have been Impartial according to the best of my Judgement; of what Value that Judgement is, were impertinent for me to declare, since at last my Book must be the Test of it: If any could inform me how to please all I would follow his advice, and 
— Erit mihi Magnus Apollo.   
That Ingenious Arts have so great Encouragement (which I well perceive by the kind reception of this Trifle) is no small satisfaction to me, although I have no Interest in it otherways then as a wellwisher to my Country, being no Professor only a Lover of the Art of Painting, that it may still more Flourish, till it makes England more Famous than ever Greece was for the Product of Noble Arts and Sciences: Is the hearty desire of  
My Lords and Gentlemen, Your Most Humble Servant M. Smith.   

To the READER.  
SInce the Former Edition, I have received the Character of an Ingenious Gentleman Mr. Guil. de Ryck from those who have long known him, viz. From his first initiating into the Latin Tongue he was inclined to Drawing, and became Disciple to Quilenus of whom he learned Drawing, Painting, Perspective and Architecture; not to mention his Curious Skill in Enammel, Minuture etc. The Peice that first remarked him was Mattias in the Cathedral in Antwerp in which the Veins, Muscles etc. in the Nudities proclaim his Skill in Anatomy,  
In the Chancery of Cortray he Painted the King of Spain on Horseback in Burnished Armour, the City of Cortray below with a rising Sun; above Fame with two Angels one holding a Crown, the other a Sceptre. On the Trophy's this Inscription. REGI HISP. CANCEL. CORT. DD. CC.  
He was Invited to Brussels to Paint the Marquis de Grana and his Family in whole Lengths, and several of the first of that Court. At a certain Triumph at Antwerp amongst divers Triumphant Arches he Ordered One at his proper expense adorned with Festoons, at the top Oranges, Pomegranates, Laurels, etc. wherein were five Capital Pictures, three he made himself signifying Eclesia, Antwerpia and Rex Hisp. with this Cronicon. HISPANIAE REX, VERA EIDES VIVANT CLAMAT ANTONY'S VERPIA. all boldly Painted.  
A Magdelen was carried to Rome and was so liked that he was sent for thither. He painted a Boy carrying Fruit and one coming behind him to steal some, after the way of Morelio, and was taken for his hand; he also painted the Judgement of Paris, for the Emperor after the manner of Possine.  
At Dunkirk he Painted a Peice of St. Michael, and another of St. Benedict, and divers of his Pictures are now highly valued beyond Sea, for Judgement in Order, delicateness of Colouring, and a right Consideration and agreablaness through the Whole.  
But why need I go so far from home since we have divers Pieces in England which proclaim his Skill, as a Magdelen at my Lady Wincelsea's, and others by the Life at divers Persons of Qualities, and Eminent Merchant's in the City, Remarkable for likeness, fastness of Colouring, not only keeping their Colour but improving their beauty by time.  
And his most Ingenious Daughter Mrs. Katherine comes behind none of her Fair Sex in the Art, her Paintings by the Life very like, soft, Tender, well ordered, the Figures Gentle and Colouring Beautiful to the great Honour of her Sex.  
And now Reader, I shall not Insist upon Answering what I thought might be Objected, as in my Former, since it passed so well with all its faults, only ask thy Excuse that the Erratas are continued, as Mr. Vande Bank, for Mr. Van de Vert, page, 25 etc. The reason being because I had not time to look over it till it was Printed.  
Vale.   

The Author to his Book.  

Go Slender Pinnace to a Boisterous Sea,  
Where naught but Tempests, Rocks and Quicksands be.  
Such is the Curse attends this Wicked Age,  
Such are the Actors fill this Spacious Stage,  
That Impudence must pass for Wit, and they  
Who'ave most of Malice, bear the greatest Sway.  
Yet when thou meetest with Real Wit, Strike Sail,  
Though they reprove thee sharply, 'tmay Avail;  
But every little Bubble of the Town,  
Will take the Hint, and tell it for his own:  
That's Hard;— yet let them bawl their Lungs away,  
Thy Fate depends not on a Poet's Day.  
However, in thy Cabin, as they pass,  
Tell them thou hast a 
* Cap. 17. Paragraph 4.  Sympathetick Glass,  
Will show a Fool, a Fool; an Ass, an Ass.    

To the most Ingenious and Accomplished Gentleman The Author of the following Treatise.  

NO more let Egypt Hieroglyphics boast  
Too Enigmatical, our Happ'er Coast  
You by a more improved way have taught,  
T'express each Vice, each Virtue, Passion, Thought.  
You teach Mute Logic with far more Success  
Than all the Schools, and in a Loftier Dress;  
Who would not Emulate to be your Story;  
If such your Pen's, then what's your Pencel's Glory?   

Long in the Cursed, Obscure Retreat of Night  
This Gem hath lain (though with a glimmering Light)  
Wanting a well Experienced Hand, to show  
What wondrous Pleasures from the Pencel Flow:  
Tell you in Pity to the Thirst of Man,  
Each Notion weigh, and every Beauty Scan:  
At length the Charming Phoenix Hatched appears,  
Though but few months, the Work of many years.   
T. H. Oxon.   

To the much Esteemed Mr. Smith.  

Sinceed would be bold Presumption to deny  
That Man, the plastic of the Deity,  
Is Draught's great Origine:— we'll only say,  
You Draught pursue in'ts just Phaenomena;  
As Colour, Habit, Motion, Sympathy,  
Light, Perspective, Studious Anatomy;  
With all Contingences of this great Art,  
Which you Improve, and freely t'all Impart.  
Thus while thy Awful Pen Proclaims aloud  
Our wondrous Art, you make th' Astonished Crowd  
Amazed stand, to hear how stronged confines  
Great Nature to a Cloth, with Shallow Lines:  
To hear that Painted Passions can Surprise,  
And make Spectators with them Sympathyse;  
That all the Learning of the Universe,  
Was Couched in Mistick Draught and Characters.   

The only Fear is, lest the Sordid Fry  
Reading, grow Mad, and throw their Craft's-Tools by,  
Making the Land but one confussed Academy.    

To his highly Valued Friend the Author.  

PAinter and Poet, in the Noblest Dress  
Your Images in both you do Express.  
Nor are they 'lone the Quick Results of wit  
For to Improve the rest of Mankind writ,  
But your own Properties such as we find  
The Ornaments and Beauties of your Mind.  
R. T. of Lincolns-Inn.    

The Author upon the Art of Painting.  

IN vain did Jove with Adamantine Chain  
The bold Prometheus bind; in Vain  
Does the Rapacious Vulture Gorge his Maw  
On's Liver, which he never must destroy.  
Whilst Caucasus Groans with the Load  
Of the Presuming Demy-God.  
And all for's brave Attempt, to Steal Celestial Fire,  
His well-wrought Image to Inspire:  
In Vain this Envy of the Gods, the same  
Bold Man attempts again, nor fears their Flame.  
Nor Fears their Thunder or their Vultures more:  
But Counterfeits their Vultures, Flames and Thunders Roar,  
With all th' Artillery of Heaven,  
And sends it to their Mansions back again.   

This hath the Magic Art of Painting done;  
Nor only Things Inanimate,  
But even the most Occult Resolves of Fate,  
And does through all the Labyrinths of Nature Run.  
Even Man it can Create;  
Nor Organs, for to make him Speak or Move,  
Nor Facultys, to make him Hate or Love,  
The Artist wants, nor sends his Prayers to Heaven,  
Pygmalion- like, to have a Spirit given;  
But Snatches the Celestial Fire,  
By which, with th' Mysteries of his Art,  
And Wonders, which his Pencel-Stroaks impart,  
With Active Souls his bodies does Inspire.   

Why will ye Boast. O! why, ye Immortal Gods,  
That you alone have got the mighty Odds  
Of Making Man, and Vast Eternity?  
Since Painters you those fancied Odds do give,  
For in their Portraitures you Live:  
And they give you your Immortality:  
To Jove his Thunder; Venus, Flame;  
Diana, Chastity; Apollo, Fame;  
Neptune his Trident; Mars his Plumes and Lance;  
And t'all, their Attributes, which fill the Lofty Dance.  
Nay at their will they Summon you below,  
Their Pleasures and Designs to know;  
Chastise you for your Veiled Escapes,  
Venus for her Adulteries and Jove his Rapes,  
In all his Metamorphosed Shapes.  
And when they please to show their Jeers and Scorns,  
Make Bacchus, Drunk; and give to Vulcan, Horns.  
Then Boast no more your mighty Odds  
Of Making Man, since Man 'tis Makes the Gods.    

ERRATA.  
The Reader is desired to excuse divers Errata, as false Pointed, false spelled etc. the Printer falling ill whilst'twas in the Press and dying before 'twas finished, there could not that care be taken: but these are the Principal. page 6. l. 27. read Egyptians. p. 7. l. 13. r. Geometry. p. 8. l. 17. Amsractuous. p. 17. l. 11. Diversions. p. 21. l. 17. Rubens. l. 21. Sea-pelces. 23. Van-Dyck. p. 25. l. 37. Vande-Verr. p. 48. l. 16. Complexion. p. 49. l. 17. causeth. l. 20 cause. p. 57 l. 23. Supplicants. l. 25. Point. p. 66. l. 4 & 6. Copy. l. 29. Statues. l. 32. Contours. p. 68 l. 32. Pleasantness p. 59 l. 8. Perspective. p. 74. l. 7. Brushes. p. ●8 l. 34. leave our, and. p. 79. l. 7. Tinktures. p. 81. l. 6. white. l. 30. most. 33. Glazing. p. 87. l. 27. take what. p. 88 l. 25. must be.   

INTRODUCTION.  
SInce the design of the Following Treatise is not only to lay open the Noble Art of Painting, to give the best Precepts and Instructions to attain to a Perfection therein, but likewise to recommend the study of it to the most Ingenious, as highly conducing (from the many Pleasures and Benefits thence arising) to a Happy state of Life: give me leave by way of Introduction to show what I mean by a Happy state of Life, and wherein Painting is highly Accessary thereunto.  
The Alwise having Created the Soul of Man not only Speculative, but of a Vast Unlimited Capacity, hath likewise Adapted Fruitions thereto as Unlimited; fixing in him the Standard of Reason to Regulate them thereby, for his Real Happiness.  
And although the Pleasures and Satisfactions of the Mind, Excel the Gratifications of the Senses, as far as the Soul in Dignity surpasseth the Body, and distinguisheth Man from Beasts, yet some there are more Refined, Spiritual and Ecstasied than others, striking upon the most Harmonious Keys of the Soul; and such are the Objects of the two Noble Faculties of the Mind, Conception, and Invention; best Illustrated in Painting, Poetry and Music.  
Poetry by the Force of the most Allective Ratiocination, Charms the Mind with the Real Essences of Delight; not only by pleasing the Ear with Dulcisonant Numbers, but likewise by Informing the Soul, in the Expansion of the most Abstruse and Occult Misteries of Philosophy; conducting us thereby through Fields of Delight, to the Magnificent Seats of Virtue and Knowledge.  
Music Refines and raises the Spirits, above all the Gross, Mundane Pleasures, which Attend the Avenues of common sense: Replenishing the Fancy with the most Beautiful Ideas, and Seraphic Raptures of Bliss, and giving us here a Taste of those Floods of Immense Delight, Prepared for such Harmonious Souls, (who despising the Insipid and Imperfect Joys, swallowed down with Greediness, by the Inconsiderate Herd of Mankind) adapt themselves for those Immortal Pleasures.  
But Painting not only Allures and Delights with the Charming Numbers and Noble Information of Poetry; with the sweet Unisons and Ravishing Harmony of Music; but likewise brings from their several Orbs, the Great Monopolists of these Sciences for us to Converse with, and by every artful stroke adds to the Erection of her own Monument, to the Delight and Instruction of the present and future Ages: thus he who is not Felicifyed with the Fruition of these Three Beatitudes, enjoys the Perfection of them all, in this one Charming Mistress.  
They whose Minds are Fortunate through these Exornations, with what contempt may they look on those Muddy and Fulsome Pleasures which most of Mankind Grovel in, and are known to be Pleasures only by the Name, not only being Narrow, Forced and Feigned, but Proditorious and Exitial instead of being beneficial to Humane Existence.  
When in the Heat of Bacchanalization, the Virtigious Brain forms to itself strange Chimaeras which never were nor can be, one Notion Crowding on another, till the Noble seat of the Intellects becomes an entire Chaos, and he the Ridicule or Pity of the more thinking; how Fond and Vain is he, how Derogatory to the Noble Character he bears, and his pretensions to the Image of the Deity: whilst his Purchase is a few dizzy, confused Pleasures, at the Expense and Ruin of Mind and Body.  
Nor more Rational is he who expects an Elysium of Complete Happiness in his Mistress' Arms, since it is generally experienced that the Fantastic Pleasure of the Attempt, is more than that of the Fruition, which at best is but Fleeting and Momentary, whilst the Enjoyments of the Mind are Fixed and Permanent; Those attended with Remorse, Danger and Disappointment, These with Tranquillity, security and Certainty; besides how Inglorious is it for Man, to Prostrate his Affections and most studied Herangues to one Incapable of Return (perhaps) a Mercenary Gilt, the Product of a Dunghill, who will sell at Cheaper Rates, or Lavish those Pleasures on a Lusty Groom, which his Master Purchases with vast Sums and humble Acknowledgements, selling his Prerogative and Health for a smile and a Disease.  
So far from Real Felicity are all Sensual Pleasures, that in them we are but weaker Rivals to Brutes, who enjoy all their Sensualitys with better Appetites and quicker Relish; free from Remorse and Scandal.  
And although all Humane Happiness is Lodged in the Soul, yet even their we must be Cautious in our Choice of Affections and Passions, or we may be as miserable deceived, as if we gave the Reins to Sensuality.  
How far does he Deviate, who expects this Blessed State in Honour and Greatness, since Ambition only begets Ambition, Changing alone the Matter of their Miseries, without seeking an End of them: and as Seneca says, those Acquisitions which dazzle the Eyes of the Vulgar, are Achieved with Labour, and guarded with Pain: nor will this Sisiphus' stone ever Rest, till at the Bottom of the Valley, where the Master is crushed to Pieces thereby.  
How miserable the Covetous wretch is, is too Obvious to require Refutation; so far is Gold from giving Happiness, that Apicius, although he had the Remain of 250000 Crowns in his Coffers, yet he Poisoned himself for Fear of Starving; nor could Midas be satisfied, till the waters of Pactolus Condensed to a Golden Mine, in his Belly.  
Although this spacious Theatre affords daily, Numerous sceens of the wretched Mistakes of Mankind, yet still the Generality of them give themselves wholly to the Dictates of Sense, and when they feel the sad Effects, they Fancy is some Destined Distemper: or if they have thought enough to consider the Cause, they Endeavour to drive it away by the Repetition of the same: and so pass on, till a painful Old-Age (if Attainable) steals on them; and then when their Appetites fail, they have leisure to cast a Melancholy Aspect on their Prestine Folly; seeing their Lamp ready to go out, like a Foolish Tale that is told; without one Act of Remark or Benefit to themselves, or the rest of Mankind: and finding no Reason for their Continuation to Old Age, except to be punished for the Follies of their Youth.  
Whilst he who spends his Time in the Noble study of Philosophy; the Forementioned Sciences, or the like Ingenuous, Beneficial and Innocent Pleasures, sees Cause enough to Laugh at their Youth and pity their Age: And finds to his great Comfort, the Munificence of the Deity sufficient, if Man but makes the Happy Choice, to give him Felicity in both Worlds.  
Since then (as we have shown) the Noblest Enjoyment ariseth from the Choicest Ideas of the Mind, Especially when they tend, not only to the Delighting, but also to the Improving of Mankind; we thought it might be no unacceptable service, to Anatomatize the Art of Painting, from whence such Variety of Pleasures and Benefits may be reaped.   

CAP. I.  
The Definition and Qualities of Painting.  
PAinting is an Art, which by Draught of Lines and Colours, doth not only Express the Forms of all things, on the superficies of the Earth (according to Socrates) 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 with the Actions of all Animals, but likewise the Passions of Intellectual Being's.  
It is the Noblest of all Arts, since it immediately Copies after the Miraculous hand of the Almighty; nor only imitates Created Being's, but the Creation itself: for out of a Chaos of Colours, which by chance mixture, would perish in their mutual Embraces, and of themselves are Glaring, or Foul; and thence unpleasing to the Eye, as ill sounds are Diaphonous to the Ears; the Artful Hand, by a Sympathy in Mixture, and the Harmonious Unisons of Proportion, not only Forms a Beautiful Body, but likewise gives the Expressions of the Soul.  
It is the most Expressive of all Arts, and of more General Information then Printing; for it speaks at once to all Nations and Languages, and they who are strangers to Letters, may read the story in it self: therefore the Egyptians Couched their wisest Morals in Hieroglyphics and Emblems, and the Universality of the Knowing part of Mankind Improved thereby.  
It hath more Force of Persuasion than Eloquence, for the Idea of any thing is more Subtly and Entirely Conveyed to the Understanding by the Eye then by the Ear, Objects being more Allective to this Sense then the other; and having this Advantage, that the Visual Rays at once Comprise the whole Story, whereas Relation is Dilatory and thence more Burdensome to the Memory.  
What use the Ancients made of this Art for the Exciting Virtue, may be seen in these (amongst Numberless) Examples.  
The Romans Painted Fortitude in the Example of Horatius Cocles defending the Bridge (called Sublitius) against a great Troop of Tuscans: and Marcus Marcellus, who by cutting of the Head of Britomarte a French Captain, Discomfitted the Enemies whole Army.  
For Love to their Country, Mar. Curtius, who cast himself and Horse into a Bottomless Gulff: and the Three Decii, the Father in the Roman War, the Son in the Tuscan and the Nephew in the Battle against Pyrrbus; all which ran into certain and Eminent Death, for the good of their Country.  
And for Military Discipline, Posthumus the Dictator, who put his own Son to Death for getting a Conquest over his Enemies by breaking his Ranks: with innumerable more Emblems of Divers Virtues and pieces of Gallantry.  
Certainly these Painted with a great Spirit. Passion and Graceful Action, must be more Instructive and Exciting than the most Rhetorical Herangue.  
It is the most Ingenuous Art, and greatly assisting to Natural Philosophy; since with the greatest Scrutiny it examines into the very Entity of Nature.  
It Argues in the Masters the Finest and Sublimest Invention, to Express many Times, the most Heroic Actions in the World, with greater Magnanimity and Beauty than the Celebrated Actors were possessed with.  
And those great Men whose Works have been held in such Admiration, both by the greatest Judgements as well as the Noblest Quality; it shows in them Souls Capacitated and Adapted for such high Actions as themselves have Expressed so to the Life: for there must be a Concretion of Ideas into a Form in the Mind before Action is produced: of Minds to Replete their works are sufficient Evidence.   

CAP. II.  
Of the Antiquity of Painting.  
THE Omnipotent, whose Divine Pencel Drew all these Wonders which continually present themselves to our Admiration, and which Man by an Homaeomere endeavours to imitate, Challenges the Prerogative of this Art to himself, Job 39 13. and as his peculiar Gift bestowed it on Bezaleel and Aholiah, Exodus 31. whom, he filled with his spirit, in Wisdom and Understanding; in Knowledge to find out curious Works, to Carve, etc. which we shall show hereafter to be the same with Painting in Essence, but exceeded by it in Perfection.  
Minus King of the Assyrians (as History Reports) having Celebrated the Obsequies of his Father Belus, First King of Babylon; to Mitigate part of the sorrow for his Father's Death, and to restore in some measure such a loss, caused his Image to be Carved.  
After the Deluge Prometheus' Son of Japhet Invented Plastic, and was in such Request with the Arcadians, being of a Pregnant Wit and solid Wisdom that he brought the Rude and Barbarous People into civil Conversation: he added Artificial Motion to his Images, whence the Poets since have made their Fictions.  
After this, the Art came to be better known, and with the growing Art Honour to the Inventors increased, therefore Gyges the Lydian amongst the Egyptians: Pyrrus amongst the Grecians, and Polygnotus the Athenian, amongst the Corinthians, were highly Valued, as the first amongst them that found out Painting.  
They first began in Black and White, Plin. lib. 35. cap. 1, 2, 3. etc. the Authors, Ardices the Corinthian, and Telephanus the Sicyonian, than Cleophantes the Corinthian, brought up the use of Colours, though principally but One, whence the Historiographers called it Monochroma.  
Apollodorus, afterwards, the Athenian began the use of the pencil: as likewise Cumanus the Athenian; Cimon Cleondus added much Perfection by Fore-shortning: after Paneus added farther Perfection, Inventing the Art of Drawing by the Life.  
Parrhasius the Ephesian did farther adorn it, as likewise Zeuxes, who brought up the manner of Shadowing.  
Appelles' added the last Perfection by the help of Geometry and Arithmetic; without which, as his Master Pamphilus would say, no Man could prove a Painter; and Bernard Lovinus would say, a Painter without Perspective was like a Doctor without Grammar.  
And indeed it is a Compound of many Arts; as Geomitry, Architecture, Arithmetic, Perspective, etc. for a Painter cannot perform without Lines, Superficies, Profunditys, Thickness and Geometrical Figures.  
Nor can Churches, Palaces, Amphitheatres, Bridges, Ports and other Buildings be Represented without Skill in Architecture.  
Nor without Arithmetic can he Understand the Proportion of Man's Body, to take it in any size; or the Proportion of other Things either Artificial or Natural.  
And without a good Judgement in Perspective, the work will be full of Faults, it must be used in all Foreshortnings, all Distances, in Highths, etc. nay, without a Careful Disposal of the Colours according to Perspective, a simple Convex will be Defective in its Orbicularity: but we shall discourse of Perspective by itself.  
So sacred have the Memories of the Inventors of this Art been of our Progenitors, that they have carefully Transmitted them down to us, and Doubtless will be to all Posterity.  
And although, not only by divers Contingences but the necessity of Fate is such, that the Formation of one Species, must be through the Destruction of another, that there may be a Circulation to the Termination of Time, by Consequence the Materials of their Art have perished, yet such hath been the Care of Fame over the Eldest Sons of Art, that she hath writ their Names on the Adamantine Rock, beyond the Power of the Cruel and Remorseless Jaws of Time with Teeth of Iron to Devour.   

CAP. III.  
The Reputation Painting hath had in the World.  
IT is sufficiently Known in what Esteem Painting hath been amongst the Egyptians, under which they Communicated all their Natural and Moral Philosophy: it was their Treasury where they Accumulated all their Arts and Sciences: For since the Power-Memorative could not contain all the Similitudes and Ideas, which by the Labour of the most Ingenious (Infinite in Possibility) were Produced, here they Reserved all the Occult Riches of their Mystical Knowledge to all succeeding Ages.  
From thence, in Process of time hath been Transmitted down to us considerable Benefit, in Philosophy, by the Hands of Plato, Pythagoras and other Philosophers, who sailed to Egypt to transport it thence: And though some of their Hieroglyphics appear Ampfractnous to us, which doubtless is from their long disuse, yet some I have seen not so Enigmatical but might be easily Understood; and as before was hinted, they had the Advantage hereby to speak in all Languages, and so of their most precious Wealth were Eleimosynary to the whole World.  
In imitation of them the Ancient Romans set up Emblems in Public places of divers Animals, under which their Philosophycal Mysteries were couched, and from Hieroglyphics and Emblems they proceeded to Paint, the Famous Actions of Worthy Men, that through the Emulation of their Actions, they might Excite the Young Noble Spirits to like Performances.  
Nor was this Art only Honoured, by the Noble Use made of it in this manner, but likewise by the Study and Practice therein by those of the greatest Quality; as also by the vast Sums paid for several pieces for the Encouragement of the Artists, as well as for the future Profit and Pleasure thereby to themselves, and Posterity.  
We read of Francis King of France, and first of that Name that he Practised in it to a great Perfection: as likewise Charles Immanuell Duke of Savoy, who was well Read in all Heroical Virtues as well as in the Liberal Sciences, but most delighted in Painting.  
Quintus Fabius, his Family the Noblest in Rome Surnamed Pictores, took great delight in this Art: and Painted the Temple of Salus with his own Hand, Subscribing his own Name to his Work as the more lasting Monument of his Glory: Rutilius in vita Quint. Fab. Pic.  
The Emperor Constantine, spent great part of his Youth in the Practice of this Art; as we find Sigibert in Cronicis.  
Likewise Prince Lavinianus, valued himself more on this, then on his Noble Descent and other Qualifications, Them. lib. 2.  
Pomponius Atticus, a Man of Profound Wisdom and Favourite of Cicero, beautified his own Poems, with Pictures of his own Design and Drawing.  
Lucianus also of Imperial Descent, when he retreated from State-Affairs, spent his Time in this Ingenuous Art; declaring it to be the most Princely Exercise, to Copy the God of Nature in his Works; Sal. lib. 3.  
With many more of the Greatest Princes in Europe and ever of the most Ingenious of them: nor wants it Patrons in the Fair Sex, for Margaret Queen of Navarre arrived to a great Perfection in it, with divers others.  
In Pliny's Time Festival days were appointed at Corinth, for the exercise of Painting, for Great Pryses and Wagers, and we see at this day they are esteemed as the most Valuable Jewels, by the Noblest Rank of the Age, in Foreign Countries, as well as with the most Ingenious of the Nobility in England: this Art ever being in greatest Estimate with those who have been the most Remarkable for their height of Fancy and depth of Judgement.  
How former Times Esteemed it, may be seen by these few among Numberless more, by the Sums were paid for them.  
Antonius Vesuvius paid for a Piece of Michael Angelo, three thousand pounds sterling.  
Caesar the Dictator redeemed the Tables of Ajax and Medea for Eighty Talents; which amounts to twenty four thousand French Crowns according to the lesser Athenian Talon.  
King Attalus paid for one of Aristides Pieces, a Hundred Talents.  
Candalus King of Lydia gave as much for a Piece to Bularchus.  
Strapbonius Polenus gave to the Value of five thousand pounds Sterling for a Picture of the Divine Raphiel.  
Hortensius' the Orator gave for a Table of the Argonants, one hundred forty four Talents.  
The Duke of Milan Rewarded Raphiel Urbane with as many Ducats as would cover a large Piece which he made for him.  
Mnason paid to Asclipiodus for the Twelve Gods, after the rate of three hundred pounds a Piece.  
Pope Innocent the Eighth, so Famous for his Knowledge in all Learning and Ingenious Arts, bestowed upon Andrea Mantegna in the Belvedore of Rome, two Thousand Ducats for a months Work.  
Polidorus likewise, paid for a Piece of our Saviour's Nativity of Rubens, fifteen hundred pounds Sterling.  
Nor is it strange that these great Master's Works should have a higher Estimate than the most valuable Jewels, since they may be met with again of the same colour Nature and Dimensions, but a great Design may be particular throughout the World: besides the variety of Pleasures and Benefits hence arriving, of which the other is wholly void.   

CAP. IU.  
How far Painting agrees with Carving, and wherein it Excels it.  
THere hath been a continual Altercation between Painters and Carvers for Superiority in the Excellency of Art: but that Carvers may not pretend to excel Painters in the Essential part we will lay down how far they agree and then wherein the Carvers are Excelled.  
It is a General Rule, what agree in a Third agree between Themselves, if it be objected a Hank and a Hound are the same by this Rule, because both living Creatures; it followeth not, for though they agree in the Generality of being living Creatures, yet they differ in Speciality of Kind.  
And as there is no Essential difference between two particular Men, both being Rational Creatures, so there is not between Painting and Carving, for both tend to the same End, by Representing Individual Substances; and both must observe the same Geometrical Quantity in what they Represent.  
Suppose a Painter and Carver were to Counterfeit the same Person, doubtless both would conceive the same Idea of him, proceeding in their Minds with the same discourse of Reason and Art, and (as before) observe the same Geometrical Quantity, endeavouring to make it as like the Person they Represent as they could: and so the Draught expressing the Ideas of both the Workmen, would agree in expressing the true Resemblance, which is the Essence of this Art.  
'tis true one Painteth and the other Carveth; but this is a Material Difference only, which argues no Specisical Difference in Art or Science, and it is the Essential Difference alone that maketh a Distinction of Species and Diversity of Science.  
If it be Objected that the Carver maketh more of the Figure than the Painter, it is answered, more or less makes no Specifical or Proper Difference; therefore it is the Defect of Matter, and not of Art, thus far the Arts are Analogical.  
Now that this Art far Excels Carving is easily Demonstrated, since on a Flat, it Represents Roundness and Thickness, exceeding therein the Power of Nature itself, expressing Life and Spirit far beyond Carving, as in these Instances.  
Apelles' Painted Alexander the Great so to the Life, that his Horse Bucephalus brought into the Room, immediately kneeled down supposing it his Master: His Horse he likewise Painted with such Spirit that other Horses began to Neigh, when they saw him.  
Andrea's Mantegna represented a Servant in Porta Vercellina, so Natural, that the Horses left not Kicking at it till there was no shape of a Man left.  
Barnazano Represented Strawberrys on a wall so fine, that the Peacocks continually pect at them; and Caesar Sestius Painted in a Piece, Birds, so to the Life, that the Table set abroad, they brought Flocks of other Birds about them: and 'tis Reported there was a Dragon Painted with such Spirit in the Triumvirate in Rome, that made the Birds leave singing.  
A Picture likewise was in Claudius' Theatre, where the Tiles were so Naturally Painted, that the Crows offered to fly through the Painted windows.  
Zeuxes' story is well Known, by the Grapes which Invited Birds to them: though himself was afterwards deceived, by a Curtain done by Parrhasius in Emulation of his Grapes.  
Live Partridges have flown to the Painted ones done by Parrhasius upon a Column at Rhodes. A Dog likewise defaced the Picture of a Dog done by Gaudentius in a Picture of Christ carrying the Cross at Canobium. But these are all trivial Things in respect of the Passions and Affections, in which it far Excels Carving: since to most Passions is required a Change of Complexion, as well as Destortion, Contraction etc. of Features.  
A Venus cannot be made with that Allectation in Carving, since the Complexion of the skin, with Colour of Eyes, Hair, etc. are requisite to the Perfection of a Beauty.  
Nor can History be Carved without great Defects, since all Distances require a Faintness of Colouring, as well as Diminution of Body: with many more Observations in Nature, only Obvious to Colouring, of absotute Necessity for the Animating of Figures.  
Not that I would the least Detract from those Famous Artists who have obtained to themselves a lasting Name; but think they more deserve to be worshipped for Gods, than the Gods which were the works of their Hands.   

CAP. V.  
That this Art is Requisite to the Education of a Gentleman, from the Benefits and Pleasures thence arising.  
THE more Noble any Science is, certainly the more Essential it is to the Qualification of a Nobleman; that this is such, is already proved from its Antiquity, its several Honourable Proffessors, with the Reception it hath had beyond all Arts in the World; and in its own Nature being the most Laudable, since of all Arts it nearest Imitates (by continual Copying after) the wonderful Hand of the Omnipotent.  
What can become a Gentleman more than to talk Pertinently of so Ingenious a Science, and which he hath continually before his Eyes, when without a Judgement in it, he shall (by misplacing Proper Terms) be the Jest of those, whose greater skill will not excuse their ill manners herein. Besides, this being the greatest Ornament for Palaces and Noblest Seats, it prevents their being imposed upon in Pieces of Value, which they often suffer to great loss, though to the Infamy of those Mercenary Men who are guilty of the Imposition.  
It is the greatest Compliment, Convenience, as well as Companion for Gentlemen that Travel, to take a Draught of all Remarkable Things and Places, etc. which would be too great a Charge for the narrow Treasury of the Memory.  
It's of absolute Necessity for all Commanders, for the Designing Fortifications, Drawing of Lines, etc. and greatly assistant to the study of the Mathematics.  
Here they may see and Learn how their Predecessors Accumulated their Glories, and Learn to Emulate the Grandeur of their Actions, that like them they may be Transmitted (by some Artful Hand) to Posterity.  
The Practice of this Art not only raises the Fancy, but makes it Pregnant to the Production of still more great Ideas, Pressing on to the Mount of Perfection, where with pity they behold the rest of Mankind below.  
And had not those Celebrated Wits both Painters and Poets, whose Contemplative heads were Replenished with a continual Esslux of Notions, by this or Poetry found a sweet discharge of their Crowded Fancy, either being to big to pass through the Narrow Avenues of Common Sense, they had burst forth in disorder without Maturity, and so become but Distracted and Confused Notions; or else being Forcibly penned in, had stifled in their own Crowd, and so have perished, shut up in the Urn of the Brain to all Eternity, to the Dishonour of Him who bestowed these Gifts for the Manifestation of his Glory, and the Benefit of Mankind.  
The Pleasures arising from this Art, are Ineffable, and on that Account deserve a Gentleman's study, since it is better to be Happy, then simply to Bebritia For by this may you Form an Elysium to the height of your Fancy, beyond the Product of Nature and Equal to the Fictions of the Poets.  

Embroidered Fields, Groves Damasked with bright Beams.  
Banks all Enamelled, and Transparent Streams.   
Hereby within your Chamber may you see Majestic Hills, Humble Valleys, Delightful Groves, silent Grottoes, Delicious Plains. Nymphs, Fawns, Satyrs, Dryads, etc. sporting together, the state of Innocence and the Golden Age.  
Nor can we only Create Worlds Replenished with Beatitudes, to the highest Enjoyment of the Noblest Sense the Sight, but likewise so Potent are the Charms of this Art, that it often brings the Seraphic and Blessed Souls from their sacred Mansions to Converse with Mortals below; here to React their great Sufferings and Martyrdoms, that by observing their Footsteps, we (imped on the wings of Virtue) may mount to their Celestial Thrones, there to Enjoy the Beatific Vision in those Fields of Light.  
That after the Contemplation of the Wonderful Beauties here below, we there may behold the Sacred great Source of them all, there wishing for a Pencel Omnipotent, as the Hand which Formed those Ravishing Delights, to Copy out those blessed Abodes, the meanest place whereof is beyond Mortal Tongue to Express, or the highest Rapture of Thought but to aim at.  
Nor only to Encourage to Virtue, but likewise to deter from Vice, this Art hath furnished us with Scenes of Horror, Rapes, Murders, etc. that from the Terror of such spectacles, we may detest the Actions as Repugnant to Humanity.  
Nay sometimes it opens the Adamantine Gates of the Black Abbiss, the seat of Profound though Fiery Darkness, save that the livid Flames serve to discover those Souls, whose sins (weighty as the massy Plumets of Eternal Night) have sunk them to those Stygian Abodes.  
Amongst the Number there you may justly express in some Common shore, Replete with Assa Faetida, a sneaking Tribe of narrow Souls, the Contemners of this Art, who Murmuring and Repining at the Munificence of the Deity, Grudge that he should receive any Glory from this his best of Gifts.  
But should I sum up all the Benefits and Pleasures according to their vast Extent it would swell up a great Volume, nor can it be expected I should Abridge in a few sheets, what lies in a Book (of so Beautiful a Character) Expanded over great part of the Universe.   

CAP. VI  
The Objections against Painting Answared.  
ONE Objection is, that 'tis a Mechanic Art, but I think this is made by those who are little Skilled in Liberal Arts or Read in History; for in Greece it was ranked amongst the First of Liberal Sciences, and throughout all Greece taught only to the Children of Noblemen, and altogether sorbidden to be taught to others.  
Aristotle in his Politics, accounteth it amongst those Liberalia Paideumata, and adviseth it especially to be taught to the Young Nobles, which after Eupompus a Famous Geometritian to his Utmost Encouraged, and Pliny not only allows it a Liberal Science, but of the most Ornamental for the great Oeconomists of the World, and excited the Romans to the Embraces of it.  
Besides as Painting is subordinate to the Perspectives, Natural Philosophy and Geometry (which doubtless are Liberal Sciences) and as it hath certain Demonstrable Conclusions, deduced from the first and immediate Principles thereof, shows of Necessity it must be esteemed a Liberal Art.  
That because it is worked with the hand it must be a Mechanic Art, is a poor Argument, since without equal Labour of the hand, no Mathematical, Cosmographical, Hydrographical, etc. Demonstrations can be performed, nor is it of more Labour than Writing and several Gentle Diversions: and he that despiseth the noblest Product of the Soul, because it requires the Assistance of the Hands for Demonstration, I think deserves not those useful Members which he so foolishly Contemns.  
Another Objection is, that it hath been the occasion of Idolatry, by the Pictures of Saints, etc. but that the Picture is the occasion of the Idolatry is a mistake in the Hypothesis, for the cause of all Idolatry is either Error or Ignorance, and not through the Object of the Worship, for were the Object the Cause, we should Impeach the Wise Creator, for his best of Gifts the Sun, because the Pagans Worship it; and Esteem Onions and Garlic unlawful food, because Adored by the Egyptians.  
As for the Pictures of Saints in Foreign Countries, we must imagine them set up in Commemoration of those Saints, as seeing the Picture of my Friend makes me immediately Think of him; and I have more Charity then to think any, in this enlightened Age so profoundly Ignorant as to expect Succour from the Cloth and Colours, as to the Worship of the Saints themselves, nothing belongs to this Treatise, and we have Learned Divines enough to discuss the Controversy.  
Some have Objected it hath been the Cause of much Lewdness and Debauchery, by the many wanton Pictures have been continually Exposed, as likewise Prints every where Obvious to Youth, and may the more affect them the more they Love the Art: I answer the Substances are as frequent and obvious in every street as the Shadows, and the Art of Painting is no more to be censured on a Lewd Design, than a chaste, Beautiful Virgin, on the Account of a Beautiful Lewd Wench.  
Others have thought it Unhealthful because Sedentary, but it is not so Sedentary as some imagine, for not alone they may, but must walk often from the Picture, to Observe the Sympathy of the Dsign and Harmonious Union of Colours; and I have Known few afflicted with any thing but the Gout, which I suppose is more the Effects of Bacchanalizing then the Painting of Bacchanals.  
Their Objection who despise it as a Daubing Exercise is not worth notice, since it is only a Slovens Argument, for they who are otherwise cleanly may be so in this, and more than in some Gentle Diversion, the Colours being to be bought ready prepared to the palate; nor of more notice is their Idle Objection, who say 'tis only a Fancy, and that there is no Intrinsic value in it; if what already hath been said of the Benefits thence arising will not satisfy, I shall desist a farther Answer till I hear an Ingenuous Man make the Objection, for as yet I have not heard any.   

CAP. VII.  
The Great Masters of this Art, and whereof their Work may be seen.  
I Shall mention but one Piece of each Noted Master to direct the Traveller where he may see of that Hand, for to sum up all the Principal Works in Italy, would swell up this Treatise to too great a Bulk.  
Of Michael Angelo, the Resurrection in the Pope's Chapel at Rome.  
Of Raphiel Urben, St. Celia in the Church of St. John on the mount, in the City of Bolognia.  
Of Giovanni Lanfranco, several pieces in the Chapel of Tesoro, in the City of Naples.  
Of Dominichino, several Saints in the said Chapel.  
Of Guercin da Cento, the Assumption of St. Maria in the City of Lucca.  
Of Old Palma, St. Anthony in the Church of St. Piero Samaldi in Lucca.  
Of Guido Rheno, Cain and Abel in the Closer of Sig. Manfredo Septale.  
Of Timoret our Saviour's Last Supper in the Domo of Lucca.  
Of Pordenon, the Crucifiction in the City of Cremona.  
Of Titian, our Saviour Crowning with Thorns, at the Dominicans in Milan.  
Of Giulo Romano, the Crucifiction in St. Andrews in the City of Mantua.  
Of Leonardo da Vinci, a St. John in the Palace of Fontana.  
Of Paini, K. Philip the 4th. in the Closet of Sig. Manfredo Septale.  
Of Pietro Flandro, a curious Country Prospect in the said Closet.  
Of Radolpho, K. Priam's Palace in Flames in the said Closet.  
Of Carolo a Sole, a Noble Landscape in the said Closet.  
Of Carolo Battavo, a Battle in the forementioned Closet.  
Of Pietro Florentino, two Noble Landscapes in the said Closet.  
Of Firoli, 3 Heads, Homer St. Jerome and Moses in the said Closet.  
Of Hercules Procacini, St. John in the said Closet.  
Of Camillo Procacini, the Blessed Virgin and our Saviour in the said Closet.  
Of Barocci, a Dead Christ in the Domo of the City of Milan.  
Of Paris Bordone, an Alter-Piece of St. Girolamo in the said Domo.  
Of Ludovico Carache, an Alter-Piece in the Church of the Capuchins in Sassuobi.  
Of Hannable Carache, St. Francis in a Trance in the City of Parma.  
Of Augustine Carache, Duke Alexander Farnest in the said City.  
Of Paulo Veronese, the Transfiguration of our Saviour in the City of Milan.  
Of Parmeggianino, a Lucuetia in the Chamber of the Amorettis, in the City of Parma.  
Of Correggio, divers Squares in the Duke of Modena's Gallery.  
Of Giacomo Bassano, two Squares in the said Gallery.  
Of Giorgone, a curious Head in the said Gallery.  
Of Lanfrance, a Chapel Painted in the City of Piacenza,  
Of 〈◊〉 Ferratese, a Lucretia in the Chamber of the Amorettis in the City of Parma.  
Of Frederico Zucccharo, a Madonna in the Chamber of Sivetty in the said City.  
Of Pietro da Cortino, several Histories in the Palace of the Great Duke of Florence.  
Of Fra: Bartolomeo 3 Pictures in St. Marks Church in the City of Florence.  
Of Caravagio, a St. Anthony in a Chamber of the City of Parma.  
Of Tadeo Zuccharo, a Psyche in the Palace of Fontana.  
Of Civoli, the Lady of Piety in the Church of St. Croce in the City of Bolognia.  
Of Polidoro, the Front of a House in the Mount Cittorio in Rome.  
Of Barnardino Luini, the Blessed Virgin Crowned with Glory.  
Of Leo Aretini, the Blessed Virgin with our Saviour, St. Elizabeth and St. John.  
Of Melchiore Gherordino, two Pictures of St. Jerome and St. Lucia.  
Of Andrea del serto, a Christ carrying the Cross  
Of Daniel Chrispi, the Picture of Manfredo himself.  
Of Vermilji, St. Jerome Accompanied with an Angelical Minst rel  
Of Sardini, a Lucretia.  
Of Leone Aretini, a Lucretia.  
Of Cerani, St. Francis with a Parrot.  
Of Bronsino the Picture of Manfredo Septale.  
Of Soliano, a Madonna, this and the aforementioned in the Closet of Sig. Manfredo Septale.  
Of Camassei, the Creation of Angels in the Palace of Babarini at Rome.  
Of Raphiel Bergo, the Baptism of Fattor Bono in the Vatican at Rome.  
Of Mutiano, the Presentation of the Blessed Virgin at the Temple at the Church of Jesus at Rome.  
Of Daniel da Voltera, the Assumption of the Blessed Virgin at the Church of Madouna del Populo at Rome.  
Of Chivoli, St. Peter curing the Lame at St. Peter's at Rome.  
Of Possine, the Miracle of Erasmus in St. Peter's at Rome.  
Of Aurelius Lovinus, a Centurion and Crucifix at Lugano.  
Of Bernard Zenale, the Chapel of St. Peter and St. Paul in St. Francis Church in Milan.  
Of Bramentino, a Christ taken down from the Cross in St. Pietro Gressato.  
Of Daniel Riccarelli, a Christ from the Cross in the Friar's Church at Rome.  
Of Episander, Laocoon with his Son in the Belveder at Rome.  
Of Caesar Sestius, Birds very fine at Viscount Prospero's at Mtllain.  
Of Bernard Buttione, of Chapel of St Ambrose in Milan.  
Of Franciscus Matsolino, a piece of our Lady at Milan.  
Of Gaudeutius, our Saviour Baptised by St. John Babtist in Jordan at Vigevano.  
Of Franciscus Vicentius, the Evangelist, Prophets and Sybells in St. Maria de Gratia.  
Of Arsenodorus, a Laocoon and his Sons in the Belverder at Rome.  
Of Trosoda Moncia, several Roman stories at Milan.  
Of Austin of Milan, the Vault of the Chapel of St. Maries de Carmine in Milan.  
The Life of Mary Magdalen in the Chapel being of Bernard Zenale's doing.  
Of Andrea's Mantegna, the Triumphs of Caesar at Mantua near the Dukes.  
Of Rubens, Vandyke, Lyly at several People of Qualitys in England as well as in Italy ..  
Likewise upon inquiry throughout Italy you will find of Sebastian, Piombo, Alexander, Moreto, Girolamo, Bressano, Rosso, Bologna, Massotino, Timotheo Vita, Fattore, Sesto, Boccaccino, Andra Solari, Tovagno, Nibertus Leidamus, Scorellus, Burgeti, Florus, Pancelli, Theodorus, Mabutius, Dionatense, Lusto, Maio, Alasto, Gasetto, Frederick Barozzi, Paulo Catiarius, Lucas Cangiasus, Ambros. Figinus, Albert Durer, Mastardo, Brugill, Grimaldo, Pamphilus, Perino del Vaga, Peruginus, Francisco. Melzi, Vicentius Foppa, Matsobinus, Bellino, Frallaivoh, Botticello, Verrocchio, Dominico, Marcus, Scieva, etc.   

CAP. VIII.  
The Characters of several Masters.  
I Shall only give Hints of some Names known amongst us, since the Ingenious Mr. Sandrart hath so well Treated on the Generality of them, which book is designed to be Translated.  
Michael Angelo is allowed the most Famous for all Bodily Motions, all Foreshortnings, etc. as is universally acknowledged in that wonder of the world, the Resurrection in the Pope's Chapel at Rome.  
The divine Raphael (so usually called amongst the Italians) may be allowed the Prince of Painters an Excellent Antiquary, his Designs of Lofty and Noble Subjects with a great Manner and Spirit in his Works.  
Titian and Tintoret likewise exercised their Judgements on Great Stories, the latter whereof was called the Furious Tintoret, from his bold way of Painting with Strong Lights and Deep Shadows.  
Rubins was an Indefatigable Painter, he had a great Excellency in Colouring Flesh, which was most Beautiful, Soft, Tender and Clear, and the Nature itself; and had he had the Italian Measures he had been one of the Greatest Masters in the World: he was a general Master for History, Landscapes, Sea-piece, Fish, Foul, Architecture, &c  
Van-Dyke Painted wonderful Natural, variety of Colouring, delicate Touches, Soft and Tender, with extreme fine Observations about the Cheeks, Chin, etc. he Painted Armour to a Miracle, Satins and other Draperies extreme Fine, Lose and Gentle in his Postures: he used to Paint after those two Great Masters, being a Disciple of the latter.  
Lyly brought up first the curious Loose-Dressing of Pictures, which most of our Masters since have followed; he was extreme fine about the Eyes, very delicate upon the Hands, a Free Masterly Touch in Hair, he was Disciple of the Incomparable Van Dyke.  
Holbin had a delicate Tender soft way in his Flesh, Finished up to a Miracle.  
Rembrant had a Bold Free way, Colours laid with a great Body, and many times in old men's Heads extraordinary deep Shadows, very difficult to Copy, the Colours being laid on Rough and in Full touches, though sometimes neatly Finished.  
Moor had a very smooth neat way of Colouring, which may be one Reason that his Paintings keep so fresh, because the dirt is not apt to get in, there have likewise been other Great Masters by the Life as Walker, Zoust, Hales, Greenhill, Wishin, the late Rily, etc.  
Albert Duter generally wrought up his Horizon of his Landscapes to the Edge of his Pictures, which is not so Graceful although it may be Natural.  
One of the Brugels, Willebeck, Dehem, Seagers, Thewlin, etc. were very fine in the Stillife, especially Dehem.  
Another of the Brugels (generally called Hellish Brugel) was Famous for Scenes of Hell, St. Anthonies Temptation, etc. his Head was strangely Pregnant of Chimeras, but very prettily Touched.  
Snyder, De Vos, were excellent in Beasts of Prey, Fowling and Hunting in Large, and Elshamet extraordinary in small, as likewise Roben, Hames and Tambois for Cattle, Woverman was a great Master, likewise the Elder Barsan.  
Stenwick, Masuccio, De-Nef were three Extraordinary Masters in Painting Perspective.  
For Sea-Pieces, the Famous Precellus, Bonaventure, peter's, etc.  
The Great Possene, Paul Brill, Lanier, Vanbots, with many more were Remarkable in curious Landscapes.  
For Night-Pieces the Incomparable Dow; Likewise Barsan and Elshamer have done Famous works in that way.  
Brower was the most Famous for Boor-Pieces, for every Touch speaks a Master, and with a few strokes could put what Passion in a Face he pleased. Teneers likewise and one of the Brugels did very well in that manner of Painting.   

Of Masters now Living.  
SIR Godfrey Kneller, Kt. Their Majesty's principal Painter, by Birth a Saxon, and well descended, was sent very young to Holland, to learn the Mathematics and other Sciences; amongst which he was most inclined to Drawing and Painting; wherein he made a beginning by the famous Rembrants' direction, at Amsterdam. When somewhat improved, his Father approving of his choice, sent him to Rome, and spared for no cost that he might exercise his genuine Fancy without any constraint or confinement.  
In Rome he studied the Antiques, and Copied very much after Raphael, in the Vatican, and was in great-esteem with Cavalier Bernini, and by him much recommended for his Works: But not being satisfied yet, he went to Venice, where he studied Titians Works, and especially his Portraits, whereby he highly advanced himself into the Esteem and Respect of most of the chief Nobles of that Republic, especially the House of Bassadonna, whose Elder Brother being made Cardinal, had his Picture Drawn by him, and all his Brothers, in several large Pieces; and one of the first of his Eminences Pictures, was sent with great Applause, as a present to the Pope. He likewise painted most of the House of Donado, Garsoni, Mocenigo, and divers others.  
But being called home by his Father, and still desiring to advance his Skill, and longing to see Sir Anthony Van Dyck's Works, being most ambitious of imitating that great Master, he therefore at length came into England; where, by his indefatigable Industry, he got into the extraordinary Favour of King Charles the Second, who approving of his Ability beyond any other, sent him to paint the French King, and all that Royal Family, by which King he was very honourably Presented. Since he was in great esteem with King James the Second; but more particularly with Their present Majesties. And his Majesty, to show his Kingly approbation of his Art and Manners, was pleased to confer the Honour of Knighthood upon him, on the Third of March, 1692. and as an extraordinary Mark of his Grace and Favour, Honoured him with the Present of a Sword, by the Hands of the Right Honourable the Lord Chamberlain.  
Of his chief Paintings several are at Windsor. K. Charles, in the Bed Chamber at Whitehall. The Gallery of Beauties, at Hampton-Court. Likewise Their present Majesty's Pictures, and that noble Piece of the Duke of Schomberg on Horseback: also at my Lady Dorchesters at Weybridge, at my Lord Exeters, and at many more Seats of Persons of Quality throughout England; in which you will not only read the greatest Thought of the Artist in the very Minds of the Persons represented, but also the most curious delicacy in Colouring; adapting each Complexion with Tinctures, like the Hand of Nature itself.  
Nor is this Art so Ornamental to him, but he an Equal Ornament to the Art, being a Gentleman of good Morals, True to his Friends, Affable and free from the least appearance of Affectation or Pride. Of which, and more concerning his Skill and Works, you may better read in his Conversation, and the Works of the learned Sandrart Aca. Pic. lib. 3. cap, 28.  
Mr. Varrio, is a Man of vast Design in History, Great and Lofty in his Manner, witness the noble Work at Windsor, as likewise at several Persons of Qualities Houses.  
The Ingenious Mr. Cook must be allowed in History one of the greatest Masters of the Age; he was Disciple to the famous Salvator Rose; he hath Travelled into Italy, and studied the great Antique Masters; his Designs show a vast Judgement, thoroughly Considered, and himself a strict Imitator of the best reputed Italian Masters.  
Mr. Roustrate Paints the still Life with utmost Strength and Beauty as Colours will reach; his Order and Manner extraordinary good; his mixture of Plate, musical Instruments, etc. have a great Harmony: his Pictures are very Noble, Gentle, and Pleasant, and himself allowed in his way, the best Master of the Age.  
Mr. Dubois the Elder is a very great Master in Landscape, and exactly to the Italian manner; The Younger for History and the Life especially in Small is a curious Painter, they have by their extraordinary Industry, made one of the finest Collections (especially of closet Pieces) in Europe.  
The Ingenious Mr. Wyck for a Battle-Painter is doubtless not to be imitated in this Age; his works are extreme Neat, Gentel, and finely Finished; his Colouring very Beautiful, his Manner and Ordnance full of Judgement.  
Mr. William Vande Velde for a Sea-Painter is unparraleld, his work finely Finished and with a delicate Sky, and his Father in Black and White does to a Miracle.  
Mr. Scalker for Night-pieces and Lamps comes next to Dow himself.  
Mr. Murry is a hopeful Scion of that Noble Stock Mr. Rily. He Paints a Face admirable well, very gentle in his Manner and Postures, and his work promiseth much Reputation to his Country: He neither injures the Likeness by giving additional Beauty, nor the Beauty and gracefulness by carefully observing the Likeness.  
Mr. Harman Verelst Paints well by the Life and was in good Repute in Germany: he likewise Paints Fruit etc. very fine.  
Mr. Simon Verelst Paints Flowers extreme fine, beyond any in the former or present Age, for neatness; likewise Mr. William Verelst Paints Flowers very well.  
The Ingenious Mr. Seeks is a very good Master by the Life, puts Admirable Tinctures and Carnatiens in a Face, Paints with a very good Body and Durable; he is one of a sound Judgement in the Art, a diligent Imitator of Lyly and very Fortunate in his Choice; he is likewise very happy in taking the Likeness.  
Mr. Hen is a very good Master in Landscape and Paints nearest of any to the Manner of the great Possine, likewise Mr. Edema Paints Landscape very well especially his Waterfalls.  
Mr. Hemskirk Paints Boor-Pieces after the manner of Brower and many of his Pictures may come in Computation with that great Master.  
Mr. Vanderbank Paints a Face and Posture very well, Landscape, Foul, etc. extraordinary fine and is to be Ranked amongst the great Masters of the Age.  
Mr. Jacob Wilson hath had a Reputation for Painting by the Life these many years in the City, he Order a whole Picture himself; putting great Likeness in the Face, and gracefulness in the Posture.  
Mr. William Wilson is the best Master we have in Painting Fowl, Hares, etc. he hath extrordinary good Draught, and Feathers his Birds very finely. He hath been some time in Italy and a strict Imitator of the greatest Masters there.  
Several other good Masters we have which at present are not obvious to my Memory, but after some time is designed a Treatise containing the Characters of all the present Noted Artists in Europe, both Painters and others, where each will be discoursed on according to his Merits and the Reputation he hath acquired in the World. Those whom I have Mentioned may please to take Notice that I did not place them in order here according to the preference of one above another in merit, only as they at present occurred to my Thoughts.   

CAP. X.  
Of Proportion.  
PRoportion is of two sorts either Proper, Expressing the exact Proportion of the Thing to be Represented, or else in Perspective, in Respect of the Eye, differing very much from the other, for according to the Distance of the Thing from the Eye it Judgeth what Proportion the Head hath with the Body.  
For should a Carver make a Statue according to true Proportion and place it on high, he that below beholds it will judge it Disproportionable, by Reason the upper Parts will come to the Eye in a Sharp Angle, and the lower Parts in a Blunt.  
The Philosophical and Perspective Reason hereof is, because when the Statue is in the open Air, which being Transparent is filled with certain Visual Species, which coming into the Eye meet with those Visual Lines which come in a Pyramidal Form, whose Cone toucheth the Eye.  
Therefore the Artist must carefully observe the Height he designs his work, and accordingly add as much to the Upper Parts as the Distance will lose, which Rules Phidias and Praxitiles exactly observed in their Statues in Monte Cavallo in Rome, as likewise did the admirable workman of Trajan's Columns, and by this means the Eye soon judgeth of the Prototypon whom the work Represents which is the Intent of Painting and Carving.  
It may be enquired what Proportion a movable Picture should have, I Answer, it must always be supposed to hang something above the Eye, since that Sense is most delighted to look upwards and hath been observed by all Great Masters.  
So great is the Virtue of Proportion, that nothing delighteth the Eye without it, since the Grace of all Beautiful Forms consists in a Proportionable Measure of Parts, and as Vitruvious saith, that none can proceed with Judgement without Acquaintance with the Force thereof, it giving the Majesty and Beauty to bodies, whence he calleth it Euritbmia.  
It hath been of great Force in exciting men's Minds to Reverence and Devotion, witness the Statue of Jupiter Carved by Phidias; and the great Zeuxe's persuaded Greece to dedicate their most Majestical and best Proportioned works to the immortal Gods, as being the works of Men Reputed amongst them as Gods, and not only represented the works of God, but likewise supplied the Defects of Nature.  
Nor does it only affect Painting but likewise Carving, and all other Arts, and was the first Pattern of all Artificial Things; yet the Painter (as Baptista Albertus affirms) more especially considereth Man's Body, therefore Antiquity to Grace Painting above the rest (as chief Mistress of Proportion) named the rest Handicraftsmen. Now let's consider the Definition of Proportion.  
Proportion is a Correspondency and Agreement of the Measures of the Parts between themselves, and with the whole in every Work.  
This Correspondency Vitruvius calls Commodulation, because a Model is a Measure, which being taken at first, measures both the Parts and the Whole.  
In Former times before this Symmetrical Measure of Parts was Understood and considered, all Italy could witness what Lame and Preposterous Statues and Pictures were continually set up, especially about the Time of Constantine the Great until Giotto in Tuscany and Andrino di Edosia Paveses in Lombardy.  
A great Benefit of Proportion is, it wonderfully assists the Judgement in Judging of the Famous Antique Paintings: 'tis pity to see how some (absolute Idiots in this most Essential part of the Art) affect a vain surface of Gaudy Colours, to the disgrace of the Science and sometimes sinde Buyers of their own Talon.   

CAP. XI.  
The Names of the Parts of Man's Body.  
BEfore we Proceed, we will give the Names of the External Parts of Man's Body, for it is Requisite an Artist should speak properly when he hath occasion to name them.  
Of the Head the Forepart is called the Forehead; the turning of the Hair, the Crown; the Root of the Hair above the Forehead, the Centre. The Hair before, the Foretop. The Parting of the Hair beginning at the Foretop, and reaching to the Crown, the Seam. women's long Hair is Coma. The long Hair in the Pole, Cuticagn. The Forehead is the space between the Root of the Hair before, and the Eyebrows. The Pulse is the highest part of the Forehead. Melone, the swelling out above the Eyebrows. The Temples, betwixt the Pulse of the Forehead and the Ears. The Ear is the turning contained between the Temples, upper part of the Cheek and the Root of the Hair by the side of the Head. The lower part called the Tip; in the midst is the Hole in Italian, Mirenga. The Eyebrows are the thick Hairs at the bottom of the Forehead: the space between, the Italians call Glabella: The Upper Eyelid compasseth the upper part of the Eye: The Eye is the round Ball contained between the upper and lower Eyelid: The Black of the Eye, the round spot in the middle called the Apple, or Sight, the outward corner of the Eye, next the Ear called Cornice, the inner that towards the Nose: the space between the upper Eyelid, the outward Corner, and the whole turning of the Eye to the upper part of the Cheek and the Glabella, is called the Hollow of the Eye. the Nose descends from between the Eyes and ends at the Nostrils, those Prominences hanging out on each side of the bottom, each having a hole to smell, termed in Italian, Papilla; the lower end of the Nose standing forewards is called the Point: the Rising in the midst, the Ridge. The Upper Cheek, is the space between the Ear, the Hollow of the Eye, the Nose and the lower Cheek, whereof the part rising toward the Eye is named Mellone. The Lower Cheek is bounded with the upper, the Nostrils the Mouth, the Chin to the Throat, and the Neck under the Ear; the Upper Lip, the Red Flesh above the Mouth, also called Virgin. The Mouth is the Division between the Upper and nether Lip: the Concavity coming from the Bottom of the Nose to the upper Lip, is called the Gutter of the Nose: the Roof of the Mouth the palate: the Tongue, that which moveth in the Mouth in Italian Strozza: the passage betwixt the Lungs and the Mouth through which the Breath passeth, is called the Windpipe. The Gum is the Flesh wherein the Teeth are Fastened: the four first called Dividers, next unto which on each side are the Dog-teeths, the other five on each side with three Roots are the Cheek-teeths, so that the full number is thirty two, the Chin, the extremity between the Lip and the end of the Face, whose beginning is at the root of the Hair; the hinder part under the Crown, is called the Nape, as also the upper part where the Hairs grow behind, is the beginning of the Neck, called Cervix. Those Hairs growing under the Chin and about the mouth, is called the Beard: those on the upper Lip, the Mustachiums: the Throat is the Part betwixt the Chin and the beginning of the Body: in the midst directly under the Chin, is the rising called the Throat-Bone; the Concavity of the Neck before, between the Root of the Hair and the beginning of the Backbone, which on either side is joined with the Throat, and at the lower end of the Neck with the shoulders, whereof the Bone in the midst is called Astragalus; the whole Body before Containeth in it, first the Upper Fork of the Stomach, or Breast, which beginneth at the end of the Throat-pit: the Breasts end with the short Ribs, and are also called the Part under the Paps. and in Women called the Dugs, etc. the Heads or Extuberances whence the Milk is sucked, called the Nipples. the space between the Breasts at the lower Fork of the Stomach, is called the Bulk. The Armpits are those Hallows under the Arms. The Short-Ribs begin at the end of the Paps, and reach to the Flanks near the Belly: the Flanks begin at the end of the Breast, and likewise are called the Wast. The upper part of the Belly lieth between the hallow of the Breasts, the waist above the Navel, and the Ribs, and is called Epa: the Knitting of the Entrails is called the Navel. The Belly lieth between the Wast, the Privitys, and the Flanks: under the Belly, the Privitys, the hallow compass at the Top Corona: the hinder part of the Body called the Back or Cbine, consisteth first of the Shoulderblade, which is the part behind the Shoulders end, which part of the Chine or Loins; the rest of the Back reacheth from the Neck, to the beginning of the Clift of the Buttocks: the Loins lie between the shoulderblades, the Ribs and the rest of the Chine to the Reins; the Reins reach from the Loins to the Buttocks, and do properly belong to the part below the Wast: the Buttocks are the Fleshy part which serves for the Use of sitting: the Arm containeth, first the Shoulder, behind which is the Back, beginning at the Clavicola, between the Neck and Throat, and reacheth to the shoulderblade behind, which place is properly called the Back. The part of the Arm from the Elbow upward, is called the upper Brawn of the Arm, the Elbow is the bowing of the Arm, the inside whereof is the Joint; and here the lower part of the Arm beginneth. The Wrist is where the Arm joineth with the hand in the inside. The Palm is the inside of the hand between the wrist and the Fingers: the Thumb is the biggest and shortest, the Fore Finger next, than the Middle Finger which is the Longest, than the Ringfinger, the last is the Little Finger which is the smallest: Cheiromaneers give other Names as the Thumb, Venus; the Forefinger, Jupiter; the Middle Finger, Saturn; the Ring Finger, Sol, and the Little Finger, Mercury, the Brawn in the Palm of the Hand, the Hill of Luna; the Triangle in the midst of the Palm the Hill of Mars.  
The Fingers whose Joints are as it were equal in Number according to their bigness, namely three upon each, except upon the Thumb which hath but two. The hinder part of the Arm reacheth from the Shoulder to the Elbow; where the second part of the Arm gins reaching to the Wrist-Joynt. the Back of the Hand reacheth from the wrist to the first Joint of the Fingers and is called Pecten. The spaces between the Joints are called Internodi, which are two upon each except the Thumb, which hath but one, in the space between the last Joint and the top of the Finger is the Nail, whose bowing (where it toucheth the skin) is called Corona the whole Hand beginneth at the wrist, and reacheth to the extremity of the Fingers.  
The Leg consists of these parts: first, the Thigh, which beginneth at the Trunk of the Body and reacheth to the Knee. The Hollow of the Thigh is the inner part below the Privitys. the Knee beginneth at the Round Bone at the end of the Thigh, and reacheth to the beginning of the Shinbone, which reacheth down clean through the Leg to the Instep, beginning at the end of the Shinbone, and reacheth to the beginning of the Toes, and is called Pecten, or the upper part of the Foot. The Ankle is that Bone which buncheth out on each side, between the Instep and the beginning of the Heel. The Small of the Leg, is the space between the end of the two Calves above, and the Ankle, Instep and Heel below. the Pit of the Foot is the Hollow under the Hill or highest bunch of the Foot towards the Sole. The Toes have Joints as the Fingers, though shorter: and Nails in like manner, but otherwise called, as the First, Second, Third, Fourth and Fifth; the hinder part of the Leg beginneth under the Buttock, and is called the Thigh and endeth at the hinder part of the Knee, called the Ham, or Bending. The Calves of the Legs begin under the Ham, and are two upon each Leg, the Outward which endeth somewhat high, and the Inward which reacheth nearer to the small of the Leg; and diminisheth by degrees to the part a little above the Ankle. The Heel is the part of the Foot, which riseth out backwards, reaching from the end of the Leg to the Sole; which beginneth at the end of the Heel, and reacheth to the top of the Toes; containing likewise the spaces between the Joints underneath orderly.   

CAP. XII.  
Rules of Proportion.  
SOme of the Italians were wont to divide the length of the Body, from the top of the Head to the Sole of the Foot into thirty equal Parts or Degrees, dividing each Degree into ten Minut's, in all three hundred, which is apt to confound any young Disciple, nor can such minute parts be measured but by Osteology.  
Therefore we will only (which is sufficient) divide the Face into three equal parts, and each part into four less Subdivisions.  
Ten Faces we count to a Tall Graceful Body & is measured thus: the first from the top of the Head to the Root of the Nostrils: the second, thence to the Throat pit: the third, thence to the Pit of the Stomach; the fourth thence to the Navel; the fifth thence to the Piramidal Muscles; thence to the Knee two and a half; and to the sole of the Foot two and a half more.  
The first part from the Top of the Head and Nose answer to the space betwixt that and the Chin, in a Triple Proportion, which maketh a Diapente and a Diapason. That between the Chin and the Throat-pit, answereth to that between the Nose and the Chin in a double Proportion, which makes a Diapason: whereunto the Head answers in the same Proportion, the three Faces between the Throat-pit and the Piramidal muscles, answer to the second between them and the Knee in a Sesquialter Proportion; whence ariseth a Diapente; but with the Leg they are Unisons, for it hath the same Proportion with the Thigh.  
The Extent of the Arms hath the same Length, beginning from the end of the long Finger, to the Joint of the wrists one Face: from thence to the bending of the Arm one Face and a third part; thence to the Joining on the Shoulders, one and a third part; from the Shoulders to the hole in the Neck, one and a third part, all which make five Faces: and the like to the extremity of the other Arm make in all ten Faces.  
The Italians Measure thus, from the extremity of the middle Finger, to the wrist of the Hand, one Face, thence to the Elbow one and a half, so much to the Clavicola, or Joint of the shoulders; and one to the Throat-Pit.  
So that the Hands alone are Unisons, with that between the Shoulder Joint 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.  
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 Compass of the waste is a Triple Sesquialter to the Diameter thereof; and is Unison 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 wrists, answer in a Double Proportion, and is Unison with any half of the Body.  
They who by the Head, mean the length of the whole Head, must make but Eight Heads in all, as thus, the Head one; thence to the Bottom of the Breast one; one from thence to the Navel; from thence to the Antipendiums, one; thence to the middle of the Thigh, one; to the lower part of the Knee, one more; thence to the small of the Leg, one; and from thence to the bottom of the Foot, one more; in all Eight.  
And thus the Breadth, when the Arms are extended, from the Extremity of the middle Finger to the wrist; thence to the bending of the Arm, one; thence to the bottom of the shoulder, one; over to the other shoulder, two more; and to the end of the middle Finger three more as before.  
The breadth of a Figure without motion seen Frontwise is thus measured: the breadth of the Shoulders crossed at the Dellord Muscle, to the joining on the Arms, two Faces; about the Haunches where the Obliqne extern Muscles are, one Face, two third parts and three Subdivisions; the Thighs at the biggest place one Face. The Knee one third part, three Subdivisions; and an half; the Leg at the biggest is two third parts and one subdivission; the extremity of the Ankles, one third part one subdivision and an half; the Feet one third part and a half, and half a subdivision, their length one Face, one third part and one Subdivision.   

CAP. XIII.  
Unisons in Proportion.  
THE Measures which are Unisons are these: the space between the Chin 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 Navel. the Diameter of the waist answers to the Distance, between the Knob 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 between the Chin and the Throat-bone: from the Nose to the Chin is as much as from the Throat-bone to the Throat-pit. 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 upper Lip; so that these three spaces are equal. The distance between the top of the Nail of the Forefinger, and the last Joint thereof, and from thence to the wrist, are equal: the space between the Nail, the middle Finger and the last Joint thereof, and from thence to the Wrist are 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 Nose are divided. The two first Joints of the middle Finger are equal to the space between the Nose and the Chin: The first Joint whereon the Nail grows is the distance between the Nose and the Mouth, so that the second Joint answereth unto the first in a Sesquialter Proportion, as also doth the space between the Mouth and the Chin, whence ariseth the Concord Diapente. The bigger Joint of the Thumb, gives the wideness of the Mouth, the space betwixt the top of the Chin 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 maketh 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 width of the Mouth are Unisons. The breadth of the hand and the Foot are all one. The length of the Foot in respect of the breadth makes a double Suprabi partient a Diapason and a Diatesseron.  
The breadth of the Foot to its 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 Navel 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 Diatessaron. 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 makes 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 Diapason: the same Proportion hath the Cubite, 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 the same with the breadth. The breadth of the Back at the Arm pits, of the Hips at the Buttocks and of the Legs at the Knees, in respect of the soles of the Feet, make a Triple sesquialter the like is from the space of the Head to the Brest-pit. The Diameter of the Head at the Forehead, to the depth thereof (that is between the Eyes and the Nap of the Head) is a Sesquioctava: whence ariseth a Tone. The Circumference of the Forehead at the Temples, Quadruple to its height, or a Diapason. The height of the Face, and the space between the Chin and the Throat-bone, makes a Triple Proportion, or a Diapason and a Diapente. And thus might we find in the Hand, all other Proportions of the smallest parts.   

CAP. XIV.  
Proportions of a Woman, Child, and other Observations.  
THe Proportions of Man and Woman differ in their height: a Woman hath a longer neck; the parts of the Breast and the lower parts of the Belly by ne'er a half part, which makes the space from the Breast to the Navel, less by one Part, and the Thigh about a third part shorter: as to Woman's breadth, her Breasts and her Shoulders are narrower, her Haunches larger, her Thighs at the place of their Articulation, so too; her Arms and Legs are thicker, her Feet straighter. And Women being more Fat and Fleshy, their Muscles are the less seen: therefore their Contours are more even and smooth.  
A young Maid hath a little Head, long Neck, low Shoulders, a slender Body, pretty big Haunches, Legs and Thighs long and little Feet.  
Young Men, their Neck thicker than Woman's, Breast and Shoulders larger, Haunches and Belly narrower, their Legs and Thighs Slenderer, and their Feet bigger.  
Young Men about sixteen or seventeen, in their length have their Proportion as Men of forty, but differ in breadth.  
At twelve or thirteen, mine Faces to its height, being equally divided, the breadth about the Shoulders two Faces, about the Haunches one Face, one third part and a half.  
For Four years of Age the height six Faces, and one third part; from the top of the Head to the bottom of the Belly three Faces and one third part, and from thence to the Sole of the Feet, three Faces; the breadth about the Shoulders one Face and two third parts; and about the Haunches one Face and one third part.  
For three years of Age, we count five Faces, from the top of the Head to the Soles of the Feet. From the top of the Head to the bottom of the Belly, three, thence to the Feet two; its breadth about the Shoulders, is one length of the Face and one eighth part; and in the place of the Hips one Face.  
Yet not withstanding these certain Rules of Proportion take these observations: in Common Country-Fellows, as they are People of a duller Wit, they must have more Heavy and Rough Proportion. The Head big and the Neck short, the Stomach little, the Shoulders high, the Knees and Thighs thick and the Feet large.  
For more Grave and Noble Stories, the Figure must be well shaped, the Joints well knit, little and compact, the Haunches high, a small Hand and a Nervous Neck, not very fat or fleshy. Thighs Muscly, the principal Muscles raised up and knit together at their Head and Axis. Shoulders large and high; the Body elevated, the Belly little, with smooth Legs and slender Feet.  
In Great Heroic Histories the Figures may be much bigger than the Life, only observing exact Proportion: but remember (as before) that if they stand high, (as such always should) the upper parts must be made larger, according as the Distance Diminishes.  
Farther observe, that there is a difference in the Contours in some Parts, as the Body changes, as the Arm, when bent is bigger than when straight so likewise of the Feet, Knees, etc.  
In Measuring of Figures of the Relievo, great care must be taken of the Parts Jutting or swelling out, or you'll make great Faults.  
The Contours of Old Folks must be more stiff, and the Joints sharp, in young People more easy, the Joints Rounder.  
Great care must likewise be taken to observe the greater grace of Proportion in the Principal Figure in a Picture, which is chiefly designed to take the Eye, keeping your mind most fixed on that, lest you spend your Conceit on the other Figures and so the Design wants the Beauty expected as hath befell great Masters.  
Euphranor being to draw the twelve Gods in Athens, began with Neptune, which he had finished so tightly both for Proportion and Colour, that after designing to make Jupiter with fat greater Perfection, he had spent his Conceit so on Neptune that he could not Finish Jupiter or any of the rest of the Gods.  
The like befell to Leon: Uincent, who being to Paint our Saviour at his Last Supper in the Refectory of St. Maria de Gratia in Milan: and having finished the other Apostles he represented the two James' with such Perfection, of Grace and Majesty, that Endeavouring afterwards to express our Saviour, with a more Sacred and Divine Countenance, he was not able to accomplish it, wherefore advising with Bernard Zenale, he used these words to comfort him; O Leonard none but God himself could correct this Error, for thou nor no Man living can bestow more Beauties then in these two James'.   

CAP. XV.  
Of Action and Passion.  
THe Passions of the Mind are certain Motions, proceeding from the Apprehension of Something: and are either Sensitive, Rational or Intellectual. Sensitive is, when we consider Good and Evil as Profitable or Unprofitable, Pleasant or Offensive. Rational, when we Consider good and Evil as Virtue or Vice; Praise or Dispraise; and Intellectual, when we regard them as True or False.  
The Inferior Powers of the Mind, may be considered under these two Heads Desire and Anger. The Desiring part considereth Good and Bad absolutely, and thence causeth Liking or Hatred, or otherwise Respects Good as Absent, whence raiseth Desire. Or Evil as Absent whence is bred Fear, Dread, etc. or both as Present, and thence Procedeth Joy or Grief.  
The Angry Faculty considereth Good and Evil as it may with ease be Attained or Avoided; and from thence arise, Confidence and Hope; sometimes it moves to Revenge, and sometimes excites Audacity, and sometimes causeth Distrust and then Desperation.  
By divers Passions also is the Temperature of the Body altered, in Mirth the Spirits are enlarged; in Fear contracted. Love breeds sundry Colours sometimes Red sometimes Pale. Anxiety Causeth Draught and Blackness. Mercifullness. produceth a certain Heaviness. and sometimes Injures the Person so Affected. Fear brings Coldness, Paleness, Fainting of the Voice, the Panting of the Heart, etc. Heaviness causeth Sweeting and Paleness. In Bashfulness the Spirits fly to the Brain; in Joy, the Heart is extended by Degrees; in Displeasure it is drawn in Gradually.  
bodies are likewise affected with Passions according to their several Constitutions and Complexions.  
Those of a Sanguine Complexion are for the most part, Gentle, Merry, Modest, Gracious, Generous, Affable and are given to Love, Pleasure, Desire, Hope, etc. which are the Passions of Delight and a Quiet Mind.  
The Phlegmatic are addicted to Mercifullness, Simplicity, Humility, Timidity, their bodies usually induced to incline downwards and their Limbs to dilate and of a Heavy motion, and apt to swag; whereas the Sanguine are more Upright and Move more Firm.  
The Choleric, are Usually Bold, Fierce, Boisterous, Violent, Arrogant and Humorous, they are addicted to Anger and Hatred, their Limbs move upwards, apt to turn, start, shake, etc. their Parts enlarged with Heat, the Flesh inflamed with Redness, but more especially their Eyes.  
The Melancholy are Slow, Sluggish, Restrained in their Actions, and unwieldy; given to Disquietness, Stubborness, Anxiety, Sadness, Horror, Despair, etc. their Limbs apt to hang and decline as if benumbed with Cold.  
The Artist is therefore diligently to observe that he is not only to show the Passion by Contraction, Dilation, etc. of Features, but likewise to adapt a Complexion suitable to the Character the Figure is to bare in the Design, whither a Soldier, a Lover, a Penitent, etc. as for Example.  
A Martialist should have a Meager Body with large raised and hard Limbs, Great Bones well Knit with Joints, the Complexion Swarthy with an adust, Red, large Eyes, Yellowish like a Flame of Fire, wide Nostrils, a wide Mouth, thick and purplelish Lips, small Ears, a square Chin, White Teeth, a darkish Hair but tending to a fiery Red, with stiff and Curled Locks, a Violent strong Voice and Shrill, in some Robust Posture or Exercise.  
Thus he that can express the Properties of one Complexion may easily conceive of the Rest, since all Natural Things have a Correspondency in Method, Form, Proportion, Nature, and Motion; which Philosophically understood bring a Certain knowledge of all Passion and Action to be imagined in bodies.  
For most Certain it is that those Passions of the Mind, whence these Externall Actions flow, discover themselves more or less as the bodies have Affinity with any of the four Complexions arising from the four Elements.  
Yet Ptolemy, the Hebrews, Egyptians, Arabians likewise Albertus Magnus, with some late Philosophers affirm, that our Passions & Affections proceed from a Natural Instinct and Inclination of the Superior bodies (the Planets) but Sapiens Dominabiter Astris.   

CAP. XVI.  
Precepts for the Expressing of Action and Passion.  
ANger, the Motions of the Body must be strong and quick, all the parts stirred, the Eye wild and Sparkling, the Nostrils open, the Point of the Eyebrows fixed towards the Nose, the Corners of the Mouth a little open and Foaming, the Muscles puft up, the Veins swelled, the Hair standing up.  
The Subjects for such Expression may be, Moses when he broke the Tables of the Law; Tydaeus, who Dying bit the Head of Menalippus; Alexander when he slew calisthenes; the Roman Sylla, Valentinian, Hunger, etc.  
Cruelty, with Passion and Motion as before, but more Furious and Violent, in Eager, Importunate and Bitter Actions.  
The Subjects, Zenaeheribs Sons, who slew their Father before the Altar; Abimeleck, who slew his Seventy Brethren; Mithridates who on the Receipt of a Letter caused 80000 Romans to be slain; likewise Archelaus, Phalaris, Medea, Scyron, Dionysius, Crion, Cyrus, Herod, Procrustes, Mezentius, Tamburlaine the Tartorian, Attyla, Barbarossa; but more especially in the Jews towards our Saviour, where may be Expressed the Spurning, Buffetting, their Disdain, Scorn, Contempt, the outrages of their Cords, Crowning with Thorns, their Deriding, Spitting, Whipping, Pointing, his Carrying the Cross, Piercing his Hands Side and Feet, Drinking of Gall, Opening his Side with a Spear, the Repulse of the Blessed Mary; and to make the Cruelty the more Horrid and Detestable, to observe his Sacred Sufferance, Gracious and Pitying Looks and Divine Patience.  
Sadness, their Motions Heavy, Pensive and Sorrowful; the Head Carelessly hanging aside, the Forehead wrincled, the Eyes half shut, the Mouth a little open, the Corners downwards, the Nostrils swelled, the under Lip pouting and drawn back.  
The Subjects, Adam and Eve upon their Fall, Agar with Child thrust out by Abraham; Peter after his Denial, etc.  
Envy causeth a Man to draw back his Limbs, pluck in and in a manner shadow his Eyelids, wry his Mouth, grind his Teeth, biting his Finger, turning himself with a Passionate Look, as prying into other men's Affairs.  
The Subjects Cain seeing his Brother's Sacrifice more acceptable than his; Culianus, who seeing his Rival in Honour, preferred, caused the Bridge to be broke as they were passing over though with certain Ruin to himself; likewise the Devil's countenance when he Tempted Eve.  
Covetousness hath Restrained and Catching Actions, drawing in the Hands and Arms, Pensive, Clitching the Thumb between the Fingers, etc.  
The Subjects, Crassus; Polymnestor, when he Murdered Priam's Son, for his Treasure; Tantalus at the Banquet of the Gods, who served up his own Son Pelops in stead of Meat; Midas, Aglaurus, etc.  
Love causeth a Dilation in all Parts of the Face, the Forehead smooth and even, the Eyebrows to rise in the middle, the Eyes half open and Smiling, the Apple of the Eye Spark- and Moist, the Cheeks full, the Nostrils a little open, the Corners of the Mouth turning a little upwards, the Lips red and the whole Air of the Face Smiling, the Complexion pretty Ruddy, the Head inclining towards the Object. The Subjects are Infinite.  
Pain maketh the Patient to draw in the Eyebrows, strain the Lips, show the Teeth, throwing the Arms abroad, sometimes drawing the Body together, turning and shutting the Eyes, it causeth Tears, Shakes, Burn, Sweats, sometimes to stretch the Veins, to Roar out and beat themselves, etc.  
The Subjects, Prometheus fed on by the Vulture, St. Sebastian when shot to Death, St. Stephen Stoned, St. Peter Crucify'd with his Heels upwards, St. Laurence burnt on a Gridiron, St. Bartholemew, with innumerable more Examples of those who have suffered under Cruel Tyrants.  
Despair hath Actions betokening a Privation of Hope, it causeth to tore the Hair, Garments and Flesh, sometimes a fixed and resolute Look with a stern Brow, etc. the Subjects Saul, Cleopatra, Queen Dido, Cato Uticensis, Mithridates, Nero, Judas, Architophel, Thisbe, Lucretia, etc.  
Fury showeth Actions of Folly and Distraction with Vehemency in all their Affections, by Gaping, wrying their Mouths, seeming to Cry out, bewail, Howl, Lament, Tearing their Limbs and Garments.  
The Subjects, Athamas killing his Son, and putting away his Wife; Heliodorus in his Aethiope: History mentioning this Fury in fair Cariclia, partly for the Absence of her Theagenes and partly for the Marriage of Cnemon and Nausiclia, brings her in like a Fury, throwing herself on her Bed, tearing her Hair and Flesh, and Crying, come let us Sacrifice to the Devil; likewise in Althaea kindling the firebrand of her Son Maleager, etc.   

CAP. XVII.  
Farther Precepts for the Expressing of Action and Passion.  
IThought to have subjoined Subjects for each Remarkable Passion but finding it would swell the Treatise too large, I shall of the rest only show the manner of Expressing them; for Subjects, the Artist may furnish himself out of Homer, Virgil, Ovid and the rest of the Poets.  
Disdain, maketh a Man shake the Head, open his Mouth with a scornful smile, stare eagerly, opening his Hand and wresting it about, lift up his Nose as if he smelled something amiss.  
Injury must have Calumnious, Offensive, and Reproachful Actions, with an insulting Violence, Threatening, Scorning and looking Fiercely.  
Vanity produceth Light, Airy and Frivolous Actions, yet a kind of Contentment, easily given to Laughter and Mockery, Foolish, Insolent, Absurd and Vain, yet Affected with all they do themselves.  
Pride, in the better Sense, hath a Lofty, Great and Graceful Carriage, the Motions Noble and Principal, Aspiring at great Things, full of Resolution and Confidence, and thence usually happy in Performance; but Pride in the worst sense, is Imperious, Arrogant and Insolent, causing the Limbs to swell, carrying the Head aloft, but without Steadiness or Gravity, showing scorn and contempt to others advice.  
Obstinacy hath Stubborn, Hasty, Hard, Immutable and Implacable Actions, Suffering the extremity of Pain rather than Obedience.  
Roughness exerciseth Hard, Cruel, Rough and Stubborn Actions, void of Love, Pity, Mildness, Civility or Generosity, it makes a Man draw in the Eyelids, draw his Mouth aside when he speaketh, look disguisedly over the Shoulder, move slowly without any Decorum; Perverse, Obstinate, Harsh, Cruel, etc.  
Bounty hath Cheerful, Pleasant and Graceful Actions, with Arms open, the Elbow on the Flank, the Hands held up with Palms forwards, the Body and Head Inclining, turning his Face to whom he talketh (though never so Mean) without the least show of disdain; his Arms, Legs, Body not moved with the least violence, but all Expressing an Affable Temper.  
Magnanimity (which is a greatness of Mind) must have ready bold and stout Actions, accompanied with State and Majesty, the Countenance Magnificent and vigilant, causing Love, Fear and Reverence in the Beholder: his Head disposed to Worthy and Heroical Actions, Free from base and servile Gestures; Farther you may Learn in the Lives of Alexander the Great, Pompey, Hannibal, Charles Lorraine, Julius Caesar, Matheus Viconte, and James Trivultius.  
Discretion (being properly a Modesty in Things) should have sweet, stayed, and wise Actions; capable of discerning between Good and Evil, True and False; Moderate in their temper, severe against the Insolent, but Gentle to Just and Reasonable Men.  
Wantonness should be Expressed with Wanton Looks, the Eyes sparkling, the whole Face smiling, Dimples in the Cheeks, Kissing, Embracing, Forcing, Striving; the most Allective Parts Naked, as Breasts, Legs, one Arm, Tips of their Tongues seen, but covered about the middle with Lawn, to Inflame the desire of beholding the more, for the Ancients expressed Venus not quite Naked, as some Remains may be yet seen in Delos and Paphus.  
Quietness hath actions full of Joy and Mirth, free and easy without violence or Perturbation; the Countenance smiling without immoderate Laughter, the Eyes pretty open and Brisk, the Limbs moving moderate and Gracefully, the Forehead smooth, and all the Actions betokening peace of Mind.  
Lunacy must be expressed with torn Hair, squint Eyes or Distorted, swelling Lips strangely Bending, Fowl Nostrils, Teeth befoamed and appearing more in one place then another, shaking their Heads, moving their whole Body; their Arms, Hands and Legs Trampling, as seeming in continual danger of Falling; their Eyes Ghastly Staring, their Countenance Pale, Wan, or of a black and blue Colour; there be other sorts called by Hipocrates, Epileptici, of which there be three kinds, some with their bodies upright, Stretch out their Legs, others inclining so forcibly forewards that their Faces touch their Knees, and the last bending themselves so violently backwards, that their Heads touch their Heels.  
Patience hath Acts of Humility void of Offence and Defence, which may best be illustrated in the Passion of our Saviour.  
Rusticity hath Slovenly, Heavy Slow, Clownish and Unreverent Actions, leaning the Arm or Leg on whomever is next Rediculing (in their uncouth Manner) any that appear Neat, Gentele, etc.  
Wisdom hath stayed, Grave and sober Actions, a Cheerful severity in the Countenance, stroking the Beard with one Hand, which seems a little disordered in token of Contemplation.  
Folly is full of Vain Actions, absurd Dancing, provoking the Company to Laugh by Apish Gestures of the Body and Hands, turning of the Arm, Head, and Body in a fond Absurd Manner, Grinning with other foolish Gestures, of Mouth and Eyes, ever Crossing the actions of Reason and Understanding.  
Death hath divers Actions according to the manner of it, if suddenly Slain, the Eyes must turn up, hiding half the Black and Gape; but otherwise if by the effects of long Pain. The Painter must distingiush between a Violent Death and when it comes by a Lingering, Pining Disease, for then the Limbs must be Meager, sharp and Lean; likewise they must be Hanging, Limber without the least Appearance of strength to Support the Body; the Nerves being Relaxed. But all uncomelyness and noisomeness must be avoided, still Observing to take the best of Nature, or at least to correct the Worst.  
Wondering is Expressed, by Pointing with the Finger, throwing abroad the Arms, thrusting out the Belly, biting the Lips, the Eyebrows arch-wise bend, and fixed on the Object sometimes still, Attentive and immovable.  
Simplicity hath Fair, Pure and Free Actions, free from Malice, Merry, Bashful, and proper to be expressed in Young Virgins.  
Metcy hath Pitiful and Compassionate Actions, Weeping, bowing down the Head, turning the Neck, reaching the Hand and spreading the Arms.  
Inconstancy hath various and uncertain Actions, seldom keeping their Arms, Legs, Feet or Head in one Posture, Weeping, Laughing etc.  
Humility is of two kinds, the better appears in Gentle, Mild and Courteous Actions, the other in Base Actions, as when Nero carried some of the Earth of Isthmus on his Shoulders; Sardanapalus, when he sat Spinning in his Palace, etc.  
Dread is Expressed by Paleness and Trembling, Fainting and hard drawing of the breath, looking over the shoulder in Flight, cold Sweats, etc.  
Modesty keepeth a Mediocrity betwixt too Fearful & too Pleasant Gestures; their Actions, Temperate, Moderate, Discreet, Mannerly and Attentive.  
Theft opens men's Eyes, their Hands at Liberty, Musing, looking from the company as fearing they should read them in their Looks, often changing Colour, and sometimes causing Terrible, Insolent, Fierce Actions.  
Deceit is full of kind Usages and Jests, but of Wary, Wise and Malicious Actions, their Eyes Sweet, steadfast, but sharp upon all advantages.  
Malice hath Actions of Fraud and Falsehood, looking steadily on other men's Eyes, thence to pry into their Secret Affections, to obtain thence what may serve their Purpose.  
Craftiness hath Malicious, Wary, Forecasting and Witty Gestures, they are Mild and Gentle in all Things, full of Meditation and Art.  
Adventuring hath Bold, Fierce and Courageous Actions, and makes Men Free, Lose and Vigilant, void of Fear and Sloath.  
Rage is a Passion between Anger and Fury, it makes Men Grin, Foam at the Mouth, Grind their Teeth, throwing away what ever is in their Hands, etc.  
Justice as the Platonics hold is a Masculine Virtue and hath Manly, Magnanimous, moderate and Considerate Actions, inclining rather to Severity then Pleasure.  
Devotion hath Actions of Kneeling, lifting up the Hands to Heaven, to plair the Fingers in each other toward the Chin, with an Inclining Countenance, sometimes spreading the Arms abroad, with the Head hanging down, and sometimes Grovelling on the Earth with the Face downwards.  
Audacity hath Rash, Presumptuous, Arrogant and stubborn Actions, desiring to be feared of all Men, not Regarding others, scorning all with a fearful Countenance and Gestures full of Threatening and Insolency; and may be expressed by Nimrod Founder of the Babylonian Tower; and in Goliath slain by David.   

CAP. XVIII.  
The Last Precepts for the Expressing of Action and Passion.  
IN Expression we must Regard the Sex, Man must appear more Resolute and Vigorous, his Actions more Free, Firm and Bold; but Woman's Actions more Tender, Easy and Modest.  
We must likewise Regard the Age, whose different Times and Degrees carry them to different Actions, as well by the Agitations of the Mind as the Motions of the Body.  
We must also take Notice of the Condition, if they be Men of great Extent and Honour, their Actions must be Reserved and Grave; but if Plebeians, more Rude and Disorderly.  
bodies Deified must be Retrenched of all those Corruptible Things which serve only for the Preservation of Humane Life, as the Veins, Nerves, Arteries, and taking only what serve for Beauty and Form.  
We must likewise observe to give to Man Actions of Understanding; to Children, Actions which only Express the Motions of their Passions; to Brutes, purely the Motions of Sense.  
Consider also that Man hath his Eyes and Ears (which are the Organs of the Soul) situated in one straight Line, Brutes have one point low on the side towards the Nose, the other drawing towards the Ear, their Natural Sense conducting itself from the smell to the Hearing, and from thence to the Heart.  
Man can move his Eyebrows, sometimes the Arch elevated and sometimes the point drawing towards the Nose; but Brutes never move their Eyebrows, their Points being always inclined dounwards. Man likewise moves the Apple of the Eye every way, Brutes cannot lift them upwards.  
There are also two Faculties in the sensitive soul to be Observed, the Concupiscible and the Irascible; likewise two Exterior Motions which express them, and depend either on the Brain, which draws towards it all the Passions which proceed from thence, or the Heart which draws downwards all the Externall signs that depend on it.  
Nor is it sufficient that we observe Action and Passion in their own Natures, in the Complexion and Constitution; in the Age, Sex, and Condition: but we must likewise observe the Season of the Year in which we express them.  
The Spring; Merry, Nimble, Prompt and of a good Colour. The Summer, causeth Open and Wearisome Actions, Subject to sweeting and Redness. Autumn, Doubtful, and something Inclining to Melancholy. Winter, Restrained, drawn in and Trembling.  
Yet notwithstanding the Season, a Labouring Man must be expressed with raised Limbs, Swelling and standing forth, sweeting &c. especially in those who carry Burdens, or use vehement Leaping, Fencing or other violent Exercises.  
Farther observe that in Sleep the Body must be without any Motions of Vigour, and in such a Posture, as we may not suppose the uneasiness of it may prevent their Rest.  
We must take Notice too of Motions proceeding from Tastes and Smells, Sourness and Bitterness cause the bending of the Eyelids, wrincling the Forehead, drawing down the corners of the Mouth, etc.  
Sweet ann Savoury Things cause a Pleasing and Cheerful Countenance; as likewise Odoriferous Smells. Bad Smells make us draw in the Nostrils, look aside, turn the Back, with wrincled Eyelids, Eyes almost closed and Muoth drawn in.  
And Lastly, by Hearing and Touching there are divers Motions caused in our bodies; Sharp Shrill Sounds raise sudden Fear and Affright. Grating Sounds cause Jarring of the Teeth and Shivering. Touching hot Things, Speedy and Quick Motions; from Touching Cold, as Ice and Snow, Restrained and Fearful Motions.   

CAP. XIX.  
The Natural Reasons of the Divers Impressions made on the Body, Ocasioned by the Passions of the Mind.  
JOY causeth a cheerfulness and Vigour of the Eyes, Singing and Dancing, etc. sometimes Tears. all these are the Effects of Dilation and coming forth of the Spirits into the outward Parts. As for Tears, they are the Effects of Compression of the Moisture of the Brain upon Dilation of the Spirits. Joy hath sometimes caused sudden Death, by the spreading of the Spirits so much that they could not Retire again.  
Shame causeth Blushing, which is the Resort of the Blood to the Face, which in the Passion of Shame is the Part that Laboureth most.  
Grief and Pain cause divers Impressions, viz. Distorting of the Face, which is caused by a Contention, first to Bear and Resist and then to Expel; which maketh the Parts first to knit and afterwards to open. Grinding of the Teeth is likewise caused by gathering of the Spirits together to Resist, which makes the Teeth set hard one against the other. Sighing is caused by drawing in a greater quantity of Breath to Refresh the heart that Laboureth. Screaming and Roaring out, are caused by an Appetite of Expulsion; for when the Spirits cannot expel the Thing that hurteth in their Strife to do, by motion of Consent they expel the Voice.  
Anger Causeth Trembling, Sweeting, Foaming at the Mouth, Stamping, bending the Fist, Paleness and going and coming of the Colour; which last is caused by the Burning of the Spirits about the Heart; calling in more Spirits from the outward Parts to refresh them; But in some there is no Paleness but Redness, which is by sending forth of the Spirits in an Appetite of Revenge. Trembling in Anger, is when it is Joined with Fear, caused by a calling in of the Spirits. Swelling is caused both by a Dilation of the Spirits, by over-heating, and by a Liquefaction or Boiling of the Humours thereon. Stamping and Bending of the Fist, by an Imagination of the Act of Revenge. Foaming at the Mouth is from the same Cause with Swelling, and is an Ebullition.  
Wonder causeth an immovable Posture of the Body, by fixing the Mind upon one Object of Cogitation, whereby it doth not Transcur and Spatiate as usual, for the Spirits fly not as in Fear, but only settle, less apt to move. Lifting up the Eyes and Hands is a kind of Appeal to the Deity, the Author of strange Wonders.  
Lust causeth a Priapism and Flagrancy in the Eyes; the Reason is because the sight and the Touch are the only Things desired in Lust, therefore the Spirits fly to those Parts which are most Affected.  
Fear, causeth Paleness, Trembling, standing up of the Hair, starting, stretching, etc. The Blood running inward to secure the Heart (as before) causeth Paleness. Trembling, from the Flight of the Spirits inwards, leaves the outward parts destitute of sufficient to sustain them. The shutting of the Pores of the skin, causeth the Erection of the Hair. Starting, an Apprehension of a thing feared (in that kind a Motion of shrinking) likewise an Inquisition in the beginning, what the Matter should be (and in that kind it is a Motion of Erection) for starting is an Erection of the Spirits to attend. Stretching, is an Appetite of Expelling what suddenly striketh the Spirits.  
Laughing causeth a Dilatation of the Mouth and Lips; a continual Expulsion of Breath, with a loud Noise, which makes the Interjection of Laughing: sometimes the Eyes running with water; shaking of the sides. The causes of these impressions are from the Dilatation of the Spirits. And the more, the more sudden the Object of Laughter is. Yet this can scarcely be termed a Passion, but hath his source from the Intellect, for there ever precedeth a Conceit of something Ridiculous, and is only proper to Man.  
Finally, the Spirits in all Passions resort most to the Parts which Labour most, or are most Affected, in Fear and Anger to the Heart; in shame, to the Face; in Lust to the Venereous Parts, etc.   

CAP. XX.  
Of Light.  
LIght hath so great Force in Painting, that the Graceful Part consists much therein, for if the Lights are well disposed, there will be a Beauty in the Picture (although not a Perfection) notwithstanding the Draught be not Extraordinary; for it is through the Virtue of that, that the Figures are brought off from the Flat.  
The Force hereof may be seen in the Resurrection of our Saviour (as hath been observed) in the Covent of the Church of Grace in Milan, by Bernard Zenale Triviliano; where though the Muscles and other Necessary Compliments for a perfect piece of Work are not seen, yet it gives a great satisfaction, by the strength and orderly Disposal of the Lights. The Power of it is likewise such, that it gives admirable Foreshortnings and Perspectives; neither can Form, Motion, Proportion, Composition, Order or Figure have Perfection without it, like a Body without Situation or Spirit.  
The Paripateticks say, this is the Cause or Formal Reason whereby coloured Things are seen, whose Images pass to the Fancy, especially enlightening the Eyes, in which the Image is Form, passing first to the Common Sense, then to the Fancy and Lastly to the Understanding.  
We are to observe three Things concur to our Slight, 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 Basis of which Pyramid resteth in the Object, and the Conus or Angle thereof cometh to the Eye more Blunt and Obtuse, and hereby we see the Object more plainly and distinctly; but if the Object be far of, the Angle of the Pyramid comes to the Eye more Sharp which renders the Object the less Discernible.  
It is likewise to be noted that the Object cometh not to the Eye, but the Visible Spirits are diffused through the Clearness of the Air to the Eye; which Spirits are certain Images, like those in a Looking glass, when any thing is Represented therein.  
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 Form, the Image also seems great and so is discerned the more distinctly: but when the Coloured Object stands afar off, the Image comes to the Eye, in a small and slender Angle, and therefore filleth not the Eye, but Wavereth in such sort that it cannot be clearly and distinctly discerned.  
And lastly, the Faculty of Seeing is reduced into Act, by the concurring of the other two, viz. the Uisual Lines and the Coloured Body which reformeth the Eye by reducing it from mere Ability into Act.  
From which Grounds for these two Reasons, the self same Body cannot be equally Lightened in all Places.  
First, because Light with all its Brightness doth not Illuminate more, than that part directly opposite to it, not having Power to Illustrate the other Parts so perfectly, from the nature of the dark, Terrene and Gross Body, which hindereth the Beams from Piercing Inwardly, to perform their Effects so perfectly.  
The second Reason is from the Nature of the Eye, what is nearest coming with a Bigger Angle is more distinctly seen, what at distance by a less, and is more Imperfect, so proportionably of a third and Fourth till the Eye can discern no farther.  
Light is twofold Primary and Secondary, the Primary is that which falleth on that part of the Coloured Body which is opposite to the Body giving Light, touching it with direct Beams; a Light Body is that which hath Light within itself, as the Sun, Fire, etc. now that Light which ariseth from this Primary Light is the Secondary Light.  
Light is divided into divers other important Branches drawn from the physiological part of the Perspective, whose chief end is to seek out the Principles, Causes and Elements of all visible Things, together with their Species and Essential differences, but ever in General it is divided into three parts according to the divers Considerations of Seeing.  
The Secondary Light is likewise of three sorts, the Direct, Reflected and Refracted.  
The first Primary Light is that which falleth upon and is received in that Part of a Coloured Body which is opposite to the Body giving Light; which running upon the bodies, toucheth them sweetly with a certain Natural Order, not possessing them in any of the Extremes as other Lights do, and must be observed in Histories supposed in the open Air.  
The Second Primary Light is that which is caused by the Apparitions of Angels, or Glory, as about our Saviour in his Nativity, his Transfiguration, his Resurrection, etc. and it must be observed in all parts according to their distance on every side.  
The third Primary Light is from Fire, Torches, Lamps, Candles, etc. but must be less Refulgient than the last. In this we must observe whither it be by Day or Night, the Matter Burning, etc.  
Where there be several Lights there must be care taken how they are placed that by their Opposition, they take not away all Occasion of Shadowing, which will diminish their Beauty, through the want of force and strength; likewise that they cast not double Shadows, and confound each other.  
The Secondary Light is that which is caused not by Direct Beams but Reflected, though Direct from the Primary Light: which is the first Species of the second Division of Light, and is brighter according to the Thickness of the Body it meeteth with, but strikes only on the Superficies direct opposite to it.  
The Reflected Light is that which ariseth from the ending of the Direct, it Lighteneth all the bodies on which it falls, chiefly the hinder parts of such bodies as are Lightened before, by the Direct Beams.  
The Refracted Light is that (which the Philosophers say) is engendered by the Direct Light, as it falls on Crystals, Armour, Water and such shining Things as are apt to Engender the same: and is nothing but the breaking of the Direct Light upon these bodies, which it causeth round about in every place, as may be seen in clear water towards the bottom, as likewise on the Superficies next the Eye.   

CAP. XXI.  
The Effects of Light.  
THE Light falling on the Flesh of Young Women and Children causeth a Pleasant, Tender Shadow without much Reflection; but when on old hard and stiff Flesh, it remaineth more Harsh, the shadows being harder: but falling on Plaistick Figures though round like Flesh, it maketh certain unpleasant and too apparent Reflections; not suffering the Thing to appear round like Flesh, confounding one Member with another, and the more the more White the Body is. From, the not due consideration hereof several Painters have run into Errors, by Painting after Antique Statues and Plaisticks, observing the Light as it falls there, whence their Flesh appeared Unnatural.  
In Drapery it must be observed that those Folds which come nearest to the Bones, as the Joints of the Fingers, the Shoulders, the Knees and other Eminences, must be more strongly Touched then the other Parts, and by that means the Flesh will appear the more soft and sweet.  
On Diamonds and other Precious Stones the Light falls more quick and strong according to the Condensation of their bodies, next upon polished Metals as Silver, Armour, etc. in Armour must be Reflections of all things about it, but dimmer than the Armour Receives from the Primary Light, otherwise it will show Ignorance in the Perspectives. So likewise in other Polished Metals, etc.  
Light is strongest upon the Body which hath most Correspondency with it, as Red Sanguine and well coloured Complexions, which on the balls of their Cheeks, top of their Noses etc. have a stronger Luster, and sharper shining then those of Pale and Wan Complexions, for there the Light finding no Correspondency, is Dilated with a more remiss brightness.  
Black yieldeth no sharp quickness, except in respect to the Perfection of Matter, as in black silk in comparison of woollen Cloth.  
In Yellow the Light causeth a clear brightness having Affinity with it, especially in those which are freest from Paleness.  
The Light in Green hath a Mediocrity, and rather Comforteth than Quickeneth the Visual Faculty.  
In White it is too much Continued, by reason of the Clearness which hath Correspondency unto Black, whence it receiveth its shadows.  
We will now show how Light Engendereth its Effects in bodies according to the Eminency or Depression, Restraining or Dilating of their Superficies, from whence ariseth the Harshness or Sweetness.  
In Infancy the Light on the Superficies is Dilated and not sharp by reason there is no other impression wrought in the beholder, than a certain Dilating of a Fat and simple Matter without sharpness and very little shadow.  
In Childhood the Lights begin to appear more sharp by reason of the contracting of the superficies, but with a kind of Variableness answerable to the Gestures which proceed from the Spirit beginning to distinguish between Good and Evil.  
In Youth the Superficies being Protracted and Restrained makes the Body seemly, yet soft and tender, neither Fat nor Lean; in this Age second Light breeds wonderful sweetness, Delightful to the Eye, being diprived of spreading of the Lights, and with great Decency gives sweet and Firm Shadows.  
In Manhood the Lights run with greater Force, having the greatest Perfection as ever they will have; not too unpleasant nor too Sweet but much Delightful, accompanied with a firm Stoutness and in some Parts something more Fierce.  
In Constant Age the Body is more compacted and settled, the Lights more sharp and full of Force.  
In Old Age the Lights appear Heavy and full of Majesty and Gravity and so contrary wise the Shadows: by reason the Superficies is deprived of that Quality of Increasing and Vigour, yet not Crude and Hollow without Order, but in a middle Temper.  
In Dotage the Superficies is sharply Elevated and making Acute Angles and declining Lines, cause the Lights running upon them to appear Sharp being Encountered with very deep Shadows, the Eyes wholly shadowed with the Eyebrows, the mouth with the Nose, the Cheeks with their Balls, the Forehead with Pulses, and so through all other Parts, as the Concavities of the Bones without Flesh by the most Apparent parts of the Bones.  
In Infancy, we must therefore express Simplicity; in Childhood, a sharp Simplicity; in Youth, Amiableness; in Manhood, a Graver Beauty; in Constant Age, Lustiness and Courage; Gravity, Majesty and Consideration in Old Age.  
We must likewise observe that in the Design there be one Principal Light, which must fall most strongly on that part nearest to the Light, and as the Superficies is shortened according to the Distance from the Light so the Body looseth as much of its Colour as it lacketh of the Light, and so the Colour faileth by Degrees until the superficies decay together with the Light.   

CAP. XXII.  
Farther Precepts about Light.  
IT is a General Rule that the Lights must be given to Bodies according to the place through which they pass, and this must be ordered so that the Light do ever Touch more suddenly on the middle Line, supposing that part of the Body which may be seen at one view to be divided by five Lines into four Spaces, equal in Power.  
The Painter must suppose one of these four spaces to be lost and the three other to appear, imagining that these three Spaces which are seen be divided in four Lines equal in a perspective Semicircle, making the chief Light to strike more strongly on the second Line, and in the second space Heightened (which is consequently to be placed in the third Line) he shall put as much shadow as he seethe, and by this means the Figure shall be wonderfully Raised, and more than if the Ligbt were placed side-long in the first Line, or in the middle on the space between the second and the third, because that makes too much shadow and this too much Light.  
But in Ceiling the Light is taken from the Window so that it cannot be avoided but that the Light will sometimes be received in the first Line according to the aspect of Lively bodies either side-long, from above or from below as the Body is tutned to the Light.  
In the plain Superficies this Rule must be always observed that the Light given to bodies must never be Perpendicular over their Heads, for it will breed this inconvenience, that the upper parts will always shadow the lower, as the Eyebrows half the Cheek, the Hair all the Face, etc. except where the Principal of the Picture is in a Scene of Glory above, than the Figures on the Earth may have a Light Perpendicular from the Glory above, as in a Picture of Rubens of St. Roche where the Sudplicants below receive such Light.  
That part of the Body is counted next the Light which from the first Pointed extendeth itself farther out on that side then the rest; especially if it be from on high, therefore that Light being the Quicker, causeth the Superficies to receive the Light more strongly viz. that Superficies which is next to us, and that which looketh upwards, both which receive it so much the more strongly by how much the higher they are, because they are nearer the Appointed Light; and this is the Original & Ground of all other Lights which are orderly disposed through all bodies, giving them their Heightening aceordingly to the Direction of that only Light.  
Situations and Climates must also be observed, they who Inhabit the Temperate Zone the Light casteth their shadows towards the North: who Inhabit the Hot Zone having a right Sphere, and the Aequinoctial for their Zenith; their shadows are under their Feet at noon; because they have the Sun Perpendicular to their Body: but they who dwell under the Poles, have their shadow carried round about them like a Wheel.  
Nevertheless we must generally consider the best Effects of Nature, imitating them by proposing unto us their Examples.  
And so must we do on the Surfaces of Highways taking the Light from the East in imitation of the Sun which in that part where it beginneth to rise casteth the shadows of bodies towards the West and to other parts according to his Aspects.  
We will now lay down a few Precepts necessary to be observed and so conclude this Discourse of Chiaro Scuro.  
In Light we must consider the Sun in his Luster, as Rising, Meridional, Setting and according to the Vapours he meets in the Air. Clear Air likewise, through which the Light is spread and is something bluish; and Cloudy Air which is Darker, but leaves more easiness for Objects to be discerned in their true Colours, the Eye not being dazzled with too great a Brightness.  
We must Consider Lights as Principal falling Perpendicular (without Interruption) on any Surface or Extremity. Glancing by sliding Diagonally on Elevated bodies. And Secondary, for things at distance, according to the Thickness of Vapours which Intervene, and offer many incidental opportunities for giving the more Beauty to the stronger Lights; as likewise loosen the Lighted parts by the opposition of the deep Teints.  
If the Design be in the open Air, the Light is extended and diffused on the Objects with the greater Tenderness. If in Enclosed Places, it is more consigned, the Lightnings more strong and Quick.  
The Chief Light must be on the Principal Figure of the Group, and must be extended without the Interruption of little shadows, that the Relievo may stand more boldly out.  
All Shadow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the bodies Reflecting Arteficial Lights, if very bright, give a quick Heightening, and dark and deeply shortened Shadows.  
Lastly it must be carefully observed that betwixt all Lights and Shadows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not soul either with the other and so take away the Beauty and strength of the Picture.   

CAP. XXIII.  
Of Perspective.  
PRospective (being a Species of Geometry) is a Science treating of Visible Lines, and may be divided into three parts, Optica, Sciographica and Specularia.  
Optica of two kinds, either Physiological or Grammical.  
The Physiological part scearcheth the Universal Principles, Causes and Elements of the appearences of things which may be considered three several ways, as Vision is Direct, Reflected or Refracted as when things are seen in Water, Glasses etc.  
The Grammical is the Art of Delineation, and is more Necessary to Painting then the other. It considereth Sight either True or False, and is of three sorts, Anoptica, Optica and Catoptica.  
Anoptica is the Art of Delineating Objects elevated above the Horizon, Optica designs those extended Foreright, level with Horizon, and Catoptica those beneath the Horizon, which appear as if they came nearer the Eye below.  
Another Species is called Sciogrophica; It handleth the Causes, Principles, Elements, and Properties of Shadows; giving the Reason of the Variety of the Apparitions of the Shapes and Images of Things, according as they are elevated either above, direct against, or beneath; far of or near the Eyes and as by the Laws of Grammica are distributed the Out lines of the Superficies as they ought to be, according to their distance and Situation: so this part considereth the Shadows of bodies, according as their Superficies are Protuberant, or Depressed.  
The last Species is Specularia, and considereth the Reflections and Refractions of Beams, giving Directions for making Glasses, either Plane, Convex, Concave, Pyramidal, Angular, Inverting Erecting, etc. which I shall wave, as not being so Pertinent to this Art.  
The Eye is the Foundation of Perspective, because thence the Natural and the Rational Sight is Form: Natuaral wherein the shapes of Things seen do come to it simply, by the Beams of light; Rational, wherein there is farther Considered the Reason and Effect of the Sight, even where the Eye cannot be otherwise placed then by supposition, as at an infinite distance, etc.  
The Eye is called by some Italian Authors, the Term; because by it all Things in a Picture are Limited, and any Thing made without the disposition of this Term, cannot be true, as not being disposed for the Sight, nor ordered according to the Visual Beams, coming to the Eye from the whole.  
It is called also the Centre because all the Lines of the Base and Circumference of the Object do meet in it, as in a Circle all Lines run from the Circumference to the Centre.  
It may be considered also as the Apex of a Pyramid; because all the space between the Object and the Lines or Beams which pass along, and are extended from the extremities of the Object to the Eye end therein, as in the Point of a Pyramid, and the Eye together with the Intellect ought to judge of the true Forms of things, to the end it may be able to Imitate them perfectly.  
In Distance we must observe that the Object come not too near to the Eye, nor yet be too far of, for then the Air between will take away too much of the Colour and Beauty.  
In too Obtuse and short Distances, Things seem to decline and run too much backwards, in a preposterous manner; so Things too far of, making Acute and sharp Angles in the Eye give no grace to the work; it is reckoned a proper Distance, for the Beholder to stand from the Object, three times the Length thereof.  
Next we will consider the Object which is the Thing that standeth before our Eyes; the first Figure to be observed is called the Natural, and must be expressed in the first and principal part of the Picture: so that whatever you place inwards, towards the Eye of the work, must be diminished, according as the Lines and Beams shall extend themselves.  
Now we will consider the three sorts of Sight, and first Anoptica, which is the Real and Upper Line, by help whereof we consider all the parts of the Object above the Horizon, and thereby bringeth them to the Intersection, or Line of Shortening; whence according to the situation of the Body, the hinder parts are made to run downwards and the nearest parts to rise upwards, and from hence the Declinings and Arising, the shortenings and Increasing of the parts of the Body are caused.  
This Line hath his Original from the Centre or the beginning of the Distance, which is the Eye; so it returns to the same through the midst of the Beams, which couple all the Extreem Limits of the perfect Body.  
Optica is the second Real Sight and Direct Line, and is that which is nearest the Object, so that the upper parts of the Object belong to the forementioned Line, and the lower to Catoptica; this is that therefore which principally touches all parts of the Object both above and below, and therefore it is called the Direct Line.  
For the Beams parting themselves strongly at the Eye and falling on the nearest parts of the Object, end there, causing the upper and lower parts to be shortened and diminished and the Eminences to hid the Concavities, and the larger parts to cover the narrower, making the Object to increase and diminish according to their respective distances from the Perpendicular, in the due observance whereof consisterh the chief Difficulty as well as Beauty of the Art.  
Catoptica is the third sort of Sight whose beams touch all the lower parts of the Object, conducting them to the Point of Intersection, so that when the Object is below the Eye, the farthest parts seem to rise and the nearest to decline downwards.   

CAP. XXIV.  
Farther Observations in Perspective.  
BEsides these Real Sights there be severl Deceitful Sights, as upper Perpendicular, middle and lowermost: the upper Perpendicular Considereth the Reasons how the Intersections are carried to the place appointed for the Shortening, which were ordained in the Perpendicular, by reason of the upper Parts, and it representeth to us Figures in a little space, from below Perpendicularly on the top of a Vault, perfectly expressing as well the lower as the upper parts. But those which stand out in length are (for the most part) so shortened that the Figures seem broader than they are long.  
The Obliqne Deceitful Sight causeth us to see the Obliqne shortenings in their places viz. such as may be made in the Vaults of Chapels, nor in the Squares, but in the Semicircles and such like places, as the Tiburij or the Truine, whence notwithstanding the declining of the Vault where they are painted, the Figures may be seen to stand upright as on their Legs, as if their were no Vault at all. So that the arched appearance of a Vault causeth no interruption in the draught. In such sort that a Chapel may seem truly to be open to Heaven, or in other pretty Inventions, as is usual in such places: but this part being difficult to be conceived, you may see it better expressed in those works, in the Chappal of Zenales doing in Milan; another in Parma of Antonio Correggio, etc.  
By the third Deceitful Sight above, all the Figures placed above the Eye are shown by their Lower Parts more or less according as they stand higher upon the Wall at the Horizon: wherefore the hinder parts run inwards, and the foremost fly upwards, whence you shall see wonderful great spaces, stretching forth of Arms, Shortening of Legs, etc. and in these Figures you cannot see the upper parts except they bend forwards.  
The fourth deceitful middle Sight is that which giveth a Body in such sort, that in the hinder parts the lower Superficies seems to run upwards, and the upper to run downwards, wherefore our Eye must strike directly on some part of the Body, as about the middle; this is the least Shortening as can be, and yet considereth all those difficulties as the others do.  
The fifth deceitful sight below is that by which, all the Pictures that are seen from above, placed more or less below the Horizon, are made, which also teacheth the Reasons why they are so made, it causeth their rising up on high, the running down of the hinder parts, and the Increasing of their foreparts: and below it makes that appear, which on high seems contrariwise to be uppermost. In the rest it followeth the others, and is to be understood after the same manner, though the Effects be divers.  
The Sixth Deceitful Sight is deep or inward, and represents to us on plains the bodies stretched out upon the Earth in Perspective, with the Head one way and the Feet another, seeming to run into the wall, by performing in this place the like Effect against the Eye, which a Figure doth being wrought in a Vault Perpendicularly above the Eye, according to the first sight, and this is to be understood of such which standing on the lower ground, cannot be seen from above but only directly or below, as such who looking directly downwards, can only see People's Heads.  
We will now conclude with some Reasons why of Nescessity Distance must diminish the Object.  
The Air doth not carry the Species, which it taketh from the Images afar of, to the Eye, in the same Individual Quantity; but carrieth them lesser and weaker.  
The first part of the Air, which is next the Image, represents the Species lesser to the next; and so that to a third etc. till the Image come to the Eye; which coming (according to the Positions of the Mathematicians) between two Lines not Parallel, must then of Necessity meet, so concluding in the Point of the Intersection which is in the Eye.  
For should the Species of a Body, be Represented in every part of the Air, in the same Vigour and Quantity; it must follow that a Finite Thing have an Infinite Power to excite Vision: for supposing the Air to be Infinite and without Impediment these Species must be equally seen in every part of the Air and so a limited Body, would have an Infinite Power.  
And did the Form of things at a distance, come to the Eye, in the same Quantity, as when near, the Multiplicity of Species crowding on the Sight, would Confound it: therefore since it is of Necessity, that the Figure must lose by Distance; take this for a General Rule, that how much the whole Figure looseth, the same contraction is to be observed throughout the whole Image.  
Yet although in Things at Distance, we must go by the Rational Proportion in Perspective, and in things near by the Natural; yet we must not so observe the Natural, but regard must be had to the Grace of the Picture.  
For the Power of Painting, not only extends itself, to the Imitation of Nature, but sometimes to the Correcting of it: rendering Things more pleasing to the Eye, than they are of themselves.   

CAP. XXV.  
Precepts about Draught.  
DRaught is a Physical Line, or Lineal Demonstration; and hath always some Dimensions, if it be never so slender: and serves to represent bodies according to their Forms, Aspects and Situation; Limiting and Determining the surface of an Object; and Marking out the Several Parts, which are contained therein. For no Superficies can Exist, without being Terminated by Lines, Streight, Circular or Mixt.  
The Extent of Draught is Immense; for it is not only concerned in all the Visible Things in Nature, but in all Things which the Fancy or Imagination can form any Idea of, that can be comprised under the Figure of Body: nay, so vast is its extent, that it adventures to Dive into the very Soul, and express its Thoughts; for though Colour is accessary to Expression, yet nothing can be Terminated without Lines.  
They that would arrive to the Perfection in the Practic, must diligently observe these following Rules.  
First he must draw by the Hand, Circles, Ovals, etc. then the several Features of the Face by themselves, as Eyes, Nose, etc. then the several Members, as Hands, Feet, Arms, Legs, etc. Observing in the Hands and Feet, to draw the upper Lines first then the lower; afterwards to divide them into Fingers and Toes. In the Trunk of the Body, first to draw the Contours of each side, then to place in the Muscles.  
When a Facility is gained in the Features and Members, to begin with a Face, where first draw the Eyes, than the Nose, Mouth, Eyebrows, Chin, and next the Contours of the Trunk on each side, than Thighs, Legs, Feet; observing the going down with Each side, not drawing to the Bottom one side first: then adding the Arms and Hands, and afterwards all the Muscles, and the other Remarks of the Body, and Members as Nails, Hair, etc.  
But before he attempts a Body, he must take a Face in all Aspects, as Half, Three-quarter and foreright: then looking Upwards, Downwards and Inclining, than all Foreshortned Faces.  
When he attempts a whole Body, he must begin with a Body standing Frontwise, observing which Foot the stress of the Body rests on, and draw it Perpendicular under the Head.  
Then he must proceed to bodies in several Postures, as sitting, Kneeling, Running, Fencing &c. as he will find in divers Prints.  
And lastly proceed to all Foreshortned bodies, which are the most difficult, in which he must diligently study the Perspective.  
He must first draw with Sallow Coal finely sharpened, till by diverss Essays and wipings-out, he comes to the Truth.  
And although it is usual to finish; either by washing with Indian Ink, or French red Chalk, yet I think the best is with hatching with a Pen, which (although it be more tedious) obliges him to that Care, in the Truth of the Small Strokes, that it insenciblely brings his Hand to exact Draught: but he must take Care, when he hath Hatched one way, to let it dry ere he proceeds for fear of Blotting; but they who draw with a Pen must propose to themselves much Time and Patience.  
He must take care to Copy after good Originals, and to finish the draught before he gins to shadow.  
At first he must Copy Things, which are negligently finished, such as are in Fialetty, than Goltzius, next Sadlers Things, after he may proceed to Van Dycks postures by Vosterman, Pontius etc.  
But he must remember to use no Compasses, Rules, Squares and the like; which stint the Judgement, but he must let his Fancy and Spirit Act freely till he gets a Habit.  
He must likewise Design perfectly after Nature, before he gins the use of Perspective Rules, that he may keep his Fancy free, and form his Judgement to Comprehend, and remember all Things in their Appearances.  
The principal thing he must be careful in, is, that when the upper part or Head of the Figure is drawn, to observe by his Eye what part of the Body comes Perpendicular under any Feature. In the Dilatation of the Members observe how many parts of the Face, the Original bears, in such member, till with careful Examination, and diligent study, you have the Compass in your Eye; which when you have obtained, you may proceed as follows.  
You must take great pains in Designing after Nature and the Life, where you must observe to make the Figures of a Bigness, to be determined by the Visual Angle, and of a Proportioned Distance from the Eye to the Model.  
You ought to study the fine Antique Features (such as are in the Farnese Palace) at Rome, that the Idea of them, may be always reserved in your Memory.  
Nuditys, are Principally to be studied; the Colours of which you must make in great Pieces, not having so great regard to the small Muscles and lesser Observations.  
For Rustic and Country Figures, the Contours must be Gross, Equally Counterhatched and Notched, without regard to extraordinary Neatness and Roundness.  
But for Grave and serious Persons, they must be rounded, noble and Certain; not so at adventure as the forementioned.  
They must be strong, Resolute, Noble, Perfect and Chosen for Heroes.  
They must be Puissant and Austere, full of Greatness and Majesty, for Deifyd bodies.  
And for young women and Children, the Contours must be Smooth, Round and Delicate.  
They must Design the Nudity, Model, etc. exactly, without Charging or overburthening any of their Parts; their being no way to obtain an entire exactness, but by proportioning every part with the first, comparing them exactly, so that we may be at liberty to Strengthen and go over again the Parts as we shall think fit, when we make use of this Design; as it truly follows and represents the Models whither they be Antique or Natural.  
They must principally study the Rules of Geometry and Perspective, that they may use them with ease and exactness in immovable bodies; for as to Animals and principally Man, by reason of the various dispositions of their parts and Motions, it is very hard to design them by Rules.  
They must likewise study the Geometrical Part, and first the Ichnography which is the Representation of the Fundamental Scheme or Draught of any work of Architecture, etc. on Which is traced out the Form and extent of things in their true measured Distances and Situations.  
The Profile, which marks out the Parts, Members and Jetting out of Solid bodies, their Heights and Proportions.  
The Elevation, which perfects and Finishes the Constructions of bodies, by Heights, Lengths, Breadths, etc.  
And lastly we must consider the Perspective, which represents the outside or surface of the Object, where we are to consider these following Things.  
That in one View we see the whole Object, whose Rays will meet in a Point.  
Next we are to consider that the Eye and the Object ought to be both immovable Things.  
We must suppose the Outside or Superficies, as Transparent between the Eye and the Object, through which we may mark all the Appearances of the Object, which is that we call the Picture; and this may be done by placing a piece of Lawn before our Eyes, where the Rays that come through will determine all their Places in the Picture or Table.  
The Eye, the Object and the Picture, aught to be placed at a proper Distance, which is usually computed to be double the bigness of the Picture; such situation is the Principle on which is founded the way of representing every Thing in true Perfection.  
Lastly we must observe that in the Pictures near Hand, the draught ought in a manner, Lose itself, after all the parts of the Work are Formed; but in a Picture for a Distance, we ought to pronounce them like an Artist, that there may nothing appear in the Draught out of the place where it ought to be seen.   

CAP. XXVI.  
Of Colours, their Natures and Effects.  
THere be Seven Cardinal Colours viz. White, Blue, Yellow, Red, Brown, Green and Black.  
White denotes Innocency, Light etc. the Planet Luna.  
Yellow, denotes Majesty, Honour, Nobility etc. the Stone a Topas; the Planet, Sol.  
Blue, the colour of the Skies, signifys Devotion, Breathing to Heaven etc. the stone a Saphire; the Planet Jupiter.  
Red denotes Heroes from their Bloody Acts. The symbol of Fortitude. The Type of Modesty from Blushing, and is the middle colour between Black and White. the stone, a Ruby, the Planet, Mars.  
Green is the Colour of the Spring and shows Peace and Plesantness of Mind; and Hope from Tillage; likewise Youth. The stone an Emerald. The Planet Venus.  
Brown, from Red and Black, (scarce deserves the Name of a Colour) signifys Mediocrity, Prudence, Frugality etc. The Stone an Amethyst. The Planet, Mercury.  
Black is opposite to White; and is Obscurity, therefore not properly called a Colour, but the Death and Burial of Colours. It is the symbol of Grief, sorrow and Damnation; from the Infernal Darkness. Yet denoteth Constancy, being the most durable Colour. The stone a Diamond. The Planet Jupiter.  
We will now consider the Nature, Propertys, Qualitys, Sympathys, Antypathys, Greatness and Smallness of bodies of the Several Colours, which are used in Painting.  
Those of the Greatest bodies are Umber, Indigo, Indian Red and Vermilion. The next are Colens Earth; Ivory Black, Light Red, Yellow Ochre, Masticots, Orpment and White. those of a smaller Body are Ultramarine, Carmine (which is the most beautiful Red) Lake, Pinks, destiled Verdegreece next Terravert and the smallest Body of all, is Smalt, which the young practitioner must not adventure to use except mixed with others.  
Vermilion, is apt to change somewhat black when Compounded, but used simple in Draperies etc. is of a lasting Nature.  
Indigo turns Green in Time, and should be chief used in Dead-Colouring, but if boiled, or kept buried some years it will hold better.  
Smalt turns black, but holds best in Glazing, in like manner doth destilled Verdegreece.  
Orpment should be used only in Touches by itself in Drapery, Gold, etc. for if it be compounded it grows foul,  
Umber should be used only in Dead-Colouring, or in deep Shadows, which you cannot obtain by Brown Pink, Lake, etc. but from its Body, it is of great use in Dead-Colouring.  
Drying Oil must not be used with any Colours (how bad dryers soever) if you have occasion to mix them with White, Distilled Verdegreece, Vermilion, Umber or Masticots; except very little of these go into the Composition: never if you use any Quanity of White.  
The forementioned Colours of Greater bodies, in their Compositions, must deepen the Lights, till you bring them to your Dark Shadows; because their Strength and force is so great, that it will occasion the loss of much Colour to bring them to the lighter, especially Indigo.  
Those of lesser bodies you must Heighten on the contrary and not deepen down.  
If yond bring down your Shadows with the greater Bodied Colours, you must take care that you use very little of those Colours, for it will be to great spoil, of smaller Bodied Colours, you may use much more according to the Body in your first Lights.  
In the lighter Shadows which may be obtained without White, you must use no white in them, for it makes them look Grace and Cold, but more especially in the dark Shadows.  
Diligently observe what Colours bore a Sympathy or Antipathy to each other, and order your mixtures on your palate accordingly, as Blue and Yellow make a Green but Blue and Vermilion produce a Niger Colour.  
In the disposal of Colours on a Picture, consider the whitest Colours are not always the Stronger, but as they are Luminous or agreeing with the Light, as Vermilion is stronger than Green brought up to the same Height: and Yellow Masticot is stronger than White Masticot and will be seen at a greater Distance.  
Those Colours must be laid near to one another, that are proper of their own nature to help one another, and give a mutual help to raise up their Briskness, as the Red doth to the Green, and the Yellow to the Blue, etc.  
What Colour soever we put in Drapery, etc. and there be a Colour by of a near kind we must bring a different one in between, which may loosen the Drapery, otherwise they will Lose themselves in each other.   

CAP. XXVII.  
The Instruments and Materials used in Painting and the preparing Colours to the Pallat.  
WHite Flakes being picked and scraped must first be ground very fine in water, afterwards Tempered on the Stone with the muller with Nut-Oyle: then cover it with water in a gallipot or it will skin over. But so it must not be kept very long for the Oil will grow Fat and make it unfit for use. For Dead-Colouring you may grind white lead in Lynseed Oil.  
Vermilion if it have glittering specs in it, or of very light Colour, it is not good as being mixed with Red Lead, the best you may buy at the Wax-chandlers: it must be first finely ground in Brandy or Urine. Temper it on the palate with nut Oil, if for Flesh: but for Drapery, etc. use a very little drying Oil.  
Red Lead being finely ground in water, and dried; may be Tempered on the palate with Lynseed Oil being a great dryer of itself.  
Light Red, Burnt Ochre, Indian Red, must be ground very fine in Lynseed Oil; and tempered on the palate with Nut-Oyle if for Flesh, but if simply used for Draperies, etc. there may be a little drying Oil in it.  
Fine Lake must be well ground in Lynseed Oil; if used in the light Carnation of a Face in Nut Oil; and so tempered on the palate, but if used simple in Glazing it must be mixed with drying Oil or Varnish or nut Oil and Turpentine mixed.  
Masticots not being fine enough as they are bought at the shops, must be finer ground with Lynseed Oil on a Porphery: reserve them in Bladders but not too long; There be divers sorts but the principal are of light Lemmon Colour, or deeper bright Yellow.  
Orpment after you buy it, must be finer ground in Lynseed Oil, then laid on brown Paper to take out what Oil you can, that you may add the more drying oil, or rather Glass ground to an impalpable powder and then you need not dry it on a Paper, the Glass being the greatest dryer and will not soul the best Colours.  
Light Pink, Green Pink and Brown Pink, must be ground in Lynseed Oil, and with the same be tempered on the palate if for the Medium Shadows, but in the darks a little drying Oil. The several Okers, as Yellow, Brown and Roman Ochre, must be ground and tempered as before.  
Terravert must first be beaten fine in a Mortar, or it will hurt the stone, than ground in Lynseed Oil, and so tempered on the palate, except used simple, than a little drying Oil.  
Verdigreece must be ground in Lynseed Oil and so used. Verditer must only be tempered on the palate with Lynseed Oil.  
Ultramarine must only be tempered on the palate with nut Oil. And Smalt must be ordered in like manner.  
Indigo should be ground in Lynseed Oil and buried eight or ten Years, if you cannot procure such, grind some and put it in an Earthen vessel, which stop close that no water can get in and boil it four or five hours, by this means it will hold Colour near as well as the buried.  
Colens Earth must be ground in Lynseed Oil, drain the Oil out by laying it on a brown paper, then add more drying Oil or Glass ground as before.  
Umber must be first burnt in a Crucible, till it be of a warm, brown Colour, than ground in Lynseed Oil and kept in a gallipot covered with water, for it is a great dryer.  
For Bone black you must burn pieces of Ivory, (which you may buy at the Ivory Turner's,) in a Crucible, when it hath done flaming it is enough: grind it in Lynseed Oil, and temper it with drying Oil.  
Blew-black is made of small coal, but the best of Vine branches, burn it in a Crucible, grind it in water; if it be used simple it must be tempered with drying Oil.  
For Indian Red the Stone Red is much the better, the smaller will serve for Dead Colour. Fine Lake must be of a warm and Beautiful Colour, that which is of a lighter, cold and Purplelish Colour, will serve for Dead-colouring. The best Pink is of a smart, Clear, Yellow Colour.  
In Brown Pink make choice of the deepest and warmest Colour. in Yellow Ochre, of a bright, Clear and smart Colour, of Terravert, the Spanish is the best.  
Ultramarine, the right will endure the Fire; if it be put in water and any thing swims on the Surface, it is mixed; the deepest and finest Powder is usually the best: though some that is pale will mix deeper. The Ashes will serve for the blue Shadows in a Face. The best Smalt is the deepest and soft like Butter between the Fingers.  
When Ivory is burnt you must scrape of all the white and and brownish Colour, reserving only the Jet Black.  
Observe in winter to use more drying Oil then in Summer: and Proportionably as it is hotter or colder; but the lesser the better, for it is apt to foul the Colours, take great care that none of the skins of the drying Oil come among your Colours.  
For your Powder-Glass, take the whitest Glass, beat it very fine in a Mortar, and grind it in water to an Impalpable powder; being throughly dry, it will dry all Colours without drying Oil, and not in the least Tinge the purest Colours, as White, Ultramarine, etc. and is much used in Italy.  
If in the hottest weather your greatest Dryers dry too fast, as White, Umber, etc. and so grow too stiff to work with; you may prevent it by mixing a little Salad Oil with the Colours.  
You must likewise on your Easel-board, have a little gallepot of Turpentine Oil to dip your Pencels in when your Colours grow to stiff.  
You must have a Tin-Pan, for cleaning your Pencels in, divided in the middle, and the one end divided into a larger and lesser Dimention; the larger is to dip your Pencels in, striking them several times over the Partition, and pressing them with your Fingers, till they be clean then dipping them into the smaller trough, in which must be Salad Oil (which best preserves Pencels from drying) lay them by for use on a ledge, on your Shelf; if by negligence they grow hard with the Colours in them, lay them in Soap sometime and with water Scour the Colours out of them.  
For the Grindingstone, the Porphery is the best, next a Pehble, whose hardness you may try by hacking a knife on it, if it leaves no impression, than the Stone is good.  
When your Colours are ground before the relics dry, you must grind some Shave of Leather on the Stone: then to fetch it more clean, some crumbs of Bread, till there be no Tincture of Colour left.  
Your Pencels must be Swans Quills, Goose Quills, Ducks, Crows, etc. of which you must have black and white Fitches, the finest Fitches are Ermine; Pointed Pencels and Brusles; the best of which you may have at the Blackmoors head in Drury Lane and some other shops.  
The Black Fitches must be well bound, full and with a spring in the Hair. The White, must be soft, the Hair a little spreading and well bound and even at the end. Before you use them let them lie a little in water to fasten the Hair, Then let them be through dry, and dip them as likewise your other Pencels in Nut-Oyle before you use them in Colours, your Pointed Pencels must be likewise well bound, if good they will come to a Point by wetting them and drawing them gently on your Hand.  
Your Brushes and Black Fitches when they are well worn, reserve them for the rubbing in of Dead Colours; for in many Cases they are better to use then new ones.  
For your palate, you should give order to the Colour shops, to let it lie sometime in a Vessel of Oil which will make the Colours come the cleaner off.  
You ought to have two Tempering Knives, one broader for the greater quantities of Colours, the other Narrower and coming Taper toward the end for the smaller. They must be both of good mettle, with their Edges, and thickness of their back ground of.  
Your Mostick is best of a Bamboo, or some other stick that is light and yielding to the Hand, but not standing bend: with a small ball of Cotten tied in a Leather at the end, which leaning on the Picture may not indent the cloth: about four Foot long.  
Your Pencel-sticks must be of Cedar, wrought smooth, but thicker in the middle, that the Pencels may spread in your Hand and not foul each other; and about sixteen inches long: if for large Landscapes, longer; for which likewise you must have Leafing-Pencels with the Hair twice as long as the other.  
Your Cloth must be of an even thread: if any nobs of Colours be on it, take them of with a Pumicestone, before you begin to work. If Panels, let them be of old Wenscoat, which is not so apt to warp. Before you Prime your Panels, there must be a Coat of Whiteing and strong Sise six or eight times done over, to hid the Grain of the wood: when they are dry, let them be plained with a Joiner's Plain, than water plained with a rag dipped in water.  
Your Easel must be of a convenient Sise according to your work; with Led round the Feet to secure its Fixedness.  
The best Light is a North-Light, with a Sash of Pollish'd-Glass as they prepare for Looking-glasses. Free from any Buildings against your work Room, which would cause diverss Reflections and by that means change the Propertyes of your Colours.  
It is convenient in winter to have in your Room a round Iron-stove for your Fire, for the better drying of your Colours and the securing of your Room from Dust and Smoke.   

CAP. XXVIII.  
The Art of Colouring.  
AFter you have attained to a Mastership in Draught, having got the Compass in your Eye; so that you can at first sight Copy whatever is before you; not only Prints, but also Nature itself: having diligently studied Nuditys at the Academy, so that you can take a Figure of any Age, in all Aspects, Postures and Foreshottnings; you may begin the great Mystery of Colouring.  
And first begin in two Colours as White and Umber etc. after good Draughts or Prints: which you may do in this manner.  
First begin to draw the Head you would Copy in Tripoli (which is bought at the Ironmongers,) Sharpening it to a Point. For better correction go over the Draught again with course Lake, having some Turpentine Oil by, to dip your Pencel in to make the Colours run thin.  
Lay on your palate White and Umber; for the heightenings, clear White, then add a little Umber; then more for the Mediums, till you come to clear Umber.  
Take half a dozen Pencels in your hand, one very small for the Eye-stroaks, and likewise some Fitches: having your palate on your hand, holding your Mostick between your little Finger and Ringfinger, thus begin.  
First with a large Pencel lay on the lightest parts of the Forehead, Balls of the upper Cheeks, top of the Nose, Chin, etc. then the lightest shadows on the Forehead, under the Eyes about the Mouth the sides of the Cheeks, Chin, etc. and so till you come down to the Darkest: taking care to leave no edges about the Eyelids, Lips; etc. Observing to keep your Pencels for the same degree of Colouring, but if they foul, press out the Colour on a rag kept in your hand for that Intent. then with a very Light Hand soften all the work with your white Fitches. Go over it again in the same manner (when dry) in the Finishing; but when you have sostened the work, Touch over the heightenings again.  
Thus when you have copied some time in Two Colours, having obtained some freedom in Pencelling by a light but steady hand: observing carefully all the Muscles and other Remarks: working all in with much Softness; free from Edges as well as Flattness in the Rising parts, you may adventure on things of Divers Colours in the Stillife, but be sure to Copy after the best Masters, therefore I would advise all Gentlemen that design to divert themselves with this Art, to purchase a piece or more of the Famous Roustrate while they are to be had.  
First Practise your Hand in Boylt Plate, not Burnished, and other things of fewest Colours, than Fruits, Flowers, etc. observing that in your Learning, you Dead Colour things very well, and, take care you do not Paint out your Draught. Observe amongst Fruit, especial Grapes to finish well in the Dead Colour, or you will not obtain their softness and roundness in Finishing, by Reason, they must be Finished with Glazing Colours.  
Observe in things which require a strong Yellow as Peaches etc. that although you may obtain much of that Colour, with White, Pink and Vermilion, yet you must use only Masticots, as being of more Force.  
In some Beautiful blushes in Fruits, where you cannot Paint up the Delicateness of Colour, you must obtain it by Fitly preparing the Ground to go over with Touches of Glazing.  
In Silver and Gold burnished Plate, with the greatest care and Judgement put in the Reflections of all things about them, but take care you work them not into the rest of the Plate, which will make it look rather battered then beautiful.  
When you have attained to a good Knowledge in the Mystery of Colouring, by Copying after many things in the Stillife that have the greatest variety of Colours, so that at first sight you can perceive most of the Colours in a Picture, and Judge whence they are Compounded, you may adventure on the Profoundest part of the Science viz Painting of a Face.   

CAP. XXIX.  
The way of Painting a Face.  
FOr a Clear and Beautiful Complexion, lay on your palate and Temper them by themselves (cleaning your palate well after each Colour) these following Colours. viz.  
White Flakes, Yellow-Oker, Burnt-Oker, Vermilion, Red Lead (which some use in the Lips, though many not at all) Light-Red, Indian-Red, Lake, Smalt, Blew-Black, Terravert, Roman-Oker, Brown-Pink, Umber and Bone-Black.  
For the first Lights, White and a very little Light-Red, sometimes instead thereof a little Vermilion, though never but when you cannot avoid it, because in a Complexion it is apt to change; then add a little more Light-Red; lay by the first of these Colours, and divide the second into two parts; one part temper down for the Cheeks and Lips in this Manner: add to it a little more Light-Red and Vermilion, and lay a little of it by; to the rest add a little more, lay some by: then add to the remainder a little Lake and the least touch of Indian Red: having laid some by, add a little more. Then cleaning your palate where you tempered them; temper together a little Vermilion, Light Red and Lake; lay by some, and add to the remainder more Indian-Red and Lake, then leave out the Vermilion and Light Red and add more Lake, and lastly lay by a little Lake.  
Then take the Second Devident of the White and Light-Red, and for the greenifh Shadows, mix a little Terravert with it, and lay some by, then more Terravert with a little Light-Red and lay a little of that by: for deeper Green, more Terravert, a little Yellow-Oker and Blew-Black; and so down, always remembering, as you add Terravert to add a little Light-Red or, some such like to keep the Shadows warm.  
For the Blue Shadows under the Eyes and the deeper Blews add to some of the White & Light-Red a little Ultramarine, & more of Ultramarine with more Light-Red as occasion serves, but for a dead Colour, Blew-Black will serve.  
For the Purplelish Shadows, to the White and Light-Red, add a little Ultramarine and Lake, than a little more Ultramarine and Lake adding a little Light-Red, as you have occasion.  
For the Yellowish Shadows, to the White and Light-Red, add a little Yellow-Oker and more Light-Red, then more Light-Red, Yellow-Oker and Terravert, then more if occasion require it of the three last with a little Blew-Black.  
For the dark Shadows you must always (as before mentioned) leave out the White, which makes them Grey and Cold.  
For dark Greenish Shadows, use Yellow-Oker, Roman-Oker, Burnt-Oker, Light-Red and Terravert; for Bluish, add more Blew-Black, for more Yellowish add Yellow-Oker and Roman-Oker, and for more warm and Glowing, add more Burnt-Oker.  
For Deeper Shadows, add Brown-Pink, Course and Lake, part laid by, add more Brown-Pink and Lake, and to them Bone-Black and so on to the Darkest.  
Thus must you temper them, till by comparing the Colour on the Point of your Knife with all the Carnations and Tinktures in the Face, you have obtained every Colour.  
Note that this Method is to be used by Beginners, but those that are more experienced in Mixture, are not obliged to compound every Touch of Colouring on their palate, for they will soon understand how to mix great part of them with their Pencels as they work.  
But sure I am that most of those Tinkturs I mentioned will be used in such a Face as I proposed, and possibly all.  
For a more Swarthy Complextiou you must use more Yellow-Oker throughout all the Lights; and still as you add Yellow-Oker you must for the most part add Light-Red to keep it warm: but the Nature itself (by careful studying of it) will soon instruct you better than is possible to be done in writing: nor in a Swarthy Face will you have so much use of those clear Bluish and Lakey Colours as in a very Clear one.  
Your Colours thus prepared; with a hand of Pencels, which must consist of about a dozen and a half, of Pointed, Black and White Fitches of all sises, you may begin to work in this manner (after your Face is exactly drawn in Chalk or Tripoli and corrected by going over the Draught again with a single Colour, and the little nobs of colour scraped of from your Cloth, which must be a very even thread.)  
Take a large Black Fitch (which I hold to be the best for the free delivery of a Body of Colours) and strike on the large lights, as the Eminences of the Forehead over the Eyes, the upper part of the nearest Ball of the upper Cheek, the top of the Chin, and with a smaller Fitch put in the top of the Nose, the top of the Eyelids, etc.  
Then with your Second Lights and other Pencels, go between the Eminences of the Forehead, and about the other first Lights, each side towards the Bottom of the Gutter of the Nose, the Ridge of the Nose, the highest part of the upper Lip, and where you see occasion.  
Then with the Lightest Greenish or Bluish Shadows, go about the Second Lights of the Forehead, upon the upper Lid of the Eyes, under the Corners of the Nostrils, the devisions of the Chin, about the Temples, and then with darker Shadows of that kind, till you come to the deepest the Face requires.  
The Bluish and Purpleish Shadows are sometimes in the Shadow of the Nose, little Tinctures about the Chin, in Fresh-coloured Men, newly Shave, and other places as Nature will best direct you, as likewise the bluish Shadows under the Eyes, etc.  
Next the Warm, dark Shoddows towards the Corners of the Eyes, the deepest Shadows of the Nose, on the Cheeks near the Hair, and about the Chin.  
Then the Darkest Shadows, in the Mouth-stroake, the Nostrils, sometimes in the Shadow of the Nose, on the dark side of the Face, etc.  
After that strike in the Eyebrows, having left space for them, but not to the whole breadth of them, that you may the better strike the lose Hairs over the Skin; not too dark, considering that will appear very dark over a Light part, which is not so in itself.  
Next the Eyes, putting in the Lightest part first though some will put in the Sight first. Then the Lips, observing to put in the lightest parts first (as in the others) and so down to the deepest.  
The Colours being thus all put in, you must begin to work them into each other, striking them in with a light Hand, taking great care that you strike not the Shadows so far, to soul the Lights, nor the Lights so as to Injure the Shadows: driving the Colours with the Pencel in the manner of Hatching. When you have worked all in as well as you can with your Pointed Pencels, than very lightly and with much Dexterity, run all over with your White Fitches, keeping them always very clean as you Sweeten.  
They being all laid Soft. Touch over the whole Face, as you may see occasion, and if the least Edge remains, be sure to take it of.  
Then rub in the dark places of the Hair with a brush; then the lighter, lay it soft, and Touch it over slightly with a pointed Pencel for a Dead-Colour.  
When your Head is thus Dead-coloured, and through dry; having scraped of all the Crumbs of Colours arising: with a bristle Brush, rub it very thin over with a mixture of Nut-Oyle and Vernisb, for too much will change the Colours, then mix up your Colours as before, and accordingly Paint it: but instead of Smalt, use Ultramarine Ashes, and no Umber, except necessity requires it, to cover in some deep Shadows.  
Having laid on your Colours, work them up with your Pointed Pencels, and Soften the whole work with your Wite Fitches, Touch it all over again with a steady and free Hand; and lastly, where it may require it, Soften of all the Edges.  
But this time you must take more pains with the Hair then before, having rubbed your Colours hard, but thin in your Darker and Lighter parts; with a little Turpentine Oil and a large Pointed Pencel, you must strike in the Hair, carrying your Pencel Circularly as the tendency of the Hair requires, and last of all Touch up the Lights and the Reflections and Dark Places as you see occasion.  
Then when the whole is through dry, where you have occasion to Touch, rub in very thin a little Varnish and Nut Oil, if you cannot touch it soft without it.  
In Draperies, when your Colours are in, you must give the Sudden Lights with an extraordinary free Hand, and if possibly, work them in without Fitches; for if they be not delicately used, they will blunt the Briskness of the Silk which is the Beauty of it.  
As for Colour in Drapery, though some have (absurdly) laid down Certain rules for all Colours, it is a thing impossible to do, by reason the same Colours from divers dispositions of Lights and Reflections, have various Tinktures: nor need the practitioner be concerned about it, for when he can once apprehend all the Colours in the Face, he may with great Facility mix all Colours for the more difficult Drapery, even from Nature itself.   

CAP. XXX.  
Precepts in Colouring and Glazing.  
WHite represents Light and gives the Heightening; Black, Darkness, and Obscures and effaces the Object, likewise sets of the light parts and makes them appear by their apposition, and both serve one another to loosen the Object and distinguish the parts of the Group.  
In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flayed of, than the true Natural Skin.  
Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous bodies, which represent reflections of the variety of Neighbouring Colours; always remembering, that man's Skin how Beautiful soever, dwells in a delicate down-Colour.  
We must observe in the Contrast, or the Opposition which Intervenes in the Union of Colours; that by a sweet Interruption it may raise up its Briskness, without it a fading Disagreeableness ensues.  
In Landscape we must observe, that the Air being universally overspread, carries something of Light with it, and admits nothing Dark in places at distance and approaching the Horizon.  
That which way soever we carry the Wind, the Clouds, Trees and all Things Subject to its Motion, tend the same way.  
That in Clouds for Storms, etc. they be Painted in manner of a Group, and not to much Scattering by Breaks, which will disturb the Harmony of the Picture.  
We must carefully observe all the Squars, as on the Forehead, Chin, top of the Nose, between the Neck and Breasts, etc.  
In great works we must lay the Colours on Full, that we may Empast and Incorporate them sweetly, and that will make them to hold Firm and be lasting.  
We must have regard to the expressions of Matters and Stuffs, whither they be Polished or Rough, Shining or Dull, Diaphanous or Solid, Soft or Hard, etc.  
Colours must be so laid together, that they may be all sweetly united under the Briskness of a principal one, that it may participate of the Light which is chief over all the rest in the Picture; and that all the Colours be Connected together by an agreeable Union, and likewise so disposed as they may partake of each other, by the Communication of the Light and help of Reflection.  
We must not only avoid all Garrish and Gandy Colouring (the Effects of a poor Judgement) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.  
We must observe to lay the Colours very strong at first, because it is easy to weaken what we would put back; but more difficult to give a strength, where it is weakly put in.  
Touches must be Bold, by the conduct of a free and steady Pencel, with all possible Freedom: that thereby, they may Animate the work with Life and Spirit, and may appear most Finished at a Proportionable distance.  
But in works finished to be seen near at Hand, you must apply each Colour properly in its place, sweetening with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserved.  
In Drapery we must consider, that we have a perfect liberty in choosing the most proper Colours to produce good effects accordingly we must show our Judgement therein.  
When a Picture is Dead Coloured, we must avoid the smeering it to much with Oil, for the more speedy and easy Finishing thereon, which soon causeth the work to Change.  
Take care the Priming of the Cloth or Panel be through dry, before you Paint thereon; or the foul Priming Colours incorporating with your work will also cause it to Change; as likewise that a Dead Colour be dry for the same Reason. Where you use Turpentine Oil take care the Colour under be hard dry, for it is of so piercing a quality, it will raise the Colours.  
We must have regard to the situation of Colours, where we must observe to put before the Picture, those which are Naturally the stronger and of the greatest Purity; that by the Force of their Briskness, we may keep back the Force of them which are Compounded, and which must appear at a distance; all Compositions diminishing the Force which is in the Purity of Colours.  
In Glazing, the Colours under must be laid smooth and strong, by reason it takes from their strength, we must also have regard to the Body of the Colour we Glaze with, and accordingly do it oftener or fewer times over.  
Note that the same Ground by the diversity of Glazing Colours, produceth divers Colours in Drapery; likewise the Glazing Colours by the diversity of Grounds.  
For a Scarlet, your Drapery must be in the Heights, Vermilion, and brought down first with Indian Red, then with Bone-Black; when Finished, Glaze it twice or thrice thin, according to the Body of your Lake: if it requires more strength Touch up the Lights with Vermilion, and Glaze it thin o'er again, then in the extremest Lights of the Sleeves, Scarf etc. of the Drapery, touch it up with Vermilion and White, always remembering, that you Glaze not the heightenings where there is any White, by reason it will render it Purpleish and take from the Beauty.  
For a Crimson, lay the Ground with White, Blew Black, and Indigo in the deep, Glaze it with Lake. For a Sea-Green, lay the Ground as before and Glaze with distilled Verdigreece. A Grass-Green, in the Heights Masticot, then Yellow Ochre, Umber and Bone-Black, Glaze with Verdigreece. For Olive Colour-White, Blew Black and Bone Black, Glaze with Brown Pinck. For a Blue with Smalt, the Ground as before, Glaze seven or eight times, very thin with a very steady, but free hand. Glaze with Ultramarine on the same Ground. For the most Beautiful Red, lay the Ground as in Grass green, but in the Finishing use Pinks instead of Yellow Ochre and Umber, as likewise in Finishing the Grass Green Glaze the Red with Carmine. You must Glaze with Nut Oil & Varnish mixed, in the Darks you may use Dryiny Oil.  
And lastly you must take care in the Colouring of the Harmony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well managed, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight; and to raise up those which by their Briskness keep upmost. And likewise of the Degradation, where the more easily to Proportion the Degree of Colours that fly back, we must reserve some of the same kind and entire purity, and then to compare them which ought to be a far off, according to the Perspective Lines, to justify the Diminution; observing the Quality of the Air, which being charged with Vapours, dulls them more than when it is Serene.  
These are the most General and Principal Rules I could recollect, but the Practice will insensibly iuforme your Judgement with infinite lesser Observations; which with diligent study, and a Mind adapted to so Ingenious a Diversion, will procure you the Happy Fruition of your desired End therein.   

CAP. XXXI.  
Precepts about Ordonnance and Design. As Likewise for Drawing by the Life.  
IN Designing a Peice of History we must have greatest Regard to the Principal Group, that the Lights fall strongest on it, and more especially on the Chief Figure that it be of the first Character and most Finished, being the Eye of the work.  
That the Group be sustained by something that seems lose about it, which serves to extend and continue it to some other Group by, otherwise the Diminution will be too apparent, and break to much into Heaps, and the Eye not descend naturally from one to another, which must, beginning at the Principal, fall according to the Mind of the Story.  
Too force Attitudes must be avoided, which cause extravagant Contortions: but the boldest Actions are allowed (not exceeding Nature) which may be advantageous to the Design.  
We must avoid an Injudicious Mixture of Passions, which will disturb the Harmony of the Picture; as the mixing Anxiety, and Roughness, with Cheerfulness, Clemency, etc.  
We should never Express a Figure without first examining the Action from the Life; since in every Action there is some Alteration in the Muscles, Joints, Contortions, etc.  
Passions must not only be formed in the Features and Actions, but suited, also, to fit Constitutions and Complexions.  
We must reserve our greatest stock of Fancy for the Principal Part of the Picture, least spending it on the meaner parts, we should be exhausted when we have most occasion to make use of it.  
In supplying Lights and Shadows observe to dispose of the Effects, by placing all the parts of the Subject, so that at the same time we may see what the whole Composition produces.  
In Designs of Great and Honourable Actions, we must avoid the bringing in any thing that savours of Rusticity, or Boorishness, but maintain the Character throughout the work.  
Beyond the usual, Actual work of Nature a Painter may describe, but not exceed the conceived possibilities of Nature, except the Subjects are Fixions, as Pegasus, Centaurs, Satyrs, etc.  
In very lean Figures we must not expose the Nuditys, lest they appear too Mesquine, but seek some occasion to cover or repress them, that we may render the parts more agreeable.  
Where there be several Figures we must give several Aspects, Habits, Actions &c, for the eye delights in variety as well as the Mind, and these are said, Contraster been.  
We must observe an Aequilibre in the Design, that when there be divers Figures on one side, we must Balance it on the other; the like must be observed in a single Figure, when one Arm moves forwards, the other or the like must be in a backward position, to Aequipoise the Figure.  
We must observe in the Figures of Man's Body, that the Head be placed well between the Shoulders, the Trunk upon the Haunches, and the whole upon the Feet in Just Proportion, and that one Leg may rest firm under the Body.  
In all Animals we must proportion their Bigness to their Situation, and Strengthen their Positions by means of the Aequilibrium.  
In Designs of Large Figures, the other things in the Picture must be of a Large Kind, not only by avoiding things Diminutive from the Natural, but such as are small in Nature.  
In all their differences which can occur in their Positions, we must propose an even Plane to find precisely their Situation, and settle their place by sudden Breaks and Distances, conformable to their Perspective, after a just and exact Situation, according to the diminution of Distance whither placed high or low.  
In all Histores we must have regard to the Climate, and the time in their Habits, taking care we Dress not Antique Figures in Modern Habits, nor one Country in the Dress of another.  
We must adjust the Drapery so on Figures, that they may appear real Vestments, and therefore we must clothe the Layman, before we put it in the Action we design.  
The Folds must be disposed in such manner, that they may make the great parts, in which the Nudity may appear, Free; the little Folds being placed about the Joints; and taking great care that upon the Relief and Surface of Members, we do not strain or hurt them, but that the motions may seem disengaged. We must also raise up the stuff, letting it fall lightly, that the Air sustaining the Folds, may make them fall more neat and soft.  
We must take care to distinguish Draperies; Taffatys and thin Silks must be full of Breaks and Flickering; Satins more Quick Lights, the Folds lying more soft and round; but Velvet the quickest, the deeps very dark, with Reflections on the outward parts of the Folds.  
Large Figures must be dressed with Folds large and free, more to be regarded for their Grace and Facility, then for their affected Pains and Industry.  
Hair must be touched in large Histories with a full and free Pencel, not nicely worked up to follow the Nature, for that will be all lost by the distance and appear Flat.  
We may neglect the Nicety of the story for the Advantage of the Picture, as putting any former Hero in better Grace and Posture (if in a great Action) then perhaps History hath transmitted to us.  
In Dead bodies we must avoid all that appears Noisome and Unpleasant to the Eyes; ever observing to take the best of Nature: so in the miracles of Curing Diseases, we may take the what is Acute in pain, omitting what is Loathsome to the Eye.  
We must shun all Sharpness in the Contortions as likewise all Flatness in the Body of the Piece.  
In Lights, by Night the Artificial must govern the Natural, but by Day the Natural govern the Artificial.  
If the Action be in Uninhabited places, you have liberty to represent the Extravagant Effects of Nature, but in a well disposed Irregularity; if in Inhabited places, you have Liberty for Ruins etc. at a distance, but not near Hand.  
If the Buildings be Rustic, you may dispose them to the best advantage of the Figures, and according to the Idea of the Subject: if Regular, we must have respect to the several Orders of Architecture. But Regular or Irregular, we must observe their Geometrical and Perpendicular, according to the Rules of Geometry and Perspective.  
In all Mountains, Rocks, Buildings, Trees, etc. we must Proportion their bigness to the Plane where they are placed, and hold it for a Maxim, to make the Ground-plot great enough for the freedom of the Figures, and the meeting of all the fine Effects.  
We must take care to adjust the Land skip to the Figures, not only to its Manner, but also to the Colouring part, that it may lie quiet, and put the Figures forwards.  
Finally we must observe. that the whole work be of one Peice; all Free, and nothing Forced or Restrained; a judicious observation in the Perspective; Actions suiting the Character, whither Noble or Rustic; the Sex, whither Masculine and Strong; or Tender, soft and Easy; the Age, whither Grave, Vigorous or Childish: that there be a Principal Eye in the Picture, to which all the rest have reference. That there be a Harmony of Colouring throughout the work, that in the Drapery, the Lesser folds descend naturally without Cross and Confusion from the greater, that the Figures bore exact Proportion: and the Fore shortenings be brought to the severest Test of the Judgement.  
But whereas in History the Figures have dependency on each other, a Figure by the Life (one Figure usually making the Picture) be only agreeable to itself,  
We must Consider (by divers Trials) what Position of Body, Action and Light best becomes the Person, and when any thing seems forced or affected, we must Endeavour to divert them by Discourse, etc.  
For a Round and full Visage take a three Quarter-Face, for a Thin and Long, more Foreright. For a soft Languishing Look, the Face something Inclining, For a Sprightly, more upright, looking over the Shoulders, etc.  
Let Children be playing with Lambs, Birds, little Dogs, Catching water from Fountains, and with the like Childish Actions, Lads and Young Virgins Shooting, Hunting, in Shepherds and Sheepherdesses Dresses, etc. and so suitable in all Ages, and Dressed to their Quility, but for all Habits dress up a Layman and Paint from the Nature. Nor must you only suit the Age and Quality, but also the Complexion; a brisk, Sanguine bears the Strongest, a Sallow, weaker coloured Drapery. And where you Paint much Drapery, carry backward and in the Shadow what you can, that you may not hurt the Eye of the Picture.  
Put Scars and Defects (as much as may be) in the Shadow; not only taking the best, but Helping Nature, where it may be done without Hurting the Intent of the Picture.  
If you have several Figures, put them in manner of a Group, with Half, three quarter and Foreright Faces; not all looking on you as if they were supprised.  
Landscape must bare a Harmony in Colouring with the Figures: putting them forward; Shunning the affected Finishing of Trees, Flowers, etc. which show more of Labour then Art.  
Be as quick as may be (without Injury to the work) in a Face, Catching the briskest Air before it sinks by the Persons growing Uneasy; and lastly, give all that are by, Liberty of their Opinions in the Likeness, for thence sometimes you may Correct your work.  
Thus have I giving the most Necessary Directions and Instructions throughout the whole Mystery of Painting: These with a diligent Study in the Theory and a Careful management in the Practice will Effect an Entertainment, Suitable to the most Noble Genius.  
FINIS.   

By Reason some through the prejudice of Education and yet of good Ingenious Parts, may find some difficulty in Terms of Art, and other Words in this Book, I thought fit (for their Benefit) to subjoin the Explanation of them.  

ATtitudes. Actions, or Postures.  
Enigmatical; full of Riddles.  
Accumulate; to heap up.  
Allective; Alluring.  
Altercation; Wrangling.  
Amfractuous; Broken.  
Anatomatize; to cut up.  
Analogical; Proportionable.  
Anoptica; Looking up.  
Apex; the Top of any thing.  
Bacchanalization; the Drunken Feasts. of Bacchus.  
Beatitudes; Blessings.  
Catoptica; Looking downwards.  
Chiaro Scuro; Placing of Lights.  
Concretion; Joining together.  
Convex; Round.  
Cosmographical; writing of the world.  
Contours; Out-Lines.  
Contrast; strengthening together.  
Dulcisonant; Sweet sounding.  
Diaphanous; Transparent.  
Diaphonus; Jarring.  
Dilatory; Tedious.  
Diapente; a Fifth in Music.  
Diapason; an Eight in Music.  
Diatesseron; a Fourth.  
Dilation; an Enlarging.  
Diagonally; From Corner to Corner.  
Expansion; a laying open.  
Exornation; an Adorning.  
Exitial; Destructive.  
Entity; Being.  
Eleimosinary; Charitable.  
Efflux; a Flowing out.  
Ebullition a Boiling up.  
Epileptici; given to the Falling Sickness.  
Empaste; to lay well in.  
Elevation a Lifting up.  
Group; a Knot of Figures together.  
Homiomaere; a Likeness in Parts.  
Hydrographical; writing of the Ocean, etc.  
Hypothesis; the Argument of a discourse.  
Hatching; striking strokes as in Graving.  
Idea; the Form of any thing.  
Ineffable Unspeakable.  
Intersection; cutting off.  
Ichnography; ground Plot.  
Monopolist; one that Engrosseth all of a sort or Kind.  
Monochroma; one Colour.  
Matempsychosis; passing of souls from one body to another.  
Occult; Hidden.  
Oeconomists; Governors.  
Osteology; Discoursing of the Bones.  
Optica; Sight foreright.  
Proditorious; betraying.  
Prototypon; the first Pattern.  
Paripateticks; Followers of Aristotle.  
Physiological; discoursing of Natural Causes.  
Protracted; Prolonged.  
Protuberant; Swelling up.  
Physical; Natural.  
Profile; Represeutation of Heights Depths etc.  
Ratiocination; Reasoning.  
Relievo; An Embossed Figure.  
Refracted; broken open.  
Speculative: Contemplative.  
Superficies; the Surface of any thing.  
Symmetrical; Proportionable.  
Sesquialter; so much and half as much more.  
Suprabipartient more then divided in two.  
Sesquioctava; an eighth part above the whole.  
Sciographica; Platform or Draught.  
Scheme; a Form.  
Tone; a Tune, or Harmony.  
Teints; Tincktures, touches of Colours.  
Vertigious; Giddy.  
Zenith; the point directly over our heads.