4 
 
 / 
 
A N 
 
 Hiftorical Essay 
 
 ON THE 
 
 ORIGINAL 
 
 PAINTING. 
 
 W herein is Exhibited 
 
 I. Some Probabilities and Pre- 
 tentions to its Invention 
 before the Flood. 
 
 JL It5 Commencement again after 
 the Flood, and its Progress through 
 feveral Nations to the Time of 
 eiMABVE, An. 1275. 
 
 H E N R Y B B L 1, Architea, lafe of 
 ^ Lym-Regisy Norfolk, Efq*, 
 
 LO N D 0 N'. 
 
 Printed for J. W o u r a l l, at the Bible 
 and Dovem Bell-Yard, near Temple- Bar ^ 
 M DCG XXVIII. 
 
THE 
 
 PREFACE. 
 
 H E firfi Chapter will^ I believe^ 4/?- 
 pear a fujficient Preface to the enfuing 
 Treatife. But as every Reader has a 
 ni^turd Frctenf^j or Inclination ^ to 
 know fomethi?7g of a Writer^ to whom they ar$ 
 indebted for an Efitertainmevt of th^ Kind. To 
 comply with fuch their Curiofuy^ and to prove the 
 Author not unacquainted with the AccompUjh- 
 ments requifte in fnchm Vndertaking^ I thought 
 ft to give the following brief Account of his Cha- 
 rafter and Scation of Ltfe^ at the Time he Com- 
 fofed the following E s s a y. / Jhall fay no- 
 thing of him from his Infancy^ hill he arrived 
 at tears of Maturity^ but that his ExtraUim 
 was from an honourable Family of Lynn-Kegis, 
 in the County of Korfolk 4t which %nie^ by 
 the Advantage of a liberal Education, having 
 perfcEled his Studies at theVniverfuy of C^m- 
 bridge^ he foou difcovered a fromifing Ceninsy 
 
The P K E F A C E. 
 
 and ftrong Inclination to the Study of Liberal 
 Arts and Sciences ; and being Heir to a conjider* 
 able Vaternal Efiate^ he had an Opportunity of 
 improving himfelfy by travelling over mofi of the 
 politer Parts of Europe. But as no Genius is 
 fo Extenfive but muft be enamour d with foine 
 -particular Study^ ArchiteBure feemed to be the 
 Mirtrefs of our Author"^ sAjfe^ionSy and confe^^ 
 qutntly his Travels conduced very much to his 
 Improvement in that particular Science* The 
 Town of Northampton, which was Re-built 
 agreeable to his Plan^andpurfuant to his own Di^ 
 reSlion^ is a Teftimony fufficient to evince his 
 Maficrly Hand in that Noble Science to fucceed" 
 ing Ages* The Place of his Nativity may like- 
 wife furnijh us with Buildings fufficient to de- 
 monflrate the Skill of the deceafed Architect. 
 Tloe foUovPing Sheets accidently falling itJto my 
 Hands y Compajfton to the Merit of the Author ^ 
 and the Entertainment of the Publicky I thcughf 
 Motives fufficient for its Publication. And all 
 the Merit I can boafj is the refloring fo valuable 
 a ManufirJpt from Oblivion \ and if thereby I may 
 deferve the Thanks ^ or Approbation of the Reader ^ 
 it will (next to doing the Author Juflice^ be th^ 
 great eft SatirfaHim - to 
 
 The Editor. 
 
E S s"" A Y 
 
 O N 
 
 Original Painting; 
 
 CHAP. L 
 
 ^ Of the Original of Painting m 
 General ; wherein is exhibited fome Pro- 
 bahilities and Pretentions to its Inven- 
 tion before the Flood. 
 
 O make an Inveftigation of 
 the Firft Inventors of this 
 Noble Art, will prove an 
 Enquiry of no little Difficul- 
 ty, if we confider how far 
 we Ihall of Neceffity be eni» 
 forced to make a Re-fearch, and to look 
 
 B back,- 
 
t An Essay on 
 
 back, even into the Firft Periods of Time^ 
 wherein it will appear obvious enough, how 
 that the far greater Share of the Impreffi- 
 ons and Charafters of Things and Adions 
 of fo long a Date, muft of ISJeceflity be now 
 almoft eaten out and quite eraled, having 
 thus long lain under and been expofed to the 
 devouring and corroding Teeth of Time. 
 
 And however, though fome fcatter'd 
 Relifts of Memoirs may happily have elca- 
 ped this Calamity, and by Ibme Writers 
 been transferred to Pofterity. Yet fome of 
 them in their Relations (we can't but ac- 
 Jcnowledge) have been fo uncertain and fa- 
 bulous, others fo abrupt and obfcure, and 
 jnoft of them either wholly paffing by, or 
 difcourfmg of this Art only in tranJitUy it 
 can't be expefted our Endeavours ihould 
 proceed to any particular, or abfblute De- 
 terminations, but only M/hat Probability of 
 Truth may reafonably difpence with. 
 
 U p o N that Score we hope for Pardon, 
 if in this Chapter we fhall not keep fo ftrift- 
 ly within the Limits of this Art in par- 
 ticular, which we are forced fometime to 
 entrench upon the Confines of fome neigh- 
 bour Arts, relating to Sculpture and En- 
 graving, and referring to the Invention of 
 Letters, antick Images, Pillars, or Pagan 
 •Deities of old ? which now the Maturity of 
 thefe latter Ages has fo varicufly diftin* 
 
 guilhed 
 
Original P A i N T i N g 
 
 guiflied anddiverfified , of all which, yet iu a 
 general Acceptatdon, we conceive Painting 
 to be comprehenfive and of near affinity to, 
 and the introducing of which we can hardly 
 judge any Extravag^incy, but rather (as v/e 
 lliall briefly endeavour to make it appear) 
 very applicable and confonent to our De*; 
 pofition in hand. 
 
 Fo R Fi^ura and Sculptural in theSence of 
 the Poets, were accountedTwins ^ and as that 
 Worthy Author Mr. Evelyn^ 
 joy ning with them ArchiteUura, ^^f^ 
 declares thofe Three illuftrious 
 and magnificent Arts fo dependent up^ 
 on each other, that they can no more be 
 leparated than the very Graces themfelves;, 
 who are always reprelented to us holding 
 Hand in Hand, and mutually regarding 
 one another ^ we may reafonably conjefture 
 that they were born together ^ or however, 
 that the Emergency, or Rife of the one 
 was not long previous to the Invention of 
 the other. 
 
 F o R if we take TiBura in a general Ac- 
 ceptation^ and according to the Defimtioa 
 of Vitruvius^ viz. Fit Imago ejus quod efi fei^ 
 ejfe potefi : It may be comprenenfive of not 
 only Painting but Sculpture^ Plafiick and Mo^ 
 faici Work, or any other Counterfeit, or 
 Similitude, of any created, or imaginary 
 Being whatfoever and fo makes no effen* 
 B 2 tial 
 
4 
 
 Essay on 
 
 tial Difference at all between them, but 
 only ratione materia^ which is only in the 
 Mechanick and iefs noble Part of the Art, 
 they agreeing notwithftanding in the Effen- 
 tials, the more liberal and refined Accom- 
 plifhments of it- 
 
 But yet this is not all that de faElo^ there 
 is fuch Affinity and Similitude between 
 thefe Two Arts; but we may affirm 'tis 
 the Excellency alfo, and mutual Perfection 
 
 ftinguiih, he handfomly interweaves them 
 together to our Purpofe, faying, That Pi- 
 cture is befl: when it ftandeth off as if it were 
 carved ; and Sulpture is beft when it ap- 
 peareth lb tender as if it were painted. 
 
 And once more to urge the entire Con- 
 nexion of thefe Two Arts together, we 
 dare with Confidence enough affirm, where- 
 ever we find a compleat Artist in Scul- 
 pture, he muft alio have a competent Ta- 
 lent of Knowledge in P a i n t i n g ; and 
 particularly more than meanly skilled in 
 the Art of ready Drawing and Defign- 
 ing, and have a Sufficient Knowledge of 
 the Nature and Effeft of Light and Sha- 
 dows, which fmall Commencements, per- 
 haps, made up the compleat Character of 
 not a few of the antient Heroes, whom 
 
 Elements of 
 ArihiteSlure. 
 
 of each other to be fo : For as 
 Sir H. Wotton takes notice out 
 of Vltny'y where defigning to di- 
 
 Vliny 
 
Original P A i N T i N g J 5 
 
 Pliny does fo ftudioufly, yet not undeler- 
 vedly celebrate. 
 
 Having made this neceffary Digre^- 
 fion to vindicate from Impertinency what 
 we may hereafter introduce concerning 
 Sculpture, Plafticlc, &c. we ihall again re* 
 aflume our firft Purpofe, and with that 
 Worthy Author, Mr. Evelyuy before-men- 
 tioned, eafily confent and determine againft 
 that Opinion of Efigenes in Fliny^ who de« 
 pofed. That this Art had its Being fromi 
 Eternity, becaule it's not Sence, and would 
 contradift the Inventioi], unlefs his Sence 
 be of the Eternity of Days, the divine 
 ProtopUfies, God Almighty himfelf, who 
 taking feme of that virgin elementary Earth 
 which himfeif had firft created with his 
 own Hands, he framed the Mould of th^ 
 firft Man, and afterwards moft miraculoufly 
 infpired into him a living SouL 
 
 A N D if we take Leave to introduce this,' 
 we might alfo bring in many more Inftan- 
 ces of the like Nature, performed by the 
 fame Hand of the Almighty Power, aU 
 which we muft confefs to be far furpaJling, 
 and above the ultimate Attainments and 
 Difquifitions of any created Being, becaufe 
 performed by a Miracle of the Divine Wif- 
 dom, and fo fet far beyond the Comprehend, 
 fion, or Imitation of Man- However, it may 
 derive much to the Honour of Pidure in 
 
 B 3 that 
 
6 An "Ess kY on 
 
 that God himfelf, the true Prometheus^ vouch- 
 faf (as may be faid in feme Sence) to give 
 the Firft Example of this Art. 
 
 And whence Gregorius calleth Man an 
 earthen Statue and Suidas relating to Adam 
 faid the fame was the firft Statue, the 
 Image named by God, after which all the 
 A R T of Carving and Painting of Men re- 
 ceived her Diredions. 
 
 And thus as Adam^ the Prototype, was 
 the firft moving Statue wrought by God, 
 fo i^?t'sWife, in her Transformation, was 
 the firft fix'd and immoveable one : Which 
 latter Inftance feems nejjrer to favour our 
 Purpofe. For as F. Junhis out of Aur. Tru^ 
 dentins tells us of the miraculous Preferva- 
 tion of that Figure, that it remained a long 
 time entire and compleat, in her Shape, 
 Comelinefs, Attire, Ornaments, and in the 
 very Pofture, her Face looking backward, 
 retaining ftill the unchangeable Monument 
 of her antient Difobedience. So that if we 
 could not produce earlier Proofs of the In- 
 vention of this Art, this lafiing Statue 
 might ferve for a fufficient Ground of Be- 
 lief, that the firft Imitation and Invention 
 of Images might eafily be derived from this 
 ftanding Copy Lois Wife. 
 
 But befides that, this Inftance comes 
 not properly into this Chapter, we fliall 
 pretermit thofe and defcend and lee what 
 
 we 
 
Original Painting. j 
 
 we can find amongft Men, and begin with 
 Protoplaftory our Father Adam^ whom St. Au* 
 guftin affirms to be the Firft Inventor of 
 Letters and Sculpture ^ and that there were 
 feveral Books about, bearing his venerable 
 3>Jame, mentioned by Epjhanius^ and Tho^ 
 mas Aquinas alfo, in his Treatife De ente & 
 EJfentiay fpeaks of a Volume of Plants de- 
 fcribed and decyphered by Adam ^ all which 
 were fuppofed to be miraculoufly found out 
 and preferved by the Great TrifmegiflHs ; 
 which we have no Reafon to contradift, 
 feeing alfo we have theTeltimony of Suidasy 
 who as Mr. Evelyn takes Notice is peremptory 
 in afcribing as was affirmed both Letters 
 and all other Sciences to Adam^ t»t8 niv-m 
 It/^w^Ta, &c. All which, if they may pafs 
 for current Piflure, may juftly boaft of its 
 Pre-eminence above other Arts in the 
 Honour of its early Invention, deriving 
 thus its Pedigree from the very Infancy of 
 the World. 
 
 HowEVEK, to pafs by thele Con- 
 je£Vures, we need not travel far among the 
 antediluvian Patriarchs before we meet with 
 Enos the Son of Seth^ and Grand- Child to 
 the fole Monarch of the World, the Patri- 
 arch Adaniy who, as learned Rabbins re- 
 port, feeing that thofe defcended of Cain 
 addifted themfelves to Wickednefs, which 
 was Idolatry, erring from the Worihip of 
 
 B 4 the 
 
the true God, he defirous to reftraln theni 
 and guide them again into the true Worfliip, 
 made ufe of Symbols and Hieroglyphicks, 
 and by the Figures of Animals, Simples, 
 Brute Beafts, and other vifible Things which 
 fall under the Sence, he endeavoured to 
 draw them by Degrees to thofe Things 
 which were invifible. 
 
 Which alfofeemsto beimplyed in what 
 IV e read in the 4th of Gemfis^ Then began 
 Men to call upn the Name of the Lord^ which 
 Broughton interprets of the Beginning of Ido- 
 latry that Men then began to prophane 
 his Name. Or according to Rabbi Solamoy 
 to apply the Name of God to Stars and 
 Men : Or as the Supplement of Chronicles 
 reporteth. That Ems was the firft that fra- 
 med certain Images to fiir up the People to 
 the Reverence and Fear of Godj^ which ac- 
 cords well enough with the Opinion of Trif- 
 megifiuSy cited by Leo Baptifia de Alherti^ 
 where he depofes flUuram & Sculpturam una 
 cum Rellgione exortam^ and gives this Realbn, 
 Humanitas enim memor natura & Originis fuA 
 Deos ex fui vultus Jimilitudine figuravit ^ fb 
 that whether they were invented firft for 
 a Sacred* or Prophane, or Civil Ule, we 
 &al] not much difpute the Qiieftion, while 
 in the mean Time they feem to grant the 
 AlTertion itfelf 
 
 Much 
 
Origiml Painting. ^ 
 
 M a c H about the fame Time, but upon 
 a more remarkable and fignal Occafion, we 
 have an Account out of Jofephus Cedrenus^ 
 of fome other Sculptures engraven on Two 
 mighty Obelisks, erefted, as he affirms, 
 upon the Account of a Prophecy delivered 
 to them from Adarrij wherein he fliould 
 foretel of two moft direful and univerfal 
 Deftruftions the one by Fire, the other 
 by Water : His Pofterky thereupon at Jof- 
 pa reared two Pillars, one of Brick, the 
 other of Stone ^ whereon were engraven 
 their fideral and coeleftial Sciences ; the 
 latter of which flood Proof againft the fub- 
 verting and devouring Elements, and lafied 
 fome Thoufand of Years after the general 
 Deluge. 
 
 The like is reported of Zoroafter^ (fup- 
 pofed to he Cham) the Firft In venter of Ma- 
 gick, engraving the liberal Arts on 
 Fourteen Columns • Seven whereof affirmed 
 to be of Brafs, and the reft of Brick. And 
 what fhall we fay of all thofe Oracles and 
 facred Sentences, infcribed diverforum me^ 
 tallorum laminisy and fo left to Pofterity, 
 which long after, by Pran. Patriciusy were 
 collefted together to the Number of 320, 
 or of the antick Monuments, fetting forth 
 the renowned Atchievements of the Patri- 
 archs of Old, recorded by Seth and Enoch y 
 of which Tmullian^ Suidas and others make 
 
 honourable 
 
to An IB. s s k Y on' 
 
 honourable mention 5 and the Ethiopians boaft 
 themfelves to be the PofTeflbrs of at this Day. 
 
 Notwithstanding all this, if 
 any fliould yet objeft againft the Probabi* 
 lity of this fo early Invention of thele 
 Arts, in that the Search and Labour af- 
 ter other more neceffary Trades and Handi- 
 crafts, building of Tents and Places of Ha- 
 bitation ^ improvement of Husbandry, and 
 providing of Keceffaries for Man's life ^ 
 that thefe were abundantly enough to fur- 
 iiifli all their Time, and might more than 
 duly employ all their Studies and Endea- 
 vours^ and fo leave no room for the Search 
 of other more curious A r t sj To all which 
 ive fhall only anfwer, That we no fooner 
 read of Jabal^ the Father of fuch as dwelt 
 in Tents and have Cattle, but the next 
 Verfe brings in Jubd^ the hiventor of the 
 Harp and Organ ; and Tubal Cain^ (fuppo- 
 fed by fome to be Vulcan) hiftru^lor of eve- 
 ry Artificer in Brafs and Iron. 
 
 All which, we prefume, may lerve to 
 evince that this Art was not wholly un- 
 known to the Patriarchs of Old ; and altho' 
 we can't abfolutely depofe that it was re- 
 vealed to Adanty and from him propagated 
 to his Pofterity • yet we may without any 
 fcruple determine that the Antients had Ibme 
 Knowledge of it, and that it emerged to fbme 
 competent Attainment before the Flood. 
 
 CHAP. 
 
Original P A i N T i N G. xi 
 
 CHAR II. 
 
 Of the Commencement ^^Painting 
 immediately after the Flood^ and from 
 thence down to the middle Ages ; toge^ 
 ther with fome Account of the Hiero- 
 glyphicks ar^d Sacred Paintings of 
 the Egyptians* 
 
 A T Seeds of this Art were 
 planted before this great Catat , 
 trophe, we may prefume were 
 not all waflied away, fome 
 whereof probably might have 
 been tranfmittedby iNTi^^i? to the new World, 
 belides one Inftance before mentioned we 
 have of Enoclj^s Pillar, engraven with Ima- 
 gery, which bore up under this direful Ca- 
 lamity, and flood a Monument to after 
 Ages of the glorious Undertaking of thofe 
 mighty Men of Old, 
 
 H o w E V E the fore-named Cham^ who 
 jiimfelf was a Witnefs of^ and Aftor in 
 thefe great Works above^cited, without 
 doubt^ would be inftrumental in propagat- 
 
12 An s s k Y on 
 
 ing to his Pofterity all thefe glorious Arts 
 and Sciences, in which he had fo far ; 
 attained which feems to be confirmed in 
 what we find was praftifed by Ninus^ one of 
 his Pofterity ; who having performed the 
 Funeral of Belus his Father, called alfo 
 Nimrody the Firft King of the AJfyrians^ to 
 allay the Sorrow of whofe Death, and in 
 fome meafure to reftore fo great a Lofs, 
 caufed his Image to be made, and gave Pri- 
 vilege of Sanftuary to all Offenders that re- 
 Ibrted to it. 
 
 And alfo by what we read of Mizra^ 
 the Egyptian Pharoahy the Son -of Chus^ and 
 Grand-Child of Cham^ who, as Traditions 
 inform us, reared two mighty Columns, 
 adorned with diverfe Figures and Engrave- 
 ings tf which Mr. Evelyn has taken Notice 
 of ; and becaufe the whole Paragraph falls 
 in with our Purpofe, we fliall put in his 
 own Words ; to offer our Sence in any 
 other Drefs, were but to give you it in 
 worfe Language. 
 
 ^ H E brings in Mercurius TrifmegifiuSj 
 v/ho as he acquaints us 300 Years after the 
 
 * Flood, and long before Mofes^ engraved 
 ^ his fecret and myfterious Things in Stone^ 
 ^ as himfelf reports, reforming what had 
 ^ been depraved by the wicked Cham ^ fome 
 ^ "in Letters, fome in Figures and enigm.a- 
 
 * tical Characters j fuch happily, as were 
 
 ^thofe 
 
Original Painting. s j 
 
 • thoie contaiird in the magnificent and 
 
 ■ ftupendlous Obelisks erefted by Mizj-a^ 
 ' the firfl: Egyptian Pharoah^ which being at 
 ' leaft Four Hundred Years before Adofes^ 
 
 • as the moft indefatigable Kirker has com- 
 ■puted, does greatly prefage their Anti* 
 
 ■ quity to have been before that holy Pro- 
 phet. But not to put too much StrefS 
 upon fuperanuated Tradition, this we are 
 fure is of Faith and without Controverfy, 
 that in Mofts we have the Tables of Stone 
 engraven by the Finger of God himlelf ; 
 where the Commandment is exprefs, even 
 againft the Abufe of this very A ii t, as 
 well as an Inftance of the Antiquity of 
 Idolatry, attefting that of Sculpture, "Thou 
 (halt not make to thy felf any graven Image 
 but this, which is the firft Writing which 
 we have Scripture to vouch for, doth yet 
 pre-fuppofe Engraving to have been of 
 much greater Antiquity what elfe were 
 the Teraphimy what the Penates of Laban^ 
 ftolen by Racbael^ the Idols of Terah^ or the 
 Egyptian J &c. but we forbear to expatiate, 
 only that which is by Ben Syraky Ibme- 
 where in Ecdejiaflkus delivered, That the 
 Original of Idolatry was from Images, to 
 preferve the Memory of the Dead, as in 
 procefsof Time, by the Flatteries of Great. 
 Men, it v/as turned to be an Objeft of 
 Adoration, plainly inferring Graving to 
 have been elder than either. G And 
 
14- E s s A Y 0^ 
 
 •A N D to bring up the Rear to the Ho- 
 nour of P A I N T I N G, in Contention with 
 them, both in Point of Priority, we have 
 Epiphamus to vouch us, in his firft Book con^ 
 fra Harefesj where afcribing the firft In- 
 vention of Images to 7l7^r^, the Father of 
 'Abrah^mj he affirms, that before his Days 
 • they had not graven Images of Wood, or 
 Metal, but only Pidures of Men • which 
 plain Atteftation (if we may credit the Au- 
 thority, which on the other Hand, we have 
 no Reafbn to contradict) fully vouches the 
 Antiquity of Pictures in compare both with 
 Idolatry and Sculpture, and leems clearly 
 to carry the Invention of Painting 
 flill higher than either. 
 
 Neither can we confent that the In- 
 vention of the latter fliould any ways fuper- 
 fede, or abolilh, the Pradice of the former*, 
 for long after that, and fometime before 
 the Migration of the Jpraelites through the 
 Wildernefs into Canmris^ the holy Prophet 
 received an exprefs Command from God 
 himfelf, for that Nation's idolatrous Abufe 
 of the Art, that they lliould drive out 
 all the Inhabitants before them • deftroy all 
 their Pidurts, and all their m.oulcen Images, 
 and quite pluck down all their High Places. 
 Where both Arts are fo diflinftly taken 
 Kotice of, that we can't but acknowledge 
 they were both particularly known to that 
 Nation, and pi-adis'd amon^g them. * B u t 
 
Original Painting. if 
 
 * B u T to recover its Efteem again be-» 
 
 * yond all Prejudice, however by others abu- 
 ^ fed, as indeed many of the beft Things 
 ^ have been, it was (we know,) imputed for 
 
 * a fpiritual Talent in Bazaliel and AboUahy 
 ^ who made IntagUas to adorn the High- 
 
 * Priefts Pectoral ; and God himfelf voucb- 
 fafed Two Exemplaries \ as we find the Pat- 
 tern of the Tabernacle which ^^^^ 
 
 was difcovered and fliewu un- ' "^^^ 
 
 to Mofes upon Mount Sinai and alfb we 
 
 read of another Pattern of the Temple of 
 
 Jerufalemy delivered unto Solo' 
 
 mon by his Father BavU, after' '9- 
 
 the Prefcript God had made with his own 
 
 Hand, 
 
 ^Besides all which, we have faid 
 
 * how the Egyptians reverenced it, as feem^ 
 
 * ing to have ufed it before Letters, or ra- 
 *ther their Hieroglyphicks (importing jfa- 
 ^ cred Sculpture) where thofe Elements by 
 ^ which they tranfmitted to Pofterity what 
 
 * they efteemed moft worthy of record 9 
 ^ and not (as fome have imagined) wrap'd 
 ^ up in thofe enigmatical Figures, the Se- 
 ^ crets of their Arts, both Divine and 
 Secular : For 
 
 C 2 JSlondum 
 
^6 
 
 An Essay o» 
 
 Nondum flumineas Memphis context re hiblos 
 Noverat \ & [axis tantum volucriff^ feraq\ 
 Sculftaq'j fervabant magkas animalia linguas. 
 
 hue anus Lib. 3. 
 
 whence Tacitus calls them Antiqujfima mo^ 
 numenta memortia hwman(Z imfrcjfa Saxis, 
 Such as were alfo the Horapollinis mtA^ and 
 all thofe other venerable A^ntiquities of 
 this Nature, tranfpofted to Rome out of 
 Egy}t^ in no lefs than 42 prodigious Obe- 
 JisiiS^ of late interpreted by the induftrious 
 Kirkery before cited, 
 B u T it would be too tedious to enume- 
 rate the many Inftances we could produce 
 of their enigmatical Sculptures engraven 
 on pillars, Arches, Pyles, Obelisks j others 
 repofited in magnificait Pyramids, Sepul- 
 chres, Dormitories ^ befides innumerable 
 Coloffes, Statues, Idols, Images, and Ora- 
 celar Deities of Old all which do abun- 
 dantly atteft to the venerable Antiquity of - 
 this renowned Art. 
 
 But we ihall pafs all thefe by, and take 
 leave to defcend a while into their Caves, 
 Jlypogaasy or (as they are rendered Er?glijhy 
 Mummies, thofe facred Vaults, Conferva- 
 tories of thofe as facred Relifts 
 ■^pl f/^^^' of their renowned Anceflors of 
 Old, which, according to Mr. 
 
 Graves^ 
 
Original P A i N T i N t y 
 
 Graves^ lie hid under the Brow of a conti- 
 nued Hill, fcituate about Four Miles from 
 Grand Cairo^ and adjoyning to the famed 
 City Memphisy or Bdylon of Old where 
 among thofe almoft infinite Number of de- 
 pifted Hieroglyphicks, and myfterious 
 Paintings of their dead Bodies, we hope to 
 find fomethin'g yet more exprefs and par- 
 ticular to our Purpofe \ of which therefore 
 we fliall endeavour to give fofhe fliort Ac- 
 count therein, relating to the Periods, both 
 of the Original and utter Abolilhment of 
 them. 
 
 I T was an Opinion always retained Sa- 
 cred among the Egyptians^ that as long as 
 the Body after Separation, whether by Art, 
 or otherwife, remained entire and uncor- 
 rupt, fo long they held the Soul was obliged 
 to continue with it ^ but yet, not as a 
 quick'ning and animating Spirit, but only 
 as an Attendant and friendly G uardian to 
 it; hovering jftill over her divorc'd Neft, 
 thereby fhewing fome reludancy thus to 
 leave and be deprived of her former Habi^ 
 tation ; but when once the material Form 
 of the Body was dilToiv'd, and the whole 
 Mafs again diffipated and moulder'd into 
 Duft, then the Soul flood wholly difingaged, 
 and was at Liberty freely to pafs into any 
 other Body : Which Opinion of theirs, Py- 
 thagoras probably borrowed of them, - of 
 
1$ 'Jt^ Us s A.y on 
 
 his Metampfucojts of Tranfmigration 
 Souls. 
 
 This Belief of theirs excited them to 
 that over folicitous Care of preferving fa- 
 cred and entire the dead Bodies of their 
 Relations and alfo in providing them Con- 
 ditories and Sepulchres^ that might be as 
 lafting as their intrufted R^lids, and in 
 which they might remain fecure and un- 
 difturb'd from the Iniquities of Times and 
 Men. This alfo prompted, perhaps, the 
 antient Theban Kings to ereft thofe ftately 
 Spserical Sepulchres, ftanding by Sier2e and 
 ThiUy cMed Tumuli Mercuridesy fpoken of 
 by Mr. Graves out of Viodorus and after 
 the Glory of Thebes was once eclips'd, and 
 the Throne removed to Mer aphis ^ the fame 
 Opinions ftill accompanied, probably incited 
 thofe Fharoahs there together with their 
 private Ambition and thirft after Glory, 
 to be at fo vaft Expences in building of 
 Piles, and rearing thofe Audacia Saxa Pyra- 
 miduniy as Statins calls them ^ and the £^>'p- 
 tians of meaner Rank to fpare for noCoft in 
 cutting Hypog^ias^ thofe lubterranean Dor- 
 mitories in the Lyhian Defarts ^ all which 
 they defigned for Manfions and Habitations 
 for their Bodies after this lliort Life ^ and 
 it was in thefe Reconditories they hoped to 
 live a glorious Memory of Virtue, and to 
 have a mutual Converfe with the Gods for 
 aja infiuite Spaceo , ' Ij. 
 
Original Painting. 19 
 
 I F this therefore was their fole Expe£la- 
 tion and Happinefs they look'd for in ano- 
 ther State, then we need not wonder that 
 they were fo folicitous in exquifitely adorn- 
 ing their Sepulchres, and fo ftudious in 
 contriving all thofe Hieroglyphick Paint- 
 ings and Gildings, with which their Coffins 
 were fb curioufly beautified and depifted^ 
 and as Mr. Graves gives us the Particulars, 
 fome with the Figures of Dogs Heads, 
 others with Reprefentations of Anatomies 
 and DiTTeftlons of Bodies, before their Em- 
 balming, with the Baifam Pots, and other 
 Inftruments of Chyrurgery about them : 
 Within, over the Body, were divers Wrap- 
 pers, fpread over with a chalky Salve, upon 
 which Cloaths were commonly portraied 
 the Pidures of thofe wound up therein^ 
 with Colours that will never fade, or decay. 
 Upon the uppermoft Covering were Rib- 
 bons and Fillets, between which were Hie- 
 roglyphicks and Coeleftial Creatures ^ upon 
 the Breaft was a kind of Breaft-Plate, made 
 with Folds of Unnen cut Scollopwife, rich- 
 ly painted and gilt and in the midfl of it 
 was the Face of a Woman, with her Arms 
 expanded 7 on each Side of them, at the 
 Two utmoft Ends, was the Head of an 
 Hawk fairly gilt, by which they reprefent- 
 ed the Divine Nature : Befides thefe, over 
 their Head, they had commonly portraied 
 
 the 
 
20 E s s A Y (m 
 
 the Image of their tutular God, with fede- 
 ral other exotick Charafters. 
 
 I N all which ftrange Reprefentations, 
 befides what Ornament and Luftre they ad- 
 ded to the Coups, we may conjefture fome 
 of them contained the particular Memoirs 
 of the Virtues and noble Actions of the 
 Deceafed : In ibme, perhaps, were wrap- 
 ped up many facred Sentences of their Pagan 
 Faith and Theology and in others, pro- 
 bably, lay hid certain Telefms and magi- 
 cal Incentations, to keep off evil Spirits, 
 and defend them from the Malice and Ini- 
 quity of Men. 
 
 And thus we have a fhort Narrative of 
 the whole Attainment of this A ii t, with 
 the Occafion and Circumftances of its Ad- 
 vancement among the Egyptians \ all which 
 appears to.be fo plain, that it would be 
 needlefs to produce Authority ^ and, we 
 prefume, no Man doubts of the Truth of 
 it, that this A r t, defaBoy was eminently 
 known to them, and for a long Time pra- 
 £tifed among them. 
 
 B u T to affert the Time when it lirft 
 commenced is a Task of more difficult En- 
 quiry. The firft Example we read out of 
 Scripture of this Manner of Burial, we find 
 was praftifed by Jofeph upon his Father 
 Jacobs who commanded his Servants, the 
 Phylicians, to embalm him and after him^ 
 
 upon 
 
Original Painting. 21 
 
 upon Jofefh himfelf, who both Living and 
 Dying in Egypt^ the Text tells us, So Joleph 
 diedj being an Hundred and Ten Tears Old^ and 
 they Embdmed him^ and he was put in a Coffin j 
 but now whether the Solemnity was per- 
 formed in all thole Circumftances of their 
 lacred Paintings and Hieroglyphicks before- 
 mentioned we can't poffibly aiTert, unleft 
 that Art was known to the great Trif- 
 megiftusj who lived above Three Hundred 
 Years before7l<fc/"^j, and foconlequently Ibme 
 Time before thefe Patriarchs, from whom 
 they acknowledged to have received all 
 their Myfteries, and lacred Arts and Sci- 
 ences. That of their enigmatical Engra- 
 vings, we don't doubt, was pradifed long 
 before that whicli the Inftance of Miz^raim^s 
 Two Pillars makes clear : And as to the 
 particular of P a 1 n t i n g, Pliny in his 
 35th Book of the firft Inventors of it, tells 
 us how the Egyptians boafted that the Art 
 was known and flouriihed among them for 
 above Six Thouland Years, according to 
 their monft'rous Computation, before it 
 was tranflated to the Grecians ^ which we 
 fhall neither endeavour to confute, nor cal- 
 culate the precife Time, or in what Pharoah'^s 
 Reign their Account might probably fall 
 in with ^ this only it may ferve to evince, viz. 
 the great Antiquity of it, having been long 
 praftifed among them Time out of Mind. 
 
 How- 
 
22 
 
 E S S A Y 0^ 
 
 However, though we can't be lb 
 poffitive in afferting the firft Praftifers of it, 
 the Time and Period of its utter Extirpa- 
 tion among them is obvious enough, as 
 Mr. Ogllhy in his Africa has obferved, viz.. 
 That all the Bodies of the Egyptians that 
 were thus Embalmed, Adorned, and hiero- 
 glyphickly Charafterized, and are found in 
 flone Vaults under Ground, or in Pyramids, 
 were buried there before the Expedition of 
 Cambyfes into Egyft^ in the Year of the 
 World Three Thoufand Four Hundred 
 and Thirty, as appears in that Cambyfes af- 
 ter his Conqueft introducing his own Verflm 
 Manners, Rites ard Cuftoms, baniflied, or 
 put to Death, without Mercy, the whole 
 Priefthood of the Nation • whereby this 
 Mummies Way of Interring utterly failing 
 200 Ye^rs was quite laid afide, as appears 
 Old and from Herodotus ^ thefe Priefts, 
 
 Myfteries, which might not be taught, or 
 communicated to the People in common ; 
 fo that in Effeft the whole Science died. 
 
 fays he, only underftood thofe 
 
 CHAP. 
 
Original Painting. aj 
 
 GAAP. III. 
 
 The Enquiry after the Attainment of 
 Painting continued^ referring to 
 the Kjiowledge and Praciice of it in the 
 Time of the Trojans, before their final 
 Overthrow ; and alfoto the Antiquity of 
 the Painting of Shields and other Mili- 
 tary Enfigns. 
 
 HUS we have taken aProfpefl: 
 of Egy]^tj where after many Wan- 
 d^'iiigs in no lefs than, a double 
 Egyptian Darknels^ vve ha^ve, at 
 length, out of the Alhes of the Dead, and 
 even the very Bowels of the Earth made 
 (we hope) an ample and fatisfaftory Dif- 
 covery of the admirable Attainment of tlie 
 Pencil among them. 
 
 Notwithstanding all which, we 
 dare not affirm the Vulgar had ary Difco- 
 very of this Ai\ t, that lacred Efteem 
 and Reverence, it obtained among^them, 
 lb ftriftly forbidding any Communications 
 of i;; to any popular Enquiries, but lay 
 
 con- 
 
24 An "Ess k Y on 
 
 concealed among the Priefihood alone of 
 that Nation J and was wholly employed in 
 the Service of their moft facred religious 
 Myfteries , 'tis obfervable not only in this, 
 but in the precedent Inftances of other 
 Nations, it has been an Attendant upon 
 their feveral Religions, and like the Ivy 
 embracing the Oak^ as fome conjefture it 
 was born with it • fo it has ftill accompani- 
 ed, and been a conflant Traveller with 
 through ail the Stages of Time, and Diver- 
 lities of Nations. 
 
 T H E only Probability we have that this 
 Art might poffibly be employed in their 
 more civil and fecular Concerns. Here in 
 the Praftice we find they had of Hiero« 
 glyphlfmg their Thoughts, and what they 
 judged moft Worthy of Record, whether 
 Divirie, or Secular, which Arts they 
 made ufe of before the Invention of Let- 
 ters, before which they had no other Way 
 to tranfmit to Pofterity their feveral Inven- 
 tions and Acquiliiions yet^ however, in this 
 Kind, we find very flender Proof of it, 
 particularly relating to Painting, and 
 \vh?it Francis Junius ttWs us of thofe Diade- 
 mita Regum Egypt iorum which were round 
 befet with the Figures of jlf^s^ wrought 
 with the Needle in diverfe Colours, had re- 
 ference ftill to their divine Secrets, and 
 contained fome myfiical and facred Inter- 
 pretations. O N L t 
 
Original Painting. 2 f 
 
 Only it may afford us the Gonfideration of 
 another fort of Painting not yet mentioned, 
 caird PiBura Textilisy Embroidery, or thofe 
 Needle-work Painting, an Art of very early 
 Invention, wherein the Variety of human 
 Shapes , brute and inanimate Creatures 
 were all expreffed in lively Colours ^ the 
 Glory of which LucanS^^ra^ to attribute to 
 the Egyptians , but more probably is of 
 right due to the Phrygians , and for that 
 Reafon the Embroiderers were call'd Phry" 
 giones^ as Pliny tells us yet we find this 
 Art was alfo known and praftifed in 
 other Nations , although probably they 
 might derive it ftiil from them. Such were 
 the Barbilonica Texta among the Chaldeans ; 
 VeU Judaica among the jews ^ Clanrides 
 Militares among the Ach^ans and p^efies ; 
 j4ttalic(Zj from Attalm King of Pergammy 
 v/ho to the further Glory of thefe VVorks, 
 introduced the adorning of them with Gold. 
 
 Not to omit what Homer tells us of 
 thofe kind of Pictures among the Trojans^ 
 although Pliny is pofitive^ and takes it for 
 granted, that during that fatal War, or 
 before, no Man knew what Painting 
 was. But then what fhall we fay to all 
 thofe coftly Works (mentioned by the 
 Poet) wroufjit in Tapeftry hy ^t\vz Trojan 
 Dames, and particularly the Occurences of 
 the then prefent War between the Greeh 
 
 D and 
 
26 
 
 An Essay on 
 
 and trojunsy with the feveral Rencounters 
 and other Gircumftances^ the Commanders 
 all perfpnated in lively Figures ; all which 
 was admirably performed by the Hand of 
 the fair HeUna herfelf. 
 
 What elle was meant by all thole 
 Bucklers, Enfigns and Shields , engraven 
 and adorned with fuch variety of Figures, 
 particularly that of Minerva , beautified 
 with thofe feveral Figurations of Fear , 
 Anger, Fame, Wrath, Difcord, Contenti- 
 on, and in the midft of all the Portrait of 
 all th e terrible Head of Gorgon. 
 
 What Ihall we fay of the Shield, alfb 
 of that famous Grecian Ori^t^Svi Achilles^ il- 
 luftrated with fo luxuriant a Variety of 
 Invention, whereon in a glorious Manner 
 was portraied all the heavenly Bodies, Sun, 
 Moon and Stars, Planets, and all other 
 Coeleflial Spheres, the Terraqueous Globe, 
 the Ebbing and Flowing of the Sea, unto 
 all which was added the skillful Praftices 
 both of Peace and War. Vlyffes we find 
 upon his Shield, had the Reprefentation of 
 a Dolphin and Typhon, breathing out 
 Flames of Fire. TheVAmnt Agamernno7i 
 in the Trojan War bore in his Shield a Lion 
 with this Epigraph, "terror hie efi homimm 
 efl qui hiinc gerit efi Agamemnon. 
 
 To all which we might yet fuj)er add 
 many more to the fame Furpofe, but we 
 
 forbear 
 
Original Painting. 27 
 
 forbear to expatiate, and fhall bring in 
 only one fingle Inftance out of Firgil^ which 
 is yet: more clear and abfolute than all 
 thofe, where we find (tineas after his Ar- 
 rival at CarthagCj attending for the Queen 
 in the fumptuous Temple of Jum^ where 
 his Eyes and Thoughts were foon taken up 
 upon the Splendors and Beauty of the 
 Place 5 among which none had fuch a Share 
 in his Wonder, or furprized him more 
 than thofe excellent and memorable Paint- 
 ings, containing the entire Hiftory of his 
 Country's fatal Overthrow by the Grdtcians^ 
 with the renowned Aftions and Adventures 
 of thole noble Captains on either fide, at 
 the Sight whereof the Poet tells us, 
 
 Confiitutit & Lachrymans quis jam locm in^ 
 
 quit j4chatej 
 Qua Regia in terris nofiri non flena Uboris* 
 
 And how true and lively thefe were all 
 reprefented, we may eafily judge by that 
 Amazement and companionate Sorrow they 
 moved in him, which he reflefled upon all 
 thofe Calamities and direful Difafters that 
 lb lately befel his native Country and 
 Companions , and of which we find thefe 
 Piftures gave him fo frelh and liv(sly a 
 Senfe, that his Eyes with a flood of Tears 
 foon gave abundant Teftimony to it, 
 
 D 2 &V 
 
•^8 E s s A Y dr^ 
 
 Sic ait atq'^ mimum TiBura pojftt inani 
 Mult a Gemens largoq) humtUat flumins 
 Vidtum* 
 
 And becaufe the ivhole Ppj^Tage will give 
 Satisfaftlcn, take ii as k's reiia red En^Ujh 
 by the incomparable Mr* Sandys^ 
 
 For as on all the Rarities he gaz'd, 
 (The Queen expeclingj their Felicities, 
 jvnd amulcus Arts admiring^ he his Eyes 
 Nov/ fixt on Jliums fatal Fights thro' all 
 The- World divulg'd the Grecian General, 
 Old Triamm fees, and ftern ^y^acides 
 Cruel to both, ft ruck with fuch Sights as 
 thefe. 
 
 To Achates faid, what Place, what Region 
 
 So diftant where our Labours are un- 
 known ^ 
 
 • Supprefi thy Dread. 
 
 This faid, his Thoughts upon the Picture 
 fed. 
 
 His Heart with Sighs, his Eyes with 
 
 Rivers fraught, 
 Por now he fees how they at Ilium fought. 
 Here fled the Greeks^ the Trojan Youth 
 
 purfue ; 
 
 .Bright helm'd Achilles^ there the Phry^ 
 giamAQw. 
 
 Not 
 
Original Painting* 29 
 
 Nor far off Rh^zfns white Pavilion flood 
 By cruel Diomed by Streams of Blood. 
 In dead of Night, furpriz'd, who bear 
 
 away 
 
 His Horfes to the Gr<zcian Camp, 'ere 
 they 
 
 Of Zmthm drantjOr of Troy's Paftures fed. 
 Here 'thoilyh difarmM, and wounded fled, 
 Poor Boy, too weak to match Achilks 
 Force ^ 
 
 Caft from his Chariot by his frighted . 
 
 Horfe, 
 
 Yet holds his Reins, his Neck and Tref- 
 
 fes trail'd. 
 On purpl'd Earth his Spear the Dirt en- 
 
 grail'd, &c. 
 
 And 'tis no wonder good <L/£neas his 
 Thoughts were fo bufied about thefe Ob- 
 jects yet upon another Score if we may 
 give Credit to what Ovid tells us, That he 
 had a peculiar Genius to that h r t, and at 
 the Requeft of Calypfo^ after their Over- 
 throw, himfeif delineated and painted the 
 whole Siege of Troy ^ with the Circumftances 
 obfervabie in it. 
 
 And if any will yet objeftand allege^Thit 
 all thefe were only Poetical Fiftion ^ and 
 Ornamental Parergees to the Tiain Sabjed, 
 and probably had no Foundaiion of Truth 
 
 D 3 in 
 
^ o' E s s A Y on 
 
 in them \ as to that in Firgil we caif t fo 
 eafily confent that he Ihould Romance in a 
 FaifFage fo material, and tending nothing to 
 the Honour of his ftSnea^y whom his Defign 
 was to make the Example of a compleat 
 Captain. But for Homer ^ all Writers agree- 
 ing that he flourilhed, either during that fa- 
 tal War,or however, not long after, in point 
 of Poflibility, we fear it will prove dubi- 
 ous if we credit that received Axiom, Nihil 
 efi in intelUBu quod non fuit prhis infenfu. 
 \Vhether the Power of Imagination be able 
 to form an idea of A r t not yet invented, 
 and fo elegantly and amply defcribe it in 
 all thole Circumftances and Requifites at- 
 tending upon it ^ which yet at this Time, 
 or at the pitch of CrMlan Glory^ when this 
 Art feem'd to be in its liighefl: Afcendant 
 and compleat Luflre. would be found a 
 Task intricate enough to bufy, if not to 
 baffle the Pencil of an Jpellej himfelf. 
 
 And as to that Particular, \vliether 
 they were Embroidered, Woven, Painted, 
 Engraven, or ErnbofsM,'tis not much mate- 
 rial, any. of them is enough to evince, 
 altho^ r ot the entire A R t of P a i n t i n g, 
 that yet the Skill and Attainment of ready 
 Drawing and Defigning, with many other 
 Accompliil-iments of it, were fufficiently 
 known to them, and pra^lifed among them. 
 
 A N D 
 
Original Painting. 51 
 
 N b yet not wholly to acquiefce and 
 V^fj down the Bucklers whilft we may feem 
 to, appear fafe under the Protection of fo 
 many Shields and Enfigns, which as fure 
 Traditions of antient Authors inform, were 
 not only varioiifly charafterizM, but alio 
 beautified with the Elegancy of Colours ; 
 all which we can bring in to our Defence, 
 not only from the Praftice of the Ifraelites 
 in the Wildernefs, but alfo -from the Ex- 
 amples of fo far antienter a Date, that they 
 feem to have manifefted this Truth, and 
 looked into the Antediluvian, as well as 
 this latter World and for Inftance, par- 
 ticularly that mentioned by Diodorus Slculusj 
 of Ofyrisj Sirnamed Jupiter the Juft, and 
 Son to Cham^ the curfed Son of Noah , call- 
 ed of the Gentiles^ Janus ^ who being banifti- 
 ed from the Tents of Sem and Japhet^ to 
 feek fome remote Places to fettle in. To 
 that Purpofe he affembled a mighty Army, 
 in which Expedition, both himfelf, his 
 So)is , Hercules^ Adacedon^ and Amibisj and 
 others, had ]3ainted certain Signatures 
 upon their Shields, Bucklers, and other 
 VV^eapons : For Example, Ofyris bare on 
 his Shield a Sceprer Royal, eniigned on 
 the Top with an Eye Herctdes a lyon 
 Pvampant holding a Hctle A}ie j Macedonz, 
 yjo\t\ and Anubis a Dog, 
 
 And 
 
J2 E S S A Y 0^ 
 
 And if thefe Inftances feem not y^' 
 fully, to enforce the Probability of the 
 Trojans Acquifition of their Knowledge in 
 the Experiment of Colours, from the Ex« 
 amples of former Ages from whofe Copies 
 they might fo eafily have tranfcribed this 
 A R T, we have the Teflimony of Homer 
 himfelf ^ yet to add, who^^as Pliny takes 
 Notice, has otherwife been fparing enough 
 of Speaking of Piflures and Colours, yet 
 lets us know what great Requeft ^at Red 
 Earth, call d Rubrka^ obtain'd among the 
 Trcjms^ by his ample Com- 
 mendations of thofe ^ Ships b.^^.t'.r""^^''^ 
 that were fo admirably adcni. Ui^rl^d^m^ 
 ed and painted therewitli. 
 
 Not to pretermit what Andrew Favincy 
 in his Theatre of Honour, delivers concern- 
 ing Noah^ who took for his proper Signa- 
 ture, or Device, a Lyon Rampant, in to* 
 ken of his Sovereignity and alio gave to 
 his Sons their feveral Cognizances* and 
 Badges^ and not long after, we find the 
 Twelve Children of Israel receiving their 
 diftinft Enfigns from their Father Jacob, 
 Of all which, our Author, out of Alartinus 
 Borh^us^ undertakes to give lis the feveral 
 Blazons of the particular Fields and Char- 
 ges. 
 
 A D yet to make the Teftimony more 
 ample, after this, in the Migracion of the 
 
 Children 
 
Original Painting. 
 
 Children of Ifrael through the Wilderneft 
 into the Land of Canaarij (which Chrono- 
 logers make tp be about Twenty Years be- 
 fore the firft Founda ■ ioji of T roy) we find 
 they received a Comxnau'd from God him- 
 lelf, that Filii Ifraelie qui [que juxta vexUlum 
 [iium cum jignis fecundum domum majorum fuo'^ 
 mm cafira hahento not only implying the 
 Four Standards of Judahy Reuben^ Ephralm^ 
 and Dan into which. Twelve Tribes were 
 collefted, and had their feveral Appoint- 
 ments ^ under all which were depifted and 
 diftinguilhed with feveral Colours, Signa- 
 tures and Forms, but alfo had reference to 
 thofe more particular Eiifigns of each Fa- 
 mily, which were born by them in Time 
 of War upon their Shields, Coat-Armours, 
 and other Habiliments and to this Sence 
 Lyra upon the Place is affirmative ; hfl^m 
 propria fmt in vefiibus Scutis quihus bellatores' 
 muto fe cognofcunt & fuos ab adverfaries difinn* 
 -gumt ; and thus from this fo antient Pra- 
 ftice of Painting their Shields, other Na- 
 tions might happily become Imitators of 
 them ; and amongft them, not improbable, 
 the Old Cermms^ as we may not altogether 
 infignificantly colleft from the Word Scyl" 
 deryiy in High Dutch^ Teutonick^ fignifying 
 P A I N T 1 N G j which if it be of the fame 
 Date with the reft of the Language, which 
 is prefumed to be as Old as Babel^ no doubt 
 
 they 
 
J4 An 'Es s h-Y on 
 
 they had thi^ Pra£Hce among them^ for 
 both Scyldery and Scylder^ a Paintefj are 
 Derivativ'eS) and taken from the Word Scylt^ 
 2i Shield ^ which is yet retained in that 
 Sence, both among them and the inferior 
 Cerm<trjs at this Day. 
 
 CHAP. 
 
Original Painting. 
 
 CHAP. IV. 
 
 Mwe compendioujly of the Pretentions of 
 feverd other Nations, as ^AffChincefes, 
 Grecians, Phisnicians, Tufcans, 
 8rc. ' 
 
 F we think fit to travel as far as 
 the Indies, we fhall find the 
 Kingdom of China to be not 
 only (reported) of that great 
 Antiquity, over which their 
 Kings have fucceffively fwayed the Sceptre 
 in Peace, without Conqueft, or Invafion, 
 for fome Thoufands of Years, but alfo by 
 Advantage of that Peace (the Nurfe of 
 Arts) and their peculiar Genius and Confti- 
 tutionsjthey have been always great Search- 
 ers into, and lucky Inventors of many won- 
 derful Arts and Sciences ^ and to mention 
 thofe two (fo well known) of Painting and 
 Guns, both which they tell u shave been 
 ufed among them Time out of Mind, which 
 we ihall not endeavour to vindicate, but 
 take what is prefumed and acknowledged 
 
^6 An 'Ess k Y on 
 
 by all that thefe Arts were undoubtedly 
 Inown to them long before they were ever 
 praftiled in our European Nations ^ which 
 if fo, there is Place for fome Probability 
 from a parallel CoUeftion of the Rife and 
 Progrefs of A r t s ^ that many other curi- 
 ous Inventions^ and particularly thofe of 
 Drawing and Painting in leveral Circum- 
 fiances appearing more obvious, and eafily 
 attainable. I fay, we can't but conjefture 
 they had an early Knowledge of them, 
 confequently that they were praftifed a» 
 mong them long before they appeared up-* 
 on the Stage of this Quarter of the World. 
 Neither is it altogether immaterial to think 
 thofe Arts to be as Old as their Reh'gion 
 itfelf-, and confequently their Nation , 
 which (as reported) has ever entertained 
 Paganifm and Idolatry, and worjfl-iipped 
 the Devils in divers Shapes, and have had 
 Images and Piftures of fevera], both he 
 and flie Saints, and their Characters Re^ 
 corded in long Legands of their feveral 
 Lives; befides an incomparable Sort of 
 other Idols and Images, with which both 
 theirTemples and Sepulchres at the folemn 
 Interment of their Corps were furnifhed 
 and adorne^^. The Reafbn of which might 
 probably be tahen from the fame Opinion i 
 they entertaia'd as Mr. P;^rcfe^^ delates with 
 the Egyptians of the Tranfmigration - of 
 
 Souls, 
 
Original Painting. -^j 
 
 Souls, therefore were they at fb great Ex* 
 pences in their Funeral Solemnities, and 
 particularly their Coffins were adorn'd 
 with all the Curicfity that Art could invent, 
 which that it might not be wanting in any 
 Thing, it was their Care and Study in their 
 Life to provide againft that Time, when 
 (as Mafem acquaints us) they had this pe- 
 culiar Cuftom, after all other Ceremonies 
 performed, to burn upon the Graves of the 
 Deceafed many Papers painted with Men, 
 Cattle, and Provifion for their Ufe in the 
 next World. 
 
 And as they fell in with fome of 
 the Opinions of the Egyptians ^ fo alfb 
 were they skilfd in the Praftice of fome of 
 their fiieroglyphicks, fome of which areftill 
 extant among their Writings and printed 
 Records , particularly one of great Anti- 
 quity at this Day to be feen in the Faticati 
 Library in RomCj made up in various Fold?, 
 befides many others in the Hands of the 
 Virtuofi , in all reprefenting Piftures , as 
 fom.e Lahdskips, Stories, and the like \ be- 
 fides, the Form of their Writings was in a 
 manner of the fame Nature, where every 
 Character contained not only Words, but 
 fome of them entire Sentences, 
 
 N o T to omit what is recorded in the 
 Difcoveries of Morocco^ and other Parts of 
 the World, where 'tis allQ affirmed they 
 
 E Hiero-? 
 
^ 'Ess k \ on 
 
 leroglyphiz'd their Thoughts, Hiftories 
 id Inventions to Pofterity not much un- 
 ke the Egyptiamy thd* in lefs durable and 
 iermanent Matter. The fame alfo Jo. 
 Laeo affirms of the like Attainments, the 
 Acada^ and thofe of Nova Francia : So na- 
 tural it feems and ufeful was thofe Arts 
 to the leaft civilized Kations, that we fee 
 both Indies meet together to entertain and 
 embrace them , and after the Example of 
 other Nations, have always employed them 
 in their moil Sacred and Myfterious Sub- 
 
 And if (as vve find) this Art has thus 
 extended ic felf even unto the utmoft Con- 
 fines, and difplay'd its Enfigns equally into 
 both the Indies^ and remoteft Angles of the 
 World, we can't eaiily prefume, in the 
 mean while , the intermediate Climates 
 were wholly ignorant in the like Attain- 
 ments , but rather on the contrary (the 
 much earlier Plantation of which, allowing 
 a larger Time of maturing and growing up 
 into a PerfeLlion of a more curious Acqui- 
 fitions,) that they had a more ample and 
 advantageous Difcovery of it ; and to in- 
 fiance particularly ot Greece^ a Country of 
 old, famous both for Arts and Arms, the 
 Theatre of all the Gallantry of human Ac- 
 chievements, whereof moft of the refined 
 Wits of the World have afted their Parts, 
 
 the 
 
Original Painting. 19 
 
 the Center of all Inventions and inge- 
 nious Accomplifhments Ibme Inftances out 
 of which more efpecially relating to this 
 A R T, we have diicourfed in the laft Chap- 
 ter, in reference to the Trojans^ which \io\v 
 we fhall no further mention, but defcend 
 and endeavour more particularly to give 
 fome Account of their feveral Pretences, in 
 what Manner , and by whom this Art 
 was firft attained and emerged among them* 
 And here we fear we fliall find our 
 le) ves at a Lofs, which we are forced to re- 
 fearch into the Accounts of elder Times, 
 and the fabulous and fiftitious Relations of 
 the Poets of thofeAges, by whofe Pens the 
 Firft and Renowned Artifts fland celebrat- 
 ed, where their more confufed and divided 
 Determinations feem to have left as great 
 a DifiTatisfaftion upon the World, as the 
 Obfcurity and utter Silence among other 
 Nations. 
 
 For Ibmetimes we find the Honour of 
 this Art afcribed to Fromethem^ who Ibme 
 make to be the Father, others the Son of 
 Deucalior.y and (as Lattmtius tells us) lived 
 in the Days of Jupiter^ when Temples and 
 Idols began to be erefted, and were the 
 firft that ever made Statues ; and to that 
 Sence therefore is interpreted the Fiftioii 
 of his Coeleftial Flame ftolen from Apollo^ 
 wherewith he infpired and gave Life to his 
 
 D 2 Images. 
 
40 An "Es $ on 
 
 Iinages.To import no more than thatAftion ^ 
 lively Grace and Motion, which by his won- 
 derful Skill he gave to all hisFigures, whereby 
 they might not improperly be laid to Live, 
 Move and Aft. Sometimes we find the 
 Honour devolved upon B^rJalm^ that fa* 
 nied and renowned Artificer of Old, one 
 cf fo univerfiil and happy Addrefs, that 
 not only this, but many other flrange and 
 wonderiul Inventions have been afcribed ta 
 him 5 whence Ofera D^cdaUa became Pro- 
 •verbical and applicable to any rare and ex* 
 traordinaryCuriofities : He flourifhed before 
 the D^'S of Homer^ and ftands recorded by 
 the Poet for his Invention of thofe ftrange 
 Automatons, or moving Statues, which (as 
 reported) came to the Battle of themfelves. ' 
 . B u T it would be toorfedious to tell you . 
 oi Narcijfm Dygmdicn and others ^ concern- 
 ing whom, fome have endeavoured to inter- . 
 pret their Fictions in favour of this A k t, 
 and would have beftowed the Honour of 
 the Invention upon them ^ but whatfoever 
 their Pretences may be, this is generally 
 agreed, that the G^r^ec/^;?/ received their firft ; 
 Knowledge of it from the Egyptians^ and 
 (as reported) by means of the Phiznicians^ 
 in whofe Ships Cadmus f^Yin% into Egypt, 
 brought back with him the Invention of 
 Letters, and all other Arts, among which a 
 we may prefume this of Painting/ 
 
 accompanied. 
 
Original P A l K T l N G. 41 
 
 accompanied, an A r t that had for a Jong 
 Time flourifhed in that Nation \ altho' 
 they have not been fo Juft and Ingenious in 
 their Writings to make any Acknow- 
 ledgement of it but rather endeavoured 
 to ablcond the Olory of another Nation, to 
 take the Honour of the Invention to them^ 
 felves. 
 
 Neither, in the mean Time, were 
 the Vhdtnicims themfelves ignorant of it ; 
 for as N^t. Comes tells us, fpeaking of them, 
 Non folum in Numirmatis fed etiam in Fi^uris 
 dome[ticis & in/JVavigiis Jumentorum Imagines 
 jintiqui Vingere confueverunt \ to which is in- 
 terpreted the Fiftion of the Bull, whereoa 
 £uropa was conveyed away, it being only 
 the peculiar Signature of that Ship, upon 
 the Prow, or Stern, whereof the Portrait of 
 the Bull probably was depifted. 
 
 Among all the celebrated Works o€ 
 the renowned Artitts of Old, among other 
 Nations, we meet with Writers have been 
 fo filent herein, that we find but Two only 
 upon Record, whofe Names are mentioned 
 by Pliny ^ viz. Thiiodes^u Fgyftian^ i^id OUQ 
 Gyges^ a Lydian by Birth '/ when ( by a 
 firange cohereacej he would make .to have 
 lived in Egyft^ and there found out the. 
 A R T, ai:id afterwards to have traVeFd in* 
 to Gr^ce^ and there given the firll ^roof o| . 
 Painting and Limning among them. 
 
 E 3 And 
 
42 E S S A Y 0^ 
 
 And thus while they have endeavoured 
 to conceal the Names, and luffer Oblivion 
 to trample upon the Memory of the firft 
 Propoe^ators of this Art among them, 
 thereby the eafier to transfer the Lawrel 
 upon their own Heads, we lhall find they 
 have as little agreed among themfelves, 
 and their divided Interefts, has left us as 
 unfacisfied in their feveral Pretentions, as 
 they h we jointly coucurr'd topafs by and 
 leave obfcure the firft Authors and Com- 
 municators of this A R T to them. For 
 fometimes they alcribe it to Cleanthes the 
 ^Corinthian^ {omtwhWe to Tele fhanes the 5}'r<7- 
 nian and as Theofhraftm gives it to Polygno^ 
 tm the Athenian \ and if we give Credit to 
 Ariflotl€^\t tells us of one PyrchuSy or Euchir^ 
 that lived long before any of them ; was 
 the Nephe'vv of the fam'd D^dalusy and firft 
 praftifed this A k t in Grace* Fliny in this 
 Difficulty, knowing not what to determine, 
 feems jointly to give the Honour to no lels 
 than thofe, viz.. Hygranorjy Vinias and C?w- 
 mas^ who, as he declares, firft praftifed the 
 Momcromatay a fort of Piftures made with 
 only oiie Colour which AiTertion of his 
 (from a Colle£lion, not only of the natural 
 and elemental Simplicity of the Thing it- 
 felfj but alfo from the remote Station in 
 . .the Account of Time, in which he places 
 the Authors themfelves : Whom he can't 
 
 bud: 
 
Original Painting. 45 
 
 but judge by allCongruity and Gonfequence, 
 to be of more Antiquity than Bularchus the 
 famous Painter, who li\red in the Days of 
 Romulus and Candakles King of Lydia) we 
 can't altogether difallow of 
 o^A N 0' thus while the Gr^ctans ftand at 
 odds and divided among themfeWes , a 
 Neighbour People from then an obfcure 
 Corner in Italy ^ feem to appear and fteal 
 away the Honour which they thought, per- 
 haps, no other were concern^ in but them- 
 felves ^ for we find, as Leo. Baptlfia de Albert ^ 
 tells us, Fuere quidam Antiquiffmi in Italia 
 Etrufciy fwgendi Arte omnium Peritijftmi^ that 
 this Art was very antiently praftifed a- 
 mong the Tufcans^ who were a People of 
 Old, ftrangely Superftitious and given to 
 Idolatry ; whence their l<l^meTufcanSy from 
 ^v€iv Sacraficing and to confirm that, Pliny 
 gives us an Account of many ftrange little 
 Antick Images of their Gods among them, 
 which were afterwards brought to Rome^ 
 and known by the Name of tufcanica. 
 And more particularly a little after in his 
 Thirty Firft Book, fpeaking of them both 
 as to the Antiquity and Excellency of 
 fome of their Pictures, which were extant 
 in hib Time. ^ There are to be feen ("fays 
 
 * he) at this Day at Ardea^ within the Tem- 
 
 * pies there, many antick Pictures, more 
 ^ Antient than the City of Rome'-^ and I 
 
 affare 
 
44 An V. s ^ K Y on 
 
 ^ affure you no Piftures came ever to my 
 ^ Sight, which I wonder fo much at, in that 
 ^ they continue fo long frelh, and as if they 
 ' were but newly made eipecially, confi- 
 ^dering the Places where they are fo rui- 
 
 * nate, and lying open to the Injury of the 
 
 * Weather : In like Manner at Lanuvium 
 ^ there remain yet two Pictures of the Lady 
 ' Atdmta^ and Queen Heler^ay^lofo one by 
 ^ another, painted naked, by one and the 
 
 * fame Hand ^ both of them are for Beauty^ 
 ' incomparable, and yet one of them may 
 
 * eafily be difcovered to be a Maiden by her 
 
 * modeft and chafte Countenance ^ which 
 
 * Piftures, notwithftanding the Ruins of the 
 
 * Temple where they ftand, are very little 
 ^ blemiflied, or defaced. 
 
 Add to this what is analogous, and 
 may be inferred from their earlier Enter- 
 tainment, and advance in a near allyed 
 Art, viz.* and that of Architefture, and 
 more particularly referring to the Five fe- 
 veral diftinguifiied Orders of Columns, of 
 all which, the lufcan h fufficiently known 
 to be the moft unpoHte, and of the rudeft 
 Compofure ^ and as to any Thing of hu- 
 man Acquirements, as it muft be acknow- 
 ledged, the more plain and imperfeft they 
 are, and lefs removed from a native Sim- 
 plicity, the nearer they relate to the firft 
 and weaker Attempts in that Kind ^ fo com- 
 paratively, 
 
Original Painting. 45. 
 
 paratively, that this ruder Compofure of 
 the Tiifcam may be more antient, and of an 
 earlier Invention than any of the other 
 clan Orders \ and, moreover, that the Do- 
 ricliy lonick^ Corinthian^ Sec. muft be pre- 
 fumed to have followed after^and gradually 
 to have fucceeded one another • and as the 
 Knowledge of the Art obtained further^ 
 fo ftill refined upon each other, 'till ac 
 length it arrived to the perfeft Beauty and 
 Elegancy of the Corinthian and Compojit. 
 [ /T H u s, at length, we have made a Sun 
 vey and feen how far the Pretences, as well 
 of other Nations, as the Grctcians^ will ex- 
 tend and amount to-, and now to fumup 
 all, fo many have been the Pretenders we 
 llialUfind that have laid a Claim to this 
 Invention, that we can't promife abfolute 
 Satisfaflion in this Enquiry 4 neither can 
 we hope to make any Determinadons upon 
 lb (lender an Account as we are forced to 
 Jay down. Therefore, leaving the further 
 Search to any that has a thirft to mnkea 
 more ftrift Enquiry, we &all only apply 
 as to the A r t it felf, in compare with 
 what has been recorded to the Honour of 
 the Great Grdtcian Poet, that 
 
 Se^tem Vrbes certant de flirts infgnis Homcri. 
 
 Seven 
 
45 
 
 s s A y on 
 
 Seven Cities argu'd in an equal Strife, 
 For the Honour of Great Homers Birth and 
 Life. 
 
 Here we find not only particular Ci- 
 ties and Men, but as many Nations alfo, 
 have equally contended and made their -fe- 
 rious Pretentions to the firft Invention and 
 Birth-Place of this Art-, and have not a 
 little valued themfelves upon the Score of 
 being reputed the firft Fathers and Propa- 
 gators of fo renowned and extraordinary 
 an A R T as this was then not unworthily 
 efteemed^, 
 
 CHAP. 
 
Original P A i k T i n «. 48 
 
 Of the Progrefs 0/ P a i n T i n g amom 
 the Grecians, from its frfl Infamj, 
 with the feverd Steps and Gradations 
 by rvhtch it obtained, and at length ar~ 
 riv*d to its highefi Afcendant^ in the 
 Time of the renowned Apelles. 
 
 H o E V E R, (as in the ]aft Chapter 
 fk-^M was the firft Author 
 
 }<^:\ or this Art, this we know, that 
 c -a. J can be invented and 
 
 hniihed at the fame Time ; and as ArnoUus 
 expreffes it, the A r t s are not toaferhn- 
 with our Minds fent forth out of heavenly 
 Places but a-llof them are found out here 
 on barth, andare in procefsof Time forc^ed 
 ^ft and fair by a continual Meditation. 
 Our poor and needy Life perceiving fome 
 cafual Things to fall out profperoufly, wh^ft 
 It dothmiftake and try, whilft it dorffflip . 
 reform and change ; hath out of this fame 
 affiduotis Reprehenfion made up ftnjl Srf 
 ences of A h t s, the vvhicli it ])ath aftet 
 
 v^ards, 
 
wards, by a continual Study, brought to 
 fome confiderable Degree of Perfection. 
 And therefore iiy£lian fays, fo Rude and Im« 
 perfeft were the firft Attempts of this A r t, 
 that to avoid the Danger of a Miftake, they 
 were wont conflantly to affix to their Works 
 fuch a clear and difcerning Chara£ier of 
 diftinftion, as this is a Horfe, an Ox, or aV 
 Tree, And what higher Expeftations 
 can we derive from a Portrait, or Profile 
 of a Face drawn from the Shadow upon a 
 Wall 5 or when we find Cygesy whom Pliny 
 ^bmetime calls the firft Painter, born in 
 Lydiay which, as he fays, was Tufcama^ 
 went into Bgy^t^ found out the Art there, 
 and all his Skill arrived only to fbme com- 
 petency of Defign, probably with a Coal, 
 or fbme fuch coarfe Material. From which 
 Sort of Pifture they advanced not much 
 further, 'till fome competent Time after, 
 came Polignotusy the firft that painted En- 
 cauftice, or by Fire ; which was not enam- 
 eling on Gold, but with hot glowing Irons, 
 to draw, or caft their Defign into Wood, 
 or Ivory, and poffibly to finifli with fome 
 flight Shadowing within for before that, 
 as Carel van Mander^ in his Lives of the 
 Painters obferves, the Firft Piftures were 
 only drawn, andconfifted of Out-Lines only, 
 and therefore called Linearis Ptftura. 
 
 Tub 
 
Original Painting. 49 
 
 The next Step they advanced was by 
 the Invention of Cleanthes and Thelefhanes^ 
 who fuper-added fome Finilhing within, 
 and filled their Out-Lines with one Colour, 
 which was only a Piece of Red Potfheard, 
 pounded and fine ground , Firft found out, 
 and, as fome affirm, us'd by Callias the 
 Athenian. 
 
 And thence, as in the laft Chapter, they 
 were called Monocrcmata \ and to the A/fifl- 
 ance of thefe came Higienontesy Dinias and 
 Charmasy who alfo made Faces with one 
 Colour only, 
 
 EV MAVRAS\v2iS the Fir ft that made 
 Diftinftion of Sexes, whereby theForm of a 
 Man was difcernable from that of a Wo- 
 man. 
 
 After liim flouriilied Ctmon ofCleonen^ 
 who mightily improved upon thefe fmall 
 Attainments and which they before him^ 
 feemed only to crawl along the Shore in 
 fmall Shallops. 
 
 Illi rohor & es trifleXy 
 Circa pcBus eratj &c. 
 
 H E was the Firft bold and daring Man 
 that took Courage to adventure into the 
 Ocean o.^ this A R T, that made many 
 '* ' ' ' nifcoveries of the incognita 
 left the Way open and 
 i' ' fairly 
 
5 0 E s SAY on 
 
 fairly obvious to all his Followers ; for he I 
 enriched it with fuch a Variety of Embel- 
 lifliments , that in him firft it began to i 
 have fome Form ofitfelf, and arrive to a I 
 competent Perfection, what in their Paint- 
 ings was Dead and Stiff, he gave Motion 
 and Life to by his Skill, that he attained to 
 in the Art of Fcre-lhortenings, turning the 
 Faces of his Figures feveral Ways, either 
 looking Upward, Backward, or Downward ^ 
 and by his Knowledge in the various Mo- 
 tions of the Limbs and Joints, and Mufcling 
 of the whole Body, which he was the firft 
 that attained and taught, what before ei- 
 ther they knew nothing at all of Drapery, 
 or, however, but fome very unpleafant, flat 
 and fiartch'd Way, he rectify 'd,and,as Tliny 
 tells us^ taught a true and natural fort of 
 Prapery, and the proper Plaiting and Fold- 
 in(>;s of all forts of Garments. 
 
 Upon thofe Inventions fucceeding 
 Times flill improved, in which emerged par- 
 ticularly Alycon and VoUgnotm the Thr/ician ; 
 the latter of which is celebrated for Paint- 
 ing Women in gay and glorious Apparel, 
 with their Coverings and other Attirements 
 of fundry and changeable Colours. It was, 
 we find, of his hwention to paint his Fi- 
 gures with their Mouths open , making 
 them fiiew their Teeth, and in ftiort repre- 
 fented much Variety of Countenance, far 
 
 dilferent 
 
Original P A i n T i N G. 
 
 different from that rigorous and heavy 
 Look of the Vifage aforetime. His Ma- 
 fter-piece, or, however, that which had a 
 more efpecial Charafter of Remark, was 
 his Table, which afterwards adorn d the 
 Gallery of Pompeyy of a Soldier upon a 
 Scaling-I.adder, with a Target in his Hand, 
 fo Artificially, or rather fortunately de- 
 fignM , that it could not be determined 
 whether he was climbing up, or coming 
 down. 
 
 The next of Note that fucceeded him,* 
 and advancM ftill the Pencil into a higher 
 Reputation was Appollodorus of^4the?ts^ and it: 
 was his Peculiar only to introduce into his 
 Paintings what was Choice and Rare, and 
 taught to exprefs the Favour and Beauty of 
 any Thing. 
 
 And thus when the Way was laid open 
 by the Difcoveries of thofe that went be- 
 fore, and the A R T much cultivated and 
 brought to fome Pitch of Maturity, appear- 
 ed the famous and renowned Zeuxis^ to 
 whom j4ppoUodorus publickly yielded the 
 Bays, and acknowledged in a Copy of Ver- 
 fes he had ftolen the Myftery of the A r t 
 from them all entirely to himfelf, and 
 fuch Efteem and Value had they for him: 
 and his Art, that he was fought out and 
 employed upon all great Occafions, and his 
 Pieces efteemed and fold at an extraordi- 
 
 F 2 nary 
 
^2 An Essay on 
 
 nary Value', fo that in procefs of Time he 
 arrived to that Wealth and Efiate, that he 
 refoived to work no longer for Money, but 
 frankly made Prefents of all his Pieces, fay- 
 ing, that he valued them above Price. 
 
 T o make a recital of his Works, would 
 be a Thing too tedious, and not proper to . 
 this Defign : I fnall only inftance in fome 
 of the Chief, as his Penelope ^ wherein he 
 not only painted the outward Perfonage 
 and Feature of the Body, but alfo expref- 
 fed moft lively the inward Aifeftions and 
 Qualities of the Mind. His flunous Wreft- 
 ler,or Champion, in vs^hich he pleafedhim- 
 fe!f fo well, that he fubfcribed it with 
 
 S o extraordinary he was in his Art, 
 that Tliny could ealier tell i 
 Lib, 3$. 9 ch, what little Points he was de- i 
 Making his feftive in, then recount the ' 
 
 Headand|omts . , ' , ^ , 
 
 Wwhat too "^^^7 Advantages and Excel- 
 large, lencies he was Mafter of-, for 
 in other Refpefts he was> lo 
 curious, that when he was to paint a Table 
 for the Agrigentines to adorn the Temple of 
 ^uno Liciniay he would have the liberty to 
 fee all the Maidens in the City naked, out 
 of which he chofe five of the faireft and 
 moft exa£l Feature and Proportion, and 
 from thence to form one incomparable 
 Beauty* 
 
Original Painting* 5 j 
 
 Contemporaries with him, were 
 Timanthesy Androcydes and Parrafius ; the laft of 
 which was fo bold as to give an open Chal- 
 lenge to Zeuxis ^ the Pafiage of which Ren-' 
 counter was pleafant, and fucceeded to the. 
 Honour of both the Antagonifts ^ tho' ia 
 point of the Viftory in chis Tryal, it was 
 yielded to Parrafius by Zeuxis himfelf, who 
 for the Teft of his Skill had brought upoa 
 the Stage a Table whereon he had painted 
 Clufters of Grapes fo lively, that the Birds 
 of the Air were tempted down, and offered 
 to peck at them. Parrafius only had cun- 
 ningly, and lb artificially painied a Curtain 
 on his Table to cover and fecure his Choice 
 Piece of Work underneath that; when 
 Zeuxis faw it, confident on his own Side up^ 
 on io impartial Judgment, as from ihf pure 
 Indication of Nature was given, aiid greedy 
 with Expetlation, faid to Parrafius, Come 
 on, Jet us lee what you havu £ :^ jehind 
 your Cloath, with an unhappy Offer at the 
 lame time to draw the Curtain, faw both 
 his Error, and the Victory loft, for that he 
 had only beguiled the poor Birds, but P^r- 
 rafiush^id decQivedZeuxis himfelf aprofefs'di 
 Artift. 
 
 The fame ^^^^a:/!^ afterwards made a 
 remarkable Table, whereon he had painted 
 a Boy carrying a Basket of Grapes, which 
 were fo lively, that he deceived the Birds a 
 
 F 5 fecond. 
 
^5^4 Ess A Y on 
 
 fecond time, but that returned upon him 
 with a pretty fevere Refleftion, for that he 
 had painted the Boy no better, who then 
 would certainly have affrighted and fecur'd 
 thofe Creatures from attempting any Thing 
 upon the Grapes. 
 
 A s for TarraJtuSy befbre-mention'd, as 
 he had the fortune to obtain the Succefe 
 over Zeuxis; fo was alio a Man of real De- 
 ferts and AccomplilhmentSj for he improv- 
 ed the A R T in many Points he was exafl 
 in Symetry, and the juft Meafures and Pro- 
 portions of the Parts ^ obferved well the 
 various Geftures and Pofitions of the Coun- 
 tenance V the firft that ftudied the curious- 
 couching and laying the Hairs of the Head 
 in order, the lovely Grace and Beauty a- 
 bout the Mouth he firft exaftly exprefled, 
 and by confeffion of all Painters that favv 
 his Work, he won the Prize and Praife 
 from all, in concluding the Profiles and Ex- 
 tremities of his Lineaments, which is a 
 very material Point, and a Matter of con- 
 fiderable Difficulty in this A r t for as to 
 the Proportion, Aftion and Geftures, Co- 
 louring and Fii.ifhings within, and fome 
 other AccompliftimentSjThings worthy and 
 highly commendable, many before him 
 were Mi^fiers of but to finifli, or fliadovv 
 oft" the Profile well, to round the Extremi- 
 ties to faj] into themfelves, as if they Iha- 
 
 doweda 
 
Original P A i n T i N g. 55 
 
 dovved Ibmewhat behind, and yet fhew'd 
 that which they feem'd to hide this fb 
 curious and iriexplieable a Point, was at 
 that Time a more than ordinary 'Attain- 
 ment, and a peculiar Felicity in this re- 
 nowned Parraftp^y and had the Honour of it 
 afcribed to himfelf alone by Zenocratas and 
 AntigonuSj two Writers of this A r t about 
 that Age. 
 
 There are many rare Paintings of his 
 mentioned by PUny^ as the witty Piece, his 
 Dizmon Athmienfium. The common People 
 oi Athens^ wherein he admirably reprefent- 
 ed the various and different Natures and • 
 Difpofitions of a giddy Multitude, as Wrath- 
 ful, TJnjuft, Unconftant, and at the fame 
 time^GentlejExorable and Pitiful ; Haugh- 
 ty, Glorious, Troud, and at the fame Time 
 Humble, Lowly and Submifs \ all which 
 Varieties and Contradiftions he reconciled 
 in this one Table. Then his Piece of Ar-- 
 chigallmy fo admir'd by Tiberius afterwards, 
 who efteem'd it at Sixty Thoufand Sefier^ 
 tiumsy and preferv'd it in his own Bed- 
 chamber , with his boafted Portrait of 
 Hercules J who, as Parraftus would perfu^de, 
 vouchfafed himfelf to appear and fie to him 
 while he drew him to the Life in his moft 
 rexaft Proportions and Features. 
 
 B u t 
 
5^ E s s A Y o?p 
 
 B u T after all this it feems, he was outi \ 
 done at laft in his Piece of Ajax^ and the \ 
 awarding the Armour of Achilles to Vlyffssy 
 by Timantes of Samosy in a Painting of the 
 lame Subjeft, who was a Man of an excel- 
 lent fine Wit and Invention, and the Aa- 
 thor of that famous Piece of Iphigenia^ 
 celebrated and harangu'd by the Orators of 
 thofe Times, wherein portraying the poor 
 Lady at the Altars Feet, and thofe about 
 her with mighty dejefted and forrowful 
 Countenances, bewailing the inftant Death 
 of this young Princels and her Uncle Me^ A 
 mlaus2ihove the reft, labouring flill under i 
 a greater Meafure of Sorrow and Lamen- 
 tation ^ by this Time he had out-done him- 
 felf, and fpent all the Signs and outward Ex- 
 preffions of the heavieft Compunftion and 
 Sorrow that his Art could invent j and 
 being yet to Portray her own Father Aga-- 
 memnon^ his Fancy happily fliggefted to him 
 to reprefent his. Face cover'd with a Veil, 
 as not being able to exprefs fo extraordi- 
 nary a Grief above the reft:, as it muft 
 needs be conceived he had to fee his own 
 Daughter Sacrificed, and guiltlefs Blood 
 Ipilt. 
 
 Another ingenious Example of his 
 Wit, was a fmall Table of his Cyclops ly- 
 ing a Sleep, where, to Ih ew in that fmall 
 Compafs, fuch a Giant-like Bignels, he de- 
 
 ^ vis'd. 
 
Original Painting. 
 
 viVd to introduce a Company of little 
 fi^orting Satyrs with long Rods, taking 
 the Meafure of his Thumb : But to inftance 
 no more, this was obfervabie of him, that 
 in his Works there was ever fome hidden 
 Thing to be underftood, and more to be 
 conceived than was painted ^ and tho' in his 
 Piflures was Ihown as much Art as could 
 be , yet his Wit ever went beyond his 
 Art. 
 
 ^ A B o u T this Time flourilh'd AreftideSy 
 whofe Excellency lay in expreffing the Paf- 
 lions and Affections, and decyphering all 
 the Virtues and Vices, and as particularly 
 appeared by that Piece of his of the Indul- 
 gent Mother, mortally wounded in the Bo- 
 dy^ and a fucking Infant hanging at the 
 fame Ti?tip upon her Breaft, where, uncon- 
 cerned for her own Life, flie exprefs'd a 
 wonderful Reluftancy, and ft range Strife 
 within her in regard to the Infant, as loath 
 to deny it Food, and unwilling to give it 
 the Breaft, for fear of deftroying it with 
 her Blood, which mingled with her Milk, 
 iffued forth in great abundance. This Ta- 
 ble was dear to Alexander ^ and carried 
 along with him to PelU his Works were 
 of fuch efteem; that King Attains gave a 
 Hundred Talents for one Piece, and Six 
 Thoufand Seftercies for another. 
 
 There 
 
There were many other Artifts ex- 
 cellent in feveral Mafteries, near thatTime, 
 of whom we fhall give you a more fuccinfl: 
 Account ^ as Pyricus only famous for coun- 
 terfeiting all bafe Things, as earthen Pit- 
 chers, a Scullery of Rogues together by the 
 Ears, Swine tumbling and wallowing in the 
 Mire 5 &c. whereupon he was furnamed 
 Rufografhus. 
 
 DEMON could paint the Genus and In- 
 clination of Men, and Nicomachus was fa- 
 mous for making Wreftlers. 
 
 P AV S lA who was fuppos'd to have 
 fome Skill in the way of Frefco^ was excel- 
 lent for the Relief and Raifing his Figures, 
 efpecially in Black and White, that the 
 Beholder thought his Table was really em- 
 boffed, and in fome Places^broken ETid hol- 
 low. ' 
 
 EVPHRANOR of IBmus made his Fi- 
 gures large, and of a Colojfaan Greatnefs, 
 and was the firft that could reprefent the 
 State and Majefty of a King. 
 
 NICIAS was commended for Portraits 
 of Women, for prefpeftive and forelhort- 
 ening, and laid a great Share of his Skill 
 and Commendation, in that his Paintings 
 were fufficiently height'ned and deepened ; 
 he refufed for one fingle Piece of King FtO'- 
 lomy Sixty Talents. 
 
 Soon 
 
Original Painting. 59 
 
 Soon after thefe Times flourifhed Eu-^ 
 pompus Mafter to PamphiluSy Mafter to the 
 Great j4pelles, who painted many admired 
 Pieces, and vvhofe Fame brought Lyfippus 
 over from Syconia to fee and learn fbme- 
 thing of his Skill, who, after fome Con- 
 verfe, and among other Queftions, asked 
 him what Matters he foUow'd, or what 
 Patterns he painted by, he return'd him no 
 prefent Anfwer, but carrying him into the 
 Market-place, full of Men, Women and 
 Children, told him, thofe were the Patterns 
 and Examples he made ufe of in all his 
 Works with which Anfwer Lyfippus re- 
 turned well fatisfied and informed : He 
 gain'd fuch a Love and Authority among 
 them, that of the two Kinds of Piftures 
 Helladicum the Greekijl'y and Jfatlcum^ they 
 for his Sake introduced a new Divifion, and 
 parted the Greekifh into two, he being by 
 Birth a Syconian^ into lonicM^ Sycomckj2Lnd the 
 
 After him fucceeded his Scholar Pam- 
 philus Macedonia^ the firft that improved 
 himfelf, and the A r t, by his Study of good 
 Literature, and efpeciaily in Arithmetick 
 and Geometry without which, he was of 
 Opinion it was im.poffible to be a perfeft 
 and compleat Painter. His Authority fo 
 far prevail^, that by a firia and perpetual 
 Edia, th^ States o^ Greece ordainM, that all 
 
 Gentlemens 
 
6o E S S A Y 0^^ 
 
 Gentlemens Sons, and Freeborn^ fliouldf 
 go to the Painting School, and there bei 
 taught Fir ft, above all Things, the AuTli 
 Diagrafhice : That no Slave fliould have! 
 that Privilege, or under a Penalty be taughtil 
 by any the A r t, or Myftery of Painting 
 and that it fhould be accounted and rang'd! 
 in the firft Degree of the liberal Sciences, ii 
 He taught none under a Talant for Teni j 
 Years. To whom Melanthus and Jpelk^ him- 
 felf were Pupils upon thofe Terms. 
 
 And thus we fee when the Countenance 
 of States and Kingdoms by publick Autho- 
 rity of many Edi^s and Sanctions , had : 
 raifed the Reputation of this Art, above i 
 all mean,beggarly,or mechanick Conftrudi- 
 ons or Reprehentions when the ingenious \ 
 Artifts was not only let above a common i 
 Contempt, but removed far beyond at eafe 
 from any neceffitous Compliance, to work 
 for trifling or illiberal Rewards, as would 
 hardly find him Bread, and in fuch a Con- 
 dition as would deprefs the nobleft Minds ; 
 when Time and Encouragement, and the 
 cheriiliing Influence of fb many worthy Fa- 
 thers and Favourers had ripen'd this Art, 
 and advanc'd it to a Growth of high Re- 
 putation and laftly, when mutual Emu- 
 Jation, a Thirft of Glory, and long Expe- | 
 rieixe, had laboured and refined it to a great ' 
 Degree of Perfeftion^ Efi in rebus ht^m. r 
 
Original P A i"n T i N g* 6% 
 
 fuodam prodlre tenus , & definitns crefcendi 
 modus ^ qutm Ape lies arte fua inclupt. It re** 
 ceiv'd at length its full and final Accom- 
 pliihment in thePencirof the Great Apelles^ 
 who gave the laft Hand to it^ and in whom 
 (as Hiftory tells us) it was not in its higheft 
 Alcendentjboth Art and Artist being 
 indulged in the Bofom of fo great 
 f a Monarch and M^zcena^, that t ^^^^^^^^^^ 
 none after could be able to give ^ ^ * 
 
 ^ greater Countenance, or Encouragement. 
 
 G C HA P 
 
6% 
 
 An Essay on 
 
 CHAP. VL 
 
 Of the highefi Degrees of Ferfe£ion that 
 the Art ofT^K i n t i n g attained 
 io in the Days of Apelles, and feme 
 others^ who ivere Contemporaries with 
 him. 
 
 E may prefume now we are got 
 to the Top of the Hill, if we can 
 give Credit to P//«y, who, fpeak- 
 ing of the Growth and Perfe^lion 
 ot this A R T, referring particularly to Apel^ 
 lesy tells us, as a Preleminary to this Account 
 of him, that he furpafs'd all that ever went 
 fcefore, or came after hira, Et nemcfojlea 
 inventus eft qui artem ultra provixerit. He was 
 born in 1 1 2 0/)'w^p/W after the building of 
 Rome 420 Years, and 324 before Chrift. 
 Strabo fays in Ephefus^ and from thence came 
 intoSyconia^ and there puthimfelf a Pupil 
 CO Pamphilus* 
 
 And now upon a Review back of fo ma- 
 ny feveral Excellencies and Mafteries in 
 this A R T, as are above-recited, one would 
 
 imagine 
 
Original Painting. 6 J 
 
 imagme there were no Place left for higher 
 Attainments^ and Apelles himfelf was lb 
 ingenuous to own fo great a Proficiency" 
 therein, as might feem to add Confirmations- 
 while in the Difpofition, or Ordinance, he' 
 modefrly yielded to Amfhion \ in the Mea-* 
 fureSj or Proportions, he fubfcribed td' 
 Afchefiodorus ^ and of Protogenes was wont to 
 fay, in all Points he was equal to him, if 
 not above him but after all, there was yet 
 one Thing wanting in them all, which was 
 inflar cmmum^ or, however, the Beauty and 
 Life of all, which he only afcribed, and 
 was proud in being the fole Mafter of him- - 
 felf, viz., his Tenus by the Greeh^ named 
 X A P I X a certain peculiar Grace, fome- 
 times called the Air of the Pifture, refulring 
 from a due Obfervation and Concurrence 
 of all the effential Points and Rules requiiite 
 in a compleat Pifture, accompany'd with 
 an unconftrained and unaffefl^d Facility 
 and Freedom of the Pencil, which together 
 produced fuch a ravifhing, a pleafant Har- 
 mony, that made their \Vorks feem to be 
 performed by fome divine and unfpeakable 
 Way of Art and which (as Fr. Junius 
 expreffeth it) is not a Perfection of A k r, 
 proceeding meerly from Art, but rather 
 a Perfeftion proceeding from a confummate 
 Art. 
 
 H s N c M 
 
#4 Ji^ Es S A Y 0^ 
 
 H E N G E it was th2LtJp€lles admiring the 
 wonderful Pains and Curiofity in each 
 Point in a Pifture of Protogenes's Painting, 
 yet took Occafion from thence to repre- 
 hend him for it as a Fault qued mfcivit ma- 
 mm tollere de tabula^ implying, that a heavy 
 and painful Diligence and Affeftation, are 
 deftruftive of that Comelinefs, Beauty and 
 admired Grace, which only a prompt and 
 prolperous Facility proceeding from a * 
 found Judgment of A k can ofFord unto ' 
 us. 
 
 B E T w E E N thefetwo great Artists 
 there happened a famous and celebrated 
 Contention J occafioned by the Fame of Pr(?- 
 togenesh VVorks, whom Addles had then 
 never feen ; nor any of his Paintings, and 
 therefore from an Emulation being excited 
 to the further Knowledge and Acquaint- 
 ance of lb worthy a Competiter, took 
 ihipping for Rhodes^ where coming to his 
 Shop, found only an old Woman at Home, 
 who told him Protogenes was gone into the 
 City, and withal defired to know his Name, 
 that flie might acquaint her Mafter who had 
 asked for him • upon th2it^Afelles^ feeing a 
 large Table in the Shop, took a Pencil in 
 his Hand and drew in a Colour a curious 
 fine and a fmall Line quite through it, fay- 
 ing to the Woman, tell thy Mafter that he 
 who drew this Line enquired for him, and 
 
Original Painting. 65 
 
 lb went his Way. Protogenes foon after re'" 
 turning Home, and the old Woman gi* 
 ving him account what had paffed, he no 
 fooner took notice of the Curiofity of the 
 Hand, butprefently guefTedwho had been 
 there ^ and faid Afelles is come to Town, 
 ibrhe was confident it was impoifible any^ 
 but he, could do the like ^ and upon that, 
 took a Pencil, and, with a different Colour, 
 drew within the fame a Line fmaller then 
 the Former, bidding the Woman, if the 
 Perfon came again, to ask for him in his Ab^ 
 fence, that ihe fhould fliew him what h^ 
 had done and tell him, that there was 
 the Man that he enquired after ^ it was not 
 Jong before Addles came to the Shop the 
 fecondTime infearch of his Friend, where 
 abaihed at firft to fee himfelf thus out-done 
 and overcome, took again the Pencil, and 
 with another diftinft Colour, drew a third 
 Line within the fecond, fo exquilitely fine 
 and curious, nullum relinquens fuktilitati Iccum^ 
 which when Protogenes faw, he confeiibd he 
 had met with his Match and Mafter both 9 
 and therefore impatient to fee the Man, 
 ran to the Haven to find him out and give 
 him a Welcome fuitable to his Merit : 
 This Peice was mutually agreed between 
 them to be left thus naked for a Worder to 
 Pofterity ^, omnium fed ahifcum p>'acip74o f/zh-a- 
 rulo^ it v/as afterward traiiflated to Eo77-i?^ 
 
 G 3 and 
 
66 Es s A Y on 
 
 and preferved in Cafar^s Palace within the 
 Palatine-HiWy 'till it perilhed together with 
 the Houfeby Fire. 
 
 W E have been more particular in the 
 Relation of this famous Piece, becaufe a 
 ^ large Difpute hangs upon it ; 
 
 ^ <:h 10 ' ^^^^ ^^^^ Commentator up- 
 on our Author, Ludov. Vernon- 
 tiofius^ feems very much offended at the 
 generally received Acceptation of the Story 
 of this noble Contention ; and would not 
 by any Means admit that this Tryal of Skill 
 was about the Subtilty of Lines ^ for, as he 
 fays, with a good Share of Truth in the 
 main, in a coloured Picture, or Painting, 
 there is fo little Ufa of Lines, that the very 
 Appearance of any is juftly reproveable ; 
 for the Extremities ihould be loft and con- 
 founded in the Shadows, and ought to go 
 off without any Thing of the leaft Stilfnefs, 
 or Sharpnefs of a Line. 
 
 Neither will he admit it in Draw- 
 ings, or Defigns, with the Coal, or Pen, 
 for that in thofe the true Artist never 
 regarded fo much the Finenefs, or Courfe- 
 nefs of his Touches ; but only how and 
 where they ferved beft to exprefs the pro- 
 per Shadowing and Pvaifing of his Draught 
 according to the Life and brings in for 
 inftance many Drawings of the celebrated 
 Mafiers of his Time, which he had feen of 
 
 Mich,' 
 
Origiml Painting. 6^ 
 
 Mich, jingelo Bonoroti^ Kaph^el de Vrbirty 
 Salviatiy Poly dor and the Gre^t Titian^s^ 
 where his Obfervation does not take Notice 
 that any have in the leaft afFefted the 
 Nicety of curious Lines, 
 
 And therefore this Opinion , in his 
 Sence, being juftly enough exploded for 
 thefe Reafons, in the Explanation of his 
 own Notion, which he labours to convince 
 us in the Truth of, he diftinguiflies all the 
 Colours in a Pifture in reference to the dif- 
 ferent Modification of the Light upon Bo- 
 dies, into three Sorts, or rather Degrees, 
 Light, Splendor and Shadow • in the Light 
 the Colour is Deluted, in the Shadow Sa- 
 turated , and in the Splendor only the 
 Species of the Colour is truly difcern'd 
 this Splendor he calls alfo the Tone, car- 
 rying fo near an Analogy with the Sence of 
 it in Mufick, where it comprehends the 
 Phthonge, the Intervals, the Place of the 
 Voice, and the Tenor • all which he ap- 
 plies to the Meaning of this Splendor, or 
 Tone in Painting :To thefe three foregoing 
 Degrees of Colourj he adds a fourth Thing 
 incident, calVd the Harmoge, which is the 
 Commixture, or the curious and infenfible 
 Tranfition of the three Degrees of Colours; 
 and this, in the Opinion of our Author, is 
 the Interpretation of the famous Conteft 
 about the Sciflure and Interfeftion of Lines 
 
68 -^/^ E s s A Y on 
 
 of which, when j4pellesh^d given a Specimen, 
 and Trotogenes had feem it, Artem ^gnovit 
 fed negligentiam Artificis notavit^ and there- 
 fore took another Pencil, and what was 
 left fomewhat too hard and unpleafant in 
 the Union of the Colours, he correfted and 
 made more tender, 'till A^elles again return- 
 ing by the Interpofition of another Colour, 
 gave it fuch a Finifhing, as left no Place for 
 any further Attempt. 
 
 This leeming ftrain'd Opinion, Claudius 
 Sdmatim controverts again, and endeavours 
 to reftoretothe literal Sence and Signifi- 
 cation of the Words of the Relation, telling 
 us what Tliny affirm'd he had out of the 
 Greek and L^r/;^ Commentaries, and out of 
 fuch Authors as not only writ of Painting, 
 but were (fome of them) excellent Painters 
 themfelves, as Apelles^ Mdarnhlm arid Pro- 
 togenes relates to the Story, who writ two 
 Books of the A^u t of P a i n t i n g, and 
 of Figures, with many others who could 
 not bq prefumed to give any occafion of 
 Miftake to Tliny ^ and further, he would 
 eftabliih and fet up the Agreeableiiefs and 
 Congruity of the Ufe of Lines in the beft 
 of Paintings, from that fort ofPifture pe- 
 culiarly calfd Linearis Pi^ura which not 
 only exprefsM the Profiles andCircumfcrip*- 
 tions of the Figure, but their Praftice was 
 alio, intm lineas fpargere^ from the Phra- 
 
Original Painting. 69 
 
 lings and conftant Ufe of feveral Terms of 
 Art ; for what elfe can be employed by Li- 
 fieamenta^ the Lineaments of a Face, or 
 Figure , by Apelles's Nulla dies fine linea^ 
 which became Proverbial, and as the Poet 
 varies it, 
 
 NulU dies nhe^t quin linea duBa fuperfit* 
 
 Hor. 
 
 Befidesthis, the Phrafe T(^.f^r^ %\Km the 
 Greeks apply to Painters, and y^^eiv , 
 from whence y^u^h , properly fignify- 
 ing to Paint, y^.^H^ Painters, and y^jx^^ 
 a painted Work 5 2L\\Aoi A^elles^ Venm left 
 unfinifh'd at his Death, OuintUian fays, Non 
 repertum fcilicet qui pr^cfcriptas ab j4pelle lineas 
 poffet abfolvere \ with fbme other Arguments 
 and Conclufions drawn from them. But , 
 after all, we h2ive Salmatins's Acknowledg- 
 ment, he was no Painter himfelf, and fo 
 might be unjuflly too fevere upon his A*d- 
 verfary, while he was fo little acquainted 
 in the Nature of the Subjeft himfelf j and 
 'tis not altogether clear, that all thefe ft- 
 veral Phrafings do fo much deftroy the 
 Foundation of his Thefis, as they are re* 
 concilable and agreeable to it. For the 
 Linearis ViBura was in the Infancy of Paint- 
 ings or rather but a Rudiment, or Introduft- 
 ion to it J by which it ftept up to a more 
 
 mature 
 
"JO An "Es s on 
 
 mature Attainment, and fo no inforcing 
 Argument couid be drawn from thence 
 And Rs to thofe Phrafes which he would 
 have countenance the Neceffity and Excel- 
 lency of Lines in Painting, it might be only 
 the Poverty of the Language, that for want 
 of more apt Words, was forc'd to make 
 ufe of improper, or however, Terms not 
 fo full and comprehenfive as fometimes the 
 genuin Sence and Nature of the Subjeft led 
 to; and fo confequently neither ought, or 
 could always be underftood in a litteral Ac- 
 ceptation ; and which Advantage our Au- 
 thor has here taken hold on in his Explica- 
 tion of the Riddle and Difpute about Lines. 
 Thus having taken notice of this Imart En-^ 
 gagement, with fome few Remarks on ei- 
 ther Side of the way, being a Stranger to 
 both, fliall leave the Controverfy fairly to 
 be fought out and determin'd by better 
 Judgments, and return to our proper Place 
 again. 
 
 This Interview of thefe two great Ar- 
 tists fucceeded with fo much Satisfaftion, 
 as begot a reaf and lafling Friendihip be- 
 tween theni ; a Temper too much wanting, 
 and to be wiflied in the A r t i s t s of this 
 our Age who out of Self-conceit, Jealoufy, 
 and a falfe Emulation, by Endeavours of 
 Detraftion, vainly feek to build a Repu- 
 tation upon the Ruin of one another : Here 
 
 Jfelles 
 
Original Painting. 71 
 
 Apelles finding and owning real DeferC 
 and Merit in Trotogenes^ far above the EIH- 
 mation he had obtain'd among the Rhodians, 
 or Value they had fet upon his Works' he 
 bought all the Pieces he had by him finifh'd 
 at that time at a very confiderable Kate 
 and gave him Fifty Talents for them,which 
 when the: RhodUm underftood, and ima- 
 gining Afelles bought them with defign to 
 fell again for his own (by this Glofs and 
 Vernifh of R eputation) they were turn'd to 
 Admire, and to have his Perfon and Paint- 
 ings in high Efteem and Veneration. 
 
 T H u s as Afedes would let a jufl Value 
 on other Mens Works, fo he was not for- 
 ward to over-value his own, and wa& fo far ■ 
 removed from any Conceit of hiralelf; and 
 of that gentile and facetious Humour, thaj; 
 he would take well any Man's juft Correft- 
 lon of his Works V upon which depends that 
 common Story of the Shoemaker, who, ta- 
 kmg notice of a Pifture AfelUs had expofed 
 to View, found fault with the Shoe, which 
 ^/>e//fj owning, correded, and fet out the 
 next Day ; when the Shoemaker came a- 
 gam, and proud thae his Admonition had 
 taken Place, took upon him to quarrel with 
 fomething about the Legs, at which A- 
 peUes, fomewhat concern'd, ftepping from ' 
 behind the Table, bids him meddle no fur- 
 ther than with Shoes ^ which afterward 
 
 came 
 
>j2 Jfl E i S h. Y OH 
 
 came into a Proverb, Ne futar ultra crept* 
 
 ^^*M ANY other diverting Stories, and ad* 
 niirable Paintings of this ARTisT, Pliny gives 
 us a copious Account of, of which, to make 
 a full Rehearfal, muft be tedious to the 
 Reader, therefore we ihall only feleft out 
 forne choice Inftances , and give a brief 
 Account fomewhere, and Ihevv how dear 
 this admirable Painter was to the Great 
 Alexander, and what a generous Refpett 
 and Complaifance he vouchfafed towards 
 him and his A r t as not to mention the 
 frequent Vifits he made to his Shop, and 
 familiar Intercourfe held between them j 
 for it feems his Converfation was as charm- 
 ing as his Works, particularly when he re- 
 ceiv'd his Commands to paint the Pifture of 
 the Royal Concubine Camfafpe all naked, 
 who was not only Choice and Singular a- 
 bovethe reft in the King's AfFeaions, but 
 an adm.irable Beauty alfo. Here he was pre- 
 fently fo captivated, that the unufal mana- 
 gement of the Pencil; and fbme other filent 
 Methods and Circumftances , foon fpake 
 that which his Tongue durft not pre fume 
 to offer*, whereupon Alexander perceiving 
 the bent of his inclinations, immediately 
 gave and furrendered her up wholly and 
 frankly to him, thereby gaining a greater 
 Conqueft than that of the World and tho 
 ^ CAfar 
 
Original P A f N T i N G. y j 
 
 C^far would not endure an Equal , nor 
 Tom^ey a Superior j this Conqueror could 
 not only fuffer a Rival in the beft of his 
 AfFeftions, but furrender and lay them at a 
 Painter s Feet : From this Lady, 'tis pre- 
 fumM by fome, he painted his FenuSj Emer* 
 gins Emariy known by the Name of An^dya^ 
 mene^ a moft admirable Painting, after- 
 wards convey'd to Rome^ and dedicated by 
 Auguftus in the Temple of Jtdius defar his 
 Father, enrichM with an Epigram of Greek 
 Verfes , and ftands celebrated with this 
 Diftick of Ovldf 
 
 Si venerem Cots nunquAm finxijfet Ape/ks^ 
 Aferca fuh <zquoriis ilia lateret aquis. 
 
 S o many Portraitures of King Mexandeyl 
 he drew, that our Author thinks it endlefs 
 to recount ^ whereof one was holding a 
 Thunderbolt and Lightening in his Hand, 
 fo wonderfully exprefsM, that both feem'd 
 to ftand out from the very Table ; and of 
 which Painting himfelf was wont to fay, 
 there were two Alexanders^ one invincible 
 by miif, who was c?;c<Vwt©-, A'ViACHT®-. 
 the other painted by Apellesy 
 which was ct//i/tf^T©-, inimitable *, Twenty 
 Talents of Gold was his Reward for his 
 fingle Pifture, which foon after was tranl^ 
 lated to Ephefus^to adorn theTemple of Diana. 
 
 H Two 
 
74 J^EssAYo^ 
 
 Two other Counterfeits of Alexander 
 he drew, the one reprefenting a Warrior, 
 and the other a Conqueror, wherein the 
 King appeared mounted on a triumphant 
 Chariot, with a poor Captive lying Mena- 
 cled before him at his Feet. Thefe two 
 Tables the Emperour jiugufius dedicated 
 and fet up in the moft confpicuous Place 
 in his Forum, 'till Claudius C<z[ar thinking 
 it more for the Honour of Augujlus to have 
 had his own there, without any regard to 
 the facred Painting, erafed the two Faces 
 o f Alexander y and put in that of his Prede- 
 celTor in his Stead. 
 
 There was yet another of his con- 
 duced by the fame Hand, which Alexander 
 could not be prevailed withal to think it fo 
 nearly refembled him as the reft ^ 'till being 
 expos'd to the View at a Window, Bucephw 
 lus was brought forth,Avho, upon Approach,; 
 at the lirft Sight thereof (according as he 
 was praftifed when his great Mafter mount- 
 ed his Back) fell down upon his Knees, 
 demonftrating thereby (to the Surprize of 
 the Spedators, and re-eftablifliment of a 
 higher Reputation to the Artist) that 
 it was not only a true Antitype aixl Copy 
 of the Likenefs, but of the Life alfo. 
 
 T o range with this, we have a like 
 Inftance, wherein he was vindicated by the 
 pure and unbyalTed Inftinft of rational 
 
 Creatures, 
 
Original Painting. 75 
 
 Creatures, to whom he appeciled from the 
 Sentence of feme corrupted Judges and 
 Umpires, in a Tryal of Skill between him 
 and Tome bold Oppofers, who had challenged 
 him in the Painting of nn Horfe, where the 
 Piftures one by one being produced before 
 living Creatures of the fame Species, they 
 flood unconcerned 'till Apelles brought forth 
 his Horfe, which f^^^ler. Max. rather fup- 
 pofes was a Mare \ at the Sight whereof, 
 there was fuch a general Neighing and 
 Rejoycing, as if they had met with one of 
 their own Species and Society and which 
 gave a fufficient Confutation aud Vindica- 
 tion of the great Excellency of eur A 11 t 1 s r 
 againft all his daring Antagonifts. 
 
 And thus, as it appears, he painted 
 thofe Things which others could not attain 
 to. So 7liny tells us he feemed to paint 
 thofe Things which could not be painted, 
 Cracks of Thunder, Flalhes of Fire and 
 Lightening, Thunderbolts and the like \ 
 all which fort of Piftures went under Names 
 almoft as hard to fpeak as they were to 
 paint, Brontes^ Aftra^e^ Ceraunnobolos. 
 
 I T is reported of him by Appion the 
 Grammman^ cpioted by Pliny^ that he had 
 that admirable Faculty and Dexterity in 
 drawing Piftures fo lively, and near refemb- 
 ling thePerfons they were defign'd for, that 
 no Manner of Difference, or Deviation could 
 
 H 2 be 
 
. jf6 An Essay ofi 
 
 Ibe remark'd • and that a certain Phifiog* 
 mener, upon a nice Obfervation thereof, 
 ^vas able to give as direft and pofitive a 
 "judgment, could as eafily from thence de- 
 cypher the Nature and Inclinations of the 
 l^erfons, and foretel all future Events and 
 PafTages, as well as from the Original itfelf ^ 
 but not to comment here, however, this is 
 certain in Painting by the Life, he had 
 that univerfal Vogue and Pre-eminence, 
 above any in his Time, as made Alexander 
 the Great to avoid the promifcous Defile- ^ 
 menrs of unskilful Hands,and to deliver the 
 true Image of his Royal Perfon fafe to 
 Pofierity, folemIy ordained that none fhould 
 prefume to carve his Effieges, fave Pyrgo* 
 tilesy to caft it but Ly/ippmy not any to paint 
 his Picture but the Great j^pelks alone. 
 
 JEdiflo vetuit ne quis fe prater j4fellem 
 Tlngeret^ aut dim Lyjippo duceret (Zra^ 
 Fortis Alexandri vulttim SimuUntia. 
 
 Hor, Epill. lib. z,ch. i. 
 
 Another Excellency and Knack of 
 Ingenuity he was Mafter of, in an Artificial 
 Concealment of the Defers and Blemiflies 
 of Nature, rendering them not fo confpi- 
 cuous and apparent as they really were, 
 and varnifhing thofe Graces an4 little Beau- 
 
 tfer 
 
Original Painting. 77 
 
 ties he found, making them flill fliow to ^ 
 better Advantage, and not much unlike the 
 gentile Artiz^ans of this our x^ge without 
 doubt, he was a h'ttle praftifed in the Arts 
 of a CcurcFlatter y,that conduced his Pencil 
 with fuch an agreeable Air, and knidlnfi- 
 nuation, as more commended his Art and 
 Ingenuity, then deftroy'd and took off any 
 Thing from the Likenefs, or Reftmblance, 
 of the Counterfeit : Relating to this is the 
 Portrait he drew of King AntiGchm^ who 
 had fuffered the Lofs of an Eye, and was 
 fbmewhat blemilh'd on that fide of his 
 Face, he devifed to draw him upon the 
 Profile, and that Part of his F<ice turned 
 away from the Sight, that thereby what 
 was wanting in the Pifture might be im- 
 puted rather to the Painter, then to the 
 Perfbn whom he there reprefented. 
 
 However gracious this our Painter 
 (as above related) was with Alexander and 
 his Followers, it feems he could never pur- 
 chafe any Favour of ? xmcQ Ptolomy-^ arte^'- 
 wards King Egyft^ and upon whole Cor^ft^ 
 during his Reign ther«, ^p^-Z/^j ^unfortuna^- 
 tely being forcM by Storm at Sea, landed 
 at Alexandna^ where fome of the Brethreji 
 of the Pencil imagining his' Defign to fettle 
 there, and fo become an EcHps to their 
 Credit, contrivM with one of the King's 
 Servants, to give him a kind Invitation to 
 
 H3 ther 
 
yZ E s s KY on 
 
 the Court from the King's efpecial Com- 
 mand, whether (ready to embrace fo happy 
 an Opportunity of Reconciliation) he im- 
 mediately reforted but, contrary to his 
 Expeftation, inftead of a gracious Smile, 
 he found a fevere Countenance in the King, 
 with a fliarp Check for daring to approach 
 his Prefence, demanding who had fent for 
 him • whereat j4polles^ not a little aftouifli- 
 ed, wholly ignorant of the Perfon's Name, 
 and not finding him out among any there 
 prefent, thus put to his Shifts, catch'd up 
 a Cole and began to delineate his Pifture 
 upon the Wall, whereat the King immedi- 
 ately took Knowledge of the Perfon, and 
 by this alone Apelles obtain'd his Acquit- 
 ance from the Anger of the King, and the 
 Malice of his envious Competitors. 
 
 B E F o R E we leave this eminent Mafter, 
 we cannot but take notice what Pliny in two 
 l^veral Places, has, with pretty pofitive 
 AiTaraiiGeafTerted, that in all the ftupen- 
 dious Paintings of this A r t i s t above- 
 cited J he made ufe of but four Colours 
 only, which were. White, Yellow, Red 
 and Black ; his White Tripoli of Mdos • for 
 Yellows, Ohe of Athens \ for Reds, red Ohe 
 and Sympye ofPontosx and for Black, ordinary 
 J^i trial y or Shoemakers Black. AikI here 
 we might enter into a large Field of Dif- 
 courfe about the various Completions, Na- 
 tures 
 
Original iP A/I n T i N G. 79 
 
 tures and Diftinftions of Colours, but fliall 
 rather leave that to a more proper Place 
 hereafter, and only make fome fliort Remarks 
 upon this Affertion of our Author, which, to 
 the Reafon of any Man, confidering how 
 irreconcilable it leems to declare it felf to 
 all thofe wonderful and extraordinary Ef- 
 feds produced thereby, it muft appear 110 
 lefs then a clear and manifeft Contradiftion 
 in itfelf or mpre modeftly, fome milled, or 
 traditionary Miftake in our Author • for in 
 another Place himfelf tells us (befides the 
 other Black above-mention'dJI Apelles was 
 the firft that invented to make Biack of 
 Ivory, or the Tooth of an Elephant burnt, 
 which was call'd Elefhantinum^ and gives us 
 the Particulars of leveral other Colours, 
 both Natural and Artificial, found out and 
 ufed among the Greeks^ which we are necef^ 
 farily led to affirm, muft be in thofe Periods, 
 when the Art was in her higheft Perfeft- 
 ion, and that (with an unanimous Voice 
 and Confent acknowledged) was, I may 
 fay, not only in the Time , but in the 
 Pencil of this our Great ^pelles^ And it is 
 obvious to any, that have any competenl 
 Talent in Painting, how impoiTible it muft 
 needs be,fuch rare and extraordinary Paint- 
 ings as feems to emulate and challc^^ge Na- 
 ture herfelf in all her luxuriant Variety of 
 Compofures and Colour, fhould ever be ex- 
 
 prefs'd 
 
S o An Essay on 
 
 prefsM, or accomplifh'd by the flender Af- 
 fiftance, only of thofe foiir Species of Co- 
 lours-, and unlefs they were as comprehen- 
 five as the four Elements, out of which 
 they tell us all Things do emerge \ fuch is 
 the Variety of Nature and Luxuriancy in 
 the almoft infinitely various Beauties that 
 alfeft, and are the Objeft of our Sight, 
 without abetter Furniture-, fuch Perfeft- 
 ions was utterly unattainable ^ and altho' 
 we fliould allow the largeft Extent and La- 
 titude 5 taking them for four Generals , 
 comprehending all that are Neighbouring 
 to, or may be by any Participation, or 
 Compofition produced of them \ yet it will 
 come fiiort of giving a full Anfwer to the 
 Objsftion 5 for, without Blew, the derivative 
 Colours cannot be made up to furnilh and 
 cornpleat our Painters Palate and without 
 this, how can it be im.agin'd he was able to 
 approach the Beauty of the Heavens in the 
 glorious Reprefentation of the Sky ? How 
 could he ever exped" to parallel the varie- 
 gated and unparalleFd Completions of the 
 glorious Gayeties of the Gardens ? In Ab- 
 fence of thi?, tlie Fields and fprightly 
 Plants muft Ipofe their Verdure, and ap- 
 pear only in their Autumnal Drefs ^ and 
 his Venus herfeif mull fall Ihort of what 
 flie wa?, for want of a Tendernefs to ex- 
 2refs the Delicacy of her azured Veins. 
 
 Besides 
 
Original Painting. 8 i 
 
 Besides all this, our Author in ano- 
 ther Place affirms, fuch was the Beauty 
 and Bfightnefs of his Colours, that leaft 
 the Luftre lliould too much dazzle and ofl 
 fend the Sight, he had one peculiar and 
 extraordinary Invention of a curious (and 
 our Author would have it a black) Varnifti, 
 fo finely tempered and driven over the 
 whole Work, that it not only took off that 
 Inconvenience, but fecured and guarded in 
 from the Injury of Wet and Dirt, or any 
 Filthinefs vvhatfoever. 
 
 But we lliall conclude all that was fur- 
 ther remarkable in this our Painter, 
 with that laft Table of his left unfiniflied, 
 another Venus Anadiamene^ intended for the 
 Inhabitants of the Ifland of Cofor LangOy in 
 which he defigned to exceed his former, 
 and to give the higheft Proof and Effort of 
 his Skill and Art, that, perhaps, ever the 
 World had feen, but he was unhappily pre- 
 vented by an untimely Death, which feem- 
 ed to envy fuch Perfection •, and none after 
 were ever found that durft attempt, or 
 undertake the Finifhing of it, which turned 
 to the Glory of the Workman, and great- 
 er Veneration of the Work. Add to this 
 what is obfervable, and that our Artist 
 had in common with all excellent Artificers, 
 whofe Figures, thus left Imperfefl:, have 
 always, been held in a more facred and 
 
 higher 
 
An s s k Y on 
 
 hi f her Efiimation than any that had re- 
 ceived a compleater Finiihing : As to In- 
 flance Ariftides his Iris-y Nychomachus his 
 T'yndarideSy Tycvt?iachus his Medea \ all which 
 Relifts of Painting carrying along with 
 them that monumental Character in the 
 remaining naked Lineamets, whereof be- 
 ing plainly legible, not only the Beauty 
 and Force of an undifguifed Defign, but 
 the very Thoughts and Intentions of the 
 departed Artist, we are naturally in- 
 clin d, in the Sence of fo unhappy a Pre- 
 vention, to fuch a Tendernefs and foft 
 Regard that ftill commends the Work the 
 more, and are thereby extreamly con- 
 firained to love and admire both it and 
 the Hand that perifhed under it. 
 
 Some of the moft eminent Contempo- 
 raries with Apel/esy were the fore-mentioned 
 ProtogeneSy j^fdepiotoruSj Ntchornachtis and 
 Arijiidesy the famed Theba-a, wlio had an 
 Excellency in exprelling the Paflions and 
 AfFeftions of the Mind, and the very Con- 
 ceptions and Perturbations of the Soul j and 
 of which we have a Angular Inftance in 
 that Table of his, reprelenting the Con- 
 queft of a Town by Force, wherein was 
 introduced the Portrait of an Infant, by 
 many Windings, endeavouring to recover 
 the Breaft of its indulgent Mother, juft 
 dying of a mortal Wound received in that 
 
 Part 
 
Original Painting. 8 j 
 
 Part of the Body wherein the Conjunfti- 
 011 of a dying Paffion, and living Affecti- 
 on, were both eminently apparent toge- 
 ther, with a jftrange Reluclancy and Con- 
 cernment ^ fearing, when fhe was Dead, 
 through a miftaken Kourifhment, her Efabe 
 fhould fuffer any Injury, or deftroy itfelf 
 by fucking of her Blood : This Table was 
 dear to Alexander the Great tranflated from 
 Ihebes^ and carried along with him to adorn 
 his native City Pella. 
 
 The fame Ariftides painted the Coun- 
 terfeit: of a Battle between the Greeks and 
 Terfians in which Table he brought in no 
 lefs than a Hundred Figures ^ for every 
 one of which, he was to have by Agreement, 
 of Mnafon^ the Tyrant, Ten Mlms \ he por- 
 traied the Running of Races in Chariots, 
 with Four Wheels, fo lively, that a Man 
 would think he faw and could difcover them 
 turning about. And as to his Piece of his 
 humble Supplicant, he painted him lb na- 
 turally, making his Petition, and perfuing 
 it fo earneflly, that he leem'd to cry with 
 an audable Voice from the Pifture : Thefe 
 were fome of his admir'd Works, which 
 were in fuch high Efteem, that King At- 
 talus gave a Hundred Talents for one Piece, 
 and Six Thoufand Seflercies for another. 
 
 NICHO- 
 
NIC HO MACHV S was Son and 
 Apprentice to AriBodemus^ whole moft con- 
 fiderable Works were his Pluto s raviihing 
 of Proferpwey preferv'd in the Chapel of 
 Minervay in the Capitol ^ together with his 
 Portrait of Viftory, condufling a Trium- 
 phant Chariot into the Heavens : His ^p- 
 folio and Diana \ his Vlyjfes^ and the mon- 
 fl'rous Mermaid Scylkj confecrated in the 
 Temple of Peace , his Excellency lay in a 
 flrange prompt Readinefs of Invention, and 
 in a wonderful dexterous Swiftnefs and Ce- 
 lerity of Pencil, beyond all others in work- 
 ing and finilhing of his Peices, 
 
 ASCLEPIO DO RV S ftands cele- 
 brated before in the Judgment , and by 
 Conceffion of A f elks himfelf for his Angular 
 Skill in obferving the Symetry and juft Pro- 
 portions he painted for Mmforty King of 
 EUteajty the Twelve principal Gods, and 
 received for every one of them Three 
 Hundred Pounds of Silver. 
 
 P ROTOG ENE S was a Man that a 
 long time lay under the common Fate of 
 many excellent Artizans the hard Cir- 
 cumftances of a poor and neceffitons Con- 
 dition i of which alfo another inci- 
 dent Occafion is afcribed, his exceeding 
 jftudious, intentive and endlefs Curiofity in 
 his Works for which Thing only (as above 
 recited) he ftands mark'd with a gentle 
 
 Reproof 
 
Original P A i n ting. S5 
 
 Reproof by Jpe/ks. Little Encouragement, 
 a long Time, it feems he met with, which 
 forced him to the meaner Compliances of 
 painting Ships and Gallies, which they 
 partly collect from this following Inftance, 
 when he was afterward thought worthy to 
 appear, and to be employed in painting the 
 Portico leadij:ig to. the Temple of Minerva^ 
 in the moft confpicuous Place of the City ; 
 where in the Story of the famous Tardus 
 and Hemionls he performed to Admiration,' 
 yet he difdained not to remind them of his 
 former Practice and the fmall Beginnings 
 of his A K T, exemplifying it by fome 
 Parer-gas of little Gailies and long Barks 
 in the leveral Borders and Freezes of the 
 ^Structure, which alfo ferved as a Foil to 
 fet off and commend the Excellency of his 
 prefent Attainment and Performances. 
 
 But among all his Works the moft fam- 
 ed Table that ever he painted 
 
 was his- Wy/z^r, which fo much of Cena^ 
 
 ' y ^-^ * ,, 1 1 thus, atamous 
 
 furpnzed Apdles, that he ii^^tcv, who 
 
 confefied it to bethe fineft in built a City 
 
 the World, fince dedicated in the Ifland 
 
 Rome w'lthm the Temple of °f ^^"f . 
 
 ^ 1 . 1 1 • whence he had 
 
 reace ; upon which his Name. 
 Thoughts and Endeavours Strabo lib, 14. 
 were lb ftroofflv intent, that 
 (as 'tis reported) to avoid the Temptation 
 cf too liberal Repaft of Wines and choicer 
 I Delicacies 
 
86 An Essay on 
 
 Delicacies that were apt any Ways to cloud, 
 or dull the Spirit of his Fancy ^ he confined 
 himfelf all the while to the fevere Diet of 
 fteeped Lupines only, which contented him 
 for Meat and Drink both \ and to the End 
 that after and long diflant Ages might 
 fee and admire his Works when others of 
 that Nature were become ruinous and pe- 
 riflied, leaving nothing but a Tranfcript of 
 Tradition to commend them to Pofterity, 
 he had that peculiar Invention to add a 
 Term of no lefs then four Lives to all his 
 Paintings for to prevent the Envy of inju- 
 rious and defiruftive Time, Tlmy tells us, he 
 charged particularly this Pifture with four 
 Grounds of Colours, fo artificially couched 
 one under another, that when one was de- 
 cayed a fecond fliould fucceed, and fo on 
 ""till the Laft, and every oi:e emerge as fair 
 and beautiful as the firil: : Befides all this., 
 yet another accidental Excellency there 
 was in this Piece in the Portraiture of a 
 Dog, where it feems both wonderful Art 
 and Fortune met together ^ for when he had 
 finifhed the whole Proportion with great 
 Diligence andextreamly to his own Satif- 
 faflion, he was as much troubled and diila- 
 tisfied about a much lefs meterial Circum- 
 fiance of Painting the Froth at his 
 Mouth, altering, amending, adding, ta- 
 king away, and often wiping out all, and 
 
 yec 
 
Original Painting. S7 
 
 yet with no Hopes of any better Succefs, 
 'till weary at length, in an extream Anger 
 and Difpair, flinging the Spunge, charged 
 with the Colours he had wiped off, at the 
 unhapy Place that had given him all this 
 Trouble, to a Miracle it feems arofe fuch an 
 unexpefted Product, fuch an unlocked for 
 happy fortuitous Succefs, that left fo natural 
 a Finiihing of the Froth as was beyond 
 what all his labouring and diligent Intention 
 could ever attain unto> And after this Exam- 
 ple, they tell us Nealeey a Painter, proved 
 the Experiment, with the like Succef^, in 
 exprefling the Froth and Foam from the 
 Mouth of a Horfe. 
 
 This Table of Jalyfus and his Dog 
 flood a Ranfom and a Security for the 
 whole City of Rhodes^ when King Demetri" 
 us had a fair Opportunity of ftorming, and 
 deftroying it by Sword and Fire yet he re- 
 fufed to embrace it, and could not fulfer the 
 leaft Hoftility, or any Ravage to be com- 
 mitted, leaft that adored Miftrefs of his 
 Aifeftions fliould fjffer any Diihonour, or 
 perifli in the promifcuous Confufion of the 
 common Calamity. 
 
 During all the ftri£t Siege of this 
 Place, PrGtogems (as an Archimedes, on the 
 like.Occafion, bufying himfelf in his mathe^ 
 ^ 2 maticaj 
 
88 E s s A Y on 
 
 matical Schemes in the Sand) was fo little 
 concerned, that in a fmal I retiring Place, 
 without the Walls of the City, incircled 
 within the Camp of the Enemy, maugre 
 all the Noife of Armies, Drums and Trum- 
 pets, was as ftudious and clofe at his Bufi- 
 nefs as under the fereneftCalm of a fecure 
 Peace which the King wondering at when 
 he underftood, fent for him, demanding 
 how he could have that Confidence in the 
 Midft of fuch apparent Hazard. Readily 
 anfvvered, that he knew Demetrius^s Defign 
 was only againft the Khodians^ and had no 
 Quarrel (he was fure) to good Arts and Sci- 
 ences ! And the Subjeft he was upon, and 
 employed in, during this Conjunfture, 
 feemed to make good hjs Aiiurance in this 
 5?Lffertion 4;o the King ^ while in ftead of 
 Ibme dilTaftrous and melancholy Compo- 
 fure, as we might reafonably Conjefture, 
 it was a Defign of a much contrary Nature, 
 a (porting Satyr playing and diverting him- 
 lelf upon a Pair of Bag-Pipes ; this Piece 
 he himfelf entitled and gave the Name avch^ 
 w«;o^©-. one relaxing, or repoling himfelf 
 from any Labour, or ftudious Concern-* 
 TOent. 
 
 ExTREAMLY pleafed it feems the 
 King was with the Deverfion and Enjoy- 
 ment of this our Painter, often frequenting | 
 
 and 
 
Original Painting. 89 
 
 and vifiting hini at his Cell, hoping a fliort 
 Time would make him Mafter of the Place 
 and give him the Erjoyment and PoffeiEioa 
 of his fb facred and defined Works within 
 the Confinement of the Walls, which he 
 thought of Value and equal Purchace, with 
 all hisToyls of War, and fuperior to all 
 his other Enjoyments in Peace at Home. 
 
 Some few of his Works more ftand 
 recorded by Tliny^ and indeed it feems he 
 was no extempore Painter, but whatever Sub- 
 jefb he was engaged upon, it was with a 
 previous Study and Caution undertaken, 
 and with exaffc Diligence and Labour, and 
 a flri£l Examination gone through and finili^ 
 ed ^ fuch were his Tlepomems^ King AntigO" 
 nus^ Alexander the Great, and the God Van^ 
 and Ph<zllion the Mother of Ariflctle the fa- 
 med Philofbpher but this Chapter liaa> 
 been already too prolix, we iliall therefore 
 conclude with one remarkable Inftance, 
 which may ferve for Matter of Conduct, 
 if not of Reproach to this our Age, namely^ 
 that he had that ftrange bent of Inclination 
 and Affeftion to the A 11 that nothing 
 could give him any Satisfaction, but a Dii^ 
 quifixion and a Refearch into the very Bow- 
 els and Secrets of it, nor any Tlr^iii pu^ an 
 End to his feverer Scrutiny that fell fhorc of 
 
 abfolute and confunmiate Per fcftion. • the 
 1 % entire- 
 
'Jn Essay on 
 
 entire Attainment whereof he valued above * 
 the certain Oppotunity he had of obtaining 
 a Mafs of Wealth and Riches, difreguard- 
 ing any Pyramid of Glory^ or Immortality 
 of a Name whofe Superftrufture was en- 
 deavoured upon, any weaker Bafis^ or 
 foundation. 
 
 C H A B 
 
Original Painting. 91 
 
 C H A P. VIL 
 
 Of the State of the Art from the fore* 
 going Periods^ through the Declenfion of 
 the Griecian Emfire^ and itsTranjla^ 
 tlon to the Romans ; and finally^ its 
 
 • Decadence among them^ 
 
 H E Quarrels and Contentions of 
 the Succeffors of Alexander about 
 the' Divifionof the Grecian Mo- 
 narchy, more than probably had 
 alfb an influence upon Arts, and very 
 much diTcompofed the Tranquility of their 
 Progrefs for we fi -d after the old Stock 
 was clean worn out, there fprung upaa^ain 
 but a (lender. Supply, both as to the Num- 
 ber, and to the Excellencies and Perfeftions 
 of the A K T itfeif. 
 
 T o Range every Artiz^an in his due 
 ©rder of Time (chey being fo promUcoufly 
 handled by Authors) 'tis as little material as 
 pofTible ; hovvever, we Hiiall make (bme En- 
 deavour, with as near a regard to that as 
 may be, and take leave to begin 
 with lEerfeuSy the Difci^le of ^'''f^''''' 
 
 JpelleSf 
 
92 Ar^ Essay on 
 
 j4pellesy a Perlbn of an admirable Temper, 
 and of very good Skill, and a lingular In- 
 duftry and U it, an excellent Traft of the 
 whole A u T, which he dedicated to his 
 Mafter , but in his Practice, it feems, he !| 
 came not only far fliort of him, but was 
 inferior to Zeuxis too. 
 
 Next him we may bring 
 in Nicofhanes, whofe Paintings ^'''P^^^^''- 
 had not only a good Grace, and a polite 
 Touch, but were alfb accompanied with ; 
 Force : He was a Man of a ready and l-vely : 
 Air he applied his Studies particular y to 
 Antiquities, in fearching out, and endea- 
 vouring to preferve the Memory of any 
 Thing that was Excellent in that Kind 
 and when he met with any old decay'd 
 Paintings of the antient Mailers, he apply'd 
 himfelf, either to the copying of thern, or 
 (with an Endeavour) to reftore the Tables 
 themfelves, in fome meailjre, to their Ori- 
 ginal Luftre, and in all what was of his 
 own Delign and Invention ; his aim was to 
 reprefent therein both a Loftinefs and a 
 Gravety : In general, Pliny gives him this 
 Charafler, that few were comparable to him 
 in his Time. 
 
 ATHENIONo^Marona, . 
 Difciple of GUucicn, was a Man 
 of very good Skill, and tho' his Wav of 
 Colouring feemtd fomevvhat: dry, and not 
 
 altogedier 
 
Original Painting. 9^ 
 
 altogether To agreeable (he not affecting the 
 Gauder5r of Colours) yet his Works were 
 throughly Painted, and he maintained the 
 full Vigour and Strength of his Lights and 
 Shadows, which, with his unwearied En- 
 deavours, and Re-fearch after every Thing 
 that was Excellent and Worthy of his 
 Knowledge in the Art, renderM him 
 equal in Efteem with Pauftm and Nicias^ and 
 had he not unhappily died in his Youth, in 
 the Opinion they had of him, he had be-^ 
 come a moft excellent and extraordinary 
 Man. 
 
 C/D j? S was a good ^ 
 Painter , and renderM himfelf 
 very Famous, but it was more to be 
 fcrib'd to the haughty Temerity of his 
 Temper, and a raih Attempt, then to the 
 exquifite Perfection of his Work • for being 
 entertain'd by Queen Stratonice^ Wife to 
 Antiochm^ but not with all the Teftimony 
 of that Efteem which he thought his Merits 
 might challenge^ he painted a Table where- 
 in he expos'd that Princefs in an unfeemly 
 Pofture and Application with a fordid Fi- 
 llierman, with whom it was a Jealoufy fhe 
 was fometimes too Converfant-, and having 
 publickly fet it up in the Haven of Efhejus^ 
 took Sanftuary in a VelTel ready to fail, 
 and fo efcaped, Jeavii^g that as the Mark 
 of a Revenge for his conceivM Aff'ront. 
 
 But 
 
But this had v.ot that Effeft upon the Queen 1 
 as he expe£ted, who utterly flighting the 
 malicious Defign of the Man (finding the 
 Painting itielf to be fo well and curioufly 
 handled) rather chofe to let it there remain 
 expos'd to the View of all Spcftators, than 
 to commit to the Flames a Pifture of that 
 Elegancy and Ferfeftion. 
 
 P IR R I C HV S w^s one ^ 
 that bufied himfeifabout little P^''^'^^^'- 
 Things, and all mean and inferior Subjefts, 
 as of Herbs, Flowers, Beafls, Infe^ls, Tra- 
 defmens Shops, and other fuch like, as 
 have no Guft of any noble Idea, for which 
 he was Surnam'd Rhyparographus. 
 
 S E RAP 10 Ny on the other ^^^^ 
 hand; was for Piftures of a Colof ^^^z^^^- 
 faan Stature, fuch as their Shops and Stalls, 
 were not big enough to contain • his 
 Excellencies were feen in Painting mighty 
 Tents, Stages, Theaters and Pageants, but 
 for a Face, or the Figure of a Man, or Wo* 
 man, he durft never attempc to make an 
 EfTay. On the other fide Dioriy- 
 fm was good for nothing elle, ^ ^^^yp^^^- 
 and therefore was commonly called Anthro- 
 pographm. 
 
 C RES ICO LV S one Q^^r^^^^^ 
 of the Difciples of Apelles^ he* ^^P^^^^* 
 tame famous for one Piece above all the 
 reft, wherein he had reprefented a wanton 
 
 Story 
 
Original Painting. 95 
 
 Story Jupiter among the GoddefTes Jn his 
 IsJighc-Coif, groaning and crying out as a- 
 Woman in Labour for their Jielping Hand, 
 who kindly affifted in the Office ot a Mid- 
 wife, untill he was fafely deli\:erM of the 
 God Bacchus. Many otlier P::iinters there 
 was about thefe Times, of whom, befides 
 their Karnes, we find no great matter of 
 any peculiar Emiiienceafci ibM to them ; of 
 feveral of which therefore (in favour of the 
 Reader, to avoid the Prolixity of a tedious 
 Difcourfe, and yet to pay fome Tribute to . 
 their Memory) we lhal! take a tranfient 
 View as we go along ^ as CalUcleSy Q^m^j,. 
 who altogether praitis'd in fmall. ^ 
 Calaces in the Huiie, and alfo in Calaces, 
 larger Paintings of Perfpedlives, 
 upjii the Ceilings of tlie Theaters , &c. . 
 Anti])\nlus^ by Birth an Kantian . ^ . . , 
 of whofe Pxand feverai Pieces ^^^^^i^^^^^^- " 
 of Work ft and recorded ; as that of King 
 Alexander^ and Thillp his Father, with the 
 Goddefs Minerva^ Prince Bacchus^ ////?-. 
 pUtus^ afrighted at a monfcerous Bull let 
 loofe upon him. His Gryllus^ being a Fool, 
 or Antick compleatly dreft ^ whence all 
 fuch Piftures fince of that Nature took 
 their Name. Creftdemus 
 taken notice of for that Piece ^^C^^^^^^^- 
 of the Siege 'of Ochdiay wherein the City 
 was taken by fjercules^^nd put to the, Sword, 
 
 and 
 
96 Jn V. s s h. Y on 
 
 Oriplaus. -Hcl f lame. Ori^oUa^ was the 
 %Q\\oi Vcivfias^ and dLrierv'd a 
 Mechopha- i<ame anions the bJl of the- 
 ^antierit Painters. MecL-jhwes 
 too was the Dilcipie or Paufiasy and com- 
 jtiended for a very good and curious Work- 
 man, and only ftands reproved for ufing too 
 much of one particular Colour, calVd Ochre 
 SiL Socrates is remembered for 
 Socrates, ^^^^ excellent Piece of ^fcula- 
 fius^ accompanied with his three Daugh- 
 ters, Hygea, Eglea and Panacaa. 
 Ludius, The Workman that painted the* 
 Elotas. Xemple of Juno at ^r^^*^^ defer v'd 
 fo well, as they enfranchifed him free Bur- 
 gefs of that City, and honour'd him with 
 this Infcription fet up in the midft of his 
 Works, 
 
 Dlgnis digna loca flEiuris concelehravity 
 RegVfKz Junonis Supremi conjugis Templum^ 
 Marccus Ltidius Elotas Qy£tolia Orimdus 
 Quern nunc Cfr j)ofi femper eh artem Ardea 
 laudato 
 
 A RTE MO N ftands cele- 
 Jrtemon. ^^^^^^ Yl^XXX^ of the 
 
 Story of the Lady Danae^ whom^ being 
 found floating a drift at Sea by fome ro- 
 ving Py rates, vvho not daring to attempt 
 their Prize, he admirably reprefented them i 
 
 gazing 
 
Oriolnal P A i N T I K G. 97 
 
 gazing on her Beauty with a Wonder and 
 Aftoniiliment ; but his yet more extraor- 
 dinary Piece, was that in the Galleries of 
 Oulaviay of Hercules afcending up into Hea- 
 ven from the Mountain Oeta^ where he was 
 receivM into the Society of the Gods, with 
 a full and general Approbation. 
 
 After theie we fliall take leave to in- 
 troduce fome of the Romans^ whofe very 
 Name and Example are fufficient to give 
 a Reputation to the Art, and to fliovv 
 al fo, that they, as well as the Greeh^ had a 
 Refpeft and honourable Efteem ^ . 
 for it^ for Qumtus Fabitts we ^^j. 
 meet with (whofe Family was 
 one of the Nobleft in Rome^ and after had 
 the furname of TiElores) no'c only with his 
 own Hands painted the Walls of the Tem- 
 ple of Sdiis 3 but alfo fubfcrib'd thereon 
 Ouintus Fahius Pi?7xit, 
 
 POMPONIVS Atricvs, p^^^,^,^;^^ 
 a Man of Angular VVifdom, and ^^^^z^'-^^^- 
 fo much beloved O'i Cicero ^ after he had 
 composed a Poem of fundry Devices, beau- 
 tiiied the fame with Piftures of bis own 
 drawing. 
 
 MARCVS rjLERWS M.rakrius. 
 M ESS A L a Koble- 
 Man-of Rome, made a large Table of the 
 Story of that Battle in Scicily, wherein him- 
 felf had defeated the Carthaginians , and 
 
 K King 
 
9S ^Jn ^ss kY on 
 
 King Hteroy and caufed it to be fet up 
 in the Gallery of the Court of HoSli- 
 lius. 
 
 I N the Days of C^ar DiB^tor^ flouriih'd 
 ^. 7 one 7 imomachus^ 2l Birantine^ 
 and painted for that Empe- 
 ror a Table of j^jax and Medea^ for which 
 Attick Talent he paid him no lefs than 
 600 Deniers Ro- Eighty Talents, and imme- 
 diately caufed them to be 
 hung up in the Temple of f^enus Gemtrix. 
 His Orefies^ and Iphigenia in Tauris , were 
 commended with fome other Paintings of 
 his, but were all exceeded by his Gorgons 
 Head upon the Shield of Minerva. 
 . And now we come to Atiguftus-^ from 
 whole Time it was that this A r t in Greece 
 began not only to degenerate, but in a man- 
 ner, to be quite deftroy'd , for befides , 
 that Rome now becoming the Seat of a ' 
 mighty Empire, the People of Greece^ equal- 
 ly, with many other Kingdoms, being Vat- 
 fais, and in fubjeftion to that Power, they 
 were foon difpoyTd by the fucceeding 
 Princes of whatever was rare, or excellent 
 among them and not only the Paintings of 
 the beft Makers they could meet'with, but 
 Obelisks, Coloffes, and whole Colonies of' 
 Statues, were foon tranfported and carried 
 away, not only as Trophies of their Vifto- 
 ries, but to adorn and enoble their own 
 
 city, 
 
Original Painting. 99^ 
 
 City, now become the great Metropolis of 
 the World. 
 
 And now havhig thefe Examples be- 
 fore them to inftruclj and the fiourifning 
 Eftate of the Empire to incite and eftimu- 
 late, we cannot but think their Endeavours 
 and Inventions muft be fet at Work in 
 mulation of the fame Attainments but 
 yet by what vve meet with in Tilny^ and 
 other Authors, we can't find they ever ar- 
 riv'd to the Perfe-Hiions of their Koble Fore- 
 runners and Examplers. 
 
 One of principal Note that flouriili'd 
 in the Reign of Augvfius^ was ^. 
 Ludiusy celebrated for the Inven- ^^^i'-^- ^ 
 tion of Painting Landskips , wherein he 
 fucceeded very well, and Ihew'da great Va- 
 riety of Invention in reprefentation of Pro- 
 Ipefts both by Sea and Land of Cities, 
 and particularly Struftures, and Defigns of 
 Architefture in Views of Eorefts, Rivers, 
 Plains, Vv^alks, Huntings, Parra-des, Grot- 
 toes, Fountains, with all the various Forms 
 and Anions of BTds, Beafts and Men, ap« 
 propriate and accommodate to each par- 
 -^ticular Circumftance, together with many 
 other incident Occurrences., of which this 
 Subjeft furnifhes with a copious Variety ; 
 and of all thefe, he was the firft we meet 
 with that made the Application, and painted 
 upon the Fronts of their publick and private 
 K 2 Buildings 
 
ioo An Essay on 
 
 Jiuildings along the Streets, and upon their 
 Walls, both without Doors and within. 
 
 JlRE LL IV S fiands com- 
 re. ins, j^-jg^^^gj ^r^^ ^ ^ooA Painter in the 
 
 Time of the lame Auguflu^^ but it feems he 
 was fo extravagantly" addicted to Women, 
 that all the Piftures of the Goddeffes that 
 came from his Hand, were ojily theRefem- 
 blarces and Copies taken from his feverai 
 Miftrefles. 
 
 After this, we meet with few, either 
 Artist s, or F a i n t i n g s, only what 
 P//;y/ takes notice of in the Time of /v^er^?, 
 of a monfiVous Pifture that he command- 
 ed to bedrawnof himfelf upon a Cloth, One 
 Hundred and Twenty Foot high, which 
 was alio finiihed and erefted in the Garden 
 of A^arius , without any record of the 
 Worlcman, or Quality of the Work, and 
 was not long after, together with feverai 
 adjacent Houfes, ccnfiim'd with Lighten- 
 ing. 
 
 From hence downward, we find little 
 or no Record of any that Painted in Romey 
 the Mem.ories as well as the Works of thofe 
 Times, being Vv'holly loft, and there re- 
 maining nothing of Antiquity of that Na- 
 ture, excepting a poor Fragment of a Frier, 
 which we find brought from the dtyAdriany 
 a fcrap to be feen in St. Gregories : What is 
 yet left among tiie Ruins of the Terms of 
 
Original Painting. ioi 
 
 Titus^ and that Treiz^e reprefenting a Mar- 
 raige which is to be feen in the City Aldro^ 
 
 branding 
 
 B a T yet in the ruinous Face of thele 
 Relicts which remain vifible to this Day in 
 Rome^ there appear the Charafter of an an- 
 tient Beauty, and they lerve as a fufficient 
 Teftimony to evince a very good Attain- 
 ment of the Pencil, and of an Arrival to an 
 Idea of a PerfeSuon in a Meafure compara- 
 ble to that we find and admire in the an.ti* 
 ent Statues of thofe Times, 
 
 And what afterwards was the Succels 
 of this Art we may ftill rationally colleft^ 
 from a parraliei Progrefs of the other, which 
 as we find was in its higheil Perfeflion irx 
 the Days of Auguflm Caligula^ CUudim Nero^ 
 fo from thence down to tiie Reign of Como- 
 dpfs xnd Fertinaxy it'in Ibme Meafure dege- ^ 
 nerated and from Severus^ or however, 
 from the Time of Adrian it greatly decay-" 
 ed i for probably in that Emperor's Reign 
 it might receive fome Renafcerxe again, 
 being not only a Patron and Maecenas of 
 all Arts, but (as fome Writers tells) was 
 an excellent Painter himfelf- and for the 
 other fifter Art, that mighty Column 140 
 Foot high, may bear fome Proof, which he 
 erefted to the Memory of his PredecelTor 
 Trajan and upon which, under the Colc(fcem 
 Statu e of that Emperor, which crowns 
 
 K % the 
 
J 02 An 'E s s k Y on 
 
 the Pillar he caufed to be carved and en- 
 graven in Bajfo relievo all his Viftoriesover 
 the Parthians^ Dacians^ Germans y &c. Which 
 is this Day to be feen, and ftands commended 
 for the Sufficiency and Ability of the 
 Performance in that Art. 
 
 But after this, and what was before 
 recorded, (as Mr, Evelyn takes notice,) 
 there was fcarce any who left either Name, 
 or Work, famous to Pofterity : For befides 
 that, the Monarchy was foon broken and 
 difordered \ the latter Empire became lels 
 curious^ rich and magnificent \ fo as even in 
 the Time of great Confiantine itfelf. Arts 
 began manifeftly to degenerate ^ all which 
 their Coines and Medals fucceffively will 
 ferve in a great Meafure to confirm, but 
 when afterwards the Goths and Saracens had 
 ^ broken in upon the ^c?;;;^;^ Empire, and 
 made thofe horrid Devaftations , they were 
 then, in a Manner, utterly loft ^ as the Re- 
 Jiques which they left in Statuary, Sculp- 
 ture, Archicefture, Letters, and ail other 
 good Arts do yet teflify. 
 
 CHAP. 
 
Original Painting. 105 
 
 C H A P. VIIL 
 
 Of the Rife and Emergency again of this 
 Art in Italy, until it received its. 
 cornpleat Attainment among them \ to- 
 gether with feme Intimations of Endea- 
 vours in the 'Period foregoing^ and du^ 
 ring that long Interval^ of its Appear^ 
 ance and Revival again * 
 
 H E Condition of Chrfftendom 
 now unhappily labouring under 
 the many Perlecutions of the hea- 
 then Emperors , and the very 
 Empire itfelf beginning to be difquieted 
 and miferably infefted, not only by the In- 
 Gurfions of the bordering Saracens^ but of 
 the remoter Goths and Fundals^ we can hard- 
 ly expeft an Art of that tender Conftituti- 
 on, whofe Rife and Progrefs are chiefly ow- 
 ing to a peaceful and flouriihing Govern- 
 ment, fnould in this Circumftance of Af- 
 fairs ever emerge, much lefs arrive to any 
 Excellency of Attainment. 
 
 After 
 
104 An ^ s s K X on 
 
 After fbme Time it was entertain'd 
 j(it feems) wich a kind Look from feme Part 
 of the Chriftiau World, and that not without 
 Endeavours to give it a Sanftion, by the 
 introduftion of Holy Kelifts, Images and 
 ^ Piftures into their Churches and confecrat- 
 ed Places, in Memory of fuch Saints and 
 Martyrs as fuffer'd for the Sake of the 
 Truth, afcribing to them a certain Venera- 
 tion, and looking upon them as advantage- 
 ous Helps and Ailiflances in their Devo- 
 tions ; and for the Authority of this, they 
 would pretend no lefs than an Apoftolical 
 Inftitution, and that a pofitive Onon in 
 the Seventh Council calVd at Antiochy com- 
 manded Images of Chrift, &c. to be fub- 
 ftituted in the room of Heachenifh Idols ; 
 but there appears lb little Foundation for 
 the Truth of this-> that the Quasre lies upon 
 the Council it felf, or, however^ upon this 
 Article, whether it was not altogether ima- 
 ginary, and nothing but a mere Forgery : 
 And vvhat a late Authoj of the Roman Per- 
 fvvafion would give us for a Reafbn, for the 
 non-ob(ervance of this Injunftion in the 
 early and primitive Times, feems more like 
 a plaufible Infinuation to ellude, than an 
 Argument of any real Force to fapport ; 
 telling us that one great Obftrudion of the 
 Introduftion of Piftures and Images into 
 their Churches^ was the great Abomination 
 
 they 
 
Original Painting. 105 
 
 they had of the Heathen Idols, which were 
 not then wholly aboli&'d, or^ however, the 
 ill Savour of them not clear out of their 
 Remembrance. 
 
 This afterwards we find, that when 
 they had obtain'd fo far as to bring in and 
 fet them up in fome particular Places, it 
 provM the Rife of a lafting and unhappy 
 Controverfy in the Church, beii^g as vigo- 
 roufly oppos'd by the Eafrern Greehj as it 
 was favoured and embraced by thofe of the 
 Weft. 
 
 The firft Contention concerning them, 
 we find broke out in the Reign of the Em- 
 peror P/?///j!7 ^W^;;^/, about the Year 711, 
 who appeared fo vigorcufly in oppofition to 
 them 5 that, together with "John the Patriarch 
 of Conftaminofley he caused feveral to be 
 defaced and deinolifli'd but this was fo ill 
 refented by Pope Covftantlm^ that he im- 
 mediately not only Excommunicates, but 
 deprives him oFfiis Sovereignity for Here- 
 ly, and would not fo much as fuffer the 
 Emperor's Pi£lure on his Coin, Soon after 
 this, in the Reign of Leo Ifaurus^ the Quar- 
 rel againft Images was again reviv'dT* and 
 profecuted with Violence , that upon Pain 
 of Death it was injoyn'd, whoever had any 
 Pictures, or Images, of our Saviour, the 
 Virgin Mary^ or other Saints, fhould bring 
 them into the Market-Place in Confiantinofle^ 
 
 where 
 
io6 E S S A Y 0^ 
 
 where (together with the reft talcen out of^ I 
 the Churches) they were all publickly burnt. 
 And this Fate befel foon after to all the 
 reft, by a ftrift Command in all his Demi- 
 nions^ and to juftify thefe Proceedings, he 
 fummons a Council ia the Eaft, who con- 
 cur with him, and approve and confirm the 
 demolifliing of them. But Pope Gregory 
 the Second , not at all relilhing thefe 
 Ufages, draws together a Convocation of 
 near a Thoufand Bilhops and Prelates , 
 wherein he not only confronts and deftroys 
 all his Decrees, but thunders out Anathe- 
 mas and Excommunications againft the 
 Emperor, depofes Him, and ablbives his ^ 
 Subjefts from any Allegiance to him; caufes 
 moft of the States of Italy and Spain to re- 
 volt from him, and bind themlelves by ? 
 Oath to his Obedience by which all his 
 Intereft and Authority in the Weft was for- 
 -ever after loft notwithftanding, this.G?;?/?^?^- 
 tine the Fourth his Son,profec'uted theQjiar- 
 rel with the like Zeal of his Father, and had 
 for his Pains the like Rewards' from Pope 
 Taul thQ Firfi 
 
 A B OUT the Year 780, the Crown de- 
 volving upon Conflantme the Fifth (being at 
 that time a Child) the Emprefs /rr;^^, his 
 Mother, took upon her the Management 
 of the whole State, and was fo far a Fa- 
 vourer of the Proceedings of the Pope, con- 
 cerning 
 
Origwal Painting. 107 
 
 cerning Images, that immediately the fe- 
 cond Nicene Council: was calVd, in which 
 the Reflitution of Images was intirely con- 
 firm'd, the Relicts broken and demolifh'd 
 by Leo Ifaurm^ order'd every where to be 
 reftor'd and fet up again, by Seven Anions, 
 and Twenty Two Canons. Image-breakers 
 were condemned for Hereticks ^ and for 
 the Interpretation of what fort of Refpeft 
 they intended Ihould be paid, and what 
 Difference they made between the Image 
 and the Thing which it reprefents, this 
 Diftick (attributed to the Council) will in 
 fome meafure fhew. 
 
 Id dem efl quod Imago docet fed non dem iffe^ 
 Hancvid(^a6 fed me?ite colas^quodcernis in if fa. 
 
 From all the foregoing Procedure we 
 may obferve this, That when the Conjian^ 
 tines and Theodofans , and other Chriftian 
 Emperors, had taken upon them the Pro- 
 tection of the Church, as well as the Go- 
 vernment of the Empire, and the Intro- 
 duftion of Images was once admitted, there 
 was found feme Per Tons that imploy'd their 
 flender Talents in furnifliing them with 
 Sculptures and Paintings ; but they were 
 duch cit feems) as were confiderable for no- 
 thing , fave their being Remarks of the 
 Piety of thofe Princes j but then after the 
 
 decadence 
 
io8 U s s k Y o;^ 
 
 decadence of the Roman Empire, Italy fell 
 under fuch Troubles, and fo great Agita- 
 tions, that the miferable Eftate to which it 
 was fo often reduced, afforded no Time for 
 good A K T s ("the only Fruits of Peace J 
 
 at all to grow up and ardve 
 Entretien fur to any Maturity. And as 
 les Vies y/ur Monfieur Philibien, in a pa- 
 des plus beni pathetical Condoleraent, for 
 Feinteurs, thofe Times, has it. How 
 
 great a Lofs is that of Ages, 
 during which Rome faw not any Thing but 
 Wars and Difafters, and People moft bar- 
 barous come from all Quarters of the 
 World to make cruel Invafions upon her 
 Land , overturn the Monumnents of her 
 antient Grandure, and put all to the Sword 
 and Flame ^ when Armies fo numerous of 
 the Goths and V^andals^ like a Torrent, over- 
 flc'^'ing, ravage all the Country, and there 
 ftill remain'd as Seeds of Divifion, whereof 
 all her Neighbours were the moft her 
 Enemies. 
 
 W H E N P A I N T I N G receiv'd her le- 
 cond Btrth^ Italy was fall under the fame 
 Calaminies \ for in the Year 1239, Millan it 
 felf, with many other Cities in T'ufcany^ at 
 the Inftifu-cion of Pope Gregory the Ninth, 
 were in ^ ilaal Arms againlt the Emperor, 
 Fredrick the Second, under a fpecicus Pre- 
 text of Liberty, and the Biihops laying 
 
 a fide 
 
Origin/^l P A i n T i K g . 109 
 
 afide their Allegiance, feiz'd and polTefs'd 
 themfelves of feveral other Cities ^ which 
 Proceedings of theirs fo provok'd the Em- 
 peror, that, in a fliort time, he came upon 
 them with two mighty Armies by Sea and 
 Land, giving the Command of the firft to 
 his Son Lmrence^ whom he had declared 
 King Sardinli ^ with the other he entered 
 himfelf into Itdy^ where the Milanefe felt 
 the firft Etfefts of his x\nger, laying defo- 
 Jateall the Country about *, and his Army 
 daily increafmg by the Succours of many 
 Neighbouring Princes (jealous of the grow- 
 ing Power the Pope) he ruinM all the 
 other Cities that flood in Qppoliiion to 
 him. 
 
 G P. EGO R Y, thus feeing the Affairs of 
 the Emperor proceed fo advantageouily, 
 prefently ferves upon him his Eccleliaftical 
 Cenfares , E/Xcommunicates and BaniOies 
 him out of Italy for an Heretick ; but be- 
 caufe he well enough fiw thofe fort of 
 Arms alone were not able to hinder his 
 Progrefs, he has recourfe to the Venetians 
 for their Affiftance*-, in which he gave them 
 great Affiirances of V^i£lory and Advanta- 
 tages, and intercedes at the fume time alio 
 vvich the French Kir.g. 
 
 T H I s was the War between the Pope 
 and the Emperor, that provM the Occafifia 
 of fo much Mifchief in Italy by whivdi, 
 
 L not 
 
1 1 o Essay on 
 
 not only many Cities were entirely ruin'd, 
 but thofe alio that efcap'd the Sword, or 
 Flame, remain'd, fill'd with lb great Dif- 
 cords and Disrifions, that the Inhabitants 
 were every Day upon their Guard, and up 
 in Arms ready to Kill and Maffacre one an- 
 other ; and from hence it vvas thofe two 
 horrible Faflions took Birtli of the Papal 
 Guclfs^ and the Imperial GibelUnr^s^ which 
 iafted more than Two Hundred and Sixty 
 Years, and were ftillthe further Occafion 
 of greater Perturbations and Miferies in 
 that Q untry. 
 
 B u T roc to engage further in tlie Par- 
 ticular of thele Quarrels ^ 'tis enough to 
 ikisfie us in what diftrailed Condition of 
 Thivv^ Italy {tood about the Year 1240, 
 when Cimabus came into the 
 V ;. ^y ^, J ^.^^Yxo being born to efta- 
 bhfu the A K i of P A 1 N T 1 N G, before 
 ilie Diibrders and Wars, were baniih'd, 
 looi. LiD Birth during the Time of the moft 
 urand Diftra^tions that ever that Country 
 la'w, or was ?.liiicled wich. 
 
 A s he vvas the firft of P a 1 n i e k s 
 that brcLght to Light fo lUuftrious an A in , 
 lo, Vv'ith Reafon, we may call him the Ma* 
 irer aiid Father of all thofe that fucceeded 
 hirn: He Inmfelf was of a l oble Family 
 or Ihrch'ce ; liis Parents fuppofing him tQ 
 have a Genius proper for the Sciences, put 
 
Qrtoiml Painting. hi 
 
 o 
 
 him under Matters to learn the firft Rudi- 
 ment ^ but it foon appeared his Mind was 
 not lb much inclined to the Study of Litera- 
 ture, as to the Re-fearch of A ii t s, which 
 plainly difcoverM it feU by the many Scrib- 
 bles and Draughts, with which he ever 
 fill'd all his Books \ and, as he advanced in 
 Years, finding infenlibly more DeU^ijic and 
 Facility in Defigning, he would rake Occa- 
 fion from his Books, often to fleal a Viilt 
 to certain Grulan Painters, which fome of 
 the Nobility of Florence had fent for to 
 paint the Church of St. Maria Novell.i^ 
 
 And here (before we proceed any far- 
 ther in the Life of this Pain t e r) we 
 may take an occafion on Equiry into the State 
 ofthe ART,and the Quality of thofe A ktist?, 
 that came from Greece^ both having, in our 
 Difcourie, been fupposM and look'd upon 
 for a long Time, as lofl andaboiifli'd among 
 them • and to this it may be anfwer*d^ 'tis 
 true, they were the Succeffors of the fa- 
 mous Pain tehs ; but with the like Dif- 
 ference between the Perfons, as we find 
 between the then deplorable Eftate of the 
 Country, and the flourifhing Co uiitioa 
 thereof in the Time of Zeuxis and A^elles \ 
 thefe latter Painters being only the mifer- 
 able Remains of thofe great Men. \x\ the 
 mean time (as if there had been a Fatality 
 in the Thing, that Italy could not be pol- 
 
 L 2 ieiftd 
 
I 12 An E S S - A Y OH 
 
 feiled of this 'A ii but by Means of the 
 Greeks) they were the Men that introduced 
 it a lecoiid Time^ and who, from the Year 
 iO!3j in Florence^ and feveral other Places^ 
 wrought feveral Pieces of P a i n t i n g and 
 A^ofdik Work but after fo raw aud rude 
 a Guft, that rheir degeneracy therein y/ould 
 periuade us they vvi^'e but a baftard Of- 
 JprSiig, cind their deform'd Defigns^ SUM 
 up v/ich luch a difagreehig Mixture of Co- 
 lours, v/ou!d make us think the A k t, be- 
 come now Oldj began to dote^ and return 
 again to its Cradle however, fuch was 
 the Ignorance of thole Times, that they 
 wantred not Admirers, and they were of 
 UTe for Examples to the Italians afterwards 
 ro learn by, and to advance the A t upon 
 'I'hofepoor Rudiments. ■ , 
 
 B u T to return again to our Subjeft, the 
 '^-'a rents of C7r/2.^kv^5 we find indulging hira 
 ^ in Iiis peculiar Inclination, together wich 
 tlie Acquaintance he had gotten with thofe 
 Pa NfEKS, he foon attained their Manner of 
 Defign, and Mixture of Colours, which, 
 hov/ever rude and imperfeft, by his Appli- 
 cation, receivM a confiderable Polifli and 
 Advance and tho' it was not by his Hand 
 that Painting acquired that Perfeftion it 
 afterwards attained to, yet it is to him we 
 owe the Glory of its Recovery from its 
 mighty Decadence \ for the Manner of Ad- 
 ore fs 
 
Origiml Painting. iij 
 
 drefs in all his Works, appear'd fb exraor- 
 dinary, in Comparifon of what the Ages 
 foregoing could produce, that having pain- 
 ted a Madona for the Church of St. Maria 
 de Novella^ the whole People of Florence 
 accompanied it in a folemu pompous Pro^ 
 ceffion, with the Noife of Trumpets, and 
 other mufical Inftruments, from his Houfe 
 to the Place defigned for its Reception. 
 
 About this Time Charles of AnjaUy 
 Crown'd King of Scicily and Jerufalem^ by 
 the Pope, and coming foon after to Florence^ 
 the Magiftrates thought they could not, in a 
 more fuitable Refpeft Regale him, then by 
 offering a Sight of Gmabus^s Works, and 
 particularly that Table he had then under 
 Hand, which being painted in a Place out 
 ^of the City, he had chofen purely for his 
 more Retirement from any Noife and Di- 
 fturbance^ and no Body had yet feen it, 
 fuch Multitudes followed the King, as not 
 only left the City almoft deftituce, but 
 gave Occafion of fuch Joy to the People of 
 the Suburbs, at the Sight of fo numerous a 
 Train, that for ever after they nam'd the 
 Place // bo-^z^ AUeari. 
 
 M A K Y otner Pieces he painted, which 
 were bought up at extraordinary Pvates ^ 
 and difpofed of in feverai Places of France 
 and Italy. Some Pittures he painted by the 
 Life, which, till that Time, had not been 
 
 L 3 feen. 
 
ii4 An on 
 
 leen among them ^ and we may afcribe to 
 himfelf the Invention of P a i n t i n g in 
 Frefco^ which he praftifed upon the Fronts 
 of feveral Houfes in Florence fome where- 
 of Caret Van Mander mentions, remaining 
 to be feen in his Time, but much decayed 
 and perilh'd : He dy'd Anno 1300, in the 
 Sixtieth Year of his Age, and had for his 
 Epitaph this following Diftick. 
 
 Credidit ut Clmahm PiElur(Z Cajvra tencre^ 
 Sic tenuit , verum nunc tenet jiftra Pali. 
 
 A s o u T this Time the Italianj were 
 again beholden to the Greeks in the Gommu- 
 nication of another Sort of Pifture call'd 
 Mofaiek Work^ of which, not having as 
 yet had occafion to take notice, we fliali 
 here interpofe with feme brief Account 
 thereof. To the Latins it was known by 
 the Name of Mofaicum^ or Mujtrum O^tu 
 and by the Greeks ^AfpoCiKii^ or -^.(po^.r^T^ tt^^. 
 
 fj,ii<75toiv^ a concinnitate elegmtia. It is, in- 
 deed, an A K T, we may look upon, as in 
 Ibme Senfe, fubordinate to Painting, with 
 an Emulation to imitate it in all the Va- 
 riety of Defign, Figures, Colours, Lights, 
 and .^jbades, but with Materials, not only 
 of a wonderful Beauty , but of a much 
 more permanentand enduring Nature, fuch 
 j\&:,::;helfe, Gold, Glais, Febbles, Ivory, and 
 
 Pieces 
 
Original Painting. ir^* 
 
 Pieces of variegated Marbles, which, with 
 a mighty Induftry and ^Curiofity, were all 
 Cut, FormM, Tin^tur'd Anneard, Enam- 
 mei'd, Gilt, GlazM, or Burnifh'd, and, by 
 a wonderful Application, fitted to compofe 
 the Figures of Birds, Beads, Flowers and 
 Men • and, in fhort, to reprefent almoft 
 any Thing that Painting itfelf could pre- 
 tend to and of this for Inftance among 
 many others, that might be produced, St. 
 MarVs ChurcL at Venice^ particularly re- 
 mains to this Day as a glorious Example. 
 But who were the firft Inventors^ or whe- 
 ther it was conftantly praftifed down to the 
 Period above-mention'd, we meet with no 
 clear Account in Authors • 
 and nrny tells us, that the 
 Sort of Pavements call'd Tejp.lata^ or Vermi- 
 euUta-, had their Original in Greece^ or an 
 Art much laboured after the way of 
 Picture, and that this loon after received 
 Ibme alteration by the Superindudion of 
 another Sort called Lithoflrota \ but both the 
 Terms and Defcripticn do not feem much 
 to diftinguifh tlieni, for he tells us the fa- 
 mous Workman this Kind was ^ 
 one Sofns^ who, at Vergamtu , ' 
 wrought a very rich Pavement in the com- 
 mon Kail, wherein, with divers little co- 
 loured Stones , he had counterfeited the 
 Scraps of broken meat ai d Bones flung 
 
 about, 
 
ii6 An ^ s s K Y on 
 
 about, as if carelefly left, or neglefted to 
 be fwept away ^ from whence this Place 
 was caird Afaroton Oscon^ or the unf^vept 
 Houfe : Befides this Humour, he introduc- 
 ed upon the Floor feveral Pidgeons, fup- 
 pos'd to be invited thither by the many 
 fcatter'd Crumbs-, among which was a Dove 
 drinking (reported) of wondertul Art, 
 wherein alfo the Refleffcion of her Head 
 and Body upon the Water was admirably 
 reprefented. 
 
 A M o n'g the Romans the fame Pliny tells 
 us this Sort of Work was brought into Pra- 
 ftice in the Time of Claudius and Nero 
 where^ fpeaking of the Efteem that Paint- 
 iNG had obtained before this new Inven- 
 tion fprung up, he tells us how much it 
 was honoured by Kings and whole States, 
 and that only thofe were thought Enobrd 
 and [mortal iz'd whom Painters voiich- 
 fafed to commend by their Workmanihip 
 to Poflerity but now the Marble and Por- 
 phiry IrvA blemilh'd its Luftre , and the 
 gilded Walls and polifiied Works of Mar- 
 ble, enJ2;raven and fet after the Manner of 
 inlaid Work , and marqudtry of divers 
 Pieces, refembling Men, Beafts, Flowers, 
 &c. had fo much taken their Eyes, and got 
 the univerfal Vogue, that Painting 
 feem'd but a Handmaid to this upflart Mi- 
 ftrefs. 
 
 Falling 
 
Original Painting. 117 
 
 Falling down from thefe Periods, we 
 meet with little or no mention of the Pra- 
 ^lice of this K k 'rill' we come to the 
 Time of Cimahm again , where we find 
 Andred Taffi, a Floramine^ in H,- 
 mulation of him, made fome en- 
 deavours in that A 11 t • but, after fome 
 time being at Fenice, where Jp- .^^^ 
 follonim^ a Gr(zclan^ was worliing Vi ^-^'^^'•'-^• 
 in St. Mar}i ^ (Church in 7i4o['Zick^ he became 
 fo pleas'd wich that Way for the perma- 
 nency and durablenefs of the Materials, 
 that, for the faturej he applied himfjlf 
 vvliolly to it • and having in "a fhort Time 
 contrafted a Friendihip with Afpllonim^ he 
 prevails with him to go to Florence^ where 
 he obtained of him the Secret of ennealing 
 the feveral Tinctures, and enammeling the 
 Uttle* Pieces of Stone and Glafs together, 
 with the pi'oper Temper of the Cements to 
 conjoin and fix them.. Thefe two after- 
 wards travell'd together, a-nd performed fe- 
 veral Pieces of Work in Rome^ Florence^ and 
 P/jQ, vvhich were not a little admir'd of 
 that Age, being the beft Produftions hi- 
 therto of that kind. died Aged 81^ 
 Anno 1 294. 
 
 And now we find the Examples of 
 theie Artists, with the great Encou- 
 ragement and CarefTes they met with, had 
 fo univerfally infpired the Florantines^with a 
 
 Love 
 
1 1 8 E s s A Y on 
 
 Love and a Defire after the Attainment of 
 thefe A K T that we prefentiy encounter 
 a whole Throng of Followers, that emerge 
 almoft at the fame Time among fome of 
 
 G ^ Gaddi P^'incipal we ihall take 
 
 ^ ^ ^' notice of Gaddo Gaddi^ who 
 was an intimate Friend of Cimahus^ and pra- 
 ftifedhis Way, but was efpecially Excel- 
 lent in Mofaich Work, which he wrought 
 with a better Judgment than ai.y before 
 him, and won thereby fo confiderabie a 
 Fame, that he was fent for foon after to 
 Rome^ Amo 1^0%^ the Year after the Fire, 
 and burning ot the Church of St. John La- 
 terane^ and the Palace of Pope Clement the 
 Fifth ^ whence (after having given fuffi. 
 cient Proofs of his Skill, and been well re- 
 warded for it) he return'd back into Tufcany^ 
 where he died Anno 1312. 
 
 ^ .^^^ MARGARirONEy 
 born at Arez.z.o^ having ren- 
 dered himfelf confiderable, was imp!oy*d 
 by Pope Vrban the Fourth, to paint feveral 
 Tables in the Church of St. Peter^s in Ro?nej 
 and afterwards upon the Occafion of Gregory 
 the Tenth (in his Return from Lions) com- 
 ing to Arez.z.Oj where he died and was buri- 
 ed. The Aretines chofe this Painter to con- 
 duct the Building of his Tomb in the great 
 Church, upon which he fet the Statue of 
 the Pope in Marble, and embelliih'd feveral 
 
 Tables 
 
N Original Painting. 119 
 
 Tables of Painting in the Chapel where it 
 flood: He was the firft that deviled the 
 laying Gold, and burniihing it upon Bole 
 Armoniack^ and to make a Ground of a foit 
 of Size for Pifture Tables that fliould never 
 decay. Thus after having performed feve- 
 ral Paintings (which were all according to 
 tlie Greekijlo Manner) a many Pieces in Frefcoy 
 or in wet Lime, and all wichagreat and 
 fingular Induftry ^ he died Aged 77^ and 
 had bellowed on him this Epitapth, 
 
 Hie jacet ille honm plH ura Marga^itonus 
 Cui requiem dominus tradat uhiq\ pins. 
 
 But he, of all the Painters, wor- 
 thy of the higheft Reputation, after the 
 Ve^th of Cimabusy was his Difciple 
 Giotto^ born at Feffigna^jo^ a Village 
 Fourteen Italian Miles from Florence ^ the 
 Son of an Husbandman, and by his Father 
 fet to keep Sheep \ in which Employment 
 Cimabus firfl met with him, and found him, 
 at the fame time, exerting the Ideas of liis 
 native Fancy, and drawing the Pifture of 
 one of his Sheep upon the Sand, or a Tile- 
 Shed, with a Coal, or fome fuch courfe 
 Material,^ upon which he conceived fach an 
 Opinion of the liatural Iixlination of the 
 young Lad, that he immediately apply'd 
 himlelf to his Father for his Confent to 
 
 take 
 
I20 A^'^ U S S k Y on 
 
 take him along with him to his Houfe, and 
 inftruft him in the Rudiments of the A r t • 
 wherein, after a lliort Time, he became fo 
 mighty a Proficient, that he not only equal- 
 Jed, but furpaffed his Mafter, quitting that 
 rude Manner of Pradice of the Greeks^ and 
 Cimabu^j and other P a i n t e n s before 
 that Time : and was the firft that introduc'd 
 a modern A k t and true way of painting 
 Portraits by the Life \ which, except 
 what Cimabus attempted in that Kind, was 
 a Thing they were unaquainted with for 
 many Ages before-, and not only in this 
 Particular, but in the whole A r t he gave 
 early Prefages of his future Attainments *, 
 which afterward receiving a due Accom- 
 plilliment, he became Famous for his ex- 
 cellent Skill in expreffing the Affeclion.s, 
 and all Manner of Gefture, fo happily re- 
 prefenting every Thing with fuch an iden- 
 tity and pecuh'ar Conformicy to the Origi- 
 nal Idea, that he was faid to be the true 
 Scholar of Nature. 
 
 For a little llluftration of this Cha- 
 racter, we fhall give you a Specimen of 
 fom.ething of his Hand done at j^cefi^ a 
 City of Vmbria , in the Cioyfters of St. 
 Francis^ where the Body of that Saint lies 
 buried , there, among other rare Things 
 of his Invention, is to be feen a Monk kneel- 
 ing before the Portrait of . Obedience, who 
 
 putteth 
 
Origmd Painting. 121 
 
 puteth a Yoalc about his Neck, he holding 
 up both his Hands to Heaven, and She lay* 
 ing her Fore-finger upon her Mouth, caft- 
 eth her Eyes toward the Pifture of our 
 Saviour, from whole Side isfliovvn flowing 
 a full Stream of Blood on her other Hand 
 ftand Wifdom and Humility , denoting 
 where Obedience is, they are always in 
 Attendance, and affifting in the Perform- 
 ance of every good Work : On the other 
 fide is a Hiftory, wherein is reprefented 
 Chaftity ftanding upon a ftrong and h'jgh 
 Rock, as not to be won, or moved by the 
 Power of Kings, tho' they ieem to offer 
 Crowns,/ Scepters and Palms : By her is 
 placed Penance, with all the Severity of 
 her Difcipline, driving away the amorous 
 Cupids-, and at her Feet lies Purity, ex- 
 preifed by a Child wafliing it feif in a chri- 
 ftal Stream. Not far from, thefe ftandeth 
 Poverty barefoot, treading upon Thorns , 
 an angry Cur barking at her, and Children 
 contemning and abafi ig hir • this Poverty 
 you fee there married to Sr. Francu'^ by oar 
 Saviour joyning their Hands. In another 
 Place you meet with the fame St. Francis 
 again in a Pofture of Prayer, wherein fuch 
 ftrange Devotion and inward Affection is 
 expreiTed in his Countenance, that it de- 
 taineththe Beholder with a lingular Admi- 
 ration. 
 
 M After 
 
122 Jn "Ess K\ on 
 
 After having finillied thofe , and 
 many others with the like Applaufe ^ and 
 returning towards Florence^ he wrought in 
 Diftemper Six Hiftories, reprefenting the 
 Patience of Job ^ wherein were many ex- 
 cellent Figures ^ among others, the Po- 
 fiures and Countenances of the MelTengers 
 bringing the iorrowful News unto him , 
 were not to be mended, and, indeed, every 
 Thing elfe therein met with fuch a great 
 and deferved Applaufe, that the Fame 
 thereof prefently ran thiough all Italy ] in- 
 Ibmuch, that Pope Benedi^i the Eleventh, de- 
 figning the Decoration of St. P^r^-r's Church, 
 by the Hand of fome excellent Mafter, 
 fent a Gentleman, with exprels Order, to 
 go to Florence to inforrn himfelt* concerning 
 Glctto^ and the Quality of his Work, of 
 which he had already heard fuch Fame ; 
 who, taking his Journey by Siena^ fliU en- 
 quiring, as he went, ibr the beft Mafters, 
 took a Draught of fomething from every 
 one of them, to carry back to the Pope, to 
 chcofe which he befl approved of-, at length, 
 corning to Florence in a Morning betime, he 
 went to the Shop of 6*/Wi?,defiring,as he had 
 of others, to give him fome Specimen of 
 his Painting to fliew hisHolinefs: Now 
 ClottOy being of a merry Humour, prefently 
 took a Sheet of Paper, and, in a feeming 
 carelefs Manner, his Elbow ftxM to his Side, 
 
 with 
 
Original P A i T i n g. 12 j 
 
 with a Pencil , deC:rIbes fuch an exad 
 Circle^ as with a pair of Compaff^s could 
 not be drawn truer, which, vvithaSmilej 
 delivering to the Courti^jr, laid^ "There is my 
 Draught , but he imagining himfelf abus'd, ^ 
 faid. Is this all ? To which Giotto reply'd, 
 It is ally and more than enough ^ and bid 
 hum put it among the reft, and iie did not 
 queftion but it would diftlnguifh it felf ac- 
 cordingly ; which when the Pope, with 
 others of Judgment, faw it, and heard the 
 Manner how carlefly he did it, he admirM, 
 and gave it the Pre eminence above all the 
 reft ; this afterward was fo much taken no- 
 tice of and admirM , that it became a 
 Proverb in Italy , As round as Giotto'^ 
 Circle, 
 
 Upon this, being fent for to Rome, 
 he painted there many excellent Pieces, 
 and received from the Pope many Honours 
 and liberal Rewards ; among others, he 
 made a Madona on a Wall, which, after- 
 wards being to be pulfd down, they were 
 fb curious of this Painting, thaf^ with gre?\C 
 Care and La!)our, it was cut out fquare, 
 cramped and faften'd together with Irons, 
 and tranflated into fome other Place. In 
 the Portico ofSt.Peter^s he ihewM his Talent 
 in Mofaick Work, reprefenting ^t. Peter ^ 
 and fome other of the Apoftles, in a Ship, 
 which was in danger of drovvning, where 
 
 M 2 their 
 
I 2 4 E S S A Y on 
 
 their Aftions and Geflures were expreffed 
 fill] ()F Fear, with other fuitable Behaviours 
 of Filhermen in fuch Extreamily. He 
 wrought at Avignon for Pope Clement the 
 Pifth, where, and in many other Places ia 
 France^ having left many celebrated Wori^s, 
 he returned home^ Anno isid, replenlihed 
 with Honour and Gift?. After v/hich^ he 
 was implcyed by Robert King of Naples^ for 
 whom there^ in the Cloyfter of the Church 
 of St, Clare^ he made many Hiftories of the 
 Old and New Tefiamentjwith the whole Hi- 
 ftory of the Fevelaticns wherein, 'tis faid, 
 his Invention was admirable, receiving fbme 
 confiderable Improvement by the Converle 
 nnd Affiftarice of his ingenious Friend 
 JD.antes the Poet. 
 
 The King was not only pleas'd with I 
 the Excellency of his Pencil, but alfb with 
 h?s Wit and facetious Society, which oc- 
 cafion'd to afford him frequent Vilits, and 
 to fit with him fome Hours together while 
 he was at Work. 
 
 Among fome of his witty Jefts, once 
 the King fa-'d to him, / will make thee fore- 
 mojr- Alan of my Court : I believe it^ quoth 
 Giotto, and that 1 think is the Reafon why 1 am 
 laid in the Forters Lodge at your Court Gate. 
 Another time the Kini^ faid to him, If I , 
 was as you, Giotto, the Weather is fo exceeding 
 hot J Iwculd leave off Painting for a while : To 
 
 which 
 
Original Painting. 125 
 
 which Giotto reply 'd, Sir^ if I was as you^ I 
 would indeed do fo. Another Time being ac 
 work in the great Hall^ the King merrily 
 requefled him to paint him out his King- 
 dom ^ upon which he prefently went to 
 work, and drew the Pifture of an Aft with 
 a Saddle on his Back, and fmeliing at ano- 
 ther new Saddle that lay before him at his 
 Feet, as if he had a mind to that rather 
 than the other on his Back, and upon each 
 Saddle a Crown and a Septer : The King 
 demanding what he meant thereby, Giotto 
 reply 'd. Such is your Kingdom arid Subjects., de-* ^ 
 firing new Lords daily. 
 
 I N his Return to Florence^ he made very 
 many rare Pieces by the Way, invented 
 many excellent Models for Building, be- 
 fides feveral other Works in Sculpture ^ 
 Piaiflick, C^c. the City of Florence not on- 
 ly nobly Rewarded him, but gave him and 
 his Foftericy a Penfion of an Hundred 
 Crowns a Year, which was a Sum noi: in- 
 confiderabie at that Time, 
 
 H E died, generally lamented, 111 the Year 
 1336, bein^ Sixty Years Old, and leaving 
 many Difciples behind him^ he waS buried 
 at Florence , and had this foliowing Epi- 
 taph beftowed on him by Angelitu PoLiti-- 
 anut. 
 
 M3 Ilk. 
 
126 An Essay on 
 
 lile ego fan per quam piBura exthFta revixh^ 
 
 Cut quam rtBa manus tarn fuk fac^l^y 
 ]Sfutur£ dcerat noftra quod defmt arti. 
 
 Plus licuit nulli fwgere ne & rmlius 
 Mtraris ^ Tunis egregiam Jacro are fonantem.^ 
 
 Hdc quoque de modulo crevit ad aftra meo ; 
 Den! que fum Jot tus^ quid opusfuit itte referre^ 
 
 Hoc nornenlonq-i carminis inftar erit. 
 
 * The Model cf the Steeple cf the Chief Church' 
 at FIore?ue, 
 
Original Painting. 
 
 For the Satisfa^iion of the Curious^ afid 
 as this Essay is an Introduction to 
 the Hijlorj ^^f P A i n T i n G to the 
 7/;^j ^/Cimabue, I jhallheg leave to 
 prefx a Chronolo?ical Account of the 
 Painters ^nce that Time^ as ta- 
 ken by the ingemous Mr. Richardforij 
 at the End of his Ejfay on the Theory of 
 Painti?'/g. Printed Anno 1 7 1 $ . 
 
 I OrJ N N I CI M ABVE\ 
 
 the Father of Modern Paintiiigj 
 born 1 240^ livVi ac Florence^ died 
 
 I 300. 
 
 Giotto^ born 1276, llv'd at Florence^ died 
 1335. 
 
 John Tar? Eye J: y cr ^ohn of Vruges^ Inventor 
 of Paintii gin Oily An. 1410, born J 3 70, 
 died 1441. 
 
 Giovanni 
 
128 An s k Y on 
 
 Giovanni Bellini^ born 11422-20, liv'd at Venice^ 
 died I 510 12. 
 
 GmiU Bellini^ born 1421, Hvd at Venice^ 
 went to Conflan. died i 501 . ^ 
 
 Luca Sigmrella de Cortona^ born 1439, liv'd 
 at feveral Place!! inltdy^ died 1521. 
 
 Leonardo da Find ^ born 1445, liv*d at H(?- 
 ?^^^c^3 died I 520. 
 
 f ieXYo Terugim^ born 1445, liv'd at Florence^ 
 Siena ^ died 1 524. 
 
 Andrea Mantegna^ Gra\/^ing invented in his 
 Time, and by him firft praftifed, born 
 1 45 1 , liv'd at Mantuay Rome^ died 1517. 
 
 Fra* Bartolomeo di Marco ^ born 14^9, liv'd 
 at Florence y died 1 5 1 7. 
 
 Timoteo Vlte dAVrhino^ born 1470, liv'd at 
 Vrhin^ Rome^ died 1524. 
 
 Albert Ditrer^ born I470, livVI atiV/^rm^^-rf, 
 died 1528* 
 
 Alichelangelo Buonarotiy born 1474-5, liv'd 
 at Florence^ RomSy died 1.553-4. 
 
 Ciorgionr 
 
Original Painting. 129 
 
 Giorglone da CaBel Franco y born 1477, liv'd 
 at Venice^ diedi 51 1 • 
 
 titianoVicelli da Cadore^ born 1 477-80, liv'd 
 , at Venice^ died 1 576. 
 
 Andrea delSarto^ born 1 478, liv'd at Florence^ 
 died 1530. 
 
 Pellearhio da Afodonay born IWd at 
 
 RomSy Modena\ died 
 
 B^ldajfar daSiena^ born 14815 liv'd 
 
 at Rome^ died i 535. 
 
 Rafae/le Sincio da Vrhinoy born 1 483, HvM at 
 Florence y Rome^ died 1 5 20. 
 
 Metherino da Sicna^ calFd alfb Domlnico Bee- 
 cafumiy born 1484, liv'd at Rome^ Sicna^ 
 died, 1549. 
 
 Sebafliano del Tlomhoy born 1 485, Uv'd at 
 Venice^ Rome^ died 1547. 
 
 Bacelo BandineHly born 1 487, liv'd 2it Romey 
 died 15^9. 
 
 Gio. Antonio Regilloy calVd Licinio da Pardenoney 
 born 1484, livM 2it^Vemce^ Friuli^ died 
 1J40. 
 
 FrancefcQ. 
 
I JO Jr^ Jl S S h Y 0^ 
 
 FrancefcQ Primaticcioj Bdcgnzfe^ Ahbate di 5. 
 Martinoj born 1 490, Ik^d at Bobg. Man^ 
 tm^ France J died 155c. 
 
 Ghilio Romano^ born T4925 liv'd at Rorne^ 
 Mantua^ died 1 546. 
 
 Maturinoy born JivM at died 
 
 1527. 
 
 Antonio AlUgri da Coneggh^ born 1473-94, 
 lived at Lombardy^ died 1 534-1 3* 
 
 Lucas vm Leyden^ born 1 494, liv'd at £eii!?* 
 Countries y died 1533- 
 
 daTontarmOj born 1494, lived atF/0- 
 died i 55*9. 
 
 Polidoro da Caravaggie^ born 1492-5, lived 
 . ?it Rome, Naples, Mejfma^ died 1543- 
 
 Rcjpj Fiorentinoy born 1495, lived at Florence y 
 Romcy FrancCy died 1541. 
 
 Manin Hemshrcky born 1498, lived at Hol^ 
 landy died 1 574. 
 
 Baptifla Franco Venetiano detto il SemoleOy born 
 lived at Romey Florenccy ZJrbiny 
 Venice y died 1.561. 
 
 Hans 
 
Original Paii^ting. iji 
 
 Hans Holbein^ born 1 498, lived at Switz^er-^ 
 Imd^ London^ died i554« 
 
 Terino del Vaga^ born 1 5100, lived at Florence^ 
 Rome^ died 1 547. 
 
 Girolamo da Carpi^ born 1 501, lived atj?^?- 
 lognaj Modern^ Ferraray Rome , &ۥ died 
 
 Vgo da Carpy he firft invented Printing with 
 two Plates of Wood, then with three, 
 in Imitation of Drawings. 
 
 Franc. Maz.z.uoli Tarmeggiam ^ born 1504, 
 lived ae Rome^ Varma^ died 1 540. 
 
 Giacomo Valma il V^ecchio^ born 1 5085 lived 
 at Rome^ Venice^ died 1555. 
 
 Daniele Ricciarelli da V ilterra II Sodoma Bald. 
 Teruz^Uy born 1509, lived at Flo^ 
 rcnce^ died 1 566. 
 
 Francefco Saluiati^Francefco de Rojfiyhom 1 5 1 o, 
 lived at Florence y Rome ^ Venice ^ died 
 1553. 
 
 "Jacopo Ponte da Baffano il Vecchio^ born 151- 
 09, lived at Baffano^ Fenice^ died 1 592. 
 
 Don 
 
IJ2 An E.s s A Y on 
 
 Bon GiuUo Clouioy born 1511-498, lived at i 
 Eome^ died 1 578. 
 
 Tirro Ligorio^ born lived at Naflesy 
 
 Rome^ died absut 1575. 
 
 Giorgio Fafario, born lived at 
 
 Bologna , Florence, Venice , Naples, Rome, 
 &c. died 1 574. 
 
 Paru Bordon, born 1511-13, lived at renice, 
 France, died 
 
 Giacomo Rohufli Tintoretto, boni 1512, lived 
 at Venice, died i$94- 
 
 Giov. Porta , after Civfeppe Saluiati, born 
 1516-35, lived dX Venice, died 1585. 
 
 S\r Anth. More o^Vtrecht, born 15 19, lly'd 
 at Italy, Spain, Flanders, England, died 
 
 1575- 
 
 Francis Florls, born 1520, lived at Antwerp, 
 died 1 570. 
 
 Paolo Farinato, born 1522-40, lived at Ve- 
 rona, Mantua, died 1606. 
 
 TellegrinoTebaldi, born 1522, lived ZtBolog. 
 Rome, Mil. Mad. died 1 592. 
 
 Andrea 
 
Original Painting. i^^ 
 
 Andrea Schiauone^ born 1 522, Jived at Venice^ 
 died 1582. 
 
 Lncci Cangiaft^ or Cambiafoy born 1 527, lived 
 at Geno^ Spainy died i J83. 
 
 Federico Barocci^ born 15285 lived at Vrbin^ 
 Rome^ died 161 2. 
 
 Girolamo Mutiano da Brefcia y born 1528, 
 Jiv'd at died 1590. 
 
 iaddeo Zuccaro^ born 1529, lived at Romey 
 died 16^6. 
 
 Bartolomeo Faferotto, born Jived at Romey 
 
 died 
 
 Paolo Calliari Veronefe^ born 15335 lived at 
 Venice y died 1588. 
 
 Frederico Zuccaroy born 1540-43, lived at 
 RomCy France J Spain j England^ died 1609. 
 
 Martin de VoSy born 1 540, lived at Antmerfy 
 died 1604, 
 
 Giacomo PalrmGion^ey born 1544, lived at 
 Fenice^ died 1628. 
 
Paul Brily born 1150, lived at Antwer^^ 
 RomCy died 1622. 
 
 Raffaelimo da Reggio di Modena^ born 1552, 
 lived at died 1580. 
 
 Lodouico Caracclj born 1 5 5 5, lived at Bolognay 
 RomCy died 16 19. 
 
 ylntonioTemfefta^ born 1555, lived 2it Rome^ 
 died 1630. 
 
 Agofilm Carraccij Jborn 15-57, lived zt So- 
 logndy Rome^ Parma^ died 1602 
 
 Lvdouico Clgoliy or Clucli^ born 1559, lived 
 2it Florcace^ Rome, died 1513. 
 
 Annihde Ca/raccly born 1560, lived at J5i?» 
 logna^ RomCy died 1609. 
 
 Glofeppe Cefari d^Arplno^ Cau» Giofeppwoy born 
 1560, lived 2it Rome y Naples, died 1640. 
 
 Jean Rothamar , called Rottenhamer , born 
 1 564 J lived at P^enice , Bavaria^ died 
 1604. 
 
 C««. Frmcefco Vantii, born 1568, lived at 
 died 1615. 
 
 Michelitngelo 
 
Original Painting. 155 
 
 Michelangelo Amerigi Caravaggio^ born 1 569, 
 lued^t Rome, Naples^ Maltu^ died KJopi 
 
 Jan Brueghel , calVd Fluweelen , or Velvet 
 Brueghely born 1569, lived at 
 died 1625. 
 
 Ventura Salinbene, born lived at Rot/ic^ 
 
 &c. died 
 
 Adam Eljheimer^ born 1 574, lived at Rom^^ 
 died about 15 10, 
 
 Guido Reni^ born 1575, lived at Bologna^ 
 RomCy died 1542. 
 
 Peter Paul Rubens^ born 1577, lived at 
 Antvperpy died 1540. 
 
 Francefco Albania born 1578, lived at Bo- 
 lognaj Rome, died 1660. 
 
 Giofeppe Ribera SpagnolettOy born lived at 
 Naples, died 
 
 Dominico Zampieri, CB,\]ed Dominichino, boria 
 1 581, lived at Bologna, Rome, Naples, 
 died 1541. 
 
 Cau> Giov. Lanfranco, born 158 1, lived at 
 Parma, Naples, died 1547, 
 
 N 2 Simon 
 
ij6 An Essay on 
 
 Simon Vouet^ born i 582^ lived at Rcme^ Paris ^ 
 died 1 541. 
 
 jir^t. Carracci^ callM il Gohbo^ born I583, 
 iiv^ed at Rome^ died \6\?>. 
 
 GioVt Franc, Barbieri detto il Gnercim da Cento^ 
 born 159O5 lived Rome^ Bologna^ died 
 1 666. 
 
 Nieolas TGujJin^ born i 594^ Jived at Rome- ^ 
 died 1665. 
 
 Pietro Berettini daCortona ^ born 1596^, lived 
 ?it Rome y Florence^ died 1569, 
 
 i^/4r/^7 Nuz^zi di Fiori^ born 1 599, lived at 
 Rome^ died \6qt. 
 
 Sir Anthony Fan^Dycly born 1 599, lived at 
 Antwerp y Itdy^ London ^ died 1641. 
 
 Gafpero Dughetj which he changM for Poitjfiny 
 born 1600, liv'd afei?£?;?7^, died 1563. 
 
 Michelang. Cerqtioz.z.i , ^^//^ Bnttalie , born 
 lived at died 1660. 
 
 Benedetto Cafiiglioney Genoefe^ born 
 Rambled in Italy ^ died 
 
 Claudt 
 
Original PaintiKG. 137 
 
 CUude Gillcj de Lcrratn^ born i5oo, lived at 
 Rome^ died 1682. 
 
 Andrea Ouchcy alias Sacchi^ born livM 
 at Romey died - 
 
 Rembrandt van Rheyn^ born 1606 ^ Jiv'd^ at 
 Holland^ died 1668. 
 
 Adriaen Brouwer, born 1608, lived at 
 werpy died leJjS* 
 
 GiacomoCortefij Jefuita detto ilBorgognone^ born 
 1609, liv'd at died 1672. 
 
 Mr. Sam. Cooper ^ born 1610, liv'd 2it Lon* 
 don, Oxfordy died 1 647. 
 
 Mr. WiL Dob/on J born 16I0, lived at Rome^ 
 died 1670. 
 
 Afichelangelo Tace^ call'd di Campidoglio^ born 
 liv^dat died 
 
 Ahr* Diepenbecy born 161 1 liv'd 2kt Rome^ 
 died 1548. 
 
 Pietro Tefia^ born 16 14, livM at died 
 1673. 
 
 Sdvator Rofa^ born liv'd at died 
 
 K 3 
 
ijS Jn Essay on 
 Filippo Laura y born liv'd at 
 died 1694. 
 
 Carlo jDolce^ hoTcn 1617, liv'dat Paris ^ died 
 1555- 
 
 Euftache le Sueur ^ born 1617, liv'd at London ^ 
 died 1608. 
 
 Sir Teter Lely^ born i6lp, liv'd at Rome^ 
 Sweden^ Paris y died 1673. v^^ v. v ' 
 
 Sehaflien Bourbony hoi'n 1620^ liv'd at jP^^m, 
 died 1590, 
 
 Charles le Brutiy born 1524-5 ) HvM at 
 died 1713. 
 
 Corolo Marattiy born 1626", liv'd at RomCy 
 Florence y Naples y Madridy died 1694. 
 
 Luca Giordano^ call'd Luca fa Prefioy born 
 
 livM at died 
 CV]r(? E?m, born, liv'd at died 
 
 Mr. J'^?^^? ^//9^5 born 164(5, li\rM at Londony 
 died 1691. 
 
 Ghfeppe Pajfariy born 1654, liv'd at Rome^^ 
 died 17 14. 
 
 F IN I S. 
 
T A B L E. 
 
 Prefc 
 
 ace. 
 
 C H A P. L 
 
 MF the Origmal of F Ai^Ti^G 
 in General'^ wherein is eochi- 
 bited fame Probabilities ancL 
 Pretentions to its Invention 
 before the Flood. Page i. 
 
 CHAP. IL 
 
 Of the Commencement of Painting 
 immediately ^fter the Flood ^ and from 
 thence down to the middle Ages ; toge- 
 ther with fome Account of the Hiero- 
 glyphicks and Sacred Paintings of 
 rk Egyptians. p. ji. 
 
 CHAP. 
 
T A B L E. 
 
 CHAP. III. 
 
 The Enquiry after the Attainment of 
 Painting continued ^ referring 
 to the Kjior^ledge and Pra^ice of it 
 in the Time of the Trojans , before 
 their final Overthrow ; a?id alfo to the 
 Antiquities of Fainting of Shields^ and 
 other Military Enfigns. P' ^^3* 
 
 C H A P. IV. 
 
 More compendioujly of the Pretentions of 
 fever al other Nations , as the Chi- t 
 nefe, Grecians, Phoenicians, Tuf- 
 €ans, tjc. p. 
 
 CHAP. V. 
 
 Of the Progrefs t?/ Painting among 
 the Grsecians from its frjl Infancy^ 
 with the fever al Step and Gradations 
 by which it obtained^ and at length ar- 
 rived to its hightfl Afcendant in the 
 Time of the Renowned Apdhs. p. 48. 
 
 CHAP. 
 
Table. 
 
 C H A P. VI. 
 
 Of the higheft Degrees of PerfcBion that 
 the A R T (y/. P A I N T I N G attained 
 to in the Days of Apelles, and fame 
 others^ Contemporaries with htm .p.62- 
 
 C H A P. VII. 
 
 The State of the A r t from the foregoing 
 Periods through the Dcclenfion of the 
 Graecian Empire j and its Tranflation to 
 the Romans J andfinallj its Decadence 
 among them. P» 9i* 
 
 CHAP. VIII. 
 
 Of the Rife and Emergency again of this 
 Art in Italy, until it received its 
 compleat Attaiment among them \ to- 
 gether mthfome Intimations of Endea- 
 vours in the Period foregoing^and during 
 that long Interval of its Affearance and 
 Revival again. p. 103. 
 
 ERRATA. 
 
 PAge 27, line 22, for which r, when, p. 29, 1. 6. 
 for Thoilys, r. Troilus, for muto, r. mutuo. for 
 Adverfaries, r. Adverfariis, for Diftringuant, r. Z)/- 
 jiinguunt^ P- 38. 1. 29, for whereof, r. whereon ^ p. 
 39. 1. 12, for which, r. when, p. 41. 1- 11. for Nu- 
 mirmatis, r. Numifmatis, 1. for when r. whom,*^^ 
 61. L 6. dele not, p. 73, for Emergins Emari, 
 Emergens e Mart. 
 
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