THE //6Z-_ _ 
 
 ART of PAINTING, 
 
 I N 
 
 ALL its BRANCHES, 
 
 Methodically demonftrated by 
 
 DISCOURSES and PLATES, 
 
 And exemplified by 
 
 REMARKS 
 
 ON THE 
 
 PAINTINGS of the beftMASTERs; and 
 their Perfe&ions and Overfights laid open 
 
 By GERARD T> E LA I RE S S E. 
 
 Tranjlated by John Frederick Fritsch, Painter. 
 
 LONDON: 
 
 Printed for the AUTHOR, and Sold by J. Brotherton, in C W.HWCJ£ 
 liffe, at the Royal-Exchange > J. Oswald, in the Poultry ; A ' n f^ T ^^\ ZQ s f 
 r Hitch and T Wood, in Pater-nofter Row ; C. Rivtngton, and G. poster, in bt. 
 ^A r2?r?^lL Clarke, in Duck.lane, L. Gilliver and J. CLARKE in Fleet. 
 Erects TNouRSE/at TempMar i S. Sympson, in Maide*4ane. >* 
 I Harding, in St. Mattih-Unex J. Regnier, "^P^f* I ^ ^ 
 fHnirm ey At Charinx-crofs J. Fox, in JVe/tmivftcr-hall ; J. Jackson, 
 *n St\i^ J. Clark, near ^W- 
 
 court, in Gra>Vz«K ; and J. Hu ggonson, in Chancery -lane. 
 
 MDCCXXXVIIL 
 
THE 
 
 Translator s Preface to the Reader. 
 
 Author's known Abilities and great Reputation in 
 Holland having juftly recommended him to the Efteem of 
 liK T v^l* t ^ >e mo ft knowing there, / thought it very proper to make 
 hm & eak En g lift and the ratter, (to uje his own Rea- 
 ^^^fe^^S f on ^ f or f^at, th<? many excellent Authors have written 
 5Kts*w>j?5^fe on painting, yet, in Bulk, they feem rather to cry up the 
 Art and Artifl than lay down folid Rules Jor Attainment : To which I 
 may add, that thofe Authors are moftly ufelefs to an Englifhman, and 
 few, or none, copious enough to anfwer general Purpofe ; nor at beft are 
 of abfolute Service in England, where frejh and fair Nature is preferred 
 before the brown and warm Colouring of fome other Countries, efpecially 
 Italy, where the beft Books have been written on the Subject : But princi- 
 pally, for that I think, nothing has been publijhed here fo learned, full 
 and compleat, and fo well explained by Plates and Examples, as the 
 Author will be found to be ; nor perhaps, wherein Portraiture (a Branch 
 which England mightily affects ) is fo copioufly handled. 
 
 The Author learned the Rudiments of his Art under his Father ; and 
 at Amfterdam ( whither he came Young from Luttich, the Capital of 
 a Bijhoprick of that Name in Germany) where he fettled, lived and 
 died, gave early Proofs of the Skill and Erudition for which he was 
 afterwards famed : Accordingly, he purfued Hiftory and it's chief Or- 
 nament Emblematic Learning ; and, having made fome Proficiency in 
 thofe two capital Branches, he conceived, that other things muji be eafy 
 of courfe, as being but Rivulets flowing from thofe main Springs : 
 Wherefore, 'tis probable, by what he writes, that, in their Turns, he 
 praclijed Portraiture and the other Parts in fuch manner as to qualify 
 4 him to criticife on all of them. 
 
 a % But 
 
ii The Translators PREFACE 
 
 But his Thirft for the Arts flopped not here: He was perfuaded, that 
 fo inquifitive, Jo laborious a Genius as his, was as proper for a Plate as 
 the Pencil, and therefore, at Times, he etch'd a great Number of Prints 
 from his own Defigns, which have met with good Reception Abroad, ef- 
 pecially in Germany, where a Set of them have been copied to good Ad- 
 vantage. 
 
 As his Pra&ice was as ufeful, laborious and univerfal as that of 
 any Painter of the Age, fo alfo was the Theory whereon he built it. It 
 does not appear, that he ever vifited France or Italy, or any other Acade- 
 my : Neverthelejs, Rome, France, England and Germany know him in 
 bis Works ; and at Home he made himfelf Mafter of fuch a Fund of Claffic,. 
 Emblematic, Hiftorical and Difcriptionary Learning, Prints and Books 
 on Painting, Architecture, Antiquities and other Requijites, and was fo 
 well acquainted with the Works of the befl Mafters, that he- became a 
 good Critic. By this Means and thro' his great Induftry, his Outline ap- 
 pears true and eafy, his Colouring warm, f oft and exprejjtve, and his Com- 
 petitions noble, learned and juft. 
 
 Amidfi his Fatigues, he preferved the pleafant Humour which reigns in 
 fever al Parts of this JV wk particularly, in the odd Defer iption of the 
 Flood, Book If. Chap. X. and the Contefl between Antiquo and Modo, 
 Book ill. Chap. V. 
 
 But what rendered him mofl dear to the Age he lived in, was his kind 
 and fatherly InftrucJion and Encouragement of young Arti/h, and his com- 
 municative Advice to Painters in general, ( who made him frequent Vi- 
 Jits ) which they acknowledged, in often chujing him the Umpire of their 
 Difputes on Art, efteeming his Decijions as Oracles. 
 
 This publick Spirit, this Love for his Art, as they were always con- 
 fpicuous in him without Mercenarinefs, fo they remained with him to the 
 iaft : For, notwit h/landing his Lofs of Sight, (the FjfetJ of too clofe an 
 Application to Etching by Candle -light, as many imagine, and as he him- 
 felf almoft acknowledges) he, as Monf. Gericke, RecJor and Profejfor in 
 the Royal Academy of Arts at Berlin, and Painter to the King of 
 Pruffia, obferues in the Preface to his Verjion of the Author "s Drawing- 
 book, made weekly, (a Thing not to be paralleled in any other 
 Mafter) the Center of a Circle, confifting of young Students, whom he 
 inftmcled in Drawing (by which he got a Maintenance) and like the 
 Sun difpenfed his Beams to all around him. 
 
 Under his great Afflitlion, the Painters, his Cotemporaries, knowing h& 
 had ftored a large Collection of Remarks on the Art, for his private 
 Amufement, almoft generally intreated him to reduce them to fome Or- 
 der 
 
to the R E A D E R. m 
 
 der fir public Benefit; which, notwithfianding his Lofs of Sight and 
 
 An, they thought him fiill capable of doing. 
 
 His Inability for Painting, an Amufement to his Chagrin, his Friends 
 Rcquefts and a Defign to be thoroughly informing to promifmg Tyros, 
 fwafd him to a Compliance ; and how well the Work was received may ap- 
 pear from the commendatory Copies of Verges penn'd by the beft Poets of 
 that Time, and prefixed to each of his thirteen Books ; which I have 
 omitted in the Tranjlation, as being of no Significancy to an Englifti 
 IRtader % 
 
 The 'aforefaid Remarks and Obfervations were originally in French ; and 
 in compiling, the Author made fever al Additions to them, even while the 
 Sheets were printing of \ which may poffibly make the Work feem, in fome 
 Places, lefsfmooth than otherwife it would be, tho" certainly the better for 
 them ; judging with Plato : 
 
 Non enim tasdet bis dicere quod bene dicitur. 
 
 He tells us, that if Connexion in general be not fo well obferved as might be 
 wifhed, it was occafiotfd by his doing the Work piece-meal, and taking Things 
 as they arofe : And that, if he be thought to fpeak too freely and cenjure other 
 Men's Works too rafhly, it Jhould be confidered, that, as a Man, he has hi y 
 Failings in common with others : Neverthelefs, if his Reafons be impar- 
 tially examined, he queftions not an Acquittal: For, fays he, if any Works 
 be read without Love and Impartiality, the Labour of Inftru&ion is 
 loft ; wherefore, he, who would teach Fundamentally and Well, muft 
 avoid Prepoffemon, weigh duely what feems odd to him, and inquire 
 and reafon throughly before he fix either his Thoughts or Opinion of 
 Things. He alf ofays, that if he be any where found to prefcribe Rules, 
 which he has not always followed, His owing to his dark Condition, where- 
 in his Memory and Ideas became more vigorous, bright and intent, and con- 
 sequently his Judgment more firong, acute and refined, by continual Re- 
 fections on the Art, than when he had his Sight and was bufied in his 
 Imployment. For further Satisfaclion in this Point, fee. Chap.. VIII. of 
 the Book of Colouring. . 
 
 It now remains to be obferved, that as his chief Talent lay in Hiftory s , 
 the noblefi Branch of Painting, and allowing the greateft Freedoms, Jo the 
 Heat of his Zeal, and the many Inconveniencies attending Portraiture, 
 might poffibly induce him to (peak a little too freely of the latter, in Book, 
 VII. However, I hope, he will be excufed, ftnee he notwithfianding fails 
 not afterwards to be very particular in his Infirutfions on that Head.. And' 
 if 'what he advances, in. Book IX. Chap.XlL .touching the Reprefentation of 
 
iv 
 
 The Translators PREFACE. 
 
 the firft Perfon in the Trinity, give any fence, I only obferve, that* tho % 
 his Reafons are plaujible, yet he modejily concludes, that herein a Painter 
 muft be very difcreet, and not abufe the Liberty allowed him by Scrip- 
 ture, and the Confent of the Fathers, &c. therefore, fence fuch Things 
 are not allowable by Proteftants, (of whofe Communion the Author ptrofef 
 fiesto be) I no further maintain the Point than to fay, 1 could not, injuftice 
 to the IVork, leave out the Chapter which treats of it. 
 
 But a principal Satisfaction 1 think neceffary to be given, touching the 
 verbalordefcriptionaryTabl.es, occurring in fever al Parts of the Work. 
 Thefe, tho" at firft View they may pojfiblyfeem dull and tirefome, yet, -when 
 duely confedered, will appear to be Mafier-pieces in their Kind, and not 
 only difplay the Author's folid Learning, but alfo his great Induftry im in- 
 forcing his Precepts by every Method, For, as it is evident that he' has 
 fpareci for no Pains, both by Difcourfes and Examples, to evince the Doc- 
 trine of Difpofition, Motion, Paffions, Contraft, Colouring, Harmony, 
 Light and Shade, Reflexions, Draperies, Grounds, Ornaments, and 
 generally every Thing which can conftitute a good Compofition ; fo I 
 Cannot but ob/erve, how wonderfully he reduces all thofe Parts to Pra&ke//z 
 the f aid tables, and thertby illuft rates divers Things and ejjential Cincum- 
 ftances, which could not be fo well done either by Difcourfes or in any other 
 Manner. In a IV rrd : They are Summaries of the fVhole,and the be/l Inftrntti- 
 ons for Performance, and to inform the Judgment of a Lover of Painting, 
 and therefore the PV nk would have been incompleat without them. It is cer- 
 tain, that by fuch Precepts as the Author lays down, the greatefl Mafters in 
 Hiftory have made themfelves famous; and by thefe, even Face-paimters 
 have attained the Loofenefs and Freedom, I may jay, the hiftorical Ma- 
 nagement we difcover'in their bcft^ Pieces. But the Author flops not here : 
 For he fails not every where to inculcate emblematic and hieroglyphic 
 Learning; a Part of ^Knowledge which, though much overlooked, is very 
 helpful and necejfary in almoft every Branch of Painting. 
 
 On the Whole, as his great Reading appears by the Number of Au- 
 thors he quotes on this Occafeon, and as he endeavours to be generally ufeful, 
 even to the Handling of Architecture, Statuary, Engraving, Etching, 
 and Mezzo-tinto ; fo it is hoped, the Work will prove here, as it has 
 done abroad, A Syltem of the Art of Painting. And I may pofjibly, 
 in due Seafon, alfo publijh the Drawing-book of the fame Author : A 
 TV irk as entertaining as profitable to Lovers and Arti/ls, 
 
 The 
 
The Authors INTRODUCTION. 
 
 H O E V E R will ftudy Arts and Sciences, muft expect 
 both Trouble and Labour, without repining becaufe his 
 Expectation is not immediately anfwered, or the End juft 
 in View : This is fo true, that even the greater!: Matters 
 are not always alike fuccefsful. But if Delays feem tire- 
 fome, let us duely ponder where the Obftruction lies, and 
 whether a Mafter cannot help us over it : Surely, if we be not too full 
 of ourfelves, we may meet with fuch an Aid ; according to Cato : 
 
 Ne pudeat, qua nefcieris, te velle doceri : 
 
 Scire alt quid, Laus eft. Culpa eft, nil difcere velle. 
 
 Englifh'd, Ne'er be ajhamed to learn what may be taught, 
 Since the Refufal is a greater Fault. 
 
 Experience has taught me, that we muft feek the Sciences, not they 
 us. Ovid fhews us, by the Fable of the Nut-tree, that the more it is 
 beaten, the more plentiful the Fruit ; But Men muft not poftpone 
 Things to the Decline of their Lives, in Expectation that the Fruit will 
 fall of itfelf. Therefore feek you a Friend, and a Mafter early and in 
 Time; for he will, in both Capacities, fatisfy your Purpofe : Always 
 considering, that as it would be ungenerous in him to deny his Help when 
 asked, fo it would be worfe in you to refufe it when offered ; if you 
 think, that for this Reafon you are under an Obligation toinftrucl: others, 
 — Do as you would be done by. 
 
 He, who finds the true Friend in the good Mafter, ought to think 
 him an invaluable Treafure ; fuch an one fhould have Returns in the 
 higheft Marks of Gratitude, which the leaft Unthankfulnefs muft not 
 fully : Difdain not to impart to him your Difficulties : For tho' in other 
 refpe&s he may be your Inferior, yet fuch Inferiority can never re- 
 proach you. 
 
 j , But, above all Things, be not prefumptuous ; becaufe fuch a Weak- 
 nefs crufhes our Attempts, and at laft leaves us in Ignorance. The Phi- 
 lofopher fpoke great Truth, in faying, That many would have attained. 
 Sciences, had they not thought that they pojfej]ed them already. Contrari- 
 ly, you muft not be difmayed at rifing Difficulties ; for others have ar- 
 rived at the Art under greater: Their fure Paths we tread, their By- 
 ways we avoid : Which is certainly a fhort Means of getting more 
 Knowledge in lefs Time : In which I wifh thefe my following Labours 
 may be fome Help and Furtherance,- Em- 
 
Emblematic Table of the Art of PAINTING. 
 
 PAINTING, in a grand Apartment, as a beautiful Virgin in 
 her Prime, of a majeftic, modeft and attentive Countenance, fitts on a 
 fquare black Piece of Marble, adorned with geometric and optical Dia- 
 grams : Her Hair Chefnut, and on her Head a golden Diadem : Her 
 Drefs confifts of a blue Breaft-ornament, red Gown, white Under-coat, 
 and a black Girdle embroidered with Silver. 
 
 Nature, with her five Breads, ftands before her; which fhe reprefents 
 w T ith the Pencil in her Perfection. 
 
 Theory is naked, being only girt with a blue Scarf, and ftands on the 
 right Side of Painting, whofe Locks (he lifts up with her left Hand ; 
 and, whifpering in her Ear, points to a Picture with her right Hand: 
 On her Head, a Pair of Compafles, with the Points upwards. 
 
 On the left Side of Painting is Practice, in the Form of a fedate Ma- 
 tron, kneeling on one Knee : She holds in her left Hand a Lime and 
 Pencil, and Compafles with the Points downwards ; and with her right 
 directs the Hand of Painting to the Picture : Her Head-drefs, yellowifh 
 White ; and her Garment, darkilh Yellow, with the right Sleeve ttuirn- 
 ed up to the Elbow : Her Upper-garment, of dark Green inclining to 
 Black, lies by her on the Floor. 
 
 Behind Painting ftands Judgment, fomewhat exalted, lighting, Iher 
 with a large Torch : He is adorned with a purple Garment, powde red 
 with golden Stars, and lined with gold Stuff : By his Side an Eagle. 
 
 Above him is Iris, fitting on a Cloud, and refting her left Arm on 
 the Rainbow, the Extremity of which reflects on Painting's Palllet : 
 Her Garment is White, and Head-drefs Blue. 
 
 To the left of the Apartment is Anteros, feen lifting up a dark Cur- 
 tain \ from behind which, thro' a Window, fome Rays of the Sun dart 
 on Nature : He is crown'd with Lawrel; has a fmall bloodifh-red 
 Garment, and holds a Torch : Before him lies a Palm-branch. 
 
 At the further End of the Apartment, rifing a Step higher, we ifee, 
 thro' a large Gateway, into another : On the fides of this Gateway, ftcand 
 in Niches, Hiftory on the Right and Poefy on the Left : Over the Qate 
 is a white Marble Buft of Pallas, refting on a Pedeftal, on whkrh is 
 carved a Sphinx. 
 
 This latter Apartment is hung with dark-grey Stuff, and fet out wvith 
 Pictures, in round Frames, or Hi/lory, Architecture, Landskip, Por- 
 traiture, Seas, Cattle, Flowers, Fruits, Still Life, Sec. 
 
 At 
 
E XT LA MA T 1 N. 
 
 At the End is Fame, feen flying thro' a large open Window, found- 
 ing her Trumpet, And, — In the Off-skip is raifed a Pyramid. 
 
 EXPLANATION. 
 
 PAINTING is here reprefented as a beautiful Virgin in her Prime, 
 of a majeftic, modeft and attentive Countenance ; becaufe at thole 
 Years the Mind exerts it's greater!: Vigour and Perfeverance, and lets 
 nothing efcape unheeded. She fits on a fquare black Piece of Marble; 
 becaufe that Colour is unchangeable and naturally ailiftant to the others : 
 And the Geometric and Optical Diagrams on it, point out her Building 
 on the infaliable Mathematics. Her Hair is Ckejnut, becaufe that Co- 
 lour is the molt lafting, andbeft befits thefe Years: Her Head-attire is 
 a golden Diadem, alluding to Yellow, one of the three capital Colours. 
 Her Breaji-ornament and Gown are red and blue, fignifying the two other 
 capital Colours, which by their fweet Mixture, and Expreffion of Light 
 and Shade by the Girdle, charm and entertain the Eye. 
 
 Accomplilh'd Nature, with her naked Secrets, is the Object of her 
 Imitation, by confulting Theory ; who, naked, is partly girt with a 
 blue Scarf, as (hewing, by her continual Contemplation, that the pof- 
 fefies fomething Divine, and a perfect Knowledge of all Things vifible. 
 She ftands to the right of Painting, and, lifting up her Locks, infpires 
 her with fuch exalted Thoughts as bring the Art to Perfection, and fit 
 it for great Things : Prompting her further, with the right-hand Figure 
 on the Picture, to go to the Depth of the Sciences. The Pair of Com- 
 pares on her Head (hew her continual Round of Thoughts, in con- 
 templating divine Secrets. 
 
 Prafiice holds in her Left-hand a Line, Pencil and Compares with 
 the Point downwards ; fignifying the conftant Service (he offers to 
 Painting. Her Sedatenefs lhews that (he's feldom found but in Age : 
 With her Right-hand the directs that of Painting to the Picture, there- . 
 by to animate her to continual Practice. Her yellowifh-white Head- 
 drefs and darkifh yellow Garment fignify, that, thro' Age and clofe 
 Application to the Art, (he little heeds outward Attire, and therefore 
 neglects to (hift her Drefs : Her right Sleeve turned up (hews her Readi- 
 nels for Bufinefs. Her dark green upper Garment on the Floor tells us, 
 that (he brings all Things to light out of the Obfcurity of Nature. The 
 T ools in her Left-hand are the NecefTaries for Painting. The open Com- 
 pajfes pointing downwards (hew, that (he meafures terreftrial Things. 
 
 Judgment, ready to bring Painting to Perfection, enlightens her with 
 the Rays of his divine Skill j reprefented by the Torch, as a burning 
 
 b Light, 
 
E X T LA NA T 1 N. 
 
 Light, by which the Ancients exprefs'd Divinity, His purple Garment* lined 
 with gold Stuff, and powdered with Stars, fignifies the heavenly Influen- 
 ces, conftantly keeping their due Courfe and Order. The Eagle by his 
 Side tells us, that he is Jupiter^ Bird, and foars higheft, and bears 
 
 Thunder-bolts 
 
 Iris on a Cloud, and her Arm on the Rainbow (the various Colours 
 thereof reflect on Painting's Pallet) recommends to her a carefuil and 
 artful Tempering and Ufe of the various, yet gradually uniting Co lours. 
 Her white Garment, and blue Head-drefs thew, that fhe ought to execute 
 neatly her heavenly Conceptions. 
 
 inferos, ftanding to the left of the Apartment, and lifting up a dark 
 Curtain, with a Palm-branch at his Feet, denotes, as Brother to Cupid, 
 Love for the Art. The Poets feign of this Palm-branch, that he, being 
 long at Variance with his Brother, atlaft got it out of his Hands. His 
 opening the dark Curtain fhews, that Love for the Art difpels Dark- 
 nefs and Confufion ; fo that the Rays of the Light illuminating Nature 
 renders her more agreeable. HisCrownof Laurel, Garment and 'Torch 
 fignify his ardent Love and Zeal for the Art ; which, being arrived at 
 Perfection, merits an everlafting Laurel. 
 
 Hiftory and Poefy, ftanding in Niches on each Side of the Gate , tell 
 us, that they are the principal Aids to Painting, fupplying her with 
 rich Thoughts and proper Materials for Practice and Ornament. 
 
 The Bujt of Pallas reprefents the Goddefs of Wifdom, the Promo- 
 ter of Art : And the white Marble, the Purity of her Knowledge. 
 
 The Sphinx on the Pedeflal (hews, that as this wife Monfter is feigned 
 to devour thofe who could not folve his Riddles ; fo the Art furFers 
 thofe to die in Ignorance, who do not penetrate her Secrets. 
 
 The further Apartment is hung with dark-grey Stuff, the better to 
 fling off the Compofition. 
 
 The Pictures with Figures, Architecture, Landskip, Gta. are the Perfor- 
 mances of the Art. Their hanging in round Frames raifes our Attention, 
 as well for their nice Difpofition as the Contraft they caule in the A rchi- 
 tecture , their Placing, with refpecl to the Subjects, is alfo very agree- 
 able ; and their Roundnefs implies moreover Infinity, and that the Names 
 of the Profeflors of Painting, in their refpective Choices, are borne with 
 immortal Praifes and Honours on the Wings of loud Fame, which is to 
 crown them in After-ages. 
 
 The Pyramid in theOffskip is raifed, according to the Cuftomof the 
 Ancients, to the eternal Memory of excellent and great Men ; with this 
 Infcription — Mterna Memoriafacra ; Sacred to eternal Memory. 
 
 A C A- 
 
A CATALOGUE of the Painters and other Art r st s 
 
 mentioned in this Work. 
 
 ACademy, Fr. Kalf 
 Albani Kneller 
 Apelles Lairefle, Sen. 
 
 Bakker, old andLaftman 
 
 Lievens, John 
 
 Veronefe 
 Vouet 
 
 young 
 Bamboccio 
 Bambocciades 
 Barocci 
 Bartholet 
 Berchem 
 Bloemart 
 Bol, Hans 
 Bril 
 
 Brouwer 
 Breugel 
 Le Brun 
 Caracci 
 
 Van Loo 
 Mantegna 
 Matfys, Quintin 
 Metzu 
 
 Michael Angelo Keyzer 
 
 Statuaries. 
 
 Affyrians& Chal- 
 deans 
 Bernini 
 Dsedalus 
 Jews 
 
 Miens 
 Mignard 
 Mola, Fancilco 
 Moller 
 Moucheron 
 Van der Neer 
 
 Caravaggio, Poly. Netfcher 
 Carlot Oftade 
 Correggio Penni Gio, 
 
 DaCortona,Beret. Polydore 
 
 Lyfippus 
 Michael 
 Phidias 
 Praxiteles 
 Prometheus 
 Qpellin 
 Quenoy 
 
 Angelo 
 
 Dominichino 
 Dou, Gerard 
 Durer, Albert 
 Van Dyk 
 Everdingen 
 La Fage 
 Da Fiori 
 
 Pouflin 
 Pynakker 
 Raphael 
 Rembrant 
 Rottenhamer 
 Rubens 
 Ruyfdaal 
 
 p ran> Engravers. 
 
 Audran 
 Berry 
 Bifchop 
 Bloteling 
 Boulanger 
 Edelinck 
 Goltzius 
 Marc, Antonio 
 
 Du Gardin,Char. Savry, Rowland Van der Meulen 
 
 Genouille 
 Georgione 
 Goltzius 
 Guido 
 De Heem 
 Hemskirk, 
 Jordaan 
 
 F. Segers 
 Spagnolet 
 Tefta 
 Tintoret 
 Titian 
 
 Natalis 
 Perelle 
 Perrier 
 Pietro Santi 
 Le Potre 
 
 Mar. Del Vaga, Pierino Schoonebeck 
 Verelft Seth's Children 
 
 Julio Romano 
 
 Vermander, Ch. Viflcher, Senior 
 b 2 
 
 Architects. 
 
 ^Egyptians 
 
 Babylonians 
 
 Cadmus 
 
 Cataneo 
 
 Greeks 
 
 De V Orme 
 
 Palladio 
 
 Romans 
 
 Santoritio 
 
 Scamozzi 
 
 Serlio 
 
 Vignola 
 
 Vitruvius 
 
 A Catalogue of the 
 Authors 
 quoted in this 
 Work. ^ 
 
 ADamantius 
 iEfopus 
 Alcinous 
 
 Alex, ab Alexan- 
 
 dro 
 Ambrofius 
 A mm i anus Mar- 
 
 cellinus 
 Anacreon 
 Antifthenes 
 AphrodifiusAlex. 
 Apollodorus 
 Apollonius Tyan. 
 Appianus 
 Appion 
 
 Apfinis 
 
A Lift ^/AUTHORS, &c. 
 
 Apfinis 
 Apuleius 
 Archias 
 Ariofto 
 Ariftides 
 Ariftophanes 
 Ariftotle 
 Afconius 
 Athanafius 
 Athcnseus 
 Auguftinus 
 Bafilius 
 Bede 
 Bidloo 
 Blondus 
 Boccatius 
 Bofle 
 Le Brun 
 Csefar, Julius 
 Callimachus 
 Carpzovius 
 
 Dionyfius, Halie. Juftinus 
 
 Dorotheus 
 Eliezer, Rabbi 
 Epicharmus 
 Erafmus 
 
 Eucherius 
 
 Euripides 
 
 Eufcherus 
 
 Eufebius 
 
 Euthymius 
 
 Fabius, Pictor 
 
 Feftus 
 
 Juvenal 
 Labeo, Cornelius 
 La&antius 
 Leon 
 
 Linfchot 
 
 Lipfius 
 
 Longinus 
 
 Lucianus 
 
 Lycurgus 
 
 Macer Bebius 
 
 Macrobius 
 
 Feftus, Pompeius Martial 
 
 Flavius 
 Florus 
 Fritfchius 
 Frontinus, Julius 
 Gakruchius 
 Gellius, Aulus 
 Goeree 
 
 Merian 
 Muretus, Anton. 
 Mufasus 
 F. Niceron 
 Nigidius 
 Olaus Magnus 
 Ori genes 
 
 Grammaticus, J. Oroftus, Paulus 
 
 Cartari, Vincent Gregorius, Nazi. Orpheus 
 
 Groenewegen 
 Grotius, Hugo 
 Huigens 
 Hyginus 
 Heliodorus 
 Herodotus 
 Hefiod 
 
 Cato 
 Catullus 
 Cenforinus 
 De la Chambre 
 Chryfippus 
 Cicero 
 Claudianus 
 Claudius Saturni. Hefychius 
 Coeverruvias, Di. Hieronymus 
 Concilium, Nicse. Hirtius 
 Cujacius, Jacobus Homer 
 Curtius, Quintus Hooft 
 Cyrillus 
 Democritus 
 Demophoon 
 Demofthenes 
 
 Horace 
 Hortenfius 
 Jamblichus 
 Jofephus 
 
 Diodorus, Siculus Ilidorus, Hifpa. Porphyrius 
 Dion Ifocrates Proclus 
 
 Dionyfius, Areop. Junius- 
 
 Ovid 
 Papinius 
 Paufanias 
 Perfius 
 Petronius 
 Pherecydes 
 Philo 
 
 Philoftratus 
 Phurnutus 
 Pindar us 
 Plato 
 Pliny 
 Plutarch 
 Polemon 
 Pollux, Julius 
 Polybius 
 
 Propertius 
 
 Pythagoras 
 
 Quintilianus 
 
 Ripa, CseTar 
 
 De Salgado, Fran. 
 
 Salluftius 
 
 Scholafticus 
 
 Seneca 
 
 Servius 
 
 Sextus 
 
 Silius Italicuis 
 
 Socrates 
 
 Solinus 
 
 Solon 
 
 Suetonius 
 
 Suidas 
 
 Tacitus 
 
 Taflb, Torqiuat. 
 
 Terence 
 
 Tertullian 
 
 Theagenes 
 
 Theophilus 
 
 Thucydides 
 
 Tibullus 
 
 Timseus 
 
 Titus Livius 
 
 Valerius Maxi. 
 
 Varro 
 
 Vafquius, Fe:rdi. 
 
 Vegetius 
 
 Veranius 
 
 Vermander 
 
 Vincentius 
 
 Virgil 
 
 Da Vinci, Letonar, 
 
 Vitruvius 
 
 Vondel 
 
 Xenophon 
 
 Zenodotus 
 
 Zoroafter 
 
A Table of the Booh and Chapters. 
 
 Book I. Of Penciling, fecond Tint, and 
 Beauty. 
 
 Page 
 
 Chap. I-lllPlf^P F handling the Pencil i 
 
 II. Of Painting after the 
 Life 3 
 
 III. Of Dead-colouring ; 
 and how to perform it 
 
 with Certainty and Expedition 6 
 
 IV. Of die fccond Colouring and its Requi- 
 sites _ 7 
 
 V. Of Retouching, or Finifhing ibid. 
 
 VI. Of the fecond Tint, and the Relief it 
 occafions 8 
 
 VII. Of Beauty ; and the Proportions of the 
 Members in an human Body 12 
 
 VIII. Of the Motion of the Members 18 
 
 IX. Of paflionate and violent Motions 21 
 
 X. Of the different colouring of the Naked, 
 in a Child, Man and Woman ; in Health, 
 Sicknefs and after Death 24 
 
 XI. Of the Colours and their Ufes, with 
 refpecT: to both the Sexes 27 
 
 XII. Of agreeable and beautiful Colouring 29 
 
 Book II. Of Ordonnance, or Compofition. 
 
 Cbap. I. Of the Qualities neceffary to the 
 firftldea or Sketch 3 1 
 IL Of Ordonnance 33 
 
 III. Of the Ordonnance of Hiftories 34 
 
 IV. Of the Ufes of fine Prints, Academy- 
 figures and Models 3^ 
 
 V- Of Probability j and what is Painter-like 
 in an Ordonnance of few or many Fi- 
 gures 38 
 
 VI. Of the Difference between Youth and 
 Age, in both Sexes 44 
 
 VII. Of the Property and Choice in the Mo- 
 tion of the Members, in order to exprefs 
 the Paffions 48 
 
 VIII. Of the Iffue or Refult of Thoughts 
 touching Hiftories 5 3 
 
 IX. Remarks on fome Miftakes in Hiftorical 
 Compofitions 60 
 
 X. Of Richnefs and Probability in Hiftory 
 
 65 
 
 XI. Of the Ordonnance of Hieroglyphic 
 Figures 7 o 
 
 XII. Of the Order or Succeffion of the Mo- 
 tions proceeding from the Paffions 74 
 
 XIII. Of the Ufe and Abufe in Painting 81 
 
 XIV. Of particular Inclination for one 
 Branch, whether Figures, Landfkips, 
 Buildings, Seas, Flowers, &c. 84 
 
 XV. Of the four Sorts of Tables, and what 
 they are 88 
 
 XVI. Of the Ufes of Ovid's Metamorphofis ; 
 and what is further neceffary to the fketch- 
 ing and executing a Table or Ordonnance 
 
 93 
 
 XVII. Rules for the Management of fmall 
 Figures in a large Compafs, and the con- 
 trary 100 
 
 XVIII. Of the . Ordonnance of Hiftories, 
 Portraits, Still-Life, &c, in a fmall Com- 
 pafs 102 
 
 XIX. Of the Divifion of Hiftory 105 
 
 XX. Of the Obfervables in a Frontifpiece- 
 plate, 109. Of the Reprefentation of 
 Dreams, Apparitions, unufual Thoughts, 
 and Fictions, at leifure Times 113 
 
 XXI. Neceffary Obfervations in continuing 
 an Hiftory in feveral Pieces for Halls, Gal- 
 leries, &c\ 120 
 
 Book III. Of Things Antique and Modem, 
 
 Chap. I. The Difference between what is 
 Antique and Modern 126 
 
 IT. Method for reprefenting what is City- 
 like or elegant Modern 132 
 
 III. The Nature of City-like Subjects, which 
 daily afford plentiful Matter for a modern 
 Painter 1 37 
 
 IV. 
 
The Heads of the C H A P T E R S. 
 
 IV. Continuation of the fame 
 
 V. Of Dreffes 
 
 *43 
 148 
 
 Book IV. Of .Colouring. 
 
 Chap. I. Of the Colours, and the ordering 
 them I55 
 
 II. Of the Property, -Nature and Colours of 
 Drefies l( 5 3 
 
 III. Of the Colours of Dreffes, and their 
 fin'ting with each other 166 
 
 IV. Of the Difpofition of fhady Objea S , ei- 
 ther diftant or near, againft a light Ground 
 
 171 
 
 V. Of the Harmony of Colours 174 
 
 VI. Of the Difpofition of irregular Objects, 
 and Light againft Darknefs, and the con- 
 trary I;7 
 
 VII. Of Agreeablenefs in irregular and con- 
 trafting Objects jgj 
 
 VIII. Of ftrong Objects againft faint Grounds, 
 and the contrary ; or Darknefs againft 
 Light, and Light againft Darknefs 184 
 
 IX. Of the painting Objeds duftily 186 
 
 Book V. Of Lights and Shades. 
 
 Chap. I. Of the different Lights of a Pic- 
 ture l89 
 
 II. Of the Condition of the Air or Sky 192 
 
 III. Of Reflations in the Water 196 
 
 IV. Of Ground-fhades, according to the 
 Difference of Lights 200 
 
 V. Of Reflections in general 202 
 
 VI. That Sun-fhine has no more Force than 
 common Light, with refped to Shades 
 
 204 
 
 VII. Of the Ground-fhades in Sun-fhine 209 
 
 VIII. How Sun-fhine is to be reprefented in 
 a Piece having a common Light 214 
 
 IX. That the Shades of Objects in Sun-fhine 
 are not more glowing than in common 
 Light 216 
 
 X. Of the Difference of Ground-fhades, 
 proceeding either from the Sun or radial 
 Point 2l8 
 
 XI. Of the Reprefentation of different Lights 
 in the fame Piece 220 
 
 XII. Curious Obfervations on Sun-fhine 222 
 
 XIII. Of the Sun's three Qualities 224 
 
 XIV. Of the Nature of the San, with re- 
 
 fpect to different Countries 228 
 
 XV. Of the Sun's Light upon Objects at 
 Rifing and Setting 229 
 
 XVI. Of the Application of Sun-fhine, and 
 other Lights 231 
 
 XVII. Of the Properties of the Sun and o- 
 ther Lights, in their effential Reprefenta- 
 tions ; and of the chief Times of the Day 
 
 234 
 
 XVIII. Of the Moon, and her Reprefen- 
 tation 238 
 
 XIX. Of the Effects of artificial Lights, as 
 of a Torch, Lamp, Candle or Fire 241 
 
 XX. Neceffary Hints in the Ufe of Perfpec- 
 tive 245 
 
 XXI. Of the different Colouring in great 
 and fmall Pieces 249 
 
 XXII. Of the Difference of Force in larcr e 
 and fmall Painting ; and the Effects of 
 magnifying and diminifhing Glafles 250 
 
 XXIII. An Enquiry into the Difference be- 
 tween a large Landskip ornamented with 
 fmall Figures, and a fmall one with large, 
 with refpect to the Air ; the Day being 
 fuppofed clear in both 255 
 
 XXIV. Of the Lights within Doors 260 
 
 XXV. Of the Application of Lights to the 
 different Species of Hiftories; with a Ta- 
 ble or Oraonnance of all the Lights 262 
 
 Book VI. Of Landjkips. 
 
 Chap. I. Of Landfkips in general 265 
 
 II. Of the Light, Form and Grouping of 
 Objects in Landfkips 27 1 
 
 III. Of the By-ornaments in Landfkips 272 
 
 IV. Of immoveable Ornaments; as Tombs 
 Houfes, &c. 275 
 
 V. Of beautiful Colouring in Landfkips 278 
 
 VI. Of the leafing of Trees 279 
 
 VII. Of the placing and fellowing of Land- 
 fkips 2 gj 
 
 VIII. Of the Lights in a Landfkip 283 
 
 IX. Of Landfkips in a fmall Compafs 287 
 
 X. Of Painting Rooms with Landfkips 290 
 
 XI. Of ornamental Painting without Doors 
 
 293 
 
 XII. Tables or Ordonnances of Venus and A- 
 donis, for the Embellifhment of Landfkips 299 
 
 XIII. The 
 
The Heads of the CHAPTERS. 
 
 XIII. The Fable of Dry ope, for the Embel- 
 lifhment of Landflcips 313 
 
 XIV. Table or Ordonnance of Erifichton ; 
 and the Emblem of a Satyr's Punimment : 
 Both ferving for the Embelliftiment of 
 Landfkips 324 
 
 XV. Of the Word Painter-like - 330 
 
 XVI. Of Painter-like Beauty in the open 
 Air 332 
 
 XVII. Of Things deformed and broken, 
 falfly called Painter-like 338 
 
 Book VII. Of Portraiture. 
 
 Chap. I. Of Portraits in general 344 
 
 II. Of the Defects in the Face, and other 
 Parts 348 
 
 III. The Obfervables in a Portrait, particu- 
 larly that of a Woman 352 
 
 IV. Of the Choice of Lights, Draperies 
 and Grounds in a Portrait ; and of the 
 Point of Sight 356 
 
 V. Of Portraits in little 36 r 
 
 VI. Of the Application of Requifites, with 
 refpect to the different Conditions of Per- 
 sons 3 6 4 
 
 VII. Of the fuiting of Colours in Draperies 
 
 368 
 
 VIII. Of the Imitation of great Mafters in 
 painting Pourtraits ; and of copying their 
 Pictures in general 369 
 
 Book VIII. Of Architecture. 
 
 Chap. I. Of Architecture in general 374 
 
 II. Of the Rifes of the Ornaments, Co- 
 lumns and their Pedeftals 377 
 
 III. Of the Property of a Building, and 
 Obfervations thereon 379 
 
 IV. Of the matching of the various colour- 
 ed Marbles, as well without as within a 
 Building ; with the Management of 
 Tombs, Vafa, and Bacchanalian Terms 
 
 3 8 3 
 
 V. Of the Veins and Eyes in Stones ufed in 
 Architecture, as well without as within ; 
 and how to difpofe them -?86 
 
 VI. Of Ruins 389 
 
 VII. Principal Directions for painting the 
 Ornaments of Halls, Rooms, &c . ° 390 
 
 VIII. Of the Pictures proper to various A- 
 partments 394 
 
 IX. Defcription of feveral Pictures adapted 
 to the five Orders in Architecture 400 
 
 X. Of the Pictures in the fecond Story, 
 built after the Doric Order 413 
 
 XL. Of the Pictures in the third Story, built 
 after the Ionic Order 422 
 
 XII. Of the Pictures in the fourth Story, 
 built after the Roman Order 431 
 
 XIII. The Fable of Cali/to, adapted to the 
 Corinthian Order in the upper Story 441 
 
 XIV. Defcription of the inward View of the 
 Temple of Apollo 446 
 
 Book IX. Of the painting of Cielings or Pla- 
 fonds. 
 
 Chap. I. Of Cieling-painting in general 449 
 IL Of the ufual Difficulties in Cielins- 
 
 TT Painting 4.51 
 ill. Of fore-fliortening Objeas in Cielings ibid, 
 I V. Of the Sizes of Cieling-figures 453 
 
 V. Method for viewing a Cieling-piece on 
 the Eafel, as if on the Cieling 454 
 
 VI. Of defigning after the Life, for the 
 Ufe of Cieling-paintings 455- 
 
 VII. Of the colouring of flying Figures 458 
 
 VIII. General Obfervations in painting the 
 Cielings of Halls, Galleries, £sV. 459 
 
 IX. Method for drawing fore-ftiortened 
 Buildings, Figures, Trees, &c. after the 
 Life 464 
 
 X. Of the Harmony and Union of Colours 
 in Cieling-pieces 465 
 
 XL Of the Deities in facred and profane 
 Hiftory and Fables ; and firft, of the Dif- 
 ference between a facred and profane Re- 
 prefentation 468 
 
 XII. Difquifition touching the Reprefenta- 
 tion of the Trinity 47 1 
 
 XIII. Of the Glories proper to Angels and 
 Heathentfh Deities 476 
 
 XIV. Of the Reprefentations of Angels and 
 Heathenifh Genii 479 
 
 XV. Of facred Emblems 482 . 
 
 XVI. Of the Penates, Lares and Cupids 486 
 
 XVII. Devotional Actions of Nations 490 
 
 XVIII. Of the different Offerings of Na- 
 tions, and their Rites 495 
 
 XIX. Of 
 
The Heads of the CHAPTERS. 
 
 XIX. Of the facerdotal Dreffes, VefTels and 
 other Materials pertaining to Offerings 510 
 
 Book X. Of Statuary. 
 
 Chap. I. Of Statuary in general 517 
 
 II. Of the Execution of Statuary 519 
 
 III. Of Bafs-reliefs 521 
 
 IV. Of the Force, Property and Manage- 
 ment of Bafs-reliefs 526 
 
 V. Of the Draperies of Statues and Bafs- 
 reliefs 529 
 
 VI. Of the Attitudes of Statues 533 
 
 VII. Of the placing of Figures upon Pe- 
 deftals, Frontifpieces, in Niches and other 
 Places 537 
 
 VIII. Of the Ufefulnefs of Modelling 5 42 
 
 IX. Of the vifual Decorum of a Statue with 
 its Pedeftal, as well within as without 
 Doors : As alfo the fuiting of Vafes and 
 Bufts 543 
 
 X. Of the Ornaments of the Frontifpieces 
 of Temples, Houfes, &c. 544 
 
 Book XI. Of Still-life. 
 
 Chap. I. Of Still-life in general 547 
 
 II. Defigns for Bafs-reliefs proper to Still-life 
 
 55° 
 
 III. Reprefentations of Still-life, applicable 
 to particular Perfons 555 
 
 IV. Of the Origin, Nature and Quality of 
 the Roman triumphal Crowns, and other 
 Rewards of Honour 576 
 
 V. Of the Solemnities of the Roman Tri- 
 umphs 581 
 
 VI. Of the Manner of the four principal 
 and publick Grecian Games, and to whofe 
 Honour injftituted 588 
 
 VII. Of the military DrefTes and Arms of 
 feveral Nations, particularly of the Greeks 
 and Romans 50.9 
 
 VIII. Of the Origin of the feveral Enfigns 
 and Shields, and their Devices, for Diftincii- 
 on of Nations and particular Perfons 606 
 
 Book XII. Of Flowers. 
 
 Chap. I. Of Flowers in general 617 
 
 II. Of Painting Flowers in Halls, Apart- 
 ments, Galleries, but principally on Ciel- 
 ings for Ornament 619 
 
 III. That a Flower-painter mould under- 
 Hand Perfpeflive ; alfo the Miftake of re- 
 prefenting Things improperly 621 
 
 IV. Of Flowers on all Sorts of Grounds 
 
 622 
 
 V. Of the Difpofition of Flowers and their 
 Colours in Feftoons and Groups 623 
 
 VI. Continuation of the ordering and plac- 
 ing the Flowers 626 
 
 Book XIII. Of Engraving. 
 
 Chap. I. Emblem touching the Art of En- 
 graving 629 
 
 II. Of the Art of Engraving in general 630 
 
 III. Of the general Elegance requifite in a 
 good Print ; and of the Difference be- 
 tween Book and other Prints 631 
 
 IV. Of the Difference between Engraving 
 and Etching 632 
 
 V. Remarks on Hatching 638 
 
 VI. Curious Remarks touching Stipping 640 
 
 VII. Of etching Bafs-reliefs 642 
 
 VIII. Of Engraving ; and the Management 
 of the Strokes 644 
 
 IX. Of the black Art, or Mezzo-tinto 651 
 
 T HE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK I. 
 
 Of Penciling, Second Tint, and Beauty. 
 
 *n$s $os * * 2* * * * i$ $ * a?*: *' « $gf$ a $ 4 1 > ^?3t«ft is # * * %' sr* # # & 
 
 CHAP, t Of Handling tie Pencil 
 
 H E Handling the Pencil is two-fold, and the two 
 Manners very different from each other ; the one jiu- 
 ent and fmootb, the other expeditious and bold ; the 
 former is proper for copying neat and elaborate 
 Painting, and the latter for copying bold Compofi- 
 tions, as big as the Life. But he who pra&ifes the 
 former Manner, has this Advantage above the o- 
 ther, that, being accuftomed to Neatnefs, he can 
 eafily execute the bold and light Manner, it being otherwife difficult 
 to bring the Hand to neat Painting ; the Reafon of which is, that, not 
 being ufed to confider and imitate the Fullnefs of fmall Objects, he 
 muft therefore be a Stranger to it ; befides, it is more eafy to leave out 
 fome Things which we are Mafters of, than to add others which we 
 have not ftudied, and therefore it muft be the Artift's Care to finifh his 
 Work as much as poffible. 
 
 'Tis ridiculous to hear the Difciples of great Mafters boaft, that, by 
 copying great Things, they certainly obtain a great and firm Manner, 
 
 A and 
 
i Of Tenciling, Second Tint, and Beauty. Book I. 
 
 and a fat and bold Pencil ; and therefore are induced to difrelifh every 
 thing that is neat and elaborate ; but, after all they can fay, 'tis cer- 
 tain, that he who would handle beft, muft ftudy that Manner which 
 moft exactly exhibits the different Natures of the Objects which he is 
 to reprefent j for there are no other Handlings of Advantage to a Paint- 
 er, than the two before-mentioned. 
 
 But further, to convince any one, that a great and bold Handling 
 contributes nothing to the Art, let us place a Piece thus painted, at a 
 due Diftance, and then fee whether the Penciling makes it look more 
 natural : This Advantage it may perhaps have, it may bring in more 
 Money, fince fo happy a Mafter can difpatch double the Work of a- 
 nother, through the Bent of an Imagination fitted to the Expedition 
 of his Hand. Each Branch has a peculiar Handling adapted to the 
 Nature of the Objects to be reprefented ; as, the Landskip-painter, in 
 the Leafing of Trees; the Cattle-painter, in the Expreffion of Wool and 
 Hair; the Ornament-painter, in Foliage, Branchings, &c. and the 
 Flower-painter, in thin Penciling. 
 
 Painters are alfo obferved to ufe, fome, long-hair'd, others, fhort- 
 hair'd Pencils ; this thin, that ftiff Colours; but, notwithftanding any 
 fuch Differences, all is reduceable to the two Handlings aforefaid ; yet 
 in fuch Manner, as that neither of them ought to appear but for the 
 Advantage of the Artift only, the Art being a Theory of the Mind, 
 and the Handling, a manual Practice, confining of a Penciling in an 
 orderly and determinate Matter, for reprefenting an Object certainly 
 and quickly, and without muddling. 
 
 Many are of Opinion, that this is a Gift of Nature peculiar to fome 
 only ; and tho' I cannot intirely difown it, yet muft fay, that it lies 
 more in Practice : And tho' we fee many Painters, in the decline of 
 their Lives, fall into an hard and muddy Manner, yet that argues not 
 againft my Pofition, fince it happens either through Inclination, or Want 
 or better Foundation in their Youth. 
 
 How often do we fee Mafters known by their Difciples ? Little and 
 flovenly Mafters never bring up neat and curious Painters, tho' it fome- 
 times happens, that a neat Mafter may rear a flovenly Difciple. And 
 the Reafon is plain ; for good Inftruction is not alone fufficient, without 
 a due and perfect Apprehenfion of it ; Carelefsnefs being the ufual Pa- 
 rent of a bad Picture ; and fo infecting an Evil will continue, as long 
 as the Artift remains in this Ignorance. 
 
 It is certain then, in order to obtain a good Handling, that a right 
 and early Apprehenfion of Inftruction, and thorough Sight of Faults, 
 
 are 
 
Chap. i. Of T entiling, Second Tint, and Beauty. 3 
 
 are abfolutely neceflary : When thefe Points are gained, the Artift 
 muft endeavour at the three following eflential Quali tications. 
 1. Boldnels of Hand, in the Dead-colouring. 
 
 2i More Care, Circumfpe&ion and Labour in the fecond Colouring, 
 And, 
 
 3. Thorough Patience and Attention in the Re-touching or Finifhing 
 a Picture j the nigher to Perfection, the more Care. 
 
 Thefe three Qualities are as effential to a Painter, as the three Graces 
 to Venus. 
 
 Our firft Work then muft be, to lay both Lights and Shades hold, 
 with a broad and full-coloured Pencil, one by the other, even and 
 without muddling 5 and then, gently moving the Pencil to and fro, Up 
 and down, as the Nature of the Obje£t requires, we thereby unite the 
 Colours , and fetch out the Relief: With this Caution neverthelefs, that 
 the Lights muft not be fcumbled too much into the Shades, or the 
 Shades into the Lights. Thus the Work will have a good EfTe£t. 
 
 By proceeding in this Manner, we (hall perceive no very particular 
 Handli ng in our Work, and therefore it muft be a good one j for th£ 
 firft Colouring is hid by the fecond, as that is by the third, wherein 
 lies the N^patnefs. 
 
 Having hitherto fpoken chiefly of Painting in little, and its Man- 
 ner of Handling, I fhall, in the next Chapter, lay down Inftruttions for 
 Painting as big as the Life* 
 
 CHAP. II. Of Painting after the Life. 
 
 HE who paints after the Life, and finds it difficult, through 
 Years and Inability, to make a good Compofition, muft not 
 undertake Things beyond his Strength ; if ten Figures be too 
 much, let him take hve ; if thefe be two many, two or one, nay, 
 an half Figure ; for little and good is preferable to much and bad. 
 Again, if he have no Genius for Draperies, let him ftudy the nak- 
 ed, as Spag?iolet i Car lot and other Mafters did ; but then, like them, 
 he muft labour to excel in that Branch ; for a middling Artift wiU 
 neither get Honour nor Gain. 
 Here let me advife you. 
 
 1. To 
 
4 Of "Penciling, Second Tint, and Beauty. Book I. 
 
 1. To gain a thorough Knowledge of Form or Proportion, and the 
 Pajftons, that you may not only give your Figures their natural Moti- 
 ons, but that it may alfo well appear what caujes thofe Motions.. 
 
 2. Exprefs properly the Condition and Dignity of your Figures by 
 their Carriage ; whether they be private Perfons of either Set, great 
 Men, or Deities. 
 
 3. Seek the Colouring, not in Spagnolet or Carlot, but in Nature 
 her/elf-, let your Carnations be as natural as pojjible j the frefh and fair 
 you mufl: paint fo; and the yellow or ruflet muft be of thofe Colours. 
 
 But, above all, induftrioufly avoid inclining to a particular^ Man- 
 ner ; do not maintain that warm, glowing, or brown Colouring is beft ; 
 (a Bat is, in his Kind, as beautiful as a Parrot) for then you will cer- 
 tainly err \ and, fince Men are too apt to hug their Faults, your 
 Care muft be, to be known by a good Manner and Handling. 
 
 Now, for our Artifts fafer Conduct, we (hall lay down the following 
 Precepts focthe right Ordonnance of a Piece. 
 
 1. Let him chiefly confider, where the Piece is to be fixed, in order 
 to place right the Horizon, and Point of Sight. 
 
 2. Let him confider, what Force the Light has in that Place, and 
 thereby, whether the Painting muft have ftrong Lights and^ broad 
 Shades, as being 'near a IVindow ; or, more faint and melting Light, as 
 removed further into the Room. This we may foon perceive in a Land- 
 skip, or other within-door Painting, and whether the Shades fhould 
 be ftrong, or not; fince it's certain, that the Objeas, whether great or 
 fmall, have different Efecls in thefe two Inftances. And now, the 
 PerfpecJive be alfo well' managed, and the Colours laid frefh and propter, 
 and well handled, by gently uniting them with large Pencils, the Piece 
 will be good. 
 
 If this Handling and Melting of Colours be not yet underftood, I 
 {hall clear the Point in the following Inftance : Take what Colours your 
 Objea requires, be they Red, Blew, Green, Violet, &c. lay them 
 broad and di/lincJ by each other, without fcumbling ; then, viewing them 
 through a Piece of Lantern-horn, you will perceive a perfeff Union 
 of Colours, and that none of them lie di/iincl, tho\ in Fafl, they do. 
 This fully illuftrates what I fay of a fluent or fmooth Pencil : Now 
 the EfTea is the fame when we paint in Ver-nifh, or tough or fat Oil ; 
 becaufe painting with ftarved Colours, on a dry Ground, can never ef- 
 fect this Smoothnefs. 
 
 In, painting after the Life, we ought to ufe large Pencils ; and tho' 
 to forne, this may feem an ufelefs Admonition, becaufe great Paintings 
 
 require 
 
Chap. |. Of Tenciling, Second Tint, and Beauty: f 
 
 require fuch, yet I mud recommend it, becaufe (bme ufc common-fizYl 
 and worn ones, which fo muddle the Work, and fill it fo full of Hairs, 
 that it will bear fcraping. This Evil is fo ftealing, that at laft it be- 
 comes habitual, and then the Painter neither minds or fees it himfelf. 
 
 Becaufe there are two Sorts of Pictures ; the one moveable, the o- 
 ther fixed; the former hung at pleafure in Halls or Rooms, the latter 
 for Cielings, or far above the Eye, each of them calls for a dijiinfi 
 Management. A T iches in Galleries, as near the Eye, mud be ranged in 
 the Clafs of moveable Pictures, as well as Pourtraits j wherefore 
 they ought to be neater handled, tho' fometimes placed higher, at o- 
 ther times lower. 
 
 . If it be asked, whether an upright Piece, 40 or £0 Feet deep from 
 Floor to Cieling, ought to be fmoothly handled, and finilhed through- 
 out ? I fay, No ; but rather to be fo painted, as high as you can reach ; 
 lefs finilhed in the middle, and lefs than that as it advances in Height; 
 and yet with fuch general Care, that all Parts feem to have a like Force 
 and Finifhing. And tho' we find a different Conduct in Jordaarfs mag- 
 nificent Triumphal Piece in the Houfe in the Wood, near the Hague, 
 yet that can be no Rule ; becaufe the Painting being large, the Eye 
 cannot diftinguith, whether the upper Parts be lefs hnilhed than the 
 under ; moreover the Figures are bigger than the Life. 
 
 But here, methinks, a Difficulty may be ftarted : Suppofe, in a Room 
 where fuch ,a large Piece is, another were to be painted by it fmaller ; 
 (as a (ingle Figure no bigger than the Life) how ihall we manage, in 
 order to give this latter Picture the fame Force as the former ? I anlwer, 
 That Force and Warmth lie in the Colouring, not in the Roughnefs of a 
 Piclure ; whence it is, that the fmall Piclure muft be handled in the fame 
 Manner as the great one, to make them look agreeable ; for heighten- 
 ing and (hading it with the fame Force, will produce the fame Effect: 
 And if not immediately by the pure Strength of Colours, yet by fcum- 
 bling and glazing we fetch it out. But then, fay fome, it cannot 
 have a due Conformity with the Life ; becaufe, on comparing it with the 
 large Picture, it feems lefs than the Life: I anfwer, That this Objecti- 
 on muft not make us exceed the common Size of Nature, fince no fuch 
 large Men, as in the great Picture, are to be found in Nature ; and 
 if any fuch were, their Parts would look too big, their Skins rougher, 
 Pores coarfer, Hair more bufhy and ftrong, &c. than we fee in Na- 
 ture : But the contrary may be practifed in a Cieling-piece> where the 
 Composition is moftly hieroglyphic and Hctitious. 
 
 I proceed now to Ihew more amply a good Manner or Handling, 
 
 C I I AE. 
 
6 Of 'Penciling, Second Tint, and Beauty. Boot I 
 
 CHAP. Ill* Of Dead-colouring ; and how to perform it with Certainty 
 
 and Expedition, 
 
 TH E moft certain and regular Way is, to begin the Pidufe 
 from the Depth or Lointain, (efpecially when a Landskip is 
 introduced) iince all Things muft pit and fall in zvith the 
 Lights and Darks of the Air, and the fever al Tints of the Piece he 
 modified and governed by it ; as indeed muft alfo the Light on the Fore- 
 ground, and the Force of the Figures-, otherwife the Effeft will bedif- 
 agreeable and uncertain. 
 
 But if the main Compofition confift of Figures, or other large Ob- 
 jects only, 'tis better to begin where you intend the greatefi Force, whe^ 
 their it be on the firft or fecond Diftancei and then work' to the Off-part 
 or the Picture. 
 
 Now, in order to prbceed with Certainty, we muft take Care that 
 general Harmony of Parts be well obferved ; that the Tints and Colours 
 be juftly managed, according to the Laws of Depth and Diftance, fo 
 that nothing appear oflenfive to the Eye; and then the Work will 
 be in a fit Condition for fecond Colouring, with little Trouble. 
 
 Many Painters indeed err, in not knowing where to begin rightly 
 and, only confulting what Objeds they like beft, heedlefly fall on them 
 firft : For Inftance, if it be a gold Vafe, they begin with that, and 
 then proceed to a blue Drapery, then a red one, Others begin 
 
 with the Nudities, and fo run thro' all the Nakeds in the Pifture ; by 
 which ftrange Disjundion the Work becomes mif-thapen, and the Paint- 
 er made more uneafy, than by an ill-primed Cloth. 
 
 But fuch Painters never think on any Means to extricate therrifelves 
 out of this Labyrinth : To what Purpofe is it to (hew them their Er- 
 ror ? They are fatisfied with what they have done ; and falve all by 
 laying -—-The Picture is but dead-coloured; on Finifhing it /hall be o- 
 therwife ; what is now too light Jhall be brought down, and what too 
 dark heightened. But all this while, the Work does not go for- 
 ward ; the rifing Difficulties pall the Fancy, and the Work is in a bad 
 Condition for fecond Colouring* 
 
 CHAP, 
 
Chap. 5-. Of Tenciling, Second Tint, an*' Beauty. 
 
 CHAP. IV. Of thefecond Colouring, and its Requires. 
 
 IF a Piece be well dead-coloured, and have a good Harmony and 
 Decorum, we certainly render the fecond Colouring the more eafy ; 
 for then we can unbend our firft general Thoughts, and apply them 
 iolely to lay neatly and finifh particular Parts, and fo to work on the 
 former good Ground. But, to do this in the belt Manner, we mult, as I 
 have laid, begin from the great eft Lointain, the Sky, and work forwards 
 jrom thence : By this Means we have always a wet Ground to melt in with 
 the Out-lines of the forward Figures, which otherwife they would not 
 havei behdes another pleafing Advantage, that the Piece goes forward, 
 all Farts well lupported, and a good Harmony in the whole : Whence the 
 Eye muft be fatisfied, and the Mind continually fpurr'd. This Manage- 
 ment is one of the prime Qualities of a Painter ; for what can encou- 
 rage him more, than an ArTurance that he works on a fure Bafis, and 
 which he finds without feeking it? But unhappy is he, who works 
 diiorderly j for muddling on one Thing as long as his Fancy for it lafts, 
 and then thoughtlefly proceeding to others, and dwelling on them in 
 the lame Manner, he mnTes the neceflary, becoming Air of his Piece j 
 and, at laft, all appears out of joint, and difrelithing. 
 Having come thus far, we proceed to the Manner. 
 
 CHAP. V. Of Re-touching, or Finifhing. The French call it Retou- 
 cher ; we, Revife. 
 
 HOW fure a Painter is, having got thus far, let Experience and 
 his own Refleftion be Judges ; for the Figures having their pro- 
 per Diftances, Strengths and Ernsts, and all Parts due Harmo- 
 ny and Keeping, nothing remains but to give the Piece the lak Force 
 of Light and Shade. 
 
 To do which well, rub your Piece (or fo much as you think you can 
 paint of it at one Time, and before the Vernifh grow dry) with a good 
 thin Piclure-vernifh, mixed with fome fat white Oil ; then work on 
 this wet Ground, by clapping your Lights on the lighteft Parts, and, 
 
 by 
 
8 Of TehcHing, Second Tint, and Beauty. Book I. 
 
 by a gentle Scumble, unite tbem with the wet Ground aforefaid, and 
 the Tendernels of the Nudities and Draperies, in fuch Degree, as is 
 neceflary for each 5 then put in the Yellow, or Glow of the Reflexi- 
 ons. If, after all, the Lights of the Nudities fhould be here and there 
 too ftrong, reduce them, by mixing a little light Oker, Vermilion, 
 brown Red, Lake, or Afphaltum (according as the Colour is tender or 
 ftrong) under the Vernifti, glazed thinly over them; then heighten 
 upon this with fuch a Colour as you think fit: Do the fame by the 
 Draperies. Thus the Work will fucceed, and the Colours be prevent- 
 ed from going in, in drying. 
 
 CHAP. VI. Of the fccond Tint, and the Relief it occafions. 
 
 THERE are many who, whatever Pains they take, cannot be 
 brought to relifh a Thing, in which they find fo much Diffi- 
 culty. They, who have long pra&ifed after Nature, are vexed 
 to fee the Works of other Mafters better coloured, and more pleafing 
 than their own : Infomuch that, with Difficulty, they re-LuTume their 
 Profeffions, and then, eagerly hoping to do Wonders, find their old 
 Vexation ftill return. 
 
 Would thefe Men rightly fearch the Caufe, their Trouble would end ; 
 for, tho' we are naturally better pleafed with great Mafters Works 
 than our own, becaufe of our Inferiority in Knowledge, yet we muft 
 not be therefore difcouraged ; but (as I laid) ftudy where the Fault lies. 
 Let us then make good Reflexions on neat Pi&ures, in order to profit 
 by them ; and alfo converfe with better Mafters than ourfelves. 
 
 'Tis to be lamented, that thefe Men fometimes fee fine Things in 
 another Mafter, but can give no Reafon for it, becaufe they work ra- 
 ther by Accident, or Chance, than on fure Principles : As was the Cafe 
 of a young Painter fome Years ago, who, (hewing me fome of his 
 
 Pieces, faid, This Piece I painted fix Tears ago ; this four, and 
 
 that lefs ; yet can perceive no Difference between them in Goodnefs: ■ 
 Now, tho 7 the Difference was vifible, the laft Pieces appearing better 
 managed, in all Parts, than the former, yet he would not believe me; 
 faying, That, notwithstanding all his Endeavours, his Pictures were 
 grey and muddy } when others were clean and pleajant, and their Lights 
 broad: — Hay on my Colours, fays he, fine and warm as they do, and then 
 vxpeditioufly jcumbk them into each other ; now, pray tell me, what niuft 
 
Chap. 6. Of Penciling, fecond Tint, and Beauty. 9 
 
 then occajion this Fouhefs ? - / told him, Certain Painters, with 
 
 whom you daily converfe,fpoil you; and, as long as you follow them, all my 
 Advice is to no purpofe : As for your Thoughts and Ordonnances, J like 
 them very well, hut dijlike your Handling ; you do not lay on your fecond 
 Tint clean enough j (by the fecond Tint, I mean that which is laid on 
 the light Parts, towards the Out-line, by means of which, all relieved 
 or round Parts are forced to unite with the Ground, and to gooff round- 
 ing) this you muft lay on clean and beautiful, in the fame Colour as- 
 that of the Light ; but it muft not be muddy, and like Shade ; for be- 
 ing alfo lighted by the Day, the Darknefs, and its Grey, can have no 
 ErTeft upon it ; Relief, or Roundnefs, being nothing elfe than a Light 
 receding, or going of, which ought to partake more or lefs of Blue,, 
 in Proportion to the Colour of the Carnation ; which, if yellowifh, 
 the fecond Tint muft be greenifh ; if Red, the Tint muft be Violet ; 
 and if a White Colour, the Tint is a Medium between the two Co- 
 lours aforefaid. From all which Premifes 'tis eafy to apprehend, that 
 this fecond Colour is to be got and mixed with Blue; but not with a 
 
 foul Colour, becaufe it then lofes it's Flejhinefs. Here he asked me, 
 
 In what Manner then he lnould make it darker? I anfwered, that, as 
 the Diftance of Objects caufes Faintnefs in Colouring, and what' we 
 call Air makes a bluijh Interpofition between us and them, fo he muft 
 mix nothing with his Tint, hut fine Blue, or Smalt, in Proportion to 
 fuch Diftance: This is a Colour, if I may fo fay, which gives no Co- 
 lour, or does it without much Alteration. This Conduct relates not 
 only to Nudities, but alfo to Land skips, Grounds, Stones, Draperies, 
 and, in fine, to every Objetl, having either Roundnels or Diftance.. 
 Moreover, another Perfection, neceftary to this Tint, is, that we muft 
 not let it be too dark upon the Relief ; becaufe a broad Light looks ma- 
 jeftic, and fine, when, between it and the broad Shade, a tender Diffe- 
 rence only appears. He returned me Thanks, and I went off! 
 
 There are many, who know not the Importance of the Things they 
 flight, and, in Cornparifon with others, think them of no great Mo- 
 ment : As was the Cafe of another Painter, who, copying a Piece of 
 PouJJin, oblerved nicely the Colouring, tempering even the half Shades 
 and tender Tints exactly on his Pallet ; but, having finilned the Piece, 
 he, in other Pictures, fell again into his old Road : He himfelf faw 
 very well a great Difference between this Piece and thofe* others, and 
 was lorry for it. But the Mifchief lay in not retaining the Manner 
 
 B which 
 
io Of T entiling, fecond Tint, and Beauty. Book I. 
 
 which he had before imitated with fo much Pains ; and this occafion- 
 
 ^W^i^^^^ who believe, that the fecond Tint muft, upon. 
 Extremities, be quite dark, mixing in it the Colour of the Ground ; 
 and fay, the great Mignard did fa which I intirely deny: It is true, 
 that once I read a fmall Treatife, written by the famous BoJJe, enti- 
 tied LePeintre Convert*, or, The Converted Painter; in which, among 
 other Things, he pretends to prove, that Mignard made his Jecond 
 Tint too dark, on the Extremities of his pbjeOs: But I fcy, that it 
 muft not be underftood from thence, that he muddled the Tint with a 
 fouler Ground-colour; but rather, that, in Proportion to the Lightneis 
 or Darknefs of the Ground, he made it either lighter or darker, with- 
 out ufing any Red, Yellow, or Black in it, as they pretend. Moreo- 
 ver we know the vaft Difference between a forenght Face, and a rore- 
 fhortened one ; that the one on the near Side grows larger than the o- 
 ther- as the Faces in Plate I. plainly (hew : Which, by obfervmg or 
 neekaing, gives the Painting either great Elegance or Indecorum. 
 
 The greateft Difficulty fome Painters meet with, is, that one or 
 the Qualities of a good Pidure lies in a broad Light; this they ima- 
 gine to confift in a Flatnefs, reafoning thus : If it be Truth that a Pic- 
 ture wit-h fuch Lights, is beft, more round ones muft needs be worie. 
 A very loofe Argument certainly ! Since Nature and daily Experience 
 of round Objeas teach us the contrary, efpecially when it is not bun- 
 
 fhiny Weather. : . . , 
 
 I have faid before, that the Contour or Ont-line ought to unite m the 
 Tints of the Ground, that, going off from the more enlightened Parts, 
 k may not appear fo much as the others: To illuftrate which, we ex- 
 hibit here in Plate I. aforefaid, a round Pillar A. againft a Ground, 
 half light, half thade ; fo that the light Side of the Pillar is fet off 
 fey the Shade of the Ground, and the Shade of the Pillar by the light 
 Side of the Ground. Now, it muft needs follow, in order to obtain 
 the Relief, that the Shade of the Pillar ought to be made lighter on 
 the Extremity, that it may round off towards the light Ground ; o- 
 therwife it would be but a Semicircle. On the oppohte Side 'tis the 
 fame, except that the Light does preferve itfelf, and its own Colour ; 
 becaufe the Air, which interpofes, caufes the Out-line to recede and tail 
 back; and in the Shade the fame, with this Difference only, that 
 - ' there 
 
Chap. 6. Of Tenctling, fecond Tint, and Beauty: ir 
 
 there it is doubled by the Lightnefs of the Back-ground, partaking 
 more or lefs of its Colour. 
 
 If this be not well apprehended, let the next Example explain it : 
 Place a globular Body againft a light yellow Ground, as in the faid 
 Plate; then, viewing it at fome Diftance, you will perceive the Out- 
 line on the fhaded Side, tenderly to melt into the Ground, without any 
 Hardnefs. This relates to the Roundnefs only. 
 
 Now let us obferve, how much the Colour partakes of it: If this 
 Ball be of a blue Colour, the Extremities will be greenifli againft the 
 Yellow; If the Ball be Violet, they become purplifti ; and if the 
 Ball be Yellow, as well as the Ground, they will be more yellow in 
 the Shade, as we have already taught in treating of the Naked. The 
 luperficial Roughnefs or Smoothnefs of the Ball caufes little Alte- 
 ration, except with refpect to its Nearnefs to, or Diftance from, the 
 
 ^Looking now on the light Side of this Ball, we fhall find, that if 
 the Ball be lighter than the yellow Ground, the Colour of the Ground 
 cannot then have fo much Force on it ; fince the fuperficial Colour of 
 the Bail cannot be overcome by a lelTer Colour than it, and therefore 
 the yellow Ground cannot add to its Colour ; whence it happens, that 
 the meer Interpofition of the Air caufes the Relief, or the - Outline to 
 
 round and go off. . 
 
 Again, were the Ground darkiih or black, yet the dimimihing ot 
 the Colour, caufed by the Interpofition of the Air, will be neither 
 lefs nor more, , but will be more or lefs fet off by the Ground, and feem 
 
 lefs round. . . . 
 
 Artifts err in thinking, that the half Tint, which is laid next to the 
 Extremity on the light Side, and called Mezzo-tint, is the fame with 
 that placed between Light and Shade, under the Name of middle Tint ; 
 for this laft is a whole Tint, and the other but an half Tint, and not 
 fo broad as the Mezzo-tint, which more than half mixes with the 
 Shade, and confequently is bluet ; altho' fome give it upon the Edge - 
 of the light Side another Colour, more like Shade than the Colour 
 of the Objea. The Miftake of which we have already fhewn. 
 
 But when the Light is fronting (or comes direaiy from before) 
 then this Mezzo-tint is half mixed with the middle Tint. Let me 
 not here be mifunderftood ; for I fpeak not of the Side-light, which 
 Painters generally ufe. 
 
 Bz From 
 
ii Of Tend ling, Jecond Tint, and Beauty, Book I. 
 
 From all which Premifes 'tis plain, that this Tint, though called 
 Mezzo-tint, or broken Tint, cannot be confidered as Shade, fince it 
 partakes of the Light. 
 
 Again, it happens frequently, that, in the fame Piece of Painting, 
 fome Objecls are rounder or darker upon the Extremities than others ; 
 which ought to be fo, when, by means of the Obliquity of the Point 
 of Sight, we can difcover more than the Semidiameter, of their Round- 
 nefs in fome, and but a Semidiameter or lefs, in others ; as in the 
 two Pillars in the Plate aforefaid : For if the Point of Sight be in 
 the middle of the Piece, and the Light fall in it obliquely from the 
 right Side, then the Objects on the right Side will have a broader 
 Shade, and thofe on the left a broader Light ; as thefe two Pillars 
 plainly evidence. 
 
 But if now, on each Side of thefe two Pillars, were fome other 
 Pillars placed alike diftant from the Point of Sight, and both cut from 
 Top to Bottom through their Centers, parallel with the Horizon, it 
 is certain, that, at the proper Diftance, we lhall fee, not only the in- 
 ward Splitting, but alfo fome Part of the hindermoft Half, as in Pil- 
 lar A. Now obferve (as the Pillar to the left (hews) that the Part 
 which is feen beyond the half on the light Side, rounds,off fo much 
 the further, and confequently becomes darker than where the main 
 Light rounds off; on the contrary, viewing the light Side of the 
 right-hand Pillar, you fee as much kjs of the foremoft Diameter, 
 or half, as more of that on the ihaded Side; wherefore the 
 Out-line cannot round off fo far on its light Side, nor the Extremi- 
 ty be fo dark, as on the other Pillar, where more than the Half is 
 viiible. 
 
 CHAP. VII. Of Beauty ; and the Proportions of the Members in an hu- 
 man Body. 
 
 BEAUTY being the moft valuable Part of Painting, it muft 
 therefore be the firft and chief Object of our Work ; but my 
 Defign is not to mention all that can be faid of its Power and In- 
 fluence, fince daily Occurrences furniih us with fufficient Examples. 
 
 The wifeft of the Ancients venerated it, as we fee in Plato, who 
 defines it to be, an human Brightnejs of a lovely Nature, having Power 
 to attracl the Mind, by the Help of the Eyes. Nay, Cato valued it fo 
 
 highly, 
 
Chap. 7- Of T entiling, fecond Tint y and Beauty. 13 
 
 highly, that he publickly faid, it were as great a Sin to hurt it, as to 
 rob a Temple. 
 
 Neverthelefs it muft be confeft, that it lies moft in an Idea conceived 
 in our Senfes and Judgment; whence 'tis impoffible to think, that it 
 fhould center in any one (ingle Object : The moft we can fay then is 
 this, that there are as many Beauties as different Objects. The Pro- 
 verb fays well, So many Minds, fo many Beauties. Paris imagin- 
 ed, according to Homer, that Helena, Wife to Menelaus, was the 
 handfomeft Woman, Apollo boafted the fame of his Daphne. Nar- 
 cijfus, on the contrary, thought no-body handfomer than himfelf. 
 Stratonica, amongft the Per/tans, was accounted the greateft Beauty, 
 and her Statue worihipped. The Neck and Breaft of the Athenian 
 Theodota were fo amiable in Socrates's Eyes, that he fell in Love with 
 her. Many more Inftances might be given ; but feeing its Standard is 
 no where fixed, in order to know it certainly, we can only obferve, 
 that each Country, each Lover thinks it has the greateft. The Gre- 
 cians think the brown Complexion the moil: agreeable ; the Latins, the 
 fair ; the Spaniards think black Hair, and the Germans, brown Hair, 
 the moft pleating : This loves tall and well-fet People j that efteems 
 Slendernefs; this, a modeft Carriage; that, a wanton one. From 
 all which Premifes 'tis plain, that Beauty depends moft on Imagi- 
 nation. 
 
 Beauty is three-fold. i. Common. 2. Uncommon. 3. Perfect. 
 The tommon, depends much on the Fathion, and fatisfies Common- 
 fenfe. 
 
 The Uncommon, is tingled out by our Judgments from amongft many 
 others. And, 
 
 The Perfect is that, as we have faid, which fubtifts in the Imagi- 
 nation. 
 
 But we muft neverthelefs fix on fome Standard, or Model, for Beau- 
 ty ; which therefore we have drawn, to the beft of our Skill, out of 
 the many Patterns left us by the Greeks. 
 
 The Beauty of a Nudity in either Sex, Confifts herein. 
 
 1. The Members muft be well fhaped. 
 
 2. They muft have a fine, free and eafy Motion. 
 
 3. A found and frefh Colour. 
 
 1. The 
 
14 Of 'Penciling* fecond Tint, and Beaut/. Bock I. 
 
 r. The Members muft be perfectly joined, in a Manner beft befitting 
 their Natures and Qualities ; the Head and Face duely proportionate ; 
 and the Eyes, Nofe and Mouth to have their exad Symmetry ; the 
 Hands, Fingers, Feet and Toes, and other Parts of the Body, to be of 
 an agreeable Length and Thicknefs. 
 
 2. By eafy Motion we mean, that all the Members, from the great- 
 eft to the leaft, exert themfelves moft beautifully, and without Pains, 
 performing their Adion in a graceful Manner; as we (hall illuftrate 
 by Examples. 
 
 3. By Colour, we underftand, fuch an one as is vifible in perfect 
 healthy Perfons, not fubjed to Impairs, and not inclining too much 
 to Rednefs or Palenefs ; as we (hall fhew in its Place. 
 
 Thefe are the three Qualities requifite to a beautiful Naked, and nam- 
 ed by the Poets the three Graces ; affirming, that they were all to be 
 found in Venus Urania. 
 
 Now, in order to inftruct the Artift fully in the beautiful Divifion 
 of the Members, I lhall here fubjoin the Meafure, as I took it from 
 a Man's Skeleton, when, for Profehor Birloo, Phyfician to the King 
 of Great Britain, I, according to his Inftructions, drew the Figures for 
 his famous Book of Anatomy. 
 
 For Eafe in this Meafure, I have placed by it in Plates II. III. IV. V. 
 a perpendicular Line, marked with Sol and Luna, which is the Length 
 of the Figure; and is divided into four equal Parts, called rough 
 Parts, marked AB C D, for the quarterly Divifion of the Figures from 
 the Head to the Arm-pits, Privities, Knees and Soles of the Feet. This 
 Line is divided again into feven equal Parts and an half, called Head-parts, 
 and numbered, 1, 2, 3, 4, 5 6, 7, The firft of which is for the 
 Head; which is again fubdivided into four other equal Parts, marked 
 abed, for the Fore-head, Eyes, Nofe and Chin : And, by thefe laft 
 Divifions, we lhall afcertain the feveral Parts of the Figure ; amend- 
 ing from the Mark Luna to Sol. According to which the Length will 
 be 5 
 
 Parts. Parts 
 
 From thefole D* to the Ancle joint 2 To B, the middle of the Body 1 
 
 Thence to the inward Calf of the Leg 2 \ / Navel J 
 
 f outward 0} V Hip \ 
 
 « V bottom of the Knee 3 J£ J Pit of the Stomach 2 
 
 -SjKnee-pan o) £ x Arm-pit 
 
 o xupP er Pa rt of the Knee o£ ^ Jshoulder 2 
 
 H /I hi S h 3 ( Pit of the Neck .- o*- 
 
 (Buttocks 2 Chin 
 
 + 
 To 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 7. Of Tencilirtgt Jecond Tint, and Beauty. 1 f 
 
 J* CNofe 
 
 Eyes 
 
 c2 / Forehead 
 
 Parts. 
 1 
 1 
 t 
 
 Hair 
 
 Crown of the Head 
 
 Parts. 
 
 The Breadth of a Man in Profile. 
 
 CD 
 
 f Foot is long 
 Joint 
 
 Calf of the Leg 
 under Part of the Knee 
 H j upper Part of the Knee 
 Thigh 
 
 End of the Buttocks 
 { privy Member 
 
 4^4 
 
 *t 
 2 
 
 2 
 
 n 
 
 31 
 
 n 
 
 4\ 
 
 At the Navel 
 Hip 
 
 Pit of the Stomach 
 Arm-pit 
 Shoulder 
 Pit of the Neck 
 Head is fquare. 
 
 The Breadth of the fame Figure from before and behind. 
 
 f Foot next the outward Ancle 
 Foot-joint 
 
 inward Calf of the Leg 
 outward Calf 
 Bottom of the Knee 
 Top of the Knee 
 , Thigh 
 
 tEnd of the Buttocks 
 At the privy Member 
 The Navel 
 
 6 
 5\ 
 
 H ( Pit of the Stomach 
 At the Arm-pits 
 
 s Shoulders 
 
 I Pit of the Neck 
 u )Chin 
 £ < Nofe 
 H )Eyes 
 
 / Forehead 
 
 \ Beginning of the Hair 
 
 4 
 4 
 
 4l 
 5 
 3 
 
 si 
 
 5k 
 
 2* 
 
 2f 
 
 3t 
 a* 
 
 27>e Length of a Woman. 
 
 From the Sole D, to the Joint j j 
 Thence to the inward Calf of the Leg3 j 
 
 o 
 
 f outward Calf 
 under Part of the Knee 
 
 Knee 
 
 upper Part of the Knee 
 <j Thigh 
 Buttocks 
 Middle 
 Navel 
 Hip 
 
 3 
 2 
 
 3 
 1 
 
 O 
 
 "Pit of the St >»mach 
 
 Arm-pit 
 
 Shoulder 
 
 Pit of the Neck 
 I Chin 
 <j Nofe 
 
 Eyes 
 
 Forehead 
 
 Beginning of the Hair 
 Crown of the Hea£ 
 
 2 
 
 *i 
 1 
 
 1 
 
 r 
 
1 6 Of T entiling, feccnd Tint, and Beauty. Book I. 
 
 The Breadth of a Woman in Profile. 
 
 f Foot is long 
 Joint 
 
 Calf of the Leg 
 j under Part of the Knee 
 H ] upper Part of the Knee 
 ' Thigh 
 End of the Buttocks 
 ^Middle 
 
 Parts. 
 
 5 
 if 
 
 At the Navel 
 J* f Hip 
 
 H l Pit of the ftomacK 
 Over the Arm pit 
 : moulder 
 
 Pit of the Neck 
 ^The Head is fquare. 
 
 Parts. 
 
 4^ 
 
 4 
 
 4* 
 
 2 
 
 4T 
 
 'si 
 
 24- 
 
 The Breadth of this Figure from before and behind. 
 
 " Foot on the outward Ancle 
 Joint 
 
 inward Calf of the Leg 
 outward Calf 
 \ under Part of the Knee 
 upper Part of the Knee 
 Thigh 
 
 End of the Buttocks 
 ^Middle 
 At the Navel 
 
 i 
 i 
 
 \\ 
 
 2 
 2 
 
 2l 
 
 3r 
 3* 
 7\ 
 6 
 
 £ J Hip 
 
 HI Pit of the ftomach 
 Over the Arm-pits 
 V. moulders 
 sPit of the Neck 
 H CChin 
 Under the Nofe* 
 Over the Eyes/ 
 J Forehead 
 H 2 Beginning of the Hair 
 
 4i 
 
 5t 
 
 7f 
 6* 
 
 51 
 
 3 * 
 
 31 
 
 3i 
 
 And now I queftion not, but he, who governs his Figures by thefe 
 Proportions, will find his Advantage in it; efpecially if he obferve 
 the Gracefulnefs of the Statues. 
 
 For Inftruction in the fecond Part of Beauty, the graceful Motion 
 of the Members, let the Tyro confult the Figures in Plate VI. where- 
 in he will find the principal Difpofitions for beautiful J clion, conftfting 
 In raifing and finking the Shoulders and Hips, and their contrafting 
 Motions j as alfo thofe of the leiler Members in the fame Pofture ; 
 from whence arifes not only the Grace of beautiful Figures, but alfo 
 advantageous Shades ; which give the laft Hand to Grace. 
 
 This Inftru&ion is of fo univerfal Importance, that it ought to be 
 obferved as well in dead as living Nature ; in paffionate, as meek Men ; 
 raging, as quiet ; forrowful, as joyful ; thofe in Pains or dying, as in a 
 dead Body : Nay, 'tis impoffible, that any particular Motion or Po- 
 fture of the Body can be good, which is not naturally expreft* and 
 conduced by the three following Qualities, i. A fine Out-line. 2. A 
 
 free 
 
Back of 
 Foldout 
 Not Imaged 
 
VI. 
 
Chap. 7. Of Tenci/wg, fecond Tint, and Beauty. 17 
 
 free Sway in the Motion. Laftly, A beautiful Colouring : For, to co- 
 lour a living Figure as a dead one, or the contrary ; a raging one, 
 pale ; a quiet one, hot ; or a mourning one, in a merry Air, would be 
 egregious, and againft the Truth ; and all Lyes being hateful muft be 
 unworthy of Painting. 
 
 If I feem unintelligible in faying, that fine Affion and Colouring ought 
 to be obferved in a dead Body, void of both ; it muft be known, that f 
 (peak of a painted dead Body, not a natural one; becaufe this latter % 
 has neither the Power of Motion, nor Difpofition : However, when re- 
 quired, we muft difpofe the Model for our dead Figure in fuch Man- 
 ner as looks moft beautiful ; the Face in front ; the Breaft fwaying 
 ■fideways ; one Hip riling ; one Leg clofe, the other flung out ; one 
 Arm flung this way, the other that way, and fo forth : This is called 
 a fine Action , and the whole, a beautiful Figure. 
 
 As for the Colouring, it muft not be like Wood or Stone, but 
 fie/hy, as we fee it in Nature. 
 
 If any object, that, becaufe there are three principal Stages of Life; 
 Touth, middle Age , and old Age; each having its particular Acti ; on, Co- 
 louring and Proportions, 'tis difficult to chufe perfect Beauty out of a- 
 ny of them ; I anfwer, that all Three ought to be reprefented alike 
 beautiful, according to their Natures ; the Toung, tender, gay and frefh ; 
 the Middle-aged, fedate and flethy ; and the Aged, flow-motioned and 
 decayed : For, notwithstanding Age, each of the three has his com- 
 mendable Qualities That is an handfome Youth There*s a 
 
 comely Man Mind the Gravity of that old Man and fo forth. 
 
 But I pray confult Perrier^s Statues, and carefully mind the Youth of 
 Ganimedes ; let Antinous, or Apollo, reprefent the fecond Stage of Life; 
 and the old Faunus, the third ; and you will thereby fee, that each of 
 thofe Figures is, in his Character, perfectly beautiful ; to which add, 
 their fine Colouring, agreeable to their Years : All which confirms my 
 AfTertion, and the Figure muft be beautiful. 
 
 Altho' now a beautiful Figure coniifts in a good Proportion and Dif- 
 pofition of its Parts, with relpect to Action and Paition, yet it cannot 
 be faid to be abfolutely perfect 'till further improved by beautiful Lights ; 
 for we often fee, that too faint Lights render Objects difagreeable, and 
 produce an Effect contrary to our Intention ; which makes us uneafy, 
 becaufe our firft Purpofes are fpoiled, and we know not the Reafon 
 of it. But fo it will happen, when, without minding the Effect of 
 our Objects, we chufe an improper Light ; as a violent Paflion in a 
 feeble Light, which loofes at .once its Effect and Motion: Contrarily, 
 
 C a ten- 
 
iS Of T entiling) fecond Tint, and Beauty. Book I. 
 
 a tender and pleafant Obje£l may, by too ftrong and broad a Light, 
 and Shades toofharp, be quite broken, and its Grace gone. 
 
 Hence it is of the laft Moment to confider thoroughly, before we 
 begin our Work, the Nature and Efleffs of the Subjeft we intend to 
 handle : As, whether it be the Murther of Julius Cafar in full Se- 
 nate ; or the Death of Cato ; or the Nuptials of Stratonica with An- 
 tiochus ; or the Reception of the Queen of Sheba, with her Retinue of 
 Ladies, by Solomon, Sec. Becaufe different Pafftons are to be introduced 
 in thofe different Subjects : In the former we muft fuppofe great Hurry 
 and Confternation, Fright and ConfuQon, nay all is in Motion : In 
 the latter, nothing is feen but tender Beauty, eafy Carriage, graceful 
 Modefty and Authority. 
 
 And now who will not agree with me, that the two former Sub- 
 jects ought to be handled with ftrong and Jharp Lights ; and the two latter 
 with j oft and more tender ones? This Effect lies alfo in the very Na- 
 tures and Qualities of Lights themfelves j fome producing Strength 
 and Sharpnefs j others, Sweetnefs, Softnejs and Pleafure : But a contra- 
 ry Management renders Things falfe and contradictory ; becaule then 
 our two former Examples may be called a graceful Confuffon, and the 
 two latter, a fevere Amour. Wherefore I conclude, that a Figure well 
 proportioned and difpofed, having a graceful Motion and Sway, and 
 a. Light agreeable to its Out-line and Motion, may be called a per feci 
 Figure*. 
 
 C H A P. VIII. Of the Motion-of the Members. 
 
 LE T us proceed now to the.fecond of the Parts wherek Beauty* 
 confifts, namely,. T.he Motion of the Members. 
 This depends chiefly on a contrafting or Oppofition of all the 
 Members of the Body,, and on their Lights and Shades ; which give a 
 Figure Motion and Life : And this is chiefly obtained by a Winding f . 
 or Sway) as when the Face is fronting, the Body muft turn a little: 
 lideways, and the Legs, again fronting. See Fig. A. Plate Vll. 
 
 A fecond Obfervation is, AContra/i in the inclining Poife of the Bo- 
 dy, from . Head to Foot : For Inftance, if one Shoulder rife, the other; 
 muft fink ; the Hips, Knees and Feet, the fame, as in the fame Fig. 
 A. Wheiein i. The right Shoulder rifes.. 2. The right Hipi falls. 
 
 3. The 
 
Plate VII. 
 
Chap. 8. Of Tenciling, fecond Tint, and Beauty. 19 
 
 3. The right Knee or Foot riling again : And the contrary on the op- 
 polite fide of the Body. 
 
 A third Obfervation is, that when the right Arm and left Leg ad- 
 vance, the left Arm and right Leg fall back. 
 
 But this Alotion doubles, when the right Shoulder is feen fronting ; 
 for then the Head and under Part of the Body muft be the fame, as 
 the fame Figure (hews. When the Breaft rifes, the Head ought to link; 
 and the contrary. See Fig. B. 
 
 The Head muft always incline to the upper Shoulder, as in Fig. A. 
 In an erect Pofture, the Feet muft make a Rectangle, to wit, the Heel 
 of the one with the inward Ancle of the other, as in Fig. C. 
 
 Hands muft always have a contra/iing Motio?i ; if one be feen inward- 
 ly, the other ought to be outward ; if one hang down, the other (hould 
 be raifed up. The under Part of the Arm being forefhortened, the 
 upper Part (hould be feen direct. If the Thigh be forefhortened, the 
 Leg (hould be direct, as in Fig. D. 
 
 The Motion of the Legs is almoft like that of the Arms, comparing 
 the upper Part of the Arm with the Thigh, and the under Part with 
 the Leg: If the upper Part of the Arm (ink, the Thigh muft rile, and 
 contraft it. When the right Arm is raifed, and the left deprefs'd, 
 then the Knees or Feet muft be contrary. If the Hip fwell, the upper 
 Part of the Body finks into the under Part. If the Shoulders heave, 
 the Neck links into them. 
 
 Here take efpecial Care, that the Hand and Arm be not on a Line ; 
 but that each Contraft the other in an oppofing Turn, as we fee in the 
 good and bad Examples, Fig. E. 
 
 The crofs Line of the Face is never parallel with that of the Body, 
 either fronting or profile-wife : Nor the upper Part of the Body with 
 the lower. 
 
 In thefe Motions conlift, in my Opinion, the Beauty of the Body, 
 
 with refpecl to Form. 
 
 As for other Motions, thefe three are the principal : 
 
 1 . That of the Head, 2. That of the Hands and Feet, Laftly, That 
 
 of the Body. 
 
 Thofe of the Head zxo. fourfold \ forward, backward, and on each 
 Side. Thofe of the Hands and Feet are the fame. 
 
 The Arms and Legs have but one Motion ; to wit, one on the El- 
 bow, the other on the Knee ; the Arm bending, and the Leg drawing 
 back. 
 
 The, Motions of the Body are threefold-, foreright, and on both 
 Sides. 
 
 C 2 Befides 
 
%o Of Tenciling, fecond Tint, and Beauty. Book I 
 
 Befides thefe, there are yet four other Sorts of Motions proceeding 
 from the fame Members ; to wit, the Jimple, the active, the pajfive 
 and the violent. 
 
 1 . The Simple is, when the Members move naturally ; as in W alking, 
 one Foot is fet before the other; in Drinking or Eating, the Hands 
 are lifted up to the Mouth ; the Head turns, and the other Members 
 are made iubfervient to the prefent Action ; and to which Children, 
 as well as aged Perfons, naturally incline. 
 
 2. The JfcJive confifts in carrying, pulling, thrufting, puflhing, climb- 
 ing, and the like ; which is done by Knowledge and Judgment, This 
 is only in part proper to Children. See Plate VIII. 
 
 3. The Pajffive arifes from Difquiets of the Mind, or what the Soul 
 fhews by the Body in the Paffions ; as Love, Hatred, Anger, Sorrow, 
 Joy, Spite, Scorn, and fuch like. 
 
 The Effect of thefe, tho' moftly inward, yet is {ten from without the 
 Body, chiefly in the fmall Members, as the Eyes, Nofe, Mouth, 
 Fingers and Toes. See Plate IX. 
 
 4. The Violent, proceeding from Fright, Fear, Defpair, Rage, tiff, 
 or any thing that is unufual and fudden, and perturbates Nature either 
 by hearing or feeing ; fuch as a fudden Thunder, Spectre, or frightful 
 Sight : Thefe caule a fhrinking, ftretching and winding of the Mem- 
 bers ; to both which, Young and Old are fubject. See Plate X. 
 
 But all thefe Paffions together cannot produce a perfect Figure, 
 without the Affiftance of the Members ; becaufe we can go up Stairs 
 with Hands in Pockets; or lift a Weight with both Hands, and yet 
 the Legs may be clofe : A Perfon can be affrighted by fomething land- 
 ing or lying before him, without (hewing it in the Face ; we can alfo 
 be in love, and it (hall not appear in our Motion. But my principal 
 Intention is, to exprefs thefe Paffions by the Motion of the Members ; and 
 to Jhew how each Member contributes towards them : As when the 
 Body turns or winds, the Members ftir, one advancing, another fall- 
 ing back ; one raifed, others finking. 
 
 But fmce it is very rare to fee all thefe Motions and Paffions, as hap- 
 pening very feldom and unawares : And fince no Model can be lb fet 
 as to give them, I did, for Certainty, (land for them all ; expreffing e- 
 very one, even to the leffer Members, Eyes, Mouth, Nofe, Fingers 
 and Toes; and thefe were nimbly and dextroufly, as you fee, defign- 
 ed by my Son. 
 
 CHAP. 
 
> 
 
Plate X. 
 
Chap. 9. Of Penciling, Jecond Tint, and Beauty: ax 
 
 CHAP. IX. Of pafftonate and violent Motions, 
 
 WE ought to obferve in the firft Place, that the greateft Part of 
 thefe Motions are but in part to be apprehended, and moftly 
 by reprefenting the Caufe of their Motion by the Relation 
 which they have to each other, whether in their Beginnings orConclu- 
 fions : For the End of one oftentimes begins another, as Anger is a 
 Step to Madnefs ; Sorrow to Faint-heartednefs, and this produces De- 
 fpair or Folly. This is the Effett of moftof the violent Troubles of 
 the Mind, and Pains of the Body ; for this Smart ftirs the Members 
 violently, the Mufcles fwell, the Sinews, Nerves, &c. ftretch out of 
 meafure, nay, fometimes beyond their Power; as for Inftance, in 
 burning, wounding, and the like : Which Pains, tho' they produce par- 
 ticular Contractions in the Face and other Members, yet they would 
 not be plainly known, or diftinguiihed, if fomething of their Caufes 
 did not at the fame Time appear ; as Pyr annus ftabb'd with a Sword ; . 
 Eurydice and Hifperia bit by a Snake : Procris kill'd with a Javelin ; 
 and the Centaur Nejjus fhot with an Arrow ; Hippolytus wounded by 
 the Overturn of his Chariot ; and more fuch. By whom we muft 
 needs, as before hinted, reprefent fomething of the Caufe ; as by Py- 
 ramus, either the Veil of Thishe, or the naked Sword ; and by Eury- 
 dice, the Snake, living or dead ; by Procris, the Weapon gored with 
 Blood : And thus of any others. Moreover, we ought to Jhew the 
 Wound, and how it happen 'J$ two Circumftances equally neceflary. 
 The fame is alfo to be obferved in Nejfus, who is fhot from behind 1 
 Eurydice and Hifperia bit in the Heel ; dchilles wounded in the fame 
 Part : All which Circumftances a skilful Mafter ought to difpofe pro- 
 perly. But, left thefe hints be not plain enough, I fhall make them fo s 
 in the following Defcription reprefenting, 
 
 The Death of Hisperia. 
 Hifperia, Daughter of the River Sebrenus, being purfued H f>y Mfaars t 
 Son of Priamus, is bit in the Heel by a Snake 3 of which Wound lhe 
 died. 
 
 This young and beautiful Maid is in the middle, lying on the Grafs, 
 and lurrounded by fome Nymphs, who mourn her Misfortune. Her 
 Father, Handing difpirited againit a Piece of Stone-work, and weeping 
 
 f0E 
 
ax Of T entiling, fecond Tint, and Beauty. Book I. 
 
 for her Death, is attended by fome other River-gods, who endeavour 
 to Comfort him ; but in vain. 
 
 ? a i m r nt iS thin, * nd her Breaft open; her gold-colour- 
 
 whKr C T ng rru°u 5 er ShouIde ^ her Gown turn'd up, 
 which difcovers her Thigh ftained with Blood. A Boy, lying near 
 points at the poifon'd Wound, and at the fame Time pufhes away a 
 Nymph who, is lifting up the Gown, and ftooping fees the Wound. 
 Another Nymph, coming by, with a ihort-ftick in her Hand, ftews to 
 the former the t ore-ground where the Snake lies killed by fome Boys 
 with Sticks and Stones. Thefe Boys, in lively Adion, beat the Snake 
 with Sticks and fhorn-bulhes; one of them tramples on its Neck- 
 which makes it .gape ; another, affrighted by it, feems to runaway,' 
 at which, a third falls a laughing. 7 f 
 
 r °° d I" ° n tl r° ^ Sid r 0f SfJ 1 **' In the middle > °* the 
 third Giound, are feen fome riling Willows and other Trees of the 
 
 watry Kind; behind which, runs a River crofs the Piece, flowing on 
 the left Side forwards, wherein float Reeds and other watry Produafons. 
 On the Banks of this River are fome VeiTels and Urns, fome fallen 
 down, others lying partly in the Water; and one ftands upright by the 
 Stump of a Willow. r & 7 
 
 Some Veils, Reeds and Iris-leaves, bundled together, are fcattered 
 up and down. Several Satyrs, Dryades, and other Wood and Field- 
 Crods appear out of the Wood ; fome with Pine-apples, others with 
 lorches of the fame Tree; fome fhreiking outragioufly, others view- 
 ing the Snake, others, the dead Body: Moft of them are ornamented 
 with wild Plants or Oak-leaves about their Heads; fome are array'd 
 with Goat-skins, others with Deer. 
 
 On the left Side of the Piece, in the OfTskip, an high impending 
 Rock is feen, and level with it, in the middle of the Piece, 
 driving her Sea-chariot towards the Rock, in order to fave Mfacus, 
 who has thrown himfelf from its Top : Here we fee him flounce into 
 the bea, and, full of Sorrow, beating the Waves with his Wings, and 
 heaving his Breaft towards Heaven, with his Head funk in his Neck, 
 feems t.o complain to the Gods of his hard Fate. 
 
 Some who are curious, run in hafte to the Rock, with loud Cries 
 and ftretch'd-out Arms; at which, the foremoft Figures look back, 
 pointing at the Sea, to give them to underftand that 'tis already over 
 with him. J 
 
 I do not queftion, but he who is fomewhat acquainted with Fables 
 and Hiftory, and fees fuch a Pidure, will prefently apprehend the 
 
 whole 
 
Chap: p. Of Tinciling, fecond Tint, and Beauty, 23 
 
 whole drift of the Story : Nay, I dare flatter myfelf that a Perfon, 
 not converfant with them, will obferve the Paffions in it, and the Ca- 
 taftrbphe, tho' he cannot tell who the Perfons are. 
 
 But to return to the Motions j it is certain that all upright Figures, 
 whether of Men or Women, mull:, for Grace-fake, poife but on one 
 Leg, never on both: By which means, one Hip will always rife. The 
 Legs ought not to be further apart than the Length of a Foot. 
 
 Walking, the Hip can rife little or nothing ; the Bread ought to bear 
 perpendicularly over the Leg, which fupports the Body : If the right 
 Leg advance, the left muft draw back ; by which means, the Body 
 is pulhed forward: The right Arm or Elbow falling back, the left 
 Arm or Hand, as alfo the Face, muft appear foreright. 
 
 The Weight of the Body of one running, is intirely fupported by 
 the Leg. which advances; the Breaft projefts; the Head finks into the 
 Neck ; and the other Foot is off the Ground. 
 
 A P^gfon climbing, finks his Head into his Neck, and the Neck Is • 
 ere£t: If the left Arm rife, the right ought to incline: Contrarily, . 
 the right Leg is climbing, and the left hangs down ; the Body bend- 
 ing over the climbing Leg, without any vifible Swell of the Hips. 
 
 Thofe -who pujh and pull, have a different A&ion from each other ; 
 and are {hewn here fufficiently with thofe who carry ; wherefore we 
 fhall fay little of them : Tho' this muft be obferved, that no body can 
 carry any great Weight in his Hands, otherwife than on the Side where 
 the Hip riles; nor, on the contrary, pull down any great Weight, o- 
 therwife than with the Hand of the Side where the Hip finks ; the 
 Head ought to bend over the riftng Shoulder. 
 
 There are ftill remaining two Sorts of Motion of no lefs Import- 
 ance than the others ; namely, Befeeching and Sleeping ; yet this laft is 
 not confined to the Bed at Night, but occafioned by Accidents in the 
 Day ; in old Men, thro' Heavinefs ; others, by Exercife of Mind and 
 Body ; Women, by domeftick Labour ; and Youth, by their. Play. 
 And tho'' we cannot properly call thefe Motions, but rather a CefTati^ 
 on of Motion, yet I thought proper to exhibit them in Plate XT. 
 Wherein, No. i. fhews a {lumbering young Man, with his Arms and 
 Legs wantonly fpread. '2. Is a fleepy Woman, with her Head fome- 
 what inclining , to her Side ; but her Arms and Legs more modeftly 
 difpofed than thofe of the young Man. 3. Shews an old fteeping Man 
 with his Head on his Breaft, his Arms clofe to his Body, his Legs 
 drawn in, and Body finking.. 
 
 Among .; 
 
£4 Of "Penciling, Jecond Tint, and Beauty. Book I. 
 
 Among the Be/ceding, No. 4. we fee a Figure praying eagerly and 
 inceflantly. No. 5. Is praying in the utmoft Diftrefs. And No. 6. Is 
 humbly imploring the Gods for Help. 
 
 I think thefe Examples fufficient for finding infinite others flowing 
 from the Paffions, according to Occafion, and as the Matter requires 
 more or lefs Force, Zeal and Pleafure. But think not thefe here offer- 
 ed, to be drawn in their greater! Force, or the moft exprefTive : No, I 
 am not fo prefumptuous, but rather like the Wreftlers, who challenge 
 the beft Matters, not to overcome them, but, to ftand the Chance, 
 who fhall be the Vi&or. I afpire at the Prize; but not with arrogant 
 Thoughts, that all muft give way to me. 'Twere foolifh' to think, 
 that what I have learnt by Practice and Obfervation, another fhould 
 not learn, nay improve, by his Induftry. One Light fprings from ano- 
 ther, and, from a little one, becomes greater; this daily Experience 
 fhews. How many Things do we know, which were hid from our 
 Anceftors ? Whence we may believe, that our Succehors will be more 
 knowing than we. As Arts and Sciences are much improved in latter 
 Ages, to we may hope for their Furtherance in the prefent polifhed Age. 
 If Hercules carried his Valour to the fixed Columns ( Herculis Columns) 
 Thefeus, his Succehor, went far beyond them, and yet followed the 
 fame Path. 
 
 This I hope alfo to fhew to the Artift, wifhing, that by my La- 
 bours, or his own Induftry, he may find a fhorter or more fure Way 
 to attain the higheft Perfeftion in the noble Art of Painting. 
 
 
 
 CHAP. X. Of the different Colouring of the Naked, in a Child s 
 Man, and IVoman ; in Health, Sicknefs, and after Death. 
 
 HAVING carefully ftudied this Point, I find that one Chapter 
 is too little to comprehend it ; neverthelefs I fhall here lay down 
 the principal Parts of it, hoping to handle the reft in this Work, 
 as it comes in the Way. 
 
 Having already treated of Two of the fixed Beauties of an human 
 Figure, we lhall (keeping Nature ftill in our Eye) proceed to the laft 
 of them. 
 
 The different Colours of the Naked are as manifold as the Objects 
 themfelves ; nay, almoft innumerable : But we lhall confine ourfelves 
 
 to 
 
Chap, i o. Of T entiling, Jecond Tint, and Beauty, z s 
 
 to the three Conditions of an healthy and Jtck Per/on, and a dead Body, 
 applied to a Child, Alan and Woman. 
 
 The Child, being in Health, is of a rofy Colour ; the Man of a warm 
 and glowing Colour; and the Woman of a fair Colour. 
 
 But inSicknefs, the Child inclines to yellowifh Pale; the Man to dark 
 Pale, or Fallow ; and the Woman to a milkifh or yellowifh White Colour. 
 
 Being dead, the Child is violet; the Man more grev, yet fome- 
 what yeilowith ; and the Woman like the Child, but more beautiful, 
 as having the whiter Skin : The Reafon of which is, that the Child, 
 having a thin Skin, and being full of Blood, muft appear ruddy ; the 
 Man, being more yellow, and his Skin thicker, muft appear more grev, 
 (ince the Blood can ihine lefs thro' it; and the Woman, having a white 
 and fmooth Skin, muft therefore (hew herfelf fomewhat ruddy. Hence 
 it is, that a Child, in its tender Parts, is more violet, a Man more 
 grey, and a Woman blue, yet more upon the Green than the Violet. 
 All this is demonftrable by the Col ours themfelves ; for mixjng Blue 
 and Red it becomes Violet for Children ; Blue, Red and Yellow make 
 a Grey for a Man ; and yellowilh White mixed with very little Pved 
 and Blue gives a Greennefs for a W^oman. 
 
 Now, in order to ftrike the right Colour for eacb, take thefe ; for 
 the Child, White and Vermilion, it being pretty ruddy; for the Man 
 the fame, with the Addition of fome yellow Oker, which makes it 
 more warm, and alfo more fiery ; for the Woman, take White, a little 
 Vermilion and fome yellow Oker. And to know perfectly the proper 
 Tint of the Tendernefs of each of thefe three Perfbns, you muft, in 
 Finifhing, take fome Smalt or Ultramarine alone, and, with a fbft 
 Fitch, icumble your Blue over the moft tender Parts of your Figure, 
 fo that it lie foft and tranfparent : And you will perceive, that this 
 Tendernefs produces in each Figure, a particular and natural Colour. 
 So much for healthy Nature ; that of the Sick and Dead lhall be fpok- 
 en of afterwards. 
 
 Here methinks I can fcarce underftand (tho' nothing more common) 
 the perverfe Opinions of Painters about Colouring; they feek after 
 Art, but do not underftand Nature ; make large Enquiries to little 
 Purpofe ; and, as it were, traverfe the Earth, without moving a Step. 
 They talk for ever of this or that Mafter's Colouring ; of one they fay, 
 
 Ay, that is beautiful and frejh, of another, That is like Fle/h 
 
 and Blood. — — Another fays, That is very frejh and glowing* - 
 
 Others, after having prattled a long Time, and ftupified themfelves 
 with Enquiries, give up the Caufe, faying, ■ ■ Such a Colour is not 
 
 No. 2. D in 
 
i6 Of Penciling) JecondTint , and Beauty, Book I. 
 
 in the World ; I can neither find nor imagine it ; it cannot be imitated. 
 And more fuch Talk. But what fine Thoughts are thefe? If our 
 Senfts cannot apprehend a painted Nudity, what muft Nature herfelf 
 be ? Is not the Original better than the Copy ? Had Titian and Geor- 
 gione a beautiful Colouring? Let us follow their Manner: They chofe 
 Nature for their Pattern, without imitating other Mafters, becaufe in 
 whatever other Refpefts Nature may be deficient in relation to the 
 Art, (he is cer tain in Colouring ; therefore the Life muft be the beft 
 Model ; and what is not intirely like her, tho' never fo flattering, is 
 falfe and of no worth. 
 
 As I have defcribed fome Weaknefies in Painters, fo the following 
 are no lefs Evils : They pretend to correct Nature, tho' (he be, in Co- 
 louring at leaft, not to be corrected ; incredibly difficult are their 
 fruitless Attempts, and as difficult their Meanings, thro' the Neglect 
 of eflential Methods for doing Things rightly and truly. 
 
 Another Mifchief proceeds from Tyro's themfelves ; thefe, falling 
 upon the Life at firft letting out, can hardly endure to be debarr'd by 
 their Mafters : But I defire fuch may know, that, by this Hindrance, 
 till they can copy well, their Mafters acl: prudently : After this, let 
 them proceed to ^the Life, fince it's certain, that they muft firft get a 
 thorough Knowledge of the Mixtures of the Colours ; without which, 
 they will make but poor Work of the Life *, befides it is far more 
 eafy to imitate an Object - painted, than one neither deiigned nor co- 
 loured. 
 
 The better-meaning Artifts muft therefore not pretend to arrive at 
 fine Colouring, without confulting Nature \ for the greateft Grace lies in 
 its Variety, viz. in Rofinefs, Yellownefs and Bluenefs, as well in Old 
 as Young, principally when each Colour is rightly applied and natu- 
 rally reprefented : But this Variety cannot be feen in the Academy- 
 figure by Night, but in the Day-figure at the Drawing Schools. 
 
 Now, for the docible Artift's Sake, I (hall, in the next Chapter, 
 treat of fuch Colours as I have made ufe of in the dead Colouring, 
 fecond Colouring and Finilhing ; not with Defign to confine him to 
 thole, but to open a Door to further Enquiries; for one Country ufes 
 thefe, another other Colours, and yet both good, if they at laft an- 
 fwer the fame Purpofe : Some again may have been taught other Co- 
 louring. But I fubmit all to Practice, and their own Judgments. 
 
 CHA P. 
 
Chap. 1 1. Of T entiling, fecond Tint, and Beaut)'. 27 
 
 CHAP. XL Of the Colours, and their Ufes, with refp0 to both 
 
 the Sexes. 
 
 A FAIR and tender Woman is dead coloured with White and 
 brown Red ; in the fecond Colouring, with White and a little 
 Vermilion. 
 
 For a young Man the fame ; except that we alfo mix a little light 
 Oker with it. 
 
 In a Soldier, brown Red, and a little White in the dead Colour ; fe- 
 cond Colour as the others. 
 
 For a fallow or Sun-burnt Peafant, White, brown Red and Um- 
 ber for the dead Colour ; light Oker and White for the fecond. 
 
 For a fick Perfon, White, a little Vermilion, or brown Red in 
 the dead Colour j light Oker and White for the fecond, yet but little 
 ruddy. 
 
 The Figures being brought thus far, retouch or finifh them in this 
 Manner ; brufli thinly over your Figure fome Vernifh mixed with a 
 little light Oker; then clap on your main Lights, fcumbling them 
 foftly and gently into this wet Ground, as far as is neceilary : For a 
 Child mix, under the Vernifh, a little Vermilion ; fome light Oker 
 for a Man ; and fomewhat lefs light Oker for a Woman. 
 
 But chiefly obferve, that the bluijh Tendernefs muft not be mixed or 
 laid on in the two firft Colourings ; but, on Finithing, is fcumbled in 
 with the main Lights, and melted into the wet Ground of Vernifh, 
 not with Grey or Blue mixed with White, but with pure and thick- 
 temper'd Smalt or Ultramarine only, touched with a Fitch-pencil, as I 
 have already intimated. 
 
 Thus alfo the Reflexions are to be managed, whether they be ftrong, 
 or apparent, or of what Colour foever they be ; Of which, more in 
 its Place. 
 
 The Tints of the Naked are but three ; namely, the Light, the Mez- 
 zo, or fecond Tint, and the broad Shade : But I except the Ruddi- 
 nefs, which is alfo divided into three Degrees or Parts. 
 
 The three former Tints ought to be made and proceed out of one 
 Colour, in Shades as well as Lights, but I reckon not among them 
 either the greateft Shades, or main Lights ufed in Retouching. 
 
 The 
 
i8 Of T entiling, Jecond Tint,- and Beauty. Book I 
 
 The Colour of a dead Body, could, by this Interpofition, have no 
 Place after thofe others; in fuch a Figure ufe brown Oker, and White 
 in the Dead-colouring ; which being thinly glazed with Lake, more 
 or lefs according to the Age and Condition of the Perfon it reprefents, 
 thereon paint with light Oker and White for the fecond Colouring ; in 
 which, have a due Regard to Fingers, Toes and other lmall Parts 
 both of Body "and Face, which ought to be grey and violet, as in 
 living Nature thofe Parts appear rofy and blulhing. 
 
 If any ask, why I expreOy affign light Oker, Vermilion, or brown 
 Red to this or that Body; and be not content with recommending 
 Red and White, or Yellow and White; he muft know, that there is 
 a vaft Difference between Red and Red; for Inftance, take Vermilion 
 and White, and brown Red and White, and obferve how much the 
 two Mixtures differ in Force and Beauty; thus it is alfo with the Yel- 
 low ; which makes a great Difference in the Colouring of the three 
 Nakeds aforefaid, and alfo in their Tints. 
 
 But I do not abfolutely confine myfelf to thofe Colours ; I name 
 them only as my Opinion touching them, and that I may be the bet- 
 ter understood in what I fay about them. 
 
 Has the Artift a mind, in the fecond Colouring, to put in the ten- 
 der Tints? Let him do it; but they will, on viewing the Painting at 
 fome Diftance, appear like Spots : He will alfo find more W'ork and 
 Trouble, becaufe the Colours lie too thick, whereby he is convinced, 
 and obliged to work it over again another Time. 
 
 Before I end this Chapter, I muft propofe one familiar Queftion, 
 frequently ftarted ; Why many Difciples give into a worfe Manner, 
 than that of their Matters ? Which I refolve thus ; their bad Manner 
 is the joint Fault both of Mafter and Difciple ; the Mafter's chiefly, 
 in being fometimes negligent in his Inftruftion ; for tho' he underftands 
 the Grounds, he does not teach them his Pupils : The greater!: Care 
 he takes, is, to put them on copying all Sorts of Pieces, as well of 
 old as later Matters, each handled in a particular Manner, fometimes 
 quite different from his own. The Difciples, on the other Side, beinc* 
 content with a fuperficial Likenefs, viz. this Part as red, that as yel- 
 low, blue or green, as the Original, (which they themfelves muft 
 find out by tempering and re-tempering) thence it foiiows, that in one 
 Part or other they generally fall into Extravagancy, after they have 
 left their Mailers. Is the Mafter's an hard Manner? Th eirs will be 
 harder. Was he rough ? They will be rougher. He, warm and glow- 
 ing? They, fiery. Did he colour flaring? They will exceed him. 
 W 7 as his Manner to paint young and old Women alike ? They will 
 
 paint 
 
Chap. ix. Of TencUing/fecondTints and Beauty. 29 
 
 paint both Women and Men, young and old, after one Manner ; and 
 make their Wives or Maid-fervants their only Models. As for Paint- 
 ing worfe, this lies at the Difciple's Door, thro' a Propenfity to 
 fome particular Parts, without regarding the Whole: One affecls Dra- 
 peries; another likes Nudities; another delights in By-works. But 
 fuch muft not take it amifs, if I compare them to Thirties, which, 
 where they tall, ftick. 
 
 But a Matter, ' who feeks Honour and Efteem, muft not only be 
 acquainted with what I have now delivered, but many more Things, 
 if he will be valued for Hiflory, the univerfal Painting. 
 
 CHAP. XII. Of agreeable and beautiful Colouring. 
 
 SI N C E a Piece cleanly and beautifully Coloured muft needs be 
 very pleating, as well to the Ignorant as the Knowing ; and the con- 
 trary ones be difpleafing ; we (hail treat of it as a Matter of great 
 Importance: But many mifs the Mark herein ; fome knowingly, others 
 againft their Wills ; I fay, knowingly, in taking a Fancy to this or that 
 Manner, whether good or bad; and, againfl their Wills, when they 
 are paft Recovery, and Cuftom is become habitual. Sometimes it alio 
 happens thro' Carelefsnefs and Fear of doing worfe : Thefe, 'tis true, 
 give good Ear, but neglect right Methods. 
 
 As a pure Light eaufes Objects to appear clean and beautiful, fo it 
 muft needs be, that the more it is broken, and fullied by Darknefs, 
 the Objefts will alfo become darker, and lefs beautiful : Many great 
 Matters have, in this very Particular, been much miftaken ; as among 
 the Flemifh, Rubens ; and in Holland, Rembrant,^ Li evens, and many 
 others of their Followers,. ; the one, in endeavouring to paint too beau- 
 tiful, is fallen into -a flaring Vlanner; and the other, to obtain Soft- 
 nefs, got into a rotten-ripe Manner ; two Extreams, which, like two 
 dangerous Rocks, ought to be avoided. But Prudence obferves a Mean 
 in every thing ; and a skilful Matter will make a judicious Ufe of the 
 Colouring in general, whether in Nudities, Draperies, Landskip, Stone- 
 work, or what elfe. 
 
 I l^avp often wondered, how fome have tormented themfelves in the 
 different Colouring of a Man and a Woman ; painting him warm and 
 fiery ; her, tender and fair ; without reflecting whether fuch Colouring, 
 was proper to their Condition, or not: Nay, without making any 
 
 Diftin&ion 
 
go Of Tenciling, fecondTint, and Beauty. Book I. 
 
 Diftinction between Deities and Men; the Nobleman and Clown; 
 which I think very filly. Now, whether they intentionally do it, to 
 (hew how mafterly they can match fuch a Colour, or whether they 
 are fond of fuch Extravagancies, or bid Defiance to thofe who Colour 
 the Nakeds of Men, Women and Children with little or no Diffe- 
 rence, I will not determine : But muft at leaft obferve, that tho' good 
 Colouring in general is very commendable, yet what we moft fliew our 
 Judgment in, is, the giving every Object: its proper Colour, according 
 to its Nature and Quality \ for the Difference among Objects on the 
 fore Ground ought to be much greater than thofe of the fecond or 
 third Grounds, becaufe the Diftance or Medium of. Air between, u- 
 nites every thing lefs or more, as well Colours as Objects. 
 
 The End of the Firji Book 
 
 THE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK II. 
 
 Of Ordonnance, #r Composition. 
 
 C H A P. L Of the Qualities necejfary to the firft Idea, or Sketch. 
 
 N order to give the curious Artift a previous Notion-, 
 of every thing I think necefiary to the main Matter, 
 to the end he may duely weigh his Qualifications 
 for it, I fay, that he ought in the firft Place to have 
 a good Memory y to confider well what he is . to repre- 
 fent, and to retain it in his Thoughts j. and next, a 
 free and nimble Hand to execute inftantly on Paper,, 
 what he does conceive, left it flip out of Memory 
 again. 
 
 But thefe Qualities will be of little Service, unlefs he obferve Or- 
 der ..in his Proceedings ; the more important the Compofition, the lefs 
 Delay; becaufe a bright Thought fometimes comes unawares, and is 
 as fuddenly loft; and tho' perhaps it may be retrieved, yet with 
 me ; an(tt! tSircumftances than at firft... In fine,, as we take more or lefs 
 Pains about the Matter, fo the Lofs will be the greater, efpecially to 
 thofe of weak Memories, to whom we may apply this Emblem. A 
 
 ~» - Man 
 
gi Of Ordonnance, or CompbfitUri. Bock IP 
 
 Man embracing the Smoke of a burning Pile of Wood, with both 
 Arms, with this Infcription, — - — He who embraces too much, retains 
 nothing. 
 
 How often do we find, that when we betake ourfelves to Thought, 
 we are, by fome outward Caufe, interrupted, and our Proje&s fpoilt by 
 the Confufion of our Senfes ; to obviate which, 'tis beft to be alone ; 
 and then, having Paper, Pen and Ink, or a Crayon, and fettled the 
 Scheme of .your Ordonnance as to Height and Length, you mull: mark 
 out the Plan or Ground, and fix the Point of Sight, whether the Defign 
 be Landskip, or for a Chamber, Palace, Grotto, or what elfe: After 
 this, weigh well your whole Defign ; then, what Sort of Perfons muft 
 enter it, and who ought to have the firfi and mofi vifible Place ; which 
 mark inftantly, and their Bignefs, not in Figures, but Strokes ; here on 
 the firft Ground, there, on the fecond, according to their Characters 
 and Merits ; beginning with the King or Prince, and next, his Reti- 
 nue, or other proper Perfons : If there be ftill another Party to be 
 introduced of lefs Moment than thefe, and yet as eflential to the Or- 
 donnance, mark it with Points in its proper Place, without more 
 ado. 
 
 Having brought your Defign thus far, you may, fome Time after- 
 wards, r^affume the Thoughts of it, beginning with the principal Fi- 
 gures ; and now confider by what Pajjions your Figures are moved ; how 
 they ought to ft and, fit or lie \ what they are doing, whether they fly 
 or run, and whether before or againft the Light \ how they contra/1, 
 and how they fhall be Jet off againft each other. Sketch all this on 
 another Piece of Paper, and tho' in fo doing fome Circumftance may 
 have been omitted, yet the Confequence can't be great, fince the let 
 fer, like a River, flows from the greater, without Burthen to the 
 Memory. 
 
 Go to your Sketch again at fome other Time with frefh Thoughts, 
 and then confider what Characters muft be naked, what cloathed, what 
 beautiful, what common; together with the~proper Colouring, and it's 
 Agreement and Order. Thus the Defign is brought to bear, and this, 
 in my Opinion, is the fureft Way to help and eafe the Memory. 
 
 Thus much of Ordonnance in general, proceed we to treat of each 
 Part in particular. 
 
 CHAP. 
 
Chap. 2. Of Ordonnance, or Composition. 
 
 CHAP. II. Of Ordonnance. 
 
 T W ONDER at nothing more, considering how many Hiftories 
 X can be collected from Sacred Writ, than that we fee : fo few of them 
 handled, and thofe fo little different* in Defign. For in 400 lately 
 publifhed, molt of them are on Subje&s which have been reprefented 
 before, without any Attempts on fuch as have been left undefigned, 
 as if no Ordonnance could be made of them : It is tne fame with Ovid, 
 Homer, Virgil and many others, tho' from them might be gathered 
 Matter for above three Times as many Compofitions. The Caufe of 
 all this, I find* after much Pains and Inquiry, to be Ignorance and 
 Carelefsnefs, thofe two impotent Sifters, who check the Senfes and ob- 
 ftrucl: Inquiries j an Evil to be cured only by diligent Exercife. 
 
 We need not doubt, but that the ancient Painters have pick'd out 
 the beft Hiftories ; but 'tis Folly to. think they therefore defpifed all 
 the reft. It were unhappy, if the Secrets ftill remaining had been be- 
 fore all difcovered ; for then we might bid adieu to all future Endea- 
 vours. But fuppofing, that the beft Subjeds are chofen, it falls out 
 neyerthelefs that thofe which are flighted are oftentimes the mofi 
 painter-like, and have the ftrongeft Pajfions, and at the fame Time the 
 mofl elegant By-works j fo that we need not defpair of fufficient Matter 
 to handle. 
 
 But we fee in Cattle that they will follow one Leader ; and fo it is 
 with fome Painters, who think they have done enough, when between 
 their Compofitions, and old ones on the fame Subject, the Difference 
 lies in Figures fitting inftead of ftanding ; the Aaion in the open Air 
 inftead of being Within-doors ; or by fome Alteration in the Orna- 
 ments and By-works : But nobler Souls foar higher ; they do not fit 
 down contented with what others have thought, but ftrive to excel 
 in Things better, and new, or at leaft as good as the others. 
 
 What Praife-worthy Pieces muft thofe be, which are built on other 
 Men's Thoughts? The original Defigners taxed with Ignorance and lit- 
 tle Senfe, becaufe their Works are feen thus corrected in Anions, 
 Draperies, Colours and Ornaments: But let fuch Artifts continue to 
 torment themfelves as long as they pleafe, Men of Senfe will always 
 think meanly of them, and give the Praife to the firft Inventors. 
 
 No. 2. 
 
 E 
 
 Great 
 
34- Of Ordonnance, or Composition. Book II. 
 
 Great Souls are always ambitious to fhare equal Honours with hap- 
 pier Matters j for who of the Poets would not be equal to HomrJ 
 Of the Philofophers, to Jriftotle? Of the Painters, to Raphael? Of 
 the Statuaries, to Michael Angelo? Thofe great Men have done as 
 great Things to acquire a Name : A Defire of Glory has ted the Fire . 
 of their Labours j and this has fecured them both Honours and Rich- 
 es. They did not vouchfafe, when the Day was (hut in, to fpend their 
 Time in Company, but ardently fired their Lamps for Night-im- 
 provements ; and thus they attained the greateft Happinefs. 
 
 Thefe Things I judged preliminary to what follows ; and therefore 
 we (hall proceed to the Management. 
 
 CHAP. III. Of the Ordonnance of Hiftories. 
 
 TH E Management of Hiftory will ferve for univerfal Conducl 
 throughout this whole Work ; for no one can be faid to be a 
 good Matter, without a perfecl: Knowledge of it : It is fo ge- 
 neral, that it affefts every Branch of the Art ; as the grouping of Fi- 
 gures ; placing or Colours i Choice of Light and Shade ; laying Grounds ; 
 nay, even the Difpofition of each -Angle Figure : But I (hall neverthe- 
 lefs be brief, and fo proceed. 
 
 When now you have chofen your Subject, whether in Hiftory, 
 Fiaion or Emblem, make a rough Sketch of it, and fo imperfeaiy 
 as only to underftand your own Marks and Strokes : Then read with 
 Attention the heft and exatfeft Writers of the Story, in order to conceive 
 it well, and fix it in your Memory, marking immediately what you have 
 
 On your next Return to this Sketch, you mutt principally confider, 
 in what Country, in what Sea/on, and what Time of the Day, the Acti- 
 on happened , and whether within or without Doors-, whether m /late- 
 ly Places, or common ones and lattly, the Quality and Dignity of the 
 Perfons concerned ; thus much for Circumftances : Now mind exaaiy 
 the Effence of the Story, and then the Accidents proper to it. The 
 Event of the Story mutt always fill up the chief Place in the Compo- 
 fition ; and the Beginning of it to be difpofed in the Of skip ; as a Can- 
 non-ball, (hot from a Diftance," batters a near Bulwark, and fcatters 
 whatever oppofes it ; by this means the Drift of the Matter will ap- 
 pear at firtt View : Note all thefe Things in your Pocket-book, that 
 
 you 
 
Chap. 3. Of Orcknnance, or Compofition. %f 
 
 you may remember them ; and be fure to confult them often for that 
 Purpofe. 
 
 Some Day afterwards, early in the Morning, when your Head is 
 eafy and clear, re-confider the whole Matter : Imagine yourjelf to be the 
 Figure, which ( one after another) you are to exhibit ; and jo proceed to 
 the moft inferior. 
 
 Next, extend your Thoughts to the Places where the Attion happen- 
 ed: This will bring you to apprehend the Nature of it j and you will 
 quickly perceive all your Figures in Order, and the Qualities of 
 each, their Diftances and proper Places i Mark this in General with 
 Strokes only. Put each principal Perfon's Name to his Figure, that 
 you commit no Miftake in them, [or the Difpofition flip out of 
 your Memory. After this, you muft mind every other particular Fi- 
 gure : And laftly confider, by what PaJJions they are all moved. 
 
 By this Method it is certain, that we are far advanced in General, 
 but little in Particulars; the Defign is as yet no more, than as if a 
 Perfon, ftanding on an Eminence, or the Top of a Steeple, were 
 viewing, in an open Country, the Preparations of a great Army. He 
 fees all neatly divided into Troops and Regiments, here the Horfe, 
 there the Foot, there again the General, and further off the Officers; 
 yonder again, the Carriages for Provilion and Ammunition, and fo forth. 
 Now, fuch an one only knows the Objecls to be there, and the Place 
 where ; but having a good Order, and following it, he can the more 
 eafily reprefent the reft. 
 
 But he muft ftill go further, in confidering from what Side, and, in 
 what Place, all is to be feen, and whether the Horizon muft be low 
 or high, place your principal Object as much as poffible in the middle, 
 on a rijing Ground ; fix your Point of Sight; determine your Light, 
 whether it muft proceed from the left, or the right, from behind or 
 before ; and whether the Story require Sun-fhine, or a common Light ; 
 next, difpofe the reft of the Figures in Groups, fome of two or three, 
 others of four or five, more or lefs, as you think proper. But of this, 
 we fhall fay more in a particular Chapter. 
 
 In the mean time, to help thofe who may not prefently apprehend 
 this, we fhall give an Example from off the fore Ground : I fay then, 
 that you muft place your principal Figures confpicuous and elevated 
 upon the fore Ground ; give them the main Light, and greateji Force 
 of Colouring, in one Mafs, or Group ; the lejs Objecls muft be fome- 
 what lower, and their Force of Light and Colour more fpread. The 
 fecond Ground ought to be in Shade, or filled with Jhady Objecls ; and 
 
 E 2 behind 
 
l6 Of Ordonnance, or Compofttion. Book II, 
 
 behind them, on the third Ground (which muft be Light again) difpofe 
 the Objects of fmalleft Confequence j obferving always, that large Ob- 
 ieBs are placed behind fmall ones, and fmall Objeas behind large ones ; 
 as alfo ftrong; Lights againft dark Shades ; if you cannot find it by the 
 Shade, endeavour to effeft it by dark Colours, as we fhall fhew more 
 amply in another Chapter. 
 
 Having sot thus far, make your Sketch anew on another Paper, 
 wherein 3efign all the Nudities after the Life, and the Draperies from 
 the Layman, Figure after Figure, as finifhed as poffible ; difpotmg eve- 
 ry thing fo to the Light, that neither more nor lefs Shade appear, than 
 the Whole requires. Forget not to place your Figure and Layman a- 
 greeable to the Point of Sight in your Sketch. 
 
 Now confider the Motions and Paffwis^ which, to reprelent natu- 
 rally, I fhall here (hew a proper Method ; ftanding before a Looking- 
 elafs, make, with your own Body, fuch Actions and Motions as your 
 Figures require; the Pafftons you muft conceive from the Hiftory ; 
 foilnftance, for a Figure in a Fright,, obferve how you ftand, what 
 you are doing with the right Hand, and where the left is ; how you 
 turn your Head ; what the left Leg is doing, and what, the right ; how 
 you bend your Body, and fo forth i Sketch all this with their Circum- 
 fiances, without heeding Proportion, but the Motion of the Members 
 only: Then fet your Layman to that Sketch, difpofmg it fo as you 
 fhall need it in your Ordonrtance, chufing the moft beautiful Side,. be(t 
 Light, and moft advantageous Shades for the Purpofe. If the Fjgure 
 muft be cloathed, caft your Draperies as fine as poffible, according to 
 its Character. Then defign it curioufly on blue or Drawing-paper ; but 
 finifh the Naked from the Life only. Take the fame Method in other 
 Paffions and Figures, as we fhall fhew further in the fixth Chapter. 
 
 In the mean Time, begin your general Defign on the Cloth, from 
 your laft Sketch, and compleat it after your finifhed Drawings, or 
 Models. As for By-works, and other proper Decorations, we ihall 
 treat of them in another Chapter. 
 
 CHAP. IV. Of the Ufes of fine Prints, Academy-figures and Models. 
 
 "Y N few Parts of the Art are greater Abufes committed than in the 
 I Ufe of fine Prints,: and Compofures of great Mafters ; for many 
 accuftom themfelves fo much to them, as feldom to, do any thing 
 
 which 
 
Chap. 4. Of Ordonnance, or Compojition. 
 
 /hich is not borrowed from Prints, or other Men's Drawings. . Are they 
 to compofe an Hiftory, Emblem or Fable, they bring it together 
 Piece-meal, and by Scraps ; and fearching their whole Store of Prints, 
 Drawings and Academy-figures ; take an Arm out of one, a Leg out 
 of another \ here a Face, there a Drapery, and out of another a Body, 
 in order to make of the Whole an Ordonnance: But to whom does the 
 Honour belong? Has fomebody ufed an Ordonnance of Poufltn; is the 
 Defign that Perfon's, or PouJJtn^} This is like Duck-eggs hatched by 
 an Hen, and we are puzzled to know to whom the Praiie is due 5 but 
 it's certain, that if the true Owners of fuch borrowed Goods were each 
 to take his own from fuch Painters, I fear their genuine Offspring 
 would be but fmall ; it would even fare with them as with Erafmus'% 
 Cuman Afs, who, with the Lion's Skin, look'd terrible, but his Ears 
 difcovering him, he was ftript of his borrowed Cloaths, and feyerely 
 bantered by every one. 
 
 But another Mifchief attending this Method of Proceeding is, that 
 it makes them flight the Life, nay, oftentimes forget it ; whereby^ 
 and the Neglect of Rules, they never become good Defigners. 
 
 The neceflary Ufe of Prints Confifts herein, that next to what has 
 been faid in the preceding Chapter, and the Sketch fettled,, we 'in- 
 form ourfelves what great Matters have thought and done on the fame 
 Subject ; how they chofe their Objects, and with what By-works or* 
 namented; this will improve our Thoughts. The next Thing we 'are 
 to obferve, is, the Grace of their Actions, Faces, Lights and Shades ; 
 and if any thing be for our Purpofe, feek it in the Life, or if Drape- 
 ries, take them from the Layman ; thus we may call the Work our own.. 
 But above all, we muft make ufe of Academy-figures of our own De- 
 fign, efpecially thofe done in private. No Figure muft be painted 
 twice in one Ordonnance, without urgent Neceffity : But the folio wirig 
 Ornaments, whether our own or others, we may lawfully ufe ; fuch as 
 Trees, Stones, Tombs, Fountains, Urns, Statues, Ruins, all Sorts of 
 Architecture, and other Ornaments, as much as we pleafe. He who 
 goes further, bigots himfelf fo much to Prints, and other Men's 
 Thoughts, that he thinks himfelf under a Neceffity to exprefs every 
 Thing their PTay : But it's certain our Aim in viewing Prints is two- 
 fold j firft, to footh and pleafe the Eye ; next, to enrich our Thoughts 
 when we are about a Compofltion of our own ; for then they prove of 
 the greateft Advantage to a Tyro, in giving him not only fine Thoughts,, 
 but alfo a pleafant and- beautiful Manner, agreeable Poftures, graceful 
 Actions, well-can: Draperies., and, what's above all,, a guicknefs of 
 
 Thoughts 
 
3 8 Of Ordonnance, or Compofition. Book II. 
 
 Thought \ and a warmer Inclination ; as is more amply fhewn in my 
 Drawing-book. 
 
 CHAP. V". Of Probability; and what is Painter-like in an Or don- 
 
 nance of few or many Figures. 
 
 PROBABILITY, as operating on the Mind and Imagination 
 by the Help of Sight, ought chiefly to be obferved in the Par- 
 tition and Reprefentation of Hiftories, and is next in Conlideration 
 to the three Branches wherein Beauty confifts ; of which we have al- 
 ready fpoken. 
 
 It ought to appear not only in general, but in each Jingle Objecl ; 
 and we muft take Care to reject every thing repugnant to it. 
 
 In order to it, conftder what Characters the Subjecl confifts of whe- 
 ther of People of Farhion, or ordinary People, or of both mixt ; let 
 this appear in their Carriage, Shape, graceful Motion and pleafant 
 Colouring, as being People of Education. 
 
 If the Figures be ruftical, let Rufticity be vifible in them, not on- 
 ly in Drefs, but in their Behaviour, Colour and Motion; and if 
 therein fome Agreeablenefs appear, let it ftill favour of Rufticity. 
 
 By this Means, and what follows, your Thoughts will appear natural 
 and likely , to wit, by giving more or lefs Beauty to Perfons of Condition, 
 and more or lefs Simplicity to meaner Perfons ; one may be fhort, ano- 
 ther tall; one fquab and corpulent, another thin and {lender ; one 
 fomewhat crooked, another of a brown or pale Complexion ; one of 
 a quick, another of a flow Motion : Nay, in three or four Figures 
 there ought to be at leaft one quite unlike the reft; I might lay, that 
 hardly any two ought to be alike ; among 6 or 8, one at leaft Ihould 
 be hunch-back'd : And tho' this may leem to contradict what we 
 have before faid touching Beauty, yet it gainfays it not in reference 
 to Condition, fmce an Hunch-back, wry Shoulders, diftorted Hips, a 
 bigger or lefs Head, have as good an Agreement with the other Mem- 
 bers, as the moft handfome-made. 
 
 If it be asked, what would be wanting if the Figures were all well- 
 proportioned, yet fome inferior to others in Beauty? I anfwer, that 
 thefe laft but in fome meafure partake of the Agreeablenefs of the 
 others, and one in a lefs Degree than another ; and as it is a Truth, 
 
 that 
 
Chap, 
 
 Of Ordonnance> or Cornpofition. 
 
 39 
 
 that great People are fubject to Deformity of Body as well as little 
 ones, fo their Deformity is not fo vifible as in meaner Perfbns. 
 
 Hence, I think my Opinion not ill grounded, that chiefly in refbr- 
 tual Compofitions, fuch as Plays, divine Services, Courts of Juftice, 
 and Concourfes of all Sorts of People, all Sorts of Shapes are to be 
 introduced ; as crooked, fhort, tall, awry, fat and lean, and even fome 
 lame and crippled, as Occafion requires ; but then they muft be fb 
 difpofed, that, without Offence to the Eye, they do by Companion 
 infenfibly fet off other Figures near them ; which is a main Proof of 
 the Likelihood or Probability of an Hiftory : But to make this Point 
 the plainer, I (hall fhew the Difference between one old Perfon and a- 
 nother, and one young Perfon and another, each in a lefs or greater 
 Degree of Beauty - 7 and confirm it by Examples. 
 
 As for the handling of Fables and Emblems, thefe, being not Facts, 
 but Fictions, confirming moftly of Virtues and Vices, require a quite 
 different Management; for in reprefenting Virtue no Blemifh muft ap- 
 pear, and in Vice no Perfection. 
 
 As to Deities, who ought to be perfect in every Refpect, we 
 fhall, as Occafion offers, write more at large, and treat of them 
 throughly in a feledt Chapter ; and in the mean Time fhew here fome 
 different Handlings of the fame Thing in Perfons of different Conditi- 
 ons, as in Plate XII. 
 
 EXAMPLE I. 
 
 No. i. Shews the different Grace in taking hold of a Glafs, the one 
 takes it with a full Fift. 
 
 No. 2. Takes it lower with fome Manners. 
 
 No. 3. Is a Princefs holding a Cup with' the Tips of her three 
 Fingers, drawing warily and agreeably the little Finger from it. 
 
 No. 4. Is a Lady's Woman, who, fearful of fpilling, holds the Glafs 
 handily, yet lefs agreeably than the other. 
 
 No. 5. A Prince holds it handily an$ cautioufly below on the 
 Fqot. 
 
 EXAMPLE II. 
 
 Here you fee again the Effects of Education between People of 
 Condition and more common Perfons, very worthy a Painter's 
 Notice. 
 
 No. 
 
4'0 
 
 Of Ordonnance, or Compofition. 
 
 Book II 
 
 No. r. Shews a clownilh Peafant, and how T greedily and diforderly 
 he eats out of his Porrenger ; he fits, and leans with both Elbows on 
 the Table, embracing his Dim with both Arms, left fomebody fhould 
 take it from him ; he holds the Spoon with his Thumb and Fingers 
 under the Porrenger ; his Mouth over the Diffi, and his Chin advanc- 
 es to meet the Spoon ; his Head is funk in his Shoulders., and he bends 
 forwards with his upper Parts. 
 
 No. 2. Sits upright, and, being better bred, holds the Porrenger by 
 one Ear, and the Spoon with three Fingers by the End of the Shank ; 
 he opens his Mouth but little. Again appears a Difference in 
 
 No. 3. Reprefenting a Gentlewoman holding the Spoon with the 
 Tips of three Fingers, and the Hand over the Shank, in a very a- 
 greeable Manner; and in 
 
 No. 4. You fee a Lady managing a Spoon with lefs Grace than the 
 other. 
 
 This pleating Air is admirably obferved by the great Raphael and 
 Correggio* and particularly by Barocci, as we may fee in a fine Print 
 after one of his Paintings> where Mary is reprefented with a Spoon in 
 her Hand, taking fome Spoon-meat out of a Dim, held by an Angel, 
 in order to give it to the Child Jesus, who, half fwaddled, ftands 
 in her Lap: This Print is, in my Judgment, fo admirable for 
 Grace> and fo natural, modeft and great, that nothing could be bet- 
 ter expreft. 
 
 Tho' the two preceding Examples might be fufficient to Ihew all o- 
 ther Handlings, and the Difference of Aclion in particular Conditions 
 of Perions, we fhall neverthelefs add a third. 
 
 EXAMPLE III, 
 
 Shews how attentive the two Peafants ftand liftening ; the one, with 
 an high Back, advances his Chin, and ftares at the Speaker as if he'd 
 look thro' him ; he hugs himfelf, and refts on both Legs, which, with 
 the Toes, are ftradling; the Knees fomewhat bent, and the Feet turn- 
 ed inwards: The other ftands ftreight, poiflng his Body moftly on one 
 Leg ; has one Hand by his Side, and, with the other, takes hold of 
 his Garb on his Breaft ; the other Leg, a little turned, is fomewhat 
 more forward, and his Belly fomewhat fticking out; his whole Car- 
 riage more agreeable than that of the other. 
 
 Herb again we fee a reputable Gentlewoman of a modeft Gate, her 
 Carriage lofty and agreeable, one Hand refts under the Breaft towards 
 
 the 
 
Chap. s- Of Ordonnance, or Compofition. 
 
 the Body ; the infide of the Hand turned upwards ; Fingers loofe and 
 airy bending downwards ; hearkening with Attention, ihe, with the 
 other Hand, lifts up a. Part of her Garment. She ftands ftreight < her 
 .Head turned fideways, a little forward; her Knees and Feet clofe, and 
 one Heel turned towards the inward Ancle of the other Foot : Now, 
 on comparing the other Woman ftanding by her, likewife liftening, we 
 may fee what a Difference Education makes in People's Actions ; 
 both her Hands reft on her Hips ; ihe ftands on both Feet without any 
 Sway ; the upper Part of her Body bends a little forwards ; her Breaft 
 and Chin advance ; her Head fomewhat toffing \ her Mouth a little 
 gaping ; but her Hips fwell not. 
 
 In iuch Obfervations as thefe, confift the very Nature and Grace of 
 a Composition, be it of many or few Figures, in reference to Perfons, 
 and therefore I cannot too much enforce the Enquiry into fo important 
 a Point : I fpeak here of grand, majeftk and mojl agreeable Aclion ; 
 for the contrary is naturally and daily to be found in us ; and tho' ma- 
 ny would be better thought of, yet they Ihew the contrary by daily 
 Converfation with mean People, whereby they flip the Opportunity of 
 getting better Ideas of genteel Carnage, contenting themfelves with 
 ihooting at Random only. However, they excufe themfelves, by fay- 
 ing, that they have no Opportunity of getting into fine Company ; a 
 weak Shield to defend their Sloth ! Do not the Church, the Playhoufe, 
 and the Park give them Handle enough to fee fine People, and to ob- 
 ferve how they behave ? As for me, before I had the Happinefs to 
 which we may fometimes arrive by the Smiles of Friends, I mift no 
 Opportunity of making Obfervations, and noting them in my Pocket- 
 book ; which an Hiftory-painter ought always to have about him, 
 wherever he goes : And with good Reafon ; for Thoughts are often fo 
 volatile and flippery as to be retained with Difficulty, as I have before 
 intimated in the firft Chapter about Ordonnance. Nay, when I faw an 
 handfome Gentlewoman walking in the Street, I made it my Bufinefs 
 to enquire into the Reafon oj her Grace, and in what it coniifted, and 
 why Jhe appeared more agreeable than others ; and on the contrary, why 
 others are lefs agreeable : By fuch Refearches as thefe, we come to the 
 Knowledge of what is handfome and ugly, as well by the one Sort of 
 People as the other ; but beft by ftudying what is moft fublime and 
 grand. Let me then perfuade the Artift to this Method, not as I 
 think it the only true one, or to diftuade him from any other, but as 
 an Inlet to fo ufeful a Knowledge, and by which we obtain the fineft 
 
 No. %. F Things i 
 
Of Ordonnance, or Compofition. Book II. 
 
 Things ; which, as I have faid, when once loft, may perhaps never be 
 retrieved. 
 
 Many miftake, who think that magnificent Garb and rich Ornaments, 
 as Jewels, Pearls, gold and filver Stuffs/^, are infallible Marks of the 
 Greatnefs and Power of People : But can the moft Difcerning certainly 
 conclude them to be fuch by thefe Tokens, without enquiring whether 
 their Education be equal to their Grandeur ? Even then alfo they may 
 be deceived, fmce fome mean People have naturally, or by Imitation, 
 fuch an Air and Carriage, that, were their Drefs anfwerable, they 
 would be taken for great ones : The Reafon of which is, that at firft 
 Sight there appears little Difference between falfe Jewels and true, tho' 
 on a nice Enquiry may be found ; as in the Jewels, fo in their Actions 
 and Behaviour, fuch a Difference as points out their true Character. 
 
 Again, if thefe different Conditions depended only on rich Cloaths, 
 nothing would be more eafy to a Painter than this difficult Part of Art ; 
 fince at that Rate there could be no Fafhion ; or a Broom-ftick might 
 become a Lady's Hood. Neverthelefs there have been, and ftill are, 
 Painters enough infected with this Opinion, and follow it as a Law ; 
 thinking that David, Solomon and Ahafuerus would not be known for 
 Kings, did not their Crowns (hew it ; thefe forfooth they muft always 
 have wherever they are, and as well in the Bed-chamber, as on the 
 Throne ; and the Sceptre as well at the Table, as at the Head of an 
 Army. I fay nothing yet touching their royal Robes. 
 
 He who duely weighs what I have been faying, muft allow, that 
 State and Carriage are two fuch excellent Qualifications, that a Picture 
 can't be faid to be good without them ; nay, I think them the very 
 Soul of a good Piclure : But as a noble Soul, in a well-fhaped Body, 
 without the Addition of Ornaments, vifibly (hews itfelf, fo of Courfe, 
 fuch are needlefs in expreffing true Greatnefs : Indeed, when Ornaments 
 are introduced with Judgment and Caution, they add to the Splendor 
 of a Picture, but nothing to Charatler, nor can caufe any PaJJtons > as 
 we fee in Raphael, PouJJin, Dominichino and Barocci, who, far from 
 approving it, have, by the very Simplicity of their Figures, fhewn 
 the extraordinary Greatnefs I have been fpeaking of. 
 
 If any object, that Raphael himfelf has not obferved this Conduct 
 in his Story of Bathjheba ; where he reprefents David in a Window 
 with a Crown on his Head ; or, where Abraham courts his Sarah in 
 Sun-fliiny Weather, which afar off is feen by Abimekch leaning on a 
 Balluftrade. As for the firft Compofition I muft fay, if I may fpeak 
 my Mind, that I do not over-like it, or indeed apprehend it ; but 
 
 rather 
 
Chap. Of Ordonnance, or Compofition. 43 
 
 rather believe it to have far'd as fome faulty Things did with me, 
 which being done in my Apprenticeship I am ftill under fome Concern 
 for ; but by the Introduction of the Sun-fhine, his Thoughts may pof- 
 iibly be finer than they appear at firft View, becaufe, had not the Sun 
 (hone on that amorous Couple, Abimelech could not, at his Diftance 
 from them, have feen their Courtfhip ; and if he had reprefented them 
 in any other Corner of the Room, than that where they were, they 
 could not have been fitting. However, fince great Matters have their 
 Failings, 'tis probable, that Raphael's Bible-prints were fooner or lat- 
 er either defigned or painted by his beft Difciples, viz. Julio Romano, 
 Gio Francefco Pe?ini, or Pierino del Vaga, from his Sketches, and after- 
 wards retouched by himfelf, fince 'tis impoflible that one Mafter could 
 difpatch fo much Work in fo (hort a Time, tho' he had a quick Pen- 
 cil ; befides, his Cuftom was to keep his Works long by him for the 
 fake of Improvements, and to give the laft Hand, and the utmoft Per- 
 fection to them^ But as for this Bible, if it be obferved with Attenti- 
 on, there will be found a great Difference between one Ordonnance 
 and another, tho' in fome, the Gr.eatnefs and Likelihood are well pre- 
 ferved. 
 
 But to conclude the Matter of this Chapter, I muft fay, that my 
 Precepts ought not only to be obferved in an Ordonnance of many, 
 but of few Figures alfo, fince it is very difficult to bring them all into 
 one Story: But if the Subject be Courtly, as of Solomon, Ahafuerus, 
 or fuch-like, it muft be known, that the Perfons, to whom Majefty 
 and Grace are moft proper, ought to exceed in it, viz. The King a- 
 mong his Courtiers j the Queen among her Ladies ; a Governour among 
 Citizens, and thus the greater above the lefs, according to his Quality, 
 Office or Dignity; this caufes a proper Diftin&ion of Superiority, and 
 exalts the prime Perfon above the reft. 
 
 Even Pea/ants, who are a little converfant with the Towns, and know 
 fomewhat of good Manners,are obferved to furpafs others worfe-carriaged 
 than they, in their Difcourfes, Holiday-mirths, and Church -ceremo- 
 nies ; but Clowniihnefs muft appear in them, tho' with refpecl to the 
 Paflions, fome may appear to excel others ; except that if a Burgo- 
 mafter, or topping Citizen be mingled amongft them, he muft appear 
 fuperior to them all by his handfome Carriage, and City-behaviour. 
 
 CHAP. 
 
44 Of Ordonnance, or Compofition. Book II. 
 
 CHAP. VI. Of the Difference between Touth and Age, in both 
 
 Sexes, 
 
 T H E Artift ought not only to mind nicely the Actions, but alfo 
 the Difference of the Perfons who are to compofe his Ordonnance ; 
 and he muft have great Regard both to univerfal and parti- 
 cular Differences, as well in the Sexes as their Ages. 
 
 Children alter commonly every three Years, and 'till they are 
 fix Years of Age, have always fhort Necks and round Fingers. The 
 Difference between Boys and Girls is vifible in their outward Parts, 
 without opening their Legs, as Tefta does. 
 
 In the fmall Members the Difference is not very vifible, tho' Girls 
 are fbmewhat thinner, have fmaller Ears and longer Heads; their 
 Arms are likewife more round next and above the Wrift, and their 
 Thighs thicker than thofe of Boys : But the upper Part of Boys Arms 
 is thinner and fmaller. 
 
 Thofe of Francefco Quefnoy are incomparably fine to paint after ; nay, 
 nobody has attained his Perfection ; we fee his often reprefented either 
 without Hair, or but very little ; whether he thought it more beauti- 
 ful, or it was his Choice in making Models, I cannot determine ; yet 
 methinks Boys may very well fometimes be allowed Hair, and that 
 frequently curled : Girls may have theirs twifted and wound on their 
 Heads, with flying Locks, ferving not only for Ornament, but Diftinc- 
 tion of Sexes. 
 
 Boys of 5 or 6 Years old may have Hair finely curl'd ; Girls more 
 thick and difplayed ; another Difference in the Sexes may be this, 
 that Girls Hair is more foft and long, Boys more curl'd and fhort. 
 
 Children of 5, 6 or more Years old ought feldom to be reprefented 
 with clofe Mouths ; their upper Eye-lids are generally hid under their 
 fwelling Brows ; they have commonly a quick Look. 
 
 Young Damfels have a vigilant and lively Look ; raifed Forehead ; 
 Nofe a little hollowed ; a fmall but alrnofl half open Mouth ; round 
 Lips and fmall Chin, in which, as in the Cheeks, is a fmall Dimple ; 
 they have no under Chin. 
 
 Virgins we fee feldom open-mouth'd y their Eyes are more fedate 
 and compofed than the others. 
 
 Old 
 
Chap. 6. Of Ordonnance, or Compofttion. 
 
 Old Women ought to have a more fet and heavy Look, and hollow- 
 Eyes ; their upper Eye-lids large and loofe, yet a little open, the un- 
 der Lids vifibly fwelling ; Noftrils fomewhat contracted ; Mouth clofe, 
 and fallen in : And when they are very old and without Teeth, their 
 under Lip comes over the upper ; they alio have Rifings under the 
 Cheeks on each Side of the Mouth; a long but little crooked Nofe fuits 
 them 5 but in Men a more crooked one is proper. 
 
 People in Authority become a grave Look, a Forehead fomewhat 
 raifed, and large heavy Eye-lids, and thofe half open ; their Afpeft 
 fettled and calm j their Faces turned a little fideways ; the Nofe alike 
 with the Forehead and Eyes ; Mouth fhut, and a double Chin. 
 
 It is neceflary to take particular Notice of the different Make and 
 Form of Perfons, fo far as they are defcribed in Hiftory, in order to 
 exprefs the better the Nature of the Matter ; as Alexander and He- 
 pheftion in the Tent of Darius ; wherein Hepheftion ought to be taller 
 than Alexander : In Saul and David, the former tall? and the latter 
 lefs and ruddy. And thus of any other Circumftance of Hiftory. 
 
 We fhould here have brought in fome Examples of Phyfiognomy ; 
 but as there is lately publifhed, on that Subject, a fine Treatife written 
 by Mr. le Brun, and tranflated by F. de Kaarfgieter, we think it noE 
 necenary to fay any thing about it, but refer to the Book, fince it's, of 
 Service not only to Painters, Statuaries and Engravers, but alfo to Po- 
 ets, Hiftorians and others. 
 
 In the Obfervations about taking and holding any thing, I ha^ve taken 
 Notice that Infants are very fickle and harmlefs in it, and becaufe 
 their Members are very feeble, and commonly ply any Way, they 
 aft as if half lame ; their Hands are always fquab, and therefore moft 
 open. 
 
 Toung Girls are wanton in their taking and holding ; as in the Man- 
 ner of Goltzius. 
 
 Virgins and flayed JVomen are modeft and mannerly in their taking 
 and holding ; as I have fhewed before. 
 
 But aged People have ftiff and dry Hands; for which Reafon they 
 are moft Times fhut, and they cannot extend their Fingers. 
 
 Altho' different Accidents caufe an Alteration in the Face and Pofture, 
 thofe Alterations are neverthelefs very unlike each other, therefore 
 each ought to be handled in a diftinft Manner ; chiefly, when any par- 
 ticular Faffion moves us to this or that Action, whereby the Features , 
 and Lineaments of the Face ^ doubled by the faid Unlikenefs. 
 
 Suppofe, 
 
4< 5 Of Qrdonnance, or Gotnpofition. Book II. 
 
 Suppofe, for Inftance, that all Faces were caft in one Mould, and 
 
 each aoverned by a particular Paftton y as Sorrow, Gladnefs, Hatred, 
 Envy? Anger, Madnefs, &c. Hence it's certain, that they will be 
 very unlike and diferent ; as well as the Aftions of the Body : And if 
 now you give each a particular Make, and Lineament, this will aug- 
 ment their Difference. 
 
 This Obfervation is of great Ufe to Face and Hiftory-painters, and 
 the contrary as ufeful when Nature and Circumftances induce us to 
 make two or thr ee to be like each other in one Compofition ; name- 
 ly, a Company of Figures all of one Family, who therefore may 
 well take after one Perfon in Likenefs, as the Sons of Jacob ; the Ho- 
 ratii and Curacii ; for thus we evince the Truth of the Story. 
 
 Again, in handling the Fable, where the Daughters of Cecrops open 
 the Basket, in which was Erichtonius, here we are obliged to make 
 their Faces alike, to fhew that they are Sifters ; for otherwife who 
 would know them to be fo, tho' reprefented alike beautiful ? And it 
 would be asked how the Affinity appears, feeing 'tis not enough to 
 fay they are Sifters ; or that Pallas is Jupiter's Daughter ; or the long- 
 bearded Mfculapius, the Son of young Apollo. But if you give thefe 
 three Sifters one and the fame Afpeff, yet to each a diftintt Pajfion, they 
 will then differ very much ; for Inftance, let the youngeft, who opens 
 
 the Basket with Surprize, ftart back, as if me were faying Good 
 
 God, what is this ? The fecond, full of Fear, runs away, calling out 
 
 i Bear Sifter, fave me from this Monfter t And the third, being 
 
 elder and more ftayed, ftepping back, with Amazement, fays, 
 
 What ! this is a Monfter. Thus proceed three diferent Motions from 
 one AfpeB or Likenefs ; for tho' the Refemblance is fomewhat altered, 
 yet the fame Proportions and Features ftill remain. 
 
 The Cafe is the fame between Parents and their Children ; for In- 
 ftance, if the Father have a crooked Nofe, or that of a Cafar, the 
 Child will, in fome Degree, have a Nofe fomewhat longifh and rifmg ; 
 has the Mother a long and ftreight Nofe, the Daughter will have the 
 fame ; except, that in tender Youth 'tis lefs or more bending, as in old 
 Age 'tis thicker and broader, but little different in Length, as Expe- 
 rience fhews. 
 
 We fee in the twelve Heads of the Roman Emperors, their Natures 
 and Inclinations well expreffed, and agreeable to the Hiftories of their 
 Lives ; yet I doubt, whether they all agree with the true Afpe£ts of 
 thofe Emperors $ or, whether the cotemporary Mafters (who were 
 well-skill'd in Pbyfiognomy) have not thus altered them according to 
 
 their 
 
Chap. 6. Of Qrdonnance, or Compofition. 47 
 
 ^elr Natures, rather to reprefent their innate Faculties, than their 
 outward Appearances. 
 
 It is admirable to confider how our Senfes are furprized, when all 
 the particular Afpefa are well obferved according to the Paffions which 
 they reprefent ' methinks we thereby difcover Men's inmoft Secrets : 
 that this Perfon fings an high Tune; that a low one; that one bellows 
 with Pain ; another inwardly laughing ; the Teeth of one chatter with 
 cold; another parched with Heat and Thirft; thus a fmall Line can 
 let you into a whole Countenance ; lefs or more Fatnefs alfo much al- 
 ter a Face. 
 
 But, for the Artift's Benefit, I think proper to fhew him a Way of 
 rinding out all Sorts of Afpeas after a certain and eafy Manner 
 
 -Let him take a Looking-glafs, and draw himfelf by it in f uc h a 
 I qfftonzs he defires, as joyful, forrowful, painful, fpiteful, and 
 imagining himfelf to be the Figure he wants to reprefent, draw this nicely 
 with red or other Chalk on Drawing-paper; obferving nicelv the 
 Knitting of the Brows, Look of the E™ Swell «f b th» rZ J£ 
 Contraction of the Noftnls, Clofenefs or Openneffof the Mouth W 
 of the upper or under Jaw-bone, according to his Pofition, whether 
 ftreight or bending: Then let him take a Plaifter-face, and make a 
 Mould from it of Lead, or other hard Matter, in order to make af 
 tcrwards as many Impreffions of Clay as he pleafes ; thefe let him al- 
 ter to the before-mentioned Drawing, either with his Finders, or mo- 
 delling Sticks, as he thinks proper, taking away fomething here and: 
 adding fomething there ; hit fill preferving the general Likenefs : Thus 
 
 ^^rH, 76111 ^' 1 ° f the Uk > chiefl y when the Face, on which 
 the Mould was made, comes to be like the Drawing, that, by the a- 
 foreiaid Alterations, the Artift can alfo fee how much the Features 
 likewile alter. 
 
 Thus all Sorts of Paffions may be moulded with little Trouble, and 
 the Moulds uled in as many different Manners as he pleafes, whether 
 they are to be viewed from below or above, or in Profile. 
 
 He, who is provided with Store of fuch Models, will find great Help 
 from them, fmce we cannot be furnirhed with them from the Life it- 
 telfrnor from our own Perfons, otherwife than in a Tingle and fronting 
 Foiition in a Looking-glafs. As for knowing how to make them, 
 a tew Days and a little Inftrudion will teach us as much as is necefla- 
 
 W f Can draW WelL If t0 thefe the Artift add a M ^ld for a 
 Child and a Woman, the Sett will be the more compleat, 
 
 '■ A •• 00 fans Jiivwvhhf.'^ f-.r-r •■ ,«r . - 
 
 Etc 
 
4 8 Of Ordonnance, or Compofition. Book II. 
 
 E're we conclude this Chapter, 'tis necefiary to fay fomething of 
 the Difpoftthn of both Sexes in a Sketch of a capital Ordonnance ; as 
 n aConcourfe of all Sorts of People, at an Offering, a Play ,Vc. 
 where we, fee, that thofe of a Sex get together, and Youth to 
 Youth Aee to Age, Men to Men, and Women to Women : But 
 vouna' Women, out of Curiofity, are obferved to crowd under the 
 People, and tho' notwithftanding they join themfelves to their Sex, 
 yet they are afraid of Milhap, and therefore, for Protection s fake, 
 often take Children in their Arms ; but a Man of Judgment wift ne- 
 verthelefs diftinguilh thefe Maids from others by their Breads, Head- 
 attire, or Drefs, tho' attended with 3 or 4 Children. 
 
 It's improper to let Children of 3 or 4 Tears old run into Crowds, 
 without Mother, Brother or elder Sifter to guard and hold them by 
 
 the in Places S 'of publick Pleadings, firm and high Places mould always 
 be affigned to Women ; as againft Stone-work, Walk, and the like ; 
 Waufe their Bafhfulnek make* rhem timorous, and their Reputations 
 ought to Sake tim covet rather old Men's than young Men's Com- 
 pany to guard them from the Infolence of the Mob, Soldiers or o- 
 thers' who, on fuch publick Occafions, intrude any where to rum- 
 
 ma |he r ra/^ P coLmonly prefs clofe to the pleading Place light tFo- 
 men are moftly found in the middle of the Croud, and People of Fajhwn 
 ftand behind. 
 
 CHAP. VII. Of the Property and Choice in the Motion of the 
 Members, in order to exprefs the Pajftons. 
 
 PREVIOUS to the Matter of this Chapter, I (hall infift on 
 an Obfervation, which, in my Judgment, is worth the Artift's 
 Notice, as being for his Advantage, as we as his Diverfion ; it 
 is in affienine the Reafon why many make fo little Progrefs in their 
 Studies ; now I imagine it to proceed from their Inconftancy, and 
 lukewa m Affeffionf which tie" up their Hands, unlefs Neceffity 
 drive them to work: They often &y, — -I was fo lucky as to do 
 
 it or It fell out better than I erpeSed, • as if the Bufinefs 
 
 depended on Fate, not on Mathematicks : But it's quite otherw.fe 
 with thofe who pufh on with Zeal and Good-will, and confider ear- 
 
Chap. 7. Of Ordonnance, or Compofition. 49 
 
 eftly and fedately, not accidentally, what they are about ; thefe are not 
 fatisfied with having painted a Picture well, and being as well paid for 
 it, but reflect how much they are furthered in the Art by it, and con- 
 fider, if they were to do the fame again, what Alteration and Im- 
 provement they could make in it, fince its certain, that tho' we im- 
 prove by Practice, yet by fhorter Ways we can attain a perfect Know- 
 ledge, and in a lefs Time too : Our own Faults make alfb a deeper Impref- 
 fionon us when difcovered by ourfelves, than if obferved by others, be- 
 caufe we naturally hate Reproof. 
 
 Nothing affected me more than when I found my Errors, or more re- 
 joiced me than when I had corrected them, j which neverthelels did not 
 fully fatisfy me ; for I endeavoured ftill to make what was good better. 
 About 24 Years ago I had a Mind to paint in little the Story of Stra- 
 tonka's paying Antiochus a Vifit ; I took abundance of Pains in it, and 
 it was extremely liked. Some Years after, an Opportunity offered of my 
 doing the fame Thing again, but fix Times larger ; I did not think it 
 proper to govern myfelf by my former Thoughts, tho' much approv- 
 ed, but diligently confulted the beft Writers on the Subject, rejecting 
 the trivial ones* and then proceeded as carefully to finilh my Work ; 
 which got me more Reputation than the former, becaufe executed with 
 more Simplicity, and lefs pompous Gircumfiances - it reprefenting only 
 King Sekuchus, Stratonica y Antiochus, and the Phyfician ; whereas, in 
 the other I had introduced a train of Courtiers about them, and, in fine, 
 every Thing I could think of to make it look pompous and gaudy. 
 Thus, out of a fingle Flower we may by Care and Induftry produce a 
 double one, as was the Cafe of another Picture of Scipio and the young 
 Bride, which is in the Apartment of the States of Holland at the Hague ; 
 this Picture was of my firft Thoughts ; but handling the fame Subject a 
 fecond Time, this latter, as better compofed,got the Preference tho' done 
 but 2 Years after the other j which I fubmit to any one's Judgment who 
 compares them : Now, if any one ask the Reafon of this great Difference, 
 and in fo little a Time too, I anfwer, that having perceived my Ignorance 
 and Errors in the firft Compofition, I .doubled my Pains, informed my- 
 felf better, made nicer Reflections,- and fpared no Trouble in order to 
 exceed myfelf, if poffible, in the fecond Performance. 
 
 This Circumftance alfo attended my firft Alexander and Roxana ; for* 
 that which I painted afterwards, and is at the late Major IViizeri's 
 Houfe in Amfterdam, is of a much better ; Tafte, and very unlike the 
 firft. .' 
 
 G 
 
 Thus 
 
fo Of Ordonnance> or Compofition. Book II. 
 
 Thus I think I have fufficiently fhewn, by my own Example, the 
 great Difference between fitting down contented with what we know 
 and do, and feeking further Improvements. Nothing delights more 
 than to find what we feek, and to improve daily ; in order to which, 
 I fhall give the Artift the following Examples. 
 
 EXAMPLE I. Plate xin. Of mutual or reciprocal Love. 
 
 Two Children are feen to exchange lighted Torches, which each 
 gives with the left, and receives with the right Hand, thereby figni- 
 fying, that what is given with a Good-will, ought to be received and 
 requited with Thankfulnefs ; the right Hand denoting mutual Kind- 
 nefs, or Help and Tuition. 
 
 Decency teaches, that the Giver fhould hold what he gives at the 
 upper End, and the Receiver to take it underneath, or in the middle. 
 
 The Giver offers it with an Arm ftretched out ; contrarily, the Re- 
 ceiver takes it bafhfully, with his Arm clofe to the Body : Both in- 
 cline the upper Parts of their Bodies; their Heads lifted up, and in- 
 clining over the Side of their Gift in a friendly Manner, and Mouths 
 open, giving the Torches crofs-wife to each other; they are in all 
 Circumftances alike, in Beauty, Shape, Motion and Afpec~t, except 
 a Difference in their Mouths, with refpecT: to the Priority of In- 
 treaty. 
 
 The Giver holds his Torch with 3 Fingers, the other accepts it 
 with a full Hand ; now, after each has received his Gift, they may 
 be fuppofed to exchange right Hands, and their Shoulders to meet, 
 their left Ears croffing each other, that is, their Heads come crofs-wife 
 over their left Shoulders ; and, if you pleafe, each kilfes the other's 
 left Cheek ; their right Feet advancing come clofe to each other. 
 
 EXAMPLE II. Of voluntary Submiffion. 
 
 Here we fee a Coward furrendering his Sword to another ; he holds 
 'it by the Blade clofe to the Hilt ; the other receives and takes it at 
 the Hilt: As thefe Actions are twofold, fo are both the Paffions, the 
 one fhews his Pufilanimity, the other his Courage. 
 
 The Giver ftoops his Head very low, with Eyes caft down at the 
 other's Feet; he ftands on both Legs alike bent, as if he were faint- 
 ing away ; the left Hand open he is putting forth, or preffing the out> 
 fide of the Hand againft his Breaft, as if he were faying, — There's 
 
 all 
 
I 
 I 
 
 I 
 
Chap. 7. Of Ordonnance, or Compofition. ^1 
 
 all I have my Life is at your Mercy : The other contrarilv ftands fet 
 an'd upright his right Foot advancing, his left Hand on his Side and 
 turning hindwards j has a ftern Look, his Mouth ftut, his under Lip 
 and Chin tending fomewhat out, looks with Scorn fomewhat over his 
 shoulder on the Giver. 
 
 EXAMPLE III. in Plate xrv. Of Liberality. 
 
 This reputable Man who, in paffing by, is giving an Handful of 
 Money to a poor one, holds out his right Hand Tideways, infide down- 
 wards beholding the poor Man with a calm and fet Look : he ftands 
 upright, and, with a fuelling Belly, is ftepping forward ; the Rec e 
 er, on the other hand, makes up to the Giver, bowing his Bod^ 
 fetching out both Arms as far as poffible, with his two Hands ho 1 - 
 lowed like a Bowl-dim; looks on the Gift with Joy, Eyes flaring, o- 
 pen Mouth, as if he were faying, hoi 
 
 EXAMPLE IV. Of Benevolence. 
 
 He, who prefents an Apple to any one, holds it from underneath 
 with 3 lingers, as friendly intreating, preffing his left Hand, infide 
 upwards clofe to his Breaft; his Breaft and Chin advancing ; his Head 
 bending fomewhat over one Shoulder. The other contrarilv receives 
 it with Refpea taking it on the Top with 4 Fingers ; advancing the 
 upper Part of his Body and fomewhat bowing his Head ; he difcovers 
 a modeft Gladnefs, looking on the Gift ; In the mean Time the other 
 is watching his Eyes. 
 
 EXAMPLE V. Plate xv. Of the fame. 
 
 He who offers his Friend a fine Flower, holds it with , Fingers, 
 at the lower End of the Stalk; the other takes it with the Thumb 
 and lore Finger, next the Flower, with his Head over it in order to 
 f ', lh . e G]V ? r * , as ha ving fmelt it, draws back his Head over one 
 Shoulder from it, his Face lifted up, Eyes fomewhat tout, but one 
 
 fuVf™ u\ 0t b r > hlS M ° Uth half °P en ' his left Han ^ clofe to his 
 bhoulder, he holds wide open, as in Surprize; he refts on one Leg, 
 advancing with the other : The Receiver contrarily is tending on both 
 Legs clofed, with his left Hand behind him: The Giver tends firm = 
 the Keceiver wavering. 
 
 G 2 EXAM- 
 
ji Qf Ordonnance, or Compofttion. Book II. 
 
 EXAMPLE vi. Of Fidelity, or Friend/hip. 
 
 The Perfon, who is prefenting a Ring to a Virgin, as a Token of 
 Fidelity or Friendfhip, holds it upright, with his Thumb within it, 
 and the Stone upwards ; he advances his Body and Face, and looks 
 direft, clapping his left Hand to his Breaft : The Virgin, on the other 
 hand, ftands or fits ftrait up, her Breaft fomewhat heaving clofe to the 
 Ring ; her Head fomewhat bending and fwaying to her right Shoul- 
 der; her left Arm hangs down, the Hand open; receiving the Ring 
 with 3 Fingers of her right Hand. The Giver looks not at her Eyes, 
 but her Mouth, fpeaking with a Look between Hope and Fear : She, 
 with a modeft and ferene Countenance, looks down on the Ring , ; refts 
 on one Leg ; her Feet clofe. The Giver advances with his lefc Leg, 
 his Knee bent, and refts on his right Toes. t IY ,: " :, 
 
 Thefe three laft Examples I exhibit but half-way, fince the Diipouti- 
 ons of their lower Parts may be eafily underftood. . 
 
 As the Gifts in all the Examples are different, fo the Sentiments 
 are often very various as well in giving as receiving. -. 
 
 Whether it be done in Sincerity, out of Hypocrtjy, or lor the lake 
 of Decency, the Motions in either Cafe differ very httk ; . becaufe in 
 them all the Parties endeavour to a& with as much Dexterity as poffi- 
 ble ; nay, fometimes fo far, that thinking to impofe on each other, 
 both are frequently deceived: In fuch Cafe we mult take Appearance 
 for Truth, and the contrary. . 
 
 But fuch Reprefentations would not anfwer right Purpole, as having 
 falfe Meanings; for inftead of Diffimulation or Decency, we fhould 
 take it for pure Love, fince in ail three, as I fay, the Motion is the 
 fame ; therefore, to remove all Doubt and Incertainty, vve mult have 
 Recourfe to emblematic Figures, which will clear the Meaning, and 
 point out Hypocrify, Fallhood, Deceit, &c. by proper Images 
 Beafts, or hieroglyphic Figures: Which By-works a prudent Artiit 
 ought fo to difpofe, that, tho' inaftive or myftenous, they may yet 
 anfwer their Purpofe ; for they who are deceived or milled mould not 
 perceive the leaft Tittle of it. . 
 
 Some may think that the Deceived as well as Deceiver ought to be 
 fet off with fuch Emblems; but this is fuperfluous ; for as both Par- 
 ties feem to profefs Sincerity, nothing but Hypocnly mult be inewn. 
 
 Ovid tells us, that Mercury, having ftolen fome Oxen, and perceiv- 
 ing that one Bams faw it, and fearful of being, betrayed, dehred him 
 ° to 
 
Chap. 8. OfOrdonnance, or Compofition. si 
 
 to keep it fecret ; which Battus faithfully promifed: However, in order 
 to try him, Mercury difguifed himfelf, and a little after came to him, 
 in the Shape of the Owner of the Cattle, and asked him whether he 
 could not give Tidings of them. Battus pointed to the Cave wherein 
 they were hid ; which incenfed the godly Thief fo much, that, real- 
 fuming his Form, he beat the Traitor, and turned him into a Jouch- 
 ftone. Now it's very probable, that in the Difguife Mercury hid his 
 winged Cap and Feet, and Caduceus, that he might not be known. 
 
 The fame we find related of Jupiter and Califto, when he, in the 
 Shape of Diana, deceived her: But here the Matter would not be 
 known, did not fome Tokens make it evident, that it was Jupiter 
 and not Diana, tho' he appeared like her. 
 
 The Cafe of fuch a Pidure is the fame with a Theatrical Repre- 
 fentation, where every thing is exhibited as if it really happened ; 
 the Characters deceive and belye one another fecretly, without know- 
 ing it ; but the Spectators perceive all ; nay, their very Thoughts 
 ought plainly to be feen and heard. 
 
 CHAP. VIII. Of the IJfue, or Refuh of Thoughts, touching Hif- 
 
 tortes. 
 
 AS there are Grounds and Principles in all Arts and Sciences* 
 whereon we muft build, and we cannot, without exacllv keep- 
 ing to them, either execute or gain true Knowledge of Things, 
 fo they ought chiefly to be obferved in the Art of Painting, and efpe- 
 cially in the Ordonnance; and fince the Memory cannot furmih out a 
 Story, with all its Circumftances, in fuch due Order as a regular Sketch 
 requires, we muft eftablifh certain Rules in order to fupply that De- 
 feat, fince, tho' a Perfon fhould be fo happy as to have a ftrong Me- 
 mory, and brisk Conceptions, yet the Hands are not fo quick at the 
 Execution j no, the Thoughts exceed them: Some Things alio mult 
 necejfarily go before, others follow ; which implies and requires Time. 
 Could we but draw as faft as think, Memory would be ufelels ; where- 
 as it's certain, we can defign nothing but the Ideas which Memory firft 
 conveys to the Senfes. 
 
 However, let no one imagine by what I fay, that a ' Matter nuut 
 firft sketch what he firft thinks, and run thro' the Defign as Things 
 occur to his Thoughts j for Conceptions never obferve Order, and 
 
 therefore 
 
Of Ordonnance, or Compofition. Book 11 
 
 therefore by fuch Irregularity, the Performance would be abortive, 
 as in the following Inftance ; Suppofe a Reprefentation of Cain and 
 Abel, and the Fratricide; the firft Thing that offers, is, Cain flying 
 from God's Wrath j next is Abel lying dead ; next the Burnt-offerinc* 
 on the Altar; and laftly, the Weapon lying by it. Now the la ft be" 
 ing further! in your Thoughts, it is firft fcratch'd down with your 
 Pen; then the Altar appears; afterwards^*/; then Cain ; and then 
 the Almighty; andatlaft the Landskip, which is to determine the Big- 
 nefs of the Compofition. Judge now what fuch a confufed Method of 
 defigning muft produce ; 'tis therefore a Matter of no Indifference how 
 you begin a Defign ; for the principal Figure muft be fir ft confidered, 
 and then the Incidents : As Gold is feparated from the Earth, and clear- 
 ed by refining. We ought then to proceed orderly in the defigning, 
 making firft the Plan, next the Stone-work, and then the Figures or 
 By-works. However, we handle this Subject, in the Chapters of Or- 
 donnance of Hiftories, hieroglyphic Figures, &c. Where we main- 
 tain, that the Principal ought to be placed firft ; then the Figures of 
 lefs Confequence ; and laftly the By-works. 
 
 But what I intend now, is, to mew a ihort and certain Method of 
 commodioufly apprehending and retaining Things, whether they be 
 given in Writing, or by Word of Mouth, prolix or brief, together 
 with their Circumftances, be they many or few, that you may sketch 
 them exaaiy in all their Particulars perfectly agreeable to the Relati- 
 on as well in Motion, Colour, Drefs and Probability, as By-works; of 
 fingular Ufe to thofe of ihort Memories, but who are neverthelefs skilled 
 in the Expreffion of Aaion, the Paflions and their EfTeas, Ufes of Co- 
 lours and Draperies according to Sex and Age, laying of Colours a- 
 gainft proper Grounds, Difference of Countries, Sun-lhine and ordi- 
 nary Light ; and more fuch. 
 
 Having confidered well of the Subjeft, and where the Aaion hap- 
 pened, firft make a Plan or Ground; next, determine where to place 
 the principal Figures or Objeas, whether in the middle or on the 
 right or left Side ; afterwards difpofe the circumftantial Figures con- 
 cerned in the Matter, whether one, two, or more ; what elfe occurs muft 
 fall in of Courfe : After this, to each Figure join its Mark of Dif- 
 tinaion, to fhew what it is ; as, whether a King, Philofopher, Bacchus, 
 or River-god. 
 
 The King muft have his Minifters, Courtiers and Guards. 
 The Philofopher muft be attended by learned Men, or his- Dif- 
 ciples. 
 
 Bacchus 
 
Chap. 81 Of Ordonnance> or Compofition, 
 
 Bacchus muft have Satyrs and Bacchanals about him. 
 
 The River-god has his Nymphs and Naiades, 
 
 The King excels by his royal Robes, Crown and Scepter, 
 
 The Philofopher is to be known by a long and grave Veftment, Cap 
 
 on his Head, Books, Rolls of Vellum, and other Implements of Study a^ 
 
 bout him. 
 
 Bacchus is adorned with Vine-fprigs $ crowned with Grapes, and 
 armed with a Thyrfis. 
 
 The TVater-gods are fet off with L/hzj, Flags, Reeds $ and crown- 
 ed with PVater-flowers, 
 
 All which Badges are. naturally proper, tho' not defcribed in the 
 Story; nay, if they were, you need not heed them, fince their Cha- 
 racters remind us of them, when we are handling them : As if we 
 were reading about the Go ddejs of Hunting, every one knows that fhe 
 has a Retinue, and is equipt with Accoutrements for Sport : And that 
 the charming Venus is. attended with her Graces, This may fuffice for 
 perfonal Char abler,- 
 
 As for Motions, 
 
 A King is Commanding, 
 
 A Philofopher Contemplating,. 
 
 Bacchus Rambling, And . 
 
 The River- god in his Station,- 
 
 When the King commands, AlPs in an Hurry and Motion to execute 
 his Will ; his Retinue are obfequious to his W ords and Nods, . 
 
 When the Philofopher is exerciling himfelf, , he is either reafoning, , 
 writing, or contemplating. 
 
 When Bacchus is on his Ramble, the Menades, Bacchanals, and Satyrs ; 
 madly attend his Chariot, fhreiking and howling j and with Tabors, Pipes, , 
 Timbrels, Cymbals, &c. 
 
 The River-god in his Station, either refts on an Urn or< Pot Jhedding 
 JVater ; or is fitting among his Nymphs on the Bank of a River, 
 
 Thus each Character is occupied according to its Nature ; and fb we 
 deduce one Circumftanee from another without feeking it, or being at a 
 ftand, having fuch a Fund of Matter In our Heads, that on the bare 
 Mention of a Perfon we muft conclude that fuch and fuch Properties are 
 efTential to him. 
 
 The next Bufinefs, is, The Effects of the PaJJions : When the Gene- 
 ral moves, the whole Army is in Motion > when the King^ threatens, the 
 Accufed is in Fear, and the Minifters and others remain in Sufpence. 
 When the Philofopher difcourfes, the Audience is attentive, and each 
 
 Perfon 
 
5-6 Of Ordonnance> or Compofition. Book II. 
 
 Perfon moved in Proportion to his Apprehenfion, or Attention; one 
 has his Finger on his Mouth, or Forehead; another is reckoning by 
 his Fingers ; another fcratches his Head ; another, leaning on his El- 
 bow, covers his Face with his Hand, S£c. When Bacchus ipeaks, the 
 Noifeceafes. When the IVater-gods are taking Repofe, every one is 
 .Hufh, fitting or lying promifcuoufly at Eafe. 
 
 If thefe Examples be not fufficient to, eftabhfh my Purpofe, I fhall 
 add one or two more ; and the rather, becaufe no one before me has 
 handled this Subjed fo methodically ; nay, I may fay, hardly touched 
 
 ° n We read in Scripture that Queen Efther, over-awed by the Frowns of! 
 King Jhafuerus, fwooned away : That Behhazzar, perceiving the 
 Hand-writing on the Wall, was, with his whole Court, troubled in 
 Mind. Again, in Ovid's Metamorphofis, Jriadne, in Defpaironthe 
 Shore, was comforted and made eafy by the acceptable Prefence of Bac- 
 chus, who offered her his Aid. From all which, and the like Circum- 
 ftances, we are enabled to conclude with Certainty, that a Jingle Paffion, 
 handled according to the Manner before laid down, can alone furnifh: 
 Matter enough to enrich a whole Ordonnance, without the Aid of otherj 
 By-works, fince many Things and Circumftances do proceed from that 
 one Paffion only : For let us fuppofe two Perfons paffing by each other, 
 as in Plate XVI. and one feen in Front the other in Rear ; he whoj 
 walks on the left Side, and is going off; has a Bundle on his right Shoul- 
 der, from which, fomething drops behind him ; he has a Boy and a Dog 
 with him. The other coming forwards, and perceiving what falls, calls to! 
 tell him of it ; whereupon he looks back, and the Boy runs to take I 
 up. Now I refer to any one's Judgment, whether my Thoughts, byj 
 io Ample a Relation, be not prefently conceiv'd, fince 'tis ail the Stoi 
 ry ; I fancy they are, but yet ftill better, if keeping within thd 
 Bounds of the Relation, I were to make a Sketch of it; for tho' thd 
 bare Defcription of the Thing eafily makes an Impreffion on the Sen-J 
 fes, yet he who is not converfant with the fine Motions and Beauties 
 of Action, (which confift moftly in the contrafting of the Members! 
 can never hit the Writer's Meaning. 
 
 I place then, the Man calling out foreright ; and the other Mart 
 paft by him, looking back and hearkening to what he lays : In thef 
 Poftures both look over the left Shoulder. Now if any one asF 
 whether he, who is paffing on, could not as well turn to the right 
 the left in looking back, and the other do the fame ? I fay, No ; un 
 
 le1 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 8. Of Ordonnance, or Compofition. 
 
 lefs we will run counter to Nature ; for I fuppofe, that he who is ap- 
 proaching has a Stick in his right Hand, and with his left points to 
 the Cloth which is dropt ; and the other having the Bundle on his 
 right Shoulder, his left Hand refts on his Side, by which alfo the 
 Child holds him : Now, becaufe each other's left Side meets, and one 
 fees the Cloth dropt at his left, his Kindnefs compels him fpeedily to 
 call over the fame Shoulder to the other Man ; who plainly hearing, 
 turns to the Side of him who calls ; whereupon they behold each o- 
 therj the Boy, being nimble, runs quickly to the Cloth, and the 
 Dog outftrips him in getting to it firfh : From all which Premifes is 
 implied a natural Motion, and turning of the Members, without our 
 
 faying, the upper Part of the Body fronting j the left or right 
 
 Leg thus or thus. If we know the Place of (landing, towards whom, 
 
 and what they have to fay, the reft muft follow of courfe. 
 
 Such Reveries as thefe give us a Bight Judgment of a Picture, 
 make us retain it, and help to remove Difficulties j and if to this be 
 added fome certain Strokes to point out either the Place or Actions 
 of Figures, it would ftill be more eafy and helpful to the Memory. 
 
 I know a Painter who made each Letter, or Mark, have its parti- 
 cular Signification : For Inftance, an L was a Figure fitting on the 
 Ground \ a T Chrift crucified, and fo forth : Moreover he had ano- 
 ther Secret, whereby he exprefTed certain Figures he made ufe of; 
 as a decumbent Figure of Caracci, a running one of Raphael, a flying 
 one of Berettini da Cortona, a Child of %uefnoy, Light and Shade of 
 la Fage, and many others. 
 
 If now the preceding Example, of the two Men paffing each other, 
 fhould feem inefficient, I will fubjoin one other of the fame Nature, 
 but Fa£l ; I mean, the Story of Judah and Tamar, (fee Plate XVII.) 
 when coming from his Country-dwelling, he is in the Way accofted 
 by her in the Habit of an Harlot ; I put the Cafe thus : Judah comes 
 forward, and the Road lying on the left Side of his Houfe, along 
 which fome of his Servants are going off in order to lheer Sheep j 
 Tamar fits on the right Side of the Road, on the Grafs, airily and 
 wantonly attired, and with a Veil over her Head : Now it's probable, 
 that having a lewd Defign, (he firft accofted Judah, who, like a Man 
 of Repute, paft her > but when (he lifted up her Veil and beckoned 
 to him, he ftopt to hear what fhe had to fay ; thereupon, I fuppofe, 
 he ftood ftill, refting on one Foot, and advancing the other to make 
 an halt, to fee who calls him ; he turns to the left, opening his left 
 Hand like one in Surprize, and then claps it to his Breaft, to (hew that 
 
 No. 3. H he 
 
S 8 Of Qrdonnance, or Compofttton. Book II. 
 
 he is ftruck there ; and laftly takes hold of his Beard, as pondering 
 what he is going to do : In the mean time fhe rifes and lays hold of 
 his Garment. The Servants are feen either in Profile, or backwards, 
 as the Road turns and winds to the Houfe, having Sciflars or Sheers 
 with them. The Houfe may lie as the Road fhews it, tho', accord- 
 ing to Ordonnance, the middle fuits it better than a Side : This is fuf- 
 ficient for underftanding the Meaning of this Story, and the right Me- 
 thod for handling a great Work by a fhort Introduction. 
 
 If any one fuppofe, that if the Road were to lie crofs the Piece, 
 and the whole Difpofition altered fo as to make the Man go from 
 right to left, and not place the Woman on either Side, it would be 
 all the fame, iince then fhe would ftill be on his left Side ? I fay, No ; 
 for flie calling him, we fhould then, of both their Bodies, fee but one 
 of their Faces ; and what were fuch a paffionlefs Statue good for ? 
 Again, we could not fhew his principal Motions, which are very ef- 
 fential to the Fact ; wherefore the other Way is beft. 
 
 But let no one deceive himfelf by my Manner of relating this Hif- 
 tory ; for, consulting the Scriptures, he will find, that I have inverted 
 the Senfe to a Subject (hewing how to give two Perfons diftincl Paffions, 
 and thereby to embelifh a Piclure ; for by the Scriptures it will ap- 
 pear, that Judah is going to the Place whence I make him come, in, 
 order to fend Tamar a Lamb or Goat to redeem his Pledge. 
 
 I leave it to any one's Judgment, whether it cannot be plainly infer- 
 red what Motions thefe two Figures muft have, to make thereout 
 three diftinct and probable Reprefentations, which I thus deduce. 
 
 Firft, in the Man's Perfon, an unexpected Rencounter. 
 
 Secondly, An Enquiry who fhe is, and what fhe wants. 
 
 Laftly, A criminal Paffion. 
 
 Firft, He is grave, asking and underftanding what the Matter is, or 
 at leaft imagining it, he wifhes it may be true; then begins to make 
 Love ; at laft, being fully perfuaded, he gives loofe to his Paffion, 
 grows bold and venturefome. Thefe three Periods produce peculiar 
 Paffions in both, different from each other ; the firft, grave and mo- 
 deft ; the fecond,,kind and loving ; and the third wanton and bold. 
 
 The Woman contrarily is moved by three Paffions. 
 
 Firft, She is friendly and lovely. 
 
 Secondly, Wanton, with a diffembling ftand off. 
 
 Laftly, They both agree. 
 
 Firft, fhe accofts him with an enticing Air, overcoming his Gra- 
 vity. 
 
 Secondly 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 8. Of Ordonnance, or Compofition. 
 
 Secondly, he approaching, addrefles her in a friendly Manner ; but 
 altering her Speech, ihe anfwers him roughly, and will not be 
 touched. 
 
 Laftly, He, being tranfported with Paffion (at which fhe fecretly 
 laughs) fhe pufhes him coyly from her on one Side, and lays hold of 
 him on the other. From all which Premifes we may find three Po- 
 rtions fpringing only from the Words which we fuppoie muft naturally 
 pafs between them. 
 
 Perhaps fome may fay, I know nothing of fuch Effects, (ince 
 
 they never happened to me. But it's certain, there are very few 
 
 who never felt them; and even they can fometimes account for them 
 better than others who have known them. Many know the Virtues 
 of Medicines and Poifons, without tatting them ; arguing with Judg- 
 ment improves the Performance, otherwife Art would be impractica- 
 ble, or at leaft attainable by few, if it confifted in Inquiry only ; for 
 who run mad, and could afterwards tell how the Frenzy feized him ? 
 The Truth is, we can only guefs at it. But this laft Story is propof- 
 ed by me for no other Reafon than to make it plain and evident how 
 the Members are moved by the Impulfe of the Senfes, and the In- 
 tercourfe of Talk, and how by fuch Motions we exprefs our inward 
 Thoughts. 
 
 There are many fuch Occurrences in Authors, chiefly in Ovid ; as 
 Jupiter and Califto, Salmacis and Hermaphrodites, Phoebus and Leuco- 
 thoe 3 Mercurius and Aglaura, Jupiter and Semele, Vertumnus and Po- 
 mona, Venus and Adonis, Apollo and Daphne, &c. Befides fome others 
 in Hiftory, as Apelles and Campafpe, Alexander and Roxana, Scipio and 
 the young Bride, Tarquinius and Lucretia, Antiochus and Stratonica ; 
 and in Scripture, David and Abigail, Hagar with the Angel ; Chrifi 
 and Magdalen in the Garden, Chrifi and the Samaritan Woman at the 
 W >Jl, Mary's Annunciation, the Vijit of Mary and Elizabeth, and ma- 
 ny others ; all which ought to be treated in the fame Manner, accord- 
 ing to the Nature of what they are doing ; as at each Word exchanged, 
 what Motions throughout the Body muft follow, and what Lineaments of 
 the Face, hozv the Carnations muft change either to red or pale, more or 
 lefs fierce, and fo forth. By this Means we may defign any thing, 
 and come to Perfection the ihorteft and fureft Way. 
 
 CHAP. 
 
6o 
 
 Of Ordonnance> or Compofition. 
 
 Book II. 
 
 CHAP. IX. Remarks on fome Miftakes in Hiflorical Compofitions. 
 
 IT will not be amifs, as a Caution to others, to cenfure fome Mif- 
 takes of Matters in Hiftorical Compofitions, in order to l"hew of 
 what great Confequence it is to reprefent plainly the true Nature 
 and State of Things, that we may improve, and not meet with Rebuke 
 inftead of Glory. A Man of good Senfe may freely exercife his 
 Thoughts as he fees good, but many think they merit much by fol- 
 lowing the Letter of a Story, tho' at the fame Time they overlook 
 above half its Probability ; which frequently happens, when they are 
 got into Eftecm, and have a Name. But, alas ! what rich Man would 
 not be thought fuch ? What valiant Man do a cowardly Action ? Or 
 wife Man commit Folly? Only thro' wilful Carelefsnefs ; truly it 
 feems unnatural, and I think, that no body of but moderate Senfe 
 would ftrive to excel in this or that Art, without being tickled with 
 the Defire of Fame either in his Life-time, or after Death : And al- 
 tho' fome Inftances may contradict this, yet you muft obferve that I 
 am fpeaking here of pure Virtue ; for he who built the Temple of Di- 
 ana, and he who fired it, tho' inftigated by one Defire, to leave a loft- 
 ing Name behind him, have been as different in Praife as Action ; from 
 whence I infer, that no Artift can be void of Inclination for Praife and 
 Honour, which otherwife he rnuft not expect ; and if fo, who would 
 blaft his Credit by an imprudent Act ? 
 
 Raphael, in his Adam and Eve, has reprefented him receiving the 
 Apple of her, and refting on a withered Stump, and that fmoothly 
 fevered as with an Ax or Saw ; which is a double Miftake, and if done 
 wilfully, not to be excufed ; for how is it likely, that a Tree, which 
 has hardly received Life, and placed fo near the Tree of Life, fhould 
 fo foon be withered ; this muft be an Overfight like that of Cain, who 
 kills his Brother Abel with a fharp Pick-ax ; and in another Piece 
 Eve has a DiftafT; what Improbability and Impertinence is this? For 
 when Eve has fpun her Flax, whence muft the Weaver come, and who 
 make the Sciftars to cut it? But perhaps thefe were not Raphael's riper 
 Thoughts, but rather thofe of his Youth, wherein the greateft Wits 
 Jfometimes miftake. 
 
 Charles Vermander, tho' a Writer, Poet and good Philofopher, has 
 miftook as much in his Co?ifuJion of Babel ; for the Tower and Scaffold- 
 ing 
 
Chap. 9. Of Ordonnance, or Compojition. 61 
 
 ing are reprefented unfinifhed in the middle of the Piece, divine Wrath 
 with Flames wavering over it ; moreover are feen the Children of 
 Ifrael marched off in Tribes, and here and there diftinguifhed by 
 Troops j they with their peculiar Standards, fit or lie all about, not 
 like People confounded by a Diverfity of Speech and a ftraying Con- 
 fufion, but as met together from all Quarters only to form a Congrefs ; 
 for there we fee Egyptians, Perfians, Arabians, Moors, Afiatics, 
 Americans, Europeans, Turks, nay, Swijfers, all in their modern Ha- 
 bits : Surely we need not ask them whither they are going, becaufe 
 the Love for our own Country prevails above all Things ; and there- 
 fore every Man is returning to the Region whence he took his Cha- 
 racter, Manners and Habit. What this Painter's Meaning was, I 
 know not, but, in my Opinion, 'tis a true Confufion. 
 
 I cannot omit another Piece of Rowland Savry, reprefenting Para- 
 dife; wherein we fee that facred Garden repleniihed with all Kinds 
 of ravenous Beafts and Birds, as Elephants, Rhinocerofes, Crocodiles, 
 Bears, Wolves, Unicorns, Oftriches, Eagles, &c. which muft intire- 
 ly lay it wafte : Now I appeal to any Man, whether fuch a Crowd of 
 Beafts and Birds of Prey, contribute any thing to the Circumftance of 
 eating an Apple, which might as well have been done by an Ape, 
 Squirrel, or other Imall Creature ; which makes it look rather like a 
 Deer-park than a Garden of Pleafure. Had more People been created 
 than Adam and Eve, the Cherubim need not have guarded the En> 
 trance to keep the lavage Creatures out, fince they were already entered, 
 but rather to keep them in, in order to fave the reft of the Earth from 
 Incommodity. 1 have feen more fuch Co.mpofitions, but to avoid Te- 
 dioufnefs (hall not mention them here ; it's fufficient, by few Exam- 
 ples ot great Mafters, to know how eafy it is to commit Miftakes, 
 thro' Ignorance or Want of Heed. 
 
 In the firftof the aforefaid Examples, I would (hew how it fares with 
 thofe who amufe themfelves more with a [mall Part than the whole of 
 a Story ; and with an Arm or Leg which no ways concerns the Mat- 
 ter, without being in any Pain for forcing Nature, or tin ning the 
 Senfe. Of the fecond Example I (hall fay nothing here, fince it may 
 be guefied what I mean by the Iron of the Pick- ax. Of the third, 
 that fome Men feek five Legs on a Sheep, as we fay, whereby, in- 
 ftead of clearing, they make the Matter more obfcure and intricate. 
 As for the fourth, fome make no Difference between an Italian Floor 
 and a green Field, if they can but have an Opportunity of (hewing 
 their Wit, introducing every thing whether congruous or not. 
 
6% Of Ordonnance y or Compofition. Book IL 
 
 As to Savry's Piece, my Thoughts are, that all Beafts are created 
 by God, but not in the fame Manner with Man; and that each Clime 
 produced it's proper Species of Animals, which came from thence to 
 Adam to give them a Name according to their Natures ; which was 
 no fooner done, but they returned to the Countries they came from ; 
 fome to the Eaft, others to the South, according to their natural In- 
 clination to this or that Climate ; fo that the Garden, wherein the 
 Spirit of God dwelt, was only for Adam and his Confort ; in it they 
 lived happily, and befides them no irrational Creatures, except fuch 
 as could delight their Eyes and Ears : Moreover it's my Opinion, that 
 this Garden could not harbour any Uncleannefs, Putrefaction or nox- 
 ious Creatures ; wherefore my Compofition is this. 
 
 Thefe two naked Perfons I place as Principals in the middle of 
 the Piece, on a fmall Rifmg, clofe to a fine tufted Apple-tree of larg- 
 er Size than ordinary, and of a found Body ; Adam fits with Eve in 
 his Arms, who half in his Lap directs the Apple to his Mouth ; he, 
 with his Face towards her, with a flaring Eye, and raifed Brow, looks 
 furprized, and feems to put the Offer away with his Hand ; to the 
 Acceptance of which, (he, with a lovely and enticing Air, feeks to 
 perfuade him ; at the fame Time., with her other Hand behind him, 
 the is receiving another Apple, which the Serpent^ hanging on a Bough, 
 reaches out to her. Behind her is a Peacock with its Tail fpread/and a 
 Cat pawing her ; befides a fine Hound, who looking back is going away. 
 I introduce alfo Cocks and Hens, and other tame Creatures proper to 
 the Region for embellifhing the Landskip. I plant there all Sorts of 
 Trees, except the Cyprefs, to gratify the Sight and Palate. Small 
 Birds are flying about to pleafe the Ear : The Snow-white Swans fwim 
 in the Brooks and Rivers which water the Garden. On the right Side 
 of the Piece I fhew the Entrance into the Place, and on the Sides, two 
 fquare Pillars of green Leaves, befet with Melons, Pumpkins and the 
 like ; befides a long and high green Wall, running up to the Hori- 
 zon, and uniting with the Offskip. The Horizon is level ; along the 
 green Wall are feen Orange and Lemon-trees, intermixed with 
 Date-trees. The whole Piece is enlightened with an agreeable Sun- 
 fhine. 
 
 To this Compofition I fhall add another 
 
 Of 
 
Chap. 9. Of Ordonnance, or Compofition. 
 
 Of the Flight of Adam and Eve. 
 
 I was formerly of Opinion, that when this Pair received their Doom 
 and were driven out of Paradife, and both fubje£ted to the fame Fate, 
 the Beafts muft fly with them, having learnt to know their own Natures ; 
 wherefore I intended to make my Ordonnance accordingly, to wit, 
 the two naked and aihamed Perfons flying from the fiery Sword which 
 threatens them; and for Embellifhment, a great Confufion of Beafts 
 each attacking the Enemy of its Kind ; as the cruel Wolf fetting on the 
 innocent Sheep, the (harp-Gghted Eagle on the timorous Hare, and Co 
 forth. But as by this Violence the main Afiion would intirely lofe 
 it's Force, and fall into a perverted Senfe, I defifted 'till I had better in- 
 formed myfelf of the Matter, efpecially feeing no Beaft ftayed in the 
 Garden, but each returned to his Country. I thought again, how 
 can this be like the Flight of Adam out of Eden ? It looks more natu- 
 rally like two condemned Malefactors driven into a Foreft to be de- 
 voured of wild Beafts ; which their Fear and frightful Looks make 
 more probable ; and therefore I afterwards contrived it thus. 
 
 In Adam's Flight the labouring Ox accompanies him to help him in 
 tilling the Ground ; the fcaly Serpent moves before, turning and wind- 
 ing on her Belly ; by the Ox are the long-bearded He, and wanton She- 
 goat ; the woolly Sheep ; the crefted Cocks and Hens, and other fuch 
 like Creatures for Suftenance. As ahb the faithful Dog and pawing Cat, 
 and fuch other tame Animals as are proper in an hieroglyphic Senle ; af- 
 ter thefe, follow noxious Creatures, as Rats, Mice, &c. No Sun- 
 (bine appears, but all is gloomy, and the Wind blows hard, whereby 
 the Trees fhake, and their Leaves drop ; all is wafte and wild as if Win- 
 ter were at Hand ; the rugged and dry Ground, parted by the Heat, 
 makes here and there Ups and Downs ; the Water in the Fens being 
 dried up, the Frogs gape for Breath ; the Sun being quite hid, the 
 Moon or North-ftar appears : Such were my Thoughts of this Story. 
 
 I will end this Chapter by sketching a third Compofition of my own, 
 for the ftudious Cattle-painters Benefit, being the 
 
 Story of Orpheus's Death* 
 
 I lay the Scene in a defolate Place, yet filled with Men, Beafts, 
 Trees, Hills, Rocks, Water-falls, and Brooks full of Fifti, and 
 what can be more proper to the Matter, all being in Diforder ? Ovid 
 
 relates^ 
 
<5+ Of Ordonnance, or Gompofition. Book If. 
 
 relates, that this ingenious Poet and Singer, Son of Apollo and of the 
 Mufe Calliope, did, with the Charms of his Harp, bewitch this Crowd, 
 but it lafted not long ; for the mad Bacchanals, enraged becaufe he de- 
 fpifed them, flew him, cafting his Head and Harp into the River He- 
 bins, called by the Greeks, Marifias, as the Poet fays. Now we fee 
 the unhappy Body of this excellent Mufician, thrown from a fmall 
 Hill at the Foot of a Tree, which moved by fo fad a Cataftrophe bends 
 its Boughs with Sorrow, endeavouring to cover the Body with its 
 Shade : Next we behold the infulting, mad and intoxicated Women girt 
 with»Skins, mocking run away, after having flung the Head into the 
 River running on one Side : A young Girl, who flings in his Harp, is 
 likewife driven by the fame Frenzy : Behold now a Guzzler who (tho' 
 ib much in Liquor as to want Support, yet) muft vent her Spleen by 
 kicking the Body, and fling ng a Drinking-pot at it, which makes her 
 feem to tumble backwards : Here lie broken Thyrfes, Potfherds, bruif- 
 ed Grapes and Vine-branches fcattered round the Body in great Difor- 
 der: The long-lived Stag makes to the Cover; the dreadful Lyon and 
 fpotted Tyger grimly pais each other ; each Creature feeks and attacks 
 its Enemy ; the hurtful Moufe, till now fitting quietly by the party- 
 coloured Cat, hangs in her Mouth ; the greedy Wolf feizes the Sheep 
 by its Throat ; the faithful Hen efcapes the thievifh Fox, who near a 
 fallen Fir-tree catches the lafcivious Dove ; the Hills and Rocks retire 
 clafliing againft each other, whereby they tumble ; here we fee an huge 
 Stone; there a flying Tree ; nay, the Water itfelf feemstoflow back- 
 wards ; the Frogs and other marfhy Creatures, afraid of being devour- 
 ed by the Vulture and other Birds of Prey, dive under Water, but yet 
 the white Stork flies with one of them in his Bill ; the cautious Hare, 
 runing from the fwift Dog, flops fhort, whereby the Dog goes over 
 him, and the Hare, to make her Efcape, takes a fide Courfe. The black 
 Raven and folitary Owl chatter in the Tree at one another, beholding 
 the murthered Body, which they defire to eat ; and by it lies the faithful 
 Dog howling, regardlefs of any thing elfe. The Piece has no agree- 
 able Sun-fhine, but the Air is ftormy, and full of driving Clouds fore- 
 boding a Tempeft; the principal of the Compofition is fhady, and 
 flung ofY by a light Lointain, which is almoft in the middle. 
 
 Thus I enquire into the genuine State and Nature of Things, like 
 an Huntfman, who tracing the Courfe of a Deer finds at laft his Cover ; 
 not that I do it for Curiofity's Sake as a Philofopher, but becaufe 
 thefe, and no other Means, can help me ; and as long as I keep this 
 
 Path 
 
Chap, i o. Of Ordonnance, or Compofition. 6 f 
 
 Path, hope never to err or commit the before-mentioned Faults, efpe- 
 
 cially feeing nothing argues Stupidity more than untimely Simplicity J 
 whereas critical Inquiry is the Key of Nature's Treafure, and of her 
 deepeft Secrets ; being not unlike what the witty Greeks have feigned 
 of Minerva, whom they exhibit with a Box and Key, and difpenling 
 the Sciences to Men according to their Abilities. 
 
 I ufed formerly to imitate the Unthinking, in not lejfening or aug- 
 menting the facred Stories, but adhering to the Letter of the Scriptures 
 without more ado, and without making any Diftinftion between heaven- 
 ly and earthly Things ; between Soul and Body ; or, jn thort, between 
 fomething and nothing ; I know, that as to our eternal Happinefs nothing 
 is wanting to com pleat it, but many Things, with refpedt to Art ; 
 muft i therefore remain in Ignorance or dull Simplicity? In the Scrip- 
 tures they fay, all is written that is to the Purpofe, but then how 
 came the Beafts into the Garden of Eden ? Where gets Cain an Iron- 
 Pickax, and Eve a DiftafF, or the Babylonians their particular Dref- 
 fes? Since no Mention is made of fuch Circumftances. But when you 
 read, that the King went to vifit fuch and fuch Perfons, that does not 
 imply that he went alone ; as when you find that Hainan was carried 
 to the Gallows, fome body muft attend him befides the Executioner $ 
 Jojhua, in flaying many Thoufands, did it not alone, without the Help 
 of his Army. As for me, my Opinion is, that in true Hiftories, ei- 
 ther facred or profane, no improbable or impojjible Things ought to 
 enter into the Compoiition, nor any thing left dubious, but that every 
 thing tend to the clearing up and better under/landing them in their full 
 Senfe and Force. 
 
 CHAP. X. Of Richnefs and Probability in Hi/lory. 
 
 AS by the Courage and Curiofity of Sea-faring Men, many remote 
 Countries, nay a new World, have been discovered,, fo in Paint- 
 ing, when Artifts fpare neither Trouble nor Pains, they will like- 
 wife, but with lefs Danger, difcover a new World in the Art, full 
 of Variety to pleafe the Eye. 
 
 We want not a new Homer, Virgil ' or Ovid, and th'eirlnventions, the 
 prefent have left us Materials enough to work on for a thoufand 
 Years, and that not fufficient for the Execution of a t tenth Part of 
 their Thoughts ; and if we do not mend our. Pace, ten thoufand Years 
 will be too little ; the Reafbn is, that we content ourfelves with patch-' 
 No. 3. I ing 
 
66 
 
 Of Ordonnance, or Compofition. 
 
 Book II. 
 
 ing up old Houfes with new Materials, and yet they are old Houfes ; 
 if fome Parts decay, the worft are repair'd, and the reft rather left 
 unfmilhed than the whole improved. But leaving Similes we will ufe 
 other Means, tho' uncuftomary, to forward us in the Art ; Curiofity is 
 reprefented with Wings, to (hew its Eagernefs to attain Things un- 
 known to her ; let us not then ftop in barely inquiring into old Things, 
 but enrich them with new Thoughts. 
 
 As an Example, let us open Ovid, and fee his Fable of Deucalion, 
 fet down in his fir ft Book or Metamorpbofis. Deucalion was King of 
 Thejfaly, who, with his Confort Pyrrha were the only Perfons remain- 
 ing alive of human Race after the Flood : thefe were enjoined by the 
 Oracle of the godly * Themis to caft the Stones of the Earth over 
 their Shoulders, whereby human Race was propagated anew, and the 
 World re-peopled. 
 
 A well-grounded Thought leads the Way to many others ; even fo 
 it happens here in this Poet's Fable, laid down as a Truth ; nay fo 
 agreeable to the Truth of the Flood, and Noah's Prefervation, that 
 there is little Difference between the Truth and the Fable; for what 
 is in the one is alfo contained in the other ; and the Circumftances of 
 the Flood are the fame in both ; the Matter lies now in a probable 
 Expreffion of the Damage which the Earth fuftered by fo total an In- 
 undation, and to execute it Sketch-wife as I conceive it. 
 
 Ordonnance of Deucalion and Pyrrha, after the Flood. 
 
 I fuppofe thefe two aged Perfons walking on a level Ground, the 
 Man's Head covered with a Corner of his Garment, and the Woman's 
 with a Veil knotted behind \ with his left Hand he holds his Gar- 
 ment full of Stones; her Lap is empty ; Cupid condu£ts them by the 
 Flaps of their Garments, with one Hand, having alfo a lighted Torch 
 in it, and holds them faft, that in turning or winding they may not 
 hurt or go before one another ; the Stones which they have flung be- 
 hind them all the Way as they walked, reprefent human Forms per- 
 fected in Proportion as they are firft flung, and furtheft from them ; 
 the Man walks upright, with his right Arm lifted up, and Hand o- 
 pen, as having juft flung a Stone, which is feen skimming a little above 
 the Ground ; the Woman I reprefent fomewhat ftooping in her Walk, 
 
 receiving 
 
 1 * She is rightly fo catted, as proceeding, according to Heftod, from Ccelum the Heaven, and 
 Vefta the Earth, who appointed her to prefide over Righteoujnejs ; And by Jupiter ihe was ftiled 
 the Mother of Civil Sciences. 
 
Chap. 10. OfOrdonnance,orCompofition. 6j 
 
 receiving the Stones from Cupid, which each Time (he cafts away, 
 and he, walking along, takes up before her; Deucalion^ Garment is" a 
 fullied Purple ; her Drefs old and dark, and her Gown violet ; Cupid 
 is adorned with a red Diadem ; the Grafs, full of Mud and Sand, lies 
 flat. A little from thefe Figures is Themis's Temple, built on an E~ 
 minence, and fupported by Columns, or a clofe Wall quite over-grown 
 and full of Mols ; this Temple is furrounded with fine and blooming 
 Trees, and near behind it is feen the two-headed Mount, palling by 
 the Point of Sight, and encompafled with Water. 
 
 On the left Side, in the Offskip, I reprefent the Ocean full of Tritons 
 and Nereides fwimming about the Mount. To this Hill I faften an 
 Anchor, the Rope whereof is tied to the Boat, which, being left by 
 the Water, remains hanging Keel-upwards. 
 
 Thefe are the principal of my Conceptions ; as for the leher Cir- 
 cumftances, I fhall not limit them here; fuch as the difperfmg of the 
 rainy Clouds by the Eaft Wind ; Re-appearance of the covered Hills 
 and Rocks, Difcovery of Buildings damaged by the Water, Pieces of 
 Wrecks, Statues, Sea-monfters, Bones of Men and Beafts, Ornaments 
 and other Remains appearing here and there out of the Mud, Plafh- 
 es, and infinite other Things removed by the Force of the Waves from 
 one Part of the Earth to another, and wafhed from Eaft to Weft 3 all 
 which I leave to the Artift's Difcretion. 
 
 But now it may be asked why I introduce Cupid, who, in Nafo's 
 Defcription, is not mentioned ; and I give this Reafon, that he being 
 the eldeft of the Gods, and, according to Heftod, brought forth of 
 Chaos and the Earth, by him confequently all Things are produced, 
 according to the Poets ; therefore it's probable, that in this fecond Cre- 
 ation he can be fpared no lefs than in the firft : Love was alfo the Prin- 
 cipal, nay the only Paffion, which thefe People preferved to each b- 
 ther after their great Misfortune, and which they cherifhed by their 
 Simplicity and Uprightnefs. 
 
 Again, tho' they were aged, and near their Ends, yet they were 
 ftudying Means to efcape Death, and to render their Race immortal ; 
 and who, of the Gods, can contribute more to it than Cupid? Muft 
 not Jupiter himfelf own his Sovereignty? Therefore, tho' the Poet 
 makes Mention but of two Perfons, yet Reafon permits, nay, would 
 have us bring this God into their Company; efpecially fince Painters 
 have the Liberty to add new Matter, and more Figures for Orna- 
 ment lake, when they are not repugnant to Nature and Likelihood ; 
 
68 Of Ordonnance, or Gompofition. Book II. 
 
 for which Horace gives them full Commiffion in his Lyric Song on 
 Poetry. 
 
 ■ Picloribus atq; Poetis 
 
 Quidlibet audendi femper fuit aqua Pot eft as. 
 
 Thus Paraphrafed by Mr. Dryden. 
 
 Poets and Painters free from fervik Awe, 
 
 May treat their Subjects, and their Objecls draw. 
 
 Add then freely, when the Writer is filent, one or more Figures to 
 your Work, not to gain Maftery, or to excel, but to make the Matter 
 more plain arid evident ; which in Fables is very neceflary, tho' in Hifto- 
 ries it muft be done emblematically only. 
 
 After having entertained you with my Conceptions of this Story, 
 give me Leave to exhibit a Reprefentation of the fame Subject 
 handled by another Painter, not to fhew the Oddnefs, but the Super- 
 fluity, Impropriety and ill-beftowed Time,, and the Ignorance of pre- 
 fuming Pedants, efpecially fmce contrary Arguments frequently pro- 
 duce Truth, and thereby (hew the Validity of a Rule, which is level- 
 led at Abfurdities. This Painter's Friends paying him a Vifit, he put 
 his Piece on the Eafel, and thus entertained them. 
 
 ' Behold, Gentlemen! here is a Proof of my Judgment and Art ; I 
 «: call neither the Learned, nor the Virtuoft to unfold its Meaning ; no, 
 ' an ignorant Peafant can tell it you at once. There is the World 
 ' after the Deluge, as natural as if it were alive; but no Wonder; for 
 c the Ark is plainly difcovered on the Top of Mount Pamaffus. Here 
 ' you fee the Windows of the Heavens (hut up, and the Fountains of 
 s the Earth flopped with a Cork: There the Sea runs high in a Val- 
 
 ley, and full of ail Sorts of Wood-work, as Tables, Chairs, Bench- 
 ': es, Paper-mills, and what not ; befides fome dead Bodies, as well of 
 
 * Women as Men, one of them has a Leather-apron, another a Crown 
 « on his Head, and another a Night-cap: This, Gentlemen, concerns 
 
 * only what is carried away by the Water: But there on the Land 
 
 * lies a Camel, next him a Silver Salver, and by it a dead Nightin^ 
 
 * gale in a Cage : Here again you fee the Grave of Mahomet, and a- 
 
 * bout it fome fcattered Rolls of Virginia Tobacco : And before, on 
 
 * that Hillock, fome Cards and Egg-lheHs ; but I had almoft forgot 
 ' the Cardinal's Cap, which lies there, and, I affure you, was painted 
 ' with Carmine; as a lfo a Scorpion, as natural as , if it were alive: 
 
 * There, on the third Ground, is a Gallows, and under it three Thieves, , 
 
 with ; 
 
Chap. 10, Of Ordonnance, or Compaction. 69 
 
 ' with the Halters ftill about their Necks : Yonder is a Child in his 
 f Go-cart, half buried in the Sand : And there a Sea-calf entangled 
 
 * in the Boughs of a Thicket ; befides fome pickled Herrings : More- 
 e over you fee there a Smulh-pot, with fome Pencils and Crayons ; as 
 c alfo a Mafs-prieft in his Surplice ; nay even the great Turkifh Horfe- 
 1 tail : Behold all the Toys blown out of a Nuremberg Toy-fhop, feat- 
 f tered here and there : There, by the old Lantern, lies a Drum, 
 c with its Head turned to Jelly by the Water : I fay nothing yet of 
 ( that Iron-cheft in which are kept the Records of the Imperial Cham- 
 ' her of 'Judicature at Spire ; nor of an hundred other Things, befldes 
 ' Houfes and Monasteries j nay, the Vatican itfelf ; for all is turned into 
 ' Ruins and Rubbim ; no living Creature is to be feen but Deucalion 
 f and Pyrrha, and their three Sons and their Wives, all done to the 
 .« Life. Now who will not take this to be a Flood, and believe that 
 f all happened in this Manner ? Look there, I myfelf am fittiug on the 
 
 * fore Ground, on an Hillock, and modelling every thing after the 
 
 * Life ; and there is my Name and the Date.' 
 
 Having faid this, he ftood much furprized to fee they did not extol 
 his Fancy, and approve it, fince he thought it fo well executed. For 
 my part, I think that no one before him ever reprefented fuch out-of- 
 the-.way Thoughts; many indeed have now and then erred, but being 
 made fenfible of it, they have rectified their Miftakes ; whereas this 
 whole Competition was but one Miftake j Scripture jumbled with Fa- 
 ble ; Mofes with Ovid ; Antiquity with Novelty ; a Cardinal's Cap., ■ 
 Vatican, Cards, Things found out a thoufand Years after, with An- 
 tiquity ; what is all this but a Chaos of Folly ? Methinks fuch an Ar- 
 tift is like common Chymifts, who, to extract Gold, fling any thing 
 into the Crucible that will melt, drudging Night and Day, and wafting., 
 their' Subftance to find at Lift ^ in the Bottom of the devouring Crucible, 
 nothing but a little Scum of f cannot tell what, an unknozvn nothing, 
 without Colour or Weight; when a good Chymift will get the true 
 Knowledge of Metals, and their Natures, Colours, Volability, Fix- 
 ednefs, in order to obtain the precious Gold by Art and Labour : 
 Even fo ought a Painter alfo to obtain the Knowledge of Objects, and 
 their Natures, Times, Properties and Ufes, or elfe the Subftance of 
 his Art will evaporate. 
 
 I have often obferted, that Superfluity, inftead of rendring a Thing 
 more forcible and confpicuous, has leffened and- obfeured it ; and that 
 too large a Ground, thinly filled, has no better ■ EfFe£l j we muft there- 
 for© 
 
7° Of Ordonnance, or Compofition. Book II. 
 
 fore avoid this Scylla and Charibdis as two dangerous Rocks \ I can't 
 compare fuch Proceedings better than to exceffive Poverty and Pro- 
 fufenefs of Wealth, whether the one arife from an indolent, dull and 
 melancholy Temper, or the other from a lively and too fertile an one 
 or that fome Men are fuperftitious Imitators of other Men's Works ' 
 as we fee daily, in one the Greatnefs of Caracci ; in another, the fine' 
 Colouring of Titian-, in this, the graceful Simplicity of Raphael- and 
 in that, the natural Expreffion of Guido. This Method is indeed what 
 iome Men are prone to, but let us confider the Difference between mo- 
 delling in Clay, and cutting in Marble. 
 
 To return to our Subjea about the Floods, let us make a Compa- 
 nion between them and Raphael's, in order to form a Judgment • 
 Raphael makes Noah and his Family the principal Chancers in bis 
 Compofition ; we do the fame by Deucalion and his Wife ; and the o- 
 ther contrarily exhibits them very dubioufly, and too much out of 
 Sight m the Offskip ; in Raphael's nothing is feen of what is laid watte 
 by the Water, or dead Bodies, Beafts, &c. in ours fo much is vifible 
 that the Caufe and the Effeas plainly appear; and in the other fo 
 great a Superfluity abounds, as if the whole World were contained in 
 the tingle Pifture ; in Raphael's is feen Noah's going forth of the 
 Ark in ours Deucalion and Pyrrha are landing out of the Boat ; but 
 the third has no Name, fince fo much as a Draining of the Va- 
 ters is fcarce perceived ; wherefore 
 
 In medio Jecuro 1 . 
 
 that is, 
 
 Secure we tread when neither Foot is feen, 
 Too high or low, but in the golden Mean* 
 
 Let us therefore ponder and weigh thoroughly what we are about 
 in fuch an important Compofition, and then proceed to work as quick 
 as pomble. ^ 
 
 CHAP. XI. Of the Ordonmnce of hieroglyphic Figures. 
 
 H A r V 1 NG. before faid curforily, that an Excefs of fuch Figures 
 often obfcures their Meaning, nay, renders them unintelligible 
 i think it proper to treat of this Subjea here, fince they are of 
 
 fuch 
 
Chap. ii. OfQrdonnance, or Composition. 71 
 
 fuch frequent Ufe and Service, not only in handling Fables, Hiftories 
 and Emblems, but in carving Statues and Bas-reliefs for great Men and 
 their Palaces. 
 
 Cafar Ripa's Tre^ifeof Iconology is queftionlefs an excellent and 
 ulerul Book for all Perfons whofe Art has any Relation to Painting: 
 but altho' it treat copioufly of Hieroglyphics, Manners, Paffions 
 Zeal Virtues, Vices, &c. yet fomething is ftill required to the right 
 Ule of that Book, according to the Occafion, and Difference of The 
 Subject which by that great Writer is not laid down ; fince it's with- 
 out Diipute, that each Figure muft exprefs no other Paffion than its 
 own ; but when they are ufed for By-works or Ornament, to illuftrate 
 iameprtnctpah&l Cbaraffer, they muft then fubferve the Ends for which 
 they are introduced} for Inftance, in a Fight, Viftory mould attend 
 the Conqueror ; Honour or Fame, an excellent Man ; Love, or Cupid 
 an amorous Man; the Vindiftive, Revenge; the Hypocrite, Falihood; 
 the cancrous Man, Envy; the Innocent, Innocence; and fuch like I 
 omit others, as Anger, Madnefs, Sorrow, Modefty, Boldnefs, Autho- 
 rity, Charity Temperance, Cruelty, Pain, fefc. becaufe thefe have 
 no Share in fome Aas, nor come into play unlefs they are ufed alone, 
 and without the Company of living Perfons ; as the Elements againft 
 each other, Virtues againft Vices, and fo forth. It's therefore of the 
 g/ e * te ^ on % uence /? r a Paint er, Statuary, Poet or Orator to know 
 theie Ihings thoroughly, and keep them in Memory; which Practice 
 will make eafy. J 
 
 a j rcme T ? 1 ^ er > tfiat when I was under my Father's Inftruclions, and 
 ftudying Defign, my Gufto was for Emblems, which I collected from 
 his and other Matters Works, and then made intire Compofitions of 
 them; which tho' trifling, becaufe of my Youth and Inexperience, 
 vet lurpnzed many, who advifed my Father to let me purfue that 
 kind of Study ; but whether he thought me too young, of that I ra- 
 ther inclined to Hiftory, he diverted me from it as much as poffible ; 
 eipecially fince it drew other Mafters Difciples to fee my odd Produfti- 
 ons ; which he much difliked . But when my eldeft Brother brought me 
 out of Italy, Cafar Rtpa'z Book aforefaid, (which hitherto we were 
 Strangers to, or elfe was locked up as a Secret) then my Flame for 
 Emblematic Learning broke out again. By the Help of this Book I 
 produced many and Grange Defigns, which, for their Singularity, were 
 accounted as Prodigies or Dreams, by. fome out of SpiFe againft me, 
 others thro' Ignorance; however my Proficiency was fuch, that it 
 yielded me an annual Profit, becaufe the Jtfuits Scholars yearly be- 
 
 fpoke 
 
7* Of Ordonnance, or Compofition. Book IL 
 
 fpoke of me the embellifhing of above 150 of their Portions or 
 Tbefes, with Emblems, Hiftories or Fables in Water-colours. Judge 
 now, whether thefe myStudies tended not to my Advantage and Improve- 
 ment, and what Honour was (hewed me in preferring me to the Imploy, 
 before my Cotemporaries and Fellow-difciples, and what little Skill 
 they mult have in hieroglyphical Learning, tho' I doubtlefs then made 
 many Miftakes. ; 
 
 But leaving Digreffions, let us return to our Subject:, and illuftrate 
 it in the Story of Dido's Death ; which, we (hall handle two different 
 Ways. 
 
 1. Natural. 2. Emblematical. 
 
 In the firft Manner, we reprefcnt the Queen in Defpair, and part 
 Hopes, on a Pile of Wood, and, after Sacrifice, ftabbing herfelf ; 
 when Iris cuts off the fatal Hair ; her Sifter attends the Solemnity in 
 Tears and Lamentation; all is in Confufion, and every one affected 
 with Sorrow in a greater or lefs Degree. ■ Thus far Virgil. 
 
 In the fecond Manner we lhew how Defpair, accompanied by Rage, 
 
 is dragging Love to the Grave, with this Infcription,- 1 Dido's Death. 
 
 And fo I defigned it for the Frontifpieceof Monfieur Pel's Tragedy on 
 that Subject. 
 
 Now it's eafy to fee why, in the former Manner, neither Rage, 
 Defpair nor Love attend the Princefs; and in the latter, why neither 
 Princefs, By-ftanders, Altar nor Pile of Wood are introduced ; fince 
 in the firft Manner no Aid is wanting, becaufe each Figure fufficient- 
 ly acts its own Part, and fhews every thing which it's Paffion natural- 
 ly leads it to ; wherefore it would be redundant, nay obfcure the 
 Story, to double all the feveral Motions, with the fame Paffions and 
 Senfes, by thefe Figures ; whence it is that they can have no Place. 
 
 But where the Subjecl: is purely Emblematic, and Emblematic Figures 
 the principal Characters, as in the fecond Manner, they muft come 
 into play ; becaufe each Figure then expreffes its natural Quality, in 
 order to clear and illuftrate the Senfe of the Story, without the Addi- 
 tion of any body elfe. 
 
 In this Manner Apelles contrived his Piece, on his being accufed by 
 Antjphilus ; wherein he reprefents Innocence purfued by Rage, Vice, 
 Lies and Slander, and dragg'd by them before an ignorant Judge; 
 thus many Things are couched under a {ingle Allegory : But when a- 
 ny particular Per/on, Man or Woman, and their Characters, Shapes, 
 Countenances, &c. are burlefqued in this Manner, then fuch a Defign 
 may be called a PafquiL 
 
 It 
 
Chap, ii. Of Ordonnance, or Compofition. 73 
 
 It is without difpute, that every Man has but one predominant PaJJi- 
 on at a time, which moves and governs him; wherefore a prudent, 
 generous and valiant Man, when he is doing a prudent Aft, may be 
 accompanied by Generoftty and Valour, but not with Prudence, becaufe 
 that Quality appears in his A& : Again, if in an Attack he perform a 
 valorous Action, fuch muft appear in his Perfon, and Prudence and 
 Genet ofity only muft accompany him \ if he (hew his- Generality, as in re- 
 fioring Captives without Ranfom, Prudence and Valour are fufflc lent to 
 attend kirn, without the Addition of Gener ofity. The Cafe of a famous 
 Matter is the fame ; for he being pofieffed of feveral good Qualities, 
 as Judgment, Affiduity, quick Conceptions, &c. if he be reprefent- 
 ed employed at his Eafel, thofe Characters may all illuftrate him, ex- 
 cept AJfiduity, which fhews itfelf by his Motion and Pofture : If a Phi- 
 lofopher do a foolith Thing, all other good Qualities Ihould ornament 
 him, except Folly, becaufe he is committing it. 
 
 Such Obfervations as thefe, are worthy of Notice, and without them 
 an Emblem cannot he good. This Part of the Art is' very liable to Cen- 
 fure, but yet few underftand it, becaufe the Facts being always couch- 
 ed under uncommon Appearances, are Secrets to the Vulgar, with- 
 out Explanation; neverthelefs they ihould be fo handled that People of 
 Judgment at leaft may know their Meanings, and the Artift not be re- 
 proved. 
 
 I remember to have feen a Picture of Bacchus and Ariadne, wherein 
 I obferveda Miftake, in placing Sorrow and Defpair about the Princefs ; 
 the latter was feen flying from her; which, in my Opinion, was right 
 and proper in the Matter; but our Difpute was, whether the Figure of 
 Sorrow had any Bufinefs there. He juftifled it by very plaufible Rea- 
 fbns, faying, that altho*, by the Prefence of the compaffionate God, 
 her Sorrow was at an end, yet it abated not fuddenly ; becaufe Ihe 
 was to give him a Relation of her Difafter, and then to wait for a 
 favourable Anfwer ; and fo long Sorrow muft be with her. I have, 
 fays he, reprefented her with a forrowful Look, and Tears in her Eyes, 
 pointing towards the Sea at the perfidious Thefeus, the Occaflon of her 
 Sorrow ; Bacchus is attentive, whofe upper Garment is opened by 
 Cupid ; and becaufe Ariadne knew not whom (he had with her, Man 
 or God, Love difcovered his Godhead, and made her fenfible of his 
 Power. 
 
 This Piece was, in my Judgment, fine; yet I think Sorrow Ihould 
 have been left out of the Compofition, becaufe, according to our Pofi- 
 tion, no Paffion can all in two Places at. once ; for tho' the Princefs's 
 
 No. 4. * K Coun- 
 
7+ 
 
 Of Ordonnance, or Compofition. 
 
 Book II. 
 
 Countenance fufficiently fhewed it ; yet, as being overcome, it is taking 
 its Flight. I have feen more fuch Miftakes, but 'tis no Wonder \ for 
 we are not born wife. 
 
 In the Ufe of hieroglyphic Figures for expreffing the Paffions, con- 
 fider, in an efpecial Manner, whether thofe Paffions work internally or 
 externally ; I mean, whether the Action and Motion of the Body alfo Jhew 
 fufficiently it's predominant PaJJion ; for a good-natured, fedate Man needs 
 no auxiliary Action to fhew he is fuch > becaufe his Countenance does it 
 effectually. But when we deftre to make known Love and Sorrow, 
 which are internal Affections of the Soul, thefe muft be exprefled by 
 means of Hieroglyphic Figures ; and yet if the Body be difturbed and 
 moved by thole Paffions, the acting PaJJion may be clearly perceived 
 without the Help of Hieroglyphics. 
 
 Notwithstanding the Neceffity of this Knowledge in all who have 
 any Relation to Painting, yet many young Statuaries imagine, that 
 being generally concerned in carving (ingle Figures only, it does not 
 affect them. But they miftake; for fuppofe they fhould be required to 
 let off a Figure with Emblems, whether on a Pedeftal, or in a 
 Niche, in Bafs or whole Relief, in order to blazon the Qualities and 
 Virtues of the Perfon it reprefents, they would be at a ftand ; and the 
 rather, as we fee Painters exhibit moft of their Emblematic Figures in 
 Stone-work, in order to make an Hiftory clear. Now the Statuary, 
 not able to truft to his own Strength, relies on the Painter's Aid to 
 Defign him fuch and fuch Thoughts y to which he fets his Model, and 
 fo proceeds to work. 
 
 C H A P. XII. Of the Order, or Succeffion of the Motions proceeding 
 
 from the Paffions. 
 
 AFTER having fufficiently fpoken how a Figure ought, by 
 it's Form, to exprtfs the Paffions, we are led to fay fomewhat 
 touching the Order or Succeffion of ifs Action ; for tho' in a Sto- 
 ry, the one oftentimes proceed from the others, and revert and fall 
 back again, yet efpecial Care muft be tlken, that they be not exprejfed 
 and Jhewn all at the fame In ft ant of Time , but that each wait for ifs pro- 
 per Turn and Seafon. As if a Gentleman fhould order his Servant to 
 -beat any one ; three Motions arife from hence, which cannot be per- 
 formed at once, becaufe the Order muft precede the Hearing, and Per- 
 formance 
 
Chap. ix. Of Ordonnance, or Compofition. 7? 
 
 formance be the Confequence. Again, 'tis prepofterous, that a Prince 
 (hould ftand in a commanding Pofture, at the fame Time as his Ser- 
 vants are executing his Commands. It would be as unnatural to frame 
 the Story of the Woman catch'd in Adultery, in this Manner ; Chrift is 
 writing in the Duft, while the People are fneaking away difcontent- 
 ed and afhamed ; and (which is ftill worfe) fome provided with 
 Baskets of Stones, either waiting on the fecond Ground for the IiTue, 
 or departing out of the Temple ; tho' our Saviour had not finijhed 
 his Writing, by which thofe Paffions were to be raifed. The incom- 
 parable Poufjin poffefled this Conduct in an high Degree ; as may be 
 feen in his Picture of this Story. When a General is fpiriting his 
 Army, each Soldier obferves Silence and Attention while the Ha- 
 rangue is making. 
 
 In my juvenile Years I painted the Story of Progne, where, in Re- 
 venge of her defloured Sifter Philomela, fhe is fhewing and calling at 
 T ereus the Head of his Son, whofe Body is almoft eaten up by him ; 
 At which purfuing her in a Rage, fhe was metamorphifed into a Bird. I 
 reprefented thole outrageous Women (hewing him the fevered Head : At 
 which the King, tranfported with Fury, rifes from his Seat, with a 
 drawn Sword ; the Table is overturned, and the drinking Veflels, Dim- 
 es and other Table-furniture lie broken to pieces about the Floor, and 
 the Wine fpilt at their Feet ; and yet I made the Women keep their 
 ftanding, holding the Head. To re-confider this Story, 'tis natural to 
 think, that in the Beginning the Tyrant fat quietly at -the Table, ig- 
 norant of what was doing ; afterwards the Women entered the Room, 
 fhewing him the Child's Head cut off, attended with Speeches proper 
 to the Occafion ; which put him firft out of Countenance, and then 
 piercing his Heart, he furioufly arofe from Table and overturned it ; 
 and drawing his Sword in order to purfue them, he pufhed down every 
 thing in his Way : Notwithftanding all which Rage and Difturbance, 
 the Women remain in the fame Pofture and Station as when they came 
 in. You may eafily perceive my Overfight, and - improper handling 
 this Story. 'Tis true indeed, that all the different Motions were fudden 
 and quickly fucceftive, yet lhe kept the Head too long in her Hand, to 
 throw it on the Table after it was overturned. In all Likelihood, at 
 the End of her Speech, fhe muft have thrown down the Head, and 
 taken to flight as foon as Tereus made the leaft Offer for rifing ; and 
 then muft follow her Metamorphofis, and fhe be off the Ground. I 
 conceive therefore, that the Table ought to have been ftill ftanding; 
 and lhe, after the Head was thrown upon it, to be flying j and, to 
 
 K 2 fhew 
 
7<5 Of Ordonnance, or Compofition. Book II. 
 
 ihew her Inhumanity, with a Sword or Chopp'ng-knife in one Hani and 
 menacing with the other. But I pafs on to ihew my cooler Thoughts 
 in another Example, being the Fable of Apollo and the Dragon 
 Python. 
 
 This Ordonnance exhibits a wild Profpect; on the right Side, on 
 the fecond Ground, in a low Morafs, is feen the frightful Monfter Py- 
 thon (faid to be engendered of the Vapours and Exhalations of the 
 Earth) lying half in and half out of the Plafn, laden with Arrows ; 
 fome People, ftanding on a near Hill, are viewing him, flopping their 
 Nofes becaufe of the Stench. On the left Side, where the Ground rif- 
 es higher, a round Temple appears, and therein the Statue of Apollo ; 
 with various Conditions of Men worfhipping, facrificing, rejoicing, 
 skipping and dancing. About the Morafs or Plalfi ftand Tome wither- 
 ed Trees, Pieces of Ruins, and fcattered Bones pf devoured Men and 
 Beafts. Behind the aforefaid Riling, in the Offskip, are feen Cottages, 
 the near ones ruined, thole more diftant from the Monfter lefs damag- 
 ed. On the fore Ground the infulting Archer is feen leaning on his 
 Bow, and with his Quiver at his Back empty ; he ftands daring and 
 haughtily on his left Leg, toiling his Head backwards towards his 
 right Side and the Light, and, with his left Hand extended, and a 
 icornful Smile, he is putting by Cupid, who, with his Scarf flying be- 
 hind, foars aloft from him, and, with Anger in his Looks, nods his 
 Head, (hewing him an Arrow with the Point upwards, as if he were 
 
 faying, Tou Jhall foon feel this Point. Behind Phoebus, or Apollo, 
 
 ftands a large Palm-tree, and by it an Oak, againft the Trunk of 
 which he fets his Back; his Head is adorned with Oak and other 
 Leaves. Forwards I ought to reprefent a Brook, wherein he is part- 
 ly feen by the Reflexion of the Water ; his Drefs is a golden Coat of 
 Armour, and a Purple Garment hanging down behind him. 
 
 A fecond Ordonnance,. touching' A p o l l o and Daphne. 
 
 No fooner had Apollo caft his Eyes on Daphne, but he fell in love 
 with her ; his eager Paffion made him purfue her, in order to make 
 her fenfible of it ; hereupon Cupid, after having touched Daphne's 
 Heart with a cool Arrow, pierced Apollo's with an hot one; Daphne, 
 infenftble of what is doing, is talking with fome Water-nymphs, who 
 lie, with their Pots, on the Bank of a clear Stream. She ftands in the 
 Sun in a fronting Pofition, with, her Quiver hanging at her naked Back ; 
 fee beholds the Nymphs, with a down and lovely Look, over her left 
 
Chap. 12. Of Ordonnauce, of Compofition. 77 
 
 Side; her left Hip rifes ; her left Hand is airily under her Breaft, with 
 the Palm outwards ; in her right Hand (he holds her Bow above the 
 middle, which fomewhat fupports her, opening her Elbow from her, 
 whereby the Hollow of her Body on that Side is filled up ; her Gar- 
 ment is girt fhort under her Breaft, being faftened with a Ribbon on 
 her left Shoulder, and with a Button at Knee ; the Side Flappets are 
 tucked under a Girdle coming over her Hip, the Ends hanging down ; 
 from her Head-ornament, buttoned up, her light Trefies hang down 
 on both fides with a lovely Flow over the Shoulders. Behind her along 
 the Water-fide (which, after partly running towards the Point of Sight, 
 alters it's Courfe) is landing a white Marble oblong Stone, 3 or 4 
 Feet high, adorned with Bas-reliefs, againft which Stone her Ground- 
 fhade falls: On it lies a Water-nymph on her left Side, fore-mortened ; 
 (he is retting on her Elfafcw, and, with the left Hand under her Cheeks, 
 is looking at Daphne; the Nymph's lower Parts are covered with a 
 blue Scarf, which fets off the naked upper Parts of Daphne. Daph- 
 ne's Garment is Apple-blofiom Colour, little darker than the naked, 
 with Violet Reflexions; along the Water-fide ftand Willow's for Re- 
 pofe of the Nymphs- On the Brink of the River, to the left, is a 
 rocky Mountain full of Rifings from Bottom to Top, between which 
 the foamy Water runs; and delcends. On the right Side Apollo is feen< 
 (between the Point of Sight and where the Ground rifes high with rude 
 Steps) coming full of Amazement fidevvays from it ; he ftoops forward, 
 his left Hand retting on a Crook or Staff; his right Foot lowly put. 
 forth, juft touching the Ground with his Toes ; his Breatt almoft 
 meets his left Knee; his right Elbow is drawn back; his open Hand 
 is up at his Ear; his Face in Profile, and his Eyes flaring at Daphne;. 
 a fiery Arrow enters his "Breaft; his Garment is of coarle, light-grey 
 Stuff, two Ends of which button under his Chin, and the others, 
 from under his Arms, tuckt in his Girdle before, where alfo fticks a 
 Shepherd's Flute; on his Head a blue Cap, turned up beforehand 
 wrinkled on Top ; his Breatt fomewhat inclines to the Light, and, 
 his right Thigh is feen in full Length. The Light proceeds from the 
 right; the Hill on that Side is upright like a Wall; the Steps 
 parallel or fronting ; on the left the Hill makes a rugged Slope, and, 
 every-where over-run with Variety of wild Shrubs and Herbs,, it fills 
 up almoft the right Side of the Picture, running up high by the 
 Point of Sight ; projecting oyer the Way, which is very low, it gives 
 a Ground-made . there, which takes half the Way to the Stone behind 
 Daphne j and beyond it is another Ground-lhade, running between fome 
 
 high 
 
78 
 
 Of Ordonnance, or Compofition. 
 
 Book II. 
 
 high Trees behind the Hill. The Offskip, on the left Side, difcovers 
 a fine Fabric, being the Palace of King Admetus; near which, fome 
 Cattle are grazing in the Field. Cupid is flying towards the Hill, look- 
 ing back at Apollo. 
 
 If it be asked, how we fhall know this to be Apollo ; I anfwer ; By 
 his beautiful Air and golden Locks, his lovely Afpecl:, and the De- 
 voir with which he is viewing the Nymph, and by the Arrow with 
 which the flying Cupid has pierced him. Befides, I do not know, that 
 Ovid's Metamorphofis affords any fuch Reprefentation of a Shepherd 
 thus enamoured with a Nymph ; for it mult be obferved that Apollo 
 was at that Time expelled Heaven, and bereft of his godly Ornaments, 
 the Purple Garment, Sun-rays, Management of the Chariot of the 
 Sun, the Lyre, and the like ; and got his Living by feeding Cattle for 
 King Admetus. 
 
 I reprefent Daphne^ Convention among the Naiades (I think) not 
 improperly, fmce the River-god Peneus was her Father, whom I leave 
 out of the Story, becaufe his paternal Authority would not fuffer her 
 to entertain fuch kind Looks; for he difliked her Manner of liv- 
 ing, and would have her" marry; which fhe difapproved ; wherefore, 
 to fhew her Averfion for Men, I have introduced none but Virgins! 
 I have alfo not given to Apollo a Crown of Oak-leaves, becaufe im- 
 proper to a Shepherd, but a blue woollen Cap ; a Drefs better fuit- 
 ing that Condition, fince now he is no more Phoebus, but Apollo, 
 
 This Story is rarely handled, generally overlooked by Painters. 
 
 Third Ordonnance relating to Apollo and Daphne. 
 
 Here Apollo is purfuing the Object of his Love, running and at the 
 fame time intreating her ; her Countenance difcovers Fear ; and feeing 
 him fo near her, fhe endeavours to fhun him by flopping lhort and taking 
 another Way ; fhe fears neither Thorn-bufhes nor rugged Ways, but 
 runs fwiftly over all. He purfues, but not with Intention to feize her, 
 becaufe he has one Hand on his Breaft, and with the other he caffs a- 
 way his Staff; skimming over the Ground behind him; his blue Cap 
 is blown off his Head, towards the Way whence he came; his Head 
 is flung back and fidling, to demonftrate that he is intreating her ; and 
 ihe is looking back at him ; his Afpecl: fiery, his Eyes flaming, but 
 to no purpofe ; for fhe contrarily, tho' tired and fweaty, is pale and 
 wan, her Face dry, Eye-brows knit, Mouth raifed in the middle with 
 the Corners downwards like an Half-moon, to ihew her Pain ; Hie lifts 
 
 her 
 
Chap. n. Of Ordonnance, or Compaction. 79 
 
 her extended Arms towards Heaven, quite exceeding the Poize of her 
 Body ; the Quiver at her Back is flying back, and the Arrows (batter- 
 ed along the Way ; me holds her unbent Bow in her chill'd left Hand. 
 Apollo, in the Purfuit, has catch'd a Flap of her Garment as her Feet 
 take Root ; her Body is towards him, but her Face towards Heaven, 
 ftrueeling with approaching Death. Her eager Lover (as yet infenfible 
 of this) thinking (he's now in his Power, hopes for Victory. But here 
 1 1 mean not to (hew her ftanding ftill, but to run further by ftrivmg 
 I to difengage her rooted Feet and Toes, which {he imagines are only 
 retarded by Apollo \ wherefore fhe flings her Head back, difcovering 
 her Fears by loud Shrieks \ at which Moment her Metamorphofis be- 
 gins. It's not improper to fhew a long and winding Way by which 
 tnev come ; and, in the Offskip, the Nymphs, by the white Marble- 
 ftone, looking after her; one of them ihades her Eyes from the Sun 
 with her Hand; others are wondering; others mutually embracing. 
 Behind them are feen the Mounts Cytheron and Helicon rearing their 
 Heads to the Clouds ; and behind Daphne, between fome Trees, is a 
 Terme of Mercury, if then in Being, otherwife that of Diana her 
 Miftrefs. Her Drefs is as before. Apollo and Daphne's Courfe is againft 
 the Sun ; fhe is feen backwards, her right Leg forward, and the left, 
 lifted high, feems to turn to the right to take that Way ; he, contra- 
 rily fomewhat ftooping with his left Leg forward, and his right behind, 
 iuft off the Ground, is turning to the left, tracing her Steps like 
 an Hound courting an Hare, which, flopping fhort, takes a new . 
 Way. 
 
 Sequel of Apollo and Daphne'j Story.. • 
 
 Daphne, unable to run further, at laft remains fixed to the Earth, 
 often ftrivine to unroot her Feet, but in vain ; a rough Bark now co- 
 vers her Legs and half her Thighs, and a deadly Chill congeals her 
 Blood ; her fluttering Soul feems to be leaving her, fighing for the laft 
 Time ; the ftands on the left Side of the Point- of Sight,- on the fore 
 Ground ; the upper Part of her Body, Arms and Head are Ml intire ; 
 her Quiver in Diforder, recedes a little from the Point of Sight to the 
 left; the under Part of her Body fronts the Light; Jier right Hip 
 rifes ; her Legs twining unite below, juft under the knees, into a lin- 
 cle Stem ; her Breaft ftanding out is fronting • her Head turned to the 
 left droops over her left Breaft; her Eyes are half cfefed ; her Mouth 
 almoft (hut, difcovering ftill fome faint Signs of Pain ? her Cheeks are pale, 
 
 DUt 
 
8o Of Ordonnance, or Compofttion. Book II. 
 
 but her Lips violet; her Head is full of Branches, and fo filled with 
 Leaves fprouting out on all fides, that they fhade the Face, and half 
 her Bofom. Before her, a little to the left, a large Oak rifes, which 
 fhe embraces with her left Arm, againft which her Head is leaning. 
 Her Drefs is as before. Apollo, now at the End of his Hopes, burlts 
 into Lamentations, moaning her hard Fate, but chiefly his own hot 
 Inclinations, the Caufe of both ; he ftands on her right Side, with his 
 right Leg on the fecond Ground, his Foot hid by the Hollow of the 
 Way, and his left Leg on the firft Ground, with the Foot clofe to 
 the Stem \ his Head a little backward, leaning to the right Side, and 
 his Face towards Heaven \ he extends his right Arm, with the Palm 
 of the Hand outwards as far as he can reach, feeling under her 
 left Breaft to fee whether her Heart ftill beat, or not j his right Hand 
 is off from him quite open \ the Flap of his Garment, loofe on the 
 left Side, hangs down behind. On the right Side, from behind the 
 Ground, a Water-god comes running with Wonder \ above whom ap- 
 pears Atropos, or Fate, with her Diftaff and Sciflbrs; fhe is feen from 
 behind and fore-fhortened, foaring high towards the right Side of the 
 Picture. The Sky abounds with driving Clouds. The Mount Parnaf- 
 fus appears off' on the right Side, as alfo the River running behind it 
 towards the Point of Sight ; on the Bank of which River fome Beafts 
 are drinking. Halfway up the Mount is feen a fmall round Temple of 
 the Goddels Themis, before the Frontifpiece of which, ftand an Oak and 
 a Linden-tree ; and in the Lointain, almoft on the Horizon, the Town 
 and royal Caitle of Admetus \ the reft fs Field, in the middle of 
 which a Shepherd is fitting on the Grafs, and another Handing by 
 him, who points at the Cattle, at which the other is looking with 
 Wonder ; Cupid talking with Atropos, is flying along with her. Be- 
 hind the Oak ftiould be feen a Part of the before-mentioned Terme. 
 
 The Conclufton of Apollo and Daphne'; Story* 
 
 When Apollo had flnimed his Prophecy, Daphne gave a Nod as a 
 Token of her Afjent to it ; but while he is gazing at her Mouth, he 
 fees her no more ; the Tree alone (on which her Bow and Quiver 
 hang) muft now be his Comfort ; he fighing and lamenting went to 
 lean againft the Oak, which was half withered, old and rent, his El- 
 bow in one Hand, and his Face fupported by the other \ his Legs acrofs ; 
 in this Pofture he remains a while muring and filent. The Water- 
 nymphs are fitting round about, one on her Urn reverfed; another 
 
 on 
 
Chap. 13. Of Ordonnance> or Compofition. 81 
 
 on the Ground near him ; another is embracing Daphne's unhappy 
 Body, looking up at the Leaves, and feeming to addrefs her, who now 
 is no more. Another, ftanding by, is raifmg her Shoulders, dropping 
 her folded Hands, and Head hanging. An old Shepherd is pulling A- 
 polio by the Flap of his Coat, but he does not regard it. In fine, no- 
 thing is feen but univerfal Diforder, Sorrow and Wonder ; the Gods 
 and People are flocking from all Parts to view this new Sort of Crea- 
 ture, to wit, Dryades, Satyrs and Hunting-nymphs, fome with Re- 
 fpea, others with Amazement, others with Joy ; the univerfal Mo- 
 ther Earth herfelf ftands in Surprize. To conclude this Fable, I muft 
 add^ this Remark, as not foreign to Apollo's Prophecy, That the Lau- 
 rel in Times to come ihould ferve for a Token of Vidory, and adorn 
 the Brows of Conquerors inftead of Oak-leaves, and that, in Me- 
 mory of Daphne, thofe ihould be facred to him above all others. 
 
 Here, Valour, or Hercules, appears with his Lion's Skin and Club; to 
 whom Vitfory, refting againft a Laurel-tree, is offering a Garland 
 with one Hand, and pulling off a Branch with the other ; in her Arms 
 is her Trophy. 
 
 Memory fits by the aforefaid Tree, on an Eminence, recording, in a 
 Book, the Anions of the Heroe ; Saturn fhews her Hercules. On the 
 fecond Ground, by a Morafs, lies the Body of Hydra, with fome 
 Heads ftruck off, and others burnt black. 
 
 CHAP. XIII. Of Ufe and Abufe in Painting. 
 
 TH I S noble Art having been the Efteem of all Ages, as Writ- 
 ers teftify, 'tis certain, that nothing fo pleafmgly flatters the 
 Eye, as a Picture viewed in it's full Luflre; but in all Things 
 there is an Ufe and Abufe, and fo it happens in Painting. 
 Tj.T h ^ ^ lies in nandlin g °f nobl e and edifying Subjefts ; as fine 
 Hiftones, and Emblems moral and fpiritual, in a virtuous and decent 
 Manner ; fo as at once to delight and inftrutt. Thus the Art gains its 
 Luftre. • 
 
 The Abufe appears in treating obfcene and vicious Subjeds ; which 
 difquiet the Mind and put Modefty to the Blufh : He, who follows 
 this Method, can never expeft the Reward of Virtue (which, Horace 
 fays, is an immortal Name) but rather eternal Infamy. We fhall confi- 
 der the Matter in both Refpe&s. 
 
 No. 4. L When 
 
8* Of Ordonnance, or Cornpo-tion. Book IL 
 
 When Hiftofiarts treat an Hittory, they feldom pafs over any Cir- 
 cumttance, tho' ever fo indecent ; nay, tho' it be intirely evil; Poets 
 do the fame in their Fictions, but in a worfe Degree ; becaufe a flatter* 
 ing Tale eafily ruffles, often mifleads the Mind of a Reader. In fine, 
 it were to be wifhed, that, when fuch Liberties are taken, (which 
 ftould never be, without abfolute Neceffity) naked Truth were either 
 veiled, or caft into Shade, in order to prevent unlawful Defires. 
 
 But if a Difcourfe can thus captivate the Heart, how much more 
 muff the Eye be attracted by a Painting? Since the Sight affe&s the 
 Senfes in a greater Degree, efpecially when the Subje£t is vicious : 
 What Honour would a Matter get by painting the good Man Noah, 
 wallowing obfcenely in Liquor ? And would it be a lefs Crime than 
 Cham's mocking him ? He did it only to his Brothers ; who, turning 
 away their Faces, covered their Father with their Garments, in order 
 to hide his Nakednefs ; whereas the Painter expofes him to all the 
 World. It's as indecent to (hew Potiphar's Wife, naked on the Bed, 
 in an unfeemly Pofture, inticing Jofeph, tho' it was a private Facl, 
 and not attended with the worft Circumftances. Nor is Michael Jngefo 
 Buonaroti more to be commended, in exhibiting his Leda ftark naked, 
 with the Swan between her Legs ; a Circumftance certainly that he might 
 have omitted. Is it not to be lamented, that fince there is fuch a Fund 
 of Matter for fine Defigns, Virtues as well as Vices, whence we may 
 draw good Morals, fober Matters will commit fuch fcandalous Faults, 
 and execute them fo barefaced and circumftantially, that they want- 
 nothing but Smell ? As Horace intimates, 
 
 Nam fruftra Vttium vkaveris Mud, 
 Si te alio pravum detorferis. 
 
 But, leaving this unlawful Subject, as unwdrthy of an Artift, let us~ 
 proceed to fhew the Tokens of a good Picture. 
 
 Writing printed is more intelligible, than the Scrawl of an indiffe- 
 rent Penman ; and fo 'tis with a Picture ; if the Story be well expreft,. 
 and each Ob j eft an fiver its Char after, with refpccl to the Story, Time 
 and Occafion, leaving naked or cloathing the Figures, which ought to be 
 fo, fuch an Ordonnance may be juftly called a fpeaking Picture : But 
 'tis otherwife with Paintings governed by Whim, and void of Like- 
 lihood ; the former Piaure explains itfelf at firft View, and the latter 
 is a dark Riddle, in need of unfolding. 
 
 It 
 
Chap. 13. Of Ordonnance, or Compofition. 83 
 
 Is it not fuffident to fliew Diana with a Moon on her Head, Venus 
 with her Star, and Flora with her Chaplet of Flowers ; for we ftiould 
 alfo ihew their diftinguilhing Qualities and Charters, toll regarding 
 their Head-ornaments, and when they muft be deck'd, and when not. 
 Doubtlefs in every Country, except among Savages are to be found 
 good Laws and Manners, and three principal Times for dreffing, espe- 
 cially among the Women, whofe Attire Morning and Night is plain 
 and loofe, but at Noon fet out. - 
 
 It's no Wonder, that among the Crowd of excellent Matters, few 
 make true Decorum a Maxim in their Works, fiats then Op.rnons are 
 fo various, and governed either by their Degree of Skill or Inch nati- 
 on • one thinks, it lies in the Harmony or Conjuna.on of Lights and 
 Sh des another, in the Compofition of Colours, and *ofe altoge her 
 broken; a third, in chufing the Colours as beautiful as poffib e ano- 
 ther, in great Force; another, in airy R^eftions, &c. But, let them 
 fancy what they pleafe, none of theie Parts will alone conftitute a be, 
 comlig Piautjhow fimple foever ; much lefs a comp eat Ordonnance of 
 Figure! Land kip, ArSiiKdture. Flowers, Cattle, &v For Inftance 
 of 8 wha worth is a Competition of Figures, where all the Poftures and 
 Airfare alike? Of a L^ndskip, where in the ^ge. we fee no 
 Difference or Variety in the Bodies of Trees, ^ a &™™?™ a fi' 
 In Architeaure the fame ; but how decorous muft a Cattle-piece be. 
 when we fee the Qualities of the Animals well exprefied ! fome fmootn, 
 Others rough, hahy or woolly. True Decorum then proceeds from 
 aSjuS' of all'the Particulars above-mentioned, and .* ^reat Force 
 of Light, Shade and Reflexion, and an Harmony of Colouis as well 
 beautiful as broken, and the whole managed according to Rule, and 
 
 ag rf d w!3weth e 'thefe Things, we (hall foon perceive that the 
 Fault is often ouf own, and tha° 'tis in our Power to arrive at Ter- 
 feaion, if we want not Ambition to excel and do not undertake 
 Th nes above our Capacities. Ultra vires mM aggrediendum. 
 
 Ma g ny excellent Matters have miftaken the Mark; Ars longa Vita 
 brevis \y many; but it is a poor Pretence for an Artift. If it be 
 t, rthat y vou "Ideavour to gain this Decorum, alter your particular 
 true that you enaeavour B , h j ft the greate ft 
 
 Inclination as foon as foible, be as caieiui in bk« f if at va _ 
 
 Circumftances; of your Piaure ; reafon diligently with ^1 
 cant Times ; for tho' fcarce any one is to be found ahke kiltul m 
 all the Branches, yet 'tis not impoflible to be fo; in ftort it t^s not 
 in your Power to beftow extraordinary Time to Advantage, be at 
 
84 Of Ordonnance, or Compofttion. Book II. 
 
 ™ il^ft'f n0t t0 bri "8 thin S int0 y° ur Compofitions which 
 you cannot jultiry. 
 
 CHAP. XIV. Of particular Inclination for one Branch, whether 
 tigures, Landskips, Buildings, Seas, Flowers, &c. 
 
 DILI GEN C E and a proper Talent, in Conjunction with Pru- 
 dence, may gain Riches; fudden Wealth is not fo ftable as that 
 
 i £ ^ gr J eeS ' the f ° rmer is the EfFea of Deflr e and Luck, 
 
 the latter, of Prudence. 
 
 I think that Mafter refolves beft, who confiders in the Courfe 
 of his Study of any Branch. 
 
 If Whether his Fortune and Well-being depend on one particular 
 Perfon, ^ or on the Body of the People. particular 
 
 ^ 2 '^ Wh r ether notmore advifable to accommodate himfelf to 
 
 the Occasions and 1 empers of the People, than to confine himfelf to 
 his particular Inclination. 
 
 Laftly How his Studies may be fometimes enriched with Variety 
 or new Matter. J 
 
 . He is ' 1 %> a prudent Artift who, weighing thefe Premifes be- 
 times as quickly puts them in Execution ; Specially fince the World 
 is beft pleafed with Variety and Novelty, which fpur them to Love, 
 Inclination and Defire : What can iubfift without Variety ? Is a Cook 
 who can drefs but one Difh, and one Way, to be compared with him 
 who can do leveral ? 
 
 We have many fad Inftances of excellent Mafters, who, thro' Ob- 
 itinacy, have drudged in Poverty and fat down in Want, rather than 
 go againft their Cuftom ; if the Mafter painted Figures, he confin- 
 ed himfelf to He and She-faints ; if Landskip, nothing but Wildernef- 
 fesand I Deferts; if Flowers, nothing but Flower-pot?; if Seas, no- 
 thing but Storms and Tempefts ; if Architefture, nothing but Grottos 
 and Ruins: It's true, that 'tis more commendable to excel in one 
 Branch than to be indifferent in many ; but as true, that Variety of 
 Food caufes new Gufto : In fhort, making a Virtue of Neceffity, we 
 are obliged to alter our Notions, and fubmit them to Seafons and Oc- 
 calions. 
 
 ^A^f-T Pf oc f d .' . en 1 uire and obferve, what ready and con- 
 ftant Materials each Aruft, in his Prance, has Occafion for /and whe- 
 
 Cher 
 
Chap. 14. Of Ordonnance, or Compofilion. $? 
 
 ther thofe be copious enough ; and laftly, what are proper to each 
 
 Branch. 
 
 The general Fund confifts, 
 
 Firft, In the Variety of Paffions and Defigns. 
 
 Secondly, In p leafing new Matter, moving to Love ; as the Proverb 
 fays : Nonfufficit unus ; wherefore Variety and Novelty are neceflary ; 
 but I mean not, that it fhould appear in every Piece we do ; but now and 
 then, occasionally, in order to pleafe and retain the Curious. 
 
 Laftly^ It mull be confidered, whether there can be found fuch a 
 conftant Flow of Novelty, as the particular Study of the Artift calls 
 for, and wherein it confifts ; fome principal Inftances of which, from 
 whence may be deduced an Infinity, I (hall here fubjoin ; as, for 
 the Figure-painter, there are not only He and She-faints> but alfo Phi- 
 lofophers, Prophets and Propheteffes or Sybils, eminent Men and Wo- 
 men as well in Policy as Warfare, Monarchs, Law-givers, Statefmen, 
 and Ecdefiaftics ; the four Parts of the World ; the five Senfes ; and 
 innumerable other remarkable Perfons and Objeas: Judge then, whe- 
 ther there \z not Matter enough for thofe who would go greater 
 Lengths than to fpend Years, nay, their whole Lives, in fingle Figures. 
 In Landskip what a Field is there for Variety, befides Wildernefles and 
 Deferts ? as, delightful Lawns, beautiful Inclofures, Rivers and Caf- 
 cades, Rocks and Caves, Pyramids, Burying-places and Tombs, and 
 Places of publick Exercife ; Plantations of Trees, Country-houfes, 
 Sports of Shepherds ; Sacrifices and Bacchanalia ; and all thefe varied by 
 being made Fronting, in Profile or in Rear, fometimes with an high, at 
 others a low Horizon ; fometimes in Sun-thine, at others in Moon-light ; 
 to which add, Beafts, Birds, &c. For Sea-painters, remarkable Ac- 
 cidents, as well ancient as modern, facred and prophane Stories, Fa- 
 bles and daily Occurrences : Some of them may be thefe ; Chriji walk- 
 ing on the Sea, and Peter, fifhing in a Boat, is calling out to him ; 
 Ckrift afleep in a Ship in a Storm, and awaked by the People ; a Sea- 
 coaft with Ships riding at Anchor, and others, both Men of War and 
 Merchant-men, under Sail; an Engagement between Merchant-men 
 and Pyrates, Ttirkijh and Algerine Rovers 5 Sea-ports, with trading 
 Merchants; Releafment of Slaves; Sea-triumphs; the Venetian Cere- 
 mony of marrying the Sea in the Bucentaur ; a Sea-fhore with Helen 
 ravifhed by Paris ; Coronis purfued on the Strand by Neptune ; Poly- 
 phemus and Galathea ; King Ceyx and Alcyone ; Ulyjfes tied to the Maft 
 of his Ship on Account of the Sirens Song ; JEneas flying with his Fa- 
 ther Anchffesy Pyracy; Unloading of Ships ; Morning and Evening 
 
 Sun 
 
86 Of Ordonnance> or Compofition. Book II 
 
 Sun-fhine, and Moon-light ; Calms, impending Storms, But none 
 
 of the Branches affords greater Variety than Architecture ; as well in- 
 ward as outward, befides Ruins and innumerable By-works for Orna- 
 ment, what an Abundance of beautiful Temples, Palaces, Frontif- 
 pieces, Galleries, triumphal Arches, Colonades, Pleafure-houfes of 
 elegant Tafte and Colour, fpring from the Five Orders ? Alfo Termes, 
 Niches with Figures, Balluftrades adorned with Lyons and LyonefTes' 
 Sphinxes and other Ornaments of Porphyry, Free-ftone, Copper gilt, 
 and other ornamental Stone; to which add, the great Diverfity arifing 
 from the Ornaments of Gold, Silver and Marble, Bafs-reliefs, Paint- 
 ings, Hangings, Alcoves, Pavillions, Cabinets ; in fine, nothina can 
 be .imagined, that the Painter of Architecture cannot make his Svvn : 
 And the proper Defigns in Painting may be, Solomon praying for Wif- 
 dom ; the Queen of Sheba with Solomon - x the Nuptials of Jofeph and 
 Mary ; Chrijt among the Pharifees ; Mark Anthony and Cleopatra ; 
 theMurtherof Julius Cafar\ Solon with Crafus\ the Goddefs Vefta 
 appearing before the Entrance of the Pantheon, to curb the infolent At- 
 tempt of the Peoole to violate her ; Herfe and other Virgins going to 
 the Temple of Flora, and Mercury , in 'love, hovering follows her: 
 Mercury and Herfe m her Bed-chamber, &c. Other inward and out- 
 ward Decorations may be Sacrifices in Temples, Court-ftories, and Oc- 
 currences in Palaces, Halls and Apartments (feme of which we have 
 elfewhere (hewn) befides Confults, grand Entertainments, Plays, Vifits, 
 Witchcraft, Ghofts, delightful Appearances, &c. As to the Flower- 
 painter, what can be more pleafant and agreeable than Flowers in their 
 great Variety, beautiful Air and Colour? A Sight which never tires, 
 tho' but in Painting : I confine them not to a fingle Flower-pot ; for 
 Xhey may be varioufly difpofed ; wreathed as Garlands ; or made into 
 Feftoons and Groups ; or loofe in Baskets; fometimes intermixed with 
 Grapes, Apricocks, Peaches, Cherries, Grains of Paradife, accord- 
 ing to the Seafons 5 which may be expreft by Bufts of Copper and all 
 Sorts of Marble, and hy Bafs-reliefs ; befides the five Senfes : Add, 
 for Variety, notable Leafing, as Laurel, Cyprefs, Oak ; and fometimes 
 to the Fruit, Corn, Turnips, Carrots, Pumkins, Melons, Walnuts, 
 Figs, &c. Proper Defigns for this Branch may be thefe ; for the 
 Spring, Venus and Adonis in Courtfhip, fet off with Children and 
 Flowers ; for the Summer, Pomona and Flora, with Flowers and Fruit ; 
 for Autumn, Pomona and Vertumnus, in a Summer-houfe. 
 
 I think it needlefs to defcend lower, fince there is no Subjeft, how 
 mean foever, which cannot be fufficiently enriched with fomething new. 
 
 But 
 
Chap. 14. OfOrdonnance, or Compofition. 87 
 
 But perhaps a Landskip-painter may fay, I underftand nothing 
 
 bt my own Branch % Birds or Beafts I never ftudfed: Another may! ay, 
 
 Still Life is my Pradice, Land-skip, Figures or Cattle I never 
 
 touched. A poor Excuse ! Since for many Infirmities Help may be 
 found ; as for fhort Sight, Speftacles ; for Lamenefs, Crutches; for 
 Deafnefs, an Ear-pipe, and fo forth ; borrowing from fine Paintings, 
 and from Prints and Drawings (thefe latter are always to be had) is in 
 fuch Cafe no Reproach ; Moreover we may, without Hurt to our Ho- 
 nour, imploy a skilful Hand, if he conforms to the Subjed and Senie 
 we are handling. 
 
 It's remarkable that Pieces painted by two Mailers, leldom or never 
 anfwer the Intention of the Compofer, the Diftinftion. appearing either in. 
 Force, Handling or Colour ; but this is no Wonder, when each ot them 
 follows his own Gufto and Manner, without any Regard to the other, 
 as if the Affiftant's Share in the Work were as great as that or his- 
 Employer. When a General finds himfelf too weak for an Enter- 
 prize, he calls in fome body to affift him, but not to command ; io we 
 Painters, when we need an Affiftant, intend not to fhew what he can 
 do for his own Credit, but that he fhould work in Conformity to the 
 Compofer's Diredion and Purpofe. 
 
 But we ihall confide* an Affiftant's Qualifications, and how he ought, 
 to accommodate himfelf : He fhould be skilful in Perfpeflive, Colouring 
 and Penciling; by . Ptrfpetiive, to give more or lefs Force, with re- 
 gard to the Compofer's Manner j by Colour ing, that his be more or lets 
 beautiful; and that in Penciling, his be agreeable with the other's, li- 
 the Piece be tenderly and naturally handled, the By-works muft al lo- 
 be kept tender and well finiihed : If the Piece have alight and bold. 
 Manner, the By-works muft have the fame 5 fo that the whole Work, 
 getting thereby a general Decorum, feems to-be all of one Hand. 1 his 
 is lb neceffary a Condua in an Affiftant, that his Service cannot other- 
 wife be faid to be of any Ufe to us; nay, granting him to be agreat> 
 fer Mafter in Fame than his Employer, he ought to take Care that his 
 Work do not predominate, a Fault which would diflerve them both ; 
 and when this Fault is heightened by Ignorance or Malice, the Ma- 
 lefty and Elegance of a fine Compofition is loft, and the Work iub- 
 jected to the Scoff of the Curious, as I have divers Times expert 
 mented 9 
 
 G H A P» 
 
Of Ordonnance, or Compofttion. Book II. 
 
 C H A P. XV. Of the four Sorts of Tables, or Ordonnances ; and 
 
 what they are, 
 
 IH A V E been long in Sufpence whether I might, without being 
 taxed with Preemption, offer to publick View my Reveries a- 
 bout the general Tables or Ordonnances which fpring from refined 
 Judgment, and are of important Ufe to curious Artifts and Poets, as 
 well to exercife their Pens as Pencils: But at laft prefuming, that the 
 Product of my weak Abilities would not give Offence, I purfued my 
 Intentions, imperfect as they are, I (hall be at leaft pleafed, if my En- 
 deavours give a Handle for better Inquiries. 
 
 It's agreed, that a Fable or Ordonnance is a Reprefentation of fome 
 Fad, either with the Pen or Pencil. A Poem is a lhort and plain Ac- 
 count of the moft material Circumftances ; (hewing the true Caufe from 
 whence the Fatt proceeds. 
 
 Three Qualities are neceffary to a good Poet. i. An exad Ac- 
 quaintance with Hiffory, and the bert Authors, i. Good Knowledge 
 .in Antiquities. Laftly, an eafy and delicate Poefy ; to which add, 
 an agreeable Stile, by which, after having weighed what Materials 
 and Paffions are proper, he difpofes every thing in a confecutive Order, 
 and the moil: perfpicuous Manner. 
 
 Grace is as necefTaij in Poefy as Harmony of Colours in a Painting; 
 but tho' all the aforefaid beautiful Qualities be well obferved, yet they 
 cannot produce a perfect Ordonnance without the Aid of the Rules of 
 Painting : For a fine Hiftory of great Perfonages, accompanied with e- 
 legant By-ornaments, in a delightful Country, unartfully difpofed, is 
 to tar from Perfection, that it cannot have the utmoft Grace, tho' it 
 were the Ufe itfelf. Much may be faid for a Subjeft well treated; 
 but more for an Ordonnance of a skilful Mafter, painted according to 
 the Laws of Art, which make even Crookednefs feem ftrait.' 
 
 I fliall now treat of the Nature, Force and Quality of Tables 
 or Ordonnances (as neceffary for Landskip as Hiftory-painters) and 
 therein confider 
 
 T V r T heir Kinds * 2 ' TheIr Names. 3. Which of them have dou- 
 ble Jfes, and which have {ingle. 
 
 I fuppofe four Kinds, viz. Hiftorical, Poetic y Moral and Hierogly- 
 phic y the firft is a fimple and true Faft. The fecond, a double Fifti 
 
 on-, 
 
Chap. i f. Of Ordonnance, or Compofition. 89 
 
 on, exhibiting fabulous Stories, or a Mixture of Deities and Mortals : 
 The third has a threefold Moral ; teaching our Duty to God, our Neigh- 
 bour and ourfelves : And the laft is fourfold, as couching, under a 
 fhort and myfterious Senfe, the three before going; handling Virtue and 
 Vice for the Benefit of Soul and Body, and (hewing the Happinefs and 
 Immortality of the one, and the Corruption of the other. 
 
 In Hi/lory, the Poet or Painter, ought intirely to confine himfelf to 
 Truth, without Addition or Abatement ; his Ornaments, tho' borrow- 
 ed from Poefy, muft be fo reftrained, that nothing, ferving for II- 
 luftration, create Improbability; for Inftance, not to reprelent Day- 
 break by the poetic Figure of Aurora ; or the Night, by Diana ; or 
 the Sea, by Neptune ; which is needlefs, and an Error, becaufe thole 
 Things can be naturally exprefTed by Colours ; as Day-break, by its 
 Appearance, of Yellow, Red and Blue, or by the Sun-rays appearing on 
 the Horizon; the Night, by it's Darknefs, and by the Moon and 
 Stars; the Sea by its Waves and Billows, Rocks, Monfters and Shells 
 on the Shore; alfo the Nile, by it's Crocodiles, &c. or any Thing 
 proper to the Sea or Rivers. ; 
 
 The Poetic Tables differ from the hiftorical in this ; that, inftead or 
 true Story, they confider FiBions only, intermixing Deities with Mor- 
 tals, as we have laid ; and thereby fignifying nothing elle, but the 
 Courfeof the World thro' the four Elements, as Air, Earth, hire and 
 Water; and tho' hiftorically handled, yet each is a fimple Figure, hav- 
 ing a myftic Meaning, either in Name or Shape, and often indothi 
 zsScylla, Mas, Leda, Cyclops, and many others : And tn us the Fable, 
 being both philofophic and moral, in one and the fame Manner pre- 
 fcribes Virtue and decries Vice ; as we gather from Ovid, Virgil, and o- 
 thers. It is necefiary therefore, in defigning fuch an Ordonnance, to 
 keep intirely to the Fable, as before is faid, without any Addition ot 
 hieroglyphic Figures, as Temperance, Prudence, Anger, Jealouiy, 
 &c. which are fo improper here, as hereafter (hall be (hewn, that they 
 deftroy the very Intent of it ; for there are others, which (tho' in a dif- 
 ferent Manner) will exprefs the fame Paffions ; as Cupid, inftead ot Love ; 
 Pallas, inftead of mfdom, and many others j as we colka trom the 
 
 P °The ikWOrdonnances are trueFaBs, or Hiftories, propofed only for 
 Edification or Inftrudion; exhibiting either the gallant AOs, or Crimes, 
 of human Nature; and thefe explained by fome additional emblematic 
 Figures, which exprefs the Paffions by which they were moved, or 
 milled; for Inftance, with Alexander we may place Ambition 1 next 
 No. 4. M Marcus 
 
90 Of Ordonnance^ or Compofition, Book II.I 
 
 Marcus Aurelius, Humanity ; next Auguftus, Piety ; next Scipio AfriX 
 canus, his Moderation, in reftoring the young captive Bride to herj 
 Spoufe, and many others, as Horace in his Emblems artfully exhibits.] 
 In this Sort of Ordonnances we are no ways confined to Time, the! 
 Sun's Place, or the Quality of the Country ; for we may intermix Sum-j 
 mer with Winter, even all the Elements may appear ; the Subject may ! 
 be in the Front of the Picture in Africa \ and in the Offskip, at Rome, 1 
 or elfewhere j even in Hell itfelf another Scene may be acting ; fb great I 
 a Latitude has a Moralift: But he mull: take Care to avoid Superfluity,] 
 and Things improper to the main Action, which, as in Plays, fpoil the! 
 Beauty of the Reprefentation. 
 
 The Hieroglyphic Ordonnances are quite different from the three for- 
 mer in their Nature and Quality, having no other Affinity with them 
 than an Intention to exalt Virtue, and debafe Vice, by the Rewards of the 
 one and the Punifhment of the other : They are as well Chriftian as 
 Heathen ; the Chriftian affect the Soul, and the Heathen the Body : 
 The former demonstrate the Immortality of the Soul, and the latter 
 fhew the Viciffitude and Vanity of the World. Thefe Tables confift in 
 affembling feveral emblematic Figures of different Paffions, which all 
 together aretoexprefs a fingle Meaning; as Piety, Peace, War, Love, 
 €sfc. And fuch Tables are called Emblems, by their Application and 
 emblematic Ufe, and by being made up of compounded Objects which 
 have their proper Meaning and Relation, orelfe Derivatives from them; 
 as the Palm-tree, Laurel, Myrtle, Cyprefs, or the Sun, Moon, and 
 Stars, or an Hour-glafs, a Dart, Flame, £sfc Which fignify any Pow-i 
 er, Virtue or extraordinary Effect. Thefe Tables, like the preceding,, 
 admit not of the leaft Superfluity to obfcure their Significations ; be- 
 caufe, having neither Hiftory nor Fable to build on, they confift only of I 
 a fingle Paffion, proceeding from the Subject (which may be at our own! 
 ' Choice) explained and made intelligible by the other emblematic Figures, 
 which muftnot be improperly introduced, left the Senfe of the whole! 
 Scene be altered : But here we mult obferve to make a Diftinction between > 
 Heathen and Chriftian Reprefentations ; the Heathen admit of Venus, ] 
 Cupid or Anteros, for Love ; the Chriftian fhews Charity, or a Woman] 
 with Children about her, and a Flame on her Head ; the former has 
 ^Hercules, for Fortitude, and the latter St. Michael , the one takes 
 f iter with his Thunder, and the other, Juftice ; the former expreflesi 
 Piety by a Woman with an Oblation-bowl in her Hand, and near her an] 
 Altar with a Crane, and the latter chufes a Crofs inftead of the Bowl : 
 But all this is uncertain, and not confined to Time or Climate., 
 
 Being ^ 
 
:hap. IJ-- Of Ordonnance, or Compofition. 91 
 
 Being well apprized of thefe Things, we obtain the beft and fureft 
 Metholfordefigning any kinds of Tables, or Ordonnance, how ab- 
 ft ufe foever ; nfy, be your Defign ever fo Angle, it will a ways afford 
 plentiful^ Matter Vo furnilh out and enrich a large and capital Compo- 
 Fi ion as I fhall (hew in the following Table, tho' but * part, as leav- 
 ng out the City of Athens in the Offskip, a River with Swans, Fate 
 in the Air, or Mercury flying along with Jtrefos &c. We read of 
 th Gre, 'k PhilofopherW^^. *«, as he fat meditating in the Field 
 he was killed by a Tortoife dropp'd by an Eagle on his bald Pate ; which 
 : mournful Accident I handle thus. A little to the left from the Point of 
 Sight, I Place the unfortunate old Man, on a fmall ^Emmence with a 
 Pen in his Hand, and a Book in his Lap , he is fallen on his right 
 Thigh (which is foreihortened) with his Legs acrofs, and one of them 
 extended to the left, his upper Parts bending, and inclining fomewh* 
 W the right ; his H^d is in Prohle and downwards ■ he flings his righ 
 Hand' cLaWrom him, the Pen almoft touching the Ground, and his 
 left is open over his Head ; the Tortoife falls, fomewhat doping, head- 
 foremXalong by his left Ear ; his Book is tumbling out of his Lap to 
 the kft ; ovefhis Head, a little more to the left (where his Garment is 
 unde him) hovers the Eagle, looking downwards , at the. Corner of a 
 Stone (fix Inches high, and covered with a Part of the aforefaid Gar- 
 ment) running towards the Point of Sight, is an Inkhorn, and fome roll- 
 ed Papers afd his Cap. This is the Subftance of the Compofition : 
 In the P Offskip, where the Ground to the right lies low I Jew a Pyra- 
 mid and near it a Shepherdefs fitting by a young Shepherd, who is 
 £ding and offers her a P Bowlof Water, or Milk } up and down are 
 Catrie grazing, and nearer (behind the fore Ground) it would not be 
 SS J (hew^nother Man, who paffing by, and hearing the ^Ph.lofo- 
 pher's Cry, does, in Surprize, look back at him, fwaying^ the upper 
 P.rt of his Body (which is almoft naked to the Wafte) to the lett. 
 Th Phtfopher i plainly dreft in a long Veftment, and a Flappet of 
 his upper Garment, whereon he fat, comes under h.s right Thigh; 
 fhe TeftmentTs dark Violet, and the Garment light FiUemot } the 
 Stone whereon the Garment lies, is blueifh ; the Ground Grafs-green ; 
 ' thf Pafllnger behind the fore Ground, is in Shade except h.s Head, 
 and part 0! his Shoulders; and is dreft in a reddilh Skin, a Cap on his 
 
 thr Shepherd and Shepherdefs, in the Shade ot the f yramid, receive 
 try S Reflexions, P the whole Profped being exhibited in Sun-ffi.ne. 
 The Skip and Offskip I leave to the Choree of thofe who hke 
 
$>i Of Ordonnance, or Compaction. Book II. 
 
 the Compofition. It's faid, that this Philofopher was fo fearful of 
 his bald Pate, that he thought himfelf fecure no where but in the 
 Field, in the open Air 5 wherefore I do not introduce near him either 
 Houle, Tree or any thing elfe that could hurt him. But thus it hap- 
 pens, in the midft of his Security, he meets his Death : Mors inevita- 
 bile pa turn ! 
 
 Some perhaps may ask, why I've chofen but a fingle Figure for the 
 Subject of this J Ordonnance ; my Reafon is, to mew thofe who are 
 skill d in Landskip a Method of giving their By-ornaments greater 
 Lufire, and Excellence ; thofe, I mean, who are fo rich in Invention 
 ot inanimate Objeas, that they are content with one Figure and at 
 moft two, and thofe perhaps of little Significancy ; tho' it'muft be 
 granted, that the Name of an excellent, wife and celebrated Perfon 
 reprefented in an artful Landskip, gives the Work a Luftre, and the 
 Matter Reputation . ; for a skilful Landskip-painter certainly deferves 
 Honour, but double when he ihews that he alio underftands Hiftorv 
 and Poetry. j 
 
 Many Landskip-painters (not excepting fome famous Italians) chufe 
 commonly low, mean and poor Subject, and By-ornaments ; for m V 
 part, I generally leflen my Landskip, to give room for Embellifliment 
 In fine, if we cannot be alike perfea in all things, we may at leafL 
 thro' Perleverance, go great Lengths j for 
 
 Gutta cavat lapidem, non vi fed fape cadendo. 
 
 That is, 
 
 By conftant Drops the Stone is hollow >d thro\ 
 TVhich greater Jingle Force could never do. 
 
 The aforefaid Ordonnance is very fine for a Landskip ; and the ra- 
 ther as it handles an uncommon Story, attended with few Circumstan- 
 ces . for the whole is but a fingle Figure, tho' the Scene, as being a beau- 
 tiful open Field would eafily admit of three or four. Confider then, 
 excellent Profeflors of this Branch, what I have laid down : the Trou- 
 ble will be but imal], and 'tis in your Power to make it eafy to you- 
 % cuptt, captt omnia. } 7 U * 
 
 CHAP. 
 
Chap. 16. Of Qrdonnance, or Compofition. 93 
 
 CHAP XVI Of the Ufes of Ovid's Met amorphous ; and what is 
 further neceffary to the sketching and executing a Table or Qrdonnance. 
 
 E 
 
 XPERIENCE tells us, that Truth lofes by Repetition, 
 and that he who eafily believes, is as eafilv deceived : But the 
 Matter, who makes 'it his Bufinefs to build on the molt certain 
 and infallible Means, in order to obtain his End, bids faireft for Excel- 
 lence. What poor Work is it, after having feen a well-ordered Ddign 
 of another Matter, adorned with elegant By-works, and tine Colour- 
 in 2 to be a flavifh Imitator of it, by introducing neither more nor 
 left Figures, nor other Draperies and Colours ? What Reputation 15 
 eotby it, were it ever fo well executed ; nay, if differently difpofed 
 and incomparably painted? It's certain, that jomethng more is neceiiary 
 before we undertake a SubjecT. A prudent General will not rely on 
 the Report of one Spy ; nor fpare either Men, Money or Pains to get 
 right Intelligence of the Enemies Defigns 5 a good Painter ftiould do 
 the fame, in order to excel ; which to do, the following Obfervattons 
 
 are highly neceiiary. . r , £ 
 
 1 We muft know how the Story, we pitch on, is defcnbed by the 
 Author 5 and confider, whether we agree in every Circumftance with 
 
 hlS 2 °Wemuft confult the Comments of the bett Writers on that Sub- 
 ieft. in order to get the true Meaning of the Story. 
 J 3. We muft weigh the fuiting and Application of the Draperies, 
 and their proper Colours and By-ornaments. 
 
 4 How the four Elements, the four Complexions, and the torn 
 Hours of the Day, with their Form, Ornaments and Colours ought 
 
 t0 Thm^^i obtain Truth, and the Matter will make it appear 
 whether he has gone to the Bottom of Things. 
 
 Few Painters excel in Hiftory, efpecially Fables, for want of In* 
 nation to enquire thoroughly into their Subjea; Reading, they think, is 
 troublefome and needlels, fince Ovid's Fables are now in every bod; s 
 Hands, copioufly handled, with three or four Lines of Explanation 
 under them, by which they know, whether 'tis Venus Adorn*, 
 Vertumnus and Pomona, Zephyrus and Flora, &c h not that fuffi cunt 
 fay they? And do'nt I fee, that the one is naked, and the other drejt^ 
 
94 Of Ordonnance, or Compofition, Book II 
 
 this a Ma n that a JVoman ; this has a Dog, that, a Basket of Fruit, 
 and the other, a Flow er -pot h why then Jhould not thefe be my Patterns 
 Jmcethey come from fuch great Mafters? I readily grant, that Books of 
 Prints are of great Ufe to Painters j but to ufe them in this Manner 
 is a willing Slavery, unlefs we cannot read. 
 
 In my Youth I was fo converfant with even the leaft of Ovid's Fa- 
 bles, that on hearing but the Name of one of them, I could repeat 
 the whole Circumftances of the Story ; but their Meanings and Ufes 
 (which fhall be our prefent Inquiry) my Father had never told me; 
 -till long after, led by Curiofity, I re-confidered them ; and with the 
 Alhltance of my Brother James .(who was Mafter' of the Greek) 
 was led into lome of the myfterious Meanings which they con- 
 tained. J 
 
 Many have a fuperficial Knowledge of Ovid's Fables, but few un- 
 derstand the Drifts of them; what they gather is moftly from Prints 
 nothing from the Text j wherefore we mail now explain ourfelves in 
 two Examples of the 'Sun 2nd Moon; attended with all the neceflary 
 •Circumftances and Obfervations which we have before infilled on : and 
 tint, in 
 
 The Fable of Apollo ^JHyacinthus. 
 
 Ovid relates, that Apollo was in love with this Youth for his ex- 
 traordinary Shape and Beauty; and that, as they were playing at Coits 
 together, the Youth was unhappily ftruck with one of them, which 
 occahoned his immediate Death. 
 
 The Comment fays, that this Youth being alfo beloved by Zephyrus, 
 Jie offered to make him the chief Ruler of the moft agreeable Spring-flow- 
 ers i< but he, rejeding the Offer, kept clofe to the Converfation of La- 
 tonas bon; in Return for which, Apollo promifed to teach him all the 
 virtuous Exercifes, which became his Condition and Liking, fuch 
 as (hooting with a Bow; the Gift of Prophecy; touching the Lyre 
 and hnging, but principally wreftling ; with a Priviledge that, fitting 
 on a Swan, he might behold all the Places wherein Apollo was moft 
 beloved and worihipped. The Weft-wind having made fruitlefs Efforts 
 to gain the Youth's Eifeem, at length, thro' Rage, gave into Defpair, 
 and plotted Means to be revenged of his Rival; wherefore, taking his 
 Opportunity, as Apollo and the Youth were at Coits, he fecretly blew 
 V>5 C {°. vlolentl y at Hyacinthus's Head, that he died on the Spot • 
 Apollo being extreamly grieved thereat, the Earth, in Companion, 
 
 turned 
 
Chap. 16. Of Ordonnance, or Compofttion. 95- 
 
 turned the young Prince's Blood into a Flower, in order at lean: to 
 make his Name, if not his Perfon, immortal. 
 
 The Table, or Ordonnance. 
 
 Hyacinthus, in his Bloom, is on the fore Ground to the left, and 
 falling backwards, his Back moft vifible, his Belly raifed, and his right 
 Lee flung up, and fomewhat bent, the left Leg ftretched oft from the 
 Ground; contrarily lifting up his right Arm, with the Hand open, 
 and Fingers fpread \ his left Elbow drawn back, and the outflde of the 
 Hand againft his right Cheek; his Face, trickling with Blood, is in 
 Profile, and his Head flung back j his Hair is bright, fhort : and curled j . 
 a Chaplet of Flowers fallsfrom his Head by his right Shoulder, which, 
 with half his Back, is bare; and lower, his Veftment is girt about his 
 Body. Apollo appears 20 or 30 Paces behind him, to the right or the 
 Point of Sight, fkpping back, in great Concern ; he is leen in -front, 
 {looping, his Breait lways from the Light, his 'under Parts contraftmg 
 it, and his Shoulders fhrunk • his Mouth is open his left Hand from 
 him, and clofe (hut ; his right Arm acrofs his body, and the Hand up 
 athjs left Ear; his left Leg ftiffly flung out; his right Leg quite bent, 
 the Foot hindward, fupporting his Body; he is naked, and his Hair 
 light, yellowilh, and long, flying above his Shoulders ; he is xrowned 
 with Laurel. Zephyrus, (or the Weft-wind) whofe Rage was the Caufe 
 of the forrowful Accident, we reprefent winged, and flying rrom the 
 Youth towards the Wood on the left Side of the Mure ; his right 
 Foot is upwards, and his upper Parts fway to the left: Part of his 
 Head and Back are covered with Shoots and Leaves ol 1 rees : On the 
 left Side of the Piece forward is feen Envy, in Shade, peeping out ot 
 the Boughs, and laughing: Behind -Apollo, we introduce a Piece ot 
 Stone-work, extending almoft from the Point of Sight, to the Extre- 
 mity of the Pifture, and therein, two large,circular Openings overgrown 
 with Mofs and wild Shrubs ; near him is a large Tree, and by it a Lau- 
 rel, whereon hangs his Garment, and below, on the Ground againft 
 the Body, his Lyre. The Ground of the Pidure opens a large Plain, 
 bounded to the left with a Wood running up to the Point -or Sight, 
 iuft by the aforefaid large Tree, where the River Eurotas is gliding 
 from left to right. On the right Side of the Piece forwards, we place 
 a. large Sphinx on a broad Pedeftal, whereon lies Hyaanthiss Gar- 
 ment, and againft it a Javelin, and on the Ground a Bow and Arrows, 
 an Hafel-wand, mufical Inftruments, and mufical and other Books. 
 
9 6 Of Ordonnance, or Cowpqf.tlon. Book If. 
 
 The Colt flung at the Youth is feen rebounding 6 Inches from the 
 Ground to the right. Behind the Sphinx ftand an Olive and Cypreft- 
 tree : The aforelaid Stone-work is brownifh Grey, inclining to Violet 
 Apollo's Garment on the Tree is Purple, embroidered with Gold • The 
 Lyre Ivory : The Sphinx (whofe fore Parts only are feen) is in Pro- 
 hie, and of white Marble: The Youth's Veftment is White, ftriped 
 with Gold and his Garment, on the Sphinx's Back, a beautiful dark 
 Violet. I he whole Ordonnance fhews a bright and clear Sky; the 
 Light comes from the right ; and the Point of Sight is in the 
 middle. 
 
 Explanation of the Fable. 
 
 ^%^/>%^ Wfo, according to the Poets, was metamorphofed by 
 jpollo into a Flower of that Name, is a true Emblem of Wifdom • 
 for Apollo prehding over the Mufes and Learning, Hyacinthus is repre- 
 lented to us as a Youth beloved by him for his Beauty, having; his natu- 
 ral Faculties as yet uncorrupted, as being a Child without Judgment or 
 D.fcretion yet beautiful -, exalting his Mind, in order to contemplate 
 himiclr. Whence we learn, that when the- Senfes forfake the Follies 
 of Youth they bring forth the Flower of Wifdom, adorned with 
 Virtue, whole Immortality is, by Writers, facred to all Ages. 
 
 Further Notes. 
 
 Ipe Ufe of the Bow.] Latona had two Children by Jupiter, Apollo 
 and Dia?ia, both expert Archers. 
 
 [The Gift of Prophecy.] Apollo was efteemed the God of Prophecy 
 and Oracles on account of the Delphic Oracle, to which, People from 
 all Parts reforted in order to know Things pair, prefent, and to come. 
 u L Apollo is, from higheft Antiquity accounted 
 the chief Muhcian, in ringing as well as on ftringed Inftruments. 
 
 [Principally IVrefling.] This Word has divers Allufions; but in ge- 
 neral implies any bodily Exercife anciently praaifed in the Grecian 
 Games, as, playing at Coits, Leaping, Dancing, Fighting with the Fifts, 
 Wreftling, &c ° * 
 
 [Sitting on a Swan hefhould bebold&c] The Ancients have,not without 
 Kealon, confecrated the Swan to Apollo, i . Becaufe he (being the Sun) 
 gives all Things Life, according to the Saying of the Philofopher, 
 
 1 he Sun and the Man bring forth the Man. ^—2. By the Swans 
 
 and 
 
Chap. 16. Of Ordonnance, or Compofition. 97 
 
 £nd their eafy Deaths are chiefly denoted virtuous Men, who part 
 with their Lives chearfully in order to meet Immortality. 
 
 dnimadverfan on the foregoing Picture, with refpeff to the Painter's 
 
 Or do finance. 
 
 That the agreeable Youth is of noble Extraction, his fine Mien and 
 Purple Garment fhew. 
 
 His Wifdom and Knowledge appear by the Sphinx, with the Inftru- 
 ments lying by it. 
 
 The Chaplet of Flowers fhews his amiable Qualities. 
 
 The Garment, he wears on this Occafion, points out his Virtue and 
 Modefty. 
 
 The Cyprefs, near the Olive-tree, gives us to understand, that all 
 fublunary and fenfual Pleafures, how pompous foever, end in Mi- 
 
 ^Tlaving done with the Sun, we fhall proceed to handle the Moon in 
 the fame Manner. 
 
 The Poets differ in their Relations of this Fable of Diana and En- 
 dymion, but moftly agree in the Explanation of it, as I fhall now fhew. 
 They fay, that the Moon, (Diana) falling in love with the Shepherd 
 Endymion, flung him into an everlafting Sleep, on a Mount in Carta, 
 named Latonia, that fhe might kifs him at pleafure; but others report 
 otherwife. Paufanias intimates, that they went further than killing, 
 and that Endymion begot 50 Daughters on the Moon. Others affirm, 
 that fhe yielded to his Pleafure, on Condition he made her a Prefent of 
 fome white Sheep : Tho' all be fabulous, yet it carries fome Probabi- 
 lity ; for Paufanias concludes, that Endymion was the firft who obferv* 
 ed the Phafes and Courfe of the Moon. Pliny alfo teftifies, that Endy- 
 mion firft obferved the Motions of the Moon, and learned her Nature 
 and Qualities j which gave Rife to the Fable, that fhe fell in love with 
 him. Alexander Aphrodi/ius likewife writes, in his Emblems, that 
 Endymion had great Skill in Aftronomy, and, becaufe he flept by 
 Day, to fit himfelf for Night-obfervations, it was feigned, that he had 
 carnal Knowledge of her, and alfo a wonderful Dream, by which, 
 being a Philofopher, he got that Knowledge : Others fay, that he was 
 a poor Shepherd, (as Seneca, in his Tragedy of Hypftlitus) tho' a King's 
 Son, and that he dwelt on Mountains and in folitary Places, the better 
 to obferve the Moon's Motions. The learned F. Gautruche thus has 
 - ltj The Fable, fays he, teftifies, that Diana fell in love with the 
 
 'No. 5. N Shepherd 
 
pS Of Ordonnance, or Compofition. Book II. 
 
 Shepherd Endymlon, who, for too great Familiarity with Juno, was! 
 by Jupiter condemned to eternal Sleep ; but ftie hid him in a 
 Mount, in order to fcreen him from her Confort's Wrath. The Truth] 
 is, that Endymion obferved nicely the Moon's Motions; and therefore] 
 ufed to pafs whole Nights in folitary Places in the Contemplation oil 
 her ; which Circumftance gave Rife to the Fable. Let this fuffice for 
 the Story, the Parts and Ordonnanees whereof follow. 
 
 Table, or Ordonnance, of Diana ^Endymion. 
 
 Endymion, Son of EJlius, King of Elis, a beautiful and well-fnapecl 
 Youth, is lying afleep on his upper Garment, on a near Mount, on the 
 right Side of the Picture; under his Arm is a Jacob's Staff, a Crook] 
 near him, and at his Feet a large Celeftial Sphere, and fome Books 
 and Papers, whereon appear Characters and Diagrams. He is in Profile, 
 his upper Parts fomewhat raifed, and he leans, with his left Ear a little 1 
 forward, on his left Hand ; his right Leg is extended, and the left lift- J 
 ed up ; he is all in the Shade of the Trees, except his right Leg and 
 half that Thigh, and receives ftrong Reflexions from the Moon. Di- 
 ana, a little off, (not in her Hunting Habit, or fitting by him and kiffing 
 him, with the half Moon on her Head, as ufually reprefented) naked 
 defcends from the Clouds, with a full Moon behind her as big as] 
 herfelf, and furrounded with Stars, with the Attendance of Love, (or 
 Cupid) (he is in a fronting Pofition, bending a little forward, with! 
 her left Knee on a low Cloud ; her Arms wide open, as if about to 1 
 embrace the Youth ; and in her left Hand is a * Siftrum; her Afpecl: 1 
 is beautiful and gay, and full of Defire, being lighted by a Sun-fet as 
 well as Citpid, who is defcending with her on her right Side, with his j 
 Face towards her, and holding, in his right Hand behind him, his 1 
 Bow downwards, and in his left, (which comes forwards) an Arrow, 1 
 with which he points at the fleeping Youth ; he flies fomewhat oblique- 1 
 ly, with his upper Parts from her, with his Legs feen hindward thro' I 
 the Cloud. A Boy, {landing on Endymiori's right Side, looks to the j 
 left at the Goddefs; his left Elbow drawn back, and a Finger on his | 
 Mouth, and with his right Hand lifting up the Boughs hanging at the j 
 Youth's Head; when another behind Diana, a little to the left Side, 
 is pulling off her Garment, a Flap whereof twines about her right j 
 
 Thigh, j 
 
 * Siftrum is a mufical Inftrument, generally, reprefented in. the Hand, of Jfis; as we fee in Me« 
 dais and other Antiquities. 
 
Chap. 16. Of Ordonnance, or Compofition. 99 
 
 Thieh, which is fomewhat forefhortened. Below this Child, on the 
 Heft Side where the Mount declines, fit two other Children joining and 
 blowing their Torches; and behind them appears the Offsk.p, being a 
 Valley with a low Horizon. The Sphere, Books and Papers lying to 
 £ left at Endymion's Feet, are (with a fmall Part of the Mount 
 which comes forwards) in the Light; the Youth's Garment (of which 
 rpart covers his Privities) is Purple; that of the Goddefs, Sky-colour. 
 The Sun is low, proceeding from the right. 
 
 Explanation of the Fable. 
 
 By Endymion we may underftand a virtuous Mind, which the hea- 
 venly Spirits endeavour to carefs and kifs through Violence of Af- 
 
 fC The high Mount implies, that when the Soul afcends to Heaven, 
 the Body is feized with heavy Sleep or Death ; for fince the Body hin- 
 ders a pLfea Union with God, it follows, that as foon as the Soul 
 has difensaaed itfelf, it goes eafily and quietly to Heaven. 
 
 Dianaf& her Increafe and Decreafe, represents the Changeablenefs 
 of Things • for the Greek Poets afl'erted, that Jupiter, feeing Diana go 
 naked aid indecently for a Virgin, charged Mreuryto™kz^ 
 Garment, and that, tho' he made her feveral, yet none would nt, becaule 
 her Shape was always changing ; wherefore her Figure is a natural 
 Emblemof In reafelnd Defreate, and of the Mutability of world y 
 Things. This Figure has alfo other neceflary Ufes, with refpe£t to 
 human Life; as St Ambrose intimates, who, from the Example of the 
 C! (whole Light \t variable, always increafing or decreafmg) 
 teaches, that nothing in the World is liable, but all Things fubjed to 
 
 D The Siftrum in Diana'; Hand (the Ufe of which lies in the Motion") 
 alfo denotes the Viciffitude of worldly Things, and the.r continual 
 Deftruaion and Renovation. Others think, that the S.Jirum figmhes, 
 the Sound, which the Moon caufes in the Courfe of the Heavens 
 
 In nich aManner as this, Ihould all Hiftories, Fables and Fiflions 
 be examined, if the Artift aim at Reputation. I think, I B'jen 
 the Curious Satisfaaion enough in two Examples ; for (hould J 
 go further, the Subjea would not only be tirefome, but fwell 
 Is big as the whole Work; wherefore, for Variety, we (hall pafs to 
 
 N 2 
 
 CHAP. 
 
ioo Of Ordonnance, or Contpofition. Book II. 
 
 CHAP. XVII. Rules for the Management of fmall Figures in a 
 large Compafs ; and the contrary. 
 
 TH E R E's a great Difference between the Ingenuity of a good 
 Painter, and that of a mere Defigner, with refpeft to Or- 
 donnance ; the former proceeds by the eftablifhed Rules of Art, 
 the latter only aims at what is Defigner-like ; the one is Mafter of 
 Principles and Rules, the other is ignorant of both; the Defigner Con- 
 ors only what relates to Relief (being a Stranger to the Natures and 
 JMiedts of Stuffs, Colours and Tints) and therefore he mud: find all 
 Things by means of Lights and Shades only : But a Painter has more 
 Liberty and Advantage ; becaufe he can, befides the Shades, efted eve- 
 ry thing by his Colours and Tints. But the Difference is further vi- 
 hble from the Sets of Prints daily published, whether in Landskip, 
 Peripeaive- Views, Architeaure,. Wi or ancient or modern Story • 
 in all which, the Defigner generally travels the old Road of Compofi- 
 tions, and the Etcher or Engraver as clofely follows him; but when 
 a good Painter handles theirs all the Parts will be improved and be- 
 come more excellent, as well the Invention, Difpofition and Harmony 
 as even the Motions ; by which Means, a Perfon of fmall Abilities 
 cannot but be better pleafed, and often, for the fake of one or two 
 fine Prints, buy a whole Set ; as in Ondaerfs Book of the Roman 
 Might, in which, one Plate, engrav'd by Abraham Bloteling, does, by 
 it's Neatnefs and Elegance, eclipfe all the reft; and this is the more 
 remarkable, becaufe in his Medals the Figures are (haded not 'with 
 Hatching, but with a thick Stroke and Touch on the fhady Side. 
 
 Now, agreeable to the Title of the Chapter, we fhall pafs to the 
 neceffary Management of an Ordonnance with large Figures in a fmall 
 Compals. It muft be granted, that an Ordonnance in a large Extent, 
 requires more Circumftances than a fmaller, altho' in either, the chief 
 Matter lie but in three or four Figures ; for what in the former comes 
 clofe and filling, muft in the latter be fpread, in order to fill up a 
 large Space ; and to do this artfully, we are obliged to introduce other 
 By-works, and thofe (tho' infignificant, yet probable, and not repug- 
 nant to the Subjea) tending to explain the Story; for Inftance, in*a 
 Landskip, to introduce fome Buildings, Fountains, Pyramids or Sta- 
 tues ; or in an Hall, or other large Apartment, Hangings, Alcoves, 
 
 Bafs- 
 
Chap. 17. Of Ordonnance, or Compofition. 10 1 
 
 Bafs-reliefs, and fuch like, either for Ornament, or to make larger 
 Grouping; in fhort, any thing that will entertain the Eye, Jince fmal 
 Fhum in a large Compafs, are not of themfelves capable of doing it: 
 Wherefore, with refpeft to fuch, the By-ornaments ought to be large, 
 in order to create broad Lights; yet thefe Ornaments muft not be fo 
 monftrous as fome have them, who, m order to fwell the Compofiti- 
 on, make Pillars bigger than three of the Figures can fathom, with 
 Caftle-like Capitals, and frixal Figures almoft in full Proportion; nor 
 fo out-of-the-way as thofe, where, in a Landskip, are feen Trees 3 or 
 400 Feet high ; Termes, mere ColofTufes, and Pyramids higher than 
 any in the World 5 to which add Houfes in the Offsk,t >, where, be- 
 fore People can poffibly approach them, they - muft be loft by Diftance. 
 But this is egregious Condud; for we fhould always bring together 
 fuch Parts or Objeas as neither lefen the Figures, or caufe any ObflruBi; 
 on in the Composition; I mean, that a large Compafs muft either look 
 lame, or elfe be filled and adorned in a moderate Manner as we (hall 
 fhew in two Sketches of the mourning Venus, Plate XVIII. each repre- 
 fented in a different Manner, to demonftrate, that in a large Compafs a 
 treat Mafs of Light is abfolutely necejfary. The Story is Venus incon- 
 foleable for the Death of her dear Moms; even the Aid of Cupid 
 fails whofe Bow, Arrows and extinguithed Torch, nay her beloved 
 Garland of Rofes, fhe tramples under Foot; Mars, tho' fecretly pleat- 
 ed at the Adventure, however pretends to fympathize with her in her 
 Sorrow, but in vain; for fhe flights his Offers, and pufhes^him from 
 her • the refts on the Tomb of her Lover, wherein either his Body is 
 deputed, or (according to the Cuftom of the Country) his Athe. are 
 keDt in the Urn < the other By-work is a Grove of Cyprefs and Myr- 
 tles j'from the Urn might proceed a Sprig of the Flower which is a- 
 fcribed to him, -fince it owes its Origin to his Blood. 
 
 On a due Companion of the Plates, we may difcover the =■ Difference 
 between the two Compofitions 5 in the uppermoft the Mais of Light 
 is neither fo large, or fpread as in the undermoft 5 which proves that 
 in a sreat and clof e Ordonnance in a fmall Compafs (as the upper) fuch 
 aereat-Mafsof Ught is not neceffary, much lefs By-works, m order 
 to encreafe it ; becaufe the Figures there principally govern, and be- 
 m<? large, have on that Occafion, the greateft horce, as we 11 m the 
 Execution, as Beauty and Colouring ; the By-works ferving to lhew the 
 Place and Occafion, but not to draw the Eye : Whence, 'tis eafy to iee, 
 that what creates Decorum and Elegance in the one, appears iniigmh- 
 cant and difagreeable in the other ; I fpeak ot the Light only, which 
 ■ renuir 
 
t oi Of Ordonnance> or Compofition. Book II. 
 
 requires a diftinft: Management in both; wherefore, fince in a large 
 Compafs, the By-ornaments make the greateft Part, they muft con- 
 fequentiy caufe greater Maries of Light there ; and contrarily, in a 
 fmall Compafs, where the By-works are leaft, the main Light ought 
 to take the Figures only. And to confirm this, I muft fay, that what 
 in the undermoft Reprefentation pleafes the Eye, and fets off" the Com- 
 pofition (even were it as large again) is only caufed by the Light, be- 
 caufe the By-works, being the moft, abate the Light of the Figures ; 
 which having in the upper, with the dark Tomb, more Force, 
 muft create fuch a Confufion as to weaken the Strength of the prin- 
 cipal Figures. In a Word, the larger the Figures, the more .Shade 
 ought to be about them ; and of Confequence, the J mailer the Figures , the 
 more Light* 
 
 CHAP. XVIII. Of the Ordonnance of Hi/lories, Pourtraits, Still- 
 Life, Sec. in a fmall Compafs. 
 
 \a RE we end this Book, or leave this Subject, 'tis proper to con- 
 Jjj fider further, whether it be not more artful to reprefent a Story 
 natural and clofe in a fmall Compafs than a larger ; which I think 
 to prove from the Examples of Raphael, Caracci, Dominichino, Pouf- 
 Jin, Le Brun, and other excellent Mafters. Moreover daily Experience 
 confirms it. It's certainly troublefome to be confined to a fmall Com- 
 pafs, efpecially to thofe who affect to load their Compofitions, becaufe 
 Largenefs is very entertaining to the Thoughts : the Difference between 
 both Managements is the fame as painting as big as the Life and in 
 little, where we fee that in the former lies the moft Art, fince we can 
 more eafily go from the large to the fmall, than contrary, tho' both 
 be done from the Life. The Cafe of thefe two Artifts is like that of 
 a skilful Steerfman, who, capable of wreftling with Storms and ©an- 
 gers, fails unconcernedly in fmooth Rivers ; when a meer Ferry-man 
 would be put to his Shifts to fteer on the Ocean : He then is happieft, 
 who has been always ufed to large things, fince the fmall fpring from 
 them like an inland River, which lofes its Strength the further it goes 
 from its Spring ; of which the old Mafters were not infenfible, who, 
 tho' much employ'd in fmall Painting, yet lay in for large Work, be- 
 ing confeious, that what required the moft; Trouble and Skill, got them 
 the greater Name and Profit. 
 
 The 
 
Chap. 1 8. Of Ordonnance, or Compofttion. 103 
 
 The Force of a large Painting beyond a fmall one, and its Advan- 
 tages are thefe : 
 
 1. The Natural Reprefentation has a better EfFe£t; for viewing it 
 near, it raifes Love, Pity, Anger or any other Paffion, as if we fym- 
 pathized with the Story. 
 
 2. It raifes the Matter's Fame. 
 Laftly, The Work is much efteemed. 
 
 It were needlefs to mention other Advantages ; wherefore Ifhall confirm 
 my Opinion by Examples. We read of a Piclure of Stratonica, that 
 the Sailors in a Storm took it for a Deity, and accordingly worihipp'd 
 it. And that in Junojs Temple, her ftanding Figure was fo artfully 
 painted, that her Eyes feemed to look every Way, and at any Be- 
 holder wherever he placed himfelf, appearing fevere to the Criminal, 
 and gentle to the Innocent. The Reafon of which Effects is, that the 
 two Pictures were fo highly finifhed, and had fo natural an human 
 Shape, that they feemed to be rather Flefli and Blood, and to have 
 Motion, than to be Paintings. 
 
 This fhews what Influence large Reprefentations have on the Senfes; 
 let us now fee what Paffions Curiojtty raifes, as in this Example; I fup- 
 pofe a murther'd Corps lying fomewhere ; near it a Perfon. weeping ; a 
 little further, the Seizure of the Murtherer ; and the People running 
 fome towards him, others towards the Body. Now it may be asked, 
 whether all thefe Circumftances do not fufficiently fhew the Faft, 
 without other Perfons, or greater Paffions :. To which, I anfwer nega- 
 tively ; for we ought to fee whether the wounded Perfon be dead, or 
 not, and in what Part wounded; next, whether I know the Affaffin ; 
 whether the Woman lamenting him be of Quality, or ordinary, and 
 whether fhe be related to the wounded Perfon; accordingly coming 
 nearer, I think I know him; I am affrighted ; I behold the Wound, 
 which appears ghaftly to me, and am the more afTe&ed by the Tears 
 of the, troubled Woman, who ftands at his Head ; I look for the Mur- 
 therer'with Concern and Revenge, and fee him dragg'd in Irons between 
 two Officers; he looks pale, and his Heart forebodes the worft ; in 
 fine, every one is varioufly affefted, fome concerned, others indiffe- 
 rent with refpeft to the Fate of the wounded, or Murtherer. Now, 
 if luch a Variety of Objects occur in a fimple Accident, what Force 
 muft the Life have, when feen near in fuch a Reprefentation, efpeci al- 
 ly if naturally expreft ? But we need not wonder, that fo few tread in 
 that old Path, fmce they feek Eafe, and want the Ambition, to excel 
 
 by an exact Inquiry into Nature. 
 1 ^ J I: once 
 
104 Of Ordonnance, or Compofition. Book II. 
 
 I once thought I got Reputation by painting in little, but was af- 
 terwards convinced that large Work, or the Life feen near, was the 
 iureft Way to Excellence ; but Envy and Strife ftopp'd my Career : 
 What the Painters in large rn thefe Countries merit, may be eafily 
 determined, fince few of them do it mafterly, thro' Ignorance of the 
 true antique or beautiful Life ; by true Antique I underftand, perfect 
 Antiquity without Mixture of modern Mode; not Venus with Stays, 
 Mars in a Suit of Armour, Pallas in a Straw-hat, which is a 
 
 Choice that can never get Reputation ; becaufe fuch a Mafter has 
 no thorough Knowledge of the Life, nor brings Work enough into 
 his Ordonnances. If he get a bold and light Pencil, that's thought 
 fufficient ; his Drawings are commonly fb flight, that they difcover lit- 
 tle more Light' than what is necefTary for the moll relieved Parts, 
 without Regard to half Tints, tender Parts and foft mufcling; and 
 fromthefe Drawings he paints as big as the Life; whereby he is ob- 
 liged to fupply, as he can, all the other Requifites which in the Life he 
 flighted; thus the Compofition comes out lame, and what makes it 
 worfe, his Averfion to Draperies, and beautiful Folds, which are fo 
 graceful in a Picture, and fo eafily to be had from the Life. But Dra- 
 peries, fays he, are Trifles ; as they fall out, let 'em pafs ; if 'tis not 
 Linnen it may ferve for Woollen ; and if for neither,, 'tis at leaft 
 Drapery. 
 
 But when, on the contrary, I view the old Matters Works, what a 
 vaft Difference do I not difcover ! What Pains have they fpared to han- 
 dle their Subjects properly ! 'Tis true, they admitted not of many 
 Circumftances in their Compofitions, but, what they did, were perfect- 
 ly artful, elegant and natural. View but Caracci's JVoman by the Well-^ \ 
 Raphael's Simon Magus ; Domini ' chinos Judith, Ziba, Efther and : 
 David ; Pou/fin's Efther and Ahafuerus ; or Le Brunts beautiful Death 
 'if St. Stephen ; how wonderful, expreflive, noble, natural and clofe they 
 are ordered, and that with large Figures. All which plainly proves, 
 that painting as big as the Life is much preferable to that in Little, and | 
 that he, who has made the former his Practice, can eafily perform : 
 the latter, tho' he in Little cannot fo eafily give into the large. To 
 have a fine and natural Expreffion in Little is certainly commendable; 
 But 'tis more eafy to mark out a Camp, and draw up an Army for 
 Battle in a large Plain than in a narrow Compafs ; a fpread Army is 
 weak; but Clofenefs of Troops makes it ftrong ; wherefore in narrow 
 and ill-fituated Places, a General muft fhew his utmoft Conduct. We 
 ufually fay, that the beft Writers and Poets are fhort and concife; in 
 
 Mufick, | 
 
Chap. 19. Of Ordonnance, or Compofition. 10/ 
 
 Mufick the fame, perfect Harmony lying in four Parts, whether vo- 
 cal or instrumental j 'tis likewife more artful, to compofe a Piece in few 
 than many Divifions. 
 
 Charles du Gar din was exceeding fine in Little, and yet he had a 
 great Inclination to imitate the large Manner j but he did not fucceed. 
 Mieris 9 the famous Painter in Little, loft all his Credit with his Patron 
 the Duke of Tufcany, by his Pourtraits in full Proportion ; and fo it 
 has happened to others. Thole who prattife in Little, ufe fmall Pup- 
 3ets for their Layman, but not Puppet-drefles ; their Academy-figures 
 are drawn on white Paper, uncertainly (haded, without Mezzo-tint or 
 Tendernefs, and no higher finifhed than ferves their Turn : Others, 
 who fancy they know better, and, as if they had a Notion of broad 
 Management, fharpen the Extremities of their Figures and darken a 
 little againft the Light, having no need of a fecond Tint; becaufe their 
 Figures fhall not round. Once, as I was drawing at the Academy, I 
 met with a Perfon who managed in that Manner, and I defired he 
 might be asked (becaufe then I underftood not the Language of the 
 Country) why he did not finith his Figures better, lince he had Time 
 enough for it? Whofe Anfwer was, he had no Occafionfor more Fin th- 
 ing, as painting fmall Things, one, two or three Foot high at fur- 
 theft. I then caufed him to be asked, that fuppoflng he were to do 
 fomething larger, whether he would not be at a lofs ? He anfwered ; that 
 le hoped he Ihouldnot, as long as he kept to his Text: Which indeed 
 was Truth, as appeared in the Confequence ; for having an Opportu- 
 nity afterwards to paint fome Figures in full Proportion, there was no 
 nore in them than in his Drawings, which were his Models. More 
 [nftances of this Kind were fuperfTuous, fince 'tis hoped the better Ad- 
 vifed will conduct their Studies rightly in a due Examination of the 
 Life, in order to qualify themfelves for larger Things. 
 
 This Obfervation touching fmall and large Compafs, is not only ufe- 
 ful in Hiftory, but alfo in Landskip, Pourtraiture, Flowers, Fruit, 
 Shipping, Architecture ; in fine, in all Parts of Painting. 
 
 CHAP. XIX. Of the Divifion of Hiftory, 
 
 IN all Things we ftiould obferve Order ; which fome proceed in, ac- 
 cording to their Fancies, and others ac~t counter to Rules, not 
 knowing, that Things are eftabliihed thus and thus, by an univerfal , 
 No. 5. O Confent 
 
io6 Of Ordonnance, or Compofition. Bock II. 
 
 Confent \ and why: He, who thinks Ivmfelf to do as he pleafes, may 
 indeed paint Jupiter with a Fool's Cap, and a yellow or green Garment ; 
 and Momus in a purple Drapery, and lb forth ; becaufe there's no other 
 Punilhment for him but his Ignorance: But a well-adviied Artift will 
 make better Inquiries, that he may juftify his Work, or that the 
 Work may fpeak for itfelf. Let us love Vertue, fays Horace, for 
 the fake of Vertue, and ihun Vice, not only for fear of Punifhment, j 
 but alfo for the Odium it carries. Altho' no one need fear corporal 
 Punilhment for diforderly Management of Hiftory, yet he is not free 
 from the Reproach of Ignorance and Blunder, a Punilhment great e- ; 
 nough to a generous Mind ; wherefore we fhould fubmit to eftablilhed 
 Order, as the Conduftor of our Studies, the fureft Way being beft, 
 and the beaten Road nea reft. If a good Hiftoriographer, in compiling 
 a Story, make an orderly Divifion of his Materials, 'ere he begin to I 
 write; difpofing firft the general Heads, and then the particular ones J 
 afterwards, the Incidents, and which of them are principal, and how 
 many ; and which of them happened Without, and which Within- 
 doors ; moreover confidering, whether the Story throughout is to be'j 
 handled in all its Circumftanaes in a certain Number of Parts, or in j 
 lome principal ones only ; as whether he will contra£t Homer's 24 Books | 
 into 12, VirgiPs 12 into 6, or Ovid's 15 into 7 or 8, at pleafure; ib a ; 
 judicious Painter, in handling a magnificent Hiftory, fhould make him-i 
 ielf Mafter of the true Contents and Meaning of it ; as whether theS 
 Parts be few or many; if many, whether he cannot bring them 'mm 
 a fmall Compafs; and if few, whether he cannot add to them: More-] 
 over he is to confider, which are the principal Parts, and what can be" 
 left out, in order to reduce them to fuch a proper Number as will an- 
 fwer his Purpofe ; always remembring, in cafe he (hould fall ihort,: 
 that he may ufe any Licence that is not againft Nature and Reafon, even! 
 to make two Incidents out of one, when Occafion requires. 
 
 We are therefore to eftablifh it for a general Method, in handling al 
 thorough Hiftory, divided into 3, 4 or 5 Ordonnances, more or lefs J 
 that the firft Picture muft always fhew the Drift, State and Place of A&i-j 
 on y and the laft, the Conclufion of the whole Story. 
 
 Large Hiftories, fuch as of Jofeph, Alexander, Hercules, and others j 
 which beft become Palaces, Saloons, Apartments and Galleries, can-I 
 not be handled in a fingle Piece, becaufe of the Variety of Accidents 
 they contain, which muft be continued in feveral Pictures, whether irjj 
 Tapeftry or Painting. Again, if the Gods come in. Play (which fre- 
 quently happens) the Cieling is proper for them j taking Care, that ei-j 
 
Chap. X9. Of Ordonnance, or Compofition. 107 
 
 ther the Beginning or Conclufion of the Story be over the Chimney, 
 ;as I fhall more largely fhew in the Book of Cieling-painting. 
 
 There are many fuch long Stories in Homer, Virgil, Jpuleius, Tajfo, 
 even in Scripture itfelf : Now if we would chufe two Incidents out of 
 any of them, or make two Compositions, and thofe to be hang'd to- 
 gether, we ought in the firft to reprefent the moft remarkable Part, 
 whether it be the ift, 2d, 3d, 4th or 5th Accident, according as it 
 hapcens, fo that its Fellow may be the laft ; as the End of Jclonis, 
 or his Death ; the Fall of Phaeton, or his Grave; Sardanapahs burn- 
 ing himfelf ; Mneafz Deification ; Reinoud's Difinchantment ; and, in 
 facred Story, Solomon's offering to the Idol. 
 
 Here 'tis neceffary to be obferved, that all Hiftories have two con- 
 trary Beginnings and Conclufions; fome, a forrowful Beginning and a 
 joyful Exit ; others, contrary ; to which add a third, which are neither 
 joyful nor forrowful. The Story being divided into three Occidents, 
 the firft lhould ferve as an Introduction to what we intend to treat of ; 
 in the fecond fhould appear the main Action; and the third (hould turn 
 in the happy or miferable Event : For Instance ; we may reprefent Ju- 
 lius Cafar entring on the Government ; next, his Condition, or fur- 
 ther Promotion; laftly, his Death. We can alfo divide a Story into 
 four Parts or Stages, as the Birth, Rife, Life and Death of a vulgar 
 or noble Perfon. 
 
 But five Divifions are the moft per feci ; more are fuperfluous ; becaufe 
 any Hiftory may be fufficiently reprefented in five Parts ; thus, the 
 Perfon's Beginning in the firft; his Rife in the fecond ; his Condition 
 in the third ; his Fall in the fourth ; and his End in the fifth ; as we 
 fhall further illuftrate in the Chapter of fellowing or matching of 
 Pieces. 
 
 In reprefenting an Hiftory the Artift is not always confined to the 
 Laws or written Story ; a good Hiftoriographer is obliged to go thro' 
 with all the particular Facts from the Beginning to the End, in a fuc- 
 ceflive Order ; a Painter, contrarily, has a greater Liberty of Choice, 
 fince 'tis indifferent to him, whether he falls upon the Beginning, mid- 
 dle or End of a Story;' and therefore fometimes begins where he 
 pleafes; picking out or the Story what beft fuits his Intention, either 
 what went before, now is in Action, or muft be in Confequence; being 
 obliged to exhibit no more out of the Whole, than can be feen toge- 
 ther at one View. 
 
 Horace divides the Drama into five Acts. The firft containing the 
 Senfe and Introduction of the Story ; in the fecond is the Sequel or 
 
 O 2 Confe- 
 
jo8 Of Ordonnance, or Compofition. Book II. 
 
 Confequence, arifing from the firft ; in the third, the Contention or 
 Difpute ; in the fourth is feen at a Diftance the Ifiue of the Story ; 
 and in the fifth, the Cataftrophe or Conclufion either in Sorrow or 
 Joy. But the Drama differs from a Painting in this ; that the one con- 
 tains in each A61 a particular Time, Place or Aftion ; and the other 
 exhibits only a momentary Action. 
 
 The Divifion of the Drama into five A£ts is not without Reafon, 
 from the Example of the Sun's Courfe ; which begins with Day-break ; 
 fecondly afcends all the Morning; thirdly, has a Meridian-altitude; 
 fourthly, declines in the Afternoon laftly, fets in the Evening. 
 
 He who would aft fure and orderly fhould ufe the following Means ; 
 which, befides the Truth of the Story, will furnifh him with Plenty of 
 Thoughts. 
 
 i. The Time. 2. The Place of Adion. 3. The Conditions of the 
 Perfons concerned. 
 
 By the Time we underftand either the paft, prefent, or to come • 
 and therein, a Divifion into Night, Morning, Noon and Evening • 
 alfo into Spring, Summer, Autumn and Winter ; and into Months,' 
 Weeks, Days, £sfc. 
 
 As for the Place, we muft confider, whether it be in Europe, Afia, 
 Africa and America ; whether in Town or Country,. Within or With- 
 out-doors; in ftately or vulgar Buildings, or a Mixture of both. 
 
 In the Conditions of Perfons we meet with great and iliuftrious ones, 
 as Emperors, Kings, Princes, Senators, Generals, &c. as alfo Deities 
 and High-priefts, male and female • in the iecond Tire, Nobility, 
 Merchants and Citizens; laftly, the common People, Countrymen' 
 Beggars, In thefe Orders of Men, we diftinguifh between great 
 Kings and lefs, and the fame in the other Conditions; and divide them 
 again into old, middle-aged and young. Among People in general 
 we find tail, middle-fiz'd, ibort, thick, (lender, well and miihapen, 
 healthy and hckly, fenfible and foolifh; all differing as well in their Na- 
 tures and Humours, as in their Countenances and Shapes. 
 
 We may add, in the fourth Place, the Manners of each, and the 
 particular Cuftoms of Nations, whether of Romans, Greeks, Per/tans, 
 Armenians, Germans, &c. together with their Dreffes, confining of 
 various Stuffs, as Silk, Linnen,courfe or fine Woollen-cloth, long or fhort 
 
 Laftly, the Knowledge of Phyfiognomy, Perfpeaive, Geometry* 
 Architeaure, Anatomy, Proportion, Colou-s, Harmony, Reflexions 
 and every thing that occurs in the Chapters treating of thofe Particu-' 
 Jars, j which we fhall not here repeat. 
 
 It 
 
[Chap. xo. Of Qrdonnance, or Compofition. 109 
 
 - It now remains only to be obferved ; firft, that there are two Sorts 
 lof Pictures, natural and unnatural. Secondly, what good Hiftories 
 fare, in order to (hew their Continuance in one Painting. The natural 
 Pictures are thofe, in which we exhibit the Nature of a Story or Acci- 
 dent by a Tingle Paffion, /. e. by a fmgle Reprefentation of the Perfon on 
 whom the Strefs lies. The unnatural are thofe, wherein the fame Per- 
 fon is reprefented more than once, and thereby two Accidents mixed 
 together which happened at different Times, as the one by Day, and 
 the other by Night ; which is contrary to Nature, and wherein is often 
 ufed more than one Point of Sight. Secondly, the moft pertinent and. 
 intelligible Hiftories are fuch as that of Heliodorus, defcribed in the 
 Maccabees, when he was puniflied by the Angel ; to which add, the 
 High-prieft proftrate before the Altar, intreating the Almighty ; and 
 further, the Widows and Orphans, lamenting and crying; all this 
 fhews the Continuance of the Hiftory, and may be brought into one 
 Piece. Another may be, that of Pompey, where he is burning all the 
 Letters and Papers of Perpenna in his Sight, and then ordered him to 
 be carried to his Punilhment : And many others. 
 
 CHAP. XX. Of the Obfervabks in a Frotitifpiece-plate. 
 
 SINCE we have treated of many Particulars and their Requi- 
 fites, it will be proper here to fubjoin the Difpofition of Obje&s 
 in a Frontifpiece-plate, and their Obfervablcs, as being of a diffe- 
 rent Nature from other Ordonnances, and tending in all Refpe&s to 
 embellifh the Book only; like a fine Garden- walk, where the Ob- 
 j e as, whether Vafes, Statues, Trees, are placed to anfwer their 
 Purpofes. 
 
 The Figure which denotes the Subject of the Book, ought by all 
 means, as the principal, to appear in the middle of the Plate, fet off 
 by other By-ornaments : Over Head or beneath muft be a large Table 
 or flat Face* with the Book's Title thereon, either in thick black Let - 
 ters, or elfe double-lin'd ones, and the other Figures, which ferve for 
 Iliuftration, placed of equal Height on each Side, either ftanding or 
 fitting: Thus much for the fore Ground. The Offskip, having little 
 Concern in the Matter, we may difpofe where we think proper _with 
 low or'rifing Grounds, in order thereby to give the Uniformity of the 
 Subject greater Luftre, and a Painter-like Decorum; The principal 
 J 5 Vino 
 
no Of Ordonnance, or Compofitlon. Be ok If. 
 
 Viflo ought to be in the middle ; but, if two are neceflary for the fake 
 of (hewing fomething in the Offskip, they muft be on each Side, and 
 equally large and extenflve. 
 
 But we muft take efpecial Care, that the Title be encompafFed with 
 Architecture, or Package, or Trees; or at leaft remain within the 
 fore Ground, which we ought to confider as a Theatrical Stage opened 
 on one or both Sides with a Curtain, fometimes fetting it off with a 
 colonaded Frontifpiece, or elfe inclofmg it in a Moulding or Compart- 
 ment ; in which Cafe there fhould always be a founding Fame, either 
 before or behind, let the Subjeft of the Book be what°it will: Even 
 the Fame alone with the Title of the Book will look more proper, 
 than the Figure of the Book without the Fame. 
 
 It looks well to infcribe the Title in the Pendant of the Trumpet, 
 when 'tis in the middle of the Plate, and in double-ftrok'd Letters j 
 but if it happen to be on a Side of the Plate, 'tis improper. The ca- 
 pital black Letter fuits the middle and bottom of the Plate ; however, 
 when the Title muft be placed high, the open Letter is beft, becaufe* 
 the other would take the Eye too much, and weaken the reft of the 
 Work. Thus much in general. 
 
 With refpeft to Particulars we muft obferve, that the Figure repre- 
 ienting the Book, fhould always pofTefs the chief Place in the middle 
 of the Plate, and that to be elevated ; the Figures of lefs Confequence 
 iomewhat lower and further in ; and thus with the others ; each go- 
 ing off according to its Rank, Aftion and Quality, to the Offskip; and 
 if other additional Ornaments are neceftary, thev muft be contrived 
 here and there in Bafs-relief. 
 
 But to explain myfelf, I (hall give a Plate-example, and take for the 
 Subjea a Book, entitled Ars Militaria, or, d Treat if e of Military 
 Exercife: Bellom, as the Subjea, of the Work, fits exalted on an high 
 and large Pedeftal, in the middle of the Plate, fet off with ail Kinds 
 of warlike Inftruments, as ufual ; beneath her, on one Side, ftands a 
 Perfon in an offenfive Pofture ; and on the other, a defenfive Perfon ; 
 thefe three Figures make the whole Story; the latter is reprefented 
 as a brave Citi-zen with a Table in his left Hand, whereon is drawn 
 the Plan of a Fortification, and under his right Arm a Sheaf of Wheat ; 
 the former appears as a vigorous young Man, with a Spike-headed' 
 Staff in one Hand, and a Spade in the other, and at his Feet a Crow 
 or Wall-breaker ; on one Side in the Offskip, is a Town-wall, and on 
 the other fome armed Men fetting Houfes on fire \ behind the former 
 ftands Vigilancy, and behind the latter Subtilty. 
 
 Now 
 
Chap. ao. Of Ordonnance, or Compcfiticn. in 
 
 Now we may obferve, that the aforefaid Uniformity in the Figures, 
 accompanying Bellona, and which help to explain the Senfe, is una- 
 voidable i for if one of the hieroglyphic Figures next her were fitting, 
 and the other ftanding, it would caufe an Ablurdity in the Ordon- 
 nance; becaufe thofe two Figures ought to fhew an Activity, or at lealt 
 to be in a Readinefs to undertake fome Enterprise : Wherefore they, 
 as well as thofe behind them, mutt be ftanding ; the latter being plac- 
 ed there, not as capital Figures, but to aid and fubferve the two o- 
 thers; and therefore, being rather ornamental than neceffary, they 
 may be left out; as alfo may the Offskip, fmce the Subjeft fufhcient- 
 lv appears without it: Neverthelefs it may be retained when it does, 
 not obfcure the main Defign ; but I fhould rather chufe to contrive it 
 in Bafs-relief in Stone-work. . 
 
 All Frontifpiece-plates fhould have the three following Qualities. 
 
 1. To delight the Eye. _ 
 
 2. To tend to the Praife and Honour of the Author and De- 
 
 % ner ' 
 
 2. To be advantageous to the Seller. 
 
 Thefe Obfervations, tho' little heeded, yet are very neceffary, hnce 
 all Things have a Reference and Tendency to fomething , and tho , by 
 a proper Application, we muft fhew their Qualities, as in the three In- 
 ftances afore&d, yet we have a Liberty to make •further Additions if 
 not foreign to the main Defign of the Composition : I fay then, that if the 
 capital Figure be off by an Area, Palace, or other Building that 
 Ornament muft come on the right Side of the Plate, next to the Bmd- 
 in* of the Book, and run off to the left as fcant.ly aa the Defign will 
 permit. It would be improper to reprefent a Table Pedeftal and 
 Vafe, or fuch like, half in the Piece, unleis the Print have a Border 
 broad enough to be fuppofed to hide the other half , or it were on a, 
 third or further Ground/ We alfo remark, that the Light falling on-, 
 the Obiects muft be fuppofed to come from without the book , that is, 
 r p r3s fZ the le^Side or opening of the Book -d foots the. 
 Infide of it, in order thereby to create between them (I mean he 
 Print and the Book) a perfect Union and Sympathy; like that of the 
 Soul and Body; fuppofing the Book to be the Body, and the Print the 
 Soul which moves it; towhich add, in Confirmation of my Pofition, 
 that the Back of the Book gives Rife to the Print and Leaves. 
 ' The Reafon why I diipofe § the Objects thus, whether hght or heavy 
 is becaufe I think the contrary very improper and ill-grounded; as the 
 
 SeSm of it may be feen in the Vrontif P iece- P late of my Dravnj 
 
in Of Ordonnance, or Compaction. Book II. 
 
 book, defigned in that Manner ; which I fhall explain, and give a Proof 
 of, in the two following Examples. 
 
 EXAMPLE I. 
 
 I place, on the right Side of the Defign, a finfe Frontifpiece or Porch 
 of a Court or Temple, with Wings coming from it on each Side ; and 
 on them, fo me People leaning over a Balluftrade} all running to the 
 Point of Sight, which is in the middle of the Piece : At the Entrance 
 ftands a Prince, Princefs or Vefial Virgin ; and before him or her, on the 
 Steps, a Man or Woman kneeling, and receiving a Staff, or a Roll of 
 Paper : Fame on high founds towards the left ; and on the fecond Ground • 
 alfo on the left Side, (but half without the Piece) fome affrighted Peo- 
 ple taking their Flight. On the fame Side, the Offskip fhould appear 
 Vifto-wife, like a Gallery, up to the Point of Sight. Now, the De- 
 fign being lighted from the left, and only ilightly sketched with black 
 Chalk, or a Pencil, and rubbed off on another Paper, the former will 
 face the Book, and the Reverfe, the contrary. 
 
 E X A M P L E II. In a Landskip. 
 
 On the right Side is a maffy Tomb, fupported by Sphinxes, and fet 
 off with other Stone-work, as Pedeftals and Vafes ; the foremoft 
 whereof are more than half without the Piece 5 and all running to the 
 Point of Sight, as in the foregoing. Behind it is a clofe Ground of 
 Cyprefs and other Trees up to the Point of Sight ; and beyond it is 
 the Offskip. From the left Side, on the fecond Ground, may be feen 
 in part only, fome People coming forwards j as a Prieft, Boy with fa- 
 criticing Utenfils, the Ax-bearer, and Beafls for Sacrifice. Before the 
 Tomb, on the Plinth, fhould ftand a froall Altar; forwards, two or 
 three Harpies taking their Flight ; and from the Tomb Cupid flying 
 after them, with an Arrow in his Bow, as driving them from thence! 
 Now reverfe this Drawing alfo, and then obferve the Decorum it pro- 
 duces. * 
 
 Altho' this Method of proceeding be founded on Reafon and good 
 Grounds, yet, I fear, many will take it for a Chimera ; on a Suppofi- 
 tion, that we pretend to amend fomething, and lay down a pofitive 
 Law for what has been feveral hundred Years left free and unlimitted • 
 fince Books may, without the aforefaid Obfervations, be good, fell 
 
 well 
 
Ghap. 10. Of Ordonnance, or Compojltion. nj 
 
 well, and bear a Price: Again, if a Book be good and have but a Ti- 
 tle-page, without a Frontifpiece-plate, that's enough ; even a Plate 
 ever fo poorly handled will pafs, if it but (hew what the Author treats 
 of. But let me ask, whether 'tis not more acceptable to give a Print 
 great Decorum, and make it better with little Trouble, than to beat 
 the old Road; efpecially when we can fupport it by certain Rules, 
 which will difcover the Error of former Management ? Some perhaps 
 
 ; may fay, • Why have not others mentioned this, fince the Pofiti- 
 
 I on is fo pofitive? But I anfwer, that tho' many Things have been found 
 out, fomething ftill remains to be difcovered by the Studies of curious 
 and inquifttive Men. We grant, that if a Book be bad, the Frontif- 
 piece-plate will not mend it ; however, if the Proverb may take place, 
 a Thing well fet off is half fold ) and therefore Elegance is very neee&*$! 
 in all Things. 
 
 Of the Reprefentations of Dreams, apparitions, unufual Thoughts and 
 
 Fiffions, at leifure Times. 
 
 Who can blame a ftudious Artift for amufing himfelf fometimes 
 with sketching odd Conceptions, or for painting them ? I think it ve- 
 ry commendable, and a true Token of Greatnefs of Mind, and the 
 beft Method for excelling in Defign ; it's certain, that they, who make 
 their Art their Diverfion, have a double Advantage in it; becaufe 
 they exercife their Judgments with Ufury in the moft abftrufe Defigns 
 which the Senfes can comprehend. Let us only confider, with refpect 
 to the People, how acceptable fuch an Artift muft be, fince moft Men 
 have an Itch for Novelties ; as in Plays, which draw the greateft Con- 
 courfe of People, the more uncommon they are. If any think I ought 
 rather to maintain, that fuch Artifts ought not to be regarded, and 
 that they lhould find their Pleafure in better Things, let me ask in 
 what ? Whether in hearing idle Talk, reading ufelefs Books, walking 
 the Streets, &c. all which is rather wafting Time than Improvement. 
 It's not unknown that Raphael, Michael Angelo, and many other famous 
 Mafters, did fometimes exercife their Judgments with out-of-the-way. 
 Thoughts; whence I infer, that they thought it no Shame. But con- 
 trarily,. what good can come of exceffive Drinking, and dipping into 
 ! other Things, as if Painting no longer concerned us ? It's certain we 
 j cannot ferve two Mafters at once ; and as certain, that he who ftudies 
 a difficult Point, and intends to mafter and pra£tife it> muft not; at the 
 fame Time, for Pleafure, give into another which is more difficult, 
 No. 5. P and 
 
114 Of Ordonnance, or Compofition. Book II. 
 
 and of a different Nature, left he deftroy his firft Point: We ought 
 therefore to accufbm ourfelves to Things which neither over-charge 
 the Senfes, nor too much burthen the Memory in our Paftirnes. A 
 young Artift, who at his Leifure endeavours to qualify himfelf for 
 fine Compofitions, muft efpecially ftiun exceffive Drinking, hearkening 
 to old Women's Tales, inquiring after News, reading trifling Books of 
 Stories and Romances, principally, Accounts of Murthers and fad Ac- 
 cidents, Inchantments, and the like ; as alfo the Grounds of Muflck : 
 Wine intoxicates, fad Tidings too much affecl: the Mind, and a Series 
 of Troubles puts us befide ourfelves; reading of Murthers, &c. feizes 
 the Heart, and makes us unfit for Study ; Curiofity, inftead of being 
 fatisfied, is fo craving, that when we deiign fomething fedate, it can 
 hardly find a Place in our Thoughts • and the Study of Mufick, or 
 other fuch profound Art, has too great an Afcendant over our Senfes. 
 
 To explain what I fay, touching the defigning of uncommon Thoughts 
 at leifure, I frail give three or four Examples, each of a different 
 Nature : But muft firft- inquire, why Painters will not give themfelves 
 the trouble to defign unufual or barbarous Hiftories, fuch as the Indi- 
 an, Japan or Chinefe; and find, that 'tis, becaufe no Authors have 
 written any thing about them worth sketching, thofe Nations affording 
 no other Scene than Cruelties, Murthers, Tyrannies, and fuch like dii- 
 agreeable Objects, which would rather, offend than delight: Moreover, 
 that the Oddnefs of their Dreiles, Manners and Cuftoms do not- at all 
 quadrate with the Grace and Beauty of the Antique. It's certain, that 
 the principal Bufinefs of an Hiftory-painter is, to exprefs the Story with 
 proper and lively Paffions, that his Intention may appear plain and fa- 
 tisfadory to the Curious; and yet- this would be no more than the 
 reading it in the Author, if the Grace of the Figures were not alfo to 
 accompany it.. What difgufts in a fine Play more .than ordinary Acti- 
 on, bad Dreftes, and a contemptible Stage ? If a fine Voice be agreea- 
 ble to the Ear, how charming muft it be, when the Eye fees it come 
 from a beautiful Woman: Beauty caufes,Love, but Deformity, Aver- 
 iion. It's therefore no Wonder, that we have no Relilh for fuch: 
 odd Subje&s, fince Europeans are too converfant with real Beau- 
 ty, to be pleaTed with fuch Shadows and Ghofts : Yet, notwithftand- 
 ing what is faid of the Figures and Hiftories, I think it not unworthy 
 ofa Landskip-painter fometimes to exhibit fuch uncommon Landslips, 
 becaufe the Oddnefs of the Grounds, Trees and Buildings found in 
 thern is pleating to moft People, efpecially thofe who are converfant 
 with their Hiftory; and indeed this Novelty of Profpeft is no ways fo 
 
 repug- 
 
Chap. 20. Of Ordonnance, or Compofitlon. ns 
 
 repugnant to Art or Nature, as the People and their Manners, in Spoil- 
 ing .the Shape which God and Nature gave them. 
 
 If it be faid, that fuch Landskips are improper without Figures of 
 the fame Country, it muft be granted ; neverthelefs, as- the By-orna- 
 ments of a Lancjskip are ufually the leaft regarded, I think it not dis- 
 agreeable, to exhibit here and there fbme of thofe Creatures, in order 
 to fhew the Nature of the Country : A judicious Artifb may difpofe 
 them as he thinks belt for the Good of the whole Piclure, and the 
 Pleaiure of the Eye ; and becaufe thofe Countries are well known to 
 Europeans, he can introduce them there, and intermix with them Tra- 
 vellers from other Countries, as Perjians, Romans, Greeks, Sec. who 
 may add to its Improvement; as we introduce Whites into the Blacks 
 Country, and Blacks into Greece. 
 
 But perhaps another Difficulty may be ftarted againft fuch Land- 
 skips, namely, that they cannot be handled fo natural and true, as 
 where we can have the Life before us ; which indeed is probable ; 
 however it muft be granted, that the Authors, treating of thofe Parts, 
 are fo many and fo particular, that a Man of Judgment may gather 
 lufficient Inftruclion from them; the Temperature of the Air, Fruit- 
 fulnefs of the Soil, Shape of the Trees and other Greens, and their 
 Natures and Colours are plainly fet down ; and if "the green happen to 
 be a little lighter or darker, or the Ground more yellow or ruftet, 
 who will go about to difprove it, if artfully managed ? For my part, 
 I Ihould make no Scruple to paint fuch a Piece, fince a Painter 
 ought to flip no Opportunity of getting Praife, and wifh to have done 
 it, according to my prefent Idea of it : If we omit doing many Things 
 for want of a proper Knowledge of them, what cannot the Pencil of a; 
 judicious Mafler do, if he will but fet about it ? Yet fome Men will not 
 go out of their old Road, as was the Cafe of a Fellow-pupil with me un- 
 der my Father; who, on my asking him, why he painted not other Sub- 
 jects as well as Bible-ftories ? anfwered, that he had no OccaMon to feek 
 after others, fince the Bible yielded more than he could do in his whole 
 Life: Which indeed was no Wonder; fince he painted one Story ten 
 times, if it pleafed him. But we ihall now come to the Reprefentati- , 
 ons we promifed. 
 
 Remorfe of Confcie?ice occajioned by an Apparition. See Plate XIX. 
 
 After Sextus Tarquinius had ravifhed LucreUa, the unhappy Lady 
 (who had ftabb'd herfelf in Revenge of her violated Chaftity) appear- 
 
 P x ed 
 
i i 6 Of Ordonnance, or Cornpofition. Book II. 
 
 •ed to him, as he was lying in Bed, fhewing her Breaft gored with 
 Blood i at which, he was fb terrified, that he knew not whereto 
 hide. 
 
 The Figure which accompanies her holding a Dagger, with Cyprefs- 
 leaves about its Head and Wafte, reprefents Defpair, as the broken 
 Pair of Compafles, flicking in its Girdle plainly Ihews. Now perhaps 
 it may be asked, becaufe Lucretia is opening her Wound, whether the 
 Dagger fhould not become her ? which I grant ; as having committed 
 the Fact thro' the other's Inftigation. It's certain, that there's no need 
 of By-help, as we fhall prove in its Place, in the Bafs-relief of Mek- 
 ager, when the Mifchief is done by our own Hands ; but here the 
 Cafe is very different ; for Mekager was there dying, and the Revenge 
 not yet executed ; whereas here the Revenge is already had, becaufe 
 fhe is producing her Wound, and therefore the greater! Effect of De- 
 fpair is over, and fhe fhews him the bloody Dagger by means of De- 
 fpair ; which Figure would indeed be fuperfluous, were (he not fuppo- 
 
 fed to be faying, This Steel did it. For if fhe were in a defpe- 
 
 rate Pofture with the Dagger in her Hand, - the Figure of Defpair 
 would be unintelligible, and therefore fuperfluous. Again, it would 
 be abfurd, to make her ftab herfelf at his Bed-fide, fince no Spectre 
 of any Perfbn can appear before a Separation from the Body; where- 
 fore fhe fhews herfelf to the Debauchee, as the Caufe of her untimely 
 Death, in order to bring him to Remorfe, and for that Kcafon Dejpair 
 
 is reprefented in a triumphing Manner, as if faying, Hac invifta 
 
 manet. 
 
 Megara by the Bed-fide, with her Head befet with Serpents, fcourg- 
 ing him with a fmoaky pitchy Torch, intimates not only Remorle, 
 or Reproof, but all other inward Troubles, Grief, Rage, Horror, 
 Difquiet, &c. 
 
 The Lamp on the Table, and in a princely Apartment, may perhaps 
 feem odd ; neverthelefs I think, it has a fine Effect on the foremoff Fi- 
 gure, and alfo helps to make the Table-furniture conlpicuous, without 
 hindring the other Light; doing flill more good, as being a Lamp, 
 and having burnt a long Time without fnuffing, and therefore cafting 
 a gloomy ruffet Light, when that of the Spe6tre is bituminous, burn- 
 ing white and blueilh. 
 
 As for the fmall Compafs of the Ordonnance, fome would have filled 
 a Room three times as large with thofe four Figures ; and even re- 
 prefented an Hall adorned with Pictures* Bafs-reiiefs, Tables, Stands 
 WfcK) -bi:;.ioiv vSd"*; ~;-r' v ■ — fii i-bHaii ft~dd>$ h.;d. odor : 
 
Chap. io. Of Ordonnance, or Compofitton. 117 
 
 for Candlefticks, &e. and a- withih-door Vifto; an /tato comparted 
 Floor, and many other Things. 
 
 Reprefentation of Vanity, according to the Saying, Man's Life is a 
 
 Dream. 
 
 Alexander, repofmg on a Bed, the following Speftres appeared to 
 pafs by him : Firft, Time with it's Hour-glafs ; next, Ambition, hold- 
 ing a Torch ; next, Valour, followed by Afia, Africa and America in 
 Irons ; then follow Riches- and Pkafures, and then /fwwar and G/ory ; 
 the former with a Pyramid, and, the latter with a celeftial Sphere ; a 
 naked Man brings up the Rear, having a dejefted Look, and hug- 
 sine himfelf, who, in pairing the Bed, accofted the Prince thus, 
 
 O Alexander ! behold me ; reflet? on what I was, and what I now 
 am\ the whole World was at my Di/pofe; my Valour purchafed me the 
 biJe/1 Honour and Glory, Riches and Pleafures were at my Command y 
 but now, in Nakednefs, I pafs by as a Shade : Sic tranfit Gloria 
 
 M This Cavalcade I exhibit in an Hall richly furnilhed, representing 
 the Figures in a waving Motion, and skimming over the Floor, a 
 Foot hieh, on a thin Cloud, crofs the Picture to a Defcent of 2 or 3 
 Steps on the left Side ; and thence, on the fame Side, up to a Back- 
 door on the left Side of the Point of Sight, where they difappear. 
 The Bed, a little railed, ftands backward in the middle ot the Fiece ; 
 the aforefaid Shades are vapourifh, but not (harp : Forwards on the 
 left Side, I place, on a Pedeftal, the Figure of a fitting Alexander, 
 with Thunder in his Hands, a Globe in his Lap, and an Eagle by his 
 Side ; and behind the Pedeftal ftand two Centinels in earner! Dilcourle, 
 infeniible of what is doing. . , 
 
 Let it not be thought, becaufe I make the three Parts of the World 
 fetter'd, that Alexander, by his Valour, fubdued them ; for, accord- 
 ing to the Teftimony of fome Writers, he did not conquer all 4#fo 
 neverthelefs, that his. Ambition made him hope to do it is not impro- 
 bable j- fince he caufed himfelf to be worihipped as a fecond Jupiter 
 Ammon ; as he himfelf has given us to underftand by thele VV ords : 
 Alter ius Jovis altera tela. " ' ir 
 
 I queftion not, but that, if fuch a (hady, Ghoft-like Manner be well 
 executed, 'twill appear very uncommon, tho' I do not lay it down a& 
 a-Faa happening to Alexander, but give it as my own Invention. 
 
 I have 
 
1 l8 Of Ordorinance, or Compofition. Book II. 
 
 I have faid, that the Shades or Appearances walked as on a Cloud ; 
 by which I mean a thin Vapour, ferving them for a Ground, and giv- 
 ing a faint Shade to the Hall-floor ; yet the Vapour and Ground-fhade 
 a-re of no other Ufe, than to exprels Things in a fupernatural Way, 
 and to make a Diftindlion between real and imaginary People. 
 
 1 have feen fuch a Thought painted by Jordaa?i>s j where a Man is 
 dreaming in his Bed ; and before it 'ftood a naked Woman, appear- 
 ing as a real one, who (one. would think) was going to Bed to him, 
 had not the Artift painted there fome Clouds, as if fhe were ftanding 
 ait a Door of Clouds : Whence I was led to think, fhe might be a Spec- 
 tre ; but then, not having a ghaftly Appearance, I thought fhe had too 
 great a Communication with the reft of the Picture ; the was feen from 
 behind, and very beautifully coloured : I and others therefore conclud- 
 ed, that this Woman was only a Model ; to which the other Particu- 
 lars were added, in order to patch up a Piclure, and fill the Cloth. 
 But to return to our Ordonnance. 
 
 My Thoughts are, that Alexander muft'nat be reprefented naked on 
 the Bed, but in princely Attire ; for otherwife the Door muft not ftand 
 open; and I am not confined to the Chamber -light, becaufe of the 
 Shades or Spectres; wherefore, in reference to that, I have two 
 Points in View; firft, to keep the Light as beautiful as Sun-fhine; or 
 fecondly (which is better and more ghaftly) to keep it fomewhat gloomy, 
 in order to exprefs naturally the Vapourinefs; and by it the Vanity 
 of human Condition. 
 
 An odd Fable, 
 
 The Fable-wrights tell us, that, in the Beginning of Time, a Diffe- 
 rence arofe between Apollo and Diana , both in their Youth, who 
 fhould produce the fineft Animals, wherewith to furnifh the World ; 
 Jupiter, as chief Ruler in Heaven, for Paftime allow'd it, and gave 
 them Power to do it : After many Challenges and Difputes., it was 
 finally agreed, that Apollo, in the Prefence of all the Gods, fhould 
 make the firft Effay; and accordingly, to general Admiration, he 
 produced a large Lyon : Diana fenftble of it, and feeing the Gods 
 taken up with the Sight of fo ftrange a Creature, and fearful that 
 fhe fhould not produce the like, brought forth a Cat, a Creature not 
 unlike the Lyon, but as much inferior in Strength and . Shape, as the 
 Moon is to the Sun. Whilft the Gods were laughing at this, Apollo 
 was fo nettled at the Preemption of Diana, in thinking herfelf his 
 
 Match, 
 
Chap io. Of Ordonnance, or Composition. 119 
 
 1 Match, that he inftantly brought forth a Mode; to (hew, in a fcorn- 
 Iful Way, that the Cat was not comparable with the Lyon : Where- 
 upon Diana fummoned all her Wit and Power to bring out a Mon- 
 key; which Creature, like the former, being found to be very ridicu- 
 lous, and her Endeavours adjudged fruitlefs by the Gods, (he was fb 
 provoked, as to create an eternal Enmity between the Lyon and the 
 Monkey, and the Cat and the Moufe. 
 
 Ordonnance of the Fable, 
 
 Apollo, as a Youth of about 14 Years of Age, ftands a little to the 
 left of the Point of Sight, holding in his right Hand a Scepter, which 
 refts againft his Hip; he ftands in a daring Pofture on one Leg, has a 
 fierce Look, and on his right Side, a little from him, fits a large Ly- 
 on. Over-againft Apollo, a little forward, ftands the young Dia?ia i . 
 holding up a Dart in her right Hand, and feeming to call up a Mon- 
 key from the Earth, who, half out of the Ground, looks grinning be- 
 hind him at a Moufe, which, becaufe of the Cat ftanding by Diana,. 
 feems to creep away under the Legs of Apollo. 
 
 The Deities view thofe ftrange Things with Pleafure ; Jupiter and' 
 Juno fit by themfelves on a low Cloud in the middle : Near Apollo and 
 Diana are feen Mercury and Aurora ; and on the right Side forwards, 
 Mars and Bacchus, the former lying on a Stone: Venus, attended by 
 Cupid, lies on the Grafs ; and next them, a little further, Ceres, fit- 
 ting in the Lap of Rhea, points and laughs at the Monkey : Between 
 j thefe two and the Cloud, whereon fits Jupiter and Juno, appears 
 Saturn : On the left Side forwards fits Pallas with Mfculapius, be- 
 tween Iris and Ganimedes : Behind Apollo advances Momus, ftooping 
 I forwards with his Bawble upright in his left Hand, whereon he leans* 
 \ and, looking to the right, makes a fcornful Sneer his other Hand 
 is wide open, with the Thumb on the Tip of his Nofe. The whole 
 Afiembly of the Gods, except Apollo, looks merry and gay.. 
 
 Emblematic Ordonnance of Folly. 
 
 . • < "f\ ' - ■ ^ t ■ * ■ - 
 
 Here we exhibit a naked young Man, ftripp'd of all his Subftance, 
 ■(which he laviftdy confumed) appearing before the frightful Idol, 
 lafh'd by Defpair : The ftern old Man ftanding next it, dreit in a black 
 Garment, has his Hair and Beard plaited, and fomewhat like a Con- 
 jurer, is (hewing the young Man a Cufhion lying on the Ground before 
 
no Of Ordonnance, or Compofilion. Book II. 
 
 the Altar ; from under which fprout out Thorns; on which neverthe- 
 less he is forcing him to kneel: Nature on one Side, on the fecond 
 Ground, lies feeble on a Dunghil, looking with Tears at Ceres and 
 Bacchus, who, defpitefully going from her, deny any Succour : Necef- 
 ftty alone fits fquat down by her, having nothing about her but a 
 'broken Cup and fome creeping Infers-.: The Building feems to be a 
 ruinous Palace ; the Vifto behind the Idol is frightful enough \ and 
 yet how fine the Houfe on the third Ground appears, partly in the 
 Sun, and partly in the Shade of the pleafant Trees ; methinks it has 
 two Sphinxes of white Marble on two Hand-rails at the Sides of the 
 Door; and on the Steps is Teen Luxury, fcattering Handfuls of Money 
 out of the Horn of .Amaltma : IVantonnefs is playing on a Timbrel to 
 fome dancing Satyrs and lewd Women : A little further under the 
 Trees, fome of the fame Company lay, eating and caroufing like 
 Brutes, by a> Fountain: The aforefaid Idol is like a Chimera, compof- 
 ed of many improper Parts ; the Head of a Frog ; the upper Parts 
 like a Woman's; Arms like Wings ; Hands as Lyon's Paws, with one 
 of which it holds up a Purfe of Money, and the other refts on an 
 Harpy; it's Legs and Feet like thofe of a Satyr; and on its Head is 
 a Crown of Holm-leaves : The Prodigal is treading on a broken Stone, 
 whereon appears a fmall carved Altar, or fome Remains of it: For- 
 tune, deferting him, is flying forward ; at the fame time Envy behind 
 the Idol is laughing in her Sleeve. Nefarium Vita & Fortune dif- 
 pendium. 
 
 CHAP. XXI. Necejfary Obfervations in continuing an Hiftory in 
 fever al Pieces, for Halls, Galleries, &c. 
 
 WE have feveral times aflerted, that ftritt Probability ought to 
 be one of the principal Cares of a judicious Mafter in his Com- 
 pofitions, without Deviation on any Pretence whatever, be 
 the Choice, Figures, Landskip, Architecture, or any thing elfe; 
 becaufe, as the Proverb fays, Truth, tho* obfcured for a Seafon, muji 
 appear at la ft. 
 
 Now, to obtain this Likelihood or Probability, befides the Requi- 
 fites which we have in their Places already laid down, it will not be 
 amifs to obferve, that the principal Perfonages retain their own and 
 
 known 
 
Chap. %l. Of Orionnance, or Composition. in 
 
 known Forms, Characters and Colours, from the Beginning to the End of 
 tloe IV ork. 
 
 By the Forms we are to underftand the Proportions of their Bodies. 
 
 By the Characters, the Features which alter from time to time 
 with their Years \ from Youth to Maturity ; from thence to middle 
 Age ; and thence to old Age. 
 
 By the Colours we mean, the fair, rofy, pale or brown ; befides 
 long or fhort, dark, rufiet, light or black Hair, long orfrizled Beards : 
 In fine, fuch an one mufl he known to be the fame Perfon, thro'' all the 
 Comport ions, without any Alteration. 
 
 The fame Conduct muft be obferved, with refpect to the Atten- 
 dants or Retinue ; efpecially a black Man and Woman, who, if they 
 have any Part in the ftately Attendance in the firft Compofition, mutt 
 maintain that Poft to the laft ; becaufe, being Slaves, they are feldom 
 ■exchanged ; and by their Prefence their Mafters are better known, e- 
 fpecially when they have been obferved to attend them feveral times. 
 
 It's not improper to make mention of Blacks, both Men and 
 Women, fince they are feen in the Retinues of moft People of Power 
 in all Nations, the one more, the other lels, and dreft in a particular 
 Garb, by way of Diftinction, like great Men's Liveries* 
 
 It's neceflary, for avoiding Miftak'es, to know how many Olympiads 
 the whole Work takes in, and exactly to enquire into the different 
 Years in which the firft, fecond, third and fourth Story ended, in" or- 
 der to affign each Character its certain Age, abating for Accidents, 
 which indeed fo alter People, that they get out of Knowledge ; as in the. 
 thin and flender, becoming thick and fat ; and in the brisk and fpright- 
 ly becoming dull and heavy; and the contrary; and yet thofe Acci- 
 dents leave the Features, whence Likenefs proceeds, in their Per- 
 fection. 
 
 But here perhaps it may be asked, if we follow this Obfervation 
 punctually, whether the Likenefs would not be fo lefTened as to be 
 quite loft in old Age? To which I agree, fo far as refpetts the Colour 
 and Fleihinefs, the one in a greater, the other in a lels Degree; yet 
 [the Character, with all its known Features, is, what maintains Likenefs, 
 be a Man ever fo old; wherefore, 'tis necefiary to make that appear 
 [in the Per fons .from time to time. Alexander was very young, when 
 he waged War with the Perfians ; and, at the End of his Conquefts, 
 died in the Flower of his Age. Of Darius and Cafar we ought to 
 obferve the fame, tho' differing in Years from Alexander. Chrift, at 
 the Age of twelve, taught the Scribes and Pharifees in the Temple ; 
 
 No. 6. when 
 
I1X 
 
 Of Ordonnance, or Compofition. 
 
 Book II. 
 
 when full grown, he did his Miracles ; and was, finally, accufed, con- 
 demned and put to Death at about thirty. _ 
 
 Laftly, we ought to obferve, that the Life and Atchievements fome- 
 times follow in a long Series of Years, and fucceffively ; as in the Sto- 
 ries of Romulus, Julius Cafar, Scipio, Alexa?ider, and many others; 
 and, in Scripture, Chrift, John, &c. of fome of which, we have large- 
 ly treated in our Book of Tables and Emblems, which we fhall pub- 
 lilh in due Seafon. 
 
 We leave it now to any one's Judgment to confider, how neceflary 
 the aforefaid Obfervations are in the Continuance of an Hiftory ; where- 
 in we muft alfo take Care, that the Horizon through the whole Work 
 be of one Height, and level with the Eye of the Beholder ; as we have fe- 
 veral times faid in its Place. 
 
 The fame Conduct as we have recommended for Figures, refpetts all 
 fb all immoveable Objecls belonging to the Story ; for Inftance, if the* 
 general Subje£l require, that a Palace or Houfe muft come in more^ 
 than once, 'tis neceflary that it always keeps its firft Form and Station, I 
 only altering the Point of Sight, as we would have it feen either in 
 Front or Reir, or in Flank, either near or diftant. 
 
 The Orders and Ornaments of Architeclure likewife come under the 
 fame Regulation \ for the Frontifpiece, Balcony, Porch, Steps, Rails, : 
 Balluftrades, Statues, Windows, &c. muft remain the fame in eachj 
 Compofition ; and not only fo, but of the fame Marble and the fame 
 fVood, abating for the Decays of Time. 
 
 With the inward Ornaments the Cafe is the fame ; for the Roomsj 
 muft not be adorned in two different Manners, but with Tapeftries 
 or Pictures of fuch or fuch a Choice. The inner Court may be fet off 
 with Fountains, Statues, &c. 
 
 No greater Overfight can therefore, in my Opinion, be commit-] 
 ted on fuch .an Occafion, than to employ different Hands in fo capil 
 tal a W T ork, -foecaufe they commonly differ in Manner, Handling and] 
 Knowledge, as much as Night and Day ; whence t happens, that the j 
 Chain of a Story is fb broken and dubious, that, without an Expla- 
 nation, 'tis difficult to know whom or what it represents ; one fol- j 
 lowing the antique Gufto ; another the modern ; one giving his Per- ] 
 fonages a certain Likenefs, and another giving the fame Perfon a j 
 Character quite different from that of the former, as it hits their Fan- 
 cies and Choice ; fo that Virgil's Saying is not amifs, Amant alterna j 
 Camena. 
 
 I re- 
 
Chap. 21. Of Ordonnance, or Compofition. 113 
 
 I remember to have feen two Pieces, being the Continuance of one 
 Fatl ; in both which were reprefented one and the lame General ; in 
 the former, he was in Armour and bareheaded, more or lefs antique- 
 like ; and in the latter, he was triumphantly carried on a Shield* 
 cloathed in Buff, and with Shoes and Stockings, Hat and Feather, 
 and with a naked Sword in his Hand : As for his Carriage, it was as 
 little like that of the former, as his Drefs. Now how ridiculous this muft 
 look, let any one determine. 
 
 I could give more Inftances of this Kind of Blunders, but thinking 
 this a fufficient Caution to thofe who may be concerned in fuch Works, 
 I fhall purfue our main Defign, and come to Likenefs ; which, in a 
 Word, lies in the Features, how much foever a Perfon may advance in 
 Years. 
 
 To hit the Likenefs well, and prevent the aforefaid Miftakes, the 
 'following is the belt Method: Chufe a fine Plaifter-face, either of 
 Man or Woman, which has fuch an Air as the Subject requires, whe- 
 ther modeft, auftere or amorous ; this Face we muft make ufe of from 
 the Beginning to the End of the Work, where thofe Obfervations are 
 neceflary, either in Front or Profile, and with fuch a Light as is pro- 
 per to the whole Dejign, whether right or left, forward or backward. 
 Candle or Torch ; all this to be done without any Variation, except 
 fomewhat in the Livelinefs and Flefhinefs, which, through Years, is 
 continually abating in both Sexes, as we have before faid. 
 
 As to the Motion of the Paflions, caufed by particular Accidents, 
 we have, in a former Chapter, (hewed a Method, how to manage in 
 fuch Cafes, without the Life. 
 
 Having faid thus much touching the Ordonnance, I think it not im- 
 proper to fubjoin two Obfervations, which are as neceflary to what 
 has been faid as to what fhall hereafter be treated of, namely, a De- 
 Ifcription of the Conditions of Men in the Summer and Winter Sea- 
 sons ; and conclude this Book with an Emblem. 
 
 A Man in Summer 
 
 Is vaftly affected by the Heat, which, thinning the Blood, makes it 
 flow with eafe to the Extremities of the Body ; whereby the Mo- 
 tions are freed from Reflraint. The Head is raifed ; the Shoulders 
 fink ; the Arms and Legs fpread ; the Hands and Fingers opened, 
 I whereby each Part of the Body feems to refrefh itfelf, affording every 
 where free Paflage for the Cold; the Mouth is generally open; the 
 
 % . Eye-lids 
 
114' Of Or do finance 9 or Composition. Book If. 
 
 Eye-lids feem to "be brisker, becaufe Warmth enlivens all Things; 
 caufing alio the Vapours, which afcend to the Brain and fall again on 
 the Eyes ; the Hair ftuck behind the Ears hangs down the Back, fo 
 that all feems to be uncovered. 
 
 A Man in the If inter Sea/on, 
 
 To exprefs this Figure well, 'tis neceflary to explain Cold itfelf, as 
 being the Caufe of the fubfequent Motions. The Blood, wherein lies 
 the Warmth of the Body, is (by means of Cold, which is it's oppo- 
 site, and enters from without, thro' the Pores) forced inwardly ; fo that 
 it paries chiefly from the fmall Members, to wit, Fingers and Toes, to 
 its Center : Wherefore we fee that, to keep off outward Cold, Peo- 
 ple fink their Heads into their Breafts ; raife their Shoulders; hue 
 themfelves very clofe with their Hands under their Arm-pits, which 
 the Cold cannot eafily affeft ; the Knees joined, Legs fomewhat bent 
 and the whole Body ftooping ; the Eyes almofi: fhut, or kept open 
 with Difficulty \ the Mouth clofed ; the upper Lip hidden by the un- 
 der one, which covers it up to the Nofe, to prevent the Cold's enter- 
 ing the Body ;. the Hair hangs carelefly both before and behind. 
 
 EMBLEM. 
 
 The beft Method, a Perfon of weak Memory can take, is, to exer- j 
 eife his Judgment on Things at the Inftant they prefent themfelves to] 
 him; that is, to fet down what he has a mincl to keep, that he may 
 at any time have recourfe to it for his future Information and Re- 
 membrance ; and this to be repeated 'till he has gained what he wants : 
 But this cannot well be done, unlefs he, at fuch Times, fufpend the! 
 Ufe of three of his Senfes, Hearing, Tafte and Smell, and retain onM 
 Sight and Feeling, according to our Sketch, thus : 
 
 K young Man, in his Prime, is fitting at a fmall Table, with a PerJ 
 or Crayon in his Hand ; Memory is fitting over againft him, holding 
 upright an open Book, wherein -Truth is reprefented, to him on the Ta- 
 ble ; Time, ftanding by him on one Side, points at the Figure of Truth 
 and Prudence, on his other Side, is guiding his Hand ; Sight and Feel- 
 ing ftand by him at the Table; thethree other Senfes are, at the Com- 
 mand of judgment, conduced by Temperance to- another Apartment ; 
 fcehind Memory, Judgment is feen driving away fome Children, who 
 aje obferved here as Vices and untimely Hindrances, prejudicial to- 
 
 Memory^ 
 
Ghap. xi. Of Ordonnance, or Compofttion. 
 
 Memory ; thofe unfeafonable Impediments, always hovering about us, 
 and courting our Smiles, have each their particular Tokens in their 
 Hands ; the firft, a Timbrel ; the fecond, a Racket ; the third, a Plate 
 of Grapes, the fourth, a Pye ; the fifth, a Partridge ; the fixth, a 
 Fool's Cap. 
 
 Thus we may eafily fee, how weak and imperfedT: we are> when 
 Judgment does not affift us, and we are mifted by the Bent of a cor- 
 I rupt Inclination. 
 
 The End of the Second Book 
 
 THE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK HI. 
 
 Of Things Ant i qve and Modern. 
 
 CHAP I. The Difference between what is Antique and Modern. 
 
 E are now obliged, to put in Execution our Purpofe of 
 making a proper Diftin&ion between Things Antique 
 and Modern ; fince the Difference between them is fo 
 great, that they cannot unite, without caufing excef- 
 five Deformity ; for Things Antique are always the fame, 
 but the Mode continually changing ; its very Name implies 
 its Mutability; fince nothing is more unconftant than what depends on 
 Falhion ; which alters not only annually, but even daily in thofe who 
 mimick the Court. Thefe Contrarieties, which are fo confounding, 
 and caufe fuch a Variance between what is antique and modern, we fee 
 chiefly in the Composition of Hiftories, Fables, Emblems, and fuch 
 like ; in which both (yet the Modern moft) are blended together. 
 
 Congruity and Suitablenefs in the Compofition of Hiftories are true 
 Tokens of a judicious Mafter. What is more glorious, than while we 
 are raviftiing the Eye, to pierce the Heart ? While the Sight is recre- 
 ated with the Beauties of the Art, to tranfport the Mind with the 
 
 Deco- 
 
Chap. i. Of Things Antique and Modern. 117 
 
 Decorum and Energy of the Compofttion? He therefore is efteemed a 
 prudent Matter, who not only gives every thing its proper Colours, hit 
 alfo its due ExpreJJion, pure and uncorrupted. Thus we fee that great 
 Matters, who are got to that Perfection, do not blend Things promif- 
 cuoufly, and without Diftin&ion, as Eaft, Weft, South and North in 
 a Chaos-manner ; becaufe, with the little Matters, we fhould then a£t 
 againft Nature ; it is therefore neceflary, that we nicely confider what 
 it is we intend to reprefent, to the end that we may not fail in giving 
 f the true Meaning of it. How can the Truth of a Thing be known, 
 \ unlefs it be reprefented as clear as a literal Explanation ? Let us then, 
 \ curious Artifts I fedately weigh, what gives the Art fuch an Effeft and 
 Luftre : Have ye a mind to borrow any thing for your Ordonnance,. 
 examine firft the Story ye defign to handle, whether it be Per/tan* 
 Greek, Roman, &c. Will ye reprefent * Darius, chufe all your Ma- 
 terials from the Perjians, for his Attirement. Will ye bring -f- De- 
 mofihenes on the Stage, learn the proper Circumftances of the Atheni- 
 ans > and make him appear a great Heroe. Will ye exhibit the vali* 
 ant I) Scipio, give him a Roman Drefs, and other Neceflaries from that 
 People fuitable to it. By this means each Perfonage will have his true 
 Property, and you will thew your Skill in Hiftory, and alfb, by obferv- 
 ing the Time when, and Place where, reprefent the Subject according- 
 ly. Would ye exhibit High or Low-Dutch, Englijh or French Stories* 
 fetch no Materials from Perfia, Greece or Italy \ each Country can. furnifh> 
 fufficient Matter proper for its Climate, to wit, Plants, Manner of Living, 
 Paftimes, Houfe-ornaments, Stuffs, Dreftes, publick Worfhips, Times, 
 and Manners of Eating and Repofe : All which Particulars mutt be 
 attentively confidered, in order to gain our Point, and for which Pur- 
 pofe Reading and Books are neceflary : For as a Profeflbr in Law mutt 
 draw his Knowledge from the Marrow of the Roman, German and o- 
 ther Writers of Jurifprudence ; a Divine from Scripture and the Com- 
 mentators thereon 5 and a Philofopher the fame; fo a Painter ought 
 to be skill'd in the Reprefentations which he makes his principal Stu- 
 rdy, whether the fame be ancient or modern. Hence we judge, what 
 a Fund of Knowledge is requifite : If a Painter would be univerfal, he 
 jfhould almoft know every thing ; nay, more than many other Artifts 
 I 'v-' t, '"V M-' 1 ' ■ ! ia 
 
 * He and his Army were debated at Marathon', and afterwards by MiltiaJes, General of 
 \dthtnians. 
 
 f He conquered Shi/y, after he had laid wafte the Counfry of Ef id<v.ir;ir* 
 II By whom Carthage was deftroyed.. 
 
Of Things Antique and Modern. 
 
 Book III, 
 
 in their particular Callings; for he ought to have a tolerable Know- 
 ledge of Mathematics, Philofophy, Geography, Hiftory, &c. 
 
 Do not meddle then either with Things which you are not conver- 
 fant with, or follow the Advice of others; for 'tis more commendable 
 to sketch a Dog or Cat well, than an Elephant, Camel or Crocodile 
 poorly. Are you difpofed to handle an ancient Story, borrow nothing 
 for it that's ?iezu, and of modem Invention ; fince what is difgui fed with' 
 Fallhood can never be Truth ; like a Traveller, who darkens Truth by 
 his own Additions, whofe Whims make him defcribe Things he never 
 faw, and that, to a Perfon who, on due Consideration, foon difcovers the 
 Fallacy. The Artift's Judgment itfelf muft therefore always go before ; and 
 all that he undertakes be governed by Reafon and Nature : An Italian 
 fhould not be in an Indian Drefs ; or a Rerfian in a flafh't Doublet, fince 
 the Perfon we defire to know, does thereby become unknown. Each Coun- 
 try and People are known, not only by their Habits, but by all the other 
 Circumftances before-mentioned; give then to each its own Requifites, 
 and every Thing that's proper to it. How excellent muft a Picture 
 appear, and with what Admiration viewed, w T hen every Thing has its 
 due Qualities, and the Whole, a prudent Management f What will not 
 the Artift merit, if he perform nothing beyond his Strength and 
 Knowledge ! For, fince we cannot know all Things in Perfection, we 
 muft keep within the Bounds of our Underftanding. He who would be 
 every where, is feldom found any where ; and by confounding Things 
 does, inftead of real Judgment, difcover his little Skill. Reprefent 
 then no more than your Capacity will admit; and principally take 
 Care, not to intermix modern and ancient Drejfes, and Furniture in the- 
 fame Compofition : Thus we fhew a generous Spirit for Eminence, and 
 with the excellent former and later Italian, French, Flemijh, and other 
 Mafters, an Emulation to excel in what is noble, great and artful. 
 
 I think I can't better defcribe the Difference between what is AntiquA 
 and Modern, than by a Windball and an Egg, thus j the Ball, by be- 
 ing tolled to and fro, and at laft burfting, reprefents Jhort Duration,* 
 affording nothing but W^ind ; but the Egg hatched and opened, produ-> 
 ces a living Creature ; not only a Something, but fomething good ; the? 
 former, a mere Nothing; or, if it have a Name, 'tis Vanity, and! 
 therefore rather bad than good. 
 
 Painting was, by the ancient Romans, fo highly efteemed, that none 
 but Noblemen durft learn it : As we may alfo gather from the Paint- 
 ers, feveral of whom have been of noble Extraction: And the Reafon 1 
 of it is very evident, fince 'tis not only probable, but reafbnable, that 
 
 " fuchl 
 
Chap. i. Of Things Antique and Modern. 129 
 
 fuch ingenious Spirits fhould have a diftinguifhing Inclination for Arts, 
 fuitable to their Quality, above the Vulgar. Their Meditations, Ac- 
 tions, and Perceptions were fixed on great and fublime Things : They 
 inquired into, and confulted many excellent Authors of Hiftory, Fa- 
 bles and Emblems, as well facred as profane, and the Accounts of 
 ancient Medals ; from whence they have drawn plentiful and ingeni- 
 ous Matter for their Studies : What excellent Paintings have they not 
 loblig'd the World with I How many Temples, Palaces, and other 
 Irare Structures have they enriched with elegant Devices inciting to Vir- 
 tue ; whereby they have bequeathed a lafting Name to Pofterity ! 
 How did Architecture (never enough to be praifed) flourifh in their 
 Times. But what Alterations do we fee now ? How are the Beauties 
 and profitable Ufes of Painting either funk, obfcured or flighted, fince 
 the * Bambocciades are multiplied in thefe Countries ; at prefent we can 
 Icarce fee one Virtue appear, but ten, nay an hundred Vices will rife 
 counter to it ; thus has fprung up a fecond Hydra like that of Lema ; 
 fo that we want a valiant Hercules to lop off thofe Dragons Heads 
 which are always fprouting. Thus Architecture itfelf, how excellent 
 foever, is, with the right Practice of Painting, brought into Difgrace, 
 and flighted by other Nations ; fince we fcarce fee a beautiful Hall or 
 fine Apartment of any Coft, that is not fet out with Pictures of Beg- 
 gars, Obfcenities, a Geneva-Stall, Tobacco-fmoakers, Fidlers, nafty 
 Children eafing Nature, and other Things more filthy. Who can en- 
 tertain his Friend or a Perfon of Repute in an Apartment lying thus 
 in litter, or where a Child is bawling, or wiping clean ? We grant, 
 that thefe Things are only reprefented in Picture : But is not the Art 
 of Painting an Imitation of the Life ; which can either pleafe or loath ? 
 If then we make fuch Things like the Life, they muft needs raife an 
 Averfion. They are therefore too low and unbecoming Subjects for 
 'Ornament, efpecially for People of Falhion, whofe Conceptions ought 
 to furpafs the Vulgar. We admit indeed that all this is Art, or at 
 leaft called fo, when the Life is thereby naturally expreft ; but how 
 much the beautiful Life, skilfully handled, differs from the defective 
 Life of modern Painters, let the Curious determine. It's certain that 
 Men (and Beafts too) have each a particular and different Inclination to 
 particular Things ; whereby they love what^s agreeable to their Na- 
 tures, the one good, the other bad, becaufe (as fome pretend) they 
 pre governed and influenced by certain Constellations happening at their 
 Births : This at leaft we know, that one Man inclines to Hunting, and 
 No. 6. R a Coun- 
 
 * The Followers of Bumboccio> a celebrated Painter of mean Subjefb. 
 
i go Of Things Antique and Modern: Book III. 
 
 a Country-life ; another, to War, Strife and Contention ; another to 
 Merchandife and Deceit ; this, to Politicks and great Things ; that, to 
 Pleafures, &c. So that in each we difcover what his Nature and Paffion 
 is prone to. 
 
 But let us reflect on the two Arts, Noble and Ignoble ; or Antique 
 and Modem, and fee how much they differ both in Objects and Execu- 
 tion. The Antique is unlimited, that is, it can handle Hijhry, facred as 
 well as profane, Fables and Emblems both moral and fpiritual; un- 
 der which three Heads it comprehends, all that ever was, is, and ft all 
 be ; the pafi, prefent and to come ; and that, after an excellent Manner, 
 which never alters, but remains always the fame : The modern, contrari- 
 ly, is fo far from being free, that it is limited within certain narrow 
 Bounds ; and is of fmall Power ; for it may or can reprefent no more than 
 what is prefent, and that too in a Manner which is always changing : 
 What is pafi and to come is without its Power ; as alfo Hi/lories, Fables and- 
 Emblems, as well poetical and philofophic as moral. Hence we may judge 
 what the modern Art of Painting is, and why it cannot be called noble ; 
 much lefs have any Harmony with the antique. I could affign more 
 Caufes for this Difunion, but lhall at prefent omit them for two Rea- 
 fons ; firft, becaufe Men's Judgments are fo various ; and each argues 
 according to his Paffions and Inclinations, in Proportion as he likes or 
 diflikes a Thing: Secondly (which is the principal) that I may not be 
 thought to raife any Sufpicions of Partiality or Prepofleffion. But why 
 fhould I reftrain my Thoughts ? Let me fpeak plain in Spite of others j 
 I fay then, that altho' modern Things feem to have fome Prettinels, 
 yet they are only to be efteemed as Diverjions of the Art. I moreover 
 maintain, that fuch Painters, as never produce more than one Choice 
 of Subjects, may truely be ranked among Tradefmen; fince fuch Re- 
 prefentations cannot be called an Exercife of the Mind, but an han- 
 dycraft Trade. 
 
 By fuch Remarks as thefe, we may fufficiently perceive, that from . 
 Apprehenjion, Knowledge and Judgment fpring the Luftre and Elevati- 
 on of the antique Art of Painting ; and contrarily that Ignorance, -Neg- 
 ligence and Self-will debafe and fubjecl: the modern : So that the Ancients . 
 have not improperly placed Minerva by the one, and Midas by the 
 other; intimating by the former, Skill in the Art, Practice, Careful- 
 nefs and an heavenly Talent ; and by the latter, Imprudence r blind Zeal» 
 worldly Defetls and Hindrances. 
 
 But if any on£ would perhaps examine,, whether there be not a 
 Means to make the Modern noble, as well as the Antique; that they 
 might both march together, they would find it to be Labour in vain; 
 
 fince 
 
Chap. i. Of Things Antique and Modern. 131 
 
 fince Defers once got footing are not eafily remedied : But further, 
 we often hear with Wonder, that Painters perfuade one another that, 
 in handling a Subjea, 'tis enough to follow Nature, tho' fhe be defec- 
 tive ; as crooked, lame, fquint-ey'd, or blind ; and that when (he is imi- 
 tated with a delicate Pencil, that is sufficient; and fuch is their Zeal and 
 extraordinary Pains, that one paints for that end the Air of his Wife, 
 tho' ever fo ugly, with all her Freckles and Pimples very exactly ; 
 whereby the Agreeablenefs of a beautiful Woman'sFace is quite loft : An- 
 other chufes his clownifh unmannerly Maid-fervant for his Model, and 
 makes her a Lady in a Saloon : Another will put a Lord's Drefs on 
 a School-boy, or his own Son, tho' continually ftroaking his Hair be- 
 hind his Ears, fcratching his Head, or having a down-look ; thinking 
 it fufficient to have followed Nature, without Regard to Grace, which 
 ought to be reprefented ; or having "recourfe to fine Plaifter-faces, 
 which are to be had in Abundance. 
 
 The beautiful and well-compofed Airs in a Piclure of many or few 
 Figures, have a great EfTed on the Minds of the Knowing ; of which 
 the Ancients were thoroughly fenfible ; for in the moft perfeft Bodies 
 they made the Face chiefly to excel in Beauty and Agreeablenefs. No 
 one of Judgment will deny, that a beautiful and well-carriaged W r o- 
 man has fuch an Afcendant as moft effeaually to move her Beholders 
 in two different Manners, and by two contrary Paflions ; under Misfor- 
 tune or in raging Pain, (he will pierce a Man's Heart, and move him 
 to Compaffion ; and when ihe entertains us on any joyful Occafion, 
 with Singing or Laughing, the will at once delight us : A tlownifh 
 Woman contrarily, will not produce any fuch Eff e as ; for her Behold- 
 ers, thro' her Unmannerlinefs and fimple Behaviour, defpife her Mirth, 
 and mock her ridiculous Sorrow. 
 
 What great Defedt do we not ftill find in modern Painters, when they 
 ufe, or rather abufe, the Life ; not doing like thofe, who being accuf- 
 tomed to a nobler Manner, view the Life with Knowledge and Judg- 
 ment, that is, not as it ordinarily appears, but as it ought to be, in its 
 greateft Perfection: Whereas the others, blinded by Cuftom, have no 
 fuch Nicety ; becaufe they imitate the Life juft as they fee it, without 
 any Difference : We even fee them make it more deformed than Na- 
 ture ever produces ; for the more mif-fhapen Faces Bamboccio, Oftade y 
 Brouwer, Moller, and many others made, the more they were efteem'd 
 by Ignorants: By which low Choices we can eafily judge, that they 
 were Strangers to Beauty, and Admirers of Deformity : However 'tis 
 an infallible Rule, that daily Cuftom and Converfe with People like 
 
 R 2 our* 
 
1 3 % Of Things Antique and Modern. Book Hi 
 
 ourfelves, contribute much to it. Thus Deformity and Vice are pre- 
 ferred to Virtue, and what fhould be (hunn'd fought; whereas he who 
 is fenfible of Virtue will always endeavour to efcape Error. 
 
 CHAP. II. Method for reprefenting what is City-like, or elegant 
 
 Modern. 
 
 TH E continual Changes in worldly Things afford us plentiful 
 Matter for modern Manner, without recourfe to Hiftory, Fables 
 or Emblems ; even fo much as to be endlefs ; as may be gather- 
 ed from the Affernblies for publick Worfhip, Pleadings in Courts, 
 Plays, Family-occurrences, and the like : All which we perceive to 
 be either majeftic, amorous, forrowful, or otherwife. Thofe Things, 
 low different foever,can be reprefented in the antique Manner as well as 
 in the modern, provided each keep its Quality ; as I have already intimat- 
 ed, and ihall further infift in the fubfequent Examples ; which can be 
 handled in both Manners alike natural and proper, without either 's bor- 
 rowing any thing from the other, but the Subjetl. This I think worthy 
 of Remark; and the rather, fince, to my Knowledge, no Author, 
 treating of Things Antique and Modern, has faid any thing touching 
 it. 
 
 Fra. Mieris has not only curioufly followed his Matter Gerard Don, 
 in the elegant modern Manner, but is, in fome Things, his Superior ; 
 and the rare Pouffin, and Raphael, Prince of the Italian Painters, ex- 
 cell'd in the Antique-: Let us then follow their Examples in what is 
 mod agreeable to our Gufto's; and tho' the latter far exceed the for- 
 mer in Noblenefs, it's however more commendable, to be like a good 
 Mieris in the modern Manner, than a bad Raphael in the antique. Tho' 
 I remember to have feen a Picture of old Mieris, which, as often as 
 I think of it, furprifes me; it was an half-length Figure, about the 
 Bignefs of the Palm of the Hand, reprefenting the Art of Painting, 
 holding a Vizor in her Hand j its Air, Head-attire, Drefs and Furni- 
 ture fo very beautiful and truly antique, that I never faw the like done 
 by any other modern Matter, how skilful foever. Whence it appears, 
 how rare it is for a modern Matter to give into the Antique. ; 
 
 Let us now reprefent the Cafe of Parents permitting their Children 
 to take fome Diver /ions in Bathing : A Defign which can be as well ex- 
 c-cutedin the Antique as the modem Manner. The Bagnio comes for- 
 ward 
 
Chap. z. Of Things Antique and Modern. 133 
 
 ward in the Piece, having a Defcent into it of two Steps : The Boys, 
 from 12 to 15 Years old, about the Water and in it, are naked: A 
 Daughter, of 20 Years of Age, is feen with a fine white Linnen 
 Cloth over her Body, in order to cover what Modefty conceals, and as 
 is cuftomary on men Occafions ; neverthelefs her Arms and Part of her 
 Legs are bare ; ihe is coming up the Steps on the left Side : One of 
 the aforefaid Boys holds her raft by a Flappet of the wet Cloth, in or- 
 der to prevent her going up : Further behind, near a Bed, the eldeffc 
 Daughter, about 25 Years old, appears almoft unfhifted ; and near 
 her, a Maid-fervant to put the Cloth about her : The Father we repre- 
 fent, dreft either in his Cloaths, or a Japan Night-gown, ftanding on 
 the Brink of the Bagnio, and laughing at the Boys who are in it, and 
 playing their Tricks : One of them is ftanding with his left Leg on the 
 Steps, and with the other Foot juft touches the Water ; the youngeft Boy 
 lies on his Belly extended on the lowermoft Step, plaining with his 
 Hands in the W^ater; the Cloth of the Daughter, who is ftepping out 
 of the Bagnio, dropping wet, fticks fo clofe to her Body, that the Naked- 
 nefs of the Members appear tranfparently through it: The Mother all 
 this while is bufy in ferving fome Sweet-meats on a Table covered 
 with a Napkin, near which, a Child, of 2 or 3 Years of Age, is fitting 
 in a Chair in his Shirt ; to whom fhe offers a Macaroon. Somewhat 
 further are feen filk Gowns, Petticoats, velvet Scarves, Hoods, &c. 
 hanging on Pins : On a Table are lying pearl Neck-laces, Bracelets and. 
 other Trinkets : In fine, the whole Difpofition is moft orderly, natural 
 and beautiful. As for the Boys Cloaths, to wit, Coats, Hats, Breech- 
 es, Stockings, Shoes, £sfc. they lie on the Brink of the Bagnio. 
 
 Now I refer it to the judicious Reader, whether the Daughter, 
 who, on the left Side, is ftepping out of the Bagnio, ought not, not- 
 withstanding her being covered with the Cloth, to be reprefented, 
 beautiful and (hapeable in her Arms, Legs, Hands and Feet, nay, e- 
 ven her Body alfo, fo far as the Nakedness appears thro' the w 7 et Cloth r 
 Her Modefty appears evidently by her baftiful Look : What a Carriage 
 fhew the Feet and whole Body, while Ihe endeavours to cover the- 
 Parts which Modefty conceals ! And how modeftly does ihe ftep up, in- 
 ftead of expofing thofe Parts by a wanton Gate ! I ask further, whe- 
 ther the Boy, who is flopping her by the Flappet of the Cloth, ought 
 to be lefs beautiful and well-made than the Father in the flowered Ja- 
 pan Gown? The Boy the fame, who lies extended on his Belly ; in 
 whom muft appear Innocence and Childiihnefs : The eldeft Daughter in 
 her Bloom, well defcended and virtuoufly educated. To whom lhall we 
 
 liken; 
 
Of Things Antique and Modern. Book III. 
 
 liken her? Whence muft we fetch her Beauty? And whom muft we 
 ufe for a Model ? A vulgar Perfon, or one of a better Appearance 
 Even this latter would be inefficient for the Purpofe, if not well edu- 
 cated and fme-carriaged ; becaufe Beauty without Grace looks miihapen 
 and ftJfTY This Virgin then, who is, except in her Feet, quite naked, 
 ought principally to be painted as beautiful and agreeable as a Grecian 
 V mus ; I mean not, a wanton one, but an * Heavenly one, /. 'e. a vir- 
 tuous one ; for as much as the Soul differs from the Body, and the Bo- 
 dy from the Drefs, does Nobility from Commonalty, Virtue from De- 
 fect. If any one ask, where he (hall find thofe Beauties ; I refer him 
 in the firft Place, to the Books which treat of perfecT: Proportion • 
 wherein true Grace confifts : Whilft he is ftudious in thofe, he ought 
 to have the beft Plaifter-figures before him, in order to exercife his 
 Undemanding, and thereby acquire a folid Judgment. If it be again 
 objeded, that the Piaifter is not eqiial to living Nature, I own it - for 
 I mean not, that the Artift fhouid paint Flefh-colour after them 'but 
 get a perfeft Idea of their f Beauty, Grace and Agreeablenefs/both 
 general and particular ; whence Perfeftion fprings ; for the Colouring is 
 evident, and eafy enough to be found in the Life, as I could prove in 
 ieveral Inftances of fome ordinary Painters who coloured well ; who 
 before they had made much Progrefs in the Art, were cried up for 
 great Men, and yet, having any Thing extraordinary to do, were not 
 able to sketch well an Head, Hand or Foot. 
 
 The modem Painting can therefore not be accounted Art, when Na- 
 ture is fanply followed \ which is a meer imperfea Imitation or defec- 
 tive aping her. Even, were a Thing reprefented ever fo natural, well- 
 ddigned and properly ordered ; the Condition, Manners and Cuftom 
 of the Country well obferved, and the Colouring moft exacl:, yet th~ 
 Knowing will not think it artful : But when Nature is corrected and 
 improved by a judicious Matter, and the aforefaid Qualities joined to 
 it, the Painting muft then be noble and perfeft. 
 
 I fay therefore, with refped to the Naked, whether of Man, Wo- 
 man or Child, that when 'tis not exhibited moft beautifully, or in its 
 due Proportion, the modern Painting cannot deferve the Name of Jrt- 
 and with good Reafon, fmcethis is the only Method whereby to make' 
 thofe two unlike Sifters accord. 
 
 Van Dyk, never enough to be commended, gained Excellence in the 
 antique as well as the modern Manner, by ftrictly following the afore- 
 iaid three Graces in both j and he thereby acquired the Epithet of 
 
 Match- 
 
 * Venus Urania. f The Three Grans. 
 
Chap. a. Of Things Antique and Modern; 
 
 Matchkfs : Let us therefore follow his noble Example in what made 
 him fo famous ; fmce he is the firft who carried the modern Manner fo 
 high as to gain it the Name of Art. Whence we may eafily conclude, 
 what great Difference there muft be, between a Painter who makes 
 the modern or defective Life, his Study and Excellence, and one who 
 follows the Antique , or makes a thorough Inquiry into every thing that's 
 beautiful and perfecl : The Difference is even fo great in every refpedl, 
 that I cannot but wonder at it ; efpecially, when I confider how much- 
 greater the Number of the former Sort is, and how they daily increafe. 
 I wonder, I fay, that now-a-days Virtue is fo little heeded} Virtue, 
 which took its Rife from Heaven, is now, as formerly the godly ^ 
 Aftrea did, flown thither again \ and Vice, contrarily, which fprung 
 forth of f Erebus and black Earth, keeps its Station. But it cannot 
 be otherwife, fince blind Love alone rules, and an || Anteros is no more. 
 The Reafon of fo great a Difference can be attributed to nothing elfe, 
 but the different Inclinations of Painters, to Objecls agreeing with their 
 Tempers. 
 
 They, who content themfelves with following defective Life, will 
 never produce any thing perfect* or deferve the Name of artful Maf- 
 ters } becaufe not knowing, or not caring to know, what is beft, they can- 
 not fo much as ftrive at it : To which add, another Mifchief ; they 
 more eafily judge of what is bad than good as I (hall explain my felf i'q, 
 the following Example. 
 
 A young Man as a Painter with Pallet and Pencils, attended by Zeal s 
 is led, by a blind Cupid, to the Figure of ' Nature, whofe Face is co- 
 vered by Vulcan with a Veil. The Sun behind the young Man enlight- 
 ens the aforefaid whole Figure. Mercury, on a Cloud, with hlsCaduceus 
 in one Hand, holds a Star over the Artift's Head in the other. The 
 Meaning is this. 
 
 Nature 
 
 *^JJrea, or Uprightnefs; Sincerity, Love and all heavenly Virtues are underilood by her. She was 
 the Daughter of one of the Titans and Tbemis, according to Hefiod: Bat Ovid calls her, the Daugh- 
 ter of Jupiter and Themis. She came from Heaven in the Golden Age, and when Vice and Cor- 
 ruption got footing, flew thither again. 
 
 f By him is underilood Hell and the Night. Some name him the God of Hell, and fay he wa-. 
 married to the Night. Alio an HelUJh ' River, of which Virgil fmgs thus, in his jEtieids. 
 
 • ■ « i Hi us ergo 
 
 Venimus cif magnos EreU tranavimus Amneis. 
 
 From Erebus and the Night ate brought forth Lies, Envy, Stubbornnefs, Poverty, Sicknefs, &c. 
 
 |J Counter- love, Son of Venus, and younger Brother to Cupid, See Suidas, Paufanias ) Porphir^ 
 &c, 
 
1 3 6 Of Things Antique and Modern. Book III. 
 
 Nature is the Painter's Objeft ; the Sun reprefents Knowledge ; Vul- 
 can, the grojs Part of the Air, or Earthinefs ; and Mercury, inevi- 
 table Fate. The reft explains itfelf. Thus much touching a modern 
 Painter. 
 
 Another Emblem may have this Difference, that inftead of Vulcan's 
 covering the upper Part of Nature with a Veil, Pallas is taking it 
 off; and Anteros introduced inftead of Cupid: The Meaning is, that 
 Judgment by Pa lias (which fignifies JVifdom) governs the upper and 
 moft perfect Part ; and difcovers to the Soul all it needs to know ; when 
 Anteros fignifying Love to Virtue, is leading the Painter, attended by 
 Zeal, to it. 
 
 But to fpeak ftill plainer, we (hall fubjoin a third Ordonnance. 
 
 We reprefent two young Men of equal Age ; the one (landing on the 
 Ground before the Figure of Nature ; and the other, on one Side, or 
 behind him, fomewhat raifed on a Stone or Step : By the former is 
 placed Vulcan, and by the latter, Pallas ; the one fignifying Defett or 
 Earthy Parts, and the other, the Soul or Perfection. Let the Figure 
 of Nature be enlightened by the Sun, and caufe triangular Rays to 
 proceed from thofe young Men's Eyes upon it ; the Rays of the for- 
 mer extend from the Feet up to the middle ; and thofe of the latter take 
 the whole Figure. Let us now judge, when the Sun reprefents Know- 
 ledge, which of the two young Men can fee and comprehend the moft, 
 and is moft perfect, he who views the Figure but half-way, or he who 
 examines it up to the upper Parts. Whence we may learn, that the 
 Mind and Judgment are beyond the Hand and Pratlice, which, 
 without Theory, are of no Worth. 'Tis Art to produce fomething which 
 we have not in Sight; but mere copying and aping to imitate what we have 
 before us. 
 
 But let us go further, and confider, whether the foregoing Exam- 
 ple cannot be applied to the Cafe of the Lovers of the antique and mo- 
 dern Manner. 
 
 We fuppofe then two Lovers inftead of two Painters, and take the 
 Art of Painting, inftead of Nature, for the Object ; which they, like 
 the others, view, the one intirely, the other but half-way : Thus he, 
 who comprehends the Figure throughout, knows moft, and has the 
 beft Knowledge, and is confequently a greater Lover ; when the other 
 is obferved as a Lover of low Things, and ignorant of the more noble : 
 Of this latter Sort we find the greater!: Number in our Countries. 
 
 It's a certain Pofition, that fome Men, rho' hinder'd in their Youth 
 by an ordinary Education, from attaining fublime Thoughts and great 
 
 Things, 
 
Chap. % Of Things jintique and Modern, 137 
 
 Things, can alter in Time by Art an d Exercife ; even conquer their 
 innate Difpofitions, and fit themfelves for noble and excellent Things ; 
 fo that we need not wonder, that Demofthenes was not more eloquent 
 than Demades, who, tho' he Teemed as if Nature had not beftowed on 
 him either Tongue or Speech, yet became fo eloquent, that his An- 
 gular Example (hews, there's nothing impoffible to Art; nay, few De- 
 fects, which, like Demades, Diligence and Labour cannot overcome. 
 Do we not read of Heraclides, that he became a Philolopher in fpite 
 of Nature and Education ? Why does Socrates, not prone to Virtue, 
 become virtuous ? Wherefore we need not wonder, that many great 
 Men have obtained great Endowments, tho' naturally unfit for them : 
 And from hence we may infer, that Art and Exercife are of more 
 Worth than the Productions of Nature. 
 
 I have not yet made mention of feveral Men of mean Extraction, 
 who, tho' they fpent many Years with Pleafure and Affiduity, in low 
 Imployments, yet afterwards arrived, to general Surprize, at the Top 
 of their Art; as is faid of Poly dor o da Caravaggio, who, in Raphael's 
 Time, having been an Hod-man to his 1 8th Year, became afterwards 
 a great Matter : The fame was the Cafe of Quintin Matfys, who hav- 
 ing been, to his 20th Year, a Smith, gave into Painting, and much 
 furpafled his Cotemporaries. Martin Hemskirk, a Country-man's Son, 
 Andrea Mantegna, a Cow- herd, and many others of mean Birth alfo 
 went great Lengths in the Art. 
 
 Was not, among the ancient Philofophers, Protagoras, a Country- 
 man's Son ; Pythagoras, an Engraver's ; Iphicrates, General of the J- 
 thenians, a Taylor's ; the Orator Demades, aforefaid, a Sailor's, and 
 the Mantuan Maro, Prince of the Latin Poets, the Son of a Potter? 
 Even the Mufes themfelves were poor ; their Nobility fprung not from 
 their Birth but their Science. 
 
 We could give many more Inftances of this Kind ; but, not to feem 
 tedious, fhall proceed to 
 
 CHAP. III. The Nature of City-like Subjects ; which daily afford 
 plentiful Matter for a modern Painter, 
 
 4 
 
 S the Genius of Artifts differs, one leading to the fublime Man- 
 ner, another to the common, even to the meaneft, fo we find 
 o. 6. S 
 
 our- 
 
i g 8 Of Things Antique and Modern. Book III. 
 
 ourfelves obliged, to treat of all Parts of the Art, in order to be alike 
 ufeful to every one. 
 
 We have already obferved, that there are three Sorts of People, 
 the courtly or high ; the Citizen or Commonalty ; and the mean or 
 poor State ; the rirft is fpoken of in the foregoing Book of Ordonnance ; 
 and the fecond (hall now follow. 
 
 We fuppofe, that every Artift endeavours to excel in his Choice of a 
 Subject ; that fome feek Fame and Money; others, Money and Fame; 
 others, Money only : At the fame Time we think it no lefs artful, to 
 reprefent a Jeft than a ferious Matter ; a Countryman, than a Courtier, 
 or an Afs, than an Horfe, fmce either requires good Skill to exprefs it 
 properly. 
 
 Altho' there's a great Difference between Citizens and Courtiers, 
 yet the one as well as the other may excel alike in Beauty and Good- 
 nefs ; 'tis Grandeur alone that makes the Diftin£tion between the City 
 and Court ; for Luxury and Pride are peculiar to the latter, but Mo- 
 defty and Temperance to the former. 
 
 Having premifed this, it will be eafy to exhibit plainly, the fur- 
 ther Circumftances, as Occafion fhall call for them ; firft obferving, 
 that as the City-life is peculiar to us, with its daily Occurrences of Af- 
 femblies, Paftimes, Family-affairs, and other Particulars, mentioned 
 in the preceding Chapter; fo 'tis the more eafy for a Painter to make 
 fuch Subjects his Practice ; efpecially one who finds himfelf inefficient 
 for the grand Tafte, for whofe Sake we give the following Schemes. 
 And firit an 
 
 Example of Intr eating and Refufing. 
 
 Two Virgins are feen at a Table, drinking Tea ; the youngeft is in 
 her Within-door Drefs, and the other, a Friend paying her a Vifit ; 
 each has her Cup and Saucer ; that of the youngeft ftands filled before 
 her, and fhe has the Tea-pot in her Hand, in order to fill the Cup of 
 the other, who, having turned it down, fets it on the Table ; fhe is 
 friendly intreated by the other to drink another Difh ; as if fhe faid, — 
 Fray, dear Ifabel! one Dijh more\ but a Servant entring the Room 
 to call her away, fhe refufes it, with her Hand on the Tea-pot, to hin- 
 der filling, feeming to fay, / thank you heartily ; fill no more. 
 
 Thefe two Paffions caufe two contrary Motions in the whole Body, 
 Hands, Feet and Face. The Mother, who is letting in the Servant 
 with his Hat under his Arm, holds the Door half open, and is fhew- 
 
Chap. 3. Of Things Antique and Modern. 139, 
 
 ing him his Miftrefs; the opening of the Door difcovers a Sledge, 
 (the ufual Carriage of Holland) with which he is come to fetch her. 
 
 Now, in order to exprefs more plainly this Rifing from the Tea-ta- 
 ble, we may place another Virgin at it, near Ifabel ; who, looking to- 
 wards the Door, feems to rife and fet down her Cup : The Man we 
 may make approaching his Miftrefs, with a Letter in his Hand ; and the 
 Mother, ftanding at the Door, and looking : A little Boy may alio 
 properly ftand at the Table, who, ftealing a bit of Sugar out of the 
 Box, is watching his Sifter, to fee whether ihe obferves it. Thus the 
 Matter may ftand with refpecl to thefe two Virgins. 
 
 Have we a mind to reprefent the fame Occurrence by Gentlemen, we 
 ought only to change the Tea into Wine; the Tea-pot into a Bottle; 
 the Cups into Glafles ; the Tea-equipage of Kettle, Chafing-difh, &c. 
 into a Ciftern, according to the Seafon ; and the Mother into a menial 
 Servant ; the Apartment, if in the Summer-feafon, to be in a Gar- 
 den-houfe ; and, in the Winter, a Chamber, with an Entertainment, 
 or Collation. 
 
 Such Subjects as thefe are very commendable, and may be nobly 
 difpofed, to the Credit of an Artift: But he muft avoid handling Cot- 
 tages, Brandy-Jhops, Ale-houfes, Bawdy-houfes, Corps-de-Gard, and the 
 like. 
 
 We fhall exhibit another Example of daily Occurrence ; whereby 
 appear more PaJJions ; in order to ihew, that they muft not be wanting 
 in fuch Reprefentations. 
 
 E X A M P L E II. Of an Accident which happened at a Painter's 
 
 Houfe. 
 
 The Artift had one Morning a fine Plaifter-figure and two Bufts 
 brought home j and fetting them out of the way on a Cheft of Draw- 
 ers, and then paying the Figure- maker, let him depart: A Boy of 7 
 or 8 Years of Age fitting near the Drawers, eating a Piece of Bread 
 and Butter, faw this ; who, after he had eaten, and his Father left 
 the Room, took a Chair, in order to view them near ; and thinking 
 them Play-things, muft needs take them down : but either thro' their* 
 Weight, or the tottering of the Chair, whereon he ftood, he dropp'd 
 the Figure. On this Noife the Father, apprehenfive of what had hap- 
 pened, came down into the Room, and beheld the Misfortune with 
 Sorrow. The Boy affrighted, looked about for a Corner to hide in ; , 
 and at laft run to his Mother, hanging about her Neck, and begging 
 
 S % her 
 
140 Of Things Antique and Modem. Book III. 
 
 her to fave him. She } tho' concerned for the Damage yet, defired the 
 Father to confider the Child's Innocence ; upon which, and the Intrea- 
 ty of his Daughter, who had rufhed into the Room, on hearing the 
 Outcry, he was pacified ; ordering the Maid-fervant to gather up the 
 broken Parts, and to fling them away : After which, he took the two 
 Bufts in his Arms, and returned to his Room. 
 
 Altho' this Accident be in itfelf of no great Moment, yet it will 
 furnifh Matter enough for a Mode-painter, as well as the contrary, to 
 fill three Cloths with ; being full of efficacious Paffions, Elegance and 
 Variety ; and as rich in Subject as if it were a Fiction. 
 
 It can't be denied, that this Subject, tho' no Hiftory, is of an hifto- 
 rical Nature, and requires as much Pains as the handling fome Ficti- 
 ons out of Homer or Virgil. We grant indeed, that the Nature of it 
 gives us Liberty of adding what Ornaments, or taking away what hea- 
 vy By-works we pleafe, fince we are Mafters of our own Inventions, 
 and can manage our Thoughts as we think fit, 'till we have brought 
 them to our Liking; which is a Licence not allowable in other Kinds 
 of Hiftory ; neverthelefs when we have a mind to exhibit an Acci- 
 dent like the preceding, we muft confine ourfelves to all the Particulars 
 of it, tho' no Hiftory ; becaufe by abating or leaving out any of them, 
 It would make no ImprefTion on us. This Example then, tho' only 
 an Introduction to fuch Sort of Compofttions, yet requires a punctual 
 Imitation ; and we get in time richer in thofe Inventions, by daily Oc- 
 currences. They muft even be pleafant to Painters in the grand Man- 
 ner, fince they recreate the Mind, require no Reading, and may in- 
 great Numbers be met with at leifure Times. Princes often difguife in 
 mean Habits for their Diverfion ; and Citizens and the Commonal- 
 ty in rich ones for the fame Reafbn ; becaufe any Sort of Variety 
 tickles ; and each feeks his Pleafure foreign to his ufual Way of 
 living. . 
 
 But 'tis more eafy for a Citizen to play a Citizen's than any other 
 Part; and for a Painter to keep to the Management of what he daily 
 meets with, than any Thing elfe ; fince the Mind is like a glafs Ball hung 
 up in the middle of a Room, which receives all the Objects prefent, 
 
 • and retains the ImprefTion of them. Thus Rubens and Van Dyk, by 
 daily converting with the Great at Court, were fixing their Thoughts on 
 what is fublime and lofty in the Art ; Jordaans and Rembrandt again, 
 on what is City-like ; and Bamboccio and Brouwer, on what is molt vul- 
 
 t ^arand mean* Thus each in his Way, according to his Converfation 
 nvrth People like himfelf. 
 
 The 
 
Chap. 3. Of Things Antique and Modern. 144 
 
 The following Accident is as remarkable as the former. 
 
 Ordonnance. 
 
 This Corrrpofition exhibits a Mother, holding a Looking-glafs before 
 her Child. This Woman fits upright, with her Back moftly againft 
 I the Lights clofe to a Window, which runs to the Point of Sight, and is 
 but half feen ; thro' which Window ihe receives her Light a little front- 
 ing ; her Drefs is a long dark blue upper Garment, and her under one, 
 having long Sleeves, is light gold Colour with purple Reflexions; with 
 her left Hand (he holds the Looking-glafs upright in her Lap ; looks at 
 the Child with a Smile, yet her Mouth fomewhat open ; her Head, in 
 Profile, inclines a little to the left Shoulder ; her right Hand behind her 
 refts on a fmall round Table, whereon lies an open Book, a Frame with 
 Needle-work, and fome Bobbins of Silk. The Child ftanding before 
 the Glafs, with a Fool's Cap on his Head, holds an Apple againft his 
 left Breaft in his right Hand ; and has his left Arm with a double Fift 
 up to his Ear ; and whimpering threatens to beat the Glafs ; he turns to 
 the left, looking angrily at it, and draws back with his right Leg : His 
 Coat, which is white, is loopt on the right Shoulder ; and his left Breaft 
 bare ; he's girt with a Rofe-colour Girdle. A Maid-fervant, ftanding, 
 behind him, is feen fronting, with her Backftde ftanding out fomewhat 
 to the left ; her Garment is greyifh Violet, with a white Cloth about 
 her Body ; in her left Hand ihe holds a Key againft her Breaft, and un- 
 der her Arm ihe has a Dufting-brufh ; her right Hand refts on her Mif- 
 trefs's Arm, and with her Head flung back towards her left Side, laughs 
 fo heartily as to difcover her Teeth ; her Hair is tied under a Cap, ex- 
 cept a black twifted Lock coming over her Bofom on the left Side ; her 
 Smock-fleeves are turned up to her Elbows. Clofe behind the Miftrefs 
 hangs a light grey Curtain, moftly ihaded by a Pier of the Willing be- 
 tween the Windows; on which, the Maid gives a large Ground-ihade, 
 which flings off the Child. On the left Side of the Compofition a Door- 
 is feen half open. Forward appears a Cuihion on a Cricket, whereon, 
 lies a Tabby-cat; andby.it, fome little Flowers or a withered Chaplet,. 
 and a Timbrel. 
 
 Now, with refpeft to this Reprefentation, coqfider the following, 
 
 • : ::' . . ; ;. c'wfj La* ; iifc^ Wr ; ill ..hi. £v«jfe 
 
i4i Of Things Antique and Modern. Book III. 
 
 Obfervations. 
 
 Here is fomethlng more to be remarked than the Tnnoccnce of the 
 Child ; he grows angry at feeing himfelf in the Glafs, imagining, that 
 another Child, becaufe his own Drefs is unknown to him, is come to 
 fright him, and get his Apple. The chief Defign of the Ordonnance 
 is, to ex pre fs exactly the proper Paflions of each Figure, according 
 to it's Nature and Quality ; which not only effectually appear by the 
 Poftures, but alio by the Dreffes affigned them, and their Colours ; 
 to wit, in the Child, Innocence \ in the Maid, Folly j in the Mother, 
 Moderation. 
 
 Altho' this Compofttion be no more a Fact than the former, yet it 
 afFeel:s our Paflions as a Truth ; and becaufe the Drelles do not quite 
 chime in with the Mode, it may, if well painted and executed, hang 
 "better near an antique Hiftory or Fable, than one of a Company of 
 Gentlemen and Ladies, whofe rich Drefles fhine with Gold and Silver. 
 Moreover the Drefles varying from the prefent Mode, the Picture will 
 maintain a Decorum, which will not abate in a Thoufand Years, if the 
 Circumstances of the By-works be well obferved. By introducing a 
 Timbrel inftead of Marbles, Nickers or Cockals, and giving the Maid 
 a Dufting-bruth inftead of a Broom or Mop, and placing by the Miftrels 
 an open Book or a Frame of Needle-work, inftead of a Spinning-wheel 
 or Pudding-pan, we fhall perceive the childilh Simplicity of the firft, 
 the Servitude of the fecond, and the Tutelage or Command of the 
 third. The very Cat lying by the dead Flowers on the Cricket, inti- 
 mates childilh Play, and a Fondnefs to fcatter all Things about the 
 Room. 
 
 If the Artift find no Tafte in reprefenting Things inthe antique Way, 
 and yet think the Modern too mean, fuch an one may very commend- 
 ably imploy himfelf in handling fuch Subjects as the following. 
 
 Pitlure of Virtue. 
 
 She appears fitting compofedly before a large Looking-glafs, the 
 Frame whereof is carved and gilt, and adorned with Monfters; fhe 
 views herfelf in it, holding a rounded Serpent twined with Laurel ; her 
 Afpect is fedate, her Sway majeftic ; and fhe's attired like a ROMA : 
 Near her ftand fome Children attentively viewing the Frame, and, with 
 a general Laugh, pointing at the Monfters. One of thefe Children 
 
 wears 
 
Chap. 4, Of Things Antique and Modern. 143 
 
 wears a Fool's Cap ; another has a Neft of Birds ; a third has a jingling 
 Iron ; a fourth, a Shell of Water, out of which he blows Bubbles 
 with a Reed \ and a fifth is playing with a Puppet \ thefe Children are 
 partly Boys and partly Girls. 
 
 The Senfe of this Table is eafy : But if the Curious want further 
 Scope, let them confider only, for Inftance, in what a good and bad Fa- 
 mily confifts, and they will find, that there are four Sorts of People: 
 Namely, In a good Family, a prudent and refpected Father ; a careful 
 and good-natured Mother ; obedient Children ; and humble and honeft 
 Servants: The Father gives Law $ the Mother enforces it to the Chil- 
 dren; and both they and the Servants obey: Again, the Father pu- 
 niihes ; the Mother reconciles, and the Children love and fear : A good 
 Father is alfo liberal in the Support of his Family ; the careful Mother 
 manages with Frugality, yet with Honour : All is in Peace and Order, 
 and Virtue their Aim. 
 
 In a bad FamiJy we contrarily fee the Father carelefs; the Mother 
 lavifh ; the Boys wanton ; the Girls pert ; and the Servants idling and 
 diihoneft : The Father indolent ; the Mother unreafonably indulgent to 
 the Children ; the Girls faucy and proud ; the Boys rampant and game- 
 fome ; and the Servants catching at what they can lay hold of, thinking 
 it beft to fifh in troubled Waters, and feaft daily at their Mailer's Ex- 
 pence. Again, there are other Objects in a divided Family ; when the 
 Man is pious and the Wife a Worldling, we fee frequently wicked Chil- 
 dren ; Contrarily, a worldly-minded Man and a religious W T oman often 
 have virtuous Children ; the Reafon is plain. 
 
 If fuch Things as thefe be well obferved, ^they furnifh abundance 
 of Matter, and produce an extraordinary EfTecT: in any Family-occurren- 
 ces, in what Condition and on what Occafion foever we confider them ; 
 whether in Profperity or Adverfity ; great and noble, common or in 
 the mean State 3 and as well in their Manners and Carriage as their 
 Drefs : And if thefe Things be well executed, whether in the antique or 
 the modern Tqfle, they are each Way commendable Subjects for an 
 Artift. 
 
 CHAP. IV. Continuation of the fame. 
 
 S a Connexion to what precedes touching the two aforefaicl Man - 
 ners, I (hall give fome further Thoughts, tho'lhortof what can 
 
j 44, Of Things Antique and Modern, Book IIL 
 
 be faid of thofe two unlike Sifters, fince the Field is fo large,that I could 
 write a whole Treatife on that Subjeft only. 
 
 Reprefentation of Vanity, Plate XX. 
 
 This Ordonnance exhibits an Hall, which receives its Light thro' a 
 large Window on the right Side: Behind againft the Wall ftands a Ta- 
 ble, on which is a large celeftial Globe : At the Foot of this Globe lies 
 an open Book : On the left Side of the Point of Sight is feen, thro' a 
 Door-way going down with Steps, a Vifto, with Part of a Fountain ; 
 and on the Side which runs to the Point of Sight feveral Vafes and Bufts 
 of famous Heroes : On the left Side of the Apartment is a Clofet a- 
 fcended to by two Steps, between two Hand-rails : In the middle of the* 
 Piece forward, we place a round Table, deck'd with all Sorts of Wo- 
 men's Furniture, as a Looking-glafs, Boxes, &c. At the Wmdow are 
 feen two Children, a Boy and Girl ; the Boy, with a Shell in his Hand* 
 is leaning on the Frame of the Window,and blowing Bubbles thro' a Reed 
 or Pipe ; the Girl, who is got on a Foot-ftool, fupports herfelf on her^ 
 right Hand, and, laughing, points with the other at a flying Bubble : 
 Upon which, the Boy looks back, holding the Reed or Pipe with his 
 right Hand in the Shell : On the right Side of the hindmoft Table ftands 
 aPhilofoph er in Study, with a Finger at his Forehead, and holding a 
 pair of CompafTes on the Globe in his left Hand : By the Clofet, which 
 is half open, ftands an old Woman looking forwards, with her Head 
 (idling, and rubbing her Hands : By the further Hand-rail of the Steps a 
 Maid-fervant is kneeling, and whiping the faid Rail with a Cloth ; having 
 by her, a Box with Sand, a Pot with Water and a ftiff Rubbine-brufh I 
 
 The Clofet is full of Plate : At the round Table forwards fits 
 
 a young 
 
 Lady, dreffing at the Glafs ; her Bofom is open, and (he is loofely dreft in 
 fine Linnen and Silk; with her left Hand fhe is bringing a Right-fide 
 Hair-lock over her Bofom, viewing herfelf fide- ways, and, with her right 
 Hand, taking a Pearl- Necklace out of a Box: The Apartment is of light' 
 Pifan Marble. The Philofopher's Garment is of dark Violet : That of" 
 the Boy at the Window, white; and of the Girl, blue: The Lady is 
 in white, and light red Changeable with Blue ; and fhe has a beauti-* 
 ful dark blue Girdle about her Waift : The old Woman's Garment is 
 greenifh blew, fomewhat faded, and the Sleeves faced with light Yel- 
 low : The Maid-fervant is in light grey, andhas a Pearl-Necklace about 
 her Neck : By the Steps lie a Pair of Sandals : The round Table is 
 
 covered 
 
Ftate XX. 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 4. Of Things Antique and Modern. 14^ 
 
 covered with a dark green Carpet : The Floor is of Stone and divid- 
 ed into Squares : It may alio be of Wood. 
 
 I (hall now, for certain Reafons, give the Reader my Thoughts of 
 the Difpofition of the Obje&s in this Ordonnance. But firft, he will 
 much oblige me, if he will pleafe to examine what I have hitherto 
 faid, and fhall fay on this Head ; becaufe he will then be enabled to 
 Budge, whether 'tis impoffible for me, as fome malicioufly report, to 
 pake the Difpofition of an Ordonnance, with the due Actions of the 
 Figures, and in their proper Places and Colours, according to Rule, 
 [becaufe of my want of Sight ; for would thefe Men themfelves but 
 open their Eyes, they would quickly perceive, that Difpofition depends 
 Son pofitive and certain Reafons. 
 
 Firft I difpofe the Apartment with the immoveable Objects j after thefe, 
 the Figures ; and laftly, the Colours ; whereby I affign Regularity. I 
 fhall fpeak of the moveable Objects at the fame time as I aftert the pro- 
 perTlaceof the Window, Tables and Clofet. 
 
 Now I do not fay, on which Side of the Table either right or left 
 the Lady is fitting ; becaufe 'tis needlefs, and fhe cannot be difpofed 
 otherwife than fhe is ; fince the Looking-glafs muft be placed againft the 
 Light ; confequently fhe ought to front the Light, that fhe may fee her- 
 felf in the Glafs; for how could fhe fhew her Breaft fronting, when the 
 Face is to be in Profile ? And were fhe to bring the Lock of Hair over her 
 iBofom with her right Hand, and to put the left on the Table, fhe would 
 fee without Sway, or good Pofture, and from Head to Foot in Profile. 
 
 Let us next confider whether the Philofopher could be otherwife dif- 
 pofed than where he is ; on the left it can no ways be, for two Reafons. i. 
 ■Becaufe the Globe is on that Side very much in Shade, and therefore 
 junfit for his Conclufions. 2. Becaufe he would then be partly in the 
 Light, and fhew almoft the fame Pofture as the Lady, where yet ought 
 to be an Oppofition. Again, were he ftanding before the Table, or 
 Globe, then we fhould neither fee his Motion, nor his Contemplation; 
 wherefore no Place fuits him better, or is more proper than where he 
 ftands : By which, this Advantage alfo accrues, that becaufe he now 
 receives more Shade than Light, the Lady thereby gets more Beauty 
 and Decorum : He can alfo more commociioufly view the Globe, and 
 make his Remarks by turning his Body ; becaufe one Side is juft front- 
 ing the Light, and the other contrary to it. 
 
 It may be the fame with the oldJVoman next the Clofet ; fince it's im- 
 Doffible, that fhe and the reft of the Figures can be otherwife difpofed 
 (with fo much Advantage and Decorum. 
 
 No. 7. T This 
 
14>6 Of Things Antique and Modern. Book III 
 
 This Defign could alio be well managed in Pourtraiture ; efpecially , 
 in a Family-piece of Man, Wife, Children and a Servant ; for we find 
 daily Occurrences enough agreeing with fuch a Reprefentation. # 
 
 But to difcourfe clearly on this Compofition, and to (hew, that it's 
 founded on good Reafon, we fhall make fome further Remarks upon it: 
 I fay then, that it will bear divers Intrepretations, tho', as will appear 
 below, they may be brought into one : The Lady at the Table and the 
 old Woman at the Clofet both fignify Vanity ; and yet it may poffibly 
 be laid, that the former may as well be taken for Pride, and the latter, \ 
 as ftanding before the Plate, and, with a fmiling Countenance, rubbing; 
 her Hands, naturally exprefs Covetoufnefs. The old Man, feen here as j 
 a Philofopher, may confequently fignify Philofophy. But I fay, that 
 this only feems to be fo ; becaufe, if the Explanation take that Turn, it 
 cannot be a compendious Emblem, but a confufed Medley of divers 
 Things, from which no Inference can be drawn. 
 
 Wherefore 'tis proper to explain our Thoughts of this Compofition; 
 thoroughly, even to the fmaileft Objeas, gradually coming forward from 
 the greateft Diftance. 
 
 - TheBufto's and Fountain in the OrTskip, as alfo the Servant clean- j 
 ins the Hand-rail, tend altogether to Vanity, as the old Man with the] 
 Globe reprefents vain Contemplation , for who can penetrate the Secrets j 
 of God and Nature ? The Senfeof the young Lady and old Woman: 
 we have explained before : Wherefore the true Meaning of this SubjecT:- 
 is only to {hew, that all is Vanity j which yet could not beabiolutely con- 
 cluded from it, were not the Children there ; fince the other Figures 
 and Objeas might be diverfly applied, to wit, to Pride, Covetoufnefs, j 
 Philofophy, and therefore the Children, who imploy themfelvesj 
 
 in blowing Bubbles, are now the Soul of the Work ; and without them, 
 there would be neither a Connexion nor Conclufion : Even each Figure] 
 would have a diftina Signification, and each call for a diftina Apart-] 
 ment : And tho' we were minded to exhibit different Paffions- into the 
 fame Piaure, yet fomething muft be appropriated to each, of them, in 4 
 order to ihew it's Meaning : For a Piaure is not in the fame Cafe with a j 
 Frontifpiece-plate, wherein is a general Reprefentation of the whole] 
 Subjea of the Book, viz. the feven Wonders, the twelve Months, 
 
 The aforefaid Defign is alfo not much unlike a true Hiftory; and 
 might likewife ferve for a Moral or Emblem : For each Figure has it's! 
 particular and proper Charaaer ; Men incline to ftudy Women to ga-j 
 ther Riches and Goods j Daughters grow up in Luxury, and mif-fpend 
 
 their,- 
 
Chap. 4. Of Things Antique and Modern. 147 
 
 their Time ; young and innocent Children bufy themfelves in Trifles ; 
 fo that on the whole, the Concluflon muft be, that each Perfon, in what 
 he inclines to, loves Vanity, 
 
 . If any one here objeft, that Jftronomy, Mathematicks and. Philofo- 
 phy are not Vanities, as being afcribed to wife Men, he muft know, 
 that wife Men themfelves are, by * fome, accounted Fools; wherefore 
 *\- Pythagoras, tho' an Heathen, would not be (tiled wife ; but a Friend 
 and Lover of good Difeourfes and Sciences. Knowledge often makes 
 wife Men prefumptuous, and prevents their confidering, with the Phi- 
 losopher, that Sciences are Vanity. Thus we fee daily, that the Rich 
 are haughty and difdainful ; the Handfome, proud and voluptuous ; tho' 
 Beauty and Pleafures, like a Morning-flower, decay with the Evening, 
 and we may well fay with the Poet, that Voluptuoufnefs is a Shadow, and 
 a momentary Delight ; and therefore 
 
 , Poor Creatures 
 
 They are, who covet Shadows and tranjient Happinefs. 
 
 All which Things occur almoft daily ; even in one and the fame Family ; 
 as we have more largely intimated in the preceding Chapter. 
 
 Some perhaps may cenfure me for introducing into the aforefaid Ex- 
 ample fuch a Trifle as a Pair of Sandals, which feem to belong to 
 the old Woman : But I fay, they are not Trifles, but proper for fuch 
 Women as make Idols of their Houfes, and chufe rather to go bare- 
 foot over their Floors than bedaub them, tho' they have their Maids 
 always at their Elbows with Woollen Cloths to clean after them. But 
 fince this Sacrifice to Neatnefs of Houfes is here, in Holland, too ob- 
 vious, we (hall urge no further, but, for Peace fake, filently reflect, 
 Oh ! the Vanity of a too fpruce Dutch PVoman : Even the Maid, as depen- 
 dant on the Miftrefs, humours her vain Defires ; however, fince thofe 
 ferviceable Creatures in their Conditions have likewife fomething, which 
 (hews Vanity, I give the Servant, in the Example before us, herCoralsor 
 Pearls about her Neck, altho' (he were as ugly faced as a Vizard, or like 
 the Peafants in Latona's Time, when turned into Frogs ; for how ordinary 
 foever thofe Women are, they think themfelves handfome, if they have 
 but a Coral Neck-lace and curled Hair ; wherefore 'tis plain, that fuch 
 Circumftances are needful, and have, in their Places, a good EfTea. 
 
 T 2 As 
 
 * The Sophifts termed Wifdom foolifh, fcandaious and vile. 
 
 f Pytbagorai of iamfo He rejeded the Name of wife, which was given him. 
 
148 Of Things Antique and Modern. Book III 
 
 As for the Ordonnance of Drefles i n this Example, M?fite-painters may 
 difpofe them as they pleafe, agreeable to their Choice : I have on- 
 ly sketched them here* to lhew, that we may reprefent a Vanitas as well 
 in the antique Manner as in the common W ay of M><&-painters* 
 
 CHAP. V. Of Drejjes. 
 
 WE need not doubt, whether the Art of Painting were, or 
 will be, otherwife, than 'tis at this Time, with refpeft to its 
 different Choices ; becaufe from the Beginning, there Were 
 ikMr-painters ; and as- each Climate has its particular Cuftoms in Dref 
 fing, fo each Nation follows its own Faihion ; whence it appears, that 
 anciently, as well as now, Men were of Opinion, that their own was 
 the beft, without giving any Reafon for it. The Eaftern Nations have 
 their particular Drefs-, and the Northern, theirs: Thefe laft prefer 
 Cloth, Wool and Furs before the fineft and thinneft Silks of the Eaft ; 
 and thus it fares with all other Drejjes. Each Nation, I fay, whether 
 Italians, Spaniards, French, &c. cherifties- its own Mode-, wherefore 
 'tis no Wonder, that Painters follow thofe, which beft fuit their Choice : 
 neverthelefs the Cafe of Art is, in this Particular, like that of Reli- 
 gion ; There is but one true \ the reft are Seels ; fo that the Drefs which 
 is the mofl co?iftant, and remains always the fame, is alfo the beft : Never- 
 thelefs we leave each Nation to its own Choice. 
 
 That the modern Paintings vary from time to time in Goodnefs, 
 and are continually decreafing in that Refpect, is not to be doubted ; 
 fince we have daily Inftances of it in many, which are full of Miftakes : 
 But let me ask, whether the Tufcan Order, which is the moft fimple 
 and ftrong, do not require a good Architect as well as the Corinthian,. 
 or beft. 
 
 The ikflwfe-paintings agree in all Parts with the antique Subjects, 
 In relation to Art, to wit, in Defign, Difpofition, Colouring, Light 
 and Shade, and By-ornaments, &c. 
 
 An ingenious Mode-painter ought to take Care, not to meddle with 
 the Antique, or to mingle the one with the other for that would be 
 an unpardonable Miftake ; fince he may be fufficiently furnifhed with 
 modern Matter for his Study. Is it not great Folly to introduce foreign 
 Words into a Tongue, which is of itfelf copious enough ? Why are 
 the learned Hooft and Huigens lb famous? Is it not becaufe of the 
 
 Force 
 
Chap. ?. Of Things Antique and Modern. 149 
 
 Force and Purity of their Stile ? Efpecially that of Vondel, who there- 
 fore is juftly called the Dutch Virgil. 
 
 We fee daily, how imperfett and defective the Fajhion is ; each Day 
 creates an Alteration, and each Mode we think beft, if it get but ge- 
 neral Approbation ; as may be proved, if we confider, how ridiculous 
 our Fore-fathers Habits feem in our Eyes, and confequently how much 
 he would be mocked, who lhould appear in one of his great Grandfa- 
 ther's j and would he not be thought a Madman ? The Cafe is the fame, 
 with refpeft to the old Reprefentation of Drefes, with their ftiff dou- 
 ble Ruffs, clofe-waifted and pinkt Doublets, &c. Does any thing 
 feem more odd to us? And are not fuch old Paintings, tho' well han- 
 dled, much flighted ? And what Reafon have we to think, that the 
 prefent Mode will better pleafe our Succeflbrs, when we ourfelves even, 
 diflike that of the Year paft. 
 
 Thofe who take to fuch a Choice are not qualified to handle any 
 Hiftory of Antiquity : How ridiculous would it be, to drefs Queen Ejt- 
 her in a ftiff-bodied Gown, bedeck'd with Ribbons, a Ruff about her 
 Neck, a wide and quilted Petticoat, lac'd Ruffles fetting clofe at the 
 Hands, and a Point-of-£/w/z Head-drefs, inftead of a Diadem, and eve- 
 ry thing elfe anfwerable ; and with her, King Ahafuems fitting in a 
 Spanijh Leather Chair, with a narrow crowned Hat on his Head, ^ a 
 Ruff about his Neck, a Ihort Doublet with long Sleeves, and over it, 
 a fhort Cloak lined with Fur, wide Breeches with Knee-knots, canni- 
 oned Stockings, Rofes in his Shoes, a Spani/h Dagger by his Side, 
 Gloves in his Hand, &c. and in the Offskip, Ham an in a red Waift- 
 coat with (liver Buttons, and a Linnen Pair of Drawers, (tending on 
 the Ladder with the Hangman, and a Francifcan Fryar at the Foot of 
 it, holding up a Crucifix to him? Would not this be a fine Ordon- 
 nance ? And yet fuch Things happen. 
 
 Now if it be asked, whether the Mode- painters, who paint Mar- 
 kets, Kitchens, and the like, are not to be reckoned in the Number of 
 Figure-painters; I fay, they are; fo far as they keep to fuch Subjecls^ 
 nay, were they to handle fictitious Stories, or even Parables, whkh 
 are tied to no lime • as, of Lazarus and the rich Man 5 of the Publi- 
 can Prodigal Son, and the like ; or any daily Occurrence ; fince fuch 
 Reprefentations are the more affeaing, as they (hew foreign Drefles ; 
 and foreign Modes being a Rarity, are not fo foon (Miked as our own, 
 But fuch Painters mult not meddle with Scriptural Fafts, or the 
 Stories of Ovid, Virgil*, afid others,, whkh are tied to Time,, as I have 
 before intimated- 
 
 \et. 
 
ijro Of Things Antique and Modern. Book III. 
 
 . Yet fuch is the unaccountable Rafhnefs of fome, that they dare re- 
 prefent a Sopkonisba intirely in the prefent Mode ; Velvet Gown, white 
 Sattin Petticoat trim'd with gold Laces, laced Ruffles, an Attire of falfe 
 Hair on her Head, white Slippers, and in an Apartment hung with 
 gilt Leather, with a Fire in it; and the Floor of Wood, wherein the 
 Grain and Knots are nicely obferved ; the Room furnifhed with Plufh 
 Chairs, fringed and brafs-nailed ; over the Chimney, large China 
 Difhes ; and againft the Hangings, Shelves with Tea-furniture ; a Par- 
 rot in a Copper Cage, &c. Beiides a Black feen coming, to prefent her 
 a modern Gold Cup, or a cut Chryftal Drinking-glafs on a Silver Salver ; 
 he is in a Livery, trim'd with Guimp-laces and a Shoulder-knot : Her 
 coftly Bed, even the Pewter or Silver Chamber-pot and Floor-matting 
 are not forgot. 
 
 Lucretia and Dido they treat in the fame Manner ; againft the Wall 
 of the Apartment of the latter, hangs a Plan of the Additions to Am- 
 fterdam, printed for Allarfr on the Dam, 
 
 Thefe Artifts would feemingly imprefs the Hiftories of Plutarch, 
 Livy, Tacitus and fuch Authors, on the Minds of the People, and yet do 
 it as ridiculoufly as the Poet, who, in order to make his Verfes known 
 to the World, laid them on a River running up to a Town, imagining, 
 that on the Paper's fwimming thither, it would be taken up and read, 
 and his Reputation thereby fpread ; but growing wet, it funk, and 
 happened to be taken up by a Mud-man, and flung, with the Mud, 
 into his Barge. Thus the Poet was difappointed. 
 
 Ye Artifts then, who are willing to improve, weigh well what you 
 are about; keep to the Edges of the Water, that, if ye cannot fwim, 
 ye may not drown ; fince he who is fearlefsof Danger, often perifhes in 
 it. The Goodnefs of a Knife lies not in a Silver Handle ; or that of 
 Wine, in a Gold Cup: Be informed in Truth; fince your Work, tho' 
 ever fo neatly handled, will not plead your Caufe to Advantage with- 
 out it. 
 
 Two Painters meeting on a Time, happened to have Words about 
 Precedence ; Antiquo, who thought himfelf the wifeft, would take the 
 upper Hand of Modo, without more Ceremony ; but Modo, who infift- 
 ed not lefs on his Honour and Reputation, would not yield to him ; 
 and, being fomewhat younger, and fturdy, punch 'd him fo violently 
 in the Breaft, that they both fell. After they had lain a while, and re- 
 collected themfelves, Modo began chiding ; but Antiquo laid- What \ 
 
 will you not give me the Precedence ? Not I, fays Modo, J am as good as 
 you ; and what ftgnify Words ? Draw your Sword, or elfe I will run this 
 
Chap. Of Things Antique and Modern. iyi 
 
 Knife into your Guts. This Treatment was too grofs for the proud 
 Antiquo \ wherefore, full of Rage, he clap't his Hand to his Sword, 
 and the Battle enfued \ which was very fierce and doubtful. All who 
 faw it flood amazed, calling out Gentlemen, Hold in, hold in ! But to no 
 Purpofe ; for each continued pufhing, tho' without Hurt to the other. 
 One Juftus happening to approach in the midfl: of the Fray, and per- 
 ceiving they were both his Friends, interpofed his good Offices, and 
 parted them. When they were fomewhat pacified, Juftus asked, what 
 induced them to fight with fuch unequal Weapons \ and fo rafhly to en- 
 danger their Lives. How, fays Antiquo, are you the only Man who do 
 not know, that Modo has forced and tranfported abundance of honefi Peo- 
 ple ? Has he not brought the chaft Lucretia and virtuous Sophonisba, 
 under falfe Appearances, from their own Countries to Amfterdam, in order 
 to make a J eft of them ? Don't you know how he has fubjecled the innocent 
 and pious Ffther, with the whole Court of Ahafuerus, to the Tyranny of 
 the Spaniards ? Moreover he robs me daily, and will not give Place ; now., 
 what think you, have not I juft Caufe of Complaint? Hereupon Juftus 
 asked, whether the Quarrel arofe from any Thing but Precedence j but 
 
 Modo, unwilling to hear an Anfwer, faid in Anger All that my 
 
 Lord lays to my Charge, 1 retort on him ; how many Things has he ftolen 
 from me? Helmets, Gauntlets, Stays, &c. Ah ! have you forgot that 
 knavifh Trick, which has mads fo much Noife in the World, when he con- 
 jured * Heliodorus, the Church-robber, out of Judsea, into St. Peter\f 
 Church at Rome, with Intention to fteal the facred Trea/ure in fpite of 
 the Pope ? But to cover his Dejign, and not to raije Sufpicion, in Cafe of 
 Mifcarriage, he difcovered the Plot to Pope Urban VII L who inflantly be- 
 ing carried thither in a Chair, asked the Robber, Whether he were not 
 miftaken ? and, Whether he did not know, that Jerufalem zvas meant, not 
 Rome? Do you think then, that the holy Father, had he looked back, and' 
 feen the High-prieft of Jerufalem in the Holy of Holies, ivouid have let 
 that Offender go unpunifhed ? What is your Judgment of this Sample, 
 fhould I give Place to Antiquo ? Pray, faid Juitus, let Reafon then take- 
 Place. Yet Antiquo bawled out — — Let me have my Buskins and Ro- 
 man CW^ of Armour, which he robbed me of, and I will acquit him of the 
 
 reft. To which Modo faid, ■ Firft reflore me my Great Grand-father 's 
 
 Helmet and Coat of Mail, which you made a PreJ'ent of to 7£neas, when 
 he was flying from Dardania ; you may keep the Gauntlets: But Antiquo 
 
 replied, Tour Great Grand-father's Armour I prefented to Domini- 
 
 chino, and the Gauntlets, to Rubens, who has beftowed them on one of 
 
 the 
 
 * z Maccab. iii, 
 
i j*x Of Things Antique and Modern. Book III. 
 
 the Life-guards of Thaleftris, Queen of the Amazons. The Conclufion 
 of the Matter was this ; Juftus advifed, fince neither could reftore a- 
 ny thing, that they fhould drink the Queftion, and take Care, for the 
 ture, not to fteal from each other. 
 
 I queftion not, but the Reader will, by this Story, fufficiently under* 
 ftand my Meaning. 
 
 We have formerly aflerted, that thofe who daily converfe with 
 mean and bad People, commonly become like them ; as thole contra* 
 rily who keep Company with the well-bred and virtuous, become good. 
 Cuflom, fays Horace, is a fecond Nature; and the Proverb intimate.;, 
 Keep honeji Company, and honeft thou /halt be : He then is happy, who, 
 having a true Senfe of good and bad, chufes the beft and moil: profita- 
 ble, and governs all he does by that Standard. He, who has accu- 
 ftomed himfelf to a bad Manner, cannot eafily get rid of it ; perhaps 
 will retain it all his Life: He, contrarily, who gives in to what is 
 good, will reject Evil, becaufe 'tis againft his Inclination. 
 
 Reafbning thus, 'tis eafy to apprehend, how beneficial 'tis for a 
 Tyro, to inure himfelf to any fuch fine Things as are proper for his 
 Study, and to reject the imperfecl and unneccffary. Too many Goods, the 
 famous Bar thole t ufed to fay, are no Goods. 
 
 Here, pray obferve an emblematic Ordonnance of a Painter de- 
 bauched by exceffive Reading of all Sorts of unprofitable Books, 
 in order to fhew, that none muft be ufed but fuch as are proper for 
 his Study; which Seneca affirms, faying, that we ought to ftudy few, 
 but good Books. The Caufe of the aforefaid Painter's Diforder may 
 be alio attributed o the vaft Quantity of ufelefs Prints, Drawings, 
 Sec. he confulted ; which are as great Enemies to the be/i Thoughts as an 
 Excefs in Books. 
 
 Here is feen an antique Table, laid with Boards, in a Painting 
 Room, and, in the middle of it, a Dijh with a Cake in the Shape of 
 a Pyramid, and by it a Cup. Four IVomen are fitting at the Table, 
 viz. Painting, Statuary, Architecture, arid the Art of Engraving, each 
 having her proper Marks of Diftin&ion. Judgment, leading Beauty 
 and followed by Virtite, is entring the Room, and approaching the 
 Table; where they are welcom'd. At which Inftant Prudence is driv- 
 ing thence Vice, reprefented as an hunch-back'd Dwarf, as alfo a Chi- 
 mera. The Room is hung with Hiftories, Landskips, Architecture, and 
 Prints. Antiquity is fitting in a Niche, holding fome Medals in her 
 Hand, reprefenting ancient Luftre. The aforefaid Door, where Judg- 
 ment, Sec. enter, is behind to the left ; and Vice, dec. on the right 
 
 Side 
 
Chap. ?. Of Things Antique and Modern. iyg 
 
 Side, are driven forwards out of the Room. The Chimera has Eagle's 
 | Claws, Dragon's Wings, a Serpent's Tail, long Neck, a Woman's 
 'Head, befet with Serpents, and the Belly full of hanging Teats. 
 
 Let us then ferioufly chufe, out of our Collection, the Materials 
 which will heft ferve our Purpofe, whether they be Plaifter-figures, 
 Prints, Drawings, Academy-figures or other Models j rejecting every 
 thing that's foreign to our Study. 
 
 Since we have hitherto fpoken of what is Modern, it will not be 
 amifs to make fome fhort Obfervations on the Antique. 
 
 He, who would nicely follow the Antique, ought to know, that it 
 conftfts in thefe two Qualities, viz. Beauty and Goodnefs : Beauty again 
 lies in a perfecl Proportion of the Members ; as we have fhew'd in the 
 feventh Chapter of the firft Book ; and Goodnefs in the Grace arifing 
 from the Motion of the Members ; which Motion ought to be free, and 
 without Exaggeration. Thus much as to the Nudities. 
 
 The Draperies, which are well caft, and fo adjufted as not to hin- 
 der the graceful Motions of the Members, are certainly the beft ; as we 
 evidently fee in the Works of Raphael, PouJJin, and fome others, who 
 pra&ifed the Antique. 
 
 The Ordonnance* Light, and what elfe is requifite in a perfect Piece, 
 ought all to be moft beautifully chofen. 
 
 In this Manner we mult alfo confider Landskip, Architecture, and 
 pther Embellifhments : All ought to be either pure Antique, or intire 
 Modern. 
 
 We lhall here fubjoin one other Ordonnance for the Conclulion of 
 this Book. 
 
 Ordonnance reprefenting a driving away of the Mode, or what is Mo- 
 dern, from the Antique. 
 
 Inftead of Beauty and Virtue, which in the former are led by Judg- 
 ment, we may introduce .here a beautiful and modefl young Virgin, attir'd 
 in thin Linnen, which difcovers the Naked ; on her Hand fits a Phce- 
 nix, and on her Head is a Chaplet of Flowers. Judgment may be 
 fet oft' with a gold Fillet or Diadem on its Head, and a Scepter in its 
 Hand. Inftead of deformed Vice, and the Chimera, we may exhibit a 
 flying young Damfel in a ftiften'd Gown and high, laced Head-drefs 5 
 with a fable Tippet about her Neck 5 her Arm-fleeves full of Lace ; 
 moreover (he has Shoes, Stockings and Gloves ; and under her Arm is 
 a Basket of Cto-ware, and Mufhrooms; which, by her rude Mo- 
 No. 7. U tlon > 
 
i Of Things Antique and Modern, Book III. 
 
 tion, ftie is dropping. Prudence is beating her with a Looking-glafs \ 
 holding in her other Hand an Arrow twined with a Serpent. The 
 aforefaid young Virgin's Chaplet ought to be compofed of fmall and 
 everlafting Flowers, viz. Ptarmica Juftriaca and Gnapkalium. 
 
 The Mujhrooms fignify, fhort Duration, or fudden Rife and De- 
 cay. 
 
 The Scepter of Judgment is a long thin Rod, with a Knob on the 
 Top. 
 
 The End of the Third Book 
 
 THE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK IV. 
 
 Of Colouring* 
 
 ****** S?*******»*************t***** ****** * **««*****'««»!« 
 
 CHAP* I. Of the Colours, and the ordering them. 
 
 T'S remarkable, that, tho' the Management of the 
 Colours in a Painting, whether of Figures, Land- 
 skip, Flowers, Architecture, &c. yields a great 
 Pleafure to the Eye, yet hitherto no one has laid 
 down folid Rules for doing it with Safety and Cer- 
 tainty. Contraft in Motion is founded on Reafons, 
 which, by Practice, we can, in a fhort Time, retain, 
 and inculcate to others ; as is alio the Divifion or Proportion of the 
 Members ; fince, according to Albert Durer, it may be mathemati- 
 cally demonftrated. The fame may be faid of Lights and Shades, by 
 means of Perfpe&ive. All this may be thoroughly learnt in our 
 juvenile Years ; but the difpofmg of Colours by and over each o- 
 ther, in order to fetch out a good Union and Harmony, is not, to 
 this Day, fixed on certain Principles. Meer Chance is herein our on- 
 ly Comfort. 
 
 U 2 An 
 
j $6 Of Colouring. Book IV, 
 
 An engraved, or etch'd Print, beautifully defigned and difpofed, and 
 agreeably lighted and (haded, is very commendable ; but a Picture, 
 which, befides thofe Qualities, requires an artful Diverjity of Colour- 
 ing , merits the high eft Praife. 
 
 Neverthelefs Mafters have, in their Colouring, their particular 
 Manners ; one has a faint Manner ; another, a dark one ; another, a 
 grey Manner ; fome have a flaring Manner ; others, a muddy one,. 
 isfc. occafioned by their not knowing, that Colours require an orderly 
 Difpofition ; like an ingenious Gardiner, who, in the Production of 
 choice, beautiful, and large Flowers, confiders what Ground is proper,, 
 and which needs Drynefs, and which, Moifture, and what Sorts thrive 
 beft in each; which require Sun, and which call for Shade; which 
 want Improvement from Pidgeon's Dung, and which from Dog's 
 Dung ; in order thereby to make a greater Advantage than other Peo- 
 ple do: In like manner, a Painter, if he makes thorough Inquiries in- 
 to the Matures and Effecls of Colours, and. againfl what Grounds they 
 are beft fet off, and will beft anfwer their Purpofes, (hall be convinced 
 that he gains a Point above others. By feeking much is found, and, 
 notwithstanding any Rubs in the way, we muff renew our Attempts. 
 
 How many Attacks have I made on this Secret 'ere I could make a 
 Breach in it? Had I not imitated Alexander, and cut the Gordian 
 Knot, I Oiould have been (till to feek. I ihall now gladly impart to 
 the Artift all my Difcoveries and Improvements, and refer it to his 
 Judgment, whether they be of any Moment. 
 
 The Number of the Colours is jtx j and thefe are di vided into two 
 Sorts. 
 
 The former Sort contains the Yellow, Red and Blue, which are call- 
 ed capital Colours. 
 
 The latter is a mixed Sort, confifting of Green, Purple and Violet 1 ; 
 thefe have the Name of broken Colours. 
 
 White and Black are not reckoned among the Colours, but rather 
 Potentials or Efficients ; becaufe the others cannot have their EfFe&s 
 without the Help of them. 
 
 Thefe Colours have aMb their emblematic Significations, and particu- 
 lar Properties. 
 
 The White is taken in general for Light ; and Black for Darknefs. 
 
 The Tellow, for Luftre and Glory. 
 
 The Red, for Power, or Love.. 
 
 The Blue, for the Deity. 
 
 The Purple, for Authority and Jurifdifthn. 
 
 The 
 
Chap. i. 
 
 Of Colouring, 
 
 The Violet, for Subjeclion. 
 The Green, for Servitude. 
 
 The Colours confidered in themfelves are certain Faculties, impercep- 
 tible, without the Interpofition of and laying on a Body ; like the Moon, 
 which could not receive her Light from the Sun, much lefs communi- 
 cate it to us, otherwife than by means of a Body. White is alio that 
 from which the Colours come forth, and the Body whereby they become, 
 perceptible to us. 
 
 In reference to the Art of Painting, the Colours give Life to alL 
 things ; without thofe it would be impoffible to diftinguifli between 
 Life and Death, Wood and Stone, Air and Water, Gold and Silver, 
 nay, Light and Darknefs : They have a particular great Power, unit- 
 ing by their Agreement, feparating by their Force and Crudity : They, 
 caufe fome Things to disappear in thin Air, and force others to appear 
 out of the Back-grounds. 
 
 Their Variety produces the utmoft Charms and Harmony, as well in. 
 Nature as in a Picture ; efpecially, when in the latter they are difpofed 
 by a judicious Hand j for what is more beautiful in a Landskip than aa 
 azure Sky, green Fields deck'd with a Thoufand varioufly-coloured 
 Flowers, differently-coloured Grounds, thisruflet, or yellow, that, green- 
 ox grey, as each requires ? Alfo the Ornament of the brown Cyprefs- 
 tree, the grey Willow, the fair Olive, the white Poplar, the green Al- 
 der, the red Fir, and joyful Linden, each according to its Nature : Add 
 to this the Diverfity of Stone-work ; how agreeable feems the Porphy- 
 ry of Tombs, the Serpentine-ftone Obelisks, the white Marble Vales 
 and Termes ? Even Architeaure receives a vaft Addition by the dif- 
 ferent Colours of Stones; as when the dark grey Stone, Free-ftone, 
 white Marble, and fuch like, are finely matched and put together ; and 
 the Building within, is adorned with red-fpeckled-greenilh Jafper, Por- 
 phyry and Marble; in. the Niches, Figures, and Bafs-releifs furrounded 
 with Ornaments of Gold, Silver, Copper and Alabafter j and the Floors 
 klaid with all Sorts of coftly Stones; as Lapis Lazuli, Porphyry and 
 variegated Marble, in order to pleafe the Eye.. 
 
 But all- depends on an. orderly Difpofition. 'Tis impoffible to effect 
 any Thing charming,, with fuch Coftlinefs, if thofe Colours be not duly 
 match 'd, and artfully placed : It is therefore highly neceflary, that the 
 Artiftknow perfectly their Natures and particular Effects, in order to, 
 proceed with Certainty ; as a good Writer, acquainted with Letters, 
 ieftows his Thoughts on Words only.. 
 
Of Colouring. 
 
 Book IV. 
 
 As for the Difpofetkn, it muft beobferved, that as in ariOrdonnance of 
 many Figures,- divided into Groups, one of thefe Figures is always the 
 principal, and to which all the reft muft be fubordinate, according to 
 their Ranks, fo 'tis the fame in the Colours, that they may altogether 
 produce a good general Harmony : Nay, were it neceffary to place the 
 three capital Colours together, the yellow muft be forward, the red 
 next, and the blue behind ; which will produce a fine Harmony. 
 
 The three other Colours may be difpofed in the fame Manner ; when 
 the Purple is placed forwards, the Violet may be behind it,and the Green 
 laft, as being the weakeft. Thefe latter Colours are called weak and 
 broken; becaufe they poflefs very much the Qualities of the former ; 
 the purple, for Inftance, being produced by a Mixture of Red with Blue ; 
 the Violet the fame ; and the Green, of Blue with Yellow. 
 
 But tho' each of the Colours have it's different Force and EfTecl, 
 yet they do not obferve any particular Rank, or Order ; becaufe a ftrong 
 Colour fometimes happens to come before a weak one \ and the con- 
 trary, as occafion requires j for were they always to keep Order, 
 and the Yellow to be principal, fo that the others muft diminilri gradu- 
 ally, there would then be no Difference, but the Effect always one and 
 the fame ; whereas 'tis here as with an A£k>r, who fometimes plays a 
 King, at others, a God ; now, a Man, then a Woman ; now a prin- 
 cipal Character, then a mute one. 
 
 Yet if the principal Part in a Picture, whether thro' Choice or Ne- 
 ceffity, confift of white, light or weak Colours, the Parts about it, 
 how beautifulloever, will be no Obftru&ion, if they be but variouily 
 and well ordered. 
 
 Again, if the faid principal Part confift of Yellow, Red, Blue, or 
 Open, and be thereby fet off, all the other Parts ought to be intermix- 
 eqpere and there with fmall Portions of this ftrong and predominant 
 Part, as if they were enamel'd with it; yet in fuch Manner, that they 
 may feem to owe their Origin to the faid ruling Part, and, tho' Separat- 
 ed, yet have but one Efefi, and unite the whole \ like the great Body of 
 the Moon,, furrounded with glittering Stars. 
 
 This fuffices for the ordering the Colours in general; and yet they 
 cannot have their full Effects, or due Decorum, without chufing proper 
 Back-grounds for fetting them off agreeably ; avoiding thofe which 
 create Confufton, or are too harfh and difcordant. Of the former Sort 
 are fuch as follow. 
 
 White fuits on all Sorts of dark Grounds, except warm Yellow. 
 
 Light Yellow fuits on Purple, Violet, Blue and Green. 
 
 Light 
 
Chap. i. Of Colouring. 1^9 
 
 Light Blue, or Green, Violet and Yellow not warm or fiery. 
 Light Green has a good EfFeft on Purple, Violet and Blue. 
 Light Violet has the fame on Green and Blue. 
 
 On White fuits Black, Violet, Green, and Purple ; hut not Yellow 
 or Blue. 
 
 On light Yellow fuits Violet, Purple and Green. 
 
 On pale Red fuits Green and Blue. 
 
 On pale Green fuits Purple, Blue, Yellow and Violet. 
 
 On pale Blue fuits dark Yellow, Red and Green. 
 
 But were we to lay dark Blue on light Yellow, or the contrary, it 
 would appear very harfh and difagreeable. 
 
 There are other Colours which are neither harfh nor difagreeable in 
 themfelves, and yet appear unpleafant and without Force; as if one 
 or the other were quite dirty and muddled ; fuch are, Purple on Red ; 
 beautiful Red on Yellow ; or beautiful Green on Yellow ; Purple on Blue 
 or Violet ; and the contrary ; alfo White on warm Yellow ; and the 
 contrary; or Red upon Red, or Blue upon Blue; as Experience 
 teaches. 
 
 Touching the Colours which are ufed in reflecting or changeable Silk,. 
 I (hall fay this : That with Musk-colour fuits beft Mafticot, with light 
 Purple or Violet in the Reflexions ;'with Afh-colour Blue fuits yellowifh 
 White, refle&ed with Rofe-colour ; with Orpirnent agrees dark Purple 
 with blue Reflexions ; on beautiful Green fuits Rofe-colour, with light 
 blue Reflexions ; and with Purple or Violet agrees Naples-yellow, with 
 Sea-green Reflexions. 
 
 But we muft efpecially obferve, that all rejietling or changeable Stufs 
 keep their own Colour in the Shade, to wit, that of the main Light; for 
 we mufl: not commit the fame Miftake as the old Matters, who painted 
 all changeable Draperies with two Colours only ; as a yellow change- 
 able Stuff, with a blue Reflexion ; they made the main Light yellow, 
 and the Shade blue ; and thus they managed all others. Truly a great 
 Miftake, and quite contrary to Nature. 
 
 Since we have thus far engaged in the By-colours, and their Effects 
 and Harmony, we fhall alfo treat of thofe which tend in particular to. 
 embellifh aLandskip, Hiftory or other Painting. 
 
 On Grafs, pale Red is exceeding well fet off, and appears pleafant to 
 the Eye ; as alfo dark Violet, dark Blue; light Yellow changeable 
 Silk, with Red and White 5 and light Blue, with purple or violet Re- 
 flexions. 
 
 ♦.•Ji^a'fe.^J fining* jtfgl to _ ffeftwcfO^o • '.- I > mgfa 
 
i6o 
 
 Of Colouring. 
 
 Book IV. 
 
 On Ruflet earth Grounds agrees a dark Violet, Blue and dark 
 Green. * 
 
 On dark grey Stone, (commonly called Blue-ftone) agree light Red, 
 Green, Yellow and yellowifh White. 
 
 On Free-ftone fuit all dark Colours, viz. Purple, Violet, Blue and 
 Green. 
 
 But we muft not ufe a Colour of pure Lake and White ; nor fingle 
 light and red Orpiment, without urgent Neceffity, and then very fpar- 
 ingly. The Green and Red of one Tint, either in Light or Shade, al- 
 io difagree, on account of their Harihnels j wherefore they muft not 
 come together. 
 
 In a Piece of many or few Figures, which is to hang againft a dark 
 Ground, or in a fhady Place ; alio in a Landskip, againft dark and clofe 
 Bofcage, Wliite has a fine Effect ; efpecially Naples Yellow, Red and 
 light Orpiment, Vermilion and line light Red. 
 
 Again in a light Apartment of white Marble, or light Free-ftone, 
 or in a Landskip painted light, clear and full of Sky, Blue, Purple, 
 Violet, Green and Black have good Effects ; whereas the Colours be- 
 fore-named are, in this Cafe, not only difagreeing, but they alfo look 
 weak, and without Strength j except JVhite, which cannot be ufed too 
 much, fince 'tis no Colour, and therefore fuits any where, except a? 
 gainft Skies. 
 
 Neverthelefs I do not here aflert, that the Embelliftiments, in the 
 aforefaid Pictures, muft conlift only of light and warm Colours ; but 
 that they be intermixed with fome dark and weak ones j and that in 
 the latter Pictures, where we ufe dark and weak Colours for the By- 
 ornaments, we muft difpofe fome light and warm ones among them. 
 
 Now fome may poffibly think, becaufe we place Blue by the other 
 Colours, that fuch would obftruct the OrTskip j or that the Lointains, 
 which, by reafon'of Diftance, are commonly reprefented Blue, would 
 be damaged by fo beautiful a Spot : But this Doubt may be foon cleared 
 up, by conlidering, that I do notchufe here all dark Colours ; but that 
 the OrTskip will thereby in fome meafure appear more diftant, faint and 
 uniting. It is alfo true, that Blue in a Landskip is often harfh, and 
 makes the Painting look flaring ; but by the Darknefs it becomes, in this 
 Cafe, foft, natural and tender. 
 
 Befides Blue, I mention alfo Violet, Green, &c. but my Meaning 
 thereby is not, that 'tis indifferent where thofe Colours are placed ; as 
 Blue againft the Blue of the Sky j Green againft green Trees ; Violet 
 againft a Violet-ftone, or Ground ; or Light againft Light, and Dark- 
 nefs 
 
Chap. i. Of Colouring. itfi 
 
 nefs againft Darknefs ; for that would be improper ; becaufe, as there 
 is Light and Darknefs in a Landskip, fo we have always means to 
 
 give dark and light Colours their Places. 
 
 With a Candle-light, either Within or Without-doors, or other 
 Lights proceeding from Fire, fuit Violet, Purple, Blue, Green, White, 
 Black, Red, without Exception ; thefe being Pieces, in which thofe Co- 
 lours have an advantageous Effect, and wherein they predominate on 
 their proper Grounds ; for Yellow and Red are almoft the fame as a 
 burning Candle \ which has a great Effect by Night ; as it has none in 
 the Day-time, becaufe the Sun-fliine makes it hardly perceptible. 
 
 Now as the two former Pictures confiift of ftrong Colours, viz. Whiter 
 Yellow and Red ; and the two latter of Purple, Violet, Blue and Green, 
 yet thofe of the one Sort may be joined to thofe of the other, in order 
 to create an agreeable Mixture and Harmony > by placing with the ftrong 
 fome that are weaker ; and the contrary, letting each in its place have 
 the Maftery on its proper Ground. 
 
 But I have particularly obferved, that out of the three aforefaid pre- 
 dominant Colours, others may be temper'd of lefs Force, 'viz. brown 
 Oker with Naples Yellow, Pink with White, and fuch like ; and placing 
 them by the others, as middle Colours, we may, in Conjunction with thofe 
 others, fetch out a great Mafs ; fince White has it's Degrees as well as 
 Red j always obferving, that the principal muft predominate, both in 
 Force and Beauty ; and that thofe Colours, which are drawn from it, be 
 difperfed here and there thro' the whole Piece ; as being befi fet off a- 
 gainft the general Ground. 
 
 Having now plainly lhewed the Qualities and Ufes of the Colours, 
 and their Differences, we may eafily think, that the Pictures; wherein 
 they are confidered, muft needs be very affecting. 
 
 We fhall not here fay, what, where, and how one Colour mixed 
 With another is to appear ; becaufe 'tis impoffible and unconceivable : 
 The principal Method for obtaining this Secret is, to obferve, to what 
 Pitch we zvork up our fir ft and ftrongeft Colour, and to let this Colour 
 predominate, for which Reafon 'tis a Maxim with fome, that we muft 
 not introduce into a Picture more than one capital Colour, or a Colour 
 which reprefents it : But I have already (hewed, that fever al may in 
 that Manner be brought together in the fame Piece : Wherefore the 
 Eye and Judgment muft determine this Point; for if we find it proper 
 to introduce a beautiful Colour where we have a mind to place fuch 
 an one, why fhould it be bad ? This only makes it fo *, its being ac- 
 companied by By-colours, not well ordered j as warm Colours againft 
 No. 7. X warm, 
 
H&S Of Colouring. Book IV. 
 
 warm, and Grey near Blue; whereby thofe Colours have no ErTecT: ; 
 or.elie, by placing too ftrong and too many capital Colours by one a- 
 nother, which overcome the aforefaid beautiful Colour, and make the 
 Painting look flaring. 
 
 But, that we may not miftake in this Point, let us chufe any Colour ; 
 and in order to rind an Aflbciate for it, take one which is difcordant; 
 as if we pitch upon Red, take a Grey one ; if dark, a light one, 
 Thus they are, as proceeding from each other, joined together ; and by 
 fuch Means we can never be at a Lofs in rinding different Colours for 
 different Draperies ; yet with this Provifo, that in all thofe Colours the 
 Force or Diftance of the Figures mull: be obferved. 
 
 For the ready obtaining thefe Things, I have found out a very eafy 
 Method, which always (hewed me the Particularity and Harmony of 
 the Colours ; it even often helped me, with Certainty, over the Diffi- 
 culty about the Difference of the Colours in Draperies ; efpecially 
 fuch as were changeable: Firft I temper'd on my Pallet, out of 
 my general Mixtures, three particular Colours, viz. one for the main 
 Light, one for the Half-inade, and one for the Shade: Then I took 
 Cards, and feverally painted them with one of the aforefaid tem- 
 pered Colours; when they were dry, I placed and replaced and ft if ted 
 them fo long as till I had fatisfied my Judgment : Sometimes, when 
 this would not anfwer my Purpofe, I fhuffl'd them ; and then took a 
 Parcel from them at random, which, if they happened to pleafe, 
 were my Direftors. This Method helped me moft in reflecting Dra- 
 peries, which I thereby often produced very advantageous, and of a, 
 fine Colour; it was efpecially ufeful, when I had any Doubt, whether 
 fuch or fuch a Colour would fuit well with fuch or fuch an one, or 
 not ; for the Cards certainly fhevved me the Thing as well as if I 
 had the Stuffs themfelves, and faved me the Trouble of uncertain In- 
 quiries. 
 
 It will notbeamifs, to fay fomething further, touching Back-grounds- 
 It often happens, that a Perfon fees a Colour in a Pifture, which feems 
 to him very agreeable ; and yet, on imitating it, he finds his Colour 
 has not the fame Force and EffecT:, thro' his not obferving againft what 
 Ground that Colour was painted ; a Point worthy of the utmoft Atten- 
 tion, if we would avoid Miftakes in Colouring 5 wherefore we muff al- 
 ways obferve the Grounds and Places of the Colours, if we would have 
 our Colour predominate ; ordering the moft difagreeing againft it ; 
 -for Inftance, to make the Yellow predominate, place Blue againft it' 
 or elfe the Darks of other Colours ; would you abate the Force of 
 
 Yellow* 
 
Chap. x. Of Colouring. i6% 
 
 Yellow, place Green near it; and, to bring it lower, put a Colour 
 which proceeds from Tellow, whether it be Free-ftone or any thing elfe 
 
 of a yelidwifh Tint. 
 
 In the feme Manner you may handle all the reft of the Colours, 
 obferving, tnat, as the Objects diminifh byDiftance, fo the Colours mud 
 proportionably be fainter, and gradually more grey ; Nature (hews it : 
 And yet I have found, that we may place even a capital Colour in the 
 Offskip, and it (hall be prevented from approaching, by accompanying 
 it with Colours like it, and drawn originally from it, as we have before- 
 (hewed. 
 
 CHAP. II. Of the Property, Nature and Colours of Drejfes. 
 
 WE have before faid, that the Art of Painting is an Imitation o£ 
 Nature in her vifible Parts ; nothing is imprafticable to it ; and 
 yet obferves due Order in all Things; and as we have before 
 (hewed the general Order of the Colours, fo we (hall now handle it in 
 particular, with refped to Draperies, wherein it chiefly lies. 
 
 Draperies con&ft of four Kinds of Things, viz. Lmnen, Silks, Stuffs and 
 Cloth j and thefe have each their particular Natures and Manners ol 
 Folds : Their Properties are alfo different ; and to lhew them by an Ex- 
 ample, I (hall divide the Kinds into the four Times of the Day. 
 
 Linnen Draperies are for People in the Morning of their Lives ; Silks, 
 forthofe in their Zenith ; Stuffs, for thofe in the Afternoon, and Cloth, 
 for thofe in the Evening of their Lives. But to fpeak more intelligibly, 
 there are four particular Conditions of Men, viz. Infancy, Tout h, Man- 
 hood and old Jge; and each provides a Drefs according to his Years; 
 Children (hould be drefled in Linnen ; young People, in Silks; jull-grown 
 Men and Women, in Stuffs ; and old People, in Cloth. 
 
 The Colours for the feveral Stages of Life are thefe ; for Childhood, 
 JVhite ; for Touth, Green ; for Manhood, Red ; for old Age, dark Vio* 
 let ; and for Death, Black. 
 
 In the firft Chapter we have (hewed, that White and Black are not 
 accounted among the Colours ; fince the one is but the Parentof Colours, 
 and the other, the Depriver of them ; wherefore we introduce White, 
 as Light, without which no Colour is vifible. 
 
 Dark Fillemot or Tawny (hall ferve to reprefent the Eat <tb, or Green-, 
 nefs; White, to (hew ^ Water ; Blue, the Air; Red, the Fire ; and 
 
 X 2 is lac/?, 
 
i<?4 Of Colouring Book IV* 
 
 .Black, the Darknefs above the Element of Fire ; for there is not any Mat- 
 ter or JEther beyond it, which can contain or be penetrated by the Sun's, 
 xva y s» 
 
 We alfo know, that there are four Seafons, viz, the joyful Sprint? • 
 golden Summer ; fruitful Autumn; and melancholy Winter' In the' 
 Sprtng, , we begin to leave off Cloth, ot heavy Winter-raiment, and to 
 w&x thn Stuffs; Summer and Autumn permit ustodrefs, according to 
 their Heat, either in Limien or Silk ; wherefore a certain Author fays 
 that we ought tofuit our Dreffes, as well as our Words, to the Seafon ' 
 
 The Seafons may be alfo expreft by Colours ; as the Spring, by Green i 
 Summer, by Yellow ; Autumn, by Red ; and Winter, by Black. 
 
 Yet, among the Deities, there are fome who have always one proper 
 JJrejs and Colour ; as Jupiter, a purple Mantle ; Juno, a blue Veil • 
 Diana, a white and blue Garment ; Neptune, a Sea-green one, &J. 
 Ineie we cannot alter without committing Miftake : But the Figures 
 muft neverthelefs be ordered, if poffible, where they fuit beft. All brave 
 Perjonages, of either Sex, fhould likewife be clothed in Red or warm 
 Jfellow. 
 
 It therefore behoves a prudent Artift to have a perfeft Knowledge of 
 the Nature and Qualities of the aforenamed Stuffs; even, were the 
 Figures ever fo fmall, he muft notwithftanding fhew in his Work of what 
 Sort of Stuffs the Dreffes confift ; and altho' Reflexions cannot be well 
 oblerved m fmall Figures, yet we ought to fee, by the Courfe of the 
 frolds, whether the Draperies be Silk, Cloth, or other Stuffs. 
 
 A nea * ? ainte r r ou g ht alfo, not only to diftinguifh the Thick- 
 
 nels and Thmnefs of his Draperies by their Folds and Colour ; but in the 
 particular Nature and Colour of each Drapery, their Diminutions and 
 Variationals between thin and thick Silk oppofedto Sattin, and more 
 iuch ; for if the Eye, at firft Sight, can perceive and diftinguifh them, 
 we ought alfo to make them appear what they are; chiefly in fmall 
 andhighly-finiihed Pictures; as Mieris and others have artfully done to 
 
 UCh a V^ ree > a s plainly to diftinguifh between Silver, Pewter, Tin and 
 polifhed Iron, 
 
 As Becomingnefs fubfifts not only, in the Stuffs, but alfo, in their 
 Colours ; fo, knowing that, we fhall not eafily miftake in the Choice 
 or Colours and Draperies.. 
 
 But I muft here give fome Painters an Hint about the Nature, of Stufs> 
 efpecially coloured ones ; they believe, they can paint Sattin after white 
 bilk, and changeable Silk after coloured Silk : But this is lame Work; 
 
 for; 
 
Chap, i; Of Colouring. 16$ 
 
 for what in plain Silk is fhining in the Light, will often be found quite 
 dark in Sattin ; wherefore in this, Nature muft be confulted. 
 
 For thefe Reafons the Eye is pleafed, when in a Painting of a Con- 
 courfe of People or publick Shew, it can eafily diftinguiih all Sorts of 
 People, and the Conditions and Ages of both Sexes ; and at the fame 
 Time their Motions according to their Natures and Qualities, and the 
 DrefTes and Colours which become them \ as, an old Man, heavy and 
 weak, ftanding on both Legs, and fometimes by the Help of a Stick, 
 becomes a long dark-coloured Cloth Garment, viz. of Umber, dark 
 Violet, Fillemot, or Black, fattened with Strings or Buckles, and letting 
 on him fomewhat negligently. A young Man lhould appear in a quite 
 contrary Motion, as being frolickfome, fickle, airy, and (landing often 
 on one Leg ; he muft be painted in a moft beautiful purple, green, red 
 or yellow Drapery, of light Stuff, or thick Silk, fattened on the Shoul- 
 der, and not too long, that it may not hinder his continual Motion ; 
 becaufea Man, if full of Fire, loves to have his Legs free. Women 
 and young Virgins, as being tender, fedate and modeft, are chiefly dif- 
 tinguiihed by their white Garments of thin Linnen, and all Sorts of 
 airy and womaniih-coloured Silks, viz. light Blue, Apple-blofibnv 
 Pearl-colour or light Lemon, caft loofly on each other, and in fuch man- 
 ner that the Beauty of the Naked may eafily appear thro' them; their 
 Pofture is modeft and fet ; their Legs clofe j their Bodies upright; their 
 Necks bafhfully bent ; their Arms clofe to their Bodies; their Mode 
 gay ; and taking hold of their Garments, which hang down to the 
 Feet. Children are feen moftly in white Linnen, or Lemon, blue or 
 violet-coloured Silk; they are .often in white Vefts, without any hang- 
 ing Drapery ; but when they have fuch loofe Drapery, a fmall one, 
 about a Yard in Length, isfufficient, and this fattened on the Shoulder 
 for Security, while they are running, buttling and rolling on the Ground. 
 
 This Condud is, in my Opinion, of great Confequence, tho' few 
 have obferved it ; nay* even fome good Painters oftentimes fail in it, 
 making no Difference between manly and womaniih Colours ; giving an 
 old Man a femenine Colour, and a manly one to a Woman ; intermixing 
 them as if there were no certain Rules for either : But it muft be grant- 
 ed, that the Silk-colours, which befit a young, fturdy, capricious Man, 
 are very difagreeable to a Virgin, who is tender, weak, more fedate and 
 lefs voluptuous ; he requires ftrong, ibe more foft and beautiful Colours, 
 yielding a Pleafure to the Eye. It would alfo be very improper to paint 
 a Child in Black; a young Man in dark brown Colours; a grown Man 
 in party Colours and an old Man in beautiful ones. 
 
166 Of Colouring. Book IV. 
 
 I once faw a Picture, of an unknown Matter, in which, all the Par- 
 ticulars I have recommended were plainly and nicely expreft ; it had 
 fuch an Elegance, and gave me Co great Satisfaction, that I flood in 
 Surprize. On a mature Consideration of this Painting! perceived, that 
 it was purely defigned to anfvver this very Purpofe ; for. I faw here 
 and there fome aged People, moftly in dark and Cloth-colours ; there, 
 * again, a Group of young and gamefome People in variety of beauti- 
 ful-colour'd Stuffs ; alfo fome Women in light-colour'd changeable 
 Silk, &c. near them were fome old Women in dark Dreffes; here and 
 there appeared Children, running about and playing in the Sand, 
 all dreft in Linnen-habits and foft Colours. This Ordonnance vaftly 
 pleafed me, and put me to conMder what it could be likened to; 
 and I find it to be the fame as the four Times of the Day ; for let us 
 take the Children, whether Boys or Girls, for Day-break ; the young 
 Men and Women for Noon, when the Sun is at higheft ; and the old 
 People for Night ; between Mid-day and Night is Vefper, or the Even- 
 ing, which may be reprefented by joining fomething of both Condi- 
 tions ; alfo between Aurora and Mid-day, the fame ; fo as to make, 
 in the whole, a proper Difference between the Conditions and Ages of 
 Men. Here let us not forget, that old People fometimes afTe£T White, 
 to fhew their becoming Children again ; contrarily Black is fometimes 
 worn by young People; as a thin black Veil to fignify fome Sorrow, 
 or elfe to diftinguifh a married Woman from a Maiden. 
 
 CHAP. III. Of the Colours of Dreffes, and their fitting with each 
 
 other. 
 
 AS we are treating of Drejfes, it will be proper to fay fomething 
 of the fuiting their Colours ; I mean what Lining or Furniture 
 each coloured Garment requires ; a Matter of great Moment, 
 tho' as little obferved in Pitlures as the Life : Wherefore let it be noted, 
 firft of the weak Colours. 
 
 W T hen the upper Garment is White, the Lining or Undercoat 
 may be Rofe-colour, Fillemot, Purple, Violet, or beautiful Sea- 
 green. 
 
 \Vith a light blue Garment fuits a Furniture of yellowifh White, 
 Violet, dark Fillemot, or dark redifh Blue. 
 
 A light 
 
Chap. 3. 
 
 Of Colouring. 
 
 A light or pale yellow Garment ought to be furnilhed with Violet, 
 Sea-green, beautiful Green, dark Fillemot and Purple. 
 
 A pale green Garment muft be fet off with yellowifh White, Sky- 
 colour, Violet and dark Red. 
 
 Now follow the ftrong Colour s, and their proper Mixtures. 
 
 A Lemon-colour Garment may be furnilhed with Sea-green, Violet, 
 and dark Fillemot. 
 
 A Garment of red Orpiment-colour fuits a Furniture of Violet, 
 sky and greemfh Blue, Musk and Umber-colours. 
 
 A Sky-colour blue Garment may be adorned with Rofe-colour, yel- 
 lowiih White, pale Yellow and light beautiful Green.. 
 
 A Fil'emot-coloured Garment may be furnilhed with pale Yellow, 
 Rofe-colour, light Afh-colour, Violet, dark Purple, and dark Green. 
 
 All tbefe Colours reverfed have the fame Effetls. 
 
 Here let it be obferved what 1 mean by the Word \Furniture~\-, 'tis 
 an Adornment, or fetting off\ as when a large Drapery of a plain Co- 
 lour is adorned with one or more [mall ones, whether a Veil, Girdle or 
 Sleeve-facing, under Garment, or Breaft-cloth ; this Furniture is ei- 
 ther of changeable Silk, or of party-coloured Stuffs, when 'tis to fet 
 off a large and plain-coloured Drapery r and the contrary the fame ; 
 as when the large Drapery is changeable, the fmall Furniture ought to 
 be of a fmgle Colour. 
 
 For further Satisfaction I (hall fubjoin an Inftruclion of what colour- 
 ed Stuffs may be beft adorned with Gold, whether flower'd, leaf'd or 
 ftrip'd. 
 
 On a green Ground fuit Flowers. 
 
 On a purple and violet, narrow Sprigs or Stripes. 
 
 On Musk-colour, clofe and large Flowers or Leaves. 
 
 On Rofe-colour, Apple-bloflbm and white thin Silk, fuit Stripes. 
 
 Purple, Fillemot, Musk-colour and White alfo look well with 
 Fringes, either fcanty or full, according to the Subftance of the Stuff. 
 
 It muft be obferved, that what I have hitherto faid of the ordering 
 of the Colours, is not to concern a Jingle Figure only, but to ferve any Qo- 
 cafionby a diffujive and agreeable Intermixture: Nor do I mean, that, 
 among feveral Figures, there muft be but one with a Angle-coloured 
 Garment ; and the reft, of changeable or broken Colours ; for when 
 they are feparate, and the Draperies large, each in particular is to be 
 fet off in the Manner I have before laid down ; for Inftance, If all the 
 fmall Draperies were feparated from the large one, and we dreft as many 
 Figures in them, then each muft be further adorned with other fmall 
 
 Dra> 
 
Of Colouring. 
 
 Book IV. 
 
 Draperies, of Colours fuiting with it, in fuch Manner as the large one 
 was before. In a Word, if we only confider, that a (ingle Colour 
 ought to be intermixed with a changeable one, and a changeable Colour, 
 with a (ingle one, we lhall perceive what Order this Affair requires, in 
 order to look decorous, and pleafe the Eye. 
 
 But, for further Explanation, I lhall give two Examples of it. The 
 firft is, a Company of five or fix aged People, either without or with- 
 in-doors : Now if thefe Figures muft be all dreft, it requires no Art, 
 nor is it a Sign of Knowledge, to give each a (ingle-coloured and equally 
 large Drapery, altho' we might rind as many different Colours, in order 
 to join them agreeably ; and this, for two Reafons ; firft, becaufe, that 
 cannot happen in the Life without Premeditation. And fecondly, becaufe 
 the Figures may not feem to be emblematic j for tho' to the twelve Apoflles 
 are appropriated their particular Colours, yet we muft not infer from 
 thence, that, if they were all affembled together, we ought to give them 
 a (ingle Colour from Top to Toe ; becaule, tho* we break the Colours, 
 they yet remain the fame; as Blue, with green Reflexion, remains Blue ; 
 Yellow, with Purple, remains Yellow j and fo of others. Our fecond 
 Example is, a wanton Meeting of young Men and Girls, modilhly 
 dreft according to their Years ; thefe are skipping about, and playing in 
 a Field or Room : Now it would not be at all proper to join all their 
 Drefles of broken Colours together, tho' they were coupled in fuch Or- 
 der as they require ; and for the former Reafon ; namely, that it can 
 never happen but thro' Premeditation and Neceffity : And tho' it would 
 appear elegant and plealing, yet not at all artful without an Intermixture 
 of fome Jingle-coloured Draperies. Neverthelefs we find many do it ; ei- 
 ther, becaufe they take no Delight in changeable Draperies ; or elfe be- 
 caufe they cannot paint them, and therefore make thift with broken 
 Colours. Again, there are others who have no Value for (ingle Colours, 
 and therefore, on all Occafions, introduce changeable or broken ones. 
 We have alio met with a third Sort, who do not know how to make a 
 Difference between a changeable Stuff and a broken Colour j tho' it's 
 certain, that a reflecting or changeable Drapery is an Intermixture of 
 two or more Colours, and a broken-coloured Drapery, but of two ; as 
 Violet, with Red and Blue ; Green, with Yellow and Blue, Csfc. 
 whence they are called broken or mixed Colours. 
 
 In the firft Chapter, treating of this Management, we have fpoken 
 of reflecting or changeable Draperies ; and as we are now again embark- 
 ed in the fame Subject, it will not be amifs to explain the Matter 
 further. 
 
 Many 
 
Chap. 3 . Of Colouring. 169 
 
 Many fancy, they make a good reflecting Drapery, when 'tis well 
 folded, and different in Colour in the main Lights, greater!: Shades and 
 Reflections ; even Raphael and other great Matters have been miftaken 
 in fo doing ; whereas a good changeable Drapery ought to draw its 
 Reflections from the Colour of which the main Light conjtfts ; the Shade 
 likewife proceeds from the ruling Colour, yet has fome Tincture of the 
 Changeablenefs: And altho' the Drapery be changeable, yet it has a 
 conftant Ground-colour of the main Woof of the Silk : Thus 'tis a 
 
 ufual Expreffion, A Green and Tellow changeable : This then is 
 
 the true Quality of a reflecting Silk, that all that is feen fronting on the 
 Relief keeps its main Colour, but the Sides of the Folds going offl 
 caufe the Changeablenefs ; which we may eafily perceive on laying a 
 changeable Stuff fmooth on a Table or Floor ; for viewing it perpen- 
 dicularly from above, it will then appear red or yellow ; but if feen 
 parallel along the Stuff, often appear blue: Whence it follows, as we 
 affirm, that only the Folds which go off become changeable, and alter in 
 Colour; when the others, in the main Light and Shade keep their own 
 Colours : Again, what in one Stuff changes red, will in another ap- 
 pear green or yellow, according to the Woof or Warp. 
 
 By Reafon of fuch Accidents, we are obliged to have Pieces of par- 
 ticular Stuffs, in order to lhew the Difference \ which cannot be learnt by 
 Heart, becaufe of the Nicety of the Matter. 
 
 We have faid, in the foregoing Chapter, that in an Ordonnance of 
 many Figures, we ought to obferve the Sexes, Ages and Conditions of 
 People, and that each muft have his proper Stuff; the Golden fuits Dei- 
 ties, and thofe who are deified ; Purple becomes Princes ; thus each, 
 down to the Slave : Now, to thofe of weak Memories, I fhall lhew a 
 good Method for their becoming Maftersof this Point in a ihort Time. 
 
 Set down in your Pocket-book, the following Heads or Titles : old 
 Men and Matrons ; married Men and TV omen ; young Men and Maidens ; 
 Boys, Girls and young Children: Place thefe Titles under one another; 
 and write againft them the proper Drefs, Stiiff and Colour of each Sex 
 and Condition : Thefe Notes you muft often confult, and efpecially when 
 you are about an Ordonnance of few or many Figures. 
 
 You may alfo make a Column for the Colours of Draperies ; fetting 
 them down under one another; as White, Yellow, Blue, Green, Red, 
 &c. and againft them write their Linings and Ornaments, as I have be- 
 fore mentioned. 
 
 It will not be improper here to obferve, fome Particulars on diffe- 
 rent Occalions, in an Ordonnance of many or few Figures, with re- 
 No. 8. Y fpeft 
 
170 Of Colouring. Book IV. 
 
 fpe£l to Colours ; not as if they were unknown or not obferved by in- 
 genious Artifts, out becaufe they are oftentimes negle&ed and flighted, 
 either thro' Carelefsnefs, Prepolleffion or an Opinion that they need 
 not be io ftriclly confined ; or elfe, becaufe beautiful Colours are moft 
 pleafing to People, and therefore they muft efpecially fatisfy the Eye ; 
 without refle&ing, that they thereby injure the Art and their own 
 Reputations : Such Painters are like great Talkers, who fay little to 
 the Purpofe. 
 
 Truly, the Colours have great Efficacy, when well ordered and fuit- 
 ed ; but they raife an Averiion when unskilfully and confufedly dif- 
 pofed. 
 
 An ingenuous Perlon will undoubtedly agree with me, that there are 
 particular Characters which diftinguilh one Man from another ; a Prince 
 from an Officer ; an Officer, from a vulgar Perfon ; a rich Man, from 
 a poor one ; By what means then is this Difference perceived ? Is it 
 not by his authoritative Countenance, Grandeur and ftately Carriage, 
 and by his Garb longer and of more coftly Stuff and Beauty than the 
 others? If fo, it will be eafy to apprehend, that, tho' fuch a Perfon 
 were not endowed with all the afore (aid Qualities, but with the con- 
 trary, he ought neverthelefs to be made known by fomethincr or other • 
 as we have (hewed in treating of Ordofinance : Wherefore 'tis needlefs' 
 to fay any thing further in this Matter, to bring us to the prefent Point 
 touching the Colours-, namely, to (hew on what Occafions they ought to 
 be ufed beautifully, and on what, not \ for which Purpofe I lhall ex- 
 hibit three principal Occurrences, as Examples,, whence we may deduce 
 and order all others. 
 
 The firft may be a Council, or a Triumph, or fuch like ; wherein 
 all the Dreffes ought to appear intirely of the moft magnificent, rich 
 and beautiful Stuffs. 
 
 In the fecond, confirming of Bacchanals, Country-merry-makings and 
 Herd/men's Sports, the Colours ought to be half beautiful and half 
 broken, each agreeable to the Condition of the Parties. And 
 
 In the third, being publick Sights, viz. Pleadings, Mountebanks 
 Jugglers, Merry-andrews, and fuch like, made up of common and 
 mean People, coarfe Stuffs and dirty Colours ought to be moft v i- 
 lible. 
 
 Nowhere 'tis ftill to be remarked, that in the one Sort of Colours 
 as well as the other, the moft beautiful excels ; and as thofe three Oc- 
 currences are not common, I muft fay, that among the meaneft as well 
 as the beft there are fome which have.the Preference 5 among the 
 
 beau. 
 
Chap. 4. 
 
 Of Colouring. 
 
 171 
 
 beautiful are fome more beautiful ; and among the mean, meaner 
 ones. Thus much as to Colour s t in order to know a good Matter. 
 
 But 'ere we finifri this Chapter, let us obferve, in what Parts the co- 
 loured Stuffs appear mofl beautiful ; fince Stuffs are very different in 
 this Refpefr, and have their divers proper Beauties. 
 
 We fay then, that black Stuffs are moft beautiful in their fironge/l 
 Shades ; White, Tellow and Red in their main and greateji Light ; and 
 Blue, Green and Purple in the Half Tints. But all Stuffs, not having 
 a Glofs, ought to be much more beautiful in their Lights, than their 
 Shades ; becaufe Light gives Life, and makes the Quality of the Co- 
 lours appear, when contrarily Shades obfeure and extinguilh their Beau- 
 ty i consequently all Objects will fhew their natural Colours better, 
 when their Surfaces are lefs fmooth and even j as we fee in Cloths, Lin- 
 nen, Leaves and Herbs, which are rough or hairy ; in which no Glols 
 or Shining can appear, becaufe they cannot receive the Reflexions of 
 neighbouring Objects, but fhew only their true and natural Colour un- 
 mixed nor tinged with that of any other Object, except the Rednefs of 
 the Sun, when, by his fetting, he makes the Clouds and Horizon par- 
 take of his Colour. 
 
 CHAP. IV. Of the Difpojition of fhady Objetts, either difiant or 
 near, againft a light Ground. 
 
 LIGHT againft Light, and Shade againft Shade naturally unite. 
 Againft a light Ground fuit well dark Figures, and againft a 
 dark Ground, light ones, in order that they may be itrongly 
 fet off; however, the fetting off of Objects either much, little or leis, 
 on the firft, fecond and third Grounds certainly differs very much. 
 
 Now it may be asked, when a parcel of Figures, ftanding or fitting, 
 have a white Back-ground, and appear, fome far from, others near, o- 
 thers againft it, whether dark Colours would not be proper in all the 
 three Groups? I fay, they would ; but then they ought to be confider- 
 ed in another Manner \ for, without intermixing fome of them with 
 light Colours, they could not fubfift; wherefore 'tis neceffary, to give 
 fome more, others lefs Force ; the Figures clofe to the white Ground 
 ought to be mixed with light Colours, in order to ftick to the Light, 
 and to break the lefs their Force ? aud yet the dark Colours will pre- 
 dominate, the light ones being only, as I fay, to have Communicati- 
 
 Y 2 on 
 
Of Colouring. 
 
 Book IV. 
 
 on with the white Ground, thereby to keep their Diftance, and to u- 
 nite with the great Light of the back Ground. The Figures, on the 
 fecond Ground, which come more forward, ought again to have lefs 
 light Colours-, and the Group, on the fore Ground, the'leaft; whereby 
 they have lefs Communication with the white Ground, and confequent- 
 ly more Force againft it. 
 
 'Tis the' fame with Light againft Darknefs; for we can eafily per- 
 ceive, that White and Black never approach each other without Parti- 
 cipation. The more Black is mixed with White, the more it inclines 
 to White; like a large and thick Feftoon, moftly light, placed againft 
 a dark Ground : Now, if you would have this Feftoon appear clofe to 
 the Wall (for 'tis not with Nature as with a Picture) you muft needs 
 ufe in it fome dark Flowers and Leaves, ordering them about the Ex- 
 tremity, the moft White or Light to be in the Parts moft relieved, 
 darkening it gradually towards the two Extremities neareft the Ground, 
 whereby the one {ticks to the other and unites; remaining yet a light 
 Fe/hon, thtl* intermixed with Darknefs. 'Tis the fame with a dark 
 Feftoon againft a light Ground ; the dark Flowers being in the middle, 
 and gradually diminifh on each Side. 'Tis certain, that it will not fhow 
 fuch Decorum and Relief, tho' its Shade be in Proportion as ftrong as 
 that of the former : Yet 'tis only to be ufed in cafe of Neceflity, 
 when the Matter and Condition of the Place require it ; wherefore we 
 muft accommodate ourfelves to all Exigencies. 
 
 This ErTeft is not only proper for Flowers, but alfo for Fruits, Or- 
 naments, £sfc. Even all kinds of Gold and Silver Ornaments may 
 with Elegance be joined together by the Colours, after the fame 
 Manner. 
 
 Now follows an Example, in Plate XXI. difpofed after the afore- 
 faid Manner. Here, on the fore Ground appear five Figures of Men 
 and Women againft a white back Ground; the three middle ones, clofe 
 together, are dark and ftrong, and the two on either Side, of a little 
 lighter Colour, whereby the Group keeps an agreeable Relief and U- 
 nion on the Extremity. On a more diftant Ground ftand two other Fi- 
 gures, of which the foremoft is dark, and the other, half behind the 
 former, light ; yet both of lefs Strength than the foremoft Group. 
 The laft four, ftanding clofe againft the Ground, differ ftill much from 
 the others, as being here and there intermixed with more Light ; 
 one having a white Stomacher ; another a white Cloth on her Head - y 
 this having Flowers ; that with light Hair ; another with a white Pot, 
 
Chap. 4. Of Colouring. 17 3 
 
 light Drapery, Nudity, Vc. which Littleness notwithftanding have 
 not fo much Force as to enlighten the whole Group. 
 
 The Doarine of Harmony, teaches, that we mult always place 
 Darknefs againft Light ; and the contrary ; but due* only a Medmm, 
 Lwing, agreeable to that Pofition, how and m what Manner!^ 
 Td DlrJfs may appear either clofe together or diftant like the a- 
 forefaid Feftoons ; but it muft not be confidered otherwife than as a 
 PartofaPiBure. If we would have a perfeft Ordonnance we can 
 oder/at pfeafure. fuch dark Figures as thofe, againft light Grounds, 
 and the contrary; for Inftance, would you have, on the right S.de of 
 the Pice a dark Buft; in the middle, a Vifto ; and on the other 
 Side, Houfes or Stone-work, neither light nor dark ; you may place a- 
 eainft the Bufh, light Figures or other Objeas and in the middle, a- 
 !a nft theOffskipf dark ones, and againft the Houfes, others again 
 Ihich fuit beft; execute each correaly, and m particular, according to 
 
 he faid Examples, and then nothing will be wanting that concerns 
 the Tints: The Colours joined to it make the Work compleat. 
 
 I think I have fully explained this Point of Darknefs aga.m L,gh , 
 and the contrary ; yet .feveral Things fervmg my Purpoie all occur- 
 ring to me, which were forgot in the iirft Chapter I judge them pro- 
 pel to be mentioned here. I fay then, that all light Colours even 
 Sere they broke, appear well againft a dark Ground, bu not w th 
 fuch a Force as the ftrong ones; as we have formerly faid, that warm 
 Colours appear beft on a faint Ground, and the contrary whether 
 they be light or dark. Tis alfo a conftant Rule, that the ftrong Co- 
 
 ourl as ffght Red and light Yellow, do not fu.t on n light or white 
 
 Ground, more than beautiful Blue on a dark one, tho' reckoned a ca- 
 
 Pi ttiet°us return to our Example; we have hitherto only fpoken 
 of the Tints, or Light and Darknefs, it will now be ^efiaiy to 
 ftew alfo the Colours* of the Drefles, according to their Order, Place 
 and Power. 
 
 No. 1 . is Sea-green. 
 
 2. — Yellow ilh Grey. 
 
 — Violet. \ XT 
 
 4. — Somewhat lefs beautiful Green than No. i. 
 
 6. Z K Violet, not beautiful 5 but the Girdle beautiful light 
 Yellow. £ 
 
i?4 Of Colouring. Bool jy 
 
 7. — Brown Oker, and Violet Reflexion, 
 o. — Greenifh Blue. 
 9. — Red Orpiment. 
 
 10. . — Violet. 
 
 11. — Umber, with little Red. 
 
 ■ Obferve now, from behind forwards, whether thefe Figures, as thev 
 trZ'cnlt? n0 rtnT ^dmlly ftronger by the liter mi xturTIf 
 *Z fu I a 0ft -gT 0U P has none i that in the middle has one ; 
 and the toremoit, two ; of which, one is very ftrong 
 
 If it be asked, why I place here the tfrong one, namely, red Oroi- 
 ment, as having no Force againft a light Ground 5 1 fay, it muft be 
 obierved as the foremoft Figure, being encompafied with two dark 
 
 Let it alfo not be thought, becaufe I thus exhibit the Colour of each 
 ^gure, that they ought therefore to be of the fame Colour from Top 
 to Toe. Comult the Sketch, and remember their Draperies (one 
 large, another fmall of broken and faint Colours) with which thev 
 are intermixed, and fuit the Ground; as we have already intimated 
 that (in order to form great MalTes of capital Colours, viz. Yellow' 
 Ked or Blue, and they to predominate in an Ordonnance) we may 
 enlarge or break juch a ftrong Part with Mixtures of the fame: as red 
 
 b A°r ? k t r ' Y, mber ' ° r fuGh S$ which neierthelefs 
 remains Yellow . After fuch a Manner we may handle all the Colours 
 
 to wit, beautiful Green, with other Green ; Red, with Purple- Vio- 
 let, with Blue or Grey ; yellowifh White with Grey, and fo forth ■ 
 in a Word, // but one of the two be lefs beautiful ' 
 
 C H A P. V. Of the Harmony of Colours. 
 
 THEY, who are converfant with Books, are fenfible that few 
 Authors have written of the Harmony of Colours-, and what 
 they have done is fo obfeure and unintelligible, that I fhall en- 
 deavour to make the Point clear. 
 
 pJrlTl ^ f T/V^u HiTW Part of the Art Nat ^e is our 
 Pattern, fince (lie difpofes herfelf in the moft perfeft Manner. If we 
 
 at any time difcover fomething fine and pleafmg in her, (which we 
 
 often 
 
Ghap. 5". 
 
 Of Colouring, 
 
 ins 
 
 often do) and yet know not the Reafon why it has fuch Elegance 
 and Decorum, we ought to confult the Rules oF Difpofition and Har- 
 mony, and examine with which of them the Objects agree; by which 
 Means we fhall foon apprehend what Decorum is, and on what Rea- 
 fon founded. 
 
 Harmony proceeds from placing faint Colours againft ftrong ones, 
 and the contrary ; wherein fuch an Union appears, that the one 
 feems naturally to flow from the other, as in this Inftance : Let 
 us- fuppofe an Ordonnance to be divided into three Grounds, or Di- 
 ftances ; place the principal Figures in the middle on the Fore-ground, 
 and let fome of them be ftrongly coloured, and the whole Group as 
 ftrongly flung off by a lhady hollow Rock coming behind them ; place 
 to the Right, on the iecond Ground, fome Figures beautifully coloured, 
 yet a Tint darker than thofe on the Foreground ; and behind them, 
 an airy, greyiih-green Bufh ; and further on, a light OfT-skip, filled 
 here and there with fmall Trees : Let this Bufh be a Tint darker than ■ 
 the fecond Ground-figures; on the left Side of which Ground, place 
 other Figures, as of Girls and young Children, in faint-colour'd -Dra- 
 peries* which, tho' coming againft light Buildings and the blue Sky 
 of the Offskip, will notwithstanding appear beautiful and harmonious : \ 
 Now, in fuch a Difpofition, we are enabled to perceive bow each of 
 the three Parts keeps its Diflance by the Nature of the Ground behind 
 it : The foremoft, as the ftrongeft, and conflfting moftly of Light, ap- 
 proaches with Force againft the greateft Shade; and thofe. on each 
 Side, tho' almoft as light, yet are limitted by their back Grounds* [ 
 which differ but one Tint from them ; whereby they appear neither 
 further nor nearer than they really are : From all which Premifes we 
 may plainly perceive, that granting thofe three Parts, or Groups, had , 
 a like Strength and Colmir, yet they may, by means of their back 
 Grounds, be brought down in fuch a manner, that, at pleafure, only 
 one of them fhall predominate, and the other two retire : Would you j 
 have the foremoft Figures dark, reverfe your former Conduct, and 
 your Purpole is anfwered. Thus you may ealily join Grounds and Ob- 
 jects in order to fetch out Har mony ; and by Harmony, one of the Per-* 
 fections of a Painting. 
 
 But the more clearly to evince the Force of Colours againft proper 
 Grounds, with refpect to Diflance, I (hall explain the Matter in a fe? 
 cond Example : See Plate XXII. I reprefent the Boat, as the neareft 
 Object:, gilt with Gold, and ftrongly glittering againft the Shade of 
 the Trees, and Rock; to the foremoft flying Figure, on the fame 
 
 Diftance c 
 
t yd Of Colouring. Book IV.I 
 
 D! (Unce as die Boat, I give a light Red Drapery againftthe Shadinefs 
 of the laid Rock, in Force equal to that of the Boat ; the fecond fly- 
 ing Figure, fomewhat further in, has a geen Drapery, alfo light again? 
 the Rock", where, being a broken Colour, it becomes fainter ; and the 
 third, which is further in Shade, and has a dark Blue Drapery, is flung 
 off, and keeps its Place againftthe furtheft Part of the Hollow of the 
 Rock, which, with the yellowifh Blue Sky next it, is lightifh : The 
 ftanding Figure, in the Stern, or Off-part of the Boat, is more ftrong- 
 ly fet off, by a dark and warm Yellow Drapery againft the aforefaid 
 Hollow, than the Blue Garment of the hindcrmoft flying Figure, and 
 lefs than the Boat's Head and Timbers which have the greater!: Force, 
 as beingth e greater! Part doubled by the Reflexion in the Water : On 
 the River-fide, againft the Trees, are feen other Figures, (partly naked 
 and in faint-colour'd Draperies, viz. Apple-bloflbm, light Changeable 
 and White, intermixed here and there with Yellow) and their Re- 
 flexions, and that of the Green of the Trees in the Water : Now thofe 
 Figures, tho' faint and light, are, in their Diminution of Force, in 
 the fame Degree with the middle flying Figure, as having the fame 
 Diftance, and being of the fame Nature, and compofed of broken 
 Colours : So alfo the Red of the foremoft flying Figure agrees with the 
 Yellow of the Boat, both being ftrong Colours : The Rowers are in 
 dark Blue. 
 
 Tho' this Example fufficiently enables us to manage any Ordonnance 
 whatfbever, yet I mean not that there muft be always forwards a yel- 
 low Object ; behind it, a blue one } and in the middle, a Green, Pur- 
 ple or Violet; for you may chuje what Colour you plea fe ; as, inftead 
 of this gilt Boat, a red one ; and give the fore flying Figure, inftead 
 of a Red, a yellow Drapery, affigning to each a proper back Ground : 
 Altho' the Yellow of the Boat, and the Red Garment of the Figure 
 are ftrong Colours, yet they are diftinft in Nature; for as the Yellow 
 is in itfelf lighter than the Red, fo the Red requires a darker Colour 
 than the Yellow, in order to be flung off: Again, if inftead of the 
 Figures by the River-fide, which are clothed in Apple-bloflbm, Blue,? 
 &c. we would ufe other Colours, as Green or Red, we may do foj 
 provided, as before, we give them fuch a proper back Ground as will 
 fling them off, with refpeCf to their Diftance ; for it muft be remark-] 
 ed, that, altho' they are diftant, yet there is no Neceflity for giving! 
 them faint or broken Colours: 'Tis a Maxim with me, that any Co- 
 lour, how ftrong foever, may be moderated and retrained according to itsl 
 Diftance; the Colours in tin's Example are difpofed according to their] 
 
 Ranks] 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 6. Of Colouring. 177 
 
 Ranks, (the ftrong ones forward, and the weaker, in Degrees of Dis- 
 tance, according to their Natures) only to (hew the Method of placing 
 them ; in a Word, Whether they are to approach, becaufe of their na- 
 tural Strength, or to retire by reafon of their natural Weaknefs. 
 
 But it's Icarce poffible, that in any Subject all the Colours ihould, 
 according to their Natures, happen to fall fo advantageoufly, and there- 
 fore we may, on any Occafion, alter them ; for Inftance, if, inftead or 
 the gilt Boat, we were to introduce a Piece of white Marble, adorned 
 with Mouldings and Bafs-reliefs, and ftrongly lighted;; the Vifto behind, 
 turned into a clofe Ground, and the Trees behind the Stone-work, in- 
 ftead of greyiih, more fenfible, warm and approaching ; this Stone, I 
 fay, would have the fame Effeft as the Boat, and come forward with 
 Force, tho' White, we all know, is not fo ftrong a Colour as Yellow : 
 For herein it will happen as in a Camp, where, in the General's Ab- 
 fence, the Lieutenant-general commands ; and in a Company, the Lieu- 
 tenant for the Captain, and the Enfign for him ; even the Serjeant is not 
 -without his Power ; therefore when ftrong-natured Colours are not in 
 a Pifture, the weaker fupply their Places, in a greater or lefs Degree as 
 the Matter requires; wherein lies the Crifis of the Management : Let 
 me add to this Inftance of the white Stone-work, that it muft be the 
 ftrongeft and moft catching Object in the whole Ordonnance, and that 
 no ftrong Obje&s muft come near it, to Men it's Force, or kill it, unlefs 
 they be weakened, and brought down either by Miftinefs, or by means 
 of their Back-grounds ; whereby they may then have no more Force than 
 a broken Colour* 
 
 CHAP. VI. Of the Difpofition of irregular Objects; and Light a- 
 • gainft Ddrhnejs ; and the contrary. 
 
 ^Tp H E placing and ordering of Objects is of great moment; for if, 
 after we have choien them all moft beautiful, we difpofe them 
 careleily, they will abate of their Luftre ; again, a good Dif- 
 pofition will make an Objea, tho' unelegant in idelf, look agreeable. 
 To givefome Examples of it, I ftiall begin with Plate XXIII. 
 
 On the Fore-ground, on the right Side, is lying an overiet Pot a- 
 aainftalarge Stone, and both of them ftrong and warm in the Light, 
 againft the Darknefs of fome high Trees which are on the fecond ground. 
 On the third Ground, lower and by the Water-fide, nfes a column d 
 No. 8. Z Build- 
 
178 
 
 Of Colouring 
 
 Book IV. 
 
 Building, which is light again. In the middle of the Piece, the Hori- 
 zon appears very low, with fome Hills ; and on the Fore-ground, are 
 three Figures making the greater): Group, and moftly in warm and dark- 
 coloured Draperies, againft the Faintnefs and Light of the Offskip. On 
 the fecond Ground is a young Man, who, with the Houfe, at the Door 
 of which he ftands, is below in the Shade, occafioned by the Ground- 
 fhade of the Trees oppofite to it ; this Houfe is of Free-ftone, and there- 
 fore light againft the blue Sky. The Fore-ground has no Verdure, and 
 is all light, chiefly about the Figures. 
 
 This Sketch fhews us the Irregularity of Obje£rs in an Ordonnance, 
 and how we ought to difpofe them according to Art ; fome high, others 
 low ; together with their Force, in order to create a diversified Decorum. 
 By ObjecJs I mean both the moveable and immoveable, viz. Men, Cat- 
 tle, Birds, Trees, Hills, Buildings, &c, as well horizontal, as falling 
 back behind each other. 
 
 As to Force, it conufts in Light againft Darknefs; and the contrary ; 
 for (except by the Diversity of Colour) there is no other way than this, 
 to fet off Objects againft one another. 
 
 We have faid, that the three fore-ground Figures are ftrongly colour- 
 ed, and come againft the faint Offskip; whereby I (hew, that in one 
 Piece there ought not to be two Lights on the fame Ground, altho' they 
 are both ftrongly fet off, but that one Part muft conlift of ftrong Light, 
 and the other of Darknefs. It's alfo eafy to conceive, that the three 
 Figures, becaufe they come againft the light Offskip and not into Shade, 
 muft needs require dark Colours: Contrarily, the Pot and Stone are fet 
 off againft the dark Trees, by a general Rule, that when there are fome 
 light Objects on one Side of the Composition, thofe on the other fhould 
 be dark. 
 
 Let us now view a fecond Example in Plate XXIV. as being an Oh- 
 fervation depending on the former, feeing neither can fubfift without 
 the other. This tends to illuftrate the Management of Lights, both 
 above, on each Side, and behind one another-, and that we ought always 
 to order after fuch a Manner ; when the former Example fhew us the 
 Irregularity of Objects in their high a?id low Difpojition, 
 
 The forward fitting Figures are, with the first Ground dark, as be- 1 
 ing fhaded by a driving Cloud; lb alfo is the walking Figure down to 
 its Middle. The Building on the fecond Ground fronts the Light, to- ! 
 gether with the two ftanding Figures, which are fet off by the dark ! 
 Side of the Houfe. The three hindmoft Figures are in the Shade of 
 the fame Building, againft the jSky j which is their Ground. The 
 
 Column. 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 6. 
 
 Of Colouring. 
 
 179 
 
 Column, alio on the fecond Ground, is almoft to the Top in Shade a- 
 gainft the hindmoft Trees, which run to the Point of Sight. The 
 Man is half again in the Light againft the dark Column ; and his under 
 Parts, (which with the firft Ground are dark) are fet off againft the 
 fecond Ground, which is light. 
 
 But 'tis not fufficient to place here or there a Ground-fhade ; we mud 
 alfo fhew the Occafion of it, that it may not be asked, what caufed it ; 
 for all Shades are not alike ; fome are more dark, others more clear; 
 moreover, they differ alfo fometimes in Colour ; wherefore it will not 
 be amifs to fay fomething of it here, tho' we lhall treat of it more at 
 large in it's Place. 
 
 The Ground-ihade of Trees often appears lefs or more Green, accord- 
 ing to their Tranfparency or Clofenefs. The Ground-fhade caufed by 
 driving Clouds is faint, and has no other Colour than that of the Air be- 
 tween. The Ground-fhade of a red, green or blue ftretched Curtain 
 is alfo of the fame Colour. Thofe of an Houfe or other heavy Piece of 
 Stone-work are grey and dark, &c. But to return to our Subject. 
 
 It's plain, that what is demonftrated in thefe two Examples, touching 
 Light and Darknefs above, on each Side, and behind one another, is the 
 fame when reverfed ; namely, if that which is now Dark were Light ; and 
 the Light, Dark. It's alfo indubitable, that if one of the Lights were 
 taken away, the Ordonnance and agreeable Harmony would be fpoiled 
 at once ; even fo much, as not to be brought right again without a general 
 Alteration ; for Inftance, fuppofe the walking Perlbn were dark above, 
 how could he be fet off by the Column? Since we have before faid, that 
 Darknefs againft Darknefs is improper ; and were the Column to be 
 Light, how fhould we manage the Sky ? And if the Sky were Dark be- 
 hind the Column, that would be as bad again ; for the whole fore 
 Ground and all upon it are dark ; and the fecond Ground is light again ; 
 wherefore every Thing would be in Diforder and indecorous : From thefe 
 Premifes we may plainly perceive, that this is a conftant Method for 
 Management : And when a good Difpoiition of the Colours, according 
 to their Qualities, is joined to it (for we know, that Objects have various 
 Colours, of which we can chufe the moft proper) the Decorum will ftill 
 be the greater, and the Eye more pleafed : Trees, tho' they appear 
 always green, are yet diversified according to the Seafon, and their Na- 
 tures: Some are Sea-green, others deep Green, this Ruftet, that Grey- 
 green, thefe again light Green, others dark Green : Grounds like wife 
 differ, as Hilly, Sandy, Clayifh and Muddy : Stones do the fame : All 
 which, we have fully (hewed in the firft Chapter of this Book. As for 
 
 Z 2 Men 
 
j8o Of Colouring. Book IV 
 
 Men, none excepted, what Colours have they not? In fine, he who 
 well'underftands the ordering of the Colours, and the fuiting them, 
 will never be at a Lofs. 
 
 But let him efpecially obferve, that in any Ordonnance, whether of 
 Hiftory, Landskip or any other Branch, one Side m > ft be contrary to 
 the other, not only in Light and Shade, but alio in Height and 
 
 Depth. . . 1M , . , 
 
 The Defigns of thefe two Examples are not much unlike that in the 
 foregoing Chapter ; yet here is greater Variety; for the former was, 
 of the Force of Objefts-, either dark or light,, againft contrary Grounds; 
 whereas thefe, tho' grounded on the fame Observation, ihew us how 
 they are to be ordered above one another, when it fo falls out : For In- 
 ftance, we fee a Group of Figures on the fore Ground, againft another 
 on the fecond Ground, fomewhat higher j and that, againft another ftill 
 higher - 7 and fo on, to the Cieling or Sky : We have (hewed, in Chap. 
 4. how we ought to fet off Obje&s behind one another, and to unite 
 them with the Ground ; but thefe Examples teach, firft, how light and 
 darkObjefts above one another ought to be managed, fo as to ferye each 
 other, and that each may keep it's Diftance. Secondly, How, for want 
 of Shade, we muft make fhift with the AJJiflance of Colours. Laftly, 
 How irregular Objeas ought to be placed againft each other ; which is 
 the Soul and Life of an Ordonnance, efpecially where there are many 
 People. But 'tis not confined to human Figures ; for it refpefts all Sorts, 
 of Objects, whether Grounds, Hills, Balluftrades, Battlements, Win- 
 dows, Roofs, Clouds and Sky 5 in fine, every thing we can fee rife be- 
 hind any Thing elfe, whereon People can appear. Speaking of Clouds, 
 it muft be obferved, that we may reprefent Figures flying in the Air 
 and fitting on Clouds, in the fame Manner as on the Earth ; a Matter 
 of principal Concern on fuch an Occafion, where the major Part of the 
 Objeas confifts of Height, and many are at a Lofs in the different Lights,, 
 Colours and Tints. Wherefore, docible Artifts I Regard this as an in- 
 fallible Rule, and confider every Thing which I have laid down in the 
 aforefaid Examples, to prevent your falling into the Miftakes which 
 are herein ufually committed. , „ ~ 
 
 I (hall now fubjoin a third Sketch, Plate XXV. touching the Cr offing 
 and Going of of Objects, as a Sequel of the two preceding. 5 
 
 See in this Example, a Boat going off againft a crofs Height, or 
 earthern Wall, whereon divers People are leaning by one another 5 who* 
 with the Trees rifmg behind, break the Regularity of the Wall : The 
 approaching Figures appear again againft the OrTskip, which runs acrols. 
 
Chap. 7. Of Colouring. 1S1 
 
 The Boat is in a ftrong Light againft the (hady Wall, which ends in 
 the middle of the Piece ; where the foremoft approaching Figures are 
 fet off with Light both againft it and the hindward dark Figures, which 
 have their fflk® again againft the Light of the Buildings in the Offskip. 
 The Sky on the right Side of the Piece abounds with heavy hanging 
 Clouds j and on the other Side are none, or very fmall ones. 
 
 Here we perceive, firft, * great Motion in the Diipohtion or the Ob- 
 jects ; which crofs each other up to the Horizon on one Side ; and on the 
 other, the contrary; which caufes an agreeable Variety ; especially, as 
 there are fomeObjeas going off, which (hew the Point of Sight : The 
 fecond Obfervation is, the Harmony of Light and Shade, as in the for- 
 mer Examples. . 
 
 This Examplothen (hews, what Methods we may take, in order to 
 fetch out luch Effeas ; and 'tis for that Reafon, that this Point is ex- 
 hibited feverally, and in different Manners, which we may make ufe 
 of as Occafion offers, as much or as little as we think proper; tho' ne- 
 ver too much; fmce Variety tires no one, but is always pleating: As 
 here a Vifto, there Bofcage, Houfes, here, a winding Road, 
 
 there, again a Building hiding, Part of the Offskip ; here, a level 
 Ground ; there, a River befet with Trees, partly running towards the 
 Point of Sight, and then bending, either to the right or left crofs the 
 Piece round a Rock ; and at laft to difappear. Variety feeds a con- 
 tinual delightful Defire ; but we muft know, that it principally refpeas 
 Ordonnances in the open Air or Landskips. 
 
 CHAP. VII. Of Agreeabknef in irregular and contrafting Objetts* 
 
 IF wc have not Knowledge in Compofition, all that we endeavour 
 at is Extravagancy ; even (hould we bring out a good Difpofition, 
 it would be owing to Luck ; when a well-ordered Piece, tho' indif- 
 ferently coloured, will always have an Harmony. The Truth of this 
 I find clearly evinced in irregular Objeas ; which give Life and Moti- 
 on to an Ordonnance ; as we have feveral times (hewed in treating of 
 Qrdonnance, and alfo in the firft and laft Examples of the foregoing 
 
 Chapter. . 
 
 This Motion is happily fetch'd out, if the contrafting Objects be 
 confiderately joined j for by this means they will meet each other fo 
 
l8x Of Colouring, Book IV. 
 
 agreeably as perfeftly to pleafe the Eye ; not as placed thus by Na- 
 ture, but as the Refult of an artful Composition. 
 : By the Irregularity of Objects, I underftand their Forms', as when one 
 as high, another is oblong ; this pointed, that lquare, round, oval, 
 &c. But 'ere I proceed further, ihall fhew the eafy Method I took in 
 order to get the Knowledge of Irregularity. 
 
 Firft, I drew all forts of Figures in different Aaions, as fitting, 
 ftanding, ftooping, lying, walking, fcfc. and cut them out with Scif- 
 iors. Next, I made a Sketch of my Ordonnance, and laid it down 
 flat, and put my cut Figures upon it, moving them about till I was 
 fatisfied where to place a fitting, ftanding or lying one ; how many 
 fuited here; how few, there; and thus, after much lhifting, I brought 
 forth a good Ordonnance ; which I then defigned fair, »akingiuch Al- 
 teration in the Aftions of the Figures as I thought proper, yet retain- 
 ing their Poftures in general ; leaving large and ftanding ones where 
 they ought to be, and the fmall ones lying or fitting in their Places : 
 And fo forth. b 
 
 By this means I have found, that a Landskip, with many and fmall 
 Figures, ought to confift of large By-works for fetting them off, wzi 
 large and clofe Trees, heavy Stone-work, broad Grounds, &c. And 
 within-doors, in a Palace or Apartment, there ought to be, behind 
 fmall Figures, large and flat Walls, with few Ornaments ; for were they 
 to confift of many Parts, all would feem alike large ; and were we to 
 place by large Figures fome large Parts, all would appear finally or, 
 to fpeak better, equally large. A large Objeft muft make another 
 fmall ; an oblique one, another erect ; and a fquare one, others pointed or 
 round ; for Contraries muft be brought together, that the one may 
 Ihew the other. 
 
 It is the fame with Light : If a large Part confift either of Light or 
 Shade, let one be the Ground for the other ; for Inftance, if, on the fe- 
 cond Ground, a large Part be in Shade, let the third have fome fharp 
 and glittering Lights; this will help the broad Shades and wanton 
 Lights : But thofe two Choices require a different Management ; the 
 Principal ought always to precede, and the other to be fubfervient to 
 it : In Landskip the immoveable Objecls predominate, and the moveable 
 ones ferve only for Ornament; contrarily, in an Ordonnance the Figures 
 are firft difpojed, and then the By-works ; for when we fay, that an up- 
 right ftanding Figure muft be placed by a bending Tree, and a crook- 
 ed Stem, by a ftanding Figure, we underftand. by the former the Stem 
 to be the Principal, and the Figure the Amftant, if in a Landskip) ; but 
 
 in 
 
Fla&z XXW. 
 
Chap. 7. Of Colouring, jgg 
 
 m an Hi/lory, the Figure is principal: Thus it is alfo in an Apartment 
 with Architecture, Statues, Bafs-reliefs and other Ornaments. 
 
 The Irregularity of Objects does therefore give a particular Deco- 
 rum and Elegance ; for what Satisfaction would it be to the Eye to fee 
 fome beautiful Grapes and Melons lye each in a feparate Difh ? But if 
 Grapes, Melons or other Gibbous, round, oval and large Fruits were 
 grouped together, they would add a Luftre to each other. 
 
 We know, that a fmall Houle vifibly magnifies a Temple or Pa- 
 lace ; and that a long and low Building makes a Tower or Maufoleum 
 look high. 
 
 Such Contrarieties as thefe are many ; and, to name them all, would 
 be as tedious as impoffible ; wherefore I lhali content myfelf with men- 
 tioning fome of the chief. 
 
 Plate XXVI. The Example No. 1. with an high Horizon, fhews 
 the ordering of Objects according to Perfpeftive ; the Steps A* run up 
 againft a Parapet ; the Figure B fits on the Ground, where the Steps 
 rife ; and forward, where they Jink, /lands the Figure C. The Point 
 of Sight D is on the Horizon. 
 
 No. 2. fhews the contrary of the former, when the Horizon is 
 low. 
 
 No. 3. is the fame as the before-going, with a low Horizon. 
 Plate XXVII. No. 4, (hews that lying Objecls require ftanding Fi- 
 gures. 
 
 No. 5. Is the contrary ; by lying Figures ought to be introduced 
 high (landing Objecls, ^.Columns, Trees, and the like. 
 
 With a Pyramid ending in a Point, or an high and narrow fquare 
 Stone fuit poping, fitting, and lying Figures ; alfo /landing Figures, but 
 moftly in Profile. 
 
 Under, or with Statues in Niches or on Pedeftals agree no fet /landing 
 Figures, unlefs one be fitting.. 
 
 With thin Bujhcs or cut Coppices fuit beft JlaJiding, leaning and /loop- 
 ing Figures \ but not any lying or fitting. 
 
 Againft an elegant Stone, with Bafs-reliefs, ought to be Figures 
 with fiat and broad-folded Draperies. The contrary is alfo good. 
 
 With a ftrait-cour/ed River, broken Shores and Banks. 
 
 With lying Cattle, /landing Men\ and the contrary. 
 
 With Horfes, A/fes and Cows, agree Boys, Sec. 
 
 With Sheep, Goats and other fmall Cattle, fuit full-grown People. 
 
 With fiat mufical Inftruments luit round ones, viz* the Hautboy, Lute, 
 and the like* 
 
 With 
 
3:84 Of Colouring. Book IV. 
 
 With a Timbrel, a Cymbal or triangular ringed Iron, Sec. 
 
 But when any thing is introduced into an Ordonnance to create a 
 Contrail:, the principal Piece which we would break by the By-work, 
 muft always predominate. 
 
 CHAP. VIII. Of ftrong Objefts again/1 faint Grounds*, and the 
 contrary, or, Darknefs againft Light, and Light againft Darknefs. 
 
 A V I N G already fpoken largely about the Management of 
 the Colours, which is one of the capital ^Parts of Painting, I 
 have taken great Pains in building fome Rules thereupon, with 
 a View, that when Occafion required, I might give good Reafons for 
 ib doing. Under my prefent Misfortune this Comfort is left, that I 
 now have nothing to hinder what I firmly purpofe, and therefore can 
 consider k with more Vigour than ever ; I even imagine it in a de- 
 gree equal to. Nature herfelf, fince I know perfeftly the Strength and 
 Nature of Colours and -their EfFefts. 
 
 Confider then the following Example, Plate XXVIII. whether it 
 be of Moment. 
 
 The Man A in a warm Fillemot Drapery, ts againft the taint Ott- 
 skip : The Woman B in a light blue Drapery .againft the Trees behind 
 her: Or, A beautiful Sky-colour Blue, and' B pale Red: Again, A 
 dark beautiful Red, and B Rofe-colour : Or, A Purple, and B White ; 
 thefe are the principal and moft fuitable Alterations, befides changeable 
 Stuffs. 
 
 Some perhaps may ask, whether the blue Drapery, which we place 
 here againft the Offskip, does notcontradift what we have formerly faid ; 
 namely, that Blue is reckoned among the weak Colours ? And yet here 
 we aflert Warmth againft Faintnefs, and the contrary : To which I an- 
 fwer negatively ; becaufe we call warm Colours, thofe which are pure 
 and unmixed," ws. beautiful Sky-blue, beautiful Yellow and beautiful 
 Red; whereas, when thofe Colours are mixed with White, their 
 Warmth no longer fubfifts • becaufe their Darknejs gives the Glow: We 
 fee, on the contrary, that light Blue, light Yellow and light Red, even 
 White itfelf, ferve for weak Colours againft the dark, as this Example 
 
 ^The Reafon why A ought now to be of a fmgle or capital Colour, 
 is, becaufe the Oftskip, being made up of fo many tender and faint 
 
 Colours 
 
Chap. 8* 
 
 Of Colouring, 
 
 Colours, {hall have no Communication with it ; which makes the one 
 the better retire* and the other approach. B does the fame contrarily. 
 
 This fmall Example is of fuch a Nature, that any Ordonnance of 
 what Kind foever, as well within Doors as in the open Air, taken from 
 it muft be good. 
 
 If we introduce, inftead of the Offskip, a Building with Bafs-reliefs, 
 Figures or other Ornaments, of a weak Colour, or elfe of Marble, it 
 will anfwer the fame Purpofe ; and if, inftead of the Trees, we exhibit 
 a Curtain, Grotto, Rock or other Building of warm Stone, it will be 
 the fame again, with refpecl: to Colour : But if A come againft a flat 
 Ground, of one Colour, whether Grey or White, then that Figure 
 rriay be of different Colours, or changeable Stuff. Likewife if we place 
 B againft an Hanging, or a party-coloured Ground, that Figure muft 
 needs be of a {ingle Colour or Drapery ; wherefore we are enabled to 
 judge how far this Obfervation extends. 
 
 Yet as this Example fhews only Light and Darknefs, we fhall fub- 
 join another in Plate XXVIII. aforefaid, with a third or middle Tint ; 
 which, with the former, will fu^fbe for giving a right Notion of 
 compofing all Sorts of Ordonnances, as well within Doors as in the open 
 Air, as before faid ; altho' the Defign were to confift of 2, 3, 4 or 
 more Groups ; obferving the Grounds againft which they come y whether 
 faint, ftrong, diftant or near ; to the end thofe Groups may, by the 
 Force of light or weak Colours, obtain their due Beauty ; I fpeak not 
 in reference to any one in particular, but all in general. 
 
 We find, that when dark Colours are placed againft a faint Offskip, 
 they are vifibly fet off, and make the one appear diftant, and the other 
 near ; and the more, when we fet fome light and weak Colours on the 
 fore Ground, whereby they ftill have a greater Effect ; as we may ob- 
 ferve in Figure A. 
 
 From which Premifes 'tis plain, that the fame can be effected 
 by the contrary Method ; fo that the Argument of fome, namely, 
 that ftrong and warm Colours ought always to be placed forwards, in 
 order to approach the more, and the weak ones to be in proportion to 
 their Diftance, the fainter the further, is intirely overthrown for want 
 of confidering, that the Strefs lies moftly in the bach Ground. 
 
 The Example now before us is like the former, the fore Ground ex- 
 cepted, which is added to it, the better to explain our Meaning in the 
 ordering the Colours to advantage ; by which Method we can difpofe 
 our Ordonnances with eafe, and ib as to fetch out a beautiful Harmo- 
 ny. See Plate XXVIII. aforefaid. 
 
 No. 8. A a I place., 
 
i8<5 Of Colouring. Book IV. 
 
 I place, on the left Side on the fore Ground in the Grafs, a fitting 
 Woman, with her right Leg fronting the Light, having a white un- 
 der Garment, and over it a red one. She refts her right Hand on a 
 dark greeniih-blue Pot. A little further behind her ftands an half Co- 
 lumn of grey Stone ; which fets her off, and whereon leans an old Phi- 
 lofopher dreft in dark Blue, having on his Head a Crown of green 
 Leaves. On the right Side, on the fore Ground, which is fandyf and 
 here and there intermixed with Ruflet, lies a large flat Basket of a dark 
 ruffet Colour, and in it is a large Italian Pumpkin, on a beautiful dark 
 blue Cloth fpreading, half out of the Basket, on the light Ground. By 
 it ftands a Girl, dreft in Rofe-colour, holding her Lap open. Behind 
 her appears an heavy white Terme. And, on the left Side from her, 
 ftands a Woman dreft in light Violet, who is putting a Garland on the 
 Terme. The Girl is in Profile, and the Woman fronting. The Phi- 
 lofopher (hews, to the Woman before him, the Terme, which (he turns 
 towards and looks at. The Terme, Girl and Woman are clofe toge- 
 ther, making with the Ground a great Light 5 againft which the 
 Basket is itrongly let oft. 
 
 CHAP. IX. 
 
 Of the Painting Objecls duftily. 
 
 THERE isftill one Thing which many Painters carelefly pafs 
 over, tho' very ufeful and elegant, if well and naturally obferved • 
 It relates to fuch Objecls as are dufiy, as well in Rooms as in a Gar- 
 
 4> ? r /ii $ e ,f°5; me f be fometim es fwept, and the latter cleaned, 
 yet Pedeftals, Balluftrades, Parapets, Vafes and Statues always efcape ; 
 Galleries and publick Places for walking in, are like wife feldom clean- 
 ed: It is therefore, in my Opinion, very improper in thofe, who with 
 great Care reprefent the Pavements of the faid Places with Stones of di- 
 vers Colours very dijiinttly jointed, one dark, another light, without the 
 leajt bpot of Uncleannefs ; which makes it very difficult to get a good De- 
 corum, or caufe thofe Pavements to look flat, without Offence to the 
 Eye ; caufmg moreover an exceffive Stiffnefs, be the Colours ever fo 
 well ordered 5 whereas ufually in a large Apartment, daily walked in, 
 we cannot, in the aforefaid diftina Manner, perceive what the Colours 
 ol the Floor are, except towards the Extremities and next to the Walls ; 
 wherefore the Mtddle, where is the moft walking, mufi appear dull] 
 
 unit- 
 
Chap. 9, 
 
 Of Colouring. 
 
 uniting, and almoft of one Tint. Some Painters exprefs the Compart- 
 ments of fuch Floors fo diftintlly, that you would even imagine they 
 were wet. I grant indeed, that fometimes in the Life it is fo, by means 
 of the dark Stone ; yet if we break and make them a little lighter, 
 they will then not flare fo much, and yet be no lefs natural : As if an 
 Apartment were furrounded with a marble Surbafe, and in the middle 
 of the Room were a gilt Ciftern, by which the Floor may very well 
 appear ftrong, becaufe of its Agreement with the Marble, and the 
 glitter of the Ciftern. 
 
 For my part, I mould rather chufe a plain Floor than a comparted 
 one ; but if we lie under a Neceffity to introduce the latter, the beft 
 Method will be, to unite the Colouring in fuch a Manner that the 
 Tints differ bat little from each other. 
 
 This Obfervation does in an efpecial Manner affect Landskip ; fince 
 'tis certain, that the Parts which abound with Trees, whether Woods 
 or Sides of Roads, are fubject to Rain and Wind ; and, by means of 
 Duft or Sand, the Greens, Tombs, Pyramids, Vafes, and all other 
 Objects in fuch Places, are fo fullied and covered, that the true Colours 
 of the faid Objects are hardly perceptible: For Inftance, in fuch a 
 Place as we now fpeak of, ftands a red Tomb on a black Plinth ; now, 
 if we make this Tomb or Plinth too dark, or too ftrong, it will look 
 as if it had been wajhed ; whereas contrarily it ought, by means of 
 the Duft of the Branches and Leaves which fometimes fall on it, to be 
 fo covered over, that we fhall fcarce perceive, whether the Tomb be 
 red, or the Plinth black. 
 
 Altho' fome may think this Obfervation too trifling and far-fetch'd, 
 'tis neverthelefs highly neceflary, in order to find, befides by other Me- 
 thods, the Likelihood in a Picture ; whether it be, for breaking thereby, 
 in fome meafure, and uniting Objects, which, through the Nature of 
 their Colour, would have too great a Force, or for any other Caufe ; 
 yet not without Reafon, that it may not appear too affected. 
 
 But here, methinks, I hear fome object, that if we thus obferve in 
 every thing this Duft and Sully, long Gowns and train'd Cloaths can- 
 not be free from it 5 efpecially thofe of Women, which are common- 
 ly of beautiful and light Colours, and muft confequently be at the 
 Bottoms, as well as their white Sandals, more or lefs dufty, to the no 
 fmall Laughter and Wonder of the People : To which I anfwer, that 
 I fhould more wonder, to fee a Perfon come dry out of the Water, 
 than clean out of Duft and Dirt ; for tho' we do not fee it obferved by 
 others, who have always made the Sandals beautiful and white, even 
 
 A a 2 thofe 
 
Of Colouring. 
 
 Book IV. 
 
 thofe of a common Soldier, as well as of a General; and a train'd Gown 
 the fame ; yet I fay, that this Obfervation does not tend to countenance 
 Miflakes, but to make us mindful of the Natures of Things, and to 
 exprefs them in our Pictures with all Likelihood, more or lefs as the Mat- 
 ter requires, not^fuperfluoufly, but ^Moderation ; a Virtue which, tak- 
 ing place in other things, fhould not be negle&ed in this Point. A ju- 
 dicious Matter will obferve an Equilibrium, in order to prevent Aver- 
 fion, fmce Things too beautiful are unnatural, and thofe which are too 
 dirty difagreeable to every one. This Management would alfo not 
 be juftirlable, could we not, as I have faid, perceive the Reafon of it ; 
 as in poor People, Countrymen, and fuch like, with old and tattered 
 Cloaths, which wear not without foiling and gathering Duft. 
 
 But this Obfervation is of no ufe to thofe, who, not apprehending 
 the Caufes of Things, will have every thing as beautiful as poffible ; 
 whereas Likelihood fhould appear in all Parts. Prudenter agendo. 
 
 The End of the Fourth Book. 
 
 the 
 
THE 
 
 ART of PAINTING. 
 
 BOOK V. 
 
 Of Lights and Shades. 
 
 CHAP. I. Of the different Lights of a Picture. 
 
 JUDGE this Point to be one of the moft important in 
 the Jlrt of Painting ; for without a thorough Know- 
 ledge of it 'tis impoffible to make a good Piclure ; 
 wherefore I (hall ihew all, that by Difcourfe lean bring 
 forth, as the Refult of what I have learned by many 
 Obfervations and long Experience. 
 
 Of a common Light. 
 
 Objefts, in a common Light, have no broad (harp Lights, and then- 
 Shades are uncertain : The tecond Tint and Shade keep their own Co- 
 lours much better in a clear Air without Clouds ; becaufe the Objects, 
 being lighted on all Sides without Vapour, appear fenfible, and more 
 relieved than in Sun-fhine. This Light 1 think beft for Pourtraits, and fuch 
 Objects as we would have enlightened from without the Picture ; as an 
 open Gallery or fuch like Place ; and tho' the Objects thus lighted have 
 
 r no 
 
190 
 
 Of Lights and Shades. 
 
 Book V. 
 
 no great Force, we neverthelefs find, that the main Touches both in 
 Light and Shade are flronger than in other Lights. 
 
 This Light gets great Elegance and Advantage by low Horizons ; 
 when it makes greater Shades ; as under the Leafing of Trees, Mould- 
 ings and Proje&ures of Buildings, and fuch like. 
 
 Of the Light in a cloudy Sky. 
 
 We need not wonder, why the Objects in a cloudy Air appear 
 more fenfible than in Sun-fhine or clear Weather ; becaule the Air or 
 Vapours, being moftly exhaled, leave the Objects below without Mif 
 tinefs, and thus afford a much iharper Tranfparency for viewing every 
 thing, without the leaft Obftru&ion ; for which Reafon, Things in a 
 cloudy Air, feem lefs to go oft' from us, and appear dark and near, 
 and of a more beautiful Colour • efpecially the Green of Grafs and 
 Trees. 
 
 Of a Sun-Jhiny Light. 
 
 Obje&s enlightened by the Sun are more or lefs mifty, as the Sun 
 fhines ftrong or weak j for this Reafon, that the Atoms or Motes be- 
 tween us and the Point of Sight feem more denfe, by the Strength of 
 the Sun, than in a common or clear Light • and are more or lefs ting- 
 ed ; by which means the Shades of Objecls become faint at once, and 
 go off more fuddenly, than in another Light*, wherefore we may eafily 
 conceive, that, tho' the Shades are broader, and more feniibly limited, 
 than in another Light, yet they appear not fo (harp as fome Mafters 
 have, byMiftake, exprefled them } efpecially Berchem, in his Objecls 
 lefs than the Life ; this indeed would be well enough in covered Pla- 
 ces, as Galleries, Palaces, Apartments, where there is no Air ; where- 
 by the Objecls then appear more perfeft, plain, and lefs retiring. 
 
 Suppofe, for Inftance, you walk thro' fome fhady Trees, it is cer- 
 tain, that, coming towards the End of them, you will fee the Objects 
 in the open Air plainer and better than in the Field the Profpective- 
 glafs evidently proves this, were the Day ever fo clear. Obferve then 
 in general, that (as I have faid) the Objects grow faint more fuddenly 
 and difappear in Sun-fhine • which herein principally differs from com- 
 mon Light. 
 
Chap. i. 
 
 Of Lights and Shades. 
 
 191 
 
 Of the Light in Halls, Rooms and other Apartments. 
 
 For Pieces to be hung againft Walls of Apartments, the common 
 Light is moft proper, if the Difpolition of the Light of the- Place 
 will permit, as being the moft moderate and agreeable when well and 
 naturally exprefled. This Conduct then is principally to be obferved 
 in it, that the Figures and other Objects be lighted more or kfs 
 Jirong and broad, according to their Near fiefs to, or Diftance from the 
 Light of the Windows ; and, tho' ftanding on the fame Ground, they 
 ought neverthelefs to be different in Force of Light and Dullnefs of 
 Shades. So alfo the Ground-Jhades on Walls, Grounds and other Ob- 
 jects, ihould be, fome jhorter, ftronger, and more fenfibk than others. 
 The Figures clofe to the Windows muft therefore certainly receive their 
 Light from on high, and have Jhorter Ground-Jhades, than thofe which 
 are further from them. 
 
 But as it may happen, that the Objects, diftant from the aforefaid 
 Light, may receive Light from other Windows, fo their Shades ought 
 alfo to break more or lefs, and to become faint, becaufe they are encom- 
 pafled by a larger Light, befides Reflexions from the Walls. The Shades 
 of fuch Objects are alfo warmer than in the open Air, where the Blue of 
 the Sky and Vapours very much' weaken them, and make them faint. 
 
 We muft likewife obferve in general, that in an Apartment hung 
 with Red, Yellow, Blue or Green, all the Shades of the Objects are 
 thereby reflecJed, and partake of the fame Colour ; but the Touches and 
 Shades of the faint eft ObjetJs will appear the ftronger. 
 
 A Compendium of the Lights. 
 
 In cloudy Weather, the Objects are lefs retiring, more warm, and more 
 fenfible. ' 
 
 In clear Weather without Clouds, a little more retiring. 
 
 In fun-Jhiny Weather, ftill more retiring, and lefs fenfible. 
 
 In "foggy Weather (as at the latter End of the Year, or in Winter) 
 the moft retiring, and more fuddenly difappearing. 
 
 The grofler the Air, the more Body it has; and the more Body, the 
 more vifibly lighted ; whereby the Sight is fhortened, and the Objects 
 appear more indiftinct. Thus much as to Objects in the open Air. 
 
 Thefe 
 
Of Lights and Shades. 
 
 Book V. 
 
 Thefe four particular Lights, naturally handled, are certain 
 Proofs of a skilful Mafter ; and it would, in my Opinion, look very 
 agreeable, to fee fuch Pieces hang by one another, embellilhed as follows. 
 
 In cloudy Weather, the Herdfmen, fearful of Rain and Storms, are 
 packing up their Baggage ; the Sheep every where making towards 
 them, liftlefs and hanging their Heads; which they are driving in an 
 Hurry into the Woods, looking continually at the Sky \ in fine, the 
 Buftle is great, and every one in Motion. 
 
 In clear Weather, the Herdfmen walk hand in hand ; others fit here, 
 and there, by a Fountain, in Difcoude ; a third Group divert themfelves 
 with finging and skipping about, and fome play on the Hautboy, Fife, 
 Reed or Straw-pipe, Inftruments ufual among Country-people 3 and in 
 the mean time their Flocks are grazing in Safety. ' 
 
 In fun-fliiny Weather, the Shepherds and Shepherdefles fit at eafe 
 under their fpread Cloaths ; fome by a Water-fall waffling themfelves ; 
 others fleeping in the Shade of a Fountain, or Trees; their Flocks are 
 grazing up and down in Groups ; fome chewing the Cud for Coolnefs, 
 others drinking at a River, others lying in the Shade. 
 
 In foggy W wther, the Herdfmen are driving their Flocks homewards ; 
 walking with Concern, and drugging their Shoulders, and poking out 
 their Heads, carefully looking to fee whether a Sheep or Goat have not 
 been loft in the Fog, and clofely guarding the Flock on every Side. The 
 young Women follow, with Cloths or Veils on their Heads ; and fome 
 are flopping their Nofes with them, becaufe of the Stench of the Fog. 
 
 CHAP. II. Of the Condition of the Air, or Sky. 
 
 TH E Sky is a wide Expanfion, feeming lower or higher as 'tis 
 more or lefs replete with Vapours ; now the Sky is certainly 
 never without Vapours, fince, were there none, it would be e- 
 very where blue, as well on the Horizon as over our Heads : But we 
 fee, it appears lighter next the Horizon than vertically, becaufe the 
 Vapours fog and dirninifh the beautiful Blue there. 'Tis alio plain, that 
 the nearer the Air is to the Earth, the more denfe and grofs it is ; and 
 in Proportion to it's Afcent, the more rarified and tranfparent. The 
 Vapours are likewife more or lefs fenfible in Proportion, to their Denfity 
 or Rarity. 
 
thap. 2. Of Lights and Shades 193 
 
 We mud obferve here, that when the Sun rifes in the Eqft, it is 
 then, in that Part, lighter on the Horizon, than in the three others ; 
 and at Noon 'tis lighter in the South ; and fo round ; becaufe this large 
 heavenly Body communicates its Influence to every thing near and a- 
 bout it. 
 
 I fhall now demonftrate, by an Example, the Reafon why the Fa- 
 pours, the further they are from us, become the lighter : Take a thin 
 Gaufe, 8 or 10 Yards long, and ftrain it, in the open Air, on four 
 Poles ; mark each Yard with a Crofs-line, numbered i, 2, 3, to 10; 
 then place yourfelf under No. r. and, looking along to the End of 
 the Straining, you will perceive the Blue of the Sky lefs in the fecond 
 Divifion ; and the further, ftill kjfer ; becaufe the thin Threads dou- 
 bling before your Eyes, thereby thicken the Gaufe more and more, 
 and abate its Thinnefs or Tranfparency j infomuch that at laft you per- 
 ceive nothing hut an intire white Stuff. 
 
 Suppofe now, that the Stars were up, and you were to make the 
 fame Experiment ; you would find them to appear mofl diftinB in the 
 firft Divijion, and difappear in Proportion as they go off; which is a 
 plain Proof, that tho' the Air be ever fo Rare, forwards or near, yet, 
 it becomes gr offer, the further off, and confequently more Body mujt re- 
 ceive more Light, 
 
 'Tis for this Reafon, that the Stars are never feen very near the Ho- 
 rizon ; and if we do perceive any thereabout, they are but fmail and 
 weak. 
 
 Between the Jir and Water there is no Difference ; the one feems to 
 be an Impreflion of the other ; to wit, both of them light towards 
 the Horizon, and the Air over head and Water forwards both dark. 
 
 As for the Ground or Plan, which receives its Light from the Hea- 
 vens, I do not find it neceflary to aiTign other Reafons for proving, 
 that the Cafe of this is quite contrary to that of the Air ; fince Per- 
 spective fhews, that every thing enlightened, if it have but a folid 
 Body, darkens more and more the further it goes off from us : Sup- 
 pofe, for Inftance, an open Gallery, 600 Feet long, having an even 
 Floor ; you will perceive the firfi Foot to be the lighteft, and fo on to 
 the further End, lefs and lefs light. The fame may be obferved in Fi- 
 gures cloathed in White, and how much the firft will differ from the 
 laft. I fpeak o»ly of what is in the Light ; for the Cafe is quite dif- 
 ferent with what is dark, and in Shade ; as we may fee when Figures 
 are dreft in Black, that then they become lighter and lighter by the 
 thickening of the Vapours. 
 
 No. 9. B b 
 
Of Lights and Shades. Boot V. 
 
 The ObjecTs which appear in a level Field, when the Air is with- 
 out Clouds, and the Sun, hidden either behind a Mountain or Tree, 
 will receive Light from all Sides, and yet keep their Relief by reafon of 
 fheir ftrong and dark Touches. Their Colours are not broken, but re- 
 tain their natural Beauty : And tho' the Sun, as before faid, be hid- 
 den by fomething, and cannot then fhine on the Objecls, they will 
 neverthelefs receive more or. left Light from the Air on the Side where 
 the Sun is hidden, without altering the Colours. 
 
 That the Blue of the Sky is no Colour, we can plainly perceive by 
 the Objects in an open Field, when the Sun or light Clouds fhine not 
 on them, which are not in the leaft tinftured by it ; as being nothings 
 elfe than a vaft Remotenefs or Height, from whence it comes forth, 
 and therefore not able to impart this Colour to the Objects, as they do, 
 their's to one another, for want of Body. 
 
 Since we are treating of the Virtues of the Air,, it will not be a- j 
 mifs to fay fomething of its Reflexion ; a Matter worthy of Obfervati- : 
 on; lince in that Point are often committed great Miltakes : And to 
 explain it, we thall exhibit the three -following Examples. 
 
 A T , B. The Numbers fignify the Tints; as i is one Tint;. 2, one 
 Tint darker, and 3, a Tint darker than the preceding. 
 
 The Figure A, Plate XXIX. is a Tint darker in Shade than B for 
 this Reafon ; that the Trunk of the Tree C has a rough Superficies, 
 which can give no Light; and the white Houfe D contrarily can give 
 a great Light or Reflexion; Now if the Houfe were not there, but a^ 
 level Field inftead of it, B would rather be lighter than darker^ 
 and if the Trunk and Bulhes behind it, were alfo taken away, thofe 
 two Figures would have a like Shade : Whereas now we fee two Fi- 
 gures on one Line or Ground, one darker and the other lighter, thol 
 the darkeft Shades in the latter keep their own Force; which, did] 
 they appear otherwife, would be againft Nature and the Rules oh 
 Art. 
 
 The fecond Example has the fame Obfervation. 
 
 Now I am well aflured from Experience, that if we were to give 
 1 to fome (who had never feen this Sketch, or known the Reafon of itj 
 an Outline of the following or fuch a Defign, difpofed alike, and ona 
 Figure as far from the Trees as the other is near it, ftanding in a Lina 
 parallel with the Horizon, in order to fhade them according to theil 
 own Notions, they would reprefent them both alike in Light and Shade I 
 tho' by an infallible Rule, he who ftands furtheft from the Trees] 
 have more Light round about him than he zvho is nearer ; and therefore if 
 cannot poffibly be otherwife than as we fee here exhibited 5 to wit,, B oni 
 
Chap. i. Of Lights and Shades. 195 
 
 Tint in Shade, and 2 in the Ground-fhade ; and A % Tints in Shade, 
 and 3 in the Ground-fhade. Now behold the Woman °n the Fore- 
 eround, who, like B, has one Tint m Shade, by reafon of the Re- 
 flexion of the Stone ftinding near her. The Ground-fbade upon that 
 Stone confifts of three Tints; and if the Stone, or any fuch Hindrance 
 were not there, the Air would caufe the fame Effeft, tho' not fo 
 
 flr °Some*may poffibly think, that the Houfe is too far to caufe fuch a 
 Reflexion ; and that then the Figure A ought not to differ fo much « 
 but I fay, that the Trunk C with the Maybujhes behind fo interpofe, 
 that the Figure A cannot receive any Reflexion from the Houfe and 
 therefore it muft naturally be one Tint darker in Shade than B Would 
 you make a far-fetch'd Oppofition, and drefs A in White; I fay then 
 that there would be no need either of the Trees or Houfe ; when yet 
 it's plain, that the one as well as the other is thus ordered to lerve tor 
 
 ^ThTtWrd Example, Plate XXX. confirms the two former ; in 
 which we plainly fee the Reafons why Obje£b are wakened more or 
 lefs in their Shades, not only by the Reflexes of other Ohe£ts but 
 alfo by the Air on the left Side; and the Ground-fliades the lame, 
 which are darkened more or lefs beyond the Reach of the fa.d Air or 
 Reflexion: As it appears on the three Columns, in which tis evident, 
 that the Ground-fliades of i and 3 are a Tint fainter than that of % ; the 
 Pillar 1 by the Light of 2 and the Air, and 3 by ^he Air alone. Ihe 
 Pillar % is about half-way from the bottom darker in its Reflexion 
 than above, and its Ground-fliade one Tint darker than 1 and 3, by 
 reafon of its (landing nearer to 3, and whereby Pillar 2 comes to cait 
 its Ground-fliade on 3, which Ground-fnade covers the Light ot 3 
 half-way whereby this laft cannot reftea thus far againft 2, nor in its 
 Ground-fliade. Thefe Eflefts happen as well in Sun-dune as common 
 T ight without the leaft Alteration. 
 
 We'exhibit here another Example in Plate_ XXX. aforefud, which 
 affords no lefs Confideration than the foregoing; and whereby 1 fhew 
 the Force of Light and the Main-light Touches upon Objeas, and how 
 unlike they appear in tw Wjitis able, according as the Horizon >s 
 high or low. A and B are the Inftances, and C and D, the Proofs of 
 ft that it cannot be otherwife. The Cafe is the fame, whether the 
 Light be Sun-fhine or common ; or whether it be fronting or bdewajs. 
 The Horizon is, as we fee, between both Heads, and the Point ot 
 
 lib j c, S m 
 
196 Of JJghts arid Shades. Book V. 
 
 Sight in the middle, or fomewhat more to the right Side. The Light 
 proceeds alfo from the right. 6 
 
 Now confide* how the two Heads A and B, tho> having one and' the 
 fame Light, differ in their Main-ligh-Touches ; A having Fhofe Touch- 
 es on the Forehead and all the projeaing Parts, as Nofe and Chin, 
 under Lip and fo forth ; and B having them on the Rife "of the Brows, 
 Corners of the Eyes befide the Nofe and along the Cheek, Tip of 
 the Nofe and Chin, which Alteration is only caufed by the Point 
 oJS'ght, according to its Pofitiort either high ot low. When the Ob- 
 kQs (be they of what Kind foever, if but fmooth and even, as Marble, 
 Copper or the Life atfelf) ftand under an high Horizon, the aforefaid 
 Matn-hght-Touches go upwards, and on the contrary defcend, the more 
 the Objeffc are devoted above the Horizon; as we have faid, and is here 
 demonftratec I; Now obferve C D of the fame Stuff as the foremoft 
 Heads, and lighted by the fame Light, where C has a ftron* Height- 
 ening on the rifing Part; which defends more or lefs as it rlfes above 
 the Horizon. 
 
 • T^sExample is of great Moment, and produces uncommon Things ; 
 in which we (hould fometimes be at a Lofs, and which would not occur 
 to us in many Years : I fpeak in reference to thofe who are too confi- 
 dent of quick Concept.ons, and do not duely weigh Things : for it muff 
 be allowed, that without the Knozvledge of PerfpetJive* 'it is impoffi- 
 ble to trace Truth from the Secrets of Nature, in order to bring k to 
 
 1^7or%^ ™ TlS C T' T ? tt imkate the L,fe > a GoW g or Sit 
 X v ™' h u C 0t t r (h)n,I1 g Piece of H °uftold-ftuff, as fine 
 
 nrhtlr 5 f m % he V3ft1 ^ miftaken in the Ufes °f Aem in our 
 Ordinances, if we do not regard the Motions of the Glittirin S s ; 
 
 which are as various as incredible; and yet all thofe Things i4v 
 
 be eafily apprehended, ,f we underftand, and fometimes praailt, Per- 
 
 1 
 
 CHAP. III. Of Reflexions in the Water. 
 
 Wft r J reft «t in g Reflexions >'nthe Water is certainly not of the 
 ~ belSl? ' and fl . their /S^eablenefs makes them worthy to 
 be naturally expreffed ; but as there are not affigned or will h^ 
 
 x^aoQur to leeK any:. For which. Reafojufome Landskip- paint- 
 
Chap. 3. Of Lights and Shades. 197 
 
 ers often pafs over the Reflexions in the Water, to avoid the Trouble 
 
 ° f Newthelds the incomparable Poufftn has not forgot to make ufe of 
 them, and he has got great Reputation thereby ; I fpeak ot Mcho/as, 
 who was as famous for Landskip as Figures, and who never met with 
 any Difficulties which he did not furmount. 
 
 Having earneftiy applied to this Point, I confidered, whether there 
 could not be found other fhorter Means to efFeft it, than by planning 
 Lines, &c. that fo agreeable a Part of Art might not be neglected; 
 and after long Trial 1 difcovered the following Method. 
 
 Take an oblong Board of what Size you pleafe, and place .thereon 
 fome Wax-Fieures as clofe to the Edge as you think proper, or accord- 
 me to their Diftance from the Water, which they ought to have in 
 Your Piaure. Bend thefe Figures into fuch AQions as your Sketch re- 
 quires, and place them, by means of little bits of Wood or Potters- 
 earth, as high or low as you defire; then take a Trough (made for 
 that Purpofe) of Lead, Wood or Tin, painted within-fide with fuch a 
 Ground as you want, whether Black, Umber or Terrevert, and till 
 it with Water, and fet it againft the Board and Figures, as high or 
 low as your sketched Ground direds. Next, fix your Point of bight ; 
 and, after having found your Diftance, place yourfelf there, either 
 ftandine or fitting, and thus defign the Figures with their Reflexions^ 
 fliehtly alfo maTking the Shades: Then fet your Layman to each 
 Figure, and defign it very carefully ; fixing the Layman each Time in 
 the Place where each Figure flood, fo as to fee its Reflexion like that 
 
 in your Sketch. , , . c , „ 
 
 Here efpecially take notice of the Length and Breadth of the Re- 
 flexion ; for it always fhortens more than its Objea ; becau'e it is io 
 much lower under the Horizon. When you place the Model or Lay- 
 man as much above the Horizon as it reflefts under it, and deiign it 
 thus correaiy, in order to paint after it, you hold the Drawing uphde 
 down : Here you will poffibly fay, that the Reflexion ought to be re- 
 vers'd ; which I do notdifown ; but then you can make an Impremon 
 of your Sketch on another Paper, and thereby perceive the good 
 Effect 
 
 Having proceeded thus far, and painted after your Sketch, you may 
 ht allured every thing is right. 
 
 But here let it be obferved, that the Reflexions muft always be 
 perpendicular with the Objefts above them, as if growing out of each 
 other j as, we may fee in Plate. XXXI.. _ 
 
Of Lights and Shades. 
 
 Book V. 
 
 This Method relates not only to the placing of Figures, but all o- 
 ther Objefls of what Kind foever \ as Horfes, Dogs, Pyramids, Stones 
 with Bafs-reliefs, Vafes, Pots and other Things, and whether they 
 be forwards, backwards, or at the Sides of your Painting. 
 
 You may, inftead of a Water-trough, ufe a Looking-glafs ; but 
 'tis not fo natural as the Water, which may be made to look deep or 
 (hallow, and as dark or light as you pleafe, by placing a little Mud, 
 Grafs or Sand in the bottom of the Trough. 
 
 As for the Colouring, Experience teaches, that the more the Water 
 is enlightened by the Sky, the more uncertain the Reflexions are ; and 
 when the Sun Sines directly on the Water, the Objects will appear 
 much more uncertain, as well with refpect to us, as thofe who view 
 themfelves therein ; for the Reflexions then appear only as 'defending 
 Rays, without any Shape; as we fometimes fee by a Candle, the 
 Moon or other Thing, which gives only a Reflexion on the Surface of 
 the Water, whether in Sun-fhine or by Night ; becaufe we cannot then 
 perceive the Tranfparency of the Water. 
 
 The Reflexions in the Water, tho' it be quite dark and clear, are 
 never fo light as their Objetls without j but always a Tint or an half 
 darker. 
 
 Now, to reprefent the Reflexions in a running Waf er, you muft. firft 
 paint it with Light and Shade, on a Ground rubbed thinly over with a 
 little tough Oil ; then take a large foft Pencil, and here and there crofs- 
 hatch it. But a better Way, is, to take a long-hair'd Fitch, and make 
 the Strokes as clofe as the Veins of the Water run, taking Care, not to 
 ftrike out too much of the Out-line.' But as Glajs is a diaphanous Body, 
 and therefore has no Conjlancy or Fixednefs, nor can effect any Thing, 
 but by Means of fomething elfe having more Body, as by the Earth, 
 which is a firm Body ; (this we fee, when the Glafs isfilvered or pitch- 
 ed) fo with Water the Cafe is the fame ; which will produce no Effect, 
 nor receive the Form of any Object, unlefs there be a firm Ground to 
 fix its Tranfparency ; as we may fee by a Piece of Ice. 
 
 Having faid enough of the Reflexions which concern Objects out of 
 the Water, it will be neceflary to obferve fomewhat about Objetls ftand- 
 ing in the Heater ; a Point well worth our Notice, on Account of the 
 uncommon Occurrences which happen in it, tho' as little heeded as if 
 they were on the Land, and no Water thereabouts. 
 
 We muft fuppofe the W^ater to be like the Air, and that the Objects, 
 between it and the Air, fen. from Top to Bottom, appear the fame as 
 if they were upiide down againft the Air; there being no other Dif- 
 ference 
 
Chap. 3. 
 
 Of Lights and Shades. 
 
 199 
 
 ference between the Lights of either, than that Water is a little fainter 
 than the Air ; as may be apprehended by a Looking-glafs, in which, 
 the Objects, tho' they appear ever fo plain, do not come up to the 
 Life itfelf. 
 
 Thefe Things being premifed, 'tis eafy to conceive, that Objects 
 ftanding in the Water are enlightened as well from below as above. I 
 fpeak not here of the Reflexions of Objects, but of the Objects them- 
 felves, and their Shades, as may be feen in Plate XXXI. aforefaid. The 
 Man A who extends his right Arm over the Water, receives ftrong Re- 
 flexions from below, of a violet Colour, like that of the Air, above 
 him, along his fhaded Side j and his left Arm, acrofs his Breaft, re- 
 ceives a double Reflexion, to wit, from the Water, and from his Body ; 
 whereby 'tis of a more warm Colour than the other. The young Man 
 B ftooping over a Stone, views himfelf in the Water, in the Shade of 
 the Tree : By him I (hew, that the Reflexion of the Water is like that 
 of the Air, but a little fainter, as I faid before. The Face, on the 
 Stone C exhibits the fame, but more fenfibly, being alfo lighted from 
 below. 
 
 Here we muft further obferve, that the further or higher Objects are 
 from the W T ater, the more Reflexion they receive ; as may be feen in the 
 Man D, who, with his Breaft, is clofe to the, Water, without any Reflex- 
 ion y becaufe the Light over him cannot thine on it, finee he is (looping 
 forward, and (hades the Water to the Ground with his Bocly. Thus 
 far I have experimented ; and from whence, other Circumftances may 
 be deduced by Practice. 
 
 In the mean time we may obferve, how much thofe Objects differ 
 from thofe on the Land; of which latter we muft note, that the more 
 they rife from the Ground, the lefs Reflexion the Shades receive ; be- 
 caufe the Light of the Grounds being on the .Superficies, they main- 
 tain their own conftar}t Colours. 
 
 Touching the Reflexion in the Water, befides the Contraction and 
 Reflexion, I have been long doubting about the Irregularity between 
 them and the Objects themfelves ; fmcc I perceived by the Rules of Op- 
 ticks or practical Perjpeflive, that there was fomething more to be taken, 
 notice of.. I apprehended alfo, that as there is Air and Sun above and 
 below, fo thofe two Lights muft needs caufe an uncommon Effect in the 
 Objects and their Glitter or main Heightenings. But yet I could not firm- 
 ly conclude how or in what Manner j and the rather ; becaufe (which I 
 am mucrr furprifed at) I never heard, that any Perfon had certainly de- 
 monftrated it.. At laft a . finding the greateft Difficulty in explaining my 
 
 Concep- 
 
Of Lights and Shades. 
 
 Book V. 
 
 Conceptions, I did, to give a Sketch of it, caufe an Inquiry to be made 
 into the Truth itfelf ; as Plate XXXI. aforefaid (hews : Wherein we 
 plainly fee, how far Things may fometimes go beyond our Guefles ; 
 Thofe who try nice Experiments, muft be rejoiced, when they make 
 
 greater Difcoveries than others. We fay He who feeks finds. ■■ 
 
 But nothing is to be obtained without Labour and Practice. Obferve 
 then, that the Strefs lies here in the Main-light -Touches, as the afore- 
 faid Figures plainly (hew ; but they may be qualified according to Occa- 
 sion and as you think fit both in the Objects and their Reflexions. 
 
 We take then, for Example, the Objects Handing on the Water j 
 being under the Horizon equal to their Height, and receiving their 
 Light from the right; they ftand on each Side of the Point of Sight, 
 and have their proper Lights and Shades, according to Perfpeclive, 
 as alfo the Main-light-Touches or Glofs on the Relief. The fame Ex- 
 periment may be made with all Sorts of Objects j in all which, we 
 may perceive, how much the Reflections in the Water as well as the 
 Contractions will differ from the Objects themfelves. 
 
 This is an uncommon Obfervation ; but Study will make it fami- 
 liar. 
 
 CHAP. IV. Of Ground-Jhades according to the Difference of 
 
 Lights. 
 
 IT will not be improper to make fome Obfervations about the 
 Ground-fhades of Objects, and the Courfe of thofe Shades, accord- 
 ing to the different Lights, proceeding from the Side round to the- 
 fore Part. 
 
 As PerfpeBive determines exactly the Length, Breadth and Depth 
 of Things, lb 'tis impoflible to reprefent any thing duely and well 
 without it, tho', as I may fay, we were to practife the Art an hun- 
 dred Years, and the Ordonnances to confift of but two or three Fi- 
 gures \ I will not fay, of ten or more : 'Tis no W onder, that we fb 
 early caufe young Artifts to learn PerfpeBive, before they take to Com- 
 pofition ; 'tis even commendable if they underftand it but indifferently, 
 and ihun thofe who not only reject its Rules ; but laugh at thofe who 
 ftudy them ; a Converfation very prejudicial to young and unexperi- 
 enced Tyros. But to return to our Subject. 
 
 We 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 4, Of Lights and Shades. 
 
 • We find a great Advantage ifl ufing a Side-light in our Ordonnances* 
 with refpecf to the Ground-Jhades ; becaufe thole Shades, whether for*' 
 wards or diftant, always run parallel with the Horizon, without any 
 Foreshortening ; which we may eafily find without Perfpecf ive ; as 
 may be feen in Plate XXXII. Fig. 1. becaufe tfyey .may be conveni- 
 ently meafured with a pair of Compafies, or elfe gueft at. 
 
 We may then well perceive, how much eafier this- is, than where 
 the Light is more fronting, and the Ground-fhades confequently run 
 fomewhat oblique and fhorten, and therefore not menfurable by the 
 jCompafles ; much lefs to be guefled at, thro' their great Variety and 
 |Diffimularity. If the Objecls change their Places,, the Ground-fhades alfo 
 alter-, one runs almoft parallel; another, more oblique and fhorter ; 
 and others ftill more, in Propprtion as they go off from the Side whence 
 the Light comes; as in Fjg. 3. whereby is fhewed a Method for find- 
 ing fuch Ground-fhades, without Trouble or Lofs of Time, in whae 
 jManner foever the Light fall. 
 
 I • As to the Front-light, as in Fig. 2. I muft further premife, that as 
 In fuch Cafe the Ground-fhades go off backwards, fo we need nothing 
 put the Point of Sight, ik order to find them ; and their Fore-ihorten- 
 [ings can be only found by means of the Gradation-line, which, tho' 
 f. fmall Trouble, may he fooner made than read. My Method is 
 this. 
 
 Fir ft I sketch No. 3. for my Ordonnance, fixing my Horizon and 
 Point of Sight at pleasure. Then I begin with the foremoft Fig. A, 
 and (hade it, and ftrike its Ground-made at random, according as I fup- 
 pofe the Light to be a little fronting. Next I fet my Line B (where- 
 on are marked the Gradation-feet) on the right Side. Further I draw 
 a Parallel-line C from the Foot of Fig. A to the aforefaid Line ; 
 which '(hews its Diftance. Now, in order to exhibit the Courfe of its 
 Shade, I lay my Ruler to the Foot of Fig. A, tracing its Ground- 
 fhade up to the Horizon, where I make a little Star D, from which 
 Star I fetch all my other Ground-fhades, both fore and off-ones, from 
 one Side to the other, whether Figures, Stones, Now, to find 
 
 the Lengths of all thefe Ground-fhades, I draw again, from the End 
 of the Ground-fhade E a 'Parallel-line F to the Gradation-line ; then 
 I count the degrading Feet, fuppofmg the Figure 7 Feet high, and its 
 Ground-fhade 6 Feet long, going 3 Feet into the Piece, as marked on 
 the Gradation-line. Thus may all other Objecfs be managed, by on- 
 ly counting their -HeightSj in order to give the Depths of their Ground- 
 fhades accordingly. 
 
 No. 9. C c 5 Tis 
 
Of Lights and Shades. 
 
 Book V. 
 
 >Tis now eafy to judge, how difficult it would be to find the Varia- 
 tion of Shadow without fuch a Line, as aforefaid. 
 
 This Method has a further Advantage, in affifting thofe who will 
 fintfh all their Figures after the Life ; for, by the Courfe of the faid 
 Ground-fhades, we can prefently know where to place the Model or 
 Layman with refpeft to the Light of the Piece ; as we have demon- 
 ftrated in our Drawing-book 
 
 CHAP. V. Of Reflexions in general* 
 
 TO make this Obfervation plain, I have thought proper to il- 
 luftrate it by one or two Examples ; becaufe *tis one of thofe 
 principal Beauties of a Piclure, whereby we every where dis- 
 cover the Mafter. 
 
 It's not improper for wearied Huntfmen, or Nymphs, to reft in 
 Shades; as in this Example, Plate XXXIII. Here they fit forwards 
 in the left Corner of the Piece, on a green Bank, againft a Wall quite 
 over-run and fhaded by the Trees; on the Tops whereof, here and; 
 there, are feen fome fmall ftrong Lights. The ftanding Figure receives 
 the ftrongeft Light almoft down to the Knees j and the remaining. Part, j 
 uniting with the Ground, fhews its Diftance : The Light of this Figure 
 has however not fo much Force as to give the Wall, behind the fitting! 
 Figures, any Reflexion ; partly becaufe thofe Figures are between, and; 
 partly on account of the Roughnefs of it ; as being full of Breaks, Holes 
 and projecting Branches and Leaves, which double the Shade, and admit 
 little or nothing of the refkaing Rays of the Figure. We fee con- 
 trarily, that the Figures fitting over againft the light Objeft or Figure, 
 receive, without Hindrance, ftrong Reflexions, the one from before,; 
 the other fbmewhat fideways, according to their fitting, either behind, 
 forwards or in the middle. 
 
 5 Tis of great Moment to (hew plainly the true Caufe of the faid Re j 
 flexions, as to Diftance,, Colour and Force. Of the Colour I fhall fay ' 
 this (for the Diftance I have already fhewed) that, were the faid light! 
 Figure dreft in beautiful light Red, and ftrongly lighted by the Sun, 
 and the four fitting ones dreft in Purple, Yellow, Blue and White, 
 they would certainly be adulterated by the red Reflexion, and partly 
 lofe their own Colours, in order to take that of the other, and be; 
 mixed with it: As for Inftancc, the. Purple will become Red; the; 
 
 Bluej 
 
Chap, s* ®f Lights and Shades, 103 
 
 Blue, Violet ; the Yellow, Ruflet or Fillemot ; and the White, Ap- 
 ple-bloflbm or Flefh-colour : Yet fome more than others, according as 
 they receive faint or ftrong Reflexions, diftant or near: Moreover the 
 Naked will become more warm, not all over but in the Parts which 
 are tinged by it ; for the Air round about is feen lefs or more, whe- 
 ther in the Shade, or between it and the Part which receives the Re- 
 flexion. 
 
 The fecond Example in Plate XXXIII. aforefaid fhews the Break- 
 ing of the Shades, according to the Place, as well in Colour as Force. 
 
 The Stone-wall is of a Ruflet and warm Colour ; the ffanding Fi- 
 gures dreft in White or light Colours are, with the Stones and Ground 
 about them, lightened by a common Light or Sun-fhine. 
 
 Thefe Objects lhew us, that tho' the Light, which comes upon 
 them, be pure and unmixed, their Shades are neverthelefs quite adul- 
 terated ; becaufe they are hidden from the Air, and furrounded with 
 a warm Ground, and receiving no other Light than from the Reflexi- 
 ons of the faid Ground, the Colour whereof the Shades take : We fee 
 the contrary in the undermoft flying Figure, to wit, that the more 
 the Objects approach the Air, the cleaner they become, and keep 
 their own Colour ; as appears in the uppermoft Figure, which is half 
 in the Air, and not the leaft altered in its Shade; five that it becomes 
 a little more purplifh according to its Diftance ; which may be viiibly 
 feen in its Under-parts, and in the loweft flying Figure; which is flill 
 in the dark, and cannot be touched by the Blue of the Air, being of 
 a quite different Colour from the uppermoft ; to wit, more warm, as 
 are alfo the Figures which ftand below. 
 
 Formerly few Matters underftood Reflexions, efpecially among the 
 Italians. Among the French we find fome made ufe of them. How- 
 ever I freely own, that fuch of the Italians (were there but one) who 
 obferved them, underftood them in Perfection ; and the French but in- 
 differently ; tho' Voutet got his Reputation by them, having therein 
 done much more than all the French and Italians : Which makes me 
 believe that the Reflexions have not been long in Practice ; fince we yet 
 find many old Pieces wherein they are not at all obferved ; I cannot 
 but think, that at that Time they were unknown to them. But, what 
 is ftill worfe, fome, as Laftman, Rotenhamer, Sec. did not know, when 
 an Object was in Shade, on which Side it ought to be light or dark ; 
 wherefore they fhaded it like others which were in the Light* 
 more or lefs, as if it were glazed fo much darker : For Inftance, in 
 a Piece lighted from the right Side, you will fometimes fee a Figure in 
 
 C c 2 the 
 
a 04 Of Lights and Shades. " Book V. 
 
 die Shade of a Stone or- other Objeft; Now the Shade of this Figure, 
 inftead'of being on the right Side, . . occafioned by the Stone, they made 
 on the left, like all the reft: A true Sign that they knew nothing of Re- 
 flexions. Raphael himfelf was not expert in it ; for at that Time 
 they knew nothing of placing Light againfl Light, and Dark againft 
 Darknefsy on which Qccafions the Refleixons come moft to pafs; whereas 
 they fought the chief Effete and Harmony inoppohng Light to Shade, 
 and^ the contrary, and therefore needed no Reflexions: Moreover they 
 avoided all great Shades and Broadnefs. But now-a-days the Manage- 
 ment is quite different ; we are for great Shades: And what makes an 
 Ordonnance look finer than great Shades and Lights, whether Build- 
 ings with Figures and Bafs-reliefs, woody Groves or any thing elfe, 
 quite in Shade, agreeably lighted by the Reflexions of Grounds, Air or 
 other light Objects ? It certainly gives the Eye great Satisfa&ion, with 
 refpecl to Variety ; and at the fame Time produces an agreeable Union 
 and Tendernefs, as well in the whole as the Parts of a Pi&ure. Ne- 
 verthelefs it fares with Reflexions as with all other Things, Superfluity 
 eaufes a Surfeit. There are alfo fome, who fo delight in Reflexions , 
 that they lhew them at all Adventures ; and will often exprefs almoft 
 imperceptible ones with the greateft Force, by Vermilion, Ultrama- 
 rine, red Orpiment, &c. we find fuch chiefly among the Flemings as 
 Jordaanh, Ruben's, and many others. 
 
 We muft take then particular Care, not to reprefent any Reflexions 
 without (hewing the Reafons of them, and how far or near they are to 
 their Caufes ; that we may rightly judge, what Force or Weaknefs 
 they receive or give. In a Word, that we need not be obliged to 
 ask, whence the Reflexion proceeds? why it is Red, Yellow or Blue, fo 
 ftrong, fo faint? 3cc. 
 
 CHAP. VI. That Sun-fhine has no more Force than common Light, 
 
 with refpecl to Shades. 
 
 IT'S certain, that Obje£te lighted by Sun-fhine have no darker or 
 ftronger Shades than thofe in a common Light, tho' they feem to 
 have ftronger ; for the Blue of the Air is lighted more or lefs, ac- 
 cording to the Sun's Strength or Weaknefs, and therefore keeps always 
 the fame Tint, as I prove by the firft Example in Plate XXXIV. 
 
 The 
 
Chap. 6. Of Lights and Shades: to? 
 
 The Column, whether plain or ornamented with Bafs-reliefs like 
 theTrajan or Antonine, is fet up in the middle of the Field, and at a 
 Diftance from it, at the Side of the Piece, an high Tower or Bulwark, 
 the Ground-fhade whereof above half covers the Column ; wherefore 
 the Sun (bines powerfully on the upper Part only, and yet'we (hall 
 find the Shade from top to bottom of one and the fame Tint. 
 
 5 Tis the fame with the Light of a Candle in a darkifh Room ; or in 
 the Evening ; which, tho' ftronger and of more Force than the other 
 Light, yet does not in the lea/l darken the Shades of the Parts on' 
 which it comes, but lets them remain alike, as we fee in the fecond Ex- 
 
 am The Lantern, in the Boy's Hand, lights the Objects near it in part, 
 when the Refidue is lighted by the Window ; we fee then, I fay, that 
 the Parts illuminated by the Lantern, do not become darker, in the 
 Shade, than if the faid Light were not there. And if the Day happen to 
 be (hut in, and Night approaching, it will not only be darker about 
 the faid Light, but all over. 
 
 But it's quite the reverfe with tranfparent Objects, fuch as Stuffs, A- 
 labafter, Horn, &c. for want of the Solidity of the preceding Objetls 
 as we fee in the third Example. 
 
 Suppofe that the Column, either of Paper or Alabalter, receive 
 its Light, thro' a fmall Opening, either from the Sun or a Candle;. 
 70U will rind, the Shade, about the Part fo lighted, to be more or lefs 
 light, according to the Strength of the Light, in fuch Manner that 
 it may be plainly diftinguiihed from the other Shade whereabout is no> 
 
 Ll T?his Obfervation efpecially prevails in Nudities and tranfparent 
 
 Draperies. „ , 
 
 In Nudities lighted by the Sun, we (hall find, the fmall or thin Parts 
 to be always more or lefs tranfparent; as the Eye-lids, Nofe, Ears, 
 Fingers, &c. and therefore they muft not have firm Shades: But 'tis 
 contrary in a Stone-face , for tho' the Sun (hine ever fo ftrong againfl: 
 the thinneft Parts, yet they will not be tranfparent, but remain as 
 dark as the thicker: And were this Face to be painted with a beautiful 
 and natural Colour, it cannot be like the Life, but rather a dead Per- 
 fon: I fpeak with refpe£t to Tranfparency ; for we know by Experi- 
 ence, that the Blood, being warm, is thin and tranfparent, but when, 
 chilly or coagulated, it is corporeal or folid; wherefore it's certain* 
 that, in this Cafe, a dead Perfon is more like a Stone than a natural 
 Figure. We can plainly perceive this in flaughter'd Oxen ; when the 
 5 Entrails 
 
Of Lights and Shades: 
 
 Book V. 
 
 Entrails are taken out, and a Candle .fet within the Carcafs, the Breaft 
 and Parts between the Ribs will be more tranfparent while the Flefh 
 is warm, than after 'tis cold and has hung loager. It is the fame with 
 a dead Body ; for if a Candle be fet behind an Ear, or next to the 
 Nofe, they will not be tranfparent. , 
 
 The jtngle Folds of thin Draperies appear more tranfparent in Sun- 
 fhine than in common Light, and have therefore fainter Shades than 
 coarfer and more thick Veftments ; but the Shades of double hanging 
 Folds, efpecially when they are clofe together, appear in Sun-fhine 
 much ftronger than in the {ingle Folds of thick Stuffs. Leaves of Trees 
 do the fame. 
 
 The Difficulty being thus folved; namely, that the Strength of 
 Sun-fhine, or a Candle, do not make the Shades darker than they are 
 in common Light, we fhall, to accomplilh our Purpofe, fhew wherein 
 the Sun's Strength coniifts j a Matter eafily to be apprehended by thofe 
 who have well weighed what has been before faid. 
 
 We find by Experience, that Obje6ls lighted by the Sun have much 
 greater Force than thofe in common Light ; which is not effected by 
 ftrong Shades, but by their Br oadnefs and S bar pnefs which common Light 
 does not give, either within-doors or in the open Air. Some imagine, 
 the Strength to be greater in the Sun than in common Light ; which 
 can only make Objects approach in Proportion to their Magnitude, Di- 
 ftance or Nearnefs, as fmall Life and large Life ; yet I fay, that common 
 Light has this Property as well as Sun-lhine. What Difference then is 
 there between either? No other, than in the one broad and Jharp 
 Shades, and in the other, more round and melting ones. The former 
 caufes plain and long Ground-Jhades, and the latter, Jhort and uncertain 
 ones. Hereby we properly diftinguifh a Sun-fhine from common Light. 
 That the one is more forcible than the other is no Wonder; the Proof 
 appearing in the two following Examples, in Plate XXXV. better 
 than I can exprefs it in Words : Of thefe the firft is lighted by the 
 Sun, and the fecond by a common Light ; both alike in Darknefs of 
 Shades ; the one fharp, with long, plain Ground-fhades, and the other 
 the contrary. 
 
 I once painted an Emblem, or rather a NarciJJus viewing himfelf 
 in the Water : I took the Light more fronting, as 'tis commonly order- 
 ed in Sun-lhine, with an Intent only to fhew, how I apprehended Sun- 
 fhine with refpecl: to the melting of the Sharpnefs, and alfo to avoid a 
 Ground-fhade, which a Child's Head near him would have caufed on 
 the Cheek , of NarciJJus (the Principal in the Piece, and his left Cheek 
 
 already 
 
Chap. 6. Of Lights and Shades. 1 07 
 
 already in Shade) if the Light had come Tideways 5 which would have 
 look'd fo very offenfive, that his View could not have fhewn the 
 Beauty wherewith he was fo much enamoured ; it was moreover indif- 
 ferent to me, whether the Light came from a Side or was more or 
 lefs fronting, becaufe it refpeds the general Defign no more than if it 
 were intirely fronting: >Tis true, that large Ground-fliades caufe the 
 ereateft Elegance in Sun-ihine, if they come not too dole together 
 (for then they look difagreeable, and caufe a certain Melancholy in a 
 Picture) but appear more pleafant when intermixed with Gleams 
 of fmall Lights to break their too great Breadth 
 
 I call this Piece an Emblem, becaufe the Poet fays, that this Youth, 
 feeing; his own Likenefs in the Water, fell in love with himfelf : Now 
 this fort of Love difcovers a vain Conceit or weak Paffion in a Man, 
 fo far clouding his Knowledge and Judgment, that he is infenfible of 
 what he is doing: For the more natural expreffing which Senfe, I had 
 placed, near Narciffits, a Child with a Fool's Cap,, fawning on and 
 embracing him, and decking his Hair Virgin-like with Flowers,; 
 and to (hew the Delight he took in his Folly, his Motion and Look 
 befpoke one affiled with the Reflexion which the Child (hewed him 
 
 in the Water. , '. '%. 
 
 This Piece was richly filled with By-works ; as Figures, Architec- 
 ture Bofcage, Cattle, Flowers and Water, with defign to reprefent all 
 the particular Objeas lighted by the Sun, each according to its Quality 
 and in the moft fuitable Manner. It was thoroughly finifhed: Bjfi- 
 nilUd, I underhand, when every thing is in it to the moft minute 
 Ciicumftance, not when only the principal Parts are ex preft, and ma- 
 ny fmall Circumftances left out, or, when Things are cunoully ioft- 
 ened; as fome, by the Word, would make us believe. Be that as it 
 will I had not left every thing unfoftened \ becaule the Difference would 
 then have been fo great, that the Piece muft have had too much Near- 
 nefs ; fince it's certain, that as Objefts go of! they become more uncer- 
 tain. The fmall and fubtle Things, fuch as fmall Folds and Features, 
 difappear; yet the Painting might well be laid to be nniihed ■ nnce e- 
 very Thine was in it that ought to be, with refpetltoits Diftance. 
 
 I had before painted the fame Defign, for a Model of that above ; 
 'twas laid on flat and not in the lead (bftened; whereby the Difference 
 between them was very vifible : Now I muft own, that [opening is ve- 
 ry alluring, and has an apparent Diftance ; however we may always 
 perceive, that the one has as much, Force as the other. 
 
 We have before aflerted, that Objects lighted by the Sun caufe a 
 greater Force and Motion than in common Light; which fome ima- 
 6 gine, 
 
2.o8 Of Lights and Shades. Book V. 
 
 gine, proceed only from the Sharpnefs of the Shades: Now, it is fo, 
 in fome Meafure, with refpect to their Broadnefs, but principally for 
 the Plainnefs of the Ground-fhades which the Objects call: on each other • 
 whereby Things are often broke and divided in fuch a Manner as if all 
 ■were-, double-, even fix Figures in a common Light will not fometimes 
 gi ve lo. many Pieces as four in Sun-fhine: Whence we may plainly per- 
 ceive, that Sharpnefs gives aNearnefs, foftening more and more as the 
 Objects go off ; fo that no Objects whatever can ihew any Sharpnefs un- 
 lefs they are near ; becaufe of the Air interpofing between us and them : 
 If this feem ftrange and unintelligible, a due Inquiry will make it evi- 
 dent ; Wherefore I argue, that the nearer the Objects, the more plain 
 and fudden are their Shades $ for as lefs Air interpofes between us and the 
 nearer!, fo it mud increafe in Proportion as they go off. 
 
 Here it will not be unneceiTary to relate a particular Accident, as a 
 Confirmation of my Affertion. I have formerly faid, that in my 
 Youth I made many Defigns in Water-colours : Now I had one Time, 
 among others, painted one, which, by reafon of its ftarved and hard 
 Penciling, I fo difliked, that I purpofed to try to give it a better 
 Face, tho' I were to fpoil it intirely. Firft, I tried it with the Glare 
 of an Egg; which not fucceeding, I fixed it on Paftboard, and 
 made a Brim of Wax round it; then I poured clear Ifinglafs on it 
 and Jet it dry : By which means the Painting became as neat and 
 foft as poflible; and, (hewing it to one of my Intimates, he was fo 
 furprized, that he could hardly believe it to be the fame Piece, be- 
 caufe the Body of the Ifinglafs had taken away the aforefaid Hun- 
 grinefs and Hardnefs. But afterwards, on inquiring into the Na- 
 tures of Things, this Experiment appeared not ftrange or wonderful to 
 
 me. 
 
 By this Occurrence I would intimate, that Mift or dir takes away 
 all Sharpnefs ; making Things grofs and rough feem light and fmooth 
 like a Vermlh or Glue gloiling every Thing in Nature before our Eyes' 
 
 Touching Objects lighted by the Sun, they cannot, by Means of 
 ftrong and dark Shades, and with Tellowifhnefs only, look natural or fun- 
 ny ; becaufe there is no Difference between this, and other Lights, with 
 refpect to Force ; I mean in Objects lefs than the Life. The Sharp- 
 nefs of broad Shades, and the Forms of Ground-fhades, with the Co- 
 lour of the Light, and their Reflexions, how weak foever, can natu- 
 rally effect it : But Objects as big as the Life are beyond our Power 
 if they were only to confift in Force. Now, fome may poffibly fay' 
 that then it is the better to be reprefented in Little : To which f muff 
 
 anfwer, 
 
Chap. 7. Of Lights and Shades. 209 
 
 anfwer, that then the Painting would not go off in Proportion, but 
 ftick to the Frame : Of which we fhall fay more in another Place. 
 
 CHA P. VII. Of the Groundfhades in Sun-Jhine. 
 
 'T~M S certain, that the Ground-fhades in Sun-fhine (which contribute 
 much to the Decorum of a Picture) confift not only of Length, 
 Broadnefs and Sharpnefs, but in a Conformity with the Objects 
 which caufe them, whether Pillar, Pyramid, Square, &c. The 
 Ground-fhade of an upright ftanding Figure, falling on the Ground or 
 any thing elfe, muft be perfectly feen\ even fo much, that tho' the faid 
 Obje£t were not feen, or were hid behind fomething, yet we may 
 judge, by its Ground-fhade, what Shape it has ; which is one of the 
 principal Tokens of Sun-fhine. Some think this no great Matter ; and 
 that when they have ftruck, on the Ground, a long Stripe of a certain 
 Breadth, that is fufficient, without fhewing whether it be the Shadow 
 of a Pillar or a Man. 
 
 Speaking of this, I cannot omit mentioning a Blunder of a certain 
 great Matter. He had reprefented a St. Francis in the Wildernefs, on 
 his Knees at Prayer, with extended Arms before a Crucifix, as he 
 is generally exhibited. The Piece in itfelf was very fine ; but calling 
 my Eyes on the Crucifix (which was compofed of fmall Twigs of 
 Trees) I perceived, that it made a diftinft Shade of the whole on the 
 Gr ound, tho' 'twas almofi half in the Shade of the Saint. But what 
 more furprifed me, was, that his Body with the Arms in the fame Po- 
 rtion as the Crucifix, but ten times bigger, did ?wt caft a like Shade 
 on the Ground, but the Shade of a Majs or Block, without Arms, 
 
 Now, we have faid before, that tho' a Figure or other ObjecT: be 
 hidden behind fomething, yet we can judge, by the Ground-fhade, 
 what Shape or Form it has ; as I fhall fhew in few Words : For Inftance, 
 place a Perfon in a Palace or Apartment, behind a Pillar, or the like, 
 and let him be lighted by the Sun ; his Shape will plainly be feen on 
 the Ground, by his Shadow. Again, would you introduce into a 
 Landskip, a Pyramid, Tower, or Bulwark, which is not there, it may 
 be done by means of the Ground-fhade, when it falls into the Piece 
 from the Side of the Light; whereby the Obje&s, and every thing be- 
 longing to them, will be plainly vifible. 
 
 No. 9. 
 
 Inge- 
 
2.IO 
 
 Of Lights and Shades. 
 
 Book V. 
 
 Ingenious Painters of Sun-fhine have ftill an Advantage above others, 
 that they need not make any high Trees, Hills or Buildings, in order 
 to create here or there large Ground-ffiades, for bringing forwards. 
 Fore-objects, and flinging off Hinder-ones ; they order their Shades 
 where they think proper, and can always fupport their lb doing with 
 Reafons ; becaufe we often fee, in Sun-lhine, a fmall driving Cloud 
 fhadow a whole Piece of Ground, and another Ground fhal.1 be light 
 again ; and fo feyeral behind one another : Thus they can divide a 
 Field, at pleafure, into Lights and Shades, in order to ftiew Things a- 
 greeably. 
 
 I have, with great Attention, obferved the Colour and Shades, of 
 the Sun's" Light, and found (efpecially in the Month of September, a- 
 bout 2 or 3 in the Afternoon, when the Sun is ftrongeft) that the Sky 
 has a clear blue Colour, intermixed with fmall driving Clouds. As for 
 the Objects, when the Sun (nines ftrong, they appear, as if heighten- 
 ed with red Orpiment and White, and the Shades reddifh Grey; as 
 White, Black and a little brown Red mixt together ; not uniting with 
 the Blue as in common Light, as fome imagine, but becoming gradu- 
 ally a little more Violet, and growing fainter towards the Horizon,, 
 where no Blue is to be feen. The Trees on the fore and fecond Grounds 
 appear finely green: The Blue of the Objects is greenifh ; the Red, is 
 Orange-colour } the Violet, Ruflet ; and. thus all the Colours in Pro- 
 portion : Deep Water Ihone on becomes greenifh Grey. This exact 
 Obfervation agreed perfectly with what I had formerly experiment- 
 ed, in a bright Sun-lhine, by means of a fmall Hole in the Window 
 of a darkened Room ; by which I faw naturally on the white Wall, 
 as on Paper, the Reflexion of every thing that was moving without- 
 doors. 
 
 Buf let us proceed further to conlider, whether mifcjhapen Shadows 
 do not make Obiects unintelligible. Beauty in general, fubfifting either 
 in Figures, Landskip or other Objects, exhibits all things plain and 
 diftinct in their Shapes and Forms, without Diminution or breaking 
 them; for Things contrary to each other cannot poffibly raife an 
 agreeable Beauty in our Eyes, nor convey to the Senfes a true Idea of 
 their Forms, unlefs by a Medium, coniifting of a fecond or middle 
 Tint, which unites the two contrary Parts, namely Light and Shade, 
 when they come too (harp on each other; thereby to ibften the De- 
 formity on the Objects, and to unite them : I fpeak of Things 
 which are tho broad ; which makes round Objects, inftead of look- 
 ing relieved, feem fquare or angular as if in Sun-fhine ; where- 
 fore 
 
Chap. 7- 
 
 Of Lights and Shades. 
 
 XII 
 
 fore they appear not beautiful but mif-fhapen : And the Reafon is 
 plain; People are not fenrible of any other Decorum than what oc- 
 curs to their Eyes. For its certain, that Things alter by the leaft, 
 Accident, whether of unufual Lights or Shades, which make them 
 ftrange and unknown. Let fome boaft, that 'tis broad and the beft 
 Manner ; I maintain, that tho' it were a Sun-fhine, it is all one and 
 the fame : And if we are to fpeak of what is agreeable and perfecl, 1 
 fay, that it ought to be known, that a Picture with a common Light is 
 the moft perfect ; a Light which (hews us more exaftly and plain the pre* 
 per Lor ms of Objects \ what is roun d, remaining fo, and the Square alter - 
 ing not. As for the Mif-fbapes of Things exhibited in Sun-fhine, we 
 have fufficiently {hewed them as alfo, that the Sharpnefs of deformed 
 Shades fpoils the true Property of the Objects; for Inftance, fuppofe 
 two ftanding Figures, talking together, are lighted by the Sun ; if now 
 the one call: a Shade on the other, fo as half to cover his Face, we need 
 not doubt, but he will become lefs known, even where he a Parent. 
 
 In Architecture or Mouldings it happens as bad ; becaule the offen- 
 Jive Sharpnefs of the Shades disfigures and confufes their Form and Neat- 
 nefs at once.^ 
 
 I think it therefore a Sign of Pufillanimity (not to fay Cowardice) 
 in a Landskip-painter, always to make Choice of Sun-fhine; which is 
 certainly but a fmall Part of his Art : As if an Architect were to be 
 continually imployed about a Cheft or Box ; a Flower-painter, about a 
 Flower-glafs ; a Cattle-painter, about a Cow or Sheep ; a Still-life-Pain- 
 ter, about a Scull or Hour-glafs ; a Sea-painter, about a Sloop or Boat ; 
 or a Statuary, about a Crucifix. ' He is no Hiftory-painter, who al- 
 ways reprefents an Herodias with a St. John's Head in a Charger ; or a 
 Lucretia ftabbing herfelf ; or a Jael with an Hammer, or a St. John 
 with a Lamb ; all which are but particular Incidents, which fcarce de- 
 ferveaName: An Artift therefore, muft not be afraid to exhibit every 
 Thing that can be reprefented with every Sort of Light. $ 
 
 But the Opinion of moft Painters of Sun-fhine, is as ridiculous as that 
 of thofe who always praclife a common Light; both proceeding from 
 a Miftake or Ignorance, whereby they cannot rightly judge of Things 
 differing from what they have been always ufed to : Now, their Judg- 
 ment is only a Conclufion agreeing with their Apprehenfions in a Poii.t 
 which they pretend to underfland, and which therefore ought to be thus 
 and thus \ when yet it's certain, that before we can judge of Things, 
 we ought firft to inquire into them, and, by a Comparifon between both, 
 to obferve wherein they differ, 
 
 D d % That 
 
% ix Of Lights and Shades. Book V. 
 
 That Sun-fhine is not fo proper for Hiftory as for Landskip and Ar- 
 chitecture, arifes from hence that, on fuch Occafions, it is obftrucling, 
 and appears ha/d and unpleafant, by Reafbn of the Sharpnefs of the 
 Shades and Ground-lhades, as we have before intimated ; neverthelefs, 
 if the Matter require it, it muft be ufed ; yet with fuch Caution, that 
 no mif-lhapen Ground-JIoades appear to obftruft the Sight, or create an 
 Averfion. 
 
 But if Sun-fhine were the bell and moft advantageous Light, Face- 
 painters would certainly ufe no other ; of which, to this Day, we have 
 not one Inftance ; becaufe firft, the Colours do not fhew themfelves in 
 that Light to be what they really are. 
 
 Secondly, Becaufe 'tis impoffible, that either Man, Woman or Child, 
 can, without Trouble and an Alteration of Countenance, efpecially a- 
 bout the Eyes and Mouth, fit any Time with their Faces in the Sun. 
 
 Thirdly, Becaufe the Sun never ftands ftill, but is always altering. 
 
 Fourthly, Becaufe the Sweetnefs of the Features would thereby be 
 Ipoiled at once. And, 
 
 Laftly, Becaufe it would be very improper to hang fuch Pictures in 
 a Room out of which the Sun is kept. 
 
 It would be ridiculous and abfurd, to fay of a Woman, that (he is 
 unlike a Man, unlefs they forefemble that we can fee no Difference be- 
 tween them; for as the Woman is like a Woman, and the Man like a 
 Man, fo there muft needs follow one of thefe Conclufions, to wit, that 
 he cannot or will not be it : We could add a third, as a Contempt of 
 the Woman, namely, that (he is not intirely like a Man: But this laft 
 (which attends moft People's Judgments) is moft ridiculous, and to be 
 efpecially ihunn'd by thofe of right Apprehenfion, as being often the 
 Source of Hatred and Envy, and even Ruin, as Experience daily fhews 
 in thofe, who, thro' Prepofleffion, defpife every thing that's difagree- 
 able to their Work and Fancy. 
 
 I fhall not enlarge on this Point, but keep to my Purpofe, of fhew- 
 ino*the Prepofleffion of Sun-fhine-Painters, as well as others: And, to be 
 the better underftood, premife, that there are three Things wherein the 
 whole Matter confifts, and which we muft firft fix, and diftin&ly ob- 
 ferve ; namely, aSun-Jhine, a common Light, and a faint Light, which 
 differ from each other as much in Fact as Name. 
 
 The firft is ftrong and jharp , the fecond broad, hut not /harp ; and the 
 third, faint and melting. 
 
 The firft caufes diftintt Ground-Jhades ; the fecond makes melting ones j 
 and the third, faint ones. 
 
 The 
 
Chap. 7. 
 
 Of Lights and Shades. 
 
 The firft receives it's Colour from the Sun ; the fecond, from the 
 Clouds ; and the third, from the Blue of the Sky. 
 
 We will fubjoin, that the firft may be considered as a Man ; the fe- 
 cond, as a Woman ; and the third, as a Child. 
 
 Who will now fay, that the Child is not good, becaufe 'tis not Co luf- 
 ty, ftrong and bright as the Father or Mother ; or that the Woman is 
 not fo, becaufe fhe is not intirely like a Man ? 
 
 Obferve then, how thefe unthinking Sun-fhine-Painters judge further 
 of the fecond and third Lights : It is not broad, fay they ; whereby, 
 we are to underftand, that 'tis not lb funny and (harp in Shades as in 
 their Paintings : Broad, Broad ! they fpeak to their Difciples in fo 
 low a Tone, that no Stranger muft hear it; as if it were a Secret unknown 
 to the very Art. It's faid that the good Philemon was fo bigotted to 
 Things having broad Lights and Shades, that he never painted other 
 than Sun or Moon-light-pieces ; which he evidenced, in exerting his 
 whole Force to reprefent Jupiter with Alcmena ; where they are both 
 feen going to Bed, and yet the Sun Ihines fo bright into the Room, 
 that you might count all the Squares of the Window on the Floor. 
 Poor Jupiter ! How violently are you dealt with ! Dares Phoebus, con- 
 trary to your exprefs Commands, peep thro' 9 the JVindows, tho* you charg- 
 ed him to hide for three Days and three Nights? But what ftgnifies that* 
 thinks the Painter ; the Painting muft be broad, and the Sun-Jhine muft 
 he there, were it Midnight. Had he made a Moon-light, it would 
 have fitted that Seafon. 
 
 But it fares with fuch Artifts as it did with one, who was fo fond of 
 Painting Oranges, that he never made a Piece, without one. This Zea- 
 lot, having made Intereft to paint the Battle of Pavia, asked, his Im- 
 ployer, whether there fhould not be an Orange in it ? How fhould that 
 come to pafs ? fays the Gentleman : Topafs, or not, replied the Painter, 
 let me alone for that : The other laughed ; and not dreaming he would 
 put one in, after talking of other Things, faid, at parting — Do as you 
 think beft : The poor Man, glad of the Authority, was looking in his 
 Pi&ure. for a Place for the Orange ; but fearful, if he placed fo fine a 
 Fruit on the Ground, it might be trampled on by the Horfes, he con- 
 trived a fmall fquare Stone in a Corner of the Painting, and fet thereon, 
 in a Pewter-plate, an Orange as bis as the Life, and very naturally 
 done. This innocent Wretch (for fuch deferve not the Name of Pain- 
 ters) gives us to underftand, that what we can do beft, is beft, whether 
 it be proper or not. 
 
a 1 4 , Of Lights and Shades. Book V 
 
 It is a conftant Maxim, that Things, without Sun-Jhine, finely paint- 
 ed, and with proper Lights and Shades, muft needs be good, without 
 the Word (broad) which they abufe by introducing it any how. Do 
 not think then, true Artifts ! that the Pieces which are not broad, are 
 not as good as thofe lighted by the Sun, Moon and Candle. 
 
 CHAP. VIII. How Sun-Jhine is to be reprejented in a Piece having 
 
 a common Light, 
 
 THIS Proposition may pcffibly feem ftrange to fome, and per- 
 haps a Feint ; but is, in Faft, lb far from it, or being a Trifle, 
 that 'tis a Matter of Moment, and founded on good Reafons. 
 We take it for granted, that the Sun differs in Force from other 
 Lights, and is a Tint lighter. 
 
 We often fee, in changeable Weather abounding with • driving 
 Clouds, that the Sun is obfcured by very thin and hanging airy Va- 
 pours in fuch Manner, that whole Tofts of Land, Houfes, Hills, 
 &c. even whole Woods are over-lhadowed : Which Shades however 
 are thin, and exhibit all the Objects more or lefs plain than in com- 
 mon Light. 
 
 . J&ut let us come to the Point; which is, to reprefent, in a Common- 
 light-piece, a Sun-fhine with one and the fame Force of Colours, each 
 in its Degree, without Impediment to each other; I mean, when the 
 Sun is not forward or in the Front of the Picture, or is not too much 
 fpread, which would thereby feem too flaring. 
 
 To do it therefore according to the Rules of Art, divide, for In- 
 ftance, a Landskip into four Grounds; of which, let the flrft be 
 White, and the three others diminiftiing in Proportion: Let the 
 fecond White-ground ferve for the Sun-fhine : Now, 'tis plain, that as 
 the common Light on the Fore-ground already poffejfes the Force of 
 the Colours, it muft needs follow, that the Sun-fhine, which is one 
 Tint lighter, as before faid, and has no other Force than the fame 
 White, can alfo have no nearer Place than that of the fecond Ground : 
 A plain Proof, that, if it be placed on the third Ground, it will dif- 
 fer fo much more in Force. Now, in order to diftinguifh the Diffe- 
 rence between this Light on the fecond Ground, and that on the firft 
 and to reprefent it naturally, we ought to exhibit the Shades and 
 Ground-fhades of the Objects, Jharp, broad and long ; whereby we may 
 
 per- 
 
Chap. 8. Of Lights and Shades 
 
 perceive, that this is a Sun-light; and the other, with dull and I Jhort 
 Ground-fhades, to (hew that it's common Light. But the better to con- 
 ceive the Nature of Sun-light, obferve its Colour in the Morning and 
 Evening. 
 
 To aid thofe who may not prefently underftand what I have faid, 
 I iball lay down a Ihort Method of Management in a certain and eafy 
 Manner. 
 
 Having sketch 'd your Defign, and fettled the Parts which you would 
 have enlightened by the Sun, dead-colour it neatly, as if it were to 
 be throughout a common Light: But in the fecond Colouring, you: 
 muft fomewhat more heighten the Parts which are lighted by the Sun ; 
 whether whiter, more yellow or more ruffet, according as you would 
 have them, andfo as to perceive a vifible Difference: The Shades alfb> 
 to lie more difiincl and broad, without making them glowing, except- 
 here and there in the Reflexions. 
 
 Now, if on the Fore-ground, or about it, there be no White, we 
 have an Opportunity to throw here and there on it fome Sun-rays by 
 the Force of White, Yellow or Rurlet, according as the Sun's Colour 
 then appears ; which could not be done, if we had before laid the Sun's 
 Force in the Offskip. 
 
 Here, let it be obferved, that if we enlighten fome forward Objects 
 by the Rays aforefaid, they ought not to be of Light, and brigfit-co- 
 Joured Matter, fuch as white Marble or light Free-ftone, very light; 
 Draperies, or beautiful Carnations; but of fuch Tints as appear dark 
 in a common Light; becaufe thefe ftrongly heightened with the Sun- 
 like White will fetch out the fame Light. 
 
 .Now, to finilh the Work with Certainty, and to find, with Eafe, 
 the proper Tints of Objects, lighted by the Sun, proceed thus. Tem- 
 per your White with red or yellow Orpiment, more or kfs Tellowf as 
 you would reprefent the Sun early or late. Then, inftead of pure 
 White, mix it with your light firft Tints of all the Objects which are 
 lighted by the Sun: Whereupon you will find each Colour to be 
 broke according as its Quality or Force, with refpect to its Body, dif- 
 fers much or little from the reft.. Thus the Work will have the de- 
 fired Effect, as Experience,, the Daughter of Truth, can teftify. . 
 
 C H A P; 
 
Of Lights and Shades. 
 
 Book V. 
 
 CHAP. IX. That the Shades of Objetls in Sun-Jhine are not more 
 glowing than in common Light. 
 
 MANY are fuch Strangers to the Truth of Things, and fo 
 little enquire into them, that, to retain their groundlefs Ha- 
 bits, they flight Reafons, and maintain their Errors. This is 
 evident from their univerfal Opinion, that the Shades and Objects are 
 more glowing in Sun-ihine than in common Light : Which I intirely 
 deny ; but that the Shades and Reflexions become lighter and lighter, 
 in Proportion as the Sun fhines ftronger, is true. 
 
 That the Sun's Light is more glowing than a common one, is indis- 
 putable ; for, as the Sun's Light is more or lefs Yellow or Red, 'tis 
 natural, that every Thing he ihines on fhould partake of the fame Colour, 
 not only in Lights, but alio in the Shades which receive the Reflexions 
 of the Grounds, and other near Objefts : But, as there are no Objecls 
 (what ftrong Reflexions foever they receive) which do not here and there 
 preferve fome un-refleffed Shades (as, when one Objeftis covered by the 
 Ground-lhade of another) fo the faid Shades ought, fince they have no 
 Communication with the Sun or his Reflexions, and are of another Na- 
 ture, to be more grey., like thofe in common Light, as receivi ng no Co- 
 lour but what the Air gives them. 
 
 Hereby, I think, we can beft diftinguifh between a Sun-fhine and com- 
 mon Light ; wherefore 'tis ftrange, that People, who commonly feek 
 Shades for the Sake of Coolnefs, will notwithstanding have them warm. 
 
 'Tis therefore no wonder to find fo few Winter-painters. I have 
 feen Winter-pieces of Brcugel as warmly coloured as if for Midfummer 5 
 even the very Ice and Snow as glowing; tho' in Winter all Things re- 
 ceive light Reflexions, and have little or no Shade, the Ground-fhades 
 are lightifli and blue, and yet every Thing has it's Diftance and Going- 
 oft; tho' fome, contrarily, make their OlT-fhades as warm as the for- 
 ward ones. 
 
 , . F ? r u - tl ? is c Reafan ' '^s neceflary for the Artift fometimes to exercife 
 himlell in Sun-fhine, and make due Obfervations on the Nature of it • 
 not making it his conftant Praaice, but a particular and agreeable Study • 
 If he cannot be perfect in it, he ought at leaft to know as much of it 
 as or common Light, in order to ufe, in his Works, fometimes the one, 
 iometimes the other, as Occafion requires. Some think, becaufe of 
 
 the 
 
€hap. 9. 
 
 Of Lights and Shades. 
 
 11*7 
 
 the Broadnefs, that Sun-mine is more eafy than common Light : But it 
 PS not fo j fince I think it as difficult, for a Sun-fhine-Painter to repre- 
 fent common Light, as a Common-light-Painter to exhibit Sun-thine, 
 with refpect to Naturalnefs. Many, perhaps may differ from mem 
 Opinion, becaufe, in Sun-fhine, the Ground-fhades are diflintt arid li- 
 mited : Whence, they deduce this Argument ; that in a Piece lighted 
 jintirely from a Side, and the Sun having Meridian Altitude, the 
 ■Ground-fhades of all the Objects appear a third lefs than their full 
 Length, and therefore they may be correctly meafured by the Com- 
 paiTes, each in Proportion to its Length, on to the Olfskip : Which I 
 willingly grant, and to which I will fay further in their Favour, that 
 ■ 'tis to be praclifed, not only when the Grounds are level and horizon- 
 tal, but likewife in Up and Down-grounds, where the Compares are 
 ufelefs } if the Ground drip, the Ground-fhades will do the fame ; does 
 it rife, they do fo too ; as the Knowing in Perfpettive well underhand; 
 thus far, I fay, they are in the Right : But fuppofe it fhould happen, 
 that the Piece be lighted from within, or from without ; Is it not then 
 as uncertain as in common Light, and, becaufe the Compafles are ufe- 
 lefs, much more troublefome to find the Shades and Ground-fhades, 
 and their Enlargements forwards and Off-diminutions j which ought to 
 be as fenfible as the Sun is either off or forward ? Contrarily, How 
 eafy is it in common Light, where they are fmall and dull ? The Task 
 is therefore not fo eafy as fome imagine, who endeavour only to re- 
 prefent a Right or Left-fide-fhade. To reprefent the Sun in all Pofitions 
 is quite another Thing, and there are few fuch Painters: For we do 
 not eafily find, a Sun-mine-painter meddle with common Light ; but 
 contrarily, that a Common-light-Painter will fometimes praftife Sun- 
 fhine ; and the Reafon is plain, the common Light takes in every Thing ; 
 wherefore, he who underftands this well, can eafily give into Sun-fhine. 
 The Point is only, that Sun-fhine is warm in the Lights, but not in the 
 Shades, as fome imagine. 
 
 Now it fometimes happens, that two Pieces, a Sun-fhine, and a 
 common Light, hang together, both having the utmofl Force of Co- 
 louring, and fo alike, as hardly to diftinguifh the Sun-fhine > the Lights 
 being in both alike and broad (for fince the Word Broad is come into 
 Faihion, fome will paint broad, whether it be Sun-fhine, or not, as 
 well within-doors as without ; moreover, the Lights and Shades warm.) 
 What now is to be done, when two fuch Pictures muft hang together, 
 in order to diftinguifh the Sun-fhine ? Nothing elfe verily, than to abate 
 the Strength of the one fome what, and heighten the Force of the o- 
 
 No. 10. E e ther ; 
 
Of Lights and Shades, 
 
 Book V. 
 
 ther ; not by making the Shades darker, but by a more warm and 
 bright Light, with long and diftinft Ground-fhades, not only broad, 
 but Jharp. I underftand here, that the Common-light-piece ought not 
 to be inferior in Goodnefs in its Kind j but not broad-lighted or fha- 
 ded, unlefs the Caufe plainly appears. 
 
 But we feldom fee too fuch Pieces together, done by the fame Mailer ; 
 becaufe moft Painters make but one of the Kinds their Bufinefs: And 
 if it once happen, yet they do not think, the one ought to be lighter 
 than the other. And if they are done by two different Hands, each' 
 Mafter endeavours to make the Colours anfvver his own Inclination. 
 
 Thus it happens, that the Sun-fhine-Painters are in little Concern a-; 
 
 bout it ; for they think Are my Objects to appear by the Force of 
 
 Light ; I willy by the Strength of fiery Shades, maintain the Superiority j 
 
 We have faid before, that, in Proportion to the Sun's Strength, the] 
 Reflexions become lighter ; the Reafon whereof we (hall now explain. 
 
 We find, when the Sun is low, and the Objects are ftrongly lighted,; 
 that they receive ftronger Reflexions from each other ; becaufe the Sun's 
 Rays fall not obliquely and glancing on the Objects, and thofe on others, 
 but ftrike directly upon them, and return Reflexions : Contrarily, when 
 the Sun is high, the Reflections of the lighted Objects cannot touch the 
 others with fuch a Force, becaufe the Reflexion of the Light muft 
 needs revert to its Origin : For Inftance, if in an high Light, two Men] 
 itand in Difcourfe, and the one receive the Sun on his Breaft, and the] 
 other on his Back, the Light which falls from on high on the Breaft,: 
 muft needs reflect: again upwards, whence it came, and therefore pafsj 
 over the other's Head ; fo that the former Figure can thereby receive! 
 none, or but a very weak and almoft imperceptible Reflexion. 
 
 Thus I think to have fhewn, that Reflexions in Sun-fhine ought toj 
 be reprefented much ftronger than in common Light j the Proof of 
 which may be deduced from the Life itfelf. 
 
 CHAP. X. Of the Difference of Ground-fhades, proceeding either 
 from the Sun, or radial Point, 
 
 IN Plate XXXVI. the firft Example fhews the Sun's Place ori 
 Quarter, which I obferve as Eaft ; and oppofite to it, in the Weft, 
 is a Building, which is lighted throughout from the Eaft, not as s 
 by Rays, proceeding from a Point and growing wider, but by fuch as 
 
 are! 
 
Chap. io. 
 
 Of Lights and Shades. 
 
 l?£T£5 fe n S fo Center of r 
 
 is ' or from rhr Jul w V ? n- ° e Qy arter wherein the Sun 
 whichtl-S:Sot Slde ° f thePl£Ce ' 3Swide - the Opening, thro- 
 
 beWdiSfy beWncf^nl' be c ~r C ° be faIfe * when the Sun 
 ^raStoiSSr' 116 Gr °™ d -^ - «* fetch* 
 
 reaiy Lo'lZZ^f' f ™f ^T' that when tbe S ™ <W di- 
 rectly tnio the middle of a Street, he would enlighten both Sides 
 
 before! And " ***** * NatUre ' a " d to what S we have fhewtd 
 
 thftSS^^^ t^&Sf If ? eSu r ; ? 
 
 needs be liahf^ 2 Tf • , ° b J e " s on the Ground mull 
 
 of the Floor mJ^^^St^ £ 
 
 &gh^ and the latter Ihew.ng us the Ea'ft and Weft through the wU 
 
 *^^<Z^%8%%$. from aPoiM > buc 
 
 I he fifth Example contrarily fhews a <rrW 1UJfl*l^ i • 
 
 behind, Always or front^ whether from 
 
 «M»i that is, in the Frout^f the Rec th Zft ^T&^^T 
 ever fo low, nay, on the Horizon And not only thf flat C '^7 
 but every thins that receives r ;<rhi- • -ru b ? 7 , ^ Grou "ds, 
 dent, tha 7 t it wluld I fZrRuS toTal anv n" ^"f isf ° evi ' 
 what's ftewn in the fixth Examnl^f 7 r J r S m ° re about 1<: ' than 
 Light MPetS^Syt^' ba ^ 
 
 « wtth refpefl to a Candle or Torch } but, fpeaTingTthe iil, muft 
 
 fay, 
 
, 10 of Lights and Shades. Book V. 
 
 * n. j M^rt-er • Indeed it would not be 
 fcy, they * «/V8£S^9B» Light: But level 
 very improper in a Ground ™>ni n g Diminution were they, if I may 
 Floors or Grounds cannot admit of a ^.nut^^ ^ ^ ^ 
 
 fay fo, a thoufand Steps long ; , nay. Light come from be- 
 
 tigbt forwards, without any D'^nce « fo ^ as tQ agk> h 
 hind or forwards. I think, no Amir w ? ^ ^ a gen£ral 
 
 LA'ta 3MRS *~ 
 
 CHAP- XI Of A lbrt*** S Usb " '" "" 
 
 C OME think it impoffible for different Lights gjg^jjg 
 S to look well; for, fay they, if >t w«e goo J ^ ^ 
 ^ IW*,, P«#»/nd other "^X*^, which is arriv- 
 ing approved that Manner ; even die *> e f* nQ ^ ore than a fingle 
 ed at i£ high a K^h unammoufly agr es th=it £ 
 
 i%* is ncceflary and rejefts J * ^ of D ^ M af- 
 
 they judge, that double L igh « « W " but on l Y follow Nature ,* 
 ters, who do not underftand I the Aft?*, anfwer / that tho ' iM 
 order to pleafe Ignorant*. To all M ^ ^ the w ks , 
 
 PouJ/In, and other great Maft ers, ha ve ^ ^ ^ f 
 
 but only kept a fi^^t^ed £k Manner, as contrary to Na- 
 thence, that they defp.fec o & Art not being m their 
 ture, but they nether thought nor new , _ ^ f that 
 
 Times, got ^^Itk ^efSte fingle-lighted if nam 
 a Piece with different Lights s better be Judlcloufly 
 
 rally reprefented; I meat Elcpnce. , ... 
 
 managed it gives a Painting a * wh thank me for d,f- 
 I believe, many common Painters m ^ a p th y 
 
 define this Matter; becaufe, fhould 1 - c>v « s kt every Man do 
 
 3 have more Trouble in doing it. However^ ^ y tf ^ 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. ii. Of Lights and Shades. 21r 
 
 ample with Ligbs,^ a ^XXVm * K i Xh ' bit an Ex " 
 
 what Difficult feme will 'J k .TJnll " Ex P e£laC ' on *> bear 
 
 on^lS wSSr ^ * 3 M ° te ° f 
 fa an Heap of of H tS/ 6 ^ 
 
 bringing forwards fome fmall Veflels on a B,>r n a d ^ *** 
 ftands a grave Matron with a yonn V irl d real™ t l h \ Paveme * 
 Porter to lay the Goods to the refl g Z 8 u dir f a,n S the hmdermolt 
 two Soldiei ; one bare h4ded r* r S ° raew r hat de T e P er in *e Piece are 
 Servant is cominedow rhV "T^S fome Houlhold-Gods. A 
 Through arXfh of tSs S&T* ? eft 0n his dodder. 
 
 Field, ! Garden afendeSbv^o o ^'s^ ? ^/ U " her End of a 
 a green Hedge. Some P.oole Z ¥ P ' md ° fed on each Side by 
 IntheFieldL an Herd£ w kh a^ 80 '" 8 " P ^ d ° Wn the Ste P^ 
 part A, with all the Ob efls thereabo^ 8 1 ^ The Fo ^ 
 yetftrongly. The Gallei v R 18 lltt]e Wted forwards, 
 
 lighted i^ Lffi "gl^^ures on the fame Ground are 
 
 like A. TheSteps C, and he tS ng / D Field D > is bghted 
 A receives ft Light from H °£ ? Sm are forward 
 
 and D, l, ke STK, < &^g^'» Efrom H C from & A 
 
 E - ?n SB ^Afc 
 
 flight! The Son b K J , 1°, t0 b , £ J wh ereforc the Air is I 
 onlythfough an Opening tCehvhl f^/* ^ the Galle 'T 
 
 part of th? Piece T&^t^^J'" 1 ' **** than the F °«-- 
 fide-Hedge from Sontfand Wh f^ P K 'W* Right- 
 T ft neels receive their Lig ht ^tm Eaft aS it *£* ff ° m N ° rth * 
 whence,, we may perceive that rh^h; A' the Air over He ad; 
 
 * percave mat the Ob Je a S are never without Light,, 
 
Of Lights and Shades. 
 
 Book V. 
 
 however they are encoded ; fince what they lofe on one Side, they 
 
 & f«h£ ^another Defijn, Plate XXXIX. alfo tending to (hew 
 different Lights in the fame Piece. . . T . , 
 
 Te us confider it as a fquare Room which can rece.ve it's Light 
 from the four Cardinal Points: For Inftance, we fuppofe A, to be 
 North B Eaft , C South ; and D Weft ; again No i , to be : North- 
 £?ft <, South-Eaft- % South-Weft, and 4. North-Weft : Between 
 ^i\^S^^^ Eaft-North-Eaft ^. wtnch are 
 n edlefs Now, we ought to obferve, this Room being open on the 
 four Sides and a Figure ftanding on a Pedeftal in the Middle of it, 
 fnd S ed from the four Side!, from which Side it would rece.ve 
 it's ft onS Light: Certainly from the Eaft, where the Sun is : ; and 
 ,ts ltronge.i g xi or , h . Ea ft a Tint lefs ; then, North and South, 
 S TintdSer' ; St the fame with Sou'th-Weft and North-Weft : 
 
 touching tneN tur P es and Effeft. of different Lights, and alfojhewed 
 Advantage of knowing them, as well m Sun-(h,ne as com- 
 n2r with r-fnea to the Variety either in Landslip or 
 X Sufes togeth « with the abundant Means they afford for 
 ichingt Or'donlance, and that above the common Method I fub- 
 W rhat in a judicious Ufe of them, we muft be very careful m their 
 
 ■ andneceffary, that there be a general Umon, and that the Frmapal 
 Part have ifs Predominancy. 
 
 CHAP. XII. Curious Obfervations on Sun-Jhine. 
 
 I HAVE already faid much touching Sun-fliine, and yet,asa 
 Matter of Confequence for Hiftory and ^skip-painters ftiall, 
 from three Defigns (which for that Purpofe I exhibit) make a gene- 
 fal Obfervationupon k ; and thereby (hew the M.ftakes of fome and 
 the good Qualities of others, as a Precedent for thofe who would 
 <iRt Hnnour bv Living Embellishments. r 
 g ThVee younl Painters had once a Controverfy about the Represen- 
 tation of Lnlne: Theyjvere each of different Tempers ; one crofs 
 and pofitive ; another, meek and of good Judgment, and the third 
 was by the others generally accounted filly. In the End, thej e 
 
Chap. ix. Of Lights and Shade* 223 
 
 folved, each to make an Ordonnance ; and to fliew their Skill, the 
 two firft chofe one and the fame Defign. See the Sketches in. Plate 
 XL. 
 
 The firft had given all the Obje&s, without Diftinaion, a yellowifh 
 Light, and made the Shades ftrong and glowing ; thereby pretending 
 to exprefs the Sun as fetting; not confidering, that he thereby expofed 
 his Ignorance, as having made the Ground-fhades too Ihort. 
 
 The fecond had expreft the Shades and Ground-fhades not fo fharp 
 or fo long ; as reprefenting the Sun much higher, and a little fainter 
 yet herein fhewed fo much more Conduct, on making the Woman and 
 Boy, who are looking at an Huntfman founding his Horn over the 
 Wall (whom the Man coming out of the Gate fhews them) put their ■ 
 Hands over their Eyes, as Nature teaches ; when the other, who. had 
 reprefented the Sun much Jironger, had not taken any Notice of that Cir- 
 cumftance. 
 
 The firft placed a Man before the Tree, fleeping in the Sun; The 
 fecond, contrarily had placed, him in Shade behind the Tree • and 
 fome other People were fitting in Repofe againft the Wall, in Shade, 
 to avoid the Sun's Heat. 
 
 The third, had made a Defign of his own (fee Plate XLI. to (hew 
 his nice Obfervations on the Sun; which, the others, as counting hint 
 filly, at firft laught at. He had reprefented a naked Boy, fitting in an 
 open Window, and making Bubbles with a Pipe. The Child received 
 his Light forward from the common Light of the Room. Thro' the 
 Window appeared the Tops of fome Houfes, and a Part of a Column, 
 with a Sun-dial affixed to to. 
 
 Now, on, a nice Examination, it appeared* that this laft had beft 
 beftowed his Thoughts on the Sun, and that neither of the others 
 had ihewn fo many good Effects in their Pieces, as he, in fo fmall a 
 Compafs ; For, firft, he exhibited the Colour of Sun-fhine in the Sky 
 and on the Tops of the Houfes, fufficiently differing from the common 
 Light : Secondly, 'tis not enough to reprefent the Sun ftrong or weak, 
 or with long or fhort 'Ground-fhades, but we muft alfo lee, by the 
 Ground-fhades, how late ii'is ; wherefore he had introduced the Sun- 
 dial, the Ground-made whereof was on 9 : Thirdly, he had obferved 
 the Dubioufnefs of the edgy Objects going off: And laftly, to fhew 
 that we cannot bear the Surfs excejfive Brightnefs. without-doors, he had 
 placed the Child in the Window, in the common Light of the Room;, 
 that he might, with more Liberty, ftare about at the Bubbles than 
 he could in the bright open Air. Thus he juftitied the Conduit of 
 
 him.. 
 
Of Lights and Shades. 
 
 Book V. 
 
 him who had made his Figures (hading their Eyes, and advifed the 
 other to give his Figures thofe of an Eagle, faid to be the only Bird 
 which can look againft the Sun. 
 
 By thefe natural Obfervations, the others owned themfelves convin- 
 ced ; with Excufe, that they laughed not at his Skill but his Choice, 
 which at firft feemed odd to them. 
 
 CHAP. XIII. Of the Sun's three Qualities. 
 
 S we ought not only to view, as far as we are able, the Won- 
 ders of Nature, but alfo to reprefent their Likenefs ; So w r e 
 mail now make our Obfervations about the moji beautiful of 
 Things. 
 
 Who can be infenfible of the three Qualities of the Sun, viz. his 
 Splendor, Heat and Colour ? Can any Light exceed the Sun in Bright- 
 nels and Clearnefs, or any Fire be more invigorating or confuming, or 
 any Colour have greater Power h 
 
 The Sun-beams, fays a certain Poet, penetrate the Depth of the Sea, 
 and render the fandy Grounds light ; imperceptible Things, fenjible, &c. 
 what Light can effect what this does? It is faid that Lightening can 
 blind the Eyes ; tho' this be rather caufed by its Suddennefs than its 
 Light. 
 
 As for the Sun's Heat, Ovid tells us, that, Phaeton being of an am- 
 bitious Temper, importuned his Father to let him drive the Chariot of ths 
 Sun ; which Requefl being granted, and the Horfes proving too head-Jlrong, 
 and he, ignorant of the Courfe, driving out of the JVay, thereby fet the 
 Earth on Fire. The Gold in the River Tagus was feen flowing along. 
 This powerful Light inflamed the Eaftem Countries, as Ethiopia, Lybia, 
 &c. in fuch a Manner as to make the Inhabitants black ; as we fee them 
 at this Day : The Lakes, Rivers and Fountains boiled away. Even the 
 Sea became a fandy Valley. He, who would know more, muft confult 
 Najo himfelf. 
 
 It is faid, that the rolling and frightful Noife of the Thunder, will 
 melt Metals in an Inftant : Which is not improbable, fince the pene- 
 trating Power has a great EffecT: upon them. Two Flints, by Col- 
 lilion, will produce Fire. Even two Pieces of Wood will, by Fricti- 
 on, do the fame, tho' in themfelves of a cold Nature. 
 
 In 
 
Chap. 13. Of Lights and Shades. ai^ 
 
 In relation to the third Quality the Poet proceeds thus : Phcebus, 
 lays he, tn his light Hair, and fitting in a glittering Chariot befet 
 ivith Carbuncles, gilds all things, he Jhines on, with a yellowifh Colour, 
 What- Light has juch a Bright nefs and beautiful Colour? IVhat Salt- 
 petre, Brim/tone or other combufiible Matter can reach fo far, andfpread 
 from Eaft to Weft? The white Moon a?id fparkling Stars, nay the 
 fudden Lightnings them/elves are all weak and faint, if compared ivith 
 the abfolute Beauty and Splendor of his lively Colour. 
 
 I therefore very much wonder, that fuch an Ignorant can be found 
 as I met with about 5 or 6 Years ago. Even he, who fat up for a 
 great Mafter, plainly afTerted, that the Sun is Blue, nay, azure Blue. 
 
 Was there ever harboured a more abfurd Opinion, than one which 
 makes the moft tranfcendent Brightnefs and moil; penetrating Obje£t, 
 the weakejt ? Since every one knows, Blue to be the weakeftof all Co- 
 lours, and by which every thing is made to retire. What Light can be 
 drawn from Blue ? Does a blue Body produce Green, Red or Yellow ? 
 Yes, fay, Momus, a Blue Objecl will caft a Tellowijhnefs ; a yellow 
 Light, a Blue one ; and a Red, a beautiful Green : Alfo, a yellow 
 Drapery will give a green Reflexion ; a blue Drapery a red one ; and 
 white, ^ a black one. Moreover, the Light of the Sun is well exprefl, when 
 the main Lights are whitifh Blue* and the Reflexions yellow and warm* 
 Thus, fays he, we muft reafon about all Colours lighted by the Sun. 
 
 I think this the blueft Pofition that can be ; For, in painting the 
 Sun and all other Objeas after this Manner, could there be a more 
 ridiculous Piaure? How green, yellow, blue, and fpotted would it 
 appear ? — But many are fond of Party-colouring. 
 
 We fhall give here a Defcription of one of this Matter's Piaures ; 
 a Work as frivolous as his Judgment about the Sun. 
 
 In this Piece he had reprefented, a Vulcan hammering a Piece of 
 Iron, a Foot long ; one half whereof was red-hot, and the other he 
 held in his Hand : He had alfo exhibited a Venus, with the fame 
 Precaution, fitting ftark-naked and unconcern'd in the midft of the 
 Sparks. 
 
 Now, are not thefe fine Thoughts, and worthy of Reprefentation ? 
 Does he not feem to fay — This Iron is not heated by the Fire, but 
 painted of a glowing Colour ? — And indeed he (hews it plainly; for 
 the Pincers, which Vulcan ought to hold the Iron by, lie by him on 
 the Ground. Moreover he was foolifh enough to paint a Fire againft 
 an Hanging. But why do we wonder at that ? Why fhould he not do 
 it ? Since a painted Fire cannot burn. We might fuppofe him as wife 
 
 No. 10. Ff as 
 
al 6 Of Lights and Shades. Book V. 
 
 as the Man who fet a Piece of Ice to dry in the Sun, that it might not 
 wet his Back in carrying home. 
 
 To find fuch Wretches among mean People is truly no Wonder ; 
 but among Painters, and fuch as fet up for great Matters, 'tis paft my 
 Underftanding. 
 
 Thofe Men, who are unacquainted with the true Qualities of the 
 Sun, may be excufed ; but they, who know, fee and are fenfible of 
 them, and yet through Carelefnefs or Folly make fuch grofs Blun- 
 ders, are unpardonable. Artifts ! be then advifed in Things ye do not 
 rightly underitand, that ye may be fenfible of every Thing Art can 
 eflfea. 
 
 Is there any thing which we cannot imitate with Pencil and Colours ; 
 whether Heat, Cold, Day or Night, Earth, Air, Water, Fire, Wind, 
 Thunder, frightful Apparitions, fweet Sounds of Voice or Inftruments, 
 Sorrow, Joy, B'tternefs, Sournefs, Even, invifible Things, as 
 
 the Sound of an Horn or Trumpet ? &c. 
 
 But, let us now fee how thefe Things can be exhibited : Are there 
 not abundance of Motions, Poilures and Paffions, which herein afford 
 us Help, and which Nature herfelf and daily Inftances (hew us, if w r e 
 will but take notice of them ? What then can be wanting to make our 
 Meaning plain and clear to every Body ? Does not an unexpected Sound 
 caufe a fudden Emotion ? A Thunder-clap, Confirmation ? A fright- 
 ful Spectre, Terror and Trembling ? A Burn, Rage, and a Contrac- 
 tion of the Members? Sournefs, pinching the Mouth and clofing 
 the Eyes ? Bitternefs, a loathing Contraction of the Features ? Sweet- 
 nefs, a placid Countenance ? 
 
 As for the Reprefentation of hot Countries, we know, that both 
 Men and Beafts feek thefe Shades and Caves for Shelter and Re- 
 pofe j alfo, that 'tis ufuaf to wear Umbrellos, and go either naked 
 or dreft in thin Silks : In cold Countries we find the contrary ; for 
 there, People repofe and recreate in the Sun, or where he gives 
 the moft Warmth ; they fit in an Hut or Houfe by Wood-hres ; 
 and if the Country be near the North-pole, they are cloathed in 
 W r ool and the Skins of Bears, and other wild Animals. Thus we 
 fee, one Sort of People feeks Warmth ; the other, Coolnefs. Here, 
 the Sun fhines hot ; there, the Snow abounds. The hot Indian ap- 
 pears almoft naked j and the Laplander and Ruffian hug in party- 
 coloured Furs. But as thefe Effects are owing to the Sun only, whole 
 Influence on thefe Countries is in Proportion to his Nearnefs to or 
 Diftance from them j fo we know, that the Heat or Coldnefs of 
 
Chap. 13. Of Lights and Shades. 
 
 each Climate is thereby caufed, and the Sun feels hotter in one Place 
 than another. 
 
 Since we are treating of the Sun, we (hall alio (hew how the Poetic 
 Expreffions, defcribing him, are to be underftood. 
 
 Po'efy and Painting, being Sifters, agree intirely j and tho' Fables and 
 Fictions be not thought neceflary for a Painter, yet they are delight- 
 ing and ufeful, and we cannot be good Painters without lbme Aid from 
 Poefy. We may make ufe of Poetic Thoughts, as far as the Hirto- 
 ry, whether (acred or profane, will admit, and as the Nature of a 
 Thing can be thereby exprefled. How can the Morning, Noon, Even- 
 ing and Night be more elegantly reprefented, than Homer does it in 
 fome Paflages of his Works ; among others, at the End of his Odyjfee, 
 
 where he fays, All ObjeHs appear in the Morning, at the Dazvn 
 
 of Aurora, dark ; and afterwards the imperceptible growing Light dif 
 
 tinguijhes and gives them their natural Colours. Thus he, as to the 
 
 Beginning of Day ; and elfewhere of the Morning and Evening he has 
 
 it, As when Phoebus fatigued, hides in Thetis'* Lap, Sec. He 
 
 fays further, Aurora, the Day-break, and Fore-runner of Phoebus, 
 
 rofe in the Eafl in her Turn, fitting in a Purple Chariot, and gilded the 
 
 Tops of the Mountains, Sec. And Virgil in one Paflage fays, 
 
 Aurora, rifen out of Tithon'j Saffron-bed, Sec. And in another, ■ 
 The Sea was now got rofy with Morning-rays : The Orange Day-break 
 appeared, in the high Heaven, upon the Rofe-colour Chariot, Sec. ^gain. 
 As foon as the Day-break, riding up Heaven, began to be rofy, Sec. All 
 which Expreffions give us to understand, that Aurora's Light begins 
 with Rednefs, and grows gradually Yellow and ftronger as (he gives 
 way to Phoebus. 
 
 We need not fay more of the Names which the Poets affign this 
 great heavenly Luminary ; Nature (hews us the fame daily in almoft all 
 thofe Qualities; and he who does not confider Nature will reap little 
 Advantage from my Obfervations. 
 
 F f 2 
 
 CHAP. 
 
Of Lights and Shades. 
 
 Book V. 
 
 CHAP. XIV. Of the Nature of the Sun, with refpecl to different 
 
 Countries, 
 
 FORMERLY at leifure Hours, I diverted myfelf with read- 
 ing the Defcri prions of feveral Eaftern and Northern Countries, 
 written by Linfchot, Olaus Magnus, Archbilhop of Upfal, and 
 others ; and, on one Side, I faw the Cape of good Hope, where the 
 Sun's great Heat is temper'd by the Sea-breezes, as 'tis thro' all India, 
 Java, China and other Regions. Of China, Writers fay tha't it en- 
 joys the fweeteft Air, and the Inhabitants arrive at great Ages, and no 
 contagious Diftemper is heard of amongft them. I read alio of many 
 eoftly and ftrange Rarities, and of the Cocoa-tree yielding a refreshing 
 Liquor j and what elfe was worth obferving. On the other Side of 
 the World I viewed Greenland, which I found to be exceffive cold, and 
 full of high Mountains covered with eternal Snow ; the Seas abound- 
 ing with Whales, and the Air piercing and rigorous on the comforta- 
 ble Sun's Departure ; and, like the Country, the People rough and fa- 
 vage, as we fee in the Goths, Fin and Laplanders, and other bordering 
 Nations, where cold Air and Nature have great Influence on the 
 People. 
 
 Digefting thefe Things, I had a fancy to make two Sketches of 
 them : In one, I reprefented, according to the Writers, Palm and Co- 
 coa-trees, little Water but many Hills j and for the Embellilhment,, 
 fome naked Blacks ; the Light, a Sun-fhine : In the other, I could ex- 
 hibit little elfe than Fir-trees, Wooden Huts and Drifts of Ice ; the 
 People I had cloathed in Beaits Skins, and fome hunting wild Bears, 
 others bufy in dragging a Whale on the Ice, which they had killed 
 with Harping-irons ; in fine, any Circumftance of ttasir Manner of 
 Living. 
 
 Thefe Scratches were lying on my Table, for further Improve- 
 ments as they occurred in my Thoughts ; when a Gentleman, on 
 making me a Vifit, caft his Eyes on them, and, tho' but flightly 
 fcratcht, bought them of me; and, at the fame Time, befpoke ano- 
 ther Piece, the Subject whereof I ihould have from his Son, then new- 
 ly arrived from India. 
 
 Accordingly the Son defcribed to me, a certain Place in India (where 
 he had lived) generally inhabited by Blacks, except the Governour, 
 
 himfelf, 
 
Chap. if. Of Lights and Shades. 2x9 
 
 himfelf,and fome others : He inftru&edme in feveral Particulars, as well 
 Manners as Drefs and other Things, proper to the Country : All which, 
 I fet down, and then made a rough Sketch of it with a Pen, in his 
 Prefence ; in which, he faid, I had rightly taken his Meaning. This 
 being done, I fell to colouring it, in hopes thereby to get his future 
 Favour ; which I did. The young Gentleman's Affairs, in the mean 
 Time, calling him out of Town for three Weeks, his Father, on his 
 Return, had a Meeting of fome Friends, and on that Occafion fent for 
 the Picture (which was finifhed) and, at the fame Time, deiired my 
 Company. The Piece was inftantly hung up ; and, after the Gentle- 
 man had a little viewed it, he took me by the Hand, and whifpered 
 
 thefe Words, s 27j very well done ; but I forgot to tell you one 
 
 Thing of great Moment ; yet you can alter it in half an Hour's Time. 
 To be fhort \ I had taken the Sun too low, and alfo made him fall into 
 the Piece Jzdeways; which occafioned long Ground- -/hades ; whereas, I 
 mould have made him vertical (or over Head) as he moft Times ap- 
 pears in that Country. I was confounded, and owned my Fault ; for 
 his Criticifm was juft, fince the great Heat muft be exprejl by the Sun's 
 vertical Portion. Here I faw, that, after all my Pains, I had failed: 
 in the main Point, for the Reafon aforefaid. The Gentleman's Judg- 
 ment was as right in one Point as wrong in the other ; for he muft 
 needs be acquainted with the Nature of the Climate ; but his faying,, 
 how eafily the Fault might be rectified, reminded me of the Cafe of 
 
 Apellesy, and I thought,- Ne Sutor ultra Crepidas ; becaufe he: 
 
 thereby difcovered his Ignorance ; for rubbing out the Ground-fliades 
 would not in the leaft have better'd it j and to enlighten the Figures 
 from on high, would be more Work than to begin a new Picture. 
 Neverthelels,. he. taught me to make my Advantage of it in Time ro. 
 come. 
 
 CHAP.. XV.. Of the Sun's Light upon Objects at Rifing and: 
 
 Setting.. 
 
 IT is unaccountable in many Artifts, who handle an Art, who fe The- 
 ory is built on Mathematics ; its Practice, on Experience; and the 
 Execution, on Nature ; that they take fo little Notice of the 
 three Points wherein lies their Honour y efpecially in the lighting 
 of Objects- in a Sun-fet j for the Sun, how low foever, cannot jhine on 
 
 any 
 
Of Lights and Shades. 
 
 Boot V. 
 
 any Object under the Parallels ; namely, not in the leaft from underneath, 
 were the Object, if I may fay fo, as high as the Clouds ; and yet we 
 fee many Paintings, wherein the Objects are, by a Sun-fet, more lighted 
 from underneath than above : Which is contrary to Nature ; as we may 
 daily experience, in walking againft the Sun, how troublefome it is 
 to ftiade the Eyes. We turn our Heads fide ways, or hold an Hand- 
 kerchief before our Eyes; even, the Hat is no Defence; and yet the 
 Sun never takes it underneath. 
 
 This may be plainly evidenced by PerfpetJive ; to wit, that, as 
 the Horizon limits our Sight, and the Sun cannot, with refpect to the 
 Eye, defcend lower ; therefore he cannot fend his Rays upwards, but a- 
 long the Ground, or parallel. 
 
 Thefe Rays then, in their Paflage, unlefs you pull your Hat over 
 your Eyes, muff needs fhine into them : I even dare to fay, that, were 
 the Brim of your Hat ten Acres broad, and parallel with the Hori^ 
 zon, it would not caft a Shade of a Pin's Breadth over your Eyes, 
 nor the Sun fo much as take the under Parts of the Brim, tho' we 
 were Handing on an Eminence. 
 
 But, to be the better underftood, let us confider Plate XLII. where, 
 on the Fore-ground, I place a Figure with a Board on its Head (like 
 the Americans) level with the Eye-brows. Next, we fee an high 
 Building, with a projecting Cornice running towards the Point of Sight; 
 and, on the other Side, an high Column with a Figure on it, having 
 fuch a Board on its Head as the other. Now you may perceive, that 
 the Sun does not ftrike underneath againft it, but fends his Rays paral- 
 lel, I mean, when he is fetting. Draw then a Ray from the Sun pa- 
 rallel with the Board of the Fore-figure, and fee how much Shade its 
 Eyes will have. Fetch another Ray - from the Front or Cornice to 
 the Sun's Center, to find how much Shade the Projecture will throw on 
 the Frize ; do the fame by the Figure on the Column: Then you will 
 perceive, that the Joints of the Stones in the Building will be parallel 
 with the Sun's Rays, and that the Off-corner of it, tho' lower than 
 the Near-one, will yet be alike with the Near-one, and the Frize pa- 
 rallel with the Ground. 
 
 If it be objected, that, when we lie out at Window, the Sun is 
 lower than the Window-board we lean on, and does not fhine on it : I 
 anfwer, that we only imagine fo ; for if we rightly obferve, we fliall 
 perceive a fmall Ground-fhade of the Crofs-piece of the Window, tho' 
 ever fo faint ; wherefore we are enabled to conclude, that as long as 
 the Sun fhines, nay, if but a Finger's Breadth above the Horizon, the 
 
 Ground 
 
Chap. 1 6. 
 
 Of Lights and Shades: 
 
 Ground muft receive fome Light ; and, of confequence, as long as ' the 
 Ground is fomewhat lighted, it is impoflible for the Sun to fhine on 
 any thing from underneath. Suppofe, for Inftance, a Column, fix 
 Feet* high, lighted by a Sun-fet ; if this Column throw any vifible 
 Shade on the Ground, the Ground muft have fome Light ; and, if 
 fo, how is it poffible, that the Sun fhould fhine from above and from 
 underneath at the fame Time ? And if it be granted, that the Sun does 
 not light the Column on Top, it's Ground-lhade muft needs be infinite ; 
 in which Cafe, the Capital ought juft to be lighted from underneath, 
 and the Ground, of Neceffity, to be without Light. This is an un- 
 deniable Truth, though the Point be little handled by Writers; even, 
 feldom heeded by Mafters : 'Tis alfo no Wonder to fee fome fail in 
 it ; the moll probable Reafon for which (as I think) is their Ignorance 
 in PerJpecJive. 
 
 CHAP. XVI. Of the Application of Sun-Jhine and other Lights. 
 
 IT is an old and rooted Evil, and thereby almoft become a Law, 
 rather to gratify our Fancies and Paffions, than confult Reafon : 
 Moft Painters verify this in their Choices and Ufes. To reprefent 
 Sun-Jhine, fay they, is pkafant, and delights the Eye ; therefore we 
 muft always introduce it. But this, cannot be; fince the Varieties of 
 the Seafons, and a Change in all Things vifible demonftrate the con- 
 trary. This Light is indeed very agreeable in a Landskip, but very 
 dijferviceable within-doors ; for, how ridiculous, in a great Entertain- 
 ment, would Sun-fhine appear on the Table ? And how could the 
 Guefts fee one another ? Or, how could the Glitter of the Plate be ex- 
 prefled, without obfcuring every thing elfe ? 
 
 What a fine Piece would that be, where the white Table-cloth mur}. 
 be mixed with black ? And how agreeable would it look to fee the 
 Ground-fhades of the Window-frames and Squares exprefled on the 
 Table and Floor. Sun-lhine is not always proper ; and yet fome will 
 not give themfelves time to think whether the Subject. require it or not ; 
 as, in Chriffs Crucifixion it is improper, becaufe the Scriptures men- 
 tion the Sun to be hidden. 
 
 The better to explain my Meaning, I fhall exhibit three different 
 Lights in as many Ordonnances relating to the Perfon pf our- Sa- 
 viour. 
 
 Of 
 
Of Lights and Shades. 
 
 Book V. 
 
 Of Christ'* Crucifixion. 
 
 Here, on Mount Golgotha, is the Place of Suffering. The Sunftho' 
 at Noon, is obfcured, by a dark Cloud. Behold how the Place is light- 
 ed, from the right Side, where are the Crofs and People, receiving 
 a ftrong and a broad Light from the Clouds ; all this appears on the 
 fecond Ground. The Figures on the Fore-ground, ftiadowed by a 
 Cloud, are not fo broadly lighted, but unite gradually in Force with 
 the others, 'till they come to be alike broad-lighted. About the third 
 Ground the Sky is darker, and full of heavy Clouds, which, as they 
 rife, feem to draw a little crofs towards the Sun, which is on the 
 right Side. 
 
 Now, we muft follow Truth as much as poffible, and not our Fancies 
 or Choices. Here, every^ thing ought to be ftill and inactive ; Chrifl 
 is dead.: Does not this furnith lufficient Reafon for Mourning? Where- 
 fore I chofe the aforefaid Light, as beft expr effing Sorrow. And yet 
 'tis not proper on all Occafions, as may appear in the two following 
 Ordonnances ; one of which is ftrong and broadly lighted, and the 
 other with Sun-Jhine, Jharp and long-Jhaded. 
 
 Truly j a Piece with thefe Confiderations, and exhibiting the Nature 
 of Things and Times', muft needs pleafe the Curious : Even, the very 
 hearing fuch Reafons and Obfervations can make a Lover knowing ; 
 efpecially, if he be inftrutted by a good Mailer in right Principles, 
 and is fomewhat converfant in Drawing. Such an one may even con- 
 vince Painters, if he have a particular Genius, quick Apprehenfion 
 and a good Memory ; improve his Time, read good Books and fhun 
 fuch Company as prattle much, and do little. 
 
 To converfe with the Skilful and Judicious is very commendable, 
 but the contrary, injurious. Reafon fhould always take place., and a 
 difcerning Judgment not be rejected. Rather do fomething lefts, and 
 weigh it throughly. Auguftus's Saying is, on this Occafion, not amifs, 
 Feftina lente ; Hafte with Eafte. Good Things will endure, but thofe 
 which are fo feemingly, muft decay. But my Zeal has carried me too 
 far, and therefore I ihall return to my Purpofe in the Ordonnance. 
 
 Of Christ'* Burial. 
 
 The Rock on the left Side of the Piece, which opens a little for- 
 ward, and has a dark and deep Entrance, is the Place of Chrift's Bu- 
 rial. 
 
Chap. 16. Of Lights and Shades. 13 3 
 
 rial. The Funeral Rites are performed within, and one or two Lamps 
 are feen fomewbat to light the Hollow. The Body is carried in by 3 
 or 4 Men. The Time is about the Evening, and the Sun does not fliine. 
 Behold the People, againfl the Rock, almojt without Ground-jhades, as 
 being lighted from on high , and a little forward ; becaufe of another 
 Piece of a Rock rifmg up there by the Side, alike with the former. 
 Obferve the three Figures, on the fecond Ground, ftanding between the 
 two Rocks; thofe, wanting the Fore-light, muft needs receive it from 
 behind. Somewhat further, on the third Ground (which is the com- 
 mon Road) fome People are coming clofe by the Trees ftanding on 
 the right Side of the Piece, who, on the other Side beyond the large 
 Rock receive their Light from the left Side ; a plain Proof, that, 
 were they more diftant in the Field, they would be lighted from all 
 Sides. 
 
 My principal Remark on the Piece is this. This Burying-place be- 
 longs to Jofeph oiJr%mathea, and lies near the City of Jerujalem, as the 
 Text (hews. He is there with his People, who carry in the Corps. 
 Now, my Intention is, to light this foremoft Group as fi ] rongly as pof- 
 fible, and yet without Sun-jhme : The Light comes almofi fronting, by 
 reafon of the Side-rocks, which obftruft a Side-light ; fo that they can 
 fcarce have any Shade other than from behind through the Rock or 
 Burying-place, -a little from fome Cyprefles ftanding on one Side of it. 
 Between the two Rocks, I mew, that the People, coming forward, 
 muft needs be lighted from behind, fince they are ftill half in the 
 open Air ; and that thofe fomewhat further off, in the Road, againfl: 
 the Side-trees, ought to be lighted forwards, backwards, and from the 
 leftSide, where the Rock is very low ; confequently have but little 
 Shade on the right Side of the Trees, againfi which, their Ground- 
 fhades fall. The other Group . and the Stone-heaps in the Field, on a 
 lower Ground, I ihew to be lighted from all Sides, and to have no 
 other Shade than from below, and the deepeft Hollows ; becaufe the 
 Sky is fettled, and without Clouds. Now, it's certain, that few will 
 relith fo nice an Obfervation ; fince they follow their own Fancies with- 
 out further Inquiry : Yet if any of the Circumftances were omitted, the 
 Matter would alio be lefs apparent. 
 
 The chief Regards had here are to the Light ; the Time or Hour; 
 the Situation of the Burying-place ; and the Quality of the Man who per- 
 formed the Funeral Rites, not only as to his Perfon and Authority,, but 
 alio with refpeft to his Drefs ; together with the Manner of the So- 
 lemnity, according to Scripture: All which appear plainly. As for ih- 
 
 No. 10. Gg Stove- 
 
1^4 
 
 Of Lights and Shades. 
 
 Book V. 
 
 Stove-heaps in the OfFskip, they are Burying-places raifed up and down 
 about Jerufakm (of which the aforefaid is one) we fee them fmall 
 and mean, large and ftately, according to the Conditions of thofe wha 
 caufed them to be made ; as the Scripture teftifies* 
 Let us now obferve the third Ordonnance. 
 
 Of Christ' j Refer reel ion* 
 
 I again reprefent here a Rock ; before the Entrance whereof is fit- 
 ting the young Man or Angel, on the Stone of the Sepulchre, in Alin- 
 ing Rayment, (peaking to the three Women, and pointing upwards. 
 Chrifi arifing is furrounded with Rays like thofe of the Sun ; where- 
 by, two of the Women (one beholding him with her Hand over her 
 Eyes) are fo firongly and fharply lighted, that their Shades, by reafon. 
 of the Nearnefs of the Dazzle, fall very diftincl: on the Ground for- 
 wards, and on every thing elfe thereabouts. One of thefe Women, 
 as neareft the young Man, thereby receives ftrong Reflexions ; when- 
 the third (who is ftepping towards the Sepulchre) is without the Reach 
 of either Light, and tho' receiving, in a manner, fome Light from the 
 Air, yet melts in the broad Shades, Somewhat further, on. the fecond 
 Ground, the Trees alfo, along the Way, give broad Shades. In the 
 OrTskip is feen Jerufalem in a rifing Mift ; becaufe 'tis Day-break ; the 
 Heavens abounding with thin Clouds moftly in the Sun's Quarter, 
 which on the right Side of the Piece appears a little on the Horizon, 
 fomewhat yellowifh and purple. 
 
 Now, if a Lover or Mafter will, with due Reflexion, join h's 
 Thoughts with mine, and not fear any Trouble in the Performance,. 
 I queftion not but he will, by fuch a Reprefentation, fatisfy Co-artifts, 
 and merit the Name of a great Mafter. 
 
 C H A P. XVII. Of the Properties of the Sun and other Light? in 
 their ejfential Reprefent ations \ and of the chief Times of the Day. 
 
 WE need not fay further, that Lights differ in their Kinds, as 
 having, in the preceeding Chapters, fufficiently fliewed their 
 Natures, ErTecls and Qualities ; yet, to finifli this Head, we 
 fhall here fubjoin fome Particulars which could not before have Place. 
 
 As 
 
Chap. 17. Of Lights and Shades. %%f 
 
 As for the Sun, my Opinion is, that he cannot be reprefented in any 
 Piclure, Firft, becaufe the Eye is too weak to behold him; and there- 
 fore his Force cannot be exprefled otherwife than by making all Objects 
 dark and black. Secondly, becaufe when he lhines direftly in our 
 Faces, we cannot perceive the right Shape or colour of Things, unlefs 
 we ftiade the Eyes, as Nature teaches. 
 
 For the fame Reafon, I think, we may not reprefent a burning Can- 
 dle, Torch or other Matter giving a great Light, unlefs we alio ex- 
 hibit the Objefts as this Light makes them appear to us, and not as by 
 their Colour, Stir and Union they really are ; for the further from 
 the Candle, the more faint they become. 'Tis therefore Folly to 
 maintain, that the natural Force of Candle-light, efpecially if the 
 Flame be feen, can be imitated, fince it is part our Skill to give the 
 other Work its due Appearance ; for when the Light of the Candle 
 mines in our Faces, the moft deep and dark Colours, even Black it- 
 felf, appear neither darker nor blacker than they would in a dark Day. 
 But we (hall afterwards treat more largely of thefe Lights 5 and there- 
 fore now proceed to fay m 
 
 That thofe who love to paint Sun-Jhine may obferve, that 'tis pro- 
 per for Sacrifices, Combats, Bacchanals, Dancings, Sports of Herdf- 
 men andfundry other jovial Occurrences and Hiftories, which require great 
 Bufth\ but very improper and obftrufting in Councils, Pleadings, En- 
 tertainments, Academies, bedding -ceremonies and other fuch Circumfiances. 
 But Cloud-light gives an uncommon Decorum and Naturalnefs in Jolemn 
 Affairs, fuch as, Affemblies of Magijirates, Pleadings and other Buji- 
 nefs of Authority and Confeqnence. 
 
 The third of the Lights, of which we have fpoken (the Torch or 
 Candle) is proper for mournful Occafions, for dying Perjons, Burials and 
 fuch like ; efpecially in the open Air. 
 
 The Sun appears agreeable and delightful in the open tield, when, 
 thro' thick Bullies and Trees, his Rays here and there light the 
 Grounds, and the People are feen repofing or diverting in the Shade: 
 But he afts againft Nature, who exhibits tender and beautiful Virgins 
 basking in a fun-lhiny Field, flaring at the Sun, and talking and be- 
 holding each other with as little Concern as if it were but a Candle 
 or Star-light ; fince he himfelf would leave their Company, and retire 
 
 to Shade. . r - ., , ». r 
 
 To prevent any Miftakes of which Kind, let us defcnbe the chief 
 
 Times of the Day. 
 
 G g 2 Da ^ 
 
Of Lights and Shades. 
 
 Book V. 
 
 Day-break. 
 
 This firft-barn Time of the Day favours the Enterprizes of great 
 Generals in bcfieging or ftorming a Town ; no Time more proper for it,, 
 by the the Example of Jofhua in taking of Jericho. This Rule, tho v 
 not without Exception, has been obferved by all Nations ; of which 
 I could give many Inftances. The Battle of Pompey againft Cafar be- 
 gan at that Time. 'Tis alfo the proper Time for Hunting', as in 
 the Reprefentation of a Diana, Cephalus, Adonis or any fuch Subject. 
 Judicious Matters always chufe the Hour of the Day which beft agrees 
 with their Story. This Time is of Angular Advantage for the half 
 Tints it gives \ exhibiting all Things in their natural Colours j whence 
 a rife an uncommon Agreeablenefs and Decorum. 
 
 The Morning. 
 
 This Time principally rejoices Nature ; even inanimate Things are 
 fenfible of it. The glittering Light takes the Tops of high Mountains,, 
 and caufes, both in Buildings and Landslip, great Shades, appearing 
 very delightful. This Light, at breaking out, gives uncommon Sweet- 
 nefs when the ObjecJs fhine in the JVater-, as alfo a certain Frejhnefs 
 mixed with Vapours, which bind the Parts of Things fo well together, 
 as intirely to pleafe the Eye of the Knowing, 
 
 At this Time the Heathens offered their Sacrifices : And we read, 
 in the Books of Mofes, that the Children of Ifrael had not only their. 
 Morning-oblations, but alfo worlhipped the golden Calf at that Time. 
 The Jews retain thofe Cuftoms to this Day ; as alfo did the ancient 
 Chrijlians, who often baptized in the Morning ; as was likewife Chriji 
 in Jordan. The Perfians moreover honoured the Morning by their - 
 Offerings. Wherefore we ought to have due Regard to the Time of 
 the Day on all fuch Occafions; and take efpecial Care, that the 
 Light fall on the principal Objecl and Place, according to PouJJin's Con- 
 ducl in a Picture of Chrifi reftoring the Blind to Sight ; wherein the 
 greateft and ftrongeft Light is intitely fpread over our Saviour. 
 
 The Light between Morning and Noon. 
 
 This Light is not very fit for Obje&s, if it be not broken by fbme 
 Accident of Rain, Storm or Tempejk Such a Time may be proper 
 
 for 
 
Chap. 17. 
 
 Of Lights and Sfibdes. 
 
 237 
 
 for mournful Occaftons ; fuch as, the laft Judgment and our Saviour's 
 Suffering, when (as faid in the laft Chapter) the Sun was darkened; 
 which looks frightful, and caufes an expreffible Amazement: Where- 
 fore fine and pleafant Weather would, on fuch Occasions, look ri- 
 diculous. 
 
 Noon* 
 
 At this Time the Sun, darting his glittering Rays, (nines in full 
 Splendor; wherefore I defire thofe, who ufe this Seafon, to think,, 
 that Nature effects, By the Force of this Light, what cannot be rcpre- 
 fented; fince we often fail in our utmoft Attempts for that Purpofe : 
 Whereby it happens, that in endeavouring to make Things come for- 
 ward, we often ufe fuch a Force of Light, on the Fore-ground, as far 
 exceeds that of the Sun.; as in the Cafe of Draperies of a fiery Colour, 
 or the like. Certainly an unaccountable Way of proceeding. 
 
 Neverthelefs, the Sun's Light may be hidden behind Mountains, 
 Buildings, Sec. 
 
 This Hour gives Reft to. human Labour.. The Scriptures , tell us, 
 that Chrifty. tired with his Journey, fat to reft on the Well.; which 
 gave the Woman of Samaria occafion to hear his wonderful Predicti- 
 on ; His Difciples, alfo wearied, lad down near him. He who crir 
 deavours truly to reprefent the Natures of Things, muft efpecially ob~ 
 ferve the Times and Hours -proper to them. 
 
 The Afternoon.. 
 
 As this Seafon. is moft liable to Diverfity of Weather, by means of 
 driving Clouds, which occafion many Over-cafts, 'tis very proper in 
 the Keprefentation of Bacchanals and licentious Affions. But thefe are ■ 
 not always fixed to that Time.. 
 
 The Evening. . 
 
 Labour ceafing at this Time, it gives Liberty for all Sorts, of. Pat 
 time ; as Dancing, Walking, &c. If you would reprelent the march* 
 ing home of an Army, or Her dj men. driving their Cattle out of the Field, 
 this Time is the moft proper for them.. This Light frequently changes 
 its Colour by the Interpofition of rifing Vapours, which it draws i but 
 does notwithftanding moft times enlarge the Superficies of Objeffs. 
 
 When, 
 
Of Lights and Shades. 
 
 Bool V. 
 
 When the Shades do not receive the Reflexions of other Objects, they 
 ought to partake of the Light. This Seafon is quite different from the 
 Morning ; yet not lefs agreeable, by its fmall glittering Lights, if we 
 keep the general Light fomewhat dusky, which creates great Majfes 
 or Parts ; efpecially when the Colours are fomewhat difperfed by 
 a judicious Matter. 
 
 At Noon the Sun's Light muft proceed from on high, giving fhort 
 Ground-lhades ; but in an Evening his Light muft be loiv, and caufing 
 Jong Ground-Jhadcs. 
 
 The Morning is like the Evening y and with this the Moon-light 
 agrees. 
 
 C H A 'P. XVIIL Of the Moon, and her Reprefent atioiu 
 
 1QJJ E S T I O N not but many of my Portions and Obfervati- 
 ons in this Point will be cenfured as Heterodox, for being contrary 
 to both ancient and modern Practice: Neverthelefs, 1 (hall not 
 fear to enforce them, that difcreet Artifts may enquire, whether they 
 are founded on Reafons, or not ; efpecially feeing they are not new 
 Inventions, but Corrections of old Miftakes \ as I think I ihall prove. 
 
 I fuppofe then, that 'tis a grofs Error to reprefent the Moon lefs 
 than the Life-, becaufe, how diftant foever fhe be, we neverthelefs 
 fee her like the Sun always retain her natural Bignefs : And if this be 
 granted, the contrary muft be unnatural, and therefore forbidden to a 
 Painter, who is the Imitator of true Nature. 
 
 Had I a mind to paint a Moon-fpine, I would, without Injury to 
 Nature, manage it, as I have before laid, I would reprefent the Sun ; 
 that is, to exhibit her Shine, but not her Body (for the Light is of great- 
 er Moment in a Picture than the Bodies of either the Sun, Moon or a 
 Candle) lighting my Objects thereby either from behind, fideways or 
 forwards (and as well in Figures as Landskip) fomewhat darker than the 
 Day-light ,that it may appear a true Moon-light, and not a Sun-fhine (which 
 it very much affecls by its fudden Lights and fbarp Ground-fhades) making 
 the Blue Sky here and there, with fome glitteringStars. And, to make it 
 frill look more natural, we may, if the Subject permit, introduce up and 
 down Torches or other Lights, burning Piles of Wood, Offerings or 
 other Fires, as Occafion requires, and thereby make the Lights the: 
 Jlronger, and the Colouring rujjet and more yellow, yet the Shades not to 
 
 be 
 
Chap. 1 8. Of Lights and Shades 139 
 
 'tefo/harp as thofe of the Moon. This would, in my Opinion, have a 
 fine Effeft, efpecially if the faid accidental Lights were moftly ordered 
 in dark Places. But we ought principally to obferve, that in the whole 
 there muft be ken- more Darknefs than Light, and that no Colours ap- 
 pear fo beautiful as thofe of the Sky, in reference to the Moon, unlefs 
 they be red, yellow, and fuch others as are peculiar to burning Lights 
 (as we have (hewed in the firft Chapter of the fourth Book) for Light 
 red and ye/tow become dark: The Moon's Brightnefs, contrarily, makes 
 dark Blue and Sea-green appear lighter ; but Black keeps it's Poft ; 
 wherefore little light Red, and as little dark Blue ought to be feen in 
 the P 1 dure. 
 
 By fuch a Difpofition, we gain two Advantages y i. A natural Light.. 
 2. An uncommon Variety in the Colours. 
 
 If any one find any Difficulty herein, he may pleafe to know, that 
 he is no more obliged to exhibit the Moon than the Sun in his Piece j. 
 becaufe the former takes it's Courfe round the Heavens as well as the 
 latter, and may therefore be placed as the Elegance of the Figures and 
 By-works require, fmce both illuminate the Earth and it's. Objefta, 
 forwards, backwards and fidewife. 
 
 As to Quality, in, three Particulars the Moon is fo like the Sun,, 
 that there is no Difference between them : As, i. She always throws! 
 her Rays parallel as well as he. 2. All that is lighted by her is broad 
 and (harp. 3. The Shades on the Ground are plain, and conform with 
 the Objeas : But the Reflexions are not fo ftrong as in Sun-fhine ; be- 
 caufe the Moon-light is weaker than the Sun's, by reafon of theoppoiita 
 Natures of thofe two Luminaries, the one being warm, and the other 
 cold ; And as the Moon receives her Light from the Sun, (he canthere- 
 fore not have fo much Power to impart it to the Earth ; nor the Objeas,, 
 lighted by her, appear fo diftinfl to the Eye. Again, as the Sun often 
 alters his Colour by means of the Vapours which he exhales ; fo we find 
 the fame in the Moon, who, by the fame Means becomes alfo more 
 pale or yellow in Proportion to the Vapours about her, or the Air's 
 Rarity or Denllty. 
 
 Can it be doubted, whether fuch a Piece of Moon-light, without 
 the Appearance of her Body, be fuch, when the Darkned, Broadnefs, 
 and Sharpneis of the Ground-fhades, and the Palenefs of the Colour 
 are well obferved , all which, conjunaively exprefs Evening or Night.. 
 If it be a Queftion, whether this were the former Praaice ? I fay,, i 
 have no Bufinefs ta enquire into that; fince we ought not to accommo- 
 dated^ Art to- Fancy, but our Senfes to the Art, 'Tis to as little 
 
 Purpofe: 
 
Of Lights and Shades. 
 
 Book V. 
 
 Purpofe to confider, what is done*, but rather, what may or ought 
 to be done, according to the Dilates of right Reafon. In fhort, 'tisim- 
 poffible, when the three aforefaid Qualities are well obferved in a Piece, 
 it fhould fail of reprefenting a very natural Moon-light. 
 
 As my Pofition runs counter to old Cuftom, and therefore not fo 
 eafy to Apprehenfion, I have endeavoured to explain myfelf by the 
 three Examples in Plate XLl'iI. 
 
 In the firft, I (hew the Moon in her natural Bignefs, yet without the 
 Piece ; becaufe fhe would otherwife come too near the Horizon, and 
 caufe too long and difagreeable Ground-fhades. 
 
 In the fecond, fhe is exhibited after the old Way. And, 
 
 In the third, I (hew only a Starry Sky, with the ftrong Lights of a 
 Moon, who, as in the fir ft Example, is without the Picture. 
 
 If any one think, that the Moon's Body gives a ftrong Glitter, 
 Elegance and Life to a Piece; I fay, the fparkling Light oj the Stars 
 does the fame ; efpecially if we make them, as large as they appear to 
 -us ; but not in a PerfpeeVive-way, as being between Heaven and Earth, 
 like the Moon. However, we need not reprefent them all, but the 
 chief only ; fuch as, the Chariot, the Triangle^ the Serpent, the North 
 and Evening Star, and fuch as make a known Figure; all which, as 
 having no figural Being, but only the Shine of a very fmall Light, 
 may be eafily expreffed by fmall Points. 
 
 We may alfo make the Moon, though without the Piece, appear in 
 the Water, and caufe an agreeable Reflexion in the waving Surges ; 
 and, by chufing fuch a Side-light, we have the Advantage of reprefent- 
 ing all things mofl beautiful, neither more nor lefs than in Sun-lhine or 
 common Light. 
 
 I muft fubjoin another important Consideration ; which is, that as 
 the Moon's Light is fometimes obftrufted by high Objects, fuch as 
 Rocks, Palaces, Trees, Hills, &c. fo fome Parts mufl needs be dark ; 
 in which, the Reflexions of fo weak a Light have no Power to enlight- 
 en or fetch out the Objects or Bodies in them, though ever fo near. 
 For this Reafon, a Painter ought to avoid fuch Accidents, and not to 
 introduce them unlefs through Neceffity, to create an Harmony or Force ; 
 and to place them mojUy j or ward, or in the Of skip, again/1 the Sky ; 
 for fetting them between both, cannot but make a dij agreeable Spot, un- 
 lefs it be broke by fome IVater, wherein the Reflexion of fome Stars 
 or other Lights of the Air appear ; and, into fuch a Choice of Land- 
 skip. or Viito, you may introduce, white Marble-images, Buildings* 
 light By-works, and light-coloured Stuffs, which, all together look 
 i a g ree " 
 
■ 
 
Chap. 19. 
 
 Of Lights and Shades. 
 
 agreeable : And as the Night-vapours are more denfe than thofe of 
 the Day, fo the diftant Objects become more fuddenly dark and undijiin- 
 guifhable. Forget not, that in windy Weather, the Moon as well as 
 the North-Star, is encompafied with a yellow Ring, 
 
 If any Perfon be not yet fully fatisfied, let him pleafe to weigh the 
 following palpable Reafons : The Sun, Moon and Stars cannot diminijh ; 
 becaufe we can neither approach nearer nor go further from them ; but 
 all fublunary Objects can, by our Recefs or Approach leflen or magnify : 
 And, to prove this, take a Glafs of the Size you intend your Picture ; 
 place it before a Window, and draw on it the Profpect, with the 
 Moon, as it then appears to the Eye ; which done, you will fee how 
 large (he ought to be painted. Now, if you approach with this Glafs 
 fome thoufand Steps nigher towards the Sun or Moon, they will not 
 appear bigger on or through the Glafs, but have the fame Magnitude : 
 W T hence arifes the Falfity of thofe Reprefentations, which diminijh the 
 Sun, Moon or other Meteors as well as the Figures. 
 
 I conclude then, that the Pictures, exhibiting Nature contrary to 
 what fhe ought to be, are liable to Cenfure, and that we ought to feek 
 Truth by Ratiocination, and then, waving old Cuftoms and Prejudice, 
 to believe our own Eyes. 
 
 I (hall further illuftrate this Matter, in the Chapters (hewing, What 
 is meant by a Table ; and of the Ufes of magnifying and dimini/hing 
 Glaffes \ and of the Difference between large and fmall, warm and weak 
 painting ; to which we refer the curious Artift. 
 
 CHAP. XIX. Of the Effects of Artificial Lights, as of a Torch, 
 
 Lamp, Candle, or Fire. 
 
 HAVING, in the moft plain and concife Manner, treated of 
 the Effects of the Sun, Moon and Star-lights, we (hall, on the 
 fame footing, fpeak alfo of the Auxiliary Lights, which Necef- 
 fity, for the Eafe of Mankind, has contrived, and Art brought to 
 Perfection. 1 
 
 I think it not amifs to fhew here, in the firft Place, the Force and 
 Property of thefe particular Lights, in fuch manner as I conceive 
 them. 
 
 No. 11. Hh That 
 
Of Lights and Shades. 
 
 Book V. 
 
 That of a Flambeau, or Torch, is, at Night, the moft powerful and 
 beautiful; having two Qualities, to wit, of affrighting and rejoicing. 
 It's Liaht is very proper for Bacchanals, Entertainments, Plays and o- 
 tier 1 off ul Meetings ; and, on the contrary, frightful in Sorceries, Ap- 
 paritions of Ghofts, and fuch like nofturnal and unexpefted Accidents. 
 
 The Lamp is melancholy, faint and gloomy, and therefore proper for 
 Burials, Prifons, near fick and dying Perfons, and on other mournful 
 Occafions, This Light is moft agreeable within-doors, and in Caves, 
 Grottos, or frightful and unfrequented Places of fmall Extent. 
 
 The Nature of this Light, and it's Efleff on Colours, are the fame 
 as thofe of the Sun, with refpeft to it's falfifying the Colours ; but the 
 Light and Reflexion are not fo ftrong ; for which Reafon, the Artift is 
 often at a Hand in the Ufes of them, arifmg moftly from his flight- 
 ing this Light as a Matter not worth his Obfervation. 
 
 In reference to Shades, they are not much unlike thofe of the Sun, 
 as well in Broadnefs as Sharpnefs ; yet with this Difference, that the 
 Sun-light falls more uniform on Objects, as he is more diftant from 
 them; and becaufe in the Evening, but efpecially at Night, .the Va- 
 pours are darker and more denfe than thofe of the Day : Whence it 
 follows, that all Clefts, deprived of the Lamp-light, difappear; 
 and, by reafon of it's Nearnefs, can be lighted hut in part. 
 
 To confirm this, we ihall exhibit a Mathematical Jnftance in Plate 
 
 XLIV. ■ 
 
 Fix a Point A for the Center of the Light, from which all the 
 Rays flow. Draw, under it, a Candleftick of a certain Height, a.s 4 
 Feet above the Ground. Then sketch 3 or 4 Columns going off fur- 
 ther and further from the faid Point of Light: Let thefe be 8 Feet 
 hi^h. Next, fet one Foot of the Companies on the laid Point, and 
 extending the other, fo as to touch the Extremity of the firft Pillar, 
 fweep a Segment of a Circle on the Shaft; do the fame with the other 
 Pillars. Now, you will perceive that the firft Pillar is leaft touched, 
 but receives the ftrongeft Light, and that, above and beneath the Touch, 
 the Light falls weaker and weaker : Moreover, that the furtheft Co- 
 lumn is moft touched, by means of the greater Sweep of the Companies, 
 and therefore it will be lighted almojl all over, but alfo moft weak. 
 Whence 'tis plain, that Objects lighted by fuch Lights, are never light- 
 ed intirely and uniform. And were they touched and lighted alike, it 
 would be fo faint and dark, that we fhould perceive nothing diftin&ly, 
 either in Colour or Out-line* more than in a weak Moon-fhine. 
 
 If 
 
Chap. 19. ' Of Lights and Shades. 24 j 
 
 If any one want farther Information how I apply this to Practice, 
 I fhall now freely impart it. 
 
 Firft, I sketch my Ordonnance on blue or dark Drawing-paper; 
 then I make my Plan, to fhew the Places of the Figures and other 
 Objects \ .which I (lightly fcratch ; next, I affign a Point for my Light, 
 either high or low as Occafion requires ; on this Point I fet one Foot of 
 the Compafles, and with the other, touch Circle-wife (with an Extent, 
 equal to each Object's Difta'nce from the faid Point) all the Objects 
 wherever it happens : By this means I find the Parts, which, as near- 
 eft the Light, ought to have the ftrongeft Light ; and confequently the 
 Diminution of the Light and Colour fhews itfelf in Proportion as it 
 goes of from the drawn Circles. 
 
 As for the Reflexions, they are in the fame Cafe with all Lights ; 
 the brighter!:, largeft and ftrongeft give the ftrongeft j and the purer the 
 Light, the more yellow appear the Colours both in the Lights and Re- 
 flexions : Contrarily, the fouler and more vaporous the Light, the more 
 Ruffet feem the Colours. 
 
 f A Candle is yellowifh. 
 
 The Light of < A Lamp is Ruflet. 
 
 ( A Flambeau, or Torch, is more Red. 
 
 Artifts, who delight in reprefenting fuch Lights, ought to regard 
 the three following uleful Precepts. 
 
 1. To keep moft Light together. 
 
 2. To take efpecial Care in the melting and lighting of their Out- 
 lines. 
 
 3. To obferve the Naturalnefs of the feveral Lights, whether Can- 
 dle, Lamp or Torch. 
 
 It muft alfo be noted, that the Space between the Eye and the 
 Light, as likewife the firft Object or Figure (if it come before the 
 Light) ought to be the darheft ; but if it be behind the Light, it be- 
 comes weaker and weaker both in Light and Shade, occasioned by the 
 Vapours, which, as before has been faid, appearing more denfe in the 
 Evening, the Night-light more affects them and enlightens them. 
 
 Add to this, that the Main-light being temper'd with light Yel- 
 low, Ruffet or Red, the Diminution and Breaking of thofe Colours 
 ought to be found by Black ; I mean, by Black and the proper Colours 
 wherewith the Objects are (haded, and more or lefs weak in Proporti- 
 on to their Diftance ; for the foremoft Darknefs, and neareft to the 
 Light is more warm than the hinder and furthermoft, which, in Pro- 
 portion to its Diftance, becomes more blue ; yet, much more in the 0- 
 
 H h 2 pen 
 
a 44- Of Lights and Shades, Book V. 
 
 pen Air than within-doors ; becaufe the Vapours of the Air are more 
 fubtile than thofe of confined Lights, which being made with Lamp- 
 oil, Rofin, or the like, emit a foul Smoke. 
 
 But as the foremoft Obje&s muff, by means of a confined Light with- 
 in-door s, needs be fubje£t to much Shade, whereby they often main- 
 tain but a fmall Light on their Extremities, it will be found, that 
 fuch outward Lights appear more or lefs fir ong than the Objects lighted 
 freight forwards* according as the Stuff whereon it falls is either rough 
 or fmooth. As for the Reflexions, with the Light fhining thro' thin 
 Folds, I obferve the fame Management as I prefcribe for Sun-fhine 
 touching thofe Parts : But, in breaking the Colours, let me fubjoin, 
 that the foremoft Darhiefs muft be the great eft ^ arid therefore lefs falfifi- 
 cd by the Light than thofe which are more diftant; the Colours there- 
 by keep cleaner, and are lefs fouled; and ftill lefs in the open Air, 
 1 than within-doors. 
 
 I am even not afraid to add an eafy Method for rinding the Diminu- 
 tion of the Tints on Obje&s, according to their Diftances, not from the 
 Point of Sight, but from the Candle, Torch or Lamp. Cut a Strip of 
 Paper or Vellum, as long as from the Center of the Light to the fur- 
 theft Corner of the Piece. Let it be a Finger and half broad at Bot- 
 tom, and cut away to a Point at Top. Then paint the Point with 
 fuch Colour as you give your Light, yellowifh or ruflet, diminifhing 
 it gradually in Proportion to its going off from the Light. Next, 
 with a Pin, fix the laid Point in the Center of the Light, fo as to move 
 It about, at pieafure, to all the Obje&s near to or diftant from the 
 Light. Then divide this Strip into degrading Feet, fmall at the 
 pointed light End, and from thence gradually larger; by which means 
 the Strip will fhew, without Trouble, the right Tint to temper. ^ 
 
 For the Objects going into the Picture towards the Point of 
 Sight, you may make another Strip, the Reverfe of the former, to 
 wit, Light at the Bottom, and diminifhing towards the Top or Point, 
 to be fixed on the Point of Sight. 
 
 If you would ufe any more Helps for the Diminution of the Co^ 
 lours, and lefs troublefome, try the following Method. 
 
 Having, in my Ordonnance, exaclly defigned the Figures after the 
 Life, I paint it like a Common-light-Piece, without breaking the Co- 
 lours more than Perfpe&ive requires. The Light I take as from a 
 Candle or other Matter, proceeding from a Point within the Piece, 
 whether within-doors or in the open Air. After which, I take a thin 
 glazing Yellow- of the fame Tint I give to my Light, and fcumble 
 
Chap. lo. Of Lights and Shades. 24X 
 
 H neatly and thin over both Lights and Shades. This Yellow muft 
 not be too dark, becaufe my main Heightning is taken only from a 
 common Light ; wherefore Afphaltum, yellow Lake, and Dragon's 
 Blood would be fo warm and fenfible, as to take away the Mifiinefi in- 
 fep arable from Night-pieces, unlefs it were before painted accordingly; 
 to the no fmall Trouble of the Artift. Now, as glazed Things com- 
 monly abate of their Neatnefs, you may, if it be neceflary, retouch 
 the Main-lights, as well in the Faces as other Parts, and thereby fetch 
 out their Force again.- 
 
 The Advantage ariling from this Method is, that there is no Kind 
 of Night-light, whether of Lamp or other Oil, Pitch, Brimftone, 
 Candle or Torch, but it may be reprefented with the fame Trouble ; 
 becaufe it depends only on the tempering the glazing Colour ; the beft of 
 which, in my Opinion, is Gumbooge, light Pink or yellow Lake mixt: 
 with a little Vermillion. 
 
 I think thefe very good Methods ; becaufe fometimes in Night- 
 pieces, efpecially in great Buflles, we ufe two, three, and more particular 
 burning Matters for Lights ; and by this means we obtain a fure Method ' 
 for fetching out thofe Lights and Fires, not only at Night, but. alio in 
 the Day-time, in the Evenifig, nay, in Sun-Jkine, where we often meet 
 with Flambeaus, Torches* burning Altars or Piles of Wood. 
 
 But let me not propofe thefe Precepts as Laws, but Examples to* 
 exercife the Artifts Curioiity, and for their Proficiency ; wherein. I 
 with my Labours may be of Service.- 
 
 C H A P. XX. Neceffary Hints in the, Ufe of PerfpetJive>. 
 
 I HAVE been long- confidering a Point, which, in my Opinion,;, 
 is very remarkable, and yet has never been fettled ; tho' I think it 
 may be done : It relates to the Execution of Hi/lories, either with- 
 in or without -doors, and Landskip embellijhed with Figures. 
 
 My Thoughts are, that as Perfpeclive affigns a certain Diftance for. 
 viewing a Picture with refpecl: to its Magnitude or Smallnefs ; or, a 
 large Piece with large Figures, and other Objects going off, to wit, on 
 the fecond and third Grounds, thofe Objects ought to be as neatly fi- 
 nifhed as thofe on the Fore-ground ; provided they keep their Faintnefs, 
 caufed by the interpofing Air. This Pofition, I think, is founded on 
 certain and natural Principles. 
 
 But 
 
Of Lights and Shades. 
 
 Book V. 
 
 But I mud previoufly fuppofe, that when we fay, a Piece is well fi- 
 ni/ked, it muft be underftood that the Whole is fo, and not a Part on- 
 ly. If we begin Inquiries, we ought to pufh them as far as poffible, 
 to enable us to fay ; fuch a Piece is artfully executed ; nay, fo perfect, 
 that nothing is wanting : For that cannot be affirmed, when the Fore- 
 ground is finiihed and well painted, and the fecond and third Grounds 
 but flightly touched. I grant, that we fometimes fee Pieces with 
 fmall Figures, tho' loofly handled, accounted finer and more artful 
 than large Pictures laboured and highly finiihed ; yet it muft be allow- 
 ed, that more Work is neceflary in a large finiihed Piece than a fmall 
 o e loofly hand! d: The very Words (finijhed and loofly) imply it. 
 My Opinion is, that if we be not wanting in Trouble and Time, as 
 artful a Piece may be produced, as what has been hitherto done, yet 
 only by thofe who underftand Art and its Rules in Theory and Prac- 
 tice. And tho' it feem difficult to attempt a Thing new, we muft 
 not therefore be difcouraged ; for what great Things have not been ex- 
 perimented and performed ? What did not Alexander ? Had he feared 
 Danger and Trouble, he would never have gone the Lengths he did : 
 He had a mind to do it j this created a Relblution, and that finiihed 
 his Hopes. 
 
 But, to return to our Subject, let us fuppofe, that a Pidlure ten Feet 
 high, with Figures as big as the Life, ought to be viewed at ten Feet 
 Diftance; and that a fmaller one, five Feet high, with Figures half as 
 big as the Life, muft have five Feet Diftance ; and thus the fmaller the 
 nearer, according to Perfpe&ive : Now, the Queftion is, which of thofe 
 
 three Pieces ought to be moft finiihed ? Many will certainly fay, . 
 
 The laft. But my Opinion is, that each of the three Pieces muft be 
 painted equally neat ; becaufe each has its determinate Diftance with 
 refpe£l to its Bignefs. 
 
 Again, there is another fuch Piece, ten Feet high, but divided in- 
 to three Grounds, whereon are placed the fame Figures as in the three 
 Former; to wit, thofe as big as the Life on the Fore-ground., thofe 
 half as big, on the fecond, and the laft on the third Ground; the 
 Queftion now is, which of thefe three Grounds ought to be moft finiih- 
 ed ? Being all in one Picture, the Judges will, contrary to what they 
 before afterted, fay, The firfl ; and that the hindermoft muft not be 10 
 neat and finiihed ; ftnce they can never reliifi, that the Figures on the 
 fecond and third Grounds ought to be painted as neat and elaborate as 
 thofe on the Fore -ground ; for fay they, — - — Who would per- 
 ceive 
 
Chap. 20. 
 
 Of Lights and Shades. 
 
 247 
 
 ceive it at ten Feet Diftance? nay, who ever faw fuch a Painting, o r 
 
 did it ? 
 
 But the Cafe is not, whether there. have been fuch Pictures; but 
 whether they ought to be fo? We are not ignorant, that 'tis the Cuftom. 
 to finilh fmall Pieces, the fmaller the neater *, and large ones, contrari- 
 ly, bold or loofe 5 now I would fain know the Reafon why there fhould 
 be more Work in a Figure of three Feet than in one of fix ? Can it be 
 proved, that the fmall one ought to have a Fold, nay, an Hair, more 
 than that in full Proportion? But, what other Anfwer can be made, 
 1 If the Cuftom were not good, it would not have prevailed, nor loft- 
 ed fo long? Neverthelefs, as long as we reafon thus without Foundation, 
 and bigot ourfelves to common Practice, and old Cuftom, we fhall never 
 advance. It's not the proper Way to go forward ; and therefore many 
 keep their old Station. But I want to be informed of new Things ; 
 without which Art cannot improve. Variety nourishes the Mind. I 
 grant, that Men fometimes produce new Things which meet not with 
 publick Approbation ; but, whence come they ? Either from falfe 
 Grounds and Inconfideration> or elfe an immethodical Way of Expla- 
 nation. 
 
 To exprefs my Thoughts perfpicuoufly, I have exhibited them as, 
 plain as I could in Plate XLV. and queftion not but you will appre- 
 hend my Meaning. 
 
 Numb. 1. Has three Pieces- fronting ; 'with their Diftances of 10, 5* 
 and 3 Feet and an half. 
 
 Numb. 2. Is the fame in Profile ; with the Meafure or vifual Rays 
 which limit the Diftances, whether great or fmall j being the fame 
 Pofition as 
 
 Numb. .3. Where they are all three in one. 
 
 Now, my original Queftion, with refpect to Numb. 1. is, which of 
 
 the three Pieces ought to be moft finifhed ? If any one fay, The 
 
 fmall one, becaufe it muft be viewed near eft. I ask again, whether there 
 muft be more Work in the fmall than the large one ? Now behold Numb. 
 3. where they are all three in one according to Perfpecfive ; and let 
 the Queftion be, which ought to be moft finifhed, the foremoft or the 
 hindmoft ? You will certainly anfwer, that it lhews itfelf, that the Fi- 
 gures on. the Fore-ground muft be more finilhed than what is further 
 off, and that there muft alfo be more Work in the large, as being; 
 nearer. 
 
 But how agrees this with what was juft now faid, that the fmalkft of 
 the three Pieces ought to be moft; finifhed 3 fince now you fay, the larg- 
 
148 
 
 Of Lights and Shades. 
 
 Book V 
 
 tft muft be To.; for the Examples and Objects are the fame ; and it is al- 
 ready granted, that the fmaller it is, the nearer is the Diftance affigned ; 
 and that in the fmalleft or furthermoft, when neareft, there ought to 
 be as .much Work as in the foremoft : And tho' you will fay, that 
 the laft Figure is fainter than the foremoft; yet there is not a Fold 
 lefs in it than if it were quite forward, and as big as the Life. 
 
 I urge further ; when I highly finiib a Figure in full Proportion after 
 the Life, I mail fit at leait as near as the Model is high, to perceive 
 even the moll minute Parts of it. Now if I would make another Fi- 
 gure half as big, alfo after the Life, to place it on my fecond Ground, 
 How muft I then let the Model ? Ought 1 to keep the fame fitting, or 
 rnuft I remove further from it? _ This laft is never done ; for if it were, 
 •we fhould, infteadof a Painting-room, want JVeftminfter- Hall, in order 
 to model an Of skip-figure after the Life, But fuppofing it werefo, muft 
 I then fit fo far off that I may fee it more naturally ? It's certain, that I 
 lhould not fee the half of it. And tho', it may be faid to this, that 
 what cannot be feen in the Life, ought not (to make it look natural) 
 to come into a Piclure ; yet, pray obferve, that fuppofing I make, in 
 theOffskip, a Figure of a Foot and half high, and the Subject require 
 it to be holding a Thread, to which hangs a Medal of the Bignefs of 
 half a Guinea, the Queftion is, whether I muft exprefs the Medal, 
 but not the Thread? Again, were I to reprefent a Window without 
 the .Glazing or Lead-work, or a Door, without Hinges or a Key-hole, 
 what would thofe Things be taken for, if thefe did-not appear ? A 
 Medal dropping out of the Hand; an open Window; and a Screen in-; 
 ftead of a Door. 
 
 From all which Premifes I infer, that if Things be practicable, and 
 have any Bignefs, they ought to be exprejfed in the Little, and, as I 
 may fay, even to a Thread. The Diftance makes them natural, 
 if well painted, and the Diminution be exactly obferved according to 
 the Remotenefs of the Objects. 
 
 W T hether thefe Obfervations will pafs current I know not ; yet every 
 Man has the Liberty to ufe or let them alone, as he pleafes. 
 
 CHAP. 
 
Back of 
 Foldout 
 Not Imaged 
 
3iap. i i Of Lights and Shades. 149 
 
 CHAP. XXI. Of the different Colouring in great and fmall 
 
 Pieces. 
 
 HIS Proportion is a Confequence of the preceding ; and, to 
 be intelligible, I fhall (hew my Thoughts by the following Ex- 
 ample in Plate XLVI. 
 There is a Gallery 12 Feet high and 25. Feet long, divided into 
 three Pannels, each five Feet wide and 10 Feet high. The two out- 
 ward Pannels are cloathed from Top to Bottom, and the middle one 
 but half-way from the Top downwards; and under it is an handfome 
 Seat. Thefe three Cloths are to be painted by three feveral Mafters, 
 I fuppofe with Landskips, all having a like Horizon, but different 
 Points of Sight. One Matter embelliihes his Work with Figures, ei- 
 ther Fable or Hiftory : Another introduces Architecture and Imagery, 
 according to his Gufto : And the third adorns his with Cattle, or what 
 
 elfe he thinks fit. 
 
 The Queftion is now, in order to produce a general Decorum agree- 
 ing with Nature, whether thefe Mafters ought not to be concurring 
 in their Work, with refpeft to Perfpetfive, Force and Diminution ? 
 Certainly they ought ; for the Light muft in all the three ?i&urzsfall 
 alike, either from the left, right, before or behind ; the Air muft be 
 the fame ; fince they all ought to appear as one Landskip, feen through 
 three Openings, as two Doors and a Window. 
 
 But now, another Queftion arifes, whether the Figures, in all three, 
 ought to be as big as the Life? This will be agreed to, with refpeft to 
 thofe on the Fore-ground : But how then will it be, in the middle 
 Piaure, which is but half the Size of the two others ? How ftiall Fi- 
 gures be introduced there, in full Proportion ? for half a Foot of 
 Ground, or live Feet, is too much Difference. 
 
 Now, if the Mafter, who is to make the middle as the fmalleft 
 Piece, ptcint it as ftrong and warm as he is able, nay, as a Face in 
 full Proportion of Rembrant, it would be intirely againft Nature, 
 and the Rules of Art. But, to return to our Example. 
 
 I fuppofe, the Off skip, either in a fmall or large Piece, to be one 
 and the fame; even, were the one as fmall as the Palm of the Hand, 
 and the other, ten Yards high ; the Reafon and Examples whereof, I 
 have fufficiently fhewed in the laft Chapter, and fhall further enforce, m 
 
 No. 11. I i its 
 
Of Lights and Shades. 
 
 Book V. 
 
 its Place, in that treating of what is to be underftood by a painted Ta- 
 ble, whether Landskip, Hi ft or y, Pourtraiture, &c. 
 
 But, before I leave this Subject, I muft ftill ftart another Difficulty. 
 We know, that a large Painting is often copy'd in Little ; and the con- 
 trary : Now, if, for Inftance, all that is large in the Original, be lef- 
 fened in Proportion in the Copy, how can they look alike ? as in 
 the Defign with the two Doors is exhibited ; in both which are 
 large Clouds, and in the other fmall ones ; and all that's in the OfFskip 
 feems more diftant in the one than the other. If the OfFskip in the 
 fmall Piclure be that of the great one, by what can you prove it? 
 fmce the Objects, which, in the greateft Diftance in the fmall Piece, 
 are hardly vifible, appear, in the great one, fo large and diftinft. To 
 which I anfwer, that every thing appearing in the one, is and remains 
 in the other always the fame, but fo much nearer : And this is evi- 
 dent ; for, is there any thing in the World, which, how remote foe- 
 ver, cannot be ftill remoter ? It has been formerly faid, that every 
 thing on Earth is fubject to the Laws of PerfpecJive, except the Sun, 
 Moon and Stars, and what elfe is feen in the Firmament, with refpecl 
 to their Forms-, as for the Clouds, they are moveable Bodies, and there- 
 fore muft be confidered as earthly Objects, leflening and enlarging ac- 
 cording to their Diftance, Height and Lownefs; all thefe Things I 
 fay, can go of and approach, be diftant and near, Befides, there is a 
 Difference between a Copy and an Original, as well in the Form as life 5 
 I fay (in the Form) becaufe the one ought to be viewed afar off and 
 the other near : Moreover, it never happens, that the Copy is hung by 
 the Original ; but the Fellow to it. 
 
 CHAP. XXII. Of the Difference of Force in large and fmall Paint- 
 ing j and the Efecls of magnifying and diminifhing Glajfes. 
 
 TO be the better underftood, we (hall begin with the Jir, and 
 take thefe two Points for granted ; namely, that all dar£ ObjeBs, 
 in Proport/on as they go off, become, on their light Parts, light- 
 er and lighter ; and the light ones, contrarily, darker and darker, how 
 clear foever the Weather ; yet lefs in Sun-fhine, as Experience fuffici- 
 ently fhews. 
 
 Now, if it be asked, whether the Colour of the Objects do not 
 thereby alfo loofe its Nature and Purity ? I think it can loofe but lit- 
 tle; 
 
Chap. 11. 
 
 Of Lights and Shades. 
 
 tie; and only in the Shade, which, broke by the other Side of the 
 Light, is gradually transformed into the Blue of it, in Proportion as 
 the Objects go off ; or, to fpeak better, Hill uniting with the Of skip, 
 they at laji difappear. 
 
 Confider alfo the Difference between fmall Paintings in the open 
 Air, and thofe within-doors, in reference to the going off] and the Co- 
 lours, 
 
 We fay firft ; that the Air without is the moft clear and bright 
 Light, in the Abfence of Sun-fhine; andtho' an Apartment muft needs 
 be lighted from without, yet it will be lefs in Force and Brightnefs, 
 and therefore the Objects, more darkifh, both in Lights and Shades. 
 
 Secondly, The Objects cannot fo vifibly grow faint in their going off ; 
 becaufe, by the Smallnefs of the Diftance, few or no Vapours are per- 
 ceptible. 
 
 Thirdly, the Shades are not fubject to any Alteration or Mixture, 
 but retain their natural Qualities; becaufe there is no other Light 
 within-doors, than what comes thro' tfce Windows, and this has not 
 Power enough to caufe any Reflexions, fave fome little near the Win- 
 dow, nor give any Colour: So that by the Darkiihnefs the Ob- 
 jects, whether Pourtraits, Figures, Flowers, &c. retain their natural 
 Colours intirely, as well in Shades as Lights : Wherefore, fince the 
 Beauty and Purity of the Colours appear beft by the Serenity and 
 Brightnefs of the Air, they muft contrarily abate in their Effects and 
 Force by means of the Darknefs. 
 
 I (hall here propofe a fmall Inftance, for Explanation. 
 
 Let a good Mafter paint any thing, as a Pourtrait, Landskip, Fi- 
 gures or Cattle in Oil, as fmall and neat as a Miniature-painter, and 
 let both thefe Mafters chufe their Subjects moft beautiful and natural : 
 Now view the two Paintings together, and you will find, that the one 
 differs as much from the other as within-door-Light does from the open 
 Air. 'Tis therefore unnatural and againft the Rules to ufe that Warmth 
 and Strength of Colours, in order to force fmall and diftant Ohjecls out 
 of their proper Places, or to make the IVindow fiy towards us, inftead 
 of going off from us. We ought, moreover, to know, that Things 
 painted in Little can never be taken for the Truth, fince 'tis undeniable, 
 that the Life appears therein no otherwife than as at a Diftance, viz. 
 through a Door, Window, or other Opening, whether within or with- 
 out-doors ; wherefore they ought to be painted in fueh Manner, that, 
 when hung up, they may not appear like a painted Board, Cloth or 
 Flat, but a natural Window or Door through which the Life is really 
 
 I i 2 feen : 
 
Of Lights and Shades. Book V. 
 
 feen : Which cannot be effected 'by the Force of warm Shades or hot 
 Colours, but by the retiring and tender ones, broken by the interpofing 
 Air, according as the Weather is more or lefs clear or mifty : And 
 this, without Exception of any Ordonnance, whether Landskip, Ar- 
 chitecture, Hiftory, &c. 
 
 Experience will confirm the Truth, if you view your Picture thro' 
 a Piece of fine Gaufe, fomewhat bluijh j for then you will find the 
 Lights of your Objecls gradually grow weaker in Proportion to their 
 Diftance ; without lojing the Beauty of their Colours. It will even 
 give a Piece a certain Softnefs and Sweetnefs and great Decorum. You 
 may make the fame Experiment with another Piece of Gaufe of a grey 
 Colour , in Imitation of foggy leather ; and it will not only darken the 
 Light of the Objects, but alfo foul and muddle it, and make the Paint- 
 ing look cold and difagreeable. 
 
 Having fhewn, that the Ufe of the greateft Force of Shades in fmall 
 Paintings, is unnatural and againft Art,, as well in within as Without- 
 door-Reprefentations ; we ihaj^now fpeakof the contrary, to wit, Pieces 
 with large Objects, in order to (hew, what therein, without Prejudice, 
 we think the moft natural. 
 
 'Tis a conftant Maxim, that the Life feen near, is in Greatneis, 
 Force and Colour fuperior to what is diftant ; the one being Nature it- 
 felfi and the other feemingly fo \ for Figures in full Proportion are like 
 us who view them, in every Particular of Force, Afpecl: and Colour, 
 except Motion : Which being granted, it may be ealily apprehended, 
 if we will fubmit to Reafon, that there is a vaft Difference between 
 large and fmall Ordonnances of Figures in full Proportion, and thofe I 
 half as big with refpetl: to the interpofing Air, the only true Caufe of] 
 Things being more or lefs faint, and their going of£ as well in within 
 as Without-door-Reprefentations. 
 
 Let us then rightly obferve, in what manner fuch large Objecls 
 ought to appear, that they may be natural and artful r but previoufly 
 confider two Things. 
 
 1. What Light is the moft proper for them. 
 
 2. What Handling is the moft natural for their Execution. 
 
 As for the Light, I think the common beft, and much more proper 
 than Sun-fhine ; and tho' fome, who fet up for the buono Gufio, are 
 continually talking of painting broad, it is neverthelefs a great Error, J 
 as we have often faid, always and without Difference to ufe that Man- 
 ner, fince 'tis not proper, in a common Chamber- light, (effrecially in 
 Figures as big as the Life, which ought to be in all refpe&s like the 
 
 Specta- 
 
Chap. 12. 
 
 Of Lights and Shades. 
 
 *SpecTators, even fo much, that, if painted on Boards and cut away, 
 they fhould not be taken for Painting?, but the Life itfelf) to give them 
 broad Shades, but dubious and melting ones, to the end they may rife 
 and round ; not Black, like Spagnolet, nor Grey, Yellow or Ruflet, 
 like Rembrant, John Lievens, and many other Italian, Dutch and 
 Flemifh Painters, who, without Difference, bring Warmth, as they 
 call it, into the Shades to fuch a Degree as to fire them ; on- 
 ly to caufe Force. Let this be duly weighed, left the Colour of the 
 natural, and per feci Life be neglecled. In my Opinion, 'tis beft to 
 make the Shade of the fame Nature as the Stuff-, exhibiting in all 
 Objects, whether Nudities, Draperies, Wood, Stone, either Red,. 
 Yellow, Blue or Green, the moft proper Colour, as well in Light as 
 Shade. 
 
 As to the Force, I fhould not be fparing either of White or Black,, 
 tho' many have pretended, that we muft not ufe White : A good 
 Painter will attempt any thing. You muft not fuffer yourfelf to be 
 fwayed by this or that Manner ; foUjp Nature, and you will content 
 Art. Away then with Drudgery and Muddling ; handle your Work 
 boldly, yet not, with Rembrant and Lievens, to let the Colours run s 
 down the Cloth, but lay them fmooth and even, that your Objects 
 may feem round, and relieved only by Art, not by daubing. Let 
 the Agreement be fo general, that in truth it may be faid the Fi- 
 gures are large, ftrongly painted and boldly handled. 
 
 People now-a-days think, that Painting has attained fuch a Perfe£h'~ 
 on as not to admit of further Improvements % fince the beautiful and : 
 great Manner, the bon Gout and hot Colouring are, at this Time, 
 rinely performed in -France, Italy, the Netherlands and other Countries,, 
 where Art flourifhes j but we do not find, now-a-days, Wits who en- 
 deavour to diftinguifh themfelves among the Knowing, by new Inventi- 
 ons. We had feveral of them fome Time fince, of whom I fhall name 
 but two, Rembrant, and John Lievens, whole Manner is not intirely 
 to be rejected, efpecially that of the former, as well for its Natural- 
 nefs as uncommon Force ; yet, we fee very few followed him, and : 
 thefe, like him, fell fhort at laft ; notwithstanding fome were, and ftill 
 are, who aflert, that Rembrant was able to do every thing which Art 
 and Pencil could effecT: ; and that he furpafted all Artifts, , even to this 
 Day. TVas there ever, fay they, a Painter zvho came fo near Nature 
 in Force of Colouring, by his beautiful Lights, agreeable Harmony, ftrange 
 and uncommon Thoughts, Sec. Having Juch extraordinary Talents, in what 
 
 ccnld-< 
 
Of Lights and Shades. 
 
 Book V. 
 
 could he be deficient ? and is not that enough to charm all the W wld> tho* 
 he had not pratlifed a Manner which was in ufe long before. 
 
 But I deiire thefe Men may know, that my Opinion herein is quite 
 different from theirs ; tho' I muft own, I had formerly a fingular Incli- 
 nation for Remb rant's Manner ; For as fbon as I began to be fenfible of 
 the infallible Rules of Art, I found myfelf under a Neceflity of re- 
 nouncing my Miftake and quitting his, as being founded only on loofe 
 Whims and uncertain Grounds, without Precedent. 
 
 And now, methinks, I cannot any where better than here, fhew the 
 Effects of magnifying and diminifhing Glafles, and the various Opinions 
 touching them. 
 
 Many imagine, that a Painting in Little, and the Life, feen through 
 a Diminilhing-glafs, are one and the fame; and that the fmail Life, 
 feen through a Magnifying-glafs, and a large Picture, appear alike : 
 But thefe Men are much millaken, and as wide from Truth as the Eaft 
 is from the Weft. 
 
 The Glafs ground hollow (^pconcave, ftiews near-Objects in their 
 Force, Beauty and Warmth with a Diminution. And 
 
 The Glafs ground riling or convex, contrarily, exhibits faint and dif- 
 tant Objects in a full Proportion, dull and broken. 
 
 Now, let any reafonable Man view the two Pieces, the [mall one 
 warm and ftrong, and the large s faint and weak, and determine which 
 of them is moft like the Life or Nature? My Opinion is againft both: 
 They are like a Man dreft in Woman's Cloaths, and the contrary ; 
 for one is too ftrong, and the other too weak. 
 
 But, admitting thefe Men to be in the right, and we were to fide 
 with them, v/e fhould, by this their Pofition and Application of it, 
 difcover their wrong Notion ; fince they make the large Jlrong, and the 
 finally even as ftrang as the large. By which, and the aforefaid Effects 
 of the two Glaffes, the Miftake furnciently appears, and Artifts are 
 adverti fed of it. 
 
 CHAP. 
 
Chap. ij. Of Lights and Shades. x$f 
 
 CHAP. XXIII. An Enquiry into the Difference between a large 
 Landskip ornamented with fmall Figures, and a fmall one with large, 
 with refpefi to the Air ; the Day being fuppofed clear in both. 
 
 TO be fhort and intelligible, we premife, that, in a Landskip, 
 the Air is fo governing, that all the Piece contains, whether Off- 
 skip, Water, Fields, Trees, &c. muft from it receive their 
 Decorum and Naturalnefs, and at all Times of the Day, whether 
 Morning, Noon or Evening, nay, at Night alfo ; for as the Air alters., 
 all the Obje&s lighted by it do the fame : If the Day be bright and 
 the Air clear, all Things appear fo ; if it be Evening, they are dusky 
 and at Night, dark. The Matter, who has regard to this eflential 
 Point, muft needs fucceed, and be thought artful : And why ? Becaufe 
 he has, in that Part, (imply followed J^ature as an infallible Guide : 
 Yet he ought to be certain in lighting we Objecls according to their fe- 
 veral Natures, and to obferve, with me, whether there be a Diffe- 
 rence between a large Opening without Embellishments, and the contrary, 
 with refpecl to the Air. By the Air is meant, the fuperior Part, 
 which, in a clear Day, is commonly called^ The Blue of the Sky. 
 
 We fay, that the two unlike Objecls in Landskip, to wit, one orna- 
 mented and the other plain, ought, in order to look natural, to be a- 
 like clear, and neither lighter nor darker, if they both exhibit the 
 fame Hour of the Day ? and if one were of a darker Blue than the o- 
 ther, 'tis a Miftake, and unjuftifiable; for one of them muft needs he 
 contrary to Truth. 
 
 Now, it may be here objected, according to the old Way of think- 
 ing, that a Mafter of his Art may, for Decency's Sake, freely cor- 
 rect and alter Nature when fhe is obftrucling : But I anfwer, in few 
 Words, that, in that Cafe, Nature ought to command, and Art obey.. 
 What can be the Purpofe to paint, in Landskip, the Blue of the Sky, 
 two or three Feet above the Horizon, as dark as if it were Evening,, 
 when all the Objects in the Piece are lighted with the utmoft Bright- 
 nefs and Force, either ftdewife or fronting, altho' the Sun be fetting; 
 even, the Shades lighter than the upper Air : Confider how fuch Re- 
 prefentations muft look in the Eyes of the Knowing, and whether it 
 be otherwife than a Day-occurrence, or Stage-play reprefented in the 
 Evening. What Advantage would accrue, if every body had true 
 
 Know- 
 
Ij6 
 
 Of Lights and Shades. 
 
 Book V. 
 
 Knowledge and Judgment in the Aft, if we did not fliew them Art ? 
 What Love can "t gain ? He, who knows Art, is very fenfible of what 
 it aims at ; wherefore a Lover of Truth ought to fhun Falfities. A 
 Picture is a probable Demvnfi ration of Things-, and the Knowledge of 
 vifible Nature is like a Touch-ftone, by which Men judge of the Truth 
 or Falfhood of all they meet with: Even Ignorants as well as the 
 Knowing, are allured by Art if they, find it like Nature; tho' they 
 are differently affected ; the former delighting mod in mean and com- 
 mon Things, and the latter in fublime and grand. 
 
 But, to return to the Point, and from the fmall to full Proportion, 
 I mean, Pieces from i or 6 to 10 or 12, Feet high : The Queftion is, 
 whether the light Bhufhnefs of the Sky ought not to begin higher above 
 the Horizon in a Piece of 10 Feet than in one of 5 ? I think it ought 
 not ; becaufe in both, the utmo/l Diftance is the fame ; and there is no 
 other Difference between the great and fmall Picture, than between a 
 Window half and quite open ; as the Example in Plate XL VII. natu- 
 rally lhews ; where are two^jjfindows of equal Height and Breadth, 
 one half lhut, and the other quite open, through ' both which, the 
 Landskip and Horizon are feen to rife 2 Feet and an half. Now, we 
 generally perceive, when the Sky is clear and without Clouds, that it 
 
 •appears Blue ; as if we faid, — 'Twere all Light. afluming its 
 
 Colour flowly and far above the Horizon ; and therefore fome Land- 
 skip-painters act very improperly herein and againft Nature: But Fi- 
 gure-painters efpecially are moft culpable ; fuch, I mean, who, in their 
 Pieces, tho' ever fo fmall, exhibit the Air fuddenly dark and deep Blue, 
 without coniidering the Origin of Blue : Experience teaches, that it 
 proceeds from White and Black, and is therefore in the Morning, 
 light Blue ; at Noon, Sky-blue ; in the Evening, Azure ; and at Night, 
 dark Blue. In this Manner I divide the four Times of the Day, as in 
 the following Example in the P/^aforefaid we, by double Hatchings, 
 plainly ihew ; and not only the Tints, but alfo how high the Blue be- 
 gins above the Horizon and approaches towards it ; thefe are letter'd 
 A B C D for the Morning, Noon, Evening and Night. 
 
 It will not be unneceflary, on this Occafion, to impart a Thought 
 of mine touching warm and weak Painting, as well in Landskip and 
 Hiftory as fmall and great Life ; fince it alfo takes its Rife from this 
 Fountain of the Lights. 
 
 We find, that thofe, who are accuftomed to a particular Manner 
 of Painting, have not the Power to alter it on any Occafion whatfoe- 
 ver. They who make large Figures or Landskip their Bufinefs, and 
 
 »ufe 
 
j 
 
Chap, 13. 
 
 Of Lights and Shades. 
 
 2*7 
 
 ufe great Force and Warmth, paint every thing ftrongly, without Dif- 
 ference, tho' ever fo fmall: Contrarily, one ufed to fmall Things, if 
 his Manner he weak, retains that Weaknefs even in the largeft Things, 
 and cannot fetch out the Force and Warmth of the other. A vaft 
 Miftake, in my Opinion j becaufe it is fuch an eafy Matter, and yet 
 produces fo great an Effea ; I mean, for him who governs his Work 
 by Rule-, for who, having Judgment, is ignorant, that a near Tree has 
 more Strength and Warmth than one at two hundred Steps Diftance ? 
 Or that a Figure in full Proportion has more Force than one of one 
 Foot ? I think neither of thefe Parties can find Fault with the Colours ; 
 he, in the Great, that he has not weak ones enough, or he, in the 
 Little, that he wants the ftrong and warm, or cannot make them fo, 
 by tempering : If the Knowledge be found, nothing but Will is want* 
 ing for good Performance. 
 
 But let us confider in what Manner we may, on this Occafion, arm 
 ourfelves. Good Reafons ought to fway every body ; yet Scruples of- 
 ten make Men fearful of undertaking Things out of their Way ; not 
 that they ^fhould not be able to perform them, but on an Apprehen- 
 fion of falling from a good into a bad Manner ; fince Experience fhews, 
 that each fuppofes his own Manner the beft. 
 
 I think I have found out a Method for thofe accuftomed to large 
 and ftrong Things, to fit them for the fmall and weak. The Cloth 
 you defign to paint on, ought to be primed with a light Grey Ground 
 for the large Work, and with a dark and warm Ground for the fmall : 
 lo that, having no other Patterns, whether Figures or Landskip, than 
 warm and ftrong ones, you may temper your Colours accordingly, and 
 get rid of your old Cuftom. Herein, a Pallet of the fame Colour is al- 
 io neceflary, that the Colours tempered on it may produce, in paint- 
 ing, the Jame Force or Weaknefs. And to fhew, that this Method is 
 of greater Moment than fome may prefently imagine, 1 (nail relate 
 what once happened to myfelf. 
 
 A certain Gentleman had his Hall-cieling lined with five Cloths, 
 primed with a Pearl - Colour ; and being afterwards defirous of 
 having iomethmg painted on them, propofed my doing it. Whereup- 
 on I made Defigns to his Liking, and had 4 Cloths lent home to me 
 (the middle one large and fquare, and three fmaller round ones) but in 
 Leu of the fifth, (which was got rotten by Dampnefs) a new one was fer.t 
 to me, not primed with a light Ground like the reft, but of a brown 
 Colour. After I had dead-colour'd the Work ,and viewed it together, 
 I perceived, that the Shades in the laft Cloth were much browner and 
 
 No. 11. 
 
 K k 
 
 warmer 
 
15*8 Of Lights and Shades. Book V. 
 
 warmer than in the others ; and tho', in finifhing, I endeavoured, as 
 much as poflible, to help it, and bring it like the reft, yet fomething 
 remained in the Shades of another Nature ; which fome Perfons judged 
 to be better than thofe of the other Cloths, (thofe efpecially who were 
 implicitly addifted to the warm Manner) without confidering in gene- 
 ral whether 'twas proper or not. Thus I found, that the Ground of a 
 Cloth may often mijlead us, and put us befide the Mark, either in Near- 
 nefs or Diftance j but knowing the Reafon of it, if it happen again the 
 Fault is our own. And thus we may infenfibly, and without Compul- 
 fion, pafs from large Ihings into the /mall, and from the fmall into the 
 larpe. 
 
 We (hall further obferve on what Occafions the aforefaid Means may 
 be made ufe of to Advantage. 
 
 1. In painting a light Landskip. 
 
 2. In painting Halls, Rooms, Sec. 
 
 3. In Night-pieces, apparitions, and Candle-lights) and as well in 
 Little as in full Proportion. 
 
 For thefe three particular Defigns, we may prepare the Grounds of 
 the Cloths thus. That for the Landskip ought to be primed with pearl 
 Colour ; that for an Apartment, with Umber ; that for Apparitions or 
 Candle-light, with Cologne Earth, or Umber and Black. The rirft, 
 more or lefs bluijh, according to the Quantity of Sky ; the fecond, 
 fomewhat brighter and more warm, according as you intend to exhibit 
 either a common Light or a Sun-fhine ; and the third, according as it 
 has little or much Light, Depth or Approach, Smallnefs or Large- 
 nefs ; yet the larger, the more black. We think thofe Colours, befides 
 the Tints, very ufeful and neceflary not without Reafon ; becaufe they 
 have Affinity to the Nature of the Subjects ; the firft, to the Blue of 
 the Sky\ the fecond, to the Reflexions 5 and the third, to the Shade. 
 
 I have often made it a Queftion, whether it were worth while to 
 mention thefe Particulars, becaufe I am fenfible, fome may think them 
 trifling j as I willingly own, they feem to be : But on better Conside- 
 ration of the Matter, and how many Things are neglefted .which ef-| 
 ther offer of themfelves or feem trivial, tho' of abfolute Ufe, my Su- 
 fpicion abated; with this Confolation, that how minute foever my 
 Thoughts may be, I fhall be fatisfied, if they any ways tend to the Ad- 
 vantage and Improvement of Art, and Inftruction in it. 
 
 Wherefore, reafluming the Subjeft, I fay, that the Cloth may be 
 prepared thus. The Colours, being ground up ftiff with fat Oil, ought 
 to be mixed very thin with Turpentine and the Cloth painted over, 
 
 with, 
 
Chap. 13. Of Lights and Shade L 
 
 with a foft Tool in this Manner. The Sky, Blue, and the Groundj 
 Grey or Green, more or lefs dark as your Ordonnance and Defign re- 
 quire. Now, if it be asked, how we muft proceed in cafe of rijing 
 Objects, as Trees, Houfes or other Things coming againft the OfFskipi 
 ancl above the Horizon, and which fill up a great Part of it? I an- 
 fwer, that my Meaning is not to provide fuch painted Cloths, with- 
 out previoufly knowing, what we are to paint upon them ; for we 
 muft firft sketch our Thoughts on Paper, and then conclude how much 
 or little Sky or Ground muft be painted Blue or Green, Yellow or 
 Black. In thofe Grounds we have no occaflon for fine and coftly Co- 
 lours ; common ones will ferve, if they have a good Body and ewer 
 well. For the Bhe, take Indigo and White ; for the Ground, Umber 
 and White, or Lamp-black and light Oker ; for Architecture and other 
 Stone-work, Umber, brown Oker, &c. The Ground thus laid, and 
 being dry, has three definable Qualities. 
 
 i. 'Tis fit for Work, as being even and dull ; wherefore theColourSi 
 how thin foever, take at firft ; which a fmooth or glofly Ground will 
 not admit without much Trouble. 
 
 3. 'Tis durable, by its Relation to the Tints and Colours painted 
 on it ; which hold their perfect Beauty and Force ; which they can- 
 not do, when the Ground is of another Colour or Tint, fuch as White 
 upon Black, light Blue on dark Yellow, or Red, &c. in Time appear- 
 ing more and more through, tho' ever fo fatly painted. 
 
 3. 'Tis expeditious for him who has a ready Hand and quick Pencil* 
 and defires to paint up his Defign at once ; which otherwiie cannot be 
 done without Dead-colouring. 
 
 This Method has ftill further Advantages than fome may perhaps 
 imagine ; 'tis particularly ufeful in Cieling-piecesi not only in Aereal 
 Reprefentations, but alfo Bafs-reliefs of one Colour, whether White, 
 Grey, Violet or yellowifh. 
 
 Judge now, whether the Trouble of preparing fuch a Cloth be not 
 fmall, when compared with the great Advantage arifing from it. 
 
 As a Proof of it* I have obferved of the great Bartholet, that 
 when he was to paint a Pourtrait with a purple or black Drapery, he 
 laid in the Drapery jW, with a fingle dark Purple or Black without 
 any Folds ; and, on finifhing, only heightened and /haded it, and thus 
 worked up the Piece at once. 
 
 K k 2 
 
 CHAP. 
 
z6o Of Lights and Shades. Book V, 
 
 CHAP. XXIV. Of the Lights within-doors. 
 
 THIS Light ought to be ranked among the Day-lights, as tak- 
 ing its Rife and Government from thence. This, commonly 
 called a Chamber-light, we divide into three Sorts. 
 The firft enters thro'' Doors, Windows, and other Openings, and pro- 
 ceeding from the Air, thereby caufes 
 
 The fecond, which is occafioned by Reflexion \ as from a Wall, 
 Ground or other Objects. 
 
 The third fubfifts in itfelf ; as proceeding from a Candle or Torch. 
 Thefe Lights have different Natures. 
 
 Thole of the open Air are clean on the light Parts of Objects, and 
 do not alter them more than in the open Air, caufing the Light to be 
 broad, and the Shades dark. 
 
 The fecond falls more or lefs pure on Objects according to the Colour 
 and Nature of the Grounds and Walls ; their Shades being dim and dij- 
 appearing, and only the deepeft Shades vifible and ftrong ; the Room in 
 general, both above and below, being thereby lighted, as well by the 
 Force and Effect of the Wall wijhin, as by the Ground zvithout. Of 
 the Ground-lli ades we fhall fay nothing here, as having, in another 
 Place, treated of them, and their Force and Diminution.. 
 
 The Candle-light we have alfo, in a particular Chapter, fufficient- 
 ly lhewed how to manage, as- likewife Sun-fhine ; which laft, we 
 think, as we have often faid, very improper to be reprefented in a 
 Room. 
 
 Many have thought very improperly of thofe Lights; taking, in a 
 perverfe Manner, the Liberty which Horace allows to Poets and Paint- 
 ers ; and pretending to help the Defects of Nature, do it in an extra- 
 vagant Manner, making no Scruple to break down a whole Wall of 
 a Room, to let in a beautiful Light on their Objects, as Jlrongly as in 
 the open Air, 
 
 They even go fuch Lengths, that, tho' they have Doors and Win- 
 dows, they give every thing their proper Ground-fhades, except Win- 
 dow-frames, Crofs-pieces and Piers ; as if a Wall were not a folid Bo- 
 dy as well as a Man, Table, Chair or other Furniture ; imagining 
 they may do fo, thai nothing may objlrucl the Figures : But, in my O- 
 
 pinion, 
 
2hap. 14. Of Lights and Shades. x6i 
 
 jinion, it were better to take away the Caufe of fuch an Evil, than to 
 
 poil the Property of Things by reprefenting it. 
 
 In painting an Apartment, we ought well to confider the Architecture,. 
 o aid it, and give it a proper Divijion, and (hew a Door for Pafiage t 
 As for the Windows, whether many or few, it muft appear by the 
 3bje£ta, and by the Ground-fhades of the Crofs-pieces and Piers ; and 
 that, plain in Sun-fhine, but dubious without it. 
 
 And, in order to make this laft Point clear, (which in this Chapter 
 we chiefly aim at) I lhall, in the two* Examples in Plate XLVIIL 
 plainly exprefs my Sentiments. 
 
 The firft exhibits two different Lights falling in thro' two different 
 Windows; the one proceeding from the clear Air, and the other, by 
 reafon of a near Building before the Window, fomewhat broke, little 
 or no Air being feen above that Building. Between the Windows is a 
 large Pier or blank W T all. 
 
 Mark thofe Windows with the Letters A and B, and the blank 
 Wall with C, and then, obferve, how the Shade, which the Pier C 
 gives on the Ground, is cut, on both Sides, by the Light falling in 
 thro' the Windows A and B, and how acute it terminates, and how 
 the Light A is weakened by that of B ; moreover, what a lhort Touch 
 of Light A gives, when that of B goes far into the Room. As alfo,, 
 that the Figure a, receiving the Light from A, is dusky, and has a 
 [fhort Ground-made, and the other Figure, contrariiy, receiving its 
 pLight from B, is lighter, and its Light broader, and gives a longer 
 (.Ground-lhade. Obferve further, that the nearer the Figures are to the 
 [Light or Window, the purer and more plain are their Ground-mades 
 when, contrariiy, the Column C placed againft the Pier C,. gives a 
 ,double Ground-ihade, the greater overcoming the lefs. 
 
 The fecond Example fhews the fame Things, according to the Con* 
 dition of the Lights ; which are altered and come in from behind 
 , The third and fourth Examples, in Plate XLIX. fhew the fame: 
 Things in Landskip; for the fame Obfervation prevails in both, with- 
 VefpeSt to Light and Shade. As to the Colours in the open: Air and' 
 their Alterations, I have faid enough of them in a proper Chapter. 
 
 I think it great Heedlefsnefs, in many Painters, whoj in giving 
 their Within-door-Obje£ls a Side-light, do not mind, whether they 
 fland on the Near or Off-fide of the Window letting in the Light nor. 
 ' eonfider, that the Light, coming in thro' a narrow Opening, fpreads, 
 and, by rcafoti of interpofing Vapours in Proportion to the Force, of 
 
%6% Of Lights and Shades. Book V. 
 
 the Light, there mull needs fall a proportional weak or ftrong Shade 
 on the Ground. 
 
 Conftder the Conduft of the ingenious PouJJJn, in his Piece of the 
 Death of the great Gener al Epaminondas ; wherein no Obfervation of 
 Light is neglefted ; all things have their natural Eff^s, which make 
 the Piece look fo charming. 
 
 Tyro's muft not think it irkfome to mind fo many Obfervations in 
 Matters of Confequence ; which when once well apprehended in their 
 Principles, nothing but Carelefsnefs will afterwards make them flight. I 
 Endeavour then to fix the Principles and Knowledge in your Memories 
 by the -Help of Judgment, and all Things will certainly have a natu- 
 ral and eafy Iffue. 
 
 CHAP. XXV. Of the application of Lights to the different Speci- 
 es of Hiftories ; zvith a Table Or Ordonnance of all the Lights. 
 
 TH A T we may not be thought to keep any thing back from 
 the Artift, which may be of Service to him, I judged is necefTa- 
 ry to fubjoin this Chapter to the Lights, tho' we have fo largely 
 treated of their Natures, Qualities, Forces and EfFeas. 
 
 A Drawing and Out-line, how fine foever, are not agreeable before 
 they are fhaded; and when this is done as Nature and Art require, it 
 exalts the former, and gives an additional Luftre to Natures For a fi- 
 ber Light fuits not with bujiling Figures, with refpea to Within- 
 door-Reprefentations, becaufe it abates the Elegance and Art of the o- 
 ther. As in The Murther of Caefar in the Senate-houfe ; or, The Death 
 of Cato. But, let me not be hereby fuppofed to overthrow my for- 
 mer AfTertion, that Sun-fhine is not proper within-doors ; fmce, on 
 fuch Occafions as thofe, there muiF be found fuch a Medium in the 
 Light, as there is in the Colours between the more and lefs beautiful, 
 and as we have fhewed to be, between Sun-fhine and common Light. 
 
 Again, this Light would be very improper in A Salutation of Eli- 
 zabeth and Mary, or, The Story of Stratonica; or that of The Queen 
 of Sheba : Thefe require a more tender, foft and fweet Light, and 
 therefore a common one. 
 
 If 
 
Chap. %y. Of Lights and Shades z6$ 
 
 . If this be not obferved, a good Out-line may be fpoiled ; as when 
 a Shade fhould happen to fall on the rijing Parts, or a Ground-Jhade 
 pafs over them. 
 
 Were we to make an Hiftory, wherein both Pafftons, the fedate and 
 ftirring, Ihould meet, requiring confequently, an Oppofition in the 
 Lights, we ought to place the aHivg Figures forwards on the firft 
 Ground, as having the Predominancy, and to adapt the Light to them 
 ! as much as pojjible. 
 
 Accordingly, a Story now occurs to me, wherein the three principal 
 I PaJJions muft meet in one Compofition, I mean that of Ahafuerus, Eit- 
 her and Haman ; Efther (hews a fupplicating and meek Pofture and Coun- 
 \ tenance ; The King difcovers JVrath and PaJJion ; And Haman, Afto* 
 nijhment and Fright. Now, in order to call well the Light on thofe 
 Figures, according to my Apprehenfion, I would difpofe Efther in the 
 greateft Light, fomewhatin Profile; The King, in theftrongeft, I mean, 
 where it jails moft and has its chief EffecVand increafe it by the Force 
 x)f Colours; but Haman I would place fitting on the other Side of the 
 Table, in a dim Light, the rather to fcreen him from the King's 
 Wrath : And, as it is a Feaft or Banquet prepared by Efther, where 
 every thing is royal and magnificent, I think the common Light here the 
 moft proper ; becaufe the Sequel of the Story and the King's Rage are 
 | but accidental. 
 
 We ihall conclude this Book with the following 
 
 Ordonnance, or Table of the Lights. 
 
 Here, the beautiful and darting Aurora is diffipating the foggy Va- 
 pours of the gaftly Night, by her agreeable Day-break, that the moft 
 perfect Produ&ions of rich and liberal Nature may appear in their 
 
 ' true Qualities, Forms, Colours and full Luftre ; fhe defends from on high,. 
 
 1 holding a clear lighting Torch, and driving dark Night into fubterra- 
 neous Hollows. 
 
 The more radiant Phosbus, fitting in his Chariot, is mounting out of 
 : Thetis's Lap, gilding all things under the azure Heavens,, not excepting 
 the Snow-white Lillies. 
 
 The chafte Diana, with her Jharp-pointed Silver Horns, is fatisfied- 
 with what her Brother imparts to the World,, as ferving not only to* 
 ,[ revive, but. alfo to be a Beacon to the Paths of Mortals. 
 
 The hellijh Megara Tijphone, with her ftinking Torch creating Anxi- 
 ety and Frieht, fretting at it, fiies this ir.refiftible Light ; inflaming all 
 I 1 things. 
 
Of Lights and Shades, 
 
 Book V, 
 
 things in her Way 5 even tarnijhing all beautiful Objeels and Colours 
 with her dark and nafty Vapours. 
 
 You fee here, the bright Morning by its pure Rays furpafjlng all 
 former Light ; but the Sun, by his fiery Force, gains the Laurel, 
 giMmg all that his Beams can touch ; whereby we perceive the Weak*, 
 nefs ot the Silver Moon, not able to diftinguifh Objects and make them 
 apparent. 
 
 We exhibit here, at a moderate Diftance, on the right Side of the 
 Piece four round Pedeftals, of equal Magnitude, with their Plinths 
 and Mouldings running towards the Point of Sight. 
 
 On the fir/}, as being the Morning, is feen a bright Star, giving a 
 foort Groundfoade, ending in a Point. 
 
 On the fecojid, appears the Sun, in full Luftre, giving a long and 
 broad Ground-fhade, Jharp and plain, like the Object. 
 
 The third has the Moon's Prefence, which produces alike Ground- 
 Jhade. And 
 
 The fourth, whereon is a lighted Torch, caufes, by this Light, a. 
 
 1,0 ng and enlarging Ground-Jhade. 
 
 The End of the Fifth Book 
 
 THE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK VI. 
 
 Of L ANDSKIPS. 
 
 ERE, the God Pan fits playing his Pipes, with a 
 Crook refting on his Arm; and about him are three 
 Women, frantickly dancing Hand in Hand : One of them 
 is dreft in Green, and on her Head is a Chaplet of Herbs 
 intermixed with Field-flowers ; another is in Blue, adorn- 
 ed with a Chaplet of Bulrujhes and white Bell-flowers ; 
 and the third is in black or dark Raiment, wearing a 
 fhaplet of Roots and Mujhrooms. Thefe three Figures represent Trees, 
 Rivers and Grounds, The Place opens an agreeable Country, enrich- 
 ed with Woods, Rivers and Hills. 
 
 CHAP. I. Of Landskips in general. 
 
 V j n I S a conftant Maxim, that 
 
 Variety^ the SouPs refined Delight, 
 
 And the chief Viand of her window'd Sight, 
 
 No. 12. 
 
 L 1 
 
 Variety 
 
Of Landskips. 
 
 Book VI. 
 
 Variety is the Soul of Mirth, Sting of Pleafure and the Sauce of 
 Life ; 'tis fo gratifying, that, without it, we think ourfelves Slaves,, 
 and, by a conftant Return, we with to live for ever : Without it we 
 covet Death ; becaufe the Soul,as pent up in a Dungeon, calls for Enlarge- 
 ment. But he is much out of the way, who hourly wants Variety,, 
 fince any Excefs is both ridiculous and hurtful, as welt to the Agent 
 as the Patient. He who propofes a Livelihood from Art, is not to pleafe 
 himfelf only ; becaufe his Happinefs or Unhappinefs depends not on 
 himfelf, but others, according as his Works pleafe or difpleafe;. and, as 
 every Creature has a particular Liking, and, when in. Company, they 
 are not to be fatisfied with one Sort of Food, but with a Variety ; fo a 
 ju4icious Artift fhould ftrenuoufly endeavour to qualify himfelf for every 
 Perfon- 's Tafte-y like an expert Apothecary, who ftores his Shop with 
 all proper Medicines for the general Good, and thereby gets Money. 
 Let this fuffice to hint, that a Landskip-painter muft not be wedded to- 
 cne Choice , either too Jlir ring and extravagant, or too repofed and melan- 
 choly ; becaufe it would pleafe but one Set of Men, and his Advan- 
 tage would therefore arife but from few : Whereas Variety will allure 
 t>oth Sorts, and his Fame be the greater. 
 
 I thought it proper to premife this, as an Advice to many : Let us 
 bow, 'ere we come to the Eflence of this Branch of Painting, confl- 
 der, that a Landship is the moft delightful Object in the Art, and has 
 very powerful Qualities, with refpect to Sight, when, by a fweet 
 Harmony of Colours and elegant Management, it diverts and plcales 
 the Eye. What can be more fatisfaclory than to travel the World 
 without going out of Doors ; and,, in a Moment, to journey out of A^ 
 fia into- Africa, and from thence back to America, even into the Ely- 
 Jian Fields, to view all the Wonders,, without Danger or Incommodity 
 from Sun or Froft? What is more acceptable than fhady Groves, open 
 Parks, clear Waters, Rocks, Fountains, high Mountains and deep 
 mifty Valleys } All thefe we can fee at once ; and how relieving muft 
 the Sight be to the moft melancholy Temper ? 
 
 Thefe Circumftances being fo glorious,, entertaining; and ufeful,. let 
 us confider what conftitutes afne Landskip„ 
 
 It conftfts principally in Tin orderly Difpojttion of Lights againfl Dark- 
 nefs ; whence arifes the good Harmony, which infeniibiy deceives the 
 Sight, in fuch Sort, that tho' it be a flat Cloth, yet it exhibits a. natu- 
 ral profpetlive Opening* even Nature itfelf 
 
 Landskip requires two Qualities to make it delightful* 
 
 i. Difpofition.. 2. Colouring* 
 
Chap. i. 
 
 Of Landslips. 
 
 The Difpofttion is an artful bringing together of irregular Objects ; 
 which neverthelefs feem not to be againft Nature, or impoffible. 
 
 The Colouring is a Conjunction of proper Colours in the aforefaid 
 Objects, according to their Situations and Qualities, agreeing with the 
 Nature of the Air in fuch manner as to repofe and pleafe the Eye. 
 
 And yet all thefe Qualities cannot alone produce a perfect: Landskip, 
 \ unlefs a good Choice precede \ which confifts in joining together Variety 
 of Objecls, viz. Woods with Viftos, wherein the Eye may lofe itfelf; 
 Rocks, Rivers, and Water-falls, green Fields, -&c. delightful to the 
 Eye, Herein lies the Strefs of a Landskip, and Painting is very like 
 Nature, with refpect to Things inanimate j not to mention many others, 
 as the Embellijhments ; which give it the utmoft Perfection. However, 
 this Variety conlifts not only in the Difference or Irregularity of the 
 Objects, as Trees, Hills, Fountains, and the like, but in the Diverfity 
 of each of them ; for fnftance, bending and ftrait Trees, large and /mall 
 Hills, wrought and plain Fountains, Cottages and Palaces, green and 
 ruffet Lands, Sec. The fame Diverfity is to be obferved in Colouring, 
 according to the Seafons of the Tear ; that Lovers may not be cloyed 
 by producing, with the Cuckoo, always the fame Thing ; as, Stir 
 and Motion, crooked and mif-Jhapen Bodies of Trees, waving Branches, 
 barren Grounds, blue Mountains, or Beafts, Birds, Huntings and the 
 like \ or, contrarily, always Repoje and Quietnefs, fir ait Stems, clipped 
 Trees, level Grounds intirely green, Jlanding Water, and the fame Light, 
 Colour and Nature. 
 
 We have formerly faid, that a Table or Picture hung up, and view- 
 ed at a determinate Difiance, appears as the Life without-doors ; of 
 which, the Frame fhews only the Thicknefs of the Sill wherein 'tis put, 
 or Wall, againft which it hangs. The Queftion is now, whether fuch 
 a painted Opening can be natural and deceiving, without fixing a Point 
 of Sight and an Horizon equal with the Eye of the Spectator ? and, 
 whether it be the fame, to place them higher or lower ? And further, 
 whether the Thicknefs of the Frame be fufficient to fhew the Thick- 
 nefs of the Wall, without continuing it upon the Cloth ? I fay pofi- 
 
 tively, No, and that fuch an Opening cannot be natural, 
 
 much lefs deceiving, if one of thofe Requifites be wanting j which I 
 prove thus. Take a Chair, and fit at the Window with your Eye 
 juft level with the Sill, and then you will obferve that the Horizon, 
 or greateft Diftance parting the Sky and Earth, will, as I may fay, 
 approach towards it, and be parallel with your Sight, and that there, 
 fore you can fee nothing but Sky : Then arife, and you will perceive the 
 
 L 1 3 Horizon 
 
z68 Of Landskips. Book VI. 
 
 Horizon alfo rife, and that your Eye is ahvays level with it, difcovefing 
 here and there Objects on the Ground. Now, confider the Ineffici- 
 ency of your Picture, when its Point of Sight does not agree with 
 your Eye, and how Nature, joined to your imagined Art, is per- 
 verted, your Deceit made apparent and your Intentions fpoiled. It is 
 therefore evident, that the Picture, in which the Point of Sight is plac'd 
 muft determine your Diftance, and that the Eye ought never to 
 leave the Horizon, but be ahvays level with it. If the Eye be lower than 
 the Point of Sight, all the Obje&s muft needs feem to tumble forwards, 
 and the Fore-ground to Jink. If you are above the Point of Sight, the 
 Fore-ground rifes, and all the Objefls are tumbling backwards. How 
 then can this feem natural and deceiving ? Wherefore there is no other 
 Way, than to hang the Piaure in a certain Place, and fix a Diftance 
 whence it is to be viewed without Alteration. As for the Frame it is 
 neceffary to foew the Thicknefs of it on the Cloth, in order to know, at 
 once, the Diflance from whence you ought to view it^ becaufe its angular 
 Mays are direcled to the Point of Sight. 
 
 Iam not irifenfible, that this Pofition may feem ftrange to fome ; 
 who will obje&, that they never obferved any fuch Thing in PouJJin, 
 Titian, Bril or Francefco Mola, or other good Matters : But the old 
 Saying (hall plead for me ; Example is better than Precept. For they 
 endeavour to follow the Miftakes but not the Virtues of thofe excel- 
 lent Matters. I am fure, that, had thofe great Matters thought of 
 thefe Obfervations, they would not have rejected them. Do you want 
 Demonftration, that every good Matter approves of what I fay, and 
 follows it ? Shew me but one Picture, Drawing or Print of theirs*, ex- 
 hibiting an inward Vifto out of an Hall or Chamber, wherein 'they 
 have forgot to exprefs the Thicknejs of the Framing or Walls ; fince, o- 
 therwife they muft depart from the Naturalnefs, and we would fay, that, 
 inftead of an Of-diftance, they had reprefented a Piaure or Tapeftry! 
 I therefore conclude, that if Nature require this in a Piaure, it is ftill 
 more # neceffary, when we would have the Piaure taken for Nature it- 
 felf, in order to deceive even Matters. But fome think, If I ar- 
 rive in the Art, to their Heights, I Jhall befatisfed. — — In the mean 
 time Art defpairs of attaining greater Luftre by further Improve- 
 ments. t 
 
 But, to reafTume our former Pofition, my Opinion is, that what has 
 been faid ought to be regarded, when we meet with any thins in 
 Halls, Chambers, Galleries and the like, whether in Niches, above or 
 m Chmneys, or on other Occafions : And the main Point is, to place well 
 
 the 
 
Chap. i. 
 
 Of Landshps. 
 
 the Horizon according as the Pwrftands'high or low. My ufual Prac- 
 tice was, to make the Thicknefs of IValls plainly appear in my Paint- 
 ings j and would always have done it ; but on Painting, on a Time, 
 for a Lover of Quality, was obliged to alter it for his Pleafure ; on a 
 Surmife, I did it to fave Work, not for the Good of it; affirming, 
 that the Painting was thereby dock'd, and too much incumbered : 
 But the Child mujl have a Name •> he imagining, that the Alteration 
 made the Work look larger. 
 
 Here let it not be thought, that my Piece was wholly taken up with 
 the Ordonnance, and the Thicknefs afterwards painted upon it ; becaufe 
 that would be great Folly. I rirft fquared out the Thicknefs, and then 
 adapted my Dehgn thereto, as being more convenient than afterwards 
 to paint the Thicknefs over it, and thereby dock too much of the 
 Work. 
 
 Now, to give the ftudious Artifta right Notion, as I think, how 
 to compofe a good Landskip, after an eafy Manner, let him con- 
 fider. 
 
 1. The Nature of his Subject. 
 
 2. W^hat Country he is to reprefent. 
 
 3. What Seafon of the Year, what Month, and what Hour of the 
 Day. 
 
 4. Whether .the Subject require Sun or Moon-fhine, clear or mifty, 
 rainy or windy. Weather. 
 
 Having fixed thefe Points, let him proceed to feek proper -Materi- 
 als, -bringing them together, .agreeable to his ge?ieral Dejign, and dif- 
 poring the Objects tin their proper Places, each according to its Na- 
 ture and Quality. 
 
 Next let him place the Point of Sight in the middle of the Piece, 
 higher or lower, as he would have lefs or more Sky or- Ground, con- 
 fidering whether the Ground is to be a Level or not, and thus to order 
 the Figures equal with the Eye, to difcover directly whether the 
 Painting be feen thro\an high JVindow in a low Ground, or from a low 
 Ground to on high ; for 'tis commonly known, that if Things be feen 
 from an Height, the Figures ought to be under the Horizon, and when 
 viewed from a low Place, they muft rife above the Horizon. 
 
 Having done this, let him chufe a proper Light, falling in either, 
 from before, behind or afide, to light the Objects accordingly : And. 
 then to difpofe the principal Objetl (if poffible, and the Subject per- 
 mit) in the belt Place, in the middle of the 'Piece ; at leaft from off the 
 Edges of it. 
 
Of Landsktps, 
 
 Book VI. 
 
 Of divers Pafflons, if the Matter require it, I mean, if the Land- 
 
 vlvip be mixed with Hiftory, one ought to predominate, and furpafs the 
 reft in Greatnefs, Beauty and Elegance \ filling always the greateft 
 Part of the Piece with it, whether by means of Trees or Build- 
 ings. The By-work smvSi be fuitable to it, the better to explain the 
 Matter. 
 
 If the Subject be a Wood, it ought to be adorned with Wood-gods, 
 Guides or Terms, Tombs, Seats for Repofe, Wood-nymphs and many o~ 
 ther Things proper to it. 
 
 If a River, it may be handled in the fame Manner, with the Ad- 
 dition of River-gods, Naiades or fmimming Water-nymphs, Fijhermen, 
 Szuans and other fuch Ornaments, 
 
 If a Field be the chief Objecl, it may be fet off with Shepherds and 
 Shepherdeffes, Cowherds, Bacchanals and others. 
 
 Rocks and Caves require the fame Management; with this Caution, 
 that the Eye be taken with the principal Objecl only, without other Re- 
 gard to the By-works, than as Aids and Incidents ; for in fuch Conduct 
 lies the Beauty and Goodnefs of a Landskip. 
 
 As to the Ornaments of modem Landskip, fuch as of the famous E- 
 verdingen, Pynakker, Ruyfdaal, Moucheron and others who follow the 
 modern Manner, they do not call for the aforefaid Embellifhments, as 
 having other fufflcient Matter, viz. Cottages, Fi/bermen, Carriers, 
 Waggons and fuch daily rural Occurrences, which are as proper to it 
 as the Antique ; for the Decorations alone, in my Opinion, make a 
 Landskip either Antique or Modern ; unlefs we exhibit modern and 
 known Places, wherein the Antique would be very improper, as Brew 
 gel, Bril and Hans Bol have done, without Diftin&ion between the 
 loweft Life and what is better. For Nature is in her Objefts now, as 
 (he was a thoufand Years ago ; Woods, Fields, Mountains and Waters 
 are always the fame ; and therefore Nature is modern, that is, imper- 
 feci: But ihe is Antique and perfeB, when we judiciourly adorn her 
 with uncommon and magnificent Buildings, Tombs and other Remains of 
 Antiquity, which, in Conjunction with the Ornaments abovementioned, 
 compofe an antique Landskip. But when a modern ProfpeB on the Rhine 
 is deck'd with antique Figures and Stories, it muft look ridiculous ; fince. 
 Cottages and civil and military Architecture will evidently difcover the 
 prudent Folly of the Matter, tho' otherwife excellent in both Manners. 
 
 CHAP. 
 
Chap. %. 
 
 Of Landslips. 
 
 C H A P. Ik Qf the Light, Form and Grouping of Objects in 
 
 Landskip s, 
 
 LET us now proceed further, in confidering the principal Qua- 
 lities and Properties requifite in a fine Landskip : Thefe, in my 
 Opinion, conftft 
 
 r. In a good Difpofitiore of the irregular Objects, as well with re- 
 flect to their Matter, Shape and' Form* as their Colour* 
 
 2. In the Number and grouping them;. 
 
 3. In a good ordering of the Light,. 
 
 By well difpofmg the irregular Objects, we produce Life and Motion ; 
 the Objefts confift of crooked, ftrait, awry, high and low ; and by 
 the Colours we effect the fame; when one thing is faint and weak,, ano- 
 ther melting, this ftrong, that hard.. 
 
 The Grouping confifts in joining thofe irregular Objects ; as of two 
 Bodies on two different Grounds, loathe Fore-ground ought to be 
 fmaller than the other on the fecond 5 thus, if a fitting Figure come 
 forward, a Handing one muft be placed behind it; and on the third 
 Ground, a decumbent Figure; on the fourth, a climbed one, and , be- 
 yond it a ftanding Figure again, Trees, Rocks, Buildings,. Cattle 
 and other Things occurring in Landskip may be difpofed in the fame; 
 Manner fo far as concerns the Irregularity of Objects ; which,, m, 
 their Matter and Colour, I fhall ftiew in the following Example.. See 
 
 Plate L. . c , . ^ 
 
 I fuppofe then, in a Piece, five Grounds with the Offskip ; oi wnicn, 
 the fourth is the largeft. On the Fore-ground, I place a Fafe of dark 
 Porphiry, number'd 3. On the fecond Ground, a. Fountain, number'd 
 4. On the third Ground, an Hedge, number'd 3. On the fourth 
 Ground a Statue, number'd 5. And the fifth is a low Of skip, number'd 
 1. Thus much may fuffice as to Grounds going ^behind each o- 
 ther; the fame Difpofition ought to be obferved on a fmgh or level 
 
 Ground- r n 
 
 As for the Light, its principal Management lies in oppoftng Brown- 
 efs and\ Darknefs to middling and greater Light: But when two Lights: 
 are to let off each other,, the Colour muji effect this \ as for Inftance,, 
 when a lighted Figure is to come off againft a light Offskip, the for- 
 mer muft certainly be of a darkifh Colour, as having no Shade ; and 
 
 then; 
 
xyt Of Landslips. Boole VI. 
 
 then It will produce a good Effect : For the chief Management lies in 
 placing a warm-coloured Obje ft againfl a light, faint and weak Of skip; 
 contrarily, light and faint Colours againft dark and warm Grounds j the 
 foremoft and ftrongeft Objetl againfl 'the deepeft Lointain ; and the Objetls 
 further off, agaitijl nearer Parts of the Of skip : And thus, light Ob- 
 jects againft dark, and the contrary. 
 
 The Artift alfo ought to obferve, that two Lights muft never be above 
 each other, unlefs one be viftbly different from the other in Force, ei- 
 ther in Colour or Tint', left one feem to run into the other ; which, at 
 a Diftance, would, be a prepofterous Union. 
 
 Moreover, Part of the, Lointain Jhould always be broken, and the 
 Eye, on one Side or the other, kept nearer, either by means of a JVood, 
 Rock, Building or other Objetl. A Part of the Horizon alfo foould al- 
 ways be feen\ qr, for want of it, fome level Objetl, fuch as a fronting 
 Wall, Colonade, or the like. This will produce Satisfaction to the Eye, 
 and Elegance in the Piece. 
 
 No one will deny, that unequal Numbers are the mofl per feci ; ac- 
 cording to the Demonftration both of Philofophers and Mathematicians. \ 
 This Inequality I alfo obferve and follow in my Difpofition of Figures, 
 thus. 
 
 Firft, I place one Figure on the Fore-ground ; then, three on the 
 fecond; two on the third; and four on the fourth Ground ; and then 
 again, one j and fo forth : And thus, as well on a Jingle level Ground 
 as where they happen one behind another. Thefe unequal Numbers 
 in the Groups are, certainly, not of the leaft Moment in Landskips. 
 
 As to the Colour mentioned before, 'tis to be efpecially noted, that 
 the Colour which is predomina?it, and has the chief Place in the Piece, 
 muft no where elfe be feen than with little Parts, I mean, of lefs 
 Beauty,- Quantity and Dignity. 
 
 C H A P. III. Of the By -ornaments in Landskips. 
 
 IT is ufual for Landskip-painters to have a particular Inclination 
 for one Choice; one affecting wild and defolate Profpects; another, 
 repofed and foft ones ; and a third, northern or frigid Views, Sun 
 and Moon-fhine, Water-falls, Downs, watry and woody Profpects:' 
 And the Reafon is, becaufe mofl: People, by a ftrange Impulfe, feem 
 rather to covet the Gifts of Nature than the Heavenly*, which afford 
 
 what 
 
Chap. 3. 
 
 Of Landslips. 
 
 *7J 
 
 what is whole and mofl per feci: : In a Word, they feek only a Party 
 tho* all be to begot. This proceeds from Youth and Ignorance, want- 
 ing fundamental Knowledge, and therefore not judging, what is moft 
 beautiful and profitable; nay, what they themfelves are fit for. But it is 
 moft unaccountable, that many Landskip-painters are not able to em- 
 bellifh their own Works : To which, fome may object, that as they 
 have not made it their Practice, fo they are content with handling Jin- 
 gle Pro/peels well, leaving any thing elfe to the Owner's Difpofal. A 
 fad Story, that they cannot do their Work without Help I Whence 
 'tis evident, of what Moment it is for a Landskip-painter to embel- 
 lifh his own Work, whether the Defign be his own or borrowed £ 
 fince certainly, if he be Mafter of his Art, he muft alfo know what 
 is moft fuitable in his Picture ; not Trifles, or Figures to no Purpofe ; 
 but Hiftories, Ficlions or Parables, taken from Scripture, Ovid, or Mfop; 
 Ornaments which will enrich the Work. But this is feldom done ; be- 
 caufe few have Time to fpare, or love Reading. As for me, I would 
 rather want Prints and Drawings than Books. As an Hiftory-painter, 
 I make ufe of Books, and Defcriptions of Landskips and Beafts : But 
 were I a Landskip-painter, I ihould provide Books of Hiftory ; for 
 what (hould I be the better for exercifing one particular Part, of which 
 I am Matter, and neglecting others as neceflary to be known ? I need 
 not learn what I already know ; but 'tis impoffible to get Skill in 
 Things without inquiring into them. Have I. Time for perufing No- 
 vels: Why not alfo for neceflary Things ? Am I curious to know the 
 State of the W ar, or defirous ofTeace for the Sake of Art : Of what 
 Advantage is the Peace, if I do not qualify myfelf to meet it ? 
 
 As there are few or no Painters who have no particular Manner ; fb 
 few are qualified for Embelli/hment ; fince every one ftrives to excel in 
 fomething, and to get a Name by a certain Jvonder fulnefs therein, ei- 
 ther by beautiful Colours, extravagant Draperies, broad and funny 
 Lights or round and dusky ones ; which often fpoil a Work inftead of 
 bettering it : Thefe they cannot forbear (their chief Talent lying in 
 them) tho' they frequently have a contrary EftecJ, when they are to 
 adorn other Men's JVorks. We muft alfo obferve, that there are two 
 Sorts of By-ornaments ; the necejfary, and the unneceffary. The necejfary 
 are fuch as appertain to the Matter, to wit, immoveable and fixed Orna- 
 ments. The unneceffary are the moveable ones, viz. Men, Beafts, Birds ; 
 and the like j which, with refpect to Landskips, cannot be confidered 
 as neceflary, but only as tending to give the Pieces Life, that they may 
 not pall but delight the Eye. 
 
 No. 12. Mm To 
 
174 Of Landskips. Book VI. 
 
 To be more plain in this Point, we fliall confider, what a Painter 
 ought to obferve and Jhun in the By-ornaments. 
 
 I fay then, that 'tis very indecent to place a Woman alone, retting 
 near a Priapus ; much more, in the Company of Men, unkfs you would 
 exhibit a Strumpet. 'Tis alio improper, that a Woman , well drefl, 
 Jhould Jit alone by a Way fide, or in a Wood, or ft and prattling with or- 
 dinary People. 'Tis much more proper to make a Man fitting, and a 
 W man paffi?ig by, than the Woman fitting and the Man pajfing by, or 
 holding Difcourfe ; unlefs he be inquiring the Way. 'Tis alfo much bet- 
 ter, that a fitting Man Jhew the Way, than one who is pajfing along. If 
 there be a Company of Men and Women, let not the Men be idle, and the 
 Women loaden; and, if a Woman be re fling by herfelf, do not ajfign her 
 a greater Burthen than /he can conveniently carry alone, whether Bundles, 
 Trunks or Veffels. A Woman of Fajhion Jhould never travel alone thro'' 
 Woods or Valleys, efpecially if youthful, without the Company of, at leaft, 
 a Damfel or Child. Shepherds and Shepherdefes, Husbandmen and Wo- 
 men, fuit well together. Where there are no Sheep, a Shepherd or Pi- 
 per, or Laffes with Chaplets of Flowers, are improper - y becaufe fuch People 
 are not fent into the Field to prattle, but work ; His better to inquire af- 
 ter the Shepherd than the Sheep. Country -people's Children are f el do m 
 zvithin-doors in the Summer-time, but generally abroad in the Field with 
 their Parents; looking for Birds Nefis, gathering Wood or Flowers, 
 digging Holes, making Garlands, and in other childijh Attions. In mad 
 Sacrifices or Country 'feafis and Merriments, no People of Fajhion Jhould 
 appear, without good Reafon for fo doing, or that they are Spectators 
 and ftand fomewhat off. Aged People, efpecially Men, Jhould not be feen •> 
 becaufe they take no Delight in fuch Recreations. 
 
 It is againft Nature and Reafon to ajfign a dolefome Place for Mirth 
 and Feajiing ; or, contrarily, one embellijhed with Figures and Fountains, 
 unlefs the Subjecl require it. By fuch Diftinctions as thefe we may know 
 a good Matter. 
 
 He is an happy Painter, who knows how to adjuft his By-ornaments 
 to his Landskip, and this to them ; thereby making both remarkable: 
 But he deferves greater Commendation, if he govern all Things -by the 
 Landskip. The Figures or By-works are certainly of no lefs Moment 
 than the Landskip itfelf ; yet he may be fatisrled, if he continually en- 
 deavour to make the one as good as the other. Such an Artift is much 
 preferable to others ; for the frequent life of Prints, or other Men's 
 W orks, is not the right Method4o become a Mafter ; you rely too much 
 on them : Not that I difapprove of them 5 becaufe they convey fine 
 
 Ideas, 
 
Chap. 4." Of Lands kips. 27 ? 
 
 Ideas, and ftir up the Mind (I muft even acknowledge, that I fhould 
 have been inefficient without their Aid) but you muft get truly fen- 
 fible what: Lengths you may go in the Theft, not to fall into the com- 
 mon Error, out of which 'tis difficult to extricate yourfelf. 
 
 In treating of the immoveable By-ornaments, we muft obferve, that 
 nothing is more difpleafing in a Landskip, than always to fee Houfes be- 
 hind, againft the Off skip ; and, on the Sides, nothing but Trees and Hills, 
 or fcarce fo much as one Stone upon another : This Repetition muft needs 
 be difagreeable ; wherefore 'tis no Wonder, that thofe, who are igno- 
 rant of Architecture, avoid it as much as poffible : But it is furprizing 
 to me, that many Landskip-painters will not be acquainted with that 
 Art ; even rather never defire to exhibit it (how beautiful foever) than 
 to be at the Trouble of learning it : Or of following the Models of 
 others, which are fo plentiful, and made for fuch Purpofes. A Point 
 fo eafily attainable, and giving a Piece fo great a Decorum. I have 
 been long ftudying the Caufe of it, and can find no other than a Want 
 of Inclination and Knowledge of its Virtues and Value : 'tis out of the 
 way to think that Landskip s confift only of Trees, Hills and green Fields* 
 without Houfes ; or, if there be Buildings, Ruins or Triumphal Arches, 
 that then it is no more a Landskip ; fince no one will take an Hifiory in a 
 Landskip for a Landskip, or a Piece with Architecture and fome Trees, 
 for a Landskip or Hi/lory, but a Profpect with Buildings. A Landskip, 
 fet off with an hundred fmall Figures, will never pafs for a Figure- 
 piece: But, without Figures or Houfes, it is like a Wildernefs or for- 
 lorn Country infected with the Plague, and where confequently, no 
 Houfes are ftanding : It would indeed be a very proper Greenland- 
 view. 
 
 CHAP. IV. Of immoveable Ornaments ; as Tombs, Houfes, &c. 
 
 TH E Tombs, exhibited in Landskips, require particular Notice ; 
 as giving not only a good Decorum, but alfo a Probability to 
 the Places of their Situation; that they may not be contradictory 
 
 to Truth and Time. 
 
 The moft fure Method is, when you introduce luch a Piece or btone- 
 work, hrft to chufe a proper Place for its ftanding, where it may be 
 moil conspicuous to Paflengers, in order to draw their Attention ; where- 
 
 J M m % lore 
 
Of Landshipr. 
 
 Book VI. 
 
 fore they are made more or lefs fumptuous and elegant, according to 
 the Condition and Dignity of the Deceafed, or thofe. who caufe them 
 to be fet up. They are commonly placed in the Fields near high 
 Roads r or, at the -Entrance of a Jhady Grove, or elfe within it ; yet in j 
 fuch a Manner as to be eafily approached, and feen by thofe who pals j 
 by. If they be coftly and finely adorned with Figures and other carv'd I 
 Work, they are ufually fortified againft the Injuries of Time; Ibme I 
 are crowned with Arches, or elfe with fmall Pediments and Moul- 
 dings fupported by Columns; and topp'd with a Copper Fa/e placed he* ■ 
 iween two Children turning on Pivots, and holding Iron Clappers, with 
 which, when moved by the Wind, they ftrike on the Copper, and 
 create a great Noife ; their Motion was occafioned by an.Hollownefs 
 in their Backs : And this was done, they fay, to drive away Devils j 
 and evil Spirits, who, as they imagined, continually haunted the 
 Graves of the Dead. Some or thefe Tombs were encompafled w-ithi j 
 low clofe Walls, to fence them againft the North-wind. They were 
 moft Times placed on raifed Ground or Hillocks, efpecially in defblate 
 Countries; and we need not queftion the Goodnefs-of their Foundati- 
 ons, tho' we often fee them in Ruins or funk down; fince nothing, tho v j 
 ever lb ftrong, can refill: eating Time. It's not improbable, that about j 
 fuch Places were Benches for Reft ; and, the. more to draw the People,, 
 they fometimes made Fountains near them. The Afhes of the De- 
 ceafed were commonly repofited in a certain Urn or Box placed on the , 
 Top of the Tomb, or elfe in a Niche near it, elegantly carved, and in- 
 fcribed with hieroglyphic Letters or Characters. . 
 
 Thofe Graves or Tombs were fo adorned with Emblems and Figures,, 
 as always to make us fenfible, whether they were facred to an Heroe, 
 Philofopher, Statejman, fylvan Deity, or who elfe ; if we may credit 
 the Remains, and ancient Writers. It would be too tedious to enume- 
 rate all the Particulars touching thefe Tombs; and as thofe Things 
 ferve only for By-ornaments to Painters, I think what I have faid is 
 fufficient, with the Addition of what concerns their Materials : Thefe 
 were various, viz.Porphiry,, Jafper, all Sorts of Marble, red,, black 
 and white ; alfo Copper and other Metals ; and fometimes ordinary St one 
 We fee often an. Altar near them, whereon they ufed to offer to the 
 Memories of the Deceafed. 
 
Chap. 4. 
 
 Of Landskips. 
 
 vm 
 
 Of Cottages and other By-ornaments. 
 
 Cottages and Country-houfes are ufually low, having their greater! 
 €onveniency and Extent below ; and as the ' Inhabitants poflefs but few 
 Goods (no more than what will fupply their Neceffities) their Rooms 
 are but few,. Thefe Dwellings are plain and mean, moftly built with 
 i Wood or common Stone : They have neither Order, Difpofttion or Di- 
 \ vifion.. They fometimes wattle them with a Weaving of Reeds and 
 Rujhes, clayed over. The Roofs are thatch'd, and not much window'd ; 
 commonly dark within, and fmeared without with a light Colour, Red, 
 White or Grey, that they may be feen at a great Diftance. Thefe 
 Houfes have often Wells or Water-troughs near them, or elfe Fountains 
 or Cifterns hollow'd out of a Tree, or made of Stone.. The Fountains 
 are mean and artlefs y but near the Town, they are fumptuous, and 
 magnificently adorned with Statues and other Ornaments. We alio 
 hndVafes or elegant Pots with Bafs-reliefs, ftanding on high Pe deft als, 
 above Reach, to preferve them from Damage. Sometimes they are ai 
 little, decayed and broken, or ruined by Time and Weather as alfo by ■/ 
 the Barbarity of Soldiers ; as maybe perceived in -the Fragments, of 
 Columns lying up and down in the Roads, or near them \ likewife Pieces; 
 of Frizes with Bafs-reliefs ; and beautijul Cornices, the Remains where- 
 of, and their Bafements are ft ill ftanding. We fee alfo, about the Place,., 
 Pieces of broken Cokjfes y fome half within Ground, others lying turn- 
 ■ bled into a Morafs. And, in the Woods appear Stone-lions and Lioneffes,. 
 ' r efting on Pedeftals, and /pouting Water out of their Mouths. . On Hand- 
 rails they ufed anciently to place Sphinxes, if their Meanings did not 
 allude to the Secret of Sciences ; for then they commonly fupported Co- 
 lumns, Pyramids and Tombs. They ufed frequently, as 'tis mil fome- 
 times the Cuftom, to raife Heaps of Stones bearing Infcriptions and. 
 Characters. They likewife fet up Pofts for Guides, or Figures for the 
 fame Ufe ; efpecially in windifig and crofs Ways; where we often fee 
 I Terms at the Ends of Roads or Lanes, to advertife Travellers of Dan- 
 i ger, in cafe a Morals, Water or other Stoppage lhould crofs the Way. 
 I Whence, the Word (Term) takes its Origin, fignifying, Bound or Li- 
 j mit. Thofe Terms are like a r ever fed Pyramid, fquare, with a gaping 
 1 Head on Top > generally of Copper or other Metal \ in the Mouth of which; 
 ! the Wind by its Play made a great Noife. All thefe Things have a 
 ftne Decorum, and give a Piece unc6mmon Grandeur, if well placed, 
 and fuitably adjufted ; efpecially in Landskips. To conclude this Chap- 
 
178 
 
 Of Landslips. 
 
 Book VI. 
 
 ter, I advife the Artift not to ufe thefe Ornaments too profufely • nor re- 
 peat them without fome Diverftty, becaufe otherwife he will prove cloy- 
 ing, to his little Honour or Advantage. 
 
 CHAP. V. 
 
 Of beautiful Colouring in Landskips. 
 
 T ?L an y *JJ)S c ^ arm t the S #t, I think 'tis the beautiful Green of 
 X 1 rees. How do we long for the lovely Spring? Is any thins more 
 refreihing to the Eye than the firft Greens of that Seafon ? Spirits 
 and Diversions icem then to revive in all Creatures. If a real Profpeft 
 have Inch Effect, that of an artful and agreeable Landskip has not 
 much Ids, wherein the bright Green and other delightful Colours 
 l-nine. ° 
 
 But, tho' it is not probable, that a Landskip painted intirely Green 
 fhould pleale more than one in foul and Grey-green Colours, yet we 
 ought not to ufe Verdcgreafe to fetch out a fine Green j lince, tho' it be 
 the moft beautiful, yet is not the moft pleafmg to the Eyex and moreo- 
 ver, very fading and changing. 
 
 It is neverthelefs to be lamented, that Men who pretend to great 
 t Sr P? ,nt,n S landskips, intirely banifli beautiful Green out of 
 their Works, and introduce, in its Place, Black, Yellow and other 
 iuch Colours. 
 
 It's true, that Plants and Herbs differ as well in their Natures and 
 Qualities as. Shapes and Colours ; that fome are of a beautiful Green : 
 others, Blue ; fome, Yellow or Ruffe t ; others, Grey ; fome, of a fenny : 
 °. the I s ' °J a watry Colour; neverthelefs Art teaches us not to imitate 
 the faded and mean, but what is moft charming and agreeable. In the 
 Diverfaty aforefaid we fee the abjecl and the mean, and the beautiful and 
 mojt beautiful. J 
 
 ; If now it be laid that the Artift ought to exhibit every thing that i 
 is beautiful, as well as the contrary, and that he only apes Nature; I 
 a low it ; but then he muft be an Imitator of well-formed Nature, and 
 elegantly paint her moft perfecl Parts. 
 
 ; Bu T C h 7. ™J Potion, that beautiful Green is beft and moft charming 
 in a .Landskip, let me not favour the perverfe Opinions of fome, that 
 Colours cannot be too beautiful, either in Hiftory or Landskip, tho' 
 they exceeded Nature itfelf (of this I have largely Tpoken in the Chap- 
 ter or the Harmony and placing of Colours) for at that Rate, how can 
 
 one 
 
Chap. 6. Of Landslips. 2.79 
 
 one Colour fe-t off another ? What becomes of the Harmony or Con- 
 junftion of Colours, when, as in Mufick, high Tones do not agree 
 with the low ? How can Gold be fet off by Gold ; or Pearls, by 
 Pearls? Were all Things compofed of thofe two precious Bodies, 
 Richnefs would not be apparent. The Proverb fays, Tenues ornant Di- 
 ademata Cuna. That is 
 
 The Gold of Crowns may boaft its native Worth, 
 But meaner Objecls bring its Luflre forth. 
 
 Many Painters have err'd in this Particular ; of which I fhall give 
 one Inftance. A certain Artift had once painted a Landskip, wherein 
 the firft and fecond Grounds, and every thing belonging to them, ap- 
 peared beautiful and natural ; but on the third Ground all was grey 
 and foul : On this laft Ground he had placed a Man in a beautiful ul- 
 tramarine Garment, as bright as if he had been on the Fore-ground. 
 He was told, that thofe two Things were unnatural and Oppofites I 
 mean, a foul and muddy Green and Jo beautiful a Blue Garment ; which 
 was moreover (as the Man was walking in the Sun) painted as bright 
 and beautiful in the Shade as in the Light, tho' the Light fhould have 
 been more broke. But the main Error lay, in breaking the Green of 
 the Ofskip too much, and not at all bringing down the * beautiful Blue 
 Veftment, tho" at the fame Diflance. This Example may fuffice to (hew, 
 that the Parts ought not to be broken or fouled fo fuddenly, tho 7 we 
 fee it done by many, in order to make the foremoft Parts look beau- 
 tiful and ftrong. Nature fhews no fuch fudden Alteration, nor clear 
 Weather fuch Miftinefs in Sun-fhine. 
 
 CHAP. VI. Of the leafing of Trees, 
 
 ANY Painters find the leafing of Trees an hard Task. Moft 
 of them in this Point ape the Manner of this or that Matter, 
 without confulting o-r ftudying the Life: By which means, 
 their Leafing commonly becomes fet and fliff, and always of one Man- 
 ner 5 infomuch that we cannot diftinguilh, in their Piftures, the Elm 
 from the Willow, or the Oak from the Linden. . 
 
 Nature inftruds us to know them from afar, by their ditierent Co- 
 lours as well as by their Growths and Shapes ; wherefore, to proceed 
 J regu- 
 
Vf Landslips. 
 
 Book VI 
 
 regularly and gain Eminence, in this Study, you ought exaftly to 
 obferve the Lije, and the feveral Sorts of Green and Leafing fe en at a 
 Diftance, whether they are clofe and majfy, or thin leaved and branched, 
 arid whether they hang in Clu/lers, or uniformly on their Boughs. Mind 
 nicely the Difference of their Colours in their fever al Kinds, as well 
 whrtegrowing, as in Perfection and Decay. Alfo the Sizes of their 
 Bodies, Jhort or long , and whether they grow fir ait or crooked, in dry 
 or watry Places. 
 
 Another difficult Point, but which caufes the greateft Decorum, isj 
 the Roundnefs or Relief of the frees : A good Method for erTefting \ 
 this, is, to obferve how large the Spread of the Tree is; fuppofe it 30 
 or 40 Feet. The upper Roundnefs or Near-fide muft have the flrongefl 
 Light and Shade ; diminifhing gradually every 5 or 6 Feet; and the 
 Extremities to melt into the Sky or other By-work, tho' the Light fhould 
 happen to fall,into the Piece from a Side ; for the more the Light 
 approaches you, the ftronger it touches : And if, on that Occafion, you 
 hght and heighten the utmoft Edges, it can add nothing to the Relief ; 
 becaufe the Light rounds off too fuddenly ; and having once painted 
 it too ftrong, you cannot help it by glazing, without muddling ; fmce 
 it will always appear diftina from the other Parts as well in Colour as 
 Neatnefs. 
 
 There is alfo as great a Difference between the Bodies of Trees as 
 their Leaves ; fome are more beautiful and Painter-like than others ; 
 thefe again more ftrait and found; thofe differing in Colour from o- 
 thers, &c. But a chief Regard is, not to place Jjb or Linden-leaves on] 
 Oaken Bodies, nor thofe of the Willow upon Elm-, for each Stem mufi\ 
 produce its ozun Leaves ; tho' this Conduft be not heeded by many. 
 You ought alfo not to put young and beautiful Leaves upon an old! 
 Stem ; for the former is like fetting a Man's Head on a Monkey's j 
 Carcais, and the latter like patching a Child's Face upon an old and^ 
 decayed Man's Body. 
 
 We likewife often fee, in Common-light-Landskips, the Leafing lie 
 very fharp and edgy againft the Sky : whereas Nature teaches, that even | 
 the Leaves of the foremoft Trees unit with the Sky on their Extremi-l 
 ties, and appear dull againft it 5 and in the Off skip ftill more dubious. 
 
 CHAR 
 
Chap. 7. Of Landslips, 181 
 
 t .„ 
 
 CHAP. VII. Of the placing and following of Landskips. 
 
 T FI ND nothing more difadvantageous and irkfome to a Painter, 
 than to wed himfelf to one Manner of Reprefentation : Nature her- 
 felf and the following Precepts will ihew the Error of it. 
 
 Firft, with refpect to the feveral Places where the Pictures are to be 
 hung ; for I hope no one will argue, that a Piece fuits any Place ; and 
 without a Variety in the Manner of a Matter, I cannot judge whether 
 he be a true one, or how rich his Thoughts are. 
 
 Secondly, Becaufe the Artift ought, in his Ordonnances, to comply 
 with the Fancy of the Proprietory as far as Reafon and the Rules of 
 Art and Decorum permit. 
 
 As to the firft, common Nature lhews him his Error. Do we not behold 
 Sun-lhine and fine Weather with greater Pleafure and Attention after a 
 Storm? And can it have a lefs Effect on our Senfes in a Picture ? There's 
 even no Country fo defpicable, but in lefs than nine Miles Diftance it 
 will exhibit a new Profpect. How can it difpleafe a Painter fofnetimes 
 to represent ftarmy Weather, and then calm and delightful Sun-lhine ? 
 Since the great ' Unlikenefs caufes Variety, and this charms the Eye. 
 Now, we lee a ihady Grove ; then, a Wildernefs ; next, a repofed 
 Landskip, Great Water-falls, huge Oaks, Rocks and the like 
 
 Objects, well handled, look alfo very plealing in a Room. Thus we 
 might, as I may fay, Ihew the World in Epitome, and behold it at one 
 View. 
 
 If a Painter always follow one Manner, how often will he expofe 
 his Weaknefs and Incapacity? If it be Sun-fhine, what Places will he 
 find to fuit all his Pictures? Can he place them always in the Sun, in 
 order to fhew their Naturalneis ? but granting the Work to be placed 
 in fuch a Light, another Unhappinefs will ftill attend it ; for the Sun- 
 light will fall into the Picture from a Side, and the real Sun-fhine will 
 come upon it fronting. 
 
 From which Premifes 'tis apparent, that the common Light is not 
 only neceflary, but always the moll advantageous for Chamber- 
 pieces. 
 
 A good Painter ought to be prudent in the Difpofition and Choice 
 of his Work, carefully obferving the Nature of the Place, that his 
 Art may not disjoin, but aid the Architecture , making his Landskips 
 
 No. 12. N n (in 
 
x8i 
 
 Of Lundskips. 
 
 Book. Vi 
 
 (in order to look like Nature) the further they are from the Light of tfo 
 Room, fa much lighter than thofe which are Mar it ; for otherwife, they 
 will look but like Pi f lures: - " :. • r sK" * " :l , l 1 ' ''** 
 
 The fecond Confideration (which is a great Addition to Ornament) 
 refpe&s the fell 'owing or matching the Pictures well ; ; -and tho' Matching- 
 pieces be very well known, yet: many People entertain wrong Notions 
 about them. Their' Opinions/ touching what is neceflary in a Fellowing* 
 pit! ure, are various: But they generally agree, that it confifts of an 
 Uniformity of Conception and Difpolition of Objects, Colour and 
 Light: To which, fome add, that if one Landskip be a flat Country, 
 the other ought to be the fame; if one be rocky, the other Ought to ; 
 be fo too : In ihort, they muft be fo much alike, that, on coming to- 
 gether, the one fe' ems to be an Imprefiiort of the other ; in both, e- 
 qual Sky, equal By-ornaments, equal Filling; nay, fo very equal, that 
 there muft not be a white Speck in the one, but the other muft have 
 it alfo. „• * . • > 
 
 My Belief is, that thefe Niceties are owing to the Wilfulnefs of 
 Artiftsr,: r and that, in a Matching-piffure, nothing more is requiftte, than, 
 an equ'al -Point of Sight and Uniformity in the -Figures;- token' it muft 
 hang at a like Height with the other ': He who would - join the reft of 
 the Particulars, feeks the fifth Wheel on a Waggon ; for why, after 
 fatisfying my Curiofity in viewing a folitary Wilderriefs, Ihould I not 
 enjoy the Pleafure of a pleafant Plain ? Or a woody Landskip in Op- 
 polition to an agreeable Water- view and a delightful ProfpecT: ? I think 
 the Word (Fellows) fufficiently implies, that they are two Pictures 
 of equal Size , alike framed, receiving the fame Light, whether they 
 hang above or next each other, moflly alike filled with JVork, and the 
 Figures- of equal Magnitude, and leffening toivards the - Point of Sight. . 
 And as for the Thoughts or Dejign, the more different they are, the 
 more agreeable - y and the better (hewing the Richnefs of the - MafterV 
 Fancy. In a Word ; a Landslip fuits beft with a Landskip, and \Ar- 
 . chiteclure with Architecture ; and more is not, in my Opinion, required 
 in well-fellowing. a Picture. 
 
 CHAP. 
 
Chap. 8. ' Of Landslips. 183 
 
 CHAP. VIII. Of the Lights in a Landskip. 
 
 ALTHO' we have largely treated of the Lights in the prece- 
 ding; Book, yet I find my felf ..obligated to fay fomewhat about 
 it, with refpea to Landskips ;■ efpecially Front-lights m Pieces 
 which face Windows', This Point puzzles many Painters; and not 
 without Caufe, fmce 'tis a critical Proof of their .Capacities. 
 
 The chief Reafon of this is, that Artifts will not venture to under- 
 take any think that is unprecedented ; and no one has Courage enough 
 to fet the Example. They plead a main Difficulty arifing from hence ; 
 namely, that, having a Front-light, they cannot make Shades on the 
 Ground or Objeas, but muft find their Effefts going oft and Force on- 
 ly by the darkefi Touches: As if the driving Clouds did not caule large 
 Ground-fhades ; which daily Experience (hews they do. In the next 
 Place, thefe Men tacitely confefs their Ignorance of the Force and Har- 
 mony of Colours, in chufmg dark Objects againft light ones, and the 
 contrary; for, placing againft an Oftskip of green Trees, light-colour- 
 ed Objects, fuch as White, Rofe-colour, light and ftrong Yellow, and 
 the like, you have no need of large Shades. Would you make Ob- 
 jects asainft a light-coloured Building, let them be of dark Colours; 
 or a Vafe of a warm and brown Colour, and againft it, a lighter Ob- 
 ject again ; and againft the Offskip the foremoft Work, is made ftrong 
 by the Diminution of the Tints ; fince all that goes back or retires be- 
 comes darker and more dusky ; as the Shades, on the contrary, i grow 
 fainter and weaker the further, they are off. Again, the Grounds 
 themfelves can afford us great. Helps; one may be light Yellow, ano- 
 ther Green, another bluifh, according to their Qualities, as we (hall 
 
 further fhew. : , 
 
 As to the Figures , they may have a futhciertt and natural bide-Jhadc 
 for fetting them off; for thofe, which are on the Side of the Piece, 
 which moft goes away from the Light, will receive much more Shade 
 than the middle ones ;, as alfo a Ground-fhade ; becaufe they go lo much 
 a/hie from the Point of Sight, and the further, the more. 
 
 We conceive alfo, that if any Houfesor other upright Works running 
 towards the Point of Sight were placed quite on the Side, the one high 
 and the other low, as here, a Grotto with a Vifto, there again . fome- 
 thineelfe with rufticated Stone, or Balluftrades, &c. and before them' 
 
 ' N n 2 a Water, 
 
*H Of Landships. Book VI 
 
 a Water, along the Extremity of which, fome Vafes or Figures were 
 ftanding on Pedeftals 5 thefe Objefts, I fay, altho' they had no perfea 
 Shade, yet, with refpeft to the Light, would fuffice ; and moreover, 
 throw Ground-fhades againft each other : Which would give the whole 
 Work a great Decorum and Elegance. 
 
 If it be objected, that this Management would caufe too great a 
 Force on the Objctts without the Piece ; and make it look empty in the 
 middle, and the Eye of courfe be drawn too much to the Side ; more- 
 over, the two Corners of the Piece would then be too confining : I anfwer, 
 that, if the Ordonnance be difpofed on fuch a Ground as aforefaid,' 
 and the Cfc^// chofen and ordered, the large Light in the middle 
 will be found the ftronge/l, and the Side-work more clofe and compacl - 
 and by ordering fome Pedeftals with Vafes, here and there, againft the 
 d ShadeS ° f the Buildin S s ' the y would produce a fine 
 
 Many dare not introduce any Ground-lhades on the Fore-ground, in 
 fuch a fronting Light, in order to break a little that large fight, and 
 make it go off ; alledging, that the Wall covers it, and thinking, that no- 
 more Ground-ihade can be feen on the Ground than that of theWall * 
 But thefe Men are much miftaken ; they ftand and behold the Place, but 
 do not confider what is- built over their Heads ; what high Stories, and 
 what large Ground-fhades thofe Things ought to caufe on the Fore-ground 
 going of, which they muft imagine to be feen without Doors above the 
 Opening of the Piece ; for, tho' it ftand againft a plain Wall, yet it 
 artfully reprefents an intire open Pannel in the Room, the Light where- 
 of falls directly into it. 
 
 To be the better underftoodin what I mean by (Objetfs without the 
 Puce, or Out-works) I add the following. Demonftration in Plate 
 
 In the Part A place a Point of Sight B, and draw from it two vifual 
 Lines C and D : Now all that is without thofe Lines, is without the 
 Piece E, and called Out-zvorks, and may be fuppofed to reprefent a con- 
 tinued Stone-work united and joined to the Wall F, whereby Shades 
 and Ground-lhades fall on the Ground ; and all above it being Sky 
 you can, as is faid, ihew the Height of the Houfe or Chimneys, by 
 Ground-fhades falling into the PicJure. 
 
 Here it may be asked, whether the Figures in the middle (which on 
 this Occafion make the principal Light) ought not to be altogether, or 
 always the major Part of them, in the Shade ? To which I anfwer, that 
 the Height or Lownefs of the Houfe muft govern in that Point ; for, if it 
 
 be 
 
Chap. 8. Of Landskips. zSy 
 
 be high, the Ground -(hade will be longer; if low : roof'd, neither fo 
 long nor broad. 
 
 This Method, Co far as it relates to Fronting-pieces, is as well founded 
 as helpful, and, tho* never pra&ifed, 'tis however not to be reje&ed : 
 But no body will lead the Way, without feeing the Examples of others* 
 And yet, every Day, as we walk in Sun-fhine, we may make this Obfer- 
 jvation in Nature ; the Sua. (hews us Examples enough. Moreover, 'tis 
 natural in viewing Things, rather to have the Sun behind than in our 
 Faces, and yet many reprefent the Sun-light behind in the Piclure> and 
 not one does it fronting i as having no Knowledge of the Natures and 
 EfFe&s of Colours, nor of making Lightnefs and Darknefs againft pro- 
 per Grounds, and, confequently, do not understand due Harmony. 
 Pourtrait and Bafs-relcif-Painters dare venture to do it, and find fo much 
 Advantage in it, as thereby beft to deceive the Eye 5 to their great 
 Honour. 
 
 If the Artift think he can apprehend me better by an Example, I 
 will freely give him one. See Plate LI. aforefaid. 
 
 I place then, on the right Side of the Piece, a Row of Houfes run- 
 ning towards the Point of Sight. The firft is fquare, with a Step into 
 the Door-way ; the Door is half hidden behind the Frame of the Piece, 
 and ornamented with two Pedeftals with Sphinxes. Two or three Feet 
 over the Door is a fmall Moulding which fupports the Roof. Near this 
 Building (lands another, rifing lbmewhat higher *, the Side -walling. 
 I whereof is plain, and in Front are a Door and Window. On each Side 
 of the Entrance ftands a Pillar fupporting the Entablature, and there- 
 on is a Compafs-fpandrel. Next this, are feen. Rails running up to an- 
 other Houfe, which is higher than the firft, and lower than the fe- 
 cond. Ten or twelve Feet further off ftands an high Walh running crols 
 the Piece ; and in this Wall, on the left Side of the Point of Sight, is 
 a large open Gate-way, thro' which we fee the OrTskip. Above this 
 \ Gate, on the right Side, appear the Tops of fome large and high Trees, 
 i which fill the Sky. In the middle of the Piece, we exhibit an ofran- 
 i gular Stone, and, againft the Front- cant, a Water-trough. This Stone 
 ; is about 8 or 10 Feet high, and has, on Top, a Ball. On the left Side, 
 ; without the Piece, ftand fome Trees running towards the Point of Sight. 
 Now, obferve the Light (which, as has been intimated, falls into 
 the Piece fr on ting J and what Ground-jhades the Objecls give each other, 
 and their Courfe with Refpeft.'to the Surf s Height. 
 
 He now, who underftands Perfpe&ive, may eafily guefs, what Shades 
 iuch Objects will give on the Ground, how large and long they will 
 
 be. 
 
x%6 
 
 Of Landskips. 
 
 Book VI. 
 
 be, on what they will fall, acrofs, and runing towards the Point of 
 Sight: Likewife, how much this Front -light. will, jexceed a Side-one,, 
 in Brightnefs as well as Colours, All Things parallel with the Horizon 
 are intirely lighted by the Sun\ and cont rarity, thofe : which are parallel 
 with the mfual Lines, are dark and without his Reach, and Jo exaclly 
 limited, that the leaft Projeffure, even of an Inch or a Straw's Breadth, 
 will receive Light ; as the Example (hew?., 
 
 As for the Set-off or Harmony, no one will doubt whether it is lefs 
 to be found in a fronting Sun-fhine than a fide one j for, what is wanting 
 in Shade the Colours and Tints will doubly fupply. 
 
 This Sort of Light, how odd foever it may feem to thofe who never 
 tried it, neverthelefs affords many beautiful and advantageous Accidents 
 very pleafing to the Eye ; but I muft obferve, that the wider and larger 
 "the Piece is, the more charming it becomes, than in a narrow and high 
 one ; becaufe, the more rihe"'Obj 'eels approach the Point of Sight, * the lefs 
 Shade they give, and the further they go off fidewife from it, the broader 
 are the Shades. 
 
 I did not propofe to lay any 'Thing further about the Lights and their 
 Qualities ; but in the Courfe of Writing, fomething of Moment touch- 
 ing them ftill occurs to my Thoughts, which I think worthy of Ob- 
 servation, as being fo uncommon, that I doubt whether any lnftance has 
 been before given of it; it is touching the Air or common Light falling 
 from on high thro' an Opening into a round and clofe Temple, or any Place 
 of Retirement, rocky Repofttory for the Dead, &c. I fuppofe the Open- 
 ing as the Defign will permit. Now we have formerly fhewed, that 
 common Light, contrary, to that of the Sun, illuminates the Objects 
 with widening Rays; wherefore, all Things, going away from the 
 Center of the round Temple, have longer and narrower Ground-Jhades y 
 as the nearer the faid Center, the Jhorter ; even fo much, as if, ftanding 
 juft under or upon that Center, they give. not any Ground-fhade at all, 
 except under Foot. On the contrary, it will be found, that fuch Ob- 
 jects receive ftronger Light from on high than thofe which go off fide- 
 wife, and the further they go off, ftill the lefs : Yet we perceive the 
 contrary in the Reflexions from the Ground. The more the Objects ap- 
 proach the Center, the lighter they are in Reflexions, be the Ground 
 even White, or Blue, Red or Yellow, Light or Dark. 
 
 As for the Courfe of the Ground-fhades of the Objects, let them ftand 
 where they will on the aforefaid Plan or Ground, they flow from the 
 Center or middle Point directly under the Light. 
 
 CHAP. 
 
' ■ : 
 
 Chap. 9. Of Landslips. 187 
 
 CHIP. IX. Of Landskips in a fmall Compafs. 
 
 W E have formerly averted, that Reprefentations in a fmall Com- ' 
 pafs are neceffary as a general Rule for all Choices \ which we 
 'fha'U exemplify m Landskips on almoft the fame Bafis as that of 
 Hiftory ; to wit, that there is a Difference between a Landskip in a fmall 
 Compafs, and the contrary ; and that the former is much more artful 
 and troublefome than the latter, tho\ having lefs Circumftances : To 
 which, we fhall fubjoin the Requiiites neceflary to both, in order to 
 make each in its Kind equally good ; together with a Remark touch- 
 ing the By- ornaments. 
 
 As to Landskips in general, they are, as we have mewed, in the fame 
 Cafe as Hiflorics ; to wit, that a large Ordonnance in a fmall Compafs, 
 carries more Art, Knowledge and Erteem than the contrary ; becaufe 
 the Objects require more Work, and a more plain and diitinft Ex- 
 preffion of their Qualities ; which in fmall Objects, in a large. Com- 
 pafs, is not fo nicely requifke ; for the nearer we approach the Objects, 
 the more fenfible they become. As in Jiiftori.es, Variety of Thoughts 
 and Objects occur (for compofing Ordonnances, either fmall or large, 
 with 2, 6, 20, 50, even an 100 Figures) in Palaces, Halls, Galleries, 
 : Towns, Villages, in the Field and Woods, &c. So in Landskip offer 
 ; an Infinity of Objects for making fine Views, both 'in fmall and large 
 ! Compafs, fuch as Woods, Plains, Rocks, Wildernefles, common 
 I Roads, Buildings, Fountains and Statues, folitary Places with Tombs 
 and Grottos, Sea-ports, Cafcades or Water-falls, in order naturally to 
 exhibit therein all Sorts of Occurrences, the heroic and paftoral as 
 I well as the fatyric, mournful, joyful and merry. And tho' we could 
 I order alt the aforefaid Particulars into one Piece, yet they cannot pro- 
 duce fuch an Effect, ;in reference to Art, as each fingly will do ^ it be- 
 \ ing certain, that Things feen from afar, as we have formerly obfer- 
 j ved, never fatisfy Curiofity fo' well as thofe wliich are near y whereby 
 ; they become" to [ us more diftinct, as 1 - well in their Exiftence and Form 
 | as Colour. We know, that the more the ? Objects diminifh and .go 
 off from us, the more they abate of their Littleneffes, not only in their 
 ! Superficies/ but alfo in their Out-liries and Sways. 1 • A Tree's Body full 
 of Holes and Knots, appears fmooth and even at a Diftance 3 even 
 
i88 
 
 Of Landslips. 
 
 Book VI. 
 
 the crooked will feem almoft {freight, and the whole Leafing as one 
 Mafs. 
 
 It's true, that a large and concife Landskip does not give general 
 Satisfaction j yet we know, that an Aflembly of few (but People of 
 Judgment) will never break up without doing Bufinefs ; when, con- 
 trarily, a Meeting of the Vulgar feldom does any thing without Con- 
 fufion. It's the lame in Mufick, with many Voices \ they make a 
 great Noife, but never affect the Senfes like the Jingle Voice of a fine 
 Woman, accompanied with the Bajfo continw, which intirely charms 
 us, make us figh, even fometimes (bed Tears and this is only caufed 
 i. By the Force which lies in a Solo, fupported by the Bafs. 2. By 
 the Diftinctnefs of the Words fweetly utter'd; and laftly, by their 
 Senfe or Paffion : All which is not to be found in a great Concert; 
 becaufe we cannot underftand the Words, much lefs the Senfe, but 
 fix our Attention on the general Harmony only. It is true, a great 
 Performance of Mufick will pleafe common Senfe, but an artful Solo 
 is for People of Judgment ; the former does, in fome meafure, af- 
 fect the Body, but the latter touches the Soul, and leaves lafting Im- 
 preffions. 
 
 The principal Difference between fmall and great Landskips lies in 
 the Point of Sight. In the Great in a fmall Compafs, the Horizon is 
 commonly fomevvhat low, and in the Small in a large Compafs, hi<*h r 
 In one is a high Ground, in the other a Valley; the one is a natural 
 Reprefentation, and the other looks like a Map : The one keeps a good 
 Decorum, let it hang ever fo high, and every thing looks upright', in the 
 other all things feem to be tumbling; and it appears well no longer than 
 while on the Eafel. In a great Landskip in a fmall Compafs all is 
 feen plain and diftincl ; at lea ft one Part, according as the Choice is; 
 in the fmall in a large Compafs we can perceive nothing perfectly but 
 the General ; partly, becaufe the great Light creates a Faintnefs, and 
 partly, becaufe the Piece is viewed at a great Diftance, as hanging 
 commonly above other Paintings : 'Tis even a certain Maxim, that as 
 Figures never hang below the Eye, unlefs in an Auction ; fo a Land- 
 skip with an high Horizon, muft always needs be falfe. I leave the 
 contrary to any one's Judgment, how'much more Decorum and Advan- 
 tage it has, when of fuch an Extent as to be placed high or low, even 
 up to the Cieling, without Fear of being hung below the Eye, when 
 the other muft find it's Comfort under its fet Height, without Hope 
 of ever gaining its Decorum, unlefs- by coming cafually on the Eafel 
 again. 
 
 After 
 
Chap. 9. Of Landships. l8 o 
 
 After having fhewn, that « great Landskip in a Jhall Compafs, 
 
 7^-1 ^T?"' A an // bear han S in S ab °ve the Eye, arid lookbV 
 coming; and that a /matt one m a large Compafs / becaufe of the 
 high Horizon lofes its true Quality, to the Detriment of the Paint- 
 er; we conclude, that there is no better Method to be ufed with a 
 Landshpof large Extent, in order to make it becoming and natural, 
 
 | than to fet as aforefaid, the Horizon fomewhat low?r; fmce fuch 
 
 ! Pieces are always placed above, I may fay f ar above, the Eye. 
 
 But here, perhaps, a Difficulty may be ftarted ; namely, that if the 
 Horizon be fet fo lo w, the Sky will over-power the Principals of the 
 Piaure: But .n M vcr l et me ask, whether the Sky is to be look- 
 ed on as an ufelefs Patch ? Does not the Sky moft adorn and invigo- 
 rate a Landskip and make .t look agreeable? Muft we fuppofe ?he 
 Earth to excel the Heavens in Magnitude ? Ay, But, fay they, there 
 
 ts nothing to be feenm the Sky But is a beautiful Sky fuch a 
 
 Trifle, and fo eafily to be painted? Is it not more artful to reprefent 
 thin driving Clouds than a flat Ground, here and there an Hill or Plafh 
 of Water, Grafs or Herbs ? A beautiful Sky is a Proof of a good 
 Matter; but if it feem too large, we have an Help for that: Make 
 the Fore-ground fomewhat large, and then a Tree or two, thick or thin- 
 leav d, will take' up enough of the Superfluity, and break any thing 
 that is obftruaing. Likewife a Building may ferve, either fronting, 
 or in Profile ; or inttead of it, a Pyramid or Obelisk : Thefe, not Fo 
 
 • be flung into the Ottskip, according to ufual Pradice, but brought on 
 the Fore-ground great andfirong; letting the Tops of thofe Objects ad- 
 
 j yance high, in order to fill, and thereby, as I have laid, in fome mea- 
 
 I • a'j f a r , th f re to break the Sk y- But - here it may be again ob- 
 jefted, that fuch large Trees would not look fine, becaufe their Leaf- 
 
 ! »"8 c * nmt ° e [ eea : . f B , u t is the Leafing of a Tree of more Value than 
 H I°L a \ beautI . ful Building, Pyramid, or any fuch uncommon Ob- 
 : jea ? Muft thefe give place, and be left out for the fake of a Tree > 
 ' Yt£ r° wonderful, and be a great Pity, that one in an hun- 
 
 dred (hould lole its Leahng ? Let one, two, or more Boughs (hoot forth < 
 there are enough without them. I fay then, that, by This means, the 
 Skymttbe fuffictently filled, and the Difficulty removed. And now 
 the Sky is moderated, and the greateft Force lies in the Landskip and 
 By-ornaments ; the Fore-ground is elegantly embeilifhed ; the Offskio 
 broad and deep, with an Extent equal to my Wifh ; and the Horizon 
 luch, as I need not fear the tumbling of the Objects. 
 
 No. 13. O o When 
 
xyo Of Landslips. Book VI 
 
 When Ifpeakof placing forwards, great Trees, elevated Buildings, 
 Pyramids and large Figures for By-ornaments, fome may poffibly fay ^ 
 That then the Ground goes down behind, and r if es forwards s fince they : 
 cannot relifh any thing they are not ufed to, and which requires the 
 Objects to be fomewhat more fmifhed and larger than in their common 
 Way : But altho' I have thus (hewed the Preference of one Manner of 
 Painting before the other, yet I do not prefcribe it as a Law to be al- 
 ways followed. My Defign is only to illuftrate what is fine in the one 
 above the other. 
 
 C H A P. X, Of painting Rooms with Landskips.. 
 
 IT H I N K this Point to be of Moment, and weighty enough to 
 be confidered with Attention ; the rather, fince fome Painters often 
 happen to fee different Management with refpect to the Rules for 
 painting Halls, Parlours, and therefore cannot refolve on what is 
 moft fuitable and advantageous for thofe Apartments ; and when they 
 are to perform fomething therein, fo many Difficulties arife, and their 
 Opinions fomuch vary, that they are at a ftand whether they fhall re- 
 prefent a Picture, or, a Painting in the Manner of Tapejlry, or, Mm 
 ture itfelf. 
 
 As to the firji Sort, we muft be fenfible, that the Pictures, being 
 all of a Size, and placed orderly, will be taken, by the Knowing, for 
 abftratted Paintings, having no Relation to the Room ; according to the 
 Notions of thofe, who, being Matters of a good Collection, are indif- 
 ferent where their Pictures hang, whether againft bare Walls or Hang- 
 ings. As to the fecond Sort, 'tis certain, that Paintings, made in the 
 Manner of Tapeftries, will never be taken for real Tapeftries, be their 
 Borders ever io beautiful and elegant ; and therefore have not the Ef- 
 fect which the Mafter purpofes. The third Sort, viz. to reprefent 
 Nature, is certainly the beft : For, what can be wanting, when the 
 Work is natural, artful and proper to the Place ? 
 
 A Reprefentation of Tapeftry is a lame Picture. And a Picture, 
 not agreeing with Nature and the Place,, is alfo deficient ; wherefore 
 a Mafter, who paints fuch, is unpardonable ; becaufe, inftead of a- 
 dorning the Room and preferving its Architectonic Order, he at once. 
 fpoils both, 
 
 I was 
 
Chap. io. Of Landslips. 191 
 
 r was one Time asked, whether any certain Rules, befides the Light 
 and Point of Sight, were neceflary for Hall-painting. I anfwered, that 
 the Architecture ought to be obferved throughout as far as concerned the 
 Compartition and Ornaments ; and that, whether painted or real, they 
 muft correfpond with the Door, Mantle-piece and Alcove, and the whole 
 Work take its Proportion from one Order, that it may look proper, 
 and make up one compact Body. Now, if a Wall were to be covered 
 with a (ingle Picture, it muft be handled in the Manner of an Hang- 
 ing : But a Picture is fomewhat more brittle than a Tapeftry, and 
 fooner damaged by hanging fo low. Chairs muft not be fet againft 
 it ; if it get Hurt or Dents, they are not eafily repaired ; a Surbale is 
 much better ; and befides, the Wall is fometimes fo long, that it can- 
 not well be feen at one View. Wherefore, when the Diftance is too 
 fmall, it is better to divide the Wall, and to ufe more than one Point 
 of Sight. 
 
 If now there be a Door in the middle, or on each Side, they ought 
 to be left free, tho' they are without Mouldings, and even with the 
 Cloth ; for the Room muft have at leaft one Palfage : But not painted 
 over, according to the Practice of fome, with Trees, Hills, or Stone- 
 zuork, as if it were not there : A very common Error, and which no 
 Mafter will juftify, uhlefs he have a greater Eye to Profit, than the 
 general Elegance of the Work. Wherefore 'tis more advifable to enrich 
 the Door or Doors with fine Mouldings or Ornaments. If the Door 
 happen to come in the middle, a beautiful Frontifpiece, adorned with 
 Carving, will look magnificent : This, in order to fave Building-char- 
 ges, might alfo be reprefented on Cloth ; yet fome Artifts, who are not 
 ufed to it, will not eafily be induced to undertake it, but rather fo 
 much more Landskip ; tho' on due Confideration, and for the fake of 
 Decorum and Naturalnefs, they had better call in the Affiftance of an- 
 other Hand for their Help. When now there happens to be a Door, 
 but not in the middle, it will be proper, for obtaining Regularity, to 
 order alfo one on the other Side ; unlefs it be even with the Wall, 
 and the Moulding of the Surbafe run crofs it ; in which Cafe, you may 
 make fomething or other on its upper Part, fuiting with the Land- 
 skip, fuch as a Stone with Bafs-relief either diftant or near. I fay, 
 you may do fo ; but for my Part, I (hould not much like it : Where- 
 fore my Opinion is, that two Doors are much better than none ; and 
 tho' you might neverthelefs incline to the laft Propofal, in order thus 
 to have a larger Piece, yet 'tis inconfiftent, fince the Cieling muft 
 have its 3upport according to its Compartment. Under each Sum- 
 
 O o 2 mer- 
 
x 9~ Of Landslips. Book VI. 
 
 mr ought to be fomething, either a Pilafter or Term, or elle the 
 P,ece muff have a circular Head. But Rooms are feldom fo o f re d 
 perhaps, becaufe fome Men love to engrofs all the Gain to tLrSves' 
 «clufive of the Affiftance of others "and were fome pe rm S to do 
 as they pleafe, they would paint over every thing, with ^Flow's Fru?t 
 or fftcry., ar . Architefture-painter. every where MouuZs They 
 TP' eV T, m T T%K fuch Len g ths > that cou W Floof be i£ 
 
 FWpft Vft C o e r Ln a g n' Hft " ^ ^ St ° ne ' ei *« a 
 chefts P ° ry ' 38 fometI ™es we fee it in Iron- 
 
 I fay then, that an Artift, tho' the whole Work be undertaken bv 
 ^n°R J V mUft ^^ intr0duCe m0re of * P^icular fran h lZ j 
 
 n fuch Par°ts ?f K^T ^ the Affiftance ^Friend 
 
 LT1 1 r he , r - be an >'' as he has not ft "°ied ; for Variety re- 
 
 fteftes the Eye I thmk an Hall or Room, with one Sort ofPuU?, 
 Lke a Shop wherein are fold but one Sort of Goods. To eive an In 
 ftance, let us fuppofe a Room, with a Side-wall, 30 Feet lonl dU& 
 edmto three Pannels; and the Surbafe round the Room and S 'the Pi" 
 lafters between the Pannels, to be either of Painting or Wood as I 
 ted ,t proper 5 and. over the Chimney I propofe a Piece \dtb FiTr'es I 
 tho' a Landsbp-pamter, undertake the whole Work; Z7Z belt 
 able to manage the Chimney-piece, defire the Affiftance of ^3 
 painter; becaufe a generous Painter, if he expert Praife and H Jour 
 niuft not Jo much regard his Gain as the Decorum of the Room • a Clo th 
 of s or 6 Feet more or lefs, in fuch a grand UndTntk™ 'i £1 
 
 Landshp have f W, the #™ whereof ought o b e tlS "1 
 
 S&tS&$g^ Wherefore in 
 
 We are very fenfible, that if, in fuch a Room, we reorefent Na 
 oS I £ «T lntr °, dUCe ' , iM ° ° M Pannd « a W^l, So the fe-" 
 tues, all mult have one and the fame Air. We grant that wen- 
 the Room comparted into four Pannels, we could^xh bit theZr 
 
 provided eachPiece W*m 
 
 As for the Difficulty of the left and right Light -to which th» iufc 
 preces xnuft needs be fubjecl, andW £«4^S®^^ 
 
Chap. ii. Of Landslips. x$>3 
 
 from the Windows, we have fufficiently fpoken of it, in the Book of 
 Lights and Shades, 
 
 And now, if throughout, we fee a continued or natural Landskip, the 
 Air alike, and the Leafing of the Trees running from one Into the other, 
 when they are extenfive enough, I imagine the Painting muft look well, 
 and Nature and Art be fully fatisfied. If I am not followed by every 
 body, I am fufficiently honoured by doing Juftice to Art and the Cu- 
 rious. 
 
 C HAP. Xf. Of ornamental Painting without-doors . 
 
 AFTER having treated of Room-painting with Landskip, I 
 think this the fitteft Place to fpeak of ornamental Painting with- 
 out-doors. This Point is very ufeful for two Reafons ; firft, be- 
 caufe by certain Paintings, adapted to Places, we difcover what Sort 
 of Places they are, and what Ufes put to. Secondly, becaufe it will 
 be of Service to Artifts frequently concerned in painting Viftos, Foli- 
 age, and other Things without-doors, in leading them to further 
 Thoughts^ 
 
 I think it moil proper to ornament Summer-houfes (which are at the 
 Ends of Walks, and ufually benched) with Grottos, fet off with Fi- 
 gures and Fountains ; but fhallow and Side-fummer-Houfes look beft with 
 Bafs-reliefs of a darkifh Colour. In Houfes of Pleafure, for Drink- 
 ing, Talk or other Amufements, fuit Grottos, Fountains, Figures, Urns, . 
 and Vafes. The Ends of Galleries become Architectonic Views, and 
 the Piers between the Windows, Niches with Figures and Bafs-reliefs, 
 according to the Thicknefs of the Wall. In Gateways, havttig Rooms 
 on each Side, Figures and Bafs-reliefs are proper ; as alfo fine Archi- 
 tecture, fet off with Terms and other fuch Things : yet on the Sides 
 and Sofitas of Windows ought to be Foliage only. 
 
 But, to return to the Summer -houfe-Painting, we muft confider, that 
 as the Kinds are various, fo there fuit to each, particular Reprefenta- 
 tions as well in Deffgn as Colours, according to the different Lights. 
 
 If the Building.be fquare, and have the Opening in the' middle, and 
 the Painting exhibit a Bafs-relief, the Light ought to he fronting ; but 
 if it; be clole-roofed, the Light muft come more.from below. Again, if 
 this Building be deep, or the Opening, which gives it Light, far from 
 the Wall, it ought to be lighted moflly from the Reflemn 'of the Ground ; 
 
*94 Of Landskips. Book VI 
 
 y^' Jf, th e Opening be wide, the Light may proceed fomewh at from 
 the Side: But contranly, when the Summer-houfe is Jhallow, or 
 the Opening near, and one Part of the Painting is in the Light, and 
 the other in Shade, its own natural Reflexion muft be feen in the fhady 
 Part, that the Work may look like a real carved Bafs-relief • And 
 becaufe no Tendernefs or Pleafantnefs can be ufed in it, as being, 
 m Shade, I think the Parts there ought to be handled fomewhat 
 more large and Jirong, I mean, with few Li ttleneffes, in order to make 
 them come out, and for preventing Confufion, that at a further Di- 
 stance the Work may look becoming. Thus much as to Light 
 
 The Colours in this Cafe, if well chofen and put together, add no 
 imall Luftre; of thefe, I think the three following Sorts the moft pro- 
 per, namely, Free-ftone, blue Stone and white Marble, by reafon of the 
 Greens of the Building, which cover it, and commonly /hade the 
 Fainting, and impart to it more or lefs of their Colour : Which how- 
 ever, looks lovely and fweet, efpecially upon the White. The two o- 
 thers, Blue and Free-ftone, may be ufed for By-works ; fince Purple Vi- 
 olet or Red cannot have here a proper Place, by reafon of the dis- 
 cordant Green, producing an inharmonious Mixture. But, if a clean 
 Light fall on the Painting, without being (haded, then the three laft 
 named Colours appear well, as does alio a Flelh-colour, and have, with 
 the Green, a good EfTed, as being, by means of it, improved : And 
 the Green thereby becomes beautiful and lively ; efpecially when pla- 
 ced between Blue-ftone-Ornaments, which every where unite with 
 the Green, and keep together. But in this Management let me be 
 understood to fuppofe the Summer-houfe to be wide; where what has 
 been laid is, on each Side, next the Opening without, painted on 
 Boards, giving little or no Shade. 
 
 In the^ainting ought alfo to be confidered its Shape, whether cir- 
 cular, Jquare, oclangular, oval, or any other, which will heft fuit 
 there. 
 
 As for the Subjects -or Defigns, they muft be governed by the Situ- 
 ation of the Place, Flowers are f acred to Flora ; the Spring, to Venus • 
 Fruits, to Pomona- Vines, ft, Bacchus; Herbs, JEfculapius ; Corn, 
 to Ceres; Mufick, to Apollo, who is alfo the Parent oftheSeafons- 
 Procreation, to Prmpus; and Fruit fulnefs , to Diana : From thefe Heads 
 may be drawn Abundance of Matter for the Ornament of Summer- 
 homes. 
 
 Now, to be more plain in what I have before aflerted, I fhall ex- 
 hibit two Examples. 
 
 For 
 
Chap. ii. 
 
 Of Landslips. 
 
 For the one, I' place Zephyrus and Flora in the middle of a fquare 
 or round Piece, as occafton requires; thefe are both feen fronting, mu- 
 tually embracing in a lovely Manner. He, fitting on her right 
 Side, has his left Arm about her Neck, with his right Hand holding 
 hers, which refts on his Knee, and fhe fpeaking to him very friendly 
 and lovingly, almoft Mouth to Mouth. Her Head inclines over the 
 right Shoulder. With her left Hand fhe is taking up a Wreath out of 
 a Basket of Flowers. Her Lap fways to the left, and his to the right ; 
 and between them are fitting one or two Cupids twifting a Garland 
 about a flaming Torch. He is almoft naked and winged, having a 
 Trumpet lying by him. She is airily and finely dreft. 
 
 The other Example confifts of three Figures, and exhibits Flora on.. 
 the right Side, Pomona on the left, and dpollo in the middle, touching 
 his Lyre, and fitting fomewhat above the two< others. Flora has a 
 Cornu Copia full of Flowers, and Pomona's is rilled with Fruits, and 
 (he holding a Pruning-knife. Jpollo fits fronting. Flora looks forward, 
 with a Finger on her Mouth ; imd Pomona, as in Surprize, tones her 
 Head backwards and fideways. Thefe Goddefies fit in Profile againft 
 each other. The By-ornaments, round about, confift of Childre nor 
 Cupids. 
 
 Such Defigns as thefe, efpecially the former, are moft proper in 
 Flower-gardens ; but where there are moft Fruits, Pomona takes place. f 
 Here you muft obferve, that I order thefe two Compofitions for Bafs- 
 reliefs, fomewhat more than half riftng, and lighted fronting ; but when 
 the Light comes from a Side, they ought to be very faint, or little re- 
 lieved ; as we (hall further iliuftrate in the Book of Statuary, treating 
 of the three Sorts of Bafs-reliefs. 
 
 In Flower-gardens fuit beft diftant Viftos, or Groves; contrarily,._in 
 JValks with Trees, the Ornaments fhould be Rivers, Sea-havens with 
 Hills, Buildings, Rocks, and fuch like ; as they are not (haded by Trees, 
 but receive a pure and open Light. Yet in Summer-houfes and Places for 
 Reft, which are fomewhat fhaded by the Greens, Viftos are not proper 9 
 but rather Bafs-reliefs, confifting of one, two or three Grounds. 
 
 On the Court-yard-Walls, between the Houfe and Garden, fuit alfo 
 faint Bafs-reliefs of one or other of the colour'd Stones aforefaid ; like- 
 wife Terms, Urns and Vafes with Greens, in cafe no natural ones be 
 there ; or elfe, Fountains, with their Water-falls. Againft a green 
 Hedge or Wall fuit well circular Hollows, with Bufts in them, if alfo 
 thereabout ftand no natural ones. Thefe Bufts may be painted of white 
 or light Red Marble y or other light-coloured Stone. 
 
2.96 Of Landslips. Book VI 
 
 The Places before-mentioned are the principal and moft common, 
 but feldom happen to be together; yet if they Ihould, the Methods 
 aforefaid will be of ufe, and you may enrich your Thoughts by their 
 means j fince they are laid down as well for Hints as Examples : And 
 if you alfo confult the line Defigns of le Potre, you will never be at 
 a ftand. But, the better to aid the Conceptions of a young Mafter, 
 I willingly fubjoin another Ordonnance of my own Invention, as 
 follows. 
 
 I place Venus in the middle of the Piece, fitting quite naked between 
 Pomona and Flora ; this latter ftands on her right Side, crowning her 
 with a Chaplet of Flowers; and Pomona, on her left, offers her a 
 Branch of Peaches-; which Venus receives with her left Hand, who, 
 fitting high and almoft ftrait, maintains a fine Air and charming De- 
 portment; and thus by her Triplicity affording an agreeable Har- 
 mony of Beauty, Smell and Ta/ie, (for here, Beauty implies Sight ) 
 and if the Place be higher than broad, you may join Apollo to their 
 Company, fomewhat off and fainter, fitting playing on a Cloud ; and 
 thus you may, in the moft proper Manner, exhibit the five Senfes. 
 However, Apollo is not fo absolutely neceflary here, fince Venus, or 
 Beauty, alfo implies Harmony ; but I bring in Pomona, becaufe Fruits 
 and Flowers generally go together \ for Flowers grow and appear all 
 the Year round, as well as the Fruits in Summer and Autumn. There 
 are alfo Fruits which bloflbm at the fame Time as the Flowers do 
 to wit, Peaches, Apricots, Almonds, &c. 
 
 In a Phyfical and Kit chin-gar den, I would place JEfculapius, the Son 
 oi Apollo, God of Phyfic, as the Principal of the Piece, and to whom the 
 Garden is facred, ftanding in the middle between Apollo and Diana ; the 
 one,with his Quiver at his Back,fits on his right Hand,or near him, hold- 
 ing a Sceptre topp'd with a Sun, or elfe a flaming Torch ; and' the o- 
 ther, on his left, adorned with a Moon, either on her Head or in her 
 Hand, and equipp'd with her Bow and Arrows. Mfculapius holds a 
 Staff twined with a Serpent. 
 
 The Moon, or Earth, caufes the Seed to rot ; which Apollo, or the 
 Sun, by his warming and fearching Influence, caufes to rife. As to 
 Phyfical Herbs, three Virtues are afcribed to them ; warming and cool- 
 ing, and a Mixture of both : Thefe may be appofitely reprefented by 
 the aforefaid three Perfons ; fince, by MJculapius, with his Staff twin- 
 ed with a Serpent, is underftood Prudence, in moderating one Herb 
 by another, and by Art to make them work their Effe&s. 
 
 Having 
 
Chap. it. Of Landskips, 197 
 
 Having thus largely handled this Point, I mall confirm it by fome 
 figural Examples refpe£ting what has been before faid, in order to fhew 
 what Sort of Paintings and Ornaments are moft proper in fuch Places 
 where we ufually reprefent any thing, and which muft govern a 
 careful Matter, in order to make his Defigns conformable thereto. 
 Obferve then, beginning with the firft Sketch, what I fhall further 
 fav. 
 
 1. If the Proprietor be defirous of having the Place painted all 
 round, what Sort will be the moft proper ; Colours or Bafs-rclief. 
 
 2. What Obflruttions may be then, to hinder the Naturalnefs of the 
 Work in fome Defigns. 
 
 3. At what Diftance it ought to be feen either from without or 
 within ; fince it muft be executed boldly or neat accordingly. 
 
 4. Whether the Painting is to remain there conftantly Winter and 
 
 Summer. . * . 
 
 You fee then, in the firft Example of Plate LII, a Place incloled by 
 two Side-walls, at the End of which is a Summer-houfe equal to the 
 whole Breadth ; the Entrance into it is in the middle, and on each 
 Side is an Opening, through which, the Reprefentations of A and B, 
 the one on the right and the other on the left, receive their Light J as 
 the middle Piece C has it fronting. Over the Summer-houfe and 
 Wall appear the Tops of the Hind-buildings D. Now the Queftion is* 
 what Subjeft is proper for C, a Vifto or a Bafs-relief? a green Pro- 
 fpeff, fuch as a woody Country, or Flower-garden, would have no good 
 *ErTe£t in this green Summer-houfe, when feen from without, where it 
 ought to be viewed j becaufe a Mixture of Green with Green affords 
 neither Variety nor Delight. A Sea-haven, or a Court, adorned with 
 Statues, Fountains, Cafcades and fuch like Elegancies, would appear 
 exceedingly fine, viewed from within (for thofe Colours look well among 
 the Green ) but feen at its proper Diftance without, they will be found to 
 be falfe and contrary to Nature, by reafon of the Tops of the Houfes D, 
 which, being behind, and rifing above them, difcover a general Stop- 
 page : Whence it follows, that nothing is more proper for the Middle- 
 piece, than a Bafs-relief 
 
 Let us now confider what is beft for the two Side-pieces feen from 
 within ; the one, as faid, recieving its Light from the left, and the o- 
 ther from the right. A Bafs-relief cannot, in my Opinion, be deco- 
 rous there, becaufe the Eye muft not be fo clolcly conhned. lhey 
 ought to be Vilhs, as not having the Inconvenience which attends 
 the middle Piece, to hinder their Naturalnefs: The Summer-houie be- 
 No. iv PP in S 
 
*S>3 Of Landsktps. Book VE 
 
 ing roofed in, the. Light therefore falls more advantageous on thefe 
 two Places than the middle one, as being without the Glare of it : 
 Wherefore, Fiftos muft be heft there; and even the fainter and bluer, 
 the better, as before intimated, dn Haven with Shipping, a Court 
 with Fountains, Iflands with Hills, a Street-view of fine Buildings, 
 Temples and Galleries, together with a blue Offskip, "Sec. Thefe are 
 very delightful Obj c as, and produce, between the Greens, a Variety 
 and Decorum : Now, we ought to obferve that the two Pieces A and B 
 tho' they receive their Light from the Place,, yet, if we pleafe, may 
 be lighted otherwije y becaufe they are Without-door-Profpetls, having 
 no Communication with this Within-door -Place as the Bafs-relief has 
 which is coffined to it. Thus much as to that Side ; the fame Obfer- 
 yations are proper for the Sides E and F. 
 
 The fecond Example, in Plate LII aforefaid, exhibits a Garden 
 •with Parterres, alfo walled in. In the middle is a Gate of letticed 
 Work; and, on each Side, a Jhallow letticed Seat covered over with 
 Greens, noted A and B. In the Back of each Seat is a circular Re- 
 prejentatwi; and over them appear the Tops of Trees, as of a large 
 Orchard, marked C. Now let us confider, what Subjeas will be moft 
 proper for the Seat A and B. Firft then, obferve the Diftance whence 
 the Work is to be feen, which is from without, on the Near-fide of 
 the Parterres. Here, as in the preceding Example, Fifios are not 
 proper ; and becaufe the Place is fo full of Green, more Green would 
 not look well : Wherefore, halfraifed Bafs-relief s would be beft. As 
 for the. Co/our, we have before prescribed it. The Sides may alfo be 
 adorned as before in the M Example, obferving what Ob/etJs rife be- 
 hind and above jhem. Here, on one Side,, are Houfes, and on the a- 
 ther a green Wall. 
 
 Behold now, a third Sketch in Plate LIII difcovering a Walk wi+h 
 Trees ; at the End of which ftands the painted Objcff A. Herein you 
 have great Liberty and may ufe your Pleafure ; fince the Defign ftands 
 ■ free from any Obftruaion. This only is to be noted in it, that be- 
 caufe 'tis a long Walk, and, in Nature itfelf we are oftentimes tired with 
 travelling luch an one, we have no Occafion to make it longer by Perfpetf- 
 tve and other Views,but rathery%> the Walker by a fine ProfpetT, and in- 
 vite him to a little Contemplation and Reft, that he may afterwards the 
 better go forward : Wherefore we here fuppofe, a beautijul Imagery, 
 Fountain-like, of white Marble, placed in a Grotto or Niche arched 
 with Green, and therein painted, in full Proportion, and with all 
 Strength, Cephalus and Aurora, Zephyrus and Flora, or Venus and Ado- 
 
 rns, 
 
.Plate, iUI 
 
Chap. ii. 
 
 Of Landslips. 
 
 nis, and fuch like : Or, you ?may reprefent there, in a Rock, having 
 feveral Holes difcovering the Sky, Cadmus killing the £>r agon; or, a 
 Diana with her Nymphs ; or a Term or Faunus accompanied by Baccha- 
 nals and Satyrs, with their Injiruments, fome of which fpout IVater ; or 
 elfe you may exhibit a Jleeping Silenus, with the Nymph Egle fqueezing 
 Mulberries on his Face. All thefe are proper Subjecls for the Place, 
 and fuitable fo the Occafion. 
 
 You may alfo paint fome Terms on Boards cut away, and place them 
 againft a green Wall on both Sides of the Niches, Windows, or circu- 
 lar Hollows ; wherein may be fet Bufts or Carls, as you fee in the fe- 
 cond Example, of fuch Colours as before-mentioned, and which ap^ 
 pear lovely among the Green : Thefe Terms may reprefent Baccha- 
 nals, Satyrs, Gods and Goddefles, fome naked and others dreft, ac- 
 cording to the Seafon and Place. 
 
 CHAP. XII. Tables or Ordonnances of Venus and Adonis, for 
 
 the Embellifhme?it of Landslips, 
 
 TH A T I may conceal nothing from the Artifls, but as much as 
 poffible rouze and enrich their Genius, I have pitch'd on this Sub* 
 je£t for the Ornament of Landskips. And tho' it be common, 
 yet I queftion whether it was ever handled in fuch a Manner. I di- 
 vide it into three Ordonnances. 
 
 The firft is, Venus'.* making Love to him. 
 
 The fecond, His taking Leave of her, to go a Hunting', or rather to 
 be killed. And 
 
 The third, Her finding him dead. 
 
 The Fable is this. Venus was, according to the Poets, very much 
 enamoured with the Youth Adonis, notwithstanding his Coldnefs and 
 Infenfibility : And yet he refrained not from kiffing and careffing her 
 for a Seafon ; which much incenfed Mars, and raifed his Jealoufy and 
 Rage, as often as he faw the Youth in her Lap. 
 
 The firfi Ordonnance. 
 
 The Place opens, a pleafant and agreeable Country, ftored with e- 
 very thing that can delight the Eye, Woods, Hills, Valleys, Rivers, 
 and Stone- work, except Houfes and Temples. I fet the Point of Sight 
 
 P p ^ in 
 
goo 
 
 Of Landskips. 
 
 Book VI. 
 
 in the middle of the Piece. Between it and the left Side, on an Hil- 
 lock, I place the Goddefs and her Spark, attended by the three Graces 
 who are to adorn her ; one of thefe is twifting a Wreath of Flowers' 
 another is crowning her with a Chaplet of them, and the third is 
 bringing a Basket of Fruit. Some Cupids are toying about her; one 
 efpecially is fitting at her Feet, blowing Adonis's Horn : At whom he 
 fmilcs \ when Venus, with her Arm about his Neck, with her Hand 
 preffes his againft: her Breaft, or kifles it. Behind the aforefaid Hil- 
 lock, againft the Offskip, I place fome thick-leaved Trees; the high- 
 eft in the middle of the Piece, and thofe to the left fomewhat lower 
 and thinner. Behind them we difcover the Remains of a Colonade, 
 riling and appearing half behind the Hillock, and running towards the 
 Point of Sight. On the fame Side forwards, I fet a crols low Wall, 
 which the Hillock ftems. Againft this Wall, which is but 3 or * 
 Feet and an half in Rife, I place a Water-god fitting afleep by his 
 Vafe, and encompafled with Greens : And in the Corner, againft the 
 Frame of the Piece, I place a large Willow-tree or one and an half. 
 And thus half the Piece is filled. On the right Side forwards, f 
 plant a knobby mofly Body of a Tree about 6 or 7 Feet high ; and 
 clofe behind it, a large and beautiful one fully leaved. SomewhaVbe- 
 yond appears an high fquare Pedeftal, whereon ftands a larjze and ele- 
 gant Vafe. Thefe Objects are in a Line running towards the Point of 
 Sight, making a Way between it and the Hillock, which is wide for- 
 wards, and diminifhing at the End of the Fore-ground, where the fe- 
 cond begins and runs out into an open Field ; whence to the Horizon 
 are feen fome faint Hills. 
 
 : Let us now come forward again. In the Right-fide Corner, Envy 
 kindles the Fire of War ; fhe is flying with a broken ftinking Pitch- 
 torch in her Hand, and her Head befec with twining Serpents, fecret- 
 ly (hewing Mars the two Lovers. And now we fee, the devouring 
 God of War on his Belly, with one Leg over a Stone, lurkina be* 
 hind the Pedeftal, and ftaring earneftly, between it and the Green of 
 the Trees, at the Caufe of his Jealoufy ; his Spear and Shield lie at 
 his Feet. 
 
 I once faw a Print of Julio Romano, wherein he has placed Mars 
 in the Offskip, purfuing Adonis Sword in Hand ; which I think too- 
 obfcure and far-fetch'd. The Senfe may be tolerable; yet 'tis againft 
 the Fable ; for Ovid does not mention, that Adonis was killed by 
 Mars, with a Sword, but by a wild Boar, thro' his Inftigation. 
 
 In 
 
Chap. n. ■ Of Landslips. 301 
 
 I„ the -an d~ . I doubt not but this ^Sketch -JDg^ 
 
 things Seat* great i^ra, and Variety ,n a Landskip. 
 
 Th S e Light,Iaffign > is b„ght S^ rf or the 
 
 My Intention here is, to repreient tne i ^ . , j 
 
 gpSj. when every thing is coming forth $ and b loflo ™ng t » ^ 
 very fenfible, that the Green of the 1 rees b y tne 7 ^ 
 
 lour, is, in the Summer, ^ /W> or 
 
 be like a Summer; befides, ^J^^^X, for othenvife, 
 other cold Countries, where the Greens come up 
 I fhould not introduce a Basket ot * Pedeftal, a 
 
 Now, if it be asked, becaufe I ftr fet, on toe . 
 Vale, and t&tf direffly againft the Hillock, ™ ne la 
 are With the Gr«* whether this would not throw a J j g. 
 Ground-lhade over thofe Figures ? I fay, ■ * ™ Q ' fet the Pede . 
 fign the Sun a Mend- Altitude. Moreover Id ^ 
 ftalfo near the Hillock as to be any u prejudice 
 foremoft Tree, becaufe it rifcs fo high, can ano F j 
 
 th itB Ground f^^^^S againft 
 ne r, or at leaft a I art °* » c ' *| h Tr££3 be hind the Hillock can 
 which it fpreads, fall back, tho tne dark Green, or 
 
 ^rif^^o^^ -eaiy inV 
 
 Sun, in order to have there the that I aQ counter t» 
 
 But here I may be reproved , on a ^tippo it.on 
 
 my own Pofition ; namely, fi* » •« ^ but V kt k be 
 mth^ Jhadb* t^r Eyes: Frailties,, and 
 
 ^^C^S^S^*- lm and the 
 
 whence arifes another t^^^JSfe 
 this Ground-lhade can fall on km ^ fince they ^r e Ut J 
 
 iS^^&.rfiSS That there are Means enough, bygone 
 
3 01 Of Landslips, Boole VI. 
 
 Thing or other, to find that Shade. And as for Venus, (he may be fo 
 difpofed, e.ther a litt e backward or forward, as to receivTEght e 
 nough Now, that Mars and Envy, at the Stone-work maf nor 
 draw the Eye too much from the Principals, by making hem m the 
 Laght, I bnng not much Sun into that Quarter , I mean th* I fct 
 the foremoft whole Stem of the Tree, and a great Part of the bind 
 S&jff ^ ° f M°* in a Ground-ihade, ofcafioned by fom e J 
 to Z I %V t0 , " tlMt Shade run ' on the Fore-ground "f 
 with R ,7 fh b L £akl ? g th£ Refldue here and 'here" fomewha 
 
 w ? J ' ln ° rder a 1,ttle to fil1 that Comer. 
 
 We have before (aid, that neither Houfes nor Temples muft enter rho 
 Gompof ltlon . Why <not t hey, % fome, « 4// *, 2V/» ? To which I 
 anfwer, that the Fable makes no mention of any fuch Obiefts A J 
 
 «^Tote 
 
 the A'nfwer 6 "' W******* J^£%?£ 
 
 large ' J ' FlgUr£S * K fmaU ' and the Land-ddJJ 
 
 We (hall now proceed to the Colours and Anions of the Figures 
 We reprefent fiww in her Linnen, yet with her Upper-pafts and 
 
 fefotw 3 " 5 underher ' on the6rafs - a pp- s 5ES??iigS 
 
 ^" Vs Garment is greenilh Blue or dark Violet. 
 
 Ihe two Graces, (landing next to Venus, are dreft in light-coloured 
 Garments of changeable Stuff and broken Colours, prefe ffng °b ou t 
 that G roup , a great Maf of L; ht; Fq[ ^ Reafon, I chufe Ikh 
 
 ChanW f R.r i Garment, who is crowning Venus with a 
 
 Chaplet isRofe-colour; a fecond, more forward, and with one Kn^ 
 bent M m White, and has a Flower in her Hand ; and Z third hay! ■ 
 
 ZM VU "t u d ftand i"S °" the kft Side ' lomewhat higher 
 on the Hdlock has an Aurora or Straw-coloured Garment We feed 
 not fay much about M f r, and Envy , fince Cjir fij*, relates enough 
 ouchmg them Noth ng is more proper for W, than a rufty F?l 
 lemot or blood-colour'd Coat j and for Envy, than a black one. 7 
 
 As 
 
Chap. ii. Of Landslips. 303 
 
 As for the Motions of Venus and ddo?ris, they are fronting in both 5 
 but their Feet more or lefs turned to the Light. 
 
 Adonis, on the right Side inclines his Upper-parts towards Venus, 
 with his right Hand on her Breaft, and his right Shoulder coming for- 
 wards ; his Under-parts are fronting, and his left Leg extended, and 
 his right drawn in, as if he were about to rife ; his Face fronting in- 
 clines a little over his Shoulder to the Child who blows the Horn. 
 Contrarily, Venus, refting on her right Thigh, applies, in fome mea- 
 fure, both her Knees to his extended Leg ; her Face, in Profile, turn- 
 ed towards him, fronts the Sun; her Breaft is alio feen fronting; 
 fhe draws back her left Elbow, in order to prefs his Hand on her 
 
 Breaft. 1 
 
 On due Consideration, thefe two Figures will be found to have a 
 natural and eafy Contraft or Oppofition, in Motion ; fince I have en- 
 deavoured to give myfelf full Satisfaction touching all the Anions 
 exhibited, before I fet the Layman. 
 
 But, I muft return again to the Ordonnance. I forgot to place two- 
 Children behind the foremoft low Wall\.oi whom, the one is leaning 
 over it, and, with a Finger on his Mouth, and Head funk, is fliew- 
 incr the other the deeping River-god. I place them there, firft,, 
 for Decorum's Sake; and fecondly, in order to break, in fome mea- 
 fure, that long and ftiff Piece of Stone- work. The Water-god is of a 
 brownifh Yellow Hue, almoft as dark as the faid Stone-work ; and for 
 two Reafons; firft, for tke Sake of Repofe ; and fecondly, to prevent 
 a Mafs of Light there with the Children, to the Detriment, of the 
 Principal : Befides a further Purpofe; to adorn the Pedeftal of the Vafe 
 with a Bafs-relief, reprefenting a Bacchanal or dancing Nymphs ; and 
 tho' it come in Shade, yet I affign it ftrong Reflexions. There ought 
 alfo to be added, one or two Dogs afleep ; of which, the one. awak- 
 ing, ftares back with prick'd up Ears, at the Sound of the Horn. 
 
 I have before faid, that one of the Graces (hould be dreued in White 
 but now, I caft a beautiful blue Veil over it, as proper to break the 
 Strength of the White. 
 
 A Piece, thus executed, is fufficient for the Production ot many 
 others; efpecially, if we duely confider, how many Things are obfer- 
 ved in it, which by few is taken notice of, . viz. the Quality of each 
 Figure, its Origin or emblematic Signification, &c. Many Fictions 
 are painted from the Poets Defcription,but few People weigh the Writ- 
 ers Meaning, tho' attended with an Explanation ; which however is 
 only general, without the Addition of the Circumftances, tho' well 
 
 J ° " kuown 
 
304 Of Laridskips. Boot VI. 
 
 known to the Writer ; as,the Shapes, Dreffes, Colours, Paffions and other 
 Remarkables : Whence we may conclude, what muft be the Cafe of thofe 
 Men who do not make themfelves Matters of all thefe Things ; and 
 how eaftly they may miftake, even pervert the Senfe of the Writer or 
 Poet. If the Faft lay in the Spring, they reprefent it in Summer ; if 
 in a Winter-morning, they exhibit an Autumn-evening': Ought the O- 
 pening to be a folirary Place, or Wildernefs, they will introduce Di- 
 veriions : Should any Perfon have a red Drapery, as proper to him, 
 'tis made blue, yellow, &c. We grant, that the Fable may be re- 
 prefented plain enough} and, who the Characters are, and what they 
 are doing, preiently conceived ; but the Drif f of it is wanting. 
 
 'Tis unnecellary to enlarge on this Table orOrdonnance further than 
 to obferve, that Mars here figniiies Vengeance ; Adonis, the PVinter ; 
 and Venus, the Spring ; which is the Reafon, why thefe two laft can- 
 not agree. 
 
 The Poets write, that there were four who went under the Name of 
 Venus. The firft was the Daughter of Ccelum and the Day. The fe- 
 cond was brought forth of the Froth of the Sea, being conceived in a 
 Mother of Pearl, and conduced to Cyprus by the airy Zephyrs : It 
 was (he who bore Cupid to Mercury. The third was the Daughter 
 of Jupiter -and Dione, who was wedded to Vulcan, Chief or the 
 Cuckolds ; and the fourth was the Syrian, called Aftarte, who courted 
 the Love of Adonis, and to whom Solomon erefted Altars to pleafure 
 his Concubines. Wlience we may judge, what great Difparity there 
 is between thele Venus's. 
 
 As for the wild Boar, it implies the Night, Ignorance, Impiety, Fil- 
 thinefs, Lewdnefs, Sec. 
 
 The fecond Ordonnance : Or, Sequel of the foregoing Story, 
 
 When Adonis was now tired with Killing and Flattery, or, to fay 
 better, when his forrowful .Fate drew near, and the Dogs fcenting the 
 Boar, fet up a Cry, he, deaf to Venus's Intreaties, wrefted from her 
 Embraces, and jumped up eager for Sport. 
 
 We muft previoufly underftand, that we are obliged to confine our- 
 felves to two principal Points ; namely, the general Difpojition, and the 
 Light : And tho' on a due Confederation, it may poffibly feem to be 
 chofenlefs advantageous, than if it were a iingle Piece (which I willing- 
 ly allow) yet as it now ferves to match another, it therefore requires 
 the fame Light 3 tho' a revers'd one might better become it j becaufc 
 
 then ; 
 
Chap. ii. 
 
 Of Lanchkips. 
 
 then I mould be at greater Liberty : But even then, the Difpofition 
 would not be different enough from the former. 
 
 We have, in the Book of Ordonnance, fhewed, that when two Pieces 
 hang together, they ought to have a certain Conformity ; efpecialiy 
 Landfhips with fmall Figures : As if, for Inftance, the 'heavier! Work 
 be in the one on the right Side, and the Vifto on the left, in the other 
 or Matching-piece it rauft be contrary ; and yet, notwithstanding that 
 Neceflity or Rule, which however fubfifts, I find fomething which gives 
 me greater Satisfaction, and better exprefles the Senfe ; as may appear 
 in the Sequel. 
 
 I place, as in the preceding Ordonnance, the Peint of Sight in the 
 Middle of the Piece, and on the right Side an Eminence, afcended by 
 3 or 4 Steps, fronting or parallel with the Horizon. Upon it, at the 
 End againft the OfTskip, I reprefent an open Niche, almoft fquare and 
 Compafs-headed, adorned, on both Sides, with Pilafters, fupporting a 
 fmall, but elegant Cornice, here and there fomewhat broken. About 
 the Niche hang Feftoons of Poppies, which are faften'd to the Crown 
 of the Niche, and being buttoned up on each Side, their Ends en- 
 twined hang down together. Thro' this Niche, having a Seat before 
 it, we difcover an agreeable View of Woods, Lawns, Rivers, Roads, 
 £sfc. This Eminence takes up a third Part of the Piece, running off 
 fteep on the inner Side. Forwards, againft the Steps, which are moft- 
 ly in Shade by Trees without the Piece, to the Corner whereon ftands 
 the Goddefs, we place her gilt Chariot drawn by two Pidgeons. 
 
 On the left Side, between the Point of Sight and the Frame of the 
 Piece, ftand 3 or 4 great and beautiful Trees, in a Row, running from 
 the Fore-part of the Piece, and by the Hillock towards the Point of 
 Sight. In the Corner, behind the Eminence, rifes an high and rough 
 Rock, alio running towards the fame Point, making between both a 
 narrow Paflage, which forwards is over- run with Buthes and Gorfe, and 
 behind is bare, fo as to difcover, through it, the OfTskip and End of 
 the Rock. Forwards in the Rock, I make a large craggy Hollow, 
 into which the Water falls with Impetuofity. Thus much moftly as to 
 the Fore-ground. At the End of it runs a narrow croffing River, 
 from the Eminence to the back Part of the Rock ; along the Side- 
 whereof, I fhew a Plantation of high Trees, in order to make the OfT- 
 skip, which is feen through them, appear as in a Valley. On the Le- 
 vel whereon ftands Adonis, I fet, between two Trees, a white Marble 
 Bafis, with a broken Term, and its Trunk lying near it. 
 
 No. 13. CLq Thuf? 
 
3c6 
 
 Of Landslips. 
 
 Book VI. 
 
 Thus I have fhewed the general Defign ; which I queftion not will 
 appear more uncommon and Wood-like than the other. The third I 
 hope to make ftill more wild than this ; becaufe the Subject requires it. 
 Some may poffibly think 'tis to be an agreeable and delightful Ordon- 
 nance ; but the Sequel will fhew it to be otherwife ; for in this, I repre- 
 fent the Month of dugufi, and the Sun fomewhat darkened and fiery, 
 inrlead of ihining brightly; the Air gloomy and cloudy, as if it were 
 going to Thunder ; the Wind alfo blows, and every Thing is lhaking 
 and in. Motion, not one Way, but as in a Whirl-wind, the Duft, like 
 a Vapour, rifing from the Ground in fome Places. 
 
 Perhaps you did not expect this Sort of Management, but on due 
 Confideration of the Cafe, it will be found both natural and artful 
 
 We now proceed to difpofe the Characters. 
 
 The Goddefs, feeing the Evening approach, doubled her Courrihip. 
 The cold Adonis, contrarily, eager for Sport, hearing the Noife of the 
 Dogs, haftily arifes from the Eminence. Now, all Things are in an 
 hurry, Venus follows him with Intreaties ; but in vain ; Fate feizes and 
 pulls him along with her. The Graces are in Confufion ; one runs 
 after him ; another, fearful of the Goddels's Swooning, and tumbling 
 down the Steps, fupports her ; the third, fadly fhrieking and crying, 
 lifts up her open Hands on high. The Boys are in Contention ; one is 
 haling Adonis away, and the other flopping him. Cupid lies thrown 
 on the Ground. Others run with the Dogs before. The wild Boar 
 appears in the before-mentioned narrow Paflage, between the Eminence 
 and the River ; fet on by cruel Rage with a Pitch-torch in her Hand. 
 
 Now this Ordonnance feems to have much more Work than the pre- 
 ceding; and yet, if confidered, it will be found otherwife ; and that in 
 the former, the Figures are only more fcattered : Befides, in hearing 
 Things related, they always feem more to us, than in the Picture it- 
 felf. 
 
 Venus, I exhibit as coming down the Steps, as alfo one of the Graces, 
 who runs after Adonis, lince he is flipt out of the Goddefs's Hands. 
 The Youth I reprefent running juft in the Middle of the Piece, between 
 the Eminence of the Trees, 3 or 4 Paces beyond the Steps, whereon 
 the Goddefs ftands befeeching him in Tears. He is almoft half in the 
 Ground-fhade of the Eminence ; for I have faid, that the Sun is fetting. 
 The Children who attend the Dogs, are entirely fhaded by the Stone- 
 work on the Eminence; which is fo high and large, that the Bodies- 
 of the laft Trees do not efcape it. Venus ftands with her right Foot 
 on the lowermoft Step, and with the left on the Middlemoft on the inner 
 
 Corner* 
 
Chap. it. Of Landskips, 307 
 
 Corner, ftooping \ her under Parts almoft fronting, and her upper Parts 
 turned Sideways towards him; preffinj her folded Hands, with the El- 
 bows forwards againft her Body, and finking her Head, looks from him 
 towards Heaven. I place one of the Gram by her Side as coming 
 down, embracing the Goddefs about the Waift with Fear and Con- 
 cern, and, with Amazement, looking to the left after Adonis^ The 
 other Virgin, who run after him, is now with one Knee on thf.*Ground, 
 with her left Hand ihewing him the Goddefs, and with her right Hand 
 holding a Skirt of his Coat ; fo that (he is moft feen from behind. 
 The third has, as is faid, her Hands ftretched on high ; and her Face 
 is fwelled by the Violence of her Outcrys. Adonis, as in great Hafte, 
 advances his right Leg, turning his Breaft to the right to the Light; 
 he holds a Spear in his right Hand clofe to his Side; which a Boy is 
 withholding with all his Strength ; for which, another angrily ftrikes 
 him with his Bow. Adonis looks downwards, with his Face fronting, 
 at the Virgin who is at his Feet ; pointing, with his left Hand, which 
 is forefhortened, at the Wood ; by which Arm Fate is pulling him 
 thither ; Ihe is flying, and has a Rudder of a Ship on her Shoulder ; 
 her right Shoulder and right Breaft come forward, her other Parts be- 
 ing foremorcened, and her Face turned backwards. Before him, I re- 
 prefent a Cupid alfo flying, and pulling him towards the Wood by the 
 String of the Horn which fwings by his Side. This Bow is feen quite 
 from behind, with his Feet flung out, and holding his Boy in his right 
 Hand, with which he is threatening another, who is tumbled down, 
 and lyes alfo forefhortened, with his Head forwards, and Feet towards 
 Adonis ; he is all in Shade, except his Head, and the Hand with 
 which he fcratches it ; his Torch lies near him extinguiihed. 
 
 A Flappet of Fenus's red Garment comes about her right Arm, and 
 fwings behind over her left Leg. The Chaplet of Flowers falls from 
 her Head down her Back. Fate is dreft in Black, with a fmall flying 
 
 Veil over it. . 
 
 Behind the broken Term are feen the Arms of Mars, viz. His Ar- 
 mour, Helmet, Shield, Sword and Spear, lying on the Ground in 
 Shade. Now, altho' Mars does not appear in his own Shape, but m 
 that of the Boar, in which he was metamorphiz'd, yet we need not 
 wonder at it ; becaufe, we muft not fuppofe, that as he was a God, 
 he entered into it Stockined and Shoed. Some may poffibly ask, 
 Whether he could not do it in his full Habiliments ? And, I lay, , he 
 might: But then I muft ask again, How we (hould know it ? The 
 Dreffes of Gods and Men have no Senfation, either good or bad j they 
 
 Q^q 2 arc 
 
jo8 Of Landskips. Book VI. 
 
 are even of no other Signification than to make the Perfon known; 
 for, were they fubjecl to the Paffions "arifing from Heat or Cold, they 
 would alfo fhare the Puniihments of the Body, as the Head, Hands, 
 &c. do. 
 
 Yet it may be very reafonably asked here, in cafe we were to repre- 
 sent the canorous Aglaura, metamorphiz'd by Mercury into a Touch-' 
 ftone, whether her Garments fhould not be quite black? And I an- 
 fwer, that nothing but her Body thould be fb ; for otherwife, my Afler- 
 tion falls to the Ground, tho' I have laid, that the Drefs makes the 
 Perfon known : Nevertheless, I fhaLl in this Point, further explain 
 myfelf. 
 
 The King Lyncus approaches the Bed of his fleeping Gueft Trlp- 
 tolemus, with Intention to flay him. Ceres appeared at the very In- 
 ftant, and took the Weapon from the King \ at the fame Time trans- 
 forming him into a Lynx, a Beaft like a Tyger, for violating the 
 Laws of Hofpitality. This Story I would reprefent thus. The King 
 is not there ; the Beaft I make taking to flight, fbaking from him, a- 
 bout the Floor, the purple Garment and Crown. This I think mod: 
 agreeable to Nature and Probability. Add to this another Inftance. 
 
 Juno, fays the Poet, in wrathful Jealoufy, beat the poor Calif o fo : 
 much, that the was metamorphiz'd into a She-bear. Now, How is 
 this to be reprefented, in order to know what ihe was, Man or Wo- 
 man ? I would reprefent the frighted Bear as taking to flight, not 
 cloathed, but dragging her Garment behind her along the Ground, j 
 Here, the Bow, there, the Quiver of Arrows, Strap, and other Or- 
 naments. 
 
 Yet, in what a mean Manner have I feen the King Lyncus repre- 
 fented by Heft a. He ftands with the Dagger in his Hand, cloath'd and j 
 crown'd, having for Legs the frightful Paws of a Bear. 
 
 Thus I have affirmed, that Cloaths ferve God and Men only for Di- 
 ftinftion : Which brings to my Remembrance, a Print of Pouffin, con- 
 firming what I have laid. It exhibits the Elyfian Fields, with the : 
 happy Souls at reft, and Youth, or eternal Spring, dancing and 
 fire wing Flowers. Here, we fee Hyacintkus, Narcifus, Crocus, Ado- 
 nis, Ajax, and many others, in fitting Poftures, as when living : I 
 Whence, we may eaflly perceive, how difficult it would be to know 
 them without their particular Badges of Diftinffion, as the Spear, \ 
 Horn, Fountain, Helmet, Chaplet of Rofes, &c. and how impoffible 
 it was to Poujftn, fo excellent and learned a Man, to make Ajax 
 known, feeing he there reprefents him in the fame Rage or Defpair, 
 
 to 
 
Chap. ii. 
 
 Of Landslips. 
 
 309 
 
 to wit, ftabbing himfelf, as when he was before Troy. A great Mis- 
 take, in my Opinion, with refpect to Probability. I fhould rather 
 have left it out ; as alfo the Chamber-pot or Ci/iern wherein Narcifius is 
 viewing himfelf. 
 
 I can hardly believe fo ftrange a Defign to be of Pouffm himfelf \ 
 fince Ajax is placed in fo cruel a Poflure among the happy Souls ; a 
 Man who being a Felo de fe, rather deferved Hell. Why may not 
 Sijyphus, Ixion, Prometheus or Tantalus, who are doomed to helliih 
 Punifhments, be of their Company ? It's true, that Ajax acted only a- 
 gainft himfelf on account of the Arms of Achilles, to which he had 
 a Claim, and the others offended the Gods ; one ftole the Fire from 
 Heaven, another had the Impudence to trepan the Goddels Juno to his. 
 Lull by an Ambuih, &c. 
 
 Tefta has, in my Opinion, in many Particulars, exhibited the fame 
 Reprefentation, better and more intelligible than Pouffm, as being 
 much larger, and more pleafant and Painter-like : But yet he runs 
 counter to the Probability of that Place of Reft ; as we may perceive 
 in the two Figures of a Boy and Girl, where he is taking fome Flow- 
 ers out of her Lap, and (he, in Return, is ready to fcratch out his 
 Eyes ; being an old Quarrel revived. Now, in Fact, neither Ha- 
 tred, Quarrel or Jealoujy, nothing but Repofe and Peace Jhould appear 
 there. 
 
 But methinks, I hear fome fay, that I derogate from the Worth of 
 thofe two great Men, by thus expofing their Miftakes, and that 'tis 
 eafier to rind Faults than to make a thorough Compofition : Which I 
 perfectly own ; neverthelefs, my Intention is not in any wife to build 
 a Reputation on their Errors \ fince it will appear, throughout this 
 W r ork, that I am no kinder to my own Miftakes than to thofe of others ; 
 and this, with a View of (hewing Artifts a Way for avoiding fuch 
 common Defects, and of making them more careful to mind Probabi- 
 lity in all Parts. Here let us make a Comparifon between an Archi- 
 teci and a Painter. A good Architect ought firft exactly to know, 
 what Ground is moft proper for his Purpofe, in building a 'Temple, Pa- 
 lace, &c. as, whether it be firm or marfhy, and to which Quarter 
 he muft order his Front; and then to proceed to Work. If a Painter 
 intend to reprefent a Court/hip or a military Exercife, Offering* or a- 
 ny thing elfe, he will alfo look for a proper Place wherein to lay the 
 Subject. The Architect makes a Plan of his Court with all its Ap- 
 purtenances ; of a Temple, with the Choir, Altar and other Particu- 
 lars, of a Fortification, with its Baftions, Ravelines, Rendezvous, 
 
gio Of Landskips, Book VI 
 
 £fV. A Painter Hkewife exhibits the Elyfun Fields, or the Garden 
 of Flora for Carefies ; a Temple, for divine Service \ a Court, with the 
 King and his Retinue; or, a Foreft, for Hunting. Now, if a Per- 
 ion enter the Temple, during divine Service, with a Sword in his Hand $ \ 
 
 or be /tabbing himfelf in the Elyjian Fields, among the happy Souls , in 
 order to give his Soul a fecond Remove ; Would you not conclude thole- 
 Things to be very improper for fuch Places^ and jitter for Troy? I ask, \ 
 whether the facred Temple and Fields are not thereby profaned ; 
 and were Dogs to be hunted in the Palace-court or Place of Rendez-i 
 vous, would it not be ridiculous ? A/ax never enter'd the Ely/Ian Fields 
 before his Soul's Separation, yet here, he ftabs himfelf again ; has he 
 another Soul to depart from him ? 
 
 Let us now proceed to the Defeription, Divifion and Confideration 
 of the 
 
 Third and I aft Ordonnance. 
 
 The Goddefs of Love perceiving all her Endeavours to be fruitlels, 
 and growing impatient for Adonis's Return, took her Chariot drawn 
 by two Swans, and drove fwiftly towards the Wood, in order to feek 
 him, leaving her Graces behind as ufelefs at this Juncture; as we ftiall 
 further explain at the End of this Ordonnance. Cupid follows her 
 (hrieking. The unhappy Youth, bit by the wild Boar in his Groin, 
 lies gafping againft a large Oak ; where, at laft, Venus finds him in his 
 Blood: Wherefore, ftepping from her Chariot, like a Frantick (he 
 bewails him, abhorring her Godhead, and curling the cruel Tyranny 
 which prefcribes Law to Heaven and Earth. In the mean time, Ado- 
 nis expires, and his waving Soul is taken by Mercury, and carried to 
 the Elyftan Fields. 
 
 This Fable I reprefent thus. 
 
 Adonis is lying on his left Side, forelhortened, with his Neck a- 
 gainft the Trunk of a large Oak ; and his right Breaft and Shoulder 
 upwards; his left Arm extended ; and the right clofe to his Body, 
 holding the Spear which is partly under him ; his Head hangs almoft 
 on his left Arm, a little foreright, with the right Cheek upwards ; 
 his Feet are turned towards the left Corner of the Piece, forwards ; his 
 left Knee, refting on a fmall Rifing or Stone, is half drawn up ; an 
 Hunting-horn lies at his Feet. The Dogs at his Head, on the left 
 Side, howl and yelp. Cupid, on his right Side, ftoops down, and 
 looks at Venus fhrieking; at the fame Time opening Adonis's Gar- 
 ment, 
 
Chap. ii. Of Landships. g 1 1 
 
 ment, in order to fhew the bloody Wound to his Mother ; who, af- 
 frighted, ftarts back, and raifes ker Hands towards Heaven. Cupid's 
 Back is, by the Goddefs, partly in the Ground-fhade j his Breaft is 
 forefhortened, his Feet clofe, and Knees fomewhat bent ; holding a 
 Torch in his right Hand. Venus, as has been faid, raifes her Hands on 
 high, putting out her right Leg, and drawing back her left Foot on 
 |a Cloud, which, behind her, runs up to the right under the Chariot ; 
 her upper Parts incline over the faid left Foot ; her Chin is funk into 
 her Breaft; and thus (he beholds the Wound. Her Breaft is fore- 
 fhortened, and her right Hip is fronting. Behind the aforefaid Oak, 
 againft which Adonis is lying, the Chariot is feen in Profile, on fome 
 waving Clouds alike with the Horizon ; which about Venus defcend 
 gradually lighter and lighter to underneath her Foot. The Chariot, 
 tho' gilt, yet kept dark by a Cloud, is elegantly wrought with Chil- 
 dren, Feftoo'ns and Foliage ; behind, on top, is a large Star, and the 
 Chariot partly hid by the Body of the Oak. Forwards, between the 
 middle and the left Corner, ftands a Stone, about three Feet fquare, 
 with. the broken Trunk of a Term, the Refidue whereof, as the Head 
 and a Part of the Body, lie on the Ground, among the Bufhes and 
 Shrubs. This Stone ftands fomewhat obliquely, with the left Corner 
 towards the left Side of the Piece ; clofe to which Side rifes an high 
 Tree; and a little further, another, quite overgrown c; or 6 Feet 
 high. Behind the Stone, among the Shrubs, Thiftles and Thorns, 
 the Boar, attempting to fly, lies wounded in Blood and Dirt on its 
 Fore-legs, with its Mouth wide open. On the fecond Ground, on the 
 right Side, goes ^tropos with her SchTors in her Hand and DiftafF on 
 her Shoulder ; being almoft to the middle, hid behind the Ground and 
 , in Shade, except her Head and a Part of one Shoulder. 
 
 The principal View is on the left Side of the Point of Sight. A 
 little above it flies Mercury with the Soul of the Youth, in order to 
 carry it to the Elyfian Fields. They are both feen forefhortened, 
 ; with their right Sides fronting. The Youth is quite naked, having his 
 ! Arm crofs his Breaft, his Legs clofe, and his left Foot a little above 
 the other. Mercury holds him with his left Arm behind about the 
 middle, and looking at him, with his Caduceus forwards, points to the 
 Place they are going to. A fmall Garment, of this winged Meflen- 
 ger, is flying behind him upwards. 
 
 The Ground is craggy and rocky, here and there over- run with 
 .Grafs, Thiftles and Hollies. 
 
 1 he 
 
3 i % Of Landskips. Book VI. 
 
 The Light comes from the right Side, a little fronting, and the 
 Weather is rainy.- The Air is Winter-like, yet calm. The Trees are 
 but thinly leaved, except fome which can endure the Winter, as Cy- 
 prefs, Laurel, Elm, Briar, &c. which mull: give the moft Green 
 here. The End of the Fore-ground, on the right Side, to the Foot 
 of the Goddefs, is in Shade, by a Bufh and fome fmall Trees. Venus, 
 Cupid's upper Paits, the dead Body, with the Ground, and the Tree 
 againft which it lies, are ftrongly lighted. The Stone forwards, under 
 Jriokh, is moftly ihaded with the Fore-ground, by fome Cyprefles on 
 the right Side, quite forward in the Corner. Some Pieces of the 
 Term (which reprefents a Faiinus or Satyr) lying fomewhat further, 
 receive a little Light. The Boar, whofe Hind-parts are hidden be- 
 tween the left Side of the Stone and the Tree ftanding by it, partakes 
 alfo of that Shade to almoft his Neck. The happy Soul flying with 
 the winged Meflenger, juft by the Tree or Chariot, is, with him, 
 from the Feet to the Middle, (haded by the Leaves and Branches of 
 the Trees; and are far above the Horizon, fo that the Green of the 
 Trees almoft touches their Heads. The Sign Capricorn, in Token of 
 the firft Winter-month, appears in the Air, very faint and lighter 
 than the Air ; 'tis juft over the Chariot, where the Sky is darkeft. 
 
 As for the Colours, I order them thus. Venus is in an airy Drefe of 
 pale Rofe-colour, with a blue Veil over it. Adonis, with his right 
 Shoulder and Breaft bare, has a light Fillemot Veftment, with Vio- 
 let Reflexions ; his Cheeks are pale, and Lips livid, and io are his 
 Hands and Feet, yet he has a beautiful Skin. Venus is very clear and 
 tender-skin'd ; her Face and Hands warm. Cupid is of a middling 
 Complexion, not fo clear as the Goddefs, and fomewhat more ro fy 
 than Adonis. Venus has light Hair ; Adonis, light Chefnut, and Cupid, 
 brown Hair. 
 
 This Subject requires more Cyprefs and Myrtle than other Sorts of 
 Trees. 
 
 The Ground forward, from the right Side to beyond the Stone, is 
 marfhy. 
 
 I do not introduce the Graces here, as in the preceding Ordonnance, 
 becaufe they are improper ; for they muft not attend Venus on forrow- 
 ful Occajions, as having a quite different Ufe and Meaning, as we 
 fhall here obferve ; and the rather, fince in the former Ordonnance 
 we have (hewed the Significations of Venus, Adonis, Mars and the 
 wild Boar. 
 
 Hefiod 
 
Chap. 15. 
 
 Of Landskips, 
 
 Hefiod teftifies, that they were three Sifters, who, by the Painters, 
 are reprefented, young, jolly and agreeable, band in hand. That 
 their Drefies were flying, thin and gay, difcovering their Nudities* 
 That the eldeft was named Jglais ; the fecond, Euphrofyne ; and the 
 youngeft, Thalia, Seneca proceeds further, and (hews their Qualities 
 and Significations; faying, among other Tnings, in his Treatife de 
 Beneficiis, that fome, by the firft imply Comfort itfelf, that the fecond 
 receives, and the third retaliates it. Others again are of Opinion, 
 that, by this Triplicity, are fignified the three particular Delights or 
 Kindnejjes ; to wit, Jhewing Ktndnefs, receiving Kindnefs, and requiting 
 it. But that they fhould be reprefented thus, hand in hand, without, 
 fome occult Meaning, is not likely ; but rather, that thereby is fignified, 
 that beftowed Benehts,paffing from hand to hand, at laft return to the Per- 
 fon who firft beftowed them. They are reprefented, as having a jolly 
 Air ; becaufe Benefits, to be perfectly agreeable, ought to be confer- 
 red frankly and liberally ; without which, the Aft lofes its Grace. 
 Their Touth fignifies, that the Memory of paft Benefits ought never to 
 grow ftale. Their Virginity mews, that they are pure and upright, 
 univerfally beneficial, without Hope of Return, which fullies the Be- 
 nefaction. Their thin Rayment fhews, that the Enjoyment muft be fo 
 great as to be vifible. 
 
 To fay more, would be a Repetition of what has been already 
 handled in the Chapter of Hieroglyphics and their Significations. 
 
 CHAP. XIIL The Fable of Dryope, for the Embelliflment of 
 
 Landskips. 
 
 HA V I N G in the preceding Chap, delivered what I had to fay 
 touching a fine Fable, and the myfterious Senfe of fome Circum- 
 ftances, I find myfelf obliged, by the Satisfaction which feve- 
 ral of the beft Artifts have found therein, to gratify their Defires., 
 and to give an Handle for Exercife, in sketching fuch another. 
 
 I have chofen for this Purpofe, the Fable of Dryope , and will a- 
 dapt it as much as poffible to the Ornament of Landskips, making it 
 a Without-door-Profpecl:. 
 
 The Story, according to Ovid, is this. Dryope, infenfible of the 
 forrowful Difafter that was to befal her, on a certain Time took a 
 Walk by a Lake encompafTed with Myrtles, with intent to make the 
 No. 14. R r Nymphs 
 
3 14 Of Landskips. Book VI. 
 
 Nymphs of the Place, Prefents of Garlands of Flowers. She took 
 with her, her little Son Jmphijus, not a Year old, accompanied by her 
 Sifter hie, with a Basket of Flowers and wreathed Garlands. Near 
 the Lake flood a Tree, called Lotos, bearing red Bloflbms ; of which 
 fhe rafhly broke a Twig to pleafure her Child ; but perceiving Blood 
 to iffue from it, and that the whole Tree was thereby violently agi- 
 tated, fhe was much affrighted ; and the more, when, in going thence,, 
 fhe felt her Feet to faften into the Earth ; for fhe was transformed into 
 a Tree. 
 
 I exhibit the Subject (See Plate LIV.) in a delightful Valley, (ac- 
 cording to the Teftimony of the Poet) planted with Myrtles, and en- 
 compalfcd by a Brook. In the middle of the Piece, I place, as the 
 Principal, the Tree Lotos, full of red BlofToms and thickly leaved. 
 From this Tree Dryope broke off the Sprig. I make it to fhake and 
 move fo violently, that the Trunk of it is by that means become dis- 
 torted and winding. On the left Side, I place the raifi Dryope, of a 
 beautiful Air, and black-hair'd, having her Son Amphifus about the 
 Middle, in her left Arm. She advances with her left Foot towards the 
 Tree, a little drawing back the right : Her upper Parts fall back ftill 
 more. In her right Hand, lifted up, fhe holds the bloody Sprig ; at 
 which fhe ftares in Confufion. Her left Thigh comes forward. Her 
 upper Parts fway to the left ; her Bieaft is almoft fronting directly a- 
 gainft the Light; her Face in Profile more or lefs turns back ; and her 
 Feet are by this time fixed in the Ground. We fee the Child's hind- 
 er Parts ; and its Head is fet off againft her Breaft. Her Sifter, on the 
 right Side of the Tree, ftanding over againft her, I reprefent with 
 light Hair, and in the utmoft Concern, wringing her clafped Hands a- 
 gainft her left Cheek. Her Head, turned to the right, hanas over 
 her right Shoulder; her Breaft heaves; and her under Parts draw 
 quite back. Her Knees are bent, her right Foot flung out, and the 
 left drawn back, as if fhe were fainting away. She is about 14 or. 
 16 Years of Age. The Nymph, who fupports Dryope, is placed be- 
 tween her and the Tree, holding her Back with her left Hand, and 
 with her right, uncovering the Leg, and (hewing to the Sifter, at whom", 
 fhe looks, that the Foot has already taken Root. Another Nymph 
 who is taking the Child, has her left Side fronting, yet her Back- 
 parts are moftly vifible ; fhe is on her Knees, the left forward, the o- 
 ther quite drawn back, pufhing with her Foot againft a Water-veflel 
 which, at the Brink of the Water, fhe overturns. A third, on the 
 right Side, comes running, quite aftonifhed, with a Lap fall of Flow- 
 
 ers. 
 
Chap. 13. 
 
 Of Landskips. 
 
 Sir 
 
 ers; fhe points, with her left Hand, towards the others, and looks to 
 the left at her Companions fitting on the Bank of the River,, which 
 partly runs between the Trees towards the Point of Sight. The one 
 arifes, and looks forward with Amazement, and makes it known to 
 the other fitting towards the Water ; who therefore, fupporting herfelf 
 on her left Hand, turns her upper Parts to the right, in order to look 
 back. They have moftly Chaplets either on their Heads or lying by 
 them. 
 
 Thus much, as to the Difpofition and Aftions of the moveable By- 
 ornaments ; which confuting of Virgins, each is contracted according to 
 her Pafflon. We now proceed to the immoveable Ornaments. 
 
 On the left Side, on a rifing Ground, between the Trees, I place 
 a large fronting Priapus-Term, without Arms or Legs, moftly in the 
 Shade againft the OfTskip, which ftrongly throws off the foremoft 
 Group. On the right Side forwards, half in the Water, I fet a fquare 
 large rough Stone, whereon lies a Garment or Veil, and a Parcel of 
 Leaves and Flowers. In the Pannel of this Stone is carved a Fatality 
 in Bafs-relief. Behind it, and between the Nymph with the Flowers, 
 I place on the Ground a Basket of Chaplets. 
 
 As for the Sea/on, 'tis laid between Summer and Winter, in the ripe- 
 ning Autumn, and in fine Weather for the Time of Year. The Light 
 is a Side-one a little fronting. The Sun may be put in, or left out, as 
 every one pleafes ; becaufe 'tis not mentioned or infifted on in the 
 Fable. 
 
 I (hall next proceed to defcribe the further Circumftances of this Or- 
 donnance j flnce, without (hewing the Light and Darknefs, Harmony 
 and Colours, 'tis imperfecl, and not like Nature. It muft be granted, 
 that the Harmony and Shadowing, oftentimes fhew themfelves, and that 
 the Light is fufficiently apparent to him who underftands Perfpeclive : 
 But whether there may not occur ftill fomething beyond the common 
 Guefs and Judgment, I very much queftion. As for the Colours, they 
 mult needs be exprefled ; fince, without it, 'tis impoffible to know or 
 penetrate mine or any other Painter's Thoughts. 
 
 I therefore affign Dryope, as the principal Character, a blue Sattin 
 Garment; oneFlappet whereof goes over her right Shoulder, and comes 
 under her Girdle, and the other is in her left Hand ; with which fhe 
 holds the naked Child about the Middle, when the Remainder, with 
 an under Flap tucked in the Girdle under her left Breaft, covers all 
 her other Parts down to the Feet, except the left Leg and Foot, which 
 is rooted in the Ground. Her under Garment, as likewife the open 
 
 R r 2 Sleeve 
 
3 iff Of Landslips. Bock VI. 
 
 Sleeve about her left Arm, is yellowifh White, with green Reflexions* 
 Her Garment next the left Leg is open. The foremoft Nymph is al- 
 mo ft naked, having no other Covering than a fine white fmall Scarf 
 about her Middle. The Drefles of Dry ope and Iok are intermixed 
 with Gold, in order to make a Difference between them and the 
 Nymphs. The Nymph, who is naked to the Middle, I drefs in a dark 
 green Gown, gathered at the Navel, and fattened by a Girdle. Iok 
 has an airy Garment, clofe-fleeved, of a bright Rofe-colour, girt with 
 a broad Girdle of dark Violet embroidered with Gold ; and under it 
 a flowered Coat, open below, and giving Freedom to the Legs. The 
 Stone forward is greyilh ; and the Veflel dark Red. The Ground next 
 the Water is grafly ; and thus, I variegate the whole Fore-ground. 
 The Nymph, who, on the right Side of the fecond Ground comes 
 running, has a greenifh Breaft-garment, loofe and untied, without 
 Sleeves, and fattened but on one Shoulder, the left Breaft and Legs be- 
 ing bare. The other, fitting further behind, on the Edge of the 
 River, I leave quite naked. Her Companion has a fmall greei> Scarf. 
 The ftone Priapus is dark Grey, inclinable to Violet. 
 
 As for the Light, I think, that the major Part ought principally rx> 
 fall on Dry ope and the two Nymphs next her, and on what elfe belongs 
 to that Group. The Refidue may be little, and modly foreign-lighted, 
 either from behind, before or fidewife \ yet in fuch Sort, as that the 
 Caufe thereof, and of the Shades (as, by what and from whence) may 
 plainly appear: Otherwife, they will be but loofe Fancies, without 
 Foundation. 
 
 Some may poflibly queftion, whether hereby the Light will anfwer 
 my Purpofe ; becaufe I affiga Dryope a blue Garment over a yellowiih- 
 white one, judging, not without feeming Reafon, yet without knowing 
 my Intention, that the contrary would look more decorous ; namely, 
 the Light over the Dark; becaufe the greater!: and ftrongeft Mafs of 
 Light, falling on her middle Parts, to wit, Belly and Legs, the naked 
 Child would be more beautifully fet off, if her Breait or upper Parts 
 were dark, than againft the yellowifh-white. This with Refpeft to 
 the Light, I willingly allow} but not, as to the Colour ; for I defigned- 
 ly made the Garment blue, in order to make the naked Nymph beau- 
 tiful ; and yet, with Intention that that Part might keep a ftrong and 
 broad Light : For this Reafon, I have chofen a Stuff for it according- 
 ly ; it being known that Sattin has a Glofs, and almoft the fame Force 
 as Gold or Silver Stuffs. The red Garment of Iok, as being a beau- 
 tiful and light Colour, will be fufficiently, yet not too much, fet off 
 
 againft 
 
Chap. 13. 
 
 Of Landskips. 
 
 againft the dark Ground : But the Blue has here, on account of the 
 great Mafs, more Power, tho' having more Light about it ; for the 
 Red is but a fmall Spot. I have, as much as poffible, confidered the 
 Probability of this Reprefentation, and the Harmony in the Difpofiti- 
 on of the Colours ; affigning each Figure its particular and proper em- 
 blematic Colour K not only in the Draperies but alfo in the Nudities, 
 giving one a fair and tender, another, a more browniih Skin, and ib 
 forth. Each Figure has likewife its particular Charafteriftic ; the 
 Head of the Water-nymph is adorned with white Bell-flowers ; that of 
 the Wood-nymph, with wild Plants ; and that of her who comes running 
 forward, with Field-flowers. If it be wondered, that I make Mention 
 of Sattin ; fince we rarely hear, it was in Ufe among the Ancients ; I 
 fay, the Obfervation isjuft, with refpect to Statuaries, but not, as to 
 Painters j becaufe I have met with feveral old Pictures, wherein I have 
 feen Sattin reprefented: But how long that Stuff has been known to the 
 World, I cannot tell, norfhall enquire. In the meantime, it muft be 
 allowed to be a beautiful and elegant Stuff; as are alfo the changeable 
 Silks, tho' in a lefs Degree, and more proper for youg People. 
 
 If any Difficulty arife from my introducing into this Story a Priapus* 
 Term, lince there's neither God, Man,. Faunus, or Satyr in the whole 
 Piece, nor the leafl: Sign of any indecent Action, I will give him my 
 Reafon ; which is, that the Pott, relating the firft Caufe or the Difafter 
 befalling this unhappy Woman, afcribes it to the Tree Lotos; becaufe 
 when a Woman, and Priapus could not fatisfy his Luft with her, he ' 
 in Revenge, transformed her into that Tree bearing her Name, laying; 
 a Curfe on thofe who violated it ; and ftill retains that vindictive Hu- 
 mour; wherefore I place him here, as the firft Promoter of the Ac- 
 cident., 
 
 I iniift largely on thefe Fables or Ordonnances, to give an Handle for 
 further Inquiries into them ; for Ovid is not full and particular in all his 
 Fables, and we are obliged to fetch a great deal from other Authors. 
 
 He gives us no right Idea of the Tree Lotos, (a Stranger to theje Coun- 
 tries) nor mentions, what Sort of Leafing it has, or its. Virtues, or 
 whether it be of a moift or dry Nature, or where it grows molt plen- 
 tifully } wherefore, as far as I have met with them, I fhall produce 
 the Teftimonies of fome Authors about this Tree, together with the 
 emblematic Senfe and Explanations theyaffign: A very proper Part of 
 Knowledge for a Landskip-painter, whofe Inclination leads him to fome- 
 thing uncommon, and defires to pafs for Learned among the curious and 
 knowing. 
 
 I * have 
 
3*8 
 
 Of LandsYips. 
 
 Book VI. 
 
 . I have found, in general, that the Leaves are round ; which, at the 
 riling Sun, open, and as he goes down, clofe, and at Night, double ; 
 wherefore, when we introduce no Sun-jhine, they muft be reprefented 
 
 doubled or /hut. 
 
 As for the myfterious Senfe, we muft know, that the Egyptians paid 
 more Honours to this Tree, than any others, on a Belief, that it was a 
 Mediator between heavenly and earthly Things. It's moreover ufed, 
 to reprefent the Sun's Rifing and Setting ; efpecially with the Addition 
 of a : Child fitting on it , by which, they fignified, the Morning-vapours, 
 which the Sun's Approach difpels. And> becaufe it opens and (huts it's 
 Leaves with the Sun's Rifing and Setting, 'tis [acred to Apollo, as a Tree 
 peculiar to him, and out of Refpecl /hewing its Leaves to him only. 
 
 The rough or hairy Lotos was alfo much venerated by the Romans^ 
 who offered the Veflals Locks of Hair to it, * as they did, thofe of young 
 Men to Apollo, or to his Son JE/culapius. 
 
 The Greeks facrificed their Hair, in the fame manner, to the Rivers 
 of their Country, as having a certain Relation to this Tree ; which they 
 imagined had fuch Intercourfe with the Gods, that they made it their 
 Seat : And therefore it was planted in Morajfes. 
 
 Iamblichus teftifies, that thefe Trees require much Moifture; whence, 
 the Ancient s inferred, the fir ft Caufe of Procreation : Therefore calling 
 the Occean, the Father of all Creatures : And, obferving the round 
 Leaves, round Stem and round Fruit, they would, by this moft perfect 
 Figure, intimate, the Perfection of the higheft Deity, ; efpecially, when 
 a Child was reprefented fitting on the Tree. Which Ovid likewife al- 
 ludes to in this Fable, when (as Mr. Pope has rendered it) he fays, 
 
 f Now, from my branching Arms this Infant bear, 
 ' Let fome kind Nur/e fupply a Mothers Care ; 
 • Tet to his Mother let him oft be led, 
 ' Sport in her Shades, and in her Shades be fed $' ■ 
 
 We fhall now proceed to, 
 
 A fecond Table or Ordonnance relating to Dryope. 
 
 The Story is this. As foon as Andr anion was advertifed of the for- 
 rowful Accident which had happened to his Wife Dryope, he hafted to 
 the Place in Company with his Father : But they arrived too late, to 
 
 have 
 
 * Macrob. lib. 4. cap. 19. 
 
Chap.. I Of Landskips. 
 
 have any Speech with her before the Met amor phojis. A rough Bark 
 had now feized her Body and Members; infomuch, that (he was only 
 to be known from other Trees by her Shape and foft Voice. Her Arms 
 made two Branches, abounding with Leaves ; betides her Head-attire, 
 covered with Greens. Both the Father and Son hung about her Neck, 
 and wept ; and, with the Child, at her Requeft, kiffed her for the laft 
 Time. Whereupon (he was divefted of her human Shape at once. 
 
 In the former Ordonnance, I have ordered the River forwards, and 
 in this, tideways. Dryope, all but her Head, transformed into a Myr- 
 tle-tree, I place, almoft in the middle of the Piece, landing upright,, 
 a little to the left of the Point of Sight. Andramon takes her about, 
 the Neck, and kifles her left Cheek. His aged and forrowful Father 
 complains of the forrowful Mifhap to a Nymph ftanding near him,, 
 with his right Hand tearing open Dryope's Linnen,, in order to fhew 
 her the Body ; which beholding, fhe raifes her Shoulders, turning her 
 Head away, and looking down.. Another Nymph, having the little 
 Amphifus in her Arms, lifts him up, in order to kifs his Mother.. Io- 
 Je I place in great Lamentation at Dryope's Feet ; and a Step further 
 tiands the Tree Lotos. On the fecond Ground, on the right Side, I fet 
 the Tet m of Priapus s crofs-hung with Feftoons of Flowers and Greens- 
 tied under the Navel; and before it a fmall fmoaking Altar, with 
 fome People offering. On the left Side, on the Fore-ground, I place 
 the large fquare Stone, half under Water ; with a Nymph leaning on; 
 it. •Thefe are the Heads of my Defign. The View is on the left: 
 Side of the Point of Sight, and contilta of Hills and Waters ; and, 
 becaufe I reprefent an Evening, the Air is full of Vapours and dark. 
 Clouds ; and the Trees, by reaJan of the Wind, are. in Agitation. 
 
 Now, as this Piece is the Fellow of the former, all Things fhould,, 
 of right, be equally full of Work; but becaufe this Ordonnance has 
 the greater Variety, as exhibiting fome Men, I have been necefficated- 
 to depart a little from the original Difpofition, tince what is introdu-* 
 ced into the other muft needs be feen here ; as we have largely treated: 
 in the 2 id Chap. Of Or donnance. Wherefore, I place Diyope. front- 
 ing, with both her Arms lifted up, and pretty near each other. Her 
 Head loofely hangs down between them, to the left. Her Arms,, 
 from the Elbows upwards, together with her Brearl and a little of her 
 Body, retain their firft Forms. Andramon is feen, on the left Side,, 
 ftanding on Tip-toe in order to kifs her left Cheek,, which fhe offers 
 him ; his right Arm is about her Neck, and his left on her Breait.. 
 A little forward ftands the. Father tottering, and near his Side,, the 
 
 Nymphi 
 
Of Landslips. Book VI. 
 
 Nymph to whom he complains ; at the fame Time, opening Dryope's 
 Under-garment, only tied on her Shoulder with a Ribbon, and turn- 
 ing his Head and upper Parts to the left, with his Face towards Hea- 
 ven. The Nymph ftands clofe behind him very dejefted and forrow- 
 ful, railing her Shoulders, and looking downwards with her Head a 
 little fidling off from Dryope ^ her left Elbow is drawn in, and her 
 open Hand up at her Head ; her Breaft is bare, and in the Light. 
 Her under Parts are fronting, and her right Leg flung out. Jndra- 
 mon\ Garment, failing from his Shoulder, hangs about his Heels. 
 The Nymph, who, on the right Side, where the Ground is fome- 
 what lower, is lifting up the Child, falls back in her upper Parts, 
 with her Head hanging forwards ; fhe refts on her right Leg, having 
 the left lifted up againft the Tree; her Back is fronting, and turns "to 
 the Light, and her under Parts have a contrary Sway. The Child, 
 whofe upper Parts only are feen (the reft being hidden by her Head) 
 ftretches out both his Arms forwards, towards the Tree, preffing one 
 of his Feet againft her Body. Iofe, fitting fquat between her and the 
 Tree, leans her left Shoulder againft it, with her Head coming for- 
 ward, and her Hand on her Face, having a Cloth in her Lap. On the 
 left Side, without the Piece, at the End of the Fore-ground, I place 
 two Nymphs 5 one, with her Legs in the Water, and refting on her 
 right Elbow, and holding her Chin, and with the other Hand under 
 her right Arm -pit ; the other fitting with her Legs behind the former 
 in the Water, and refting with her right Arm on a Vafe, and her 
 Face arid right Breaft foreright : They are both naked and winged. 
 Near thefe ftands a third, holding a long Staff, on the top whereof 
 is a Pine-apple; the has, about her, a wild Beaft's Skin, and points 
 with her right Hand forward ; in which Pofition, her right Side is 
 feen. Behind her, on the aforefaid Stone, lies Dryope's Garment ; and 
 on the fame Side forwards rifes a large Tree, incumber'd with' wild 
 Bullies and Sprigs. 
 
 The Light I take, as in the former, from the right Side a little 
 fronting ; for, were it a left one, it would not fo commodioufly bring 
 the light Parts together in a Group ; and the rather, as the Piece is a 
 Fellow of the former. 
 
 I reprefent then, the expiring Dryope, bare almoft to the middle, 
 by the dropping her under Garment ; which, as in the former, is Yel- 
 lowilh-white. Her Face and Breaft retain their Fleihinefs and Co- 
 lour, but her Body downwards grows darker and browner, like Wood- 
 colour, till at laft it is perfeaiy woody ; as happens alfo to her Arms, 
 
 which, 
 
Chap. 13. Of Landslips. 311 
 
 which, to the Elbows, have their former Colour, but at the Fingers 
 
 are woody and branched. Her Face, to the Chin, with that of Jn- 
 dramon to the Shoulder, is in the Shade of the Greens of her Head 
 and Arms, Jndramon, as a Man of Repute, has a Ihort greenifh 
 grey colour'd Coat, embroidered with Gold; his upper Garment is 
 reddifh Purple, dark and warm; and his Legs, up to the Hips, are in 
 the Shade of the Tree. The old Man is dreft after the Perjian Man- 
 ner, in a Gown reaching to the Calves of his Legs, of a light Fille- 
 mot Colour, with large Violet Stripes and Gold Leaves ; his upper 
 Garment, fleeved and quite open, is beautiful Violet \ he has Shoes 
 and wide Stockings ; his Cap, like a Turbant, curling on Top, lies 
 with his Staff at his Feet ; and his Hair is grey. The Nymph by his 
 Side, is half (haded by him ; that is, her whole right Side, from the 
 Shoulder downwards, except her Knee, which ihe advances ; her Veft- 
 ment is greenifh Blue, inclining fomewhat to dark. The Nymph 
 with the Child has an airy blue Garment, girt about the Middle; her 
 right Shoulder is bare, and the Flappet of her Garment ruffled about 
 her Legs by means of the Wind. The Virgin behind her, and be- 
 tween the Tree Lotos, has a white Garment. The Priapus-Term, be- 
 tween the Trees is by them, moftly fhaded ; and off from it, palling by 
 the Point of Sight, the major Part is filled up with fmall Trees, which 
 are dark or in Shade, and brightly fetting off the foremoft Group. 
 
 The two naked Nymphs, on the left Side, receive little Light. The 
 Air on the Horizon is full of Vapours and melting; becaufe f do not 
 give here the Sun fo bright and clear as in a fine Morning, nor fo 
 ftrong as at Mid-day, but more or lefs vapourifh, and therefore . the 
 whole appears of a RufTet Colour. The Clouds are large, thick, and 
 heavy. 
 
 The Sky might alfo be properly enriched, by exhibiting in it, the 
 three Parca or Fatal Sifters ; fince, having done their Bufinefs, they 
 are again afcending. In fuch Cafe, Atropos, with the Thread and 
 Scihors, ought to be foremoft ; next to her, Lachefts, with the Spindle ; 
 and behind her, Clotho, with the Diftaff. 
 
 Let us now exhibit Jndramon and his Family's Return Home, in 
 
 J Third Table or Ordonnance of Dryope. See Plate L V. 
 
 The late Dryope, after her Fate, ftands, with the Tree Lotos, at 
 the End of the Fore-ground. A little to the right of the Point of 
 Sight, and from her to the left Side, appears a bending Way, like a 
 
 *No. 14. S f Crefcent ' 
 
Of Landslips. 
 
 Book VI. 
 
 Crefcent, coming forward • againft which, the Water, from the right 
 Side, about 3 Feet lower, is wafting. Quite forwards, againft the 
 Shore, lies a Paffage- boat. On the right Side, without the Pifrure, I 
 reprefent a Piece of very high Ground, running towards the Point of 
 Sight. At the bottom of this Ground, and almoft level with the 
 Water, runs a Path, edged with fome watry Trees \ and even fome of 
 them in the Water. The fecond Ground rifes Hill-like againft the 
 Offskip ; efpecially on the right, from whence to the left Side, thro' 
 the Hollow of the Rock, is feen a further Offskip. Behind this Hill 
 or Height appears the beautiful Top of Andramon's Houfe. 
 
 I believe it will not feem odd to the Knowing, that I introduce fo 
 much high Ground and Water about fo fmall a Spot of low Land,- 
 becaufe the Poet lays the Fa£t in a Lake ; for which Reafon, and in. 
 order naturally to (hew it, I exhibit that Corner, with the Way Cre- 
 fcent-like, as being but a Part of the Lake. 
 
 The Queftion is now, whether a Painter may not take fome Liber- 
 ty for Decorum's Sake ? I lay, he may, fo far as not to take away 
 the Property of the SuhjeH ; for what the Writer lays down muft pais 
 for a Law ; wherefore we may well conclude, that Ovid does not fay- 
 any thing without Reafon. Some may poffibly think I could have, 
 made a more delightful Choice : But it muft be obferved, that this Fa£l 
 is of a contrary Nature ; I feek not for Pleafure in the midft of Sor- 
 row, which here is my principal Scope \ as may appear by what 
 follows. 
 
 In the Path on the right Side, I reprefent fome Bacchanals and Sa- 
 tyrs, trooping towards the Hills. Among them, one is carrying a 
 Priapus-term on his Shoulder, with a large Veffel in his other Hand, 
 and followed by Tygers and Panthers. As for the transformed Dryo- 
 pe, I let her under Garment, of the Colour before laid, hang on the 
 Tree : Near which ftand three Nymphs ; of whom one embraces it 
 with both Hands as if (he would fhake it ; at the fame Time looking 
 upwards at the Leaves. The two others are talking together ; the one 
 pointing forward at the forrowful Relations, who are departing. I 
 place Iole forward, by the Boat, with her Sifter's Garment and a Bas- 
 ket of Flowers in her Hand ; which, weeping, (he gives to the Water- 
 man. Andramon, coming a Step further, has his Son Amphifus on his 
 left Arm, wrapped in his Garment ; he is fpeaking to the Waterman, 
 and (hewing him the Place whether he would be carried. Behind him 
 follows the Father i who, fixing his Eyes towards Heaven, on the 
 
 Hefpe- 
 
Chap. ij. 
 
 Of LandsMps. 
 
 Hefperus, or Evening Star, feems to complain of the unhappy Fate of 
 his Daughter. 
 
 I lhall now fully defcribe the Figures* and their Actions, and Drefles, 
 and other neceffary Circumftances. 
 
 The Boat, tied to a Poft, lies fomewhat fidewife and fore-fhortened. 
 The Waterman's right Side is fronting, inclining to the Land, with 
 his Back directly in the Light ; he receives with extended Arms, the 
 Garment and Basket of Flowers which Iok gives him. His Veftment 
 is light Grey, girt with a large black Girdle* which is buckled ; his 
 right Shoulder is bare almoft to the Middle. Iok appears with her left 
 Side fore-right, and her Breaft fwaying towards him ; giving him the 
 Basket of Flowers with her right Hand, on the Arm whereof hangs 
 her Sifter's Garment ; her under Parts are fronting, and her Feet clofe, 
 with Knees a little bent ; fhe turns her Head to the left, wiping her 
 Eyes with a Flappet of the Vail which fhe has about her Neck. A?i- 
 dratnon, with the little Amphifus in his Arms, ftands on one Leg, and 
 is ftepping towards the Boat ; his upper Parts turn to the left, his 3reaft 
 fronting, and his right Arm put out fideways, in order to fhew the 
 Waterman, as has been faid, the Place he would be carried to ; the 
 purple Garment is faftened on his right Shoulder, and from under his 
 Arm flinging about his Body, he thereby partly covers the Child ; and 
 with another Flappet of the fame, which he has in his left Hand, he 
 fupports and holds the Child, on his riling Hip againft his left Breaft. 
 The Child holds him faft about the Neck, with its left Hand in the 
 Opening of his under Garment, leaning back with it's upper Parts from 
 him, and holding up in the right Hand, a Garland of Flowers, at which 
 it ftares to the right Side .; one of its Feet is feen hanging down between 
 the Folds of the Garment, and touches the Hilt of its Father's Sword. 
 The old Man, who follows him, has his Back turned towards the Point 
 of Sight, and feems to fall back, with Concern ; his Face is towards 
 Heaven ; his right Leg is put forward, and his left, whereon he ftands, 
 drawn fomewhat back ; his right Arm is crofting his Body ; and in 
 that Hand he holds his Staff, againft his left Breaft; and thrufting out 
 his left Hand, he points at the Ibrrowful Father and motherlefs Child, 
 who are before him ; and in this Pofture, feems to make his Complaint 
 to Hefperus. The Tree with the Nymphs, and what elfe rifes on that 
 Ground, fhine in the Water; as does alfo what is ftanding along the 
 Water, on the right Side. Andramon with the Child is, to his Breaft, 
 parallel with the Horizon ; becaufe the Ground rifes forward, and is 
 level with the Boat. 
 
 S f a I have 
 
2 24 Of Landskips. Book VI. 
 
 I have largely handled the aforefaid three Ordonnances, to fhew that 
 Landskip-painters want not Matter for ornamenting their Works with 
 Hiftoriesor Fables proper to the Landskip. Thefe Things are alfo of 
 Ufeto Hiftory-painters, for reprefenting Ricbnefs of Matter m poor Oc- 
 currences. Wherefore to be copious, and further inftru£tive, I fhall 
 handle one Fable more, as alfo a Defign of my own : And then, for 
 the Conclufion of Landskips, make a Companfon between what is 
 Fainter and mi-painter-like ; the latter whereof is, by Ignorants, com- 
 monly called the contrary. 
 
 CHAP. XIV. Table or Ordonnance of Erifichton ; and the Emblem 
 of a Satyr's Purlijhment : Both ferving for the Embellijhment of Land- 
 skips. 
 
 OVID relates, that Erifichton, a very vile Man, was, by the 
 Goddefs Ceres, whom he had highly offended by cutting down an 
 exceeding high Oak-tree confecrated to her, punifhed with in- 
 itiate Hunger ; infomuch, that for Want of Food, he was obliged to 
 fell his own Daughter. See Plate LVI. 
 
 I reprefent this in a delightful Landskip, or Without-door-Prolpect. 
 The Light comes from the right Side ; and the Point of Sight is in the 
 Middle. On the left Side, I exhibit a (lately Building, with a beauti-: 
 Ful Frontifpiece, of the Dorick Order, attended by three Steps running 
 towards the Point of Sight. Beyond the Steps I place an Hand-rail,; 
 4 Feet in Rife, running from the Houfe, by the Point of Sight. In the] 
 Return of it, ftands a Vale. On the right Side is a River, with a wood- 
 en Bridge over it. By the Water-fide appears Part of a Town-wall £ 
 which the Water waflies and runs round. The Refidue is an OfTskip, 
 here and there planted with Trees. Nexfthe Hand-rail, I place thl 
 hungry Erifichton ; who, with his Cap in his left Hand, is tumbling 
 his told Money into it with his right Hand. His Daughter Meftre ftands 
 behind him, near the Steps ; and the Merchant ftepping up, fhews hep 
 the Door, with his right Hand ; wherein he has a Bag half full ofj 
 Money ; at the fame Time, holding her, with his left, by a Flapped 
 of her Garment. Lean Hunger behind, between her and her Father's! 
 right Side, puftes her forwards with both Hands. This is the Main! 
 of the Subjefo 
 
 1 he 
 
Chap. 14. Of Landskips. 315- 
 
 The Merchant, looking proudly and gravely at the Daughter, is 
 dreft in a fine Violet-coloured-Garment, reaching juft below the Knees; 
 'tis girt about his Middle ; he has a Fillet about his Head, and he is 
 loofely ftockined and (hoed, according to the Spartan Cuftom ; he is 
 feen moftly from behind, refting with his right Foot on the upper Step, 
 and drawing up the left from oft the Middle one. The Daughter ftands 
 on her right Leg, with her left Foot juft or* the lower Step, a little 
 drawn back; her under Parts are almoft fronting, more or lefs from the 
 Light \ fhe fways her upper Parts to the right, wifhfully looking at her 
 Father, whom fhe is unwilling to leave } with Sorrow and Tears fhe 
 feems to move the Merchant's Pity, and to follow him againft her 
 Will, fhe has an Handkerchief in her right Hand, with which, up at 
 her left Ear, fhe feems to whipe her Face ; fupporting the Elbow of 
 that Arm with her other Hand. Her Garment is pale Yellow, with 
 green Reflexions ; and, being flovenly gathered under the Breaft, and 
 tied with a Ribbon, hangs in Tatters below the Calfs of her Legs ; fhe 
 is bare-footed ; has a beautiful Mien, yet is fomewhat thin ; her Hair 
 is light, twifted with fmall blue Ribbons. Erifichton ftands quite 
 ftooping, with bent Knees ; his Garment, tied about the Middle with 
 a Rope, is Fillemot, and reaches behind to the Calfs of his Legs ; be- 
 ing fo open on the Side as todifcover his bare Hip and Leg ; his left 
 Shoulder is alfo naked, his Hair and Beard Grey, and he is lean and 
 fwarthy; his Stick ftands againft the Hand-rail. As for Hunger , Ovid 
 defcribes him thus : With frightful Hair, Eyes funk in, Mouth and Lips 
 livid, Teeth yellow and flimy, and a thick Skin difcovering the Bones 
 and Entrails ; he is feen almoft to the Middle above the Back of Eri- 
 fichton. The Pillars of the Frontifpiece are grey ; the Houfe and Steps, 
 "Freeftone, and the Pavement the Door is of large blue Stone ; and from 
 thence, down to the River the Ground is plain. In the Front of the 
 Houfe are carved two Cornua Copia. The Vafe is of a reddifh Stone. 
 On the left Side of it, behind the Hand-rail, rifcs a great fpreading Tree 
 in full Verdure ; which gives a large Shade againft the Houfe ; the Sterrr 
 of it is encompafled with Ivy and other Greens, which take away the 
 Light of theOffskip between it and the Vafe, together with the Sharp- 
 nefs of the Hand-rail ; againft which, the Daughter is. brightly fetoif, 
 with Decorum. Againft the Wing of the Houfe, without the Hand- 
 rail, I fhew a Vine. At the Door waits a young Servant. Quite forward,. 
 In the left Corner, clofetothe Steps, ftands a watchful Dog, tied with 
 a Chain, and barking. 
 
3 16 Of Landslips. Book VI. 
 
 In this Representation I have had an Eye to three principal Circum- 
 
 "fiances ; Indigency, Akcejjaries of Life, and Opportunity. Indigency fecks 
 Relief where 'tis to be had j if not inTown, elfewhere ; wherefore, I re- : 
 prefent Necejjity in both Father and Daughter, coming for Relief to\ 
 the fubPantial Man's Country- feat, who lives in Plenty. The further 
 Circumi'cances, as, the Btidge, Town, and Horns of Plenty explain 
 themfelves. 
 
 I do i:ot place lean Hunger near Erifichton, contrary to what I have ! 
 formerly faid, namely, That, when a Pajfion can be expreffed in the Per- 
 fon himjdfy we have no Need of an emblematic Figure, to make it known: 
 Hunger is placed here for two Reafons: Firft, becaufe Want cannot be 
 perfectly exprefied here in it's full Force, through a prefent Intermix- 
 ture with fomething elfe ; as, the Happinefs of having found the Means 
 whereby to relieve it ; to wit, the Money. Secondly, becaufe Erifich- 
 ton \s not fo naked, that his confumed Body, according to the Poet, can 
 be fhewed as Occafion requires. 
 
 The Reafon of my putting in the Dog, is, not only for the Enrich- 
 ment of the Difpofition, but a I fo to fhew, that he who poffefles much 
 Wealth, ihould likewife watch it. Moreover, 'tis ufual for the Coun- 
 try People, but chiefly Men of Subftance, to keep thofe Creatures as 
 well for Pleafure as Ufe. 
 
 This Fable is feldom feen in Painting, or exhibited in a Print other- 
 wife than in Ovid's Metamorphofis, and that in fo Ample a Manner, 
 that without the Explanation under it, 'tis fcarce intelligible ; for, what 
 can be inferred from an old meagre Man's receiving a Purfe of Money 
 from a Gentleman ; with a young Woman appearing between them ? 
 How can the Inequality between Riches and Poverty be confpicuous, 
 when they are as like in Drefs as if they were Brothers and Sifter ; and 
 this, in a Landskip, or the Middle of a Field, where is neither Houfe, \ 
 nor other Token of their Habitation ? 
 
 The Conclufion of a Story is not all that's neceflary to be read ; we 
 ought to know the Origin, the Fact and Sequel of it. Firft, it's ne- 
 ceflary to know the Man and who Erifichton and his Daughter were, to 
 exprefs this naturally in their Perfons and Drejfes. Secondly, we fhould 
 know by whom they are punifhed, and in what Manner ; and laftly, by 
 whom, and by what Means made eafy. After a full Inquiry into thefe 
 Particulars, 'tis then Time to coniider, how to reprefent them with all 
 their Circumftances, moft naturally j fuch as the Place, &c. After 
 which, the Enrichments and Diminutions will follow of themfelves. 
 We may at leaft conceive, that they, who will not ftudy the Point, i 
 
 can- 
 
hap. 14. Of Landslips. 327 
 
 cannot go fuch Lengths as to perform fb fmali a Story as this, much 
 efs one of greater Dignity, in a natural and judicious Manner. 
 
 I (hall now, agreeable to my Promife in the Conclusion of the laft 
 Chapter, give another embellifhing Example, in an Emblem of my 
 own Invention, for the Sake of thofe who will not inure themfelves to 
 Hiftorians or Poets, nor confine their free and rich Thoughts to fuch 
 a Reftri&ion* 
 
 Sweef Repofe dijlurbed by Lewdncfs. An Embkm. 
 
 Here are feen three young Nymphs of Dianas Train, tired with 
 Hunting, repofmg in the Shade of the Trees, a little i.rT from the 
 Road, and near a foamy Water : Which fome Fauni and Satyrs efpy- 
 ing, they were refolved to have fome Sport with them. Wherefore 
 acquainting their Affociates with the Matter, they filently advanced 
 towards the Place in a Body; bringing with them one of the largeft 
 Priapus-Terms they had, together with two Panthers,, a Veflel of 
 Wine and fome Grapes* Being arrived, and feeing the Nymphs al* 
 moft naked, and raft afleep, they planted before the Place the afore- 
 faid hideous Scarecrow ; and then foftly ftole their Hunting-equipage, 
 as Quivers, Arrows, Bows, &c. and hung them on its Genitals, fatt- 
 ening them with the Straps, which they buckled. They moreover 
 deck'd its Head with one of the Nymph's Vails; flicking their Thyr- 
 fes in the Ground round about it, and adorning them with Vizors.. 
 Not flopping here, they feized as many of the Virgins Garments as 
 they could, and tofled them upon the high Limbs of an adjoining 
 Tree ; and to prevent the Nymphs climbing up, in order to regain 
 them, they tied the two Panthers under the Tree ; and, after having 
 fet down the Wine and Grapes, pleafed with the Project, they covert- 
 ly retired to a peeping Place, to wait the Iflue on the Nymphs awak- 
 ing. Each of the Gang had brought with him his Inftrument, as, 
 the double Hautboy, Cymbal, Tabor, Timbrel, &c. wherewith, be- 
 caufe 'twas Evening, an d they might fleep too long, to beat up their 
 Quarters. But the Plot foon milcarried, through an unexpected Ac- 
 cident; for, another Nymph, who was poffibly feeking for her Com- 
 pany, happened to arrive at the Place; and feeing the Panthers Iving 
 under the Tree, and thinking they were wild, (hot at them and killed 
 one. The Satyrs, feeing this, came out of their Lurking-hole, and; 
 purlued her; but fhe efcaped by Flight. They then concluded, they 
 had waited long enough j and, observing that it grew l?.:e, and that 
 
3i8 Of Landslips. Book VI 
 
 the aforefaid little Buftle made the Nymphs begin to ftir, they in a 
 
 full Body of Satyrs, Fauni, Bacchanals, even all the Tribe of Bacchus, 
 fet up, with their Inftruments, fo loud a Noife, that the Nvmphs 
 Parted up on a fudden ; and, full of Fright, look'd for their Cloaths: 
 But, being now thoroughly awaked, the Term prefented' before them, 
 with their Hunting Equipage hanging about it. This Sight, but elpe- 
 cialiy that of their Cloaths on the Tree, much furprized them, and 
 put them to the Blufh; not knowing what Courfe to take in the Exi- 
 gence. Not one durft approach the Block in order to take her Wea- 
 pons. The vile Crew all this while kept perdue, laughing at them 
 unobferved. The diftrefled Nymphs, perceiving no body near them, 
 run to and fro, confidering how to get their Cloaths again ; but on 
 their Approach to the Tree, the Panther arofe, making fo great a 
 Noife that they knew not whither to run. Cries and Lamentations 
 here were 'ufelefs. They above an hundred Times invoked the Aid 
 of Diana ; yet in vain. The eldeft, named Ckobis, at laft took Cou- 
 rage, and went up to the Term, with Intention to get the Vail from 
 
 it to cover 'Carile, who was naked; faying, Ah I Why are we 
 
 fitch Fools to be thus feared ; and only by a wooden Black ? Why are we 
 afhamed ? Somebody has certainly been here ; but nozv the Coaft is clear ; 
 I am refolved to throw it dozvn : Come, Sifters, and boldly give an help- 
 ing Hand. But (he had no fooner utter'd the Words, but all the 
 
 Gang appeared, mocking, fcoffing and hooping ; any one may deter- 
 mine who was on that Overture, molt dafhed and concerned. A little 
 Satyr (hot at the Term, and took- the Quivers from it, (hewing the 
 Nymphs the unfeemly Member, with an hearty Laughter. This 
 (but efpecially when other Scoffers (hewed them the Cloaths on the 
 Tree) highly provoked them. To take to Flight was not advifeable ; 
 one pufhed them this Way, another, that Way. During this Game, 
 a Noife of Cornets was heard; which fuddenly put an End to the 
 Laughter ; each made off leaving all Things as they flood. The 
 Term of Priapus fell to the Ground, and the Panther at the Tree en- 
 deavoured in vain to get loofe. Now, Diana appears attended by her 
 Train of Nymphs; who (hot their Arrows at the lewd Crew, the 
 Dogs, at the fame Time, tearing the Panther to pieces. The fearful 
 Nymphs appeared much aihamed, and proftrated themfelves at the 
 Feet of the Goddefs ; to whom they related their Misfortunes, and 
 the Affront put upon them by the Gang of Satyrs; (hewing her, at 
 the fame Time, the Term, the Vizors, their Cloaths on the Tree, 
 and what elfe was done in defpite to them. The Goddefs, to ihew 
 
 her 
 
Chap. 14. 
 
 Of Landslips. 
 
 her Refentment, gave immediate Order to purfue the Rioters; and 
 wewld not enlighten the Night 'till lhe had revenged the Infolence. 
 Some accordingly made towards the Woods, others to the Brooks, and 
 the Reficlue took the Field ; in a little Time, part of them were made 
 Captives ; for of the three who purfued the Nymph for mooting the 
 Panther, one was catched in the Net, and five others, together with a 
 Bacchanal, were foon after haled before Diana, in Irons ; whom fhe 
 lentenced to be tied, two and two together, by the Feet and whipped by 
 the three affronted Nymphs with Thorns and Holm-leaves lb feverely, 
 as almoft to kill them. Three others fhe adjudged to be hung by their 
 Tails on the Limbs of Trees, with their Heads juft touching the 
 Ground. Not yet appeafed, fhe cauied him, who was taken in the Net, 
 to be therein plunged into the Water, by two or three Nymphs, till he 
 was juft expiring, and the Water came out of his Mouth. The Bac- 
 chanal mult fee all this 5 on whom was bellowed an hunting Knife, 
 wherewith, if lhe thought fit to releafe the Delinquents, to cut off their 
 Tails : Which after much Reluctance, lhe was at laft prevailed upon to 
 
 do ; and then, tying their Hands behind them, Diana laid — Go 
 
 now, and jhew yourselves to the reft of your wanton Gang, and tell 
 them, that thus twill funip all thofe who dare to mock the chaft Diana 
 and her Retinue. 
 
 Is not this now, tho' a feigned Story, Matter fuffkient to furnilh 
 many Landskips ? The Landskip-painter ought to obferve here a Re- 
 prefentation of different TaJJions \ Bapfulnefs in the Nymphs ; wan- 
 ton Joy in the Satyrs; Severity and Refentment in the Goddefs and 
 Dijlrefs in the Infolents. 
 
 You fee here the alluring Pleafure of committing a Crime, and the 
 Balhfulnefs and Diftrefs of thofe who fuffer the Evil ; but at the fame 
 Time, the grievous Confequences, and Punifhment attending Wicked- 
 nefs and Infolence. In fine, the Sweets and Puniihment of Evil, and 
 the Reward and unexpe£ted Relief of Virtue. 
 
 Can it be denied that fuch a Reprefentation in Landskip will not 
 generally pleafe? Surely, 'tis not impoffible to make other fuch De- 
 figns. On which Occafion, I hope it will not be tirefome to the Reader 
 if I now Ihew what is underftood by the Word (Taint er-like) as a very 
 neceifary Point for a Landskip-painter. 
 
 No- 14. 
 
 CHAP. 
 
Of Lands kips. Book VI; 
 
 CHAP. XV. Of the Word (Painter-like.) 
 
 H E R E's fcarce any Thing in the World which is not liable to a 
 good or bad Conitruttion ; and Judgment alone chufes in all 
 Things a Medium, out of thole two Contrarieties, which is certainly 
 the moft beautiful and beft. This is an efpecial Truth in the Art of 
 Painting ; which has fuch a Power as to affect People two different 
 Ways : Firft, by virtuous and agreeable Reprefentations ; and in the 
 next Place, by thofe which are mean, milhapen and contemptible ; 
 both equally efficacious in Contrariety. The former recreates and 
 charms a judicious Eye, and the latter is it's Averfion. 'Tis therefore 
 indifputable, that the Tainter-like, or, moft beautiful Choice, implies 
 nothing elfe than what is worthy to be fainted ; and that the moft mean, 
 or, what is not beautiful, leaft deferves that Honour : As for In- 
 flance, fuppofc there were brought before me, a Basket of ripe, unripe 
 and rotten Fruits mixed together ; I muft, having any Judgment, chufe 
 the moft relifhing, or thofe which appear moft beautiful to the Eye, 
 and reject the reft. 
 
 A Landskip adorned with found and ftreight-grown Trees, round-bo- 
 died and finely leaved, fpacious and even Grounds, with gentle 
 Ups and Downs, clear and ftill Rivers, delightful Viflos, well-or- 
 der'd : Colours, and an agreeable blue Sky with fome imall driving 
 Clouds; alfo elegant Fountains, magnificent Houfes and Palaces, difc 
 pofed according to the Rules of Architecture, and richly ornamented ; 
 likewife, well-ftiaped People agreeable in their Action ; and each co- 
 loured and drapery'd according to his Quality ; together with Cows, 
 Sheep, and other well-fed Cattle ; all thefe, I fay, may claim the Title 
 of Tainter^like : But a Piece with deformed Trees, wildly branched 
 and leaved, and diforderly fpreading from Eaft towards Weft, crooked- 
 bodied, old .and rent, full of Knots and Hollownefles; alio rugged 
 Grounds without Roads or Ways, ftiarp Hills, and monftrous Moun- 
 tains filling the Offskip, rough or ruined Buildings with their Parts 
 lying up and down in Confufion; likewife muddy Brooks, a gloomy- 
 Sky, abounding with heavy Clouds \ the Field furniftied with lean Cat- 
 tle and Vagabonds or Gypfies, fuch a Piece, I fay, is not to be called a 
 fine Landskip. Can any one, without Reafon, aftert him to be a Painter- 
 like Object, who appears as a lame and dirty Beggar, clothed in Rags, 
 
 Splay- 
 
Chap. if. 
 
 Of Landslips. 
 
 Splay-footed, bound about the Head with a nafty Clout, having a Skin 
 as yellow as a baked Pudding, killing Vermine ; or in fine, any fuch 
 paltry Figure? Would you not rather conclude fuch Things to be the 
 Jeft of a Painter. 
 
 For my Part, I believe, that the Difference between the Fine and the 
 Ugly is too great not to make a Diftinclion between them. I am well plea- 
 fed, that fome call the Works of Bamboccio, Brouwer, and Moller, 
 and the Landskips of Brueghel, Bril, Bloemart Savry, Berchem and 
 fuch Mafters, fainter-like : But I oppofe to them Raphael, Correggio, 
 Touffin, le Bran, etc. and in Landskip, Albani, Genouille, TouJJin^ 
 the German Tolydore, and fuch as follow them in their Choices. 
 
 On this Occafion, I fhall, e're I conclude, alio confider the Word 
 Defigner-like ; a Word which is as much perverted as the other : For 
 Inftance ; crooked Trees abounding with Knots and Hollo wneffes, 
 rugged Clods of Earth, burften and lharp Rocks, human Bodies 10- 
 buftly and roughly mufcled in Michael Angelo's Manner, Faces large- 
 featured, long-nofed, wide-mouthed, hollow-eyed like Testa's j thefe 
 Objects we have extolled for Defigner-like, tho' as abfurdly and im- 
 properly, as 'tis to fetch Light out of Darknefs, and Virtue from 
 Vice. 
 
 The Mafters therefore are very imprudent, who encourage their Dif- 
 ciples to feek and draw in fo troublefome a Way, after fuch Objects, 
 as tending to nothing elfe than learning them to make rough Out-lines. 
 Do they not chufe a round-about-way to bring them into the right 
 Path ? Nay, how many die in the Purfuit, who, had they taken the 
 other Way, might eafily have got through ? Wherefore, 'tis more ad- 
 vifable to draw after the beautiful and fedate Simplicity and Great- 
 nefs of Raphael, TouJ/in and other excellent Mafters, than after any 
 of thofe other paltry and mif-lhapen Obje&s. This muft be agreed, 
 that if the bad and deformed be Taint er or Defigner-like, the beauti- 
 ful is not Jo: The Cafe admits of no Alteration j and confequently 
 the wortt muft be beft, and the belt worft. If both be good, there 
 is no room for Choice ; and you may, at that rate, mingle Beauty with 
 Deformity, Joy with Sorrow, Ripenefs with Unripenefs, Gods with. 
 Beggars : But fince Beauty is attracting, and Deformity offenfive, this 
 certainly is true Tainter-like, which fuppofes t he best and mofi agreea- 
 ble Objetls ; which alone ought to be called fo, and fought for. 
 
 Yet there are Occafions, wherein both muft be obferved ; either that 
 the Story requires it, or that, by Means of Deformity, we are to fet 
 off what is beautiful, and make it predominate ; But then the Paint- 
 
 T t 2 er 
 
Of Landslips. Book VI. 
 
 er who underftands Beauty, may more eafily abate, than the other exalt 
 himfelf above his Knowledge and Capacity. Wherefore I conclude, 
 that beautiful Nature is the beft Choice, and the moft Tainter-Uke-. 
 
 I fhall now, for the Benefit of fueh Artifts as are not rich in 
 Invention, give a compendious Defcription of Variety of Objects in 
 a fictitious View. 
 
 CHAP. XVI. Of Tainter-Uke Beauty in the open Air. 
 
 r ■ H E Day was almoft fhut in, and the agreeable weftern Sun giv- 
 ing long and charming Ground-fhades, when 1 purpofed to divert 
 myfelf with a Walk ; not without reflecting, how many fine Obferva- 
 bles are overlooked, which, if handled, according to Rule, would be 
 of Service : A Carelefsnefs often proceeding from too fuperficial and 
 groundlefs a Method of Study ; which will not permit the Thoughts 
 to fix on Things of moft Importance. 
 
 In my Walk, I came into an agreeable Country, feemingly the Seat 
 of ble{fed Souls ; where nothing was wanting which could tend to the 
 Repoie of the Mind ; every Thing was beautijul and orderly: Blind 
 Chance had no Hand in this ; I could plainly perceive, with what Ar- 
 dour and Plealure Nature and Art had mutually bellowed their Benefits 
 upon it : The Roads or PafTages were fo neat and level, that in walking 
 you hardly feemed to touch the Ground : A fweet and refreshing Wind 
 reigned there; which fo allayed the Sun's Heat as to make it indifferent 
 whether you fat in it, or in the Shade : The rich-leaved Trees, as beau- 
 tiful in their Stems as their Greens, moved almoft infenfibly ; when 
 the young and tender Sprouts, as yet but thinly leaved, carefTed by 
 the mild and gentle Air, feemed to rejoice, the filver Leaves, by a 
 fweet Motion, glittering like Medals : The Sky was fine blue, 
 loofing gradually in thin Air towards the Horizon : The fmall Clouds, 
 not violently driving this Way and that, moved llowly and quietly 'till 
 they got out of Sight. The white Swans beheld themfelves in the 
 clear Brooks ; freely winding and turning without feeling whether 
 with or againft the Stream. 
 
 In this delightful Region, I found a very beautiful Fountain, the 
 Bafon of which, was of white Marble ; furnifhed towards the Road 
 with rocky Bowls and Scollops to receive the Water ; the Figures, 
 ftanding upon it, were moft elegantly chofen ; round it, ftood low and 
 
 clofe 
 
Chap. 16. 
 
 Of LandsMps. 
 
 332 
 
 clofe May-trees, againft the Green whereof, the white Marble v/as 
 magnificently, yet modeftly, fet off ; caufing thus a pleafing Mixture 
 in its Shade. 
 
 From thence, I took to the right Hand, along a level and broad 
 Way y on both Sides faced with a Parapet of Free-ftone, whereon 
 ftood forwards two large Vafes of flefh-coloured Marble, in Shape 
 and Ornament like thofe in the Farnefe Garden ; wide on Top, 
 and without Cove/S", but, inftead of an Iphigenia, the faint carving 
 confifted of dancing Women ; thefe Vales had a wonderful fine 
 Sweep, the Figures were orderly difpofed, and in all Parts alike and 
 moderately filled with Work ; and becaufe the Bafs-relief rofe fo lit- 
 tle, the whole appeared as yet frefh and undamaged. 
 
 The 'Parapet was built after the Doric Order, and its Pannels were 
 adorned with Foliage and Branch- work, twined with Reeds. 
 
 The End of it let me into a wide fandy Road ; on the left Side bor- 
 dered with a gentle flowing River > and on the right, with fine and large 
 Trees j along the Brink of this River were planted only grey and 
 whitifh Willows, not all alike ftreight and large, but fome leaning over 
 the Water, others clofe-branched and leaved, others again, thin and 
 young, difcovering the Glitter of the Water : On the right Side* 
 where the Road run high, ftood, as I fay, large and heavy Trees of 
 various Kinds, fuch as Oak, Am, Lime, wild Olive, Pine, Cyprefs,. 
 &c. Some with ftreight Stems, round Tops, fvvaying Branches, and 
 fine Greens ; between which, fome tender Suckers, with their fmali 
 and upright Stalks and airy Leaves, afforded an inexpreftible elegant 
 Variety. The brown Cypreffes, laden with their Fruit, added no fmall 
 Luftre to the green of the other Trees ; to my great Delight. Under 
 thofe Trees grew fome wild Simples, and various Kinds of large and 
 fmali-leaved Plants intermixed with Thiftles and Thorns in an agreea- 
 ble and moft Painter-like manner. Thefe under Growths, but efpe- 
 cially the Grafs on the Sides, were in many Places dufted by the Road v 
 which, by their Union, caufed a charming Decorum. 
 
 At proper Diftances, along both Sides of the Road, were placed 5 , 
 for the Eafe of Travellers, fome low Free-ftone Seats, in the Form of 
 a long and narrow Architrave, fupported by two fquare Pillars.. 
 
 Going on, I came to a Crofsway, where 1 found a Term or Guide 
 fet up. Here, not to go wrong, I was at a Stand, which Way to take: 
 In this Doubt I recollected, that thole Guides have commonly their 
 Faces towards the Way Strangers and Travellers ought to go. This 
 Term was down to the lower Belly, like: a* Man, yet very mufculous,, 
 and the Head, refembled that of a Satyr, and guarded with two large 
 
 crooked. 
 
334 
 
 Of Landskips. 
 
 ■Book VI: 
 
 crooked Rims. Horns ; it flood in a Gap between fome Trees, half 
 fhaded with Leaves and Ivy j it feemed to be made of Marble, but very 
 much bedripped and fouled with a green Liquor. A little from it, I 
 faw, on a white Marble Plinth, a decumbent Statue of a naked Nymph, 
 refting with her Elbow on a Vafe fhedding Water ; which flowing 
 down the Plinth below the Way, which was there a little rocky, 
 run into the River ; this Figure was very agreeable. I wondered at 
 firft, fjnce it flood not far from, and lower than tfrfe Term, that yet it 
 was much cleaner ; thinking that in fuch a Place it could not well main- 
 tain it's Beauty and Whitenefs ; but my Wonder ceafed on perceiving, 
 that there were no high Trees over it, but that it had a free Air ; 
 another reafon was, that being fo low as to be reached over, poifibly 
 fome Draftfman had been at the Place, and wiped it clean : On fuch a 
 Conjecture, I took fome Water out of the Vafe into my Hand, and 
 rubbed a Part of the Shoulder ; which confirmed my Sufpicion 5 for I 
 difcovered, that fome Parts, were already become fmooth and glofly, 
 by being handled and rubbed. 
 
 Stepping a litlle further, I faw another Sight as fine as the former ; I 
 fay, fine with refpeft to Art. It was an ancient Tomb or Sepulchre of 
 light red Marble,intermixed with dark grey, and white Eyes and Veins ; 
 with a Lid or Cover of Lapis Lazuli. This Tomb was fupported by 
 four white Marble Sphinxes without Wings, refting on a large black 
 marble Plinth, which through it's .Duftinefs, feemed to be lightifh- 
 grey. The Ground under it was rugged, yet level for three or four 
 Feet round the Plinth. This Work was generally encompafled with 
 Sand extending to the Sea-fhore, which it faced ; and ten or 12 Steps 
 further, the Sea was feen foaming. In the middle of the Belly of the 
 Tomb, was a round Bafs-relief, within a Compartment of Oak-leaves ; 
 it exhibited a flying Eagle, with Thunder in its Bill ; whence I con- 
 jeftured, it might be "Phaeton's Grave ; and the rather, becaufe there 
 flood near the Corners three very old and large Cyprefles ; of which, 
 the hindmoft was as yet whole and found, but the forward ones, by 
 Weather or otherwife, fo damaged, that one had loft it's Top, and' the 
 other was on one Side, half unbranched and bare. Behind this Tomb, 
 flood a large Pedeftal of greyifh-blue Stone, on which had formerly, as' 
 it feemed, been fet an Urn, now flung down, and lying near it half 
 buried in the Ground : it was fome what broken and damaged : I could 
 make but little of the Carving upon it, fince that was underneath, and 
 the Ear or Handle of the Urn lay upwards- wherefore, in order to 
 fee what it was, I began to clear the Ground away from it 5 but had 
 
 hardly 
 
Chap. 16. 
 
 Of Landskips. 
 
 335 
 
 [hardly dug a Foot deep, before I perceived a Piece of a Chariot, and 
 half a Wheel in the fhape of a Star ; this, I thought, muft be the 
 
 [ Chariot of the Sun, as being not much unlike it. 
 
 This Work thus feeming old, and yet the Tomb with all it's Orna- 
 ments as new as if juft fet up, I thought it muft have owed its Prefer- 
 vation to fome heavenly Influence. I was fo entertained with viewing 
 
 • it on all Sides, that I was wholly taken up with it ; without reflecting, 
 
 I that as Fortune favoured me, I ought to haften to other Things of Con- 
 fequence before it grew too late ; yet I refolved, tho' I flayed all Night, 
 not to leave the delicious Place before I had exactly defigned, in my 
 Pocket-book, every Thing remarkable in it. I then went ten or twelve 
 Steps forwards from it, in order to have a full View of every Thing 
 thereabouts ; and fitting down, there opened a ferfett Ordonnance ; 
 for, on feeing the Trees behind and on one Side of the decumbent 
 Nymph, and on the other Side an eafy Afcent with a fmall Cottage in 
 a low Ground behind it, I could not but obferve how elegant and be- 
 coming all the By-works kept themfelves : The Trees behind the 
 Tomb appeared dark, and thereby flung it off ftrong and brightly ; the 
 Objects on each Side appearing faint. Further on, I difcovered a fmall 
 Bridge ; and in the Offskip, fome Hills, &c. all which I prefently 
 sketched and fhaded ; marking for Shortnefs of Time, with Letters or 
 Figures, the Colours of the Stones, and their Tints, together with the 
 Lightnefs. and Darknefs of one Object againft another, and alfo againft 
 the Skv. 
 
 Having done with this, and walking further on the right Hand, I 
 came to a very large and weighty Bridge* of one Arch, which had an 
 exceeding great Span ending, in the Crown, in a Point. This Opening 
 difcovered an even Plain, reaching almoft to the Horizon, with Cottages 
 and Houfes here and there, in a Village- like manner : They were not 
 meanly boarded and plaiftered like ours, but regularly built with 
 Stone, tho' plain and without Ornament. This Bridge came from be- 
 hind the Trees on the right Hand, and preferved a Communication 
 over the Road, with an high and large Rock on the Sea-more : It was 
 poffibly placed here for the Sake of a dry Paffage to the other Side in 
 cafe of Floods. 
 
 Going under this Arch, I found myfelf in the open Field, near an- 
 other fort of common Buildings, which, at a Dittance, I could not per- 
 ceive, on Account of fome intervening Trees. Thefe were Herdfmen's 
 Habitations, and built with mean Materials, yet in a fine manner with 
 refpedt to Art. Some flood op Ground- fills, others went up two or 
 
 three 
 
33^ Of Land skips. Book VI. 
 
 th ree Steps, but the Generality of them had their Entrances even with 
 the Ground. Some had fquare Doors, with circular Windows over 
 them; or elfe round Frames, ftuck inftead of Basf-relief, with 
 Rams, Ox, or Goats Sculls, cut in white Stone, according 1 
 to the Condition of the Inhabitant. The lower Windows were in 
 Form like the Doors, and' a Diameter and half higher than wide; or 
 elfe, twice the Breadth in Height. The upper Windows of fuch as 
 had two Stories or lmall Garrets, were moftly round. Some butfingle- 
 ftoried, had Compafs-headed Doorways ; and over them, long O&an-' 
 gular Windows ; and if any fmaller over them, they were fquare. The 
 Roofs were generally fhttifh, and tiled for bringing off the Water for- 
 wards. Some,' in my Opinion, much excelled others in Grace ; having 
 over the Doorways, fmall Balconies with Compafs-doors into them, 
 and the Windows on each Side fquare and equally high ; and over them, 
 round ones again. On each Side of the aforefaid Doors or Entrances, 
 were made in the Walls, fquare Vent-holes, like Niches contracting in- 
 wardly, and crofs-barred with Iron, The Pediments were Doric or 
 Ionic, and of whitifh Stone • the lower Story grey, and the reft Free- 
 ftone ; fome were painted light-reddifh, others white Free-ftone or grey. 
 Some Doors had Pillars or Seats on each Side. Some Houfes I faw alfo 
 joined with Walls, wherein were round Holes. Here and there ap- 
 peared large Gates, asof Neat-houfes j one was open, and feemed to be 
 like a Place covered in ; moft of the Windows had wooden Shutters 
 which hinged on Top, and kept open by Sticks. Thofe Houfes, to 
 lecure them from the Overflow of the River running in the Neigh- i 
 bourhood, ftood much above the Level of the Way. In fine, I omit- 
 ted no Remarkable relating to thofe Country People's manner of Dwel- 
 ling. 
 
 Somewhat further, and without this Village, I came up to a round 
 Temple, having a lofty and elegant Frontifpiece. It was afcended by a 
 Flight of ten or twelve Steps, with a Free-ftone Balluftrade on each 
 Side, adorned with two Sphinxes, facing each other, which were head- 
 ed with Caps and bodied with Houfings or Coverings, after the An- 
 tique Manner. Landing on thefe Steps, I came up to a Portico, front-l 
 ed with eight Columns, Entablature and Pediment of the Ionic Order ; 
 the Pediment had a fine intire Bafs-relief, not much rifing. The CoH 
 lumns were continued round the Temple, twoand two together, refting 
 Plinths and Bafements. 
 
 Over their Ornaments ran a Gallery, divided into Parts by Pedeftals, 
 whereon ftood fine Statues, one anfwering each Pillar. Behind the 
 
 Bal- 
 
Chap. 16. ■ Of Landshps. 
 
 327 
 
 \ Balluftrade/of the Gallery ran up Pilafters of the Corinthian Order, two 
 and two together, and between them large Windows, finely wrought 
 according to that Order, as was the Frize and Cornice with grave Foli- 
 age, Modillions, On this arofe an open Dome, inclofed with a 
 clofe Balluftrade, covered in with a Compafs-roof, whereon was fet a 
 Sun. _ ;VV ..j ni fovtsi] ' .. \ Ip3 
 
 Tho' I was not much converfant with Architecture, yet I perceived 
 a very regular Difpofition in this Building, which, among thefe adjoin- 
 ing, alfo orderly and beautiful, loftily and magnificently diftinguifhed 
 itfelf ; appearing like a precious Stone fet in Enamel, tho' neither had 
 other Ornaments, than (imply thofe of the Order. The contiguous 
 Houfes were low and extenlive, : with high Chimnies or Towers yield- 
 ing, in my Opinion, a fine Decorum, Behind thefe flood a clofe Plan- 
 tation of Trees, moftly Pines and Cyprefles, which added no fmall 
 Luftre to all this Stone- work. On each Side of the before-mentioned 
 Steps was a Fountain or fquare Bafon, adorned with two pretty large 
 Lionefles, couching on Pedeftals and fpouting W ater. 
 
 Thus I fancied I faw this glorious, lofty, and efpecially Painter-like 
 Sight : When we come to treat of Architecture, and the Choice of 
 Beauty, within-doors, I (ball be at the Trouble of ftepping into this 
 Temple to defcribe its inward Wonders. 
 
 Oh ! How comfortable is the Shore after a Tempefl ! What a Dif- 
 ference is there between a lovely Sun-fhine and a gloomy Night! Be- 
 tween frefh and lively Youth and ftale old Age ! Love folaces in Gar- 
 dens of Pleafure and beautiful Palaces ; but Envy lurks in defolate 
 Wildernefles, among the Rubbifh of Things which it defaces. Aban- 
 don then, true and young Artifts! your blind Zeal; Beauty does not 
 triumph, nor is here attended with what is deformed, fpoiled, fouled or 
 broken, but takes up with Things Jimple, or lefs beautiful without De- 
 fects. Wherefore I think, that thefe two Kinds of Beauty differ as 
 much as the verdant and delightful Summer, and the dry and barren 
 Winter. Who, in building for Pleafure, would make a Patch ? Or, 
 in making a Garden, fill it with half-rotten Trees ? Hemuft be an un- 
 accountable Man who feeks Delight in a defolate ' Wilcjernefs. Is it 
 not then evident, that thofe Men have vicious Taftes, who endeavour 
 to fetch Beauty out of Deformity. A Princefs Efficiently fhines among 
 her Ladies by her State and coftly Attire, without fetting off her- 
 Luftre by a Comparifon with a Swineherd. When we meet . with fine 1 
 ,No. 15. U u , . .. ]: -MatHe x 
 
338 Of Landslips. Book VI. 
 
 Marble Statues, are they not preferred with Care from ill Ufage, and 
 the Injuries of Time ; tho' the latter fpares nothing ? For 
 
 Gutta cavat Lapidem } non vifedfdpe cadendo. 
 
 But Probability ought to be obferved in all Things ; that we need 
 not inquire what is Modern or Ancient, without being therefore brok- 
 en or over- foul; fince Stones much handled will become frnooth, yet 
 without Damage ; and why fhould a Man be made a Judge of what is- 
 beautiful and fine, who came from a foreign and wild Country, and 
 never faw Beauty. 
 
 In Oppofition to true Beauty, let us now reprefent the other Sort, 
 and leave the Point to the Determination of the Judicious. 
 
 CHAP. XVII. Of Things deformed and broken, falfely called Paint- 
 er-like. 
 
 CH A NGIN G the Scene, we (hall now confider what is alio* 
 tho' unjuftly, called Painter-like ; and this, in an imaginary Way^ 
 like the preceding. 
 In walking, I faw a large Gate, the Door whereof was broken to 
 pieces by an huge Oak blown "down a'gainfi it. Creeping through it, I 
 found myfelf as in a fir ange Country L , fo very rugged, defblate and! 
 rocky, without Paths or Roads, that I knew not where to walk ; the 
 Ground was no where fo even as to reft on. Here I faw the Frag- 
 ment of a Column; yet lying fo obliquely that I could not fit on it; 
 near it, lay a Piece of a Frize and Cornice, with an End (ticking up ; 
 and not much further, Was another Stone, pretty level, but in a Mo- 
 rafs abounding with Vermin. I neverthelefs endeavoured to get upon, 
 this laft Stone ; and then, with my Cloak under me, laid 5 ' myfelf down? 
 upon it : Which I had no fooner done, but fome body called ■ ^ 
 
 Hark ye j go from it ; you lie' in my way. J, not dreaming any 
 
 Perfon could be here, fuddenly look'd back in Surprize, and faw a 
 young Man fitting on an Hillock, who, as he faid, was drawing after 
 the Stone I laid on. But, on Recollection^ he again called out, that if 
 I would ftay there but half a quarter of an Hour, I Ihould do him a- 
 great Favour. This I confented to, n^t without asking him, WhaJt he 
 was going to do with fuch paltry Fragments ? He anfwer'd, — * - They 
 
 are 
 
Chap. |f. Of Landslips^ 
 
 jm the finefi Things in the World to introduce into our Pieces. When t 
 have fuch a fine Parcel as that Piece of a Column, and this Water before 
 me, with the Addition of a Stump of a Tree, and a fmall dark Offskip 
 behind it, they together immediately compofe a per feci Ordonnance. Oh ! 
 pu cznnot imagine, how extraordinary and full of Variety thefe Objects 
 -are. This is the finefi Place on Earth for a curious Artifi : All is Painter- 
 like : Every Thing lies fo loofe, pretty and wild, that few goad Matters 
 would refufe coming hither to defign thefe Wonders ; and nothing but the 
 prefent high JVind hinders their being here now. Upon this Prattle, I 
 viewed him from Top to Toe; he fat all in an Heap, with a Board in 
 his Lap, and a fmall Ink-horn, and a magnifying or Speclacle-glafs in 
 his Hand ; on his Head he had a Night-cap almoft down to his Eyes > 
 with his left Leg over his Hat, poffibly to fave it from the Wind ; a 
 fmall Light, coming from between the Trees, fhone on his Lap. Poor 
 Man! thought I, how feelingly you can talk of what is Painter-like ; and 
 what Satisfaction you muft find in thole Things ; if there be any more Artifts 
 of your Stamp, this muft be the place to find them in. The Truth is, the more 
 I viewed him and heard his Talk, the more I blamed my own Judg- 
 ment for not difcovering fuch Beauties as he did. Now, perceiving he had 
 done, I went towards him to fee his Work ; but before I could come up' 
 to him, he had packed up his Alls, and was gone another Way. Behind 
 the Trees, near the Place where he had been fitting, I found another 
 Spark, who flood and drew after a fmall Rivulet full of big and little 
 Clods of Earth and Pebbles ; which he neatly deflgned on Drawing-pa- 
 per, and marked with their different Colours. His whole Porto-folib 
 was full of fuch Painter-like Trumpery ; fuch as, muddy Water, decay- 
 td and broken Stones, Pieces of W wd, barren Shrubs and Bufhes, rough 
 Grounds, Toads, Snakes, Sec. I asking him, What Branch he made 
 his Study ? He anfwered, that he had not yet praclifed any j but hoped, 
 if he could get all thofc Things, and perform them well, to become a 
 good Landskip-painter ; for, faid he, thofe Objects are fo uncommon, that 
 the btft Mafters give themfelves the Trouble to Jeek them : But, continued 
 he, / cannot but wonder, that fome fearch here and in other Places, and 
 can jcarce find a Piece to their Gout, nay, often return without doing 
 any Thing ; when I, on the contrary, dij cover a thoufand Things, both 
 delightful andufefulj wherever I cajl my Eyes; were I to defign every 
 Thing I meet with, I fhould have Work for many Tears. Look there, 
 faid he, yonder is one of that Tribe, prying about ; / have not yet 
 
 feen him fit down any where. I thought within myfelf, that it 
 
 U u 2 was 
 
 339 
 
Of Landskips. 
 
 Book VI. 
 
 was ftrange, any Man fhould run about in Error in fo wild and defolate 
 a Place. 
 
 Going on, I came to a large and hideous Rock, fplit through, and hav- 
 ing one Part hanging forward full of iharp Angles, open Hollows and 
 Cuts, over-run, here and there, with Mofs and barren Shrubs. On the 
 right Side, was a deep morally Valley, going oft very ftee.p, and on 
 the left appeared an inacceflible ruined Building, like an Heap of Stone, 
 fwarming with Adders, Snakes and other venomous Creatures : Behind 
 me the Ground was fo uneven, full of Ups and Downs, and pathlefs, 
 that I thought it impoffible to get from the Place. On the Point of 
 returning back, I faw a Man creep, on all four, out of one of the 
 Holes or Hollows of the Rock, and thereby cleared a Paffage for me. 
 This Man told me what wonderful Things were to be feen on the other 
 Side; but I was fcarce crept half through, before I heard a frightful 
 Thunder-clap, which ihook the whole Rock ; wherefore, redoubling my 
 Speed, and being got through, I found, that the Top of the Rock was 
 tumbled over the right Side ; which made me fuddenly retire from 
 thence, fearful that another Part might fall upon me. What alfo.raifed 
 my Averfion, was, the Sight of a Tomb cru/hed to Pieces, and almoft 
 funk into the Ground ; and near it, lying a Piece of a large Trunk, of 
 white Marble. I could perceive, by the Bafe, that it had been a 
 Term ; and being curious to know, what might be hidden behind it, I 
 got on the Tomb, and faw, through the Trees, downwards a frightful 
 Tool. I therefore took to tt|.e left ; where I thought the Ground was 
 more level : Three or four Steps from thence, I law a white Paper 
 .fluttering before me along the Ground ; and after it a Blue one, fome- 
 . what larger; both which I ran after and took up. The blue Paper ap- 
 peared to be a Drawing after the aforefaid Tomb, when intire and 
 itanding, which made me judge, that he muft have been a good Mas- 
 ter 'who had thus improved it in the Draught. Poffibly, thought I, he 
 is hereabouts. My Conjecture was not groundlefs ; for, ftepping a little 
 further, I found the poor Wretch lying under a large Oak which had 
 been thunder-ftruck ; the Stem was cleft from Top to Bottom, and a 
 large Limb lay acrofs the Man's Body : His Porto-folio lay near him, 
 emptied of all his Drawings. This Sight affrighted me ; and approach- 
 ing near, I heard him figh : He, perceiving me, called out prefently 
 for Help : I cleared the Limb from off his Body as well as I could ; 
 whereby, and after much Pains, he difengaged himfelf from the Leaves. 
 He was, to my Wonder, no where hurt, fave a little in his left Hand, 
 yet of no Confequence. I returned him his Papers, and asked him, 
 
 Whether 
 
Chap. 17. Of Landslips, 341 
 
 Whether he had feen the Tomb in the Condition wherein 'twas drawn? 
 He anfwered, he had : When, going to (hew it to me, he, in Amaze- 
 ment, {farted back on finding it in Ruins. Oh ! fays he, does this lye 
 aljo tumbled down, and my Drawing fcarce fini/hed ! We then went to- 
 gether further up, towards the left, and regained moft of his Papers. 
 He, told me, that his Companion had left him, and run away on the 
 Approach of the Storm ; which induced me to think, he was the Per- 
 fon who came creeping on all four through the aforefaid Hole. On our 
 coming down, we found many already drawing after the broken Tree un- 
 der which the good Man had lain, with theutmoft Application; 'twas 
 their unanimous Opinion, never to have feen a Tree more Painter-like, 
 This talk fur prized us both. He mewed them his Drawing, and faid, 
 that the Tomb was the only Object he found intire thereabouts ; and, 
 this being demolilhed, there was nothing left to pleafe him. But this 
 they fcoffed at and anfwered him, that fuch Things might eafily be 
 made out of one's Head, or found in Prints. In fhort, 'twas great Di- 
 version to me to fee one as hotly clambering up one Place, and another 
 creeping through fome Hole, for the fake of defigning^ the Rock and 
 Tomb tumbled down, as if they were going after Treafure. 
 
 Taking Leave of this Perfon, I purfued my Way: But was obliged* 
 for the fake of a ruinous Fountain, the Vafes, Mouldings and other Or- 
 naments whereof lay acrofs and flopped the Way, to take to the right 
 Hand. On the Remains, adorned with Bafs-relief, I found not one in- 
 tire Figure, every thing being exceffively mouldered, fouled and over 
 run with wild Plants and Shrubs. Its Bafon lay awry, with a Corner 
 funk into the Ground, broken, and full of Earth or Mud. A Boy, who 
 had been fitting there, came and asked me, Whether I could not tell 
 him, which Part of this Heap of Stones was the moft Painter-like? I 
 have been long making a Choice, fays he, of fomething good out of it, but 
 the Number confounds me ; the Parts are all fo broken that I cannot find 
 fo much as a whole Hand or Foot: I have, (hewing me his Drawing, 
 pitched upon this among them, with much ado. I believe verily, there 
 was not fuch another undamaged Bit in the whole Ruin, tho' of little 
 ConieqUence: It was a Plinth with the right Leg and Foot of Apollo, 
 wanting the great Toe. He faid, that he, with eight or ten others, 
 had been drawing every thing after the Heap, except this Fragment ; 
 the Foot of which was not, according to their Fancies, broken enough. 
 I comforted him With faying, that he had picked out the very beft thing 
 of all, when he owned, that he made the Choice through the Perfua- 
 fion of another, who was now gone away, to whom the Leg, by 
 
 means 
 
34^ Of Landslips. Book VI. 
 
 means of the Sandal and Straps, was not unknown. This Boy, I 
 thought, ought tobefetina right Way ; and his Simplicity pleafed 
 me. 
 
 Turning then to the right Hand, as I have faid, I came into a dif 
 mal Place, which, by the Largenefs of the Pavement, and Arch- work 
 fupported by great Pillars, feemed formerly to have been a Palace. It 
 was here fo lonefome and gaflly, that I was feized with a cold Sweat j 
 wherefore I mended my Pace, in order to get out of it, and being got 
 to the other Side, and ten or twelve Paces from it, I found myfelf again 
 at the Lake before mentioned ; near which lay a Mattered Tomb, 
 with the Corps half tumbled out. The Head and one Arm refted on 
 a large Root of a Tree lying near it ; the Lid was aimoft Hid off; and 
 juft on the Totter ; and a Snake, from underneath, was creeping into the 
 Tomb ! A Sight frightful enough. 
 
 The Sun, now on the Point of fetting, darted his refulgent Rays 
 between fome heavy Clouds ; the Sky was moreover dark Blue, and on 
 the Horizon yellowilh-ftriped ; which, along through the Trees, ftrongly 
 glittered in my Eyes. I faw a grave Man carefully defigning this Sky 
 
 an Colours. In paffing by, I faid to him, Sir, you have met 
 
 with a fine Sight; that's a true Italian Sky : Yes; fays he, / am very 
 
 [enable of it: — Stepping further, I heard another Thunder-clap; 
 
 and the Temper! increafed : Which obliged him to pack up his 
 Tools, and go off, and made me refolve to be at Home before 
 Night. 
 
 Now, I leave it to the Judgment of the Knowing and judicious 
 Lovers, to determine, which of my two Reprefentations is to be ac- 
 counted Painter-like ? I have fufficiently exprefled my Sentiments touch- 
 ing them. But it is to be lamented, that Tyros, in their youthful Ar- 
 dour, are lnfeded with this Poifon ; and made to believe, that in Thun- 
 der andftormy Weather they muft run abroad, to defign fuch Mifehances 
 and Defetts of Nature, at the Hazard of their Healths and' Lives; 
 tho' not able to chufe out of them the moft beautiful, for want of Judg- 
 ment to know what is good, and, by fome Additions, to fupply ]fe- 
 fecJs. Thefe Things are the Paftimes of great Matters, but the chief 
 Study of the lefs Knowing. Be therefore, docible Artiiis! not fo 
 intent in gaining your Embelliihments with fo much Trouble ; and 
 by flighting Principals, to think ye can have them by rote. Such 
 a Method will rather lead ye into Doubts, than bring ye to Certain- 
 ties. ° 1 
 
 In 
 
Chap. ff.. Of Landslips. 
 
 la order then to qualify the Judgment to make a good Choice, Re- 
 course may always be had to the Remains of thofe great Matters, 
 Raphael, Poujfm and many others, to enlighten us by imitating their 
 illuitrious Examples. & 
 
 The End of the Sixth Book 
 
 T M: E-r- 
 
T HE 
 
 ART of PAINTING. 
 
 BOOK VII. 
 
 Of Portraiture. 
 
 Emblem. Touching the handling Portraits, 
 
 A T U R E, with her many Breafts, is in a fitting Pofture. 
 Near her ftands a Child lifting her Garment off her Shoul- 
 ders. On her other Side ftands Truth, holding a Mirrour 
 before her, wherein fhe views herfelf down to the Middle, 
 and is feemingly furprized at it. On the Frame of this 
 Glafs are feen a gilt Pallet and Pencils. Truth has a Book and Palm- 
 branch in her Hand. 
 
 CHAP. I. Of Portraits in general. 
 
 SINCE we meet with no Precedence in the Art, nor pretend to 
 infift on Ceremonies, we fhall treat of Things as they occur to us, 
 and as clearly and profitably as poflible. 
 But firft, give me Leave to fay, that I have often wonder 'd, how 
 any Man can prefer Slavery to Liberty, and, by departing from the 
 Eflence of the Art, fubjeft himielf to all the Defects of Nature : I 
 
 fpeak 
 
fCRap. i. 
 
 Of Tortraittire. 
 
 34-r 
 
 ffpeak of fuch great Matters as Van Dyk, Lely, Van Loo, the old and 
 young Bakker, and others, who, tho' poflefled of great Talents in the 
 Art, poftponed what is noble and beautiful, for what is more ordina- 
 ry and common. The Truth is, and we have feen, that fooner by 
 this Means than others, Men have obtained the Honour of gold Me- 
 dals and Chains, &c. Nay, the Liberty of prefcribing Laws to Prin- 
 jces; ftaring them in the Face; drawing their Pictures, and many o- 
 ther Privileges, whereby they have acquired great Riches. What an 
 unheard-of Reward did not Apelles receive, when Alexander gave him 
 his dear Campafpe, in order to fave the Life of that great Artift, by 
 fatisfying his Love, inflamed by drawing the Picture of that Beauty I 
 When I confider thefe Things I am furprized, that all Painters do not 
 give in wholly to Portraiture ; fince now-a-days Money is preferred to 
 Learning, Lucre to Virtue, and Honours difpenfed to Men' in Propor- 
 tion to their Riches. But, leaving this Subject, we will proceed; 
 throughly to conlider every thing relating to that Branch of the 
 Art. 
 
 As in Mufick and Singing a good Ear is requifite, fo in Portraiture 
 it's impoffible to excel without a good Eye; fuch an one, I mean, as 
 is governed by fedate and fober Senfation, ancf not by Self-love .or 
 Paffion. Next, is required a regular Dejtgn, containing an exact Pro- 
 portion or Divifion of the Parts, not only of the Face, but of the 
 whole Body, that the Sitter may be known by his Picture; which 
 may be moft agreeably done by mixing the Fajhion with zvhat is Paint- 
 er-like ; as the great Lely did, and which, is called the Painter-like or 
 antique Manner, but by the ignorant Commonalty, the Roman Man- 
 ner. 
 
 Next,, we muft be thoroughly judicious in the graceful Choice of the 
 Light, and the Place where the Perfon is to fit, that the Face may 
 appear to the beft Advantage ; and then the Body is to be difpofed to 
 the mofi natural and becoming Pofiure. > 
 
 The next Bufinefs, and which gives it the greateft Luftre, is, the- 
 Colouring; that each Perfon and his Parts may have their proper Co- 
 lour, and fuch as appears in his daily Convene, not fuch as proceeds 
 from extraordinary Emotions. Let the Artift beware of inclining to 
 any particular Manner, like' fome, whofe Work is thereby better 
 known to be theirs, than the Friends of the Sitter know the Picture 
 to be his. 
 
 As for the Choice of Light, in order to apply it moft advantageouf- 
 ly for the Benefit of either $ex, it's certainly a Matter of great Mo- 
 No. 15. X x ment ; 
 
Of Tortraiture, 
 
 Book VII. 
 
 merit ; fince the fair Sex commonly partake of more Delicacy and 
 Grace than Men, fo they muft have a Light as beautiful and agreea- 
 ble as their Perfons. 
 
 But 'ere we proceed further, it will not be improper to look into 
 die Origin of Portraits, in order thereby to ihew the Aim of thofe 
 who caufe themfelves to be drawn, and the Profits which Matters get 
 thereby. 
 
 The Ancients ufed to caufe thofe, from whom the Common-wealth 
 had received extraordinary Benefits, either in War or civil Affairs, or 
 for Eminence in Religion, to be reprefented in Marble or Metal, or 
 in a Picture, that the Sight of them, by thofe Honours, might be a 
 Spur to Pofterity to emulate the fame Virtues. This Honour was firft 
 begun with their Deities j afterwards it was paid to Heroes, and of 
 confequence to Philofophers, Orators, religious Men, and others, not 
 only to perpetuate their Virtues, but alfo to embalm their Names and 
 Memories. But now it goes further j a Perfon of any Condition what- 
 foever, have he but as much Money as the Painter asks, muft fit for. 
 his Picture ; this is a great Abufe, and fprung from as laudable a 
 Caufe. 
 
 In Noblemen indeed 'tis a very commendable Cuftom ; becaufe, be- 
 ing defcended from great Families, the Luftre of thefe ought to (nine, 
 to encourage their Suceeflbrs to keep up their Glory, and to prevent 
 fullying it by unworthy Actions. 
 
 As for a General, or Admiral, who has died in the Bed of Honour, 
 Gratitude, I think, obliges us to raife a Monument to his Glory,' 
 and to animate brave Souls in future Times, to imitate his Virtue. 
 But what's this to the Vulgar ; Pride only fpurs them to it. The 
 Rich do it, that their Children may boaft of it ; the Mafter of a nume- 
 rous Family does it, that the World may know he is a Father ; he 
 who has fired a Magazine of the Enemy muft be drawn, with this, 
 great Action, tho' perhaps there was no body to hinder him. Has a 
 Citizen's Wife but an only Babe, he is drawn at half a Year old ; at 
 ten Years old he fits again, and for the laft Time in his twenty fifth 
 Year, in order to fhew her tender Folly ; and then (he ftands wonder- 
 ing how a Man can fo alter in that Time ; is not this a weighty Rea- 
 fon ? A reproveable Cuftom, if Painters did not gain by it. But a- 
 gain, Portraits are allowable, when a Lover is abfent from his Miftrefs, 
 that they may fend each other their Pi&ures, to cherifh and increafe 
 their Loves j a Man and Wife fo parted may do the fame. 
 
 But 
 
fdiap. i. Of T or tr allure. 347 
 
 But to return to the original Matter ; I mud warn the Artifts not to 
 give in too much to what is common ; or humour ignorant People fo 
 much, as not to referve to themfelves fome Liberty of doing whatf 
 they think proper for the fake of Reputation : Surely, this cannot be 
 ftrange Advice \ for a Mafter, who prefers Money before Art, has no 
 more dangerous a Rock to fplit on, fince the ignorant Multitude ufually 
 inlift to be drawn according to their own Whims. One lays to a good 
 
 Mafter, ■ Draw me thus or thus ; Jet me have one Hand on my Breaft, 
 
 and the other on a Table, another muft have a Flower in his Hand, or 
 a Flower-pot muft be by him ; another muft have a Dog, or other 
 Creature, in his Lap ; another will have his Face turned this or that 
 Way^ and fome, who would be drawn in the Roman Manner, muft 
 be fet off by a Globe or Clock on a Table, whether fuch Ornaments 
 be proper, or not: On mentioning the Roman Manner, I find that it 
 fignifies, a loofe, airy Undrefs, fomewhat favouring of the Mode, but 
 in no wife agreeing with the ancient Roman Habit. 
 
 But many other Inconveniencies attend Portraiture; as firft, the Ig- 
 norance of thofe who fit ; for fome of them, having no right Notion of 
 their own Mien and Shape, often refer the Judgment of a fine Por- 
 trait to the Eye of a Child, or Servant ; and what they fay, Monfieur 
 and Madame believe, either to its Praife, or Difcommendation. 
 
 A fecond Inconveniency arifes from a wedded Inclination which any- 
 one has to fuch and fuch Objects ; judging, as they like or diflike, not 
 only of Pictures, but even the Life irielf ; for, tho' they may be 
 afraid to pafs Sentence on a fine Hiftory, or Landskip, yet a Por- 
 trait muft not efcape them> as thinking, it within the Reach of their 
 Capacities. 
 
 Thirdly, we find many Artifts never pleafed with other Men's 
 Works, but, being full of themfelves, defpife every thing they fee, 
 tho' as good as their own ; and this perhaps on no better Bottom, than 
 a- Pique againft the Artift's Conversation, Talk, Drefs or Money ; or 
 elfe becaule of his greater Fame ; and yet, if ten Perfons happen to. 
 applaud a fine Picture of this, Eye-fore-Mafter,. they will, at that 
 Juncture, chime in with them, to fcreen their Prejudice. And, on the. 
 contrary, if but a fingle Perfon afterwards find fault, they immediate- 
 ly turn the Tables againft ten others. Again, if a Piece of their 
 i Friend be brought on the Carpet, tho' never fo faulty, they will ap- 
 plaud and juftify it at any rate, tho' againft their own Convictions of 
 Conscience. But this partial and prejudiced Humour is moft prevalent 
 in thofe who know leaft. 
 
 X x 2 A fourth 
 
34-8 Of Tor trait tire. Book VII. 
 
 A fourth Set of Men are thofe, who, being always of an uneafy 
 Temper, diflike their own, but applaud every thing other Men do: 
 fhefe indeed are not fo noxious as the former ; becaufe they only hurt 
 themfelves, whereas the others hurt every body. 
 
 Fifthly, there are a prejudiced Set of Men who find no Tafte, but 
 in eafy and grave Airs and Poftures ; others in birring and hurrying 
 ones ; others in flrong and violent ones ; fome think, that Women's 
 Draperies ought to be loofe and foft ; others will have them of Vel- 
 vet or Sattin, or elfe party-coloured ; this thinks, that a dark or brown 
 Ground beft fets off a Figure; another chufes a Landskip, or green 
 Curtain, right or wrong. Are the Colours beautifully chofen, the Pic-^ 
 Cure fmells of them ; are they broken, they feem muddy and- -foul. 
 How can a Portrait pleafe fo many Opinions ? It is not like" an Hiftory 
 full of Figures, where we can introduce Variety of fedate and ftirring 
 Action, more or lefs beautiful Colouring, loofe or fet Draperies, dark 
 or light Grounds, &d Becaufe this is but a fingle Figure. 
 
 Our Bufinefs then, rnuft be to find a W ay between this Scylla and 
 Charybdis, to enable the Artift to paint a good Portrait ; for he who 
 makes due Reflection on every thing, can prepare himfelf to overcome 
 the aforefaid Difficulties. 
 
 C H A P. II. Of the Defecls in the Face and other Parts. 
 
 rH E Defefts which are feen in Nature, or in fimple Life, are 
 threefold, 
 i. Natural ones. 
 2. Accidental ones, 
 3^ Ufual ones. 
 
 The Natural ones are, a wry Face, fquint Eyes, wry Mouth, Nofe, 
 &c. 
 
 The Accidental ones are, Lofs of an Eye, a Cut on the Cheek or o- 
 ther Part of the Face ; Pits of the Small-pox, and the like. 
 
 The Ufual ones are, thofe Habits to which we accuftom ourfelves 
 from our Infancy; to wit, Contraaion of the Eyes and Mouth, or 
 Clofing or Gaping of the latter, or drawing it in fomewhat to this or 
 that Side, upwards or downwards, &c. 
 
 As for other bodily Infirmities, how many have wry Necks, Hunch- 
 backs, Bandy-legs, withered or ftiort Arms, or one fhorter than t he- 
 other • 
 
Chap, i. 
 
 Of Tortraiture. 
 
 349 
 
 other; dead or lame Hands' or Fingers ? Among thefe, fome are una- 
 voidable \ and others may be either left out, or handfomely hidden. 
 The Neceffary ones ought to be feen, becauie they help the Likenefs ; 
 fuch as a wry Face/fquint Eyes, low Fore-head, Thinnefs and Fatnefs, 
 a wry Neck, too ihort or long a Nofe, Wrinkles between the Eyes, 
 Ruddinefs or Palenefs of. the Cheeks, or Lips, Pimples or Warts a- 
 bout the Mouth ; and fuch like \ among thofe which may be hidaen 
 or left out, I count a blind Eye, a Wound, Wen, Mole, Pits of Small- 
 pox, too many Pimples, &c. a red, blue, or hairy Spot ; as alfb 
 habitual Ufages ; fuch as hanging Lips, Pinchings or Drawings of 
 the Mouth and Eyes. 
 
 I think alio, that the common and ufual Drefs of a Perfon is a great 
 Addition to Likenefs', for no fooner is the Drefs altered, but the Look 
 does the fame, and fhews itfelf either more or lefs pleafing and agree* 
 able ; and thereby the Perfon becomes more or lefs known : To obvi- 
 ate which, I advife the Artift above all things to get firfl a true Like- 
 nefs of the Face, and paint it to the Sitter's Satisfaction ; and then he 
 may freely manage all the reft as he thinks fit, and thereby get Ho- 
 nour and Commendation j fince the Life itfelf, in fuch a Drefs, cannot 
 any more alter. 
 
 The Painter fhould likewife difcover and know, as much as poffible, 
 the Nature and Temper of the Perfon fitting, and in what Circum- 
 ftances lies his favourite Pleafure ; that he may, when fitting, be en- 
 tertained with Talk pleafing to him, and his Air thereby kept fteady 
 and ferene, and his Pofture natural and eafy \ avoiding every thing 
 tending towards Sorrow, or frightful Relations \ for thefe are apt to 
 ruffle the Mind, and fo to difcompofe the Face, that it cannot eafily 
 be got right again : But if the Sitter himfelf do, by his Talk, difco- 
 ver his own Bent, the Painter ought to humour it to the laft, whether 
 lit be jocofe or moderate, without Exaggeration or Diminution; yet 
 with fuch a Variety, as not to prove tirefome, and make the Face al- 
 ter. He who cannot thus manage and furnifh out a Difcourfe, will be 
 the longer 'ere he hit the Likenefs : Some will even fit three or four 
 Times, and each Time with a different Air : and were they to fit ten 
 I Times, I fancy fomething new would ftill offer. 
 
 Another Hindrance may be, that Painting-rooms are often hung 
 with fuch fmutty Pictures as frequently put Virgins to the Blufh, or 
 alter their Countenances. But tho', for Improvement, line Pictures are 
 necefTary to be always in View, yet, in a Painting-room, 'there ought 
 ! not to hang the wanton Picture of Mars and Venus catch" d by Vulcan ; 
 
 or 
 
Of Tortraiture. 
 
 Book VII. 
 
 or Diana's Bathing, tho' done by Van Dyk ; or Jofeph and Potiphar's 
 Wife ; for tho' thefe may hang in a Corner, yet when the Eye has. 
 once catched them, it will retain them j becaufe their Ideas make con- 
 tinual Impreffions on the Mind, even againft its Will ; and therefore 
 the bare Remembrance of fuch Things muft put a young and. chafte 
 Virgin to the Blufh. Muft it not create a Longing, to fee a Picture of 
 two Beggar-boys fall greedily on ripe Fruit, the one eagerly biting, a 
 Piece of frefh 'Melon, and the other, a Bunch of Grapes, with the 
 Juice falling down his Chin on his naked Breaft? The Room then 
 fhould be hung with every thing modeft, as fine Landskips and, Flow- 
 er-pieces, which will amufe the Sight without difturbing. or tiring the 
 Mind, or altering the Countenance \ fine Portraits alfo will animate a 
 Sitter to keep him ferene, and make him emulous of their Airs : A 
 large Looking-glafs may be likewife of Service, if fo hung that the 
 Sitter can fee himfelf in it, for, thereby difcovering any Difagreeable- 
 nefs in his Look, he will correct himfelf, in order to have as good an 
 Air as he defires ; and by fuch Methods as thefe a Painter may be- 
 come great. 
 
 We will now proceed to confider, how many Miftakes fbme Painters 
 commit in relation to the firft Obfervation of natural Defetls ; thefe 
 endeavour, to their utmoft Power, to exprefs punctually the Deformities 
 and Defects of a Face, without Scruple, to wit, a blind or fquint Eye, 
 or the like, tho' they know that 'tis an Enemy to Grace, and on no* 
 other Ground than a falfe Belief that it creates a greater Likenefs. 
 But who loves to be reproached with his Defects, when they can be 
 artfully hidden ? What would become of Grace ? which teaches, that a 
 Painter mould make as beautiful a Choice as poffible ; which thefe Ble- 
 mifhes obfcure : I think therefore, that we cannot lay too great a Strefs 
 on what concerns the Make, Pojition and Turn of a Face, that the Eye 
 be not offended with Blemifh, or Deformity, or the Pojiure look difa- 
 gretable. 
 
 How monftrous is the Picture of a certain Admiral, who feems to 
 ftab himfelf with his Staff of Command, and has a defective Eye turn- 
 ed directly to the Light} becaufe, according to the Saying, he is belt 
 known by it: Would not a more Profile-view have fuited him better, 
 or to have flung the Side with the blind Eye into Shade ? Would it not 
 be ridiculous to paint the Duke of Luxemburgh in Profile, to reprefent 
 him the better, and that his Hunch-back might be the more vifible, 
 for no other Reafon, than that moft People knew he had one ? 
 
 Nature 
 
Chap. 1. 
 
 Of Tortraiture. 
 
 Nature abhors Deformity, and we cannot behold it without Averfi- 
 on, and a quick Turn of the Eye from it; a fquint-eyed Perfon cannot 
 fee himfelf in a Glafs without inward Trouble ; efpecially one of the 
 fair Sex, who, in other refpecls tolerably handfome, cannot bear to 
 fee an Inftance of her Deformity in another, but will bafhfully look off 
 or down to the Ground ; how much worfe then muft it look in a Pic- 
 ture ? The Life may be fometimes feen on an handfome Side ; which, 
 in an ill chofen Picture, we can never expect : Whence it's natural for 
 one, who has a Blemifh or Defect in an Eye or Cheek, always to turn 
 the beft Side to the Light ; in fhort, we do not defire to do any Thing, 
 walk, ftand, fit, talk, but with a becoming Air : Have we fore Eyes, 
 we hide them under our Hats ; or if a lame Hip, we endeavour to walk 
 briskly ; have we fome Humour or Pimples in a Cheek, we either hide 
 them with a Patch, or paint the other Side like it ; have we bad Teeth, 
 we keep the Mouth fhut ; or a lame Hand, and hide it not under our 
 Coats, or in our Pockets. If Nature acts fo, how can fuch Defects pleafe 
 in a Picture ? Such a Flattery then, as is agreeable to Art, is not only 
 allowable, but commendable, efpecially when the Sitter is fo difpofed 
 in Pofture that the Painter himfelf cannot perceive it. 
 
 Ask any one who wears a Piece of black Silk over an hollow Eye, 
 whether he defires to be drawn from that Side ; I believe not : A Per- 
 fon with a wooden Leg cares not that the Deformity (hould appear in 
 a Picture ; fuch an one ought to be drawn in half Length only ; but if 
 the Heroe infift upon the introducing fuch a Leg, on a Suppofition 
 that 'tis an Honour to have loft a Limb in his Country's Service, the 
 Painter muft then comply with his Defires ; or elfe contrive it lying on 
 a Table covered with red Velvet : if he defire it after the Antique 
 Manner, it muft be contrived in a Bafs-relief, wherein the Occafion of 
 it may be reprefented; or it may hang near him on a Wall, with its 
 Buckles and Straps, as is done in Hunting-equipages ; or elfe it may 
 be placed among the Ornaments of Architecture, to be more in View : 
 But what Praife or Advantage will an Artift get by this, when a judi- 
 cious Mafter fees the Picture ? He may perhaps plead in Excufe, that 
 the Sitter would have it fo : This indeed I cannot argue againft ; becaufe 
 
 we ufually fay to whom we employ, Do as I would have you, 
 
 right or wrong : We have an Inftance of a Gentleman, who, being 
 drawn in Little, and comparing the Smallnefs of the Eyes with his 
 own, asked the Painter, whether he had fuch ? However, in Complai- 
 fance, and for his Plealure, he defired that one Eye at leaft might be 
 as big as his own i the other to remain as it was. A fad Cafe ! a fm- 
 
 ferable 
 
Book VII. 
 
 Of Tortraiiure. 
 
 ferable Subjection! for tho' we cannot compel others to be of our 
 Opinions, yet I pity thofe who muft fubmit to Incongruities. But, not 
 to difheai ten the Artift too much, we will proceed to 
 
 CHAP. III. The Obfervabks in a Portrait, particularly that of a 
 
 IV man. 
 
 O ELF-CONCEIT and Self-love feem natural to all, but efpe- 
 ^3 cialiy to the -Female Sex \ who, whether their Pictures are drawn 
 on their own Accounts, or through the Defireof others, imagine 
 they deferve fuch Homage ; nor flops it here, for altho' they may 
 poflefs a tolerable Share of Beauty, yet that's not fatisfa&ory enough » 
 they muft be flattered, and their Pictures painted in the moil beauti- 
 ful Light j and unhappy is the Painter who abates but half a Dram of 
 fuch a Beauty. 
 
 For thefe Reafons the Mafter is obliged to have a principal Regard 
 to Light and Colour, but to the Light chiefly, iince it's well known 
 that nothing gives greater Offence to ignorant People than Shades, and 
 ftill more, when they are ftrong and broad : They believe they fpeak 
 
 to the Purpofe in objecting, Well, how can it be poilible that my 
 
 Neck and Cheek fhould have fuch large Shades ; when I daily confuk 
 my Glafs, and find my Skin all of a Colour and White? And then the 
 Painter is blamed : But are not fuch Reafons weak and abfurd ? Since 
 if a Man, how tenacious foever, meet another, who, by long Abfence 
 and Alteration of Drefs, is got out of his Memory, he will naturally 
 turn him to the Light, in order to know him and his Features. This 
 Conduct has been wonderfully obferved by Barocci in his Pitlure of 
 Mary, paying a Vifit to Elizabeth when big with Child ; in which, by 
 his Method of placing the Figures, and the Attention of the Faces, 
 we feem to hear them talk, looking earneftly at each other, 
 
 I think thofe Mafters have made the beft Choice, who have chofen 
 a Front-light, and thereby kept their Colours moft natural and beau- 
 tiful i fince this Light is certainly raoft advantageous, whether the 
 Picture hang againft a Wall, or where elfe : But here feems to arife 
 a Difficulty, fince we formerly faid, that we ought to fix a certain 
 Place, and the Point of Sight and Diftance, and to difpofe the Light 
 fo as it can fall on that Place j to which the Anfwer is eafy ; Por- 
 traits 
 
Chap: 5; 
 
 Of Tortraiture. 
 
 traits have no fixed Place ; as we ftiall 'further fttew in another Chap- 
 ter, as alfo how far and on what Occafions we muft confine ourfelves 
 to that Rule. 
 
 The beft way to fettle this Point is, to follow thofe who have chof- 
 en their Light almofi fronting, and, as before fa id, fuch a Colour- 
 ing as naturally appears to the Eye, befides a good Choice : Since I think 
 the Cafe of placing a Portrait to be the fame, as that of curious Chi- 
 na, which, whether it ftand high or low, fhews itlelf every where beau- 
 tiful. My Reafon for this is, that Objects, which have fuch a Front- 
 light, have an exceeding) fine EfTecT:, and great Relief, when they come 
 againft a dark Ground ; and ftill finer, when the Light falls on them 
 fomewhat from on high, if the Sitter and fome Accidents do not hinder 
 it} in which Cafe, Reafon and our Eye muft beft direct us. View 
 but this Finefs in a Pofture painted leaning over an Hatch, or out at 
 Window, and what great Decorum the Touches and Shades about the 
 moft relieved Parts caufe in fuch an Object ; as Leonardo da Vinci has 
 well obferved. 
 
 Of the Accidents, which I juft now fpoke of, I (hall mention two 
 or three ; fome Perfons may be too long and (harp-nofed, or too hol- 
 low-eyed ; for fuch a lozv Light is moft proper j but where 'tis other- 
 wife, an high Light : In this Manner a judicious Mafter ought to help 
 the Defects of Nature, without adding to, or taking any thing from 
 them : Yet, to the Sorrow of impartial Mafters, the contrary is too 
 much feen ; for, as I have faid, that Hiftory-painters chufe and follow 
 what they have the greateft Inclination for, fo it is with many Portrait- 
 painters, their Work is better known by their particular Manner, 
 than the Sitter by his Picture. 
 
 Permit me here to make a Comparifon between thofe two great 
 Mafters, Titian and Van Dyk, with refpect to the Judgment I have 
 heard made on their Works : Of the latter it's faid, that in the 
 Defign, Grace and Choice of a Portrait-figure he was the moft skilful ; 
 neverthelefs I've feen many of Titian's (who, in moft Men's Opinions, 
 has the greater Reputation) which feemed to me incomparable, tho' 
 lefs agreeable : Here my Pofition, about the particular Choice of 
 Mafters, takes effeft again ; becaufe I think, that the Defect in A- 
 greeablenefs is peculiar to Titian's Country, and limits his Choice, 
 and therefore he is the lefs culpable ; when, on the contrary, 
 our Region prefers what is gay and elegant, before the majeftic and 
 grave; and Likenefs is the chief Object: both of the Sitter and the 
 Artift, every thing elfe being looked on as By-works and Ornament : 
 
 No. 15. Y y A poor 
 
3 f 4 °f Tortraiture. Book VII. 
 
 A poor judgment methinks of People of Senfe ! For if a Portrait have 
 not,, befides Likenefs, an agreeable Difpofition, the little Knowledge 
 of the Mafter will prefently appear. It's true, that we meet with mat 
 ny odd Faces in the Life, efpecially among vulgar and clownifh Peo- 
 ple, yet I fay, that, be they ever fo rude, Jgreeabknefs mould be ob* 
 ferved in their Pictures. By dgreeablenefs I understand the Difpofition 
 of a Pofture in general ; as when the Face has an advantageous Turn 
 more or lefs to the Light, up or down, in order to create handfome 
 Shades, and to fhun unbecoming ones ; for every Face requires a parti- 
 cular Obfervation ; one, an high Light, another, a low one ; this a 
 Side-light \ that, an almoft fronting one : I fpeak not yet of many o- 
 ther Requifites, fuch as the Sway of the Neck, Shoulders or Breaft;. 
 or of a proper Back ground ; all which Confederations are efiential to a 
 fine Portrait, as well in refpect to the Naturalnefs and Colour, as to the 
 Motion : But of the Light and Back-grounds we ihall fay more in the 
 next Chapter, and now return to our Comparifon. Some think that 
 Van Dyk's Paintings are but Water-colours, compared with Titian's, 
 whofe Pictures have fo much Force in Colouring, Lights and Shades,, 
 that thofe of the other cannot Hand in Competition with them, nay, 
 that his Colouring is inimitable, and whereby that of Van Dyk ap- 
 pears faint and weak : A ridiculous Opinion indeed J However, that 
 Van Dyk and Titian differ much in Colouring, I allow ; but neverthe- 
 l'efs think, that we need not run to the Italians to prove it, fince, if 
 the Strefs lay in ftrong Colouring only, Rembrant need not give way 
 to Titian : But whence arifes the Miftake ? Moil: Men chime in with 
 thofe fimple Judges who approve no Hiftories, Landskips, or Portraits,, 
 that are not painted in the Italian Manner. My Opinion is, that the 
 whole Matter lies more in the Difference of Climates, than in the 
 Handlings of the Maiters ; for let an Englijhman's Picture hang near 
 an Italian's, both handled with equal Skill, and each reprefented ac- 
 cording to his Hue and Nature, there will appear a great Difference* 
 between them ; the fweetening Softnefs of the Englifhman will charm 
 as much on one Hand, as the ftrong and glowing Colour of the Italian 1 
 on the other : On which now of thefe two Pictures has the Mafter be- 
 ftowed the raoft Pains? Are not both Praife*worthy a as having each 
 exprefled the Character natural to his Figure? 
 
 But not to go abroad for Comparifons, with refpedt to particular 
 Climes, our own Netherland affords Differences enough : Two Brothers 
 of the fame Parents are born in the fame Town and Hour ; one of 
 them is brought up to the 3word, and endures all the Fatigues of 
 
 War d 
 
Chap. 3. 
 
 Of Tortraiture. 
 
 War, and the Incommodities of Hail, Snow, Wind, Rain, Sun, 
 Smoak of Salt-peter, &c. whereby his Complexion is altered, and 
 becomes fwarthy. The other Brother, contrarily, is educated in Sa- 
 loons, fine Apartments and tender Converfations, by which means, 
 Time cannot fo much affect him ; each fits for his Picture, to a fepa- 
 rate and good Mafter : Now thefe two Pictures being brought toge- 
 ther, will the Painter be cenfured for the Difference of Tints and Fea- 
 tures ? Or will it be objected, that Nature has not been rightly follow- 
 ed? Or that the Pictures are not like? An impartial Judge will de- 
 termine that both are good and natural, and that each Mafter has due- 
 ly mixed Art with Nature. 
 
 I have difcovered a great Overfight in fome Artifts, which is, that 
 when the Face was finifhed, they had no further Regard to the Life, 
 but chofe a Pofture, at Pleafure, out of Drawings or Prints, without 
 confidering whether it fuited the Perfon, and whether the Drefs was 
 proper to the Condition and Countenance of the Sitter j nay, whether 
 the Head match'd the Body : Certainly, a great Heedlefsnefs I For if a 
 Body muft be added, what more proper than the Life itfelf? And the 3 
 the Layman be good, and helpful, yet it's not equal to the Life. 
 Many difregard this, thinking they have done enough in hitting 
 the Face: But all the while they are prepofteroufly joining an 
 airy Drapery to a fedate and grave Head, and a grave and ftiff 
 Drefs to a merry Face. But further, the Hands are intirely neg- 
 lected j if a Pair of fine ones can be got of fome other Mafter, theie 
 are made Ufe of, without Regard to the Life, which may per- 
 haps have ihort, thick and coarfe Hands: Howcanthefe Things agree? 
 Is it not almoft the fame as to drefs Flora with the Drapery ofVeJia, and 
 
 Vefta with Floral ? Artifts fay, We have the Prints of Van Dyk s 
 
 Lely, Kneller and others for fine Examples ; and as Lely has followed 
 Van Dyk in graceful Action and Draperies, fo we have a Liberty to 
 
 imitate him, and others. — To which I willingly agree ; but then 
 
 we ought to do it on the fame Footing as he did ; in his Poftures he has 
 not meerly, and without Alteration followed Van Dyk, and ft ill lefs 
 without Judgment ; as may be feen in his two celebrated Pictures of 
 JSJell Gwynn and the D of P The one, a wanton and bux- 
 om Lady, he has fo reprefented ; and the other, being a Widow, and 
 more fedate, appears more modeft. 
 
 By this Rule we muft walk in the Ufe of thofe great Mafters ; but 
 if Things be done without making Distinction of Perfons, and their 
 Conditions, the Artift will work to his Dilhonour. He who fteals thus, 
 
 Y y 2 may 
 
Of Tortraiture 
 
 Book VII. 
 
 may indeed call the Work his own, without Reproach ; none will ob- 
 jeft, as Michael Angelo did once to a Painter who praftifedit to Excefs : 
 
 . : — pph 'at will 'become of your Pictures at Do.omfday, when the Parts 
 
 jhall return to their own Wholes, feeing your Works are made up of 
 flolen Pieces ? 
 
 Moreover, in this Theft, we ought well to obferve, how Matters beft 
 applied every Thing, with refpeft to Youth and Age, as well in Poftures 
 as Draperies and By-ornaments ; what fuits an Alderman or Heroe ; a 
 Merchant or Citizen ; Nobleman or Plebean : Hereby we (hall difcover 
 the Aims of the great Mafters in thus managing thefe Particulars, and 
 learn to imitate their Beauties in a fweet and agreeable Manner. 
 
 CHAP. IV. Of the Choice of Lights^ Draperies and. Grounds in a 
 Portrait ; and of the Point of Sight, 
 
 HT N the preceding Chapter we have laid down as a Rule, that a Fronfr- 
 JL light is the beft to be chofen, and the moft beautiful, efpecially 
 in the fair Sex ; and I think it the more neceiFary when the Face it- 
 felf is alfo chofen in Front r becaufe then the great eft Force will fall di> 
 retlly upon the moft rifng, or relieved Parts : But I (ball now fubjoin, 
 that fince the Life, however we difpofe it, either from or near the 
 Light, fronting or in Profile, yet fupports itfelf, tho' the Light be not 
 advantageoufly chofen, which a Portrait cannot do ; we therefore mull 
 needs, in order to make it appear as it ought to be, accommodate the 
 Light to the Difpoiition of the Face ; for Inftance, when the Face turns 
 fomewhat fideways, the Light muft be adapted to it j when it's quite 
 in Profile, a Side-light will be beft, becaufe then a great Mafs of Light 
 remains together, to wit, in the Forehead, Nofe and Cheeks, which 
 are not broken by any Ground-thade, but united by the Roundnefs ; 
 which (hews us how to reprefent riling Nature, and caufes a becoming 
 Relief. 
 
 We fee that many, without Difference, be the Figure in full Pro- 
 portion, or in Little, give the Touches under the Nofe fo black and 
 dark, that it feems as if a black Beetle were proceeding thence ; where- 
 as it's certain, and Nature teaches it, that when the Light falls ftrong 
 on the Nofe, the Noftrils and their Ground-fhades can never appear fo 
 black ; and yetfome think, they've done great Feats in ufing Force and 
 Strength, and will do it even in a fair and tender Face,- and no bigger 
 
 than 
 
Chap. 4. Of Tortrailure. 35-7 
 
 than the Palm of the Hand, altho' the deepeft black fhould not have 
 Force enough to fhade the other Obje&s of a darker Colour, fuch as 
 Hair, a Cloak or other Garment ; by which Sort of Management the 
 Face feems to jump out of the Frame, and to defert the Wig, Hair and 
 Garment, We muft not fo underftand, when we teach that the Face 
 muft have the main Light; we mean only, that all ought to keep due 
 Order, that it may look natural. Each Colour of the By-work, ought, 
 according to it's Ligh.tnefs or Darknefs, to have it's moderate Shade and 
 dark Touches, as the Matter, it confifts of, is either folid, or thin and 
 tranfparent; and in Proportion as the Objects leflen,. fo muft the Force 
 of their Colours diminiflv as fhall be further illuftrated in the following, 
 Chapter,, to which for Brevity we refer : We fee an excellent Example 
 of this Management in the famous Netjcher's artful Portraits, wherein 
 he has judicioufly handled the darkefl Shades, and Main-Ught-Touches,. 
 according to the natural Force of the Colour. 
 
 For the better underftanding of further Obfervables, I have found it 
 proper to mention fome other Particulars concerning the Difpofition of 
 Lights, according.to Occafion, confirming in Light againft Dark, and the 
 contrary ; and tho' every Thing thereby becomes relieved, and; is fet" 
 off, yet that is not fufficient ; for the placing of Colours againft each 
 other on fuitable Grounds ; and a Contrafl in the Objects , whether move- 
 able or immoveable, is of great Confequence and Decorum : And" a&- 
 tho' we have handled thefe Things at large in the Book of Colouring* 
 yet we find, it neceflary, to recapitulate them here, with refped to Porr 
 traits, and the retiring Grounds or Viftos behind them. 
 
 Obferve then, whether a fair and beautiful Face will become a- light 
 Grey, or lightifti blue Ground ; and whether a warm Complexion and 
 ftrong Colouring againft a glowing or yellowiih Ground will pleafe the 
 Eye? I fpeak of the Face, not the Draperies, tho' both together make 
 a Portrait : But let the fair and beautiful Face of a Woman be placed 
 againft a warm Ground, and then the light Parts will not only be thereby 
 flung off, and look more agr eeable, but the Shades will alk) be foften*- 
 ed, and appear more tender ; for it's unnatural, to force a fair and ten- 
 der Virgin, who fhews little or no Motion> out of her feeming Apart- 
 ment ; as fome by their glowing Shades and Reflexions have endeavour?- 
 ed to do ; whereby their Faces, on the fhaded Side, look as if a lights 
 ed Candle ftood behind them, which penetrated their Skin : This is as 
 unnatural in the open Air, as within Doors. 
 
 This Example of a Woman is enough, to prove the contrary Conduft 
 with refpeft to a Man's Face, according to the aforefaid Rules, touch- 
 ing 
 
Of Tortraiture. Book VII. 
 
 ing the Difpofition and placing of Colours on fuitable Grounds ; namely, 
 that the ftrong ought to be painted againft the weak, and the weak a- 
 .gainft.the^/orc;/;^ and ftrong \ wherein is alfo comprehended Light againft 
 Dark, and Dark againft Light. 
 
 Whence it's evident, that Back-grounds contribute very much to the 
 charming Grace of Objects; nay, I dare fay, that the Decorum moftly 
 depends thereon : And tho' many imagine, that a dark or black Ground 
 always becomes a Portrait, yet it's no Rule, fince, as before has been 
 faid, each individual Colour of the Objects requires a particular Back- 
 ground: Befides, if fuch Things were to betaken for Rules, the Art 
 would fmell too much of an Handicraft ; for a dark Colour againft a 
 dark Ground can have no good EfFeft, and that of a white, or pale a- 
 gainft it, w ill be too hard ; therefore a Medium muftbe judicioully ob- 
 lerved in both, that one Colour may fuit with- the other. In the Drape- 
 ries the Conduct is the fame ; one Perfon beft becomes light,and another, 
 .dark Cloths ; Blue fuits one, and Red, Yellow or Green, &c. another : 
 The Artift muft then take care not to force Nature, but help her as 
 much as poffible, and reprefent her always moft beautiful. 
 
 If any one would know my Reafon for thinking, that many Errors 
 arife in this Part of the Art, it is, That the Colours of the naked receive 
 more or leis, or too much Force by the By-colours of Grounds and 
 Back-ornaments : It fares with them, as it is faid of the Camelion, who 
 changes his Colour as often as he is placed by different Colours ; tho' this 
 is occafioned by his elegant and fhining Scales, when, contrarily, the 
 human Skin is dull and not fhining : However, we fhall find, that he, 
 who paints a Portrait twice, and each Time on a contrary Ground, yet. 
 with the fame Temperament of Colours, will perceive a very great, 
 nay, incredible Difference: As I have on feveral Occafions experiment- 
 ed in the Life ; to wit, That when fome Virgins were in a Room hung 
 with Yellow, they looked fickly and grey, notwithstanding their freih 
 Colour ; but contrarily, being in a Room hung with Violet, their Co* 
 lours Ihewed themfelves very beautiful j whence it appears that the Al- 
 terations are oftentimes occafioned by the adjacent Objects : Let him, 
 who doubts this, make Trial of it in a Portrait, by laying a Ground, 
 with Water-colours, on Paper, and after the Face is cut out, placing it 
 againft the Picture inftead of a Back-ground. But, I think, there is a 
 convenient Way of preventing the aforefaid Alteration ; namely, by 
 fixing againft the Wall, behind the Sitter, a Garment, Cloth or fbme- 
 thing elfe of the fame Colour, or near it, which we chufe for our Back- 
 ground ; 
 
Back of 
 Foldout 
 Not Imaged 
 
Chap. 4. Of Tortraiture. 3T9 
 
 ground : Thus we maybe fure of hitting the right Colour, and make 
 he Painting look agreeable. 
 
 In order to reprefent an extenfive Back-ground, and chiefly in a fmall 
 Picture, be it an Apartment, or Landskip, fome Shadinefs fhould be con- 
 trived between the Figure and the Diftance, as a Column, Curtain, Body 
 )f a Tree, Vafe, &c. Thefe Objects being in Shade, or of a dark Co- 
 our, the Lights falling on the Off-works, will not prejudice either the 
 "ace or Drapery, tho' both be light; but on the contrary, the Figure* 
 as receiving the foremoft and greateft Light, will thereby be relieved, 
 and look more agreeable. 
 
 As for the Draperies, fince they confift of different and various Co- 
 Jours, each of a particular Nature, and little agreeing with the Co- 
 lour of the Face, they alfo require each a particular Ground, beft 
 fuiting and uniting with it ; to the end that, tho' differing among them*r 
 felves, they may have a perfect Harmony with each other,, la that- rhe 
 Eye be not taken alone with the Face, or the Draperies, Ornaments- 
 or By-works; but, by this fweet Conjunction, infenfibly conduced all- 
 Dver the Picture. 
 
 It will not be improper to treat alfo about Eafinefs and Sedatenels 
 tn Pofture, oppofed to Stir and Buftle ; and the contrary : Namely, that 
 Che Picture of a Gentlewoman of Repute, who, in a grave and fedate 
 Manner turns towards that of her Husband hanging near it, gets a great 
 pecorum by moving and ftirring Hind-works, whether by means of 
 Waving Trees or croffing Architecture of Stone, or Wood, or any thing 
 elfe that the Matter, thinks will b&contraft, or oppofe the fedate Po- 
 fture of his principal Figure : And becaufe thefe are Things of Confe- 
 quence, and may not be- plainly apprehended by every one, I thall ex- 
 plain myfelf by Examples in Plate LV 11, touching the Elegance and- 
 Harmony of Back-grounds with the Figures. 
 
 In No. 1. I reprefent a beautiful Face againft the Light of the 
 Ground ; and the Drapery, which is White or of light Colouring, a- 
 gainft the Dark of it; thefe Oppofitions thus meeting, produce a 
 fweet Mixture above, and below an agreeable Relief or Rifing of the 
 under Part of the Body ; whereas, were it other wife, the Face, as 
 but a fmall Part of the Body, would look too iharp and difagreeable, 
 ^nd the under Part of the Body would have no Force, 
 
 In No. 2. Being the Portrait of a Man of a more warm and fwar-- 
 thy Complexion, we fee the Reverfe of the former, becaufe his Co- 
 lour, and that of his Drefs are of a different Nature j yet the Ground 
 is very ornamental, apd each fets off the other. 
 
 No* 
 
3^o Of Tortraiture. Book VII. 
 
 Mo. 3. Shews a Man with a drunken Face of Red, Purple and Vio- 
 let, and fomewhat brown and darkifh ; which is fet off by a white 
 marble or light ftone Ground, and gives it a fine Air. 
 
 In No. 4. Is an Example of the Contraft in Off-works with the Dra- 
 pery of the Figure ; (hewing the Oppofition of moveable Objeas with 
 fixed ones ; for herein are feen rounding and eroding Folds againft 
 {freight and parallel Off-works. And 
 
 In No. 5. Appears the Reverfe ; where the Folds hang ftreieht and 
 moitly downwards, and the Off-works crofs them. 
 
 No. 6. Gives us an Example of the oppofmg Aftion and Pofture of 
 Bodies m two Fellow-portraits ; for the Man, being on the Woman's 
 right Side, turns his Face fideways towards her $ his Body is fronting 
 receiving the Light from the right Side* 
 
 ■ In No. 7. We fee the contrary in the Woman's Pofture; her Face is 
 forenght, and her Body fways fideways towards the Man : fhe alfo is 
 lighted from the right Side. 
 
 The Figures numbered 8 and 9 reprefent alfo, yet in a different 
 Manner the Contraft in the Motion ; for the Woman, ftanding on the 
 right Side of the Man, has a fedate Motion, and fet and hanging 
 Shoulders : But the Man contrarily is in an aftive Motion. And 
 J ¥V°/ Shews / F°P er Method to exhibit a great Extent, or feem- \ 
 ingly fuch, in a fmall Piece; for the Figure ftands in a ftrong Light; 
 
 5 B /- ™ a ™ ents > ™- Curtain, Vafe, Pillar and Walling are in Shade 
 and the Offskip . or Hind-work is light again, but fomewhat broke by 
 realon of its Diftance. J 
 
 To conclude this Chapter I (hall fay fomething of the placing of 
 Portraits ; and of their Point of Sight. 
 
 As to the former, it's certain that when we fee any painted Figure, 
 or Object in a Place where the Life can be expected, as ftanding on the 
 Ground leaning over a Balcony or Balluftrade, or out at Window, 
 &c. it deceives .the Eye, and by being feen unawares, caufes fometimes 
 a pleafing Miftake; as it frightens and furprizes others, when thev f 
 meet with it unexpectedly at fuch Places as aforefaid, and where there ' 
 is any Likelihood for it. If we are thus milled by a Reprefentation of 
 Nature, how great muft the Mafter be who did it/ The Knowing 
 efteem him, Wants cry him up: If this be the Cafe, we ought to 1 
 endeavour to follow Nature and Likelihood, and principally to obferve i 
 the Rules of Perfpective; for who can doubt, that a ftanding, fitting, 
 or moving Figure^ artfully painted, and placed as aforefaid, will noJ 
 have the fame Effect as the Life itfelf ? 
 
 Hence 
 
Chap. $. 
 
 Of Vortralture. 
 
 Hence it follows, that low Horizons, or Points of Sight, are the be it 
 and moft natural in a Portrait, and will moft deceive the Senfes, if the 
 Light and Diftance, with refpett to the Place where the Picture is to 
 be fet, be well obferved j otherwife the Effect will be contrary to what 
 we expected. 
 
 This Conduct is cbiefly neceflary in Portraits hanging high ; for being 
 fo much above the Eye, they muft needs have a low Horizon. But as 
 Portraits are moveable, how natural and like foever they be, and well 
 handled, if they hang not in proper Places, they will not have a good 
 Effect : Hence, the Mifchief attending them, is, that, by continually 
 changing their Places, they cannot always be painted to a certain 
 Height and Diftance, and confequently baffle our Rule : A Difficulty 
 which the greateft Mafters muft ftruggle with, and this Branch of the 
 Art is liable to. 
 
 Having now fhewn that a low Horizon and Point of Sight are beft, 
 and moft natural, as fupplying, in fome meafure, this Inconveniency; 
 how much muft they miftake, who always chufe an high Horizon ? They 
 are on a Level with the Sitter, and yet place the Horizon many Feet 
 higher ; nay, they think, thofe who do otherwife act againft Nature 
 and Art : Some will have two Points of Sight in one Piece, one for 
 the Figure, another for the Ornaments ; one level with the Eye, and 
 the other for the Offskip ; one Hand higher or lower at pleafure, or 
 about 3 or 4 Fingers Breadth above the Middle. Altho' thefe are in- 
 excufable Errors, yet I think it vain to attempt their Redrefs ; but 
 hope the judicious Artift will weigh what I have faid, and endeavour 
 to avoid them. 
 
 CHAP. V. Of Portraits in Little. 
 
 THERE are many Things, as I have formerly fhewed, which, 
 if we will have them tranfport the Senfes by their natural Re- 
 prefentation, we muft always exhibit in their natural Proporti- 
 on and Force of Colouring : But in a Portrait it is otherwife ; for this 
 may as well be done in Little as in full Proportion, provided the Di- 
 minution be well obferved ; and befides, it has fome Relation to hijlo- 
 rical Management, We could fay the fame of a little Flower compared 
 with a great one ; for, if it were coloured in Proportion to its Diftance 
 and Diminution, it would be in the fame Cafe with a Portrait in Lit- 
 No. 1 6. Z i tie: 
 
Of Tortrahiire. 
 
 Book VII 
 
 tie : But it's neverthelefs certain, that in Feftoons, Garlands, Flower- 
 pots in Niches, Groups of Flowers, &c. ferving for Ornament of 
 Chambers, little Flowers are of fmall Account \ nay, never feen wove 
 or embroidered in any Stuff: Whence, fome may be induced to think,, 
 that a Portrait in Little, as big as the Palm of an Hand, has as little 
 Property in a Square againft the Wall, efpecially when it receives its-. 
 Light from without the Frame, and is handled with as much Force as the 
 Life itfe/fy which* with refpetT: to Force, I allow; neverthelefs, a fmall 
 Portrait may, in order to make it look more natural, be more eafily 
 helped,, than fmall Flowers placed againft a Door, Window or other 
 Flat ; which, in my Opinion, can in no wife be made good ; but a 
 fmall Portrait may, as I (hall prove in what follows: In order to- 
 which the Artift muft previoufly confider, 
 
 Firft,, How much the Life in Proportion dimini/hes ; and confequent- 
 Jy, how faint it muft be. 
 
 Secondly, that the Picture cannot receive its Light from without the- 
 Frame, as being too far from it. 
 
 Here perhaps it may be asked, Whether a Portrait of a Lady or 
 Gentleman leaning out at Window, in the Manner of old Mieris,^ 
 MetzUy Vander Neer, and others, would not be good and natural ? I 
 fay, Yes ? But then the Window muft alfo go hack ; for as it would be; 
 difficult to reprefent its going back from the Frame, fince no ObjecT:, , 
 whether Cieling or Floor, &c. is between them, in order to create 
 Diftance, and make the Picture fall back ; fomething may be intro- 
 duced in full Proportion, to fhew the Depth and Di fiance, according,, 
 to the Difference to be feen in, the following Inftances in Plate 
 LVIII. 
 
 In No. p* We fee a common Fault in the Figure leaning on the 
 Frame : In this, there is no other Way to make the Figure go back,, 
 than by taking away the Frame. And altho' 
 
 No. 2. Shews .itfelf within xhe Frame, yet it would be to no Pur- 
 pofe, did we not affign a fufficient large Breadth or Thicknefs to the:; 
 Frame ; for, in fuch Cafe, we muft not regard an Hand's Breadth of 
 Cloth, whereon to reprefent fomething./^ full Proportion, as an Orange*. 
 Flute, Book, &c. yet 
 
 No, 3. Shews a good Method, and, in my Judgment, the beft, and 
 moft natural. 
 
 I remember, amongft the Paintings of a certain Lover, to have 
 feen one of a Doclor with an Urinal in his Hand, thrufting his Arm 
 out at Window, fa that the- Shade of it*, and the Glitter of the Wa- 
 ter: 
 
Chap. 5". Of Portraiture. 363 
 
 ter plainly appeared on the Sill of the Window : Next the Window 
 a Maid-fervant was feen ftanding at the Door, fpeaking to a Wo- 
 man in the Street with a Child in her Arms : Some other Figures 
 appeared in the Front of the Piclure, feen to the Shoulders 
 only, as if Handing in the Street. On the Sill of the Window 
 were lying a Bottom of blue Worried ftuck with Needles, alfo 
 a Pair of Sciflbrs, a Piece of dark blue Cloth, and a Thimble, 
 all in full Proportion ; to be fhort, this Picture was by an Artift, 
 with the Owner's Leave, fentenced to be dockt; in order to which, he 
 drew a fquare Chalk-line round the Window, which contained the Doc- 
 tor, and cut away all the reft round about it, hitting here an Head, 
 there an Arm, without fparing any Body but the Doftor ; who was in- 
 ftantly put into a fmaller Frame : Thus the Piece was half cut away, 
 and for no other Reafon, as the Artift pretended, than that the Do&or 
 alone was fufficient to fatisfy the Eye, the reft being fuperfluous. A 
 wretched Fate for fo good a Picture! But fome Painters will keep the 
 old Road, becaufe 'tis difficult to correct a rooted Evil : They do as the 
 old Woman did, who,being exhorted in her laft Sicknefs to embrace the 
 true Faith, anfwered, She would follow the Steps of her Fore-fathers, 
 [ were they all gone to the Devil, 
 
 So it is with a Portrait in Little, which has nothing of Nature, but 
 the Features, and looks like a Puppet ; whereas there are well-known 
 Methods to make it appear as big as the Life ; nay, to move and fpeak, as 
 I may fay ; but,being flighted, the Figure feems immoveable, dumb and 
 Little, and therefore unnatural. 
 
 On this Footing, I mean to fhew, that all Things may be naturally 
 reprefented in Little, except a Moon-light, which baffles all our. 
 Skill. 
 
 Now, if it be asked, Whether too nice an Ex predion of Parts in a 
 fmall Portrait, would not be fuperfluous and unnatural, with refpecl: to 
 Diftance, and whether lefs finilhing would not be better ? I fay, No ; 
 provided it be not fo ftrong and warm as the Life ; for the Figure not 
 being exhibited in open Field, it cannot have fo much Miftinefs and 
 Vapour about it ; and therefore the neat Pencilling cannot be obftruc- 
 tive \ efpecially if managed with Skill, as, the principal Parts well 
 touched, and the tender and melting Smallnefles in the broad Parts the 
 fame, fo that at the proper Diftance the one is feen more, and the o- 
 ther lefs. 
 
 Here may arife another Queftion ; whether fuch Piftures are not of 
 the fame Nature with what is feen thro' a Profpeaive-glafs, mice every 
 
 Z z a ' Ihmg 
 
564 
 
 Of Tortrailure. 
 
 Book VIL 
 
 Thing appears fo plain, elaborate and neat? But I anfwer, that they 
 are not, nor can ; becaufe the Glafs exhibits the Life without the Inter- 
 polation of Miftinefs or Vapours, and with ftrong and warm Shades, 
 which overcome its Smallnefs. 
 
 I have often wondered at fuch fmall Paintings, becaufe they feemed 
 as if I was looking in a Nuremberg Looking-glafs, or thro' a Profpe&ive ; 
 fince they appeared not like the Life, but little moving Puppets. 
 
 Now, another Difficulty is, that, fmce fuch Paintings cannot, ac- 
 cording our Pofition, be made good, without the Addition of fome. 
 By-ornament, as Imagery in whole or half Figures, Vine-branches a- 
 bout the Frame, or fomething lying on it, in order to fling them off, it 
 would be hard for thofe, who can only paint a whole or half-length Fi- 
 gure, and aim at nothing elfe than to become Matters therein j where- 
 as, he who is better verfed, may, by a due Obfervance of what has 
 been faid, eafily overcome the before mentioned Difficulties. 
 
 CHAP. VI. Of the Application of Requijites with refpeB to the 
 different Conditions of Perjons* 
 
 IT will not be foreign to our main Defign, to put the Artift in mind 
 of the Application and right Ufe of fuch Materials as may enrich a 
 Portrait, and make it look the more noble : This is fo great a 
 Point in Portraiture, that when well known, we need never be at a 
 Stand thro' the Miftiape or Defects we often meet with in the Difpofiti- 
 on of a Portrait, and which fometimes muft not be hid; fince we have 
 always Means enough for obviating them with feeming Reafon, and 
 without forcing Nature ; as a long and narrow Face may be helped by an 
 Hood, or other Head-drefs ; a thick and too round a Face, by the con- 
 trary : A Figure too lonefome may be embelliihed with a Pillar, Pedeftal, 
 Flower-pot, Table and fuch Things as are proper to it ; which ferve 
 not only for Ornament and Grandeur, but alfo to exprefs the Sitter's 
 Luftre and Virtue : But Care muft be taken, that the Figure of the Sit- 
 ter, as the principal Obje&of the Piece, fill up the major Part of it, 
 either by a fpreading Sway of the Pofture, or by the Addition of fome 
 proper By-work ; by which Means it will have a good ErFeft. 
 
 Since it's certain, that the Vices as well as Virtues have two power- 
 ful Qualities, and tho' contrary to each other, yet both tend to good 
 Purpofe ; nay, a wicked Perfon may, by a virtuous Example, be refcued 
 
 from 
 
Chap. 6. Of Tortraiture. 3^ 
 
 from Evil ; and a virtuous Per/on, thro' bad Example, led into Error 
 and Ruin ; but Virtue being joined to Virtue, fears no Evil ; contrarily, 
 the Evil will make us avoid Evil. So Pictures fhould create an Ardor 
 for Virtue, and efpecially thofe of religious and good Perfons ; fince 
 this, as we have faid in Chap. I. gave the firft Rife to their «Reprefen- 
 tations, in order to perpetuate their Memories, as well as their Virtues 
 and glorious. Actions. 
 
 To come then the better to this excellent Point, let us by noble By- 
 works make known their Virtues, Natures,. Manners and particular In- 
 clinations, and exhibit them with their Perfons, in a confpicuous Man- 
 ner. Wherefore I Ihall lay down fome Examples, tho' drawn from 
 Heathen Story. 
 
 Among the Heathens, fome were fo virtuouHy endowed, that they 
 need not yield to Chriftianity itfelf; as Lucretia and Penelope in Chafti- 
 ty ; Cato in Steadinefs and Courage ; and many others whom we fhall for 
 Brevity omit, to pafs to the sketching fome Reprefentations (or Materi- 
 als for fuch) of the Circumftancesof a Court, Chamber r or other Apart- 
 ment ; and an Example of achaft Virgin fhall be that of Lucretia. It's, 
 faid to her Honour, that (he was defcended of a noble Family, and fa 
 virtuoufly educated, that me delighted only in that ; now, whether we. 
 reprefent her living or dead in that Character, we may adorni^r Apart- 
 ment with fine Tapeftries, Statues and Pictures ; in the Pictures, the 
 Hiftory of Penelope at work ; the Fable of Coronls and Neptune ; fome. 
 modeft Emblems of Gods, &c. all relating to Chaftity and Honour. 
 If Statues, or Houfhold-gods, be neceflary, let them be Pallas* 
 Diana, Hymen, and efpecially Fefta : Her Bed may be ornamented 
 with Chaftity and Stedfaftnefs ; and" on her Couch may be feen fome 
 Cupids lighting each other's Torches, or playing with Palm-branches 
 and Olive- leaves : The Apartment may be here and there furnifned with 
 Gold and Silver Vafes, Cups and other Houfe-plate, wrought with virtur 
 ous Significations ; but herein, Care muft be taken not to introduce 
 any Thing foreign to the Matter, or againft Hiftory which ougfit to 
 be confulted. 
 
 The handling this Example may fufficiently ufher in the Method of 
 treating others, fuch as of Julius Cafar, Auguftus, Marcus Aurelius Si , 
 Crcejus, Solon, Seneca, &c ; and contrarily, the Stories of Sardanapa- 
 lus, Semiramis, Fauflina, Phalaris, Sec. 
 
 As for a cruel Prince, or Tyrant, either in his Court, Apartment or 
 other Place, even in his Revels, &c. each requires it's proper Em- 
 bclliihment : The Apartment may be adorned with Paintings of all Sorts 
 
 of 
 
Of Tortraifure 
 
 Book VII. 
 
 of Punifhmerits and Cruelties, drawn from the blackeft Parts of Hif- 
 tory, together with thofe who caufe them to be inflicted : If it be A T e- 
 ro, let all or fome of the Cruelties of his bloody Reign be painted, 
 and his Qualities, with Emblems in marble Bafs-relief ; his Statues are 
 Deities or Houlhold-gods, as Mars and Mega r a ; he himfelf may be 
 reprefentedon aPedeltal, with Thunder in his Hand, the World under 
 his Feet, and the Roman Senators bowing and kneeling before him, 
 fettered like Slaves ; his drinking Equipage may be ornamented with 
 noxious Animals, as Serpents, Adders, and the like; his Chair or Seat, 
 with Tygers, Lyons and Dragons, wrought in Silver, Gold and Ivory \ 
 his Throne may be fupported by Jupiter, Juno, Neptune and Pluto \ 
 the Floor curioufly and richly inlaid with a celeftial Sphere of Lapis La- 
 ■zuli ; and the Meteors and Constellations wrought in bright Gold j the 
 Cenfers may fmoke in all Corners of the Apartment, but chiefly about 
 his Statue : If the Scene lie in his Dining Room, the Houfhold-gods 
 may be feen thrown down in all Corners, especially the Simulacrum of 
 Roma, With it's Head broken off, and lying near it, Jupiter; Apollo 
 and Vefia are Principals in this Company ; in line, every Thing that can 
 denote a wicked Man, or Monfter, Art muft exhibit: The fame Cha- 
 Tafterfhouid alfo appear in the Adions, Looks and DrefTes of his Re- 
 tinue or Guards ; for we ufually fay, Like Mafter, like Man, 
 
 But not to dwell too long with Princes, we (hall alfo fpeak of other 
 Characters, and ihew what fuits them. 
 
 With a Burgomafier fuits the Statue of Juftice; and in Paintings or 
 Hangings fome Emblems of it, reprefenting the Rewards of the Good, 
 and Puniihment of the Bad ; the Fafces (or Rods and Ax) are the 
 true Token of a Conful, or Burgomafter. 
 
 With a Senator agree the Statue of Policy, or Government ; and 
 in Paintings or Hangings, fome Reprefentations of the Laws ; befides 
 Prudence and Care for the State. 
 
 With a Secretary the Statue of Harpocrates ; and in Tapeftry, or 
 Bafs-rehef, the Story of Alexander, (hutting Hepheflon>s Mouth with 
 a Seal-ring ; -alfo the Emblem of Fidelity; or a Goofe with a Stone in 
 its Bill. 
 
 With a Director (Governour) of the Eaft-India Company, the Figure 
 or Statue of it, to wit, an Heroine with a Scollop of Mother of Pearl 
 on her Head, in the Nature of an Helmet, and thereon a Coral- 
 branch ; a Breaft-ornament" of Scales • Pearls and Corals about her 
 Neck ; Buskins on her Legs, with two Dolphins conjoined Head to 
 Head, adorned with Sea-lhells ; two large Shells on her Shoulders ; a 
 
 fri- 
 
Chap. 6. 
 
 Of Tortrailure. 
 
 Trident in her Hand ; and her Clothing a long Mantle ; a Landskip 
 behind her of an Indian Profpect, with Palm and Cocoa-trees, fome 
 Figures of Blacks, and Elephant's Teeth. 
 
 This Figure alfo fuits an Admiral, or Commander at Sea, when a 
 Sea-fight is introduced inftead of a Landskip. 
 
 With a Divine agrees the Statue of Truth, reprefented in a Chrifti- 
 an-like Manner, or elfe this fame Emblem in one of his Hands, and 
 his other on hisBreaft; befides Tapeftries, Bafs-reliefs, or Paintings, 
 and fome Chriftian Emblems of the true Faith ; and a Reprefentation, 
 of the Old and New Tejiament, and in the Offskip, a Temple. 
 
 With a Phi lofopher, a celeftial Globe, the Statue, of Nature, and a< 
 Reprefentation of the 4 Elements, &c. 
 
 A General lhould have a white Staff in his Hand, and the Figure 
 of Mars in a Niche; if a Landskip be feen, a Trophy may be rear- 
 ed with Victory fitting on it ; he may have Hercules for a Statue. 
 
 With a Sea-infurer fuits Arion on a Dolphin \ and in a Picture, a 
 Sea-haven with a Ship under Sail making towards it; on the Shore* 
 the Figure of Fortune, and over the Cargo, Caftor and Pollux.. 
 
 With a Steer/man fuits the Figure of Precaution; befides a Compafs; 
 and in a Picture, the 4 Cardinal Points. 
 
 With an Engineer,, the Figure of Induftry ; befides a Map of mili- 
 tary Architecture. 
 
 With an Orator, or Speaker, the Figure of Eloquence ; or Merce- 
 ry, without his Purfe, and befides him a Roll of Papers j in the 
 Offskip, a Perfon mounted on a Stone, and furrounded with an atten- 
 tive Audience. 
 
 With a virtuous young Man, the Figure of Virtue; and on a Wall. 
 Horace's Emblem of the young Man in the Stadium or Courfe ; or 
 elfe the young Hercules (landing between Virtue and Vice. 
 
 Some Things are alfo proper to Women, to betoken their Virtues 
 and Qualities : As by an eminent W T oman for Reputation the Statue of 
 Honour, and by it fome Embjems of Fidelity, efpecially Oeconomy, 
 or Family-government, and ftfme Medals relating thereto. 
 
 With a Widow agrees well the Figure of Humility, or Emblems 
 lending towards it \ as alfo Perfeverance. 
 
 With a young and fober Virgin, fuits the Figure of Neatnefs ; an em- 
 broidering Frame and its Furniture ; befides Emblems relating to it 5, 
 among which, that of Bufinefs, (hunning Idknefs,. Pride, and Gluttony,., 
 have a principal Place, 
 
 GEAK. 
 
3 68 
 
 Of Tortraiture. 
 
 Book VII. 
 
 T 
 
 CHAP. VII. Of the Suiting of Colours in Draperies. 
 
 H E Suiting of Colours in Pourtraits comes now before us, a 
 Matter of as great Confequence as the former, and deferves no 
 lefs Attention. 
 
 Many think, tho' without Ground, that deep Red beft becomes a 
 red-faced Perfon ; deep Yellow a fallow one ; and all pale Colours, a 
 pale one ; and, what's Grange, black and dark Colours, a fwarthy 
 Perfon ; but this muft be ridiculous and without Reafon, if we confi- 
 der, what a ftrange Ordonnance thefe People would make : Truly, if 
 the Art were fo, there would be no Difficulty in finding Agreeablenefs, 
 and every one would be able to difpofe it as it ought to be • and if 
 th is were a Becomingnefs, Variety would be no Art: Nay, the Fafhioji 
 itfelf, which alters four Times a Year, with refpeft to Colour, would 
 not be allowed every body to wear ; as in Spring, Green ; "in Sum- 
 mer, Yellow.; in Autumn, Red ; and in Winter, Fillemot. Yellow 
 or fallow-faced Perfons durft not wear Red; or red-faced ones, 
 
 Green: But -enough of this. Let us now return to what fober 
 
 Art dictates. 
 
 . Beginning with tta Head and its Hair, I fay ; that deep or ftrong 
 Colours, fuch as deep Red, deep Yellow, deep Blue, beft fit a 
 Perlon who has brown Hair. 
 
 Thofe who have fair Hair beft become half or weak Colours, fuch 
 as Purple, light Blue, Violet, Green and Rofe-colour. 
 
 A yellow-haired Perfon beft becomes Violet, Blue and whitifti 
 Yellow, as Mafticot, and fuch like; thefe are the chief Colours 
 which I know. But here we muft obferve, that the lighter the Hair 
 the more weak the Drapery ; and the darker the Hair, the ftroneer 
 the Drefs. & 
 
 He is a prudent Mafter who well knows how to exprefs in his Pic- 
 tures the different Natures and Complexions of People; and todiftin- 
 guifh Perfons full of Spirit and Fire from the Meek ,and Dead-hearted • 
 the Sickly and Weak from the Healthy and Strong; as to whom we 
 may ufe Draperies of the following Colours: With the Red or fiery 
 fait beft Draperies of half or broken Colours, with little Red in them • 
 the Pale fuits no Yellow, or other pale Colour; the Fallow the fame ; 
 but White is very agreeable : Brown Complexions become no dark o^ 
 
 ftrong 
 
:hap. 8. Of Tortratture. 369 
 
 hong, but White and all light Colours. The Slacks love White a- 
 >ove any Colour, and think no Drefs better becomes them than a light 
 oloured one; and not without Reafon ; for would not a black Man 
 vith black or dark Cloaths be frightful to look at ? And how ridicu- 
 ous is it for a pale Virgin, to drefs in &11 Sorts of light and pale 
 Colours, in order to look lefs pale; and that one who is red, wear 
 hothing but Red for the fame Reafon: Hereby, inftead of hiding a 
 fmall Fault, the Mafter would commit a greater; and yet this is the 
 common Notion: But if I may give my Opinion, a red and hery-raced 
 Perfon, dreft in Red, feems to me like a red painted Statue ; and a 
 pale-looking Perfon in a light or yellow Drefs, as fick or dead. Where- 
 fore, if we would be artful, we muft manage otherwife; to wit, that 
 thofe, whom we would reprefent healthy or fickly, ought to appear 
 fuch by contrary Colours ; as lively Colours for a fick or unhealthy Ferion ; 
 and weak and faint ones for healthy Perfons : Yet let me not be here 
 mifunderftood; 1 fay not this as a pofitive Law, without Exception, 
 fcutas an Hint to Tyros. The more experienced know, what the 
 Art teaches; for (he is not deficient: But as the Drapery fometmes 
 -over -rules, fo we can manage the Naked accordingly ; lor lnitance, -red 
 Drapery requires a middling Carnation, between pale and red ; io al- 
 to it ought to be with a pale Colour. When I fay that Decorum conftfts 
 in an Oppofition, it muft be underftood, that Oppofitionhts its Degrees, 
 1 which we ought to know and ufe according to the different Occafipns, 
 and the Grounds againft which they happen to come: But in general 
 Terms, the Naked muft always feem to be of a diftind Nature from 
 the Draperies. * 
 
 CHAP. VIII. Of the Imitation of great Mafters in painting 
 Portraits', and of copying their Pictures in general 
 
 E 
 
 R E we leave the Subjea of Portraiture, I think this Head ue- 
 . ceffary to be treated of, and therefore fhall (hew how far and in 
 what Manner we may engage in it; and fubjoin fomewnat at 
 copying Piaures in the fame Bignels, as well as in different Sizes. 
 
 Fund that this Imitation of Mafters is lefs obferved in their Defign 
 and Ordonnance, than in the Colouring, Lights and Shades: Ihis is 
 certainly a principal Point in a Piaure, becaufe there can be no Deco- 
 rum without it ; nay, we find fome Works of fmall Mafters in this Par- 
 No. 1 6. 3 A tlcuiar 
 
37° Of Tortratture. Boole VII. 
 
 ticular tolerably fuccefsful ; tho' they know not, how they got the! 
 Knowledge, it happening moftly by Chance : They are charmed] 
 with iome line and taking Colours in this or that great Mafter • thefe 
 they ufe at random in their own Produftions, either forwards or in the 
 Depth, Middle or Sides; and if they happen to be placed a C ainft a 
 proper Ground, or are fet off by any aiding By-colour, the Work hits 
 right, in fatisfying both the Eye, and Rules of Art; but if thefe 
 hne Colours happen not to fuit the Grounds, then all is wrong, and 
 the Artift at a ftand. °' ; 
 
 To explain this Point, we (hall be more particular, and clear it bvj 
 Examples ; tho' I think I have already in this Book fpoken IkrgelJ 
 enough of it, in treating of Back-grounds and the Harmony of Col 
 lours in a Portrait. A certain Artift having feen a very beautiful 
 white and green Lace on a young Lady's Gown, painted by a great 
 Mafter he muft by all means imitate it; but being asked, Whether^ 
 he had taken due Notice of the Ground-colour of the Gown ' hi 
 
 r * 77™-~T" w W , then can this fine and bec °ming Lace ! 
 have a good Eflfea in his Works, unlefs by chance? The Reafon of 
 which is I thmk, that either through Shame or Pride, or both the- 
 Artift takes fomething from a great Mafter; for Inftance, what he 
 ufed in the Lointain the other, that it may not be known, bringsj 
 forward ; and what he has reprefented in the open Air, the othfr 
 contrives in a dark Room. A poor Method of Concealment fnce 
 fey a t right Apphcat on the Theft would be lawful ! But 'tis fuch Men's 
 Misfortune, to be in this Particular, moft out of the way, when they 
 think they do beft : For wanting the great Matter's Wit, Judgment 
 and Apprehenfion they have no true Notion of his ConducT and 
 therefore are eafily milled, and, like JEJofs Raven, expofed to Cent 
 
 Since 'tis an undoubted Truth, that we can perform nothing bj 
 what pafles through Thought, and of which, either by fee "| or! 
 hearing, we get an Mea ; therefore muft the Paintings, Drawings an I 
 fine Prints of old Maftersgive an Handle to Thoughts and Prince 
 for he who never faw a Lion can never paint him well unlefs bv 
 the Help of a Draught, orModel : As wasfhe Cafe of a certair fml I 
 phahan, who reprefenting ZW in the Lion's Den, and having never: 
 feen a Lion, he paintedHogs inftead of Lions, and wrote unTefnea^ 
 
 Thefe JhoM be Uom Be this a Fable or Truth it howe' 
 
 ver teaches us, that we cannot reprefent any thing, whereof we hive" 
 no Idea 5 nay, if we have feen the cW andLde no Sketches or 
 
 Model 
 
 s 
 
Chap. 8. Of Tortraiture. 371 
 
 (Models of them, we fhall never exhibit them naturally ; fince Memo- 
 ry is but the Repofitory of Knowledge and Thoughts, from which 
 they draw the Things which Judgment efteems ufeful and fervice- 
 fable. 
 
 I am of Opinion, that two great Advantages arife from copying 
 great Matters Works : The one is, that therein we fee many Defects 
 of Ample Nature corrected by their Skill and judgment ; and the other, 
 that by this means we accuftom ourfelves to rectify thofe Defects, 
 when we have Nature before us: Truly two Points of great Im- 
 portance. 
 
 But alas ! Is an Artilt, coniidered in his natural Inclination, other- 
 wife than a Child, which, advancing in Age, follows its Impulfe ? If 
 he perform one praife-worthy Act, how many Errors will he contrari- 
 ly commit ? But when this Bent is conducted by Reafon and Art, the 
 Perceptions of the Mind will then, as thro' a clear Channel, flow 
 pure and undented; Which leads me in fome meafure to confefs, that 
 Art and Practice have great Advantages, and are more to be fet by 
 than all we receive from Nature, which is often defective in defired 
 Perfection, in a (ingle Object : But (he is perfect in her Performances 
 and Objects in general ; and, in that Senfe, Art is obliged to follow 
 her i wherefore, with the Philofopher, I muft fay of Artifts 
 
 That is, 
 
 Natura inapt, Ars dirigit, Experientia docet. 
 
 Nature points out the Way, which Arts improve, 
 And fettled Praclice makes a Pifture move. 
 
 Hence we may eafily perceive what we fhould do to cure this great 
 Defect of the Mifufe of other Men's Works ; but, that I may be the 
 better underftood, I fhall infift on further Means for doing it: If then 
 it happen, that the Artift meet with any thing which is very taking, 
 and he be deiirous to make it his own, whether fine Colours, Drapery, 
 Stone, &c. Let him take Notes, in his Pocket-book, of the Ground, By- 
 colours and other Incidents, as what there is about fuch orfuch Colour, 
 and againft what Ground, and whether it be ftrong or weak ; and of 
 what Colour the Objects be, and whether the warm or weak Colour 
 be in the Diftance or forwards, difagreeing or not ; as in the Chapter 
 Of the Harmony of Colours is thewed. We muft alfo confider, whe- 
 ther the Light come from the open Air, or fall into a Room through 
 
 3 A % Glafs 
 
%i% Of Tort rait ure. Book VIL 
 
 G/afs and Windows ; as is more largely taught In the Book of Light* 
 and Shades, and which I repeat here, becaufe I think Face-painters 
 frequently aft contrarily, in feeing a faint yet fine Drapery reprefent- 
 ed within-doors, which, with the fame Tint, they exhibit in an open; 
 .Air. r 
 
 The like heedlefs Miftake we fee in the Copies of many Difciples 
 and young Matters after old or modern Paintings ; for, not obferving; 
 whether in lefTening their Copies ( which they generally do) they 
 fhould not alfo abate in Strength of Colour and Tints, their Colouring,, 
 as well in Light as Shade is as ftrong as the Original. The fame Er- 
 ror they commit in painting a great Copy after a fmall Original. But 
 this ill Conduct is owing chiefly to Mafters when they fet their Pupils 
 to copy in a different Size, in not admonifhing them of it ; but rather 
 defiring that they (hall imitate every thing as exaftly as poflible ; tho* 
 in foft it be againft the Rules of Art. * 'Tis therefore certain, that a, 
 Pi&ure with Figures, or a Landskip, fuppofe it as big as the Life, to 
 be copied a third kfs in Size, the Tints in the Copy muft needs be a 
 third fainter than the Original; and the more it kjfens in Size, the 
 fainter the Tints, or elfe it cannot be good. If this Conduft be of fuch 
 Moment in copying Pictures, of how much greater Confequence muft 
 it be, when a Portrait-painter diminifhes the Life, or paints a Portrait 
 in full Proportion from a fmall one, with refpeft to the weakening or 
 ftrengthening of Colours. 
 
 Altho' it's commendable to follow great Mafters in general, yet it's a 
 Fault to dwell upon fome of their Particulars, as an Ornament, Urn, 
 Vafe, Term, without ftriving at fomething new. We think, that what 
 fehey have done is enough for our Practice ; but this is Weaknefs I 
 fince Art and Nature have fuch a Fund of Objefts, and our Time for 
 learning and living is long enough, and by confuting within ourfelves i 
 we may fpur our Genius. 
 
 Others commit the fame Fault by a contrary Impulfe ;.. for fo vio~ i 
 lent is their Inclination to fome particular great Mafter in his Objefts, j 
 Colouring, &c. that they think it loft Time to employ their Thoughts 1 
 on the Works of any other good Artift ; and being thus wedded to ! 
 him, they with, drudge and plod to be like him as well in Errors as 
 Perfeaions : By this means, and by a punaual Imitation of Blunders 
 and Miftakes, it fometimes happens, that the Copy and the Original 
 are not to be diftinguifhed, both being fo wonderfully like each other - 
 nay, their own Productions are taken for Copies. For, a Tyro of good 
 
 Ability 
 
Chap. 8. Of Tortraiture. 273 
 
 Ability may at firft ufe himfelf to a good Manner of Defigning, 
 which he ought to be Matter of, before he takes to Painting, and to 
 underftand this well before he proceeds to make Ordonnances ; and 
 then, if he have a thorough Knowledge of the latter, he will paint 
 a good Picture. Yet 'tis often feen, that his Work is but taken 
 for that of a Pupil, nay, worfe than a Copy ; and what, is ftill lefs, 
 
 It's not like his own Manner or Handling, And why ? 
 
 [Such Artifts> being advanced thus far, endeavouring to produce their 
 'own Inventions, no longer minding Grounds and Rules, but ftriving 
 only at Novelties, care little for painting or defigning well ; whence 
 their Works are oftentimes indifferently defigned, poorly handled 
 and coloured, but well ordered ; arifing only from a Neglect of 
 their Matter's Inftructions, and what they know, and an Itch for 
 what they ftill want to know ; whereby they are often fhipwrecked be- 
 tween both : Pernicious Effect of the Bent of our Youth ! which can^- 
 not be remedied otherwife than by returning to original Principles and 
 their putting in Ufe : For as by an Excefs in loading Weight upon Weight 
 on a weak and unfettled, tho' weil-laid Foundation, the whole Building 
 may tumble, even the Foundation may dance ; fo mutt our Practice al- 
 ways have an Eye to Theory, that the Cuftom (which, as we fay, is a 
 fecond Nature in Goodnefs as well as Badnefs) may gain firm Footing on. 
 us, and be our fureft Guide. 
 
 The End of the Seventh Book 
 
 T n e 
 
T H E 
 
 ART of PAINTING. 
 
 BOOK via 
 
 Of Architecture. 
 
 C H A P. I. Of Architecture in general. 
 
 F T E R having handled fo many different Parts of the 
 Art, we meet alfo with Architecture ; an Art full of 
 noble Performances and fine Ufes. But our Purpofe is 
 nottoinfift on all its Advantages, or to give a Syftem 
 of it; fince fuch a Work would be too tedious, and 
 
 copioufly handled by feveral learned Pens, we (hall treat no further 
 of it than what concerns a Painter, leaving the reft to Architects 
 
 An ingenious Hiftory-painter, if he would he univerfal, muft needs 
 underftand Architecture and Statuary ; becaufe he will otherwife be at 
 a Nonplus in feme Things; he ought even to be as knowing as an 
 Architect, and how to order a good Building, tho' 'tis an Architect's 
 daily Practice, and but a Part of the Painter's. -^cnitect s 
 
 >Tis certain that the human Body is, in its Symmetry, Proportion, 
 Majefty and Grace, the moft perfect Piece of Work in the Creation • 
 Architecture is no lefs perfect in its Operations ; it has even produced 
 
 the 
 
Chap. i. Of Architecture. tf§ 
 
 the firft Wonder of the Worlds and thereby obtained the Laurel and 
 Palm of Fame. 
 
 Writers fay,, that the Babylonians were the fir ft, and after them the 
 Egyptians, Greeks and Romans, who brought it to Perfection j 'till in 
 the Emperor Auguflus's Time, it arrived at it's higheft Pitch: But funk 
 afterwards by the Irruption and Barbarity of the Goths, Vandals, Huwrs 
 and Longobards, who burned and deftroyed all before them. A true 
 Proof that nothing in the World is permanent and {table I 
 
 But to come to our Purpofe, we muft premife that the Word ( Archi- 
 tecture J timely fignihes Draughts or Dejigns, after which, a Building is 
 carried up and conftructed ; and comprehends the five following Orders, 
 namely, The Tufcan, Doric, Ionic, Roman and Corinthian ; according, 
 to which, all Buildings are regulated, whether Palaces, Temples, Town- 
 houfes, Triumphal-arches, Bagnios, Theatres, Town-gates, Galleries,. 
 Tombs, and other magnificent Buildings, round or fquare, or both ; I 
 fpeak of their outward Construction. The Word Order is of large Ex- 
 tent ; but in Architecture is, as Vitruvius defines it, a joining of different,, 
 proportionate and fymmetric Parts, as Pedeftals, Columns and their Or- 
 naments, in fuch Manner as to compofe a perfect Order and Body. 
 
 As for the Entablatures over Columns, to wit-, Architraves, Frizes, 
 and Cornices (which for their Richnefs have got the Name of Orna- 
 ments) they may, as little as the Orders themfelves, be either mixed a- 
 mong one other, or changed from one Order to another. A careful Paint- 
 er will not only diftinguith one Sort from another, from Cornice to Bafe, 
 but will alfo take Care not to put an Ionic Moulding on a Doric Pede- 
 ftal • a Corinthian on a Tufcan-, a Roman Cornice on an Ionick Frize-,, 
 &c. 
 
 Further, it's certain that the Orders do not promifcuoufly fuit all- 
 I Sorts of Buildings, but ought fo to be applied (relpeaing their Parts and 
 Ornaments, which alfb differ in general from each other) as to haveaa 
 Harmony and Agreement with the whole Buildings, with refped to 
 their Situation and Quality. _ . _ r . 
 
 Thefe Orders muft be enriched in their feveral Kinds, to fhew a luit* 
 able Decorum, efpecially the Capitals, except the Tufcan, which is 
 throughout plain and fimple : The Doric Order excels in its Triglyphs 
 and Metopes : The Ionic in its Volutes, Modillions, Sec. The Roman. 
 in the Elegance of Cornices, and Beauty of Capitals with their Vo* 
 lutes, and Oak-leaves. And the Corinthian by its Mouldings of victo- 
 rious Olive-leaves, and its excellent- and agreeable Capitals*. 
 
 The- 
 
37^ 
 
 Of Architecture. 
 
 Book VIII. 
 
 The Metopes in the Doric Frize may be enriched according to the 
 Qualities and Ufes of Buildings ; whether Temples, Toivn-houfes, Honou- 
 rary-arches, or Courts for Priefts. 
 
 In the firftfuit beft carved Chalices, Books, Vafes, Mitres, &c. 
 
 In the fecond, the Coats of Arms of the Republic, or chief Men 
 in the Government : Alfo the Rays and Thunders of Jupiter tied to- 
 gether i or the Caduceus (Staff ) of Mercury, twined with Serpents, as 
 denoting Peace. 
 
 In the third, various Arms and Trophies taken from the Enemy : 
 Or all Sorts of mufical and warlike Instruments, as ufual in Triumphs 
 and Armies, huddled together. And 
 
 In the laft fuit beft carved Ox-fculls adorned with Garlands, betoken- 
 ing Sacrifice which the Ancients made to their Deities ; oftentimes the 
 Utenfils of thofe Offerings were introduced, to wit, Altar, Vafes, 
 three-legg'd Kettles, Vinegar-cups, Centers, Candlefticks, Bafons»j 
 Difhes, Hammers, Axes, Knives, £sfc. 
 
 Among the Works of the Ancients we fee in the Frizes of the Ionic y 
 Roman and Corinthian Orders (efpecially in the two laft) feme Foliage: 
 of Oak-leaves ; which has a fine Effect, when twined with Shrubs and 
 Vine-branches, interfperted with Rofes and other Flowers. Sometimes 
 are introduced Vizards, with playing Children and running Ani- 
 mals : Alfo Feftoons of Fruit, Leaves, and various Kinds of the moft 
 beautiful and agreeable Flowers ; thefe tied together look nobly, elpe* 
 cially when judicioufly placed : But enough of this : He who would! 
 know more Sorts of frizal Ornaments, muft confult the Works # of the: 
 Ancients, in which he will find them, tho' the before-mentioned are 
 the Principal, and moft in Ufe. 
 
 Altho' the Ancients teach, that the Fronts of Buildings (which are 
 the Parts moft in View) ought to be more adorned than the Flanks and 
 Rears , yet fome modern Matters have mifunderftood this, and appre- j 
 hended, as if in thofe Parts the Ornaments could not be too many ; nay, 
 they have crowded the Mouldings of the Architrave, Frize and Cor-i 
 nice, and of the Pedeftals under Columns, with fmall Carving, in fuch 
 a Manner, that it rather caufes Confufion than Ornament, as appears by 
 their Works j but when ufed in Moderation, and, between the principal 
 Ornaments, a Part is left plain and blank, it caufes Grandeur and De- 
 corum. 
 
 Something is alfo to he remarked about Pediments and Key-fionesJ 
 Pediments (or Tops of Fronts) like the Forehead of a Man, Ihew the 
 
 prin-I 
 
 * There is a large Collection of them, in Lancley's Antient Mafonry, lately publilhed. 
 
Chap. x. 
 
 Of Architecture. 
 
 377 
 
 principal Afpect of Buildings > efpecially when their Spandrells (or 
 
 Faces) are agreeably enriched by good Matters with Hi [lories, Sacrifices* 
 Arms, or the like, in Marble, according to the Quality of the Fabrick. 
 
 Sometimes alfo are put over Pediments, Trophies, Coats of Arms, or 
 Shields ; which, if well cut and placed, have a noble Effect. 
 
 As for Key-flows of Arches over Gates and Niches, thefe may be 
 enriched : 
 
 In the T ufcan Order, with wild Beafts j and between, Heads of Cyclops 
 or Giants* 
 
 In the Doric Order, with Lions Heads ; or Hercules with his Lion's 
 Skin over his Head. 
 
 In the Ionic Order, with tame Beafts \ or Heads of Pallas or Amazons, 
 with their Head-attire. 
 
 In the Roman Order, with Heads of Demi-gods j as Romulus, Juli- 
 us Csefar, and fuch Heroes. And, 
 
 In the Corinthian Order, with Heads of Diana, or other Goddejfes 
 mid Nymphs richly wrought. 
 
 C H A P. II. Of the Rifes of the Ornaments, Columns and their 
 
 P/deftals. 
 
 HAVING fpoken in the former Chapter, of the Decoration of 
 the Orders, we lhall now, in a brief Manner, treat of the Rifes 
 and Divifions of the Columns, with their Ornaments and Pedeftals: 
 The Ornament (or Entablature) of the Tujcan Column rifes i Module 
 5 Parts of a Module (by Module is meant, throughout the Orders, the 
 Pillars Diameter next above the Bafe.) The Column, with its Bafe and 
 Capital rifes 7 Modules^, and the Pedeftal i Module 7 ,: This being 
 agreed, the Entablature and Pedeftal are each * of the Column's Rife ; 
 the Bafe under the Column, and Capital over it, are each in Rife I a 
 Module; the Mening (or Diminution) of the Shaft of the Column at 
 the Neck under the Capital is i of a Module, and it begins below at \ 
 of the Column's Rife. 
 
 The Entablature of the Doric Column rifes 2 Modules the Co- 
 lumn, with its Bafe and Capital, is 8 Modules i ; and the Pedeftal % 
 Modules T * : This being fixed, the Entablature is 4 l and the Pedeftal 3 
 and | of the Column's Rife. The Bafe and Capital are each, as in the 
 Tufcan, i a Module. The Diminution at the Neck of the Shaft, is \ of 
 No.. 16 3 B a 
 
578 
 
 Of Architecture. 
 
 Book VIII. 
 
 a Module, and begins below at 3 Parts J of the Column's Rife, divid- 
 ed into 1 2 Parts. 
 
 The Entablature of the Ionic Column rifes 1 Module 4,; the Co- 
 lumn, with its Bafe and Capital, is 8 Modules L, and the Pedeftal 
 
 2 Modules \ : This fettled, the Entablature is ± and the Pedeftal 3 
 Parts I of the Column's Rife. (But if the Frrze be carved, the Entabla- 
 ture is 4 Parts £ of the Column's Rife, and in the following Orders the 
 fame.) The Capital with its Volutes, is little more than £ a Module, 
 and the Bafe is juft half a Module (and in the following Orders the 
 fame*) The Diminution at Neck is £ of a Module, and begins below at 
 
 3 Parts i of the Column's Rife divided into 12 Parts, as aforefaid. 
 The Entablature of the Roman Column, rifes 1 Module %l Parts of 
 
 a Module } the Column, with its Bafe and Capital, is 9 Modules^; 
 the Pedeftal rifes 3 Modules : Which laid down, the Entablature is f , 
 and the Pedeftal 3 Parts ; of the Column's Rife; the Capital rifes 1 
 Module I ; the Bafe as before ; the Diminution at Neck is- 7 of a Mo- 
 dule, and begins below at the Rife of 3 Parts 1 of the Column, di- 
 vided as aforefaid. 
 
 The Entablature of the Corinthian Column rifes 2 Modules \ the Co- 
 lumn, with its Bafe and Capital, is 10 Modules in Rife ; the Pedeftal 3 
 Modules I : After which, the Entablature is } and the Pedeftal V of 
 the Column's Rife; the Capital rifes 1 Module the Bafe as before; 
 the Diminution at Neck is{ of a Module, and begins below at } of 
 the Column's Rife. 
 
 The Breadth of the Tnfcan and Doric Pedeftals ought always to be 
 equal with the Plinths or Bafes of their Columns ; and tho' the Plinths 
 in the three other Orders project more at their Bottoms, by Reafon of 
 their Sweeps, their Pedeftals muft neverthelefs be alike perpendicular 
 with the upper Points of their Plinths. 
 
 Let me here fix the Height of a Statue on a Pedeftal placed next a 
 Column; fince many miftake in it. In right Proportion it ought not to 
 rife higher than f of the Column ; but then the Column fhould not be 
 too high, or too low, but ftand on a Bafe only, which is frequently con- 
 tinued thro' the Building. As for Pedeftals, they ferve only to raife a 
 Column, and augment its Ornament. We ought alfo, for Elegance, to 
 take care, that the Figure and its Pedeftal be proportionate to each 
 other ; becaufe, if the latter be too great or too fmall, the Figure would 
 become too fmall, or monftrous. 
 
 In fine, as all the Parts of a Building ought to anfwer in a proportio- 
 nate Difpofition ; fo fliould the Figures, whether carved or painted, be 
 
 neither 
 
Chap. 3. Of Architecture. 379 
 
 neither too big or little: Wherefore theymuft be governed by the 
 Height of the Place where they are to ftand. 
 
 CHAP. HI. Of the Property of a Building, and Qbfervations 
 
 thereon. 
 
 I 
 
 MUST believe, according to the Evidence of Writers, and the 
 Tradition of Travellers, that the Italians have the beft Tafte, as 
 well for Architefture as Painting; and tho' it's certain, that Ger- 
 
 wen ror nrcniLcuuic ^ ianiu.^, . — ; ~ * , , 
 many, France, England, Holland, and other Countries have produced 
 fine Archies, yet at this Time they are not comparable to the Itali- 
 ans, whofe Manner, which is the Antique, is now followed by the 
 moft polite Nations. The old Tafte was known by the Name of the 
 Gothic, as a certain Writer affirms, faying ; « That the i Gothic Manner 
 • of Building of the ancient Germans (which at that Time gave Law 
 - to all other Nations) is quite abolifhed by the Italians : Nay, he cries 
 
 out . What magnificent and choice Wonders do we not iee 
 
 in proud Italy, lofty Rome efpecially, where it feems as if Nature 
 and Art have mutually agreed to eftablifh their Thrones, and exert 
 their Powers, in order to make this famous City the Miftrefc of the 
 World, and the Beauty of the Univerle! St. Peter's ; Church, the 
 Vatican, the Rotunda, and many other Structures (ferving the whole 
 World for Examples, and without which, Architeaure is but a con- 
 fufed Mafs) draw yearly thoufands of People ana young Artifts thi- 
 ther to improve themfelves by them, for the Service of their own 
 Countries : To that the fineft and neweft Things which we fee in thofe 
 Countries, lately built, and ftill going forward, are defigned in the 
 ' Italian Gufto.' Wherefore it is to them that thofe hne Piles, the 
 Stadthoufe at Amflerdam, the new Lutheran Church, and divers ^other 
 Struaures, as well without as within the Town, do owe their Origin 
 
 ^We'aTe then much indebted to thofe great Artifts, Vitruvius, Serlio, 
 Philibert de VOrme, Palladio, Cataneo, Leo Baptifta Santontio, Vigno- 
 la, Scamozzi, and many others, who have enlightened the World 
 with their Works and Writings. And I think, that no one can be a 
 good Architea who has not ftudied thofe Authors. The French ac- 
 knowledge, that their great Improvements in this Art are owing to the 
 Works and Precepts of thofe excellent Mafters. 
 
 3 B 2 w e 
 
38o 
 
 Of Architecture, 
 
 Book VIIE 
 
 We fhall now fpeak of intire Buildings fo far as they ferve for Or- 
 nament in Painting. The Goodnefs of a Building fprings not meerly 
 from the aforefaid Rifes, Breadths or Depths of the Orders, but from 
 an appofite Conjunaion (or bringing together) of different proportionate 
 Parts into an exquifite Body, which, by reafon of its excellent Form, 
 whether in Height or Breadth, appears to the Judgment of the Know- 
 ing, both admirable and beautiful; efpecially, when fitly adapted to 
 the Quality of the Owner, and has general Conveniency with refpeft 
 to Cuftom. 
 
 In its particular Parts a Building requires, i. A firm Foundation, 
 a. A large and convenient Stair-cafe. 3. A fpacious Entrance. 4. An 
 elegant Divifion of Doors, Windows and other Openings. 5. An 
 handfome Frontifpiece, &c. Thefe skilfully work'd, and judiciouily 
 difpofed muft needs produce a fine EfFe£fc. 
 
 Thus much for the outward Face of a Building. 
 
 If any object, that Decorum confifts more in inward Contrivance • 
 let me fuppofe a Stranger to come into a Town, and, paning thro' the 
 Streets, he were asked, what he thought of the Buildings ? What 
 Anfwer would he make? Would he not fay they were either fine or 
 
 mean ? Or would he fay, I muft firft fee the Infides, and whether 
 
 the Foundations be firm, the Apartments well-difpofed and well-light- 
 ed,, and whether the Underground-offices be good ? This would 
 
 be ridiculous : 'Tis true, an Houfe muft have thefe Properties ; but 'tis 
 idle to think, that therefore we cannot judge of the Building by the 
 Outfide only ; as if the Perfon, who is able to give a Defign for a 
 Fabrick, cannot alfo compart its Infide. Let it be asked then, Where- 
 in confifts a good Divifion within ? Whether 'tis a Science which Paint- 
 ers know not? Whether there muft be a fixed Number of Halls and 
 Apartments of a determinate Form, Length, Rife, and Breadth, and 
 what thofe muft be? Whether there muft be one, two, or more Stacks 
 of Stairs ? Whether each Room muft have one Chimney or two ? 
 And whether the Floors muft be Wooden or Stone ? Or whether a Pa- 
 lace is, for its Largenefs, more beautiful than a common or Citizen's 
 Houfe ? 
 
 But, waving other Men's Opinions, we fhall proceed in our Purpofe, 
 fo far as concerns a Painter in thefe Countries, and no further: Our 
 Judgment is, that the beft Proportion in a Building; is one third higher 
 in Rife than Breadth, efpecially if it be covered in with a Compafs- 
 roof and its Appurrenances ; but if flat-roofed, a third wider than high, 
 and to be commanded by a fingle Order rifing from Bottom to Top: 
 
Chap. 3. Of Architecture. 383* 
 
 It would be improper to adorn them with Statues, Bafs-rdiefs, 
 Feftoons <&c. For fuch heavy and clofe Struaures, without Weight, 
 and moreover open on top, are proper for an Amphitheatre, 
 but not for a Temple or Palace; I fpeak with refpefl to Cuftom and 
 Decorum, which mult always go together; fince nothing is beau- 
 tiful without its natural Qualities. The Cafe is, as a Woman in a Man s 
 Habit, and the contrary ; or a Water-vafe adorned with an Olive-branch 
 and Thunder ; or an OU-vefTel, with Tritons and Dolphins. 
 
 In painting a good Building there muft appear, befides the Archi- 
 teaure, Perfpeaive and Colouring, an orderly Difpofition produang 
 Elegance , otherwife 'tis of no Worth. Orderly Difpofition confifts ,n 
 fo joining the Parts, that they mutually fet oft each other in *pleafing 
 Variety, and thereby exhibit a fine Piece of Work, and an agreeable 
 Figure: This Variety fprings from the Inequality of Openings, or 
 Windows, whether Oblongs, Squares, Circles or Ovals ; the Dnpofiti- 
 ons of thefe Openings, near and over each other, are founded on Realon, 
 as ftiall be explained by an Example. 
 
 We exhibit in Plate LIX. a Temple topp'd with a Cupola or ra- 
 ther an Houfe round-roofed. On each Side of the Door a Flight of 
 Steps defcend balluftraded ; underneath which, is a Vault ; and over 
 the Entrance, a Balcony : Now, beginning from below, we^all fhew, 
 wiat Figure each Opening ought to have in an orderly Difpofition. 
 The Door under the Steps is fquare, rifing fomewhat more than. its. 
 Diameter : That of the Entrance is circular on Top, and nfes more 
 than its Diameter: That of the Balcony alio nfes i, more than .its. 
 Breadth, but is fquare or flat on Top; and then we meet the Roof 
 rounding again. Now let us difpofe it otherwife, and make the Door 
 below circular, the next fquare, the next round, and no Roof appearing. 
 Thus much for Doors ; for we find no other than round and fquare ones. 
 The fame Method maybe taken with IVmdows . When there are two 
 Ranges one above the other, the undermoft may be oblong and theup- 
 permoft compafs, but lower ; if there be another Rang? of Windows a- 
 hove thefe, next the Roof, they ought to be petfeft Squares. This 
 Rule we have taken from the Works of the Ancients who always 
 gave their Openings or Windows more Rile in the hrft Story ^ the. 
 fecond, ftill leflening in the third, yet all alike m Diameter. Win- 
 dows fhould never be lower than about 3 Feet from the Floor within. 
 If there be Windows in the Bafement-ftory,. (where the Walling js 
 thickeft, and ', is ufually finfthed with a Rujlic Order) they muft be 
 fquare, and above either Scheme (little rounding) or flat ; and thus 
 
38i Of Architecture. Book VIII. 
 
 the one fliews the other, with refpeft to Roundnefs and Squarenefs If 
 now there were Compafs-windows in the Bafement and upper Stories 
 the uppermoft fhould be circular, and the undermoft oval, with their 
 longeft Diameter parallel with the Level of the Building, becaufe, be- 
 ing prefled by Weight their Arch is dilated; when contrarily the 
 others do not bear any Weight. But circular Windows are grown 
 out of Ufe, as not admitting Light fo well as the fquare ones. S 
 
 It in the Piers between Windows there were Niches and Figures in 
 them and over-head, room for a Bafs-relief, then the Tabfe for it 
 mutt be fquare ; but circular, where 'tis over a fquare Window 
 
 As for Doors over each other, I fay; that if there were over 
 the Cornice a Compafs-pediment, and on both Sides a Bulluftrade 
 with Figures; then the Balcony-door ought not to be circular, but 
 iquare, and ornamented with Pilafters : Yet the Door of the En- 
 trance may be circular. We ought even not to fet on the Balcony a 
 Balluftrade with Figures but ornament it with Balls or other low 
 Things. The one or other Balluftrade muft be alfo diverfified ; for 
 two Parts alike, in two fuch eminent Places, have an ill Effeft • 
 wherefore one of them fhould be clofe-walled (Parapet-wife) a nd 
 the Face of it may then be enriched with Bafs-reliefs of Figures Fef- 
 toons, tsc. 8 * 
 
 _ I think what I have faid a fufficient Guide for other Kinds of Build- 
 ings; for thefe Obfervations are on all Occafions unalterable to a Paint- 
 er, with refpea to agreeable Difpofition. 
 
 There is ftill fomewhat behind, which, tho' contrary to the Difpo- 
 fition aforefaid, muft be animadverted; 'tis touching a Flower-garden, 
 which, .f fine, muft needs be regular, as well with refpea to m gene- 
 ral Form as its particular Divifion ; at leaft the two Sides ought to be 
 a ike, whether fet oft with Pots, Vafes, Statues or other Ornaments 
 We are taught indeed, that Uniformity is ffiff, and not Painter-like; 
 wherefore we Ihould avoid it as much as poffible : But, weighine the Pre- 
 cept maturely, we (hall find the Fault to lie in our Mifapprehenlion of it : 
 Queftionlefs Things proceeding from Rule and Order muft be regular, 
 but that Regularity may neverthelefs be fomewhat hidden on occtfion : 
 Wherefore, tho' a Garden be uniform on both Sides, we are under no 
 Neceffity of fhewmg all that Uniformity ; one Side is fufficient ; the 
 reft may be handfomely hid, or broke with a Tree, Piece of Stone- 
 work, Column, or a Corner of the Houfe. But let us not from heuce 
 abfolutely conclude, regular Objeas to be unnecefliry in an Ordon- 
 
 nance ; 
 
Chap. 4. Of Architecture. 383 
 
 nance ; for they fometimes furnifti all the Decorum of a Pi&ure ; yet if 
 we fee but a Part of them, we may conceive the Reftdue. 
 
 More Examples of breaking Uniformity may be thefe : When a 
 Figure Hands on each Side of a Gate or Alcove, a Man may be pla- 
 1 ced or fit down before one of them, in order to create Inequality.-*- fb 
 alfo if by means of a Curtain, one of thofe Figures be fhaded. If a 
 Bals-relief be fet on each Side of the Gate, or Alcove, one of them 
 may partly be covered by the Perfonages, to anfwer our Purpofe. If 
 without-doors on both Sides of an Entrance, there be a carved Lion 
 or Sphinx, we may break off one of their Heads. Solomon's Throne 
 was adorned with 12 golden Lions; we need not fee them all, the fix 
 on one Side fhew fufficiently, that there muft be as many on the other : 
 two or three entire are enough, of the reft we may fee only a Part, 
 here and there. Thus we muft always manage in like Cafes. 
 
 C H A P. IV. Of the matching of the various-coloured Marbles, as well 
 without as within a Building-* with the Management of Tombs, Vafa 
 and Bacchanalian Terms, 
 
 OBJECTS have a fine EfTeft, when Nature and Art are joined 
 together by a skilful Hand; and tho' all Eyes are notalike qua- 
 lified to apprehend the Reafons of it, yet they are, by a- won* 
 derful Sagacity, fenfible of it ; conferring, that it is beautiful, and fo 
 ought to be, tho-' the one Perfon, as I fay, underftand it, and the other; 
 do not: And for this Reafon; Art has fuch a Power, that tho' Nature 
 be beautiful in. her Productions, yet they would not perfectly pleafe our. 
 Eyes, without the Help of Art. 
 
 Nature produces an Infinity of fine Stones of various Colours and 
 Qualities ; but Art alone judges of their Fitnefs and orderly Location, 
 as to Rank and Dignity ;. infomuch that, tho' ignorant in Art, we can 
 clearly apprehend, that it ought to be fo, and no otherwife. 
 
 We know, that the White is foftand tender, and lovely to the Eye ; 
 the Black contrarily is melancholy and difagreeable. We place then 
 the Black among the Red, and upon the Red* White. Thefe three colour- 
 ed Stones are Capitals, and cannot be otherwife difpofed as to their Na^ 
 tures and Qualities, without forcing Nature, and running counter to. 
 
■384 
 
 Of Architecture. 
 
 Book VIII. 
 
 However, their Rank and Application in Archite&onic Ufe may be 
 
 thefe. 
 
 In the Tujcan Order, as undermoft, black Marble. 
 
 In the Doric, Green. 
 
 In the Ionic, Tellow. 
 
 In the Roman, Red. And, 
 
 In the Corinthian, IVhite. 
 
 If any ask, why the Red is not fet before the Yellow, fince the Red 
 is in its Nature darker than the Yellow ? I anfwer, That 'tis, becaufe the 
 Red and Green are Oppofers in Strength ; contrarily, Yellow is proper 
 to Green, fince Yellow and Blue produce Green. 
 
 If at any Time we are obliged to place, between two Stones of one 
 Colour, a Stone of another, the following Mixtures are moftly in 
 ufe. 
 
 Between two black Marbles fuit beft Jafper, Copper or Brafs. 
 Between two Serpentine, or green marble Stones, the fame. 
 Between two red Stones, White. 
 
 Between red, black or ferpentine Stone, Pi/an white-eyed Marble. 
 ' Between two grey Stones, Free-ftone or yellowifh-white Marble. 
 Between two dotted long veiny Stones, one that is fpeckled ; and 
 the contrary. 
 
 Between two Jafpers, yellow, or flefhy white Marble. 
 
 A Marble-painter muft obferve the Convent ency and Place for marbling : 
 If the Place be large, or an Hall, then he may do it With Force ; 
 but in afmaller Compafs, he ought to moderate it, and keep it faint, 
 that the Place may not feem thereby leflened, or the Eye offended. If 
 the Room be hung with Pictures, he fhould confult Men of Experience, 
 efpeci ally the Mafter who painted them, what Colouring will fit beft/ 
 : About light Pictures, dark Marble is beft, and about dark Pictures, 
 light Marble, as Pi/an, Jafper or any tending to a light Yellow. But if 
 it be a fingle Colour, fuch as Bafs-reliefs, then Free-ftone fuits beft. 
 
 In bringing many Sorts of coloured Marbles together, we may, for 
 Inftance, in a Frontifpiece either fingle or double colonaded and pedeftal- 
 ed, very agreeably difpofe them thus: Vide Plate LX. The Bafe 
 and Pedeftal-mouldings may be Black, little eyed < the Block, or Square 
 of thePedeftals, dark Red, much dotted, lefs veined ; the Plinths of 
 the Columns and Pilafters may be White ; the Columns, light Red, 
 or Pifan Marble with large white-eyed Veins, on both Sides the eying 
 to be alike; the Pilafters alfo light Red, moderately eyed; the Capi- 
 tals, White; the Architrave, Black, like the Bafe and Mouldings of 
 
hap. 4. Of Architecture, 
 
 y Pedeftals ; the Frize may be dark Red, like the Blocks or Squares 
 the Pedeftals • and the Cornice, Black again, like the Architrave ; 
 the Frize have raifed Ornaments of Foliage, Children, Trialyphs, 
 s-fculls, & c. they ought to be White ; if over the Cornice be a Pa- 
 pet, it may be intirely of another Colour, and the Pedeftals and 
 :eir Members of P if an or other crofs-veined Marble, and the Pannels 
 ; Faces of grey Marble, or White, if adorned with Bafs- reliefs ; the 
 Igures, or Vafes on top alfo White. 
 
 |This Diftribution may be doubled, and varied on Occafion: The 
 nzes and Columns may be White; the Bafes and Capitals, Gold; 
 ?d fo may alfo the Ornaments be, to wit, Triglyphs, little Blocks 
 id Foliage ; the reft may remain as before. 
 
 tin an Hail of red or other Marble (where the Mouldings of the 
 rnaments are different, larger or fmaller) we may make a Door-fron- 
 fpiece, or Alcove, of white or other Marble ; but if the Members 
 tatinue along the Hall,, the Frontifpiece or Alcove ought to be of 
 >e fame Colour with the Room : The Room may be of one Order, 
 id the Frontifpiece, Alcove and Chimney of another : Thus the 
 .00m may be Ionic, and the reft, Corinthian or Roman. The Pave- 
 wt of the Floor muft correfpond with the Building ; I mean, if the 
 00m have Pilafters, the Bands (or bordering Marbles tying the 
 avement) muft run up to them, whether the Pilafters ftand wide of 
 bfe ; for they ought to be fo laid, as to iliew every where a Regula- 
 ly, whatever Jets or Breaks the Door, Frontifpiece, Alcove, &c. 
 ay occafion ; as a prudent Gardiner difpofes his Parterres, one round, 
 lother fquare, oftangtffar, &c. always contriving fuch an Uniformity 
 [ clofes with the Borders. In the middle of the Hall may be introdu- 
 |d fuch Figures or Compartments, as beft anfwer the general Purpofe, 
 id they may be of what Colour you pleafe. 
 
 In Chambers or Galleries, where the Sides are unlike, we are oblig- 
 ko part them by fome Figure coming between ; and yet the Bands, 
 bich bind the Sides, muft come every where alike. If there be Co- 
 bins on both Sides of the Gallery, the Bands muft run, crofting it, 
 bm one to the other. 
 
 ^Proceed we now to party-coloured Tombs, and other Stones. On 
 bite Sphinxes, Lioneftes, fuits well a Tomb of Serpentine or 
 kphyry ; and on a black Plinth, if no Figures or other Ornaments 
 bport it, Porphyry alfo looks well. On Brackets of Copper or 
 [afs, the Tomb may be of black Marble. With Grave-ftones or o- 
 tr bluilh Stone, agrees well violet-colour Stone, or Porphyry, Cop- 
 |No. 17. 3 C per 
 
Of Architecture. 
 
 Book VIII: 
 
 per or Brafs. Note here, that the Black muft always be undermoft, 
 efpecially when divers Sorts of Colours are placed on one another, as! 
 we have fhewed in the Orders. 
 
 Great Vafes and Urns are always of the fame Stone as their BafesJ 
 as well in Niches as on Pedeftals ; if on Pedeftals, the Bafes ought to] 
 projedl: equal with the Blocks precifely. 
 
 The Priapus-terms anciently ufed in the Bacchanalia, were moftlyl 
 of Wood, not very large, and pointed underneath for Conveniency otf 
 Carriage from Place to Place, whither the Gang of Satyrs, Fauni and 
 Bacchanals determined to go : Having pitched on a Place for their Stay] 
 they fixed it in the Ground, by means of the Point aforefaid. Thefef 
 Terms were fometimes painted of a Brick-colour, fometimes alibi 
 White ; about the Mouth and Breaft they were fmeared with blue 
 Grapes. 
 
 The Pofts, or Guides called Hermes, were huge and immoveable^ 
 and of white Stone, fet on rude Heaps of Stone, in order to be con- 
 ipicuous to Travellers at a Diftance ; for which reafon they were alfa 
 fometimes placed on Pedeftals or Blocks. 
 
 CHAP. V. Of the Veins and Eyes in Stones ufed in Architecture^ 
 as well without as within \ and how to difpofe them, 
 
 TH E Beauty in painting Buildings confifts in an elegant Exprefl 
 {ion of the Difference or Stones which compofe them ; and this 
 may be efTe&ed not only by their Divifion, but alfo by thei^ 
 Colours, efpecially mOutJide-work, which is not io much heeded aj 
 the Inward, and is fubje£t to more Inconveniencies of Rain, Hail ani 
 Wind ; and if ftanding in damp Places, their EffecT: in a few Years vi- 
 libly appears, if the Stones be not very hard, by the dropping o: 
 Mouldings and Projectures in feveral Parts. 
 
 Fountains muft be fuppofed to fuffer much, and become very mom 
 by being dropped on; and io do Tombs and Grave-Jlones : But prinj 
 cipally Pyramids, which are not fet up fo much for the lake oj 
 their poliftied Bodies, as for their Forms and huge Bulk ; wherefori 
 ^tis no great Matter, whether the Stones of thefe be of one Soij 
 or Colour, or not ; they are often feen of many Sorts of Stonej 
 fome as they have been found, and others changed thro' Time 
 Yet the Cement fuffers moll, by being eat up ; whereby the Stone 
 
 3k 
 
Chap, f. 
 
 Of Architecture. 
 
 387 
 
 ret loofe, and muft needs drop. Again, fome Stones, being more weak 
 md brittle than others, and corroded by the Air, Dampnefs and 
 Drought, are broke in Pieces by the Preflure of thofe over them, 
 md thus leave Gaps and Breaks, wherein the Rain gathers, out 
 >f which grow Weeds, Mofs and other Greens, fometimes whole 
 Branches ; all which, at the Year's End, decay, and become green 
 Sap, trickling thence down the Stones. 
 
 We ihall here ftop a little to fay fomething touching Abufes : I know 
 not how fome can fo far relifh Slovenlinefs, as to fpoil not only Statues 
 and fine Figures, but alfo intire Buildings ; if they were broken or 
 mouldered Pieces, Ruins and other decayed Stones, it would be no Da- 
 mage if ever, fo much muddled and bedropped ; but 'tis very impro- 
 per to ferve intire and fine Figures thus, and in Places too where are 
 neither Trees, or any thing elfe to occalion it : The fame they do in 
 Buildings looking as frefh as at firft ; were the Spots, feen on them, na- 
 tural to the Stones, it would be more proper than all the Gutters 
 ufually reprefented to trickle down them : Wherefore Care muft be 
 taken, before we begin to paint Things fuppofed to be dropped on, that 
 a Difference may appear between Nearnefs and Diftance ; for as Spots 
 in Cloaths are more vifible near than afar off, fo the Faintnefs of re- 
 mote Objects muft be obferved. But let me ask, what Foulnefs of 
 Wet and Duft can ftick to fmooth Bodies, which Rain, Hail, or 
 Snow do not wafh off? But they may decay and be conlumed by Time ; 
 especially thofe facing the North, which fuffer all Extremities. We 
 fee many Inftances of Decay in ancient Buildings, where are Figures fo 
 eaten up by Time, that 'tis hardly difcernable, whether they repre- 
 fented Men or Women ; like Figures of Snow partly diflblved by the 
 Sun-beams. 
 
 I fpeak not here fo much againft the dropping upon and muddling 
 fuch Objects, as of the Abufe when the Caufe of fuch an Effect docs 
 not appear ; for without a probable Reafon why a Thing ftiould be 
 j thus, or thus, Art becomes Obftinacy. But to return to our Subject. 
 
 It is certainly Praife-worthy to take fome Pains in fhewing the 
 Stones of Buildings, and their veining and eyeing, when they are judi- 
 I cioufly and agreeably difpofed, according to Rule: I fay it is commend- 
 able to him who understands Perfpe&ive. 
 
 The Parts of Buildings within (which are not fo fubject to the Teeth 
 I of Time) are not fo apt to decay as thofe %vithout\ the Cement alfo lafts 
 longer, which makes them keep clean and intire, their Joints to feem 
 almoft invifible, and the whole to be as one Stone : For this Reafon 
 
 3 C 2 we 
 
5 38 
 
 Of Architecture. 
 
 Book VIII! 
 
 we muft avoid the Miftakes of fome Painters, who vein and eye their 
 Work, and afterwards divide it into Stones, whereby one Vein or Eye 
 happens oftentimes to run through two or three Stones at once ; whence 
 we muft conclude it to be what it is, meer Painting and not the Life] 
 Whereas, I think it the moft certain Way, firft to divide the WorjJ 
 into Stones, and then to marble and eye them ; obferving that eacH 
 Stone have a particular Eye, to fhew the Difference between the cafua] 
 Dropping and the Marbling. 
 
 Marble Buildings have a beautiful EfFeft when the Architecture \\ 
 fine and well ornamented; and this as well in Painting as the Life] 
 Orderly Difpofition is one of the beft Reafons thereof, without which] 
 it cannot have that vaft Agreeablenefs. 
 
 A knowing Architect takes efpecial Care of the fetting the Stones 
 of his Building in fuch Manner as to blazon its Beauty, and improve 
 it, and^ thereby create Harmony; wherefore he dilpofes the Eye-veiny 
 Stones in the propereft Manner jj/or Inftance, in a fingle-colonaded Porti- 
 co, the veiny Eyes muft oppofe each other, Hoping from out to 'in ; or 
 -contrary : The fame Method muft be obferved in the Pi/afters, and ah 
 Parts that are paired \ fo that the Work may appear regular at a Di- 
 ftance, taking efpecial Care that they be eyed alike, to keep the Eye 
 always in a Ballance between them. The Stones for the A r chit rave x 
 Frize and Cornice Jhould be fo chofen, that the Veining fall perpendi^ 
 cular, in order to keep the Members diftinct ; which they would not 
 be, were the Veins to fall in with the Mouldings. 
 
 It remains to be obferved in marbling Columns, that the Eye-veinJ 
 ought to receive the ftrongeft Light on the relieved and fw el ling Parts] 
 in order to aid the Flat of the Picture by Art 5 which Nature wants! 
 not, as being round of herfelf: Wherefore it would look ill, that the 
 moft dark of the Eye-veins come on the weaker Parts, becaufe ifl 
 would render the Effect you propofed, abortive. 
 
 , Imagine a Piece of Walling divided into three Pannels, on each 
 Side of which ftand two Columns ; the two firft ought to oppole each 
 other ; their Veining muft either be level, or run diagonally againft 
 each other, outwardly or inwardly : The two others muft do the lame. 
 * And fo on. 
 
 CHAP, 
 
Chap. 6. Of Architecture. 389 
 
 CHAP, VI. Of Ruins. 
 
 T T ITHERTO we have- fpoken of the Beauty and Regularity 
 X of intire Buildings ; wherefore 'tis proper next to treat of Frag- 
 ments and Ruins, equally neceflary with the former. 
 Pve fometimes wonder'd how it happens, that among the Painters 
 bf Figures and Landskip, who make ufe of Buildings and other Brick- 
 work, fo few exhibit whole and highly-finifhed ones; all they. (hew is, 
 Ruins, broken Walls and decayed Stones, but feldom intire and per- 
 fect Structures, becaufe, as I take it, they'll be at no Trouble to fearch 
 Antiquity for the Forms and molt beautiful Parts of Architecture, 
 whereby they might learn to produce fomething curious : A Supinity 
 proceeding from their want of Knowledge, and Ambition to obtain 
 it. 
 
 Altho' many think, that a Piece of Ruins does not require fo great 
 a Regard as an intire Building, they are much miftaken; for the one 
 as well as the other depends on Meafure and Proportion: Yet fomk 
 will go and throw down a Part of a Building, and intermix with it 
 fome Fragments of Capitals, Pieces of Frizes, Cornices and the like, 
 of an Order foreign to the Building; which, tho' very wrong, they 
 falve by fuppofing, that when a Building is in Ruins, no one will have 
 the Curiofity to examine the Rubbifh to fee, whether there be a wrong 
 Capital, Frize or Cornice ; and granting, fuch were to be found, the 
 Fault would be none, fince thole broken Parts might be brought thi- 
 ther cafually : But this is a lame Excufe ; to fpeak the Truth, I can- 
 not apprehend how any one can be fo wilfull, fince no more Know- 
 ! ledge and Trouble are' neceflary to the beft than the worft Things, to 
 the whole than to the half; 'in the one, we muft ufe the Foot-rule 
 and Compafies ss well as in the other. If a beautiful Remain of a 
 j great Building adorn a fine Landskip, and look grand, how much 
 jmore, one in Perfection? He then who will take Pains may certainly, 
 by Practice, overcome all Difficulties, if he have Ambition enough to 
 jftudy the beft Things. But let me not be underftood to fpeak againft 
 [the Choice of Ruins, much lefs endeavour to hinder any one from 
 the Ufe of them ; fince I am fenfible, that every Man has naturally a 
 particular Tafte for fome Thing (as we have formerly faid) wherein 
 he may excell. I defire not to difcourage Painters of Ruins, or to 
 
 raife 
 
390 Of Architecture. Boole VITL 
 
 raife a Pique againft that Sort of Objects; my only Drift, is, to fhewj 
 that we ought to ftudy the Refts of Antiquity with Care and AttentiJ 
 on, and chiefly to learn the ancient State or old Structures, in order 
 to know perfectly what they were in their beft Condition. 
 
 CHAP. VII. Principal Directions for painting the Ornaments ojl 
 
 Halls, Rooms, Sec, 
 
 IN this Sort of Work we mud in the firft Place have an Eye to] 
 the Regularity and Diviiion of the Architecture, and if that be 
 m beautiful, not in the leaft hurt it under Pretence of Decorum, or 
 acting Painter-like ; and if at any Time we are obliged to alter this 
 Conduct, it muft neverthelefs be in favour of the Architecture. 
 
 2. That the Painting, of what Kind foever it be, muft tend to the j 
 Luftre and Magnificence of the Building ; I fpeak with refpect to paint- 
 ing the Wood-work, whether it be marbled or plain. 
 
 3. That the Ornaments to be painted agree with thofeof the Room J 
 and be governed by the fame Order in Architecture. 
 
 4. That in Pannels, Niches and Windows ought to be artfully paint-1 
 ed, what you would have appear to be real or naturally there, whe- 1 
 ther Tapeftry or Profpect: If Tapeftry, it muft appear to be fuch;| 
 if a View, it muft look like a View ; the former by being bordered, j 
 and the latter by its Sky or Sun every where agreeing with the Light! 
 of the Room. 
 
 5. The Mafter muft beware of reprefenting in a Room 3 or more 
 different Hours of the Day at the feme Time nor in Hiftories, unleia 
 they be in the Manner of Tapeftry. 
 
 6. He muft never inclofe white Marble Bafs-reliefs with Wood- 
 work, as being repugnant to Cuftom and Likelihood. 
 
 Laftly, Since Excefs often abates the Majefty of a Fabrick, the] 
 Artift fhould avoid many Littlenejfes in the Divisions and Ornaments : 
 On fuch Occafions hiftorical Figures fhould not exceed 3 or 4 Feet in I 
 Height, be the Painting ever fo large : Tapeftry-figures exceeding the I 
 Life are unjuftifiable ; they look monftrous in a fmall Room, and lef- 
 fen a larger. 
 
 r It were to be wiihed, that great Men and Lovers, who befpeak 
 fuch Works, had fome previous Knowledge of fuch Things as thefe ; 
 
 at 
 
2;hap. 7: Of Architecture. 391 
 
 at leaft, that they were informed of them, and would aflent to the 
 Artift's Opinion in the Execution of them ; fince it is reafonable, that 
 lis Defign, if it pleafes, be followed. 
 
 Few Artifts are follicitous about Infide-ornaments, either in refe- 
 rence to their Elegance and Splendor, or their Ufes and Convenience ; 
 ^s is evident in many old Matters Works, wherein we generally fee 
 £00 great a Simplicity, all is plain and mean ; Tables, Benches, Chairs, 
 Kitchen-ftuff, Drinking-vefTels, Sec. And what's more, oftentimes a 
 Company of old and young People in a Room with never a Chair in 
 fit ; and fometimes, no more than bare Walls, and a Curtain hanging 
 for no Purpofe : Ornaments and Foliage are feldom feen in their Works; 
 and when they are, they are fo improperly and disjundively applied, 
 that we muft conclude them rather to ferve for Humour than Decorum ; 
 certain Signs that fuch Matters were ignorant both of the Naturalnefs, 
 Needfulnefs and Application of Obje&s. 
 
 5 Tis certain that the ancient Greeks and Romans were not originally 
 fo fumptuous in .their Houfe-furniture as afterwards they came to be ; 
 and 'tis as eafy to think, that there was a Difference between the No^ 
 bility and Commonalty, as well in their Buildingsand Drefs, as in other 
 Refpe&s : The one ufed Plate at his Table ; the others, Earthen-ware 
 or painted Wood ; the one had Bafs-reliefs, Statues, Hangings or Ta- 
 peftries in his Houfe ; the other was content with bare Walls ; each 
 according to his Fancy or Ability. Truly, I am furprized to think of 
 my firft Ordonnances, and how disjointed my Conceptions were ; often 
 exhibiting a royal Hiftory in a Stable or Cottage, and as often the 
 contrary : Queftionlefs every Matter of an Houfe furnifhes it with what 
 is proper for each Apartment, whether Kitchen, Chamber, State- 
 room or Gallery ; one Apartment has a Bed or Couch and its Appurr 
 tenances, Chefts, Tables and Chairs ; another has Hangings more or 
 i lefs coftly, Floor -carpets, Stands, Sconces, Looking-glafles, &c. Ano^ 
 therhas Benches, a Chimney-piece, circular Couches fitting the Ta- 
 | ble, and other Things proper to the Room : And thus other Apart- 
 
 I rnents. ... , . , , r - 
 
 Some imagine, that Chairs were not anciently in uie, but Men iat 
 ionCuthions, as in the ^Countries, or elfe refted on Couches.. 
 
 I When a certain Perfon had reprefented Mnms and Dido in a ftately 
 Hall, and fhe placed on a low fmall Half-pace, covered with a Car- 
 ! pet, with the young Jfcanius in her Lap, and Mneas by her Side,, 
 : and fome Ladies fitting here aad there on Cufhions on the Floor (which 
 was covered with a green Carpet) I was furprized to fee a large round 
 
 Table 
 
39 1 Of Architecture. Boole Vlllj 
 
 Table ftand in a Corner on a Side of the Painting, and this ferving up 
 as for an Entertainment, and yet not a Chair near it ; I asked the Ma* 
 fter, why the Ladies had not Chairs or Benches, and whether this Cir- 
 cumftance was thus to be found in Hiftory? He anfwered, that in 
 thofe Times, neither Chairs or Benches were known ; I could hardly 
 forbear laughing, but asking him, whether the Company were to 
 ftand to their Victuals, becaufe of the Height of the Table," he began 
 
 to fee his Error; yet in Excufe fa/d, They will make u/e of the 
 
 Couch -which /lands yonder again/ the Hanging. This would have 
 
 been a tolerable Come-off', had the Couch been made for the Table ; 
 but by ill Luck the one was fquare, the other round ; I faid no more, 
 becaufe I would not augment his Blufhcs. 
 
 Others have made the fame Miftake, as was the Cafe of one who, 
 as the Report goes, reprefenting Abraham's Offering, drew him with 
 a Scimitar or bending Sword in his Hand, and a ftreight Scabbard by; 
 his Side. 
 
 I once made the fame Blunder, when my Inclination for Compofiti- 
 on *Was greater than my Skill, in the Story of Hercules /pinning by Om* 
 phale ; 1 had feen, in a Defign of Bartholet, that Hercules was much 
 bigger than any of the Women ; Wherefore I alfo drew him larger 
 and drefled in Womens Apparel, having Sleeves doled at Hands (like 
 Sardanapalus amongft his Women, in Meriari's Hiftorical Chronicle) a 
 DiftafT in his Girdle, a Spindle in his Hand and Pearls about his 
 Neck; and in order to fnew that they were Omphale's Cloaths, I pla- 
 ced her by him ftark naked ; now I appeal to any one, how well the 
 Garment could htOmphale, feeing it was neither too fhort or too ftreight 
 for Hercules, tho' half as tall again as fhe : But I afterwards rectified! 
 my Conduct. 
 
 It's plain, that fuch Overfghts proceed from Ignorance or lame In-] 
 ftruction, and principally in what concerns Embellithment ; I fiy, Em-] 
 bellilhment of anv Kind whatsoever, whether within or without-doors ; 
 for few know the Importance of this Part of Art, and the uncommon 
 Effects of it. 
 
 We may, from the Works of old and judicious Matters, here andj 
 there borrow fome of their Thoughts, and ufc them in a proper Man- 
 ner in our own Works : The famous Poii/in-, in his finding of Ivlo/es, 
 (hews the Nile, with a Water-god ; and with good Reafon (as we 
 ihall prove in the Chapter treating of the Authority Painters have to 
 repre/ent /piritual and inanimate Beings under human Forms ) But it's ri- 
 diculous, in my Opinion, that the fame Figure with all its Adjuncts 
 
 lnould 
 
Chap. 7. Of Architecture, 393 
 
 fhould be placed on the Strand of a River, and near It Narciffus view- 
 ing himfelf in the Water ; on a Supposition, that, if it be but a Wa- 
 ter-god, all is well j for thinks the Matter, It fuits well. — 'Tis 
 
 a fine Figure. Betides, if PouJJin durft do it, why may not we ? 
 
 But 'tis againtt Reafon ; indeed, were the Sphinx and Children left 
 put, it may be paffable enough. 
 
 Who fets out a Room of Entertainment, and it does not fhevv whether 
 the Dinner be over or not, by the Cloth laid, Bottles, Glaffes, Citterns, 
 and all Things in order, as before Dinner 5 and empty Bottles lying 
 'in Diforder, empty Difhes, a Dog gnawing a Bone, Chairs clifpiaced, 
 Table-cloth half turned up, and fuch like, after Dinner ? or 
 
 Who can approve in Tefta's dipping of Achilles, Thetis's lying in an 
 open Gallery, where alfo is a Cradle ? 
 
 As for moveable Embelliihments, it's improper to (hew Mark An- 
 thony and Cleopatra, in their Grandeur and Luxury, without a Re- 
 tinue, and as in a private Collation, feeing we .know they had fuch a 
 Crowd of Mufick, Buffoons, Jugglers, and other loofe People about 
 them: Or can we reprefent Chri/llymg in the Manger, attended by 
 Jofeph and Mary, and the three Kings waiting on him, and that in a 
 Stable full of Beaft-provender, and on the Wall a Fan and Flail hang- 
 ing, befides other Utenfils of Husbandry, and yet not a Countryman 
 or Servant to appear ; or a Cheft, Box, Saw or Square to be feen ? 
 (whether Jofeph hired the Stable, or found it void of People, is ano- 
 ther Confideration :) Moreover, one of the principal Figures is in a Suit 
 of Armour, and bareheaded, and yet his Head-piece is not to be 
 feen. 
 
 One of my Fellow-difciples once painted a Collation \ and I asked 
 him, fVhy he put not Knives on the Table ? He anfwered, That Knives 
 were not Antique ; very well, thought I, Are then the Bread and Meat, 
 and a three-legg'd Stool with a Back Handing by, Antique ? 
 
 It's not improper, tho' a fmall Circumftance, that a Chamber-pot 
 be placed by a Bed-fide, when a Perfon is in it ; even were there alfo at 
 Day-break a Lamp either burning or extinguifhed, and fuch like Things ; 
 whereby we may judge, what other Circumttances are required. 
 I From all which Considerations 'tis plain, that a judicious Matter 
 mutt take particular Thought about the By-works , feeing 'tis as bad 
 to leave out fomething that is needful, as to add what is unneceflary. 
 
 No. 17, 3D CHAR 
 
Of Architecture. Book VIII. 
 
 CHAP. VIII. Of the Pictures proper to various Apartments. 
 
 TH E Nature, Property and Ufe of Pi&ures in general, is, to 
 keep the Senfes, by a pleating Variety of Objects, as Figures, 
 Landskip, &c. in a continual Employ and Contemplation. 
 • Their Nature has a near Affinity with that of the Things they re- 
 prefent, when thofe are done by a skilful Hand, and therefore they 
 can, when natural Things are wanting, fully fatisfy. 
 
 Their Property lies in their Application to meet Places ; and theyj 
 cannot be difplaced without hurting, nay undoing Naturalnefs. 
 
 As for the Ufe of Pictures, it is in the Occafion we have for them* 
 and the Places they are to ferve for, in order to gratify the Senfes of 
 the Owners ; they muft be well expreft, and fall in with the Archi- 
 tecture in the Agreement of the various Objects with the Ornaments or 
 the Building. 
 
 If this be unintelligible, I fhail endeavour to explain myfelf. I fa)8j 
 then, that it's not fufficient for a Painter to defign Work for Apart- 
 ments at random, and introduce therein what Fancies he pleafes, orj 
 beft underftands ; for, he ought to confider, whether it agree with the] 
 Place, and be proper there ; if therefore he would go on with Certain- 
 ty, he muft, in the firft Place, confuk the Architecture, and then the: 
 three Points following. 
 
 1. The Quality, or Condition of die Builder. 
 
 2. The Building itfelf. 
 
 3. The Apartments in it. 
 
 Firft, Let him confider whether the Owner be a Prince, Lord, Ma-1 
 giftrate, or Merchant. 
 
 Secondly, Whether the Building be publick, as a Town-houfeJ 
 Church, Palace, or private, as for a Merchant or Citizen. 
 
 Laftly, Whether it be an Hall, Chamber, Parlour, Kitchin, or the 
 like. 
 
 Thus far in general : But if we build a Palace for a King, the A*j 
 partments muft be contrived for other Ufes, than thofe for a Merchant,, 
 or even a Town-houfe ; for in this latter we find many Rooms fittedj 
 for Purpofes, oppofite to a Palace \ as may be feen in that fine Model* 
 the Stadt-houfe at Amfterdam, where Architecture has wonderfully di£ 
 f>ofed all the Rooms to their feveral Ufes j noris the Judgment of the 
 
 Painters 
 
Chap. 8. Of Architecture. 39^ 
 
 Painters or Architeas lefs confpicuous in the proper placing the Pic- 
 tures in each Apartment; for each Piece (chiefly Sculpture) is ; fo .order- 
 ed as to allude to the Room ; whence we know, what Ules the Rooms 
 are put to, and by the Rooms, what the Paintings, Stone-figures and 
 
 Bafs^reliefs fignify. - _ _ 7 , 
 
 Wherefore 'tis very necefTary to confider the Mature of the Apart- 
 ment, in order to govern our Work thereby ; as fir ft 
 
 In the Hall below fuits well a grey Bafs -relief 5 or elfe Trophies 
 painted on the Walls after the Life. 
 
 In an Antichamber, where People wait for Commands, grey Orna- 
 ments are alfo heft J fometimes intermixed with Flowers, but very 
 
 ^Intl'judience, or Prefence-room fhould be Tapeftries, or Piaures 
 with Figures, as big as the Life, of magnificent Tranfadions which 
 happened in Apartments or Palaces. 
 
 In the Lady's Vifiting-room muft be other Sorts of Embellifhments, 
 luch as Fruit, Flowers, Landskip, fine Thoughts, virtuous Reprefen- 
 tations, and the moft cloathed and modeft Hiftories. 
 
 In the Nurfery agree Bafs-reliefs, and painted Emblems or Morals ; 
 whereby the Children may learn good Manners, and inure their ten- 
 der Years to virtuous Adions: To thefe may be added, fome Flowers, 
 
 Fruit, Birds, and fuch like. . 
 
 In the Kitchin may be feen the Reprefentations of culinary Furni- 
 ture, Hunting of Deer, the Pifture of fome Maid or other Servant, 
 or a Dog or Cat; but thefe muft be moftly grey or Wood -colour, 
 on account of the Smoke, which otherwife would fully the Colours. 
 
 In the Gallery may appear all Sorts of Hunting-equipage painted on 
 the Walls from the Life. 
 
 In the Upper-rooms fuit Landskip, and all Kinds of beautiful Fro- 
 
 ^ Inthe Mafter's Bed-chamber are proper fome beautiful Faces, and 
 naked Children painted after the Life. 
 
 In the Children's Bed-room nothing muft be feen but Foliage or Branch- 
 
 W °The Study may be adorned with Paintings, in grey Marble, of learn- 
 ed Men, Philofophers, r \ .• . c n 
 
 In the Summer-houfe, being a Place for the Enjoyment of Company 
 . and Entertainments, fuit nothing better than merry Bacchanalian Pieces, 
 fportive Herdfmen, Dancings, Brooks and Fountains, 
 
396 Of Archite&ure. Book VIII. 
 
 We proceed now to the Decorations over Chimneys, and on Doors, 
 in each Apartment. 
 
 Over the Dining-room-Chimney place Comus, God of Meals, accom- 
 panied by Tafte and Smell ; and on the Door, Latitia, or Joy. 
 
 Over the Hall-chimney may be Decorum, or Authority, accompani- 
 ed by Pallas, or Virtue, and Honos, or Honour ; and on the Door, 
 Underftanding. 
 
 Over the Lady^s Vifiting-room-Chimney, Modefty, accompanied by Obe- 
 dience and Diligence; and on the Door, Fidelity. 
 
 Over the Chimney in a Saloon, or Meeting-room for Youth, may be 
 feen Inventus, or Youth, attended by Grace and Eloquence ; and on the 
 Door, Gaudium, or Joy. 
 
 Over the Narjery -chimney place Education, and by it a young Branch 
 tied to a Stick ; and on the Door, Obedience. 
 
 Over the Kit chin- chimney, Prudentia, or Prudence, accompanied by 
 Ceres and Bacchus ; and on the Door, Diligence. 
 
 Over the Bed-chamber-Chimney , Quiet ; and the Door, Security. 
 • Over the Study, or Clofet-chimney, Wifdom, or Science ; and on the 
 ' Door, Harpocrates. 
 
 On the Doors of the Side-rooms going out of the Hall, Clemency 
 and Vigilance; and between them, Oeco?iomy, 
 On the Pantry-door, Abundance. 
 On the Cellar-door, Silenus. 
 On the Garret or Loft-door, Winter. 
 On the Garden-door, Flora. 
 On the Orchard-door, Pomona. 
 
 In the Green-houfe, between the Stoves, the Figures of Perfons who 
 have been transformed into Trees and Plants, as Cyparijjus, Myrrha, 
 Daphne, Sec. On the Door within, Apollo \ and on the Out fide, Di- 
 ana. 
 
 On the Stable-door, all Sorts of Stable-appurtenances, as a Bridle, 
 Saddle, Houfing, Stirrups, Dung-fork, Shovel, Curry-comb, 
 On the Privy -door, Momus laughing. 
 
 And now, that I may conceal nothing from the Artifts, I ihall fub- 
 join the Pictures proper to be put into Chimneys ; which may be vari- 
 ous ; becaufe we are not confined to the Fire, as being only ufed du- 
 ring the Winter-feafon ; the Spring, Summer and Autumn afford us a 
 large Field for fine Inventions ; and fince the Place, for three Quar- 
 ters of the Year, becomes any thing we find proper, we can either 
 fhut them up, or leave them open, or contrive, in Niches, all Sorts of 
 
 Statues 
 
Chap. 8. 
 
 Of Architecture. 
 
 397 
 
 Statues or Bulls, Bafs-reliefs and other Ornaments, as Citterns, Vafa, 
 Flower-pots,. Baskets of Fruit, mufical Inftruments, Globes and fuch 
 like: We can have them be open with Doors or without, with one 
 Door or two half ones, and reprefent Viftos or Profpe£ts, fuch as a 
 Flower-garden, a publick Place with Fountains, a Street of Houfes, 
 a Grove, Lane, Frontifpiece, Pantry, Wine-cellar, an Alcove with a 
 Couch, or a Library, and fuch like ; in fine, we may introduce any- 
 thing that is different from the Furniture of the Apartment. But 
 Care muft be taken, that the Painting have a natural and high Hori- 
 zon, with little or no Sky, to gain more Depth ; Viftos of Apart- 
 ments one within another are alio not improper ; but if we reprefent 
 JVitbout -door-Pro fpecls as aforefaid, 'tis more proper to paint Doors, 
 feemingly to give the Room Air : And feeing it often happens, that 
 fuch a Painting cannot have the moft advantageous Light, and is fome- 
 times in Shade by the Projefture of the Chimney, we fhould contrive 
 the Work accordingly, and fo as not to appear like Painting, but Na- 
 ture itfelf. 
 
 The Defigns proper to fuch Places (for the fake of thofe who are 
 not fertile in Invention) may be fuch as follow. 
 
 Spring, i. Flora, fetting out with a gay and joyful Air, has a Bas- 
 ket of Spring-flowers under her left Arm ; with her right Hand be- 
 hind fhe a little lifts up her Gown ; her left Foot refts on a Step, and 
 her right lifts up ; her Breaft is fomewhat to- the Light ; behind, in a 
 low Oftskip, is feen a Parterre, ornamented with Vales : Behind her we 
 may place another Figure in Shade, afcending the Steps, in order to fling 
 off the Offskip, and bring forward the Fore-rigure. Flora muft be pro- 
 portioned to the Size of the Fire-place ; if not as big as the Life, let 
 her be a young Damfel, and, if the Face be ihaded by the Chimney, 
 make good Advantage of the Reflexion : The fame Defign may be al- 
 io executed with Children. 
 
 Summer. %. Pomona with a Basket of Fruit in her Lap ; and in the 
 OfTskip, an Orchard, and fome Cupids bufily gathering Fruits and; 
 Flowers. 
 
 Autumn, 3. Bacchus reprefented in an Entrance or Gateway, hung 
 round with Vine-branches and Grapes ; and, if you pkafe, a young 
 Satyr by him, with a Cup : This Defign may be alfo reprefented with 
 Children. 
 
 4. Anteros, as a Youth, crowned with Laurels, ftands on a Threl : 
 hold, leaning on a Torch or elfe a long Arrow, pointing inwardly to 
 a Library, wherein are an Aftrolabe and Globe, and againft the Wall 
 
 a Lyre 
 
398 Of Architecture. Book VII I. 
 
 a Lyre hanging ; his Garment, fattened on each Shoulder, is reddifh 
 Purple ; his Look agreeable and majeftic ; his Mouth open, as if com- 
 plementing fomebody to come in ; he ftands on the left Side againft 
 the Door, which comes half in Shade, againft the Oftskip, fo that he 
 is ftrongly fet off; his Face and Under-parts are fronting ; his Breaft 
 turning to the Light : This Deftgn either left or right is equally good, 
 and fo are the before-mentioned. 
 
 5. Cupid is feen here fweetly fmiling, having a Flask on his Arm, 
 and a Spaw-water-Bottle in his Hand, which he holds up, as if he 
 were faying, Rare JVatersl By him is an elegant Stand or Tea- 
 table, on which another Cupid is placing a Silver Salver with Glafies, 
 and a Silver Sugar-box and Spoon ; behind may be feen a Wine-cel- 
 lar lighted by a Candle or Lamp ; we lhould alfo difcover Part of a 
 Summer-houfe, or Fountain, or a Gallery, &c. 
 
 6. In this Defign we lhew a Serenade by three Boys ; the firfk dreft 
 as a Punchanello, with a Bag-pipe, Hautboy or Flute ; the fecond as 
 an Harlequin, with a Violin ; and the third as a Scaramouch with a 
 ^Guitar, and all three in their proper Poftures : Harlequin in fet Po- 
 fture ftands to the right againft a Poft, holding the Violin to his Ear : 
 Punchanello, fitting againft the other Poft on the Threfhold, holds his 
 Flute from his Mouth, and looks forward, laughing and fhewing his 
 Teeth, his Head finking backwards fomewhat into his Neck : Scara- 
 mouch is in the middle, with his Guitar under his Arm, and his Head 
 quite funk into his Shoulders; he is attentive, holding his Fore-finger 
 to his Nofe, and his Legs clofe. Behind thefe Buffoons we might lhew 
 a Balluftrade over a Water in Shade, and on it an Ape fitting ; in the 
 Water may be Gondolas, with Masks in them ; or elfe a Street, 
 and fuch like. 
 
 Becaufe the Breadth of the aforefaid Opening cannot be very great, 
 you may, by (hutting the Door more or lefs, or by placing fomewhat 
 between it, get advantageous Shades, if the Matter require it : There 
 ought at molt but a Figure and half to be in the Light, and a third, 
 in Shade. The Colours will efTecl: the fame. Such Paintings lhould 
 not be muddled, but boldly handled, and the Lights ftrong. 
 
 Thus much for Without-door- Views ; proceed we now to De/igns for 
 Chimneys which are do fed. 
 
 1. A Vafe either of white Marble, Gold or Silver; or the Belly 
 Gold, and the Neck and Foot of Lapis Lazuli , in a Niche of red 
 Marble, or Porphyry; and the Jaumbs to be of a lighter Stone, hung 
 with Feftoons of all Sorts of fine Leaves, intermixed with Flowers; 
 
 thefe 
 
Chap. 8. 
 
 Of Architecture. 
 
 399 
 
 thefe Feftoons fhould be very large, like two Arms, and fpreading, in 
 order to break the light Ground, that the Middle-ornament, whe- 
 ther white Marble, Silver or Gold, may have the greater Force. 
 
 %. The Buft of Bacchus in white Marble, crowned either with Vine- 
 leaves and Branches and Grapes, or elfe Mulberries with their Greens ; 
 on each Side, on a Ground of Free-ftone, Feftoons of white and blue 
 Grapes, and between thofe may be placed fome proper Inftruments, 
 as Cymbals, Timbrels, Tabors, Hautboys and P^'s-flutes ; the Buft 
 is on a Pedeftal of Pifan-mzvblc in a Niche, as before ; the Niche muft 
 rife as much as poffible, that the Buft may have its full Height ; but 
 if the Chimney and Niche do not admit of a Figure in full Proporti- 
 on, you may make a Boy of it; if you leave out the Pedeftal, you can 
 place the fame in the Niche, but a third lefs in Height. Under the 
 Niche may be a faint Bafs-relief of grey or other Marble; or elfe a 
 Feftoon of Pine-leaves, intermixed with fome beautiful Flowers. 
 
 a. The Buft of Apollo ; and on each Side fome mufical Inftruments, , 
 either painted as carved, or natural. Under the Niche may be a 
 fquare Pannel, and on it a carved Torch, with a Quiver acrofs, thro' 
 a Garland of Laurel. Among the natural Inftruments, fome Laurel 
 or Olive-branches ; and among the carved ones, fome Rolls of Paper, 
 with geometric and other fuch Figures; for thefe can be better order- 
 ed in Bafs-relief, than among thofe naturally painted. 
 
 4. A deep Niche ; in which may be feen, a Table, with an elegant 
 Stand or Foot of fine Wood, partly gilt : On the Table, China Tea- 
 furniture, as Difhes, Saucers, Tea-pot and a Silver chafed Tea-canifter; 
 or elfe Coffee-equipage, as a Silver Coffee-pot, a Silver Salver with . 
 Pipes, a Knife, fome Tobacco in a Paper, a fine Chaflng-difh with- 
 Fire;' and on the Ground, in the Shade, fome Bottles of Wine. 
 
 5. ^ The Table in this Defign may be put to various Ufes ; it may be 
 fervedjwith Melons, or Baskets of Fruit, as Peaches, Neftarins, A- 
 
 pricocks, Filberds, &c. 
 
 6 On fuch a Table may be alfo Mufick-books and Inftruments, as- 
 a Lute, Violin, Hautboy, &c. And on the Ground, a Ciftern of Wa- 
 ter, with Bottles of Wine ftanding upright therein. 
 
 7. Inthis laft, we may place a round Bafs-relief reprefenting a fit- 
 tW* Child, of Flefh-coloured Marble, on a blue Ground, blowing 
 Bubbles : Round it,, a. white Marble Moulding ; and underneath, a 
 Feftoon. 
 
 C H A P„ 
 
400 Of Architecture. 
 
 Book VIII. 
 
 CHAP. IX. Defcription of feveral Pi fares adapted to the five 
 
 Orders in Architecture, j 
 
 SINCE no Manner of defcribing fine Apartments is more pro- 
 per than this, which exhibits Things as if we really faw them I 
 fliall therein give an Architectonic View of each Order, and in as 
 conipicuous a Manner as I myfelf conceive it. The Particulars muft 
 then be well regarded, becaufe they are fo linked together, that, by 
 overlooking a fmall Circumftance, the whole Chain may be broke 
 without ever getting a true Idea of the Thing. 
 
 WejMl confine the Subjeft to five Apartments, and defcribe in 
 each the Mures, which fnew the Nature, Height, Cuftom and other 
 Properties relating to the Orders of this Building : And fince the Tufcan 
 £ r ^\ere 1Q Parts or alto S ether > is rou g h andmafly, we ftall ex- 
 
 The Picture of Polyphemus and Galatea. 
 
 Polyphemus, on the Sea-fliore, inflamed with the Love of the beau- 
 Utul Galatea who came to divert herfelf on the pleafant Surges of 
 the Billows, ftrove to pleafe her with his Singing and Mufick and 
 thereby to gain her Favours; but foe was deaf to his Suit • His rou^h- 
 hewn enormous Size, and frightful Afpeft were her Averfion : where- 
 fore Ihe fhuns him, and derides his Addrefies. 
 
 A calm Sea was feen. On the fecond Ground, to the left, appear- 
 ed a vaft high Rock hanging over the Sea, almoft to the Point of 
 Sight ; all rough, and over-run with Mofs and Herbage, goine off to 
 the left very cragged; up to it huge Stones were piled on each other 
 as Steps (but three times higher) from the Edge of the Water ; on The 
 lowermoft of them, fat the monftrous Cyclopl as a wild and favage 
 
 u S3 ' w tiS ver t fvvar i h y and h ™7 5 Head and Beard full of 
 bnftly black Hair, fpreading over his Shoulders and Breaft; he had 
 but one Eye-brow, and that as wide as his Forehead, hanging OV er 
 the Eye f which according to Homer % was as large as a Shield) placed 
 in the middle of his wnnkled Forehead; his Blubber-lip turned up to 
 wards Ins broad and flat Nofe, like that of a NegJe ; Sinf Sa 
 Teeth fet like thofe of a Saw, out of his gluttonous Jaws wfth a 
 grim Look: By him, lay his Staff, which (Eke thofe of tijfaen) 
 
 was 
 
Chap. 9. Of Architedture. 40I 
 
 was crookt at one End and (according to Ovid) bigger than the Maft 
 of a Ship: A Knapfack or Pouch hung at his Side? his Raiment was 
 Goats-skins fewed together 5 which he had fhook from off' his Shoul- 
 ders, poflibly to difcover to Galatea his conceited fine Shape • This Gar- 
 ment was Cream-colour, fpotted with Black. He fat very rudely 
 leaning a little back againft the Rock; his left Leg was fetched out* 
 towards the Water, and his right, with the Foot forefhortened, lifted 
 up lay over a Piece of the Rock; his Flute, with an hundred Pipes, 
 he held, m his left Hand, up at his Mouth, as if he had been juft 
 playing. His Head inclined (with his Eye to Heaven) towards Cupid, 
 who ftood near and flattered him ; his Mouth was open, as if he were 
 imging, and his right Hand, upright on his Knee, feemed to beat 
 time. It was curious to fee the Method Cupid took in the midft of 
 his Play, to itick an Arrow into Polyphemus^ Breaft without his being 
 fenhble of it. & 
 
 Cupid was about half as big as the Cyclops Arm or Leg ; fo that 
 tho' he had climbed up the fecond Step, he could fcarce reach the 
 Cyclops Shoulder, in order to ftroke, with his right Hand, the Hair 
 from the Giant's Eye ; when, pointing with a ftretch'd Finger of the 
 fame Hand towards the Sea, he laughing ftuck with the other an Ar- 
 row in Polyphemus'* Breaft, under his lifted Arm ; Cupid was of a beau- 
 tiful rofy Complexion, his Hair yellowiih White ; a Quiver, tied with 
 a red Saih, hung by his Side, and his Bow lying near him. 
 
 The fair Galatea, in the mean time fitting on a large Sea-fhell in the 
 middle of the neareft Diftance, was drawn by two Dolphins, encom- 
 patfed with Tritons and Nereids, founding their fhelly Trumpets, and 
 playing on Timbrels and other Inftruments; (he fat fronting in the 
 Shell ; and the Dolphins,which (he guided gently,turn'd to the right ; fhe 
 was followed by other Tritons, bearing beautiful naked Virgins, and a 
 Crowd of Sea-monfters, who, gradually uniting with the furtheft Di- 
 ftance, difappeared. This whole Crowd was grouped in the Form of a 
 Crefcent ; Galatea appear'd to furpafs all in Beauty. 
 I I at firft thought this might poffibly be Venus herfelf; becaufe three 
 Beauties attended her, whom I took to be the three Graces ; but fhe 
 looked fomewhat younger, and not fo wanton as Venus is ufually repre- 
 sented ; her Breaft alio rofe lefs, and her Head-attire was quite diffe- 
 rent from Venus \ for her white Hair, twifted in Treffes, and elegantly 
 flowing, was here and there ftuck with white Bell-flowers ; and the 
 Locks on each Side tied together on the Head in a Tuft, and, hanging 
 down both before and behind, made plainly appear, how eently fte 
 No. 17. 3 E rr B y gM 
 
Of Archite&ure. 
 
 Book VIII. 
 
 glid over the Billows. What moft charmed me, was, that, in this] 
 great Crowd, one might fee the particular Sways, Turnings and Affec- 
 tions of every Figure » one moved flowly, another fwirtly, as their] 
 Beards, Hair and Vails plainly thewed; fome bending backward, ad 
 blowing, others forward almoft to the Water ; fome were full on 
 Foam; others fwi mining as evenly as if they moved on Looking-glals,, 
 fo that their Glitter was fcarce vifible in the Water : This fecond Venus 
 (as I call her) had a greenifh blue Scarfe, which, coming over her Lap, 
 twined about her right Leg ; advancing her naked left Leg, fhe fet her 
 Foot on the Scroll of the Shell ; her Head, a little flung back, inclined 
 to her right Shoulder ; her Breaft proje&ing ; and the right Arm, 
 ftretching crofs her Body, fupported her Rein-hand on her naked Knee j 
 her Countenance was modeft and fmiling; her Eyes fomewhat downilh, 
 made me think that the Sun was too powerful for her, but, I more: 
 nearly perceived, fhe was talking to a Sea-nymph or Nereid* who, near] 
 her Chariot, lay behind on a Triton, {taring towards the Shore at Po- 
 lyphemus, whither Galatea, with her left Hand a little forefhortened,. 
 was pointing; the top of the Rock was almoft (haded by a Cloud;, 
 which Shade run crofs the Piece, and fet off Galatea and her Retinue^ 
 The whole Group was agreeably lighted, and tho' the Light wasi 
 ftrong, yet the Shades near the Water were foft and melting, by the 
 Glitter or Reflexions of it, which, in my Opinion, was a rine Piece of! 
 Condu£t ; behind the Rock, towards the right Side, appeared beauti-' 
 ful Tracls of verdant Land adorned with Variety of Trees, extending- 
 Crefcent-wife by the Point of Sight, and fome Herds of Oxen, Goats, 
 and Sheep were grazing ; in the Offskip were Hills, and on the right- 
 {Side a Town - y forwards, on the fame Side in the Corner, a Piece of J 
 Sea-rock appeared, which Galatea and her Company feemed to avoid. 
 
 As we have reprefented the Perfons of Polyphemus and Galatea^ fo it 
 will not be amifs to (hew thofe of the Tritons and Nereids alfo : Pan- 
 fanias defcribes the Tritons thus ; their upper Parts, from the Navell 
 were human, but covered with thin, (harp and rough Scales, and down* 
 wards their Bodies, inftead of Feet, ended in a large fplit Tail ; their? 
 Hair long and bluiih, and entangled as if in a Twirl ; their Eyes green-* 
 ifh j their Ears, Nofe and Mouth like thofe of Men, the latter very- 
 large and wide ; their Teeth like thofe of a Panther ; their Fingers ancl 
 Nails like the Outfide of an Oyfter-fhell, or fuch a Subftance ; on theitf 
 Breafts and Bellies and under their Ears, they had Fins like little* 
 Wings, which helped them in Swimming. 
 
Chap. 9. Of Architecture. 403 
 
 . 
 
 Alexander ab Alexandra fays, that the Nereids are fhaped like beau- 
 tiful Virgins down to the Navel ; but the lower Parts, joining together 
 like a Fiih, end in an Eel's Tail ; their Heads are moftly unveiled, 
 their Hair difheveled, and befet with Pearls, Coral and other Sea-pro- 
 ductions. 
 
 Second Piffure. 
 
 Polyphemus, from the top of the Rock, where he fat playing, view- 
 ing his beloved Galatea beftowing her Smiles on Ads, was fo enraged 
 thereat, that, full of Fury, he tore a Piece from the Rock, with In- 
 tention to erufh them both ; which Galatea efcaped by diving into 
 the Sea, but Ads, not nimble enough in running, was {truck with 
 it. 
 
 This Piece is a Fellow or Sequel of the preceding : The Rock is 
 here placed on a contrary Side to the former ; behind it, an ffland alfo, 
 in the Form of a Crefcent, towards the right extends acrofs ; beyond it 
 the Sea is feen along the Horizon; the Rock on the right Side goes 
 down in rough Steps, and follows a fandy Way forward on its left, to 
 the middle of the Piece, where it ends in the Frame : The unhappy 
 Ads falls here in the Sand under the huge Piece of Rock, with his 
 Arms extended, and his Face downwards, yet fomewhat turned towards 
 the Sea ; he is not quite dead, becaufe the great W eight, rolling in the 
 Air, only took him in the Leg as he was running; the enraged Cyclops, 
 not content with this, foams at Mouth, and gripes an heavier Piece of 
 the Rock in order to deftroy the faithlefs Galatea ; Megara, with her 
 fmoaking pitchy Torch, eggs him on, and, enflaming him with hellifli 
 Fury, points towards the Sea at the Objects of his Revenge; at which, 
 he looks back ; and now what a Force he (hews in rending the Rock ; 
 all his Members are diftortcd, his Sinews ftretch, and his Mufcles 
 fwell ; drawing in his Mouth on one Side with the upper Teeth, and 
 his Eye is half (hut 5 does he not look as if he were anatomized or flead ; 
 nay, the leaft of his Mufcles works, and preifes thro' his thick Skin ; 
 his Hair frauds an end, and his Beaft-skin Garment,being got loofe from 
 his Girdle, drags on the Ground, and he treads on it with his left Foot; 
 the Goat's Feet hanging to it appear to fly about, according to his 
 Motion ; he bends double, one of his Knees almoft touching his Breaft, 
 and with his right Foot againft the Rock, he, with both Hands and all 
 his Force, tears off a piece of it: Ti/iphone, half behind] him, with 
 ler upper Parts above his Head, and her Face a little forefhortened 
 
 3 E 2 and 
 
404 Of Architecture. Book VIIL 
 
 and downwards, points with her whole right Hand (not a Finger) a « 
 Galatea ; in her left Hand are fome Serpents and a Fire-brand ; her 
 Garment is Black or dark Grey, here and there ftained with Blood;] 
 the Sea fwells, and the Billows beat with great Violence againft the 
 Rock, as if they would fwallow up the Shore : On the left Side! 
 comes Galatea in her Chariot drawn by two Dolphins, not gliding 
 as before, but toiling fometimes on the top of the Waves and 
 fometimes beneath them, with the hinder Part of her Chariot almoft 
 upright ; (he ftands ftooping, with her Arms flung out, looking back 
 with Amazement, and her Reins flack; her difordered Locks fly in 
 loofe Trefles againft the Wind, caufed by her fwift Motion; her Veil 
 got loofe, drops behind her into the Sea; her lovely Members are o- 
 verpowered by her inward Troubles; the Mufcles of her Neck before 
 fmooth, now rife ; her Heart feems to pant, and, her Lees faltering 
 fte feems to fink; her Grace leaves her, and ihe is no longer Galatea , 
 fright has robbed her of her frefh Colour; and file is rather a marble 
 btatue, than a living Perfon. 
 
 Confidering this Ordonnance I flood furprized.; is it poffible, thoughb 
 ' to r ^>e a Painting? 'tis certainly paft my Undemanding; 'tis Reali-v 
 ty itfelf; and yet it muft be a Pifture; for what is too hard for thei 
 Pencil of a judicious Mafter ? Be it what it will, 'tis real Nature to 
 me, and I am fatisfied. But, to proceed, 
 
 In the OfFskip on the left Side, fome Ships appear in a Storm, and 
 two in the middle of the Piece riding at Anchor, and a Boat landing 
 iome People ; this made me think that 'twas UlyQhs, who had a De- - 
 iign on the Eye of the cruel and gluttonous Devourer of Men- it J 
 even fo I can perceive them to be Greeks by their armed Gallies and'i 
 whole Equipage; the Sea is White with Froth, and the Waves bead 
 towards the Pomt.of Sight; the Air is in Commotion and full ofj 
 driving Clouds which caufe here and there large Ground-fhades ; the 
 main Light falls on Polyphemus, and the under Part of the Rock and < 
 takes in almoft the whole Shore forwards ; but the Stone which fall j 
 on Acts is, with his Under-parts, in Shade, caufed by a bit of a Side- \ 
 rock, which ftrongly fets it off againft the Light; Cupid, in the mean 
 time above the Horizon, comes flying forward, turning, full of Sor- 
 row and Cries, to the right, down where Jcis lies ; his left Hand is 
 up to one Eye and his right (wherein is his Bow) over his Head, to 
 (hade it from the Sun; his Quiver is reverfed, and the Arrows drop! 
 into the Sea; Jets lies on the Fore-ground, with his Shoulders bare 
 and heisfeena little right-fide- wife ; his Hands, half covered with 
 
Chap. 9. 
 
 Of Architecture. 
 
 Sand, are wide open, as if he were fwimming ; his Hair is dark, and his 
 I Garment dark Green ; Galatea, between him and Polyphemus with the 
 Rock, runs crofs the Piece ; fhe is feen right-fide-wife, and her Face is 
 fronting ; the Offskip, confirming of Hills, Bofcage, beautiful Lawns 
 ' and Rivers, is clearly lighted ; there appear alfo fome Cattle grazing, 
 as in the former Piece ; under the Impendance of the Rock, and clole 
 to the Sea, lies a red cloth Garment in Shade ; undoubtedly left there 
 by Acis j which was, in my Opinion, artfully contrived, in order to 
 point out the Place where this unhappy Couple had been fitting; the 
 Shore is covered with Cockles and many other Sea-productions ; a 
 large greenilh-coloured Tortoile is feen, making from under Acis to- 
 wards the Sea ; Polyphemus^ Flute lies by him, but the Bag ftill hangs 
 by his Side ;. the top of the Rock is dark againft light Clouds driving 
 thither; the Light comes from the Side of the Piece. 
 
 After I had exactly weighed all the Circumftances of the two Pieces, 
 I was confidering what the Matter's principal Drift might be, and 
 found them to be an Example of Love, or Flattery of the Senfes wanr 
 tonly affecting the Body without Violence, in the Perfon of Polyphe- 
 mus, in the firft Piece; and in Galatea an eafy Indifference, without a- 
 ny Paffion; for I perceived her Motion was fmooth, and her Beauty* 
 in its Perfection ; (he was not attended by any Cupids, becaufe fuch as- 
 have Fins inftead of Wings ufually wait on the Nereids : I was fo. re- 
 joiced at this Obfervation, that I can't exprefs it. 
 , Inquiring likevvife what might be learned from the fecond Picture, 
 I concluded that the Author intended to exprefs the unhappy Iflue of 
 Love in the Perfon of Galatea ; a Paffion both warm and fudden;, for 
 the leaft diforderly Affection puts the chief Members of the Body in 
 Commotion, and difturbs the Peace, of the Reft ; that of Polyphemus. 
 is violent; Cupid is fubject to Companion only, as I think; where- 
 fore he is reprefented crying, poffibly to fhew a Childiihnefs ; . for 
 Children commonly laugh or cry about Things which fsem ftrange to. 
 them. 
 
 Comment on the Characters, in the tzvo aforefaid PicJures., 
 
 Polyphemus, the Sicilian Herdfman, the moft favage and gigantic of 
 all the Cyclops, was, according to Homer, Son of Neptune and the. 
 Nymph Thofa; the Word Cyclops fignifies, having one Eye in the. 
 middle of the Forehead ; whereby fome would imply, the Thunder 
 and Lightening (according to the Greek Names of his Companions*, 
 
 Brontes, 
 
Of Architecture. 
 
 Book VIII. 
 
 Brontes, Sterope and Pyracmon) and other EfYefts of the Air, round 
 which they are always attending in Readinefs at the Command of Jupi- 
 ter ; the Air, they fay, being placed in the middle of Heaven, as an 
 Eye in the Head : Thus the Commentators on Hejiod in his Theogonia 
 (Deorum Origo ) deliver. 
 
 Hejiod fays, that Galatea, Daughter of Nereus and Doris , is fb nam- 
 ed from her Whitenefs, fignifying parabollically, the Froth of the 
 Sea ; wherefore this Poet afcribes to her white Hair, and a Face like 
 Milk : He fays further, that fome Writers would, by Galatea , allude 
 to the fweet Water which falls into the Sea, becaufe nothing is fweet- 
 er than Milk ; and, by Polyphemus, the Air which loves the fweet 
 Food. 
 
 The Youth Acis is called, by Ovid, Son of the River Faumts and 
 Simethis, being both young, beautiful and well-lhaped. 
 
 The Tritons are counted, by moft of the Poets, Sons of Neptune and 
 Amphitrite ; becaufe the Sea, fays Vermander, is efteemed the Mother 
 or Producer of many itrange Creatures, which its Element is very incline- 
 able to ; and the ancient Heathens, perceiving thus fomewhat wonder- 
 ful, afcrrbed to the Sea fome Divinity, as they alfo did to thofe Tri- 
 tons, whofe Help they implored in Dangers at Sea : But they, who ex- 
 amine more narrowly into the Egyptian Hieroglyphics, fay, that the 
 Tritons, by their amphibious Form of being human upwards, and 
 Dolphin-like downwards, are compared to the two watry Virtues, 
 Saltnefs and Sweetnefs ; teaching us, that both Good and Evil fpririg 
 from their Nature and Constitution, to wit, Good from the human 
 Nature, and nothing but Evil from the Fiihinefs; for the human Form, 
 fays Phurnutus, is compared to fweet Water, which is proper for the 
 Aliment of Trees, Herbs and Animals ; but the fifty Part is compared 
 to Sea-water, which is noxious to the Animals of the Earth and Air, 
 and alfo to Plants, caufing them to die and wither; as we read, in 
 Plutarch,, Of the Nature of Things. 
 
 Touching the Nereids, we find in Plato, that there were an hundred 
 of them ; Hejiod fays fifty, and gives us their Names ; of which Glan- 
 ce, Cymodoce, Galatea, Cyrene, Drimo, Deiopera, Xantho, Arethufa, 
 P hi Ho doc e, Euridice, Nefae, Lcucothoe, Spio, Thalia, Cydippe, Paji- 
 thea, Lycorias, Ligea, Ephyre, Opis, Afte, Clymene and Hall a are the 
 principal : Their lower Parts being Fifh-like has given the Poets Oc- 
 cafion to feign, that they were very beautiful Nymphs who accompa- 
 nied their Gods, viz. the Ocean, Thetis, Neptune, and Nereus and Do- 
 ris their Father and Mother, and many others, who- fignify the diffe- 
 rent 
 
Chap. 9: Of Archite&ure. 407 
 
 rent Qualities and various EfTeas of the Waters : They were ftiled 
 Mothers of the Floods, becaufe the rainy Clouds, being exhaled from 
 jthe Sea, are the Origin of Floods ; wherefore, on account of the Virtue 
 fof the Earth's Moiiture, towards the Procreation of Animals, Trees, 
 Fruits, Flowers, they were worifiipped by the Heathens as the 
 Nurfes of them. 
 
 Having largely handled the Offspring and Signification of the Charac- 
 ters in both the aforefaid Piaures, we iliall pafs to a general Expli- 
 cation of the latter. Harmony in Mufick arifes from an agreeable 
 Mixture of difcording and flat Sounds with concording and fharp ones ; 
 but in Love 'tis otherwife, where Diffimularity cannot be brought to 
 agree, or two Hearts to join, which do not fympathize by an Har- 
 mony of Humours : The hideous Make of the Cyclops is frightful to 
 the beauteous Galatea, who fhuns him for her dearer Ads ; by Poly- 
 phemus, in this laft Story, we learn, that thofe Perfons fue in vain, who 
 flatter themfelves that their troublefome AddrefFes gain the AfFeaions 
 of thofe who hate them ; contrarily, Ads, bleft with the Smiles of 
 his Miftrefs, fhews us the Danger of expofing ourfelves to the Refent- 
 ment of a powerful Rival, from whom at any time we muft expea 
 nothing but Death : It may alfo, I fay, ferve for an Example of the 
 Power of Beauty, which fo bewitched Acts, that he could not for- 
 bear loving, tho' at the Expence of his Life ; thus we are bewildered 
 by our own Inclinations, and brought to the Place of inevitable Mis- 
 fortunes, where we are plunged in Tears to the weakning of our vi- 
 tal Strength, as in this Fable of the young and amourous Ads, when* 
 Galatea transformed him into a Fountain. 
 
 Oppofite to thefe poetic Piaures, I faw two others treating of 
 Love, but differently, as being the facred Stories of Sam/on and Deli- 
 lah i the Senfe of the firft is this. 
 
 Third Table or Piffure. 
 
 Sam/on, retting in Delilah's Lap, has his Hair cut off v/MWl Be: 
 flept ; and the Philiftines lye in wait to feize him. 
 
 Here Sam [on is fitting near the Center of the Painting, on a Car- 
 pet which covers the Floor, and reaches over three circular Steps, be- 
 jfore a Couch, whereon fits Delilah, with his Head in her Lap ; her 
 (right Foot refts on a fmall Foot-ftool, againft which he is leaning,, 
 with his left Knee fomewhat railed; the Foot of that Leg is under 
 his right Thigh, which is fomewhat forefhortened, but the Leg is 
 
 leen 
 
4c8 
 
 Of Architecture. 
 
 Book VIII. 
 
 feen at full Length, with his Shin fronting; his right Arm hangs 
 down between his Legs, refting on the outfide of his Hand, which is 
 feen inwardly ; fupporting his Head on his left Arm over Delilah's 
 Lap, with the Elbow (landing out ; he is all in an Heap, and his 
 Head hangs a little forward and {idling. 
 
 Delilah's right Arm is about his Neck, and her upper Parts bend a 
 little over to the left ; when, looking another Way, fhe, with her 
 left Hand, pufhes from her an old Woman, who fteps back, having 
 both her Hands joined under her Chin, and a Key in one of them, 
 and with her Mouth (hut fmiles at Delilah: Delilah's Eyes are fixed 
 on a young Man ftanding near her, who gently lifting up Samfon's 
 Hair is cutting it off with a Pair of Scifibrs ; the young Man is on 
 Samfon's right Side, (looping over him with his Arms extended, and 
 Legs clofe* and his Garment between them, that it may not touch the 
 fleeping Sam/on ; near him ftands a Boy, with a Basket to hold the 
 cut Locks ; he looks back at a Philiftine, who is coming towards them, 
 with a Rope in his Hand ; he pouts with his Mouth, and has a Fin- 
 ger thereon, in order to make the other keep back a little : The a- 
 forefaid Philiftine walks ftooping, advancing his right Leg, and fup- 
 porting his Body with the other, which is quite bent; he thrufts ouc 
 his Head, and his Elbow is drawn in, holding the Rope with both 
 Hands, clofe to his Body. Another, on the right Side behind him, 
 is lifting up a Curtain, and looking after him. Between thefe two 
 rifes a large Column, and another on the other Side of the latter, 
 whereon the aforefaid Curtain hangs ; thefe Columns and their Pedeftals 
 run towards the Point of Sight. Behind the laft Philiftine ftand 
 3 or 4 more. On the left Side, behind the old Woman, appears 
 Part of the Couch, fupported by a Lion's Paw; the top of the 
 Couch has an Ornament of Foliage, from whence projects a Wo- ; 
 man's Head with Breafts of yellowiih Ivory, reprefenting an Harpy, 
 and a fpread Wing fupports a gilt Moulding. From the top of 
 the Couch hangs a light reflecting Drapery with TafTels down to the 
 Ground. Forward, in the Corner, appears a large Pillar, or a Piece 
 of Walling, againft which, ftands an hexagonal leafed Table, fup- 
 ported by three Mermaids, Back to Back, on a triangular Foot of 
 black Stone. On the Table are feveral Bags of Money. From be- 
 hind the Table, a young Servant* like Man is gently advancing, with 
 more Bags of Money in his Arms, looking back fuddenly, with knit 
 Eye-brows, over his right Shoulder, at the Couch : At his Heels is 
 another Bearer, with a copper VerTel full of Money, which he lugs- 
 
 very 
 
Chap. 9. Of Architecture. 40^ 
 
 very heavily before him; his Upper-parts falling back, and he fcrew- 
 ing his Mouth, puffing and blowing; he is well fet, of a fedate Coun- 
 tenance, and his Hair and Beard are frizled. Befide the Couch, below 
 the Steps, *in the Shade, is feen a Statue of Venus, on a Pedeftal ; 
 myfterioufly reprefenting Aftaroth. Next it, ftands a Commander of 
 the Phihjhnes, with a Staff in his Hand ; he fomewhat thrufts out his 
 Head, and, if I miftake not, there are more People behind him, loft 
 in the Shade. On the right Side of the Steps, clofe to the foremoft 
 Column, ftands a Cenfer, the Smoke whereof afcends up the Column. 
 The Apartment is hung round with dark Tapeftries of Landskip ; and 
 between them are broad Pilafters. The Floor forward is inlaid with 
 banded Compartments. 
 
 Delilah is wantonly dreft; having a nice Head-attire mixed with 
 Ribbons and Pearls: A long Hair-lock of a brown Alining Colour, 
 comes over her Bofom;' her Garment of white Sattin, hanging fo care- 
 lei}) down the Bofomi as to fhew her bare Breafts and left Shoulder ; 
 the Fore-part of the right Leg is alfo naked from below the Knee ; the 
 Thigh is foreftortened, and the Sandals white ; her left Leg, covered 
 by the Drapery aforementioned, hangs down by the Couch, as if fhe 
 were Handing on it, with the Foot behind the Foot-ftool ; from her 
 right Shoulder hangs floping a beautiful fea-green Vail, tied on the left 
 Side ; the Flaps whereof are partly on the Bed, on one Side, and 
 down her Thigh on the other. Sam/on is of a large Size, and robuft- 
 ly membered, of a fwarthy Hue, with black Hair and Beard, and 
 hairy Breaft : His Drapery is dark Purple; which, faftened with a Gir- 
 dle about his Body, buckled on his Side, and gathered about the Waift, 
 comes down between his Legs, covering the right Thigh ; the Flaps 
 of it, finely folded, lying fidewife on the Carpet. The old Woman's 
 Head is bound with a yellowilh Cloth, and her Garment Violet or 
 Blue, with ftreight Sleeves, tied under her Breaft and over her Hips. 
 The young Man with the Sciflbrs, is in a ihort green-fleeved Coat." 
 The Boy, next him, the fame, but fomewhat more ordinary : The 
 Hair of each is light, and tied behind with a white Ribbon. The 
 Soldier, with the Rope in his Hand, is fwarthy, and dreft in a light 
 yellow Coat reaching to his Knees, with dark and dull iron or copper 
 Straps, three -Fingers broad, about the Waift, over the Navel, and 
 the fame on the Shoulders ; his Helmet is plain, and of Copper, has 
 a Dagger by his Side, and dark Buskins and Sandals, with Strings to 
 the Calves of the Legs. The Perfon behind him, has alfo an Helmet, 
 in the Form of a Dragon's Head; his Body is covered with a Beaft's 
 No. 18. 3 F Skin, 
 
4io Of Architecture. Book VIII. 
 
 Skin, and he has a Truncheon in his Hand. He who, on the left 
 Side, carries the copper Veflel with Money, before him, has a light 
 grey Cloth rolled about his Middle, and coming down halfway the 
 Thighs. The Table is covered with fine red Stuff, hanging down on 
 each Side. The Floor-carpet is dark, and variegated like Turkey-work. 
 
 The Light of the Piece proceeds from the left, a little fronting, as if 
 from a (ingle Window ; whereby the middle Group and Steps receive 
 the broadeft Light. The Soldier, with the Rope, before the Steps, 
 is more lighted on a Side. The Statue, ftanding in the Shade, receives 
 a reflexed Light from the Floor. The Commander of the Phlliftines 
 takes a little Light on his Shoulders. The young Man laden with the 
 Bags of Money, is, with the Table next to him, in Shade ; but the 
 other Bearer receives the Light dire&ly on his raifed naked Breaft. 
 
 Second Table, or Piclure. 
 
 After Samfon's Hair was cut off, and he tied Hand and Foot, he a- 
 wakes, and rinding himfelf thus wretchedly trapped by Delilah, arifes 
 full of Wrath, ftriking and pufhing all away from him as well as he 
 is able ; but is at laft overpowered and feized. 
 
 Here, in^ his Fury, he ftands in the middle of the Piece, turned 
 with his left to the Light, and ftraddling ; his left Elbow rifes, with the 
 Hand and Arm down behind his Head ; his right Hand comes forward, 
 with the Elbow pulled back by a Rope, by one of the Philiftines ; his 
 right Leg advances, and the left falls quite back, yielding, to' the 
 Weight of his heavy Body, which bends backwards. TwoPerfons lie 
 at his Feet, either knock'd or kick'd down, and the third lies on the 
 right Side, againft a Balluftrade with one Hand on the Floor, and 
 catching hold of the Pedeftal, with the other; his Head drooping, he 
 fpits Abundance of Blood. On the left Side of Samfon, a little for- 
 ward, ftands the Commander of the Pbilijiines, punching him in the 
 Breaft with his left Fift, and with the right (wherein he holds a Staff 
 on high) threatningto beat him. Behind the Commander, ftands a 
 Soldier, who, having flung a Rope about Samfon's Neck, pulls for- 
 ward the Nazarean Heroe's almoft mafter'd Head ; whofe Mouth is 
 clofe, and Cheeks are fwelling. Behind Samfon, another ftooping Sol- 
 dier is pulling a Rope faftened to his right Foot. The aforefaid Bal- 
 luflrade, on the right Side backwards, runs towards the Point of Sight, 
 and the Door is in the middle of it; through which rufh in three or 
 four Men touting and armed with Truncheons, Staves, and other 
 
 Wea- 
 
Chap. 9. 
 
 Of Architecture. 
 
 411 
 
 Weapons; of whom, the foremoft, with a Staff or Half-pike, feems 
 
 to ftrike, with all his Might, at the reeling Samjon. Their Fury is 
 very great on this Occafion. A little to the left, behind Samfon, and 
 clofe to the Couch, Delilah is feen embracing the Statue of Venus, and 
 looking back with Aftonifhment; (he is fomewhat high on the Steps ; 
 which run crofs the Piece. Juft beyond her, the old Woman, is either 
 fluncr down or falling, and with one Leg a little up, (hews her Naked- 
 nefs, by reafon of her Garment fomewhat turned up ; Ihe has one 
 Hand on the Floor, and the other coming forwards. In the Corner 
 forwards hangs a Part of a large Curtain, which covers half the Ta- 
 ble, whereon lies the Money. The two Youths, mentioned in the 
 former, come running in a Fright, endeavouring to hide themfelves 
 between the Table and Wall ; the one is already half behind it, and 
 the other is looking back, with his Head between his Hands. Sam- 
 fin's Drapery lies half on the Steps, and the Reiidue is under his Feet ; 
 together with fome Weapons, as Half-pikes and Head-pieces of the 
 Slain. The Commander of the Philijlines has a Veftment reaching be- 
 low the Knees, and a loofe Drapery about his Arm ; about his Head 
 is a light grey Fillet, fattened behind with a gold Ribbon, The main 
 Light takes Sam/on and the Parts about him. Delilah is in a reflect- 
 ing Light, and deep in the Piece. 
 
 Thefe two Pictures were not inferior to the two former in PaJJjons: 
 The Ordonnance, Light and Colouring furprized me, and induced me 
 to think, I faw the very Action and Life itlelf : I was perfuaded, that 
 if I knew not that it was Sam/on and Delilah, I muft have gueft it by 
 their Makes, Faces and Motions : And, what was moft wonderful, the 
 Fact: and Drift could not only be naturally feen, but alfo its Caufe, 
 and what the Ijjue would be, whether good or bad. In the firft Piece, I 
 could ealily perceive that Samfon was to be betrayed ; and if I did not 
 know it, the Circumftances of his Hair cut of, Money told, and Ropes 
 at hand, would make me furmife it. Yet this could not be done 
 without Bloodlhed, as in the fecond Piece, where he is feized and ro- 
 ped like an Ox for the Sacrifice; who, if the firft Blow fail, routes,, 
 pufties down, and tramples under Foot all that he meets with ; 'till, at 
 length tired, he is mattered, and thus led back to the Altar again. 
 Juft fo it appeared to me. Truly, we tee few fuch Pieces fo efficaci- 
 oufly exprefTed ; every thing, as, the apartment, By-works and Inci- 
 dents were fo proper, fo needful to explain the Matter, that the 0- 
 miffion of any of them would have made the Ordonnance imperfect. 
 What an Effect has the Statue of Venus in pointing out the Laid viouf- 
 
 3 F 2 nefs 
 
41 x Of Architecture. Book VIII 
 
 nefs of this heathenilh Woman ! Does not the naughty old Woman 
 with the Key in her Hand, plainly fhew, that file's in her own Houfe 
 not in that of Samfon, or the Commander of the Philijiines? Or of 
 what Ufe would the Money on the Table be, if we faw not, by the 
 Bearer, that it was not Samfon's ? For he is afleep, and the Money 
 now brought in : But if, on fuch an Occafion, the Running of the Bear- 
 ers and the Noife of the Money be thought improper, as difcovering 
 the Plot ; I fay there is no Impropriety in it ; fince it's poffible to run 
 bare-footed over a marble Floor, without any Noife, and to fet down 
 Bags of Money without rattling. All here is hufh ; no body fpeaks, 
 for every one knows his Bufinefs. 
 
 In the fecond Piece, Delilah makes to the Statue for Protection: 
 Why does (he fly, and why in fuch Fear, after Sam/on is bereft of his 
 Strength ? yet (he cannot be eafy ; fhe is tofTed between Hope and Fear, 
 and her Anxiety makes her catch hold of any thing fhe meets with - 
 and, as long as Samfon is prefent, fhe retains her Trouble. The Com- 
 mander's paffionate Motion is, I think, very proper ; for tho' he be 
 difcharging the Duty of a Servant, it's eafy to imagine, that, feeing 
 the dead Bodies lie about him, he would not have expofed hirnfelf to 
 the Danger of approaching Samfon, had he not been fecurely tied: 
 Now, rulhing from his lurking Place, he falls boldly on Samfon ; pofli- 
 bly, not fo much to fhew his own Valour, as to fpirit the others • for 
 he looks not at Samfon, but at the Soldiers. The old Woman's lving 
 tumbled down is not improper, as being feeble-legg'd and full of Fear : 
 And altho' (he have no Share in the Action, yet it's not repugnant to 
 the Story, if only for Delilah's fake ; and for the fame Reafon fhe 
 Is flung into Shade. Her Garment turned up, can be no great 
 Scandal to an ill Woman. 
 
 Let us now confider both the Pictures ; but chiefly the Signification 
 of Samfon\ Hair, and the Love of Delilah, 
 
 We read briefly in Scripture, many Things touching the Hair of 
 Samfon \ of which he was very careful ; becaufe, whilft it grew, it be- 
 came longer and thicker; whereby he gained greater Strength for 
 breaking the Ropes, with which he was at any time bound : But, be- 
 ing cut off, his Strength forfook him, and his whole Body wasVub- 
 je&ed to Weaknefs. 
 
 By the Perfon of Samfon the Nazarean, we underftand, a Man cho- 
 fen by Heaven, and devoted to its Service ; for the Men of that Or- 
 der took, as I have faid, efpecial Care of their Hair ; which gave 
 them Virtue, adorning the Head, h e. the Under/landing ; which, the 
 more it increafes, the more courageous we become againft the Af- 
 
 faulto 
 
Chap. 10. ! Of Architecture. 415 
 
 faults of our Enemies. By Enemies endeavouring to hind us, we under- 
 ftand, human Inclinations, and the Fire of C one upi fence. When now, 
 thro 5 Frailty, we are feduced by this Deli/ah, thofe corrupt Affeclions^ 
 whereby the Luft of Sleep overpowers us, and we flumber in her Lap, 
 right Reafon becomes ufelefs, and we ceafe to do good. Thus we are 
 fhorn by the Wiles of Women ; that is, by means of Voluptuoufnefs , we 
 I are deaf to the Impulfes of the Spirit ; and then of courfe lie open to 
 our Enemies, both to fcorn and crulh us j for worldly Affairs are fo 
 affecting, that they have no fooner got the Mattery, but we find our- 
 felves crofled, either by Covetoufnefs, Love, Hatred, Jealoufy, or o- 
 ther Difquiet: But returning to ourfelves, or awaking, we become fen- 
 fible of our Folly, and thro' Contrition, gradually recover our Hair> 
 and thereby our Strength ; and then, dying to Sin, we at once overr 
 come both ourfelves and our Enemies. 
 
 The Hair cut off alfo implies, the tVeaknefs of the Faculties of the 
 Soul or Spirit j or even Death itfelf. 
 
 Euripides teftifies, that Akeflus could not die before Mercury came; 
 from Heaven to cut ff his Hair. Minos likewife could not overcome 
 King Nifus, unlefs his fatal Hair were cut off by his Daughter. And 
 £>ido, fays Virgil, could not die before Juno, who pitied her long A- 
 gony and lingering Death, fent Iris to releafe the Soul from corporeal 
 Ties, by cutting off her white Hair, and offering it to Pluto. 
 
 Thefe two laft hiftorical Pictures differed from the' two preceding: 
 in this, that they were not mixed with poetic Figures ; as Cupid, or 
 Love; Megara, or Rage, and fuch like, to help the Expreffion of 
 the Pajftons, or Meanings ; fince 'tis certain, that real Truth could not 
 be difcerned from Ficlion by a Mixture of both. And altho' the Sta- 
 tue of Venus, in this Matter of Fatl, feem to be of that Nature, yet 
 'tis nothing to the main Point, but ferves only to (hew, that the Place 
 was heatheni/h, and where probably fuch Figures were common among; 
 that People. 
 
 C H A P. X. Of the Pictures in the fecond Story x . built after the- 
 
 Doric Order. 
 
 F T E R viewing this Apartment, which I could not enough 
 admire, I afcended the fecond Story into another of more ele- 
 gant Architecture, after the ttoric Order. This Room was not fo 
 
 lone 
 
414 Of Architecture. Book VIIL 
 
 long, but a little higher than the former, and I met there with the 
 following Pictures. 
 
 The valiant' Hercules, after having performed many wonderful Ex- 
 ploits, not able longer to refift the Indignation of Juno, his Step-mo- 
 ther, thro' fmarting Rage burned himfelf ; occafioned by the poifoned 
 Shirt of Nejjus, which Deianira had fent him, out of Jealoufy, that 
 he loved hie, Daughter of Euritus, King of Qecalia. Jupiter, much 
 concerned at this, carried him to Heaven in a triumphant Chariot, and 
 placed him among the Stars, in the Number of the Gods. 
 
 This Profpecl was wild, woody, and mountainous. In the middle 
 of the Piece, a little to the right, near the Point of Sight, was feen a 
 large Pile of rough Wood lying crofs-wife, not as chopped, but rent 
 afunder, having Roots and .Branches. The upper Wood was fmall, 
 and the under very large, lying parallel with the Piece. Here the 
 unhappy Heroe, the Scourge of Monfters, was lying extended over his 
 Lion's Skin, with his Head to the right, and Feet to the' left Side 
 turned fomewhat backward, and his Breaft leaning over. His Face a 
 little rifing, and bending forwards, was feen in profile from the 
 right Side, difcovering Resignation, unattended with Pain. His left 
 Arm was quite raifed, with the Hand behind, under his Head ; the 
 other Arm lay out a little forward on the Wood, with the Hand 
 half fhut, and the Infide towards his Body. His right Knee was whol- 
 ly drawn up, with the Foot inclining towards it ; the other Leg was. 
 reprefented hanging off, as if he would lift himfelf fomewhat higher. 
 Philoffetes, before the Wood, a little to the right, kneeling on his left 
 Knee, fupportedhis bent Body on his Elbow and the right Knee. He 
 looked downwards, holding, before his Face, a Part of his Garment, 
 as if he were weeping, and, with a Torch in his left Hand, fetting 
 Fire to the Wood. In the Middle of the Piece, behind the Pile, on 
 the fecond Ground, was feen a triumphal Chariot, finely adorned with 
 Carving and Gilding, and Children with Garlands of Palm ; the fore 
 mod Wheel, like a Star, appeared Tideways, half behind the Ground ; 
 and the Horfes turning to the right, almoft fronting, got fomewhat 
 higher. Mercury was feen entire to his left Foot, which was hidden, .... 
 behind the Ground, on which Foot, leaning back, he ' fupported 
 himfelf. He advanced, with his right Leg forwards, towards the 
 burning Pile, with his right Hand behind him, wherewith he drew 
 in the Rein, as if he were going to ftop; looking back, he was ac- 
 cording Jupiter, riding on the Air, and pointed at Hercules with his * 
 left Hand quite open, and a little foreshortened. Jupiter's Upper- ] 
 
 parts 
 
Chap. 10. Of Jrchite&ure. * 41 y 
 
 parts came forward with his Legs forefhortened towards Mercury y 
 pointing upwards with his right Hand, and Scepter, crofs his Body, 
 and in his left holding the Thunder againft his Thigh. Behind the 
 Chariot, above Hercules, to the right Side, the Ground rofe up hilly. 
 Behind the Horfes were feen high Pine-trees and CyprefTes, and feme 
 broken Stems ; and behind Mercury were others, fomewhat lower and 
 further. On the left Side, up to the Horizon, appeared the Sea ; and, 
 not far in it, a Rock almoft in the Form of an affrighted Man ; which 
 I judged to be the unhappy Servant Lycbas, who was flung into the 
 Sea by his Matter's Fury. On the before-mentioned rocky Hill, flood 
 a fmoaking Altar; and next it, a burning Fire-pan and the Club of 
 Hercules. In the Pannel of the Altar, was carved an Eagle with o- 
 pen Wings, and the Thunder in its Bill ; fitting on a Feftoon of Oak- 
 leaves. In the Front of the Piece, on the left Side, lay a very large 
 Body of an old Tree, tore up by the Roots; and the Hole in the 
 Ground, thereby made, was ftill apparent; the Roots abounded with 
 Fibres, and the other End came forwards to the middle of the Piece, 
 where it went into the Frame. Here and there lay fome May-branch- 
 es, and Stones thrown off their Bafes. On the Ground, by Philotle- 
 tes, lay Hercu/es J s ivory Bow and Quiver, adorned with Gold, and of a 
 Si2e bigger than ordinary ; the Strap being enriched with gold Buckles* 
 On this Quiver was a fmall inlaid or chafed Figure reprelenting dtro- 
 £os, the laft of the fatal Sifters, with her Scifibrs. 
 
 This Piece was ftrongly lighted from the right Side, a little front- 
 ing. The Hill, and Altar, and Flind-part of the Chariot, were moftly 
 in the Shade of the Trees. The Fore* parts of the Horfes, and the 
 Upper-parts of Mercury, half way his Thigh, were in the Light;; 
 and the reft downwards, with Part of the Ground, was in Shade. Ju- 
 piter, placed very high, almoft to the Frame, received the Light be- 
 hind his Head, Shoulder and Arm, and the reft of his Body was in* 
 Shade againft the light Sky. The Trees behind the Horfes were pret- 
 ty dark. 
 
 Philotletes, Son of Paan, was arrayed in a Sattin Coat of Armour* 
 of bright Straw-colour : The Straps were gold Embroidery on a green- 
 ! ilh blue Ground. His Upper-garment hanging behind him, and tuck- 
 j ed up about the middle in the Girdle, between it and the Hilt of hi& 
 I Sword, was Crimfbn, alfo embroidered with Gold; as were like- 
 wife his Buskins ; his Hair was fair, and (hort-curled ; he had little 
 Beard j his Helmet and Half-pike lay by him; the Helmet was feen; 
 
 a little 
 
4 1 6 ' Of Architecture. 
 
 Book VIII. 
 
 a little inwardly, and elegantly wrought with Gold and Silver; A 
 large white Feather hung from it careleOy on the Ground. 
 
 The naked Body, on the Pile of Wood, appeared very' beautiful ;1 
 the Breaft, fomewhat heaving, received a ftrong Light; the Mufcling 
 of the Stomach and Ribs was well expreft, but on the Arms and 
 Legs faintly ; the Toes of the right Foot, which had yet fome Mo- 
 tion, fhrunk inwardly; his Eyes were dying, and the Balls drawn to- 
 wards the Corners; the Mouth, fomewhat open, feemed either to 
 fend forth Sighs, or fetch Breath, or utter, for the laft Time, fome; 
 moving Words ; which rai fed the utmoft Sorrow in PhilocJetes, and 
 melted him into Tears, as I thought. Mercury was almoft naked; 
 having only a fmall green Silk Scarf about him, wherein ftuck his 
 Caduceus. The Horfes were winged ; and the Head of one appeared, ; 
 but that of the other was hid behind Mercury. 
 
 This Piece was particularly remarkable for the Death of the Heroe; 
 and did not ill agree with what we have before in this Work obferved, 
 touching the Condition of a Man in a very hot Summer. Queftionlefs, 
 the Poifon not only worked his Body outwardly, but inflamed and confu- 
 med his very Entrails : For this Reafon, I alfo thought he muft die. ! 
 His Breath was mifty, and his Mouth gaped after Coolnefs; his Eye- ! 
 lids, ftiff and heavy thro' inward Heat, he could hardly keep open ; 
 his Sight (mothered by the Steam, and its Motion retarded by the 
 Slacknefs of the optical Nerves, drew towards the utmoft Corners, i 
 The Sweat broke out and he lhined with Wetnefs ; chiefly about the I 
 Breaft, over which waved a thin Damp, like the Fumes of boiling 
 Water ; which made his Out-line unite with the Ground : In this Part it : 
 was, that the unhappy Heroe had the moft Feeling ; and where the 
 Blood, leaving the Members and feeking for Shelter, was retiring to ; 
 the Heart ; his Breaft was fwelled, and, as he fetched Breath, heaved 
 and fet ; his Belly was fallen in, and the Ribs were prominent ; his 
 Upper-parts to the Navel, were of a warm and fiery Colour, yet frefli 
 and beautiful, as was alfo his Face ; his Lips were not as yet dead nor ! 
 pale, but his Hands and Feet almoft burned black ; his Eye-brows 
 appeared drawn fomewhat upwards, as one who, tho' fleepy, ftrives . 
 to keep awake ; the Arms and Legs were bare, pale and Ihrunk, as 
 partaking of Death ; but the Fingers, Knuckles, Knees, and Toes 
 were Violet, heightened with Yellow ; about the Ribs and Belly were 
 feen fome red and violet Spots of the Poifon ; and his Linnen fhoved 
 underneath at the Navel, hung in Rags, the major Part whereof was 
 under his Body and Thigh, and partly ftained with Blood. Thus the 
 
 illuftri- 
 
Chap. io. Of ArchiteBure. 417 
 
 lluftrious Heroe, a Thunder to the Wicked, lay in Agony. J ti- 
 nt er, very much moved, caft his Eyes downwards fidewife on the pi- 
 :iful Body, and fpake to Mercury, who looked up at the celeftial Ru- 
 
 it, with Concern, as if he were faying, Look Father 1 He is 
 
 \xpiring. No People were feen thereabouts, except thofe before men- 
 :ioned 5 nor any Satyrs or Wood-gods. It's certain, that if any have 
 been there, Hercules frighted them away in his Rage. The Sorrow of 
 Whilottctes was, in my Opinion, inexpreffible, and the Artift therefore, 
 with Reafon, had covered his Face. But why Paa?fs Son (hould be 
 with Hercules, without Servants, I could not apprehend j but fancy'd, 
 it was, becaufe the Painter thought it unneceflary, this Bofom-friend 
 alone fufficiently explaining the Matter ; a fecond Reafon might be, 
 becaufe the Poet mentions nothing of it ; and laftly, becaufe the Mat- 
 ter clears itfelf fo well, that any Addition would alter it, and, inftead 
 of an unexpected Att, make it rather appear as a premeditated Funeral 
 Solemnity. Whence, we may well infer, that the Pile was not prepa- 
 red for him, but that he himfelf made it on a fudden ; as the Poet 
 relates. 
 
 This artful Piece was remarkable for thefe three Things naturally 
 and plainly expreft ; to wit, the Fatl itfelf ; what preceded, and what 
 followed. The Beginning of the Tragedy was, when, having receiv- 
 ed the poifoned Shirt of Nejfus, by Lychas, he offered it at the Altar 
 to Jupiter his Father. The Sequel of his Rage appeared by that un- 
 happy Wretch's being caft into the Sea, and metamorphifed into a 
 Rock ; after which, he burned himfelf ; and his fucceeding Triumph 
 was fhewn by the Chariot which Jupiter fends him for his Deificati- 
 on. Renafcitur exfunere Phcenix. 
 
 The Conclufions to be made from the Perfons of Nejfus, Deianira 
 and Lychas may be thefe. 
 
 We learn from the Centaur, how dangerous the Gifts of Enemies 
 [are ; the Caufe of the great Heme's Death. In Deiarina we difcoyer: 
 her imprudent and indilcreet Paffion, and the EfFe&s of her Jealoufy 5 
 which made her the Inftrument of her Husband's Death ; and in Ly- 
 chas, we obferve the miferable Reward of his Services, and that the 
 Misfortunes of Servants are fometimes by the Great fo conftrued as to 
 tender Obedience and Difobedience equally culpable. 
 
 Over the Door, oppofite to the former Piece, was feen another in 
 an O&agon, equal to the Width of the Door ; which I took at firft to 
 ^>e a Gap in the Wall, becaufe it was a little darkifh j but approach- 
 ing, I found it thus. 
 
 No. 18. 3 G Second 
 
+i8 
 
 Of Architecture. 
 
 Book VIII. 
 
 Second Piclure. 
 
 Amphltryo, being with Alcmena in her Bed-chamber, had, before 
 he went to Bed, laid the two Children, Iphiclus and Hercules, in his 
 Shield, under a Pavillion ; into which, Juno, full of Spite and Rage, 
 caft two Serpents, in order to devour the two Innocents, efpecially 
 Hercules ; who fqueezed them to Death, and flung them at Amphitryon 
 Feet. 
 
 Forwards, on the left Side, one Step high, were feen the two Chil- 
 dren lying in the Shield, encompaffed with a Balluftrade running from 
 the forepart of the Piece towards the Point of Sight, and which took 
 up two thirds of the Piece, Amphitryo, at the Children's Cry, leap- 
 ing out of Bed with an undrawn Sword in his Hand, came to fee 
 what was the matter ; and, having one Foot on the Step, he met with 
 the young Hercules, looking at him with a Smile, and grafping, with 
 both Hands, one of the Serpents, which he fqueezed to Death ; the 
 other lying already at his Feet. Amazed at this, Amphitryo ftarted 
 back: The other Child, bawling out, lay, half tumbled out of the 
 Shield, with a Pillow and Part of the Cloaths on the Floor. Behind 
 Hercules, and beyond the Shield hung the Theban Prince's purple Man- 
 tle over two Half-pikes, which ftuck up flanting from the Wall, and 
 were tied together. Over them, a little backward, the baulked Ju- 
 no was feen mounting upwards, encompaffed with a dark Cloud, with 
 her Scepter by her Side in her left Hand, and, with the other lifted 
 up, feeming to threaten with her Fift, and looked down frowning at 
 the Children. Somewhat further, beyond the Balluftrade, in the mid-, 
 die of the Piece, rofe 4 or 5 Steps, fetched in by an Hand-rail, reach- 
 ing quite crofs tjie Piece. Behind them, at the further End, in the 
 middle of the Piece, was a large and deep Compafs-niche or Alcove,' 
 having a Curtain drawn up and faftened, on each Side, with two 
 Rings; herein flood the Bed. The Apartment was 8 Feet high, and 
 hung with Tapeftries; and over them, as far as I could perceive, the 
 Wall was divided into Pannels, wherein were fome faint Bafs-reliefs, re- 
 prefenting warlike Ads. On the left Side of the Alcove, in the Corner, 
 was a round Pedeftal or half Column, whereon ftood a burning Lamp. 
 Alcmena, much concerned, ftood fomewhat ftoopingon the Steps, look- 
 ing earneftly about, with a fmall Torch in her Hand, which fhe-held 
 up high v refting the other on the Pedeftal of the Hand-rail, and hold- 
 ing a Part of her white Garment, which buttoned under her Chin,, 
 
 and" 
 
Chap. 10: Of Architecture. 
 
 419 
 
 [and trailed behind ; her Hair was tied up in a white Cloth. The 
 [Hind-works were feen, by the Torch, in a dim Light, except the 
 Corner wherein the Lamp ftood ; which, with the Door, adorned with 
 fine Foliage, (hewed fomewhat ftronger. From Juno proceeded fbme 
 light Rays, darting on the Children and thereabouts. This Light was 
 not like that of a Candle, but of the Day or Thunder : It moltly fell 
 on the Under- parts of the Child in the Shield ; his Upper-parts and 
 Head, with fomewhat of the Pillow, tumbled out, were in the Shade; 
 •he turned in the Shield his Upper-parts one Way, and his Under-ones, 
 another ; which were forefhortened. Amphitryon Upper-parts, almoft 
 to the Middle, were in the Shade of the Clouds, receiving ftrong Re- 
 flexions from the Children and the Floor. I ftood pondering, how 
 Alcmena came by the lighted Torch ; but, on a narrow Inlpe&ion, 
 found a large gold Candleftick ftanding near her, by the other Pedeftal ; 
 and I wondered why Alceus's Son had not taken it, yet, on further 
 Confederation, concluded, that, thro' Hurry and Fear, he overlooked 
 it, as ufual on fuch Occasions ; which Alcmena perceiving, fhe proba- 
 bly jumped, out of Bed and feized it. Such was this Picture. Thefe 
 three Lights were finely and di/linflly obferved : The Lamp, which 
 was diftant, gave a white or pale Light, but fomewhat foggy. The 
 Flame of the Torch was, almoft to the Wick, covered by the Clouds 
 under Juno ; which, as far as I could apprehend, was an artful Sleight 
 of the Mafter, in order to render the foremoft Light the brighter and 
 ftronger ; and to avoid the Neceffity of making the whole Piece dark; 
 Which otherwife he muft have done for the fake of Naturalnefs. 
 
 Juno had a Diadem, and a light blue Garment, her Head-attire 
 was wild, and her Locks flying about like Serpents. 
 
 The Poets mention, that Hercules was reprefented by the Ancients, 
 as an Example of all Virtues, as well of the Body as the Soul; fqueez- 
 ing Serpents to Death with his Hands, even in his Cradle ; by which 
 they give us to underftand, that a Man, fitted for Heroifm, ought, 
 From his Infancy, to fhun Pleafures, and mortify carnal Affections. 
 
 Now, thinking to go out of the Aparment, to fee what was fur- 
 ther remarkable, I, looking up higher, perceived another Picture a- 
 gainft the coved Cieling, Cupola-wite ; wherefore, flopping to fee it, 
 and examine whether it had any Relation to the Pieces before men- 
 tioned, I found it to be the Deif cation of the aforefaid great He- 
 roe, welcomed by Jupiter, and the whole Train of Gods and God- 
 defies. 
 
 3 G 2 Jupiter 
 
4io Of Architecture. Book VIII. 
 
 Jupiter fat in the Middle, high on his Eagle. Hercules, crowned with. 
 Laurels, was fecn below, dire&ly under him, ftanding, with one Hand 
 by his Side, and having an Olive-branch in the other he ftood fronting 
 down to Half-way the Thighs, in the Fore-part of the Chariot ; which 
 was on Clouds; the Pole of it rofe up a little to the right Side, accord-; 
 jng to the Courfe of the Horfes, which Mercury was guiding to the left 
 Side upwards, fwaying again to the Middle, and, with the Chariot, 
 making a Semicircle fo that the winged Horfes were feen moftly from 
 underneath ; their Breads fronting, and Heads towards the right: Mer- 
 cury held the Reins in with his right Hand, clofe to his Mouth. The 
 Chariot was furrounded with many Cupids, having Garlands anc 
 Branches. Mercury looked towards the right at Jupiter, who, with 
 his Scepter direfted him to a Circle of 12 glittering Stars in the Fir- 
 mament, which enlighten'd fome fmall Clouds in that Quarter. The 
 whole celeitial Body fat on waving Clouds, exulting and clapping theii 
 Hands. The Sun thone bright. 
 
 I was furprized that none had their Badge, of Diftinftion, e xcept 
 Jupiter, riding on his Eagle, and holding the Thunder, and Mei cur) 
 with his Caduceus in his Hand, and Wings on his Feet : But on Conii- 
 deration, that the Gods are well known to each other, I directed my 
 Eye to Hercules, and obferved, that he was without his Club anc 
 Lion's Skin ; which induced me to think, they were burned with hi 
 Body ; neverthelefs, his frixled Hair and Beard, and fine Mien, con- 
 vinced me, that it could be no Body but Hercules. In fine, I examinee 
 all the Gods and GoddefFes, one after another, and began to know 
 them all, to the very leaft : Apollo, by his radiant Air and beautiful 
 Body ; Diana, by her black Hair and brown Complexion ; Bacchus! 
 by his jolly Cheeks and Members ; JEfculapius, by his long treflel 
 Hair and Beard \ Venus, by her fquab Members and amorous Look! 
 Motrins, by his foolilh Countenance ; and fo forth. Each had hisprcJ 
 per Colours: Venuys Garment was Red, Diana's, Blue, BacchiiA 
 Purple, Ceres's, Straw-colour, Momus's, Green and Yellow, &c. whicH 
 fo diftinguifhed them as to leave no room for Doubt. But Juno and 
 Iris appeared not in their Company ; becaufe, I fuppofe, the formei 
 could not bear the Affront of feeing Hercules thus honoured. I eM 
 mined further, into the Ornaments of the Apartment, and perceivec 
 they were fo orderly and well adapted to the Subject as to raife Wonj 
 der. On both Sides of the Room ranged^ eight Columns of Pifim 
 Marble, crofs-cut into Bands pretty wide from one another; on eacH 
 Side of the Door, and in each Corner, one, and between thefe, twd 
 
 other! 
 
Chap. 10. 
 
 Of Architecture, 
 
 fathers ftanding clofe together, with their Architrave, Frize, and 
 
 iCornice, and thereon a Paparet with Pannels, from which fprung the 
 
 [Coving of the Cieling, in the Middle whereof was this laft mentioned 
 
 tPiece in an oval Compartment of Oak-leaves and Acrons. The Me- 
 topes in the Frize were adorned with Foliage of the fame Sort of 
 
 [Leaves ; and in the Pannels of the Parapet were Feftoons, with a 
 Crown of Laurel hanging at them. Between the two firft and laft 
 
 [Columns appeared other Feftoons in oblong Pannels ; and under each, 
 a Club and Lion's Skin : Thofe Feftoons were compofed of Palm- 
 branches with their Fruit. On both Sides of the Door, between it and 
 the firft Column, ftood a Palm -tree, whofe Branches reached up to 
 the Coving, projecting very elegantly over the before - mentioned 
 Picture. Thofe Palm-trees, with the frizal Ornaments, were bronzed ; 
 the Architrave and Cornice, of ferpentine Stone, and the Frize, like 
 the Columns, Pifan Marble. On each fide of the Door, between, 
 the two firft Columns, was a large Bafs-relief of plain light and: 
 yellow Marble. The one reprefented Hercules afleep, furrounded- 
 by the Troop of Pigmies : The other lhewed his awaking, and hiding; 
 them in his Lyon's Skin. From this firft Proof of his Valour, he' 
 afterwards got the Name of # Hercules Primogenitus. On the other 
 Side of the Apartment, oppofite to this laft, Hercules was feen fpin* 
 
 ■ ning , by Omphale ; and, in the other Pannel on that Side, his (hooting, 
 A ejus. Round the Cieling-piece were twelve fmall circular Pannels, 
 joined together with Wreaths of Palm-leaves; thefe exhibited, in 
 faint Bais-relief of Fret-work, the Labours of Hercules. Between; 
 them and the Piece appeared fome Lion's Heads. 
 
 'Ere we proceed in our Relation, let us lhew what the Heathens unr 
 
 : derftood by the Deification of Hercules. 
 
 Hercules, the Glory of valiant Men, mews us, by his Deification* 
 that thofe who attempt that Honour in their Life-times, as Anthony 
 with his Cleopatra did, or ftrive to obtain it by intreating and cajoling^, 
 the People, as moft of the Perftan Kings and Romulus did, miftake the 
 the right Method; whereas Ilercules's whole Life was taken up in. 
 freeing the World from Monfters and Tyrants ; and no Divine Honours 
 were paid him 'till after his Death ; for Eternity, which he obtained 
 
 ; only by Death, teaches, that true Virtue will not be flattered in this- 
 Life ; as Alexander proved to thofe who were before-hand for calling 
 him a God, by (hewing them the Blood which iftued from his Wounds,, 
 
 i in the fame Manner as from other Mortals. How powerful and virtuous 
 • r " foeyer. 
 
 * H^inus, cap. 30, 
 
Of Archite&ure. 
 
 Book VIII. 
 
 foever a Man may be, as long as he draws Breath he cannot call himfelf 
 happy, as being no more exempted from the Teeth of biting Envy, 
 than Hercules was in his Life-time. The Heathens worfhipped him as 
 a God, according to their Superftition ; believing alfo, that though all 
 Souls are immortal, yet thofe of valiant Men, purfuing Virtue, at- 
 tain an higher Pitch of Honour, and pavtake of the Deity: They even 
 .affign him, in Heaven, Hebe, the Goddefs of Youth, for a Confort, on 
 account of his Strength, which is found only in Youth. 
 
 Thus, in After-times, the Philofopher and Poet Empedocles, vainly, 
 in Imitation of Hercules, who made his Friend Philotletes fvvear never 
 to reveal the Place where he burnt himfelf, nor what was become of 
 him, in order to induce the People to think he was taken up into 
 Heaven) threw himfelf into Mount Mtna: But his Iron Slippers, be- 
 ing caft out with the fiery Stones, difcovered the Cafe and the Truth. 
 But, to return to our Relation, 
 
 In going out of the Apartment, I faw on the Pavement a Sphara 
 Mundi, or terreftrial Globe, curioufly inlaid, divided on each Side 
 with Compartments, and cut with elegant Bands of coftly Marble and 
 Jafper, which ran to the Center : Each Stone (hewed a Monfter running 
 off from the Globe, and fuch as Hercules, in his Life-time, had de- 
 livered the World from. 
 
 I could not fatisfy myfelf with the Sight of this Work. But having 
 at laft feen all Things here, I, by a fide-pair of Stairs, landed on a 
 PafTage leading to another Apartment, of the Ionic Order, nothing . 
 inferior to the before -mentioned in rich Ornaments and Marble. 
 
 CHAP. XI. Of the Pictures in the third Story, built after the 
 
 Ionic Order, 
 
 ON a Time, as Semiramis was combing and binding up her Hair, 
 News was brought to her of the Revolt of the Babylonians : 
 Whereupon, with one of the Trefies hanging untied, fhe imme- 
 diately 'marched againft the Rebels ; and bound not her Hair 'till fhe 
 had regained the Town, and reduced the People to their Obedience. 
 
 This courageous Princefs arofe from her Chair, half-coifed ; fwear- 
 ing with her right Thumb held up, and, with her left Hand, pulling 
 her Side-locks towards her, which a waiting Woman next her, on the 
 right, had in her Hand, and wherein the Comb was as yet flicking. 
 
 On 
 
Chap, i i r Of Architecture. 42 1 
 
 I On the Table by her, which was covered with a coflly Carpet of 
 [thick gold Embroidery, flood a. large oval Looking-glafs, in a sold 
 I Frame chafed with Foliage , and on the top were two billing Pidgeons 
 of unpoliihed Silver. On the Table lay alfo fome precious Ornaments, 
 I as Bracelets, Necklaces, Jewels, and her Diadem, in the Shape 
 I of a Pyramid, befet with Stones. Behind her Chair, flood a young 
 Damfel, holding a gold Plate with fome Cups, Pots and little Boxes 
 for Perfume. Behind this Virgin, appeared two others in Surprize 
 and mutual Embrace. On the left Side was an old Matron, with her 
 Back fronting, holding an opened Letter in her left Hand. A little 
 .more towards the middle, another Virgin was pulling away, from the 
 Table into the Corner forwards, a little Fountain elegantly wrought and 
 reflingonfour Wheels In the Fore-part of the Piece, on the rW 
 Side, a Meflenger was kneeling before the Queen quite deieaed At 
 the further End of the Apartment, in the middle, was a Gate-like- 
 Opening, and on each Side of it, a Term, of white Marble, whereor* 
 hung fome warlike lnftruments. The Room was hung with Tapeftry 
 The aforefaid Gate (hewed an Entrance into another magnificent A- 
 partment,. adorned with Bafs-reliefs and other Imagery At the fur 
 ther End of it was feen a large fhallow Niche, and under it a broad; 
 Pedeftal or elegant Seat, on the Side of which fat the Figure of a 
 .Woman, with the Feet towards the Light, holding in its Lap a Globe- 
 whereon the right Hand, with a Sceptre in it, refted. Its Head was 
 adorned with a tnpple mural Crown. Over it, in the Niche, flood* 
 bafs-relief-like, a grave Man, in a majeftic Drefs, refling his right 
 Hand on a Truncheon, and having a. Torch in his left. He was 
 crowned with Flowers, and about his Neck hung a gold Chain. Thi 
 Figure was Golden, and the Ground of the Niche, Azure-blue The 
 Columns were of white, and the Building, of Egyptian Marble and 
 the Ornaments Gold. Behind the Matron,^ at the End of the firfl A 
 partment, a young Damfel, by the Queen's Order (which the Matron 
 hgnihed to her) was climbed up, reaching with one Hand as high as 
 fhe could,, to takedown fome Arms off one of the Terms ; which the 
 Matron,- with the bent Fore-finger of her right Hand, beckoned ta- 
 per to bring forwards. Whereupon the Damfel looked back as lhe 
 was untying the Weapons.. 
 
 The Queen flood by the Table,- with her Upper-parts turned a lit- 
 tie to the left ; her Breaft was half open, and put out ; her Head al* 
 moft upright, inclining fomewhat towards the left Shoulder j her Eye3 
 ftarrng^ her Mouth, a little, open, as if Ihe were fpeaking: She was. 
 
 drefli 
 
 is 
 e 
 
M 4 °f *4 rc hit e&ure. Book VIII. I 
 
 dreft in white Sattin, over a dark blue Bodice or Cuirafs, richly em- \ 
 broidered with Gold, and befet with precious Sones ; the Sleeves were! 
 very wide, but turned up, and fattened with a gold Buckle or Hook ; 1 
 her Gown, buttoned above the Knee, and gathered up roundabout;! 
 fiie was buskined halfway the Legs : Her Robe, lying on the Chair,! 
 was ofTyrian Purple, embroidered with Gold, and lined with Ermine. I 
 The youncr Damfel, who was bufy in attiring the Head of the Prin-j 
 cefs, 'was dreft in Violet. The Virgin behind the Chair, puthed lome-l 
 what by the Queen's ftarting up, ftept back and overthrew a Cup onj 
 the Plate, which put her out of Countenance: She was dreft in Rofe-J 
 colour j and the two, behind her, in dark Blue, a little greenifh. The 
 Matron had a long cloth Garment of dark Fillemot, gold-bordered ; 
 her Under-garment, as well as I could perceive by the Sleeve, was 
 dark Violet, and her Head elegantly wound with Fillets of many 
 Colours, the Ends whereof hung down her Back. The Virgin, who 
 took down the Weapons, had a pale apple-bloftbm-coloured Garment. 
 The MeiTenger was feen fidewife, a little hindwardly, in a fmall 
 gold-fringed Mantle, dark Grey or blackiih, hanging halfway down 
 his Back; his Under-coat was light Grey, and reached below the 
 Knees > his Buskins were of Beaft's Skin ; he had a Dagger by his 
 Side, or ftuck in his Girdle, with a fmall Staff in his Hand ; his Hel- 
 met, having a Dragon's Head, and two Wings on top like thofe of a 
 Bat, lay by him; his brown Skin fhone with Sweat, as did his Hair, 
 which was not long, yet tied behind. 
 
 The Apartment received its Light from the right Side, through a 
 large Compafs-headed Window, which fell ftrongly on the Queenj 
 and about her, a little forward : She caufed a Ground-fhade on the 
 Corner of the Table ; by which the Matron's Under-parts were well 
 let off. The MefTenger was moftly in Shade, as being more forward 
 than the Window. The Hangings, between the Window and Gateways 
 were half in Shade \ which fet the Princefs and the Attendance be- 
 hind her ftrongly ofY: In one of thofe Hangings (which were very old, 
 and of a dark Purple Colour) was wrought, in coftly Needle-work, 
 The Flood and Noah'i Ark \ and in the other, the Confufion of Babel, 
 and the marching of and Divi/ion of the People ; and above, about the 
 Sweep of the Gate, as round the Edges of a Medal, were fome Syriai 
 . Characters or Letters. On the right Side, over the Hangings, the 
 Apartment appeared lighter, by means of two circular Windows 
 running towards the Point of Sight. The Cieling was coved. The! 
 Floor inlaid with large Marbles of various Colours. About the Table! 
 
Chap. ii. Of Architecture. 
 
 •and the foremoft Group, lay a large white round Stone, which 
 gently united with the other Light j yet without attracting the 
 Eye. 
 
 Forward, on the right Side, behind the Meflenger, fome Steps went 
 down to a Door below. Thro' the Window appeared the Offskip, or 
 Part of a Palm-tree. 
 
 I forgot to fay, that the Weapons hanging on the Terms conflfted 
 ! of Quivers, Bows and Swords. In the Bafon of the golden Fountain 
 ran a Spout of Water, upon a Cloth or two, and a Spunge lying in 
 it. 
 
 Over-againft this Piece, on the oppofite Wall, was the Sequel of the 
 preceding, in a 
 
 Second Piclure. 
 
 Here Semiramis was feen fetting out from her Court, with an ex- 
 traordinary Majefty and Courage. She defcended the Steps very airily. 
 A martial Fire feemed to inflame her Heart j which gave a Glow to 
 her Cheeks ; her Eyes fparkled like two Stars. If (he had not an 
 Helmet, I fhould, by her Drefs and Accoutrements, have taken her 
 for a Diana going a hunting. Every thing was in Readinefs for her 
 March, even to her Robe ; which (he refufed to put on, contented on- 
 ly with a Bow and Arrows and her Authority. The waiting Women 
 ran up and down Stairs, one bringing this, another that ; one of the 
 chief put the royal Helmet on her Head ; a Footftool was fet for her, 
 below on the Stairs, whilft the other was girding the Sword about 
 her. The curvetting Horfe, inured to War, flood ready at the Stair- 
 foot. The Trumpets founded, and the People, full of Defire, crowd- 
 ed about. The Paflage was cleared. The Horfe, divided into Troops, 
 were drawn up in the Inner-court. The Meflenger ran down the fur- 
 ther Steps j and the Matron above, in the Gateway, was gaping and 
 
 , flaring at the Preparations. The Sky was clear, and feemed to favour 
 the Princefs's Enterprize. 
 
 Having, thro' Hurry, but tranfiently viewed thefe Things, I could 
 
 ■not poflibly well remember every Circumftance, ib as to give a true 
 Defcription of that excellent Piece ; wherefore, attentively placing 
 myfelf before it, my Obfervations were as follows. 
 
 On the left Side was feen a magnificent Portico, with four Ionic Co- 
 lumns fupporting their Ornaments ; and on each Side, a Balluftrade 
 and Plinth, running down 5 or 6 Steps, to a large Pedeftal, whereon 
 No. 18. 3 H lay 
 
Of Architecture. 
 
 Book VIIL 
 
 lay Lionenes, caped and covered, wbofe Bodies were full of Syriac 
 Chara&ers. The Gate was circular-headed , and over it a Key-ftone 
 which fupported the Cornice, and wherein was a bronzed Lion's Head. 
 Over each Column, in the Frize, were the fame Sorts of Heads ; and 
 between them, a faint carved Quiver and lighted Torch acrofs. On 
 each Side, in the Wings of the Portico, was a Niche, the Bottoms 
 whereof were even with the Sill of the Door, and running towards 
 the Point of Sight. At the Extremities, of thofe Wings, were two 
 other Columns, ftanding againft a Wall, which ran, on a low Ground, 
 to the middle of the Piece. This Wall was divided by flat Fafcias, 
 in the Nature of Pilafters ; and, between them, were circular Open- 
 ings, through which was feen the Inner-court, and above the Wall, 
 its Side, running, deep in the Piece, towards the Point of Sight.. At 
 the End of the faid Wall was fuch another, parallel with the fore- 
 moft, which bounded the Inner-court f and, further behind, fome Palm 
 and other Trees rofe above it. On the Fore-ground, on the right 
 Side, the Ground was rugged up to the Landing-place of the Steps, 
 defcending into the Fore-court ; in the middle of which flood a large 
 Fountain, of white Marble, refting on a Balis of 4 or 8 Arches, 
 which were fupported by fquare, fmooth and high Pillars, of the Do- 
 ric or Ruftick Order, divided by rufticated or Rock-like Blocks j over 
 this Work arofe, inftead of an Entablature, a large Plinth, three 
 Feet high, of white Marble, like the Figures. On the top, in the 
 middle, rifing 3 or 4 Steps, flood a large terreftrial Globe, fupported 
 by 4 Sphinxes; on which Globe fat a Woman, with her Fore-parts 
 towards the Court, holding high, in her right Hand, a Sun, and 
 downwards, in her left, a Moon. On her Helmet was an Eagle with 
 fpread Wings, and on her Breaft-ornament a Lion's Head. Her Drels 
 was like that of an Heroine. On the loweft Steps, next the Plinth, 
 fat the four Parts of the World, fettered againft fome Trophies. Be- 
 low, between the Pillars, were Copper-bronzed Bafons, which re- 
 ceived fome Spouts of Water from within, out of a Rock. This 
 huge Pile flood in the middle of the Piece, againft the Point of Sight, 
 half behind the Wall. The Fore-court was rough 5 and at the fur- 
 ther End had Steps afcending as aforefaid. 
 
 Thus was the Plan of this Pi&ure, and the Difpofition of all the 
 fixed Work; I (hall now, to the beft of my Skill, defcribe the 
 reft. 
 
 A little to the left of the Point of Sight, the courageous Queen, 
 was defcending the Steps, with her left Leg forwards, and her Body 
 
 bend- 
 
Chap. ii. Of Architecture. 
 
 417 
 
 bending fomewhat back, poifing on the right Leg on a Step higher. 
 She fwayed her Upper-parts to the left, with the Breaft fronting; 
 fomewhat lifting up her left Arm, which was guarded with a fmall 
 Shield; at the fame Time, a ftooping Virgin girt her Scimitar. Her 
 right Hand, in which (he held a Bow, hung, with the Arm down- 
 
 \ wards 5 and a Quiver full of Arrows appeared above her left Shoul- 
 der; A crown'd Helmet, ornamented with a large white Feather, 
 was fet on her Head by another, and a third, with the royal Robe, 
 (which the Princels thought needlefs in this March) was going up ftairs 
 again, with her Eyes fixed on the Queen : This Virgin's right Side 
 was a little fronting ; and fhe held the Robe high in her left Hand, 
 that it might not drag, and, with the right, kept the reft clofe to 
 her Body ; her dark Head-attire was ftrongly fet off againft the white 
 Furr, or Lining of the Robe ; and her Locks, thro' her fwift Mo- 
 tion, were flying behind, and her Gown ruffling between her Legs : 
 She was girt juft under the Breaft, and had white Sandals : The Gown 
 was open on the Side, difcovering the bare Leg and half the Thigh : 
 Her Garment was Rofe-colour. The Matron, near the Gate-way, 
 
 I ftood ftooping forward, and wondering, with her right Hand on the 
 Balluftrade, and looking down. Next the firft Step, before the Queen, 
 under the Point of Sight, ftood a ftooping Damfel, fetting a fmall 
 Ivory Footftool, covered with purple Velvet, for the Queen to mount 
 her Horfe by; (he held it with her right Hand, and with the other 
 was tucking up her Garment behind, feeming fearful of the Horfe. 
 A little from thence came, from the right Side of the Piece, a young 
 Man, looking at the Damfel, and holding, with his right Hand, a 
 fine Horfe by the Bridle; he was feen from behind ; his left Leg ad- 
 vanced, and the right drew quite back, juft touching the Ground with 
 his great Toe \ his Breaft proje£ted quite over his Poiie, as if he were 
 ftill walking ; ftriking the Horfe's Belly with his left Hand to make 
 him turn about. The Horfe's Breaft was fronting, and his right Side 
 fomewhat forelhortened ; his Head in Profile ; the foremoft Leg pran- 
 cing, and the right drawing in, as if he went backwards ; his open 
 
 I Noftrils were white \ as were alfo the Breaft and Legs ; the reft be- 
 
 ! ing dark or brown : The Bridle and other Things were Gold befet 
 with Stones, having a rich Caparifon, fet oft' with gold Plates : The 
 Houfing was Purple, richly embroidered with Gold, powdered with 
 Pearls and other Coftlinefles, and almoft trailing the Ground, with fine 
 Taflels flying up at the Horfe's Motion : The Mane was dreft into 
 Trefles ; and the Tail buttoned up. A Tyger's Skin covered the 
 
 3 H 2 Breaft. 
 
Of Architecture. 
 
 Book VIII. 
 
 Breaft. The young Man had long light Hair, tied behind ; his Coat,, 
 girt in the Middle, was light Yellow reflecting Green ; being ftrongly 
 iet off againft the purple Houfing ; his right Shoulder, with half his 
 Back, was feen bare ; and his Carnation, beautiful and frefh ; his San- 
 dals were White. The Horfe gave a Ground-fhade over the DamfeL 
 with the Foot- ftool, and a little beyond her. Quite on the right Side, 
 fomewhat further, ftood two Trumpets, turned towards the inner Court, 
 girt with Beafts Shins, and founding : Their Trumpets, almoft like 
 thofe of the Romans, were winding like Serpents, with Dragon's Heads 
 at the Ends of them. On the further Side of the Queen, the Meflen- 
 ger appeared running down the Steps, quite over his Poife ; pointing, 
 with his right Hand a little forefhortened, forwards at the inner Court,, 
 with his Face towards the Queen : By the little flying Mantle behind 
 him, might be perceived the Swiftnefs of his Motion j his Action, like 
 that of a flying Mercury, being free and extenftve : He flung out his 
 left Leg, and his right Foot was quite behind, and oflf the Ground; 
 The people, on the fecond Ground, below Stairs to the Pedeftal of the 
 firft Balluftrade, were feen between his Legs : Thefe People, as welt 
 Men, as Women and Children, ftood, fome wringing their Hands, 
 others lifting them up high, fome embracing, others clapping their 
 Hands j the former for Fear, the latter for Joy: Among the reft was 
 feen a diftrelTed Woman, hanging her Head ftdeways, with her Arms 
 down, and Hands folded : By her ftood a grave Man, talking to her 
 almoft Mouth to Mouth *, with his right Hand pointing up to Heaven, 
 and with his left, giving her a friendly Look, he pulled her by the 
 Sleeve, as if he would have her take heart. Some Children were lying 
 on, and crawling up the Steps. In the Fore-court fome Troops of 
 Horfe were feen putting themfelves into Order, and others mounting 
 their Horfes. On the further Side of the Place> other People were 
 coming running down the Steps. The Offskip behind them, on the 
 right Side, was hilly. Over the aforefaid Steps, at a Diftance, arofe a 
 large Pyramid, and fome Palm-trees, appearing darkilh againft the clear 
 Sky. The Fore-court was light, and the, inner Court itfelf, on the left 
 Side, of white Marble. The Wall, on the further Side of the Steps* 
 was, together with the People, and beyond the Lioneftes, (haded by a 
 Cloud ; which ftrongly fet off the foremoft Group, whereon the main 
 Light fell. 
 
 The Trumpets, on the fame Side, with a Part of the Balluftrade on 
 which they leaned, were in Shade. Forwards, in the Corner, was feen 
 Part of an open Gate, and its Side-wall running up high, juft beyond 
 
 - H ? the 
 
phap. ii. Of /Irchite&ure. 429 
 
 the Trumpets ; who thereby were in the Shade, receiving here and 
 there, from the Opening, a little Light on their Under-parts and Legs. 
 The Gate was low, becaufe the Ground run off Hoping from the Steps ; 
 the Ground, with the Hind-part of the Horfe being {haded by it. The 
 Horfe and young Man received fmall but very ftrong Lights and Shades. 
 ;The Trumpets and Gate were ftrongly reflected from the left Side. 
 The People on the fecond Ground, againft the Balluftrade, were moftly - 
 "lighted from on high, by the Blue of the Sky, and could have no Re- 
 flexion, becaufe they flood parallel, along the Stairs. Behind the 
 Wall, with round Openings againft the Angle of the Wings of the 
 Portico, arofe the Top or Leafing of a large Palm-tree ; which broke 
 khe Length of the faid Wall ; at the lame time caufing the Extremities 
 of the Wings to unite agreeably with the Inner-court. The Portico, 
 •fronting the Light, was, with the Balluftrades, of Pifan and Egyp- 
 tian Marble, with white Ornaments. The Lionefles on the Pedeftals 
 ,wer>e of Serpentine. The upper Steps were of white Marble with 
 Eyes. The large and fpacious Landing, at the Foot of the Steps, was 
 of Free-ftone ; and the Ground, on the right Side, fomewhat. Ruflet, 
 mixt with Earth. 
 
 The Matron had, as in the former Piece, a dark Fillemot Upper- 
 garment, over a Violet one ; and her Head was elegantly wound. The 
 young Virgins were alfo as before. She, who girt the Princefs with 
 the Sword, had an apple-blbflbm-coloured Garment \ her Coat being 
 tucked up behind; her Head-attire was light againft the dark greenifh 
 blue. Garment of her, who, ftanding one Step higher in the Shade, was 
 putting on the Queen's Helmet. The young Damfel below (haded by 
 the Horfe, was like wife dreft in Blue. The Virgin, with the Roy al 
 Robe, flood dole to the foremoft Balluftrade, almoft up the Stairs, 
 behind the Lionefles, which .were' ftrongly fet off againft her light 
 
 - Garment. I had almoft forgot a Soldier ftanding in the Gate, near the 
 
 [Trumpets, with a Club plated with Iron on his Shoulder; he had a 
 light grey Linnen Coat reaching below his Knees, with Stockings on 
 
 t his Legs, and on his Head a copper Helmet, adorned with two Beaft's 
 Horns; about .-his Neck was fattened a brownifh red Beaft's Skin, wirh 
 
 [the Paws to it, and, by his Side, a Dagger. This Man was entirely 
 
 \ in the Light of the Gate. 
 
 After a thorough View of this Picture, I began to confider, wherein 
 its Goodnefs lay, which was what I chiefly wanted ; wherefore, taking 
 
 \ my Pocket-book, .I fet down io it the general Heads in the following 
 
 f Manner.. - 
 
 Firft, 
 
45© 
 
 Of Archite&ure. 
 
 Book VIII. 
 
 Firft, The Difpofition of the Irregular ObjecJs againft each other, 
 whether high or low, (landing or lying. 
 
 Secondly, The Difpofition of the Gr ounds behind each other. 
 
 Thirdly, The placing of the Lights. 
 
 'Fourthly, The Motion of the moving Objects. 
 
 Fifthly, The proper By-works, Climate, and Cttftoms. 
 
 Sixthly, The Conditions or Characlers of the Perfons, with thej 
 Dre[fes and Syrian Equipage. 
 
 Seventhly, The particular Poflures and PaJJtons. 
 
 Laftly, The Harmony of the Colours. 
 
 Being much rejoiced, and inflamed with new Ardour for further In- 
 quiries, I faw, oppofite to the aforefaid two Pictures, on each Side of 
 the Door, the following Bafs-reliefs in white Marble. 
 
 In that on the right Side Semiramis was ftanding on the Fore- 
 ground, and by her an Architect, Ihewing her, on a Board, the Plan 
 of a Town-wall. On the left Side were Workmen, bufy in carving, 
 hewing, cutting and fawing Stones: And on the fecond Ground, 
 the faid Wall appeared faintly juft above Ground, and next it was the 
 Town. 
 
 In the other Piece the Queen was feen on Hbrfeback, with a Qui- 
 ver behind her, and aiming at a Lion, who, rearing up, approached 
 her, with an Arrow through his Body. In the OfTskip, the Town- 
 wall appeared as finifhed, and here and there fome Palm-trees. The 
 Figures were fmall Life, and finely wrought. 
 
 Between thofe Bafs-reliefs flood a fquare Pedeftal in a Niche, and 
 on it the Statue of Semiramis, with a dead Lion under her Feet. She 
 was dreft in the Jjjyrian Manner, as an Amazon, with a Bow in her 
 Hand, and a Quiver behind her ; and on her Head a crowned Helmet, 
 on the top whereof lay a little Dragon, whofe Neck curled down the 
 Fore-part of it. The Pedeftal was Porphiry, and the Figure marly 
 Gold. The Niche, like the Building, was intirely Serpentine, and 
 the Pillars and Pilafters of Egyptian Marble. 
 
 Over the Niche was an oblong azure-blue Table or Fafcia, anc| 
 thereon a Pile of burning Wood, of white Marble, out of the Smoke 
 whereof afcended a Pidgeon. 
 
 Over each Column was a Modillion of Olive-leaves, which lupport-s 
 ed the Architrave, and in the Frize were fome Arms, not much 
 rifing. All thefe Ornaments were of Gold. 
 
 In the middle of the Arch- work arofe a very large Cupola, anc 
 therein was a celeftial Sphere, of blue Chryftal, with the Signs anc 
 
 Circle? 
 
Chap, n. Of drchitetture. 43 x 
 
 ircles of Gold. The half of this wonderful Machine took up the 
 upola, (hewing itfelf in fuch a Manner as if the Sun (hone on itf and 
 .nlightening the whole Apartment for which Reafon, I did not be- 
 ore take notice, that the Room had no Windows. On each Side of 
 the Sphere were two Tables of Fret-work, and each had a Figure 
 In one was reprefented Strength, like an Heroine, holding an Oaken- 
 branch, and having a Griffin on the Shield ; and in the other was alfo 
 an Heroine, fignifying political Government, leading a bridled Lion, 
 with the left Hand, and holding a Staff in the right. By which Fi- 
 gures and the Sphere are underftood the Heavenly Influences, as Philo- 
 lophers intimate^ 
 
 The Floor was* like that in the Under-apartment, inlaid with a 
 terreltria! Globe, juft under the Cupola ; where the Light falling di- 
 reclly upon, it, made it rife, and look fo relieved, that I was afraid to, 
 walk on it. 
 
 Over the Door, in a round Compartment of Palm-leaves, I faw 
 carved, in white Marble, an old Sea-god, whom I judged to be Father 
 Ocean, leaning, on a large Sea-vafe, ftedding abundance of Water 
 running crofs through the Piece ; out of which arofe, in the middle 
 a >rge wjriged Lion# 0n the other Side of the s ea-god appeared a 
 imall Hill, and thereon a little Palm-ftem. This Table was like a 
 Medal of one Depth. The Senfe alluded to the firft Rife of the Jilyri- 
 an Monarchy, reprefented by the winged Lion, according to the Pro- 
 phet EzekieL 6 
 
 C H A P. XII. Of the PiBures in the fourth Story, built after the 
 
 Roman Order, 
 
 WH E N Horatim had gained- the Vidory over the three Cura- 
 ttt, and was going with their Arms to the Capitol, he was met 
 by his Sifter, who, efpying thofe of her Bridegroom, called 
 ^er Brother a Murtherer: At which enraged, he drew his Sword, and 
 ftabbed her, thereby ftaining the. Vidory with his own Blood, Tha 
 people, judging this to be a Cruelty, voted, that he had therefore ren- 
 aered himfelf unworthy of the Viftory, and that he ought to be put 
 to Death. ° r 
 
 Piclure, 
 
431 
 
 Of Architecture. 
 
 Book VIII. 
 
 Picture. 
 
 This forrowful Triumph happened before the Capitol, at Rome, as, 
 when in its ancient State. Forward was feen a large Plain, encom- 
 pifled with Walls, where lay two carved Lionefles of Porphiry, which, 
 >m probable, the Artift introduced, in order to make the Place the 
 more remarkable ; and tho' it may be doubted, whether they have: 
 been of io long ftanding, yet we may eafily .admit it. On the right 
 Side was rcpreiented the proud Capitol, of Marble, and coftly Archi- 
 teaure after toe Roman Order, afcended by a fpaaous Plight : of b.teps. 
 On the top was this Infcription in Gold Letters, b EN AT J S P OP U- 
 LUSQJJE ROM AN US, u e. The Senate and People of Rome.: 
 Here, they were mounting the Steps with the Arms on Pikes. Horati- 
 us followed, ftieathing his Sword. Behind him his unhappy Sifter 
 dropped down backwards. The People, from all Corners, flocked to- 
 gether, muttering and curfmg his Cruelty ; but he, regardlefs of it, 
 boldly went forward. Before the Steps, about 3 or 4 Paces length, the 
 Ground was paved with large grey Stones ; the Refiaue being rugged or 
 uneven. The foremoft Weapon-bearer, entering the Gate, held his 
 Trophy fomewhat ftooping within it : He was leen from behind, hav- 
 ing almoft the fame Adion as the Gladiator, his left Arm extended, 
 and his right Leg on the Threihold. The fecond, two or three Step* 
 down held his Weapon up againft his Body, looking back at the, 
 third who followed clofe, and was fpeaking to him. ihis polled on 
 his left Leg, having his right very much bent, and the Toes of it on 1 
 Step higher; his Upper-parts fwayed a little to the left, with his Head 
 forwards ; holding the Pike, in his left Hand againft his right Breaft, 
 and the Bottom of it with his right Hand. The third carried the Troi 
 r>hv on his Shoulder almoft upright ; his Breaft projeaing, and his 
 Back fwaying a little forwards, with his Elbow ftanding out, fettfng 
 his rieht Foot on the Steps ; the left being quite behind, and off the 
 Ground, as walking on; and the other before him, as a little looping. 
 Thofe three Men were called Velitcs, or light-armed, and dreft in Lin- 
 nen -irt about the Middle, with Daggers by their Sides, and plain 
 Helmets on their Heads \ as we fee in the Prints of Trajan's Column, 
 and other Remains of Antiquity. Three or four Steps from thence^ 
 iuft in the Middle of the Piece, Horatius advanced in full ArmourJ 
 holding an Olive-branch befide his Scabbard in his left Hand, and on 
 the fame Arm, (which, with the Elbow, was putting out, and a little 
 
 fore- 
 
Chap, ii. Of Archite&ure. 433 
 
 jforeftortened) a fmall Shield, whereon was reprefented a Lion. His 
 Breaft was fronting, and the right Hand lifted up and iheathing his 
 Pword. His right Leg was put forth, fomewhat bent, and the other 
 Brawn far back, in the Shade of his Body, as if he were ftepping 
 Forward in hafte. With his Face fronting he looked down on the 
 pcabbard ; having on his Head an Helmet crowned with Laurel and 
 Pak-leaves j with a Feather behind, which, by the Turn of his Head 
 and the Swiftnefs of his Walk, flew to and fro'. A Mantle, fattened 
 on his right Shoulder, and tucked under his Chin, hung a little over 
 his left Shoulder ; one Flappet of it flew behind, and the other for- 
 wards, flinging over his left Leg. The Straps under his Coat of Ar- 
 mour and on the Arms were fho'rt and broad, and rounding at Bot- 
 toms. His Buskins came half-way up the Legs. A little from him 
 forwards was feen the expiring Virgin, falling back, with her Feet ex- 
 tended towards him, and Arms fpread wide, the right lifted up, and 
 the left finking ; her Breaft turned to the Light ; her right Hip fvvel- 
 led, her Thigh was at full Length, and the Leg a little foreihortened ; 
 the left Leg hid under the right : Her Face, aifo foreftortened, lean- 
 ed towards the right Shoulder, which, with a little of the Breaft, 
 was naked ; her Breaft-garment, girt under the Breaft, was flying up- 
 wards ; her Upper-garment finking, flung over her right Leg, and a 
 Flappet of it hung over her left Arm; her light TrefFes, by her Tum- 
 ble, flew upwards. Beneath her, a little more to the left Side, was 
 an aged Woman fupporting the noble Virgin, and, fhrieking out, be- 
 holding the Murtherer; ihe, with her Breaft downwards, and left 
 Hand on the Ground, and right Hand lifted up, was ftaying, with 
 her Body, the Back of the dropping Roman Virgin: Her Head 
 was wound with Cloths and Fillets. Juft behind her appeared the 
 half of a Pedeftal, whereon lay one of the aforefaid LionefTes j and, 
 fomewhat further behind the* Fellow of it, running towards the 
 Point of Sight. Two Soldiers followed Horatius ; who, in Diffatif- 
 Fa&ion, feemed to turn back. Not far behind the Conqueror were 
 fpme Spectators highly difcontented ; fome were pointing at him, 
 (Ome menacing, others disdainfully turning their Backs upon him, 
 &c. It looked as if we heard them grumble. On the Fore- 
 ground, on the right Side, an aged Man, with one Shoulder bare, 
 jame haftily running to fee what was the Matter; he had on a fhort 
 "Toat, with an Herdfmen's Cap on his Head, and a Flute and Scrip 
 it his Side ; his Under-parts were, with part of the Fore-ground, 
 n Shade, and his Back fronted the Light. A Dog ran before, look- 
 No. 19. 3 I ing 
 
Of Architecture. Book VIII; | 
 
 ins back at Him, according to the Cuftom of tbofe Creatures. Beyond 
 the Capitol, Part of a Wall, with its Architrave and a large corn pais- , 
 headed Gateway, ran towards the Point of Sight. This Wall extend- j 
 ed from thence crofs through the Piece, by the Point of Sight, ^ to 
 the left Side, and was divided by rufticated Doric Pilafters, into 
 Squares, wherein were fmall Niches. Out of this Gate, juft below 
 the Wall, fome Cattle, as Oxen, Cows, Goats and Sheep were coming, 
 with a Shepherd, who, at the Noife, was looking back. This Shep- 
 herd and Cattle coming in at the Gate, made me believe, he came 
 from the Market, becaufe it was behind the Capitol Over the Wall 
 appeared feveral fine palace-like Buildings; as alfo a Column, where- 
 on was placed a She-wolf, with the two Children Romulus and Remus. 
 Above the Angle of this Wall, on the right Side, in the Offskip, 
 was feen, as well as I could guefs, the Rock Tarpeia, rifing up very 
 high • but neither the Pantheon, Monte Cavallo, Vatican or LoloJJeum, 
 as not being as yet known : No Ruins nor broken Buildings appeared 
 here, but all beautiful and whole, except fome little Houfes ; iincj 
 the Town had not been an hundred Years landing, nor before ruined. 
 On the left Side, forward in the Corner, on a rifing Ground, flood a 
 Woman by the Trough of a Fountain, aftonifhed and crying out, whe 
 feemed as if (he were going away; lifting up one Hand on high, anC 
 holding out the other to a young Girl, who came running in ConfuU- 
 on. A Child, held by another Girl fitting on the Side of the 1 rough; 
 was looking down on the Ground on an overturned Pot of Milk. 1 tti 
 Fountain Mood againft a large Pyramid, which run towards the 
 Point of Sight. Several ordinary-dreft People, Men, VVomen an 
 Children, came running in Groups, 3 or 4 together, from behind th] 
 Pyramid; others were returning from thence. The young Girl, whl 
 came running in Confution, had a fhort Coat, and was barefooted, anj 
 her Hair very meanly tied behind. Thefe People and Objefts with thi 
 Pyramid, filled up almoft a fourth Part of the Piece. A Row of lov 
 Houfes, like an Hamlet, ran by the Pyramid towards the Pom 
 of Sight ; and above them arofe fome Pines, Cyprefles and othe 
 
 Trees 1 
 This Piece was lighted from the right Side, yet a little fronting 
 The Capitol gave a large Ground- fhade over the Steps beyond the : tvj 
 Arms-bearers, and continued beyond Horatius, over two or three Mer 
 who flood behind him, againft whom he was ftrongly fet oft. Th 
 Side-walls, with the Gate, reached half the Height of the Building; th 
 feme receiving ftrong Reflexions from the Ground, and having Grcmnc 
 D ihad 
 
Chap, ii: Of Architecture. 43 f 
 
 fhades which were not too fbarp. The Pyramid, with the Women 
 and Children, was kept fomewhat darkifh, by reafon of a Cloud; ex- 
 cept the top of the Pyramid, which received a clear Light. The Sky 
 was full of Clouds, efpecially in the middle, and on the left Side of 
 the Point of Sight, behind the Houfes. 
 
 The Romans, in thofe Days, except People of the firft Rank, wore 
 little or no Variety in the Colours of their Cloaths ; they were moft- 
 I ly white, or elfe light grey Woollen. For this Reafon, as I conjec- 
 : ture, the Defigner of thefe Pidures had made the principal Perfons to 
 \ excel; for I perceived, that the People were moftly in Grey or White i 
 fome, a little Ruffet, others inclining to Green. Few among them, 
 except aged People, had long Gowns or Garments. Horattus's Coat 
 of Armour (hewed Golden ; the Straps under it, and on the Arms, 
 were elegantly embroidered on a fillemot Ground ; his Mantle was 
 yellowifh White, with Violet Reflexion. The Scabbard of his Sword 
 was dark Blue, finely wrought; the Hilt reprelented an Eagle's 
 Head: His Buskins, tied with white Strings, but quite fouled, 
 as I judged, bv Sand and Duft, were Purple. His Sifter's Upper-gar- 
 ment was light Blue ; her Breaft-garment light Yellow, with violet 
 Reflexion, almoft like that of her Brother. The aged Woman be- 
 neath her was fwarthy-skinn'd ; her Garment greenifh Blue, and 
 plain. The LionefTes were dark Porphiry, and the Py ramid, of a rocky 
 Stone. 
 
 Having fufficiently viewed this Pi&ure, and exactly learnt ail the 
 Circumftances of it, I took infinite Delight in feeing how naturally the 
 Occurrence was exprefled, and that nothing was fuperfluoufly introdu- 
 I ced, tho' the Story does not make mention of all the Perfons who 
 were brought into this Reprefentation. I thought, it is truly of great 
 ; Moment, that the principal Parts of a Story be well exprefled ; and 
 ! herein, a good Mafter has Work enough to give each Perfon his due 
 I Paffion, to the end the Matter may lpeak for itfelf : But it becomes 
 ftill more excellent by the Addition of all other neceflary Circum- 
 ftances (tho' not to be found in the Hiftorian) after iuch a Manner 
 that both appear natural. 
 
 On the right Side of this Piece, I faw a carved Bafs-reliet in white 
 Marble, exhibiting an Emblem over the foregoing. This Bafs-relief 
 appeared in a Niche running towards the Point of Sight. On fome 
 high Steps, ROM A was on her right Knee, and lifted up by Valour. 
 Her Breaft was fronting, and her Head turned a little backwards to- 
 wards the left Shoulder j her right Arm hung down, juft touching 
 
 3 I 2, the 
 
43 6 Of Archite&ure. Boot VIII. ! 
 
 the Steps with the Tips of the Fingers ; her left Elbow ftood out to- 
 wards the left Side, in the Hand whereof fhe held an hanging Flap- I 
 pet of her Garment. The left Foot, far from the Steps, retted on j 
 the Toes, Teeming, by the Rife of the Hip, and the Knee keeping 1 
 down againft the Steps, to pulh her up. Valour was reprefented turning | 
 its Upper-parts fidewife towards ROMA,fupporting her Elbow with its J 
 right Hand, the Arm whereof being faint in the Ground. Its Head 1 
 was in Profile, and the left Arm, guarded with a Shield, a little drawn ] 
 back. It ftood lomewhat like the known Statue of Apollo, fupported | 
 on its right Leg, the left faintly uniting with the Ground. A little 
 further, ALBANIA was on her Knees, quite bowing her Body j fhe I 
 was decked as an Heroine, with an Helmet, in the Form of a Town- 
 wall, on her Head, and laid with the left Hand a Staff down on the 
 Ground, holding the other at her Breaft ; her left Knee was upwards, 
 with the Foot drawn in ; and (he looked down with a dejecled Counte- 
 nance. Behind her flood Fate, yoking her Shoulders, and fhe at the 
 fame Time pointed backwards with the right Hand at fome Trophies, 
 which hung on Pikes, and united faintly with the Ground. This 
 Goddefs of Fate was dreft like an old Matron ; in her Girdle ftuck a 
 Pair of Sciflbrs ; her Under-parts were feen fidewife, and the Upper 
 from behind, with her Eyes fixed on ROMA. Under the aforefaid 
 Trophies, the horned Tiber-god lay with his left Arm refting on a 
 large Vafe, and holding in his right Hand an Oar behind his right 
 Side : He lay on his left Side, with the Breaft turned againft the Light; 
 the left Leg was ftretched out, yet faintly rifirig ; the right Hip up- 
 wards, and the Thigh, feen only to the Knee, refted on the other Leg; 
 the Refidue united with the Ground. Behind his Back, the She-wolf 
 and Part of the two Children were feen. Above him appeared fbme \ 
 Columns, as of a Portico, running towards the Point of Sight, which, 
 as on the other Side, were half loft in the Ground. Viclory, flying 
 between ROM A and Valour, held, in her right Hand, .a Crown of 
 Laurel over the Head of the former, and with the left putting into ! 
 her Hand a Scepter topped with a little Globe ; her Garment was 
 flying behind her, and her Legs, quite extended without any fore- 
 fhortening, faintly united with the Ground. In the Shield of Valour 
 was reprefented the Combat of Horatius with the Curatii, and on her 
 Helmet, crowned with Oak-leaves, was a Lion's Head, and the fame 
 on her Buskins. This W ork was inclofed between two young Palm- 
 trees, not much leaved. 
 
 The 
 
Chap, ii." Of Architecture. 437 
 
 The Triumph, on account of the mournful Accident, fo much af- 
 fected me, that I remained in Sufpence ; not knowing, for fear of a 
 milerable tribe, whether I might turn to the following Piece : Never- 
 thelefs, confidering the Bravery of Horatius^ Exploit, whereon de- 
 pended the Power of Rome, I took heart, in hopes of his Preferva- 
 tion, which I found agreeable to the Writer's Relation. 
 
 Horatius then was fecured for the Murther of his Sifter, and, ac- 
 cording to Law, fentenced to be put to Death : Yet, in Confideration 
 or his heroic Adion, pardoned, on Condition that his Father paid, as 
 a Fine, a certain Sum of Money into the publick Treafury. The 
 ■Picture, as I remember, was thus : 
 
 Second Pifture. 
 
 At the Capitol, Juftice, or the Roman Law, fat in a raifed Chair, 
 with the Scales in her left, and a Pole-ax in her right Hand. In one 
 Scale lay a Sword, and in the other, a Crown of Laurel with a Palm- 
 branch ; this latter far over-ballancing the other Scale, as a Token 
 • r? t J tt J e r W 1S mit, 'g at ed b y Mercy. The Criminal flood very de- 
 jected before her, with his Hands iron'd behind him. On her left 
 bide, the Father, on his Knees, was offering a Veflel of Money at 
 her Feet : On her right flood Mercy, with-holding the Hand wherein, 
 was the Pole-ax, and with the other pointing at a Piaure, held by 
 lome Children, reprefenting the decayed Roman Dominion refined by 
 m Valour oj Horatius. Further were feen the Arms of the three 
 ilain Brethren, planted there by himfelf round the Statue of ROMA, 
 whereon JujHce had fixed her Eyes. Another Child, crowned with 
 Laurel, was looting the Fetters of the Accufed with one Hand, and 
 putting on his Helmet, or fetting- up the Cap of Liberty, with, the 
 other. On each Side of the Throne was a Bafs-relief, and over 
 them two Niches : In that on the right Side was reprefented Numa- 
 Pompthus, and in that on the left Lycurgus, two of the moft anci- 
 ent Legators. The Bafs-relief under Numa exhibited the Example 
 of Chatondas, who, to enforce his Law, (tabbed himfelf, in full Se- 
 nate, for having afted contrary to it : And under Lycurgus, that of 
 Seleucus, when, for his Son's Sake, who, by Law, had forfeited his: 
 Eyes, he caufed one of his own to be put out. So ftria were the an- 
 cient Romans in Support of their Laws, Over the Throne hung two. 
 Tables, containing the Roman Laws, written in Greek Letters of Gold, 
 
 This 
 
438 
 
 Of Architecture. Book VIII. 
 
 This unexpeaed Event much rejoiced me ; wherefore, fulLof De- 
 fire I went to a third Piaure, in order to obferve on what Bafis fo 
 great a Work was built, and found it as follows. 
 
 Tullus Hoftilius, chofen by the Roman People for their third King; 
 on account of his great Ability and Merit, invaded the x Alban Terri- 
 tory tho' a ftout People, and bearing much Sway in Italy. Theie, 
 weakened by many Battles, at laft agreed with the Romans to end 
 the Difpute by a Combat between three Brothers on each bide ; thole 
 of the Romans were named Horatii, and of the Albans, Curatii. 
 The Fight was glorious, yet doubtful, but at laft fortunate for 
 the Romans ; for, one of the Horatii, after having loft his two Bro- 
 thers, miftrufting his Strength againft three fuch brave Enemies, add- 
 ed Policy to his Courage, and, by an artful Sleight, flew the three 
 Curatii one after another j and thus got the Viftory. 
 
 Third Piflure. 
 
 Here appeared the Place of Combat, fenced in. On the right Side 
 was feen the General of the Roman Forces, and on the other, at a 
 Diftance, he of the Albans, both fitting fome what high, with their 
 Badges of Diftinaion. In the middle of the Piece, Horatius was re- 
 presented turning Tail to the laft of the Curatii ; but returning, he 
 run his Purfuer thro' the Breaft ; whereupon, he fell backwards. The 
 fecond, a little from thence, was on his Knees, with his Face to the 
 Ground, and all bloody, bearing up a little on his Elbow : He lay,! 
 about the middle of the Fence, againft a Poft, whereon ftood the Fij 
 eure of Fate, or Fortune in Copper. Juft beyond this Poft, lay the : 
 third ftretched out on his Back : And at the End of the Paling werej 
 feen the two dead Horatii. Over the valiant Heroe, Vitlory Jhewedj 
 herfelf, with the left Hand crowning him with Laurel, and, with the] 
 right, holding out a Cap and Staff to the Chief of the Romans ; who; 
 thereupon joyfully came down from his Seat, with the Acclamations 
 and Clappings of the People. Oppofite, ftood the Chief of the con- 
 trary Party aftonithed, and turning his Back, in order to go away. 
 The People withdrew in Tumult at the Sound of the Roman Trum- 
 pets ; leaving their Field-badges in the Place. On the right Side, beJ 
 hind' the Romans, appeared Part of the Town-wall , and on the o-j 
 ther, behind the Albans up to the Wall, the Field full of Tents on 
 a low Ground. Over the Roman Arbiter, or Umpire, was feen Ro- 
 mulus and Romus cut in a large Stone. The Field-badge of the All 
 
 bans 
 
Chap. II. Of Architecture. 
 
 439 
 
 bans was a Dragon or Harpy. In the OfFskip appeared the Tiber* and 
 the Alps always covered with Snow. 
 
 Thus was the Plan of this artful Piece, which I thought no lefs won- 
 derful than the others, in Force and Difpofition as well as Naturalnefs. 
 Every Thing was exactly obferved ; the Paffions and Motions fo well 
 expreffed, the Place fo plainly apparent, the Quality of the By-works 
 fo proper, and the Lights, Shades, Colours, &c. fo advantageoully di- 
 ftributed, that I could fcarce believe it a Pi&ure. I could not but ad- 
 mire the three remarkable Divifions of this Story: As firft, the Begin- 
 ning, happening without the 'Town ; fecondly, The Sequel, feen within the 
 Town ; and laftly, The End of the Story, or, what was tratifacled in >. 
 the Capitol \ without any Thing of Moment intervening, from whence 
 a Painter could make a Pi&ure: I fpeak, with refpe£t to the different 
 Matter, which opportunely offers to the Thoughts and Execution of a . 
 judicious Mafter. 
 
 As the Senfe of the Story is very particular, fo the three Pictures > 
 were as excellent from firft t6 laft. In the firft, we perceive the lucky 
 Chance of Arms ; or, the Valour of the Heroe, whereby he gained ! 
 the Repute of a Deliverer of his Country : In the Second, we confider 
 him as a Murtherer ; or, the Accident as a bloody Triumph, and him 
 elated with his Succefs : And, in the Third, we fee him as a Malefactor % , 
 condemned to be put to Death; or, as one who had tranfgrefTed the 
 Laws. Truly, thofe three Events may ferve for initruclive Examples 
 to all Men. Do we not fee in them the common Courfe of the World, 
 and that too great Succefs and Profperity make many Men proud and 
 Infolent? And what do not their blind Paffions lead them to ! Certain- 
 ly, Unthankfulnefs to Heaven is the Prelude to many Difafters and 
 Errors, leading them into the greateft. Dangers : However, all Things 
 are governed by Providence. 
 
 The Middle of the Cieling had a large Oval Piece, wherein Provi- 
 dence was, in the greater! Depth, repreiented fitting on a Globe, dreffc 
 in Gold Stuff, with her Head crowned, and about it twelve glittering 
 Stars i having in her right Hand a Sceptre, with an Eye on Top ; on 
 her Breait, a Sun; and on her Knee holding a Looking-glals with her 
 .left Hand ; her Look was full of Majefty and Authority : She pointed 
 downwards at Roma, who fat a little to the left Side, on a Cloud, at- 
 tended by Religion, Valour, and 'Concord. . Long Li je, Health, and 
 Projperity, came gently waving down towards her.- Long Life, was a 
 beautiful Virgin in her Prime, with a Flame of Fire on her Head, 
 ^nd a Serpent, with the Tail in its Mouth, in her Hand. Health, was 
 
44o Of Archite&ure. Book VIII. 
 
 JEfculapius, holding a Staff, about which twined a Serpent. Profpe- 
 rity appeared as a naked Youth, crowned with Laurel, with a Cor- 
 nu Copia, full of Fruit, under his Arm. Religion, or Piety, was dreft 
 like a Vefial, holding, in her right Hand, a Cup emitting a Flame, 
 and looking up at Providence. Valour was reprefented like an Hercu- 
 les, with his Club and Lion's Skin. Concord looked fomewhat more 
 compofed than Piety ; having in her Arms, a Bundle of Rods, which, 
 a Cupid tied with a red Ribbon. ROMA, dreft in White, or light 
 Blue, under a purple Robe embroidered with Gold, held in her right 
 Hand, a Pike, and in the left, a Laurel-branch j on her Head fhe 
 had an Helmet, and Buskins on her Legs. 
 
 Now, we ought to weigh the Meanings of thefe Things. Provi- 
 dence is to be confidered as the chief Ruler of worldly Affairs ; de- 
 bating and railing Empires as fhe pleafes. The three Gifts of long 
 Life, Health and Prosperity are Bleffings flowing from her. The cor- 
 poreal Virtues are the EfFe&s of Might, whence they proceed : The 
 firft is Religion; the fecond, Valour; and the third, Concord; thefe 
 eftablifhed ROMA in her Power, and increafed it. In relation to Art, 
 let us obferve, with what Ingenuity and Uncommonnefs the Mafter has 
 executed thofe Pictures: I fay, Uncommonnefs; fince I never faw them 
 handled by any other after fuch a Manner. Firft, Providence is in the 
 greateft Depth ; and, according to Guefs, thrice as big as the Life. 
 The three Gifts, which the fends down, being fomewhat lower, are 
 not half fo big ; and the undermoft, to wit, ROM A, and the Charac- 
 ters accompanying her, are ftill fmaller, yet fomewhat larger than the 
 Life. 
 
 Providence has no Bounds, always maintaining her uncontrolled 
 Power, without Diminution; and tho' the three Gifts, which flow 
 from her, are but fmall Parts, yet, with refpeft to the undermoft 
 Figures, they are much bigger ; and keep among them their own Forms, 
 as reigning over them. The three others, on the undermoft Clouds, being 
 but corporeal Virtues, are therefore much fmaller than the preceding, 
 and appear with lefsMajefty: Neverthelefs ROMA excels, and fhews 
 herfelf bigger ; intimating thereby her Growth and Improvement. 
 Her fitting on Clouds implies, in my Opinion, her riling above all o- 
 ther Powers of the World. 
 
 This would be a monftrous Defign, if Art, with refpeft to Per- 
 fpefiive, were not duely obferved : But, by this means, the Piece look- 
 ed fo perfect, that I judged it could not otherwife be good j for the 
 
 under- 
 
Chap. 13. Of Architecture. 44^ 
 
 undermoft Group, as quite low, was veryftrong; the middlemoft, 
 according to its Diftance, fomewhat fainter ; and the uppermoft, very 
 faint, and almoft imperceptible. 
 
 This Emblem bears a myfterious Interpretation, and may, in gene- 
 ral, be applied to all the Governments in the ff r orld, provided the Fi- 
 gure of ROM T A be altered, and another fubftituted, as Things require. 
 Inftead of Mfculapius we may reprefent Health, by the Figure of a 
 Woman, and in the Place of Hercules, the fame; taking for Valour an 
 Heroine, holding an Oaken Branch in her right Hand, with a Lyon 
 on her Shield. 
 
 In treating formerly of this Sort of Tables, we have called them 
 Emblematical, carrying a myftic Senfe, whether they be mundane or 
 fpiritual : However, as a Diftinclion between both, and to (hew that 
 this is mundane and hiftorical, we muft obferve, that it is not in- 
 termixed with any emblematic Figures, which have a fpiritual Senfe, 
 except thofe of JEfculapius and Hercules, which therefore in this 
 Work I reject: as unfit, and only proper for poetic and fabulous Sub- 
 jects : As if, inftead of ROMA, were introduced Troja or JEgina> 
 which are Dominions no where now fubfifting but in the poetic Wri- 
 tings ; we find that this Emblem, like its Subject, is not only 
 mundane and heathenifli, as the Story of Horatius proves, but that 
 therein is alio expreft the Force or myfterious Senfe by thofe heathen- 
 i(h Figures. 
 
 Now, if it be asked, why this Cieling-piece does not allude to the 
 Perfon of Horatius, as that in the tenth Chapter to Hercules : My 
 Opinion is, that the Conclufion of the Story, fo far as it refpects him, 
 is contained in the fecond Picture : For here we cannot expect any De- 
 ification, nor do the Gods interfere in the Matter : They regard only 
 thofe who are reckoned in their Number, fuch as JEneas, Hercules^ 
 Memnon, and others of godly Race. 
 
 CHAP. XIII. The Fable of Califto, adapted to the Corinthiaa 
 
 Order, in the Upper-ftory. 
 
 1A M delighted to relate here, in four Pieces, the wonderfully em- 
 bellifhed Story of Califto, and her Deification ; as not unworthy, 
 in my Judgment, to adorn fo fine an Apartment as this laft, which 
 was of the Corinthian Order, and very magnificent, as well with re- 
 No, 19. 3 K fpect 
 
Of j4rchite£ture. Book VIET 
 
 fpeft to the extraordinary Thoughts as their artful Turn j the Conclu- 
 fion whereof renders this Work moft perfect. 
 The firft Piece was as follows. 
 
 Califto, tired with hunting, went to repofe in the Shade of the 
 Trees; Jupiter, enamour'd with her, came to delude her in the Shape 
 of Diana, and gratified his Paffion, notwithstanding all her Efforts to 
 the contrary. 
 
 There, on the right Side of the "Piece, on an Eminence, the itffid* 
 cent Creature was fitting under the Trees, not at reft, but full of Con- 
 cern, Shame, and Dread, melted into Tears, with her Hand on the 
 Edge of a Fountain; her Treffes, half loofed, hung carelefly over her 
 naked Shoulders ; her chaft Bofom was above half bare, and her Legs 
 uncover'd to Unfeemlinefs, fufficiently thewed her forrowful Fate. Ju- 
 piter, the Author of it, was feen a little off, next the Middle of the 
 Piece, above the Horizon, not as a difguifed or pretended Diana, bud 
 the Chief of the Gods, ihining with Majefty, with his Diadem on his 
 Head, and in his purple Robe \ not as a Thunderer, with Lightnings 
 and Tempefts, but only attended by his Eagle. The cruel and dege- 
 nerate Lover feemed to deride her Sorrow, having his left Hand up at 
 hisBreaft, as if he meant, that he had got his Will; wherefore, pe- 
 netrating the Clouds, he advanced thro' the Air, forfaking the mife- 
 rable Woman. The unmerciful Incendiary, Cupid, was extinguifhing 
 his Torch in the Fountain, looking at Jupiter, who, with his point- 
 ing Scepter, commanded him to do to. Diana was feen in the Off" 
 skip, in a Valley, with her Retinue of Nymphs. The Landskip was 
 delightful and woody: Here and tftere appear'd fome River gods. Be- 
 hind Calijio, among the Trees, flood a Term of Ptiapus in ^hade. I 
 attentively viewed the aforefaid three Figures, and reflected to myfelf, 
 how well they acted their Parts ; clearly opeirng the Matter, even to 
 the very Term, which, tho' it might be placed there accidentally*, 
 yet contributed towards the Expreffion. 
 
 Second PicJure.. 
 
 The unhappy Califto, bemoaning her Misfortune, and full of Shame 
 and Fear, and difcarded by her Miitrefs, was feeking Shelter in Soli- 
 tudes : Yet the jealous Juno efpyed and found her there. 
 
 On the left Side of the Piece, appeared the fuperior Goddefs of 
 Heaven, glittering, coifed with Peacock's Feathers, inftead of a Dia- 
 dem, or royal Head-ornament, and teeming to turn about, as ihe was 
 
 ftepping 
 
Chap. IX Of Architecture. 443 
 
 ftepping on a Cloud, in order to go upwards : She was drefs'd in her 
 blue Garment, and held her Scepter in her right Hand, on the right 
 Hip, charging HelUJh Rage, or Revenge, which attended and was at 
 her Beck, to punifh the innocent Califto ; and lifting up her left Arm, 
 and the Fingers {freight up, fhe, with a fevere and envious Look, re- 
 proached the opprefied Creature, with lying with her Confort. Re- 
 venge was beating, with Serpents and Adders, befides her fmoking 
 Pitch-Torch, the miferable Califto ; who now had no more of her for- 
 mer Shape, except her Cloths, which fell a Prey to the hellifh Fury: 
 There lay the Quiver, here the Bow, yonder the Girdle : As I con- 
 ceived, it was a She-Bear who fhook off thofe Cloaths, and was taking 
 to Flight. Being now metamorphifed into fo frightful a Monfler, by 
 the immoveable Jealoufy of Juno ; the, in her Flight, looked up to 
 Heaven, feeming, by her Bellow, to move Jupiter to Pity. This 
 Landskip was alio a dark Wood, filled here and there with fleeping 
 River-gods : Among the Trees appear'd fome wild Beafls runnir g 
 about, and a Lyon in a Bottom, on the right Side near a Rock, drink- 
 ing at a River: Up and down arofe fome Palm and other Trees. After 
 this Piece, another prefented, the Subject whereof was this. 
 
 Areas, Son of the deluded and now metamorphifed Califto, was 
 fifteen Years of Age, when, according to his Cuftom, going a hunting, 
 he met with a frightful She-bear, which came towards him, not to 
 hurt him, as he thought, but, if poffible, to make nerfelf known to 
 him ; yet he, ignorant that fhe was his Mother, ffoutly prepar'd to 
 (hoot her. Jupiter, from Heaven, feeing this, in Pity, hindred 
 the Matricide. 
 
 Third Picture. 
 
 Here, on the right Side of the Piece, Areas appear'd gent- 
 ly ftepping forth from behind fome Trees, and putting an Arrow 
 into his Bow, in order to ihoot his Mother, unknown to him in that 
 Shape. But Mercury, flying down fuddenly, withheld his Arm ; at 
 whom he therefore looked back. The celeftial MefTenger flaring be- 
 hind at the She-bear, which was on the fecond Ground, intimating 
 with his Staff in his left Hand, that fhe mould take to Flight, which 
 fhe feemed to do ; fhe flood upright, with her Under-parts towards 
 him, and the upper turn'd to the Left, fwaying towards the Road. 
 The Way (he took was apparent, beginning from her Feet like 
 Duft, or thin Vapours, altering, by Degrees, into Clouds, which ran 
 wmding about her, and at laft mixed with the Air, wherein Jupiter 
 
 3K2 appear'd, 
 
444 
 
 Of Architecture. 
 
 Bool VIII. 
 
 appear'd, yet very faint, and almoft imperceptible. In the Clouds by 
 him, on his right Side, but fomewhat lower and more forward, fat 
 the three fatal Sifters ; of whom Clotho was fpinning the Thread, La- 
 ehefts winding it on the Reel, and Atropos ready to cut it; which Jupi- 
 ter obferving, laid his left Hand on the Sciflbrs, holding up his Scep- 
 ter in the other, with his Mouth a little open ; (he, furpriz'd at this, 
 turned towards him. Areas flood aftride, with his Breaft projecting. 
 Behind him, on and near a Stone, lay fome Game, as an Hind, Fox, 
 Hare, &c. together with a Garment, which I judged to be his. Low 
 againft the faid Stone lay a River-god, with his Vafe. This Landskip 
 was woody, like the others. The She-bear, about the middle of the 
 Piece, appeared in the Shade, againft the light OrTskip. On the left 
 Side, on the fecond Ground, or at the Extremity of the firft, was a 
 ruined Tomb, with fome Cyprefles ; and behind, on a further Ground, 
 arofe a large Rock. 
 
 After this, I was curious to view diligently the Cieling-piece, as 
 the Conclusion of this artful Work, and I found it thus. 
 
 Jupiter, affected with the forrowful Fate of Calijio, does, notwith- 
 ftanding Juno's Hatred, glorify her with the radiant Brightnefs of the 
 North-Star, which, among the Conftellations, is named the Great 
 Bear, and is followed by the Little Bear, into which her Son Areas 
 was transformed* 
 
 Fourth Piclure. 
 
 Underneath, in the Piece, the Touth was feen flying upwards, pur- 
 fuing his Mother with Bow and Arrow, and fupported by fome Cu- 
 pids: He appeared backwards, without any forelhortening, with his 
 right Arm, with the Arrow, extended, and the other, with the 
 Bow behind ; having a Quiver by his Side. Jupiter, fomewhat a- 
 bove him on the right Side, fitting on a Cloud, and large-fized, was,, 
 with an erect Sceptre, (hewing him the Zodiac, wherein a particular 
 bright Star appeared very glittering. The Bear was feen rifmg a lit- 
 tle beyond the faid Star, looking back upwards, and being encom- 
 paffed with a great (hining Light, in the Shape of a Star, which en* 
 lightened the whole Piece ; her Hind-paws refted on the Clouds, which, 
 befide her, from Jupiter,, off to the left Side, rofe under her. Quite 
 on the left Side, fat Juno on the Rainbow,, looking envioufly at Ar- 
 cas ; (he leaned her Head on her left Hand, with the Elbow on the 
 Rainbow ; and lay half turned to the right, her Under-parts inclin- 
 
Chap. 13. Of Architecture. 
 
 44* 
 
 ing towards Areas, and the Upper from him; her right Arm and 
 Scepter crofied her Body. At her Feet, on the Clouds, lay fome 
 Water-gods and Goddeftes, as Sub-directors of the Clouds and Dew. 
 Behind her flood her Peacock, with its Tail fo fpread as feemingly to 
 ferve for a Diadem. Iris appeared looking upwards behind her, with 
 an Hand over her Eyes, to fhade them from the Beams of the Star. 
 Diana and Apollo fat behind her. Juno and thofe fitting beneath her 
 were ihaded by the driving Clouds above. Diana, Apollo and o- 
 thers looked fmiling. Jupiter appeared directly in the Light, of e- 
 qual Height with the Bear. Juno was a little lower, and the River- 
 gods and Areas beneath her ; he was a Youth of fmall Size, receiving 
 his Light from the Star above. 
 
 Thus the Work concluded with the Deification of the unhappy Ca- 
 lifto, a fecond Time metamorphifed. It would be troublefome to re- 
 late all the Particulars of it, and needlefs to the Knowing : Where- 
 fore, I ftall only fubjoin the general Difpofition of the Lights and 
 fhaded Parts. Jupiter and Areas were ftrongly lighted againft the 
 Blue of the Sky on the right Side. Juno, contrarily, on the left Side, 
 where was the Star, was dark. The foremoft Water-god, under Ju- 
 no, received a little Light from above, holding his Hand over his 
 Eyes. 
 
 Animadverfion.' 
 
 This Fable clearly fhews, how beautiful Bodies are polluted by 
 Uncleannefs ; for in a fhort Time after Califio was delivered of her 
 Son Areas, Juno transformed her, as a Puniftment of her Unchaftity,. 
 into a She-bear, a Bean: fo deformed as to be reckoned among Mon- 
 fte^s. The aforefaid Evil has iuch direful Effects, that the Fruit or 
 Children of unlawful Love mortally hate their guilty Parents; for 
 Beauty ftained with Unchaftity, is of no Account in the Eyes of the 
 Virtuous, and what before created Wonder, is now a Mark of Infamy* 
 Ovid, in an elegant and artful Manner, affigns Califto a notable Place* 
 in the Morthern Hemifphere, and thews J uno's intreating Thetis, that, 
 thofe Stars (according to the Belief of the Heathens) might never re- 
 frefli themfelves in the Sea, in order to portray wonderfully her eter- 
 nal Shame, as furpaffing the other capital Stars, and having fuch a. 
 Station near the Northern Pole, that, as this Pole or Point of the 
 Axis is. above our Horizon* this Star,, whatever Courfe it takes* 
 
 eaa 
 
Of Architecture. 
 
 Book VIE. 
 
 can never be out of our Sight, and therefore her Crime be as little 
 out of our Memories. 
 
 But a more Chriftian-like Inference may be, that the polluted| 
 Soul, abhorring her Crime, by true Repentance gained a moft glorLj 
 ous and fhining Afpefr, befides a fixed Station, in the Heavens;! 
 ikting an Example to others like Mary Magdalen whofe Crimes, thro' 
 Repentance, were not only expiated, but, by an incorruptable Glory,] 
 intirely blotted out. 
 
 The Truth of this Story, taking off the poetic Mask, is, that Ar~ 
 .cas, Son of Jupiter and the Nymph Califto, taught the Arcadians 
 (who pretended to he the mojl ancient People of the Earth , nay, older 
 than the Moon, as Plutarch intimates in his 76th and 92nd Roman 
 Sllieftions, hoajling to be fprung from the Earth, and therefore made great 
 Account of the Oak, and Beech-trees, and their Fruit, after King Pelaf- 
 gus had taught them to make it their Food, which before was only Herhs 
 and Roots ) to till the Ground and fow Corn ; which Knowledge he 
 learned of Triptolemus, Son of Ceres ; and afterwards, to make Bread 
 of it; alfo how to weave woollen Cloths for covering their Bodies; 
 likewife inuring them to many Civilities: In Acknowledgment of 
 which Benefaction, and in Honour to him, they named their Country 
 Arcadia, which before was called Pelafgia, as Paufanias, in his Area- 
 cia, teftifies. 
 
 C HAP. XIV. Defcription of the inward View of the Temple oj 
 
 Apollo. 
 
 W E have before, in treating of Painter-like Beauty, defcribed the 
 Outfide of this Temple ; we fhall now, according to Pro mi fe. 
 (hew the Infide of it, keeping our former Method of writing 
 as if we had really viewed it. 
 
 Stepping into the Portico, Tfaw, over the Door of the Entrance,, a 
 carved Lyre ; whence I inferred, that this Edifice was facred to ApoA 
 lo i Going into it, I was tranfported with the Sight of all the fine 
 Things, fo artfully worked and of fuch rich Materials. 
 
 In the middle itaod the Figure of the God on an high Pedeftal 
 At the four Angles of this Pedeftal fat the four Seafons, each holding ai 
 Horn filled with the particular Fruits and Flowers of the Seafons : All 
 
 theil 
 
Chap. 14. 
 
 Of Architecture, 
 
 447 
 
 thefe were of beautiful, plain, white Marble. The Figure of Apollo 
 was naked, crowned with Laurel, and holding a Scepter in its 
 Hand. 
 
 The Floor was inlaid with Variety of coftly Stones, in the Form 
 of a terreftrial Globe, in the Center whereof flood the aforefaid Figure. 
 
 The Arch-work was Azure Blue, but I could not certainly perceive it 
 ■to be Mo\aick\ it was adorned with the Seven 'Planets, and other Con- 
 'ftellations, all in Gold. Near the Windows, between the two Fila- 
 cers, were Niches filled with Figures, each representing one of the 
 Months of the Year ; they had the Form of young Men, and were 
 cut in white flefh- coloured Marble. 
 
 The whole Building confjfted alfo of Marble, but not lb fine as that 
 of the Figures; for here and there, under the Niches, in the 
 ■Mouldings, and about the Windows, it was veiny. In a Bafement, 
 running round the Temple, was carv'd a continued Bafs-relief ; the 
 Figures of it were about four Feet high, and of fine white Stone. The 
 other Infide - divifion was the lame as v\e have already delcribed it 
 to be without ; the^undermoft Part being compoled of the Ionic Order) 
 the middlemoftj, of the Roman, and the upper, of the Corinthian. 
 
 Over rhe firlt Cornices appeared Terms, inftead of Pilafters ; thefe 
 reprelenred the Hours, and with their Heads Supported the Cupola ; 
 they were in the Shape of young Virgins, to the Number of twenty 
 four : It would be tedious to defer i be them, and their Badges of Di- 
 ftindicn fingly ; and the rather, fince Ctffar Rip a has lb handfomely 
 done it. 
 
 Next, I took notice of the orderly Difpofiiion and Proportion, 
 which was judiciouily obferved throughout the Building; for Apollo's 
 Figure was, as 1 guelTed, eight Feet high ; and thofe about him leven 
 Feet and an half ; the young Men, repreienting the Months, were feven 
 Feet; and the Terms for the Hours, fix or fix and a half. This Pro- 
 portion not only feemed fo large, but the imagined Height really ap- 
 pear'd to me to-be fuch, without Abatement for Diftance, as feen from 
 tanderneath. Reflecting on this Neatnefs, I thcught it ftrange for Peo- 
 ple of Senfe, nay, great M alters, to agree, that a large Window mould 
 pome over a fmall one, or a Giant be let above a young Child, and how 
 Ifuch Things mould look becoming. The undermoft Bafs-reliefs confift 
 bf fmaller Figures than thole in the upper Work, not without Reafon; 
 for the Walling wherein they ftand, as well as that Figure-work, bear 
 throughout the Building j- neyerthelefs, he, who duly confiders the Mat- 
 ter, 
 
448 Of Architecture. Book VIIL 
 
 ter, and fuch a Sight, will foon alter his Opinion : For fince Apollo, or 
 the Sun, is the hrgefl of all created Things, and the Chief of the 
 Univerfe, obferved by the Heathens, by his Quality among irrational 
 Creatures, as the Father of the Four Seafons, he is the bigg eft and prin- 
 cipal Figure. The Four Seafons, brought forth by him, are [omewhat 
 lefs, and the Months inferior to them in JBignefs, to which the Hours 
 muft give way again, becaufe twenty four of them make but one na- 
 tural Day. We ought alfo to obferve, that the Four Seafons are of a 
 more compofed Countenance: The Months reprefent young Men, 
 ftill growing and the Hours mew nimble Virgins. 
 
 Is not this Divifion very elegant, with refped to Architecture, fince 
 every Thing keeps its Relation and Property ? A good Architeft im- 
 pioys his Thoughts about all thofe particular Objects, in the Compar- 
 tition of Halls and Apartments; according to which, a good Mafter 
 ought to accommodate himfelf in the Painting of Buildings. 
 
 The End of the Eighth Book. 
 
 THE 
 
THE 
 
 ART of PAINTING. 
 
 BOOK IX. 
 
 Of the Painting of Cielings, or Plafonds. 
 
 CHAP. I. Of Gieling-painting in genera/. 
 
 M O N G all the Parts of Painting none is fo difficult 
 as that of ornamenting Cielings, tho' many think it eafy, 
 even more eafy than an upright Piece on a Wall or over 
 a Chimney : This is owing to Ignorance, and an Indiffe- 
 rence in People what their Cielings are dawb'd with, fb 
 as they be but quickly finilhed, dazzle the Eye and coft 
 little. Formerly they were contented with Foliage flightly painted, 
 for faving Expence, and that in Places of Confcquence only ; whereas 
 now, according to the prefent State of the Painters and Times, they 
 can have other Things for the fame Price, and the Painter making no 
 great Matter of it, they lay hold of the Opportunity, caufing the 
 whole Cieling to be filled with Hiftories and Emblems, whether they 
 be fuitable or not. 
 
 We fee, that all Things from fmall Beginnings improve, and at 
 laft come to Perfection, thro' the Induftry of judicious Artifts : Even 
 fo 'tis in Painting : For I remember to have feen many Cielings with 
 No. 19. 3 L Figures, 
 
4?o Of the Tainting of Book IX. 
 
 Figures, Landskips, Sea-fights, Battles, &c. without any forefhorten- 
 jng, as if painted on an upright Wall; and others which were repre- 
 fenced from underneath more or lefs, and yet without foreftiorten- 
 incr • as alfo fome, which forelhortened, but had no Point of Sight : 
 Whence 'tis evident* that, without Regard to Perfpective, fuch Pieces 
 cannot poffibly be brought to the aforeiaid Perfection. Now, for Or- 
 der's Sake, let us examine into the Name of this Branch. 
 
 The Word (Plafond) is French, and fignifies a flat or level Super- 
 ficies, fit to be covered with Boards or Cloth, whereon to paint or 
 plaiftcr fuch Reprefentations or Ornaments as we think proper, confirm- 
 ing moitly of Hi (lories with flying Figures, Skies with Birds, Flowers, 
 and many other Things : But the true Senfe of the Word (Plafo?id) > 
 imports, A deling of Halls , Apartments, Temples or Galleries, even 
 alTthat bangs over -head and is parallel with the Ground, Such Pieces 
 are called Optical, becaufe they mutt be viewed from ah affigned Di- 
 ftance, without which, they unavoidably appear mif-fhapen, as we 
 (ball hereafter fhew. 
 
 In the Matter itfelf we ought to confider, the Nature of a Plafond^ 
 or Cieling-painting, and wherein it differs from a Wall-painting; as 
 firft, in the For efhortening of the Objects, and fecondly, in the Colour : 
 I fpeak, with refpect to the Objects contained in the one and the o- 
 ther, fuch as Buildings, Balluftrades, Figures, and other Things oc- 
 curring in Ordonnances ; alt which, in an hanging Picture, retain their 
 perfect Heights and Breadths,, lhortening in Thicknefs only ; whereas,, 
 in Plafonds, or Ciclings,, neither Height, Meafure nor Proportion are; 
 to be obferved ; in a word, every thing forejhortens, except the Balis 
 and the Cap or Top: What is round remains lo, and what is fquare 
 keeps its Angles, whether in the middle, in Profile, high or low. As 
 for the Colours, they doubtlefs mure alfo dirfer much from thofe of 
 hanging Pictures; for they ought to appear more beautiful, not only 
 in the Light, but alfo in the Shades,. I mean, in a clear Light ; as we 
 may eafily apprehend. 
 
 We ought moreover to know, that by means of Optics, or practi- 
 cal Perfpective, we can make crooked Things look itrait, hollow 
 or riling ones, flat and even, and caufe them outwardly to appear 
 what they really are not; as the famous F. Niceron, and others, have 
 plainly demonstrated. Wherefore, we need not wonder, that fo few 
 Painters excel in this Branch of the Art, fince they are little con- 
 verfant with the practical Part of Perfpective, tho' without it 'tis im- 
 poffible to execute a good Cieling- piece. It's certain, that many 
 
 Painters 
 
Chap. 3. Cielings, or Plafonds. 4^1 
 
 Painters are rafh enough to undertake fuch a Piece of Work, and 
 fometimes they happen to perform good Things, (for Laborioufnefs 
 and daily Practice often contribute much) neverthelefs, they do not 
 inquire, whether their Methods be the fhorteft or longeft, commonly 
 chufing that which firft offers, drudging without Certainty, and led by 
 meer Chance. 
 
 CHAP. II. Of the tifual Difficulties in Cieling-painting. 
 
 FIRST, we are at a great ftand, becaufe we cannot ufe the Life, 
 either in the Nudities or flying Draperies, tho' they be the prin- 
 cipal Objects. 
 
 Secondly, Becaufe we cannot, without great Trouble, find the true 
 and certain Places of the Figures we introduce; for which Reaion* 
 they muft moftly be done by guefs. 
 
 Thirdly, Becaufe we cannot duely view the Work as long as 'tis on 
 the Eafel. Whence, 
 
 Laftly, It follows, that the Matter is always in pain for the Effect 
 of the Painting in being fixed in its Place. 
 
 Thefe Difficulties are not a little vexatious, even to one who un- 
 derftands his Bufinefs; for 'tis otherwife with thofe who make more 
 ufe of their Hands than Heads, that is, who work without Founda- 
 tion, tho' thefe ought to be more careful than others : Paint as many 
 Cielings as you pleafe, as long as you do not believe, that there 
 are Grounds and Rules for it, and remain in this Ignorance, you will 
 never furmount the aforefaid Difficulties. The moft skilful Mafter is 
 often at a lofs in this Part of Painting. Let us then, in the firft Place, 
 learn Perfpeclive, and what it fhews us ; (ince thereby only we may 
 arrive at this laudable Study, which otherwife is impoflible. 
 
 CHAP. III. Of forejhortening Objects in Cielings. 
 
 IT is obvious, that the Offskip, in a common Picture, is the Part 
 which retires or goes ofF from us, leflens and grows faint, and 
 that the Horizon is an utmoft Diftance limiting our Sight. 
 
 3 L 2 Con- 
 
Of the Tainting of 
 
 Book IX- 
 
 Contrary, in Cielings, our OfTskip and Boundary of Sight is the 
 Firmament or ftarry Sky ; whereby Obje&s, the higher they are, kf- 
 fenjhe more, even to Infenfibility, not only in their Proportions and 
 
 Neatnefs, but alio in their Colours. 
 
 Here we ought to obferve, that all Objects, of what Shape or Form 
 foever, keep their due Breadth, provided they are parallel with the Hori- 
 % / : For Inftance, p!a:e a fquare Stone, fo as to be viewed direclly a- 
 ga-inft it, or a Figure in the lame Manner. (In Plate LXI. we exhibit 
 a fquare Body.) Here you fee, that the Top and Bottom of the laid 
 Stone keep their Squares, and that the upper and under Corners of it 
 fall perpendicularl) from the Point of Sight ; moreover, that, however 
 the laid Square is turned, the Top and Body always make a Right- 
 angle, and confequently, the hindermoft Extremity is parallel with 
 the foremoft. It is the fame with Figures of other Objects. 
 
 Place, for Inftance, a Man, on one or other Side of the Piece, 
 landing upright, and the Point of Sight in the Middle ; let him be in 
 Prohle, and have both his Shoulders of equal Height, and you will 
 then perceive., that the Shoulders, from one to the other, keep their 
 full Breadth, and their Figure its full Thicknefs from Top to Toe. 
 Thus we fee evidently, that there is no other Forefhortening than in 
 the Length', or, to fay better, in the Height \ and the more the Fi- 
 gures, or other Objects, rife and approach the Point of Sight, the fhorter 
 and more mifjhapen they become ; becaufe, in their Breadth, they retain 
 their Meafure and Proportion, as before has been faid. This is a prin- 
 cipal Rule, and ought always to be oblerved. 
 
 As for Buildings, A. Bo(]e : gives full Precepts touching them, in the 
 latter Part of his Book of P erjpeHive \ yet I have Room to fay, that 
 when we would place Columns over Columns, for Galleries, we ought 
 to draw a riling Line thro' their Centers, from the Balis or Ground,' to 
 the Point of Sight, even thro' each Ballifter, and thus find the due 
 Proportion of their Heights, as well as Breadths, by the Help of a. 
 Gradation-line. 
 
 This, with refpeft to Proportion, muft likewife be obferved, in de- 
 figning Figures, and other Obje&s, as I (hall hereafter ihew, by Ex- 
 amples. 
 
 This Sort of Painting is not only the moft artful, but alfo the mofb 
 difficult, as I have before faid; becaufe, altho' weunderftand the RuJes^ 
 and Practice of it, it appears, neverthelefs, difagreeable and deformed;, 
 which no one can be a Judge of but the Mafter himfelf, unleis it be 
 put up in its proper Place, and feen at the due Diftance. 
 
 CHAR 
 
piap. 4. Cielings, or Plafonds. 4|3 
 
 CHAP. IV. 0/ Sizes of Cieling-figures. 
 
 k p HE Figures, which we paint in Cielings, ought »of axwft* f|g 
 common Size of a Man, to wit, fix Feet and an half, when they 
 
 (are fo low, as to be even with the Cieling; but, being higher, and 
 fitting on Clouds, or flying, they muft lejjen and go off ", as PerfpetJive 
 teaches. Yet, we may reprefent the Deities as big as we pkafe, pro- 
 vided they be not painted with more Strength than other Figures : It 
 
 ,even fometimes happens, that when they almoft vanifn out of Sight, 
 
 .they have yet human Bignefs. 
 
 Sun-Jhine is the moil proper and agreeable in Spiritual Reprefen- 
 £atiotis. 
 
 As for the Glory of each Deity in particular, they keep it when they 
 appear to Men, but when they are reprefented in Heaven, 'tis a Mix- 
 ture many {mailer, producing one great Shining : To do this artful- 
 ly, is not a Matter of the leaft Coniequence ; and he is a great Ma- 
 tter, who, inftead of dark, thick, and heavy Clouds, like Woolsacks, 
 places his Figures on thin, tranfparent, and almoft infenftble Vapours. 
 
 It will not be improper, in this Chapter, to mention fomething 
 , touching flying Figures in the Air. . 
 • Tho' the Air be feldom without a JVind y and this may always be 
 fomewhat perceived, it is neverthelefs not advifahle to make it ap- 
 pear in Cielings; becaufe, if the Wind were ilirring, the Figures 
 flying before it would feem to be motionlejs y and contrarily, thofe 
 which are fitting or ftanding, ftew as r,:uch Violence as the flying ones : 
 For this Reafon, no Wind mult come into the Piece, but what the 
 Volubility of each Figure caufcs, that we may plainly fee by what 
 Motion the Draperies are (lung, as alio the Places the Figures are go- 
 ing to, or returning from, one gently waving, and the other nimble 
 
 and fwift. _ - 
 
 The different Stuffs are very proper to this on iuch Occations, and 
 they very much conduce to exprefs the Matter ; as the Reflexion of ruf- 
 fling Silk for waving Figur es, and which are gently defending ; thin 
 and Jleazy Silk, for fwift and dozvfi-flying Figures, and the mo/t pliant 
 or thick Silk or Stuff, for fitting, lying,, or funding ones. The Secret 
 
 and 
 
4*4 Of the Tainting of Book IX. 
 
 and Importance of a fine and ftirring Cieling-plece lies chiefly^ 
 herein. 
 
 As for the making of the coloured Stuffs of flying Figures, becaufej 
 they cannot be put on the Layman, and therefore not painted after! 
 the Life, we cannot lay dovvn'any Rules about them: Nothing but a 
 good Conception and natural Judgment, joined to continual Practice 
 and Obfervation, can bring the Artift to perform it. We muft ufe 
 thefe Means, and be perfeft in them 5 obferving what Stuff is moft 
 proper to the Occafion, as we have before intimated. 
 
 We ought alfo to take care, that the thin Stuffs be warm and tranf 
 parent ■ againft the Light > whereby they caufe an agreeable EfFe£t againft 
 the faint Sky ; likewife, that the flying Figures never feem to be upright \ 
 as if ftanding, much lefs to be ftanding ; but always fitting, kneeling, 
 lying or flying, unlefs, in the Cafe of People fuppofed to be on Cie-; 
 hngs or Galleries, who then are either ftanding, ftooping or kneeW, 
 as the Subject requires. i 
 
 Let me fay, that we ought fometimes to make fame Additions toi 
 the Difpofition of the general and particular Obje&s; but with as 
 much Caution as pofhbJe, that the Inability of the Artift, and the 
 Deficiency of the Work may not appear. 
 
 £ H A P. V. Method for viewing a Cieling-piece on the Eafel, as if] 
 
 on the deling. 
 
 WE have already obferved the Difficulties arifing in Cielings, with \ 
 refpea to the Ufe of the Life, and in laying down Rules fub- 
 fervient to it. Now, had I my Sight, I fhould certainly find 
 out fome ; but fince this is impracticable without figural Demonstrati- 
 on, and I cannot poflibly verbally do it, I lhall neverthelefs (hew fome 
 Methods, which, tho' they may feem trifling, have always been of 
 Service to me, and^of little Trouble in their Ufe. 
 
 After sketching my Ordonnance on Paper, I fixed it againft a low 
 Cieling j then taking a Looking-glafs, and fitting under it, I with eafe \ 
 exaftly confidered every Thing, obferving what was wanting in it ; and 
 thus I marked and correaed the Faults as much as poflibly I could. 
 Next, I drew each Figure, whether naked or cloathed, after the Life, ! 
 In fuch Manner as lhall hereafter be fhevvn. Then I dead-colour'd my 
 Piece with fuch a Light as I thought proper. After this I took the \ 
 
 Look- ' 
 
Ihap. 6. Cielings, or Plafonds. ^SS 
 
 „ooking-glafs again, and held it over my Head, in order to view com- 
 nodioufiy the Piece ftanding behind me, inclining a little backwards 
 *i the Eafel, as if it were againft the Cieling, and cafting my Eyes eve- 
 y where, firft on the general Defign, and then on the particular Parts: 
 This Examin l repeated, till by feveral Corrections I found, that I had 
 brought the Piece to my fancy. Here, be mindful not to take too 
 kear a Diftance, to the end the Glafs may take in the whole Ptece ; for 
 which Reafon, I fometimes got with the Looking-glafs on a Chair or 
 Table, and having my Pallet and Pencils in readinels, and brought my 
 Piece into fuch forwardnefs, I finifhed it without further looking back. 
 
 I will, now, for the Service of thofe who may find it ufeful and ne- 
 ceffary, alfo treat,. 
 
 CHAP. VI. Of Defignwg after the Life % for the Ufe of Cieling- 
 
 'Paintings. 
 
 WE muft not flatter ourlelves, that Cieling-painting can be per- 
 formed without good Knowledge in Proportion, fince, asanas 
 been faid, we cannot conveniently make ufe of the Life ; for, how 
 great foever your Skill may be, you will find Difficulty enough, tho 
 the Life were before you, to bring it on the Cloth. Nevertheless, to 
 mew that it may be done, and that i have often ufed the Life, 1 mall,, 
 for the Service of thofe who are not fparing of Pains, lay down my 
 Manner of doing jr.. 
 
 After I had let the Model, whether of Man or Woman, on an high 
 Place according to my Sketch, I fat down on the Floor, with my 
 Bick'againlt the Scaffold, with a Looking-glafs between my Legs, 
 which I moved and turned about fo long, till the Model appeared in 
 it in fuch a Manner as I wanted according to my Point of Sight ; and 
 then defigning it on Drawing-paper as correct as.poffiDle, 1 painted al- 
 ter this Defign without any Trouble. 
 
 ' As for the Drejjes, I managed them in the fame Manner, caiting 
 the Garment on the Layman according to my Sketch ; I mean with- 
 out flying, which is a Thing impoffible,. and depends only on Imagi- 
 nation. I placed then the Layman, thus drefs'd, on an high Treflel, 
 and fat down againft it in the Manner aforefaid, and made a Defign ot 
 the Drefs « if it was a flying or lying Figure, I made fhift with Pack- 
 thread Wires, or fuch like Means, as well as I could > fparing for no 
 7 Trouble^ 
 
Of the Tainting of 
 
 Book IX. 
 
 Trouble, when the Matter was important, and I had a mind to do 
 fomething fine. 
 
 ^ I ufed the fame Method in Defigning after all forts of Tldifters, as 
 Faces, Vafes, Urns, Ornaments, Capitals, Feftoons of Flowers, ®c. 
 in order to have them from underneath. Thus I mattered' the greateft 
 Difficulties occurring in this Study: However, I did not this, before 
 my Cloth was in readinefs for it, that I might not miftake ; fince, not- 
 withffanding all our Care infome Things, efpecially upright ft andingQb- 
 jetfsy we may eafily be deceived. 
 
 As to the T reparation of the Cloths for our Defign, as likewife the" 
 Dead- colouring, in Order to finifh,and thereby to refrelh our Memories, 
 I mail now treat of them. 
 
 Firft, I fix the Point of Sight, either within or without the Piece,! 
 as my Place of ftanding directs : Then I ftrike, with a chalk'd Thread, 
 from the laid Point, as many Lines over my Piece as I find neceflary 
 to ferve all my upright Handing Objects, viz. Ballufters, Columns, Pil-' 
 lafters, Figures, i£c. which I fuppofe to be perpendicular : I alfo ftrike ! 
 fome Diagonals, or Slope-lines, from that Side of. the Piece whence the 
 Light comes, either left or right, parallel and equidiftant from each 
 other : Thefe put me in mind how high or low the Light falls on my. 
 Objecls • if they run parallel with the Bafe, the Objects are lighted in- 
 tirely from the Side - if oblique or Hoping, as before is laid, they light- 
 en a little fronting ; and if they fall from on high, from the Point of 
 Sight, the Light comes direclly fronting, as is vifible in the Examples, 
 Numb, i, 2, 3, in "Plate LXIf. 
 . I think myfelf obliged here to propofe to the Art'ift a fmall Prac- 
 tice of my own Invention, and, in my Opinion, of little Trouble, but 
 great Advantage to Cieling-painters • fince 'we find, that, altho' there 
 are certain Rules, yet they cannot be put in ufe without the greateft 
 Trouble, Application, and Lofs of Time, unlefs aided by fome Prac- ! 
 tice or other, or by fome artful Inftrument ; like Jftronomy, which, 
 how demonftrative foever, has its Globe and Aftrolabe ; Architecture, 
 its Plan and Level ; Geometry, the Oval, Triangle, Square and Com- ; 
 pafles; Mathematics, Algebra, '&c. But, to return to my Inven- 
 tion. 0] 
 
 I firft moul*d fome Wax-puppets, as we have fhewn in the 6th Chap- 
 ter of Ordonnance, as big and as many as I think proper : Next I take 
 as many pointed Wires, fome long, others fhort, whereon to ftick the 
 Puppets, and keep them from bending, whether they be made ftand- 
 ing, lying, flying or fitting : This being done, I take an oblong wood- ; 
 
 en 
 
r/me lxh. 
 
Chap. 6. 
 
 Cielings, or Plafonds. 
 
 4*7 
 
 en Trough, lined with Tin, of what Bignefs I think proper, and 3 
 or 4 Fingers deep, for the placing as many Puppets as I pleafe. In- 
 to the Corners I put fome Pins or Screws to faften a Cover of Wood 
 or Tin fitting the Trough, and made full of little Holes, wherein to 
 ftick the aforefaid wired Puppets, and fo as they may turn eafily : 
 Then, I fill the Trough with Clay, or kneaded Bran \ and thus my 
 Machine is in readincfs. Now, when I make ufe of it, I ftick my 
 Puppets, bent and turned, according to my Defign, on the Wires, and 
 I thro' the Holes, into the Clay, where I would have them, one high, 
 ! another low, one ftooping forwards, another leaning back, &c. as 
 the Subject requires ; which will then ftand immoveable. 
 
 My Scheme being in this Forwardnefs, I lean the whole Machine 
 back on a Table, be the Light left or right, and then flightly defign 
 the Figures in the Manner ! have lhewed with the Lines. I can give 
 the Machine fuch a Light as I defire, either from a Side, fronting, or 
 from on high, a Common, Sun-xhine, or Candle-light. 
 
 Now, for perfecting this Sketch, and conveniently painting after 
 it, I fet my Layman, with fuch a Drefs as each Figure requires, in 
 the Manner before laid down : And then, my Cloth being ready, I 
 proceed to painting. 
 
 I invented this Machine in the Year 1668, and put it in ufe for a- 
 bout 5 Years, with great Advantage, and with fuch exact Reflection, 
 '< that I afterwards had no further Occafion for it, tho' I never ufed more 
 than 3 or at moft 4 Puppets. 
 
 Now, the curious Artift muft alfo know what Obfervations I made 
 in the Ufe of the Machine. 
 
 Firft, as Plate LXIII. fhcws, I put one Puppet coming dire St ly down, 
 quite extended, namely, with Head and Feet both on a Line, and then 
 obferved, that there was not the haft Forefhortening, all the Parts hav- 
 ing their full Lengths. 
 
 A fecond Puppet I fet upright, ftanding in Profile on one Side of 
 I the Point of Sight, and found it forejhortened in all its Parts, 
 
 A Third I fet flying upwards from behind forwards, and perceived, 
 that the Members forejhortened Jomewhat more than thofe of the firft, 
 \ and fomewhat lefs than thofe of the fecond. 
 
 A Fourth I placed fitting with its Upper-parts upright, the Thighs 
 I parallel, and the Legs like the Upper-parts ; and obferved, that when it 
 1 was quite in Profile, the Upper-parts and Legs forejhortened, and the 
 I Thigh kept its full Length, as it alfo did when in a Front-pofition* 
 
 No. 20. 3 M Having 
 
4/8 Of the Tainting of Book IX, 
 
 Having made a firm Impreflion of thefe Things in my Thoughts* 
 I had no further Occafion for that Method. 
 We fhall now fay fomething, 
 
 C H A P. VII. Of the Colouring of flying Figures* 
 
 E REIN we muft obferve, that in Cieling-painting 'tis the' 
 fame as in Landskips. Firft, we rub in the greateft Light of 
 the Sky,, then all Parts about it j next, the higheft and moft 
 faint Objects, and then the lower and more near ones ; and, in cafe a 
 Baliuftrade be reprefented, it muft be the laft: The Reafon of this 
 I have (hewn in treating of the Dead-colouring of Hiftories and Land- 
 skips. 
 
 Moreover, as in a fine Landskip the Sky principally governs all 
 Things, and without it no proper Diftance can be given to the Pic- 
 ture, fo. 'tis the fame in a Cieling-piece with Figures flying thro' the 
 Air ; for 'tis impoffible to make Objeas rife, unlefs they have fome 
 Communication with the Air. Nor is it enough for Objeas, going 
 off higher or further from us, to be painted fainter and fainter, as in 
 a Drawing or Print, but the Colour muft alfo be Ihewn ; and as the 
 Air is coloured, fo muft the Objeas partake of it; I mean, in their 
 Shades ; for if the Air he blue, yellow, or red, the Shades ought like- 
 wife to have a Mixture of Blue, Yellow or Red. 
 
 As to the Light of the Objeas, we muft obferve, that of what 
 Colour foever it be, it breaks 2nd grows darker as it goes off: Even, 
 were the Air, as I may fay, Snow-white, it breaks by Diftance or 
 Air interpofmg; the Red becomes Violet; the Yellow, greenifh; and 
 the Violet, Blue. As the Objeas go off from us, and approach the 
 Air, they are darkened, White becomes darker, pale Yellow the 
 fame ; and fo on, in other Colours. 
 
 Something ftill remains to be remarked, with refpect to Objecls in 
 the Air, viz. that fince the Air communicates Light from all Parts, 
 the broad Shades cannot poffibly be fo dark as in a Landskip, or other 
 Piece ; but contrarily, the dark Touches will be fo much the ftronger • 
 All that is in Shade ought to be lighter, and feen more plain, yet 
 iomewhat lefs than in the Light. It muft - be likewife known, that 
 round Objects have no Surface, efpecially on the (haded Side, that is to 
 fay, the Out-line againft the Sky ought to unite and vanifh, not quite 
 
 icum- 
 
Chap. 8. Cielings, or Plafonds. 4^9 
 
 fcumbled away, but made fomewhat lighter on the Edge ; as we 
 have clearly demonftrated by the Example of a globular Body, 
 Book I. Chap. 6. implying, that fuch Works in the Air differ from 
 others, to wit, that the Objects againfi the Sky are more rounding and 
 going offl 
 
 C H A P. VIII. General Obfervations in painting the Cielings of 
 
 Halls, Galleries, Sec. 
 
 f I 1 H E firft and principal Obfervation on thefe Occafions is, that 
 the Quality and Regularity of the Architecture be firmly prefer- 
 ved in all its Parts. 
 
 The fecond Obfervation concerns the Grandeur of the Architecture, 
 as being the main Matter. Painting, in this Cafe, is only to be con- 
 lidered as an Aid, to accomplifh it with lefs Charges ; wherefore, fuch 
 Care muft be taken, that the Painter's Defigns do not marr thofe of 
 the Architect, but that both unite in fuch a Manner as to induce the 
 Eye to take every thing for Truth itfelf. 
 
 By the firft Obfervation, that the Architecture ought to preferve its 
 Regularity, we give to underftand, that the Structure of the Room 
 muft chiefly be regarded by the Painter, in his Cieling.pieces, fo as 
 not to be hurt by making Openings where they ought not to be ; for it's 
 not allowable to make them every where, as big or little as we pleafe : 
 The deling muft remain deling. All that is without the Painting, as 
 the Summers, ought to have their proper Thicknefles, and be lafting, 
 and not feem as tumbling, which yet, thro' Heedleflhefs, fometimes 
 is the Cafe : For Inftance, let us fuppofe the Cieling to be divided in- 
 to three Pannels lined with Cloth ; one next to the Windows, the fe- 
 cond in the middle, over the Chimney, and the third to be next the 
 Wall; that in the middle is between two Summers, one Foot in, and 
 the two Side-ones lie almoft flufh with the Under-parts of thofe Sum- 
 mers : Now, if the two Side-cloths be, like the middle one, adorned 
 with Sky, and the Thicknefs of the Summer (which is one Foot) not 
 painted on the Cloth, the Cieling, on thofe Sides, is fo much weak- 
 ened, or at leaft feems to be fo, and is heavier in the middle, contrary to 
 Architecture : Whereas, to make it look natural, and according to Or- 
 der, the Ponderofity muft, in this Cafe, be on the Sides, and the 
 middle Part lighteft, that it may not feem to be falling on our Heads, 
 
 3 M 2 More- 
 
4<5o Of the Tainting of Book IX 
 
 Moreover, we ought to obferve, that there muft be but one Open- 
 ing, and that in the middle; fince there is but one Point of Sight, 
 and but one Place of ftanding to view the Work to Advantage 
 
 at p: V,? a n ? *r Thickne,s of the Summer, I only faid it to 
 rea.fy a Miftake often committed, when a Cieling is made all over 
 open, and mftead of a Covering, nothing is left but a Grate, which 
 cannot be juftitied : Some think, it may pafs for a Lantern but 
 they are much miftaken ; for a Lantern rifes, and a Cieling lies 
 flat • Moreover the whole Cieling cannot ferve for a Lantern, becaufe 
 of the Windows in front. The principal or middle Piece muft predo- 
 minate, and of i Confequence be open, and the others doled, I mean not 
 to have any Sky or living Creatures, but Bafs-reliefs, Foliaae Com- 
 partments or Flowers, all of fuch a Colour as fuits with the Apart- 
 
 lnen ,VT ' ,UdgC C , £ e the firft and P™cipal Care and Study of a 
 good Cieling-painter, before he fets about the Work ; for in the Divi- 
 hon of a deling it is as with a Diamond, the largeft and moft valua- 
 ble is let in the middle, and round it, the Lfs anc fiefs 
 
 As to the fecond Observation, that the Art of Painting is aiding to 
 , f TA, ?," d £nnC , heS k at lefs Ex P ence > th « Point is plfin • 
 tle'othe? F ° C t0 fteW Reaf ° n Why * e ° ne ma y W 
 
 In painting Divijhns, it often happens that the Summers have not 
 ffi K f S t0 he *% ef Pf ia »7 when the Cieling is covered all ove 
 (and the Summers hid) with a fingle Cloth, and lift to the Judgment 
 of an ignorant Painter, who then, without Confideration, divides it 
 into 3, 4, 6, 8 or more Pannels, and thefe parted by painted Sum- 
 mers which do not bear on any thing: Now, to prevent this, you 
 muft let each Summer reft on a Difcharger, Pilafter or Cartouche as 
 Architeaure teaches : For Inftance, well you to divide the two Pan- 
 nels next the W indows and Wall, each into two Parts, in order to 
 have four Pannels this would be improper and againft Architecture 
 becaufe of the Flatnefs over the Window, unlel it were compafs-' 
 headed, and then it would not do without a Cartouche coxn P als 
 
 If it be asked, whether the Divifion be a Painter's Bufinefs > I f av 
 It is, fo far as he underftands Architecture j otherwife more proper 
 for an Architect ; at leaft may be eafily done with his Affiitance P P 
 
 to A-ch.- eauTe ?r where the /^"S ^7 d.forder, or be contrary 
 to A.ch.teau.e, it lies in the Defigns, when they do not fuit the 
 Building, nor perfectly bear on Foundations, or have their proper 
 m, g ht : By the Foundation of the Painting I mean, the Apartment I 
 
 and 
 
Chap. 8. Cidings, or Plafonds. 461 
 
 md, by the Weight of the Defign, that what the Painter intends to ex- 
 hibit in his Cieling-piece be not too heavy, and feem to prefs down the 
 Under-parts. The better to clear my Meaning, I will fuppofe a Room 
 :o be 20 Feet fquare : Now, if a fecond Depth, or upper Room, 
 were to be reprefented, the Piers, Columns, Doors, and Windows 
 thereof muft needs accord with thofe of the under Room, and bear 
 (upon them : And, in the next Place, the Courfe of the Orders ought 
 exa&ly to be obferved, as Architecture teaches, that is to fay, the 
 heaviejl muft he under mofi\ firft, thzTufcan, next, the Doric, then, the 
 Ionic, next, the Roman, and laftly, the Corinthian, and fo upwards 
 lighter and lighter j which I think is feldom obferved ; and the Rea- 
 fon is, becaufe the Figures are fometimes reprefented bigger tbzn the 
 Life; which neceffitates the Artift to proportion his By-works accord- 
 ingly : An unpardonable Error, and not at any Rate to be juftified I 
 But I (hall fay more of this on another Occalion, and now purfue our 
 Purpofe in Cielings. A principal Point is, that the Work rife, and 
 that its Force unite with the Life; that is, that the Objects in the low- 
 er! Parts be not painted ftronger than the fixed Work, as Compart- 
 ments, Bafs-reliefs, and other Ornaments, which, not being foreshort- 
 ened, receive their Light thro' the Windows. Now it may be asked, 
 whether! in cafe we were to reprefent an Apartment above, with the 
 fame Light as below, the Force of Light and Shade muft not be the 
 fame? And, I fay, it ought not ; becaufe of the great Difference between 
 them \ as we may eaiily fuppofe, in two Columns fet over each other, 
 receiving their Light from one Front, the one from the undermoft, and 
 the other from the uppermoft Windows : Here, the upper Bafe muft 
 have no more Force than the under Capital; for, were it otherwile, it 
 would feem to be nearer \ it would alio not rife, and confequently over- 
 power the Life. 5 Tis here, as in a fine Landskip ; where the Fore- 
 ground has the greateft Force, and the fccond and third are iefs and 
 i fainter in Proportion as they go off. It is the fame with flying Fi- 
 gures ; for the Light weakens by their Riling, and the Shades become, 
 [as well as in a Room, by the iurrounding Air, weaker and fainter : 
 But the Touches and Shades keep their Force. 
 
 We have obferved what is neceliary to the Stability and Regularity 
 of the Architecture, with relpecl: to Painting, fo that both may feem 
 to be one Body, as we (hall exemplify by the following Fable out of 
 Ovid, propofed here as a painter-like bimile. 
 
 Salmacis and Hermaphroditus , two acomplifbTd and agreeable 
 young People, I introduce,, reprefenting ArchiteHure and Painting. 
 
 Sa/macis, 
 
Of the Tainting of 
 
 Book IX 
 
 Sdlmacis, meeting Hermaphroditus, and imagining her Happinefs la}] 
 in the Poffeffion of fo beautiful an Object, falls in love with him j 
 but, finding a Repulfe, fhe invokes the Aid of the Gods, and thereby 
 obtains her earneft Suit. The young Man, not daring to refift the 
 Will of Heaven, gives up the Caufe, and is, by Mercury, (whom we 
 muft obferve here to be Optics) joined to her, and thus of two Bo- 
 des is made one. Further Applications are needlefs, fince the Simile 
 fufficiently explains itfelf. 
 
 Now, to continue our Subject, the following Obfervables are, at 
 the Beginning of the Work, chiefly neceflary. 
 
 1. The Condition of the Place. 
 
 2. The Quality, Office, and Inclination of the Owner, and what 
 Subjects are proper thereto, whether Hiftories, Fables, &c. 
 
 3. The Difpojition of the Subjects. 
 
 4. How the SubjecJ is to be divided. 
 
 Firft, By the Condition of the Place, I mean, . the Light of thd 
 Room, and in what manner it takes the Cieling ; alfo, into how many 
 Pannels the Architect has divided the Cieling, and which is the Prin- 
 cipal, that we may adapt our Thoughts thereto, in the Difpofition 
 of the Reprefentations, as well as in the Execution of them. 
 
 Secondly, By the Quality, Sec. of the Owner, we muft underftandi 
 whether he be a Divine or Lawyer", Pholofopher or Artifan ; and 
 whether he incline to fpiritual or moral, general or particular Repre* 
 fentations; that is, fuch as relate to him or his Family in particular, 
 or generally to any who may live in the Houfe after his Deceafe ; ac- 
 cording to which Information we ought to chufe Subjects fuitable. • 
 
 Thirdly, How the Subjetls ought to be difpofed ; namely, what mufq 
 be placed above in the Air, wherein, as is faid, lies the Soul of a 
 Room-painting, and what below as touching the Body of it : This wes 
 divide into Spiritual and Morale Spiritual, all that is governed by \ 
 Heaven, and Moral, every thing that is directed by our Judgment. 
 
 Fourthly, How the Subject is to be divided: Here, the principal 
 Piece in the middle, muft lhew either the Caufe or Rife of the Story, 
 or the Effbft of it; the next to it muft exhibit the Matter itfelf, and 
 that further off, an Appendix to or Inference from it. But, to make 
 this Point plainer, I lhall give an Example. 
 
 In the middle Pannel, I place Solomon before the Ark of the Covenant A 
 praying to God for TVifdom, and on each Side, I reprefent, furroundedl 
 with a Glory, the Gifts which God beftows on him ; as ITifdom and Rich A 
 es flowing down. And in the lefler Pannels, I exhibit, in Bafs-relief," 
 
 the 
 
Chap. 8. Cielings, or Plafonds. 463 
 
 ■he corporeal Virtues, On this Foot, we may handle any Thing or 
 Subjeft whatfoever ; and by having due Regard to the aforefaid four 
 Particulars, and well executing them, fuch a Reprefentation will cer- 
 tainly pleafe every one, even Envy itfelf. 
 
 Hence, we may fufficiently perceive, how orderly we muft manage : 
 Wherefore 'tis no Wonder, that fo few excel in Cieling-painting, tho' 
 it have Rules as well as other Studies ; but if thefe be not duely ob- 
 ferved, we cannot gain the Point. He who fets up for a good Matter,, 
 rnuft fhew that he underftands his Art. 
 
 If I am asked, whether I think Correggio, Cortona, Vpvet, and o- 
 thers, who performed Wonders in this Branch, have always fo punctu- 
 ally followed the Rules, and fo nicely regarded all the Obfervations 
 here laid down according to my Apprehenfion ? I anfwer, that it 
 would have been better if they had done it; or elfe what I fay, muft, 
 as I have (hewed in a foregoing Chap, be owing to the Machine with 
 Puppets, which I made ufe of for 4 or 5 Years, and afterwards laid 
 afide ; for, we ought firft to have a thorough Knowledge of a Thing, 
 and then demonftrate it. But I am further of Opinion, that had the 
 great Mafters perfectly known the prefcribed Rules, we fhould not 
 find fuch great Miftakes in their Works as fome now think there are.. 
 Neverthelefs it's moil certain that none are qualified for this Judgment, 
 butthofe who have made it their Praftice ; for he who underftands 
 the Rules, and retains them in Memory, can always judge whether 
 they be obferved, or not, tho' not able to do ithimfelf: Yet they 
 who work only by Guefs, and know nothing of Grounds and Rules,, 
 are more pardonable than thofe who are acquainted with them, and do 
 not ufe them ; tho' both blame-worthy, the one for his Carelefsnefs 
 and Neglect of Learning, and the other for his Knowledge and Neg- 
 lect of ufing it. via r 
 
 I am very fenfible, that fome will make little Account or many 
 Things by me delivered as necejfary ; but I am in no Pain for that, if 
 I can but give Satisfadion to a curious Reader. 
 
 I muft own, that, in my juvenile Years, I dawbed lome Cie- 
 lings but never fiatter'd myieff that I underftood the Art fo as I 
 > ou|ht; becaufe I was then ignorant that there were any certain Grounds 
 I an § Rules. Neverthelefs, 1 afterwards attained them, by fometimes 
 : hearing others difcourfe about them, and by the Rules of Perfpeffive, 
 I andfby my own indefatigable Application to fo noble a Study h mfo- 
 1 much, that at M I could sketch a large and grand Compofition with 
 
 more: 
 
Of the Tainting of Book IX. 
 
 more Certainty and lefs Trouble than formerly a little one. I mutt, 
 on this Occafion, relate what Courfe I took. 
 
 I had, in my Room, a little jutty Clofet; and, when I was to make 
 an Ordonnance, pinn'd my Paper againft the upper Part of it, and, 
 having a Candle in one Hand, and a Crayon in the" other, I laid my- 
 felf on my Back, and fcratch'd my Thoughts on the Paper. This I 
 found to be a good Method, for preventing Miftakes; I mean, in the 
 Sketch. Now, for the Painting it, I alio did it againft the Cieling ; 
 yet not after fuch a flight Scratch : For, having made my Sketch, I 
 took out of the Prints of Vovet and others, fuch Actions and Poftures 
 as were proper ; altering them either in the Faces, Hands, or Folds 
 of Draperies, more or lefs, by Guefs, as well as I could. Thus I 
 made thift ; yet all zvas done againft the Cieling : Whereby you may 
 judge, what Trouble I had, as well in finding Things, as afterwards 
 in executing them ; which really was double Work. But, when better 
 informed, I fat commodioufly at my Eafel. He who proceeds with 
 Certainty has a great Advantage above others. 
 
 CHAP. IX. Method for drawing for ejhortened Buildings, Figures, 
 
 Trees , &c. after the Life, 
 
 I N C E it commonly happens, on Nature's denying her favoura- 
 ble Affiftance, that we have Recourfe to our Wits, for Means to 
 fupply the Defect ; it was even my Cafe in Cieling-painting. Af- 
 ter having given myfelf much Trouble to no Purpofe, and taken ufe- 
 lefs Pains, in order to defign every thing after the Life, I at laft found 
 out the following Method, which has made me full Amends. Tis 
 very profitable in all Pieces with low Horizons, as you will perceive 
 in the Ufe. r 
 
 I fuppofe then, for Inftance, that I am to make a Defign of the 
 Stadt-houfe at Amftmlam ('tis no matter if it were thrice its prefent 
 Height) and this without looking up. I chufe a Station or Diftance of 
 eight Feet, more or lefs, from the Building, as Occafion requires. 
 Then, I take a Convex Looking-glafs, of about a Foot Diameter (to 
 be bought at the Nuremberg Toy-fhops) and place it againft the Infide 
 of my Drawing-board, or Porto-folio : I contrive it in fuch Manner, 
 that it may either ftand upright, or leaning back, according as I would 
 lee Things either from beneath, or higher. Thus I approach with 
 
 the 
 
iVate Lxiv; 
 
Chap. 10^ Cielings, or Plafonds. 4<5y 
 
 ■ 
 
 the open Porto-folio, and my Back towards the Obje&, till the Build- 
 ing, Tree, &c. appear as 1 would have it, and then defign it from 
 the Looking-glafs, on white or blue Paper. 
 
 This Method is very convenient for drawing all Sorts of large 
 Works in narrow Places or Streets ; even, a View of twenty or thirty 
 Houfes. 5 Tis alfo ufeful to Landskip-painters in their Country Views : 
 They may take whole Tra&s of Land, with Towns and Villages, 
 [Waters, Woods, Hills, and Sea, from Eaft to Weft, without moving 
 either Head or Eyes. 'Tis likewife proper for thofe who are ignorant 
 of Perfp'ecJive. 
 
 We muft here alfo (hew a Method for reprefenting all Sorts of fore- 
 fhortned fiat-faced Ordonnances, whether Pictures, Hangings, or Bafs- 
 reliefs, againft Walls, Cielings, or any where elfe, either ftanding, 
 hanging, or lying, and that with Certainty, according to PerfpecJive. 
 Thefe are Things which Painters often meet with, in exhibiting 
 Rooms, Galleries, Gardens, and other Places ; and the Method for 
 doing it, tho' not attended with Difficulty, yet, fometimes puzzles thofe 
 who neglect it. 
 
 I have therefore chofen the Example in Plate LXIV. which is the 
 Foundation of all Foreftiortnings, as well of Apartments as Cielings ; 
 and the Performance is as follows. Having made the Scheme of a 
 Room in PerfpecJive, I divide the Height and Width of the Side- 
 Wall (where I would have Hangings or Reprefentations of Pictures) 
 into a certain Number of diminifhing Feet, fetching the Crofs-lines 
 from the Point of Sight, and the Perpendiculars from the Plan or 
 Scale. 
 
 Now, in this Example, we perceive four principal Forefhortnings ; 
 For A is the Cieling, B a Side-wall, C the Floor, D a loofe Pifture 
 hanging forwards ; all four proceeding, after one and the fame Man- 
 ner, from the Point of Sight, as the middle Part E (hews, which is 
 divided into Squares.' To fay more, would be ufelefs and tedious to 
 thofe who are in the leaft converfant with this Art. 
 
 CHAP. X. Of the Harmony and Union of Colours in Cieling- 
 
 pieces, 
 
 ALT HO' in the Chapter touching the Deities and their Qualities, 
 we (hall treat of the Colours proper to them, we muft, on this 
 No. 20. 3 N Occafion, 
 
4^6 Of t1° e 'Painting of Book IX. I 
 
 Occafion, lay fomething previous, and fhew, how the Colours ought I 
 to be placed and handled, in order to create a perfect Harmony. 
 
 You muft not herein, by any means, be known by flaring, ftrongJ 
 and glittering Colours. I am of Opinion, that on this Occafion no-j 
 thing fuits better than the Union of the Colours-, becaufe it is agreeable 1 
 to the Eye, caufes a fine Relief, and contains fomething uncommon, I 
 even fupernatural. And when I pretend here, that, in Cieling-pieces, 1 
 you ought to ufe tender and weak Colours (even were they rnoftly I 
 fetch 'd from White) I do not contradict my AfTertion in a former! 
 Chapter, to wit, that particular Colours are affigned to the Deities, 
 according to the Nature and Meaning of each, as Red, Purple, Yel- 
 low, Blue, Green, &c. and even to be known by them without their 
 ufual Tokens of Diftinftion, as Phcebus with the Sun, Diana with the 
 Moon, Mercury with his Caduceus, Ceres with her Ears of Corn, 
 Jupiter with the Eagle, Juno with the Peacock, Momus with his 
 Fool's-cap and Bauble, &c. They who can give their Pieces fuch 
 an Expreffion are principally commendable, and the Painting muft 
 look well : Neverthelefs, I do not hereby confine the Lightnefs and 
 Darknefs of the Colours, whether they differ little or much from 
 each other, or whether they ought to be almoft all White or Lights 
 lince the Colours may be beautiful, be they ever fo light. Even J 
 were a Cieling-piece to confift only of White and Black, Light and: 
 Shade, it would have no lefs Decorum, nor be lefs valuable. I think 
 it, in this Cafe, to be-much like a Print, which, tho' confifting only 
 of White and Black, has yet its Harmony and Decorum, when Light 
 and Shade are well difpofed againft each other ; and ftill more withl 
 the Addition of proper Colours, and thole thinly and tranfparently; 
 managed, whereby it. gets the Property of a Pidlure. 
 
 As the principal Goodnefs of a Cieling-piece lies in an artful Difpo-j 
 fition of the Figures above each other, ib 'tis of no lefs ConfequenceJ 
 that the Colours be well adapted thereto. 
 
 I will now give an Inftance, in two Pieces, differing from each otherj 
 in Light and Shade. The one has three, and the other two Depths. 
 The former has its undermoft Depth ftrongly fet off in Colour againft 
 the fecond, which is a little dark ; and the third is light againft the~ 
 dark Blue of the Sky. In the latter, (which I think the beft onac-j 
 count of Decorum J the uppermoft Group is dark againft a light blue 
 Sky ; and the undermoft, by . the Force of Light, fet off againft 
 the uppermoft. Even, were we thus to difpofe three or more Grounds 
 or Groups over each other, it would look very decorous j and each 
 
(Chap. 10. Cielings, or Plafonds. 4 6 7 
 
 Deity "would neverthelefs keep its proper Colours, yet Ids in Force, 
 in Proportion to the Diftance : For when the uppermoft Group is let 
 f off againft the light Sky, it caufes a wonderful Go-oft ; and the Reaion 
 proceeds from the Sky's feeming to be infinitely higher; which con- 
 trarywife cannot be effected. ..*_,. . , 
 
 If it be objeaed, that fuppofing one of the principal Figures in the 
 uppermoft Group, ought, according to its Dignity and tfec Reaions 
 laid down in the fuiting of Colours, to have a white Drefs and 
 therefore the aforefaid Pofition will be overthrown : I deny it ; tor it 
 may be helped, by difpofing fome dark Clouds behind which will 
 oreferve that Garment in its Force, and make it have a pleating Har- 
 mony with the reft of the Work. In the Difpofition of ^ Objects, over 
 near and behind each other, we have more largely handled this Point, 
 and (hewed its Truth and Decorum: For, Dark againft Light cannot 
 advance with fo much Force as the Light may againft the Dark ; be- 
 caufe the Light has greater Strength in itfelf. However to put an 
 End to a Point of fo great a Latitude, which by Difcourfe cannot be 
 fully demonftrated, I (hall conclude it with the great Junius, who, m 
 his third Book of the Art of Painting, fays, 
 
 Thus we fee, that Artifls, in their Works, create Shades or Depths 
 to the end that the Parts 'to come out may approach wit* more Force, and 
 feem to meet the Eye of the Beholder, even without thePitture Let 
 two parallel Lines, fays Longinus, * be drawn upon a Cloth ^hhght 
 and dark Colours, the Brightness of the Light will foonefl firike the 
 Eye, and feem to be neareft. And, a little further quoting Johannes 
 %Vammat cus, he fays, flf we paint a Board with White and Black 
 the White will always feem to be nearer, and the Black further of. 
 Therefore, continues the fame Author, in his Obfervation on this Point, 
 the Painters alfo make ufe ofblackijh or darhfh-br own Colours when they 
 are to reprefent the deep Hollow of a Well, C ftern Ditch, bottomlejs Pit 
 or 7te Me. But when, on the contrary, they will make any thing come 
 out as, the Breafis of a Woman, an Hand held out, or toe Feet of a 
 leaping or running Horfe, they lay, on both the Sides, a ffcient Shade of 
 black and brown Colours, in order that thefe Parts may by the neighbour- 
 ing Darknefs, be flung of from the Piclure with a lively Force. 
 
 3 N % CHAP. 
 
 * De Sublim. Orat. 1 5. f% Lib. u Meteorol..^. 
 
4^8 Of the Tainting of Book IX. 
 
 C H A P. XI. 0/ tf<? Z)«V;« in [acred and profane Hiflory and 
 tables ; ^ ^ ,/ Z)#W, * [acred and profane Re- 
 
 prejentation. * J 
 
 done with treating of Cieling-pieces, I thought it 
 improper to end this Book.and make a new one of the following 
 _ Chapters j becaufe the Matter has fuch a Connexion, that wt 
 can fcarce think of the one, without falling prefently on the other 
 
 its certain, that in common Piaures the Deities, Ghofts, Demi- 
 gods, Angels, Virtues, and other Powers may likewife be introduced 
 nay are even mfeparable Adjunas : But into Cieling-pieces where 
 
 ^JZ'Tf V* Sk} / they muft ° f Neceffi£ y co ™ e ; becaufe the 
 "ties or Virtues! Re P refentatIons "late either to their Perfons, Qiia- 
 
 . Now duely to execute this Reprefentatiop of the Deities, theAr- 
 tilt ought chiefly to be acquainted with the /acred and profane 
 Stones as well as with the poetical FiBions, that he may learn from 
 them the particular Occurrences and Properties peculiar to each Per- 
 ion and Rank of the Deities or Upper-powers, and reprelent them 
 accordingly ; for ^Imagination muft, in this Point, lend great Af- 
 
 h^TV't ^ n0t ¥ C r? r eV£r >" Man to rel y intirel 7 th ereon, left 
 he ftould be deceived ; like the Man, whofe Neighbour dreaming 
 
 that m a certain Place was hidden great Treafure, tnd awaking and 
 going thither, found it by digging, and carried it home ; he, on this 
 good Luck, laid himfelf down on an Heap of Poppies, in hopes of the 
 fame Happinefs ; but after a long Sleep he awaked without anv ad- 
 vantageous Intimation from his Dream; contrarily, found his Pocket 
 pick d and thus at once was bereft of his Hopes and the Monev he 
 before had in Pofleffion. This Simile is too plain to need nearer A o- 
 plication. * r 
 
 1 , A j ud _ iciousMa fter muft certainly be well exercifed in the Know- 
 ledge of the true Conditions of the Things he is to handle, that he 
 may not be thought an Ignorant ; for the Truth cannot be hidden 
 with relpea to the Inventor. Wherefore you ought to take heed of 
 mixing this Truth with falfe Things, efpecially in facred Stories, or 
 fpintual Reprefentations ; fince there is fo great a Contrariety between 
 them, that they cannot be joined, unlefs to (hew the Difagreement • 
 
 I fay, 
 
phap. ii. 
 
 Cielings, or Plafonds. 
 
 4^9 
 
 1 fay, they cannot poffibly be joined in order to exprefs a Jingle Mean- 
 ing, but will rather ferve to confound, weaken and miftake it, except 
 they be feparately difpofed, the [pi ritual above, in Heaven, and the 
 worldly below, on the Earth. I fpeak with refpe£t to Emblems : For 
 there is a great Difparity between Pallas and the Wifdom of God, 
 pnce the latter cannot be attributed to any Perfon, and much lefs re- 
 [prefented on Earth. The fame may be fa id of Janus and Provi- 
 dence. The heavenly and civil Juftice are alfo very unlike. We 
 muft therefore note, that the whole Iconology or Science of the 
 ■heathenifh Figures, tho' formerly accounted heavenly, has now 
 no relation to the Soul, but to the moral Virtues and Merits of 
 Men. 
 
 Let us then inquire, with Reverence, what are Chriftian Emblems, 
 and what, profane or Heatheni/h ; ufing in fpiritual Reprefentations no- 
 thing but what is pure and heavenly, and in the worldly, all that's 
 proper to them, in order to gain the Efteem both of religious and 
 worldly Perfons. 
 
 A Paflage in Scripture mentions the driving Lucifer and his Compa- 
 nions out of Heaven : Whence we may plainly conclude, that thofe 
 Monfters afterwards fell to the Share of the Heathens, as no longer 
 pertaining to the Saints. But we do not find, after that Time, any 
 more fuch unruly Spirits were expelled Heaven ; wherefore we are not 
 [allowed to reprefent more fuch Inftances. But in the Cafe of Men 
 feen to battle the true Faith, Things may be accompanied and repre- 
 fented with heathenifh Emblems; becaufe, as is fa id, the Heathens 
 gave themfelves up to the Devil ; the better by that means to ex- 
 prefs their Error, and ihew the Truth, thus alfo driving them out of 
 .Heaven. 
 
 It is, upon Occafion, likewife not improper or difagreeing with the 
 Pharifees or Hypocrites-, but has a greater Weight in tic~h'tious Stories 
 or Parables. Nor can we, without Offence, introduce other Emblems 
 [than Chriftian-like, when they only tend to incite to Salvation. In 
 which Cafe we may reprefent Angels or Spirits, to keep thofe Hypo- 
 icrites out of Heaven. 
 
 In true profane Hiftories, as the Roman, Grecian and others, this. 
 Management would be improper, but we may lawfully ufe hieroglyphic 
 land other Characters ; of which there is an Infinity ; for Inftance, by 
 la religious Perfon, a white Garment, or an Offering-cup ; by a cruel 
 one, a Tyger's Skin or Dragon, either on his Helmet or Shield, ft 
 would be prepofterous to place a Veflal Virgin by Numa Pompilius, in 
 
 order 
 
470 Of the Tainting of Book IX. 
 
 order to (hew his Religioufnefs ; or Achilles by Alexander, to exprefsj 
 his Valour, or an Hercules by Milo : And ftill more ridiculous to feel 
 an Hercules by Hercules, to portray Strength ; or a Fool by Momus, 
 to exhibit Folly. It would, f fay, be very ridiculous to explain Ovid 
 by Emblems, feeing he gives us nothing but Emblems. This 
 would be a feeking Light with Light, or enlightening Darknefs with 
 dark Clouds. We want not another Sun for expreffing the Sun's 
 Light. But thefe Reprefentations and By-works muft only tend to the 
 exhibiting invifible 'things by vijible Ob/efts. 
 
 The more noble and lofty the Things we are to reprefent, the 
 more valuable ought to be the Emblems we chufe for them ; for 
 Inftance, in expreffing the Nature and Quality of the Deities, we ufe 
 young and chafte Virginity, a State in all Ages accounted the moft 
 rare and valuable : But in reprefenting the PaJJions of Men, we 
 make ufe of Beafts, or elfe inanimate Characters and Objects ; for 
 being of a lower Rank than the Deities, they muft alio bear lefler 
 Objefts. 
 
 If now it lhould be objected, becaufe I reprefent Eternity by a Ser- 
 pent, and the Purity of the Deities by a Lamb, that this is contra- 
 dictory to my own Poiition ; I believe, with refpect to the former, 
 that any Perfon will be of my Mind, on a fair Confutation of the 
 moft ancient heatheriith Reprefentation of it ; and as to the latter, 
 Scripture, and chiefly the Reprefentation of St. 'John, in many Para- 
 ges, exhibits the Perfon of Chrifi in the Form of a Lamb, and as the 
 Lamb of God. Now, fince all this has an hieroglyphic Meaning, 
 why lhould not I be allowed to fetch my emblematical Thoughts] 
 from fo pure and rich a Fountain of Wifdom ? Thus I deport myfelfj 
 with refpecl: to other fuch Objects, which reprefent fome Quality of 
 the Deity : But thofe of later Invention, I endeavour, in this Cafe, to 
 avoid as much as poffible. 
 
 Moreover, Scripture, in many Places, delivers itfelf in hieroglyphic! 
 Terms ; comparing Anger to a Bear bereft of his Cubs, Meehiefs, to 
 a Lamb, Innocence, to a Dove, Subtilty, to a Serpent, &c. 
 
 CHAP^ 
 
Chap. ii. 
 
 Cielings, or Plafonds. 
 
 471 
 
 C H A P. XII. Difquifttion touching the Reprefentation of the 
 
 Trinity. 
 
 MANY will think this Subjea beyond the Reach of what we 
 have hitherto handled, and inconfiftent with Art : But I am 
 of a contrary Opinion; for a tender-hearted Artift has, on Ac- 
 count of the^any Differences among Chriftians, Reafon to be in 
 Concern for this Point, fince fo many Occurrences offer in Scripture, 
 where the Almighty is either aaing in fome Form, about Mankind, 
 or is paffing by as a Glory to make his Preience known. 
 
 The erefteft Part of Chriftendom (Holland, England, and a Part of 
 ci xc pted) allow, with one Accord the Reprefentation of the 
 f rfonsi the P Trinity ; as firft, God the Father in the Jhape of an old 
 Mm with a lone erey Beard and Hair: Secondly, J ejus Lhrtjt, as ne 
 aooea^ed in his llumLity : And Thirdly, God the Holy Gbofi in the 
 Shape of " iDove, in which Shape he defended on JefusChrtJl, at 
 
 t4l N.w / acSgt the Letter of Scripture, I were to reprefent 
 Jdal and isle I find 8 it neceffary to exhibit the Creator of the World- 
 ivA " Makefof Adam, in a vifible Shape, fince it is written, that he 
 made^£» ofthe Duff of the Ground, and breath'd into h.m the 
 Breath of Life Now he, who is to make fomething, or breathe ,njo,ne- 
 ftofmuft, humanly fpeaking, have both Hands and Mouth 
 
 As'Salpture alfo commonly lhews. us an apprehenfive Qua bty of the. 
 Aim 'XT why ftould I be more culpable for reprefenting h,m under. 
 Ae &? thin under that of a Triangle furrounded with a Glory, and 
 containin K fome Hebrew Letters? Yet our Divines are of Opinion tha . 
 
 if allowable, but not the former. Is not then the one a Figure 
 as wetl as the other ? Or do the Jewijh Chafers, or the inanimate 
 
 Sh Es «£S£E- tend as well to Inffruaion 
 
 asfS-dSed Speech ^ft<g£^&^ 
 flood, is obliged to ufe a fa" 1 ™*?™ ^jfi fo r undemanding it ? 
 
47 * Of the Tainting of Book IX. 
 
 by a certain Method of underftanding, we comprehend ? For it is not 
 the Matter itfelf. 
 
 I think, that the learned World and Artifts reprefent the firft Per- 
 fon of the Trinity rather in the Shape of a Man, than of any other 
 Creature, on good Reafons ; for we learn from Scripture, that God 
 created and made Man in his own Image ; and from the ancient Fathers 
 that Man is an Epitome of all that God created; who is therefore called 
 the little World : Some even call Man the Mafter-piece of God. We 
 ought therefore, if we will take fome Likenefs from the Creatures to 
 exprefs the Almighty* by the moft perfeft Idea to be found, in order 
 to exhibit his Perfection, and thus to make the Copy, in the beft 
 Manner, like the Original: And the more, as Scripture, in feverai 
 Places, makes mention of the Head, Eyes, Ears, Mouth, Lips, Arms 
 Feet, Hands, and other Members of God: Which Things muff not be 
 underftood in a carnal and literal Senfe (according to the Opinions of 
 fome ignorant People, who imagine God, in his Nature, to be like a 
 Man ; that he fits in Heaven on a Throne, according to a PafTage in 
 
 Ifaiah, The Heaven is my Throne, and the Earth is my Foot/too/ 
 
 And asm another Place the fame Prophet fays 1 jaw the Lord 
 
 fitting on an high Throne, and lifted up ) but in a figural and fpiri- 
 
 tual Senie : I think then, that a Painter has no nearer Expreffions in 
 f uch Reprefentations where God himfelf is afting, than to exhibit his 
 Figure in an human Shape, as beft agreeing with thofe Likeneffes 
 We paint him aged, in order to (hew his Majefty and Wifdom, which 
 are more to be found m Old Age than Youth; and with a Scepter and 
 Globe, and a Circle of Stars about his Head, to (hew his Omnipo- 
 tence both in Heaven and on Earth. But Roman-catholicks daily make 
 Additions. J 
 
 If the Scripture reprefent his Godly Perfon under a myfterious Senfe 
 why may not the Artift be allowed to do the fame? Do we not read 
 
 counted Heathemjh. , Any Doubt which might arife fro/ it, does not 
 affeft the Point, with refpea to Shapes. In another Place we find, that 
 the High-Pneft hid himfelf, that he might not behold the Lord- 
 But the Lord put a finger on his Eyes, till he was paft by. How 
 can I reprefent that Paflage, without a Body? Or is it no Fa£] > 
 The Prophet Ifaiah fays ; Behold the Name of the Lord comes from 
 far, Ins Ups are full of Indignation, and hi/ tongue as a devotjng 
 
 Fire, 
 
Chap.it. Cielings, or Plafonds. 473 
 
 Wire. Now, to make this known to a Perfbn who cannot read, and is 
 dea£ Is it not more eafy to do it by a Reprefentation, than by Signs } 
 Are we to make only a Mouth fending forth a Flame ? Is this fo 
 (proper for fuch a Man's Apprehenfion, as a whole Figure ? Moreover, 
 is not a Mouth a Likenefs and a Figure, as well as a whole Image ? 
 What then are they pretending, who allow one Part of the Crime, 
 and not the Whole? If it be a Crime, let it be intirely forbidden ; 
 and if good, or at leaft fufferable, intirely allowed, and performed. 
 Neverthelefs, we muft not bow before thefe Things, much kfs worjkip then:* 
 but the true God only, who is thereby meant. Can we obferve a Sacri- 
 fice otherwife ? Is not that a myfterious Reprefentation, or, in better 
 
 Terms, a figural Demonftration, when it is faid The Sacrifice 
 
 was burning upon the Altar, and the Children of God were bowing before 
 it, praying, befeeching, and giving Thanks in all Submiffion ? 
 
 Scripture, in feveral Places, fpeaks of the appearing of God to 
 Men, either really by the Miniftry of Angels, or in a Vifion by 
 Dreams, or by Extafies. There is fo fine a Defcription of God, under 
 the Shape of an old Man, in the feventh Chapter of Daniel ', that no 
 Artift can better reprefent it. The fame Scripture alfo mentions feve- 
 ral Appearances of Angels in human Shapes : For which Reafon, the 
 Church, in the fecond Council of Nice, made no Difficulty in allowing 
 Artifts to do it \ and chiefly Painters, to reprefent God the Father as a 
 kind, loving old Man, and the Angels in an human Shape. 
 
 It feems alfo, that a Painter has the Privilege to paint and repre- 
 fent inanimate.Things as living, according to the Ideas which Scripture 
 affords him : And the Spe&ator muft not be offended, when, in fome 
 Piaures, • he finds facred Subjects attended with poetical Fiftions, for 
 their better Explanation ; on a Suppofition the latter be impious. Are 
 not the Pfalms of David, Solomon'* Song, the Book of Job, and the 
 Revelation of St. John the Divine, all delivered under Poetic Figures? 
 Not to fpeak of the Parables befides mentioned in Scripture. 
 
 Painters therefore are not blame-worthy, for bringing in fome- 
 thine that is heathenifh, in order to clear the Matter ; and especially if 
 the Faft happened in an heatheniih Country. Thus the great Ra- 
 phael, in his Pajfage of the Children of Ifrael over Jordan, has repre- 
 fented the River under an human Shape, violently turning the Water 
 back towards its Source. ..„''««. , / 
 
 As Scripture often lays down fuch and the like Things under lome 
 figural Descriptions, it gives Painters full Liberty to do the fame; 
 fince in order to accommodate itfelf to the weak Apprehenhons or 
 
 No. 20. 3 N Men, 
 
474 
 
 Of the Tainting of 
 
 Book IX. 
 
 Men, it ufually delivers many of the greater!: Myfteries under Figures 
 and Parables ; as it fpe.aks of the Rivers, in Pfalm xcviii. 4. 
 
 PouJJin alfo made no Scruple, in his Picture of the finding of Moles, 
 to exhibit the River Nik, by an human Figure. But there were Ca- 
 lumniators in his Time as well as there are now. He was charged 
 with Atheifm, for mixing Truth with Lyes, and having no more Re- 
 gard for either, than to treat them alike. Yet, if we look nearer 
 into this Matter, we fhall be convinced, that the learned Painter was 
 not in the leaft tinctured with Atheifm. Did it not happen in hea- 
 thenifh Egypt ? Was not Pharaoh's Daughter prefent ? Did fhe believe 
 the Truth, which was only manifefted to Ifrael? Certainly fhe did not. 
 Since therefore the Fact lay in an heathenifli Country, and was done in 
 the Prefence of but two Hebrew Women, the others being Ethnichs, 
 this great Artift has not trefpafled either againft the Chriftian Faith, or 
 againft the Art. 
 
 And altho', at the firft View, a well-grounded Objection may be-,: 
 that with Things which relate to Religion, no falfe Gods or Deities, 
 worfhipp'd by the Heathens, ought to be mixed; and that it is fuffi- 
 cient for a Painter to reprefent a River in its natural Courfe, and not 
 in an human Form: Yet the Objection is eafily anfwered; for Scrip- 
 ture reprefents the Waters, and the Noife of Rivers, under an human 
 Form ; as in Pfalm xcviii. where it is faid, that they clapp'd their Hands 
 and were joyful. Moreover, the Egyptians never worfhipp'd the Ri- 
 vers, but the Crocodiles living in them ; and Ifts, under the Shape of 
 a Cow, as Ovid, and other Writers teftify. 
 
 Since then Scripture makes ufe of allegorical Speeches, a Painter 
 may alfo exhibit his Subject under fymbolical and perceptible JLikenefes, 
 in order to be the more intelligible to the Spectator, without Fear 
 that his Work will miflead faithful Chriftians, or ftrengthen heathenifh 
 Superftition ; for a Painter, who has no other Language to exprefs 
 himfelf by, but Figures, ought to make ufe of them,, if he would be 
 underftaod. 
 
 Rubens, who of all the Painters handled thofe fymbolical Figures 
 in the moll agreeable and learned Manner (as we may particularly ob- 
 ferve in the Cardinal Infant's Entry into Antwerp, and in the Paintings 
 of the Luxemburgh-Gallery J is taxed by fome with mixing, in thole 
 Compofitions, Truth with Fictions : But how eafily is this Judgment 
 to be refuted, by Ihewing the Ufe that judicious Artift made thereof. 
 For Fidion is here not at all mingled with Truth, but only tends to 
 
 make 
 
Chap. ii. Cielings, 'ar Plafonds. 47f 
 
 make Truth clear to Sight and Apprehcnfion, and thus more plainly 
 to exprefs it by the fictitious Characters and Emblems. 
 
 I pray obferve, in his Birth of the French King, Lewis XIII. how that 
 excellent Artift has exhibited Caftor with an artful Sway, on diftant 
 Clouds fitting on his winged Horfe, and oppofite to him Apollo, who, in 
 his radiant Chariot, is driving upwards, in order to (hew, that this Prince 
 
 I was happily born in the Morning. Hereby it is evident, that this ingenious 
 Mafter had no Thoughts of reprelenting Deities as Deities, but only to 
 
 1 denote, by Caftor (as accounted an happy Conftellatson) the King's 
 fortunate Birth; and by Apollo, the Time of the Day, which was in 
 the Morning, appearing by his Chariot's mounting up from the 
 Horizon. 
 
 But further to clear my Thoughts touching the Reprefentation of 
 God the Father, I fhall, before I end this Chapter, fubjoin the follow- 
 ing Obfervation. 
 
 The Prophet Ezekiel, in his firft Chapter, mentions, that he faw the 
 Almighty from the Appearance of his Loins even upwards, and from 
 the Appearance of his Loins even downwards, as it were the Appearance 
 of Fire, and it had Brightnefs round about. Wherefore, by this, and 
 other Inftances of Scripture, we fuppofe, that this f acred Figure ought 
 never to be reprefented without a Glittering or Glory from Head to Foot ; 
 even in fuch Manner, that, bigger or lefs, according to the Place, Oc. 
 cation and Decorum, and fpreading around gradually thinner and 
 fainter, like a clear and tranfparent Vapour, it at laft infenfibly unites 
 with the By-works, and difappears. 
 
 Now, to reduce this to a Painting, we ought firft to defign the Fi- 
 gure of the Almighty, whether fitting or ftanding, in Heaven or on 
 Earth, in the molt perfect Form and Countenance, yet much bigger 
 than any heavenly or earthly Creature. This you muft colour, with a 
 (ingle Tint or Ground, a little darker than the Glory, and afterwards 
 heighten with Light. Then, with a large Bruth, foften the Figure, 
 fo that neither its Out-line, nor any Edginefs or Sharpnefs of the Parts 
 of the Face Hands or Feet (which ought to be touched very gentle 
 and faint) be perceived; juft as if it were viewed thro' a Silk Gaufe, 
 fteamed Glafs, or thin Mift ; in fhort, like Things feen in a Camera 
 Obfcura: Observing, that the Figure do not receive any Light either 
 from on high, or from a Side, or from behind, but in Front only, 
 and about the mod relieved Parts ; altho' the whole Piece have an- 
 other Light: It muft moreover have no other Shades than in the 
 deepeft Cavities, and thofe very faint. 
 
 * 3 O i We 
 
47 6 
 
 Of the Tainting of 
 
 Book IX. 
 
 We have before curforily (hewed, why we reprefent the Almighty 
 as a venerable old Man: And (hall now further infift on the Point,: 
 tho' without reference to all the Paflages in Scripture, which might] 
 
 ferve our Purpofe. In Daniel, Chap. vii. 9. 'tis written, The\ 
 
 Hair of his Head was like pure Wool, and his Garment zvhite as Snow A 
 
 s The Reafon whereof) fays Gregorius Nazianzenus, is to fhew\ 
 
 thereby, as by an infallible Token, his clean and undefled Being. Where- 
 fore the wife Eufcherus is alfo of Opinion, that for the fame Reafon] 
 the Choir and Multitude of Angels are represented in White. Others] 
 compare it to the human Shape, and would thereby allude to infinite 
 Duration, fince nothing is fo eternal as the Godhead. Which I re- 
 mark here, becaufe fome fcrupulous Perfons are of Opinion, that we 
 ought not to reprefent God the Father in fuch a Shape, adorned with 
 white Garments and grey Hair. 
 
 And, on this Account, all Nations have, by an univerfal Confer^, 
 thought proper to perform divine Service in white Garments and Or- 
 naments. The White has alfo been at all Times appropriated to the 
 
 holy Service. Wherefore the Poet Perfius fays, He is worfhipped 
 
 in White. 
 
 But what is Fergus's Saying to us, fince the Raiment of f ejksi 
 Chrift, when he manifefted his Glory to his Difciples, appeared as- 
 
 white as Snow ? Cicero, Lib. 2. Legum, fays,. The White looks- 
 
 heft in all Stiffs, but efpe daily in the woven ones, in order to exhibit what 
 is holy and godly. 
 
 It is therefore necefTary to reprefent the Almighty in a white Gar- 
 ment ; however, it's not improper, to make it look more natural, that', 
 you keep it a little yellowith, as lighted by a Sun, or like the Glory 
 which furrounds the Figure. 
 
 But in all this,, a Painter miifl be very difcreet, and not abufe the Li- 
 cence allowed him by Scripture and the Confent of the Fathers, or by . 
 his Art pervert the f acred Truths or flight them. 
 
 CHAP. XIII. Of the Glories proper to Angels and heathenifh 
 
 Deities. 
 
 HAVING fliew'd in what Manner, and on what Terms, ac- 
 cording to my Judgment, to reprefent the Almighty, let us 
 now inquire how the Angels, in their Power, ought to be exhibited. 
 
 Gre- 
 
(Chap, if, Cielings, or Plafonds. 
 
 477 
 
 Gregorius Nazianzenus fays, that the true Property of the Angels, when 
 they appear in a bodily Shape, is, to have a bright Glory and glittering 
 Garments. We find the Angels thus defcribed in Matt, xxviii. 3. in 
 iMark xvi. 5. in AcJs i. 10. and many other Places of Scripture. 
 
 This glittering Light of the Angels ought therefore by all means 
 to be obferved in moil of their Appearances : As for Inftance in thofe 
 Bp Abraham, and in the delivering Lot out of Sodom, where they 
 fmote the luftful People with Blindnefs : For it's certain, they had 
 fomething more than human, fince Abraham falutes them as Lords. 
 5 Tis not likely, that this Honour proceeded from their coftly Drefs, 
 Jewels and other precious Things about them, but from fome heaven- 
 ly or uncommon Addition. 
 
 A further Proof of this Glory of the Angels, is, the fore preffing 
 of the Sodomites upon Lot, and their not coveting either him or his 
 Daughters, or any other Strangers probably living among them, 
 but only thefe two young Men to be brought out, in order to know 
 them : And perhaps becaule of their more than human Form, and 
 charming Brightnefs. If now this Glory had fhone too ftrong, they 
 would have perceived fome Deity, and forbore their Wickednefs ; 
 for it cannot be imagined, that any Man fhould daringly and know* 
 ingly ftrive againft the Almighty. 
 
 But, before we proceed further, I muit. here deliver my Opinion, 
 touching the Perfon of jfefus Chrift ; which is, that in his Humanity 
 and before his Refurreclion, he ought to be reprefented without the 
 leafl Shining or Glory ; fince he was made in the Likenefs of Men, 
 and would be like his Brethren in all Things, except Sin, as Scripture 
 teftifies: But after his Refurreclion, he fhould be jhewn with a Glory j . 
 (as we read he appeared to his Difciples on Mount Tabor, and in other 
 Places) as having then put off his Humanity in . its principal Purpofe. 
 Now, to proceed. 
 
 We have further Inftances of the Appearance of Angels, as in thofe . 
 who came to Manoah, Gideon and Tobit, and him who fmote the Peo- 
 ple of jferufalem for David's Sin,- &c.- Of the firft, Scripture exprelly 
 fays, that he, foretelling Manoah 'the Birth of Samfon, afi ended in. 
 the Flame of the Altar-, pofiibly in an Augmentation of Glory uniting 
 I with the Flame of the Offering ; by which doubling Brightnefs the 
 ; Parents of Samfon were ftrengthened in their Faith and Hope of the 
 Birth to come. 
 
 If this Glory now be painted too ftrong and like Lightning, it blinds 
 our mortal Eyes, and thus the Patriarch Abraham could have viewed 
 
 k 
 
478 Of the Tainting of Book IX. ' 
 
 it no more than the Prophet and Leader of Ifrael, Mofes, when God 
 appeared to him, and palled before his Face: And this Glory would 
 deftroy a Beholder. 
 
 The blind Heathens had Glimmerings of this Truth ; for whej 
 Seme/e prefumptuoufly defired, that Jupiter might once embrace her] 
 in the iame Majefty as he did Juno in Heaven, and infifted on it, not J 
 withftanding his Difluafion to the contrary, fhe was, on the Refcueftl 
 granted, intirely confumed by the attending Glory of the God, info J 
 much that with Difficulty he faved the Child he had by her. 
 
 Whence it's plain, that the Glory, even in exhibiting the Heathenifh 
 Deities, ought to beobferved; fince in their Appearance to Men ei- 
 ther by Night or Day, to blefs or punilh them, they retained their 
 full Force, Glory and Majefty; and this being weighed, they muft al- 
 io be reprefented^ttm^, beautiful in Afpecl and Shape, and in Rai- 
 ment of an elegant Colour, as much as poifible, and the Nature and Uf e 
 of the Mure will permit; as we have before hinted in the bandlim 
 of Colours in Liehng-pieces. 
 
 But when the Deities appear among Men, as Men, then they ought 
 to be like them, and not eafily diftinguiftable, otherwife than by their 
 Mien: As, forlnftance, in the Story of Jupiter with Califto, Apollo 
 with Daphne, Jupiter with Lycaon, Mercury with Argus, and the 
 like : In fuch Cafes, and that they might the better play their Parts, 
 they transformed themfelves intirely into Men, and wer^ perfectly like 
 them, laying afide all God-like Glory and Shape, as if, according to 
 the Opinion of the Heathens, they meant, that there can be no Union 
 or the divine with human Nature. 
 
 As to the Motions of the heathenifh Deities, many reprefent them 
 appearing in aftive Poftures, as walking, running, and other Motions : 
 but it's as contrary to my own Opinion, as that of the great Biihop of 
 Hippo, Heliodorus. This learned Man, and great Searcher into heathen- 
 
 Antiquities, will not allow them to go or walk when feen in their Ma- 
 jefty, but only to wave; or feem in fome meafure to walk, yet gliding 
 
 M V a Sh, P moved alon g by the Wind, without perceptible 
 
 Motion : They ought always to be fet out with thin Clouds, of which 
 iuch as are neareft them receive a greater and ftronger Light. 
 
 CHAP. 
 
Shap. 14. 
 
 Cielings, or Plafonds. 
 
 479 
 
 CHAP. XIV. Of the Reprefentations. of Angeh and heathenijb 
 
 Genii. 
 
 r I ^ H E Almighty, in the Beginning, created an infinite Number of 
 Angels or heavenly Spirits, who, in Scripture, are diftinguifhed 
 by Names, as Seraphins, Cherubins, Thrones, Powers, Arch-angels, 
 Angels, Sec. 
 
 The firft, as being nearer! to the Glory of the Almighty, are al- 
 ways represented ^oaa^" and.harmlefs, and. with Jzx fVings, according to 
 Ifaiahy Ch. vi. 
 
 The fecond are exhibited only for the fake of Motion,, and to denote 
 the Efficacy of eternal Happinefs; which their undefiled Purity and 
 childijlo Form give to understand. 
 
 The third, who continually attend God's Juftice (as Dionyfms A- 
 reopagita, St. Paul's Difciple, writes) are fomewhat older, and more 
 full-grown, and of an agreeable Sway and Motion; caufing, by their 
 Appearances, no Fear or Fright, but Joy and Gladnefs in People's 
 Minds. 
 
 The fourth are appointed to execute, divine Vengeance in the Punith- 
 ment of Sins and Wickednefs: Of thefe, one was To ftrong, that, with 
 the Almighty's Permiffion, he fmote, in the Camp of the AJJyrians, 
 185000 Men, 2 Kings xix. 2 Chron. xxxii. Jfaiah xxxvii. Thefe are 
 reprefented bigger than the former, having ft em Countenances, and vio- 
 lent Motions; are feldom or never naked, but in Coats of Armour, and 
 with a flaming Sword or Thunder in their Hands, or elf e a Shield on 
 their Arms, with the Name of God glittering thereon. By, their unex* 
 pe£ted Appearance they caufe not only Fear and. Fright in the fffeked, 
 but a continual Remorfe without Repentance... 
 
 The fifth, manage great and courtly Affairs ; as Guardians leading 
 Men to the Knowledge of God.; they are. of. a pprfeH Form and mo^ 
 deft Countenance. 
 
 The laft protect us from all Hurt, and are particularly ordained to 
 excite us to, Virtue,, and difluade us from Evil, Acls xii. Thefe, ac- 
 cording to Dio nyftus* as being the eldeft in the loweft Choir or Hierar^ 
 chy, are reprefented of a large Size, majefiick and quick in Motion. 
 
 There is fti 11 another Kind called evil Spirits, or Damones* or De- 
 vils : Plato ftiles them Cacodamones ) or knowing and crafty. Thefe 
 
 afficl 
 
4»o Of the Tainting of Book IX. 
 
 afflitt the Wicked, and induce them to all manner of Sin, as Blafphe-j 
 my, Unchaftnefs, Gluttony, Drunkennefs, Lying, Defrauding, Murl 
 Cher, &c. Their Shapes are various, even as many as there are! 
 Sins; and altho' they endeavour fometimes to miflead Men under! 
 beautiful Appearances, yet they are always reprefented with fome- 
 Token whereby to know them, either on their Heads, Backs, Hands] 
 or Feet, fuch as Fins, Bats-wings, Vultures or Eaglets-claws, Bears*] 
 paws, Drago?is-tails, Sec. Alfo holding lighted Torches, Pitch-forks S 
 Purfes, mur the ring Weapons, Crowns, Fetters, Toaks, Serpents and Ad\ 
 ders, and with Flames iffuing out of their Mouths j in a Word, any! 
 thing that betokens Evil. 
 
 As to the Angels before-mentioned, who, in all Ages, have been 
 reprefented with Wings, Scripture allows us the Liberty fo to exhibit 
 them : For the Almighty^himfelf lhewed Mofes the Pattern of the Ark 
 of the Covenant, and the Cheruhins, in this Manner, upon it. Can any 
 Example be more perfect than his ? More Inftances in Scripture may 
 be found in the Prophecies of Daniel, Ch. ix. 21. Ijaiah vi. Rev. iv. 
 Ezekiel x. &c. 
 
 Having thus far treated of the Reprefentation of Angels, we fhali 
 now lbew the Opinion of the Heathens, not ill agreeing with the fame 
 Meaning. 
 
 Plutarch tells us, that the ancient Romans had alfo their tutelar 
 Guardians, by them ftiled Genii, or Birth-gods : But they were not 
 reprefented as Angels, or fitting on Clouds, or with Wings, or Glo- 
 ries, but as well-Jhap'd young Men between 16 and 20 Tears of Age, and 
 without Beards, having long light Hair, compofed Count C7iances, and eafy 
 Motions, and a Dog's Skin over their Upper-parts. 
 
 The Reafon of this Cloathing was, as Chryfippus fays, that they, as 
 good Spirits, attend us from our Nativities, being Guardians of our 
 A&ions, in reproving Vice, and revenging Tranfgreffions, as often as 
 we prefer Brutality before Humanity, which the Genii abhorr'd, pur- 
 fuing and barking at us, in order to awake the Confcience. Of which 
 Opinion is Cenforinus, and feveral others whom he quotes; adding, 
 that thefe Spirits watch fo narrowly, that they never leave us, incit- 
 ing us to Virtue, in Proportion as we forfake Vice, and covet Felicity. 
 But why need we thefe Examples ? Our Saviour affirms, that the An- 
 gels have Charge over us, to condua and preferve us, as we have before 
 faid : Wherefore, the Heathens, by this Emblem, have alfo rightly 
 ftiled their Genii, Guardians. 
 
 Ccm- 
 
hap. 14: 
 
 Cielings, or Plafonds. 
 
 Cenformus likewife teftifies, that the Ancients confidereJ their Genii 
 as Gods of Procreation, either that, as we have faid, they took care 
 of us, or were born with us ; for which Reafon, they believed, there 
 were as many Genii as Men, and that each had his own : Or elfe, that 
 there were twice as many, and that each Man had a good one and 
 an evil one, the former perfuading to Virtue, and the latter to Vice ; 
 agreeable to what Chriftians fay of their Guardian Angels and the 
 [Devil, this laft not failing to afflifr Mankind, tho' not born with us, 
 :as the Heathens belie v'd of their Genii. Hence it is, that fome re- 
 prefent the Genii in the Shape of a Serpent, others, as Children or 
 young Men ; or elfe, as grey-headed old Men, conformable to the 
 Philofopher Cebes, in his hieroglyphical Table. 
 
 Zoroafter, and the ancient Philofophers have made a Diftinclion be- 
 tween the Jnimah confecrated to the good and evil Genii ; according 
 to them, 2%.r, Fowls, and the Tortoife are proper to the Good, and 
 Water-animals peculiar to the Evil. 
 
 The Ancients often exhibited the Genii crowned with Garlands of 
 Horebound, the Leaves whereof much refemble thofe of the Vine, or 
 elfe with Chaplets of divers Sorts of Flowers ; as Tibullus, in a certain 
 Place, fays, The Genius is adorned with a beautiful Chaplet of Flow- 
 ers, when his Name and Feftival are celebrated to his Honour. 
 
 ^ Each Perfon worfhipp'd his Genius, without knowing it, in celebrating 
 his Birth-day : And thofe of Princes were efpecially kept by every 
 [body, with great Splendor ; wherefore, he who falfly fwore by the 
 G emus of his Prince (which was accounted a very great Oath) was an 
 immediate Delinquent. 
 
 Since, as is faid, the Ancients had two Kinds of Genii, a good one, 
 ^and an evil one, according to the Socratic Euclid, as C en/or inus relates, 
 •we (hall now confider, how the evil were reprefented. 
 
 I do not find the Ancients hai any Statues, or Refemblances of 
 them, but we read, as Writers teftify, that they appeared to 
 many. 
 
 Plutarch, slppianus, Florus, and others report, that as Brutus, one 
 Night (according to his Cuftom) had betaken himfelf, with a Light, 
 to his Apartment, for Meditation, he faw, before him, the Likenefs 
 of a Man, but very black and frightful, cloathed in a Wolf's Skin ; 
 
 :who, being ask'd, who he was? anfwer'd, 1 am thy evil Genius, 
 
 Brutus ! Valerius Magnus alfo writes, that the evil Genius appear'd to 
 CaJJius, of the curfed Tribe of Marcus Jntonius, a little before Gajar 
 caufed him to be beheaded. This Genius appear'd as a large black 
 
 No. 21. 3 P c Man, 
 
482 Of the Tainting of Book IX. 
 
 Man, about 50 or 60 Years of Age, having long Hair, and a dirty- 
 matted Beard, and was covered with a Wolf's Skin, down half Way 
 the Thighs. 
 
 The Temefians, formerly Inhabitants of Abruzzo, a Country in Italy), 
 had alfo a very evil Genius, of a black Colour, and frightful Look, 
 and cloathed in a W olf 's Skin, doing that People much Damage ; as 
 Paufanias and Suidas teftify. 
 
 CHAP. XV. Of /acred Emblems. 
 
 r I ^HE Defign of a well-compofed facred Emblem is principally to 
 edify, and to incite to Virtue j reprefenting it to us, as a 
 Looking-glafs, not fo much for the Regulation of our Bodies, as our 
 Souls, and by fuch Means to bring us to Happinefs. 
 
 Thefe Emblems are either general or particular. General, when they 
 fuit any Perfon whatfoever ; and particular, when they relate to one 
 only. When their Subject is Piety or Virtue, Learning, Liberty, 
 Peace of Mind, and fuch like, they are general, and applicable to 
 every Perfon who poflefles, or endeavours to poflefs thole Qualities : 
 But when a particular Perfon is their Subje£f, as, the Virgin Mary, an 
 Apoftle, or other virtuous Man, who excelled in fome particular Gift, 
 in fuch Cafe they are particular or fingular. We ought therefore, in 
 the former Sort, to obferve, that the main Matter is fpiritual, and in 
 the latter, corporal : The one exhibits Learning itfelf, and the other, 
 a learned Man, or Philofbpher ; one lhews Peace, and the other, a 
 peaceable Man; one reprefents Piety, and the other, a pious Man, &c. 
 The one is the Matter itfelf, and the other, he who porTefles it. How- 
 ever, a judicious Mafter will make a DiflinBion between fpiritual 
 and corporal Virtues, between natural Inclinations, and heavenly Gifts. 
 The Corporal, as Strength, Prudence, Equity, and the like, proceetl 
 from us, or, in better Terms, are peculiar to us, walk,, ft and, and acl 
 with us; and the fpiritual and heavenly, and which consequently 
 have no Relation with the Body, are as without us , wherefore, they 
 muft be reprefented either fitting or lying on Clouds, and the nearer 
 they approach Beatitude, the more glittering, nimble, faint and wav- 
 itig they are to be exhibited. 
 
 I am of Opinion, that we ought to adapt particular Sorts of Stufs 
 to the aforefaid Virtues and Qualities, according to their Ranks am 
 
 Dignities \ 
 
Chap. if. Cielings, or Plafonds. 483 
 
 Dignities-, as, to cloathe the Earthly in Stuffs and Cloth, and the Hea- 
 venly, in thick Silk ; and thofe ftill higher, in Gaufe-fcarfs, or elfe to 
 let them remain naked. 
 
 We muft further remark on the laft of thefe, that the Characters, 
 Icall'd the Qualities of God, I mean figural Characters, fuch as the 
 Scepter and Eye, implying Dominion ; the circled Serpent, Eternity ; 
 the Sun, Glory ; and fuch like, ought always to appear in the uppermofi 
 klory, as pertaining to the Deity, and are reprefented by lovely waving 
 Children. Yet, let it be obferved, that thofe Things only refped the 
 Bleffings of Heaven \ for when the Almighty is provok'd, and is to in- 
 flia Punifhments, we muft introduce other Qualities, fuch as his Wrath, 
 Juftice, &c. alfo reprefented by Angels, with Thunder, fiery Swords, 
 Scales/ but thefe ought to be ftronger, and like young Men ; as 
 we find it in Scripture, in the Story of Lot, where they ftruck the So- 
 domites with Blindnefs ; and in that of Sennacherib, where an Angel of 
 the Lord, in one Night, fmote fo many Thoufands ; and more fuch 
 Cafes. 
 
 I {hall illuftrate what I have before faid, by further Examples, in 
 fuch Manner as I apprehend the Point ; and for that Purpofe have 
 chofen an uncommon Subjea, to ferve for a particular 
 
 Emblem and fiately Monument of her Majefty, Mary Stuart, late Queen 
 of Great Britain, France, and Ireland, Pnncefs of Orange. 
 
 Here, a Tomb is ftanding, on the left Side of the Piece, on a 
 ' Bafement whereon is carved the River-god of the Thames. _ In the 
 ! Middle of the Piece, on the fecond Ground, a Pnncefs is iitting 
 fin Grandeur on a Throne, reprefenting England, with its proper 
 Badges. She leans her Head on her left Hand, and, with her 
 i Right, opens the royal Robe of the Deceafed, which is lined with Er- 
 i min, and, with the Scepter and Crown, lies in her Lap whereon fhe 
 cafts a forrowful Look: She is covered with a black Gaufe-wccd, 
 which darkens the Glitter of the Seat and Coat of Arms. 1 obey on 
 her left Side, quite*dej e aed, is beholding the Tomb accompanied by 
 Sorrow. On the other Side appears the Proteftant Church, languishing, 
 1 fupported by Hope, who points at the Tomb, whereon (lands a large 
 ! beautiful antique Vafe, out of which is growing a Rofe-twig, having 
 but one Bud, whereon Providence, fitting on Clouds, diipenies lome 
 Moifture, out of a fmall cryftal Phial, and, with her Scepter, points 
 I upwards at the celeftial Light, to which Wifdom, Piety, and [ Sttd- 
 
484 Of the Tainting of Bool IX, 
 
 faftnefs arc feen flying, fupporting, or rather 'carrying a beautiful young 
 Rrgin along with them. This Virgin is dreft in white, and crown'd 
 with Rofes, having a bright Star over her Head ; her Hands are crofs 
 her Breaft, and fhe is looking upwards with a joyful Countenance. On 
 high appears God's Love or Tendernefs, waiting for her with open 
 Arms, having in its Lap a Pelican feeding its Young with its own 
 Blood. The other Characters of divine Happinefs before-rnention'd are 
 alfo feen, and efpecially, heavenly or perfect Joy, or Harmony, repre- 
 fented by Spirits^ finging and playing on Inftruments. On the Vafe is a 
 Medal, wherein is carved a Phoenix arifing out of its Afhes. Under it 
 on a black Table, is written in Gold Letters, either in Latin or Em- 
 lijh, I DIE IN ORDER TO.LI VE. The Tomb is hum* with 
 Feftoons of Cyprefs, intermixed with Rofes. On the right Side of the 
 Tomb flands Fate, having, in the left Hand, a Rofe clofe to the Vafe, 
 and in the right, a pair of Scifibrs, as if fhe had cut off the Rofe 
 with them. On the left Side of the Tomb ftands Nature dejectedly 
 holding, an Handkerchief before her Eyes, and with the left Hand at 
 her Breaft. Envy, to the right forwards, is taking to Flight, biting 
 an Heart, and looking either at Providence, or at the beatified Soul al- 
 cending. About the Throne ftand Scotland,. France, and Ireland in 
 mourning. 
 
 A Second. Example, 
 
 Here, we may reprefent Majefly on a raifed Throne, fitting in full 
 Splendor ; Clemency and Authority ftanding behind her, and holding 
 over her Head a Crown topp'd with a glittering Star. On her Side 
 may fit Religion, and on a Step below, Policy taking Shelter under 
 her Garment. %uiet, Plenty, and Succefs by Land and Sea may be 
 placed as- coming in, and on the other Side, Peace accompanied by Art 
 and Science. - Above, in an open Heaven, fits Providence pouring down 
 divine Bleffing Over the Throne, on a Cloud, fhould be fafdm, 
 Religioujnejs, and btedjaftnefs. J 
 
 This Majefly may be here the Subject of this Emblem, and if it 
 have no particular Chara&ers, frit any Kingdom, Power, 0/ Com- 
 monwealth in Chriflendom : But if it have any Arms, Device or Mnt 
 to, as SUFFICIT UNUS or a Flower-de-Luce for France- P L US 
 ULTRA for Spain; HONI SOITC^I MAL Y PENS E for 
 England ; then this Majefly ought to be like that which it is to re- 
 prefent, 1C 
 
Chap. ij\ Cielings, or Plafonds. 4«r 
 
 It would not be improper to fee the Glory filled with Divine Love or 
 Kindnefs, as before-mentioned, and Prosperity flowing from it. Fright 
 and Fear taking to Flight, and Envy, Fraud, and Herejy under Majeftfs- 
 Feet. 
 
 The affive Virtues I reprefent by Figures, which hold the 
 Crown over Majefty's Head, and the Spiritual,, by thofe fitting on 
 Clouds, 
 
 A Third Example. 
 
 The Subjecl of this fhall be Innocence murther'd. 
 
 Here Innocence is proftrate, murther'd by raging Impiety. She lies 
 near an extinguifli'd Altar, ftretch'd out on the Ground, cloath'd m a 
 clean white Garment, betokening an upright undefiled Heart. The. 
 cruel Executioner forcibly tears her innocent Child from her Breaft, and 
 at the fame Time the brutifti Murtherer is ftepping from the Emi- 
 nence whereon he fat, in order to go-off; he is ftain'd with innocent 
 Blood, and, Iheathing his bloody Sword, tramples under Foot a Pe- 
 lican with its Young. Rage attending him, .and firing them with her 
 Torch, is looking back, in great Confternation, at Heaven, which darts 
 many Thunders °at her. There, Divine Juftice is defending, with- 
 Scales in one Hand, and Thunders in the other. Piety, bowing before 
 her at the Altar, is praying, and (hewing her the innocent Corps : 
 Whereupon (he' doubles her Speed to execute Revenge. Now fee the 
 Wrath of God exprefs'd, not with bright Sun-beams from on high, 
 but with fiery and bloody ones. 
 
 Here, Juftice, or divine Wrath, has a flaming red Garment or V aiL 
 Impiety is cloath'd in a rufty copper-colour'd Drapery. The Executi- 
 oner, who mifufes the Child, has a cruel Afpeft, and is reddifh. Over 
 Innocence, a little Angel is afcending to Heaven, with a bright Star, to 
 which, a long Ray feems to proceed out of her Mouth ; he has a 
 Palm-branch in his Hand, to fignify her Happinejs. 
 
 The following is a (hort Sketch of the Actions. 
 
 The Head of the Corps lies in the Middle of the Piece, on the 
 Fore ground, and the Feet towards the right Side, fomewhat nearer to 
 the Altar, with one Leg a little up, as if there were Ml tome Life 
 left. Behind the Altar, Piety kneels one Knee, which is in Shade, 
 fhe receiving her Light from ^itjiice, . who, on the fecond Ground, is 
 with her Upper-parts -direftly- over the Point of Sight, and her becz 
 fomewhat forefhortned towards the right Side,-, from whence fhe is 
 
 coming> 
 
Of the Tainting of 
 
 Book IX. 
 
 coming. On the left Side, on the fame Ground, a little more for- 
 ward, Impiety and Rage take to Flight. Rage is half (haded by dark 
 Clouds, over which Heaven opens. The Fore-ground has a right 
 Light ; but Juftice receives her Light from behind. On the left Side 
 of the Piece is a dark Offskip. 
 
 Now, as the former Emblem refpefred the Reward of Virtue, fo 
 this reprefents the Punijhment of Evil : In that appeared the Love of 
 God-, in this, his Wrath, 
 
 Thus are my Thoughts on thefe Subjects, not prefuming to have 
 handled them with the utmoft Accuracy; I am far from giving them 
 out as perfect Emblems, fince that's the Work of great Judgment vaft 
 K nowledge, and mature Coniideration : Neverthelefs, rough as the 
 Plan is, 'tis fufficient for explaining my Sentiments. And as we always 
 flick either more or lefs to Art, and hardly keep fo much within the 
 Bounds of Curiofity, as not to take fome Liberties in the Difpofition 
 of Things, fo I have reprefented him, who is taking away the Child, 
 as an Executioner, naked, his Hair tied with a Cloth, and with a 
 Dagger lying by him; and Impioufnefs, as a Prince, with a blood- 
 red Diadem about his Head, and a Staff in his Hand; tho' thefe Fi- 
 gures ought rather to be Women', moreover, the Executioner might 
 have been left out. 
 
 CHAP. XVI. Of the Penates, Lares, and Cupids. 
 
 ANCIENT Hiftories relate, that moft Nations which lived under 
 Laws and Policy, efpecially the Hebrews, Greeks, and Romans, 
 but moftly thefe laft, had certain Figures of Gold, Silver, Copper, or 
 Wood, which they ftiled Dii Penates, in Englijh, Houjhold - gods. 
 Thefe they kept as holy, and took fuch particular Care of, that in 
 cafe they happen'd to be loft, either thro' Carelefsnefs, Violence, or 
 other Accidents, they thought it foreboded fome imminent Difafter, 
 or bad Luck to befal them ; and accordingly believed, when any 
 fuch were at hand, that thofe Gods were either removing, or va- 
 nifhed. b 
 
 The Hiftorian Timaus writes, that they were reprefented like two 
 beautiful young Men, in a warlike Drefs, each with a Javelin in his 
 Hand, and by or near them an earthen Fire-pan, over which lay two Hong 
 
 Iron- 
 
Chap. 16. Cielings, or Plafonds. 487 
 
 Jron-bars crofs-wife, turned at the Ends like the Hazel-wands which the 
 Augures held in their Hands at the Time of officiating, 
 
 Cicero, treating of the Penates, fays, they were certain Gods brought 
 forth in the Houjes of particular Men, and worjhipp'd in the moft con- 
 cealed and private Places of them. And in this Senfe Demophoon and 
 Terence fpake, when they laid, they zvould go home and hide their Houfe- 
 hold-gods, before they betook to their Bujinejs and Callings. 
 
 In Scripture alfo we have the Terapbims, or Houfhold-gods, which 
 Rachel ftole from her Father Laban, when he went to (hear his Sheep ; 
 as the Rabbi Eliezer, in the 36th Chapter of his Difcourfes, largely 
 treats, fpeaking of Laban, and the preparing of the Terapbims. 
 
 We have before faid, that the Penates we in great Efteem among 
 the Romans; which Diofiyfius Halicamafus affirms, faying, they were 
 worfhipp'd at Rome, under the Shape of two fitting young Men, in very 
 ancient and warlike Dreffes, and having Javelins in their Hands ; with 
 this Subfcription, DII PENATES, as we find it ftill in ancient Me- 
 dals. Nigidius was of Opinion, that they were Apollo and Neptune 
 and the rather, as by Apollo is meant Heat and Drought, and by Nep- 
 tune, Cold and Moiftnefs ; judging the Worfhip to owe its Origin to thefe 
 Effetfs : Wherefore, Virgil, in the Eighth Book of his JEneids, ftiles 
 them the great Gods, meaning the Penates. Others think, that Jupi- 
 ter and Juno are fignified by them ; becaufe their chief BuQnefs was to 
 give Men Help and AJftftance, and therefore they both derive from the 
 Latin Word Juvare,. fignifying to help or afftft. Others again imagine 
 them to be Caftor and Pollux \ becaufe they, with the Penates or 
 Houfhold-gods, were alfo, according to the ancient Poets and Hiftori- 
 ans, in very great Efteem, and the Roman Worfhip affigned them the 
 firft Places in their Temples. 
 
 It willhere be proper to deduce fomething, touching thefe Gods,.from 
 Antiquity, the better to illuftrate the Point. 
 
 We read, that when the Daughter of Pallantes was married to Dar- 
 danus, fhe brought, in Dower, the Gifts which Pallas had made her 
 aPrefentof, being an oblong Shield dropt from Fleaven Cwhich fhe 
 ftil'd Palladium ) and the Figures of the Penates or great Gods. After- 
 wards, on a Rebellion breaking out in Peloponnefus,. where Dardanus 
 and his Wife lived, he, with many of the. Arcadians, fled ironi 
 thence, taking Shipping for Samothracia, where, in Confederation of 
 thofe Gifts, brought as a Portion, he built a Temple, inftituting pri- 
 vate Solemnities for their Religious Worfhip, keeping them fecret 
 from the common People, in a Vault under the Ground y and loon. 
 
 after,. 
 
488 
 
 Of the Tainting of 
 
 Book IX. 
 
 after, on his Departure for Afia, took them with him, and placed 
 them in Dardania, fo called from his Name. His Son Bus, being im* 
 ploy'd in building Ilium, or Troy, tranfplanted thofe Gods thither. 
 
 Mneas afterwards, having faved them out of the Flames of that 
 City, carried them to Italy, placing them in the City of LavmUrk. 
 Afcanius, his Son, removed them to the City of Alba, where he dedi- 
 cated a large and magnificent Temple to their Honour. But, they 
 lay, the Gods of themfelves, without human Affiftance, returned the 
 next Night, to lavinium, tho' the Gates were faff, and the Town- 
 wall and Roof of the Temple found intire, and without any Breaches. 
 Which Miracle very much furprizing Afcanius, he fent to Lavinium 
 600 Men, called Curatores, of whom Egeftus was Chief, to guard the 
 Gods. At laft, .being carried to Rome, they remained without any 
 Alteration, and the Roman People committing to them the Care and 
 Protection of their City, and growing Empire, placed them, in Imita- 
 tion of Dardanus (that they might not be ftoln either by Fraud or 
 Violence) in a Vault or Temple under Ground, wherein, after Confe- 
 cration, they offer'd Sacrifices to them ; not allowing any Perfon to fpit 
 m this Temple, becaufe the Gods, like Vefta, were worihipp'd with 
 Fire. 
 
 They were reprefented as young Men, and fitting, with Javelins in 
 their Hands, to fignify their being adored as Maintainers and Protec- 
 tors', for the Sitting, hieroglyphically, exprefles Stedfaftnefs in zuhat 
 we defign to do : The Javelins imply, that they preserve from Harm 
 and Dif after-, and the Touthfulnefs denotes the Increafe. of their 
 Power. 
 
 The Lares were much like the Penates, at leaft in the Guard- and 
 Care of Cities. They alfo are faid to have hid, or kept themfelves 
 iecret in the Houfes, as well as the Penates: Which Tibullus affirms, 
 faying, that they have not only the Care of particular Houfes, but alfo 
 of the whole Town. 
 
 The Ancients ufed to place Dogs to watch their Idols called Lares ; 
 as being a Creature kind and fawning on the Family, and fierce and 
 frightful to Strangers. They had the fame Opinion of their Lares, 
 or Houfhold-gods, committing to them the intire Care and Safeguard 
 of their Families. For this Reafon, fays Plutarch, the Romans repre- 
 fented them as brisk young Men, drefl in Dogs-skins. Ovid affirms, 
 they were fometimes exhibited in Jhort Garments, gathered up on the left 
 Shoulder, and coming down under the right, in order to be more free and 
 loofein their Motion 5 becaufe, fays he, their Bufinefs was like that of 
 
 the 
 
Chap. itf. 
 
 Cielings, or Plafonds. 
 
 489 
 
 the Genii (mentioned before) to inquire narrowly into Mai's Aclions, for 
 the Punijhment of the PVicked. The Philofopher Jamblichus relates, that 
 They were often worjhipped on the Roads, and had from Time to Time 
 Offerings of Wine and Frankincenfe. 
 
 We ft all now treat of the Shape of Children, diftinguiftiing them 
 into heavenly and earthly. 
 
 PouJJtn exhibited them too fquab and full for flying, and thofe of 
 \ Raphael are generally, chiefly in the Borders of the Hiftories of P/y- 
 che, too hard and mufculous ; wherefore, to And a good Form, we 
 muft keep a Medium between both. But Cupids ought not to be re- 
 prefented fo heavy as earthly Children, yet as young as you pleafe. 
 The earthly, contrarily, muft have Under/landing, in order to han- 
 dle fbmething, and their Bodies to be enlarged according to what they 
 are to do, or carry. But in reprefenting a Cupid, who is to deliver a 
 Meffage, I think 'tis proper to give him Age and Bulk enough to do 
 the Bufinefs punctually, and the better to exprefs Truth and Nature. 
 As to their Wings, they muft not be made in Proportion to the Weight 
 of their Bodies, like Birds ; for their Bodies wave of themfelves, and 
 the Bignefs of the Wings often creates Deformity, unlefs they are to 
 reprefent a Fame, when they ought to be larger. 
 
 As to the Loves or Cupids themfelves,, they, according to my Ap- 
 prehension, differ as much in Size as Action. The one is, by the Po- 
 ets, called Cupid, and the other Anteros. The former creates Love 
 .and Defer e for Voluptuoufnefs , and the latter leads to Virtues, Arts and 
 Sciences. They have both a like beautiful and agreeable Afpect ac- 
 cording to their Ages. Cupid is reprefented about 6 or 8 Years old, 
 :and quite naked, armed with a Bow and Arrows, and fometimes hold- 
 jing a burning Torch. Anteros, contrarily, has a purple Garment, 
 with bare Arms and Legs only, a Crown of Lawrel about his Head, 
 a burning Torch in his Hand, Sandals on his Feet, and he is about 
 \12 or 14 Years of Age. Cupid is wild and frolicklbme, Anteros fe- 
 date and contemplative. 
 
 There is another lefs Kind of Cupids, fomewhat younger and more 
 jfimple than the former. Thefe increafe Love, incite the Pleafure of Vo- 
 luptuoufnefs, or more ftrongly delude the Senfes. To them, in order to 
 fhew their Simplicity, are afcribed childifh and idle Actions, fuch as 
 Dancing, Skiping about, Running, Rolling, Flying, flinging Apples at 
 each other, &c. They muft not have Quivers, Bows, Arrows, or 
 Torches, but Baskets of Fruit and Flowers, or Chaplets, a Looking- 
 iglafs, or any thing tending to the Pleafures of Venus, 
 
 No. a 1. 3 Q_ Alex- 
 
49o Of the Tainting of Book IX. 
 
 Alexander, Propertius, Philoftratus, Claudianus, Silks It aliens, 
 Apuleius, and others, relate, that the different Loves or Cupids do not 
 only refpeft the Charms and Service of Venus, but alfo imply the 
 Defircs and "Tendencies of the Heart ; fmce all Men do not arTeft the 
 form Object, but each chufes for himfelf. 
 
 We reprefent Cupid or Love in the Form of a little Child, becaufe { 
 'tis fottifh to betake to Venery ; for the Actions and Speeches of thofe 
 in Love are as imperfect as thofe of little Children ; as Virgil (hews 
 
 \ n Dido ■ She begins to /peak, and flops in the middle of her Talk. 
 
 - He is exhibited with Wings, to fignify the Inconftancy of Lovers > 
 
 who change with every Wind, as we fee in Dido, who was to put to 
 Death the Perfon whom fhe before fo dearly loved. He has Arrows 
 in his Hand, becaufe they are alfo very light, and do not always hit 
 the Mark ; as we have faid of Lovers, who are whimfieal and fickle 
 when they cannot gratify their Withes ; and as the Arrows are iharp 
 and piercing, fo the Sins of Concupifcence no lefs wound the Confci- 
 ence. The Arrows are likewife an Emblem of Love, which, like 
 Thunder, feizes the Heart ; for many have experimented the forrow- 
 ful Iffue of being captivated by the amorous Glances of a beautiful 
 Woman, and, thro' their fiery Paffions, been led into great Troubles : 
 For which Reafon Cupid is fometimes reprefented with Thunder in his 
 Hand. 
 
 CHAP. XVII. Devotional ABions of Nations. 
 
 OF all the Perfections of human Nature, Religion is the morl 
 excellent and moft univerfal ; wherefore all Nations partake of 
 at in their Manner of Living and Service. And as Reafon principally di£ 
 tinguifhes Man from Beafts, fo we any where fee, that the Ufe of it- 
 binds Men to fome religious Duties ; as attending human Underftand- 
 ang, and, according to Jamblichus, a Platonic Se&ary, exciting it by a 
 natural Defire and Propensity to do Good and fhun Evil. To which 
 fome allude by the celeftial Fire in the Fable of Prometheus, with which 
 he animated the firft Man ; thereby fignifying, that as the Soul is go^ 
 verned by Religion, fo our Actions muft chiefly tend to implore a 
 Bleffing on them, and our Eyes and Hands be lifted up to Heaven : 
 knowing, that all Good proceeds from the inviftble Giver of all things,, 
 and we ought thankfully to receive it, to his Honour and Glory. We 
 
 (hall 
 
Chap. 17. Cielings, or Plafonds. 491 
 
 (hall therefore, in order to be both delightful and ufeful, (hew from 
 Antiauitv, how and in what Manner divers Nations, not enlightened 
 bv the Gofpel, have dedicated their Worlhip, under F^ions and Fa- 
 bles, to the invifibk Being ; and begin with the Egyptians. 
 
 The Cuftom of thefe People was, when any Perfon prayed to the 
 Gods that he muft, as the mod decent Aaion.do it ftandtng and •with 
 lifted up Hands. Which Pofture was alfo ftrifUy obferved by the 
 Ramans In their religious Worlhip, as J/W and Horace teftify. 
 Virgil likewife (hews, that (tending with Hands lifted up fign.fies Wor- 
 ftio- when he introduces Jnchijes (at the miraculous Sight ot Ju- 
 fc's Head, encompaffed with a (hining Light and yet his Hair unhurt 
 by the Flame) joyfully turning his Eyes to Heaven, and lilting his 
 Hands in Prayer to Jupiter : And, in Confirmation of the Acceptable 
 nefs thereof, a loud Thunder was foon after heard, and a Star appear- 
 ed in the Heavens when dark, which, like a Torch, with a long clear 
 Tail, defcending towards the Houfe, glid along, and at laft hid in the 
 Wood of Mount Ida, leaving behind a long light Stripe which emit- 
 ted a fulphureow Vapour and Smoke: Whereupon Jnchtfes, ftandtng 
 up, invokes the Gods, and facred Stars. Pbb &J*, that the ereft 
 fading Pofture denotes an humble Heart wholly devoting itfelf to 
 Heaven. Authors unanimoufly agree, that the Ancients offered their 
 Sacrifices, Vows and Prayers to Jupiter in a (landing Pofture; but to 
 the Goddefs Ops, in a fitting one ; fignifying thereby that (he was the 
 Mother of the Earth. Pythagoras enjoins thofe who pray, to do it 
 fitting ■ Yet Plutarch fays, that Numa Pompiltus was the Author ot 
 that Cuftom; thereby teaching, that Vows and Prayers ought to be 
 
 A to the Pofture of praying /landing, St. Paul feems to exhort 
 thereto in his Epiftles. We find likewife in the Old Teftament, that 
 the Priefts did, in their Prayers, ftretch out thetr Hands to Heaven. In 
 Se Book of judgl* Chap? vii. we read, that in Gideon's Army the 
 Men who bowed down on their Knees to drink, were, by God's 
 SmTnlfe^taway; but thofe who ^J^±V"%$%£ 
 Hands to their Mouths, were chofen, and defeated the Mtdtamtes. 
 
 Chap. xv ii. 'tis written, that as long as Mofes held up hu 
 Hands Amalek was difcomfited: Which, v Jdmantm fays, figni- 
 fies thaf he offered up to God his Aaions and Enterprises not hke 
 coping AnimTs who cleave to the Earth, but as dtretttng hs Heart 
 and P nfughts to Heaven. On which Grounds and Examples, the Coun- 
 cil of Nice ordained Prayer to be made ftandtng. 
 
 . 3 Q_3 " uu ' 
 
49 x Of Tainting of Boole IX. 
 
 Adoration, fays Pliny, not only confifts in lifting up the Hands to 
 Heaven, but alfo^ in their being open, infide upwards, as if we save 
 them to kifs. They who adore and fupplicate, fays Hieronymus, are 
 ufed to kifs the Hands: Wherefore the Hebrews judged this Manner 
 of Rifling to be very reverential, and [ftriaiy obferved it. Ci- 
 cero and Catullus alfo confirm the Signification of lifting up or Ihetch- 
 ing out both the Hands to Heaven. Tertullian, fpeaking of praying 
 for the Prefervation and Profperity of the Emperor, fays thus: The 
 Chriftians bareheaded lift tip their Hands, with their Eyes to Heaven in 
 token of Innocence-, ftgnifying thereby, that they had no Occafton to be 
 afhamed, but heartily prayed for their Emperor. The Tufcans likewife, 
 in their Prayers, ufed fuch a Pofture or ft retching out the Hands ; and 
 in adoring their Gods, efpecially Jupiter, lifted up their Hands to 
 Heaven. Of which Virgil alfo makes mention in his 4th Mneid, where 
 he defcribes J arbas among the Statues and Altars of the Gods, // 
 ing up his Hands to Heaven, humbly and earneftly imploring Jupiter 
 We read further, that in the Olympic Games, anciently celebrated at 
 Smyrna, a ridiculous and ignorant Aaor was reproved by the Sophift 
 Polemon, for his awkward Motions with Hands reverfed ; becaufe when 
 
 he was to fay Oh Jupiter ! he turned his Hands downwards 
 
 and in faying Oh Earth! he looked up to Heaven. But 
 
 thefe perverfe Geftures, proceeding from ancient Cuftoms, are ftill feen 
 among the Romijh Clergy, who, as often as they pronounce the Word 
 God or Lord, give the Bleffing to the Congregation ; and in prayino-for 
 the Profperity of the People, ftretch out their Hands on high. In* the 
 Medal of Gordianus Pius, we fee a fmall Figure with the Arms thus 
 extended, and the Hands open, with a Motto alluding to the Matter, 
 PIETAS AUGUST. But, to return to the ancient /Egyptians : 
 .They ufed to reprefent the Deity in an hieroglyphick Manner by a 
 Ltrcle: And, agreeable thereto, the Philofopher Pythagoras enjoined a 
 turning round in the Adoration of the Gods. Alcinous fays alfo 
 that he gathered from the Greek Writings, that they had an ancient 
 Cultom of running round the Altars when they offered Sacrifice, be- 
 ginning from the left to the right Side, according to the Zodiac, and 
 then running from right to left. Plutarch thinks, this was done in I- 
 mitation of the heavenly Motions in their continual Rotation, which 
 Mortals ought to follow : Tho' others pretend, that thereby was 
 meant the continual Changes and Inftability of human Aaions. As 
 for the continual Motion and turning of the Body in Prayer, we find it 
 to have been the Cuftom of divers Nations j and in this Senfe-.the Poet 
 
 Pro- 
 
Chap. 17. Cielings, or Plafonds. 493 
 
 Propertius, in his i ft Book, accofts his Miftrefs, / have often 
 
 wrnM round before your Door, and offered up to you my Soul and my Pray- 
 ers, Like which, there is a Paflage in Suetonius, when he fpeaks of 
 
 the Anceftors of Vitellius, — He had, fays he, a particular Ad- 
 
 drefs for Flattery, and was the firft who commanded divine Worftip 
 to be paid to Caius Cafar : And no Perfon durft, after his Return from 
 \Syria, appear in his Prefence without being covered, and turning fe- 
 veral- times round, with the Face downwards. Numa Pompilius or- 
 dained, that Men fhould turn feveral times round, in Prayer to Hea- 
 ven, and afterwards fit down ; thereby intimating* that, in wordly 
 Affairs, Mortals muft expect nothing but Inconftancy and continual 
 Change, which they ought to bear with Patience and Refolution. 
 Add to this what Pliny fays ; that the Manner of turning round in: 
 •Prayer was from the left to the right Hand, in Imitation of the 
 Earth j which, according to him and others, turns on its Axis after 
 that Manner. Hiftories inform us, that as Camillus, in Prayer, turn- 
 ed round, according to the Roman Cuftom, he fuddenly fell : By which 
 Accident the People (much addicted to Superftition) would needs pre- 
 fage his Ruin, which happened fopn after. We read alfb, that Mar- 
 cellus, being at War with the Transalpine Gauls, and come to a Town 
 called Capide, in order to charge them, his Horfe, affrighted by the 
 Shouts of the Enemy, went backwards ; wherefore, to encourage his; 
 Men, he turned him round as if he were adoring the Sun, according 
 to the Roman Cuftom before Battle, and thus covered the Accident 
 without the People's perceiving it. 
 
 We (hall now, for the Reader's greater Satisfaction, treat of Piety,, 
 and what relates to it. 
 
 The Ancients chiefly efteemed the Altar as an Hieroglyphic of Pi- 
 ety, offering, according to their Opinion, their Prayers to the Gods 
 by means of Fire; which being fuppofed a Medium between heaven- 
 ly and human Things, they pretended it to be a Mediator or Mehen- 
 
 ger. Accordingly Virgil, in his 12th JEneid, I touch the Altar 
 
 mid call the Fire upon it and the Gods to zvitnefs, Sec, They urge fur- 
 ther, that Fire unites with material Parts, and always rifes upwards 
 'from below; as knowing all our earthly Actions, and imparting them' 
 to the heavenly Spirits. Hence we fee, that the Manners of offering 
 Sacrifices are not without fome Foundation in Reafon, becaufe the 
 Laws of Nature were always purely obferved. And fmce the World 
 has been enlightened with the Truth, Fire is cuftomarily ufed in divine 
 JSeryicev and no Sacrifice was thought acceptable without it. Indeed, 
 
494 Of the Tainting of Book XL 
 
 if earthly Creatures can in anywife reconcile us to Heaven, nothing has 
 greater Communication with the Spirit than Fire, as it lights and clears 
 every thing. Wherefore they think, they may reprefent the Genii 
 and Angels, even the Deity itfelf, by it. 
 
 As to the Altars and Piety, we fee, in the Medal of the Empe- 
 ror, T. JElius, a Figure with open Hands, which, as before obferved, 
 iignifies Worfaip ; and by it, an Altar, with thefe Letters, PIETAS. 
 In one of Hadrianus Auguftus is the fame Figure, between a Stork and 
 an Altar adorned with Ground-Ivy ; with this Infcription, PIETAS 
 AUG. In one bf Diva Augufta Faitftina appears a Woman, lifting 
 up her Garment with the left Hand, and laying the Offering on the 
 burning Altar with the other ; having the Word PIETAS. In the 
 Medal of Lucilla we fee a Figure ftanding behind an Altar, with a 
 Cup in its Hand, as ready to offer; witth the Word PIETAS. In that of 
 Antoninus is the Figure of Piety, opening the right Hand as a Token 
 of Adoration, and with the left ready to put the Sacrifice on the Al- 
 tar ; with the fame Infcription. In the gold Medal of X. JElius Ca- 
 far, the right Hand of the Figure is in the fame Action, and the left 
 holds a Gift ; alfo infcribed PIETAS. 
 
 We offer Prayers and Supplications either in making Vows or re- 
 ceiving Favours in confequence of them. Hence proceed the various 
 Infcriptions on Medals; which neverthelefs do all allude to Piety, 
 whether in praying for Help or returning Thanks. Accordingly we 
 find in the Medal of Julia Tia Aug. a Woman tucking up her Gar-1 
 ment on the left Side, and offering with the right; with this In- 
 fcription VoTA PUBLICA. But in one of Hadrianus are two Fi-i 
 gures, one like the Emperor, and the other holds in the left Hand a 
 Palm-fprig, and, with the right, offers him a Cup, having thisi 
 Motto, ADVENTUI AUGUSTI. In one of Domitian is a burn-; 
 ing Altar, infcrib'd, PRINCEPS JUVENTUTIS. 
 
 The Altars were anciently, as they are now-a-days, Places of 
 Safety and Protection. Wherefore Priamus, in Virgil, having loft all 
 Hope of Prefervation, took Sanduary at the Altar; of which his 
 
 Wife had faid, This Altar Jhall protect us all. Cicero, fpeaking 
 
 of the Aftor Rofcius, fays, We run into his Houfe as to an Altar. 
 
 And Ovid, in his Triftib. The Altar only is left me in my Mif- 
 
 fortune. 
 
 The Athenians had a particular Altar dedicated to Mercy and Com- 
 panion; as we gather from the Poet Papinius, and Laclantius Gramma- 
 ticus, and from Apfinis in his Rhetoric. Plutarch, treating of Su- 
 
 perftition 
 
Chap. 18. Cielings, or Plafonds. 493- 
 
 perflation, calls the Altar abominable. Xenophon, in his fecond Book 
 of the State of Greece, takes Vefta for an Emblem of Refuge 
 to the Altar : When Theramenes, fays he, had beard the Things, he 
 took to Vefta for Refuge. Pollux calls Vefta the Altar of Offerings 
 efpecially that at the # Prytaneum, where the everlafting Fire was 
 kept. Diony/ius Halicarnajfus fays, that Romulus built a Temple in 
 [Honour of Vejia, and as a Memorial of his having divided the Ro- 
 \man People into 30 Wards. Suetonius writes almoft the fame in the 
 Life of Tiberius: 
 
 In fine, the Altars were fet up for Sacrifices and Prayer, to obtain 
 divine Favour and Bleffing ; tho' few have determin'd, which of the 
 various Sacrifices was beft and moll approv'd by the Ancients ) who of- 
 fer'd to the Almighty only in Spirit and Underftanding, without ut- 
 tering a Word. Wherefore the Egyptians honour'd the Crocodile, as 
 having no Tongue, applying it to the divine Silence. They praifed 
 the Spirits and Souls of the Ever-blefled; and offer'd to heavenly 
 Things material ones, fuch as had fome Affinity with them, viz. Fire 
 to the Sun, &c. But to the evil Spirits, or Devils, they brought Of- 
 ferings that they might not hurt or obftruct them, or that their Un- 
 cleannefs might not pollute the Sacrifice, or the Savour of the Meat. 
 The -f* ^Egyptians always thought it abominable to expiate with the 
 Blood of Animals, and therefore offer'd only Prayers and Frankin- 
 cenfe. The Kings of the Ptolemaic Line enjoyn'd them Sacrifices to 
 Serapis and Saturn, to whom they built Temples without their 
 Towns, wherein to offer Beafts, as ufual ; tho', in after Times, ac- 
 cording to the inhuman Cuftom of Bufiris, on his ufurping the 
 Countries and Places bordering on the Nile, they offer'd Men.. 
 : But of Offerings we fhall treat further in the following Chapter. 
 
 CHAP. XVIII. Of the different Offerings of Nations, and their 
 
 Rites. 
 
 AS from higheft Antiquity down to thefe- Times, different Re- 
 gards have been had for many Perfons and Places, and the 
 Knowledge thereof much concerns an Artift, fo he ought diligently 
 
 to. 
 
 * The Place in Athens,, where the Judges and Magiftrates fat; and where thofe, who h ad done 
 any confiderable Service to. the Common- wealth, were maintain'd at the fublick Charge, 
 f Macreb. Saturn, lib. i. cap. 7. 
 
49 $ °f the Tainting of Book DC 
 
 to enquire into the ancient Manners and Cuftoms relating thereto 
 both in general, and with refpeft to particular Countries. 
 ' Scripture informs us, that the Athenians were very religious ; where- 
 fore they, as well as the Romans, left they lhould forget a Deity, 
 would rather fet up an Altar to the unknown God, and make Offer- 
 ings thereon, than be any ways negligent in the Duty of Worfliip. 
 From which Altar, St. Paul took Occaflon to preach fo powerful a 
 Sermon, touching Chriji and his Gofpel, as thereby to bring over 
 many Souls to Chriftianity. 
 
 We muft conclude, that fo many Altars required many Priefts ; who 
 were as different in Drefs as the Gods and Manner of Offering • thofe 
 of Jupiter not at all like Priapus's, nor Diana's thofe of Bacchus 
 as we (hall fhew in the Sequel. 
 
 The great Laver of the Jews evidences, that their Priefts obferved 
 a perfect Cleanlinefs in their Worfhip. Even the Almighty himfelf 
 ordered Mofes to put off his Shoes, when he appear'd to him in the 
 burning Buih, and that any Beaft or Man who touched the Mount 
 or its Borders, fo long as he was prefent, (hould be (hot or 
 ftoned. 
 
 It is not probable, that the Heathens were fo nice in this Point • 
 neverthelefs, the prefent Cuftom induces us to believe, that their An- 
 ceftors no lefs obferved this Decency in their Wor/hip ; fmce, to this 
 Day, even Chriftians are not allowed to enter the Mofques of the Ma- 
 hometans ; tho' of all Infidels they are the lean; Obfef vers of religious 
 Ceremonies. 
 
 I think it amifs to deride the Egyptians in particular, for paying 
 divine Honour to fome Beafts j becaufe moft Nations, efpecially the 
 Greeks, (who excell'd in Wifdom and Knowledge) as likewife the ft rift 
 Romans were infe&ed with the fame Superftition. 
 
 Macrohius writes, that King Janus was the firft who introduced and 
 eftabhflied in Italy the Offerings to the Gods ; and that he himfelf was 
 afterwards worfhipp'd as fuch, even fo much, that the ancient Romans 
 never facnficed before they had invoked him as the Inventor and Pro- 
 testor of the Offerings ; for they believed, he always fat at the Gates 
 of Heaven, and that the Prayers of Mortals could not reach the Gods 
 if he denied them Entrance, nay, he muft even lend them an Hand 
 to go forward, becaufe Prayers, which Homer calls Women, are lame 
 and Cripples. 
 
 The moft ancient Nations who brought Offerings (of which the 
 /Egyptians were doubtlefs the principal) did not make ufe of Beafts, 
 
 but 
 
hap. 18. Cielings, or Plafonds. 497 
 
 ut Herbs, Flowers, Trees, and Plants, as likewife Perfumes ; (they 
 herefore who anciently lived on Beaft's Flefh- did it, as reported, for 
 want of Fruits) and this on an Opinion of Pythagoras, who forbad 
 he Eating of Meat or Blood, as judging that the Soul had its Refi- 
 dence therein : Altho' Eufebius relates, the ancient Divines maintained, 
 that no Beafts, even no Meal, Honey, Fruits or Flowers, ought to 
 be offered ; for, fays he, God knows them who fear him, and favoura- 
 bly accepts the poor eft Leaf they lay on the Altar, regarding their Hearts 
 and Inclinations, and not what they offer with their Hands, 
 
 It's certain, that,in old Times, a deteftable Cuftom prevailed among al- 
 moft all Nations, of butchering Men for Victims ; as, we learn from cre- 
 dible Authors, was practifed to Diana Taurica. 'And not only the an- 
 cient Scythians, but alfo the /Egyptians and Romans were infected with 
 this Cruelty ; the former offering fuch Victims in Honour to Juno, and 
 the latter to Jupiter, called Latialis, whom they efteemed the Pro- 
 tector of the Latins. Sic'mnius Dentatus, (or the toothed, as being fb 
 born) very famous for martial Exploits, was the firft among the Ro- 
 mans who facrificed Men to Mars. Athanafeus relates, that divers o- 
 ther Nations, after their Return from Conqueft, had a Cuftom of di- 
 viding their Prifoners into Hundreds, and that one out of each, as the 
 unlucky Lot fell, was facrificed to Mars. Varro alfo teftifies, that the 
 wandering [Trojans, on their Arrival at laft in Italy, offered, accord- 
 ing to the Oracle, ome Man in ten to Pluto and Saturn. JEnaas, as 
 Virgil informs us, cihofe eight young Gallants out of the Prifoners he 
 took of the Enemy, to facrtfice them to the Gods of Hell for the fake of 
 Pallas deceafed. Diodorus Siculus mentions, that the People of Car- 
 thage facrificed to an Idol of Metal, reprefenting Saturn, holding out 
 its Arms bent, young Men as a Burnt-offering, by confuming them 
 alive in the Flames ota red hot Oven placed under this Figure. Which 
 Offerings were long retained among thofe People, 'till at laft, having 
 them in Abhorrence, they put a live Deer to the fame Ufe: Yet, 
 fome Time after the Death of Alexander the Great, on being vifited 
 with the Plague, and the Town clofely befieged, and reduced to Fa- 
 mine by Agathocles, King of Sicily, they, according to the common 
 Cuftom of Nations, had recourfe to their imagined Tutelar-gods, 
 Prayers, and old Superftitions, believing, that Saturn, provoked by 
 the Change of Offering, (which their Anceftors, with great Devotion, 
 appropriated to him) had, as a Punilhment, caufed this Difafter and 
 irreparable Damage to befal them : Which Opinion fo influenced on 
 the Minds of the Citizens,, that they barbaroufly, in one Day, offer- 
 No. 21. 3 R ed 
 
498 Of the Tainting of Book IX. 
 
 ed 200, others fay 300, Youths of noble Birth, to that Idol as ail 
 Attonement. The fame Writer adds, that the Phoenicians exceeded 
 all other Nations in that unnatural Practice; infomuch, that in a fran- 
 tic Extravagance, and to appeafe the imagined Wrath of the Idol 
 Saturn, they facrificed their own Children; and afterwards, abating, 
 that Cruelty, they made ufe of thofe of other Men, whom they fe- 
 cretly bought or ftole for this abominable Purpofe. But Plutarch fays* 
 that Ge/on, King of Sicily, having vanquilhed the Carthaginians in the. 
 Battle of Hymera, forced them to promife, never more to offer either- 
 their own or other Men's Children in fuch a Manner. Quintus Curti- 
 us teftifies, that this cruel Cuftom prevailed among the People of 
 %yre, x\\\ the Deftruction of that City. And, according to St. Au~ 
 guftin, the ancient Gauls, Inhabitants of France, as now called, and. 
 feveral other Nations were defiled with this Abomination. • Helioga- 
 balus, one of the greateft and moft extravagant Tyrants who ever fat- 
 on the Roman Throne, caufed all Italy to be fearched for beautiful 
 and noble Youths whofe Parents were frill alive, barbaroufly, and to 
 the greater Sorrow of their Families, to offer them as Victims. The 
 Jews are alfo, not without Reafon, much cenfured by Appion, Julian 
 the Apoftate and others, for having facrificed Men to Idols ; abhor- 
 ring the Cruelty of Jephthah Chief of the Gileadites, in delivering up 
 his Daughter for a Burnt-offering. This deteftable Superfb'tion was 
 not only prevalent among the Heathens, but alfo among the Kings of 
 Judad, the Rulers of God's chofen People, in making their Children 
 pafs thro' the Fire, offering them up to Moloch \ as we read of Ahaz, 
 and ManaJJeh, % Kings xvi. and xxi. and as Jofephus, de Antiq* lib. 2. 
 fays, after the Manner of the Canaanites. Ca-mhyfeSj King of Perfia,. and 
 Alexander the Great, after him, by publick and univerfal Laws, pro- 
 hibited their Subjects thefe abominable Offerings : Yet, not being long 
 obferved, the Emperor Hadrianus, under fevere Penalties intirely fup^ . 
 preft them. Hercules firft abolifhed the killing of Men for a Sacrifice 
 to Saturn, offering him fo many burning Lights in their ftead, and 
 thereby reformed the inhuman Cuftom. This he did on. his Return 
 •from Spaing and affigned for Reafon, that the Greek Word <p«s, (which 
 the Oracle of Dodone had made ufe of for the Inftitution of that. So- 
 lemnity), fignilied Light, as well as Man, and that therefore they were 
 to offer to Pluto f baked Figures of Clay, and burning Torches or Can- 
 dles inftead of Men : For which Caufe, they, on the Feftivals of Sa- 
 turn, called Saturnalia, made Prefents to one another of little Figures 
 
 and 
 
 f Macrob.\, i.e. 7. 
 
Chap. 1 8. Cielings, or Plafonds. 499 
 
 and burning Wax-candles. But Lycurgus, the Lacedemonian Legiflator, 
 ordained, that Pigs fhould be ufed for Victims inftead of Men. 
 
 The Image of Diana , mentioned before, which Iphigenia and Ore- 
 fles had brought, bound up in a . Bundle of Willow-branches, from Cher- 
 nofefus Taurica, now called Grim, was worfhipp'd by. the Lacedemoni- 
 a?is with great Reverence. They anciently offered to it Men, who 
 were chofen by cafting the Lot : This cruel Cuftom Lycurgus altered 
 thus; they led Youths to the Altar of the Idol, and whipped them fo 
 long till, according to their Inilitution and the Will .of the Oracle, it 
 was fprinkled with human Btaod : And this was done to encourage 
 young People not to fear the Cuts and Wounds they might receive 
 from the Enemy in Battle. 
 
 Plutarch alio relates, that anciently, when the Plague had made a 
 fad Havock at Lace demon, the People were informed by the Oracle, 
 that the Infection would ceafe if they offered yearly fome noble Vir- 
 gins. The Lacedemonians obeyed. At laft it happened, that the Lot 
 fell on Helena; who .en\y led' for Sacrifice, an Eagle defcended and 
 jfnatch'd the Weapon out of tn- Prieit's Hand, carrying it over a Field, 
 where he dropped it on a Heifer. Ji if i ides, -in his 19th Book of the 
 Italian State, mentions the fame Accident formerly happening at Rome 
 to Valeria Luperca. 
 
 The Head, fays Hefy 'dins, Bifhop of Jerufalem, as having of all 
 that is created, Reafon, is called Underjianding, and has planted its Seat 
 in the Heart. God alfo formerly commanded, that the Head and Li- 
 ver, and all that belonged to it, fhould be a Burnt-offering to him : 
 For from the Heart and the Liver come forth the Springs, and Moti- 
 ons of our carnal Appetites. And in this Senfe St. Paul bleffes his 
 
 Congregation, faying, The Peace of God, which paffes aUlIn- 
 
 derftandingy keep your Hearts and Minds, &c. The - Prophet I/aiah 
 fays like wife, the whole Head is /ck, and the whole Heart faint : From 
 the Sole of the Foot even unto the Head, there is no Soundnefs in it. 
 
 Herodotus writes, that the Scythians worfhipp'd divers Gods, but 
 did not erea either Temples, Altars or. Images, other than to Mars, 
 altho' their Manner of Sacrifice was one and the fame to all their Gods; 
 and which I think not improper to mention here. The Via im be- 
 ing brought to the appointed Place, with its Fore-leg* tied, the Prieit 
 followed, ftriking it on the Head ; which caufing it to fink, they there- 
 upon invoked the God to whom it was to be offered. Then nc threw, 
 a Rope about its Neck and ftrangled it, and pulling the Skin and Mein? 
 from the Bones, he put the fame, if they had no Wood, on the Bonqs; 
 
 a R 2 with 
 
yoo Of the Tainting of Book IX 
 
 with other burning Mixtures, in order to boil it ; and if they wanted 
 the neceffary Kettles, they put the Flefh into the Skin again md 
 thus broiled it on the Fire. This being done, the Prieft offered tW 
 Viaim to the God they intended. But among all their Viaims the 
 Horfe was the chief, which therefore they dedicated to Mars ; whofe 
 Temple, when damaged and decayed by Rains, Dampnefs and a bad 
 Climate, they retrieved in the following Manner. They gathered 
 many Branches, Twigs, and Chips of Trees, piling them into a large ; 
 Iquare Heap, made perpendicular on three Sides, and Hoping on the 
 fourth, fo as conveniently to ftep on : In the middle of this Heap 
 they laid a large Knife, not unlike the prefent Perfian or Turhijh Sci- 
 mitars ; which they imagined to be the true Image of Mars, whom, 
 they moftly worfhipp'd and honoured with their Offerings. 
 
 That the Horfe was anciently firft facrificed to Mars, the Hiftories 
 of the Greeks and Romans plainly evince. The Annals of the latter 
 teftify, that they ufed to offer yearly to him, in the Campus Martins, 
 on the 1 2th of December, an Horfe which had won the Prize in the 
 Race ; thereby befeeching the God to favour their warlike Enterpri- 
 ses with Succefs. Paufanias reports, that Tyndarus, Father of Hele- 
 na, who was ravifhed by Paris and carried to Troy, having determin'd 
 the utmoft Revenge, affembled all the Grecian Princes in Conmnftion- 
 with her Conforc Menelaus, vowing, by the Sacrifice of an Horfe, to re- ' 
 venge by Sword the Affront put upon him and his Family. Some alio 1 
 pretend, that the aforefaid Feftival, kept on the 1 2th of December, has ] 
 been celebrated on the 12th of OcJober, and that the Name of Otto- I 
 her was given to the Horfe appointed fbr thofe Purpofes. On which \ 
 Occahon, a great Conteft one time arofe at Rome about the facrificed ; 
 Horle's Head ; iome infifting to have it on the Capitol, and others, on 
 a Tower of the City, called Manilla. The Solemnities of this Rite 
 were performed m the following Manner: On the 12th of OcJober 
 they led a fine Horfe, deckt with Garlands of Greens, intermixed 
 with Flowers and Loaves of Bread, thro' the Streets and Quarters of 
 the I own, and being arrived at the Campus Martins, they there 
 tolled and offered him to Mars, for obtaining Profperity and Fruitful- 
 neis. This was done to befeech the God ro prevent ruinous War • in 
 which the Cavalry caufes the greateft Damage and Deftruclionto'the 
 Produa of the Field: For it would be abfurd to think, that the Ro- 
 mans who pretended to be defcended from the Trojans, fhould offer 
 the Horfe to Mars after the Greek Manner, and in Conformity to 
 the intention of Tyndarus, in order to be revenged of their Anceffcrs 
 
 where- 
 
Chap. 18. Cielings, or Plafonds. 
 
 wherefore it was only for the Reafon aforefaid. The Lacedemonians, 
 as Feftus affirms, had alfo a Cuftom of offering an Horfe yearly on 
 Mount Taygetus ; burning him to Afhes for the Wind to fcatter into 
 all their Towns, Villages and Diftri&s. And Paufanias mentions, 
 that the Macedonians faicrificed on the fame Mount, an Horfe to the 
 Sun, in Imitation of the Perfans. Xenophon aflerts the fame in his 
 [Memoirs, when he relates, that they made Curio a Prefent of an Horfe 
 for that Purpofe; knowing it was the Cuftom of the Perfians to ho- 
 nour the Sun with fuch a Victim. He fays further, that the Sarma-- 
 tans bred Horfes for Sacrifice and Suftenance. The Valentines likewife • 
 ofter'd Horfes, and afterwards burnt them, in honour to Jupiter. The 
 People of Rhodes offer'd to the Sun a Chariot with four beautiful Hor- 
 fes, which they drove into the Sea, to be fwallow'd up by the Waves; 
 believing the Sun ran round the World equipp'd in that Manner. W T e 
 read in the heroic Poems of Philoftratus, that, in order to overcome 
 their Enemies, they were, obliged to offer to the Sun a white Foal 
 who had never known the Bridle or Spur: This was done by the Ad- 
 vice of Palamedes, to buoy up and animate the Greeks, who, at the 
 Siege of Troy, were ftruck with Frights and Fears at the. Sight. of a 
 fudden Eclipfe which then happen'd. 
 
 Origines intimates, that the offering a Bullock before the Taberna- 
 cle, according to the ancient Jewijh Rite, {ignified, that we mufi fub- 
 due all Pride and Haughtinefs ; and by a . Calf, the having overcome the 
 Weaknejs of the Flejh. 
 
 The Boeotians had a Cuftom of facrificing to Neptune a Bullock,, 
 called with them Mucytes, or bellowing; becaufe his Noife has fome 
 Affinity with that of the Billows when violently agitated by the 
 Winds. The Bullocks, which the Priefts feleeled for that Deity, ought 
 to have dark and black Hair, thereby to fignify the dark Depths of 
 the Water. Wherefore many think, that the Eagle is called, by the. 
 Latins, Jquila, from the Word Aqua, as having a. dark and blackifh 
 Colour. For the fame Reafon, the Sea-gods are ufually reprefented 
 with brown Complexions, blueiih Hair and Garments, and with full 1 
 Chefts and broad Shoulders, like Bullocks. As to the Tauri Ludi, or 
 Bull-folemnities in ufe among the ancient Romans, they were not infti- 
 jtuted by them in Honour to Neptune, but for the infernal Gods, whom 
 they believed were thereby moved to Companion, when, under Tar- 
 quinius Superbus, the City was afflicted with a Plague, which carried off 
 Abundance of Women with Child, and the People imputed the. Mis- 
 fortune to the eating the Fleftj of black Bullocks,. 
 
Sol 
 
 Of the Tainting of 
 
 Book IX. 
 
 , The Sacrifices which the Roman Cenfors ufed to offer every fifth 
 Year for their Purification, and called Solitaurilia, confifted of a Boar, 
 a Ram, and a Bull. 
 
 The offering a Bullock, as we gather from Hiftory, was generally, 
 efpecially among the Romans, a Token of Viclory gained over the 
 Enemy : Accordingly, Juvenal fays, They led to the Capitol a large 
 black Bullock marked with Chalk. But here it muff be obierved, that 
 the Lacedemonians in fome Sort imitated the Romans in feveral of their 
 Sacrifices of that Nature; for when the latter got a Viftory by Slaugh- 
 ter and taking the Enemy Prifoners, they offer'd a Bullock; but 
 when without Blood-ined, a Sheep. The Lacedemonians, contrarily, 
 facrificed a Bullock, on obtaining a Victory without Cruelty or Blood- 
 fhed; and a Cock, when it was got in the open Field, in a pitch'd Bat- 
 tle, preferring Enterprizes performed with Reafon and Conduct, to 
 thofe effected by main Force. 
 
 We read likewife, that anciently, efpecially among the Romans, the 
 Bullock was fo much regarded, that it was as capital to kill one, as 
 to murther a Citizen. Wherefore Erichthaus, reigning at Athens, or- 
 der'd, that at the yearly Feftival, wherein a Bullock was facrificed, the 
 Popa, or Prieft (whole Duty requir'd him to furnifh the Cattle, and 
 to cut their Throats when knock'd down) fhould, after the Solemnity 
 was over, and in Maintainance of the Law, forfake the Town and 
 Territory, firft leaving the Ax at the Foot of the Altar. 
 
 The thejfaliajis were enjoined by the Oracle of Apollo at Dodone, to 
 offer Sacrifice yearly on the Tomb of Achilles ; and to furnifh the Ne- 
 cefTaries from their own Country ; namely, two tame Bulls, one black 
 and the other white; the Wood from Mount Pelion; the Fire out 
 of ThcJJaly; and Flower and Water from "the River Sperchius. With 
 thefe were to be ufed Garlands and Feftoons of Greens, intermix'd 
 with Amaranths, that, in cafe the Ships, bringing the NecefTaries 
 from other Countries, fhould be kept back by contrary Winds, at leaft 
 fuch Greens and Flowers as never wither, might not be wanting to 
 hang on the Tomb. 
 
 Apollodorus and Athenaus relate, that Hercules was fo great an Eater, 
 as often to devour a whole Bullock at a Meal: For which Reafon, the 
 Ancients dedicated to him the Water-foul, called by the Greeks Aa^?, 
 in Englijh Sea-mew ; becaufe this Bird, according to Suidas, is very 
 voracious ; nay, on account of this Excefs in eating, they brought 
 him Offerings, whereby Men were not allowed to ufe any other Expref- 
 iions than Curfing and Swearing. Laclantius and Apollodorus relate the 
 
 Story 
 
Chap. 1 8. 
 
 Cielings, or Plafonds. 
 
 Story thus; Hercules on a Time travelling with fome Companions 
 thro' Rhodes, and being very hungry, met with a Country-man at 
 Plough with a Couple of Oxen, which he defired to purchaie for fill- 
 ing his Belly ; but the Man rejecting the Proffer, Hercules took the 
 Cattle by Force, and with his Companions eat them up. The other, 
 inrag'd and frantic hereat, curs'd and fwore at Hercules as he was eat- 
 ing ; who laughed and banter'd him, faying, he never eat a better 
 Morfel, or with more Gufto, in all his Life. Wherefore the Inhabi- 
 tants of that Ifland erected an Altar to him, after his Deification, 
 whereon was carved a Yoke of Oxen; offering thereon, at certain- 
 Times, a Couple of Oxen : At which Solemnity the Priefts and Peo- 
 ple bulled about, and made a great Noife, by curfing, fwearing, and 
 other Impieties, which they thought would pleafe the God, in Re- 
 membrance of the Adventure with the Plough-man. 
 
 I muff fubjoin another Sacrifice to the Honour and Memory of the 
 deified Hercules, not lefs fooliih than ridiculous. Suidas relates, that 
 the Bceotians on a certain Time leading an Ox for Sacrifice, he broke 
 loofe and ran away. Whereupon the Mob, unwilling_ to pretermit 
 the Time for Celebration, ftuck an Apple on four Sticks, with two 
 fmaller on top, reprefenting four Legs and two Horns; offering this, 
 with great Solemnity, to Hercules. Others afcribe this Apple-facrifice,. 
 inftead of an Ox,, to the Athenians : And Julius Pollux teftifies, that it 
 was long in ufe among the Thebans. Yet Paujanias, in his Memoirs,, 
 reports, that as the Apple-tree is fometimes accepted by the Gods, 
 in token of a propitious Sacrifice, fa the Boeotians, at the Ox's running 
 \ away, offer'd to Hercules an Apple-tree, having but four Branches, 
 ; inftead of the four-legged Beaft ; whence it became afterwards cuftom- 
 i ary to confecrate that Tree to this God. And Jpollodorus affirms, ac- 
 cording to Zenodotus, that thofe Offerings of the Boeotians were inftead. 
 of, Rams and Sheep. 
 
 The imploring Help and Favour by means of a Bullock, reminds 
 me of a Cuftom of the ancient Scythians, now called Tartars, who 
 killing; and ftripping a Bullock* the'Perfon who had received any Injur/ 
 from another, took the Skin, fpread it on the Ground, and fat upon it with 
 his Hands behind him; and thofe who, in paffing by, promifed to give, 
 their Affiftance, trod on the Skin with the right Foot, thereby fignifying. 
 [ the Means they propofed to ufe for the injur'd Perfon's Satisfaaion; This 
 1 Cuftom is largely defcribed by Lucianus treating of Fnendfhip, uuder the. 
 Name of Toxaris.,, And, fpeaking of the Homokts, ; he fays, that 
 
 when. 
 
484 Of the Tainting of 
 
 Book IX. 
 
 when they defigned inviolably to engage themfelves to each, other, 
 they kill'd an Ox, and cut him into Bits, to give to People as they 
 parted by : Which Cuftom is ftill folemnly obferved by the Circqffian 
 Tartars inhabiting between the Rivers Tanais and Phajts : Aid all 
 fuch PafTengers as get a Piece of fuch an Ox, think themfelves fo 
 bound in Friendlhip, and fo much obliged to the Giver, as rot to 
 fcruple hazarding either Goods or Life in revenging the Injury dene to 
 their Friend. 
 
 The Athenians, in thankful Acknowledgment of the profitably La- 
 bour of the Ox, ftamped his Image on their Coin called Didrachmim. 
 Wherefore, we read in Homer, and other Writers, that they ufed to 
 buy Merchandizes by certain Numbers of Oxen : As in the fecond 
 Book of his Iliads he has it, - Every Thing of that Kind is fold for a 
 Hecatomb, i. e. an hundred Oxen : Or, in better Terms, for an huidred 
 Pieces of Gold or Silver Coin with their Imprels. 
 
 Pindarics mentions, that the Hyperboreans performed their * Heca- 
 tombs, or great Sacrifices, to Apollo with AfFes : Wherefore Ca'Mma- 
 chus fays, that that God took Delight in the killing a fat Afs. 
 
 But the /Egyptians hated this Creature, not only for his Djlnefs 
 and Stupidity, but alfo for his Skin mix'd with brown and white; 
 which they accounted abominable, and unfit to be ofTer'd to the Gods! 
 Accordingly, they abufed him as much as poffible, flinging Stones and 
 Clods of Dirt and Mud, and pricking him with foarp pointed S:icks ; 
 and when, in the Purfuit, they found him on a convenient Emirence^ 
 they made him roll down it. Hence arifes the comparative Proverb 
 applied to contemptible Perfons, The Afs of Egypt. 
 
 Thefe People were not the only ones who paid Honour to the Hog : 
 Other Nations have ranked it with their Gods. For this Creature was 
 formerly facred in Candia, where they believ'd, that Jupiter, it his 
 Birth, fuck'd a Sow, which, by her grunting, intirely drown'i the 
 the Cries of the Child ; tho' fome will rather afcribe this Kindnefs to 
 the Goat of Amalthea. 
 
 The ancient Italian Kings had a Cuftom, to offer an Hog in 
 their nuptial Solemnities : And the Great, in their nuptial Feafts, 
 brought, according to the Tufcan Manner, an Hog to the Altar, con- 
 fecrating it to the Tutelar-gods, and Preliders over new married Per- 
 fons : Which was the general Cuftom of the Greeks as wel as 
 of the Latins. 
 
 * A Greek Word, figniffmg an Offering of an 1 00 Beajls, 
 
 They 
 
Chap. 18. Cielings, or Plafonds. $0$ 
 
 They of Jrgos celebrated the Feftival called Hyfleries, by offering 
 an Hog in Honour to Venus: Of which Callimachus largely treats; 
 tho' we find the Sicyonians dedicated to her all Kinds of Beafts, as 
 Ariftophanes teftifies, faying, they killed an Hog to offer to Venus. 
 
 They likewife offered an Hog to the Goddefs Maja, (by whom is 
 meant the Earth, thus called, according to Cornelius Labeo, as fignify- 
 ing Greatnefs) becaufe this Creature makes great Havock among the 
 Corn and Grain, and is very prone to tear up the Ground; as Homer 
 fays, — f~fhe Hog loves the Mud; for thefe Beafts were facrificed to 
 the Gods, either on account of their Likenefs and Agreement, or Dif- 
 fimilarity and Averfion. Wherefore the Poets mention, that the 
 Hog was firft offer'd to Ceres, for the great Mifchief it did to the 
 Corn. Veranius fays, they alfo offer'd a Sow to Ceres, after a Funeral, 
 for purifying the Family. 
 
 On making a Peace, Alliance, or Truce, they offer'd an Hog : As 
 
 Virgil affirms, He made the Peace during the killing of a Sow. 
 
 Though Qttintilian and Servi-us, in their Remarks, fay, that Virgil 
 means an Hog ; becaufe in that Solemnity was always ufed an Hog or 
 Pig. Suetonius, in the Life of Claudius Cafar, reports, that he made 
 an Alliance with the Princes, during the Offering of a Sow ; tho' Titus 
 Livius fpeaks likewife of an Hog. 
 
 The Mofaic Law enjoined the King or Princes to offer for their 
 Sins an He-goat; and thofe who had no publick Employments, a 
 She-goat or Lamb. Aaron was commanded to offer, for himfelf and 
 Family, a Calf, as harmlefs or righteous; and an He-goat for a Sin- 
 offering. And we learn from Hejychius, Bilhop of Jerufalem, that the 
 High-prieft, after having offer'd an He-goat for a Burnt-offering, was 
 allowed to go into the Holy of Holies, cloathed in a white Linen-coat, 
 with a Girdle of the fame, and Breeches and Mitre of fine twined 
 Linen ; as fignifying, that being reconciled to God, purified in Body 
 and Soul, chafte, fober, and righteous, fill'd with godly Understanding, 
 and the Gifts of the Holy Spirit, he might enter into that Place. 
 
 The offering He-goats and Sheep under the Law implies, a morti- 
 fying and rooting out all Impurites and carnal Luffs, as Adamantius 
 explains it, and to which Cyril agrees ; for Scripture, hieroglyphi- 
 cally, commonly takes the He-goat for Men plung'd in ftinking, im- 
 pure, and all Manner of extravagant Deffres ; as alfo plainly appears 
 by our Saviour's Words, when, at the laft Judgment, he will fet the 
 Sheep or Elect, with all Bleflings on his right Hand, and on the Left, 
 thofe, who, by ftinking Sin, are unworthy of his Pity, for eternal 
 
 No. 22. 3 S Punifh. 
 
fo6 Of the Tainting of Book IX. 
 
 Punifhment. And after fuch a Manner the Goat was brought to a- 
 tone for Sins, when the Law commanded, that he fhould be prefented 
 alive before the AJtar, and the Prieft, laying his Hands on the Head 
 Ihould confefs over him all the Iniquities of the People, and put them 
 on the Head of this lafcivious Creature, and then, by a fit Perfon 
 fend him away into the Wildernefs. They add, for Confirmation* 
 that the thick and rough Hair of this Bean; is laid upon him as a. 
 ftinking Burthen of his Lafcivioufnefs. 
 
 The Fables of the Greek Poets tell us, that Hercules was the firft 
 who tamed the lafcivious He-goat; meaning, that he overcame the 
 wanton Defires of the Flefli. He likewife rirft offer'd this Bcaft to 
 |W; for, having vanquiih'd Hippocoon, and thereby irritated the God- 
 dels, he found no other Viaim at hand to appeafe her with ; as Pau- 
 Jamas, relates in his 'third • Book. But the Lacedemonians facrificed to- 
 jp/^/, called the Corythalian, in the Fields, Goats Fleih only, no other 
 Beaft being allowed iathat Solemnity. Wherefore Xenophon, in his 
 Memoirs, reports, that, when jthe Perfmns inverted Athens with a 
 mighty Force, intending to ruin it intirely, tint Athenians made a Vow 
 to Diana, to offer to her as many Goats as they fhould defeat Ene- 
 mies, in cafe they beat them. 
 
 The Poets likewife mention, that the Goat was facrificed to Bac- 
 chus $ becaufe he, being the God of Wine, could not be more accep- 
 tably honour'd, than with the Death of a Creature fo noxious to Vine- 
 yards dedicated to him. Wherefore the Feftivals called Afcolia were 
 alio celebrated in his Honour; when they laid on the Ground at 
 equal Diiiances, Sacks or Bags of Goats Skins filPd with Wind which 
 being fmeared with Oyl or Greafe, they merrily, to win the Prize 
 leap'd from one upon the other, tumbling, by Reafon of the Glib- 
 nefs, over each other, to the no fmall Delight and Applaufe of the. 
 People. r 
 
 The Roman Ladies, on being delivered with Twins, formerly of- 
 fer'd to Juno (to whom Empires and Riches were facred) certain 
 Sheep ; which, according to Behius Macer, were tied between two Pair 
 of Lambs oaeach Side. But the Shyonians Cuftom was, to offer fat 
 Sheep by them called Eumenides, to the Gods of Benevolence and 
 good Hope, for the good Luck and Profperity of their Families, 
 f hey likewife facrificed to Hercules; as God of Riches and Plenty a 
 Sheep tied on four Sticks, inftead of a Bullock, who ran- away, as 
 they w*re leading him to. the Altar;;, wherefore he is called Melius* 
 
 or 
 
Chap. 18. Cielings, or Plafonds. ^ 07 
 
 or Shepherd. But of this ridiculous Offering I have faid enough 
 before. ° 
 
 We gather from the Greek and Roman Hiftories and Antiquities 
 that they facrificed Dogs, the former to Proferpina, and the latter to 
 Genetia. At the Feftivals called Lupercalia, facred to the Lycaan Idol 
 Pan, the Romans offer'd the fame; knowing that the conftant Nature 
 . of Dogs is to purfue Wolves. Others think that this was done in Honour 
 and Remembrance of Romulus, who, they faid, was, in his Infancy 
 laid in a Wood, and brought up by a Wolf. Some report, that 
 Evander firft introduced and eftabliihed thofe Solemnities. The Peo- 
 ple of Jrgos offer'd Dogs to the Goddefs Cyonia ; to whom they a- 
 fcnbed the Power of giving Women in Labour an happy Delivery. 
 The Lacedemonians confecrated thofe Creatures to Mars for their Eager- 
 nefs and Alacrity in failing on Deer : For the young Men in their 
 warlike Exercifes ufed to begin them with facriricing a little Dog to 
 Mars, as the ftrongeft and moft valiant of the Gods, judging tnat 
 Creature to be the moft acceptable of the tame and fociable Animals. 
 The Augures, a Sort of Priefts among the Romans, alfo often facrificed 
 a Kind of red Dogs before the Town-gate, called from thence Catula- 
 rta, or, Dogs-gate, that the Heat of the Dog-days in July and 
 duguft might not burn or fpoil the Trees and Fruits of the 
 Earth. 
 
 The Inhabitants of Methone annually offer'd a Cock for the Profpe- 
 rity of the Vineyards, and for averting the violent South-eaft Winds - 
 for when this Wind rifes in the blofToming Time of the Vines, its 
 Malignity kills the young Shoots, and fruftrates the Hope of a future 
 Vintage: Wherefore the Augur es of that Trad of Land found it 
 proper to order, that two young Men, chofen for that Purpofe, fhould, 
 at a certain Place, take a white Cock, and each holding a Leg, above 
 the Spur, by parting, pull him to pieces; and then, with the Piece 
 of the Cock in their Hands, running round the Vineyards, one to the 
 Right, the other to the Left, till, having as they thought made an 
 Atonement, they met again at the Place where the Cock was torn to 
 pieces, and there buried him. By blind Luck, it fometimes fell out, 
 that as long as they obferved the Solemnity, the IfTue of Things an- 
 (wered their Defire. 
 
 The ancient Romans alfo ufed to facrifice annually an Hen to JEfcula- 
 Vms> the God of Health. 
 
 3 
 
Of the Tainting of 
 
 Book IX. 
 
 The Duck, on account of its greedy and voracious Nature, was, by 
 the Boeotians facred to Hercules (whom they judged the greater! Eater 
 and Glutton) as the rnoft acceptable to him. 
 
 And, according to Zenodotus, the Phoenicians offer'd a Quail to the 
 fame God, becaufe it once faved his Life. 
 
 The People of Cyrene afcribed great Honour in Husbandry to Sa- 
 turn ; faying, he was the Inventor of Planting, Grafting, Pruning, and 
 Dunging : Wherefore, in his Solemnities, they wore on their Heads 
 Chaplets of freih Figs, ' as well on account of their being Food, as 
 dainty Tafte. 
 
 The /Egyptians offer'd annually, on the 19th Day of the firfl 
 Month, Honey and Figs, in Honour of Mercury ; celebrating this 
 Feaft with great Noife, and crying, Oh ! how fweet and agreeable is 
 T ruth. 
 
 The ancient Gauls worfhip'd Hercules as the God of Prudence, and, 
 as Lucianus fays, Eloquence, even more than Mercury ; becaufe Elo- 
 quence is accounted more confummate in aged Men (as Hercules is ge- 
 nerally reprefented) than in the Young: Wherefore they offer'd to 
 him, as the /Egyptians did to Mercury, Honey and Figs : Moreover, 
 all who minifter'd held a Fig-tree Branch in their Hands, and they,, 
 as well as the Priefts, had their Heads adorned with Poplar Leaves. 
 Virgil likewife mentions, that Evander, offering to this God, had a 
 Chaplet of the. fame Leaves about his Head, calling them Her cules- 
 Leaves.. And Macrobius fays, that the ancient Solemnities to Saturn-, 
 and Hercules were performed bare-headed y but in thofe to other Gods, I 
 $he Priefts Heads were cover'd. 
 
 The ancient Romans offer'd to the Goddefs Carna, to whom they 
 afcrib'd the Support of the animal Spirits in human Bodies, Bacon, and; 
 the Greens of Beans, whereby Men are made ftrong and hearty for ' 
 Labour. And it is certain that thofe People called the firfl Day of J une I 
 Fabaria,, or Bean's-day, becaufe that Oblation was inftituted by Junius ^ 
 Brutus, of whom this Month has alfo borrowed its Name, 
 
 Fejlus Pompeius fays, that the Romans annually offer'd to Vulcan in 
 June, at the Feaft called the Fifhing-games, a Sort of Fiih, for the 
 Souk of Men; becaufe the ancient Philofophers hieroglyphically re- 
 prefented the Souls by Fifties : And, as Philo fays, becaufe they con- 3 
 lift of a pure Element, and God created them the. firft of aJU living 
 Creatures.. 
 
 Vincent Cartari relates another Cuftom of the Romans, that, after a 
 Vifrory obtain'd, they piled all the Shields and other Weapons of the 
 
Chap. 1 8. Cielings, or Plafonds. so? 
 
 Enemy in an Heap, and burnt them as an Oblation to Fukan. Which 
 was done, fays Servius, in Imitation of Tarquinhis P rife us, who, hav- 
 ing overcome the Sabines, burnt all their Weapons in honour of the 
 fame God ; and as Evander mentions in Virgil > he did when young and 
 had gotten the Victory at Pranefte. 
 
 The Egyptians offer 'd to Ifis Loaves and Apples. And the ancient 
 Sicilians, Acorns and Flour to Ceres. The heathenifn Priefts offered 
 to the Nymphs, or Water and Field -goddeffes, white Lilhes, on ac- 
 count of their Purity. As Serapis is reputed by the Egyptians the 
 God of Riches, or the Produaions of the Earth, being the Inventor 
 of Sowing and Tillage, he is therefore by them reprelented with a 
 Basket of Fruits of the Earth on his Head. Even his Offerings, 
 whether of Meat, Bread, Fruits, or Flowers, were carried in Baskets. 
 
 We fee, that the Jug is commonly facred to Ofiris, not only on ac- 
 count of his being Matter and Inventor of Wine, but alfo of all Moii- 
 ture; wherefore he is called Ocean, and Ifis, Thetis: For it was the 
 Cuftom to carry a Jug in the Proceffion of the Offerings, thereby to 
 fhew their Veneration for this God, keeping a large one in particular 
 Efteem, to carry it cover'd, with great Solemnity, to the Temple ; 
 where being arrived, they kneeled down, and, with lifted up Hands, 
 thanked the God for his loving Kindnefs to Men ; as believing that all 
 Things were brought forth by Moifture. 
 
 In a certain Place in Greece they worfhipp'd Myngrus God of the 
 Flies : When the People offer'd to him, all the Flies retired from thofe 
 Parts. The Cyrenenjes in Lybia alfo honour'd the God of Flies, called 
 Achor> making Offerings to him for flopping the Plague, which fome- 
 times was occafioned by the Multitude of thofe Infers. 
 
 Anciently, they offered red Wine inftead of Blood. For Mofes, in 
 his Song in Deuteronomy, fays, And thou didfi drink the pure Blood of 
 
 the Grape. And David, in his Pfalms, They have drunk the Blood 
 
 of the Grape.. Indeed, the Egyptian Priefts, fome of whom were Kings, 
 intirely abftained from Wine, but always ufed it in their Offerings, 
 not as an Acceptablenefs to Heaven, but to fignify the Blood and 
 Punifhment of thofe who rebell'd againft the Gods, and thereby to 
 obtain Favour and Reconciliation: For the Egyptians firmly believed, 
 that Wine fprang from the Blood of the difcomfited Giants, which, 
 on their rifing againft the Gods, and threatening to ftorm Heaven, was 
 fpilt on the Earth, and. therefore made Men commit all Manner of 
 Extravagancies: They alfo intimated by the W'ine-prefs^ PerJecuiion 3 
 Adverjity^ Fexation, and Opprejpon.. 
 
no Of the Tainting of Book 1X 
 
 wiI h Mnnlv 0n f n he ° th r h r d ', cd t rated AeFeaftof Mercury 
 wim miiK only, to exprefs thereby the Sweetnefi n f 7 
 
 Thefe R,tes were performed at ZW/ in the Street called £p Uence - 
 Sober; becaufeWine has many ftrange Effete as difrll f' c ° r 
 crets, running rafhly into Dangen Weaknefs of tt ? lfcM ?&? f ?e- 
 m ? e Tongue, wa/dering Senfes, ^^^fca&f* &nten »- 
 
 1 he Gods were moreover worlhipp'd in the Offering L t • i 
 the Slaughter of Beads, but alfo w^h Fd^^^i^}^ 
 ers, and with the t nklins Noife of fonn P r ,!i r r a ot Flow ' 
 bors, harmonious Sound s g SSb:^ Ta- 
 
 io hmlh th:s Chapter, let me add, that anciently it was th. P, ft 
 of many Nations to make, on the Face of the Altar a Ch-rt p° M 
 with the Blood of the Viaim r^fnll,, "Cu Si. de or R,n g 
 ing it in a Vefiel fo tha Pur'oofe tL " d , with . Devotion fav° 
 Word, which fafflif Solemnity they called by a 
 
 moft perfea of all F? gu Te7 V * f ' that the round ™> *e 
 
 CHAP. XIX. 
 
 f WW* pertaining to Offerings. 
 
 ftant Employments will noValw ys allot df'^f ^ L whofe en- 
 treating of thofe Matters 7 * em t0 P erufe the Au *ors 
 
 When the ^//^ p rieftg for th s; f 
 
 Prayers for averting the Wrath of God, they werfdreft fn Rl/f " P 
 fignify, that Mortals, proceeding fmm , r.f l V l . !■ BJack « to 
 treated that \^\ml^^^f^^'^^ *>° i„- 
 was more proper. ° that no oth « colour'd Drefs 
 
 no* £X£ bEf T^of°H he fr >al a , nd ™ R ^ **- 
 
 make ufe of the fa^ r n l ™„? Vi, u "^ Uat, ° n ' and *°fe who 
 
 mourn 
 
 a**, or, as 6/act as Coa/s Wherefore > ^™ calls them 
 
 Earth* t £k ctr^/nd t\ W f f , FrUitS ° f * e 
 .horn they attributed the cte and SftjJ t^^- 
 
 Trees, 
 
[Chap. 19. Cielings, or Plafonds. 
 
 [Trees, wore commonly black Caps ; but in their Solemnities all black. 
 [The Black was alfo dedicated to Plato, and in' offering to him the 
 Priefts were in this Colour 5 believing, that it beft fuited the hellifh 
 [or fubterranean Gods. 
 
 Herodotus, to (hew that the Heathens agree with the prefent Opi- 
 nion touching the Signification of Ckannefs, certifies, that the Egypti- 
 ans did not allow the wearing in their Temples any Cloaths made of 
 Wool, but they had white linen Garments. Tertullian, fpeaking of 
 our Saviour, therefore fays, as he is drefl in the Garb of white Lined* 
 it is the fame with that of Ofiris. And Plutarch, treating of Ifts and 
 Qfiris, takes this to be the Reafon why the Priefts make ufe only of 
 white linen Garments, to fignify, that all clean and undefiled Things 
 beft agree with the Nature of the Gods, whofe pure and facred Ma- 
 jefty, according to Plato, ought not to be woriliipped by Things im- 
 pure and filthy. And as Linen is the cleaneft Drefs, and can be very 
 ealily wafhed and made beautiful, fo it was thought the moft becom- 
 ing the facerdotal Dignity and Purity. And indeed, the Magi, or 
 Priefts of the ancient Perfeans faid, that God took Delight in white 
 Garments: Which Afiertion feems to be borrowed from Solomon, who, 
 in his. Exhortations to good and blamelefs Manners, and a pure Con- 
 
 feience, fays, Let your Garments be always white ; as if he meant,. 
 
 Take heed, in all your Actions^ not to be defiled with Evil and. 
 
 Uncleannefs. 
 
 The Prieftly Veftment called Toderis, from the Greek Wbvd Podes*. 
 in Englifh, Feet, was of fine white Linen,, fetting clofeto the Body, 
 and hanging down to the Feet: Ancient Divines fay,, that thereby they 
 fignified the moft holy arid myfterious DoBrine: This was the undermolt 
 Covering, as we find in Exod. ' xxxix. And they made Coats of fine 
 weav'd Linen, and their Garment called Hypodytes of 'Hyacinth Co- 
 lour; intimating Heavenlinefs, and that Men ought to raife their 
 Minds, Thoughts, and Faculties thither, forfaking what is earthly.. 
 
 The Priefts alfo wore, under their Coats> Breeches of fine twined 
 Linen, covering, their Privities and Thighs; as an Admonition. to drefs 
 ; and appear in Chaftity. They were like wife enjoined by the offerto- 
 jrial Law to be girt with a Girdle embroidered with blue, purple,, 
 ■ and fcarlet, hieroglyphically implying Fortitude, Strength^, and 
 Virtue, 
 
 The Romifh Priefts ufe, to this- Day, white Linen. Garments in their 
 Service > as did alfo Jpollonius Tyaneus, to whom they feemed. more 
 
 agreeable 
 
Sir Of the Tainting of Book IX 
 
 agreeable with Cleannefs, than others woven of foul and greafy 
 
 Wool. 
 
 The Shoes of the /Egyptian Priefts were not made of other Matter 
 than the Bark of Trees ; fo cautious were they in avoiding the leaft 
 Appearance of Unchaftity and Uncleannefs. Accordingly, and 
 with refpeft to Purity, it was a great Crime among the Roman 
 Prieftefles, called Ftaminica-, to wear Shoes of Skins or Beafls which 
 died natural Deaths, fuperftitioufly believing it to be abominable ; but 
 they approved of fuch as were made of orler'd Beafts Skins. Our Sa- 
 viour himlelf commanded his Difciples not to wear Shoes; that, be- 
 ing with all Speed to publiih everlafting Life, they might intirely for- 
 fake what is corruptible. Mofes alio, leaving the /Egyptian Bondage, 
 wore Shoes of Beafts Skins, intimating his Affinity with Mortality; 
 but afterwards, as he grew in Strength and Virtue, and was to ferve 
 the Almighty, he was commanded to pull them off. 
 
 The /Egyptian Priefts adorned their Heads with Hawk's Feathers ; 
 thinking -to owe this Honour to that Bird, becaufe, as they fay, he 
 formerly brought the Priefts of Thebes, in /Egypt, a Book written in 
 red Letters; containing the Manners of worfhipping the Gods, and 
 many of the principal Rites to be obferved in their Offerings ; where- 
 fore, the Latin Poets, according to Martial, call thofe Priefts copped 
 or crefted. 
 
 It would be needlefs to fay more touching the facred Drefles, fuch 
 as the Mitre, Bonnet, Ephod, and other Ornaments, fince they, and 
 .every Thing elfe relating to the Priefthood, are amply defcrib'd by 
 Goeree in his Jeivijh Antiquities. Wherefore, after having touched on 
 the Hair of the Priefts, we fhall only treat of the ancient Roman 
 Priefthood. 
 
 It was formerly the greatefl: Scandal and Indignity for a Man to 
 have his Hair cut off. And poffibly Mofes therefore commanded the 
 Priefts not to have their Beards or Hair taken off with a Razor, but 
 clipped with Sciflbrs, to diftinguiih them from thofe of the /Egypti- 
 ans who, after the Death of Apis, deified and worlhipped by them, 
 had not only their Heads, but their whole Bodies fhaved, that- in their 
 Sacrifices they might be pure. Moreover, according to Bede, in his 
 Church-hiftory, by (having the Head is meant a renouncing fuperfluous 
 Riches (which Priefts, by their Inftitution, are punctually to obferve) 
 and that Hair is to be accounted but as a Superfluity of the Body. 
 And in this Senfe fpeaks Hieronymus, that as the Prieft has his Head 
 fhaved, fo he ought alfo to cut and caft ofT fuperfluous Riches and 
 
 earthly 
 
Chap. 19. Cielings, or Plafonds. 5-13 
 
 earthly Defires ; and that by the little Hair left is fignified, that they 
 muft be content with fmall Provifion for fupporting their mortal Bo- 
 dies. Others add, that the little Hair left on their Heads, in the Form 
 of a Crown, denotes the Crown of Eternity, with which, after their 
 ConfMs, they were to be rewarded. 
 
 But as for the Law commanding to cut the Hair round, and to 
 fhave the Beard, many think it proceeded from the abominable Abule 
 of the Heathens, who offer'd their own Hair, and that of their Chil- 
 dren, to the Devil. . . 
 
 On the other hand, divers Councils decreed, that the Priefts, in Imi- 
 tation of the Nazarites, Oiould keep their Hair and Beards, and let 
 them grow ; with Intention, that, by leeing and handling the lame, 
 they might always remember their Duties. Wherefore they did not 
 fhave, but clip their Hair with SchTors, that it might not over-grow. 
 But to return to the Romans. 
 
 Numa PompiUus, their fecond King and a Pneft, when he could 
 no longer alone bear the Weight of the Government, and discharge 
 the Duties of the Priefthood, inftituted three Priefts called Flamrnes- 
 the firft, in honour to Jupiter Capitolinus ; the fecond, to M*r} * and 
 the third, to Romulus Mrinus, Their Drefs was much like that ot 
 the prefent Romijh Clergy in their Service. On their Heads they had 
 a white Hat, with an Olive-fprig upon it, at the Extremity; whereof 
 appear'd a Tuft of Wool, taken from afacrificed Sheep: lnis Hat 
 was called dlbogalerus. c ,.. . 
 
 Afterwards Numa ordained twelve other Priefts, called bain, in ■ 
 Honour to Mars the Conqueror , Proteftor, Avenger, and Peace-maker. . 
 Thefe weredreft in long loofe Garments or Coats, having a breait- 
 piece of Copper enrich'd with Gold, Silver, and divers precious 
 Stones. The Solemnities growing numerous, and at length amounting 
 to above ao,ooo, Numa increafed the Number of Priefts accordingly. 
 He created the Feciales, and Pater Patratus, who proclaimed War ; 
 alfo the Epulones, or Overfeers of all facred Banquets, and Augur es 
 or Soothfayers, whofe Authority was fo great, that the Seriate could 
 not afTemble without their Confent. They had all particular Garbs, 
 except when they officiated, at which Time their Drefs was alike 
 being a Garment of white Linnen, very wide and reaching to the r 
 Heels, girt with a Girdle and Buckle about their Bodies. This Gar- 
 ment they called Gabinus. • .. ... _ 
 
 And Z Fidelity ought to be clofe, that is, .the Matters we are n - 
 trufted with muft be gept fecret, pure, and inviolable. Numa order d. 
 No. 22. 3 T 
 
y 14 Of the Tainting of Book IX. 
 
 that the High-prieft, in offering to Fidelity, fhould keep his right 
 Hand covered with a white Garment, as Tertullian obferves ; to fifni- 
 fy, that Sincerity ought to be preferved fimple and upright, and that 
 'tis facred to the right Hand, fince we are to affert it with Alacri- 
 ty. Virgil likewife intimates, that the Firmnefs of Sincerity is Minifi- 
 ed by the right Hand, as a Pledge or Aflurancc: Wherefore Dido, 
 
 in his ^th.Mneid s complains, Alas! Thefe are the gilded Word's 
 
 and Promifes of the Son, who, as is /aid, carries with him facred Thine s 
 
 and Houjhold-gods. And in his 3d JEneid we read, Father 
 
 Anchifes hi mf elf gives the dejected Touth Achemenides the right Hand, 
 
 as a Token of his Sincerity to him. And in another Place, Amata 
 
 Jays to Latinus Where is your Sincerity ? Where the former Care 
 
 jor your Kindred, and your Word and Hand fo often given to your Ne- 
 phew^ Turnus? Virgil alfo calls Fidelity white and grey; meaning, ac- 
 cording to Servius, that Sincerity is moft found in old People/who 
 are grey and white. Horace, complaining of the Wickednefs of his 
 own Times, fays, that Sincerity drefied in White is little worfhipp'd • 
 Adding, that, in the Offerings *o it, the High-prieft keeps not only 
 the right Hand covered with the white Garment, but alfo his Head 
 and almoft his whole Body ; to ihew, that the Heart and Will ought 
 to be pure and immaculate, and always to accompany Sincerity. 
 Wherefore Ariofto alfo lays, Sincerity was formerly reprefented in 
 a white Drefs. 
 
 Petronius reports, that Numa himfelf, for a Badge of Priefthood, 
 wore a fmall Linnen-cap, like the Priefts and Soothfayers in their Ser- 
 vices ; as did likewife the Wives and Maid-fervants of the Roman 
 Priefts, called Flamines. 
 
 The Hat alfo, among the ancient Romans, denoted the facerdotal 
 Dignity ; for the Flamines took their Names from Pileus or Hat, as if 
 they would fay, Pile amines: Tho' others are of Opinion, their Name 
 as derived from Flammeum, which, among them, was an Head-orna- 
 ment ; for the Biftop-like Caps, long Coats and Garments were as I 
 have faid, peculiar to the Priefts. The Authority and Credit of the 
 illuftrious Fabius Pitlor induce us to believe this, when he fays, that 
 the Priefts, or Flamines, were not allowed to appear publickly 'with- 
 out the Hat or Cap ; but that in their Houfes they were at their own 
 Liberty. A Cuftom to this Day ftriftly obferved in many Places by 
 the Romijh Prelates. J 
 
 Infula was a fine white Linnen Garment, with which the Prieft and 
 Viftim were covered. 
 
 When 
 
Chap. 19, Cielings, or Plafonds. 
 
 When the Peftal Virgins offered, they were dreft in a long and wide 
 Veftment of very fine white Linnen, called Suffibulum. Their Heads 
 were likewife wound with a white Garment, and over it was a Vail of 
 white Linnen hanging down fquare, and coming over their Cheeks, 
 and faftened under the Chin with a Clafp or Buckle ; wherefore they 
 were called Veftah, from the Word Feftis. The Romijh Women wear 
 to this Day long Vails, pretending to imitate the virtuous ancient Ma- 
 trons, who covered their Heads, Necks, and Breafts with them, and 
 kept themfelves fo chaffce and referved, as never to feparate from their 
 Husbands, nor give the leaffc Opportunity for Evil. 
 
 Befides the before-mentioned Drefles, the Priefts had divers Imple- 
 ments, and facred Veflels for Offerings, viz, 
 
 Prafericulum, a VeflH of Brafs, wide on top, and without an Handle. 
 
 Patina, or Patera; a Dilh or Platter, wherein the Priefts faved the 
 Blood of the Victims. 
 
 Achana, another fmall Veffel, in the Form of. a Cup, in which they-' 
 faved the Droppings of the Wine at the Offerings. 
 
 Acerra, was a Imall Box in which the Perfume was kept. 
 
 Enclabris, was the Table whereon lay the facred Things ; whence.' 
 the Utenfils, and other Materials for the Offerings, were called - 
 \Enclabria. On this Table they laid the Beaft to be offered, cut 
 open and ftretch'd out, carefully turning with a Knife, and in- 
 fpetling the Entrails, to wit, Heart, Lungs, and Liver, in order to* 
 prognosticate future Events to the common and filly People. Pan- 
 fanias reports, that the Greeks obferved the fame Methods in their- 
 Sacrifices. 
 
 Secefpita, .io called, a fecando, from cutting, was a pretty long Knife, , 
 having a round Ivory Handle, tipp'd with Gold and Silver, and ftud- 
 ded with Copper. With this they cut the Victim's Throat, . 
 
 Struppi, was a Bundle of Herbs, called Verbena, mixed with Law- 
 rel, Myrtle, and Olive-fprigs. They were of Opinion, that thefe 
 prefaged Happinefs and Profperity in their Offerings ; they even ufedi 
 Ithem in their Purifications, filling alfo and making Pillows, thereof for 
 their imagined Deities. 
 
 Afpergiilum, or Holy - water - Sprinkle, was- made of Sprigs and. 
 j Leaves of Hyflop v which, in a marble Vefiel, called La brum, they- 
 [placed at the Entrance of their Temples (according to the prefenc 
 \ Romijh Cuftom) and with which they fprinkled the By-ftanders and 
 i Congregation* 
 
 They 
 
$i6 Of the Tainting of Book IX. 
 
 They had divers other Rites, which, for Brevity, I (hall pafs over. 
 What I have faid is only to let Artifts fee, how diligently they ought 
 to confult Hiftory, that, by that means, they may in their Producti- 
 ons follow Antiquity in all its Particulars, and fo duely order and re- 
 prefent Things, that Lovers may fay, with Applaufe, nothing is wanting. 
 
 T H E 
 
THE 
 
 ART of PAINTING. 
 
 BOOK X. 
 
 * Of Statuary. 
 
 Emblem, touching Statuary. 
 
 TOUNG and flurdy Maid, having an hard Look,ftands with 
 her right Leg on a fquare Plinth, and the left on a globu- 
 lar Body. Her Garment is light grey, faftened above the 
 Knee with a Button, and tuck'd up behind. Before, Ihe 
 has a Sheeps-fieece tied about her Waifte. Her Sleeves are 
 turned up above the Elbows. On her left Arm fte holds 
 the Fieure of DECORUM ; and in that Hand, a Chizel, Pair of 
 Compares, Line, and Square j and in the other a Mallet. Her Locks 
 and Treffes are tied behind with a broad Fdlet, which comes about 
 the Head, whereon appears a [mall Altar, and an Eagle grajptng 
 thunder. 
 
 CHAP. I. Of Statuary in general 
 
 'T^R E we proceed to the Qualities and Operations of Statuary, we 
 (hall, as an Introduaion, fay fomewhat of its Antiquity. 
 
JiS Of Statuary. b 00 £ ^ 
 
 ^a/«r, as famous for Architeaure as Statuary, was of royal Ex- 
 traction: Cadmus himfelf, to whom Tr^ owes it's Rife, was a Kine's 
 ton. As thofe Sciences then taketheir Origin from the ancient Greets 
 1 fhall not trace their Inventors down to the Remains of the Ifraelite? 
 nor to thofe who beftowed their Art on the co% and magnificeW S 
 pie or Solomon, the Cheruhns, and Ornaments of the Ark ortheV^f 
 fels confecrated to Worfhip: Scripture is fo exprefs in thefe Things 
 that we muft be convinced, thefe Arts were alfo in great Ufe at that 
 
 m The vaft Pains is known, which the Children of Seth took in Engrav- 
 ing and tranfmitting to Pofterity, their Inventions and Skill in Agro- 
 nomy on two Columns one made of baked Clay, and- the other of 
 Stone in order that that Art, threatened with Deftruaion by the 
 ■f lood and violent Waters, might remain, intire to future Ages • and 
 that after the Flood Prometheus Son of Japhet, was the firft YnycZr 
 of Images ; which has given Rife to all the Fables and Fidions of the 
 -Poets. The JJjynans and Chaldeans had Knowledge in Statuarv • as 
 we gather from Labatts having Houfhold-gods, which his Daughter 
 Rachel itole from him; and afterwards, from the Yews making » 
 golden Calf in the Wildernefs, by Mount Sinai, for Wor(hi P S 
 
 The Heathens applied themfelves to Inquiries into Arts, with verv 
 good ISuccefs. iW Son of Belus, in Scripture called Nimrod, the 
 iirit King of immortalized his Father's Memory by building 
 
 to his Honour, a Temple embelliihed with Statues, and efpecially with 
 fcfae idol /W, in order to be worfhipped. The Obelisks, or Pyramids 
 brought^ to .Rome, by Auguflus out of are ftanding Evidences' 
 
 or the Greatnefsof that People in their Works. 
 
 The ancient Statuaries inftrud us in a thoufand pretty Inventions and 
 Circum tances m Hiftory, which they unriddle j teaching us the Cu- 
 stoms, Worlhip, different Drefles, Arms, of the Ancients j Things 
 very well worthy of our Study. h 
 It's likewife not for want of Judgment, that the antique Statues are 
 propofed to us, as the moft perfeft Models of Elegance and Symmetry, 
 Decade the Age, wherein Alexander lived, was the moft perfeft we 
 Icnow of, tor carrying- Arts and Sciences, through the Emulation of 
 that Time, to the^ high eft Degree of Perfedion : In order to which, they 
 oegan.with Paintmg and Statuary, framing fome Patterns, from whence 
 might be laid down certain and pofitiye Rules,, not to be departed from 
 without polling Order and Beauty. The famous Statuaries of thofe 
 lumes therefore em ployed: their whole Wits mprofecuting the Work 
 
 unani- 
 
map. z: 
 
 Of Statuary. 
 
 hanimoufly, and endeavoured to make exa£r. Inquiries into the Beauty 
 f Nature, and what Shape and Proportion the feveral Parts of the 
 iody ought to have, in order to form thereout an intire perfect and 
 armonious Whole : Yet it being impoffible for them to bring all the 
 }lle£ted Parts into one and the fame Object, they concluded to chufe 
 le principal and moft beautiful Parts out of feveral Bodies, in order 
 > compofe from them different perfect Figures, to ferve Pofterity for 
 Patterns and Models. 
 
 CHAP. II. Of the Execution of Statuary. 
 
 rj TATUARY is an Imitation of Nature, performing it's Work 
 3 by a ftrong Motion of the Body, and Dexterity of the Hands. It 
 onfifts in the Symmetry or exact Di virion of the Objects, according to 
 heir particular Qualities, efpecially in the human Figure (wherein it 
 noft excels) and next, in Quadrupeds ; all Relieved and conformable to 
 he Life. 
 
 It's other Performance concerns the Bafs~relief, or half round 
 York, according to its different Qualities ; as we lhall hereafter ex- 
 >lain. 
 
 The Materials for Statuary are of five Sorts, and each of a particu- 
 ir Nature and Quality. 
 , The firft is Clay. 
 
 Thefecond, Wax. 
 
 The third, Wood. 
 : The fourth, Ivory. 
 
 The fifth, Stone. 
 
 The two firft are worked with wooden Tools, and the reft with 
 harp Irons, and each Material requires a particular Handling. From 
 :he firft, fomething is taken of ; to the fecond, fomething is added \ m 
 he third, is cutting; in the fourth, /craping ; and in the laft, driving 
 >r thrufting, according to the Nature of the Matter, either foft or 
 Eiard, folid, dry, or brittle. 
 
 In an human Figure or other Creature, Statuary firft sketches its 
 Thoughts on Paper, making choice of the moft beautiful Side; and then 
 takes Clay, and fets thofe Conceptions upright, and as like the Defign as 
 poffible. The Figure being now roughed out with the proper Tools, or 
 rather with the Fingers, the Life is fet to the fame Pofture, in order 
 
 to 
 
j xo Of Statuary. Book X.| 
 
 to finifh after it, and being brought to this Forwardnefs, the Artift proJ 
 ceeds gradually round, till all Sides are finifhed and nothing is wanting] 
 The Work, Handing in this Condition for fome Time to dry, is afterj 
 wards baked in an Oven, and then may ferve as a Model for carving in| 
 Marble or other Matter, J 
 The Eflence of this Art lies in a beautiful Form, and a neat or dijuntl 
 Reprefentation of the Things we zvould make, whether human Figurem 
 Beafts or other Objecls ; of which, the principal are Figures and Bafsl 
 reliefs. 
 
 The firft confiders Man, Woman and Child, of all Ages ; as like! 
 wife Portraits or Bufts. 
 
 The fecond refpefts the Horfe, Camel, Elephant, Lyon and othej 
 
 Beafts. And r 
 
 The laft regards the Peacock, Eagle, Raven, Owl and other iucfi 
 Creatures occurring in this Art j all requiring an exaft Knowledge. 
 
 Seeina therefore that fo many Things are neceffary to be underftood, 
 I thinklt of the laft Confequence, that the Artift, before he begu 
 Sculpture, be well acquainted with the Grounds of Drawing ; and fo: 
 two Reafons ; Firft, In hopes of Honour and Advantage ; and Second 
 It, For Fear of Prejudice and Reproach. Thefe two Confideration 
 always attend the Mafter, and one of them unavoidably depends 01 
 his Knowledge and Performance. For as the Work is of great Con 
 fequence and Charge, as well in the Materials as Tools, and flow Pro 
 eels ; fo, if itfucceed well, it brings Reputation and Gain, otherwife 
 greater Lofs and Blame. 
 
 A true Artift ought not to be without the following Works, vi% 
 The Statues of Perrier, the Iconology of Casfar Ripa, Oudaan'j Roma 
 Might, and other Books of Antiquities 5 alfo the principal Hiftonei 
 but chiefly, Les Chara&eres des Pqffions, by Monfieur de la Chambn 
 and other Authors on the fame Subjeft; together with thofe of Drejfei 
 and of Beafts and other Animals. And for Praaice, he ought to H 
 furnilhed with Plaifter-figures, Bafs-reliefs, Medals, Bufts, Hands _ an 
 Feet, Lions and Lionels, Sphinxes, Terms, and many other Thing 
 which are to be bought y as like wife, Models of Wax and Clay, an 
 on Paper. 
 
 CHAl 
 
Chap. 3. Of Statuary. f lx 
 
 CHAP. III. Of Bafs-reliefs. 
 
 THAT I may proceed in an orderly Manner, I fhall begin with 
 Bafs-reliefs \ of which there are three Sorts, viz, almoft Relief 
 half Relief and faint, or flat: And the Difference of thefe ought to 
 be well conlider'd, as they have three particular Intentions in their 
 Proportions or Divifions. 
 
 The firft Sort, or almoft Relief is commonly ufed in deep Niches, 
 with Figures in full Proportion ; having three Grounds behind one an- 
 other ; the foremoft Figures are almoft Relief the fecond half Relief 
 and the third fomewhat lefs. 
 
 The fecond Sort, or half Relief is ufed in /hallow fguare Niches, 
 Frontifpieces, circular-headed Upper-doors, and Niches. This has two 
 Grounds or Depths j the firft is half Relief -and the fecond fomewhat 
 fainter. 
 
 The third Sort is proper for Frizes, Pedeftals, Balluftrades, and Me- 
 dals. This has but one Depth, or a fingle Figure on one Ground. 
 
 In their Ordonnance, four Things are to be obferved. 
 
 1 . That the principal Figure of the Work have its full Relief and 
 thofe of the leaf! Confequence mofi faint, and flicking to the 
 Ground. 
 
 2. . That the greateft Motion and Action of the Figures be always in 
 profile, yet without any forefhortening of the Members. 
 
 3. That the Setting on of the projecting Parts appear natural, not 
 forced. 
 
 4. That the Work be equally divided and diftributed every where 
 alike, not too full in one Part, and too empty in another ; which is a 
 Point of great Importance. 
 
 Altho' thefe Bafs -reliefs feem chiefly to concern Statuaries, yet they 
 as much affect Painting, on account of the particular Relation the two 
 Arts have to each other, in that one cannot be perfect without the 
 other. The Statuary borrows from the Painter the Ordonnance or Dis- 
 position for the Ground of his Work, which he afterwards puts in 
 Practice: The Painter, on the other hand, learns of the Statuary the 
 Method of modelling, as neceflarily ferving for a Foundation in the 
 Performance of Bafs-relief. Wherefore, I think a Painter cannot pofc 
 No. 22. 3 U fibly 
 
$z% Of Statuary. Boot X. 
 
 fibly paint a good one, unlefs he underftand fomething of modelling ; 
 nor a good Statuary give Satisfaction, without having fome Skill in 
 Painting. 
 
 A judicious Mailer ought to be exact in ordering thefe Bafs-reliefs, 
 that each receiving its proper Light, all may appear diftincl, and with- 
 out the lean: Alteration. Sunfhine or fharp Shades make Things look 
 otherwife than they really are, by the mifhapen Ground-lhades which 
 on thofe Occafions are fecn in Nature j when the Work, being much 
 raifed, has many deep Hollows. 
 
 A large and univerfal Light is moft advantageous for the firft Sort, 
 or almofl Relief. 
 
 A Light fomewhat more from the Side is moft proper for the fecond, 
 or half Relief, becaufe it has but few Rifings, and the Work is there- 
 fore more free from Ground-fhades. And 
 
 A direcl Side-light is beft for the third or fainter Sort, as giving it 
 great Decorum and Elegance, tho' it be almoft without Shade. 
 
 This Doc~trine,touching the Light,may poffibly feem ftrange to fome, 
 viz. that it ought to be governed by the Bafs-reliefs or Pictures which 
 are to ftand or hang in it, according as they are more or lefs relieved : 
 But we muft conceive, that a proper Light ought to be chofen for each 
 Sort of Bafs-relief, from this Consideration ; that the Light is not 
 equally good every where : Here, fuits a Bafs-relief in a deep Niche ; 
 there, one lefs rifing, and here again, one that is quite flat ; the one 
 being thus lighted from a Side, and the other fronting. Neverthelefs, 
 it muft not be thought, that according to the Make of the Room, the 
 Difpofition of the Windows, and the Places fjx'd for a Niche on each 
 Side of the Chimney, 'tis in our Choice to have in one of thofe 
 a Bafs-relief of three Grounds, and in the other, one of two Grounds, 
 or one j becaufe that which is neareft to the Windows receives a more 
 fronting Light than the other : Wherefore, they ought to be alike 
 hollow and raifed. By a proper Light, we mean, that the Work 
 muft be fo order'd, that each Part, according to its Light, get a good 
 Decorum: For Inftance, in the former Niche, where the Figures are 
 much raifed, they cannot give fuch large Ground-fhades, fince the 
 Light falls on them a little fronting, but may happen in the other, 
 where the Light comes more from the Side ; unlefs you placed the Fi- 
 gures which in one Niche are on the right Side, in the other on the 
 left, thereby to prevent the fuperfluous Shades, and elegantly recon- 
 cile the Difference of the Lights* 
 
 • The- 
 
Chap. §. Of Statuary. T i 3 
 
 The Bafs-reliefs in JVm&m, with two Grounds, require as 
 
 nice an Obfervation, and the fame Conduft is neceffary in Frizes, Pc- 
 
 deftah, and Medals., , , 
 
 Many err in placing Bafs-reliefs in Frizes of Chimneys, on PedeitaJs 
 and over Room-doors, even upon the Breaft-work of the Chimney it- 
 felf, fetting there more than half relieved, nay, whole relieved Fi- 
 gures • as I once faw an almofi Relief on a Jingle Ground in a Chimney- 
 Frize.' In my Opinion, 'tis very improper to make Figures of nine 
 Inches Length fo very diftant from each other, and fo little draperied ; 
 (fometimes a Figure has fcarce three or four Folds) the Work look- 
 ing then (to fpeak in painter-like Terms) more like a fmooth Dead- 
 colouring, or rather old and wore out, than new made, and ihould 
 by right 'be executed as faint and fine again. I have obferved, that 
 Painters, in reprefenting Bafs-reliefs in fuch Places, avoid all large 
 Shades as much as poffible, efpecially in Frizes, Pedeftals, and other 
 Flats ; it being, in my Opinion, very proper that thofe Parts of the 
 Architecture keep their Flatnefs\ and as all the Ornaments, Capi- 
 tals, Foliage, Modillions, Triglyphs, and the like, are in fuch Cafe 
 commonly perform'd neat and curious, fo our Figures ought likewife 
 to be perfealy finifhed. „ , r m ^ 
 
 Some keep too much to the great Manner : But the lmaller the 
 Things are, efpecially within-doors and near, the neater they muft be : 
 Fovwithout-doors the Cafe is different, becaufe there they receive Light 
 from all Sides, and are lefs fet off, be they ever fo much railed. 
 Wherefore, Statuary joined to Architecture, in fuch Manner as it 
 ought to be, is the Bufinefs of a judicious Artift, and for which no 
 one is qnalified without great Praaice. 
 
 As this Study concerns a Painter as well as a Statuary, I fhall (hew 
 the former in how many different Manners a Bafs-relief may be paint- 
 ed : And feeing the moft expeditious is always the beft, I fhall lay- 
 down that which, by Experience, I have found to be beft. 
 
 Firft, I paint my Cloth neat and even, with fuch a Colour as my 
 Bafs-relief requires, whether white, grey, red, yellow, &c. between 
 Light and Shade, or in fecond Tint. Drawing my Ordonnance on 
 this. Ground, I correaiy and ftrongly trace it over with black Lead, 
 and' after rub it with a dry Cloth that it may ftick faft, and refift the 
 Varnifh without muddling. Then I varnifh it all over, and proceed 
 to painting ; firft the Shade, and then the fecond Tint againft it, leav- 
 ing the Ground for the Light, and uniting the Shade with the fecond 
 5 . 3U2 Tint 
 
Of Statuary. Book X. 
 
 Tint airily, without foftning them with a Fitch, I fcumble the 
 fecond Tint, either with a Finger or ftiff Pencil, into the Ground 
 1 hen 1 take another Tint, as dark as my Model direfts, and with it 
 give a Ground behind my Figures, leaving the Work on the light 
 bide without the leaft Relief. Being to finifh, I rub the whole Work, 
 or as much as I can do at once, with a lighter Tint than the firft Ground 
 and fo very thin and even, that every Thing may appear through it; 
 obferving here, that the White muft be very ftiff, and thinned only 
 with Turpentine. On this wet Ground I clap my main Lights, which 
 then, ; as well as the Shades, will gradually unite with it, without 
 touching each other. 
 
 The iecond and third Sorts may be eafily flnilhed up at once (the Re- 
 touching excepted) as haying neither. Ground-fhades nor Hollows - the 
 Method is this. My Cloth being prepared as aforefaid, I firft height- 
 en, Icumbhng the main Light into the wet Ground, which, by the run- 
 ning of the Turpentine Oil, is become fomewhat tacky : I do the fame 
 'p. th th ^ S hade, leaving the Ground in this Condition for the fecond 
 1 int. it the Work is to be very neat, I rub.it over with a good Var- 
 mfh mixed with fome fat white Oil, that it may not dry fo Toon, and 
 that 1 may with eafe, and as long as I pleafe, paint upon it, heighten- 
 ing on the moft Relieved. Parts, and.giving.dark Touches in the Hol- 
 lows, Icumbhng alio here and there fome Smalt with a foft Fitch, and 
 iome Yellow in the Reflexions of the Shades. If the Back-ground 
 ought to be a little darker,, now is the. Time for doing it, becauie then 
 it will no more go in, 
 
 The lafl. Sort needs no other Ground than the firft; and it ought to 
 be neat and even ; becaufe the Light on one Side, and the Shade on the 
 other, make the Work Relieve and Rife fufficiently : Yet let us ob- 
 serve, that as often as . We.paint. or re touch, it muft be rubbed over with 
 Varniih, or at leaft where neceflary, to prevent it's going in : For fuch 
 is the Nature of Varnifh, that it will bear but one, Paintings otherwife 
 the W ork links prefently. 
 
 We (hall now fhew what is to be obfervedin Painting Figures in deep 
 Niches ; a Work not to be performed, either with refped to the Figures 
 or Ground^ades, without due Knowledge in Perfpeaive, whatever 
 Applaule Jgnorants may get from thole, who. do not underftand 
 
 His Blunder was great, who, painting a fine Figure, in a Niche, with 
 aSticK in it's Hand (hewed the Ground- ftade of the Stick very plain- 
 ly on the Hollow of the Niche, but gave none to the Leg which im- 
 ported; 
 
Of Statuary. $t? 
 
 LortedtheBody, fave a little on the Plinth next the Foot. Mod fad 
 Conduft ! Another fimple young Fellow, feeing his Matter paint a 
 erey Figure in a Niche, and being told, that the Ground-fhade was a 
 Matter of much Importance, and ought alfo to be correa, and being 
 at the fame Time fhewn the Model it was painted .by, went immedi- 
 ately and got a Niche made: But for Want of a Figure he borrowed 
 bis Matter's, and fet it in the Niche, tracing therein the Ground-fhade 
 
 [ with black Lead ; agreeable to which, he gave all his Figures, in what 
 Aftion foever, the fame Ground-fhade. 
 
 Now, it's certain, that Things painted on firm Places ought, that 
 they may look natural, to have their Ground-Jhades according to 
 the Relief; well obferying, P. Whence they receive their L.ght front- 
 ing or fidewife. 2. How far they are from the Light, in order to de- 
 termine their Shades ; as one, fomewhat (hort, iharp and ftrong, as be- 
 ing near the Light, and the others, longer, fainter and more melting 
 in Proportion as they go oft from it. 
 
 A^ a Furtherance to the Artift, I fhall treat fomewhat of the Pam - 
 ■ ing on wooden Fafes, Urns, Cifierns, and the like, or on other fmootn 
 
 0b Jf Things painted on fmooth Objeas, ftanding in large and wide 
 Places, can have no Relief or Piojefture on -Ae Sides whenieen front- 
 forifingand projeding Ornaments, fuch as raffed Figures, Lions- 
 heads, Feftoons and the like, are very improper and unnatural on the*, 
 S being fixed and immoveable, they were leen but from one Side ; for 
 then you may pa nt as ftrong and Relieved_ Things upon them as you 
 IS "voiding the Side going off, fince the fmooth Roundnels of the 
 K; d^not g a dn 1 it moveable Objeas which are u ed and 
 
 {In from all Sides, muft have a fronting Light, and be painted veiy 
 Pat or faint, and with no rifing Swells; and the Ground, of what 
 Colour foever 'tis, be laid in.fuch Manner, that what is painted on ,t, 
 ShcthVr Sr br other Objea, be fet off by a dark Tint in it's Out- 
 'ne and thl to be darker or lighter, as it ought to be more or Ms 
 Zndtg: Yet the main Light muft be fomewhat ftronger than the 
 
 G Tsro'the Colours, there are many which agree well tog^cr ; as U ; 
 ih Lazuli inlaid with Gold; alfo green Serpentine, with White , « 
 Marble or Plaifter ; Touch-ftone, Porphyry, Agate and others Or 
 Wood of any Sort, fuits Ivory-work, provided the former be not o 
 too hght a Colour, like Palm -or Olive-tree. In the Ufe of Gold 
 ought to be laid on of fuch a Tint as you thmk fit, io as « W 
 
fi6 Of Statuary. Book X. 
 
 heightened with Shell-gold on the moft Relieved Parts> and afterwards 
 
 varniflied. 
 
 In thefe Countries (Holland) Statuary is of fmall Account. Little 
 Advantage is to be gained by Marble or other Stone : And tho', here 
 and there, in a Garden or other Place, a Figure or Child is to be made 
 in Free-ftone, yet that is too trivial for a good Matter. But 'tis other- 
 wife in Italy, where there are fo many magnificent Buildings, andmonV 
 ly enriched with Carving and Statuary : In fine, that Country is a Land 
 of Promife, to one who underftands his Bufinefs. He gets Money, and 
 has the Efteem of the Great. On this Account, a Statuary in our 
 Country ought to be fomevvhat acquainted with Painting, as being 
 obliged to make a Virtue of Neceffity. I knew one, who, for this 
 Reaion, applied fo much to Painting, that he changed the Stone into 
 Cloth, and his Chizels into Pallet and Pencils : For, faid he, People here 
 will fear ce pay for the Cloth, much lefs lay out fo much Money for a Block 
 of Marble. It's certain, they cannot always carry fuch heavy Baggage 
 along with them; I fpeak with refpea to thofe, who hang their Houfes, 
 Galleries, Halls or Apartments with Cloths, and caufe them to be 
 painted with Statues and Bafs-reliefs, which at any Time, in Cafe of 
 Removal, Fire or other Accidents, they may roll up, and hang in other 
 Rooms, which otherwife they could not do; at lean: 'tis better than to 
 paint every Thing on the Walls themfelves, as was the former Cuftom ; 
 hnce this Country is not like Italy or France, where the Painting in 
 Frefco(as divers Palaces and Churches of fome hundred Years ftanding 
 can teftify) fufficiently pays for Trouble and Charges. 
 
 CHAP. IV. Of the Force, "Property, and Management of Bafs- 
 
 reliefs. 
 
 I THINK an Artift ought never to be at a Lofs for Matter in 
 this Point, either for the Pencil or Chizcl ; becaufe 'tis to be fur- 
 nilh'd not only from the Fables, Emblems, and Bacchanals, but like- 
 wife from Scripture. 
 
 I have formerly, in the Book of Ordonnance^ propofed the Story of 
 Judah and Thamar ; which, according to Bafs-relief-Management, is, 
 with little Alteration, (as well as many others) very proper for it 
 when you would reprefent two or three Grounds in the fame Piece' 
 
 tho' 
 
jChap. 4. 
 
 Of Statuary. 
 
 po* that Story require not fb mu eh Depth : And how fine would fuch 
 p Bafs-relief become the Hall either of a Jew or Chriflianl And if 
 herein, the Servant and the Country-hdufe were on a particular Ground, 
 povv plainly would the Matter appear, if naturally expreft? For tho* 
 many imagine, that a Bafs-relief is in the fame Cafe with a Medal, 
 which tends only to commemorate this or that Occurrence, or remark- 
 able Story, I mull: intirely deny it, fince, in my Opinion, the chief 
 Intention of the former is, in an Inftructive Manner, to ferve for adorn- 
 ing a Building ; and the plainer, more artful and intelligible, the better 
 it is, efpecially when the Choice of Subject is our own, and we can go 
 to the Expence of it. Yet painted Bafs-reliefs ought, as well as] a 
 good Picture, to have their Property ; as the Ancients (who brought 
 this Art to fuch Perfection) have fufficiently fhewn in their fine Re- 
 mains, which are our beft Models. 
 
 I agree with others, that, without an exact Obfervation and Inqui- 
 ry into Antiquity, and the Comments thereon, which fome ingenious 
 Men have left us, we fhould be almoft Strangers to the hieroglyphic 
 Senfe of the antique Bafs-reliefs j for many of them are fb foreign and 
 dark that we can fcarce apprehend what the Ancients would llgnify by 
 them. 
 
 We mail therefore make fome Remarks on the long and fmall, yet 
 fine Bafs-relief of Meleager, kill'd by his Mother, when Jhe burnt the 
 fatal Wood. It's certain, that this Story is faintly reprefented ; but, 
 in my Opinion, the Malter has omitted the Buftle and violent Stir of 
 Meleager's Body, in order to pre ferve the Elegance of the Action. I 
 find it alfo not ftrange, that few can underftand this Story without 
 fome Writing under it. We there fee the Tarcd^ or three fatal Sifters,. 
 but nothing of the Mother ; and tho' we iuppofe Diana to be prefent 
 and mourning, yet that Circumflance does not fully clear the 
 Meaning. Meleager mould rather have had his hunting Equipage 
 and Dogs by him,, in order to point out his Perfon and Inclina- 
 tions. And tho* the burning of the Wood feem, in fome meafure, to 
 exprefs the Matter, yet I think it too neatly cut and fmooth, and 
 fhould be more like a Firebrand. But my greateft Wonder is, at the 
 Abfence of the Mother AUhea, fhe who was a principal Perfon, a 
 great Princefs, and acted this Tragedy ou t of Revenge, and feeing 'tis 
 Dne of the greateft. Effects of a revengeful Temper, to triumph in the 
 Prefence of thofe who are overcome. Moreover we fee no active Pafli- 
 bns rule in any Part of the Compofition. Nor can I fay, who the 
 ^Toman fitting by him is, whether his Mother, Diana, Atalanta, or 
 
 who 
 
Of Statuary. 
 
 Bool X. 
 
 who elfe : I cannot believe fhe is his Mother, becaufe he feems to be as 
 old as fhe. Moreover, we do not perceive in him any Motion of a 
 rerfon in Pain. Nor can I apprehend the Defign of the Face on the 
 round Board below on the Ground, it not being a Medal for Orna- 
 ment, tho' doubtlefs placed there by the Artift for fome Reafon : Some 
 think, it represents Rage or Trouble, or elfe Fire, becaufe the Hair 
 feems to be flaming. But the Matter might have been better expreft 
 by a preiTing of the Eyes, ftruggling of Arms and Legs, Contraction 
 of the Nofe, Mouth, Fingers, and Toes and the Trouble and Pain of 
 the dying Pcrfon ; whereas, here we fee nothing like it; but contrari- 
 ly, he feems to die very quietly, as his Arms, lying clofe to his Bo- 
 dy at full Length fufiiciently (hew. Befides, 'tis againft the Rule of 
 Emblems to admit of any Aid, where the Fact can be performed by 
 the Perfon himfelf, much lefs the Addition of two or three Figures to 
 exprefs the Meaning, unlefs they be Statues; fuch as Tyranny with 
 Nero, Ambition with Alexander., Valour with Scipio, and fo forth. 
 
 It's true, that Painters ufed formerly, before they were acquainted 
 with expreffing the Paffions in the Face and Geftures, to write them' 
 on Scrolls proceeding from the Figures Mouths, that they might 
 thereby be underftood ; but as Artilis are now more enlightened, it 
 would certainly be very improper to fet a Cock or Spur by a Man Jit- 
 ting or /landing, in order to fhew his Indujiry, or a Scull by another, 
 to fignify that he is dead, &c. 
 
 By thefe Obfervations 'tis apparent, that our Meleager mould rather 
 have been known by a fine Action and Motion ; fince the chief End 
 of a Reprefentation is to exprefs naturally, and with Energy, the Na- 
 ture of the Matter ; and this may as well be done in Bafs-relief as 
 Painting if the Story require it. Nevertheleis we muft obferve, that 
 there are fome Paffions which do not work externally, and ought to be 
 expreffed by Additions, in order to make them intelligible; fuch may 
 be Charity, Mercy, Tiety, Liberality, and the like: But Anger, 
 Madnefs^ or Rage, Tain, Smart, oCc (which difturb the Body as well 
 as the Mind, by irritating the Members) do not require emblematic 
 Figures or additional Explanations. 
 
 CHAP. 
 
Chap. jr. Of Statuary. 
 
 C H A P. V. 0/ the Draperies of Statues and Baft-reliefs. 
 
 AMONG the Greek Statues we find none, but what feem to be dreft 
 in one Sort of Stuff; and thefe are the Models for a good Sta- 
 tuary or Painter to govern himfelf by. But a Portrait, which is like- 
 wife an ornamental Image, muft never be like a Statue, or Stone Fi- 
 gure, tho' white, and painted with a fingle Colour ; even were Ovid, 
 with his Train of Metamorphofes prefent. No fine Difpofition of Folds 
 is here of any Advantage : If the Stuffs be not like thofe of the 
 Greeks, they are not proper for Stone, and feem lefs congruous with 
 Antiquity. 
 
 Let us therefore not flatter ourfelves, that we can make any Im- 
 provements, by feeking new Stuffs for our Figures ; nor rely too much 
 on the Dexterity of our Hands, that, how brittle foever the Stones are, 
 we can work them, and perform any Thing, even Folds as thin 
 as Paper, fmall flying Draperies, loofe Hair -locks hanging on z 
 Thread, But rather imitate the Greeks, in the Thinnejs, Pliable- 
 
 nefs 9 and Loofenefs of their Draperies, that the beautiful Sway of the 
 moving Parts be not obftructed, but plainly perceived under them ; un- 
 lefs in the Cafe of Old People, who, becaufe of their Stiffnefs, may be 
 dreft in coarfe Cloth ; and yet not as feeming to be a meer Drefs 
 without a Body, but fitting clofe to it, fo as to difcover the princi- 
 pal Parts, with the Ends hanging loofely down, not flicking 
 out. 
 
 Flying Draperies have no Place among Statues, or Bafs -reliefs : And 
 tho' the latter reprefent Hiftories, yet fuch Draperies are not proper 
 in them, unlefs on the fecond or third Grounds j where, then, they 
 may be fixed agamft the Ground, and be no Hindrance. 
 
 In a Medal little Relieved, or on Urns or Vafes, where flying and 
 running Figures can be reprefented in all Sorts of Hiftories, we may 
 freely make as many of thofe Draperies as we pleafe ; becaufe, as we 
 laid in the third Chapter, the principal Motion ought always to be in 
 Profile, either on a fingle or fecond Ground. 
 
 I I willingly allow the Greeks to be the Inventors of loofe Draperies, 
 Bs being the moft eafy ; but that therefore we may not, now Statuary 
 is arrived at fuch Perfection, make ufe of all Sorts of Stuffs (which is 
 a Thing poiTible) feems to me very ftrange : For it is certain, that all 
 No. 23. 3 X Things, 
 
^ Of Statuary. Booi X. 
 
 Things, thro' long Pra&ice, improve, and we daily difcover an3 fee 
 what w'as formerly unknown. Befides, there are few Laws which are 
 not capable of Amendment or Enlargement ; and tho', as the Proverb 
 
 f a y Sj Old People are feldom bettered by Younger, yet it happens in; 
 
 fome Things, especially in this Art. I fpeak here of Laws only by 
 Way of Comparifon. Pray obferve, how little the famous Bermni at 
 Rome has tied himfelf up to the Greek Antiquities. By the Force of 
 his Judgment he has furpafTed them ; he has gone fuch Lengths, that 
 it was indifferent what he met with, whether flying, running^ lying, 
 landing, naked, or dreft Figures : He did every Thing, not like the 
 Greeks in a Stone-like Manner, but with Draperies flying, ru fling, 
 and [winging, as if they were alive People ; and tbofe not twified like 
 Guts, but with beautiful and broad Folds, fome times loofe, at others,, fet, 
 thick, or thin, tenderly and agreeably work'd as Art requires. But, 
 what am I faying ? We need not go abroad for Examples : What fine 
 Draperies has not the famous Statuary Keyzer made ? It's certain, he 
 did not meerly follow the Antique ; thinking it below his Character to 
 beat the common Road : He fought the phs Ultra, in order to go 
 beyond. 
 
 Add to thefe the great Mafter Francifco yuenoy, whom 1 do not 
 name as difcommending others, by paffing them by in Silence, but as 
 an excellent Pattern for (hewing us a Way void of Error and Reproof: 
 For, by faying, that Bernini perform'd what the Greeks never did, I 
 mean, that he dreft his Figures in thick and thin Stuffs, in order to 
 give them, as it feems, more Motion ; the Draperies fwinging, flying, 
 and ruffling, according to the Liberty allowed to any Mafter, who caa 
 
 perform it. .... . ; .V 
 
 It may poffibly feem to fome, that I am trampling Antique Glory 
 under Foot; but I declare, I have no fuch Intention: Tho' I know, 
 that if fome Perfons had the Option, either to be a Praxiteles, or Phil 
 dias, or a Dutch Keyzer,, or Roman Bernini, they would chufe to bej 
 the iaft; and for this Reafon, that Art has, in thefe later Ages, meE 
 with Improvements unknown to Antiquity. But after all, / muft fay, 
 in Reference to the Judgment I have made, that tho" it be in our Choice 
 to reprefent any StuJ" we can perform, yet as long as we find none more 
 beautiful, proper, or fine than thofe which the Greeks have left us for 
 Examples, I think we ought to follow them. As to. what is flying, 
 fwinging, blowing, or ruffling (which is very improper in Statues, as 
 we have faid) I fhall leave that Point to Bernini, and not follow either 
 
 Keyzer 
 
Chap. ?. 
 
 Of Statuary. 
 
 Xeyzer or QuelUn : But were I to do that Honour to any Perfon, it 
 fhould be to Francifco Quenoy, 
 
 But let me not, by any Means, perfuade Artifts to imitate the parti- 
 cular Manner of this or that Mafter ; for every one has the Liberty of 
 enuring for himfelf, and I prefer ve mine. What I have advanced is 
 only a Whet for the judicious, by making further Enquiries. 
 
 'Tis a great Fault in Artifts to fix their Thoughts on a fingh Part 
 of a Figure, fuch as an elegant Neck, handforn Shoulder, Back finely 
 mufcled, or beautiful Thigh ; which they work out with the greater!: 
 Application and Pleafure, in order to give itaSoftnefs; and if that 
 fucceed well, they are perfectly charm'd witli it ; infomuch, that we 
 may often perceive, in what Part their greater!: Delight lay : Hence, 
 it frequently happens, that the Parts of the fame Figure are very un-* 
 like in Goodnefs ; and the Hands and Feet, nay, fometimes the Face, 
 bungled, for the fake of a well-finifh'd Back. It muft be granted, that 
 the principal Parts are of the moft Importance ; yet we are not igno- 
 rant, how much the Lejfer can either let off or deform a beautiful Fi- 
 gure. What is a fine Naked with poor Hands and clumfy Feet? 
 Why was Van Dyk fo famous for his Portraits, but for having as 
 much Regard to an Hand as a Face ? To an expert Workman it is indif- 
 ferent, whether he cut a Block of Marble, or make a Model in 
 Clay ; fave that the former requires more Time. 
 
 But after all, this Choice of Handling and Neatnefs is of no Mo- 
 ment, if the Figure be not well fet or defigned, becaufe the greater!: 
 Perfection lies in a Conjunction of both. Wherefore, it is certain, that 
 if Phidias and Praxiteles had been Mafters of Bernini's Handling and 
 Elegance, and this la ft, the Knowledge of the Greeks, all three would 
 have deferved the greater Praifc. 
 
 I as readily own as I take it for granted, that Art owes its Defects 
 to Artifts themfelvcs, as well in Painting and Statuary, as Architec- 
 ture; proceeding not only from Mafters keeping their Pupils ignorant 
 of their Principles, Experiments, and Secrets,, but alfo from obftru£t- 
 ing their Advances in the Art: For tho' it were Weaknefs to think 
 the Ancients did not underftand if, yet the Decay muft, as I imagine, 
 be principally imputed to the Reafon I have given: From whence 
 arofe "another Mifchief, to wit, an Indifference in Pupils for fur- 
 , ther Improvements, efpecially in Statuary. Accordingly, none will 
 [ at this Time feek the old Path of his Predeceflbrs ; 'tis now over- 
 grown, and become fo uncertain, as hardly to be found ; every Man 
 runs blind-fold over the Heath, without knowing whither. 
 
 i X i We 
 
y^i Of Statuary. Eooi X. 
 
 We obferve, tliat the Greeks have commonly made more naked Fi- 
 gures than the Romans : Which I can afcribe to no other Caufe, than 
 a Choice of Obje£ts agreeable to their Inclinations, and a Delire to 
 difplay their Skill in the Compofition and Symmetry of the Parts of 
 an Human Body. In their Statues, they rather chofe to reprefent Dei- 
 ties than Men, and in their Bafs-reliefs, rather Bacchanals and Sacri- 
 fices, than Hiftories. The Romans, on the other Hand, defirous, by 
 their Statues and Bafs-reliefs, to tranfmit the Memories of their Em- 
 perors to Pofterity, found themfelves obliged, that they might not go^ 
 againft Hiftory, to drefs their Figures in the Mode of the. Times. 
 
 We fhall now confider the neceflary Obfervations in painting Statues 
 and Bafs-reliefs. It is certain, that they muft be very neat and white, 
 becaufe fuch Works, in Stone, being both hazardous, troublefome, and 
 coftly, were never undertaken before the Artifts had chofen fine Blocks 
 of Marble for that Purpofe. Wherefore, we ought to take Notice of 
 the Stones, and their Kinds., 
 
 Light Marble is various; one Sort intirely white.', another,, bluijh; a 
 third, fiejh-colour, Sec. being thus either in Nature, or chang'd thro' 
 Time. They are all good when free from Spots or Eyes, and appear 
 well againft proper Grounds. 
 
 For this Reafon we fee, that the Ancients reprefented the beft and 
 moil remarkable Hiftories either in Copper or white Marble ; as many. 
 Remains on Palaces, Temples, Honorary Arches,, Columns, Pyra- ] 
 mids, Tombs, &c. can witnefs. Single White has alfo this Advan- 
 tage above the colour'd Paintings, that it does not fbon change, and 
 when it fades, as Marble itfelf is not free from it, it is all of a Co- 
 lour. The Ufe of it is certainly attended with much lefs Trouble,., 
 and not lefs natural than in ; Colours : Moreover, we may fooner find 
 ten Matters for this Sort of Painting, than three for Colours ; becaufe 
 it is but a ftngle Part of the Art, and remains always the fame,.] 
 and without Alteration.;, whereas the Cafe of Colours is quite dif»-j 
 ferent.. 
 
 The grey Paintings reprefent only a Wall, or Piece of Stone-work,, 
 but the colour'd ones fhew the Life itfelf, feen as thro' a Window :. 
 Wherefore the grey can neither recreate nor ferve for particular Piftures^ 
 of Delight; nor can. be of further Ufe than. in the Places where they 
 are fet for Ornament, of which they make but a fmall. Part ; and^ 
 were any Thing elfe to be placed there, it would be but of the Na--j 
 t-ure of the Stone, and not pleafe like a colour'd Picture.. 'Tis-even in. 
 the fame Cafe with a Field in Summer and Winter,. The North*; 
 
 Wind 
 
Chap. 6. Of Statuary. 
 
 Wind deadens and greys it, and the Summer revives and makes 
 it look green again, feeding the very Soul with its Variety of 
 Flowers. 
 
 The white Marble has a particular Colour and Tendernefs ; as may 
 be perceived in the Mixture of Colours : Wherefore, it is of great 
 Moment to fuit it well to its ground. 
 
 Between grey Stone it ought only to be temper'd with white and black, 
 and foftned with light or yellow Oker; but between reddilh or Por- 
 phiry Stone, with a little Vermillion or Indian Red, fomewhat upon 
 the Flelh-colour, and this in Shade as well as in the fecond Tint. If 
 you learn this Colour from the Life, your Work will have the utmofl 
 Agreeablenefs. 
 
 C H. A P. VI. Of the Attitudes of Statues. 
 
 T3 E SIDES the Draperies of Statues, fomething is to be obferved 
 JLJ touching their Sways and Poftures; which is a Point of the 
 greateft Confequence: Wherefore we fhall, in the firft Place, fhew 
 what Statues are - y next, whether they . will admit of any other Vari- 
 ety than what the Greeks have affigned; in the third Place, whether 
 thofe, which fince their Times have been in Ufe, are reckon'd as good ; 
 and iaftly, whether it be not more advifable to follow the Antique 
 and good ones, than to feek after new and lefs good. 
 
 Amidft the Infinity of Motions incident to Nature in general, it is 
 obferved, that every Man has one particular to himfelf, and peculiar 
 to his Temper, one buttling, another flow, and a third between both: 
 And this Diftinfr ion cannot but be obvious, even to a Man of fmall 
 Underftanding, fince from thence, and a Propenfity for Company like 
 ourfelves, proceed either our Love or Averfion for this or that Per- 
 fon and their Anions. And if this be granted, we may be allured,, 
 that the ancient Matters (efpecially the Greeks, who were lb famous 
 for Wifdom) nicely obferved all thofe Motions, as well the internal 
 as external, and exprefled them in their feveral Works. Wherefore 
 it may then perhaps be inferr'd, that nothing in this Particular remains 
 for the Improvements of After-ages: But let me ask,. Why we Ihould 
 not as well make ufe of our Abilities and judgments in order to go 
 forward ? I think we may, in other Things efpecially ; but paffing by 
 
 what 
 
Of Statuary. 
 
 Book X. 
 
 what is already done, we fhall proceed to inquire, what a Statue means 
 
 and fignifies. 
 
 A Statue reprefents an Idol in human Shape : An Idol I fay with 
 refpeel to its Origin and Ufe, and (as far as Statuary is concerned) form- 
 ed after the beft Proportion, either in Gold, Silver, or other Metal, 
 and dexteroufly work'd by the Hand and Judgment of the Artift. The 
 Ufes of thefe are, to be fet in Temples, Courts, Palaces and other pub- 
 lick Places, but efpecially to adorn Architecture. We find them as 
 well in Scripture as Fables : For Inftance, in Mordecai, when royally 
 arrayed he was led, on Horfeback, by Haman thro' the City. Alio 
 in Chri;h when expofed, by Pilate, to publick View. 
 
 We like wife find Matter for Statues in profane, even recent Stories: 
 As for Inftance, in the late King William and Queen Mary, of blefted 
 Memory, moulded from the Lite, and fet up in thcTemple of Honour, 
 and fuch like. None of thefe Pieces (hew either active, paffionate, or 
 violent Motions, but plain or grave, and majeftic, fuitable to the Dig- 
 n'ties of the Perfonages they reprefent, and which we ought to confi- 
 der as Gentlemen or Ladies, who, ftanding at Doors or Windows to 
 fee, and be feen by the People, are ferious and without Motion. 
 
 Whence the Proverb feems to arife, He ftands like a St one-figure, 
 
 or Block. or, like a dumb and lifelefs Perfon. 
 
 We fhall therefore confider two Sorts of Statues, the unaffive and the 
 moving. The unal~iivc are fuch as ftand fingly in Niches and on Frontif 
 pieces, and the moving or buftling are thofe which are feen in Groups 
 of 2 or 3, on Pedeftals, triumphal Arches, and Fountains. 
 
 Now, it's certain, that thefe two Sorts of Statues muft needs have 
 particular Purpofes, and therefore particular Places : For the former 
 are feen from a Jingle Stand, for which they are properly made, and 
 the latter are to be viewed round about from all Sides. But of this we 
 ihall fay more in the next Chapter. 
 
 As to this latter Sort of Statues, they receive not their Appellati- 
 ons from the Perfons they reprefent, but from the Actions they per- 
 formed, or the Misfortunes they underwent: And herein lies the 
 main Point, fince, without them, the Perfons fingly of themfelves 
 would not be known ; as in the Stories of Seneca, Petus, Laocoon, Py- 
 ramus and others: And thefe Occurrences or Accidents muft be but once, 
 and on one Occajion attributed to them. Suppofe any of thefe Perfons 
 were to be reprefented by a fingle Statue, as Laocoon with a Serpent, 
 fyramus with a Sword, £sV. What Difference would there be between 
 
 one 
 
Chap. 6. 
 
 Of Statuary. 
 
 one who once committed fuch an A£t, or bore fuch a Calamity, and 
 one who in his Life-time, had gone thro' a thoufand Accidents, as Her- 
 cules, The feus , Achilles , Heel or, and many others, who are reprefent- 
 ed by one Statue ? Wherefore we may eafily conceive, that the Anci- 
 ents have in every Refpect fo firmly fixed and orderly difpofed their 
 Poftures, that there is no room left either for Alteration or Addition. 
 Befides, we fee, that no Additions of the modern Mailers are like the 
 Antique,, either in Quality or Goodnefs, as is evident in the Works of 
 Quellin, Keyzer, Bernini, and many others, who made no Diftindtion 
 between Statues and Statues. 
 
 If I feemhereto contradict myfelf, becaufe, having in the preceding 
 Chapter fet thofe three great Matters almoft above Antiquity, I now 
 place them below it, let it be obferved, that I am /peaking of Statues, 
 not of Bafs-reliefs ; for herein they have neither excell'd nor been equal 
 to Antiquity in the Beauty, Air, and Variety of Draperies. 
 
 The Ancients, in their Statues, had in View three principal Conditi- 
 ons and Natures of Men ; the gay, the heavy, and the moderate : The 
 gay, are active, full of Fire, and flender like the Apollo \ the fecond are 
 melancholy, flow and liftlefs, like the Antinous ; and the third Sort is 
 compofed of a Temper between both, as the Mercurius radians, which 
 receives its Light from below. All thefe were etcht by Perrier. We 
 alfo commonly obferve, that the active and airy are feldom long with- 
 out Motion, now {landing on one Leg, then, on the other : Accord- 
 ingly, the Ancients reprefented fuch a Perfbn {landing on one Leg, 
 retting little or nothing on the other Foot : But, being to exhibit an in- 
 dolent, voluptuous, melancholy one, like Antinous, we may plainly 
 difcover, how heavily he ftands on one Leg, and yet reils on the other 
 Foot, his Belly flicking out, Head hanging down, and Hips exceffively 
 rifing. The Contrarieties of thefe two Figures are worthy of Remark.^ 
 one leems to fly, and the other to be finking into the Earth. As to 
 the Exprefiibn of the third Figure, (which is a Mean between the two 
 Sorts aforefaid) he, as a well-temper'd perfon, is made ftanding firm 
 on his Legs, looking thoughtfully down, without any Turn, not too 
 fiery or eafy, nor too much funk; one Hip fwelling a little more than 
 that of Apollo, and fomewhat lefs than that of Antinous, and tho 1 reft- 
 ing on one Leg, yet appearing more firm than the one, and more airy 
 than the other. 
 
 Now, as the Ancients knew how to divide thofe three different Bo- 
 dies lb very nicely, according to their Natures and Action, lb we need 
 not cpeftion but they handled all their other Figures in the lame Man- 
 
 ner • 
 
f)6 Of Statuary. 
 
 Book X. 
 
 tier : I fpeak, in reference to their Qualities, as a ftill-ftanding Bacchus* 
 Mars, Hercules, Saturn, &rc. Even the Women, Goddefles, and Nymphs 
 not excepted; all which proceed, either in a greater or lefs Degree, 
 from the three Standards before-mentioned : This Truth is evident not 
 only from thefe Examples, but likewife from what we daily meet 
 with, whether in Models or Prints. Let us then not imagine, that we 
 are able to invent new Actions for our Statues, or others than thofe 
 which are already found, much lefs, that they thould be better and 
 more proper ; but rather employ our Thoughts more advantageoufly 
 on other things, and in the mean Time implicitly follow the Ancients 
 in a Study fo noble, and in which they took fo much Pains. 
 
 The main Point lies in the beautiful Sway of a" Statue, well 
 exprefi according to the Quality, Condition, Nature and Intention of 
 it. But hereby I mean not, that we are obliged punftualiy to imitate 
 the A&ions and Poftures of the Ancients, without the leaft Deviation ; 
 contrarily, every Man has the Liberty of exercifmg his Ingenuity : I 
 propofe their Works only as Patterns which I have always followed, 
 and would have others do the fame, without Fear of being therefore 
 call'd Copyifts, or their Works, Copies. Such a Moderation I think 
 even very commendable, fince the Fable of Icarus teaches us, that 
 High-flyers have often great Falls ; or, by avoiding Scylla, they get 
 into Charybdis. 
 
 There ftill remains a necefTary Remark, touching the Explanatory 
 Additaments of Statues ; and, to be brief, I fhall fhew their Natures in 
 three particular Statues, and chufe out of many, the Stories and Fi- 
 gures of Lucretia, Dido, and Tbisbe, among the Women. Thofe of 
 the Men may, on the fame Foot, be eafily apprehended. 
 
 I reprefent thefe three Women with Daggers in their Hands, to de- 
 note that they fell by thofe Weapons. 
 
 Lucretia is grave and majeftic. 
 
 Dido, haughty and proud. And. 
 
 Tbisbe, very plain and City-like. 
 
 I exhibit Lucretia thus, becaufe fhe was a noble Roman Lady, who, 
 being ravilhed by Sextus Tarquinius, in Difcontent ftabbed herfelf with 
 a Dagger. Now, to make this known, a round Shield or Board, with 
 the Ravither's Head thereon, is Handing or lying at her Feet, and on 
 her right Side lies a Dog to point out her faithful Love. On the Pe- 
 deftal appears the whole Facl. 
 
 The fecond, a Queen of great Spirit, has likewife a Dagger, be- 
 caufe, on being deceived, fhe, in Spite and Rage, killed herfelf. The 
 
 Figure 
 
Chap. 7. Of Statuary. 
 
 Figure of Mneas I place near her, and on the other Side, a Sparrow* 
 as the Emblem of wanton Love. 
 
 But Thisbe, in honourable Affection, mov'd, or rather deceived, by 
 Pyramus's imaginary Death, ftabb'd herfelf for pure Love and *De- 
 fpair ; as being unwilling to Survive her Lover. Near her, on one Side, 
 ftands the Figure of Pyramus, and on the other, two Turtles. Un- 
 derneath thefe two latter, appears the Faft itfelf, as in the firft. 
 
 Thefe I think fufficient Examples for further Representations • as 
 having fhew'd the Difference in three, which are almoft conformable to 
 each other. 
 
 CHAP. VII. Of the placing of Figures upon Pcdeftals, Fronti [pieces, 
 
 in Niches, and other Places. 
 
 IT is evident, that Statuary has a Dependance on Architecture, and 
 is regulated by it: And as Figures adorn and give Life to a Land- 
 skip, fo Statuary embelliihes, and makes Architecture look grand. A 
 good Landskip-painte.r knows what Objects are moft proper for an Ordon- 
 nance, and what Forms they muft have, whether crooked, ftrait, land- 
 ing, fitting, to the left or right, in order to .produce Decorum, as we 
 have fhewed in the Chapter touching irregular Objetls : And a skilful 
 Architect ought to be as well acquainted with the Method of fetting 
 off his Work with Figures, Bafs-reliefs and other Ornaments according 
 to Rule, that it may thereby become not only magnificent and elegant, 
 but we may plainly perceive, it muft be fo and not otherwise. He ihould 
 alio know, why fome Figures ought to face, and others look from each 
 other-, why thefe muft fwell or rife outzvardly, thofe be upright or Jit- 
 ting, &c. 
 
 Upon this Account, the Statuary ought rightly to underftand the 
 sArchitefrs Intention, 'ere he proceed to work ; as alfo what Figures he 
 ds to make naked or cloathed, be they of Men, Women or Children, 
 bn what Side they ought to rife or fweli, and how bent j and from 
 [what Side leen, and whether they muft ftand high or low, and fo forth: 
 Being apprized of thefe Particulars, he is then to execute his Thoughts 
 in finding, according to thofe Sways, fine Actions, graceful Motions 
 N6. 23. : ' ; • - ,3 ¥ _ - KuJvA'ji -•• *.-<ancl 
 
 it 
 
Of Statuary. BookX. 
 
 and elegant Draperies, from whence may arife a general Decorum. 
 Thus much, as to thefe two aflive Sifters. 
 
 In relation to the third, to wit, Painting, which embraces them 
 both, as needing their Aid, I muff fay, that as it makes the Elegan- 
 cies of Architeaure and Statuary, whether in Hiftory or Landskip, 
 its chief Study, fo a judicious Painter ought, for adorning his Archi 
 teaure with Figures, 1 Bafs-reliefs, &c. to be thoroughly acquainted 
 with them, that he may naturally exprefs them with Shade and Colour ; 
 even, fo much as thereby to correa the inevitable Mif (hapes ihll to be 
 obferved in Nature. 
 
 'Tis unaccountable, that, among fo many good Architects, Statua- 
 ries and Painters, fo few have underftood the right placing of Statues : 
 They fometimes hit it, but not upon certain Principles. Wherefore 
 ye Ml endeavour to clear the Point in few Words and three Sketch- 
 es- hoping that no Offence will be taken at my adapting the Matter 
 alfo to Painting, fince it has fo near a . Concern therein. _ 
 
 As there is nothing in Nature without Imperfeaion, lo, in the Uie 
 of Things, we ought to proceed with Judgment, in; order to chuie the 
 beft for the Satisfaaion of our own Eyes, as well as thole or the 
 Knowing and Lovers. « u 
 
 In the placing; of Statues in Architeaure, the fame Regard muff be 
 had wherever they ft and- ox fit. I fpeak not of Painting alone but 
 what generally concerns both the Arts; Statuary in the firft. place, 
 and afterwards Painting. See Plates LXV. and LX\ 1. 
 
 Behold the Sketch in Plate LXV. with Attention, and my orderly 
 Difpofition of the Statues in different Places ; fufhciently to evidence 
 the Regularity of my Scheme to any one who has a mind to try tne 
 
 C °Ife? 'you are only to obfervethe Out-lines of Couples or Pairs of: 
 Figures! and their Poftures againft each other \ for a finale Figure aOsi 
 for itfelf, but a pair or couple of Figures (hews the Reiult or both. 
 
 I have formerly afferted, what conftitutes a beautiful Adion^ 
 namely, a good Turn of the Members and Motion of the Head, Arms y 
 
 Hands and Feet. . , r . , j 
 
 The iff Example chiefly concerns Statuaries* who, by oblerving thafi 
 
 Pofition, will fhew that they underftand it, and are able to order and 
 
 make large Things as well as fmalL > 
 
 The 2d Example refpeas Painters, tho> it be^the fame as the for- 
 
 mer, in reference to the Out-line j but with refpea to Shade, when 
 
Chap. 7: 
 
 Of Statuary. 
 
 we are confined to a {ingle and fixed Light, we ought to chufe a proper 
 and advantageous one, that the Out-line, as our principal Purpofe, 
 may thereby maintain its Force, and produce the Effect and Decorum' we 
 deftre ; as you fee here with its oppofite. 
 
 We have formerly faid, that the Out-line without the Shade is of no 
 Effect ; and that a beautiful AcJion and Out-line may lofe their Force, and 
 the Gracefulnefs be fpoilt by an improper Light ; which Mif-Jhape is very 
 vifible in fharp and broad Lights, and more difagreeable than in ftirring 
 Figures. 
 
 The 3d Example concerns thofe who paint Figures, Bafs-reliefs, 
 and other Ornaments, either in white, red, yellow or other colour'd 
 Marble, or Stone. Here, obferve not only the Out-line, as in the 
 firft Example, or the fame Jhaded, as in the fecond, but likewife the 
 Colour of the Stone, as well in the Shade as Light : I fay, efpecially in 
 the Shade, becaufe therein appears the greatefi Variety, either by means 
 of the Air, or fome other Reflexions. 
 
 Another of our Portions has been, that all Objects retain their natu- 
 ral Beauty in the Shade, unlefs they receive Reflexions from other Things^ 
 likewife that White is the mofi fufceptible of it, and, by its Cleannefs, eafily 
 receives whatever Colour it meets with. Confider alfo, the great Diffe- 
 rence between the Clofenefs and Solidity of Marble, and the Thinnefs 
 and Tranfparency of Linnen. In the third Example you will find that 
 white Marble, not without Reafon, produces yellozu or ruffet Shades; 
 wherefore you ought carefully to confult Nature, in order to imitate her 
 with Knowledge. 
 
 But to return to the firft Example, let us obferve how two oppofing 
 Figures appear in their Out-line. Firft, upon the Frontifpiece, where 
 thefe two Figures fwell outwardly, the Faces cither regarding or' turning 
 from each other, and the Arms the fame ; and the middlemoft fir ait, 
 without fwell, and fronting ; and thofe on the ouriides alfo with little, 
 ox no Turn, as being feen only forward : Secondly, the two Figures on 
 each Side of the Steps likewife fwell outwardly, yet more turning than the 
 others, becaufe being alfo feen fidewife, they ought to be beautiful from 
 three Sides : Thirdly, the for emoft Figure may have as much Turn and 
 Action as you pleafe K and be good quite round: Fourthly, the Figures 
 in the Niches are fronting, without the haft Turn or Stir, and the great- 
 eft Swell is forwards. It's alfo very proper for the Men to fiand below, 
 and the IVomen above ; becaufe the Woman tapers upwards, and there- 
 fore is more difappearing and uniting xvith the Air \ which, in Archi- 
 
 3 Y i te&ure 
 
Of Statuary. Booi X 
 
 teclure hns a fine EfTe£h For this Realbn they formerly oftentimes fet 
 fmali Pyramids on the Tops of Houfes, inftead of Figures. 
 
 The uppcrmofi Figures, againft the Sky, look beft naked, becaufe of 
 their Airinefsj thofe in Niches muft be majjy and dreft ; and thofe be- 
 low on the Ballujlrade, half dreft. Thus much as to the firft Sketch. 
 
 The 2d Example fhews the Method to be ufed when it happens,; 
 that the Shade caufes a viable Deformity on the [welling Part of a Fi- 
 gure j as to help it by the Difpofkion of an Arm, Bit of Drapery or 
 Hand: I mean, in a Painting, where the Light remains always the 
 fame, and to which Statuaries are not tied, efpecialiy in the open Air, 
 becaufe the Light continually alters, but in a Painting not ; for as 
 Things are painted they ftand. This Remark is worth noting as well 
 in ftirring as ftill Figures. 
 
 In the .3d Sketch, I exhibit a ftanding Figure in a Niche, and be- 
 tween them a Bafs-viol, fuppofed to be of yellowifh or rujfet JVood- r 
 which Colour, becaufe the Figure is of white Marble, gives ftrong Re- 
 flexions. On the Side, we fee another Figure, between the Greens ; 
 and a third lying on the Ground furrounded with the Air : In all three 
 I have one and the fame Intention, viz. to (hew the Caufe of the Mix- 
 ture of the Shades ; otherwife, the Figures will fometimes feem to be 
 made of two Sorts of Stuff, as the light Parts White, and the Shades 
 of fome other Colour. A due Obfervation of this enables us to anfwer 
 for what we do. 
 
 Altho' now by thefe Positions about the ftirring Aclions, I feem to 
 contradid former ones, namely, that in painting or carving; Statues, we 
 ought to give them but little Turn, yet in Fad I do not : I fpake there 
 only touching a /ingle Figure ; whereas here are many in Company, and 
 thofe fet upon Pedeftals, Fountains, and the like Places, where they 
 are feen from all Sides ; which creates a Difference as well in their Na- 
 tures as Circumftances. 
 
 If I am taxed with Prefumption for taking upon me to place Fi- 
 gures, and fet naked ones and Women above, and Men, with thofe which 
 are dreft, below, I anfwer, that my Conducl is founded on Architec- 
 ture, which intimates, that the five Orders are peculiar to five diffe- 
 rent Conditions of Men; as Polyphemus, or the Giants, for the fir ft Or- 
 der;, Mars r as robuft or mufculous, for the fecond ; Apollo y for his 
 Slendernefs, for the third; Diana, or Venus,, as womaniih,, for the 
 fourth j and Iris, or Cupid, for the fifth- This Consideration will, I 
 think, as well embolden as juftify me- 
 
rUe lxvb 
 
[Chap. 8. Of Statuary. W 
 
 To conclude this Chapter, I fhali touch on Heads, Hands, and Feet, 
 oecaufe I have found, both here and in other Parts, Painters as well as 
 Statuaries very imperfeft in them, as if of lefs Confideration than 
 
 Bodies. . , . v « 
 
 Some Statuaries do not fufficcntly vary their Faces, making little 
 Difference between Youth and Age, giving alfo much into the modern 
 Way of Affectation, and exaggerating the Parts, without any Regard to 
 the Antiques. *v Affectation and exaggerating, I mean, a Kind ot 
 Fondnefs in Artifts for a particular Manner; as, to make the bye-lids 
 of their Figures too large, which caufes an heavy look ; and to cut the 
 Dimples on each Side of the Mouth, and the Hollows of the No(e, 
 and Neck, too deep, feemingly (hewing the Fatnefs ot Women: 
 Whereas, they ought rather to be fomewhat more exprellive in the 
 Mufcles; fince, according to the Turn of the Head, thofe rife more 
 or lefs, efpecially in thin and aged People : I fpeak only of giving a 
 Variety to the Look and Breafts: For Faces muft not be always alike 
 grave and lofty; there muft be wanton ones as well as modeit, large- 
 featur'd as well as tender, fuitable to the Bodies; the Cafe is here 
 the fame with the Neck and Breafts, fome are growing, others full 
 
 %l Much Is to be obferved about the Make of the Hands, and Set of 
 the Feet efpecially when naked and without Sandals ; but the Matter 
 Jies moft in ordering the Toes: The three foremoft ought .to be the 
 loneeft, and clofe, turning out more or lefs with the Tread ot the £cet 
 whereas fome turn them in, the great one lying ftrait with die I<oot, 
 and the reft againft it, which looks very uncomely. See the Examples 
 in Plate LXVII. and the Difference between them ; of which, the two 
 Uppermoft (hew the Unfeemlinefs, and the three others the Ele- 
 gance I fpeak of. And tho' many have Cafts of beautiful Womens 
 Hands for conftant Ufe, yet thefe ( as has been kid of Faces, 
 Breafts, cannot, on all Occafions, ferve for the Difference of the- 
 
 Sexes | for Women have thicker and more tapering Fingers, and (mailer 
 Nails than Men, who, according to their Bulk and Age, have mors 
 fifing Knuckles than Women. 
 
 £.' H A E. 
 
m Of Statuary. Book X. 
 
 CHAP. VIII. Of the Ufefulnefs of Modelling. - 
 
 O AVING, in the fecond Chapter touched upon Modelling, which 
 iJl is a Pradice of great Concern to a curious Artitt, I (hall here 
 deliver my further Thoughts about it. 
 
 The making Models, whether in Clay, Wax, or other foft Matter, 
 is both ufeful, delightful, and necefTary for a Statuary as well as ' 
 Painter, Indeed, for all who endeavour at any Perfection in the Art; 
 for by this Praaice [in Reference to the Relief of Things we are to 
 reprefent, whereby it feems always to have Life itfelf ] we obtain a 
 Firmnefs, and at the fame Time a "bold Handling. It disburthens our ; 
 Thoughts, and makes fuch lafting Impreffions on the Mind, that we j 
 need be at no Lofs about the Life. We muft be fenfiblc of the great 
 Advantage arifing from it, becaufe we can model in the aforefaid Bo- 
 dies, Bafs-reliefs, Foliage, and other Ornaments from the Antiquities, 
 on all Sorts of Objects, as Altars, Vafes, Diiries, Candlefticks, Citterns', 
 &c. and then paint them with fuch Colour as we pleafe; alfo gild or 
 bronze them, according to the Ufe we would put them to. By the 
 fame Means w« may have Store of elegant Sword-hilts and Helmets, 
 Greek as well as Roman, to ferve any Occafion. In lhort, a good Mo- 1 
 deller can help himfelf out of any Difficulties. Therefore let me ad-i 
 vife you to fall boldly to work, and make Bafs-reliefs, Sphinxes,! 
 Tombs, Vafes, or any Thing elfe necefTary in the Art. You may 
 likewife get fmall wooden Dithes and Pots of divers Kinds turned, and! 
 prettily adorn them with Wax-imagery of Satyr's Faces, playing Chil-j 
 dren, dancing Nymphs, Thefe Things may be ufeful in any 
 
 Manner of Painting, whether the Piece be Sun-fhine, or Moon or Can- 
 dle-lights. If you would go further, you can divert yourfelf with) 
 modelling Medals in Wax, and oblige a Friend with a Caft of 
 them. 
 
 Many of the mod famous Matters have pfaaifed Modelling ; as Mi 
 ficiently appears in their Works. The Truth is, we can make anyj 
 Thing we want, even what no body elfe has, and is no where to bd 
 purchafed, to paint after, as from the Life itfelf. 
 
 I 
 
f iVate X.XVHL 
 
 2/ aire/} e m is . 
 
 7~. &tm/z£n4utt yat&j . 
 
:hap. 9. Of Statuary: ^43 
 
 I fhall fay little of the Method for making Models, becaufe it is 
 ery common, and every Man has his own Way: Wherefore fhall con- 
 ine myfelf to flat Bafs-reliefs. ^ 
 
 Having sketch'd my Defign on Paper, as large or imall as 1 would 
 nodel it? and neatly work'd it up with Lights and Shades, Ltake a 
 Board painted with the fame Colour and Tint as my Defign, and, 
 with a Point, trace it thereon, and fill thefe Out-lines with Wax or 
 Clay, more or lefs raifed, as Occafion requires $ then I work the Stuff, 
 firft with the Fingers, afterwards with a tooth'd Tool, and laftly with, 
 a wetPencil> in order to make it fmooth and even: Which being done, 
 and the Board placed in the fame Light as our Pidures are to ftand ot 
 hang in, it ferves for a Model to paint after : If now we are to intro- 
 duce ic in our Pieces, whether in Landskip, Frizes, .-(hallow Niches, 
 isfc it muft be fet either fronting or floping, in fuch a Light, and at 
 fuch a Height as the Point of Sight direfts. But if it be a Bafs-relief 
 more raifed, the Point of Sight is placed in the. Middle of the Piece: 
 And tho' the raifed Parts, on the Extremities, will then of .courie.hap? 
 Den to jump over the Out-line, even Ibmetimes over other Figures, 
 according to the Lengths of the Pieces, as in a Fme, and fuch like, 
 I, to prevent that Inconvenience, make ufe .of more than one Point of 
 Sight.- 
 
 CHAP IX. Of the vifuaJ Decorum of a Statue, with its P'e deft ah 
 as well, within as without doors: As alfo the fuiting of Vafes and 
 Bufts. 
 
 XT TE find, that the Grace of the Pofture and Sway of a fine Sta- 
 VV tue arifes only from a Contraft in its Out-lines, from Top, to 
 Bottom; affixing not only the Figure, but alfo the Pedefial \ with 
 this Difference, notwithftanding, between naked and cloath'd Figures', 
 that an ornamented Pedeftal gives the former greater Elegance than. a 
 nlain one Yet this latter Sort likewife produces a fine Erie a. , by 
 Serving,' that the Swells or Scrolls of ■ Mens Pedeflals ought to fee at 
 Bottom, and, thofe of Women on Top, the Courfe of^whichxaufes a 
 Contraft both in the Form. ancLSexes. See Plate LXVHL 
 
 If now it be asked, in the Cafe of placing two naked Figures tog* 
 dier viz. a Man and a Woman, as Diana and Jpollo, Venus and J do- 
 
J4+ 
 
 Of Statuary. 
 
 Boole X 
 
 nis, Sec. whether the Pedeftals ought then to be reprefented fo unlike? 
 My Opinion is, that they muft not, as being contrary to Rule and Or* 
 der. If both Figures be Men, the Pedeftals ought to [well at Bottom ; 
 if both Women, on Top ; and if a Man and a Woman, both ought to be 
 plain : If there be a Woman between two Men, the Side-pedeftals muft 
 be plain y and the middle one particular to itfelf, and the contrary. 
 
 Plain Pedeftals, tho' bearing dreft Figures, Vafes, or Bufts, fuit not 
 between/^ Columns or Pilafiers ; at leaft, they ought to hollow in,, not 
 (well out. 
 
 The Height o[ a Va[e, placed between two Figures, muft not ex«4 
 ceed three Fourths of that of the Figures, inclufive of the Pedeftal ; 
 that is, up to the Breafts, and no higher. ■ 
 
 A Bu[i, with its Pedeftal, fhould not rife above Man's Height, 
 the Pedeftal not [welling out, but the contrary ; as in the Ex- 
 amples. 
 
 Where two Va[cs and a Buft are placed in a Garden betiveen two Fi~ 
 gures, the outward Pedeftals ought to be of the fame Height with the 
 middlemoft, and plain, the two others muft hollow in or fwell out, 
 according to the Courfe of the Vafes, and be a third, or half, lower, 
 yet retain the fame Breadth with the others. 
 
 A Va[e, twice as high as broad, and running up ftrait, ought to 
 have a fquare (welling Pedeftal. The Contrary will produce the fame! 
 Decorum. 
 
 If a Buft ftand between two Vafes, they muft be level with the] 
 Shoulders of the Figure. The contrary is alfo good, provided tnJ 
 Pedeftal be fomewhat bigger, and fulted to the Courfe of the Vafe. 
 
 CHAP. X. Of the Ornaments of the Frontifpieces of Temples J 
 
 Houfes, dec. 
 
 NOTHING can properly be done in Statuary or Painting, 
 without due Reflexion : I fpeak not only of the Manner ahdj 
 Handling, but alfo with refpecT: to the Circumftances of Things. Even 
 a good Building may abate of its Luftre, by a bad Choice in the Out- 
 iide Ornaments. Wherefore, we lhall (hew what ought to be done in 
 this Point, by what follows. 
 
. io. Of Statuary. 
 
 Jupiter fhould be, an Eagle grafping Thunder. 
 
 Mars, Some warlike Inftruments, as Armour \ Helmet, 
 
 Shield, Sword, Arrows, and Standards. 
 
 Phazbus A Sun in the Center of the Zodiack, with the twelve 
 
 Signs. 
 
 Pallas Me duty's Shield, and an Helmet adorned with a ft and- 
 
 ing Owl, or lying Sphinx. 
 
 Diana, Dogs, Bow and Arrows, and above them. a Moon. 
 
 \ Ceres, A Plough, with Ears of Com, and a Sickle. 
 
 Bacchus, 'Two Tygers, a Thyrjis twined with Vine-leaves, 
 
 a?id Bunches of Grapes. 
 
 Mercury, — A winged Cap on a Caduceus. 
 
 Vulcan, An Anvil, with Hammer and Pincers thereon. 
 
 Vefta, An Oblation-bowl^ out of which proceeds a Flame, in 
 
 the Middle of a circling Serpent. 
 Cybele, A Caftle or Key between two Lyons: 
 
 Senator, Conful, or Magiftrate, fhould be, The Fafces and in the 
 Middle, Thunder. 
 
 Learned Man or Philofopher, A Sphinx with a burning Torch; 
 
 and alio, fome Books. 
 General, A Shield, with a Griffin reprefented thereon ; like- 
 wife, a Club and Lyon's Skin. 
 
 Merchant, A Bale of Goods, Pair of Scales, and a Tard- 
 
 Meafure. 
 
 Phyfician, The Figure, of JEfculapius 3 and a Staff twined 
 
 with a Serpent. 
 
 , Painter, A Monkey with. Pallet and Pencils. 
 
 ' Shepherd A Crook, with a Scrip and Flute hanging to 
 
 it. 
 
 Fifherman, • Some Wets, Ropes, Rujhes, and Fijhes. 
 
 Hofpital, fhould be, Charity or CompaJJion j with the Founder's 
 
 or Town's Arms. 
 Prifon, All Sorts of frightful Inftruments ; as, Irons, Chains, 
 
 Ropes, Sec. 
 
 Houfe of Correction, The Figure of Education, holding the 
 
 Bridle of a tam'd Beaft which goes before her. 
 
 All 
 
S^6 Of Statuary. Book X. 
 
 All the Arts, as "Painting, Arithmetic!?, Architecture, Sec, may be 
 expreft by Figures. 
 
 It is certain, that the Defign of Temples, built in Honour of the 
 Gods, was, to place their Figures in them for Worfhip, either with 
 Prayers or Sacrifices. Wherefore it is a great Fault in Ignorants, to 
 place without, in Frontifpieces or Niches, what we ought to feek 
 within thofe Buildings ; as may be feen in the Temple of Diana at 
 Ephefus, Apollo at Delphos, ^ Jupiter at Dodone, and many others,., 
 where the Figures all ftand without them. 
 
 The End of the Tenth Book 
 
 the 
 
THE 
 
 ART of PAINTING. 
 
 BOOK XL 
 Of Still-Life. 
 
 Emblem, touching Still-life. 
 
 UDGMENT and Prudence fit here at a Table; by 
 whom are feen fbme Cupids taking, out of a large Horn of 
 Plenty, all Sorts of Things, as a Scepter, Crown, Neck- 
 laces, Books, a Shepherd's-ftafT, Mufical Inftruments, Gar- 
 lands, Flowers, Fruit, ferving for Still- life, and pre- 
 fenting them to Judgment, who, by the Help of Prudence, lays them 
 in Heaps on the Table, difpofing them orderly for representing inge- 
 nious Ordonnances in that Part of Art. 
 
 C H A P. I. Of Still-life in general 
 
 HAVING thus far treated of the Power and Dignity of the no- 
 ble Art of Painting, together with the Luftre and Advantage 
 
 % Z 2 accrueing 
 
Of Still-life. Book XI. 
 
 accrueing to thofe who thoroughly confider and put it in Execution -1 
 we fhall now, for the fake of weak Capacities, proceed to Still-lifel 
 or, immoveable and inanimate Things ; Juch as Flowers, Fruits, Gold, SilA 
 ver, Stone, Mujkal Inftruments, dead Fijh, Sec. and ihew which are the! 
 beft and of mod Advantage. Thefe may, in their Turns, in different 
 Manners, ferve for Materials for a natural Compofition, wherewith to 
 pleafe all Sorts of Men, the Great as well as the Little, the Learned 
 as Ignorant. Wherefore, out of many, we fhall fix on the following 
 Objects, as the moil beautiful, elegant, and agreeable. ] 
 
 1. Flowers. 
 
 2. Fruit. 
 
 3. Gold, Silver, and other rich Things.. 
 
 4. Mufical Inftruments. 
 Thefe four Sorts, artfully order'd and perform'd, may ferve for the 
 
 Ornament of Halls and Cabinets as well as the beft Paintings, pro- 
 vided they have a proper Light, and hang together. But we mul 
 know, in the firft Place, what conftitutes a good Still-life-piece, fincej 
 tho' it be naturally handled, nothing but a good Choice can charm the 
 Senfes, and bring Fame to the Matter. 'Tis Weaknefs to think thai 
 faded Flowers fhould pleafe, much lefs in a Piaure : Or who woulJ 
 hang a Piece of ordinary, unripe, or rotten Fruit in his beft Room, 
 and among a Cabinet-colleaion, feeing the Life itfelf is fo difagreea-j 
 ble? Such Rubbiih I did formerly admire; but as they only fhew the! 
 Deformities of Nature, I have no Appetite to view them any more. 
 But, to return to the Subject. * 
 My Opinion is, that the Beauty and Goodnefs of a Still-life con- 
 lifts only in the moft choice Objeas : I fay, the mofl choice ; as, 
 among Flowers, the moft rare and beautiful, and the fame in Fruits 
 and other Things. Thefe will gain a Mafter Credit, especially with 
 the Addition of fome particular Significations proper to them. It is not 
 probable that wealthy People fhould be delighted with oid-fafhion'd 
 Plate and Furniture, when they can have every Thing more beautiful 
 and elegant ; and as improbable, that judicious Lovers of Mufick 
 fhould be pleafed with the modern Lyre, Dulcimer, or Bag-pipe. As' 
 for Cabbages, Carrots, and Turnips, as likewife Codfiih, Salmon^ Her- 
 rings, Smelts, and fuch-like (which are poor and mean Ornaments and 
 not worthy of any Apartment) he who is pleafed with them mayVeek 
 them in the Markets. I as little approve of Horfe-furniture aud hunt- 
 ing Equipage ; tho' thefe latter* with wild Boars, Stags, Hares, Phea- 
 
 fants* 
 
Chap. I. Of Stilllife. 
 
 SA9 
 
 fants, Partridges, and other Fowls, depending on Princes and Noble- 
 mens Fancies, are more tolerable. 
 
 Having thus in general touched on Still-life, let the Judicious deter- 
 mine which Sort is beft and moft advantageous either to the Painter or 
 Purchafer. 
 
 As for me, I think Eloquence very charming to the Ear ; but Good- 
 nefs alone makes Beauty amiable. What is a fine Flower, Apple, Gold 
 Cup, or well-tun'd Violin, without good Smell, delicate Tafte, proper 
 Uie, and agreeable Sound ? Goodnefs, I fay, ought to be perfectly ap- 
 parent: The Smell, Tafte, Hearing, or Sound cannot be painted;; but 
 may be, in fome Meafu're, expreft by occult Significations, either in 
 Bafs-relief by Fables, Hieroglyphicks, or emblematick Figures, or by 
 many other Things, if the Will be not wanting. 
 
 As to the Nature and Property of the Places for Still-life, they are 
 two-fold, clofe and open ; the one reprefenting it as if hanging againft a 
 Wall or Wainfcot, and the other, as lying on a Bench or Table, or on 
 the Ground, 
 
 We alfo fuppofe, that no Objects ufed in Still-life ought to be repre- 
 fented lefs than the Life, 
 
 'Tis likewife improper, and againft the Nature of Still-life, to intro- 
 duce, in any of the before-mention'd Choices, colour ed Back-works, oz 
 Viftos, either clofe or open, that is, Landskip, Archite&ure, or any 
 Kind of living Creatures; which would fpoil the very Name of a Still- 
 life : Moreover, it is difficult, if not impoffible, for fuch a Painter to • 
 hit every Thing; and granting he can, I yet queftion, whether he 
 would be plealed with the Title of a Still-life Painter. I lay then, 
 that the Depth of the Picture is only to be reprefented by an hanging 
 Curtain, or a Bafs-relief of Wood or Stone, of fuch a Colour and Tint, 
 as beft fuits the general Decorum ; the one darkiih, and the other fome- 
 what lighter. W 7 ith Flowers, a dark-grey Back-ground fuits better 
 than a white, yellow, or red one. W'ith Fruit, white and grey Mar- 
 ble, but not yellow or red. Yet, as a fine Bafs-relief requires more 
 Skill than a Flower or Fruit, and fuch like, you may, inftead thereof, 
 introduce a Niche, with a God or Goddefs's Buft therein, proper to the 
 Subject, as a Flora, Pomona, Bacchus, Apollo, Diana, ox others, ac- 
 cording to the intent of your Defign, and as you would have it bear 
 either a particular or general Meaning, which each of thofe Figures 
 will fuppiy in Abundance. Flowers are various, and, like. Fruits, may 
 be divided into three Sorts, to wit, the Spring, Summer and Autumn 5 
 and 4 having "different Qualities, are fit for many fine and uncommon 
 
 JDefignSa 
 
Sfo Of SiiMife. Book XI. 
 
 Defigns, in Conjun&ion with Bafs-reliefs or Bufts, as I have faid j with 
 this Caution, that with Flowers fuit no Fruit, but Ears of Corn as 
 being airy and pliable ; but among Fruits may be fome Flowers, eYpe- 
 cially fuch as allude to Reft and Mirth, as Poppies and Rofes/ And 
 yet thefe agree beft with Grapes, either in Garlands or Feftoons." 
 
 Let us now, for Exercife and Improvement in this Point, obferve 
 what the Learned fay. The white Lilly is facred to Juno-, Turnfol to 
 Apollo; the Rofe to Venus; Dia?ia and Somnus claim the Poppies ; Ceres, 
 the Corn-Flowers; Juno, the Pomegranates ; Bacchus, the Fig-tree and 
 Vine; Ceres, or, Ifis, the Peaches and £Vj 0/ CV0; Venus and ^W/* 
 the Apples; Ops, or Mother Earth, *wry Thing fie produces throughout 
 the J ear. Of Inftruments, the Lyre is dedicated to Apollo, Mercury, and 
 the Mufes j the F/te, to Pa/z and ; the Trumpet, to ikfo™, &c. 
 
 C H A P, If. Defigns for Bafs-reliefs proper to Still-life. 
 
 WI T H Flowers fuit Zephyrus and F/or*, or and Adonis, 
 
 in Courtihip. 
 
 With Fruits, Ceres and Pomona, or Pomona and Vertumnus. With 
 Grapes, Bacchus and Ariadne, and flurry Bacchanals : And, if there be 
 Mulberries among them, a &7«mm with the Nymph is 
 
 moft agreeable. 
 
 With Mufcal Inftruments, Apollo and the 0/0* ; Orpheus play- 
 
 ing, or on the Dolphin. With a Timbrel, Cornet and CWtf/, 
 
 a Bacchanalian Sacrifice, Feaft, or Dancing. 
 
 To the *£ra? Seafons, as Spring, Summer and Autumn, in one Piece, 
 we may apply Venus, Ceres and Bacchus fitting together according to 
 their Ranks. I exclude the Winter, as improper and difagreeable, and 
 admitting of no other than poor Interpretations j fuch as Hunger, Pe- 
 nury, &c. which this Seafon brings with it. 
 
 That thefe Bafs-reliefs may have due Decorum, you muft obferve, 
 that in Garlands they ought to be ] ft 'angular ; in Feftoons, round-, and 
 in Groups or Bunches, fquare and parallel with the Frame, efpecially 
 when difpofed hanging above, below, and on the Sides : But when in 
 Corners, a Compartment fuits better, and this to be fquare above, and 
 femi-circular at Bottom and both Sides. Thus much as to clofe Bafs- 
 reliefs in general. As for the Relief the flatter it is, the better, and 
 
 with- 
 
hap. i. Of Still-life. 
 
 thout the leaft Ground-fhade, in order to prevent all Mafiery and 
 onfufion. 
 
 Touching the other Sort of Still-life, either ftanding or lying in deep 
 Niches, or on Benches or Tables, we have before obferved, that it 
 bught not to be reprefented kfs than the Life, and therefore muft come 
 Quite forward in the Piece, as appearing then in its full. Force and Qua- 
 lity ; even much better with a Light coming from without than within, 
 a Front, than Side-light. 
 
 There are three Sorts of Grounds which elegantly fet off Fruits. 
 Grapes, efpecially the blue, and Cherries, blue Plums, and all Fruits 
 inclinable to be dark, require one of Freeftone. But Apples, Peaches, 
 and Apricocks appear better on a dark grey Ground. There is a third ■ 
 Sort, as Pumpkins, Melons, Oranges, Strawberries, and others, which 
 beft become a white Ground, whether they be lying on a Bench or Ta^ 
 ble, or in a deep Niche. 
 
 I fhall now defcribe fome Defigns, which I hope will not be; 
 unacceptable to the ArtifL The firft contains the three blooming: 
 Seafom. 
 
 Table, or Ordonnance*. 
 
 This Piece exhibits a compafs-heade d Niche, . fquare within, and its • 
 Depth equal to its Diameter. Therein I place a beautiful Vafe, eitherr 
 of Cryftal, Copper,, or Gold, with Flowers ; of which, I fet thefhort-- 
 eft-ftalkt in the Middle, and the others fpreading on the-Sides. Above,, 
 in the Middle, on a Ring, I hang two or threeBunches of the largeft' 
 Sort of Grapes. To the Ring. I faften a fmall Ribbon, on which 
 loofely hang , Ears of Corn, intermixed with fome Corn - flowers, 
 taken up and tied in the upper Corners of the Piece, and hanging, 
 down the Sides; Below, round the Vafe,. lies fine and palatable 
 Fruit, of the largeft and beft Sort, as Melons, Lemons, frefh Fjers-, , 
 Pomegranates, Walnuts, as well as Apples, Peaches,, China ^oranges, \ 
 &c. This is the Subftance of the Piece. 
 
 The Difpofition is thus. The Feftoons, in Bunches of an Hand's-* 
 Length, are parted with Greens, and tied, which Greens cover the 
 Stalks of Corn, and being intermixed., as is faid, with fome blue Flow- 
 ers;, produce an' agreeable Mixture,, without Mafiery.^- Thejaums fet- 
 ting them off are grey Stone, and the Ribbon dark Violet... The 
 Grapes, of the largeft Sort, tied to a Copper Ring, are, in the-Mid- 
 die,, white, and thofe hanging on each Side, blue, with a green Leaf 
 
 0£ 
 
S?t Of S 'till-Ufe, Book XI. 
 
 or two : This Group is welt fet off againft the Shade of the : Hollow 
 of the Niche, without drawing the Eye from the principal. My In- 
 tention is, to difpofe the Flowers into a large Mafs of beautiful and light, 
 ones; the ftrongeft and fulleft to be in the Middle, conftfting of white, 
 yellow, and light red. The higheft next the Grapes to be a Turn- 
 fol, and on the Sides, others of lefs Force and Colour, intermix'd.here 
 and there, with a beautiful blue one. And becaufe the • Vafe, on ac- 
 count of the Room which the Fruits lying about it take up, cannot 
 ftand quite forward, the Flowers fpreading on the Sides muft be in 
 Shade. The Fruits I difpofe contrary again ; as the biggeft on the left 
 Side, and the fmalleft and rnoft tender, fuch as Peaches, Apricocks, and 
 Plums, on the right: They ihould be Italian Fruits, ejpecially the Le- 
 mons at kail [ two Fijis big, as being the Chief of the Group, and govern- 
 ing the reft. If befides. the Seafons, you would reprefent fome other 
 Meanings, add a Lyre., Violin, or other mufical Inftrument, which may- 
 be fet or hung again ft the light Side of the aforefaid Hollow ; and thus 
 the Piece is compleat. 
 
 And now, curious Still-life Painters! view this Example with Atten-' 
 tion, and confider whether I propofe to ye any Difficulty above your 
 Abilities. Ye Flower-painters, is it more troublefom and artful to imi- 
 tate a Grape, Apple ot Peach, than a Rofe, Lilly, or Turnfol ? And 
 ye who praclife Fruit only, what Difficulty has a Flower more than. 
 Fruits, a Pomegranate or Melon inwardly or outwardly? Any of thefe- 
 may be fet ftanding; or lying before ye, as long as ye pleafe ; and fo' 
 may an Harp, Violin, Lyre, or Flute : Thefe can ftore ye, and are all ' 
 in your Power, and your Eyes can determine the Proportions, Meafuresj 
 and Forms of all that ftands ftill, hangs, or lies, and the foft Pencil, . 
 skilfully handled, bring them naturally and properly on the Cloth. 
 Why then do ye fo often obftinately build on a (ingle Sort ? a beauti- 
 ful Flower will certainly pleafe the Eye, but more, in Conjunction with 1 
 fome frefn and palatable Fruit, and higher yet, with the Addition of 
 fome line Mufical Inftruments. Your Cloth may take in fomething of 
 each, and yet ye rnoft Times do it with a Jingle Sort. . If it be a Flow- 1 
 er-piece, your Cloth muft however be filled, as it alfo muft' when the r 
 Subject is Fruits and Mufical Inftruments. When we fay, a Man is a 
 fine Still-life -painter, we are to iuppofe, he paints -every Thing either ' 
 flanding ftill, lying, or hanging. 
 
 • . 5: :. i. - Second* 
 
Chap. i. 
 
 Of Still life. 
 
 Second Ordonnance, being the Reverje of the former. 
 
 The chief Obje£t in this Ordonnance is a low or Jhallow Basket of Fruit, 
 taking up, in Breadth, the major Part of the Opening. This Basket 
 is fill'd with all Sorts of tender and palatable Fruit. Inftead of the 
 Grapes over it, I faften to the Ring a Bunch of Flowers with elegant 
 Greens, tied up, as in the former ; and againft the Jaumbs of the Niche 
 fome mufical Inftruments, as a Flute, Trumpet, Balloons, Cornets, 
 Hautboys, &c. On the right Side of the Basket, lies a porcelain Biftt 
 of Strawberries ; and behind it, fomewhat deeper in the Niche, a wide 
 Glafsof Mulberries, The hanging Feftoons, on each Side of the 
 Bunch of Flowers, conftft moftly of Ears of Corn and Greens. The 
 main Light takes the Basket of Fruit, confifting moftly of lightiih 
 white, yellow, and fomewhat red ones, and the fhaded Side, of dark, 
 black or violet. The Bunch of Flowers over it, contrarily, is made 
 up of blue, purple, violet, and a little white and yellow. The muli- 
 cal Inftruments the fame. The other Things, encompaffing thefe, as 
 the Ears of Corn and Greens, explain themfelves. 
 
 This Piece, thus difpofedand artfully executed, is a proper matching 
 Picture for the preceding. 
 
 We (hall fubjoin a third Ordonnance of a Mujic-phce, (implying 
 Harmony) no lefs elegant than the two former. 
 
 Third Ordonnance. 
 
 In the Middle of the Hollow of the Niche, I place, on a Desk, & 
 large Book of Mufick, opening long-ways, on one Side whereof is 
 prickt the Cantus, and on the other the Bajs, either in Church or 
 Chamber-mufick. Over it, on the Ring, I faften an Ivory Lyre a- 
 domed with Gold, and between its Horns hangs a Crown of Laurel 
 with a fmall Olive, or Myrtle-branch. All the Wind-inftruments be- 
 fore-mentioned, together with the Violin, muft be difpofed on the 
 Sides and behind the Book, and forwards lbme Implements pertaining 
 thereto, viz. sl Screw or two, Piece of Colophony, Box of Strings, 
 Baflbon or Hautboy-reed, &c. All encompafled by a beautiful Fe- 
 ftoon of Flowers, intermixt with Ears of Corn. 
 
 This Piece fuits well between the two others. 
 
 As for the Shape of all the three, they will be better, and look 
 more noble, if longer than wide. 
 
 No. 24. 4 A There 
 
Of Still-life. 
 
 Book XI. 
 
 There remains another Sort of StilHlfi, which, with the preceding* 
 would yield a great Variety. It confifts of all Sorts of rich Things,, 
 as Gold> Silver, Cryftal and other Glafles, Pearls, precious Stones 
 and Mother of Pearl. Such Pieces are commonly called Fanitafes., 
 The famous Kalf has left many rare Examples of thefe Things, which 
 deferve the higheft Commendation. 
 
 Now, to fhew that in this Branch the Artift has plentiful Materials 
 for bringing him from a Trade to an Art, or, in better Terms, for en- 
 riching the Productions of the Hand with thofe of the Head, whereby 
 he may be reputed an artful Mafter, I (hall sketch a fourth Ordonnance,, 
 taking for the Subject IViJdom, Riches and* Ho?wur. Solomon only pray'd: 
 for Wifdom, and with it obtained Riches and Honour. 
 
 Fourth Ordonnance. 
 
 I place, in. the Middle of the Piece, every Thing that is coftly, viz.. 
 Gold, Silver, Pots, Tankards, Salvers, Cups of Mother of Pearl, Cry- 
 ftal, Candlefticks, Heaps of Gold and Silver Coin, full Purfes, &c. 
 On the Ring above, I hang ajmall Board, with this Motto in, Gold 
 Letters, Sapient ia Mitrix; or, inftead of the Writing, I put in a golden 
 Sun, on a Sky-colour Ground. On each, Side of it, I hang fome Books, 
 Feftoon-wife, intermixed with Laurels, naval and mural Crowns, Gar- 
 lands of Palm, Laurel, Myrtle,. Oak, &c. and fattened in, the upper 
 Corners of the Piece, proceeding from the Ring, and hanging down 
 the Sides. About, them, might be twined a fmaU Streamer, with 
 tJiefe Words, Laboris Merges , , Sapentia Nutrix j . or Prcsmia major a. - 
 Laborious. 
 
 Now, to bring TFifdo m, which is the principal Part of the Piece, in- 
 to the Middle, we may, in lieu of the Sun and Books, hang above, 
 on the Ring, the golden Fleece, and exhibit below, a Sphinx, with 
 fome Books and Peaches. 
 
 There are other Sorts of Still-life, as dead Fiih, Cabbages, Carrots, 
 Turneps, &c. which being too low and poor,, and bearing.no particular 
 Significations, I think unworthy to range with thofe before-mention- 
 ed^ how well foever they be executed, much lefs to adorn the Cabi- 
 nets, of great and wife Mem But dead Hares, Partridges, Pheafants, 
 and all Sorts of Hunting Equipage, may, as I haye. faid, be praife- 
 worthy. 
 
 eHAR 
 
(CShap. 3. Of Still-life, 
 
 CHAP. III. Reprefentations of Still-life, applicable to particular 
 
 Perfons. 
 
 AL T H O' I have before faid, that the famous Kalf excelled In 
 Still-life, yet he could give as little Reafon for what he did, as 
 others before and iince : He only exhibited what occurr'd to hisThoughts^ 
 as a Porcelain Pot or Difh, Gold Cup, Mum-glafs, Rummer of Wine 
 with Lemon-peel hanging on it, Clock, Horn of Mother of Pearl 
 gold or filver-footed, hlver Difti of Peaches, Or elfe cut China Oran- 
 ges or Lemons, a Carpet, and other fuch ufual Things ; without any 
 Thought of doing fomething of Importance which might carry fome 
 particular Meaning , or be applicable to fomething. Nevertheiefs, to 
 ihew that this may be done as well in Still-life as in other Reprefen- 
 tations, I (hall give the following Sketches made applicable to parti' 
 cular Perfons. 
 
 Table or Or dominance adapted to a triumphing Warrior. 
 
 Herein we exhibit fome Arms, viz. a Steel Breaft-piece, an Helmet 
 elegantly wrought, Shield and Sword, with the Hilt reprefenting an 
 Eagle or Lyon's Head, a Pike or Spear, bent Bow and a Quiver of Ar- 
 rows, alfo fome Crowns of Laurel, Palm, and Olive. Above, on the 
 Frame, may be fattened, on two Rings, a Gold Chain, to which hangs 
 an Heart, befet with precious. Stones, coming down to the Breaft-piece; 
 and over it may be the Motto of the Hero to whom we apply the Sub- 
 ject We exhibit further, a Gold Crown, Bracelets and Rings, an Hat 
 with Feathers and a Diamond Button, and a Trumpet. Under thefe, 
 lies an embroider'd Coat on the Table, with a Sleeve hanging down 
 from it. On the Wall, or in a fmall Table, may be feen, in Bafs-re- 
 lief, Apollo having killed the Dragon Python, or Per feus and Androme- 
 da, or a Man in a Lyon's Skin, tearing open a Tyger's Mouth, and 
 near him, a Club. 
 
 Comment on the aforefaid Objetls. 
 
 The Breafl-piece was anciently taken for a Mark of Uriderftand- 
 ing and Defence ; for as it guards the Breaft, it preferves Life. 
 
 4 A 2 The 
 
f*6 Of Still- life. Book XI 
 
 The Helmet denotes an Inclination for War, and a martial Spirit. 
 
 The Shield, alfo a Token of Defence, was fo much regarded by the 
 Ancients, that they made a Prefent of it to Conquerors, in Considera- 
 tion of their Valour and Conduft. Virgil, in his. 9th Book, mentions 
 /Eneas'* ordering a Shield to be brought to him, wherewith to reward 
 the Fidelity and Valour of Nifus. The Jrgives had a Cuftom of 
 marching young Men (who had by notable Exploits merited the Ho- 
 nour) with the Shield of Enhippus carried before them, triumphantly 
 thro' their Town and Territories. We alfo read, that the Palladium, 
 which the Ancients believed fell from Heaven, was a Shield, myfteri- 
 oufly reprefenting the Protection of the Roman People and Empire. 
 And, according to Numa Pompilius's Explanation, the Shield implied 
 Succefs and Profperity ; whereby he endeavoured to buoy and comfort 
 the Roman People, on their being forely vifited, in his eighth Year, 
 with a Peftilence which threatned the Deftruftion of all Italy, The 
 Shields were moreover dedicated to thofe, who had faved the Town 
 and Common-wealth from any great and. imminent Danger; and to 
 perpetuate fuch a Benefaction, and as a Spur to Virtue, "they caufed 
 the Story to be engraved or carved on their Shields. The Shield and" 
 Pike alfo fignify War, chiefly in retrieving the Damages fuftained by 
 the Enemy, and in putting them to Flight and deftroying them. Yet 
 Weapons are of little Advantage, if not ufed with Wifdom and Under- 
 ftanding: Wherefore, we generally fee Pallas reprefented" with a 
 Shield and Pike; the latter fignifying Force and Q^iicknefs of Appre- 
 henfion. rr 
 
 The Pike or Spear alfo denotes the fpreading of a glorious Name. 
 For which Reafon, according to Plutarch, Lyfippus adorned the Statue 
 of Alexander with it, tho> others reprefented him with Thunder in his 
 Hand, intending thereby to immortalize the Atchievements of that. 
 Heroe. The Pike or Arrow alfo, being thrown or (hot at a Mark, 
 bieroglyphically figmfies, the fpreading of a glorious Name. Yet, 
 according to the Ancients, the Pike or Spear not only implied Royal 
 Grandeur and Authority, but was likewjfe the ufual Reward ibr thofe 
 who had flrewed, their Bravery in conquering the Enemy: As Pliny 
 fays, thzv Sicinnius Dentatus, for his admirable Valour, was prefented 
 with. twelve Pikes. Fcftus Pompeius thinks, that Generals received the 
 Ptke.ov Javelm, in token of their being intruded, with the principal 
 Management of the- War and Empire; and that therefore it was cuf- 
 tomary to fell the Prifoners publickly, fub Hajla, or under the Pike 
 or Spear., 
 
 TJbe 
 
Chap. gg Of Still-life. SSI 
 
 The Sword, In Reference to War, fignifies Fury, Cruelty, Fright, 
 Perfecution and Threatening with Death. 
 
 The bent Bow is likewile a Sign of War and the Arrows fignify 
 the People, or the Enlargement of Power y alfo Velocity and quick 
 Motions. 
 
 The Crown of Laurel was the Token ot Conquerors, and thole who 
 performed any glorious Aft, as the ancient Remains fufficiently inform 
 us. And we learn from Hiftory, that the Roman Generals and Com- 
 manders ufed, in their Triumphs, to prefent. a Crown of Laurel to 
 Jupiter Capitolinus. 
 
 The ancient Romans alfo ufed to beftow a Palm on thofe who tri- 
 umphed, as a general Token of. Viftory. And the Palm-tree, tho' 
 prefTed by an heavy Weight, will yet grow againft it ; wherefore, in 
 hot Battles, 'tis efteemed a Token of Viftory, which can only be got 
 1 by a firm Resolution to refift and defpife Dangers and Adverfities. 
 
 The Olive is likewife a Mark of. Viftory; the Ancients, adorning: 
 their Trophies and warlike Monuments with its Branches, or decking, 
 the Head of the Conqueror with a Crown of its Leaves.. 
 
 Tho gold Chain was the Roman Reward for Valour and Virtue ; , it. 
 not only recompenfing- Merit, but ferving.for a Badge of Honour,, 
 Glory and Efteem. The Roman Hiftory informs us, that the Son of 
 Tarquinius Prifcus, tho' but 14 Years of Age, charged the Enemies in 
 the open Field, and conquer'd them; wherefore, to immortalize his 
 Valour, he was the firft who was honour'd with a gold Chain: ThoV 
 according to others, Herftlius, the firft Son born of the ravith'd Sa>~ 
 bines - at Rome, firft received that Honour. We alfo read, that Sicin- 
 nius Dentatus was 63 Times rewarded with a gold Chain, and 25 Times 
 with other Gold or gilt Prefents. 7 r, n 
 
 The Heart befet with precious Stones, hanging down to toe Brea/t- 
 on a gold Chain, ilgnines, that wholfome Advice and Deliberation fpring. 
 from the innermoft of the Heart-, wherefore, thofe who triumph? 
 ed were introduced with this .gold Chain about their Necks, in the ut- 
 moft Part whereof, or the Heart hanging down to the Br e oft, they irna* 
 gined were contained Herbs and Balm,, which fecured the Triumphers 
 from Malice and Envy. Jjcomus particularly remarks, that, the Chil- 
 dren of the Nobles or free Citizens wore thofe Chains ; but the £j* 
 herti or Freed-men, for Diftinftion's Sake, had them only of Silver, 
 and. Copper: To which,. in his Satyrs, alludes, ; laying, 
 Poor, muft be content with Copper*. 
 
Of smiife. Book XI. 
 
 Tht gold Crown and Bracelets, which adorned both the Shoulders 
 and Arms, were likewife the Rewards of great Aaions. Thefe Gifts 
 were preferved for Pofterity, as a Spur for young People indefatigablv 
 to tread in the Steps of their Fore-fathers. Titus Livius, in his iotfi 
 Book, lays, that, after the Vi&ory obtained over the Samnites near 
 Aquilonia, Papirhs, on that Occafion, prefcnted Sp. Nautius, his Ne- 
 phew, Spunus Papirius, 4 Captains and a Troop of Pikemen, with 
 Bracelets and gold Crowns 5 giving the other Captains, Foot-foldiers and 
 Horfemen, Bracelets and Ornaments of Silver, which they called Cor- 
 nicula, or little Horns. And Decius the Tribune received a gold Crown 
 from Aulus Cornelius Cojjus, for defending a certain ftrong Place be- 
 longing to the Romans, againft the Samnites, and forcing; them to'raife 
 the Siege. 
 
 The Romans alfo efteemed the -Rings as Badges of Honour and Mo- 
 bility : For according to Titus Livius, in his third Book, treating of 
 the fecond Punic War, on Mago's being difpatch'd by Hannibal to no- 
 tify to the Carthaginians the bloody Defeat of the Romans in the 
 .Battle of Lanna, he poured out before them an Heap of gold Rinjrs 
 taken as Booty from the Slain \ adding, to extol the Vi'dory that' 
 among the Romans, none but the Great and Noble were allowed to 
 wear them. And, towards the Clofe of his 9 th Book, he relates 
 that on Flavins his being, in a publick Affembly, chofen Mdilis or 
 fcuperintendant of the publick Buildings, the Nobility were fo difguft- 
 ed, that leveral of them laid down their gold Rings and other Tokens 
 of Honour and Efteem. And the eloquent Cicero, in his 4 th Oration 
 againft Verres, reproaches him for beftowing, in a publick Afiembly of 
 the People, the Tokens of Honour, Gold Rings, on mean and unworthy 
 Feople: With whom agrees Jfconius, faying, That th Q Fafces, Civic 
 Crown and gold Rings were, by the People, look'd on as Badges of Li- 
 berty and Nobihty, and always attended with Honour and profitable' 
 Incomes. r 
 
 The Greeks reputed the Hat or Cap as a Token of noble Extrac- 
 tion J wherefore they reprefented the Head of Ulyfes covered with a 
 Cap or Hat, as being noble both by Father and Mother. For this 
 Reafon, we commonly fee on the ancient Coins and Medals an Hat or 
 Cap, circumfcnbed LIBERTAS. 
 
 The Diamond is indifputably the harden, and, for its fparkling, the 
 xnoft beautiful and perfed of all precious Stones, and (which if moft 
 lurprrzing and remarkable) it refills the confuming Fire, without lofincr 
 any of its Virtue or Excellence. Wherefore 'tis ufed as an Hiero e lv- 
 phic of immoveable Firmnefs in. Profperity and Adverfity : Accord- 
 
Chap. j. 
 
 Of St in-life. 
 
 ingly, the Ancients alfo attributed to it a fupernatural Quality of 
 freeing the Heart from vain Fear and Defpair, and that it never left 
 a Man either in his PrefFures or Dangers, when principally he ought to 
 fee Matter of himfelf. 
 
 , The Plume of Feathers alfo figniiies, Honour and Nobility, and 
 
 The Trumpet, Efteem and an immortal Name. 
 .. The embroidered Coat, called Tunica Palmata, was an Under-gar- 
 jnent commonly worn by thofe who triumph'd ; according to Titus 
 Livius in his ioth Book : And Ifidorus Hifpalen/is, in his Qrigifium, 
 lib. 19. fays, that thofe who had conquer'd ufed to receive a Gown, 
 called Toga Palmata or Toga Pitta, from the Victories and Palm- 
 jbranches work'd in it. And Macrobius, lib. 11. Saturnal. cap. 6. 
 affirms, that Tullus Hofiilius firft introduced this Garment among the 
 Romans*. 
 
 The two firft Bafs-reliefs explain themfelves,, and by the Third, 
 We mean, Strength; for the Lion's Skin implies high Underftanding 
 and Refolution of Mind, and the Club, Conduct and Intrepidity. 
 
 Second Ordonnance, relating to a Judge. 
 
 In this, we reprefent a pair of Scales, a Sword, Looking-glafs, Scep- 
 ter topp'd with an Eye, a Board with a Triangle thereon inclofing the 
 Number I. and the Image of Truth, an Hazel-wand and Fafces, a 
 Sithe, Rod, Ax, gold Chain, Staff twined with Ivy, a large Folio^ 
 book, whereto is affixed the Coat of Arms of the Commonwealth; 
 and on the Wall, a, fruitful Palm-tree in .Bafs-relief. 
 
 Explanation of thefe Objetts: 
 
 The Scales, commonly placed in the Hand of Juftice, fignify, that,, 
 weighing all Men's Actions,, (he affigns to every one what God 
 has decreed him ; wherefore the Heathens alfo reprefented Aftraa 
 afcended to Heaven, and feated there between the Lion and Scales;, 
 intimating thereby, that a Judge ought refolutely to punith Trani- 
 greflions according' to their Merit, without refpecting Perfons*. 
 
 The Sword likewife {ignifies, Juftice and the Severity of the Law; 
 
 according to the Apoftle, A Ruler is the Minifier of God, 
 
 and bears not: the Sword 1 in. vain 3 , to execute Wrath on. him . that dm s 
 Evil 
 
$6o Of Still li fe. Book XI- ] 
 
 The Looking-glafs in the Hand of Prudence denotes reforming of 
 Manners. 
 
 The ancient /Egyptians, by the Hieroglyphic Figure of the Scepter 
 with an open Eye, fignified, the abfolute Authority of Equity and 
 Prudence; which, always watching and penetrating Men's Actions^ juft- 
 ly reward each according to his Deferts. 
 
 Plutarch, in his Dothine of the Pythagoreans, intimates, that the 
 Triangle is the moft perfect Figure ot Juftice. Some place the Num- 
 ber I. within it, becaufe we therein fee the Godly Character of the 
 Almighty. 
 
 The Image of Truth explains itfelf. 
 
 The Hazel-wand fignifies Ecclefiaftical, and the Fafces, Secular Dig- 
 nity j or Religion and Policy. 
 
 The Sithe is the Hieroglyphic of Chaftifement ; as we read in the 
 Prophet Zechariah, that the Sithe, he faw in a Virion, was going forth 
 to cut off all thofe who ftole or fware. 
 
 The Rod alfo implies Punilhment, for the Support of good Difcipline 
 and Laws according to Equity and Juftice. 
 
 The Romans, and fome of the Greeks, took the Ax Hieroglyphically 
 for heavy Chaftifement ; as we fee in the Medals and Coins of Tenedos, 
 mentioned by Pollux : For the King of Tenedos, having publifhed a 
 Law, that any Perfon catcht in Adultery fhould be put to Death with 
 the Ax, and in compliance therewith not fpared his own Son, he com- 
 manded this Story to be (truck on the Coins and Medals, in order to be 
 thereby immortaliz'd. 
 
 The /Egyptians likewife applied the Bulla, or gold Chain and Heart, 
 to their Judges ; intimating, that, making pure Truth their only Aim, 
 they ought to be impartial, and give Judgment without refpect of 
 Perfbns. 
 
 . The Staff twined with Ivy fignifies, that Juftice ought to be protect- 
 ed : For by the Staff 'is underftood Authority, and by the Ivy, Protection, 
 which fhould always flourifh. 
 
 The large Folio-book contains the Statutes and Ordinances of the 
 Country. 
 
 The Fruit of the Palm-tree, reprefented in Bafs-relief, being of equal 
 Sixe with the Leaves, the Ancients would thereby fignify Juftice and Equi- 
 ty. This Tree alfo confifting of lafting Matter, and not altering or decay- 
 ing fo foon as others, ferves for a Pattern of the Maintenance of Juftice 
 without Impediment or Alteration : And as it never drops it's Leaves 
 as others do, and refifts all PrefTure and Weight, thereby is implied* 
 
 that 
 
hap. 3. Of Still life. $61 
 
 _iat Judges ought not to be biafled, but witMand thofe who endeavour 
 to draw them from their Duty by fair Words, Gifts or Intrigues. 
 
 Ordonnance relating to a Lawyer. 
 
 Jn this Table we exhibit a Plaifler-figure of Mercury winged at 
 Head and Feet, (landing on a Square-ftone or Pedeftal, having in one 
 Hand his golden Caduceus twined with Serpents, and in the other an 
 Olive-branch. By him is a plaifter Sphinx. Alfo a Sword and Shield, 
 a Lyre or Harp, "a burning Lamp, an Ink-horn with Pens and a Roil 
 of Paper, a Sieve, fome of the principal Law-books, and a Bible. In 
 a fmall Vafe or Pot may be fet an his or two. Above, on a Ring, 
 hang three Garlands ; one compofed of Laurel and Ivy, another of 
 Cedar and Myrtle, and the third of Oak-leaves. On the Wall, or 
 in a fmall Table, we fee, in Bafs-relief, the Fable of" Minerva brought 
 forth out of Jupiter's Brain. 
 
 Explanation of the Objecls. 
 
 Mercury implies the Impreflion of Words upon the Mind, and the 
 Force of Eloquence : Wherefore, the Ancients beliey'd, he was the 
 Meflenger and Interpreter of the Gods. 
 
 The Square-ftone whereon he ftands fignifies the Regard for and Sta- 
 bility of the Laws and Rules whereby to direct our Speeches : For 
 which Reafon Mercury is ftiled Tetragonus, or Square, that is firm and 
 certain. 
 
 His Staff or Caduceus intimates, that obftinate Tyrants muft yield 
 to the Laws and fluent Charms of Eloquence. By the Serpents twined 
 about the golden Rod the Ancients mean, that Eloquence, temper'd with 
 Ingenuity and Prudence, can eafily bring Men to Reafon. Some alfo 
 would have the golden Rod in the Hand of Mercury to fignify, the Ex- 
 cellence and Eminence of honourable Offices due to thole who imploy 
 their Eloquence (the Gift of Heaven) in their Neighbours Welfare and 
 the common Good. 
 
 By the Olive-branch in Mercury's Hand is underftood, Peace ; for 
 the Ancients believed, it compofed the Differences of contending Parties. 
 
 His Wings at Head and Feet were affigned him to fignify, the Readi- 
 nefs and Force of Eloquence. 
 
 The Sphinx fhews, that nothing is fo abftrufe or occult that a 
 Lawyer's penetrating Judgment cannot clear. 
 
 No. 24- 4 B We 
 
$6% Of Still-life. Boot XI. 
 
 We compare Juri {prudence to the Sword 'and Shield: For as a War- 
 rior thereby defends himfelf and annoys his* Enemy, fo a Council gets 
 his Caufe by the Dint of ftrong Arguments and well-grounded Con- 
 clufions. 
 
 The ancient Romans fignified, by the Lyre or Harp, a Man of great 
 Learning and Judgment ; for that Inftrument is compofed of d:vers 
 Scri ngs and Sounds, producing fine Harmony ; like the Lawyer when 
 he reconciles the Difference of Things to Reafon, in order to make con- 
 tefting Parties agree. By the Harp or Lyre, we alfo underftand, 
 that Harmony arifes from different and diflbnant Cords ; and 
 that People of ^ contrary Sentiments meeting together, may, by 
 a good Union, fettle and tranfmit to Pofterity an excellent Form of 
 Government. And as Plato, in his Timaus, ftiles the Soul a Concert or 
 iweet Harmony, fo Concord may be juftly call'd, the Soul of the State. 
 The 'Creeks and Romans fay, the Lyre was partly invented by Mercury 
 and partly by others. 
 
 The Shape of the ancient Lyre is this: It was bent like two Horns, 
 join'd together, having a fwetling Belly, and on top an Handle. It is 
 laid to have had but three Strings, and thefe could produce feven 
 Tunes, making a perfect Harmony. The three Strings were- affiled 
 in Imitation of the three Seafonsof the Year known to the Egyptians, 
 viz. Summer, Winter and Spring, each confirming of four Months ■; and 
 they attributed the Cantus to the Summer, the Bafs to Winter and the 
 preble to the Spring. Others fay, that this Application refpefts Man; 
 who'fe Body, confuting of four Elements, and the Soul, in reference to 
 it's A£ts, of three, thus makes the Number feven ; which together* 
 produce a perfect Harmony. 
 
 Darknefs flies the Light of true Knowledge and Underftanding. 
 Wherefore the Lamp is lometimes taken for the Works done by its 
 Light; for as the Night, thro 1 its Stillnefs, is very proper for Study, 
 fo the Greek Poets alfo gave the Night a Name which iigniried*the pro- 
 ducing Underftanding, Wifdom and GladneiVj as the Mind is then 
 apt for Meditation. Accordingly, the frequent Proverb of Students 
 is, Plus Old quam Vmi\ He Jpent moi e in Oil than JVine ^ meaning, 
 more Time in diligent Labour of the Mind, to attain Sciences, than 
 in taking Walks, Feafting or other Diverfions. Epicharmus ufed'to fay, 
 that he, who would ftudy great Things^ muff not, for the Sake of 
 Eafe, fpare the Nights. 
 
 The /Egyptians underftood, by the Ink-horn, Pens, and Roll of Pa- 
 per, all Things whereby Arts and Sciences might be reprefented. 
 
 By 
 
Chap. 3. Of Still-life. $6$ 
 
 By the Sieve, the fame People hieroglyphically meant, the Fruitful- 
 nefs of Inftruclion in Arts and Sciences ; alio, the Writers of facred 
 and myfterious Things : For as the Sieve feparates the Good from the 
 Badj fo their Lawyers, who were alfb itiled Priefts, knew how, thro' 
 their Prudence and Wifdom, to diftinguifh betw een Things concerning 
 Life and Death ; accordingly, they made ufe of the Word Sieve for 
 exprelTmg what's true and known. Others fay, that by that Imple- 
 ment is fignified, a Man of great Knowledge and Perfection, who can 
 difcourfe of Things divine and human with equal Penetration. More- 
 over, as the Sieve feparates the Flour from the Bran, fo Experience 
 fits us for difcerning between good and bad, right and wrong. Where- 
 fore Virgil, in the firft Book of his Georgics, rightly ftiles it, Myftica 
 Vannus lacchi, the myftic Fan (or Sieve) of lacchus. Some apply to 
 this Point the Saying of the Philofopher Antijtheves ; that it were 
 great Folly not to know how to diftinguifh the Corn from the Chaff; 
 meaning the learned and beneficial Citizens from the illiterate. 
 
 Next to the Bible the chief Authors for Law are, viz. among the 
 Greeks, Solon, Lycurgus, Demofthenes and Ifocrates : Among the Ro- 
 mans, Cato, Cicero, Hortenfius and Ctffar ; their Leges and Orationes ; 
 alfo the Corf us Byzantinum and Corpus Juris or Jujtinianeum, compi- 
 led by Theophilus and Dorotheus, Senators under'the Emperor Juftini- 
 an, from a Series of ancient Law-books : Among the Spaniards, Di- 
 dacus Cooverruvias, Francisco de Salgado, Secretary to Thilip II. and 
 Ferdinandus Vafquius : Among the French, Jaeotus Cujachts, and 
 Marcus Antonius Muretus : Among the Germans, Fritfchius and 
 Carpzovius : And among the Dutch, Hugo Grotius, Groenewegen, 
 £tc. 
 
 The Herb or Flower Iris is an Emblem of Eloquence, according to 
 Homer, who, to defcribe that of the Trojan Embaffadors, reprefents 
 them, as having eaten the blooming Iris ; meaning, their being tho- 
 roughly skill'd in pleafing Eloquence ; for that Flower, by its Variety 
 of Colours, is not unlike the heavenly Iris or Rainbow, whom the 
 Ancients accounted the Goddefs of Eloquence, 
 
 The Garland of Laurel, intermixed with Ivy-leaves, fgnifies, that 
 Lawyers are, for their excellent Labours and Parts, to be had in perpe- 
 tual Remembrance: For, by the Laurel, the Ancients underftood a 
 natural Force and Fruitfulnefs of Underttanding, and by the Ivy, 
 which, tho' at firft creeping along the Ground., at lalt tops the higheft 
 
 4 B 2 Trees 
 
Of Still-life. 
 
 Bool XT. 
 
 Trees and Buildings; the Skill or Experience which Lawyers obtain 
 
 by continual Labour and Practice. 
 
 It will not be difagreeable to that Body of Men, that, for immorta- 
 lizing their Names and Memories, we add the Garland of Cedar and 
 Myrtle to "the Laurel and Ivy; fince, touching great and eloquent 
 Men, we may very well conclude with Terjius and Horace, Cedro dig- 
 na locuti, They have fpoken Things worthy to be cut in Cedar, or to be 
 everlafting ; for, the Cedar is, among Trees, the Emblem of Eter- 
 nity, as never rotting or mouldering thro' Age ; wherefore, the Ark of 
 the Covenant was alfb made of it. The Myrtle fignifies, a Mind en- 
 riched with many Endowments. 
 
 Among the Crowns, with which the Romans ufed to adorn the 
 Heads of Legiflators and Pleaders, that of Oak-leaves was in great 
 Efteem, as implying, the Confervation of the Town and Citizens. 
 Several Reafons are afiigned for this Sort of Crowns. Some fay, that 
 originally the Arcadians Were firft honoured with it for the Antiqui- 
 ty of their Oracles. Others think it proceeded from that Tree's be- 
 ing facred to Jupiter, the Patron of the Dodonaan Oracle, and Protect- 
 or of Towns ; and that therefore it was very realbnable to crown thofe,. 
 • who had laved a Citizen either by Arms or Law, with the Leaves of 
 that Tree, dedicated to the Tutelar-god of all Towns. Others are of 
 Opinion, that the Oak was the firft-made of the Trees, and has been 
 the firft Nourifher of Mankind, and Material for the Oracles. We fee 
 to this Day a certain Medal with this Dcrick Infcription, EllEIPnTAN, 
 reprefenting an Eagle treading on Thunder, and two Oak-branches 
 bent Garland -wife ; which was doubtlefs the Coin of Epirus, alluding, 
 to the Oak of Chaonia, and the Dodon£an Oracle. 
 
 By Minerva proceeding from Jupiter'j Brain, we reprefent the Na- 
 ture and Activity of Underftanding and Wifdom for gaining Jurifpru- 
 dence : She likewife implies, mature and wary Deliberation. Where- 
 fore fome hold, that Jupiter knew Metis, or Counfel and Prudence, 
 and then brought forth Minerva : For Wifdom and Underftanding are 
 only attainable by mature Deliberation and Advice. 
 
 Table or Ordonnance relating to a Divine. 
 
 We exhibit herein the Bible or Scripture, a fmall Altar, a burn- 
 ing Lamp, Breaft-plate* Sword, two Arrows, a Drum or Timbrel, 
 Table-bell, Harp, Ciftern and Cenfer, Sieve, Meafure of Corn, Baf- 
 
 ket 
 
tChap. 3. Of St til-life. $6? 
 
 ket of Bread and a Lump of Leaven, a Salt-feller with Salt, a white 
 linnen Girdle, Bundle of Flax, Waggon-wheel, Saphire-ring, Olive- 
 branch, Sheet of Paper whereon are three conjoined Circles, inclofed 
 within a fourth, and under them an equilateral Triangle and a Square. 
 In a fmali Picture isfeen a Landskip, exhibiting among other Things, 
 a Rock, a Palm, a Cedar-tree and an Hill fending forth abun- 
 ! dance of Water. On the Wall, in Bafs-relief, is an Elephant rearing 
 his Trunk towards Heaven, as alfo a Stork and Cock : But above all, , 
 we muft not forget the fruitful Muftard-feed, a Sprig whereof we have 
 fet, in a Pot or Vafe, on the Table with the other Objects ; an Expla- 
 nation whereof follows. 
 
 Adamantius and others tell us, that the Power of the Univerfe 
 muft yield to the Dictates of Religion. A further Explanation of the 
 Bible is unneceffary, fince it is fufficiently known to every Body. 
 
 The Altar is accounted the Hieroglyphic of Piety ; of which, I 
 have treated in Book IX. pag. 403, 404. 
 
 'Plutarch compares the Lamp to the Body, the Habitation of the- 
 Soul ; and its {bitting Light to the Faculty of Underftanding. But in 
 Scripture, we often find, that by the Lamp are meant the Doctors and 
 Teachers of Arts, Sciences and Myfteries, who Jhould be jet on the Can-- 
 ilMicU in order to expel Darknefs, and light tbofe in the Houfe. In 
 another Paflage, it's faid, that the Light ought not to be hidden, &c.~ 
 And if the Light, according to Scholaflicus in his Climax, come to be 
 in Darknefs, what will not the Darknefs of Nature, or Men ignorant 
 of Gad, be guilty of?. Some again underftand by the Light, the Gofpel*.- 
 Others, St. John the Baptift, who is alfo called, a burning Lamp. 
 The Prophets were alfo Lamps, but burning dim, as fpeaking myfte- 
 riouily : But St. John, as with a Finger, has pointed out our Saviour. 
 Eucherius obferves, that by the Lamp is iometimes meant, good. 
 
 Works; and therefore the Gofpel fays, Let your Light fo {bine 
 
 before Men, that they may fee your good Works, &c. The Light or 
 Fire fometimes likewife hieroglyphicaily fignifies, Devotion and Piety. 
 If earthly Things can in any wife unite us with the; heavenly, no— 
 thing in Nature has greater Affinity with the Mind and Spirit than 
 Fire, becaufcit lights -and clears every thing, and makes us intimate 
 
 with Heaven. . • 
 
 The Philofopher Antifthenes, fpeaking of the Br eajf -plate, common- • 
 ly faid, that Virtue was a conjiant Defence; beeaufe it could never- be 
 Mi for the Arms of Wifdom and Underjand'mgmelapng to tbofe 
 
 J J — -who- 
 
$66 Of Still-life. Book XI, 
 
 who are rightly arrayed with them. In which Senfe St. Paul exhorts his 
 Congregation to put on the Armour of Faith for quenching the fierv r>a,K 
 of the /ricked, agreeable to Horace, S P y a " 
 
 Sjfipeftus praceptis format ami c is. 
 
 The Apoffle St. Paul fays, that the JVord of God is quick and tow- 
 erjul, andjharpcr than any two-edged Sword, piercing even to the divid 
 tug a/under of Sou, land Spirit, and of the Joints and Marrow I nt i 
 mating .that tho' the Stone in the Kidneys feem incurable, yet the 
 Word ot God can convert and cure the hard Stone of our Unbelief. 
 
 b 7. ol ? r ^ av 'our's Coming on Earth, we have learnt what the Flefh 
 and : Spirit incline to ; and his Doftrine has, like a two-edged Sword 
 divided the Spirit from the Flelh, that we might afterwards lead a 
 ipiritual Life, as being _not in the Flefh, but in the Spirit, efteemiW 
 the Corruption of the Flefh a great Gain, when, thro' the Spirit wf 
 obtain eternal Life. ■ 
 
 • & C t r ' a i C ? inks ' that Che Words in P f- cxx ™- — ^ Arrows are 
 in the Hand of a mighty Man, fo are the Children of the Youth, allude 
 to the Apoftles and their Million into all Countries; becaufe, in their 
 Travels, they pierced Men's Hearts with theDoflrine of Cbrifl, as with 
 a darting Arrow, and brought them from Darknefs to Light • For 
 by the Arrows, in feveral Places of Scripture, is underftood God's 
 Word, penetrating the Soul as with a two-edged Sword 
 
 We find in facred Writ, that the Almighty is to be praifed with 
 ^Umsov Timbrels. And Gregory, in the 6th "Book of his Epiftks to 
 Athanafius emblematically (hews by the Drum, kind Remembrance 
 For feyc , he, as the Materials of that Inftrument are long before pre'- 
 par ed to fit n for Sound, fo a Man Jhould pioufly endeavour to thank his 
 Creator, and loudly praije him for his Benefits. 
 
 ^ T h £ f'"'- h a" g A ng ' accordin g t0 M °fi^ Command, at the Hem of 
 rl? eft « G "ment, emblematically fignified the Publilhing of 
 God's Will ; and his being heard by their Tingling on entrinslnto 
 or coming forth of the Holy of Holies, intimatel tL the Miniftry 
 ihould always have the Word and Laws of God in their Mouths for 
 
 Strfffio^Tt C0mfOrtinS • aCCOrdi " S t0 the We3kndl and 
 
 & T }%^1- P f° r[ ? al Y reprefented all Kinds of Arts and Virtues- 
 And Eujebncs thinks, it takes its Name from a Greek Word, fisnifviW 
 as much as to inftrud in excellent Sciences. And thus the Sonet 
 
 of 
 
hap. j. 
 
 Of Stitt-lije. 
 
 f Orpheus and Prochs among the Heathens, and David among the 
 { ews, have powerfully incited to Piety and good Living. 
 
 By Water and Fire, or the Gift em and Genfer, the ^Egyptian Priefts 
 underftood a Purgation from Spots and Filth ; even from the Darknefs 
 !>f Ignorance by Means of pure Do£trine. Accordingly, after Fune- 
 rals, the Ancients purified themfelves with Water and fmoking Per- 
 : umes, the latter hieroglyphically reprefenting Prayers and divine Doc- 
 trine, as Hefychius Bifhop of J 'erufalem writes. 
 
 The fame People meant by the Sieve the Fruitfulnefs of Inftru£tiorr 
 in Arts and Sciences. Others, the End of all Things, as by often exa- 
 mining ourfelves to learn Quietnefsof Life, and by due Reflection on 
 what is paft, prefent and to come, to make Profperity and Adverfity 
 equal. 
 
 Doftrine and Inftruftion thofe People called S BO; which, being 
 interpreted, tignifies- Plenty, or all that is necefiary for Life; 
 as if the Study of Sciences require a good Fortune. Ari(iotle fays, 
 the Rich fhould lludy Philofophy. And Zechariah, a noted Man, 
 
 among the Jews, If you have Flour, you will learn the Lazv : 
 
 If you have Knowledge in' the Law, you- will want no Flour : The Law 
 implying Knowledge and Sciences, and the Flour every Thing necefiary 
 for Suftenance. But I think, according to JEgyptian W^ifdom, that 
 this Doclrine rather refpe£ts the Soul than the Body ; for it's believed, 
 that the Basket of unleaven'd Bread, which Aaron and his Sons only 
 were to offer, hieroglyphically (ignified the Tongue or Word, or eter- 
 nal and heavenly Eloquence; for as Bread fup ports the Body, fo the 
 Word of God nourifhes to eternal Life. And becaufe Bread, by a ge- 
 neral Confent, implies Doclrine and Inftruelion; to whom mud - we re- 
 turn our Thanks, but to him who by his Do&rine has enlightened our 
 Underftanding, and is the Fountain of Plenty and Perfection. In this 
 Senle the Bread, called the Loaves of two Tenths-deals of fine Flour, 
 oflfer'd, as in Leviticus xxiii. for a Meat--offering, fignified the Law and 
 the Gofpel ; but according to our Saviour when under Temptation, that 
 a- -Man did not live by Bread alone i butr by every Word proceeding out of 
 the Mouth of God. 
 
 In Baking, the Leaven has in Scripture divers Significations : Among 
 others it implies human Sciences. Now~ Sciences are divided into hu- 
 man and divine, the former fubje&tothe Diverfity of W r Ords, but the 
 latter conftant and everlafting ; for what is once truly perfect always re^ 
 mains fo 9 and the Fire which once warms will always warm, as long 
 as 'tis Fire. Eternal Providence and Government of all- created Beings 
 
 are 
 
S 6 § Of $ t ill-life. Book XI. j 
 
 are endjefs ; and thus Nature, Philofophy, Ethics and Theology ami 
 very comformable to the Deity: But Grammar, Rhetorick, and Dia J 
 leaica are call'd human Sciences : therefore, fays Origines, the Lea- 1 
 ven is not ufed in Offerings. For Divines underftand by it, human SciJ 
 ences, the Matter and Force whereof lies only in Words ; which ne I 
 verthelefs are Aids, becaufe the Purity of Speech, which Grammar I 
 teaches, ihews the Beauty and Excellence of Eloquence obtained by 
 Rhetorick, and the Method of Reafoning and Oppofition, gained by I 
 Diale&ica, is an Help to many other Sciences. I 
 
 Philofophers fay, that the Produfts of the Earth are owing to Salt 
 Divines compare it to the Gofpel, alledging Leviticus, Chap 2 frith 
 all thine Offerings thou Jhalt offer Salt : Or in all your Do£Ws you 
 muft be governed by thofe of the Apoftles, who, according to our 
 Saviour, are the Salt of the Earth. The Frankincenfe put on the 12 
 Cakes, according to the Jezvijh Rite, the feventy Interpreters have 
 rendered Salt to fignify the apoftolical Doftrine ; for as Salt makes 
 Meat palatable, fo, according to Hefychius, Inftruftion and Exhorta- 
 tion caufe in us a Smell and Tafte of Divine Wifdom ; whereby our 
 good Works, as Faith, Hope and Charity produce Fruit acceptable to 
 God. r 
 
 The Jewijh Priefts were commanded to fet the People a Pattern of 
 Chaftity Piety and good Behaviour, and to be always ready to walk 
 an God's Paths, as appears by the white Linnen Girdle, fignifying the 
 moil: facred and myfterious Doftrine, by which they ought to govern 
 themfelves and their Congregations. Jeremiahs Girdle had the fame 
 Meaning, as Cyril largely ihews. As the Girdle was white Linnen 
 we are led to confider the firft Matter it was made of, to wit' 
 Flax. , * 
 
 The Seed of Flax comes up as green as Grafs in a fhort Time after 
 lowing and having bloflom'd and fet its Seed, 'tis then pull'd and 
 rotted in Water, and afterwards laid to dry in the Sun; and then being 
 beaten to a Softnefs, it is comb'd and hatchel'd, and fpun into Thread 
 After boiling in ftrong Lye it is made into a Web of Linnen, and 
 whitened for a Drefs wherein to appear before God. The Care ne- 
 ceflary about this' Herb, which is an Emblem of undefiled Life, ought 
 continually to be had in View ; that, laying afide Things vain and un- 
 profitable, we may, by Means of Science, render ourfelves immove- 
 able, and thro' Adverfity and Temptations obtain the white Garment 
 of Glory. The quick and eafy Growth of Flax ihews, how eafily Vir 
 tues and Sciences are attainable, if we fet readily about them. Hefy- 
 
 chius 
 
:hap. 3. Of Still-life: $69 
 
 bins underftands by the Flax, the frail Efforts of Mortals, and the 
 "hread of the Almighty's Will always remaining with us : Wherefore 
 : is the Duty of the Miniftry, by their conftant Labours, to give out 
 he Flax whereof to prepare a Garment of good Works. 
 
 Many among the Learned emblematically fignify, by the Waggon- 
 vheel, Divinity ; becaufe the Wheel never touching the Ground but in 
 me Point, fo the Soul ought to be elevated towards God. Thus 
 Divines are rightly compar'd to a Wheel ; that, by forfaking earthly 
 thoughts, their Conversation fhould always be in Heaven. 
 
 The Sapphire was always in great Efteem, as emblematically re- 
 prefenting Sovereignty and Prieifhood. Some fay, that this Stone 
 draws heavenly Influences from Jupiter and Satur n ; and that thofe 
 who wear it obtain all their Defires ; as from Jupiter, Dominion and 
 Authority, and from Saturn, the Prierthood. But, according to the 
 Fathers, this Stone reprefents the Throne fpoken of by Ezekiel, 
 to wit, the Seat of God, eternal, good and Almighty. And Euche- 
 rius understands, by the Make of the Heavens, the Society of the 
 Pious and Elect: Wherefore, fays Hefychius, the Throne of Sapphire 
 fignifles the tenth or Empyreal Heaven: For by the Colour he under- 
 ftands, Purity, Cleamefs and heavenly Light, always inftrufting the 
 Church in unalterable and pure Do&rines. 
 
 We learn from Scripture, that the Olive-tree was originally the Em- 
 blem of Peace \ for no fooner did the Waters abate, but the the Dove, 
 which Noah lent, foon after returned with an Olive-leaf, as a Token 
 that the Wrath of Heaven being appeafed, God took Companion on 
 the Remains of human Race and other Creatures in the Ark, and 
 therefore caufed the Waters to retire into the Bowels of the Earth. 
 The Olive-branch is alfo, in Scripture, the Emblem of a pious Man ; 
 as we fee in the Gofpel, that the Light ought to kirn fur e on the Can* 
 dleftkkj whereby our Saviour intimates, that both Preachers and Hear- 
 ers mould fill their Lamps with the Oil of Chriftian Virtues. The 
 fame Tree, for its continual Verdure, is alfo taken for the Emblem of 
 Hope ; accordingly, Bafiltus wifh'd we might be like it, becaufe, a- 
 bounding with Bloffoms and mining Greennefs, it always affords 
 Hope of what is to come ; or the durable Fruits of Piety and Mercy. 
 
 The wifeft ^Egyptians and Greeks did, when Men's Underftandings 
 were fimple and void of Sophittry, very properly call the Chain of 
 certain Sciences, Encyclopedia ; as being by three Circles fo link'd to- 
 gether, that the Center of the one is the Beginning of the other, and 
 ' No. 24. 4 G th °k 
 
570 Of Still-Ufe. Book XI 
 
 thofe infcribed within a larger, call'd Theology. For the inner Circles 
 ftgnify, human Sciences, which, getting Root by means of Ciiftom 
 ■Reafons and Nature, are perverfely taken for infallible : But the Cirl 
 cle infcribing them denotes divine Sciences. We underltand the fa mi 
 Things emblematically of the Drefs and Ornaments of the High-prieffl 
 among the Jews ; for his Girdle implied, irreproveable Manners * hil 
 prieitly Garb, Truth, found Doctrine and Difcourfes, which with theil 
 Explanations let Men into the Knowledge of Things or Thtlofophyt 
 and his glittering Robe fignified, fure Divinity, having no other Ten] 
 dency but a Correction of Manners and leading to Virtue and Heaverl 
 Scripture teaches, that the Spirit of Wisdom enters not into the Heart J 
 the Wicked: Accordingly, Mofes denied the Unclean and Sinful a] 
 Entrance into the Tabernacle ; Thereby intimating, that thofe wrv 
 improve in Virtue and the Knowledge of God, ought by the Ule o 
 the live Loaves (according to Cyril) or the five tart Books of the Law 
 to prepare their Hearts for the two Fifties, or the Doctrine of the E 
 vangelifts and Apoltles, and therein to preferve. Next to the Sciencl 
 for Improvement of Manners, Divines fhould endeavour at Diftincti 
 nefs, Plainnefs and Order in their Speeches ; which the Learned caj 
 DialcBica\ whofe Province is to determine Controversies and reiolv 
 Doubts by reafoning juftly : For altho', like Mofes, they practifed mon 
 Duties, and were received into the Sanctuary, yet they touch/d not o. 
 iacred Things, otherwife than by means of their Speeches. Afte 
 this, they enquired into natural Philofophy, or Thyficks, having, fo, 
 Subject, the Univerfe and all created Beings ; this Science clear'd theil 
 Doubts and Scruples, and prepaid them for contemplating the gloriou 
 Building of the Heavens, in order to thank their Creator "for thi 
 Knowledge received. Their Jaft Study was Theology, which, as wj 
 have faid, comprehends all Sciences : This gives Divines iuch a con< 
 ftant Peace as neither the Regularity of human Deportment, pureft E» 
 loquence, or the molt exact Inquiries into Nature, could afford them 
 But this unchangeable Peace and firm Alliance with God they obtaii 
 by fubmitting their Knowledge, Inclinations and carnal Affections t| 
 the Rules prefcribed by Reafon. This mutual Friendship, which thj 
 Pythagoreans efteemed the main Point in Thilofophy, leads us into thl 
 moft fecret Part of the Sanctuary, in order to view the Glory of God| 
 till at laft, arriving at the higheft Degree of Knowledge, we courage] 
 oufly defeat Qfiris, or the Enemy of our Souls. 
 
 Tho' the aforefaid Inltruction confift of 4 Parts,, yet Solomon^ the wii 
 
 fed 
 
3hap. 3 Of St ill- life. si I 
 
 bft of Men, divides it into three Sciences, to wit, Ethics, Thy/tcs, 
 [nd Metafhyfas, which he has handled in his Troverbs, Ecclefiaftes^ 
 Ind SotJg or Canticum Cantkorum ; teaching in the T rover bs, moral 
 Obligations; in Ecclefiajies, the Nature of Things; and in his Song, 
 :he Contemplation of Things iupernatural. This feems well to agree 
 with the Mention in Scripture of the God of Abraham, Ifaac and Ja- 
 \ob : For Abraham's obeying God in all Things (hews an Example of 
 moral Duties ; Ifaac's digging Wells and fearching the Depths of the 
 Earth, fignifies Thyjics, or natural Philofophy ; and Jacob's Dream 
 of the Ladder, and the Afcent and Defcent of the Angels thereon, the 
 Contemplation of divine Things. Both the Hebrew, Greek and La- 
 tin Divines have largely handled this Subje&. Even the Elements 
 feemto inculcate this Doarine: For the Earth, Water and Air, by 
 their wonderful Conjunction reprefent the different Degrees of the Sci- 
 ences : The Earth andMoifture implying the Hiftory of Things, as a 
 Teacher of moral Duties: The Waters, difturbed by the Winds, 
 ihew the Turmoils happening in human Actions, which Ethics ferve 
 to allay ; the Air admonilhes, that, at length railing the whole Force of 
 our Thoughts upwards, we ought continually to contemplate the di- 
 vine Nature, call'd by the Greeks, Theologia, which is the Top and 
 Limit of our Underftanding. We fay nothing here of DialeBica, be- 
 caufe it is fubfervient to Ethics, Thyfics and Theolojy, in order to dif- 
 courfe of thofe three Sciences. 
 
 By the equilateral "Triangle we fignify, the Aim and Purpofe of an 
 holy and innocent Life; becaufe, to make it both edifying and happy, 
 three Duties are necefTary, to wit, to give our Neighbour whollome 
 Advice, to judge juftly, and to do well; wherefore T alias was, by the 
 Heathens, called 'Tritonia, as having the Care of impartial Juftice. 
 The ^Egyptians and Greeks, who were chiefly famous for emblematic 
 Learning, judicioufly underftood by the Triangle, the Affiduity of hu- 
 man Underftanding in fearching into Things heavenly, earthly and 
 fubterranean. Others would fignify fry ir, Mathematics, Thyfics' 
 ^nd Metaphyfics : With which the Opinion of Socrates well agrees. 
 
 The Square implies, Conftancy and Immoveablenefs ; becaufe, howe. 
 ver turned, it alway mews four Lines and as many Angles : Thefe, th j' 
 mathematical Obfervations, are very applicable to thofe who love Pie- 
 ty and other Chriftian Virtues, fince they remain conftantly with them, 
 and embalm their Memories to Pofterity. Ariflotle, in his ift Book 
 lof moral Duties, and 3d Book to Theodat, is of the fame Opinion ; 
 
 4 C % believing 
 
Of Still-life. 
 
 Book XL 
 
 believing, that Man, by Companion, may be called, fquare, or per-] 
 fed and pious. This quadrates with the Latin Proverb : g>uadra<>o\ 
 mim in [e perfetlum, & criminis expers-, i. e. The Square is ferfetl ) an a\ 
 not liable to Censure. Ancient Divines teach, that Noah's Ark, which 
 God commanded to be built jquare, fignified the excellent Paftors of 
 the Church, by whofe Inftruclion, notwithstanding any Snares or He- 
 refies, Men were led to eternal Happinefs. For Adamantius exhorts 
 to build fquare Libraries, not of Stone or Wood, but of the Books of 
 the Prophets, A pottles and Teachers, out of which may be abundant- 
 ly learnt true Wifdom and divine Myfleries ; and, renouncing Sin, to 
 turn and adhere to the true and immutable Corner-ftone of Salva- 
 tion. 
 
 The ancient ^Egyptians hieroglyphically fignified by the Rock, Firm- 
 nefs and Conftancy. Wherefore David, fpeaking of God's Afliftance,' 
 fays, Thou art my Rock. And our Saviour, intimating the Duration of 
 the Church, fays, He will build it on a Rock. Agreeable whereto is 
 the Dream of Nebuchadnezzar, in which he law a great Ima^e 
 whofe Head was of Gold, BreaiT, and Arms of Silver, Belly and Thiglis 
 of Brafs, and Legs and Feet of Iron and Clay : And that a Stone was 
 cut out without Hands, which fmote the Image and broke it in Pieces, 
 which the Wind carried away, fo that no Place was found for them • 
 and the Stone that fmote the Image became a great Mountain, and fill- 
 ed the whole Earth, 
 
 ThtT aim-tree, as having the lower Parts of its Stem thin and knotty. 
 Wt higher up becoming chick, andagreeablefor its countinual, elegant and 
 fpreading Verdure, fignifies, that how abjeft loever the Condition of 
 the Righteous may be in the Beginning, they at laft gain wonderful 
 Beauty in Virtues and good Qualities. But let me add the Wordi of 
 the pious and learned Eucherius : The Palm-tree, fays he, differs from 
 all others, becaufe they are thickeft downwards, and run tapering up- 
 wards, and with more pointed Branches', and the fe may be compared 
 to Worldlings, who, flighting the befi Things, feek their Salisfattion on- 
 ly in the frail and momentary: Thefe Men fpare no Labour or Trouble 
 in heaping Riches \ will even purchafe temporal Honours at the Ha- 
 zard of their Lives ; but flop at once when they are to beflow an Hours 
 Service on their Creator, or to Juccour a diftr'efs'd Neighbour. Where- 
 as, the Thus may rightly be compared to the Talm-tree, which, by its 
 tender Stem, defpifing earthly TleafureSy exalts its Virtues on high, that 
 
 it 
 
hh ap. 3: Of Still-hfe. S 7 3 
 
 ft may adhere to and obey tie Will of tie Creator. Wherefore 'tis faid, 
 that the Righteous Jhall grow and blojfom as the Pfm-tree. _ 
 
 The Cedar-tree, as yielding excellent and ufeful Fruit, is the Em- 
 blem of Mercy and Piety ; two Virtues beft becoming the Pillars ot 
 the Church, who are continually to watch over the loft Sheep of the Houje 
 of Ifrael, and to praftife Works of Mercy on them, according to St. 
 tfames • Pure Religion and undefiled before God and the Father is this, 
 to oiftt the Fatherlefs and Widows in their Jffiiclions, and to keep him- 
 felf unfpotted from the World. • ' \ \ '■ , ir , 
 
 We read in the Pfalms, that from the fprtngmg Waters of Ifrael 
 comes forth the Praife of the Lord in the Congregation of the Saints. By 
 which, Divines underftand the Books of the Law and Prophets, which, 
 as Springs of living Waters, fupplied the Ifraelitesmth the Knowledge 
 of God, and being fill'd with his Spirit, their holy Men competed 
 Hymns to the Glory of his Name. Several Commentators on Scrip- 
 ture and illuftrious Inftruments of the Church would fign.fy, by the 
 fpringing Waters, the Apoftles uAfift Teachers; and huthymius and 
 {he primitive Fathers, the Preaching of the . Goipe 1. Anu David, m 
 Pfav favs, Pie fends the Springs into the Valleys, which run among the 
 Hills ■ 'they give Drink to every Beafi of the Field, Thereby intimating, 
 that no Place is fo hilly or unattainable,, which God's Law cannot V c- 
 
 Writers mention, that the Elephant (who is known to be the mol 
 docible of Quadrupedes, and by Nature fuperior to other Beafts) par- 
 ticularly loves Charity and Piety; for as foon as the new Moon en- 
 lightens* the Earth, he purifies himfelf in. a clear River .; and, when 
 fvk, takes Grafs and other Herbage with his Trunk, and flings it to- 
 wards Heaven, as if he. thereby invok'd the divine AiMance in his weak. 
 
 C °Scri l pwre, as remarkably fpcaking of the Sto,k, emblematically means, 
 a purified Undemanding and a Mind exalted above world y l.hings.. 
 FoY this Bird always builds on the Tops ot the higheft Houles to fave 
 himfelf from the Wiles of Beafts; and, after batching his Young, .is-: 
 at continual War with the Snake, which, always creeping on the 
 Ground and into the. Holes thereof, is an Emblem of vicious Affec- 
 tions Wherefore, in Imitation of the Stork, Men lhould exalt their 
 Minds and' feek a. Dwelling place in Heaven, wherethey will be. freed 
 fVnm all the Wiles, of the Flelb and the Crafts of the DeviL. 
 & The Ancients underftood by the Emblem of the Cock- the Immor- 
 tality and Divinity of tbe Soul. And. Pythagoras commanded^ 
 
J74 Of S (ill-life. Book XI 
 
 • 
 
 Followers to feed and nurfe the Cock ; meaning, that they mould feed 
 their Souls with the Knowledge of divine Things. Wherefore Socra- 
 tes, when dying, full of Hope of a fpeedy Union of his immortal 
 Part with the Deity, faid, he was bound in Duty to offer a Cock to 
 JEfculapius, meaning the Phyfician of the Soul ; for, knowing his 
 Difiolution was at hand, he believed he Ihould now be cured of all his 
 Infirmities. Plato's Followers and Commentators fay, that the Offering 
 a Cock implies the Soul's Departute for Heaven, to publilh for ever 
 the Glory and Praife of Phcsbus. 
 
 By the Mitftard-feed are fignified Things, which, from fmall and 
 mean Beginnings, produce Plenty of Fruit. Wherefore our Saviour 
 fays, If ye have Faith as a Grain of Muftard-feed, Sec. For tho' 
 the Seed of this Plant be fmall, yet, being duly husbanded in good 
 Ground, it yields a Plant furpaffing all others, which, in a IhortTime, 
 becomes a Tree for Fowls of the Air to build in. And fuch is the 
 Fruitfulnefs of Divinity ; which, proceeding from fmall Seed, foon be- 
 comes a Tree, the Expanfion of whofe Branches thades the whole 
 Earth, and yields a Place for the Fowls of the Air to lodge in, or, 
 according to Hefy chius, Men taken up with the Contemplation of divine 
 Things. Other learned Men fay, that this Seed implies the wonderful 
 Power of God, which, as fmall and contemptible Seed, lies hid in the 
 Reading of Scripture, and is defpifed by many for its Tartnefs ; but 
 on chewing, ftrengthens and cleanfes the Stomach, corrects Vapours 
 and Humidities diifurbing the Brain, and refines the Tafte, in order to 
 our more exact Search into the Writings of wife Men and divine My- 
 fteries. For, according to Horace, 
 
 Nemo adeo ferus eft, ut non mitefcere pojjit, 
 Si m&do Cultura patient em commodat aurem. 
 
 Or, 
 
 The Breads remain'mg wild we need ?iot fear, 
 After good Learning has Admiffion there. 
 
 But waving Horace ; our Saviour charges us to fearch the Scriptures \ 
 which fome Difciples, on a certain Occafion, finding of too fharp and 
 difagreeable a Tafte, thought too hard, and not to be underftood : But 
 being prepared with this Seed, they will appear better to us than we 
 at firft expe&ed ; difpelling the Darknefs of our Undemanding, and 
 
 purging 
 
Chap. 3. 
 
 Of St ill life. 
 
 purging it of all earthly Humidities and evil Thoughts, till, with Ha* 
 ■gar, we, in any Diftrefs, difcover the Fountain of living Water in the 
 : Wildernefs of this Life, wherewith to refrefh and ftrengthen our 
 thirfty and fainting Souls. Moreover, the Muftard-feed coming up 
 green and being with Difficulty to be rooted out after Sowing, implies, 
 the conftant Rife and Propagation of divine Truths. And thofe who 
 have once tried the agreeable Tafte of the Plant, will never be drawn 
 from ufing it: This Sprig, having got Root in the Heart, will 'grow 
 and produce Seed, which wild Beafts cannot tread down, Cold or Heat 
 wither, or Perfections extirpate. By the fame .Seed is alfo figniried, , 
 a bright and vigilant Soul and an high Understanding ; for they who . 
 are feized with the Lethargy have their Heads, t after Shaving,, rubb'd 1 
 with it for their Recovery. And thus our circumcifed Hearts are like- 
 wife, with the Muftard-feed, cleanfed from the Lethargy of Sin, for 
 Converfion. Pythagoras, once tafting a Leaf of this Plant, afterwards ; 
 much admir'd it, and found that its Spirits flew upwards, as if amend- 
 ing to Heaven for the Virtue going up the Nofe to the Brain, , purges 
 it, and clears the Underftanding.; Democritus faid, that a few Grains . 
 of it bo i I'd with other Greens made them foft and tender. Let us,, 
 in like Manner, fo mix the emblernatick Muftard-feed with our divine 
 Thoughts, that, when become tender, . they may fend a Steam and 
 fweet Savour up to Heaven, where our Souls, united with God, can be 
 no more affe&ed with Hunger, Thirft or. Drowfmefs, but continually 
 employed in prailing the Almighty. 
 
 In this laft Ordonnance, relating to a Divine, we have^crowded toge- 
 ther a great Variety of Objects, only to ihew, how fruitful this Sub- - 
 je£t is in Materials : For jD/^/Yjy comprifing Phihfophy^ Phyfics, Di- - 
 akttica, , Rhetoric, , Logic, Sec. and each of thefe affording plenti - 
 ful Matter, the ingenious Artift may, by confulting good Authors, , 
 gain an inexhauftible Treafure of Things ; and then, as he thinks > 
 proper, ,more eafily leave out fome, than, having too . few, reprefentt 
 them lame and defeftive.to the. Knowing., 
 
575 
 
 Of Still-life. 
 
 Book XI # 
 
 CHAP. IV. Of the 'Origin, Nature and Quality of the Roman 
 Triumphal Crowns, and other Rewards of Honour, 
 
 WE learn from Hiftory, how noble the ancient Romans were in 
 gratifying the Virtue, Valour and Conduct of their Citizens, 
 Soldiers and Commanders, befides their ordinary Pay, with Triumphal 
 Crowns, Jewels and other Prelents, as an Example to others to tread 
 in the fame Steps, for the Good of their Country. And we judge 
 this Point very proper to be handled next to Still-life, as it will con- 
 duce to make the emblematick Senfe of a good Piece more perfeff. 
 
 After a Commander had gained either a great Advantage or Victory 
 over the Enemy, in a Siege, Battle or Sea-fight, he, according to 
 Cuftom, made an exact Inquiry, what Perfons had behaved with the 
 greater!; Valour and Refolution ; and then, placing himfelf on a Stage 
 raifed for that Purpofe, and returning Thanks to the Gods for the Vic- 
 tory obtained, he commended the Army in general for their fteacly 
 Adherence, and each Company in particular which had lhewed the great- 
 er!: Courage : Then, naming them one after another, he extoll'd their 
 Valour, ftiling them Friends and Lovers of their Country, and telling 
 them how highly they obliged the Common-wealth by their Loyalty 
 and brave Behaviour : And thereupon, in the Name of the Senate, he di- 
 ftributed among them many rich Preients, confirming of Crowns of Gold 
 and Silver, Girdles, Gold Chains, Bracelets, Rings for Ears and Fin- 
 gers, Armour, Shields, Pikes, Swords, Javelins, Standards, fine Horfe- 
 ' furniture, and other elegantly wrought warlike Inftruments ; which 
 none durft ufe or wear but thofe who had purchafed them in the Manner 
 aforefaid. The Roman Story abounds with fuch Occurrences,but efpecially 
 Titus Livius, who relates, that the Conful Papirius Cur for beftowed 
 Gold Bracelets among 400 Men, and afterwards magnificently reward- 
 ed a whole Legion. He tells us the fame Things of Scipio, when he 
 waged War in Spain and other Countries. And we read, that 
 Lucius AntoniuSy Son of Lucius Fabius Quadratus, was twice dignified 
 by the Emperor Tiberius, with Gold Ornaments for the Neck and 
 Arms. 
 
 But befides the native Valour and military Difcipline, for which the 
 ancient Romans were particularly famous, we learn from Pliny and So- 
 
 linus, 
 
:hap. 4. Of Still-life. ?yy 
 
 Inus, that oftentimes a fmgle Perfon by his Virtue and Valour obtained 
 .11 the aforefaid Ornaments ; as we fee in Marcus Sergius, who received 
 ilmoft all thofe Tokens of Honour, and even in the Battles of Thrafi- 
 menus and Trebta, and the bloody one at Canna, (in all which, the 
 Romans were defeated by Hannibal) he obtain'd a Civic Crown. 'Tis 
 related of this Sergius, that, having in Battle loft his right Hand, and 
 fixed an iron one in its Place, he fo managed his left, as, in one Day, to 
 [flay 4 armed Men one after another ; and that in Fights and Skirmifhes, 
 he had received 23 Wounds in the Fore-parts of his Body. And yet this 
 Man is inferior to Lucius Sicinnius Dentatus, Overfeer of the City of 
 Rome, of whom Pliny, Solinus, Valerius Maximus and Aulus Gellius 
 unanimoufly report, that his great Merit had gained him, from the Se- 
 nate, above 320 honorary Prefents of all Sorts, and that he 9 times 
 made his Entrance in Triumph with the Generals whom, by his Va- 
 lour and Conduct, he had affifted in their Conquefts ; and that he could 
 Ihew a great Number of Lances and Pikes, uniron'd, which, as fo 
 many Tokens of Honour, fell to his Share ; as alfo, 1 8 gold and 83 
 (ilver Neck-ornaments, 25 coftly Horfe-furnitures, 140 Bracelets, 14 
 Civic Crowns, 8 Caftrenfes, 3 Mural, 1 Obfidional, and I know not 
 how many Naval or Roftral Crowns. He had received 45 Wounds, and 
 thofe in his Fore-parts only ; difarmed the Enemy 34 times, and fought 
 120 Battles. In a Word, he was ftiled the Roman Achilles. 
 
 The Crowns, beftow'd on Men of particular Merit, had Degrees of 
 Dignity, and particular Names fuiting the Nature of the Victories; 
 as, Corona Ohfidionalis, Civic a, Triumphalis, Ovalis, Muralis, Navalis 
 and Caftrenfis. 
 
 The Corona Ohfidionalis, or Obfidional Crown, was the moft excellent 
 of all; for when a Roman Town or Camp, befieged and reduced to 
 Extremity, was relieved by a Roman Captain, the Common-wealth 
 rewarded the Action in the moft noble Manner, viz. with the afore- 
 faid Crown and a Triumph. This Crown, tho' made of Grafs, was 
 accounted of higher Worth than if of Gold and enrich 'd with precious 
 Stones: The Grafs was pull'd up in the Field of Battle; wherefore this 
 Crown is faid to be facred to Mars, (which Boccatius feems to af- 
 firm) poflibly becaufe the Grafs grows moftly in open Places and 
 Fields of Encampment. The great Quintus Fabius was, in Reward of 
 his Merit, by the general Confent of the Senate and Roman People, 
 honour'd with this Crown, when, in the 2d Punic W ar, he delivered 
 the City from the approaching Ruin and Extremity which Hannibal 
 had brought it to. Mmilius Scipio had the fame Gift in Africa, for 
 
 No. 25. 4 D refcu- 
 
T78 Of Still-life. Book XI. 
 
 refcuing the Conful Manlius and his Forces out of the Power of the 
 Enemy. Calpurnius obtained the feme Honour in Sicily ; as did alfo 
 the incomparable Lucius Sicinnius Dentatus, 
 
 The Corona Civica, or Civic Grown, was given to him who had pre- 
 ferved a Roman Citizen from imminent Danger, or releafed from Cap- 
 tivity. This Crown was made of Oak Sprigs and Leaves with the 
 Fruit hanging at it, and, by the General's Order, who gave it to the 
 Perfon fet at Liberty, put on the Deliverer's Head. But tho' a Perfon 
 had faved a King or other great Ally of the Romans from falling into 
 the Enemies Hands, yet he got not this Crown, which was only due to 
 him who had freed a Roman Citizen from Death or Slavery. Pliny 
 fays, this Crown was alfo prefented to him who flew the firft of the 
 Enemy befieging a Roman Town. It was the next in Dignity to the 
 Corona Ob/idionalis, and worn on feveral Occafions ; efpecially on the 
 great Feftivals and Solemnities ; and in the Plays and other publick 
 Sports thofe who were honour'd with it fat next to the Senate, and, at 
 their Entrance, were received by them with all the Marks of Refpecl. 
 Thefe Perfons, with their Fathers and Grandfathers, were entirely ex- 
 empted from all Charges and Taxes, as having begot Sons fo beneficial 
 to the Common-wealth ; they were alfo at Liberty to accept or refufe 
 publick Offices. Several Romans obtain'd this Honour, efpecially the 
 aforefaid valiant Lucius Sicinnius Dentatus, who 14 times gloried in it ; 
 as Capitolinus did fix. The brave Marcus Sergius like wife received it 
 from the Senate, and, in a Word, all thofe, who, in an extraordinary 
 Manner, had benefitted the City or Country. The famous Cicero was 
 fo crown'd by a particular Decree of the Senate, for having happily 
 deliver'd the City from the imminent Danger of the CW//^Confpiracy. 
 Thefe Crowns, tho' feemingly fimple, as being made of Grafs and 
 Sprigs of Trees, were yet of greater Account than thofe of Gold and 
 Jewels. They were of Oak, becaufe the Acorn was the moft ancient 
 Food, and becaufe , that Tree was facred to Jupiter, the Tutelar-god. 
 The Victors, in the Capitoline Games, inftituted by Domitian, as alfo 
 Stage-players., Mulicians and Poets were likewife crowned with Oak- 
 leaves. 
 
 The Corona Triumphalis, or Triumphal Crown, was given to the 
 General who, having overthrown the Enemy in a pitcht Battle, had 
 thereby either faved a Roman Ally, or annexed fome Dominion to the 
 Common-wealth; wherefore he was alfo introduced into the City in 
 Triumph, riding in a gilt Chariot drawn by four or, according to fome,, 
 fix white Horfes. This Crown was made of Laurel, facred to Apollo 
 
 for 
 
"hap. 4. Of Still-life. ^79 
 
 "or its Greerinefs and red Berries, and fignified, that the Victory is at- 
 tended with much Trouble, Danger and Blood-fhed. Sextus relates, 
 (that the Soldiers ufed to follow the Chariot of the Conqueror, alfo 
 browned with Laurel, to purify them, on entring the City, from the 
 plood of the Slain. By the Suffrage of the Senate, the Vigors in the 
 fft' eft ling Games were honour'd with the fame Crown: And it was an- 
 ciently given to Men eminent for heroic Poetry and Eloquence: Where- 
 fore Hefiod fays, The Mufes had be flowed on him a Scepter and Crown of 
 'Laurel. The Roman Priefts and South -fayers likewife crowned them- 
 felves with Laurel : Even thofe who follow'd the Army wore a Sprig 
 of it on their Helmets, inftead of a Feather, becaufe the Tree was ac- 
 counted and called by them a fore-telling one. 
 
 The Corona Ovalis, (given to a General, or other prime Perfon, 
 •who had beaten the Enemy with little Refinance, or, having undertook" 
 the War without the exprefs Command of the Senate, had gained 
 fome considerable Fortrefs, Town or Place) was made of Myrtle- 
 leaves, a Tree facred to Venus. This Crown denoted, that the War 
 was carried on without great Bloodlhed ; and therefore publick Rejoic- 
 ings were made for it, but without much Triumph. When a Victory 
 was gained over Slaves, or Pyrates and Robbers, the Victors had the 
 fame Sort of Crowns, becaufe fuch Enemies were judged unworthy of 
 feeling the Roman Valour. The principal Generals who obtained this, 
 &nd the triumphal Crown aforefaid, I ihall mention among the Tri- 
 umphs. 
 
 The Corona Muralis, or Mural Crown, was the Reward of a Sol- 
 dier or Officer, who, in afTaulting a Town of the Enemy, firft advanced 
 a Ladder, and valiantly mounted the Walls, and made W r ay for Con- 
 queft. This Crown was of Gold, reprefenting the Battlements of the 
 Town-wall they had conquer'd ; or elfe being like that which the 
 Poets afcribe*to Cybele, the Mother of the Gods, or Mother Earth. 
 Round it were engraven Lyons, the Emblems of Valour and Genero- 
 fity. Suetonius relates, that common Soldiers received it, as w r ell as 
 Captains and Generals, on a publick Teftimony from others, that they 
 firft gained the Top of the Enemies Walls. Manlius Capitolinus was, 
 according to Pliny, firft honoured with this Crown. And Scipio gave 
 it to Trebellius and Sextus Digitus, on their jointly firft mounting 
 the Enemies Walls. 
 
 The Corona Navalis, or Naval Crown, was given to him who, in 
 a Sea-engagement, firft entred into an Enemy's Ship, and made him- 
 felf Mafter of it. This Crown was alfo of Gold, and its Circle fet 
 
 4 D 7, round 
 
Of Still-life. 
 
 Booi XI 
 
 round with Ships Prows. Marcus Varro difdained not to receive itl 
 at the Hands of Pompey the Great, for fubduing the Sea-rovers. J?u\ 
 guftus prefented it to Marcus Agrippa, on his gaining the upper Handl 
 in the Sea-fight off Sicily ; as he alfo did to Sylla, and feveral others. 
 The Senate gave it, together with a Gold Shield and other honour- 
 able Gifts, to the Emperor Claudius, for having, foon after he ob- 
 rain'd the Imperial Dignity, vanquifh'd 300,000 Barbarians, in Rebel- 
 lion againft the Empire, and funk 2000 of the Enemy's Ships. 
 
 The fame Crown was the Prefent of the ancient Athenians to thofe 
 who fitted out Ships of War for the publick Service, or firft landed 
 and intrenched on the Enemy's Ground. 
 
 The Romans, in Procefs of Time, placed an Hedge-hog on the Cir- 
 cle of this Crown, becaufe that Creature's Defence lying in his Skin, 
 wherein he rolls himfelf up, he was efteemed the Emblem of a Sea- 
 fight. This Crown is afcribed to Diana, or the Moon, as fhe influ- 
 ences the Sea, and its Floods. 
 
 The Corona Caftrenjis was given, by the chief Commander, to him, 
 who, in Battle, firft enter'd the Enemy's Camp. This Crown was a 
 Gold Circle, to which were affixed Palifades of the fame Metal. They 
 alfo had it who firft deftroy'd the Palifades of the Enemy, and there- 
 by open'd a Door for Victory. This Crown was the Reward of a 
 great Number of Romans in thofe Times of Valour.. 
 
 Befides thefe Degrees of Honour, the Romans beftowed feveral Pri* 
 vileges on thofe who excell'd in warlike Atchievements, caufing them* 
 in the publick Pleadings, to fit in the Sella Curulis, or the Pretor's Ivory 
 Chair ; as we read of the great Scipio : And, it often happen'd, fince 
 all Things center'd in the Voice and Confent of the People, that fome 
 of the Soldiery were inverted with greater Power and Privileges. All 
 Generals, who, by Conqueft, had enlarged the Empire, were allowed 
 to fet up their Statues in the Confular Drefs. Auguftus, to eternize 
 the Memories of all fuch Generals as had augmented the State, or- 
 dained, that, next to the Gods, the firft Veneration fhould be paid to 
 them : And for that Purpofe built a Gallery in his Palace, wherein 
 to fet their Statues, with all their honorary Titles; notifying, by 
 Proclamation, that he did this for himfelf and Succeflbrs, as an Exam- 
 ple to Pofterity to imitate the Virtues and Valour of fuch illuftrious 
 Perfonages. Moreover, it was a laudable and conftant Cuftom of the 
 Senate, to affign the Children of fuch as fell in Battle, the liberal* 
 Enjoyment of the Pay of their deceafed Parents; and to the old and 
 maimed Soldiers, as many Lands, in the Provinces they conquer'd, as 
 
 would 
 
Chap, s* Of St til-life. ^8i 
 
 would comfortably fupport them and their Families for the Remainder 
 of their Lives. On this Footing, the City of Seville in Spain, and the 
 fruitful Country round it were made a Roman Colony by Julius Cafar\ 
 and Corduba and feveral other Places in divers Parts of the World were 
 applied to the fame Purpofe. In a Word, Roman Services never mifs'd 
 a Reward ; and, for this Reafon, that Common-wealth produced more 
 brave Men than any other Nation whatfoever; every one exerting 
 himfelf to attain all the Degrees of Honour by the ftricleft Virtue. 
 But, on the other hand, the vicious and cowardly were, in Proportion 
 to their Offences,, as feverely punilh'd, either by Deprivation of their 
 honourable Offices and future Hopes, or elfe by being whipp'd with 
 Rods till the Blood came, or loaden with Irons and made Slaves. Ti- 
 tus Livius relates, that a Troop of dppius Claudius, cowardly defert- 
 ing a certain Poft which they were fet to guard, was rigoroufly pu- 
 nilh'd, by every tenth Man's being put to Death, according to Lot, with- 
 out Refpeft of Perfons. Julius Front inus writes, that Marcus Jnto- 
 nius caufed a certain Troop, who had not duly defended a Town-wall 
 and Fortification, to undergo the fame Fate. There were many other 
 Methods for puniihing the Difobedience of the Roman Soldiery, which 
 I fhall pafs by, and conclude with Horace,. 
 
 , — — adfit 
 
 Regulo pec cat is qua posnas eroget aquas,. 
 
 That is, 
 
 Crimes do require the Penalties of Laws, . 
 And Jhifleji Juftice great eft Reverence draws.. 
 
 CHAR V. Of the Solemnities of the Roman Triumphs, 
 
 TWO Motives generally incite a Man to do great Things, either 
 in Times of Peace or War; to wit, Honour and immortal 
 Fame, or Riches and Profit. Generous Souls always afpire at the for- 
 mer, and reject the latter, as below them. The Roman Government 
 knew perfectly well how to make its Advantage of thefe Inducements, 
 in the Encouragements given to its Subjects; and we fhall begin with 
 
 the 
 
Of St ill- life. 
 
 Book XI. 
 
 the Triumphs > by which they honour'd and rouzed the Valour of 
 their Heroes. 
 
 The Triumph was an Entrance and Welcome of a General, by De- 
 cree of the Senate, after an happy Expedition and the Conclusion of a 
 War, whereby, in the moft folemn and pompous Manner, they (hew- 
 ed him their great Efteem. On the Day of Entry, the Inhabitants of 
 all the Towns flock'd to Rome, and the whole City, Temples, Streets, 
 Gates, Houfes and Windows were hung with all Sorts of coftly Stuffs, 
 in Gold, Silver, and Silk, and beautifully deckt with great Variety of 
 green Branches and Flowers. In a Word, nothing was wanting to 
 thew either the Power, Magnificence or Joy of the Romans, on this 
 Occafion. The Senate, Clergy, Nobility and moft eminent Citizens 
 (and therefore the greateft Part of Rome J richly dreft, met the Con- 
 queror without the Town-gates. He fat in an Ivory Chair, called Se- 
 des Curulis, in a Gold Chariot fparkling with precious Stones, and 
 drawn either by four or fix white Horfes magnificently equipt ; and 
 was dreft in a Garment of Purple and Gold, called Toga Palmata, 
 crown'd with Laurel, and the Staff of Command in his Hand, or elfe 
 a winged Image of Viclory, holding a Crown of LaUrel or a Palm- 
 branch. Sometimes this Figure was placed behind him, holding in its 
 right Hand a Crown of Laurel over his Head, as we fee it both Ways 
 in the ancient Bafs-reliefs and Medals. The Prifoners of War, dreft 
 like Slaves, and with (horn Heads, and the King or General, with the 
 moft eminent of the Vanquifh'd, were led in fetter'd Couples before 
 the Chariot ; which the Roman Legions followed, in Troops or Com- 
 panies, on Foot and Horfe-back, in their Order, richly arm'd, and 
 with their Pikes and Lances twined with Laurel, as a Token of general 
 Joy : But they who had moft fignalized themfelves in Valour, march'd 
 on each Side of the Chariot, with Crowns of Laurel on their Heads, 
 and Palm-branches in their Hands. Before the Conqueror went like- 
 wife fome Carriages laden with the Arms, Banners, Gold and Silver 
 Vafes, Jewels and all Sorts of Gold and Silver Coin, taken as Booty 
 from the Enemy ; together with the Gifts and Prefents he had received 
 from the Friends and Allies of the Romans. Next came fome Caftles 
 and Towers of Wood, elegantly carved, refembling the Towns and 
 Fortrefles gained of the Enemy. In their Paflage, the Army feigned 
 fome Battles, in fo lively a Manner as thereby to affect the Spectators 
 with all Sorts of Paffions, as Sorrow, Joy, and Fright. The Variety 
 of thefe Sights was fo great and exceflive as to fpin out the Cavalcade 
 for three or four Days ; and being arrived at the Capitol, all the Arms 
 
^hap. jr. Of Still-life. ^83 
 
 ihd Booty, called Manubia, taken from the Enemy, were hung up and 
 lepofited in the Temple of Jupiter, as an eternal Memorial of the 
 Virtue of the Conquerors. Here the Senate return'd them Thanks for 
 :he Service done to their Country, and, commonly chufing the Victor 
 is a Coadjutor in the Government, the Joy concluded with a magnifi- 
 :ent Entertainment. But, for forming a better Idea of thefe Tri- 
 umphs, and the Order therein obferved, I fhall, as far as my Me- 
 mory will permit, give fome Examples of them out of the Roman 
 Hiftories. 
 
 Plutarch defcribes the Triumph voted to PauJus JEmi/ius, for 
 his Victory over the Great Perfeus, King of Macedonia, in this 
 Manner. 
 
 Firft, the People of Rome and the neighbouring Towns, magnifi- 
 cently dreft, appeard at the Doors and Windows, in the Balconies, 
 Garrets and on Tops of Houfes, in great Multitudes, as Spectators of 
 the Solemnity. All the Temples in Rome, richly adorned, were fet 
 open. The Houfes and Streets were wonderfully garnifrYd with all 
 Sorts of coftly Hangings and fill'd with Greens, Flowers, choice Per- 
 fumes, and a thoufand other fine and delightful Things. And as the 
 Concourfe of People was very great, Men with Staves were appointed 
 to make and preferve a Lane or Paflage thro 1 them, for the March of 
 the Triumphers. The firft Day was fpent in the Proceffion of the 
 Banners, Standards, Enfigns, Statues, Coloftes, Pictures and Figures, 
 all placed on Carriages elegantly painted, and (lowly driven. The fe- 
 cond Day was taken up with the Pafiage of the bright Armour of the 
 vanquifh'd King and Macedonians, placed on neat Chariots or Carri- 
 ages made for that Purpofe. To thefe fucceeded 3000 Men, partly 
 carrying the Gold and Silver Coin in 350 large Silver Dilhes and Vafes, 
 each weighing three Talents, and carried by four Men. The Re- 
 mainder of thefc Men bore Fountains and (lately Vafes of Silver, art- 
 fully wrought. On the third Day appear'd the firft Company, pre- 
 ceded by a great Number of Pipers, Drums, Hautboys and Trum- 
 pets, making a warlike Mulic as if preparing for an Onfet. Thefe 
 were followed by 120 Cows, deckt with gilt Horns and facred Linnen 
 Coverings, and all Sorts of green Garlands wreath'd with Flowers, led, 
 For Victims, by beautiful young Men richly dreft, and (ucceeded by a 
 Company of Children carrying Gold and Silver Dilhes, for the Ufe of 
 •he Sacrifice. After thefe, came the Bearers of the Gold Vafes with 
 Sold Coin, in Number 72, followed by (everal great Officers of the 
 Retinue of Antigonus and Selcucus, late Kings of Macedonia, and even 
 
 of 
 
Of Still-life. 
 
 Book XL 
 
 of Perfeus himfelf, carrying the exceffive large Gold VefTel, weighing j 
 ten Talents, and enrich'd with all Sorts of precious Stones and Dia- 1 
 monds, which was made by JEmiliufs exprefs Order. Next to thefe j 
 appear'd the Body-chariot or the conquer'd King, and therein his Coat I 
 of Arms, Diadem, or Royal Head-band, Crown and Scepter. Then I 
 followed the Children of the unhappy Prince, attended by a great I 
 Number of his Courtiers, as Stewards, Secretaries and other fuch Do- I 
 meftics, weeping and lamenting their Slavery in fuch a Manner as, 
 confidering the Viciffitude of human Affairs, to raife Compaffion in the 
 Spectators ; efpecially the Sight of the three innocent Children, two 
 Sons and a Daughter, who, by Reafon of their tender Age, were in- 
 fenfible of their unhappy Condition. After thefe appeared the Father, 
 dreft in Black, according to the Cuftom of his Country, and walking 
 full of Terror and Concern on this Occafion. Next to him came his 
 Friends, Favourites, and Confidents, who, fixing their Eyes on him, 
 and bitterly weeping, mov'd many of the Romans themfelves, with 
 Tears in their Eyes, to pity both their and the King's fbrrowful Condi- 
 tion. To thefe fuccecded the Gold Crowns which the ancient free Ci- 
 ties had prefented to the Conqueror, as a Gratulation for his Victory : 
 And then came JEmillus himfelf, fitting on a Gold triumphal Chariot, 
 drefl in a purple Garment richly wrought with Gold, with a Laurel- 
 branch in his Hand, and a Crown of the fame on his Head. He was 
 follow'd by the Army, Horfe and Foot, orderly marthall'd under their 
 proper Enfigns, having Garlands of Laurel and Palm-branches in their 
 Hands, and finging Hymns in Praife of the Victor and Victory. Thus 
 PauJus JEmilius made his triumphal Entrance into the famous City 
 of Rome, where he ofTer'd the Booty in the Temple of Jupiter 
 Capitolinus, and returned the God Thanks for his Victory and 
 Triumph. 
 
 All other Triumphs were manag'd much in the fame Manner, with 
 Abatement of fome Circumftances, according to the Pleafure of the 
 General who was honoured with them. And tho' we find the Solem- 
 nity regulated by Laws, precifely directing in what Manner, at what 
 Time, and thro' what Gates and Streets the Cavalcade was to pafs, 
 yet, as for the Plays, Shews, and other lefs Appurtenances, they were 
 leflen'd or augmented at the Will of the Victor, with a Liberty to 
 chufe the Chariot. Hiltory tells us, that the Chariot was commonly 
 drawn by four white Horfes ; but we alfo find Bulls ufed for the fame 
 Purpofe. Pompey the Great, having fubdued Africa, made his Entry 
 on a Chariot drawn by Elephants. Suetonius relates, that Julius Ca- 
 
Chap. y. Of S U 'ill-life. 
 
 yar triumphed in one with forty Elephants. The Emperor Gordianus 
 [triumph'd in the fame Manner. Gains Marius, having fubjected A- 
 ifrica and extended the Roman Jurifdiction into Mgypt, was drawn by the 
 [lame Kind of Beafts. Scipico Africanus triumph'd with Elephants for 
 the fame Reafon. The Emperor Auguftus, on his victorious Return 
 from the Eaji and ending the War with Anthony, was, by Confent of 
 the Senate and People of Rome, drawn by four Elephants. The Em- 
 peror Vefpajtan had the fame Honour on nnifhing feveral great Wars in 
 the Eaft ; the Elephants denoting the Conqueft of Countries, where 
 thofe Creatures breed. Flavins, in his Hiftories, tells us, that the 
 Emperor Aurelian, who was King of the Goths, made his Entrance on 
 a Chariot drawn by Stags. But Marcus Antonius made ufe of tame 
 Lions ; intimating, that, in the Civil Wars, he would make the moft 
 Valiant fubmit to his Commands : Which Cicero in his Orations, 
 called Philippica, objects him, faying, that his triumphal Cha- 
 riot with Lions implied, an arbitrary Man aiming at Monar- 
 chy. 
 
 "The Roman Generals, when they triumph'd, had alfo a Cuftom of 
 carrying one or more young Children in their Chariots ; as we gather 
 from Cicero's Speech before Murena. Some ufed to be attended with 
 a great Number of ftrange wild Beafts, as Lions, Bears, Tygers, Rhi- 
 nocerofes, Panthers, Dromedaries, and fuch like; as Jofephus, in his 
 Hiftories of the Vefpajians, mentions. Others had Vocal and Inftru- 
 mental Mjfic and other Diverfions. Among thefe Triumphs, thofe 
 | of Pompey the Great, Cafar, the two Scipio's, Brothers, and feveral 
 Emperors had fomething lingular ; as Blondus, in his Treatife, entitul'd, 
 Rome Triumphant, largely difcourfes. The triumphing Conquerors 
 were likewife allowed to fet up their Statues in Temples and 
 publick Places, and to erect Columns and coftly Structures of Mar- 
 ble, called Arcus TriumphaJes, whereon were carved in Bafs-relief 
 their Battles and Victories, for eternal Monuments to Poflerity ; 
 Remains whereof we fee to this Day at Rome and elfewhere. Herein 
 the Romans imitated the ancient Greeks, who, for a Memorial of great 
 Actions, fet up Trophies, made in the following Manner. In the Place 
 jof Victory, they fixed the higheft Tree to be found in the Neighbour- 
 I hood, and then, chopping off the Branches, they, in Honour to the 
 ■Victor, hung, on the remaining Limbs, the Arms of the Vanquifh'd ; 
 ' calling that Tree, Trophaum, from the Greek Word Tropi, which fig- 
 nifies, Overthrow, Flight and giving way ; becaufe the Enemies were, 
 ; j"n that Place, put to Flight. The Romans afterwards made ufe of 
 No. 25. 4 E them 
 
j-86" Of Still-life. Book XI* 
 
 them for the famePurpofe; for Salkftius in his Memoirs relates 
 that Pompey, having conquer'd the Spaniards, planted his Trophhs on 
 the Tops of the higheft Pyrenees. And this Cuftom afterwards grew 
 into fuch Efteem, that they were made of Stone. But, according to* 
 Scripture, the Ufage was very ancient among other Nations j :br it 
 appears in Chap, i ^ of i Sam. that Saul, having vanquitVd Agag, King; 
 of the Amalekites, and, being come to Mount Car met, fet up an Arcus 
 Triumphalis, or Place. In a Word, the Honour of Triumphing was 
 accounted by the Romans as a Token of the higheft Efteem ; and there- 
 fore, to obtain it, their Generals fpared for no Toils or Dangers in 
 warlike Atchievements : Add to this, the Riches commonly trifing^ 
 from fuch Glory by the Prefents made them by the Allies ani the 
 Booty of the Enemy. In my Opinion, Hiftorians have defcribed this 
 Matter fo circumftantially, on purpofe to put Princes and Govemours 
 in mind of rewarding the Deferts of their Generals, Soldier,' and 
 Men of Merit, and that the Unskilful, Cowardly and unfit for Com- 
 mand might not be ranged with thofe who willingly facrificed their 
 Fortunes, Capacities and Bodily Labours to the Benefit of their Coun- 
 try. According to Paulus Oroftus 320 Perfons have been horour'd 
 with the Roman Triumph, of whom the Emperor Probus, in vhofe 
 Pveign the Fabric of the Roman Monarchy began to decay, was the laft. 
 
 Let us here fubjoin a Grecian Triumph, Antiocbus, furnam'd Epi- 
 phanes or the Illuftrious, King of Syria, having heard of the afoiefaid 
 glorious Triumph of Paulus Mmilius, was fo puff'd with Ambtion,. 
 that he refolved to make a Sort of one furpaffing it in Magnificence. 
 To which end, he caufed Proclamation to be made throughout his 
 Kingdom, that, at a certain Time, he would at Daphnes hold a grand 
 and uncommon Tournament : Which Curioiity drew out of Greece and 
 the neighbouring Countries a great Concourfe of People ; anc the 
 Cavalcade was in the following Manner. 
 
 Firft, march 'd 5000 Grecian Young-men arm'd Roman-like, follow 'd 
 by as many Myfians finely habited after their Fafhion. Next appeired, . 
 3000 Tbracians and 5000 Galatians, follow'd by a vaft Number of 
 other Nations, called, for their Silver Shields, Argyrafpides., After 
 thefe came 250 Ranks of Sword-players, called, by the Romans, Gla- 
 diatores-y and then 1000 Knights, with Chaplets of Gold about .heir 
 Heads, and their Horfes coftly equipt with Gold embroider'd Hoifings 
 and gold and filver Bridles. Thefe were followed by 1000 other 
 Knights, called Companions, aflbciated with fomeof the King's Fr ends 
 ■aad Confidents. Then appeared rooo Noblemen on Foot, and after 
 
 them. 
 
Chap. ?. Of Still-life. 3*87 
 
 them 1000 other Knights, called the King's Troops. Next came 
 1500 Knights in gold Armour, over which they had Coats of Ar- 
 mour richly embroider'd with Gold and Silver, and artfully adorned with 
 all forts of Animals. To thefe fucceeded 100 Chariots, each drawn by 
 fix Horfes, follow 'd by 40 others, each with 4. After thefe appear'd a 
 Chariot with Elephants, followed by 36 of the fame kind of Creatures, 
 and thole by 800 Boys, having Garlunds and Crowns ornamented with 
 Gold in their Hands. Next came 1000 fat Oxen with 800 Indian 
 Elephants Teeth. After thefe were carried an infinite Number of Idols 
 and Figures of deceafed Perfons who had been famous for Arts and Sciences, 
 dreft in gold and filver Stuffs adorned with precious Stones, with their 
 Names, Dignities and Aclions written on the Pedeftals. Then came 
 Slaves bearing Idols, reprefenting Night and Morning, Mid-day and 
 Evening, and an infinite Number of gold and filver Veftelsof great Value. 
 Next appear'd 600 of the King's Pages dreft in gold Stuffs, follow 'd 
 by 200 Ladies carrying gold Boxes fill'd with all manner of rich Per- 
 fumes and odoriferous Balm, and thefe by 40 Sedans of mafly Silver, 
 carrying as many Ladies, and thofe by 80 gold Sedans with Ladies 
 dreft in Gold, Silver and Jewels. The Streets abounded with all forts of 
 rich Oils, Balms and Perfumes. This Cavalcade lafted thirty Days 
 fucceffively, attended with Plays, Tournaments and Shews ; during 
 which Time, every Perfon, after perfuming himfelf, was allowed to 
 fit at the Royal Tables, 1500 in Number, and to feaft at the King's 
 Expence. To proceed to the Romans. 
 
 Another Solemnity obtain'd among them, call'd Ovatio ; which was 
 inferior to the Triumph in fome of its Requisites : For inftance, if 
 the Victor was not of Confular or Proconfular Dignity, or had met 
 with little Reflftance from the Enemy, or gain'd the Viclory without 
 great Blood-fbed, or had overcome People of fmall Worth, or (as we 
 laid, fpeaking of the Corona OvaJis) when the War was undertaken 
 without the exprefs Command of the Senate, &c* in fuch Cafes, the 
 Viclors were folemnly welcom'd with the Ovatio, in the following 
 Manner. 
 
 The General enter'd the City on horfe-back, or, as anciently, on 
 foot, crown'd with Myrtle, (a Tree facred to Venus) becaufe the Vic- 
 tory was gain'd not in a Martial, but in a Manner becoming that 
 ! Goddefsand Women, as Aulus Gellius fays; and the Troops in their 
 Proceffion appear'd not in Arms, and, inftead of Drums, Trumpets and 
 other Warlike Inftruments, their Mufic was Flutes and other foft 
 Sounds. The General entered with the Booty in an orderly Manner, 
 
 4 E .2 folio w'd 
 
5-88 Of Still-life. Book XI. 
 
 follow'd by his Army, and the Senate folemnly received him without 
 the City-gates, highly commending his Anions. Hiftories tell us, that 
 feveral great Generals fued for and accepted this Honour. The* fir ft 
 was Pofthumius Libertus, on his having fubdued the Sabines, and next 
 ■Marcus Marcellus after the Conquer! of Syracufe. Suetonius relates, 
 that Juguftusy after the Battle of Philippi, and on finishing the "War in 
 Sicily, obtained that Honour. And Pliny fays, that feveral Generals, 
 denied by the Senate, the Honour of the great Triumph, were decreed 
 the Ovatio; which was fo called, from the General's offering a Sheep^ 
 in Latin Ovis, when he came to the Capitol, inftead of a Bull, facrifi- 
 ced in the Great Triumph. Others think the Word is derived from 
 the Shouts of the People, who ufed to cry, Oe ! or elfe Ovef Whatever 
 the Truth is, this folemn Entrance was always call'd, by the Romans, 
 Ovatio. 
 
 Other Triumphs of thofe People I ftiall, for 1 : Brevity, omit fpeaking 
 of. He who wants further Information, may read Jppianus Alexan- 
 dtimis and Jmmianus Marcdlinus, the former defcribing the Triumph 
 of Scipio Afacanusy. and the. latter, that of the Emperor Conjian* 
 tius. 
 
 CHAP. VI. Of the Manner of the four principal and ptblick 
 Grecian Games,, and to whofe Honour itiflituted. . 
 
 "'HE Antiquity and Manners. of the Grecian Games being fome- 
 what unknown to many curious Artifts,. I think it will "be ac- 
 ceptable, to give a ftiort Defcription (as well as I can) of the four prin- 
 cipal Games fo highly and fo often extolled by the. Greek and Roman 
 Writers. 
 
 The firft and principal were called the Olympic Games, held, near 
 the City Olympia, in the Province of Elis 9 and inftituted in Honour of 
 Jupiter lymphs , by the Jdaan. Hercules and his four Brothers,, Pceoneus, 
 Idas, Jafms and Epimedes y meeting together from Mount Ida in Can- 
 dia, and, being five Brethren, they were ftiled the Jdaan Dactyls. 
 Thefe Games being celebrated every five Years with great Solemnity] 
 the Ancients therefore reckon'd their Time by Olympiads, thereby 
 undemanding a Period of five Years. They confifted of five forts of 
 Exercifes, viz. Running, Wreftling, Boxing, Throwing the Coit and 
 
 Leaping, 
 
Chap. 6. Of Still-life. ?8 9 
 
 Leaping. The Place of Exercife was fenced in with Pales, and ner 
 
 Spe&ator was- fuffer'd to come within it. 
 
 Some pretend, thefe Games were inftituted by Jupiter, after he had 
 deftroyed the Giants who attempted to ftorm Heaven ; and that Jpollo- 
 bot the Preference in out-running Mercury, that Mars bore away the. 
 Prize in Wreftling, Boxing, Others prove, that each of the 
 
 Sforefaid Brethren invented his Game and Exercife, and that, being five 
 in Number, they were, from the five Fingers, named Daftyls,. Daffy- 
 los, in Greek, fignifying a Finger. , 
 
 The Grafo called thefe five Exercifes Pentathlm,. and the Latins,. 
 Quinquertium. Two of them had a Dependanee on the- Legs, viz.< 
 Running and Leaping; two on the Arms, as the Coits and Boxing, and. 
 the Wreftling refpe&ed both Arms and Legs-. The. Viftor,. in all the 
 five Exercifes, was, by the Greeks, called Pancratiaftes^ a Word com- 
 pounded of Pan, and Kratos, fignifying,. a, bellowing the whole Force 
 of the Body.. In Boxing, all- Advantages might be taken for overcom- 
 ing the Antagonift; and the Prize was adjudged to him who gained his 
 Point moft dextroufly. Accordingly, they ftruck with Fifts and El- 
 bows, kick'd, biu fcratch'd and fprain'd the Fingers, Hands and other 
 Parts of the Body. They even endeavour'd to thruft out each others 
 Eyes with their Thumbs. In fhort, no Artifice, was omittedfpr gain- 
 ing the. Victory. 
 
 We fhall briefly relate in : what Manner the aforefaid hve .Exerciie*. 
 were performed. 
 
 The Circus, wherein they ran on foot, was originally- a Stadtum %) 
 or 600 Geometrical Feet in. Length: But, in the 14th Olympiad,, they, 
 doubled it.. This Race was at firft on, foot, and in a light Drefs;, 
 but afterwards on horfe-back, and in Armour. Men, called Runners 
 on. foot, were alfo. admitted armed from Top to Toe.; this Exercife 
 being judged very, proper for the Bodies of Warriors. The. firft Vict 
 tor herein was, Demaratus of Herea : And the Hymns fung m.their, 
 Honour, fufficiently teftify their running in Armour. But the firft, 
 who got the Prize in running without Armour, was Chorcebus, of bus, 
 after a long Conteft with. him. about, it.. Arrachion,, of Pbigaha ob- 
 tained the Prize in. the fecond and third Exercifes; and Polycrates, ot 
 
 ' Mejjene, a Maaof noble Extraaion* got much Honour : and Glory m 
 
 ; the fourth, wherein .he was .Victor. 
 
 The JVrejlling was undertaken ; after the Body had been thoroughly 
 anointed with Oyl, in order to prevent a. Gripe, and then daubed. with 
 fine Duft, to dry the. Sweat. Thus prepared, ..the, Wreftlers entered 
 
 the Lifts, and began with feizing the Hands,, then the Arms andBody, 
 under 
 
m Of StilJ life. Bock XL 
 
 under the (hort Ribs, &c. Thus endeavouring, by various Methods of 
 Strength and Dexterity, in kicking, pufhing, and other Tricks, to 
 fling one another on their Backs; for a Fall on the Belly went fori 
 nothing. Before they enter'd the Ring they caufed their Parts to be I 
 foundly rubb'd, to make them more fupple and agile. 
 
 Boxing, and fighting with Slings were the mod: dangerous Exercifes. 
 The former was anciently performed with Ox-leather Thongs tied 
 about the Hands, by which, with wonderful Activity, they dealt each 
 other very hard Blows. But the Slings confifted of fmall Lea- 
 ther-flraps, armed at the Ends with little leaden Balls, the Blow 
 whereof, when it happen'd on the Head, lay'd the Adverfary 
 dead. 
 
 The Coit was a flat, round, heavy Piece of Stone or Lead, to try 
 the Force of Arms and Hands, and to fee who could fling higher! and 
 furtheft : An Exercife ftill in Ufe, in many Places, to this Day ; but 
 with this Difference, that the Ancients, with a Leg lifted up, threw 
 the Coit at a Mark, fet up on a fmall Pyramid, and refembling a 
 Pine-apple. 
 
 The fifth Exercife was lefs perilous, as confifting only of divers 
 Manners of Leaping. 
 
 The ancient Garlands or Crowns, given as a Prize to the Viftor on 
 thefe Occafions, were made of Olive-leaves; but they varied according 
 to the Times; for they were afterwards compofed of Couch-grafs 
 Willow, Laurel, Myrtle, Oak, Palm and wild Parfley-leaves ; as 
 Plutarch, in the Life of Cato Uticen/s, relates. But when mad'e of 
 Olive-leaves, they chofe a feleft Kind, called G alii fleph arms, i. e. beau- 
 tiful Crown, having hanging Branches, like the Myrtle, very proper 
 for twilling Garlands. The Leaves of fuch Garland differed much 
 from others, in that, being white without, the Green, when twilled, 
 was inward ; whereas the others were white within, and appeared green 
 without. Hercules and his Brethren firft brought this Plant into 
 Greece from the Northern Countries, as Paufanias, in his Olympus, tells 
 us. 
 
 The Pythian Games were inftituted long before the Ifthmian, yet after 
 the Olympic, and celebrated in Honour of Apollo, for his Viaory over 
 the frightful Serpent Python. Some think they were fo called 
 from Pythos, the Place of Celebration, or elfe from the Greek Word 
 Pytbejtai, to confab; becaufe they confulted there the Oracle, in order 
 to know the Events of Things to come. The Exercifes in thefe Games 
 only differed from the Olympic in this, that the Pythian were per- 
 formed 
 
Chap. 6. 
 
 Of Still life. 
 
 ?9 l 
 
 brmed under the Sound of all Sorts of Vocal and Instrumental Mufic. 
 ihefe Games, from time to time* had feveral Alterations in Form 
 
 ; nd Solemnity, after the Inftitution of the Pancratium or Quinquertium: 
 \nd it is related, that in the firft # Pytbiades, wherein the moft illuf- 
 rious Heroes and Gods of the Ancients enter'd the Lifts, for the Sake 
 >f the Prize ; Caftor prevail'd in the Horfe-race; Pollux in Boxing ; 
 lalais in Running on root; Zethes in Running in complete Armour; 
 
 in the Pancratium, or, all the Games. 
 
 In each of thefe Games and Exercifes, the Victors were crowned 
 with Laurel, which in particular was confecrated to them; becaufe the 
 Ancients believed, by what they have feigned of Pentus's Daughter, 
 tvith whom Apollo was fo much enamour'd, and who was metamor- 
 phiz'd into that Tree, that the God took a (lingular Delight in it. 
 But others will have the Inftitution of the Pythian Games to be long 
 before Apollo's Amour with the beautiful Daphne : And before the 
 Laurel bore that Diftinction, both the Triumphal and Victors Crowns 
 and Garlands were made of Palm or Oak-leaves; as Ovid, in his Firft 
 Book of Metamorphofisy teftifies. Plutarch and Paufanias relate, that 
 thefeus, on his Return from Greta,, adorned the Victors, in the Games 
 inftituted in Honour of Apollo, with Garlands of Palm, as Tokens of 
 Praife and Renown ; for the Laurel was not known till after the Pythian 
 Qames were fettled, and when known, it gave the Rife to the aforefaid 
 Fable of Daphne; and both the Tree and Leaves being found of fo ex- 
 traordinary a Make and Nature, illuftrious Victors and Men of Learning 
 svere commonly crowned with it. Some again fay, that Apollo affected 
 the Leaves and BloMbms of the Apple-tree, before he chofe the Lau- 
 rel, and therefore the Victors in Running, Wreftling, &c. ought to be 
 Crowned with that; as the Poet Archias, in his Mytholog. lib. 5. cap. 
 4. relates* But Lucianus aflerts, that tho', in the Pythian Games, the 
 Garlands of Laurel began to prevail, yet they were intermixt with 
 fine yellow Apples : Some Writers even affirm, that the Laurel of 
 Delphos bore fuch large Berries or Fruit, as almoft to gain the Name: 
 bf Apples. But the true Reafon of this Difference proceeded from the 
 feveral Alterations made both, in the Prizes and Times of holding 
 thofe Games; for originally they were celebrated every ninth Year 
 [from the Number of Nymphs feigned, by the Ancients, to come from , 
 Mount Pamajjus,. to offer to Apollo on his having overcome, the DeU 
 phic Monfter Python) and afterwards every fifth.,. 
 
 Tfc 
 
 **P.ythiades figniiks, a certain Number of Years in XkQxPytbian Games*. 
 
T*?i °f Still-life. Book XL 
 
 The Nemaan Games were kept in a Wood of that Name, fituate be- 
 tween Phliuns and Ckona, two Cities of Acbaia, in Honour and Me- 
 mory of Archemorus> otherwile call'd Opbeltes, Son of Lycurgm, on 
 account of his being kill'd by a Serpent in this Wood. Which Ac- 
 cident fome relate thus : Oedipus, having, thro' Miitake, married his 
 own Mother, the Widow of Laius King of Thebes, begat on her two 
 Sons, Eteocks and Polynices-, to whom he refigned the Royal Dignity, 
 on condition they govern'd by turns : But Eteocles, as the Eldeft, having 
 obtain'd the rirft Year's Administration, refus'd to admit his Brother as 
 a Partner to govern the fecond Year ^ who thereupon, in Difcontent, 
 folliciting the Aid of Adraftus, King of Argos, whofe Daughter, call'd 
 Argia, he married, the King, in Conjunction with his other Son- 
 in-law, Tydeus,, raifed a great Army, in order to wage War with the 
 Tkebans, and bring them to Reafon. The Iflue of this War was, 
 the Death of the two Brothers in a Duel ; and their Bodies, according to 
 Cuftom, being laid on a large Pile of Wood to be burnt, the Flames hap- 
 pen'd to divide and feparate, as if they bore Witneis of the immortal 
 Hatred of the two Brethren in their Life-times, which ceafed not with 
 their Deaths. Now in the Army, which Adrajlus fent to Polynices's 
 Affiftance, were feven Commanders, who, being arrived in the Ifland 
 Lemnos, pertaining to Thracia y and feized with an extream Thirft, met 
 Hypjipyle, carrying, in her Arms, the Child Opbeltes, Son of Lycurgus 
 (Prieft of Jupiter ) and Euridice, whom, being a Native of that Coun- 
 try, they intreated to thew them where to get fome Water. Where- 
 upon fhe, in hafte, yet fearful of laying the Child on the Ground, as 
 forbidden by the Oracle, before he could walk, fet him naked on'the 
 Grafs by a large Plant of wild Parfley, near a Fountain, where a Ser- 
 pent, lying perdue, iuddenly wound itfelf about the Child's Neck 
 and throttled him, while fhe was gone to draw Water. The Com- 
 manders, being apprifed of this unhappy Accident, kill'd the Serpent, 
 and, to folace the Father, inftituted, in Honour of his Son fo fuddenly 
 loft, the aforefaid Games, to be held every third Year : Wherefore 
 originally only Soldiers and their Defcendants were admitted to them 
 tho', in procefs of Time, they were free for every Perfon. Theagenes 
 in his Memoirs of JEgina, Book 4. Chap. 13. relates, that Hyp ftp A 
 fled from Lemnos to Nemaa, on account of a Combination among the 
 Women, to kill all the Men, only out of Jealoufy, becaufc, by the 
 Inftigation of Venus, highly incens'd againft them, they had had to do 
 with other Women. Accordingly they all put their Defign in Pra&ice 
 except Hypfpyk, who endeavoured to fave her Father's Life, by hid" 
 
 ing 
 
Chap. 6. Of Still-life. ;T93 
 
 ing him in a Baker's Trough. (This happen'd ibon after the Departure 
 of the Argonauts, and their Arrival in this Ifland.) But being disco- 
 vered, they flung him, with the Trough, into the Sea, and condemned 
 Hypjipyle to die, for not agreeing to their general Refolution. She, 
 hearing this, made her Efcape, but, in her Flight, was taken by Pi- 
 rates, and fold for a Slave to Lycurgus, whofe Wife, Euridice, defirirg 
 (he might be put to Death, for the Misfortune of her Child, (he hid 
 herfelf in a remote and folitary Place; where being difcovcred, by the 
 Southfayer Amphiaraus, to the two Sons of Euridice, Thoas and Eunoe- 
 nus, who made diligent Search after her, (he was, thro' their Intercef- 
 fion, and the Commanders Teftimony of her Innocence, pardon'd, and 
 re-admitted into Favour. Others will have it, that Hercules inftituted 
 thefe Games, on having killed, in the Wood Nemaa, a terrible Lyon 
 who devoured all before him, and lay'd the Country wafte. Some fay, 
 they were fet up in Honour and Memory of Archemorus\ but that Her- 
 cules, after having (lain the Nemaan Lyon, with whofe Skin he cover'd 
 his Head and Body, brought them under a Regulation, and dedicated 
 them to Jupiter ; appointing their Solemnization to be every three 
 Years, on the 12th Day of the Month, called, by the Corinthians, Pa- 
 nemos, and, by the Athenians, Boedromios, anfwering our' Month of 
 Augufl : And the rather, as Thefeus had, in that Month, happily van - 
 * quith'd the Amazons. But others are of Opinion, that it was done in 
 Memory of Opheltes, who, by his own Death, prefaged the Fate of 
 the Lacedemonians, at War with the Thebans. Yet fome think, that 
 this was another Opheltes, Son of Euphetas andCrcufa, who, being laid 
 on the Ground by his Nurfe, while (he went to (hew fome Commanders 
 ; a Fountain, was killed by a Serpent. 
 
 The Nemaan Games were therefore inftituted in Memory and Confo- 
 lation of Lycurgus, Euridice and Opheltes, and the Judges, who deter- 
 mined the Prizes, were dreft in black and mourning Garments. For 
 Opheltes was afterwards called Archemorus, becaufe Amphiaraus had, 
 at his Birth, prefaged him an early and untimely Death ; Archo figrii- 
 
 fying, in Greek, Beginning, and Moros, Death; as if they faid - 
 
 Dying Jhortly after his Birth : In which Senfe (peaks the Poet, 
 
 Nafcentes morimur, Finifque ab Origins pendet ; 
 That is, We begin dying from our Births, and our Beginnings and Ends 
 have an infeparable Union. 
 
 The Exercifes in thefe Games were the fame as in the others : But 
 the Victors were crowned with green Parfley, moftly ufed in Fune- 
 rals, to perpetuate the Memory of Archemorus. Whether the Greek 
 No. 25. 4 F Selinon, 
 
ji4 °f $titt-life. Bcol XL 
 
 * ' 'i 
 
 Selition, with us, common Par/ley, and the Petrofelinon, or St one-par fley, 
 be the fame, let Botanifts determine. Originally, the Vigors in thefe 
 Games were crowned with Garlands of Olives ; but after the Defeat of 
 the Modes they began to be prefented with one of wild Parfley, in 
 Memory of thofe who were flain in that bloody Battle : And after this 
 Regulation, the faid Herb, inftead of crowning the Head on Occafions 
 of joyful Meetings, ferv'd only in Times of Sorrow and Mourning. 
 For, according to the Greek Saying, this Herb is very earthy, as 
 ipreading a long iTime over the Ground, and often bearing to be dug 
 up, in order to get deeper Root. The Seed of it alfo, on lowing, is 
 longer than others in coming up ; wherefore it was as neceftary, that 
 the mortal Greek Opheltes t afterwards (as we have faid) called At che- 
 morus, fhould be crowned with earthly Honour. For of the four prin- 
 cipal Games, which we handle in this Chapter, two, according to 
 the Yoct Archias, are facred to Mortals, and the others to Deities: 
 The Mortals are Archemorus and Melicerta, who is alfo called Pala~ 
 mon\ and the Gods are Jupiter and Apollo. The wild Parfley is not 
 without Reafon appropriated to thefe Games; becaufe fome think it 
 fprang from the Blood of the Child, killed by the Serpent : Yet this 
 contradicts thofe who fay, that Hypfipyle laid the Child on this Plant;, 
 which therefore was already known at that Time. We fhall now pro- 
 ceed to the Ifthmian Games. 
 
 This Solemnity was performed at Night, in the Ifthmus of Corinth, 
 parting Morea from the Continent of Greece ; and had rather the Face 
 of a Sacrifice and its Myfteries, than of a Feftival. It was inftituted 
 by Sifyphus, Son of Molus, on his rinding there on the Ground, the 
 dead Body of his Kinfman Melicerta. 
 
 Plutarch writes, that Thefeus, after having killed the Bull of Minos,, 
 and performed other great Exploits, ereclec] a Pillar in the Iflhmus of 
 Peloponncjus, where, in Imitation of Hercules, who confecrated the 
 Olympic Games to Jupiter, he inftituted the Ijlhmian in Honour of 
 Neptune. 
 
 Yet, according to Paufanias and others, thefe Games were not fet up 
 for that Reafon, but in" Remembrance of Meliccrta^s dead Body found 
 there unburied ; touching which, there goes this Story : Learchus and 
 Melicerta were the Sons of Athamas and hio. Athamas, made raging 
 mad, (by Tijtphone, at Juno\ Command) attempted to kill his Wife 
 inftead of a wild Beaft, tearing the young Learchus out of her Arms, 
 beat out his Brains againft the Stones. Ino, affrighted hereat, either 
 thro' Sorrow, or the influe&ce of Tifiphcne's p.oiibn'd Serpents, betook 
 
 hcrfelfj 
 
Chap. 6. Of Still-life. $<)$- 
 
 [herfelf, with the other Child Melicerta, to the Mountains Geranes, &- 
 tuated between Megara and Corinth, But (he, finally, alfo yielding to 
 Rage, caft herfelf, with the Child, from the Rock Molar is, into the 
 Sea; where (he was metamorphofed into a Sea-nymph, and called 
 Leucothea, and he into a Sea-god, under the Name of Palamon, The 
 dead Body of Melicerta being afterwards brought on Shore by a Dol- 
 phin, Sijyphus, King of Corinth, who was his Uncle, commanded 
 him to be buried in the Ifthmus, and a Circus to be there erected, for 
 the Celebration of the aforefaid Games. 
 
 But the Poet Archias fays, that on Ino's flinging herfelf, with Meli- 
 certa, into the Sea, a Dolphin landed their Bodies on the Schosnuntian 
 Shore, where Amphimachus and Donacinus took them up and brought 
 them to Sijyphus, King of Corinth ; and then they were deified, (he 
 by the Name of Leucothea, which in Greek fignifies, the white Goddefs^ 
 and he by that of Palamon. 
 
 Leucothea, called, by the Latins, Matnta, is Day-break; and Pa- 
 lamon, or Portunus, the Vehemence of Storms and Billows : For pallein, 
 in Greek, fignifies, to tofs, move, and pufb viole?itly againft each other, 
 whence comes the Name of Palamon: He was the Son of Matuta, 
 or Morning, becaufe the Winds commonly begin to arife with Day- 
 break. 
 
 Others tell us, that Melicerta^ dead Body being caft on the Shore of 
 the Ifthmus, and lying unburied, it caufed a great Plague ; and 
 that, on confulting the Oracle, touching the Caufe of the Infec- 
 tion, aniwer was made, that Melicerta ought to have a magnificent 
 Funeral, and folemn Races and Games fhould be appointed in his Ho- 
 nour and Memory. The Corinthians obeyed, and the Body was ac- 
 cordingly taken up by Amphimachus and Donacinus, and in an honour- 
 able Manner buried in the Place aforefaid ; and the Games and Fu- 
 neral Rites being inftituted, the Plague ceafed : But afterwards it broke 
 out afrefh on their Omiffion of the Solemnity ; wherefore, in this their 
 utmoft Diftrefs, the People, re-confulting the Oracle, were told, they 
 muft for ever celebrate the Games they had begun in Memory of Me- 
 licerta, and diftribute the Rewards to the Victors. But Mufaus, de- 
 scribing thefe Games, fays, that the Cuftom was to perform, every 
 five Years, two Sorts of Games and Races in the Ifthmus ; one in 
 Honour of Neptune, near his Temple; and the other in Memory of 
 Melicerta, 
 
 The Prize in the Ifthmian Games was originally a Crown of Parfley, 
 elegantly wreathed ; but afterwards, a Garland of Pine-leaves, on 
 
 4F2 accounc 
 
f9 6 
 
 Of St ill- life. 
 
 Bool XT. 
 
 account of their Neighbourhood and Agreement with the Seas. Be- 
 fides thefe Crowns, the Vi dors were ufually prefented, on thei' Re- 
 turn, with a Palm-branch, as Paufanias fays. Moreover, the Coique- 
 rors at fuch Times were fo much honour'd, as to be met by their 
 Fellow-citizens, and brought fome Miles upon their Shoulders. They 
 made not their Entrance thro' the common Gates, like other People, 
 but triumphantly over a ftately Bridge or PafTage, made ovei the 
 Walls for that Purpofe, and their Names were cut on Pilars 
 fet up in the public Places of the Town, to perpetuate their Me- 
 mories. . . 
 
 We (hall, to conclude this Chapter, fubjoin a fhort Deicrntion 
 of fome particular Garlands or Crowns, facred to the Heattenijh 
 Deities. 
 
 The Phoenicians, as Eufebius teftifies, honour'd and worfhipp'c the 
 Herbs and Plants. The Greeks, in Imitation of them, render'd almohV 
 the fame Duties, not only to Trees, but alfo to Herbs and F/overs. 
 Thefe maintain'd, that the Charites, ox three Graces, were the very 
 firft Crowners of Pandora. Pherecydes fays, that Saturn was crovned 
 before any others. Yet, according to Diodorus, Jupiter claims this 
 Honour, for his Conqueft over the Giants. But, not to pretermit the 
 /Egyptian Monuments, Ifis firft crowned herfelf with green Sprig: and 
 Ears of Corn ; of which, according to the /Egyptian Writer, Leon, fte 
 was the Inventor. 
 
 The Oak and its Fruit, as Jpollodorus writes, were facred tc the 
 Goddefs£to, otherwife called, the Earth ; that Mortals, who pro- 
 ceed from it, might wear the Badges of their univerfal Mother. The 
 fame Tree was alfo peculiar to Jupiter, the tutelar God. 
 " The Pine and its Fruit were confecrated to the Goddefs Cyhele, whom 
 the Ancients believed to be the Mother of all Things ; becaufe fhe, 
 carefully containing the Seed originally given her, does, by the Waimth 
 of the Sun, yearly bring forth new Shoots. The Pine-apple, n its 
 Shape, alfo refembles a rifmg Flame, and keeps its Seed in fmal] and 
 feparate Cells, which, by the Earth's Heat, in time fpring, up 
 and grows. We likewife fee a certain Medal, with the Head of 
 Cybele on one Side, and a fmall Garland of Pine-twigs on the o:her, 
 and infcribed SMTPNAIHN, i. e. thofe of Smyrna. The Jrcadans, 
 believing Pan to be the God of the Univerfe, dedicated the Pme-zppk 
 to him alfo. 
 
 Saturn, Jupiter, Apollo and Mfculapius were crowned with Lairel : 
 Saturn, as the God of Triumphs 5 Jupiter, for his Viftory over the 
 
 Giants ; 
 
 7^ 
 
Dhap. 6. Of Still-life. fay 
 
 jiants; Apollo, for the Love of Daphne, metamorphos'd into that 
 Tree 5 tho' before, the Palm was facred to him, on his killing the Del- 
 t>hic Dragon; but Mfculapius wears it for no other Reafon, than that 
 t is ufeful for feveral Remedies. 
 
 The ancient Romans, on their Nona Caprotina, or Feftivals kept 
 monthly, in Honour of Juno, crowned that Goddefs with Fig-leaves, 
 as a Memorial of the City of Rome (reduced to the utmoft Extremity 
 by the Gauls, who demanded of the Senate feveral noble Virgins as 
 Hoftages) regaining its Freedom by the Contrivance of the Virgin Phi- 
 lotis, who Ihewing the Romans how to Hide down from the Walls, 
 by the Branches of a Fig-tree growing thereon, and facred to Juno, 
 gave them an Opportunity of falling on the Enemy when drunk and 
 afleep (which (he had cunningly inticed them to) and, by a great. 
 Slaughter, to obtain a compleat Viclory over them. The Pomegra- 
 nate was conlecrated to Juno by the People of Mycena. The zvhite 
 Lilly is alfo lacred to her; and therefore called Flos Junonius, or, ac- 
 cording to fome, Flos Regalis; not fo much out of RefpecT: to the Oueen 
 or Goddefs, but becaufe that Flower almoft furpaffes all others in 
 Height. 
 
 Minerva, who is faid to be a Virgin, rightfully laid Claim to 
 the Olive-tree, which affects Purity and Chaitity, as well as (he. 
 
 I rind no Trees particularly facred to Mars-, but it is notorious,' 
 that the Herb commonly call'd Dog's-grafs is appropriated to 
 him. 
 
 They, who are converfant with the Poets, know, that the -Myrtle* 
 tree fignifies Delight and a Mind richly endowed. The Ancients fay, 
 that Tree furpaffes all others in tender and beautiful Leaves, and their 
 continual Greennefs and Smell; which recommends it to Venus; the 
 moft beautiful, mo ft tender and molt perfect of the Goddefles. In old 
 •Times, Men, on Feftival-days, ufcd to put into each others Hands* 
 Branches of this Tree, as Tokens of Joy, and that they fhould join 
 in Chorus. And Horace fays, that, in Lent-time, when the Earth, by 
 her Variety of Flowers, feems to rejoice, we ought to adorn our Heads 
 [with wreathed Myrtle. The Apple-tree fignifying Love, is alfo facred 
 .to Venus. And the Ears of Com to Ceres. 
 
 , The Ivy, dedicated to Bacchus,\\as in great Efteem among the JF^yp- 
 ■ tiansi for being always green, and not ihedding it's Leaves 'till after 
 Harveft. They moftly ufed it in Garlands ; and the Kind bearing black 
 Berries was efpecially confecrated to Bacchus, who, by that People, 
 lis called Ofuis, and from whence this Green alio borrows it's Name; 
 
 for 
 
f9 g Of Still-life. Book XI. 1 
 
 for they called it Chtnoftris, i. e. the Plant of Ofiris. And Dior.yfius, 
 (which is likewife the 'Name of Bacchus) having carried his Victories I 
 into India, built there Nyfa, a large Town, and planted it round with J 
 
 Ivy to- perpetuate his Memory. This Plant was lacred to Bacchus, 
 either becaufe he as well as Phabus is always reprefented youthful; or 
 that the Tongue and Spirits of Father Liber are tied up, as the Ivy 
 catches hold of any thing that it comes at : For tho' Horace fays, that 
 the Drunkard is, in his Cups, free from all Care, even the great eft Po- 
 verty, yet it's as true, that the Liquor captivates the Senfes, taking 
 away all Power of Judging. The lame Plant is likewife an Emblem 
 of Age, not only for its growing moftly near old Trees, Buildings and 
 Ruins, but alfo as JVine, which is old and work'd off, is highly 
 cfteemed : Wherefore Pindarus as well as Horace moftly extol it. The 
 Vine was alfo facred to Bacchus ; accordingly, he is often reprefented 
 crown'd with the Twigs thereof : Tho' after his Conqueft of Judaa,he 
 likewife wore Laurel ; for he, as well as Saturn, is accounted the God 
 of Triumphs. The Vine was alfo peculiar to Rhea. And the Crown 
 of it's Tw ; gs, which adorns the Head of Hecate, implies only, the 
 Subtilties and Snares which Father Faunus, by the Operations of Wine 
 (leading Men to extravagancies) laid for his Daughter. 
 
 The Cyprefs is facred to Pluto, God of Hell ; and of the Sprigs and 
 Leaves of it the Ancients made Garlands. It's reckon'd a mournful 
 Tree, and proper for Places of Burial, becaufe, when once cut, it 
 fhoots no more. It's Branches, fet in the Ground near Tombs, or carved 
 on them, fignify, that the Deceafed endeavoured, by Prayers, to be' 
 reconciled to the Infernal Gods: Wherefore, Horace lays, Men are at- 
 tended to Hell by no other Tree than the unhappy and hateful/ Cyprefs. 
 Pluto's Crown is alfo compofed of the Herb Adianthum, otherwife call'd 
 Capilli Veneris. Some have crown'd him with Narciffus -Flowers and 
 their Leaves ; a Flower proper for deceafed Perfons, on account of the 
 unhappy End of the Youth who was transform'd into it : Wherefore 
 Phur nutus fays, that the Hellijh Furies, JlecJo, Tiftphone and Megara, 
 had Garlands of the fame Flower about their Heads, as Servants; and 
 Executioners of the Commands of Pluto. The Pine-tree has nnuch 
 Agreement with the Cyprefs, in being alfo the Emblem of Death ; for, 
 when once cut, like the Cyprefs, it never fhoots out again ; wherefore, 
 and for it's Bitternefs and Sharpnefs, the Pine-apple, both in ancient and 
 modern Acceptation, fignifies Death. 
 
 The double-colour 'd Poplar was facred to Hercules ; becaufe Naitura- 
 lifts, by this Heroe and the two Colours of that Tree, imply, the two 
 
 different 
 
2hap. 7. Of Still-life. ^ ? 
 
 different Times which fuperintend and govern all Things ; for one of the 
 Colours, being White, fignifies the. Day, and the other which is Dark, 
 the Night, Some have alfo rank'd the Poplar in the Number of un- 
 happy Trees ; for, in the IJle of Rhodes, the Funeral-games in Honour of 
 TIepolemus were celebrated, and the Performers of them crown'd 
 with it. 
 
 The Peach-tree was facred to Ijis and to Harpocrates : The Plane- 
 free to the Genii : And a Garland of Flowers to Ariadne, The Baccha- 
 nals, in celebrating the Vine-feaft of Bacchus, were coif'd with 
 
 If the curious Reader defire further Information in this Point, he 
 amy confult the Hiftories of Claudius Saturninus, wherein he will find 
 the Origin, Caufes, Qualities, and every Thing elie relating there- 
 to, in fuch Manner as to obferve, that there are no beautiful Flowers, 
 green Branches, Leaves, Roots, &c. but what are peculiar to the Head 
 of iome Perfon or other. 
 
 CHAP. VII. Of the Military Drejfes and Arms of jeveral Na* 
 tions, particularly of the Greeks and Romans. 
 
 r I H E Diftin&ion of Nations cannot be well reprefented without 
 X due Regard to their Warlike Accoutrements, Drefles and Man- 
 ners. It's certain, that many Painters have been herein very deficient* 
 is appears by their Works, who, on better Confideration and greater 
 Experience, have afterwards corrected their Errors. But I mean not,, 
 by expofing the Miftakes of other Men, to palliate my own ; I have 
 had my Faults as well, and perhaps greater than they ; I am fenfible, 
 that, even, in my very beft Time, I was not free from fome great 
 Blunders, which, to this Day, I am concerned for, and which, tho T 
 \ might conceal, I neverthelefs lay open in the Courfe of this Work.. 
 And fince I am fpeaking of Miftakes, I (hall here obferve fome, as ne- 
 EefTary to this Chapter. 
 
 Tejia, in a Print of the Dragging ef Heel or 1 s Body, reprefenrs.. 
 x Achilles, tho' a Greek, with a Roman Head-piece ; which he poffibly 
 did, to keep the Light together and to preferve the Face* He alia ex- 
 hibits both thofe Heroes naked ; and Achilles, without Arms.. The. 
 Sword in his Hand makes him look more like a Gladiator, than a 
 
 General^ 
 
6oo Of Still-life. Boole XI. I 
 
 General, and the Scabbard by his Side has no Tie or Girdle about hisl 
 Body. How can he ufe the Sword, when, with one Hand, he hold J 
 the Reins of the Horfes? Thefe things are very improper and unnaJ 
 tural: But perhaps his Inducement was, that he might (hew the beau«l 
 tiful Body of the Heroe with greater Advantage. In the laft Place,! 
 the Town-walls appear fo low as to be eafily reach'd over. 
 
 Poiiflin likewife, in the Print of the Death of Germanicus, has inter- 
 mixt Greek with Roman Helmets. Let it not be thought, that we are 
 unjuft to the Merits of fuch great Mafters, by fo nice an Examm of 
 their Performances ; fince my Purpofe herein, is only, by Ihewing other 
 •Men's Faults, to correct our own. But I am as willing to fhew mine, 
 as they occur to my Memory : Witnefs, my Mneas receiving the Arms] 
 of Venus, where I nave alfo made a Roman Helmet. And my Father, 
 in his Reprefentation oj Seucca, introduces one of Nero^s Captains, Hand- 
 ing by him, with a Geeek Head-piece. Now, Art allows not fuch Li- 
 berties either in Military Furniture or any thing elfe. Each Nation 
 has it's particular Drefs, Manners and Cultoms. How can we exhibit 
 an ^Egyptian Profpecl, without Chewing fome Tokens of that Country, 
 as, ' Palm-trees , Pyramids and People dreft in the ^Egyptian Mode? 
 Wherefore let me recommend Care to every Perfon, and that they do 
 not build too: much on other Men's Works. It is better to be nice 
 than negligent. Let us underftand a Thing never fo well, we may 
 yet err thro' Hafte or Careleffnefs. 
 
 Thinking it prefumptuous, to enumerate all the Particulars of the 
 Military Order of the Ancients, as having been largely handled by 
 feveral Authors ; we fhall therefore, according to our lmall Ability anc 
 for the Service of curious Artifts, only touch briefly on fome of th< 
 principal Matters relating to their Arms, believing the RefiduJ 
 will follow in i the Courfe of their Practice. I fhall begin with th J 
 Greeks, 
 
 The Greek Foot were divided into two forts, Pikemen or HeavyX 
 amid, and Archers or Light- arm'd. The Pikeman ufed a Buckler, I 
 fort of Boots, a Pike 20 or 24 Feet in Length, and a Sword. Thl 
 Stouteft had, for Defence, a Macedonian round Shield of four Feel 
 Diameter. The Archers bore Bucklers of Wicker, Bows, fhort PikJ 
 and Slings. They wore long Hair and Beards, and Helmets or Heaol 
 pieces fomewhat projecting over the Face, handfomely wrought witl 
 Imagery or Foliage, fet off with Plumes and other elegant Ornament! 
 Their Military Dreftes always excell'd in Variety and ElegancJ 
 Their Coats of Armour reached down to the Knees, cut out, on thl 
 
 3houldeI 
 
Chap. 7. 
 
 Of Still-life. 
 
 Shoulders and below, into Straps which were often adorned with Lions- 
 heads. Some inftead of Strap s, hadtwiftcd Fringes. The Generals and No- 
 bility wore Buskins of young Lions or Tygers-skins ; or elfe, neat Sandals : 
 But the inferior Sort had plain Sandals with Strings. Their Swords 
 hung by their left Side by a fmall Hook on the Girdle, and on their 
 right Side was a Dagger. 
 
 In the Roman Military Order, the young Men, between 17 and 25 
 Years of Age, were appointed for Velites, or fwift Footmen or Light- 
 arm'd ; the Haftati, for Darters or Pikemen ; fuch as were in their 
 Prime, for Principes, and the Aged, for Triarii. 
 
 The Velites wore a fmall Buckler of a Foot and a half Jong, an 
 Head-piece, a Sword and a Lance three Feet long and a Thumb 
 thick, arm'd with a iharp triangular pointed Steel or Head of a Foot 
 in Length. Some carried Slings ; others, Bows. 
 
 The Haftati and Principes wore a fhort Coat of Armour, that they 
 might be the fitter for March and the Management of all Sorts of 
 Arms j they had long Breeches reaching half-way the Legs and clofe at 
 the Knees, an Helmet, and a large Oval Buckler two Feet and anhalf-in 
 the Tranfverfe, and four or five Feet in the conjugate Diameter : They 
 were girt with Swords on both Sides ; that on the Left much longer than 
 the other, which, like a Dagger, was but a Span long. Their other 
 Weapons were, two Darts or wooden Staves; one thin, like an Arrow, 
 and three Cubits long, and headed with Iron ; and the other of the 
 fame Length, and as thick as the Breadth of the Hand, with a pointed 
 rron Head as long as the Staff, and Jet halfway into the Wood, and 
 befet with Hooks : This Iron, next the Wood, was a Finger and a 
 half in Thicknefs. * 
 j The Triarii bore the fame Arms as the Principes, except that in- 
 ftead of the Darts they ufed Pikes, formerly carried by the Haflati 
 'and from whence they took their Name) who left them for the Darts, 
 jhe richeft armed themfelves with commodious Body-coats inftead of 
 Breaft-pieces. The Romans generally wore fhort Hair, with fhavcd 
 Dhins; but the Hair growing on each Side of their Cheeks. Yet we 
 nuft obferve, that Scipio was the only Perfbn among them who had 
 ong Hair. The Roman Helmets clofing with the Forehead, were 
 nade either of double Leather, Iron or Brafs, and crefted on Top, like 
 he Greeks, but lefs fumptuous; except thofe of the Generals and other 
 pommanders, which were plum'd. Some alfo had wincr'd Helmets, 
 md, cm the Creft, a Snake or Dragon or an Eagle's Head. We find 
 ikewife, that the ancient Romans,, in their Marches, carried a Saw, a 
 , m 26 ' 4 G Basket, 
 
6ox Of Still-life. Book II. 
 
 Basket, a Spade, an Ax, a Bridle, a Sickle and Provifion for three 
 Days. The Herculani, of the old Troops, and the Joviniani, or, 
 according to Vegetius, Joviani, were two fele£t Roman Legions,, on- 
 lifting of 6000 Men each, and ferving in Sclavonia, to whom the 
 Emperor Diocktianus (who caufed himfelf to be Ailed, Jupiter md 
 Maximi?iianus Hercules) after they had gain'd him the Imperial dig- 
 nity, gave that Name, in Preference to all other Legions, for their 
 Valour. Thefe, befides their large Swords and oblong Shields, nad 
 Darts, the Infides whereof were run with Lead, and called Man or tar- 
 buli, which, for their Heavinefs forwards, they could caft with fjch 
 Force and Certainty, that, before they ufed Arrows and Swords, they 
 fo gall'd the Enemy and their Horfes, as to gain the Emperors feyeral. 
 great Battles. 
 
 The Roman Horfe wore an Helmet and Breaft- piece like the Foot, 
 had a Crofs-fhield by the Horfes Side, a long Sword on their right 
 Side, a Javelin in their Hands, and in their Quivers three or more Ar- 
 rows, broad-iron'd yet fharp-pointed, and not inferior to the Javelins. 
 The Enfigns, both of Foot and Horfe, wore Lyons Skins over their 
 military Drefles ; and the Trumpets the fame, fa ve that the two Fore- 
 paws of the Skins were, by thefe latter, tied under their Chins, ferving 
 them alfo for Cloaks. Thefe Skins were not meerly flea'd with the 
 Hair on, but alfo fitted for Service, and underneath either fringed or 
 elegantly cut out. 
 
 The Numidians and Cretians, under Roman Command and aiding them 
 on Hor'feback, as Need requir'd, were arm'd with Bows and Arrows, 
 and alfo with Slings, wherewith they dexteroufly flung Stones. Pliny 
 writes, that even the Scorpio (a Machine of War) with which anciently 
 they ufed to throw large Stones and Timbers, was the Invention of 
 the Cretians. 
 
 The Ligurians, who for a long Time valiantly kept the Romans at 
 Bay, were well-difciplin'd Soldiers; arm'd with a Breaft-piece, an Hel- 
 met, a Shield and in a clofe Drefs. They were alfo very expert in 
 throwing the Javelin. 
 
 The Scythians, a barbarous People and Horfemen, wore crefted Hel- 
 mets- pointed^ on Top ; they carried Bows, Daggers and Battle-axes. 
 
 The Scythian Women, called Amazons, oftentimes appear'd, in a 
 Combat, as Vincentius fays, in antique Silver Helmets and Breaft-pieces,, 
 becaufe their Country abounded with that Metal. But, according to 
 ancient Memoirs, their military Drefles were only adorn'd with Ser- 
 pents Skins wrought in Silver. They had the left Breaft bare, but the 
 
 right* 
 
Chap. 7. 
 
 Of Still-life. 
 
 601 
 
 right, which was fear'd, that they might, with greater Eafe, life 'the 
 Bow and caft the Dart, cover'd like the reft of their Bodies. Their 
 Garment, button'd below, reached not quite to their Knees. Their 
 Defence was a Target or large round Shield, cut hollow, at one of the 
 Extremities, into the Form of two conjoin'd Crefcents, having a Part 
 in the Middle for covering and guarding the Arm and Hand. One of 
 thefe Cuts ferved for managing the Lance and the other to look thro'. 
 They likewife carried Axes and Hammers. 
 
 The Goths, together with the great Attila, defcended from the Scy- 
 thians; were arm'd with Bows/ Arrows, long and ftrong Spears or 
 Lances, Shields and Helmets. The Horfemen, full-armour'd and car- 
 rying ftrong Lances, Hammers and Clubs,- would leap on their Horfes 
 without the Help of the Stirrup or other Advantage > efpecially on fmooth 
 Ice, or in fnowy Ground, where they generally fought their greateft Bat- 
 tles. Sometimes, as Need requir'd, and in the Heat of Battle, they would, 
 in full Gallop, throw themfelves on another Horfe, turning and winding, 
 with incredible Swiftnefs, even, catching up a Lance from the Ground, 
 &c. An Evidence what great Warriors thefe People formerly were. 
 
 The Per/tans and Spartans were very much alike in Drefs, except 
 in their Head-ornaments. The former wore Turbants, and the latter, 
 Caps, like a Night-cap, yet pointed on Top and curling forwards 3 or 
 elfe, Iron Head-pieces, like the Romans, but plain and without a Creft. 
 'They had long Hair and their Beards almoft hid their Ears. On the 
 other Hand, the Perfians ihav'd both Head and Face. Their Veft- 
 ment, girt about the Middle, reach'd below the Knees : They wore 
 .alfo long open Breeches and wide Stockings and Shoes. They ufed fcaled 
 Arms, round Shields, Greaves or Shin-armouf, Scimitars, Daggers, fhort 
 :Spears but long Bows : The Scimitars hung on the right Thigh, crofs 
 ^he Body, and the Dagger on the fame Side, but at the Girdle. At 
 their Back, was the Quiver. 
 
 Darius, the laft King of Pcr/ta, was commonly array'd in a rich 
 Purple Mantle intermixt w'th white Strips, faften'd on each Shoulder 
 pith precious Stones, and before, with a gold Chain or Hook. His 
 Coat of Armour, wrought with Gold, was embroider'd on the Breaft 
 with three golden Eagles, having fpread Wings and Tails and Bills turning 
 towards each other ; and between the Wings and Tails were feen the 
 following Letters, KIKHTIKHTATOX, fignifying, always Conqueror. At 
 his golden Girdle, girt Idofely and womanilh, hung a Scimitar, 
 the Scabbard whereof was befet with precious Stones. 
 
 4 G 2 The 
 
Of Still-life. 
 
 Book XL 
 
 The Dacians wore Gowns hanging down to the Heels and open on 
 
 the Sides, and over them a Coat or Mail which reach'd to the Middle. 
 Their Helmets fat clofe about the Head and ran up to a Point. Their; 
 Arms were Bows and Arrows, Daggers and Javelins ; and their Horfesj 
 wholly guarded, except the Eyes, with fcaled Coverings. 
 
 The Parthians, Medes and Ajjyrians were guarded like the Per/tans | 
 fave, that the Parthians wore large Coats of Mail covering both Man 
 and Horfe, and the Ajjyrians, brafs Head-pieces. 
 
 The Phrygians and Armenians ufed Helmets, fhort Spears, Javelins] 
 and Daggers, wearing wide Stockings and Shoes like the Perjians. 
 
 The Carthaginians were as elegant and magnificent in Arms as the! 
 Perfitins, \ 
 
 The Macedonians and their Neighbours differed little in their Drefs! 
 and Arms from the Greeks ; And 
 
 The Romans and Trojans the fame. 
 
 The Lacedemonians firft began to carry a Shield, Sword and Ax. 
 
 The People of Carta were the firft who ferv'd for Pay, carried 
 Shields, bore Armour and had Plumes or Feathers on their Helmets. 
 
 The Thracians wore Head-pieces of Fox-skins, Coats of Armour, 
 party-colour'd Dreffes and Stockings of Skins. Their Weapons were 
 Darts, round Shields and Daggers. 
 
 The MthiopianYioxfe were guarded with an Helmet, Coat of Armour 
 reaching half-way the Thighs, powder'd with Iron Eyes, and proof 
 againft Cuts and Pufhes. Their Arms were, a round Shield, a Lance, 
 a Scimitar and Clubs plated with Iron. Thofe who had no Helmets 
 wore long and hairy or woolly red Caps, like the Mamalukes in -/Egypt. 
 The Foot, to ftrike Terror into their Enemies, wore Skins of Lyons,, 
 Tygers, Leopards and other wild Beads ; and had, for Weapons, large 
 Bows, Pikes, Arrows and Slings. The Emperor hi.mfelf wore a coftly 
 gold and jilver Diadem about his Head, and carried in his Hand a 
 filver Crucifix. He was dreft in gold Stuff, full pleated, over afilk Shirt 
 with large Ducal Sleeves, and from his Middle hung a loofe Garment 
 of Silk and gold Stuff. His Body-guards, covering their Heads: and 
 Shoulders with Beafts-skins, carried a Sword, a Dagger and a Javelin; 
 
 The Indians were cloath'cl in Wood, and had Bows of Reeds, audi Ar- 
 rows a Yard and a Half long tipp'd with Iron. 
 
 The Arabians wore girt Coats and ufed crooked but hand/ Bow/s. 
 
 The Libyans were dreft in Leather and Ead burnt Javelins. 
 
 The /Egyptians bore a Shield and broad Sword. 
 
 The Inhabitants of the Balcares, now Majorca, Minorca, &c. had 
 
 ^liners. The 
 
Chap. 7. Of Still life. 60s 
 
 The Mtoliansy Lances and Javelins. 
 
 The Switzers, from ancient Times good Soldiers, as appears by their 
 Contefts with Julius Cafar, ufed large and long Shields for Defence. 
 ■ Their Arms were ftrong Spears, Pikes and Clubs. 
 
 The Gauls carried large Shields and long Swords. 
 
 The People of the Territory of Abruzzo, anciently called Samnites, 
 were good Horfemen and Darters. 
 
 The Inhabitants of Marchla Anconitana, anciently ftiled by the Ro- 
 mans, Ager Picenus, or Country of Wood-peckers, were likewife good 
 Soldiers, and bore a Shield, a Pike, an Helmet and Sword. 
 
 Thus I think to have made fome Provifion for further Inquiry,, that 
 Arfifts may not be at a Lofs. He, who wants more Information, can 
 read Virgil, Ammianus Marcellinus, Vegetius, Polybius, and Herodotus 
 Halicarnafjus ; which laft, in the Life of Xerxes, lays down all the 
 Particulars relating to each People and all forts of Barbarians. Vitru- 
 vius alio has written a Treatife of the Roman Military Exercife. 
 
 Homer, in his Iliad, fpeaking of Fights wherein fome had gold, brals 
 
 and fteel Armour, fays He pujh'd him in the Belly, but pierced 
 
 not his Armour • ■ And, in another Pafiage ■ He dealt him 
 
 Juch a Blow on his Steel-breafl as to make it ftrike Fire and refound. 
 Now, if it be ask'd, what fort of Armour this mull have been, of 
 mally Gold and other Metal ? and whether it could be poffible.for any 
 Perfon to move, bend and turn in fuch Armour as fhew'd the Mu'fcles 
 and Limbs and fat clofe to the Body? I anfwer, they could not, and 
 that the Notion of their having been thus is wrong. I think thofe are 
 alfo out of the way who fuppofe, they are fo reprelented for the Sake of 
 Decorum, and that this is Reafon enough, without confidering 
 whether it be poffible or not; fince other Reafons may be affign'd, 
 which can give better Satisfaction without forcing Nature. For 
 my Part, I believe, that the Arms and their Ufe were anciently asnozv,. 
 and that the Coats of Armour were, like our BufY-caats, made of Lea- 
 ther. They may poffibly have been fo contrived as to (hew the Muf- 
 cling ; B ut granting it, they mull be much fitter for Ufe than if of Steel 
 or folid Gold. Wherefore I cannot but think they were made of 
 Leather and of all forts of Colours, wrought or embroidered with 
 Silver or Gold, even coverd over with Gold like our gilt Leather, 
 ; and let off with Scales, Foliage and other fuch Ornaments. I remem- 
 ber to have read in my Youth, "in a certain ancient Latin Treatife, 
 yet extant, dedicated to. the Emperors- Theodo/ius and Vakntinian, 
 
6o6 
 
 Of Still-life. 
 
 Boole Xt 
 
 and entitled, The great Number of the Roman Forces, that the Rman 
 Armours, Breaft-pieces or Military Goats (as there called) were lined 
 with Wool and cover'd with the Skins of Wolves, Lions and other 
 wild Beafts of Libya. Neverthelefs, to fupport the Opinions of the Poets, 
 I add, that they had gold, brafs and fteel Breaft and Belly- pieces, fa- 
 fteft'd with fmall Hooks and Buckles on the Shoulders and Sides, to 
 ward off Blows; but they were plain and without Mufcling; and not 
 put on but in times of Preparation for Battle. Wherefore they 
 are much to blame, who introduce fuch Accoutrements on every Occa- 
 fion ; as, for Inftance, Scipio, in his Tent with the young Bride, and fit- 
 ting in full Armour ; or Alexander with Roxana, Rinaldo courting Ar- 
 mlda\ and other fuch Occurrences. 
 
 <$ H A P. VIII. Of the Origin of the fever al Enjigns and Shields and 
 .their Devices, for diftintlion of Nations and particular Perfons, 
 
 IT being, in Painting, abfolutely neceflary, firft, to diftinguifh the Na- 
 tions, and next, the Perfonages among them of high and lefier De- 
 gree, by Tokens either devifed by themfelves, or appropriated by 
 others * I think proper to handle this Point largely, in order to fhew 
 the Greatnefs of the Roman Power, and the many foreign Troops enter- 
 tain'd in their Service : I fay both Painters and Statuaries, efpecially the 
 latter ought to be acquainted with thefe Things, that, in reprefenting 
 either a particular Nation or Heroe, they may, on their Shields, exhi- 
 bit the proper Badges of Diftinftion whereby to be prefently known by 
 Perfons converfant in Antiquities. This Knowledge is as necerlary for 
 Hiftory-painters, fince Hiftories frequently make mention of a Con- 
 grefs of feverai Nations and their Heroes in one Place, without de- 
 fcribing their Arms and Banners ; a Point which coft me much Trouble 
 to gain, but proved of greater Advantage in the Ufes I made there- 
 of, and which I introduce here as having fome Relation to the preced- 
 ing Chapter. 
 
 On confulting Hiftories, I find, the Ancients, inftead of Banners, 
 made Ufe of a Bundle of Arrows or Boughs and Greens tied together, 
 which they called Manlpulus, or an handful, and the Enfign-bearers, 
 Manipularii. Titus Livius, the nice Roman Hiftorian and Antiquary, 
 tells us, that Romulus, having, by Accident, appeafed a Tumult with 
 
 few 
 
-flap. 8. Of Still-life. 6oj 
 
 ew People, from that Time reprefented it in the Enfigns and Arms by 
 ifVifp of Hay ; caufing this Token, as an happy one, to be born before 
 lim in the enfueing Wars. The Romans afterwards painted, on their 
 enfigns and Standards, fmall red Flames, in Token of Succefs ; as in the 
 Battle with the Sabines near Eretum, where the Arms of the former 
 ippeared by Night as if on Fire, without being damaged. Thus the 
 Standards and Enfigns of the Legions, by the Sight whereof the Sol- 
 3iers knew the Wills of their Generals, were from Time to Time aug- 
 mented. They had alfo, at different Times, divers other Tokens ; as 
 Men right Hands > the Image of their Emperors in Silver or Gold or gilt; 
 and fometimes there hung under them a fmall Pendant, having the Gene- 
 rals or Peoples Motto, S. P. Q, R. They likewife bare in their Ban- 
 ners, the Reprefentation of Wolves, M'inotaurs, zvild Boars, Horfe s, 
 Bulls and Dragons, till at laft they fixed on the Eag/e for the chief Field- 
 ftandard. The Romans ufed the Wolf, Minotaur, wild Boar, Horfe, 
 Bull and Dragon, for the following Reafons ; the Wolf, partly, as he' 
 tvas facred to Mars the God of War, and partly, becaufe his Penetrati- 
 )n is lb great, that he can fee as well by Night as Day : Whereby they 
 meant, that a prudent General ought always to be on his Guard, fo as 
 lot to be fuprized by the Stratagems of the Enemy. By the Minotaur, 
 ays Vegetius, they fignified, that as this Beaft kept himielf in the moli 
 lidden Part of the Labyrinth, fo the Defigns of -a General ought, to be 
 cept fecret. The wild Boar, becaufe no Peace or Ceffation of Arms was 
 trade without it. Videos 9th Book, p. 505. treating of the Offerings, 
 the Horfe, as being of great Account among the Romans, and the pro- 
 ber Sign of War. The Bull, becaufe the ancient Romans pretended, that 
 he Word (Italia) was derived from Itala, which now a days fignifies a 
 Zalf or Bull. The Dragon they commonly painted on the Banners of 
 he Foot, and each Century had one ; whence the Bearer of it, accord- 
 ng to Vegetius, was called Dragonarius. Ammi anus- Mar cellinus tells us 
 he Manner of carrying it. They tied, fays he, to the Tops of their gilt 
 Pikes (which were gold fringed and hefet zuith Pearls and precious Stones J' 
 Dragons made of woven Stuff and hollow within, which, on being advanc- 
 ed in the Air, opened their frightful Mouths, and made a grumbling Noife 
 is if full of Wrath and Fury ; bending and moving their Tails with the- 
 Vind. Of which CI audi anus fpeaks : Et cejfante Vent mult i t a cue re 
 Dracones. i. e. Thi Dragons were all ft lent when the Wifidabated. This 
 infign, according to Ammianus aforefaid, was of reddilh Purple, The^ 
 Eagle furpaffing all other Birds in Courage and Boldnefs, is not improper- 
 ly called the Roman Eagle ; for to what Corner of the known World, 
 
 has, 
 
Of Still-life. 
 
 Book XP 
 
 has be not extended the Roman Dominion ? What refitting Nation has 
 not felt the Effeft of their Deliberations, and the Valour wherewith 
 they put them in Execution ? And yet I know from Hiftory, that the 
 Eagle was in Ufe long before among the Per/fans : For Cyrus the Foun- 
 der of that Monarchy, bore, according to Xenophon, a gold Eagle with 
 fpread Wings, on a long Pike, as if he would fly over the Univerfe ; 
 which Cuftom his Succeilbrs retained as a Royal Token. By a conftant 
 Confent of the Soothfayers, all Nations anciently afcribed to this Bird, 
 the Honour of believing he prognofticated good Luck and happy Succefs 
 in any Undertakings : In which Senfe Jufiinus tells us, that Hiero, when 
 youncr (who was of mean Birth on his Mother's Side) making his nrft 
 Campaign, an Eagle flew down and fat on his Shield : Which was judg- 
 ed as a Prefage of his becoming, in Time, an excellent General and a 
 King ; as afterwards came to pafs. The Poets even fay, that this Bird 
 implies Profperity affigned to any Perfon by divine Providence. _ This 
 Opinion owes it's Rife to the Relation of Anacreon, the firft Writer of 
 Antiquities, that Jupiter, intending to deftroy the Giants who threaten'd 
 to ftorm Heaven, the Powers of which he offered to, was, by the acciden- 
 tal Flight of an Eagle, afiured of an happy Succefs and Victory ; which 
 afterwards obtaining, he always bore a golden Eagle in his Arms and 
 Banners, as a perpetual Memorial thereof. From Jupiter the Cretians 
 affumed that Bird, and from them the Candiots. JEneas the Trojan in- 
 troduced him among the Latins ; and from them the Romans, in Pro- 
 cefs of Time, came to ufe him for their Arms : Tho' Lipfms is of Opini- 
 on, they affumed him after the Example of the Perjians. The Tuf cans, 
 beaten by the Romans in their laft Conflict near the City of Eretum, on 
 the Borders of the Sabines, preiented Tarquinius Prifcus, King of the 
 Romans, their King's Regalia, to wit, a gold Crown, a purple Gar- 
 ment, and Mantle of various Colours, alio an Ivory Chair, and an 
 Ivory Scepter with an Eagle on Top, which he and his Succeffors always 
 bore. After the Banilhment of the Kings, the Senate took the Eagle 
 from their Scepters, and fet him on their Pikes, exalting him above 
 all their other Arms, whether the Wolf, Minotaur, Horje, Wild Boar y . 
 Sec. Marius, when a Child, happening to find an Eagle's Nett with 
 7 young, a Prefage of his two Confulats, often placed the faid Number 
 in his Arms ; and in his fecond Confulat, affigned the Eagle to the 
 Roman Legions, ufing him only in Battles, in order to fpirit the Sol- 
 diers, and affure them of Victory. The other Military Tokens were 
 fet on the Tents ; but Marius took them down ; and from that Time 
 no Legion was without two Eagles. But Jofephus, in his fourth Book, 
 
 gives 
 
Chap. 8. Of Still-life. ^09 
 
 gives each Legion one Eagle ; and by the Number of Eagles they count- 
 ed their Legions ; as Hirtius fays, that Pompefs Army confifted of 
 thirteen Eagles. Dion alfo affigns each Legion an Eagle. This Eagle 
 flood, with extended Wings, on a Pilum, or Staff, which, according to 
 Vegetius, was live feet and an half in Length, arm'd with a (harp trian- 
 gular Iron .of nine Ounces. The Bearers of it they called, Jquiliferi. 
 Thefe Eagles were but fmall, and of Silver, and many had the Thun- 
 der in their Talons.' The Romans firft ufed ftlver Eagles, as did alfo 
 Brutus, becaufe Silver is the brighten: Metal, and moft like the Day, 
 and therefore propereft for a Military Token: But afterwards, they 
 made them of Gold, as more ftately and furpaffing the Silver. The 
 Romans firft ufedfilver Tokens as being originally frugal and faving; 
 but at length they yielded to none, even not to the Perfians, in Lux- 
 ury, Pomp and Shew. 
 
 Julius C 'afar fo highly prized the Bat avians, in Roman pay, that 
 he made them his Body-guards ; intruding them likewifq, in the fharp- 
 eft Engagements, with the Carriage of the firft and chief Standards 
 of the Roman Eagles. 
 
 The Herculeans of the Olid Troops, mention'd in the preceding Chap- 
 ter, bare, on their Enfign, a blue Eagle, with fpread Wings, in a 
 Jilver Field coi ner 'J with Gold. 
 
 The Toung Het culeans carried, in their Standards, a golden Eagle 
 fitting on the Stem of a Tree, in a blue Field bordered with Gold. 
 
 The i¥ew Jovinians had, in their Enfigns, a golden Eagle, with a 
 Diadem* or Royal Fillet, about 'the Head. This Eagle was either Black 
 or Brown, in a gold Field, and the Wings were fet of with Red and 
 Blue, and had a fmall gold Shield on his Breaft. But thofe of the Old 
 Troops carried a purple Eagle adorned with Red and Gold in a blue 
 Field. 
 
 The Legions, called Quartodecimani, ftation'd in Thracia for the De- 
 fence of thofe Countries, bare a pale-blue Eagle, fitting on a Globe of 
 bright and deep Blue, in a ftlver Field bordered and centered with 
 Gold. 
 
 The Divitenfes, a Legion of the Gauls, carried an Eagle of faint 
 Scarlet and a golden Bull, in a Jilver Field. 
 The Thebans alfo bare an Eagle. 
 
 The Banner of the firft Company of Life-guards of the Emperor Theo- 
 dofius, commanded by a Colonel of the Foot, had the Figure of an 
 half Man with extended Arms, holding, in the right Hand, a Rope, and 
 
Of Still-life. 
 
 Boot XI. 
 
 in the left, an Hat ; thereby intimating, that the Stubborn and Lebel- 
 lious fhould be chaftifed, and the Obedient made free. 
 
 In the fecond Banner was, a golden Bull on the Jut of a red Hill, 
 with a Moor or Black down to the Middle, holding a Piece of thick : 
 Rope in the right Hand, and a Cap or Hat in the Lefty fhewing, that 
 they might make Prifoners and Slaves, and fet Men at Liberty. 
 
 The Thracians carried the Idol Mars in their Standards. 
 
 The People of Smyrna, the Image of Fortune, And 
 
 The Corinthians, a Neptune, or the Horfe Pegafus. 
 
 The Regiment, called the Old Argivi of the Raft, commanded by 
 the General of the Foot, had two leaping Horfe s of Gold, in c blue 
 Field. 
 
 The Regiment, of Foot called the fecond of Theodofius, firft efta- 
 blifhed in his Reign, carried, in it's Enligns, a golden Horfe, ini red 
 Field bordered with Gold, 
 
 Another Fo#f-Legion, fet up in the Emperor Confians's Time, wience 
 it was called, Conjlantia, had alfo a golden Horfe, in a sky-blue Field,, 
 and above him, in the Middle, a red Globe, r againfi which he was rear- 
 ing and throwing himfelf out with all his Might. 
 
 The Athenians, Cephalenians, Thejfalians and Syracufans, alfo carried- 
 an Horfe. 
 
 The Gauls and Saxons had a Lion; and the latter, fometimes an 
 Horfe. 
 
 The Cumbrians bare a Bull, whofe Figure caft they likewife arriecfc 
 on a Lance at the Head of their Armies. 
 
 The Armenians carried a Ram, or a crozvned Lion. 
 The CiJJians had alfo a Lion. 
 
 The AJiatics, a large Whale guided by a Child fitting aftride m his 
 Back. And 
 
 The Goths, a She-bear. 
 
 The Banner of the Salii had two half Wolves rearing up again/l 
 each other, and fixing their Eyes on a Rofe which was over their Heads, ' 
 in a gold Field bordered with Purple. 'TIs no Wonder thefe People 
 blazon'd the Wolf, feeing they claim'd Mars as their Proteclor. 
 
 The Regiment of Foot called, Jovianum, which had the fifth Poft 
 of Honour among the Romans, bare, in the Emperor Diocktiiwus\ 
 Time, a red Hog fitting upright on it's Hinder-parts, in a blue Field (bor- 
 dered with Gold: And for this Reafon, the Poets having feigned, tha: Ju- 
 piter, when a Child, and lying in the Wood, was nuried by a S.ow, 
 
 and \ 
 
Chap. 8. Of StiU-life. 611 
 
 ind this Regiment having the Name of Jupiter, it therefore carried 
 the Hog in it's Standards, in Memory of that Occurrence. 
 
 The Foot-regiment of Guards, eftablilhed by the Emperor Honorius, 
 Dare two Demi red Hogs rearing againfl each other* in a Jilver Shield and 
 rold Field. 
 
 The Trojans likewife carried an Hog, in a gold Field. 
 The Phrygians had alfo an Hog. 
 
 The Regiment, called Tertiodecimani, had a leaping blue Dog, in a 
 Giver Field centered with Gold, and bordered with red and dark Blue. 
 
 From the Time of Conftantine the Great down to thofe of Theodojius, 
 Honorius, and feveral fucceffive Emperors, the Romans had a Foot-re- 
 giment called Menapii, whofe Device was a leaping red Dog, in a 
 9lver Field, centered with a fmall gold Shield, and under it another Dog, 
 tying on his Back and flinging^ up his Legs. This Body was in high 
 Efteem for the Honour it gain'd in vanquifhing the Thracians. 
 
 The Cynopolitans bare Anubis, in the Shape of a Dog. 
 
 The Cortonenfes devifed a ftlver Dragon, in a red Fields on the Sides 
 vere two Rings, that on the Left, of a very deep Red, and the other of 
 Silver. 
 
 The Lacedemonians had the Greek Letter A, or a Dragon. 
 The Indians bare the Image of Hercules j but their Horfe, according 
 o Suidas, carried Dragons. 
 The Nervii, being the Body-bowmen of the Emperors, had, for 
 
 Device, two Demi-caducei, or IV inds, twined with Serpents, in a pur- 
 ple Field bordered with gold and red. In the Center of the Shield was a 
 ■old Ring on a fmall gold Column, round which the aforefaid Serpents 
 vere winding , their upper Parts making a Semicircle, and their Heads re- 
 garding each other. 
 
 The Saguntians had for Device, two red Serpents j and, as Ammi- 
 nus fays, of Purple, crofjing each other, like the Greek Letter X, in a 
 l ky-blue Field bordered with Red. 
 
 The Company of Biennians, ferving under the General of the Foot, 
 n Sclavonia, bare, in their Banners, a deep blue Serpent, with a bent 
 ail towards the Ground, with a Man's Head looking backwards, in a 
 hie Silver- like Field bordered with Gold. 
 
 The Marcomanni had a gold Demi-Serpent, in a Jilver Field, and 
 Uween the Head and under Part was a gold half Moon. 
 
 The Curiam bare, a gold Serpent coiled up, in a grey Field bordered 
 nth Jilver mid blue Checkers. 
 
 4 H 2 The 
 
tfix Of Still-life. Bool; XL 
 
 The Legion of Foot, called the fixth Parthian, ferving in the Baft, 
 had, for Device, a yellow Caduceus, or Mercury's JVand, in a blue 
 Field edged with Purple and Silver. 
 
 The Legion of the Angrivarii carried a red Staf topp'd with a round 
 Ball, out of which ifued two Serpents, bending to the Middle of the 
 Shield as if kiffing each other, in a pale blue Field with a double Edging 
 of Purple and Gold. 
 
 Among the ancient Legions was a Regiment, called Valentiani, efta- ; 
 bliih'd by the Emperor Vakns on his waging War with the Thracijns ; 
 thefe carried, in their Standards, a [mall red Column and two Half j 
 moons of the fame Colour, over two golden Hares jumping againft each other, 
 in a fiver Field. 
 
 The Libyans had Three Hares. 
 
 The Enfign of the Roman Legion, called Augufta, was an erefi red ■ 
 Cat, fet of with Gold, in a ftlver Field, and turning her Head fide- i 
 ways, as if going backwards. 
 
 The Alpini had a blue Cat walking upright, in a crimfon Field fet of 
 
 with- gold. I 
 
 The ancient Alani, Burgundi ones and Suevi, alfo carried a Cat ; there- ; 
 by intimating, that they could bear the Yoke of Servitude with as lit-j 
 tie Stomach as the Cat cared to be lock'd up. 
 
 The ^Egyptians carried a Crocodile, or elfe a Cat. I 
 
 Not long before the Decay of the Roman Monarchy, they had a Le-j 
 gioninpay, call'd Cornuti, whofe Device was a ' red Falcon in, a goldk 
 Field, fet of with blue and red. 
 
 The Inhabitants of Peloponnefus bare a Tortoife.. 
 
 The Boeotians, a Sphinx. 
 
 The Locrenfes, a Locuft. And 
 
 The Affyrians, m Memory of Semiramis, a Dove. 
 
 The Arcadians, who fet up for the mod ancient People in the World,, 
 and to be co-oeval with the Moon, therefore carried the Moon in their 
 Enfigns ; and fometimes, the God Pan, who is the Emblem of the wholej 
 
 Earth. r 
 The Parthians had a broad Sword or Scimiter in the Hand oj I 
 
 winged Ann. 
 
 The Greeks commonly had two Crowns. 
 The Medes, three Crowns. 
 
 The Macedonians, Hercules^ Club between two Horns. 
 
 The Cappadocians, a Cup. 
 
 The Scythiansy a Thunder. And 
 
 The 
 
hap. 8. Of Still-life. 613 
 
 The Phoenicians, a Sun and Moon* 
 
 The Enfign of the Foot, called Brae cat i juniores, an illuftrious Ti- 
 tle among the ancient Romans, was of a dark-blue Colour, having a 
 Star with eight Points in the Upper Part, and in the Middle, a Circle 
 embelli/hed with Gold. 
 
 The Troszenenfes bare a Trident . 
 
 The Imperial Standard of the Emperor Theodofius had a Crofs, in 
 which Sign he put all his Confidence. 
 
 Con/1 ant ine, in the Battle with Maxentius, had, for his Banner, a 
 long Staff having on top aCrofs-piece, both plated with Gold, and above 
 a Crown, befet with precious Stones, on which were engrav'd the two 
 firft Letters of the Name of Chrifi in Greek, to wit, a Pin the mid- 
 dle of an X : A Name he likewife bore on his Helmet. To the afore- 
 faid Crofs-piece hung a Pendant embroider'd with Gold and Pearls. 
 Under the aforefaid Name and the Standard of the Crofs he obtain'd 
 a glorious Viclory over the Tyrant Maxentius. 
 
 Lacianus writes, that the Pentagon is the Emblem of an happy 
 Enterprise and good Succefs, proceeding from the following Conside- 
 ration. Antiochus the Firft, firnam'd Soter, i. e. Saviour, waging War 
 with the Galatians, and percieving, by the daily Increafeof new Dan- 
 gers and Difficulties, that the Iflue would not be fo profperous as he 
 could wifh, dreamed, or fo pretended, in order to fpirit his Soldiers, 
 that he had Converfation with Alexander the Great, who advis'd him 
 to take, for his Emblem, the common Word of Salutation, in Greek 
 TrEIA, or, I zvijh you Health and Prosperity, and to give it to his 
 Commanders and Soldiers for the general Watch-word, and to have 
 it carried on their Arms, Shields and Banners, as being to ferve him 
 for a Token of Victory. Whereupon he defcrib'd to them the Shape 
 of this Emblem, which was, three Triangles drawn- thro' each other 
 with jive Lines, conftituting a quint angular Figure, and on each Angle 
 one of the faid Letters. Antiochus, having done this, .obtain'd a fig- 
 nal Vi&ory over the Galatians. There are ftill extant feveral Coins 
 and Medals of Antiochus, bearing the faid Pentagon or quintangular 
 Figure. 
 
 The Argonauts, or thofe of Argos, had the Letter A in their En- 
 fign, as being their initial Letter; yet they bare likewife a Fox, or a: 
 Rat. 
 
 The MeJJinians carried an M. And 
 
 The Jews had the Letter T, the Token, of Salvation. 
 
 The 
 
di4 Of Still-life. Book XI. 
 
 The painted and engraved Shields (in reference to which, many of the 
 Learned would derive the Latin word Scutum, a Shield, from Sculptura, 
 becaufe it was cuftomary to engrave or reprefent glorious Actions and 
 Hiftories upon them) were anciently a certain Sign of the Valour of 
 thofe who carried them. And, left the Soldiers, in the heat of Bat- 
 tle, fhould miftake their Comrades, each Legion, according to Vcge~ 
 this, had particular Marks on their Shields ; and on the Infide of which 
 was written each Soldier's Name, and what Company he belonged to. 
 
 The Shields or Targets were of different Makes at the Place where 
 they guarded the Hand : As, thofe of the fir ft Armenian Order had 
 two Indentures cut out down the Sides ; as we have faid in the foregoing 
 Chapter touching. the Shields of the Amazons. Thefe Shields were of 
 a Sky-blue Colour with a hlver Field. Thofe of the fecond Armenian 
 Order were quite round, of a purple Colour with a Sky-blue Field 
 border'd with Gold. 
 
 The Vefontians bare Shields with four fmall ones at the Angles, making 
 a Square, two whereof were of Silver, and the others of Sky-blue, double- 
 bordered. 
 
 The Shield of the Menapii had a Jilver Field with a gold Dog in 
 full Speed, as if running to the Outjide. 
 
 The Mantineans bare, in their Arms and Shields, the Trident, as a 
 Sign, according to Pindarus, of their being Citizens of that Town. 
 
 The Romans, after Adrian's Time, carried in their Crefcent-like 
 Shields, in a {ilver Field, two gold Demi-horfes curvetting againft 
 each other, and called Mauriferoces, or flout and fearlefs : Where' 
 by fome allude to Italy. ~ 
 
 The Spar tans bare a Dragon, 
 
 The Greeks, the God Neptune. And 
 
 The Trojans, Minerva. 
 
 The Lacedemonians carried the Greek Letter A, for their Significa- 
 tion. And. 
 
 The Meff'enians, formerly an excellent and valiant People, an M, for 
 the fame Reafon. 
 
 The Anthenians often bare an Owl in their Arms. 
 
 The Jews affirm, they were the firft who made Diftin&ion between 
 People of high and low Degree^ by particular Tokens. Accordingly, 
 thofe who were of eminent or noble Families, wore in their Shoes a 
 ivaxing Moon. 
 
 The Affyrians, JEgyptians, Perfians and Greeks, for that Reafon 
 ufed the fame Token : Whence 'tis probable the Turks, in Procefs of 
 Time, took it for their Standard. The 
 
[ Chap. 8. Of Still-life. 6i r 
 
 The Romans likewife, in token of Nobility, wore a waxing Moon 
 on their Shoes; which therefore they called Lunulati CakeL 
 
 The Athenians expretfed the Antiquity of their Dcfcent by a Grafs- 
 hopper-, as Thucydides relates in the Beginning of t his Hiftory, ftiW 
 them, # Porticigala, from their Cuftom of wearing gold Graf stoppers 
 in their Head-ornaments (and their Generals the fame on their Hel- 
 mets) for Diftinftion between the Foreign and Native Nobility. 
 
 Ancient Writers afore us, that moft Heroes bare fome Device or 
 other on their Shields ; fome of which I (ball here fet down, with- 
 out Regard to Dignity or Priority of Time wherein they lived. - 
 
 Ofms, firnamed Janus, bare in his Enfign, a Scepter topped with aw 
 Eye ; and fometimes, with the Addition of an Eagle, the Sun or fuch 
 like Objecl: : And IJis carried a Moon. 
 
 Hercules, call'd by fome the Great Ofiris, bare a Lion tvith a 
 Battle- ax mhs Paws-, or elfe, the [even-headed Serpent Hydra. . 
 
 Mars had jfWolf, and on his Helmet a Mag-pye. 
 
 Pallas carried the Head of Medufa on her Shield and Breaft-piece ; ; 
 and on each Side of her Helmet, a Griffin, and on top either a Sphinx 
 or OwL 
 
 Thefeus's Device was, a Minotaur with a Club on his Shoulders 5 , 
 and oftentimes, an Ox. 
 Cadmus bare a Dragon. 
 
 C 'aft or had a Silver Star, in a blue Field: And ' 
 Pollux, the fame in a red one. 
 
 Nimrod, the firft King of Babel, bare a Ram. And 
 
 Mnus and Semiramis, a Dove-, to which the latter added a Leopard* . 
 becaufe he had overcome and kill'd one. 
 
 HeBor carried, a Lion fitting in a purple Chair, with a Silver Hal- 
 herd in his Paws. 
 
 Uhjfes a Fox, and on his Helmet a Dolphin. 
 
 Paufanias, in his Greek Hiftory, relates, that the Elifans carv'd, 
 bn Agamemnon's Shield, a Lion's Head, in order to affright his Enemies ; 
 and thus fubferibed, behold the Terr our of the World. But Homer is 
 more elegant in this Defcription. 
 
 Pyrrhus bare an Eagle ; or, according to fome, The nine Mufes with 
 dppollo on Mount Helicon. 
 
 Achilles had an Oak-tree. And 
 
 Paris, a Golden-Head. / 
 Alcibiades's Shield was of Ivory and Gold, and thereon a Cupid 
 mbracing the Thunder. 
 
 Alexander- 
 
6i6 
 
 Of Still-life. 
 
 Book XL 
 
 Alexander the Great bate a Lion, and oftentimes the Image of Ft {lory M 
 or eHe, the Bucephalus, or a Wolf or a Ram. 
 
 Ofcus, King of Tyrrhenum, now Tufcany, carried, in his Arms and 
 Shield, a Serpent, which, according to Servius the Roman Writer, was 
 alfo the Device of the Kings of Mgypt. 
 
 Judas Maccabaus had a Bajilisk. 
 
 Scipio Africanus bare the Figures of his Father and Uncle in his 
 Shield ; and his Head-piece refembled an Elephant's Head. 
 
 Scavola carried, in his Shield, the Pi&ure of his Heroic Anceftor 
 Mutius Scavola. 
 
 Antiochus had a Rod twitfd with a Serpent. 
 
 Otlavianus Auguflus, a Sphinx. 
 
 Pyrrhus, King of Epirus, the fame. 
 
 Seleucus, a Bull. 
 
 Lucius Papirius Curfor, the Horfe Pegafus. 
 Epaminondas, a Dragon. 
 
 Pompey the Great, a Lion with a Sword in his Paws. This was 
 alfo the Device of his Seal-ring, deliver'd after his Death to fuliu: 
 Cafar. 
 
 Julius Cafar carried, in his Standard, thefe Words, THE MO 
 THER VENUS; and on his Shield, a double-headed Eagle. 
 Sylla's Device was APOLLO OF DELPHOS. And 
 Marius's, the Lares, or Houthold Gods. 
 Macenas bare a Frog. And, 
 Fefpafianus, the Head of Medufa. 
 
 He who would have a thorough Account of the Shields, Targets 
 Helmets, Sec. of the Greeks, Trojans, and other Nations, may fatisfy hi; 
 Curioiity in Homer and Firgil 3 in their copious and elegant Defcrip 
 tions. 
 
 The End of the Eleventh Book 
 
THE 
 
 ART of PAINT ING. 
 
 BOOK XII. 
 
 Of Flowers. 
 
 Emblem touching Flowers. 
 
 T mthfuf Flora Jits here attired in Blue,, Yellow and Red, attended by four 
 Children, reprefenting the Four Seafons, each dreft in a Garment, or 
 Drapery, of the Colour peculiar to him, and dancing with Flowers and 
 Fruits, which they prefent to her. 
 
 CHAP. I. Of Flozvers in general. 
 
 H E Spring being the moft delightful Seafbn of the 
 Year, it is no Wonder that Flowers have a particular 
 Charm above other Objects ; and this not only in Nature* 
 but alfo in a Painting ; which, though ever fb indiffe- 
 rent, Lovers often prefer before a fine Piece of Hiftory or 
 Landskip. 
 
 It is remarkable, that, amidft the various Choices in the Art of 
 Painting, none is more Feminine, or proper for Women than this ; 
 .No.. 27. 4 I and 
 
Of "Flowers. 
 
 Bcofc XII. 
 
 and the Realon is plain. It's alfo to be noted, that, of thofe Choices, 
 one is as perfect as the other, with refpecl to Art, were it ever lb 
 lingular ; and tho' this Choice is but a Jmall Part of the whole, 
 yet it is attended with as many Excellencies : For as a Bunch of Grapes 
 carries it's perfection, fo the leaft Grain does the fame. But tho both 
 the Parts, as well as the Whole, fall under the fame Rules, and one 
 Matter underftand his Branch as well as the other ; yet he, who has 
 from his Youth applied himfelf to this or that (ingle Choice, let his 
 Progrefs therein be what it will, can perform nothing elfe that's good. 
 We have many Inftances of excellent Matters who departed from the 
 general to particular Choices with Applaufe, but of none who have 
 done the contrary without Difcredit. I reckon Difcredit as bad Ex- 
 change as Copper for Gold, or Water for Wine. Of the formei Sort 
 are innumerable Italian and French as well as Low Dutch Matters ; 
 but of the latter few, among whom Verelft alone claims the Laurel, 
 to the Wonder of thofe who knew him when he painted Flowers For, 
 if ever a Painter excelled in that Branch, he was the Perfon : Neither 
 Mario da Fiori, Father Segers, or de Heem came up to fuch a Fitch ; 
 and yet, thro' a bad Exchange, he at laft fell from an agreeable Spring 
 into a forrowful Winter, wherein he perHhed; I bring this Example 
 for two Reafons : Firft, In Confirmation of my Aflertion, that he ; who 
 can perform the mod difficult Things, may eaiily, even without Trou- 
 ble, attain thofe of lefs Consideration ; but not the contrary without 
 Difadvantage and Difcredit. Secondly, Becaufe my Defign is to treat 
 of Flowers, as an effectual Admonition to thofe who would beftow their 
 Time wi th Advantage onxhzt Jingle Choice* 
 
 Flower-painting is certainly a commendable Study ; but, as there are 
 double and fingle Flowers, fo there are two Sorts of Flower-painters ; 
 the one fingular and hmple, and the other rich and ingenious ; of which 
 latter Sort we have but few, and of the former Abundance. Three 
 Things are efpecially neceflary in a good Flower-piece : Firft, 
 Choice and beautiful Flowers : Secondly, Good Difpojition and Harmony : 
 And lattly, Neat and f oft Penciling. Firtt, The Flowers mutt not be poor 
 or mean, but fuch as are large, beautiful, and in Efleem. Seccndly, 
 That, whether lying or ftanding, they always keep their proper Quality 
 and Shape, i. e. that the Round feem not, by too extravagant a Spead, 
 to be triangular, fquare or oblong, whereby to mi/lake one Flower fir an- 
 other 5 that the mofi noble and beautiful have the Predominancy, and 
 that, by their placing, they produce an agreeable Mixture of Colours, de- 
 lighting and fatisfying the Eye 5 confifting, in fo ordering the ttron^ and 
 
 ftriped 
 
Chap. x. Of Flowers. 
 
 ftriped with the faint Ones, as to exhibit a lovely Rainbow. Laftly, That 
 iach Flower be well exprefs'd, according to it's Nature and Quality ; 
 as, one thin, another thick, this foft and limber, that fet and ftirF, one 
 ftiining, another dull and gloflefs. 
 
 We are, in the next Place, to fuppofe, that it is impoffible to be a 
 Rafter without a firm and exatt Draught, and thorough Acquaintance 
 with Perfpettive, together with^od Knowledge of the Colours and their 
 Bodies, and which will fiandbeft; and laftly, a due Inquiry into the 
 Mature of Flowers, that they may be handled accordingly. 
 
 He who would follow this Study in good earneft, ought to be Mafier of 
 a Flower-garden, which he (hould carefully cultivate, that he may, in 
 the Seafons, be furnifhed with fine and choice Flowers : For tho' model- 
 ling be a great Affiftance in Winter Pradtice, when the Life is not to 
 be had, yet- no Perfection is attainable without the Life. He who is 
 a firm and nimble Draftfman, and a good Manager of Water-colours, 
 has a double Advantage, and may in Time get a Treafure of beauti- 
 ful modelled Flowers, bearing good Prices and great Efteem among the 
 Curious.. After the Flowers, the green Leafing of them is of great Im- 
 portance, thro' it's various Qualities and Difference in 'Texture and Co- 
 lour, ca.ufi.ng a Flower-piece to look natural and more decorous. 
 
 2 H A P II. Of painting Flowers in Halls, Apartments, Galleries-, 
 but principally on deling s for Ornament. 
 
 I" -1 I S the Bufinefs of a good Flower-painter, principally to aim 
 at what is praife-worthy. What great Things, what glorious 
 Dccafioos do there not offer for a Mafter's Fame J But this lies not always 
 h the Reprefentations of Garlands of Flowers, Pots, Giafs-bottles, 
 Butterfliies, flying Beetles, Cobwebs, or Drops of Water, any more than 
 ■n neat penciling and bright Colours, with which we think to fet the 
 IVorld in a Gaze. Such Trifles are two low, and the Repetitions too 
 jrkfome for the Tafte of noble Souls. What Opportunities do not dail^ 
 lappen in Palaces, Gardens, Galleries, and Apartments, for (hewing 
 >ur Skill and Ingenuity ! Suppofe to yourfelf a lofty Room, built, with 
 fchite Marble, and fet out with fine Piclures and Bafs-reliefs, for the 
 :ommon Recreation of young Gentlemen and Ladies : This Room 
 nay be freely embellifhed, above and on each Side of the Niches, with 
 ine and large Feftoons of Flowers : Between the Pilafiers, and over 
 
 4 I 3 the 
 
Of Flowers. 
 
 Book XIL 
 
 the Bafs-reHefs, much Green ; yet fomewhat lefs in Cafe any Landskips 
 be there; and on the white Marble may be all Sorts of beautiful 
 coloured Flowers. On red Marble contrarily white and yellow ones, 
 according to the Rules of Art, and in large Parts : Now light, then a- 
 sain dark Leafing, as the Matter and Ground require. But of the fe- 
 deral Grounds and Colours of Flowers fuitable to them, we fhall here- 
 after treat particularly. On the deling, there*may be thin Branches 
 of airy Foliage, alfo intermixed with Flowers, here Feftoon-wife, 
 there in Groups, faftened with Ribbons or Rings, and having in fome 
 Places loofe Sprigs and Leaves projefting from the Ground, and returning 
 their proper Shades thereon (which tho' the Life is not to be had, may by 
 fome fuch made Things be performed) that they may feem more naturally 
 to hang off. Such Flowers and Leaves ought to be ftrongly and boldly 
 handled, but yet fo as to feem faftened to the Work ; well confidering 
 the Colour and Lightnefs or Darknefs of the Ground, and chufing for 
 it Flowers of fuch Colours, that fome may look as if flicking to it, and 
 others coming offl Now, if many Feftoons be to hang in fuch a Place, 
 or Room, they muft needs have a like Length, Breadth, and Fullnefs, 
 and be placed equally high or low. What Difference is it to us, whe- 
 ther the Proprietor defire to have Flowers or Fruits, or a Mixture of 
 both ? For the Feftoons may be filled with Peaches, Apricocks, Mul- 
 berries, Plumbs, &c. hanging on their Twigs. Over the Reprefenta- 
 tionof a Bacchanal, fome Bunches of white and blue Grapes, intermixed 
 with Pine-apples, look becoming. On the Alcove may hang loofly 
 over it Papavers of all Sorts of Colours, interfperfed with Poppies, tied 
 here and there with Ribbons, as moft proper for that Place. 
 
 Why Ihouldnot fuch Sorts of Ornament be agreeable when naturally ; 
 difpofed and painted ; efpecially, if well-lighted, and the Ground-Jhades 
 duly exprefs'd on the Ground t The Company before-mentioned may 1 
 poiiibly raife Mirth enough among themfelves ; but fo pleafant a 
 Sight muft needs be a great Addition to it. Let us therefore take hold 
 of every Opportunity that offers, and in the mean Time exercife our 
 Talents'in the Attainment of a great Handling. Let us exchange our 
 fmali Cloaths for whole W r alls 3 our Pots and Bottles, for Vafes ; and? 
 a muddling, for a beautiful Manner, Let us enquire what Flowers ar6 
 Painter-like, and which the principal ; conjoining their Senfe, Applica- 
 tion and Colour together with their proper Grounds. 
 
 CHAP. 
 
Cheap. 3. Of Flowers; 6zt 
 
 CHAP. HI. That a Flower-painter Jhould under/land Perfpective : 
 
 Alfo the Mijiake of reprefenting Things improperly. 
 
 WE have already afferted, that a good Flower-painter muft needs 
 understand Perfpeclive ; and yet (which is to be lamented) few 
 know any thing of it ; poffibly fuppofing, they have no Occafion for it, 
 and that therefore this Branch is fo much eafier than Hiftory, or any 
 Thiing elfe, which cannot fubfift without Perfpetlive, as indifputably re- 
 quirring more By-works, viz. Architecture, Landskip, or other Ob- 
 jc£l caufing Ground-fhades, which never happen in their Work : And 
 ihourid they at any time be non-plus'd, they can get Help from thofe who 
 are acquainted with Perfpetlive. If therefore they have but a Point of 
 SigBt, they think that fufficient ; and yet not for the Sake of the Flowers, 
 but folely for the Corner of a marble Table or Slab, whereon they fet 
 a Fllower-glafs, as if the lighting or (hading of the Flowers were a Mat- 
 ter <of Indifference ; this from a Side, that fronting, one from below, 
 anotther from above ; whence their Pieces have ufuaily many Points 
 6 f Sight, fometimes as many as there are Flowers. But it cannot be 
 otherwife, iince they often" paint after Models; placing a Flower on 
 the left Side, which flood before on the right, and the contrary, or elfe 
 below or above ; which they imagine nobody will difcover, becaufe 
 the)y cannot fee it themfelves. 
 
 Another ridiculous Cuftom of fome Flower-painters, in my Opinion, 
 is, tthat, in painting any glofjy Bodies, fuch as Flower-glafles, gold, fil- 
 ver or copper Vafes, after * the Life, they fail not to ihew therein f/fo 
 Patties of the Windows, and afterwards to hang the Piaures in Halls 
 and Galleries, which have none. Here let me take Notice of an ex- 
 traordinary nice and finifh'd Piece of that Nature, painted by a certain 
 known Gentlewoman, wherein not only fome Stalks of the Flowers 
 appeared naturally through the Glafs, but alfo her own PiHure in her 
 Pofihire of painting, with fuch an Air> as evidently ihewed it was fhe • 
 who fat in it; nor did fhe forget to reprefent alfo the Hl-ndows and 
 Pames, Sky and Clouds. We need not queftion, whether fhe endeavoured 
 by tth'e Depth of her Penetration, to iurpafs her Matter in that Piece 
 of Work. This Cafe is a-kin to that of a certain young Artift, who 
 paimting a Looking-glafs fronting, brought into it all that appeared he- 
 hincdhim: People could not be perfwadjd 'twas a Looking-glafs^tho' 
 
 painted 
 
6n Of Flowers. Book XII. 
 
 painted dark and dull, and it had a Frame about it ; and his Protec- 
 tions, that every Thing was taken from the Life, flood him in little 
 Stead ; wherefore, to falve the Matter as he thought, he painted him- 
 felfin the Looking-glafs, fitting at his Eafel ; and to make it more per- 
 fect, underwrit, This is a Looking-glafs, and that's me.. 
 
 CHAP IV. Of Flowers on all Sorts of Grounds. 
 
 ' 1 ' HAT White islet of by Black, and the contrary, needs no De- 
 X monftration ; and, on the other Hand, White on White, and Black 
 on Black caufes a flicking together ; Of which particular Notice ought 
 to be taken, that Flowers may have their due Force and ErTecl; fo or- 
 dering them, that fome Jeem to flick to the Ground, and others to come 
 off from it. . The moll proper Grounds for Flowers are thefe. 
 
 The Colour of blue Tomb-ftone. 
 
 Dark-olive or green Serpentine. 
 
 Light-grey Freeftone. 
 
 White Marble, but of a fecond Tint. 
 
 This Obfervation would rather fpoil a good Ordonnance than have, 
 the defired EfTeft, if we did not maturely weigh, what Uies we would 
 put thefe Grounds to, as alfo where the Flowers moll properly ought 
 to have the greater! Strength, and where the greattft Weaknus, : n or- 
 der that the Principal (I mean, the fixed Stone and Woodwork) may 
 not thereby be overpowered. I fay Strength, with refpect. to Force and 
 Beauty; but I mean not by Weaknejs, that the Colour, Light or Shade 
 fhould be weakened or fullied : However I (hall, in the Sequel, explain 
 what I mean by that Word. ' 
 
 Jny Colour fuits on White ; but the darkefl mofl beautifully. Warm 
 Colours are preferable to the broken ones, and the mofl: weak ought to 
 be on the Extremities j but few white ones, and thofe with Caution. 
 What I now fay concerns the Difpofition; which I ftall more plainly 
 handle in treating of Fefloons and Groups of Flowers. 
 
 The black Grounds, tho' quite different from the preceding with re- 
 fpeato great Force, can give little Reflexion, and therefore do not ad- 
 mit of light or weak Flowers; but neverthelefs fall under the fame 
 Rules and Obfervations as Flowers on a white Ground ; becaufe the 
 Greens, by their Union, have a Relation to the Ground and Colour. 
 
 Red 
 
Ch ap, t: Of Flowers. 
 
 Red and Yellow fuit not but with dark Grounds. 
 
 AM Flowers and Greens look well on a grey Ground. 
 
 Ml weak Flowers, as Violet, light Purple, Blue, Apple-bloflbm and 
 Whiite, agree with a warm Ground. 
 
 Flowers have a particular Decorum on a £7?/J or Jlher Ground' 
 and ftill greater on Copper or Bronze, by Reafon of their darkifh 
 Lufttre ; nnce the Colour of Gold is too ftrong, and that of Silver, too 
 pale;. 
 
 CHAP. V*. Of the Difpojttionof Flowers and their Colours in Fe- 
 
 Jloons and Groups. 
 
 HAVING hitherto treated of Flowers in general, we (hall now 
 proceed to their Difpofition in Groups and Feftoons. 
 1 flhall compofe each Group of particular emblematic Colours, as Yel- 
 low, Red, Purple, Violet, Blue and mite \ which I confider as'follows. 
 
 Tlhehrft Group, Yellow, having for its principal Flower, a Turnfol, 
 Apucan or Marigold, Anemone, &fr. which I ftile, Upper-power or 
 Etermity. ■ r 
 
 Tthe fecond, Red, as Peonies, Papavers, Rofes, &c. fignifying Power 
 or MLight. ° J ° 
 
 Tlhe third, purple Flowers, Rofes, Papavers, Tulips, &c. implying 
 Nobn/ity. r J ?* 
 
 The fourth, Violet, as Fritillaria or Fritillary, & c . fignifying Ineon? 
 
 Trne fifth, Blue, as Iris, Convolvolus or Bind-weed, &c. implying 
 Conflcamy. a 
 
 Trne fixth, White, as the Lilly or white Rofe, &c. fignifying Purity. 
 
 It imuft be obferved, that tho' in thefe Groups the capital Flowers be 
 of a particular Colour, yet they will admit of other fmall ones, about 
 them., of various Colours fuiting therewith ; as, 
 
 Wiith the Yellow, Purple, Violet and Blue. 
 
 Reed, Light-yellow, Apple-bloflbm, dark Blue and White. 
 
 Pmrple, White, Yellow, and light Blue. 
 
 Vioilet, Rofe-colour, Orange, light Red and Afh-blue. 
 
 Bluie, Purple, Orange, light Yellow and Wh'te. 
 
 Two 
 
Of Flowers. Book XII. 
 
 Two capita! Colours,' as deep Yellow, Vermilion or Blue, muft never, 
 be placed by or upon -one another. 
 
 White fuits any where, except on deep Yellow or deep Red. 
 Dark Green agrees with all light Flowers. And 
 
 Pale Green, with dark • Flowers. 
 
 Under thefe Groups, there fhould always be either a Motto or Perfe. 
 
 As for Feftoons, they may be handled in the fame Manner, yet with 
 lefs Confinement : If the emblematic Colour have but the middle Place, 
 that is fufHcient 5 the other Parts may be filled up with fuch Colours 
 as we pleafe, provided they have fomewhat lefs Brightnefs than the 
 principal' For Inftance, let the middle Flowers be large and high 
 coloured, as Africans or Marigolds, Tellow and Red-, on the right Side 
 maybe Purple, as Rofes, Anemones; and on the left Blue, as Ins, Flos 
 Frincipis, Hyacinths, &c. The Purple Side mixed with little White 
 and lefs Yellow ; the Blue Side, with Yellow and Red ; and the Tel- 
 low in the Middle, with Violet, dark Blue, little Purple and White. 
 
 In a fecond Feftoon, White may pofTefs the middle Place, as white 
 Rofes Lillies and others-, on the right Side may be Tellow, and on 
 the left pale Red. The Tellow may be diverfmed with Purple, Vio- 
 let and dark Blue; the Red with pale Yellow, White, Violet and dark 
 Blue i and the White in the Middle, with Roie-colour, Violet, Purple 
 
 and beautiful Red. ,*«.,-■« £ 
 
 In the Middle of a third Feftoon, may be Red, as Pap avers, Anemones 
 
 %c On the right Side, ftriped Flowers of Purple and Yellow, Violet 
 
 and pale Yellow, diverfified with dark Blue and beautiful Red ; but on 
 
 'the other Side, all plain Flowers. 
 
 The White may be intermixt with Flowers of any Colour, except light 
 
 YC The 'intermixture eonfifts of [mall Flowers: But the Jingle coloured, 
 whether in the middle or largeft, asalfothofe on the Sides require their 
 particular fmall diverfifying Flowers, i. e. the iingle-coloured with 
 fpecklcd or ftriped; and the contrary. 
 
 If either Group or Feftoon, full or clofe Flowers fhould always be 
 placed in the moft relieved Part. The open ones are moftly fet on the 
 Sides in order to create Shade. For Inftance 5 let the middle Part, of 
 a Feftoon have the largeft, frieft and fullefl Flowers, fuch as red ^ and 
 white Rofes, Papavcrs, &c. Between the Middle and the Extremities, a 
 leflerSort, zsTulips, Anemones, Narciflufes or Daffodils, Gilh-fiowers, 
 MahaRofea, &c. Further towards the Extremities, the more long and 
 (mailer ones, as Aftragalus, Ranunculus or Crow-foot, Convolvolus, bios 
 
 Prwcipis, 
 
pap. 5*. 
 
 Of Flowers, 
 
 ^rincipis, Borage, Barbatum nigri, Violets, &c. On the Relief of 
 le Felftoon, between the largeft and middle Sort, may be a Mixture 
 f the fmalleft Flowers. If the middle Flower be Tellow, thole further 
 ff ought to be Purple or Red, and fuch as are towards the Corners, 
 Vhife and Blue; the longer the weaker,, that the ftrongefi Colour may 
 eep the Middle. But if IVhite have the middle Place, the other Part • 
 iuft ncoteclipfe it with Telloiv and Red. 
 
 A ccompleat Feftoon mud have an orderly Difpofition, not only with 
 efpeft: to the Flowers themfelves, whether large or fmall, but alfo in 
 he phacing of double and Jingle ones: As firit, white Rofes. and Ccv- 
 1 folia,, next Jingle Rofes, and laftly wild Blofjoms. 
 
 As ffor the Colours, there are Jingle and half coloured Flowers : The 
 hgle-cwloured are Peonies, Rojes, &c. And the others flriped or 
 pecklcd with two or more Colours ; as Anemones with JVhite and Red, 
 triped Rofes, Tulips, &c. Which ought to be lb regularly ordered, as to 
 aifeim the Eye a ballancing Mixture, and to unite the ftrong and weak 
 hat the one do not project too much, and the other too little, and that,at 
 , Diftamce, and at one View, the Feftoon may have its due Sway. Yet 
 f here? or there it be either too weak or too ftrong, you muft recolle£f 
 low it may be helped. Wherefore obferve, that Tellow and Red are 
 \rohg (Colours ; and contrarily, Blue and Violet weak. If too much Tel- 
 ow ancd Red come together, place fomewhat Blue or Violet between ; 
 md if too much Blue or Violet, fome Tellow or Red. 
 
 To 'begin a Feftoon well, you ought firft to mark out it's Courfe 
 ,s yoiu will have it, either thick or thin : Next, lay on the Green 
 vith ffuch Leafing as you think proper, but fomewhat large, and 
 vith diue Light and Shade according to its Light. Being dry, lay in the 
 *lower:s flat, firft the principal, each in its Place, with a {ingle Colour, 
 ed, bllue or yellow, of fuch a Tifit as will bell: admit of painting 
 ipon itt, the Light and Shack after the Life or Models. The Flowers 
 'etweem, with their Leafing, are put in over the Green, on finiihing. 
 FheGirounds, whether plain or in Bafs-relief or other Ornament, ought 
 o be meatly finifhed with the firft Green, to fave you the Trouble a f-- 
 erwands of paring away fomething here and there. 
 
 No. 27. 
 
 CHAP, 
 
Of Flowers. 
 
 Book XII. 
 
 T 
 
 CHAP. VI. Continuation of the ordering and placing the Flowers. 
 
 W O Obfervations of Confequence in a Feftoon, Group, or Gar- 
 land, ftill remain j to wit, the ordering the Flowers and their 
 Places of Hanging. 
 
 'Tis eafy to conceive, that many [mall Things coming together, produce, 
 at a Diftance, only a confufed Mafs, and little affect the Senfes, as hav- 
 ing nothing in them to make any Impreffion, or is worth Remark : 
 And tho' each Flower have it's particular Name, Shape, and Colour, 
 yet they are only considered in general, under the Name oj Flowers ; be- 
 caufe of their being placed either too high or too diftant. Such Fefloons 
 or Groups look well on Paper and in Hand, or on Tea-tables, Toilets 
 and the like, either in Painting or Needle-work. On the other Hand, 
 large Flowers may be feen diftin&ly at a Diftance, in their Qualities, 
 Shapes, and Beauties. Then each Flower gets a Name ; this is a Rofe, 
 that a Papaver, Csfc. In a Word, Feftoons, Groups or Garlands, placed 
 high, or to be viewed at fome Diftance, ought to be difpofed in great. 
 Majfes, and feparate, with few fpeckled or Jtriped Flowers, either large ■ 
 orfmall, as having no Effedl: but when feen near. Wherefore 'tis ne- 
 ceffary to take, in their Steads, others of Jingle Colours, in order to fet 
 off the Work with more Force and Di/linclion,ar\& to give the Eye Satis- 
 faction. For this Reafon, when feen in Hand, they ought to unite, andfltf* 
 of Hand, to look more feparate and diftintt. But I (hall explain this by 
 lome Examples j chufing two Groups, one agreeably unit i tig, fo as to 
 be viewed near, and the other, the contrary. 
 
 In the middle of the former is a white Rofe, andbehindit a Centifolia, 
 behind which is a Purple, and behind that a Peony. Now, thefe four 
 Colours differ but half a Tint from each other, compofing together an 
 half Ball gradually rounding. 
 
 The latter contrarily, tho' having alfo a white Flower in the middlej 
 has behind it a purple one, and behind that a dark Violet, a Colour 
 darker than that of the Peony : And thefe will create a greater Force 
 than the former, as ftarting more fuddenly from each other, and differing 
 a whole Tint, as the others did but an half one. Whence, 'tis evident, 
 that the more diflintl the Tints are, the more lively and ftrong they will 
 
Dhap. 6. Of Flowers, 6ij 
 
 Foir further Satisfa&ion, I (hall fubjoin five other Examples of Feftoons, 
 las fulll again as thofe in the preceding Chapter, fince they fometimes- 
 happen to be of different Sizes, and therefore requiring more Flowers. 
 1 divide them thus. 
 
 The Fir/}. 
 
 In tthe Middle Yellow, next White, then Purple or Violet, and laftly 
 Tellow;, The other Side the fame. 
 
 The Second. 
 
 In tthe Middle TVhite, next Tellow, further Blue, and at laft yel- 
 lowijh PVhite. The other Side the fame. 
 
 The Third. 
 
 In tthe'Middle Red, next Blue, then Tellow, and laftly Violet. The 
 other JSide the fame. 
 
 The Fourth. 
 
 In tthe Middle Purple, next pale Tellow, then Blue, and laftly light 
 Red. The other Side the fame. 
 
 The Fifth. 
 
 In the Middle Violet, next Orange and other Tellow, then Blue, 
 Red amd Violet. The fame on the other Side. 
 
 Thee three laft ought to be intermixed with TVhite, and the two firft 
 with Variety of Colours, as it beft fuits, in order to unite the Parts 
 with each other. 
 
 Thrcee Sorts of Flowers are proper for Intermixture, viz. Tellow, Red 
 md Bike, all in their greateft Beauty. 
 
 If trhe Work confift moftly of Red and T Mow, it ought to be inter- 
 mixed with Blue ; and if of Blue, you muft take Tellow ; but if of 
 ill thrree, you are to ufe IVhite, fo diftributing it as to refrefti the Eye. 
 
 Now, for Proof of all that has been faid, I fhall fhew here two Me- 
 ;hods of great Ufe to a Flower-painter, though they may feem 
 rifling/. 
 
 Paimt all Sorts of Flowers, on Cards or Pafteboard, as rude as you 
 )leafe,, even but a fingle Spot for each, and 5 or 6 of each Colour, or 
 is mamy as there are Tints, Red, Blue, Purple, Yellow, Violet. Let 
 hefe be capital Flowers. Next, make fmaller Ones, for Intermixture, 
 >f Reed, Blue, Yellow and White, as beautiful as poflible. Cut all 
 hefe :afunider, and lay each Colour orderly by itfelf in a little Box. 
 rhen rpaint up a green Feftoon or Group on Pafteboard ; and thereon 
 >lace fiuch Flowers as you pleafe, fhifting and changing them according 
 yourr Defign. And thus you will perceive the 1 ruth of what has 
 ieen bc-efore fpoken. 
 
 4K2 The 
 
6x8 
 
 Of V lowers. 
 
 Book XII 
 
 The other Method is this. Take a Parcel of Flowers of all Sorts] 
 made of Paper or Silk, and with wired - Stalks, as they are fold by 
 the Tire^women. Now, if you would make a Group, Feftoon, on 
 Basket of Flowers, or any luch Thing, order and lhift thofe Flowers 
 by and upon one another, as they fuit beft ; and thus you may exl 
 erciie your felf in Winter time, when you cannot have the Life J 
 becaufe thofe Flowers never wither. Green Feftoons may alio bej 
 furnifhed after the fame Manner, and Flowers hung on them accordJ 
 uig to your Deli re. 
 
 The End of the Twelfth. Book 
 
 r M a 
 
THE 
 
 A'RToj PAINTING. 
 
 BOOK XIII. 
 
 Of Engraving. 
 
 4 Simce neither Csefar Ripa nor any other Author gives us the Figure of 
 this Jrt of Engraving, with it's Signification* 1 Jhall here make it 
 preliminary ; and, in the Sequel, Jhew, what Refpecl is due to this 
 AtT(t by it's Reflections and even relating Properties with that of 
 Painting. 
 
 CHAP. I. 
 
 H I S beautiful Virgin, fitting at a Table, has, before 
 
 ^f^*^^n her ' a Co PP er ~P late > ^jing-n a Sand-bag ; and near it 
 T Wo? ftands a little Monkey, placing a lighted Lamp before 
 ^^m0?%<m¥^ k er * ^ e is attended by Prudence and Diligence ; and 
 Practice is fetting the Tools on an Oi 1-/1 one. Her Chair 
 msm^m^ - 1S f Ebonyt adorned with the Figures of Sincerity and 
 JJffiMwity, wrought in Ivory, and mutually embracing • behind which 
 founds Judgment, (hewing her, a little further, Paint in?, a^ofefcatijed 
 
 by 
 
6^o Of Engraving. Book XIII. 
 
 by Apollo and Diana ; He holding up his Torch in order to enlighten 
 Sculpture, and She hers, reverfed, with Purpofe to extinguifti it. The 
 Genii, in the mean Time, are every where bufy in providing neceffary 
 Materials. The eldeft offers her a Drawing either redded or whiten'd 
 on the Back, and a Point or Needle for tracing it on the Plate : This 
 Drawing reprefents the Deftgn (he is going about. Others, in an inner 
 Apartment, are employed in heating a Plate on a Chafing-diih, and lay- 
 ing the Ground even with a Feather. Here, one is etching ; there, ano- 
 ther biting a Plate ; others, taking and viewing Proofs with great At- 
 tention and Pleafure, &c. while Fame, having a Proof of a Portrait 
 in her Hand, with her Trumpet founds, out at Window, the Pr^ifes of 
 Matters or Engravers. Honour, crowned with Laurel and bearing a 
 [mall Pyramid, is entering the Room, uihering in Anno?ia, or Profpe- 
 rity, who has a Cot nu Copia or Horn filled with Fruits. Round the 
 Room are fet, on Pedeftals, divers Bufls of famous Etchers and Engra- 
 vers; as, Marc Antonio, Audran, Edeli?ick,Vander Meulen> and feveral 
 other Italian and French as well as Dutch and German Mailers. In the 
 Oftskip, Europe, AJia and Africa appear landing in Surprife at the 
 Sound of the Trumpet. 
 
 CHAP. II. Of the Art of Engraving in general. 
 
 THAT I may treat of this Art in a methodical Manner, I think 
 proper to obferve, firft, wherein it's Excellence confifts ; fecondly, 
 it's Performances ; and laftly, the Qualification of an Etcher and Engraver. 
 
 The Art of Engraving is queftionlefs noble and praife-worthy ; 
 becaufe it refpe&s Painting, as Painting does Nature: For as the 
 latter has Nature for it's Model or Objetl, which it faithfully imitates 
 with the Pencil; fo Engraving likewife copies Painting, either with 
 the Needle or Graver, in fuch Manner as only to ftand in Need of Co- 
 lours ; which, when required, may be added to it. Painting confifts 
 in a neat and good Outline, Proportion, Light and Shade : And thefe 
 are alio the Foundations of Engraving. Painting diftinguifhes between 
 common Light and Sunfhine: Engraving does, or can do, the fame. 
 In fine, whatever the one performs with the Pencil, the other can ex- 
 prefs jvith the Needle or Graver, and as neatly, whether Stuffs of all 
 Kinds, Wool, Silk, Sattin, Linnen, Glafs, Water, Gold, Wood, Stone, &c. 
 
 It's Performances are to the Sight, what Fame is to the Ear. Paint- 
 ing has but one Original, but Engraving hundreds. Fame can tell the 
 
 man^ 
 
Gfoap. 3. 
 
 Of Engraving. 
 
 mamy Wonders of Painting in it's Abfence ; but Engraving makes itfelf 
 eveiry where prefent ; flying over the Univerfe, as well as the found- 
 ing Trumpet of Fame. It keeps an eternal Regifter of every Thing 
 that: is Praife-worthy : And as the mire IVeljare, even Happinefs or 
 Unhappinefs of a good Painter, depends on the Certainty or Uncertainty 
 of tlhe Engraver, as I fhall lhew in my Remarks on Prints after Paint- 
 ings or Defigns ; fo the latter ought to difengage himfelf from Preju- 
 dice and Inclination to this or that particular Manner, and exert his 
 Skilll in an exafr Imitation of what he is to Engrave or Etch, after any 
 Mamner or any Majler, be it flat or riling, dark or light, without Ad- 
 dition or Diminution, except with the Licence of the Painter or Deftgner. 
 His Work muft be like a clear Looking-glafs, which exhibits all Ofre&s 
 true and without Falfity. As to the manual Operation, a fine Hand- 
 ling is a great Step to Grace ; and, in order to it, the Knowledge of 
 threte Things is abfolutely neceflary, to wit, The Art of Drawing, 
 Perjfpeclive, and the Doctrine of Light and Shade : Thefe, as Principals,' 
 com]pofe the Theory of the whole Work. He ought alfo to be very 
 diligent in hatching with the Pen or red Chalk, in order thereby to get 
 a firm Handling: And it behoves him as much as the Painter, to draw 
 aft err the naked Life and drefs'd Layman. He fhould like wife be fur- 
 nifhe>d with Prints, both engraved and etched, of the moft famous 
 Masters. 
 
 C HI A P. III. Of the general Elegance requijite in a good Print and 
 of the Difference between Book and other Prints. 
 
 TH E Grace of a well-etch'd or engraved Print confifts-, 
 Firft, in a bright Light and dark Shade ; by which I under ftand, 
 that the faint Hatching on the lighted Parts be kept almoft imperccpti- 
 ble, and the (hady Touches contrarily ftrong and dark. Secondly, 
 that the Naked, or Carnations, be hatched fine and fomewhat dull, 
 and tthe Draperies courfer and rougher, according to their Qualities ; 
 yetadl without any Outline, either on the light or (haded Side, even fo 
 that tthe Extremities be only formed by the Tint of the Grounds a- 
 gainfft which they come. Put to give the Work the greateft Perfection, 
 and flhew the Judgment of the Mafter, the Tints of the Colours fhould alfo 
 appear as much as pofjible : Yet as a Print does notfo intirely confift of 
 fine Ordonnance, beautiful Figures, elegant By-works, and neat cut or 
 
 etch'd 
 
6i% Of En^ravln?. Book XIII. 
 
 etchYl Strokes, as in a good general Harmony > fo this Harmony ought 
 to be principally ftudied. 
 
 The Engraver will be commendable, fometimes to exprefs in his 
 Work the Colours, if the Matter require it; fuchas, the White- md 
 Black in Day and Night, good and bad Angels or Spirits, Sec. Thefe 
 two Obfervationsare abfblutcly neceilary in a Book-print : The others be- 
 fore mentioned are only requiiite in fuch as reprefent acomplcat Pi fture : 
 For there is a great Difference between Book and other Prints : The for- 
 mer exprefs the Matter which, is reprefented, even, were it defigned in 
 white Marble, Bafs-relief, nay in Snow or Sand ;. and the latter co.nfi.ier 
 only the Matter who painted it, and his Art, together with tiat 
 of the Engraver and his Capacity. For this Reafon, Book-prints fhnd . 
 in need of Explanation; but other Prints, not : For the Colour is in :he j 
 one, what the Writing is in the other. 
 
 CHAP. IV. Of the Difference between Engraving and Etching. 
 
 \ C C O R D I N G to the general Opinion, 'and not without Rea- 
 f \ fon, Etching is accounted more loofe and Defigner-like than 
 Engraving ; becaufe there is no Difference between Etching and Draw- 
 ing as to the Handling ; but the Difference between Drawing and En- 
 graving is very great. The Management of the Needle is the fame 
 with that of Chalk or the Pen: The Plate lies flat and firm like :he 
 Paper to draw upon. But we find the contrary in Engraving; wheiein 
 the Graver is held almoft parallel with the Plate, and the lattei is 
 moveable on a Cufhion or Sand-bag. And as to Force, there is alfo efs 
 Occafion for it in Etching than Engraving. 
 
 Now to prove, that Etching muft needs be more Defigner-like than 
 Engraving, let us only make our Remarks on both in the Courfe of 
 their Bufinefs, each having a Defign before him ; and then we Ihall find 
 the Reafon to be, that in the one, both the Drawing and Plate ire 
 fixt before the Arti ft, and he only moves his Hand; whereas the Other 
 cannot go forward without ftir ring, the Plate being continually turning , 
 and both the Hand and'* Arm employed in directing the Graver ; by 
 which Means, Engravers are often hindered from perceiving the Dif- 
 ference between their Work and the Pattern, before a Part, nay :he 
 whole, be finifhed. Wherefore, in my Opinion, Etching is fuperior tto 
 Fnaravincnn Exa£tnefsand Speed: I fay in Speed, becaufe three or rmire ' 
 
 £} S3 :■ ■ Til 
 
 Plities 
 
Chap. 4. 
 
 Of Engraving. 
 
 Plates may be etched, before one can be engraved. Etching is alfb 
 moft Defigner-like, becaufe of its near Affinity with Drawing, as we 
 daily experiment ; for, where one Painter or Defigner engraves for his 
 Pleafure., an hundred take to Etching, and make good Progrefs 
 therein; becaufe of the flow Advances in Engraving compared to Etch- 
 ing, whether in Figures or Buildings, but efpecially Landskip. And 
 fince Painters or Defigners care not to have their Defigns cenfured and 
 corrected by others, they chufe rather to etch them themfelves, than 
 to fet about Engraving ; an Art not to be mattered without much Ex- 
 pence of Time, in getting Knowledge how to handle the Tool; 
 whereby it would become rather Labour than Diverfion. 
 
 Many Engravers etch for Pleafure, becaufe of its Eaflnefs ; but fel- 
 dom any Etcher handles the Graver, unlefs in Cafe of Neceffity. To 
 this perhaps it may be objected, that, as each Painter or Defigner has a 
 particular Choice wherein he labours moft, as one in the Ordonnance, 
 another in Nicety of Draft, and a third in the neat finilhing of lome 
 particular Things, therefore the Title of Defigner-like in Etching, is 
 not ablblutely due to Painters or Defigners: To which I anfwer, that 
 undoubtedly the Word mull: not be underftood to relate to modern De- 
 figners, becaufe it was in Ufe before Etching was brought to its prefent 
 Perfection ; as appears by Caracci, Titian, Antonio Tempefta, &c. 
 who excelled in Defign, and ufed the Needle with no other View, than 
 to give the World the Defigns, which they counted capital and moft 
 praife-worthy, for the Encouragement and Confideration of the lefs 
 knowing. Whereby we plainly perceive, that their Intention was only 
 to put forth their own Performances in fuch a Manner as fafely to be re- 
 lied on ; accordingly, we fcarce fee any more in them than an Out-line : 
 But this is fo firm and correct, that, however llightly the other Parts 
 may be fcratcht, thefe Works thus of their own Hands, are more 
 valued than thofe of the beft and moft famous Engravers or Etchers. 
 We have an Example in the Print of the Woman by the Well, etcht by 
 Caracci himfelf, how much it differs from that done by Le Potre, and 
 another by Bijhop* What a vaft Difference is there between Perrier's 
 and Bifloiop's Works, as to the Defigner-likencfs and Loofenefs of Hand- 
 ling? And in Landskips, between Titian's and Perclle's? I could, if 
 need required, produce more Proofs of the Antiquity of the Word 
 Defigner-like ; but fhall wave them ; and acquaint the Reader, how 
 oddly I took to Etching, and how ftrangely I drudged, before I could 
 gain my Point. 
 
 No. 27. 4 L Having 
 
<5g4 Of Engraving. Boole XIIL 
 
 Having in my Youth an Inclination for Etching, but no Knowledge 
 
 of what was good or bad, as feeing no other Examples than the old and 
 poorly engraved Prints of Raphael, Michael Angelo, 'Paul Veror.efa 
 ¥ht$ret> &c. (which yet were excellent for their fine Out-line) and few 
 eicht ones; my flender Attempts may be eafily gueft at. Indeed Icar.not 
 butftill think of it with Wonder ;'. for I began not with Copper or Steel, 
 but a Piece of Pewter and a Nail, about a Fingers Length, which, with 
 great Pains, I ground to a Point after my own Way. Firft, I tried on- 
 ly fingle Strokes, and then crofs-hatching, which looked ftrange enough. 
 And, inftead of a Rolling-prefs, I rubbed the Backfides of my Proofs 
 with the Nail. This however did not abate my Curiofity ; which 
 daily increafed, tho' my Work appeared fo black as to be fcarce intel- 
 ligible. My Father, feeing this, could not forbear laughing; and, for 
 Humour's Sake, gave two or three of my Proofs to Bartholet, and he 
 again to Nat alts the famous Engraver, who bellowed on me iome little 
 Inftruction and a fmali Copper-plate to try on. But what Drudgery ' 
 had 1 undergone before I fcratcht this beautiful Plate ! Boffe's Book of 
 Etching happening to be publifhed about that Time, I left off plaguing 
 myfelf, and cheerfully fet about fplitting of Wood, providing Needles, 
 boiling Grounds, cleaning Plates, buying Aqua fortis, Wax, 
 When before, I knew of no better Ground than thick and foul Oil, out 
 of the Smum-pot, boiled to a Blacknefs ; which gave me no little 
 Trouble to get off the Plate again after it was bit, and which therefore 
 I was obliged to put in the Fire, 'till it was foft as Lead. Things fo 
 far fucceeding according to my Wifh, I happened to fee fome Prints of 
 Vovety from France, which fpurred my Curiofity: And I fhould cer- 
 tainly have made early and good Progrefs, had not my Father been fear- 
 ful I might fix my Thoughts on this Study, to the Neglect of Painting. 
 Wherefore he difTuaded me from it, faying, it was too foon to enter oil 
 ib difficult a Paftime, and inftruding me in other Things as delightful 
 as advantageous. Marrying fome Years after, I went to Holland, 
 where I re-affumed this noble Art with great Pleafure, and which I do 
 not repent of; tho* fome think it the Caufe of my Misfortune. The 
 Truth of this, God knows : Yet had I faved Candle and ufed more 
 Day-light for it, perhaps my old Age might have proved more com- 
 fortable to me : But alas! thofe two noble Sifters, Painting and Etch- 
 ing, are now vanifhed with my Sight. 
 
 Let the Reader judge, whether he ever heard of a ftranger Way of 
 Etching. Howeyer, I mention it here to ftiew, that a diligent Man, 
 
 getting 
 
Chap. 4. Of 'Engraving. 
 
 getting better Inftruclion, may in Time gain his Point. It's certain, 
 that few young Men would have had Patience enough to drudge as I 
 did, without Inftruclion ; but that an induftrious Tyro, after leaving 
 his Matter, may poflibly improve through Diligence and Study is very 
 natural ; even fo as to excel him in Neatnefs, Smoothnefs and Expedi- 
 tion, as well in Etching as Engraving, I mean, Ufe of the Graver 
 \and Needle, but not in Knowledge. By Knowledge I under ft and, 
 Lkeeping the Likenefs of a beautiful Face, Hands and Feet, according 
 to what we fay in the fecond Chapter, that the Knowledge confifts in a 
 correct Out-line, Proportion, Light and Shade, and Perfpective : For 
 we commonly fee the greateft Faults committed in the aforefaid Parts 
 for want of Knowledge, and not inuring themfelves to draw by Hand 
 large Things after frn all, and the contrary, , but acctiftoming them- 
 plies to jquaring ; a Praftice not difficult to a Swineherd's Boy, if he 
 underftood the Divifion of Squares and Management of Chalk. But they 
 may yet be erroneous enough in tracing their Obje6t on the Plate, though 
 drawn upon Squares; for, miffing the Out-line in the leaft, either inwardly 
 or outwardly, it prefently becomes too little or too big : But the Tyro 
 cannot fee this for want of due Knowledge : And tho' he may be fen- 
 fible, that here or there he has a little miffed the Out-line, yet he 
 paffes it over as a Matter of no great Moment ; and if he propofe to 
 help it in the Etching or Engraving, he may poffibly forget it before 
 he come fo far in the Work : He Commonly thinks no further than 
 what is already on the Plate. Whence we may eafily conclude, that he 
 who knows not what conftitutes Beauty, can be as little fenfibie that a 
 fmall Difference in a Face, Arm or Hand is of any great Confequence. 
 Another Difficulty, no lefs than the former, is, that tho', the Tyro have 
 the Out- line correclly drawn on the Plate, yet he may run over it when 
 he comes to /bade or hatch.. And as this frequently happens, I (hall here 
 give the Reafbn of it. 
 
 In either Engraving or Etching any Thing, the Off- work, whether 
 Buildings, Landskip or even the Grounds, ought always to be beqtin 
 Hrfl, that, by referving the principal Things for the laft, the Hand may 
 ae prepared to handle them with more Boldnefs. Now, the Tyro being 
 k engrave or etch a Ground behind his Figure, be it naked or dreft he 
 fvill not only (efpecially in Engraving) end his Hatching againft'the 
 put-line, but fbmetimes exceed it j whereby the Parts, whether Arm" 
 (Leg or Hand, muil needs lofe their true Proportion and Quality : And 
 thus, the almoft imperceptible and tender riling Mufcles, Folds and Hol- 
 
 4 T. 2 lows 
 
(5^5 Of Engraving. Book XIII. 
 
 lows are made even and confequently ftiff and formal. Neverthelefs 
 the Work goes on ; and when they come to lee the Miftake, they fcrape, 
 burnifh and rub to bring it right again ; which I grant is well enough 
 in cafe of Need. But alas! Howfeldom is it practifed ? If itbefome- 
 ihing of no great Confequence, it remains as it was, without further 
 Inspection. This 1 know, not by Hearfay but Experience. Wherefore 
 they , who have an Inclination for Engraving, fhould apply to a Tainter 
 for Inftruclion in beautiful Troport ion ^ and in drawing every Thing by 
 Hand, whether Prints, Drawings, Paintings, Plaiiter-figures, even the : 
 Life itfelf. For Painters firft teach the Theory, or Knowledge of Pro- 
 portion, and then the Practice of Colouring ; whereas many Engravers 
 begin with the Practice or Handling. 
 
 As for the fcr aping, burnijhing, and rubbing out before-mentioned, 
 it is a Point which ought to be well underftood, becaufe it affects 
 not either the too great Darknefs or Hardnefs of the Hatching, but the 
 Out-line \ as I fhall mew by the Example of the Faces in Tlate 
 LXIX. 
 
 In the Face A, the hatch'd Ground runs over the Outline of the 
 Cheek ; whereby it appears more funk in, as in that of B, and thus 
 the Out-line is loft. Now, this Face being to be finifhed, and the 
 Cheek brought right again, fo much mult be fcraped off within the 
 Line, as to give the Cheek it's former Swell; and if the Face be 
 a fourth Part lefs, the Difference will be fo much the greater, eipc- 
 cially in a Portrait, and greater ftill if it be in Profile; as Face C 
 fhews, wherein we fee, how little ibever be taken off with the Ground' 
 from the Tip of the Note, Mouth and Chin, it will produce another 
 Afpect : Whence 'tis evident, what a vaft Alteration this mult caufe 
 in the Likenefs. 
 
 In this Art as well as Painting, it is a conftant Rule to begin- 
 with the Ground or Back-work ; and Engravers and Etchers dc it for 
 the fame Reafon as Painters: For, when the principal Figures are fi- 
 nilhed, the whole Piece is reckoned as good as done: The general Re- 
 touching is only to bring Harmony or Keeping into the Work ; here 
 fomewhat more' Strength, there more Faintnefs, &c. But what we 
 now fpeak of, to wit, Scraping, concerns Engraving only ; whereas, 
 in Etching, nothing is done but Slopping, unlefs Things are already 
 bit. 
 
 If 
 
Chap. 4. 
 
 Of Engraving. 
 
 If it be asked, whether what is flopped up can be repaired before 
 'tis bit ; as in A, when the Hatching, which takes away the Swell 
 from the Cheeks, is flopped up with Stop-ground, whether then the 
 former Roundnefs cannot be again fetchM out, with a fine Needle, on 
 the fame Ground, that all may bite together ? I anfwer, that this will 
 make bad Work : But if fomething be wanting, it muft be touched 
 up with the Graver. However, I mail ftiew another Method : Make 
 a Burnifher pretty hot, and rub it gently and fpeedily over the Part you 
 would have out, and then it will clofe up the Hatching, fo that you 
 need neither to flop up nor bite. Now etch thereon what is necefFary, 
 and thus all may be bit at once.. Thefe Obfervations, efpecially that 
 of not carelefsly Ipoiling . the Out-line, as in the Examples A and C, are 
 Very needful. 
 
 Let any Perfon now confider, how little a fine Ordonnance of a fa- 
 mous Mafter, when put out of Hand in fuch a Condition, can be like 
 the Original. And yet this is too often the Cafe. However, I afTert, 
 that without the former Knowledge it is impoffible to become a good ' 
 Mafter. For he, who makes a blundering Defign, and perceives not 
 the Miflakes to be apparent and convincing, cannot poflibly mend them. 
 Even great Matters fometimes blunder ; as we fee in Audran's Battles 
 of Alexander after Le Brun, what poor Hands and Fingers he has made 
 in fome Places, as thin as Pencil-flicks ; efpecially thofe which are 
 wide open, as in the Captive Torus, and in Darius. I cannot too 
 much wonder, that in fo glorious a Work, Audran did not correct fuch 
 Miflakes, fince he was one of the beft Engravers ever known. This 
 indeed is but a fmall Matter with refpect to fo great a Work ; never- 
 thelels it makes the fame imperfect and becomes a Charge upon Le 
 Brun. But this Work has had lefs Juftice done it here in 
 Holland in the Copies of Schoonebeek^ who feems to have ufed his 
 utmoft Endeavours to fpoil it: For there is neither Defign nor 
 Keeping obferved. All the Poftures, which in the Originals are fine 
 and beautiful, he has turned into Grimace ^ every Thing is lame and 
 crippled-. 
 
 C H A P. 
 
6$ 8 f 0f Engraving. Book XIIL 
 
 CHAP. V. Remarks on Hatching. 
 
 * ; I 1 H E Courfe of the Hatching yields great Pleafure to .the Eye j 
 
 JL becaufe it makes every Thing appear in its Nature and Quality 
 whether Wool, Silk, Steel, Water, Silver, Wood, Stone, Sand, ffr. 
 each of which, in Engraving and Etching, require a f articular Ex- 
 prejfion : Yet in Etching 'tis more expeditious, efpecially if you can 
 ibmewhat handle the Graver. The French Artift Audran excelled 
 herein. The St. Bruno of Bartholet, engraved by Natal/s, is admirable 
 for the Naturalnefs, which, by particular Hatchings and the utmoft 
 Neatnels, appears therein. 
 
 Now, when a great Artift has fhewed his utmoft Skill in a Plate, 
 and ail Things are worked according to Rule, yet we find it almoft im- 
 ppiTible to make People fenfible what true Art is, and wherein the Know- 
 ledge of a good Print lies • moft Men now a-days being taken with 
 fine Strokes without Regard to ill Order or bad Defign. A fad Reflection 
 for thole who know better! 
 
 .Again, an Engraver or Etcher is not fo happy as a Painter or De- 
 figner : For thefe laft compofe what they pleaie, or at Jeaft what they 
 can* and the Engravers muft follow them, be they ever fo indifferent. 
 Yet this were no great Matter, if they might but Etch and Engrave 
 with as much Freedom as Painters ufe with their Pencils or Crayons. 
 This would fpirit them to produce finer Things, as other ingenious 
 Men have formerly done, who had their Liberty, and did not tie them" 
 [elves up to any Terfon^ as many now a-days are obliged to do. How fel- 
 dom have they an Opportunity to work after a fine Tic~lure or fin'ijhed 
 Drawing] This has often induced me to think, that many a good 
 Matter underftands more than his Works fhew. Happy are they whofe 
 Circumftances will permit them to execute even but a fingle Plate, ac- 
 cording to their Skill and Pleafure. But alas ! the Times will not 
 allow it in thefe our free and noted Countries. Moreover, we fee ma- 
 ny Artifts figh and groan under the Difficulties laid on them by 
 fome Painters and Defigners, in fometimes fending them fuch rude Draw* 
 ings, that the Round can hardly be diftinguifhed from the Square, the 
 Sharp from the Blunt, or Wool from Stone ; even fuch as they them- 
 
 felves 
 
Cheap: 
 
 Of Engraving: . 
 
 felves could not underftand, were they to receive them from others. If 
 the Engraver happen to hit the Defign, the Mafter claims the Honour ; 
 but, on Failure, the Engraver is lure of bearing the Scandal. For 
 this Reaion, it were to be wifhed, that Engravers would, before they 
 begim a Plate after fuch a Drawing or Sketch, confult the Taint er or 
 Defiigner, for a Refolution of all their Doubts, and that they might 
 proceed with Certainty. 
 
 I talfo think it not only ufeful but neceflary, that the Defigner be f ar- 
 ticular in his Exprefiion of all the Materials: For Inftance, that the 
 Bafetmcnt-ilory of a Building fhew to be of rough Stones, the Columns 
 and IPilafters with the Imagery and Ornaments of Marble, cCc. that the 
 Engrraver may exhibit the former Rough by broken Strokes, and what is 
 fmoo)th and polifloed by neat and more curious ones with the Graver ; 
 Etchiing \ht By-works fomevvhat coarfer again ; the Wood-work with 
 long and broken Strokes humouring the Grain ; the Trees, according to 
 the Oourfe of the Boughs and Sway of the Leafing', the Grounds, Serpen- 
 tine % and alfo broken. Thefe Obfervations ought to be heeded in gene- 
 ral aas well as in the Particulars, together with the Diminution of the 
 OffsHiip ; yet not in the Manner of Ibme, by wide Stroke 's, but by clofing 
 and making them finer. On this Footing, there would be lefs Complaint 
 of thie Defigner s, "and thefe not think themfelves injured on feeing their 
 Defigns fo ill followed. Things thus worked according to Rule 
 woulid certainly prove fine, and the more, in a W ork of Confequence 
 and bearing a Price : Tho', to one who underftands his Bufinds, this 
 Management is no more Trouble than the contrary. 
 
 I lhave feen Drawings of Goltzius* wherein he had plainly exprejfed 
 all tlhe particular Objects. The tender or fmooth Bodies were well 
 wafeiedy alfo neatly fcumbled with red or black Chalk. What was . 
 rougB and coarse, he had handled boldly with the Ten or black Chalk ; 
 by wvhich Means, the one appeared darker, and the other lighter in the 
 Shadle, ais if it were a Picture. But 'tis no wonder that we lee nor 1uch 
 Thimgs done now-a-days; for Goltzius ufed to make his own Patterns. 
 And as a good Painter confiders what ought to be Stone, Wood, blejh, 
 Wh'ttie or Black* before he colours, fo Goltzius did the fame, when he 
 was tco engrave any Thing. He would exprefs every Thing in his Tat- ■ 
 terns,, the/ he was ever lb certain of his Art, in order to do his whole Work 
 after ; a flight Sketch, and that nothing might efc ape him \ on a Belief 
 that vwe ought not to truft to our Memories in a Matter of Confequc-nc i 
 Wheirefoire I mall illuftrate this Point by an Example in Tlatel.X: 
 
 w&erei 
 
4540 Of Engraving. Book XHL 
 
 wherein I introduce feveral different Bodies : For, befides the Correchefs 
 of Draught, I have alfo expreft their different Colours. The Wall A is 
 rough Stone : The Child B tenderly jhuded: The VefTel C of bright Cop- 
 per : The Vale D white polifbed Marble: The Pedeftal or Foot E of 
 Free- ft one: The wooden Paie F (whereon hangs a Cloth) veiny : And 
 theSkyandOffskipGasit goes off, the fainter and finer. By this 
 Method of Exprejfton 1 have rtiil another Advantage ; which is, that if 
 by Accident I fhould leave my Plate half done, another Hand, by this 
 Means, may underftand my Meaning and finifh it. Hereby, even a 
 Painter may direct another; who elle would rather chufe to have 
 the Works he might leave behind him unfinifhed, rubbed out, taan 
 that another, who did not rightly know his Mind, mould finifh them. 
 
 CHAP. VI. Curhus Remarks touching Stipping. 
 
 MANY imagine, they can reprefent the melting Roundnefs a- 
 gainft the main Lights by {tipping : But they will find them- 
 felves miftaken, fince it caufes a great Hungrinefs, and therefore the 
 Method cannot be good: Hatching looks better, and has more Affinity 
 with the Shades. Stipping is lbmetimes ufeful in Cafe of Need, when 
 we care not to crofs-hatch on the Light, and alfo when the Shades are 
 hatched too wide, in order to exprefs the Reflexions fomewhat the plain- 
 er, inftead of crofllng them over again, e/pecially againjl the Light ; 
 rho' 'tis better to go over them again with a fine Jingle ftroke : And if 
 you find this will not do, then you may, with a finer Needle, continue 
 the fame Hatching fomewhat further : But a better Method would be, 
 to lay it at once as far it ought to be, and then fomewhat to flop up 
 the Ends or Extremities. He, who negle&s this, is obliged to make 
 ftiift with flipping ; yet that mult not be too clofe. The belt Way is, 
 firft, with a fine Needle, to continue the Hatching a little further, and 
 then, with a finer, to extend it till it come to nothing ; which we call 
 broken Batching, as was old Vijfcher's Way in his Boors after Oflade, 
 whereby he prettily exprefled the Colour of a Face, and fetched out 
 the Main-light-Touches. Stipping is very helpful and alfo expeditious 
 to one who has not got the Firmnefs of the Needle. If you would 
 
 make 
 
Chap. 6. 
 
 Of Engraving. 
 
 make it your Practice, you need not flop to foften the Hatching; foi 
 the Points thus lengthened anfwer the fame Purpofe ; and then you 
 can proceed with Certainty, eipecially if you ufethe fame Needle wit h 
 which the Hatching is continued in the Light, round the Relief ; the 
 Shades aigain ought to be foftened with the fame Needle that made 
 them : Then the flipping of the large Needle in the Shade will not be 
 too v'ffible : Yet, would you work the laft flipping in the Light with 
 a fmalieir Needle, you may ; but, becaufe the Shade ends more fuddenly 
 than the Relief in the Light, I mould ufe no others; for the flipping 
 is a nice Point to him who will be curious. The Stips ought alio 
 to be equal, I fay, equally difiant, and not to come between the Ex- 
 tremities of the Strokes. If it be asked, whether any Thing, hatch'd 
 too wide^ can be darkened with flipping inftead of a third Stroke ? 
 My Opinion is, that it may ; and that any flight Thing can be per- 
 formed io this Manner: But the Work is more tedious. Things fo 
 touched up look very neat : For by ftrong Strokes, fainter ones, more 
 faint andl Points, we can very commodioufly darken an Object more cr 
 lefs at pleafure. Boulanger has, in my Opinion, over-ftipp'd his 
 Prints; which makes them look rather like Miniature than any Thing 
 elle ; whereforel cannot much commend flipping : And why ? Becattfe of 
 the Inequality and Hungrinefs of the Toints or Stips, occafioned Ly 
 touching one harder than another, whereby, in biting, one penetrates 
 the Copper more than another, be the Dot ever fo [mall. Add to 
 this, the JmpoJJibility of making the Stips perfectly round. They will 
 always (be more or lefs longifh ; as may be eafdy proved by a magnify- 
 ing Glafs: 
 
 I have feen, in engraved Prints of Goltzius, the faint Tint upon 
 the Relief crofs-hatch'd, as well as in the Shade; but this is only pro- 
 per for Engraving, efpecially in High Finifhing-, becaufe, in Etching, 
 the Crofs-hatching expreiTes a coming Shade, and then it may be 
 very well effected by flipping, as broad-lighted Objects want not fo 
 much D&rknefs in the Light. 
 
 Now, if any Thing fhould happen to be amifs, and you 
 would beat it out and mend it, take a Proof and faften it neatly be- 
 hind you r Plate, and then beat out what you would have away. This 
 may be (done even to an Hair; and if you care not to ftrike on the 
 Paper, you may mark the Place with a fharp Point on the Copper, 
 fo as to fee it; which will do as well, though the fpoiiing a Proo> ; 
 is but a Trifle : Yet the Proof, when once dry, is no more fit for this 
 
 No. ly. 4 M Ufe ; 
 
6^x Of Engraving. Book XIII. 
 
 Ufe: Wherefore the Work muft be done as foon as the Proof comes 
 from the Prefs : For, being wetted again, it will always be uncertain, 
 and unlike the Plate. In order to tind thefe little Places or misbit 
 Spots with- ftill greater Eafe (a Method which many Engravers make- 
 a Secret of) take a fine Thread or String, and put it crofswife about: 
 the Plate, tying it on the Edges, fo that the Center of the Crofs 
 come exactly upon the misbit Spot or Place : Then laying the Plate,. 
 Backfide upwards, on a fmooth and hard Stone, beat the Place gently: 
 with a pointed Hammer ; and then, with fome Stuff taken from the 
 Oil-ftone, rub it out. Thus you may find all the Places, how fmall 
 foever,. even, to an Hair, on the Backfide of the Plate.. 
 
 C H A P. VN. Of Etching Bafs-reliefs. 
 
 AS we have aflerted, that each Object requires almoft a particular 
 handling, fo I think Bafs-reliefs call for it: For many, who 
 can etch well after a fine Pi&ure or Drawing, are at a Lofs when, 
 they come to imitate and reprefent a Bafs-relief. They lay the Strokes 
 therein as in other Objects; tho', in my Opinion, the Difference be.- 
 very great; efpecially, if we would not handle them in. the Manner 
 of Perrier and Pietro Santi, but according to Rule ; tho' the former 
 underftood it the beft of the two, fince his Works better preferve the 
 Stoninefs and Dejign ; and yet, he has added fome Things of his own : j 
 But the other has done it to fuch Excefs, as thereby to render his 
 Works obfcure. His Folds indeed are fine, yet fuperfluous, and impro- 
 per for Stone, and more like Gold, Silver or Bronze ; appearing better 
 in a Print than in Stone. In my Opinion, Santi understood not the 
 Naked, Proportion, Mufcling, or Motion ; wherefore I cannot by any 
 means allow him the Preference. The Truth is, they are good for a 
 Drawing - y but were they to be compared with the Life, we fhould dis- 
 cover a great Difference. In the next Place, it is abfurd to imagine, 
 that fo many Bafs-reliefs as are found at Rome and in other Places, 
 both under Cover and expofed, in and upon the Triumphal-Arches, 
 Frizes, Niches, Pediments, Pedeftals,ancient Walls, Tombs, Colurrnsand 
 Vafes, from whence thefe two Artifts made their Collections, fhould 
 all- Rand in fo precife a Light, r ight and left, as they reprefent them 
 in. ^ Certainly, fome of them muft have been lighted from above, from 
 
 below, 
 
Chap. 7. Of Engraving. ^3 
 
 below, fronting, even from all Sides ; and I cannot think they drew 
 them by Candle-light, but rather (haded them as they thought 
 
 fit. 
 
 I was once asked, whether, fince the Bafs-reliefs ftand in many dif- 
 ferent Places, Moulds or Models have not fometimes been taken from 
 them by one or other, from which they Jhadowed their Drawings, dif- 
 pofing thefe Models, as ufual, in a left or right Light, as they thought 
 proper : Which is not improbable. We might likewife light fome 
 from above, others from below* from a Side, fronting and from be- 
 hind, in order to ufe them on any Occafion ; which would be a great 
 Help to thofe who know little or nothing of Modelling. 
 
 We have faid, that we think the Bafs-reliefs of Perrier better in 
 Defign than thofe of Pietro Santi, but much inferior in Finijhing ; tho' 
 the Works of the latter, for the Reafon before afligned, have no Af- 
 finity with the Stoninefs. And yet fome think, that were the Figures 
 j or 4 Feet high, they would have another Look ; for then the Parts 
 would appear more grand ; and thofe of Perrier, on the other Hand, 
 too Aim and dull; which 1 do not difown : Neverthelefs it muff, be a- 
 greed, that this Obfervation is good, in order to (hew the Difference 
 between carving in Stone, and chafing in Gold, or Silver. But it's like- 
 wife true., that had Perrier finifhed his Drawings as well as Santi, they 
 Would have been much finer and more ufeful : For it's eafier to leave 
 out Superfluities than make Additions. It's not improbable, that Santi's 
 Intention, by his Method of Management, was, that he might 
 be of greater Service to Painters, Statuaries, and Chafers than Per- 
 rier. 
 
 We have affirmed, that Pietro Santi has pojfihly added much of his 
 own. How, itisalfo not unlikely, that Perrier drew his Objects from 
 a greater Diftance than Santi, whereby he could not fee all the minute 
 Parts : And I cannot but at the fame Time think, that Santi defigned 
 moll of his Bals-reliefs after undamaged Within-door-Work, in Halls, 
 Chambers, and other inclofed Places ; whereas Perrier poffibly took his 
 from Without-door-Work,(uch as Pediments, Frontifpieces, Frizes and 
 the like, half eaten up by the Weather. We might ftill fubjoin,that Per' 
 rier woriKed only to fhew the World that fuch excellent Things were at 
 Rome, amd at the fame Time to difplay his light and firm Manner 
 of Drawing; whereas Santi had not only a View to Profit, but alfo 
 to be generally ufeful to curious Artifts and others. How true this is 
 let the Firtuofi determine. 
 
 4 M 2 
 
 As 
 
$44 Of Engraving. Boot XIIL 
 
 As to the right Handling of Bafs-reliefs, I think it abfolutely ne- 
 
 cefiary, that every Thing be etched equally coarfe or fine with one and 
 the fame Needle, without any Difference with refpefl to Stiffs ; as being 
 the heft Method for reprefenting the Stone-work well ; unlels it were 
 but a grey one with a Fore-ground and Of skip, when the Strokes ou^ht 
 to dimimfh or grow faint, according to PerfpecTive. * 
 
 There is likewife little Obfervation made about the Lights of Bafs- 
 reliefs : For oftentimes Things, painted Jharp and in Sun-Jhine, are exhi- 
 bited m the Plate with a common Light, thro' the Roundnefs of the 
 Shades ; and fometimes we fee the contrary. But thefe are Liberties 
 which neither Etchers- nor Engravers ought to take. He, whofe Pro- 
 vince is to imitate, let him exatlly follow the beaten Path. In relation to 
 etching Bafs-reliefs, z.Jkarp Light or Simfhine is very imoroper, and ren- 
 ders them difagreeable. But as for Embellifhmeuts in Sun-fhine, the Mat- 
 ter is of Ids Moment. 
 
 G H A P. VIII. Of Engraving ; and the Management of the Strokes. 
 
 TI S to be wondered, that, among the many Arts and manual 
 Operations, Engraving is fo little, and Etching fo much treated 
 ot: 1 he Keaion whereof is paft my Apprehenfion. Many Painters 
 and Lovers, for the Encouragement of thofe who would make it their 
 Buhnefs, or to (hew their Skill, have earneftly ftrove to fay fomethino- 
 of it But no Engraver has, to my Knowledge, undertaken the Task* 
 poffibly, as not thinking themfelves fufficient for it, or elfe becaufe 
 theV would keep it as a Secret from each other. But the moft pro- 
 bable Reafon, as I think, is, the late Appearance of this Jrt ; which 
 is evident, fince the Romans till their latter Times knew nothing of 
 
 certain, that Engraving, as well as Painting, is founded as much 
 on Theory as Practice, and that both depend on eliabliined and pofitive. 
 Rules, which, if orderly followed, will make a Man a Matter 
 Why then are they not made publick, for the Information of the 
 Curious in what they want to know? Muft not he, who intends to eo 
 to a-, certain Town or Village, be firft told wh ere. it lies, and then 
 the Ways to it, chuftng the near eft as beft? 
 
 It's 
 
Chap. 8. 
 
 Of Engraving. 6^$ 
 
 It's not ft ranges that more Engravers have applied to Painting, than 
 Paimters to Engraving ; becaufe the latter have fo many excellent Books, 
 for their Encouragement, publifhed by judicious Mafters : Whereas, 
 Engiravers have not one touching their Practice. But as everv Thing has 
 
 O _ .■ _ O # J CD 
 
 its WimH i° we mult hope for it in this. 
 
 Nam Mora dat Vires, teneras Mora concoquit Uvas, 
 Et validas Segetes, quod fait Herb a facit. 
 Or,. . : . § ■. : X* . : 
 
 Perfecting Time brings on the tender Grape, 
 jlnd gives the herby Corn ifs ripening Shape. 
 
 Ihi the mean time I (hall boldly enter the Lifts, and, according to 
 my fmalil Ability, impart what I knowof it : But the Practice or Han- 
 dling I flhall not touch upon, as not having the greater! Skill therein : 
 VVhait however I mention of it, as unavoidably neceflary to what! pur- 
 pofe to fay, I fubmit to thofe of better Knowledge: Hoping my En- 
 deavours will not be taxed with Prefumption, fince my only Aim is, 
 therceby to rouze noble Genius's, and, by my fmall Spark, to kindle a 
 greatter Fire; according, to the .Latin Proverb : Parva jape Scintilla ma- 
 gnum excitavit Incendiam. 
 
 W 7 e have before mentioned, Firft, On what Bafts Engraving is found- 
 ed. Secondly, A good Engraver's Qualiiications. Laftly, vVhat con- 
 ftituttes am agreeable Print, Wherefore we (hall now difcufs the Ma- 
 nagement of the Strokes in Objecls, according to their Natures a id Courfes, 
 •with refpett to Perfpeclive, and as well in Etching as Engraving, toge- 
 ther with fome Examples for illuftrating the Point,, and preventing and 
 correcting Miftakes. 
 
 ln\ Plate LXXI.isa /F^/ marked A, having 8 Spokes, or Points ; 
 as allfe ai Staff', fet upright in the Ground, crofted by the Horizon. 
 This W r heel (hews, that each Spoke ought to have a particular Courfe,. 
 according to it's Turn, and that, the Strokes muft be governed by the. 
 Extiremrty of each Spoke, as may be. here feen. The foremoft runs cir- 
 cular ; thefecond,. oval',, the third, almofi freight, Compare alfo 
 the jfore moft Spoke i, with the hinder one 5, how much they differ in 
 Forcee; for 1 approaches, and 5 retires which cannot be otherwife 
 according to Perfpeclive. Again, the Strokes drawn with a Ruler, and 
 runming off towards the Point of Sight, grow gradually jiner and 
 faimter. Now tho' the (hort or crofs-hatchrng ought, by eftablilhed 
 J Rule,, 
 
Of Engraving. 
 
 Book XIII. 
 
 Rule, to be more vijible and ftrong than the long, yet few are obferved 
 to make any Diftin&on therein. 
 
 We have faid before, that each Objett, whether Flefh, Stone, 
 Grounds, &c. requires a particular Stroke ; and among others, that 
 IVood efpecially muff be thick-fir oked along the Grain, and confequently 
 crofs-hatched with a finer Stroke : (But -now we fhew the contrary ; for 
 the crofs ones are ftronger than thofe running with the Grain ; which here 
 cannot be otherwife. If fome fay that I contradict myfelf, in making 
 the Crofs-ftrokes thus againnV the Grain ; I (hall, for their Satisfaction, 
 fhew my Reafon for it. Obferve then, that any Thing turned has no o- 
 ther Grain than what the Chizel makes -, and as the Turner works againft 
 the Grain, and the Wood retains more or lefs Marks of the TooJ, fc 
 muft be exprefled accordingly in Engraving. But a fecond Queftion may 
 be, whether it would not do as well, if both the Hatchings were equal- 
 ly fine or coarfe? I anfwer, It would, as to the Shade, but not with re- 
 fpctl to the Stuff': For it Would be more proper to Stone, Copper, Wax 
 and fuch like. Neverthelefs thefe Obfervations are generally little heed- 
 ed, tho' alfo founded on certain Rules of this Art. 
 
 As for the Staff, it (hews, that the Strokes, beginning round from 
 below, grow ftr eight er as they approach the Horizon ; and above the 
 Horizon, the fame, but in a reverfed Manner* 
 
 Now let us consider the other Example, in Plate LXXI. wherein the 
 retiring Parapets fhew the Diminution or Faintnefs of the Strokes, not 
 only in fuel), but in any other Objects, according to their Diftance and 
 Going off, the one in a greater the other in a lefs Degree. Hereby we 
 may plainly difcover the perverfe Notion of fome Men, namely, that 
 Diminution implies growing fcanty or wider. See A with a iingle 
 Stroke from one End to the other. Now, altho' the OfT-ftrokes feem 
 neater than the near, yet they are not fo in Fact : But as the Place di- 
 mmifhes, fo the Strokes clofe and thin, in fuch Manner, that they be:ome 
 neither clofer nor more fcanty. The Diminution of the Figures and the 
 three Vafes bears the fame Construction. Neverthelefs, 1 am fenible, 
 that many, even did Mafters, do otherwife, in handling their retiring 
 Objeffs, Figures, Trees, Off skip and Sky more coarfly behind than 
 forwards. I have even obferved, that they clofe4iatch the nearer!: and 
 darkeft Sky, and work wider and wider towards the Horizon ; but this 
 more in Etching than Engraving ; poffibly to fave the Trouble of ufing 
 % or more Needles, or of flopping up, which is properly the Point this 
 Example aims at. For I do not ask here, whether it creates more 
 Trouble; but fhew, what may poffibly be thought to be of lefs Mo- 
 ment than in Fact it is: For Inftance, I place the three Figures, No. i, 2j 
 
 3, ten 
 
Chap. 8 . Of Engraving 647 
 
 3:, terror twelve Steps a part, and at the fame Diftances on the Parapet, 
 three Vafes, alfo numbered t, 2, 3; whereby may be plainly perceived, 
 how miuch the one differs from the other. But altho' in thefe Figures 
 the Meaning is fufficiently to be underftood, to wit, that the further 
 they care, the more fine and clofe the Strokes become, yet I have added the 
 Vafefs to them for the Sake of thofe who may be curious enough to count 
 the Sltmkes : When they will find, not a Stroke more or lefs in the one 
 than the other ; which in the Figures would be tedious Work. Ob- 
 ferve:, i n the next Place, the Groundfhade of each Figure againft the 
 Pararoett, each growing faint according to it's Diftance, and with what 
 Certain ty the accurate Tints of the Figures may be perceived thereon ; 
 even to know, how much they diminijh and grow finer ; and at the fame 
 Tirrue how much the Light differs. But let it not bethought fufficient, 
 thattthe Shades diminifh or grow faint, and the JVhite remain all over 
 light ; tfince we know, that the Plan or Ground cannot fhew its Level 
 otherrw:ife, than by Means of Light forwards, going off* darker and 
 darker . For Inftance, were a white Figure or white Stone ftanding for- 
 wards, and you would place fuch another further in, where the Ground 
 is dairk<er, you muft govern yourfelf by the Ground where the fir ft Objetl 
 ftandls ; as being fubjecl to the fame Rule, if Things be well finifhed. 
 If the Flan or Ground he finijhed, the Figures ought to be fo likewife : 
 Are itheiy airily handled and broad-lighted, the Ground ' muft be the fame. 
 And th<o' the Ground, in its Colour, be more or lefs dark, yet that is 
 not negiaYded in this Cafe, becaufe we are fpeaking only of the Diminu- 
 tion coj ' the Tints, conftfting of JVhite and Black. Suppofe, the Floor 
 were of white Marble, and the Figures the fame, or in white Draperies ; 
 the j for emoft would be broad-lighted, and the more diftant lefs and lefs 
 JVoitte, were it even in Sun-Jhine ; nay, if the Light came from behind, 
 or fnorn afide, the moft diftant would only keep an • utmoft Heightening, 
 and fftill lefs, were the Colours expreffed in. it; as they who underftand 
 Perfpoe&ive well know : Nor can it be otherwife ; as may be feen in the 
 firft Example in the Child's Hand holding the End of the hindmoft Spoke, 
 which plainly appears to have little or no Whitenefs. And as for the Stuffs 
 of trne Objects, as Linnen, Cloth and fuch like, fome may rather think 
 therm p>offible to be fo worked than the Naked ; becaufe, having already 
 engnavced forwards as neat and fine as may be, we can therefore further 
 in not exprefs any Thing finer or neater : But I fay, that as Things, 
 haviing the utmoft Neatnefs, do not become neater by Diftance, nor al- 
 ter im the Eye, but difappear ; fo, when the Objects are very remote, 
 neither Silk, Linnen or W r oollen is to be diftinguilhed, fo far as concerns 
 
 th 
 
 e 
 
<?4-8 Of Engraving. Book XIII. 
 
 the Hatching : But the coarfe Parts always keep their Forms. And this 
 Obfervation refpe&s not only the three Stuffs, but alfo Figures, Stor.es, 
 Grounds, Trees, Sec. Here fome perhaps may fay, how can the 
 Strokes poffibly unite with the Light, when they, as they retire, ought 
 to be ciofer and ciofer, efpecially with the Air, (which, on the Ho- 
 rizon, is clear and bright and free from Clouds) unlefs they widen 
 more and more towards the Horizon, were they ever fo faint : To 
 which I anfwer, as Experience will prove, that when the Strokes thus 
 thin and grow faint in their going off', they certainly difappear and 
 die away, nay, become at laii inviftble, and unite enough with the 
 Light, even were it Sun-fiine, tho' they be ever fo clofc. And fuch a 
 Length I think the Graver can go when skilfully managed. In Etching, 
 the Needle can do the lame by flopping up. 
 
 However, I queftion not but my Propofition will be taxed with Im- 
 pcffibility and puzzling Novelty, efpecially by fuch as are not thorough 
 "Ei gravers, who may blame me for thus dilclofing the Grounds of this 
 nrble Art, and fo plainly ihewing Truth : But my Anfwer, in the 
 firft Place, is, that I find myfelf obliged in Duty to do fo, finceallmy 
 Wiihes tend towards it's arriving at the greater! Perfection : Secondly, 
 becaufe what I lay down is preicribed by certain Rules of the Mathe- 
 matics \ tho" few are fenfible, that the Jrt of Engraving, in general, 
 flows therefrom, and that different ObjeBs require different Handlings • 
 but rather believe, that a good Manner of Drawing will eafily lead to 
 Engraving : A Notion true enough in Etching, tho' even therein the 
 Point lies mofl in the Biting and Stopping up. As to Engraving, you 
 muPc certainly be converfant with the Handling and Force of the Graver • 
 two Points not to be attained without great Experience : Tho', in the 
 Beginning, 'tis better for an Etcher to have no Handling at all \ beraufe 
 he may then gradually the better bring the Graver to the Needle, and 
 in an Uniformity of Strokes adapt the one to the other, and make them 
 harmonious : Whereas fome, relying too much on the Graver, ufe it 
 here and there, in their ftovmlj Works, without any Difference, and 
 that, with incredible Carelefsnels ; fometimes cutting a Foreground, 
 Stone or Stem of a Tree, neat and fmooth, which ought to be rough and 
 kiobby, when at the fame time they are working a Face or marble Fi- 
 gure with the Needle. This muft be owing either to their Carelefnefs, 
 or Defire of Eafe, or their Ignorance ; fince fuch Doings are aoainft 
 Rcafon and common Inftruction. c 
 
 I could mention many fuch dilorderly Prints: Among others there's 
 one of the raiflng of Lazarus, done by Berry, wherein the Figure of 
 
 Lazirus, 
 
Chap. 8. 
 
 Of. Engraving. 
 
 649 
 
 Lazarus, with fo much of the Linnen as comes about his Body, is 
 €tcfrd» and the reft of the Linnen, lying on the Ground, neatly ifo 
 graved; whereby one Part looks like Linnen, and the other like Silk : 
 The one is here and there flipped, and the other is not. But perhaps 
 the Plate was not well bit. It alfo fometimes happens, that we are 
 obliged to rub out Things, which makes good my Arlertion : For, if the 
 Fault lie in the Plate, the Matter ought, as much as poffible, to help 
 it by his Knowledge and Judgment. Could he handle the Graver, 
 why did he not fhew it, and make Things agree ? And if he was not 
 Matter of the Graver, why did he not better follow the Strokes of the 
 Needle ? Had he, inftead of Crofs-hatching, made the Strokes fomewhat 
 finer and triple-hatched them, and ufed fome flipping, then it would have 
 been pafiable. 
 
 There is another Print with an Ornament round it, reprefenting a 
 Sacrifice of Flora, or the Springy which is alfo wretchedly etch'd and 
 engraved : For the foremoft Figures, as Charity, Piety and Time, and 
 every Thing elfe on the Fore-ground, are neatly finijbed and moftly en- 
 graved ; but the Figures on the fecond Ground lb flight and poorly 
 etcfrd 9 as not to have any Agreement with the others ; the Strokes 
 even look as if they were dabb'd on and drawn with a fhaking Hand, 
 inftead of growing fainter every where, which would make the Work 
 neat and intire. This Artift might have known, that he could not 
 make the Graver and the Needle agree. 
 
 I am fenfible fome will determine, that many Things, fuch as Wa- 
 ter* Silver, Gold and fuch like fmooth and fhining Bodies, can be more 
 conveniently exprefs'd with the Graver than the Needle : But, in my 
 Opinion, a skilful Hand can give every Thing it's Naturalnefs. 
 
 5 Tis very ftrange to me, in the old Prints, that the Matters have 
 in nothing reprefented the natural Qualities, but etch'd every Thing ajter 
 one Manner, whether Nudities, Draperies, Air, Grounds or Stone ; ex- 
 cept Water, and yet not this with thin and thick Strokes, but only 
 crofs Parallels, and thofe very unlike, oftentimes clofe, and then wide, 
 as if they were fcratch'd. Again, they have not exprefs'd any Colour; 
 and always made the Water dark and brown. Now, to create a Differ ence 
 in Jhining Bodies, my Thoughts are, that you firft lay the Strokes firong 
 and parallel, and of a reafonable Width from each other, and then dole 
 them by putting thinner betzveen ; 1 mean, in Water, black Marble, 
 polilhed Steel, and fuch like; for by this Method we produce a cer- 
 tain Stir (hewing the Smoothnefs and Glitter. 
 
 No. 28. ;k;ii:v rfnl&lq'bflB idfiji n'lii'dl uJtioL vj^o 
 
 4 N It 
 
6 to Of Engraving. Book XIII. 
 
 If it be asked, why in Etching, the Strokes which are clofe and 
 thick fometimes fly up, tho' the Plate be in good Condition, and the 
 Ground neither burnt nor too hard : I anfwer, that I have found by 
 Experience, that when the Water is too ftrong, and at firft bites too 
 iharp, we muft then take our Chance ; becaufe the Plate, being cold, 
 cannot grow warm fo foon as the Ground, which therefore is forcibly 
 lifted from the Plate, and prefently rifes ; and the fooner, if the Strokes be 
 clofe thick; which happens not fo eafily in the tender Parts, where, 
 by the Thinnefs and Width of the Strokes, the Water has not fo much 
 Power to get under them. To prevent this, the Water muft be fome- 
 what weakened, and the Ground and Plate gradually made zewn», in or- 
 der to make them unite with each other ; efpecially in cold Weather : 
 For in the warm Months of June, July and Auguft 'tis not neceflary, 
 becaufe we then ufe harder Grounds. 
 
 Now, to know whether the Ground be in good Condition, I make a 
 Scratch or two, with a large Needle, in a fpare Place of the Plate ; and 
 if the Ground come out of the Strokes like Duft, it is then too hard, 
 but if in Curls, 'tis in good Temper, efpecially if you can blow them off. 
 If they cannot be wiped off with a foft Feather, but flick to the Ground, 
 'tis then too foft. This is a nice Point. It lbmetimes happened to me, 
 that here and there they remained in the Strokes. 
 
 Some Etchers alfo frequently give themfelves needlefs Trouble, when 
 they put out the Out-lines, which are made too jlrong on the light Side, 
 with Stop-ground, which, you know, always flows more or lefs over them, 
 efpecially if the Plate be hot : But consider what Trouble they muft 
 afterwards have, when the Out-line is gone ; for they are obliged to 
 renew with the Graver all the Strokes running againft it. Wherefore, 
 the beft Way is, to tra^e the Drawing neatly on the Plate, and mark 
 at firft, foftly with a fmall Point, the dark Touches, as thofe of the 
 Eyes, Nofeand Mouthy on the fhaded Side; yet not on the Light. But 
 to help them in flopping up their too ftrong Strokes, I fhall affign a 
 better Method than that of the Stop-ground. 
 
 Take thick-ground PThite-lead thinn'd with Oil of Turpentine, and 
 fpread it with a fmall Pencil over the Out-line, fo as juft to cover it, and 
 no further : But be very careful not to doit over more than once, left you 
 take off the Ground; for the Oil afterwards evaporates; and in the 
 biting, you muft alfo not wipe over it with the Feather. This is ajn 
 Invention of a Friend of mine ; and tho' I never experimented it, yet 
 queftion not it's Succefs. I mention White-lead j but you may ufe 
 any other Colour that's light and plainly viftble. 
 
 CHAP. 
 V 
 
Ch ap. 9. 
 
 Of Engraving. 
 
 CHAP. IX. Of the black Art, or McM&o-tinM. 
 
 H O' no Figure of this Art is to be found in Cafar Ripa, as 
 having been unknown to him, yet fince, in our Times, thro' 
 it's Foundation laid by Princesi and tfce kind Affirtance of great Men, 
 >cis arrived at fo great Perfedion, I hope the following Figure will 
 not be unacceptable to the Profeflbrs and Lovers of it. 
 
 Figure of the Mack Art, or Mezzo-tinto. 
 
 Here you fee a young and plump Virgin, of a frefh Complexion, 
 and amiable Countenance, drefs'd in black Velvet, lined and faced with 
 Sky-bl'ue powdered with gold glittering Stars. She has a broad gold 
 Gindle embroidered with black Bats, which diminifh towards the Arms. 
 Heir Head-attire is wanton and modi/h, adorned here and there with 
 fmaill Flowers. About her Neck is a gold Chain, to which hangs a 
 MetdaJi exhibiting a burning Altar and thefe Words, MAGNi 
 BRU TANN11. In her right Hand is a [mall Tool like a Lan- 
 cet,, together with a Feather ; and in the Left a Table* whereon is 
 paimted an Head on a black Ground, reprefenting Nature. She poiles 
 airiily on one Leg, as if (he were dancing. 
 
 Explanation : 
 
 The Art is reprefented young and plump, to fignify that (he is dill 
 growing. The black Velvet Gown and Stars imply, that, like the Stars 
 trie is fprung horn dark Night. The golden Girdle and Bats give us 
 to mncderftand, that, tho' her Produ&ions are not very la/iing, yet 
 fhe makes great Gains. The Chain, with the Medal and Altar there- 
 on,, proclaims her Luftre ; and the Words round it allude to an Offer- 
 ing' of Thanks to Great-Britain, to whom !he owes her Origin and Glory. 
 The Table, with the Figure of Nature, (hews, that (he excels therein. 
 The reft explains itfelf. 
 
 "Why this beautiful Figure bears the Name of the Black Art I 
 newer heard, tho 5 her Practice fufficiently gives us the Reafon, to wit, 
 that (he proceeds from Black. And tho' the Art of etching alfo feems 
 
 4 N 2 to 
 
6$x ' Of Engraving. Book XtlL 
 
 to be derived from Black, yet 'tis done in a quite different Mamer • 
 tor the former comes forth from the Light, and the latter from the 
 Shade \ the one heightens, and the other fhadows. 
 
 We have already faid, that Etching is, in fpeed, fuperior to En- 
 graving : Bat the Black Art is more expeditious than either of thtm • 
 and m Neatnefs has not it's Fellow, it may even compare with a 
 Painting, how loft and fluent ioever, abating for the Colours Inceed 
 in Duration and Wear 'tis the weakeft ; but, on the other hand, it's 
 Expeditioulneis brings in more Money. 
 
 This noble Art is preferable to any Engraving in reprefenting uniom* 
 man Lights, as Candle, Torch, Lamp, Fire and the like : Whereore 
 I think it does not improperly bear the Name of the Black 4rt Tis 
 remarkable, not to be of above fifty Years ftanding, and yet is arrived 
 at io great Perfeftion ; tho' other Arts have required more Time 3 uC 
 England, where the Climate is healthful and temperate, has contri- 
 buted much to it's Neatnefs and Luftre. There it had it's Birth ind 
 Furtherance : For Prince Rupert gave us the fir ft Example, Wherebre 
 we may rightly ftile it noble. The firit Print I faw of this Prince vas 
 of an old Man's Head, with a Cloth about it, taken, as far as I know 
 from an Italian Painting. It was defigned fo line and great, and bread 
 handled, as if wafted with the Pencil by the beft Matter : It exen 
 looked, by Reafon of the natural Softnefs or Melting, not to be hfs 
 than Black Art. The fame Prince alfo invented a certain Metal beir- 
 mg his Name, which it will retain for ever. 
 
 \ f doubt not but this Art will in Time become a delightful DiVr 
 lion to Painters, for three Realons. i. For it's Eafinefs in Learnim • 
 2. For it's Neatnefs ; and, laftly, for it's Conveniency. 
 
 i. 'Tis eafily learned, by any one who is accuftomed to draw on 
 grounded or blue Paper 5 becaufe there is no Difference in Operatbn 
 between the fcraping on the Plate and heightening on the grounded 
 Paper ; beginning with thz great eft Light and [paring the Shade; as ve 
 have (hewed in our Drawing-book, touching the Handling of Crayoas 
 or Chalk-pencils. Wherefore I affirm, that it comes nearer to a Painting: 
 than Etching or Engraving. And 'tis fo eafily apprehended, I meint 
 m Theory, as to be learned in lefs than three Days. 
 
 2. 'Tis neat, and free from Soil and Smell j as not requiring either 
 a Stop-ground, Greafe or Jqua-fiortis. 
 
 Laftly, The Conveniency arifing from it may be eafily conje&urec • 
 as 'tis more expeditious than either Etching or Engraving. 
 
 Bat 
 
Chap. 9. Of Engraving. 6si 
 
 But many are To eager in this Art to learn neat Scraping, as ttr neg- 
 leftthe principal Part, the Out-line, which they often over-run, and can- 
 not be brought right again; and when correct Defign is wanting in a 
 Plate or Print, what judicious Perfon will approve it ? Indeed, we cannot 
 manage here as in Etching, (where the Out-line may be traced on the 
 Plate with a Needle) For the White fometimes goes out, or is lo taint 
 as fcarce to be feen ; befides, it's inconvenient to fcrape Figures againjt 
 a Jhbt Ground ; tho' Artifts generally ufe to work the Figure hrft, and 
 then the OrTskip againft it. Now, to prevent this Inconvenience, hrit 
 fcrape your Back-ground, and fpare the neat Out-lme ; rather keeping 
 a little from it 'till the Figure be finithed : Afterwards, you may gently 
 fcrape nearer. Thus you will not fo eafily run over the Out-line, as 
 when you begin with the Figure. _ . fr , . , 
 
 There is a great Difference between the Etching, Engraving and 
 Scrap! ns of Painters and that of Engravers ; for the former, making it 
 only their Diverfion, do not finifh Things fo very highly as the latter 
 who have been brought up therein, and make it their conftant Buiinels. 
 Painters are fatisfied with (hewing only good Defign and general De- 
 corum ; becaufe, while they were neatly to finifh one Plate, they can, 
 
 work another. ^ 
 
 This Art is certainly eafy to a Perfon of good Knowledge : But it 
 the Work be not light enough at firjl, go over it a fecondTime. Indeed 
 you muft not think to finifh up at once, becaufe, 'till a Proof be taken, 
 you cannot poffibly know what Condition your Plate is in. Do like 
 the Painters, firft to dead-colour with broad Parts and then finijh. Now, 
 having a Proof, you can give the Work it's main Heightening, and thus 
 with Patience finith every Part ; a Point requiring neither much Time 
 nor Study, but a little Obfervation. There is publifhed a Print of a 
 little Satyr, which in an Hour's Time I fcraped loofe in my Hand as 
 I walked in a Garden ; and, after a Proof taken, finiihed in another 
 Hour Few learn this Art, becaufe, as I think, they cannot be perfuaded- 
 how "eafy it is, and- with what few Circumftanccs attended : Butfhould 
 the Lovers fet about it, we may poffibly in Time fee it become too- 
 common, and Etching and Engraving ricglefted ; I mean, in Objeds. 
 peculiar to the Black Art, fuch as Portraits, Night and Candle-pieces, . 
 Spea-res and Inchantments, Apparitions, Flowers, Fruits, Silver, Gold, 
 C*mtf-ware, Cryftal, Arms and Herbs. Who will be able to etch orv 
 enerave thofe Things fo perfed and natural as they can be icraped ? 
 B ut iti Figures, Architeaure, Bafs-reliefs and Landskip the Art is weak, , 
 and mot at all fo proper as Engraving. 
 
 ill*> 
 
6 H Of Engraving. £ ok XIII. 
 
 bad Ti ! \f eat both this bea «:ful Art and the Artift hawe fo 
 
 tad a Name, as ,f the one were mtchcraft, and the other ! 
 ^« tho' nothing but meet Art works. I W to hear what 
 Name the bAm will give it. The F«S and a gree ab 7e to 
 ^ It' C 1 ,C ' ? C f ° rmer ', PArt and the letter. thFmack Jrt 
 
 theA^ Pel ' , and u unn r atU L ral Name ' un,efs 'hey mean, firft, "Jm 
 the Ar ,ft works the L,ght out of the black Ground and n the 
 next Pl ace) t0 Mingmih it from Etching and Engraving. 
 
 FINIS. 
 
DIRECTION to the Book-binder, for 
 
 placeing the Plates. 
 
 Place Plate 
 I 
 
 iff, in 
 rv, v 
 
 VI 
 VII 
 
 vm 
 
 IX 
 
 x 
 xn 
 
 XIII 
 
 XIV 
 
 XV 
 
 XVI 
 
 XVII 
 
 XVIII 
 
 XIX 
 
 XX 
 
 XXI 
 
 XXII 
 
 XXIII 
 
 XXIV 
 
 XXV 
 
 XXVI 
 
 XXVII 
 
 XXVIII 
 
 XXIX 
 
 XXX 
 
 XXXI 
 
 XXXII 
 
 XXXIII 
 
 XXXIV 
 
 XXXV 
 
 XXXVI 
 
 XXXVII 
 
 XXXVIII 
 
 XXXIX 
 
 to face 
 
 Page 
 
 JO 
 
 14 
 16 
 
 ibid. 
 18 
 20 
 
 ibid. 
 
 ibid. 
 
 2 3 
 
 39 
 
 5° 
 
 5i 
 
 52 
 
 5* 
 
 58 
 1 0.1 
 
 116 
 144 
 
 172 
 
 *75 
 
 177 
 
 178. 
 180 
 183 
 ibid. 
 j8 4: 
 
 *94 
 
 J 95 
 197 
 
 20 1' 
 
 202. 
 
 205 
 
 206 
 
 218 
 
 219 
 
 221 
 
 222 
 
 Place Plate 
 XL 
 XLI 
 XLII 
 XLIIf 
 XLIV 
 XLV 
 XLVI 
 XL VII 
 XLVIII 
 XLIX 
 L 
 LI 
 LII 
 LIII 
 
 to face 
 
 223 
 ibid. 
 
 230 
 240 
 242 
 
 247 
 249 
 256 
 
 201 
 ibid. 
 
 271 
 284 
 297 
 298 
 
 *L1V, The Afterifm ■ diftin- 
 guifhes it from N° LVI, 
 which is wrong number'd 
 XIV 014 
 
 TV 5 
 
 LVI, Number'd by Miftake 
 LIV J 
 
 LVII 
 
 LVIII 
 
 LIX 
 
 LX 
 
 LXI 
 
 LXII 
 
 LXIII 
 
 LXIV 
 
 LXV 
 
 LX VI 
 
 LXVIL 
 
 LXVIII 
 
 LXIX 
 
 LXX 
 
 LXXI 
 
 324 
 
 359 
 362 ■ 
 381 
 
 3*4; 
 
 45 2 
 456 
 
 457 
 465 
 
 538' 
 54o > 
 
 543 
 636 
 
ERRATA. 
 
 The 
 
 firft Number is the Page, and the fecond the Line : 
 
 numbred from the Bottom. 
 
 when contrarily it is 
 
 B, denotes that the Lines are 
 
 10 
 
 14 
 17 
 19 
 
 41 
 
 4? 
 88 
 
 9° 
 
 97 
 98 
 107 
 117 
 
 138 
 >45 
 
 »S7 
 
 9 B. read Manner; 
 
 difficult 
 
 6 for Lights and Darks, r. Lightnefs and 
 Darknefs 
 
 1 5 for near Side grows, r. Side going off 
 - muft needs be , 
 6 for the ^Obliquity of, r. their going 
 Sideways from 
 
 8 ctele in fome 
 
 I 8 for Birloo, r. Bidloo 
 ult. for feeble, r. faint 
 
 II B. /or Form, r.'Poftures 
 
 5 B. for handfome and ugly, r. becoming 
 
 and unbecoming 
 5 B. r. in the Faces, they are 
 1 1 for Fable, r. Table 
 2 dele his 
 
 22 dele compounded 
 
 2 B. for Gautruche, r. Galtruchius 
 
 9 for Eflius, r. iEthlius 
 
 10 for Reinoud's, r. Rinaldo's 
 
 7 for Afia, Africa and America, r. Eu- 
 rope, Afia, Africa . 
 7 dele a 
 
 14 r. Ifpeakof the Window, Tables and 
 Clofet at the fame Time as I aflert 
 the Places of the moveable Objecls 
 
 3 for Faculties, r. Qualities 
 
 5 B. dele down 
 
 4 r. Air, muft thereby become good. 
 12 r. Term; and on its left Side Hands 
 17 B. for be, r. fee 
 
 6 />r and r. of 
 17 r. yes, fays Momus 
 
 14 B. r. exhibiting a Viflo 
 
 15 for left Breaft, r. Breads 
 
 7 B. /or Meftre, r. Metra 
 3 B. r. on Plinths 
 
 14 dele Main.light 
 11 B./or Ezekiel, r. Daniel 
 
 9 B./or Volubility, r. Velocity 
 1 1 B.for Reprefentation, r. Revelation 
 
 2 /or 4, r. 8 
 
 3 B. /or Magnus, r. Maximus 
 2 /or Communication, r. Affinity 
 
 4 r. Cherfonefus 
 
 7 B. r. Taurii Ludi 
 
 8 for Homer, r. Horace 
 1 9 for Pig, r. Boar 
 
 2 /or Troy, r. Thebes 
 1 1 B. r. Regula 
 
 1 5 for Judaea, r. India. 
 There are fome other Faults in the Panflua- 
 
 tion ; but they are fuch, that the Reader cannot 
 eafily miilake the Senfe. 
 
 178 
 185 
 
 186 
 21 2 
 216 
 
 225 
 268 
 316 
 
 3 2 4 
 33 6 
 357 
 43i 
 453 
 470 
 
 474 
 481 
 
 494 
 
 499 
 501 
 
 5°5 
 
 7^8 
 581 
 598 
 
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