24 BliOWNE (Alexander), Ars Pictoria : or an Academy treating of Drawing, Painting, Limn- ing, Etching. [With an Appendix to the Art of Painting in Miniature or Limning.) London, Printed for Arthur Tooker, 1675. Folio, with brilliant impression of the portrait and 31 plates by A. de Jode, fresh copy, original calf, £9 9s. Alexander Browne is several times men- tioned in Pepys' Diary. May 7th, 1655. “ Yesterday begun my wife to learn to limn by one Browne, which Mr. Hill helps her to, and, by her beginning upon some eyes, I think she will [do] very line things, and I shall take great delight in it.” Ars Pittoria : ACADEMY TREATING OF DR A WING, ; c LIMNING, PAINTING, ) / ETCHING. To which arc Added XXXI. Copper Plates, Expreffing the Choiceft, Neareft.and Moft Exad Grounds and Rules of SYMMETRY. Collefted out of the moft Eminent Italian, German , and Netberland Authors. By ALEXANDER BROWNE , Practitioner in the Art of Limning. The Second Edition , Cor retted and Enlarged b) the Author. LONDON . ; Printed for Arthur Tookf.r, at the Globe in the Strand, over againd Ivie- Bndge; and William B alter sby, ziThavie's InneGace in Holborn, near S. Andrews Church. 167 5. Digitized by the Internet Archive in 2016 https://archive.org/details/arspictoriaoracaOObrow TO THE Moft Excellent and Illuftridus Priricefs Dutchefs of Monmouth & Bucclugh, WIFE To the Moil Illuftrious and High-born Prince' JAMES Duke of ^Monmouth , &c. Madam,- A LI the World knows that Nature in its per- fection needs nothing of Art, and that great Beings regard no more the ufe of it, then found Men do that of Medicine. Your Graces therefore goodnefs in owning Petnture, which you once honoured to learn , with as much charity as dying Saints build Colledges, is fo fignal, that it oblieges in duty this imperfect Treatife to beg your pinty : and then I am lure twill deferve other perlons e- fteem. Your Grace was p leafed from my poor iu- ftructions to draw a nobler honour to this Art-, then Artiffs thcmfelvcs ete could do. Not that ! . prefume to claime any share of this , which is folel y due to the Grandeur of yo ur Quality and fweet- nefs of Humour.- The The Epiftie Dedicatory. The Cods chcmfclves here prayers, and fmell Sacrifices, and declare they love thcfe practifes for no other end, but to blefs and encourage us Men in our Obedience, andlnduftry, As much as can, or may be attributed of Divinity to mortals, is cer- tainly due to your Grace, who are fo much higher advanced in glory, by how much the meaner and undcfervedaTitlelcanmaketomy felfof your in- dulgence, to this honeft, though not grand efiay, unlels only in this, that it intreats the favourable Eve of fo Eminent a Perfonape- J O However Madam, fince my own Fortune is low and narrow, 1 h ave endeavoured to get fo much credit in th e W odd, as to make a confiderable col- legion both from the living andthe dead,andthat of th e heft Painters and Sculptors of th eir times. Thefe Madam will be more beholding to you for their memory, then to their own monuments : For paint and marble muff needs dyefooner then your great Name. i For th e it fakes unparailel’d Princefs own, and conforve this fmall Record oftheir worth : and after that, (becaufo your bounty is unlimited) pray pardon the rude hand, and bold addrelsof Tjht Graces woft devoted, and humbltft Servant Alexander Brovvne. To the READER: Y OZJ have the Contents of this Treat ife fo pdYticularly in the Title-Page, and every particular Difcoiirfe fo di fylayed, that l meant it no other Preface : but upon fecond thoughts I judge it needful to fay fomewhat concerning The Proportions of Men., Women, and Children. They were intended onely and defigned to create the Idea offuch Pro- portions in the Fancy or Brain, before they are drawn in a true Symmetrical way The Grecians had this Art in fo high efleem, that they made an Editi, that no Slave Jhould be admitted to learn this Art ',and good reafonfecanfe this Art floould onely be permitted to thofe that were of a Free Jngenious, Noble Mind , and fuch as excelled others in their (harp Ingenuity * and this Noble Mind is foon efied in him who hath a dt light to fuch a Liberal Art. The Ancient Romans ordered their Children fo, that among other Liberal Sc. ences The Art of Limning was enjoyned to them to learn. Which Commendable thing long before this was in pr allice among the Grecians, that their Tout h of a good De- fcent added to the. r Liberal Learnings ^ Geometrie, Mufick 3 and other Mathematical Sciences, The Art of Painting alfo ; for this Art hath been fo highly efeemed, that amongfl the Femi- nine Sex it was held a great Honour if they had afelled and de- lighted themf elves in fuch an Honourable Fxercife ; as the Faithful Hi flories bear witnefs of the mofl Potent Roman V a r r o*s Daughter, called MaRtia^ that fe had good sbjll in T he A rt or Limning. What I have here writ is dire&ed to the Ingenious Lovers and Favourers of all Noble Sciences, to whom I fland obliged , and whofe Pardon l onely beg for any thing , wherein I may be found unhappily Ignorant or Offenfive \ and indeed I am extremely unwilling , that any Perfon jhould lofe his Time, or tafy the trouble of Caflwg his Eye here, were 1 not modeflly of the Opinion, that fomewhat of this Boo\ might not be unworthy Curious Mens Le&ion. Farewell 1 am j Your Humble Servant, A, B, In LaudemOperofi Voluminis Alexandri Browne, Gen J g \Andem Browne venis., expe&atillirnusEIofpes, Florilegas imitatus Apes., qui ScuJptilis Art is M Quicquid ab externis populisExfuxeris, annis Pluribus., in proprium prudens difponis Hymitton. Et nunc in Patrii partiris commoda Mundi. Quanta Poetarum praeconia dona morantur. Quanta PatronorumTe ! Qui velamine dempto ArtibuSj antiquum reparata luce Timantem Afflafti^ & Britonum radiis melioribus orbem. Quod fi Roma dabat pro digno munere ferta Civica, cui Civem bello fervaverat unum ; Debentur turn Browne tuis quot ferta capillis, Qui tot femineces artes in Juminis auras DuxiftL, propriaque manu caelata novafti Artificum fimulacra Senum. Jam Cons Apelles Praxitilefque cluens ? 8c magni nominis ZJrbin 3 Angelo & infignis, vifi rupifte lepulchris., Et rediviva fibi fumpfifle cadaverarurfus., Aufpiciis mi Browne tuis. Correggio jam jam Et Delvincentm, necnon Holbenus ,Sc audax Titian 3 5c nofiri V andi1\ns gloria fecli., Dogma Pythagoricum de /ponte fatentur, Sc artes Sculpendi pariter veterum., pariterque modern^ In chartas migrafle tuas * ubi machina mundi Et nitido Naturaglobo Ipirare videtur Principiis animata novis. I fortibus aufis Dexter Alexander , multb Sc felicior illo, Qui face languentem ferroque fubegerat orbem ; Alitibus procede bonis^ Nomenque per artes Sic extende tuas^ ut te primasva falutent Teque hodierna fuum.venturaque ftcla. Magi strum, V. t 1 I S H E B, dudum Militum Servians Mai or t INGENIOUS FR IEND Mod EXCELLENT PIECE, H Sreyou may find objeBed to your Sye, Taint , the creations, Man (gods Imagry* What fcatter d ray s of Heaven in us remain, zA re here preferv'd , if not renew d again . For who can draw to life the humane face Do's therein few the intelleBual grace. Whofe fair I dea though it's not opprejl With names body > or Arts colour dr ef : From thence yet all thofe numrous fhadows flow » Which men fo worfhip and admire below. Fancy th ’ original, and parent , gives This Art a birth , which beyond nature lives 3 And keeps the Father youthful as the fon, V V ith the fame colours, when complexions gone* Death cannot part them *, for when ugly age That Cj rand defir oy crs> lafl and fatal page Is all decipher'd , He a column [lands Coeval to his heirs, and all his lands. zA nd when his body to the grave is fent He ferves for furniture and monument. 3\(ature is troublefmnin its decayes , cA (o Toet cares to wear the wither d bayes. Tis [indnefs, and ’tis manners to remove „ When we can neither be belov'd nor love. zIATufi then all die ? no, that the painters skill’ For bid's, afsisted with the W riters quil. This immortality dear Friendyou caufe, V V iihout ordaining , or repealing Laws* Your ( Book < advances further, and difplayes If/ hat 'Plutarcjus fl orals, or his lives have [aid. JVeary Thilojophy expires in ftrife JVhiijl you expofe plain truth unto the Life . jfatures excefs , ornarromefsbyyou l j - civdy reprov d , and all that s due , Of beaut i ous art y and Symetry to man s fMufl own its payment to your mind andhand. We h/iow no form of Angels but from paint y S\for difference mal{c of devil , or of Saint . The famous TXdichael Angelo fo drew Hell and the damned, and infuch a hue- 9 ’Tv as thought tb' Archangel fome old grudge might bear , /hid bid his namc-fakg to renew the war. T is then hop'd by the painter at the leajl y He may a fi ft ant be unto the Trie ft. Since Virtu s lovely drawn, and vice foe ill Sinners by him converted are ' 'gainfl will . Emblems of honour, piety , and love. Arts gre ate fl teachers , by him only move . \ J. H. E R R. A T A, la Pag the 4 Line. zy. for it. Read us; for whofoevcver Read whatfoever. In Pag 17. line 15. /or in, rcadand. Inpag7^. line 14. for Sonne, read fum. Inpag74.1ine 4. for near', read were. In pag 87. hne 10. for keeping colour, read keeping the colour. In pag 88. line 21. for lilvea, read filver. In pag 90. line 3. for ufe with, readufeiewith. In pag 91. line 7. for white Serus, read white or Serus. OF THE -A Vertue and Praife O F p p^op o pjrro^, or, symetpjy, S UCH is the Importances and Vertuo of Pro* portion , that nothing can any way fatisfie the Eye without the help thereof: So that whatfoevcr workethany Pleafuro or Delight" in us, doth there- fore content us 5 becaufethe Graces of Proportion con- fiding in the meafure of the Tarts , appeareth therein 3 Wherefore all the Inventions of Men carry with them fo much the more Graces andBeauties, by how much the more Ingenioufly they are proportioned, whence Vitruvius faith. That tphofoeyer toill proceed in his W ork^s ivith ff udoment , mujl needs be acquainted ivith the U\fature and Force of Proportion; which being well and kindly under- flood, will make him not only an excellent ]udge of ancient and late Workmen, but alfo an Inventor and Performer of Rare and Excellent Matters himfelf Now the Effects proceeding from Proportion are tin- fpeakable, the Principal whereof, is that Majeflio andBeautio which is found in Todies, called by Vi - trnVtus , Eurithmi a, And hence it is , that w T hcn we beholda well-proportioned thing, we call it Peau* tiful , as if we should fay. Indued with that exaefl and comely Grace, whereby all the Perfection of fweet belonging to the Sight, are communicated to the Eye, andfoconveyedto theUnderftanding. But if we shall enter into a farther Confideration of this "Beauty, it will appear moft evidently in things ap«* pertaining to Civil Difcipline • for it is ftrange to con- duct what effects of Piety, Reverenco and Religion* A are 2 Of Proportion are ftirrcd up in mens Minds, by means of thisfuitable comelinefs of ape proportion. A pregnant example whereof we have in the Jupiter carved by Thidias at Slis, which wrought an extraordinary leni'c of Religion in the People, whereupon the antient and renowned Zeuxis well knowing the; excellency and dignity thereof, perfwaded (f reece_j in her moll flourishing Eftate, that the Pidures wherein this Majefty appear- ed were dedicated to great Princes, and conlecrated to the Temples of the Immortal gods, fo that they held thetn_. in exceeding great eftimation_j ; partly becaufe they were the W orks ofthofe famous Mailers, who were reputed as gods amongft men; and partly becaufe they not only reprelentedthe Works of God, butalfo fupplyed the defeds of Nature; ever making choice ofthe Flower and Quinteflence of Eye-pleaf- ing delights; Neitheryetisthis Proportion proper unto painting alone, butextendeth itfelf even unto all other Arts; infomuchasis drawn from mansBody, whichasthe Painterchiefly propofeth to himfelf, (as Vitruvius not- ethjlo doth the Architedmuch imitato it, in the convenience of his buildings, and without which, neither the Carver, nor any Handicrafts man can per- forme any laudablo Work; becaule it was the firft patterns of all Artificial things : So that there is no Art, but is fomeway beholding to Proportion: yet notwithftanding the Painter as (Loo ‘Baptijla Albertus affirmeth ) infomuch as he confidereth mans Body more elpecially , is juftly preferred before all other Artizans, which imitate the fame, becaufe antiquity meaning to grace Painting above all the reft. Handi- crafts men exempting onely Painters out of that num- ber. Of or Symccrv. 3 * thing moft neceflary; which faying was alfo approved by Philip PAPacedo. And furely it is impoflible (toomitt the mecre Ar- tizans) that he who is ignorant^ of thefe two Sci- ences, should underftand the exaCt meafure and proprotion of any probable or true Body, the ne- ceffity of which proportions shall be shewed here- after. It is apparent then_j that a Picture lacking this, is like a piece of Marble grofly wrought, without Rule or Meafure, or two Columns : which al- though they be to (lender, ortogrofte, to short or to long, yet are called Columns; as Dwarfesand deformed Creatures are named Men. Now this Book shall contain the general proportions of the principal things alone, from whence the reft are derived, of which before I begin tofpeak. / hold A 2- v it 4 Of Proportion it convenient to confeder the definition of proportion, and the patts thereof . Proportion is a correfpondency and agreement of the Meafureof the parts between themfelvesand with the whole, in every Work, this correfpon- dency is by VitruYius called Commodulation, be- caufe aModell is a Meafure which being taken at the firft meafureth both the parts and the whole. And this is that ( to omitt the leveral kindes there- of, which shall be diftinguished in their due place, ) which for fo long (pace having been loft, was the caufe why the exad and true proportion of Mans Body was not underftood, by Qccafion-j whereof there never came any Excellent Peeces abroad, al- though the matter were never fo coftly : Andcon- fequcntly that the Painters being ignorant of that they had in hand, inftead of proportionable men made lame Pictures as the Architedure, Temples, Images, and Pictures made throughout^ the whole World (but cfpecially in Italy ) about the timo of Confiantin^j the Great , untill firiotto in Tufcany , as oAndrino di £ defeat Taucfe^j in Lombardy canfufficiently witnefs, and this fin a_> word) is that, the know- ledge whereof fb fatisfieth the judgment, that ii_j maketh it not onelyableto mako whofoeven, we lift, but alio teacheth us to judge of Images, and Pidures, as wellantient asnew, and without^ this a_> Painter ( befides that he is not worthy the namo of a_? Painter ) is like one which perfwadeth himfelf he fwimmeth above Water, wdien^ indeed he fink- eth, to conclude then it is impoffible to make any decent^ or well proportioned thing, without - * this Sy metrical m ea 1 ure of the parts orderly united. Wherefore my greateft endeavour shall be, to lay open^ the worthinefs of this part of painting unto or Symetiy. $ Unto all fuch as are naturally inclined thereunto, by reafon of a good temperature joyned with an apt Difpofition of the parts thereof, for fuch men will be much affeefed therewith , to the end they may the better perceive the force of S\ (attire: who by indu- ftry and help of agood conceipt, will eafily attain to fo deep a reach, that they will be able upon the fudden to difcern_j any Difproportion , as a thing repugnant'’ to their Stature: unto which perfection on_; the contrary Side they can never attain, whole Judgements are corrupted through the Diffemperature of their^ Organical parts , I fpeak of luch who not knowing the virtue of proportion , affeCf nothing elfe, but the vain furface of garijh colours , wrought after their own humour, who prove only Daivbers of Ima- ges and Walls throughout the whole World; moving the beholders partly to fmile at their follies, and partly to greive that the Artshould be thus difgraced by fuch ablurde Idiot's: who as they have no judge- mentherein; fo do they run-* into divers other molf shamefull errors, into which I never heard that any, ever fell, who were acquainted with the ! 'Beauty of proportion, but have rather prooved meru of rare Spirits and found Judgements, as may be gathered by the great requeft it was in , untill the times of thofe Princes , as well antient as late : Hut before I proceed any farther , l think ^ it neceffary to treat fome thing of Head in particular , Firjl , r > t . * Of the Head in Trophile or fide -way es a . • ? > - s '"THe manner to make this Head by juft and fafe rules *■ is thus, Firft forme a perfect equall Triangle in what pofition you will, turning the Triangle to make the Face upon_> one of the three fides , be it B whieM 6 Of Proportion According which it will , either upwards or down- hl wards, higer or Aower; dividing that fide into three equall parts, the one to ferve from the lower part of the aaire, to the lowen, part of tho Forehead • the Second thenco to the under pare of the j\(oflrils . the Third to the lower part of the Qhinn: now having framed thefe three lines, drawalittlo crooked ftroak with a C°^ e or 0 ja ^ out °f the right Line , that may reach from-/ the top of the Forehead unto the Eyebtoiv, from whence draw away the Hope Line, bending at the end. Toperforme the S\ofe y either long, short, grofs or thin, as you Vvould have it, ending that at the fecond diftance, where the J^oflrils end, then fubdivide the remaining third part in the midft, where xhcall, which being made, divide it in the midd, with aline the longed way ( that is to fay ) a perpendicular line , divide this line into three equall parts, allowing fourth of one of the three parts for the Hair in the Forehead, the Fird for the Forehead, the Second for the 3\ (ofe , the Third forthe Qmh In the midd thereof mud the < 'JMoutb be formed, alwayes remembring that the Eyes mud be in one line, thecrofs line of the 3\fofe and zIAFouth mud alwayes be correfpondent*" to thecrofs line where the Byes are placed; and the Byes mud be the length of on cSye didanr from tho other 5 and that their inward Corners be perpendicu- larly over the out-fide of theN ojlrils punctually, but to mako the Bares in a_>Forerighr Face proportio- nable, they mud be much Foreshortned by Fore- shortning, I mean whefi^the Bye doth nor fee the full Latitude of it* the proportion of the length of the Eare , to be from the Syebrows to the bottom o of the N ojlrils, and then joyn the Nec\ with the Hair iiL ^ fueh fort as may feem mod pleafant unto the Bye. 0 f the Head in F orefhortning a TTltherto X have treated of the Head, both Foreright' and in other Pofitions, but that you might know all that is needful! for the perfect underdand- ing of this profefliori, it is necelfary that I fpeci- fie the manner how to draw thcFace by an eafy, ab* B % 8 Of Proportion folute and fair way; Treating thus I propound to you Methodical means therein, becaufe my intent is to Facilitate the matter in that manner, but with- out writing thereupon it may be intelligible;, foe, a draught well made hath that power, that it makes it lelfunderftood without" any difeourfeof the Au- thor thereon, but I alwayes obferve both the one; and the other alfo; I fay that the forefhortning which is mado onely withFrettr, (grates , Squares , or with (geometrical Inftruments, breed onely a confufion of lines, which is not thebeft principal of expert" In- genuity, the reafon whereof is, that it can hardly be mealured by any Rule, unlefs the whole Body be framed together. Therefore I trill (here an eafy ‘Rule , very like to that of the foreright Face,', that is , to makg_j a Circular draught with the ajjteB upwards , or downwards, as in the foreright Head, where the Traverfe lines are_> jlraight , hut the fe go Cir- cularly, for if the Heads flye upwards the Traced flrokesand the Divifions mu(l be raifed, with caution that the_> Eares and Eyes fallnotout of their due points, as isfignified in the fir [l ‘Plate. % r C t j/ * V Of the fide face without any Meafure. T)Eing defireous to make the fide face without any -*-* Triangle or Meafure, which witha little; care and pra&ice, obfervingthe diftances andMeafurcs which will ferve for Dire6tion, becaufe the Head and other parts of the Body oughts to be proportio- nal, and made from^ Meafures , it will eafily fol- low, Framing on. Traceing many, you may not" only Facilitate it by the Eye and Judgements, but alfo accommodate the Hand, to Trace and draw, all things right, for it is true that the Syew ill have its place. I having drawn certain-* ftroaks or draughts from or Symetry. g from the life ot nature, and reduced it with the Pencil into Colours* have found it como off punctually right, of a correlpondent^ bignefs to that, which I have imitated, and have not found any thing dif- proportioned, but have alwayes found it fall out right as I would havoR, therefore I fay that this Rule, and M eafure which I have fet down, in the Torphile or other opofitionsofthe Head, is not any hin- drance to the excellency of the Art, nor will weak- en your worth* but will ferve foL a general Rule being once polfeft therewith; and alfo become pre- valent when occafion_j shall require, to make a Head Ten times as big as the Life ; for that with this Meafure , you shall readily Frame it right by any great Head *, and thaL^ becaufe^ the underftandmg therein is equally extended* but the more the capa- city is wanting, the more my Labour will farther-# when_j need requireth. < Theje then 1 give as Trincipal for the firU flroakes , as in the next figure may he perceived, which is fronts the Forehead, as I have already faid y for the beginning of the Nofe •, that is fronts the lower part of the Hair, to thehoL lovmef of the Nofe and the Noftrils, and fronts thence to the Chinn, i Several Observations, in drawing Os Head after the Life, A Nd becaufe the greateft difficulty, and principal parts of this Art confift infome partin drawing tfie lively Refemblance of a Face, therefore I thought it very neceffary to add this as further Diredtioru to draw any F ace after the life. T herefore if you will draw any Vace after the life, that it may referable the party you draw it after*, take notice in the Firft place of the Thyfognomy or circumference of thc'Face, whi- ther it be round or long, FatorLean* Big or Little* G fo‘ io Of Proportion fo that in theFirft place you muft be fure to take the right Thyfioonomy and bignefs of th eFace, and in cafe it be a Far 1 Face, you will perceive the Cheeks to make the fide of the F ace to fwell out, and fo make the F ace look as if it were fquare : And if it-' be neither too fat nor too lean, it will be round for the moil parr; but if it be a learr Face the fave-Eones will flick out, and the Cheeks fall in, and theFace_a will be long and (lender,,, obierve when_>you draw the outmoft cir- cumference-' of a Face, to take the Head and all with it, or otherwife you may be deceived irr drawing the true bignefs of a_,F ace, then you muft diligent- ly and judicioufly obferveand difcernall the Gentle EA/faftcr ‘Touches , which gives the Spirit and Life to a Face, and difeovers the Grace or Difpolition of the e5\dind, wherein lieth the whole Graces of the Work, andthe Credit of the zTrtifl, voumayeafi- ly difcern_> a finding Countenance in the Corners of th cuSXfouth, when they turn up a little; you may beft difeern a ftaied and fober Countenance-fin the Eyes , when the upper Eyelids comes fomew hat over the Balls of the Byes, butafrowning Countenance is eafi- lydifcerned in theF orehead by thebendingof th e Eye- brones, and fome few wrinkles abouir the top of the 3\fo[e between the two Syebrotees , and a_> laughing Countenances is eafily difeerned all over the F ace, but an angry Countenance is difeerned by extraor- dinary frowning; there are alfo forne touches about the Eyes and Mouth which you muft diligently obierve, which gives the Spirits and LifetoaF ace. The Troportion of a Man of Ten faces. I I ftandeth with good reafon , that ( following the Method of the Antients Gramm ) I should make this or Symetry. i £ this Body, whole Proportion I intend to handle particularly, anfwerableto the Symetry of all other Artificial Bodies, which may be made far more beautiful then Nature affordeth any. W herein, notwithftanding the whole Art of Symetry may be comprehended more or lefs ; and this point I mean to handle in this Chapter and the next, wherefore I have prefix- ed this before the reft, becaufe it is as it were the Foundation of all. This Figure then is firft divided into Ten equal parts or Faces, 1 mean from the Top of the Head to the Sole of the Foot . The firft diftance beginneth at the top of the Head y and reacheth to the root of the Noflrilsyhe fecond from thence to the Throat-fit, the third thence to the Parting of the Breafls, the fourth thence to the Navel , the fifth thence to the PrivitieSy which is juft the middle of the Length of the Bo- dy: From thence to the Sole of the Foot are five parts more, whereof two are between the Privities and the Mid-tyiees, and three more to the Sole of the Foot. Thus according to this divifion all the Parts are Equal. But before I proceed any further, ’tis neceftary to begin to treat in part of the Parts or Divifionsof the Head firft. Now the firft part, which I intend for the Face, is to be divided into three Equal parts, the firft beginning at the up- per part of the Forehe.id y and ending upon the upper Crols Line of the Eye-brows ; the fecond diftance reacheth from thence to the bottom of the Nofe ; the third reacheth to the bottom of the Chin, the firft and uppermoft Divifion. The Forehead muftbe traced or dawn, the fecond you form the Nofe and Eye , the third the Mouth and Chin. The diftance of one Face below the Chin you place the Throat-pity but note that in a fore-right Face you place your Eyes the length of one Eye diftance from the other, and the length of one Eye the bottom ofthe Nofe is to be. The Ears muft be much forefhortened, becaufe the Face being fore-right, the full Lati- tude of the Ears is not expofed to the fight, as you may fee C 2 tn j 2 Of Proportion in the firft Print at A. Obferve that the three parts are onely for the Face ; and then there muft be an allowance for the Hair above the Forehead; the common allowance is Half of one of the three parts, or according to the Hair you intend to draw, more or lefs. The Breadth of this Body confifteth likewife of Ten Fa- ces, namely, between the Extremities of both the Middle Fingers , when the Arms arefpread abroad , and is thus divi- ded ; The Hand from the end of the Middle Finger to the Wrifl is the length of a Face, and from the Wrifl to the Elbow one and an half, two Faces more from the Elbow to the Cla- vicula, or Joyntof the Shoulders , and one to the Throat-pit. The Hands are of the fame proportion with that between the Shoulder Joynt and the T hroat-pit. The Nipples muft be pla- ced at the diftance of a Face and a half from each other, fo that it agrees with that between the Wrifl and the El- bow. The Compafs of the Head from the Eye brows to the Ncc^ behind, is double to the length of the whole Head. The Circumference of the Waft is the diftance of three Faces to the Diameter thereof, and is all one with the Trunk of the Body. The Circumference of the Body under the Arm-pits, and the ipace between them and the Wrifl , anfwer in a double pro- portion, and is agreeable to any Half of the Body. The Meafures which are Equal between themfelves are thefe; Firft, the fpace between the Chin and the Throat-pit is asmuch as the Diameter of the Nec\. The Circumference of the Nec\ is as much as from the ThroaUpit to the Navel. The Diameter of the Wafl anlwers to the diftance between the Knob of the T hroat and the Top of the Head • and this is the length of the Foot. The fpace between the Eyelids and the Noflrils is all one with that betwixt the Chin and the T hroat-bone. Again, from the Nofe to the Chin, is as much as from the Throat-bone to the Throat-pit. Moreover the fpace from the Hollow of the Eye-brow ? and from the' Eye- brow or Symetry. i - brow to the Centre of the Eye , is the fame with the Prominen - cy of the Noftrils , and fo much it is between the Noflrils and the end of the Upper Lip . So that thefe three Spaces are Equal, befides the diftance between the Top of the Nail of the Fore-finger, and the laft Joynt thereof and from thence to the Wrifl are Equal. Again, the Space between the Nail o f the Middle-finger and the laft Joynt, and from thence to the Wrifl ,is all one* The greater joynt of the Fore finger is the Height of the Forehead, and the Space between that joynt and the Top of the Nail is Equal to theNofe, beginning at the Bottom of the moft eminent Arch above the Eyes , where the Forehead and the Nofe are divided.The two firft joynts of the middle finger are equal to the Space between the Nofe and the Chin . The firft joynt whereon the Nail grows is the diftance between the Nofe and the Mouth . So that the fecond joynt anfwers to the firft, as alfb does the Space between the Mouth and the Chin . The bigger joynt of the Thumb gives the Length of the Mouth, the Space between the Top of the Chin and the Dint under the Lower Lip anfwers the lefier joynt of the Thumb , and is as much as from the Nofe to the fame Dint. The laft joynt of each Finger is double the Length of the Nail . From the middeft between the Eye-brows to the out- ward Corner of the Eye, is as much as from thence to the tar . The Height of the Forehead, the Length of the Nofe, and the Diftance from the Nofe to the Chin, are Equal. The Breadth of the Eland and Foot are all one. The Length of the Foot meafured round about to the Height of the Inflep is the fame. Twice the Breadth of the Hand gives its juft Length. T he Arches of the eye-brows are Equal to the Arch of the Upper Lip , at the Divifion of the Mouth. The Breadth of the nofe is the Length of the Eye , and are either of them half the Length of the nofe. T he navel is the Middeft betwdxt the nofe and the Knee . From the Top of the Shoulder to the el- bow mu ft be the Diftance of two Faces, and from them to the Wrifl one and an half. The Breadth of the Body at the broad- D eft x _j_ Of Proportion eft part of the Shoulders is to be two Faces and an half, agree- able to that diftance from the Elbow to the end of the Middle finger. The Breadth of the Body at the Privities is two Fa- ces. Th eThighs at the thickeft part near the Privities are the diftance of two Faces broad. The thickeft part of the Leg hath the lame Proportion as from the Top of the Fore- head to the End of the Nofie. The Breadth of the Bacfi at the Arm -pits is the Proportion of two Facts, and (o are the Hips at the Buttocks. From the Outmoft end of the Middle finger to the end of the laft Joynt next to the Hand , bears the lame Proportion as from thence to the joynt of the Wrift . The Proportion of a Man Eight times the length of his Head . Firft ftrike a (freight Perpendicular Line of the Length you defign the Figure, then divide it into Eight Equal Parts; the Uppermoft Part is intended for the Head y in which you mud be very Exadf, becaufe the whole Body muft be proportioned Correfpondent to it. Therefore *tis neceflary that I give you in ftiort a Rule to draw a Fore-right Face : Firft form an Oval, then divide that Oval into four Equal parts, the firft for the Hair 0 the (econd for the Forehead \ the third for the Length of the Nofe, the fourth from the Lower part of the Nofe to the Bottom of the Chin. But when you Draw after the Life, you are not to follow this Rule exa&Iy, becaufe Dame Nature is extremely Various in her Reprefentations. The Eye muft be placed the length of one Eye diftant from the other. Having drawn the Head, there remains Seven Parts more (rom the Bottom of the Chin to the Sole of the Foot . The Length of the Head from the Chin you draw the Breaftr. The third Divifion reaches to the (mailed part of the FFafie, the fourth to the Privities , the fifth to the Middle part of the Thigh , the fixth to the Middle of the Knee , the (eventh to the Small ot the Leg y and the eighth to the Heel & Sole of theFoot. And thus if we fhould proceed , we might find in the Head all the other Proportions of the Smallefl Parts , together with their Concords mojl exaffly y which for brevity* sfaty? Iomit y hafie - in g or Symetry. 15 trig to the Measures of all the ’Tarts , which are truly Symmetric cal, and correfpondent to the Tarts of the VV orld a TheTroportion of a Mans Tody of Ten faces . T He proportion-* of alongand (lender Body mud be patterned after the Body of tSMars the god of Warr, amongft the (f entiles, who by reafoii-j of his Heat and Drynefs hath a long and (lender Body a- greeable^ thereunto ; and may alfo ferve for any o~ ther Body of that nature, as being Boyfterous, Cho- lerick, Cruel, Martial, Mutinous, Rashand prone' to Anger* asarealla&iveandftrongmen, byreafon of the bignefs of their Tones , void of much Flesh, which caufeth them to be of a hard, and sharp Body, with great Joynts, and big N o/lrils dilated with Heat, whofe^Kx, zSXTouth, and other paffages, are corref- pondenC *, as in his due placo shall be more particu- larly shewed. The breadth of tho Hand, being divided into Four Parts, makeththe Four Fingers from the top of the Middle linger to the Elbow , is the Fourth Part-* of the whole Body*, And this proportion is of fuch indifferent Teau~ ty , that [paring the oSATartial afperity and bouldnefs , it may ft divers other fender and noble^j Todyes , as occaffon fall ferte. The extravigant Troportion of Ten Heads . CInce mypurpofe is to Handle this matter^ exaitly ^ it shall not be amifs, briefly to touch the height proportion of Ten Heads delivered by ^Albert Turn for although it be (in truth.) to (lender in all Mens Judgements, yet I may no omit it, becaufe it hath the authority of fo Famous a Man^ in the Skill of D % ~ ’ " 1 6 Of Proportion Tainting zsCfermany cannot" match again. Firftthen this proportion-/ is in length from the top of the Head to the Chinn, a tenth part of the whole : thenco back-' wards to the top of theF ore-head, an_j Eleventh: 77;e face may be divided into 'Three ecpual Tarts , as the re jl are . The 'Proportion of a Young Man of nine Heads . I Amofopinionthat Francis ^Wa^ga/inus would have proved the only rare^ Man of the World, if he had never Tainted any other kind oiTiclures ( as rude, grofs, and mclancholly ) then thefo (lender ones which he reprefented with anadmirablo dexterity as being naturally inclined thereunto 5 fo that" if he had only reprefented Tacchus, the JsQmphes, &c. he had fufEciently warranted this his molt ac- ceptable^ proportion , which was ever (lender, and oftentimes to Height , but when he took upon him-, to exprefs the Prophets, our Lady and the like in__* the fame; as appeareth by his *5\dofes at Tama , our Lady at Mncona. and certain aAtigells not farr from_. thenco, and divers other things quite contrary to the Symetry they ought" to have, he gave a prefident to all other Tainters to shunne the like error : which himfelf might alfo havo eafily avoided, being re- puted little inferiority to ‘Raphael Vrbinc_j, whom he might have propofed to himfelf as a^patterne; for Raphael ever fuited his perfonages anfwerable to the variety of the futures, and Hifpofitions of the Parties he imitated : fo that" his Old Folks feem ftiffand crooked, his Young Men agile and (lender and fo forth in the reft, which example^ admonisheth us, that Taintcr ought not" to tye himfelf to any one kind of proportion^, in all his Figures*, for befides that he shall lofe the true Decorum^ of theHiftory: He or Syrnetry, if He shall commit a_> great abfurdity in the iAh by making all his Figures like Ticvinm: Into which crrdrb notwithftanding divers (otherwife^ worthy c Painters ) have runn, whole names I lupprcfs : and efpeeialiy one of thole two great ones, which over-lights all good pra&itioners will ealily difcetris, becaule all their Figures areofan Uniforme proportion, though wonderfully exprefling variety of actions: And for our betteiL-underflandingin this kind of proportion^ ( as beft fitting Young Men, who are fomewhaf Beau- tiful I by means of theirs flendernefs, agility, and gentle Difpofitioixjmixed with a kind of boldriels) Raph: Vrbtne hath very well exprefied if' in St. (feorge fighting with tho> Dragon, now to be leen_> in the Churches of St. V Sore de Fratri in zTMilane • in St. oS\d ichaell at Vontainble’w in Trance , and in that (feorge_j> which he made for the Duke oCVrhine on a_^Peice richly guilt, according to which Obfervation of his> every Man may difpofe of this proportion^ in the like young Bodies, now for our more exa£i infighr hereinto, byway of precept, we mull firlt note that a (lender young Body of Nine Heads is from the top of th c Head to the end of the £/;/>//*, aNineth Parr' of the whole length : And thence back again^ to the root of the Hair aTenth or Eleventh Part, aslhave obferved in "Raphaels St. Michael and in an old dA polio, butlj which way foever you makeitr, this fpace is divided into Three equal Parts ; whereof the Firft makes the fore - bead, the Second the Sfofe, the Third the Chinn, how* beit I grant that in a face which is the Eleventh Part (byreafonof a certain Tuff of Hair which is ufually exprefied ) the fore-head becomcth lower by a Third Part; which Rule the ancient Cjracians kept,astheio Statutes do evidently witnefs. iS Of Proportion The Proportion of a Man of Eight heads. : C ^ [ l V / .. ti J O t* / 11 ) L ' i I J 1 1 1 J 1 f . j L* 1 1 W Hereas in every Work there is Tome one entire Figure, whereunto all the particulars of the whole Hiftory ought to be principally referred, the Painter ought not to imagine, f becaufe he is more skilfull mreprefen.ting fome other thing in the work then that which beareththe reference of the whole,) that therefore he shall delervo commendation, but rather diferedit, for it is mod certain-. that Work w’ill prove offenfive, where fome inferiour and by matter, is more cunoufly handled then the princi- pal, andtherather, becaufe the other Parts cannot-, chufe but loofe their Grace. A thing which hath caufed divers excellent-; ‘Painters ( as well new ) as antientr' ( being purpofely carried away with too great a defire-. of doing well) to leave their Works imperfeCt , which they could not remedy any other* way, then-, by utterly defacing that which they had dono, were it never fo excellent. A mofl pregnant-, example whereof we have itu> thatantien tPainter Eupbzginor- whobcingto drawthe Twelve gods in & Athens , he began-, with the PiCture of Tfepttme, which he wrought fo exquifitely both for proportion, colour, and all other points; that pur- pofing afterwards to mako ffupiter with far greater perfection-., he had fo fpent his conceit in tne Firft Figure, that he was not able afterwards to exprefs any of the other gods, much lefs fupiter) the like-. Difgrace happened to Zchxcs by the Naturalenefs of his Grapes, and the Imperfection-, of the ‘Boy , not unlike unto which was that of Leon: Vincent of late Dayes, who being to Paint thrift, at his laft Supper in the middlt of his Difciples in the %efellory of St. Maria or Symetxy. rp tSXdariade Gratia-, in zSMilahe ■, and having finished all the other zA'pofllcs , he reprefented the two fames' i with fuch perfection^, of (jrace and Majefly, that en- deavouring afterwards to exprefs he was not" able to perfect and accomplifh thatfacred Countenance, notwithstanding his incomparable skill in the zArt, whence being in a defperate Cafe, he was enforced to advife with ! Bernard Zenale concerning his Fault, who ufed thefe Words to comfort him. 0 Leonard this th'mCj Srror is of that quality, that none but God can correS it • for neither thou nor any Man living, is able to beftow moreDivino Beauty upon any Figure, then thou haft upon thefe fames’s, wherefore content" thy felf, and leave Chrifi uriperfedt, for thou mayeft not let Chrijl nearthofe zApojlles, which advife Leonard obferved, as may appear by the Pidture, at this day, though it be much defaced. Whence my Council is ; that for the avoiding of the like Errors , tee examine. _j the original thereof, having an efpecial regard to our proportions ; as the cheif Caufe of the grojfnef, JJendemefs, clowni/hneji, and daintynejs of ‘Bodies : whence all the ‘Beauty and / ll-faVourdncfs of Pictures pro - ceedetb ; wherefore let each ‘Body have his true and particular pro- portion: which is to divide tbejbody into Eight equal Barts, whereof the head is one, which may ferve^ for all zSMen in general, who agree with this nmfl abf 'ilute form ; whofe proportion followeth. Of the ‘Proportion of a Mans Body of Seven Heads. . . y , * * | , .... , f / T'He grand Philofopher Pythagoras , giveth fkffi- cient Teftimony of the Truth of thelo Rules concerning the proportion of Mans Body; info- much as by their help he diftinguished the propor- tions of Hercules his Body, from the other gods, by finding out the true Stature thereof; and confe- quentiy how much he exceeded the Stature of ordi- E a nary 20 Of Proportion nary Men • of whom aJn: Cyellius writefh, that he obferved the Quantity of Hercules Foot , wherewith the race-' in Acaicu, before fupiter Olmypius his Temple ( where the Olympian Gaines were celebrated every Fift Year) was mcafured-, and found it to agree, in the Number., of Feet, with the other Races, which were fix hundred Twenty Five Foot ■ and yetr'to be much longer then any of the reft. Tty ’which Example we may ea/ily conceive , that every propor- tion will not fit all kfndcs of Bodyes , becaufe thert_a are many varieties thereof , as there are Sfatural ‘Differences of Bodyes , wherefore 1 will proceed to the handling of the proportion of a Body of Seven fuhjlant'tal and big Heads, all whofe <-5\4 embers are prong, Jlurdy, and rat fed-, his length then from-, the Crown of the Head to the Sole of the Foot , is feven-times the length of his head. Of the ^Proportion of a Woman of Fen Faces. A Lbeit Dame Sfature, the cunningeft Work-Mi- ftrefs of all others, doth ordinarily obferve f'o greatr" variety, in all her Workes, that each of her particulars differeth i n Beauty and proportion; yet not- withftanding, we find by experience, that - " she is more induftrious, In shewing her Art and Skill in fomc few mod Beautifull creatures, whereupon- 1 1 C infomuch as Art being the counterfeiter of JA fame, rnuft ever endeavour to imitate the mod abfoluto things ) intending to handle the proportion- 1 of a Woman mean not to fpend much time in difeourfing of the fcveral proportions of all the Sortsof Women which SSfaturc affordeth ( for that were infinite) but purpofc to write only of the moft pleafing propor- tions appearing in dainty and delicate Bodies, now this Body is thus mcafured : Divide the Body into Ten or Sy merry. It V J Tf I t Ten equall Parcs, whereof the Head mutt be one , from— » the Crown of the bead to the privities mutt be FiveoftheTen, and from the privities to the Sole of the Foot Five more. And this is the Mealureand proportion of a come 1 ' ly Womans Body, drawn not only from.; the ob- fervations of the antient Statues of Vcnm , but even fronts the ground of Nature itfelf; which propor- tion may lerve for any Woman, wherein you would efpeciallyreprefent the perfedlionof Beauty, and not for every common Woman 5 asMartial, Huntrettes 5 grave MatroneSi or other ftayed Women, incline- ing to groflnefs, as the other tend to flendernefs, and becaufe all the other proportions depend upon thefe two fas may eattly be proved by Geometrical linesj I thought^ good to fet them down firft; as Rule and Direction for the rett, which I purpofe now to handle j with the fame Method I did the other two: Leaft otherwifej it might happily be thought^ that thefe proportions were made by chance^ where~ foro all the particulars are to be framed, anfwer- able to the 3\(atureof fuch Bodies as they refeinblo* otherwife fome one difproportionable and unfuitable Parr 1 will caufe as great, or rather a greater^ ble~ mish in a heautifull Body : Qyfs a Tufcan Capital, in a Co * rinthian Qullumne ; or a Phrigian note mixed with a ( Doricfr K . # The Proportion of a Woman of Ten heads a 'T'He proportion of a Woman of ten Heads in lengthy is thusmeafured, between-^ the top of the Head and the Sole of the Foot 5 is ten times as much as be* tween the Chinn, and the top of the FT cad, thenco to the Privities is half. 22 Of Proportion P be ‘Proportion of a woman of Jfine Face s. TT was not without juft caufe that V itruYms in theFirft " of his aJrchiteBure , diftinguishing the manner of Temples by their feveral Orders dedicated the Ionic\_ Order to the goddefsj^, as being ftenderer thens the Doric and more lubftantial thens the C 0Y 'inthian : Confidering no doubt" very wifely, that this god- defs was not naturally fo Grave as V efta . nor yet fo ftender and beautifuli as V mm • notwithftanding she carrieth a though with divers attire, in_j regard of their place. This proportion-/ is or Symetry. £3 is from the top of the head to the Chinn, a Ninth Part of the length. The Face from the Root of the hair , to the Chi nn , may be either a tenth or eleventh Part",, as shall pleafethe Painter. This divided into Three equal Tarts, the fir /l gives the Fore -head , the fecond the 3\ (fife , the third the Chinn . The Troportion of a VF oman oj [even heads . TT was not without good Ground, that the old Cfra- cians made the goddefs Vcfla but Seven heads high ; bccaufo this proportion is Cjrave and according to this DoBrine, to lay open the above named Definitions, by expound- ing all the Differences whereby the Arts of Tainting is diftinguished from all other dArts and Sciences • the 1 genus then in Fainting is Art , which is prooved by twoReaforis. The Firfl; is drawrs from the Defi- nition of d/lrt it felf> which is nothing elle but a_> luro and certain Rules of things to be made, the Second from the Fflatural things themfelves, which are a Fu/e and AALeafurc to the greater Part of the Arts and Sciences, in the World (infomuch as they are God s creatures, and confequcntly indued with all inch Perfection-; as their Nature is capable of, and therefore may well be a certain-- Rule to Artificial things. Hence The Art of Painting. if Hence it appeareth that Taint ingAs an Art, becaufo it imitateth natural things moft precifely , and is the counterfeiter and (as it were ) the very Ape of nature ; whofe Quantity, Eminency and Colours, it ever ftriveth to* imitate, performing the fame by the help of (geometry , Arithmetic Terfectire , and Tfatural Thilofophy , with moft Infallible Demonftrations, but hecaufe of Arts fome be Liberal , and fome Mechanical , it shall not^ be amifs, to shew amongft which of them Tainting oughi^tobenumbred. Now Tliny callethit plainly a liberal Art , which authority of his may be proved by reafon, 'for although the Painter cannot rahtting u a Li : attains to his end, but by working both lcraL '* 1t ' with his hand and pencil, yetthere is lb little pains and labour., beftowed in this Exercife, that there is no Ingenious Man in the World, unto whofe Nature it is not moft agreeable, and infinitely pleafant. For we read of the French King F rancis, the Firft of that name, that he oftentimes delighted to handle the pencil , by exercifing , drawing and painting ; the liko whereof is reported of divers others Princes, as well antient as late; amongft whom I may not conceal Charles Emanuel Duke of Savoy , who (in all other He- roical Venues , fo amongft other Liberal Sciences in this) imitated and moft happily equalled that great-' King Francis his (grand- father by the Mothers fide, fo that in thefe and the liko Exercifes, nothing is Taf}^ or TAl echanical , b u t a 1 1 Afoble and/ ngeniom . For to fay the truth; what Princo or Ingenious Man is there, which taketh not delight" with his pencil to imitate Cjod in nature, fo far forth as he is able : Farthermore it cannot be denied, but that" the (jeo - metrician alfo worketh with the Hand \ by drawing Lines, as Cycles, Triangles , Quadrangles and fuch like Figures j neither yet did ever any Man^ therefore accounts G Cjeome* z 6 The Art of Painting. geometry a z5\fecbanical oJrt, hecaufe the Hand-labour therein imployed is fo Height, that itwere an_^ ab- furdity in refpeft thereof, to reckon it a bafe con- dition. The like reafon is there of painting, the Pra&ice^ whereof, doth fo little weary a Man, that he which was (oble before, cannot juftly be reputed Safe by exercifing the lame; butifbefides all this, we shall farther confider, that Tainting is fubordinate to the P erfpeftives, to 0\ (aturdlphilofopby, and geometry (all which Out of queftion_-> are Liberal Sciences ) and moreover that it hath certain^Demonftrable conclufions, de- duced from the Firft and immediate Principalis thereof, we muft needs conclude that" it is a Liberal zArt. S\(ow what k[tid of L iber al Arts it is (to omit all other proofs ) may eafily appear by the forefaid Definition $ where it is firfi faid , that it reprefentetb upon a plain , the T hicknefs and round- er Diffmnc n n efs of Toddy things , not excepting any , either N a- tural or Artificial, whereby we may gather that it belongetb to the Painter alfo to reprefent Pallaces, Temples, and all other things niade_j by the hand of the Artificer. Moreover it is faid, that it reprefenteth the Figure upon a P laine_j , and hereby it" is diftinguished from Caning ( though not Efjentially , but onely Acci~ dentally (as it is faid in the Prom) by reafon of thedi- Verfityof the matter, wherein both of them repre- fent" natural things which imitateth Nature likewife, though it exprefs the perfeft roundnefs of the Bodies as they are created of Cfod, whereas the P ainter repre- fenteth them upon a Flat" Superficies : JVhich is one of the chicfejl reafons , why Painting hath ewer been preferred before Carving. Becaufe by meer Art upon a Flat, where it findeth only length, and breadth, it reprefenteth to the Bye the The Art of Painting. 27 the Third Dimenfion, which isroundnefsandthick- nefs; and To maketh the Body to appear upon a Flat ; where naturally it is not. Furthermore itis added in the Definition-. : that it reprelenteth the DodilytSM otions, which is moil true, for in that moll Famous picture of the lalt judge- ment, done by the Hand of the Divine Michael Angelo, in the Popes Chappel at ‘Rome, who fees not what moti- ons may be exprefled in Bodies, and in what order they maybe placed; there may you fee our Lady, St. John , and the other. Saints reprefented with great Fear, W’hileft they beheld fhrifi moved with indignation-, again!! the wicked, who feem to fly away and hide themfelves behind bis Back, that they might no£j behold his angry countenance wholly inflamed with indignation-, : There shall you behold the guilty, who being aftonished with Fear, and not able^ to indure his glorious pretence, feek dark Dens and deep Caves to hide themfelves in. On the one fide, you shall findethe Saints teeming ( in a Sort ) to finish the that parr" of the Definition, where it is (aid, that" Propor. tjti* Painting, with proportionable^ lines maketh, &c. where we muft Note that?" the Painter in his de- feriptions, doth not draw lines at raildome, without Rule, Proportion , or Art, ( as fomo vainly have imagi- ned ) fince the Arrantefl Dumlers that are, proceed with l'omo little Method, and although Horace in his book de ArtePocticai aith : that The VoQtamlthe Painter, hath likp Patent to invent, asl S tor y and dljpoje the fame as fall him be{l content. Yet that-; is thus to be underftood, that it is law- full for him to exprefs re Figure, in what a£lion_> he lift, as in shewing fulius C^far in the P barfalian IVarr + in fome adion, which peradventuro he never did 5 asfetting him in thcPatpard, when he perchance was found in the %erewrd , or reprefenting him encourage- inghis Souldiersto^Wcwr which perchance he never did; this only excepted the f ainter is bound to pro- ceed in all his Works according to proportion and art. Whereforo before you begin to Stell, delineate or trick out the proportion of aMan, you ought to know The Arc of Painting. his true Quantity and Stature for it were a grofs abfurdf ty to make a Man_> of the length of Eight Faces ; which is of Nine; or Ten,befides this, we ought to know whatr' proportion the Fore-head hath with the gfe, the (ofe with thee JVfouth and the Cb'mn, the whole Face with the 3\fecl^, and in a Word to learn the true proportions of all things natural and artificial. Now becaufe it feemeth a matter of great*' diffi- culty, and almoft impoffible for one Man to attain^ to the full perfe&ion^ of all this Kjwn>/edge_j, we may propofe unto us the Example of the mod judicious nApelles , who when he undertook any fpecial piece of fForh^, wherein he meant to shew the utmoft of hisSkill, he ufed to Hang it forth to publique View, hiding himfelf behind, to the end he might" hearken what every Mans Judgement" was* concerning the proportion And IF orkman-fkip thereofand according to each manscenfureoffuchthings as appertained to their pro* fefiionsi He ftill corrected his work, as on the contrary fide, he did confute and reprehend the cenfures of fuch as would take upon them to give their judgements of fuch things as appertained not" to their profefiions ( as did the Sboemalter, who not content^ to find Fault with the Shooeof one of his TiBures, would needs cenfuro the othet^ Parts ) unto w horrid he anfwered, ne Sutor ultra crepidam. Furthermore^ the Tainter ought to ob« tftt not the Shot' » s\ 1 __ , . i » mailer frtfumt b$~ ierve an Order and i5kf etbod in thole propor- ^/>- tionablo lines therein, imitating future in heii> proceedings; whofirft prefuppofeth Matter being z> thing void of Forme, ‘Beauty, Bound , or Limit, and af- terwards bringethin the Forme, which isabeautifull andlimitedthing, in like fortr” the Fainter taking £»; Tanel or C. C in the Surface whereof there is nothing H Eu# 30 The Art of Painting. but a Flat and plain-* Super-fries, without Beauty do Limitation-* of parts J he trimmetb , primetb , and limiteth it by tracing thereon-* a zSMan, a Horfe, or a Cullumne y forming and tricking the true proportion^ thereof, and ( ilia Word) Imitating by lines, the Sfaturc of the thing to be painted in breadth, length, or thicknefs. x*. And becaufo in this place there fallethouto a certain^ Precept of zSSLichael dAngelo, much for our purpofe, I will notconcealit, leaving the farther in- terpretation and underfunding thereof, to the judicious Reader. It is reported then that Michael dAngelo upon a timo gave this obfervation to the Fainter zSMarius deScinaJ* his Schbllar, that he should al way es makea_? Figures Fyramidal, Serpent like, and multiplyed by One Two and Three, in which precept .( in my O- pinion^) the whole zSAIyflery of the fo fit to exprefs tbisNLotion, as that of j/^FlameofFire, which according to Ariftotle, and the other Philofophers is an Element mof active of all others, becaufc the Forme of the Flame thereof is mof apt for Motion, for it hath a Conus or floarp Point where- with it j'eemeth to divide the Aire that Jo it may afcendtohis proper format Will be mojl Now this is to be underftood after^ two forts: either that the Conus of the P iramis be placed upwards, and theFafe downwards asin theFire, orelfe contrary- wife, with the Fafc upwards , and the (forms downwards : In the F irft it exprefleth the width and largenefs of a P i£fure, about the Leggs and Garments below, shew- ing it (lender above, P iramidal JVife , by di (covering one Shoulder , and hiding the other, which isshort- ned by the turning of the Body j in the Second It sheweth Sphere, jo that Picture having this beautiful/. The Art of Painting. 31 sheweth th c Figure biggeft 111 the upper Farts, by re- prefenting either bot&th c Shoulders, or both the Amies , shewing one Legg and hiding the other, or both of them after one fort, as the Skilful! FaintershaM judge fitted for his purpofe, fo that" his meaning is, that it should referable; the Forme of the letter S placed right, or elfe turned the wrong way as co becaufe then ithathhis ‘Beauty: Neither ought he only to ob- ferve this Forme in the whole Body, but eveji_, 111 every Part; fo that in the Leggs y when a AMufcle is railed outwards on the one fide,that_; which anfwer- eth diredtly on the contrary fide, muff be drawn-* in and hid, (as maybe feenein the life,) The lajl part of Michael Angelo his Obfervationwas , that a Picture ought to he multiplied by One, Two, and t Three, and herein confifeth the cbiefefl Skill of that Proportion^ the Diameter of the biggcjl place between the K nee and the Foot is double to the leaf , and the large f part of the T high triple. But to return to the Definition , that part remaineth to be expounded, wherein it is laid that P aiming reprefenteth things with Colours , like to the Life; whence it is to be marked that the Artificial painter ought to proceed according to the courfe of JA (ature y who firft prefuppofeth Matter (as the P hilofophers holdj) unto which it addetha Forme , but becaufe to create the Subfances of things proceedeth from— > an infinite power , which is not found in any creature ( as the (Divines teach) the Yainter muff take fomething inftead o £ AM alter, namely Quantity proportioned? which is the Matter o f painting, here then th o Fainter muff The mtter needs unde lit and that_j proportioned Quantity , °f Painan t- and Quantity delineated, are all one, and that the fame is the Material Suhftancc o 1 Fainting , for hemuftconfi- der, that although he be never lb Skilfull in the ufc of his Qoloursy and yet lacketh this Delineation he is H 2 ukf 32 The Art of Painting. unfurnished of the Principal Matter of his An, and confequently of the fubftantial part-> thereof, nei- ther let any Man-; imagine that hereby I go about to diminish the power and vertue of colour , for if all parti- cular Men should differ one from another in Matter alone (wherein out of all doubt all agree) then all Men mud needs be one, andfo that-'moft acceptable variety of fo many particulars as are now in the world would be wanting ( which variety is caufed by thofo mdividu^m Seven particularities which the ‘Pbilofopbers call gua/hates. particularising Qualities , ) thatis Seven fubftantial accidents , which caufe tho particularity and Jingularity of fubjlances , fo if the Fainter should only Fourtrait out a Man in juft Symctry agreeable to «5\( 'ature* certainly this Man would never be fufficiently diftinguishedby his mere Quantity: But when unto this proportioned Quan- tity he shall farther add C°t° ur > then he giveth thelaft forme and perfection to the Figure : Infomuch, that - ' who- foever beholdeth itr' may be able to fay, this is the P iCture of the Emperour Charles the Fift, or of Y bilip his Sonne, it" is the picture of a z5\d elancbolich^ Flcgmaticl Sanguine . or Cbolericl^Fellow, of one in love, or in fear of a bashful! young Man, &c. and to conclude the picture will attain to fuch perfection, that the party counterfeited may eafily be known thereby : Where* fore I adyife the Painters to be wry skilfull in the u[e of Colours, as in that wherein con/iftetb the wholes perfection op his Art. Fainting And in this point alone is painting diftin- ftT - guished frorrL_^ all other fearching out*? theeffedsof light, whenitenlightnethcto/r, which who fo doth ierioufly confiden, , shall exprefs all thofe effeds with an admirablo(/r ^ 5 andakhougH the be equally difperfed through all the Parts of a garment, fo that there is no more in one part therL^ in another; Yet notwithstanding when it is illuftrated I by 34 The Art of Painting. by any light, it caufethone kind of brightnefsiio that part where icftrikethmore vehemently , tlierr. an- odic r, in_> that part, where it shineth lefs. Now when the 'Painter would imitates this blew thus lightned, he shall take his artificial blew colour, counter- feiting therewith the blew of the garment, but when_, he would exprefs the light , wherewith tho blew feems clearer, he mull mix fo much "white with his blew, ashefindeth light in that part of the garment, where the ligho ftriketh with greater force, confider- ing afterwards the other part of the garment , where there is nor' fo much light, and shall minglo lefs white with his blew proportionably, and fo shall he'pro- ceed with the like difcretion_» mail the other parts: and where the light falleth not.; fo vehemently, but only by reflexion-* there he shall mix fo much sha- dow with his blew , as shall leem fufficient to repre- lent that light, loofing itfelf as it were by degrees, provided alwayes, that where the light is lefs darkled, there he place his fbadow , In which judicious expreffing of the effects of light together with the colours , ‘Raphael Vrbine , Leonard V in- tent, zAntonius de Qoreggio and Lilian wero molt admi- rable, handling them with fo great diferetion and judge- ment, that their ‘Pi Hare; iccmed rather natural, then_* artificial ; tho reafon whereof the vulgar. Eye can- not_> conceive , notwithftanding thefe excellent EALajlcrs exprefled their chiefeft art therein, con- lidering with themfelves that the light falling up- on the flefih caufed thefe and fuch like ejfe&s , in_* which kind Titian excelled tho reft , who as well to shew his great Skjll therein, as to merit commendation, ufed to cozen_>and deceive Mens Byes, the like did tS\Lichael zAngelo who to mako proof of his Angular infight in the z Anatomy, inclined fomewhat toward the Ex- The Arc of Painting; Extream, by railing up his tSMufcles a little too 'hard; and by this means shewed the eminencics and riftngs, in which naturally they were (mail, as in tho Body of thrift, &c. Again Titian to make known his art in lights arid Jba- dows, when he would exprefs the lighted: part of the ‘Body uled to add a little too much white , making it" much lighter then his pattern, and in the obfcure-> parrs; where the light fell by reflexion, a little too much / hadm f inrefemblancoof the decay of the light in that part of th eBody, and fo his Wort ieemeth to be much raifed, and deceives the/g/tf, for the light which cometh to the Eye, in a Byramidal former >(as shall be s hewed i n_, the enfuing difcourfe)cometh with a blunter and bigger Jnole, andfo is feen more evidently, whence ariieth a won- derfull eminency , the efpecial caufe whereof is, be- caufe there is much more fhadow thenneedeth inthar' pdrt, where the light decayeth moft s fo that the vufuai lines failing, that part cometh to the Eye in an accuter and Jkarper angle , and therefore cannot-' be feen fo perfeddy, infomuch that that part - ' feemeth to fly inwards, and (land farther off. Thus when the Four parts of a Body are much raifed , and the hinder fly fufflciently inwards, there appeareth very great heightning, which giveth a wonderfrll Spirit, and after this fort Titian beguiled the_j Eyes of fuck as beheld his mofl admirable Works 0 . » ** ' ' r ♦ *■ 4 • * l - r i £ • < . • Of the Vertue of Light » T Ight hath fo great forco in TiBures , that ( in my ^ judgement) therein confifteth the whole^mr^ there- of, if it be well underflood, an contrarywifey the dife orace__j if it be not perceived * and evident examplo whereof we may fee in 2u Body proportionably drawn , I % which 3(5 The Art of Painting. which being yet withour his lights , sheweth very beautiful l, fo far forth as it is wrought, but if after^ wards itr' shall be (hadowed without judgement and arti fo that the fhadowes be confufedly placed where the lights ought to be, and contrarywile the lights where the Middle of the Jhadows should be, and the conca- vities and convexities dilorderly fuited* without any Imitations of 3\(ature it were better it had never beeri either drawn or lightned, whereas having lights well dif- pofed, it doth not only add perfections to the draught but fo fets it off from--/ the Flat that it feems to be imboffed . And in this venue and power confifteth the chiefeft excellency of the Fainter: Infomuch as this point moflproperly concernethhim_>j by making his coun- terfeits feem to be as much raifed, by reafon of the ftriking of the light, as they are indeed in the Carvers work* by reafon of the matter,whichf as all Men knowjhath height and depth , the right fide and the left , the fore-part and the hinder , wherefore they fay that the thing which the Carver intendeth to make, is in the CAFarhle, which afterwards becometh good or bad , by cutting and forming , but to return to the light , I fay this moreover, that although it be of fuch efficacy, that it diminifbeth the grace of the draught; whereit wanteth (asisfaid) yetthe/nar- tificialnefs of the draught cannot difgrace it, whence we fee, that if the lights be well and proportionably bellowed throughout a Body, which is ill proportioned and without aSAFuJcles, it contenteth the Eye of the beholder fome- what the more, by moving him to a defire of feeing the ^M.ufcles2S\6. other ncccflary parts, in fuch a Body as in the Figures of Bernard, Zenale, FriViliano , viz. the glorious refurre£lionof Chrijl painted by him, over, the (fate in the Cogent of the (Jourch of Cjrace^j> in <*J \\tilane % The Art of Painting. yf and many other Hiftories of his doing as well in__, colours , as in blacl^mdypbite, in tbefame place. Wherein may be feen TiSures, made without Mufcles , and other neceflary accomplishments, for the moro gracious representation of Sye^p leafing perfection, but yet well placed, and with their lights ; mod artificially dif pofed in their places , infomuch that they leem_> to be imhoffed outwards , fuch is the force of thefe lights in which you shall alfo find admirablo perfpeClives and forefhortnings , wholly proceeding from the orderly dif- poling of the lights i without^ which thefe draughts would have proved imperfeCt , looting much of thatr grace, although they were well placed, fo that- wo find many Tainters , who being ignorant of the art of proportions , only by a little pra&ice, in difpofing their lights in fome tolerablojw?, have notwithftanding been reputed good which commendation^ they defervenot, becaufe they neither have the Art of pcrfpeCthes nor the true reprefenting of any of the lights . Now for aio Example of the true art of exquifite bellowing of thefe lights , that Teece of Le: Vincents mongft many others, may ferve us,infteadof all the reft of his well lightned TiCtures , which is now to be found iro^. Francis Church in zSALilane, where he hath painted the conception of our Lady 5 which (to omitr' other excellencies therein ) is molt fingular in this point, for the perfections of lights ^ thofe two pieces doneby the hand of <• Antonio C one gg lQ are mofl: admi* rable, which are yet to be feen in the famo 4 with Cavalier Leon: dAretino , in one whereof is painted fair fo, with fuptter upon a Cloud, and in the othfE* Danae and fupiter defeending into her lap in the forme of a Lj golden fhomr, with Cupid and other Loves, having their lights fo well difpofed, that I dare boldly fay > & 38 The Arc of Painting. no other Tamer is able to match him in colouring and lightning ; which Degrees were fenL_> him out of Spain, from his Sonne Tompey a carver. Moreover cSMichael zJngelo, and Raphael Vrhine, the Fathers and Mailers of painting are reputed moil rare and divine in lights, out of whole S ebooks I may truly fay.almoft all the famous T aimers of Italy havo attained to the worth of their fame . Now then-dnfomuchasthefe//£^p, are of fo great vertue, we ought toufe all diligence^ for the perfed attaining to the knowledge thereof, by applying them to our draughts, as is shewed, infomuch as the art of proportion , motion and forefbortning, hath but (mail ule or commendation-* in a Tainter , without the knowledge of thefe lights, found out by reafon and art, and .not taken by bare imitation^ from the imbojfed models, under a_* falfe apprehenfion of the light , without order or di- fiance , as alfo in the lines and fuper-ficies of Bodies : wherefore they prove falfe, and altogether contrary to the rules of art. ayfnd thus much / thought goad to not^ concerning this point"" purpofng now to begirt he treat i fe 0 /light it felf, by the afiflance of hints who inlightneth theunderfland- ing offuch as fubmit themjehes unto hints, with a pure *5\4 ind wholly prepared forthereceivingof fo divine beams. Of the Ufecefity of Light. IT appeareth by that-* which hath been_> hither- to fpoken, that a peece of painting drawn-* in propor- tion having his truo motion, and put in colours with- out the lights, is like a Body in the; dark^, of whole Quantity or Quality a Mancannor' judge , fave only by the help of his underftanding, thatr" is by that inward conceipt he hath of the thing, and not by any outward , infomuch as it is hidden from the external light y which con- The Art of Painting. j p concurring with the internal , by means of the ‘Beams proceeding from tho Eye , makes the diverfity of Bodies known-; to the underftanding, after the fame manner, as they receive their light naturally. Wherefore l will handle the lights, Jaying nothing of the shadows, although they be handled together with them , for the shadows do necejjarily follow the lights , being caufed by the decay of the light , taking fo much the more force , by how much the more forcibly the light flrikgth upon the Body, whence^ arifeth that exceeding great raifingW heightningtf/^ no* tural plain, in a Body receiving the light according to bis proper nature. And by this we shall know, how the lights , reflecti- ons , and natural rebatingof th flights, do vary, according to the diverfity of the Bodies, by altering them-* as shall be faid, wherein alfo we shall fee; the very per- feBion of th cart- for without this, neither order , forme , proportion , motion , compoflt ion, or figure •, can attains to their perfeBion, like unto a Body without*' [cituation or fpirit, or to counterfeit Starrs without^ the light of the Sun s giving them their brightnefs anfwerablo to their qualities , whereby they may be feen. But" now as touch ing my propofed matter, I willFirfthandlo the na- ture of light, and afterwards ( by the help of Ufatural Bhilofophy and tho Opticky , beingtheFirftpartof tho perfpeBives ) I will fpeak in_> general of the primary and fecondary lights , then of direct and reflected lights , afterwards how by (^Mathematical rca[ons,div css dift:in£t lights may befeen, by reafon^ of the variety ofthe Bodies, and finally of the qualities of things appertaining there- unto, how it may be underltood in all things, and in the Elements themfelves- K i Of 4 o The Art of Painting. Of the S\Qtture of Light T His WordZ/^isdiverfly taken : Firf and principally it_> fignifieth the Image of that~> T>ivine Sfature which is the Sonne of (jod, and the brigbtnefs thereof, which tho Tlatonick* called the Image of the dhine mind. Secondly the comfortable operation^ of the Holy (f boll : Thirdly that divine venue, which being diffufed through all the creatures* is in Men their divine grace, and in all other living creatures > that power whereby they are preserved and defended, as that" of the Seraphims ac- cording to TDionyfim : Fourthly that intelligence; in the ^Angels, which breedeth that Joy in them, which pafleth our underftanding, yet diverfly received, according to the diverfity of the intelligence ap- prehending it, as sSAdarcilius Ficinius upon_j Flato not- eth: Fifthly in the Heavenly Bodies it" caufeth abun- dance of Life, fignifyingan_; effeftual propagation, and vi- able bright?iefs in the Fire , with a_> certain accidental! power proceeding from the fame : Sixthly it^is taken in Men for the Light of their ^^underftanding, which illuminated! their Tatient or paffable underltanding; (and in a WordJ for the difeourfeof reafon, and the knowledge of divine things : Lad of all it fignifyetha quality proceeding from the Sun or the Fire , which fo difeovereth colours, that they may be feen, and this ( as the Teripatcticki lay ) is the caufe of Formal %eafon, whereby coloured things are feen, whofe Shapes and Images pafs to the ph ant fie , and efpecially enlighten the Eyes, in which the Image is formed, which Firft paf- ethtothe common fenfe, afterwards to the phantafe, and laftof all to the wider /? anding, this Light is difperfed and extended unto all Bodies that are openly propofedunto it, in which colour , and a hemtifull resplendency of thick and The Art of Painting. O 4 f and dark Bodies is difcovered fas the Tlatonicl^s fpeak) caufed by this light , together with certain beneficient and generative venues. But where the Sun • beams Ea\\ not 5 and are not at all difpetfed, there (the beams of tlio Eye being retrained ) remaineth a darl{ colour, which difpleafeth? and evil effedeth the mind, fo that all things according to their capacity , feel the power of the light , which joyning all Creatures to.it felf by this lively heat , and piercing through them_> all giveth to each of them his proper Quality and Ver - tue. , f Whence thofe who are judicious in this Art, ufe to give lights to all things after one and the felf famo manner ; infomuch as we fee? that the Sun riling above our Horizon , lightneth all things in an inftant, the reafon whereof is, becaufethe light hath no contrary which might hinder it, with his aflion. fVherefore^j it perfotmeth his operations in the Air, in an infant. And hereunto appertaineth that, which the Tbs* lofophers fay concerning the darknels of th cSyjght, that if' is not caufed of any dark or black colour , which coloureth the Air, butr' only by theabfence of the Sun; whofe prefenccj) and brightnefs equally lightneth our whole Hemifyhere, and would in like fortr lighten the whole! Earth , together with all compound Bodies? if they were transparent as the Air is? but being Opake, thicl^and corpulent , they receive not the light inhis perfed bright - ne[s, fave only in that part which is direUly oppofite to the Sun , and therefore in this our Hcmejphere ( becaufe the Sun never pafleth perpendicularly over our Zenith) the Earth can never be fo Ibhtned, but that one fide ot b- o ther of it will be fhado’wed , which happeneth unto thofe parts , which lye direBly under the equinoBial line , where the Sun at Noon doth fo lighted the Earth, and the inhabitants , that it giveth light to the whole dr cum « L jeremi 42 The Art of Painting. ference of round Bodies, and there is no Jhadorv feetl unto the very Feet. Whence the judicious in this Arf, forbid us to give 1 i ghts in a p ndure unto all ‘Bodies, after one and the j elf fame manner. But befides this confideration-; of the light illumi- nating , and the Earth with all earthly Bodies lightned , there is another more forcibly rea/on drawn from the grounds of the z5\d athematicks, vi%. from the vifual lines o f perfpettive, together with the Eye , for the better underBanding whereof we mull note , that Three; things concurs to our fight, the visual lines, the coloured Body, and the faculty ot feeing, which is in our Eye , the Vifual lines lightned ( which are the proper Matter and fubjed of the perjpeclives ) come to our Eye in a_> ! Pyramidal Forme, theBafe of which Tyramis reffeth in the Objed, and the conus or angles thereof, cometh to ouri £ye more blunt and obtuje : And hereby we lee the Object more plainly andjdiBindly *, but if tho Objed be afar off, the conus or angles of the Tyramis comes to the Eye fJjarpcr and lejjer, and them.; our Eye cannot^ difeerne it fo clearly as otherw i fe it would. Secondly it is to be noted, that the Objed com- eth not" to our Eye , but the Vifible fpecies or Jhapes aro diffufed through the clearnefs of the aAir unto the Eye , which fpecies are nothing elfe but certain-* Images, like unto thofe which we lee in_>a glafs, when a Man or any thing elfe Banding againff it", is reprefented therein. And if the coloured Body or Objed Band neer to this Image, it comes to our Eye in the lame quantity and big - nefl of the angle of th cTyranus : Now becaufethis angle comes to our Eye in an obtufe and blunt form, the Image alio feems great, .and fo is difeerned more diBindly, but when the coloured Objed Bands afar off, the Image comes to the Eye in a very [mall and / lender angle , and there- The Art of Painting, 4? therefore filleth nor 1 the Eye, butwavercth in fuch fort, that it cannot bo clearly and dijlinctly difcerned. As touching the Third I have no more to fay, but that the faculty of feeing is reduced into Art , being formed by the concurring of the other Two things required before, vi^ the vifual lines , (without which the Eye cannot feej) and the Image of the coloured Body* which informeth the Eye, by reducing it frono meer ability into aft, and informing it more perfe&ly with a great ^ Image, by performing his operations better, and caufing the thing to befeen moro apparently and diflinBly : whereas with the fmall Image of a thing too fardiftant, the Eye cannot be fo well informed, and therefore it cannot lee the thing perfectly. From.; 'which grounds, I draw thefe Two reafons, why the felf fame "Body cannot be lightned equally in all places. TheFirftis becaufethe light doth nor" with all his brightnejs illuminato any more then that part, which is diredly oppofito to it , being not able to illu - jlrate the other parts fo perfectly, by reafon of the Na- turo of the dar\ Terrene, and grofs Body, which fo hindreth the beams , that they cannot pierce inwards , and performe their cffeBs perfectly. The Second reafon^ is taken from the 3\fature of our Eye, for as the Firft part of the Body is feen and placed nezveft the Eye,, comes unto it with a bigger angle , fo is it alfo feen_j more difhnBly, becaufe it is moro lightned, but the Second part thereof, being farther^ of comes to the Eyeiroa le/Jer angle, and being lefs lightned, is not fo plainly feeru as the Firft, and by this rule, the Third part will be obfeurer, and fo the Fourth proportionably until! the Eye canlee no farther. Now if you ask mo what the Fainter ought to do, when-/ he would paintTwo, Three , orfwMen,ftand- ingone behind another, all of them equally receiving L 2 the 44 The Art of Painting. the light, I anfwer alwayes according to the former DoBrine, that although they be equally lightned, yet we muft paint the Second which is farthej offfrom_> the Eye darker , and the Third more then him , and the Fourth molt of all, &c- untill our Eye can fee no more. The readouts because the Second [landing farther off, cometh to the Eye with a lefler angle , wherefore he cannot be feen fo evidently as the F irft, the fame reafon there is of the T hird, &c. The fame is alfo meant fide-long . , wherefore what- foever F aimers have obferved this FoBritie^ have be- came excellent , and nothing itf/mowr to the chief Majlers of this <*Jrt, as Le: V incent with divers others named be- fore, together with fac\ Tintoretto tLAlarco de ScincL^i Frederick^ Faroggi of XJrbine , Faulus £ aliarius ol V erona y Lu- cas C jangiafus , the Faffans , and Ambrose Figinus. S\ (o\v the whole Do£trine delivered in this prefent (fhapter is (l for the moll fart) taken out of Ariftotle, Alhazen, Vitel- lo, Thomas Aquinas, and (to conclude) out of all the bejl Philofoph ers and Divines, (whofe Opinions 1 approve of) and thus much may be fpoken for the Opinions 0 / other zS\T en* Of die Vertue and Efficacy of Motion. I T is generally confelfed of all Men, that all fuch < 'SMctiom in FiBures, as do moft needy refemblo the Life , are exceeding pleafant, and contrary- wife thofe that which do farthefl dilfent fronts the fame, are void of all gracious Feauty , committing the like difeordin Ofature, which untuned firings do in an infrument. Neither do thefe motions thus lively imi- tating SSfature in FiBures^ breed only $n E ,ye-plea(ing con - tentment p Of Actions and Geftures. ' 45 tentment , but do alio performe the felf famo effeUs > which the natural do, for as he which laughetb, motmietb , orisotherwi k effected, doth naturally move the behol- ders to the felf fame pa/si on, of mirth or forrow, lo a picture artificially expreffing the truo natural motions , will ( furely ) procure laughter when it laughetb , penfiyencfs when iti s grieved &c. And that which is more, will caufe the beholder to wonder, whenit wondemb todefire a beautiful young woman to his Wife, wheru he feeth her painted naked , to have a Fellow feeling wheru it is afftiUed * to have an appetite, wheru he feeth it eating of dainties , to fall a fleep at the fight of a fweet fieeping "Picture, to be moyed and wax furious wheru he beholdeth a battel mod lively reprefented, and to be ftirred with difdain and wrath at tho fight of fameful and difhonefl actions , All which points aro ( in truth ) worthy of no Ids admiratioru then thofe miracles of the antient Mufi- tians , who with the variety of their melodious harmony * were wont - ' to ftir Meru> up to Wrath and indignation , loye > warr , honourable attempts , and all other affections as they lifted,* or thofe ftrange conclufions of the *5Mathe> matical motions , recorded of thofe undoubted wifo Men, who made flatues to move of their own accord > as thofe of Dedalus, which ( as Homer writeth) came to the battel themfelves, or F ulcanus Tripodes mentioned by zAriftotle > or thofe guilded Semtors which walking up and dowru at the feaft of farbas the Cjymnofipbifl , ferved atuth cTable, or thofe antient^ ones of Mercury in JEgypt, which fpake, &c. In which kind of artificial motions , Leonard Vincent was very skilfull , ( who as his Scholar Signior Fran - cefco *5\Lelis(i the great Limner verifies ) invented a certairu conceited matter, whereof he uled to make ? Birds thatr* would fly into the while walked up and down_> flood flill opening his Treafl, which was all full of Lillies and other flowers of clivers forts, at which fight tho fiing and other fpeSators were rapt with fo great admira- dcwthat they then ealily believed, that Serpent of the fame metal, was heard to hifs , that cer- tain^ Birds Jung , and that ut to returnthither where Ileft, 1 amof Opinion thatinfo- much asthefe Motions^ fo Potent /» affecting our Minds , when they be moft artificially counterfeited. We ought for our bettering in the knowledge thereof , to propofe unto us the example of Leonard Vincent above all others : Of whom-, it is reported, that he Would never exprefs any motions in a Picture, before he had firfl carefully beheld the Life, to the end he might come_> as neer the fame, as was pofiible : whereunto afterwards joyning Art, his Pictures furpaft'edthe Life. T his Leonard ( as fome of his Friends, who lived in_» his time/ have./ given_> ouC ) being defireous to make_j a Teece wherein he would exprefs certain-. Clowns laughing (although he never perfeQed it_, more, then in the Firfl draught ) he made choice of fomo Oownes for his purpofe , into whofe acquaintance after he had infmuated h i m i e 1 f, he incited them to a feafl, amongft other of his Friends, and in the dinner^ whileheentred into a pleajant vain , uttering fuch Variety of merry conceits, that they fellinto an exceeding laughterj though they know not the reafon thereof, Leonard diligently obferved all their Cjejlures, together with thole ridicu- lous Of Actions and Geftures. 47 lous Jpeeches which wrought this impreflion in their, eSSfinds, and after they were departed, withdrew himfelf into his (. bamber . And there poriraited them_> fo lively, that they moved no leis mirth in the beholders , then his jefls did in them at the banquet. T hey add moreover that he took fpecial delight, to behold the (ycjl ures of the condemned, as they were led to Execution, to the end, that he might" mark the contradingof their brows, the motions of their Eyes , and their whole Body. In imitation-* whereof, I hold itexpedientiotZiTainter, to delight in feeing thole winch fizht&xB cuffs, toobfervethe Byes of privy murtherers, the courape of wrafllers , the aBions of Stage-players , and the^ inticing allurements of curtejans , to the end he be not" to feek many particulars , wherein^ the very Life and Soul of painting cmifijleth , wherefore^ l could wifb all EAdcn care- fully to keep their Brains waking, which whofoever fhall omit his invention^ (out of doubt) mil fleep , fludying perhaps Ten Years about the adiono/ ^Figure, which in the endwill prove nothingvoorth , whenceall famous inventors, for the avoiding offucb grofs defeds , have the rather (hewed themfelves fub- tilo Searchers out of the effeds of nature, being moved thereunto by a fpecial delight^ of often feeing, and continually przQiizingthatwhicbthey have_j> preconceived , Jotbat who fo kgepeth this Order, fhall unawares attain to fucb an habit of pradice, in lively exprefing all Adions and Geftures, heft y?£f/ftgfcpurpofe, thatitwill become an other nature. And whofoever shall diligently confider fafar Sc- jlius his admirable worlds, wherein^ all the aBions are mold naturally appropriated toth cSubjeB, will eafily concludo that he trod in Leonards fteps , and for this caule was he highly efleemed of ‘Raphael Vrbine , unto whoirw they fay he was wonv* jejlingly to (Sy often, that it" feemed zu very ftrange thing unto him, that they two being fuch neer Friends , in the Art of Tainting , yet fpared nor M 2 each 48 Of Aitions and Geftures. each other when they offended , a fpeecb furely well befeeming honejl men , albeit they lived together in l'uch fweet emulation > which humour if it were- to bo found in thefe our Dayes, the World might be repu- ted right happy, but now malicious envy ( to our great dif- advantage ) taketh place inftead thereof, c5Mini firing Matter to ignorant and abfurd people, infolently to dtfgrace and carp at other Mens rare perfections. Of the Sffeccjsity of eSMotion. T Heorderof the p/tfcereqaireth, thatlshould con- fequently fpeak of Motion it felf, namely with what Art the Tainterowght to give Motions bell fitting his T Bures , which is nothing elfe but a correfpon- dency to tho nature of the proportion of the forme and matter thereof, and herein confifteth the whole [pint , and life of the Art, which the Tainters call fometimes the fury, fometimes the grace, and fometimes the ex- cellency of the An , for hereby they exprefsan evident diflinUion between the living and the dead, the fierce and the gentle, the ignorant and the learned, the fad and tho merry , and ( in a Word) difcoverall thefeveral pafiions, an d(fe fares which Mans Body is able to perform, which here we term by the name of Motions, for the moro Jtgnificant exprefling of the Mind by an outward and bo- dily dc /non first ion, fothatby thismeans;«)iw the reafonable_j> Soul, ftirred up either unto good ot bad, according to their private apprehenfions. Which things, while all 'good Tainters propofe to themfelves, in their Works , they exprefs fuch admi- rable feercts of Sffature , as we fee, which being moved by Of Actions and Geftures. by that /lining vertue , which continually lying kid in the hart, is outwardly shewed forth in the Body, By extending her branches through the exteriour zSAd embers; infuchfort, that-' they may alfo receive motion, hence fpring thofe admirably motions in TiBures ? which ap- pear as diverfe as the pafions whence they have thein origmaf-are different, of which point fomewhat shall be faid in this enfumgTrcatifc. Now the perfeB knowledge of this motion , is ("as hath been shewed) accounted the moft difficult part of the art, and reputed as ^divine gift. Infomuch, as here- in alone confifteth the companion between Tainting and Toetry, foras it is required in a Toet, that betides the excellency of his wit , he should moreover be fur- nished with a certain propen/ton and inclination of will, />/- citim and moYmg him to % erfefy , ( which the antientr cal- led the fury of ^Apollo and the z5\4ufes ) fo likewife a Tainter ought?, together with thofe natural parts which are required at his hands, to be furnished withal tural dexterity and inborn flight of exprefmg the principal motions even from-/ his cradle; other wile it is a very hard (if not impoffibl c) matter, to obtain to the abfolute per* feBion of this Art. Th c truth whereof, experience it felf may teach us: Infomuch as there both have been, and are many ex- cellent Tainters y who for the in, extraordinary skill in the art, are moft highly efteemedof all Men, as being able to make fweet coloured piBures , having their loyns and joynts in all points anfwerable to the rules of propor- tion, underftandmg e. Anatomy and painfully lightned and fjadowed , but becaufe notwithftanding all their care and induflry in this behalf, they could neven be fo happy, as to attain unto this faculty. Theyhavo left their works to the view, and hard cenfure of po ferity ; only becaufe they expreffed unsuitable and lame f/e [lures , . N ifi p Of A&ions and Geftures. in their TiBurcs, which they had flolen our' of other Mens inventions : namely, out of theirs who wero naturally indued with tha grace, and perfwading them- felves that thefe would very well ferve their turns: they imagined [uch ABions and (/eftures in their own Tic - turn, as being ufedbefides the purpofe, for which they were Firft indented, could notT be approved for good, be- caufe they offended irr divers circumftances , whereforo thofe unfortunate painful Mien (who notwithftanding in_; fome others parts of the art, be fufficiently skilful ) al- though they can-j imitate the oABions and (fejlures of o- ther mentors, yet shall they never be able to make commendable Hiflory , becaufe they be naturally disfur* nifhed of that inborn facility and inclination. Now on_j the contrary part, I deny not, but thofe who are furnished with natural invention y may want.* that patience in_-> their mr\, which the others have;, which propriety arifeth from-> the multitude of their, continual inventions , and ftirring apprehenjions : Info- much, that before they carr_> throughly ftnifh or comp/eat any oncTodyor a/IBion, infinite others arifein-j their fantafie , fo that by reafon ofthegreatr they feel in their invention, they cannot have the patience to finish any thing they take in hand. But the moll abfolute and compleat Tainters ( who are nor' fo much inclined by nature , as perfe&ed by art) endeavour, to choofe out the belt ABions for every purpofe , in retraining the luxurious fury of nature, by that deliberate diferetion which they have irr their Idea, by the benefit whereof, they finijh their TiBures with de- light and contentment , alwayes exprefling in each member , ascertain hidden refemblance of the princial motions, where- fore thefe alone carry away the commendation of the; prof off on which is notr’ granted to thofe furious mad-caps , by reafonr of their impatiency, nor yet unto the former over Of Actions and Ceftures. over diligent plodders , becaufe they have not the natural kpiowledge^ of thefe motions , and therefore cannor* ex- prefs theno in their works, as thofe natural inventors will do, with "Three or Four fir obes , whereforo they be- come inferiour: fo thao as well the one as the other ; muft needs give placo to the inventor , who wifely joyneth the indufiry of art, with the gift of nature. Notwithftanding, I am of Opinion, that - " it is po- flibloto attain unto this fo excellent a faculty , (though perhaps not"' with that fpecial eminencyo f natural facility, ) as by indufirious fludy iro the knowledge of thefe motions ; andtheo^x whence they proceed. For from hence aj Man may eafily attains to a certain underjlanding , which afterwards putting in pra&ice with patience, together^ with the other points, he may undoubtedly prove a ju- dicious inventor , who never had any extraordinary na- tural inclination , my meaning is, thao fuch an inventor 5 as guideth himfelf by understanding , shall attains to better perfeBion then the other, who is naturally in- dued with the dexterity , w i thout induftry and patience : for example, if a Man shall diligently perufe the whole Htftory of (fhrijl , our" of doubt he shall gather tho true Idea and of tho pafion ) or other., affeBwns, as the Hiflory he hath in hand 5 shall re- quire. Jfow concerning the way and manner how thefe Actions are to be given, according to the diverfity of Paffions and Af- fections, whichat [undry times, upon federal occafions may move Mens Minds ; 1 hope_j in this Freatifetofhew evident^ examples, although they be fomewhat hard and drawn fronts the fecrets of natural Philosophy, a thing which might feem~, to require a^ Man r/riper. Years, then Jo young a Man as my [elf, wherefore I muft crave pardon for breaking the bounds o/'Modelly, in undertaking the handling thereof, had I not been prompted unto it by the Painters , (it being of fo great ufe and importance ) howbeit , If neither in that which hath been already Jpo\cn , I have fufficiently laied open this poinr', nor hereafter [hall be able to deliver^ Method fully , which / prom fed y yet riotwith /landing this my pains is not to be contemned , infomuch as it will, fat the leaf ) pre- pare^weafie, free and Methodical paflage for every Man to exercife his Wit, which mujl needs prove a^mofl fure and ready way ; infomuch as all the mofl Famous Painters have been directed thereby , who when they went about to counterfeit any ftory. Fir ft conceived the general forme thereof , and then gave to each Figure his peculiar Adtions, proporti- oning, difpofing, and guiding them by diferetion, ac - companicdwith natural felicity. Now amongft the worthy Fainter s w T ho excelled herein, Raphael Vrbine , was not the lead, who per- formed his Works, w lth a Divine If nd of oSAFajefy, nei- ther was Fo/idore much behindhim in his Ifnd , whofe Futures teemed as it were pafing furious , nor yet Andreas qSM onta* Of Actions and Geftures. yj t5Adontagnea~> whofe vain shewed a very laborious curiofity ; Nor yet Leonard del Vincent , in whole there was never any errour found in this point : Whereof a- mon^ft all other of hisTw^r, that admirable laft flip- per of Cbrijl in IfcfeB. St. tTAdarite de gratis in dAdilane^ maketh mod evident - ' proof , in which he hath fd lively exprejjed the pafiions of the but all of them tending to a j certain (lout boldnejs . And as for Titian ho hath Worthily purchafed the name of a greater Fainter in this matter, as his FiBures do fufficicntly witnefs ; iio each w 7 hereof> there (hineth a certain moving yertue , feeming to incite due beholder, unto the imitation thereof, of whom this faying may be well verified \ that_; he was beloved of the W odd , and envied of nature. F inally , (faudentim (though he be not much known) was inferiour unto few 9 in giving the apt motions td the O Sairiti f4 Of Actions and Geftures. Saints & much to revive and animate the (jpeBators. Moreover the J lory of St. F^occho, done by him in_> Vercelli , with divers other works in that-* Qty 5 although indeed all Lombardy be adorned with his moft rare worlds, whofe common faying concerning this An of motions , I will not conceal; which was, that all painters delight to fteal other Mens indentions, but that ho himfelfwas in no great danger of being detected hereafter. Now this great painter, although in reafon, he might for his diferction, Wifdome , and worth be compared with the a- bove named in the Firft Treatife : Yet notwithstand- ing is he omitted by Cjeorge Fafary , in his lives of the Famous T aimers , Carvers , and Architects , an argument"' ( to fay no worfe of him that he intended to eternise only his Of Actions and Geftures. jy his own Tufcanes, but I proceed to the unfolding of the original caufes of thefe motions : And bird for our better under ft anding , I will begin with thofe pafions of thd mind, whereby the "Body is moved, to the performance of his particular effeFts. Of the pafions of the Mind, their original and difference. T He pafions of the mind, are nothing elfe but cer- tain motions, proceeding from—* the apprehenfion of iome thing, now this apprehenfion is Threefold , fenfitive > rational, and intellectual , and from thefe Three, thero arif cThree pafions in the mind, for fometimes we follow fenfitive apprehenfions , and then_> we confider good and evil, under the shew of that which is profitable or unpro- fitable, pleafant or offenfive > andthefe are called natural af- feil ions, fometimes we purfue rational apprehenfions , con- fidering good and evil in manner of Virtue or Vice, pra/fi or diffiraife, honejly or difhonefty ; and thefe are reafonabl^j affeffions, fometimes we imbrace apprehenfions intellectual , regarding goodand evil, as true and falfe, and thefe arej imelleftual apprehenfions . Now the infer/ our powers of the mind are of two forts, either defire or anger, and both of thefe reffect that which lcemeth good or bad, diverfy , for the defiring part either confldereth good and bad abfolutely ; and fo if caufeth love and hhmg, and contrary wife hatred, or elfe it reflects good as abfent, w hence arifeth defire or longings or elfo evil a.s abfent, buf at hand) and fo it breedeth fear, dread $ &c. or both of them as prefent, and fo from the Firft cometh joy and delight , from the^ latter heavinefs and grief the angry faculty confldereth good and evil, as it is eafy o r_, hard to be attained unto , or avoided • whenco fpringeth fometimes confidence and hope, fometimes^- dacity, fometimes diftrufi, and fo defer at ion, & c. fome- O t ttoes 0 Of Adions and Geftures. times if is moved to revenge , and that is ifi_> regard of evil pail, as injury or offence received , and fo it breed- et hanrer, by that which hath hitherto been-, fpoken iLj is evident , that there are Eleven-, pafsions or affec- tions in _> the mind , which are thefe, love, hatred, de fire, fear, joy, for row, hope, diff air, audacity, timeroufnejs and anger, from which there do consequently fomany forts of ac- tions in_> the art, as there may be affections exprefled in_. Mens "Bodies, wherefore we oughf carefully to ob- ferve the motions which are outwardly exprefled, in-, fuch fort, as they do manife/ily point to the roots, whence they jlrino, and difeover the caufes from which they proceed, diflributing them and difpofing them accordingly in-, the ! ‘Bodies , or Thyfiognomies which wholoever shall fail in, shall (quc/lionlefs ) wholly pervert the Order of things, con- founding the ‘Beauty of Hijlories, whether they be Fables, or other Inventions, which are to be painted- How the Body orF hyfiognomy is altered by the ‘Pafsions of themind. TT is a clear cafe, that themind according to the divers affeHions ( whereof I fpake before ) by reafon_. of the apprehenfiens both fenfible and imaginative ) doth diverfly change and alter the Body with fenfible alterations, by vary- ing the accidents thereof, and producing Sundry qualities in_. the members, fo that in mirth, the Jfirits are enlarged, in—, fear they are contracted, in bafhfulnejs they fly up to tho Brain, again, in joy the heart is extended by degrees, vn-> diffleajure'xt is drawn in by little and little, aslikewife in_> anger and fear, but fudden anger and defire of revenge procureth heat, blueing, bitter tall , and tho flux of the Belly , /rar brings coldnefs, the panting of the heart , tho failing of the voice, and palenefs, heavinefl caufeth /treat- ing, and a- blewifls palenefs , mercifulne/s breeds a certain heavinefs, which oftentimes hurteth him t hat is moved Of Actions and Geftures. 57 to mercy, which appeares ordinarily in lovers, in whom there is fucha Sympathy, that whatfoever one indureth $ the others likewife fujfereth the fame 5 Anxiety cauferh dryness and blac\nefs • defire and love , breeds {undry colours, fometimes red, fometimes pale, as we daily lee in lovers, efpecially in their, meetings. Nowall thele pafions when they be exceeding vehe- ment do fometimes bring Death , which happened to Sophocles and Dionyfm the Sicilian Tyrant , when ho re- ceived the News of a de/perate viUory • the like hath befallen divers ethers through heavinefs and fundry othen mishaps have proceeded from-/ the like pafions > when they aflaulted zFAFcns minds , whereof we have divers examples in /lories, which I mean notr to /land upon as being cu thing more curious then necejjary to our purpofc- only I will jhew , of what power and efficacy , fierce math joyned with a_> magnanimous audacity can do, by the example of ^Alexander the Great, who being over- matched by his Enemies in India, was feento realty forth from his ‘Body, fire and light, the like whereof we read of the Father of Fheodoricus , who by the like vehement effeff, breathed ouL->of his heart, as from a burning fur- naccy fiery /parlies , which flying forth jhon and made a found in the zA ir. Fhus therefore we reprefentr all thefe paf- lions /V/^ftory, together with their convenient and proper Motions, we fet forth that great variety which worficih fuck de- light" Wpleafure, that it zllurcth out Minds unto its with a^fwcet kind of compullion, nootherwife then mofl delectably Mufick enchaunteth the Earesc/ the Hearers^ which (as they write') is fo forcible that way, that a certain Mufitian boafled, that by the power of his notes, he caufed iSAA en to grow furi- ous, and afterwards come to themfelves again.- Of P 58 Of A&ions and Geftures. Of the (^Motions procured by the Seven planets. A Mongft the Seven ffovernours of the IV orld ( which tSM ere: Erifmcgiflus calleth V lanets , as Saturn , fupiter. Mars, Sol, Venus, Mercury and Z,^) the chief and principal is Saturn , which hath alfo received divers names of antiquity, as Heaven, Sith-bearer , the father of the gods, Tatrone^j of time, and from his effetts here below; wife, intelligent , ingenious, the feed of great profundity, the Auctor of fecret contemplation, the imprinter of weighty thoughts in Men, a deflroycr and preferver, the SuhjeUor of power and might, the keeper of hidden things, and the aAuUor of finding and loofmg. His influences are partly good, andpartly bad, accord- ing to the diftofition of him thatr' receiveth them, as weeping ? melaticholly &c. he caufeth religious actions, as to bow the knee, look down upon the earth, pray, and fuch like motions of the Breafl and Face , common^ to thofe which pray, or other auftere and fatyrical Fellows, with Head declining, Eyes fixed on the earth, wafting himfelf with a furious flence, and examining his own fpeech, with hanging///?*. Moreover, hecaufeth a com- plexion of colour between blacfl and yellow , meager, dijlorted, of anj hard sift, eminent-’ veyns , aru hairy "Body, f mailer*, Eye-brows joyned together, a thin beard, thiefi lips , with looks caft down , an heavy gate, enter fairing as hegoeth, bciides hemakcsaMan fubtil, winy, a way -lay- er, and murtherer: Now according to this forme of Body, and thefe motions, you may framo any Body fubjed: unto Saturn, that is of the temper and complexion anfwer^ able to the nature of Saturn, fo thaf by that which hath been faid concerning this Blanet in particular, as alfo by thatr' which shall be fpoken feverally of tho reft* Of A6tions and Geftures. jp reft, we may gather one general %ule , as touching the farthermore the true difference between an hone/ man and £ variety one thaO is merry, and a melancholly Fellow, a Man of his hands, and a coward, and fo forth, according to all thofe qualities naturally proceeding from Jupiter, &c. 6o Of A&ions and Ceftures. zLLVLars. The third {Planet is Mars, and by thes TWfisalfo called ^Mayors, the god of wan, bloudy, armipotent, enfifer, magnanimous , bold, inconcpucrable , full of generofty , of invin- cible power y of impetuous pre fence , unrefijlable , a fubvener of the firong and mighty , and a depofer of : he is the Lord of heat , burning and power, th cTlanet of WW, brawls and violence, incenfing, contentions and Wrf Jpirits , and ( in_, a word ) broching all disordered, inconfedcrate and heady actions: his fe [lures are terrible , oW, fierce , angry, proud , hafty and violent : he cauleth M en to be of a red complexion, a deep yellow hair , round Yifiged > fiery Eyes , acm7and yferce countenance , by reafon_j of his intemperate ; info- much tha£_> he is reputed hot and dry, in the highelt de- gree, bearing fw ay over m/ choller - Sol. The F ourth Tlanet is £ 0 /, which hath divers others appellations as Thoebus, «Apollo, Titan , Tean, Homs, Ojins , fiyfrcitcncnt, Fiery , Cj olden JJamiger 9 Radiant, Igni-comus , the ZTye of the JVorld , Lucifer, Multi fidus , Omnipotent , tho Trince of Starrs, th c grand Seignior , he is oh good S\ fiature , fortunate , hone [l, neat, prudent, intelligent, wife, the oovernour , the befloWer of life upon all Bodies indued with obfeuring the /igfe of tho other with his ex- ceeding brightnefs , and yet - ’ imparting unto them all that^ light they have > whence in refpeft of the he is called Tyonifeus , and of tho day e Apollo , as you would fay pollens malum, the dijpeller of evil, where for o the iA thenians called him dteH-UcLxov , &c. He was named Thcebusby reafori^ of his Beauty, and /'Wwbecaufeof the violenrk^t he ins;endereth in thofe Bodies, over which he hath dominion, and -Sol for the preheminence of his light ; wherefores the Afiyrians named him ^ bright , pleafant , powerful , fruitful , tho c5 Mother of loye and beauty, the progeny of the Firft other of tEMan, she that Firft joyned both Sexes together in ^ /cw, the Queen of all yVy, friendly , merciful 5 ever, bountiful to Mankind, embracing all things with her vertue, humbling the ferong and lofty, and ex- alting the and and directing all things; they call her Aphrodite , becaufe she is faid to be born of the froth oh the Sea, and Vhofphorus, or Lucifer, wheiosheap-* pcareth before the Sun in^ the Safe, and Hejperus when she folio weth the Sww, her motions are pleafant and /«/, being given-; to /ports, dalliance , dancing, and embrace- in?s, she makes the countenance amiable , pleafant , and /wen?, working a kind of yphitenefs iio the Body, by rea^ foroof her cold and moifl nature (refembling tho Water which whenio is congealed and frozen, looketh white ) yetr' prettily mixed with red; she caufethMeroto be proper of Body, fair androundvij aged, with blac\rowling Syes , brown hair, of a lovely difpofition, gentle , bountiful, courteous , affable and gracious . EXT 'ercury. Mercury is the fix t P lanet, and of the antient - ' is cal- led the Sonne of ffupiter, the Hcrauld and prolocutor of the gods, the Cfrcecians call him which fignifyeth finning, ferpentiger , caducifer, light- foot, eloquent, gainful, wife , Q_ rea» 6 2 Of Actions and Geftures. rca/onable, Jlrong, potent as well oothe good as on the bad part, the notary of the Sun, fupiters herauld , having com- merce with the fupernal and infernal gods , with the male , and /e; We with the female, molt fruitful, a n Her. ?n aphrodite: Lucian calleth him the Vmpire of the oWj\> o- thers Hermes , or the interpreter , and the expounder of the mi fieri es of his motions are inconjlant, fiippery , mutable , yZrwg, //Wy, prompt and ready, he caufeth a complexion neither very white , nor very blacky along wfage, an forehead , [mail Eyes, not altogether blacky an even h\gofe and lomething , thin beard, long and /lender fingers : the operations which he caufeth in tho minde are witty , fubtile, bufy, (harp, Wary, an d fruitful. Luna . The Seventh and laft Vianet is Luna, of tho anti- ents called P hcebe, Diana , Lucina 5 P roferpina , Hecate , Aden/Irena , Hr 'for mis , Jfocti Luca , wandring , filent , double horned, fafe, night walking, cornigera u, 0^/2 of Heaven , the firftof th ej> godde/Jes, Queen over mens w/Wx, Mifiris of all the Elements , she to home the jlars have relation, and the Elements are i jo fubjeftion, at whole beck the lightnings Jhine, and feeds fpring, the Mother of com. Sifter off hoebus, the tranfporter of light, from one pla- net to another ; imparting her light , to all the other flarrs , and retraining their divers courfes ; the Lady of mine and moiflure, the beftower of riches , the lAQurfe of mankinde 5 the ruler of all flates , pitiful, merciful, the preferver of menj both by tea and Land, mittigating tho tempefs at -Sea , the fubduer of carnal affections. Queen of the world , and vanquisher of Hell, whofo Majefty the birds of the a ire, the beafls of the fields , the Jerpentes i/o the roefs , and caves of the earth , and the fifhes of the fea doe reverence? finally th e^Enemie to Thieves and M nrthcrers. Her motions are moveable , beneficent, childi/h, fimple, ob- livious , Of AfHons and Ceftures. liVious , and curious* she makes a man_^ of a pale comple- xion, intermingled with red of a comely feature, roun Vifaged and marked blackffh eyes , beetles browes , tender and foftfleflo, the Qualities oi whole minds aro fatiability, fa- cility, penfevenefe, affeflion of news , no ready gift in_-> dif- courfing. And Tronic hence fpringeththe whole variety of all the othem motions befides the above named of the Elements , all which ferve for tokens , and fignes where- by we may the better attain to the knowledge of the na- tures of people , and their^ affections and pafeions, anfwera- ble to the venue and influence of the 'Planets , which the antient iAatbematitians have by long experience obfer* ved , neither did thofe excellent M otifecs to a~ ny other end and purpofe. Wholoeven, therefore * shall be throughly poflefled with thefe things, im- printing them well in his mind, and proceeding ac- cording to their dirediion in his Pictures , may allure himfelf thal_> his works will prove nor' only commendable , but even exceeding admirable , expreffing in_j them fadnefs by Saturn , by fupiter contentment , by thefe matters , gave to the Devils in_j his laft judgement in the V alkane , not*' only the aBions and gejlures of a Angels and nimbly an doSive Men, together with other earthly ornaments , but alfo divers other look} and countenances , moft fuit- able to their wicked intents, *as in his own difcretion he thought*" fitted; whence we find ( fharon and the other Devils, to have feveral countenances , though all of them dreadful and malicious , in which point Leonard Vincent was much renowned, and the other Five men- tioned in the Second Chapter of this Treatife , who were the very light and direBion of all the other good T aimers, whom I therefore pafs over, becaufe they are recorded in the lives of the Tainters, who were re- puted little inferiour to Michael Angelo. How all the motions may accidently befall any man though diver fly. TlAving hitherto difeourfed of the motions arifing **- from the Elements, the humours and the bo - dies , as alfo how they differ each from other, accor- ding to their feveral operations in men , and their vari- ous effecls 5 it remaineth thatt I should now fpeak in particular of certaine principal properties of thefo motions, taking natural examples , ( as my manner is ) and applying therrwto the Tlanets , from whence this variety of cffeBs and influences defeends, which particularity of motions'^ it shall beexpreffed, it will difcoverall forts of pafions of the mind in each Dody or Thyfiognomy , but becaufe each man is fubjeS to fome one of th cTlanets, and therefore ismore efpecially inclined to fome one afeBion, it will not be amifs .toshew how upon occafion any ajfeBion whatfoever may beftirred up in a Man of any condition, or conflitutiom the mamfcjlation whereofrifeth wholly from the F i ve Senfes, as the inftruments whereby the Of Actions and Geftures. 6$ the obj eels be apprehended : as by the Eye vv e_j Th Fwl fee that^ which is comely and undecent ; by the Sr ^ cs - Ear we hear founds pleafant and unpleafant, as praife and dijpraife 5 by the Jfojlrils we fmell fweet and (linking, ftrong and fharp Javours , by the tafle we difccriL-* fweet, (harp , unfaVoury , thick^, fait , jliptif virulent* bitter, fat , flrong, un - pleafant , and fas zArifotle laith ) /wrrf and [oft : Finally by the feeling , we touch cold and hot, moijl and t/ry, as alfo fharp, light, fippery , heavy , hard, [oft, grofs , / lender and fuchlike qualities, from whence all actions, whereunto any kind of 2Wy is fubjeB, arecaufed, though more abundantly, and more apparently in fomc, then in others, whence we are given to underftand, than* as thefe qualities are diftin£t between themfelves, and are feverally applyed to the Tlanets, fo likewife th cafeBions proceeding from them do vary, accord- ingly as the fenfes , apprehenfions and pafions , togethen. with their objefls , viz. colours, founds , /wf/r, and matters do differ. Now although there be but^ one particular in/lincl ineach private Man, which inclineth him to good or whereunto that" Free (fovernour and ^Arbiter of his afeBions mod naturally learneth, and from whence all his ordinary rfS/ow proceed , notwithstanding there is no impediment why Man may not be affected diver fly , by any of the exteriour fenfes fthe ordinary inflruments of all our operations ) by framing in his mind, pafions anfwerablo to the objeU apprehended by his fenfes , and fo caule fuch like A&ions to break forth in him, as be repugnant to his particular inflinB, the; truth whereof we read in David King of the Hebrews • who was lafcivioufly affected , when fronts the top of his T 'allace, he beheld Eathfheba , bathing her lelf naked • and at the fame inflant was ftirred up unto cruelty in_, commanding Vrias to be fain , although he were natu* R rally 66 Of A&ions and Geftures. rally both a moft continent and clemcntTrince. Again his Sonne Solomon the Wife, wasfubdued by his fenfe, and bewitched by tho inticings of Concubines and Idolaters , things much abhorrent - ' from the Inltind of his nature: And thus in perufing of Hijlories, we shall find how divers mo foaliantTrinces, have upon occafions proved fainthearted , and been ftained with covetoufnefs , many pittyfulMen been given to cruelty , religious Men to revenge and malice, chaft Men to luxury , flout" Men to cowardice. See . obferving moreover the alteration of mirth into for row, lamentation into laughter, coyetoufnejs into liberality s which I therefore omit-', becaufe we daily fee lively examples of people fucceffively affeded with fundry vices , as rapines, grief loy^,dijhonejly , theft, murder , hatred, revenge, trechery, tyrany , mfolency, &c. and contrary- wife with religion, mercy , loyalty , clemency , liberality, hone - jly , victorious , defiro of honour, &cc. as Thieves being ashamed to lay themfelves open-; before compa- ny, for_> fear of being difeovered, will make af fair /hew of true Men; and cur tefans and light Houf wives, iro the prefenco of other grave zSXTatrons, will bare the countenance^ of very hone/l women, concealing thein, ha~ bitual naughtynefs, for Fear of the df grace and punifhment , which would otherwifo enfue-, and fellones to avoid the danger of the halter, will take upon them the habit of hone [land civil Men. Hence then the Tainter may learn how toexprefs nof only the proper and natural motions , but alfo tho accidental , wherein confifteth no fmall part of the dif- ficulty of the thing much pradized, by the antient Tainters (though with greatr* difficulty ) who even, endeavoured to leave no part of the Life unexpreffed. It is recorded that Euphranor gave fuch o touch to the counterfeit o fTaris, that therein Of Actions and Geflures. 67 therein the beholder might at once colled, that he was "Umpire of the T hree godde/Jes, the courier of Helena^ and th e flayer of ^Achilles , and of ‘ Tarajius the Ephefian , that"' he painted the Idol of the d/Itbenians in fuch fort, that he feemed angry, unjujl, inconflani > implacable , gentle , merciful , &c. agaiio we read how Ttoi reprefented in Oreftes, fury and grief mixed together; and of ano- ther who refembled iio ‘Olyjjes a dilfembhng^/m? ; as alfo of < tAriflides the Thebane , who(iro the Perfon of a wounded IVoman giving her child [uckfex prefled pain, and y&ir fo lively, that it is hard to fay whether sho were more pained with the fenfe of her wound , then^- fraid, lead her r/;/W lacking milf, should fuck blond ; who alfo is reported to have beetle the Firft that be- gan to reprefeno thefe perturbations of the aSAdbind, and was afterward followed of the other Tainters, as a guide herein, as it was once by chance found upon afmall earthen to/ of in his Qhild-hood, made by Leonard Vincent himfelf 5 wherein you might - " evidently per- ceive, the fimplicity and innocency of a Qhild , accompa- nyed with undemanding, mfdome , and Majejly : and al- though if' were the countenance of hut a young and tender Child , yer* itleemedtoshew forth a kind of [age anti* quity , much to be admired. Of divers other necejfary zSKdotions* B Elides the Motions already declared at^ large, for* the better underdanding of fuch other as might-" hereafter ferve for our purpoje , it is to bo obferved, that there aro certain others of no fmall importance , which aro to be referred unto thao which is mod comely, and agreeable to Mans Body, as well i/o refpedof fuch ejfetts as proceed frorro the fame? as alfo iio regard of the times and feafonr, together with R ^ ib& (58 Of Actions and Ceflures. thcconfideracion of th c objects, offering themfelvesto our [enfe, for the better attaining whereof, we muff in all tho aJBions and Cjeflures • make choice of the chief ed and mod principal , Searching therro out mod vide George Vaf.iri diligently , and deducing them from tho data piiruia capih. circum/lance s , whichare found in the part tobe reprefented, as Leonard Vincent did in the Carton o of St. aAnne , which was afterwards tranfported into France , and is now to be fee n in sIAdilane, with are- I'm Lovinm a Fainter, in the border whereof, there are many draughts , exprefling the great joy and mirth which the Virgin (AMary conceived , when she beheld fo goodly a_? Qhild as ( hriji born, confidering with hen, felf that she was made worthy to be his Mother : and likewifeiioSt. Anne , the joy and contentment which she felt, feeing hen> daughter become the B lefjed Mother of (fod. Moreover ho that Piece which is to be feeniro the Qoavpel of the conception in St. Francis (fhurch at with the hands , Of Actions and Geftures. 6g hands , inflruments , and other earthly melodies, which motions were exprefled inthar' flngular piece of St. C ect b which Raph. Tainted with Four other Saints , which workfls now to be found i VLjSolognia at St. Johns in the mount, the Agony alfo and forrow of the af flitted, which Anton: Cor - regno exprefled moft artificially in his owrL_> City, in Chrifl praying l n_, the Cjarden > a$ like wife 'want , pant- ing, fweating, fleeping , threatning , and the motion of tho flaming fire : all which are moft lively exprefled by them in^diverspto/, and now to come to the Toets, that-* which ^r/tf/fofpeaketh of his Orlando , may ferve fora fit example herein. His leggs and hands he [hakes, and breaths withall, Whiles from his Face the liquid drops do fall . And ins another place, of a Man grievoufly difeafetl, fa* mifhed , and outr’of heart* in the Perfon of the famo Orlando , when Angelica found hiin^ lying upon the Jhore . ‘Rough, grifly • hair d, Eyes pairing, vifageWdn , patch , dW d// deform d in fight > In fine he look} to makg a true description In face like Death , in hew, life an ALgy ptia n . And that of Dant defcribing a Shipwrack in a great Tempefl at Sea, where the Men are faved. And even as they , who panting at a wacl^, Scap'd from the Sea, and gotten to the [hore, Turn'd to the dangerous water, andlook^ back* And thus muchfor examples, for he that - * would fet dowri^ all the examples which would ferve for the shew- ing, how in every effett we ought to choofe the moft proper motions, without which the Ritture vvill be of fmall worth, should grow infinite-, we muft alfo have*? S re- /o Of Actions and Geftures. regard to the feafons, for the Summer caufeth open, and ivearifomcj) allions , JubjeB unto [matings and rednefs ; the fainter re drained, dram in, and trembling- the Spring merry , nimble, prompt, . and of a good colour, the Autumne doubtful , and moro inclining unto melancholly then otherwife, notwithftanding if you be to paint a labouring Man , you mull without - ' any regard of the [eafon{ though more of Summer thenu> any of the reft ) reprefent him with raifed limns and ftrong mufcles [welling and [landing forth, /wealing and burning , efpecially in fuch as carry burdens, d ra w gr e a t weights, o r u fe vehement leaping , walking , jcjling with weapons, fencing and fuch like exercifes, Iz&ly 9 /Ieep cau« feth no motions of vigor or force to be reprefented.but as if the body were without life ; W herefore we muft take heed , vve doe not ( as fome ufe) give unto thole which feep fuch kinds of actions in their lying, as in probability will not fufferthem to feep 9 as vve fee oft- times in Men lying athwart fioncs, benches , &c. being re- prefented with their limns [upported by their own force » wherein it is evident, that fuch Tanners know not how to obferve a Decorum . Farthcrmore, there are motions proceeding from the Eaf, as daily experience teach us, for Journefs and bitter- nefscauk the bending of the Eyelids, and other parts, fweet and favoury , a chearful countenance ; the like of good [mils, whereas contrary wife bad [wells mako us draw iru the SSfoflrils , look afide, turn_j the back^, with wrinkled Eye Aids, - Eyes almoft clofed, and mouth drawn in ^ ; of hearing and touching , they alfo caufo .di- ftin£l motions in our_. Bodies, as for example, from /harp founds and noife, rifethfudden fear and affrighting, from_» touching any hot thing, quicl^and/peedy motions, from touch- ing cold things, refrained and fearful motions, as iru fuch in tho winter touch Ice or Snow . And fol conclude of feeing , for in looking upon things exceeding bright „ the Of Actions and Geftures. f\ the fght is offended, anda Man withdraweth himfelf for fafegard in beholding obfcure things ; the Eyes are fanned, by drawing near, and as nr' were clogjn? them as "Painters ufe to do, whero they would look . near on a_> thing, which<^ft#iscaufed by aPiBureCexr' afar off : zAnd here I -will conclude thofe fmple Motions which arc of mod Importance, proceeding unto thofe which con - ffof multiplicity. Of the Motions of all forts of Cloth, T He ci Motions of 0 oth, that_> as the Folds or Flails ought - ’ to runne out every way like boughs from the StemnieandPody of the Tree: and mull be fo mado that one Plait rife from another * as one bough, orono Jlream-j of Water lffueih out_j from another, in fuch wife, that there be no part of the Qoth wherein thero appear not - ’ fome of thefe motions • now thefe motions would b e moderate, gentle and free, without - ’ any interrup- tions, more to be admired for their grace_> and facility, then for affe&ed pains and indujlry , and becaulca all forts of Qoth have their moiions, as well as Bodies, it -1 mull needs be that they differ between themfelves, ac- cording to the differences of the clothes themfelves. Wherefore, theymuft be more light in_> fine Cloth, as Sarcenet, Linnen , Cyprefi, &c. in which the 'Plaits area fmall, raifedup, trembling, and as it -1 were fweetly warring, fomewhatr’ puffed up by extending and jbreading them* felves like a Sail, where the motion receiveth moro ftrengthby th etvind, they do fall clofe uporu-the bare skin, as appeareth plainly inwomens garments, in whom you shall fee their 1 hin clothes ftretched upon_> their bare skin, on that-’ fide where the 'wind bhrseth, and &/&%>« up- on the contrary part, the fame fallethoutr’in mantells, the loole ends of girdles an dgarters, all which motions do S a raoft 72 Of Adtions and Ceflures.- mod: fitly belong unto the apparel of nimphs and others goddcffes, inrefpe£t of their lightnef 5 grofs and dul jhadows are found iji_^ftiff cfof/w, where the Ttox ar c few and grofs , fo that they are capable but of flow motion , and therefore they fink downwards * and can hardly fall clofe to the We sl{[n, byreafonof their own grofjenef, which fuftaineththem,andthefew^/o«/'do chiefly ap- peare in cloth of gold , felt, thick^ leather &c: in which the <±Air can have little force or none , wherefore the plaits or folds have their motiom accordingly as they are handled and prefled by the wearer- as under the arme, and under the knee, by opening and firetching out the legg and the arme y ever making grofs, hard, and fliff folds, with- out"' all fightings or plyablenefs , in fuch fort, that if a_>Man may lay Finer cloth upon them, they willeafily hear it up withou t prefiing down. T emperate motions , which are neither toogrofs , non. too fight , are fuch as appear in the folds of (luff and othem * cloths of Fine woof which therefore may convenient- ly be moved of the <*Air, and are ply able toa_>Mans limns , and fo making molt fweet and pleafant folds , they follow the hare very well, becoming very nimble, and falling plyahly about tho loyns. And hence have ‘Ra- phael, ichael dAngelo, Leonard, (faudentius, the molt perfeB pattern for their general ufo in making the mantells of the Saints , Tavi lions or Tents , which are made with this kind of Drapery, befides thefe, there are alfo other kinds of motions called turn- ings and era /lings , which are proper unto Damask^, Taj - fataes, Sattins, Cloth of gold &c: in which appeare folds crofing and breaking each other, by the divers Venue of the Drapery . Whence the Venetians have taken their manner of Dra« Of Adtions and Geftures' y) Drapery > who make'theim folds much different from the fa id motions of Raphael and the reft, which indeed ought not to be ufcd anywhere fave in counterfeits by the life , where it feems they aro not onely tole+ rable , but a!fo very rcquifitc; but in my judgement they should not ordinarily be ufed in Hifories , and yetr'if occafion_j do require that they should be reprefen- ted in any place, they ought - " not to be done wholly, but only fomewhat and relembled with a_^ pretty touch andgrace 5 in fuch fort that they may not favour of an_- affeded imitation of the natural garments, without graces or^r order which is often ufed of many with fmall rea- Ion ( as I think: ) there are alfo other motions as of velvet , limber leather, &c, all which differ one from another, but I think thefe may fuffice, without^ proceeding any farther in the difeourfe hereof; only let thc^ Tainterbz careful and indufriom, as well hereinasin thc^ reft : Infomuch as in the excellency and perfection thereof dependeth , as well hereon, as on the reft; becaufe thefe motions of garments comefo necr the life, that it is evident, that they are able to make a ^picture feem dif pleafingandilfavoured, procuring the f corn and laughter of the beholders ^ fuch were fome of thofe which were ufed by our Great (grandfathers Sonne Two hundred Years fince, which leemed like round fields, or candles hanging dowrm , which fome of our., late trorkpnen of good Note have alfo ufed , making their folds too long, hanging dowiu' like Canes , without - " any kind of grace. Another., defect in the Drapery of old (Pictures I find, which is; that - " they feem to be made like unto Scales in fome fort : which I think, they took from the imitation of the models of Men, cloathed with paper , which point afterwards attained to high perfection , by the great indufry of Dramant s and zAndrm T Mon 74 Of Actions and Ceftures. h\e)boughs, mull berefembled w'ith fuch an aBion, that they may more ftrike one againft another, by yeilding and declining from-, the part whence the jp/Wbloweth, then the flijfer (and therefore flower) the Body notwithftanding remaining Jlrong and / ledfajl , the boughs growing from thence, begin a little to bend, and the others which proceed from them a_, little more, fo that in the end they shew the fame agility, in_» the leaves moft of all; it is true that all Trees have not a_> like motion : For the Willow movetb , and is flaken ex- treamly, theTm-tree nofatall, or very little, and fo forth of the rell according to their natures , but by the way we muft Note, thztyoung and tender Trees of Body, begin Firft to move from the bottom of the Body, flaking their boughs and leaves together. Herbs like wifo whether they bear flowers or fruits, have trembling motions , according to the conditions of the wvinde which bloypeth them* andalfo accordingly as they are forced or oppre/Jed of any thing- as fon, example , an Ear of C orn whena^Z?/W fitsfeedinguponit, whichwill noton- iy make it bendy but even w-eigh it down to the Earth r as well obferved thaLj (fountry Fellow? in Cfreect_j> of a Fainter v Of Actions and Geftures. 75 “Painter, whether itwerc this behalf, as may fufficiently appear by his prints and coloured pieces, in which you shall find the legitimate motions, even un- to the fmallcft hairs of the beard, as in than" of the Duke of Saxony, which was alfo drawn again by Pitianus , and afterwards in the hairs of St. Sebaflians dog. In the print T %■ of y6 Of Actions and Geftures. of the horfes of fenje and death , and intho great leaves of /flirting up into the iTir , and fprinkling all about. Clouds alfo in th c difficult to draw after around thcn_^a flat , and after you have pra&ifed much by the Heads of plaijler , you mult en- deavour to draw much afterthe life, in blacky and white, before you undertake the Art of Limning . T he Colours to be ufed in Limning are termed thus* famine, Indian Lake, mites I ^ hite l%ed\ %ed Lead, ' Czerus S r j- . cd„j Indian Bed, "Burnt Ocur, &£c. Kiaflicot , Yellow ocur, Eng . Ocur, Pinch, \ Sap Cjreen, 1 {"Ultra Marine ,j PincfandBice, fDutch Bice , I Cjreen Bice, P err a Vert. Smalt, ndipo. ( jreens< IQ all Stone, 1 r , . \iMumme, 'fvory black, BroWns< ( ullim Earth, >Blac\s< co j) , \Vmber, I 1 j (X berry dtone, j j V ui As -8 The Arc of Limning. As for Vermillion , Verdigriafe, Orpiment, See. they are too courfe and gritty to ufe in 'Water colours ; ‘ Turnfoile , Litmus blew, Vpllet, ‘Brffil, Logwood , Saffron , are more fit for. Wafting prints then curious Limning. Thei way and manner of preparing colours, ■ White Lead. To make youvwhite lead that it^ shall neither rufl nor ), 'bine , both which are no fmall inconveniencies in_» the a little Indigo finely ground. Umber . / f * * ? / B ratin') This colour is fomewhat-^rai/yj to cleanfe it; Vi burn i u go The Art of Limning. burn it in a Cruciplc, afterwards grind it and it will bo good. Indian ^Red* DarkfRed) Becaufe this colour is very courfe, you may ufc V tuber > and a littlo lakp tempered, which is as good. B lackj Ivory and (fherry-flone , are both to be burntr' in a Cruciplc, and fo ground •, [herryflone is good for Drapery , for a blackJSatiin , temper with itr* a little white, Indian Lake and I ndigo, heighten^ it with slighter mixture, deep ^ enif* with \voryblac\ this was Hilliard* way. Ivory B lacl{. BIack)Gx\nd Ivory with a pittance of white Sugar Candy » which will preferve it from cracklingoutofyour Jhel. Indian Lake. 'Purple) Grind this with a little gum water, and when is ground' fine, before you put it into the fheli, mix a little ponder of 'white Sugar Candy with it, which will preferve it from_o crackling , after this temperaturo you. may fpread it thinly with your finger about th z/hetL Obfervations in (grinding. Leave not your colour too moifi, buu/;/c^and clammy , if after your colour be dry iio your fhell, you rubbing your fingers thereon shall find any to come off, ir” muff be better bound with gum, and if too much gum, it will time and be apt to crackle off after it is ufed. To tvafh B ice. B lev) Gri nd your Bice firft very purely, then filial large - © The Arc of Limning. 81 large fhellw ith clean-? water, put the B ice therein and ftirr it, then let it fettle One ho wer, take off the [cum and powre off the water, then referve the bottomo when it is dry for ufe: To deepen this, ufe Litmus Water. How to choofe your Tend Is, Choofe fiich ^Pencils as are clear and /harp pointed ’ not di- viding into parts ; of thefe you mull have in readinefs a feveral Pencil, for every feveral colour. c f o prepare a Tablet to work^on with Miniture for Ticlurcs by the life. Take an ordinary playing polijh i tr* with a Dogs Tooth y and make as fmooth as you can tho white fide of it, cleanfing it from— > all jpots and extuberances $ then choofe of the bed abortive parchment, aTiccepro* portionable to your Cardy which piece with fine and clean /larch pafl fail on the card, temper the / larch before^ you/^yHton, m-^the/W^of your hand, that it may be free (vomKjiots b \ctth^j card thus pajled dry , then-* making your grinding- (lone as clean-? as may be, lay the card thereon-? with the parchment fide downwards ; then with ^Toothburnifh or poli/h the backfidc^as hard as you can, Note that the outfido of thesis beft to Limne upon, and muft therefore be outmoft. T be ([round colour for a Face . YourcW thus prepared, you are to lay a aground of primer of flefh colour before you begins your worthy and that>? muft be tempered according to the complexion of the Face to be drawn; if the complexion be fair , temper white y red leady and la/e y if an-; hard fwarthy complexion * mingle with your white zndred a little fine aflicot y or X Englifh 82 The Art of Limning. Englijk Ocur, but Note thaf your ground ought al- wayes to be fairer then-, the Face you take; for it is a facile_j matter to darken a light colour , but a difficult to lighten a deep one ; for in Limning you muff never heighten, but work them down to their juft colour. Your ground thus prepared, you muff lay it on the card , ("ordered as before) with a_- 'Pencil bigger then ordinary, lay it on as Jmootb, even, and free from hairs of your Fenc'd as ’tis poflible^>, which that you may do ) fill your Fencil full of colour, rather thin or imatrijh, then_> thicly and grofi, and with two or threo dmbes of your greats Fencil, lay it on in an inftant, the nim- bler it is laid on , the evener the colour will ly. Note that you oughts to cover rather too much then too little with this prime- cover fomew'hat more of the card with the ground colour , then you shall ufo for the Face. This done, take a pretty large Fallet of Ivory, and beforeyou begin-* to work, temper certain little heaps of feveral fbadoyces for, the Face, which you muff tem- per withyour finger about the Fallet. » f * The Order of Shadows for the Face . Shndtvfs In all your Shadows , remembers to mix foro ophite, ( exempli gratia ) for the red in the Cheeks , Lips , &c. temperZ,rf%, red Lead • and 2 l? little Kvhite, for the blew, as the Feins f &c, a little Indigo and white for blerx> jBice is never ufed in a Face, for th cfaintejl and Wakefl colour or [hades. Lake and white, a little; Ow, and a little Indigo , adding thereto if you will a fmall pittance of P/V/c^or aTALa/licot, for the deeper (hadows, white Sng/i/h Ocur > Vmber, for the darkefl and hardcjl fbadows , ufe Lakg^j and JP inf^ mixt with Vmber : Note that blacky mu ft not by* any means be ufedin^a Face, for other shadows your own % The Art of Limning, bwnobfervationumuft dire£t you, for it is impoffi- ble to give a general for the shadows m all Faces, unlefs we could force nature toobferve the fame method in compofing and modelling them, fo thar' one in every pun . Bilio should refemble the other. For your Light to draw by a_; Northern is ac- Light counted beft, which if it fall /looping down from an high windoiv, is beft. Place your felf to your ‘Desk , thar" the light may ftrike in fidelong frorro the left-hand to the right, andoblerve that:" in ail your works it will shewtotheJ beft advantage, when it is turned and feeio by the fame light it was drawn by. Let a Saucer or clean Shell of fair Water be ever on your right hand , wherewith youmay in Lim> tig. temper your colours and wash your pencils, together with a brush pencil dry, to cleanfe your mrk^ from duft . alfo a sharp penknife , wherewith to take away fuch /fecks or /?^Vrasmay cafually mix with your colours, or fall into your card-, you may alfo conveniently cover your piBure__j with a piece of paper, whereon to try your gen* cils before vou bes;in to work. c To begin a Face. Having thefe accommodations, draw the Thefirji lines of porphile(i. e. the outmoft Jlroal \ ) of a Face dra » s. hf - w ith la\e and ivhite § mingled very faint, by thisyoumay conveniently mend the draught ( if fa/fe ) with a deeper mixture of the fa mo colour, the lines being exactly drawn* and true proportion-* obferved ( which is the chiefeft thing of concernment ) next-' obferve the deeper and more remarkable fh adorns, and with the fame faint Crimfori X £ colour * 84 The Art of Limning. colour of lake and white 3 give fome j light touches and marks fomewhat roughly of thefe jhadowes, which afterward you’l finish. ' The Order to be ohfer'vcd in drawing by the life , The Order of p i x ft you muft only dead colour tho Face , drawing fi>/t J J « 111 firing, as the Oyl-painters do, and not" meddler with the reft, and this firft fitting commonly takes up two hours. Second fating. The fecond fitting vvill require Four or Five hours , in that" time you are to go over the Face very curious jly , obferving what ever may conduce ei- ther to likgnefs, or judicious colouring , alio obferving of thefeveralgrac*/, beauties , or deformities , as they ap- pear in nature y orelfe in fmoothnefs of shadowes, or clofe and fweet couching the colours. Third fitting . The third fitting commonly takes up two or three ten, and is fpenr' in ■clofing what was before lehimperfeB and rough-but principally in giving to every deep fcadow, the firong touches and deepnings as well in the darf Jhadowes in the Face , as in the Eyes, Eyebrows, Hair and Ears, and thefe touches are ever the laft part of this bufnefs, and are never to be done till all the#4/rand ©ra/tfrybefinisht, thefe touches (if well done) add ex- ceedingly to the life. C oncer n in short, ihy our dead colouringy ou muft cover your ground with the aforefaid red , and the fubfequent (hadows. 3\fote ) Be nor" too curious in your fir [l wording , bur' regard a good bold following of nature, rather then-; fmooth curiofity , the roughnefs of the colour, you may end ar an- other fitting. T he fecond ivork^ of Limning . The m/being done, the next is the faint blews rtefecond about the balls and corners of the Eyes , and the gray and b/ewifh under the Eyes, the Temples, &c. which you arealfo to workf tom the uppermoft part of the Face almoft all over, bur exceeding/wm and faint, byde- grees,fweetning and heightning your fh adorn, as the light falls: And in going over the Face, be fureto mark our the hard Shadows in_j the dark fde of the Face, under the Jfofe, Chin, Eyebrows, &c. As the light falls , and fomewhat^ jlrong touches , inthofe places bring up your work toge- ther in an equal roundnefs , nor giving perfection-/ to toany particular parr of the Face, but vifi ting all the parts curioufy, and in a kind of randome, by which means you will better obferve the likenefs , roundnefs, poflures > colouring , or whatever elfe isrequifite to the perfecti- on^ of your work^ Y Having 86 7kc ih.rd Having done the fainter or lighter /hades, and Procedure. fomewhatr" fmoothed and wrought theno into tho red , you may go over the hair, difpofiflg into fuch forms, folds or tramels , as may become youo Till ure bed. You mull at firft only draw them_> with colour as near as you can, [uitable_j> to the life , and after wash them lightly atr' the firft, and then once more perufe youn* wo>\, being careful to fill up the void, empty and bar o places , which aro uncovered with colour , and at laft deepen it fomewhar’ more (Irongly then before in tho decpcfl Jhady places, (till carefully obferving the life 5 thus much for the firft fitting. The Order of Limning in the fecond fitting. The party being fet juJlin-> his former Seat , you muftmoft exactly obferve and curioufly delineate with your pencil , thofo feveral varieties of nature, which you did rudely trace out before, to do this you muftufe tho fame colour iruthe fame places you did before, working, driving and fweetning thefamo colours one into another, to the end thatr' nothing be left in your worb^w ith o hard edge , uneven , or a_> lump together, but alfo fo Jwept and driven one into another, with the point of fome- what lujbarper pencil, then you ufed at the firft as thao your Jhadows may lye [oft and fmooth, being dijfterfed and gently extended into all, and towards the lighter parts of th cFace, like air or a vapoury fmoakg, but before this you muft carefully obferve all the/hadows an d colours. rhe ground behind F or the (f round behind tho TiUure, it is the Tidure. commonly blew or crimfon, fomewhat like a Sattin o r red T ehet Curtain : if blew you muft lay it thus, y ouo "Bice being pure and cleare wash, temper as much in a shell as will cover a C at 'd, let it be all throughly moifl and The Art of Limning. 87 and Well bound withgww, then-) with a filial! pencil, go about with the fame colour, the porphile, that is the utmofl Jlrokg and ambient fupetfleies of the TiBurc ■ this done take a greater pencil and therewih wash over Tome what careful- ly the whole ground that you mean to cover with a blew, fomewhat thin and watrish, and then withareafonable vi 'r pencil full of colour and flowing, lay over that place with a thick and fuhftantid Body of colour, which before you had only washover, in the doing of this you muft be very [wifi, keeping colour moifl that you have laid, not permitting any part to dry til the whole bo cove- red. places you will have thefe flrorig and hard lights and reflexions to fall, which is feen in_^ Sattin or Velvet, there; lay your lights with a thin and ypaterijh lake y and while it is yet wet with a jlronger and darker colour of lake tbick^ ground, lay the deepning and hard Jlronglhailow, clofeby the other lights; your beft way is to have a_> piece of Sattin before you to imitate. After this lay your linnen with a flat vy>bite, Fo , Utthod im and the Drapery like wife flat , then go over the To “ ches ° your face again, endeavouring to reduce each shadow to its true perfection , therL^draw the lines of the Eyelids , expreffing the rcddark^S^oflril, the shady entrance in- to th cEares, th c deepnefs of the Eyebrows, and thofe moreperfpicuoustt^i and marki * n the face , with a pen- cil fomewhat more curious and sharp then before, you may darken your ground as you fee will be moft advanta- gioustothe fettingout th cTiXure. ’ 88 The Art of Limning. Tht h.w Next go qycr your hair heigbtning and detpnim it as you shall fee by the life, drawing fom clocks loofc- ly over the ground, which would otherwife feem un- plea [ant. Linnen shade. To Shadow in Linnen, ufe blacky, white, a little yellow, and lefs blew, the b/acly mult be deepned with Ivory- blacky with which mix a little Laly, and Indigo, or Lit - mm blew, thus much for the fecond fitting. Fhe manner of finishing at the third fitting. Third ftdng. h e t fo rc i will b e wholly fpent in giving the firong touches and oblervations neceffary for the rounding of a face, which you will now better lee to do 5 the apparel, hair and ground, being already finished. In this fitting curiou fly obkrve whatever mayconduce to fi- militude, which is the chiefeft thing, as Scars, F\loles i &c. glances of the Eyes, defending and circumficUions of the oSXLouth, never make your deepe/l shadows fo deep as they appear in the life. "Thus much of the Face and three fittings, F or Ornaments thus. orient. ^ymour five a) for colouring armour, firft lay Li- quid Jilverflat and even, which dryed and burnish with a Footh , temper the shadows with Siher , Indigo , Litmus , and a little Vmber, workthefe shadows on^the Silver as directed by the life . Gold Armour. For the goldarmour , lay gold as you did fiver* for the Shadow , Laly, English Ocur , tempered with a littlegold. rearis. To exprefs rottndnefs and lujlre of F earls, youn* ground mu&bcwhite and Indigo , youn, shadow blaclyand Finely The Art of Limning. 80 ‘Diamonds areexpreft with Aground of flat Li- Diamonds, quid /ilver, the deeming is (Jherrifione, tot^and Ivory's the deeper the fhadow, the fairer the ! Diamond . Lay a ground of fiver, burnifht to tho hignefi km*. of th c^Ruby, theiotake Turpentine ol the be/I and pure/I, and temper with it very neat a little Indian Lake; thero taking a needle, or fo trie (mail Iron injlrument heat- ed in a Candle , ( lay or drop ) a little of the compofitioio upon the fiber, fashioningthe Jlone in it* round or J quare, or what fafioion you pleafe, with the point of your in/lru- merits, youmuft let it lye a day or two to dry, if it bo too long in drying, add to your compofition alittlo powder of clarified TATaficf; Ibis receipt u not commonly known. Fora ny green jlone, te m p e r y our Turpentine. o E me rau Ids, with Ferdigreafe, and alittlo Tumerickjoot, fir ft ferap- ed with Vinegar , then let" it dry, then grind it to find powder , and temper it. Mix Turpentine^ with Vltramarine , Sec- s *? hire ~ Note thaO the ground to all mud bo Liquid fiver po - lift. oj[ true Receipt to make liquid gold . ; Take of fine leaf gold, the Value of is, 6d , ^ugoui grind this gold with a flrong and thief gum- water upon o reafonable large Jlone , which you mu ft grind very fine, and painfully ; as you grind it, ftill add more of youo flrong gum-water, and though the gold look never lb Mac. ^ and dirty Tis never the worfe, having brought-’ it to acompetent finenefs y wash itiio a great fell as vou did 2 Vice-, &c. Being very clean add to it a littlo quantity of TMercury fublimate , with tho point of your Knife « which youmuft temper with it, and a very little gum to bind it in the (hell, and as it Jetties, and begins to dry in r the /bell, shake it together, and remove; and fpread the gold about the Tides of the (hell, that it may be altogether of one colour and fnenefs , ufe with fair ivatcr, as you do the other colours. Not,. So for liquid /liver, only obfervo ( and ’tisa fe~ cret) that whcn_> your fiber either with long keeping or moijlnef of the Air be comes {lamed and nt/ly ; you muff to prevent this inconveniency, before you lay the fiber Cover over the place with a little fuice of frarlick^, which will prefer ve it. / M Of Landskip 0 I i n drawing Landslip with water colours ever begin with the 5%,andif t here be any Sunbeams, do them firft. Purple Clouds. For the Turtle Qouds, only mingle Lake and white > reiiow. Th c Sun-beams, Adaficot and white. Note r . Work your blew Sk^e with [malt only, or Vltra- marine . Note 2 . At your fir ({working dead colour all the piece over, leave nothing uncovered, lay the colour [mooth and even. Notei. Work the Sk[e down_j in the Horizon fainter as you draw near the Earth , except in tempefluous skies, work yourfurthcrc5^o««^///jfo that they should feem_>to be loft inth caAir. *°' e 4 . Your firft ground muftbeof the colour of the Earth o and darl{j yellowifb , brown , green, the next fiicceflively as they loofein theirdiftance muftalfo faint and abate in their colours. Note s- Beware of perfection at a diftance. Notec, Ever place light again flidarl^, and ^r^againft light ( that is) the onlyjway to extend the profpeB far off, is by oppofing light to Jhadows , yet fo as ever they muft loofe The Art of Limning" y i loofe their force and vigor in proportion-, as they re- move from the Eye , and the-> ftrongeft Jhadow ever near eft. band. , temper your [hell of white , and you shall fee it become inltandy perfect: white, however dead and faded it was before, befides this water aUayes tho Bubbles in white and umber, which are ufually very troublefome in the grinding them. Some general obfervations in Aiiniture. t. If your colours peel or by reafonof thegreafinefs of your Tarcbment will noL_> lie on, mix with them a very little Ear wax, and t’will help them. 2. Sit not above two yards from him you draw by. 3. Draw not any parr' in the face of a picture exactly at the fir ft, neither, fnifh a EMouth, Eye or Jfofe, till the reft ofyournwl^comeup, and be wrought toge- ther with it. 4. When you have finished the Face, make the par- ty ftand up to draw the Drapery by him. 5. Let the Tarty you draw be fet in an higher featthen your felf that draw. p 2 The Art of Limning. To ma!/ of .V^/7^ one pound, mixt the Oyles together, and let all Hand over the fire till the Sandra\e bediffolved, if the fire should chance to catch hold on this, clap a pewter dijlo over it. Concerning W ax-worfor Moulding, to mah the Moulds . T ake a good big lump of plaijler of Vans and rL ’ UouU ° burn it in a Queiple till itr* be red hot^ letit cool, thenbeat it" very fine, and fearfe it through a "Tiffany Sie've ; be very cautious that" the wind come not at it, for that" will hinder its hardening ; after it" be tempered keep it wrapt up m_; a clean brown paper, ufe it thus; take any Earthen on, TewterVcfiel, thatis shallow, and put tensor twelve fpoonfulU of fair water in it, then prepare your fruit, and bind a rag round it like a cord in a wreath long wayes on the fruit: then take fome Unfed Oyle or ( which is mor@ cleanly) Oylo f fweet Mlmonds , with which in_^ a pencil be- fmear the Lemmon , or ()what other., fruit it be) on the one fide, which lay uppermoffyour Lemmon thus prepared, takelomeof your fifed plaijler of "Paris, and temper it" in the fore-mentioned water to a pretty tbiefnefs, then-» as fpeedily as may be with the help of your ffioon, . caft it on the oyled Lemmon , lay it o jl-> very thief, leaft the thinnejs of the TALould fpoil the worf when_j’tis hard- ned( which will be in eu fmall time)) take away your rag , leaving the linnenfk ill fall in it’s half mouldy which done tu rn the hardned fide downward , then Oyl the other- half of the Lemmon together, with the edges of thd mould i a 94 The Art of Limning. mouldy which the rag did cover ; then wafih your porringer oi'vejfelwhcre the former plai/ler was clean and prepared s and caft on more plai/ler of Tarts as before, obferve, if" mud: not be too thicl{ when you caft it on> and after., "tis hardned, you muft put no more water to it, for then it will crumble • when you have done the moulds fo, and made a notch that onemay fall fitly into the other, tjre them-/ clofe together, havingbefore well Oyled them, and keep them for ufe. To cajl in tbeje zSAToulds. To ca ft- U fe the whitejl and purejl V irgins wax. To colour the Dp ax anfwerable to the things you mould . r ° coloHr - For a c R s addijh your ground is Serus, which muft be afterwards painted over with Lal^e, the top of the 'T^ddi/h painted with Ferdigreafe, all other fuch colours muft be tempered with gum water-, gum water is thus made, diffolve a lump of pure gum dAraback about - " the bignels of a Walnut, in two ftoonfiills of jab watery herewith tem- per your colours. Note thatr' every thing <£\Touldable is either all of one, and the fame colour, as a ( Lemmon ) or Jlriped and particoloured with different colours, as a Tear, Tearmain^c. Now fuch as areof one colour maybe eafily caft all of the fam c colour; but fuch as are yaricated muft be kept out afterwards by colours tempered with gum water (as above) you colour your wax by putting into it whileft it is hot and melted in-j a Cj ally-pot , a little linnen bag of that colour you ufe, provided that the colour be before bruifed very fine. As to particulars for the Lemmons or aJ pricocks, take only 1l urmcrickjrL^ a bag, for Oranges turmericfiand red Lead well tempered; ^Apples, Tears , o r (y rapes, turmericfi and a little Verdigreafe, IV allnuts and figs> mix turmeric^ and f nglish Ocur ? and Vmber all in~> a bag together, (jucumbers The Alt of Limning, 95 or Hartichoaks, Teefcods or Filbirds, turmeric verdigreafe Sggs and Serus, all put into feveral baggsznd fleept in the Fir- ginswax, when’tis melting as before mentioned, for Da- mafon bru ife C harcole, Indigo and blew Jlarcb in_j a bag toge- therefor flesh colour, white Lead, and^rnwY/w/mixt, &c, T o counterfeit and wash it ^/;iover as far as your outlines are, which will prevent your colours from— > finkhig or flowing. st/l farther obfervation in grinding of colours . Obfervc in grinding ultramarine and other colours, that your The Art of Etching. pg your motion be not too fwift, but grind it gentle and flow, becaufethe Jwiftnefs of the motion , caufeth the f tones to beat, by which confequence your colour will Jtarte oil, loofe fometh ing of it’s Luftre, efpecially if it be a colour of no great Body as Einck^ and Indigo , &c. obferve, in grinding white, that you grind it not^too much, lcaft it pro vegreafy or oyly, or of a dirty colour . How to prepare Vmber. Tak cVmbcr and grind it very ’fine, put it into an earth- en pot ox gaily pot, of fairwater , coveritover and keep it" from dufl , and in frojly weather, let it freeze untill it thaws ofitfelf, then power off the water, and when it is dry put it up in paper for your ufe. And when you temper iti n-j your [hell, ufe a drop or two of white Onyon water which will preferve it from cradling. The Art of Etching. The grounds and %ules of Etching . B Efore that"" you begin to Etch uponL^ copper , it is very neceflary topradfifo the Art of drawing , till you be able if need requires to draw any head after tho life, or to draw a defign , for if you in* tend to praSice the dTrtof Etching , you willfind it very profitable to draw after good prints, which are well de- figned , andgraW, and when you have praBifed fo long that you are ablo to coppy any print, or drawing very ex- aBly-, then draw after good Heads of plaifier or figures , according to your own fancy , which will learn-; you to fhadow according to dffrt, if well obferved, there- fore be fare when_j you draw after plaifier , to obferve^ very exa&ly to talced the true outlines ox circumferences , and thenL take notice how the fhadow falls , then_-> fha- dow it very faint and [oft, where need requires. The printswhich I recommend unto you as abfolutely the befi to Bb learn pg The Art of Etching.' learn to Steb or Cjras>e after, be the prints of Henry Cjoldshis and Hernon EM idler, therefore it is very convenient to leaan to batch with th cTen exaBly after, either of the aforefaid prints of (foldflis or EMuller, and when you have brought it to that perfection-, and can draw very well after plaifler, you may praBife to draw alter the life ; but beforo you draw after the life, you mu ft be very exact and true 1 n your outlines or circumferences. The lnflruments with their particular names ■which are ufed to Etch with all. A f'opper plate policed, a pieco of ground bound up in a_> piece of Silf or Tajfatae, and preferved from any dud or gr cafe ■ and about twenty JYjedlesoi all flags, the beft are made at Q ca f e ; then take the Ufeedles and let them_> indifferent deep into fome round fender flick, s about a flpanlong, with a 5\(eedle at one of the ends of the flicks, and a pencil at the other, a feraper, a polijher, and two or, three good French gravers, wellgroww/and whetted, and a pair of Compafles, a 'flitler, i'omcgreenrrax, a Bottle which holdeth fome half a pound of flngle nAfta /omiftop- cd clofe with fjfiwaXj fome whiter Lead, a Stiff, a hand Vice to hold the Plate over the fire , an Oyl f lone . The ife and property of every particular In flmnent . The CopperPlate is the only matter to Etch upon; theground is to lay upon the Copper Plate, when they are bcnli warmed ; your CAfecd/cs are to hatch withall upon the ground, the pencil is to wipe away the bits of ground , which rife when you hatch upon the ground with your Hflctdles, the feraper is to fcrapc_j outr' any thing that is amifs, the Polisher is to male efmootb any place that_> is rough , I'o that you canmend any place that is amifs ac- cording to your own Mind ; the Gravers are to mend here andtherea ftroaf where need requires. Butnote, that" your (gravers muft be ground, and whet very Jharp andfmootb, upon an Oyl flone_j before you ufe them, , your The Art of Etching, 9*) youL, Compares are of very littlo ufe iru Etching , ex- cept it r' be to nteafure a di (lance , or jlrikc a Qrcle> the Ruler is ufed to hatch all the jlraight batcher or Lines upon the Plate. Thcgr^umzxisuled to make a fFall round about the edges of your Plate, to keep the oA qua fortir from running off from the Plate , the Aqua fonts is the finisher of the work, when you have hatched the de- fign upon the Plate with your Needles. The whiter Lead is ufed to [crape upon the badgfide of the drawing or print that - " you Etch after. The Stift is ufed to draw through all the outmoft Lines or circumferences of the print or drawing which you Etch after. The Oyl [lone is to whetr’ your (gravers upon; having thefe things in readinefs, Note that if it be a black Ground that lyes upon the Plate, then you muft take white Lead and rub itr' upon the bacl^fideot thz print or drawing which you intend to Etch after, but if it be a white Ground, then you muff take black, Lead , or a piece of Charcole and rub on the bac\ ^ of your print as aforefaid. The manner and way to mal^e the (ground. Take a quarter of a pound of V irgins wax, and half a quarter of a_> pound of Expoltum burnt , oEzAmber One Ounce, of Ma/ltc fiOnc Ounce. Having all thefe materials in_^ readinefs, you mull take the AAAafiic\ and the Expoltum^ and beat them very fine in a mortar; this be- ing done, take a new earthen-* Tot, and put the wax into it, and fet it upon-/ th c fire, let not the fire be tooto,whichifyoudo itw ill burn the ground-, therefore when they are throughly melted y take it off from the fire > and pourthe^mW out into a Tot of fair water , and make it up into a Tall, andpreferve it from du(U and when you will ufeit, take a, quantity o£ it andbinditup in_^a piece of Tajfatae or Silfi, and ufe it as hereafter. <*A red (ground. Grind red Lead, very well tempered with Vernifh. Bb a A joo The Art of Etching. A white Cjround . Take of wax one Ounce, Bpfin two Ounces , melt them-j together, add thereto a quarter of an Ow/a? of Venice^ Scrits , finely ground qj[ blacky (/round. sputum. ^Jfbhaltum two parts, Beeswax one part, melt them together, being warm, lay it thinly on^ with a Lawn rag . Another (/ round . Grind red Lead with Linfccd Oyl; Note, your ground mult be laid very thin. L he manner and way to lay the (/round upon the Blate . Takefeme ( harcole and kindle them, thisbeingdone, take an hand-yice and /crew it fafl to ono of the comers ofthePlate, as near to the edge as you can, becaufo you mull lay the ground all over the Plate, then-; take the Plate and hold it over the fire , till it be lo warm to melt th t ground, then take the ground which is bound up and r«6it to and fro upon the Plate till it be covered all over alike; then take of the fliffeft Feathers out of a Buclq wing that is not ruffled , and fpread the ground very thin , and fmooth every where alike upon the Plate, but have afpecialcare you beat not* the Plate too hot, lead: you bum the ground i which if it be, the ground will breakup when you put on the^^/om>andfpoil the Plate? you may difeover when it is burnt , by its riling as it were fandy, which if you perceive, you mull take a clean Imnen rag, and warming the Plate,wipe the ground off, and lay anewasaforefaid. But if you perceive the ground to be fmooth and not fandy , take it off from-? the fire , and when it is cold, take a piece of Link^ and hold undent the ground till you have fmoakgd it very blacky but leLj> not the flame touch th^j ground, lead you burn it, this being done, if the Plate be cold hold itr' over the fire agairL_> till it be j uft warm, to let the fmoak/nelt into th cj> ground, that itmay not rub off under, youvhand, then hold The Art of Etching. ioi hold it off from_-> the fire , with the ground- fide of the Plat cdownwards for to prefervo it from the dujl , other- wife when the ground is Warm, dujl will flye in and fpoilit, thereforeyou mufthold it with th c ground- fide downwards untill th e ground is cold . T'he way to draw the outmojl lines of any Trint or drawing upon the ground of the c PJatg_j. Firft take the drawing or Trim which you intend to Etch after, and [crape a little white lead upon the haclfi fide of it, then take a feather and rub it ovec^ every where alike, and fhakg off that which remains, theri-> take the print and lay it upon the Plate on that fide the ground is, then fallen^ the four corners of the print to the Plate with a little [oft wax- this being done, tako the Stift and draw upon the print all thc^ outmoft circumferences ax\Alines exactly , and when you have fo done, takeoff the print from-/ the Plate, and all the fame outlines and circumferences which you drew upon-; the print with the Stift y w i 1 1 b e exactly and unfailably u p o n t h e ground \ Several Ob fixations in Hatching . Firft obferve exactly and judicioufly how your principle is ) hadowed , and how clofe the Hatches joyn, and how they are laid, and which way the light falleth ol cometh • the/i^femuft fall all one way, for if the //Vk fall fidewayes ifi-jyom print, y o u m u ft hatch t h e other fide which is far- the/l£\ fom the light darkeft, and fo place your lights alto- gether on the one fide, and nor" confujedly to have the light come on both fides alike, as ifitr'ftoodin the midft of many lights, for neither doth the light withall its bright ± nefs illuminate any more then that - ' part that is dircBly oppofite unto it, then obferve exaBly how clofe all tho Hatches joyn, and how they are laid, and which way they twifl and wind, then_j follow 7 them as exactly as pof- fibly you can, but before that you begin to Hatch or (hadoW y you mult draw 7 all the outmojl lints with a 'Jfeedle Cc upon- 102 The Art of Etching. upon the ground , as and fo lofe equally by de- grees . the fame Obfervation muft bo in making the Slfie, for_, that which is neareft to the Eye muft be the darkefl [hadotycd, but in general as faint and Jo ft as pofli- ble, and foalfolet" it lofe by degrees as before is men- tioned, and the nearer the Skie cometh to th c ground, the more it muft lofe and be fainter • but when they as it were meet together the Skie mujl quite be loft , and when you have hatched it as exaBly as you can pofiibly with your 0\fecdles y according to th is indifferent tv arms, and rub off the ground from_. the Plate very clean, then take {ome Oyl and rub over- the Plate to clean it, and if you perceive thatr' the Aqua for - tis hath not eaten zs deep in fome places, as it should be, then itmuftbe helped with a (prayer. Obferyations by which you may fnow when it is deep enough. When-, the where you [craped the ground off, then pour the aqua-fortis upon it again, andJetit lye till you guefsit to be deep enough •, then pour, the Aqua-* forth from the Plate as aforefaid, and at any time when you perceive thao the eA qua forth doth not mrkjlrong enough, you pour off half the old , and re- fresh it with (omenew, for when the aAqua-j forth hath been-j upon the Plate about half an hour, it will bo much the waller, becaufe the jlrength of itr’doth evapo* away, and by a little puffin? you will como to the certain knowledge when the Aqua forth hath eaten deep enough. Another way to know when it is deep enough . Take a little piece of a C°pf> er and lay a ground upon it as you before mentioned , and make zu Wax wall about it, then hatch it with feveral hatches as you think beft, and when you pour the Aqua forth upon the one , pour it upon the other , and when you think they be eaten deep enough , pour the Aqua forth frorro the little Plate, andwafhit with fome as afore- faid, then take a Ifnife and [crapes off a little piece of the ground from tho little Plate where it is hatch , and in cafe you percieve it nor' deep enough, cover the places again with fome warme candle tallow , and then pour the Aqua forth upon it again till you guefs io be e- nought then pour the Aquafortis from the little Plate again, and try as before, and ifyou feeit to be enough, pour the Aqua forth from the great Plate, and wafh itr with a little /^/V water before you warmit, or elfe the zA qua forth will fain the Plate. A The Art of Etching. iojf way to lay a white (f round upon a IBlacf. Firft you muft underfland that mod grounds are blach^ and when you lay a white ground upon a black, you muft not fmoak^ the blacky with a Lin{, and you muft lay the undermoft ground the thinner > when-/ you Jay a whiter ground upon it 5 and if you would lay white groundup- on a ->bUc\j, takeaquantity of Serice, as much as you think will cover the plate, andgr/Wit very finewnhgum watery and temper it very thin y then take a pencil and wafh the plate all over very thin and even . way to lay a red Cj round upon a blachfif round. T ake the red Chalk^zndgrind it r 1 very fine with gum water y then-; take a pretty big pencil y and wafh the plate all oven, with the red ground very thin and f moth , as before men- tioned dA ^Receipt for aground takgn out of a Manufcript of Collots. Take ^.quarter of a pound of Virgins wax y and half a quarter of a pound of the beft Sxpoltum. burnt of Amber , and half a quarter of a pound of *5\4afiic\ if it be warm weather y becaufe it doth harden the ground and preferve it from in jury * when you lean with your hand hardupon it; if it be cold weather, then take but an_> ounce of ^Alafich^ this being obferved, then take an ounce of Tig fin, and an ounce of Shoomakgrs pitch , and half aiL^* ounce of other pitchy half an ounce of Vernifh; having all thefe materials in readinefs, take a new earthen pos$ and put the Virgins wax into it ; and when it is melted * ftir it about, and putin the other materials by degrees as before mentioned* and when they are throughly Ming* led and melted y take the pot off from the fire and pour itr* out in a clean pot of fair water, and wor\ it into a Z& 2 #, and preferve it from duft and greafe 9 and when you have oc- cafiontomake ufeof it, take a quantity thereof and bind it up in a piece of Sil^ and make ufe of it as be- fore mentioned* 1 06 The Arc of Etching. 71] c Ground of Ejne brant of Vine. Take half an ounce of Expoltum-, burnt of Amber, one ounce of Virgins vvax, half an ounce of VAT. a fief „ then take the EMafthf and Expoltum, and beat them feverally very fine'm a Mortar; this being done, take a new earthen pot and fetitupona Charcole-fire, then pur" theVirginsvvaxinto itandwe/at, thenshake into it the EMafick and Expoltum^by degrees , ftirring the Wax a- bout till they be throughly mingled, then pour it forth into fairvvater and make a 7>all ofit, and ufe it as before mentioned, but be fure you do notr’ beat the plate too hot when-; you lay the ground on it, and lay your blacky ground very thin, and the tub it c ground upon it, thisisthca only way of Tdjncbrant. 7 be tray to prejerye any (j round, "which is laid upon a Elate in Frofty weather. • T ake the plate and wrap it very warm in a wollen cloth s and lay it-* in the warmed place you can convenient, for if the frofl is gotten-dnto th c ground, it will break up when you pour the Aqua forth upon it. aA way to preferve the Tlate from injury of the Aqua-j forth) where the (f round breaks up. If you perceive the ground to break upirL_> any place 9 pour off the zAqua^forth from the plate and wafh it with a little fair water , then take a quantity of Candle tallow and melt it in^a fpoon, and while it is warm take a pencil and cover the Plate which is broken-* up with the faid tallow , and fo far as tho tallow is fpread , the dAqua fortis will not eat •, fome make ufo of V erni/h inftead of tal- low, and when you have covered the place that is brokff en , pour ohj the Aqua-, forth again, and let it lye upon the plate till you guefi it hath eaten-) enough ,* then pour the (t Aqua forth from_> the plate and preferve it, then-* taketho wax Wall and preferve it alfo, and wash the plate with a little fair Water* then-»ruboffyour^««^/ as The Art of Etching. 107 asaforeftiid, and for the places which xh^j ground breaks up in, it mud be helped with a C jraver . Therefore it will beneceffary for one that defretb to learn this Art, to praBice graving a little 3 fo much as to help a {iroakgwhere you thin { convenient. way to makg the Aquafortis worhjoft or hard according to nature or art. Firft take Candle tai low and melt it in 2u ffoon , then with a pencil cover that placo fo far as you will have it to be faint, but note it muft be after the Aqua^fortis hath lain upon your plate an indifferent^ while, and fo by degrees you muft ufe the tallow as you would have it faint- er, this is very neceffary when you Etch Landslips , which muft lofe and ftand atadiftance^ by degrees , therefore when you Etch Landslips, obferve to ftop off that place firft which muft be fainteft, andfo by degrees ftopir' off, and make it lofe equally > and note the nearer_, you come to the Eye, i t muft bo jlrongefl and darkejl fbaded , but not on that ft de from whence the light cometh for that fide muft be preferved as faint as may be, but according to art. Obfervations in Etching ProffeBive. ProffcBive is a thing thatr" is one of the difficulteft oArts that”' is praftifed ; becaufo it is nor" rightly underjlood , buo bv good oArithmetic /^ $ otherwifo you can never undcrfland projfeBive , becaufe you cao never guefs rightly how much a Pillar or Figure, or the like muft decline, ox lofe at their feveral diftances, ac- cording to Art and "Proportion . Fon, when you Etch 0 piece of projpeBive after a drawing or a print, ob- ferve thefc Rules, beware of pcrfeBton ab adiftance* and be fare to floadow that which is neareft to the Eye „ perfeBcJl and ftrongejl , and the farther frorro the Eye , it muft decline inlength and breadth ? and heighth according to D d a Art io8 The Ait of Etching. An and Proportion, obfervo alfo to let it lofe and bo fainter by equal degrees . A iv ay to (jrave any hand or letter upon a Copperplate . Take fome ( harcole and kindle them, then takoa hand-vice zndlcrew it to the comer ofthe/?/^e, and hold it oven, the fire till it be warm, then take a piece of Virgins wax, and rub it all over, the plate until! it is co- vered every where alike-, this being done, take a ft iff feather of a Duckswing thatisnot truffled, and drive it even and fmooth every where alike, and let it coole, then write the hand and letter whichyou intend to grave upon the plate, on a piece of paper with ungumd [nl{j then take the paper which you have written, and lay that fide which is written downwards next to the wax,and fallen the four corners with a little [oft wax, but be fure to place the writing fo , that the lines may run flraight, then you muft take a Dogs Tooth , and rub the paper all over which is fafined, and not mifs any place; this being done, takeoff the paper from_~, the platcj* and you shall fee the very famo Letters which you wrote on the paper hath left’’ their perfect impreftion upon_j thewvwc; then take a Stift and draw all the Let- ters through the wax up otlj the plate, and when you havedono that, warm the plate , and take a linnen rag and rub the wax clean off, and you shall fee all tho Letters drawn-) upon the Copper, then get fome good French Cf ravers and grind them, as they should b very (harp towards the points u p o n_j a (frind - flone, and after- wards whet them very fmooth and sharp upon a good Oyl jlone, then Cfrave the Letters with them. The way to polijh a fopper Plate. At firft you buy the Copper rough, then you have it' planifhed, if you cannot do it your felf; when it" is planished, , then you polish it with thefe following Inftru - ments. The The Art of Etching. top * The Raines of the Inflmments or ’Toolcs "which are ttfed topolif a (^offler^Plate. A Plain which cuts very well, and of aru indiffe- rent - ' btgnefs, but not broad; fome pieces of pumice- f ones fome pieces of S and- f ones , and fomecuS Vloulton-flones 3 a foft j blew fone, and a burnijber and fcrapcr- y and lom o Char cole. The ufe of every particular Pool or Injlrument. Firft fallen your Plate with fome fmall Jfaih r, to a place that is as high as your middle 3 thcii-j make ufe of the plain to shave all the roughnefs off froni^ it and make if very even in all places alike, and if you per- ceive any craclfis or little holes upon that fide which you Jhave > then you muftx/?^ them all clean out, and when you have shaved it even and fmooth with the plain, then take a piece of S and- f one, and## the plate with fomo water, and rub to and fro with the ftone upon the plate > till you have worn it very fmooth and even every where alike, but" be fure to choofe the fioftef fones, becaule they make the lead [cratches • and when you have worn it even and fmooth with this fone , wash oft the [and from the Plate, and take a piece of Pumice flone^a and rub to and fro upon the Plate, quite a crofs the grain of the former fone, becaufe it is of a hard fandy nature , and will therefore leave fome /cratches ; therefore the Pumice fone is of a more fofter and fpungy nature^ and is alwayes ufed to Ware out" the formers [cratches : and when you have room out all the former f cratches , you will perceive thereto be worked into /finer grain /hen Wash the [and very clean off from— > the plate , ; then make ufe of the moulton [lone, and wor\ with it quite a* crofs the grain of the Pumice fone , untill you have room it quite out • withall be fure you fupply this and all the other fones with mater, when you work with them I upon the plate , and when you have worn out all the E e [cratches iio The Art of Etching. [cratches of the Tumice [lone clean out, then for the fourth makeufe ofth t [oft blew [lone, it being of a very [oftgrain and fofter then any of the former; then work with that quite acrofs the grain of the Moulton- /lone, till the grain is worn out, but if you perceive any [cratches in the plate here or there, rub them over with y ouc_. burnisher till you have work’t them out , but in cafe they are very deep , you muft mako ufe of your [ craper , and [crape them out , and burnifh them afterwards •, this be- ing done, in the fifth place you mull burnifh it all o- ver ; lad of all take a cbarcole which is throughly burnt , and [crape off the j fyne ; then put it in the fire till it is throughly l{[ndled, then take it out and quench it iil-> Chamber Lee, and make ufe of it as of the former, till you have gla[ed the plate 5 then wash it very clean with fairwater, and let it dry. { The Manner or Way of tOMe^o Tinto . "JClrJl take a very well polijhed Elate of Copper , and rujfen it all oyer ** with your Engin one TP ay, then cro[s it over with the Engin a* gain , andif you find occa/ion, then cro[s it over the third time, untill it be ruffe ned all oyer alike ( that is to Jay) if it were to bc_j printed , it would print blacl ^ all oyer • this done y take Char cole or blacfi Chalky to rub oyer the plate , and then draw your defign with white Chalk^upon the plate, then tal{e a [harp Stift and trace out the outlines of the defign you drew with the white Chalky, and wberc__j> you would have the light ftrike jlrongefljake a burnt [her, and burnifh that part of the plate .where y ou Would haye the light ftrike as clean as it was when it was frfl poli - fhed • where you would haye the fainter light , you mufl not polifhit fo much, and this Way you may make it either fainter or flronger, ac- cording to your fancy. As for the manner or shape of the Engin , they are diyers, and if any ingenious perfon haye a defire to have any made, the Author will give them farther directions. FINIS, A Table of the Contents of this Book. O F the Vertue and Praife of Proportion orSymetry. Of the Neceility and Definition of Proportion. Of the Head in Porphile or Side-vvayes. Of the Fore-right Face. Of a Head inFore-shortning. Of the Side- Face vvithout any Meafure. Of feveral Obfervations in drawing a Head after the Life, Of the Proportion of a Man of ten Faces. Of the Proportion of a Mans Body of ten Faces. Of the extravigant Proportion of ten Heads. Of the Proportion of a young Man of nine Heads. Of the Proportion of a Man of eight Heads. Of the Proportion of a Mans Body offeven Heads. Of the Proportion of a Woman often Faces. Of the Proportion of a Woman of ten Heads. Of the Proportion of a Woman of nine Faces. Ofthe Proportion of a Woman of nine Heads. Of the Proportion of a Woman of feven Heads. Of the Proportion of Children. .. ■ ; " ' ■ i ■ ■ ' "■“■.ii i ii n'lMnaaniiilBMd-.LU.^ The Definition of Painting. Of the Vertue of Light. Ofthe Neceility of Light. Ofthe Nature of Light. Of the Vertue and Efficacy of Motion. Ofthe Neceility of Motion. Ofthe Paffions of the Minde their Original and difference How the Body is altered by the paffions ofthe Minde, Ofthe Motions procured by the feven Planets. j Of Jupiter. OfMars.* Of Sol. Of Venus. Of Mercury. Of Luna. How all the Motions may accidently befall any man though dif erfly. Of Divers others Neceffary Motions. Of the Motions of all forts ofCloth or Drapery. Of the Motions of Trees and other things that are moved. The Art of Miniture or Limning. Of the colours to be ufed in Limning. The way and manner of preparing colours* Of white Lead. Colours to be washed and How. Of Colours to be washed. Of Colours to be ground. Of the Nature of Colours in general. Obfervations in grinding. To wash Bice. How to choofe your pencils. * .* £p To prepare a Tablet to work on* The ground colour for a Face. The Order of shadovves for the Face* Tobeginn a Face. The Order to be obferved in drawing by the lift 5 * 7 - Ibid. 9° IQ. ly. Ibid. X& 2©. 21. 22 , Ibid, Ibid. 24. 3S- 38. 40. 44. 48, ST- 58. 5 9 . 60. Ibid, 61. Ibid. <54, 6? a 71.' _ 74* 77 * Ibid. ■780 Ibid. Ibid, 79 ° Ibid, Ibid, Ibid. 8i« Ibid. Ibid, $% 0 If, 84, The Contents Concerning dead Colouring. IbicL The fecond work of Limning. 8y> 1 he Order of Limning in the fecond fitting. 86. A Crimfon ground. 87. T he manner of finishing at the third fitting. 88. Concerning Ornaments. I bid. A Receipt to make Liquid Gold. 85. OfLandskip. 90. A Dark Green. 91. A rare fccret to preferve Colours. Ibid. Some general Obfervations in Miniture . Ibid. To make Crayons or Paftiles. 92. T o make white. Ibid. To make white Lead. Ibid. T o prepare a C ard f or a Pi&ure. Ibid- T o prepare white excellently. Ibid. Concerning Wax work or Moulding. 93. T o call in Moulds. 94. T o counterfeit Roch Candid fyveetmeets. 95-. T o counterfeit Pearl. Ibid. T he manner how to draw with Indian Ink. Ibid. How to prevent your Colour from finking 96; The manner how to draw with water colour upon farcin. Ibid. A farther obfervation in Grinding. Ibid. How to prepare Umber. 97. The grounds and rules of Etching. Ibid. T he Inftruments with their particular names to Etch vvithall. 98. Tne ufcand property of every particular Inftrumenc. Ibid. The manner and way to make the ground. 99„ A red ground. Ibid. A white ground IOO , A black ground. ] bid. Another ground. Ibid. The manner and way to lay the ground upon the Plate. Ibid. T he way to draw the out lines of any drawing upon the Plate. IOI Several obfervations in Hatching. ibid. Neccllary obfervations in Etching Landskips. How’ to lay a wax wall upon a plate. ] bid. How to ulc A qua Fortis on the plate. IO , Oblervationsby which you may knowvvhen it is deep enough. Ibid. Another way to knowvvhen it is deep enough. I04. A way to lay a white ground upon ablack. IO j A way to lay a red ground upon a black. Ibid. A receipt for a ground takv n out of a Manufcript. Ibid. The ground of Rinebrant of Rine. lQ g 1 he way to preferve a Ground in Frofly wear': er. Ibid Away to preferve the Plate from injury. jbid A wayto make Aqua Fortis eat foft or hard. 1Q y Obfervations in Etching profpcdivc. Ibid A way to grave any hand or letter upon a Copper Plate, 108 The way to polish a Copper Plate. ibid, T heNames oft he Inftruments ufed to polish. 2 0 ^ T he ufc of every particular tool or lnftrumcnt, Ibid The manner or vvayofMczo I into, 1Ie A N APPENDIX T O The Art of Painting I N M1NITURE LIMNING: DIRECTI NG The Choiceft, Safeft, and Neareft Way to attain to Perfe- &ion in the (aid Art ; with all the feverai Mixtures and Temperatures of the COLOURS for every feverai Work, and the manner oflaying the Ground-colours, and howto Htighten and Deepen upon them ; and Dire&ions for Drawing of Hiftory in Limning , with feverai Proper Obfervations. And alfo the feverai Ways of making Cryons or Paflils^mtb. the feverai Ways of Working with them. Never Fublifoed before . - — 4 — By A l exander Browne, Gent. LONDON \ Printed for Arthur Tooksr , at the Globe in the Strand, over again ft Ivie- Bridge ; and WillUm Battenby, ^iThavie's InneGate in Holborn, near S. Andrew's Church. 1^75. . . *.y ■ • s 'C •• ■ v.-ovo! ■ - ' ■ ■ { ■ • ™ ip A ?H. . , j ; ? •• -a, i\ - ■ ' ' • 1 ' -fU\ ; T O My Worthy and Honoured Friend, PETER LELY, Efq; Painter to His Majefty O F t GREAT BRITAIN , &c. SIR, Have Experienced (T hope Not too late ) that Addrelles made to Perfons of Great Ti- tles do not fo much advantage Writers, as the Cuflom ^Dedications would maty the World believe. This pojfibly others have found as well as I, who now humbly asl^from you (One, if not in the Rank of Greated Men, yet of the Greated and Bed Artids) ProteSion and Favour. He mofl values that tyiowsmoft, and will zealoufly conferve what he perfectly un- der (lands. I cannot be accus'd of Vanity by any, nor fufleffed of Flattery by Tour Self if I fay , No Man in Europe is a Fitter Perfon to Patronife Art : And if thofe Painters themfelves ( whofe Lives I here prefent ) were now on Earth , and capable of matyngt heir Wills, they would , what I now , intreat. For certainly there cannot be a more lading Monument of Eterni- zing Paint then Mr. LEE T's Name. Whiled You own their Tranflated Memories they will never die. Tour Hand has not onely made the Dead and the Graves Debtors to Ton , but the Living owe the Befl of themfelves to Your Pencil How many that are now Old, and not Handfom, would have ¥ The Epistle Dedicatory. loft the Remembrance of their Youth and Beauty,^ not their Complexions and Firft Vigour, Drawn by You, continued their Glories') All Scions of the Year, all Stages and Deg rees of our Life, are at once in view . The Gravity of Age, and the Pleafantnefs of Youth, live together in the fame Perfon. But thofe Honours payable to Y our Merit deferve a better Pen. Ax for that Part of my Boo\_ which lays down Rules and Dire&ions, and feems to wear the Habit of a Ma- iler, I beg Tour Pardon ; for when it gives Inftru&ions to others, it waits for Corre&ion from You ; and I pray it may give me at leaft a Fair Opportunity of Knowing my Faults, jince I Jh all have this benefit to be Reprehended by a Skilful and Kind Judge. In the mean time Your NAME willfe- cure mefrcm the Severity of Curious Men, and the Epiftle fo Nobly and Strongly Fronted, will guard the Book, which has a long time been Ambitious to be in Your Hands , and does to Your Service with all Submijfton devote it felf and Y our mofl Humble Servant, ALEX. BROWNE . I A N APPENDIX TREATING OF The Arc of Painting I N MINITURE 0 R I . I M N I N G. Is convenient to treat firfi: of the Colours na- turally and (imply by themfelves, without a Mixture with each other, and to Nomi- nate them particularly ; and the rather be- caufe in my former Treatile of Miniture I did fall flhort of what I do intend now to treat of at large. I fhall firft begin with the moft ufeful and onely neceflfary Colours properly uftd in Miniture > and after that give you an Account of thole Colours which may be omitted, and are unneceflary ; for *tis certain, that many Colours are rather a Confufion then a Help. Ff An APPENDIX to The NAMES of the COLOURS Mod ufeful and onely neceflary for M IN ITU RE. { Flalg White } Beds Carmine Indian LaJ^e Cynnabar Lal^e Florence Laf^e Blews C. r trt , ««■ Yellow Ofyr burnt ] Vltra Marine) Dutch Bice j Y ellows Light Maflicote Deep Maflicote Y ellow Ohgr Bom an Ol^er Gall- ft one Light Pinl ^ [DarJ^ Pinf^ Green Pinlf greens {Green Bice T err aVerte J : • • J f \ \ 1 j f' ^ r . C C oil ens Earth) {Burnt Ivory ) Brown^f mkr ]BMs \l e ? Cok f > yJmher (Ruft of I ron Cherry -ft one burnt ( Verditer burnt \ the An of LIMNING. Of the Nature and Property of the Colours not ufeful , and the Reafom why omitted. Of which I fhall begin with Cerufe. As for Cernfe , it is too Yellow, Courle, and Gritty. Spanif) Brown is omitted as not being lb Brisk and Glowing as Indian Red. R ed i half^ is too Foul and Dirty, and alfo Englijh Ohgr burnt . Artifi- cial Vermilion may be omitted, becaule that Native Cynnabar is better, of a Brisker Colour, and better Condition’d, As for Orpiment , it is both Venomous andCourfe. Verdi greafe is extremely Courle, and will fade if you prepare it never lb well. And all Colours made of Juyces in Germany will cer- tainly fade, becaule they are of no Body, and will Ihine much. Englijh 0\er is good Condition’d, and may be made ule of ; but Roman 0(\er is more Glowing : therefore you may omit the former, and ule the later. Sap Green may be omitted, becaule it both fhineth and fadeth : and Green Pin\ is uled inllead ofit, becaule it hath neither of thele Faults. Mummy is every way ill-condition’d, and hard, and will not flow out of your Pencil, unlels you burn it in a Crucible well Luted ; fo prepared, it may make a good Blad\. But as for Blacl\s , thole Four which I principally mentioned before, are fufficient enough to do any thing withall, though there are ma- ny other Blacks uled, as Grape-ftones burnt, Vine-ftalks burnt. Lamp Black, Blew Black, and many others I could name, which in my Opinion are rather a Confufion then an Help ; which for brevity’s lake I omit , haftening to treat of the Temperature! , which are uled in general for Sha- dow!. V. Of Temperature! generally ufed for Shadows . Thele following Temperature! art two ways uled; one way is to temper with your Pencil upon the Palat, your Na- F f 2 tura! 4 An APPENDIX to tural Colours being firft plac’d therein order, then wet your Pencil in Water, and temper upon the Colour you intend to make ufe of firft in your Temperature, then rub your Pencil in a clean place of your Palat, leaving part of the Colour upon the place : and in the lame manner take from as many of the other as fhall be direfted for fuch and fuch Temperatures. The other way is dipping your Finger in Water,and tem- pering them in the fame manner as you did with your Pencil, placing your Colours fo Mix’d upon your Palat in order. T befe following Temperatures are ufed for Drawing Heads after the Life . I. Temper , Lake and Indian Red. II. Temper , Red Lead and Roman Oker. III . Temper , Indian Red and Ultra Marine. IT. Temper , Indian Red, Pink and Gall-ftone. V. Temper, Yellow Oker and Indigo. VI. Temper, Red Lead, Pink and Indigo. VII. T emper , R oman Oker, Red Lead and Indigo. VIII. Temper , Pink, Red Lead,Y ellow Oker and Lake. IX. Temper , Lake, Roman Oker, Indigo and White. X. Temper , Indigo,Roman Oker, Pink, & Indian Red. XI. Temper , Umber, Mafticote, Red Lead, and Pink. XII. Temp er y Roman Oker and Pink. 7 befe following Temperatures are ufed for Colouring and Shadowing ingeneral for Hiflories. I. 7 emper , Sea Cole and Lake. II. Temper , Umber and Mafticote. III. Temper, Yellow Oker Burnt and White. IV \ Temper, Umber and Ultra Marine. V.Tem - the Art ofLiMNIN G. V. Temper, Umber and Lake. VI . Temper, Verditure burnt, Red Lead, and White/ VII. I emper. Ultra Marine and Lake. VIII. Temper, Ultra Marine and Red Lead. IX. Temper, Ultra Marine and White* X. Temper, Indigo and White. XL Temper, Indigo, Lake, and W hite. XII. Temper, Indigo Pink and W hite. XII I. Temper, Indigo Oker and White. XIV. Temper, Indigo, Madicoteand White. XV. Temper, Burnt Ivory and Lake. XVI. Temper} Cherry-done burnt. White & R ed Lead XVII. Temper, The bed Rud, Indigo and Pink. XVIII. Temper, Lake, R ud, and Light Pink. XIX. Temper, Rud and Lake for the deeper Shadows* Temperature? for Hair . I. Temper, Roman Oker, and White for Light Hair. II. Temper, Y ellow Oker and White for Lighter Hair. III. 1 emper, Rufi:, Roman Oker, and White IV. Temper, Light Pink, Yellow Oker, and Sea Cole. V. Temper, Dark Pink 5 Rud, and Roman Oker. VI. Temper, The bed Rufi:, Gall-done and Pink. VII. Temp er, Florence Pink, Burnt Ivory and Lake; which makes a good Shadow for Hair or Face. VIII Temper, For Light Hair, Umber, Yellow Oker, and White: Deepen it with Umber and Cherry- done. IX. 7 emper. For Dark Hair, Umber, Yellow Oker, and Cherry-done : Deepen it with Umber and Cherry-done. 6 An APPENDIX to Of Colouring and Shadowing of Hiflory in Limning . , and alfo other Necejfary Obfervations. The differences between Limning Pi&ures to the Life, or Hiftory, are Infinite * notwithftanding the fame Colours that are ufed for one do alfb ferve for the other. And to parti- cularife but part of what may be well faid upon this Subjeft, would be too tedeous, if not endlefs. The moft Remarkable is moft certainly in the Variety of Colouring of things ac- cording to their feveral Sexes and Ages ; and alfb of Inventi- on of ordering and well Stelling. All things which are to be reprefented, are many times according to the Humour, Judgment, and Difcretion of the Mafter We fee generally in the Practice of the beft and moft Famous Painters, that they that do follow the Life, do tie themfelves ftri< 5 tly and precifely to follow what they fee in the Life, toimmitate it as near as poflible; yet in their Inventions they affume to themfelves iuch a Gentile Liberty and Licence, both in Co- louring and Ordering; but not fo far as to run into thofe Extremes as Barthohm<£us Spr anger, Henry Golt^ius, Abra- ham Blomart, andOuteawale^nd feveral other Dutch Painters, run into about the Year 1588; for their Inventions at that time and A&ions were fo extravagantly ftrain’d and ftretcht to that degree beyond Nature, that made their W orks feem to the Judicious Eye very Ridiculous,,and contrary to Na- ture ; and at that time it was grown to fuch an Impofture or Mode, that he was counted no Mafter that could not ftrain his A&ions in that extravagant manner. Which Mode was after- wards laid afide,and the W orks that thofe Mafters afterwards made were incomparably Good, by their Embracing more the Ancient Itjlian way of Designing, which was more Mo deft, Gentile, and Graceful. So far they abufed the Model!: Licence , that fo Graced the Admirable Works of Titian , Michael Angelo, and moft of the Eminent Italians of that Age. the Art of LI M N 1 N G. ? Age. And others have been as Extravagant in their Co- louring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others efteemed the belt. Of the four hfnds of Colourings, which are generally to be ohferved in Hijlorical Limning. In brief, I imagine there are Four kinds of Colourings ge- nerally to be followed and obferved in Hiltory, vi^. of Young Infants, of Fair Women , of V irgms middle aged, and Old Wo- men. And every of thele Complexions is in the power of the Judicious Mailer to vary and change his manner of Co- louring, according as his Genius or Judgment dire&s him, or as the Subject requires. As for Infants and Young Chil- dren, they are commonly of a thin and tender Complexion ; the Camatian and delicate Colour Nature affords in the Cheeks and Ears, the Skin appearing almoft Tranfparent ; which you may very well exprefs with a Temperature of White Carmine and a little Red Lead. The Shadows are to be Thin, Subtile, Faint, and Tender ,as the Parties you would reprelent. The Cheeks, Lips, Knees, and Toesmufl be more glowingly coloured then the other Parts of the Body. To Ipeak particularly of the feveral Mixtures, and Sha- dows, and Colourings requifite in this Work, ’twereendlefs; fo innumerably and varioufly hath Nature difplayed it lelf as well in Colouring and Shadowing, as in Symmetry. The Li- nen and Lawn about thefe tender Bodies are to be made Thin and Tranfparent, and indifferently ftrong touched in the th ickeft Foldings. Gg 2 Ob- 8 An APPENDIX to % Obfervations on the Complexions of Virgins and fair Young Women . The Complexions of Virgins and Fair Young Women are not fo much different from the other in the Colouring : as in the Sharpnefs of the Work, thofe few and fharp Mufcles in the Body are Gentle and Eafie to be exprefled. As for the Shadows, temper White and Pin\, and Indigo and White ; and in feme places Lafy, a little Indigo and White , which gives aPurplifh kind of Colouring. And if you attain to perfe- ction in this or any of the reft, there cannot be imagined a nearer, nor more infallible Dire&ion, then a diligent Obfer- vation ofthe Life; which you may follow with the better Affurance, fince you already know the Colours, and how to mix and temper them at pleafure. As for Womens Bodies, I mean Naked, they are to be reprefented Soft, Round, Plump, Gentle, and Tender, and without many Mufcles. The contrary, Mens Bodies are to be reprefented Strong, Sturdy, Stout, and Vigorous ; the Mufcles exactly placed and drawn, which to do with Judgment and Underftanding, requires Time and Study, and Knowledge in Anatomy. The beft way to underftand a Naked Figure, is to draw much after thofe Statues of Bfcup or Barter , in which you have Varie- ty of Nakeds fufficient,and of the moft Famous Mafter of the World : Next, to pra&ife after the Anatomies of Vander Graft , as alfo after the Anatomies of Plafler of Pans, and laftly to draw much after the Life by Nakeds. But before this you are to underftand, that you muft firft draw thefeveral parts of the Face diftinCtly,and then whole Heads in feveral Adions, then Arms, Hands, Legs and Feet, Thighs and Trunks of Bodies, and fo proceed to Whole Figures. All which 1 have lufliciently ftored this Book with, and as many as are convenient for any Young Practitioner, and then let them pra&ife after thofe Statues aforementioned Of the Art of L t M N I N G. <9 i*' Of the T emperature and Colouring for Old Mens Bodies. An Excellent Shadow for Old Mens Bodies, temper Pin^ LaJ^e, and Red Lead : and in the Extremed Deeped Sha- dows, or Deepenings, either in Face or Body, temper LaJ^e and Ivory burnt, which will make an Excellent Glowing Shadow, and is very ufeful in the Exprelling of the feveral Furrows and Wrinkles in the Face and Hands of People ex- tremely Aged , with their Dark Eyes and Melancholy A~ fpe&s, which affords Sub;e when that the Arms are extended out. Note alfb, that when the Arm hangeth down, it reaches within a Span of the Knee. - . Obferve '(as you proceed downwards) to place all the Mufcles in their right and proper places according to Na- ture as you judicioufly may obierve in the Life, there being no certain Rules for placing and drawing the Mufcles in their proper places 7 herefore *tis extremely Advantageous to draw very much after the Life, and after good Prints of Anatomy, and thofe Statues aforementioned, and Anatomies of Plafler of Parts, which is the onely w r ay to arrive at the per- fection of Drawing a Naked Figure well, without which never expeft to be a good Hiftory Painter. Indeed a Hifto- ry Painter ought to underftand all things, becaufe he is to re- prefent all things : he mud be naturally a Quick, Free, Good Inventor and Defigner, as alfo to know well how to order and Stell his Figures after that manner ( if many in one Piece) that they may not feem to be Crowded, or to fall Of fenfive, but to order them Gracefully on the Fore Ground efpecially, and the reft of the Figures to decline and leflen proportionably, both in Heighth and Strength by degrees at their feveral diftances. And a Hiftory Painter mu ft of ne- ceffity underftand PerfpeBive , Architecture, Geometry, Anato- my, Arithmetic &c. and not onely the true Shape of Mans Body, but of all other Creatures whatfoever, and all other Shapes and Forms that are in the World. Of the other dijfeient particular Studies in The different Inclinations of Men do affeft and delight to Draw one thing more then another, becaufe either they are more pleafed and prone to that which they do phanfie,then to any other thing which they do not ; or elie they make choice of fuch a Branch of Painting as is eafily attained un- L 1 2 to. 24 An ATT EN D l X to to, bccaufe they cannot arrive to that Perfedion of Drawing Hidory, which comprehends the Study of the whole Art. Therefore the particular Studies, which are of general pra- dice, arethele which follow ; Fird, one phanfies or betakes himfelf to draw Pidures by the Life, another to draw Land- Barrels of Horfe and Foot, another Sea-fights, Storms, Calms and Sea-havens, &c. another all manner of Huntings, ano- ther Landskips or Landviews, another Fruits, another Still Life, as Inftruments, Globes, Books, Deaths Heads, &c. ano- ther phanfies to draw all manner of Beads, another all man- ner of Fowls, another all manner of Fifh, and another all forts of Flowers ; feme phanfie Per/pedive, others Archite- dure or Buildings, &c. The wanner of drawing Geld Armour. Take the fined Shell-Gold, and lay it Flat, Even, and Smoth on the place you intend for Armour , and when ’tis Dry,burnifh it all over with a fmall Weefels or Dogs Tooth fot in the end of a Pencil dick, but fomething longer. For the Shadows, temper Lafy, Roman Otyr, and Gall-flone , with a little Shell-Gold. The Heightenings being burnifhed are to be left bright. In the Fainter parts of the Shadows ufe a little Shell-Gold , and alfo in the deeped, which mud be neatly and fweetly wrought into the Gold. Alfo take Gallflone, and temper it with Shell-Gold , which gives an excellent Ludre to all Gold Works. In the deeped and darked Shadows mix a little BlacJ\. The Heightenings are onely the fird Gold bur- nifhed very bright. The manner of drawing Stiver Armour. Fird, take Shell-Stiver, and lay it on as you did the Gold, and burnifh it alfo when’tis Dry as you did the Gold. For your Shadows temper Lafy and Indigo , and a very little ZJm - her ; the Art ofLlMN I N G. 2 5 her ; work all your Shadows down Even and Smooth, ac- cording to the Qblervations you fhall fee in the Life. The Heightenings are to be left (the Silver being brightly burnifh- ed) as in th zGold. The Thinner part of the Shadows, be- ing part of the Depth of the Shadows, muft be tempered with a little Shell-Silver , and muft be fweetly and neatly wrought into the Silver, and laid very Flat and Even, as be- fore mentioned. The manner of' drawing Chas'd or Embojfed Armour . If in the Armour there be any Carving or Embofjing , or Shining Armour , as I have often feen, and the Lighter places of it muft be Sparkling, you may very finely exprefs it by Railing in thole High and Round places with a Tempera- ture of Gall-ftone and Roman 0\er, by Touching with your Pencil full of the Colour of it over and over in one and the fame place, till the Heap or Touches be railed above the other Work; that done. Cover over the Rais’d Work with the fineft Shell Gold , which is made at Antwerp y hen you burnifh it with a Weefel's Tooth ; and fo the like if it be Silver Embojfed. To exprefs the Roundnefs and Luftreof a Pearl , you fhadow it with Indigo , Cherry-flone Blacl ^ , and a little Pin\ j. Cherry f one burnt , and Dan ^ Pint and Rufl, area very good Shadow for Silver Armour , and fb is Ivory burnt and Darb^ Pinl • v 1 The manner of making Paftils or Cryons, with the fever a l ways ofZJfing them. I have oblerved in Dry Colours, or Cryons, that they are wrought in leveral manners or ways : The firft is that of Valyant , whole manner is to place leveral frnall Heaps of Co- lours in Powder upon White Paper, of leveral Tempera- tures, according to the Objed he draws after, whether the Mm Life 2 6 An APPENDIX to Life or Painting. His Out-lines being firft drawn, he makes ufe of feveral Rolls of White Paper, very hard and clofe rolled up, about the length of a Pencil flick ufed in Limning, and fome of them about the thicknefs of the lame, bigger or lefler according as is neceflary, with which he rubs in the fe- veral Colours. His Work is reafonably Neat, and has a pretty good Force. And fome of the French M afters have a manner which differs but in two things from the former, inftead of the Rolls of Paper they make ufe of Stubbed Pen- cils ; and fome of them are fluffed with Cotton, and fome others with Bombaft : And inftead of placing the Colours on Paper, they put them in fmall Boxes of Fur. But that way of drawing with a Paflil about the length of a Finger, I efteem as the beft manner, which is compofed of feveral Co- lours and Mixtures ground together, of a good Confiftence or Stiffnefs, and fo rolled up and dried. They ufed formerly to temper them with Milk, Beer, or Ale, and feme have anciently made ufe of ftale Size to bind the Colours toge- ther : But I approve of none of thefe; for either they bind the Colours fo hard, that you cannot draw at all with them, or elfe they arefo brae kly or loo fe that you cannot fharpen them to a good point. The hejl manner of making Cryons. Firft, temper as many Paftils as there are Varieties and Changes of Colourings in Flefh or Faces, Draperies, Land- skips, &c. making them Lighter or Deeper according to your Phanfie. And 1 fhall with the manner of the Relation of one dired you how to make all the reft : As for Example, If you were to make a Paflil for a Brown Glowing Comple- xion, grind upon your ftone Cerufe and Vermilion , Englifh Ofyr, and a little Pin\j> you need not be too Curious to grind them extremely Fine, but Reafonably to bruife and mix them well together ; to this adde a proportionable quantity of Plafler 2 the Art of L I M N I N G. Plalier of Pans burnt, and finely lifted through a fine Tiffany Sieve, then mix that and incorporate it with all the Co- lours indifferently Thick and Stiff' like moift Clay ; and then take it from the Stone, and roll it up into a Lump, out of which Lump you make your Paftil, by rolling it with the Palm of your Hand upon your (lone, a fmall quantity of it, as much as will make a Pajlil about the length of a Fin- ger, and about the thicknefs of a Goofe-quilJ, then lay it in the Sun to dry, or the Wind, but not by the Fire. In this manner, and with this mixture of P Infer of Par is ; with all the other Colours and Shadows in general,you will make them of a Gentle quality, and bind theColours together, and make them hold fharpening to a fine point, which otherwife would be too loofe and brittle. So being dry you may fharpen them with a Pen-knife to a good point, fb fharp that you may draw a Hair. The Colour mod difficult to work in this kind is Crimfon , if you make ufe of Lafy, which you may avoid, and make ufe of Kojfet. Be fure to mix Cerufe with all the other Colours and Shadows whatfoever, Another way to make a Crimfon Cryon , to prevent it from being brittle or hard, you may temper it with a Lighter mixture of the fame, which will make it more fo ft and gentle. And ip this manner with Compofitions you may make all manner of Beautiful Colours, as Greens for Landskips, and all other Colours for Rocks, Grounds, Skies, Waters, &c. The Temperatures for Greens are made of Pin\ and Bice 5 and MafliCote and Smalt, and Maflicote and Indigo, with which Colours you may make them Lighter or Deeper as you pleafe, remembering that where you are to temper fo ft or firm Colours, as Vmher , Ofyr, Indigo y &c. you are to take the lels Phifer of Paris • and where theColours are loofe there bind them ftronger and fader by adding more Plajler of Pa- ris. And when your Cryons are dry, before you begin to Draw, fharpen with a Pen-knife, according to the largenefs or fmalnefs of yourDefign, Mm2 An* Mm2 An APPENDIX to 28 The manner of Laying the Ground Fleflh-colour for a Face to he wrought upon with Cryons. The befl: way is to colour the Paper that you intend to Draw on with a Carnatian or F left-colour, near the Complexi- on of the Party you intend to draw after ; cover the whole Paper with the faid Complexion, which is made of Cerufe Meny and a little Tdlow Ofyr ground, with a little Gum Ara- bic\ : When you prepare them make a good parcel of Va- rious Complexions together, it being not worth while to make one at a time. You lay this Ground colour with a Wet Spunge, but let the Colour be fo bound with Gumy hat it may not Itir from the Paper by Rubbing with your Fin- ger on it. 1 his being done and dry, you Skets or draw the firfl: Rough Draught with Cole ; that being as you would have it, you draw over the fame Lines again more perfe&ly with RedChal\, then with your feveral PaHils you rub in your Colours firfl:, then with your Fingers you fweeten and mix them together, driving and Scomeling them one into ano- ther after the manner of the Oy 1-Painters. And becaufe many times the Paflih will not fharpen to fo good a point as Blacky or lied Cha\ , you mud be extremely careful to clofe and finifh all your Work at lafl: with Red and Blac\Ckal\, which you may fharpen at your pleafure. I fhall not need to infifl: up- on particulars of this manner of Drawing, but if you pleafe to take a view ot that Book of Pi&ures, which are all drawn by the Life, by the Incomparable Ffand of Hans Holbean Painter to King Henry the Eighth ; they are the Pi&ures of mod of the Englift Nobility (both Lords and Ladies) then li- ving ; and were the Paterns whereby he Painted his Pi&ures in Oyl, They are all drawn in the fame manner o fCryon before mentioned, although fome of them are miferably fpoil- ed either by Injurie of Time, or the Ignorance of thofe that had them formerly in Keeping j yet you will find fomething in the Art of L I M N I N G. 2 d in thofe Raines an Admirable Hand and Rare Manner of Working ; who with few Lines and little Labour exprefied the Life fo Extraordinarily well, that by many they are efteemed not much Inferiour to his Admirable Works in Oyl. This Book has been long a Wanderer, but is now mod happily fallen into the Kings Collediom There is another Ordinary way of Drawing with Cryons on Blew Paper: The Ground-colours are to be rubbed in firft with a Pencil, and afterwards with a Stubbed Pencil or your Finger. And if you pleafe you may work upon Parchment exceeding Neat and Curious. In this manner 1 have feen Little Pieces extreme Curioufly done by the Hand of that Great Maher Hen Goli^m (the Faces were about the bignefs of a Jacobus') who was not onely Famous for Paint- ing, but alio an Extraordinary Engraver, which his Prints fufficiently doteftifie; efpecially his Twelve Pieces of the Palfion of our Saviour, in which he imitated Lucas Van Ley- dens manner fo Extraordinarily well, that they are efteemed as good, if not better. As alfo his Six Incomparable Mafter- Pieces,in which he imitates Six of the mod Eminent Matters, as in one, which is the Storie of Our B.’efled Ladie, he imi- tates that Admirable R afhaelVrban ; and in a fecond, being the Fliftorie of Elizabeth's Saluting the Blefted Virgin, he imitates the Incomparable Parmence, and in the third, being the Birth of Our Saviour, he imitates Titian^ that Grand Ma- fter ; and in the fourth, being the Storie where Our Saviour is playing with and embracing Saint John , in their Infancie, in which he imitates Brodcius ; in the fifth, being the Storie of the Three Kings or Wifemen Offering to Our Saviour, he imitates Lucas Van Leyden ; in the fixth, which is the Storie of the Circumcifion of our Saviour, he imitates Albert Dure . In the fame Piece he hath Grav’d his own Pidure ftanding, under an Arch of the Temple, which you may diftinguifli by his Picked Beard and great ftreight Whiskers. There is ano- ther fmall Print of his, which is counted the beft that he N n hath 3 o Ail APPENDIX to ' hath done, which is that of Our Saviours Taken from the Crofs, and Lying in the Blefled Virgins Lap; in which he imitates Albert Dure's manner. 1 have feen Pi&ures done by Henry Golt^im in Cryons , that at a fmall diftance you would have taken them for Limning. Some he drew upon the Rough fide of Velam, and feme on the Smooth fide of Parchment, being rubbed in with lmall Stubbed Pencils, and finifhed with lharp^pointed Red and His Paflih were about the length of a Finger, and about the thicknefs of a Goofe-quill. Another manner of mafyngCryons. Take your Colours and grind them very fine dry upon a done, then fift it thorough a fine Tiffany Sieve, then take a piece of Tobacco-pipe Clay, and lay it on your Grinding Stone, and temper it and your Colours together with Strong Ale Wort. You mud have a fpecial care not to make them too Wet, but of a good temper, like moiftClay, to roll up with your Hand upon your Stone the longed way ; then take a piece of Paper and dry them in an Oven after the Bread is taken out, otherwife dry them in a Fire-fhovel, and dry them by degrees untill they be hard enough ; which to know, have a piece of Paper by you, and try if they Cad, which if they do, they are not dry enough ; then dry them till they will not cad; and then take a Feather and feme Sallet Oyl, and oyl them lightly over, and fo lay them to dry again, till the Oyl be foked well into them, which will make them Good-condition’d and work Free and Eafie. Ob- ferve that thofe Colours which bind hard of themfelves mud be tempered with lefs Tobacco-pipe Clay. I have experien- ced 2 elloip Of^er burnt , and rolled it up into a Paftil \ and dried it with a Moderate Heat, and when it was throughly dry I made it very warm, and then dipped it intoLinfeed Oyl, and and when the Oyl was well foked into it, I fharpened it to a very the Art of L I M N l N G. very fine point, and Drew with it; and it had that quality, that rubbing with my Finger hard on that which I drew, it would not rub off, nor any part of it ftir : and I believe all the reft of the Colours may be made to have the fame Qua- lity. And without doubt thofe Matters in Aldygrave s time, in Germany, had the way to make all their Cryoni with that quality not to rub off. I have feen feveral of their Draw- ings, that would not Rub out, not onely of th tGerman Ma- kers, but of the Lorn Dutch , as of Golt^ius and others, of whom I have had feveral Drawings, which were extremely neat, qualified as aforelaid,and(like Oy 1-painting) very ftrong. Some briefObfervationr and Dir eff ions for a Toung ¥ ra- ff itioner in the Art ^ Drawing. Obferve to draw all your Out-lines generally at firft very Faint with a Cole, becaufe ifamifs you may rub it out with the Feathers of a Ducks Wing, and mend it the eafier by Drawing Faint ; but ft you lean hard, and draw very Black, it will not eafily rub out. Next, be fare to draw all your Out-lines right and agreeable, according to the Patern you draw after, before you begin to Shadow any part of it. Then obferve, to draw thofe Outlines next to the Light very Tender and Faint. Then obferve, in all your Drawing, thofe former Rules and Proportions prefcribed in general in the foregoing Treatife,as well as of this , and then proceed as I have mentioned before. And after that you have drawn one Feature, that may ferve in feme meafure for diredion how to draw the other, by obferving exaftly with your Eye, being guided by Reafbn,the diftancefrom that to the next Feature, making a (mail mark with your Cole where it ist be placed^ and then you draw it, and fo to the next This Obfer vance of the Diftances is neceftary in a Whole Figure, and in every thing elfe. In a Figure you obferve by the di- ftance from one Mufcle, or Joynt, or Limb, to the other, N n 2 and 3 2 An APPENDIX to and the lame in all things elfe. Obferve their Bignels, thei Length, their Windings and Turnings, as a !fc> their Shadows too. Obferve to Shadow it next to the Light extremely Faint, and where you fee Bold and Free Touches, be not Ti- morous in Expreffing the fame. Be lure in drawing of a Head by the Life, or otherwife, that you obferve to place your Features exadly right upon the Crols Lines, whether it be a Full Face ora Three quarter, as you may lee in the firft Print at the Letter^. As for thole Heads in the lame Print that ffie upwards in F orejhortemng , there you rnufc obferve to make the Crols Lines to flie upwards; and in thole Heads that decline with the Afpedt downwards, to make them bending downwards in a Circular manner, and not ftreight. And after that you have the Out-lines true, you proceed to trace over the feme Lines with a Pen, which you Skets’d but rudely before with a Cole, and draw all the Out- lines more exadly, and then finifh by degrees , by imita- ting all the Hatches that are in the Print with your Pen. Ob- ferve the diftances of one Hatch from the other, with all their Crollings, 'Turnings, and Windings; and be not Timorous in following any of them, but Bold and Free. Thus I have briefly comprehended thefe things in a Gene- ral way, and given you fuch Obfervations and Inftrudions as I thought were moft Convenient concerning the feveral Arts before mentioned, and fhall Conclude with giving you an account of the Original Invention of Drawing and Paint- ings and the Place where it was found, and the Manner how the Art of Painting was railed out of the Grave ( after it had been fo long Extind) into Italy again. Of the Art of LIMN IN G. ^ Of the Original Invention of the Art of Drawing and Painting , , This Art was Found out or invented firft in Egypt, and Card Van Winder (in his Hiflory of the Lives of the moji Eminent Painters , &c ) gives this Account, that it was found out and invented firlt in Egypt by one Gyges, born in the Province of ‘Lydia, and called by the Ancient Writers Ly- dia Maoma ; the principal City of it was fituated near the Hill Tmolm , and was called Sardis. Quintilian relates fur- ther, that The Art of Drawing did take its Original from the Shadow which the Sun did caff,* and moreover he tells us, that it was invented by a Shepherd, who attending his Flock in a Sun-fhining Day, happened to cart his Eye upon the Shadow of one of his Sheep, which flood before him on a plain Sandy Ground, and phanfied to trace with his Stick on the Sandy Ground round about upon the Edge of the Sha- dow' ; and (afrer the Sheep was gone) there remained the perfeil Out-lines of a Sheep, with which he was extreme- ly taken ; From w hence the Ancients took their firfl Deli- neation. And afterwards were added the Inward Lines for diftineiion of the Members, delineated and made after the meafure of the Eye : and fofrom time to time through new Inventions this Art was improved. And how much this Art of Painting tranfeends other Arts, that Famous Plutarch gives us an Account of one Cajfander , (a Captain to Alexander the Great") who at a certain time be- holding the Artificial Counterfeit of the forementioned Ale- xander ,&c. was (o extreme joyfully furprifed and taken with the Glorious Majcftical Looks , that w r ere reprefen ted in thePiflure, that it had almofl aftonifhed him. And we read of Quefis , which had fo great efieemof his own Pieces, that he imagined no man could give fo much for his Work as it de- O o ferved, 34 An APPENDIX to ferved, and therefore chofe rather to give them away, then to Undervalue the Art. Tbe Life of J o h n C i m a b u e, of Florence, Painter . When Wretched Italy was Co miferably overw helmed by the Horrid Deluge of Unfortunate War, that notonely 7 he Art of Painting, but alfo the Painters did all fail, and were utterly Extinft. But Providence was plealed in the Year of our Lord 1240, to raile at Florence one John Sirnamed Cimabue, of a Noble Family, who railed The Art if Painting as it were out of the Grave, where it had been buried a long time, and revived it again. He being an Ingenious Youth was kept to good Literature ; but in regard that Nature in- fligated him to other things, he bellowed much time at School in Drawing of Little Men, Horfes, Houles, and other Fi gures j untill it happened that leveral Grecian Painters came to Florence by the Appointment of the Prince, not fo much to fettle there, as to renew and bring to Life again fome old decayed Paintings ; who being there imployed in a Church, Cw/abue would many times abfent himfelf from School whole days together to fee them Paint ; fo that the Painters and alfb his Father perceiving, that if the Lad had but fbme fmall Fundamental Inftrudions in that Art for the Beginning, he might haply attain to greater perfection ; which afterwards came to pals, for he lo improved his Learn- ingjthat in afhorttime he went beyond his Mailers in that Art, and had a Method of Drawing a great deal more Inge- nious then they, who aimed no higher then to follow what they had been accuflomed to ; (a very Barbarous Grecian manner, far differing from the Ancient Painting of the Fa- mous Greeks ! ) Infomuch that his Name and W orks added much to the Fame and Honour of his Native City, whick he beautified and adorned in feveral Publick Places and Churches j the Art of L I M N I N G. ^5 Churches; reprefinting in his Works fptiie Pourtraicfures after the Life, which at that time was a Novelty. Neither were his things drawn like; his Matters, but more Smooth and Fluent, as well in Nailed Bodies, as Draperies and Hiflo- ries; befides figures upon Wood, with Egge and Size Co- lours ; and alfo upon Walls in Frefco , which full remain and are to be feen at Florence of his Doing, although many are decayed: fi> that at latt his Works were difperied through* out all Italy. And it fiems very ftrange to any one that lees them now, to imagine how a man in fo Dark an Age could be fb Excellent in our Art. One of his Pieces was carried from his Houfe with Solemn Mufick in a Stately Procettion to the Church of Sanffa Maria del Nova, andhew’as very well latisfied by the Clergy for the fame. It is reported by Ancient Writers , that he painted a Piece in a certain Court by St. Peter s Gate, and when Charles the French King patted through Florence, he went to fee the fame, and all the people of the City, (both Men and W omen) in a great Croud did jovially relort thither ; fo that the place to this day is cal- led Jovial At Prfa he painted a Piece with Egge Colours, being our Saviour on theCrols, with fome Angels weeping, and holding in their Elands a Scrole, containing words pro- ceeding out of Cbrifl's Mouth to the Ears of the Virgin Ma- ry, who flood on his Right Hand alio weeping, Mnlier , ecce Film tans ; and on his Left Hand to John , Ecce Mater tua . In the Hand of an Angel another Scrole, Ex ilia horaaccepit earn D/fcipulas in faam domum. By which one may perceive that Cimabue began to open the Path of Inventions, and to give light to his meaning, by exprefling it with words, which was then a New Invention not known before. He was alfo skilful in Architecture. He died in the Sixtieth Year of his Age in the Year of our Lord 1300, having fufficiently rai- led 1 he Art of Painting to a new Efteem and Reputation. He left behind him many Difiiples , and amongtt others £>ne Giotto, who became a Singular Painter, and conti- O o 2 nued S 6 An APPENDIX to J nued dwelling in his Mailers Houle in Cucumber Street, Cimabue's Epitaph was thus,* Credidit ut Cimabos Pi&urx cafra tenere • Sic tenuity verum nunc tenet ajlra Poli, True it is, \f Giotto had not Excelled his Mailer fo much, the Fame of Cimabue had been in more Renown, as the Poet Dante relates in his Purgatory Saying ,• Cimabue for the befl Painter reputed was, but for that Giotto now hath got the Report, he fains his Fame, The Expounders of Dante , who wrote in the time o{ Gi- otto, about Twelve Years after the Death of the Poet, Anno 1334, lay upon thefe Verl ^s, Cimabue of Florence was a Pain- ter of very Noble Works, but lb Cholerick and Hally, that if any one, or himlelf,did but lee the leall Fault or Defed in his Paintings, as lometimes it happened by the Colours or Inftrumcnts, he would be apt to break or fpoil them, were they never fo Godly. The Life of S t e p h a n if s. Painter ^/Florence. The Alluring defire of Sweet Profit and Pleafant Honour with Natural Inclinations and Love to Art, have preferred this Man and Difciple of Giotto (by his Pradicks and Indu- llry) to fuch a Perfedion, that he did not onely exccll all his PredecelTors in the Art, but furpafled his Mailer fo far, that he wasefteemcd defervedly for The be ft Painter of his time , as his Works evidently do witnels. At Pi fa he Painted a Madonna in a Church called Ca npo Santo Spirito, which Piece was more Rare in Drawing and Painting then that of his Mailers. Alio at Florence , in the Cloy Iter of Santo Spirito, he painted three Arches in Frefco > in the firlt he reprelented the the Art of L I M N 1 N G. 3 ^ the Transfiguration of Chrifl on Mount 1 aim , with Alofes and Elias ; where the Splendour of our Bleffed Saviour re- fieds upon the three Apoftles, which appears Extraordinari- ly and Rarely interwoven in their Draperies, in luch manner that the Nailed may be perceived thorough the Pleats and Folds of their Habits, which before never was obferved, nay not by Giotto himfelf. in another Hiflory he repreEnted the P ojfljfed Man whom Chrifl healed, and a Perfped of Ar- chite&ure according to the beft Art of Perfpedives, whereof little was then known ; which he accomplillied with Great Jud gment and Good Invention ; the Columns, Portals,Gates and Windows, all according to their Dimenfion and Pro- portion in a Modern manner ; but fo much differing from the Works of other Mafters, that it was eafily perceived he had the beft manner in that particular. A mongft other Pie- ces of Shortenings he reprefented a Pair of Stairs or Steps, of a ftrange Invention, which afterwards was imitated in Build- ing, He made alfd the Hiftory how Chrift laved the Apo - flies from perifhing at Sea; where he reprefented very rarely the fear and terrour of the Apoflles in their Poffures and Countenances/or it feems as if Peter had (poke and cried out. Lord , help us,rve perijh. This Piece is efteemed for its Beau- ty and Foldings in the Draperies , and other tilings, as the beft Piece of all others of the fame nature. Amongft others of his Works he painted in a Chapel the Fall of Lucifer, with feveral manneis of Shortenings in Bodies, Arms, and Legs ; for which he was called or nickmamed by the Arcifls The Ape of Nature Moreover, our Stephen painted many other Pieces in his Native City, asalfo at Milan , Rome , and elEwhere; but Specially at Afcefl, where he painted an Excellent Piece, reprefenting in it a Heavenly Glory, not yet finifhed, by rea- fon that hisQccafions called him to Florence ; here he paint- cd in fome Round Circles feveral Saints (Male and Female) in fuch different Ages and rare Poftures, fome Old, others of a Middle Age, and (bme Young, fo well, that it could not be P p defired j8 An APPENDIX to defired better : there you’l perceive in the Heavenly Spirits fuch a Sweetnefs of Harmony and Eflence, that it feems al- moft impoflible that it fliould be done by any Man in that Age. Moreover, above thefe fome Angels are playing in the Glory with many forts of A&ionsand Adorations,ho!d- ing in their Hands The feaven Churches of Afia, mentioned in the Revelations , with fuch a rare Graceful Manner and Come- linefs, that it is to be admired It is reported alfo that he was a Rare Architect. He died in the beginning of the Ju- bilee, Anno 1 550, in the 49th. Year of his Age. His Epi- taph is this ; Stephano Florentino P iB or i, facie ndis I magi- nibus, ac Color andis F iguris , nulli unquam inferior*. Affine s moeflifs . And now ( Kind Reader ) by the Lives of thefe Two Emi- nent Painters I have given you a tafte of aDefgn which I have almoji perfetled, that ^ THE LIVES OF ALL THE MOST EMINENT PAINTERS that could be Colie bled, Written Originally in Low Dutch by CarelVan M ande r, Painter of Molenbeke,W by me faithf ully Tran fated, (as well Ancient as Modern y\ z.Egyptian, Grecian, Italian, High Dutch and Low Dutch, and all other Eminent Majlers of this Age.) Which being a Worl ^ too Chargeable for ONE SINGLE HAND to carry on , (not onely in rejpeB of the Sculptures fut the Charge ^Print- ing afo) 1 cannot promife to Publifh , unlefs I can meet with fome Reajonable Encouragement from the Ingenious Lovers of Art. 7 his following Obfervation was forgot, of Lay mg the Ground - v colour for Hair, and the manner of Heightening and Deepening . Ail Hair generally in Miniture is to be laid on with a Medium. Colour, that is to fay, not fo Light as the Lighted, AT/ nor V. U Vfc the Art of L I M N / N G. g.p °or io Deep as the Deeped Shadow, but a Middling Colour ^etween both, on which you may both Heighten and Deepen by degrees at your plealure. The Reafon why you are not to lay it on with lb Light a Colour as the Lighted Heighten- ing, is becaufe it will require a long time to work down ; and if fo Dark as the Deeped Shadow, you cannot Deepen it lower with the fame Colour. Oblerve to lay this Ground- colour extremely Even and Smooth, and the Nimbler you lay it, the better. Make uleof a Goofe-quill Pencil, and let the Temperature thereof be not too Thin, becaule the Parch- ment will appear through theGround,which otherwi/e it will cover very well ; and rather then it fliould appear thorough, when the Ground is dry that is fird laid, go over the lame again. A DVERTISEMENTS . Becaufe it is very difficult to procure the Colours for Limn- ing rightly prepared, of the hefl and brisl^ef Colours , I have made it pan of my hufmefs any time thefe 1 6 Tears , to colled as many of them as were exceeding good , not onely here , hut beyond the Seas . And for thofc Colours that I could not meet with all to my mind , I have tad^en the care and pains to mafe them my felf Cut of which ColleUion I have prepared a fufficient Quantity , not onely for my own ufe , but being refolved not to be Niggardly oft the fame , am willing to fupply any Ingenious Perjons that have occajionfor the fane at a reafonable rate , and all other Materials ufeful for Limning, which are to be had at my Lodgingin Long-acre,^/ the Sign of the Pedel and Mortar, an Apothecary s Shop ; and at Mr. TookerV Shop) at the Sign of the Globe, over againfl I vie Bridge in the Strand. Since the Printing of the following Catalogue there is happily fallen into ALr.Tookers hands the befl Bool^that ever Zeeman did , con f fling of Men of War, Merchants Ships, Fly-boats, Ships Building and Careening, &c. FINIS. ERRATA. In the fitft Treatjfe, p.icj.i, t. for as it mre round, p. 13^*34- t»from tbsnct, p.i7»l.uU. r. Status s. The Contents of the Appendix. r H E Names of the Colours mofi ufeful and cnely neceffary for Mi- nicure. 2 Ojthe nature andproperty of the Colours not ufeful , and the Rea- fons why omitted . 3 Of Temperatures generally ufed for Shadows, ib. The Temperatures which are ufed for drawing Heads after the Life . 4 The Temperatures which are ufed for Colouring and Shadowing in general for Hifiories. ib. Temperatures for Hair. 5 Of colouring and JhadowingofHifiory in Limning , and alfo other neceffary Obfer nations, 6 Of the four kinds o/Colourings, which are generally to be obferved in Hifiori- cal Limning. 7 Obfervations on the complexions of Virgins and Fair Toung women. 8 Of the Temperature and colouring for Old Mens Bodies. 9 The manner of Dead-colouring a whole Figure neceffary for Hiftorical Limn - ing. ib. 11 12 1 3 1 3^4 Temperatures for Garments with their Shadows . Some further Directions how to temper and mingle jour Colours, isrc. Of Drapery or drawing Apparel . Two ways of working ofV) rapery. Three Obfervations in drawing o/Garments. 15,16 Two Obfervations for placing the Lights, and for Jbadowing of Garments, and other things in general ; with the Reafon why the Shadows mufi generally fall one way. 1 7, 1 8 Of Profpedive Proportion. 1 8 Of a Graceful Poflure . 1 9 Of Lonfnejs in Drawing , and of F orefloortening. 20. Of Natural Guidances. a l Some further Obfervations in drawing a Naked Figure ftanding Foreright , by the Life. ib. Of the other different particular Studies in Painting. 23 The manner ofdrawingGold Armour, Silver Armour, and Chas’d or Em- boiled Armour. 24,25 Three manners of making Paftils or Cryons, dec. 25,26,30 The manner of laying the Ground Flefh-colouryor a Face to be wrought upon with Cryons. 28 Some brief Obfervations for a Toung Practitioner , isrc. 3 1 Of the Original Invention of the Art of Drawing and Painting. 33 The Lives of John Cimabue ^WStephanus, Painters oj Florence. 34,36 Of laying the Ground-colour for Hair, and the manner of Heightening and Deepening . *.38 Two Adverti feme nts. ^3 39 A CATALOGUE A Catalogue of Plates, The Prints whereof are ufirful for Gentlemen, Artifts.and Gentlewomen, and School- miftrefles Works, Sold by Arthur Took f.r, Stationer at the Globe oyer againfi Salisbury Houle in the Strand, where you may have choice of Maps, and al/o Italian, Cjetinan, and the Low Countrey Prints, India n Ink., Abortive Skins , all forts of P amtings , and all Stationary Wares. Plates of Arnold dc JoJc bis Graving. An A'manack Border with Boys, and the Seafons of the Year, invented by Mr. Ifaac Fuller. Ars PifJ/tM, bring the belt book extant inEnglifh for Drawing, collafted by Mr. Alexander Ptowne. Four Stories ol Ovirl in ieveral Plates, vi^.i.Pbacton, j . Venus birth, ^.Ulyffes and the Syrens, 4 Si/yfbut. One Plate containing 7 ofthe Nobilities Heads. Plates of Mr. Gay woods Etching , invented by Mr- Barlow and others. Two Badges or Choice of Signs for Bars and Rooms. Titian and hisMiftrcfs. A Cunnie-berry. Saint GEOP^GE- Madam Kfrck. A Cats Head. A book a 4 Leaves, of variety ofBeafts, Birds, Flies, Fruits, and Flowers. . A book 54 Leaves, of variety ofbeaftsin their po- llutes and aftions. . A book 9 Leaves, ol variety of birds in their le- veral ailions. _ . A book 07 Leaves, of ieveral Stories of the begin- ning ol the PIP LE. A book of IWciei Foldage, 11 Leaves. AProfpedt Viewof Lynn. Sea fight. Several Plates Etched by Mr. Gay wood Mr. Place, andJAdr. Holler. A fmall Sea Storm. A book 5 Leaves, of Sea Havens. A book 6 Leaves, of Round Sea Havens. A book » Leaves, of Landskip. A Sea Haven. Pych ft r Caflle. Hurjt Cafrle. Cowes Caftle. Several forts ef Plates by sh Vers Authors. Eight Plate' ofthe King and Queen, Duke and Due- chefs of Mount nth, Engraven by Van HoVe. Eighteen Heads ol Drollery and Anticks. Three Plate ,t> i.Chrift taken from the Crofs, 2. A Friar, 0,- Saint Jerom. A Perpetual Almanack in a large border. Sixty Stories of variety of Landskip and Ovals with neat borders, and vaiiety of Bcafts.Birds, Hunt- ing, Trees, Worms, Fruit, Flowers, Fillies, &c. Coloured fit for Cabinets, DrelTing-bores, Pow- der-boxes, Baskets, Skrecns, icc. Four Plates ol Littlcboys. Saint George The Queen The Duke ol Monmouth AEaon. F I - 1 a- TbeTi TbeT Hij Tempt Of col Ob Oftbt ca Obfer Oft be Then. ini Temp Some Of Or Two E Tbret Two ( fa, OfPr Of a ( Of Lc Of N Some by Ofth Tbe 7 . be Tbre, Tber w Somt Of the VTiginai invention vj use ► vj ~ Q _ ^ ^ Tbe Lives of ] ohnCimabue ^WStephanus, Painters oj Florence. 34,36 Of laying tbe Ground-colour for Hair, and the manner of Heightening and Deepening, ~ 3 8 Two Advertifements, 39 A X • k 1 Lo cL&. . V { V. ■ IV. N. ■ • - A’ ' * • . ’''v s ' pW:j . *V*£ • . ' . \ *- *■ .. sxSN ^ To de, J'c.uTj 3 ■ I aa CL 4 1 ■ Cettea-tina. invent; (U lode. Jculp -A ■ 2 lomtrb Irw e-rvt? ' cLt* Jo dz, Jc, i _ ( . 2 u>m,irtZ Ltwejvf -A. - c/e j T o J"c-ul^ . 2.7 Q.'S ' A^lonurt Jnv intf -A . tLe, Io d& fc , ■ to 2 0 m ii r~t. JflV £ U-it -a.9 _^r ; de Id de. Jeulj) : r ■jf":